Sleepy Time Time

I'm a sleepy time baby, a sleepy time boy.
Work only maybe, life is a joy.
We'll have a sleepy time time.
We'll have a sleepy time time.
We'll have a sleepy time time.
We'll have a sleepy time time.
Sleepy time time.

Sleepy time time all the time.
Asleep in the daytime, asleep at night.
Life is all playtime; working ain't right.
We'll have a sleepy time time.
We'll have a sleepy time time.
We'll have a sleepy time time.
We'll have a sleepy time time.
Sleepy time time.

Sleepy time time all the time.
I have my Sunday, that ain't no lie.
But on Monday morning comes my favorite try.
We'll have a sleepy time time.
We'll have a sleepy time time.
We'll have a sleepy time time.
We'll have a sleepy time time.
Sleepy time time.
Sleepy time time all the time

I'm So Glad
I'm so glad, I'm so glad
I'm glad, I'm glad, I'm glad
I'm so glad, I'm so glad
I'm glad, I'm glad, I'm glad
I don't know what to do, I don't know what to do, I don't know what to do
I'm tired of weeping, I'm tired of moaning, I'm tired of crying for you

I'm so glad, I'm so glad
I'm glad, I'm glad, I'm glad
I'm so glad, I'm so glad
I'm glad, I'm glad, I'm glad
I'm tired of weeping, I'm tired of moaning, I'm tired of groaning for you
I don't know what to do, I don't know what to do, I don't know what to do
I'm so glad, I'm so glad
I'm glad, I'm glad, I'm glad
I'm so glad, I'm so glad
I'm glad, I'm glad, I'm glad
(Chorus repeated 5 times)

:guitar: :banana: :mango

Jimi Hendrix, with his three-piece band featuring drummer Noel Redding and bassist Mitch Mitchell as the Jimi Hendrix Experience, whom we have met in the 60's thread, released one of the most important albums of all time, Are You Experienced? Borrowing the blazing styles of Buddy Guy and other bluesmen, Hendrix took guitar into places it had never gone, armed with a Fender Stratocaster, a Marshall amplifier stack and several effects pedals.

Prior to his arrival in London and his rise to stardom, he was the guitarist for Little Richard, who had emerged from Bible school hiatus for a second attempt at stardom, but was booted out by Richard because of his flamboyant guitar playing. Richard told him, "There's only one room for a star here!" ohno: :lol:

Manic Depression

Manic depression is touching my soul
I know what I want but I just dont know
How to, go about gettin it
Feeling sweet feeling,
Drops from my fingers, fingers
Manic depression is catchin my soul

Woman so weary, the sweet cause in vain
You make love, you break love
Its all the same
When its, when its over, mama
Music, sweet music
I wish I could caress, caress, caress
Manic depression is a frustrating mess

Well, I think Ill go turn myself off,
And go on down
All the way down
Really aint no use in me hanging around
In your kinda scene

Music, sweet music
I wish I could caress, caress, caress
Manic depression is a frustrating mess

The Wind Cries Mary

After all the jacks are in their boxes
And the clowns have all gone to bed
You can hear happiness staggering on down the street
Footsteps dressed in red
And the wind whispers mary
A broom is drearily sweeping
Up the broken pieces of yesterdays life
Somewhere a queen is weeping
Somewhere a king has no wife
And the wind, it cries mary

The traffic lights, they turn, uh, blue tomorrow
And shine their emptiness down on my bed
The tiny island sags down stream
cause the life that lived is,
Is dead
And the wind screams mary

Uh-will the wind ever remember
The names it has blow in the past?
And with this crutch, its old age, and its wisdom
It whispers no, this will be the last
And the wind cries mary

:rock: :guitar: peace:

While Jimi and his band were a huge hit in Britain, American audiences took a while to catch on to the craze of the new guitar sensation (what is it about Britain which takes overnight to embrace a rock god, while America is more reserved?? :confused: ). Their one big break started when the band opened for none other than The Monkees (THE MONKEES!!!!) :eek: ohno: for a tour. The Monkees liked him, but the band quit after a few shows into the tour because the young crowd didn't get into this wild man on the loud guitar.
Admitting that he just wasn't right for the bubblegum crowd there to see the t.v. comedy heroes play, he said, "They're replacing me with Mickey Mouse!" :lol:

This song is a blues cover:

Hey Joe

Hey Joe, where you goin' with that gun in your hand?
Hey Joe, I said where you goin' with that gun in your hand?
Alright. I'm goin down to shoot my old lady,
you know I caught her messin' 'round with another man.
Yeah,! I'm goin' down to shoot my old lady,
you know I caught her messin' 'round with another man.
Huh! And that ain't too cool.

Uh, hey Joe, I heard you shot your woman down,
you shot her down.
Uh, hey Joe, I heard you shot you old lady down,
you shot her down to the ground. Yeah!

Yes, I did, I shot her,
you know I caught her messin' 'round,
messin' 'round town.
Uh, yes I did, I shot her
you know I caught my old lady messin' 'round town.
And I gave her the gun and I shot her!

Hey Joe, said now,
uh, where you gonna run to now, where you gonna run to?
(where you gonna go?)
Hey Joe, I said,
where you goin' to run
to now, where you, where you gonna go?
I'm goin' way down south, way down south,
way down south to Mexico way! Alright!
I'm goin' way down south,
way down where I can be free!
Ain't no one gonna find me babe!
Ain't no hangman gonna,
he ain't gonna put a rope around me!
You better belive it right now!
I gotta go now!
Hey, hey, hey Joe,
you better run on down!
Goodbye everybody. Ow!
Hey, hey Joe, what'd I say,
run on down.

The lyrics to this next song are quite prophetic:

Third Stone From the Sun

Oh strange beautiful grass of green
with your majestic silken scenes
Your mysterious mountains
I wish to see closer
May I land my kinky machine

Although your world wonders me
with your majestic superior cackling hen
Your people I do not understand
So to you I wish to put an end
And you'll never hear surf music again

Foxey Lady

Foxy, Foxy
You know you are a cute little heart breaker
Foxy yeah,
And you know you are a sweet little lover maker
Foxy

I wanna take you home, yeah
I won't do you no harm
You've got to be all mine, all mine
ooh Foxy Lady
Foxy, Foxy

Now-a I see you come down on the scene
oh Foxy
You make me wanna get up and-a scream
Foxy, oh baby listen now
I've made up my mind,
I'm tired of wasting all my precious time
You've got to be all mine, all mine

ooh, Foxy Lady
Ooh, Foxy Lady, yeah yeah
You look so good, Foxy
oh yeah Foxy
yeah, give us some, Foxy
Foxy Foxy
Foxy Foxy
Foxy Foxy

:guitar: :banana: :mango peace:

One group the Jimi Hendrix Experience were afraid to follow on stage back in England was a little band from Leicester called Family. . . but we've already covered that! ;)

In fact, prior to the disastrous Monkees tour, it must be noted that America's first taste of the fiery young guitarist was at the Monterey Pop Festival where Jimi mesmerized audience with his ritualistic dousing of his guitar with lighter fluid and setting it on fire! The event was shown in the movie of the same name, "Monterey Pop", which exposed the country to his playing and antics.

Since we've already covered his most noted song "Purple Haze" in the 60's thread, here are a few we haven't:

Fire

Alright,
now listen, baby

You don't care for me
I don'-a care about that
Gotta new fool, ha!
I like it like that

I have only one burning desire
Let me stand next to your fire
Let me stand next to your fire [Repeat 4 times]

Listen here, baby
and stop acting so crazy
You say your mum ain't home,
it ain't my concern,
Just play with me and you won't get burned

I have only one itching desire
Let me stand next to your fire
Let me stand next to your fire [Repeat 4 times]

Oh! Move over, Rover
and let Jimi take over
Yeah, you know what I'm talking 'bout
Yeah, get on with it, baby
That's what I'm talking 'bout
Now dig this!
Ha!
Now listen, baby

You try to gimme your money
you better save it, babe
Save it for your rainy day

I have only one burning desire
Let me stand next to your fire
Let me stand next to your fire

Red House

There's a Red House over yonder
That's where my baby stays
There's a Red House over yonder, baby
That's where my baby stays

Well, I ain't been home to see my baby,
in ninety nine and one half days.
'Bout time I see her,
Wait a minute something's wrong here
The key won't unlock the door.

Wait a minute something's wrong baby,
Lord, have mercy, this key won't unlock this door,
something's goin' on here.
I have a bad bad feeling
that my baby don't live here no more.

That's all right, I still got my guitar
Look out now . . .

I might as well go on back down
go back 'cross yonder over the hill
I might as well go back over yonder
way back over yonder 'cross the hill,
(That's where I came from.)

'Cause if my baby don't love me no more,
I know her sister will!

:guitar: :rock: peace:

Two pics of Jimi at the Monterey Pop Festival in 1967:

Fresh Cream was the debut album by Cream, which, while not becoming the huge classic that their later albums would, did feature a fine display of blues musicianship on songs such as "Sleepy Time Time",
"Spoonful" "I'm So Glad" and "I Feel Free". It was a very promising start to one of rock's biggest power trios.

Another song on Fresh Cream was "N.S.U.," which sounded like a reference to the little German car made by the Neckarsulmer company, but in fact was a reference to non- specific urethritis, a very nah-sty disease. The song was bawdily given this title as a joke.

N.S.U. - Cream

Driving in my car,
Smoking my cigar,
The only time I'm happy's when I play my guitar.

Sailing on my yacht,
What a lot I've got,
Happiness is something that just cannot be bought.

I've been in and I'm out,
I've been up and down,
I don't want to go until I've been around.

What's it all about,
Anyone in doubt,
I don't want to go until I've found it all out.


Here are two examples of what I thought the song was about:

http://www.philseed.com/images/nsu1000c.jpg

(An NSU sedan from the early seventies.)

http://www.nsu-freund.de/grafik/spider-re.jpg

(The NSU Spider. Now why didn't anyone write a song about this little number? :confused: )

Jefferson Airplane was one of the biggest bands of the San Francisco psychedelic scene in the mid-60's, with their 1967 album Surrealistic Pillow featuring such notable tracks as "White Rabbit" and "Somebody to Love". Bands such as the Airplane began as a folk-rock group with heavy blues influences, and no doubt as their music progressed, their blues playing expanded to heavier influences which reflected their experimentation with hallucinogenic drugs.

Why was their name called Jefferson Airplane? Allegedly it was a slang term for a used match bent to hold a marijuana joint that has been smoked too short to hold without burning the hands, an improvised roach clip. An urban legend claims this was the origin for the band's name, though according to band member Jorma Kaukonen the name was invented by his friend Steve Talbot as a parody of blues names such as "Blind Lemon" Jefferson.

Somebody To Love

When the truth is found to be lies
and all the joy within you dies
don't you want somebody to love
don't you need somebody to love
wouldn't you love somebody to love
you better find somebody to love

When the garden flowers baby are dead yes
and your mind [, your mind] is [so} full of red
don't you want somebody to love
don't you need somebody to love
wouldn't you love somebody to love
you better find somebody to love

your eyes, I say your eyes may look like his
but in your head baby I'm afraid you don't know where it is
don't you want somebody to love
don't you need somebody to love
wouldn't you love somebody to love
you better find somebody to love

tears are running [down,] down your breast
and your friends baby they treat you like a guest
don't you want somebody to love
don't you need somebody to love
wouldn't you love somebody to love
you better find somebody to love

The lyrics, with references taken from "Alice's Adventures In Wonderland" (the actual Lewis Carroll title, as opposed to the more familiar Disney film version), were seen by many as an anti-drug song.

White Rabbit

One pill makes you larger
And one pill makes you small,
And the ones that mother gives you
Don't do anything at all.
Go ask Alice
When she's ten feet tall.
And if you go chasing rabbits
And you know you're going to fall,
Tell 'em a hookah smoking caterpillar
Has given you the call.
Call Alice
When she was just small.

When the men on the chessboard
Get up and tell you where to go
And you've just had some kind of mushroom
And your mind is moving low.
Go ask Alice
I think she'll know.
When logic and proportion
Have fallen sloppy dead,
And the White Knight is talking backwards
And the Red Queen's "off with her head!"
Remember what the dormouse said:
"Feed your head. Feed your head. Feed your head."

:guitar: peace: :bunny:

Another song on Fresh Cream was "N.S.U.," which sounded like a reference to the little German car made by the Neckarsulmer company, but in fact was a reference to non- specific urethritis, a very nah-sty disease. The song was bawdily given this title as a joke.

N.S.U. - Cream

Driving in my car,
Smoking my cigar,
The only time I'm happy's when I play my guitar.

Sailing on my yacht,
What a lot I've got,
Happiness is something that just cannot be bought.

I've been in and I'm out,
I've been up and down,
I don't want to go until I've been around.

What's it all about,
Anyone in doubt,
I don't want to go until I've found it all out.


Here are two examples of what I thought the song was about:

http://www.philseed.com/images/nsu1000c.jpg

(An NSU sedan from the early seventies.)

http://www.nsu-freund.de/grafik/spider-re.jpg

(The NSU Spider. Now why didn't anyone write a song about this little number? :confused: )I read about that song title!! :eek: :lol:

Grace Slick was not an original member of the Jefferson Airplane. She replaced Signe Anderson, who left after the group's first album, The Jefferson Airplane Takes Off, was released. Signe took off when she got pregnant. Grace Slick came from another San Francisco acid rock band called the Great Society, an ironic reference to President Lyndon Johnson's domestic programs. Many of the Airplane's best-known songs, like "White Rabbit," came from Slick's time in the Great Society.

http://www.airplane.freeserve.co.uk/anderson.jpg
(Signe Anderson, 1966.)

One black Frisco producer who tried to record demos for the Great Society decided that he wanted no part of this lily-white acid rock trend, thus starting a breach - still widening - between rock and what became funk. His name was Sylvester Stewart, but he became famous under a new name. . . Sly Stone. ;)

I read about that song title!! :eek: :lol:


I saw the lyric "Driving in my car," so I thought, Oh, it's about those cute little NSU cars from Germany." Boy, was I wrong. :rolleyes: :lol:

I saw the lyric "Driving in my car," so I thought, Oh, it's about those cute little NSU cars from Germany." Boy, was I wrong. :rolleyes: :lol::lol:

The Monterey Pop Festival also brought Jefferson Airplane to national prominence as it did with Hendrix. The group's appearance on The Ed Sullivan Show was also groundbreaking in that it attempted to duplicate the psychedelic lighting and cinematic effects in color on live t.v.

The name Surrealistic Pillow was suggested by the "shadow" producer of the album, Jerry Garcia, when he mentioned that, as a whole, the album sounded "as Surrealistic as a pillow". The record company would not allow Garcia's considerable contributions to the album to garner him a "Producer" credit, so Garcia is listed in the album's credits as "spiritual advisor".

The song also featured the popular Kaukonen's acoustic guitar piece "Embryonic Journey" as well as "Plastic Fantastic Lover".

Plastic Fantastic Lover

Her neon mouth with the blinking soft smile
Nothing but an electric sign
You could say she has an individual style
She's part of a colorful time

Secrecy of lady-chrome-covered clothes
You wear cause you have no other
But I suppose no one knows
You're my plastic fantastic lover

Her rattlin' cough never shuts off
Is nothin' but a used machine
Her aluminum finish, slightly diminished
Is the best I ever have seen

Cosmetic baby plugged into me
Never ever find another
I realize no one's wise
To my plastic fantastic lover

The electrical dust is starting to rust
Her trapezoid thermometer taste
All the red tape is mechanical rape
Of the TV program waste

Data control and IBM
Science is mankind's brother
But all I see is drainin' me
On my plastic fantastic lover

:guitar: :banana: :mango peace:

Pink Floyd began in 1964 in Britain under a slew of names including The Meggadeaths (:eek: which would explain Dave Mustaine's interest in the band), and then named themselves The Tea Set. But when another band claimed that name, lead singer/guitarist Syd Barrett named themselves The Pink Floyd Sound, then just Pink Floyd, after after two blues musicians, Pink Anderson and Floyd Council. They became an underground favorite in London as they were heavily influenced by the growing American psychedelic sound. They appeared on Britain's Top of the Pops and released their first major single "See Emily Play", which was followed by the album The Piper At the Gates of Dawn in 1967.

To be quite honest, some of the longer songs, the very trippy "Interstellar Overdrive", and others, can be a chore to listen to, they are very bizarre (which require more than a few hits of LSD to fully appreciate, one supposes. :crazy: )

"Astronomy Domine" was a big song for Canadian cyberpunk/intellectual thrash band Voivod in 1989.

Song list:

All songs written by Syd Barrett, except where noted.

"Astronomy Domine" – 4:12
"Lucifer Sam" – 3:07
"Matilda Mother" – 3:08
"Flaming" – 2:46
"Pow R. Toc H." (Barrett/Waters/Wright/Mason) – 4:26
"Take Up Thy Stethoscope and Walk" (Waters) – 3:05
"Interstellar Overdrive" (Barrett/Waters/Wright/Mason) - 9:41
"The Gnome" – 2:13
"Chapter 24" – 3:42
"The Scarecrow" – 2:11
"Bike" – 3:21

See Emily Play

Emily tries but misunderstands, ah ooh
She often inclined to borrow somebody's dreams till tomorrow
There is no other day
Let's try it another way
You'll lose your mind and play
Free games for may
See Emily play

Soon after dark Emily cries, ah ooh
Gazing through trees in sorrow hardly a sound till tomorrow

There is no other day
Let's try it another way
You'll lose your mind and play
Free games for may
See Emily play

Put on a gown that touches the ground, ah ooh
Float on a river forever and ever, Emily, Emily
There is no other day
Let's try it another way
You'll lose your mind and play
Free games for may
See Emily play

Astronomy Domine

Line and limpid green
a second scene,
A fight between the blue
you once knew.
Floating down the sound resounds
Around the icy waters underground
Jupiter and Saturn Oberon Miranda
And Titania Neptune Titan
Stars can frighten...

Blinding signs flap flicker flicker flicker
Blam pow pow
Stairway scare Dan Dare who's there...

Lime and limpid green
The sound surrounds the icy waters under
Lime and limpid green
The surrounds the icy waters
Underground

:guitar: peace:

While the band labored through their followup album, 1968's A Saucerful of Secrets, Syd Barrett was becoming increasingly difficult to work with, due to the toll LSD had taken on his mind. It came to a point where he could no longer remain with the band. As gifted as his musical compositions and abilities had been previously with the band, he was unable to play further. He arranged a song called "Have You Got It Yet?" which was tedious for the band to attempt to record because he kept changing the song into various inconsistent passages. Barrett was also into performing such disturbing stunts as inserting the drug Mandrax into his hair gel and having the hot stage lights melt the gel and the drug mixture into his hair and scalp, turning his face into a bizarre sheen and no doubt affecting his thinking as it absorbed into his pores. He became strangely catatonic throughout concerts as well, strumming a chord all the way through, when he was even playing at all.

In the beginning Barrett was an innovative guitarist in psychedelic rock with his use of feedback, dissonance, and a Zippo lighter as a slide on the fretboard. But as Pink Floyd's fame grew, so did his consumption of the very substance which was a sacrament in the 60's--and his use of LSD would be his sad downfall. He left the band and to this day remains a tragic acid casualty. He was replaced by his friend David Gilmour, who remained Pink Floyd's guitarist throughout the rest of their career. Barrett did have a sort of solo career which in fact led to nothing after he left the band in 1968.

Barrett marginally contributed to Saucerful, but the album largely was unsuccessful in the U.S. This was when Pink Floyd were very much into their experimental psychedelic prog phase.

Songs include:

"Let There Be More Light" (Waters) - 5:38
"Remember a Day" (Wright) - 4:33
"Set the Controls for the Heart of the Sun" (Waters) - 5:28
"Corporal Clegg" (Waters) - 4:13
"A Saucerful of Secrets" (Waters/Wright/Mason/Gilmour) - 11:57
"See-Saw" (Wright) - 4:36
"Jugband Blues" (Barrett) - 3:00

Set the Controls For the Heart of the Sun

Little by little the night turns around
Counting the leaves which tremble at dawn
Lotuses lean on each other in yearning
Under the eaves the swallow is resting
Set the controls for the heart of the sun

Over the mountain watching the watcher
Breaking the darkness
Waking the grapevine
One inch of love is one inch of shadow
Love is the shadow that ripens the wine
Set the controls for the heart of the sun

Witness the man who waves at the wall
Making the shape of his question to Heaven
Whether the sun will fall in the evening
Will he remember the lesson of giving
Set the controls for the heart of the sun


The next song was Barrett's sad swan song with the band:

Jugband Blues

It's awfully considerate of you to think of me here
And I'm most obliged to you for making it clear
That I'm not here.
And I never knew the moon could be so big
And I never knew the moon could be so blue
And I'm grateful that you threw away my old shoes
And brought me here instead dressed in red
And I'm wondering who could be writing this song.

I don't care if the sun don't shine
And I don't care if nothing is mine
And I don't care if I'm nervous with you
I'll do my loving in the winter.

And the sea isn't green
And I love the queen
And what exactly is a dream?
And what exactly is a joke?

Steppenwolf, a band originally named Sparrow from Canada, released their first album in 1968, which featured the biker anthem "Born To Be Wild", "The Pusher", "Sookie Sookie", and others. Guitarist John Kay fled with his mother from East Germany to Canada in his youth. While performing as the group Sparrow, the band was more into the popular folk-rock vein until they travelled to Los Angeles and their producer told them to make a more aggressive sound which was catching on in the late 60's.

"Born To Be Wild" was also the first song to mention the term "heavy metal".

Born To Be Wild

Get your motor runnin'
Head out on the highway
Lookin' for adventure
And whatever comes our way
Yeah Darlin' go make it happen
Take the world in a love embrace
Fire all of your guns at once
And explode into space

I like smoke and lightning
Heavy metal thunder
Racin' with the wind
And the feelin' that I'm under
Yeah Darlin' go make it happen
Take the world in a love embrace
Fire all of your guns at once
And explode into space

Like a true nature's child
We were born, born to be wild
We can climb so high
I never wanna die

Born to be wild
Born to be wild

:guitar: peace:

This next song was written by soul performer Don Covay and even used in the 1983 movie Star 80 about the doomed life of Playboy Playmate Dorothy Stratten:

Sookie, Sookie

Let it hang out baby, let it hang out now, now na-na now
Let it hang out baby, everybody work out
Sookie, Sookie, Sookie, Sookie, Sookie, Sookie, Sue

Let it hang out baby, do the Baltimore jig
Let it hang out baby, boomerang with me
Sookie, Sookie, Sookie, Sookie, Sookie, Sookie, Sue

Really got it bad child, drink a bottle of turpentine
When you wake up in the morning, feelin' kinda fine
Let it hang out baby, let it hang out now, now na-na now

You better watch your step girl, don't step on that banana peel
If your foot should ever hit it, you'll go up to the ceiling
Hang it in baby, hang it in baby
Sookie, Sookie, Sookie, Sookie, Sookie, Sookie, Sue

Let it hang out baby, let it hang out now, now na-na now
Let it hang out baby, everybody work out
Hang it in baby, hang it in baby, hang it in baby
Sookie, Sookie, Sookie, Sookie, Sookie, Sookie, Sue

:guitar: :banana: :mango

One of their biggest songs was written by Hoyt Axton, a sort of anti-drug song, which was ironic since the members of Steppenwolf did their fair share, as did everyone in those days. The song was also featured in abbreviated form in the movie Easy Rider:

The Pusher

You know I've smoked a lot of grass
O' Lord, I've popped a lot of pills
But I never touched nothin'
That my spirit could kill
You know, I've seen a lot of people walkin' 'round
With tombstones in their eyes
But the pusher don't care
Ah, if you live or if you die

God damn, The Pusher
God damn, I say The Pusher
I said God damn, God damn The Pusher man

You know the dealer, the dealer is a man
With the love grass in his hand
Oh but the pusher is a monster
Good God, he's not a natural man
The dealer for a nickel
Lord, will sell you lots of sweet dreams
Ah, but the pusher ruin your body
Lord, he'll leave your, he'll leave your mind to scream

God damn, The Pusher
God damn, God damn the Pusher
I said God damn, God, God damn The Pusher man

Well, now if I were the president of this land
You know, I'd declare total war on The Pusher man
I'd cut him if he stands, and I'd shoot him if he'd run
Yes I'd kill him with my Bible and my razor and my gun

God damn The Pusher
Gad damn The Pusher
I said God damn, God damn The Pusher man

:guitar: peace:

Awesome stuff!

Steppenwolf the Second , also from 1968, was released after the band fled to quiet Mill Valley, California, to get away from the riots on the Sunset Strip. The song featured one of their biggest hits, "Magic Carpet Ride", a pure plunge into psychedelia, and a socially conscious song protesting the government's involvement into making marijuana illegal, "Don't Step On the Grass, Sam". At the end of the song, the band's performance is interrupted by a realistic enactment of a pot bust! :eek:

I happened to speak to their keyboardist Goldy McJohn on KISW in Seattle in 1984about the creation of the song, that their original bassist Rushton Moreve wrote it, and the words were corny at first, until they updated it and had a bona fide hit on their hands. Apparently, he also told me, that Steppenwolf and The Rolling Stones got into a sort of brawl during a tour where Mick said that John Kay couldn't sing! :eek: ohno: :lol:

John Kay actually caught the taste of freedom when he escaped into West Germany with his mother. He liked the raw sound of American rock and roll, and his stint with folk rock gave him a political stance.

Magic Carpet Ride

I like to dream yes, yes, right between my sound machine
On a cloud of sound I drift in the night
Any place it goes is right
Goes far, flies near, to the stars away from here

Well, you don't know what we can find
Why don't you come with me little girl
On a magic carpet ride
You don't know what we can see
Why don't you tell your dreams to me
Fantasy will set you free
Close your eyes girl
Look inside girl
Let the sound take you away

Last night I held Aladdin's lamp
And so I wished that I could stay
Before the thing could answer me
Well, someone came and took the lamp away
I looked around, a lousy candle's all I found

Well, you don't know what we can find
Why don't you come with me little girl
On a magic carpet ride
Well, you don't know what we can see
Why don't you tell your dreams to me
Fantasy will set you free
Close your eyes girl
Look inside girl
Let the sound take you away

:guitar: peace:

Don't Step On the Grass, Sam

Starin' at the boob tube, turnin' on the big knob
Tryin' to find some life in the waste land
Fin'ly found a program, gonna deal with Mary Jane
Ready for a trip into hate land
Obnoxious Joe comes on the screen
Along with his guest self-righteous Sam
And one more guy who doesn't count
His hair and clothes are too far out

While pushin' back his glasses Sam is sayin' casually
"I was elected by the masses"
And with that in mind he starts to unwind
A vicious attack on the finest of grasses

Well it's evil, wicked, mean and nasty
(Don't step on the grass, Sam)
And it will ruin our fair country
(Don't be such an ass, Sam)
Well, it will hook your Sue and Johnny
(You're so full of bull, Sam)
All will pay that disagree with me
(Please give up you already lost the fight, alright)

Misinformation Sam and Joe
Are feeding to the nation
But the one who didn't count counted them out
By exposing all their false quotations
Faced by a very awkward situation
This is all he'd say to save the day

Well it's evil, wicked, mean and nasty
(Don't step on the grass, Sam)
And it will ruin our fair country
(Don't be such an ass, Sam)
Well, it will hook your Sue and Johnny
(You're so full of bull, Sam)
All will pay that disagree with me
(Please give up you already lost the fight alright)

You waste my coin Sam, all you can
To jail my fellow man
For smoking all the noble weed
You need much more than him
You've been telling lies so long
Some believe they're true
So they close their eyes to things
You have no right to do
Just as soon as you are gone
Hope will start to climb
Please don't stay around too long
You're wasting precious time

Repeat Chorus

:guitar: peace:

Awesome stuff!In 1975, when I entered 7th grade, Steppenwolf was the first band I got into (back when everyone was listening to BTO, Queen, Sweet, the first disco tunes like "Do the Hustle" and K.C. and the Sunshine Band), and I had no idea that they had already broken up a few years earlier! I wanted to be a hippie because the 60's looked so cool because of them! But my older brother tried to get me into other music like Aerosmith, ZZ Top, and this other cool new band called............


KISS!!!!!!!!!

In 1975, when I entered 7th grade, Steppenwolf was the first band I got into (back when everyone was listening to BTO, Queen, Sweet, the first disco tunes like "Do the Hustle" and K.C. and the Sunshine Band), and I had no idea that they had already broken up a few years earlier! I wanted to be a hippie because the 60's looked so cool because of them! But my older brother tried to get me into other music like Aerosmith, ZZ Top, and this other cool new band called............


KISS!!!!!!!!!


The band formerly known as Psychic Tomato. :rofl:

The band formerly known as Psychic Tomato. :rofl::yeahthat :nod:

The Amboy Dukes were a Detroit band which featured a young guitarist by the name of Ted Nugent who was barely out of his teens when he joined the band. Their big hit was the psychedelic rocker, "Journey To the Center of the Mind", which Ted claimed that he did not know it was about hallucinogenic drugs until later. Ted Nugent was then and always has been staunchly anti-drug and alcohol, and was thoroughly disgusted by the throngs of young people getting stoned and wasting their time as derelicts, as he saw them. As a rabid conservative who strongly supported hunting rights, he dodged the draft by soiling his pants and going around all week with excrement-filled jeans! :eek: ohno: (He later denied doing this, though he has previously gone on record as bragging about it.) Like many other Republicans and conservatives of that time, he would champion America's involvement in Vietnam and future wars--while avoiding being inducted himself. What was his excuse for not going into the military, a perfect place for a gun afficianado himself? Simple: He did not want to share a foxhole with a "stoner hippie". He later bragged that if he didn't dodge the draft, he would have ended up a general and won the war. :yeahthat :nod:

As for the Amboy Dukes, the band went through a few lineup changes, and accomplished no great hits apart from "Journey". There were, however, such song titles as "Why Is a Carrot More Orange Than an Orange" and "The Inexhaustible Quest for the Cosmic Cabbage".

Nugent claims to have been the leader of the band, and at times the "babysitter" for the rest of the band, and that when he took a few months off the band fell apart. And despite the apparent drug references of many of their songs, Nugent fervently denies significant drug use.

The other members of the band, such as guitarist Steve Farmer, viewed the band differently. They say guitarist Farmer and singer John Drake were the main songwriters and the de facto leaders of the Amboy Dukes; Nugent was not the "leadman". In an interview , Farmer deprecated Nugent's creative role in the Amboy Dukes, and mentioned some rather embarrassing personal details about Nugent. From Farmer's point of view, Nugent was the one who needed babysitting - he was a spoiled brat and none too intelligent. Farmer did emphasize that Nugent was the only member not involved in drug activity and promiscuous sex with groupies, so on that matter everyone is in agreement.

Journey to the Center of the Mind

Leave your cares behind
Come with us and find
The pleasures of a journey to the center of the mind

(CHORUS)
Come along if you care
Come along if you dare
Take a ride to the land inside of your mind
Beyond the seas of thought
Beyond the realm of what
Across the streams of hopes and dreams
Where things are really not

But please realize
Youll probably be surprised
For it's the land unknown to man
Where fantasy is fact
So if you can, please understand
You might not come back

(CHORUS)

How happy life could be
If all of mankind
Would take the time to journey to the center of the mind
Would take the time to journey to the center of the mind
Center of the mind

:guitar: peace:

Amboy Dukes' drummer live; Ted Nugent at that time; two albums: Marriage On the Rocks, and Journey to the Center of the Mind featuring various drug paraphernalia.

Here is a picture of a very young Ted Nugent:

On June 16th through the 18th, 1967, the first major rock festival was held, the Monterey Pop Festival at the fairgrounds in Monterey, California. While members of the board who decided to play included members of the Beatles and the Beach Boys, neither act appeared at the festival. All performers played for free, except for Ravi Shankar, who was paid $3000 for his sitar performance. :confused: The concert was the high point of what was called the Summer of Love that year.

The concert was known for breaking many new artists into the mainstream, such as The Who, who had only begun performing in America as of the spring of that year; Otis Redding (who sadly died only a few months later), Janis Joplin; and most notably Jimi Hendrix.

Many record company executives were in attendance, and many of the performers won recording contracts based on their appearance at the festival. Several acts were also notable for their non-appearance. Several reasons were given for The Beach Boys' cancellation, which was interpreted as admission that could not compete alongside hipper acts. British musician Donovan was refused a visa to enter the United States because of a 1966 drug bust; Captain Beefheart & The Magic Band was also invited to appear but according to the liner notes for the CD reissue of their album Safe AS Milk, the band reportedly turned the offer down at the insistence of guitarist Ry Cooder, who felt the group was not ready. While the Rolling Stones did not play, guitarist Brian Jones attended, introduced Hendrix's performance, and was hailed as the "king of the festival".

Friday, June 16:

The Association
The Paupers
Lou Rawls
Beverly
Johnny Rivers
The Animals
Simon and Garfunkel

Saturday, June 17:

Canned Heat
Big Brother & The Holding Company
Country Joe and The Fish
Al Kooper
The Butterfield Blues Band
Quicksilver Messenger Service
Steve Miller Band
The Electric Flag
Moby Grape
Hugh Masekela
The Byrds
Laura Nyro
Jefferson Airplane
Booker T and The MG's
Otis Redding

Sunday, June 18:

Ravi Shankar
The Blues Project
Big Brother & The Holding Company
The Group With No Name
Buffalo Springfield
The Who
Grateful Dead
The Jimi Hendrix Experience
Scott McKenzie
The Mamas & The Papas

Poster; Grace Slick of Jefferson Airplane; The Who smashing their instruments; Country Joe and the Fish:

The Doors were an intriguing new band from Los Angeles fronted by the charismatic lead singer Jim Morrison and featuring guitarist Robbie Krieger, keyboardist Ray Manzarek, and drummer John Densmore. There was no bassist in the band, Manzarek handled bass pedals on his keyboard. Their debut album featured many popular songs as "Break On Through (to the Other Side)", "Soul Kitchen", "Crystal Ship", "Twentieth Century Fox", "Back Door Man", and their most memorable hit, "Light My Fire", as well as the album's mysterious closer, "The End".

Born in 1943 in Florida to navy parents, Jim Morrison recalled an event which had a profound impact on him: While on a family trip to New Mexico, he saw a fatal crash where Native Americans lay dying.

"The first time I discovered death... me and my mother and father, and my grandmother and grandfather, were driving through the desert at dawn. A truckload of Indians had either hit another car or something — there were Indians scattered all over the highway, bleeding to death. I was just a kid, so I had to stay in the car while my father and grandfather went to check it out. I didn't see nothing — all I saw was funny red paint and people lying around, but I knew something was happening, because I could dig the vibrations of the people around me, and all of a sudden I realized that they didn't know what was happening any more than I did. That was the first time I tasted fear... and I do think, at that moment, the souls of those dead Indians — maybe one or two of them — were just running around, freaking out, and just landed in my soul, and I was like a sponge, ready to sit there and absorb it."

