Stuck in the Psychedelic Era # 1230 (starts 7/26/12)

Artist:    Great! Society
Title:    Somebody To Love
Source:    CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on LP: Conspicuous Only In Its Absence)
Writer(s):    Darby Slick
Label:    Rhino (original label: Columbia)
Year:    Recorded 1966, released 1968
    One of the iconic songs of the psychedelic era (and of the so-called San Francisco sound) is Somebody To Love, released by Jefferson Airplane in 1967 on their Surrealistic Pillow album. Somebody To Love was written by Darby Slick, guitarist for another San Francisco band, Great! Society. The Society had released the song, featuring Slick's sister-in-law Grace on lead vocals, as a single in early 1966 but was unable to get any local airplay for the record. In June the group played the Matrix, a club managed by Marty Balin, leader of Jefferson Airplane. The entire performance was recorded (possibly by legendary Grateful Dead soundman Owsley Stanley) and eventually released on an album called Conspicuous Only In Its Absence two years after Great! Society disbanded. Within a few weeks of this performance Grace Slick would leave the group to join Jefferson Airplane, taking the song with her. This whole set of circumstances can't help but raise the question of whether Balin was using the Society's gig at the Matrix as a kind of audition for Slick.

Artist:    Seeds
Title:    I Tell Myself
Source:    LP: A Web Of Sound
Writer(s):    Marcus Tybalt
Label:    GNP Crescendo
Year:    1966
    Sky Saxon was unquestionably responsible for the success of the Seeds, who hit the national charts in early 1967 with the classic Pushin' Too Hard. The song had actually first appeared on the Seeds' debut LP in spring of 1966. By the time the song became a hit the band had already released a second album, A Web Of Sound. Nearly every Seeds song was either written or co-written by Saxon himself. The only exception I know of is I Tell Myself, a tune written by Hollywood songster Marcus Tybalt, which appears on the second LP, and the Seeds version almost sounds like a parody of a pop tune (which may well have been their intention for all I know).

Artist:    Who
Title:    Run Run Run
Source:    CD: Magic Bus-The Who On Tour (originally released on LP: A Quick One, re-titled Happy Jack in US)
Writer(s):    Pete Townshend
Label:    MCA (original label: Decca)
Year:    1966
    After the release of their first LP, My Generation, the Who terminated their contract with the UK Brunswick label and signed with a new company, Reaction. The first Reaction release was a single, Substitute, which made the British top 5. In late 1966 the band released their first album for Reaction, A Quick One. The album was markedly different from My Generation, as the group had moved beyond their so-called maximum R&B phase and were exploring new directions. A Quick One was also the first Who album to be mixed in stereo, as can be heard on the opening track of the LP, Run Run Run. Although not released as a single, the song proved popular enough to include on the 1968 LP Magic Bus, along with several of their singles and B sides (and a couple more album tracks).

Artist:    Mother Tucker's Yellow Duck
Title:    One Ring Jane
Source:    CD: Ah Feel Like Ahcid (originally released on LP: Home Grown Stuff)
Writer(s):    McDougall/Ivanuck
Label:    Zonophone (original label: Capitol Canada)
Year:    1969
    Sometimes called Canada's most psychedelic band, Mother Tucker's Yellow Duck was formed in British Columbia in 1967. After recording one unsuccessful single for London, the Duck switched to Capitol Records Canada and scored nationally with the album Home Grown Stuff. After a couple more years spent opening for big name bands such as Alice Cooper and Deep Purple and a couple more albums (on the Capitol-owned Duck Records) the group disbanded, with vocalist/guitarist Donny McDougall joining the Guess Who in 1972.

Artist:    Quicksilver Messenger Service
Title:    Fresh Air
Source:    CD: Just For Love
Writer(s):    Dino Valenti
Label:    BGO (original label: Capitol)
Year:    1970
    Although Dino Valenti helped form Quicksilver Messenger Service, he found himself a guest of the California Criminal Justice System literally the day after the band was conceived. In fact, Valenti was not on the scene at all when the original lineup of the band made their official debut. It was only after the group had recorded three moderately successful LPs for Capitol that Valenti, now released from prison, rejoined the band he had never actually been a member of. His presence, however, was immediately felt. Quicksilver's fourth LP was a complete departure from the improvisational jams of the band's first three efforts. In fact, all but one of the songs on Just For Love were written by Valenti (although most were under the pseudonym Jesse Oris Farrow). Valenti also took over the lead vocals for the album on songs like Fresh Air, which was also released as a single and was the nearest thing to a top 40 hit (hitting the # 49 spot) that Quicksilver Messenger Service would ever have. Just For Love is also notable for the fact that the band included prolific session pianist Nicky Hopkins as a full member.

Artist:    Rolling Stones
Title:    Dead Flowers
Source:    LP: Sticky Fingers
Writer(s):    Jagger/Richards
Label:    Rolling Stones
Year:    1971
    One of the most popular albums of 1971 was the Rolling Stones' Sticky Fingers album. Featuring a cover with an actual pants zipper built into it, the LP immediately stood out from everything else on the record racks. The album was musically strong as well, with songs such as Dead Flowers, an example of the band's continuing flirtation with country music.

Artist:    Beatles
Title:    She's Leaving Home
Source:    LP: Sgt. Pepper's Lonely Hearts Club Band
Writer(s):    Lennon/McCartney
Label:    Capitol
Year:    1967
    One of the striking things about the Beatles' Sgt. Pepper's Lonely Hearts Club Band is the sheer variety of songs on the album. Never before had a rock band gone so far beyond its roots in so many directions at once. One of Paul McCartney's most poignant songs on the album was She's Leaving Home. The song tells the story of a young girl who has decided that her stable homelife is just too unfulling to bear and heads for the big city. Giving the song added depth is the somewhat clueless response of her parents, who can't seem to understand what went wrong.

Artist:    Traffic
Title:    Heaven Is In Your Mind
Source:    CD: Mr. Fantasy
Writer(s):    Winwood/Capaldi/Wood
Label:    Island (original label: United Artists)
Year:    1967
    For a time in the mid-1960s recording artists would actually make two mixes of each song on their albums, one in monoraul and one in stereo. Often the monoraul mix would have a brighter sound, as those mixes were usually made with AM radio's technical limitations in mind. In rare cases, the differences would be even more pronounced. Such is the case with Traffic's first LP, Mr. Fantasy. The two versions of the first track on the album, Heaven Is In Your Mind, differ not only in their mix but in the actual recording, as the mono mix features an entirely different guitar solo than the stereo one.

Artist:    Big Brother And The Holding Company
Title:    Intruder
Source:    CD: Big Brother And The Holding Company
Writer(s):    Janis Joplin
Label:    Columbia/Legacy (original label: Mainstream)
Year:    1967
    Although the 1967 debut album by Big Brother and the Holding Company is generally considered to be inferior to their 1968 Columbia LP Cheap Thrills, there are a few gems on the disc that can't be found anywhere else. One of these is a Janis Joplin composition, Intruder. The engineers at Mainstream Records were mostly used to recording jazz musicians and tended to give Big Brother a somewhat sterile sound, but on Intruder they managed to pretty much get it right.

Artist:    Donovan
Title:    Ferris Wheel
Source:    LP: Sunshine Superman
Writer(s):    Donovan Leitch
Label:    Epic/Sundazed
Year:    1966
    In the fall of 1966 the career of Scottish folk singer Donovan Leitch took an odd turn. Up until that point in time he had a run of successful records in the UK but got very little airplay in the US. Two events, however, combined to turn the entire situation around 180 degrees. First, Donovan had just signed a contract with Epic Records in the US, a major step up from the poorly distributed and even more poorly promoted Hickory label. At the same time contract negotiations between the singer/songwriter and his British label, Pye, had come to an impasse. As a result Donovan's next LP, Sunshine Superman, was released only in the US, making songs like Ferris Wheel unavailable to his oldest fans. His popularity in the UK suffered greatly from lack of any new recordings over the next year, while it exploded in the US with consecutive top 10 singles Sunshine Superman and Mellow Yellow in 1966. From that point on Donovan would have his greatest success in North America, even after securing a new record contract in the UK in late 1967.

Artist:    Them
Title:    I Happen To Love You
Source:    LP: Now And Them
Writer(s):    Goffin/King
Label:    Tower
Year:    1968
    I Happen To Love You was first recorded by the Electric Prunes for their 1967 album Underground. The band wanted to release the Gerry Goffin/Carole King tune as a single, but producer David Hassinger instead chose to issue a novelty track, To The Highest Bidder. Unlike the Prunes version, which emphasized the King melody line, Them's version of I Happen To Love You was done in much the same style as their earlier recordings with Van Morrison. Kenny McDowell provided the lead vocal.

Artist:     Merry-Go-Round
Title:     Listen
Source:     CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer(s): Emmitt 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 this Beatle-influenced song.

