https://exchange.prx.org/p/604934
After teasing you with news about NOT having a battle of the bands last week I figured I'd better do one this week. And it's a biggie, featuring Jefferson Airplane and the Jimi Hendrix Experience. We also have quite a few obscurities this week, as well as artists' sets from Quicksilver Messenger Service and, to start off the show, Paul Revere And The Raiders.
Artist: Paul Revere And The Raiders
Title: (I'm Not Your) Stepping Stone
Source: Mono LP: Midnight Ride
Writer(s): Boyce/Hart
Label: Columbia
Year: 1966
Before the Monkees, there was Paul Revere And The Raiders. Like the latter group, the Raiders found success on TV as well as vinyl, and scored several top 10 hits. Unlike the Monkees, however, Paul Revere And The Raiders had a long history as a performing group that predated their commercial success by several years. One more thing the two groups had in common, however, was a song by Tommy Boyce and Bobby Hart called (I'm Not Your) Stepping Stone. The Raiders recorded the song first (without the parenthesis), including it on their album Midnight Ride, released in May of 1966, and as the B side of their hit version of Kicks. The Monkees included the song on their debut LP later the same year, and released it as the B side of I'm A Believer as well. Although the original Raiders version was not originally included on the band's greatest hits album, it has been added to the CD reissue of Paul Revere And The Raiders' Greatest Hits as a bonus track.
Artist: Paul Revere And The Raiders
Title: Take A Look At Yourself
Source: Mono LP: Midnight Ride
Writer(s): Lindsay/Revere
Label: Columbia
Year: 1966
One of the best kept secrets in rock history is the fact that, up until 1966, Paul Revere And The Raiders were the best rock and roll band in America. One only has to compare Midnight Ride with any other album released by an American band in 1966 to see the truth in that statement. Unfortunately, lead vocalist Mark Lindsay, wanted to be a major pop star as well, and was, with the full approval of bandleader Paul Revere, starting to move the band in a more commercial direction. It was a slow process, however, and not all of Lindsay and Revere's contributions to Midnight Ride were pop songs. Take A Look At Yourself, for instance, is a somewhat confrontational song that attempts to update the rockabilly sound for the 1960s, and features some jangly guitar work from Drake Levin. The band's next LP, Spirit of '67, would include substantial contributions from studio musicians known collectively as the Wrecking Crew, triggering a mass exodus of band members that left Lindsay and Revere with a whole new set of Raiders by 1967.
Artist: Paul Revere And The Raiders
Title: All I Really Need Is You
Source: LP: Midnight Ride
Writer(s): Lindsay/Revere
Label: Columbia
Year: 1966
Paul Revere And The Raiders have gotten a bad rap over the years, mostly for dressing funny. During the mid-60s, however, with the British Invasion in full swing, an American band needed every gimmick it could think of, and the Raiders simply took advantage of their band leader's birth name and did the obvious. What's often overlooked, however, is the fact that Paul Revere And The Raiders, co-led by Revere and vocalist/saxophonist Mark Lindsay, were one of the best bands of their time, and the first band from the Pacific Northwest to achieve continuous national chart success. The band members were prolific songwriters as well. In fact, of the twelve songs on their 1966 album Midnight Ride, ten were originals, including All I Really Need Is You, which leads off side two of the LP.
Artist: The Word (aka War Babies)
Title: Now It's Over
Source: Mono British import CD: With Love- A Pot Of Flowers (bonus track originally released in US as 45 RPM single)
Writer(s): Lincoln/Watt
Label: Big Beat (original label: Brent)
Year: 1965
Now it's Over was a one-off folk-rock single by multi-instrumentalists Wesley Watt and Bill Lincoln, recording as the Word, on Bob Shad's Brent label in 1965. The duo had originally recorded the song for the Highland label under the name War Babies, and would resurface in 1966 with a group called Euphoria.
