https://exchange.prx.org/pieces/412490-pe-2213
This week's edition of Stuck in the Psychedelic Era includes several long sets from specific years, as well as a couple of artists' sets, including another trio of seldom-heard Rolling Stones tracks and a post-Van Morrison Them set. It begins with an uninterrupted half hour of tunes from 1966...
Artist: Troggs
Title: Wild Thing
Source: Mono CD: Nuggets-Classics From the Psychedelic 60s (originally released as 45 RPM single)
Writer: Chip Taylor
Label: Rhino (original label: Fontana)
Year: 1966
I have a DVD copy of a music video (although back then they were called promotional films) for the Troggs' Wild Thing in which the members of the band are walking through what looks like a train station while being mobbed by girls at every turn. Every time I watch it I imagine singer Reg Presley saying giggity-giggity as he bobs his head.
Artist: Blues Project
Title: The Flute Thing
Source: Mono CD: Projections
Writer(s): Al Kooper
Label: Sundazed (original label: Verve Folkways)
Year: 1966
The Blues Project was one of the most influential bands in rock history, yet one of the least known. Perhaps the first of the "underground" rock bands, the Project made their name by playing small colleges across the country (including Hobart and William Smith, where Stuck in the Psychedelic Era is produced). The Flute Thing, from the band's second album, Projections, features bassist Andy Kuhlberg on flute, with rhythm guitarist Steve Katz taking over the bass playing, joining lead guitarist Danny Kalb and keyboardist Al Kooper for a tune that owes more to jazz artists like Roland Kirk than to anything top 40 rock had to offer at the time.
Artist: Animals
Title: Cheating
Source: LP: The Best Of Eric Burdon And The Animals Vol. II (originally released on LP: Animalization)
Writer(s): Burdon/Chandler
Label: M-G-M
Year: 1966
As a general rule, the original Animals wrote very little of their own material, preferring to record covers of their favorite blues songs to supplement the songs from professional songwriters that producer Mickie Most picked for single release. One notable exception is Cheating, a strong effort from vocalist Eric Burdon and bassist Chas Chandler that appeared on the Animalization album. The hard-driving song was also chosen for release as a B side in 1966.
Artist: Beatles
Title: Tomorrow Never Knows
Source: CD: Revolver
Writer: Lennon/McCartney
Label: Parlophone (original US label: Capitol)
Year: 1966
A few years ago I started to compile an (admittedly subjective) list of the top psychedelic songs ever recorded. Although I never finished ranking the songs, one of the top contenders for the number one spot was Tomorrow Never Knows from the Beatles' 1966 LP Revolver. The song is one of the first to use studio techniques such as backwards masking and has been hailed as a masterpiece of 4-track studio production.
Artist: Jimi Hendrix Experience
Title: Hey Joe
Source: LP: Are You Experienced?
Writer(s): Billy Roberts
Label: Experience Hendrix/Legacy (original 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. It was released as a single in the UK in late 1966 and went all the way to the # 3 spot on the British top 40. 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. Although Rose always claimed that Hey Joe was a traditional folk song, the song was actually copyrighted in 1962 by California folk singer Billy Roberts. By the time Hendrix recorded Hey Joe several American bands had recorded a fast version of the song, with the Leaves hitting the US top 40 with it in early 1966.
Artist: Shadows Of Knight
Title: Gloria
Source: CD: Gloria
Writer(s): Van Morrison
Label: Sundazed (original label: Dunwich)
Year: 1966
Although most oldies stations now tend to favor the 1965 Them B side version of Gloria, it was Chicago's Shadows Of Knight that made it one of the most popular garage-rock songs in history.
