Artist: Seeds
Title: Rollin' Machine
Source: LP: A Web Of Sound
Writer(s): Sky Saxon
Label: GNP Crescendo
Year: 1966
We start off this week's show with a song about a mode of transportation. And if you believe that I have some real estate you might be interested in as well. Rollin' Machine, from the Seeds' second LP, A Web Of Sound, is the only track in the first half hour that has ever been played on Stuck in the Psychedelic Era before.
Artist: Electric Prunes
Title: Train For Tomorrow
Source: CD: I Had Too Much To Dream (Last Night)
Writer(s): Lowe/Tulin/Williams/Spagnola/Ritter
Label: Collector's Choice (original label: Reprise)
Year: 1967
Yet another metaphorical mode of transportation, this one from the first Electric Prunes album. Train For Tomorrow is one of the few Prunes songs credited to the entire band. If they had done more songs with instrumental breaks like this (inspired by Wes Montgomery) they might now be known for more than just their big hit, I Had Too Much To Dream (Last Night).
Artist: Small Faces
Title: Ogden's Nut Gone Flake
Source: CD: Ogden's Nut Gone Flake
Writer(s): Marriott/Lane/McLagon/Jones
Label: Charly (original label: Immediate)
Year: 1968
By spring of 1968 the Small Faces, from London' East End, had already established themselves on the UK charts with the kind of catchy pop tunes that were the meat of the mid-60s British music scene. After having a falling out with industry giant Decca Records in 1967, they signed to Rolling Stones producer Andrew Loog Oldham's newly formed Immediate Records. After a decent, but somewhat hurried first album for the new label the band (whose name came from the fact that they were all short), took their time with a follow-up. The result was Ogden's Nut Gone Flake, generally regarded as one of the few LPs to actually rise to the challenge laid down by the Beatles the previous year with the release of Sgt. Pepper's Lonely Hearts Club Band. The album opens with an instrumental title track, setting the tone for the rest of the LP.
Artist: Pink Floyd
Title: Cirrus Minor
Source: CD: Relics (originally released on LP: Music From The Film "More")
Writer(s): Roger Waters
Label: Capitol (original label: Harvest)
Year: 1969
In the years between the departure of founding member Syd Barrett and their breakthrough album Dark Side Of The Moon, Pink Floyd provided music for several independent films such as Zabriskie Point and one called More. One of the tracks from the latter film, Cirrus Minor, foreshadows how the band would sound during its most successful period during the late 70s and early 80s. The song, written by keyboardist Roger Waters, features lead vocals by Barrett's replacement, guitarist David Gilmour.
Artist: Five Americans
Title: I See The Light-'69
Source: LP: Now And Then
Writer(s): Rabon/Ezell/Durrill
Label: Abnak
Year: 1969
The first big regional hit for the Five Americans was the in-your-face rocker I See The Light, released in 1965. They followed it up with their 1966 smash Western Union, which went national in 1967. The group continued to chart hits in the Dallas-Ft. Worth area for the next couple of years, but were unable to come up with another Western Union. One notable attempt was this 1969 update of I See The Light, which takes advantage of the better recording technology available to the band at that point in time.
Artist: Ace Of Cups
Title: Glue
Source: CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on CD: It's Bad For You But Buy It)
Writer(s): Denise Kaufman
Label: Rhino (original label: Ace/Big Beat)
Year: Recorded 1968, released 2003
The Ace Of Cups were a pioneering female rock band from San Francisco led by Denise Kaufman, immortalized by Ken Kesey as Mary Microdot in the book Electric Coolaid Acid Test. As one of the major Merry Pranksters, Kaufman's irreverent attitude is in full evidence on the track Glue, which features a bit of guerilla theater parodying the standard TV commercials of the time.
Artist: Quicksilver Messenger Service
Title: It's Been Too Long
Source: CD: Quicksilver Messenger Service
Writer(s): Nick Gravenites
Label: Rock Beat
Year: 1968
One of the last of the Blues Project-inspired San Francisco jam bands to get a record contract was Quicksilver Messenger Service. Formed in 1966, the group was one of the top local attractions at the Monterey International Pop Festival in 1967 and was featured (along with Mother Nature and the Steve Miller Band) in the 1968 film Revolution. Finally getting a contract with Capital in mid-1968, the group, led by Gary Duncan and John Cippolina, went to work on a self-titled LP. Although some of the tracks reflected to band's propensity for improvisation, others songs on the album, such as their cover of Nick Gravenites's It's Been Too Long, feature relatively tight arrangements.
Artist: Jimi Hendrix Experience
Title: Hey Joe
Source: LP: Are You Experienced?
Writer(s): Billy Roberts
Label: Reprise
Year: 1966
The first track recorded by the Jimi Hendrix Experience was Hey Joe, a song that Hendrix had seen Tim Rose perform in Greenwich Village before relocating to London to form his new band. Hendrix's version is a bit heavier than Rose's and leaves off the first verse ("where you going with that money in your hand") entirely. The song itself was copyrighted in 1962 by California folk singer Billy Roberts and a much faster version by the Leaves had hit the US charts in early 1966.
Artist: Jimi Hendrix Experience
Title: Gypsy Eyes
Source: CD: The Ultimate Experience (originally released on LP: Electric Ladyland)
Writer(s): Jimi Hendrix
Label: MCA
Year: 1968
The last album by the Jimi Hendrix Experience was a double LP mixture of studio recordings and live jams in the studio with an array of guest musicians. Gypsy Eyes is a good example of Hendrix's prowess at the mixing board as well as on guitar.
Artist: Jimi Hendrix Experience
Title: Love Or Confusion
Source: LP: Are You Experienced?
Writer(s): Jimi Hendrix
Label: Reprise
Year: 1967
A little-known fact is that the original European version of Are You Experienced, in addition to having a different song lineup, consisted entirely of mono recordings. When Reprise got the rights to release the album in North America, its own engineers created new stereo mixes from the 4-track master tapes. As most of the instrumental tracks had already been mixed down to single tracks, the engineers found themselves doing things like putting the vocals all the way on one side of the mix, with reverb effects and guitar solos occupying the other side and all the instruments dead center. Such is the case with Love Or Confusion, with some really bizarre stereo panning thrown in at the end of the track. It's actually kind of fun to listen to with headphones on, as I did when I bought my first copy of the album on reel-to-reel tape (the tape deck was in the same room as the TV).
Artist: Kinks
Title: I'm A Lover Not A Fighter
Source: LP: Kinks-Size
Writer(s): J.D. Miller
Label: Reprise
Year: 1964
From 1964-1966 there were major differences between the US and UK catalogs of British Invasion bands such as the Kinks. This is partly because British albums tended to have longer running times, generally containing two or three more songs than their US counterparts. In addition, many groups released songs on 45 RPM Extended Play records in the UK, a practice that had been discontinued by most US labels in the late 1950s. A final factor was the British policy of not including songs that had been released as singles (or their B sides) on LPs. These extra songs usually ended up being released in the US on LPs that had no direct UK counterpart. One such album was 1965's Kinks-Size, which included I'm A Lover Not A Fighter, a rare Kinks cover song that was on the UK version of their 1964 debut LP.
Artist: Tommy Boyce And Bobby Hart
Title: Words
Source: CD: Where The Action Is: L.A. Nuggets 1965-68
Writer(s): Boyce/Hart
Label: Rhino
Year: Recorded 1965, released 2009
Tommy Boyce and Bobby Hart were really hoping to be selected for the new band that Screen Gems/Columbia Pictures was putting together to star in a new weekly TV series. It didn't work out for them, but several of the songs they wrote appeared on the Monkees albums, including Words, heard here in its previously unreleased 1965 demo form.
Artist: Vanilla Fudge
Title: You Keep Me Hangin' On
Source: 45 RPM single
Writer(s): Holland/Dozier/Holland
Label: Atco
Year: 1967
The Vanilla Fudge version of You Keep Me Hangin' On was originally recorded and released in 1967, not too long after the Supremes version of the song finished its own run on the charts. It wasn't until the following year, however, the the Vanilla Fudge recording caught on with radio listeners, turning it into the band's only top 40 hit.
Artist: Byrds
Title: So You Want To Be A Rock And Roll Star
Source: CD: Younger Than Yesterday
Writer(s): McGuinn/Hillman
Label: Columbia/Legacy
Year: 1967
By early 1967 there was a building resentment among musicians and rock press alike concerning the instant (and in some eyes unearned) success of the Monkees. One notable expression of this resentment was the Byrds' So You Want To Be A Rock And Roll Star, which takes a somewhat sarcastic look at what it takes to succeed in the music business. Unfortunately, much of what they talk about in the song continues to apply today (although the guitar has been somewhat supplanted by the computer as the instrument of choice).
Artist: Traffic
Title: Here We Go 'Round The Mulberry Bush
Source: CD: Heaven Is In Your Mind (bonus track originally released as 45 RPM single and on LP: Here We Go 'Round The Mulberry Bush soundtrack)
Writer(s): Winwood/Capaldi/Wood/Mason
Label: Island (original label: United Artists)
Year: 1967
I have to admit in all honesty that before this week I had not known of the existence of a movie called Here We Go 'Round The Mulberry Bush. The Traffic song of the same name, however, has been a favorite of mine for quite some time (I have black and white video footage of the band performing the song on some old British TV show). The song was released as a single in 1967 and was not included on either the US or UK version of the Mr. Fantasy album (originally known in the US as Heaven Is In Your Mind).
Artist: Strawberry Alarm Clock
Title: Incense And Peppermints
Source: LP: Nuggets Vol. 9-Acid Rock (originally released as 45 RPM single B side; re-released as A side)
Writer(s): Carter/Gilbert/Weitz/King
Label: Rhino (original label: All-American; reissued nationally on Uni Records)
Year: 1967
Incense and Peppermints started off as an instrumental, mostly because the band simply couldn't come up with any lyrics. Their producer decided to bring in professional songwriters to finish the song, and ended up giving them full credit for it. This did not sit well with the band members. In fact, they hated the lyrics so much that their regular vocalist refused to sing on the record. Undaunted, the producer brought in the lead vocalist from another local L.A. band to sing the song, which was then put on the B side of The Birdman Of Alcatrash. Somewhere along the line a local DJ flipped the record over and started playing Incense And Peppermints instead. The song caught on and Uni Records (short for Universal, which is now the world's largest record company) picked up the Strawberry Alarm Clock's contract and reissued the record nationally with Incense An Peppermints as the A side.
Artist: Cream
Title: White Room
Source: LP: Wheels Of Fire
Writer(s): Bruce/Brown
Label: Atco
Year: 1968
Although Cream was conceived as a British blues super-group (as in cream of the crop), it was psychedelic rock tunes like White Room, written by bassist Jack Bruce and his frequent collaborator Pete Brown, that gave them their greatest commercial successes.
Artist: Leaves
Title: Too Many People (remake)
Source: CD: Hey Joe
Writer(s): Pons/Rinehart
Label: One Way (original label: Mira)
Year: 1966
The Leaves scored their first Los Angeles regional hit with the song Too Many People, released on the Mira label in 1965. When a later single, Hey Joe, became a national hit, the band re-recorded Too Many People for their debut album, released in 1966. Although the newer recording is cleaner (and in stereo), it lacks the raw garage-rock energy of the original.
Artist: Count Five
Title: Psychotic Reaction
Source: 45 RPM single
Writer(s): Ellner/Atkinson/Byrne/Chaney/Michalski
Label: Double Shot
Year: 1966
San Jose, California, was home to one of the most vibrant local music scenes in the late 60s, despite its relatively small, pre-silicon valley population. One of the most popular bands on that scene was Count Five, a group of five guys who dressed like Bela Lugosi's Dracula and sounded like the Jeff Beck-era Yardbirds. Fortunately for Count Five, Jeff Beck had just left the Yardbirds when Psychotic Reaction came out, leaving a hole that the boys from San Jose were more than happy to fill.
Artist: Music Machine
Title: Talk Talk
Source: CD: More Nuggets (originally released as 45 RPM single)
Writer(s): Sean Bonniwell
Label: Rhino (original label: Original Sound)
Year: 1966
When it came time for Sean Bonniwell's band, the Music Machine, to go into the studio, the group decided to go for the best sound possible. This meant signing with tiny Original Sound Records, despite having offers from bigger labels, due to Original Sound having their own state-of-the-art eight-track studios. Unfortunately for the band, they soon discovered that having great equipment did not mean Original Sound made great decisions. One of the first, in fact, was to include a handful of cover songs on the Music Machine's first LP that were recorded for use on a local TV show. Bonniwell was livid when he found out, as he had envisioned an album made up entirely of his own compositions (although he reportedly did plan to use a slowed-down version of Hey Joe that he and Tim Rose had worked up together). From that point on it was only a matter of time until the Music Machine and Original Sound parted company, but not until after they scored a big national hit with Talk Talk in 1966.
Artist: Who
Title: We're Not Gonna Take It
Source: CD: Tommy
Writer(s): Pete Townshend
Label: MCA (original label: Decca)
Year: 1968
One of the best-known songs from the Who's rock opera Tommy, is We're Not Gonna Take It, with its famous "See Me, Feel Me" section. The track serves as the grand finale for the album and was the only part of the Who's performance of Tommy at Woodstock to be included in D.A. Pennebacker's film of the festival.
Artist: Who
Title: Mary-Anne With The Shaky Hands
Source: The Who Sell Out
Writer(s): Pete Townshend
Label: Decca
Year: 1967
There are at least three versions of Mary-Anne With The Shaky Hands. A faster, electric version of the song was released only in the US as the B side to I Can See For Miles, while this semi-latin flavored acoustic version was included on The Who Sell Out. Yet another version is featured as a bonus track on the 1993 CD release of Sell Out.
Artist: Who
Title: Sally Simpson
Source: CD: Tommy
Writer(s): Pete Townshend
Label: MCA (original label: Decca)
Year: 1968
The Who's rock opera Tommy deals with a phenomena that wouldn't actually be named until over a decade later: the cult of personality. In fact, these days the character Tommy might even be referred to as a "rock star" (as the term has come to be used in recent years). This is somewhat ironic, as the members of the Who were themselves rock stars throughout the 70s and 80s.
Artist: Janis Joplin
Title: Work Me Lord
Source: LP: I Got Dem 'Ol Kozmic Blues Again Mama
Writer(s): Nick Gravenites
Label: Columbia
Year: 1969
After leaving Big Brother and the Holding Company in late 1968 Janis Joplin formed a new outfit, the Kozmic Blues Band, to back her up, both in concert and on her first solo LP, I Got Dem 'Ol Kozmic Blues Again Mama. Although there was indisputedly a greater amount of raw talent in the new band, they lacked synergy with Joplin's style and ultimately failed to provide a proper vehicle for her talents. One of the few highlights of Joplin's Kozmic Blues period was her recording of Nick Gravenites's (of Electric Flag fame) Work Me Lord.
Artist: Grateful Dead
Title: New Speedway Boogie
Source: LP: Workingman's Dead
Writer(s): Hunter/Garcia
Label: Warner Brothers
Year: 1970
The first three Grateful Dead albums were all attempts to capture the energy and experimentation of the band's live sets. Finally, in 1969, the band decided just to release a double LP of live performances. Once this goal had been reached the band began to move into new territory, concentrating more on songwriting and studio techniques. The result was Workingman's Dead, the first Grateful Dead LP to include songs that would become staples of the emerging album rock radio format.
Artist: Simon and Garfunkel
Title: The Dangling Conversation
Source: CD: Collected Works (originally released as 45 RPM single and on LP: Parsley, Sage, Rosemary and Thyme)
Writer(s): Paul Simon
Label: Columbia
Year: 1966
The first Simon and Garfunkel album, Wednesday Morning 3AM, originally tanked on the charts, causing Paul Simon and Art Garfunkel to temporarily pursue solo careers. Simon went to England, where he wrote and recorded an album's worth of material. Meanwhile, producer Tom Wilson, fresh from producing Bob Dylan's Like A Rolling Stone, went into the studio with the original recording of the song Sound of Silence and added electric instruments to it. The result was a surprise hit that led Paul Simon to return to the US, reuniting with Art Garfunkel and re-recording several of the tunes he had recorded as a solo artist for a new album, Sounds of Silence. The success of that album prompted Columbia to re-release Wednesday Morning, 3AM, which in turn became a bestseller. Meanwhile, Simon and Garfunkel returned to the studio to record an album of all new material. Parsley, Sage, Rosemary and Thyme was yet another success that spawned several hit songs, including The Dangling Conversation, a song Simon described as similar to The Sound Of Silence, but more personal. The song was originally released as a single in fall of 1966, before the album itself came out.
Artist: Mystery Trend
Title: Johnny Was A Good Boy
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s): Nagle/Cuff
Label: Rhino (original label: Verve)
Year: 1967
The Mystery Trend was a bit of an anomaly. Contemporaries of bands such as the Great! Society and the Charlatans, the Trend always stood a bit apart from the rest of the crowd, playing to an audience that was both a bit more affluent and a bit more "adult" (they were reportedly the house band at a Sausalito strip club). Although they played in the city itself as early as 1965, they did not release their first record until early 1967. The song, Johnny Was A Good Boy, tells the story of a seemingly normal middle-class kid who turns out to be a monster, surprising friends, family and neighbors. The same theme would be used by XTC in the early 1980s in the song No Thugs In Our House, one of the standout tracks from their landmark English Settlement album.
Artist: Johnny Winter
Title: Bad Luck And Trouble
Source: Progressive Heavies (originally released on LP: The Progressive Blues Experiment)
Writer(s): Johnny Winter
Label: United Artists (original label: Sonobeat/Imperial)
Year: 1968
Although Johnny Winter had been around since the early 60s, recording in a variety of genres for various regional Texas labels, he really only started getting national attention when he started focusing on the blues exclusively. His first blues album, The Progressive Blues Experiment, originally appeared on the Sonobeat label and was subsequently reissued nationally on Imperial. Unlike his brother Edgar, who gravitated to rock music, Johnny has remained primarily a blues musician throughout his career.
Artist: Easybeats
Title: Heaven And Hell
Source: CD: Nuggets-Classics From The Psychedelic 60s
Writer(s): Vanda/Young
Label: Rhino
Year: 1967
Throughout the mid-60s Australia's most popular band was the Easybeats, often called the Australian Beatles. Although their early material sounded like slightly dated British Invasion music (Australia had a reputation for cultural lag, and besides, all but one of the members were British immigrants), by late 1966 guitarist Harry Vanda (the Scandinavian member of the group) had learned enough English to be able to replace vocalist Stevie Wright as George Young's writing partner. The new team was much more adventurous in their compositions than the Wright/Young team had been, and were responsible for the band's first international hit, Friday On My Mind. By then the Easybeats had relocated to England, and continued to produce fine singles such as Heaven And Hell.
Artist: Love
Title: 7&7 Is
Source: CD: Da Capo
Writer(s): Arthur Lee
Label: Elektra
Year: 1967
The word "seven" does not appear anywhere in the song 7&7 Is. In fact, I have no idea where Arthur Lee got that title from. Nonetheless, the song is among the most intense tracks to ever make the top 40. 7&7 Is starts off with power chords played over a constant drum roll (possibly played by Lee himself), with cymbals crashing over equally manic semi-spoken lyrics. The song builds up to an explosive climax: an atomic bomb blast followed by a slow post-apocalyptic instrumental that quickly fades away.
Wednesday, April 11, 2012
Wednesday, April 4, 2012
Stuck in the Psychedelic Era # 1214 (starts 4/5/12)
Artist: Blues Magoos
Title: She's Coming Home
Source: LP: Psychedelic Lollipop
Writer(s): Atkins/Miller
Label: Mercury
Year: 1966
Generally speaking, cheatin' songs in 1966 were considered the province of country music. The few exceptions, such as Paul Revere and the Raiders' Steppin' Out, were all told from the victim's point of view. The Blues Magoos, however, turned the entire thing upside down with She's Coming Home, a song about having to break up with one's new girlfriend in the face of the old one returning from...(prison? military duty? the hospital? The lyrics never make that clear). The unusual nature of the song is in keeping with the cutting edge image of a band that was among the first to use the word psychedelic in an album title and had to have been the first to wear electric suits onstage.
