Top Secret

April 14, 2018 Show Notes

  

Steve’s Folk – April 14, 2018 RRHOF Nonperformers

I am happy to say that my hometown of Parma is within our terrestrial broadcast range. Hi, kids.

See My Friends

Mo Ostin is known as the artist's friend and one of a very small cadre of music executives who were trusted by recording artists in developing and encouraging creativity, and who put credence into risk-taking.

Ostin signed the likes of Frank Sinatra, Jimi Hendrix, the Sex Pistols and Red Hot Chili Peppers. He was at Warner Bros. Records for thirty-two years, twenty-five of them as chief executive officer. In the late 1950s, Frank Sinatra tried to buy Verve Records. Verve was eventually sold to MGM Records, but Sinatra was so impressed by the company's artists and management style that when he decided to form his own company in 1960, Reprise Records, he hired Mo to head it.

Reprise faltered despite good work, possibly due to Sinatra's edict that the label was not to sign rock and roll acts. Reprise was sold to Warner Bros. Records in 1963. Ostin knew he had to jump on the rock revolution. His first significant rock signing was the Kinks. The group promptly had six top 40 U.S. singles by the end of 1965. Ostin learned to trust his instincts, which led to him signing artists such as Jimi Hendrix.

By the mid-1970s, the Warner group, including Atlantic and Elektra, was number one in the record industry. 


A stopover in Bombay, India, during the band's Australian and Asian tour had led Davies to write the song "See My Friends", released as a single in July 1965.[43] This was an early example of crossover music, and one of the first pop songs of the period to display the direct influence of traditional music from the Indian Subcontinent.[43] Davies had written "See My Friends" with a raga feel after hearing the early morning chants of local fishermen.[44] Music historian Jonathan Bellman argues that the song was "extremely influential" on Davies' musical peers: "And while much has been made of the Beatles' 'Norwegian Wood' because it was the first pop record to use a sitar, it was recorded well after the Kinks' clearly Indian 'See My Friends' was released."[43] Pete Townshend of the Who was particularly affected by the song: "'See My Friends' was the next time I pricked up my ears and thought, 'God, he's done it again. He's invented something new.' It was a European sound rather than an Eastern sound but with a strong, legitimate Eastern influence which had its roots in European folk music."[45] In a widely quoted[43][45][46] statement by Barry Fantoni, 1960s celebrity and friend of the Kinks, the Beatles and the Who, he recalled that it was also an influence on The Beatles: "I remember it vividly and still think it's a remarkable pop song. I was with the Beatles the evening that they actually sat around listening to it on a gramophone, saying 'You know this guitar thing sounds like a sitar. We must get one of those. Mo was inducted into the Rock and Roll Hall of Fame in 2003.

Know You Got to Run

Country Girl

Ahmet Ertegun  was best known as the co-founder and president of Atlantic Records, and for discovering and championing many leading rhythm and blues and rock musicians. He also wrote classic blues and pop songs, and served as the chairman of the Rock and Roll Hall of Fame and museum, located in Cleveland, Ohio. Ertegun is easily one of the most significant figures in the modern recording industry.

In 1946 Ertegun became friends with Herb Abramson, a dental student and A&R man for National Records, and they decided to start a new independent record label for gospel, jazz, and R&B music, Atlantic Records. In 1949, after 22 unsuccessful record releases, Atlantic had its first major hit with Stick McGhee's "Drinkin' Wine Spo-Dee-O-Dee". The company expanded through the 1950s, with Jerry Wexler and, later, Ertegun's brother Nesuhi on board as partners. Hit artists that recorded on Atlantic included Ruth Brown, Big Joe Turner, The Clovers, The Drifters, The Coasters and Ray Charles.


In, the late 60s, Atlantic Records also held the rights to recordings by Stephen Stills and, after negotiating with David Geffen who, in turn was negotiating with Clive Davis at Columbia Records to transfer the rights to David Crosbyand Graham Nash to Atlantic Records, he signed Crosby, Stills and Nash[12] and convinced the trio to allow Neil Young to join them on one of their tours, thereby founding Crosby, Stills, Nash and Young. Ahmet was inducted into the Rock and Roll Hall of Fame in 1987.

Not fade Away 

IN 1965, TOM WOLFE FAMOUSLY DUBBED PHIL SPECTOR AMERICA’S FIRST TYCOON OF TEEN. Great Britain in the 1960s had its own version with Andrew Loog Oldham. Similarly eccentric, Oldham sported a one-of-a-kind mix of flamboyance, fashion, attitude, chutzpah, vision and business smarts. As co-manager of the Rolling Stones from May 1963 to September 1970, and founder and co-owner of Immediate Records from 1965 to 1970, he helped shaped the future of rock, and certainly turned the music industry in the United Kingdome on its head. Along the way, between ages of 19 and 23, he produced some of the greatest records in rock and roll history, leading Billboard to describe him as one of the top producers in the world, and Cashbox to declare him as a musical giant.

In January 1963, at 19, he started doing PR for the Beatles, and within a few weeks had scored the coup of getting the Fab Four into Vogue. 

Record Mirror’s Pete Jones first told Oldham about an extraordinary six-piece group called the Rollin’ Stones, who were causing weekly pandemonium at the Crawdaddy Club in the Richmond Station Hotel. On Saturday, April 21,1963, Oldham took the 45 minute tube ride to see what all the fuss was about. “I’d never seen anything like it,” he would later write. “All my preparations, ambitions and desires had just met their purpose…Everything I’d done up until now was preparation for this moment. I saw and heard what my life, thus far, had been for.”

Oldham approached Decca’s Dick Rowe – still smarting from having turned down the Beatles – and landed the Stones a recording contract at a higher royalty rate than the four Liverpudlians had received from EMI.


In early 1964, Oldham suggested the group cover Buddy Holly’s “Not Fade Away.” The result: a Number Three hit. Andrew was inducted into the Rock and Roll Hall of Fame in 2014.

Johnny B. Goode

Lou Adler has had a long and successful career that has extended from the music business to the film industry.

He founded two record labels, Dunhill Records and Ode Records, and he managed several artists, including Jan and Dean, Carole King and the Mamas and the Papas. He produced The Rocky Horror Picture Show (1975) and the Cheech and Chong films, and has also been a songwriter and record producer.

He began his career as co-manager with Herb Alpert of the California surf group Jan and Dean. In 1964 Adler split with Alpert and founded Dunhill Records. With his songwriting team of Barri and Sloan, Dunhill scored a major hit with Barry McGuire’s “Eve of Destruction,” which reached Number One in 1965. Adler then signed a young group called the Mamas and the Papas, and they scored six Top Five hits in 1966 and 1967.”


