Ike & Tina Turner - Whole Lotta Love

 #Ike & Tina Turner #soul #R&B #funk #blues #funk rock #rock & roll #1960s #1970s #Led Zeppelin cover

As husband and wife, Ike & Tina Turner headed up one of the most potent live acts on the R&B circuit during the '60s and early '70s. Guitarist and bandleader Ike kept his ensemble tight and well-drilled while throwing in his own distinctively twangy plucking; lead vocalist Tina was a ferocious whirlwind of power and energy, a raw sexual dynamo who was impossible to contain when she hit the stage, leading some critics to call her the first female singer to embody the true spirit of rock & roll. In their prime, the Ike & Tina Turner Revue specialized in a hard-driving, funked-up hybrid of soul and rock that, in its best moments, rose to a visceral frenzy that few R&B acts of any era could hope to match. Effusively praised by white rock luminaries like the Rolling Stones and Janis Joplin, Tina was unquestionably the star of the show, with a hugely powerful, raspy voice that ranks among the all-time soul greats. For all their concert presence, the Turners sometimes had problems translating their strong points to record; they cut singles for an endless succession of large and small independent labels throughout their career, and suffered from a shortage of the strong original material that artists with more stable homes (Motown, Atlantic, Stax, etc.) often enjoyed. The couple's well-documented marital difficulties (a mild way of describing Ike's violent, drug-fueled cruelty) eventually dissolved their partnership in the mid-'70s. Tina, of course, went on to become an icon and a symbol of survival after the resurgence of her solo career in the '80s, but it was the years she spent with Ike that made the purely musical part of her legend.  From: https://www.allmusic.com/artist/ike-tina-turner-mn0000094224/biography

It's A Beautiful Day - White Bird

 #It's A Beautiful Day #David LaFlamme #folk rock #psychedelic rock #jazz rock #1960s

San Francisco psychedelic folk-rock unit It's a Beautiful Day was primarily the vehicle of virtuoso violinist David LaFlamme, born April 5, 1941 in New Britain, Connecticut but raised in Salt Lake City, Utah. After beginning his musical education at age five, LaFlamme later served as a soloist with the Utah Symphony, following an army stint by settling in the Bay Area in 1962. There he immersed himself in the local underground music scene, jamming alongside the likes of Jerry Garcia and Janis Joplin; after his short-lived Electric Chamber Orchestra splintered, LaFlamme also co-founded an early incarnation of Dan Hicks & His Hot Licks before assembling It's a Beautiful Day in mid-1967. The group -- which originally included LaFlamme's keyboardist wife Linda, vocalist Pattie Santos, guitarist Hal Wagenet, bassist Mitchell Holman, and drummer Val Fuentes -- issued its self-titled debut LP on Columbia in 1969, scoring their biggest hit with the haunting FM radio staple "White Bird." Linda LaFlamme left It's a Beautiful Day soon after, going on to form Titus' Mother; keyboardist Fred Webb signed on for the follow-up, 1970's Marrying Maiden, while Holman exited prior to 1971's Choice Quality Stuff, recorded with new guitarist Bill Gregory and bassist Tom Fowler. In 1973, ongoing disputes over royalties forced LaFlamme out of the group he created, and upon installing new violinist Greg Bloch, the remaining members issued It's a Beautiful Day...Today before dissolving in the wake of 1974's 1001 Nights. LaFlamme mounted a solo career in 1977 with White Bird, continuing his protracted legal tussle with ex-manager Matthew Katz for years to follow.  From: https://www.allmusic.com/artist/its-a-beautiful-day-mn0000109012/biography

Fairport Convention - Time Will Show The Wiser

 #Fairport Convention #Ian Matthews #Ashley Hutchings #Richard Thompson #folk rock #British folk rock #electric folk #British folk #psychedelic folk rock #1960s #music video

Fairport Convention’s wonderful performance from the French TV Show "Bouton Rouge" was broadcast live on 27 April 1968 and features the original Fairport Line up of Judy Dyble, Iain Matthews, Simon Nicol, Tyger Hutchings, Richard Thompson, and the late Martin Lamble playing Morning Glory, Time Will Show The Wiser and a simply awe-inspiring mind-melting performance of Reno, Nevada. At this time Fairport had just released their first album and were very influenced by American folk rock and psychedelic groups like Jefferson Airplane, Bob Dylan and The Byrds. The sound, look and name of the band led many to think that either they were an American band or at best just a British version of Jefferson Airplane. The star of the show is definitely Richard Thompson who is seen here in mega guitar hero role. After a fairly muscular solo in Morning Glory he delivers an astonishing perfectly paced 4 and a half minute six string marathon in Reno Nevada - so full of power, invention, imagination that the solo seems to run away with itself. Is Richard playing the guitar or is the guitar playing Richard? For the duration of this nearly 5 minute solo they are no longer the British Jefferson Airplane copying their heroes but arguably go beyond anything the Airplane, Grateful Dead or other San Francisco bands were doing in early '68 (although it must be said that the Dead would start to achieve similar high levels of  jazz inspired improv syncopation before the year was out but that is another story and post). And to top it all the band just look so damned cool. As the solo finishes Judy Dyble slowly gets up and wanders back to the microphone and the whole band just have a look of “Hey, this is nothing special. We are this shit hot every night.” After this performance they signed with Island Records, Judy Dyble left the band to be replaced by Sandy Denny and they went off to reinvent British folk rock.  From: http://strangerthanknown.blogspot.com/2013/01/fairport-convention-bouton-rouge.html

The Who - Rael

 #The Who #Pete Townshend #Roger Daltrey #hard rock #heavy blues rock #psychedelic rock #art pop #classic rock #1960s #1970s