Artist: Cream
Title: World Of Pain
Source: LP: Disraeli Gears
Writer(s): Pappalardi/Collins
Label: Atco
Year: 1967
Whereas the first Cream LP was made up of mostly blues-oriented material, Disraeli Gears took a much more psychedelic turn, due in large part to the songwriting team of Jack Bruce and Pete Brown. The Bruce/Brown team was not, however, the only source of material for the band. Both Eric Clapton and Ginger Baker made contributions, as did Cream's unofficial fourth member, keyboardist/producer Felix Pappalardi, who provided World Of Pain.
Artist: Iron Butterfly
Title: Gentle As It May Seem
Source: CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released on LP: Heavy)
Writer(s): DeLoach/Weis
Label: Rhino (original label: Atco)
Year: 1968
Personnel changes were pretty much a regular occurrence with Iron Butterfly. After the first album, Heavy, everyone except keyboardist Doug Ingle and drummer Ron Bushy, left the band. This was accompanied by a drastic change in style as well, as Ingle took over lead vocals from Darryl DeLoach and became the group's primary songwriter. Gentle As It Seems, written by DeLoach and lead guitarist Danny Weis, is a good example of the band's original sound, back when they were scrounging for gigs in a rapidly shrinking L.A. all-ages club scene.
Artist: 1910 Fruitgum Co.
Title: Beggar's Epitaph
Source: LP: Hard Ride
Writer(s): R&T Gutkowski
Label: Buddah
Year: 1969
Throughout 1968 the top 40 charts were cominated by a series of lyrically lightweight, highly danceable tunes that came to be collectively known as "bubble-gum" music. Most of these came from Kazenetz-Katz Productions and were released on the Buddah label. Perhaps the most infamous of the 'bubble-gum" bands was the 1910 Fruitgum Co., who tried to break out of the mold and go for a more progressive sound with their 1969 album Hard Ride. Beggar's Epitaph is actually quite a departure from songs like 1,2,3 Red Light. By 1969, however, their core following had moved on to heavier things and the Fruitgum Co. became a victim of their own success.
Artist: Jimi Hendrix
Title: Dolly Dagger
Source: CD: First Rays Of The New Rising Sun (originally released on LP: Rainbow Bridge)
Writer(s): Jimi Hendrix
Label: MCA (original label: Reprise)
Year: 1970
At the time of his death in 1970, Jimi Hendrix had already finalized a number of tracks for a new double album, with several more in various states of completion. Most of the completed tracks (and those that could be easily finished) were released on a pair of LPs in 1971: The Cry Of Love and Rainbow Bridge (the latter being the soundtrack to a hastily constructed rockumentary film). In the mid-1990s the Hendrix family, working with engineer Eddie Kramer and drummer Mitch Mitchell, attempted to reconstruct the actual album Hendrix had been working on. The result was First Rays Of The New Rising Sun. One song that had already been premiered in 1970 to a select audience by Hendrix himself was Dolly Dagger, which was made into a video at around the same time as the release of First Rays.
Artist: Five Man Electrical Band
Title: Signs
Source: 45 RPM single
Writer(s): Les Emerson
Label: Lionel
Year: 1971
Everybody has at least one song they have fond memories of hearing on the radio while riding around in a friend's car on a hot summer evening. Signs, from Canada's Five Man Electrical Band, is one of mine.
Artist: Doors
Title: You're Lost Little Girl
Source: LP: Strange Days
Writer(s): The Doors
Label: Elektra
Year: 1967
The Doors second LP, Strange Days, was stylistically similar to the first, and served notice to the world that this band was going to be around for awhile. Songwriting credit for You're Lost Little Girl (a personal favorite of mine) was given to the entire band, a practice that would continue until the release of The Soft Parade in 1969.
Artist: Music Machine
Title: Double Yellow Line
Source: LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single)
Writer(s): Sean Bonniwell
Label: Rhino (original label: Original Sound)
Year: 1967
After the success of Talk Talk, the Music Machine issued a series of unsuccessful singles on the Original Sound label. Band leader Sean Bonniwell attributed this lack of success to mismanagement by record company people and the band's own manager. Eventually those singles would be re-issued on Warner Brothers under the name Bonniwell Music Machine, along with a handful of new songs using a different lineup. One of the best of these singles was Double Yellow Line, which Bonniwell says he wrote while driving to a gig.
Artist: Music Machine
Title: Talk Talk
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s): Sean Bonniwell
Label: Rhino (original label: Original Sound)
Year: 1966
When it came time for Sean Bonniwell's band, the Music Machine, to go into the studio, the group decided to go for the best sound possible. This meant signing with tiny Original Sound Records, despite having offers from bigger labels, due to Original Sound having their own state-of-the-art eight-track studios. Unfortunately for the band, they soon discovered that having great equipment did not mean Original Sound made great decisions. One of the first, in fact, was to include a handful of cover songs on the Music Machine's first LP that were recorded for use on a local TV show. Bonniwell was livid when he found out, as he had envisioned an album made up entirely of his own compositions (although he reportedly did plan to use a slowed-down version of Hey Joe that he and Tim Rose had worked up together). From that point on it was only a matter of time until the Music Machine and Original Sound parted company, but not until after they scored a big national hit with Talk Talk in 1966.
Artist: Music Machine
Title: The Eagle Never Hunts The Fly
Source: Nuggets Vol. 2-Punk (originally released as 45 RPM single)
Writer(s): Sean Bonniwell
Label: Rhino (original label: Original Sound)
Year: 1967
The Music Machine was by far the most advanced of all the bands playing on Sunset Strip in 1966-67. Not only did they feature tight sets (so that audience members wouldn't get the chance to call out requests between songs), they also had their own visual look that set them apart from other bands. Dressed entirely in black (including dyed hair), and with leader Sean Bonniwell wearing one black glove, the Machine projected an image that would influence such diverse artists as the Ramones and Michael Jackson in later years. Musically, Bonniwell's songwriting showed a sophistication that was on a par with the best L.A. had to offer, demonstrated by a series of fine singles such as The Eagle Never Hunts the Fly. Unfortunately, problems on the business end prevented the Music Machine from achieving the success it deserved and Bonniwell eventually quit the music business altogether in disgust.
Artist: New Colony Six
Title: At The River's Edge
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s): Walter Kemp
Label: Rhino (original label: Centaur)
Year: 1966
The New Colony Six are best known for their soft pop-rock song Things I Like To Say, released on the Mercury label in 1969. In their earlier years, however, the Six were a prime example of the blues-tinged garage rock coming out of the Chicago area in the mid-1960s. At The River's Edge, released in 1966 on the band's own Centaur (later Sentar) label, is a classic example of the Six's early sound.
Artist: Easybeats
Title: You Me, We Love
Source: Friday On My Mind
Writer(s): Vanda/Young
Label: United Artists
Year: 1967
The Easybeats were Australia's number one band throughout the mid-60s. In fact, it would not be inaccurate to say they were as popular Down Under as the Beatles were in England. Interestingly enough, none of the members were native Australians (most were from the British Isles). In late 1966 the Easybeats decided to relocate to London. Their first single recorded in the Smoke was Friday On My Mind, a song that became their first British hit. In early 1967 the song was released in the US, becoming their only American hit. An album was recorded to support the song and included several songs (such as You Me, We Love) by the group's star songwriting team, Harry Vanda (the Scandanavian member of the band) and George Young, whose younger brothers Malcolm and Angus would form perhaps the most successful Australian band ever: AC/DC.
Artist: Beatles
Title: Love You To
Source: CD: Revolver
Writer(s): George Harrison
Label: Parlophone (original label: Capitol)
Year: 1966
Following the release of Rubber Soul in December of 1965, Beatle George Harrison began to make a serious effort to learn to play the Sitar, studying under the master, Ravi Shankar. Along with the instrument itself, Harrison studied Eastern forms of music. His first song written in the modal form favored by Indian composers was Love You To, from the Revolver album. The recording also features Indian percussion instruments and suitably spiritual lyrics.
Artist: Animals
Title: She'll Return It
Source: LP: Animalization
Writer(s): Jenkins/Rowberry/Burdon/Chandler/Valentine
Label: M-G-M
Year: 1966
As a general rule the Animals, in their original incarnation, recorded two kinds of songs: hit singles from professional songwriters such as Gerry Goffin and Carole King, and covers of blues and R&B tunes, the more obscure the better. What they did not record a lot of was original tunes from the band members themselves. This began to change in 1966 when the band began to experience a series of personnel changes that would ultimately lead to what amounted to an entirely new group, Eric Burdon And The Animals, in 1967. One of the earliest songs to be credited to the entire band was She'll Return It, from the Animalization album. In retrospect, it is one of the strongest tracks on one of their strongest LPs.
Artist: Allman Brothers Band
Title: Every Hungry Woman
Source: CD: Beginnings (originally released on LP: The Allman Brothers Band)
Writer(s): Gregg Allman
Label: Polydor (original label: Atco)
Year: 1969
Once upon a time there was a band called the Hourglass, featuring vocalist Gregg Allman. The group moved out to L.A from their native Georgia and established a solid reputation as talented blues-rockers among the local musician crowd. Unfortunately, they were unable to capture their sound in the recording studio. This is mainly due to their record label's insistence on treating them as a blue-eyed soul band (probably due to a myopic view of Allman's vocal style). After the group's first album bombed, the label loosened up a bit, but even with the addition of Allman's brother Duane on guitar, the Hourglass was unable to get the sound they wanted and soon disbanded. Eventually Gregg and Duane moved back to Georgia and formed the Allman Brothers Band. Reportedly Gregg had several songs written for the Hourglass that Duane rejected as unsuitable for the Allman Brother Band. One that did make the cut was Every Hungry Woman, which found a home on the band's debut LP.
Artist: Dave Clark Five
Title: Any Way You Want It
Source: CD: 5 By Five
Writer(s): Dave Clark
Label: Hollywood
Year: 1964
The Dave Clark Five were one of the first bands to follow in the footsteps of the Beatles, for a while even eclipsing the fab four in popularity among English fans. The band was originally formed as a way to make money to support Clark's football (soccer) team, but soon became his ticket to fame. Among the many top 10 hits for the band in 1964 was Any Way You Want It. Like all of the early DC5 records, the recording uses maximum compression to hit the listener with a continuous wall of sound, a technique that has been used for the past 50 years by TV commercials.
Artist: Fraternity Of Man
Title: Just Doin' Our Job
Source: LP: Fraternity Of Man
Writer(s): Fraternity Of Man
Label: ABC
Year: 1968
The Fraternity Of Man was an L.A. band with connections to the Mothers Of Invention. Their deliberately controversial songs included Don't Bogart That Joint, which was used in the film Easy Rider, and Just Doin' Our Job, a song that compares the LAPD to Hitler's Gestapo.
Artist: Steppenwolf
Title: Faster Than The Speed Of Life
Source: LP: Steppenwolf The Second
Writer(s): Mars Bonfire
Label: Dunhill
Year: 1968
Like Steppenwolf's huge hit from their debut album, Born To Be Wild, Faster Than The Speed Of Life was written by Dennis Edmonton, brother of Steppenwolf drummer Jerry Edmonton, using the pseudonym Mars Bonfire. As for the lead vocals on this track, which opens Steppenwolf The Second, your guess is as good as mine. It certainly doesn't sound like John Kay to me.
Artist: Johnny Winter
Title: Rollin' And Tumblin'
Source: LP: Progressive Heavies (originally released on LP: The Progressive Blues Experiment)
Writer(s): McKinley Morganfield
Label: United Artists (original label: Sonobeat/Imperial)
Year: 1968
Johnny Winter's first album, The Progressive Blues Experiment, was originally released in 1968 on the Texas-based Sonobeat label. A ctitical success, it was picked up and reissued on the Imperial label a year later. Most of the songs on the album are covers of blues classics such as Muddy Waters's Rollin' And Tumblin'.
Artist: Seeds
Title: Pushin' Too Hard
Source: LP: Nuggets Vol. 1-The Hits (originally released on LP: The Seeds)
Writer(s): Sky Saxon
Label: Rhino (original label: GNP Crescendo)
Year: 1966
Pushin' Too Hard is generally included on every collection of psychedelic hits ever compiled. And for good reason. The song is an undisputed classic.
Artist: Left Banke
Title: She May Call You Up Tonight
Source: 45 RPM single
Writer(s): Brown/Martin
Label: Smash
Year: 1967
Unlike their first two singles, Walk Away Renee and Pretty Ballerina, this song failed to chart, possibly due to the release two months earlier of a song called Ivy Ivy, written by keyboardist Michael Brown and shown on the label as being by the Left Banke. The song was in reality performed entirely by session musicians, including lead vocals by Bert Sommer, who would be one of the acoustic acts on the opening afternoon of the Woodstock festival a couple years later. The resulting fued between Brown and the rest of the band left a large number of radio stations gun shy when came to any record with the name Left Banke on the label, and She May Call You Up Tonight tanked.
Artist: Strawberry Alarm Clock
Title: Incense And Peppermints (originally released as 45 RPM single)
Source: CD: Psychedelic Pop
Writer(s): Carter/Gilbert/Weitz/King
Label: BMG/RCA/Buddah (original label: Uni)
Year: 1967
Incense and Peppermints is one of the iconic songs of the psychedelic era, yet when it was originally released to Los Angeles area radio stations it was intended to be the B side of The Birdman of Alkatrash. Somewhere along the line a DJ flipped the record over and started playing Incense And Peppermints instead. The song caught on and Uni Records (short for Universal, which is now the world's largest record company) picked up the Strawberry Alarm Clock's contract and reissued the record nationally with Incense And Peppermints as the A side.
Artist: Monkees
Title: Star Collector
Source: LP: Pisces, Aquarius, Capricorn and Jones, LTD.
Writer(s): Goffin/King
Label: Colgems
Year: 1967
The Monkees were one of the first bands to utilize the Moog synthesizer on a rock record. One of the two tracks that uses the device extensively is Star Collector, a song written by Gerry Goffin and Carole King and sung by the late Davy Jones. Usually Jones was picked to sing the band's love ballads. Star Collector, on the other hand, is a wild, almost humorous look at rock groupies; the type of song that on earlier Monkees albums would have been given to Peter Tork to sing. The synthesizer in Star Collector is used more for sound effects than anything else, including the repeating "bye bye" sound at the end of the track.
Artist: Yardbirds
Title: Puzzles
Source: CD: Over, Under, Sideways, Down (originally released as 45 RPM single B side)
Writer(s): Page/McCarty/Relf
Label: Raven
Year: 1967
Toward the end of their run, producer Mickie Most had the Yardbirds sounding like a hipper version of Herman's Hermits (whom he also produced) on the A sides of their singles. Their B sides, such as 1967's Puzzles, on the other hand, were more in line with the way the band sounded live, which in turn sounded like a direct precursor to what would be guitarist Jimmy Page's next project: Led Zeppelin.
Artist: Led Zeppelin
Title: Whole Lotta Love
Source: CD: Led Zeppelin II
Writer(s): Page/Plant/Bonham/Jones/Dixon
Label: Atlantic
Year: 1969
If any one song can be considered the bridge between psychedelic rock and heavy metal, it would have to be Led Zeppelin's Whole Lotta Love. Released in 1969 as the lead track to their second LP, the song became their biggest hit single. Whole Lotta Love was originally credited to the four band members. In recent years, however, co-credit has been given to Willie Dixon, whose lyrics to the 50s song You Need Love are almost identical to Robert Plant's.
Artist: Blue Cheer
Title: Summertime Blues
Source: CD: Best Of 60s Psychedelic Rock (originally released on LP: Vincebus Eruptum)
Writer(s): Cochrane/Capehart
Label: Priority (original label: Philips)
Year: 1968
European electronics giant Philips had its own record label in the 1960s. In the US, the label was distributed by Mercury Records, and was known primarily for a long string of hits by Frankie Valli and the Four Seasons. In 1968 the label surprised everyone by signing the loudest band in San Francisco, Blue Cheer. Their cover of the 50s Eddie Cochrane hit Summertime Blues was all over both the AM and FM airwaves that summer.
Artist: Grand Funk Railroad
Title: Upsetter
Source: 45 RPM single (also released on LP: E Pluribus Funk)
Writer(s): Mark Farner
Label: Capitol
Year: 1972
Grand Funk Railroad was something of an enigma. Due to universally negative reviews in the rock press, progressive FM stations avoided them like the plague. At the same time, top 40 radio was in the process of being supplanted as the voice of the mainstream by the Adult Contemporary (A/C) format, which tended to ignore hard rock. Nonetheless Grand Funk Railroad had a following. In fact, GFR was the first band to book (and sellout) entire sports arenas, setting attendance records wherever they played. This translated into major record sales, as they became the first band to have three LPs hit the million-seller mark in the same year (1970). That year they also had their first mainstream hit with I'm Your Captain (Closer To Home). From that point on the band would continue to release singles, although most, such as Upsetter, were still ignored by A/C radio (although they did get a fair amount of airplay from the remaining "true" top 40 stations). As the group's album sales were beginning to drop off, the singles became increasingly important to the band's continued success, and from 1973 on (starting with We're An American Band ) Grand Funk became pretty much a singles-oriented group, cranking out tunes like Bad Time and Some Kind Of Wonderful.
Artist: Fifty Foot Hose
Title: Red The Sign Post
Source: CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on LP: Cauldron)
Writer(s): Roswicki/Blossom
Label: Rhino (original label: Limelight)
Year: 1968
Although most of the more avant-garde bands of the psychedelic era were headquarted in New York, there were some exceptions, such as San Francisco's Fifty Foot Hose. The core members of the band were founder and bassist Louis "Cork" Marcheschi, guitarist David Blossom, and his wife, vocalist Nancy Blossom. The group used a lot of unusual instruments, such as theramin, Moog synthesizer and prepared guitar and piano. Probably their most commercial song was Red The Sign Post from the LP Cauldron. After that album the group called it quits, with most of the members joining the cast of Hair. In fact, Nancy Blossom played lead character Sheila in the San Francisco production of the musical.
Artist: Big Brother And The Holding Company
Title: Combination Of The Two
Source: LP: Cheap Thrills
Writer(s): Sam Andrew
Label: Columbia
Year: 1968
Everything about Big Brother And The Holding Company can be summed up by the title of the opening track for their Cheap Thrills album (and their usual show opener as well): Combination Of The 2. A classic case of the whole being greater than the sum of its parts, Big Brother, with Janis Joplin on lead vocals, had an energy that neither Joplin nor the rest of the band was able to duplicate once they parted company. On the song itself, the actual lead vocals for the verses are the work of Combination Of The 2's writer, bassist Sam Houston Andrew III, but those vocals are eclipsed by the layered non-verbal chorus that starts with Joplin then repeats itself with Houston providing a harmony line which leads to Joplin's promise to "knock ya, rock ya, gonna sock it to you now". It was a promise that the group seldom failed to deliver on.
Artist: Byrds
Title: Goin' Back
Source: CD: The Notorius Byrd Brothers
Writer(s): Goffin/King
Label: Columbia/Legacy
Year: 1967
The Notorius Byrd Brothers, released in 1968, is considered by some to be the finest album in the group's catalog, despite the firing of core member David Crosby midway through the album. In fact, it was in part a disagreement between Crosby, Roger McGuinn and Chris Hillman over whether to include Crosby's Triad or the Gerry Goffin/ Carole King song Goin' Back on the album that led to Crosby's departure. With Crosby gone, Goin' Back ended up making the cut, but to me it sounds like it's missing something...)
Title: She's Coming Home
Source: LP: Psychedelic Lollipop
Writer(s): Atkins/Miller
Label: Mercury
Year: 1966
Generally speaking, cheatin' songs in 1966 were considered the province of country music. The few exceptions, such as Paul Revere and the Raiders' Steppin' Out, were all told from the victim's point of view. The Blues Magoos, however, turned the entire thing upside down with She's Coming Home, a song about having to break up with one's new girlfriend in the face of the old one returning from...(prison? military duty? the hospital? The lyrics never make that clear). The unusual nature of the song is in keeping with the cutting edge image of a band that was among the first to use the word psychedelic in an album title and had to have been the first to wear electric suits onstage.
Artist: Cream
Title: World Of Pain
Source: LP: Disraeli Gears
Writer(s): Pappalardi/Collins
Label: Atco
Year: 1967
Whereas the first Cream LP was made up of mostly blues-oriented material, Disraeli Gears took a much more psychedelic turn, due in large part to the songwriting team of Jack Bruce and Pete Brown. The Bruce/Brown team was not, however, the only source of material for the band. Both Eric Clapton and Ginger Baker made contributions, as did Cream's unofficial fourth member, keyboardist/producer Felix Pappalardi, who provided World Of Pain.
