1960’s & 1970′s Album Track Gems . . . . . . . . . . . . . MIKE HERON w/TOMMY & the BIJOUX . . . . . . . . . “WARM HEART PASTRY” . . . . 1971

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MIKE HERON – “WARM HEART PASTRY” – 1971
with TOMMY & the BIJOUX
from the album: “SMILING MEN WITH BAD REPUTATIONS”

Mike Heron of the “Incredible String Band” cut loose from his usual acoustic folk stylings and enlisted Pete Townshend, Ronnie Lane and Keith Moon as “Tommy & the Bijoux” for this warm piece of Hard Rock sexual innuendo and ultimately classic “Who” song.

Heron’s vocals are a great fit – Daltry-worthy, Townshend’s “surf/secret agent” riff is perfect as is Lane’s matching bass licks, but it’s Moon’s preternatural attack on the drums that propels this song into the Rock Stratosphere! A massively-impressive track that was known only to those fiends who sought out Album Track Gems.

I must admit that I had an inside track to obscurities like this as I was a Record Rack Jobber and Record Store Manager during the early-to-mid ’70s and therefore had nearly absolute access to any LP I wanted.
At the height of my vinyl fetish I had a “choice” LP record collection that totaled over 3,000 and a separate collection of over 300 LP soundtracks. And to complete my vinyl fetish I had to have PH-balanced paper/plastic inner sleeves and clear-vinyl outer dust covers for nearly all of them.

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So come back soon for plenty more Album Track Gems!

Until then thrill to six minutes of WHO Heaven!

“Hey, I’m a hungry man and you know I ain’t talking ’bout grits.”

Crank It Up!
Eat It Up!

WARM HEART PASTRY

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1970′s Historic & Classic Rock Albums . . . . . . . . . . the WORST of JEFFERSON AIRPLANE . . . November 1970

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JEFFERSON AIRPLANE – the WORST of JEFFERSON AIRPLANE . . . November 1970

“Worst” is seriously one of 00individual’s favorite Rock albums, each song is a gem unto itself and the album flows perfectly and covers a lot of important ground; a “time stamp” of an era of music and feeling that will forever be part of my soul.

The Airplanes’s sarcastic rebel title for the “best” typifies the early anti-establishment attitude of this seminal ’60s Rock band. Leaders of the San Francisco Psychedelic Sound, they were also strong social protesters through many of their songs’ empowering lyrics.

Grace Slick, Marty Balin, Paul Kantner, Jorma Kaukonen, Jack Casady and Spencer Dryden; Rock Titan names you remember always.
Slick and Balin were two of the most unique voices in Rock and together they are an untouchable duet – they both reach that Van Morrison level where their voices transcend and become musical instruments. Grace wanted to be able to vocalize the sound of a guitar – she did, and beyond.
Casady and Dryden were a singular amazing rhythm basis for Kaukonen’s perfect guitar creations – Jorma was one of the best and literally defined the “60’s guitar sound”.

Jefferson Airplane spoke our language and articulated it well. Their place in Rock History is vital to the understanding of the beginnings and of the vibe of the Counter Culture. Their music, attitude, look and mere presence served as a strong green light for the heartfelt anti-establishment, anti-war, pro-drug, pro-peace and love movement that we were backing, promoting and living.

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During the mid-’60s “Album Rock” began to increase – many times the “unknown” songs on an LP were much better than the songs that were promoted.
“White Rabbit, “Somebody To Love” and “It’s No Secret” are the songs that made JA popular but it was the other songs from their LPs like; “Today”, “Plastic Fantastic Lover”, “The Ballad Of You And Me And Pooneil” and the one-two punch of “We Can Be Together” and “Volunteers” that powered JA to cult status within the Counter Culture.

Other SF bands like the Grateful Dead, Quicksilver Messenger Service, Janis Joplin and Big Brother, Country Joe and the Fish, Steve Miller, Blue Cheer and L.A. bands like the Doors, Love, the Byrds and Buffalo Springfield led the psychedelic West Coast sound that benefited from the early Album Rock era.

