The Honeycombs - Have I the Right? (1964)

Originally but briefly known as The Sheratons, this English beat group was founded by a hairdresser, Martin Murray (rhythm guitar) and his salon assistant, Honey Lantree (drums). On the drums, Honey Lantree was one of the few female drummers to be in a band. It was her name (Honey) and profession (salon assistant) which led to the inspiration for the group’s name, as in, “Honey combs hair for a living."

Rounding out the original lineup of the group were Honey’s brother, John Lantree (bass), and two of the trio’s friends: Denis D’Ell (lead singer) and Alan Ward (lead guitar).

Although the group charted multiple times in the UK (and twice in the US), it’s primarily the song below for which they are remembered. Written by Ken Howard and Alan Blaikley at the beginning of their eventually prolific careers, the song was released in June 1964, steadily climbed the charts, and ultimately peaked at number one in the UK, Australia, and Canada by August that same year. Eventually, sales reached over one million.



The Honeycombs - Have I the Right? (1964)

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Lyrics:

Have I the right to hold you?
You know I've always told you
That we must never, ever part

Have I the right to kiss you?
You know I'll always miss you
I've loved you from the very start

Come right back, I just can't bear it
I've got some love and I long to share it
Come right back, I'll show my love is strong
Oh yeah

Have I the right to touch you?
If I could, you'd see how much you
Send those shivers runnin’ down my spine

Have I the right to thrill you?
You know I'll wait until you
Give me the right to make you mine

Well, come right back I just can't bear it
I've got some love and I long to share it
Come right back, I'll show my love is strong
Oh yeah
Alright

Have I the right to hold you?
You know I've always told you
That we must never, ever part
No, no, no, no, no

Have I the right to kiss you?
You know I'll always miss you
I've loved you from the very start

Come right back, I just can't bear it
I've got some love and I long to share it
Come right back, I'll show my love is strong
Oh yeah
Yeah

Come right back, I just can't bear it
I've got some love and I long to share it
Come right back, right back where you belong
Oh yeah
You belong
Oh yeah
You belong

Humpy Bong - Don't You Be Too Long (1970)

Colin Petersen was born March 24, 1946 in Queensland, Australia. He attended Humpybong State School with the three future members of the Bee Gees, Barry, Robin, and Maurice Gibb. After a successful stint as a child actor, it was his friendship with Maurice Gibb that allowed him to showcase his musical talents by becoming the Bee Gee’s first drummer. In 1969, after having appeared on multiple tracks, Petersen was fired from the group for raising “conflict of interest” questions in regard to the Bee Gee’s manager, Robert Stigwood, who also happened to own the group’s recordings and publishing, making him in effect their employer.

After his release from the band, still 1969, Petersen walked into a London restaurant and witnessed a performance being done by Jonathan Kelly, born July 8, 1947 in Drogheda, Ireland. Immediately recognizing Kelly’s talent, Petersen offered to become his record producer, while Petersen’s wife, Joanne Petersen, later became Kelly’s personal manager. Under Petersen’s producing, Kelly released three singles in the coming months, the last of which (“Don’t You Believe It”) featured Eric Clapton on slide guitar.

Then, in the summer of 1970, Petersen and Kelly decided to form a band, which is the one featured here today. Needing a vocalist, the duo enlisted the talents of Tim Staffell (born February 24, 1948 in London, England) who had previously been the bassist and frontman for a band named Smile (that would eventually evolve into Freddie Mercury’s Queen). But, unfortunately, the trio had problems while looking for another guitarist and pianist. According to an interview with Petersen from the time, “People are assuming the new group will be a carbon copy of the Bee Gees.” “We can record with the three of us by double-tracking, but we can't appear on stage.”

Although they were able to record a couple songs, including the one heard below (written by Jonathan Kelly), the band ran into problems when they went to perform on Top of the Pops. Not having enough songs, the band decided to try and perform “Don’t You Believe It” from Kelly’s solo catalog. Unfortunately, Eric Clapton wasn’t able to make the pre-recording session and so Staffell had to try and fill his shoes. It didn’t go well. Ultimately, the band could never really solidify a solid lineup of members nor a signature sound. After only a few months together, and after only recording two songs in the studio, the band split up.

Colin and Joanne Petersen resumed their managerial roles in Kelly’s solo career until Kelly retired from the music industry in 1974. Shortly after, the Petersens moved back to Australia and Colin became a painter. Staffell was in and out of various bands until 1973, eventually becoming an animator and model builder.



Humpy Bong - Don't You Be Too Long (1970)

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Lyrics:

Like the man who rode his camel down to Aqaba from Tobruk
My heart is a weary traveler and it’s looking for a friend
My thirsty eyes are aching just to find a pretty face to look upon
So come out all you ladies, who you hiding from?

But oh oh
Now don’t you be too long
Whoa, ho, ho
Woman, listen to my song
Oh
One day you’re gonna come along
But oh ho
Now don’t you be too long

Now here I sit in this old room, four walls that close me in
The bread man, he don’t call no more, and no one clears my bin
Oh, I need a soul to comfort me, somebody just for talking to
To help me pay my rent, you see, I’m four weeks overdue

But oh, oh
Now don’t you be too long
Whoa, ho, ho
Woman, listen to my song
Oh
One day you’re gonna come along
But oh ho
Now don’t you be too long

Don’t you be too long

But oh ho
Now don’t you be too long
Oh ho ho
Woman, listen to my song
Oh
One day you’re gonna come along
But oh ho
Now don’t you be too long

Don’t you be too long
Don’t you be too long
(Don’t, don’t)
Don’t you be too long
(Don’t, don’t)
Don’t you be too long
(Don’t, don’t)
Don’t you be too long
(Don’t, don’t)
Don’t you be too long
(Don’t, don’t)
Don’t you be too long
(Don’t, don’t)
Don’t you be too long
(Don’t, don’t)
Don’t you be too long
(Don’t, don’t)

The Beatles - Norwegian Wood (This Bird Has Flown) (1965)

In George Harrison’s autobiography, I Me Mine, Harrison mentions that although he played the sitar on “Norwegian Wood (This Bird Has Flown),” adding the sitar to the song was more of an after-thought and the song hadn’t really been written with the sitar in mind. Regardless, the inclusion of the sitar (and The Beatles’ immense, global popularity at the time) resulted in widely introducing Indian instruments to all of Western society. After “Norwegian Wood” had been released on The Beatles’ Rubber Soul in 1965, Indian and other Eastern instruments soon started appearing in music by other mainstream acts such as The Byrds, The Rolling Stones, and Donovan. By the following year, “raga rock” was common and the inclusion of Eastern instruments remained popular until it eventually faded out of popularity in the very late 1960s.

