1967 Albums – Classic Rock Review

Younger Than Yesterday
by The Byrds

March 12, 2022

by Classic Rock Review with No Comment Album Reviews

The fourth album by The Byrds, 1967’s Younger Than Yesterday saw a continued evolution of the quartet’s sound towards a mature fusion of jazz and psychedelia and jazz into their root folk/rock sound. This album has grown to be considered among the group’s strongest by critics, in spite of the fact that it initially had mixed reviews and it only achieved moderate chart success upon it’s release.

The Byrds reached international prominence in 1965 with several hit singles and a pair of #1 albums. However, their 1966 third album, Fifth Dimension, was less commercially successful than their first two following the departure of Gene Clark, who had previously been the group’s chief songwriter. The group also found themselves seeking a new a record producer as they prepared for the recording of this fourth album. Bassist Chris Hillman and guitarist David Crosby took a more active role in songwriting for this record with the pair having a hand in writing or co-writing 10 of the 11 originals on the album.

Following an intensive period of rehearsal, the entirety of Younger Than Yesterday was completed in 11 days with producer Gary Usher in late 1966. While the original working title for this LP was Sanctuary, they later exchanged this for a title inspired by the lyrics of the Bob Dylan cover, “My Back Pages”, the only cover song on this album.

Younger Than Yesterday by The Byrds
Released: February 6, 1967 (Columbia) Produced by: Gary Usher Recorded: Columbia Studio, Hollywood, November–December, 1966
Side One	Side Two
So You Want to Be a Rock n’ Roll Star Have You Seen Her Face C.T.A.-102 Renaissance Fair Time Between Everybody’s Been Burned	Thoughts and Words Mind Gardens My Back Pages The Girl with No Name Why
Group Members
Jim McGuinn – guitars, vocals David Crosby – guitars, vocals Chris Hillman – bass, vocals Michael Clarke – drums

The album’s opening song and lead single, “So You Want to Be a Rock n’ Roll Star”, was co-written by Hillman and Jim McGuinn and it became a Top 40 hit for the group. Meant as an ironic but good-natured comment on the recent success of the manufactured rock band The Monkees, the song was innovative with the inclusion of trumpet by Hugh Masekela as well as some crowd noise effects. “Have You Seen Her Face” follows as a contemporary love song released as another single from the album, while “C.T.A.-102” takes a turn as it explores the existence of extraterrestrial life.

Co-written by Crosby and McGuinn, “Renaissance Fair” is a short folk song with medieval ambiance and it features saxophone by guest Jay Migliori. Hillman’s country / pop influenced “Time Between” is followed by Crosby’s jazz-influenced “Everybody’s Been Burned”, a song he wrote in 1962, a few years before the formation of the Byrds. “Thoughts and Words” kicks of the original Side Two as an LSD-influenced, metaphysical meditation on human relationships with plenty of effects. “Mind Gardens” was a contentious track which was written by Crosby but disliked by the other band members because if its lack of traditional compositional form. Crosby’s ambitions for artistic control within the band would ultimately lead to his dismissal from the group later in 1967.

The Byrds in 1966

The group’s version of “My Back Pages” harkens back to their smash hit Mr. Tambourine Man a few years earlier as a pared-down and electrified version of a Dylan folk song. It would ultimately be the last single by the Byrds to reach the Top 40. Following the county-flavored “The Girl with No Name”, the album concludes with “Why”, an Indian-flavored, re-recorded version of a song first released as the B-side of the band’s “Eight Miles High” single in March 1966.

While Younger Than Yesterday charted in the Top 40 in both the US and the UK, it would be the last to feature all original members of The Byrds as both Crosby and drummer Michael Clarke would soon depart the group and various lineup ships would occur in subsequent years.

Part of Classic Rock review’s Celebration of 1967 albums.

Surrealistic Pillow
by Jefferson Airplane

February 1, 2022

by Classic Rock Review with No Comment Album Reviews

Buy Surrealistic Pillow

Jefferson Airplane reached an early peak with their second LP Surrealistic Pillow. The album was the first album to feature vocalist Grace Slick, who made an immediate impact by bringing with her a couple of songs from her former group, The Great Society. Combined with these indelible tunes is a fine mix of folk, rock and psychedelic experimentation which made this record a quintessential work of the 1960s counterculture.

After the Beatles-led British Invasion of 1964, folk singer Marty Balin decided to open a club in San Francisco and start a folk-rock band in residency. The first to sign on was guitarist Paul Kantner and a multitude of shifting lineups followed. When blues guitarist Jorma Kaukonen joined he came up with the group name based on his own nickname “Blind Thomas Jefferson Airplane”, which in turn was influenced by one of Kaukonen’s blues influences, Blind Lemon Jefferson. The group performed its first public show in August, 1965 and within months they were fielding offers from recording companies, signing with RCA Victor in November 1965, The group’s debut, Jefferson Airplane Takes Off was released in September 1966 with a mix of covers and folk originals, but it did not make many waves outside of the San Francisco Bay area.

In late 1966, the group’s lineup shifted once again as Spencer Dryden replaced original drummer Skip Spence and Slick replaced vocalist Signe Anderson at the invitation of bassist Jack Casady. This new lineup entered the studio late in the year to record to record Surrealistic Pillow.