Artist: Iron Butterfly
Title: Gentle As It May Seem
Source: CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released on LP: Heavy)
Writer(s): DeLoach/Weis
Label: Rhino (original label: Atco)
Year: 1968
Personnel changes were pretty much a regular occurrence with Iron Butterfly. After the first album, Heavy, everyone except keyboardist Doug Ingle and drummer Ron Bushy, left the band. This was accompanied by a drastic change in style as well, as Ingle took over lead vocals from Darryl DeLoach and became the group's primary songwriter. Gentle As It Seems, written by DeLoach and lead guitarist Danny Weis, is a good example of the band's original sound, back when they were scrounging for gigs in a rapidly shrinking L.A. all-ages club scene.
Artist: 1910 Fruitgum Co.
Title: Beggar's Epitaph
Source: LP: Hard Ride
Writer(s): R&T Gutkowski
Label: Buddah
Year: 1969
Throughout 1968 the top 40 charts were cominated by a series of lyrically lightweight, highly danceable tunes that came to be collectively known as "bubble-gum" music. Most of these came from Kazenetz-Katz Productions and were released on the Buddah label. Perhaps the most infamous of the 'bubble-gum" bands was the 1910 Fruitgum Co., who tried to break out of the mold and go for a more progressive sound with their 1969 album Hard Ride. Beggar's Epitaph is actually quite a departure from songs like 1,2,3 Red Light. By 1969, however, their core following had moved on to heavier things and the Fruitgum Co. became a victim of their own success.
Artist: Jimi Hendrix
Title: Dolly Dagger
Source: CD: First Rays Of The New Rising Sun (originally released on LP: Rainbow Bridge)
Writer(s): Jimi Hendrix
Label: MCA (original label: Reprise)
Year: 1970
At the time of his death in 1970, Jimi Hendrix had already finalized a number of tracks for a new double album, with several more in various states of completion. Most of the completed tracks (and those that could be easily finished) were released on a pair of LPs in 1971: The Cry Of Love and Rainbow Bridge (the latter being the soundtrack to a hastily constructed rockumentary film). In the mid-1990s the Hendrix family, working with engineer Eddie Kramer and drummer Mitch Mitchell, attempted to reconstruct the actual album Hendrix had been working on. The result was First Rays Of The New Rising Sun. One song that had already been premiered in 1970 to a select audience by Hendrix himself was Dolly Dagger, which was made into a video at around the same time as the release of First Rays.
Artist: Five Man Electrical Band
Title: Signs
Source: 45 RPM single
Writer(s): Les Emerson
Label: Lionel
Year: 1971
Everybody has at least one song they have fond memories of hearing on the radio while riding around in a friend's car on a hot summer evening. Signs, from Canada's Five Man Electrical Band, is one of mine.
Artist: Doors
Title: You're Lost Little Girl
Source: LP: Strange Days
Writer(s): The Doors
Label: Elektra
Year: 1967
The Doors second LP, Strange Days, was stylistically similar to the first, and served notice to the world that this band was going to be around for awhile. Songwriting credit for You're Lost Little Girl (a personal favorite of mine) was given to the entire band, a practice that would continue until the release of The Soft Parade in 1969.
Artist: Music Machine
Title: Double Yellow Line
Source: LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single)
Writer(s): Sean Bonniwell
Label: Rhino (original label: Original Sound)
Year: 1967
After the success of Talk Talk, the Music Machine issued a series of unsuccessful singles on the Original Sound label. Band leader Sean Bonniwell attributed this lack of success to mismanagement by record company people and the band's own manager. Eventually those singles would be re-issued on Warner Brothers under the name Bonniwell Music Machine, along with a handful of new songs using a different lineup. One of the best of these singles was Double Yellow Line, which Bonniwell says he wrote while driving to a gig.
Artist: Music Machine
Title: Talk Talk
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s): Sean Bonniwell
Label: Rhino (original label: Original Sound)
Year: 1966
When it came time for Sean Bonniwell's band, the Music Machine, to go into the studio, the group decided to go for the best sound possible. This meant signing with tiny Original Sound Records, despite having offers from bigger labels, due to Original Sound having their own state-of-the-art eight-track studios. Unfortunately for the band, they soon discovered that having great equipment did not mean Original Sound made great decisions. One of the first, in fact, was to include a handful of cover songs on the Music Machine's first LP that were recorded for use on a local TV show. Bonniwell was livid when he found out, as he had envisioned an album made up entirely of his own compositions (although he reportedly did plan to use a slowed-down version of Hey Joe that he and Tim Rose had worked up together). From that point on it was only a matter of time until the Music Machine and Original Sound parted company, but not until after they scored a big national hit with Talk Talk in 1966.
Artist: Music Machine
Title: The Eagle Never Hunts The Fly
Source: Nuggets Vol. 2-Punk (originally released as 45 RPM single)
Writer(s): Sean Bonniwell
Label: Rhino (original label: Original Sound)
Year: 1967
The Music Machine was by far the most advanced of all the bands playing on Sunset Strip in 1966-67. Not only did they feature tight sets (so that audience members wouldn't get the chance to call out requests between songs), they also had their own visual look that set them apart from other bands. Dressed entirely in black (including dyed hair), and with leader Sean Bonniwell wearing one black glove, the Machine projected an image that would influence such diverse artists as the Ramones and Michael Jackson in later years. Musically, Bonniwell's songwriting showed a sophistication that was on a par with the best L.A. had to offer, demonstrated by a series of fine singles such as The Eagle Never Hunts the Fly. Unfortunately, problems on the business end prevented the Music Machine from achieving the success it deserved and Bonniwell eventually quit the music business altogether in disgust.
Artist: New Colony Six
Title: At The River's Edge
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s): Walter Kemp
Label: Rhino (original label: Centaur)
Year: 1966
The New Colony Six are best known for their soft pop-rock song Things I Like To Say, released on the Mercury label in 1969. In their earlier years, however, the Six were a prime example of the blues-tinged garage rock coming out of the Chicago area in the mid-1960s. At The River's Edge, released in 1966 on the band's own Centaur (later Sentar) label, is a classic example of the Six's early sound.
Artist: Easybeats
Title: You Me, We Love
Source: Friday On My Mind
Writer(s): Vanda/Young
Label: United Artists
Year: 1967
The Easybeats were Australia's number one band throughout the mid-60s. In fact, it would not be inaccurate to say they were as popular Down Under as the Beatles were in England. Interestingly enough, none of the members were native Australians (most were from the British Isles). In late 1966 the Easybeats decided to relocate to London. Their first single recorded in the Smoke was Friday On My Mind, a song that became their first British hit. In early 1967 the song was released in the US, becoming their only American hit. An album was recorded to support the song and included several songs (such as You Me, We Love) by the group's star songwriting team, Harry Vanda (the Scandanavian member of the band) and George Young, whose younger brothers Malcolm and Angus would form perhaps the most successful Australian band ever: AC/DC.
Artist: Beatles
Title: Love You To
Source: CD: Revolver
Writer(s): George Harrison
Label: Parlophone (original label: Capitol)
Year: 1966
Following the release of Rubber Soul in December of 1965, Beatle George Harrison began to make a serious effort to learn to play the Sitar, studying under the master, Ravi Shankar. Along with the instrument itself, Harrison studied Eastern forms of music. His first song written in the modal form favored by Indian composers was Love You To, from the Revolver album. The recording also features Indian percussion instruments and suitably spiritual lyrics.
Artist: Animals
Title: She'll Return It
Source: LP: Animalization
Writer(s): Jenkins/Rowberry/Burdon/Chandler/Valentine
Label: M-G-M
Year: 1966
As a general rule the Animals, in their original incarnation, recorded two kinds of songs: hit singles from professional songwriters such as Gerry Goffin and Carole King, and covers of blues and R&B tunes, the more obscure the better. What they did not record a lot of was original tunes from the band members themselves. This began to change in 1966 when the band began to experience a series of personnel changes that would ultimately lead to what amounted to an entirely new group, Eric Burdon And The Animals, in 1967. One of the earliest songs to be credited to the entire band was She'll Return It, from the Animalization album. In retrospect, it is one of the strongest tracks on one of their strongest LPs.
Artist: Allman Brothers Band
Title: Every Hungry Woman
Source: CD: Beginnings (originally released on LP: The Allman Brothers Band)
Writer(s): Gregg Allman
Label: Polydor (original label: Atco)
Year: 1969
Once upon a time there was a band called the Hourglass, featuring vocalist Gregg Allman. The group moved out to L.A from their native Georgia and established a solid reputation as talented blues-rockers among the local musician crowd. Unfortunately, they were unable to capture their sound in the recording studio. This is mainly due to their record label's insistence on treating them as a blue-eyed soul band (probably due to a myopic view of Allman's vocal style). After the group's first album bombed, the label loosened up a bit, but even with the addition of Allman's brother Duane on guitar, the Hourglass was unable to get the sound they wanted and soon disbanded. Eventually Gregg and Duane moved back to Georgia and formed the Allman Brothers Band. Reportedly Gregg had several songs written for the Hourglass that Duane rejected as unsuitable for the Allman Brother Band. One that did make the cut was Every Hungry Woman, which found a home on the band's debut LP.
Artist: Dave Clark Five
Title: Any Way You Want It
Source: CD: 5 By Five
Writer(s): Dave Clark
Label: Hollywood
Year: 1964
The Dave Clark Five were one of the first bands to follow in the footsteps of the Beatles, for a while even eclipsing the fab four in popularity among English fans. The band was originally formed as a way to make money to support Clark's football (soccer) team, but soon became his ticket to fame. Among the many top 10 hits for the band in 1964 was Any Way You Want It. Like all of the early DC5 records, the recording uses maximum compression to hit the listener with a continuous wall of sound, a technique that has been used for the past 50 years by TV commercials.
Artist: Fraternity Of Man
Title: Just Doin' Our Job
Source: LP: Fraternity Of Man
Writer(s): Fraternity Of Man
Label: ABC
Year: 1968
The Fraternity Of Man was an L.A. band with connections to the Mothers Of Invention. Their deliberately controversial songs included Don't Bogart That Joint, which was used in the film Easy Rider, and Just Doin' Our Job, a song that compares the LAPD to Hitler's Gestapo.
Artist: Steppenwolf
Title: Faster Than The Speed Of Life
Source: LP: Steppenwolf The Second
Writer(s): Mars Bonfire
Label: Dunhill
Year: 1968
Like Steppenwolf's huge hit from their debut album, Born To Be Wild, Faster Than The Speed Of Life was written by Dennis Edmonton, brother of Steppenwolf drummer Jerry Edmonton, using the pseudonym Mars Bonfire. As for the lead vocals on this track, which opens Steppenwolf The Second, your guess is as good as mine. It certainly doesn't sound like John Kay to me.
Artist: Johnny Winter
Title: Rollin' And Tumblin'
Source: LP: Progressive Heavies (originally released on LP: The Progressive Blues Experiment)
Writer(s): McKinley Morganfield
Label: United Artists (original label: Sonobeat/Imperial)
Year: 1968
Johnny Winter's first album, The Progressive Blues Experiment, was originally released in 1968 on the Texas-based Sonobeat label. A ctitical success, it was picked up and reissued on the Imperial label a year later. Most of the songs on the album are covers of blues classics such as Muddy Waters's Rollin' And Tumblin'.
Artist: Seeds
Title: Pushin' Too Hard
Source: LP: Nuggets Vol. 1-The Hits (originally released on LP: The Seeds)
Writer(s): Sky Saxon
Label: Rhino (original label: GNP Crescendo)
Year: 1966
Pushin' Too Hard is generally included on every collection of psychedelic hits ever compiled. And for good reason. The song is an undisputed classic.
Artist: Left Banke
Title: She May Call You Up Tonight
Source: 45 RPM single
Writer(s): Brown/Martin
Label: Smash
Year: 1967
Unlike their first two singles, Walk Away Renee and Pretty Ballerina, this song failed to chart, possibly due to the release two months earlier of a song called Ivy Ivy, written by keyboardist Michael Brown and shown on the label as being by the Left Banke. The song was in reality performed entirely by session musicians, including lead vocals by Bert Sommer, who would be one of the acoustic acts on the opening afternoon of the Woodstock festival a couple years later. The resulting fued between Brown and the rest of the band left a large number of radio stations gun shy when came to any record with the name Left Banke on the label, and She May Call You Up Tonight tanked.
Artist: Strawberry Alarm Clock
Title: Incense And Peppermints (originally released as 45 RPM single)
Source: CD: Psychedelic Pop
Writer(s): Carter/Gilbert/Weitz/King
Label: BMG/RCA/Buddah (original label: Uni)
Year: 1967
Incense and Peppermints is one of the iconic songs of the psychedelic era, yet when it was originally released to Los Angeles area radio stations it was intended to be the B side of The Birdman of Alkatrash. Somewhere along the line a DJ flipped the record over and started playing Incense And Peppermints instead. The song caught on and Uni Records (short for Universal, which is now the world's largest record company) picked up the Strawberry Alarm Clock's contract and reissued the record nationally with Incense And Peppermints as the A side.
Artist: Monkees
Title: Star Collector
Source: LP: Pisces, Aquarius, Capricorn and Jones, LTD.
Writer(s): Goffin/King
Label: Colgems
Year: 1967
The Monkees were one of the first bands to utilize the Moog synthesizer on a rock record. One of the two tracks that uses the device extensively is Star Collector, a song written by Gerry Goffin and Carole King and sung by the late Davy Jones. Usually Jones was picked to sing the band's love ballads. Star Collector, on the other hand, is a wild, almost humorous look at rock groupies; the type of song that on earlier Monkees albums would have been given to Peter Tork to sing. The synthesizer in Star Collector is used more for sound effects than anything else, including the repeating "bye bye" sound at the end of the track.
Artist: Yardbirds
Title: Puzzles
Source: CD: Over, Under, Sideways, Down (originally released as 45 RPM single B side)
Writer(s): Page/McCarty/Relf
Label: Raven
Year: 1967
Toward the end of their run, producer Mickie Most had the Yardbirds sounding like a hipper version of Herman's Hermits (whom he also produced) on the A sides of their singles. Their B sides, such as 1967's Puzzles, on the other hand, were more in line with the way the band sounded live, which in turn sounded like a direct precursor to what would be guitarist Jimmy Page's next project: Led Zeppelin.
Artist: Led Zeppelin
Title: Whole Lotta Love
Source: CD: Led Zeppelin II
Writer(s): Page/Plant/Bonham/Jones/Dixon
Label: Atlantic
Year: 1969
If any one song can be considered the bridge between psychedelic rock and heavy metal, it would have to be Led Zeppelin's Whole Lotta Love. Released in 1969 as the lead track to their second LP, the song became their biggest hit single. Whole Lotta Love was originally credited to the four band members. In recent years, however, co-credit has been given to Willie Dixon, whose lyrics to the 50s song You Need Love are almost identical to Robert Plant's.
Artist: Blue Cheer
Title: Summertime Blues
Source: CD: Best Of 60s Psychedelic Rock (originally released on LP: Vincebus Eruptum)
Writer(s): Cochrane/Capehart
Label: Priority (original label: Philips)
Year: 1968
European electronics giant Philips had its own record label in the 1960s. In the US, the label was distributed by Mercury Records, and was known primarily for a long string of hits by Frankie Valli and the Four Seasons. In 1968 the label surprised everyone by signing the loudest band in San Francisco, Blue Cheer. Their cover of the 50s Eddie Cochrane hit Summertime Blues was all over both the AM and FM airwaves that summer.
Artist: Grand Funk Railroad
Title: Upsetter
Source: 45 RPM single (also released on LP: E Pluribus Funk)
Writer(s): Mark Farner
Label: Capitol
Year: 1972
Grand Funk Railroad was something of an enigma. Due to universally negative reviews in the rock press, progressive FM stations avoided them like the plague. At the same time, top 40 radio was in the process of being supplanted as the voice of the mainstream by the Adult Contemporary (A/C) format, which tended to ignore hard rock. Nonetheless Grand Funk Railroad had a following. In fact, GFR was the first band to book (and sellout) entire sports arenas, setting attendance records wherever they played. This translated into major record sales, as they became the first band to have three LPs hit the million-seller mark in the same year (1970). That year they also had their first mainstream hit with I'm Your Captain (Closer To Home). From that point on the band would continue to release singles, although most, such as Upsetter, were still ignored by A/C radio (although they did get a fair amount of airplay from the remaining "true" top 40 stations). As the group's album sales were beginning to drop off, the singles became increasingly important to the band's continued success, and from 1973 on (starting with We're An American Band ) Grand Funk became pretty much a singles-oriented group, cranking out tunes like Bad Time and Some Kind Of Wonderful.
Artist: Fifty Foot Hose
Title: Red The Sign Post
Source: CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on LP: Cauldron)
Writer(s): Roswicki/Blossom
Label: Rhino (original label: Limelight)
Year: 1968
Although most of the more avant-garde bands of the psychedelic era were headquarted in New York, there were some exceptions, such as San Francisco's Fifty Foot Hose. The core members of the band were founder and bassist Louis "Cork" Marcheschi, guitarist David Blossom, and his wife, vocalist Nancy Blossom. The group used a lot of unusual instruments, such as theramin, Moog synthesizer and prepared guitar and piano. Probably their most commercial song was Red The Sign Post from the LP Cauldron. After that album the group called it quits, with most of the members joining the cast of Hair. In fact, Nancy Blossom played lead character Sheila in the San Francisco production of the musical.
Artist: Big Brother And The Holding Company
Title: Combination Of The Two
Source: LP: Cheap Thrills
Writer(s): Sam Andrew
Label: Columbia
Year: 1968
Everything about Big Brother And The Holding Company can be summed up by the title of the opening track for their Cheap Thrills album (and their usual show opener as well): Combination Of The 2. A classic case of the whole being greater than the sum of its parts, Big Brother, with Janis Joplin on lead vocals, had an energy that neither Joplin nor the rest of the band was able to duplicate once they parted company. On the song itself, the actual lead vocals for the verses are the work of Combination Of The 2's writer, bassist Sam Houston Andrew III, but those vocals are eclipsed by the layered non-verbal chorus that starts with Joplin then repeats itself with Houston providing a harmony line which leads to Joplin's promise to "knock ya, rock ya, gonna sock it to you now". It was a promise that the group seldom failed to deliver on.
Artist: Byrds
Title: Goin' Back
Source: CD: The Notorius Byrd Brothers
Writer(s): Goffin/King
Label: Columbia/Legacy
Year: 1967
The Notorius Byrd Brothers, released in 1968, is considered by some to be the finest album in the group's catalog, despite the firing of core member David Crosby midway through the album. In fact, it was in part a disagreement between Crosby, Roger McGuinn and Chris Hillman over whether to include Crosby's Triad or the Gerry Goffin/ Carole King song Goin' Back on the album that led to Crosby's departure. With Crosby gone, Goin' Back ended up making the cut, but to me it sounds like it's missing something...)
Tuesday, March 27, 2012
Stuck in the Psychedelic Era # 1213 (starts 3/29/12)
Artist: First Edition
Title: Just Dropped In (To See What Condition My Condition Was In)
Source: LP: Nuggets Vol. 9-Acid Rock (originally released as 45 RPM single)
Writer(s): Mickey Newbury
Label: Rhino (original label: Reprise)
Year: 1968
In 1968, former New Christy Mistrels members Kenny Rogers and Mickey Newbury decided to form a psychedelic rock band, the First Edition. Although Newbury wrote most of the songs on the first album, it was Rogers who would emerge as the star of the band, even to the point of eventually changing the band's name to Kenny Rogers and the First Edition. That change reflected a shift from psychedelic to country flavored pop that would eventually propel Rogers to superstar status.
Artist: Chocolate Watchband
Title: Medication
Source: CD: The Inner Mystique
Writer(s): Alton/Ditosti
Label: Sundazed (original label: Tower)
Year: 1968
By early 1968 the Chocolate Watchband had fallen on hard times. In fact, the original group had disbanded, only to reform at the behest of Tower Records and producer Ed Cobb, who wanted to put out a second Watchband LP. In short order a new group featuring mostly former members of the Watchband was formed. Cobb, however, did not have the time to wait for the new lineup to gel and got to work on the album without them. In fact, the entire first side of The Inner Mystique was performed by studio musicians. Additionally, Cobb pulled out unreleased tapes from the archive to help fill out the album, including the original band's cover of a Standells tune called Medication. Like their earlier track Let's Talk About Girls, Medication features studio vocalist Don Bennett rather than regular lead vocalist Dave Aguilar. It's not known for sure why the substitution was made, unless perhaps Cobb was feeling pressure from the rock press, which had dismissed Aguilar as a Mick Jagger wannabe.
