Rockin' in the Days of Confusion # 2346 (B27) (starts 11/13/23)

https://exchange.prx.org/p/505005

    This time around we have a free-form show recorded over five years ago to be used when the circumstances called for it. As a result there are a couple tunes (in fact the first two) that were heard on Rockin' in the Days of Confusion less than a month ago. It's OK though. They're good ones, as are the rest of the tunes on this week's show.

Artist:    Black Sabbath
Title:    The Wizard
Source:    CD: Black Sabbath
Writer:    Osborne/Iommi/Butler/Ward
Label:    Warner Brothers
Year:    1970
    Often cited as the first true heavy metal album, Black Sabbath's debut LP features one of my all-time favorite album covers (check out the Stuck in the Psychedelic Era Facebook page's Classic Album Covers section) as well as several outstanding tracks. One of the best of these is The Wizard, which was reportedly inspired by the Gandalf character from J.R.R. Tolkien's Lord Of The Rings trilogy.

Artist:    Uriah Heep
Title:    The Wizard
Source:    LP: Demons And Wizards
Writer:    Hensley/Clarke
Label:    Mercury
Year:    1972
    Although Uriah Heep had been around since 1969, they didn't get much attention in the US until their Demons And Wizards album in 1972, which included their biggest hit, Easy Livin'. The Wizard, which opens the album, was the first of two singles released from the album. The song itself is a semi-acoustic tune about a wizard whose name is never given, but is generally considered to be Merlin.

Artist:        Ten Years After
Title:        A Sad Song
Source:    CD: Stonedhenge
Writer:        Alvin Lee
Label:        Deram
Year:        1969
        The Base Exchange (BX) at Ramstein Air Force Base had, in 1969, a fairly sizable record and tape section, comparable to those of the large discount stores like K-Mart and Woolco that were starting to pop up in many US cities. Most LPs ran $2.50 (compared to $3.98 stateside), and included a mixture of domestic and import pressings of the most popular albums of the time. Each month the BX would feature one new LP for $1.50, and as a general rule it was something I would have bought anyway (like the European version of the Rolling Stones' Through The Past, Darkly album). Sometimes I would even take a chance on a band I had never heard of, if the cover looked interesting enough. One such case was an album from an obscure British blues band called Ten Years After. The album was called Stonedhenge, and the cover, featuring the famous monolithic stones against a maroon background, immediately grabbed me. It was probably the best purchase of its type I have ever made, as the album soon became one of my favorites. The LP has a unique structure, with each side starting and ending with tracks featuring the full band, alternating with short solo pieces from each of the band's four members (and including a full band track in the middle of each side). Side two of the album opens with A Sad Song, a quiet blues piece that was likely inspired by British blues guru John Mayall.

Artist:    Bloodrock
Title:    D.O.A.
Source:    CD: Bloodrock 2
Writer(s):    Cobb/Grundy/Hill/Pickens/Rutledge
Label:    One Way (original label: Capitol)
Year:    1970
    Bloodrock gained infamy in 1970 with the inclusion of D.O.A. on their second LP, a song reputed to be the cause of more bad acid trips than any other track ever recorded. Although the origins of the song are popularly attributed to a plane crash that killed several student atheletes in October of 1970, the fact that the album was already in the hands of record reviewers within a week of that event makes it unlikely that the two are related. The more likely story is that it was inspired by band member Lee Pickens's witnessing of a friend crashing his light plane a couple years before. Regardless of the song's origins, D.O.A. has to be considered one of the creepiest recordings ever made.

Artist:    Moby Grape
Title:    Chinese Song
Source:    LP: 20 Granite Creek
Writer(s):    Skip Spence
Label:    Columbia
Year:    1971
    After first being reduced to a trio and then all but disbanding in 1969, Moby Grape reappeared with all five original members on a different label for the 1971 album 20 Granite Creek. Skip Spence only wrote one song for the album, but it was a memorable one, with Spence playing Koto, as well as guitar and vocals, on Chinese Song.

Artist:    Mothers
Title:    Montana
Source:    CD: Over-Nite Sensation
Writer(s):    Frank Zappa
Label:    Zappa (original label: Discreet)
Year:    1973
    Montana is quite possibly the most recognizable song Frank Zappa ever wrote. The track first appeared on the Mothers album Over-Nite Sensation and quickly became a concert staple. On the original album version Zappa's guitar solo is followed by a series of vocal gymnastics performed by none other than Tina Turner and the Ikettes, who were recording with Turner's husband Ike in an adjacent studio. According to Zappa it took the singers two days to master the complex melody and timing of the section. Reportedly Tina was so pleased with the result that she invited her husband into the control room to hear the finished section, only to have Ike say "What is this shit?" and walk back out.

Artist:    Steely Dan
Title:    Any Major Dude Will Tell You
Source:    45 RPM single B side
Writer(s):    Becker/Fagen
Label:    ABC
Year:    1974
    For a while it looked like Steely Dan would, like many other early 70s bands, start strong and then slowly fade away. Their debut single, Do It Again, got a lot of airplay on AM top 40 radio, which actually worked against them when it came to the more album-oriented FM stations that were starting to pop up all over the US. Despite the fact that their second LP, Countdown To Ecstacy, was much more suited to FM, it was pretty much ignored by FM rock stations at the time. However, it all came together for the group with the release of their third LP, Pretzel Logic, in 1974. In addition to a big hit single (Rikki Don't Lose That Number), Pretzel Logic included several FM-friendly tunes, such as Any Major Dude Will Tell You, and was a favorite of the rock press.

Artist:    Tim Hardin
Title:    Hoboin'
Source:    European import CD: Pure...Psychedelic Rock (original released in US on LP: Bird In A Cage)
Writer(s):    Hooker/Josea
Label:    Sony Music (original US label: Columbia)
Year:    1971
    Although Tim Hardin is best known for songs he wrote that became hits for other artists, such as Reason To Believe and If I Were A Carpenter, he had a recording career of his own as well. He originally signed with Columbia in 1964, but the label terminated his contract before any of his recordings got released. Two years later he signed with the Verve Forecast label, releasing four LPs before re-signing with Columbia in 1969. The label sent him to Nashville to work with studio musicians there, but none of those recordings were considered good enough to be released. Instead, he returned to his home in Woodstock, NY, and recorded Suite for Susan Moore and Damion: We Are One, One, All in One, a cycle of songs dedicated to his wife and son, that became his first release for Columbia. Following his performance at the Woodstock festival later that year, Hardin went to work on his next LP, Bird In A Cage. Unlike Hardin's previous albums, all the backing tracks on Bird In A Cage were recorded before Hardin actually set foot in the studio, with Weather Report's Joe Zawinul arranging some of the tunes, including Hoboin', a tune written by legendary blues artist John Lee Hooker and Joe Bihari (under the pseudonym Joe Josea).

Artist:    Return To Forever featuring Chick Corea
Title:    No Mystery
Source:    LP: No Mystery
Writer(s):    Chick Corea
Label:    Polydor
Year:    1975
    When it comes to jazz-rock fusion, generally the first name that comes to mind is Chick Corea, founder of Return To Forever. The band was formed out of Corea's desire to better "communicate" with an audience than was possible with the avant-garde jazz he had been performing with his previous band, Circle. Along with bassist Stanley Clarke, Corea oversaw the evolution of Return To Forever over the years from a Latin-based sound featuring Flora Purim and her husband Airto Moreira into one of the first true jazz-rock fusion bands. By 1975 Corea had become well-versed in the use of synthesizers, as can be heard on the album No Mystery. On the album Corea and Clarke were joined by guitarist Al DiMeola and drummer Lenny White for what is now considered the "classic" Return To Forever lineup. Corea himself wrote the title track, which is probably the best-known tune on the album.

Artist:    Doobie Brothers
Title:    Daughters Of The Sea/Flying Cloud
Source:    CD: What Were Once Vices Are Now Habits
Writer(s):    Simmons/Porter
Label:    Warner Brothers
Year:    1974
    When I got out of basic training in southwestern Texas I was told to report to duty at my tech school in northern Texas. Now this might seem a fairly short distance; apparently the people making my travel arrangements thought so, because, rather than a plane flight, they put me on a bus. This bus also had several other basic training graduates on it, all heading for the same tech school location. The ride took approximately six hours, as I recall, and one of the guys had used his initial paycheck to buy a boombox and an 8-track tape of the new Doobie Brothers album, What Were Once Vices Are Now Habits. Apparently he didn't realize how big Texas is, as he did not buy any other tapes. And so, for six hours, we listened to the new Doobie Brothers album, What Were Once Vices Are Now Habits, over and over. And over. And over. Luckily, it's actually a pretty decent album, although some songs are more listenable than others, of course. A personal favorite is (are?) the closing track of the original LP, which is actually two songs that merge together, Daughters Of The Sea and the short instrumental Flying Cloud. A good way to end a good album.

Artist:    James Gang
Title:    Stone Rap/Collage
Source:    CD: Yer' Album
Writer(s):    Walsh/Cullie
Label:    MCA (original label: Bluesway)
Year:    1969
    Sometime in early 1969 (more or less) three students from Kent State University (yes, that one!) travelled to New York to record an album at the Hit Factory. Apparently they had been continually confronted by fans who kept asking them "when is yer' album coming out?", so when it came time to come up with a name for the LP, the natural choice was Yer' Album. That LP launched the careers of two legends: first, the band itself, the James Gang, who would (with an ever-changing lineup) release a total on nine studio albums (and one live LP) before finally disbanding in 1976. The second legend was lead guitarist/vocalist Joe Walsh, who would go on to have a highly successful solo career before becoming an even bigger star as a member of the Eagles. Walsh wrote about half the songs on that first album, including Collage, a collaboration with his friend Patrick Cullie. Although Yer Album was released in 1969, the James Gang had actually been in existence since 1966. Led by drummer Jim Fox, the band's original lineup also included bassist Tom Kriss, who would leave the group after the release of their first LP.

Stuck in the Psychedelic Era # 2345 (starts 11/6/23_

https://exchange.prx.org/p/504139 

    Usually on Stuck in the Psychedelic Era we present a mix of singles, B sides and album tracks spread throughout the show. This time around, though, we are bunching things up a bit, with several sets from specific years, including an entire set of 1968 obscurities and a 1965 Kinks set, in the first hour, followed by an Advanced Psych segment made up entirely of  unsolicited tracks sent to us from various sources. From there, after a couple more obscure tunes from 1969, we have a set of tunes from Cream, finishing out the show with a progression through the years 1964 to 1969.

Artist:    Small Faces
Title:    Itchycoo Park
Source:    British import 45 RPM single
Writer(s):    Marriott/Lane
Label:    Immediate
Year:    1967
    Led by Steve Marriott and Ronnie Lane, the Small Faces got their name from the fact that all the members of the band were somewhat vertically challenged. The group was quite popular with the London mod crowd, and was sometimes referred to as the East End's answer to the Who. Although quite successful in the UK, the group only managed to score one hit in the US, the iconic Itchycoo Park, which was released in late 1967. Following the departure of Marriott the group shortened their name to Faces, and recruited a new lead vocalist named Rod Stewart. Needless to say, the new version of the band did much better in the US than their previous incarnation.
 
Artist:    Strawberry Alarm Clock
Title:    Hummin' Happy
Source:    LP: Incense And Peppermints
Writer(s):    King/Bunnell/Freeman/Weitz/Seol
Label:    Sundazed/Uni
Year:    1967
    As soon as it became apparent that the song Incense And Peppermints was going to be a bit hit, the Strawberry Alarm Clock got to work on their first LP, also titled Incense And Peppermints. Most of the songs on the LP were band originals, with some, including the harmony-laden Hummin' Happy, co-credited to two of the band members, bassist George Bunnell and drummer Randy Seol, in addition to a group credit. I have no idea why they did it that way, but the 2009 reissue of the album lists all five individual members as songwriters.