The song below was credited to Lennon-McCartney, but the majority of the song is believed to have been written by John Lennon. The lyrics tell an autobiographical story of Lennon having an extra-marital affair behind the back of his then-wife Cynthia Lennon née Powell. When Paul McCartney was asked for his interpretation of the lyrics, he said that the Norwegian wood mentioned in the song was the wood paneling found on the walls of homes, which was popular at the time, and that the last line, “So, I lit a fire // Isn’t it good Norwegian wood?” indicated that the singer set the house on fire as an act of revenge.



The Beatles - Norwegian Wood (This Bird Has Flown) (1965)

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Lyrics:

I once had a girl
Or should I say she once had me?
She showed me her room
Isn't it good Norwegian wood?

She asked me to stay
And she told me to sit anywhere
So I looked around
And I noticed there wasn't a chair

I sat on a rug, biding my time
Drinking her wine
We talked until two and then she said
“It’s time for bed”

She told me she worked in the morning
And started to laugh
I told her I didn't
And crawled off to sleep in the bath

And when I awoke I was alone
This bird had flown
So I lit a fire
Isn't it good Norwegian wood?

The West Coast Pop Art Experimental Band - Eighteen Is Over the Hill (1968)

It’s often been written that this band’s “leader,” Bob Markley, was only a member of the band because he was chasing the money, girls, and the celebrity status that came along with being in a popular band. According to rock historians and his bandmates, Markley wasn’t much of a musician and could hardly play a note. But luckily for him, he could at times be quite poetic and thus contributed his fair share to what would amount to very appealing music.

The song heard below was released on the band’s fourth album, Volume 3: A Child’s Guide to Good and Evil. If you’re bewildered about their albums’ naming conventions, you can find some insight on one of our previous posts. The album is widely considered one of the best to be put out by the band, but the song heard below doesn’t quite reinforce Markley’s ability to sometimes be poetic. Where the song really shines is in its melody and complex studio techniques.

The cover art for the album was created by renowned artist John Van Hamersveld, who most notably designed covers of albums for The Beatles, The Rolling Stones, Jefferson Airplane, the Grateful Dead, among others. Although the album is now considered an accomplished psychedelic record, it sold poorly upon its initial release and failed to chart nationally.

The song heard below is what I consider to be the highlight of the album. The lyrics were written by Markley and the music was written by his bandmate Ron Morgan.



The West Coast Pop Art Experimental Band - Eighteen Is Over the Hill (1968)

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Lyrics:

Antique white lace
A plastic face
A tinfoil place
An empty space
You are so hung up on yourself
And nothing else

I like too much the rain
The power of my brain
The sunshine
And the open road
Ahead of me

Laughing because
It’s right to laugh
Dress up at night
In the right dress
You can’t change me
Into something
That I’m not

I like too much the rain
The power of my brain
The sunshine
And the open road
Ahead of me

I’ll hear your line
Some other time
When miming
Performance rhyme
The way you feel
It is so phony
And unreal

I like too much the rain
The power of my brain
The sunshine
And the open road
Ahead of me

I like too much the rain
The power of my brain
The sunshine
And the open road
Ahead of me

The Mojo Men - Lost Love (1965)

In the late 1950s, cousins Jim Alaimo (1934-1992) and Steve Alaimo (b. 1939) were in an instrumental band in Miami, Florida known as The Redcoats. When the band broke up around 1960, Steve Alaimo went on to have a respectable career as a solo recording artist and quite successful career in the television industry. (Perhaps most notably, Steve Alaimo became the host and co-producer of Where the Action Is with Dick Clark.) Jim Alaimo, on the other hand, got together with Paul Curcio, Dennis DeCarr, and Don Metchick to form The Valiants, a band which would sometimes back Steve Alaimo on his solo recordings.

In 1964, The Valiants wanted to be where the music scene was blooming and therefore decided to move to San Francisco and change their band’s name; they became The Mojo Men. Out in San Francisco, the band signed with Autumn Records where they joined up with record-producer Sylvester Stewart (later known as Sly Stone) and recorded a bunch of early material that never got released. Finally, in 1965, the group released “Dance with Me” and made their first appearance on the Billboard Hot 100.

Unfortunately for the band, Autumn Records closed shop and Dennis DeCarr left the band. They then signed up with Reprise Records, replaced DeCarr with The Vejtables’ Jan Errico, and changed their sound to a more pop and folk rock style. In 1967, they released what would become their most popular song, a cover of Buffalo Springfield’s “Sit Down, I Think I Love You.” It was the group’s only Top 40 hit. Metchick left the band in 1968, “The Mojo Men” became “The Mojo,” “The Mojo” became “Mojo,” and after failing to chart again, they eventually called it quits in 1969.

Below is a song from The Mojo Men’s early years, circa 1965, from the Autumn Records collection of material Sly Stone felt wasn’t good enough for release. The collection became available in 1995 on the release Whys Ain’t Supposed to Be by Sundazed Records, a label who specializes in releasing obscure and rare recordings from the 1950s, ‘60s, and ‘70s. This song was written by Paul Curcio, Don Metchick, and Jim’s cousin Steve Alaimo.



The Mojo Men - Lost Love (1965)

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Lyrics:

Where is the love
I used to know?
Where is my lost love?
Where did she go?

I’ve been so lonely
Since she went away
I love her, only
She left me one day

What does it take
To make a love last?
We don’t know the future
Could it be the past?

I’ll keep on searching
Wherever I go
But will I find her?
Does anyone know?

All I can pray is
Someone above
Will help me search for
My long, lost love

What did I do?
How did I fail?
Why is my love such
A sorrowful tale?

We Five - You Were on My Mind (1965)

Michael Stewart (younger brother of The Kingston Trio’s John Stewart) is largely responsible for putting together this band from the ashes of its forerunner, The Ridgerunners. Assembled in 1964, the group was signed to Herb Alpert’s A&M Records and released their first album, You Were on My Mind, in 1965. The album’s title track, heard below, sold over one million copies and was nominated for a Grammy.

