Aphrodite's Child - Babylon (1972)

This Greek group first came together in 1967 and began as a backing band named “Vangelis and his Orchestra” after their lead member and multi-instrumentalist, Vangelis Papathanassiou. Although it wasn’t a smooth process, the band left their home country of Greece, which was under a newly formed dictatorship, and recorded their first album (End of the World, October 1968) in Paris, France. Their second and third albums were recorded in London, England. It was during the recording of their third album, 666, when the band members began to find new, separate interests and come apart from one another. The band’s lead vocalist, Demis Roussos, for example, had become more interested in pursuing a solo career. Vangelis, on the other hand, had begun recording scores for television documentaries. He, too, would pursue a solo career and became renowned for his electronic music. Vangelis also worked on numerous film scores, most notably winning an Oscar for his score for the film Chariots of Fire. Although you may not recognize the name, you’d probably recognize the main track. By the time of 666’s release in June 1972, the band had already broken up.

The song heard below is the second track on the band’s final album, 666. It was written by Vangelis Papathanassiou and had lyrics contributed by Costas Ferris. Although it sounds live, the crowd noise was layered behind the song. Lyrically, the song introduces the apocalyptic theme found throughout the album. Although not a chart-topper when released, the album is now considered a classic, as well as one of the first concept albums.



Aphrodite's Child - Babylon (1972)

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Lyrics:

Fallen, fallen, fallen
Is Babylon the great
Space is getting bounded
Time is getting late
Getting late

Masters fall and wonder
People rise and wait
Fallen, fallen, fallen
Is Babylon the great

You don't need a coin
I don't have to shine
We don't know the reason

But, I need you madly
And you need me too
And we need each other
Need each other
Need each other

Fallen, fallen, fallen
Is Babylon the great
Space is getting bounded
Time is getting late
Getting late

Masters fall and wonder
People rise and wait
Fallen, fallen, fallen
Is Babylon the great

You don't need a coin
I don't have to shine
We don't know the reason

But, I need you madly
And you need me too
And we need each other
Need each other
Need each other

Spirit - Life Has Just Begun (1970)

In 1966, the fifteen year old Randy California (born Randy Wolfe) was performing in Greenwich Village, New York with Jimmy James and the Blue Flames. Jimmy James was the stage name being used by Jimi Hendrix at the time; and, the band was playing Hendrix’s arrangements that would later be recorded and released when he formed The Jimi Hendrix Experience. It was around this time that Chas Chandler of The Animals heard Jimmy James and the Blue Flames and convinced Hendrix to come to England to produce The Animals’ music. Hendrix agreed and Randy California didn’t follow.

Instead, after moving out to Los Angeles, California started a band called the Red Roosters in 1967 with Mark Andes and Jay Ferguson. Soon, California’s step father joined the band (Ed “Mr. Skin” Cassidy) on drums, along with keyboardist John Locke. With the addition of the new members, the band renamed themselves The Spirits Rebellious, which was soon shortened to their final, more well-known name of Spirit.

The song heard below is the tenth track on the band’s fourth album, titled Twelve Dreams of Dr. Sardonicus. Released in November 1970, the album was then the band’s lowest charting album. However, as time went on, it also became their best-selling one, and was certified Gold in the United States in 1976.



Spirit - Life Has Just Begun (1970)

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Lyrics:

Oh, hey Kiowa
I know your name
Catch me a’glancing
With one of your eye
So much we are chancing
If we said goodbye

Oh

Softly say you'll be my bride
And our hearts a solid beat
Say you'll always be here by my side
With the hearts all constantly

Oh, we

(Walked in a dream and we knew it was)
(Married in the dream)
(Strange as it seemed that we knew because)

(Because) Life has just begun
(Life has just begun) (Life has just begun)
Because life has just begun

Hey, Kiowa
I know your name
Hey, Kiowa
I know your name

Walking in that sun, Kiowa
And even though your legs are tired
Though we’re on the run, Kiowa
Our hearts are free from all desire

Walked in the dream and we knew it was
Strange as it seemed that we knew because

(Because life has just begun)
(Life has just begun, life has just begun)
(Life has just begun, life has just begun)
(Because life has just begun)
(Because life has just begun)
(Because life has just begun)
(Because life has just begun)
(Because life has just begun)
(Because life has just begun)
(Because life has just begun)
(Because life has just begun)

Group 1850 - Mother No-Head (1967)

In November 1964, Hugo Gordijn went to the basement of a bowling alley in Scheveningen, in The Hague, in the Netherlands to see a band called The Klits. Led by Peter Sjardin, the Dutch band hired Gordijn to be their manager. On New Year’s Day in 1966, the band renamed themselves Groep 1850, or, “Group 1850” if you prefer it in English. They consisted of Peter Sjardin on vocals, flute, and organ; Daniel van Bergen on guitar and piano; Ruud van Buuren and Rob de Rijke on bass; and Beer Klaasse on drums.