Artist:    Love
Title:    7&7 Is
Source:    LP: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s):    Arthur Lee
Label:    Rhino (original label: Elektra)
Year:    1966
    The first rock band signed to Elektra Records was Love, a popular L.A. club band that boasted two talented songwriters, Arthur Lee and Bryan MacLean. On the heels of their first album, which included the single My Little Red Book and one of the first recordings of the fast version of Hey Joe, came their most successful single, released in July of 1966.

Artist:    Jimi Hendrix Experience
Title:    May This Be Love
Source:    LP: Are You Experienced?
Writer(s):    Jimi Hendrix
Label:    Reprise
Year:    1967
    The original UK version of Are You Experienced? featured May This Be Love as the opening track of side two of the album. In the US, the UK single The Wind Cries Mary was substituted for it, with May This Be Love buried deep on side one.
   
Artist:    Bob Dylan
Title:    Highway 61 Revisited
Source:    CD: Highway 61 Revisited
Writer(s):    Bob Dylan
Label:    Columbia
Year:    1965
    US Highway 61 is part of the old Federal highway system that was developed in the 1920s and 30s and has since been largely supplanted by the Interstate highway system. It was at a crossroads along this route that legendary bluesman Robert Johnson is said to sold his soul to the devil in exchange for a successful career. In 1965 Bob Dylan decided to revisit the legend and add to it for his landmark album on which he invented an electrified version of the folk music he had become famous for. His backup musicians included some of the top talent in the New York area, including guitarist Michael Bloomfied of the Butterfield Blues Band and organist Al Kooper, who, incidentally, plays the police whistle heard throughout the title track of Highway 61 Revisited.

Artist:     Simon And Garfunkel
Title:    Mrs. Robinson
Source:    CD: Collected Works (originally released on LP: Bookends and as 45 RPM single)
Writer(s):    Paul Simon
Label:    Columbia
Year:    1968
    A few weeks ago we featured the entire first side of Simon And Garfunkel's Bookends album. This time around we have a set of individual tunes from the same album. A shortened version of Mrs. Robinson first appeared on the soundtrack for the film The Graduate in 1967, but it wasn't until the Bookends album came out in 1968 that the full four minute version was released.

Artist:     Simon and Garfunkel
Title:     America
Source:     45 RPM single B side (song originally released on LP: Bookends)
Writer(s):    Paul Simon
Year:     1968/1972
     Four years after the release of Bookends (and two years after the breakup of Simon and Garfunkel), Columbia decided to release the song For Emily, Wherever I May Find Her, from their final album Bridge Over Troubled Water, as a single, to coincide with the release of their Greatest Hits album. For the B side, they went even further back, pulling out the original tapes for the song America. The tracks on the Bookends album were deliberately overlapped to form a continuous audio montage, making this the first standalone version of America to be released.

Artist:    Simon and Garfunkel
Title:    At The Zoo
Source:    CD: Collected Works (originally released as 45 RPM single and included on LP: Bookends)
Writer(s):    Paul Simon
Label:    Columbia
Year:    1967
    Simon and Garfunkel did not release any new albums in 1967, instead concentrating on their live performances. They did, however, issue several singles over the course of the year, most of which ended up being included on 1968's Bookends LP. At The Zoo was one of the first of those 1967 singles. It's B side ended up being a hit as well, but by Harper's Bizarre, which took The 59th Street Bridge Song (Feelin' Groovy) to the top 10 early in the year.

Artist:    West Coast Pop Art Experimental Band
Title:    1906 (mono single mix)
Source:    CD: Volume III-A Child's Guide To Good And Evil (originally released as 45 RPM single)
Writer(s):    Markley/Morgan
Label:    Sundazed (original label: Reprise)
Year:    1967
    A while back I was in contact with Robert Morgan, brother of the late Ron Morgan, guitarist for the West Coast Pop Art Experimental Band. I asked him if his brother had ever received royalties from songs like 1906, which was essentially a Morgan composition with spoken lyrics tacked on by bandleader/vocalist Bob Markley. He replied that Ron had received a check for something like eight dollars shortly before his death, but that he had always felt that Markley had paid him fairly for his services. He then went on to say that Ron Morgan was more interested in making his mark than in getting any financial compensation. Attitudes like that are why I do this show. It's hard to imagine many of today's pop stars making a statement like that and meaning it.

Artist:    Vanilla Fudge
Title:    You Keep Me Hangin' On
Source:    LP: Nuggets Vol. 9-Acid Rock (originally released as 45 RPM single)
Writer(s):    Holland/Dozier/Holland
Label:    Rhino (original label: Atco)
Year:    1967
    The LP version of the Vanilla Fudge's cover of the Supremes' You Keep Me Hangin' On ran something like 6-7 minutes. For single release the song was cut down considerably, clocking in at around three minutes. It was also available only in mono, which is how Rhino chose to present it when they released thier first Nuggets series (not to be confused with Lenny Kaye's original collection from 1972) in the early 1980s.

Artist:    Youngbloods
Title:    Get Together
Source:    CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on LP: The Youngbloods)
Writer(s):    Chet Powers
Label:    Rhino (original label: RCA Victor)
Year:    1967
    The Youngbloods were the second San Francisco band signed to industry leader RCA Victor Records. Their first album was released in 1967 but was overshadowed by the vinyl debuts of the Grateful Dead and Moby Grape, among others. In fact, the Youngbloods toiled in relative obscurity until 1969, when their own version of Dino Valenti's Let's Get Together (from the 1967 LP) was used in a TV ad promoting world peace. The song was subsequently released (with the title slightly shortened) as a single and ended up being the group's only hit record (as well as Valenti's most famous composition).

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
    he 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 Asian musicians. Oh yeah, and a few major solo hits like Higher Love and Roll With It in the late 80s. Other than that, nothing.

Artist:    Music Machine
Title:    Come On In
Source:    CD: Turn On (also released as 45 RPM single B side)
Writer:    Sean Bonniwell
Label:    Collectables (original label: Original Sound)
Year:    1966
    The B side of the Music Machine's big hit record.

Artist:    Music Machine
Title:    Talk Talk
Source:    LP: Nuggets Vol. 1-The Hits (originally released as 45 RPM single and on LP: Turn On The Music Machine)
Writer(s):    Sean Bonniwell
Label:    Rhino (original label: Original Sound)
Year:    1966
    The A side of the Music Machine's big hit record.

Artist:    Music Machine
Title:    Trouble
Source:    CD: Turn On The Music Machine
Writer(s):    Sean Bonniwell
Label:    Collectables (original label: Original Sound)
Year:    1966
    Sean Bonniwell had definite plans for the Music Machine's first album. His primary goal was to have all original material, with the exception of a slowed-down version of Hey Joe that he and fellow songwriter Tim Rose had been working on (and before you ask, both Rose and the Music Machine recorded it before Jimi Hendrix did). Unfortunately, the shirts at Original Sound Records did not take their own company name seriously and inserted four cover songs that the band had recorded for a local TV show. This was just the first in a series of bad decisions by the aforementioned shirts that led to a great band not getting the success it deserved. To hear Turn On The Music Machine the way Bonniwell intended it to be heard program your CD player to skip all the extra cover songs. Listened to that way, Trouble is restored to its rightful place as the second song on the disc (following Talk Talk) and a fairly decent album is transformed into a work that is equal to the best albums of 1966.

Artist:    Standells
Title:    Sometimes Good Guys Don't Wear White
Source:    LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single)
Writer(s):    Ed Cobb
Label:    Rhino (original label: Tower)
Year:    1966
     If ever a song could be considered a garage-punk anthem, it's Sometimes Good Guys Don't Wear White, the follow-up single to the classic Dirty Water. Both songs were written by Standells' manager/producer Ed Cobb, the record industry's answer to Ed Wood.

Artist:    Sound Barrier
Title:    (My) Baby's Gone
Source:    Pebbles Vol. 8 (originally released as 45 RPM single)
Writer(s):    Paul Hess (?)
Label:    BFD (original label: Zounds)
Year:    1967
    Not much is known about the Salem, Ohio band known as Sound Barrier other than the fact that they were led by guitarist/vocalist Paul Hess, who most likely is the writer of (My) Baby's Gone, a single that appeared on the Zounds label in 1967. The band resurfaced two years later with a somewhat inferior cover of the Who's I Can't Explain on a different label, and were never heard from again.

Artist:    Moby Grape
Title:    Hey Grandma
Source:    LP: Moby Grape
Writer(s):    Miller/Stevenson
Label:    Columbia
Year:    1967
    One of the most talked-about albums to come from the San Francisco music scene in 1967 was Moby Grape's debut album. Unfortunately a lot of that talk was from Columbia Records itself, which resulted in the band getting a reputation for being overly hyped, much to the detriment of the band's future efforts. Still, that first album did have some outstanding tracks, including Hey Grandma, which opens the album.

Artist:    Spirit
Title:    Water Woman
Source:    CD: Spirit
Writer(s):    Jay Ferguson
Label:    Ode/Epic/Legacy
Year:    1968
    The first Spirit album was the most eclectic album the band ever recorded, featuring a healthy dose of jazz stylings (thanks to drummer Ed Cassidy) mixed with progressive rock and odd (but nice) tunes such Water Woman, written by lead vocalist Jay Ferguson.