We liked to listen to entire albums as background music while we smoked a joint or bowl of hash over memorable enjoyable conversations; eventually someone would hush the conversations with a, “Listen!”, alerting all of us to a particular cool song or riff that immediately became the foreground and the focus of our interest. Scenes like that happened alot; many times we would be entranced by the music and there would be no conversation at all. We were all on the same trip; we fully appreciated the gift of music we were being given.

A dream “Worst” double-album would be side 1 and 2 and for side 3; “Wooden Ships”, “3/5 of a Mile in 10 Seconds”, “Good Shepard”, the classic Acid Rock thwomper “Two Heads“, the absolute ethereal thrill, “Coming Back To Me” and “She Has Funny Cars” (which really should have been on “Worst”) and side four could consist of “Spare Chaynge”.

Even though all of the tracks on “Worst” are from mid-to-late ’60s JA LP releases and should technically be on the Top 69 Historic and Classic 1960s Rock Albums list; I stuck to the release date of the album, November 1970, and made it an official entry on the Top 79 Historic and Classic 1970s Rock Albums list.

Like a good friend; it’s always a pleasure to enjoy the exquisite company of the “Worst”:
1. It’s No Secret … 2:37    2. Blues From An Airplane … 2:10    3. Somebody To Love … 2:54    4. Today … 2:57    5. White Rabbit … 2:27    6. Embryonic Journey … 1:51    7.  Martha … 3:21
8. The Ballad Of You And Me And Pooneil… 4:30    9. Crown Of Creation … 2:53
10. Chushingura … 1:17    11. Lather … 2:55    12. Plastic Fantastic Lover (live Version) … 3:39    13. Good Shepherd … 4.22,  14. We Can Be Together … 5:50    15. Volunteers … 2:03

………-=-=-=-=-=-=<<<<<<<<<<<:>>>>>>>>>>>=-=-=-=-=-=-………
Time Travel is possible; especially with Jefferson Airplane.
Whenever I hear these songs and/or their LPs, I am not only instantly transported back to that magical, mystical time but to the specific feelings of entering the New World I was experiencing during ’66 to ’70.
Every day began with the anticipation of excitement, … seriously, deliriously…
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So, if you ever plan to go back to the ’60s, you can fly Jefferson Airplane – gets you there on time.

1960′s and 1970′s Culture Archives . . . . . . . . . . . . . SETTING HISTORY STRAIGHT: . . . . . . . . . . . . . . . . Positive Counter-Culture & Hippie Contributions: Commerce, Art, Health, Environment, Free Speech, Love & Humanity – and the two words that started it all; “Question Authority!”

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EXPERIENCE HISTORY-PROVEN
POSITIVE ’60s (& ’70s) COUNTER-CULTURE BENEFITS!

This site is meant to celebrate and shed truthful insight on life in the ’60s and ’70s from 00individual’s specific and selective slice of H-SAM details of life during that culturally-historic era.

Archived for those who either wish to have been a part of the most intensely important cultural movement in history, or for those who were, he uses Historic and Classic Rock ‘n’ Roll albums, concerts and events as time stamps; integral chronological keys to unlock those decades’ historic events.

Personal first-hand experience is essential to speak on any subject intelligently and knowledgeably. Without it you are being told a tale by people with an ulterior agenda, or worse, information based on ignorance.

00individual speaks Tribal Truth. He experienced the ’60s and ’70s personally as part of the Counter-Culture during his late teens and early twenties and felt the actual outpouring of love throughout his generation that resulted in an unspoken brotherhood and spiritual gathering of their Tribe.

Marijuana’s “truth” broke down egos and with that individuals lived a truer reality while expanding their consciousness in many ways. It was a rare time.

Under this climate they experienced many changes very quickly as they attempted to change their world. All the while the establishment continued to wage a war against their advancements.

Deep down they knew they couldn’t win them all, but they did know that they were winning – to quote Hunter S. Thompson; “… that sense of inevitable victory over the forces of Old and Evil. Not in any mean or military sense; we didn’t need that. Our energy would simply prevail.” … and in many ways it did.