Artist: Cream
Title: Toad
Source: LP: Fresh Cream
Writer(s): Ginger Baker
Label: Atco
Year: 1966
By 1970, pretty much every rock band in the world featured a drum solo during live performances. Before 1966, however, the practice was unheard of; in fact, drum solos were considered solely the province of jazz musicians. The guy who changed all that was Ginger Baker of Cream, who, on the band's very first album provided the studio version of Toad. Due to the limitations of four-track recording, the entire drum solo, which takes up the bulk of the five-minute recording, is assigned to one single track, which on the stereo version of the song is mixed entirely to one channel/speaker. This makes for a rather odd listening experience under certain circumstances. A longer version of Toad recorded live at the Fillmore would appear on Cream's third album, Wheels Of Fire, in 1968 (this time with the drums mixed in full stereo). To cement his reputation as the king of rock drum solos, Baker included yet another lengthy one (in 5/4 time yet!) on Do What You Like, a song he wrote himself for the Blind Faith album.
Artist: Byrds
Title: Eight Miles High
Source: European import CD: Pure...Psychedelic Rock (originally released as 45 RPM single and on LP: Fifth Dimension)
Writer(s): Clark/McGuinn/Crosby
Label: Sony Music (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 influential Gavin Report advising stations not to play this "drug song", Eight Miles High 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, especially long intercontinental trips, that in part led to his leaving the Byrds.
Artist: Jefferson Airplane
Title: Let Me In
Source: 45 RPM single B side
Writer(s): Balin/Kantner
Label: RCA Victor
Year: 1966
Marty Balin deserves recognition for his outstanding abilities as a leader. Most people don't even realize he was the founder of Jefferson Airplane, yet it was Balin who brought together the diverse talents of what would become San Francisco's most successful band of the 60s and managed to keep the band together through more than its share of controversies. One indication of his leadership abilities is that he encouraged Paul Kantner to sing lead on Let Me In, a song that the two of them had written together for the band's debut LP, Jefferson Airplane Takes Off, despite the fact that Balin himself had no other onstage role than to sing lead vocals.
Artist: Electric Prunes
Title: Are You Lovin' Me More (But Enjoying It Less)
Source: 45 RPM single B side
Writer: Tucker/Mantz
Label: Reprise
Year: 1967
For a follow-up to the hit single I Had Too Much To Dream (Last Night), producer Dave Hassinger chose another Annette Tucker song (co-written by Jill Jones) called Get Me To The World On Time. This was probably the best choice from the album tracks available, but Hassinger may have made a mistake by choosing Are You Lovin' Me More (But Enjoying It Less) as the B side. That song, written by the same Tucker/Mantz team that wrote I Had Too Much To Dream (Last Night) could quite possibly been a hit single in its own right if it had been issued as an A side. I guess we'll never know for sure.
Artist: Canned Heat
Title: Boogie Music
Source: LP: Progressive Heavies (originally released on LP: Living The Blues and as 45 RPM single B side)
Writer(s): L.T.Tatman III
Label: United Artists (original label: Liberty)
Year: 1968
Canned Heat was formed in 1966 by a group of San Francisco Bay Area blues purists. Although a favorite on the rock scene, the band continued to remain true to the blues throughout their existence, even after relocating to the Laurel Canyon area near Los Angeles in 1968. The band's most popular single was Going Up the Country from the album Living the Blues. The B side of that single was another track from Living The Blues that actually had a longer running time on the single than on the album version. Although the single uses the same basic recording of Boogie Music as the album, it includes a short low-fidelity instrumental tacked onto the end of the song that sounds suspiciously like a 1920s recording of someone playing a melody similar to Going Up The Country on a fiddle. The only time this unique version of the song appeared in stereo was on a 1969 United Artists compilation called Progressive Heavies that also featured tracks from Johnny Winter, Traffic, the Spencer Davis Group and others.
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. Among the strongest tracks on the album was New Speedway Boogie, which would become a staple of the band's live shows.