Adler then sold Dunhill to ABC Records and formed a new label, Ode Records. The new company had a mammoth international hit with Scott McKenzie’s summer-of-love anthem “San Francisco (Be Sure to Wear Flowers in Your Hair).” That same year Adler was one of the producers of the Monterey International Pop Festival. The festival was a watershed event in rock history, helping break the careers of Janis Joplin, the Who and Jimi Hendrix in America. Lou was inducted into the Rock and Roll Hall of Fame in 2013.

Just One Smile

Before the advent of rock and roll, the term producer wasn’t even part of the recording-industry vocabulary.

“No one really knew how to make a record when I started,” Jerry Wexler has said. “You simply went into the studio, turned on the mike and said play.” However, with the proliferation of independent record labels in the 1950's came a new breed of hands-on music-industry entrepreneurs. Among the most influential and important of these was Wexler at Atlantic Records.

His entree into the music business came at Billboard magazine, where he worked as a reporter and helped change the name of the black-music charts from “Race Records” to “Rhythm & Blues.” He joined Atlantic founders Ahmet and Nesuhi Ertegun in 1953 and began producing the company’s major rhythm & blues artists at all-night recording sessions that, in hindsight, were historic in their scope and impact on popular music. Wexler’s efforts at Atlantic helped bring black music to the masses—and in so doing built a significant and lasting musical bridge between races.

In the Sixties, Wexler helped raise soul music to a position of prominence by linking such singers as Aretha Franklin and Wilson Pickett with Southern house bands in Memphis and Muscle Shoals.

Dusty in Memphis is the fifth studio album by English singer Dusty Springfield. She recorded the album at American Sound Studio in Memphis with a team of musicians and producers that included Jerry Wexler.

The recording was a challenge for Wexler. In his book Rhythm and the Blues, Wexler wrote that out of all the songs that were initially recorded for the album, "she approved exactly zero." For her, he continued, "to say yes to one song was seen as a lifetime commitment.

Dusty in Memphis was released by Atlantic Records on 31 March 1969 in the United States and 18 April in the United Kingdom.[17] The album was a commercial failure in both countries, only reaching number 99 on the American album charts and failing to chart altogether on the British Top 40. According to music journalist Peter Robinson, its failure stalled Springfield's career rather than revive it, although the record eventually became "a popcultural milestone [and] timeless emotional reference point" for listeners who discovered it in second-hand shops.


Dusty in Memphis has frequently been named one of the greatest albums of all-time. Robert Christgau called it "a pop standard and classic", predicting in his 1973 column for Newsday it would be "the kind of record that will sell for years because its admirers need replacement copies, and it is the perfect instance of how a production team should work. Jerry was inducted into the Rock and Roll Hall of Fame in 1987.

Baby Come On Home During the Dusty in n the newly formed Led Zeppelin group. She knew the band's bass player John Paul Jones, who had backed her in concerts before. Without having ever seen them and largely on Dusty's advice,[6] Jerry Wexler signed a deal of $200,000 with them. At the time, that was the biggest deal of its kind for a new band.

"Baby Come On Home" was recorded during sessions for the band's debut album but remained unreleased until 1993, when it was included on the compilation Boxed Set 2. The track stems from an old master reel labelled 'Yardbirds. October 10, 1968' (Led Zeppelin were called the "New Yardbirds" during their first months of existence). The master tape went missing for a number of years and allegedly turned up in a refuse bin outside Olympic Studios, following renovations in 1991. The song was originally recorded under the title "Tribute to Bert Berns", in honour of the American songwriter and producer who had died in December 1967.

Bert co-wrote this with Robert and Jimmy.


On this track, Jimmy played guitar through a Leslie speaker and John Paul Jones played piano and a Hammond organ.

Piece of My Heart 

Speaking of Bert Berns, Bert was an American songwriter and record producer of the 1960s. A pioneer of 1960s rock and soul, Berns made numerous contributions to popular music, including "Twist and Shout", "Piece of My Heart", "Brown Eyed Girl" (as a producer), "Here Comes the Night", "Hang On Sloopy", "Under the Boardwalk" and so many others. A documentary film titled BANG! The Bert Berns Story, co-directed by Bert Berns' son Brett Berns and Bob Sarles, premiered at the 2016 SXSW Film Festival[6] to great acclaim.

Berns's early work with Solomon Burke brought him to the attention of Atlantic label chiefs Ahmet Ertegün and Jerry Wexler. In 1963, Berns replaced Jerry Leiber and Mike Stoller as the staff producer at Atlantic. More about them in a coupe minutes.

In 1965, Berns formed his own record label, BANG Records. BANG Records was founded with his Atlantic Records partners, with the label's name derived from the initials of each of their respective personal names—in order, Bert Berns, Ahmet Ertegün, Nesuhi Ertegün, and Gerald (Jerry) Wexler. BANG was home to such artists as the McCoys ("Hang on Sloopy"), the Strangeloves ("I Want Candy"), Them's ex-lead singer Van Morrison("Brown Eyed Girl"), and, most notably, Neil Diamond ("Solitary Man" and "Cherry Cherry").


With BANG Records releasing predominantly rock and roll, Berns formed Shout Records in 1966 as an outlet for his greatest passions of R&B and soul music. One of his last songs, "Piece of My Heart," was covered shortly thereafter by Big Brother and the Holding Company, which the then unknown Janis Joplin fronted. The original version of "Piece of My Heart" was recorded by Aretha Franklin's older sister Erma in 1967 for producer Bert Berns' Shout label with the same song on both sides of the 7” vinyl single.[1][2] The song reached number 10 on the R&B charts. Bert was inducted into the Rock and Roll Hall of Fame in 2016.

I Who have Nothing

Only in America

Did I mention Lieber and Stoller? I sure did. Jerry Leiber and Mike Stoller have written some of the most spirited and enduring rock and roll songs: “Hound Dog” (originally cut by Big Mama Thornton in 1953 and covered by Elvis Presley three years later), “Love Potion No. 9” (the Clovers), “Kansas City” (Wilbert Harrison), “On Broadway” (the Drifters), “Ruby Baby” (Dion) and “Stand By Me” (Ben E. King).

Their vast catalog includes virtually every major hit by the Coasters. All totaled, Presley recorded more than twenty Leiber and Stoller songs. Leiber and Stoller advanced rock and roll to new heights of wit and musical sophistication. They were particularly influential during rock and roll’s first decade, beginning with the original recording of “Hound Dog” in 1953 and continuing through to the Drifters’ “On Broadway” in 1963. After enjoying a wildly successful run at Atlantic in the late Fifties and early Sixties, Leiber and Stoller made their final and most successful attempt at running their own record label in 1964. Red Bird Records.