Why should everyone with an independent mind be grateful and thankful to the Hippies and the Counter-Culture?
It’s simple, and here’s the analogy; the post-war baby boom generation’s familys’ first-born, whether a boy or a girl, had to “break in” their parents in regard to everything.
00 was the first-born in his family so he knows of what he speaks. New parents, trying to do the right thing, allowed society to rule the family as “keeping up with the Joneses” encompassed maintenance of the morals and standards of unquestioned tradition.
Societal restrictions were in full force with the traditional classics, “Children should be seen and not heard.” and “Children should not speak unless spoken to.”
But when a second child was born, the restrictions were much more lenient. By the time the third child was born, many exhausted parents eased-up on these social traditions to the point of “for appearances only”.
So, …
consider the Hippies of the Counter-Culture as your “older brother or sister” who “broke in” society so that you could have the advantage of being the “second and third child” with the ability of living in an age of relaxed social restrictions and with the gift of real freedom to express your individuality!
If …
the Hippies had not “broke down” all of your parent’s parent’s parent’s archaic traditions and the ridiculous militarized values of society, you would still be conforming; boot-strapped to a non-questioning life in a society where individuals with their own ideas and beliefs would be considered outlaws – – like the counter-culture and individuals were.

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For 00individual, and a whole generation, the most empowering two words were on a bumper sticker; “Question Authority”.
This was something that no generation in history had attempted to do, united, sincerely, and with conviction. These two words literally ignited positive change in society that continues to this day!

For those who feel the need to complain about “fallout” from the Hippies and the Counter Culture, know this; to blame any previous generation for one’s “problems” is just lazy.
Not happy? Wake up, Sunshine, and do something about it! This is your shot, your life, your own reality show – at least put forth an effort and enjoy it while you can.

In the meantime, show some class, be smart, don’t dis the Hippie; celebrate the Hippie, honor the Hippie; he and she were the founding fathers and mothers of a brave new world where their children could have the advantage of a free mind to express themselves without traditional restrictions.

Remember, the counterculture represented less than 10% of the population of the U.S. and was less than 1% of the 76 million Baby Boomers. The counterculture itself was influential but not enough to cause a sea change in finance, politics, and personal habits. Uninformed voters, the media, corporatism, institutional corruption, special interest influences and corrupt politicians shoulder the blame for most of the country’s ills.

Were the visions, movements and causes of the Counter-Culture successful?
As the following list will show, that would be a resounding, “Yes!”  Hippies had so many positive ideas to explore that it was imperative for them to try. As with any honest endeavors; some fail, some succeed, but in any case valuable lessons were learned in the process and progress was made- history has proven this fact.
History also notes that the 1960’s positive “movements” were directly responsible for more lasting and beneficial advancements “For the People” than any generation before or since.

Within the list below any collateral damage was minimal and not fatal – excluding the civil rights, free speech and anti-war movements.

Counter-Culture Contributions
Through entrepreneurial acts, the Counter Culture started, or were enthusiastic promoters of:
the Health Food / Natural Food industry, the Self-Realization movement, the Environmental movement, the Recycle industry, the Mind Expansion and Awareness movement, the Self-Help movement, the Spiritual movement, the Anti-Discrimination movement, the Free Draft/Law Counselor movement, the Civil Rights movement, the Womens’ Rights movement, the Anti-War movement, the “Whistle-blower” movement, the Peace and Love movement, the Free Clinic industry, the Homeopathic industry, the Candle/Aromatherapy industry, the Revitalized Art movement, the Revitalized Music industry, the Revitalized Fashion industry, the Revitalized Film industry, the Air/Water Quality Control movement, the Wildlife Preservation movement, the Ecology movement, the Eastern Philosophy movement, the Tolerance movement, the Self-Sufficient Community movement, the Free Speech movement, the Free Press industry, the Underground Radio industry, and the ongoing “Question Authority” movement – just to name those that immediately come to mind.

And finally, that smiling Sunshine Peace logo at the header of this post represents the salutation, “Have a Nice Day!”, but unlike the insincere token term it had become, back then, we meant it.

“Have a Nice Day!”
(JA ON DC 8/69 “WCBT” & “V”: 2 GOOD!)

1960′s Historic & Classic Rock Albums . . . . . . . . . . the BEACH BOYS . . . . SURFIN’ SAFARI . . . . . . . . . October 1, 1962

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SURFIN’ SAFARI – the BEACH BOYS – October 1, 1962

Well, it’s the first day of Summer, June 21, 2013; – so, … “Let’s Go Surfin’!