Surrealist Pillow by Jefferson Airplane
Released: February 1, 1967 (RCA Victor) Produced by: Rick Jarrard Recorded: RCA Victor’s Music Center, Hollywood, October-November, 1966
Side One	Side Two
She Has Funny Cars Somebody to Love My Best Friend Today Comin’ Back to Me	3/5 of a Mile in 10 Seconds D.C.B.A.–25 How Do You Feel Embryonic Journey White Rabbit Plastic Fantastic Lover
Group Members
Marty Balin – guitars, vocals Grace Slick – piano, keyboards, recorder, vocals Jorma Kaukonen – lead guitars, vocals Paul Kantner – guitars, vocals Jack Casady – bass, guitars Spencer Dryden – drums, percussion

Dryden’s drum pattern borrowed from Bo Diddly introduces the opener “She Has Funny Cars”, with later sections featuring a duet between Balin and Slick. Grace’s brother-in-law Darby Slick composed the pop hit “Somebody to Love”, while both were members of The Great Society in 1965. This song became Jefferson Airplane’s first and biggest charting single as it reached the Top 5 on the Billboard Hot 100. “My Best Friend” is sing-songy and laid back with rich vocal harmonies and subtle lead guitar throughout, while “Today” features beautiful, layered guitars and great vocals by Balin.

The mellow mood continues on the extended “Comin’ Back to Me”, a laid back folk ballad sans rhythm section, In contrast, “3/5 of a Mile in 10 Seconds” is Balin’s driving rocker which features some great lead guitar by Kaukonen and nice bass interplay by Cassady. Kantner’s “D.C.B.A.–25” is a pleasant folk rocker with intricate rhythms and dual vocals, followed by the uplifting love tune “How Do You Feel” and Kaukonen’s Celtic-flavored acoustic piece, “Embryonic Journey”.

The album’s highlight is Slick’s “White Rabbit”, a single direction vector of a song which builds from a simple thumping rhythm and builds into a a strong crescendo as a definitive icon of the late 60s sound. The lyrics draw from the Lewis Carroll Alice in Wonderland series and the single and became another Top 10 hit from the album. Balin’s “Plastic Fantastic Lover” closes the record with an almost Velvet Underground feel to it, an edgy vibe which ends a bit abruptly.

Surrealistic Pillow peaked at number three on the Billboard album chart and has been certified Platinum by the RIAA. Soon after it’s release, Jefferson Airplane performed at the 1967 Monterey Pop Festival, further solidifying their legacy as a central act in the Summer of Love.

Part of Classic Rock review’s Celebration of 1967 albums.

John Wesley Harding by Bob Dylan

December 27, 2017

by Classic Rock Review with One Comment Album Reviews

Buy John Wesley Harding

After a relatively long hiatus from recording due to a serious motorcycle accident, Bob Dylan returned to simple form and constructs with his eighth studio album, John Wesley Harding, at the end of 1967. This simple, folk and country album with a slight hint of spirituality was a notable departure from the Dylan’s previous three albums in 1965 and 1966 (Bringing It All Back Home, Highway 61 Revisited and the double-length Blonde On Blonde).

It had been over a year since the release of Blonde On Blonde when Dylan began work on John Wesley Harding in the Autumn of 1967. The July 1966 motorcycle accident near his home in Woodstock, NY, gave him the opportunity to break from nearly five straight years of non-stop touring, recording and promoting. After his recovery, Dylan spent a substantial amount of time recording informal demos with members of The Band, later dubbed “the basement tapes” and released on a 1975 album of the same title. Oddly, although Dylan submitted nearly all of the basement tape tunes for copyright, he decided not to include any of this material for his next studio release.

Instead, Dylan went to Nashville with producer Bob Johnston and a simple rhythm section made up of bassist Charlie McCoy and drummer Kenneth Buttrey. In total, the twelve album tracks took under twelve hours of studio time to record and the release of John Wesley Harding was just as expedited, arriving in stores less than four weeks after the final recordings were made. A unique attribute of this album is the inclusion of liner notes written by Dylan, which incorporate song details through the telling of fictional stories.

John Wesley Harding by Bob Dylan
Released: December 27, 1967 (Columbia) Produced by: Bob Johnston Recorded: Columbia Studios, Nashville, October–November, 1967
Side One	Side Two
John Wesley Harding As I Went Out One Morning I Dreamed I Saw St. Augustine All Along the Watchtower The Ballad of Frankie Lee and Judas Priest Drifter’s Escape	Dear Landlord I Am a Lonesome Hobo I Pity the Poor Immigrant The Wicked Messenger Down Along the Cove I’ll Be Your Baby Tonight
Primary Musicians
Bob Dylan – Lead Vocals, Guitars, Keyboards, Harmonica Charlie McCoy – Bass Kenneth A. Buttrey – Drums

Most of the tracks on this album were first constructed lyrically with musical arrangements worked out later. The opening title track features a bright acoustic with bouncy bass and rhythms and tells the tale of real-life Texas outlaw John Wesley Hardin (the song and album title spelled his name incorrectly). “As I Went Out One Morning” is almost too short as its fine rhythmic pace seems to be abruptly ended just as the track is heating up. In contrast, “I Dreamed I Saw St. Augustine” is more like traditional, Dylan-flavored folk with a slight nod towards Country or Gospel in its delivery.

The most indelible two and a half minutes on the album, “All Along the Watchtower” has a strong rotating rhythm to accompany Dylan’s memorable lyrical passages which echo passages from the Biblical Book of Isaiah. This song would be brought to full realization with the much more famous Jimi Hendrix Experience version on the 1968 double album Electric Ladyland. “The Ballad of Frankie Lee and Judas Priest” features a bright storytelling atmosphere that is almost farcical in its light delivery while at once attempting to portray a moral message. Closing out the original first side is “Drifter’s Escape”, where Dylan’s desperate, weepy vocals and soulful harmonica are in nice contrast to consistent, monotone rhythms.

The waltzy, piano based tune “Dear Landlord” starts side two with interesting chord progressions, followed by the wicked harmonica intro which sets the scene for “I Am a Lonesome Hobo”. These are followed by the rather forgettable folk songs “I Pity the Poor Immigrant” and “The Wicked Messenger” before a refreshing change of pace late to complete the album. Both “Down Along the Cove” and “I’ll Be Your Baby Tonight” were recorded during the final album sessions and each feature Pete Drake on pedal steel guitar (an inclusion which Johnston wanted to use more on the album, but was overruled by Dylan). Both of these tracks are warm, cheerful love songs, with the closer having a distinct Country arrangement which seems to preview Dylan’s next studio release, Nashville Skyline in 1969.

