A Bit Like You And Me / 60s Music Blog

Phil Ochs - No More Songs (1970)

2013-05-17T12:00:00.000-04:00

With his clever songwriting and sardonic humor, Phil Ochs wrote a library of songs spotlighting the injustices of the world which he saw around him. He performed his most famous song, previously featured here, “I Ain’t Marching Anymore” to thousands of Vietnam War protestors at the 1968 Democratic National Convention in Chicago, a performance which led to thousands of young men burning their draft cards on the spot. He was also responsible for the purchase of Pigasus, a one hundred forty-five pound hog nominated for President of the United States by the Youth International Party (the Yippies) at that same convention. Unfortunately, the 1968 Democratic National Convention ended with Chicago police rioting and savagely beating peaceful protestors. Between what took place in Chicago and what else he saw in the changing America around him, he figured that the average American must no longer be interested in the political songs and messages he was trying to get out. By 1970, Ochs was abandoning his protest formula for songs with a heavy heart and reaching back to his roots, having his new music emulate his childhood inspirations: Elvis, Buddy Holly, Merle Haggard, and more. Over time, an increasing dependency on illegal drugs and an emerging writer’s block led Ochs to turn to alcohol, which then slipped him into a depression that lasted the rest of his life. He was diagnosed with bipolar disorder as his mental stability slipped away, which once saw him create an alternate persona for himself for a brief period of time. Despite constant support from his friends and family, Ochs was unable to escape his depression and he hanged himself on April 9, 1976.

Having gone through such a long period where new songs came so easily to him, the end of the ‘60s and beginning of the ‘70s saw Phil Ochs severely struggling to write new material. In February 1970, Ochs released an album titled Greatest Hits, which was not actually a greatest hits album, but a facetious title which featured him on the cover wearing a shiny gold suit akin to Elvis Presley. As mentioned above, he had abandoned topical protest songs and switched to a hybrid of highly produced rock and roll and country music. The entire album was poorly received, with the exception of its last track, the song heard below.

Featured as the last track on his Greatest Hits album, this song was one of Ochs’ most depressing tracks ever recorded. Titled “No More Songs,” his lyrics dealt with not only his loss of ability to write great music as he had in the past, but rhetorically asked how anybody could write great songs as the country spiraled downward into a dire state around him. Sadly, “No More Songs” became prophetic, as Ochs released very few songs after Greatest Hits and never released another full length album again. Ironically, it was an incredibly great song.

Phil Ochs - No More Songs (1970)

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Lyrics:

Hello, hello, hello
Is there anybody home?
I've only called to say I'm sorry
The drums are in the dawn
And all the voices gone
And it seems that there are no more songs

Once I knew a girl
She was a flower in a flame
I loved her as the sea sings sadly
Now the ashes of the dream
Can be found in the magazines
And it seems that there are no more songs

Once I knew a saint
Who sang upon the stage
He told about the world, his lover
A ghost without a name
Stands ragged in the rain
And it seems that there are no more songs

The rebels they were here
They came beside the door
They told me that the moon was bleeding
Then all to my surprise
They took away my eyes
And it seems that there are no more songs

A scar is in the sky
It's time to say goodbye
He withers on the beat, he's dying
A white flag in my hand
And a white boat in the sand
And it seems that there are no more songs

Hello, hello, hello
Is there anybody home?
I've only called to say I'm sorry
The drums are in the dawn
And all the voices gone
And it seems that there are no more songs
It seems that there are no more songs
It seems that there are no more songs

The Fender IV - Mar Gaya (1964)

2013-05-16T12:00:00.000-04:00

Formed in Baltimore, Maryland in 1962 by school friends, this surf rock band was the brainchild of Randy Holden (born 1945), a future guitarist in Blue Cheer. Besides Holden on lead guitar and vocals, the band also featured Joe Kooken on guitar, Mike Port on bass, and Bruce Miller on drums. Holden decided to move the band out to Los Angeles, California in 1963 where they were hoping to find an audience more receptive to their surf-styled music. Ironically, shortly after they got there, the surf genre was quickly losing popularity to the rise of the British Invasion; so, the band attempted to create songs that either fit one or both of the surf and Merseybeat genres. After the release of the band’s second single, Holden and the guys gave in to shift with the times and renamed themselves the Sons of Adam, focusing on a harder genre of rock. Their drummer Bruce Miller was the only member not to carry on under their new name.

This song was written by Randy Holden at the band’s beach house in Topanga Canyon in California. According to an interview with Holden in 2002, the title is Swahili for “crocodile.” Featured as the A-Side on the band's first single, it was an instrumental track inspired by the surf music of Dick Dale and other big names in surf of the time. The song was backed with the B-Side “You Better Tell Me Now,” a surf/Merseybeat hybrid that attempted to adjust to the British Invasion without losing their surf essence, as mentioned above.

The Fender IV - Mar Gaya (1964)

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Lyrics:

(instrumental)

The Pretty Things - Loneliest Person (1968)

2013-05-15T12:00:00.000-04:00

Taking their name from the 1955 Bo Diddley song, “Pretty Thing,” this band formed in 1963 when Dick Taylor met Phil May at the London Central School of Art, as previously mentioned on this site. With Taylor playing lead guitar and May on lead vocals, the duo sought to fill up the missing positions. They chose Brian Pendleton as their rhythm guitarist, John Stax as their bassist, and Viv Prince on the drums. Prince was actually the group’s third drummer, having replaced Viv Andrews (who had replaced Pete Kitley), and thus solidifying the “golden age” lineup of the band. Many of the slots in the band were vacated more than once over the coming years; Prince left in November ’65, Pendleton left in December ’66, and Stax left in January ’67. As it was (and as it still is), Dick Taylor and Phil May have been the only consistent members of the band since their incarnation. In 2012, the group returned to New Zealand for the first time since 1965, having been banned for lighting a bag of crayfish on fire during the middle of a domestic flight. In 2013, they celebrated their 50th anniversary with a tour around the UK and Europe. The band has never broken up and continues to perform with its two most recognizable members up to this very day.

As with the previously featured song, “Private Sorrow,” this song appears on the band’s most critically acclaimed album, S.F. Sorrow. It’s the album’s closing song, akin to a novel’s epilogue, and was written by Dick Taylor, Phil May, Wally “Waller” Allen (the band’s newest bassist), and John “Twink” Alder. Twink, who had previously been in the band Tomorrow, had come in to help the band finish recording the album after their then-current drummer, Skip Alan, spontaneously quit the band amidst a torrid, hectic, and romantic relationship. Noted as the first ever rock opera (even predating The Who’s Tommy), the album primarily unfolded its story through the narrative paragraphs that appeared in the liner notes between each track listing. Sometimes in concert, the man who sang “Fire,” Arthur Brown, would appear on stage and read the liner notes to the audience at the appropriate times between the band playing songs.

The Pretty Things - Loneliest Person (1968)

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Lyrics:

You might be the loneliest person in the world
You'll never be as lonely as me
Yes you might be the loneliest person in the world
You'll never be as lonely as me

Oh, the sky, it seems dark
As I'm walking through a park
But the face, it is too bright to see
Oh, the sun might rise high
On an orange kind of sky
But the day, it seems too dark for me

Yes, you might be the loneliest person in the world
You'll never be as lonely as me
Yes, you might be the loneliest person in the world
Your name, it would have to be me

Dandy Livingstone - Rudy, A Message to You (1967)

2013-05-14T12:00:00.000-04:00

Born in Kingston, Jamaica on December 14th, 1943, this Jamaican musician moved to the United Kingdom when he was fifteen years old. After jamming with a friend in his apartment building, a neighbor secretly recorded him and distributed the sessions on Planetone Records, effectively getting his name “out there” without his even realizing it. When the London-based record company Carnival Records was looking for a Jamaican duo, Dandy Livingstone applied for the spot by double-tracking his audio. It worked; soon Livingstone was releasing records using this technique under the misleadingly duo name of Sugar & Dandy. His success led him to signing with multiple record companies and recording songs such as “What a Life,” “Suzanna Beware the Devil,” and his hit heard below. He also spent a lot of time successfully producing other artists. Around 1971, Livingstone briefly moved back to Jamaica, but returned to the UK in 1973. He hadn’t performed live since 1972, but was scheduled to perform at the International Ska Festival in London, 2012. Although Livingstone reportedly was present for the soundcheck before going on stage, he never actually performed. Livingstone, still alive today, has released more than ten full length albums.

