The Lemon Pipers - Everything Is You (1968)

The Lemon Pipers, as previously mentioned, were victims in a never-ending struggle between what they wanted to play versus what their record company wanted them to play. They wanted to be a rock outfit infused with psychedelics; their label, Buddah Records, wanted them to record what would later be called bubblegum pop. To get their foot in the door, the band recorded a song given to them by their label, “Green Tambourine,” and it shot straight to number one. Not happy with their new pop label, the success of the song led the band toward being faced with an ultimatum: to either record more money-making bubblegum pop music, or get dropped from their label.

With their backs to the wall, the group agreed to record more bubblegum pop singles. However, there was a little victory for the band when it came time to record albums. With a bit of pleading, the band was sometimes able to put a little bit of their own rock and psychedelic flavor into some songs, or even able to record some of the songs they had written themselves. Unfortunately, the bubblegum songs that were handed to them were generally the more favorable tracks with the public.

The song heard below was one of the songs given to the band to record. It was written for them by Paul Leka, the same man who had co-written “Green Tambourine” for the band. Leka was a prominent song-writer and arranger, having also notably written “Na Na Hey Hey Kiss Him Goodbye” for Steam. Although the song below didn’t top the charts like “Green Tambourine,” it’s still considered one of the band’s (and Leka’s) more notable tracks.



The Lemon Pipers - Everything Is You (1968)

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Lyrics:

I don’t need the sun to shine on me every day
All I need is your love to brighten up my way
You don’ have to say the words “I love you” every day
As long as you stand by my side, I know you’re here to stay

I no longer live in dreams, since I have found “everything” is you
You gave me life to change my world, since I have found “everything” is you

Now and then, I need your kiss- temptations all around
But most of all, I need you near when I’m feeling down
You make me smile; you make me laugh; you’re my favorite clown
I treasure nights we spend together, making silent sounds

Now I no longer live in dreams, since I have found “everything” is you
You gave me life to change my world, since I have found “everything” is you

Thunderclap Newman - Something in the Air (1969)

In 1967, The Who decided to record a song, “Armenia City in the Sky,” which had been written for them by the band’s chauffeur, John “Speedy” Keen. It was the only song The Who ever recorded that was written for the band by somebody outside of the band. Speedy Keen also shared an apartment with The Who’s Pete Townshend, who would later be responsible for giving Keen his big break.

In 1969, Townshend wanted to get Speedy Keen in the limelight to expose his talents as a guitarist, drummer, singer, and songwriter. Keen had been working on a song, so Townshend put a group together around him to get it recorded. Speedy Keen sang the lead vocals, played guitar, and played drums. Pete Townshend was under contract with his current label, so he played bass under the pseudonym Bijou Drains, as well as producing. For the rest of the outfit, Townshend brought in fifteen year old Jimmy McCulloch on guitar (who would later join Wings) and an old friend from his art college, Andy “Thunderclap” Newman, on piano. Townshend, at one point, had agreed to work with each of the aforementioned artists, individually. At the persistence of Kit Lambert (manager of The Who), Townshend brought everyone together to fulfill all of his promises at once, giving him more free time to work on The Who’s latest project, Tommy.

Below is the song written by John “Speedy” Keen and performed by the newly put together band. It was originally titled “Revolution,” but was renamed since The Beatles’ had come out with a song with the same title a year prior. Released in May 1969, the song went to number one in the UK for two weeks, holding off releases by both Elvis Presley and The Beatles. By December 1969, it had sold more than a million copies.



Thunderclap Newman - Something in the Air (1969)

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Lyrics:

Call out the instigators
Because there’s something in the air
We’ve got to get together sooner or later
Because the revolution’s here

And you know it’s right
And you know that it’s right

We have got to get it together
We have got to get it together now

Lock up the streets and houses
Because there’s something in the air
We’ve got to get together sooner or later
Because the revolution’s here

And you know it’s right
And you know that it’s right

We have got to get it together
We have got to get it together now

Hand out the arms and ammo
We’re going to blast our way through here
We’ve got to get together sooner or later
Because the revolution’s here

And you know it’s right
And you know that it’s right

We have got to get it together
We have got to get it together
Now

Wichita Fall - Hectivity (1968)

Although I have little back-story on this band, I can confirm that the original members were David Roush (guitar & vocals), Len Feigin (now spelled “Fagan,” drums), Larry Watson (bass), and Phil Black (guitar). They were based in Los Angeles, California and, according to those who heard them live, said that they sounded like Buffalo Springfield at their shows.

In June 1967, The Beatles’ released their famed masterpiece Sgt. Pepper’s Lonely Hearts Club Band and every record company in the world was hoping to release similar sounding material. The executives at Liberty Records offered some cash to Wichita Fall hoping to cash in on the heavily-orchestrated concept album craze. Although the band was reluctant to abandon their rock sound, they agreed to make a record.

After laying down their initial four-instrument tracks, Liberty Records brought in renowned orchestra arranger Artie Butler to overlay orchestration over the entire album. Using his arrangements, the Los Angeles Philharmonic Orchestra was soon interlaced in each and every song. The band’s drummer, Len Feigin, was so displeased with what they were doing to the band’s album that he quit, being replaced by three session musicians: Hal Blaine, Jim Gordon, and John Guerin.