Rael was Pete Townshend’s first rock opera. A lot of the themes in it were apparently recycled into Tommy and Lifehouse based on musical evidence. The story was set in 1999, where China was the world power. They were conquering lands and destroying the religious cultures in their conquest. China was overthrowing Israel and an Israeli hero travels back to his homeland on a mission against all odds to save his people. There isn't much more information than that as Pete hasn't release many notes or demos from the opera.
According to the book “Who Are You: The life of Pete Townshend” it was intended to be done with a full orchestra written as a genuine opera starring Arthur Brown in the lead. There were to be 20 scenes. We have a prelude song that's easily found on the internet called Motherland Feeling. Rael part 1 has the scene of him leaving on the boat, a storm scene (which is the sparks part) and the scene of him arriving. We also know there was an organ Fugue which may be the organ part of the demo. There is also a lyric floating around for a song called Party Piece from Rael where we learn that the hero’s wife had died years earlier and was buried in the homeland.
Following a visit to Caesarea, Israel in 1966 with his first wife, Karen Astley, and the subsequent outbreak of the Six-Day War, Townshend began work on Rael, a song cycle loosely based on Israel’s struggle to survive despite being massively outnumbered by its enemies. Rael — short for Israel — got sidetracked, partly due to the demands of the Who’s record company for faster delivery of more hit singles, and Rael was consigned to the shelf. The only song that has surfaced from that project is called Rael and appears on the late 1967 album, The Who Sell Out.
In recent years, Townshend’s thoughts have once again turned back toward the concerns he expressed in Rael. As he told an interviewer for Rolling Stone in 2006: Last week, I was reading about this book that’s just come out. It’s about the Polish Jews who got out of concentration camps and went back to their homes, which had been taken over by Christians who assumed the Jews weren’t coming back. What happened was another wave of anti-Semitism in which dozens were slaughtered by Christians in Warsaw. The premise for it was that there was witchcraft going on. The Jews, of course, drank the blood of children. Been there, done that. Fucking hell. And I asked myself, ‘Why am I so heated up about this fucking story?’ But it’s because, as a kid, my best friend, Mick Leiber, was a Jew. We grew up in a community that was about a third Polish. We lived in a house that divided in two, and in the top part lived a Jewish family who were quite devout. Polish Jews were the kids I played with. They were my people. I remember saying to my mother, ‘Aren’t Polish people from Poland?’ And she said, ‘Yes, they were Britain’s first ally in the war.’ I’d say, ‘But they’re not like foreigners. They’re just like we are.’ And she said, “Yes, they’re just like we are.”
From: https://www.reddit.com/r/TheWho/comments/slb4mo/can_somebody_explain_rael/ 

The Tokens - The Lion Sleeps Tonight

 

 

#The Tokens #vocal pop #rock & roll #doo-wop #1950s #1960s

The Lion Sleeps Tonight: A hunting song originally sung in Zulu in what is now Swaziland, the original title was "Mbube," which means lion. This was popularized in the 1930s by South African singer Solomon Linda, who recorded it in 1939 with his group, The Evening Birds. Apparently they were a bold bunch, and got the idea from when they used to chase lions who were going after the cattle owned by their families. Solomon Linda recorded the song in Johannesburg, South Africa after being discovered by a talent scout. The chanting was mostly improvised, but worked extraordinarily well. Released on the Gallo label, it became a huge hit across South Africa. Around 1948, Gallo sent a copy to Decca Records in the US, hoping to get it distributed there. Folk singer Pete Seeger got a hold of it and started working on an English version.
In the 1950s, Miriam Makeba recorded this with the Zulu lyrics, and Pete Seeger recorded it with his band, The Weavers (who dominated the charts with "Goodnight Irene"). The Weavers recorded the refrain of the song (no verses) and called it "Wimoweh." In 1957, it was included on The Weavers At Carnegie Hall, a very popular album in the world of folk music. Seeger thought they were saying "Wimoweh" on the original, and that's what he wrote down and how it was recorded in English. They were actually saying "Uyimbube," which means "You're a Lion." It was misheard for "Wimeoweh" because when pronounced, Uyimbube sounds like: oo-yim-bweh-beh.
Hank Medress, Jay Siegel, and Phil and Mitch Margo, who made up The Tokens, had a Top 15 hit "Tonight I Fell in Love" in 1960, but didn't have a record label in 1961. They auditioned for producers Hugo and Luigi (Peretti and Creatore) by singing "Wimoweh" to them. Hugh and Luigi were impressed by the performance but decided that the song needed new lyrics. With help from George Weiss, Hugo and Luigi rewrote the song, giving it the title "The Lion Sleeps Tonight." The Tokens thought this had been nothing more than an elaborate audition - "Who is gonna buy a song about a lion sleeping" was their general sentiment. They were so embarrassed with the new title and lyrics that they fought the release of the recording (it was scheduled to be the B-side of another "import," a Portuguese song that they recorded in the same May 1961 session, "Tina"). Influential disc jockey Murray the K pushed "Tina," but once a New England DJ started playing the B-side on the air, "The Lion Sleeps Tonight" started its climb to the #1 position, hitting the top of the charts in the Christmas holidays of 1961-62.
The Kingston Trio recorded this in 1959 on their Live From The Hungry i LP. When introducing the song, singer Dave Guard stated that "Mbube" was a song about a sleeping lion (he doesn't refer to the song by name: he gives the background of the song before the Trio sings it). Part of the translated lyrics, as given by Guard: "Hush! Hush! If we all be quiet, there will be lion meat for dinner."
From: https://www.songfacts.com/facts/the-tokens/the-lion-sleeps-tonight

Tomorrow - Revolution

 

 

 #Tomorrow #Steve Howe #psychedelic rock #British psychedelia #psychedelic pop rock #1960s

Writing this from a cafe (since PG&E has shut down the power for the weekend), I head back through the decades for one of my favorite eras/genres, the late 60s British psychedelic scene.  Tomorrow weren't exactly a huge seller at the time, and are probably best remembered for (a) the killer single "My White Bicycle," a perennial Nuggets-type compilation mainstay, and (b) guitarist Steve Howe, who left afterwards to join Yes.  But the album is actually pretty great, a mix of heavier psychedelia and lighter, more twee, very British pop. Again, "Bicycle" is the keeper here, a delirious psychedelic rocker with a killer guitar hook and all manner of studio playfulness.  But it's joined by some other winners, among them the silly but amusing "Three Jolly Little Dwarfs," the even lighter but almost Ray Davies-infused "Auntie Mary's Dress Shop," the cool guitar riffs of the more complex "Claramount Lake" and "Real Life Permanent Dream," and the trippy, goofy acid rock of "Revolution" (no, not a Beatles cover).  Not to mention a pretty straight and superfluous but still decent version of "Strawberry Fields Forever" (yes, a Beatles cover). The CD version of the album (and the version that streams on Spotify) adds a bunch of bonus tracks, including a few solo tracks from singer Keith West and, most notably, the absolutely bonkers single "10,000 Words In A Cardboard Box," recorded by a couple members of the band performing as The Aquarian Age; it's one of the best (and most underappreciated) examples of psychedelic pop, right up there with Status Quo's "Pictures of Matchstick Men."  From: https://www.jitterywhiteguymusic.com/2019/10/tomorrow-tomorrow-1968.html