The band released six singles and two full-length albums in what remained of the 1960s, sans a year-long break-up beginning somewhere in 1968. They didn’t get a ton of exposure and predominately remained a “garage” type band, so it’s presumable that a career highlight for them may have been getting to open for The Mothers of Invention in September 1967 at the Amsterdam Concertgebouw.

Written by Hans van Hemert and Peter Sjardin, this song was the A-Side of a single released by the band in late December 1967. Like the rest of the world, the band was heavily into psychedelic rock and fell into the more “acid” rock genre of the period. They sounded a bit like the earlier Pink Floyd, even featuring some progressive rock aspects which were far ahead of their time.



Group 1850 - Mother No-Head (1967)

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Lyrics:

Who is crying?
Who is dying?
She is mad
She is sad
It is Mother No-Head
It is Mother No-Head
She is dead
She is dead

Who is crying?
Who is dying?
She is mad
She is sad today
It is Mother No-Head
It is Mother No-Head
But she is dead
She is dead
Yes

Who is crying?
Who is dying?
She is mad and
She is sad today
It is Mother No-Head
It is Mother No-Head
She is dead
She is dead today

She is dead today
She is dead today…

Procol Harum - A Whiter Shade of Pale (1967)

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

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

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

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



Procol Harum - A Whiter Shade of Pale (1967)

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Lyrics:

We skipped the light fandango
Turned cartwheels ‘cross the floor
I was feeling kind of seasick
The crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray

And so it was, that later
As The Miller told his tale
That her face, at first just ghostly
Turned a whiter shade of pale

She said, “There is no reason”
“And the truth is plain to see”
But I wandered through my playing cards
Would not let her be
One of sixteen Vestal Virgins
Who were leaving for the coast
And although my eyes were open
They might just as well have been closed

And so it was, that later
As The Miller told his tale
That her face, at first just ghostly
Turned a whiter shade of pale

And so it was, that later...

Hardin and York - Drinking My Wine (1969)

Having been in The Spencer Davis Group together, Eddie Hardin and Pete York split from Spencer’s band to create a two-person band in 1969. Hardin, an organist and pianist, mixed with York’s drumming to create one of the most unique duo/instrument combinations of the era. Although Hardin’s left hand usually created the bass sound, the band’s three albums were often accompanied by more than just the pair’s instruments of choice. You would often hear guitars, brass, female backup vocals, or wind instruments on any of their three albums: 1969’s Tomorrow Today, 1970’s The World’s Smallest Big Band, and 1971’s For the World. The duo wasn’t able to find much of an audience in the US or UK, but were quite popular in the rest of Europe, especially in Germany. In 1971, York started the Pete York Percussion Band and Hardin co-created Hardin/Fenwick/Newman. Although they kept up their dual enrollment for a while, they eventually disbanded in 1973 when the Spencer Davis Group came beckoning for a reunion.

With their jazz-influenced blend of the blues and hard rock, it was hard not to compare the duo to Traffic. Steve Winwood, co-creator of Traffic, had been in the Spencer Davis Group with Hardin and York, so it’s certainly conceivable to see where Hardin & York were inspired to find their sound. The song heard below, written by Eddie Hardin and featured on their debut 1969 album, Tomorrow Today, was featured as the album’s fourth track. That album’s cover, which lacked Hardin and York’s name, was an award-winner in New York for artistic originality.



Hardin and York - Drinking My Wine (1969)

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Lyrics:

Sitting here drinking my wine
Wastes so much of my time
Pass another empty day
Sitting on my new friend’s way

When it comes to you
I drink some out of your shoe
And I don’t know, but i feel like
Some of these might happen to me, too

Sitting alone in the park
Feeling afraid of the dark
Everyone’s eyes set firmly on me
Why can’t they set me free?