Artist: Led Zeppelin
Title: Friends/Celebration Day
Source: German import LP: Led Zeppelin III
Writer(s): Page/Plant/Jones
Label: Atlantic
Year: 1970
Following a year of almost constant touring to promote the first two Led Zeppelin albums, Robert Plant and Jimmy Page decided to take a break in early 1970, moving to a Welsh cottage with no electricity and concentrating on their songwriting skills. The result was an album, Led Zeppelin III, that differed markedly from its predecessors. Many of the songs on the album, such as Friends, were almost entirely acoustical, while others, like Celebration Day, were, if possible, more intense than anything on the band's first two albums. Once much of the material for the new album had been written, Page and Plant were joined by John Bonham and John Paul Jones at a place called Headley Grange, where the band rehearsed the new material, adding a few more songs in the process. The album itself caught the band's fans by surprise, and suffered commercially as a result, but has since come to be regarded as a milestone for the band.
Artist: Jeff Beck
Title: Tallyman
Source: 45 RPM single (reissue)
Writer(s): Graham Gouldman
Label: Sundazed/Epic
Year: 1967
Mickey Most (born Michael Peter Hayes) was a British record producer who was responsible for some of the biggest hits of the British Invasion, working with bands like the Animals and Herman's Hermits, as well as individual artists like Donovan and Lulu. In most cases (sorry about the pun) he chose the songs himself for the bands to record, something that did not sit well with Eric Burdon of the Animals in particular. Nonetheless, he had the reputation as the man to go to for the best chance of getting on the charts and he rarely disappointed. In 1967, guitarist Jeff Beck, having recently left the Yardbirds, had dreams of becoming a pop star, and turned to Most for help in making it happen. Most, as usual, picked out the songs for Beck's first two singles, the second of which was Tallyman, a song written by the same Graham Gouldman that had provided the Yardbirds with their first Beck era hit, Heart Full Of Soul. Beck would continue to work with Most for the next couple of years, although by the time the album Beck-Ola was released, Beck himself was choosing the material to record and starting with his next LP, Rough And Ready, would be producing his own records.
Artist: Beach Boys
Title: Heroes And Villains (alternate take)
Source: Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released on CD: Smiley Smile/Wild Honey)
Writer(s): Wilson/Parks
Label: Rhino
Year: Recorded 1967, released 1995
The last major Beach Boys hit of the 1960s was Heroes And Villains, released as a follow-up to Good Vibrations in early 1967. The song was intended to be part of the Smile album, but ended up being released as a single in an entirely different form than Brian Wilson originally intended. Eventually the entire Smile project was canned, and a considerably less sophisticated album called Smiley Smile was released in its place. Nearly 30 years later Smiley Smile and its follow-up album, Wild Honey, were released on compact disc as a set. One of the bonus tracks in that set was this alternate version of Heroes And Villains, which was also included in the box set Good Vibrations-Thirty Years Of The Beach Boys. Finally, in 2004, Brian Wilson's Smile, featuring all new stereo recordings, was released, with an arrangement of Heroes And Villains that was quite similar to the one heard here.
Artist: Underground
Title: Satisfyin' Sunday
Source: Mono British import CD: All Kinds Of Highs (originally released in US as 45 RPM single)
Writer(s): O'Keefe/Wright
Label: Big Beat (original label: Mainstream)
Year: 1966
Although not the first place that comes to mind when the subject of folk music comes up, Houston actually had a fairly lively scene in the mid-1960s, including a recording studio (belonging to Walt Andrus) that catered to the folk and rock crowd. It was here that four local folk singers, Larry O'Keefe, Jerry Wright, Susan Giles and Kay Oslin, decided to get together and form a band called the Underground. Their first single, released in November of 1966, was Satisfyin' Sunday, released on Bob Shad's Mainstream label. The single got heavy local airplay, but did not catch on nationally, and after a second single failed to chart as well, the group splintered, with the individual members going their separate ways. Oslin would resurface in 1980s as a successful country singer under the name K.T. Oslin.
