The Stampeders - Sweet City Woman (1971)

In 1964, Rich Dodson, Kim Berly, and three others created a band known as The Rebounds in Calgary, Alberta. The group shuffled members a bit in 1965 (notably picking up Ronnie King) and renamed themselves The Stampeders. The following year, in 1966, they finally downsized to a trio, solidifying their most famous lineup, and relocated to Toronto, Ontario. All three members of the group provided vocals, but Rich Dodson played guitar, Ronnie King played bass, and Kim Berly played the drums.

Unless you were in Canada in the early 1970s (when and where the group had multiple top-ten hits), there’s a fair chance you’re only familiar with this band from their signature song, heard below. Written by Dodson and released on their debut album, Against the Grain, in 1971, the song reached number eight on the American Billboard Hot 100 chart, where it shuffled around for sixteen weeks. The song was such a hit that the group’s American distributers renamed their album to Sweet City Woman for its stateside release. The group sustained success (in Canada, at least) through the mid-1970s.



The Stampeders - Sweet City Woman (1971)

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Lyrics:

Well, I'm on my way
To the city lights
To a pretty face that shines her light on the city nights
And I gotta catch a noon train
I gotta be there on time
Oh, it feels so good to know she waits at the end of the line

Sweet, sweet city woman
I can see your face
I can hear your voice
I can almost touch you

Sweet, sweet city woman
Oh, the banjo and me, we got a feel for singing

Yeah, yeah

Bon, c'est bon, bon, bon, c'est bon, bon
Bon, c'est bon, bon, bon, bon, bon
Bon, c'est bon, bon, bon, c'est bon, bon
Bon, c'est bon, bon, bon, bon, bon

So long, ma
So long, pa
So long, neighbors and friends

Like a country mornin’
All smothered in dew
Ah, she's got a way to make a man feel shiny and new
And she sing in the evening
Old, familiar tunes
And she feeds me love and tenderness and macarons

Sweet, sweet city woman
I can see your face
I can hear your voice
I can almost touch you

Sweet, sweet city woman
Oh, the banjo and me, we got a feel for singing

Sweet, sweet city woman
Oh, she's my sweet, sweet, sweet, sweet city woman

Sweet, sweet city woman
Oh, my sweet, sweet, sweet, sweet city woman

Everybody
Sweet, sweet, sweet, sweet city woman
Sweet, sweet, sweet, sweet city woman
Sweet, sweet, sweet, sweet city woman
Sweet, sweet, sweet, sweet city woman
Sweet, sweet, sweet, sweet city woman
Sweet, sweet, sweet…

Andwella's Dream - Shades of Grey (1969)

At the age of sixteen, Dave Lewis joined his first band, known as Method, in his native home of Northern Ireland. After the band relocated to London the following year, 1968, they renamed themselves to what you see above.

By 1969, the group had released their first album, Love and Poetry, with all of its source material having been written and arranged by Lewis before the age of eighteen. The album featured Lewis on vocals, guitar, and keyboards, Nigel Smith on bass and vocals, and Gordon Barton on drums. Although the album failed to be commercially successful, it has since garnered more popularity and praise.

By 1970, the group had once again renamed themselves (this time, to just Andwella), and Lewis, remaining a member, simultaneously began a solo career. Andwella went on to release two more albums, and Lewis himself continued as a singer-songwriter, opening for such notable acts as Don McLean and Fairport Convention.

To hear another wonderful track from Love and Poetry, be sure to check out our previous post Andwella's Dream - Man Without a Name (1969).