The finished product was an album titled Life Is But a Dream, released in 1969. It was critically panned and sold very poorly. Heard below is the album’s ninth track, recorded in 1968 and released in 1969 with the rest of the album. Personally, it’s my favorite track from an album mostly overshadowed by cheesy, pop orchestration. Although the album may be a little too sugar-coated to digest in a single sitting, this song is strong enough to stand on its own. It’s just a shame it wasn’t released two years earlier when sunshine pop was at its peak.



Wichita Fall - Hectivity (1968)

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Lyrics:

Could you use a dreamer?
Yes, I really could
You know I really could

Could you use a schemer?
No, I’d rather not
You know I’d rather not

All day long sing a song
(Let’s sing my song, sing my song)

Got some friends coming home for dinner
Coming home, they are, they are
Unexpected as they may be
I’ll be kind to them, you’ll see

Could you use a dreamer?
Yes, I really could
You know I really could

Could you use a schemer?
No, I’d rather not
You know I’d rather not

All day long sing a song
(Let’s sing my song, sing my song)

Someone have they no I’m not
Request have some time on my own
Though I know you’ll never see them
I’ve got troubles of my own

Procol Harum - A Whiter Shade of Pale (1967)

From the ashes of The Paramounts, Gary Brooker and Robin Trower created The Pinewoods. They received an offer from Chris Blackwell’s new Island Records (later known for working with Bob Marley & The Wailers), but the group declined to sign with them. Instead, they signed with EMI, the same company The Paramounts had briefly been signed to, and changed their name to Procol Harum. Their first single, heard below, was their most successful, and was followed up by a tour in which they opened for Jimi Hendrix. Their subsequent singles sold well, but didn’t chart as high as their original. Their albums remained somewhat popular, especially 1969’s A Salty Dog, but with a vastly rotating lineup, their sound from album to album was too inconsistent for a solid fan base.

This song was written by Gary Brooker and Keith Reid, with some assistance from Matthew Fisher. Brooker, who wrote the music, was inspired to create the melody after being influenced by Johann Sebastian Bach’s Orchestral Suite N° 3 in D Major. Keith Reid, who wrote the song’s lyrics, had been inspired after overhearing a man tell a woman at a party, “You’ve turned a whiter shade of pale.” Reid took the comment and turned it into a title, and worked the rest of the lyrics in the song around that statement. After the song’s success, Reid was made a permanent member of the band, despite not playing any instruments or ever singing. He was responsible for 100% of the band’s lyrics until their break-up in 1977.

When the song’s lyrics were originally written by Keith Reid, there were four verses, each followed by the chorus. When it came time to record the song, it was reduced to two verses to be more radio-friendly. The band never recorded all four verses in the studio. Sometimes, when the band performed the song live, they would include the third verse. Even more rarely, they would include the fourth verse. If you’d like to hear the third and fourth verses performed live, check this YouTube video.

The song was released on May 12, 1967 and began its climb of the charts on May 25. Although it stalled at number five in the US, it reached number one in the UK, the Netherlands, Germany, Ireland, and Australia. John Lennon of The Beatles was a big fan of the song. It's rumored that he and his friends erroneously thought that the vocals (performed by Gary Brooker) were being sung by Steve Winwood of The Spencer Davis Group.



Procol Harum - A Whiter Shade of Pale (1967)

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Lyrics:

We skipped the light fandango
Turned cartwheels ‘cross the floor
I was feeling kind of seasick
The crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
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
Would not let her be
One of sixteen Vestal Virgins
Who were leaving for the coast
And although my eyes were open
They might just as well have 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

And so it was, that later...

The National Gallery - Diana in the Autumn Wind (1968)

Chuck Mangione and Ray Karshner got together in 1967 and released one single under the name Bhagavad-Gita, named after Hindu scriptures. The single was two versions of the same song, “Long Hair Soulful,” featuring one with lyrics and one which was purely instrumental. When the single failed to chart, they gathered studio musicians together to form this band and made one full-length album. Karshner didn’t join the band as a member, but he was responsible for the producing, arranging, and co-writing all of the lyrics (with one song being entirely his). Mangione, on the other hand, joined as a member of the band, playing trumpet, piano, horn, etc., as well as co-writing nine out of the band’s ten songs with Karshner. The other members of the band, all session musicians and singers, were never listed on the group’s sole album, and are therefore anonymous to me. After the band’s album failed to make virtually any impact, the group of session musicians was dissolved. Mangione would go on to great success in the ‘70s, with his most popular song, “Feels So Good,” arriving in 1977.

The National Gallery’s only album was titled Performing Musical Interpretations of the Paintings of Paul Klee. And that’s exactly what the album was. Each track on the album was named after a painting done by the abstract artist known as Paul Klee. Klee, who was of German ancestry but born and raised in Switzerland, had been born in 1879 and passed away in 1940, long before the creation of this 1968 album. The painting, seen above, that the song below was based on was titled Diana in the Autumn Wind. The lyrics and music were interpreted from the painting by Ray Karshner and Chuck Mangione and the resulting track appeared as the second song on The National Gallery’s album. As was the case with Mangione and Karshner's previous collaboration, this song too made no impact on any charts.



