Pink Floyd - Ibiza Bar (1969)

As far as Pink Floyd’s discography goes, there may not have been a more diverse effort than their third studio album, More. Released in 1969, More was a soundtrack for the eponymous movie released that same year. The soundtrack, composed entirely by Pink Floyd, ranged from acoustic folk songs to heavy grunge and psychedelia. And because it was meant to be played over the film, more than half of its tracks were instrumentals. More was the first album to be released by the band without their original front-man Syd Barrett. As such, the album is often viewed as the birth of what would later become the iconic Pink Floyd style and sound.

Written by Roger Waters, the song below is primarily known as being the ninth track on the More album. However, before the More album was released in June 1969, the song was first released as the B-Side to a March 1969 single, backing Floyd’s other hard rocker, “The Nile Song,” as its A-Side.



Pink Floyd - Ibiza Bar (1969)

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Lyrics:

I'm so afraid of mistakes that I've made
Shaking every time that I awake
I feel like a cardboard cut-out man
So build me a time
When the characters rhyme
And the storyline is kind

I've aged and aged since the first page
I've lived every line that you wrote
Take me down, take me down
From the shelf above your head
And build me a time
When the characters rhyme
And the storyline is kind

I live where I'm left
On the shelf like the rest
And the epilogue reads like a sad song
Please, pick up your camera
And use me again
And build me a time
When the characters rhyme
And the storyline is kind

Yeah!

Bubble Puppy - Hot Smoke & Sassafras (1968)

Rod Prince (lead guitar) and Roy Cox (bass) put together this band in San Antonio, Texas, 1966, after their previous band, the Bad Seeds, had disbanded. Although they were beat to the punch by The 13th Floor Elevators and The Golden Dawn, they’re regarded as one of the first psychedelic rock bands out of the state of Texas. Their name was inspired by a children's game played in Brave New World, by Aldous Huxley. They were also one of the first psychedelic bands anywhere to use dual lead guitars- featuring the technique as early as 1967- a full two years before Wishbone Ash and the Allman brothers, who popularized the technique. Rounding out the band was Todd Potter (second lead guitar) and David “Fuzzy” Fore (drums).

The band had their first and most prominent taste of success in the spring of 1969, when their song heard below (and recorded in 1968) made it to number fourteen on the Billboard 100. The title of the song came about when somebody in the band misheard a line on an episode of The Beverly Hillbillies. The song’s success led them to recording their first album, A Gathering of Promises, in 1969, which unfortunately sold poorly.

A falling out with the band’s label, International Artists (who had also signed The 13th Floor Elevators and The Golden Dawn) led the band to hire Nick St. Nicholas of Steppenwolf as their manager and move out to Los Angeles. They changed their name to Demian to avoid any contractual issues, and to erase any connection to the bubblegum pop genre. As Demian, they released one self-titled album in 1971 and split up in 1972 after the album’s lack of success. Since, the group has gotten back together at various times, reuniting under their Bubble Puppy name. They released an album, Wheels Go Round, in 1987 and have performed live as recently as 2012.



Bubble Puppy - Hot Smoke & Sassafras (1968)

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Lyrics:

In the mist of sassafras
Many things will come to pass
And the smoke shall rise again
To the place above where it began

Time will bring the fire and flame
Surely as it brought the rain
But in the gardens of the moon
Time is held within the silver spoon

If you're happy where you are
Then you need not look too far
If you've found your place at last
Then you need not use the looking glass

The Who - Sparks (1969)

Primarily written by band member Pete Townshend, The Who’s double-sided Tommy album was one of the first rock albums in history to be considered a “rock opera.” The album’s songs systematically tell the story of Tommy, a kid who is psychosomatically deaf, dumb, and blind due to something he witnessed at a young age. The album’s time-frame spans multiple years, from Tommy as a child to his adult life. The album was banned by the BBC and many US radio stations for its subject matter, specifically revolving around a handicapped child who is abused by family members and goes on to become a spiritual leader. Just a few months after its release in 1969, the entire album was played by The Who for the crowd at Woodstock. Almost as if it were on cue, the sun began to rise at Woodstock over the horizon just as Roger Daltrey began to sing, “See Me, Feel Me.” The album has sold more than twenty million copies, been turned into a Broadway musical, an orchestral production, and a feature film. It was the band’s first major album success, to be followed by Who’s Next, Quadrophenia, The Who by Numbers, and Who Are You.

Written by Pete Townshend, this instrumental track was one of the numerous highlights on the Tommy album. The song has a notable appearance in the film Almost Famous from 2000, when the main character first becomes exposed to rock music when listening to this particular track.