Andwella's Dream - Shades of Grey (1969)

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Lyrics:

I used to play a game that stayed the same
When grey was grey every day
I used to sleep alone in a place called home
I used to own a car

Then I went away one sunny day
Now I see blue instead of grey
And I think of things in a better way
‘cause grey is not grey

And I have many friends
Who are proud to spend their days with me
And we sing life's song under the morning sun
Grey is never grey

And I play the game as best I can
Where every man equals any man
And I think of things in a better way
‘cause grey is not grey

I used to play a game that stayed the same
When grey was grey every day
I used to sleep alone in a place called home
Used to own a car

Then I went away one sunny day
Now I see blue instead of grey
And I live my life in a better way
‘cause grey is not grey

The Kingsmen - Louie Louie (1963)

Although there were quite a few bands to don the “Kingsmen” moniker in the early sixties, it was the stardom of this particular band which forced all of the others to change their name. Formed in Portland, Oregon in 1959 by Lynn Easton and Jack Ely, the group is most associated with their biggest hit, “Louie Louie,” heard below. And although the band failed to reach the same success they had had with that hit, they were not, as popularly thought, one hit wonders. They had a handful of songs on the Billboard Hot 100, albeit none of them as widely successful as their first monster of a hit.

The song itself was written by Richard Berry in 1955. Berry’s version was recorded as a B-Side and released in 1957. It became a local success on the West Coast, selling around 40,000 copies. But, after failing to find success with any follow-up records, Berry sold the rights to his song for $750 to Flip Records in 1959.

In 1962, The Kingsmen would often hear a rendition of the song by Rockin’ Robin Roberts, who was signed to Flip Records, from the jukebox at the Pypo Club in Seaside, Oregon. And since the song always seemed to get the crowd on its feet, The Kingsmen began to incorporate it into their live performances. What they didn’t realize was that they had misheard the song a bit and, thus, made it unique in their own future recording.

Speaking of their recording of the song, The Kingsmen’s version was recorded on April 6, 1963 during a one-hour recording session at the Northwestern Inc. studios. Because they had practiced the song for 90 minutes prior to going into the studio, the band was somewhat tired, lazy, and irritated. Making matters worse, everyone was crammed into a single room with only three microphones to record simultaneously, causing the lead singer, Jack Ely, to have to uncomfortably “lean backward and scream” rather than sing, in order to be heard over the instruments being played around him.

All in all, it was these complications which wound up giving the song its character. The combination of Ely’s tired voice (and him having braces) resulted in his infamously slurred lyrics- slurred lyrics which caused suspicious parents and radio station managers to accuse the song’s lyrics of being potentially “obscene.” And although the song’s lyrics were entirely innocuous, there were enough public outcries that the FBI began an investigation. Luckily for the members of the group, no charges were filed once the harmless nature was revealed. Perhaps the most ironic bit, however, is that if you listen carefully (specifically at 0:54), you can hear the band’s drummer, Lynn Easton, yell the F-word after fumbling his drumsticks, which he admitted to much later in life.

Ultimately, the song reached number two on the charts; it has been covered well over 1,600 times; and it is known as one of, if not the, most iconic garage rock songs in the history of recorded music.



The Kingsmen - Louie Louie (1963)

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Lyrics:

Louie Louie
Oh no, me gotta go
Yeah, yeah, yeah, yeah, yeah, I said
Louie Louie, oh baby
Me gotta go

A fine little girl waits for me
Catch a ship across the sea
Sail that ship about, all alone
Never know I make it home

Louie Louie, no, no, no, no
Me gotta go, oh no
I said, Louie Louie
Oh baby, I said we gotta go

Three nights and days I sailed the sea
I think of that girl, oh, constantly
On that ship, I dream she's there
I smell the rose in her hair

Louie Louie, woah no
Sayin’ me gotta go
I said Louie Louie, oh baby
I said me gotta go

Okay, let's give it to 'em, right now!

See-

See Jamaica, the moon above
It won't be long, me see me love
Take her in my arms again
I tell her I'll never leave again

Louie Louie, oh no
Sayin’ we gotta go
Yeah, yeah, yeah, yeah, yeah
I said Louie Louie, oh baby
Sayin’ we gotta go

I said we gotta go now

Let’s go on out of here

Let's go!