Even though Bob Dylan intentionally had this album released without publicity or accompanying singles, it still charted very highly in both the US and UK. Following its release, Dylan made his first live appearance in nearly two years, Backed by The Band at a Woody Guthrie memorial concert in January 1968, but returned to seclusion for much of the rest of that year.
~

Part of Classic Rock Review’s celebration of 1967 albums.

Axis: Bold As Love by Jimi Hendrix Experience

December 1, 2017

by Classic Rock Review with 2 Comments Album Reviews

Buy Axis: Bold As Love

The second album from the trio’s explosive and productive 1967, Axis: Bold as Love, was released in the United Kingdom by The Jimi Hendrix Experience in December 1967. The album wasn’t released in the United States until early 1968 in order to not interfere with the charting success of the group’s debut album, Are You Experienced?. In comparison to that highly successful debut, this second album has more complex sonic compositions, although the tracks may not be as indelible.

Axis: Bold As Love was started immediately after the completion of Are You Experienced? in the Spring of 1967 as it was necessary to fulfill the Jimi Hendix led group’s two album contract with UK-based Track Records, a contract which also stated that both albums had to be produced in the year 1967.

The album was recorded at Olympic Studios with producer Chas Chandler, who had also produced the debut. During the first two days of album sessions in May 1967, the group recorded basic tracks for seven compositions (although less than half of these were ultimately included on the album). The recording sessions were sporadic over the next five months as the group became more and more in demand as a live attraction. During the latter sessions in October, Hendrix took on a larger role in producing, a role he would fully assume on the group’d next LP, Electric Ladyland.

Axis: Bold As Love by Jimi Hendrix Experience
Released: December 1, 1967 (Track) Produced by: Chas Chandler Recorded: Olympic Studios, London, May-October 1967
Side One	Side Two
EXP Up from the Skies Spanish Castle Magic Wait Until Tomorrow Ain’t No Telling Little Wing If 6 Was 9	You Got Me Floatin’ Castles Made of Sand She’s So Fine One Rainy Wish Little Miss Lover Bold as Love
Primary Musicians
Jimi Hendrix – Lead Vocals, Guitars, Keyboards Noel Redding – Bass, Vocals Mitch Mitchell – Drums, Vocals

Axis: Bold as Love opens with the short experimental track “EXP”, which employs feedback and stereo panning of Hendrix’s guitar, leading to the space/rock track ,”Up from the Skies”, a song recorded on the last day of recording at Olympic Studios. The lyrics to “Spanish Castle Magic” were inspired by a club outside Seattle where Hendrix performed early in his career. It became one of the few songs on this album which was regularly performed live later in Hendrix’s career.

The pop-flavored single “Wait Until Tomorrow” drew influence from The Isley Brothers and features some fine musical interplay between Hendrix and bassist Noel Redding. The original first side completes with two of the album’s more indelible tracks. The oft-covered “Little Wing” features a unique bluesy guitar progression which evolved from a 1966 song that Hendrix recorded with the R&B duo, The Icemen, and is finely decorated through the progression with a glockenspiel. “If 6 Was 9” was one of the initial tracks developed for this album and features a plethora of studio effects adding to a very psychedelic sound.

Jimi Hendrix Experience 1967

The rocker “You Got Me Floatin'” opens the second side and features some backing vocals from members of the British group The Move, who toured with Hendrix on a package tour through Britain during winter 1967, supplied backing vocals. The melancholy “Castles Made of Sand” follows, laced with philosophical lyrics, while Redding’s “She’s So Fine” offers a sixties Brit-pop break in the album. “One Rainy Wish” features Hendrix using some jazz guitar, as “Little Miss Lover” features an early use of muted wah-wah effect. The closing title song, “Bold as Love” was recorded with over twenty different takes and with four different endings before settling on a version which features drummer Mitch Mitchell with a short solo along with several more sonic effects.

While not as celebrated as the other two Jimi Hendrix Experience studio, albums Axis: Bold As Love has nonetheless received much critical acclaim as well as commercial success in its day, as it peaked in the Top Ten.

Part of Classic Rock Review’s celebration of 1967 albums.

Compilations and Box Sets

August 8, 2013

by Ric Albano with No Comment Special Features

Beatles official stereo collection

Ever since the beginning of the rock era, there have been compilations. As we mentioned in our very first special feature on The Album, long playing vinyl albums were simply a collection of songs, maximized for sales potential, and were rarely a cohesive or artistic statement. Once the “classic era” albums come into prominence in the mid to late sixties, “Greatest Hits” or “Best of” collections stepped in to supplement regular album releases as well as reach out to audience segments who only wished to “sample” a certain artist’s output.

Other such sales tools, such as rarities or B-side collections, targeted the most enthusiastic of existing fans but at time have gained significant popularity. In some cases, greatest hits collections were continued as an artist’s career went along. Bob Dylan had three sequential compilation. Bob Dylan’s Greatest Hits, released in March 1967, contains some of the most famous songs from Dylan’s formative years. In 1971 the double LP Bob Dylan’s Greatest Hits, Volume II contained some songs from the interim years along with more from the early years and nearly a side of previously unreleased material. More than two decades later, Bob Dylan’s Greatest Hits, Volume III encompassed all his recordings released between the years 1973 and 1991. The Eagles released a couple of sequential “Greatest Hits” collections with their 1976 compilation Eagles Greatest Hits, Volume 1 going on to become the top selling album of the 20^th century.