The Who - Sparks (1969)

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Lyrics:

(instrumental)

Vanilla Fudge - You Keep Me Hangin' On (1967)

Mark Stein and Tim Bogert were both in the local Long Island, New York band called Rick Martin & The Showmen. Influenced by the blue-eyed soul of The Rascals, the pair decided to splinter off in 1966 and form their own group, called The Pigeons. Joined by Vince Martell and Carmine Appice, the new band changed their name in 1966 to that which is read above, reasoning that they were mixing “vanilla” psychedelic music made popular by bands such as The Doors, with “fudge” blues music made popular by black artists. Playing locally, the band was discovered by Phillip Basile, a local club owner who also allegedly was a member of the Lucchese crime family. Their debut, self-titled album reached number six in the US charts and was mostly composed of cover songs originally made famous by bands such as The Beatles, The Supremes, The Zombies, and others. In late 1968 and early 1969, the band toured the United States with Iron Butterfly, Country Joe & the Fish, and a very young/new Led Zeppelin. Although Vanilla Fudge was the official headliner of the tour, it was Zeppelin who instantly stole the show and intimidated Iron Butterfly and Country Joe from completing the tour with them. Although this band’s subsequent albums continuously charted, they failed to reach the same success as their debut release. In early 1970, the band broke up for the first time. Stein was the sole remaining member and attempted to continue the band, unsuccessfully, with replacement band members. Having officially folded altogether in 1970, the original members would reunite numerous times in the ‘80s until permanently reforming in 1999, minus Tim Bogert.

Written by Lamont Dozier and brothers Brian and Eddie Holland (Holland-Dozier-Holland), this song was originally recorded in 1966 by The Supremes for the Motown label. This band’s version of the song was recorded in 1967 and can be heard in two different versions. The first version, the single version, was released at a length just under three minutes and was the band’s first single. The other version, the album version heard below, appeared on the band’s debut album, Vanilla Fudge, in 1967, and came in at around seven minutes in length. The single reached number six on the Billboard Hot 100, five places shy of The Supremes' number one when they had first released it.



Vanilla Fudge - You Keep Me Hangin' On (1967)

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Lyrics:

One, two, three, four

Set me free, why don’t ya babe?
Get out my life, why don’t ya babe?
You really don’t want me
You just keep me hangin’ on
You really don’t need me
You just keep me hangin’ on

Why do you keep comin’ around
Playing a’with my heart?
Why don’t ya get out of my life
And let me try to make a new start?
Let me get over you
The way you’ve gotten over me

Set me free, why don’t ya babe?
Get out my life, why don’t ya now?
You really don’t want me
You just keep me hangin’ on
You really don’t need me
You just keep me hangin’ on

You sayin’ that we broke up
That you just wanna be friends
But how can we still be friends
When seeing you only breaks my heart again?
There ain’t nothin’ I can do about it

Ya know I need love
(Set me free, why don’t ya babe?)
Talkin’ ‘bout love
(Get out my life, why don’t ya babe?)
You really don’t want me
You just keep me hangin’ on
You really don’t need me
You just keep me hangin’ on

Get out my life, why don’t ya babe?
Get out my life, why don’t ya babe?
Get out my life, why don’t ya babe?
Get out my life, why don’t ya babe?

(Come on to me!)

Kaleidoscope - (Love Song) For Annie (1969)

Kaleidoscope is no stranger to this website, as they’ve been recognized for their great music here more than once before. Be sure to read up on the previous posts if you’re unfamiliar with this band and their phenomenal body of work.

After the hype died down from the release of the band’s debut album, Tangerine Dream, in 1967, the band followed up with the 1968 release of their single “Jenny Artichoke”/“Just How Much You Are.” In the same year, they took to touring heavily around Europe in an effort to boost their record sales, which unfortunately hadn’t met expectations. While in the Netherlands, they opened for Country Joe and the Fish. In August of 1968, the band began recording the tracks for their second album, Faintly Blowing, which featured a much harder approach to their usually dreamy psychedelic style. Unfortunately, despite this new, harder image, the album failed to chart. Having frustrated Fontana Records, the band was next forced to record two songs written by Fontana’s staff writers, taking the writing privilege away from band member Peter Daltrey. Distraught with being forced in a direction they didn’t like, the band called it quits. Their last appearance under the Kaleidoscope name was August 21st, 1968. Luckily, the band continued on under the name Fairfield Parlour.