Written and originally recorded by today’s artist, this song is primarily remembered for the cover version recorded by The Specials in 1979. Interestingly, the trombone player Rico Rodriguez played on both Livingstone’s and The Specials’ versions. Livingstone’s version of the song featured the B-Side “Nite Klub” and never charted. Besides the cover by The Specials, the song has also been covered by the Barenaked Ladies, Amy Winehouse, and sampled by the punk band Propagandhi.

Dandy Livingstone - Rudy, A Message to You (1967)

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Lyrics:

Stop your runnin' about
It's time you straighten right out
Stop your runnin' around
Making problems in town

Rudy, a message to you
Rudy, a message to you

You're growing older each day
You want to think of your future
Or you might wind up in jail
And you will suffer

Rudy, a message to you
Rudy, a message to you

Stop your runnin' about
It's time you straighten right out
Stop your runnin' around
Making trouble in the town

Rudy, a message to you
Rudy, a message to you

Ritchie Valens - Come On, Let's Go (1958)

2013-05-13T12:00:00.000-04:00

Born Richard Valenzuela on May 13, 1941, this Mexican-American singer, songwriter, and guitarist only had a career that lasted eight months before ending in tragedy. As a young boy, Valenzuela was absent on one particular day of school to attend his grandfather’s funeral. On that same day, two planes collided above the playground of his school, killing and injuring many of his friends. From there forward, Valenzuela had a fear of flying. A self-taught musician, Valenzuela joined a local band at the age of sixteen, while still in high school, called The Silhouettes. He started as a backup singer and guitarist, but when the group’s lead vocalist quit, Valenzuela took charge. He was eventually discovered by Del-Fi Records' owner and president, Bob Keane, who had Valenzuela respell his first name from “Richie” to “Ritchie,” and shorten his last name from “Valenzuela” to “Valens.” Soon, Valens was recording nationwide hits, appearing in movies, and dropping out of high school to join a nationwide tour. “The Winter Dance Party,” a tour that began in early 1959, featured Valens, Buddy Holly, The Big Bopper, Dion and the Belmonts, and Frankie Sardo. On February 2nd, 1959, just eight months after Valens’ career had started, Ritchie Valens died in a plane crash that also claimed the life of Buddy Holly and The Big Bopper, now known as “The Day the Music Died.” Although his imprint on rock and roll history was short lived, there were an astounding number of future musicians to have been influenced by him, both Latinos and non-Latinos alike.

This was Ritchie Valens’ first hit song. It was written by Valens himself with the help of Bob Keane, credited as Kuhn, using his real surname, and featured the B-Side “Framed,” a song written by Jerry Leiber and Mike Stoller. Heard below, the song was recorded, pressed, and released in a span of mere days. It was the success of this song and his record that followed (“Donna”/”La Bamba”) which led Ritchie to quitting high school and focusing music full-time. The song reached number forty-two in the US.

Ritchie Valens - Come On, Let's Go (1958)

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Lyrics:

Well, come on, let's go
Let's go, let's go, little darlin'
And tell me that you'll never leave me
Come on, come on, let's go’a
Again, again, and again

Well, now, swing me, swing me
All the way down, there
Come on, let's go little darlin'
Let's go, let's go again once more

Well, I love you so, girl
And I'll never let you go
Come on, baby, so
Oh, pretty baby, I love you so

Let's go, let's go, let's go
Little sweetheart
That we can always be together
Come on, come on, let's go again

I love you so, girl
And I'll never let you go
Come on, baby, so
Oh, pretty baby, I love you so

Let's go, let's go, let's go, little darlin'
They’re dancin’ and we’ll be longer
Come on, come on, let’s go’a
Again, again and again and again
Again, again and again and again
Again, again and again and again
Again, again…

The Drifters - This Magic Moment (1960)

2013-05-10T12:00:00.000-04:00

In the summer of 1958, with his original lineup of The Drifters being entirely disintegrated, George Treadwell was desperate to find a new lineup, call them The Drifters, and complete the remaining year’s worth of bookings he had signed his vocal group up for at The Apollo. Luckily for Treadwell, he was able to get into contact with Lover Patterson, the manager of the doo-wop group known as The Five Crowns. Through some finagling and persuading, Treadwell managed to take The Five Crowns and turn them into the “new” Drifters. Lead by Five Crowns lead singer Ben E. Nelson, the group featured Charlie Thomas, Dock Green, and Elsbeary Hobbs. Poppa James Clark had been a member of The Five Crowns but wasn’t invited to join The Drifters because of a drinking problem, a problem that plagued Treadwell’s last group. Ben E. Nelson changed his stage name to the now widely recognized Ben E. King and although these “new” Drifters were initially met with crowd hostility at their shows, they would go on to release hits such as “There Goes My Baby,” “Save the Last Dance for Me,” “Dance with Me,” and the hit heard below to be considered by many as the truly “golden” lineup of The Drifters history.

Written by Doc Pomus and Mort Shuman, this song was one of the best-selling hits of Ben E. King’s era of The Drifters. It’s almost one of the most recognizable songs by any Drifters lineup. Featuring the B-Side “Baltimore,” the song was released on Atlantic Records in 1960 and reached number sixteen. It has since been used in a wide variety of media; you may remember it being used in The Sandlot.

The Drifters - This Magic Moment (1960)

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Lyrics:

This magic moment
So different and so new
Was like any other
Until I kissed you

And then it happened
It took me by surprise
I knew that you felt it, too
By the look in your eyes

Sweeter than wine
Softer than the summer night
Everything I want, I have
Whenever I hold you tight

This magic moment
While your lips are close to mine
Will last forever
Forever ‘til the end of time

(Magic)
(Magic)
(Magic)
(Magic)

Sweeter than wine
Softer than the summer night
Everything I want, I have
Whenever I hold you tight

This magic moment
While your lips are close to mine
Will last forever
Forever ‘til the end of time

(Magic)
(Magic)
Magic moment
(Magic)
Magic moment
(Magic)
Magic moment
(Magic)
(Magic)
(Magic)…

Love - Old Man (1967)

2013-05-09T12:00:00.000-04:00

Best remembered for their critically acclaimed album Forever Changes, this band was led by the singer and songwriter Arthur Lee (born March 7th, 1945). In their formative years, the band was known as The Grass Roots; but when another band of the same name released a single, Lee’s outfit looked to change their name. According to Lee, their new name was chosen by polling an audience in 1965 to see which name they liked best. The names rejected that night included Dr. Strangelove and Poetic Justice, Summer’s Children, Asylum Choir, and The Love. According to Bobby Beausoleil, an ex-"sometimes" member of the band under the Grass Roots name, Lee chose the new bandname after becoming inspired by Beausoleil’s nickname, Cupid. Although no one can be certain as to how the name came about, it can be understood why Lee would want to distance himself from anything to do with Beausoleil, as he was an associate of the Charles Manson Family and given a life sentence for the murder of Gary Hinman in 1969.

Released on the band’s Forever Changes album, this song was written and sang by Bryan MacLean, the band’s primary rhythm guitarist. MacLean, who dated Liza Minnelli and Jackie De Shannon and was an ex-roadie for The Byrds, also wrote the band’s most popular song, “Alone Again Or,” appearing on the same album. Forever Changes was initially scheduled to be produced by Bruce Botnick and Neil Young. But due to his obligations to Buffalo Springfield at the time, Young had to turn the production duties over to the band’s own Arthur Lee.