Peter Green's Fleetwood Mac - One Sunny Day

 #Fleetwood Mac #Peter Green #Mick Fleetwood #John McVie #blues rock #British blues revival #heavy blues rock #psychedelic blues rock #1960s

Their third LP, 1969's Then Play On, was Fleetwood Mac's first masterpiece, building on their beloved blues with edgier guitar tones, expanded arrangements and elements of folk, art-rock and psychedelia. There was plenty of space to get heavy, and a prime example is "One Sunny Day": Over Fleetwood's steadily thudding toms, Green and Danny Kirwan intertwine distorted, descending riffs and high, piercing melodies — even, at times, dipping their collective toe into the proto-metal pool.  From: https://ultimateclassicrock.com/heaviest-fleetwood-mac-songs/

I don’t want to rock the boat, but to me Fleetwood Mac never meant Stevie Nicks, Lindsey Buckingham or the tedious media fascinations with the band members’ relationship conflicts. To me, Fleetwood Mac meant one thing: Then Play On – one of the greatest blues-rock records ever made. Then Play On was the group’s third album, released on the Reprise label in 1969. This gatefold record is hard evidence of Fleetwood Mac’s growth from an excellent blues band to a blues-based act that defied description. The group at this point featured Peter Green and Danny Kirwan, each on guitar and vocals, Jeremy Spencer (whose only contribution here is piano on “Oh Well”), and the world-class rhythm section of bassist John McVie and drummer Mick Fleetwood.
I’m impressed by how Then Play On prioritizes what I assume Fleetwood Mac wanted to show of themselves: their ability to create both taut, vocal-led tracks and stunning instrumental workouts. Sure, Fleetwood Mac and Rumours are great albums that served up anthems for an era, but I can usually hear select cuts from those records while waiting at my bank machine, or at the grocery store. On the other hand, when I want to hear brilliant blues rock that never compromises and demands to be heard, I put Then Play On on my turntable and play it loud.  From: https://www.guitarplayer.com/players/why-fleetwood-macs-then-play-on-is-one-of-the-greatest-blues-rock-albums-ever-made

Donovan - Season of the Witch

 #Donovan #folk rock #psychedelic folk #singer-songwriter #1960s #music video #Häxan

One of the first songs to fit the "psychedelic" genre, Donovan recorded it in May 1966, shortly before his highly publicized arrest for possession of marijuana. The genesis of this song goes back to an evening at folk music notable Bert Jansch's house in north London, when fellow acoustic master John Renbourn showed Donovan a D ninth chord. From that Donovan built up a riff that, according to the memories of those present, he then played solidly for the next seven hours. "There was a feeling, even then, that all was not perfect in the Garden of Eden," he said of the song in an interview with Mojo magazine June 2011. "Dealers were moving into bohemia and hard drugs were on the fringes. The song was also prophetic. It was about the bust, although of course I couldn't know that then."
This song is ideal for long jams. The two main chords (A and D) are played during the verses, and during the chorus there are three chords (A, D and E). In Mojo magazine, January 2005, Donovan said: "Season of the Witch' continues to be a perennial influence because it allows a jam – not a 12-bar or Latin groove, but a very modern jam. Led Zeppelin used to warm up every day to it on the road during the soundcheck. It makes me very proud that I've created certain forms that other bands can get off on, to explore, be experimental, or just break the rules."
In the same Mojo interview, Donovan said: "I remember the bass line going down and Mickie saying, 'We've got a problem. The engineers are saying that they can't turn the bass up.' I said, Why? They said, 'Well, it's going into the red.' And so he said to the engineers, 'Look, you go into the red, I'm giving you permission. Go in the red! That's the bass sound I want. Very, very loud.' And they said, 'Well, we'll have to have a meeting.' So they went upstairs and had a meeting about whether the bass should go into the red. And they came down, they said, 'No, I'm sorry, the equipment can't stand it.' So Mickie Most said, 'Look, I've just made a record deal with your boss Clive Davis for $5 million and seven bands. And he's given me $1 million right now. So do you think if I phone him up, you'd give me a little bit more bass?' And they looked at each other, and immediately realized that their jobs were on the line. They said, 'OK, you've got more bass.' We got more bass the needle went into the red, the equipment didn't blow up. I guess next time they made that needle, they did that thing by just moving the red bit a bit farther to the right, like in Spinal Tap: 'My amp goes up to 11!'"
This song was covered by Al Kooper (Blood Sweat & Tears, The Blues Project) and Stephen Stills (Buffalo Springfield, Crosby Stills Nash & Young) on the historically significant 1968 album Super Session. That gives us an excuse to tell a fun story: Stills was brought in midway through recording the album to replace Mike Bloomfield (Butterfield Band, Electric Flag). Now, Kooper was originally enthusiastic to play with Bloomfield, but Bloomfield had a habit of ditching at the worst possible time. So when he showed up at Al Kooper's house, Bloomfield complained of an infected toe, then proceeded to use the most expensive crystal bowl in the house to soak his toe in. A photo of this (the toe) ended up on the back cover of the Super Session album. Then Mike Bloomfield simply disappeared in the morning, leaving only a note saying that he'd had insomnia. It wouldn't even be the last time he stood up Al Kooper! In his memoir Backstage Passes and Backstabbing Bastards, Al Kooper mentions that he's been moved to cover this song after a trip to London, when he'd heard Donovan's "Season of the Witch" coming out of every shop on King's Road.  From: https://www.songfacts.com/facts/donovan/season-of-the-witch

Grave robbing, torture, possessed nuns, and a satanic Sabbath: Benjamin Christensen’s legendary silent film uses a series of dramatic vignettes to explore the scientific hypothesis that the witches of the Middle Ages and early modern era suffered from the same ills as psychiatric patients diagnosed with hysteria in the film's own time. Far from a dry dissertation on the topic, the film itself is a witches’ brew of the scary, the gross, and the darkly humorous. Christensen’s mix-and-match approach to genre anticipates gothic horror, documentary re-creation, and the essay film, making for an experience unlike anything else in the history of cinema.  From: https://www.criterion.com/films/352-hxan