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

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

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 Rumors - Hold Me Now (1965)

Formed around 1963, this Los Angeles-based band was founded by keyboardist, lead singer, and sometimes-manager Ben Turner. The group was rounded out by guitarist (and ex-member of The Ventures) Ed Burkey, bassist Larry Scher, and drummer Norm Prinsky. The band only recorded one single, “Hold Me Now” b/w “Without Her,” which had been recorded at Gemcor Records. (Gemcor was a small, local label owned by Bill Bell which only pressed three singles in total before closing their doors.)

The band toured Los Angeles and the surrounding areas, often competing in “battle of the bands” tournaments and even being featured on local television programs. Somewhere in 1967 or 1968, disappointed in record sales, the band called it quits.

Heard below is the A-Side to the group’s only release, “Hold Me Now.” The music and lyrics were predominately written by the band’s Ben Turner, with some lyrical assistance by their drummer, Norm Prinsky. The song was originally released in June 1965 and has since been featured on numerous compilation albums, including Nuggets, Pebbles, and The Cicadelic Sixties.



The Rumors - Hold Me Now (1965)

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Lyrics:

I'm coming, baby
Coming home to you now
I'm running, baby
Running to be with you now
Ah, don't you know?
I'm gonna love you so
I need all your lovin'

After I went and left you, I was blue
I'm saving all my money for only you
I'm gonna' love you- love you 'til the day I die
I- you know what I've been doin', now

Around and around and up and down we go, baby
Around and around and up and down we go, baby
Around and around and up and down we go, baby
I need all your lovin'

Let's go!

Hold me, hold me, hold me, hold me, hold me, hold me, hold me now
All of the time

Hold me, hold me, hold me, hold me, hold me, hold me, hold me now
Hold me now
You'll be mine

Hold me, hold me, hold me, hold me, hold me, hold me, hold me now
You're so fine

I need all your lovin'
Right now!

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)

The Gentrys - Keep On Dancing (1965)

This band was formed in May 1963 by seven students at Treadwell High School in Memphis, Tennessee. Originally going by the name The Gents, the group had entered and placed in a number of band competitions throughout 1964. This led to the group getting a record deal from the local Youngstown Records in December of that same year and releasing their first single- a regional hit, titled “Sometimes”- in early 1965. Later in 1965, the group released their most successful song (heard below), which led to appearances on Shindig!, Hullaballo, Where the Action Is, and the 1967 movie It’s a Bikini World. The success of the song even led the band to tour and open for The Beach Boys and Sonny and Cher. Unfortunately, though, the group’s five follow-up singles were not well received, and the group disbanded in 1967. Notably, however, the band’s primary vocalist, Jimmy Hart, would go on to have a very successful career in the WWF (now WWE) throughout the 1980s and ‘90s.

Written by Allen Jones and Willie David Young, the song below was first recorded and released by a band known as The Avantis in 1963. The Gentrys’ cover of the song, released in 1965 and heard below, sold over a million copies and spent two weeks at number four on the Billboard Hot 100. It should be noted that for this particular song, the lead vocals were performed by the band’s guitarist, Larry Raspberry.

Also, the finished song was initially one minute and thirty seconds long. But, feeling that it was too short to receive significant commercial airplay, producers took the first forty seconds of the song and duplicated them at the end of the track. As a result, the final version of the song has a false ending at the 1:30 mark, followed by the exact same intro being heard for the next forty seconds, until it fades out and the song officially ends.



The Gentrys - Keep On Dancing (1965)

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Lyrics:

Keep on dancin’
Keep on doing the jerk right now
Shake it, shake it, baby
Come on and show me how you work

Now you’re in motion
Keep on- do the locomotion, yeah
Don’t worry, little babe
Shake it, shake it perfectly

Keep on dancin’ and a’prancin’
Keep on dancin’ and a’prancin’
Keep on dancin’ and a’prancin’

Keep on dancin’
Keep on doing the jerk
Shake it, shake it, baby
Come on and show me how you work

Keep on dancin’ and a’prancin’
Keep on dancin’ and a’prancin’
Keep on dancin’ and a’prancin’

Keep on dancin’ and a’prancin’
Keep on dancin’ and a’prancin’
Keep on dancin’ and a’prancin’

Keep on dancin’
Keep on doing the jerk right now
Shake it, shake it, baby
Come on and show me how you work

Now you’re in motion
Keep on- do the locomotion, yeah
Don’t worry, little babe
Shake it, shake it perfectly

Keep on dancin’ and a’prancin’
Keep on dancin’ and a’prancin’
Keep on dancin’ and a’prancin’...