Artist: Chris And Craig
Title: Isha
Source: Mono import CD: Ah Feel Like Ahcid (originally released as 45 RPM single)
Writer(s): Chris Ducey
Label: Zonophone UK (original US label: Capitol)
Year: 1966
Before the Monkees, there were the Happeners...almost. In 1965, college student Chris Ducey and singer/songwriter Craig Smith were chosen to play a folk-rock duo on a TV show. Although the show itself never made it past pre-production, the two did record a single for Capitol Records, the Ducey-penned Isha, before going their separate ways. Craig Smith auditioned for yet another TV show the following year, but was not one of the four young men chosen to become the Monkees. He did, however, strike up a friendship with fellow applicant Michael Nesmith, who would end up recording one of Smith's songs, Salesman, and later produce Smith's new band, Penny Arkade. Ducey, meanwhile, became a bizarre early victim of identity theft. Folk singer Bobby Jameson, for reasons unknown, recorded an entire album using not only Ducey's name, but his song titles as well. The real Ducey hasn't been heard from since.
Artist: Merry-Go-Round
Title: You're A Very Lovely Woman (originally released on LP: The Merry-Go-Round)
Source: CD: More Nuggets
Writer: Emmit Rhodes
Label: Rhino (original label: A&M)
Year: 1967
Emitt Rhodes first got noticed in his mid-teens as the drummer for the Palace Guard, a Beatles-influenced L.A. band that had a minor hit with the song Like Falling Sugar in 1966. Rhodes would soon leave the Guard to front his own band, the Merry-Go-Round, scoring one of the most popular regional hits in L.A. history with the song Live, the lead track from the Merry-Go-Round's 1967 self-titled LP. In 1969 Rhodes decided to try his hand as a solo artist. The problem was that he was, as a member of the Merry-Go-Round, contractually obligated to record one more album for A&M. The album itself, featuring a mixture of recycled Merry-Go-Round tracks such as You're A Very Lovely Woman, along with a few Rhodes solo tunes, sat on the shelf for two years until Rhodes had released a pair of well-received LPs for his new label, at which time A&M finally issued The American Dream as an Emitt Rhodes album.
Artist: Timebox
Title: Gone Is The Sadman
Source: CD: Nuggets II-Original Artyfacts From The British Empire And Beyond 1964-1969 (originally released in UK as 45 RPM single B side)
Writer(s): McCarthy/Halsall
Label: Rhino (original label: Deram)
Year: 1968
Timebox is one of those bands that by all rights should have had much more success than they were able to achieve. Why this should be is a mystery. They had plenty of talent, good press and were signed to a major label (Deram). Yet none of their singles were able to make a connection with the record buying public. Originally formed in Southport in 1965 as Take Five, the band relocated to London the following year, changing their name to Timebox at the same time. After releasing a pair of singles on the small Picadilly label, the band added a couple of new members, including future Rutles drummer John Halsey. Within a few months they were signed to the Deram label, and released several singles over the next few years. One of their best tunes, Gone Is The Sandman, was actually released as a B side in late 1968.
Artist: Alice Cooper
Title: Fields Of Regret
Source: CD: Pretties For You
Writer(s): Cooper/Smith/Dunaway/Bruce/Buxton
Label: Rhino/Bizarre/Straight
Year: 1969
The first Alice Cooper LP, Pretties For You, was by far the most psychedelic album ever recorded by the group. The album was recorded in one day; in fact, according to the band's manager, the entire album was made up of rehearsals that were recorded by Frank Zappa's brother. Pretties For You, like just about everything on Zappa's Straight label, was rooted in the avant-garde, and was not a commercial success, although some tracks, such as Fields Of Regret, the longest track on Pretties For You, foreshadowed the hard rock the band would later become famous for.
Artist: Leaves
Title: Lemmon Princess (mono single mix)
Source: Mono British import CD: All The Good That's Happening
Writer(s): Jim Pons
Label: Grapefruit (original US label: Capitol)
Year: 1966
The Leaves were formed in 1964 as the Rockwells by a group of fraternity brothers from San Fernando Valley College in Northridge, California. The group was financed by bassist/vocalist Jim Pons, who used money he had received from an insurance settlement to buy the band's original equipment. After a few personnel changes the band, which by 1965 had changed their name to the Leaves, successfully auditioned to replace the Byrds as the unofficial house band at Ciro's, a popular club on Sunset Strip. The Leaves released one LP and a handful of singles for the local Mira label, including a fast version of Billy Roberts's Hey Joe that became a national hit. This prompted a move to major label Capitol Records toward the end of 1966. Their first release for Capitol was Lemmon Princess, which came out in early December. The tune, written by Pons, was also included on the band's only Capitol LP, All The Good That's Happening. Stylistically the song was not typical of the Leaves at all; in fact, it would have been right at home on an album by fellow L.A.ins the Turtles. This may have been intentional, since by most accounts the Leaves were already disintegrating even as All The Good That's Happening was being made, and Pons would soon leave the band he founded to join...you guessed it: the Turtles.