The incident would become the genesis for The Doors' song "Peace Frog". His parents denied the event ever happened, but Morrison would frequently repeat it and make this the cause of his wild, Dionysian behavior.

Morrison was an extremely intelligent, gifted student who excelled in literature, poetry, religion, philosophy, and psychology, among other fields. He was especially drawn to philosophers such as Friedrich Nietsche and poets William Blake, Charles Baudelaire and Arthur Rimbaud, as well as Beat poet Jack Kerouac. During the 60's, he relocated to Los Angeles where he graduated from film school at UCLA, then lived the Bohemian lifestyle where he met his future bandmates to become The Doors. The name came from an Aldous Huxley book, The Doors of Perception, which, in its turn, borrowed from a line of poetry by William Blake: "If the doors of perception were cleansed, every thing would appear to man as it is, infinite."

Break On Through (to the Other Side)

You know the day destroys the night
Night divides the day
Tried to run
Tried to hide
Break on through to the other side
Break on through to the other side
Break on through to the other side, yeah

We chased our pleasures here
Dug our treasures there
But can you still recall
The time we cried
Break on through to the other side
Break on through to the other side
Yeah!
C'mon, yeah

Everybody loves my baby
Everybody loves my baby
She get
She get
She get
She get high

I found an island in your arms
Country in your eyes
Arms that chain us
Eyes that lie
Break on through to the other side
Break on through to the other side
Break on through, oww!
Oh, yeah!

Made the scene
Week to week
Day to day
Hour to hour
The gate is straight
Deep and wide
Break on through to the other side
Break on through to the other side
Break on through
Break on through
Break on through
Break on through
Yeah, yeah, yeah, yeah
Yeah, yeah, yeah, yeah, yeah

Crystal Ship

Before you slip into unconsciousness
I'd like to have another kiss
Another flashing chance at bliss
Another kiss, another kiss
The days are bright and filled with pain
Enclose me in your gentle rain
The time you ran was too insane
We'll meet again, we'll meet again
Oh tell me where your freedom lies
The streets are fields that never die
Deliver me from reasons why
You'd rather cry, I'd rather fly
The crystal ship is being filled
A thousand girls, a thousand thrills
A million ways to spend your time
When we get back, I'll drop a line

:guitar: peace:

How would you like to have been Scott McKenzie - following Hendrix @ Monterrey?

Scott: : "Ummmm...... I have a sore throat, I think I'll just sit this one out...."

How would you like to have been Scott McKenzie - following Hendrix @ Monterrey?

Scott: : "Ummmm...... I have a sore throat, I think I'll just sit this one out...."Pete Townsend even once insisted that he did NOT want The Who to follow a performance by Jimi Hendrix , he knew Jimi was that good!

In 1966. the band was playing at such places as The London Fog and The Whiskey A-Go-Go, a popular spot in West Hollywood where the careers of many bands took off, when Elektra Records president Jac Holzman saw them at the insistence of vocalist Arthur Lee of the band Love. The timing was impeccable, because a few days later, The Doors were fired from The Whiskey for screaming a profanity ( the verb "f:censored:") their infamous "Oedipal" section of their epic song "The End" where Morrison not only spoke lyrics of not only wanting to kill his father, but wanting to rape his mother! :eek2:

In spite of, or because of, the controversy, Holzman wanted to sign the band on the spot. The band's debut became a huge hit on the label, and the band also became groundbreaking pioneers in music video with their promo video for "Break On Through". The album was released in early 1967.

The End

This is the end
Beautiful friend
This is the end
My only friend, the end
Of our elaborate plans, the end
Of everything that stands, the end
No safety or surprise, the end
I'll never look into your eyes...again

Can you picture what will be
So limitless and free
Desperately in need...of some...stranger's hand
In a...desperate land
Lost in a Roman...wilderness of pain
And all the children are insane
All the children are insane
Waiting for the summer rain, yeah
There's danger on the edge of town
Ride the King's highway, baby
Weird scenes inside the gold mine
Ride the highway west, baby
Ride the snake, ride the snake
To the lake, the ancient lake, baby
The snake is long, seven miles
Ride the snake...he's old, and his skin is cold
The west is the best
The west is the best
Get here, and we'll do the rest
The blue bus is callin' us
The blue bus is callin' us
Driver, where you taken' us

The killer awoke before dawn, he put his boots on
He took a face from the ancient gallery
And he walked on down the hall
He went into the room where his sister lived, and...then he
Paid a visit to his brother, and then he
He walked on down the hall, and
And he came to a door...and he looked inside
Father, yes son, I want to kill you
Mother...I want to...
(screams)WAAAAAA!!!!!!!!!!!

C'mon baby,--------- No "take a chance with us"
C'mon baby, take a chance with us
C'mon baby, take a chance with us
And meet me at the back of the blue bus
Doin' a blue rock
On a blue bus
Doin' a blue rock
C'mon, yeah
Kill, kill, kill, kill, kill, kill

This is the end
Beautiful friend
This is the end
My only friend, the end
It hurts to set you free
But you'll never follow me
The end of laughter and soft lies
The end of nights we tried to die
This is the end.


:guitar: peace:

The Doors' debut caused a huge stir in the L.A. scene when their most popular song "Light My Fire" was released. The band was invited to play on the Ed Sullivan show, but the CBS network censors balked at the
"suggestive" line "We couldn't get much higher", thinking the final word was a drug reference. They insisted that Morrison change the lyrics for the show so as not to offend viewers at home watching, but on the air, Morrison, true to form, sang it without changing the lyrics! (The 1991 Oliver Stone film 'The Doors' shows Morrison acting rather in-your-face about it in the performance.) Ed Sullivan was so angered by the stunt that he refused to shake Morrison's hand after the show, and promptly banned them from ever appearing on the program ever again!

The Buick car company also wanted to use the song in a commercial, with lyrics as "Come on, Buick, light my fire", to which all the members but for Morrison initially agreed to, but when Morrison found out about it being used against his wishes, he threatened to smash a Buick on t.v. if the commercial ever aired! :bash: Ahh, the beginnings of corporate rock! :lol:

Light My Fire

You know that it would be untrue
You know that I would be a liar
If I was to say to you
Girl, we couldn't get much higher
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire

The time to hesitate is through
No time to wallow in the mire
Try now we can only lose
And our love become a funeral pyre
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire, yeah

The time to hesitate is through
No time to wallow in the mire
Try now we can only lose
And our love become a funeral pyre
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire, yeah

You know that it would be untrue
You know that I would be a liar
If I was to say to you
Girl, we couldn't get much higher
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire
Try to set the night on fire
Try to set the night on fire
Try to set the night on fire

Soul Kitchen

Well, the clock says it's time to close now
I guess I'd better go now
I'd really like to stay here all night
The cars crawl past all stuffed with eyes
Street lights share their hollow glow
Your brain seems bruised with numb surprise
Still one place to go
Still one place to go
Let me sleep all night in your soul kitchen
Warm my mind near your gentle stove
Turn me out and I'll wander baby
Stumblin' in the neon groves

Well, your fingers weave quick minarets
Speak in secret alphabets
I light another cigarette
Learn to forget, learn to forget
Learn to forget, learn to forget
Let me sleep all night in your soul kitchen
Warm my mind near your gentle stove
Turn me out and I'll wander baby
Stumblin' in the neon groves

Well the clock says it's time to close now
I know I have to go now
I really want to stay here
All night, all night, all night

:guitar: peace:

A Twentieth Century Fox

Well, she's fashionably lean
And she's fashionably late
She'll never wreck a scene
She'll never break a date
But she's no drag
Just watch the way she walks
She's a twentieth century fox
She's a twentieth century fox
No tears, no fears
No ruined years, no clocks
She's a twentieth century fox, oh yeah

She's the queen of cool
And she's the lady who waits
SINCE HER MIND LEFT SCHOOL
It never hesitates
She won't waste time
On elementary talk
'Cause she's a twentieth century fox
She's a twentieth century fox
Got the world locked up
Inside a plastic box
She's a twentieth century fox, oh yeah
Twentieth century fox, oh yeah
Twentieth century fox
She's a twentieth century fox

Alabama Song (Whiskey Bar)

Well, show me the way
To the next whiskey bar
Oh, don't ask why
Oh, don't ask why
Show me the way
To the next whiskey bar
Oh, don't ask why
Oh, don't ask why
For if we don't find
The next whiskey bar
I tell you we must die
I tell you we must die
I tell you, I tell you
I tell you we must die
Oh, moon of Alabama
We now must say goodbye
We've lost our good old mama
And must have whiskey, oh, you now why
Oh, moon of Alabama
We now must say goodbye
We've lost our good old mama
And must have whiskey, oh, you now why
Well, show me the way
To the next little girl
Oh, don't ask why
Oh, don't ask why
Show me the way
To the next little girl
Oh, don't ask why
Oh, don't ask why
For if we don't find
The next little girl
I tell you we must die
I tell you we must die
I tell you, I tell you
I tell you we must die
Oh, moon of Alabama
We now must say goodbye
We've lost our good old mama
And must have whiskey, oh, you now why

:guitar: peace:

Back Door Man

Wha, yeah!
C'mon, yeah
Yeah, c'mon, yeah
Yeah, c'mon
Oh, yeah, ma
Yeah, I'm a back door man
I'm a back door man
The men don't know
But the little girl understand
Hey, all you people that tryin' to sleep
I'm out to make it with my midnight dream, yeah
'Cause I'm a back door man
The men don't know
But the little girls understand

All right, yeah
You men eat your dinner
Eat your pork and beans
I eat more chicken
Than any man ever seen, yeah, yeah
I'm a back door man, wha
The men don't know
But the little girl understand
Well, I'm a back door man
I'm a back door man
Whoa, baby, I'm a back door man
The men don't know
But the little girls understand

:guitar: peace:

The Doors' Strange Days, released in the fall of 1967, featured more hits which established the band as a strong outfit. The album included songs such as "People Are Strange", "Love Me Two Times", the haunting poem "Horse Latitudes", "Moonlight Drive" and "When the Music's Over", an epic track similar in tone to "The End".

By now Morrison's reputation as a shamanistic sex god was established, as was his noteriety for wild sex antics. He was maced by an overzealous policeman after a show one time for cavorting with a girl backstage. As their stature grew, their popularity came with another unwanted price tag for fame: Teen magazines fawned on Morrison, nearly making him out to be a sort of bubblegum fodder character. It was also revealed that their shows were not as "spontaneous" as was believed, such as his staged "falls" off the stage. The pressures of stardom drew Morrison into a love affair with alcohol. He was not at all happy with his star status.

People Are Strange

People are strange when you're a stranger
Faces look ugly when you're alone
Women seem wicked when you're unwanted
Streets are uneven when you're down
When you're strange
Faces come out of the rain
When you're strange
No one remembers your name
When you're strange
When you're strange
When you're strange
People are strange when you're a stranger
Faces look ugly when you're alone
Women seem wicked when you're unwanted
Streets are uneven when you're down
When you're strange
Faces come out of the rain
When you're strange
No one remembers your name
When you're strange
When you're strange
When you're strange
Alright yeah
When you're strange
Faces come out of the rain
When you're strange
No one remembers your name
When you're strange
When you're strange
When you're strange

Moonlight Drive

Let's swim to the moon, uh huh
Let's climb through the tide
Penetrate the evenin' that the
City sleeps to hide
Let's swim out tonight, love
It's our turn to try
Parked beside the ocean
On our moonlight drive
Let's swim to the moon, uh huh
Let's climb through the tide
Surrender to the waiting worlds
That lap against our side
Nothin' left open
And no time to decide
We've stepped into a river
On our moonlight drive
Let's swim to the moon
Let's climb through the tide
You reach your hand to hold me
But I can't be your guide
Easy, I love you
As I watch you glide
Falling through wet forests
On our moonlight drive, baby
Moonlight drive
Come on, baby, gonna take a little ride
Down, down by the ocean side
Gonna get real close
Get real tight
Baby gonna drown tonight
Goin' down, down, down

:guitar: peace:

The Doors' Strange Days, released in the fall of 1967, featured more hits which established the band as a strong outfit.


Love the cover! As a matter of fact, a certain British band named Family loved it so much they used it as inspiration for the cover of their second album, released in 1969! ;) (This is the album featuring the signature song "The Weaver's Answer," which you already know about.)

Love Me Two Times

Love me two times, baby
Love me twice today
Love me two times, girl
I'm goin' away
Love me two times, girl
One for tomorrow
One just for today
Love me two times
I'm goin' away
Love me one time
I could not speak
Love me one time
Yeah, my knees got weak
But love me two times, girl
Last me all through the week
Love me two times
I'm goin' away
Love me two times
I'm goin' away
Oh, yes
Love me one time
I could not speak
Love me one time, baby
Yeah, my knees got weak
But love me two times, girl
Last me all through the week
Love me two times
I'm goin' away
Love me two times, babe
Love me twice today
Love me two times, babe
'Cause I'm goin' away
Love me two time, girl
One for tomorrow
One just for today
Love me two times
I'm goin' away
Love me two times
I'm goin' away
Love me two times
I'm goin' away

:guitar: peace:

The following poem was a harrowing depiction of what actually happened as explorers from Europe sailed to the New World: To lighten the ships' loads, certain cargo was jettisoned into ocean currents, including horses! :eek2:
Morrison captured the horrible agony of the poor animals as they were tossed overboard. :(

Oddly, Morrison tried to give audiences samples of his poetry, including this one, printed on pages to be handed out. Most attendees were bored with them and made paper airplanes out of them. It was sad to see such poor treatment of Morrison's literary gift.

Horse Latitudes

When the still sea conspires an armor
And her sullen and aborted
Currents breed tiny monsters
True sailing is dead.

Awkward instant
And the first animal is jettisoned
Legs furiously pumping
Their stiff green gallop
And heads bob up
Poise
Delicate
Pause
Consent
In mute nostril agony
Carefully refined
And sealed over

When the Music's Over

Yeah, c'mon
When the music's over
When the music's over, yeah
When the music's over
Turn out the lights
Turn out the lights
Turn out the lights, yeah
When the music's over
When the music's over
When the music's over
Turn out the lights
Turn out the lights
Turn out the lights
For the music is your special friend
Dance on fire as it intends
Music is your only friend
Until the end
Until the end
Until the end

Cancel my subscription to the Resurrection
Send my credentials to the House of Detention
I got some friends inside
The face in the mirror won't stop
The girl in the window won't drop
A feast of friends
"Alive!" she cried
Waitin' for me
Outside!
Before I sink
Into the big sleep
I want to hear
I want to hear
The scream of the butterfly
Come back, baby
Back into my arm
We're gettin' tired of hangin' around
Waitin' around with our heads to the ground
I hear a very gentle sound
Very near yet very far
Very soft, yeah, very clear
Come today, come today
What have they done to the earth?
What have they done to our fair sister?
Ravaged and plundered and ripped her and bit her
Stuck her with knives in the side of the dawn
And tied her with fences and dragged her down
I hear a very gentle sound
With your ear down to the ground
We want the world and we want it...
We want the world and we want it...
Now
Now?
Now!

Persian night, babe
See the light, babe
Save us!
Jesus!
Save us!
So when the music's over
When the music's over, yeah
When the music's over
Turn out the lights
Turn out the lights
Turn out the lights
Well the music is your special friend
Dance on fire as it intends
Music is your only friend
Until the end
Until the end
Until the end!

:guitar: peace:

As mentioned previously, one supporter of The Doors was the lead singer of the L.A. band Love, whose frontman Arthur Lee had an early incarnation which briefly featured Jimi Hendrix on guitar.
The band was ethnically as well as musically diverse, and their true musical change came when Lee had witnessed a concert with The Byrds. The band was influenced heavily by R & B, but with inspiration by the Byrds, Love incorporated jangly folk-rock guitars into their style.

The band was a hit with many blues-based bands such as the Stones and the Yardbirds, and even lived in a house owned by horror movie actor Bela Lugosi. But since the band remained uncooperative with the press, the band never achieved the heights of success they could have had.

Their biggest song was "7 and 7 Is", followed by what is considered perhaps the finest psychedelic album of all time, Forever Changes, which featured a minor hit written by guitarist Bryan McLean, titled
"Alone Again Or", along with the popular track "You Set the Scene". However, due to drug use and other problems plaguing the band, they soon folded, with later incarnations to be dubbed Love With Arthur Lee, and The Love Band. The band members took up a life of crime, and McLean would later die of a heaart attack on Christmas of 1998. However, later in life, he had a born again conversion and decided to go into the ministry and form his own church temporarily. In fact, he is credited with writing the lyrics to Debby Boone's "You Light Up My Life", and attended the same church where Bob Dylan had his famous conversion, The Vineyard, in Los Angeles.

Seven and Seven Is

When I was a boy I thought about the times I'd be a man
I'd sit inside a bottle and pretend that I was in a can
In my lonely room I'd sit my mind in an ice cream cone
You can throw me if you wanna 'cause I'm a bone and I go

Oop-ip-ip oop-ip-ip, yeah!

If I don't start cryin' it's because that I have got no eyes
My father's in the fireplace and my dog lies hypnotized
Through a crack of light I was unable to find my way
Trapped inside a night but I'm a day and I go

Oop-ip-ip oop-ip-ip, yeah!
One... Two... Three... Four!

http://images.amazon.com/images/P/B00002516U.01._SS500_SCLZZZZZZZ_.jpg

One of the biggest groups to incorporate t.v. and music were The Monkees, a group of teens featuring Mickey Dolenz, Michael Nesmith, Peter Tork, and Davy Jones, who went from being characters in a fictional band on a t.v. show to actual superstars for a while. Based on the popularity of The Beatles' hit films, producers wanted a show to feature young people living on their own and pursuing their musical dreams--with a strong theme of bizarre and zany British-style humor which was in fact a huge success in America. Over 400 actors auditioned for the part, including Stephen Stills, and rumor has it that even Charles Manson auditioned (which was false).

The Monkees did not actually start out as musicians, but were coached in learning instruments. There was some squabbles as to who was to play drums in the band, no one wanted to give up their guitars!

The Monkees Theme

Here we come, walkin'
Down the street.
We get the funniest looks from
Ev'ry one we meet.
Hey, hey, we're the Monkees
And people say we monkey around.
But we're too busy singing
To put anybody down.

We go wherever we want to,
do what we like to do
We don't have time to get restless,
There's always something new.
Hey, hey, we're the Monkees
And people say we monkey around.
But we're too busy singing
To put anybody down.

We're just tryin' to be friendly,
Come and watch us sing and play,
We're the young gneration,
And we've got something to say.

Any time, Or anywhere,
Just look over your shoulder
Guess who'll be standing there

Hey, hey, we're the Monkees
And people say we monkey around.
But we're too busy singing
To put anybody down.

(break)

Hey, hey, we're the Monkees
And people say we monkey around.
But we're too busy singing
To put anybody down.

We're just tryin' to be friendly,
Come and watch us sing and play,
We're the young gneration,
And we've got something to say.

Hey, hey, we're the Monkees
Hey, hey, we're the Monkees
[repeat and fade]

extra verse (only on tv theme, not on record)
Hey, hey, we're the Monkees,
You never know where we'll be found.
so you'd better get ready,
We may be comin' to your town

Last Train To Clarksville

Take the last train to Clarksville,
And I'll meet you at the station.
You can be be there by four thirty,
'Cause I made your reservation.
Don't be slow, oh, no, no, no!
Oh, no, no, no!

'Cause I'm leavin' in the morning
And I must see you again
We'll have one more night together
'Til the morning brings my train.
And I must go, oh, no, no, no!
Oh, no, no, no!
And I don't know if I'm ever coming home.

Take the last train to Clarksville.
I'll be waiting at the station.
We'll have time for coffee flavored kisses
And a bit of conversation.
Oh... Oh, no, no, no!
Oh, no, no, no!

Take the last train to Clarksville,
Now I must hang up the phone.
I can't hear you in this noisy
Railroad station all alone.
I'm feelin' low. Oh, no, no, no!
Oh, no, no, no!
And I don't know if I'm ever coming home.

Take the last train to Clarksville,
Take the last train to Clarksville,
[repeat and fade

:guitar: :banana: :mango

More of the Monkees was released in early 1967, and featured such hits as "I'm a Believer" (penned by Neil Diamond), "I'm Not Your Steppin' Stone", and the twisted "Your Auntie Grizelda". As their popularity grew, the group
grew dissatisfied with their musical supervisor Don Kirshner's insistence that only their vocals would be used for the albums. When the album was released
with songs chosen without their permission, they were very upset, with Michael Nesmith calling it "the worst album released in the history of the world". The album however hit number 1 and sold over 5 million copies.

When the group demanded to have more control over their music, Kirshner cringed at the idea and protested, causing Nesmith to punch a hole in the wall of the Beverly Hills hotel where they and the music industry heads were staying. Kirshner was then dumped from the project all together. He would later resurface in the 70's as having his own syndicated Rock Concert show, which featured many big names at the time.

I'm a Believer

I thought love was only true in fairy tales
Meant for someone else but not for me.
Love was out to get me
That's the was it seemed.
Disappointment haunted all my dreams.

Then I saw her face, now I'm a believer
Not a trace of doubt in my mind.
I'm in love, I'm a believer!
I couldn't leave her if I tried.

I thought love was more or less a given thing,
Seems the more I gave the less I got.
What's the use in tryin'?
All you get is pain.
When I needed sunshine I got rain.

Then I saw her face, now I'm a believer
Not a trace of doubt in my mind.
I'm in love, I'm a believer!
I couldn't leave her if I tried.

Your Auntie Grizelda

She knows her mind all right, your Auntie Grizelda,
She says she knows my kind, she might, maybe so.
Oh, yeah, she's raised you right, your Auntie Grizelda,
You only know the things she wants you to know.

I know she's having a fit,
She doesn't like me a bit,
No bird of grace ever lit on Auntie Grizelda.

You can't begrudge her style, your Auntie Grizelda,
She couldn't budge a smile and do it for free.
So righteous making fudge, your Auntie Grizelda,
So proper judging others over her tea.

You look just like her you do,
I know by looking at you,
That you've been listening to your Auntie Grizelda.

[ad lib]

Oh, no, don't look at me like Auntie Grizelda
It takes much more to be someone of your own.
You've got to make it free from Auntie Grizelda
Or just like her you'll have to make it alone.

I know she's having a fit,
She doesn't like me a bit,
No bird of grace ever lit on Auntie Grizelda.

Auntie Grizelda, Auntie Grizelda

:guitar: :banana: :mango

I'm Not Your Stepping Stone

I i i i i'm not your stepping stone
I i i i i'm not your stepping stone

You're trying to make your mark in society
Your using all the tricks that you used on me.
You're reading all them high fashion magazines
The clothes you're wearin' girl are causing public scenes.

I said
I i i i i'm not your stepping stone
I i i i i'm not your stepping stone
Not your stepping stone,
Not your stepping stone.

When i first met you girl you didn't have no shoes
Now you're walking 'round like you're front page news.
You've been awful careful 'bout the friends you choose
But you won't find my name in your book of who's who.

I said
I i i i i'm not your stepping stone
I i i i i'm not your stepping stone
Not your stepping stone,
Not your stepping stone.

:guitar: :banana: :mango

Contrary to the image they would develop in the next ten years, The Bee Gees, featuring British-born brothers Barry, Robin, and Maurice Gibb who began their careers in Australia, released a psychedelic rock album called simply Bee Gees 1st.

When the young brothers were growing up in Britain, they took a record to a local theater to lip sync onstage to, as was a common family practice then, but when the record dropped and broke, the brothers decided to get up and sing without the disc. When they got a good response from the crowd, the three decided that this was what they wanted to do with their lives.

They had a slew of hits in Australia in the early/mid-60's, but when they returned to Britain, they were told that groups were on their way out. They ignored this advice and were signed by music enterpreneur Robert Stigwood.
They recorded a surreal, darkly psychedelic track called "New York Mining Disaster 1941", which established them as one of the best new talents in 1967. Their debut album also featured soft rock songs as their next big hit "Massachusetts," "Words", "To Love Somebody" and "I Can't See Nobody."

New York Mining Disaster 1941

In the event of something happening to me,
there is something I would like you all to see.
It's just a photograph of someone that I knew.

Have you seen my wife, Mr. Jones?
Do you know what it's like on the outside?
Don't go talking too loud, you'll cause a landslide, Mr. Jones.

I keep straining my ears to hear a sound.
Maybe someone is digging underground,
or have they given up and all gone home to bed,
thinking those who once existed must be dead.

Have you seen my wife, Mr. Jones?
Do you know what it's like on the outside?
Don't go talking too loud, you'll cause a landslide, Mr. Jones.

In the event of something happening to me,
there is something I would like you all to see.
It's just a photograph of someone that I knew.

Have you seen my wife, Mr. Jones?
Do you know what it's like on the outside?
Don't go talking too loud, you'll cause a landslide, Mr. Jones.

Massachussetts

Feel I'm goin' back to Massachusetts,
Something's telling me I must go home.
And the lights all went down in Massachusetts
The day I left her standing on her own.

Tried to hitch a ride to San Francisco,
Gotta do the things I wanna do.
And the lights all went down in Massachusetts
They brought me back to see my way with you.

Talk about the life in Massachusetts,
Speak about the people I have seen,
And the lights all went down in Massachusetts
And Massachusetts is one place I have seen.

I will remember Massachusetts...

:guitar:

I'm Not Your Stepping Stone

I i i i i'm not your stepping stone
I i i i i'm not your stepping stone

You're trying to make your mark in society
Your using all the tricks that you used on me.
You're reading all them high fashion magazines
The clothes you're wearin' girl are causing public scenes.

I said
I i i i i'm not your stepping stone
I i i i i'm not your stepping stone
Not your stepping stone,
Not your stepping stone.

When i first met you girl you didn't have no shoes
Now you're walking 'round like you're front page news.
You've been awful careful 'bout the friends you choose
But you won't find my name in your book of who's who.

I said
I i i i i'm not your stepping stone
I i i i i'm not your stepping stone
Not your stepping stone,
Not your stepping stone.

:guitar: :banana: :mango


Covered by the Sex Pistols! :D

Covered by the Sex Pistols! :DDid you know that one time PiL (Public Image Ltd.), fronted by John(ny) Rotten/Lydon, in the 80's, actually also covered "Kashmir" by Led Zeppelin in concert? It was supposed to be their knock against the corporate prog-rock the punks were revolting against back about 30 years ago! :lol:

Procol Harum was another British progressive rock band which featured future guitar great Robin Trower and vocalist Gary Brooker. Their style incorporated many classical elements as orchestras and the like, but their crowning moment was the huge transatlantic hit, 1967's "Whiter Shade of Pale", a brooding, organ-driven song which remains one of the most popular songs of the classic rock era. The band expanded their fan base by touring and opening for the Jimi Hendrix Experience. The band gained popularity as many bands such as The Beatles and The Moody Blues spearheaded the art-rock movement with symphonic arrangements on albums such as Sergeant Pepper's Lonely Hearts Club Band and Days of Future Passed.

The band followed up with a series of modest hits, a few lineup changes, but by 1972, Trower had left the band to front his own blues rock trio, where he would be constantly compared to Hendrix over the years.

Conquistador

Conquistador your stallion stands
in need of company
and like some angel's haloed brow
you reek of purity
I see your armour-plated breast
has long since lost its sheen
and in your death mask face
there are no signs which can be seen

And though I hoped for something to find
I could see no maze to unwind
Conquistador a vulture sits
upon your silver shield
and in your rusty scabbard now
the sand has taken seed
and though your jewel-encrusted blade
has not been plundered still
the sea has washed across your face
and taken of its fill

And though I hoped for something to find
I could see no maze to unwind
Conquistador there is no time
I must pay my respect
and though I came to jeer at you
I leave now with regret
and as the gloom begins to fall
I see there is no, only all
and though you came with sword held high
you did not conquer, only die

And though I hoped for something to find
I could see no maze to unwind

A Whiter Shade of Pale

We skipped the light fandango
turned cartwheels 'cross the floor
I was feeling kinda seasick
but the crowd called out for more
The room was humming harder
as the ceiling flew away
When we called out for another drink
and the waiter brought a tray

And so it was that later
as the miller told his tale
that her face, at first just ghostly,
turned a whiter shade of pale

She said, "There is no reason
and the truth is plain to see."
But I wandered through my playing cards
and they would not let her be
one of sixteen vestal virgins
who were leaving for the coast
and although my eyes were open wide
they might have just as well been closed

And so it was that later
as the miller told his tale
that her face, at first just ghostly,
turned a whiter shade of pale

She said, "I'm here on a shore leave,"
though we were miles at sea.
I pointed out this detail
and forced her to agree,
saying, "You must be the mermaid
who took King Neptune for a ride."
And she smiled at me so sweetly
that my anger straightway died.

And so it was that later
as the miller told his tale
that her face, at first just ghostly,
turned a whiter shade of pale

If music be the food of love
then laughter is its queen
and likewise if behind is in front
then dirt in truth is clean
My mouth by then like cardboard
seemed to slip straight through my head
So we crash-dived straightway quickly
and attacked the ocean bed

And so it was that later
as the miller told his tale
that her face, at first just ghostly,
turned a whiter shade of pale

:guitar:

Clips from a show aired on an Italian TV show 1967, with closeup of Trower:

Cream's Disraeli Gears, released in the fall of 1967, featured more of the band's best songs: "Strange Brew", "Sunshine of Your Love", "Tales of Brave Ulysses", and "SWABLR". The band was becoming more psychedelic rather than merely electric blues at this point. The album was their first big seller in the United States. The album was produced by Felix Pappalardi of the band Mountain, called "the fourth member of Cream".

Strange Brew

Strange brew -- killin' what's inside of you.

She's a witch of trouble in electric blue,
In her own mad mind she's in love with you.
With you.
Now what you gonna do?
Strange brew -- killin' what's inside of you.

She's some kind of demon messing in the glue.
If you don't watch out it'll stick to you.
To you.
What kind of fool are you?
Strange brew -- killin' what's inside of you.

On a boat in the middle of a raging sea,
She would make a scene for it all to be
Ignored.
And wouldn't you be bored?
Strange brew -- killin' what's inside of you.

Strange brew, strange brew, strange brew, strange brew.
Strange brew -- killin' what's inside of you.

Sunshine of Your Love

It's getting near dawn,
When lights close their tired eyes.
I'll soon be with you my love,
To give you my dawn surprise.
I'll be with you darling soon,
I'll be with you when the stars start falling.

I've been waiting so long
To be where i'm going
In the sunshine of your love.

I'm with you my love,
The light's shining through on you.
Yes, i'm with you my love,
It's the morning and just we two.
I'll stay with you darling now,
I'll stay with you till my seas are dried up.

Chorus

Second verse

I've been waiting so long
I've been waiting so long
I've been waiting so long
To be where i'm going
In the sunshine of your love.

:guitar: peace:

Tales of Brave Ulysses

You thought the leaden winter would bring you down forever,
But you rode upon a steamer to the violence of the sun.

And the colors of the sea blind your eyes with trembling mermaids,
And you touch the distant beaches with tales of brave ulysses:
How his naked ears were tortured by the sirens sweetly singing,
For the sparkling waves are calling you to kiss their white laced lips.

And you see a girl's brown body dancing through the turquoise,
And her footprints make you follow where the sky loves the sea.
And when your fingers find her, she drowns you in her body,
Carving deep blue ripples in the tissues of your mind.

The tiny purple fishes run laughing through your fingers,
And you want to take her with you to the hard land of the winter.

Her name is aphrodite and she rides a crimson shell,
And you know you cannot leave her for you touched the distant sands
With tales of brave ulysses; how his naked ears were tortured
By the sirens sweetly singing.

The tiny purple fishes run lauging through your fingers,
And you want to take her with you to the hard land of the winter.

The following song title is an acronym for "She Walks As a Bearded Lady's Rainbow":

SWABLR

Coming to me in the morning, leaving me at night.
Coming to me in the morning, leaving me alone.
You've got that rainbow feel but the rainbow has a beard.

Running to me a-cryin' when he throws you out.
Running to me a-cryin', on your own again.
You've got that pure feel, such good responses,
But the picture has a mustache.

You're coming to me with that soulful look on your face,
Coming looking like you've never ever done one wrong thing.

You're coming to me with that soulful look on your face.
You're coming looking like you've never ever done one wrong thing.

So many fantastic colors; i feel in a wonderland.
Many fantastic colors makes me feel so good.
You've got that pure feel, such good responses.
You've got that rainbow feel but the rainbow has a beard.

:guitar: :mango

Bobbie Gentry was a songstress from down South who had a hit with the sad song "Ode to Billy Joe". Born in 1944 in Chickasaw County, Mississippi, her parents divorced when she was young, so she grew up with her grandparents in a rural hovel with very little electricity or much else in the way of urban amenities. She said that her grandfather made his favorite,
possum stew, and that he let her play with the tail he cut off for her! :eek: Such was life when she had very few toys.

In the late 50's she moved to Palm Springs, and when she saw the Jennifer Jones movie 'Ruby Gentry', she liked the name so much she decided to alter it for herself for her own singing career. While still in high school, Bob Hope and Hoagy Carmichael caught her act and encouraged her to pursue it. While attending college she continued to forge her musical career in the mid 60's, and in 1967 she was signed to Capitol Records where she recorded a single titled "Mississippi Delta", but it was the flip side to the single that became the hit, "Ode to Billy Joe", a tragic tale about a family's indifference to the suicide of a young local boy. The lyrics kept listeners hanging as to why he killed himself, but Gentry focused on the character's reaction to the death in the song, rather than why he killed himself. The song was one of the first of its kind to deal with a controversial and previously forbidden theme.

Her subsequent singles did not match the success of the song, but she plowed through show business, even appearing in various t.v. appearances with such persons as Glen Campbell and briefly having a short-lived program of her own in the mid-70's. She also had a few brief marriages, and in 1978, she dropped out of the entertainment business altogether and has lived a private life since.