Artist:     Jimi Hendrix Experience
Title:     Can You See Me (live version)
Source:    CD: Live At Monterey (originally released on LP: Historic Performances Recorded at the Monterey International Pop Festival)
Writer:     Jimi Hendrix
Label:     UMe/Experience Hendrix (original label: Reprise)
Year:     1967
     The first great rock festival was held in Monterey, California, in June of 1967. Headlined by the biggest names in the folk-rock world (the Byrds, Buffalo Springfield, the Mamas and the Papas, Simon & Garfunkel), the festival also served to showcase the talent coming out of the nearby San Francisco Bay area and introduced an eager US audience to several up and coming international artists, such as Ravi Shankar, Hugh Masakela, the Who, and Eric Burdon's new Animals lineup. Two acts in particular stole the show: the soulful Otis Redding, who was just starting to cross over from a successful R&B career to the mainstream charts, and the Jimi Hendrix Experience, formed in England in late 1966 by a former R&B sideman (and US Army vet) and two British natives. The recordings sat on the shelf for three years and were finally released less than a month before Hendrix's untimely death in 1970. Among the songs the Experience performed at Monterey was a Hendrix composition called Can You See Me. The studio version of the song had appeared on the band's first LP in the UK, but had been left off the US version of Are You Experienced. An early concert favorite, Can You See Me seems to have been permanently dropped from the band's setlist after the Monterey performance.

Artist:    Animals
Title:    Don't Bring Me Down
Source:    45 RPM single
Writer(s):    Goffin/King
Label:    M-G-M
Year:    1966
    I originally bought the Animals Animalization album in early 1967 and immediately fell in love with the first song, Don't Bring Me Down. Written by Gerry Goffin and Carole King, Don't Bring Me Down is one of the few songs written for the Animals by professional songwriters that lead vocalist Eric Burdon actually admitted he liked.

Artist:    Paul Revere and the Raiders
Title:    Hungry
Source:    CD: Greatest Hits (originally released on LP: Spirit of '67)
Writer:    Mann/Weil
Label:    Columbia/Legacy
Year:    1966
    1966 was an incredibly successful year for Paul Revere and the Raiders. In addition to starting a gig as the host band for Dick Clark's new afternoon TV show, Where The Action Is, the band managed to crank out three consecutive top 10 singles. The second of these was Hungry, written by Brill building regulars Barry Mann and Cynthia Weil.
 
Artist:    We The People
Title:    You Burn Me Up And Down
Source:    Mono CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single B side)
Writer(s):    Thomas Talton
Label:    Rhino (original label: Challenge)
Year:    1966
    We The People was kind of a regional supergroup in the Orlando, Florida area, as it was made up of musicians from various local garage bands. The departure of lead guitarist Wayne Proctor in early 1967 and the band's other main songwriter Tommy Talton a year later led to the group's demise, despite having landed a contract with RCA Victor, at the time the world's largest record label. Before splitting up, however, they recorded a handful of garage-rock classics such as You Burn Me Up And Down, which was released as a B side in 1966.

Artist:    Kinks
Title:    A Well Respected Man
Source:    45 RPM single
Writer(s):    Ray Davies
Label:    Reprise
Year:    1965
    The Kinks were one of the original British Invasion bands, scoring huge R&B-influenced hits with You Really Got Me and All Day And All Of The Night in 1964. The hits continued in 1965 with more melodic songs like Set Me Free and Tired Of Waiting For You. 1966 saw Ray Davies's songwriting take a satiric turn, as A Well Respected Man amply illustrates. Over the next few years the Kinks would continue to evolve, generally getting decent critical reviews and moderate record sales for their albums. The title of one of those later albums, Muswell Hillbillies, refers to the Davies brothers hometown of Muswell Hill, North London.

Artist:    Kinks
Title:    Tired Of Waiting For You
Source:    Mono CD: The Best Of 60s Supergroups (originally released as 45 RPM single)
Writer:    Ray Davies
Label:    Priority (original label: Reprise)
Year:    1965
    After a series of hard-rocking hits such as You Really Got Me and All Day And All Of The Night, the Kinks surprised everyone with the highly melodic Tired Of Waiting For You in 1965. As it turns out the song was just one of many steps in the continually maturing songwriting of Ray Davies.

Artist:    Kinks
Title:    Such A Shame
Source:    45 RPM single B side
Writer(s):    Ray Davies
Label:    Reprise
Year:    1965
    The B side of a 45 RPM record was usually thought of as filler material, but in reality often served another purpose entirely. Sometimes it was used to make an instrumental version of the hit side available for use in clubs or even as a kind of early kind of Karioke. As often as not it was a chance for bands who were given material by their producer to record for the A side to get their own compositions on record, thus giving them an equal share of the royalties. Sometimes the B sides went on to become classics in their own right. Possibly the band with the highest percentage of this type of B side was the Kinks, who seemed to have a great song on the flip side of every record they released. One such B side is Such A Shame, released as the B side of A Well Respected Man in late 1965. It doesn't get much better than this.

Artist:    Rolling Stones
Title:    Honky Tonk Women
Source:    Mono CD: Singles Collection-The London Years (originally released as 45 RPM single)
Writer:    Jagger/Richards
Label:    Abkco (original label: London)
Year:    1969
    After revitalizing their career with Jumpin' Jack Flash and Street Fighting Man in 1968, the Rolling Stones delivered the coup-de-grace the following year with a true monster of a hit: the classic Honky Tonk Women. The song was the first single without Brian Jones, who had been found dead in his swimming pool not long after being kicked out of the band. Jones's replacement, Mick Taylor (fresh from a stint with blues legend John Mayall), plays slide guitar on the track.

Artist:    Lovin' Spoonful
Title:    Nashville Cats
Source:    LP: Homer (soundtrack) (originally released on LP: Hums Of The Lovin' Spoonful)
Writer(s):    John B. Sebastian
Label:    Cotillion (original label: Kama Sutra)
Year:    1966
    In late 1966, with two best-selling albums to their credit, The Lovin' Spoonful deliberately set out to make an album that sounded like it was recorded by several different bands, as a way of showcasing their versatility. With Hums Of The Lovin' Spoonful, they did just that. Songs on the album ranged from the folky Darlin' Be Home Soon to the rockin' psychedelic classic Summer In The City, with a liberal dose of what would eventually come to be called country rock. The best example of the latter was Nashville Cats, a song that surprisingly went into the top 40 (but did not receive any airplay from country stations) and was (even more suprisingly) often heard on FM rock radio in the early 70s.

Artist:      Woolies  
Title:     Who Do You Love
Source:      CD: Even More Nuggets (originally released as 45 RPM single)
Writer:    Elias McDaniel
Label:     Rhino (original label: Dunhill)
Year:     1966
     Lansing, Michigan was home to the Woolies, who scored a minor hit covering Bo Diddley's Who Do You Love, thanks in large part to the song being issued on Lou Adler's Dunhill Records, which was at that time one of the hottest new labels around.

Artist:    Count Five
Title:    Psychotic Reaction
Source:    Simulated stereo LP: Nuggets Vol. 1-The Hits (originally released as 45 RPM single)
Writer(s):    Ellner/Chaney/Atkinson/Byrne/Michaelski
Label:    Rhino (original label: Double Shot)
Year:    1965
    San Jose, California, had a vibrant teen music scene in the late 60s, despite the fact that the relatively small (at the time) city was overshadowed by San Francisco at the other end of the bay (both cities were then, as now, considered part of the same metropolitan market). One of the more popular bands in town was Count Five, a group of five individuals who chose to dress up like Bela Lugosi's Dracula, capes and all. Musically, they idolized the Yardbirds (Jeff Beck era), and for slightly more than three minutes managed to sound more like their idols than the Yardbirds themselves (who by then had replaced Beck with Jimmy Page and had shifted musical gears).

Artist:    Music Machine
Title:    The People In Me
Source:    Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released on LP: Turn On The Music Machine and as 45 RPM single)
Writer(s):    Sean Bonniwell
Label:    Rhino (original label: Original Sound)
Year:    1967
    After Talk Talk soared into the upper reaches of the US charts the Music Machine's management made a tactical error. Instead of promoting the follow-up single, The People In Me, to the largest possible audience, the band's manager gave exclusive air rights to a new station at the far end of the Los Angeles AM radio dial. As local bands like the Music Machine depended on airplay in L.A. as a necessary step to getting national exposure, the move proved disastrous. Without any airplay on influential stations such as KFI, The People In Me was unable to get any higher than the # 66 spot on the national charts. Even worse for the band, the big stations remembered the slight when subsequent singles by the Music Machine were released, and by mid-1967 the original lineup had disbanded.

Artist:    United States Of America
Title:    The American Metaphysical Circus
Source:    CD: The United States Of America
Writer(s):    Byrd/Moskowitz/Forbes/Woodson/Marron
Label:    Sundazed (original label: Columbia)
Year:    1968
    Joseph Byrd was a member of New York's early 1960s avant-garde scene, and was already a respected and innovative experimental music composer when he and Dorothy Moskowitz relocated to Los Angeles in late 1963. Once in L.A. he co-founded the New Music Workshop with jazz trumpeter Don Ellis, and soon began incorporating elements of performance art into the events the workshop sponsored. In 1965 Byrd formed a blues band, fronted by his friend Linda Ronstadt, to play during a local "happening". Byrd later said that "the realization that rock was an access to a larger public came out of that concert, and the idea of forming a band began taking shape." That band came to be called the United States Of America. According to Byrd "Using the full name of the country for something so common as a rock group was a way of expressing disdain for governmental policy. It was like hanging the flag upside down." The thing is, neither Byrd, Moskowitz, or any of the other band members (who were all from the west coast experimental music community) had any experience with rock music itself. This left them in a position to literally start from scratch, as can be heard on The American Metaphysical Circus, the opening track of their self-titled LP, released in 1968. Apparently Byrd was particularly fond of that song title, as he ended up using it again, this time as an album title after internal differences, both personal and musical, caused the United States Of America to break up shortly after the release of their only LP. Moskowitz eventually became a member of Country Joe McDonald's All-Star band, while other band members went on to various musical and/or electronics projects.
    
Artist:    Blossom Toes
Title:    Ever Since A Memory (demo)
Source:    Mono British import CD: If Only For A Moment (bonus track)
Writer(s):    Brian Godding
Label:    Sunbeam
Year:    Recorded 1968, released 2007
    England's Blossom Toes only released two albums during the four years they were together: The pop-psych We Are Ever So Clean (Oct 1967) and the much heavier rocker If Only For A Moment (July 1969). Sometime in between they recorded a series of demo tapes of songs mostly written by multi-instrumentalist Brian Godding such as Ever Since A Memory. Those demo tapes were finally made available to the public in 2007 when they were included on the CD version of If Only For A Moment.

Artist:    West Coast Consortium
Title:    Amanda Jane
Source:    Mono British import CD: Love, Poetry & Revolution
Writer(s):    Geoff Simpson
Label:    Grapefruit
Year:    Recorded 1968, released 2013
    When Americans hear the words West Coast the first thing that comes to mind is California (unless you happen to be a resident of Washington or Oregon, at any rate). In the United Kingdom, however, West Coast can mean a number of places in England, Scotland and Wales (in fact Liverpool is on England's west coast). That said, the West Coast Consortium was actually a North London band, making it much closer to England's east coast than any other major body of water. Regardless, the Consortium, as they would later shorten their name to, was built around the songwriting of guitarist Geoff Simpson and the vocals of Robbie Fair. Their studio work for the Pye label was extremely over-produced, however, and failed to make much of an impression on the British charts, but demos recorded in their own home studio such as Amanda Jane give us a glimpse of what the band really wanted to be doing.