The Shangri-Las - Remember (Walkin' In The Sand)

 #The Shangri-Las #girl group #rock & roll #Brill Building pop #pop rock #1960s

The wild and crazy life of The Shangri-Las
While girl-group pop might stand out in that sentence like a sore cock at an orgy, there are many incarnations of the genre that disavow the commercial teeny-bopper fodder that often springs to mind when we hear that phrase. Of all the female four-pieces that sat outside of the usual status quo and spawned a revolution by doing so, the main protagonists in punks prelude were the 1960s phenoms, The Shangri-Las.
When Mary and Betty Weiss teamed up with Marge and Mary Ann Ganser, they might have dominated the commercial radio waves, but they did so on their own terms, signified in part by the fact that Marge Ganser retained her less than poppy-sounding name. This strident individualism was a central tenet that would help them on their way to stardom. One of the second key ingredients was that they had natural talent, and as Alex Turner of Arctic Monkeys once said: “There is just something special about siblings harmonising.” The Shangri-Las had that in abundance, but they also worked hard at it, as Mary Weiss explains: “We rehearsed constantly until the harmonies were perfected. I think our voices blended so well because we were two sets of sisters. In a brief period of time, we had a manager, and we started doing small gigs.” Soon enough they were thrust from small shows into the headlights, a time when their youngest member, Mary, was just 15-years-old. As fate would have it, one of their first recordings was produced by George Morton, who would later produce the New York Dolls records that the singing sisters had helped inspire in the first place.
The Shangri-Las then became such an instant sensation that they were still in school when taking to the stage with the likes of James Brown and the Rolling Stones. Another act that the Shangri-Las rubbed shoulders with was the shirtless inventor of punk himself: Iggy Pop. The future incendiary frontman of the rollicking Stooges recalled: “My cover band had a professional engagement the summer that we graduated high school at a teen club called The Ponytail in northern Michigan. They served Cokes. And a lot of big acts came through. I got to play drums behind the Shangri-Las, the Crystals, the Four Tops. Learned a lot.” He then comically adds, regarding the beehive hairdo’s that group’s spiritual leader sported: “Mary, the lead singer of the Shangri-Las, had a really beautiful head of hair…and I just remember being very happy in the back you know playing ‘ts, ts, ts,’ while she was going, ‘remember, walking in the sand.'”
With iconoclastic lunatics like the young Iggy Pop tapping the drums behind them, their music had to be befittingly dark. They traversed subject matters that no typical girl group would go near, tackling motorcycle beheadings, heart failure of the spiritual bent and all the darkest pages of a teen’s diary. However, it was darkness tempered with the light touch of pop sensibilities. In short, punk followed a similar principle of finding fun in darkness, being brattish and proud, and swimming against the current of expectations. Mary Weiss will tell you herself: “The Shangri-Las were punk before punk existed. People thought we were tough.”  From: https://faroutmagazine.co.uk/the-life-of-the-shangri-las/

The Youngbloods - Darkness, Darkness

 #The Youngbloods #Jesse Colin Young #folk rock #psychedelic rock #roots rock #blues rock #West coast psychedelia #1960s

Before the ’60s wrapped up, it saw brilliant and epic releases left and right. Thus, it’s no wonder why a plethora of LPs which were just as stellar as the more popular ones, were overlooked and largely ignored. Unfortunately for The Youngbloods, their third studio effort “Elephant Mountain” is one of the underrated records of 1969. Then again, the band never actually broke into mainstream. And so even though “Elephant Mountain” only peaked at #118 on the US Billboard 200, it was their highest charting album. What started as a quartet became a trio on this LP. They started working on it following the departure of co-founder Jerry Corbitt. With the need for new material, Jesse Colin Young rose up to the challenge and penned 7 out of the 13 songs on “Elephant Mountain.” The Youngbloods were still a tight unit and this LP helped showcase their musicianship especially with the variety of tunes – from acoustic ballads to country to hard rock and even bluesy numbers. It offers an enjoyable listening experience from start to finish. Sure, it’s not without fillers but even those are fun to listen to as well. At a time when most rock acts gravitated towards dark, political, and ominous themes, “Elephant Mountain” was a breath of fresh air. The opener “Darkness, Darkness” is the clear highlight of the LP but that’s not to say the rest of the tracks aren’t just as good. Other standouts include “On Sir Francis Drake”, “Trillium”, “Sham”, and “Ride the Wind.” “Elephant Mountain” is both consistent and solid. It may have a few weak moments but overall, it’s The Youngbloods’ greatest record.  From: https://societyofrock.com/album-review-elephant-mountain-by-the-youngbloods/

Elephant Mountain, the magnetic third album by the Youngbloods, is commonly looked upon as the pinnacle of the legendary Bay Area combo's abundant eight-year career. From its spine chilling opening track--the strains of a somber Appalachian fiddle permeating "Darkness, Darkness"--the listener is inexorably sucked into psychedelic quicksand by the haunting vocals of Jesse Colin Young, whose plaintive cry to "hide the constant yearning for things that cannot be" proves mournfully irresistible. In addition to Young's songwriting masterpiece, the 1969 album also spotlights a sharp, country-rocking vocal duet ("Smug") by Young and recently-departed singer Jerry Corbitt, as well as the jazzy interplay between electric keyboard whiz Banana and the locked-in groove of drummer Joe Bauer during magical instrumental "On Sir Francis Drake." More songwriting gems loom like sacred totems on this landmark longplayer, including Young's signature ballads "Sunlight," "Quicksand" and "Ride the Wind." It's the Youngbloods at the top of their game, indelibly writing their names in the ledger of consummate San Francisco rock 'n' roll.  From: https://sundazed.com/p/1189-Youngbloods-Elephant-Mountain-CD.aspx

Pentangle - House Carpenter

 #Pentangle #John Renbourn #Bert Jansch #Jacqui McShee #folk #British folk #folk blues #jazz folk #progressive folk #British folk rock #1960s