Here’s a couple later tunes, the 1st from 1966 and the 2nd from 1967. Lieber an Stoller were inducted into the Rock and Roll Hall of Fame in 1987.

We Gotta Get Out of This Place

That last song was written by Leiber & Stoller, and two other RRHOF nonperformers inductees Barry Mann and Cynthia Weil. The original lyrics for “Only in America” tackled segregation and racism, making it rather too controversial for the Drifters, whose version of the song remained unreleased. The version we just played with amended lyrics became a #25 hit for Jay and the Americans. 

It’s estimated that Mann and Weil’s songs are responsible for the sale of 200 million records. They’ve received 76 “Million-Air” awards from BMI (Broadcast Music, Inc.), denoting airplay of 1 million or more. “You’ve Lost That Lovin’ Feelin’,” the blue-eyed soul classic by the Righteous Brothers, is radio’s most-played song of all time, with 14 million airplays.

In the early Sixties, Mann and Weil settled into their writing partnership and married life. They worked in the Brill Building at Aldon Music - a hybrid of the first names of its founders, music-business legends Al Nevins and Don Kirshner. 

Mann recalled those heady, chaotic days in their essay for The Brill Building Sound box set: “It was insane. Cynthia and I would be in this tiny cubicle, about the size of a closet, with just a piano and a chair; no window or anything. We’d go in every morning and write songs all day. In the next room Carole [King] and Gerry [Goffin] would be doing the same thing, and in the next room after that, Neil [Sedaka] or somebody else.”


Their composition “We Gotta Get Out of This Place,” a #13 hit for Britain’s Animals, became an inadvertent antiwar anthem when soldiers and protesters adopted it during the Vietnam era. Barry and Cynthia were inducted into the Rock and Roll Hall of Fame in 2010.

Sometime in the Morning

So Much Love/Underture (IF)

Wasn't Born to Follow (IF)

Gerry Goffin got to know Carole King when they began listening to Chuck Berry, Little Richard and Jerry Lee Lewis, leading to a rock and roll romance. In the evenings Goffin and King began writing songs. Finances were a powerful incentive to collaborate - all the more after their daughter Louise birth born March 23, 1960. The couple shared an instinct for classic pop song construction. High school friend Neil Sedaka got them an audition with Don Kirshner, Kirshner offered a guaranteed advance against royalties of $1000 a year, to be doubled if Aldon renewed the deal for a second year and tripled it if for a third. The rest is history.

Carole had a gift for arrangement, knowing how to build a song to the hook through subtle chord manipulation and instrumental counterpoint. To help sell her songs, she began low cost demos to demonstrate her ideas to the producers . These demos were so good that often the producer only had to copy them with the proper instrumentation to have a hit record.

Kirshner decided that Goffin & King were capable of running a record label and put them in charge of Dimension Records. By 1964 they had come up with another twenty three hits, but their best work was behind them and the British Invasion had begun.

However Goffin & King were heroes to these English groups. The Beatles recorded "Chains" and McCartney was quoted as saying he wished he could write as well. 


Here are the Monkees, halfway between the Byrds and the Beach Boys. Gerry and Carole were inducted into the Rock and Roll Hall of Fame in 1990.

Peter Gunn Theme

His various roles included music publisher, music director, record-company executive and TV producer and host. Kirshner protégé Neil Diamond declared, “The music business never had a better supporter.” He started out writing songs and ad jingles with Bobby Darin. In 1958, Kirshner cofounded Aldon Music, the top music publisher of the Brill Building era, with partner Al Nevins. Kirshner had a knack for finding and nurturing talented songwriters and for matching songs with singers. Time magazine called Kirshner “the Man with the Golden Ear.”

Songwriting teams that worked for Aldon included Carole King and Gerry Goffin, Barry Mann and Cynthia Weil, and Neil Sedaka and Howard Greenfield. He also published songs written by Jerry Leiber and Mike Stoller, Burt Bacharach and Hal David, and Jeff Barry. By 1962, there were 18 songwriters on Aldon’s payroll.

In 1972, he worked on ABC’s In Concert, and in 1973, he launched Don Kirshner’s Rock Concert, a late-night live-music show that remained on the air for eight years. 

With its long-form live performances, as compared to rehearsed, often lip-synced performances that were the staple of earlier television shows like Shindig!, it was a new direction for pop music presentation. 


On April 14, 2012, Don Kirshner was inducted into the Rock and Roll Hall of Fame.

I Can Hear Music

River Deep Mountain High

Speaking of Jeff Barry, In 1964 alone, Jeff and his wife saw 17 of their compositions make the pop charts. However, that was just the tip of the iceberg, as the duo composed hundreds of songs recorded by a variety of artists during their relatively brief but prolific union. Between them, they wrote 25 songs that went gold or platinum. Jerry Leiber and Mike Stoller united them professionally that same year, giving them an office at their Trio Music headquarters in the Brill Building. 


After their separation, Ellie and Jeff continued a professional association for a while, cowriting “I Can Hear Music” for the Ronettes, and a spectacular flop (“River Deep-Mountain High,” which only reached Number 88). The inexplicable failure of that song, a Barry-Greenwich-Spector epic sung with volcanic intensity by Tina Turner, caused producer Phil Spector to temporarily retire. Ellie and Jeff were inducted in 2010.

Apricot Brandy

Go Back

Black Roses

Jac Holzman is one of the true visionaries of the music industry.

He founded Elektra Records, an independent label that nurtured some of the most unique folk and rock talents of the age, from Judy Collins, Phil Ochs, Fred Neil and Tim Buckley to the Doors, the Stooges, MC5 and Love. Holzman was integrally involved with the label from its founding in 1950 until his departure in 1973. Elektra represented a total commitment on Holzman’s part. “Elektra was what I did 24 hours a day,” he told Goldmine in 2006. “I dreamed Elektra, and I did nothing else for my life for those 23 years.”

With the signing of the Paul Butterfield Blues Band in 1965, Holzman expanded Elektra into realms of electric music, including blues, rock and psychedelia. Butterfield’s group, which included guitarists Mike Bloomfield and Elvin Bishop, combined those styles—synthesizing them with elements of Eastern music, to boot—on their 1966 tour de force, East-West.


In its determined pursuit of the cutting edge, Elektra signed some of contemporary music’s most groundbreaking acts in the latter half of the Sixties. Establishing a presence in Los Angeles, Elektra signed Love, the Doors (its biggest act of any kind) and beloved cult bands like Clear Light, Crabby Appleton and Rhinoceros. Jac was inducted into the RRHOF in 2011.