When it comes to you
I drink some out of your shoe
And I don’t know, but i feel like
Some of these might happen to me, too

Sitting here drinking my wine
Wastes so much of my time
Pass another empty day
Sitting on my new friend’s way

When it comes to you
I drink some out of your shoe
And I don’t know, but i feel like
Some of these might happen to me, too

Sitting alone in the park
Feeling afraid of the dark
Everyone’s eyes set firmly on me
Why can’t they set me free?

When it comes to you
I drink some out of your shoe
And I don’t know, but i feel like
Some of these might happen to me, too

Pink Floyd - Pigs on the Wing (8-Track Version) (1977)

Pink Floyd’s tenth studio album, Animals, was recorded in London, 1976 at the band’s newly constructed recording studio, Britannia Row Studios. Akin to George Orwell’s Animal Farm, the album was a collection of songs named after animals satirizing different social classes in 1970s England. The categories people were lumped into included pigs, dogs, and sheep; or, those in power, those who do the bidding, and those who sit idly by, respectively. The album was also meant to steer in a slightly new direction for the band, as they had recently become the victim of many jokes in the newly thriving punk rock movement. Considered “dinosaur rock” by younger people, Pink Floyd wanted to create an album a little harsher sounding than their previous works. Having been certified four times platinum, the album was a huge success on both sides of the Atlantic.

Besides the animal-related songs which made up the majority of the album, Animals also began and ended with the front and back halves of a love song written by Roger Waters about his new wife, Carolyne Christie, the ex-wife of Grateful Dead manager Rock Scully. Christie had gained Waters affections by being one of the few, if not only, people who could win an argument with Waters. As it was arranged, royalties for the album were given to the songwriters based on the total number of songs written and not their total length. Since this “song” was split apart on the album as two completely separate tracks, it created a bigger piece of the royalty pie for their author, Roger Waters. This didn’t sit well with the band’s David Gilmour, who had contributed a seventeen minute song, “Dogs.” This, among other frictions during the recording of Animals, proved to be the starting point for the strife that would eventually split the band apart.

At one point during the recording of the album, Roger Waters and Nick Mason accidentally erased a guitar solo by David Gilmour, recorded as the link between “Pigs on the Wing (Part I)” and “Pigs on the Wing (Part II),” which was still being treated as one song. Thinking they needed to replace it, the band asked non-Pink Floyd-member Snowy White to record a replacement guitar solo. Ultimately, it was decided that the song would be split apart for the beginning and ending of the album, as it’s now known. Because of this separation, the guitar solo became superfluous, omitted, and never appeared on the final version of the vinyl release. However, for unknown reasons, the album’s 8-track release not only kept the songs together, appearing as the opening track, but also kept the guitar solo by Snowy White. Below, you will hear the alternate 8-track version of the songs, back to back as one, with the inclusion of Snowy White’s rare guitar solo.



Pink Floyd - Pigs on the Wing (8-Track Version) (1977)

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Lyrics:

If you didn't care
What happened to me
And I didn't care
For you
We would zig zag our way
Through the boredom and pain
Occasionally glancing up through the rain
Wondering which of the buggers to blame
And watching for pigs on the wing

You know that I care
What happens to you
And I know that you care
For me, too
So, I don't feel alone
Or the weight of the stone
Now that I've found somewhere safe
To bury my bone
And any fool knows a dog needs a home
A shelter from pigs on the wing

The Five Day Week Straw People - Postman (1968)

This British band was composed of two session musicians, Mick Hawksworth and Jack Collins (born Jack McCulloch), and ex-member of The Attack John Du Cann for the sole purpose of recording a concept album written by David Montague and Guy Mascolo. Never expected to tour or last long, the three members were assembled in 1967 having never worked together. Collins, the drummer, showed up at the record session having never even heard any demos of the songs they were to record. That recording session, by the way, took place in a London classroom and lasted in total only four hours. It’s quite impressive what the trio was able to put together given their limitations. After finishing the album, the pseudo-bandmates decided to continue on as a hard rock band and named themselves Andromeda. Their one album as The Five Day Week Straw People was the only material ever released under that name, as they had ended the band the same year it started, 1967.