Ode To Billy Joe

It was the third of June, another sleepy, dusty Delta day
I was out choppin' cotton and my brother was balin' hay
And at dinner time we stopped and walked back to the house to eat
And Mama hollered out the back door "Y'all remember to wipe your feet"
And then she said "I got some news this mornin' from Choctaw Ridge"
"Today Billie Joe MacAllister jumped off the Tallahatchie Bridge"

And Papa said to Mama as he passed around the blackeyed peas
"Well, Billie Joe never had a lick of sense, pass the biscuits, please"
"There's five more acres in the lower forty I've got to plow"
And Mama said it was shame about Billie Joe, anyhow
Seems like nothin' ever comes to no good up on Choctaw Ridge
And now Billie Joe MacAllister's jumped off the Tallahatchie Bridge

And Brother said he recollected when he and Tom and Billie Joe
Put a frog down my back at the Carroll County picture show
And wasn't I talkin' to him after church last Sunday night?
"I'll have another piece of apple pie, you know it don't seem right"
"I saw him at the sawmill yesterday on Choctaw Ridge"
"And now you tell me Billie Joe's jumped off the Tallahatchie Bridge"

And Mama said to me "Child, what's happened to your appetite?"
"I've been cookin' all morning and you haven't touched a single bite"
"That nice young preacher, Brother Taylor, dropped by today"
"Said he'd be pleased to have dinner on Sunday, oh, by the way"
"He said he saw a girl that looked a lot like you up on Choctaw Ridge"
"And she and Billie Joe was throwing somethin' off the Tallahatchie Bridge"

A year has come 'n' gone since we heard the news 'bout Billie Joe
And Brother married Becky Thompson, they bought a store in Tupelo
There was a virus going 'round, Papa caught it and he died last Spring
And now Mama doesn't seem to wanna do much of anything
And me, I spend a lot of time pickin' flowers up on Choctaw Ridge
And drop them into the muddy water off the Tallahatchie Bridge

More pics:

http://www.geocities.com/odetobobbiegentry/images/bg45.jpg

Janis Ian, born Janis Eddy Fink in New York in 1951, was a folk-pop singer who charted in the mid-60's with a controversial hit about an interracial relationship, "Society's Child". Record companies refused to release
it until the third time, when it soon became a huge hit. Composer Leonard Bernstein featured it in a show called "Inside the Rock Revolution", which piqued interest in the song. However, one radio station allegedly was burned to the ground after the song was played.

Ian changed her name as a child, and later emancipated herself from her parents at the age of 15. She even mentioned once that when she was young, government anti-communist "spooks" watched her family for supposedly "subversive" activities.

One of her biggest hits was 1975's "At Seventeen", a touching song about the pain of growing up.

Like many musicians and songwriters, Ian is opposed to RIAA, which she believes is not acting in the best interests of the artist. She also writes science fiction and continues to record. She married her partner Patricia Snyder in Toronto in 2003 (eat THAT, George W.B.!! :D ).

Society's Child

Come to my door, baby,
face is clean and shining black as night.
My mother went to answer, you know,
and you looked so fine.
Now I can understand your tears and your shame.
She called you "boy" instead of your name.
When she wouldn't let you inside.
When she turned and said
"But honey, he's not our kind."

She said I can't see you any more, baby.
Can't see you anymore.

Walk me down to school, baby.
Everybody's acting deaf and blind.
Until they turn and say
why don't you stick to your own kind.

(Not sure about the rest of this verse. It sounds to me like)
My teachers all laugh, they smirk and stare.
Cutting deep down in our affair.
Preachers of equality. They say "Believe us"
but why won't they just let us be?

They say I can't see you anymore, baby.
Can't see you anymore.

One of these days I'm gonna stop my listening,
Gonna raise my head up high.
One of these days I'm gonna raise my glistening wings and fly.
But that day will have to wait for awhile.
Baby, I'm only society's child.
When we're older things may change.
But for now this is the way they must remain.

I say I can't see you any more, baby.
Can't see you anymore.
No, I don't wanna see you any more, baby

Janis Ian, born Janis Eddy Fink in New York in 1951, was a folk-pop singer who charted in the mid-60's with a controversial hit about an interracial relationship, "Society's Child". Record companies refused to release
it until the third time, when it soon became a huge hit. Composer Leonard Bernstein featured it in a show called "Inside the Rock Revolution", which piqued interest in the song. However, one radio station allegedly was burned to the ground after the song was played.

I always believed that Ian recognized her homosexuality at an early age, and that the interracial realtionship in "Society's Child" was meant to symbloize a gay one. People in 1967 were less freaked out by interraical couples than gay couples, so long as the interracial couple was a man and a woman! (Guess who's coming to dinner!)

Imagine growing up with a surname like Fink! Though, it's not as bad as "Sniveling-Ratfaced-Git!":lol: Ian was her brother's first name.

I always believed that Ian recognized her homosexuality at an early age, and that the interracial realtionship in "Society's Child" was meant to symbloize a gay one. People in 1967 were less freaked out by interraical couples than gay couples, so long as the interracial couple was a man and a woman! (Guess who's coming to dinner!)

Imagine growing up with a surname like Fink! Though, it's not as bad as "Sniveling-Ratfaced-Git!":lol: Ian was her brother's first name.
Or how about Fiona Apple's real last name: Maggert!!!! :eek:

It makes sense about "Society's Child" really being about gay love. :idea:

INterseting ,a wesome stuff!:D

Joe (EmoJoe) aka one of my fellow Smirftractors, saw Cream in concert last year

While 'The Monkees' t.v. series, was innovative in its use of special effects and comical storyline twists to enhance the episodes, the group was tiring of the same old scripts and format for the show each week. The band was able to bring in such big names onto the show as Frank Zappa, Tim Buckley, and others, but NBC was not about to let them change the show. Due to their frustration with the network's decision, the group turned down a third season.
The group however, did appear in a Monkees movie called 'Head' with the show's producers including a relatively unknown actor Jack Nicholson, but the huge lack of advertising, and no mention of The Monkees in the ads, kept many viewers from seeing it. The movie was so titled so that if a sequel was made, the tag line would read, "From the people who gave you 'Head'--" ;) :lol: but the movie never took off to merit a sequel.

Nicholson also assembled the film's soundtrack album. The film, created and edited in a stream of consciousness style, featured cameo appearances by movie stars Victor Mature, Annette Funicello, a young Teri Garr, boxer Sonny Liston, famous stripper Carol Doda, and musician Frank Zappa. It was filmed in Screen Gems Studios and on location in California, Utah, and The Bahamas between February 19 and May 17, 1968 and premiered in New York City on November 6 of that year. (The film later debuted in Hollywood on November 20.) It was not a commercial success. This was in part because Head, being a complete antithesis of The Monkees TV show, comprehensively demolished the group's carefully-groomed public image, as evidenced by the stanzas from Rafelson and Nicholson's "Ditty Diego-War Chant" (recited at the start of the film by The Monkees), which ruthlessly parodies Boyce and Hart's "Monkees Theme."

But over the intervening years Head has developed a cult following for its innovative style and anarchic humor, and the soundtrack album (long out of print but now available in an expanded CD version) is counted among their best recordings. Members of The Monkees, Nesmith in particular, cite Head as one of the crowning achievements of the band.

Critics of The Monkees complained that they were simply a made-for-TV knockoff of The Beatles, but The Beatles didn't seem to mind. John Lennon was a fan of the show, comparing its humor to The Marx Brothers. George Harrison praised their self-produced musical efforts, saying "When they get it all sorted out, they might turn out to be the best." (Peter Tork was later one of the musicians on Harrison's Wonderwall Music, playing Paul McCartney's five-string banjo.) Longtime Beatles confidant Peter Shotton commented in his book The Beatles, Lennon and Me, "The Monkees are what the Beatles pretend to be."

Head is essentially plotless, a seemingly stream of consciousness stringing-together of musical numbers, satire of various movie genres, elements of psychedelia, and references to topical issues such as the Vietnam War. Trailers for the film summarized it as a "most extraordinary adventure, western, comedy, love story, mystery, drama, musical, documentary satire." Some film critics now consider the film to be an allegorical deconstruction of the Monkees' experiences as pawns of the Hollywood starmaking machine and, like their real-life story itself, contains some sinister truths lurking underneath what appears to be a colorful, entrancing facade.

The storylines and peak moments of the movie came from a weekend visit to a resort in Ojai, California, where the Monkees, Rafelson and Nicholson brainstormed into a tape recorder, reportedly with the aid of a large quantity of marijuana. When the band learned that they not only weren't receiving screenwriting credit (since they didn't write the actual shooting script), but would not be allowed to direct themselves, three of the members staged a one-day walkout, leaving Tork the only Monkee on the set the first day. The incident damaged The Monkees' relationship with Rafelson and Bert Schneider.

Filmed at Columbia Pictures/Screen Gems Studios and on various locations in California (the Vincent Thomas Bridge, San Pedro; Pasadena Rose Bowl, Pasadena; Playa Del Rey; Bronson Canyon; Palm Springs; Columbia Ranch, Burbank), Utah (Valley Music Hall, Salt Lake City), and The Bahamas between February 15 and May 17, 1968, the movie makes fun of the band's image and the bandmember's personae. The song "Ditty Diego - War Chant" is a parody of the band's TV theme song written by Boyce and Hart; its lyrics illustrate the tone of self-parody evident in parts of the film:

Hey, hey, we are The Monkees,
You know we love to please,
A manufactured image
With no philosophies.
We hope you'll like our story,
Although, there isn't one,
That is to say, there's many,
That way, there is more fun.
You told us you like action
And games of many kinds
You like to dance you, like to sing
So let's all lose our minds!
We know it doesn't matter
'Cause what you came to see
You know we'd love to give you
And give it one, two, three!
But it may come three, two, one, two
Or jump from nine to five,
And when you see the end in sight
The beginning may arrive.
To those who look for meanings
In form as they do fact
We might just tell you one thing
But we'd only take it back!
Not back like in a box back
Not back like in a race
Not back so you can keep it
But back in time and space!
You say were manufactured.
To that we all agree.
So make your choice and we'll rejoice
In never being free!
Hey Hey we are The Monkees
We've said it all before;
The money's in, were made of tin,
We're here to give you more!
The money's in, were made of tin
We're here to give you...


The 86-minute Head premiered in New York City on November 6, 1968. (The film later debuted in Hollywood on November 20.) It was not a commercial success. This was in part because Head, being an antithesis of The Monkees TV show, comprehensively demolished the group's carefully-groomed public image, while the older, hipper audience they'd been reaching for rejected the Monkees' efforts out of hand.

Headquarters, their third album in 1967, showed the band in more creative control, while still featuring other musicians on the album such as Neil Young and others. The album topped the charts at #1 for one week until The Beatles' "Sergeant Pepper" album replaced it.

Meanwhile, Don Kirshner, who was angered by the group's rebellion and breaking away from his creative control, would get his revenge: his next musical project would never get in his face and demand creative freedom and autonomy--they were the groups The Archies and Josie and the Pussycats--both cartoon acts!!! :snob:

ohno: :lol:

From Headquarters:

You Told Me

You told me you'd always stay, you told me!
You told me you'd never stray, you told me!
All these things you said you said sincerely.
Still i am leaving you in spite of what you told me.

I've heard things that did not match what you told me.
And of your love that would not last as you told me.
Forwarned is forearmed, it hurts, i'm leaving.
I may be wrong i can't love what i'm just hearing.

Times have made me shy
Of all the things you're saying
Time have made me shy
Of girls and all the games they are playing.

Someday i may see the truth of what you told me.
I may find i left too soon and that you told me.
Only things that you were honestly feeling.
I must have more to love than what you told me.

Yes, i must have more to love than what you told me.
Yes, i must have more to love than what you told me.

:guitar: :banana: :mango

Head is considered the movie Magical Mystery Tour should have been! :D

In 1968, Simon and Garfunkel released Bookends, an album with an interesting storyline reflecting life: starting out with an instrumental indicating a baby's arrival into the world (instrumental due to a baby's inability
to talk, a song "spoken" from a baby's point of view, a sense of innocence and wonder), followed by various life stages of childhood and youth. The second side begins with the jarring "loss of innocence" themes, of broken love and the sad rites of passage into adulthood--accompanied by different musical styles and instruments such as synthesizers. Two of the duo's most popular tracks are included on this album, "Mrs. Robinson", and "A Hazy Shade
of Winter", which was later an 80's hit for The Bangles in the movie 80's "Less Than Zero" starring Jamie Goertz and Robert Downey, Jr. "Mrs. Robinson", which was featured on the 1968 film "The Graduate" with Dustin Hoffman, was another song in the 60's which drew some controversy for introducing the name of Jesus in its lyrics, something which had never been done before in popular music (except for "God Only Knows" by The Beach Boys).

Songs included:

"Bookends Theme" (Instrumental) - 0:32
"Save the Life of My Child" - 2:49
"America" - 3:34
"Overs" - 2:14
"Voices of Old People" *
"Old Friends" - 2:36
"Bookends" - 1:16 sample
"Fakin' It" - 3:14
"Punky's Dilemma" - 2:10
"Mrs. Robinson" - 4:02 sample
"A Hazy Shade of Winter" - 2:17
"At the Zoo" - 2:11

Mrs. Robinson

And here's to you, Mrs. Robinson
Jesus loves you more than you will know (wo, wo, wo)
God bless you please, Mrs. Robinson
Heaven holds a place for those who pray
(hey, hey, hey...hey, hey, hey)

We'd like to know a little bit about you for our files
We'd like to help you learn to help yourself
Look around you, all you see are sympathetic eyes
Stroll around the grounds until you feel at home

And here's to you, Mrs. Robinson
Jesus loves you more than you will know (wo, wo, wo)
God bless you please, Mrs. Robinson
Heaven holds a place for those who pray
(hey, hey, hey...hey, hey, hey)

Hide it in a hiding place where no one ever goes
Put it in your pantry with your cupcakes
It's a little secret, just the Robinsons' affair
Most of all, you've got to hide it from the kids

Coo, coo, ca-choo, Mrs Robinson
Jesus loves you more than you will know (wo, wo, wo)
God bless you please, mrs. robinson
Heaven holds a place for those who pray
(hey, hey, hey...hey, hey, hey)

Sitting on a sofa on a Sunday afternoon
Going to the candidates debate
Laugh about it, shout about it
When you've got to choose
Ev'ry way you look at it, you lose

Where have you gone, Joe Dimaggio
A nation turns its lonely eyes to you (woo, woo, woo)
What's that you say, Mrs. Robinson
Joltin' Joe has left and gone away
(hey, hey, hey...hey, hey, hey)


Hazy Shade of Winter

Time, time, time, see what's become of me
While i looked around
For my possibilities
I was so hard to please
But look around, leaves are brown
And the sky is a hazy shade of winter

Hear the salvation army band
Down by the riverside, it's bound to be a better ride
Than what you've got planned
Carry your cup in your hand
And look around, leaves are brown now
And the sky is a hazy shade of winter

Hang on to your hopes, my friend
That's an easy thing to say, but if your hopes should pass away
Simply pretend
That you can build them again
Look around, the grass is high
The fields are ripe, it's the springtime of my life

Ahhh, seasons change with the scenery
Weaving time in a tapestry
Won't you stop and remember me
At any convenient time
Funny how my memory slips while looking over manuscripts
Of unpublished rhyme
Drinking my vodka and lime

But look around, leaves are brown now
And the sky is a hazy shade of winter

Look around, leaves are brown
There's a patch of snow on the ground...

:guitar: :banana: :mango

At a time when the U.S. seemed to have lost its way, "America," also from Bookends, wondered aoud what had happened to the country's soul and how it could be retreived. Alas, the song is still relevant today. :(

America - Simon and Garfunkel

(Simon)

"Let us be lovers,
We'll marry our fortunes together.
I've got some real estate
Here in my bag."
So we bought a pack of cigarettes,
And Mrs. Wagner's pies,
And walked off
To look for America.

"Kathy," I said,
As we boarded a Greyhound in Pittsburgh,
"Michigan seems like a dream to me now.
It took me four days
To hitchhike from Saginaw.
I've come to look for America."

Laughing on the bus,
Playing games with the faces,
She said the man in the gabardine suit
Was a spy.
I said, "Be careful,
His bow tie is really a camera."

"Toss me a cigarette,
think there's one in my raincoat."
"We smoked the last one
An hour ago."
So I looked at the scenery,
She read her magazine;
And the moon rose over an open field.

"Kathy, I'm lost," I said,
Though I knew she was sleeping.
"I'm empty and aching and
I don't know why."

Counting the cars
On the New Jersey Turnpike,
They've all come
To look for America,
All come to look for America,
All come to look for America.

After the release of the psychedelic album Little Games, The Yardbirds
found their popularity waning in Britain (success was practically unheard of in America). Their songs featured long extended jams which bore no resemblance to their original songs, including one which went down very well live, a slow, dirge-y song called "Dazed and Confused". The song was later released as "Think About It", a B-side to a failed final single called "Goodnight Sweet Josephine". Vocalist Keith Relf and drummer Jim McCarty wanted to move in a more folk direction, while Page wanted to move in a louder, more experimental direction, so the band split up into two directions. It was the end of The Yardbirds, but not the last we heard from Jimmy Page. Not by a long shot.

Page had to do something in a hurry. The band was still scheduled for a series of shows in Scandinavia, but had broken up after a show in the British town of Luton, and Page was not about to disappoint. He was about to go on the road with a new lineup tentatively titled The New Yardbirds. He gathered a few new members, including Robert Plant, a drummer by the name of John Bonham, and a multi-talented
bassist/keyboardist by the name of John Paul Jones. The members of The Who christened the sound of the "New" Yardbirds with a more
appropriate moniker over their heavy-duty sound.....

....and the rest is rock and roll history. ;)




The rest of the members of The Yardbirds went on to varying degrees of success, Jim McCarty went on to help form the British progressive classical/folk rock band Renaissance during the 70's, but sadly, Keith Relf died in 1976 from electrocution by an ungrounded guitar in his basement. :( Bassist Chris Dreja would later form a semi-Yardbirds reunion called Box of Frogs in 1984. One memorable comment at The Yardbirds' induction into the Rock and Roll Hall of Fame in 1992 came from Jeff Beck when he quipped, "I suppose I should say thank you, but they fired me—so f:censored: 'em!" :eek: :lol:

Former bassist and later producer Paul Samwell-Smith would go on to manage
Cat Stevens' career until Stevens converted to Islam in 1979 and assumed the name Yusuf Islam.


Here is one song from the Jeff Beck

Stroll On

Strollin' on,
'Cos it's all gone,
The reason why.
You made me cry,
By tellin' me,
You didn't see.
The future bore,
Our love no more.
If you want to know,
I love you so,
And I don't want to let you go.

I'm strollin' on,
Gonna make you see.
I'm strollin' on,
You'll find you really love me.
I'm strollin' on,
Be your turn to cry.
I'm strollin' on,
You wish you'd never lied.
You're going to change your mind,
But you ain't gonna find,
Any more of my kind.

I'm strollin' on,
'Cos it's all gone,
The reason why.
You made me cry,
By tellin' me,
You didn't see.
The future bore,
Our lovin' no more.
If you want to know,
I love you so,
I don't want to let you go.

I'm strollin' on,
Gonna make you see.
I'm strollin' on,
You'll find you really love me.
I'm strollin' on,
Be your turn to cry.
I'm strollin' on,
You wish you'd never lied.
You're going to change your mind,
But you ain't gonna find,
Any more of my kind

Think About It

When will the clouds all roll away?
When will the good people have their say?
I hope you're still round to see the day.
Take a while,
Think about it.
Take a while,
Think about it.
Take a while,
Think about it.

Who can tell what is up or down?
You can be the king or be the clown.
Then climb your tree, take a look around.
Take a while,
Think about it.
Take a while,
Think about it.
Take a while,
Think about it.

Circles of life, an infinite plane,
That which is now now will be again.
Who can decide who is insane?
Take a while,
Think about it.
Take a while,
Think about it.
Take a while,
Think about it.

:guitar:


Below, The New Yardbirds (say, doesn't that look like.....? :eek: ); and The Yardbirds featuring Page and Beck in 1966.

http://www.zebuhr.com/images/l_new_yardbirds.jpg

The Yardbirds reunited in 2003 with, if I'm not mistaken, Jim McCarty and Chris Dreja from the old band. . . and maybe Paul Samwell-Smith. Speaking of which, he became a producer of Carly Simon as well as Cat Stevens. :)

Mickey Most, producer of the Animals and Donovan, was at the helm for Little Games.

In 1968 Cream released Wheels of Fire which featured the classic
"White Room", as well as "Born Under a Bad Sign" and "Pressed Rat and Warthog". A live version of the album was also released including long jam versions of songs such as Robert Johnson's "Crossroads", "Spoonful",
"Traintime", and "Toad".

White Room

In the white room with black curtains near the station.
Blackroof country, no gold pavements, tired starlings.
Silver horses ran down moonbeams in your dark eyes.
Dawnlight smiles on you leaving, my contentment.

I'll wait in this place where the sun never shines;
Wait in this place where the shadows run from themselves.

You said no strings could secure you at the station.
Platform ticket, restless diesels, goodbye windows.
I walked into such a sad time at the station.
As i walked out, felt my own need just beginning.

I'll wait in the queue when the trains come back;
Lie with you where the shadows run from themselves.

At the party she was kindness in the hard crowd.
Consolation for the old wound now forgotten.
Yellow tigers crouched in jungles in her dark eyes.
She's just dressing, goodbye windows, tired starlings.

I'll sleep in this place with the lonely crowd;
Lie in the dark where the shadows run from themselves.

Born Under a Bad Sign

Born under a bad sign.
I've been down since i began to crawl.
If it wasn't for bad luck,
I wouldn't have no luck at all.

Bad luck and trouble's my only friend.
I've been down ever since i was ten.

Chorus

You know, wine and women is all i crave.
A big bad woman's gonna carry me to my grave.

Chorus

First verse

Born under a bad sign.
I've been down since i began to crawl.
If it wasn't for bad luck,
I wouldn't have no luck.
If it wasn't for real bad luck,
I wouldn't have no luck at all.

Born under a bad sign.
Born under a bad sign.

:guitar: peace:

Crossroads

I went down to the crossroads, fell down on my knees.
I went down to the crossroads, fell down on my knees.
Asked the lord above for mercy, "save me if you please."

I went down to the crossroads, tried to flag a ride.
I went down to the crossroads, tried to flag a ride.
Nobody seemed to know me, everybody passed me by.

I'm going down to rosedale, take my rider by my side.
I'm going down to rosedale, take my rider by my side.
You can still barrelhouse, baby, on the riverside.

You can run, you can run, tell my friend-boy willie brown.
You can run, you can run, tell my friend-boy willie brown.
And i'm standing at the crossroads, believe i'm sinking down.

Pressed Rat and Warthog

Pressed rat and warthog have closed down their shop.
They didn't want to; 'twas all they had got.
Selling atonal apples, amplified heat,
And pressed rat's collection of dog legs and feet.

Sadly they left, telling no one goodbye.
Pressed rat wore red jodhpurs, warthog a striped tie.
Between them, they carried a three-legged sack,
Went straight round the corner and never came back.

Pressed rat and warthog have closed down their shop.
The bad captain madman had told them to stop
Selling atonal apples, amplified heat,
And pressed rat's collection of dog legs and feet.

The bad captain madman had ordered their fate.
He laughed and stomped off with a nautical gate.
The gate turned into a deroga tree
And his pegleg got woodworm and broke into three.

Pressed rat and warthog have closed down their shop.
They didn't want to; 'twas all they had got.
Selling atonal apples, amplified heat,
And pressed rat's collection of dog legs and feet.

:guitar: peace:

Cream trio pic and Jack Bruce live:

Donovan released The Hurdy Gurdy Man, an album which featured Jimmy Page and future members of The New Yardbirds on the album. The album explored jazz themes and remained a psychedelic classic. Donovan even wanted Jimi Hendrix to appear on the album but he was not available, so Page remained his second choice. Donovan recorded the album after his trip to India to study under Maharishi Mahesh Yogi. John Lennon, Cynthia Lennon, George Harrison, Pattie Boyd, Paul McCartney, Jane Asher, Mia Farrow, Prudence Farrow, and Mike Love were also there.

The Butthole Surfers also did a cover of this song as well in the late 80's/early 90's under a different title.

Hurdy Gurdy Man

Thrown like a star in my vast sleep
I'm opening my eyes to take a peep
To find that I was by the sea
Gazing with tranquility

'Twas then when the hurdy gurdy man
Came singing songs of love
Then when the hurdy gurdy man
Came singing songs of love

Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang
Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang
Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang

Histories of ages past
Unenlightened shadows cast
Down through all eternity
The crying of humanity

'Tis then when the hurdy gurdy man
Comes singing songs of love
Then when the hurdy gurdy man
Comes singing songs of love

Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang
Hurdy gurdy, hurdy gurdy, hurdy gurdy, hurdy gurdy hurdy gurd
Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang

Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang
Here comes the roly-poly man
He's singing songs of love
Roly poly, roly poly, roly poly poly he sang
Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang
Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang
Roly poly, roly poly, roly poly poly he sang

:guitar: peace:

Blue Cheer was a San Francisco band whose loudness and heaviness may have made them possibly one of the first heavy metal bands. The band took its name from a brand of LSD itself named after a brand of laundry detergent. Their only hit was a cover was a cover of Eddie Cochran's "Summertime Blues", played nothing like the orginal. (Cochrane had died in 1960 in an auto accident in a taxi in London.) The Who would play their version of Blue Cheer's version at Woodstock.

Blue Cheer's members were a basic power trio: singer/bassist Dickie Peterson, guitarist Leigh Stephens, and drummer Paul Whaley. Their 1968 album Vincebus Eruptum featured "Summertime Blues", which peaked at #14 on the charts. Their music was louder than loud and probably not a lot of fun to listen to for the unitiated, but it was...a beautiful thing. :cool:

In the song, droney guitar parts fill in where the deep spoken adult voice should be:

Summertime Blues

I'm gonna raise a fuss ,
I'm gonna raise a holler
About workin' all summer
Just to try the eart a dollar
Well ev'ry time I call my baby
Try to get late...

Sometimes, I wonder what I'm gonna do
But there ain't no cure,
For the summertimes blues

Well my mom and papa told me son
Ya gotta earn some money
Uh if ya wanna use the car
To go a ridin' next sunday
A well I didn't go to work
Told the boss I was sick

Sometimes, I wonder what I'm gonna do
But there ain't no cure,
For the summertimes blues

I'm gonna take two weeks
Gonna have a fine vacation
I'm gonna take my problems
To the United Nations
Well I called my congress man
You're too young to vote

Sometimes, I wonder what I'm gonna do
But there ain't no cure,
For the summertimes blues

I'm gonna take two weeks
Gonna have a fine vacation
I'm gonna take my problems
To the United Nations
Well I called my congress man
You're too young to vote

Sometimes, I wonder what I'm gonna do
But there ain't no cure,
For the summertimes blues

:guitar: peace:

The Who released Magic Bus: The Who On Tour, which was deceptively titled, giving the impression that it was a live album. The album stiffed in Britain, so it was re-released under a different title. In America, however, the popular title track made it a Top 40 hit, and became the first exposure of The Who for many in the States.

Magic Bus

Every day I get in the queue (Too much, the Magic Bus)
To get on the bus that takes me to you (Too much, the Magic Bus)
I'm so nervous, I just sit and smile (Too much, the Magic Bus)
Your house is only another mile (Too much, the Magic Bus)
Thank you, driver, for getting me here (Too much, the Magic Bus)
You'll be an inspector, have no fear (Too much, the Magic Bus)
I don't want to cause no fuss (Too much, the Magic Bus)
But can I buy your Magic Bus? (Too much, the Magic Bus)
Nooooooooo!

I don't care how much I pay (Too much, the Magic Bus)
I wanna drive my bus to my baby each day (Too much, the Magic Bus)
*[Magic Bus, Magic Bus, Magic Bus
Magic Bus, Magic Bus, Magic Bus
Give me a hundred (Magic Bus)
I won't take under (Magic Bus)
Goes like thunder (Magic Bus)
It's a bus-age wonder (Magic Bus)

Magic Bus, Magic Bus, Magic Bus, Magic Bus
I want it, I want it, I want it...(You can't have it!)
Think how much you'll save...(You can't have it!)]
I want it, I want it, I want it, I want it ... (You can't have it!)

Thruppence and sixpence every day
Just to drive to my baby
Thruppence and sixpence each day
'Cause I drive my baby every way

Magic Bus, Magic Bus, Magic Bus, Magic Bus, Magic Bus...
I want the Magic Bus, I want the Magic Bus, I want the Magic Bus...

I said, now I've got my Magic Bus (Too much, the Magic Bus)
I said, now I've got my Magic Bus (Too much, the Magic Bus)
I drive my baby every way (Too much, the Magic Bus)
Each time I go a different way (Too much, the Magic Bus)
I want it, i want it, I want it, I want it ...

Every day you'll see the dust (Too much, the Magic Bus)
As I drive my baby in my Magic Bus (Too much, the Magic Bus)

:guitar: :banana: :mango

One disappointing event in 1968 was the breakup of Cream, due to the inability of bassist Jack Bruce and drummer Ginger Baker to get along. Their tumultuous relationship cut short a promising career for one of the finest British electric blues bands of all time, but fortunately made guitarist Eric Clapton a free agent. They played their final concert on November 26, 1968 at Royal Albert Hall in London, which culminated a series of shows in Britain and America as part of their "farewell" tour. In the space of only two years, Cream had effectively changed the face of music and paved the way for future guitar greats. Eric Clapton was well on his way to becoming even more of one of the greatest guitar legends of all time. For now, the trio would go their separate ways, and not be collectively heard of again....




....for at least another 37 years. ;)


Like Clapton, Bruce and Baker would have their own relative successes in their future solo careers, but of course never reaching the mega-stardom of ol' Slowhand.

Oddly enough, many American blues "purist" critics ragged on the electric blues movement in Britain as "not genuine", being that its popularity was transplanted and imported to a country with not a strong record of blues originators. How these inane critics could miss the passion and sinceriity of blues guitarists in Britain was beyond imagination. Clapton definitely had an impact on such American bluesmen as Paul Butterfield and countless others. Clapton was especially devastated by one critic's merciless condemnation of his technique and of the British blues scene. But no matter, Slowhand's fame was about to reach unbelievable heights and his emotive playing style would become the envy of many, and become the standard of great guitar playing. And of course, the full impact of British electric blues just lie around the corner....

The band released one final album, Goodbye, which featured a number of extended live tracks. Those who witnessed the inevitable disintegration of rock's first major power trio were to be content with one last offering from the mighty band.

The one standout song was "Badge", which Clapton got from glancing at a handwritten lyric composed by George Harrison. He mistook the word "bridge"
(an extra stanza not following the rhyme/verse structure of the rest of the song) as reading "Badge". :doh: The song remains one of their best.

Badge

Thinkin' 'bout the times you drove in my car.
Thinkin' that I might have drove you too far.
And I'm thinkin' 'bout the love that you laid on my table.

I told you not to wander 'round in the dark.
I told you 'bout the swans, that they live in the park.
Then I told you 'bout our kid: now he's married to Mabel.

Yes, I told you that the light goes up and down.
Don't you notice how the wheel goes 'round?
And you better pick yourself up from the ground
Before they bring the curtain down.
Yes, before they bring the curtain down.

Ah Ah Ah, yeh yeh yeh
Ah Ah Ah, yeh yeh yeh

Talkin' 'bout a girl that looks quite like you.
She didn't have the time to wait in the queue.
She cried away her life since she fell off the cradle.

:guitar: peace:

Jethro Tull, a bluesy progressive rock band named after the British inventor of the seed drill, burst onto the UK scene with a modest album of rather amateurish, though very inventive tunes called This Was. The band, fronted by singer/flautist Ian Anderson, also featured a guitarist by the name of Mick Abrahams, who left after the release of the album due to Anderson's desire to take the band into more eclectic territory than the guitarist's preferred blues style.

This Was featured the following songs:

"My Sunday Feeling" (Anderson) - 3:43
"Some Day the Sun Won't Shine for You" (Anderson) - 2:49
"Beggar's Farm" (Abrahams/Anderson) - 4:19
"Move on Along" (Abrahams) - 1:58
"Serenade to a Cuckoo" (Kirk) - 6:07
"Dharma for One" (Anderson/Bunker) - 4:15
"It's Breaking Me Up" (Anderson) - 5:04
"Cat's Squirrel" (Traditional, arranged by Abrahams) - 5:42
"A Song for Jeffrey" (Anderson) - 3:22
"Round" (Anderson/Abrahams/Bunker/Cornick/Ellis) - 1:03

Before a suitable replacement could be found for Abrahams, one guitarist would very briefly fill the spotlight.

A Song For Jeffrey
A Song Gonna lose my way tomorrow,
gonna give away my car.
I'd take you along with me,
but you would not go so far.
Don't see what I do not want to see,
you don't hear what I don't say.
Won't be what I don't want to be,
I continue in my way.

Don't see, see, see where I'm goin',
Don't see, see, see where I'm goin',
Don't see, see, see where I'm goin' to,
I don't want to.

Everyday I see the mornin' come on in the same old way.
I tell myself tomorrow brings me things I would not dream today.

:guitar: peace:

Here is a clip from The Rolling Stones' concert film Rock and Roll Circus, which featured a number of British rock and roll acts, including Jethro Tull, who performed A Song For Jeffrey. Below, could you tell the future of rock and roll lie with one of the members of this lineup?


Don't believe me?? Fine. :snob:


The member of the band, whose tenure with the band was very short, but would influence future generations, was none other than the man pictured on the far right:









Tony Iommi.

Canned Heat was another blues-based band known for not only songs such as "Goin' Up the Country", but for also re-introducing veteran blues artists to newer audiences in the 60's, such as Son House and Albert Collins. The band was named after the heating product Sterno, also called canned heat. The band was fronted by Alan "Blind Owl" Wilson (guitar, harmonica, vocals) and hefty Bob "The Bear" Hite (vocals, harmonica). Henry "Sunflower" Vestine also played guitar and was an ex-member of Frank Zappa's Mothers of Invention. Larry "The Mole" Taylor (best known up until then as the Monkees session bassist), was their studio bassist, (joining full time through 1970), along with drummer Frank Cook for their first album, who was later replaced by Adolfo "Fito" De La Parra .

The band was a success after their appearance at the Monterey Pop Fest in 1967. Their first hit was 1968's "On The Road Again", from their album Boogie With Canned Heat. 1969's Livin' The Blues was a double-live album which gave them their biggest hit "Goin' Up the Country". An album recorded with blues legend John Lee Hooker, Hooker N' Heat, was recorded in 1970, but tragedy hit the band that year when guitarist Wilson was found dead of a possible drug-related suicide. :(

Bob Hite also died in 1981. :( But the band continued to record with a revolving lineup, even guesting on Hooker's album The Healer in 1989.

On the Road Again

Well, I'm so tired of crying, but i'm out
on the road again.
- I'm on the road again.
Well, I'm so tired of crying, but I'm out
on the road again.
- I'm on the road again.
I ain't got no woman
Just to call my special friend.
You know the first time I traveled out
in the rain and snow,
- In the rain and snow.
You know the first time I traveled out
in the rain and snow,
- In the rain and snow.
I didn't have no payroll,
Not even no place to go.
And my dear mother left me when
I was quite young,
- When I was quite young.
And my dear mother left me when
I was quite young,
- When I was quite young.
She said "Lord, have mercy
On my wicked son."
Take a hint from me, mama, please
don't you cry no more,
- Don't you cry no more.
Take a hint from me, mama, please
don't you cry no more,
- Don't you cry no more.
'Cause it's soon one morning
Down the road I'm going.
But I aint going down that
long old lonesome road
All by myself.
But I aint going down that
long old lonesome road
All by myself.
I can't carry you, Baby,
Gonna carry somebody else.

