Tag: 1968

The Moody Blues – In Search of the Lost Chord

ARTIST: The Moody Blues 220px-In_search_of_the_lost_chord

TITLE: In Search of the Lost Chord



SINGLES: Voices in the Sky (#27 UK), Ride My See-Saw (#61 US, #42 UK


LINEUP: Justin Hayward, John Lodge, Mike Pinder, Ray Thomas, Graeme Edge

WHAT’S IT ALL ABOUT: The Moodys follow up their breakthrough with a very well arranged and played album that contains quite a bit of late 60’s philosophical hooey.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: Ditching the orchestra and using Mike Pinder’s mellotron and Roy Thomas’ windwoods for that ‘orchestra’ feel, The Moody Blues create a well-crafted album with great pop and rock elements.

“Ride My See-Saw” is first rate, and “Dr. Livingstone I Presume”, “The Best Way to Travel”, “Voices in the Sky”, and “Legend of a Mind” are great examples of a meld of progressive ideas in rock-and-roll. They share the stage with some tracks that are a bit…outlandish…and of that time. (I’m looking at you “House of Four Doors” and “Om”).

The lyrics are definitely of a time and place. Tributes to Timothy Leary and going to another plane of conscious thought (I guess) abound. Really, it’s best to kind of realize that this was a 1968 record for 1968 heads, and enjoy the tunes for what they are.

NOTES & MINUTIAE: The title was inspired by a Jimmy Durante song.

IS THERE A DELUXE VERSION: Yes, many with bonus tracks and other content.

GRADE A-: It’s sometimes ridiculous, but mostly enjoyable, and definitely transports you to 1968, man.

Blue Cheer – Outsideinside

ARTIST: Blue Cheer

TITLE: Outsideinside220px-Blue_cheer_outsideinside



SINGLES: Just a Little Bit (#92), Feathers From Your Tree, The Hunter

OTHER SONGS YOU MAY KNOW: They cover Satisfaction

LINEUP: Dickie Peterson, Leigh Stephens, Paul Whaley. Ralph Kellogg added the keyboards.

WHAT’S IT ALL ABOUT: Toning down the volume but not the drugs, the follow-up by Blue Cheer is surprisingly nuanced, especially in contrast to their bludgeon of a debut.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: Sure, there are a couple of songs that are loud just to be loud, but Blue Cheer’s second album is more than an excuse for deafness.

Starting out with the nuanced “Feathers From Your Tree” and the relatively mellow “Sun Cycle”, Blue Cheer is more in the psychedelic camp this time around. And even with some of the songs being loud, tracks like “Gypsy Ball” and “The Hunter” are more than just amp-cranking exercises.

They do stumble with a cover of “Satisfaction” which kind of sounds half-hearted, and “Come and Get It” is something that just thuds along with no remorse, but this is an overall better record that is more varied without alienating the fans of volume.

NOTES & MINUTIAE: It’s called Outsideinside since they recorded some tracks at Muir Beach in California and Pier 57 in NYC, along with using four actual studios.. Also soundman Peter Wagner is credited for co-writing three songs.

IS THERE A DELUXE VERSION: A remaster with one outtake, again. They didn’t waste much.

 GRADE B: There are a couple of stumbles here, but the good tracks are better. It’s also loud as heck at times, again.

Blue Cheer – Vincebus Eruptum

ARTIST: Blue Cheer 220px-BlueCheerVincebusEruptum

TITLE: Vincebus Erputum



SINGLES: Summertime Blues (#14)


LINEUP: Dickie Peterson, Leigh Stephens, Paul Whaley

WHAT’S IT ALL ABOUT: Loud, stoned band records loud album to listen to when stoned. Surprisingly it becomes a hit.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: A loud, feral version of “Summertime Blues” (the Eddie Cochran song) somehow becomes a #14 hit. This was the next step up from garage band music and the electric blues and bands like Blue Cheer, Vanilla Fudge, Iron Butterfly and Steppenwolf were exploring (along with some elements of the Who, Cream and others in the UK). Volume was the key.

And volume they gave. The blues were the basis, but volume was the main driver to the band. Guitarist Leigh Stephens used his amplification and distortion like a cudgel, hitting the listener over the head with pure force. Backed by bassist Dickie Peterson and drummer Paul Whaley, Stephens cranked it up. The other two weren’t shy in the sound department either.