Fleetwood Mac - Albatross (1968)

When a band has a history of nearly fifty years- such as this one does- their history can become quite complex and convoluted. Fleetwood Mac is predominately remembered in the United States by the body of work they released from 1975 through the early ‘90s, when the lineup featured their most well-known singer, Stevie Nicks. However, Nicks joined the band on New Year’s Eve in 1974, more than seven years after the band had first come together.

Originally, the band came together in July 1967 when Peter Green, Mick Fleetwood, and (a short while later) John McVie left John Mayall & the Bluesbreakers to form this new group. With the addition of guitarist Jeremy Spencer, the first true lineup had been solidified. The band got their name from a song they had recorded during some studio time while they were still in the Bluesbreakers; and, that song got its name from combining the surnames of Mick Fleetwood and a shortening of John McVie’s surname.

The song below was released as a single in November 1968, after the group had already released two studio albums and added an eighteen year old guitarist by the name of Danny Kirwan. The song was written by Peter Green with the assistance of Kirwan, who had only been in the group for a few months at that time. It was recorded without Jeremy Spencer, as he had a tendency not to work well with Green.

The song has been featured in multiple movies, documentaries, and as the introduction music for a British television program. It’s also regarded for heavily influencing David Gilmour’s (of Pink Floyd) playing style. The song is also noted for inspiring The Beatles’ Abbey Road song, “Sun King.”



Fleetwood Mac - Albatross (1968)

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Lyrics:

(instrumental)

The Remains - Heart (1966)

In 1964, at Boston University, four students from a dormitory across the street from Fenway Park in Kenmore Square decided to form a band. The lead singer and guitarist, Barry Tashian, and their keyboardist, Bill Briggs, were both from Westport, Connecticut. Their drummer, Chip Damiani, was from Wolcott, Connecticut. Their bassist, Vern Miller, was from Livingston, New Jersey.

It was when the band’s live acts began to accumulate groups of people lined all the way back to Fenway Park down the street that the band really took off locally. They were signed to Epic Records and released some singles that did well regionally. In 1965, the band relocated to New York City and made an appearance on The Ed Sullivan Show, furthering their stardom. In 1966, the band moved out to California, trying to tap into the west coast, and made an appearance on Hullaballoo. Their persistence and dedication paid off; but, unfortunately, for only a short period of time.

It was in 1966 that the band was made an offer to appear as an opening act for what would become The Beatles’ last tour. Though most members of the band were ready for the tour, it was their drummer Chip Damiani who, for one reason or another, decided to back out of the tour and quit the band. The group’s replacement (future Mountain drummer N.D. Smart) was skilled enough, but lacked the preparation and experience with his bandmates to fill the void that was left by Damiani. Though the group was able to get through the tour, they disbanded later that same year.

The song heard below was written by Georges Aber, Tony Hatch, and an uncredited Petula Clark. It was first recorded and released by Petula Clark in June 1965. The version heard below was recorded for the band’s only album, titled The Remains, and released to little ado in 1966 as the album's opening track.



The Remains - Heart (1966)

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Lyrics:

Heart
I can hear my heart
Every time we meet
Every time we part

When I'm in your arms
I can hear my heart
We kiss
And the rhythm starts

I can hear the beat, beat, beat
Every time you're here
What? Don't speak to me
'cause I just couldn't hear

I can hear the boom, boom, boom
Like a rhythm of a train
Like a thousand drums
There it comes again

Woah, what can I do now?
My heart is beating just for you

Yeah, my poor heart
Well, can't you see?
What you have started
Oh, what you're doing to me?