Artist:    Joni Mitchell
Title:    Willie
Source:    LP: Ladies Of The Canyon
Writer(s):    Joni Mitchell
Label:    Reprise
Year:    1970
    Joni Mitchell's third album, Ladies Of The Canyon, was full of references to her friends David Crosby, Stephen Stills, Graham Nash and Neil Young. One of the more obscure ones is Willy, which was reportedly written about Nash.

Artist:    Jethro Tull
Title:    Witch's Promise
Source:    CD: Benefit
Writer(s):    Ian Anderson
Label:    Chrysalis/Capitol (original label: Reprise)
Year:    1970
    The remastered version of Jethro Tull's third album, Benefit, includes several songs that were released as singles in the UK, but did not appear in the US until the 1973 anthology album Living In The Past. Among those is Witch's Promise, recorded just weeks before the sessions for Benefit began.

Artist:    Chicago
Title:    Wake Up Sunshine
Source:    CD: Chicago II
Writer(s):    Robert Lamm
Label:    Rhino (Columbia)
Year:    1970
    After the release of their first album the Chicago Transit Authority toured extensively, grabbing up studio time whenever and wherever they could. As a result, much of the material on their second LP was written on the road, such as Robert Lamm's Wake Up Sunshine, which finishes out side one of the double LP, entitled simply Chicago, after the band shortened its name in response to threatened lawsuits by the city of Chicago's local transit system.

Stuck in the Psychedelic Era # 1229 (starts 7/19/12)

Artist:    Stephen Stills and Richie Furay
Title:    Sit Down I Think I Love You
Source:    CD: Where The Action Is: L.A. Nuggets 1965-68
Writer(s):    Stephen Stills
Label:    Rhino
Year:    Recorded 1966, released 2009
    Stephen Stills and Richie Furay were still in the process of forming their new band when they cut this demo of Sit Down I Think I Love You, a song that would appear later in the year on the first Buffalo Springfield album and be covered the following year by the San Francisco flower pop band the Mojo Men. This version is basically just the two of them singing harmony with Stills on acoustic guitar.

Artist:    Los Bravos
Title:    Black Is Black
Source:    45 RPM single (reissue)
Writer(s):    Grainger/Hayes/Wadey
Label:    London
Year:    1966
    The first band from Spain to have a major pop hit was Los Bravos, who took Black Is Black to the top 10 in several countries, including the US, in late 1966. Interestingly, the band's lead vocalist, Michael Kogel, was actually a German national.

Artist:    Blues Magoos
Title:    I'll Go Crazy
Source:    LP: Psychedelic Lollipop
Writer(s):    James Brown
Label:    Mercury
Year:    1966
    You don't often hear the name James Brown and the word psychedelic in the same sentence, but sure enough, there is a Brown cover on the first (or maybe second) album to use the word psychedelic in its title. The album in question is the Blues Magoos' Psychedelic Lollipop. The song I'll Go Crazy finishes out the first side of the album. Although it is a credible rendition of the tune, the recording does not fit comfortably with the likes of (We Ain't Got) Nothin' Yet and the psychedelicized Tobacco Road. Apparently the band agreed, as they never recorded another James Brown cover song.

Artist:    Butterfield Blues Band
Title:    Work Song
Source:    CD: East-West
Writer(s):    Adderly/Brown
Label:    Elektra
Year:    1966
    Although technically not a rock album, the Butterfield Blues Band's East-West was nonetheless a major influence on many up and coming rock musicians that desired to transcend the boundaries of top 40 radio. Both the title track and the band's reworking of Nat Adderly's Work Song feature extended solos from all the band members, with Work Song in particular showing Butterfield's prowess on harmonica, as well as helping cement Michael Bloomfield's reputation as the nation's number one electric guitarist (before the emergence of Jimi Hendrix, at any rate). Elvin Bishop's guitar work on the song is not too shabby either.

Artist:    Byrds
Title:    Eight Miles High
Source:    CD: Fifth Dimension
Writer(s):    McGuinn/Crosby/Clark
Label:    Columbia/Legacy
Year:    1966
    By all rights, the Byrds' Eight Miles High should have been a huge hit. Unfortunately, Bill Drake, the most influential man in the history of Top 40 radio, got it into his head that this was a drug song, despite the band's insistence that it was about a transatlantic plane trip. The band's version actually makes sense, as Gene Clark had just quit the group due to his fear of flying (he is listed as a co-writer of the song), and the subject was probably a hot topic of discussion among the remaining members. Despite all this Eight Miles High still managed to crack the top 20 in late 1966.

Artist:    Chicago
Title:    Dialogue (part 1&2)
Source:    45 RPM single edit (original version on LP: Chicago V)
Writer(s):    Robert Lamm
Label:    Columbia
Year:    1972
    In their early days Chicago was one of the more politically-oriented rock bands around. One of the more notable tracks on their first album (Someday) was built around the crowds in Lincoln Park chanting outside the 1968 Democratic convention. The group continued to make political statements for the next few years, although by the time they released their landmark four-disc live album they were firmly in the camp of advocating working within the system as opposed to overthrowing everything and starting over (sort of an evolution over revolution approach). One of the more interesting songs of this type is Dialogue, a condemnation of socio-political apathy from the album Chicago V. The structure of the first half of the record is based on Plato's philosophical dialogues, with one vocalist, Robert Lamm, asking disturbing questions and the other, Peter Cetera, giving answers that are on the surface reassuring but in reality bespeak an attitude of burying one's head in the sand and hoping everything will turn out OK. This shifts into a call for everyone to work together to effect needed changes in the world, with the repeated line "We can make it happen" dominating the second half of the record.

Artist:    Cream
Title:    Outside Woman Blues
Source:    CD: Disraeli Gears
Writer(s):    Arthur Reynolds
Label:    Polydor (original label: Atco)
Year:    1967
    Although Cream's second album, Disraeli Gears, is best known for its psychedelic cover art and original songs such as Strange Brew, Sunshine Of Your Love and Tales of Brave Ulysses, the LP did have one notable blues cover on it. Outside Woman Blues was originally recorded by Blind Joe Reynolds in 1929 and has since been covered by a variety of artists including Van Halen, Johnny Winters, Jimi Hendrix and even the Atlanta Rhythm Section.

Artist:    Moby Grape
Title:    Never
Source:    LP: Grape Jam
Writer(s):    Bob Mosley
Label:    Columbia
Year:    1968
    For their second album, Moby Grape decided to do something different. In addition to the LP Wow, there was a second disc called Grape Jam included at no extra charge. For the most part Grape Jam is exactly what you'd expect: a collection of after-hours jam sessions with guest guitarist/keyboardist Michael Bloomfield. The opening track of Grape Jam, however, is actually a composition by Bob Mosley. The song features Mosley on bass and vocals, Jerry Miller and Skip Spence and guitars and Don Stevenson on drums, all of whom were actual members of Moby Grape.

Artist:    Albert King/Steve Cropper/Pop Staples
Title:    Baby, What You Trying To Do
Source:    LP: Jammed Together
Writer(s):    Jimmy Reed
Label:    Stax
Year:    1969
    Although Stax records was best known for its Memphis soul recordings by such artists as Otis Redding, Sam and Dave and Booker T. and the MGs, the label also was home to one of the most popular blues guitarists of the late 60s: Albert King. Among King's many recordings for the label is this collection of studio jams with MG guitarist Steve Cropper and the legendary Pop Staples. The closing track of side one is a rather tasty version of Jimmy Reed's Baby, What You Trying To Do.

Artist:    Blue Cheer
Title:    Summertime Blues
Source:    The Best Of 60s Psychedelic Rock
Writer(s):    Cochrane/Capehart
Label:    Priority
Year:    1968
    If 1967 was the summer of love, then 1968 was the summer of violence. Framed by the assassinations of Martin Luther King and Bobby Kennedy, both major anti-establishment movements of the time (civil rights and anti-war) became increasing radicalized and more violent. The hippies gave way to the Yippies, LSD gave way to crystal meth, and there were riots in the streets of several US cities, culminating with the massive protest in Chicago's Lincoln Park outside the Democratic National Convention in August and the brutal response by Mayor John Daley's Chicago Police Department. Against this backdrop Blue Cheer released one of the loudest and angriest recordings ever to grace the top 40: the proto-metal arrangement of Eddie Cochrane's 1958 classic Summertime Blues. It was the perfect soundtrack of its time.

Artist:    Monkees
Title:    Valleri
Source:    CD: Greatest Hits (originally released on LP: The Birds, The Bees And The Monkees and as 45 RPM single)
Writer(s):    Boyce/Hart
Label:    Rhino
Year:    1968
    The last Monkees top 10 single was also Michael Nesmith's least favorite Monkees song. Valleri was a Tommy Boyce/Bobby Hart composition that the group had first recorded for the first season of their TV show in 1966. Apparently nobody was happy with the recording, however, and the song was never issued on vinyl. Two years later the song was re-recorded for the album The Birds, The Bees And The Monkees and subsequently released as a single. The flamenco-style guitar on the intro (and repeated throughout the song) was played by studio guitarist  Louie Shelton, after Nesmith refused to participate in the recording.