“Surfin’, bop-dip-da-dip,
surfin’ bop-dip-da-dip,
bop-bop-dip-da-dip, bop-bop-dip-da-dip,
surfin’ bop-dip-da-dip,
surfin’ is the only life the only way for me,
now come on pretty baby and surf with me,
yeah, surf.”

“Surfin'”, the first single by the Beach Boys, was the very first 45 RPM single I bought, released in November 1961; a few months before my 11th birthday.
As simple as that song was, it began both my single and LP vinyl fetish addiction/mania.

Living in Southern California, the future mecca of the massively influential “Surf Culture”, was ideal for my pre-teen sensibilities. WithinTiki-Gods the next two years the “Surf and Hot Rod/Car Culture” would become an all encompassing vibe that would include fashion, clothing, hair styles, dances, slang, attitude, beach bunnies, Pacific Islander culture, Tiki Gods, Ed “Big Daddy” Roth’s custom cars and Rat Finks and really fun cool surf music – and would mark my emergence as an official “teenager”!
This new “craze” would spread across the United States and to a certain extent the world.

RFChevyHere in SoCal – where Dick Dale, Jan and Dean and the Beach Boys lived, recorded and performed – we were fortunate to “live” the culture in our own modest way and actually go to the beach and surf – even if you didn’t have a board, you would body surf! Gnarley!

Junior High school (and everywhere else) was a place to show your “surfwear”; usually a white t-shirt, Pendleton, faded blue jeans, Blue-tipped Purcells or barefoot and if you were a “Ho-Dad” then your car culture fashion would be a white t-shirt (maybe a white buttoned-down shirt – if you were serious), black leather or dark blue “tanker” jacket, dark jeans and black tapered shoes/boots. I preferred a cross between the two with all the surfwear but with a tanker jacket in place of a Pendleton. I had naturally blonde hair so I never had the need to peroxide my hair like many “Gremmies” did.

All too soon the British Invasion pretty much overtook the surf ‘n’ car culture music; leaving a truly historic time-stamp of a unique culture that emerged as quickly as it submerged. The Surf Culture however, was not music-driven and surfers carved-out and established their part of society with a devoted core of individuals who continue with the “Surf Spirit”, – this applies to the equally-established Car Culture as well.

Eventually the ever-present serious issues of civil rights and the Vietnam War was reflected in our music – and we all grew-up.
But for now we were enjoying truly innocent fun; the sound of the Beach Boys was full of the joy of the beach, surf, cars, girls, guys, summer, sun, freedom and youth.

While not all the tracks on their first LP were winners, “Surfin’ Safari” was a monster, and “409” was arguably the first single to chart that celebrated the Southland’s romance with everything cars.
“409” led to other major hits; “Shut Down”, “Fun, Fun, Fun” and “Little Deuce Coupe” and influenced classics by others like; “Drag City”, “Deadman’s Curve” and “the Little Old Lady From Pasadena” by Jan and Dean, “Little G.T.O.” by Ronny and the Daytonas, “Hey Little Cobra” by the Rip Chords and many others.

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The Beach Boys deserve all the credit that history provides as they single-handedly created a cultural and musical genre tidal wave. A wave that broke through the harbors of the standard Rock of the ’50s, a wave that burst the dams for the British Invasion and then a wave that morphed into a psychedelic pipeline with Brian Wilson’s epic “Good Vibrations“.
And while Chuck Berry’s riffs were admittedly used as basis or flourish to many of these tunes; cultural credit also has to be given to Dick Dale, “the King of the Surf Guitar” and to the Ventures for their creation of the guitar-driven surf instrumentals that were essential complements to the Beach Boys’ exquisite vocal harmonies that made up the Classic Surf Sound.

Rock History acknowledges the Beach Boys for their creation of a genre and for their incredible influence in music.  And also for the inspiration they provided for countless artists and music lovers that continues to this day!

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Malibu – Zuma Beach – early 1960s

By 1979 I would be renting a nicely-converted horse stable guest house straight up from the bluff in this photo. My immediate neighbors on Point Dume were Goldie Hawn (when Kate and Oliver were infants), Max Gail (Wojo; Barney Miller) and Bob Dylan!