Peterson was the ringleader, the singer, and the main lover of the blues (and of LSD and other substances). His vocals (more of shouts kinda following a melody of sorts) added to the noise equation.

Songs? Well, covering BB King, Eddie Cochran, and Mose Allison (no matter the volume and lack of finesse) shows good taste, and the originals are also loud and lumpen (though I kinda dig “Out of Focus” as it’s somewhat concise). This is more an artifact of proto-metal than anything, and most of us aren’t stoned enough to make sense of anything but the loudness.

NOTES & MINUTIAE: This was already the third (!) lineup of blue cheer, as they started as a trio, changed drummers, then beefed up to a six-piece before shedding the three that just came on board within months (including Peterson’s brother Jerre).

IS THERE A DELUXE VERSION: A remaster with one outtake.

 GRADE B: It’s loud, and not horrible, and deserves a place in rock history for being the first to be so loud and popular (beating Steppenwolf and Iron Butterfly by a few months…)

The Mamas & The Papas – The Papas & the Mamas

ARTIST: The Mamas & The Papas 220px-Cover_-_papas_and_mamas

TITLE: The Papas & The Mamas



SINGLES: Twelve Thirty (#20 US), Safe in My Garden (#53 US), Dream a Little Dream of Me (#12 US, #11 UK), For the Love of Ivy (#81 US)

OTHER SONGS YOU MAY KNOW: Probably not from this one.

LINEUP: Denny Doherty, Cass Elliot, John Phillips, Michelle Phillips. The Wrecking Crew provided the backing even though they moved studios

WHAT’S IT ALL ABOUT: It was a downer year for all and this record was not bright and happy. But it was better than the last one by far.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: Tensions were high within the group as they set about to record this album. John Phillips and Cass Elliot were feuding, the sessions for the album stalled out, and Elliot made plans to go solo.

Still, with all of this, the album aims high and mostly succeeds. “For the Love of Ivy” was a complex song with interlocking vocals. “Mansions” was another standout, and most of the second side was great but darker than their other material.

The times were changing here and the band was almost done. The public didn’t like their darker side and moved on. It less than three years, it was basically over.

NOTES & MINUTIAE: The trouble may have started when John Phillips installed a studio in his house, and he could record as he wished. Which meant he diddled around and the vocals took forever thanks to Phillip’s perfectionism.


GRADE A-: Though it wasn’t well received at the time, it’s aged a lot better than you’d expect.

Margo Guryan – Take a Picture

ARTIST: Margo Guryan 220px-Margo_Guryan_-_Take_a_Picture

TITLE: Take a Picture



SINGLES: Only promos

OTHER SONGS YOU MAY KNOW: Sunday Morning (a hit for Spanky & Our Gang)

LINEUP: Margo Guryan, Kirk Hamilton, Buddy Saltzman, John Hill, Paul Griffin, Phil Bodner

WHAT’S IT ALL ABOUT: A lost sunshine pop classic, released and then buried because she refused to tour.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: Margo Guryan’s child-like voice was perfect for sunshine pop, and her songs also fit that genre well. She had been a songwriter with songs placed with Spanky & Our Gang, Jackie DeShannon, Juilie London, and Bobby Sherman, and signed a solo deal with Bell Records.

Originally in the jazz scene, she moved over to pop after hearing “Gold Only Knows” and then began her pop songwriting career. Her demos got her signed to Bell, and this album came to fruition. Full of wistful melodies and lyrics, and sophisticated arrangements befitting her jazz roots, this album was a beautiful example of the potential of sunshine pop.

Yet Guryan did not want to tour, since her marriage to a jazz musician fell apart earlier and she didn’t want to be “owned” by others. So Bell said “FINE” and stopped promoting the album, letting it basically die on the vine.

That’s a shame, since this could have been a sunshine pop staple and had a couple of potential singles. Guryan still wrote and helped produce, but she never again recorded an album.

NOTES & MINUTIAE: Demo recordings were released in the 2000’s


GRADE A: At least this is in print. It still sounds fantastic.