You gotta stop now
I'm going crazy
I’m going out of my head
Heart

You gotta stop now
I'm feeling hazy because I got it so bad

I'm so in love with you
Nothing I can do
And I'm gonna lose my heart to you

The Masters Apprentices - Wars or Hands of Time (1966)

This band was originally formed in 1964 under the name The Mustangs in Adelaide, Australia. Starting out as a surf outfit, the group transitioned into beat music after experiencing The Beatles’ June 1964 tour of Australia. Although members of the band would often be rotated out, the group managed to achieve immense popularity throughout Australia, making television appearances and regularly selling out concerts in neighboring cities. In late ’65, the band decided to rename themselves to “The Masters Apprentices” (sic), claiming to be the apprentices of legends such as Robert Johnson, Bo Diddley, and Chuck Berry.

By 1966, the band was offered a chance at a record deal with Astor Records, provided that they submitted a four-track demo. Only have three songs, members Mick Bower and Rick Morrison wrote the track “Undecided” in fifteen minutes. With another fifteen minutes, the track was recorded and finalized, meeting the requirements of a demo put forth by Astor.

By August 1966, the band had made their way to beat-burgeoning Melbourne in an effort to expand their musical reach. It was a few months later in October that they released their first single, featuring “Undecided” as the A-Side and “Wars or Hands of Time,” the song heard below, on its reverse. Thanks to local support from radio DJs, the single became a huge success in the coming months of 1967.

Written by the band’s Mick Bower, “Wars or Hands of Time” was the first anti-Vietnam song released in Australia. It was inspired by the fact that Australia had recently begun drafting young males for the Vietnam conflict in 1965. Since its release, the song has become an Australian classic and sold well worldwide.



The Masters Apprentices - Wars or Hands of Time (1966)

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Lyrics:

Though I have to go, I will be thinking of you
When I'm far away, try to remember what I said
The day I live, I’ll still be dreaming of your love

Wait for the clouds to pass your way
Wait for me; I'll be back some day

At dusk we said goodbye; you said you'd try hard not to cry
But I could feel a chill fall lonely on my shoulder
In the wind on the beach where someday I'll return

Wait for the clouds to pass your way
Wait for me; I'll be back some day

Wars or hands of time will not destroy our dreams of days
That are to come; our tears were shed with understanding
Don't be sad, I'll catch the wind on home to you

Wait for the clouds to pass your way
Wait for me; I'll be back some day

The Gants - Greener Days (1966)

If there was ever a small-time group that had the talent to hit the big time, it was these guys. Formed in 1963, The Gants had an impressive collection of original material and cover songs. Unfortunately for the members of the band, half of them were still in high school and under the pressure of their parents, making out-of-town performances and promotional appearances problematic. The other half of the band faces the same troubles, but for different reasons: they were enrolled in college and unable to drop out without facing getting drafted into the Vietnam conflict. When the band couldn’t make it to local promotions, the radio stations stopped giving them their local support. And when the support stopped rolling in, the band collapsed soon after.

Having been featured on A Bit Like You And Me two times prior, it’s no secret that this band has a lot of great songs. The song heard below was written for the band by their producer, David Gates, who would be a future member of the band Bread. Amid sending me an exclusive story via email, Sid Herring, the lead singer of The Gants, expressed to me that he was very proud of the way this song came out. When first released, it was backed with the B-Side “Just a Good Show.”