Artist:    Big Brother And The Holding Company
Title:    Oh, Sweet Mary
Source:    CD: Cheap Thrills
Writer(s):    Albin/Andrew/Getz/Gurley/Joplin
Label:    Columbia
Year:    1968
    The only song credited to the entire membership of Big Brother And The Holding Company on their Cheap Thrills album was Oh, Sweet Mary. The tune bears a strong resemblance to a song on their first album called The Cuckoo, an adaptation of a traditional ballad. Oh, Sweet Mary, however, has new lyrics and an entirely new bridge section played at a slower tempo than the rest of the tune.

Artist:    Graham Nash
Title:    Prison Song
Source:    45 RPM single
Writer(s):    Graham Nash
Label:    Atlantic
Year:    1973
    Graham Nash's Prison Song is one of those songs that by all rights should have been a huge hit. It was by a name artist. It had a catchy opening harmonica riff and a haunting melody. I can only surmise that once again Bill Drake (the man who controlled top 40 radio in the 60s and early 70s) decided that the lyrics were too controversial for AM radio and had the song blacklisted, much as he had done with the Byrds Eight Miles High a few years earlier. Those lyrics center on a subject that is unfortunately still relevant today: the utter absurdity of drug laws and the unequal sentences for violation of those laws in the US and its various states.

Artist:    Castaways
Title:    Liar Liar
Source:    CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s):    Donna/Croswell
Label:    Rhino (original label: Soma)
Year:    1965
    The Castaways were a popular local band in the Minneapolis area led by keyboardist James Donna, who, for less than two minutes at a time, dominated the national airwaves with their song Liar Liar for a couple months before fading off into obscurity.

Artist:    Jimi Hendrix Experience
Title:    The Wind Cries Mary
Source:    The Ultimate Experience (originally released in UK as 45 RPM single and in US on LP: Are You Experienced?)
Writer(s):    Jimi Hendrix
Label:    MCA (original labels: Track (UK), Reprise (US))
Year:    1967
     The US version of the first Jimi Hendrix Experience album, Are You Experienced, was significantly different than its UK counterpart. For one thing, the original UK album was only available in mono. For the US version, engineers at Reprise Records, working from the original multi-track masters, created all new stereo mixes of about two-thirds of the album, along with all three of the singles that the Jimi Hendrix Experience had released in the UK. The third of these singles was The Wind Cries Mary, which had hit the British charts in February of 1967.

Artist:    Jimi Hendrix Experience
Title:    Foxy Lady
Source:    LP: Are You Experienced?
Writer(s):    Jimi Hendrix
Label:    Legacy (original label: Reprise)
Year:    1967
    The first track on the original UK release of Are You Experienced was Foxy Lady. The British custom of the time was to not include any songs on albums that had been previously released as singles. When Reprise Records got the rights to release the album in the US, it was decided to include three songs that had all been top 40 hits in the UK. One of those songs, Purple Haze, took over the opening spot on the album, and Foxy Lady was moved to the middle of side 2.

Artist:    Jimi Hendrix Experience
Title:    Manic Depression
Source:    CD: The Ultimate Experience (originally released on LP: Are You Experienced?)
Writer(s):    Jimi Hendrix
Label:    MCA (original label: Reprise)
Year:    1967
    My dad bought an Akai X-355D reel to reel tape deck when we moved to Ramstein, Germany in early 1968. It was pretty much the state of the art in home audio technology at the time. The problem was that we did not have a stereo system to hook it into, so he bought a set of Koss headphones to go with it. One of my first purchases was a pre-recorded reel to reel tape of Are You Experienced. The Akai had an auto-reverse system and I would lie on the couch with the headphones on to go to sleep every night listening to songs like Manic Depression. Is it any wonder I turned out like I did?

Artist:    Jefferson Airplane
Title:    Go To Her
Source:    LP: Early Flight
Writer(s):    Kantner/Estes
Label:    Grunt
Year:    Recorded 1966, released 1974
    Nearly every major artist acquires a backlog of unreleased songs over a period of time, usually due to lack of space on their official albums. Eventually many of these tracks get released on compilation albums or (more recently) as bonus tracks on CD versions of the original albums. One of the first of these compilation albums was Jefferson Airplane's Early Flight LP, released in 1974. Of the nine tracks on Early Flight, five were recorded during sessions for the band's first two LPs, Jefferson Airplane Takes Off and Surrealistic Pillow. One song originally intended for Surrealistic Pillow was Go To Her, an early Paul Kantner collaboration. At four minutes, the recording was longer than any of the songs that actually appeared on the album, which is probably the reason it didn't make the final cut, as it would have meant that two other songs would have to have been deleted instead.

Artist:    Doors
Title:    My Eyes Have Seen You
Source:    CD: Strange Days
Writer(s):    The Doors
Label:    Elektra
Year:    1967
    It's strange. Some reviewers seem to think that the album Strange Days is inferior to the first Doors album. They justify this view by citing the fact that almost all the songs on both albums were already in the band's repertoire when they signed their record contract with Elektra. The implication is that the band naturally selected the best material for the first album, making Strange Days a collection of sloppy seconds. There is one small problem with this theory however. Pick a song at random from Strange Days and listen to it and in all likelihood it will sound every bit as good as a song randomly picked from the first album (and probably better than one picked from either of the Doors' next two LPs). In fact, I'll pick one for you: My Eyes Have Seen You. See what I mean?

Artist:    Canned Heat
Title:    Boogie Music
Source:    CD: Living The Blues
Writer(s):    L T Tatman III
Label:    BGO (original label: Liberty)
Year:    1968
    Canned Heat was formed in 1966 by a group of Bay Area blues purists. Although a favorite on the rock scene, the band continued to remain true to the blues throughout their existence. The band's most popular single was Going Up the Country from the album Living the Blues. The B side of Going Up The Country was a tune called Boogie Music. The song is credited to L T Tatman III, which may be a pseudonym for the entire band, much as Nanker Phelge was for the Rolling Stones. Unusually, the single version of the song is actually longer than the album version heard here, thanks to a short coda made to sound like an archive recording from the 1920s.

Artist:    Beatles
Title:    Come Together
Source:    CD: Abbey Road
Writer(s):    Lennon/McCartney
Label:    Apple/Parlophone
Year:    1969
    Do I really need to say anything about this song?

Artist:    Temptations
Title:    You Make Your Own Heaven And Hell Right Here On Earth
Source:    LP: Psychedelic Shack
Writer(s):    Whitfield/Strong
Label:    Gordy
Year:    1970
    The company culture at Motown in the late 60s was such that each production unit had considerable autonomy, and often a sound all its own, such as the catchy Holland-Dozier-Holland sound of the Supremes and the Four Tops or the softer, sexier sound of a Smokey Robinson production. The most psychedelic team was that of Norman Whitfield and Barrett Strong, who took over producing the Temptations after the departure of original lead vocalist David Ruffin. The Whitfield-Strong sound was characterized by fuzz tones, wah-wahs and quick tradeoffs between vocalists, all of which are evident on You Make Your Own Heaven And Hell Right Here On Earth, a track from the Temptations' Psychedelic Soul album. The song was re-recorded a couple of years later, with a greater emphasis on strings, by another Whitfield-Strong group, the Undisputed Truth, as a follow-up to their big hit Smiling Faces Sometimes.

Artist:    Rolling Stones
Title:    I Just Wan't To Make Love To You
Source:    45 RPM single B side
Writer(s):    Willie Dixon
Label:    London
Year:    1964
    Like most British bands in the early 60s, the Rolling Stones recorded a lot of blues cover songs, including most of their early UK singles. The first original tune from the band to chart was Tell Me (Your Coming Back Again), which was also their first  release to crack the US top 40. The Stones weren't quite done with blues covers however. The flip side of Tell Me was an old Willie Dixon classic, I Just Want To Make Love To You.

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.

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:    West Coast Pop Art Experimental Band
Title:    I Won't Hurt You
Source:    LP: Nuggets Vol. 9-Acid Rock (originally released on LP: Part One)
Writer:    Harris/Lloyd/Markley
Label:    Rhino (original label: Reprise)
Year:    1967
    Unlike more famous L.A. groups like Love and the Doors, the West Coast Pop Art Experimental Band was not a Sunset Strip club band. In fact, the WCPAEB really didn't play that many live performances in their career, although those they did play tended to be at high profile venues such as the Hollywood Bowl. The band was formed when the Harris brothers, sons of an accomplished classical musician, decided to record their own album and release it on a small local label. Only a few copies of that album, Volume One, were made and finding one now is next to impossible. That might have been the end of the story except for the fact that they were acquaintances of Kim Fowley, record producer and all-around Hollywood hustler. Fowley invited them to a party where the Yardbirds were playing; a party also attended by one Bob Markley. Markley, who was nearly ten years older than the Harris brothers, was a former TV show host from the midwest who had moved out to the coast to try his luck. Impressed by the flock of young girls surrounding the Yardbirds, Markley expressed to Fowley his desire to be a rock and roll star and have the girls flock around him, too. Fowley, ever the deal-maker, responded by introducing Markley to the Harris Brothers and the West Coast Pop Art Experimental Band was born. With the addition of guitarist Michael Lloyd and the influence of Markley's not-inconsiderable family money, the group soon landed a contract with Reprise Records, where they proceeded to record the album Part One, which includes the turn I Won't Hurt You, which uses a simulated heartbeat to keep the...umm, beat.