Deep Purple – Shades of Deep Purple

ARTIST: Deep Purple 

TITLE: Shades of Deep Purple



SINGLES: Hush (#4 US, #58 UK)

OTHER SONGS YOU MAY KNOW: They cover Help and Hey Joe

LINEUP: Rod Evans, Jon Lord, Ritchie Blackmore, Ian Paice, Nick Simper

WHAT’S IT ALL ABOUT: First album from heavy psychedelic band features lots o’noodlin’.

 SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: After a short time together, Deep Purple entered the studio and put down the tracks for their debut record, and hit the jackpot in the US with their cover of the Joe South song “Hush”. But a telling sign was that half of the eight songs were covers, and “Mandrake Root” stole a lot from Jimi Hendrix.

Rod Evans was the singer at this point, and while he did OK he didn’t seem to mesh very well with the style at times, especially when the band slowed down and jammed. And did they jam. With just a few songs in their repertoire they made sure they filled the time, mostly by noodling from Jon Lord and Ritchie Blackmore.

Their version of “Help” is almost a dirge and mostly pointless, “Hey Joe” had been done to death by now, and the ballads are flat. There’s just a few tracks worth saving here, but it’s worth at least a listen to the rest of it aside from “Hush”.

NOTES & MINUTIAE: The band a rocky beginning with the former Searchers drummer Chris Curtis coming up with the genesis of the band, but falling disinterested as the band then searched for a singer, drummer, and bassist.

IS THERE A DELUXE VERSION: Yes, an outtake and other incidentals.

 GRADE C-: “Hush” is great. About half the album is worth saving.

The Crazy World of Arthur Brown – The Crazy World of Arthur Brown

ARTIST: The Crazy World of Arthur Brown   220px-ArthurBrownTheCrazyWorldofArthurBrown

TITLE: The Crazy World of Arthur Brown



SINGLES: Fire (#2 US, #1 UK), Nightmare

OTHER SONGS YOU MAY KNOW: They do cover I Put a Spell on You

LINEUP: Arthur Brown, Vincent Crane, Nick Greenwood, Drachen Theaker. John Marshall drummed on two songs.

WHAT’S IT ALL ABOUT: Wild, out-of-nowhere hit by jazz-psychedelic-proggy group led by one of the most unique individuals in rock music.

 SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: There are so many rock and metal musicians that owe a debt to Arthur Brown, thanks to the makeup, the costume changes, the flaming helmet, and his heavy, spooky sound. Listening to the debut, they also learned a few things outside of trying to match “Fire”, too.

Brown and his band were a definite must see for a few years thanks to his dramatics, and the album definitely ups the drama as well. There’s spoken word pieces, insane cackles, Brown’s multi-octave voice, and the screams. All that in front of a mostly competent keyboard-based kinda-jazzy group led by Vincent Crane. (Crane was definitely competent, drummer Drachen Theaker was always on the chopping block to be replaced.)

This record is definitely a period piece (how could it not be) yet it’s an enjoyable trip back to the time where somehow this was a hit.

NOTES & MINUTIAE: This group was a favored opening act for many bands in the UK and the US. However, in 1969, Carl Palmer was on drums because of Theaker’s fear of flying. Palmer and Crane soon left after the tour to form Atomic Rooster, which led to Palmer being poached by Keith Emerson to form…well..you know.

IS THERE A DELUXE VERSION: Yes. There’s the mono mix appended, and a few early singles (which are more hippy-dippy than anything).

 GRADE B: Oh, there’s pretention here and head scratching things, but it’s fun and Brown’s voice is pretty unique.

Buddy Miles – Expressway to Your Skull

ARTIST: Buddy Miles                        R-2329881-1349028879-9692.jpeg

TITLE: Expressway to Your Skull



SINGLES: Train, Spot on the Wall


LINEUP: Buddy Miles, Herbie Rich, Bill Rich, Jim McCarty, Bill McPherson, Marcus Doubleday, Virgil Gonsalves, Terrence Clements, Ron Woods

WHAT’S IT ALL ABOUT: Horn based blues, rock, and soul filling the void when the Electric Flag went kaput.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: The Electric Flag, who paved the way for Blood, Sweat, and Tears and Chicago, had a very short life and fissioned apart quickly due to drug issues and creative scuffles. Buddy Mikes, he of the drumming chops and huge afro, became the leading voice of the Flag as time went on, and when they split he formed his own combo, the Buddy Miles Express.