The song heard below the story, released on the Faintly Blowing album, was released in April 1969 and never charted. As with all of the band’s songs, the lyrics were written by lead vocalist Peter Daltrey, and the music was arranged by lead guitarist Eddy Pumer.

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A Special Edition post with Peter Daltrey of Kaleidoscope & Fairfield Parlour!
When you think of Kaleidoscope, the first thing that comes to mind is the amazing imagery in the lyrics. Those lyrics were Peter Daltrey's. Peter was the lead vocalist and lyrics for both Kaleidoscope and its reincarnated Fairfield Parlour. If you'd like a colorful window into Peter's early years, check out the story he was kind enough to share with us. When you're done, check out "(Love Song) For Annie" below.

A Bit Like You And Me and readers,

I was asked just the other day what my earliest formative musical influences were.

Let’s go back to 1962; I think that’s early enough!

My mate Les and I used to go to see the rock shows that toured Britain, appearing at the cinema chains. You’d see five or six acts on the same bill. Each would do their hit and a couple of other songs and then scuttle off stage to make way for the next, latest sensation. Again, my memory fails me. I would love to recall the acts I saw, but they’ve vanished into some dingy corner of my soggy cerebellum. I know we did see people like Chuck Berry, Del Shannon, Dion, and I can never forget two acts in particular: Gene Vincent and Billy Fury.

An electric, palpable hum of expectation preceded Vincent’s appearance. He was announced to a blacked-out theatre; we all cheered and then we heard this scraping sound. Then the spots came on and there was Gene with his trademark, crooked-man pose, hanging onto the mike stand. “Beebop a lula, she’s ah my baby..." What a cool guy. Greasy quiff; chiselled, craggy, white face; baby blue, satin shirt; tight black pants -- and a shimmering metal brace holding his leg together. Vincent had been in the car the night Eddie Cochran got mashed. Old Gene, he busted his leg good ‘n’ proper. So now he had to drag it around like some death trophy, a constant reminder of the night the Grim Reaper took the great Cochran up the three steps to heaven.

A few years later, I was walking down a West End street when a black taxi pulled up beside me. The door opened and out stepped an oldish guy in a long, coffee-coloured raincoat. But it was the metal leg I saw first. I looked up and there was sweet Gene – older but no less handsome. Tired eyes just glimpsed behind prerequisite shades, that firm jaw, that liquorice slick hair. He hobbled into an office doorway, his coat tails flashing, and was gone – leaving me gaping and speechless in his rock-legend wake. I wanted to shake his hand, thank him for, well, everything I guess: the music, the excitement, the day dreams of emulating the broken rock ‘n’ roll iconography that he created. But the door swung closed and I never saw him again.

The night we saw Billy Fury is engraved in gold lame on my brain. Again, a rumbling hush of anticipation, the announcement, the plush red curtains pull back, the band kicks in -- and there is this glimmering, dazzling, blindingly handsome creature: Billy Fury. He’s wearing a bronze, silk Italian suit that ripples like holy water. He’s better looking than Jesus. He sneers like an angel. The girls are dying. The boys are open-mouthed not believing what they’re seeing. His perfectly unkempt golden quiff. The devil glint of his eyes. His genuine rock voice: cool, broken, aching. And his very tight trousers! My God! What’s that!? The management pulled the curtain on him. After what must have been a heated discussion in the wings, the show started again with Fury slightly less furious in the pants department. What a night.

Turns out, Billy was a quiet, shy, reticent guy who would rather spend his days petting his horses than being mauled by packs of panting schoolgirls. And then along came guitar bands and wrecked the careers of so many handsome crooners with dodgy, made-up names. And then Billy died.

Like a million teenage boys, I’d dreamt of being in a band- no, that’s not true. I’d dreamt of being center stage, blinded by the spotlight, writhing against the silver mast of a microphone stand with a thousand girls screaming, mine for the taking. Nancy boy dreamer.

In many ways, I have achieved that dream that engulfed me when I was eighteen: I’m a singer, albeit mostly unheard by the masses. That’s okay. I still have ambitions. I want to write just one song that is half as good as anything that Buddy Holly recorded. He is my musical hero. A brilliant artist cut down literally in his prime. You can listen to any Holly track today and it still sounds as fresh as on the day poor Buddy stood up in the studio and sang his heart out. (Listen to “Dreaming of Holly” on the album I recorded with sweet Damien Youth, Tattoo www.rocketgirl.co.uk )

And then just last month, I find myself one late afternoon standing in a deserted street in Lubbock, Texas, the falling sun at my back, dust on my boots, and the stars in my eyes. I’m banging on the door of The Buddy Holly Center. But Buddy ain’t home; no-one’s home. Closed.