After the release of their second album Make Someone Happy in 1967, the group’s Beverly Bivens decided to leave the group. Having sang lead on the group’s biggest hits, Bivens departure from the group severely hurt the band. Although they would release two more albums in ‘69 and ’70 with Debbie Graf Burgan replacing Bivens, the group was unable to reach their prior levels of success. They disbanded in 1970.

Written by Sylvia Fricker (later Sylvia Tyson) in 1962, the song below was first recorded and released by the duo Ian & Sylvia on their 1964 album, Northern Journey. The version heard below was altered slightly both musically and lyrically by Michael Stewart. Released in 1965, the song reached number three on the Billboard Hot 100.



We Five - You Were on My Mind (1965)

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Lyrics:

When I woke up this morning
You were on my mind
And you were on my mind
I got troubles
I got worries
I got wounds to bind

So I went to the corner
Just to ease my pains
Just to ease my pain
I got troubled
I got worried
I came home again

When I woke up this morning
You were on my mind
And you were on my mind
Yeah, I got troubles
I got worries
I got wounds to bind

And I got a feeling
Down in my shoes
Said, way down in my shoes
Yeah, I got to ramble
I got to move on
I got to walk away my blues

When I woke up this morning
You were on my mind
And you were on my mind
Yeah, I got troubles
I got worries
I got wounds to bind

The Mascots - This Proud Crowd (1966)

Previously featured on this site, this group was virtually unknown to the English-speaking world in the 1960s. Hailing from Sweden, The Mascots predominately sang in English, but never quite managed to break into the English-speaking market. They released numerous singles in Sweden (with some to large, local success) and even a couple full length albums.

The song below was never released as a single, but was instead featured as the second track on the group’s second album, cleverly titled Ellpee and released in 1966. The song was written by Stefan Ringbom, the group’s lead vocalist and guitarist. The song also featured the rest of the band’s core members: Karl Gunnar Idering on guitar, Anders Forsslund on bass, Rolf “Boffe” Adolfsson on drums, and all of the members performing backing vocals.

Editor's Note: These lyrics are difficult to decipher. If you have any suggestions, please leave a comment below.



The Mascots - This Proud Crowd (1966)

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Lyrics:

Moving down the city way
Taking seats there every day
Buying clothes because they’re “in”
Having “out” ones is a sin
Digging new songs every week
And then you are a real
Member of this proud crowd

Old originality
Was once started, it I see
Someone said I shall break out
And then everyone broke out
Forming troops of self-sane people
And becoming all
Members of this proud crowd

You gotta like these things that’s new
That’s what you can do
Maybe they’re too much of things
Oh, forget it, cut my strings
But some things happen, though
It’s not the old way you will know
Maybe that too much at all
I think I’ll do an outlaw

No more thinking for oneself
‘cause one never is oneself
Doing things the others do
Joining parties, getting blue
Having lots of fun, I know
Because I am somehow
A member of this proud crowd

You gotta like these things that’s new
That’s what you can do
Maybe they’re too much of things
Oh, forget it, cut my strings
But some things happen, though
It’s not the old way you will know
Maybe that too much at all
I think I’ll do an outlaw

No more thinking for oneself
‘cause one never is oneself
Doing things the others do
Having parties, getting blue
Having lots of fun, I know
Because I am somehow
A member of this proud crowd

A member of this proud crowd

The Who - A Quick One, While He's Away (1966)

As Pete Townshend explained in his 2012 autobiography, Who I Am, he and his band, The Who, were in need of about ten minutes worth of songs in order to have enough material for their second album. Being the group’s only songwriter at the time, Townshend went to work. What was eventually created was a sort of “mini-opera.” The song is broken up into six parts and tells the story of a woman whose significant other has been gone for “nigh on a year.” Her friends set her up with another man, Ivor the Engine Driver, whom she eventually sleeps with. When her significant other finally returns, she’s overwhelmed with guilt, admits to her infidelity, and is ultimately forgiven. The six parts are:

I.	“Her Man’s Been Gone”
II.	“Crying Town”
III.	“We Have a Remedy”
IV.	“Ivor the Engine Driver”
V.	“Soon Be Home”
VI.	“You Are Forgiven”

That story, according to Townshend, was loosely based on his own childhood. When young, Townshend was sent by his parents to live with his grandmother, Denny. Denny lived near a train station and would often bring random men home. Although unclear on the details, Townshend is relatively sure that one or more of these men abused him- memories which he blocked out at a young age. The “twin girl” mentioned in the song, in real life, was Townshend’s imaginary friend.

The final part of the song, “You Are Forgiven,” was Townshend’s way of forgiving everyone involved in his childhood drama: his parents for abandoning him with his grandmother; his grandmother for bringing strangers into her home; and ultimately, himself. Townshend stated in his autobiography that when he performed the song live, he would always go into a wild frenzy, striking his guitar as hard as he could, when each “you are forgiven” was sung.

According to John Entwistle, The Who's bassist, "We wanted to put cellos on the track but [record producer] Kit Lambert said we couldn’t afford it. That’s why we sing 'cello, cello, cello, cello' where we thought they should be." The "mini-opera" idea became an obsession to Townshend, inspiring him to write the rock opera Tommy.




The Who - A Quick One, While He's Away (1966)

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Lyrics:


Her man’s been gone
For nearly a year
He was due home yesterday
But he ain’t here

Her man’s been gone
For nigh on a year
He was due home yesterday
But he ain’t here

Down your street, your cryin’ is a well-known sound
Your street is very well known, right here in town
Your town is very famous for the little girl
Whose cries can be heard all around the world

We have a remedy
You’ll appreciate
No need to be so sad
He’s only late

We’ll bring you flowers and things
Help pass your time
We’ll give him eagle’s wings
Then he can fly to you

We have a remedy
We have a remedy
We have a remedy
We have a remedy

We have a remedy?
We have!