Love - Old Man (1967)

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Lyrics:

I once knew a man
Been everywhere in the world
Gave me a tiny, ivory ball
Said it would bring me good
Never believed it would, until
I have been loving you

Dear old man
He'd seen most everything
Gave me a piece of good advice
Said it would do me well
I couldn't really tell, until
I have been loving you

Now it seems
Things are not so strange
I can see more clearly
Suddenly I've found my way

I know the old man would laugh
He spoke of love's sweeter days
And in his eloquent way
I think he was speaking of you

You are so lovely
You didn't have to say a thing
But I remember that old man
Telling me he'd seen the light
Gave me a small, brown, leather book
Insisted that he was right
I only heard him slightly
'til I heard you whisper
Took you up all in my arms

Dear old man
Wise old man
Fine old man, now

Thurston Harris - Little Bitty Pretty One (1957)

2013-05-07T12:00:00.000-04:00

Thurston Harris, born on July 11, 1931, got his first big break as a member of The Lamplighters, a vocal group that would later change their name to The Tenderfoots. The Tenderfoots, you may recall from our previous post, eventually transformed into The Sharps (albeit without Harris) and eventually bloomed into The Rivingtons. So although Harris was no longer a member of the group as they morphed into The Rivingtons, he did manage to have immense success with his one hit song, heard below, while being backed by The Sharps. After the large popularity of the song, Harris was able to reach the charts only once more with his hit “Do What You Did” reaching the Top 20 on the R&B charts. Sadly, after declining record sales, Harris was dubbed a one-hit wonder and became a bus driver in 1965 for twenty years in the Los Angeles, California area. In 1985, Harris took a job as a bus driver/tour guide for Universal Studios before succumbing to acute alcoholism and heart failure in 1990, passing away at the age of fifty-eight.

Written and originally recorded by Hollywood Flames member, Bobby Day, this song was first brought to prominence through the voice and talents of today’s artist, while backup vocals were sung by The Sharps. Produced by Aladdin Records in Los Angeles, California, the song reached number six on the Billboard Hot 100 and number two on the R&B charts. It was later covered by Frankie Avalon, Frankie Lymon, Clyde McPhatter of The Drifters, The Dave Clark Five, The Jackson Five, Huey Lewis and the News, and many others. It has been used in numerous commercials, television shows, and movies.

Thurston Harris - Little Bitty Pretty One (1957)

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Lyrics:

Little, bitty, pretty one
Come on and talk to me
Lovey-dovey, lovey one
Come sit down on my knee

Tell you a story
Happened long time ago
Little, bitty, pretty one
I've been watchin' you grow

Little, bitty, pretty one
Come on and talk to me
Lovey-dovey, lovey one
Come sit down on my knee

The Association - Requiem for the Masses (1967)

2013-05-06T12:00:00.000-04:00

In the early to mid-sixties, a traveling salesman named Terry Kirkman was visiting Hawaii and befriended a man enlisted in the Navy, Jules "Gary" Alexander. After finding a mutual passion for playing music, they jammed together for a while until Kirman headed back toward the mainland, promising that they’d play together again when Alexander was discharged. Kirkman headed to Los Angeles and played in a few band with Frank Zappa (pre-Mothers of Invention) and Alexander eventually met up with him. The duo formed an impromptu band known as The Inner Tubes with a rotating lineup that performed at The Troubadour nightclub throughout 1964, at some points featuring members like Cass Elliot, Doug Dillard, and David Crosby. Thirteen of the people who had been rotating in and out of The Inner Tubes decided to create a real band in late 1964 and The Men were formed as a result. The Men became the house band at The Troubadour for a while until disbanding in late 1965. Six members of The Men (Terry Kirman, Jules Alexander, Russ Giguere, Brian Cole, Ted Bluechel, Jr., and Bob Page) decided to continue on together in 1966, first calling themselves Tony Mafia’s Men and then, at the suggestion of Kirman’s fiancée Judy, changed their name to The Association.

Written by Terry Kirman, this song was initially released as the B-Side to the band’s 1967 hit, “Never My Love.” With “Never My Love” reaching number one and this song just barely reaching the charts, it was the only single in the band’s history to feature hits on both sides of the single. The song below was also included on the band’s 1967 album Insight Out. This period of the band no longer featured Jules Alexander, and instead had Larry Ramos, previously of The New Christy Minstrels, in his place. The lyrics subtly protest the Vietnam War through the indirect comparison of a bull-fighting matador dying far away from home in the bullring. Interestingly, the song uses the same Latin phrase, "Kyrie Eleison"/"Lord, have mercy" found later in a 1968 song by The Electric Prunes, "Kylie Eleison," featured on this site. I suppose it's possible that the Prunes were inspired to write their song based on this song's lyric.

The Association - Requiem for the Masses (1967)

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Lyrics:

Latin Lyrics	English Lyrics
Requiem aeternam Requiem aeternam Mama, mama, forget your pies Have faith they won't get cold And turn your eyes to the bloodshot sky Your flag is flying full At half-mast for the matadors Who turned their backs to please the crowd And all fell before the bull Red was the color of his blood flowing thin Pallid white was the color of his lifeless skin Blue was the color of the morning sky He saw looking up from the ground where he died It was the last thing ever seen by him Kyrie Eleison Mama, mama, forget your pies Have faith they won't get cold And turn your eyes to the bloodshot sky Your flag is flying full At half-mast for the matadors Who turned their backs to please the crowd And all fell before the bull Black and white were the figures that recorded him Black and white was the newsprint he was mentioned in Black and white was the question that so bothered him He never asked, he was taught not to ask But was on his lips as they buried him Rex tremendae majestatis Requiem aeternam Requiem aeternam	Eternal rest Eternal rest Mama, mama, forget your pies Have faith they won't get cold And turn your eyes to the bloodshot sky Your flag is flying full At half-mast for the matadors Who turned their backs to please the crowd And all fell before the bull Red was the color of his blood flowing thin Pallid white was the color of his lifeless skin Blue was the color of the morning sky He saw looking up from the ground where he died It was the last thing ever seen by him Lord, have mercy Mama, mama, forget your pies Have faith they won't get cold And turn your eyes to the bloodshot sky Your flag is flying full At half-mast for the matadors Who turned their backs to please the crowd And all fell before the bull Black and white were the figures that recorded him Black and white was the newsprint he was mentioned in Black and white was the question that so bothered him He never asked, he was taught not to ask But was on his lips as they buried him King of Supreme Majesty Eternal rest Eternal rest

Latin Lyrics

English Lyrics

Requiem aeternam
Requiem aeternam

Mama, mama, forget your pies
Have faith they won't get cold
And turn your eyes to the bloodshot sky
Your flag is flying full
At half-mast for the matadors
Who turned their backs to please the crowd
And all fell before the bull

Red was the color of his blood flowing thin
Pallid white was the color of his lifeless skin
Blue was the color of the morning sky
He saw looking up from the ground where he died
It was the last thing ever seen by him

Kyrie Eleison

Mama, mama, forget your pies
Have faith they won't get cold
And turn your eyes to the bloodshot sky
Your flag is flying full
At half-mast for the matadors
Who turned their backs to please the crowd
And all fell before the bull

Black and white were the figures that recorded him
Black and white was the newsprint he was mentioned in
Black and white was the question that so bothered him
He never asked, he was taught not to ask
But was on his lips as they buried him

Rex tremendae majestatis

Requiem aeternam
Requiem aeternam

Eternal rest
Eternal rest

Mama, mama, forget your pies
Have faith they won't get cold
And turn your eyes to the bloodshot sky
Your flag is flying full
At half-mast for the matadors
Who turned their backs to please the crowd
And all fell before the bull

Red was the color of his blood flowing thin
Pallid white was the color of his lifeless skin
Blue was the color of the morning sky
He saw looking up from the ground where he died
It was the last thing ever seen by him

Lord, have mercy

Mama, mama, forget your pies
Have faith they won't get cold
And turn your eyes to the bloodshot sky
Your flag is flying full
At half-mast for the matadors
Who turned their backs to please the crowd
And all fell before the bull

Black and white were the figures that recorded him
Black and white was the newsprint he was mentioned in
Black and white was the question that so bothered him
He never asked, he was taught not to ask
But was on his lips as they buried him

King of Supreme Majesty

Eternal rest
Eternal rest

The Spencer Davis Group - Gimme Some Lovin' (1966)

2013-05-03T12:00:00.000-04:00

Originally known as The Rhythm and Blues Quartette, this band first came together in Birmingham, England in 1963 when Spencer Davis (lead vocalist) met with brothers Steve (lead guitar) and Muff Winwood (bass). When they picked up Pete York on drums, the band’s first lineup was complete. Since none of the band members except Spencer Davis enjoyed doing interviews, Muff Winwood had the idea to name the band after him so that the other members “could stay in bed and let him” be in the spotlight. In 1964, with their new name, they were signed to their first record deal; and, by the end of 1965, they had released their first hit, “Keep On Running,” which was a cover of a Jackie Edwards song released previously that same year. After a large amount of success in the coming years, Steve Winwood blind-sided his bandmates by announcing he was quitting the band in early 1967. They later found out it was to co-create the band Traffic. His brother Muff soon left to become the A&R man at Island Records, but despite their recent losses, the band continued on. After a few failed singles leading up into 1968, Pete York left the band along with newer member Eddie Hardin to begin their own work under the name Hardin & York. By 1969, the group decided to call it quits. They reunited briefly in 1973, releasing a couple of lukewarm albums, but broke up again in 1974. Lately, as of 2006, Spencer Davis has been performing with an entirely new lineup, touring both Europe and the US.