Box Sets

Usually made up of three or more discs boxes, box sets came of age in the 1980s with the media migration from vinyl LPs to compact discs. Artists with long and successful careers would release anthologies which often included rare or previously unreleased tracks along with the typical collection of singles and radio hits. There have been rare cases where a box set contained all new and original material. Led Zeppelin’s initial 1990 Box Set became the first to become a best seller on the albums chart.

Around the turn of the century, some box sets became multimedia collections. These included DVD videos, mp3 discs, or other related items to enhance the collection

Compilations in 1988

With our current look at the rock year 1988, Classic Rock Review will also focus on the compilations and box sets released during that year, a rich year for these items.

Past Masters 1 by The Beatles Released on March 7, 1988 to coincide with the official CD debut of Beatles album catalogue, Past Masters is a two-volume compilation set. This collection consisted of many of the band’s non-album singles and B-sides, focusing on tracks not available on The Beatles’ original U.K. albums. These also included rarities such as the UK-only Long Tall Sally EP, two German language tracks, and a couple of songs recorded for charity compilation albums. An all-mono compilation titled Mono Masters was also produced for the most die-hard collectors.

20 Years of Jethro Tull was released on June 27, 1988 was issued as five themed LPs named; Radio Archives, Rare Tracks, Flawed Gems, Other Sides of Tull, and The Essential Tull. Eric Clapton's Crossroads It was also simultaneously released as a three CD set and a five-cassette set, with each coming with a 24-page booklet.

Released in April 1988, Eric Clapton’s Crossroads includes highlights from his work with vast musical groups. These include The Yardbirds, John Mayall’s Blues Breakers, Cream, Blind Faith, Delaney & Bonnie & Friends, Derek & the Dominos, and his long solo career. The collection was released as setsof four CDs or six LPs and it includes several live and alternate studio recordings which were previously unreleased.

Two compilations were released on November 15, 1988. After shocking the world with their recent breakup, Journey released Greatest Hits, which ultimately became the band’s best-selling album by selling over 25 million copies and it spent over 760 weeks on the pop album charts, more than any other compilation album in history. Smashes, Thrashes & Hits was actually the third “hits” album released by Kiss. With most tracks coming from their heyday in the seventies, this album also included two new songs.

In subsequent years and decades, artists brought the box set concept to the extreme with full collections being released. But by the time mp3s and other digital formats became the dominant media, user-driven custom compilations were the order of the day.

Ric Albano

Classic Rock Review's 1967 Album of the Year

Are You Experienced?
by Jimi Hendrix Experience

August 29, 2012

by Classic Rock Review with 5 Comments Album Reviews

Classic Rock Review's 1967 Album of the Year

Buy Are You Experienced?

An extraordinary debut by The Jimi Hendrix Experience, Classic Rock Review has named Are You Experienced? as our Album of the Year for the phenomenal music year of 1967. On this album, the sound is harder and heavier than anything else from 1967, yet it is not in the slightest bit unfocused. Led by the extraordinary talent of Jimi Hendrix, the Experience was an unheralded act as a group, especially when it came to the wild and entertaining drumming of Mitch Mitchell. Along with bassist Noel Redding, this power trio released the most stunning debut in rock history and one of the greatest albums of all time.

The sound forged on the album synthesized elements of 1967 psychedelic rock with traditional rock, blues, and soul. This was all topped off by the proficient and original guitar work by Hendrix, who used cutting edge techniques and technology to create sounds never before heard. Hendrix also composed solid songs, rooted in heavy blues and roots rock. This, along with the frantic but solid rhythm by Redding and Mitchell, gave Hendrix the perfect canvas on which to paint his guitar masterpieces.

Producer Chas Chandler helped form the Jimi Hendrix Experience in England in 1966 and signed the group with Track Records, a label run by The Who’s managers Kit Lambert and Chris Stamp. The group started with three singles, recorded in-between tours of England in late ’66 and early ’67. All three (“Hey Joe”, “Purple Haze”, and “The Wind Cries Mary”) reached the top 10 on the UK charts. The original album was released in the UK in May, 1967 without the three singles (or B-sides), but the subsequent US version did include the singles in order to maximize the impact of the group in the States, where they were still relatively unknown. At the suggestion of Paul McCartney, the Experience debuted in America at the Monterrey Pop Festival on June 18, 1967.

Some of the tracks not included on the US version (but available on other versions) include the pure blues “Red House” with its wailing lead guitar and the Cream-influenced “Can You See Me”, with double-tracked vocals over a strong, riff-driven rocker. “Stone Free” is frenzied but with a good hook and “Highway Chile” has a more modern sound with a funky shuffle and R&B pattern.

Are You Experienced? by The Jimi Hendrix Experience
Released: May 12, 1967 (Track) Produced by: Chas Chandler Recorded: De Lane Lea & Olympic Studios, London, December 1966-April 1967
Side One	Side Two
Purple Haze Manic Depression Hey Joe Love Or Confusion May This Be Love I Don’t Live Today	The Wind Cries Mary Fire Third Stone From the Sun Foxy Lady Are You Experienced?
Tracks On Alternative Album Versions
Red House Can You See Me Remember 51st Anniversary Highway Chile
Band Musicians
Jimi Hendrix – Lead Vocals, Guitars, Piano Noel Redding – Bass, Vocals Mitch Mitchell – Drums, Percussion

Are You Experienced? starts with a classic anthem from the late 1960s, “Purple Haze”. A rather simple rock song that takes on a much higher aura (especially the acid era), the song is Hendrix’s best known composition. It was adapted from a poem he wrote called “Purple Haze, Jesus Saves” and contains the classic lyric; “excuse me while I kiss the sky”. But the true signature of this song is the instantly recognizable classic guitar riff which instantly signals the tone and tenor of the album.