Artist:    October Country
Title:    My Girlfriend Is A Witch
Source:    Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer:    Michael Lloyd
Label:    Rhino (original label: Epic)
Year:    1968
    By 1968 the L.A. under-age club scene was winding down, and several now out of work bands were making last (and sometimes only) attempts at garnering hits in the studio. One such band was October Country, whose first release had gotten a fair amount of local airplay, but who had become bogged down trying to come up with lyrics for a follow-up single. Enter Michael Lloyd, recently split from the West Coast Pop Art Experimental Band and looking to become a record producer. Lloyd not only produced and wrote the lyrics for My Girlfriend Is a Witch, he also ended up playing drums on the record as well.

Artist:    Earth Disciples
Title:    Native Planet
Source:    LP: Getaway Train
Writer(s):    Reggie Harris
Label:    Solid State
Year:    1969
    One great thing about the year 1969 was that there was a lot of room for originality in music. Take the Earth Disciples. Were they jazz? Rock? Soul? Native Planet, from their only LP, Getaway Train, certainly has elements of all three. One person who perhaps can shed some light on this Chicago by way of L.A band is drummer Reggie Harris. Here's a short quote from Reggie, courtesy of soundsfromthefunkygoat.blogspot.com: “The story of The Earth Disciples is a long one, starting in Chicago, Illinois. The bass player (Reggie Austin), guitar player (Jimmy Holloway), and myself, met in high school, and played in Reggie Austin's brother's band (Johnny Robinson, piano). We played high school dances and local events. Oscar Brown Jr., a well-known jazz artist from Chicago, came to our school to do a show, including local talent from school and [the] surrounding area. The show was called Opportunity Knocks. At the end of the show Oscar took us on the road to New York, and on to Los Angeles. After the tour, some band members returned home. I stayed in Los Angeles. Oscar was looking for a pianist, and that’s when I met Rudy Reid. I moved in with Rudy and called Jimmy to come and play. After Jimmy moved in, we wanted to be reunited with Reggie Austin. We sent for him in Chicago; The Earth Disciples were formed."

Artist:    Orange Bicycle
Title:    Last Cloud Home (originally released as 45 RPM B side)
Source:    CD: Insane Times
Writer(s):    Dove
Label:    Zonophone (original label: Parlophone)
Year:    1969
    The Orange Bicycle were a somewhat obscure British group led by drummer/vocalist Will Malone. The band had one successful single, Hyacinth Threads, which topped the French charts in the summer of 1967. The group continued to record without any great success for the next couple of years. One of their last and best recordings was Last Cloud Home, a B side from 1969.

Artist:    Ten Years After
Title:    Going To Try
Source:    CD: Stonedhenge
Writer(s):    Alvin Lee
Label:    Deram
Year:    1969
    Although Ten Years After is known mostly for straight ahead blues rock and roll numbers like I'm Going Home, Alvin Lee and company did have a more experimental side, as evidenced by their third LP, Stonedhenge. The album consists of a half dozen tracks written by Lee and performed by the entire band interspersed with solo tracks from each of the four band members. The opening track, Going To Try, is possibly the most psychedelic song in the TYA catalog, being basically a series of variations on a common theme in different time and key signatures.

Got a couple of announcements here. First off, a welcome to the latest stations to add Stuck in the Psychedelic Era to their weekly lineup. These include KVRZ 88.9 FM in Libby, Montana, Thursday afternoons from 3-5 (Mountain time), KSVU 90.1 FM in the Upper Skagit Valley of Washington State, Thursday nights from 10-Midnight Pacific and the WOUB network of FM stations at Ohio University campuses at Athens, Cambridge, Chillicoth, Ironton and Zanesville, Saturdays from 2-4 AM Eastern. Glad to have you all aboard.

Also, WHWS 105.7 FM in Geneva, NY, is now running classic episodes of Stuck in the Psychedelic Era from our first year of syndication Thursdays from Noon-2PM Eastern, for those of you who might have missed it the first time around. We've set it up so that the episodes are running at about the same time of year as they originally ran so that we don't get stuff like me talking about an upcoming Halloween show in April or complaining about how cold it is while you're suffering through a heat wave. You can catch it at

http://www.whws.fm/p/listen-live.html

For a complete list of stations and airtimes for Stuck in the Psychedelic Era go here:

http://www.hermitradio.com/stations.php

Stuck in the Psychedelic Era # 1228 (starts 7/10/12)

Artist:    Cream
Title:    Outside Woman Blues
Source:    LP: Disraeli Gears
Writer(s):    Arthur Reynolds
Label:    Atco
Year:    1967
    Although Cream's second album, Disraeli Gears, is best known for its psychedelic cover art and original songs such as Strange Brew, Sunshine Of Your Love and Tales of Brave Ulysses, the LP did have one notable blues cover on it. Outside Woman Blues was originally recorded by Blind Joe Reynolds in 1929 and has since been covered by a variety of artists including Van Halen, Johnny Winters, Jimi Hendrix and even the Atlanta Rhythm Section.

Artist:    Procol Harum
Title:    Lime Street Blues
Source:    45 RPM single B side (reissue)
Writer(s):    Brooker/Reid
Label:    A&M (original label: Deram)
Year:    1967
    Anyone expecting more of the same when flipping over their new copy of A Whiter Shade Of Pale in 1967 got a big surprise when they heard Lime Street Blues. The song, reminiscent of an early Ray Charles track, was strong enough to be included on their first greatest hits collection, no mean feat for a B side.

Artist:    Firesign Theatre
Title:    Brickbreaking
Source:    LP: Dear Friends
Writer(s):    Proctor/Bergman/Austin/Ossman
Label:    Columbia
Year:    1971
    The Firesign Theatre consisted of four funny guys, Phil Proctor, Peter Bergman, Phil Austin and David Ossman, who, starting in 1967, did improvisational humor for a series of radio stations in California. Their shows became so popular that they landed a record contract with Columbia and recorded a series of albums, each built around a particular theme or two, such as a guy watching TV or a 30s-style crime drama. Throughout the late 60s and into the early 70s they continued to do radio as well. Eventually Columbia released a two-LP collection of bits from their syndicated radio show called Dear Friends. You can expect to hear some of these bits from time to time on Stuck in the Psychedelic Era starting this week with Brickbreaking, taken from a live broadcast on KPFK, Los Angeles on 1/24/71.

Artist:    Full Treatment
Title:    Just Can't Wait
Source:    CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer:    Buzz Clifford
Label:    Rhino (original label: A&M)
Year:    1967
    In the fall of 1966 Brian Wilson produced the classic Beach Boys single Good Vibrations, which sent vibrations of its own throughout the L.A. studio scene. Suddenly producers were stumbling all over themselves to follow in Wilson's footsteps with mini-symphonies of their own. Buzz Clifford and Dan Moore, calling themselves the Full Treatment, created Just Can't Wait in 1967 and quickly sold the master tape to A&M Records. Despite enthusiam for the recording at the label, the song was mostly ignored by radio stations and the Full Treatment was never heard from again.

Artist:    Kenny And The Kasuals
Title:    Journey To Tyme
Source:    CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s):    Smith/Lee
Label:    Rhino (original labels: Mark Ltd. and United Artists)
Year:    1966
    One of the most popular Dallas area bands in the mid-1960s was Kenny and the Kasuals. Formed in 1962, the band was best known for playing high school dances and such. They got their shot at stardom in 1966 when they recorded Journey To Tyme for Mark Ltd. Productions. The song was picked up later in the year for national distribution by United Artists and made it all the way to the # 1 spot in Buffalo, NY and Pittsburgh, Pa. Despite this success the band was unable to get a long-term contract with United Artists (thanks in part to problems with their own manager) and soon disbanded.

Artist:    Spencer Davis Group
Title:    Gimme Some Lovin'
Source:    LP: Progressive Heavies (originally released as 45 RPM single)
Writer(s):    Winwood/Winwood/Davis
Label:    United Artists
Year:    1966
     The 1980s movie The Big Chill used Gimme Some Lovin' by the Spencer Davis Group as the backdrop for a touch football game at an informal reunion of former college students from the 60s. From that point on, movie soundtracks became much more than just background music and soundtrack albums started becoming best-sellers. Not entirely coincidentally, 60s-oriented oldies radio stations began to appear in major markets as well. Most of them are now playing 80s oldies, by the way.