Written by Spencer Davis and Steve and Muff Winwood, this song was one of the best-selling songs released by the band. The main guitar riff of the song was borrowed from “(Ain’t That) A Lot of Love,” a Homer Banks song. Two versions of the song were released: the UK version and the US version. The differences were that the UK version lacked backing vocals, was a bit slower, and didn’t appear to “sound as live.” The US version is the one predominately heard today, which is widely believe to be the better cut. Upon the songs release, it reached number seven in the US and number two in the UK. The song has been covered by numerous famous artists and has appeared in many popular television shows and films.

The Spencer Davis Group - Gimme Some Lovin' (1966)

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Lyrics:

(Hey!)

Well my temperature's rising
And my feet left the floor
Crazy people knockin’
'cause they wanted some more

Let me in, baby
I don't know what you got
But you better take it easy
This place is hot

And I’m
So glad you made it
So glad you made it
You got to
Gimme some lovin'
(Gimme- gimme some lovin')
Gimme some lovin'
(Gimme- gimme some lovin')
Gimme some lovin'
Every day

(Hey!)

Well, I feel so good
Everything is gettin' hot
You better take it easy
‘cause this place is on fire

It’s been a hard day
And I have so much to do
We made it, baby
And it happened to you

And I’m
So glad you made it
So glad you made it
You gotta
Gimme some lovin'
(Gimme- gimme some lovin')
Gimme some lovin'
(Gimme- gimme some lovin')
Gimme some lovin'
Every day

Yeah

(Hey!)

Well, I feel so good
Everything is gettin' hot
You better take it easy
‘cause the place is on fire

It’s been a hard day
And nothing went too good
Now I’m gonna relax
I think everybody should

And I’m
So glad you made it
Hey hey
So glad you made it
You got
Gimme some lovin'
(Gimme- gimme some lovin')
Gimme some lovin'
(Gimme- gimme some lovin')

Hey, hey
(Gimme some lovin')
I need ya to gimme- gimme some of your lovin’, babe
(Gimme- gimme some lovin')
You know I need it so bad
(Gimme- gimme some lovin')…

Jerry Butler & The Impressions - For Your Precious Love (1958)

2013-05-02T12:00:00.000-04:00

Born in Chicago, Illinois on December 8, 1939, Jerry Butler, Jr.’s family had very little money but attended church regularly. It was in a local housing community and the church choir that Butler would meet Curtis Mayfield, born June 3, 1942 in the mid-1950s. Together, the two boys sang in a gospel quartet known as the Northern Jubilee Gospel Singers. Inspired by artists such as Sam Cooke, Butler and Mayfield united with Arthur and Richard Brooks, brothers, to develop a vocal group of their own known as The Roosters. What they eventually became, with the addition of Sam Gooden, was The Impressions. After signing with Vee-Jay Records, the band released their first hit, heard below, in 1958. After their next hit, “Come Back My Love,” Jerry Butler left the band to embark on a solo career. Mayfield wrote most of his successful songs. Mayfield also became The Impressions’ new primary singer and songwriter as the group welcomed Fred Cash to the lineup, a member who had previously been with them for a short while when they were still known as The Roosters. The new Impressions soared to new heights, reaching number two with “Gypsy Woman,” number one with “It’s All Right,” number three with the famous “People Get Ready” (previously featured), and numerous others. Mayfield would eventually leave the group in 1970 to have a successful solo career of his own, but the group continued on. Although their last hit song, “Loving Power,” was released in 1976, the group is still together today featuring original member Sam Gooden and Roosters-era member Fred Cash.

Written by Jerry Butler with help from Arthur and Richard Brooks, this song was The Impressions first big hit. Released in 1958, it was put out with the credit being given to “Jerry Butler & The Impressions,” as the group was known before Butler parted ways. The song peaked at number eleven and has since been covered by Jerry Butler (as a solo artist in 1966), Otis Redding (in 1965), The Rolling Stones (in 1989), and various others.

Jerry Butler & The Impressions - For Your Precious Love (1958)

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Lyrics:

Your precious love
Means more to me
Than any love could ever be
For when I wanted you
I was so lonely and so blue
For that's what love will do

And darling, I'm-
(I'm so surprised)
Oh, when I first realized
That you were fooling me

And darling
They say that our love won’t grow
But I just wanna tell them
That they don't know

For as long
As you're in love with me
Our love will grow wider
Deeper than any sea

And of all the things that I want
In this whole wide world
Is just for you to say
That you’ll be my girl

And oh
(Wanting you)
Wanting you
(Oh, I'm lonely and blue)
I'm so lonely
(That's what love will do)

The Third Rail - Run, Run, Run (1967)

2013-05-01T12:00:00.000-04:00

Formed in either 1966 or 1967, this band was composed of three studio musicians: married couple Arthur and Kris Resnick and a young Joey Levine. The band was very short lived, releasing only one full length album, Id Music, and a handful of singles. Artie Resnick had made a bit of a name for himself from co-writing “Under the Boardwalk” by The Drifters and “Good Lovin’” by The Rascals. The band had one semi-successful single, heard below, and called it quits shortly after releasing their last single in 1968. After the band ended, Artie Resnick and Levine would write the bubblegum pop standard “Yummy Yummy Yummy” together. Shortly after that success, all three members of this band secured jobs as songwriters for Kasenetz & Katz.

Not to be confused with the other song we featured of the same name, this song was a bit of satirical work that the band wrote to poke fun at adults living their lives by bustling to and from work. It was a bit more sardonic than any of their later, light-hearted, bubblegum work and is notable for reaching number fifty-three on the charts in 1967.

The Third Rail - Run, Run, Run (1967)

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Lyrics:

Up in the morning at half past eight
You can’t have your breakfast ‘cause you’ll be late
You tie your tie like a hangman’s noose
Ain’t no time to drink your juice

So you run, run, run, run
Yeah, you run, run, run, run

Stand on the corner and wait for the bus
It’s late again, you start to cuss
The paper’s filled with all bad news
Fat lady stands on your polished shoes

So you run, run, run, run
Yeah, you run, run, run, run

Of the latest quotations from the New York Stock Exchange:
Heart attacks up two and three quarters
Mental illness split three for one
Ulcers up one
General chaos- that’s general chaos is up one quarter
The great society, unfortunately, is down five points

Down at the office all is still
The boss is at a funeral
A note on the door, “No work today”
“Our chief competitor passed away”

So you run, run, run, run
Yeah, you run, run, run, run

Up in the morning at half past eight
You can’t have your breakfast ‘cause you’ll be late
Tie your tie like a hangman’s noose
Ain’t no time to drink your juice

So you run, run, run, run
Yeah, you run, run, run, run

Oh, you run, run, run, run...

The Brigands - (Would I Still Be) Her Big Man (1966)

2013-04-30T12:00:00.000-04:00

Named after highway thieves, this band is shrouded in mystery and the subject of controversy. Possibly from Forest Hills, New York, some people argue that the band was made up entirely of studio musicians for the purpose of releasing their one and only single. Other sources claim certain individuals to have been members of the band, but with little or no proof. The only thing that can be made clear about this band is that they released two songs via one single on Epic Records in 1966 and disappeared entirely afterward. It might be assumed that they were studio musicians based on the quality of the recording and the lack of dance fliers promoting them, as a garage band would most likely have.