I stand outside faintly amused by the giant, black spectacles- the fading mural of The Crickets on the grubby wall of a roadside cafe. But this is Buddy’s hometown. He would have ridden his motorbike down this street- taken a girl to that cinema. But was probably too young to have sunk a beer in that bar.

His oversized statue towers over me. I feel small and humbled in his shadow. But as I walk away, “Raining In My Heart” is echoing through my brain, electrifying as always. The music is timeless.

“You could have lived for a thousand years in your own clear light,” I sang on “Dreaming of Holly.” Now I truly believe it.

Peter Daltrey

A huge 'thank you' to Peter Daltrey for taking the time to share this story with us. It's always nice to hear about the people who inspired our favorite artists. Peter's vivid accounts of his youth painted quite the picture!

To see Peter's site, click here.
To see the site for Kaleidoscope/Fairfield Parlour, click here.
To like Kaleidoscope on Facebook and be kept up with the latest news, click here.

And now that you've enjoyed this exclusive story, why not check out what other exclusive stories we've received?

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Kaleidoscope - (Love Song) For Annie (1969)

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Lyrics:

Come, all ye non-believers, feel the creases in her brow
Look once and then you'll know she was not very loud
Touch her eyes and feel the shadows growing on her face
Take seconds to catch your breath before you slow the pace

Come, all ye non-believers, but leave your books behind
Your knowledge is wasted here, for love there's always time
Reach out for emptiness as she crowds you from the room
Let falling tears paint your face but don't do it too soon

Take time for Annie
She would love to see your face
Be kind for Annie
Spread out a little place

Come, all ye non-believers, break the bread and drink the wine
Give her your baited breath, for love there's always time
Fall down around her feet, let her walk upon your hands
Let your tears be like a sea, do everything you can

Take time for Annie
She would love to see your face
Be kind for Annie
Spread out a little place
Listen
But forever is a time you'll never know

Come, all ye non-believers, break the bread and drink the wine
Give her your baited breath, for love there's always time
Fall down around her feet, let her walk upon your hands
Let your tears be like a sea, do everything you can

The Steve Miller Band - My Dark Hour (1969)

Although most of their hits came in the ‘70s and ‘80s (“The Joker,” 1973; “Take the Money and Run,” “Rock’n Me,” “Fly Like an Eagle,” 1976; and “Abracadabra,” 1982), this band has actually been around since 1967. Originally known as The Steve Miller Blues Band when they were put together in San Francisco, the band was initially a blues outfit that dabbled with psychedelic rock and hard rock. As The Steve Miller Blues Band, they had opened for Chuck Berry at the Fillmore West and performed at the Monterey Pop Festival in June 1967. For the band’s first seven albums, they used a hard rock and blues style that didn’t garner them much success. It wasn’t until their 1973 album, The Joker (now having its 40th anniversary) that the band decided to create the mainstream sound which they’re now remembered for. With nearly forty people having been members of this band, it’s easy to imagine how often the band’s lineup has altered over the years. Only Steve Miller himself has been constant throughout their long history and he continues to perform to this day.

On Friday May 9, 1969, Steve Miller walked into a studio at Olympic Sound Studios in London, which he assumed was empty. When he noticed Paul McCartney sitting inside, he asked if the room was free. McCartney, who had just had a big fight with all of the other members of The Beatles over whether or not they would hire Allen Klein as their manager, replied, “Well, it looks like it is now, mate.” Wanting to get some of his frustrations out, McCartney asked Miller if he could accompany him by playing the drums. Naturally, Miller obliged and he (Miller) began to play the song heard below. What resulted was a collaboration composed entirely of Steve Miller and Paul McCartney. McCartney played bass, drums, and sang backup, whereas Miller performed the lead vocals and played all of the other instruments. The heavy drumming emphasis is attributed to McCartney releasing his stress. When it came time for crediting him, he chose to use the pseudonym "Paul Ramon," a name which had had previously used while touring Scotland with The Beatles in 1960, when they were still going by the name The Silver Beetles.

The song was released as a single, but failed to chart. It also appeared on the June 1969 album, Brave New World. Seven years after this song was released, Miller would revive its primary guitar riff for his monumental 1976 hit, “Fly Like an Eagle.” Considering McCartney went uncredited for the song it was originally used in, I wonder what the chances are that he contributed to this now-famous riff.