Artist:    Standells
Title:    Sometimes Good Guys Don't Wear White
Source:    CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s):    Ed Cobb
Label:    Rhino (original label: Tower)
Year:    1966
    If ever a song could be considered a garage-punk anthem, it's Sometimes Good Guys Don't Wear White, the Standells' follow-up single to their classic Dirty Water. Both songs were written by Standells' manager/producer Ed Cobb, the record industry's answer to Ed Wood.

Artist:    Country Joe And The Fish
Title:    Not So Sweet Martha Lorraine
Source:    LP: Electric Music For The Mind And Body
Writer(s):    Joe McDonald
Label:    Vanguard
Year:    1967
    While not as commercially successful as the Jefferson Airplane or as long-lived as the Grateful Dead (there's an oxymoron for ya), Country Joe and the Fish may well be the most accurate musical representation of what the whole Haight-Ashbury scene was about, despite the fact that they were actually across the bay in Berkeley. Of all the tracks on their first album, Not So Sweet Martha Lorraine probably got the most airplay.

Artist:    Byrds
Title:    Lady Friend
Source:    CD: Younger Than Yesterday (bonus track originally released as 45 RPM single)
Writer(s):    David Crosby
Label:    Columbia/Legacy
Year:    1967
    One of the least-known Byrds recordings is David Crosby's Lady Friend. The song was released as a non-album single in 1967, after Younger Than Yesterday was on the racks but before Crosby's falling out with the other members of the band during the recording of The Notorious Byrd Brothers. The single did not chart, and with Crosby no longer a member of the Byrds by 1968, it is not surprising that Lady Friend was not included on any subsequent Byrds albums or greatest hits anthologies. The song is now available as a bonus track on the remastered version of Younger Than Yesterday.

Artist:    Grateful Dead
Title:    St. Stephen
Source:    CD: Aoxomoxoa
Writer(s):    Hunter/Garcia/Lesh
Label:    Warner Brothers
Year:    1969
    One of the Grateful Dead's most recognizable tunes is St. Stephen. The song first appeared on the 1969 album Aoxomoxoa, and remained in the Grateful Dead stage repertoire for pretty much their entire existence.

Artist:    Chicago
Title:    Does Anybody Really Know What Time It Is
Source:    LP: Chicago Transit Authority
Writer(s):    Robert Lamm
Label:    Columbia
Year:    1969
    There are actually three versions of the Chicago song Does Anybody Really Know What Time It Is, all taken from the same original recording on the band's debut LP. The most well-known is the second edited version that has appeared on all the band's anthology albums. That version starts with a horn intro section in a staggered rhythm followed by a short Robert Lamm's piano section in 5/8 time that leads directly into the main body of the song. An earlier single edit leaves out the entire intro of the song, starting in rather abruptly with the familiar two-chord pattern and trumpet riff that leads into the first verse of the song. The orginal album version heard here, however, has a long free-form piano section that sets the stage for the entire song, transforming it in the process.

Artist:    Bob Dylan
Title:    All Along The Watchtower
Source:    CD: The Best Of The Original Mono Recordings (originally released on LP: John Wesley Harding)
Writer(s):    Bob Dylan
Label:    Columbia/Legacy
Year:    1967
    One of the best known songs by the Jimi Hendrix Experience is their cover of Bob Dylan's All Along The Watchtower from the Electric Ladyland album. That version of the song has proved so enduring that Dylan himself now uses the Hendrix arrangement when he performs the piece live. The original recording of the song was on Dylan's 1967 LP John Wesley Harding, the last Dylan album to be mixed in both stereo and mono. This week we have the mono version of the song.

Artist:    Seeds
Title:    Pushin' Too Hard
Source:    Nuggets Vol. 1-The Hits (originally released on LP: The Seeds and as 45 RPM single)
Writer(s):    Sky Saxon
Label:    Rhino (original label: GNP Crescendo)
Year:    1966
    Pushin' Too Hard was originally released in spring of 1966 as the closing track on side one of the first Seeds album. After being released to the L.A. market as a single the song did well enough to go national in early 1967, hitting its peak in February of that year.

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 from being a viable concept and Nesmith was unable to find a label willing to release the record.

Artist:     Mandala
Title:     Love-Itis
Source:     CD: Soul Crusade
Writer:     Scales/Vance
Label:     Wounded Bird (original label: Atlantic)
Year:     1968
     When it comes to blue-eyed soul, the first place that comes to mind is New York, home of the Vagrants and the  (Young) Rascals. One might also be inclined to think of Detroit, with bands such as Mitch Ryder and the Detroit Wheels leading the pack. One place that does not immediately come to mind is Toronto, Canada, yet Mandala was certainly firmly placed within the genre. Two members of Mandala, vocalist Roy Kenner and guitarist Dominic Troiano, went on to replace Joe Walsh in the James Gang, with Troiano eventually replacing Randy Bachman in another Canadian band, the Guess Who.

Artist:    Crosby, Stills and Nash
Title:    Guinnevere
Source:    CD: Crosby, Stills and Nash
Writer(s):    David Crosby
Label:    Atlantic
Year:    1969
    By 1969 David Crosby had developed into a first-class songwriter. Nowhere is that more evident than on Guinnevere, from the first Crosby, Still and Nash album. Instrumentally the song is essentially a solo guitar piece. It is the layered harmonies from Crosby, Stephen Stills and Graham Nash that make the song truly stand out as one of the best releases of 1969.

Artist:    Butterfield Blues Band
Title:    Love March
Source:    CD: Woodstock: 40 Years On: Back To Yasgur's Farm (originally released on LP: Woodstock soundtrack)
Writer(s):    Gene Dinwiddie
Label:    Rhino (original label: Cotillion)
Year:    1969
    The Butterfield Blues band that appeared at Woodstock was a far cry from the group that recorded the classic East-West album in 1966. Both Michael Bloomfield and Elvin Bishop had moved on to other things, and the new lineup was much more jazz/R&B oriented than previous incarnations of the band. Tenor saxophonist Gene Dinwiddie provided the melody for Love March, a tune that also appeared as a studio track that year.

Artist:    Barry McGuire
Title:    Child Of Our Times
Source:    45 RPM single (reissue)
Writer(s):    P F Sloan
Label:    MCA (original label: Dunhill)
Year:    1965
    Barry McGuire is almost as well-known for being mentioned in the last big Mamas and Papas hit, Creeque Alley, as for his own recordings. Indeed, his status as a recording artist is best described as "one-hit wonder." That one hit was a monster, though, and is often cited as the zenith of the folk-rock movement. Eve Of Destruction went all the way to the top of the charts in 1965, but McGuire's follow-up single, Child Of Our Times, stalled out in the # 72 spot. The writer of both songs was P F Sloan, who also had some success writing songs like Let Me Be for the Turtles before embarking on a successful partnership with fellow songwriter Steve Barri, writing and producing several hits for the Grass Roots in the 1970s.

Artist:    Syndicate Of Sound
Title:    Little Girl
Source:    CD: Nuggets-Classics From The Psychedelic 60s
Writer(s):    Baskin/Gonzalez
Label:    Rhino (original labels: Hush & Bell)
Year:    1966
    San Jose California, despite being a relatively small city in the pre-silicon valley days,  was home to a thriving music scene in the mid 60s that produced more than its share of hit records from 1966-68. One of the earliest and biggest of these hits was the Syndicate Of Sound hit Little Girl, which has come to be recognized as one of the best garage-rock songs of all time.

Artist:    Who
Title:    Tattoo
Source:    LP: The Who Sell Out
Writer(s):    Pete Townshend
Label:    Decca
Year:    1967
    Starting in 1966, the Who wrote songs about things no other rock group had even considered writing songs about. Happy Jack, for instance, was about a guy who would hang out on the beach and let the local kinds tease (but not faze) him. I'm A Boy was about a guy whose mother insisted on dressing him the same as his sisters. And I'm not even getting into the subject matter of Pictures Of Lily. The Who Sell Out, released in December of 1967, continued this trend with songs like Tattoo, about an adolescent and his brother who go out and get (without their parents' permission) their first tattoos. The song is accompanied by a jingle for Radio London, the most successful of the British pirate radio stations that operated from studios in London but utilized illegal transmitters floating on platforms off the coast (the BBC having a monopoly on broadcasting at the time).

Artist:    Chambers Brothers
Title:    Fallin' In Love
Source:    CD: The Time Has Come (originally released as 45 RPM single)
Writer(s):    Willie Chambers
Label:    Columbia/Legacy
Year:    1967
    The Chambers Brothers were an eclectic band with a gospel music background that dated back to the mid-50s, when oldest brother George finished his tour of duty with the US Army and settled down in the L.A. area. His three brothers soon followed him out to the coast from their native Mississippi, and began playing the Southern California gospel circuit before going after a more secular audience in the early 60s. After signing to Columbia in 1966 the group got to work recording several singles for the label, including an early version of the song that would eventually make them famous, Time Has Come Today. Columbia refused to release the song, however, and instead went with a more conventional tune written by Willie Chambers called Fallin' In Love. The record was released in early 1967 but failed to make a splash.