Artist:    Stone Country
Title:    Love Psalm
Source:    European import CD: Pure...Psychedelic Rock (originally released in the US as 45 RPM single)
Writer(s):    Barry/Hildebrand
Label:    Sony Music (original label: RCA Victor)
Year:    1968
    Despite having common roots, rock and country music had gone in entirely different directions by the mid-1960s, with very little in common. This was starting to change, however, as groups like the Byrds and Buffalo Springfield were experimenting with what would be come to be known by the early 1970s as country-rock. One of the first musicians to pioneer this new sub-genre was a singer-songwriter named Steve Young, who had arrived in Los Angeles from his native Alabama in 1963 and by 1967 had formed a band called Stone Country. The group was only together for a couple years, releasing a self-titled LP in 1968. Although Young did most of the songwriting for the band, the album included Love Psalm, from Brill Building songwriters Jeff Barry and Diane Hildebrand, which was also released as a single. Young would go on to become a successful songwriter, his most famous composition being Seven Bridges Road.

Artist:    H.P. Lovecraft
Title:    Let's Get Together
Source:    CD: Two Classic Albums From H.P. Lovecraft (originally released on LP: H.P. Lovecraft)
Writer(s):    Chet Powers (aka Dino Valenti)
Label:    Collector's Choice/Universal Music (original label: Philips)
Year:    1967
    Dino Valenti's most well-known tune, Let's Get Together, had already been recorded by several artists, including the Kingston Trio and Jefferson Airplane, by the time Chicago-based H.P. Lovecraft recorded it for their 1967 debut LP. Unlike other versions, which emphasized the folk aspect of the song, Lovecraft's version is a bit more pop oriented and sounds just a bit too happy. The band would soon relocate to California and release a second album containing mostly original material.

Artist:    Jeff Sanford's Jazz Cartoon Orchestra
Title:    Bird Life In The Bronx
Source:    CD: Playland At The Beach
Writer(s):    Scott/Deutsch
Label:    Little Village
Year:    2023
    Formed in 2003 to increase awareness of Raymond Scott, whose compositions were adapted by Carl Stalling for use in over 120 Looney Tunes and Merrie Melodies cartoons in the 1930s and beyond, Jeff Sanford's Jazz Cartoon Orchestra (actually a nonette) has expanded its horizons to encompass a wide variety of jazz styles over the years. In fact, their 2023 album, Playland At The Beach, only includes four Scott compositions, including the opening track, Bird Life In The Bronx.

Artist:    Steven Cerio
Title:    A Lengthy Explanation Of Sunbeams
Source:    CD: The Magnificent Pigtail Shadow
Writer(s):    Steven Cerio
Label:    Wowcool
Year:    2013
    Steven Cerio is a multimedia artist originally from Liverpool, NY, who is credited with setting the stage for the new-psychedelic revival in New York City. A graduate of Syracuse University, Cerio wrote and directed the indy film The Magnificent Pigtail Shadow in 2012. The following year he released a soundtrack album for the film, which is narrated by Kristin Hirsch of Throwing Muses.
        
Artist:    Steve Piper
Title:    Waltz For Tinker
Source:    CD: Mirror
Writer(s):    Steve Piper
Label:    (self-published)
Year:    2014
    Not every talented musician signs a contract with a major record label. Many, for a variety of reasons, choose to remain local, appearing at a variety of venues and often building up a following that is every bit as loyal as the largest international audience. One such local artist is Steve Piper of Rochester, NY. He has been performing, both as a solo artist and as a member of various groups, for several years now, occasionally recording an album's worth of material in his home studio.

Artist:    Tommy James And The Shondells
Title:    Changes
Source:    LP: Cellophane Symphony
Writer(s):    James/Cordell
Label:    Roulette
Year:    1969
    Although Tommy James And The Shondells were known primarily as a singles band, they did, toward the end of their existence, start to shift their emphasis toward albums such as 1969's Cellophane Symphony. One of the strongest tracks on that album was Changes, which did manage to garner some minor airplay on the up and coming FM radio stations of the time.

Artist:    Crystal Rain
Title:    Hey Ma Ma
Source:    Mono CD: A Lethal Dose of Hard Psych (originally released as 45 RPM single A side)
Writer(s):    Bill Moan
Label:    Arf! Arf! (original label: Vangee)
Year:    1969
    Dayton, Ohio's Crystal Rain released two singles on the local Vangee label in 1969. Both are worth checking out. The first of the two, written by Bill Moan, is Hey Ma Ma, released in April. Pretty intense stuff.

Artist:    Creedence Clearwater Revival
Title:    Commotion
Source:    45 RPM single B side
Writer(s):    John Fogerty
Label:    Fantasy
Year:    1969
    Yes, I know Creedence Clearwater Revival is not what you would call a psychedelic band. Nonetheless, they made some of the best rock records of 1969, including Commotion, which was released as the B side of Green River. Personally I think it sounds pretty psychedelic. So there.

Artist:    Cream
Title:    Strange Brew
Source:    CD: Disraeli Gears
Writer(s):    Clapton/Collins/Pappalardi
Label:    Polydor.Polygram (original label: Atco)
Year:    1967
    Strange Brew, the opening track from Cream's Disraeli Gears album, was also released as a single in early 1967. The song has proven popular enough over the years to be included on pretty much every Cream anthology album ever compiled, and even inspired a Hollywood movie of the same name.

Artist:    Cream
Title:    White Room (single version)
Source:    LP: Progressive Heavies (originally released as 45 RPM single and on LP: Wheels Of Fire)
Writer(s):    Bruce/Brown
Label:    United Artists (original label: Atco)
Year:    1968
    In order to get songs played on top 40 radio, record companies made it a practice to shorten album cuts by cutting out extended instrumental breaks and extra verses. This version of the Cream classic White Room, clocking in at just over three minutes, is a typical example.

Artist:     Cream
Title:     Mother's Lament
Source:     CD: Disraeli Gears
Writer:     Trad. Arr. Cream
Label:     Polydor/Polygram (original US label: Atco)
Year:     1967
     The shortest-ever Cream recording was an old English drinking song called Mother's Lament. Vocals on the song were led by drummer Ginger Baker, and the track was chosen to close out the Disraeli Gears album. By one of those odd coincidences of the music industry, the album was issued in Europe on the Polydor label (as were many cutting-edge bands of the time, including the Jimi Hendrix Experience, Procol Harum and the Who), which at the time did not issue records in the US. By the late 1980s, however, Polydor was well established in the US and all the Cream albums on Compact Disc were released under the Polydor imprint.

Artist:    Simon And Garfunkel
Title:    Bleeker Street
Source:    CD: Collected Works (originally released on LP: Wednesday Morning, 3AM)
Writer(s):    Paul Simon
Label:    Columbia
Year:    1964
    One of the first of many "slice of life" songs from songwriter Paul Simon, Bleeker Street (a real street in New York's Greenwich Village) appeared on the first Simon And Garfunkel LP, Wednesday Morning, 3AM, in late 1964. The album did not initially sell well, and the duo actually split up shortly after it was deleted from the Columbia catalog. Following the success of an electrified remix of another song from the album, The Sound Of Silence, the pair reunited and Columbia reissued Wednesday Morning, 3AM in 1966.

Artist:     Five Americans
Title:     I See The Light
Source:     CD: Nuggets-Classics From the Psychedelic 60s (originally released as 45 RPM single)
Writer:     Durill/Ezell/Rabon
Label:     Rhino (original label: Abnak)
Year:     1965
     For years I was under the impression that the Five Americans were a Texas band, mainly due to Abnak Records having a Texas address. It turns out, though, that the band was actually from Durant, Oklahoma, although by the time they had their biggest hit, Western Union, they were playing most of their gigs in the Lone Star state, particularly in the Dallas-Ft. Worth area. I See The Light is an earlier single built around a repeating Farfisa organ riff that leads into a song that can only be described as in your face.
    
Artist:     Butterfield Blues Band
Title:     Walkin' Blues
Source:     CD: East-West
Writer:     Robert Johnson
Label:     Elektra
Year:     1966
     Unlike The Blues Project, which mixed original material with improvisational arrangements of blues classics, the Butterfield Blues Band took pride in presenting an authentic Chicago blues sound. The opening track for their most famous album, East-West, was Robert Johnson's Walkin' Blues.

Artist:    Chocolate Watchband
Title:    In The Midnight Hour
Source:    45 RPM single
Writer(s):    Pickett/Cropper
Label:    Tower
Year:    Recorded 1966, released 2012
    Among the many Chocolate Watchband recordings that were subjected to major changes by producer Ed Cobb was a cover of Wilson Pickett's R&B classic In The Midnight Hour, a song that was also covered by the Young Rascals. The biggest change Cobb made to the recording was to replace Dave Aguilar's original lead vocals with those of studio vocalist Don Bennett. Once Sundazed got the rights to the Watchband's recordings they included both versions on their CD version of the No Way Out album and in 2012 issued the mono mix of the Aguilar version for the first time as a single.

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, the founder of Jefferson Airplane. The entire gig was recorded (probably by legendary Grateful Dead soundman Owsley Stanley, whose board recordings usually isolated the vocals in one channel and the instruments in the other to provide the band with a tape they could use to critique their own performance) 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 sideways audition for Slick.

Artist:    Neil Young/Crazy Horse
Title:    Cinnamon Girl
Source:    LP: Everybody Knows This Is Nowhere
Writer(s):    Neil Young
Label:    Reprise
Year:    1969
    My favorite Neil Young song has always been Cinnamon Girl. I suspect this is because the band I was in the summer after I graduated from high school used an amped-up version of the song as our show opener (imagine Cinnamon Girl played like I Can See For Miles and you get a general idea of how it sounded). If we had ever recorded an album, we probably would have used that arrangement as our first single. I finally got to see Neil Young perform the song live (from the 16th row even) with Booker T. and the MGs as his stage band in the mid-1990s. It was worth the wait.

Rockin' in the Days of Confusion # 2345 (starts 11/6/23)

https://exchange.prx.org/p/504138 

    The emphasis is on variety this time around, with some unexpected segues (like going from Cat Stevens to Black Sabbath) spicing things up. About half of these tunes have never been played on Rockin' in the Days of Confusion before, while most of the rest (including the aforementioned Black Sabbath track) haven't been played on the show in years. That said, we start with something a little more familiar...

Artist:    Crosby, Stills, Nash And Young
Title:    Almost Cut My Hair
Source:    CD: déjà vu
Writer(s):    David Crosby
Label:    Atlantic
Year:    1970
    Almost Cut My Hair could have been the longest track on the Crosby, Stills, Nash And Young album déjà vu. As originally recorded it ran about 10 minutes in length. However, it was decided to fade the cut out starting at around the four-minute mark, leaving Neil Young's Country Girl (which was actually a suite of song fragments) as the longest track on the LP. Nonetheless, even at its shorter-than-recorded released length, David Crosby's counter-cultural anthem stands out as one of the band's most memorable recordings, and is arguably the single track that best incorporates Neil Young's unique lead guitar style into a group that is known mostly for its vocal harmonies.

Artist:    Blue Cheer
Title:    Fruit & Icebergs/Honey Butter Lover
Source:    LP: New! Improved! Blue Cheer
Writer(s):    Randy Holden
Label:    Philips
Year:    1969
    Following the release of the second Blue Cheer album, Outsideinside, guitarist Leigh Stephens left the band. His replacement was Randy Holden, who had been a member of the Los Angeles underground band The Other Half. Holden did not stay with the band very long, however. In fact, he left halfway through the recording of the band's third album, New! Improved! Blue Cheer, after recording only the three tracks that make up side two of the original LP. Those three tracks, however, are among the best recordings ever made by Blue Cheer. Two of the songs, Fruit & Icebergs and Honey Butter Lover, actually overlap each other to close out the album.