“Manic Depression” contains hypnotic and frantic drums by Mitchell, under a driving rock riff by Hendrix and Redding. This song set the stage for all the future heavy blues and heavy metal song textures of the coming decades. Lyrically was more an expression of romantic frustration than the clinical definition of manic depression. “Hey Joe” is a riff-driven version of a very popular folk song by Billy Roberts. As we pointed out last year in our review of Love’s debut album, “Hey Joe” seemed to be a mandatory in those days, as it was covered by The Surfaris, The Leaves, The Byrds, Tim Rose, Wilson Pickett, Cher, Deep Purple, The Mothers of Invention, and The Band of Joy. However, none of these versions are as popular as the version by The Jimi Hendrix Experience, which made the song their own through this memorable version.

Jimi Hendrix Experience 1967

The album’s first side concludes with three lesser known tracks. “Love Or Confusion” is a good and solid rock song, heavy throughout but yet somewhat psychedelic with overdubbed guitars and rotating bass and drum backing. “May This Be Love” contains soft, double-tracked vocals with Mitchell’s marching drums holding together the slow moving, tidal song with slow yet wild guitars with phasing effects. “I Don’t Live Today” has a call and response with riff and verse line, but is overall one of the weaker songs on the album.

The second side starts with the fantastic ballad “The Wind Cries Mary”. Written by Hendrix following an argument with his girlfriend, the lyrics use a hurricane as an allegory for a relationship;

A broom is drearily sweeping up the broken pieces of yesterday’s life / Somewhere a queen is weeping, somewhere a king has no wife…”

These lyrics are every bit as poetic as Bob Dylan while every bit as romantic as Otis Redding, but presented as a pure, bona fide rock ballad. Musically Hendrix’s laid back and bluesy guitar is backed by a steady, driving bass by Redding. The soft and somber playing and singing by Hendrix masks a moderately fast underlying rhythm, giving the song an edge unlike any other.

The album once again picks up with “Fire”, a frantic, highly charged pop/soul song complete with a backing chorus hooks by the band members. There is a nice key jump under the guitar lead, a great drum rhythm by Mitchell, and almost novelty lyrics. The song showcased the raw energy of this power trio and their ability to perform at breakneck speed. “Third Stone From the Sun” is a cool and interesting piece, multi-part, with an almost soundtrack like quality. It contains some strong jazz elements with extremely spacy guitars and an excellent drum improvisation coupled with a three note repeating bass line. This extended piece would be a pure instrumental were it not for a haunting, spoken vocals and wild vocal sound effects.

“Foxy Lady” is another popular rock song with a definite signature of psychedelia. Built around a howling guitar and inspired drumming, the sexually-charged song is full of passion and desire and would go on to become one of Hendrix’s most popular songs. The album concludes with the purely psychedelic title song. Drawing strong influence from Beatles songs like “Tomorrow Never Knows” and “Strawberry Fields Forever”, “Are You Experienced?” employs backwards-masked drums and other sonic and surreal sounds along with classically 1967 lyrics such as; “not necessarily stoned but beautiful”. Although unlike anything else of the album which shares its name, the song is a fitting conclusion to this totally original album, even as it fades into psychedelic oblivion at its conclusion.

With uncompromising energy yet delicate artistic flair, Are You Experienced was an immediate classic that has not faded one iota 45 years later. While later punk bands took on the pretentiousness of offering uncompromising rock, the truth is not a single one had anywhere near the talent of Hendrix and there may never be a true talent of his equal again.

Part of Classic Rock Review’s celebration of 1967 albums.

The Who Sell Out

August 25, 2012

by Classic Rock Review with No Comment Album Reviews

Buy The Who Sell Out

After establishing themselves as a successful singles band in the mid 1960s, The Who made a concerted effort to concentrate on making cohesive albums. This all commenced with the 1966 album A Quick One and continued with their 1967 album The Who Sell Out. Differing from later (and more famous) concept albums by the band, The Who Sell Out is a collection of unrelated songs joined together by public service announcements and original commercial jingles composed by the band using actual commercial products. Another aspect of the album is its nod to pirate radio. Differing opinions have the album either tributing or mocking (or both) the pirate radio station Radio London, which operated for three years on a ship before it was shut down earlier in 1967.

Like the bulk of The Who’s material, the album was mainly conceived and written by guitarist Pete Townshend, but did include songwriting and vocal contributions from all band members. The band had originally tried to gain endorsement fees from some of the products named in the album’s “commercials”, but were unsuccessful in this attempt. In fact, the deodorant company Odorono took offense by this request for endorsement dollars. The album’s cover is divided into panels featuring a photograph of each of the band members, two on the front and two on the back. On the front is Townshend applying Odorono brand deodorant and lead vocalist Roger Daltrey sitting in a bathtub full of Heinz baked beans (from which he allegedly caught pneumonia after sitting for a prolonged period). On the back is drummer Keith Moon applying Medac and bassist John Entwistle appearing as Charles Atlas. All products shown in these pictures were exaggerated in size.

The album was recorded in several cities and over several months in 1967, a year of many legendary milestones for the band. In June they put on a memorable performance at the Monterrey Pop Festival. During the subsequent North American tour Moon drove a car into a swimming pool at a Holiday Inn (establishing his reputation as rock’s wild man) and during a performance on The Smothers Brothers television show, Moon packed his drums with explosives (unbeknownst to the other band members of the show’s producers) and the resulting explosion caused permanent damage to Townshend’s ear and hearing.