Goin' Up the Country

I'm going up the country, babe don't you wanna go
I'm going up the country, babe don't you wanna go
I'm going to some place where I've never been before
I'm going, I'm going where the water tastes like wine
Well I'm going where the water tastes like wine
We can jump in the water, stay drunk all the time
I'm gonna leave this city, got to get away
I'm gonna leave this city, got to get away
All this fussing and fighting, man, you know I sure can't stay
Now baby, pack your leaving trunk, you know we've got to leave today
Just exactly where we're going I cannot say, but We might even leave
the USA 'Cause there's a brand new game that I want to play
No use of you running, or screaming and crying
'Cause you've got a home as long as I've got mine

:guitar: :banana: :mango peace:

Here is a clip from The Rolling Stones' concert film Rock and Roll Circus, which featured a number of British rock and roll acts, including Jethro Tull, who performed A Song For Jeffrey. Below, could you tell the future of rock and roll lie with one of the members of this lineup?


Don't believe me?? Fine. :snob:


The member of the band, whose tenure with the band was very short, but would influence future generations, was none other than the man pictured on the far right:

Tony Iommi.

The bassist and drummer are Glen Cornick and Clive Bunker, repsectively. Cornick would be gone by the early seventies; Bunker would stay a little longer. (Cornick later joined Paris, the power trio guitarist Bob Welch formed after leaving Fleetwood Mac; their drummer was Soupy Sales's son! :eek: )Tony Iommi was only a temporary replacement for original Tull guitarist Mick Abrahams, but Jethro Tull would soon be moving on with the guitarist who defined the band's heavy sound. . . .

Martin Barre.

http://myguitarsolo.com/Players/MartinBarre.jpg

The bassist and drummer are Glen Cornick and Clive Bunker, repsectively. Cornick would be gone by the early seventies; Bunker would stay a little longer. (Cornick later joined Paris, the power trio guitarist Bob Welch formed after leaving Fleetwood Mac; their drummer was Soupy Sales's son! :eek: )Tony Iommi was only a temporary replacement for original Tull guitarist Mick Abrahams, but Jethro Tull would soon be moving on with the guitarist who defined the band's heavy sound. . . .

Martin Barre.

http://myguitarsolo.com/Players/MartinBarre.jpgThat's true, Tony Iommi was just a very temporary guitarist and not really intended to be a full-time member of Jethro Tull.

Martin Barre was and is a very capable guitarist, with great riffs to Tull songs.
In fact, I even have a music book of their 1975 album, Minstrel in the Gallery! :cool:

Status Quo was a British band whose sole American hit was
"Pictures of Matchstick Men" from 1968. The band originally formed in 1962 as The Spectres, then changed their name to Traffic as they ventured into psychedelia, but quickly changed it to Traffic Jam to avoid confusion with the
Steve Winwood band of the same name. They then changed their name to Status Quo and became a huge success in Britain due to the popularity of "Matchstick Men", but remained only a minor hit in America except for that hit. Guitarist/vocalist Francis Rossi said that he wrote the song while on the toilet--not going their for the usual *business*, but just to get away from the nagging wife and mother-in-law! :lol: From there the creative gears were turning....

In the early 70's, the band again shifted gears and became one of Britain's biggest rocking boogie bands and remained one of the greatest draws over the next decade.

80's alternative rockers Camper Van Beethoven recorded a violin-filled cover version of the song in 1989, and Ozzy Osbourne and Type O Negative also recorded a cover of the song for the Howard Stern Private Parts movie in 1997.

Pictures of Matchstick Men

When I look up to the sky
I see your eyes, a funny kind of yellow
Rush home to bed, I soak my head
I see your face underneath my pillow
I wake next morning, I'm still yawning
I see your face looking through my window

Pictures of matchstick men and you
Images of matchstick men and you
Alls I ever see is them and you
Windows echo your reflection
When I look in their direction, now
There're faces haunting me
Your face just won't leave me alone

Pictures of matchstick men and you
Images of matchstick men and you
Alls I ever see is them and you
You're in the sky
You're with the sky
You make men cry
You are, you're in the sky
You're with the sky
You make men cry
Pictures of matchstick men . . .

:guitar: peace:

http://www.britishinvasion.ca/Index_files/British%20Invasion%202/THE%20STATUS%20QUO%201968%20%5BPYE-NSPL-18220%5D.jpg

I hear Status Quo's songs a lot on BBC Radio. Pity they never made it big here. :(

For all the great music that came out in the 60's, there were a few dubious achievements, some crying examples of why some entertainers should stick with their chosen craft than with getting into music. One glaring example is William Shatner, t.v.'s Captain Kirk from Star Trek, who decided that he would do his less-than scintillating take on The Beatles and Bob Dylan on his album The Tranformed Man. Of course, the album was a pop novelty album with spoken word performances, but still, why?? :confused: He portrayed himself as a gifted dramatic speaker, butchering classic current hits in the process, such as "Theme from Cyrano/Mr. Tambourine Man" and of course, "Spleen/Lucy in the Sky with Diamonds".

ohno:

Nichelle Nichols also recorded a record album in the sixties called. . . The Dark Side of the Moon. (I hope this isn't where Pink Floyd got the idea. :eek: )

On January 12, 1969, rock and roll history was made when the former New Yardbirds, who had changed their name to Led Zeppelin after a quip from members of The Who, released their debut self-titled album.
The album was groundbreaking in that it took British electric blues to astonishing new heights (or depths?) with a sonic quality that could best be described as heavy: From the thunderous drumming of John Bonham (who had a list bragging about all the bands he had been kicked out of) to the haunting drone of Jimmy Page's guitar to Robert Plant's air raid caterwaul,
the album was the start of something never heard before. Hinted at but never fully achieved in all of rock and roll until now. It was a big, massive deluge of distortion and volume, and even the lighter pieces were titanic.

The album cover was taken from the Hindenburg disaster at Lakehurst, New Jersey in 1937.


Track listing:

1. Good Times, Bad Times
2. Babe I'm Gonna Leave You
3. You Shook Me
4. Dazed and Confused
5. Your Time Is Gonna Come
6. Black Mountain Side
7. Communication Breakdown
8. I Can't Quit You Baby
9. How Many More Times

Good Times, Bad Times

In the days of my youth
I was told what it means to be a man,
Now I've reached the age
I've tried to do all those things the best I can.
No matter how I try,
I find my way into the same old jam.

*Good Times, bad times,
You know I had my share;
When my woman left home
For a brown eyed man,
Well, I still don't seem to care.

Sixteen, I fell in love
With a girl as sweet as could be,
Only took a couple of days
Till she was rid of me.
She swore that she would be all mine
And love me till the end,
But when I whispered in her ear
I lost another friend, oooh.

* Chorus (twice)

I know what it means to be alone,
I sure do wish I was at home.
I don't care what the neighbors say,
I'm gonna love you each and every day.
You can feel the beat within my heart.
Realize, sweet babe, we ain't ever gonna part.

This next song was a cover of a Joan Baez song of the same name, though they did not know from whom she covered the song. It was a song originally done by folk singer Anne Bredon in the 50's. The main guitar riff to Chicago's hit song "25 or 6 to 4", which was released two years later, bears a striking resemblance to the riff in Zeppelin's version of the song.


Babe, I'm Gonna Leave You

Babe, baby, baby, I'm gonna leave you.
I said baby, you know I'm gonna leave you.
I'll leave you when the summertime,
Leave you when the summer comes a-rollin',
Leave you when the summer comes along.

Babe, babe, babe, babe, babe, babe, baby, mmm, baby
I don't wanna leave you,
I ain't jokin' woman, I've got to ramble.
Oh, yeah, baby, baby, I'll be leavin',
Really got to ramble.
I can hear it callin' me the way it used to do,
I can hear it callin' me back ho--oo-ome!

Babe, oh, Babe, I'm gonna leave you
Oh, baby, you know, I've really got to leave you
Oh, I can hear it callin' me
I said, don't you hear it callin' me the way it used to do?
Oh!

I know, I know, I know I'm never, never, never, never, never, never, never,
Gonna leave you babe
But, I got to go away from this place,
I've got to quit you, yeah
Oh!! Baby, baby, baby, baby, baby, baby, baby,
Oh, don't you hear it callin' me?
Oh, woman, woman, I know, I know
It feels good to have you back again
And I know that one day baby, it's gonna really grow, yes it is.
We gonna go walkin' through the park every day.
Come what may, every day, oh
My, my - my - my, my, my babe
I'm gonna leave you. Goin'
I'm gonna quit you baby
It was really, really good.
You made me happy every single day.
But now... I've got to go away!
Oh, oh

Baby, baby, baby,
That's when it's callin' me
I said that's when it's callin' me back home...

:rock: :guitar: :guitar: :rock:

This next song was originally written by Willie Dixon, which was one of the few times the famous blues musician had actually been credited for being covered by the band. To make matters worse, Page's longtime friend Jeff Beck accused Page of stealing the idea for the song from his album Truth, which was released earlier. This led to a simmering rivalry between the two which would last for years.

This is not to be confused with the AC/DC album with the similar title:

You Shook Me

You know you shook me. You shook me all night long. [X2]
You shook me so hard baby. Baby, baby, please come home.

I have a bird that whistles and I have birds that sing. [X2]
I have a baby, won't do nothing ...oh, buy a diamond ring.

I said you shook me, baby. You shook me all night long. [X2]
You shook me so hard, baby. You shook me all night long.

The album's centerpiece song, of course, was "Dazed and Confused", which was originally from the Yardbirds' song "Think About It", which also incorporated an even more original song by a singer Jake Holmes, who had opened for the Yardbirds in 1967. The song was a popular number in concert, where it became an extended piece with Jimmy Page playing a violin over the strings of his guitar, along with other playing techniques. It would be the band's signature song for the next year, until one from their second album would replace it.

Dazed and Confused

Been dazed and confused for so long it's not true.
Wanted a woman, never bargained for you.
Lots of people talking, few of them know,
Soul of a woman was created below! Yeah

You hurt and abuse, tellin' all of your lies.
Run 'round sweet baby, lord, how they hypnotize.
Sweet little baby I don't know where you been
Gonna' love you baby, here I come again

Everyday I work so hard, bringin' home my hard earned pay.
Try to love you baby, but you push me away.
Don't know where your going, all I know just where you been,
Sweet little baby I want you again.

(moaning and guitar)

Oh yea, all right, all right

(moaning and guitar)

Been dazed and confused for so long it's not true
one little woman never bargained for you
take it easy baby, let them say what they will
Tongue'll wag so much when I SENT you the bill

:rock: :guitar: :guitar: :rock:

This song featured John Paul Jones on keyboard:

Your Time Is Gonna Come

Lyin', cheatin', hurtin, that's all you seem to do.
Messin' around with every guy in town,
Puttin' me down for thinkin' of someone new.
Always the same, playin' your game,
Drive me insane, trouble is gonna come to you,
One of these days and it won't be long,
You'll look for me but baby, I'll be gone.
This is all I gotta say to you woman:

*Your Time Is Gonna Come X4

Made up my mind to break you this time,
Won't be so fine, it's my turn to cry.
Do what you want, I won't take the brunt.
It's fadin' away, can't feel you anymore.
Don't care what you say 'cause I'm goin' away to stay,
Gonna make you pay for that great big hole in my heart.
People talkin' all around,
Watch out woman, no longer
Is the joke gonna be on my heart.
You been bad to me woman,
But it's coming back home to you.

* Chorus

Black Mountain Slide, an instrumental, featured Jimmy Page playing Dropped-D tuning (bottom E string tuned to D), with an overdubbed guitar played fast to make it sound like a sitar being played. Drummer and sitarist Viram Jasani played Indian tabla drums on the track to give it a very Eastern feel.

The song that followed was one of their popular live tunes, a definite forerunner of heavy metal. Iron Maiden even later did a cover of the tune:

Communication Breakdown

Hey, girl, stop what you're doin'!
Hey, girl, you'll drive me to ruin.
I don't know what it is that I like about you,
But I like it a lot.
Won't let me hold you,
Let me feel your lovin' charms.

*Communication Breakdown,
It's always the same,
I'm having a nervous breakdown,
Drive me insane!

Hey, girl, I got something I think you ought to know.
Hey, babe, I wanna tell you that I love you so.
I wanna hold you in my arms, yeah!
I'm never gonna let you go,
'Cause I like your charms.
* Chorus
I want you to love me all night...
* Chorus
I want you to love me all night
I want you to love me
I want you to love...yeah! I want you to love!

:rock: :guitar: :guitar: :rock:

Here is another song credited to Willie Dixon (wasn't this done by Otis Rush? :confused: ), one of their finest blues covers:

I Can't Quit You Baby

I can't quit you babe
so I'm gonna put you down for a while.
I said now, I can't quit you babe, so
I guess I got to put you down for a little while.
I said you messed up my happy home,
Made me mistreat my only child.
Yes you did, baby. Oh!

Said you know I love you, babe,
My love for you I could never hide.
You know I love you, babe,
My love for you I could never hide.
When I feel you near me little girl,
I know you are my one desire, yeah.
Woaa-a-a-a-h!

When you hear me moaning and groaning, babe,
you know it hurts me deep down inside.
When you hear me moaning and groaning, babe,
you know it hurts me deep down inside.
Oh! When you hear me holler, babe,
you know you're my one desire, yeah.

This song is an excellent closer to the album, the title taken from Howlin' Wolf's "How Many More Years":

How Many More Times, treat me the way you wanna do? [X2]
When I give you all my love, please, please be true.

I'll give you all I've got to give, rings, pearls, and all. [X2]
I've got to get you together baby, I'm sure, sure you're gonna crawl.

[spoken]
I was a young man, I couldn't resist
Started thinkin' it all over, just what I had missed.
Got me a girl and I kissed her and then and then...
Whoops, oh Lordy, well I did it again.
Now I got ten children of my own
I got another child on the way that makes eleven.
But I'm in constant heaven.
I know it's all right in my mind
'Cause I got a little schoolgirl and she's all mine
I can't get through to her 'cause it doesn't permit
But I'm gonna give her everything I've got to give.

Oh, Rosie, oh, girl. [X2]
Steal away now, steal away
Steal away baby, steal away
Little Robert Anthony wants to come and play.
Oh why don't you come to me baby?
Steal away

Well they call me the hunter, that's my name.
They call me the hunter, that's how I got my fame.
Ain't no need to hide, Ain't no need to run.
'Cause I've got you in the sights of my..........gun!

How Many More Times, barrelhouse all night long. [X2]
I've got to get to you, baby, baby, please come home. [X2]
Please come home [X2]

:rock: :guitar: :guitar: :rock:

ZEPPELIN!!!!!!!!!:rock:

Stepping back to 1967 for a moment, one popular film touched on the conflicts between the disenfranchised youth set and the older generation, 'To Sir, With Love, starring Sydney Poitier as an engineer from Guyana who, while waiting for word on a promising position as an engineer, decided to
stay on as a teacher for a London school in the interim. The students he taught were a rowdy, cynical bunch he found he had to rule not with an iron fist, but with insight into their personal problems and issues.

The song, "To Sir, With Love", was sung by British pop singer Lulu. The title was based on the title the teacher requested he be called.

To Sir, With Love

Those schoolgirl days, of telling tales and biting nails are gone,
But in my mind,
I know they will still live on and on,
But how do you thank someone, who has taken you from crayons to perfume?
It isn't easy, but I'll try,

If you wanted the sky I would write across the sky in letters,
That would sour a thousand feet high,
To Sir, with Love

The time has come,
For closing books and long last looks must end,
And as I leave,
I know that I am leaving my best friend,
A friend who taught me right from wrong,
And weak from strong,
That's a lot to learn,
What, what can I give you in return?

If you wanted the moon I would try to make a start,
But I, would rather you let me give my heart,
To Sir, with Love

This song is an excellent closer to [Zep's] album, the title taken from Howlin' Wolf's "How Many More Years. . . ."


Family based their tune "A Song For Me" on the same Howlin' Wolf song. It was performed on the BBC in 1969 just before Rick Grech left the group; the violin solo; his frightening dememnted-gypsy violin solo on the BBC recording made John Weider's violin on the 1970 studio recording seem like a mere sketch!

A Song For Me - Family

(Whitney/Chapman/Grech/Townsend)

I was waiting, I was singing
I was standing patiently
Who would wait this long for me
Who's gonna sing me,
Who's gonna sing me,
Who's gonna sing a song for me.

I was smiling, I was walking
Open mind to open miles
Who will crack me a crooked smile
Who's gonna climb my. . .
Who's gonna climb my. . .
Who'll still climb my crooked stiles.

I was crying, I was stumbling
Over broken glass laid tracks
Following ancient portait maps
Who's gonna tell me,
Who's gonna tell me,
Who could tell the paths from cracks.

I was talking, I was shouting
Listen please don't turn away
Who turns deaf to what I say
Who's gonna paint my. . .
Who's gonna paint my. . .
Who's gonna paint paint my portrait grey.

(REPEAT VERSE THREE)

Who's gonna sing me,
Sing a song for me?
Sing a song for me?

(REPEAT VERSE ONE)

Yeh, a song for me. . . .

:rock: :guitar: :drummer:

http://www.members.aol.com/songforme/img/family.jpg

Jeff Beck formed his own group after leaving The Yardbirds, The Jeff Beck Group, which featured Rod Stewart on vocals. Their first album was 1968's Truth, which featured such songs as "I Ain't Superstitious", a cover of the Yardbirds' "Shapes of Things", "Greensleeves", and "You Shook Me". It also considered one of the first heavy metal albums, sharing many characteristics of the first Led Zeppelin album which would be released the following year. Its similarities to Led Zeppelin's debut would be a point of contention between Page and Beck for years (they have since put aside their differences and have become friends again). Future Stones guitarist Ron Wood plays bass on the album, as do Jimmy Page, John Paul Jones, and Keith Moon.

While on the surface Beck seems to have departed the Yardbirds because of his health, Jimmy Page, who had been invited into the band in 1966 by Beck himself, tells a different story:

"It was on that Dick Clark tour - there were a few incidents. One time in the dressing room I walked in and Beck had his guitar up over his head, about to bring it down on Keith Relf's head, but instead smashed it on the floor," Jimmy Page recalled years later. "Relf looked at him with total astonishment and Beck said, `Why did you make me do that?' F:censored:ing hell. Everyone said `My goodness gracious, what a funny chap.' We went back to the hotel and Beck showed me his tonsils, said he wasn't feeling well and was going to see a doctor. He left for L.A. where we were headed anyway. When we got there, though, we realized that whatever doctor he was claiming to see must've had his office in the Whiskey. He was actually seeing his girlfriend, Mary Hughes, and had just used the doctor bit as an excuse to cut out on us."

Beck's guitar-smashing antics can be seen in the 1966 film, Blowup.

"Beck's Bolero" is considered one of Jeff Beck's finest instrumental pieces, one of his signature songs.

Megadeth performed a cover of "I Ain't Superstitious" on their Peace Sells But Who's Buying? album in 1986.

Track listing:

"Shapes of Things" (Chris Dreja, Jim McCarty, Keith Relf and Paul Samwell-Smith)
"Let Me Love You" (Jeffrey Rod [meaning, Jeff Beck and Rod Stewart])
"Morning Dew" (Bonnie Dobson and Tim Rose)
"You Shook Me" (Willie Dixon and J. B. Lenoir)
"Ol' Man River" (Jerome Kern and Oscar Hammerstein)
"Greensleeves" (Traditional, arr. Rod Stewart)
"Rock My Plimsoul" (Jeffrey Rod)
"Beck's Bolero" (Maurice Ravel, arr. Jimmy Page)
"Blues Deluxe" (Jeffrey Rod)
"I Ain't Superstitious" (Willie Dixon)

Musicians who participated on the album:

Jeff Beck- guitars, vocals; bass on "Ol' Man River"
Rod Stewart- vocals (except on "Greensleeves" and "Beck's Bolero")
Mick Waller- drums (except on "Greensleeves" and "Beck's Bolero")
Ron Wood- bass (except on "Ol' Man River", "Greensleeves" and "Beck's Bolero")
Nicky Hopkins- piano and organ on "Morning Dew", "You Shook Me", "Ol' Man River", "Beck's Bolero" and "Blues Deluxe"
Keith Moon- drums on "Beck's Bolero", tympani on "Ol' Man River"
Jimmy Page- guitars on "Beck's Bolero"
John Paul Jones- bass on "Beck's Bolero"
Mickie Most- producer
Ken Scott- engineer

I Ain't Superstitious

Ain't superstitious,
black cat crossed my trail.
I ain't superstitious,
but a black cat crossed my trail.
Bad luck ain't got me so far,
and I won't let it stop me now.
The dogs begin to bark,
all over my neighborhood.
And that ain't all.
Dogs begin to bark,
all over my neighborhood.
Mmm-mmm
This is a mean old world to live in,
And I can't face it all by myself, at all.
And, dogs begin to bark,
all over my neighborhood.
The dogs begin to bark,
all over my neighborhood.
I got a feelin' about the future,
and it ain't too good, I know that.
I know, I know, I know.
Ain't superstitious,
but black cat crossed my trail,
(I said it so many times before)
Ain't superstitious,
a black cat crossed my trail.
Bad luck ain't got me so far,
and you know I ain't gonna let it stop me now.
Come on.

:guitar:

The Jeff Beck Group in 1967, with drummer Aynsley Dunbar:

Deep Purple formed in Britain when members of various bands came together, Rod Evans on vocals, Ritchie Blackmore on lead guitar, Jon Lord organ, keyboards, and vocals, Nick Simper on bass and vocals, and
Ian Paice on drums. The band was first noted for opening for Cream on their farewell tour, but were kicked off the tour when Cream felt
Deep Purple were upstaging them. The band recorded Shades of Deep Purple, which featured their first big hit in America (but strangely was not a hit in the UK), "Hush".

The tune would sound oddly imitated in the "Madchester" craze of the early 90's:

Hush

got a certan little girl she's on my mind
No doubt about it she looks so fine
She's the best girl that I ever had
Sometimes she's gonna make me feel so bad

Hush, hush
I thought I heard her calling my name now
Hush, hush
She broke my heart but I love her just the same now
Hush, hush
Thought I heard her calling my name now
Hush, hush
I need her loving and I'm not to blame now

(Love, love)
They got it early in the morning
(Love, love)
They got it late in the evening
(Love, love)
Well, I want that, need it
(Love, love)
Oh, I gotta gotta have it

She's got loving like quicksand
Only took one touch of her hand
To blow my mind and I'm in so deep
That I can't eat and I can't sleep

Listen
Hush, hush
Thought I heard her calling my name now
Hush, hush
She broke my heart but I love her just the same now
Hush, hush
Thought I heard her calling my name now
Hush, hush
I need her loving and I'm not to blame now

(Love, love)
They got it early in the morning
(Love, love)
They got it late in the evening
(Love, love)
Well, I want that, need it
(Love, love)
Oh, I gotta gotta have it

:guitar: :banana: :mango: peace:

Deep Purple formed in Britain when members of various bands came together, Rod Evans on vocals, Ritchie Blackmore on lead guitar, Jon Lord organ, keyboards, and vocals, Nick Simper on bass and vocals, and
Ian Paice on drums. The band was first noted for opening for Cream on their farewell tour, but were kicked off the tour when Cream felt
Deep Purple were upstaging them. The band recorded Shades of Deep Purple, which featured their first big hit in America (but strangely was not a hit in the UK), "Hush".

"Hush" was written by Joe South of "Games People Play" fame. :)

King Crimson was a progressive band founded by guitarist Robert Fripp and which also initially featured members Michael and Peter Giles, both drummer and bassist who were part of a short-lived trio called Giles, Giles, and Fripp. When the band formed as King Crimson with Greg Lake for a while, and Peter Sinfeld, who came up with the band's name as another name for Beelzebub, prince of demons; according to Fripp, Beelzebub would be an anglicised form of the Arabic phrase "B'il Sabab", meaning "the man with an aim" although it is widely accepted that the word is from Hebrew Ba'al-z'bub meaning "lord of the flies". Ian MacDonald, who would later go on to Foreigner, would also join the lineup briefly. In fact, the band would go through a recurring lineup revolving around Fripp for its career. Fripp would become known as one of the most inventive, as well as one of the most eccentric guitarists in all of music.

The band first gained exposure during their show opening for the Rolling Stones at a concert in Hyde Park at that time in 1969, and later went on tour with including Iron Butterfly, Janis Joplin, and Fleetwood Mac. Their first album was the prog rock classic In the Court of the Crimson King, which featured songs such as "21st Century Schizoid Man". Songs on the album were not the typical light fare of many prog bands who would emerge at this time, the lyrics could be dark and have a strange sense of humor. The music could also be considered a precursor to heavy metal, as Fripp stated he wanted to do "intelligent heavy metal".

Ozzy Osbourne would do a cover of this song in 2005:

21st Century Schizoid Man
Cat's foot iron claw
Neuro-surgeons scream for more
At paranoia's poison door.
Twenty first century schizoid man.

Blood rack barbed wire
Polititians' funeral pyre
Innocents raped with napalm fire
Twenty first century schizoid man.

Death seed blind man's greed
Poets' starving children bleed
Nothing he's got he really needs
Twenty first century schizoid man.

:guitar: :crazy:

Prog-rock was a movement spearheaded by The Beatles' Sergeant Pepper's Lonely Hearts Club Band album, with its complex, often symphonic arrangements and polished production values. Concept albums would arrive, often taking up entire album sides, if not entire albums, all in order to make rock and roll seem respectable for being "artistic", and thus garner critical raves. Prog or "art-rock" would also feature bursts of virtuosity and often exist than to show off a performer's musical prowess, and it was practically required that each musician be at the top of their game in the realm of musical proficiency. Experimentation was also highly valued. Bands such as Pink Floyd, Jethro Tull,, and others would fit the bill as orginators of prog rock.

In 1968, a band that would meet the above criteria in spades was Yes, which initially featured band members Jon Anderson on vocals, Peter Banks on guitar, Tony Kaye on keyboards, Chris Squire on bass guitar, and Bill Bruford on drums. The lineup would change into its more well-known members in the next two years, but the groundwork was laid. The band debuted at a performance at East Mersey Youth Camp in England on August 4, 1968, and gained attention when they opened for Cream on their Farewell tour at Royal Albert Hall. They would be known for taking other bands' popular songs and turning them into long, expanded versions of the original and making them into something uniquely their own. In September, they subbed for an absent Sly and The Family Stone at Blaise's and as a result of that appearance gained a residency at The Marquee club. Soon after, they made their first radio appearance on John Peel's programme and, after Melody Maker scribe Tony Wilson selected them along with Led Zeppelin as the two bands Most Likely To Succeed, it appeared that their future was assured.

The band's vocal harmonies with Anderson and Squire, Banks' guitar playing, and their upbeat, fantasy lyrics were a huge hit with fans. Their debut album was released in 1969.

Beyond and Before

Sparkling trees of silver foam cast shadows in winter home,
Swaying branches breaking sound, lonely forest trembling ground.
Masquerading leaves of blue run circles round the morning dew,
Patterns understood by you, reaching out beyond and before.
Time, like gold dust, brings mind down to hidden levels underground,
Say a few words to the wind, that's all that's left of winter's friend.

Reaching the snow in the days of the cold, casting a spell out of ice.
Now that you're gone,
The summer's too long and it seems like the end of my life
Beyond and before.
Time, like gold dust, brings mind down.

Yesterday and Today

Why is there you when there are few people around making me feel good?
Why is there me when air is free, some I can see better than I should?
There's only us simply because thinking of us makes us both happy.
I think of you ev'ry way, yesterday and today.
I think of things that we do, all the way, ev'ry day.

Stand in the sea, sing songs for me, sing happily, making me feel good.
Watching your eyes, feeling your sighs, saying goodbyes better than I could.
There's only us simply because thinking of us makes us both happy.
I think of you ev'ry way, yesterday and today.
I think of nothing but you, things we do, things we do.

:guitar: peacesign:

Pink Floyd's next release was 1969's Ummagumma, a double-live album
where the band played concert versions of their hits on the first record, and concluded the second record with individual compositions. The name of the album comes from a Cambridge slang term for sexual intercourse. The album was purely avant-garde in that the band members were completely loose and experimental with playing music with whatever they could get their hands on.
The album actually became a huge hit at #5 on the British charts.

Tracks include:

Track listing
[edit]
Live Disc - Disc One
"Astronomy Domine" - 8:29
"Careful With That Axe, Eugene" - 8:50
"Set the Controls for the Heart of the Sun" - 9:12
"A Saucerful of Secrets" - 12:48

[edit]
Studio Disc - Disc Two
"Sysyphus, Pt. 1" (Wright) - 1:03 (4:29)
"Sysyphus, Pt. 2" (Wright) - 3:30 (1:49)
"Sysyphus, Pt. 3" (Wright) - 1:49 (3:07)
"Sysyphus, Pt. 4" (Wright) - 6:59 (3:38)
"Grantchester Meadows" (Waters) - 7:26
"Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict" (Waters) - 4:59
"The Narrow Way Part 1" (Gilmour) - 3:27
"The Narrow Way Part 2" (Gilmour) - 2:53
"The Narrow Way Part 3" (Gilmour) - 5:57
"The Grand Vizier's Garden Party: Part 1 (Entrance)" (Mason) - 1:00
"The Grand Vizier's Garden Party: Part 2 (Entertainment)" (Mason) - 7:06
"The Grand Vizier's Garden Party: Part 3 (Exit)" (Mason) - 0:38


Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict

Aye an' a bit of Mackeral settler rack and ruin
ran it doon by the haim, 'ma place
well I slapped me and I slapped it doon in the side
and I cried, cried, cried.

The fear a fallen down taken never back the raize and then Craig Marion,
get out wi' ye Claymore out mi pocket a' ran doon, doon the middin stain
picking the fiery horde that was fallen around ma feet.
Never he cried, never shall it ye get me alive
ye rotten hound of the burnie crew. Well I snatched fer the blade O my
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 'a can be by his feet; de ya ken?

...and the wind cried Mary.

[In English] Thank you.

I don't know if Steve has covered this, but I found an interesting item of note concerning Family: On April 8, 1969, while opening for Ten Years After and The Nice at the Fillmore East in New York City, Family perform their first U.S. concert, and the show is an unmitigated disaster. The band is underrehearsed and irritable, and frontman Roger Chapman - marking his 27th birthday - gets so disgusted with the blase response of the audience, he throws a microphone stand through the air, unintentionally in the direction of Fillmore East impresario Bill Graham. Chapman, during his normal manic stage routine, lost control of his mike stand which came within inches of decapitating Graham! :eek: This nearly got Family pulled from the bill at the Fillmore, although they were spared as long as Chapman performed on stage with his arms pinned at his side. While Family and Graham reconciled their differences, Family's reputation in the US sadly never recovered from the incident. After the tour, Jim King was relieved of his position in the band due to "erratic behaviour" and was replaced by multi-instrumentalist John "Poli" Palmer on keyboards, vibes, flute and violin. The bad vibes for Family in the United States are thus set.

Which may explain why Family never got huge in America? :confused: That's disappointing.

Bill Graham's power was so huge that getting on his bad side was sure to derail a band's career. It nearly happened with Led Zeppelin in 1977, and Metallica was fortunate enough to survive a mishap involving rowdy, raucous behavior at Graham's 1986 Day On the Green Festival in San Francisco in 1986. ohno:

Below is their album Family Entertainment, whose cover, as mentioned previously, was borrowed from The Doors' Strange Days.

One other disappointing event was the cancellation of the highly popular t.v. comedy variety show, The Smothers Brothers, a program featuring the musical duo of Tommy and Dick Smothers. The two brothers, whose father, a military officer who had died in a Japanese prisoner of war camp in World War II, began their career in the folk scene and eventually got into performing on television shows before becoming so popular that CBS gave them their own prime-time show. Tom's signature line was directed at his "more successful" brother Dick: "Mother always liked you best". Tom played his character as the "slow" one, when in fact, was actually astute in business matters and even became a yo-yo champion.

The show featured many writers who would become hugely successful in their
own right, such as including Steve Martin, Don Novello ("Father Guido Sarducci"), Rob Reiner ("Mike Stivic"), Presidential candidate Pat Paulsen, Bob "Super Dave Osborne" and "Officer Judy" Einstein, and resident hippie Leigh French. The show was also groundbreaking in its use of social commentary and discussion and critique of current events which became a source of controversy, The show also focused heavily on showcasing new musical artists that other comedy-variety shows were less apt to give airtime to due to the nature of their music and/or their political affiliations. Janis Ian, Harry Belafonte, Joan Baez, Spanky and Our Gang, Donovan, Peter, Paul and Mary, and even Pete Seeger were showcased during the latter years of the show despite the advertiser-sensitive nature of their music. Their brand of comedy had never been attempted on television before.

Seeger's appearance, in fact, was his first appearance on network television since his being blacklisted in the 1950s, and became controversial because of his song choice: "Waist Deep in the Big Muddy," an anti-war song that the network perceived was an insult to Lyndon Johnson and his Vietnam War policy.

With the focus of the show having evolved towards a more youth-oriented one, the show became both popular and controversial for those same references to youth culture and the issues that both interested and affected this particular target audience. Three specific targets of satire - racism, The President of the United States, and the Vietnam War - would wind up defining the show's content for the remainder of its run, and eventually lead to its demise.

Whereas most older audiences were tuning into shows like Bonanza, the younger generation - ages 15-25 - were watching the Smothers due to their humor having more relevancy to the current sociopolitical climate without pulling any real punches. This frankness eventually led the Brothers into regular conflicts with CBS' network censors.

At the start of the 1968-69 season, the network ordered that the Smothers deliver their shows finished and ready to air ten days before airdate so that the censors could edit the shows as necessary. In the season premiere, CBS deleted the entire segment of Belafonte singing against a backdrop of the havoc during the 1968 Democratic National Convention, along with two lines from a satire of their main competitor, "Bonanza". As the year progressed, battles over content continued, including a David Steinberg sermon about Moses and the Burning Bush.

With some local stations making their own deletions of controversial skits or comments, the continuing problems over the show reached a boiling point after CBS showed a rerun on March 9, 1969. The network explained the decision by stating that because that week's episode did not arrive in time to be previewed, it would not be shown. In that program, Baez paid tribute to her then-husband, who was entering jail after refusing military service, while comedian Jackie Mason made a joke about children "playing doctor."