Artist: Jethro Tull
Title: Serenade To A Cuckoo
Source: LP: This Was
Writer(s): Roland Kirk
Label: Chrysalis (original label: Reprise)
Year: 1968
Jethro Tull did not, as a general rule, record cover tunes. The most notable exception is Roland Kirk's classic jazz piece Serenade To A Cuckoo, which was included on their first LP, This Was.
Artist: Romancers (aka the Smoke Rings)
Title: Love's The Thing
Source: CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer(s): Max & Bob Uballez
Label: Rhino (original label: Linda)
Year: 1965
Released three times on three labels under two different band names. Such was the studio scene in East L.A. in the mid-60s. Max Uballez, leader of the Romancers and East L.A.'s answer to Phil Spector, was the driving force behind this tune.
Artist: McCoys
Title: Hang On Sloopy
Source: CD: Billboard Top Rock 'N' Roll Hits-1965 (originally released as 45 RPM single)
Writer(s): Farrell/Russell
Label: Rhino (original label: Bang)
Year: 1965
The McCoys were a fairly typical Eastern Ohio band of the mid-60s, playing parties, teen clubs, high school dances and occassionally opening for out of town acts. In 1965 the McCoys opened for the Strangeloves, who were on the road promoting their hit single I Want Candy (of course, the Strangeloves were in reality a trio of professional songwriters who had come up with a rather unusual gimmick: they passed themselves off as sons of an Australian sheepherder). The members of the Strangeloves were so impressed with the McCoys, particularly vocalist/guitarist Rick Derringer, that they offered them the song that was slated to be the follow-up to I Want Candy: a song called Hang On Sloopy. The instrumental tracks for the song had already been recorded, so the only member of the McCoys to actually appear on the record is Derringer. Hang On Sloopy went all the way to the top of the charts, becoming one of the top 10 singles of the year and providing a stellar debut for Derringer, who went on to hook up with the Edgar Winter Group before embarking on a successful solo career.
Artist: Spencer Davis Group
Title: I'm A Man
Source: LP: Progressive Heavies (originally released as 45 RPM single)
Writer(s): Miller/Winwood
Label: United Artists
Year: 1967
The Spencer Davis Group, featuring Steve and Muff Winwood, was one of the UK's most successful white R&B bands of the sixties, cranking out a steady stream of hit singles. Two of them, the iconic Gimme Some Lovin' and I'm A Man, were also major hits in the US, the latter being the last song to feature the Winwood brothers. Muff Winwood became a successful record producer. The group itself continued on for several years, but were never able to duplicate their earlier successes. As for Steve Winwood, he quickly faded off into obscurity, never to be heard from again. Except as the leader of Traffic. And a member of Blind Faith. And Traffic again. And some critically-acclaimed collaborations in the early 1980s with various Asian musicians. Oh yeah, and a few obscure solo hits (While You See A Chance, Roll With It, Higher Love, etc.) in the late 80s. Other than that, nothing.
Artist: Buffalo Springfield
Title: Rock And Roll Woman
Source: LP: Buffalo Springfield Again
Writer(s): Stephen Stills
Label: Atco
Year: 1967
Buffalo Springfield did not sell huge numbers of records (except for the single For What It's Worth). Nor did they pack in the crowds. As a matter of fact, when they played the club across the street from where Love was playing, they barely had any audience at all. Artistically, though, it's a whole 'nother story. During their brief existence Buffalo Springfield launched the careers of no less than four major artists: Richie Furay, Jim Messina, Stephen Stills and Neil Young. They also recorded more than their share of tracks that have held up better than most of what else was being recorded at the time. Case in point: Rock and Roll Woman, a Stephen Stills tune that still sounds fresh well over 40 years after it was recorded.
Artist: Uriah Heep
Title: I'll Keep On Trying
Source: LP:Uriah Heep
Writer(s): Box/Byron
Label: Mercury
Year: 1970
The term "heavy metal" had not come into common usage in 1970. If it had, Uriah Heep's debut LP would have been hailed as an early example. Although their later albums, particularly Demons And Wizards and the Magician's Birthday, would take a more progressive turn and deal with fantasy themes, Uriah Heep's first LP was much more straight ahead hard rock. The album was originally released in the UK with the title Very 'eavy...Very 'umble and featured a picture of lead vocalist David Byron partially obscured by cobwebs. The US release of the LP was entitled simply Uriah Heep and had a silver dragon on a black background. With one exception the song lineup was the same for both albums. I'll Keep On Trying, a song written by Byron and guitarist Mick Box, was included on both versions. You can check out both album covers at the Stuck in the Psychedelic Era Facebook page.
Artist: Jimi Hendrix
Title: Bleeding Heart
Source: CD: South Saturn Delta
Writer(s): Jimi Hendrix
Label: MCA
Year: 1970
Right from the start, the Jimi Hendrix Experience included several cover tunes in their live sets, including sped up versions of blues classics such as Rock Me Baby and Killing Floor. Often these songs would eventually get new lyrics and end up being credited to Hendrix as the sole songwriter. One such case is Bleeding Heart, which started off as Killing Floor.
Artist: Doors
Title: Roadhouse Blues
Source: Best Of The Doors (originally released on LP: Morrison Hotel)
Writer(s): The Doors
Label: Elektra
Year: 1970
After getting less than favorable reviews for their fourth LP, The Soft Parade, the Doors decided to go back to their roots for 1970s Morrison Hotel. One of the many bluesier tunes on the album was Roadhouse Blues, a song that soon became a staple of the group's live performances.
Artist: John Mayall
Title: Blues From Laurel Canyon (side two-excerpt)
Source: LP: Blues From Laurel Canyon
Writer(s): John Mayall
Label: London
Year: 1968
The first release following the breakup of the Bluesbreakers, this album featured a 19-year-old Mick Taylor on guitar. The album itself is autobiographical, documenting Mayall's LA vacation in the summer of '68. The Bear that was "rolling in the shade" was Robert Hite, lead vocalist and harp player for Canned Heat. The "strange, elusive Miss James" was reportedly the famous groupie Catherine James. Other references to people and places are presumably just as real.
Artist: Quicksilver Messenger Service
Title: Who Do You Love
Source: CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on CD: Quicksilver: Lost Gold And Silver)
Writer(s): Elias McDaniel
Label: Rhino (original label: Collector's Choice)
Year: Recorded 1966, released 1999
The classic San Francisco music scene (c 1966) had at its core three popular local bands: Jefferson Airplane, Grateful Dead and Quicksilver Messenger Service. Although none of these bands were at their artistic peak, they did epitomize the spirit of the city's counter-culture and the Haight-Ashbury district in particular. The Airplane was the first to experience national success, thanks to a membership shuffle in late 1966 that brought Grace Slick and Spencer Dryden into the group. The Dead followed in 1967, leaving only Quicksilver without a record contract as late as 1968. By the time they did sign their deal to Capitol, Quicksilver had already had its own share of personnel changes, including the departure of original lead vocalist Jim Murray. In fact, the only QMS recording I know of with Murray at the helm is this 1966 demo of the Bo Diddley classic Who Do You Love, featuring an extended jam that was typical of the band in its early days.
Artist: Ultimate Spinach
Title: Dove In Hawk's Clothing
Source: LP: Ultimate Spinach
Writer(s): Ian Bruce-Douglas
Label: M-G-M
Year: 1967
One of the criticisms of Ultimate Spinach (and the whole overly-hyped "Boss-Town Sound") was that the band tried too hard to sound like West Coast psychedelic bands such as Country Joe And The Fish. A listen to Dove In Hawk's Clothing, an anti-draft piece that played on the popular hawk and dove stereotypes of the time, shows that such criticism did indeed have some validity to it. Still, in retrospect the song has a certain dated charm to it, thanks to the songwriting talents of Ian Bruce-Douglas.
Artist: Pink Floyd
Title: Take Up Thy Stethescope And Walk
Source: CD: The Piper At The Gates Of Dawn
Writer(s): Roger Waters
Label: Capitol (original label: Tower)
Year: 1967
Contrary to popular belief, Syd Barrett did not write all the material on Pink Floyd's first LP, The Piper At The Gates Of Dawn. One of the non-Barrett tracks is Take Up Thy Stethescope And Walk, an early composition by Roger Waters, who would take over as de facto leader of the band when Barrett's mental health issues forced him into retirement.
Artist: Beatles
Title: Nowhere Man
Source: CD: Rubber Soul (originally released as 45 RPM single)
Writer(s): Lennon/McCartney
Label: Parlophone (original label: Capitol)
Year: 1965
The original UK version of Rubber Soul, released in December 1965, had several songs that were left off the shorter US version. In the case of Nowhere Man, it was because Capitol Records decided to hold back the song for release as a single in early 1966. Although Nowhere Man was one of the most popular songs of the year in the US, the song was never released as a single in the UK.
Artist: Simon and Garfunkel
Title: The Big Bright Pleasure Machine
Source: CD: Collected Works (originally released on LP: Parsley, Sage, Rosemary and Thyme)
Writer(s): Paul Simon
Label: Columbia
Year: 1966
After the surprise success of the Sound Of Silence single, Paul Simon and Art Garfunkel, who had disbanded their partnership after the seeming failure of their Wednesday Morning 3 AM album in 1964, hastily reunited to record a new album of electrified versions of songs written by Simon, many of which had appeared on his 1965 solo LP the Paul Simon Songbook. With their newfound success, the duo set about recording an album's worth of new material. This time around, however, Simon had the time (and knowledge of what was working for the duo) to compose songs that would play to both the strengths of himself and Garfunkel as vocalists, as well as take advantage of the additional instrumentation available to him. The result was Parsley, Sage, Rosemary And Thyme, featuring tracks such as The Big Bright Pleasure Machine, an energetic piece that effectively combines folk and rock with intelligent lyrics.
Artist: Rolling Stones
Title: Who's Been Sleeping Here
Source: LP: Between The Buttons
Writer(s): Jagger/Richards
Label: London
Year: 1967
Between The Buttons, released in early 1967, shows the Rolling Stones beginning to experiment with a more psychedelic sound than on previous albums. Brian Jones, in particular, took up several new instruments, including the sitar, heard prominently on the track Who's Been Sleeping Here. The next LP, Their Satanic Majesties Request, would take the group even further into psychedelic territory, prompting a back to basics approach the following year.
Artist: Steppenwolf
Title: Born To Be Wild
Source: CD: Easy Rider Soundtrack (originally released on LP: Steppenwolf)
Writer(s): Mars Bonfire
Label: MCA (original label: Dunhill)
Year: 1968
Born To Be Wild's status as a counter-cultural anthem was cemented when it was chosen for the soundtrack of the movie Easy Rider. The popularity of both the song and the movie resulted in Steppenwolf becoming the all-time favorite band of bikers all over the world.
Artist: Blues Project
Title: You Can't Catch Me
Source: LP: Projections
Writer(s): Chuck Berry
Label: Verve Forecast
Year: 1966
One of the reasons for Chuck Berry's enduring popularity throughout the 1960s (despite a lack of major hits during the decade) was the fact that so many bands covered his 50s hits, often updating them for a 60s audience. Although not as well-known as Roll Over Beethoven or Johnny B. Goode, You Can't Catch Me nonetheless got its fair share of coverage, including versions by the Rolling Stones and the Blues Project (as well as providing John Lennon an opening line for the song Come Together).
Artist: West Coast Pop Art Experimental Band
Title: Help, I'm A Rock (single mix)
Source: CD: Part One (originally released as 45 RPM single)
Writer(s): Frank Zappa
Label: Sundazed (original label: Reprise)
Year: 1967
Ya gotta hand it to these guys. It takes cojones to record a cover of a Frank Zappa tune, especially within a year of the original Mothers of Invention version coming out. To top it off, the W.C.P.A.E.B. even released Help, I'm A Rock as a single.
Artist: Big Brother And The Holding Company
Title: Down On Me
Source: Live At The Carousel Ballroom-1968
Writer(s): trad., arr. Joplin
Label: Columbia/Legacy
Year: Recorded 1968, released 2012
The first single by Big Brother And The Holding Company, Down On Me, barely missed making the top 40 charts when it was released in 1967, peaking at # 42. As can be heard on their Live At The Carousel Ballroom-1968 CD, recorded directly off the sound board by Owsley "Bear" Stanley, their performance of the old song from the 1930s only got better with time.
Artist: Leaves
Title: Hey Joe
Source: LP: Nuggets Vol. 1-The Hits (originally released as 45 RPM single)
Writer(s): Billy Roberts
Label: Rhino (original label: Mira)
Year: 1966
The origins of the song Hey Joe are surrounded in mystery. Various writers have been given credit for the tune, including Chet Powers, aka Dino Valenti, who wrote Get Together, but David Crosby claimed the song was actually an old folk tune dating back to the 19th century that he himself had popularized as a member of the Byrds before the Leaves got ahold of it. Regardless of where the song came from, the Leaves version was the first to be released as a single and is generally considered the definitive fast version of the song. In Britain it was the slower version favored by the Jimi Hendrix Experience that became a hit, using an arrangement pioneered by songwriter Tim Rose and the Music Machine's Sean Bonniwell.
Artist: Monkees
Title: Daily Nightly
Source: CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released on LP: Pisces, Aquarius, Capricorn and Jones, LTD.)
Writer(s): Michael Nesmith
Label: Rhino
Year: 1967
One of the first rock songs to feature a Moog synthesizer was the Monkees' Daily Nightly from the album Pisces, Aquarius, Capricorn and Jones LTD. Micky Dolenz, who had a reputation for nailing it on the first take but being unable to duplicate his success in subsequent attempts, was at the controls of the new technology for this recording of Michael Nesmith's most psychedelic song (he also sang lead on it). The Moog itself had been programmed by Paul Beaver especially for this recording.
Artist: Procol Harum
Title: Quite Rightly So
Source: LP: Shine On Brightly
Writer(s): Brooker/Reid
Label: A&M
Year: 1968
In 1969, while living on Ramstein AFB in Germany, my dad managed to get use of one of the basement storage rooms in building 913, the 18-unit apartment building we resided in. For a few months (until getting in trouble for having overnight guests and making too much noise...hey I was 16, whaddaya expect?) I got to use that room as a bedroom. I had a small record player that shut itself off when it got to the end of the record, which meant I got to go to sleep every night to the album of my choice. As often as not that album was Shine On Brightly, a copy of which I had gotten in trade for another album (the Best of the Beach Boys I think) from a guy who was expecting A Whiter Shade of Pale and was disappointed to discover it was not on this album. I always thought I got the better end of that deal, despite the fact that there was a skip during the fade of Quite Rightly So, causing the words "one was me" to repeat over and over until I scooted the needle over a bit. Luckily Quite Rightly So is the first song on the album, so I was usually still awake to do that.
Artist: Sagittarius
Title: My World Fell Down
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s): Shakespeare/Stephens
Label: Rhino (original label: Columbia)
Year: 1967
The Beach Boys' 1966 masterpiece Good Vibrations sent shock waves reverberating throughout the L.A. studio scene. Among those inspired by Brian Wilson's achievement were Wilson's former collaborator Gary Usher, who formed the studio band Sagittarius to record My World Fell Down in 1967. Among those participating in the project were Glen Campbell, who was the first person to take Wilson's place onstage when Wilson retired from performing to concentrate on his songwriting and record producing; Bruce Johnston, who succeeded Campbell and remains the group's bassist to this day; and Terry Melcher, best known as the producer who helped make Paul Revere and the Raiders a household name in 1965 (he was sometimes referred to as the "fifth Raider"). The rhythm section consisted of two of the top studio musicians in pop music history: bassist Carol Kaye and drummer Hal Blaine. With Campbell on lead vocals, Sagittarius was a critical and commercial success that nonetheless did not last past their first LP (possibly due to the sheer amount of ego in the group).
Title: Just Dropped In (To See What Condition My Condition Was In)
Source: LP: Nuggets Vol. 9-Acid Rock (originally released as 45 RPM single)
Writer(s): Mickey Newbury
Label: Rhino (original label: Reprise)
Year: 1968
In 1968, former New Christy Mistrels members Kenny Rogers and Mickey Newbury decided to form a psychedelic rock band, the First Edition. Although Newbury wrote most of the songs on the first album, it was Rogers who would emerge as the star of the band, even to the point of eventually changing the band's name to Kenny Rogers and the First Edition. That change reflected a shift from psychedelic to country flavored pop that would eventually propel Rogers to superstar status.
Artist: Chocolate Watchband
Title: Medication
Source: CD: The Inner Mystique
Writer(s): Alton/Ditosti
Label: Sundazed (original label: Tower)
Year: 1968
By early 1968 the Chocolate Watchband had fallen on hard times. In fact, the original group had disbanded, only to reform at the behest of Tower Records and producer Ed Cobb, who wanted to put out a second Watchband LP. In short order a new group featuring mostly former members of the Watchband was formed. Cobb, however, did not have the time to wait for the new lineup to gel and got to work on the album without them. In fact, the entire first side of The Inner Mystique was performed by studio musicians. Additionally, Cobb pulled out unreleased tapes from the archive to help fill out the album, including the original band's cover of a Standells tune called Medication. Like their earlier track Let's Talk About Girls, Medication features studio vocalist Don Bennett rather than regular lead vocalist Dave Aguilar. It's not known for sure why the substitution was made, unless perhaps Cobb was feeling pressure from the rock press, which had dismissed Aguilar as a Mick Jagger wannabe.
Artist: Jethro Tull
Title: Serenade To A Cuckoo
Source: LP: This Was
Writer(s): Roland Kirk
Label: Chrysalis (original label: Reprise)
Year: 1968
Jethro Tull did not, as a general rule, record cover tunes. The most notable exception is Roland Kirk's classic jazz piece Serenade To A Cuckoo, which was included on their first LP, This Was.
Artist: Romancers (aka the Smoke Rings)
Title: Love's The Thing
Source: CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer(s): Max & Bob Uballez
Label: Rhino (original label: Linda)
Year: 1965
Released three times on three labels under two different band names. Such was the studio scene in East L.A. in the mid-60s. Max Uballez, leader of the Romancers and East L.A.'s answer to Phil Spector, was the driving force behind this tune.
Artist: McCoys
Title: Hang On Sloopy
Source: CD: Billboard Top Rock 'N' Roll Hits-1965 (originally released as 45 RPM single)
Writer(s): Farrell/Russell
Label: Rhino (original label: Bang)
Year: 1965
The McCoys were a fairly typical Eastern Ohio band of the mid-60s, playing parties, teen clubs, high school dances and occassionally opening for out of town acts. In 1965 the McCoys opened for the Strangeloves, who were on the road promoting their hit single I Want Candy (of course, the Strangeloves were in reality a trio of professional songwriters who had come up with a rather unusual gimmick: they passed themselves off as sons of an Australian sheepherder). The members of the Strangeloves were so impressed with the McCoys, particularly vocalist/guitarist Rick Derringer, that they offered them the song that was slated to be the follow-up to I Want Candy: a song called Hang On Sloopy. The instrumental tracks for the song had already been recorded, so the only member of the McCoys to actually appear on the record is Derringer. Hang On Sloopy went all the way to the top of the charts, becoming one of the top 10 singles of the year and providing a stellar debut for Derringer, who went on to hook up with the Edgar Winter Group before embarking on a successful solo career.
Artist: Spencer Davis Group
Title: I'm A Man
Source: LP: Progressive Heavies (originally released as 45 RPM single)
Writer(s): Miller/Winwood
Label: United Artists
Year: 1967
The Spencer Davis Group, featuring Steve and Muff Winwood, was one of the UK's most successful white R&B bands of the sixties, cranking out a steady stream of hit singles. Two of them, the iconic Gimme Some Lovin' and I'm A Man, were also major hits in the US, the latter being the last song to feature the Winwood brothers. Muff Winwood became a successful record producer. The group itself continued on for several years, but were never able to duplicate their earlier successes. As for Steve Winwood, he quickly faded off into obscurity, never to be heard from again. Except as the leader of Traffic. And a member of Blind Faith. And Traffic again. And some critically-acclaimed collaborations in the early 1980s with various Asian musicians. Oh yeah, and a few obscure solo hits (While You See A Chance, Roll With It, Higher Love, etc.) in the late 80s. Other than that, nothing.