Little girl, why don’t you stop your crying?
I’m gonna make you feel all right

My name is Ivor
I’m an engine driver

I know him well
I know why you feel blue
Just ‘cause he’s late
Don’t mean he’ll never get through

He told me he loves you
He ain’t no liar; I ain’t either
So let’s have a smile for an old engine driver
So let’s have a smile for an old engine driver

Please take a sweet
(Take a sweet)
Come take a walk with me
(Walk with me)
We’ll sort it out
(Sort it out)
Back at my place, maybe
(Back at my place, maybe)

It’ll come right
You ain’t no fool; I ain’t either
So why not be nice to an old engine driver?
Better be nice to an old engine driver
Better be nice to an old engine driver

We’ll soon be home
We’ll soon be home
We’ll soon
We’ll soon, soon, soon be home

We’ll soon be home
We’ll soon be home
We’ll soon
We’ll soon, soon, soon be home

Come on, old horse

Soon be home
Soon be home
Soon
We’ll soon, soon, soon be home

We’ll soon
Soon, soon, soon be home

We’ll soon be home
Soon be home

Dang, dang, dang, dang, dang, dang, dang, dang

Cello, cello, cello, cello
Cello, cello, cello, cello
Cello, cello, cello, cello
Cello, cello, cello, cello
Cello, cello, cello, cello
Cello, cello, cello, cello

I can’t believe it
Do my eyes deceive me?
Am I back in your arms
Away from all harm?

It’s like a dream to be with you again
Can’t believe that I’m with you again

I missed you and I must admit
I kissed a few and once did sit
On Ivor the Engine Driver’s lap
And later, with him, had a nap

You are forgiven
(You are forgiven)
You are forgiven
(You are forgiven)
You are forgiven
(You are forgiven)
You are forgiven
(You are forgiven)
You are forgiven
(You are forgiven)
You are forgiven
(You are forgiven)
You are forgiven
(You are forgiven)
Forgiven
Forgiven
Forgiven
(You are forgiven)
Forgiven
Forgiven
Forgiven
(You are forgiven)
Forgiven
Forgiven
Forgiven
(You are forgiven)
Forgiven
Forgiven
(You are forgiven)
Forgiven
(You are forgiven)
Forgiven
(You are forgiven)

(You are forgiven)

(You are forgiven)
You are forgiven
(You are forgiven)
You’re forgiven

The Beach Boys - Kiss Me, Baby (1965)

By late 1964, Brian Wilson was getting a bit bored with the “sun, cars, and surfing” themes which made up the majority of his group’s songs. Inspired by pop contemporaries like The Beatles and Bob Dylan who were exploring more sophisticated and mature themes of their own, Wilson decided to write something that wasn’t entirely based on “fun in the sun.”

What resulted was the poignant song below, highlighting Wilson’s range as a lyricist, as well as his rapidly developing talents in multi-layering and creating Phil Spector-like sounds. This was an early glimpse into the style and mood which would go on to dominated Pet Sounds roughly one year later.

Released in April 1965, the song’s instrumental backing was recorded in December 1964; and its vocals were recorded the following month in January 1965. Primarily composed and written by Brian Wilson, the song also had some contributions from Mike Love, who wrote the repeated backing vocals (“Kiss a little bit / Fight a little bit…”). The song was released as the B-Side to the group’s “Help Me, Rhonda.”



The Beach Boys - Kiss Me, Baby (1965)

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Lyrics:

Please don’t let me argue anymore
I won’t make you worry like before
Can’t remember what we fought about
Late, late last night we said it was over
But I remember when we thought it out
We both had a broken heart

(Woah, baby)
(Kiss a little bit, fight a little bit)
Kiss me, baby
(Kiss a little bit, fight a little bit)
(Woah, baby)
(Kiss a little bit, fight a little bit)
Love to hold you
(Kiss a little bit, fight a little bit)
(Woah, baby)
(Kiss a little bit, fight a little bit)
Kiss me, baby
(Woah, baby)
Love to hold you

As I drove away I felt a tear
It hit me I was losing someone dear
Told my folks I would be alright
Tossed and I turned, my head was so heavy
Then I wondered as it got light
Were you still awake like me?

(Woah, baby)
(Kiss a little bit, fight a little bit)
Kiss me, baby
(Kiss a little bit, fight a little bit)
(Woah, baby)
(Kiss a little bit, fight a little bit)
Love to hold you
(Kiss a little bit, fight a little bit)
(Woah, baby)
(Kiss a little bit, fight a little bit)
Kiss me, baby
(Woah, baby)
Love to hold you tight

(Woah, baby)
(Kiss a little bit, fight a little bit)
Kiss me, baby
(Kiss a little bit, fight a little bit)
(Woah, baby)
(Kiss a little bit, fight a little bit)
Love to hold you
(Kiss a little bit, fight a little bit)
(Woah, baby)
(Kiss a little bit, fight a little bit)
Kiss me, baby
(Kiss a little bit, fight a little bit)
(Woah, baby)
(Kiss a little bit, fight a little bit)
Love to hold you
(Kiss a little bit, fight a little bit)
Kiss me, baby
(Kiss a little bit, fight a little bit)
(Woah, baby)
(Kiss a little bit, fight a little bit)
Love to hold you
(Kiss a little bit, fight a little bit)
Kiss me, baby…

The Searchers - Popcorn, Double Feature (1967)

The Searchers’ drummer since 1960, Chris Curtis, had convinced the band to record a cover of Bobby Darin’s “When I Come Home.” Curtis was the band’s chief songwriter, song selector, a figurehead member, often the band's main public relations representative, and the only member who could sing the high harmonies. Unfortunately for Curtis (and the band), their 1966 release of “When I Come Home” didn’t do as well on the charts as they were used to, and the band indirectly laid the blame on Curtis’s song choice. Consequently, some internal strife came about between Curtis and the other members, ending with Curtis leaving the band in April 1966 after the end of an Australian tour. Notably, Curtis would go on to form the band Roundabout, which eventually evolved into Deep Purple.

With Curtis’s departure, a man by the name of John Blunt became the group’s new drummer. This latest incarnation of the band- which now consisted of Frank Allen (lead vocals, bass), John McNally (guitar, backing vocals), Mike Pender (lead vocals, guitar), and now John Blunt- was responsible for the song heard below.

Don’t forget to check out the exclusive story we received from Frank Allen!

The song heard below was composed by the acclaimed duo of Larry Weiss and Scott English, who would later be individually renowned for writing “Rhinestone Cowboy” for Glen Campbell and “Mandy” for Barry Manilow, respectively. It was first recorded and released by Time Wilde on Tower Records, to very little acclaim. The Searchers’ version of the song was released in January 1967, backed with the B-Side “Lovers,” on the Pye label.