This song appeared as the fourth track on that album, which was self-titled and appeared on the tiny Saga label. As with the rest of the album, the song was written by David Montague and Guy Mascolo and featured a theme focusing on the daily life in London by the “straw people,” or, the working class. It featured lead vocals and lead guitar by John Du Cann, bass by Mick Hawksworth, and drums by Jack Collins. The album was recorded and finalized in 1967, but not released until 1968.



The Five Day Week Straw People - Postman (1968)

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Lyrics:

I hope the postman brings a letter to me
I hope the postman brings a letter from Marie

Even though she’s far away
In my heart, she’ll always stay
I hope the postman brings a letter to me

Every day, every day, so patiently
Every day a letter from Marie

Even though she’s far away
In my heart, she’ll always stay
I hope the postman brings a letter to me

Even though she’s far away
In my heart, she’ll always stay
I hope the postman brings a letter to me

Oh, oh, postman
Please fetch me a letter

Oh, please postman
Don’t you forget her

And just because she’s far away
Want to hear from her every day
I hope the postman brings a letter to me

Egg - Fugue in D Minor (1970)

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

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



Egg - Fugue in D Minor (1970)

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Lyrics:

(instrumental)

The Nice - Flower King of Flies (1967)

When American soul singer P.P. Arnold wanted to replace her backing band, The Blue Jays, on her 1967 tour, her driver suggested Keith Emerson as a man who could get a new group together for her. After approaching Emerson with the idea, he accepted under the condition that he and his soon-to-be band would also be able to open for her with their very own set. Arnold’s manager, Andrew Loog Oldham, saw this as getting two bands for the price of one and quickly agreed. The first member that Emerson recruited was Lee Jackson, whom Emerson had previously played with in a band called Gary Farr and the T-Bones. Rounding out the band were Ian Hague and David O’List. Quickly, the band began to achieve a following and Oldham offered them a contract on their own. Hague, who had no interest in their progressive rock sound, was replaced by Brian Davison. After the band’s first album, O’List began to become less and less reliable after beginning to use LSD, which he had first been exposed to by David Crosby, who had spiked his drink. Eventually, O’List was fired and the remaining three members continued as a trio. They played their last concert on March 30, 1970 in Berlin, Germany. Frustrated with their lack of success, the band broke up. Keith Emerson soon continued on in the successful supergroup, Emerson, Lake & Palmer.

This song was written by band members Keith Emerson and Lee Jackson. It was the opening track to the band’s debut album, The Thoughts of Emerlist Davjack. The title character, Emerlist Davjack, was actually a play on words referencing each of the members’ names: Emerson, O’List, Davison, and Jackson. The album is widely considered to be one of the first examples of progressive rock, having been released nearly three years before that genre became popular.



The Nice - Flower King of Flies (1967)

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Lyrics:

On a cloud by Saffron lies
The Flower King of Flies
And the children all in white
Have gathered here tonight

Let the dance of love begin
Let the temple maidens sing
A song that’s sung in time
To a gong and bells, sublime

The Flower King of Flies
The Flower King of Flies

The Flower King of Flies
The Flower King of Flies

Lanterns from Cathay
Mark the ending of the day
And the night’s cut down to size
By the Flower King of Flies

The sun has shone all day
And Saffron has played
The king from on his cloud
Spread the words of love around

The Flower King of Flies
The Flower King of Flies
The Flower King of Flies
The Flower King of Flies

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…

Captain Beyond - Sufficiently Breathless (1973)

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

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



Captain Beyond - Sufficiently Breathless (1973)

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Lyrics:

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

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

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

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

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

Roger Waters - 4:30 AM (Apparently They Were Travelling Abroad) & 4:33 AM (Running Shoes) (1984)

Born in Surrey, England in 1943, this rock legend was a founding member of the band Pink Floyd, in which he primarily played bass and shared the lead vocals with bandmate David Gilmour (who had joined the band later). Although the band had initially been under the psychedelic leadership of Syd Barrett, 1968 saw the departure of Barrett from the band due to mental illness and the rise of this man as the band’s leader and primary lyricist. Waters went on to write the lyrics and lead the band musically on albums The Dark Side of the Moon, Wish You Were Here, Animals, The Wall, and The Final Cut, with each of them reaching the number one spot in multiple countries around the world. In the mid-1980s, spawning from creative differences and a power struggle with David Gilmour over direction, Waters left Pink Floyd and sued to keep them from using the "Pink Floyd" name. An out-of-court settlement was finally achieved in 1987, but Waters didn’t play with the band again for another eighteen years. In September 2010, Waters began to take The Wall album on the road and backed it with a sixty-million dollar stage act to feature on tour. Currently, although the tour has periodic breaks, it is scheduled to continue throughout 2013.