Watchtower

Dino’s Song

"This is Tom Donahue and I'm here to play phonograph records." With that sign-on, Tom Donahue defined "underground" FM radio in the late '60s.

Tom Donahue is called is the “Father of Progressive Radio,” and for good reason; he played music from different generations with his own opinions sprinkled throughout the set. His authoritative yet contrarian persona was beloved by San Francisco listeners.

Tom pioneered “free-form” radio on the largely ignored FM band and revolutionized radio broadcasting in America. A Rolling Stone article that he wrote in 1967 bore the headline, “AM Radio Is Dead and Its Rotting Corpse Is Stinking Up the Airwaves.” As Rolling Stone noted in 1969, “Donahue was the moving force behind the transition of KMPX-FM into the country’s first full-time album-cut, hip-sounding station.”

Donahue wrote a 1967 Rolling Stone article titled "AM Radio Is Dead and Its Rotting Corpse Is Stinking Up the Airwaves", which also lambasted the Top Forty format. He subsequently took over programming for a foreign-language station KMPX and changed it into what is considered to be America's first alternative "free-form" radio station. The station played album tracks chosen by the DJs on the largely ignored FM band. This one move introduced progressive radio to the U.S. and the underground-rock-radio revolution had begun. 

In 1968 he moved from KMPX to KSAN, where he encouraged deejays to program their own shows with music from different eras and genres and to build sets around themes, interspersed with political commentary. Hmm, that sounds like an interesting format.

I guess you could say I’m a disciple. This set is dedicated to Tom. Tom was inducted in 1996.


Here’s a couple of bands he broke in San Francisco.

Don’t Make Promises

Deep Water


While he was a disc jockey at Top Forty station KYA in San Francisco, Donahue formed a record label. Autumn Records with Sly Stone as staff producer. But Autumn's biggest act was one that Donahue discovered, produced, recorded, and managed, The Beau Brummels, which he later sold to Warner Bros. Records. He also opened a psychedelic nightclub (Mothers on Broadway in San Francisco), and produced concerts at the Cow Palace, the Oakland Auditorium and. He produced the last public appearance of The Beatles on August 29, 1966 at Candlestick Park.

Trivia Contest

Winner receives a FREE Steve's Folk T-shirt. Answer must be emailed by 12 midnight, September 7, 2018.


What BAND was the first band to BUY a Moog Synthesizer?

August 25, 2018 Show Notes

   

The Psychedelic era was the time of social, musical and artistic change influenced by psychedelic drugs, occurring between the years of 1965–69[1] or the early 1960s to the mid-1970s.[2] Psychedelic drug use encouraged unity, the breaking down of boundaries, the heightening of political awareness, empathy with others, and the questioning of authority.

Writers who explored the potentials of consciousness exploration in the psychedlic era included Alan Watts, Timothy Leary, Ralph Metzner, and Ram Dass among others; an important journal of the time was The Psychedelic Review

Confluences of technology and drug use. 4 to 8 to 16 track, analog to digital, increased use of exotic instruments (sitar, flute, effects-laden keyboards such as the Hammond B3), increased markets for avant-garde music such as FM radio, the hippie movement, underground and radical politics, antiwar fervor, a radical shift in the social fabric with youth rebellion at an alltime high.

1967. The Summer of Love was also the summer that spawned psychedelia.

The Moog synthesizer began to gain wider attention in the music industry after it was demonstrated at the Monterey International Pop Festival in June 1967. Electronic music pioneers Paul Beaver and Bernie Krause bought one of Moog's first synthesizers in 1966 and had spent a fruitless year trying to interest Hollywood studios in its use for film soundtracks. In June 1967 they set up a booth at the Monterey festival to demonstrate the Moog, and it attracted the interest of several of the major acts who attended, including the Byrds and Simon & Garfunkel.[14] As the Moog company's sales representatives on the US West Coast,[15] and being among the very few musicians who had been able to master the complex system, Beaver and Krause played a key role in popularizing the Moog III in rock music and in film and television soundtracks.[16][17] After Monterey, the pair enjoyed a steady stream of session work in Los Angeles with their Moog customers and, as the duo Beaver & Krause, a recording contract of their own.[18][19] On the East Coast, Robert Moog's sales representative and business partner was Walter Sear,[20] who also sold large numbers of the instrument in the late 1960s.[21]

The first rock recordings to feature the Moog synthesizer were the songs on Mort Garson's project The Zodiac: Cosmic Sounds, released in May 1967. The Moog subsequently appeared on albums recorded during the Summer of Love era, usually with Beaver or Krause's participation. Among these albums were Strange Days by the Doors (released in September 1967, e.g. the opening track, "Strange Days"),[22] Pisces, Aquarius, Capricorn, & Jones, Ltd. by the Monkees (November 1967, e.g. "Daily Nightly", "Star Collector"),[23] The Notorious Byrd Brothers by the Byrds (January 1968, e.g. "Space Odyssey"),[24] and Simon & Garfunkel's Bookends (April 1968, e.g. "Save the Life of My Child"). According to author Mark Brend, the Byrds' October 1967 single "Goin' Back" was the first pop or rock single to feature a Moog part, which was played by Paul Beaver.

Elaborate studio effects are often used, such as backwards tapes, panning the music from one side to another of the stereo track, using the "swooshing" sound of electronic phasing, long delay loops, and extreme reverb.[8] In the 1960s there was a use of electronic instruments such as early synthesizers and the theremin.[9][10]Later forms of electronic psychedelia also employed repetitive computer-generated beats

Basic Blues Magoos (1968) -- the final long-player with the lineup of Ralph Scala (keyboards), Ronnie Gilbert (bass), Emil "Peppy" Thielheim (guitar), Mike Esposito (lead guitar) and Geoffrey Daking(drums) -- is arguably their best and easily most progressive outing. Perhaps this can partially be credited to the combo's retreat from creating in the comparatively uninspired environs of a studio. Instead, they essentially cocooned themselves into their legendary Bronx, New York digs, which at one time had been inhabited by none other than Gram Parsons. The autonomy paid off, as did their sizable influence from the U.K.-derived mod and freakbeat scenes, kick-started no doubt by a recent tour with the Who.


As the title might suggest, "Presidential Council on Psychedelic Fitness" is a bit of an indulgence. Sadly, Basic Blues Magoos failed to join their earlier LPs on the charts, as it is debatably their most solid effort.