’60s Surf Culture Epilog:
At 18, I was going into the second half of my senior year of high school – (I was a split semester student, I graduated as an A-12 in February 1969) – I needed to attend “summer school” to make up credits to graduate. My incarceration was at Westchester High, near LAX which was a very short ride/hitch to the beach.
That Summer of 1968, every morning after class I’d go straight to the beach and hang for the day. As each day at the beach passed I marked it off on a calendar I had inside my notebook; by the end of the summer I had gone to the beach every day except for seven odd days, that included weekends, for the whole three months!
I had gone full native, my skin was a dark golden brown and I had a “Surfin’ U.S.A.” … bushy, bushy blonde hairdo” – and to make sure that I had really gone native the only showers that I took were in the ocean, that’s right, any “dirt” that I had on me was washed away by the natural wonders of the pristine Pacific Ocean salt water – and I never had so many girlfriends as I did that summer!

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“The memories of a man in his old age are the deeds a man in his prime!”
– Pink Floyd –

1960′s Historic & Classic Rock Albums . . . . . . . . . . BLUE CHEER . . . . VINCEBUS ERUPTUM . . . . January 1968

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BLUE CHEER – VINCEBUS ERUPTUM – January 1968

Were Blue Cheer the originators of Heavy Metal? Punk? Grunge? Thrash? Psychedelic Hardcore Rock?  Well, most would agree to all of that and more but Dickie Peterson (vocals and bass), said it simply that, “Blue Cheer were a Power Trio that played Ultra Blues.” Amen.

Blue Cheer, inspired by Hendrix’ power trio, were Dickie Peterson, Leigh Stephens – guitar, Paul Whaley – drums, and were the “loudest longest-haired savage cosmic primal ultra hard rock blues band” in our known universe. It was as if Blue Cheer actually achieved an “11” across the board on the entire Rock ‘n’ Roll Coolness Machine’s Rock Icon Essentials.

It was hard to ignore the Tyrannosaurus Rex in the room that was “Vincebus Eruptum” as it was a massive sonic assault that was pure pleasure to hear and feel!
Back in 1968 it hit us like the Qwsley acid they named themselves after! We had never heard anything as seriously aggressive, loud, distorted and beautiful – Blue Cheer erupted!

Some Garage Bands of the ’60s came close to this Rock ‘n’ Roll full-frontal “Hard Punk” assault; Hendrix and the Who had plenty of sonic rebellious punk attitudes and performances. But Blue Cheer’s “pure primal force impact” instantly created an adrenaline rush among Rockers and Hippies that pretty much defined Hard Rock; while decimating all other bands at the same time – and because of their purity maybe since then, too.

00individual didn’t take this musical fuel injection lightly. …during “Out of Focus” my mind was experiencing automatic endorphin release that triggered a peek into what was to come: Black Sabbath, Deep Purple, Led Zeppelin and beyond! While I didn’t actually ‘imagine” those groups (although the astute could see Deep Purple and “New” Yardbirds/Led Zep’s inevitable Heavy Metal ascension) it was easy to see that Blue Cheer introduced an awesome ultra-primal element to the Rock Universe …. and that it was just the beginning, ….

Side A

1. Summertime Blues  3:43   2. Rock Me Baby  4:18   3. Doctor Please  8:50

 Side B

1. Out Of Focus  3:52   2. Parchment Farm  5:48   3. Second Time Around  6:18

I was fortunate to see Blue Cheer live up close a few months after the release of this LP:

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8-03-1968 1st Annual Newport Pop Festival, Orange County Fairgrounds, Costa Mesa, CA

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00individual wouldn’t deprive you of one of the Best Album Covers Ever; so here’s the cool-ass original front cover with semi-reflective “metallic” ink on tactile embossed psychedelia.
The lettering is righteously evocative and zeitgeist perfect; just like the sounds inside!

The header version is a fun psychedelic split mirror-image! The bottom overlaid lettering reveals an Ancient Tri-Dimensional Hard Rock Occult Power Symbol!
It’s basic translation is “Master of Chaos”

Groovy!