The Searchers - Popcorn, Double Feature (1967)

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Lyrics:

Everybody’s goin’ through changes
Everybody’s got a bag of his own
Everybody’s talkin’ about places
Can only be found in the greater unknown

People are flyin’
And babies are cryin’
Don’t nobody care at all
There’s love and there’s laughter
And good things come after
Just follow the bouncing ball

Popcorn, double feature
Whole world’s a funny farm
Blind man is your teacher
No need to be alarmed

Music’s coming out of the woodwork
Soundin’ so strange and nobody sleeps
Met a little man on the corner
He’s holdin’ a flag and makin’ a speech

Coffee each mornin’
“Don’t Park” is the warnin’
They tow your machine away
There’s so much confusion
That’s built on illusion
What’s making the music play?

Popcorn, double feature
Whole world’s a funny farm
Blind man is your teacher
No need to be alarmed
Not much

Coffee each mornin’
“Don’t Park” is the warnin’
They’ll tow your machine away
There’s so much confusion
That’s built on illusion
What’s making the music play?

Popcorn, double feature
Whole world’s a funny farm
Blind man is your teacher
No need to be alarmed
Not much

Popcorn, double feature
Whole world’s a funny farm
Blind man is your teacher…

Lennon/Ono with the Plastic Ono Band - Instant Karma! (We All Shine On) (1970)

This “conceptual band” was started by The Beatles’ John Lennon and Yoko Ono who had met in 1966, became romantically involved with in 1968, and married in 1969. They made their first official release using the Plastic Ono Band name with “Give Peace a Chance” in 1969, even though the couple had been making music and releasing albums together as early as 1968.

Backing them, the Plastic Ono Band had a rotating lineup which at any time could have featured numerous notable musicians, such as George Harrison, Ringo Starr, Eric Clapton, Billy Preston, Keith Moon and many, many others. Lennon and Ono were fond of reminding their fans that “YOU are the Plastic Ono Band.”

The song below was Lennon’s attempt to create an “instant single.” He wrote the song (in an hour) on January 27, 1970, recorded it that very same day, and saw its release about a week later. Playing on the song besides Lennon and Ono (backing vocals), was George Harrison, Klaus Voormann, Alan White, Billy Preston, Mal Evans, with Allen Klein and numerous people from a pub down the street who assisted with backing vocals. It was George Harrison who suggested Lennon use famed producer Phil Spector, who happened to be visiting London at the time. Spector obliged, ending a self-imposed retirement he had begun in 1966. His collaboration with Lennon on the song led to his eventual hiring for production of The Beatles’ Let It Be album, which was released later that year in May.



Lennon/Ono with the Plastic Ono Band - Instant Karma! (We All Shine On) (1970)

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Lyrics:

…three, four

Instant karma’s gonna get you
Gonna knock you right on the head
You better get yourself together
Pretty soon you’re gonna be dead
What in the world you thinking of?
Laughing in the face of love
What on earth are you tryin’ to do?
It’s up to you
Yeah, you

Instant karma’s gonna get you
Gonna look you right in the face
Better get yourself together darlin’
Join the human race
How in the world you gonna see?
Laughin’ at fools like me
Who on Earth do you think you are?
A superstar?
Well, right you are

Well we all shine on
Like the moon and the stars and the sun
Well we all shine on
Everyone
Come on

Instant karma’s gonna get you
Gonna knock you off your feet
Better recognize your brothers
Everyone you meet
Why in the world are we here?
Surely not to live in pain and fear
Why on earth are you there
When you’re everywhere?
Come and get your share

Well we all shine on
Like the moon and the stars and the sun
Yeah, we all shine on
Come on and on and on- on- on

Yeah, yeah
Alright

Well we all shine on
Like the moon and the stars and the sun
Yeah, we all shine on
On and on and on- on and on

Well we all shine on
Like the moon and the stars and the sun
Well we all shine on
Like the moon and the stars and the sun
Well we all shine on
Like the moons and the stars and the sun
Yeah we all shine on
Like the moon and the stars and the sun

The Seekers - Georgy Girl (1966)

At Melbourne Boys High School in Victoria, Australia during the late 1950s, a few guys from different musical groups (The Trinamics and The Ramblers) came together to start a new doo-wop act calling themselves The Escorts. Over the next few years, some members shuffled in and out; and, in 1962, the group renamed themselves The Seekers. After the dust had settled, their most well-known line-up had been solidified; it consisted of Judith Durham (vocals, piano, and tambourine), Athol Guy (bass), Keith Potger (guitar), and Bruce Woodley (guitar).

The group’s popularity began in Melbourne, Australia, spread to the rest of the country, and by February 1965, they had claimed the number one and number four spots on the charts in the United Kingdom and the United States, respectively.

The song heard below was the band’s highest charting single in the United States, reaching number two on the Billboard Hot 100. The song’s music (by Tom Springfield) and lyrics (by Jim Dale) were put together to go with the release of a British film, also titled Georgy Girl, released in 1966. In the movie, two alternative versions of the song are heard- one during the opening credits and the other during the closing credits. An entirely different third version was used for the release of the song as a single. The single version is the one heard below.



The Seekers - Georgy Girl (1966)

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Lyrics:

Hey there, Georgy girl
Swingin’ down the street so fancy-free
Nobody you meet could ever see
The loneliness there
Inside you

Hey there, Georgy girl
Why do all the boys just pass you by?
Could it be you just don’t try?
Or is it the clothes you wear?

You’re always window shopping
But never stopping to buy
So, shed those dowdy feathers and fly
A little bit

Hey there, Georgy girl
There’s another Georgy deep inside
Bring out all the love you hide
And, oh, what a change there’d be
The world would see
A new Georgy girl

Hey there, Georgy girl
Dreamin’ of the someone you could be
Life is a reality
You can’t always run away

Don’t be so scared of changing
And rearranging yourself
It’s time for jumping down from the shelf
A little bit

Hey there, Georgy girl
There’s another Georgy deep inside
Bring out all the love you hide
And, oh, what a change there’d be
The world would see
A new Georgy girl

(Hey there, Georgy girl)
Wake up, Georgy girl
(Hey there, Georgy girl)
Come on, Georgy girl
(Hey there, Georgy girl)
Wake up, Georgy girl…

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

Barry Mann - Who Put the Bomp (in the Bomp, Bomp, Bomp) (1961)

Barry Mann has written over six hundred thirty-five songs. Out of them, forty-six have been played more than a million times on the radio. He co-wrote “You’ve Lost That Lovin’ Feelin’” (for The Righteous Brothers); “We Gotta Get Out of This Place” (for The Animals); numerous songs for movies (Top Gun, Christmas Vacation, etc.); and many, many others.