Artist:    Cat Stevens
Title:    Wild World
Source:    CD: The Very Best Of Cat Stevens (originally released as 45 RPM single)
Writer(s):    Cat Stevens
Label:    A&M
Year:    1970
    For most Americans, Cat Stevens appeared suddenly on the scene in late 1970 with the song Wild World. Like Donovan before him, however, Stevens had already enjoyed several years of success on the British charts before making it big in the US, including no less than three top 10 singles. Ironically, Wild World itself was not released as a single in the UK.

Artist:    Black Sabbath
Title:    Orchid/Lord Of This World
Source:    LP: Master Of Reality
Writer(s):    Iommi/Osbourne/Butler/Ward
Label:    Warner Brothers
Year:    1971
    Black Sabbath continued their winning streak with their third LP, Master Of Reality, in 1971. The album marked the first time that guitarist Tony Iommi deliberately detuned his guitar a step and a half on songs like Lord Of This World in order to ease the pressure on the fingertips of his left hand, which had been damaged in a factory accident years earlier. Bassist Geezer Butler followed step. The result was what Iommi called a "bigger, heavier sound" that helped establish Black Sabbath as the kings of heavy metal in the early 1970s.

Artist:    Doors
Title:    Good Rockin'
Source:    45 RPM single B side
Writer(s):    Roy Brown
Label:    Elektra
Year:    1972
    Good Rockin' Tonight was a hit single for Wynonie Harris in 1948, going all the way to the top of the R&B charts and remaining on those charts for six months, far surpassing Roy Brown's original 1947 version of the song, which peaked at #13. The next notable version of the song was released in 1954, as Elvis Presley's second single for the Sun label. It stiffed. Although the song has been recorded literally dozens of times since in a variety of styles, the Doors' version, from their 1972 LP Full Circle, parallels Elvis's version the most closely, even to the point of adding heavy reverb to the recording. The song, whose title was shortened to Good Rockin' for the album, is the only cover song on the LP, and was also released as a B side.

Artist:    Bodacious DF
Title:    The Witcher
Source:    CD: Jefferson Starship-The Box Set Series (originally released on LP: Bodacious DF)
Writer(s):    Balin/Smith
Label:    RCA/Legacy (original label: RCA Victor
Year:    1973
    After leaving Jefferson Airplane in 1971, vocalist Marty Balin attempted to put some distance between himself and his former bandmates. His first project was to produce an album by a band called Grootna in 1972. The following year he recruited two Grootna members, guitarist Vic Smith and drummer Greg Dewey, to form a new band, Bodacious DF. They were soon joined by bassist Mark Ryan and keyboardist Charlie Hickox, releasing a self-titled album in 1973. Not long after the album was released the group disbanded, with Balin becoming a member of the newly-christened Jefferson Starship in 1975.

Artist:    Neil Young
Title:    Walk On
Source:    CD: Decade (originally released on LP: On The Beach)
Writer(s):    Neil Young
Label:    Reprise
Year:    1974
    In 1972 Neil Young released his most successful album, Harvest. The following year he released no albums at all. Finally, in January of 1974, On The Beach was released. It was so different than Young's previous work that his fans did not know what to make of it. As a result, by the early 1980s the album was no longer available in any form, and did not appear on a CD until 2003. A few of the songs from the album were included on Young's 1977 triple-LP retrospective Decade however, including Walk On, probably the strongest track on the original album.    

Artist:    Bob Dylan
Title:    Tangled Up In Blue
Source:    CD: Bob Dylan's Greatest Hits-vol. 3 (originally released on LP: Blood On The Tracks)
Writer(s):    Bob Dylan
Label:    Columbia
Year:    1975
    Following a string of increasingly irrelevant albums in the early 1970s, Bob Dylan returned to his native Minnesota, living on a farm with his brother David and writing the songs that would appear on his 1975 LP Blood On The Tracks. Among those songs was Tangled Up In Blue, which was also released as a single. Dylan had recently been taking art classes at Carnegie Hall with tutor Norman Raeben, who had a unique view of time itself. As Dylan put it, Tangled Up In Blue has "no sense of time. There's no respect for it. You've got yesterday, today, and tomorrow all in the same room, and there's very little you can't imagine not happening"

Artist:    Stuff
Title:    Do You Want Some Of This
Source:    LP: Stuff
Writer(s):    Richard Tee
Label:    Warner Brothers
Year:    1976
    The first time I heard Stuff was on an episode of Saturday Night Live, where they appeared first backing up Joe Cocker, and then later in the show performing as an instrumental act. I was immediately impressed by the jazz-funk band's tight musicianship, so much so that I went out and bought a copy of their album. All the tracks on their first LP were instrumentals, including Do You Want Some Of This. The band was originally formed as The Encyclopedia Of Soul, and was made up of a highly respected group of studio musicians, including Gordon Edwards (bass), Richard Tee (keyboards), Eric Gale (guitar), Cornell Dupree (guitar), and Chris Parker (drums). Stuff recorded three albums in the late 1970s, each of which went gold.

Artist:    Jimi Hendrix Experience
Title:    Killing Floor
Source:    CD: Live At Monterey
Writer(s):    Chester Burnett
Label:    Experience Hendrix/ume
Year:    1967
    The first song played by the Jimi Hendrix Experience in the US was not written by Hendrix. Rather, it came from the fertile imagination of one Chester Burnett, better known as Howlin' Wolf. Hendrix, however, put his own stamp on the blues classic, giving it a manic energy that even Wolf would have found impressive.

Artist:    Kinks
Title:    Brainwashed
Source:    45 RPM single B side
Writer(s):    Ray Davies
Label:    Reprise
Year:    1970
    Starting in 1966, Ray Davies started taking satirical potshots at a variety of targets, with songs like A Well Respected Man, Dedicated Follower of Fashion and the classic tax-protest song Sunny Afternoon. This trend continued over the next few years, although few new Kinks songs were heard on US radio stations until the band released the international hit Lola in 1970. One single that got some minor airplay in the US was the song Victoria, from the album Arthur (Or the Decline and Fall of the British Empire). The B side of that track was Brainwashed, one of the hardest rocking Kinks tunes since their early 1964 hits like You Really Got Me.

Artist:    Led Zeppelin
Title:    Going To California
Source:    CD: Led Zeppelin IV
Writer(s):    Page/Plant
Label:    Atlantic
Year:    1971
    The fourth Led Zeppelin album is known for the band's return to a harder rock sound after the acoustic leanings of Led Zeppelin III. There were, however, a couple of acoustic songs on LZ IV, including Going To California, a song that vocalist Robert Plant has since said was about Canadian singer-songwriter Joni Mitchell. The tune features Plant on vocals, Jimmy Page on acoustic guitar and John Paul Jones on Mandolin.
 

Stuck in the Psychedelic Era # 2344 (starts 10/30/23)

 https://exchange.prx.org/p/502959

    This week's show features artists' sets from two Los Angeles bands, Love and the Music Machine, along with an Advanced Psych segment made up of instrumental tracks recorded in the San Francisco Bay area. We also have a long 1968 set to start things off.

Artist:    People
Title:    I Love You
Source:    Mono CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released as 45 RPM single)
Writer(s):    Chris White
Label:    Rhino (original label: Capitol)
Year:    1968
    By 1968 the major labels had signed just about every San Francisco band with any perceived potential. Capitol, having had some success with the Chocolate Watchband from San Jose on its Tower subsidiary, decided to sign another south bay band, People, to the parent label. The most successful single for the band was a new recording of an obscure Zombies B side. I Love You ended up hitting the top 20 nationally, despite the active efforts of two of the most powerful men in the music industry, who set out to squash the song as a way of punishing the record's producer for something having nothing to do with the song or the band itself.

Artist:    Beatles
Title:    Happiness Is A Warm Gun
Source:    LP: The Beatles
Writer(s):    Lennon/McCartney
Label:    Apple
Year:    1968
    It is by now a well-known fact that very few of the songs on the 1968 double-LP The Beatles (aka the White Album) actually featured the entire group. One of those few (and reportedly both Paul McCartney's and George Harrison's favorite song on the album) was Happiness Is A Warm Gun. Written by John Lennon, the piece is actually a pastiche of three song fragments, each of which is radically different from the others. The opening lines (uncredited) were contributed by Derek Taylor, the London promoter who was one of many people sometimes referred to as the "fifth Beatle". The track, one of the most musically challenging in the entire Beatles catalog, took three days to record, and was produced by Chris Thomas, who was filling in for a vacationing George Martin at the time.

Artist:    Monkees
Title:    Porpoise Song
Source:    LP: Nuggets Vol. 9-Acid Rock (originally released on LP: Head soundtrack)
Writer(s):    Goffin/King
Label:    Rhino (original label: Colgems)
Year:    1968
    In 1968 the Monkees, trying desperately to shed a teeny-bopper image, enlisted Jack Nicholson to co-write a feature film that was a 180-degree departure from their recently-cancelled TV show. This made sense, since the original fans of the show were by then already outgrowing the group. Unfortunately, by 1968 the Monkees brand was irrevocably tainted by the fact that the Monkees had not been allowed to play their own instruments on their first two albums. The movie Head itself was the type of film that was best suited to being shown in theaters that specialized in "art" films, but that audience was among the most hostile to the Monkees and the movie bombed. It is now considered a cult classic.

Artist:    July
Title:    Dandelion Seeds
Source:    Mono British import CD: Insane Times (originally released in UK as 45 RPM single B side)
Writer(s):    Tom Newman
Label:    Zonophone (original label: Major Minor)
Year:    1968
    Although he is best remembered as the co-founder (with Richard Branson) of Manor Studios, where Mike Oldfield's Tubular Bells was produced, Tom Newman was actually a veteran of several London bands, the most successful of which was July, which recorded a pair of singles for the independent Major Minor label in 1968. The B side of the first single was Dandelion Seeds, which shows Newman's budding talents as a songwriter.

Artist:      Jimi Hendrix Experience (sort of)
Title:    Rainy Day, Dream Away
Source:      LP: Electric Ladyland
Writer:    Jimi Hendrix
Label:    Reprise
Year:     1968
     Although officially credited to the Jimi Hendrix Experience, Rainy Day, Dream Away actually has several guest musicians appearing on it, including Electric Flag drummer Buddy Miles, who would later be a member of Hendrix's short-lived Band of Gypsys and then have some success as leader of his own band. Also featured on the track are Mike Finnegan on organ, Freddie Smith on tenor sax, and Larry Faucette on congas. It's unclear whether regular Experience bassist Noel Redding or Hendrix himself provided bass parts on the track (or even if there is a bass track, as Finnegan could have been playing a Ray Manzarek style bassline on the keyboards for all I know).

Artist:    Amboy Dukes
Title:    Journey To The Center Of The Mind
Source:    CD: The Best Of 60s Psychedelic Rock (originally released as 45 RPM single)
Writer(s):    Nugent/Farmer
Label:    Priority (original label: Mainstream)
Year:    1968
    Detroit was one of the major centers of pop music in the late 60s. In addition to the myriad Motown acts, the area boasted the popular retro-rock&roll band Mitch Ryder and the Detroit Wheels, the harder rocking Heard (later known as the Bob Seger System), the anarchistic MC5 and their "little brother" band, the Stooges, and Ted Nugent's outfit, the Amboy Dukes, who scored big in 1968 with Journey To The Center Of The Mind.