Despite the conflict, the show was picked up for the 1969-70 season on March 14, seemingly ending the debate over the show's status. However, CEO and President, William Paley, the network abruptly canceled the show on April 4, 1969. The excuse given by CBS was based on the Smothers' refusal to meet the pre-air delivery dates as specified by the network in order to accommodate review by the Censors before airing.

This cancellation lead the Brothers to file a successful breach of contract suit against the network, although the suit failed to see the Brothers or their show returned to the air. Despite this cancellation, the show went on to win the Emmy Award that year for best writing. The saga of the cancellation of the show is the subject of a 2002 documentary film, Smothered.

I remember watching the show one time when I was a kid and right in the middle of it, the show goes off and there is a period of dead air and no picture. Technical difficulties? :confused: The network then airs a clip of the Hanna-Barbera cartoon, Yippie, Yappie, and Yahooey, if anyone recalls, the three goofy palace guards! :lol: I had no idea at the time the cartoon was shown as a way to censor the "controversial" material that most likely was being aired. ohno:

My grandmother gave me the Purple Onion below when I was a kid, I thought it was hilarious! :lol:

I don't know if Steve has covered this, but I found an interesting item of note concerning Family: On April 8, 1969, while opening for Ten Years After and The Nice at the Fillmore East in New York City, Family perform their first U.S. concert, and the show is an unmitigated disaster. The band is underrehearsed and irritable, and frontman Roger Chapman - marking his 27th birthday - gets so disgusted with the blase response of the audience, he throws a microphone stand through the air, unintentionally in the direction of Fillmore East impresario Bill Graham. Chapman, during his normal manic stage routine, lost control of his mike stand which came within inches of decapitating Graham! :eek: This nearly got Family pulled from the bill at the Fillmore, although they were spared as long as Chapman performed on stage with his arms pinned at his side. While Family and Graham reconciled their differences, Family's reputation in the US sadly never recovered from the incident. After the tour, Jim King was relieved of his position in the band due to "erratic behaviour" and was replaced by multi-instrumentalist John "Poli" Palmer on keyboards, vibes, flute and violin. The bad vibes for Family in the United States are thus set.

Which may explain why Family never got huge in America? :confused: That's disappointing.

Bill Graham's power was so huge that getting on his bad side was sure to derail a band's career. It nearly happened with Led Zeppelin in 1977, and Metallica was fortunate enough to survive a mishap involving rowdy, raucous behavior at Graham's 1986 Day On the Green Festival in San Francisco in 1986. ohno:


Thanks for mentioing it, Cap'n, I know I mentioned it on another thread. Yeah, this is probably what kept "The Weaver's Answer" from becoming the classic-rock-radio staple it deserved to be, and it's probably the reason why Family may never get into the Rock and Roll Hall of Fame. :( In fact, just before Family began their first U.S. tour, Rick Grech decided to leave to join Blind Faith, and he told everyone - except Roger Chapman and Charlie Whitney. "He could have bloody told us before the tour began!" Chapman yelled to a music magazine reporter.

Family toured with Elton John as his warmup act in 1972 and got airplay and interest from American radio, and the group had planned to return to the States in 1973. "If we don't come back," Chapman said, "we'll lose everything we've gained." The Elton John gig was a great success, even though John Wetton, Family's third bass player, had left to join King Crimson beforehand. At least he gave adequate advance notice! (Jim Cregan - later of Rod Stewart's band - replaced him.) But further personnel changes and some bad luck on the British charts caused them to break up in 1973, never to return to the U.S. and capitalize on the exposure Elton John gave them. Thanks for bringing them over, Elton. :)

http://members.aol.com/fampics/studio73.jpg

(Family reheasring in the studio before the Elton John tour of North America, 1972. From left, Charlie Whitney, Rob Townsend, Roger Chapman, Poli Palmer [back to camera], Jim Cregan.)

In 1969, Chicago Transit Authority debuted with their first self-titled album, but would later change their name to simply Chicago after the actual Chicago Transit Authority threatened legal action for the unauthorized use of their name. The band debuted at DePaul University in Chicago in a series of late-night jams which incorporated horns as part of their musical mix with the name originally as The Big Thing. The band decided to move from their home in the midwest to Los Angeles where they began their rise to fame. The band's first album featured politically charged and socially conscious songs along with extended jams and Latin percussion. On the double-album (an anomaly for a debut album), guitarist Terry Kath recorded experimental guitar parts on one track.
Jimi Hendrix also became a fan of Kath's guitar playing.

Members:

Peter Cetera - bass, vocals
Terry Kath - guitar, vocals
Robert Lamm - keyboards, vocals
Lee Loughnane - trumpet, vocals
James Pankow - trombone
Walter Parazaider - woodwinds, vocals
Danny Seraphine - drums


Songs include:

"Introduction" (Terry Kath) - 6:35
"Does Anybody Really Know What Time It Is?" (Robert Lamm) - 4:35
"Beginnings" (Robert Lamm) - 7:54
"Questions 67 And 68" (Robert Lamm) - 5:03
"Listen" (Robert Lamm) - 3:22
"Poem 58" (Robert Lamm) - 8:35
"Free Form Guitar" (Terry Kath) - 6:47
"South California Purples" (Robert Lamm) - 6:11
"I'm A Man" (Jimmy Miller/Steve Winwood) - 7:39
Trivia: Chicago's versions of this song do not feature the lyrics as written, but as the band misunderstood them.
"Prologue, August 29, 1968" (James William Guercio) - 0:58
Actual field recording of protesters chanting "The whole world's watching!" during the 1968 Democratic Convention
"Someday (August 29, 1968)" (Robert Lamm/James Pankow) - 4:11
"Liberation" (James Pankow) - 14:38
A live in-studio performance with no overdubs

These songs are excellent:

Does Anybody Really Know What Time It Is?

As i was walking down the street one day
A man came up to me and asked me what the time was that was on my watch, yeah
And i said

Does anybody really know what time it is
Does anybody really care
If so i can't imagine why
We've all got time enough to cry

And i was walking down the street one day
A pretty lady looked at me and said her diamond watch had stopped cold dead
And i said

Does anybody really know what time it is
Does anybody really care
If so i can't imagine why
We've all got time enough to cry

And i was walking down the street one day
Being pushed and shoved by people trying to beat the clock, oh, no i just don't know
I don't know
And i said, yes i said

Background:
People runnin' everywhere
Don't know where to go
Don't know where i am
Can't see past the next step
Don't have time to think past the last mile
Have no time to look around
Just run around, run around and think why

Does anybody really know what time it is
Does anybody really care
If so i can't imagine why
We've all got time enough to die

Beginnings

When i'm with you, it doesn't matter where we are, or what we're doing
I'm with you, that's all that matters
Time passes much too quickly when we're together laughing
I wish i could sing it to you, oh no
I wish i could sing it to you

Mostly i'm silent
Never think of the right words to say

When i kiss you, i feel a thousand different feelings
The color of chills all over my body
And when i feel them, i quickly try to decide which one
I should try to put into words, oh no
Try to put into words

Mostly i'm silent

Only the beginning of what i want to feel forever
Only the beginning
Only just the start
I've got to get you into my life mama
Got to get you next to me
Only the beginning
Only just the start

:guitar: :banana: :mango

Questions 67 and 68

Can this feeling that we have together
Oooh, suddenly exist between
Did this meeting of our minds together
Oooh, happen just today, some way

I'd like to know
Can you tell me; please don't tell me
It really doesn't matter anyhow
It's just that the thought of us so happy
Appears in my mind, as a beautifully mysterious thing

Was your image in my mind so deeply
Oooh, other faces fade away
Blocking memories of unhappy hours
Oooh, leavin' just a burnin' love

I'd like to know
Can you tell me; please don't tell me
It really doesn't matter anyhow
It's just that the thought of us so happy
Appears in my mind, as a beautifully mysterious thing
Yes it does now baby

Can this lovin' we have found within us
Oooh, suddenly exist between
Did we somehow try to make it happen
Oooh, was it just a natural thing

I'd like to know
Can you tell me -- please don't tell me
It really doesn't matter anyhow
It's just that the thought of us so happy
Appears in my mind, as a beautifully mysterious thing
Yes it does now baby
Questions 67 and 68


The next song is a cover of a hit by The Spencer Davis Group:

I'm a Man

Well my pad is very messy, got whiskers on my chin
Never had no problems 'cause i've always paid the rent
I got no time for lovin'
Cause my time is all used up
I stand outside creatin'
All the groovy kinds of love

I'm a man, yes i am and i can't help but love you so
I'm a man, yes i am and i can't help but love you so

If i had my choice of matter
I'd would rather be with cats
All engrossed in mental chatter
Showing where your mind is at
While relating to each other
How strong the love can be
By resisting all the good times with each groovy chick we see

I'm a man yes i am and i can't help but love you so
I'm a man yes i am and i can't help but love you so

I've got to keep my image
While i'm standing on the floor
If i drop upon my knees
It's just to keep them on my nose
You think that i'm not human
And my heart is made of stone
But i've never had no problems
'cause my body's pretty strong

I'm a man yes i am and i can't help but love you so
I'm a man yes i am and i can't help but love you so
I'm a man yes i am and i can't help but love you so

If i had my choice of matter
I would rather be with cats
All engrossed in mental chatter
Showin' where your mind is at
While relating to each other
How strong your love can be
By resisting all the good times with each groovy chick we see

I'm a man yes i am and i can't help but love you so
I'm a man yes i am and i can't help but love you so
I'm a man yes i am and i can't help but love you so

I gotta keep my image
While i'm standin on the floor
If i drop upon my knees
It's just to keep them on my nose
You think that i'm not human
And my heart is made of stone
But i never had no problems
'cause my body's pretty strong

I'm a man, yes i am, and i can't help but love you so
Man, yes i am, and i can't help but love you so
Man, yes i am, and i can't help but love you so
Man, yes i am, and i can't help but love you so

:guitar: :banana: :mango

In 1969, Chicago Transit Authority debuted with their first self-titled album, but would later change their name to simply Chicago after the actual Chicago Transit Authority threatened legal action for the unauthorized use of their name.


Perhaps that's why the group secured a trademark for its name. "What did they they want to do," critics Jimmy Guterman and Owen O'Donnell asked, "sue Richard Daley?" :rolleyes:

One of the most important bands in the development of psychedelic soul was
Sly & the Family Stone, fronted by Sly Stone, whose original name was Sylvester Stewart. Sly actually began his musical career with his deeply religious family, the Stewart Family, known as The Stewart Four in the 50's, who released a gospel single, "On the Battlefield of the Lord" in 1952. After a series of high school bands, Sylvester Stewart became a dj for KSOL in San Francisco in 1963 under the name Sly Stone, who injected The Beatles and The Rolling Stones into the regular black r & b playlists. He later became a producer for artists such as The Beau Brummels and The Mojo Men.

Sly & the Family Stone began in 1967 with the incorporation of Sly's band Sly & the Stoners with his brother Freddie Stone's band Freddie & Stone Souls with Gregg Errico on drums, Freddie on guitar and Sly on organ. Larry Graham joined on bass, and his sister Vaetta became part of the group's female backup vocalists called Little Sister. Cynthia Robinson joined on trumpet, with Jerry Martini on saxophone. Their first album, A Whole New Thing, was released in 1967 to disappointing sales.

In 1968, the band hit the charts with Dance to the Music which hit the charts at #8. At this point, sister Rose Stone joined the group on vocals and keyboards. The band thrilled audiences with their energetic performances and flamboyant costumes.

Dance To the Music

Cynthia: Get up and dance to the music!
Get on up and dance to the fonky music!
All: Dance to the Music, Dance to the Music

Freddie: Hey Greg!
Greg: What?
Freddie: All we need is a drummer,
for people who only need a beat
I'm gonna add a little guitar
and make it easy to move your feet
Larry: I'm gonna add some bottom,
so that the dancers just won't hide
Sly: You might like to hear my organ
playing "Ride Sally Ride"
You might like to hear the horns blowin',
Cynthia on the throne, yeah!
Cynthia & Jerry got a message they're sayin':
Cynthia: All the squares, go home!

All: Dance to the Music, Dance to the Music

:guitar: :banana: :mango peace:

The Family Stone's followup album Life, released in 1968, did not show much life commercially, however, it did create a buzz musically in the industry.
Their third album, Stand!, became one of their biggest albums, with hits such as "Everyday People", the title track, and others, including more pointed, socially conscious songs as "Don't Call Me N:censored:, Whitey", with a chorus going between hypothetical figures condescending to each other, in fact, a condemnation of racial and prejudiced stereotypes in spite of the provocative title: "Don't call me n:censored:, whitey!" "Don't call me whitey, n:censored:!" etc. :argue: Other songs included excellent tracks as "I Want to Take You Higher", "Sing a Simple Song", "Somebody's Watching You", and an extended psychedelic instrumental jam, "Sex Machine", which showcased each members' musical abilities.

The band also performed at Woodstock festival with one of the greatest shows of their career in the summer of 1969, with a rousing version of "I Want to Take You Higher". Also that summer, they released a non-album single, "Hot Fun in the Summertime" which was interpreted as using the festive descriptions of summer leisure as a commentary on race riots happening all over the country.
With the band's newfound fame and success came numerous problems. The band's messages of peace and love seemed to fall on deaf ears, as Vietnam War protests were met with violent resistance, and race riots devastated Black neighborhoods across the nation. Relationships within the band were deteriorating; there was friction in particular between the Stone brothers and Larry Graham. Epic demanded more product. The Black Panther Party demanded that Sly make his music more militant and more reflective of the black power movement, and also demanded that Sly replace Greg Errico and Jerry Martini with black instrumentalists. All of the stress came down upon Sly, who developed ulcers and began taking prescription drugs for his condition.

This song is one of the greatest soul songs of all time:

Stand!

Stand
In the end you'll still be you
One that's done all the things you set out to do
Stand
There's a cross for you to bear
Things to go through if you're going anywhere
Stand
For the things you know are right
It s the truth that the truth makes them so uptight
Stand
All the things you want are real
You have you to complete and there is no deal
Stand. stand, stand
Stand. stand, stand
Stand
You've been sitting much too long
There's a permanent crease in your right and wrong
Stand
There's a midget standing tall
And the giant beside him about to fall
Stand. stand, stand
Stand. stand, stand
Stand
They will try to make you crawl
And they know what you're saying makes sense and all
Stand
Don't you know that you are free
Well at least in your mind if you want to be

Everybody
Stand, stand, stand

This next song, one of their biggest hits, poked fun at racial stereotypes and prejudice:

Everday People

Sometimes I'm right and I can be wrong
My own beliefs are in my song
The butcher, the banker, the drummer and then
Makes no difference what group I'm in
I am everyday people, yeah yeah
There is a blue one who can't accept the green one
For living with a fat one trying to be a skinny one
And different strokes for different folks
And so on and so on and scooby dooby doo-bee
Oh sha sha - we got to live together
I am no better and neither are you
We are the same whatever we do
You love me you hate me you know me and then
You can't figure out the bag l'm in
I am everyday people, yeah yeah
There is a long hair that doesn't like the short hair
For bein' such a rich one that will not help the poor one
And different strokes for different folks
And so on and so on and scooby dooby doo-bee
Oh sha sha-we got to live together
There is a yellow one that won't accept the black one
That won't accept the red one that won't accept the white one
And different strokes for different folks

:guitar: :banana: :mango

This is also one of their best songs:

I Want to Take You Higher

Freddie: Feeling's gettin stronger
Larry: Music's gettin longer too
Rose: Music is flashin me
Sly: I want to take you higher
Baby baby baby light my fire

All: Boom shaka-laka-laka Boom shaka-laka-laka

Freddie: Feeling's nitty-gritty
Larry: Sound is in the city too
Rose: Music's still flashin' me
Sly: Don't ya want to get higher
Baby baby baby light my fire.

All: Boom shaka-laka-laka Boom shaka-laka-laka

Sly: Harmonica solo
All Repeated: Higher!

Sly: C'mon light my fire
Want to take you higher

All: Boom shaka-laka-laka Boom shaka-laka-laka

Freddie: Feeling that should make you move
Larry: Sounds that should help you groove
Rose: Music still flashin' me
Sly: Take your places
I want to take you higher
Baby baby baby light my fire.

Freddie: Guitar solo

All: Boom shaka-laka-laka Boom shaka-laka-laka

All Repeated: Higher!
Sly: Let's take you, do you wanna go, etc.

Cynthia: Trumpet solo

All Repeated: Boom shaka-laka-laka Boom shaka-laka-laka, Higher!

Larry: Bass solo

All Repeated: Boom shaka-laka-laka Boom shaka-laka-laka, Higher!

Jerry: Sax solo

All Repeated: Boom shaka-laka-laka Boom shaka-laka-laka

Hot Fun In the Summertime

All: End of the spring and here she comes back
Hi Hi Hi Hi there
Them summer days, those summer days

That's when I had most of my fun, back
high high high high there
Them summer days, those summer days

Rose: I "cloud nine" when I want to

Freddie: Out of school, yeah

Larry: County fair in the country sun

Sly: And everything, it's true, ooh yeah

All: Hot fun in the summertime x 4

All: First of the fall and then she goes back
Bye bye bye bye there
Them summer days, those summer days

Rose: "Boop-boop-ba-boop-boop" when I want to

Freddie: Out of school, yeah

Larry: County fair in the country sun

Sly: And everything, it's true, ooh yeah

All: Hot fun in the summertime x 4

:guitar: :banana: :mango

The Doors released Waiting For the Sun in 1968, which saw the band move in a more pop direction, much to the disappointment of die-hard fans. Ray Davies of The Kinks was ready to sue when he found that the album's opening song "Hello, I Love You" was similar to "All Day and All of the Night". The band later paid royalties to the Kinks as a result.

R.E.M.'s "Pop Song '89" is also a play on the Doors' song:

Hello, I Love You

Hello, I love you
Won't you tell me your name?
Hello, I love you
Let me jump in your game
Hello, I love you
Won't you tell me your name?
Hello, I love you
Let me jump in your game

She's walking down the street
Blind to every eye she meets
Do you think you'll be the guy
To make the queen of the angels sigh?

Hello, I love you
Won't you tell me your name?
Hello, I love you
Let me jump in your game
Hello, I love you
Won't you tell me your name?
Hello, I love you
Let me jump in your game

She holds her head so high
Like a statue in the sky
Her arms are wicked, and her legs are long
When she moves my brain screams out this song

Sidewalk crouches at her feet
Like a dog that begs for something sweet
Do you hope to make her see, you fool?
Do you hope to pluck this dusky jewel?

Hello, Hello, Hello, Hello, Hello, Hello, Hello
I want you
Hello
I need my baby
Hello, Hello, Hello, Hello


Many radio stations refused to play the following song, due to its criticism of the Vietnam War. The band acts out a firing squad scenario during the recording, with an actual rifle firing. A promotional video for the song was also filmed:

The Unknown Soldier

Wait until the war is over
And we're both a little older
The unknown soldier

Breakfast where the news is read
Television children fed
Unborn living, living, dead
Bullet strikes the helmet's head

And it's all over
For the unknown soldier
It's all over
For the unknown soldier

Hut
Hut
Hut ho hee up
Hut
Hut
Hut ho hee up
Hut
Hut
Hut ho hee up
Comp'nee
Halt
Preeee-zent!
Arms!

Make a grave for the unknown soldier
Nestled in your hollow shoulder
The unknown soldier

Breakfast where the news is read
Television children fed
Bullet strikes the helmet's head

And, it's all over
The war is over
It's all over
The war is over
Well, all over, baby
All over, baby
Oh, over, yeah
All over, baby
Wooooo, hah-hah
All over
All over, baby
Oh, woa-yeah
All over
All over
Heeeeyyyy

:guitar: peace:

As the band mellowed in their new direction, leading their hardcore supporters to claim "sellouts!!" rock critic Lilian Roxon described it in her 1969 Rock Encyclopaedia, the album "strengthened dreadful suspicions that the Doors were in it just for the money". The track "Not to Touch the Earth" was intended to be a full album-side in length, but it never got to that point.

At that time, Morrison was increasingly addicted to alcohol, and their outdoor concerts in Chicago were disrupted by confrontations with marauding policemen.

Not to Touch the Earth

Not to touch the earth
Not to see the sun
Nothing left to do, but
Run, run, run
Let's run
Let's run

House upon the hill
Moon is lying still
Shadows of the trees
Witnessing the wild breeze
C'mon baby run with me
Let's run

Run with me
Run with me
Run with me
Let's run

The mansion is warm, at the top of the hill
Rich are the rooms and the comforts there
Red are the arms of luxuriant chairs
And you won't know a thing till you get inside

Dead president's corpse in the driver's car
The engine runs on glue and tar
Come on along, not goin' very far
To the East to meet the Czar

Run with me
Run with me
Run with me
Let's run

Whoa!

Some outlaws lived by the side of a lake
The minister's daughter's in love with the snake
Who lives in a well by the side of the road
Wake up, girl, we're almost home

Ya, c'mon!

We should see the gates by mornin'
We should be inside the evenin'

Sun, sun, sun
Burn, burn, burn
Soon, soon, soon
Moon, moon, moon
I will get you
Soon!
Soon!
Soon!

I am the Lizard King
I can do anything

Five to One

Yeah, c'mon
Love my girl
She lookin' good
C'mon
One more

Five to one, baby
One in five
No one here gets out alive, now
You get yours, baby
I'll get mine
Gonna make it, baby
If we try

The old get old
And the young get stronger
May take a week
And it may take longer
They got the guns
But we got the numbers
Gonna win, yeah
We're takin' over
Come on!

Yeah!

Your ballroom days are over, baby
Night is drawing near
Shadows of the evening crawl across the years
Ya walk across the floor with a flower in your hand
Trying to tell me no one understands
Trade in your hours for a handful dimes
Gonna' make it, baby, in our prime

Come together one more time
Get together one more time
Get together one more time
Get together, aha
Get together one more time!
Get together one more time!
Get together one more time
Get together one more time
Get together, gotta, get together

Ohhhhhhhh!

Hey, c'mon, honey
You won't have along wait for me, baby
I'll be there in just a little while
You see, I gotta go out in this car with these people and...

Get together one more time
Get together one more time
Get together, got to
Get together, got to
Get together, got to
Take you up in my room and...
Hah-hah-hah-hah-hah
Love my girl
She lookin' good, lookin' real good
Love ya, c'mon

:guitar: peace:

The Doors plunged further into pop territory with The Soft Parade, which alienated fans further with horns and orchestral instruments. Guitarist Robbie Krieger wrote most of the songs on the album, as well, which was a departure from Morrison's surreal lyrical visions.

But as the band's musical output had mellowed, Morrison's reputation as Dionysian demigod had reached outrageous highs and lows. At a theater production in Southern California, Morrison urged audiences to shed restraints to their personal freedoms. This credo would come back with a vengeance on his own career, when, after a period of drinking all day, he took to the concert stage and began a bizarre rant urging freedom and shedding of inhibitions:

"Now listen here, I ain't talking 'bout no revolution and I'm not talkin' about no demonstrations.

"I'm talking about having a good time, I'm talking about having a good time this summer. And you all come out to L.A., you all get out there, we're gonna lie down there in the sand and rub our toes in the ocean, and we're gonna have a good time, are you ready, are you ready, are you ready, are you ready, are you ready, are you ready, are you ready, are you ready?

"Now listen! I used to think the whole thing was a big joke. I used to think it was something to laugh about. And then the last couple of nights I met some people who were doing somethin'! They're tryin' to change the world! And I wanna get on that trip! I wanna change the world. Wanna change it. Yeeeeeeaaaaaahhh - change it."

"Now listen, I'm not talkin' about no revolution, an' I'm not talkin' about no demonstration! I'm talkin' about having fun! I'm talkin' about dancin'! I wanna see you people get up and dance! I wanna see you people dancin' in the street this summer! I wanna see you have some fun. I wanna see you run around. I wanna see you paint the town. I wanna see you ringin' out. I wanna see you shout. I wanna see some fun. I wanna see some fun from everyone."

"ANYTHING YOU WANT! LET'S DO IT! LET'S DO IT! LET'S DO IT!"

And reportedly, the drunken rant concludes with his alleged request to expose his private parts to the audience--the one incident that would lead the band to its ultimate doom and eternal noteriety, as well as being one glaring example of the bacchanalia and degradation of rock and roll in the 60's. Morrison was later arrested for this, but speculation remains as to whether he actually exposed himself. But the verdict was in, rock and roll was no longer the innocent music form all had championed, and it would only get worse.

Touch Me

Yeah!
Come on, come on, come on, come on
Now touch me, babe
Can't you see that I am not afraid?
What was that promise that you made?
Why won't you tell me what she said?
What was that promise that you made?
Now, I'm gonna love you
Till the heavens stop the rain
I'm gonna love you
Till the stars fall from the sky for you and I
Come on, come on, come on, come on
Now touch me, babe
Can't you see that I am not afraid?
What was that promise that you made?
Why won't you tell me what she said?
What was that promise that you made?
I'm gonna love you
Till the heavens stop the rain
I'm gonna love you
Till the stars fall from the sky for you and I
I'm gonna love you
Till the heavens stop the rain
I'm gonna love you
Till the stars fall from the sky for you and I

The song ends with the popular jingle from Ajax cleanser: STRONGER THAN DIRT!

Wild Child

All right
Wild child full of grace
Savior of the human race
Your cool face
Natural child, terrible child
Not your mother's or your father's child
You're our child, screamin' wild
An ancient lunatic reigns
In the trees of the night
Ha, ha, ha, ha
With hunger at her heels
Freedom in her eyes
She dances on her knees
Pirate prince at her side
Stirrin' into a hollow idols eyes
Wild child full of grace
Savior of the human race
Your cool face
Your cool face
Your cool face
Do you remember when we were in Africa?

:guitar: peace:

Steppenwolf released At Your Birthday Party in 1969, though, while not having the same impact as their previous two albums, did manage to have a few decent hits as "Jupiter's Child", "Rock Me", and "It's Never Too Late". The band also experimented with various other genres and instruments
such as country, ragtime piano, and African rhythms. It contains a few underrated tracks such as "Don't Cry", "Round and Round", "Chicken Wolf" (hmmm, a commentary on future wannabe war supporters in later decades? ;) ), and others.

I bought this album for Christmas in 1975, since I was a huge Steppenwolf fan. :cool: I was only in 7th grade at the time when everyone else was starting to get into disco and Aerosmith.

Jupiter Child

The one who reads the stars has told me
Why you're not like everyone
Your father is a fiery wizard
He travels all around the sun
No one ever knew just where you came from
Orphan girl, you grew up wild
Your father left you on the way home
Yes, girl, you're a Jupiter's child

Wish I knew the way back
Back to where you came
Gladly I would leave here
Take another name
I can tell by you, it must be true
It's up on Jupiter's face
They don't embrace our own disgrace
Somebody, help me off this place

You never really quite belonged
Like a pearl among the swine
You tried to live the way we do
Hoping you would learn in time
But, mankind, with all it's virtue
Will soon make you lose your smile
On this earth, with all it's madness
Heaven help a Jupiter's child

Wish I knew the way back
Back to where you came
Gladly I would leave here
Take another name
I can tell by you, it must be true
It's up on Jupiter's face
They don't embrace our own disgrace
Somebody, get me off this place

Chicken Wolf

You, comin' here
Tellin' me how proud you are
Some clown just handed you
A shiny little silver star
You say, over there, the men are brave
While the chickens stay away
'Cause they're all too much afraid
To fight for somthin' they should believe in
I'm sorry friend, you've got it backwards

They won't follow when your whistle blows
Won't come runnin' when your rooster crows
Don't eat the same old corn until their minds have gone
They don't fear the squawk of the little silly chicken hawk
Uh, uh huh, help us clean our own backyard
Before you go to preach abroad
Believe me, it won't be easy

As you well know, not ever bird can roam the sky
I see your wings, man, but can you fly?
All I see when I look down, something jumpin' on the ground, scratchin'
dirt
Cluckin' in the barnyard, tell me, could that be you?
In that case, lay another egg
Try to save yourself from the bar-b-cue

:guitar: peace:

It's Never Too Late

Your eyes are moist, you scream and shout
As though you were a man possessed
From deep inside comes rushing forth
All the anguish you suppressed
Up on your wall hangs your degree
Your parents craved so much for you
And though you're trained to make your mark
You still don't quite know what to do

It's never too late to start all over again
To love the people you caused the pain
And help them learn your name
Oh, no, not too late
It's never too late to start all over again

Well, it's much to late to start again
To try and find a little bliss
So on your woman and your child
You release your bitterness
You drift apart some more each day
You feel the guilt and loneliness
And the God of your childhood you can't find
To save you from your emptiness

It's never too late to start all over again
To love the people you caused the pain
And help them learn your name
Oh, no, not too late
It's never too late to start all over again

You say you've only got one life to live
And when your dead your gone
Your family comes to your grave
And with tears in their eyes
They tell you, you did something wrong
"You left us alone"

Tell me who's to say after all is done
And you're finally gone, you won't be back again
You can find a way to change today
You don't have to wait 'til then

Repeat Chorus


This next song is excellent:

Rock Me

She asked me maybe I could share her sorrow
For all the men that tried to treat her wrong
Though just a baby, awaiting her tomorrow
It's rock me baby, rock me baby, all night long

She needs an answer to her confusion
Someone to guide her with tenderness
But when she's askin' for a solution
All that she gets, you know, is something like this

I don't know where we come from
Don't know where we're goin' to
But if all this should have a reason
We would be the last to know
So let's just hope there is a promised land
Hang on 'til then
As best as you can

Ev'rybody's ills, you know it fills her with compassion
That's why she tries to save the world alone
She helps the needy in her own fashion
And tries to give them all her own

She needs an answer to her confusion
Someone to guide her with tenderness
But when she's askin' for a solution
All that she gets, you know, is
Something like this

Repeat Chorus

:guitar: :banana: :mango

Album with cut-out folding sleeve:

Steppenwolf's most political album, Monster, was released in 1969. It featured a long title track which contained its most strident attack on the deteriorated state of America under the Nixon Administration and its escalation of the Vietnam War, among other socially conscious issues, such as "Move Over", "Draft Resister", and others. In 1968, former Sparrow bassist
Nick St. Nicholas joined the band, replacing Rushton Moreve.

Monster/Suicide/America

Once the religious, the hunted and weary
Chasing the promise of freedom and hope
Came to this country to build a new vision
Far from the reaches of kingdom and pope
Like good Christians, some would burn the witches
Later some got slaves to gather riches

But still from near and far to seek America
They came by thousands to court the wild
And she just patiently smiled and bore a child
To be their spirit and guiding light

And once the ties with the crown had been broken
Westward in saddle and wagon it went
And 'til the railroad linked ocean to ocean
Many the lives which had come to an end
While we bullied, stole and bought our a homeland
We began the slaughter of the red man

But still from near and far to seek America
They came by thousands to court the wild
And she just patiently smiled and bore a child
To be their spirit and guiding light

The blue and grey they stomped it
They kicked it just like a dog
And when the war over
They stuffed it just like a hog

And though the past has it's share of injustice
Kind was the spirit in many a way
But it's protectors and friends have been sleeping
Now it's a monster and will not obey

(Suicide)
The spirit was freedom and justice
And it's keepers seem generous and kind
It's leaders were supposed to serve the country
But now they won't pay it no mind
'Cause the people grew fat and got lazy
And now their vote is a meaningless joke
They babble about law and order
But it's all just an echo of what they've been told
Yeah, there's a monster on the loose
It's got our heads into a noose
And it just sits there watchin'

Our cities have turned into jungles
And corruption is stranglin' the land
The police force is watching the people
And the people just can't understand
We don't know how to mind our own business
'Cause the whole worlds got to be just like us
Now we are fighting a war over there
No matter who's the winner
We can't pay the cost
'Cause there's a monster on the loose
It's got our heads into a noose
And it just sits there watching

(America)
America where are you now?
Don't you care about your sons and daughters?
Don't you know we need you now
We can't fight alone against the monster

Move Over

Things look bad from over here
Too much confusion and no solution
Everyone here knows your fear
You're out of touch and you try too much

Yesterday's glory won't help us today
You wanna retire?
Get out of the way

The country needs a father
Not an uncle or big brother
Someone to keep the peace at home
If we can't get together
Look out for stormy weather
Don't make me pay for your mistakes
I have to pay my own

Yesterday's glory won't help us today
You wanna retire?
Get out of the way

I ain't got much time
The young ones close behind
I can't wait in line

If we can not wake you
Then we'll have to shake you
Though some say you'll only understand a gun
Got to prove them wrong
Or you will lose the battle
Don't you know we'll start a war
Which will be won by none

Yesterday's glory won't help us today
You wanna retire?
Get out of the way

I ain't got much time
The young ones close behind
I can't wait in line

Move over
Come on, Move Over

Repeat Chorus

:guitar: peace:

Three Dog Night was another L.A. band which featured three vocalists Danny Hutton, Chuck Negron, and Cory Wells, who originally went by the name Redwood. After recording with The Beach Boys' Brian Wilson for a few tracks, they changed their name to Three Dog Night, after an Australian Aboriginal term for the coldest night of the year, requiring huddling up with three dogs for warmth. The band was joined by Michael Allsup on guitar, Floyd Sneed on drums, Joe Schermie (from the Cory Wells Blues Band) on bass, and Jimmy Greenspoon on keyboards. Their first album featured the major pop hit "One", as well as tracks including "Heaven Is In Your Mind" and "Try a Little Tenderness". The following song peaked at #5 in 1969:

One

One is the loneliest number that you'll ever do
Two can be as bad as one
It's the loneliest number since the number one

No is the saddest experience you'll ever know
Yes, it's the saddest experience you'll ever know

'Cause one is the loneliest number that you'll ever do
One is the loneliest number, whoa-oh, worse than two

It's just no good anymore since you went away
Now I spend my time just making rhymes of yesterday

One is the loneliest number
One is the loneliest number
One is the loneliest number that you'll ever do

One is the loneliest
One is the loneliest
One is the loneliest number that you'll ever do

It's just no good anymore since you went away

(number)
One is the loneliest (number)
One is the loneliest (number)
One is the loneliest number that you'll ever do

(number)
One is the loneliest (number)
One is the loneliest (number)
One is the loneliest number that you'll ever do

(number)
One...! (one is the loneliest number that you'll ever do)
(number)
One is the loneliest number that you'll ever do
(number)
One is the loneliest number that you'll ever do

Try a Little Tenderness

oh she may be weary
them young girls they do get wearied
wearing that same old miniskirt dress
but when she gets weary
you try a little tenderness
oh man that
un hunh
i know shes waiting
just anticipating
the thing that youl never never possess
no no no
but while she there waiting
try just a little bit of tenderness
thats all you got to do
now it might be a little bit sentimental no
but she has her greavs and care
but the soft words they are spoke so gentle
yeah yeah yeah
and it makes it easier to bear
oh she wont regret it
no no
them young girls they dont forget it
love is their whole happiness
yeah yeha yeah
but its all so easy
all you got to do is try
try a little tenderness
yeah
damn that hart (hard?)
all you got to do is know how to love her
you've got to
hold her
squeeze her
never leave her
now get to her
got got got to try a little tenderness
yeah yeah
lord have mercy now
all you got to do is take my advice
you've got to hold her
don't squeeze her
never leave her
you've got to hold her
and never
so you got to try a little tenderness
a little tenderness
a little tenderness
a little tenderness
you've got to
got to got to
you've gotta hold her
don't squeeze her
never leaver her
you got
got got got to
now now now
got got got to
try a little tenderness
yeah yeah
tenderness
tenderness
you got got got
you got to
hold her
squeeze her
never leave her
got got got got got got got
tenderness
oh yeah
tenderness
little tendernes
gotta lord you gotta hold her
squeeze her
never leave her
sock it sock it sock it sock it sock it sock it sock it
tenderness
got to
got to
try a little tenderness
a little tenderness X2
you gotta gotta you gotta
yeah gotta
oh lord
you gotta
hold her
squeeze
never leave
get to her
sock it to her
with a little tenderness
little tenderness
little tenderness
you gotta hold her
squeeze her
never leave
tenderness
little tenderness
tenderness

:guitar: :banana: :mango

Three Dog Night later released Suitable For Framing later that year, which featured the hits "Eli's Coming", "Easy To Be Hard", and "Celebrate".