By pulling together folk, jazz and blues into evocative, melodic albums, Pentangle were ahead of the curve in the late 1960s. An early "supergroup", they set the scene for more celebrated artists. Long before singer-songwriters – from Van Morrison to Carole King to Joni Mitchell – discovered the joys of mellifluous bass and jazzy drums, double bassist Danny Thompson and drummer Terry Cox added a startling perspective to the folk club frontline of guitars and vocals, contributing gravitas and spirit to Jacqui McShee's traditional songs of lost love and abandonment. Guitarists John Renbourn and Bert Jansch were accomplished musical storytellers, who occasionally spiked the brew with sitar and banjo.  From: https://www.theguardian.com/music/2011/aug/03/pentangle-review-royal-festival-hall

Were Pentangle a folk group, a folk-rock group, or something that resists classification? They could hardly be called a rock & roll act; they didn't use electric instruments often, and were built around two virtuoso guitarists, Bert Jansch and John Renbourn, who were already well-established on the folk circuit before the group formed. Yet their hunger for eclectic experimentation fit into the milieu of late-'60s progressive rock and psychedelia well, and much of their audience came from the rock and pop worlds, rather than the folk crowd. With Jacqui McShee on vocals and a rhythm section of Danny Thompson (bass) and Terry Cox (drums), the group mastered a breathtaking repertoire that encompassed traditional ballads, blues, jazz, pop, and re-workings of rock oldies, often blending different genres in the same piece. Their prodigious individual talents perhaps ensured a brief lifespan, but at their peak they melded their distinct and immense skills to egg each other on to heights they couldn't have achieved on their own, in the manner of great rock combos like the Beatles and Buffalo Springfield.  From: https://www.allmusic.com/artist/pentangle-mn0000838559/biography

Pink Floyd - Several Species Of Small Furry Animals Gathered Together In A Cave And Grooving With A Pict

 #Pink Floyd #David Gilmour #Roger Waters #psychedelic rock #British psychedelia #progressive rock #art rock #space rock #experimental rock #blues rock #1960s #1970s

Aye, an' a bit of mackerel, settler rack and down
Ran it down by the home, and I flew
Well, I slapped me and I flopped it down in the shade
And I cried, cried, cried.

The fear a fallen down had taken, never back to raise
And then cried Mary, an' took out wi' your Claymore,
Right outta a' pocket, I ran down, down the mountainside
Back on (Battlin'?) the fiery horde that was falling around the feet.

Never! He cried, never shall ye get me alive
Ye rotten hound of the burnie crew!
Well, I snatched fer the blade an' a Claymore cut and thrust,
And I fell doon before him round his feet. Aye!

A roar he cried!
Frae the bottom of his heart
That I would nay fall but as dead,
Dead as I can by a' feet, d'ya ken?

And the wind cried Mary.

Thank you.

One of the most interesting pieces Roger Waters ever produced, Several Species has been consistently underrated. While hardly melodic or even musical, the piece embodies the experimental era of the Floyd and other such bands through its imaginative uses of 'animal' sound effects (most of them done by Roger, then sped up or slowed down) to create a multi-layered chorus, functioning very effectively as a rhythm track. The animal section, lasting about three and a half minutes, supposedly contains hidden messages which are revealed when the record is played at different speeds, such as 16, 45 and 78 rpm. The 'Pict' section, lasting only a minute, is also fascinating. At first listen, Roger's rant makes no sense whatsoever. However, repeated listening reveals a discernible monologue, distorted by a heavily affected satiric Scots accent and some nonsensical words and phrases. Some sources have claimed that this monologue was improvised live in the studio, but it seems a little more coherent and linear than something that might be made up off the top of one's head. Based on the possibly incorrect assumption that the 'lyric' was written and actually means something, an analysis of its content follows.
First, a historical note: the Picts were composed of violent, raiding tribes of both Celtic and pre-Celtic peoples who held power in ancient Caledonia (now Scotland), most notably during the time period c.300-843 AD. After this point, they became united with (and in most minds, synonymous to) the Scots. This 'poem' if you will, which almost seems to parody the style of the renowned Scots poet Robert Burns (1759-1796), tells an interesting story. The transcription above converts the heavily accented words to standard English spelling in most cases (such as 'middin stain' to 'mountainside' and 'doon' to 'down'). The 'Pict' who tells the story starts by referring to the fact that his family settled down in this (apparently) coastal area, probably to fish for mackerel (a common industry in Scotland). But now, conflict and fighting has disrupted his life, all the more so because he is a coward, and has just fled from the battle that his brethren partake in, back to his home. He slaps himself for his cowardice, drops his sword in the shade, and weeps. He is afraid of the heavy blade causing him to fall down in battle — a mistake no-one survives ('never back to raise'). But then he gathers his courage, picking up what is probably his father's Claymore ('your Claymore') and rejoins the fray with a battle cry of Mary! (probably Mary, Queen of Scots, or else the Virgin Mary, a reference to his Catholicism). He sees his friends falling dead around the feet of a particularly ferocious enemy, who screams his defiance. Our young Scotsman grabs for his blade, but his worst fears are realized — it is too heavy, and the enemy's Claymore 'cut and thrust' and he falls at the enemy's feet. The enemy cries that he will not fall and live, and the young Scotsman meets his ignoble end, leaving only the wind to echo his battle cry ('and the wind cried Mary').
The poem seems to imply that it is Scotsman against Scotsman, a situation that did occur during the reign of Mary Queen of Scots in the mid-1500s, as the Catholic supporters of the Queen warred against the Protestant opposition. The above, is however, merely one interpretation of a piece which could mean any number of things — or nothing. What is particularly humorous about this section of Several Species is the elaborate poetic set-up used in order to end with a joking reference to a lyric already made popular by Jimi Hendrix a couple of years before ('the wind cried Mary') — and have it actually make sense. Someone who sounds a bit like Dave Gilmour says 'Thank you' in a normal accent at the end — perhaps Dave was in the recording booth?   From: http://floydlyrics.blogspot.com/2010/03/several-species-of-small-furry-animals.html

Country Joe & The Fish - The Return Of Sweet Lorraine

  #Country Joe & The Fish #psychedelic rock #folk rock #psychedelic folk rock #psychedelic blues rock #acid rock #singer-songwriter #1960s