Artist:    Led Zeppelin
Title:    Whole Lotta Love
Source:    CD: Led Zeppelin II
Writer(s):    Page/Plant/Bonham/Jones/Dixon
Label:    Atlantic
Year:    1969
    If any one song can be considered the bridge between psychedelic rock and heavy metal, it would have to be Led Zeppelin's Whole Lotta Love. Released in 1969 as the lead track to their second LP, the song became their biggest hit single. Whole Lotta Love was originally credited to the four band members. In recent years, however, co-credit has been given to Willie Dixon, whose lyrics to the 50s song You Need Love are almost identical to Robert Plant's.

Artist:    Circus Maximus
Title:    Wind
Source:    CD: Circus Maximus
Writer(s):    Bob Bruno
Label:    Vanguard
Year:    1967
    Circus Maximus was formed out of the chance meeting of multi-instrumentalist Bob Bruno and guitarist Jerry Jeff Walker in Greenwich Village in 1967. From the start the band was moving in different directions, with Bruno incorporating jazz elements into the band while Walker favored country-rock. Eventually the two would go their separate ways, but for the short time the band was together they made some of the best, if not best-known, psychedelic music on the East Coast. The band's most popular track was Wind, a Bruno tune from their debut album. The song got a considerable amount of airplay on the new "underground" radio stations that were popping up across the country at the time.

Artist:    Nitty Gritty Dirt Band
Title:    Buy For Me The Rain
Source:    LP: Nuggets vol. 10-Folk Rock (originally released as 45 RPM single)
Writer(s):    Noonan/Copeland
Label:    Rhino (original label: Liberty)
Year:    1967
    Although they are best known for their country-rock tunes like Mr. Bojangles (and a long string of hits on the country charts in the 1980s), the Nitty Gritty Dirt Band started off as more of a mainstream L.A. pop group, as can be heard on their first single, Buy For Me The Rain.

Artist:    First Edition
Title:    Shadow In The Corner Of Your Mind
Source:    LP: The First Edition
Writer(s):    Mike Settle
Label:    Reprise
Year:    1967
    The First Edition was formed by Mike Settle and Kenny Rogers, both members of the New Christy Minstrels, a group that made more appearances on TV variety shows than on the record charts (imagine a professional version of high school madrigal choir). The two wanted to get into something a little more hip than watered-down choral versions of Simon and Garfunkel songs and the like, and in late 1967 recorded an album that included folk-rock, country-rock and even the full-blown psychedelia of Just Dropped In (To See What Condition My Condition Was In), which ended up being their first single. For the B side of that single one of Settle's songs, Shadow In The Corner Of Your Mind, was selected. The song, a decent piece of folk-rock with reasonably intelligent lyrics, would have been hit record material itself if it weren't for the fact that by 1968 folk-rock had pretty much run its course.

Artist:    Music Machine
Title:    Masculine Intuition
Source:    CD:  The Very Best Of The Music Machine-Turn On (originally released on LP: Turn On The Music Machine)
Writer:    Sean Bonniwell
Label:    Collectables (original label: Original Sound)
Year:    1966
    If you take out the cover songs that Original Sound Records added to the album without the band's knowledge or approval, Turn On The Music Machine has to be considered one of the best LPs of 1966. Not that the covers were badly done, but they were intended to be used for lip synching on a local TV show and were included without the knowledge or approval of the band, and that's never a good thing. Every one of the Sean Bonniwell originals on the other hand, combines strong musical structure and intelligent lyrics with musicianship far surpassing the average garage band. This is especially true in the case of Masculine Intuition, which was also issued as the B side of the band's second single.

Artist:    Music Machine
Title:    Talk Talk
Source:    CD: More Nuggets (originally released as 45 RPM single and on LP: Turn On The Music Machine)
Writer(s):    Sean Bonniwell
Label:    Rhino (original label: Original Sound)
Year:    1966
    When it came time for Sean Bonniwell's band, the Music Machine, to go into the studio to record an album, the group decided to go for the best sound possible. This meant signing with tiny Original Sound Records, despite having offers from bigger labels, due to Original Sound having their own state-of-the-art eight-track studios. Unfortunately for the band, they soon discovered that having great equipment did not mean Original Sound made great decisions. One of the first, in fact, was to include a handful of cover songs on the Music Machine's first LP that were recorded for use on a local TV show. Bonniwell was livid when he found out, as he had envisioned an album made up entirely of his own compositions (although he reportedly did plan to use a slowed-down version of Hey Joe that he and Tim Rose had worked up together). From that point on it was only a matter of time until the Music Machine and Original Sound parted company, but not until after they scored a big national hit (# 15) with Talk Talk (which had been recorded at the four-track RCA Studios) in 1966.

Artist:    Music Machine
Title:    Trouble
Source:    CD: The Very Best Of The Music Machine-Turn On (originally released on LP: 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 slow 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:    Bob Dylan
Title:    Maggie's Farm
Source:    Mono LP: Bringing It All Back Home
Writer(s):    Bob Dylan
Label:    Sundazed/Columbia
Year:    1965
    On Sunday, July 25, 1965, Bob Dylan literally rocked the crowd at the Newport Folk Festival by performing Maggie's Farm and two other songs with an electric band. The song had been originally recorded on January 15 and released on the album Bringing It All Back Home a couple months later. Dylan's use of electric instruments offended some folk purists, of course, including festival organizer Alan Lomax, who had also objected to the previous day's performance by the Butterfield Blues Band. The song itself is a highly relatable classic, especially to anyone who has had to endure the tedium of working in the service industry, and contains some of Dylan's most memorable lines.

Artist:    Grateful Dead
Title:    Dupree's Diamond Blues
Source:    45 RPM promo single
Writer(s):    Hunter/Garcia/Lesh
Label:    Warner Brothers
Year:    1969
    The 1969 Grateful Dead album Aoxomoxoa was one of the first albums to be recorded using state-of-the-art sixteen track equipment, and the band, in the words of guitarist Jerry Garcia, "tended to put too much on everything...A lot of the music was just lost in the mix, a lot of what was really there." Garcia and bassist Phil Lesh would return to the master tapes in 1971, remixing the entire album for the version that has appeared on vinyl and CD ever since then. This particular track is the single version of Dupree's Diamond Blues using a mono folddown from the original 1969 mix. It has never been reissued in this form.

Artist:    Desmond Dekker And The Aces
Title:    Israelites
Source:    45 RPM single
Writer(s):    Desmond Dekker
Label:    Uni
Year:    1968
    Originally released in Jamaica as Poor Me Israelites in 1968, Desmond Dekker's Israelites became a surprise hit in 1969, becoming the firsr reggae song to top the British charts and make the US top 10. Both British and American labels credit producer Leslie Kong as the song's co-writer (and use Dekker's birth name Desmond Dacris), but since the original Jamaican 45 credits only Dekker I'm going to go out on a limb and assume Kong, following the practice of many 60s record producers, tacked his own name onto the credits in order to steal a share of the royalties once it became apparent that Israelites was going to be a hit.

Artist:    Bobby Vega
Title:    Run With You
Source:    CD: What Cha Got
Writer(s):    Bobby Vega
Label:    Little Village
Year:    2023
    Bobby Vega first started playing bass while still in junior high school, joining a local band in his native San Francisco and eventually dropping out of high school altogether. By then, however, he was sitting in with people like Lee Oskar (War), Sly Stone and the Grateful Dead's Mickey Hart. His credits over the years include stints with Quicksilver Messenger Service and both versions of Jefferson Starship as well as contributions to albums by Santana, Etta James and Booker T. Jones, among others. In 2023 he finally got the opportunity to record an album of his own music. What Cha Got is due to be released on November 30, 2023. One of the quieter tunes on the album is Run With You, which Vega describes as being about "wanting to hang with someone, to be with someone you can't be with".

Artist:    Chocolate Coffee Pot
Title:    Three Food Groups
Source:    CD: Chocolate Coffee Pot
Writer(s):    Gans/Brighton/Sylvester/Hampton/Feinstein
Label:    Perfectible
Year:    2016
    Chocolate Coffee Pot is what happens when a bunch of like-minded (and talented) musicians get together and spend some studio time being creative. The best example of this creativity can be found on a track called Three Food Groups that runs over 22 minutes in length.

Artist:      Doors
Title:     Shaman's Blues
Source:      LP: Weird Scenes Inside The Gold Mine (originally released on LP: The Soft Parade)
Writer:    Jim Morrison
Label:    Elektra
Year:     1969
     Often dismissed as the weakest entry in the Doors catalogue, The Soft Parade nonetheless is significant in that for the first time songwriting credits were given to individual band members. Shaman's Blues, in my opinion one of the four redeeming tracks on the album, is Jim Morrison's.
 
Artist:    Sagittarius
Title:    The Truth Is Not Real
Source:    Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single and on LP: Present Tense)
Writer:    Gary Usher
Label:    Rhino (original label: Columbia)
Year:    1968
    After the success of the first Sagittarius single, My World Fell Down, Gary Usher enlisted the aid of Curt Boettcher, who had been working on a studio project of his own called the Ballroom for another production company. Using many of the same studio musicians they created a follow-up single, The Truth Is Not Real. It's interesting to compare Usher's lyrics with those of In My Room, a Brian Wilson tune that Usher had provided lyrics for in 1965.

Artist:    Eric Burdon and the Animals
Title:    Monterey
Source:    CD: Retrospective (originally released as 45 RPM single and on LP: The Twain Shall Meet)
Writer:    Burdon/Briggs/Weider/Jenkins/McCulloch
Label:    Abkco (original label: M-G-M)
Year:    1968
    One of the first appearances of the New Animals on stage was at the Monterey International Pop Festival. The experience so impressed the group that they wrote a song about it. The song was issued both as a single and on the LP The Twain Shall Meet. The single used a mono mix; the LP version, while in stereo, was overlapped at both the beginning and end by adjoining tracks, and was missing the first few seconds of the single version. The version used here was created by splicing the single intro onto the  main portion of the song, fading out at the end a bit early to avoid the overlap from the LP. Most versions I have heard use the mono version of the short intro section, but this particular one, from a CD called Retrospective, has the entire song in true stereo.

Artist:    Love
Title:    Signed D.C.
Source:    German import CD: Love
Writer(s):    Arthur Lee
Label:    Elektra/Warner Strategic Marketing
Year:    1966
    The only acoustic track on the first Love album was Signed D.C., a slow ballad in the tradition of House of the Rising Sun. The song takes the form of a letter penned by a heroin addict, and the imagery is both stark and disturbing. Although Lee was known to occasionally say otherwise, the song title probably refers to Love's original drummer Don Conka, who left the band before their first recording sessions due to (you guessed it) heroin addiction.

Artist:    Love
Title:    My Little Red Book
Source:    LP: Nuggets Vol. 2-Punk (originally released on LP: Love)
Writer(s):    Bacharach/David
Label:    Rhino (original label: Elektra)
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 a tune originally recorded by Manfred Mann for the What's New Pussycat movie soundtrack. Needless to say, Love's version was not exactly what composers Burt Bacharach and Hal David had in mind when they wrote the song.

Artist:     Love
Title:     You I'll Be Following
Source:     German import CD: Love
Writer(s):    Arthur Lee
Label:    Elektra/Warner Strategic Marketing
Year:     1966
     When the Byrds decided to tour heavily to support their early hits Mr. Tambourine Man and Turn! Turn! Turn!, Arthur Lee's band Love was more than happy to fill the void left on the L.A. club scene. The group quickly established itself as the top band on the strip, a title it would hold until the scene itself had its plug pulled by the city in late 1966. From Lee's perspective, the secret to keeping that title was staying close to home, a policy that would prevent them from achieving any kind of major national success. Ironically, Love ultimately had their greatest success in the UK, where they managed to build an ever-growing following despite never having played there.