The Gants - Greener Days (1966)

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Lyrics:

As I write this letter
I hope you’re feelin’ better
Than I am as I sit here
Fightin’ back a tear
‘cause my mind keeps shiftin’
Back in time, it’ driftin’
To the days when you were near

Those were greener days
That we knew
Just me and you
Sharin’ the world together
But as they came, they went away
And our days of green
Turned into grey

So, I watch the sunrise
Hopin’ maybe your eyes
Will be shinin’ down on me
To brighten up my world
Like it once was, glowin’
When your face was showin’
Me the way to find our love

Those were greener days
That we had
It’s kinda too bad
They didn’t last forever
But, we’ll go on
Our separate ways
‘cause our greener days
Turned into grey

I better close and sign my name
It’s getting late
But don’t forget our chance
To twist the hands of fate

So the greener days
Will return
Deeper they’ll grow
With every spring rain of love
Rainbows will shine
You will be mine
And our days of green
Will never turn to grey

They’ll never fade away
They’ll never turn to grey
They’ll never fade away…

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…

Thunderclap Newman - Something in the Air (1969)

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

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

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



Thunderclap Newman - Something in the Air (1969)

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Lyrics:

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

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

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

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

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

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

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

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

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

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

The Standells - Try It (1967)

Formed in 1962, The Standells are often cold-heartedly labeled as a one-hit wonder. Although it’s true that their only majorly successful song was 1966’s “Dirty Water,” the band and its members still had quite an impact on the pop culture of the 1960s.

Band member Larry Tamblyn was and is the brother of Hollywood actor Russ Tamblyn (and thus the uncle of actress Amber Tamblyn). He was also a classmate and acquaintance of Ritchie Valens. The band's drummer Dick Dodd was an ex-Mouseketeer on The Mickey Mouse Club. He was also an ex-member of the surf bands The Bel-Airs (previously featured) and Eddie & The Showmen.

At one point, the band featured backing vocals by Cher while being produced by Sonny Bono. They also appeared in the movie Get Yourself a College Girl, as well as the television shows The Munsters, That Regis Philbin Show, American Bandstand, and Shindig!. And all of this was prior to “Dirty Water” in 1966. After “Dirty Water,” the band continued their success with “Sometimes Good Guys Don’t Wear White” and “Why Pick On Me” before hitting a brick wall in early 1967. The name of the brick wall was Gordon McLendon.

After the major success of “Dirty Water” and minor success of “Sometimes Good Guys Don’t Wear White” (which you can hear on our site) and “Why Pick On Me” in late 1966, the band had released “Try It,” and watched it grow in popularity. Unfortunately for the group, a radio mogul named Gordon McLendon had chosen this song, written by Marc Bellack and J. Levine, as his prime target in a national campaign to rid the music industry of “filth” and “dirty lyrics.” Our featured story below extrapolates more on the story, straight from the mouth of The Standells’ Larry Tamblyn himself. After reading what Larry had to say, you can listen to “Try It” below and come to your own conclusions.

---

A Special Edition post with Larry Tamblyn of The Standells!
Today's exclusive story comes from Larry Tamblyn, the organist of the garage rock legends, The Standells. Larry chose to share an interesting history regarding his band's song "Try It" from 1967.

A Bit Like You And Me and readers,

The song “Try It” was The Standells’ third single after “Dirty Water.” It was also featured on the album Try It – The Standells. We thought it would be our next hit. Billboard magazine agreed; they deemed the song as our next number one hit for The Standells, and I feel it would have been had it not been for Gordon McLendon.

McLendon was a very powerful man back then- the owner of the radio station KLIF in Dallas, TX. He also had many ties to right-wing politicians and was known to have been a friend of Jack Ruby, the man who killed Lee Harvey Oswald. Many people were frightened of McLendon. He had formed a committee for decency in record lyrics and felt the lyrics to “Try It” encouraged young girls to try sex. Conversely, the song actually had some of the tamest lyrics of many rock songs in those days, like "Let's Spend the Night Together" by The Rolling Stones.

But, McLendon decided to pick on The Standells (because we weren't as big as The Stones). He embarked on a national campaign, visiting major television news stations, and showing our record as an example of filthy record lyrics. Even though the record was the number one seller in many markets, including Los Angeles, most of the radio stations actually listened to McLendon and refused to play it. We investigated McLendon and, of course, discovered he was a major hypocrite. We even debated him on Art Linkletter's House Party, by most accounts defeating him handily; but, to no avail. The song died - and so did the group's popularity and hopes of another hit record.