Artist: Buffalo Springfield
Title: Rock And Roll Woman
Source: LP: Buffalo Springfield Again
Writer(s): Stephen Stills
Label: Atco
Year: 1967
Buffalo Springfield did not sell huge numbers of records (except for the single For What It's Worth). Nor did they pack in the crowds. As a matter of fact, when they played the club across the street from where Love was playing, they barely had any audience at all. Artistically, though, it's a whole 'nother story. During their brief existence Buffalo Springfield launched the careers of no less than four major artists: Richie Furay, Jim Messina, Stephen Stills and Neil Young. They also recorded more than their share of tracks that have held up better than most of what else was being recorded at the time. Case in point: Rock and Roll Woman, a Stephen Stills tune that still sounds fresh well over 40 years after it was recorded.
Artist: Uriah Heep
Title: I'll Keep On Trying
Source: LP:Uriah Heep
Writer(s): Box/Byron
Label: Mercury
Year: 1970
The term "heavy metal" had not come into common usage in 1970. If it had, Uriah Heep's debut LP would have been hailed as an early example. Although their later albums, particularly Demons And Wizards and the Magician's Birthday, would take a more progressive turn and deal with fantasy themes, Uriah Heep's first LP was much more straight ahead hard rock. The album was originally released in the UK with the title Very 'eavy...Very 'umble and featured a picture of lead vocalist David Byron partially obscured by cobwebs. The US release of the LP was entitled simply Uriah Heep and had a silver dragon on a black background. With one exception the song lineup was the same for both albums. I'll Keep On Trying, a song written by Byron and guitarist Mick Box, was included on both versions. You can check out both album covers at the Stuck in the Psychedelic Era Facebook page.
Artist: Jimi Hendrix
Title: Bleeding Heart
Source: CD: South Saturn Delta
Writer(s): Jimi Hendrix
Label: MCA
Year: 1970
Right from the start, the Jimi Hendrix Experience included several cover tunes in their live sets, including sped up versions of blues classics such as Rock Me Baby and Killing Floor. Often these songs would eventually get new lyrics and end up being credited to Hendrix as the sole songwriter. One such case is Bleeding Heart, which started off as Killing Floor.
Artist: Doors
Title: Roadhouse Blues
Source: Best Of The Doors (originally released on LP: Morrison Hotel)
Writer(s): The Doors
Label: Elektra
Year: 1970
After getting less than favorable reviews for their fourth LP, The Soft Parade, the Doors decided to go back to their roots for 1970s Morrison Hotel. One of the many bluesier tunes on the album was Roadhouse Blues, a song that soon became a staple of the group's live performances.
Artist: John Mayall
Title: Blues From Laurel Canyon (side two-excerpt)
Source: LP: Blues From Laurel Canyon
Writer(s): John Mayall
Label: London
Year: 1968
The first release following the breakup of the Bluesbreakers, this album featured a 19-year-old Mick Taylor on guitar. The album itself is autobiographical, documenting Mayall's LA vacation in the summer of '68. The Bear that was "rolling in the shade" was Robert Hite, lead vocalist and harp player for Canned Heat. The "strange, elusive Miss James" was reportedly the famous groupie Catherine James. Other references to people and places are presumably just as real.
Artist: Quicksilver Messenger Service
Title: Who Do You Love
Source: CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on CD: Quicksilver: Lost Gold And Silver)
Writer(s): Elias McDaniel
Label: Rhino (original label: Collector's Choice)
Year: Recorded 1966, released 1999
The classic San Francisco music scene (c 1966) had at its core three popular local bands: Jefferson Airplane, Grateful Dead and Quicksilver Messenger Service. Although none of these bands were at their artistic peak, they did epitomize the spirit of the city's counter-culture and the Haight-Ashbury district in particular. The Airplane was the first to experience national success, thanks to a membership shuffle in late 1966 that brought Grace Slick and Spencer Dryden into the group. The Dead followed in 1967, leaving only Quicksilver without a record contract as late as 1968. By the time they did sign their deal to Capitol, Quicksilver had already had its own share of personnel changes, including the departure of original lead vocalist Jim Murray. In fact, the only QMS recording I know of with Murray at the helm is this 1966 demo of the Bo Diddley classic Who Do You Love, featuring an extended jam that was typical of the band in its early days.
Artist: Ultimate Spinach
Title: Dove In Hawk's Clothing
Source: LP: Ultimate Spinach
Writer(s): Ian Bruce-Douglas
Label: M-G-M
Year: 1967
One of the criticisms of Ultimate Spinach (and the whole overly-hyped "Boss-Town Sound") was that the band tried too hard to sound like West Coast psychedelic bands such as Country Joe And The Fish. A listen to Dove In Hawk's Clothing, an anti-draft piece that played on the popular hawk and dove stereotypes of the time, shows that such criticism did indeed have some validity to it. Still, in retrospect the song has a certain dated charm to it, thanks to the songwriting talents of Ian Bruce-Douglas.
Artist: Pink Floyd
Title: Take Up Thy Stethescope And Walk
Source: CD: The Piper At The Gates Of Dawn
Writer(s): Roger Waters
Label: Capitol (original label: Tower)
Year: 1967
Contrary to popular belief, Syd Barrett did not write all the material on Pink Floyd's first LP, The Piper At The Gates Of Dawn. One of the non-Barrett tracks is Take Up Thy Stethescope And Walk, an early composition by Roger Waters, who would take over as de facto leader of the band when Barrett's mental health issues forced him into retirement.
Artist: Beatles
Title: Nowhere Man
Source: CD: Rubber Soul (originally released as 45 RPM single)
Writer(s): Lennon/McCartney
Label: Parlophone (original label: Capitol)
Year: 1965
The original UK version of Rubber Soul, released in December 1965, had several songs that were left off the shorter US version. In the case of Nowhere Man, it was because Capitol Records decided to hold back the song for release as a single in early 1966. Although Nowhere Man was one of the most popular songs of the year in the US, the song was never released as a single in the UK.
Artist: Simon and Garfunkel
Title: The Big Bright Pleasure Machine
Source: CD: Collected Works (originally released on LP: Parsley, Sage, Rosemary and Thyme)
Writer(s): Paul Simon
Label: Columbia
Year: 1966
After the surprise success of the Sound Of Silence single, Paul Simon and Art Garfunkel, who had disbanded their partnership after the seeming failure of their Wednesday Morning 3 AM album in 1964, hastily reunited to record a new album of electrified versions of songs written by Simon, many of which had appeared on his 1965 solo LP the Paul Simon Songbook. With their newfound success, the duo set about recording an album's worth of new material. This time around, however, Simon had the time (and knowledge of what was working for the duo) to compose songs that would play to both the strengths of himself and Garfunkel as vocalists, as well as take advantage of the additional instrumentation available to him. The result was Parsley, Sage, Rosemary And Thyme, featuring tracks such as The Big Bright Pleasure Machine, an energetic piece that effectively combines folk and rock with intelligent lyrics.
Artist: Rolling Stones
Title: Who's Been Sleeping Here
Source: LP: Between The Buttons
Writer(s): Jagger/Richards
Label: London
Year: 1967
Between The Buttons, released in early 1967, shows the Rolling Stones beginning to experiment with a more psychedelic sound than on previous albums. Brian Jones, in particular, took up several new instruments, including the sitar, heard prominently on the track Who's Been Sleeping Here. The next LP, Their Satanic Majesties Request, would take the group even further into psychedelic territory, prompting a back to basics approach the following year.
Artist: Steppenwolf
Title: Born To Be Wild
Source: CD: Easy Rider Soundtrack (originally released on LP: Steppenwolf)
Writer(s): Mars Bonfire
Label: MCA (original label: Dunhill)
Year: 1968
Born To Be Wild's status as a counter-cultural anthem was cemented when it was chosen for the soundtrack of the movie Easy Rider. The popularity of both the song and the movie resulted in Steppenwolf becoming the all-time favorite band of bikers all over the world.
Artist: Blues Project
Title: You Can't Catch Me
Source: LP: Projections
Writer(s): Chuck Berry
Label: Verve Forecast
Year: 1966
One of the reasons for Chuck Berry's enduring popularity throughout the 1960s (despite a lack of major hits during the decade) was the fact that so many bands covered his 50s hits, often updating them for a 60s audience. Although not as well-known as Roll Over Beethoven or Johnny B. Goode, You Can't Catch Me nonetheless got its fair share of coverage, including versions by the Rolling Stones and the Blues Project (as well as providing John Lennon an opening line for the song Come Together).
Artist: West Coast Pop Art Experimental Band
Title: Help, I'm A Rock (single mix)
Source: CD: Part One (originally released as 45 RPM single)
Writer(s): Frank Zappa
Label: Sundazed (original label: Reprise)
Year: 1967
Ya gotta hand it to these guys. It takes cojones to record a cover of a Frank Zappa tune, especially within a year of the original Mothers of Invention version coming out. To top it off, the W.C.P.A.E.B. even released Help, I'm A Rock as a single.
Artist: Big Brother And The Holding Company
Title: Down On Me
Source: Live At The Carousel Ballroom-1968
Writer(s): trad., arr. Joplin
Label: Columbia/Legacy
Year: Recorded 1968, released 2012
The first single by Big Brother And The Holding Company, Down On Me, barely missed making the top 40 charts when it was released in 1967, peaking at # 42. As can be heard on their Live At The Carousel Ballroom-1968 CD, recorded directly off the sound board by Owsley "Bear" Stanley, their performance of the old song from the 1930s only got better with time.
Artist: Leaves
Title: Hey Joe
Source: LP: Nuggets Vol. 1-The Hits (originally released as 45 RPM single)
Writer(s): Billy Roberts
Label: Rhino (original label: Mira)
Year: 1966
The origins of the song Hey Joe are surrounded in mystery. Various writers have been given credit for the tune, including Chet Powers, aka Dino Valenti, who wrote Get Together, but David Crosby claimed the song was actually an old folk tune dating back to the 19th century that he himself had popularized as a member of the Byrds before the Leaves got ahold of it. Regardless of where the song came from, the Leaves version was the first to be released as a single and is generally considered the definitive fast version of the song. In Britain it was the slower version favored by the Jimi Hendrix Experience that became a hit, using an arrangement pioneered by songwriter Tim Rose and the Music Machine's Sean Bonniwell.
Artist: Monkees
Title: Daily Nightly
Source: CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released on LP: Pisces, Aquarius, Capricorn and Jones, LTD.)
Writer(s): Michael Nesmith
Label: Rhino
Year: 1967
One of the first rock songs to feature a Moog synthesizer was the Monkees' Daily Nightly from the album Pisces, Aquarius, Capricorn and Jones LTD. Micky Dolenz, who had a reputation for nailing it on the first take but being unable to duplicate his success in subsequent attempts, was at the controls of the new technology for this recording of Michael Nesmith's most psychedelic song (he also sang lead on it). The Moog itself had been programmed by Paul Beaver especially for this recording.
Artist: Procol Harum
Title: Quite Rightly So
Source: LP: Shine On Brightly
Writer(s): Brooker/Reid
Label: A&M
Year: 1968
In 1969, while living on Ramstein AFB in Germany, my dad managed to get use of one of the basement storage rooms in building 913, the 18-unit apartment building we resided in. For a few months (until getting in trouble for having overnight guests and making too much noise...hey I was 16, whaddaya expect?) I got to use that room as a bedroom. I had a small record player that shut itself off when it got to the end of the record, which meant I got to go to sleep every night to the album of my choice. As often as not that album was Shine On Brightly, a copy of which I had gotten in trade for another album (the Best of the Beach Boys I think) from a guy who was expecting A Whiter Shade of Pale and was disappointed to discover it was not on this album. I always thought I got the better end of that deal, despite the fact that there was a skip during the fade of Quite Rightly So, causing the words "one was me" to repeat over and over until I scooted the needle over a bit. Luckily Quite Rightly So is the first song on the album, so I was usually still awake to do that.
Artist: Sagittarius
Title: My World Fell Down
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s): Shakespeare/Stephens
Label: Rhino (original label: Columbia)
Year: 1967
The Beach Boys' 1966 masterpiece Good Vibrations sent shock waves reverberating throughout the L.A. studio scene. Among those inspired by Brian Wilson's achievement were Wilson's former collaborator Gary Usher, who formed the studio band Sagittarius to record My World Fell Down in 1967. Among those participating in the project were Glen Campbell, who was the first person to take Wilson's place onstage when Wilson retired from performing to concentrate on his songwriting and record producing; Bruce Johnston, who succeeded Campbell and remains the group's bassist to this day; and Terry Melcher, best known as the producer who helped make Paul Revere and the Raiders a household name in 1965 (he was sometimes referred to as the "fifth Raider"). The rhythm section consisted of two of the top studio musicians in pop music history: bassist Carol Kaye and drummer Hal Blaine. With Campbell on lead vocals, Sagittarius was a critical and commercial success that nonetheless did not last past their first LP (possibly due to the sheer amount of ego in the group).
Wednesday, March 21, 2012
Stuck in the Psychedelic Era # 1212 (starts 3/22/12)
Artist: Jimi Hendrix Experience
Title: Stone Free
Source: CD: Are You Experienced? (bonus track originally released in UK as 45 RPM single B side)
Writer(s): Jimi Hendrix
Label: MCA (original label: Track)
Year: 1966
Whether or not Stone Free was the first song ever written by Jimi Hendrix, there is no doubt it was the first original composition to be recorded by the Jimi Hendrix Experience. In fact, it is the only song written by Hendrix to be released in 1966 (as the B side to Hey Joe). The song was later included on the Smash Hits anthology album. A newer version was recorded in 1969 under the title Stone Free Again.
Artist: Cream
Title: I Feel Free
Source: LP: Fresh Cream
Writer(s): Bruce/Brown
Label: Atco
Year: 1966
The first single released by Cream was I Feel Free. As was the case with nearly every British single at the time, the song was not included on Fresh Cream, the band's debut LP. In the US, however, singles were commonly given a prominent place on albums, and the US version of Fresh Cream actually opens with I Feel Free. To my knowledge the song, being basically a studio creation, was never performed live.
Artist: Simon and Garfunkel
Title: Richard Cory
Source: CD: Collected Works (originally released on LP: Sounds Of Silence)
Writer(s): Paul Simon
Label: Columbia
Year: 1966
My ultra-cool 9th-grade English teacher brought in a copy of Simon And Garfunkel's Sounds Of Silence album one day. As a class, we deconstructed the lyrics of two of the songs on that album: A Most Peculiar Man and Richard Cory. Both songs deal with suicide, but under vastly different circumstances. Whereas A Most Peculiar Man is about a lonely man who lives an isolated existence as an anonymouse resident of a boarding house, Richard Cory deals with a character who is at the center of society, known and envied by many. Too bad most high school English classes weren't that interesting.
Artist: Five Americans
Title: I See The Light
Source: LP: Nuggets Vol. 1-The Hits (originally released as 45 RPM single)
Writer(s): Durrill/Ezell/Rabon
Label: Rhino (original label: Abnak)
Year: 1965
For years I was under the impression that the Five Americans were a Texas band, mainly due to Abnak Records having a Texas address. It turns out, though, that the band was actually from Durant, Oklahoma, although by the time they had their biggest hit, Western Union, they were playing most of their gigs in the Lone Star state. I See The Light is an earlier single built around a repeating Farfisa organ riff that leads into a song that can only be described as in your face.
Artist: Bob Dylan
Title: I Want You
Source: CD: Bob Dylan's Greatest Hits (originally released as 45 RPM single and on LP: Blonde On Blonde)
Writer(s): Bob Dylan
Label: Columbia
Year: 1966
Bob Dylan's first single of 1966 was released in advance of his Blonde On Blonde album and was immediately picked by the rock press to be a hit. It was.
Artist: Rolling Stones
Title: In Another Land
Source: LP: Their Satanic Majesties Request
Writer(s): Bill Wyman
Label: London
Year: 1967
In Another Land was the first Rolling Stones song written and sung by bassist Bill Wyman, and was even released in the UK as a Wyman single. The song originally appeared on the Stones' most psychedelic album, Their Satanic Majesties Request, in late 1967.
Artist: Iron Butterfly
Title: Gentle As It May Seem
Source: CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released on LP: Heavy)
Writer(s): DeLoach/Weis
Label: Rhino (original label: Atco)
Year: 1968
Personnel changes were pretty much a regular occurrence with Iron Butterfly. After the first album, Heavy, everyone except keyboardist Doug Ingle and drummer Ron Bushy left the band. This was accompanied by a drastic change in style as well, as Ingle took over lead vocals from Darryl DeLoach and became the group's primary songwriter. Gentle As It Seems, written by DeLoach and lead guitarist Danny Weis, is a good example of the band's original sound, back when they were scrounging for gigs in a rapidly shrinking L.A. all-ages club scene.
Artist: Traffic
Title: Empty Pages
Source: 45 RPM single (reissue)
Writer(s): Winwood/Capaldi
Label: Silver Spotlight
Year: 1970
Traffic was formed in 1967 by Steve Winwood, after ending his association with the Spencer Davis Group. The original group, also featuring Dave Mason, Jim Capaldi and Chris Wood, put out two and a half albums before disbanding in early 1969. A successful live album, Welcome to the Canteen, prompted the band to reform (without Mason), releasing the album John Barleycorn Must Die in 1970. Although Empty Pages was released as a single (with a mono mix heard here), it got most of its airplay on progressive FM stations, and as those stations were replaced by (or became) album rock stations, the song continued to get extensive airplay for many years.
Artist: Jefferson Airplane
Title: Come Back Baby
Source: CD: Surrealistic Pillow (bonus track)
Writer(s): Lightnin' Hopkins
Label: RCA/BMG Heritage
Year: 1967
Many artists end up recording more material than they can fit on an album and end up holding back songs for later release. Sometimes those songs end up on subsequent albums. Sometimes they stay on the shelf indefinitely. Such is the case with Come Back Baby, a rocked-out version of an old Lightnin' Hopkins tune arranged by lead guitarist Jorma Kaukonen.
Artist: Jefferson Airplane
Title: Chaffeur Blues
Source: LP: Jefferson Airplane Takes Off
Writer(s): Lester Melrose
Label: RCA Victor
Year: 1966
The Jefferson Airplane's original female vocalist was Signe Toly Anderson. Unlike Grace Slick, who basically shared lead vocals with founder Marty Balin, Anderson mostly functioned as a backup singer. The only Airplane recording to feature Anderson as a lead vocal was Chaffeur Blues, a cover of an old Lester Melrose tune. The song was featured on the band's first LP, Jefferson Airplane Takes Off.
Artist: Jefferson Airplane
Title: J.P.P. McStep B. Blues
Source: CD: Surrealistic Pillow (bonus track originally released on LP: Early Flight)
Writer(s): Skip Spence
Label: RCA/BMG Heritage
Year: Recorded 1966, released 1974
One of the first songs recorded for the Surrealistic Pillow album, J.P.P. McStep B. Blues ended up being shelved, possibly because drummer Skip Spence, who wrote the song, had left the band by the time the album came out.
Artist: Music Machine
Title: Talk Talk
Source: CD: More Nuggets (originally released as 45 RPM single and on LP: Turn On The Music Machine)
Writer(s): Sean Bonniwell
Label: Rhino
Year: 1966
The Music Machine was one of the most sophisticated bands to appear on the L.A. club scene in 1966, yet their only major hit, Talk Talk, was deceptively simple and straightforward punk-rock, and still holds up as two of the most intense minutes of rock music ever to crack the top 40 charts.
Artist: Buffalo Springfield
Title: For What It's Worth (originally released as 45 RPM single)
Source: CD: Retrospective
Writer(s): Stephen Stills
Label: Atco
Year: 1967
Most people associate the name Buffalo Springfield with the song For What It's Worth. And for good reason. The song is one of the greatest protest songs ever recorded, and to this day is in regular rotation on both oldies and classic rock radio stations. The song was written and recorded in November of 1966 and released in January of 1967. By then the first Buffalo Springfield LP was already on the racks, but until that point had not sold particularly well. When it became clear that For What It's Worth was turning into a major hit, Atco Records quickly recalled the album and added the song to it (as the opening track). All subsequent pressings of the LP (and later the CD) contain For What It's Worth, making earlier copies of the album somewhat of a rarity and quite collectable.