In 1977, Waters came up with two ideas for concept albums. The first idea was titled Bricks in the Wall and the second was called The Pros and Cons of Hitch Hiking. Waters recorded some demos and played them for the other members of Pink Floyd, telling them that they could choose which one they could record as a band. He also informed them that whichever one they didn’t choose, he would release as a solo album. The band’s manager at the time, Steve O’Rourke, thought that Pros and Cons was a better concept; David Gilmour thought that Pros and Cons was better musically-speaking, too; but the band eventually decided that they would record Bricks in the Wall, eventually having it renamed to The Wall and released it in 1979.

Finally, in 1983, after Waters’ departure from Pink Floyd, he had the time to record his other visualized concept album, The Pros and Cons of Hitch Hiking. Featuring the conductor Michael Kamen on piano and legendary guitarist Eric Clapton, the album was stylistically reminiscent of The Wall, but failed to achieve the same commercial success. The titles of the tracks on the album are noted for being named after a particular time of day, with two songs heard below, "4:30 AM" and "4:33 AM," being the opening tracks. If you were to start the album at exactly 4:30 AM, real-time, the titles of each passing song would correspond with the actual time of day. There were even a few extra seconds added after the last song of the first side, so to allow the listener time to flip the record (or cassette) over.

If you enjoy The Wall and these two opening tracks of Pros and Cons, I highly recommend you purchase the album so that you can hear the album in its entirety.



Roger Waters - 4:30 AM (Apparently They Were Travelling Abroad) & 4:33 AM (Running Shoes) (1984)

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"4:30 AM" Lyrics:

Apparently they were travelling abroad and they picked up some hitchhikers.

Drill.

Jade: "Oh God!"
Wife: "Wake up, you're dreaming."
Jade: "What?"
Wife: "You're dreaming."
Jade: "We were moving away from the border."
Wife: "Huh, what border?"

Jade: "Have a nice day."
Wife: "Huh?"
Jade: "Have a nice day."

We were moving away from the border
Looking for somewhere to sleep
The two of us sharing the driving
Two hitchhikers slumped in the back seat

Woman: "Hello."

I sneaked a quick look in the mirror
She gave me a smile
I said, “Is anyone hungry?”
“Should we stop for a while?”

So we pulled off into a layby
Her dress blew up over her head
I said, “Would you like to come with me?”
She said something foreign under her breath
And the sun shone down on her lovely young limbs
I thought to myself, “She's much too good for you”
I lay down beside her with tears in my eyes
She said

"4:33 AM" Lyrics:

So I stood by the roadside
The soles of my running shoes gripping
The tarmac like gunmetal magnets

Fixed on the front of her Fassbinder face
Was the kind of a smile
That only a rather dull child could have drawn

While attempting a graveyard in the moonlight
But she was impressed
You could see that she thought I looked fine

And when she turned sweeter
The reason, between you and me, was
She'd just seen my green Lamborghini

I think it was the Lamborghini

So we went for a spin in the country
To feel the wind in our hair
To feel the power of my engine
To feel the thrill of desire

And then in the trees, I heard a twig snap
Warning lights flashed on my map
I opened my eyes and to my surprise
There were Arabs with knives at the front of the bed
Right at the front of the bed

Oh, my God, how did they get in here?
I thought we were safe, home in England
She said, “Come on now, kid, it was wrong what ya did”
“You've got to admit it was wrong what ya did”
“You've got to admit it was wrong”

Jade: "Oh god! Jesus..."

Love Sculpture - In the Land of the Few (1969)

Formed in Cardiff in the United Kingdom in 1966, this band came about after the demise of fellow-local band, The Human Beans. Composed of the not-yet-famous Dave Edmunds, John David, and Bob “Congo” Jones, they remained together long enough to record and release two full length albums. Although their most popular hit was a 1968 psychedelic reworking of Aram Khachaturian’s “Sabre Dance,” the group (primarily Edmunds) was mainly interested in ‘50s rock and roll. Other notable cover songs released by the band were Gershwin’s “Summertime,” Willie Dixon’s “Wang Dang Doodle,” and Chuck Berry’s “You Can’t Catch Me.” In late 1969, all but Edmunds were replaced and the new group completed a 1970 tour in the United States before officially folding and calling it quits. Edmunds went on to have a successful solo career as well as co-create the band Rockpile with Nick Lowe.