Artist:    Ultimate Spinach
Title:    Baroque # 1
Source:    LP: Ultimate Spinach
Writer(s):    Ian Bruce-Douglas
Label:    M-G-M
Year:    1967
    Making an encore appearance from last week's show we have Ultimate Spinach with their instrumental Baroque # 1 from the album Ultimate Spinach. Go ahead, scroll down to last week's playlist for more information.

Artist:    Canned Heat
Title:    Woodstock Boogie
Source:    CD: Woodstock: 40 Years On: Back To Yasgur's Farm (originally released on LP: Woodstock 2)
Writer(s):    Canned Heat
Label:    Rhino (original label: Atlantic)
Year:    1969
    One of the highlights of any Canned Heat performance was Refried Boogie, an extended jam piece often lasting up to an hour. For the Woodstock festival the band shortened it to just under 30 minutes, including solos from every band member. The song was originally issued on the album Woodstock 2 in slightly altered form (the guitar solo at the beginning of the piece was edited out). This restored version was released in 2009 as part of Rhino's six-disc Woodstock anniversary box set.

Stuck in the Psychedelic Era # 1227 (starts 7/5/12)

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 Bob 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.

Artist:    Byrds
Title:    Eight Miles High
Source:    LP: Nuggets Vol. 9-Acid Rock (originally released as 45 RPM single and on LP: Fifth Dimension)
Writer(s):    Clark/McGuinn/Crosby
Label:    Rhino (original label: Columbia)
Year:    1966
    Gene Clark's final contribution to the Byrds was his collaboration with David Crosby and Roger McGuinn, Eight Miles High. Despite a newsletter from the most powerful man in top 40 radio, Bill Drake, advising stations not to play this "drug song", the song managed to hit the top 20 in 1966. The band members themselves claimed that Eight Miles High was not a drug song at all, but was instead referring to the experience of travelling by air. In fact, it was Gene Clark's fear of flying that led to his leaving the Byrds.

Artist:    Easybeats
Title:    Heaven And Hell
Source:    CD: Nuggets-Classics From The Psychedelic 60s (originally released as 45 RPM single)
Writer(s):    Vanda/Young
Label:    Rhino (original label: Parlophone)
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:    Yardbirds
Title:    Think About It
Source:    CD: Over, Under, Sideways, Down (originally released as 45 RPM single B side)
Writer(s):    Relf/McCarty/Page
Label:    Raven (original label: Epic)
Year:    1968
    The final Yardbirds record was a single released in early 1968. Although the group made TV appearances in Europe to promote the A side, Good Night Josephine, it is the B side of that record, Think About It, that deserves to be considered the last Yardbirds song. Instrumentally the song sounds a lot like something off of Led Zeppelin's first couple of albums. Once Keith Relf's vocals come in, however, there is no doubt that this is vintage Yardbirds, and quite possibly the best track of the entire Jimmy Page era.

Artist:    Blues Project
Title:    Who Do You Love
Source:    LP: Live At The Café Au Go Go
Writer(s):    Elias McDaniel
Label:    Verve Folkways
Year:    1966
    In early 1966 Howard Solomon, proprietor of New York's Café Au Go Go, held a three day blues festival. The main purpose of the event was to provide a venue for the house band, the Blues Project, to record several tracks for use on their debut LP for Verve Folkways. Shortly after the event, the band was flown out to Los Angeles by the people from M-G-M, Verve's parent company. That's when the problems started, as lead vocalist Tommy Flander's girlfriend surprised everyone with the announcement that Flanders was leaving the band to pursue a solo career in both music and films. This left Verve with a dilemma: most of the material recorded for the album featured Flanders prominently, although there were a few tunes sung by guitarist Danny Kalb and keyboardist Al Kooper (and one by second guitarist Steve Katz), but not enough to fill an entire LP. The solution was to re-order the songs, putting most of Flanders's songs toward the end of the album. Thus, the final track was also the longest one: a rockin' rendition of Bo Diddley's Who Do You Love with Flanders on lead vocal.

Artist:    Ultimate Spinach
Title:    Baroque # 1
Source:    LP: Ultimate Spinach
Writer(s):    Ian Bruce-Douglas
Label:    M-G-M
Year:    1967
    Of the six major US record labels of the time, only two, Decca and M-G-M, failed to sign any San Francisco bands. Decca, which had been bought by MCA in the early 60s, was fast fading as a major force in the industry (ironic considering that Universal, the direct descendant of MCA, is now the world's largest record company). M-G-M, on the other hand, had a strong presence on the Greenwich Village scene thanks to Jerry Schoenbaum at the Verve Forecast label, who had signed such critically-acclaimed artists as Dave Van Ronk, Tim Hardin and the Blues Project. Taking this as an inspiration, the parent label decided to create interest in the Boston music scene, aggressively promoting (some would say hyping) the "Boss-Town Sound". One of the bands signed was Ultimate Spinach, which was led by keyboardist Ian Bruce-Douglas, who wrote all the band's material, including the instrumental Baroque # 1.

Artist:    Steve Miller Band
Title:    Quicksilver Girl
Source:    CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released as 45 RPM single and on LP: Sailor)
Writer(s):    Steve Miller
Label:    Rhino (original label: Capitol)
Year:    1968
    Steve Miller moved to San Francisco from Chicago and was reportedly struck by what he saw as a much lower standard of musicianship in the bay area than in the windy city. Miller's response was to form a band that would conform to Chicago standards. The result was the Steve Miller Band, one of the most successful of the San Francisco bands, although much of that success would not come until the mid-1970s, after several personnel changes. One feature of the Miller band is that it featured multiple lead vocalists, depending on who wrote the song. Miller himself wrote and sings on Quicksilver Girl, from the band's second LP, Sailor.

Artist:    Steppenwolf
Title:    Your Wall's Too High
Source:    CD: Born To Be Wild-A Retrospective (originally released on LP: Steppenwolf)
Writer(s):    John Kay
Label:    MCA (original label: Dunhill)
Year:    1968
    Most of the songs on Steppenwolf's first album had been in the group's stage repertoire for a year or more, giving the band plenty of opportunity to work the bugs out of their arrangements. As a result the band sounded tight and well-rehearsed on their debut LP, as is evident on Your Wall's Too High, a tune written by leader John Kay, who also played slide guitar on the tune.

Artist:    Steppenwolf
Title:    Born To Be Wild
Source:    45 RPM single
Writer(s):    Mars Bonfire
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:    Steppenwolf
Title:    The Ostrich
Source:    CD: Born To Be Wild-A Retrospective (originally released on LP: Steppenwolf)
Writer(s):    John Kay
Label:    MCA (original label: Dunhill)
Year:    1968
    Although John Kay's songwriting skills were still a work in progress on the first Steppenwolf album, there were some outstanding Kay songs on that LP, such as The Ostrich, a song that helped define Steppenwolf as one of the most politically savvy rock bands in history.

Artist:    Grand Funk Railroad
Title:    I Want Freedom
Source:    45 RPM single
Writer(s):    Mark Farner
Label:    Capitol
Year:    1971
    After being savaged by the rock press for their first three studio albums, Grand Funk Railroad mellowed their hard rocking sound a bit with their 1971 LP Survival. They did this by putting a greater emphasis on organ and electric piano, played by guitarist Mark Farner. Like the song Mean Mistreater, which had been a minor hit for the group in 1970, I Want Freedom, which opens the Survival album, is built entirely around Farner's keyboard playing.

Artist:    Gary Lee Yoder
Title:    Flight From The East
Source:    CD: Kak-Ola (bonus track originally released as 45 RPM single)
Writer(s):    Gary Lee Yoder
Label:    Big Beat (original label: Epic)
Year:    1970
    Gary Lee Yoder established himself as one of the core members of the San Francisco music scene in the late 60s, first as a member of the Oxford Circle and later as the leader of Kak. Shortly after Kad disbanded, Yoder convinced the people at Epic Records to let him record a single, Flight From The East, that he hoped would lead to an album project. A lack of promotion from the label put an end to those dreams, however, and Yoder ended up joining a tamed down version of Blue Cheer.

Artist:    Fleetwood Mac
Title:    Buddy's Song
Source:    LP: Kiln House
Writer(s):    Ella Holley
Label:    Reprise
Year:    1970
    As an early member of Fleetwood Mac, guitarist Jeremy Spencer had always taken a back seat to lead guitarist/vocalist Peter Green. With the departure of Green following the Then Play On album, however, Spencer got a chance to take center stage for several tunes on the band's next LP, Kiln House, including Buddy's Song. Officially credited to Buddy Holly's mother, the song is actually a reworking of Peggy Sue Got Married, with new lyrics incorporating several Buddy Holly song titles provided by Spencer, whose fondness for 50s rockabilly was well known. As it turned out, Kiln House would be the last album Spencer recorded as a member of Fleetwood Mac, and the band continued to move away from its blues roots toward the soft rock sound that would make Fleetwood Mac a household name in the 1980s.
   