Artist:    Lovin' Spoonful
Title:    4 Eyes
Source:    LP: Hums Of The Lovin' Spoonful
Writer(s):    John Sebastian
Label:    Sundazed/Kama Sutra
Year:    1966
    The Lovin' Spoonful were at the top of their game in 1966 when they decided to put out an album of songs done in a variety of musical styles. From the hard-rockin' Summer In the City, to the countrified Nashville Cats, the album produced no less than four hit singles. The album track 4 Eyes defies easy classification, but reflects the band's own roots in the Greenwich Village club scene.

Artist:    Thoughts
Title:    All Night Stand
Source:    Mono CD: Nuggets II-Original Artyfacts From The British Empire And Beyond 1964-1969 (originally released in UK as 45 RPM single)
Writer(s):    Ray Davies
Label:    Rhino (original label: Planet)
Year:    1966
    One of the most important persons in the 60s British music industry was producer Shel Talmy, who, in addition to producing the Who, the Kinks and other popular bands was involved in the book publishing business. One of the writers Talmy worked with was Thom Keyes, whose first novel, All Night Stand, dealt with the adventures of a fictitious British beat band. To help promote the book (and possibly lay the groundwork for a motion picture adaptation), Talmy commissioned the Kinks Ray Davies to write a title song for the book, which Talmy then gave to a band called the Thoughts that he had just signed to his Planet Records label. For their part the Thoughts made their living mostly by backing up local singers such as Paul Dean and the duo John And Johnny, with All Night Stand being their only record under their own name.
 

Rockin' in the Days of Confusion # 2344 (starts 10/30/23)

https://exchange.prx.org/p/502958 

    This week (after an opening piece from Procol Harum) we work our way backwards through the years 1976 to 1969 before turning around and heading forward again, at least until we run out of time, ending up with a total of 14 tracks played, including two from the last Genesis album to feature vocalist Peter Gabriel.

Artist:    Procol Harum
Title:    Bringing Home The Bacon
Source:    Stereo 45 RPM promo single
Writer:    Brooker/Reid
Label:    Chrysalis
Year:    1973
    After the departure of original lead guitarist Robin Trower, the remaining members of Procol Harum continued to record quality albums such as Grand Hotel, although their airplay was limited to sporadic plays on progressive FM stations. One song that probably should have gotten more attention than it did was Bringing Home The Bacon, from the aforementioned Grand Hotel album. The group would experience a brief return to top 40 radio the following year with the release of their live version of Conquistador, a track that originally appeared on the band's 1967 debut LP.

Artist:    Queen
Title:    Tie Your Mother Down
Source:    CDP: A Day At The Races
Writer(s):    Brian May
Label:    Hollywood (original label: Elektra)
Year:    1976
    Following the commercial success of their fourth studio album, A Night At The Opera, with its hit single Bohemian Rhapsody, Queen got to work on a followup LP. Following the pattern set by the Marx Brothers, they decided to call the new album A Day At The Races. The LP, released in 1976, starts with a Brian May rocker calledTie Your Mother Down that became the album's second single. The song actually dates back to May's college days, when he was working on his Astronomy PhD. Vocalist Freddie Mercury said of the song: "Well this one in fact is a track written by Brian actually, I dunno why. Maybe he was in one of his vicious moods. I think he’s trying to out do me after Death On Two Legs actually." Death On Two Legs, of course, was Mercury's scathing indictment of Queen's former manager that had appeared on A Night At The Opera. Tie Your Mother Down was part of Queen's stage repertoire for several years, and got considerable airplay on FM rock radio in the US in the late 1970s. On the album the track is preceded by a slowly fading-in guitar intro that uses something called a Shepard tone. The same solo guitar piece appears at the end of the album as well, only this time fading out.

Artist:    Tommy Bolin
Title:    Homeward Strut
Source:    Japanese import CD: Teaser
Writer(s):    Bolin/Cook/Sheldon/Tesar
Label:    Sony (original US label: Nemperor)
Year:    1975
    Although Tommy Bolin, as a new member of Deep Purple in 1975, did not have the opportunity to properly promote his new album, Teaser, the album itself contains many fine tracks such as the instrumental Homeward Strut. Unfortunately, my copy of Teaser is a Japanese import, with liner notes entirely in Japanese, which of course I don't read or speak. So, even though I'm sure there's some interesting stuff in there, I can't share it with you.

Artist:    Genesis
Title:    Lilywhite Lilith/The Waiting Room
Source:    CD: The Lamb Lies Down On Broadway
Writer(s):    Banks/Collins/Gabriel/Hackett/Rutherford
Label:    Rhino/Atlantic (original label: Atco)
Year:    1974
    The Lamb Lies Down On Broadway is considered by many to be the pinnacle of artistic achievement for the band known as Genesis. It was the group's only double-LP studio album (their sixth studio effort overall) and, more importantly, it was Peter Gabriel's final album as a member of Genesis, the group he helped found. The double LP was based on a story by Gabriel that tells of the Spirit Journey of a young Puerto Rican man from New York City who encounters a series of almost unfathomable situations and people. One of the people is a middle-aged blind woman called Lilywhite Lily who leads him from a waiting room with 32 doors, only one of which is a way out. While the song Lilywhite Lily advances the storyline, The Waiting Room is a more avant-garde instrumental piece that, according to drummer Phil Collins, was a jam developed by the band while it was raining outside. When the band stopped, a rainbow had formed. Collins went on to say it started with guitarist Steve Hackett playing "these dark chords, then Peter blows into his oboe reeds, then there was a loud clap of thunder and we really thought we were entering another world or something. It was moments like that when we were still very much a unified five-piece."

Artist:    Beach Boys
Title:    Sail On, Sailor
Source:    CD: Good Vibrations: Thirty Years of The Beach Boys (originally released on LP: Holland)
Writer(s):    Wilson/Kennedy/Almer/Rieley/Parks
Label:    Capitol (original label: Brother/Reprise)
Year:    1973
    By late 1972 the Beach Boys had all but abandoned their surf roots, with their name itself being the main link with the past. At the same time they were starting to regain favor with the rock press, which had been highly critical of the band's early 1970s material. For their 19th studio album they packed up an entire California recording studio and reconstructed it in the village of Baambrugge in the Netherlands. The album was submitted to Reprise Records in October of 1972, but was rejected by the label for lacking a potential hit single. Lyricist Van Dyke Parks, who had been working with Brian Wilson since the aborted Smile project of 1966-67, hastily conferred with executives at Warner Brothers Records (owners of Reprise), and came up with a plan. He and Wilson had recently completed a demo of a song called Sail On, Sailor, which he then played for the label. The shirts liked the tune, and convinced the band to record the song in the studio as a replacement for what the label saw as the weakest track on the original version of Holland, a song called We Got Love. By the time the track was completed, several other people, including the band's manager, had claimed co-writing credits on the song, and Sail On, Sailor was added to Holland. The album was released and Sail On, Sailor became the most successful Beach Boys single of the decade. Surprisingly, the song did even better on progressive rock radio, becoming a staple of the format.

Artist:    Uriah Heep
Title:    Crystal Ball
Source:    British import CD: The Magician's Birthday (bonus track)
Writer(s):    Gary Thain
Label:    Sanctuary
Year:    Recorded 1972, released 2003
    One of the least talked about members of the infamous "27 club" is bassist Gary Thain, a New Zealand native who joined Uriah Heep midway through sessions for their 1972 album Demons And Wizards. His first songwriting credits with the band appeared on Uriah Heep's next LP, The Magician's Birthday, as co-writer of the album's two singles, Sweet Lorraine and Spider Woman. His only solo composition for the album, Crystal Ball, was never completed, although several different versions have since surfaced, including this bonus track from the 2003 British reissue of The Magician's Birthday. During the band's 1974 US tour, Thain suffered a serious electric shock, that, combined with his drug addiction, affected his ability to play. He was dismissed from the band in early 1975 and died of respiratory failure due to a heroin overdose at the age of 27 later that year.

Artist:    Black Sabbath
Title:    Sweet Leaf
Source:    CD: Master Of Reality
Writer(s):    Iommi/Osbourne/Butler/Ward
Label:    Warner Brothers
Year:    1971
    Composed pretty much entirely in the recording studio, Sweet Leaf is Black Sabbath's unapologetic ode to marijuana. The title was inspired by writing on the inside lid of a pack of Irish cigarettes that contained the words "it's the sweetest leaf that gives you the taste". The coughing at the beginning of the track was provided by Tony Iommi, who was caught by surprise at the potency of a joint handed to him by Ozzy Osbourne. And yes, the entire band was stoned when they recorded Sweet Leaf.
    
Artist:    Firesign Theatre
Title:    Back From The Shadows Again
Source:    LP: I Think We're All Bozos On This Bus
Writer(s):    Proctor/Bergman/Austin/Ossman
Label:    Columbia
Year:    1971
    I Think We're All Bozos On This Bus is the fourth Firesign Theatre album, released in 1971. Like it's predecessor, Don't Touch That Dwarf, Hand Me The Pliers, Bozos is one continuous narrative covering both sides of an LP. It tells the story of a visit to a Future Fair that somewhat resembles Disney's Tomorrowland, with various interractive educational exhibits such as the Wall Of Science. The piece was actually made up of shorter bits that the Firesign Theatre had used previously on their weekly radio show, but reworked and re-recorded for the new album. One of these was Back From The Shadows Again, sung to the tune of Gene Autry's signature song Back In The Saddle Again.

Artist:    Fairport Convention
Title:    Autopsy
Source:    CD: Unhalfbricking
Writer(s):    Sandy Denny
Label:    Island (original US label: A&M)
Year:    1969
    Although it was only her second album as a member of Fairport Convention, Sandy Denny had already become a main focus of the band by July of 1969, when Unhalfbricking was released. Denny would leave the band after their next album to form Fotheringay. Autopsy serves as a preview of the kind of songs that Denny would write for that band.

Artist:    Creedence Clearwater Revival
Title:    Lodi
Source:    LP: Green River
Writer(s):    John Fogerty
Label:    Fantasy
Year:    1969
    By 1969, Creedence Clearwater Revival had gone from being a minor attraction appearing at county fairs to being one of the most popular bands in the US. One indicator of the band's popularity is the fact that a song like Lodi, originally relegated to the B side of a 45 RPM single, is still instantly recognizable to a sizable number of people nearly 50 years after its initial release. The song's lyrics, describing a down on his luck musician stuck in a small town without the means of moving on, strikes a chord with anyone who has ever played in a bar band, making Lodi a truly timeless classic.

Artist:    Bloodrock
Title:    Castle Of Thoughts
Source:    CD: Bloodrock
Writer(s):    Rutledge/Pickens
Label:    One Way/Cema Special Markets (original label: Capitol)
Year:    1970
    Formed in Fort Worth, Texas in 1963 as the Naturals, Bloodrock went through several personnel and at least one name change (to Crowd+1) before being discovered by Grand Funk Railroad producer Terry Knight in 1969. Knight (who came up with the name Bloodrock) signed the band to Capitol Records, releasing their first self-titled LP in 1970. Although seldom singled out by reviewers, Castle Of Thoughts, the second track on that album, found its way onto the B side of two different singles in 1972, including a reissue of Bloodrock's best-known song, D.O.A.