This song was the B-Side to the band’s only released single, featuring "I'm a Patient Man" on the A-Side. Both sides went entirely unnoticed, never charting, and were written and produced by the popular married writing team of Athurt "Artie" and Kris Resnick. The Resnick's also appeared in a band known as The Third Rail.

The Brigands - (Would I Still Be) Her Big Man (1966)

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Lyrics:

If she could see me workin’ at the factory
Hopin’ that ~~the bosses don’t announces me~~
Sweating there from nine to five
To get the payments for the car I drive

I wonder
I wonder
Would I still be her big man?
Would I still be her big man?

She never saw me wearin’ greasy working clothes
My dark black suit is all she knows
I don’t carry less than a twenty
If she found out I can’t spend that money

I wonder
I wonder
Would I still be her big man?
Would I still be her big man?

Baby likes to eat in fancy restaurants
Well, she’s always had the things she wants
I’m afraid she’ll say goodbye
When she finds out I’m just a poor guy

I wonder
I wonder
Would I still be her big man?
Would I still be her big man?

Road - I'm Trying (1972)

2013-04-26T12:00:00.000-04:00

Noel Redding started the band Fat Mattress while still enrolled as the bassist of The Jimi Hendrix Experience. Although he would often play in both bands in the same night, he played his last concert with the Experience in June 1969. He quit Fat Mattress later that same year. Living in Los Angeles and deciding what to do next, he was contacted by Hendrix’s manager, Michael Jeffery, a few months after Woodstock (August 1969) about getting back together with Jimi Hendrix and Mitch Mitchell to reform the Experience. All three members got together for an interview with Rolling Stone magazine, but no concerts or recordings ever came about. Instead, Redding got together with ex-Rare Earth member Rod Richards and drummer Les Sampson to form this semi-supergroup in the beginning of 1970. Together, the new band only recorded one album, self-titled Road and released in 1972, sharing lead vocals throughout the album. The LP was criticized as being a “watered-down, post-Experience” attempt at hard rock and was quickly forgotten. A short time after the release of the album, the band called it quits and Redding and Sampson went on together forming The Noel Redding Band, while Richards attempted a solo career and had stints with various bands in the ‘80s and ‘90s.

The opening track on their only album, this song was written and sung by Rod Richards. Although Redding had been a guitarist originally, he switched to the bass when joining The Jimi Hendrix Experience. He switched back to the guitar for his band Fat Mattress; and found himself back on bass for this band.

Road - I'm Trying (1972)

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Lyrics:

I’m trying
To forget the past
I’m trying
How long will it last?

Hope I can do something
What I want you for

Well, maybe
Someday, somewhere
You’ll remember things you said
We should finish them
As you said hi to me
That was love to me

I’m trying
To forget the past
Hope you won’t be long
Feelings coming strong

I’m trying
Oh, I’m trying
I’m try…

The State of Mind - Goin' Away (1967)

2013-04-25T12:00:00.000-04:00

This band was formed in Wilmington, Delaware in 1965 by sophomores at William Penn High School in New Castle, Delaware. The sophomores, Paul Murtagh and Jim Booth, had known one another from both being clarinetists in the school band and soon teamed with Bill Smallbrook and Al Borgnis to form a complete lineup. In their first year of existence, the band had only played at a few dance halls and in a talent contest. The six-foot-eight Borgnis realized his musician skills weren’t exactly as good as the band needed, so he stepped aside and allowed a fellow classmate, Bill Sayers, to take his place. Borgnis remained friends with the band, often acting as a manager, roadie, and promoter. In 1966, the band recorded their first single, “Move” b/w “If He Comes Back,” which climbed into the local Top 40 and made it as far as Philidelphia. When the band released their second single, they were rapidly approaching their high school graduation. All of the members minus Sayers had intended to go to college after high school, with Sayers wanting to be a professional musician. Finding that the band would soon come to an end, Sayers told the band he was quitting and joining up with another local act, the Phabulous Pharaohs. Having just released their second single, this left the band in a bit of a bind. They put on one show with a local musician, Bob McCall, filling in for Sayers, but the chemistry wasn’t there. The band called it quits. The college-bound members all attended the University of Delaware and remained friends, but the band never reformed again.

Although the band had been contracted to release six songs in total, only four were ever recorded before the band split up. The song heard below, released in the fall of 1967, was the backing side of a single featuring the A-Side “Make You Cry.” It was stated in a letter from Paul Murtagh in October 2011 that Jim Booth had passed away “several years ago.” This song was written by Jim Booth and arranged by all members of the band.

The State of Mind - Goin' Away (1967)

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Lyrics:

I’m goin’ away
I may be back another day
Gone like the wind
I’m like a drifter lookin’ in

I’m goin’ away come tomorrow
Make a reason for me to stay
So goodbye, have no sorrow
I’ll be gone, goin’ away
I’ll be gone, goin’ away

Hey, you just can’t see
What this freedom means to me
Oh, I’m sorry, I put you on
Girl, tomorrow I’ll be gone

I’m goin’ away come tomorrow
Ain’t no reason for me to stay
So goodbye, have no sorrow
I’ll be gone, goin’ away
I’ll be gone, goin’ away

I’m goin’ away come tomorrow
Ain’t no reason for me to stay
So goodbye, have no sorrow
I’ll be gone, goin’ away
I’ll be gone, goin’ away

J. Frank Wilson and the Cavaliers - Last Kiss (1964)

2013-04-24T12:00:00.000-04:00

Created around San Angelo, Texas in 1955, this band is primarily remembered as a one-hit wonder. Originally, the band consisted of of Alton Baird on lead vocals, Sid Holmes on lead guitar, Lewis Elliott on bass, Rob Zeller on the sax, and Ray Smith on the drums. The band found themselves in a bit of a rut in 1962 when Baird was drafted, but luckily they were able to recruit the singing talents of J. Frank Wilson, who had just recently been discharged from the local Air Force base. Although their first hit, heard below, was their biggest, it caused J. Frank Wilson to become a superstar in his own mind. After only a handful of shows together, he was exiled by his bandmates for excessive drinking, drugs, and irresponsibility. Both Wilson and his former band continued using the "Cavaliers" name separately. Wilson and his Cavaliers were able to grasp the charts once more with the song “Hey, Little One” peaking at number eighty-five, but Wilson eventually went solo and continued to record, unsuccessfully, through the '70s, eventually having to settle for a day job. As for the other Cavaliers, by late 1964, the only remaining original member was their bassist Lewis Elliott, who assumed the leadership position. He and his new lineup of Cavaliers, featuring James Thomas on vocals, attempted to keep the band going and performed together up through 1987 on various "oldies" tours.

Written by Wayne Cochran, Joe Carpenter, Randall Hoyal, and Bobby McGlon, this song was first released by Wayne Cochran himself in 1961. Not only was it a commercial flop upon its initial release, but the song flopped again when Cochran attempted to re-release it in 1963. The first successful version of the song was when it was released by J. Frank Wilson and the Cavaliers in 1964. Unavailable for recording, the band’s drummer Ray Smith was replaced with Cochran’s drummer Denny Jewell. The recording of the song also resulted in lead guitarist Sid Holmes, who already had been alienating himself from the band, to having a mental breakdown and quitting the band after the recording session. Selling over a million copies, reaching number two on the charts, and being certified gold, the song was quite an accomplishment considering that The Beatles and the British Invasion were in full swing.

As one of the many “teen tragedy” songs that were popular in years past, the song had lyrics narrating a car crash and subsequent death of a teen boy’s sweetheart. Ironically, when Wilson was touring through Ohio with his manager Sonley Roush just a few months later, Roush fell asleep at the wheel with Wilson in the passenger seat. Their vehicle swerved into oncoming traffic, collided with a truck, and resulted in Roush’s death. Wilson survived, but needed crutches for a period of time. It wasn’t until October 4, 1991 that J. Frank Wilson died at the age of forty-nine, just a few months shy of his fiftieth birthday. His death, a result of alcoholism and drug addiction, was reported with the information that he had been a bit of a recluse in his last remaining years, having been married eight times and never fully coping with his loss of stardom.