The National Gallery - Diana in the Autumn Wind (1968)

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Lyrics:

The leaf that’s green in summer
Will die and fall to ground
The fresh bouquet of yesterday
Today is ugly brown

The happiness of springtime
Is sadness in the fall
The autumn haze makes yesterdays
Much harder to recall

Diana in the autumn wind
Goodbye, goodbye my lover
Diana in the autumn wind
Goodbye my springtime lover
Diana in the autumn wind
Goodbye, goodbye forever

The theater of August
Is silent in the snow
The clown that played the masquerade
Has come to close the show

Diana in the autumn wind
Goodbye, goodbye my lover
Diana in the autumn wind
Goodbye my springtime lover
Diana in the autumn wind
Goodbye, goodbye forever

Chamaeleon Church - Spring This Year (1968)

When the Boston-based band called the Lost broke up in 1967, their singer/guitarist Ted Myers met Tony Schueren through some friends he had in the Ultimate Spinach band. Beginning to work together, they recruited another ex-Lost member, Kyle Garrahan, to play bass. Myers, who was still under contract to a New York City producer named Alan Lorber, met Chevy Chase while recording in New York. Chase was added to the band’s lineup as their drummer, and Alan Lorber agreed to produce them. They called themselves Chamaeleon Church (sometimes spelled Chamæleon Church) and would on release one album, self-titled, on the MGM label. The band was short-lived, however, and they broke up in 1969, having never made any sort of commercial success. The band’s biggest association with fame would be that their drummer, Chevy Chase, would go on to be an international star as an actor, comedian, and original cast member of Saturday Night Live.

Released on the band’s only album, Chamaeleon Church, in 1968, this song was written by the band’s Ted Myers. It’s the only track on the album where you can hear Chevy Chase’s voice. Chase is heard in the background, emulating the voice of a circus barker.



Chamaeleon Church - Spring This Year (1968)

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Lyrics:

Spring this year
Has put my dreams behind me
Nothing to know now
And no place to go now

Like a fool
I let my pride overrule me
Windows I sit by and
Watch the spring slip by now

When you’re looking for something
That you know has no meaning
And you don’t want to find it
‘cause it might bring you down
So you go in a circle
With no end or beginning
If you’re seeking perfection
It’s the wrong way around

Spring this year
Is filled with false guarantees here
Flowers may sprout now
But I’m still left out now

Spring, I fear
Has made me look kind of foolish
Just goes to show me
How terribly lonely I am

When you’re looking for something
That you know has no meaning
And you don’t want to find it
‘cause it might bring you down
So you go in a circle
With no end or beginning
If you’re seeking perfection
It’s the wrong way around

Spring is here
But I can hardly feel it
I see the sunlight
But my heart is air-tight

I could spend the days out somewhere tripping
But why look for love when it will just hang me out again?

The Asylum Choir - Welcome to Hollywood (1968)

In 1967, studio musicians Leon Russell and Marc Benno got together and created this band. They recorded two albums together. The first, Look Inside the Asylum Choir, was released on Smash Records in 1968, and only reached number 201 on the US charts.. Their second and last album, Asylum Choir II, was recorded February through April 1969, but due to contract disputes, didn't get released until November 1971 after the band had already broken up. By the time of that second album’s release, Leon Russell had gone back to being a session musician, making a very strong name for himself working with famous names such as George Harrison, Ringo Starr, Elton John, Eric Clapton, and numerous others. This solo stardom brought an interest in his earlier work when it was finally released and Asylum Choir II reached number 70 on the charts.

When the band’s first album was initially released in 1968, the cover art was a prominent picture of a roll of toilet paper against a tiled bathroom wall. Creating a minor controversy, Smash records decided that they ought to replace the image, and a much more innocuous cover, featuring Russell and Benno against a psychedelic background, replaced it. The song heard below was featured as the opening track of their debut album, mocking the seedier side of Hollwood, California. If you enjoy it, check out the album’s seventh track, which I almost featured instead, titled “Thieves In The Choir”.



The Asylum Choir - Welcome to Hollywood (1968)

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Lyrics:

Drive the golden sunset drip
And the golden sunset children skip
Along the path that’s called The Strip
And they’re looking for a bird to flip
And a hole to hide from the tourists’ eyes watching

Tourist car come into town
And the black policeman’s cars go down
Inspecting all the players’ rounds
The places where the jokers found
And waiting for his chance to be the dealer

(Welcome to Hollywood)
(You Midwest sons and daughters)
Oh, welcome to Hollywood
Say, man, can you spare a quarter?

Vested eyes so calmly heard
Astounded by the city assured
That come so quickly off a herd
The golden sunset children fled
With ways to still be young and not be crying

The network showed its Color War
I watched the shorthead heroes stor’
Red crimson on green army corps
And his last scene is too bizarre
To think that he won’t get a check from AFTRA

(Welcome to Hollywood)
(You Midwest sons and daughters)
Oh, welcome to Hollywood
Say, man, can you spare a quarter?