"Homburg" was the rock band Procol Harum's follow-up single to their initial 1967 hit "A Whiter Shade of Pale". Written by pianist Gary Brooker and lyricist Keith Reid, "Homburg" lyrics contains the same surreal, dream-like imagery and feelings of resignation and futility as in the debut single. The music also features Matthew Fisher'srich and deep Hammond organ, but the piano and guitar have bigger places in the overall sound.[citation needed] The theme is not as clearly Bach-like as in "A Whiter Shade of Pale"; nevertheless, the single was, on its release, criticised for being too similar to its predecessor.[2]


The word Homburg refers to the famous Homburg hat, manufactured in Bad Homburg in Germany.

Max Frost And The Troopers were a fictional group created for the 1968 hippie-exploitation movie, Wild In The Streets. Frost was actor Christopher Jones (more interestingly, the Troopers’ drummer was a young Richard Pryor). Their role in the film was to gain voting rights for 14-year-olds. Frost is elected president of the USA at the movie’s climax, and he orders everyone over 30 into concentration camps, where they are forced to take LSD. His band’s songs were equally absurd semi-political rants (‘14 Or Fight’) save for one bona fide folk-punk classic, ‘Shape Of Things To Come’. Written by Barry Mann and Cynthia Weil, the song was actually recorded by a band called the 13th Power. However, it was released under the name Max Frost And The Troopers to capitalize on the movie’s success with the youth market, and eventually reached number 22 in the USA.

Forever Changes is the third studio album by the American psychedelic rock band Love. It was released 

by Elektra Records in November 1967 and would be the final album by the original band, as subsequent albums featured leader Arthur Lee backed by a variety of new players.

Forever Changes failed to achieve commercial success when it was first released in 1967, but it has since become recognized as one of the finest albums ever, ranking 40th on Rolling Stone magazine's 2003 list of The 500 Greatest Albums of All Time,[3] being inducted into the Grammy Hall of Fame in 2008 as well as being added to the National Recording Registry in 2012.

According to legend, the house that the members of Love lived in had a red telephone, although the song lyrics do not relate to this. "The Red Telephone" is built on a set of folk-inspired chords.[1] The song has been compared to Syd Barrett-era Pink Floyd. Themes of the song include race, imprisonment, and death.[2] It contains a harpsichord and 12-string guitar, and has an ominous feel. "Sometimes my life is so eerie," Lee sings, but then inverts the dark mood with "and if you think I'm happy / Paint me white."


According to legend, Love's communal house had a red telephone, which the band members supposedly threw across the room when it rang at inopportune times. Another legend is that this song is about the White House "alert/hot line" telephone. Either way, it's pretty hard to relate those two things to what the song is about. Arthur Lee's song from this period never really "said" anything, but they were always a painting of his state of mind, and in this area, "The Red Telephone" is exquisite. Paranoia, dread, society, and death are the main topics here. Built around a very loose set of folk-inspired chords, it's one of the more engaging and interesting songs on Love's Forever Changes album.

George Harrison wrote "Blue Jay Way" after arriving in Los Angeles on 1 August 1967 with his wife Pattie Boyd[2] and Beatles aides Neil Aspinall and Magic Alex Mardas.[3] The purpose of the trip was to spend a week with Derek Taylor,[4] the Beatles' former press officer and latterly the publicist for California-based acts such as the Byrds and the Beach Boys.[5] The visit also allowed Harrison to reunite with his sitar tutor, Ravi Shankar,[6] whose Kinnara School of Music[7] and upcoming concert at the Hollywood Bowl he helped publicise.

The title of the song came from a street named Blue Jay Way, one of the "bird streets" high in the Hollywood Hills West area overlooking the Sunset Strip,[10] where Harrison had rented a house for his stay.[11] Jet-lagged after the flight from London, he began writing the composition on a Hammond organ[12][13] as he and Boyd waited for Taylor and the latter's wife, Joan, to join them.[14] The home's location, on a hillside of narrow, winding roads, together with the foggy conditions that night, created the backdrop for the song's opening lines: "There's a fog upon L.A. / And my friends have lost their way."[15] Harrison had almost completed the song by the time the Taylors arrived,[16] around two hours later than planned.[17]


The week with Taylor proved to be important for the direction of the Beatles.[18] At the height of the Summer of Love and the popularity of the band's Sgt. Pepper's Lonely Hearts Club Band album,[19] Harrison, Taylor and their small entourage visited the international "hippie capital" of Haight-Ashbury, in San Francisco,[20] on 7 August.[21] Harrison had expected to encounter an enlightened community engaged in artistic pursuits[22][23] and working to create a viable alternative lifestyle;[24][25] instead, he was disappointed that Haight-Ashbury appeared to be populated by drug addicts, dropouts and "hypocrites".[26][27] Following his return to England two days later,[21] Harrison completed work on "Blue Jay Way" at his home in Esher,[12] and he shared his disillusionment about Haight-Ashbury with John Lennon.[25] The Beatles then publicly denounced the popular hallucinogen LSD (or "acid") and other drugs[4] in favour of Transcendental Meditation under Maharishi Mahesh Yogi, whose seminar in Bangor in Wales the band attended in late August.[28][29] While noting Harrison's role in "inspir[ing] the West's mainstream acquaintance with Hindu religion" through his leadership in this aspect of the Beatles' career, author Ian MacDonald describes "Blue Jay Way" as a "farewell to psychedelia", just as "It's All Too Much", which the Beatles recorded in May 1967,[30] became Harrison's "farewell to acid"

"In Another Land" is a song by the Rolling Stones, and the third track on their album Their Satanic Majesties Request. In America, London Records released it as a single a week before the album.

Written by bassist Bill Wyman, "In Another Land" is the only Rolling Stones song to feature Wyman on lead vocals, and one of only three Rolling Stones songs he wrote (the others being "Downtown Suzie" and the unreleased "Goodbye Girl"). The single was released in December 1967, credited to Bill Wyman, with the Stones' "The Lantern" as the B-side.[1] It peaked at number 87 on the US singles chart.[citation needed]



The song was recorded on a night when Wyman had shown up to the studio and found that the session had been cancelled. Feeling frustrated that he had potentially wasted time in driving to the studio, engineer Glyn Johns asked him if he had anything that he'd like to record. "I'd been messing with this song. It was a bit ... what I thought was kind of spacy, you know ... a bit kind of Satanic Majesties-like. And psychedelic in a way.

Lyrically, Wyman stated that "The idea for the song is about this guy who wakes up from a dream and finds himself in another dream. The song describes events that transpire in a dreamlike state:

We walked across the sand
And the sea and the sky and the castles were blue
I stood and held your hand
And the spray flew high and the feathers floated by
I stood and held your hand[2]

Johns showed the song to Mick Jagger, Keith Richards, and Brian Jones, who all liked it and decided to include it on the record.