Artist: Turtles
Title: Can You Hear The Cows
Source: 45 RPM single B side
Writer(s): The Turtles
Label: White Whale
Year: 1968
By late 1968 the Turtles already had their best times behind them. After a failed attempt at self-production (the record company refused to release all but one of the tracks they had recorded), the band went back into the studio to cut a Harry Nilsson tune, The Story of Rock and Roll. Can You Hear the Cows, sort of a twisted throwback to their days as the surf music band known as the Crossfires and sounding oddly like the mid-80s Beach Boys, appeared on the B side of that single.
Artist: John Mayall
Title: Brand New Start
Source: LP: Blues Alone
Writer(s): John Mayall
Label: London
Year: 1967
In between all the comings and goings among personnel in the Bluesbreakers, bandleader John Mayall found time to record a solo album. Unlike most "solo" albums of the time, which tended to use studio musicians to back the soloist, Blues Alone features Mayall playing every non-percussion instrument on the album (Keef Hartley played drums). The opening track, Brand New Start, is a classic example of Mayall's style of blues.
Artist: Country Joe And The Fish
Title: Death Sound Blues
Source: CD: Electric Music For The Mind And Body
Writer(s): Joe McDonald
Label: Vanguard
Year: 1967
I generally use the term "psychedelic" to describe a musical attitude that existed during a particular period of time rather than a specific style of music. On the other hand, the term "acid rock" is better suited for describing music that was composed and/or performed under the influence of certain mind-expanding substances. That said, the first album by Country Joe and the Fish is a classic example of acid rock. I mean, really, is there any other way to describe Death Sound Blues than "the blues on acid"?
Artist: Otis Redding
Title: Satisfaction
Source: 45 RPM single
Writer(s): Jagger/Richards
Label: Volt
Year: 1966
Some may have questioned the appearance of a "soul" band like Sly and the Family Stone at what was essentially a rock festival at Woodstock, but there was precedent: Otis Redding had stolen the show at the first of the great rock festivals at Monterey two years earlier. One of the songs he electrified the crowd with was a hard-driving version of the Rolling Stones' "Satisfaction", heard here in its 1966 studio version, featuring the MGs and the Bar-Kays backing up the "big O".
Artist: Tikis
Title: Bye Bye Bye
Source: CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released as 45 RPM single)
Writer(s): Templeman/Scoppetone
Label: Rhino (original label: Warner Brothers)
Year: 1966
The Tikis were another one of those early San Francisco bands that drew their inspiration more from the Beatles than from the emerging counter-culture. Led by Ted Templeton and Dick Scoppetone (both of whom would end up with careers in the music business), the group featured tight harmonies and catchy melodies. They found greater success in 1967 as Harper's Bizarre with their cover of Simon And Garfunkel's 59th Street Bridge Song (Feelin' Groovy).
Artist: Blues Magoos
Title: Life Is Just A Cher O' Bowlies
Source: LP: Electric Comic Book
Writer(s): Gilbert/Scala/Theilhelm
Label: Mercury
Year: 1967
Around 1968 or so, LPs starting carrying the words "Stereo-also playable mono" on the cover. This was one of the last LPs to actually be issued in both stereo and mono versions. This is the mono version that I've somehow managed to hang onto since I bought it new in 1967.
Artist: Fifty Foot Hose
Title: Red The Sign Post
Source: CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70
Writer(s): Roswicki/Blossom
Label: Rhino (original label: Limelight)
Year: 1968
Although most of the more avant-garde bands of the psychedelic era were headquarted in New York, there were some exceptions, such as San Francisco's Fifty Foot Hose. The core members of the band were founder and bassist Louis "Cork" Marcheschi, guitarist David Blossom, and his wife, vocalist Nancy Blossom. The group used a lot of unusual instruments, such as theramin, Moog synthesizer and prepared guitar and piano. Probably their most commercial song was Red The Sign Post from the LP Cauldron. After that album the group called it quits, with most of the members joining the cast of Hair. In fact, Nancy Blossom played lead character Sheila in the San Francisco production of the musical.
Artist: Who
Title: Amazing Journey
Source: CD: Woodstock: 40 Years On: Back To Yasgur's Farm
Writer(s): Pete Townshend
Label: Rhino
Year: 1969
The Who's performance at Woodstock was famously sabotaged by persistent equipment problems. As a result, most of their performance was deemed unusable for either the film or soundtrack album of the festival. In 2009 Rhino decided to issue a five-CD 40th Anniversary edition of Woodstock. Unlike previous releases, the Rhino collection chose to present the performances as near to the way the audience heard them as possible, defects and all. Under these circumstances it was decided that the technically marred Who recordings such as Amazing Journey (from Tommy) should be included in the new edition.
Artist: Syd Barrett
Title: Love You
Source: CD: An Introduction To Syd Barrett (originally released on LP: The Madcap Laughs)
Writer(s): Syd Barrett
Label: Capitol
Year: 1970
In 2010, following the death of Pink Floyd co-founder (and original leader) Syd Barrett, David Gilmour collected some of Barrett's best recordings on a CD called An Introduction To Syd Barrett. Included on the CD are songs that were released as singles in Pink Floyd's early days as well as a good number of tunes from Barrett's two solo LPs. Love You is a track from the first Barrett solo LP, The Madcap Laughs, released in 1970. Other members of Pink Floyd tried to help Barrett out with the making of the album, but by all accounts Barrett had become difficult to work with due to his deteriorating mental health.
Artist: Gypsy
Title: Time Will Make It Better
Source: LP: In The Garden
Writer(s): James Walsh
Label: Metromedia
Year: 1971
Minneapolis at first seems like an unlikely place for a thriving music scene. Nonetheless, the city has been home to a number of successful artists from the Castaways (Liar Liar) to Prince. One of the lesser-known bands to come out of the twin cities was Gypsy, led by Enrico Rosenbaum and James Walsh. After being moderately successful with a self-titled double LP (priced as if it were a single LP), the group decided to go with a standard-length album as a follow-up. In The Garden had no hit singles and was soon relegated to the budget bin, despite having some listenable tunes, most of which were written by Rosenbaum. The final track on the album, Time Will Make It Better, is the only song on In The Garden credited to Walsh.
Artist: Graham Nash and David Crosby
Title: The Wall Song
Source: 45 RPM single B side
Writer(s): David Crosby
Label: Atlantic
Year: 1972
Such was the popularity of Crosby, Stills, Nash and Young in the early 70s that each of the members, both as solo artists and as duos, released albums in addition to official group recordings, all of which sold well. One such effort was the 1972 album by Graham Nash and David Crosby. One of the more notable tracks on the album is The Wall Song, featuring (in addition to Crosby and Nash) Jerry Garcia, Phil Lesh and Bill Kreutzmann on guitar, bass and drums. The version heard here is the rare mono mix of The Wall Song, issued as a B side in 1972.
Artist: Kinks
Title: Set Me Free
Source: 45 RPM single
Writer(s): Ray Davies
Label: Reprise
Year: 1965
After scoring international success with a series of R&B influenced rockers in 1964, the Kinks started to mellow a bit in 1965, releasing more melodic songs such as Set Me Free. The band would continue to evolve throughout the decade, eventually becoming one of the first groups to release a concept album, Arthur (Or the Decline and Fall of the British Empire), in 1969.
Artist: Charlatans
Title: Codine
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released on CD: The Amazing Charlatans)
Writer(s): Buffy Sainte-Marie
Label: Rhino (original label: Sundazed)
Year: Recorded 1966; released 1996
The Charlatans did not have much luck in the studio. Getting signed by Kama Sutra Records seemed like a good idea at the time (as the Lovin' Spoonful was the label's only nationally-known act). When it came time to actually release the recordings they had made for the label, however, the problems began. The band wanted to release Buffy Saint-Marie's anti-drug song Codine as their first single, but Kama Sutra refused to issue it, instead choosing the Charlatan's cover of an obscure Coaster tune, The Shadow Knows. The single tanked, and the rest of the recordings remained unissued until Sundazed put them on a CD in 1996 (erroneously listing this song as being Codine Blues in the process).
Artist: Penny Arkade
Title: Swim
Source: Where The Action Is: L.A. Nuggets 1965-68
Writer(s): Craig Vincent Smith
Label: Rhino
Year: Recorded: 1967; released 2009
In 1967 Michael Nesmith, realizing that the Monkees had a limited shelf life, decided to produce a local L.A. band, Penny Arkade, led by singer/songwriter Craig Vincent Smith. Nesmith already had several production credits to his name with the Monkees, including a recording of Smith's Salesman on their 4th LP. Swim, like Salesman, has a touch of country about it; indeed, Nesmith himself was one of the earliest proponents of what would come to be called country-rock. In 1967, however, country-rock was still at least a year away and Nesmith was unable to find a label willing to release the record.
Artist: Sly And The Family Stone
Title: Sing A Simple Song
Source: CD: Greatest Hits
Writer(s): Sylvester Stewart
Label: Epic
Year: 1968
Featuring vocals by almost every member of the band, Sing A Simple Song is a joyous celebration of life and music that became a hit for Sly and the Family Stone in 1968.
Artist: Swingin' Medallions
Title: Double Shot (Of My Baby's Love)
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s): Vetter/Smith
Label: Rhino (original label: 4-Sale)
Year: 1965
This band from tiny Greenwood, South Carolina, scored a hit that was almost as popular in frat houses as Louie Louie. The song, Double Shot (Of My Baby's Love), was recorded in Muscle Shoals, Alabama and was released locally on the 4-Sale label. The song was re-released nationally in 1966 on Mercury's subsidiary label, Smash Records.
Artist: Love
Title: My Little Red Book
Source: LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single and on LP: Love)
Writer(s): Bacharach/David
Label: Rhino
Year: 1966
The first rock record ever released by Elektra Records was a single by Love called My Little Red Book. The track itself (which also opens Love's debut LP), is a punked out version of tune originally recorded by Manfred Mann for the What's New Pussycat movie soundtrack. Needless to say, Love's version was not exactly what Burt Bacharach and Hal David had in mind.
Artist: Lamp Of Childhood
Title: No More Running Around
Source: Where The Action Is: L.A. Nuggets 1965-68
Writer(s): Meckler/Hendricks/Tani
Label: Rhino
Year: 1967
I've often wondered how it was that a somewhat raunchy rock band like Steppenwolf ended up on the same pop-oriented record label as the Mamas and the Papas, the Grass Roots and 3 Dog Night. It turns out the Dunhill connection was from the man who produced Steppenwolf, Gabriel Mekler. Mekler was a member of the Lamp Of Childhood, a group that also included Cass Elliot's husband (and Mugwumps bandmate) Michael Hendricks. Although the Lamp had a solid pop sound, they never really caught on and by the time their third and most successful single, No More Running Around, was released, the members had already moved on to other things (like, for instance, producing Steppenwolf records).
Artist: Guess Who
Title: 8:15
Source: LP: American Woman
Writer(s): Bachman/Cummings
Label: RCA Victor
Year: 1970
The most successful album for the Guess Who was American Woman, released in 1970. In additional to the three top 10 singles on the album (No Time, No Sugar Tonight and the title track), the album featured many strong tracks, including 8:15.
Artist: Mouse And The Traps
Title: A Public Execution
Source: CD: More Nuggets (originally released as 45 RPM single)
Writer(s): Henderson/Weiss
Label: Rhino (original label: Fraternity)
Year: 1965
It's easy to imagine some kid somewhere in Texas inviting his friends over to hear the new Dylan record, only to reveal afterwards that it wasn't Dylan at all, but this band he heard while visiting his cousins down in Tyler. Mouse and the Traps, in fact, got quite a bit of airplay in that part of the state with a series of singles issued in the mid-60s. A Public Execution is unique among those singles in that the artist on the label was listed simply as Mouse.
Title: Stone Free
Source: CD: Are You Experienced? (bonus track originally released in UK as 45 RPM single B side)
Writer(s): Jimi Hendrix
Label: MCA (original label: Track)
Year: 1966
Whether or not Stone Free was the first song ever written by Jimi Hendrix, there is no doubt it was the first original composition to be recorded by the Jimi Hendrix Experience. In fact, it is the only song written by Hendrix to be released in 1966 (as the B side to Hey Joe). The song was later included on the Smash Hits anthology album. A newer version was recorded in 1969 under the title Stone Free Again.
Artist: Cream
Title: I Feel Free
Source: LP: Fresh Cream
Writer(s): Bruce/Brown
Label: Atco
Year: 1966
The first single released by Cream was I Feel Free. As was the case with nearly every British single at the time, the song was not included on Fresh Cream, the band's debut LP. In the US, however, singles were commonly given a prominent place on albums, and the US version of Fresh Cream actually opens with I Feel Free. To my knowledge the song, being basically a studio creation, was never performed live.
Artist: Simon and Garfunkel
Title: Richard Cory
Source: CD: Collected Works (originally released on LP: Sounds Of Silence)
Writer(s): Paul Simon
Label: Columbia
Year: 1966
My ultra-cool 9th-grade English teacher brought in a copy of Simon And Garfunkel's Sounds Of Silence album one day. As a class, we deconstructed the lyrics of two of the songs on that album: A Most Peculiar Man and Richard Cory. Both songs deal with suicide, but under vastly different circumstances. Whereas A Most Peculiar Man is about a lonely man who lives an isolated existence as an anonymouse resident of a boarding house, Richard Cory deals with a character who is at the center of society, known and envied by many. Too bad most high school English classes weren't that interesting.
Artist: Five Americans
Title: I See The Light
Source: LP: Nuggets Vol. 1-The Hits (originally released as 45 RPM single)
Writer(s): Durrill/Ezell/Rabon
Label: Rhino (original label: Abnak)
Year: 1965
For years I was under the impression that the Five Americans were a Texas band, mainly due to Abnak Records having a Texas address. It turns out, though, that the band was actually from Durant, Oklahoma, although by the time they had their biggest hit, Western Union, they were playing most of their gigs in the Lone Star state. I See The Light is an earlier single built around a repeating Farfisa organ riff that leads into a song that can only be described as in your face.
Artist: Bob Dylan
Title: I Want You
Source: CD: Bob Dylan's Greatest Hits (originally released as 45 RPM single and on LP: Blonde On Blonde)
Writer(s): Bob Dylan
Label: Columbia
Year: 1966
Bob Dylan's first single of 1966 was released in advance of his Blonde On Blonde album and was immediately picked by the rock press to be a hit. It was.
Artist: Rolling Stones
Title: In Another Land
Source: LP: Their Satanic Majesties Request
Writer(s): Bill Wyman
Label: London
Year: 1967
In Another Land was the first Rolling Stones song written and sung by bassist Bill Wyman, and was even released in the UK as a Wyman single. The song originally appeared on the Stones' most psychedelic album, Their Satanic Majesties Request, in late 1967.
Artist: Iron Butterfly
Title: Gentle As It May Seem
Source: CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released on LP: Heavy)
Writer(s): DeLoach/Weis
Label: Rhino (original label: Atco)
Year: 1968
Personnel changes were pretty much a regular occurrence with Iron Butterfly. After the first album, Heavy, everyone except keyboardist Doug Ingle and drummer Ron Bushy left the band. This was accompanied by a drastic change in style as well, as Ingle took over lead vocals from Darryl DeLoach and became the group's primary songwriter. Gentle As It Seems, written by DeLoach and lead guitarist Danny Weis, is a good example of the band's original sound, back when they were scrounging for gigs in a rapidly shrinking L.A. all-ages club scene.
Artist: Traffic
Title: Empty Pages
Source: 45 RPM single (reissue)
Writer(s): Winwood/Capaldi
Label: Silver Spotlight
Year: 1970
Traffic was formed in 1967 by Steve Winwood, after ending his association with the Spencer Davis Group. The original group, also featuring Dave Mason, Jim Capaldi and Chris Wood, put out two and a half albums before disbanding in early 1969. A successful live album, Welcome to the Canteen, prompted the band to reform (without Mason), releasing the album John Barleycorn Must Die in 1970. Although Empty Pages was released as a single (with a mono mix heard here), it got most of its airplay on progressive FM stations, and as those stations were replaced by (or became) album rock stations, the song continued to get extensive airplay for many years.
Artist: Jefferson Airplane
Title: Come Back Baby
Source: CD: Surrealistic Pillow (bonus track)
Writer(s): Lightnin' Hopkins
Label: RCA/BMG Heritage
Year: 1967
Many artists end up recording more material than they can fit on an album and end up holding back songs for later release. Sometimes those songs end up on subsequent albums. Sometimes they stay on the shelf indefinitely. Such is the case with Come Back Baby, a rocked-out version of an old Lightnin' Hopkins tune arranged by lead guitarist Jorma Kaukonen.
Artist: Jefferson Airplane
Title: Chaffeur Blues
Source: LP: Jefferson Airplane Takes Off
Writer(s): Lester Melrose
Label: RCA Victor
Year: 1966
The Jefferson Airplane's original female vocalist was Signe Toly Anderson. Unlike Grace Slick, who basically shared lead vocals with founder Marty Balin, Anderson mostly functioned as a backup singer. The only Airplane recording to feature Anderson as a lead vocal was Chaffeur Blues, a cover of an old Lester Melrose tune. The song was featured on the band's first LP, Jefferson Airplane Takes Off.
Artist: Jefferson Airplane
Title: J.P.P. McStep B. Blues
Source: CD: Surrealistic Pillow (bonus track originally released on LP: Early Flight)
Writer(s): Skip Spence
Label: RCA/BMG Heritage
Year: Recorded 1966, released 1974
One of the first songs recorded for the Surrealistic Pillow album, J.P.P. McStep B. Blues ended up being shelved, possibly because drummer Skip Spence, who wrote the song, had left the band by the time the album came out.
Artist: Music Machine
Title: Talk Talk
Source: CD: More Nuggets (originally released as 45 RPM single and on LP: Turn On The Music Machine)
Writer(s): Sean Bonniwell
Label: Rhino
Year: 1966
The Music Machine was one of the most sophisticated bands to appear on the L.A. club scene in 1966, yet their only major hit, Talk Talk, was deceptively simple and straightforward punk-rock, and still holds up as two of the most intense minutes of rock music ever to crack the top 40 charts.
Artist: Buffalo Springfield
Title: For What It's Worth (originally released as 45 RPM single)
Source: CD: Retrospective
Writer(s): Stephen Stills
Label: Atco
Year: 1967
Most people associate the name Buffalo Springfield with the song For What It's Worth. And for good reason. The song is one of the greatest protest songs ever recorded, and to this day is in regular rotation on both oldies and classic rock radio stations. The song was written and recorded in November of 1966 and released in January of 1967. By then the first Buffalo Springfield LP was already on the racks, but until that point had not sold particularly well. When it became clear that For What It's Worth was turning into a major hit, Atco Records quickly recalled the album and added the song to it (as the opening track). All subsequent pressings of the LP (and later the CD) contain For What It's Worth, making earlier copies of the album somewhat of a rarity and quite collectable.
Artist: Turtles
Title: Can You Hear The Cows
Source: 45 RPM single B side
Writer(s): The Turtles
Label: White Whale
Year: 1968
By late 1968 the Turtles already had their best times behind them. After a failed attempt at self-production (the record company refused to release all but one of the tracks they had recorded), the band went back into the studio to cut a Harry Nilsson tune, The Story of Rock and Roll. Can You Hear the Cows, sort of a twisted throwback to their days as the surf music band known as the Crossfires and sounding oddly like the mid-80s Beach Boys, appeared on the B side of that single.
Artist: John Mayall
Title: Brand New Start
Source: LP: Blues Alone
Writer(s): John Mayall
Label: London
Year: 1967
In between all the comings and goings among personnel in the Bluesbreakers, bandleader John Mayall found time to record a solo album. Unlike most "solo" albums of the time, which tended to use studio musicians to back the soloist, Blues Alone features Mayall playing every non-percussion instrument on the album (Keef Hartley played drums). The opening track, Brand New Start, is a classic example of Mayall's style of blues.