Despite his accomplished career as a songwriter, Mann sometimes took the spotlight and sang songs, as well. In 1961, he sang the song heard below, which he had co-written with Gerry Goffin. The lyrics of this novelty song tell the somewhat true tale of how doo-wop music led his girl to fall in love with him. In a sense, this was true, as Mann and his future wife/songwriting partner, Cynthia Weil, had worked together writing doo-wop songs for groups of the time.

The song was released the same month that Mann and Weil got married, August 1961, and reached number seven on the Billboard Hot 100. Songs referenced in this track, via various onomatopoeias, include The Marcels’ “Blue Moon,” The Diamonds’ “Little Darlin’,” Chubby Checker’s “Pony Time,” and The Edsels’ “Rama-Lama-Ding-Dong.”



Barry Mann - Who Put the Bomp (in the Bomp, Bomp, Bomp) (1961)

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Lyrics:

I’d like to thank the guy
Who wrote the song
That made my baby fall in love with me

Who put the “bomp”
In the “bomp ba bomp ba bomp”?
Who put the “ram”
In the “rama-lama-ding-dong”?
Who put the “bop”
In the “bop shoo bop shoo bop”?
Who put the “dip”
In the “dip-da-dip-da-dip”?
Who was that man?
I’d like to shake his hand
He made my baby fall in love with me
(Yeah)

When my baby heard
“Bomp ba ba bomp”
“Ba bomp ba bomp ba”
Every word went right into her heart
And when she heard them singin’
“Rama lama lama lama”
“Lama ding dong”
She said we’d never have to part

So
Who put the “bomp”
In the “bomp ba bomp ba bomp”?
Who put the “ram”
In the “rama-lama-ding-dong”?
Who put the “bop”
In the “bop shoo bop shoo bop”?
Who put the “dip”
In the “dip-da-dip-da-dip”?
Who was that man?
I’d like to shake his hand
He made my baby fall in love with me
(Yeah)

Each time that we’re alone
“Boogity boogity boogity”
“Boogity boogity boogity shoop”
Sets my baby’s heart all aglow
And every time we dance to
“Dip da dip da dip”
“Dip da dip da dip”
She always says she loves me so

So
Who put the “bomp”
In the “bomp ba bomp ba bomp”?
Who put the “ram”
In the “rama-lama-ding-dong”?
Who put the “bop”
In the “bop shoo bop shoo bop”?
Who put the “dip”
In the “dip-da-dip-da-dip”?
Who was that man?
I’d like to shake his hand
He made my baby fall in love with me
(Yeah)

Darling, bomp ba bomp ba bomp ba bomp bomp. And my honey, rama lama ding dong forever. And when I say, “dip da dip, da dip, da dip,” you know I mean it from the bottom of my boogity boogity boogity shoop.

The Gentle Soul - Flying Thing (1968)

If you haven’t seen our previous post featuring The Gentle Soul, you may want to check that out first. There’s a good, little biography about the group, including the famous names they worked with and why they had to split up. The best part, though, is that it features an interview conducted with half of The Gentle Soul, Pamela Polland.

You’ll notice near the beginning of that post that there was a song The Gentle Soul recorded, which had been written by a fourteen year old Jackson Browne. The song heard below in this post is that song. “Flying Thing” was one of the three songs Jackson Browne had written by the age of fourteen. He wrote the music and lyrics, but the arrangements were done by The Gentle Soul (Pamela Polland and Rick Stanley). It wasn’t released on The Gentle Soul’s only album (probably because it wasn’t written by them, as claimed by Pamela Polland herself), but it was released on one of the two singles the band put out. Unfortunately, like with their rest of their music, the single wasn’t promoted and it made little impact on the charts.

---

A Special Edition post with Rick Stanley of The Gentle Soul!
After a little over a year of correspondence, I’m proud to announce that The Gentle Soul’s Rick Stanley has supplied numerous stories to share with A Bit Like You And Me. Rick was kind enough to share a bunch of excerpts from an upcoming autobiography he’s writing, titled My Song of Life. There was a very large quantity of material, so I’ve taken the liberty of chopping it down to the very best parts.

Excerpts from My Song of Life by Rick Stanley
[...]Not long after my audition with Stephen [Stills, to try out for Buffalo Springfield], Terry [Melcher] contacted Pamela [Polland] and was raving about the two of us. He wanted to get us in the studio as soon as possible to make a demo for the Columbia Record exec.’s who make the decisions about signing new acts.

What happened next is a bit hazy in my fading memory-pictures, but I think some time passed before Terry had time to get us into the studio. Pamela had already started to recruit other musicians to back us up; and, I somehow ended up in the Valley, staying in a rented house with two of the potential band members: Riley “Wyldflower” Cummings and a drummer from Riley’s sort of Beatle-esque group. They had toured the southwest and one of the groupies latched on to them in Tulsa, by offering the money she received from an insurance claim for her broken leg, so that the drummer could buy a new set of drums. Riley wrote his own songs in the vein of the early Beatles- like “Love Me Do” and “Twist and Shout”- which didn’t interest me at all. It had been done and couldn’t possibly attract a record company or get us on the radio.

Riley was six-foot five-inches tall with wild, light-brown, curly hair and almost always stoned. He was a likable Irish-American, son of a car dealership owner in the valley, and played decent rhythm guitar in the typical pop band genre. But Pam and I were really acoustic folk musicians and I couldn’t understand why she wanted a pop guitar player who couldn’t really sing well enough to add a harmony. I think she just liked him. And so, she would come over and we would practice her songs and a few others in preparation for the Columbia demo with Terry. Meanwhile, we were trying to come up with a name for our group, which is probably more fun than practicing.

The original group with Riley “Wyldflower” Cummings and Sandy Konikoff [before The Gentle Soul was finalized as a duo]

One night, Riley had “scored” a kilo of grass with the groupie’s money and proceeded to lie back on his bed and blow pot smoke into the face of his cat, who just lay there on his chest, looking up at him and throwing cat-kisses with his eyes. Riley said, “He’s such a gentle soul,” and, I jumped on this and said, “That’s the name for our group! ‘The Gentle Soul’!” And so it was! I felt like Riley must have thought that marijuana was a universal balm for all creatures great and small, and that it couldn’t possibly do any harm. The next day, the cat was acting like he’d eaten fifty pounds of cat nip- running, flipping, and jumping in a spastic frenzy- seeing something in la la land and lunging for it, only to flop upside down on his back. He got up and bashed headlong into the patio window and lay there unconscious for a while. I guess the poor thing managed to get out of the house and we never saw it again.