The “CJ Fish” album was the sixth to be issued by Vanguard Records in 1970, and was the last to feature new material from the group as the only subsequent album was the historical retrospective “Life And Times of Country Joe & The Fish”, issued the following year, by which time the band had broken up and Joe McDonald had embarked on a solo career. The new album can be seen as an attempt by Vanguard to see if they could steer the group towards a more mainstream pop rock position, with production duties being handled by Tom Wilson whose credits by then already included Bob Dylan and Simon & Garfunkel. The group's earlier material had been extremely varied, ranging from blues and jug band music to folk, ballads and eastern-influenced rock, but they had gradually been cutting slightly more commercial material, some of which sat in the then-emerging country rock vein almost akin to Poco and others. This however was not a country rock album, but rather a pop rock one with a more uniform set of songs that producer Wilson was able to meld into a cohesive sounding whole.
The Fish line-up that cut the album was different from what is seen as the classic one. Gone were David Cohen, 'Chicken' Hirsh and Bruce Barthol, and now alongside Joe McDonald and Barry Melton were keyboard player Mark Kapner, bass player Doug Metzner (ex-Group Image) and drummer Greg Dewey (ex-Mad River). The album opens with Melton's very pop-oriented ‘Sing, Sing, Sing’, perhaps strangely not picked for single release at the time, and he also contributes the rockier ‘Silver And Gold’. Otherwise all the songs are from McDonald's pen, and are uniformly professional, varying from the gentle piano-led jazzy ‘Mara’ and ‘She's A Bird’ with its dreamy guitar soundscape midway through to ‘Rockin' Round The World’ which is much more upbeat and funky, as you would expect. ‘Hang On’ is an easy jog-along country-tinged song, while ‘The Baby Song’ is solidly romantic and miles from some earlier Fish material, though here is a later nod to the group's past with ‘The Return of Sweet Lorraine’. Hints of Joe's political leanings surface briefly on ‘Hey Bobby’, built on the well-trodden ‘Hang On Sloopy’ chord progressions, and the album closes with another easy mid-tempo poppy song ‘Hand Of Man’.  Before this however had come the longest track, ‘The Love Machine’, which allows much more instrumental interest. The new players, on other tracks professional but somewhat anonymous, put their heads above the parapet here with some of the invention of earlier Fish line-ups. They provide sudden keyboard interjections and solos, interesting bass runs and even a strong drum break, lifting this track as one of the most interesting and evocative of the band's history. Although quite different to much of what had gone before, this album can be seen as a solid addition to the group's canon, even though it was to be their swansong, and as such no collection should be without it.  From: https://acerecords.co.uk/c-j-fish

Love - She Comes in Colors

 #Love #Arthur Lee #Bryan MacLean #psychedelic rock #garage rock #folk rock #acid rock #psychedelic pop #psychedelic folk #1960s

Love broadened their scope into psychedelia on their sophomore effort Da Capo, Arthur Lee's achingly melodic songwriting gifts reaching full flower. The six songs that comprised the first side of this album when it was first issued are a truly classic body of work, highlighted by the atomic blast of pre-punk rock "Seven & Seven Is" (their only hit single), the manic jazz tempos of "Stephanie Knows Who," and the enchanting "She Comes in Colors," perhaps Lee's best composition and reportedly the inspiration for the Rolling Stones' "She's a Rainbow”.  From: https://www.allmusic.com/album/da-capo-mw0000195829

Seconds into the opening track, “Stephanie Knows Who,” it’s clear that “Da Capo” represented new directions for Love and for rock. A harpsichord dances with guitar in the lovely prelude. A deep-throated sax breaks in. In the break, all of the song’s instruments collide and veer off in different directions. The resulting passage is more in tune with free jazz than psychedelic music - although this is unmistakably a hard rock song. “Da Capo” was Arthur Lee and Love’s second album, out of three made with his core group of L.A. musicians. The album was followed and overshadowed by the rock masterpiece “Forever Changes,” but the songs here are streaked with brilliance and innovation. Many musicians’ minds were blown by its collage of sounds and crazy quilt of influences, the material clearly ahead of its time. “Da Capo” is, in a sense, a more adventurous album than “Forever Changes.” In any case, these tracks are among the finest recordings of Love as musicians. (Key parts of “Forever Changes” were played by hired hands.) The band had expanded to seven players, upgraded its drummer, added woodwinds and, of all things, integrated a harpsichord. The first side of “Da Capo” is a lovely experiment in fusing sounds from rock, Latin rhythms, jazz and classical. Lee and company succeed at this without pandering, producing some of their best songs.  From: https://psychedelicsight.com/no-37-loves-da-capo/

Iron Butterfly - Are You Happy

 #Iron Butterfly #psychedelic rock #acid rock #hard rock #heavy psych #proto-prog #1960s

Reverend Lovejoy: And now, please rise for our opening hymn, uh... "In the Garden of Eden," by I. Ron Butterfly.

Homer Simpson: Hey, Marge, remember when we used to make out to this hymn?

Iron Butterfly were a psychedelic rock band and a major influence on heavy metal. They are well known for "In-A-Gadda-Da-Vida", the title track of their second album. The 17 minute long piece was epic, menacing and altogether awesome, and has since become a staple of numerous pop culture references thereafter. Oh yeah, and they did some other songs, too.

From: https://tvtropes.org/pmwiki/pmwiki.php/Music/IronButterflyBand

 
It started out as a slurred lyric misheard by a bandmate and morphed into one of the signature songs of the psychedelic era. Iron Butterfly’s 17-minute “In-A-Gadda-Da-Vida” took root in the American consciousness on its release in 1968 and went on to enjoy an afterlife that spanned rock, disco and hip-hop. As The Simpsons episode where Bart tricks the church organist into playing the song shows, unexpected things can happen when you play around in the “garden of Eden”.
Iron Butterfly always wanted to do things differently. The Los Angeles quartet gave equal weight to organ, guitar, drums and bass, with no frontman, had little of the blues heritage of their peers and, as their name suggests, wanted to convey both light and heavy moods. “In-A-Gadda-Da-Vida” drew on Missa Luba - percussive renditions of the Latin Mass from the Democratic Republic of Congo - for the lengthy drum solos that would help make the song famous, while the organ arpeggios in the intro nod to Bach’s melodramatic Toccata and Fugue in D Minor.  From: https://ig.ft.com/life-of-a-song/in-a-gadda.html