The Steve Miller Band - My Dark Hour (1969)

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Lyrics:

My dark hour
My dark hour
You know it's drivin' me wild

Well, well, I went to see the doctor
And I had my fortune read
And you know the doctor told me
“Son, you better stay in bed”

Who's that comin’ down that road?
Looks like he's carryin’ a heavy load
What is that word that he’s startin’ to say?
“Want to come with me on my way?”

My dark hour
A Mother Nature's child
My dark hour
Oh, it's drivin’ me wild

Well, I went to see the doctor
Just to have my fortune read
Well, well, well, well, well, the doctor told me
“Son, you better stay in bed”

So, do you think these sinners will fall?
Or do you think they'll survive us all?
Well, well, well, well, now, down this road
Won’t you help me carry my load?

My dark hour
A Mother Nature's child
My dark hour
Oh, it's drivin’ me wild

Mother Nature’s child
Yeah!

Yeah!

Road - I'm Trying (1972)

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

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



Road - I'm Trying (1972)

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Lyrics:

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

Hope I can do something
What I want you for

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

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

I’m trying
Oh, I’m trying
I’m try…

Ten Years After - I'm Going Home [Live] (1968)

In late 1960, a band formed by the name of Ivan Jay and the Jaycats. As current members were exiting the band and being replaced over the course of several years, the band’s name was also changing. Before settling on the name seen above, they had been known as Ivan Jay and the Jaymen, the Jaybirds, and lastly Blues Trip, Blues Yard. Finally, in November 1966, the band settled on the name “Ten Years After,” referencing the breakout success of Elvis Presley ten years prior in 1956. The new band became the first group to get booked by an up-and-coming agency known as the Chrysalis Agency and became the house band for the Marquee Club in London. 1967 saw the band get invited to play at the Windsor Jazz Festival, in which their performance led to getting signed with Deram, a subsidiary of Decca. A few albums later and the band really broke out in 1969 after making their American debut at Woodstock on August 17th, 1969. All in all, the band released eight albums from 1967 through 1974 before creative differences split them apart. After the split in 1974, the band’s lead singer and guitarist, Alvin Lee, released a ton of solo albums. The band itself reunited numerous times over the years to perform at concerts and festivals, and also released three more albums; one in 1989, one in 2004, and most recently Evolution in 2008.

On March 6th, 2013, the band’s lead guitarist and lead singer, Alvin Lee, died from complications of a routine surgery. He was 68 years old.

This song, perhaps the band’s most notable song, was the song that propelled the group to stardom in America when they played it at Woodstock. It was actually the sixth song on their setlist, but the band had tuning problems with their guitars because of the high humidity in the air at the time. It was the only song preserved on film that the group performed. Written by Alvin Lee, the song is a dedication to the rock and roll music of the 1950s. The version of the song heard below, although live, was the single version released in 1968 and not the twelve minute Woodstock version recorded in 1969. This release was backed by the B-Side “Hear Me Calling.”



Ten Years After - I'm Going Home [Live] (1968)

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Lyrics:

Goin' home, my baby
Goin' home, my baby
Goin' home, to see my baby

My baby, how good
My baby, be good
I'm goin' home, my baby
Home to see my girl

Oh baby, baby, I'm comin’ home
Baby, baby I'm comin’ home
Tell me, mama, baby, I'm comin’ home

Gonna see my baby, see my baby fine
Gonna take my baby, wanna take my baby mine
Gonna take my woman treats me real kind

I'm goin' home, my baby
I'm goin' home to see my baby
Goin' home, my baby

I'm goin' home, to see my baby
I'm goin' home, to see my baby
Well take me back, take me where I belong

I'm goin' home, to see my baby
I'm goin' home, to see my baby
Come on, take me

I'm goin' home
I'm goin' home
I'm goin' home
Hey, home
Gonna take me back, back, back where I belong

I'm goin' home
I'm goin' home
I'm goin' home
I'm goin' home
Hey, home, where I belong

Thin Lizzy - Whiskey in the Jar (1972)

Formed in Dublin, Ireland in December 1969, this band’s birth began when Phil Lynott and Brian Downey, who had met while still in high school, were playing a gig at a local pub. Attending the gig were two ex-members of Van Morrison’s Them, Eric Bell and Eric Wrixon. After the show, Bell and Wrixon asked Lynott and Downey if they’d like to come together as a group, and they agreed after Lynott was assured he would get to play bass and that they would record some of his original songs. Although Wrixon and Bell would eventually part ways with the group before they had released their first single and after unsuccessful records, respectively, the band would go on to great success in the early-to-mid ‘70s with songs like “The Boys Are Back in Town,” “Jailbreak,” and their first successful single heard below. They opened for many famous groups while touring, such as Queen, Aerosmith, REO Speedwagon, and Rush, all while recording new albums and having their lineup constantly rotate through new members. Finally, amid bickering and declining sales, the band called it quits in 1983. After their breakup, Lynott experienced a constantly mild solo career which was cut short after he was hospitalized for abscesses, pneumonia, and septicaemia in 1986. Caused by his drug dependency over the years, the illnesses resulted in Lynott’s death on January 4th, 1986. He was thirty-six years old.