Artist: Rolling Stones
Title: All Sold Out
Source: LP: Between The Buttons
Writer(s): Jagger/Richards
Label: London
Year: 1967
The Rolling Stones were on the verge of a transition period when they recorded Between The Buttons in August and September of 1966. Much of the album, including tracks like All Sold Out, were pretty much in the same vein as the songs on their previous album, Aftermath, yet Between The Buttons also marked the beginning of the band's brief flirtation with psychedelia as well. From a production standpoint the album suffered from the limitations of 4-track technology, which necessitated the use of "bouncing" (pre-mixing multiple tracks down to a single track to make room for overdubs on the original tracks), a process that often resulted in a loss of audio fidelity. In fact, Mick Jagger later referred to most of Between The Buttons as "more of less rubbish" because of the overall sound quality.
Artist: Rolling Stones
Title: The Spider And The Fly
Source: Mono CD: Singles Collection-The London Years (originally released in US on LP: Out Of Our Heads)
Writer(s): Jagger/Richards
Label: Abkco (original label: London)
Year: 1965
The catalogs of many popular British bands of the 1960s differ greatly between the US and Great Britain. There are several reasons for this, the most obvious being that British albums generally had a longer running time than American ones, and British singles stayed in print far longer than American ones. In the case of the Rolling Stones there was a third factor: many of their recordings were made in the US and intended primarily for American listeners. In a few cases, such The Spider And The Fly, a song would actually appear in the US before it did in the UK. The Spider And The Fly originally appeared as an album track on the 1965 LP Out Of Our Heads in the US. A few weeks later, the song was released in the UK as the B side of the single (I Can't Get No) Satisfaction, and was not included on the British version of Out Of Our Heads at all.
Artist: Rolling Stones
Title: Something Happened To Me Yesterday
Source: LP: Between The Buttons
Writer(s): Jagger/Richards
Label: London
Year: 1967
The final track on the 1967 Rolling Stones album Between The Buttons is notable for several reasons. Most signficantly, it is the first officially-released Stones tune to feature Keith Richards on lead vocals (on the chorus; Mick Jagger sings lead on the verses). Second, at just a second under five minutes, Something Happened To Me Yesterday is the longest track on Between The Buttons. The third point is illustrated by a quote from Mick Jagger himself: "I leave it to the individual imagination as to what happened." According to one critic, that "something" was an acid trip, making this one of the band's more overt drug songs.
Artist: Doors
Title: People Are Strange
Source: LP: Strange Days (also released as 45 RPM single)
Writer: The Doors
Label: Elektra
Year: 1967
The first single from the second Doors album was People Are Strange. The song quickly dispelled any notion that the Doors might be one-hit wonders and helped establish the band as an international act as opposed to just another band from L.A. The album itself, Strange Days, was a turning point for Elektra Records as well, as it shifted the label's promotional efforts away from their original rock band, Love, to the Doors, who ironically had been recommended to the label by the members of Love.
Artist: Pink Floyd
Title: Matilda Mother
Source: CD: The Piper At The Gates Of Dawn
Writer(s): Syd Barrett
Label: Capitol (original label: Tower)
Year: 1967
Listening to tracks like Matilda Mother, I can't help but wonder where Pink Floyd might have gone if Syd Barrett had not succumbed to mental illness following the release of the band's first LP, The Piper At The Gates Of Dawn, in 1967. Unlike the rest of the band members, Barrett had the ability to write songs that were not only adventurous, but commercially viable as singles as well. After Barrett's departure, it took the group several years to become commercially successful on their own terms (although they obviously did). We'll never know what they may have done in the intervening years were Barrett still at the helm.
Artist: Monkees
Title: Salesman
Source: LP: Pisces, Aquarius, Capricorn and Jones, LTD.
Writer(s): Craig Smith
Label: Colgems
Year: 1967
The first song on the Monkees' fourth LP, Pisces, Aquarius, Capricorn And Jones, LTD. was also the most controversial. Michael Nesmith, as a side project, had been producing songs for a group led by Craig Vincent Smith called the Penny Arkade. One song in particular, Salesman, impressed Nesmith so much that he decided to produce a Monkees version of the song as well. The track was then used in a Monkees TV episode called The Devil And Peter Tork. NBC-TV at first refused to air the episode, claiming that the line "Salesman with your secret goods that you push while you talk" was a veiled drug reference (although producer Bert Schnieder was convinced the real reason was the liberal use of the word "hell" in the show's script).