Eli's Coming

Eli's comin'
Eli's comin' (Eli's a-comin')
Well you better hide your heart, your loving heart
Eli's a-comin' and the cards say... a broken heart

Eli's comin', hide your heart, girl
Eli's comin', hide your heart, girl
Girl, Eli's a-comin', you better hide
Girl, Eli's a-comin', you better hide
Girl, Eli's a-comin', you better hide
Girl, Eli's comin', hide your heart, girl (hide it)
You better, better hide your heart
Eli's comin', better walk

Walk but you'll never get away
No, you'll never get away from the burnin' a-heartache
I walked to Apollo by the bay
Everywhere I go though, Eli's a-comin' (she walked but she never got away)
Eli's a-comin' (she walked but she never got away)
Eli's a-comin' and he's comin' to git ya (she walked but... she walked
but...)
Get down on your knees (she walked but she never got away)

Eli's comin' (hide it, hide it, hide it)
Girl, Eli's a-comin', you better hide
Girl, Eli's a-comin', you better hide
Girl, Eli's a-comin', you better hide
Girl, Eli's comin', hide your heart, girl (hide it)
You better, better hide your heart
Eli's comin', better walk

Walk but you'll never get away
No, you'll never get away from the burnin' a-heartache
I walked to Apollo by the bay
Everywhere I go though, Eli's a-comin' (she walked but she'll never get
away)
Eli's a-comin' (she walked but she'll never get away)
Eli's a-comin' and he's comin' to git ya (she walked but... she walked
but...)
Get down on your knees (she walked but she'll never get away)
Get down on your knees

No-no, no-no
Lord, I said no-no, no-no, no-no

(hide it) She can
(hide it) hide it
(hide it) You better
(hide it) Somebody
(hide it) You got t'
(hide it) Oh, my
(hide it) Oh-oh-oh-oh-oh-oh-oh

Easy To Be Hard

How can people be so heartless
How can people be so cruel
Easy to be hard
Easy to be cold

How can people have no feelings
How can they ignore their friends
Easy to be proud
Easy to say no

And especially people
Who care about strangers
Who care about evil
And social injustice
Do you only
Care about the bleeding crowd?
How about a needing friend?
I need a friend

How can people be so heartless
You know I'm hung up on you
Easy to be proud
Easy to say no

And especially people
Who care about strangers
Who say they care about evil and social injustice
Do you only Care about the bleeding crowd
How about a needing friend?
Oh need a friend

How can people be so heartless
How can people be so cruel
Easy to be proud
Easy to say no
Easy to be cold
Easy to say no
C'mon Easy to give in
Easy to say no
Easy to be cold
Easy to say no
Easy to say no

:guitar: :banana: :mango

This tune is a fun, feel-good anthem:

Celebrate

Slippin' away, sittin' on a pillow
Waitin' for night to fall
A girl and a dream, sittin' on a pillow
This is the night to go to the celebrity ball

Satin and lace, isn't it a pity
Didn't find time to call
Ready or not, gonna make it to the city
This is the night to go to the celebrity ball

Dress up tonight, why be lonely?
You'll stay at home and you'll be alone
So why be lonely?
Sittin' alone, sittin' on a pillow
Waitin' to climb the walls
Maybe tonight, depending how your dream goes
She'll open her eyes when she goes to the celebrity ball

Dress up tonight, why be lonely?
You'll stay at home and you'll be alone
So why be lonely?
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music
Celebrate, celebrate, dance to the music

:guitar: :banana: :mango party:

Three Dog Night live in 1969. Check out those threads!! peace:

Even though we've visited this album in our previous 60's thread, we are going back to relive Led Zeppelin II, nicknamed the Brown Bomber, an even bigger album than their debut. The album featured their biggest hit "Whole Lotta Love", as well as classics as "Heartbreaker/Living Loving Maid", "Moby Dick", and others. The album also brought them a bit of legal trouble with blues veteran Willie Dixon, who was not credited for their cover of his song "Bring It On Back", in their song "Bring It On Home". Blues artists were generally covered in years past by each other with little problem, but as rock and roll was big business at this point, it was only fair that the original blues masters received their due by the new young guns of blues and rock. Later pressings credited Dixon, who also threatened to sue over "Whole Lotta Love". (I've actually read that Whole Lotta Love may have been taken from elsewhere? :confused: ) In happier news, Page was once quoted in an interview as saying: "I've often thought that in the way the Stones tried to be the sons of Chuck Berry, we tried to be the sons of Howlin' Wolf."[8] A version of Howlin' Wolf's song "Killing Floor" featured prominently in Led Zeppelin's early live performances; "Killing Floor" was also the inspiration for "The Lemon Song" on Led Zeppelin II.

Isn't the guitar smear in the chorus the COOLEST thing in rock and roll??
"Wanna whole lotta love?" MRAAAAAOOOOAAAWWWRRRRRrrrr... :guitar:

Whole Lotta Love

You need coolin', baby, I'm not foolin',
I'm gonna send you back to schoolin',
Way down inside honey, you need it,
I'm gonna give you my love, X2

*Wanna Whole Lotta Love? X4

You've been learnin', baby, I mean learnin',
All them good times, baby, baby, I've been Yearnin'
Way, way down inside honey, you need it,
I'm gonna give you my love X2

* Chorus

You been foolin', baby, I've been droolin',
All the good times I've been misusin',
Way, way down inside, I'm gonna give you my love,
I'm gonna give you every inch of my love,
Gonna give you my love.
Yeah! All right! Let's go!

* Chorus

Way down inside, woman, You need love.
Shake for me, girl, I wanna be your backdoor man.
Hey, oh, hey, oh, Oh, oh, oh, Keep a-coolin', baby,
Keep a-coolin', baby.

The Lemon Song

I should have quit you, long time ago. [X2]
I wouldn't be here, my children, down on this killin' floor.

I should have listened, baby, to my second mind [X2]
Everytime I go away and leave you, darling, you send me the blues way down the line.

Said, baby worry I can't keep you satisfied.
Let me tell you baby, you ain't nothin but a two-bit, no-good wive.

Went to sleep last night, worked as hard as I can,
Bring home my money, you take my money, give it to another man.
I should have quit you, baby, such a long time ago.
I wouldn't be here with all my troubles, down on this killing floor.

Squeeze me baby, till the juice runs down my leg. [X2]
The way you squeeze my lemon, I'm gonna fall right out of bed.

I'm gonna leave my children down on this killing floor.

:rock: :guitar: :guitar: :rock:

As Led Zeppelin's fame skyrocketed, their tours across America became legendary in their rock and roll revelry and debauchery. One such tale included an episode at Seattle's Edgewater Inn (Led Zeppelin's first Seattle appearance was opening for Vanilla Fudge at an outdoor venue at Green Lake)
where a groupie was later found tied to a bed romantically entwined with a mud shark!! :eek: So the story goes... At Edgewater Inn, you could fish from your window, where the band most likely found the willing aquatic victim (the fish, that is... ;) ). The Beatles stayed here and were subject to hysteria when they came only five years earlier, but nothing was as hysterical as this!
:lol: Frank Zappa even wrote a song about the incident with the chorus "Do the Mudshark".

The album is considered another forerunner of heavy metal. In fact, a device employed by metal guitarists was used in the solo to the following song: tapping, hitting notes on the fretboard with multiple fingers without picking the strings.

Heartbreaker

Hey fellas, have you heard the news? You know that Annie's back in town?
It won't take long just watch and see all the fellas lay their money down.
Her style is new but the pay is the same as it was so long ago,
But from her eyes, a different smile like that of one who knows.

Well, it's been ten years and maybe more since I first set eyes on you.
The best years of my life gone by, here I am alone and blue.
Some people cry and some people die by the wicked ways of love;
But I'll just keep on rollin' along with the grace of the Lord above.

People talkin' all around 'bout the way you left me flat,
I don't care what the people say, I know where their jive is at.
One thing I do have on my mind, if you can clarify please do,
It's the way you call me by another guy's name when I try to make love to you.
I try to make love but it ain't no use...Give it to me! Give it!

Work so hard I can't unwind, get some money saved;
Abuse my love a thousand times, however hard I tried.
Heartbreaker, your time has come, can't take your evil way;
Go away, Heartbreaker. Heartbreaker heartbreaker heart.

Living Loving Maid

With a purple umbrella and a fifty cent hat,
Livin', lovin', she's just a woman.
Missus cool rides out in her aged Cadillac.
Livin', lovin', she's just a woman.

*Come on, babe on the round about,
Ride on the merry-go-round,
We all know what your name is,
So you better lay your money down.

Alimony, alimony payin' your bills,
Livin', lovin', she's just a woman.
When your conscience hits, you knock it back with pills.
Livin', lovin', she's just a woman.

* Chorus

Tellin' tall tales of how it used to be,
Livin', lovin', she's just a woman.
With the butler and the maid and the servantry.
Livin', lovin', she's just a woman, Oh, you got it.
Nobody hears a single word you say.
Livin', lovin', she's just a woman.
But you keep on talkin' till your dyin' day.
Livin', lovin', she's just a woman.

* Chorus

Livin', Lovin', She's just a woman

:rock: :guitar: :guitar: :rock:

What Is And What Should Never Be

And if I say to you tomorrow. Take my hand, child, come with me.
It's to a castle I will take you, where what's to be, they say will be.

Catch the wind, see us spin, sail away, leave today, way up high in the sky.
But the wind won't blow, you really shouldn't go, it only goes to show
That you will be mine, by takin' our time.

And if you say to me tomorrow, oh what fun it all would be.
Then what's to stop us, pretty baby. But What Is And What Should Never Be.

Catch the wind, see us spin, sail away, leave today, way up high in the sky.
But the wind won't blow, you really shouldn't go, it only goes to show
That you will be mine, by takin' our time.

So if you wake up with the sunrise, and all your dreams are still as new,
And happiness is what you need so bad, girl, the answer lies with you.

Catch the wind, see us spin, sail away, leave today, way up high in the sky.
But the wind won't blow, you really shouldn't go, it only goes to show
That you will be mine, by takin' our time.

Oh the wind wont blow and we really shouldn't go and it only goes to show.
Catch the wind, we're gonna see it spin, we're gonna...sail, little girl
do do do, bop bop a do-oh, my my my my my my yeah.
Everybody I know seems to know me well
but they're never gonna know that I move like hell.

Ramble On

And if I say to you tomorrow. Take my hand, child, come with me.
It's to a castle I will take you, where what's to be, they say will be.

Catch the wind, see us spin, sail away, leave today, way up high in the sky.
But the wind won't blow, you really shouldn't go, it only goes to show
That you will be mine, by takin' our time.

And if you say to me tomorrow, oh what fun it all would be.
Then what's to stop us, pretty baby. But What Is And What Should Never Be.

Catch the wind, see us spin, sail away, leave today, way up high in the sky.
But the wind won't blow, you really shouldn't go, it only goes to show
That you will be mine, by takin' our time.

So if you wake up with the sunrise, and all your dreams are still as new,
And happiness is what you need so bad, girl, the answer lies with you.

Catch the wind, see us spin, sail away, leave today, way up high in the sky.
But the wind won't blow, you really shouldn't go, it only goes to show
That you will be mine, by takin' our time.

Oh the wind wont blow and we really shouldn't go and it only goes to show.
Catch the wind, we're gonna see it spin, we're gonna...sail, little girl
do do do, bop bop a do-oh, my my my my my my yeah.
Everybody I know seems to know me well
but they're never gonna know that I move like hell.

:rock: :guitar: :guitar: :rock:

Thank You

If the sun refused to shine, I would still be loving you.
When mountains crumble to the sea, there will still be you and me.

Kind woman, I give you my all; Kind woman, nothing more.

Little drops of rain whisper of the pain, tears of loves lost in the days gone by.
My love is strong, with you there is no wrong,
together we shall go until we die. My, my, my.
An inspiration is what you are to me, inspiration, look... see.

And so today, my world it smiles, your hand in mine, we walk the miles,
Thanks to you it will be done, for you to me are the only one.
Happiness, no more to be said, happiness....I'm glad.
If the sun refused to shine, I would still be loving you
Mountains crumble to the sea, there will still be you and me.

Bring It On Home

Baby, baby... I'm gonna bring it on home to you.
I've got my ticket, I've got that load. Got up, gone higher, all aboard.
Take my seat, right way back. ooh yeah. Watch this train roll down the track.
I'm gonna bring it on home, Bring it on home to you.
Watch out, watch out...

Try to tell you baby, what you tryin' to do?
Tryin' to love me baby, love some other man too.
Bring it on home...

Went a little walk downtown, messed and got back late.
Found a note there waiting, it said, "Daddy, I just can't wait."
Bring it on home... Bring it back home to me baby...

Tell you, pretty baby, you love to mess me `round.
I'm gonna give you lovin', baby, gonna move you out o' town.
Bring it on home...

Sweetest little baby, daddy ever saw.
I'm gonna give you lovin' baby, I'm gonna give you more.
Bring it on home...

Bring it on home, Bring it on home to you...

:rock: :guitar: :guitar: :rock:

One artist rivaling Frank Zappa for inspired weirdness was Captain Beefheart, who with His Magic Band, released Trout Mask Replica in 1969, an album which was bizarre even for those wacky times. Beefheart, whose real name was Don Van Vliet, born in 1941 in Glendale, California of Dutch heritage, formed His Magic Band in the mid-60's, and, like Zappa, ran the band in a dictatorial fashion with a variety of musicians in a revolving lineup with instruments such as horns, harmonica, and others, played in free-form style.

While studying at Antelope Valley High School in Lancaster he met the teenage Frank Zappa. They began collaborating on pop song parodies and a movie script called Captain Beefheart vs. the Grunt People[9] the first appearance of the Beefheart name. Van Vliet's stage name came from a term used by his Uncle Alan. Alan had a habit of exposing himself to Don's girlfriend, Laurie. Alan would urinate with the bathroom door open and, if she was walking by, mumble about his penis, saying "Ahh, what a beauty! It looks just like a big, fine beef heart." :happyface :lol: So the story goes, but Zappa and Beefheart would claim they never really new how the name came about. Beefheart began his foray into the music scene in the mid-60's with a few hits, but his musical direction became more experimental and eclectic, thus resulting in declining sales, but intriguing music fans with something a little more out of the ordinary.

In 1969, the Magic Band was given new names for each member, the Magic Band included guitarist Bill Harkleroad and bassist Mark Boston. However, Van Vliet had also begun assigning nicknames to his band members, so Harkleroad is better known as "Zoot Horn Rollo", and Boston as "Rockette Morton", while John French becomes "Drumbo", and Jeff Cotton is "Antennae Jimmy Semens". The group rehearsed Van Vliet's difficult compositions for eight months, living communally in conditions drummer John French described as "cultlike".The 28 songs on Trout Mask Replica draw on blues music, Bo Diddley, free jazz, and sea shanties but the relentless practice blended the music into an iconoclastic whole of conflicting tempi, harsh slide guitar, loping drumming, and honking saxophone and bass clarinet. Van Vliet's vocals range from growling blues singing to frenzied falsetto to laconic, casual ramblings. His lyrics often seem impenetrably strange and nonsensical, but closer examination actually reveals complex poetic use of wordplay, metaphor and all manner of references: music history, American and international politics, the Holocaust, love and sexuality, Steve Reich, gospel music, conformity. Although the album was effectively recorded live, Van Vliet recorded much of the vocals whilst isolated from the rest of the band in a different room, only being in partial synch with the music by hearing the slight sound leakage through the studio window.

Van Vliet has always shown a deep interest in art and painting, and currently conducts an artist's career while living in seclusion in the Mojave Desert.

The Simpson's creator Matt Groening has written that his first reaction to Trout Mask Replica was that it was "the worst thing I'd ever heard", but now lists the album as one of his favorites.

Track listing:

Side one
"Frownland" – 1:41
"The Dust Blows Forward 'n the Dust Blows Back" – 1:53
"Dachau Blues" – 2:21
"Ella Guru" – 2:26
"Hair Pie: Bake 1" – 4:58
"Moonlight on Vermont" – 3:59

Side two
"Pachuco Cadaver" – 4:40
"Bills Corpse" – 1:48
"Sweet Sweet Bulbs" – 2:21
"Neon Meate Dream of a Octafish" – 2:25
"China Pig" – 4:02
"My Human Gets Me Blues" – 2:46
"Dali's Car" – 1:26

Side three
"Hair Pie: Bake 2" – 2:23
"Pena" – 2:33
"Well" – 2:07
"When Big Joan Sets Up" – 5:18
"Fallin' Ditch" – 2:08
"Sugar 'n Spikes" – 2:30
"Ant Man Bee" – 3:57

Side four
"Orange Claw Hammer" – 3:34
"Wild Life" – 3:09
"She's Too Much for My Mirror" – 1:40
"Hobo Chang Ba" – 2:02
"The Blimp (mousetrapreplica)" – 2:04
"Steal Softly thru Snow" – 2:18
"Old Fart at Play" – 1:51
"Veteran's Day Poppy" – 4:31

It takes the mind of a rather twisted man to write something like this: :crazy:

Dachau Blues

Dachau blues those poor jews
Dachau blues those poor jews
Down in Dachau blues, down in Dachau blues
Still cryin' 'bout the burnin' back in world war two's
One mad man six million lose
Down in Dachau blues down in Dachau blues
Dachau blues, Dachau blues those poor jews
The world can't forget that misery
'n the young ones now beggin' the old ones please
t' stop bein' madmen
'fore they have t' tell their children
'bout the burnin' back in World War Three's
War One was balls 'n powder 'n blood 'n snow
War Two rained death 'n showers 'n skeletons
Danced 'n screamin' 'n dyin' in the ovens
Cough 'n smoke 'n dyin' by the dozens
Down in Dachau blues
Down in Dachau blues
Three little children with doves on their shoulders
Their eyes rolled back in ecstasy cryin'
Please old man stop this misery
They're countin' out the devil
With two fingers on their hands
Beggin' the Lord don't let the third one land
On World War Three
On World War Three

Much talk has been made about the curious characters who dominated the 60's cultural landscape known as Hippies. In common parlance, the term hippie has taken on a perjorative context, but for many the term conjures up images of a simpler, more meaningful time full of love and freedom.

What, in fact, was a hippie?

Hippies were part of the 60's counter-culture movement of the 60's, much like the Beat movement of the 50's, characterized by long hair, far out fashions, a commitment to a simpler lifestyle, in other words, anything opposed to the values of the predominant older "square" establishment culture which they deemed as feeding conformity and blind obedience to the younger generation. The word hippie was popularized by the late San Francisco Chronicle columnist Herb Caen. There was no set doctrine or manifesto to how to be a hippie, it was simply a commitment to live by one's own rules and be at peace with all. Young people felt inclined to shed what they perceived as shallow values imposed upon by parents, preachers, politicos and all authoritarian types, and left home, jobs, and schools to embark on a journey of "finding oneself". Part of that journey of self discovery involved the use of drugs, which were more than a mere recreational high, but a gateway to a new kind of religion. Judeo-Christian values were seen as empty, just merely going to church to hear a typical sermon which had no bearing on real life, nothing about what was really grooving out there. Christianity was seen as part of the province of war-mongering politicos who insisted "God was on our side" in the war against communism in Vietnam and elsewhere, just part of the "good life" held by the affluent middle class, going to church was simply part of their routine anyway. And besides, wasn't God--or commonly held ideas about Him--dead anyway? It was time to find a new, real religion for many.

Shedding Christian belief for something new, they found their spiritual enlightenment in outlets such as Eastern mysticism and other non-Judeo-Christian belief systems. The hippies also rejected the values of corporate consumerism, preferring a more self-made lifestyle of designing their own garments, arts and crafts and their own cottage industries. The Mecca of the whole hippie movement was San Francisco, though nearly every major town on the West Coast, especially Los Angeles, was home to hippie movements. In 1967, the Haight-Ashbury district in San Francisco was Ground Zero for the Summer of Love, where performance artists, musical groups such as the Grateful Dead and Jefferson Airplane, illustrators and writers, and underground media all thrived. Hippies were also known as Flower Children by their practice of passing out flowers to passersby, indicating a return to nature and beauty message. Though the hippies flocked to major cities on the west coast, the idea was simple in that, in writings espoused by writers such as Hermann Hesse and Goethe, man needed
a return to nature and simplicity, as modern society and technology and urbanization were destroying and subverting man's basic instincts for love and inner peace. Only by returning to a more natural, primal state could he find his true happiness. Mass-produced food was rejected for more organic foods, including the practice of vegetarianism. Nudism was also a means to that ideal "perfect primal state".

Here are various pictures of hippies, and--HEY, HOW DID THAT PICTURE OF BRITNEY SPEARS IN HIPPIE-CHICK DRESS HOLDING A BOTTLE OF PEPSI GET IN HERE?? :eek: CORPORATE SELL-OUT!!!! :mad: :lol:

http://www.altmanphoto.com/images_sixties/how.do.sm.jpeg

In 1968, David Crosby had been fired from the Byrds. Stephen Stills had climbed out of the wreckage that was the Buffalo Springfiled. In England, Graham Nash was still in the Hollies, feeling unappreciated. The three musicians came to realize what a merciless game the pop world was. It didn't matter how good you were or what you offered to a group; you could be replaced.

The trio began to hang out together and at either Joni Mitchell's house - or Cass Elliot's house, no one can quite remember - they harmonized on a couple of songs and discovered their unique brand of three-part harmony. It was only awhile before they got a recording contract. Signing with Atlantic, they formed a new trio. Calling themselves by their surnames - the order was determined by the rhythm of the sounds in their names - Crosby, Stills and Nash did so to keep the trio from going on without any one of them, but also because they didn't see themselves as a group. Rather, they saw themselves as three individuals who would work together in a group dynamic whenever they felt like it. The downside was that they'd record together infrequently - sometimes in different configurations (Crosby-Nash, for example) - and spend the time in between making mostly forgettable solo albums. But when they issued their self-titled debut album in May 1969, it looked like they would be unstoppable.

Critics were divided on CSN, some hailing them as great pop troubadours in the singer-songwriter tradition, others complaining about their slick production and harmonies they considered more barbershop than rock. (CSN were also blamed for the lily-white LA soft rock that dominated radio in the seventies.) But to their fans, they were the heart and soul of a new movement in rock - sociopolitically conscious folk rockers who respected and delighted their audiences.

"Suite: Judy Blue Eyes" was a Stills composition about his relationship with Judy Collins; Nash's "Marrakesh Express" was about a Moroccan train trip he took with his first wife while still in the Hollies. He offered the song to them,. but they rejected it. WHAT???? The Hollies blew it. ;)

Suite: Judy Blue Eyes - Crosby, Stills and Nash

(Stills)

It's getting to the point
Where I'm no fun anymore
I am sorry
Sometimes it hurts so badly
I must cry out loud
I am lonely
I am yours, you are mine
You are what you are
And you make it hard

Remember what we've said and done and felt
about each other
Oh babe, have mercy
Don't let the past remind us of what we are not now
I am not dreaming.
I am yours, you are mine
You are what you are
And you make it hard-

Tearing yourself away from me now
You are free and I am crying
This does not mean I don't love you
I do, that's forever, yes and for always
I am yours, you are mine
You are what you are
And you make it hard

Something inside is telling me that
I've got your secret. Are you still listening?
Fear is the lock, and laughter the key to your heart
And I love you.

I am yours, you are mine, you are what you are
And you make it hard
And you make it hard

Friday evening, Sunday in the afternoon
What have you got to lose?
Tuesday mornin', please be gone I'm tired of you.
What have you got to lose?
Can I tell it like it is? Help me I'm sufferin'
Listen to me baby-Help me I'm dyin'
It's my heart that's a sufferin', it's a dyin'
That's what I have to lose
I've got an answer
I'm going to fly away
What have I got to lose?
Will you come see me
Thursdays and Saturdays?
What have you got to lose?

Chestnut brown canary
Ruby throated sparrow
Sing a song don't be long
Thrill me to the marrow
Voices of the angels ring around the moonlight
Asking me, said she so free
How can you catch the sparrow?
Lacy, lilting, lady, losing love, lamenting

Change my life, make it right
Be my lady.
Doo doo doo doo doo, doo doo doo doo doo doo. . .

Que linda me la traiga Cuba,
la reina de la Mar Caribe.
Cielo sol no tiene sangreahi,
y que triste que no puedo vaya,
Oh va, oh va, va.

(ENGLISH TRANSLATION:

How happy it makes me to think of Cuba,
The smiles of the Caribbean Sea,
Sunny sky has no blood, and how sad that
I'm not able to go
Oh go, oh go go.)

Marrakesh Express - Crosby, Stills and Nash

(Nash)

Looking at the world through the sunset in your eyes,
Traveling the train through clear Moroccan skies.
Ducks, and pigs, and chickens call,
Animal carpet wall to wall,
American ladies five-foot tall in blue.
Sweeping cobwebs from the edges of my mind,
Had to get away to see what we could find.
Hope the days that lie ahead
bring us back to where they've led,
Listen not to what's been said to you.

Wouldn't you know we're riding on the Marrakesh Express.
Wouldn't you know we're riding on the Marrakesh Express,
they're taking me to Marrakesh.
All aboard the train.
All aboard the train.

I've been saving all my money just to take you there.
I smell the garden in your hair.
Take the train from Casablanca going south,
Blowing smoke rings from the corners of my m-m-m-m-mouth.
Colored cottons hang in the air,
Charming cobras in the square.
Striped djellebas we can wear at home.
Well, let me hear ya now.

Wouldn't you know we're riding on the Marrakesh Express.
Wouldn't you know we're riding on the Marrakesh Express,
they're taking me to Marrakesh.
Wouldn't you know we're riding on the Marrakesh Express.
Wouldn't you know we're riding on the Marrakesh Express,
they're taking me to Marrakesh.
All on board the train,
All on board the train,
All on board. . . .







http://i.realone.com/assets/rn/cms/2004/album_170x170/Crosby_Stills_and_Nash170.6599053.jpeg

On June 4, 1968, Robert F. Kennedy was assassinated during his bid for the Presidency in Los Angeles. David Crosby wrote "Long Time Gone" in repsonse. Provoked by a lyric from the Shirelles's "Dedicated To the One I Love" - "The darkest hour is just before dawn" - Crosby predicted that it would be a long time before America would see the light of hope as it entered a period of darkness. Alas, we're still in that period. :(

Long Time Gone - Crosby Stills and Nash

(Crosby)

It's been a long time comin'
It's goin' to be a Long Time Gone.
And it appears to be a long,
appears to be a long,
appears to be a long
time, yes, a long, long, long ,long time before the dawn.

Turn, turn any corner.
Hear, you must hear what the people say.
You know there's something that's goin' on around here,
the surely, surely, surely won't stand the light of day.
And it appears to be a long,
appears to be a long,
appears to be a long
time, yes, a long, long, long ,long time before the dawn.

Speak out, you got to speak out against the madness,
you got to speak your mind,
if you dare.
But don't no don't now try to get yourself elected
If you do you had better cut your hair.
`Cause it appears to be a long,
appears to be a long,
appears to be a long,
Time, such a long long long long time before the dawn.

It's been a long time comin'
It's goin' to be a long time gone.
But you know,
The darkest hour is always
Always just before the dawn.
And it appears to be a long, appears to be a long,
appears to be a long
Time, such a long long long long time before the dawn.

http://biografie.leonardo.it/img/bio/r/Robert_Kennedy.jpg

(Robert F. Kennedy, who was prevented from becoming the nation's 37th President by an assassin's bullet. :( )

Many people considered this to be the best song on the first CSN album. Wooden Ships" was about survivors of a nuclear war sailing away to found a new civilization. The "silver people" were men in radiation suits. Later, Jackson Browne asked David Crosby about why the song failed to express sympathy for the people left behind. Crsoby replied, "F:censored: 'em." "That's not cool," Browne replied, and Crosby later admitted Browne was right. Browne wrote "For Everyman," the title song of his 1973 album, in repsonse to Crosby's original attitude.

Co-written by Crosby, Stills and Paul Kantner, it was also recorded by the Jefferson Airplane. :)

Wooden Ships - Crosby, Stills, and Nash

(Crosby-Stills-Kantner)

"If you smile at me
I will understand,
'Cause that is something
Everybody everywhere does in the same language.

"I can see by your coat, my friend,
You're from the other side.
There's just one thing I've got to know,
Can you tell me please, who won?"

"Say, can I have some of your purple berries?"
"Yes, I've been eating them for six or seven weeks now,
Haven't got sick once."
"Prob'ly keep us both alive."

Wooden ships on the water, very free, and easy
Easy, you know the way it's supposed to be
Silver people on the shoreline let us be
Talk'n 'bout very free, and easy.

Horror grips us as we watch you die
All we can do is echo your anguished cries
Stare as all human feelings die
We are leaving, you don't need us.

Go take a sister, then, by the hand
Lead her away from this foreign land
Far away, where we might laugh again
We are leaving, you don't need us.

And it's a fair wind,
Blowin' warm out of the south over my shoulder.
Guess I'll set a course and go.

http://www.puzzlehouse.com/images/webpage/threeships.jpg

James Brown released one of the most memorable black power anthems in 1968, Say It Loud--I'm Black And I'm Proud, whose title track addressed the problems of being black in those tumultuous times. In the era when Martin Luther King was tragically martyred in Memphis in the spring of that year, the song became a rallying cry for many disenfranchised people of color.

The song's chorus is performed by a group of young children, who, upon being asked by Brown to "Say it loud," loudly proclaim "I'm black and I'm proud!" Incidentally, as the song was recorded in a Los Angeles area suburb, most of the children that Brown was able to recruit in the area to record the song were actually White and Asian children, with only a few Black children included in the ensemble.

Say It Loud--I'm Black And I'm Proud

Now we demand a chance to do things for ourserlf
We're tired of beatin' our head against the wall
And workin' for someone else
We're people, we're just like the birds and the bees
We'd rather die on our feet
Than be livin' on our knees
Say it loud, I'm black and I'm proud

:banana: :mango peace:

ATTENTION: This is not a joke!

One of the strangest groups to come out of the sixties hippie scene was the Hello People, created by producer Lou Futterman in 1967. Having apparently smoked something way too funny, Futterman put together a group of musicians who were taught the basics of mime. The idea was to have the group perform live in mime makeup starting songs with intros that involved a brief mime piece, with skits in between songs.

They actually appeared on The Tonight Show and The Smothers Brothers Comedy Hour. The idea was to make people approach the melding of mime and music - and thus, everything else - with an open mind. :eek:

Yeah, right! :rolleyes:

Don't believe this is for real? Click here (http://www.thecoolgroove.com/hello.html) if you don't believe me!

Hello People later toured with real rock talent Todd Rundgren in the seventies. :crazy:

http://wwws.mmjbdata.com/graphics/www.mmguide.musicmatch.com/artist_image/amg/drp100/p135/p13500tgv18.jpg

ATTENTION: This is not a joke!

One of the strangest groups to come out of the sixties hippie scene was the Hello People, created by producre Lou Futterman in 1967. Having apparently smoked something way too funny, Futterman put together a group of musicians who were taught the basics of mime. The idea was to have the group perform live in mime makeup starting songs with intros that involved a brief mime piece, with skits in between songs.

The actually appeared on The Tonight Show and The Smothers Brothers Comedy Hour. The idea was to make people approach the melding of mime and music - and thus, everything else - with an open mind. :eek:

Yeah, right! :rolleyes:

Don't believe this is for real? Click here (http://www.thecoolgroove.com/hello.html) if you don't believe me!

Hello People later toured with real rock talent Todd Rundgren in the seventies. :crazy:

http://wwws.mmjbdata.com/graphics/www.mmguide.musicmatch.com/artist_image/amg/drp100/p135/p13500tgv18.jpgHeyyyyy, didn't they reform as..... Psy...what's their name again?? :confused:





;)

Heyyyyy, didn't they reform as..... Psy...what's their name again?? :confused:






;)


:rofl: :brent

Actually, Leo Sayer started out perfroming in a Pierrot costume when he released his 1973 debut album SIlverbird, a gimmick he'd dropped by the time he had his first big American hit "Long Tall Glasses (I Can Dance)" in 1975. :)

From down South came a tight-knit band fronted by two brothers, The Allman Brothers Band, which featured keyboardist Gregg Allman and his brother Duane Allman on guitar. The band also featured top-notch musicians in their own right, Dickey Betts also on guitar, bassist Barry Oakley, African-American drummer Jai Johanny "Jaimoe" Johanson on drums and congas, and Butch Trucks also on drums. Gregg and Duane Allman both began their careers in Jacksonville, Florida, under such names as The Allman Joys and Hour Glass, which sold poorly, but their record company felt the band under Gregg may have commercial potential. Duane, who had quit school to focus on guitar practice, became a session guitarist at the famed Musle Shoals studio in Alabama. Duane decided to get his brother back from Los Angeles where he was completing deals with Hour Glass to introduce him to a new group of musicians he had brought together. Gregg was called back to sing for the new band, collectively called The Allman Brothers Band. After a number of shows in the South, the band recorded their first self-titled album in 1969. It was a critical hit, but the bluesy, jazzy rock style only found a small, but dedicated audience.

A revamped version of this song became a hit for Southern band Molly Hatchet in the late 70's/early 80's:

Dreams

Just one more mornin'
I had to wake up with the blues
Pulled myself outta bed, yeah
Put on my walkin' shoes,
Went up on the mountain,
To see what I could see,
The whole world was fallin',
right down in front of me.

[Chorus]
'Cause I'm hung up on dreams I'll never see, yeah Baby.
Ahh help me baby, or this will surely be the end of me, yeah.