Artist: Country Joe And The Fish
Title: Death Sound Blues
Source: CD: Electric Music For The Mind And Body
Writer(s): Joe McDonald
Label: Vanguard
Year: 1967
I generally use the term "psychedelic" to describe a musical attitude that existed during a particular period of time rather than a specific style of music. On the other hand, the term "acid rock" is better suited for describing music that was composed and/or performed under the influence of certain mind-expanding substances. That said, the first album by Country Joe and the Fish is a classic example of acid rock. I mean, really, is there any other way to describe Death Sound Blues than "the blues on acid"?
Artist: Otis Redding
Title: Satisfaction
Source: 45 RPM single
Writer(s): Jagger/Richards
Label: Volt
Year: 1966
Some may have questioned the appearance of a "soul" band like Sly and the Family Stone at what was essentially a rock festival at Woodstock, but there was precedent: Otis Redding had stolen the show at the first of the great rock festivals at Monterey two years earlier. One of the songs he electrified the crowd with was a hard-driving version of the Rolling Stones' "Satisfaction", heard here in its 1966 studio version, featuring the MGs and the Bar-Kays backing up the "big O".
Artist: Tikis
Title: Bye Bye Bye
Source: CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released as 45 RPM single)
Writer(s): Templeman/Scoppetone
Label: Rhino (original label: Warner Brothers)
Year: 1966
The Tikis were another one of those early San Francisco bands that drew their inspiration more from the Beatles than from the emerging counter-culture. Led by Ted Templeton and Dick Scoppetone (both of whom would end up with careers in the music business), the group featured tight harmonies and catchy melodies. They found greater success in 1967 as Harper's Bizarre with their cover of Simon And Garfunkel's 59th Street Bridge Song (Feelin' Groovy).
Artist: Blues Magoos
Title: Life Is Just A Cher O' Bowlies
Source: LP: Electric Comic Book
Writer(s): Gilbert/Scala/Theilhelm
Label: Mercury
Year: 1967
Around 1968 or so, LPs starting carrying the words "Stereo-also playable mono" on the cover. This was one of the last LPs to actually be issued in both stereo and mono versions. This is the mono version that I've somehow managed to hang onto since I bought it new in 1967.
Artist: Fifty Foot Hose
Title: Red The Sign Post
Source: CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70
Writer(s): Roswicki/Blossom
Label: Rhino (original label: Limelight)
Year: 1968
Although most of the more avant-garde bands of the psychedelic era were headquarted in New York, there were some exceptions, such as San Francisco's Fifty Foot Hose. The core members of the band were founder and bassist Louis "Cork" Marcheschi, guitarist David Blossom, and his wife, vocalist Nancy Blossom. The group used a lot of unusual instruments, such as theramin, Moog synthesizer and prepared guitar and piano. Probably their most commercial song was Red The Sign Post from the LP Cauldron. After that album the group called it quits, with most of the members joining the cast of Hair. In fact, Nancy Blossom played lead character Sheila in the San Francisco production of the musical.
Artist: Who
Title: Amazing Journey
Source: CD: Woodstock: 40 Years On: Back To Yasgur's Farm
Writer(s): Pete Townshend
Label: Rhino
Year: 1969
The Who's performance at Woodstock was famously sabotaged by persistent equipment problems. As a result, most of their performance was deemed unusable for either the film or soundtrack album of the festival. In 2009 Rhino decided to issue a five-CD 40th Anniversary edition of Woodstock. Unlike previous releases, the Rhino collection chose to present the performances as near to the way the audience heard them as possible, defects and all. Under these circumstances it was decided that the technically marred Who recordings such as Amazing Journey (from Tommy) should be included in the new edition.
Artist: Syd Barrett
Title: Love You
Source: CD: An Introduction To Syd Barrett (originally released on LP: The Madcap Laughs)
Writer(s): Syd Barrett
Label: Capitol
Year: 1970
In 2010, following the death of Pink Floyd co-founder (and original leader) Syd Barrett, David Gilmour collected some of Barrett's best recordings on a CD called An Introduction To Syd Barrett. Included on the CD are songs that were released as singles in Pink Floyd's early days as well as a good number of tunes from Barrett's two solo LPs. Love You is a track from the first Barrett solo LP, The Madcap Laughs, released in 1970. Other members of Pink Floyd tried to help Barrett out with the making of the album, but by all accounts Barrett had become difficult to work with due to his deteriorating mental health.
Artist: Gypsy
Title: Time Will Make It Better
Source: LP: In The Garden
Writer(s): James Walsh
Label: Metromedia
Year: 1971
Minneapolis at first seems like an unlikely place for a thriving music scene. Nonetheless, the city has been home to a number of successful artists from the Castaways (Liar Liar) to Prince. One of the lesser-known bands to come out of the twin cities was Gypsy, led by Enrico Rosenbaum and James Walsh. After being moderately successful with a self-titled double LP (priced as if it were a single LP), the group decided to go with a standard-length album as a follow-up. In The Garden had no hit singles and was soon relegated to the budget bin, despite having some listenable tunes, most of which were written by Rosenbaum. The final track on the album, Time Will Make It Better, is the only song on In The Garden credited to Walsh.
Artist: Graham Nash and David Crosby
Title: The Wall Song
Source: 45 RPM single B side
Writer(s): David Crosby
Label: Atlantic
Year: 1972
Such was the popularity of Crosby, Stills, Nash and Young in the early 70s that each of the members, both as solo artists and as duos, released albums in addition to official group recordings, all of which sold well. One such effort was the 1972 album by Graham Nash and David Crosby. One of the more notable tracks on the album is The Wall Song, featuring (in addition to Crosby and Nash) Jerry Garcia, Phil Lesh and Bill Kreutzmann on guitar, bass and drums. The version heard here is the rare mono mix of The Wall Song, issued as a B side in 1972.
Artist: Kinks
Title: Set Me Free
Source: 45 RPM single
Writer(s): Ray Davies
Label: Reprise
Year: 1965
After scoring international success with a series of R&B influenced rockers in 1964, the Kinks started to mellow a bit in 1965, releasing more melodic songs such as Set Me Free. The band would continue to evolve throughout the decade, eventually becoming one of the first groups to release a concept album, Arthur (Or the Decline and Fall of the British Empire), in 1969.
Artist: Charlatans
Title: Codine
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released on CD: The Amazing Charlatans)
Writer(s): Buffy Sainte-Marie
Label: Rhino (original label: Sundazed)
Year: Recorded 1966; released 1996
The Charlatans did not have much luck in the studio. Getting signed by Kama Sutra Records seemed like a good idea at the time (as the Lovin' Spoonful was the label's only nationally-known act). When it came time to actually release the recordings they had made for the label, however, the problems began. The band wanted to release Buffy Saint-Marie's anti-drug song Codine as their first single, but Kama Sutra refused to issue it, instead choosing the Charlatan's cover of an obscure Coaster tune, The Shadow Knows. The single tanked, and the rest of the recordings remained unissued until Sundazed put them on a CD in 1996 (erroneously listing this song as being Codine Blues in the process).
Artist: Penny Arkade
Title: Swim
Source: Where The Action Is: L.A. Nuggets 1965-68
Writer(s): Craig Vincent Smith
Label: Rhino
Year: Recorded: 1967; released 2009
In 1967 Michael Nesmith, realizing that the Monkees had a limited shelf life, decided to produce a local L.A. band, Penny Arkade, led by singer/songwriter Craig Vincent Smith. Nesmith already had several production credits to his name with the Monkees, including a recording of Smith's Salesman on their 4th LP. Swim, like Salesman, has a touch of country about it; indeed, Nesmith himself was one of the earliest proponents of what would come to be called country-rock. In 1967, however, country-rock was still at least a year away and Nesmith was unable to find a label willing to release the record.
Artist: Sly And The Family Stone
Title: Sing A Simple Song
Source: CD: Greatest Hits
Writer(s): Sylvester Stewart
Label: Epic
Year: 1968
Featuring vocals by almost every member of the band, Sing A Simple Song is a joyous celebration of life and music that became a hit for Sly and the Family Stone in 1968.
Artist: Swingin' Medallions
Title: Double Shot (Of My Baby's Love)
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s): Vetter/Smith
Label: Rhino (original label: 4-Sale)
Year: 1965
This band from tiny Greenwood, South Carolina, scored a hit that was almost as popular in frat houses as Louie Louie. The song, Double Shot (Of My Baby's Love), was recorded in Muscle Shoals, Alabama and was released locally on the 4-Sale label. The song was re-released nationally in 1966 on Mercury's subsidiary label, Smash Records.
Artist: Love
Title: My Little Red Book
Source: LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single and on LP: Love)
Writer(s): Bacharach/David
Label: Rhino
Year: 1966
The first rock record ever released by Elektra Records was a single by Love called My Little Red Book. The track itself (which also opens Love's debut LP), is a punked out version of tune originally recorded by Manfred Mann for the What's New Pussycat movie soundtrack. Needless to say, Love's version was not exactly what Burt Bacharach and Hal David had in mind.
Artist: Lamp Of Childhood
Title: No More Running Around
Source: Where The Action Is: L.A. Nuggets 1965-68
Writer(s): Meckler/Hendricks/Tani
Label: Rhino
Year: 1967
I've often wondered how it was that a somewhat raunchy rock band like Steppenwolf ended up on the same pop-oriented record label as the Mamas and the Papas, the Grass Roots and 3 Dog Night. It turns out the Dunhill connection was from the man who produced Steppenwolf, Gabriel Mekler. Mekler was a member of the Lamp Of Childhood, a group that also included Cass Elliot's husband (and Mugwumps bandmate) Michael Hendricks. Although the Lamp had a solid pop sound, they never really caught on and by the time their third and most successful single, No More Running Around, was released, the members had already moved on to other things (like, for instance, producing Steppenwolf records).
Artist: Guess Who
Title: 8:15
Source: LP: American Woman
Writer(s): Bachman/Cummings
Label: RCA Victor
Year: 1970
The most successful album for the Guess Who was American Woman, released in 1970. In additional to the three top 10 singles on the album (No Time, No Sugar Tonight and the title track), the album featured many strong tracks, including 8:15.
Artist: Mouse And The Traps
Title: A Public Execution
Source: CD: More Nuggets (originally released as 45 RPM single)
Writer(s): Henderson/Weiss
Label: Rhino (original label: Fraternity)
Year: 1965
It's easy to imagine some kid somewhere in Texas inviting his friends over to hear the new Dylan record, only to reveal afterwards that it wasn't Dylan at all, but this band he heard while visiting his cousins down in Tyler. Mouse and the Traps, in fact, got quite a bit of airplay in that part of the state with a series of singles issued in the mid-60s. A Public Execution is unique among those singles in that the artist on the label was listed simply as Mouse.
Thursday, March 15, 2012
Stuck in the Psychedelic Era # 1211 (starts 3/15/12)
Artist: Shadows of Knight
Title: Gloria
Source: LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single)
Writer(s): Van Morrison
Label: Rhino (original label: Dunwich)
Year: 1966
The original Them version of Van Morrison's Gloria found itself banned on the majority of US radio stations due to controversial lyrics. By changing one line (essentially substituting "around here" for "up to my room") the suburban Chicago punk-blues band Shadows of Knight turned it into a huge hit and a garage band standard.
Artist: Donovan
Title: The Observation
Source: CD: Mellow Yellow
Writer(s): Donovan Leitch
Label: EMI (original label: Epic)
Year: 1967
Donovan was at first hailed as Britain's answer to Bob Dylan, but by 1967 he was proving that he was much more than that. The Observation is one of many innovative tunes that helped redefine Donovan from folk singer to singer/songwriter, transforming the entire genre in the process.
Artist: Bonzo Dog Band
Title: I'm The Urban Spaceman
Source: LP: Progressive Heavies (originally released as 45 RPM single)
Writer(s): Neil Innes
Label: United Artists
Year: 1968
The Bonzo Dog Dada Band (as they were originally called) was as much theatre (note the British spelling) as music, and were known for such antics as starting out their performances by doing calisthentics (after being introduced as the warm-up band) and having one of the members, "Legs" Larry Smith tapdance on stage (he was actually quite good). In 1967 they became the resident band on Do Not Adjust Your Set, a children's TV show that also featured sketch comedy by future Monty Python members Eric Idle, Terry Jones and Michael Palin and David Jason, the future voice of Mr. Toad and Danger Mouse. In 1968 they released their only hit single, I'm The Urban Spaceman, co-produced by Paul McCartney. Neil Innes would go on to hook up with Eric Idle for the Rutles projects, among others, and is often referred to as the Seventh Python.
Artist: Big Brother And The Holding Company
Title: Call On Me
Source: CD: Live At The Carousel Ballroom-1968
Writer(s): Sam Andrew
Label: Columbia/Legacy
Year: 1968
In early 1968 a consortium of three local San Francisco bands (Jefferson Airplane, Quicksilver Messenger Service and the Grateful Dead) set out to create a venue that would be an alternative to those controlled by professional promoters such as Bill Graham. They rented a disused place called the Carousel Ballroom and set about fixing the place up. The sound system at the Carousel was set up and run by Owsley Stanley, the legendary Grateful Dead sound man also known as Bear. Bear, as a rule, made recordings of every gig he ran sound for, using his own unique two channel system (one channel for the vocals, the other for guitars, bass and keyboards, with the drums being picked up by both sets of microphones). Bear called these recordings "sonic journals", as their primary purpose was similar to that of training films that sports coaches made during games. After a gig Bear and the band members would listen to these tapes and try to figure out what could be done to improve future performances. On March 12, 2012 (the first anniversary of Bear's death in an automobile accident), Columbia/Legacy released Big Brother And The Holding Company Live At The Carousel Ballroom, recorded on Sunday June 23, 1968, just two weeks before the Carousel experiment came to an end. It was the second of two consecutive nights that Big Brother played at the Carousel, their only gigs at the ballroom. In addition to the full set from June 23rd, the disc contains one bonus track from the previous night's performance: an alternate version of Call On Me, a song that first appeared in studio form on the band's 1967 debut LP on Chicago's Mainstream label.
Artist: Them
Title: Waltz Of The Flies
Source: LP: Time Out! Time In! For Them
Writer(s): Tom Lane
Label: Tower
Year: 1968
Once you get past the facts that 1) this a band best known as the starting place of a singer (Van Morrison) who was no longer with the group by the time this album was recorded, and 2) this album came out on Tower Records, the audio equilivant of AIP movie studios, you can appreciate the fact that Time Out! Time In! For Them is actually a pretty decent album.
Artist: Steppenwolf
Title: Born To Be Wild
Source: CD: Steppenwolf
Writer(s): Mars Bonfire
Label: MCA (original label: Dunhill)
Year: 1968
Born To Be Wild's status as a counter-cultural anthem was cemented when it was chosen for the soundtrack of the movie Easy Rider. The popularity of both the song and the movie resulted in Steppenwolf becoming the all-time favorite band of bikers all over the world.
Artist: Who
Title: Magic Bus
Source: 45 RPM single
Writer(s): Pete Townshend
Label: Decca
Year: 1968
While working on their landmark Tommy album, the Who continued to crank out singles throughout 1968. One of the most popular was Magic Bus, a song that remained in the band's live repertoire for many years.
Artist: Bloodrock
Title: D.O.A.
Source: CD: Bloodrock 2
Writer(s): Cobb/Grundy/Hill/Pickens/Rutledge
Label: One Way (original label: Capitol)
Year: 1970
Bloodrock gained infamy in 1970 with the inclusion of D.O.A. on their second LP, a song reputed to be the cause of more bad acid trips than any other track ever recorded. Although the origins of the song are popularly attributed to a plane crash that killed several student atheletes in October of 1970, the fact that the album was already in the hands of record reviewers within a week of that event makes it unlikely that the two are related. The more likely story is that it was inspired by band member Lee Pickens's witnessing of a friend crashing his light plane a couple years before. Regardless of the song's origins, D.O.A. has to be considered one of the creepiest recordings ever made.
Artist: Santana
Title: No One To Depend On
Source: 45 RPM single
Writer(s): Carabella/Escobida/Rolie
Label: Columbia
Year: 1971
Santana's third LP (which like their debut LP was called simply Santana), was the last by the band's original lineup. Among the better-known tracks on the LP was No One To Depend On, featuring a guitar solo by teen phenom Neal Schon (who would go on to co-found Journey). The version here is a rare mono pressing issued as a single in 1972.
Artist: Animals
Title: Dimples
Source: LP: On Tour
Writer(s): Hooker/Bracken
Label: M-G-M
Year: 1965
Of all the bands to come out of England as part of the British invasion of the mid-1960s, none were bigger fans of US blues and R&B artists than the Animals, from Newcastle. The group reportedly spent all of their spare time checking out independent record stores looking for obscure old records while on the first US tour, and upon returning to the UK set about recording their own versions of several of these songs. Among the tracks recorded was Dimples, a John Lee Hooker tune that was included on the Animals second US LP, On Tour. A different version of Dimples was included on the album The Animals.
Artist: Uniques
Title: You Ain't Tuff
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era
Writer(s): Henderson/Puckett
Label: Rhino
Year: 1965
The Uniques were a band operating out of Western Louisiana that recorded several singles in Tyler Texas for the Paula label. You Ain't Tuff, released in 1965, is a classic example of mid-60s garage rock, an ironic fact considering that lead vocalist Joe Stampley went on to become on of the top Country stars of the 1980s.
Artist: Fleetwood Mac
Title: Searching For Madge
Source: LP: Then Play On
Writer(s): John McVie
Label: Reprise
Year: 1969
The original classic Fleetwood Mac lineup featuring Peter Green and Danny Kirwan on guitars hit its peak with the album Then Play On, released in 1969. Two of the tracks on the album are actually sections of a long jam session, both containing the word Madge in their official title. The longer of these is Searching For Madge, which runs nearly seven minutes.
Artist: James Brown
Title: Super Bad-Parts 1&2
Source: CD: 20 All-Time Greatest Hits (originally released as 45 RPM single)
Writer(s): James Brown
Label: Polydor (original label: King)
Year: 1970
A bit of slang that started in the 70s and persists today is using the word "bad" to describe something that, well, kicks ass. The originator of this usage was none other than the Godfather of Soul, James Brown, who used the term in his 1970 recording Super Bad. The original recording was in three parts, with the single version putting parts one and two on the A side and part three on the B side of the record. Brown did this with a lot of his recordings, and often used the tunes as stepping off points for extended studio jams on his albums. (The LP version of Cold Sweat, for instance, takes up an entire album side.)
Artist: Big Brother And The Holding Company
Title: It's A Deal
Source: CD: Live At The Carousel Ballroom-1968
Writer(s): Albin/Andrew/Getz/Gurley/Joplin
Label: Columbia/Legacy
Year: 1968
There are very few recorded songs attributed to the entire lineup of Big Brother And The Holding Company. It's A Deal, from their new Live At The Carousel Ballroom-1968 CD, is one of them.
Artist: Merry-Go-Round
Title: Listen Listen
Source: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer(s): Emitt Rhodes
Label: Rhino (original label: A&M)
Year: 1968
In 1968, drummer/vocalist Emmit Rhodes was on the verge of branching out on a solo career. One of the last songs released under the Merry-Go-Round banner was Listen Listen, a song very obviously influenced by the Beatles.
Artist: Fever Tree
Title: Filigree And Shadow
Source: LP: Fever Tree
Writer(s): Scott & Vivian Holtzmann
Label: Uni
Year: 1968
1968 was the year of husband and wife songwriting/producing teams such as Scott and Vivian Holtzmann, who provided the music for Houston-based Fever Tree's first LP. Side One of that album, which ends with the song Filigree And Shadow, is probably the stronger of the album's two sides.
Artist: Jimi Hendrix Experience
Title: EXP/Up From The Skies
Source: LP: Axis: Bold As Love
Writer(s): Jimi Hendrix
Label: MCA (original label: Reprise)
Year: 1967
The second Jimi Hendrix Experience album, Axis: Bold As Love, is very much a studio creation. Hendrix had been taking a growing interest in what could be done with multiple tracks to work with, and came up with a masterpiece. What makes the achievement even more remarkable is the fact that he actually only had four tracks to work with (compared to the virtually unlimited number available with modern digital equipment). EXP, which opens the album, is an exercise in creative feedback bouncing from speaker to speaker. The intro to the piece is a faux interview of a slowed-down Hendrix (posing as his friend Paul Caruso) by bassist Noel Redding. The track leads directly into Up From The Skies, the only song on the album to be issued as a single in the US. Up From The Skies features Hendrix's extensive use of a wah-wah pedal, with vocals and guitar panning back and forth from speaker to speaker over the jazz-styled brushes of drummer Mitch Mitchell.