Artist: Paul Revere And The Raiders
Title: Peace Of Mind
Source: Mono CD: Greatest Hits (bonus track originally released as 45 RPM single)
Writer(s): Lindsay/Melcher
Label: Columbia/Legacy
Year: 1967
Billy Altman, in his liner notes for the expanded 1999 version of Paul Revere And The Raiders' Greatest Hits CD, refers to Peace Of Mind as "psychedelic-souled". I've never run across that particular term before, so I thought I'd repeat it here. Peace Of Mind was one of the last songs to feature the participation of producer Terry Melcher, who had co-written many of the band's hit songs. With Melcher's departure, vocalist Mark Lindsay took more personal control of the band's direction, bringing in studio musicians for most of their subsequent recordings.
Artist: Royal Guardsmen
Title: Om
Source: 45 RPM single B side
Writer(s): Richards/Taylor
Label: Laurie
Year: 1967
The 1960s were a decade of fads, some lasting longer than others. One of the shortest-lived fads of the decade was a series of records by a group called the Royal Guardsmen about the imaginary battles between Charlie Brown's dog Snoopy (from the Peanuts comic strip) and the infamous German WWI ace The Red Baron. The first of these was a million-selling single that went all the way to the #2 spot on the national charts. This led to
an album, also called Snoopy vs. The Red Baron. Both the album and single were released in 1966. 1967 saw the release of a second LP, The Return Of The Red Baron, which spawned three top 100 singles. The second of these was The Airplane Song, which topped out in the #46 spot on the Billboard Hot 100, but was a top 20 hit in Australia and New Zealand. The B side of that single was the instrumental Om. Also taken from The Return Of The Red Baron, Om was written by band members Tom Richards (who played guitar) and organist Billy Taylor. By mid-1967 the novelty had worn off, although their December 1967 single, Snoopy's Christmas, probably gets more airplay these days than any of the original singles.
Artist: Them
Title: Square Room (single version)
Source: Mono British import CD: Time Out! Time In! For Them (originally released as 45 RPM single B side)
Writer(s): Armstrong/Harley/Henderson/McDowell
Label: Rev-Ola (original label: Sully)
Year: 1967
After Van Morrison left Them to try his luck as a solo artist, the rest of the band returned to their native Ireland to recruit a new vocalist, Kenny McDowell, before relocating to California. Their first record with the new lineup was a single on the Sully label of a song called Dirty Old Man (At The Age Of 16). The B side of the single was a piece called Square Room, that would end up being re-recorded in a much longer arrangement for their LP debut on Tower Records the following year.
Artist: Them
Title: Time Out For Time In
Source: LP: Time Out! Time In! For Them
Writer(s): Lane/Pulley
Label: Tower
Year: 1968
After Van Morrison left Them to embark on a successful solo career, the rest of the band continued to make records. The first effort was an offshoot group made up of former members of the band (who had left while Morrison was still fronting the group) calling themselves the Belfast Gypsys, who released one LP in 1967. The current band, meanwhile, had returned to their native Ireland and recruited Kenny McDowell as their new lead vocalist. They soon relocated to California, recording two LPs for Tower Records in 1968. The second of these was a collaborative effort between Them and the songwriting team of Tom Pulley and Vivian Lane. The opening track of the LP, Time Out For Time In, is a good example of the direction the band was moving in at that time.
Artist: Them
Title: Black Widow Spider
Source: CD: Time Out! Time In! For Them
Writer(s): Lane/Pulley
Label: Rev-Ola (original label: Tower)
Year: 1968
Usually when a band used outside songwriters it's because their producer forced them into it, and almost always was a sore point with the band members. The liner notes for Them's second album for Tower, on the other hand, included a thank you note from the band to Tom Lane and Sharon Pulley, who wrote nearly every song on Time Out! Time In! For Them, including Black Widow Spider.