Sam & Dave - May I Baby

 #Sam & Dave #Sam Moore & Dave Prater #soul #R&B #Southern soul #Atlantic/Stax #Double Dynamite #The Sultans of Sweat #1960s

Sam Moore and Dave Prater made for one of the most successful Soul acts of the 1960s, racking up a string of hard-grooving hits with a tag-team vocal style that owed a debt to the church music both men had grown up singing. Solo performers at the outset, the two southerners - Moore from Florida, Prater from Georgia - formed a duo in 1961, after meeting at a club in Miami. After bouncing between various labels and issuing a series of singles that received regional airplay but failed to ignite, the pair’s moment came when they were signed by Jerry Wexler of Atlantic Records in 1964, and Wexler sent them to Stax Records in Memphis, to record with the writing and production team of Isaac Hayes and David Porter. In addition to supplying them with songs and pairing them with house band Booker T. and the M.Gs (as well as the Stax horn section, the Mar-Keys), Hayes loosened up the singers’ straight R&B approach, bringing to the fore a wilder, call-and-response style derived from Gospel music.  From: https://teachrock.org/people/sam-and-dave/

Fairport Convention - It's Alright Ma, It's Only Witchcraft

 #Fairport Convention #Ian Matthews #Ashley Hutchings #Richard Thompson #folk rock #British folk rock #electric folk #British folk #1960s

It could be said that Fairport Convention was the first true second-generation folk-rock band, in that its initial repertoire and model came not from folk songs, but from imported folk-rock records. In our days of worldwide simultaneous releases and block-long music megastores, it can be easy to forget that in 1967, even LPs on Vanguard and Elektra could be hard to come by in England. To learn songs by Love, Richard & Mimi Fariña, and Jim & Jean commanded the same kind of obscurist archivism that American teenagers of the late 1950s and early 1960s needed to locate Alan Lomax field recordings, Library of Congress LPs, and Folkways releases. This is what Fairport Convention, formed in North London by guitarists Richard Thompson and Simon Nicol and bassist Ashley Hutchings, did to master a repertoire that likely was unduplicated anywhere in the British Isles in 1967. Over the next few months the lineup was filled out by drummer Martin Lamble, singer Judy Dyble, and singer Ian Matthews. Except for Hutchings, all were still in their teens (Nicol was only 16), and, except for Matthews, who'd been on a 1967 pop-rock single by the Pyramid, none of them had played on any records.
"When I received the invitation to check out Fairport I knew absolutely nothing about them," recalls Matthews. "All I knew was that they were beginning to establish themselves as an underground favorite, by playing regularly at the UFO club in Covent Garden. But the crowd I was running with at the time were listening to a completely different genre of music. The day I met the band for the first time they had gathered in a small studio in south London called Sound Techniques, to record their first single. I was between homes at the time and I walked in with my suitcase and a dozen albums under my arm: Tim Hardin, Richie Havens, Tim Buckley, The Byrds, David Ackles etc. I believe these albums got me the job, because it was coincidentally exactly what they were all listening to, plus Dylan, Joni and Richard Farina, of course.
"At the time no one in the band was writing with any seriousness, so we dug deep into that type of approach for inspiration and for stage material. I don't think anyone apart from possibly Joe Boyd had any vision of where the band was headed, or what we might become. We were developing something and placed no boundaries on it. At the back of our minds American folk-rock was the happening thing, both musically and inspirationally. We loved the Airplane, and the two lead vocalist approach appealed to us. Because of our name and our scruffy onstage presence, lots of people around that time thought we were American, and considering the possible rewards, we were not about to attempt to dispel that presumption."
"Wherever Fairport played when we started in '67, there were groups playing improvisational music to a large extent," says Hutchings. "They'd start out on a chord formation and maybe sing a few words, and that would just be the vehicle to go off and paint colors instrumentally, for long stretches. There was really almost no one else tackling the best singer-songwriters and what one might loosely call contemporary folk music. Eclection were the only band I can think of right now touring England at that time who impinged on our territory. Why that is, I don't know. It's just how it was. "And I'm glad it was, really, because we wouldn't have stood out. And we did stand out as a band. In the early days, we weren't that good. But we stood out because we played these short, intelligent, rather lovely songs, and no one else was doing them. Pentangle came from a whole different area. We didn't consider that we were anything like Pentangle. They played acoustic instruments, but also they came largely from the jazz side. They swung the folk. We rocked the folk."
The band's first album, 1968's Fairport Convention, is often dismissed as an irrelevant curiosity due to its dissimilarity to the group's later, more British folk-fueled efforts. To the contrary, it is a highly credible and enjoyable, if derivative, West Coast-styled folk-rock album, owing much to the early Byrds and (particularly in the male-female vocal harmonies and vocal solo tradeoffs) Jefferson Airplane. The songs they covered would have been obscure to almost anyone on either side of the Atlantic: Joni Mitchell's "I Don't Know Where I Stand" and "Chelsea Morning" (both of which she had yet to release), Jim & Jean's "One Sure Thing," the Merry-Go-Round's "Time Will Show the Wiser," and Ben Carruthers's "Jack o' Diamonds," the last of which is a true affidavit to their record-collecting prowess, as it's doubtful the original 45 could have sold more than a few copies. More importantly, the band showed itself capable of writing strong original material in the same mold.  From: http://www.richieunterberger.com/fairport.html 

The Velvet Underground - Rock & Roll

#The Velvet Underground #Lou Reed #John Cale #experimental rock #art rock #avant-garde #proto-punk #1960s