I’m feelin’ good in Hollywood
I know where in Hollywood
Oh, I’m Hollywood, now, now
Oh, Hollywood
Oh, Hollywood

(Hollywood, yes I’m talkin’ ‘bout Hollywood)
Oh, I’m feelin’ fine
(Hollywood, I’m talkin’ ‘bout Hollywood)
(Hollywood, yes I’m talkin’ ‘bout Hollywood)
(Hollywood, I’m talkin’ ‘bout Hollywood)
(Hollywood, yes I’m talkin’ ‘bout Hollywood)
(Hollywood, I’m talkin’ ‘bout Hollywood)…

Van Dyke Parks - The Attic (1968)

Born in Hattiesburg, Mississippi on January 3, 1943, Van Dyke Parks began his career as a child actor starring in movies and television shows alongside the likes of Grace Kelly, Ezio Pinza, Chet Allen, and Jackie Gleason. After dropping out of college, Parks moved around the country, from Los Angeles to New England, joining and forming folk groups along the way. With his brother Carson Parks in L.A., he formed The Steeltown Two, which later became The Steeltown Three, and eventually The Greenwood County Singers. In New England, he joined up with an outfit called The Brandywine Singers. By 1964, Parks was signed to MGM Records and released a couple of failed singles produced by the famed Tom Wilson. By 1965, Parks had made a name for himself as an accomplished session musician, as well as befriending other talents such as Randy Newman, Harry Nilsson, Brian Wilson, and Terry Melcher. In fact, Parks became such an accomplished songwriter and musician, he was asked by David Crosby to join The Byrds and, later, to join Crosby, Stills & Nash. Parks declined both offers. He did notably once perform on stage with Frank Zappa’s Mother of Invention, but parted ways with the group because he didn’t enjoy being “screamed at” while on stage. By February 1966, Parks friendship with Brian Wilson of The Beach Boys became deep enough to where Parks was invited to write songs with Brian for his upcoming project, Smile, the ill-fated sequel to Pet Sounds. Unfortunately, creative differences between Parks and Mike Love of The Beach Boys put a rift in the album. This combined with Parks’ disapproval of Brian Wilson’s severe drug use during the sessions led Parks to abandon the unfinished project. Wilson, whose mental health had been deteriorating, soon abandoned the project as well, and the album was shelved for over three decades.

Wanting to continue in the same direction he felt he was moving, Parks decided to record a solo album. The result was the January 1968 release of his first solo work, Song Cycle. Warner Bros. Records was so astonished at the poor sales of what they considered a masterpiece that they took out full page ads in newspapers and magazines stating that they (Warner Bros.) “lost $35,509 on ‘the album of the year’.” The advertisement went on to say that the few people who purchased the record must have worn it out by now from playing it so much. They made the offer that if anyone mailed in a copy of their worn out record, they would receive two back in the mail so that they could educate a friend. Parks didn’t approve of the tactic, but nevertheless it did not increase sales. The song heard below is one of the highlights of Parks’ Song Cycle album, which has gathered a bit of a cult following over the years.



Van Dyke Parks - The Attic (1968)

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Lyrics:

I was there
Upon a four poster there
Mind tousled I came to bear
Some thoughts from the past
Amid a dash of influenza

And then I came to see
In baggage the memories
Of truncated souvenirs
The war years
High moon
I said high moon
Lighted high moon
Eye to my moon

Far beyond
The blue mist enveloped lawn
The blanketed night comes on
The champagne is dead and gone
And the forest around
Sensitive sound
Forest primeval

Through the panes
Cloud buttermilk war remains
And twisted cross war refrains
Lunatic so high moon
I said high moon
Lighted high moon
Eye to my moon

Your age will most probably carry away
The letters enveloped in carrion
Vague unpleasantries of the war
May your son's progenitorship of the state
Haphazardly help him to carry on
God send your son safe home to you

High moon
Your eye to my moon

Very high moon
Very high moon
Very high moon…

The Morning Glories - Love-In (1967)

Based on the west coast of the USA, this band only ever released one single, or, two songs. They featured Jimmy Griffin, Robb Royer, who were also the band’s songwriters, and other unknown musicians. Although the music released by the band was heavy in the sunshine pop-genre, it was unfortunately very short-lived. Having lasted only around one year, the group split when Griffin and Royer brought their musicianship and songwriting talents to their next joint band, Bread. Uniting with David Gates in 1968 to form the band Bread, Griffin and Royer would go on to reach great success as a “soft rock” outfit in the ‘70s. Although Bread came and went, Royer and Griffin continued to write songs together until 2005, when Jimmy Griffin passed away.

This song has writing credits attributed to Jimmy Griffin, “TS Farthingsworth XIV,” and “le Blanc.” Although there is no way to verify that Farthingsworth or le Blanc are pseudonyms, the ridiculousness of at least “Farthingsworth” seems that they would be. Given that Griffin and Royer usually wrote songs together, it raises the question if Royer felt the need to hide behind a pseudonym for the writing credits of this song. Perhaps le Blanc was another member of the band?

In any case, the song was released in 1967 and featured the B-Side “You’re So Young.” It never charted, but it did find new life when released on the 2004 compilation album Come to the Sunshine: Pop Nuggets from the WEA Vaults.

Update 01/22/2015: John Linquist, in the comments, informed us that the "TS Farthingsworth XIV" was actually "T.X. Farthingsworth XIV," and a pseudonym for Robb Royer. Also, the "le Blanc" was Eddie LeBlanc, who would go on to become an author under the name Tim Hallinan. For more, see John's comment below this post.