The Who Sell Out by The Who
Released: December 15, 1967 (Track) Produced by: Kit Lambert Recorded:London, New York, & Los Angeles, May-November 1967
Side One	Side Two
Armenia City In the Sky Heinz Baked Beans Mary Anne With the Shaky Hand Odorono Tattoo Our Love Was I Can See for Miles	I Can’t Reach You Medac Relax Silas Stingy Sunrise Rael 1
Additional Tracks
Rael 2 Glittering Girl Melancholia Someone’s Coming Jaguar Early Morning Cold Taxi Hall Of the Mountain King Girl’s Eyes Glow Girl
Band Musicians
Roger Daltry – Lead Vocals, Percussion Pete Townshend – Guitars, Keyboards, Banjo, Vocals John Entwistle – Bass Guitar, Horns, Vocals Keith Moon – Drums, Percussion, Vocals

The album starts with the first of several “Radio London” jingles, this first one using a device called the Sonovox with the days of the week simply spoken. This segues to “Armenia City In the Sky”, a song by written by John Keene, a friend of the band and future member of Thunderclap Newman. Keene shares lead vocals with Daltrey above a very psychedelic sound with a driving rhythm. The comical “Heinz Baked Beans”, written and arranged by Entwistle follows with marching band horns and drums.

Townshend’s “Mary Anne With The Shaky Hand” was recorded in three different versions with the album and single version featuring a driving acoustic guitar and much percussive overdubs, concluding with a frantic drum section by moon. An alternate version (included as a bonus track on most modern CDs) features a cool organ sound by session keyboardist Al Kooper. Following Moon’s drum chorus, the album version morphs into a full-fledged commercial for “Premier Drums” before breaking into the choppy and entertain, guitar-driven “Odorono”, which is structured much more like a proper song than one of the filler “commercials”.

“Tattoo” was written by Townshend and sung by Daltry, and was autobiographical of their sometimes rocky relationship. The song features complex harmonies and moody guitars throughout. Another Radio London public service announcements bridges “Tattoo” with “Our Love Was”, a fine song with judicial use of brass and more fine guitar work by Townshend, including an innovative ‘slide’ guitar solo.

A quick medley of three more “Radio London” spots, lead into “I Can See For Miles”, perhaps the most popular song from The Who Sell Out. Although the song reached the Top Ten on both sides of the Atlantic, it was a big disappointment for Townshend, who felt it was the “ultimate” Who record yet. The song is intense throughout with a low, sustaining guitar through the verses accompanied by Moon’s brilliant drum beats. The tension is broken by the soaring release of the melodic hook during the chorus, which is accented by twangy guitar notes like a beacon through space.

The Who in 1967

The (original) album’s second side all but abandons the commercials and PSA’s for more Artistic Who songs that preview some of their upcoming rock operas, especially 1969’s Tommy. “I Can’t Reach You” was one of the first songs Townshend wrote on the piano, and provides a very melodic and easy-going counterpart to the intense “I Can See for Miles”. “Relax” features Townshend on organ, adding yet another element to the band’s increasing sound spectrum. Entwistle’s “Silas Stingy” is written in the traditional English folk song about his own “penny pinching” to buy his first home, while “Sunrise” is a solo track by Townshend featuring jazz chords on an acoustic guitar and very folk-like vocals and lyrics.

“Rael 1” (or simply “Rael”) is a mini-suite which closes the original album. Starting with a marching beat and verse lead by Daltrey’s strong vocals. The song’s second section changes melody, guided by a constant organ and Moon’s driving drums. It then enters a section which would be reused on the next album Tommy as the instrumental “Underture” before returning to the original theme.

Nearly as many tracks were left off The Who Sell Out as were included on the original album and most modern collections some or all of these. “Rael 2” is a short, church-hymn counterpart to the album’s closer, while “Melancholia” is an excellent and haunting song with layered guitars and a driving rhythm. Entwistle’s “Someone’s Coming” has a nice brass arrangement while the band’s psychedelic arrangement of “Hall Of The Mountain King” is a true lost gem in their catalog. Among these bonus tracks are several unused “commercials” such as “Top Gear”, “Coke”, “John Mason’s Cars” and “Jaguar”, the original composition that sparked the album’s idea in Townshend in the first place.

Although not as coherent and focused as the band’s next three albums (the finest of their career), The Who Sell Out definitively shows where they were heading at the end of 1967.

Part of Classic Rock Review’s celebration of 1967 music.

Just For You by Neil Diamond

August 21, 2012

by Classic Rock Review with No Comment Album Reviews

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Neil Diamond broke through in a big way in 1966 and 1967, both as a performer and a respected songwriter (although he had been writing “hit” songs for other artists for several years). His album Just For You captures much of the highlights from this era in Diamond’s career and includes several songs which were huge hits for other artists, both prior to and following the release of this album. Still, the album has never been considered a classic, nor has it even been issued on compact disc. This may be due to the fact that it included some tracks from Diamond’s 1966 debut album, The Feel of Neil Diamond (also not yet available on CD).

Every song on Just For You had been on the A-side or a B-side of a single, with five songs becoming Top 40 hits for Diamond and two others, “I’m a Believer” and “Red Red Wine”, becoming huge hits for The Monkees in 1966 and UB40 in 1983 respectively. Another Top 40 hit from the era, “Kentucky Woman”, was curiously left off the album. All in all, this was the first album to consist entirely of original material by Diamond.

It was also the final Neil Diamond album on Bang Records, a subsidiary of Atlantic, with whom he would be in litigation for the following decade before ultimately retaining the rights to all this early material. The songs and recordings originated at the legendary Brill Building in New York City, where some of the most famous pop songs of the 1960s originated. It was produced by legendary songwriters Jeff Barry and Ellie Greenwich, who also provided may background vocals, although records of other musicians backing Diamond are not readily available.

Just For You by Neil Diamond
Released: September 16, 1967 (Bang) Produced by: Jeff Barry & Ellie Greenwich Recorded:Brill Building, New York, 1966-1967
Side One	Side Two
Girl, You’ll Be a Woman Soon The Long Way Home Red, Red Wine You’ll Forget The Boat That I Row Cherry, Cherry	I’m A Believer Shilo You Got To Me Solitary Man Thank The Lord For The Night Time
Primary Musicians
Neil Diamond – Lead Vocals, Guitars, Multi-instruments

The album begins with the top ten hit “Girl, You’ll Be a Woman Soon”, with its melodramatic hook and driving verse lines. A 1992 remake of the song by Urge Overkill brought the song to a new generation with its inclusion in the Pulp Fiction soundtrack. “Red, Red Wine”, on the other hand, remained a relatively obscure song for many years until a rearranged, reggae version was recorded by UB40 in 1983, becoming that band’s biggest hit and prompting Diamond to adopt this newer version for his own live performances from the late 1980s on.

“The Boat That I Row” was the third single released by Diamond in 1966. It contains a Latin, uptempo rhythm and uptempo acoustic and hand claps like its predecessor “Cherry, Cherry”, which was Diamond’s first ever Top Ten hit as a recording artist. The song was influenced by Bert Berns, the head of Bang Records, who influenced the song’s title and arrangement and features some memorable keyboard hooks by session player Artie Butler.

After hearing the hit “Cherry Cherry”, Don Kirshner asked Diamond if he had a similar song that could be used by a group assembled for a new television series called The Monkees. Diamond played him “I’m a Believer”, a song he had planned to record on his debut album. The Monkees rode the song to the top of the charts where it remained for a remarkable seven weeks, becoming the #1 charting song of 1966. By contrast, Diamond’s own version went relatively unnoticed when it was finally released on Just For You.

Neil Diamond also wrote some personal, introspective songs. “Shilo” tells of solitude and loneliness during childhood, in a mysterious and haunting song. Berns refused to release “Shilo” as a single, believing it was too different from anything that Diamond had previously recorded and might stain his “brand”. “Solitary Man” was the very first single by Diamond in early 1966 and was included on both the debut and this album. With somber lyrics about isolation and a full yet subtle brass arrangement, this initial recording would remain one of the finest throughout his long career. The album concludes with “Thank the Lord for the Night Time”, an uptempo sixth single, which ends the album on a high note. The song peaked at #13 on the charts.

Neil Diamond straddled the worlds on 1960s pop music and the 1970s singer/songwriter. Although never quite recognized as a great album, Just For You may be the one original album by Neil Diamond which best reflects his most prolific songwriting period.

Part of Classic Rock Review’s celebration of 1967 music.

Procol Harum

August 17, 2012

by Classic Rock Review with No Comment Album Reviews

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Procol Harum released their fantastic eponymous debut at the end of the summer of 1967 but most listeners have not had an opportunity to hear it as it was created. This is because only mono versions of the album were released even though the material was recorded on multi-track tape. Those original multi-track tapes were misplaced and have not been located to this day. This is really a tragedy because the originality and pleasant dynamics of the band’s earliest sound is quite evident even through these sub-par mixes. Procol Harum found their niche by combining centuries-old classical and baroque elements with the then modern day moody-ish soul inspired by artists like Ray Charles. This was all topped by the poetic lyrics of wordsmith Keith Reid.

Most of these early compositions originated from Reid’s lyrics, with the music built later to accommodate the structure. Musically the band built rich layers of keyboards by Matthew Fisher, often overdubbing piano and Hammond organ to forge the lead melodic instrumentation. Topping off the sound is the English, blue-eyed soul voice of lead singer Gary Brooker , who delivers the lyric in a distinct and intelligent manner.

The album did not sell well in the band’s home country of England, as neither of their charting singles, “A Whiter Shade of Pale” and “Homborg” were included on the original English version. However, critically Procol Harum was very well recieved, especially among many of their contemporary musicians.

Procol Harum by Procol Harum
Released: September, 1967 (Deram) Produced by: Denny Cordell Recorded: Olympic Studios, London, June 1967
Side One	Side Two
Conquistador She Wandered Through Garden Fence Something Following Me Mabel Cerdes (Outside the Gates Of)	A Christmas Camel Kaleidoscope Salad Days (Are Here Again) Good Captain Clack Repent Walpurgis
Tracks On Alternate Album Versions
A Whiter Shade of Pale Homborg
Band Musicians
Gary Brooker – Lead Vocals, Piano Matthew Fisher – Organ Robin Trower – Guitars Dave Knights – Bass BJ Wilson – Drums

The UK version of the album begins with “Conquistador”, one of the very few songs which originated from Brooker (instead of Reid), who had written a Spanish-influenced piece before the band was even formed. It is melody driven with choppy piano and swirling organ, resulting in an overall feeling of adventure. A live version of the song was released as a single five years later and peaked at #16 on the charts, the second highest charting song in the band’s history.

The most popular song ever by the band was “A Whiter Shade of Pale”, which lead of the US version of the album and was one of the most beautifully orchestrated anthems of the 1960s. The calm, baroque organ by Fisher contrasts sharply with the soulful vocals of Brooker, yet it all works in perfect harmony. Reid came up with the title when he overheard the phrase at a party, and originally wrote four verses for the song but only two verses were recorded. Although much speculation has been made over the meaning of the lyrics, Reid has said they are simply about a one night stand with a woman. For over 40 years the song was credited to Reid and Brooker alone, but in Fisher won co-writing credit for his distinctive contribution to the music. The song not only reached #1 in the UK, but has also been credited by a performing rights group as the most-played record by British broadcasting of the past 70 years.

“She Wandered Through the Garden Fence” is a light and bouncy number with a bright and riff-laden organ line and lead by Brooker and melodic vocals by Reid, despite some of the dark lyrics. “Something Following Me” is classically soulful with lyrics influenced by Dylan’s “Ballad of a Thin Man”. The song is the first on the album to prominently feature guitar by Robin Trower. Trower also shines on the bluesy “Cerdes (Outside the Gates Of)”, which is fueled by slow bass riff by Dave Knights and previews some of 1970s bluesy classic rock styles.