Though there are many themes that keep reappearing throughout the history of music, few make for better songs than that of the "innocent" child hearing "great" music for the first time. In nearly every genre, some form of this song has been recorded, and while the details change, the spirit behind the song is always one that remind people of the great power of music. With a majority of these songs, the lyrics seem quite autobiographical in nature, while they can simultaneously be applied to nearly anyone, and this is often the reason that the songs become so legendary. While it is truly a countless amount of songs that are created in this manner, there are few that can compare, both musically and lyrically to the mood and power of The Velvet Underground's classic tune, "Rock and Roll." As an integral part of their legendary 1970 record, Loaded, the song perfectly captures these feelings, and yet it is easily one of the most joyous and inspiring songs ever recorded. Powered by the early punk sound of the band, along with the stunning vocal work of Lou Reed, the song instantly grabs the listener and the true genius behind the song remains in the fact that no matter how many times one hears the song, it still has the same level of impact. From the core riff to the iconic lyrics, there are truly very few songs that can compare to the sheer magnificence of the often imitated, but never even remotely duplicated, "Rock and Roll."
Truth be told, the song was actually recorded on the tail end of the bands' previous, self-titled record a year earlier, but it did not make the cut and was left "on the shelf" while the group changed record labels. In retrospect, this was a very good thing, as "Rock and Roll" fits far better with the songs on Loaded than with those of their 1969 effort. The song itself is driven by a brilliantly simple three-chord progression, making it a song that even the most novice guitar player could easily master. This uncomplicated musical approach is certainly one of the keys to the songs' appeal, and yet it also reflects the universal nature of the music which is being referred to in the lyrics. However, "Rock and Roll" also features The Velvet Underground's signature gritty, stripped down sound, and it provided a very stark musical contrast to nearly everything else that was being released at the time. While both Lou Reed and Sterling Morrison provide stunning guitar work throughout the song, one of the key aspects that sets both the song and album apart from the rest of the bands' work is the fact that drummer Maureen Tucker is not present. At this point, Tucker was gone from the band due to having a child, and throughout Loaded, the percussion is handled by a number of different people. Regardless, "Rock and Roll" presents an absolutely amazing groove, and it remains one of the most irresistible rock anthems ever recorded.  From: http://thedailyguru.blogspot.com/2010/03/march-4-velvet-underground-rock-and.html

Janis Joplin with Big Brother & The Holding Company - I Need a Man to Love

 #Janis Joplin #Big Brother & The Holding Company #blues rock #acid rock #psychedelic rock #West coast sound #1960s

Janis Joplin has the ain't-got-no-man blues in this psychedelic rock tune she co-wrote with Big Brother & The Holding Company's lead guitarist, Sam Andrew. He recalled to Goldmine in 1998: "'I Need A Man To Love' we wrote in about five minutes, backstage on a tuning amplifier. And that was a real sort of 'mission statement' from Janis, lyrically. And for me, it just popped out - it was a real kind of common riff, except for the bridge. We played it in A minor, and then it goes to the bridge, which is in F sharp minor. And there's a lot of chromaticism in there, so for me it was a departure that way. In a 1998 Gadfly interview, Andrew said the intro was based on Albert King's guitar riff from the blues song "Born Under A Bad Sign."
Joplin found it difficult to put her pain on display for an indifferent crowd, especially in her early days. She explained: "I had a couple of shows where I played the whole show really into it, completely giving all I had, and I was doing a freeform thing, talking, bring it all out, let it all go. Just talked about Janis and all the men that hurt her, and all the men that maybe she let down, and everything that you got to say; all of a sudden it starts coming out of your mouth, and you didn't even intend it to, and all of a sudden I heard them speak, I heard them talkin' in the middle of my fuckin' shit, man, and I stopped and I waited to see if they'd quit. They didn't quit, and I grabbed the microphone and said, I ain't cryin' my ass off for you! I put the microphone down and walked off the stage. I blew my contract and all that shit, but fuck that, man, I ain't gonna get out there and cry my soul out for people that are talking about 'How's your brother, did you get laid on Thursday, that's a cute dress.' I'm up there talking about my pain, fuck you!” (source: International Times, 1972)
This was possibly inspired by Joplin's breakup with singer Country Joe McDonald, her live-in boyfriend who left her the year before to marry another woman. McDonald wrote the song "Janis" for her. Joplin found love with both men and women. Aside from McDonald, she was romantically linked to Kris Kristofferson, and Peggy Caserta (author of the 1975 book Going Down With Janis, which she has since disowned), among others. At the time of her death in 1970, she was engaged to novelist Seth Morgan.  From: https://www.songfacts.com/facts/big-brother-the-holding-company/i-need-a-man-to-love

Brewer & Shipley - Don't Want to Die in Georgia

 #Brewer & Shipley #folk #folk rock #country rock #singer-songwriter #1960s #1970s

Michael Brewer & Tom Shipley began their careers as solo folk artists on the coffee house circuit in the early 1960s. Both native mid-westerns (Oklahoman and Ohioan respective to their billing), they first met in 1964 at the Blind Owl coffee house in Kent, Ohio.  It would be three more years before they would team up, and during those three years the two crossed paths at clubs on the folk circuit, and each tried their hand in other musical collaborations that didn’t pan out.
In 1965 Michael Brewer migrated to Los Angeles following the emerging west coast music scene. His initial duo Mastin & Brewer signed a record deal with Columbia Records but the group imploded before finishing their record. Brewer eventually accepted a job as a staff songwriter at Good Sam Music, a publishing offshoot of the newly formed A&M Records. Around this time, Tom Shipley arrived in L.A. and looked up his acquaintance from the folk circuit. Tom rented a house around the corner from Michael’s house, and soon they began writing songs together.  When Shipley was subsequently hired as staff writer for A&M in 1967, their partnership began as a songwriting collaboration.
As staff songwriters, their early songs were recorded by The Nitty Gritty Dirt Band, Glen Yarborough, H.P. Lovecraft, The Poor, Noel Harrison, and Bobby Rydell. A&M Records soon recognized that Michael & Tom’s demo recordings exhibited a unique sound and style of their own, so they green lighted them to record an album. A&M brought in the best musicians in L.A. to play on the album. But even with a soon to be released debut album and mutual friends who were starting to make it big in bands such as The Byrds, Buffalo Springfield, and The Association, Michael and Tom so disliked their life in L.A. that they decided to move back to the Midwest as soon as the record was recorded.
In the last decade-plus, the duo has witnessed rejuvenated interest in their music, beginning with BMG's purchase of their Kama Sutra catalog and subsequent re-issue of the critically acclaimed Tarkio release in 1996. This was soon followed by the inclusion of "One Toke Over The Line" on the Fear And Loathing In Las Vegas motion picture soundtrack. A live record of classic performances from 1973, Archive Alive, was released in 1997, the same year they released an album of new material Heartland on their own One Toke Productions label.  From: http://www.brewerandshipley.com/bios&liners/bio_b&s.htm