With roots dating back to the seventeenth and eighteenth centuries, this traditional Irish folk song had been recorded by many artists, such as Burl Ives, The Seekers, Peter, Paul and Mary, The Dubliners, and others, before being recorded by this band. This version of the song, however, was immensely popular in Ireland when released in late 1972, staying at the top of the Irish charts for seventeen weeks. It also peaked at number six in in February 1973 in the UK and charted in many other countries around Europe. Released while the group was away on tour, the band had been angry that the song was released without their knowledge, feeling that it didn’t accurately represent a sound or image they wanted to be associated with. Soon after its immense success, they were happily performing it live at each of their shows.



Thin Lizzy - Whiskey in the Jar (1972)

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Lyrics:

As I was going over
The Cork and Kerry mountains
I saw Captain Farrell
And his money he was countin’
I first produced my pistol
And then produced my rapier
I said, “Stand o’er and deliver
or the Devil he may take ya”

Musha ring dum a do dum a da
Whack for my daddy, oh
Whack for my daddy, oh
There's whiskey in the jar, oh

I took all of his money
And it was a pretty penny
I took all of his money
And I brought it home to Molly
She swore that she loved me
Never would she leave me
But, the devil take that woman
For you know she tricked me easy

Musha ring dum a do dum a da
Whack for my daddy, oh
Whack for my daddy, oh
There's whiskey in the jar, oh

Bein’ drunk and weary
I went to Molly’s chamber
Takin’ my Molly with me
And I never knew the danger
For about six or maybe seven
In walked Captain Farrell
I jumped up, fired off my pistols
And I shot him with both barrels

Musha ring dum a do dum a da
Whack for my daddy, oh
Whack for my daddy, oh
There's whiskey in the jar, oh

Now some men like the fishin’
And some men like the fowlin'
And some men like to hear
The cannonball a’roarin'
Me, I like sleepin'
Especially in my Molly's chamber
But here I am in prison
Here I am with a ball and chain, yeah

Musha ring dum a do dum a da
Whack for my daddy, oh
Whack for my daddy, oh
There's whiskey in the jar, oh

I got drunk on whiskey, oh
And I loved, I loved, I loved, I loved, I loved, I loved my Molly, oh
And she’ll know we’ll never do that old dirty town
That dirty old town…

Blue Cheer - Summertime Blues (1968)

The origin of this band is rather messy. Three friends from Davis, California, who desired to be a part of the 1960s music scene, moved to San Francisco where it was "all happening." Once there, they got together with other artists and intended to create a blues rock band. However, after seeing Jimi Hendrix perform at the Monterey Pop Festival in the summer of 1967, there was a desire to become a power trio. What eventually resulted was Dickie Peterson, Leigh Stephens, and Paul Whaley naming themselves after a street brand of LSD created by Owsley Stanley, called Blue Cheer. (You can hear a song about Stanley by the Grateful Dead here).

The group’s first album, Vincebus Eruptum, featured a hard psychedelic rock fused with blues, which would later be noted as one of the first-ever heavy metal albums. Although personnel in the band began to shift as early as 1969, the band didn’t officially break up until 1971, only to regroup in multiple incarnations since. Now, the band is historically remembered as being pioneers of the heavy metal genre as well as influencing the grunge genre of the early ‘90s.

Co-written and originally recorded by rock and roll pioneer Eddie Cochran in 1958, this song has been notably covered by The Who, Alan Jackson, The Beach Boys, and others. The version by this band, recorded in 1967 and released in January 1968, has been argued as the very first heavy metal song, beating Iron Butterfly’s “In-A-Gadda-Da-Vida” and Steppenwolf’s "Born to Be Wild" by six months. It’s also remembered as being the first heavy metal song to ever make the pop charts, reaching number fourteen in the US, three in Canada, and two in the Netherlands. It appeared on the band's first album, Vincebus Eruptum and omitted the "response" lyrics found in the original for solos.