Artist:    Kenny Loggins with Jim Messina
Title:    Danny's Song
Source:    45 RPM promo single
Writer(s):    Kenny Loggins
Label:    Columbia
Year:    1971 (single edit released 1972)
    In 1972 Columbia confused everyone in the radio business by releasing two promo singles by Kenny Loggins with Jim Messina. One was a Jim Messina song called Nobody But You, which was clearly marked as the single's A side, with a Kenny Loggins tune called Danny's Song as the B side. The other had Danny's Song on both sides. The result of this oddity was that Nobody But You rose no higher than #86 on the Billboard Hot 100, while Danny's Song didn't chart at all. Ironically, Danny's Song eventually became one of Loggins's most popular songs, thanks in part to Anne Murray's cover version of the song going into the top 10.

Artist:    Wishbone Ash
Title:    Blowin' Free
Source:    CD: Argus
Writer(s):    Upton/Turner/Turner/Powell
Label:    MCA/Decca
Year:    1972
    Known to the band's fans as the "Ash Anthem", Blowin' Free is probably the single most popular song Wishbone Ash ever recorded. The song, with lyrics written by bassist Martin Turner before Wishbone Ash even formed, is about Turner's Swedish ex-girlfriend.

Stuck in the Psychedelic Era # 2343 (starts 10/23/23)

https://exchange.prx.org/p/501913 

    I've been promising myself for a long time that one of these years I would do an entire show centered around Halloween themes. This is that show, originally aired in 2019. I was actually planning on doing a new show for 2023, but got sidetracked by health issues and ended up running this one instead.

Artist:    Donovan
Title:    Season Of The Witch
Source:    CD: Donovan's Greatest Hits (originally released on LP: Sunshine Superman)
Writer:    Donovan Leitch
Label:    Sony (original label: Epic)
Year:    1966 (stereo version, 1969)
     Season Of The Witch has proved to be one of the most popular and enduring tracks on Donovan's Sunshine Superman album. Due to a contract dispute with Pye Records, the album was not released in the UK until late 1967, and then only as an LP combining tracks from both the Sunshine Superman and Mellow Yellow albums. Like all tracks from both Sunshine Superman and Mellow Yellow, Season Of The Witch was only available in a mono mix until 1969, when a new stereo mix was created from the original multi-track masters for the singer/songwriter's first greatest hits compilation. Season of the Witch has since been covered by an impressive array of artists, including Al Kooper and Stephen Stills (on the Super Session album) and Vanilla Fudge.

Artist:    October Country
Title:    My Girlfriend Is A Witch
Source:    Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer(s):    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. Since then Lloyd has gone on to be one of the most successful record producers in L.A. (the Dirty Dancing soundtrack, for instance).

Artist:    Lollipop Shoppe (actual name: The Weeds)
Title:    You Must Be A Witch
Source:    Mono CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s):    Fred Cole
Label:    Rhino (original label: Uni)
Year:    1968
    The Weeds were formed in Las Vegas in 1965 by vocalist Fred Cole, who at age 16 was already a recording studio veteran. They showed up at the Fillmore to open for the Yardbirds in 1966 only to find out that their manager had lied to them about being on the playbill (in fact Bill Graham had never even heard of them). Disenchanted with their management and fearing the Draft, the entire band decided to head for Canada, but ran out of gas in Portland, Oregon. They soon landed a regular gig at a club called the Folk Singer (where Cole met his future wife Toody) and after relocating to Southern California in 1968 attracted the attention of Seeds' manager Lord Tim, who got them a contract with MCA Records (now Universal). They recorded one album for MCA's Uni label, (discovering after the fact that Lord Tim had changed their name to the Lollipop Shoppe), which included the single You Must Be A Witch. Fred Cole has since become an icon of indy rock, returning to Portland to co-lead the band Dead Moon with his wife Toody from 1987-2006.

Artist:    Sonics
Title:    The Witch
Source:    Mono CD: Nuggets-Original Artyfacts from the First Psychedelic Era (originally released as 45 RPM single)
Writer:    Gerald Roslie
Label:    Rhino (original label: Etiquette)
Year:    1964
    The #1 selling single in the history of the Pacific Northwest was this tune by one of the founding bands of the Seattle music scene. The Sonics were as raw as any punk rock band of the seventies, as The Witch proves beyond the shadow of a doubt.

Artist:    Fairport Convention
Title:    It's Alright Ma, It's Only Witchcraft
Source:    CD: Spirit of Joy (originally released on LP: Fairport Convention)
Writer(s):    Hutchings/Thompson
Label:    Polydor (original US label: Cotillion)
Year:    1968
    Fairport Convention has long been known for their role in the British folk music revival that came to prominence in the early 70s. Originally, however, the band was modeled after the folk-rock bands on the US West Coast that took the world by storm in 1965 and 1966. Their first LP was released in early 1968, and drew favorable reviews from the UK rock press, which saw them at Britain's answer to Jefferson Airplane. One of the LP's highlights is It's Alright, It's Only Witchcraft, which features electric guitar work by Richard Thompson and Simon Nicol that rivals that of Jorma Kaukonen. The album was not initially released in the US. Two years later, following the success of Fairport Convention's later albums with vocalist Sandy Denny on the A&M label, the band's first LP (with Judy Dyble) was given a limited release on Atlantic's Cotillion subsidiary.

Artist:    Fifty Foot Hose
Title:    Cauldron
Source:    LP: Cauldron
Writer:    BlossoM/Marcheschi/Kimsey
Label:    Limelight
Year:    1968
    Although New York is generally considered the epicenter for avant-garde rock, there were things happening out on the West Coast as well, including the United States Of America (led by an expatriot Manhattanite) in Los Angeles and Fifty Foot Hose in San Francisco. Fifty Foot Hose featured Cork Marcheschi's homemade electronic instruments and the unique vocal style of Nancy Blossom. The group disbanded when all of the members except Marcheschi left to join the cast of the musical Hair. Nancy Blossom herself played the female lead, Sheila, in the San Francisco production of the rock musical.

Artist:    Ultimate Spinach
Title:    (Ballad Of The) Hip Death Goddess
Source:    LP: Ultimate Spinach
Writer(s):    Ian Bruce-Douglas
Label:    M-G-M
Year:    1968
    Ultimate Spinach was the brainchild of Ian Bruce-Douglas, who wrote and arranged all the band's material. Although the group had no hit singles, some tracks, such as (Ballad of the) Hip Death Goddess received a significant amount of airplay on progressive "underground" FM stations. The recording has in more recent years been used by movie producers looking to invoke a late 60s atmosphere.

Artist:    Eric Burdon and the Animals
Title:    The Black Plague
Source:    British import CD: Winds Of Change
Writer(s):    Burdon/Briggs/Weider/Jenkins/McCulloch
Label:    Repertoire (original US label: M-G-M)
Year:    1967
    One of the most interesting recordings of 1967 was Eric Burdon And The Animals' The Black Plague, which appeared on the Winds Of Change album. The Black Plague is a spoken word piece dealing with life and death in a medieval village during the time of the Black Plague (natch), set to a somewhat gothic piece of music that includes Gregorian style chanting and an occasional voice calling out the words "bring out your dead" in the background. The album itself had a rather distinctive cover, consisting of a stylized album title accompanied by a rather lengthy text piece on a scroll against a black background, something that has never been done before or since on an album cover.

Artist:    Country Joe And The Fish
Title:    Death Sound Blues
Source:    CD: Electric Music For The Mind And Body
Writer(s):    Joe McDonald
Label:    Vanguard
Year:    1967
    I generally use the term "psychedelic" to describe a musical attitude that existed during a particular period of time rather than a specific style of music. On the other hand, the term "acid rock" is better suited for describing music that was composed and/or performed under the influence of certain mind-expanding substances. That said, the first album by Country Joe and the Fish is a classic example of acid rock. I mean, really, is there any other way to describe Death Sound Blues than "the blues on acid"?

Artist:    Turtles
Title:    Grim Reaper Of Love
Source:    Mono CD: All The Singles (originally released as 45 RPM single)
Writer(s):    Portz/Nichol
Label:    Manifesto (original label: White Whale)
Year:    1966
    The Turtles had some early success in 1965 as a folk-rock band, recording the hit version of Bob Dylan's It Ain't Me Babe and PF Sloan's Let Me Be. By 1966, however, it was getting harder and harder for the group to get a hit record. One attempt was Grim Reaper Of Love, co-written by Turtles lead guitarist Al Nichol. Personally I think it's a pretty cool tune, but was probably a bit too weird to appeal to the average top 40 radio listener in 1966. Grim Reaper Of Love did manage to make it to the # 81 spot on the charts, unlike the band's next two singles that failed to chart at all. It wasn't until the following year, when the Turtles recorded Happy Together, that the band would make it back onto the charts.

Artist:    Strangeloves
Title:    I Want Candy
Source:    Mono CD: Nuggets-Original Artyfacts from the First Psychedelic Era (originally released as 45 RPM single)
Writer(s):    Feldman/Goldstein/Gottehrer/Berns
Label:    Rhino (original label: Bang)
Year:    1966
    In the wake of the British Invasion, some American artists tried to sound as British as possible, often deliberately letting radio listeners think that they themselves might be a British band. A trio of New York songwriters, Bob Feldman, Jerry Goldstein and Richard Gottehrer, took such deceptions to a whole new level. Rather than try to pass themselves off as a British band, the three invented an elaborate backstory that saw them as sons of an Australian sheepherder who had invented a new shearing process and had used the profits from the venture to form a band called the Strangeloves, who were about to become the Next Big Thing. Although the story never really caught on, the group managed to record two of the all-time great party songs, I Want Candy and Night Time, as well as producing a single called Hang On Sloopy for a band they discovered on the road called the McCoys (although the instrumental tracks were actually from the Strangeloves' own first LP). According to press releases the pounding drum beat on I Want Candy was made by Masai drums that the band members had found while on safari in Africa, which just goes to show you can find just about anything in the New York City area if you know where to look.

Artist:    Beatles
Title:    Savoy Truffle
Source:    LP: The Beatles
Writer(s):    George Harrison
Label:    Apple
Year:    1968
    George Harrison's skills as a songwriter continued to develop in 1968. The double-LP The Beatles (aka the White Album) contained four Harrison compositions, including Savoy Truffle, a tongue-in-cheek song about Harrison's friend Eric Clapton's fondness for chocolate. John Lennon did not participate in the recording of Savoy Truffle. The keyboards were probably played by Chris Thomas, who, in addition to playing on all four Harrison songs on the album, served as de facto producer when George Martin decided to take a vacation in the middle of the album's recording sessions. 

Artist:    P.F. Sloan
Title:    Halloween Mary
Source:    Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer:    P.F. Sloan
Label:    Rhino (original label: Dunhill)
Year:    1965
    If there is any one songwriter associated specifically with folk-rock (as opposed to folk music), it would be the Los Angeles based P.F. Sloan, writer of Barry McGuire's signature song, Eve Of Destruction. Sloan also penned hits for the Turtles in their early days as one of the harder-edged folk-rock bands, including their second hit, Let Me Be. In fact, Sloan had almost 400 songs to his credit by the time he and Steve Barri teamed up to write and produce a series of major hits released by various bands under the name Grass Roots. Sloan himself, however, only released two singles as a singer, although (as can be heard on the second of them, the slightly off-kilter Halloween Mary) he had a voice as powerful as many of the recording stars of the time.

Artist:        Randy Newman
Title:        Last Night I Had A Dream
Source:      Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer:        Randy Newman
Label:        Rhino (original label: Reprise)
Year:        1968
        Randy Newman has, over the course of the past fifty-plus years, established himself as a Great American Writer of Songs. His work includes dozens of hit singles (over half of which were performed by other artists), nearly two dozen movie scores and eleven albums as a solo artist. Newman has won five Grammys, as well as two Oscars and Three Emmys. Last Night I Had A Dream was Newman's second single for the Reprise label  (his third overall), coming out the same year as his first LP, which did not include the song.