J. Frank Wilson and the Cavaliers - Last Kiss (1964)

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Lyrics:

Well, where- oh, where can my baby be?
The Lord took her away from me
She’s gone to heaven
So I got to be good
So I can see my baby
When I leave this world

We were out on a date in my daddy’s car
We hadn’t driven very far
There in the road, straight ahead
The car was stalled, the engine was dead
I couldn’t stop, so I swerved to the right
I’ll never forget the sound that night
The crying tires, the bustin’ glass
The painful scream that I heard last

Well, where- oh, where can my baby be?
The Lord took her away from me
She’s gone to heaven
So I got to be good
So I can see my baby
When I leave this world

Well, when I woke up
The rain was pourin’ down
There were people standing all around
Something warm a’running in my eyes
But I found my baby somehow that night
I raised her head and when she smiled and said
“Hold me darling for a little while”
I held her close
I kissed her- our last kiss
I found the love that I knew I would miss
But now she’s gone, even though I hold her tight
I lost my love, my life, that night

Well, where- oh, where can my baby be?
The Lord took her away from me
She’s gone to heaven
So I got to be good
So I can see my baby
When I leave this world

The Graham Bond Organisation - Wade in the Water (1965)

2013-04-23T12:00:00.000-04:00

Formed in the early ‘60s, this band was originally known as the Graham Bond Quartet. Mixing jazz with elements of rhythm & blues, the group was centered around frontman Graham Bond, a classically trained pianist who “dabbled” with the saxophone (he played it in a very avant-garde way). Not being entirely pleased with a deal they had received to sign with EMI, the band decided to sign with Decca Records in 1964. They opened for Marvin Gaye and toured the UK backing Chuck Berry, but were constantly in turmoil because of the clashing between drummer Ginger Baker and bassist Jack Bruce. Eventually, Graham Bond told Baker that he should ask Bruce to leave the band. When Bruce was asked to leave, he hadn’t been informed it was actually Bond’s request and thought it was merely Baker telling him to leave. Bruce felt he had just as much claim to the band as Baker did, so he kept showing up to perform at their concerts until Baker finally convinced him to quit for good at knifepoint backstage before a show in August 1965. Ironically, it was less than a year later in July 1966 when Ginger Baker quit the band and he and Bruce were reunited in the supergroup Cream with Eric Clapton. In late-1966, Graham Bond attempted to reform his band as a trio consisting of himself, original member Dick Heckstall-Smith, and newcomer Jon Hiseman; but, their commercial success was severely lacking. Although the band officially broke up in 1967, Bond would again unite with his original bandmates when he briefly played in Ginger Baker’s Air Force and toured with Jack Bruce in the 1970s. After years of substance abuse, it was reported that Bond had apparently been clean by this period, but also had a growing obsession with black magic and the occult. On May 8, 1974, Graham Bond died of an apparent suicide after lying down (or falling) in front of a train.

Released on the band’s first album, The Sound of ’65, this song is a traditional track that, for the sake of this band, was arranged by John Group and Paul Getty. Regarding the history of the song, it’s author is unknown, but it was first published in New Jubliee Songs as Sung by the Fisk Jubilee Singers by brothers John Wesley Work, Jr. and Frederick J. Work in 1901. The song, which originally contained lyrics referencing the Bible, was a spiritual song for enslaved African Americans in the United States.

The Graham Bond Organisation - Wade in the Water (1965)

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Lyrics:

(instrumental)

The Everly Brothers - Bye Bye Love (1957)

2013-04-22T12:00:00.000-04:00

Born Isaac “Don” Everly (b. 1937) and Phillip “Phil” Everly (b. 1939), these American brothers were in the top two of the charts by the time they were twenty and eighteen years old, respectively. Born in Kentucky, the Everly brothers close vocal harmonies inspired artists of the 1960s such as The Beatles, The Beach Boys, Simon & Garfunkel, and many others. In 1956, family friend Chet Atkins had the brothers signed at Columbia records, but the release of their first single, “Keep A’ Lovin’ Me,” flopped and they were dropped from the label. Not to be discouraged, the duo signed with Cadence and released their first million-copy seller in March 1957, also heard below. Through 1957 and ’58, the brothers toured a rugged schedule with Buddy Holly, supporting their hit songs “Wake Up Little Susie,” “All I Have to Do is Dream,” “Bird Dog,” and many others. The 1960s saw a slight decline in popularity, as the brothers had a falling out with their manager and were consequently cut off from their usual songwriting team. Sales were especially low after the Everly’s stopped working for six months to report to boot camp in November 1961, having enlisted in the Marines as reserves to avoid getting drafted. Their last top ten hit, “That’s Old Fasioned,” was in 1962. Between drug addiction, a falling out between the brothers, and working with The Hollies, there’s a lot more to the story than what’s been briefly touched upon here.

Written by the aforementioned songwriting team of Felice and Boudleaux Bryant, this song was rejected by more than thirty artists before being accepted by The Everly Brothers as their first single for Cadence Records. Reaching number one on the country charts, it only reached number two on the pop charts, being kept off the top spot by Elvis Presley’s “(Let Me be Your) Teddy Bear.” Notable cover versions of the song include a live rendition by Simon & Gafunkel for their Bridge Over Troubled Water album in 1970 and a particularly bitter version by George Harrison in 1974 that altered some of the lyrics to address his ex-wife, Pattie Boyd, leaving him for his best friend Eric Clapton. The version heard below is the first release of the song.

The Everly Brothers - Bye Bye Love (1957)

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Lyrics:

Bye bye love
Bye bye happiness
Hello loneliness
I think I'm gonna cry

Bye bye love
Bye bye sweet caress
Hello emptiness
I feel like I could die
Bye bye, my love, goodbye

There goes my baby
With someone new
She sure looks happy
I sure am blue
She was my baby
‘til he stepped in
Goodbye to romance
That might have been

Bye bye love
Bye bye happiness
Hello loneliness
I think I'm gonna cry

Bye bye love
Bye bye sweet caress
Hello emptiness
I feel like I could die
Bye bye, my love, goodbye

I'm through with romance
I'm through with love
I'm through with countin’
The stars above
And here’s the reason
That I'm so free
My lovin’ baby
Is through with me

Bye bye love
Bye bye happiness
Hello loneliness
I think I'm gonna cry

Bye bye love
Bye bye sweet caress
Hello emptiness
I feel like I could die
Bye bye, my love, goodbye
Bye bye, my love, goodbye
Bye bye, my love, goodbye
Bye bye, my…

Scott McKenzie - San Francisco (Be Sure to Wear Flowers in Your Hair) (1967)

2013-04-19T12:00:00.000-04:00

As mentioned in our previous post featuring this artist, Scott McKenzie grew up in New York where he frequently collaborated with John Phillips. One of their later groups, The Journeymen, was a folk trio along with Dick Weissman that performed around the Greenwich Village area of New York during the folk revival and craze. After The Beatles became popular in 1964 and kicked off The British Invasion, The Journeymen broke up. McKenzie then became a solo artist, hoping to make it on his own, but not before he had turned down an invitation to join Phillip’s newest endeavor: The Mamas and The Papas. Phillips and his band moved out to California in 1964 and McKenzie followed two years later. Once in California, Phillips wrote McKenzie’s biggest hit song, heard below, and co-produced it for him.

Released on May 13th, 1967, this song has become one of the most recognizable and iconic songs from the 1960s. The song inspired thousands of youths to move to San Francisco in the late 1960s, effectively making San Francisco a “hippie haven” and mecca for drugs, free love, and various movements. The song was actually written with the intentions to promote the Monterey Pop Festival taking place June 16-18, 1967 at the Monterey County Fairgrounds in San Francisco, California. Although it only reached number four in the United States, the song went to number one in the UK, Germany, Ireland, New Zealand, Norway, and others. Since, the song has gone hand-in-hand with ‘60s themed movies and television shows, perhaps most notably heard in Forrest Gump in 1994.