Blue Cheer - Summertime Blues (1968)

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Lyrics:

Well, Lord, I got to raise a fuss, Lord, I got to raise a holler
About a'workin' on Sunday just to try to earn a dollar
Well, Lord, I try to call my baby 'bout tryin' to get a date

Sometimes I wonder what I'm a'gonna do
Lord, there ain't no cure for the summertime blues

Well, my mom my poppa told me, "Son, you gotta make some money"
Well, "If you wanna use the car to go ridin' next Sunday"
Well, Lord I didn't go to work, I told the boss I was sick
He said

Sometimes I wonder what I'm a'gonna do
Lord, there ain't no cure for the summertime blues

I've got to take three weeks, I've got to have a fine vacation
I've got to take my problem to the United Nation
I done told my Congressmen and he said, quote
Dig this, boy

Sometimes I wonder what I'm a'gonna do
Lord, there ain't no cure for the summertime blues

I've got to take three weeks, I've got to have a fine vacation
I've got to take my problem to the United Nation
I done told my Congressmen and he said, quote
Dig this, boy

Sometimes I wonder what I'm a'gonna do
Lord, there ain't no cure for the summertime blues

Woah! Ain't no cure

The Deepest Blue - Pretty Little Thing (1966)

Coming out of Pomona, California (near Los Angeles), this group was actually predominately known as The Doves for the majority of their existence. When they released their only single, they changed their name on the disc, thinking it would fit more in line with their sound. They played at clubs on the Hollywood strip with groups such as The Seeds and The Leaves. After failing to finish recording an unfinished album, the group took a couple of the completed songs and released them under the name Egyptian Candy. Both songs had been heavily influenced by Chris Darrow, a future member of the US band Kaleidoscope (not to be confused with the UK Kaleidoscope) and the Nitty Gritty Dirt Band.

This song comes from the group’s only release under their Deepest Blue name. It was heavily influenced by Mick Jagger and The Rolling Stones and features an extra guitar that was overdubbed by a session musician who was assigned to track after its recording by the studio without the band’s knowledge.

[Note: The lyrics were difficult to understand. If you think you've got them, leave a comment!]



The Deepest Blue - Pretty Little Thing (1966)

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Lyrics:

Pretty little thing
I have seen you once before
Until that day
Just come walkin’ through my door

They don’t mean to trouble
Once comin’ on my way
They don’t mean
To add it up their way of play
That’s been trouble
Since I gave you that first ring
Yeah

You’re still the greatest
And you’re my
Pretty little thing

Pretty little thing
Don’t try to fool me, I can see
Don’t even try
There’s just no need to convince me
I’m convinced
Of pretty little thing, which that I love ya

Don’t play games
I seem to need ya, pretty thing
It’s been heartache
Since that first time
You came around
Yeah

Stay by me
Pretty little thing
And don’t let me down

Pretty little thing
Oh, sit with me just so
Pretty little thing
Oh, walk with me some
Yes, I want to walk inside your love
Inside
Yeah!

Yeah!

Pretty little thing
I have seen you once before
Until that day
When you come walkin’ through my door

They don’t mean trouble
It’s just not my way
They don’t mean
To add an unfarewell friend
I’ve been trouble
Since I gave you that first ring
Yeah

You’re still the greatest
And you’re my
Pretty little thing

Neil Young with Crazy Horse - Cinnamon Girl (1969)

Born in 1945, this Canadian singer-songwriter is one of the most influential artists to emerge out of the ‘60s music scene. In 1966, he co-founded Buffalo Springfield with Stephen Stills and Richie Furay. In 1968, he began to release what would become a very long catalog of solo work. In 1969, he joined Crosby, Stills & Nash. He has done countless charitable works for those in need, has been inducted into the Rock and Roll Hall of Fame twice (as a member of Buffalo Springfield and as a solo artist), and has even been labeled the “Godfather of Grunge” for his influence on the grunge music scene. Clearly, this man has more on his résumé than what this small space could indicate.

This song was written by Neil Young while suffering from a 103° fever. Before being released as a single in 1970, it appeared on his 1969 album Everybody Knows This Is Nowhere. It was his first album to feature his backing group Crazy Horse, and, besides this track, also featured the hit song “Down By the River.”

Are you familiar with Paul McCartney’s current guitar player, Brian Ray? This song was written for (and about) his older sister, Jean Ray, from the folk duo Jim and Jean.