You can find more details about McLendon on The Standells’ Facebook page. If you visit the photo library “Standells 1962-1969,” you’ll find an L.A. Free Press interview done with me.

Best,
Larry Tamblyn

As I told Larry, it's a real shame that guys like McLendon were out to make a name for themselves at the expense of bands like The Standells. Who knows what could have success could have sprung from the popularity of "Try It"? In my own personal research, I've read that the debate between The Standells and Gordon McLendon on Art Linkletter's Let's Talk segment of his show House Party was severely edited. The band supposedly defeated McLendon so badly in the debate, that the producers of the show heavily edited it to prevent the argument from being too one-sided when it aired.

To visit The Standells' webpage, click here.
To visit The Standells' Facebook page, click here.
To visit The Standells' Twitter page, click here.

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

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The Standells - Try It (1967)

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Lyrics:

Alright, baby
It’s alright
I’m gonna tell you somethin’ and you better listen

By the way you look I can tell that you want some action
“Action” is my middle name
Come over here, pretty girl
I’ll give you satisfaction
But two are needed for this game
I’ll give you sweet love you never had before, yeah
You think you’ve seen it all
But you don’t know what’s in store

Come on, try it (Yeah)
Try it (Yeah)
Try it (Yeah)
Try it (Yeah)

You look excited and you figure that it’s just a bluff
Don’t you dare walk away
I’ll get you, tough little chick, before you fall in love
Come here, girl, what do you say?
Just give the word and my good lovin’ will start
I’ll serve a feverish pitch that’s headed straight for your heart, yeah

Come on, try it (Yeah)
Try it (Yeah)
Try it (Yeah)
Try it, baby (Yeah)

Alright
You got me
Aw, you got me
Aw, come on

Girl, once you’ve made up your mind
You’re gonna see that I’m not lyin’

Come on, try it (Yeah)
Try it (Yeah)
Try it (Yeah)
Try it, baby (Yeah)
Try it (Yeah)
Aw, come on, try it (Yeah)
Oh, try it (Yeah)
Oh, try it (Yeah)
Come on, come on, come on (Yeah)
Come on, come on, come on

The Yardbirds - You're a Better Man Than I (1965)

It would take a lot of guts for a band to make their debut release a live album, but that’s exactly what The Yardbirds did. Already on their second guitarist, the band released Five Live Yardbirds with Eric Clapton in the UK on December 4, 1964. When it failed to sell, a US release was canceled. Their next album, For Your Love (June 1965), featured both Clapton (who quit in February 1965) and his replacement Jeff Beck on different tracks. By the time of the band’s third album, Having a Rave Up with the Yardbirds (November 1965), Clapton had long since been departed from the group. But because most of his work with the band had gone unreleased in the US and Having a Rave Up was going to be released in the US, the band decided to fill the back-side of their third album with select tracks from their debut album, featuring Clapton. The album became popular for its blues-rock tracks (the Eric Clapton tracks) and its dabbling in psychedelia (the Jeff Beck tracks).

The song heard below was the opening track to the band’s album Having a Rave Up with The Yardbirds. It featured Keith Relf on vocals, Jeff Back on lead guitar, Chris Dreja on rhythm guitar, Paul Samwell-Smith on bass, and Jim McCarty on drums. The song was co-written by brothers Mike Hugg (a founding member of Manfred Mann) and his brother Brian Hugg.



The Yardbirds - You're a Better Man Than I (1965)

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Lyrics:

Can you judge a man
By the way he wears his hair?
Can you read his mind
By the clothes that he wears?
Can you see a bad man
By the pattern on his tie?

Well then, mister, you're a better man than I
Yeah, mister, you're a better man than I
Oh, mister, you're a better man than I
Yeah, mister, you're a better man than I

Could you tell a wise man
By the way he speaks or spells?
Is this more important
Than the stories that he tells?
And call a man a fool
If for wealth he doesn't strive?