Pull myself together, put on a new face,
Climb down off the hilltop, baby,
Get back in the race.

[Chorus]

Pull myself together, put on a new face,
Climb down off the hilltop, baby,
Get back in the race.

[Chorus]

Here is one of the greatest blues-rock songs ever written:

Whipping Post

I've been run down
I've been lied to
I don't know why,
I let that mean woman make me a fool
She took all my money
wrecks my new car
now she's with one of my good time buddies
they're drinkin' in some cross town bar

sometimes I feel
sometimes I feel
like I've been tied
to the whipping post
tied to the whipping post
tied to the whipping post
good lord I feel like I'm dyin'

My friends tell me
that I've been such a fool
and I have to stand down and take it babe,
All for lovin' you
I drown myself in sorrow
As I look at what you've done
nothin' seems to change
bad times stay the same
and I can't run

sometimes I feel
sometimes I feel
like I've been tied
to the whipping post
tied to the whipping post
tied to the whipping post
good lord I feel like I'm dyin'

(Break)

sometimes I feel
sometimes I feel
like I've been tied
to the whipping post
tied to the whipping post
tied to the whipping post
good lord I feel like I'm dyin'

:guitar: :whip: peace:

Up north a ways from the rising Southern rock scene, wild man vocalist Iggy Pop was fronting a band which would have much impact on rock and roll bands in the next decade, The Stooges.The band, hailing from Michigan and Detroit area, was known for its raw, often improvisational performances which would lead into the formation of punk. Pop (real name James Osterberg), was enamored by a performance by The Doors to where he wanted to form his own band, which featured
Dave Alexander on bass, Ron Asheton on guitar and vocals, and Scott Asheton on drums. The band recorded only five songs for their first album, but when the record company balked at the short length of the offering, the band said they had more songs available. Iggy Pop said in an interview, "We handed (the five-song version of the album) in and they refused it. They said, 'There aren't enough songs!' So we lied and said, 'That's OK, we've got lots more songs.'" In fact, they simply came up with new songs on the spot which had never been performed. But the record company was satisfied, though the album only reached #106 on the charts. The album remains an influential album to this day though it languished when it was released. The Stooges' live shows, on the other hand, were unforgettable: Pop would dive into the crowd, whip himself bloody with the microphone cord, crush broken glass into himself, and become a totally manic athlete onstage. Total rock and roll spirit.

A supervisor at work is a huge fan of the band and has a t-shirt of this album. :cool:

Songs include:

All tracks written by the Stooges

Side one
"1969" - 4:05
"I Wanna Be Your Dog" - 3:10
"We Will Fall" - 10:15

Side two
"No Fun" - 5:15
"Real Cool Time" - 2:29
"Ann" - 3:00
"Not Right" - 2:49
"Little Doll" - 3:21

I Wanna Be Your Dog

So messed up
I want you here
In my room
I want you here
Now we're gonna be
Face-to-face
And I'll lay right down
In my favorite place

And now I wanna
Be your dog
Now I wanna
Be your dog
Now I wanna
Be your dog
Well c'mon

Now I'm ready
To close my eyes
And now I'm ready
To close my mind
And now I'm ready
To feel your hand
And lose my heart
On the burning sands

And now I wanna
Be your dog
And now I wanna
Be your dog
Now I wanna
Be your dog
Well c'mon

No Fun

No fun my babe
No fun
No fun my babe
No fun
No fun to hang around
Feelin' that same old way
No fun to hang around
Freaked out for another day

No fun my babe
No fun
No fun my babe
No fun
No fun to be alone
Walking by myself
No fun to be alone
In love with somebody else

Well maybe go out, maybe stay home
Maybe call Mom on the telephone
Well c'mon, well c'mon
C'mon c'mon
Now Ron, I say Ron
C'mon an lemme hear you tell em
Lemme hear you tell em
How I feel
I say lemme hear you
Tell em how I feel, yeah, my man
No fun to be alone
It's no fun to be alone
Hang on
Don't you lemme go
It's no fun to be alone
To be alone

:guitar: peace:

Dreams

Just one more mornin'
I had to wake up with the blues
Pulled myself outta bed, yeah
Put on my walkin' shoes,
Went up on the mountain,
To see what I could see,
The whole world was fallin',
right down in front of me.

[Chorus]
'Cause I'm hung up on dreams I'll never see, yeah Baby.
Ahh help me baby, or this will surely be the end of me, yeah.

Pull myself together, put on a new face,
Climb down off the hilltop, baby,
Get back in the race.

[Chorus]

Pull myself together, put on a new face,
Climb down off the hilltop, baby,
Get back in the race.

[Chorus]

Here is one of the greatest blues-rock songs ever written:

Whipping Post

Just one more mornin'
I had to wake up with the blues
Pulled myself outta bed, yeah
Put on my walkin' shoes,
Went up on the mountain,
To see what I could see,
The whole world was fallin',
right down in front of me.

[Chorus]
'Cause I'm hung up on dreams I'll never see, yeah Baby.
Ahh help me baby, or this will surely be the end of me, yeah.

Pull myself together, put on a new face,
Climb down off the hilltop, baby,
Get back in the race.

[Chorus]

Pull myself together, put on a new face,
Climb down off the hilltop, baby,
Get back in the race.

[Chorus]

:guitar: :whip: peace:


Dude, you transcribed the same set of lyrics twice! :eek:

Dude, you transcribed the same set of lyrics twice! :eek::doh:!!!!!!!!!!!!! :crazy:

Carlos Santana was a Latino guitarist who was born in Autlán de Navarro, Jalisco, Mexico in 1947, but did not play the usual Tejano style music of his native compatriots. Instead, his family moved to San Francisco where he began to enjoy the vibrant music scene in the early 60's.
He had little stomach for the surf music such as the Beach Boys and Jan and Dean that other kids in high school liked, but loved the blues and rock artists such as Muddy Waters, Paul Butterfield Blues Band, and others when they played there. He decided to form his own self-named band Santana with keyboardist Greg Rolie and others. While Carlos was seen as the leader of the band, the group was in fact a collective unit that operated democratically throughout the years. The band was blues-rock based with a strong Latin influence with conga drums and other characteristics. Carlos enjoyed girls in the audience who would wildly gyrate their hips like belly dancers. :grineyes:

They were disappointed with the sound on their self-titled debut, which led to the exit of a few members, but concert promoter Bill Graham enjoyed what he heard, and gave them a very high-profile slot--onstage at the Woodstock Music and Art Festival. Before the album was even released, audiences got a chance to hear one of their biggest songs, the 11-minute track, "Soul Sacrifice". Their song "Evil Ways" was also a huge hit on the radio.

Evil Ways

You've got to change your evil ways... baby
Before I stop loving you.
You've go to change... baby
And every word that I say, it's true.
You've got me running and hiding
All over town.
You've got me sneaking and peeping
And running you down
This can't go on...
Lord knows you got to change... baby.

When I come home... baby
My house is dark and my pots are cold
You're hanging around... baby
With Jean and Joan and a who knows who
I'm getting tired of waiting and fooling around
I'll find somebody, who won't make me feel like a clown
This can't go on...
Lord knows you got to change

Organ Solo:

(Repeat 2nd verse)

Yeah ... Yeah ... Yeah ...

:guitar: :banana: :mango peace:

Interesting images on the album cover:

Of course, the crowning event of the 60's was the Woodstock Music and Art Festival, three days of peace and love!!! Not only was it a huge show full of music of rock's biggest acts, but it was a movement in the making--rock and roll, and thousands of optimistic youth could change the world, end the war, and usher in a period of peace, love and brotherhood.

But it was a bumpy start to achieving those goals: traffic was backed up for 20 miles to Max Yasgur's farm in upstate New York, inadequate shelter, food was scarce, there were a number of drug OD's and two deaths :( --but there were even two births reported there!! :) It rained constantly, people got lost, but in the midst of some confusing chaos, people demonstrated great charity, sharing, cooperation, and hospitality. They were all in this together. It was a beautiful thing.

For now.

Crowd pics; Jerry Garcia and Bob Weir of the Grateful Dead; Janis Joplin; and JIMI:

A few more clips of Woodstock: Roger Daltrey of The Who; Country Joe McDonald of The Fish; hippie-chick, bathers; trash cleanup; and a hippie-chick who did like all the other youngsters did back then, look at the world through rose colored glasses.

The event featured artists such as:

Richie Havens
Joan Baez
Sly & the Family Stone
Ten Years After
Crosby, Stills, Nash, and Young
Santana
Janis Joplin
The Who
Sha Na Na
Country Joe and the Fish
Jefferson Airplane
Paul Butterfield Blues Band
The Grateful Dead
Jimi Hendrix, whose immortal version of the Star-Spangled Banner was performed while people were leaving the concert. Many interpreted the tortured take on the national anthem as symbolic of the disintegrating state of the Union, but Hendrix said it was actually done because he loved America.
It was not a sort of cynical social commentary as some would suspect. Still, the interpretation of the anthem as a protest song held to this day.

Here are a few worth sharing, not sure which Woodstock shows these were from over the years, but worth a look:

First one says it all!! :grineyes:

The second one shows a girl getting into the spirit of things:

Oddly, one artist who lived in close proximity to Woodstock but refused to take part in the festival was Bob Dylan, who had been recuperating at home from his near-fatal motorcycle accident over the past few years and began to record gentler albums such as John Wesley Harding in 1967, which spawned a huge hit when covered by Jimi Hendrix, "All Along the Watchtower"
(His only #1 hit, reportedly. Traffic's Dave Mason appears on the song playing the acoustic guitar part). Jimi was a huge fan of Dylan, and even Dylan was very impressed with Hendrix's cover, claiming it was a definitive take.

Dylan, however, was frustrated with his increasing lack of privacy. Fans would trespass and disturb him and his family repeatedly. He felt inclined to move, and it is clear to see why he turned down his opportunity, as the prophet of his generation, to appear at the hugest gathering of the souls, the biggest, most significant cultural event of their time. His private life would be in pandemonium had he joined in. He no longer felt he was the spokesman for his generation, even in the escalation of the war and the state of social turmoil gripping the nation, he was busy tending to his new family. But he did something new on his next record, he performed country on Nashville Skyline that year, which even featured a duet with Johnny Cash, who was also hugely popular at that time. The album seemed to confirm that Dylan had given up his folk-rock protest roots, but the album did point to the future of rock and roll in a more modern country-rock direction that others would take in the coming decade.

This is one of his best songs, gentle, and intimate:

Lay, Lady, Lay

Lay, lady, lay, lay across my big brass bed
Lay, lady, lay, lay across my big brass bed
Whatever colors you have in your mind
I'll show them to you and you'll see them shine

Lay, lady, lay, lay across my big brass bed
Stay, lady, stay, stay with your man awhile
Until the break of day, let me see you make him smile
His clothes are dirty but his hands are clean
And you're the best thing that he's ever seen

Stay, lady, stay, stay with your man awhile
Why wait any longer for the world to begin
You can have your cake and eat it too
Why wait any longer for the one you love
When he's standing in front of you

Lay, lady, lay, lay across my big brass bed
Stay, lady, stay, stay while the night is still ahead
I long to see you in the morning light
I long to reach for you in the night
Stay, lady, stay, stay while the night is still ahead


Here is his duet with Johnny Cash:

Girl From the North Country

If you're travelin' in the north country fair,
Where the winds hit heavy on the borderline,
Remember me to one who lives there.
For she once was a true love of mine.

If you go when the snowflakes storm,
When the rivers freeze and summer ends,
Please see she has a coat so warm,
To keep her from the howlin' winds.

Please see if her hair hangs long,
If it rolls and flows all down her breast.
Please see for me if her hair's hanging long,
For that's the way I remember her best.

I'm a-wonderin' if she remembers me at all.
Many times I've often prayed
In the darkness of my night,
In the brightness of my day.

So if you're travelin' the north country fair,
Where the winds hit heavy on the borderline,
Remember me to one who lives there.
For she once was a true love of mine.

:guitar:

In the midst of all the heavy hedonism, social upheaval and general weird wildness taking place in music and culture at the time, there was one artist who attempted to do the unthinkable: put JESUS into a rock and roll context.
The man was Larry Norman, and he nearly spearheaded what was was called Jesus Music in the late 60's with an album called Upon This Rock in 1969.

Born in 1947 in Corpus Christi, Texas, Norman enjoyed rock and roll as a young
man while remaining a good Christian who went to church. His father disapproved of his music consumption, but Norman felt, in a song which would become a title for one of his most popular songs, why should the devil have all the good music? Why was rock and roll the province of only "bad" people? In the 60's, he understood young people were lost, searching, desperate for answers, and attempting to find them through rock and roll prophets such as Bob Dylan and The Beatles. The Establishment was not about to help people get closer to the truth or give them what they really wanted, preachers and politicos were part of the problem. For Norman, Jesus provided a sense of peace and security, a sense of direction for the answers--in fact, Jesus WAS the Answer, according to him. His boldness and determination to share his message convinced him to write new "hymns" for a rock and roll generation. Why should God's music remain in the past? The great hymns of Martin Luther, Charles Wesley, and Isaac Watts were contemporary for their times, in fact, many were taken from beer hall songs. Why not do something new with the Gospel message? People would love to hear it.

Norman's first foray into the pop charts was with a band called People! (not to be confused with the mime group mentioned previously) who recorded a hit called "I Love You", as well as a joke song called "We Need a Whole Lot More of Jesus, and a Lot Less Rock and Roll", which poked fun at stuffy, anti-fun attitudes of some in the church. The band wanted to name their album with that title, but the record company balked, fearing the title would not make the album "commercial", and stuck with the unimaginative title "I Love You" instead. Frustrated with the industry insisting on making their music more commercially accessible, Norman left and decided to record his own album, Upon This Rock, which featured "religious" or more specifically "Christian" lyrics (there was a difference, as many "Jesus people" would say). Christian bookstores refused to sell the album--rock and roll with lyrics about Jesus was
"BLASPHEMOUS!!!":eek: :nonono: But "secular" record stores had the same opinion--"Jesus" lyrics were "blasphemous" to the spirit of rock and roll (even though many artists of the time were using religious themes in their music, though of a more Eastern nature). Listeners lucky enough to find the album through the commercial limbo were more than pleasantly surprised.

The song below became a "hit" for new Christians as a growing Jesus movement took hold among disillusioned hippies and youth, a song lamenting the lack of preparation for the impending Rapture, an event designed to airlift all true believers away to Heaven when a turbulent period before Christ's return, called The Great Tribulation. Many believed the End Times were just around the corner. In many ways, they were right.

I Wish We'd All Been Ready

Life was filled with guns and war,
And everyone got trampled on the floor,
I wish we'd all been ready
Children died, the days grew cold,
A piece of bread could buy a bag of gold,
I wish we'd all been ready,
There's no time to change your mind,
The Son has come and you've been left behind.

A man and wife asleep in bed,
She hears a noise and turns her head, he's gone,
I wish we'd all be ready,
Two men walking up a hill,
One disappears and one's left standing still,
I wish we'd all been ready,
There's no time to change your mind,
The Son has come and you've been left behind.

Life was filled with guns and war,
And everyone got trampled on the floor,
I wish we'd all been ready,
Children died, the days grew cold,
A piece of bread could buy a bag of gold,
I wish we'd all been ready,
There's no time to change your mind,
How could you have been so blind,
The Father spoke, the demons dined,
The Son has come and you've been left behind.

Sweet Sweet Song of Salvation

when you know a pretty story
you don't let it go unsaid
you tell it to your children
as you tuck them into bed
and when you know a wonderful secret
you tell it to your friends
because a lifetime filled with happiness
is like a street that never ends

sing that sweet sweet song of salvation
and let your laughter fill the air
sing that sweet sweet song of salvation
and tell the people everywhere
sing that sweet sweet song of salvation
to every man and every nation
sing that sweet sweet song of salvation
and let the people know that jesus cares

look around you as you sing it
there are people everywhere
and to those who stop and listen
this sweet song becomes a prayer
cause when you know a wonderful secret
you tell it to your friends
tell them that a lifetime filled with jesus
is like a street that never ends

sing that sweet sweet song of salvation
and let your laughter fill the air
sing that sweet sweet song of salvation
and tell the people everywhere

sing that sweet sweet song of salvation
to every man and every nation
sing that sweet sweet song of salvation
and let the people know that jesus cares

:guitar: peace:

If Woodstock represented the peak and pinnacle of the 60's youth culture, then Altamont, just a few months later, was its absolute nadir and annihilation. On December 9, 1969, The Rolling Stones were to play a free concert for fans to celebrate a successful tour that year at The Altamont Music Festival, located at the Altamont Speedway in north central California a few miles from Sacramento. Also on the bill were the Grateful Dead, Santana, The Flying Burrito Brothers, Crosby, Stills, Nash and Young and Jefferson Airplane. The event was dubbed "Woodstock West" by the event's organizers, but any illusions of peace, love, and brotherhood were horrifically shattered early on. Taking a cue from The Grateful Dead's tour in Europe, the
Stones decided to employ Hell's Angels as security, to be paid in beer. The band had done it at the Hyde Park concert in London with no problem, but here in California, it was a different story. The Angels were merciless in clubbing fans with pool cue sticks, and most tragically, the Angels murdered a young 18-year old African-American man named Meredith Hunter during an altercation where he allegedly drew a gun. The Angels stabbed him up to eighteen times and kicked him to death during the Stones' performance--all in full view of cameras recording the concert for a rock documentary movie. Other reports say that Hunter was attacked due to the Angels' agitation of seeing him hold hands with a white girl, but in any event, the killer, Alan Passaro, was arrested and tried for murder in the summer of 1972, but was acquitted after a jury concluded he acted in self-defense because Hunter was carrying a handgun, drew it, and allegedly pointed it at the stage. It was also alleged that Hunter was under the influence of methamphetamines.

The Stones were helpless in controlling the Angels. The bikers even knocked Jefferson Airplane guitarist Marty Balin unconscious, which prompted the Grateful Dead to flee the venue before even playing. Many of the Angels were on drugs, as were many in the crowd, and the Stones decided to continue to play to prevent a riot, unaware that Hunter was dead. Many claimed that the song being played at the time of the murder was "Sympathy For the Devil" when in fact it was "Under My Thumb". Hundreds were injured and four attendees died, some by being run over in their sleeping bags by the Angels on motorbikes. It was a horrible, brutal event.

The event gave many in the country and the world the idea that once and for all, the hippie pipe dream of love, peace, and brotherhood was impossible, given the fact that rock and roll's own icons and idols could not even be responsible for protecting their fans. Youth who had originally embraced a "live by your own rules" approach to life saw it lie in writhing, bloodied tatters at Altamont, in a sort of bizarre, self-fulfilling prophecy. It was a strange sort of poetic justice, The Stones, the then-bad boys of rock and roll who sneered at society's "petty" morals when they were arrested for drugs a few years earlier, found themselves incapable at dealing with their anarchistic ideal they helped create at Altamont. The hippie pipe dream was over. Not only had young people failed in curbing the war and racial unrest and violence, but they had fallen victim to it themselves at home. The 60's were over. Peace and love had lost. :( :crying:


The Stones play live during the altercation; Meredith Hunter; Cue stick attack:

At the end of the 60's, a tumultuous decade, many wondered what was next.
The youth generation was in full crisis mode, many icons and idols were either dying, breaking up, or falling into disrepute:

The Rolling Stones were of course, at the center of the whirlwind of violence and murder at Altamont, as well as having lost their recently fired guitarist Brian Jones in a drug overdose in his swimming pool in Britain. Many claimed he was in fact murdered.

The Beatles were facing an ugly breakup over financial direction, as well as over John Lennon's girlfriend Yoko Ono's constant intrusion into their musical affairs. Adding to this was their being cryptically being tied in with Charles Manson's murder spree (victims included pregnant actress Sharon Tate) which was intended to incite a race war. Manson and his notorious "Family" drew drug-induced inspiration from The Beatles' so-called "White Album", with songs as the abrasive "Helter Skelter", "Piggies", and even the gentle ballad, "Blackbird". Though the Beatles had no connection to the brutal crimes, many connected their music with the murder.

Guitar genius Jimi Hendrix, blues belter Janis Joplin, and later Doors demigod Jim Morrison would all die of drug overdoses in the coming year. Morrison's reputation as a dark scoundrel committed to following his own twisted muse would tank the Doors' career for years, even after their breakup, when in a drunken rant onstage, exposed himself onstage at concert.

Adding to this was the escalating war, violence and upheaval gripping the world.

The Woodstock generation at the end of the 60's were left pondering, after the demise and betrayal of their musical messiahs, what were we to expect in the coming decade?

Jim Morrison; The Beatles 1969; John and Yoko; Charles Manson; The Rolling Stones 1969; a bearded Brian Jones; Jimi live 1970; Janis Joplin 1970:


http://perso.wanadoo.es/losdoors/jimmy46.jpg

Music fans would not have to wait long for the next phase of the musical revolution. It would not happen beneath the sunny skies of California, the Summer of Love was officially over. It would take place in a land far, far away, in a rainy, gray industrial city across the ocean.

Birmingham, England.

A four-piece band grew disgusted with songs such as "In San Francisco, Be Sure to Wear Flowers In Your Hair" while crime, pollution, violence and poverty raged all around them. Their guitarist lost two fingertips in an workplace accident, causing him to lower his tunings to a turbulent, groundshaking tone. The vocalist had just served time for stealing a television while wearing fingerless gloves. The band figured it would just release an album and just go on to the dreary factory jobs as all others did. Little did they know, they had unleashed the musical revolution. Naming themselves after a recent horror movie featuring Boris Karloff, they became:

BLACK SABBATH!!!!!!!!!!!!!!!!!!

Of course, we have met the members in our 70's thread, guitarist Tony Iommi, bassist Terry "Geezer" Butler, drummer Bill Ward, and of course, vocalist Ozzy Osbourne, and while we have seen some of the big songs from the incredible first album, the self-titled "Black Sabbath", "The Wizard", "N.I.B.", and "Wicked World", here are a few more songs to round out the album that we may not have seen, but give a perfect indication of the band's groundbreaking sound. While the band represented the tail end of the electric blues phase of British rock in the late 60's, the band was still very much blues-based with a difference. Songs such as the scorching "Warning", the lengthy centerpiece at the end of the album, featured Tony Iommi's take on Clapton and Cream's jams such from the song "Spoonful", but only louder. MUCH louder, as can be heard on the album. Producer Roger Bain yelled at them during the recording, "You can't turn it up that loud in the studio! You won't be able anything else; you won't be able to hear the drums!" But the band insisted, "We don't turn down, man,

We turn UP." :rock:

Clearly, Black Sabbath's sound was like nothing like anyone had ever heard before. It was dark, droning, and sinister. The lyrics were from somewhere else, not songs about love, peace, and happiness, but about hell, destruction, and misery in life and the world. In short, it was spelling it out for the Woodstock generation, the 60's peace pipe dreams were over. Black Sabbath's songs cried out against the injustice in this world, but refused to be naive about anything anymore.

Wasp/Behind the Wall of Sleep

Precious cups within the flower
Deadly petals with strange power
Faces shine a deadly smile
Back up on you at your trial
Chill and numbs from head to toe
Icy sun with frosty glow
Why'd you go reaching your sorrow?
Why'd you go read no tomorrow
Feel your spirit rise with the priest
Feel your body falling to its knees
Take your walk of remorse
Take your body to a corpse
Take your body to a corpse
Take your body to a corpse
If you want all remorse
Take your body to a corpse

Now from darkness, there springs light
Wall of Sleep is cold and bright
Wall of Sleep is lying broken
Sun shines in, you are awoken

Sleeping Village/A Bit of Finger

Red sun rising in the sky
Sleeping village, cockerels cry
Soft breeze blowing in the trees
Peace of mind, feel at ease

Warning

Now the first day that I met ya
I was looking in the sky
When the sun turned all a blur
And the thunderclouds rolled by
The sea began to shiver
And the wind began to moan
It must've been a sign for me
To leave you well alone
I was born without you, baby
But my feelings were a little bit too strong

You never said you love me
And I don't believe you can
'Cause I saw you in a dream
And you were with another man
You looked so cool and casual
And I tried to look the same
But now I've got to know ya
Tell me who am I to blame?
I was born without you, baby
But my feelings were a little bit too strong

Now the whole wide world is movin'
'Cause there's iron in my heart
I just can't keep from cryin'
'Cause you say we've got to part
Sorrow grips my voice as I stand here all alone
And watch you slowly take away
A love I've never known
I was born without you, baby
But my feelings were a little bit too strong
Just a little bit too strong

:guitar:

repeat last chorus

:rock: :guitar: :guitar: :rock:

February 13, 1970 fell on a Friday. I looked it up. :eek:

February 13, 1970 fell on a Friday. I looked it up. :eek:Black Sabbath's first album came out before Valentine's Day!!!:heart:

One song which didn't make it onto the album, either because the band was rushed into completing a twelve-hour recording session with limited funds, or the single was cut out, or just wasn't good enough for the band's standards was a cover from a band called Crow, called "Evil Woman, Don't Play Your Games With Me", which was a flip side to the "Wicked World" single. Bluesy, primitive, interesting as a collectors item, if you find it in import shops, but indicative of their "evil forces" motif that would dominate their career.

Black Sabbath did not "worship Satan" as naysayers would allege, in fact, one of the reasons why they wore crosses designed by Ozzy's father was that the head witch of a coven in London asked them to play for a ritual at Stonehenge. When the band turned down this creepy opportunity, the witch placed a curse on them! :eek: Hence, the need for crosses as a symbolic protection. This did not deter churches wherever they played in Britain from banning their performances.

Evil Woman, Don't Play Your Games With Me

I see the look of evil in your eyes
Women filling me all full of lies
Sorrow will not change your shameful deals
You will pass someone else instead of me

Evil woman don't you play your games with me

Now I know just what you're looking for
You want me to claim and change you
Well you know the evil deeds you seen
And you know the way it's got to be

Evil woman don't you play your games with me

Wickedness lies in your poisoned lips
Your body moves just like the crack of a whip
Blackness sleeps on top of your slate bed
Don't you wish you could see me dead

Evil woman don't you play your games with me

:guitar: :banana: :mango

Black Sabbath in their days in 1968 as the band Earth:

If there an album to more adequately described as METAL than the previous one, it was Black Sabbath's sophomore effort Paranoid, released on September 18, 1970, the same day Jimi Hendrix died. :( But as one guitar legend had fallen, a new guitar legend was rising, Tony Iommi. While the first Black Sabbath album can be considered the first metal album with its intense volume-filled, distortion-laden guitar and doomy, sinister lyrics, a bluesy sound which stepped further away from the electric blues into parts unknown,
Paranoid even further exemplified the first proper metal album. It was all there, a crunchy tone and rhythms pulsating with electric shock waves through every song. The lyrics of songs such as "War Pigs",
"Paranoid", "Electric Funeral", and of course, "Iron Man", induced fear never before tapped in rock and roll. Black Sabbath, like no other band, had captured the perfect feeling of angst in a post-Woodstock world.

The band was previously set to perform its first tour of America, since the debut had done so well on both sides of the Atlantic, but since the country was currently enthralled by the Manson trials, having a bunch of longhairs in a
band with a "spooky" name was not such a good idea to some. While the band was not at all notorious for any wild antics, public opinion on rock and roll as that wonderful, wholesome carefree form of entertainment had long been dashed by the events of the year before. It was the first year where rock and roll had been deemed "evil" by authorities, preachers, and politicos, and Black Sabbath were so "evil" just by the sound of their name. People and especially rock critics were afraid of them and loathed them, simply for not being a nice, clean lovely band like.....THE OSMONDS!!!!!!!!!! :eek2:

Instead of taking part of an American tour, the band toured Europe and played long sets in Switzerland (in fact, earlier, the band did the Hamburg club dates as The Beatles had done nearly ten years earlier and had broke The Beatles' attendance records), which gave them practice for undertaking the recording the new album. The new album was about to be called "War Pigs", hence the sword-wielding costumed figure on the cover, but the record company balked at the political overtones of that title, so they had to think of another. Finding that they had a few minutes left of recording space to fill, they quickly threw together a short piece they simply considered a "throwaway" filler song. Of course, that song, "Paranoid", became the first defining hit of heavy metal. Bassist Geezer Butler, who wrote most of the band's lyrics, had really no idea of what the word meant, but liked the sound of it!

Paranoid

Finished with my woman 'cause she couldn't help me with my mind
People think I'm insane because I am frowning all the time

All day long I think of things but nothing seems to satisfy
Think I'll lose my mind if I don't find something to pacify

Can you help me, occupy my brain?
Oh yeah

I need someone to show me the things in life that I can't find
I can't see the things that make true happiness, I must be blind

Make a joke and I will sigh and you will laugh and I will cry
Happiness I cannot feel and love to me is so unreal

And so as you hear these words telling you now of my state
I tell you to enjoy life I wish I could but it's too late

Planet Caravan

We sail through endless skies
Stars shine like eyes
The black night sighs
The moon in silver trees
Falls down in tears
Light of the night
The earth, a purple blaze
Of sapphire haze
In orbit always

While down below the trees
Bathed in cool breeze
Silver starlight breaks down the night
And so we pass on by the crimson eye
Of great god Mars
As we travel the universe

:rock: :guitar: :guitar: :rock:

The album cover image made sense to me by thinking, "Okay, paranoid schizophrenia, delusions of grandeur, messianic superhero figure, okay..."

Electric Funeral

Reflex in the sky warn you you're gonna die
Storm coming, you'd better hide from the atomic tide
Flashes in the sky turns houses into sties
Turns people into clay, radiation minds decay

Robot minds of robot slaves lead them to atomic rage
Plastic flowers, melting sun, fading moon falls upon
Dying world of radiation, victims of mad frustration
Burning globe of oxy'n fire, like electric funeral pyre

Buildings crashing down to a cracking ground
Rivers turn to wood, ice melting to flood
Earth lies in death bed, clouds cry water dead
Tearing life away, here's the burning pay
Electric Funeral
Electric Funeral
Electric Funeral
Electric Funeral

And so in the sky shines the electric eye
Supernatural king takes earth under his wing
Heaven's golden chorus sings, Hell's angels flap their wings
Evil souls fall to Hell, ever trapped in burning cells!

Hand of Doom

What you gonna do? Time's caught up with you
Now you wait your turn, you know there's no return
Take your written rules, you join the other fools
Turn to something new, now it's killing you

First it was the bomb, Vietnam napalm
Disillusioning, you push the needle in
From life you escape, reality's that way
Colours in your mind satisfy your time

Oh you, you know you must be blind
To do something like this
To take the sleep that you don't know
You're giving Death a kiss,
Oh, little fool now

Your mind is full of pleasure
Your body's looking ill
To you it's shallow leisure
So drop the acid pill, don't stop to think now

You're having a good time baby
But that won't last
Your mind's all full of things
You're living too fast
Go out enjoy yourself
Don't bottle it in
You need someone to help you
To stick the needle in, yeah

Now you know the scene, your skin starts turning green
Your eyes no longer seeing life's reality
Push the needle in, face death's sickly grin
Holes are in your skin, caused by deadly pin

Head starts spinning 'round, you fall down to the ground
Feel your body heave, Death's hands starts to weave
It's too late to turn, you won't want to learn
Price of life you cry, now you're gonna die!


:rock: :guitar: :guitar: :rock:

Fairies Wear Boots

Goin' home, late last night
Suddenly I got a fright
Yeah I looked through the window and surprised what I saw
Fairy boots were dancin' with a dwarf, all right now!

Fairies wear boots and you gotta believe me
Yeah I saw it, I saw it, I tell you no lies
Yeah Fairies wear boots and you gotta believe me
I saw it, I saw it with my own two eyes, well all right now!

So I went to the doctor, see what he could give me
He said "Son, son, you've gone too far.
'Cause smokin' and trippin' is all that you do."
Yeah!

:rock: :guitar: :banana: :mango peace:

Ozzy and Tony around 1969:

Going back to 1969 for a moment, Deep Purple released the first album that ventured toward their "harder" sound, The Book of Taliesyn, which featured the excellent cover of Neil Diamond's "Kentucky Woman". The album was a success first in America, but was released later at home in Britain. The band had been kicked off Cream's final tour due to their upstaging the headlining trio.

Kentucky Woman

Kentucky Woman
She shines in her own kind of light
She looks at you once in a day
And what's wrong is alright
And I love her,
God knows I love her

Kentucky Woman
She gets to know you
She gets to hold you
Kentucky Woman

She ain't the kind to turn
at the drop of her name
Well all the things she does
they turn you on just the same
And I love her,
God knows I love her

Kentucky Woman
She gets to know you
She gets to hold you
Kentucky Woman

I don't want much
The Good Lord's earth beneath my feet
A gentle touch
Cause that one girl in life is sweet and good
There ain't no doubt, I'm talking about

Kentucky Woman
She gets to know you
She gets to hold you
Kentucky Woman

Kentucky Woman she shines in her own kind of light
She looks at you once in a day
And what's wrong is alright
And I love her, yes I do, I love her

Kentucky Woman
She gets to know you
She gets to hold you
Kentucky Woman
Kentucky Woman
Kentucky Woman
Kentucky Woman

:rock: :guitar: :banana: :mango

After a third self-titled album which went out of print after their record company in Britain folded, vocalist Rod Evans was fired from the band and replaced with the vocalist who would lead the band into its second, classic lineup phase, Ian Gillan as well as featured bassist Roger Glover. The band released its fourth album, In Rock, which featured two popular tracks, "Child In Time" and "Speed King". At this point, Deep Purple was considered part of the Holy Trinity of Metal, along with Black Sabbath, and Deep Purple, though the band never considered itself heavy metal--while at the same time contributing greatly to the new burgeoning genre. The band also was known to incorporate symphony orchestras in some recordings.

Child In Time

Sweet child in time, you'll see the line
The line that's drawn between, the good and the bad
See the blind man, shooting at the world
Bullets flying, taking toll
If you've been bad, Oh Lord I bet you have
And you've not been hit by flying lead
You'd better close your eyes, and bow your head
And wait for the ricochet

Sweet child in time, you'll see the line
The line that's drawn between, the good and the bad
See the blind man, shooting at the world
Bullets flying, taking toll
If you've been bad, Oh Lord I bet you have
And you've not been hit by flying lead
You'd better close your eyes, and bow your head
And wait for the ricochet

Speed King

Good golly said little Miss Molly
When she was rocking in the house of blue light
Tutti Frutti was oh so rooty
When she was rocking to the east and west
Lucille, oh so real
When she didn't do her daddy's will
Come on baby, drive me crazy, do it, do it

I'm a speed king, you gotta hear me sing
I'm a speed king, see me fly

Saturday night and I just got paid
Gonna fool about ain't gonna save
Some people gonna rock, some people gonna roll
Gonna have a party to save my soul
Hard headed woman, soft hearted man
They been causing trouble since it all began
Take a little rice, take a little beans
Gonna rock and roll down to New Orleans

I'm a speed king, you gotta hear me sing
I'm a speed king, see me fly

Good golly said little Miss Molly
When she was rocking in the house of blue light
Tutti Frutti was oh so rooty
When she was rocking in the east and west
Hard headed woman, soft hearted man
They been causing trouble since it all began
Take a little rice, take a little beans
Gonna rock and roll down to New Orleans

I'm a speed king, you gotta hear me sing
I'm a speed king, see me fly

:rock: :guitar: :guitar: :rock:

Going back to 1969 for a moment, Deep Purple released the first album that ventured toward their "harder" sound, The Book of Taliesyn, which featured the excellent cover of Neil Young's "Kentucky Woman".