Scott McKenzie - San Francisco (Be Sure to Wear Flowers in Your Hair) (1967)

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Lyrics:

If you're going to San Francisco
Be sure to wear some flowers in your hair
If you're going to San Francisco
You're gonna meet some gentle people there

For those who come to San Francisco
Summertime will be a love-in there
In the streets of San Francisco
Gentle people with flowers in their hair

All across the nation
Such a strange vibration
People in motion
There's a whole generation
With a new explanation
People in motion
People in motion

For those who come to San Francisco
Be sure to wear some flowers in your hair
If you come to San Francisco
Summertime will be a love-in there

If you come to San Francisco
Summertime will be a love-in there

Captain Beyond - Sufficiently Breathless (1973)

2013-04-18T12:00:00.000-04:00

When Iron Butterfly split up in 1971, two of its members got together with ex-musicians of other popular groups of the era and formed this band. Arguably considered a supergroup, the talent found on the band’s first lineup consisted of Rod Evans from Deep Purple, Bobby Caldwell from Johnny Winter’s band, and Larry “Rhino” Reinhardt and Lee Dorman still paired up from Iron Butterfly. This initial lineup created the band’s debut album, Captain Beyond, in 1972. After its release, personnel began to shift with a particular revolving door for drummers. By the time they were ready to record their next album (Sufficiently Breathless in 1973), they were a six-piece band. The abridged version is that they lost Bobby Caldwell and ultimately gained Guille Garcia and Marty Roriguez. Unfortunately for fans, that lineup, too, disintegrated before the album they worked on together was released. A brief reunion of the four original members in the latter-half of '73 toured to support the album, but the group again ended on December 31st, 1973 when lead singer Rod Evans announced that he'd be leaving the group for good. As a last hurrah, the three remaining members of the band released an album in 1977, titled Dawn Explosion, featuring Willy Daffern to replace Evans on lead vocals. The album had a lukewarm response and the band folded permanently in 1978.

The band’s second album, Sufficiently Breathless, features the eponymous title track heard below. Written by Lee Dorman, the song is the opening track on the album and features the vocal talents of Rod Evans. The album was produced by Phil Walden (Otis Redding’s manager up until Otis’ death) and released on Capricorn Records (the home of Southern Rock bands such as The Allman Brothers Band and The Marshall Tucker Band).

Captain Beyond - Sufficiently Breathless (1973)

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Lyrics:

Sitting on the door stoop
Watching multiples of people pass me by
Look through the windows, through the houses
Oh, they're made of sky

Gargoyle watching the bouncing ball
Strangers mystified by all
All the goings on
Sufficiently breathless
Sufficiently breathless

Hey, Mr. Policeman, can you point the way
Oh, with your handgun?
Peter the puppy and the space below
Don't you understand ‘em?

Gargoyle watching the bouncing ball
Strangers mystified by all
All the goings on
Sufficiently breathless
Sufficiently breathless
Sufficiently breathless
Sufficiently breathless

Hearing and watching all the city sounds
On the street where we live
No one to care about us
Seems it’s falling down around us
Nothing left to live for
(Sufficiently breathless)
Nothing left to live for
(Sufficiently breathless on the street)
(Where we live)
Nothing left to live for
(Sufficiently breathless)
Nothing left to live for
(Sufficiently breathless on the street)
(Where we live)
Nothing left to live for
(Sufficiently breathless)
Nothing left to live for
(Sufficiently breathless on the street)
(Where we live)
Nothing left to live for
(Sufficiently breathless)
Nothing left to live for
(Sufficiently breathless on the street)
(Where we live)
Nothing left to live for
(Sufficiently breathless)
Nothing left to live for
(Sufficiently breathless on the street)
(Where we live)
Nothing left to live for
(Sufficiently breathless)
Nothing left to live for…

The Episode Six - Love, Hate, Revenge (1967)

2013-04-17T12:00:00.000-04:00

In July 1964, this band was put together from two local London bands: The Lightnings and The Madisons. All of the original members of the band had known one another from high school and practiced together at a pair of siblings/bandmembers’, Sheila and Graham Carter-Dimmock’s, home. By 1965, the band had signed up with the original and ex-manager of what would later become The Who and made a living by playing a nightclub in Germany eight hours each night. It paid off; by the end of the year they had signed with Pye Records and began releasing records as early as the first quarter of 1966. Unfortunately, they had trouble charting. From their signing through mid-1968, the band continued to release singles, none of which charted, while opening tours for names such as David Bowie and Dusty Springfield. In May of ’68, the band was briefly renamed to simply “The Episode” for one single after signing a new deal with MGM Records. Although the name change and change back didn’t have any effect on the band’s bad luck in the charts, two members of the band, Ian Gillian (lead vocals) and Roger Glover (bass), did receive a stroke of luck. In June 1969, Ritchie Blackmore and Jon Lord of the band Deep Purple caught The Episode Six in concert and soon recruited Gillian and Glover to join. Remaining members carried on in one form or another until finally calling it quits in 1974, having never charted.

The only two consistent members of the band from its beginning until its end were sibling Sheila Carter-Dimmock (keyboard and vocals) and Tony Lander (guitar). Although in most releases the band was known as The Episode Six, for this particular song’s single release, they were known as Sheila Carter and Episode Six. The song was written by “Adams and Levin,” was backed with the B-Side "Baby, Baby, Baby" on a January 1967 single, and would later be considered one of the many songs marketed as exemplifying “The Roots of Deep Purple.” The version heard below is the UK version, which features the hymn-like vocals in the middle of the song. The version released in the US had the vocals replaced with an "electric drone" noise. Like all of the other songs released by this group, the song made no impact on the charts.

The Episode Six - Love, Hate, Revenge (1967)

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Lyrics:

I bought a doll from an old bearded lady
I named it Tania and it looks just like you
And though I know that it sounds a little crazy
I can make you feel anything I want you to

If I want you to cry, bet your life you're gonna cry
When I put two drops of water in this little doll's eye
So if I want to get even for what you did to me
All I gotta do is break and swab and you'll feel misery

Yes, now the shoe is upon the other foot, girl
I'm in control of your subconscious mind
You're at my mercy the way I was at yours, girl
But my compassion is twice yours, you'll find

If I want you to cry, bet your life you're gonna cry
When I put two drops of water in this little doll's eye
So if I want to get even for what you did to me
All I gotta do is break and swab and you'll feel misery

If I want you to cry, bet your life you're gonna cry
When I put two drops of water in this little doll's eye
So if I want to get even for what you did to me
All I gotta do is break and swab and you'll feel misery

If I want you to cry, bet your life you're gonna cry
When I put two drops of water in this little doll's eye
So if I want to get even for what you did to me
All I gotta do is break and swab and you'll feel misery

If I want you to cry, bet your life you're gonna cry
When I put two drops of water in this little doll's eye...

The Onyx - Tamaris Khan (1968)

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Formed in 1965, this band was put together by the remaining members of Rick & The Hayseeds, which had recently broken up, in Wadebridge, Cornwall, England in the United Kingdom. Originally known as The Onyx Set, the band named themselves after an onyx ring owned by one of the band’s original members, Mike Black-Borow. As with most bands of the era, they began their career by covering a variety of beat bands and R&B bands and then gradually shifted toward their own psychedelic style. Particularly known for their five-part harmonies, the members of the band enjoyed calling one another by their middle names. They never toured in the United States, focusing primarily on the UK and Germany. They were frequently heard on BBC Radio and around Europe, but received virtually no airplay in the US. They released a total of eleven singles, one of which was under the band name “Salamander,” to try and trade in their radio popularity for record sales by using a pseudonym. It didn’t work out as well as they hoped and the band’s lead guitarist, Al Hodge, quit the band in 1970 to get married. Although the remaining members would carry on with a new guitarist, the only released one more (unsuccessful) single before changing their name to Vineyard. This final incarnation of the band permanently broke up in 1975.

Originally released in 1968, this song was written by a writing duo who penned most of the band’s A-Sides: Guy Fletcher and Doug Flett. It was backed by the B-Side “So Sad Inside” and released on Pye Records.