The Morning Glories - Love-In (1967)

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Lyrics:

Come along with me
And you’ll see
Such a fine display
Of paisley fantasy
Just like Piccadilly Square

Try to find your shades
Weave your braids
Paint a flower on ya
Come along with me
And we’ll go directly there

Just before we go
You should know
What’s expected of you
Lying on the grass
We can talk to the trees

Mellow-yellow dreams
Make it seem
Like a carousel
Revolving slowly
Let me show you
If you go

I’ll take you to the love-in
We’ll happen at the love-in
At the love-in

Let me show you
It’ll blow you
If you go
I’ll take you to the-

Sitting in the weeds
Wearing beads
Pass the pipe around
And share it with your friends
Who were strangers before

If I had my way
Every day
It would be just like the love-in

Sitting in the weeds
Wearing beads
Pass the pipe around
And share it with your friends
Who were strangers before

If I had my way
Every day
It would be just like the love-in

Love-in
(Loving you)
Love-in
(Loving you)

Love-in
Let me take you to the love-in
We’ll happen at the love-in

Love-in
Let me take you to the love-in
We’ll happen at the love-in…

Bread - Truckin' (1971)

One of the original “soft rock” bands, this Los Angeles, California group was first created when guitarist and vocalist James "Jimmy" Griffin hired David Gates to produce his next solo album. What developed instead was a band, dubbed “Bread,” in 1968. Adding guitarist and vocalist Robb Royer to the mix, the trio signed with Elektra Records and saw the release of their first album in September 1969. Although the album produced no hits, it gathered the group a following. Their highest charting single was “Make It With You,” released June 13, 1970, reaching number one in the United States and number five in the United Kingdom. None of their other hits would ever chart as highly, but other Top 10 singles released were “It Don’t Matter to Me,” “If,” “Baby I’m-a Want You,” “Everything I Own,” and “Lost Without Your Love.” Since Gates had written and sang lead on all eleven of the band’s charting singles, Elektra Records wanted to continue featuring Gates’ songs as A-Sides. Griffin felt that the favoritism was unfair and strife within the band began to grow. By 1973, the band had split up, but “best of” compilation albums released by their label put the band back in high demand. The demand was so high, in fact, that the band was coerced into getting back together to record one more album. Released in 1977, their final album, Lost Without Your Love, was backed with a nationwide tour. For the second leg of the tour, Gates didn’t invite Griffin, whom he still couldn’t get along with. At the end of the tour, the band broke up once more, not to be seen again until a “25th Anniversary” tour of the United States took place in 1996-’97.

Released on the band’s second album, 1971’s Manna, this song was written by band members James Griffin and Robb Royer. The album featured twelve tracks, six of which were penned by Gates and the other six by Griffin/Royer. The song “If” was the only successful single from the album, but the particular track below shows that the band didn’t always have to rock softly.



Bread - Truckin' (1971)

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Lyrics:

Truckin’ down the highway
Get out of my way
Always in a hurry
Always in between

That’s where you can find me
Truckin’ down the highway
Sittin’ in the cab of
A ten-ton machine

I’m gettin’ pretty tired of stoppin’
In old, run-down cafés
Someday I’m gonna find me a woman
Rich enough to pay my way

Gonna make some in-roads
Drivin’ home a payload
Truckin’ down the highway
The likes you’ve never seen

I’m gettin’ pretty tired of lookin’
In them truck-stop cabarets
Someday I’m gonna find me a woman
Rich enough to pay my way

Then you’re gonna find me
Truckin’ down the highway
Sittin’ in the back seat
Of a long limousine

Truckin’ down the highway
Get out of my way
Truckin’ down the highway…

Sagittarius - My World Fell Down (1967)

Born in 1938, Gary Usher made a name for himself as a songwriter in the early ‘60s. Perhaps most notably at that time, he co-wrote songs with Brian Wilson for The Beach Boys such as the popular “In My Room.” In 1967, Usher came across a song called “My World Fell Down,” performed by the British band known as The Ivy League. He attempted to give the song to Chad & Jeremy, whom he had been producing for at the time. They refused, opposed to recording work other than their own. Still convinced that the song could be a hit, Usher called up some session musicians to record the song and, upon completion, when he turned it in to Columbia Records, dubbed the non-existent group “Sagittarius” after his own astrological sign. When the song reached number seventy on the Billboard charts, it was considered a success. Columbia, not knowing that there wasn’t really a band behind it, wanted the non-existent group on tour to support the song. At that point, Usher had to confess that there wasn’t actually a band. Attempting to continue the success of the Sagittarius name, Usher began recording material himself, using the Sagittarius name. What resulted were two albums attributed to Sagittarius, a band that never truly existed.

As stated above, Gary Usher had done a lot of collaboration with Brian Wilson and The Beach Boys. Also mentioned above is that this song was created by a group of session musicians. What combines these two facts into something very interesting is some of the session musicians used were friends Usher had made through Brian Wilson: Glen Campbell, Bruce Johnston, and Terry Melcher. Although never officially a member of The Beach Boys, Glen Campbell was Brian Wilson’s replacement on a Beach Boys tour from December 1964 until March 1965. Bruce Johnston, on the other hand, was an official member of The Beach Boys, having replaced Campbell on the aforementioned tour and later joining the group full-time in the studio. Lastly, Terry Melcher had been associated with The Beach Boys having done record producing for them (as well as for The Byrds).