The musicians on the song are Wyman on lead vocals, with Steve Marriott of the Small Faces on guitar and backing vocals, Nicky Hopkins on keyboards, Charlie Watts on drums, and Jagger adding backing vocals.[1]

At the conclusion of the track as heard on the album, Wyman himself can be heard snoring. He was unaware this had been tagged onto his song until he first played the completed album. He learned later that one night when he had fallen asleep in the studio, Jagger and Richards miked him up and recorded him snoring, and stuck it onto his track as a joke. This does not appear on the single.

Richie Unterberger of AllMusic writes:


Without a doubt, no Rolling Stones album – and, indeed, very few rock albums from any era – split critical opinion as much as the Rolling Stones' psychedelic outing. Many dismiss the record as sub-Sgt. Pepper posturing; others confess, if only in private, to a fascination with the album's inventive arrangements, which incorporated some African rhythms, Mellotrons, and full orchestration. What's clear is that never before or after did the Stones take so many chances in the studio…In 1968, the Stones would go back to the basics, and never wander down these paths again, making this all the more of a fascinating anomaly in the group's discography.

Ogdens' Nut Gone Flake is the fourth studio album and first concept album by the English rock band Small Faces. Released on 24 May 1968, the LP peaked at number one on the UK Album Charts on 29 June, where it remained for a total of six weeks.[1] The title and the design of the distinctive packaging was a parody of Ogden's Nut-brown Flake, a brand of tobacco that was produced in Liverpool from 1899 onwards by Thomas Ogden.

To promote the album, Immediate Records issued an advertisement that parodied the Lord's Prayer. This caused an uproar in the British press, and outraged readers wrote in to voice their anger. It read:

Small Faces
Which were in the studios
Hallowed by thy name
Thy music come
Thy songs be sung
On this album as they came from your heads
We give you this day our daily bread
Give us thy album in a round cover as we give thee 37/9d
Lead us into the record stores
And deliver us Ogdens' Nut Gone Flake
For nice is the music
The sleeve and the story
For ever and ever, Immediate


Regarding the advert, Steve Marriott said, "We didn't know a thing about the ad until we saw it in the music papers. And frankly we got the horrors at first. We realize that it could be taken as a serious knock against religion. But on thinking it over, we don't feel it is particularly good or bad. It's just another form of advertising. We're not all that concerned about it. We're more concerned in writing our music and producing our records."


In Search of the Lost Chord is a concept album around a broad theme of quest and discovery, including world exploration ("Dr. Livingstone, I Presume"), music and philosophy through the ages ("House of Four Doors"), lost love ("The Actor"), knowledge in a changing world ("Ride My See-Saw"), higher consciousness ("Legend of a Mind"), imagination ("The Best Way to Travel"), space exploration ("Departure"), and spiritual development ("Voices in the Sky"). The mysterious "lost chord" of the title is revealed to be the mantra "Om" (in the last stanza of Graeme Edge's poem "The Word"). According to keyboardist Mike Pinder, the title was inspired by Jimmy Durante's humorous song, "I'm the Guy that Found the Lost Chord," itself a reference to "The Lost Chord" by Sir Arthur Sullivan.

Electric Music for the Mind and Body is Country Joe and the Fish's debut album. Released in May 1967 on the Vanguard label, it was one of the first psychedelic albumsto come out of San Francisco.


Their full-length debut is their most joyous and cohesive statement and one of the most important and enduring documents of the psychedelic era, the band's swirl of distorted guitar and organ at its most inventive. In contrast to Jefferson Airplane, who were at their best working within conventional song structures, and the Grateful Dead, who hadn't quite yet figured out how to transpose their music to the recording studio, Country Joe & the Fish delivered a fully formed, uncompromising, and yet utterly accessible -- in fact, often delightfully witty -- body of psychedelic music the first time out. Ranging in mood from good-timey to downright apocalyptic, it embraced all of the facets of the band's music, which were startling in their diversity: soaring guitar and keyboard excursions ("Flying High," "Section 43," "Bass Strings," "The Masked Marauder"), the group's folk roots ("Sad and Lonely Times"), McDonald's personal ode to Grace Slick ("Grace"), and their in-your-face politics ("Superbird"). Hardly any band since the Beatles had ever come up with such a perfect and perfectly bold introduction to who and what they were, and the results -- given the prodigious talents and wide-ranging orientation of this group -- might've scared off most major record labels. Additionally, this is one of the best-performed records of its period, most of it so bracing and exciting that one gets some of the intensity of a live performance. The CD reissue also has the virtue of being one of the best analog-to-digital transfers ever issued on one of Vanguard Records' classic albums, with startlingly vivid stereo separation and a close, intimate sound.

Ask any scholar of mid-to-late '60s British pop to list the three top releases from the Summer Of Love: They’ll undoubtedly give you Sgt Pepper and argue the toss between, say, Ogden's Nut Gone Flake and Piper At The Gates Of Dawn. But nine out of ten will also include the Zombies' Odessey And Oracle. To this day it remains a word-of mouth obscurity. But by those who know it’s held in such regard that the remaining living members of the band are to perform it in its entirety this year, on the fortieth anniversary of its release

Fractals are psychedelic. Twenty-foot-tall praying mantises are psychedelic. Wearing other people's glasses is a little psychedelic. But despite pervasive positioning as a halcyon-era psych-pop masterpiece, The Zombies' 1968 pop epic Odessey & Oracle is not so far-out. While Odessey and Oracle is definitely one of the great rediscovered works of the psychedelic era—a still under-appreciated record of beauty and foresight-- albums like Love's Forever Changes, Van Dyke Parks' Song Cycle, and even the Beach Boys' Pet Sounds, expanded minds with wider sonic palettes and more daring song structures. The Zombies' four-track recordings subsist on the band's unique style and succinct composition: carefully crafted vocal melodies, bold chord changes and winding resolutions, all colored by heavenly harmonies and strings.


Though it may not represent the sprawling, tripped-out experimentation of their times, The Zombies' unique brand of lyric wit and daring arrangement expanded the limits of pop. Odessey and Oracle stands as the band's fully realized statement of intent, the parting shot from one of the few originals in the devolving tail-end of the 1960s.