@ablyam_60smusic Thanks for the story on "Cinnamon Girl" and my late sister, Jean.. All true. B bit.ly/KDCx3d

— Brian Ray (@brianrayguitar) May 1, 2013

Neil Young with Crazy Horse - Cinnamon Girl (1969)

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Lyrics:

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

Led Zeppelin - The Rain Song (1973)

They were said to be as important to the 1970s as The Beatles were to the 1960s. They were born from the ashes of The Yardbirds and were originally intended by Jimmy Page to be a supergroup featuring Keith Moon, Jeff Beck, and others. Moon said the idea would “go over like a lead balloon” and the group only recorded one song (heard here). What eventually came together was one of rock’s most legendary lineups: Jimmy Page, Robert Plant, John Bonham, and John Paul Jones. With a small twist of Moon’s “lead balloon” comment, Led Zeppelin had just begun.

This ballad comes from the group’s fifth album, Houses of the Holy. The idea of the song came about after former member of The Beatles, George Harrison, commented to John Bonham how the group didn’t have any ballad-type songs. What eventually transpired was music written by Jimmy Page and lyrics penned by Robert Plant. In tribute to Harrison, you can hear that the opening of the song borrows chords from the opening of “Something” by The Beatles, which was written by Harrison.



Led Zeppelin - The Rain Song (1973)

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Lyrics:

It is the springtime of my loving
The second season I am to know
You are the sunlight in my growing
So little warmth I've felt before
It isn't hard to feel me glowing
I watched the fire that grew so low

It is the summer of my smiles
Flee from me, keepers of the gloom
Speak to me only with your eyes
It is to you I give this tune
Ain't so hard to recognize, oh
These things are clear to all from
Time to time

Talk, talk, talk, talk

Hey
I've felt coldness of my winter
I never thought it would ever go
I cursed the gloom that set upon us
But I know that I love you so
Aw, but I know that I love you so

These are the seasons of emotion
And like the wind, they rise and fall
This is the wonder of devotion
I see the torch we all must hold
This is a mystery of the quotient- quotient
Upon us all- upon us all a little rain must fall

Just a little rain, oh
Ooh, yeah

Iron Butterfly - In-A-Gadda-Da-Vida [Single Version] (1968)

Formed in 1966, this group found huge success with their most well-known song, heard below. The lineup of the band was constantly changing and hasn’t contained any constant members throughout their existence. Scheduled to play at Woodstock, the group got hung up at the airport before departing and, due to unreasonable demands made by their manager, never got picked up by a requested helicopter to make it to the event.

Cited as an important forerunner to heavy metal music, and coming in at just over seventeen minutes, the original version of this song features a huge instrumental break in the middle. The title of the track came when a drunken Doug Ingle (the group’s singer, primary songwriter, and organist) slurred its original title, “In the Garden of Eden,” though this explanation has been mildly disputed.

Unfortunately, due to filesize limitations, only the single version can be heard here.



Iron Butterfly - In-A-Gadda-Da-Vida [Single Version] (1968)

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Lyrics:

In-a-gadda-da-vida, honey
Don't you know that I'm lovin' you?
In-a-gadda-da-vida, baby
Don’t you know that I’ll always be true?

Oh, won't you come with me
And take my hand?
Oh, won't you come with me
And walk this land?
Please take my hand

Let me tell ya

In-a-gadda-da-vida, honey
Don't you know that I'm lovin' you?
In-a-gadda-da-vida, baby
Don’t you know that I’ll always be true?

Oh, won't you come with me
And take my hand?
Oh, won't you come with me
And walk this land?
Please take my hand

Alright

Beck, Page, Jones, Moon, & Hopkins – Beck’s Bolero (1966)

Although they never officially became a group, this collection of musicians did manage to get together long enough to record one song together, heard below, in 1966. The “group” was composed of: Jeff Beck of The Yardbirds (and later The Jeff Beck Group); Jimmy Page of The Yardbirds (and later Led Zeppelin); John Paul Jones, a session musician (and later of Led Zeppelin); Keith Moon of The Who; and Nicky Hopkins, a session musician keyboardist who had worked frequently with The Rolling Stones.

Keith Moon arrived to the session wearing a disguise so nobody would know he was playing with somebody other than The Who. John Entwistle, also of The Who, was scheduled to play bass until he had to back out and was replaced by John Paul Jones.

Later released as the B-side to Jeff Beck’s single, “Hi Ho Silver Lining,” this song was originally supposed to be only the beginning of the guys work together. Planning to record a full album, they failed to locate a lead vocalist after being denied by Steve Mariott of The Small Faces. Combined with contractual obligations, the album never happened and this was the only song recorded. The history of this song is quite interesting, and can be read in more detail, on Wikipedia, here.



Beck, Page, Jones, Moon, & Hopkins – Beck’s Bolero (1966)

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Lyrics:

(instrumental)