All three men playing on this song had previously contributed to The Beach Boys’ Pet Sounds, so it should go without saying that when this song was released less than one year later, it carried a heavy influence from those sessions. All having worked so closely with Brian Wilson, some people refer to this song as a reflection of Brian Wilson’s genius, channeled through the playing of his protégés.



Sagittarius - My World Fell Down (1967)

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Lyrics:

Just like the breath of spring
You came my way
I heard a bluebird sing
But not today

‘cause it’s wintertime
And the leaves are brown
Since you went away
My world fell down
(My world fell down)
(My world fell down)
Fell down

I see your suitcase lyin’
Packed up to go
I stop myself from cryin’
How, I don’t know

‘cause it’s wintertime
And the leaves are brown
Since you went away
My world fell down
(My world fell down)
(My world fell down)
Fell down

Wish I didn’t feel like winter
‘cause spring’s a better thing, I know
I know I’d feel so much better
If I could only let her go

‘cause it’s wintertime
And the leaves are brown
Since you went away
My world fell down
(My world fell down)
(My world fell down)
Fell down

‘cause it’s wintertime
And the leaves are brown
Since you went away
My world fell down
(My world fell down)
(My world fell down)
Fell down

Harpers Bizarre - The Biggest Night of Her Life (1967)

When a Santa Cruz, California band known as The Tikis signed up with Autumn Records, they released two moderately successful singles. In early 1967, their record producer, Lenny Waronker, decided to have the band record a track written by Paul Simon. The track, “The 59th Street Bridge Song (Feelin’ Groovy),” which had already been released by Simon & Garfunkel, was put together with a new arrangement by Leon Russell and recorded by the band. When it came time for the song to be released, they chose to change their band name and settled on a pun which referenced Harper’s Bazaar magazine, the name seen above. The song reached number thirteen and became the band’s signature song. They quickly released a full-length album and continued to release new, less successful material over the next few years. Once, on Halloween in 1969, the band was taking a flight back home to San Francisco when the plane was hijacked. Luckily, no one was hurt and the band was released safely (along with everyone else) in Denver, Colorado. After four full-length albums and ten singles, the band couldn’t match the same success of “Feelin’ Groovy” and decided to split up at the end of 1969.

Released on the band’s second album, Anything Goes, this song was written by an ex-member of the band when it was known as The Tikis: Randy Newman. Newman, along with Van Dyke Parks and Harry Nilsson, had been working with the band as arrangers and/or session musicians. The Anything Goes album was released in December 1967.



Harpers Bizarre - The Biggest Night of Her Life (1967)

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Lyrics:

Susie’s goin’ out tonight
To a sixteenth birthday party
Her shoes are pink, her dress is white
And she’s a beautiful sight to see
And you can bet it will be
The biggest night of her life

Susie’s got a boy she likes
And his name is Tom Van Fleet
And Susie’s parents think he’s nice
‘cause his hair is always neat
And tonight’s gonna be
The biggest night of his life

Two kids out dancin’
Having fun ‘til the sun comes up
In a high school sweater and a paper hat
What could be wrong with that?

Susie’s goin’ out tonight
To a promise she must keep
She thought about it all last night
And she was too excited to sleep
And you can bet it will be
The biggest night of her life

Susie’s goin’ out tonight
To a sixteenth birthday party
Her shoes are pink, her dress is white
And she’s a beautiful sight to see
And tonight’s gonna be
The biggest night of her life

You can bet it will be
The biggest night of her life

(You bet it will be)
The biggest night of her life

(You bet it will be)
The biggest night of her life

Egg - Fugue in D Minor (1970)

When they were around the age of seventeen in 1967, Dave Stewart, Mont Campbell, Clive Brooks, and Steve Hillage created a band named Uriel in their hometown of London, England. By the end of the summer in 1968, Hillage left the band to go to college and the remaining members carried on as a trio. They were convinced to change their name to the one seen above, fearing that “Uriel” sounded too much like “urinal.” By the summer of 1969, the band had signed with Deram Records, a subsidiary of Decca, and their first album, self-titled Egg, soon followed. Most of the band’s music was influenced by Bach, Stravinsky, or other classical composers; although the band always put a progressive and psychedelic touch of their own in the arrangements. After two albums, the band lost their record deal and was forced into an early retirement in July 1972, left with a full album’s worth of unrecorded songs. Stewart went on to be in a band called Hatfield and the North, where he arranged to get a deal for Egg to record their unrecorded material. Those songs were recorded for the band’s final album, The Civil Surface, released in 1974.

Credited to Johann Sebastian Bach, this song is generally paired with Bach’s other composition, "Toccata." Together, they’re known as "BMV 565," or Bach-Werke-Verzeichnis (Bach Works Catalogue) 565. Although credit is given to Bach for the composition, his authorship has been disputed by musical scholars, noting that the oldest copy of the sheet music used a lot of Italian markings, which was odd for the German Bach born in 1685. This particular version of the song, heard below, was rearranged and released by Egg on their debut album, self-titled Egg, on March 13, 1970. I can’t help but be reminded of the opening title music to the video game Gauntlet II for the NES.