Artist: Rolling Stones
Title: Sing This All Together (See What Happens)
Source: CD: Their Satanic Majesties Request
Writer(s): Jagger/Richards
Label: Abkco (original label: London)
Year: 1967
Following the critical and commercial success of the Beatles Sgt. Pepper's Lonely Hearts Club Band, the Stones responded with their most psychedelic album ever, Their Satanic Majesties Request, with its own cover parodying the Sgt. Pepper cover. As an added touch, the Stones album featured cover art done on special holographic paper (the same material used for holo rings purchased from bubble gum machines) to simulate a 3D effect. The first side wrapped up with the nearly eight-minute Sing This All Together (See What Happens), a sort of psychedelic jam track featuring an unusual array of instruments and effects.
Artist: Jefferson Airplane
Title: Blues From An Airplane
Source: The Worst Of Jefferson Airplane
Writer(s): Balin/Spence
Label: BMG/RCA
Year: 1966
Blues From An Airplane was the opening song on the first Jefferson Airplane album, Jefferson Airplane Takes Off. Although never released as a single, it was picked by the group to open their first anthology album, The Worst Of Jefferson Airplane, as well.
Artist: Simon and Garfunkel
Title: A Hazy Shade Of Winter
Source: Collected Works (originally released as 45 RPM single and included on LP: Bookends)
Writer(s): Paul Simon
Label: Columbia
Year: 1966
Originally released as a single in 1966, A Hazy Shade Of Winter was one of several songs slated to be used in the film The Graduate. The only one of these actually used was Mrs. Robinson. The remaining songs eventually made up side two of the 1968 album Bookends, although several of them were also released as singles throughout 1967. A Hazy Shade Of Winter, being the first of these singles (and the only one released in 1966), was also the highest charting, peaking at # 13 just as the weather was turning cold.
Artist: Clefs Of Lavender Hill
Title: Stop-Get A Ticket
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s): Travis & Coventry Fairchild
Label: Rhino (original label: Thames)
Year: 1966
The Clefs Of Lavender Hill were a band from North Miami that featured not one, but two sets of siblings: the brother and sister team of Travis and Coventry Fairchild (both of which sang and played guitar) and the Moss brothers, Bill (bass) and Fred (drums). The first single from the band was a song called First Tell Me Why, but it was the B side of the record, a Beatlesque tune called Stop-Get A Ticket that became a hit on Miami radio stations. The song was picked up by Date Records and peaked nationally at #80. Subsequent releases by the Clefs failed to crack the Hot 100 and the group (after several personnel changes) finally called it quits in 1968.
Artist: Doobie Brothers
Title: Greenwood Creek
Source: LP: The Doobie Brothers
Writer(s): Tom Johnston
Label: Warner Brothers
Year: 1971
The Doobie Brothers built a reputation by playing to a tough crowd: the Hell's Angels. By all accounts they were a hard-rockin' band in the mold of Steppenwolf when playing the clubs around the San Francisco Bay area. Their first LP, however, showed an entirely different side of the band, with a greater emphasis on acoustic instruments, giving the band a sort of country-rock sound.
Artist: Crosby, Stills, Nash and Young
Title: Helpless
Source: CD: déjà vu
Writer(s): Neil Young
Label: Atlantic
Year: 1970
Many of the songs on the second Crosby, Stills, Nash and Young album, Deja Vu, sound as if they could have been on solo albums by the various band members, particularly Neil Young, whose style really didn't mesh well with the others. A prime example of this is Helpless. Despite this (or maybe because of it) Helpless got more radio airplay than most of the other songs on the album.
Artist: Country Joe And The Fish
Title: Sad And Lonely Times
Source: LP: Electric Music For The Mind And Body
Writer(s): Joe McDonald
Label: Vanguard
Year: 1967
Although most Country Joe and the Fish tunes were written and sung by Joe McDonald, guitarist Barry Melton did get a chance to do an occasional vocal as well. One such case is Sad And Lonely Times from the group's first LP.
Artist: Chocolate Watchband
Title: No Way Out
Source: CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on LP: No Way Out and as 45 RPM single B side)
Writer(s): Ed Cobb
Label: Rhino
Year: 1967
The Chocolate Watchband, from the southern part of the Bay Area (specifically Foothills Junior College in Los Altos Hills), were fairly typical of the south bay music scene, centered in San Jose. Although they were generally known for lead vocalist Dave Aguilar's ability to channel Mick Jagger with uncanny accuracy, producer Ed Cobb gave them a more psychedelic sound in the studio with the use of studio effects and other enhancements (including adding tracks to their albums that were performed entire by studio musicians). The title track of No Way Out is credited to Cobb, but in reality is a fleshing out of a jam the band had previously recorded, but never released.
Artist: Doors
Title: Take It As It Comes
Source: CD: The Doors
Writer(s): The Doors
Label: Elektra
Year: 1967
L.A.'s Whisky-A-Go-Go was the place to be in 1966. Not only were some of the city's most popular bands playing there, but for a while the house band was none other than the Doors, playing songs like Take It As It Comes. One evening Jack Holtzman of Elektra Records was among those attending the club, having been invited there to hear the Doors by Arthur Lee (who with his band Love was already recording for Elektra). After hearing two sets Holtzman signed the group to a contract with the label, making the Doors only the second rock band to record for Elektra.
Title: Gloria
Source: LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single)
Writer(s): Van Morrison
Label: Rhino (original label: Dunwich)
Year: 1966
The original Them version of Van Morrison's Gloria found itself banned on the majority of US radio stations due to controversial lyrics. By changing one line (essentially substituting "around here" for "up to my room") the suburban Chicago punk-blues band Shadows of Knight turned it into a huge hit and a garage band standard.
Artist: Donovan
Title: The Observation
Source: CD: Mellow Yellow
Writer(s): Donovan Leitch
Label: EMI (original label: Epic)
Year: 1967
Donovan was at first hailed as Britain's answer to Bob Dylan, but by 1967 he was proving that he was much more than that. The Observation is one of many innovative tunes that helped redefine Donovan from folk singer to singer/songwriter, transforming the entire genre in the process.
Artist: Bonzo Dog Band
Title: I'm The Urban Spaceman
Source: LP: Progressive Heavies (originally released as 45 RPM single)
Writer(s): Neil Innes
Label: United Artists
Year: 1968
The Bonzo Dog Dada Band (as they were originally called) was as much theatre (note the British spelling) as music, and were known for such antics as starting out their performances by doing calisthentics (after being introduced as the warm-up band) and having one of the members, "Legs" Larry Smith tapdance on stage (he was actually quite good). In 1967 they became the resident band on Do Not Adjust Your Set, a children's TV show that also featured sketch comedy by future Monty Python members Eric Idle, Terry Jones and Michael Palin and David Jason, the future voice of Mr. Toad and Danger Mouse. In 1968 they released their only hit single, I'm The Urban Spaceman, co-produced by Paul McCartney. Neil Innes would go on to hook up with Eric Idle for the Rutles projects, among others, and is often referred to as the Seventh Python.
Artist: Big Brother And The Holding Company
Title: Call On Me
Source: CD: Live At The Carousel Ballroom-1968
Writer(s): Sam Andrew
Label: Columbia/Legacy
Year: 1968
In early 1968 a consortium of three local San Francisco bands (Jefferson Airplane, Quicksilver Messenger Service and the Grateful Dead) set out to create a venue that would be an alternative to those controlled by professional promoters such as Bill Graham. They rented a disused place called the Carousel Ballroom and set about fixing the place up. The sound system at the Carousel was set up and run by Owsley Stanley, the legendary Grateful Dead sound man also known as Bear. Bear, as a rule, made recordings of every gig he ran sound for, using his own unique two channel system (one channel for the vocals, the other for guitars, bass and keyboards, with the drums being picked up by both sets of microphones). Bear called these recordings "sonic journals", as their primary purpose was similar to that of training films that sports coaches made during games. After a gig Bear and the band members would listen to these tapes and try to figure out what could be done to improve future performances. On March 12, 2012 (the first anniversary of Bear's death in an automobile accident), Columbia/Legacy released Big Brother And The Holding Company Live At The Carousel Ballroom, recorded on Sunday June 23, 1968, just two weeks before the Carousel experiment came to an end. It was the second of two consecutive nights that Big Brother played at the Carousel, their only gigs at the ballroom. In addition to the full set from June 23rd, the disc contains one bonus track from the previous night's performance: an alternate version of Call On Me, a song that first appeared in studio form on the band's 1967 debut LP on Chicago's Mainstream label.
Artist: Them
Title: Waltz Of The Flies
Source: LP: Time Out! Time In! For Them
Writer(s): Tom Lane
Label: Tower
Year: 1968
Once you get past the facts that 1) this a band best known as the starting place of a singer (Van Morrison) who was no longer with the group by the time this album was recorded, and 2) this album came out on Tower Records, the audio equilivant of AIP movie studios, you can appreciate the fact that Time Out! Time In! For Them is actually a pretty decent album.
Artist: Steppenwolf
Title: Born To Be Wild
Source: CD: Steppenwolf
Writer(s): Mars Bonfire
Label: MCA (original label: Dunhill)
Year: 1968
Born To Be Wild's status as a counter-cultural anthem was cemented when it was chosen for the soundtrack of the movie Easy Rider. The popularity of both the song and the movie resulted in Steppenwolf becoming the all-time favorite band of bikers all over the world.
Artist: Who
Title: Magic Bus
Source: 45 RPM single
Writer(s): Pete Townshend
Label: Decca
Year: 1968
While working on their landmark Tommy album, the Who continued to crank out singles throughout 1968. One of the most popular was Magic Bus, a song that remained in the band's live repertoire for many years.
Artist: Bloodrock
Title: D.O.A.
Source: CD: Bloodrock 2
Writer(s): Cobb/Grundy/Hill/Pickens/Rutledge
Label: One Way (original label: Capitol)
Year: 1970
Bloodrock gained infamy in 1970 with the inclusion of D.O.A. on their second LP, a song reputed to be the cause of more bad acid trips than any other track ever recorded. Although the origins of the song are popularly attributed to a plane crash that killed several student atheletes in October of 1970, the fact that the album was already in the hands of record reviewers within a week of that event makes it unlikely that the two are related. The more likely story is that it was inspired by band member Lee Pickens's witnessing of a friend crashing his light plane a couple years before. Regardless of the song's origins, D.O.A. has to be considered one of the creepiest recordings ever made.
Artist: Santana
Title: No One To Depend On
Source: 45 RPM single
Writer(s): Carabella/Escobida/Rolie
Label: Columbia
Year: 1971
Santana's third LP (which like their debut LP was called simply Santana), was the last by the band's original lineup. Among the better-known tracks on the LP was No One To Depend On, featuring a guitar solo by teen phenom Neal Schon (who would go on to co-found Journey). The version here is a rare mono pressing issued as a single in 1972.
Artist: Animals
Title: Dimples
Source: LP: On Tour
Writer(s): Hooker/Bracken
Label: M-G-M
Year: 1965
Of all the bands to come out of England as part of the British invasion of the mid-1960s, none were bigger fans of US blues and R&B artists than the Animals, from Newcastle. The group reportedly spent all of their spare time checking out independent record stores looking for obscure old records while on the first US tour, and upon returning to the UK set about recording their own versions of several of these songs. Among the tracks recorded was Dimples, a John Lee Hooker tune that was included on the Animals second US LP, On Tour. A different version of Dimples was included on the album The Animals.
Artist: Uniques
Title: You Ain't Tuff
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era
Writer(s): Henderson/Puckett
Label: Rhino
Year: 1965
The Uniques were a band operating out of Western Louisiana that recorded several singles in Tyler Texas for the Paula label. You Ain't Tuff, released in 1965, is a classic example of mid-60s garage rock, an ironic fact considering that lead vocalist Joe Stampley went on to become on of the top Country stars of the 1980s.
Artist: Fleetwood Mac
Title: Searching For Madge
Source: LP: Then Play On
Writer(s): John McVie
Label: Reprise
Year: 1969
The original classic Fleetwood Mac lineup featuring Peter Green and Danny Kirwan on guitars hit its peak with the album Then Play On, released in 1969. Two of the tracks on the album are actually sections of a long jam session, both containing the word Madge in their official title. The longer of these is Searching For Madge, which runs nearly seven minutes.
Artist: James Brown
Title: Super Bad-Parts 1&2
Source: CD: 20 All-Time Greatest Hits (originally released as 45 RPM single)
Writer(s): James Brown
Label: Polydor (original label: King)
Year: 1970
A bit of slang that started in the 70s and persists today is using the word "bad" to describe something that, well, kicks ass. The originator of this usage was none other than the Godfather of Soul, James Brown, who used the term in his 1970 recording Super Bad. The original recording was in three parts, with the single version putting parts one and two on the A side and part three on the B side of the record. Brown did this with a lot of his recordings, and often used the tunes as stepping off points for extended studio jams on his albums. (The LP version of Cold Sweat, for instance, takes up an entire album side.)
Artist: Big Brother And The Holding Company
Title: It's A Deal
Source: CD: Live At The Carousel Ballroom-1968
Writer(s): Albin/Andrew/Getz/Gurley/Joplin
Label: Columbia/Legacy
Year: 1968
There are very few recorded songs attributed to the entire lineup of Big Brother And The Holding Company. It's A Deal, from their new Live At The Carousel Ballroom-1968 CD, is one of them.
Artist: Merry-Go-Round
Title: Listen Listen
Source: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer(s): Emitt Rhodes
Label: Rhino (original label: A&M)
Year: 1968
In 1968, drummer/vocalist Emmit Rhodes was on the verge of branching out on a solo career. One of the last songs released under the Merry-Go-Round banner was Listen Listen, a song very obviously influenced by the Beatles.
Artist: Fever Tree
Title: Filigree And Shadow
Source: LP: Fever Tree
Writer(s): Scott & Vivian Holtzmann
Label: Uni
Year: 1968
1968 was the year of husband and wife songwriting/producing teams such as Scott and Vivian Holtzmann, who provided the music for Houston-based Fever Tree's first LP. Side One of that album, which ends with the song Filigree And Shadow, is probably the stronger of the album's two sides.
Artist: Jimi Hendrix Experience
Title: EXP/Up From The Skies
Source: LP: Axis: Bold As Love
Writer(s): Jimi Hendrix
Label: MCA (original label: Reprise)
Year: 1967
The second Jimi Hendrix Experience album, Axis: Bold As Love, is very much a studio creation. Hendrix had been taking a growing interest in what could be done with multiple tracks to work with, and came up with a masterpiece. What makes the achievement even more remarkable is the fact that he actually only had four tracks to work with (compared to the virtually unlimited number available with modern digital equipment). EXP, which opens the album, is an exercise in creative feedback bouncing from speaker to speaker. The intro to the piece is a faux interview of a slowed-down Hendrix (posing as his friend Paul Caruso) by bassist Noel Redding. The track leads directly into Up From The Skies, the only song on the album to be issued as a single in the US. Up From The Skies features Hendrix's extensive use of a wah-wah pedal, with vocals and guitar panning back and forth from speaker to speaker over the jazz-styled brushes of drummer Mitch Mitchell.
Artist: Rolling Stones
Title: Sing This All Together (See What Happens)
Source: CD: Their Satanic Majesties Request
Writer(s): Jagger/Richards
Label: Abkco (original label: London)
Year: 1967
Following the critical and commercial success of the Beatles Sgt. Pepper's Lonely Hearts Club Band, the Stones responded with their most psychedelic album ever, Their Satanic Majesties Request, with its own cover parodying the Sgt. Pepper cover. As an added touch, the Stones album featured cover art done on special holographic paper (the same material used for holo rings purchased from bubble gum machines) to simulate a 3D effect. The first side wrapped up with the nearly eight-minute Sing This All Together (See What Happens), a sort of psychedelic jam track featuring an unusual array of instruments and effects.
Artist: Jefferson Airplane
Title: Blues From An Airplane
Source: The Worst Of Jefferson Airplane
Writer(s): Balin/Spence
Label: BMG/RCA
Year: 1966
Blues From An Airplane was the opening song on the first Jefferson Airplane album, Jefferson Airplane Takes Off. Although never released as a single, it was picked by the group to open their first anthology album, The Worst Of Jefferson Airplane, as well.
Artist: Simon and Garfunkel
Title: A Hazy Shade Of Winter
Source: Collected Works (originally released as 45 RPM single and included on LP: Bookends)
Writer(s): Paul Simon
Label: Columbia
Year: 1966
Originally released as a single in 1966, A Hazy Shade Of Winter was one of several songs slated to be used in the film The Graduate. The only one of these actually used was Mrs. Robinson. The remaining songs eventually made up side two of the 1968 album Bookends, although several of them were also released as singles throughout 1967. A Hazy Shade Of Winter, being the first of these singles (and the only one released in 1966), was also the highest charting, peaking at # 13 just as the weather was turning cold.
Artist: Clefs Of Lavender Hill
Title: Stop-Get A Ticket
Source: CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s): Travis & Coventry Fairchild
Label: Rhino (original label: Thames)
Year: 1966
The Clefs Of Lavender Hill were a band from North Miami that featured not one, but two sets of siblings: the brother and sister team of Travis and Coventry Fairchild (both of which sang and played guitar) and the Moss brothers, Bill (bass) and Fred (drums). The first single from the band was a song called First Tell Me Why, but it was the B side of the record, a Beatlesque tune called Stop-Get A Ticket that became a hit on Miami radio stations. The song was picked up by Date Records and peaked nationally at #80. Subsequent releases by the Clefs failed to crack the Hot 100 and the group (after several personnel changes) finally called it quits in 1968.
Artist: Doobie Brothers
Title: Greenwood Creek
Source: LP: The Doobie Brothers
Writer(s): Tom Johnston
Label: Warner Brothers
Year: 1971
The Doobie Brothers built a reputation by playing to a tough crowd: the Hell's Angels. By all accounts they were a hard-rockin' band in the mold of Steppenwolf when playing the clubs around the San Francisco Bay area. Their first LP, however, showed an entirely different side of the band, with a greater emphasis on acoustic instruments, giving the band a sort of country-rock sound.
Artist: Crosby, Stills, Nash and Young
Title: Helpless
Source: CD: déjà vu
Writer(s): Neil Young
Label: Atlantic
Year: 1970
Many of the songs on the second Crosby, Stills, Nash and Young album, Deja Vu, sound as if they could have been on solo albums by the various band members, particularly Neil Young, whose style really didn't mesh well with the others. A prime example of this is Helpless. Despite this (or maybe because of it) Helpless got more radio airplay than most of the other songs on the album.
Artist: Country Joe And The Fish
Title: Sad And Lonely Times
Source: LP: Electric Music For The Mind And Body
Writer(s): Joe McDonald
Label: Vanguard
Year: 1967
Although most Country Joe and the Fish tunes were written and sung by Joe McDonald, guitarist Barry Melton did get a chance to do an occasional vocal as well. One such case is Sad And Lonely Times from the group's first LP.
Artist: Chocolate Watchband
Title: No Way Out
Source: CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on LP: No Way Out and as 45 RPM single B side)
Writer(s): Ed Cobb
Label: Rhino
Year: 1967
The Chocolate Watchband, from the southern part of the Bay Area (specifically Foothills Junior College in Los Altos Hills), were fairly typical of the south bay music scene, centered in San Jose. Although they were generally known for lead vocalist Dave Aguilar's ability to channel Mick Jagger with uncanny accuracy, producer Ed Cobb gave them a more psychedelic sound in the studio with the use of studio effects and other enhancements (including adding tracks to their albums that were performed entire by studio musicians). The title track of No Way Out is credited to Cobb, but in reality is a fleshing out of a jam the band had previously recorded, but never released.
Artist: Doors
Title: Take It As It Comes
Source: CD: The Doors
Writer(s): The Doors
Label: Elektra
Year: 1967
L.A.'s Whisky-A-Go-Go was the place to be in 1966. Not only were some of the city's most popular bands playing there, but for a while the house band was none other than the Doors, playing songs like Take It As It Comes. One evening Jack Holtzman of Elektra Records was among those attending the club, having been invited there to hear the Doors by Arthur Lee (who with his band Love was already recording for Elektra). After hearing two sets Holtzman signed the group to a contract with the label, making the Doors only the second rock band to record for Elektra.
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