Artist:    Sam And Dave
Title:    Hold On! I'm Comin'
Source:    45 RPM single (reissue)
Writer(s):    Hayes/Porter
Label:    Atlantic
Year:    1966
    Of the various artists recording in Memphis for Stax Records in the mid-to-late 1960s, none were more consistently successful than Sam Moore and David Prater. Sam And Dave, as they were usually known, specialized in performing songs written by Isaac Hayes and David Porter, such as Soul Man and I Thank You. One of their best-known tunes was Hold On! I'm Comin', released in spring of 1966. According to Hayes, the title of the song came from Porter's response when Hayes was trying to get Porter to finish his business in the restroom at Stax Studios and get back to work on a song they were writing.

Artist:    Bee Gees
Title:    I Can't See Nobody
Source:    CD: Bee Gees' 1st (also released as 45 RPM single B side)
Writer(s):    Barry and Robin Gibb
Label:    Reprise (original label: Atco)
Year:    1967
    The Bee Gees had already released two albums in Australia by the time they relocated to England and recorded the album that came to be known as Bee Gees' 1st in 1967. Unlike their previous efforts, Bee Gees' 1st was released internationally and ended up yielding several hits including Holiday, New York Mining Disaster-1941, and To Love Somebody. The album featured mostly original material written by Barry and Robin Gibb, who, along with Robin's fraternal twin brother Maurice, made up the group's core. Barry handled most of the lead vocals on the album. One exception is I Can't See Nobody, which was sung by Robin Gibb.

Artist:    Status Quo
Title:    Pictures Of Matchstick Men
Source:    CD: Psychedelic Pop (originally released as 45 RPM single)
Writer(s):    Francis Rossi
Label:    BMG/RCA/Buddah
Year:    1967
    The band with the most charted singles in the UK is not the Beatles or even the Rolling Stones. It is, in fact, Status Quo, quite possibly the nearest thing to a real life version of Spinal Tap. Except for Pictures of Matchstick Men, the group has never had a hit in the US. On the other hand, they remain popular in Scandanavia, playing to sellout crowds on a regular basis (yes, they are still together).

Artist:    Pink Floyd
Title:    Paintbox
Source:    CD: Relics (originally released as 45 RPM single B side)
Writer(s):    Rick Wright
Label:    Capitol (original label: Harvest)
Year:    1967
    On Pink Floyd's earliest records, the songwriter of record was usually Syd Barrett. After Barrett's mental health issues forced him out of the band the other members stepped up to fill the gap. But even before Barrett left, drummer Rick Wright's name began to show up on songwriting credits, such as on Paintbox, a 1967 B side that came out between the band's first two LPs.

Artist:    Spencer Davis Group
Title:    I'm A Man
Source:    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 Asian musicians. Oh yeah, and a few major solo hits like Higher Love and Roll With It in the late 80s. Other than that, nothing.

Artist:    Buffalo Springfield
Title:    Mr. Soul
Source:    CD: Retrospective (originally released on LP: Buffalo Springfield Again)
Writer(s):    Neil Young
Label:    Atco
Year:    1967
    Executives at Atco Records originally considered Neil Young's voice "too weird" to be recorded. As a result many of Young's early tunes (including the band's debut single Nowadays Clancy Can't Even Sing), were sung by Richie Furay. By the time the band's second album, Buffalo Springfield Again, was released, the band had enough clout to make sure Young was allowed to sing his own songs. In fact, the album starts with a Young vocal on the classic Mr. Soul.

AArtist:    Cream
Title:    Crossroads
Source:    CD: Best of 60s Psychedelic Rock (originally released on LP: Wheels Of Fire)
Writer:    Robert Johnson
Label:    Priority (original label: Atco)
Year:    1968
    Robert Johnson's Crossroads has come to be regarded as a signature song for Eric Clapton, who's live version (recorded at the Fillmore East) was first released on the Cream album Wheels Of Fire.

Artist:    Who
Title:    Amazing Journey
Source:    Spirit Of Joy (originally released on LP: Tommy)
Writer(s):    Pete Townshend
Label:    Polydor (original label: Decca)
Year:    1969
    After achieving major success in their native England with a series of hit singles in 1965-67, the Who began to concentrate more on their albums from 1968 on. The first of these concept albums was The Who Sell Out, released in December of 1967. The Who Sell Out was a collection of songs connected by faux radio spots and actual jingles from England's last remaining pirate radio station, Radio London. After releasing a few more singles in 1968, the Who began work on their most ambitious project yet: the world's first rock opera. Tommy, released in 1969, was a double LP telling the story of a boy who, after being tramautized into becoming a blind deaf-mute, eventually emerges as a kind of messiah, only to have his followers ultimately abandon him. One of the early tracks on the album is Amazing Journey, describing Tommy's voyage into the recesses of his own mind in response to the traumatic event that results in his blind, deaf and dumb condition.

Artist:    Donovan
Title:    Do You Hear Me Now
Source:    LP: Hear Me Now (originally released in UK on EP: Universal Soldier and in US as 45 RPM single B side)
Writer(s):    Bert Jansch
Label:    Janus (original UK label: Pye; original US label: Hickory)
Year:    1965
    In 1965 Donovan's UK label, Pye Records, released an Extended Play 45 RPM record (EP) called the Universal Soldier. The record featured four songs that were not available in any other format. EPs had been moderately successful in the US in the mid-1950s, but by 1965 had virtually disappeared from American record racks (except for children's records from companies like Disney and Peter Pan Records). Donovan's US label, Hickory Records, wanted to release the song Universal Soldier, but had no desire to release an EP. Instead they released the song as a single, with one of the other tracks from the EP, Do You Hear Me Now, as the B side. In 1971 Janus Records re-released many of Donovan's early songs, including Do You Hear Me Now, on a new set of albums. Unfortunately those LPs used the electronically reprocessed for stereo versions rather than the original mono mixes.

Artist:    Beatles
Title:    I Don't Want To Spoil The Party
Source:    LP: Beatles VI (originally released in UK on LP: Beatles For Sale)
Writer(s):    Lennon/McCartney
Label:    Apple (original UK label: Parlophone; original US label: Capitol)
Year:    UK: 1964, US: 1965
    As early as 1964 the Beatles were starting to incorporate acoustic guitars into their music to supplement their basic electric sound. One example of this is I Don't Want To Spoil The Party from their LP Beatles For Sale. In the US the song appeared on the 1965 LP Beatles VI.

Artist:    Doors
Title:    Not To Touch The Earth
Source:    CD: Waiting For The Sun
Writer(s):    The Doors
Label:    Elektra
Year:    1968
    Waiting For the Sun was the first Doors album to feature a gatefold cover (imagine a 24"x12" greeting card with a record in it), and the Doors used half of the inside portion to print the entire text of "Celebration of the Lizard," which was a bit confusing, since no such track appeared on the album itself. They had made several attempts to record "Celebration", but were not entirely satisfied with any of them. They did, however, manage to salvage Not To Touch The Earth, a short section from the middle of the piece, for inclusion on the album.

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:    Doors
Title:    My Wild Love
Source:    CD: Waiting For The Sun
Writer(s):    The Doors
Label:    Elektra
Year:    1968
    The Doors' third album, Waiting For The Sun, was the band's only LP to make it to the top of the charts. It also marked the beginning of a more experimental period for the band, with an eclectic mix of songs that included the flamenco-flavored Spanish Caravan, the brutally anti-war piece The Unknown Soldier and My Wild Love, an a-capella piece that sounds more like a chain gang work song than a rock and roll tune.

Artist:    Standells
Title:    Dirty Water
Source:    LP: Nuggets Vol. 1-The Hits (originally released as 45 RPM single)
Writer(s):    Ed Cobb
Label:    Rhino (original label: Tower)
Year:    1966
    When it comes to garage rock it really doesn't get any better than Dirty Water. The 1966 Standells classic was written by producer Ed Cobb, the Ed Wood of the record industry.

Artist:    Chocolate Watchband
Title:    Are You Gonna Be There (At The Love-In)
Source:    CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single and on LP: No Way Out)
Writer(s):    McElroy/Bennett
Label:    Rhino (original label: Tower)
Year:    1967
    It took me several years to sort out the convoluted truth behind the recorded works of San Jose, California's most popular local band, the Chocolate Watchband. While it's true that much of what was released under their name was in truth the work of studio musicians, there are a few tracks that are indeed the product of Dave Aguilar and company. Are You Gonna Be There, a song used in the cheapie teenspliotation flick the Love-In and included on the Watchband's first album, is one of those few. Even more ironic is the fact that the song was co-written by Don Bennett, the studio vocalist whose voice was substituted for Aguilar's on a couple of other songs from the same album.

Artist:    Big Brother And The Holding Company
Title:    Summertime
Source:    LP: Cheap Thrills
Writer(s):    George and Ira Gershwin
Label:    Columbia
Year:    1968
    Janis Joplin, on Big Brother And The Holding Company's Cheap Thrills album, sounds like she was born to sing Gershwin's Summertime. Maybe she was.