Egg - Fugue in D Minor (1970)

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Lyrics:

(instrumental)

Cat Mother & the All Night Newsboys - Charlie's Waltz (1969)

Formed in the Lower East Side of Manhattan, New York in the fall of 1967, this band was held together over the years by its core members: Roy Michaels, Bob Smith, and Michael Equine. Through a connection with Jimi Hendrix’s manager, Michael Jeffrey, the band was able to get a record deal with Polydor Records in 1969, while simultaneously hiring Jeffrey as their own manager. After developing a friendship with Hendrix himself, Hendrix decided that he would be willing to produce the band’s first album, The Street Giveth…and the Street Taketh Away in 1969. From that album came the band’s only Top 40 hit, “Good Old Rock ‘n’ Roll,” a medley of rock and roll songs from the 1950s. In an effort to help propel the group forward, it was also arranged that the band would open a series of shows for Hendrix on tour. Although the touring went well, the connection to Hendrix was severed in 1970 when the band relocated to California, wanting to cut ties with their mutual manager, Jeffrey. (It's worth noting here that Jeffrey would soon be shrouded in controversy from his possible involvement in Hendrix's death.) While out in California, the band released their second album, Albion Doo-Wah, before shortening their name to just “Cat Mother” and moving back to New York in 1971. In the years that followed, the band released two final albums, the eponymous Cat Mother in 1972 and Last Chance Dance in 1973. They failed to reach any more commercial successes, but continued to play live until 1977 before retiring the band.

This song was written by William David “Charlie” Chin, an original member of the band while they were still in the Lower East Side. Chin, who would later be awarded by the Smithsonian in 1989 for his work regarding Asian American Studies, decided to quit the band after the release of their first album, not wanting to relocate to California. The song appeared on the band’s first album, The Street Giveth…and the Street Taketh Away, which reached number fifty-five on the charts. Of the band and the album, Hendrix said, “They are presentable enough, but not as good as I wanted them to be. … It could have been so much better, but we were working all the time and couldn’t spend the time we needed in the studio.”



Cat Mother & the All Night Newsboys - Charlie's Waltz (1969)

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Lyrics:

She stood in the street
Holding her hat in her hand
I think I understand
Why she’s smiling at me
The whole world can see
From the sandals she wears
To the flower in her hair
How she’s leading me on
With a smile just like dawn
With an eye like a diamond
A walk like a whisper
She’s gone

Woah, how I cry
Woah, how I cry

Hands by your side
Like two small birds
At night
When I spied
The way that they tried
To capture my dreams
In a basket of fingers
The thought still lingers
Of the schemes that you tried
Moonstones that cry, girl
Love that won’t die
Cannot compare
To the color of her hair
In the morning

Woah, how I cry
Woah, how I cry

Woah, how I cry
Woah, how I cry

Love of a lifetime
Crushed into my mind
How can I find time
To refuse or decline
Your offer to me?
How could it be
Honest or groovy
If you won’t be true to me?
You know, promises made
Too many times
They seem to fade
In some peoples’ minds
Like silver

Woah, how I cry
Woah, how I cry

Phil Ochs - No More Songs (1970)

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

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

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



Phil Ochs - No More Songs (1970)

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Lyrics:

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

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

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

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

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

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

Love - Old Man (1967)

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

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



Love - Old Man (1967)

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Lyrics:

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

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

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

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

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

Dear old man
Wise old man
Fine old man, now

The Association - Requiem for the Masses (1967)

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

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



The Association - Requiem for the Masses (1967)

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Lyrics:

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

Herman's Hermits - East West (1966)

Originally known as Herman & The Hermits, this band out of Manchester, England originally found the majority of their success in the United States where teenage girls yearned for lead singer Peter Noone and his intentionally exaggerated his Mancunian accent. In 1965 alone, the band had three Top 3 songs in the United States: “Can’t You Hear My Heartbeat” (January), “Mrs. Brown, You’ve Got a Lovely Daughter” (March), and “I’m Henry VIII, I Am” (June). The group continued to be successful in the United States all throughout 1966 and shortly into 1967 with their last big US hit “There’s a Kind of Hush.” After that song’s release in February 1967, the band’s popularity in the US began to sink as it simultaneously rose in the United Kingdom. They had seven songs in the Top 15 on the UK charts from January 1968 through November 1970, but they knew things were dwindling down. Noone split from the band in 1970 and the rest of the Hermits continued on until 1973, failing to have any success. These days, Peter Noone continues to tour and make guest appearances on both sides of the pond.

After releasing “No Milk Today” in October 1966 to the UK, Herman’s Hermits was looking for their next big single. Although they wouldn’t really shine again until 1967’s “There’s a Kind of Hush” in February, they released the song heard below in the interim. Written by Graham Gouldman (a future member of 10cc), this song was released in December 1966 and reached number twenty-seven in the US, thirty-three in the UK, and number five in New Zealand. It was backed by the B-Side “What Is Wrong-What Is Right.”



Herman's Hermits - East West (1966)

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Lyrics:

East, west over the ocean
Perpetual motion, traveling around
No rest, singing and playing
Night-out and day-in, doing the rounds
What a great life it must seem
(What a great life it must seem)

Swell joints, everything classy
Nothing that's passé, only the best
Lush girls ogling and eyeing
Crying and sighing, this is success
What a great life it must seem
(What a great life it must seem)

But when I hear young voices singing out
The bells at home come ringing out
When I feel all alone
Then I think of my home

Mom, dad all ‘round the fire
In festive attire, keeping the day
Aunts, kids, all the relations
Congratulations, this is success
What a great life it must seem
(What a great life it must seem)

But when I hear young voices singing out
Then the bells at home start ringing out
When I feel all alone
Then I long for my home

Mary Hopkin - Those Were the Days (1968)

Born in 1950, Mary Hopkin was raisede in Pontardawe, Wales by her Welsh-speaking family. She had been in a local group called Selby Set and Mary prior to releasing a Welsh-language EP for the local Cambrian record label. Soon, she was appearing on the British ITV television network on Opportunity Knocks, a British talent show. When she won, it was witnessed by the famed model Twiggy, who contacted Paul McCartney of The Beatles and newly-formed Apple record label to suggest getting her signed. Hopkin became one of the first acts signed by the Apple record label and released numerous singles for them, reaching the number one spot in the UK once, and the number two spot twice. In 1971 she married music-producer Tony Visconti and briefly retired to raise a family, appearing only as a guest singer over the next few years for artists such as Thin Lizzy, David Bowie, Tom Paxton, and others. She touched on brief success again after her comeback in 1976 with the song “If You Love Me (I Won’t Care),” reaching number thirty-two in the UK.

This song, Hopkin’s first single, was released in 1968 and reached number one in the UK, Germany, and Switzerland. In the US, it reached number two. It had been recorded in four languages other than English (Spanish, German, Italian, and French), for its release in other countries. The melody of the song is from a Russian romance song composed by Boris Fomin, titled “Dorogoi dlinnoyu” (translated to “By the Long Road”). It had English lyrics written for it by American musician and playwright Gene Raskin, which were based on the Russian poet Konstantin Podrevskii’s original words. This version of the song, both the melody and the singing, was produced by Paul McCartney.



Mary Hopkin - Those Were the Days (1968)

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Lyrics:

Once upon a time, there was a tavern
Where we used to raise a glass or two
Remember how we laughed away the hours
And think of all the great things we would do?

Those were the days, my friend
We thought they'd never end
We'd sing and dance forever and a day
We'd live the life we choose
We'd fight and never lose
For we were young and sure to have our way

Then the busy years went rushing by us
We lost our starry notions on the way
If by chance I'd see you in the tavern
We'd smile at one another and we'd say

“Those were the days my friend
We thought they'd never end
We'd sing and dance forever and a day
We'd live the life we choose
We'd fight and never lose
Those were the days, oh yes, those were the days”

Just tonight I stood before the tavern
Nothing seemed the way it used to be
In the glass, I saw a strange reflection
Was that lonely woman really me?

Those were the days my friend
We thought they'd never end
We'd sing and dance forever and a day
We'd live the life we choose
We'd fight and never lose
Those were the days, oh yes, those were the days

Through the door, there came familiar laughter
I saw your face and heard you call my name
Oh, my friend, we're older but no wiser
For in our hearts, the dreams are still the same

Those were the days my friend
We thought they'd never end
We'd sing and dance forever and a day
We'd live the life we choose
We'd fight and never lose
Those were the days, oh yes, those were the days

Blossom Toes - I'll Be Late For Tea (1967)

Formed in London in 1967, this group’s original name was The Ingoes. Their first album, We Are Ever So Clean, released in 1967, is widely considered to be a hidden gem in the psychedelic genre. Two years after its release, in July ’69, the group released If Only for a Moment, which was a much harder rock approach than what the group was known for based on their previous releases. Although the group disbanded in 1970 after only releasing two albums, their guitarist/vocalist Jim Cregan would go on to have the most successful career, highlighted by a twelve year musical relationship alongside Rod Stewart.

Written by the group’s guitarist, vocalist, and keyboardist, Brian Godding, this song is a shining example of British psychedelia. Coming from the We Are Ever So Clean album, this track, as many of the others, was backed with an orchestra and numerous session musicians. As it was, it made it very difficult for the band to reproduce their songs on a stage in concert; and, as a result, the group tended to perform a lot of other group’s material (such as Captain Beefheart and his Magic Band) when performing live.



Blossom Toes - I'll Be Late For Tea (1967)

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Lyrics:

What would you do if you had a bus?

Hurry up, sleep, take me
Or I'll be late for tea
Hurry up, sleep, take me
Or I'll be late for tea

I was lying on my bed
Looking out the widow
Sleep taking over from my head
And my mind would soon go

Fell down to the floor
No one saw
But my room laughed at me
‘cause I'll be late for tea

Oh, it's just a dream, I know
But if I'm late, she will go
And my princess will just flow away

I'll be late for tea

Hurry up, sleep, take me
Or I'll be late for tea
Hurry up, sleep, take me
Or I'll be late for tea

So I have to try once more
For I was in a hurry
Pick myself up from the floor
She'd be waiting for me
Got back into bed
Hoped my mind would soon set me free
‘cause I'll be late for tea

Hurry up, sleep, take me
Or I'll be late for tea
Hurry up, sleep, take me
Or I'll be late for tea