It was written by Neil Diamond. :D

It was written by Neil Diamond. :D
AAAARRRRGGGGHHHHH!!!!!!!!!!!!!!!!! THAT'S WHAT I MEANT TO SAY!!!!!!!! :bonk: :doh: :wallbang :lol: WHERE WAS MY HEAD????!!! :crazy:

Ans speaking of Neil Young. . . .

After the Buffalo Springfield broke up, Neil Young recorded a self-titled folk-rock solo album that went largely unnoticed by the rock mainstream. For his second solo effort, Young hooked up with a bar band in Northern California named ther Rockets, whom Young immediately renamed Crazy Horse after the great American Indian chief. Crazy Horse backed Young on his breakthrough album Everybody Knows This Is Nowhere, which rocked more heavily than Young's first solo record. Young turned 24 in 1969, when this LP was released, yet he seemed wise beyond his years. :)

http://images-eu.amazon.com/images/P/B000002KD7.03.LZZZZZZZ.jpg

"Cinnamon Girl" and the title song were favorites.

Cinnamon Girl - Neil Young

(Young)

I wanna live with a cinnamon girl,
I could be happy the rest of my life
With a cinnamon girl.
A dreamer of pictures,
I run in the night
You see us together,
chasing the moonlight,
My cinnamon girl.

Ten silver saxes,a bass with a bow,
The drummer relaxes and waits between shows
For his cinnamon girl.
A dreamer of pictures
I run in the night
You see us together,
chasing the moonlight,
My cinnamon girl.

Pa sent me money now,
I'm gonna make it somehow,
I need another chance.
You see your baby loves to dance. . .
Yeah. . .yeah. . .yeah.

:guitar: :rock:


Everybody Knows This Is Nowhere - Neil Young

(Young)

I think I'd like to go back home,
And take it easy.
There's a woman that I'd like to get to know,
Living there.

Everybody seems to wonder
What it's like down here.
I gotta get away from this day-to-day running around,
Everybody knows this is nowhere.

Na na na, na na na na,
Everybody, everybody knows,
Na na na, na na na na,
Everybody knows.

Every time I think about back home,
It's cool and breezy.
I wish that I could be there right now,
Just passing time.

Everybody seems to wonder,
What it's like down here.
I gotta get away from this day-to-day running around,
Everybody knows this is nowhere.

Na na na, na na na na,
Everybody, everybody knows
Everybody knows.

Na na na, na na na na. . . .

:guitar:

Pink Floyd released Atom Heart Mother in 1970, pictured with simply a cow on the cover to give listeners the idea that they were simply more than trippy space rock and wanted to broaden their musical identity with a rather nondescript album image. They did not want to be typecast as a total psychedelic rock band. The album was originally going to be called "An Amazing Pudding", put changed it when they saw a newspaper article with a pregnant woman with the caption "atom heart mother". The cow was in fact named Lullubelle. :cow:

Rick Wright's brass-heavy "Summer '68," a critique of the "rock 'n roll" lifestyle that would soon become characteristic of Pink Floyd. Finally, there is David Gilmour's "Fat Old Sun," which spent two years as a key part of the band's live set and is a staple of Gilmour's various solo tours.

Songs included:

"Atom Heart Mother" – 23:39 (Gilmour/Mason/Waters/Wright/Geesin)
"Father's Shout"
"Breast Milky"
"Mother Fore"
"Funky Dung"
"Mind Your Throats Please"
"Remergence"
"If" – 4:31 (Waters)
"Summer '68" – 5:29 (Wright)
"Fat Old Sun" – 5:24 (Gilmour)
"Alan's Psychedelic Breakfast" – 13:00 (Gilmour/Mason/Waters/Wright)
"Rise and Shine"
"Sunny Side Up"
"Morning Glory"

Summer '68

Would you like to say something before you leave
Perhaps you'd care to state exactly how you feel
We said goodbye before we said hello
I hardly even like you, I shouldn't care at all
We met just six hours ago, the music was too loud
From your bed I gained a day and lost a bloody year
And I would like to know how do you feel
How do you feel

Not a single word was said, the night still hid our fears
Occaisionally you showed a smile but what was the need
I felt the cold far too soon in a room of ninety-five
My friends are lying in the sun, I wish that I was there
Tomorrow brings another town, another girl like you
Have you time before you leave to greet another man
Just you let me know how do you feel
How do you feel

Goodbye to you...
Charlotte Pringle's due
I've had enough for one day

Fat Old Sun

When that fat old sun in the sky is falling
Summer evenin' birds are calling
Summer's Sunday and a year
The sound of music in my ears
Distant bells
New mown grass smells so sweet
By the river holding hands
Roll me up and lay me down

And if you see
Don't make a sound
Pick your feet up off the ground
And if you hear as the warm night folds
The silver sound from a tongue so strange
Sing to me
Sing to me

When that fat old sun in the sky is falling
Summer evenin' birds are calling
Children's laughter in my ears
The last sunlight disappears
And if you see
Don't make a sound
Pick your feet up off the ground
And if you hear as the warm night folds
The silver sound from a tongue so strange
Sing to me
Sing to me
When that fat old sun in the sky is...(fades out)

"Alan's Psychedelic Breakfast" was so named because it was engineered by Alan Parsons, a former tape operator for the Beatles who later led the studio band the Alan Parsons Project. He was Floyd's right-hand man on The Dark Side of the Moon in 1972 and 1973. :)

As long as we're visiting stuff we've missed, let me go back to 1972 - the year of country rock - to revisit an album I barely visited before.

In 1972 the Pure Prairie League released their second album Bustin' Out. It's generally regarded as their commerical breakthrough, thanks in large part ot the hit single "Amie." :)

Amie - the Pure Prairie League

I can see why you think you belong to me,
I never tried to make you think, or let you see one thing for yourself.
But now you're off with someone else and I'm alone,
You see, I thought that I might keep you for my own.

(CHORUS)
Amie, what you wanna do?
I think I could stay with you
For a while, maybe longer if I do.

Don't you think the time is right for us to find
All the things we thought weren't proper could be right in time?
And can you see, which way we should turn, together or alone?
I can never see what's right or what is wrong,
Yeah you take too long to see. . . .

(CHORUS)

(MIDDLE EIGHT)

(CHORUS)

Now it's come to what you want, you've had your way,
And all the things you thought before just faded into gray.
And can you see, that I don't know if it's you or if it's me
If it's one of us I'm sure we both will see. . . ,
Won't you look at me and tell me. . .

(REPEAT CHORUS TWICE)

I keep falling in and out of love with you,
Falling in and out of love with you.
Don't know what I'm gonna do,
I keep falling in and out of love with you, ooh.

(Ah, sweet, sweet '72! ;) )

Yes' sophomore release, Time And a Word, did not cause quite the same stir as their first album. Fans were put off by the band's extensive use of a string section which crowded out the guitar. This did not sit well with Peter Banks, a fine guitarist, and as tempers flared within the band, Banks was forced out of the band. He was replaced by a brilliant guitarist, Steve Howe, and though the American release shows Howe's photo on the cover, he did not in fact play on the album. The British cover is rather stunning in its black and white surrealistic nude figure artwork--but more nervous, conservative heads prevailed in America, which replaced the provocative image with the unimaginative--and misleading--band photo cover. Album cover art would soon be one of the strongest selling points for the band.

Track listing
"No Opportunity Necessary, No Experience Needed" (Richie Havens) - 4:48
"Then" (Jon Anderson) - 5:46
"Everydays" (Stephen Stills) - 6:08
"Sweet Dreams" (Jon Anderson/David Foster) - 3:50
"The Prophet" (Jon Anderson/Chris Squire) - 6:34
"Clear Days" (Jon Anderson) - 2:06
"Astral Traveller" (Jon Anderson) - 5:53
"Time and a Word" (Jon Anderson/David Foster) - 4:32

Time and a Word (Atlantic 2400 006) reached #45 in the UK. It never charted in the US.

The use of string sections on their tracks indicated the lofty aspirations of the band, with mixed results.

Then

And in a time that's closer, life will be even bolder then.
Souls will be complicated, life will be consummated then.
Hearts will be brought together soon in our minds forever then.
As long as we see there's only us, who can change it;
Only us to rearrange it at the start of a new kind of day.
And in a time that's closer, life will be even bolder then.
Love is the only answer, hate is the root of cancer then.
Thoughts will be thought together, soon in our minds forever then.

Love is the only answer, hate is the root of cancer then.
Truth is just for the being and there's the sight for seeing then.
Thoughts will be brought together soon in our minds forever then.
As long as we see there's only us, who can change it;
Only us to rearrange it at the start of a new kind of day.
And in a time that's closer, life will be even bolder then.
Love is the only answer, hate is the root of cancer then.
Thoughts will be thought together, soon in our minds forever then.

Astral Traveller

And in the ruins
Caught in the noose around me,
Glasses tell lies.
Wondering when
To do it again of another
Flying to the sky,
Somewhere flying high.
Astral trav'ller,
Leaving without her,
Wond'ring where lives go;
In and out the valley below.

Once in the air,
We could expect a great respect in being.
(Astral trav'ller.)
Memories fly
Over the sky, and oh, the
Sight's worth seeing,
Just believin'.
Astral trav'ller,
Leaving without her,
Wond'ring where lives go;
In and out the valley below.

Sweet Dreams

Sweet dreams can solve the future,
Sweet dreams provide the past.
Sweet things within your makeup;
These things will always last,
These things will make

Sweet dreams of conversation,
Sweet dreams of love affection.
Sweet words within your makeup;
Sweet words of things to

Come on and write your letter,
You know it will be better anyhow.
You're gonna laugh again,
You're gonna smile again,
You're gonna love again.

Sweet dreams are born inside you,
Sweet dreams are born to last.
Sweet thoughts within your makeup;
These thoughts will always last,
These thoughts will always last.

Come on and write your letter,
You know it will be better anyhow.
You're gonna laugh again,
You're gonna smile again,
You're gonna love again.

Sweet dreams can solve the future,
Sweet dreams provide the past.
Sweet dreams can solve the future,
Sweet dreams provide the past.

:guitar: peace:

UK cover; US cover:

In spite of the bloody debacle that was Altamont, the era of the rock festival was not quite over. The Isle of Wight Festival, held on August 26 - 30, 1970, took place on the small island off the coast of southern England. Ferries took over 600,000 fans to the event which featured such as Arrival, Joan Baez, Cactus, Chicago, Leonard Cohen, Miles Davis, Donovan, The Doors (who performed in darkness due to Morrison's unwillingness to have spotlights shone on the band), Emerson, Lake and Palmer (their second ever concert performance), Family, Free, The Groundhogs, Richie Havens, Black Widow (who were often confused with the more popular Black Sabbath, though their musical styles and occultic content were slightly similar, but gained attention through their stage act which featured the mock sacrifice of a nude woman), Terry Reid, Hawkwind, Jimi Hendrix (one of his last performances, where he was daunted by technical difficulties and at one point told the audience to go out and buy hot dogs), Jethro Tull, Kriss Kristofferson, Tiny Tim, Lighthouse, Ralph McTell, Melanie, The Moody Blues, Fairfield Parlour, Pentangle (whose set was interrupted by a woman giving a political speech),
Procol Harum, Taste featuring Rory Gallagher, Ten Years After, Supertramp,
Joni Mitchell (whose set was interrupted by a hippie heckler), John Sebastian, Shawn Philliips, Sly & the Family Stone (whose early morning appearance was interrupted by a ranting political activist. The audience, irritated by the radical's antics, threw beer cans on stage, hitting member Freddy Stone and cutting short the set), Cathy Smith (a folk singer who later gained noteriety who was with John Belushi at the time of his death), and The Who.

The festival, unfortunately, did not succeed financially, and it was one of the last festivals of its kind for the next several years. The Woodstock era had passed into memory, and the world was a different place by the summer of 1970.

The Who; Hawkwind; Jimi; crowd pics:

Family performed a Jethro Tull-like version of "The Weaver's Answer" at Isle of Wight '70 that would have brought the house down, if there had in fact been a house ot bring down.


CHAPPO!

http://www.members.aol.com/fampics/mojochap.jpg

Emerson, Lake, & Palmer, supergroup featuring keyboardist Keith Emerson of The Nice, bassist Greg Lake of King Crimson, and drummer Carl Palmer, were almost going to be known as Hendrix, Emerson, Lake, and Palmer (HELP):eek: when the band approached drummer Mitch Mitchell to pitch the idea to Jimi Hendrix that they were interested in having him join their band after the Experience folded. Mitchell was not personally interested himself (this was prior to Palmer's induction), but he told Jimi about it, and he liked the idea of working with new musicians. He wanted them to get back with them after the both of them played at the Isle of Wight festival, but sadly, Hendrix died before they ever could collaborate. :(

But the trio decided to carry on as a keyboards/bass/drums outfit, something which had never been done before in music. The band released their debut album in 1970. The album is not a unified band effort as a whole; only the first track features credits for all three band members. The remainder are essentially solo pieces. "Take a Pebble" and "Lucky Man" are ballads by Greg Lake, precedents to those he would produce on subsequent albums (notably, "C'est La Vie" from Works Volume I and "Still...You Turn Me On" from Brain Salad Surgery). Palmer's solo spot, "Tank", is intended to showcase his virtuoso drumming style, although it does feature accompaniment by Emerson on synthesisers.

Going beyond the incorporation of classical music influences, including using complex time signatures and harmonies and symphonic-type structures which helped to give them their unique sound, the band used lengthy note-for-note extracts from composers including Bach, Janáček and Bartók.

Although the composition of the first track, Barbarian, is attributed to the three band members, it is effectively an arrangement for rock band of Bartók’s 1911 piano piece, Allegro Barbaro. The third track Knife Edge is based on the first movement of Janáček’s Sinfonietta (1926) with an instrumental middle section that includes an extended quotation from the Allemande of Bachs 1st French Suite in D minor, BWV 812, but played on an organ rather than clavichord or piano. None of these quotations were attributed on the original album release.

"Lucky Man", the album's single which charted on both sides of the Atlantic, was originally recorded to fill leftover space at the end of the album at the request of the record company. It was written by a teenage Greg Lake for acoustic guitar long before he joined the band, and was not well received by Emerson or Palmer. However, the two agreed to cooperate on what was to become one of the band's most commercial and accessible tracks. At Lake's request, Emerson played a solo on his Moog synthesiser at the close of the track. On the band's recent DVD Beyond the Beginning, Emerson explains how the solo was entirely improvised. It represented, however, a landmark in popular music and a defining moment in Emerson's career, despite his insistence that it is below his usual standard. The guitar solo is played by Lake and overdubbed, as indeed were guitar solos from later tracks like Tarkus and Karn Evil 9. In live performances, Emerson plays a version of the guitar solo on Hammond Organ (see, for example, their Live at Montreux 1997 DVD).

Song list:

"The Barbarian" (Béla Bartók, arr. Emerson, Lake & Palmer) - 4:27
"Take a Pebble" (Lake) - 12:32
"Knife-Edge" (Leoš Janáček & J. S. Bach, arr. Emerson, Lake & Fraser) - 5:04
"The Three Fates" (Emerson) - 7:46
"Clotho" Royal Festival Hall Organ
"Lachesis" Piano Solo
"Atropos" Piano Solo
"Tank" (Emerson & Palmer) - 6:49
"Lucky Man" (Lake) - 4:36

Lucky Man

He had white horses
And ladies by the score
All dressed in satin
And waiting by the door

Ooooh, what a lucky man he was
Ooooh, what a lucky man he was

White lace and feathers
They made up his bed
A gold covered mattress
On which he was led

Ooooh, what a lucky man he was
Ooooh, what a lucky man he was

He went to fight wars
For his country and his king
Of his honor and his glory
The people would sing

Ooooh, what a lucky man he was
Ooooh, what a lucky man he was

A bullet had found him
His blood ran as he cried
No money could save him
So he laid down and he died

Ooooh, what a lucky man he was
Ooooh, what a lucky man he was

Take a Pebble

Just take a pebble and cast it to the sea,
Then watch the ripples that unfold into me,
My face spill so gently into your eyes,
Disturbing the waters of our lives.

Shread of our memories are lying on your grass;
Wounded words of laughter are graveyards of the past.
Photographs are grey and torn, scattered in your fields
Letters of your mem'ries are not real.

Sadness on your shoulders like a wornout overcoat
In pockets creased and tattered hang the rags of your hope.
The daybreak is your midnight; the colours have all died.
Disturbing the waters of our lives, of our lives, of our lives, lives,
lives, lives...
Of our lives.

Now that Mick Abrahams had left Jethro Tull due to musical direction, Ian Anderson was free to direct the band in its more progressive direction with new guitarist Martin Barre. Their 1969 album Stand Up was the result.
The album featured such popular songs as "Nothing Is Easy", "A New Day Yesterday", and "Bouree", a traditional song by Johann Sebastian Bach. The cover was intended "stand up" like characters in a children's pop-up book. The salbum featured a more jazz and folk style as it ventured toward their more popular prog-rock style.

Interestingly, Barre had every reason to feel he was not Tull material: he was so nervous at his first audition that he could hardly play at all, and then showed up for a second audition without a cord to connect his guitar to an amplifier. :eek: But Anderson was impressed by his persistence, and became his songwriting partner and the band's main guitarist to this day. :)

Nothing Is Easy

Nothing is easy.
Though time gets you worrying
my friend, it's o.k.
Just take your life easy
and stop all that hurrying,
be happy my way.
When tension starts mounting
and you've lost count
of the pennies you've missed,
just try hard and see why they're not worrying me,
they're last on my list.
Nothing's easy.

Nothing is easy, you'll find
that the squeeze won't turn out so bad.
Your fingers may freeze, worse things happen at sea,
there's good times to be had.
So if you're alone and you're down to the bone,
just give us a play.
You'll smile in a while and discover
that I'll get you happy my way --
nothing's easy.

A New Day Yesterday

My first and last time with you
and we had some fun.
wenT walking through the trees, yeah!
And then I kissed you once.
Oh I want to see you soon
but I wonder how.
It was a new day yesterday
but it's an old day now.
Spent a long time looking
for a game to play.
My luck should be so bad now
to turn out this way.
Oh I had to leave today
just when I thought I'd found you.
It was a new day yesterday
But it's an old day now.

:guitar:

British group Hawkwind, one of the first "space rock" bands which used much science fiction and fantasy lyrics, formed in 1969 as Hawkwind Zoo, but upon signing to a record label, shortened their name. They were fronted by singer/guitaristDavid Brock, and later would feature a bassist named Lemmy Kilmister, who would go on to form an influential band of his own. Their music was heavy psychedelic blues with a liberal use of synthesizers, and would put on a very theatrical show which would include a partially nude female exotic dancer. Science fiction writer Michael Moorcock would later collaborate on the band's songs, as he would also with Blue Oyster Cult.

Track listing
"Hurry On Sundown" (4:59)
"The Reason Is?" (3:30)
"Be Yourself" (8:07)
"Paranoia (Part I)" (1:09)
"Paranoia (Part II)" (4:10)
"Seeing It As You Really Are" (10:48)
"Mirror of Illusion" (6:59)

Added to some versions of the CD release:

"Bring it on home"
"Hurry On Sundown (new version)"
"Kiss of the Velvet Whip"
"Cymbaline (Pink Floyd cover)"

Mirror of Illusion

In the cold grey-mask of morning I cry out,
But no-one feels the sound that I shout,
And you don't hear me through the tears you've shed,
and the dream-world that you've found will one
day drag you down,
The mirror of illusion reflects the smile,
The world from your back door seems so wide,
The house, so tiny it is from inside,
A box that you're still living in,
I cannot see for why
You think you've found perception's doors, they
open to a lie.

:guitar:

Pre-Lemmy Hawkwind, 1970:

One British rock band which followed the keyboard-oriented sound of Deep Purple was Uriah Heep, named after a character in Charles Dickens' novel David Copperfield. The band's debut album was titled Very 'Eavy... Very 'Umble in Britain, though self-titled in the U.S. The band, fronted by operatic lead vocalist David Byron, played a majestic brand of hard rock with elements of progressive rock, jazz, and blues in a densely layered sound. The band also included Ken Hensley on piano and organ, Mick Box on lead and acoustic guitar,
Paul Newton on bass guitar, and Nigel Olsson on drums and percussion. The lineup would shift over the years.

Songs listed:
"Gypsy" (Box, Byron) – 6:37
"Walking in Your Shadow " (Byron, Newton) – 4:31
"Come Away Melinda" (Hellerman, Minkoff) – 3:46
"Lucy Blues" (Box, Byron) – 5:08
"Dreammare" (Newton) – 4:39
"Real Turned On" (Box, Byron, Newton) – 3:37
"I'll Keep on Trying" (Box, Byron) – 5:24
"Wake Up" (Set Your Sights) (Box, Byron) – 6:22

US Release Only
"Bird of Prey" (Box, Byron, Hensley, Newton) – 4:05

Gypsy

I was only seventeen
I fell in love with a gypsy queen
She told me: "hold on"
Her father was the leading man
Said: "you're not welcome on our land"
And then as a foe, he told me to go

He took me to a little shack
And put a whip across my back
Then told her: "leave me"
I was out for quite a time
Came back with her on my mind
Sweet little girl
She means all the world

Oh, i want my qypsy queen
Will she still be torn between
Her father and lover
One day i will go to him
Strong enough to fight and win
The kind of a man
That he'll understand

Walking In Your Shadow

I'm walking in your shadow
Ever since you went away
And the clock on the wall
Really hasn't very much to say
Oh, you left me bleeding
And left me needing you

In so very many ways
I was trying to attract your mind
But i'm the lonely one
'cause i've had to leave it all behind

Lied and deceiving
Why should i be grieving you

Ride on a golden wave
Set sail for the sun
Make every cloud your slave
Don't be alone

When i get back from my trip
Of the ocean wide
Still walking in your shadow
And still looking for somewhere to hide

If i am worse off
It's all because of you
It's all because of you

:guitar:

Mountain, featuring guitarist Leslie West and bassist Felix Pappalardi (who formerly produced Cream's albums), were a power trio in the style of Cream whose main claim to fame was their 1970 album Climbing! featuring "Mississippi Queen", a song West claims is the "first" real heavy metal song.

In 1983, Pappalardi's wife Gail shot him the neck, killing him. She was charged with second-degree murder. She was cleared of that charge but convicted of the lesser criminally negligent homicide and sentenced to 16 months to four years in jail. :(

Mountain still records and tours with Leslie West. Ozzy Osbourne recently did a cover of "Mississippi Queen".

Mississippi Queen

Mississippi Queen, If you know what I mean
Mississippi Queen, She taught me everything
Way down around Vicksburg, Around Louisiana way
Lived a cajun lady, Aboard the Mississippi Queen
You know she was a dancer
She moved better on wine

While the rest of them dudes were'a gettin' their kicks,
Boy I beg your pardon, I was getting mine

Mississippi Queen, If you know what I mean
Mississippi Queen, She taught me everything
This lady she asked me, If I would be her man
You know that I told her, I'd do what I can
To keep her looking pretty
Buy her dresses that shine

While the rest of them dudes were making their bread
Boy I beg your pardon, I was losing mine

Theme From An Imaginary Western

When the wagons leave the city
For the forest and futher on
Painted wagon of the morning
Dusty roads where they´ve gone
Sometimes travelin´ through the darkness
At the summer comin´ home
Foreing faces by the wayside
Look as if they hadn´t known
All the sad was in their eyes
And the desert that´s dry
In a country town
Where the map was found

Oh the dancing and the singing
Oh the music when they play
Oh the fire that they saw there
On the grave of no return
Sometimes they found it
Sometimes they kept it
Ofen lost in on the way
Pawnee shadow to possess him
Sometimes ride inside of day
Oh the sad was in their eyes
And the desert that´s dry
In a country town
Where the map was found

Oh the sad was in their eye
And the desert that´s dry
In a country town
Where the wagons bound

:guitar:

Grand Funk, or Grand Funk Railroad, from Flint, Michigan, were one of the most critically reviled bands of their day, though went on record to be "the loudest band in the world"--or at least one of the few, at any rate. The trio featured Mark Farner on vocals and guitar, Don Brewer on drums, and Mel Schacher on bass, formerly from ? & the Mysterians. Former bandmate Terry Knight soon became their manager and named the band after the Grand Trunk Western Railroad, a well-known rail line in Michigan. First achieving recognition at the 1969 Atlanta Pop Festival, the band was signed by Capitol Records. Patterned after Cream, but developing their own populist style, in 1970 they had sold more albums than any other American band and had become a major concert attraction. In that same year they had a hit single "Closer To Home," a song that was closer in style to the old Terry Knight and the Pack than it was to GFR. A year later, they went on to break The Beatles' record at Shea Stadium, selling out in just 71 hours. That record still stands today.

I'm Your Captain/Closer To Home

Everybody, listen to me,
And return me, my ship.
I'm your captain, i'm your captain,
Although i'm feeling mighty sick.

I've been lost now, days uncounted,
And it's months since i've seen home.
Can you hear me, can you hear me,
Or am i all alone.

If you return me, to my home port,
I will kiss you mother earth.
Take me back now, take me back now,
To the port of my birth.

Am i in my cabin dreaming, or are you really scheming,
To take my ship away from me?

You'd better think about it, i just can't live without it.
So, please don't take my ship from me.
Yeah, yeah, yeah ...

I can feel the hand, of a stranger,
And it's tightening, around my throat.
Heaven help me, heaven help me,
Take this stranger from my boat.

I'm your captain, i'm your captain,
Although i'm feeling mighty sick.
Everybody, listen to me,
And return me, my ship.

I'm your captain, yeah, yeah, yeah, yeah.
I'm your captain, yeah, yeah, yeah, yeah.
I'm your captain, yeah, yeah, yeah, yeah.
I'm your captain, yeah, yeah, yeah, yeah.

I'm getting closer to my home ...
I'm getting closer to my home ...
I'm getting closer to my home ...
I'm getting closer to my home ...
Ohhhh ...

I'm getting closer to my home ...
I'm getting closer to my home ...
I'm getting closer to my home ...
I'm getting closer to my home ...
Repeated to fade

:guitar:

Led Zeppelin moved away from their heavy roots on Led Zeppelin III, and album that was blues-rock on one hand while featuring many acoustic folk tracks on the other. Critics panned the album for being either "too noisy" or being too dirivative of Crosby, Stills, Nash, and Young. The album was a huge hit on both sides of the Atlantic.

Immigrant Song

Ah, ah,
We come from the land of the ice and snow,
]From the midnight sun where the hot springs blow.
The hammer of the gods
Will drive their ships to new lands,
To fight the horde, singing and crying:
Valhalla, I am coming!
On we sweep with threshing oar,
Our only goal will be the western shore.

Ah, ah,
We come from the land of the ice and snow,
]From the midnight sun where the hot springs blow.
How soft your fields so green,
Can whisper tales of gore,
Of how we calmed the tides of war.
We are your overlords.
On we sweep with threshing oar,
Our only goal will be the western shore.

So now you'd better stop and rebuild your ruins,
For peace and trust can win the day
Despite all your losing.

Gallows Pole

Hangman, hangman, hold it a little while,
Think I see my friends coming,
Riding a many mile.
Friends, did you get a little silver?
Did you get a little gold?
What did you bring me, my dear friends,
To keep me from the Gallows Pole?
What did you bring me to keep me from the Gallows Pole?

I couldn't get no silver, I couldn't get no gold,
You know that we're too damn poor
To keep you from the Gallows Pole.

Hangman, hangman, hold it a little while,
I think I see my brother coming,
Riding a many mile.
Brother, did you get me some silver?
Did you get a little gold?
What did you bring me, my brother,
To keep me from the Gallows Pole?

Brother, I brought you some silver,
I brought a little gold,
I brought a little of ev'ry thing
To keep you from the Gallows Pole.
Yes, I brought you to keep you from the Gallows Pole.

Hangman, hangman, turn your head awhile,
I think I see my sister coming,
Riding a many mile, mile, mile, mile, mile.
Sister, I implore you, take him by the hand,
Take him to some shady bower,
Save me from the wrath of this man,
Please take him,
Save me from the wrath of this man, man.

Hangman, hangman, upon your face a smile,
Pray tell me that I'm free to ride,
Ride for many mile, mile, mile.

Oh, yes, you got a fine sister,
She warmed my blood from cold,
Brought my face to boiling hot
To keep you from the Gallows Pole,
Your brother brought me silver,
Your sister warmed my soul,
But now I laugh and pull so hard
And see you swinging on the Gallows Pole

:guitar:

This was one of their most popular songs live:

Since I've Been Loving You

Working seven to eleven ev'ry night,
It really makes my life a drag,
I don't think that's right.
I've really, really been the best of fools,
I did what I could,
'Cause I love you, baby,
How I love you, darling,
How I love you, baby,
How I love you, girl, little girl.
But baby, Since I've Been Loving You, yeah,
I'm about to lose my worried mind, oh, yeah.

Ev'rybody trying to tell me
That you didn't mean me no good.
I've been trying, Lord, let me tell you,
Let me tell you I really did the best I could.
I've been working seven to eleven ev'ry night,
It kinda makes my life a drag.
Lord, you know it ain't right.
Since I've Been Loving You,
I'm about to lose my worried mind.

Said I've been crying,
My tears they fell like rain,
Don't you hear,
Don't you hear them falling,
Don't you hear,
Don't you hear them falling.

Do you remember, mama, when I knocked upon your door?
I said you had the nerve to tell me
You didn't want me no more,
I open my front door hearing my back door slam,
You must have one of them new fangled,
New fangled back door man,

I've been working from seven, seven, seven,
To eleven ev'ry night,
It kinda makes my life a drag, a drag, drag,
Ah, yeah, it makes a drag.
Baby, Since I've Been Loving You,
I'm about to lose,
I'm about to lose, lose my worried mind.

Hey Hey What Can I Do

Wanna tell you about the girl I love
My she looks so fine
She's the only one that I been dreamin' of
Maybe someday she will be all mine
I wanna tell her that I love her so
I thrill with her every touch
I need to tell her she's the only one I really love

I got a woman, wanna ball all day
I got a woman, she won't be true, no
I got a woman, stay drunk all the time
I said I got a little woman and she won't be true

Sunday morning when we go down to church
See the menfolk standin' in line
I said they come to pray to the Lord
With my little girl, looks so fine
In the evening when the sun is sinkin' low
Everybody's with the one they love
I walk the town, Keep a-searchin' all around
Lookin' for my street corner girl

I got a woman, wanna ball all day
I got a woman, she won't be true, no no
I got a woman, stay drunk all the time
I said I got a little woman and she won't be true

In the bars, with the men who play guitars
Singin', drinkin' and rememberin' the times
My little lover does a midnight shift
She followed around all the time
I guess there's just one thing a-left for me to do
Gonna pack my bags and move on my way
Cause I got a worried mind
Sharin' what I thought was mine
Gonna leave her where the guitars play

I got a woman, she won't be true, no no
I got a woman, wanna ball all day
I got a woman, stay drunk all the time
I got a little woman and she won't be true

(Hey hey what can I do)

I said she won't be true

(Hey Hey, What can I say?)

Hey hey, what can I do
I got a woman, she won't be true
Lord, hear what I say
I got a woman, wanna ball all day

:guitar:

Friends

Bright light almost blinding,
Black night still there shining,
I can't stop, keep on climbing,
Looking for what I knew.

Had a friend, she once told me,
'You got a friend, you ain't lonely,'
Now she's gone and left me only
Looking for what I knew.

Mmm, I'm telling you now,
The greatest thing you ever can do now,
Is trade a smile with someone who's blue now,
It's very easy just.

Met a man on the roadside crying,
Without a friend, there's no denying,
You're incomplete, they'll be no finding
Looking for what you knew.

So anytime somebody needs you,
Don't let them down, altho' it grieves you,
Some day you'll need someone like they do,
Looking for what you knew.

Celebration Day

Her face is cracked from smiling,
All the fears that she's been hiding,
And it seems pretty soon ev'rybody's gonna know.
And her voice is sore from shouting,
Cheering winners who are losing,
And she worries if their days are few
And soon they'll have to go.

*My, my, my, I'm so happy,
I'm gonna join the band,
We are gonna dance and sing and celebration,
We are in the promised land.

She hears them talk of new ways
To protect the home she lives in,
Then she wonders what it's all about
When they break down the door.

Her name is Brown or White or Black,
You know her very well,
You hear her cries of mercy
As the winners toll the bell.

* Chorus

There is a train that leaves the station
Heading for your destination,
But the price you pay has increased a dollar more.
Yes, it has!
And if you walk you're gonna get there
Tho' it takes a little longer,
And when you see it in the distance
You will wring your hands and moan.

:guitar:

Two great acoustic songs:

Tangerine

Measuring a summer's day,
I only find it slips away to grey,
The hours, they bring me pain.

*Tangerine, Tangerine,
Living REFLECTIONS from a dream;
I was her love, she was my queen,
And now a thousand years between.

Thinking how it used to be,
Does she still remember times like these?
To think of us again?
And I do.

* Chorus

That's The Way

I don't know how I'm gonna tell you, I can't play with you no more,
I don't know how I'm gonna do what mama told me, My friend, the boy next door.
I can't believe what people saying, You're gonna let your hair hang down,
I'm satisfied to sit here working all day long, You're in the darker side of town.

And when I'm out I see you walking, Why don't your eyes see me?
Could it be you've found another game to play, What did mama say to me?

That's The Way, Oh, That's The Way it oughtta be, yeah, yeah,
Mama say That's The Way it oughtta stay, yeah, yeah, ooh, ooh

And yesterday I saw you standing by the river,
And weren't those tears that filled your eyes?
And all the fish that lay in dirty water dying,
Had they got you hypnotized?

And yesterday I saw you kissing tiny flowers,
But all that lives is born to die.
And so I say to you that nothing really matters,
And all you do is stand and cry.

I don't know what to say about it,
When all your ears are turned away,
But now's the time to look and look again at what you see,
Is that the way it ought to stay?

That's the way... That's the way it oughtta be, oh don't you know now,
Mama said, mama said... that's the way it's gonna stay, yeah.

:guitar: