Tag: 1968

Steve Miller Band – Sailor

ARTIST: Steve Miller Band                                   220px-SailorMiller

TITLE: Sailor

YEAR RELEASED: 1968

CHART ACTION: #24

SINGLES: Living in the USA (#94)

OTHER SONGS YOU MAY KNOW: Quicksilver Girl, Gangster of Love

LINEUP: Steve Miller, Boz Scaggs, Lonnie Turner, Jim Peterman, Tim Davis

WHAT’S IT ALL ABOUT: Second album from the Miller group has a couple three songs that have lasted, and a couple that really date it.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: Steve Miller loves the blues, and his choice of covers here (songs by Johnny ‘Guitar’ Watson and Jimmy Reed) prove that. The hit from this album, “Living in the USA” has definite blues / rock elements and sounds like a celebration that the Beach Boys could have used about that time.

Yet, this is 1968, and they were from Frisco, so we were ‘treated’ to “Song for our Ancestors”, which I’ve never understood the appeal of (and I can be swayed by a lot of weird hippie stuff) and by the time it gets into a slow organ-driven jam I’m lost. It bores me, and then it goes into “Dear Mary”, which is soft, sweet song that doesn’t rouse the listener either. The rest of the album is good to great, but I’m defeated by the opening track and asleep with track two. Sequencing, folks!

Boz Scaggs’ has two songs and co-writes a third, and drummer Davis and keyboardist Peterman write and sing one as well. But that band autonomy didn’t result in a band that held together, as 40% of this band wouldn’t make it to 1969 with Miller.

NOTES & MINUTIAE: Yes, “Gangster of Love” is here, and it’s a short snipped that almost seems like a joke but the title somehow got pegged on Miller (instead of Watson).

IS THERE A DELUXE VERSION: No

GRADE: B-: This got a lot of raves in 1968, but maybe they were OK with an album opening with fog horns and other sounds for almost two minutes.

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The Who – Magic Bus: The Who on Tour

ARTIST: The Who                         220px-Who_bus

TITLE: Magic Bus: The Who on Tour

YEAR RELEASED: 1968

CHART ACTION: #39

SINGLES: Magic Bus (#25 US, #26 UK), Call Me Lightning (#40 US), Pictures of Lily (#51 US, #4 UK)

OTHER SONGS YOU MAY KNOW: Yeah, because some of these tracks were on other albums, too.

LINEUP: Roger Daltrey, Pete Townshend, John Entwistle, Keith Moon.

WHAT’S IT ALL ABOUT: A cash grab by the US record company, and basically disavowed by the band. BUT, there’s one track that’s totally missing online. And despite the title, it’s NOT live, at all. Yeesh.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: Even after the Beatles’ album successes, bands didn’t have control over what their record companies did with their tracks. Decca Records thought that with the success of the single “Magic Bus”, the Who needed a new album.

So they took B-sides, non album A-sides, EP tracks, and three songs from previous albums, and, there’s an 11 track album for the shelves. Never mind the continuity, and that the songs were up to three years old. PRODUCT MAN, PRODUCT!

The songs are pretty great for the most part, and John Entwistle got three tracks here (he was the B-side master of the Who), but there’s no flow, continuity, or purpose except dough for Decca.

NOTES & MINUTIAE: One song, “Dr. Jekyll and Mr. Hyde”, isn’t streaming and not on any US or UK anthologies. It was the B-side to “Magic Bus” in the UK. Did they forget it?

IS THERE A DELUXE VERSION: No.

 

GRADE: D+: The songs would be a B+ or so, but, even 50 years later, I can’t abide by the profiteering here. These tracks (save one) are found in much better collections and albums.

The Soft Machine – The Soft Machine

ARTIST: The Soft Machine                        The_Soft_Machine-album

TITLE: The Soft Machine

YEAR RELEASED: 1968

CHART ACTION: No

SINGLES: Joy of a Toy

OTHER SONGS YOU MAY KNOW: No, not even if you were a hippie in 1968

LINEUP: Kevin Ayres, Robert Wyatt, Mike Ratledge. Hugh Hopper was on one track.

WHAT’S IT ALL ABOUT: A combo of psychedelic rock and jazz (that would evolve into fusion) that was more inspirational than commercial.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: Part of the underground scene from Canterbury (the same area that produced Syd Barrett and Pink Floyd), Soft Machine used the jazzy instrumental chops, plus Kevin Ayres and Robert Wyatt’s odd songs and vocals that at times can go into trances with their repeating phrases, to create a unique sound.

This is rather much an outlier in the Soft Machine catalog, but it was probably truer to the original vision of the band. There was more of a focus on songs, even if odd and unnverving, and they definitely sound like a band honed in the same psychedelic clubs as their more famous brethren bands.

Ratledge’s organ and Wyatt’s drums carry the tracks, with Ayers’ bass anchoring it all. These guys can play, it’s just an odd record out of context from the scene. Still, worth hearing for sure.

NOTES & MINUTIAE: Originally, the band was a quartet with Daevid Allen (later of Gong, which, well, is their own trip, man), but Allen, a Australian, was denied entry back into the UK after a series of shows in Paris. So he stayed in France.

IS THERE A DELUXE VERSION: A recent version has their first single appended.

GRADE: A- There’s so many intriguing things about this album, yet it’s quite dated.

The Monkees – The Birds, The Bees & The Monkees

ARTIST: The Monkees               220px-The_Birds,_the_Bees_&_the_Monkees_-_The_Monkees

TITLE: The Birds, The Bees & The Monkees

YEAR RELEASED: 1968

CHART ACTION: #3

SINGLES: Daydream Believer (#1 US, #5 UK), Valleri (#3 US, #34 UK), Tapioca Tundra (#34)

OTHER SONGS YOU MAY KNOW: Not really.

LINEUP: Davy Jones, Mickey Dolenz, Michael Nesmith. Peter Tork was barely on the album. Each Monkee used their own session men and produced their own tracks.

WHAT’S IT ALL ABOUT: Here’s where the Monkees start to lose their appeal. It’s a good album, but a letdown from their 1967 work.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: After a great 1967 musically, the year 1968 started with a couple of hit singles, but then the news that NBC was cancelling the TV show. At this time, the band was around studios in Los Angeles recording the sessions for this album separately, with only a scant few crossovers with other members.

The result is an album that plays it safe AND is experimental, but it’s track for track. Davy Jones sticks to his formula, while Mickey Dolenz stays somewhat in the traditional pop / rock milieu with some psychedelic experimentation, and Mike Nesmith just goes, well, all out weird. (Peter Tork submitted a couple of tracks, but they weren’t chosen at the time for who knows why…)

It’s an album that you need to pick and choose based on your mood. More so than ever, it shows that the Monkees had musical talent, but they weren’t really a band in a true sense of the word.

NOTES & MINUTIAE: After this album and the news of the cancellation, the Monkees set about to record and film Head, which, is quite the project.

IS THERE A DELUXE VERSION: It seems that every note the Monkees committed to tape has been reissued, and this is true here – multiple editions exist with several bonus tracks and takes and demos.

GRADE: B:  There are some strong songs here, but it’s just all over the place. The cohesion isn’t there.

Steve Miller Band – Children of the Future

ARTIST: Steve Miller Band                       Children_of_the_Future_(Steve_Miller_Band_album_-_cover_art)

TITLE:  Children of the Future

YEAR RELEASED: 1968

CHART ACTION: #134

SINGLES: None

OTHER SONGS YOU MAY KNOW: Roll with It

LINEUP: Steve Miller, Boz Scaggs, Lonnie Turner, Jim Peterman, Tim Davis

WHAT’S IT ALL ABOUT: Debut album mixed the blues and San Francisco psychedelia, and really was all over the place in quality and execution.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: Steve Miller migrated out to San Francisco, founded a band that included his old buddy Boz Scaggs, and started to wow some of the hipsters on the scene – so much so that Capitol Records gave them a huge suitcase of money to sign.

Psychedelia being all the rage, Miller and crew augmented his neo-blues songs with psychedelic effects and sounds (like the Mellotron that’s prominent on “In My First Mind” and the whatever-it-is on “The Beauty of Time Is That It’s Snowing (Psychedlic BB)”.

Side one was a suite, and while side two linked together it wasn’t as thematic (or weird) as the first side. Scaggs’ “Baby’s Calling Me Home” and the wonderful B-side (why B-side?) “Roll with It” and ending with a mournful “Key to the Highway”, the second side was probably more in line with expectations.

NOTES & MINUTIAE: Despite the psychedelic leanings, many of these songs were written while Miller was a janitor in a studio.

IS THERE A DELUXE VERSION: Yes, one release with the non-album A-side to their debut single.

GRADE: B-:  The ending of the first side tests my patience. It’s 12 minutes of psychedelic noodling that goes on way too long.

The Byrds – The Notorious Byrd Brothers

ARTIST: The Byrds                                    220px-NotoriousByrdBrothers

TITLE:  The Notorious Byrd Brothers

YEAR RELEASED: 1968

CHART ACTION: #47 US, #12 UK

SINGLES: Goin’ Back (#89)

OTHER SONGS YOU MAY KNOW: Draft Morning, Wasn’t Born to Follow, Change Is Now

LINEUP: Roger McGuinn, Chris Hillman, David Crosby. Michael Clarke on some tracks. Jim Gordon and Hal Blaine filled in when Clarke was out. Other musicians: Clarence White, James Burton, Red Rhodes, Paul Beaver, Gary Usher, the Firesign Theatre, and more.

WHAT’S IT ALL ABOUT: The true end of the first Byrds era. A crumbling band puts together their best, most consistent record despite it all.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: David Crosby was kicked out midway through the sessions. Michael Clarke left the sessions for a while, and then came back. Gene Clark joined for two weeks and left again. Still, Roger McGuinn and Chris Hillman persevered and created probably the best Byrds album.

“Goin’ Back” is a classic of harmony and arrangement, “Wasn’t Born to Follow” the same with its flangers and phase shifters, “Draft Morning” is poignant, somber and somewhat peaceful despite the subject matter. “Dolphin’s Smile”, “Change Is Now”, “Old John Robertson”, etc. etc. there are so many winners and classic cuts here. Top 40 radio left the Byrds behind, but they were moving towards cultural significance more than pop sales.

Only the concluding cut holds it back, a moog synthesized sea shanty about space exploration. A weird final cut is pretty much par for their course Still, ten out of 11 excellent cuts and a perfect time period piece.

NOTES & MINUTIAE: “Wasn’t Born to Follow” was chosen for the Easy Rider soundtrack and plays a prominent role in the movie

IS THERE A DELUXE VERSION: Yes, early tracks, outtakes, and a hidden track of an argument where David Crosby picks on Michael Clarke about his drumming.

GRADE: A:  As close to perfect as the Byrds get.

Pink Floyd – A Saucer Full of Secrets

ARTIST: Pink Floyd                           220px-saucerful_of_secrets2

TITLE:  A Saucer Full of Secrets

YEAR RELEASED: 1968

CHART ACTION: #9 UK

SINGLES: Let There Be More Light

OTHER SONGS YOU MAY KNOW: Set the Control for the Heart of the Sun, A Saucerful of Secrets, Jugband Blues

LINEUP: Roger Waters, Rick Wright, Nick Mason. David Gilmour is on five tracks, and Syd Barrett is on only three.

WHAT’S IT ALL ABOUT: A transitional album full of psychedelic explorations and Syd Barrett’s last Pink Floyd composition that was released in his time.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: The story of this album is in its second side. The title track is the only released song that both David Gilmour and Syd Barrett appear on, then there’s a Rick Wright song that it seemed bored everyone, including the author (needed it for the numbers, you know), and then, Barrett’s parting shot “Jugband Blues”.

This album doesn’t stand up to their debut, but how could it given the circumstances? Barrett’s decent into madness left them with an album to complete, and others pressed into duty to write it. Barrett’s chum Gilmour steps in to help, and becomes a full time member contributing greatly to the title track.

What we have is some brilliance, and some mediocrity (“Corporal Clegg” and Wright’s “See-Saw”). The band moves from playful, to more of a heavy-handed approach, and they’d keep that hand for the rest of their career.

NOTES & MINUTIAE: They thought that Syd could become a Brian Wilson-like figure, writing songs and not touring – it didn’t work.

IS THERE A DELUXE VERSION: No. It was released for a while with their debut in a two-album vinyl set.

GRADE: B+:  The highlights are an “A”, but the lowlights drag it down.

Marvin Gaye & Tammi Terrell – You’re All I Neeed

ARTIST: Marvin Gaye & Tammi Terrell            220px-marvin-tammi-all-i-need

TITLE:  You’re All I Need

YEAR RELEASED: 1968

CHART ACTION: #60, #4 R&B

SINGLES: Ain’t Nothin’ Like the Real Thing (#8 US, #1 R&B, #34 UK), You’re All I Need to Get By (#7 US, #1 R&B, #19 UK), Keep on Lovin’ Me, Honey (#24 US, #11 R&B), You Ain’t Livin’ ‘til You’re Lovin (#21 UK)

OTHER SONGS YOU MAY KNOW: Probably not

LINEUP: Marvin Gaye, Tammi Terrell, the Funk Brothers

WHAT’S IT ALL ABOUT: Second duet album from the great Motown pairing is solid as its singles (unusual for Motown in the 60’s).

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: Marvin Gaye & Tammi Terrell’s albums were a step above the usual Motown records. Most of their strongest material was written for them by the team of Ashford & Simpson, and played to their strengths.

Great arrangements, production (from either Ashford & Simpson or Harvey Fuqua & Johnny Bristol), and backing add to the duo’s voices.With some big-time timeless hits, and a good balance of other tracks, this is one of the better Motown albums in the 60’s.

Sadly, this was the last album made with the two as a functioning duet. Terrell’s brain tumor, which caused a fall in 1967, would worsen and made touring impossible and recording difficult.

NOTES & MINUTIAE: Three tracks were Terrell solo sides that Gaye overdubbed duet vocals onto.

IS THERE A DELUXE VERSION: No

GRADE: A-: This is a great Motown album, full of good tracks and nothing recycled.

Blood, Sweat & Tears – Blood, Sweat & Tears

ARTIST: Blood, Sweat & Tears     220px-bst_cover

TITLE:  Blood, Sweat & Tears

YEAR RELEASED: 1968

CHART ACTION: #1 US, #15 UK

SINGLES: You’ve Made Me So Very Happy (#2 US, #35 UK), Spinning Wheel (#2 US), And When I Die (#2 US)

OTHER SONGS YOU MAY KNOW: God Bless the Child

LINEUP: David Clayton-Thomas, Lew Soloff, Bobby Colomby, Jim Fielder, Dick Halligan, Steve Katz, Fred Lipsius, Chuck Winfield, Jerry Hyman. Alan Rubin on one track.

WHAT’S IT ALL ABOUT:  Re-constituted band ditches a lot of the more outre jazz elements and adds in more rock and pop to garner hit records.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: Al Kooper jumped or was pushed (I think the latter) and two other players left, and the ‘new’ Blood, Sweat & Tears debuted as more of a rock band with horns than anything. Sure they extended to some classical (with a piece by Erik Satie), and in “Blues, Pt.2” they really went out on a limb and bored everyone for 11 minutes.

Aside from those, you know the singles, and probably “God Bless the Child”. Their best attempt, I believe, is a version of Traffic’s “Smiling Phases” which showcases everyone without becoming bloated. Their “God Bless the Child” goes into a completely awkward direction halfway through.

This was more popular sure, but not better than the Kooper-led debut.

NOTES & MINUTIAE: This reached #1 in the album chart three times during 1969.

IS THERE A DELUXE VERSION: Yes, a couple of live cuts.

GRADE: B-: When it’s good, it’s good. When it’s bad, it’s boring or overblown. Time to pick and choose your poisons.

Frank Zappa – Lumpy Gravy

ARTIST: Frank Zappa                     220px-Verve_Lumpy_Gravy

TITLE:  Lumpy Gravy

YEAR RELEASED: 1967 / 1968

CHART ACTION: #159

SINGLES: No

OTHER SONGS YOU MAY KNOW: No

LINEUP: Session orchestra and musicians conducted by Zappa, plus various voices

WHAT’S IT ALL ABOUT: Hard-to-explain work featuring orchestral passages, musique concrete snippets, and voices from ‘the piano’.

SOME WORDS, PHRASES AND CLAUSES ABOUT THIS RECORD: Even in his early days, Frank Zappa had a conceptual continuity around certain pieces of his work, where they would all come together as a whole when released and reveal the total piece over time. This was the first released in 1967 but had to be pulled. Then Zappa re-edited the music and added the voices as part of his four album suite released in 1968.

As for the piece itself, themes of music flow throughout his later work, and the music itself is complicated, complex and imaginative. 220px-Capitol_Lumpy_Gravy

It’s hard to describe in words, and it’s also hard for casual listeners since you need to be invested in the piece to really gather it all in. It is brilliant, though.

NOTES & MINUTIAE: He released this on Capitol, and MGM sued because of the contract Zappa had with that company. The album was pulled, and then Zappa re-edited it and released it on MGM.

IS THERE A DELUXE VERSION: No

GRADE: A-: It’s not something I’d listen to every day, but it is a piece of art that only a few souls could pull off