MYSTERY BAND Best known in the U.S. for their hard rock material, Golden Earring have been the most popular homegrown band in the Netherlands since the mid-'60s, when they were primarily a pop group. The group was founded by guitarist/vocalist George Kooymans and bassist/vocalist Rinus Gerritsen, then schoolboys, in 1961; several years and personnel shifts later, they had their first Dutch hit, "Please Go," and in 1968 hit the top of the Dutch charts for the first of many times with "Dong-Dong-Di-Ki-Di-Gi-Dong," a song that broadened their European appeal. By 1969, the rest of the lineup had stabilized, with lead vocalist and multi-instrumentalist Barry Hay and drummer Cesar Zuiderwijk. They experimented with their style for several years before settling on straightforward hard rock initially much like that of the Who, who invited them to open their 1972 European tour. Golden Earring signed to the Who's Track label, which released a compilation of Dutch singles.


They toured America opening for the Doobie Brothers and Santana, but the lack of a follow-up ensured that their popularity remained short-lived in America, even though they remained a top draw in Europe over the rest of the 1970s. The band experienced a brief American comeback in 1982 with the album Cut and the Top Ten single "Twilight Zone," but as before, Golden Earring could not sustain their momentum and faded away in the U.S. marketplace.

What's in a name? More than any other band, the Golliwogs suggest a group's handle really can make a difference, since they labored in obscurity for three years before achieving massive success months after the quartet changed their name to Creedence Clearwater Revival.

In 1961, Tommy Fogerty & the Blue Velvets released a pair of singles for the Oakland, California-based label Orchestra Records, but neither was a success. 

the Blue Velvets approached Fantasy in hopes of landing a new record deal. Fantasy co-owner Max Weiss saw potential in the group and signed them up, but believed they needed a new name, and after toying with the Visions, Weiss and his associates declared the band would now be known as the Golliwogs. The Golliwogs released their first single on Fantasy, "Don't Tell Me No Lies" b/w "Little Girl (Does Your Momma Know)," in November 1964; the disc made no impression on the charts.

The group came up with Creedence Clearwater Revival, and their debut album (which included new versions of both "Porterville" and "Walking on the Water") appeared in July 1968; CCR's versions of "Suzie Q" and "I Put a Spell on You" were both solid hits, and at long last the quartet was a success. 


The final song on side three is Harrison's "Long, Long, Long", part of the chord progression for which he took from Bob Dylan's "Sad Eyed Lady of the Lowlands".[121] MacDonald describes the song as Harrison's "touching token of exhausted, relieved reconciliation with God" and considered it to be his "finest moment on The Beatles".[65] The recording session for the basic track was one of the longest the Beatles ever undertook, running from the afternoon of 7 October through the night until 7 am the next day. McCartney played Hammond organon the track, and an "eerie rattling" effect at the end was created by a note causing a wine bottle on top of the organ's Leslie speaker to resonate.

"Daily Nightly" is a song by Michael Nesmith of The Monkees, which appeared on their fourth album, Pisces, Aquarius, Capricorn & Jones Ltd., in 1967, and was featured in two second-season episodes of their television series, "A Fairy Tale" and "Monkees Blow Their Minds".

The lyrics are a veiled commentary on the Sunset Strip curfew riots,[1] which occurred in Hollywood, California in late 1966. The record was arguably the very first rock recording to feature the Moog synthesizer, programmed by musician Paul Beaver and played by Micky Dolenz, who was the third owner of a Moog; the fills he played were described as "spacey UFO noises", and were characteristic of psychedelic music, which was then in vogue. The Moog sections were significantly different between the stereo and mono mixes of the track. Dolenz also provided the vocals. A music video in black and white was made for the series, with Dolenz miming his performance.

For PAC&J, Nesmith had written a song inspired by the Sunset Strip “hippie riots,” in which young music lovers protested a constraining curfew. “Daily Nightly” is more poetic than anything else, with no chorus or bridge, and tumbling verses that feature lines like “a world that glitters glibly” at “the ones who’ve found the questions but no answers.” As with “The Girl I Knew Somewhere,” Nesmith turned the vocals on his own composition over to Dolenz, who had a higher register. Dolenz brought his Moog into the recording, kicking off the track with strange, space-age sounds that highlight the surreal feel of the song; in the video, his love-bead-wearing bandmates just sit around and watch Dolenz play with his favorite new musical toy. “Daily Nightly” is widely considered the first use of the Moog on a rock recording, or at least the first one that most people heard, because it was broadcast on a national TV show. The Moog soon found its way onto albums like The Beatles’ Abbey Road, The Notorious Byrd Brothers by The Byrds, and Simon & Garfunkel’s Bookends. For The Monkees, the experimental track helped move them from their Pre-fab Four status into the latter, trippy part of the decade on an album that showed that they offered more musical resonance than reruns.


Prior to Spooky Tooth, four of the band's five founding members had performed in the band Art (formerly known as The V.I.P.s). Following the dissolution of Art, the members' of that band's final line-up (guitarist Luther Grosvenor, vocalist Mike Harrison, drummer Mike Kellie, and bassist Greg Ridley) joined forces with American keyboardist/vocalist Gary Wright in October 1967 and formed Spooky Tooth. Gary Wright is probably best known for his 1976 hit songs "Dream Weaver" and "Love Is Alive", and for his role in helping establish the synthesizer as a leading instrument in rock and pop music. Wright's breakthrough album, The Dream Weaver (1975), came after he had spent seven years in London as, alternately, a member of the British heavy rock band Spooky Tooth and a solo artist on A&M Records. While in England, he played keyboards on former Beatle George Harrison's All Things Must Pass triple album (1970)

"Strange Days" is a song by The Doors. It was released in 1967 and is the first track on the album of the same name. According to a review at AllMusic by Tom Maginnis, the song seems to find lead singer Jim Morrison "pondering the state of the then emerging hippie youth culture and how they are perceived by mainstream or 'straight' society". A visit to New York City by The Doors inspired Jim Morrison to write "Strange Days" and other songs on the Strange Days album, the band's second.

In the Doors biography No One Here Gets Out Alive, "Strange Days" is described as "one of the earliest examples of the Moog synthesizer in rock". The synth was hooked up with the help of Paul Beaver and played by vocalist Morrison.


Strange Days was recorded during tour breaks between May and August 1967 at Sunset Sound Recorders in Hollywood (the same studio as their first LP). In contrast to the 1966 sessions, producer Paul A. Rothchild and engineer Bruce Botnick employed a cutting-edge 8-track recording machine. The protracted sessions allowed the band to experiment in the studio and further augment their otherworldly sound with unusual instrumentation and sonic manipulation. According to Botnick, this approach was inspired by the band obtaining an advance copy of the Beatles' Sgt. Pepper's Lonely Hearts Club Band album and "absolutely flipping out" at what they heard. Botnick said that, following the Beatles' example, the Doors were determined to pursue "new techniques of recording. No holds barred."