The Onyx - Tamaris Khan (1968)

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Lyrics:

Stories are told
Of a kingdom of old
And Tamaris Khan
Was its great Overlord

Strong as a horse
~~He rode on the law~~
He kept them by fire and
He kept them by sword

But then in the evening
He’d find recreation
He’d lay with the fairest
Of maids in the land
Gathered together
And blind in their pleasure
With drinking and laughter
All his to command

Ah, far beyond ~~Samar~~ Khan
Rode his warrior band
With Tamaris leading
They plundered and tamed

Treasures they stole
An incredible horde
To his palace and ~~cupboards~~
The caravans came

But then in the evening
He’d find recreation
He’d lay with the fairest
Of maids in the land
Gathered together
And blind in their pleasure
With drinking and laughter
All his to command

Ah, the news was soon told
Of the plunder and gold
That Tamaris Khan
Was bringing to share
Kindly unjust
To the poor and the old
They waited for him and
The gifts he would bare

But then in the evening
He’d find recreation
He’d lay with the fairest
Of maids in the land
Gathered together
And blind in their pleasure
With drinking and laughter
All his to command

The Flying Machine - Smile A Little Smile For Me (1969)

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This band was originally formed in Ruby, Warwickshire, England as The Liberators in the early 1960s. In 1965, the band renamed themselves Pinkerton’s Assorted Colours and released a total of twelve songs on six singles through 1968. They reached the charts twice: number nine with “Mirror Mirror” b/w “She Don’t Care” and number fifty with “Don’t Stop Loving Me Baby” b/w “Will Ya.” This minimal success labeled them as a UK “one hit wonder,” so they decided to change their name to the one seen above in 1969. This transition saw the parting of six members and the addition of three new ones (with four remaining unchanged). Under this “new” persona, the band released five singles and two full-length albums, charting (again) only once with the song heard below. After its success, the band released two more singles which failed to achieve any commercial success and the band split up in 1970. The group’s bassist, Stuart Colman, went on to be a successful session musician as well as a record producer and BBC radio DJ.

Written by the songwriting team of Tony Macaulay and Geoff Stephens, this song was the band’s one and only major success. Released in 1969 in the UK, it virtually went nowhere on the charts. However, when released in the US, the song went to number five and sold over one million copies, certifying it gold. Unfortunately, their follow-up song in the US, a cover of Marmalade’s “Baby Make It Soon” charted relatively low and the group grew tired of doing pop songs.

Interestingly, Tony Macaulay, who co-wrote this song, also co-wrote the song “Love Grows (Where My Rosemary Goes),” as made famous by one-hit wonders Edison Lighthouse. In the song heard below, the lyrics reference a “Rosemarie,” just like in the Edison Lighthouse song. Having co-written both of these tracks, one is led to assume that the lady in both songs must have been based on somebody real in Macaulay’s life.

The Flying Machine - Smile A Little Smile For Me (1969)

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Lyrics:

You really should accept
This time he's gone for good
He'll never come back now
Even though he said he would
So darling, dry your eyes
So many other guys
Would give the world, I'm sure
To wear the shoes he wore

Oh, c'mon
Smile a little smile for me
Rosemarie
What's the use in cryin'?
In a little while you'll see
Rosemarie
You must keep on tryin'

I know that he hurt you bad
I know, darling, don't be sad and
Smile a little smile for me
Rosemarie
Rosemarie

I guess you're lonely now
Love's comin' to an end
But, darling, only now
Are you free to start again
Lift up your pretty chin
Don't let those tears begin
You're a big girl now
And you'll pull through somehow

Oh, c'mon
Smile a little smile for me
Rosemarie
What's the use in cryin'?
In a little while you'll see
Rosemarie
You must keep on tryin'

I know that he hurt you bad
I know, darling, don't be sad and
Smile a little smile for me
Rosemarie
Rosemarie

Smile a little smile for me
Rosemarie
Rosemarie

Cannibal & the Headhunters - Land of 1000 Dances (1965)

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Founded in 1963, this East Los Angeles, California group was one of the first Mexican-American groups in the United States to have a hit record (heard below). Originally known as Bobby and the Classics, the band was formed by Richard “Scar” Lopez and Robert “Rabbit” Jaramillo. According to an interview with Lopez, everyone in East L.A. had nicknames. Eventually joining the group were Robert’s brother, Joe “Yo Yo” Jaramillo and Frankie “Cannibal” Garcia. Frankie had been given his nickname by the neighborhood after having been in a few neighborhood fights and biting his opponent. He was actually known by friends as “Little Cannibal,” whereas his older brother was “Big Cannibal.” After Garcia joined the band, they began to call themselves Cannibal and the Headhunters. 1965 saw the band release their one and only hit, heard below, which led to the band opening for The Beatles on their 1965 (last ever) tour that ended at Shea Stadium. Although the band had an opportunity to tour Europe with Motown Records, they chose to tour with the fab four and spent quite a lot of time with them on the plane. By 1967, with no other hits to their name, the band called it quits. “Cannibal” Garcia, who happened to be a homosexual, died of AIDS in 1996 at the age of 49. “Yo Yo” Jaramillio passed away in 2000 after his liver shutdown from a lifetime of too much drinking. Most, “Scar” Lopez passed away on July 30, 2010 from lung cancer.

Written by Chris Kenner, this song was first released by Kenner himself in 1962 as a slow blues song. To bring the song into the spotlight, Fats Domino was approached to record the song in 1963; and, he agreed under the stipulation that he would be given half of the writing credits (he didn’t actually write any of it). The song didn’t really take off, though, until the band above decided to record it in 1965. Lead singer Cannibal forgot some of the words and the very catchy “na, na na na na…” hook was inserted in their place. The version heard below was then covered in 1966 by Wilson Pickett, who decided to fashion his version of the song on Cannibal’s. Pickett’s version became the most successful version of the song, reaching number one on the R&B charts and number six on the pop charts. The version heard below reached number thirty in early 1965.

Cannibal & the Headhunters - Land of 1000 Dances (1965)

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Lyrics:

I said, “Na, na na na na, na na na na, na na na, na na na”
“Na na na na”

You gotta know how to Pony
Like Bony Moronie
You gotta know how to Twist
I said, “It goes like this”

I said, “Mashed Potato”
Do The Alligator
I said, “Billy, get your yo-yo”
Come on and let's go

And then clap your hands
(Come on)
Just clap your hands
(Come on)
And then move your feet
(Come on)
Get into that beat
(Come on)

I said, “Na, na na na na, na na na na, na na na, na na na”
“Na na na na”

Everybody, come on now
(Na, na na na na, na na na na, na na na, na na na)
(Na na na na)

Yes, and one more time
(Na, na na na na, na na na na, na na na, na na na)
(Na na na na)

You gotta know how to Jerk
(Oh, yeah)
Come on, baby, work
You gotta know how to Jangle
Make you do The Tango

I said, “Do The Watusi”
Come on and do The Watusi

I said, “Goodbye Lucy”
I said, “Goodbye child”
I said, “Wa-Watusi”…

The U.F.O.'s - Hello World (1967)

2013-04-11T12:00:00.000-04:00

This band, formed in 1966, was one of the first all-female rock groups in rock history. Although often overlooked because of the lack of access to their material, they can be heard performing their song “Hello World” in the 1967 movie The Love-Ins. With at least one member from Buffalo, New York (lead singer and guitarist Lisa Kindred), the band called California their home. They were almost signed by Capitol Records, but Vanguard Records didn’t want to release Kindred from her contract (she had been signed as a solo folk artist.) Members of the band included: Lisa Kindred (guitar, vocals); Ann Sternberg (bass); Diane/Helena Tribuno (guitar); and Laurie Stanton (drums). Out of the four, Sternberg, Tribuno, and Kindred can also be seen talking about "love in 'modern' music" in the rock documentary Inside Pop: The Rock Revolution, hosted by Leonard Bernstein and released in 1967.

Other than this song appearing in the 1967 movie The Love-Ins, I know very little else about this band or their song heard below. If you have any information, please leave a comment or send an email.

The U.F.O.'s - Hello World (1967)

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Lyrics:

Hello world
I think I’m loving you
Open my eyes
What else could I do?

Stained glass sunlight
Shining on heads of gold
Long haired children
Flowers to hold in their-
Love to unfold from their hands

Sandalwood and jasmine
Drifting through the air
Find my ~~desponder~~
Whispering a silent prayer

Let the peaceful feeling
That we have shared today
Come on sunrise
Bring it on here to stay
Never to fade away

Colored flowers, smiles all surround
Beauty of sight, wholeness of the sound

Altering rhythms plotting inside of me
Loving, trusting, this is the way to be-
This is the way to be free