Artist: Turtles
Title: Let Me Be
Source: CD: Songs Of Protest (originally released on LP: It Ain't Me Babe and as 45 RPM single)
Writer(s): P.F. Sloan
Label: Rhino (original label: White Whale)
Year: 1965
The Turtles were nothing if not able to redefine themselves when the need arose. Originally a surf band known as the Crossfires, the band quickly adopted an "angry young men" stance with their first single, Bob Dylan's It Ain't Me Babe, and the subsequent album of the same name. For the follow-up single the band chose a track from their album, Let Me Be, that, although written by a different writer, had the same general message as It Ain't Me Babe. The band would soon switch over to love songs like Happy Together and She'd Rather Be With Me before taking their whole chameleon bit to its logical extreme with an album called Battle Of The Bands on which each track was meant to sound like it was done by an entirely different group.
Artist: Count Five
Title: The World
Source: Mono LP: Psychotic Reaction
Writer(s): John Byrne
Label: Bicycle/Concord
Year: 1966
With Count Five's single Psychotic Reaction rocketing up the charts in late 1966, Double Shot Records rushed the band into the studio to record a full-length LP, called (naturally) Psychotic Reaction. The key word here is "rushed", as band members later complained that they were not given the time to fully develop their original material, most of which, including The World was written by guitarist John "Sean" Byrne. Nonetheless, the album contains nine original tunes (along with two covers of Who songs tossed in as filler), all of which are classic examples of what has come to be called garage rock. Count Five was never able to duplicate the success of their hit single, however, and after the song's popularity had run its course the group, consisting of Kenn Ellner on lead vocals, tambourine and harmonica, John "Mouse" Michalski on lead guitar, John "Sean" Byrne on rhythm guitar and vocals, Craig "Butch" Atkinson on drums and Roy Chaney on bass guitar, disbanded so that its members could pursue college educations and avoid being drafted.
Artist: Jake Holmes
Title: Dazed And Confused
Source: LP: Nuggets vol. 10-Folk Rock (originally released on LP: The Above Ground Sound Of Jake Holmes)
Writer(s): Jake Holmes
Label: Rhino (original label: Tower)
Year: 1967
On Auguest 5th, 1967 a little known singer/songwriter named Jake Holmes opened for the Yardbirds for a gig in New York City, performing songs from his debut LP The Above Ground Sound Of Jake Holmes, including a rather creepy sounding tune called Dazed And Confused. Yardbirds drummer Jim McCarty, who was in the audience for Holmes's set, went out and bought a copy of the album the next day. Soon after that the Yardbirds began performing their own modified version of Dazed And Confused. Tower Records, perhaps looking to take advantage of the Yardbirds popularization of the tune, released Holmes's version of Dazed And Confused as a single in January of 1968. Meanwhile, the Yardbirds split up, with guitarist Jimmy Page forming a new band called Led Zeppelin. One of the songs Led Zeppelin included on their 1969 debut LP was yet another new arrangement of Dazed And Confused, with new lyrics provided by Page and singer Robert Plant. This version was credited entirely to Page. Holmes himself, not being a fan of British blues-rock, was not aware of any of this at first, and then let things slide until 2010, when he finally filed a copyright infringement lawsuit. The matter was ultimately settled out of court, and all copies of the first Led Zeppelin album made from 2014 on include "inspired by Jake Holmes" in the credits.
Artist: Rolling Stones
Title: No Expectations
Source: LP: More Hot Rocks (Big Hits And Fazed Cookies) (originally released on LP: Beggar's Banquet)
Writer: Jagger/Richards
Label: London
Year: 1968
After the heavy dose of studio effects on Their Satanic Majesties Request, the Rolling Stones took a back-to-basics approach for their next album, Beggar's Banquet, the first to be produced by Jimmy Miller (who had previously worked with Steve Winwood in Traffic and the Spencer Davis Group). No Expectations, the second track on the album, uses minimal instrumentation and places a greater emphasis on Mick Jagger's vocals and Brian Jones's slide guitar work. Sadly, it was to be Jones's last album as a member of the Rolling Stones, as heavy drug use was already taking its toll (and would soon take his life as well).