Procol Harum in 1967

The second side opens with another soulful number, “A Christmas Camel”, with a melodic keyboard duel between Brooker’s piano and Fisher’s organ and steady rhythm held down by BJ Wilson. If a true Kaleidoscope is a celebration of color, the song “Kaleidoscope” is a celebration of sound. It is organ driven with piano backing and swirling bass and drums throughout, all under the effortless, chanting yet melodic vocals of Brooker. The album concludes with the light “Salad Days (Are Here Again)”, followed by a piano-led instrumental and Fisher’s closer “Repent Walpurgis”, a suitable melodic number to complete this fine debut album.

Some versions of the album include “Homburg”, the follow-up single to “A Whiter Shade of Pale”, with surreal lyrics and a hypnotizing rhythm. Procol Harum built on their success in 1967 with a series of fine albums well into the 1970s, although frequent personnel shifts would never quite let the band elevate to top-level popularity.

Part of Classic Rock Review’s celebration of 1967 music.

Something Else by The Kinks

August 10, 2012

by Classic Rock Review with One Comment Album Reviews

Buy Something Else by The Kinks

Something Else by The Kinks was a transitional album which straddled the riff-driven pop songs of their early years and the more artful compositions of the band’s “middle” era. The album marks is the last of five by the band which involved producer Shel Talmy. It was co-produced by guitarist, lead vocalist and chief songwriter Ray Davies, who would assume producing duties on many future projects. The album offers selections which can be characterized as 1960s British pop, but with just the slightest pyschedelic and artful elements such as brass sections and mildly complex arrangements. In any case, the songs are strong and melodic throughout with great entertainment value.

As a songwriter, Ray Davies became more refined and sentimental, in contrast to the more psychedelic trends which were proliferating in 1967. In fact, the band seems to make a statement by the pure, unambiguous songs on Something Else, standing in sharp contrast to the vast soundscapes which were being employed on contemporary albums. The album is fueled by moderate acoustic numbers which provides a nice backdrop for the character portraits and vignettes portrayed throughout.

Rhythm guitarist Dave Davies also stepped up as a songwriter on this album. In fact, he briefly flirted with a solo career following the album, releasing the single “Susannah’s Still Alive”, which peaked at #20 on the UK charts. The song features a crisp piano riff with strong rock vocals and has been included as a bonus track on recent editions of Something Else. A couple of other “bonus” tracks from the era is the upbeat folk “Act Nice and Gentle” and the Muswell Hill inspired “Autumn Almanac”, which became the band’s last charting single of the decade.

Something Else by The Kinks
Released: September 15, 1967 (Reprise) Produced by: Shel Talmy & Ray Davies Recorded: Pye Studios, London, April 1966 – July 1967
Side One	Side Two
David Watts Death Of a Clown Two Sisters No Return Harry Rag Tin Soldier Man Situation Vacant	Love Me Till the Sun Shines Lazy Old Sun Afternoon Tea Funny Face End of the Season Waterloo Sunset
Tracks On Alternate Album Version
Act Nice and Gentle Autumn Almanac Susannah’s Still Alive
Band Musicians
Ray Davies – Lead Vocals, Guitars, Harmonica Dave Davies – 6 and 12 String Guitars, Lead Vocals Pete Quaife – Bass, Vocals Mick Avory – Drums, Percussion

The upbeat opening track “David Watts” is a satire on the English “schoolboy” culture and seems to have been inspired by the Rolling Stones’ “Let’s Spend the Night Together“. Like many songs on the album, this song includes piano by session player Nicky Hopkins. Hopkins also plays on Dave Davies’ acoustic driven “Death Of a Clown”, which was originally planned as his first solo single. Eventually all of the Kinks got involved, along with Ray’s wife Rasa Davies, who sings the haunting backing vocals during the chorus. Dave’s rough-edged, raspy voice sounds like a cross between Rod Stewart and Bob Dylan.

“Two Sisters” continues the string of great 60s pop/rock with the edge of a very English sounding harpsichord melody. Many have taken the two rivaling sisters in the lyric as an allegory for the Davies brothers themselves. “No Return” has a very basic arrangement with a bossa nova beat by drummer Mick Avory, who uses a marching beat on the next song “Harry Rag”.

The middle part of the album contains some of the more experimental songs. “Tin Soldier Man” is another melody-driven rocker with a strong horn presence and English sounding changes throughout. “Situation Vacant” has a domestic setting lyrically featuring Hopkins’ Hammond B-3 and saloon piano riffs. “Love Me Till the Sun Shines” is another Dave Davies’ tune with a hint of psychedelia, which the band dives into with both feet on the next track, “Lazy Old Sun”. This slow and deliberate track with strategically placed, Mexican-style horns and appears to have been a major influence on some future Pink Floyd.

The absolute best is saved for last with the beautiful song “Waterloo Sunset”. A ballad dedicated to London with scenes of childhood memories and nostalgia, the lyrics are also a personal lament of the loss of wonder that comes with age. Musically, the song is built around a descending progression By the Davies’ respective acoustic and electric guitars and the bass of Pete Quaife. There are also some fantastic harmonies throughout giving a soothing effect that helps make this song the perfect ending to a great album.

Although Something Else sold poorly on both sides of the Atlantic, it has come to be regarded as one of the finest in the band’s large collection. With a new phase of their career underway, the Kinks set out to try more ambitious projects such as the concept album The Kinks Are the Village Green Preservation Society in 1968. Although the band was already well seasoned by this point, their career was just getting warmed up as they would continue with several relevant albums all through the 1970s and well into the 1980s.

Part of Classic Rock Review’s celebration of 1967 music.