Soon, we all moved in to an old house on Venice Beach that Pam and the groupie managed to lease. Each of us had our own room and I rigged up some bamboo curtains on the walls all around my little abode, and slept on an old mattress with a new cotton cover that I found in a thrift store. Pam still had her own place, but would come over to practice. The groupie and the drummer had the choice room downstairs, and Riley and I had our little rooms upstairs. I was beginning to feel like this wasn’t going anywhere. The drummer didn’t know how to drum and Riley’s main focus was getting high. Anyway, nature doesn’t allow a vacuum to persist, and thus brought a stranger to the house. He arrived when the drummer was away for some reason and proceeded to seduce the groupie without much effort. After four days of being serviced by the stranger, her previous lover returned: the inadequate drummer. The groupie pretended that nothing had happened with the stranger, and offered the attic as her new lover’s bedroom.

The attic was where we practiced, and this didn’t suit lover-boy at all. He never spoke a word to any of us; only the groupie was privy to his profound thoughts. He would just sit and stew when we were up there, making all kinds of bored and inconvenienced expressions, with his little poet’s pad in full view and his pencil sticking out from behind one ear. I didn’t like this asshole’s attitude at all. He didn’t contribute anything for rent, expected to be fed, and all for the price of having sex with the groupie when the drummer wasn’t around. You may be a bit surprised to know who this guy was. It was Jim Morrison- you know, The Doors.

The whole thing finally came to a head when the drummer discovered Jim and his true love going at it in his own bed. He flew into a rage, but ended up begging the groupie to stay with him. It was clear that she finally understood why he wanted her: the bloody drums and the rest of her insurance money to live on, of course! So, that day, he packed up his drums and left the house. Jim didn’t hang around much longer either[...]

Thanks,
Rick Stanley

There is a lot more to tell about Rick's unusual life; check out My Song of Life by Rick Stanley when it comes out. If you want to know when it’s released, just send your email to nr.stan[at]gmail[dot]com.

How hilarious is that? Even though Rick didn't seem to appreciate Jim Morrison's antics, I have to say it sounds pretty amusing all these years later! And it's definitely fun to know that The Gentle Soul's name was helpfully inspired by a cat. A big 'thank you' to Rick Stanley for sharing such interesting excerpts from his forthcoming book, My Song of Life! Be sure to check out the book when it's released, as it contains other stories involving Stephen Stills, Neil Young, Levon Helm, and many, many more!

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

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The Gentle Soul - Flying Thing (1968)

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Lyrics:

She’s a flying thing that sings
With her eyes like smoky rings
And the sun can feel her presence in the sky

And I think I’m gonna stay
‘cause there’s nothin’ in our way
And she says that she can teach me how to fly
(Teach me how to fly)

If I could love her more than I have ever loved before
Then tomorrow I’ll be standing at her door

And when I hear her voice
I have no other choice
But to bend back my head and search the sky

Her hair is spun so fine
Roses fell like laughing wine
And she says that she can teach me how to fly
(Teach me how to fly)

If I could give her all the things she’s never had before
Then tomorrow I’ll be standing at her door

To see her walking by is to see a windy sky
And the clouds reflecting in her eyes

And the softness of her skin
Makes me wonder where I’ve been
And she says that she can teach me how to fly
(Teach me how to fly)

If she could love me more than she has ever loved before
Then tomorrow I’ll be standing at her door

She’s a flying thing that sings
With her eyes like smoky rings
And she says that she can teach me how to fly
(Teach me how to fly)
And she says that she can teach me how to fly
(Teach me how to fly)
And she says that she can teach me how to fly
(Teach me how to fly…)

The Twilights - Cathy, Come Home (1967)

In the 1960s, a town just north of Adelaide in South Australia, called Elizabeth, was largely populated by British emigrants. It was also the hometown of this band and its members, all of whom had been born in Britain but relocated with their families to Elizabeth, Australia. Glenn Shorrock, Mike Sykes, and Clem “Paddy” McCartney came together because of these similar roots and formed an a capella trio in 1965, calling themselves The Twilights. They were often backed by local bands like The Vector Men and The Hurricanes when putting on performances. Eventually, the members of The Twilights and The Hurricanes merged, creating a six man lineup and adopting The Twilights’ name. After a bit of shuffling- still in early 1965- the final group solidified and consisted of Glenn Shorrock, Laurie Pryor, Clem “Paddy” McCartney, John Bywaters, Terry Britten, and Peter Brideoake. Those members remained together until the band dissolved in 1969. Shorrock would go on to participate in other bands, most notably the Little River Band, and Terry Britten became an internationally successful producer and songwriter, writing hits for Tina Turner, Cliff Richard, Olivia Newton-John, Status Quo, Michael Jackson, and many others.

By 1967, the group had relocated to London, donning mod styles and Beatles-inspired mustaches. Glenn Shorrock was quoted as stating that London was very difficult to work in because of all of the extremely talented musicians. He claimed that even bands you had never heard of were incredibly selective.

This song, written by band member Terry Britten, was recorded and released in November 1967. It steadily climbed the charts and plateaued at number four in January 1968. It was written by Britten after having been inspired by the one-off television drama of the same name, Cathy, Come Home, which had been released in November 1966. It was one of the last successful songs released by the band.



The Twilights - Cathy, Come Home (1967)

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Lyrics:

(Cathy, come home)
(Come)
(Come)
(Come)

Cathy, come home
Can't you see that I need it?
Cathy, come home
You must see it to believe it
Cathy, come home

I found someone to comfort me
Someone who finally let me be myself
My mind, I think, is much too small
To see the writing on the wall is here

Cathy, come home
Can't you see that I need it?
Cathy, come home
You must see it to believe it
Cathy, come home

If seeing is believing, then I see the truth
With you on my mind, I just can't seem to lose
(Lose)

My mind's made up; that's all I see
The writing's plain- as plain can be to me

Cathy's back, now she's all mine
Now everything's just turned out fine for me

Cathy, come home
Can't you see that I need it?
Cathy, come home
You must see it to believe it
Cathy, come home

Cathy, come home
(Cathy, come home)
Cathy, come home
(Cathy, come home)
(Home)
(Home)
(Home)
(Home)
(Home…)

The Magic Lanterns - No Milk Today (1968)

This group didn’t get a Top 30 hit until 1968 when they had already been together for six years. In total, the band was able to scrape together three charting songs in the US as well as three in their native UK. But prior to their charting days (which at one point featured Godley & Creme), the band was still hard at work, hoping to make a name for themselves in their home of Warrington, Lancashire. Although the band never really hit the big time, they put together a handful of songs that are definitely worth listening to.