Artist: Johnny Winter
Title: I'm Yours And I'm Hers
Source: European import CD: Johnny Winter
Writer(s): Johnny Winter
Label: Repertoire (original US label: Columbia)
Year: 1969
1969 was a big year for Johnny Winter. An article the previous year in Rolling Stone magazine referring to the "albino guitarist with long white hair causing a stir in the Southwest" had led to his album The Progressive Blues Experiment being picked up by Imperial Records for national distribution, which in turn led to Winters signing with Columbia, one of the world's largest and most influential record labels. His first album for Columbia, titled simply Johnny Winter, was a critical and commercial success, instantly putting him in the top tier of both blues and rock guitarists. The opening track of the LP was I'm Your And I'm Hers, a Johnny Winter original that utilized the talents of bassist Tommy Shannon and drummer "Uncle" John Turner, both members of Johnny's band Winter at the time. This same lineup would record a second album for Columbia with Johnny's brother Edgar on keyboards and saxophone before being disbanded in favor of the group that was originally called the McCoys, but would soon come to be known as Johnny Winter And. Bassist Tommy Shannon would resurface several years later as a member of Stevie Ray Vaughan's Double Trouble.
Artist: Blues Image
Title: La Bamba/Consuelate
Source: CD: Open
Writer(s): Traditional/Blues Image
Label: Sundazed (original label: Atco)
Year: 1970
The Blues Project evolved out of a Tampa, Florida band called Mike West And The Motions ("Mike West" being a stage name for guitarist Mike Pinera). Unlike other bands in the area, who tended to play covers of British Invasion bands, the Motions were into John Mayall, Muddy Waters, and especially the Blues Project. They also experimented with using two drummers, inspiring fellow Floridians Duane and Gregg Allman to do the same with their new band. After changing their name to Blues Image (inspired by Blues Project), the band opened their own club, Thee Image, hiring the Mothers Of Invention for opening night in 1968. It was Mothers leader Frank Zappa that told the members of Blues Image that their strength was in arranging rather than composing, an opinion given validity by such tracks as La Bamba, which leads directly into a track that is essentially an extension of La Bamba itself, although it bears the title Consuelate. A series of unrelated events saw the band move to L.A. by the end of the year, closing Thee Image in the process. After two LPs for Atco, Pinera left the band he helped found to join Iron Butterfly. After one more LP the group called it quits, with various members going on to become studio musicians supporting people like Stephen Stills.
Artist: Third Rail
Title: Run Run Run
Source: LP: Nuggets Vol. 11-Pop, Part 4 (originally released as 45 RPM single)
Writer: Resnick/Resnick/Levine
Label: Rhino (original label: Epic)
Year: 1967
Run Run Run is actually a studio creation issued in 1967 from husband and wife team Artie and Kris Resnick collaborating with Joey Levine, who sings lead vocals on the track. They only performed the song live once (in Cincinatti, of all places) as the Third Rail. All three would find a home as part of the Kasenetz-Katz bubble gum machine that would make Buddah Records a major player in 1968, with Levine himself singing lead for one of the label's most successful groups, the Ohio Express.
Artist: Ballroom
Title: Baby, Please Don't Go
Source: Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single B side)
Writer(s): Joe Williams
Label: Rhino (original label: Warner Brothers)
Year: 1967
Producer/vocalist Curt Boettcher first came to national attention at age 22 as producer of the album Along Comes...The Association, including the hit singles Along Comes Mary and Cherish. While working on a studio project he called the Ballroom for Our Productions in 1966 Boettcher came to the attention of Brian Wilson and Gary Usher. Usher was so impressed with Boettcher's creativity in the studio that he convinced his own bosses at Columbia Records to buy out Boettcher's contract from Our Productions. As a result, much of Boettcher's Ballroom project became part of Usher's own Sagittarius project, with only one single, an unusual arrangement of Joe Williams's Baby, Please Don't Go, released under the Ballroom name. Boettcher turned out to be so prolific that it was sometimes said that the giant "CBS" logo on the side of the building stood for Curt Boettcher's Studios.
Artist: Cream
Title: Those Were The Days
Source: CD: Wheels Of Fire
Writer(s): Baker/Taylor
Label: Polydor (original label: Atco)
Year: 1968
Drummer Ginger Baker only contributed a handful of songs to the Cream repertoire, but each was, in its own way, quite memorable. Those Are The Days, with its sudden changes of time and key, presages the progressive rock that would flourish in the mid-1970s. As was usually the case with Baker-penned songs, bassist Jack Bruce provides the vocals from this Wheels Of Fire track.
Artist: Jefferson Airplane
Title: White Rabbit
Source: LP: The Worst Of Jefferson Airplane (originally released on LP: Surrealistic Pillow)
Writer: Grace Slick
Label: RCA Victor
Year: 1967
A few years back a co-worker asked me about what kind of music I played on the show. When I told him the show was called Stuck in the Psychedelic Era he immediately said "Oh, I bet you play White Rabbit a lot, huh?" As a matter of fact, I do, although not as much as some songs.
Artist: Jimi Hendrix Experience
Title: The Stars That Play With Laughing Sam's Dice
Source: Mono British import LP: Smash Hits (originally released as 45 RPM single B side)
Writer(s): Jimi Hendrix
Label: Track
Year: 1967
The fourth single released in Europe and the UK by the Jimi Hendrix Experience was 1967's Burning Of The Midnight Lamp, which appeared in stereo the following year on the album Electric Ladyland. The B side of that single was a strange bit of psychedelia called Stars That Play With Laughing Sam's Dice, which is also known in some circles as STP With LSD. The piece features Hendrix on guitar and vocals, with background sounds provided by a cast of at least dozens. Hendrix's vocals are, throughout much of the track, spoken rather than sung, and resemble nothing more than a cosmic travelogue with Hendrix himself as the tour guide. The track was remixed in stereo by engineer Eddie Kramer for a posthumous album called Loose Ends that was only released in the UK. That version, which buries the vocal track in order to showcase Hendrix's guitar work, was included on the South Saturn Delta compilation CD, and until 2025 was the only version of the track available in the US. The original mono mix (along with a pair of alternate versions) has finally been released in the US as part of the five disc box set Axis: Bold As Love Sessions. This is the only version where Jimi's vocals dominate the mix, allowing his somewhat whimsical sense of humor to shine through.
Artist: Jefferson Airplane
Title: How Do You Feel
Source: Mono LP: Surrealistic Pillow (originally released as 45 RPM single B side)
Writer: Tom Mastin
Label: Sundazed (original label: RCA Victor)
Year: 1966
How Do You Feel was the only song on Surrealistic Pillow not written by a current or former member of Jefferson Airplane, having been given to the band by Tom Mastin, a friend of Paul Kantner's. The song was first released in late 1966 as the B side of My Best Friend.
Artist: Jimi Hendrix Experience
Title: Little Wing
Source: LP: Axis: Bold As Love
Writer(s): Jimi Hendrix
Label: MCA/Experience Hendrix (original label: Reprise)
Year: 1967
Although it didn't have any hit singles on it, Axis: Bold As Love, the second album by the Jimi Hendrix Experience, was full of memorable tunes, including one of Hendrix's most covered songs, Little Wing. The album itself is a showcase for Hendrix's rapidly developing skills, both as a songwriter and in the studio. The actual production of the album was a true collaborative effort, combining Hendrix's creativity, engineer Eddie Kramer's expertise and producer Chas Chandler's strong sense of how a record should sound, acquired through years of recording experience as a member of the Animals.
Artist: Jefferson Airplane
Title: D.C.B.A.-25
Source: Mono LP: Surrealistic Pillow
Writer: Paul Kantner
Label: Sundazed (original label: RCA Victor)
Year: 1967
D.C.B.A.-25 was named for the chords used in the song. As for the "25"...it was 1967. In San Francisco. Paul Kantner wrote it. Figure it out.
Artist: Jimi Hendrix Experience
Title: Manic Depression
Source: LP: Smash Hits (originally released on LP: Are You Experienced?)
Writer(s): Jimi Hendrix
Label: Reprise
Year: 1967
After miraculously surviving being shot point blank in the head (and then bayoneted in the back for good measure) in the Korean War (and receiving a Silver Star), my dad became somewhat of a minor celebrity in the early 50s, appearing on a handful of TV and radio game shows as a kind of poster boy for the Air Force. One result of this series of events was that he was able to indulge his fascination with a new technology that had been developed by the Germans during WWII: magnetic recording tape. He used his prize winnings to buy a Webcor tape recorder, which in turn led to me becoming interested in recording technology at an early age (I distinctly remember being punished for playing with "Daddy's tape recorder" without permission on more than one occasion). He did not receive another overseas assignment until 1967, when he was transferred to Weisbaden, Germany. As was the usual practice at the time, he went there a month or so before the rest of the family, and during his alone time he (on a whim, apparently) went in on a Lotto ticket with a co-worker and won enough to buy an Akai X-355 stereo tape recorder from a fellow serviceman who was being transferred out and did not want to (or couldn't afford to) pay the shipping costs of the rather heavy machine.The Akai was pretty much the state of the art in home audio technology at the time. The problem was that we did not have a stereo system to hook it into, so he bought a set of Koss headphones to go with it. Of course all of his old tapes were in storage (along with the old Webcor) back in Denver, so I decided that this would be a good time to start spending my allowance money on pre-recorded reel-to-reel tapes, the first of which was Are You Experienced by the Jimi Hendrix Experience. The Akai had an auto-reverse system and I would lie on the couch with the headphones on to go to sleep every night listening to songs like Manic Depression. Is it any wonder I turned out like I did?
Artist: Grateful Dead
Title: Turn On Your Love Light
Source: LP: The Big Ball (excerpt of track that was originally released on LP: Live Dead)
Writer(s): Scott/Malone
Label: Warner Brothers
Year: 1969
After two years' (and three albums) worth of trying to capture their live sound in the studio, the Grateful Dead decided just to cut to the chase and release a live album. The result was the double LP Live Dead, one of the most successful releases in Grateful Dead history. The album itself is one continuous concert, with each side fading out at the end, with a bit of overlap at the beginning of the next side. Most of the material on Live Dead was written by the band itself, the sole exception being a fifteen-minute long rendition of Bobby Bland's 1961 hit Turn On Your Love Light, featuring vocals by organist Ron "Pigpen" McKernan. This six and a half minute long excerpt from the album first appeared on the Warner Brothers "Loss Leaders" album The Big Ball, a two-disc sampler album that could only be bought directly from the record company. The same excerpt was later included on the 1972 Grateful Dead compilation album Skeletons From The Closet.
Artist: Sonics
Title: Strychnine
Source: Mono CD: Nuggets-Original Artyfacts from the Psychedelic Era (originally released on LP: Here Are The Sonics)
Writer(s): Gerald Roslie
Label: Rhino (original label: Etiquette)
Year: 1965
From 1965 we have a band that maintains a cult following to this day: the legendary Sonics, generally considered one of the foundation stones of the Seattle music scene. Although the majority of songs on their albums were cover tunes, virtually all of their originals, such as Strychnine from their debut LP, are now considered punk classics; indeed, the Sonics, along with their labelmates the Wailers, are often cited as the first true punk rock bands.
Artist: Music Machine
Title: Worry
Source: Mono British import CD: The Ultimate Turn On
Writer(s): Sean Bonniwell
Label: Big Beat
Year: Recorded 1967, released 2006
Following the release of the album Turn On, The Music Machine went on the road, returning to Los Angeles for what would be their final recording sessions in March and April of 1967. By then the band, for various reasons, was on the verge of splitting up, and the second Music Machine album remained unfinished. Meanwhile, bandleader Sean Bonniwell still had gigs lined up and was on the verge of signing a new contract with Warner Brothers Records, and quickly assembled a new version of the Music Machine. The new group recorded enough material to complete the album, which was released later that year as the Bonniwell Music Machine. As it turned out, the new group had recorded more new material than was needed, and Bonniwell, naturally favoring his newest material, left a few of the original band's recordings unreleased until 2006, when Britain's Ace Records released a double-CD called The Ultimate Turn On on their garage-rock oriented Big Beat label.
Artist: Lemon Pipers
Title: No Help From Me
Source: 45 RPM single B side
Writer(s): Lemon Pipers
Label: Buddah
Year: 1967
Buddah Records had its greatest success in 1968 as the chief purveyor of bubblegum pop music targeted to adolescents and their younger siblings. Their first major hit in this genre was a song called Green Tambourine, by the Lemon Pipers. It was also the only hit single the Lemon Pipers ever had. For the reason why, we have to go back a couple of years to a place called Oxford, Ohio. Oxford, with a population of around 25,000, is home to Miami University, the second-oldest university in Ohio and the tenth-oldest public university in the United States. In short, it is the prototypical American college town, with a local music scene specifically geared to the college crowd. In 1966 four veterans of various local bands, drummer Bill Albaugh, guitarist Bill Bartlett, keyboardist Robert Nave and bassist Bob Dudek, formed the Lemon Pipers. Their repertoire was what you'd expect in a college town in the mid-1960s: folk-rock, blues-rock and covers of songs by the Who, the Kinks, and the Byrds, among others. In 1967 they went to Cleveland to compete in the Ohio Battle of the Bands, finishing second in the finals to a local band called the James Gang. After releasing a single on the local Dana label, the Lemon Pipers added lead vocalist Dale "Ivan" Browne and sought out the services of an Ohio music industry bigwig named Mark Barger, who put them in touch with Neil Bogart, head of Buddah Records, who signed them to a recording contract and music publishing deal. At first it seemed like a good thing for the group, as they got to go on tour and play larger venues, including Bill Graham's Fillmore West, where they shared a bill with Traffic, Moby Grape and Spirit. When their first, self-penned single for Buddah tanked, however, their producer, Paul Leka, pressured the group into recording Green Tambourine, a song that sounded nothing like the band's usual repertoire, which was more accurately represented by the record's B side, a group composition called No Help From Me. Of course Green Tambourine was a huge hit, an from that point on it was either do what Buddah told them (which meant recording more bubblegum pop songs) or lose their contract. Although the Lemon Pipers recorded two albums and released half a dozen more singles for Buddah, they were never happy with the relationship and in 1969 permanantly parted company with the label. The Lemon Pipers disbanded not long after that
Artist: Del Shannon
Title: I Think I Love You
Source: Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released on LP: The Further Adventures Of Charles Westover)
Writer(s): Del Shannon
Label: Rhino (original label: Liberty)
Year: 1968
Del Shannon? The guy who did Runaway back in '62? Yep. Also the same Del Shannon who Tom Petty has acknowledged as his number one inspiration and who was on the verge of being asked to replace the late Roy Orbison in the Traveling Wilburys when he himself became the late Del Shannon. Unlike many of his early 60s contemporaries such as Bobby Vee or Fabian, Shannon was able to keep up with the times, as this piece of pure psychedelia (penned by Shannon himself) from the album The Further Adventures of Charles Westover demonstrates.
Artist: Quicksilver Messenger Service
Title: Acapulco Gold And Silver
Source: CD: Quicksilver Messenger Service (bonus track)
Writer(s): Duncan/Schuster
Label: Rock Beat (original label: Capitol)
Year: Recorded 1968, released 2011
One of the highlights of the first Quicksilver Messenger Service album was Gold And Silver, a six minute long instrumental which has drawn comparisons with Dave Brubeck's Take Five. This shorter version of the tune, entitled Acapulco Gold And Silver, was included on the 2011 CD reissue of the album.
Artist: Quicksilver Messenger Service
Title: Light Your Windows
Source: CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on LP: Quicksilver Messenger Service)
Writer: Duncan/Freiberg
Label: Rhino (original label: Capitol)
Year: 1968
One of the last of the legendary San Francisco bands that played at the 1967 Monterey International Pop Festival to get signed to a major label was Quicksilver Messenger Service. Inspired by a conversation between Dino Valenti and guitarist John Cippolina, there are differing opinions on just how serious Valenti was about forming a new band at that time. Since Valenti was busted for marijuana possession the very next day (and ended up spending the next two years in San Quentin), we'll never know for sure. Cippolina, however, was motivated enough to begin finding members for the new band, including bassist David Freiberg (later to join Starship) and drummer Skip Spence. When Marty Balin stole Spence away to join his own new band (Jefferson Airplane), he tried to make up for it by introducing Cippolina to vocalist/guitarist Gary Duncan and drummer Greg Elmore, whose own band, the Brogues, had recently disbanded. Taking the name Quicksilver Messenger Service (so named for all the member's astrological connections with the planet Mercury), the new band soon became a fixture on the San Francisco scene. Inspired by the Blues Project, Cippolina and Duncan quickly established a reputation for their dual guitar improvisational abilities. Unlike other San Francisco bands such as the Airplane and the Grateful Dead, Quicksilver Messenger Service did not jump at their first offer from a major record label, preferring to hold out for the best deal. This meant their debut album did not come out until 1968, missing out on the initial buzz surrounding the summer of love and probably handicapping them in the long run.
Artist: Quicksilver Messenger Service
Title: I Don't Want To Spoil Your Party (alternate version of Dino's Song)
Source: CD: Quicksilver Messenger Service (originally released on CD: Unreleased Quicksilver)
Writer(s): Dino Valenti
Label: RockBeat (original label: Capitol)
Year: Recorded 1968, alternate version released 2000)
A few years back I picked up the DVD collector's edition of the telefilm that DA Pennebacker made of the Monterey International Pop Festival. In addition to the film itself there were two discs of bonus material, including a song by Quicksilver Messenger Service that was listed under the title All I Ever Wanted To Do (Was Love You). I spent some time trying to figure out which album the song had originally appeared on, but came up empty until I got a copy of the first Quicksilver album and discovered it was actually called Dino's song. The album version has a definite garage sound to it, similar to the classic Van Morrison song Gloria. In 2000 Collector's Choice released a compilation of previously unheard Quicksilver tracks, including this alternate version of Dino's Song that uses yet another title: I Don't Want To Spoil Your Party. This version has a more country-rock sound to it than the original LP version. I suspect the confusion in song titles is connected to the origins of the band itself, which was the brainchild of Dino Valenti and John Cipollina (and possibly Gary Duncan). The day after their first practice session Valenti got busted and spent the next few years in jail for marijuana possession. My theory is that this was an untitled song that Valenti showed Cippolina at that first practice. Since it probably still didn't have a title when the group performed the song at Monterey, the filmmakers used the most repeated line from the song itself, All I Ever Wanted To Do (Was Love You). When the band recorded their first LP in 1968 they just called it Dino's Song. Presumably by the time this alternate version was released in 2000 Valenti had come up with an official title, I Don't Want To Spoil Your Party. If anyone knows of another explanation, please pass it along.
Artist: Grass Roots
Title: Feelings
Source: LP: Nuggets Vol. 9-Acid Rock (originally released on LP: Feelings and as 45 RPM single)
Writer: Coonce/Entner/Fukomoto
Label: Rhino (original label: Dunhill)
Year: 1968
In 1968 the Grass Roots decided to assert themselves and take artistic control of their newest album, Feelings, writing most of the material for the album themselves. Unfortunately for the band, the album, as well as its title track single, fared poorly on the charts. From that point on the Grass Roots were firmly under the control of producers/songwriters Steve Barri and P.F. Sloan, cranking out a series of best-selling hits such as I'd Wait A Million Years and Midnight Confessions (neither of which get played on Stuck in the Psychedelic Era, incidentally).
Artist: Ainsley Dunbar Retaliation
Title: Roamin' And Ramblin'
Source: LP: The Ainsley Dunbar Retaliation
Writer(s): Victor Brox
Label: Blue Thumb
Year: 1968
Drummer Ainsley Dunbar is probably best known for being an integral part of several successful bands, including Journey, Jefferson Starship, Whitesnake and the Mothers Of Invention. His career didn't have such an illustrious start, however. In fact, he was actually fired from John Mayall's Bluesbreakers in 1967 and replaced by Mick Fleetwood. After sitting in on a few early singles by the Jeff Beck Group, Dunbar decided to get even with Mayall by forming the Ainsley Dunbar Retaliation. Dunbar recruited multi-instrumentalist Victor Brox, cited by both Jimi Hendrix and Tina Turner as their favorite white blues singer, to be the band's lead vocalist. Brox, who would later become internationally known for his role as Caiaphas on the original Jesus Christ Superstar album, wrote the band's biggest hit, Warning, along with Roamin' And Ramblin', which closes out the first side of the band's debut LP, released in 1968.
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