The Notorious Byrd Brothers is the fifth album by the American rock band the Byrds, and was released in January 1968, on Columbia Records.[1][2] The album represents the pinnacle of the Byrds' late-60's musical experimentation, with the band blending together elements of psychedelia, folk rock, country, electronic music, baroque pop, and jazz.[3][4][5] With producer Gary Usher, they made extensive use of a number of studio effects and production techniques, including phasing, flanging, and spatial panning.[6][7][8] The Byrds also introduced the sound of the pedal steel guitar and the Moog modular synthesizer into their music, making it one of the first LP releases on which the Moog appears.

One of Crosby's songwriting contributions to the album, "Tribal Gathering", was, for many years, assumed to have been inspired by the Human Be-In: A Gathering Of Tribes, a counter-culture happening held in San Francisco's Golden Gate Park on January 12, 1967.[4][29] However, in recent years, Crosby has revealed that the song was actually inspired by another hippie gathering held at Elysian Park near Los Angeles on March 26, 1967.[45][46] Played in a jazzy, 5/4 time signature, the song's vocal arrangement was greatly influenced by the music of the Four Freshmen, a vocal group that Crosby had admired as a youngster.



A late-'60s psychedelic group out of Houston TX, Fever Tree is most famous for their single "San Francisco Girls," with its dramatic melody, utopian lyrics, and searing fuzz guitar. Most of their best material, ironically, was written by their over-30 husband-wife production team, Scott and Vivian Holtzman, who had previously written material for Tex Ritter and the Mary Poppins soundtrack. These odd bedfellows produced some fairly distinctive material with more classical/Baroque influences and orchestral string arrangements than were usually found in psychedelic groups. Their pretty, wistful ballads (enhanced on their first album by arranger David Angel, who had also worked on Love's classic Forever Changes) endure better than their dirge-like fuzz grinders, which epitomize some of the more generic aspects of heavy psychedelia. Releasing four albums (the third of which, Creation, included guest guitar by future ZZ Top axeman Billy Gibbons).

The band that became Quicksilver Messenger Service originally was conceived as a rock vehicle for folk singer/songwriter Dino Valente (b. Nov. 7, 1943, d. Nov 16, 1994), author of "Get Together." Living in San Francisco, Valente had found guitarist John Cipollina (b. Aug. 24, 1943, d. May 29, 1989) and singer Jim Murray. Valente's friend David Freiberg (b. Aug. 24, 1938) joined on bass, and the group was completed by the addition of drummer Greg Elmore (b. Sep. 4, 1946) and guitarist Gary Duncan (b. Sep 4, 1946). As the band was being put together, Valente was imprisoned on a drug charge and he didn't rejoin Quicksilver until later.


They debuted at the end of 1965 and played around the Bay Area and then the West Coast for the next two years, building up a large following but resisting offers to record that had been taken up by such San Francisco acid rock colleagues as Jefferson Airplane and the Grateful Dead. Quicksilver finally signed to Capitol toward the end of 1967 and recorded their self-titled debut album in 1968.

In January 1968, after some initial success in Britain with their debut album Mr. Fantasy, Dave Mason had departed from the group. He produced the debut album by the group Family, containing in its ranks future Traffic bass player Ric Grech, while Traffic went on the road.[3] In May, the band had invited Mason back to begin recording the new album.


Mason ended up writing and singing half of the songs on the album (including Crying to be Heard), but making scant contribution to the songs written by Jim Capaldi and Steve Winwood. His flair for pop melody had always been at odds with the others' jazz ambitions, evidenced by the dichotomy seen for the songs on this album, and by October he was again out of the band.[4] He would return one more time for a tour and album in 1971 to run out the band's contract.

The Piper at the Gates of Dawn is the debut studio album by the English rock band Pink Floyd, and the only one made under founding member Syd Barrett's leadership. The album, named after the title of chapter seven of Kenneth Grahame's The Wind in the Willows and featuring a kaleidoscopic cover photo of the band taken by Vic Singh, was recorded from February to May 1967 and released on 4 August 1967.[3] It was produced by Beatles engineer Norman Smith and released in 1967 by EMI Columbia in the United Kingdom and Tower in the United States, in August and October respectively.

The release of the album in the US was timed with the band's tour of the US. In the UK, no singles were released from the album, but in the US "Flaming" was offered as a single. The US version of the album has a rearranged track list, and contains the UK non-album single, "See Emily Play". Two of the album's songs, "Astronomy Domine" and "Interstellar Overdrive", became long-term mainstays of the band's live set list, while other songs were performed live only a handful of times.

Since its release, the album has been hailed as one of the best psychedelic rock albums. In 1973, it was packaged with the band's second album, A Saucerful of Secrets, and released as A Nice Pair to introduce new fans to the band's early work after the success of The Dark Side of the Moon.

Architecture students Roger Waters, Nick Mason and Richard Wright and art student Syd Barrett had performed under various group names since 1962, and began touring as "The Pink Floyd Sound" in 1965.[4] They turned professional on 1 February 1967 when they signed with EMI, with an advance fee of £5,000.[5][6][7] Their first single, a song about a kleptomaniac transvestite titled "Arnold Layne", was released on 11 March to mild controversy, as Radio London refused to air it.[5][8]

About three weeks later, the band were introduced to the mainstream media.[nb 1] EMI's press release claimed that the band were "musical spokesmen for a new movement which involves experimentation in all the arts", but EMI attempted to put some distance between them and the underground scene from which the band originated by stating that "the Pink Floyd does not know what people mean by psychedelic pop and are not trying to create hallucinatory effects on their audiences."[9][10] The band returned to Sound Techniques studio to record their next single, "See Emily Play", on 18 May.[11][12] The single was released almost a month later, on 16 June, and reached number six in the charts.[13][14]


Pink Floyd picked up a tabloid reputation for making music for LSD users. The popular broadsheet News of the World printed a story nine days before the album's recording sessions began, saying that "The Pink Floyd group specialise in 'psychedelic music', which is designed to illustrate LSD experiences."[15] Contrary to this image, only Barrett was known to be taking LSD; authors Ray B. Browne and Pat Browne contend that he was the "only real drug user in the band".

You Are Your Only Mystery


The Baroque Monthly were a renamed version of the Columbus, Ohio quintet originally called The Jaguars. A garage band of extraordinary skill and dexterity, they incorporated sounds that recalled the most sophisticated elements of the Beau Brummels' and the Zombies' music. The new group name was really a one-off effort for one record (&"You Are Your Only Mystery"), but it stuck for this classic piece of psychedelia, authored by lead singer/lead guitarist Dan Masys

Nothing to see here

 

Move along

 

that's a good boy/girl