Artist: Moody Blues
Title: Dawn: Dawn Is A Feeling
Source: LP: Days Of Future Passed
Writer(s): Mike Pinder
Label: Deram
Year: 1968
Dawn Is A Feeling was written by Moody Blues keyboardist Mike Pinder as a starting off point for a concept album about a day in the life of an average mid-20th century working man. That album became Days Of Future Passed, and it revived the fortunes of the band, forever branding them as the group that used classical-styled orchestral arrangements to enhance rock songs.
Artist: Del Shannon
Title: Conquer
Source: CD: The Further Adventures Of Charles Westover
Writer(s): Del Shannon
Label: BGO (original label: Liberty)
Year: 1968
Del Shannon showed his versatility as well as his ability to keep up with the times on songs like Conquer, from his most Psychedelic album, 1968's The Further Adventures Of Charles Westover (Charles Westover being Shannon's given name). The album itself went largely unnoticed (except by Shannon's die-hard fans) when it was originally released, but has since become recognized as one of his better efforts.
Artist: Jethro Tull
Title: Round
Source: CD: This Was
Writer: Anderson/Abrahams/Cornish/Bunker/Ellis
Label: Chrysalis/Capitol
Year: 1968
Round was probably just a short warm-up jam (or possibly a break song) that the band decided to include at the end of their first album, This Was. It is the only song credited to the entire Jethro Tull lineup, including producer Terry Ellis, co-founder of Chrysalis Records.
Artist: Buckinghams
Title: And Your Love
Source: LP: Time And Charges
Writer(s): James William Guercio
Label: Columbia
Year: 1967
The Buckinghams were a Chicago area band that hit the top of the US charts with Kind Of A Drag, released on the local USA label in late 1966. Not long after that the band was introduced to James William Guercio, who immediately saw the potential of a rock band with a strong horn presence. Guercio soon became the band's producer, getting the Buckinhams a contract with Columbia, at the time the second largest record label in the US (behind RCA Victor). Guercio produced the band's second LP, Time And Charges, which included several of Guercio's own compositions such as And Your Love. After creative differences resulted in Guercio and the Buckinghams going their separate ways, Guercio found a pair of new bands with horn sections in need of a producer: Blood, Sweat & Tears (who had just added David Clayton-Thomas to the lineup) and the Chicago Transit Authority, who would end up shortening their name to Chicago.
Artist: Vagrants
Title: Respect
Source: Mono LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single B side)
Writer(s): Otis Redding
Label: Rhino (original label: Atco)
Year: 1967
Sounding a lot like the Rascals, the Vagrants were a popular Long Island band led by singer Peter Sabatino and best remembered for being the group that had guitarist Leslie Weinstein in it. Weinstein would change his last name to West and record a solo album called Mountain before forming the band of the same name. This version of Respect is fairly faithful to the original Otis Redding version. Unfortunately for the Vagrants, Aretha Franklin would release her radically rearranged version of the song just a few weeks after the Vagrants, relegating their version of the tune (and the Vagrants themselves) to footnote status.
Artist: Strawberry Alarm Clock
Title: Incense And Peppermints
Source: Mono CD: Even More Nuggets (originally released as 45 RPM single)
Writer(s): Carter/Gilbert/Weitz/King
Label: Rhino (original label: Uni)
Year: 1967
Incense and Peppermints started off as an instrumental from Los Angeles band Thee Sixpence members Mark Weitz and Ed King, mostly because the band simply couldn't come up with any lyrics. Their producer decided to bring in professional songwriters John S. Carter and Tim Gilbert 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 they refused to sing them. Undaunted, the producer persuaded 16-year-old Greg Munford, a friend of the band who had accompanied them to the recording studio, to sing the lead vocals on the track, which was was then issued as the B side of the group's fourth single, The Birdman Of Alkatrash, on the All-American label. 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) immediately signed the band (which by then had changed their name to the Strawberry Alarm Clock) issuing the record nationally with Incense And Peppermints as the A side. Naturally, the song went to the number one spot, becoming the band's only major hit.