They immediately got gigs, and recorded this album pretty quickly in late 1968. It was pretty standard blues rock and soul with horns. Miles really wanted Jim McCarty from the Detroit Wheels and Herb and Bill Rich, and filled in the horn section with others he knew.

While the album wasn’t a success, and was rather generic with some interesting parts, the band opened for Jimi Hendrix and Hendrix did some production work for them, and Miles joined the Band of Gypsies as well, while maintaining this band (a revolving membership to be sure).

NOTES & MINUTIAE: The followup, Electric Church, charted, but isn’t streaming. WHY? You can get the tracks on a playlist on You Tube.


 GRADE B: Got some soul, rock,and blues if you need a fix.

Aretha Franklin – Lady Soul

RTIST: Aretha Franklin                     220px-ArethaFranklinLadySoul

TITLE: Lady Soul


CHART ACTION: #2 US, #1 R&B, #25 UK

SINGLES: (You Make Me Feel Like) A Natural Woman (#8 US, #2 R&B, #79 UK), Chain of Fools (#2 US, #1 R&B, #37 UK), (Sweet Sweet Baby) Since You’ve Been Gone (#5 US, #1 R&B, #47 UK), Ain’t No Way (#16 US, #9 R&B)

OTHER SONGS YOU MAY KNOW: Covers some well known tracks too

LINEUP: Aretha Franklin, Roger Hawkins, Eric Clapton, Bobby Womack, Joe South, Jimmy Johnson, Tommy Cogbill, Spooner Oldham, King Curtis, Warren Smith, other horn players, Erma Franklin, Carolyn Franklin, Cissy Houston

WHAT’S IT ALL ABOUT: A classic record containing crucial hits and soulful interpretations, backed by a crack band. What’s not to love?

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: Featuring tracks written especially for her, some originals written by her or her sister, and some nice covers, this album burned up radio and turntables in 1968.

Two singles released in 1967 paved the way, whetting everyone’s appetite for the album. The first three singles are signature tracks for her entire career (interesting that “Natural Woman” only hit #8 since that’s such an anthem). Aretha’s depth shows while giving performances of the covers like “People Get Ready”. She puts it all in those tracks as well instead of just quickly finishing them to make the numbers.

With such a packed record, it shouldn’t be a question what grade to give it. The question should be is it better than her first Atlantic record. Hmmm….

NOTES & MINUTIAE: Carolyn Franklin wrote “Ain’t No Way”, which charted as a B-side. It’s that good.

IS THERE A DELUXE VERSION: Yes, single mixes and a long version of “Chain of Fools”

 GRADE A+: Another classic Aretha record.

James Taylor – James Taylor

ARTIST: James Taylor     James_Taylor,_James_Taylor_(1968)

TITLE: James Taylor



SINGLES: Carolina On My Mind (#118), Knocking ‘Round the Zoo, Something’s Wrong

OTHER SONGS YOU MAY KNOW: Something In The Way She Moves

LINEUP: James Taylor, Mick Wayne, Louie Cennamo, Freddie Redd, Don Shinn, Bishop O’Brien. Paul McCartney and George Harrison guested on one track. Richard Hewson arranged all the strings so you can blame him for those.

WHAT’S IT ALL ABOUT: Debut album on Apple Records didn’t sell and wasn’t promoted well. But it had a few lasting tracks, and others almost ruined by string interludes and syrup.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: After failing to hit the big time with his band (called The Flying Machine – no, not that one), Taylor was signed as a solo artist on Apple Records after auditioning for Paul McCartney and George Harrison. Harrison nicked the first line of “Something” from a Taylor track.

When Taylor plays along with the studio musicians, and without the orchestra, it’s a perfectly nice folk-rock record. A track like “Taking It In” shows some liveliness and uses a harpsichord along with a nice bassline and acoustic guitar, while Mick Wayne’s lead in the opener “Don’t Talk Now” is strong.

BUT – dang it – Peter Asher and Richard Hewson added string interludes and a lot of syrup on tracks and in between tracks as interludes. Those wreck the continuity and detract from the intimacy of the record. Ack!

NOTES & MINUTIAE: “Knockin’ Round the Zoo” references Taylor’s old bandmate Danny Kortchmar.

IS THERE A DELUXE VERSION: A few demos and a B-side were appended.

GRADE  B-: I can rescue a few tracks from this, if I can somehow zap the string interludes.