Well then, mister, you're a better man than I
Yeah, mister, you're a better man than I
Oh, mister, you're a better man than I
Yeah, mister, you're a better man than I

Can you condemn a man
If your faith he doesn't hold?
Say the color of his skin
Is the color of his soul?
Could you say that men
For king and country, all must die?

Well, mister, you're a better man than I
Yeah, mister, you're a better man than I
Oh, mister, you're a better man than I
Yeah, mister, you're a better man than I

The Puddin' Heads - Now You Say We're Through (1964)

At the forefront of this band was Denny Reed, the teenage performer who released innocent pop songs such as “A Teenager Feels It, Too,” “No One Cares,” and “I’m Comin’ Home” in 1960-1961. Reed was a big fan of Johnny Mathis and Bing Crosby in his youth, receiving much ridicule from his friends because of it. Although he predominately released material as a solo artist, he was briefly in the band The Puddin’ Heads.

I’m uncertain as to when this group was formed, but it was composed of members Denny Reed, John Greek, and Buddy Wayne. The song heard below, released in 1964, was the B-Side to the only single the band ever released. It was co-written by John Greek and “D. Russell,” backed with the A-Side “You Don’t Have to Be Lonely” on Catch Records, and never reached any success on the national charts. It's a polar opposite style which Reed had normally been heard singing. It's also quite unique for it's edgy sound, having been recorded in 1964.



The Puddin' Heads - Now You Say We're Through (1964)

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Lyrics:

Let me kiss you
Let me please you
You made me love you
Oh, how I miss you

And now you say we’re through
And now you say we’re through

You whisper sweet things
Life’s complete things
Now we’re parted
I’m broken-hearted

And now you say we’re through
And now you say we’re through

I never wanted you to leave me, darling
I cried a lot since you went away
I think about you every night
And I think of you every day

Let me kiss you
Let me please you
You made me love you
Oh, how I miss you

And now you say we’re through
And now you say we’re through

The Thoughts - All Night Stand (1966)

This band began in 1966 as the backing group behind the London artist known as Tiffany. While together, Tiffany and the Thoughts released two singles for Paralphone Records, “I Know” and “Find Out What’s Happening.” In late ’66, the band broke off on their own, signing with the independent label Planet Records. They kept their name and released their first single, heard below in September 1966. Although the band was reviewed favorably by critics, their record sales were only moderate. When the band broke up soon after, it was band member Peter Beckett who would go on to the most success. After being turned down a spot in Badfinger, Beckett would find success in a later band, Player, which had the soft rock hit song “Baby Come Back” in 1977.

This song was written by Ray Davies of The Kinks, who had been asked to write a song based on All Night Stand, which was a book by Thom Keyes. The song was written by Davies when a movie was in the works to be created, based on Keyes book, about an up and coming British beat band, loosely fashioned after The Beatles. There’s a good demo of Ray Davies performing this song if you search YouTube for it. As far as this band, they recorded two versions of the song. The first version, released in the UK, was a bit slower in tempo in comparison to their second version, a faster tempo released in the US. The version heard below is the upbeat US release.



The Thoughts - All Night Stand (1966)

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Lyrics:

All night stand
Been around, seen a thousand places
All night stand
Seen a good, half a million faces

Because I live this life
And I made it for myself
If you scandalize my name
Then you scandalize yourself

Because I'm not to blame
For the things that I've been doing
You all say that I'm bad
And I'll only end in ruin

All night stand
With a different girl each night
All night stand
With two hundred miles to ride

But, I won't give it up
As long as I can make the bread
When I do, I shall stop
Close my eyes and go to bed

And forget all the schnides
Of all people on my back
Once I'm free from these chains
I ain't never looking back

All night stand
Been around, seen a thousand faces, yeah
All night stand
Seen a good, half a million places, yeah

All night stand
I can't get these people off my back
All night stand
I said, “Ten percent for this and that”

All night stand
Trippin’ club and sweatin’ hard
All night stand
Where we’re goin’ and what we got
All night stand
All night stand
All night stand
All night stand
All night stand
All night stand
All night stand
All night stand