This song, released on the band’s second album, Forms and Feelings, was released in 1969. Differing from the blues and soul covers found on their first album, Blues Helping (1968), this album featured a strong psychedelic and classical music mixture. This song was written by Dave Edmunds, Mike Finesilver, and Peter Ker, originally released on the full length 1969 album, and later released as a 1970 single with the B-Side “People, People.”



Love Sculpture - In the Land of the Few (1969)

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Lyrics:

Tell me again what you told me before
There were so many things, I'm not really sure
See what I mean or forget all I know
Were you trying to tell me I'll have to go?
Oh, oh, do I have to go?
Do I have to go?

I can laugh, I can cry
And they'll never ask me why
In the land of the few
Where they need me

I can dance, I can sing
And they'll never say a thing
In the land of the few
They believe me

I can tell by your smile that you've something to say
Then I’ll hold you the words if you turn away
Speak to me slowly, I'm waiting to know
Won’t they send you to tell me it's time to go?
Oh, oh, do I have to go?
Do I have to go?

I can laugh, I can cry
And they’ll never ask me why
In the land of the few
Where they need me

I can dance, I can sing
And they’ll never say a thing
In the land of the few
They believe me

There are many ways that I could wander
Because they take me for a fool
Though there's only a few to know
How far you have to go
'til you turn around and find there's only you

There were times I could be like the people outside
And then there were times when I had to hide
Some of my friends used to help me, I know
But now you've decided I'll have to go
Oh, oh, do I have to go?
Do I have to go?

I can laugh, I can cry
And they’ll never ask me why
In the land of the few
Where they need me

I can dance, I can sing
And they’ll never say a thing
In the land of the few
They believe me

I can laugh, I can cry
And they’ll never ask me why
In the land of the few
They believe me

I can dance, I can sing
And they’ll never say a thing
In the land of the few
They believe me

I can laugh, I can cry
And they’ll never…

Queen - My Fairy King (1973)

In London, 1970, Farrokh Bulsara joined what remained of the local band he was a fan of, known as Smile. Still in the loosely assembled group at the time were guitarist Brian May and drummer Roger Taylor. Early in the following year, Bulsara renamed the band to its now-widely recognized name, seen above. Also at this time, in February 1971, the group finally discovered a bassist that they had enough chemistry to record with, and John Deacon completed the group’s lineup. Shortly after, Bulsara found inspiration in the lyrics of the song heard below, which he wrote, and changed his stage name to Freddie Mercury.

Written by Mercury and released on the group’s 1973 debut eponymous album, this song was the first by the group to feature Freddie on piano. Lyrically, the song is about the fictional world known as Rhye, also created by Mercury. The mentioning of the land would be repeated again later in their song “Seven Seas of Rhye.” In this song, however, the line sung, “Mother Mercury, look what they’ve done to me,” was said to be about Freddie’s mother. It is also this line, as touched on above, where Freddie found the inspiration for his new stage name.



Queen - My Fairy King (1973)

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Lyrics:

In the land where horses born with eagle wings
And honey bees have lost their stings
They’re singin’ forever to you
Lions’ den with fallow deer
And rivers made from wines so clear
Flow on and on forever
Dragons fly like sparrows through the air
And baby lambs where Samson dares
To go on, on, on, on, on

My Fairy King can see things
He rules the air and can see things
That are not there for you and me to see (Ooh, yeah)
My Fairy King can do right and nothing wrong

Then came man to savage in the night
To run like thieves and to kill like knaves
To take away the power from the magic hand
To bring about the ruin to the promised land

They turn the milk into sour
Like the blue on the blood of my veins
(Why can't you see it?)
Fire burnin' in Hell with the cry of a screaming pain
(Son of Heaven, set me free and let me go)
Sea turns dry, no salt from sand
Seasons find no helping hand
Teeth don't shine like pearls for poor man's eye (No more)

Someone- someone has drained the color from my wings
Broken my fairy circle ring
And he shamed the King in all his pride
He changed the winds and wronged the tides
Mother Mercury
Look what they've done to me
I cannot run, I cannot hide

The Moody Blues - Departure / Ride My See-Saw (1968)

Heard below is actually a combination of two songs, “Departure” and “Ride My See-Saw”. As the opening tracks on the group’s third album, In Search of the Lost Chord, the songs are both somewhat unique on their own. “Departure,” written by the group’s drummer Graeme Edge, is a rare example of Edge performing lead vocals (or in this case, narration) for the group. “Ride My See-Saw,” on the other hand, was written by the group’s bassist John Lodge and was one of the first rock singles ever to be recorded on 8-track tape multi-track recording.

When “Ride My See-Saw” was released as a single in October 1968, the maniacal laughter spilling over from the previous track was removed from its beginning. The versions combined together below are from the July 1968 album release and melt into one another as originally intended.



The Moody Blues - Departure / Ride My See-Saw (1968)

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“Departure” Lyrics:

Be it sight, sound, smell, or touch
There's something inside that we need so much
The sight of a touch or the scent of a sound
Or the strength of an oak with roots deep in the ground
The wonder of flowers to be covered and then to burst up
Through tarmac to the sun again or to fly to the sun
Without burning a wing to lie in a meadow
And hear the grass sing; to have all these things
In our memory's hoard and to use them
To help us, to find
[laughter]

“Ride My See-Saw” Lyrics:

Ride
Ride my see-saw
Take this place
On this trip
Just for me

Ride
Take a free ride
Take my place
Have my seat
It's for free

I worked like a slave for years
Sweat so hard just to end my fears
Not to end my life a poor man
But by now, I know, I should have run

Run
Run my last race
Take my place
Have this number
Of mine

Run
Run like a fire
Don't you run in
In the lanes
Run for time

Left school with a first class pass
Started work, but as second class
School taught “one and one is two”
But right now, that answer just ain't true

My world is spinning ‘round
Everything is lost that I found
People run, come ride with me
Let's find another place that's free

Ride
Ride my see-saw
Take this place
On this trip
Just for me

Ride
Take a free ride
Take my place
Have my seat
It's for free

Ride my see-saw
Ride- ride- ride my see-saw
Ride my see-saw
Ri-…

Wishbone Ash - Valediction (1971)

Formed in 1969, this British group is remembered for being innovators in using two lead guitars. Originally the band was trying to choose between Ted Turner and Andy Powell for who would become their guitarist. Unable to make a decision, they decided to see what would happen if they both played simultaneously. It was a success. Both of the guitarists would later be put in the Top 20 of Rolling Stones’ “Greatest Guitarists of All-Time”. Although many members of the band have come and gone since, the group still performs to this day, having released twenty-three albums.

This song comes from the group’s second album, Pilgrimage, released in 1971. The album featured a more folk-oriented sound, which differed from the blues rock style found on their first album. This song in particular features a four-part harmony that was attempting to capitalize on the success of Crosby, Stills, Nash, and Young. Although the song and album did well, it wasn’t until their third album that they were considered to reach their peak.



Wishbone Ash - Valediction (1971)

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Lyrics:

Breathing is a sin, they say
‘Loneliness’ is the price to pay
Sad for you, I go once more
I'll dry my eyes on a distant shore

No way of freezing your rising tide
No way of keeping you by my side
Like a bird, I'll fly high
Guarding over this love of mine

Room of trust
A room of fears
A room of laughter with a few sweet tears
There we lay that sunny dawn
Calm but helpless as it lingered on

No way of breaking the march of time
No way of keeping our love sublime
Like a bird, I'll fly high
Watching over this love of mine

Many times we hurry by
Lose our problems in a knowing smile
Many days were swept along
Left unnoticed as our love grew strong

Knowing that each of us would always know
Believing one of us will never go
Like a bird, I'll fly high
Watching over this love of mine

Andwella's Dream - Man Without a Name (1969)

Coming out of Nothern Ireland, this band was originally known as The Method. The core of the band was Dave Lewis, who provided lead vocals, guitar, keyboards, and close to all of the songwriting. When they moved to London in 1968, they changed their name to the one you see above. After the release of their first album, Love and Poetry, they changed their name to Andwella and went on to release two more albums before disbanding in 1972.