Artist:    Mike Oldfield
Title:    Tubular Bells
Source:    LP: Tubular Bells
Writer(s):    Mike Oldfield
Label:    Virgin
Year:    1973
    Tubular Bells was the first album ever released by Virgin Records. It got a lot of critical acclaim when it was first released, but did not take off commercially until the first few minutes of the piece were used in a film called The Exorcist. Several sequels have been recorded in the years since the album's original 1973 release, including Tubular Bells II and III and The Millenium Bell (released in 1999).

Artist:     Crazy World Of Arthur Brown
Title:     Fire
Source:     British import CD: Spirit Of Joy (originally released on LP: The Crazy World Of Arthur Brown and as 45 RPM single)
Writer:     Brown/Crane/Finesilver/Ker
Label:     Polydor (original US label: Atlantic)
Year:     1968
     The Crazy World of Arthur Brown was unusual for their time in that they were much more theatrical than most of their contemporaries, who were generally more into audio experimentation than visual. I have a video of Fire being performed (or maybe just lip-synched). In it, all the members are wearing some sort of mask, and Brown himself is wearing special headgear that was literally on fire. There is no doubt that The Crazy World Of Arthur Brown sowed the seeds of what was to become the glitter-rock movement in the early to mid 70s.

Artist:    Who
Title:    I'm A Boy (re-recorded stereo version)
Source:    CD: Meaty Beaty Big And Bouncy
Writer(s):    Pete Townshend
Label:    MCA (original label: Decca)
Year:    1966
    The Who's1966 hit I'm A Boy was originally intended to be part of a rock mini-opera set in a future where parents choose the sex of their children ahead of time. The family of the protagonist orders four girls, but instead gets three girls and a boy. Refusing to acknowledge the truth, the mother insists on dressing the boy in girl's clothing and forces him to do "feminine" things. OK, it's a pretty absurd idea, but the song, recorded in early August of 1966 and released about two weeks later, ended up going all the way to the #2 spot on the British charts. The stereo version of the song on the album Meaty Beaty Big And Bouncy is slightly slower and a bit longer than the original hit single, and was recorded about two months later, on October 3rd.

Artist:     Who
Title:     Disguises
Source:     Mono CD: A Quick One (bonus track originally released in UK on 45 RPM EP: Ready Steady Who)
Writer:     Pete Townshend
Label:     MCA (original label: Reaction)
Year:     1966
     After a successful appearance on the British TV show Ready Steady Go (the UK's answer to American Bandstand), the Who released an EP featuring mostly cover songs such as Bucket T and the Batman theme. Two tracks on the record, however, were Who originals: a new version of Circles (a song that originally appeared on the My Generation album) and Disguises, which made its debut as the lead track of the EP. When MCA issued a remastered version of A Quick One in the 1990s, the entire contents of the EP (except Circles) were included as bonus tracks on the CD.

Artist:    Who
Title:    Substitute
Source:    Mono CD: Meaty Beaty Big And Bouncy (originally released as 45 RPM single)
Writer(s):    Pete Townshend
Label:    MCA (original label: Atco)
Year:    1966
    In the spring of 1967 my dad, a career military man, got word that he was being transferred from Denver, Colorado to Weisbaden, Germany. By the end of  summer, our entire family had relocated to a converted WWII Panzer barracks that was serving as a housing area for married US military personnel and their families. The Kastel housing area, which was just outside of the village of Mainz-Kastel, which in turn was located directly across the Rhine from the city of Mainz itself, was probably the smallest US housing area in all of Europe, consisting of only eight buildings. Needless to say, there were not many other American kids my age living there, a fact that ended up working to my advantage. You see, in Denver I had been playing first chair violin in the Smiley Junior High School orchestra; a position that looked good to the adults in the room but was the kiss of death to a 14-year-old boy trying desperately to fit in with his peers. So, naturally, as one of only half a dozen or so teenaged boys in the Kastel Housing Area, I jumped at the chance to learn how to play the guitar, a much cooler instrument than the violin in the eyes of  a 14-year-old boy trying desperately to fit in with his peers. There were two guys at Kastel who a) had guitars and b) were willing to put up with an obnoxious 14-year-old boy trying desperately to fit in with his peers long enough to teach him a few chords. The first was was a 10th-grader named Darrell Combs, who went by the nickname Butch (his older sister Darlene being responsible for that one). The other was an 11th-grader named Mike Davenport, who had been in Germany longer than the rest of us and had his own Fender amp. Mike also had a collection of records that had been popular on Radio Luxembourg, a powerful AM and shortwave station that broadcast an American styled top 40 format aimed at a British audience, playing hits from the UK singles charts. Among those records were several singles by the Who, including their chart-topping 1966 UK hit Substitute. Mike and Butch had been trying to figure out the chords to Substitute, but had not been able to get beyond the intro of the song. After listening to the record once or twice (yes, I'm bragging) I was able to figure out the rest of the song. Not long after that I was able to talk my parents into buying me a guitar and a small amp as an early Christmas present (that ended up doubling as my 15th birthday present as well). With three guitarists, two amps, and a drummer named Zachary Long in our arsenal, we formed a band called The Abundance Of Love (hey, it was 1967, OK?), which soon got changed to the Haze And Shades Of Yesterday and finally just The Shades. One of the first songs we learned to play was (you guessed it), Substitute by the Who. The Shades ended up lasting until the summer of 1968, at which time my dad got transferred again, this time to Ramstein AFB, Germany.

Artist:    Beacon Street Union
Title:    South End Incident (I'm Afraid)
Source:    LP: The Eyes Of The Beacon Street Union
Writer(s):    Wayne Ulaky
Label:    M-G-M
Year:    1968
    The Beacon Street Union's South End Incident (I'm Afraid) was reportedly based on a real incident. According to the story, bassist Wayne Ulaky witnessed a mugging in one of Boston's seedier neighborhoods and spent the rest of that evening looking over his shoulder, worried that the muggers might have seen him. He then wrote a song about it that got recorded by the band and released on their debut LP, The Eyes Of The Beacon Street Union.

Artist:    Cream
Title:    Strange Brew
Source:    CD: Disraeli Gears
Writer(s):    Clapton/Collins/Pappalardi
Label:    Polydor.Polygram (original label: Atco)
Year:    1967
    Strange Brew, the opening track from Cream's Disraeli Gears album, was also released as a single in early 1967. The song has proven popular enough over the years to be included on pretty much every Cream anthology album ever compiled, and even inspired a Hollywood movie of the same name.

Artist:    Classics IV
Title:    Spooky
Source:    45 RPM single (reissue)
Writer(s):    Sharpe/Middlebrooks/Buie/Cobb
Label:    Silver Spotlight (original label: Imperial)
Year:    1967
    Most people don't know this (it was news to me too), but the Halloween classic Spooky, by the Classics IV, was orginally an instrumental. The tune was written by saxophonist Mike Sharpe, with Harry Middlebrooks, Jr. and released by Sharpe in 1967, making it to the #57 on the Billboard charts. Late in the year, Classics IV guitarist J. R. Cobb and producer Buddy Buie came up with lyrics for the song in time to get the song recorded and released by Halloween, and the band scored their first top 40 hit with the song, featuring drummer Dennis Yost on lead vocals. The Classics IV continued to hit the top 40 charts into the early 1970s, with Yost moving out from behind the drum kit and taking over top billing (See? Phil Collins wasn't the first to do that!), while Cobb and Buie, as a side project, formed the Atlanta Rhythm Section in 1970. Finally, in 1975, Yost officially went solo, ending the story of the Classics IV.

Artist:    Traffic
Title:    (Roamin' Thro' The Gloamin' With) 40,000 Headmen
Source:    CD: Smiling Phases (originally released as 45 RPM B side and on LP: Traffic)
Writer(s):    Capaldi/Winwood
Label:    Island (original label: United Artists)
Year:    1968
    The second Traffic album saw the band taking in a broader set of influences, including traditional English folk music. (Roamin' Through The Gloamin' With) 40,000 Headmen, originally released as the B side to the Dave Mason tune No Face, No Name, No Number, combines those influences with the Steve Winwood brand of British R&B to create a timeless classic.

Artist:    Kinks
Title:    Lola
Source:    Mono Canadian CD: 25 Years-The Ultimate Collection (originally released as 45 RPM single)
Writer(s):    Ray Davies
Label:    Polygram/PolyTel (original label: Reprise)
Year:    1970
    By 1970 the Kinks were all but forgotten in the US and not doing all that much better in their native UK. Then came Lola. I guess I could stop right there. Or I could mention that the song was based on a true story involving the band's manager. I could even say something about Dave Davies' claim that, although his brother Ray is credited as the sole songwriter of Lola, Dave actually came up with the music and Ray added the lyrics. But you've probably heard it all before. This is Lola, the most famous transvestite song in history, we're talking about, after all.

Artist:    Creedence Clearwater Revival
Title:     I Put A Spell On You
Source:     CD: Woodstock: 40 Years On: Back To Yasgur's Farm
Writer:     Screamin' Jay Hawkins
Label:     Rhino
Year:     1969
     Before getting major attention for its string of top five singles (including three consecutive # 2 songs), CCR released a pair of cover tunes in 1968: Dale Hawkins' Suzy Q and this one from an entirely different Hawkins, Screamin' Jay. Although the Creedence version of I Put A Spell On You only made it to the # 58 spot on the national charts, it was still part of their repertoire when they played at Woodstock the following year.

Artist:    King Crimson
Title:    The Court Of The Crimson King
Source:    CD: In The Court Of The Crimson King
Writer:    MacDonald/Sinfield
Label:    Discipline Global Mobile (original label: Atlantic)
Year:    1969
    Perhaps the most influential progressive rock album of all time was King Crimson's debut LP, In The Court Of The Crimson King. The band, in its original incarnation, included Robert Fripp on guitar, Ian MacDonald on keyboards and woodwinds, Greg Lake on vocals and bass, David Giles on drums and Peter Sinfield as a dedicated lyricist. The title track, which takes up the second half of side two of the LP, features music composed by MacDonald, who would leave the group after their second album, later resurfacing as a founding member of Foreigner. The album's distinctive cover art came from a painting by computer programmer Barry Godber, who died of a heart attack less than a year after the album was released. According to Fripp, the artwork on the inside is a portrait of the Crimson King, whose manic smile is in direct contrast to his sad eyes. The album, song and artwork were the inspiration for Stephen King's own Crimson King, the insane antagonist of his Dark Tower saga who is out to destroy all of reality, including our own.

Artist:        Vanilla Fudge
Title:        Season of the Witch
Source:       LP: Renaissance
Writer:        Donovan Leitch
Label:        Atco
Year:        1968
        The Vanilla Fudge are generally best remembered for their acid rock rearrangements of hit songs such as You Keep Me Hangin' On, Ticket To Ride and Bang Bang (My Baby Shot Me Down). Their third album, Renaissance, while actually featuring more original material that their previous albums, still included a couple of these cover songs. The best-known of these was this rather spooky (and a little over-the-top) version of Donovan's Season Of The Witch, a song that was also covered by Al Kooper and Stephen Stills the same year on the first Super Session album.The track features a spoken section written by Essra Mohawk, a singer/songwriter whose own debut album was produced by Frank Zappa.

Artist:    Mike Oldfield
Title:    Tubular Bells
Source:    LP: Tubular Bells
Writer(s):    Mike Oldfield
Label:    Virgin
Year:    1973
    Side one of Mike Oldfield's Tubular Bells album runs over 25 minutes in length. Most people have only heard the beginning section of the piece used in the 1973 film The Exorcist. I thought this might be a nice time to reveal a little of what comes after.