The song heard below was written by Graham Gouldman in 1966 for the band The Hollies, still featuring Graham Nash. Its lyrics, although seemingly strange, had very little to do with milk. Gouldman has been quoted as stating that his father was largely responsible for the message of the song. He said that he and his father had seen a sign on a neighbor’s home, “no milk today,” indicating to the neighborhood milkman that the home wouldn’t need their daily milk delivered for whatever reason. It was expressed to Gouldman by his father that there could be various reasons why the house didn’t require milk on that day. One such reason he hypothesized was that the man who lived in the house had recently been left by his significant other, resulting in less need for milk and adding much depth to the simple sign.

When the song had been passed up by The Hollies, it was given to Herman’s Hermits. It was the second hit song Gouldman had written for Herman’s Hermits (the first being “Listen People,” reaching number three), reaching number seven on the charts. The version of the song heard below was covered by The Magic Lanterns in 1968 for their debut album, Lit Up – with The Magic Lanterns, recorded on CBS Records for distribution in the UK. The most obvious difference made by The Magic Lanterns in their cover is the increase and decrease of tempo.



The Magic Lanterns - No Milk Today (1968)

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Lyrics:

No milk today
My love has gone away
The bottles stand forlorn
Greeting the summer dawn

“No milk today”
It seems a common sight
The people passing by
Don't know the reason why

How could they know
Just what this message means?
The end of my hopes
The end of all my dreams

How could they know
The palace there had been?
Behind the door
Where my love has been

No milk today
It wasn't always so
The company was gay
We'd turn night into day

As music played
The faster did we dance
We felt it both at once
The start of our romance

How could they know
Just what this message means?
The end of my hope
The end of all my dreams
(Hey!)

How could they know
A palace there had been?
Behind the door
Where my love has been

No milk today
It wasn't always so
The company was gay
We'd turn night into day

As music played
The faster did we dance
We felt it both at once
The start of our romance

How could they know
Just what this message means?
The end of my hope
The end of all my dreams
(Hey!)

How could they know
A palace there had been?
Behind the door
Where my love has been

No milk today
My love has gone away
The bottles stand forlorn
Greeting the summer dawn

“No milk today”
It seems a common sight
The people passing by
Don't know the reason why

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

J. K. & Co. - The Times (1968)

Remember the episode of The Simpsons where Homer realized he didn’t actually know what his middle initial stood for? Homer J. Simpson? As it turned out, the “J.” stood for “Jay” and Homer tried to become a hippie. In a similar fashion, J.K. & Co. was created around the talents of a fifteen year old artist named J.K., which stood for – ready? Jay Kaye. Kaye, who had been raised in Las Vegas, Nevada, had gone to Vancouver to work on an album with the musical arranger Robert W. Buckley, a fellow teenager. There wasn’t really a band when Kaye’s album was made, so “& Co.” was used to encompass all of those involved with its production.

The album they collectively worked on was titled Suddenly One Summer and released in July 1968. In a very strange decision, the track chosen to be released as a single by the record company, White Whale, was the opening instrumental intro, which was only thirty-six seconds long. Naturally, the song didn’t garner much attention nor help in getting the album circulated.

Fortunately, the album did receive a little attention on the underground radio stations in California. Attempting to feed off of that success, Kaye assembled an actual band together to go out to California and perform live. Although they were on the California scene during the height of the late ‘60s, Kaye and the band never recorded any material and they called it quits by the end of the ‘60s.

The song heard below, written by Jay Kaye, is the tenth track on the Suddenly One Summer album.



J. K. & Co. - The Times (1968)

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Lyrics:

I’ve been thinking of all the times
That have gone and are yet to come
The days, they’ll be a’changing
And with them, so will I

To look at nature’s beauty
And feel each drop of rain
To watch 'em here with laughing
As they lap against the shore

To be playing in the snow
Or dancing through leaves in the spring
Or walking down a deserted street
In the late, late warm summer eve

Playing with the yo-yo
When I’ve got nothing to do
Watching TV quite late at night
Or just being here with you

Watching other people
As they go ‘bout their way
Spending some hours in the green grass park
Or maybe even a day

These times I will remember
As I move along
Although they’re gone, I’ll remember them
And think of times to come

The Art of Lovin' - Daily Prayer (1968)

Coming out of Newton, Massachusetts, this five-piece band was composed of high school kids who managed to stay together long enough for the release of one album. They were composed of Gail Winnick (vocals), Paul Applebaum (vocals, guitar), Johnny Lank (bass), Sandy Winslow (drums), and Barry Tatelman (saxophone). Although the band drew comparisons to the San Francisco Sound and received generally positive reviews, they were forced to split apart when its members decided to go off to college. You’d have to think their choice to go off to college was also a sure way to avoid being drafted into Vietnam.

With the exception of the band’s cover of a song by Tim Hardin (“(How Can We) Hang On To A Dream”), each of this group’s songs were written by Paul Applebaum. The song heard below, featured on the band’s only album, The Art of Lovin’, was featured as the sixth track. If you enjoy listening to it, I highly recommend getting a copy of The Art of Lovin’. The entire album is a real joy to listen to.



The Art of Lovin' - Daily Prayer (1968)

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Lyrics:

All the words come flashing by me
Watch the letters fly
And the sequence, as an ember
Burning so high

Causes spaces far between us
Dealing with our minds
Thinking only to talk in letters
That can only rhyme

And we follow in our blindness
And we read the daily prayer
And we walk the streets of kindness
Frozen by the stares

Of a young man who’s lost the language
Looks behind their eyes
And the thoughts of danger
Are all thoughts of surprise

Thinking only of frozen pathways
Banked by hidden lies
Follow through the twisted causeways
Of the empty skies

And we follow in our blindness
And we read the daily prayer
And we walk the streets of kindness
Frozen by the stares

And we follow in our blindness
And we read the daily prayer
And we walk the streets of kindness
Frozen by the stares