Coming off of the album Love and Poetry, this song is one of my favorite from a truly stellar album. If given the opportunity, be sure to listen to the whole album in its entirety. There are numerous wonderful tracks that capture the transition of psychedelic rock into the progressive rock of the seventies. If there was ever an album that should have garnered more attention upon its release, this is it. I give it a very high recommendation.



Andwella's Dream - Man Without a Name (1969)

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Lyrics:

Yesterday I was a young man
With a future hemmed with gold
And today I’m just a soldier
With no home to call my own

Sittin’ by myself
Playin’ my guitar
Tryin’ to pass the time away
If tomorrow’s goin’ to be like this
I might as well die today

I’m just a person
Who has never had a home
Had to fight all my life
Just to keep the things I own

And some people- they look down at me
As a man without a name
And tend to forget
That they came from the same place that I came

All my friends- they have forsaken me
I guess that’s how life goes
When you’re not an empty man
And you can’t buy fancy clothes

And last black man
One more town
That’s closed the gates for me
And destroyed two years of hard work
Set my breast ease free

I’m just a person
Who has never had a home
Had to fight all my life
Just to keep the things I own

And some people- they look down at me
As a man without a name
And tend to forget
That they came from the same place that I came
Woo!

I’m just a person
Who has never had a home
Had to fight all my life
Just to keep the things I own

And some people- they look down at me
As a man without a name
And tend to forget
That they came from the same place that I came
Yeah!

I’m just a person
Who has never had a home
I’ve had to fight all my life
Just to keep the things I own

Sittin’ by myself
Playin’ my guitar
Tryin’ to pass the time away
If tomorrow’s goin’ to be like this
I might as well die today

Pussy - Come Back June (1968)

Originally known as Fortes Mentum, this group released only one album in 1969 titled Pussy Plays. Ranging from cat meows and space sounds to heavy keyboard solos and guitar instrumentals, this group was surprisingly able to put out a good album. In 1968, before the album’s release, the group released a single with the A-Side “All of My Life” and the B-Side heard below.

As just mentioned, this song was the B-Side to their 1968 single release. Both songs were later included on their album for its 1969 release and this song was its opening track. Once you get past the cat’s meow, I’m hoping you’ll be as pleasantly surprised, as I was, with this unknown group’s great work.



Pussy - Come Back June (1968)

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Lyrics:

My world’s breakin’ in pieces
My world’s breakin’ in two
My heart’s breakin’ in pieces
My heart’s breakin’ in two

Come back, June
Come back, June

My world’s breakin’ in pieces
My world’s breakin’ in two
My heart’s breakin’ in pieces
My heart’s breakin’ in two

Come back, June
Come back, June
Come back, June

Come back, June
Come back, June
Come back, June

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)

Yes - Every Little Thing (1969)

Primarily remembered for their progressive rock hits such as “I’ve Seen All Good People” throughout the ‘70s, this band was formed in 1968. They briefly brought in the Koobas’ drummer, Tony O’Riley, in late ’68, before begging Bill Bruford to return after having left to go to college. By 1972, Bruford had left the band again, this time to join King Crimson, and was replaced by the former Plastic Ono Band drummer Alan White. The group had featured numerous members, briefly disbanded in 1981, and has since reunited with various members swapping in and out.

This song, written by Paul McCartney in the home of Jane Asher (and credited to Lennon/McCartney), was originally recorded by The Beatles for their 1964 album, Beatles for Sale. This version of the song is a unique cover featuring a long opening instrumental, a quick “Day Tripper” reference at the two minute mark, and an overall more “rock ballad” approach.



Yes - Every Little Thing (1969)

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Lyrics:

When I’m walking beside her
People tell me I'm lucky
Yes, I know I'm a lucky guy
I remember the first time
I was lonely without her
Can't stop thinking about her now

Every little thing she does
She does for me, yeah
And you know the things she does
She does for me

When I'm with her I'm happy
Just to know that she loves me
Yes, I know that she loves me now
There is one thing I'm sure of
I will love her forever
'cause I know love will never die

Every little thing she does
She does for me, yeah
And you know the things she does
She does for me

Every little thing she does
She does for me, yeah
And you know the things she does
She does for me

When I'm with her I'm happy
Just to know that she loves me
Yes, I know that she loves me now
There is one thing I'm sure of
I will love her forever
'cause I know love will never die

Every little thing she does
She does for me
And you know the things she does
She does for me

Every little thing
Every little thing
Every little thing
Every little thing