1970′s Historic & Classic Rock Albums . . . . . . . . . . the WHO . . . LIVE AT LEEDS . . . May 16, 1970

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EXPERIENCE THE ZENITH OF LIVE ROCK HISTORY!

the WHO – LIVE AT LEEDS – May 16, 1970

THE BEST LIVE ROCK ALBUM EVER!

At #2, #3 and #14, the WHO dominate the Top 50 Posts & Pages of the Past Year of this site!
This is quite an accomplishment and certainly an important sign of how much Rockers world-wide love the WHO and their music.

I’ve put this LP review off until today, June 14, 2013 because it is a day of celebration –
this day marks the 43rd year anniversary of the second best concert I ever experienced in my life
and I’ve attended many Historic and Classic Concerts.

00individual is a firm believer that timing is everything – here’s proof:
The WHO recorded this album live at the University of Leeds on February 14, 1970,
almost exactly three months later they released the album “Live at Leeds” on May 16, 1970
and almost exactly one month later (and exactly four months from the live recording at Leeds) they performed live at the Anaheim Stadium on June 14, 1970.
“Tommy” was released almost exactly a year earlier on May 23, 1969 and was still a juggernaut presence in our lives.
Entwistle and Daltry were 26, Townshend was 25 and Moon was 24 and I was 19 at the date of this concert and the release of this album.
With the convergence of the awesome cosmic energy of this epoch within Rock History it is only common sense to state that the WHO were shaking the “Pillars of Rock ‘n’ Roll Heaven and Hell” – and breathing extremely rarefied air – and by mere existence, so were we.
To be young, wild and psychedelic when the WHO were too was an exhilarating once-in-a-lifetime feeling that words can’t describe. But I’ll try.

My review of this massively-historic album is a review of the Anaheim concert as well, as they both created a real life deja vu experience.
Every track on the LP, every intricate sound was reproduced exactly during this historic concert.

Back then, every day the air was filled with the excitement and anticipation of an inevitable event; it only had to be inhaled and I mean that literally and figuratively.
So to be on our way in my good buddy’s home-converted step-van for “festival seating” at the Anaheim Stadium baseball field to see the WHO qualifies as an event.
Our small group of Hard Core Rock Concert Fiends were ready to Rock!
The sheer power of the WHO was inside us, we could already feel the sonic sensation of Townshend’s Windmill Guitar, Daltry’s Perfect Voice, Entwhistle’s ThunderPunch Bass and Moon’s Ubiquitous Drums. It was a call to our Tribe, a meeting of those of us who understood the moment, who welcomed the thrill, who had to be there, who loved the WHO.

We had proudly staked our flag on third base, proclaiming our ownership of this part of the WHO Universe . The WHO were set up on a nicely elevated stage at home plate. We were exactly ninety feet from the stage for the whole concert – perfect distance for both view and sound.
We were psychedelicized to the hilt; as a matter of fact, everyone was on some kind of psychedelic, you knew this because the atmosphere was so thick with cosmic energy that you could reach out and touch the fine electricity that connected you to the Tribe all around you – from the outfield to the infield – everyone, everywhere was “tuned-in” and the WHO were at the controls.
Every single note, lyric and drum beat spoke to us, we were a symbiotic part of the WHO !

who PT AIR GUITAR!We saw Pete Townshend get this high! … or maybe that was us.

It was as if time stood still and all that existed was the WHO Universe. I was so high on “WHO” LSD that even today when I listen to “Live At Leeds” I get a Pavlovian acid flashback that causes the glands in my mouth to begin to salivate in exquisite acid come-on anticipation – and that’s a good thing as the Double Dome acid we all took that day was Grade AAA quality. I can assure any doubters that even without any psychedelics this would have been the second best concert in my entire life because it was just that unbelievably good! (Here’s the first!)

Rolling Stone readers’ poll in 2012 ranked “Live at Leeds” as the best live album of all time. That’s something that any Rocker instinctively knows. It is so far out in front of any other that the WHO own that title for all time. There will never ever be a period in any future history where the absolute thrill of this album by Iconic Rock Gods could be matched – it’s an impossibility – historic Rock ‘n’ Roll lightning only strikes once – especially during the era of Historic Cultural Revolution that altered society forever!

Thrill to the Best Live Rock Album Ever – LIVE AT LEEDS“!
Just listening to the opening track, “Young Man Blues”, from the original “Leeds” album, gave me the shivers all over!  For real!  The “Young Men” were in supernatural top form!

Thrill to the Best WHO Concert Ever  the WHO – June 14, 1970 – Anaheim Stadium
(scroll down past Hendrix).

Thrill to the actual recording of the Anaheim concert – there could not have been a more perfect WHO set list ever; “Leeds” AND “Tommy”:
Heaven and Hell, I Can’t Explain, Young Man Blues, Water, The Seeker, Overture, 1921, Amazing Journey, Sparks, Eyesight To The Blind, Christmas, The Acid Queen, Pinball Wizard, Do You Think Its Alright, Fiddle About, Tommy Can You Hear Me, There’s a Doctor, Go To The Mirror, Smash The Mirror, Miracle Cure, I’m Free, Tommy’s Holiday Camp, We’re Not Gonna Take It, Summertime Blues, Shakin’ All Over/Spoonful, My Generation pt 1 My Generation pt2, See Me, Feel Me, Touch Me, Sparks, Naked Eye, Magic Bus.

The Rock Gods empowered the WHO back then – and blessed us all.

I said it once, I’ll say it again; it’ll never get any better than this!
NEVER.

At least not until time travel is perfected and if so,
dial in June 14, 1970 Anaheim Stadium, California

I’ll see you there!

(Actual photo of the WHO at Anaheim June 14, 1970)WHOJune141970

“TALKIN’ ‘BOUT MY G-G-GENERATION!”

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CHECK OUT THE REST OF THE TOP 79 HISTORIC & CLASSIC 1970s ROCK ALBUMS!

1970′s Historic & Classic Rock Albums . . . . . . . . . . SPOOKY TOOTH . . . . THE LAST PUFF . . . . July 1970

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SPOOKY TOOTH – THE LAST PUFF – July 1970

First off I gotta say that this is one of my favorite names for a band; I always wanted to have a real band, although my “who’deverdropby house band” was a hellofalotta fun – a real band (I was a drummer) would’ve been cool and would’ve been named (at the time); “Spooky ‘n’ Bitchen” – so right off I was intrigued with Spooky Tooth.

While I wasn’t a huge fan, I certainly was of this particular album; it somehow got under my skin and I played it alot – in retrospect, I did have the  “Spooky Two” and “You Broke My Heart So .. I Busted Your Jaw” albums so I guess I was a decent enough fan.

Sandwiched between the ever-present Band album “Music from Big Pink” (they covered “The Weight”) and the upcoming Elton John album “Tumbleweed Connection” (from which they covered “Son of Your Father”); “The Last Puff” album provided a perfect Rocker that had a nice connected feel to it.

Spooky Tooth certainly had the talent and what it took to make it big but like many bands just didn’t seem to be able to break-out commercially and is why they’re not mentioned in the Rock History canon – but 00individual will rectify that in a small way by acknowledging them in the
Top 79 Historic & Classic 1970s Rock Albums category.

Spooky Tooth could Rock, for sure, and delivered solid Ballads that had their own signature style and sound and they could even take the Beatles’ “I Am The Walrus” and make it stupendously their own – but they couldn’t latch onto that elusive element that would’ve put them on the upper rungs of Rock success – it happens – to bands and individuals in every walk of life.
Apparently talent has no bearing on success because it is all about timing – timing is everything – I know that to be true in my own life and career.

So let’s shovel that “pile of philosophy” aside and take a listen to some excellent “The Last Puff” by Spooky Tooth:

“I Am The Walrus”
The Wrong Time
Something To Say
Nobody There At All
“Down River”
Son Of Your Father
“The Last Puff” ( a great instrumental that I cannot locate – so here’s “Evil Woman” from Spooky Two)

Spooky Tooth had a classic line-up and many went on to successful solo careers and success with other bands – and the core Spooky Tooth is apparently still performing occasional gigs!

The line-up changed several times, but typically was –
Mike Harrison (keyboards/vocals)
Greg Ridley (bass guitar/vocals)
Luther (Luke) Grosvenor (AKA Ariel Bender) (guitar/vocals)
Chris Stainton (bass guitar, piano, organ, guitar)
Mike Kellie (drums)
Gary Wright (organ/vocals)

Spooky Tooth:
a great band with a unique sound and terrific potential caught in the massive early 1970s creative explosion of incredible bands and incredible music – a peak time of very tough competition for
Rock ‘n’ Roll Supremacy!

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CHECK OUT THE REST OF THE TOP 79 HISTORIC & CLASSIC 1970s ROCK ALBUMS!

1960′s Historic & Classic Rock Albums . . . . . . . . . . SPIRIT . . . January 22, 1968

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EXPERIENCE ROCK HISTORY!

SPIRIT – SPIRIT – January 22, 1968

Spirit were the under-rated innovators of so many genres of music that it is truly unreal.
They were master musicians led by Randy California’s writing and guitar-wrangling that was so good that he was asked by Jimi Hendrix, at 15 years old, to join Jimi’s only band before the Experience; the “Blue Flame”. Randy’s real last name was Wolfe but Jimi dubbed him Randy “California” and it stuck.

Spirit were a local Topanga Canyon band who rose to “L.A. Stardom” about a year after the Doors, Love and the Byrds. Spirit however, initially drenched in psychedelia as their eponymous first album shows, later took their originality and explored other realms of Rock genres.

Ed Cassidy, California’s uncle, was a top-notch jazz drummer who had already played with the jazz greats and John Locke on keyboards, Mark Andes on bass and Jay Ferguson providing vocals took Spirit to eventual national and world-wide attention and success, headlining their own gigs and eventually opening for Cream .

Mechanical World” was heavy metal excellence and easily the earliest representation of the best that genre would ever have to offer – dig California’s apocalyptic guitar solo.
Fresh Garbage” and “Elijah” Rocked with Jazz-fusion years before the term would be coined.
Uncle Jack“, a concentrated gem, out-did the Who before “Tommy” and showed some unheard-of Rock composition transitions that had a beautiful Hard-Rock driven vibe and great guitar hooks.

This album always takes me back to my original Hippie drug exploration days of “reds” (Seconal) and “whites”, (Benzedrine) in the late months of ’67 and the early months of 1968. It was a short but innocent phase that along with marijuana led to some whacked-out adventures and very fun times. This Spirit album was always along for the ride.

Spirit reached an unprecedented high-water mark with their fourth album, “Twelve Dreams of Dr. Sardonicus”; a solid LP that delivered twelve truly excellent and unique tracks that focused on social, political and ecological issues – all the while providing unforgettable infectious Rockin’ songs.

One of the original releases on Lou Adler’s new Ode label, Spirit’s first album was/is a landmark of the creativity and vision of a band who carved-out a special unique place in Rock History and serves as a stone music time-capsule of a pivotal-point in the era of sex, drugs and Rock ‘n’ Roll!.

Dig early sophisticated garage / jazz-fusion / heavy metal / ballad / psychedelic Rock:

SPIRIT – FULL ALBUM!

1970′s Historic & Classic Rock Albums . . . . . . . . . . DAVID BOWIE . . . The Rise and Fall of Ziggy Stardust and the Spiders from Mars . . . June 6, 1972

Ziggy Saucerardust and the Spiders from Mars

EXPERIENCE ROCK HISTORY!
BOWIE ROCKS!

DAVID BOWIE
The RISE and FALL of ZIGGY STARDUST and the SPIDERS FROM MARS – June 6, 1972

Forty-one years ago today a “Starman” from Mars made himself known to a generation of Rockers yearning for a new sound who were on the verge of “Rock ‘n’ Roll Suicide“.
His message of “Soul Love” was an inspiration and though “It Ain’t Easy” to do in this “Suffragette City” he told us to “Hang Onto Yourself” for just “Five Years” and we too would be a “Star“.
His name was “Ziggy Stardust” and along with “Lady Stardust” he led us into a “Moonage Daydream“of Rock ‘n’ Roll bliss!

Strangely enough, the above “story” is fairly true.
The thrilling climax of the British Invasion bands, the Psychedelic S.F./L.A. bands and the “Supergroups” had run their course and by 1972 all of us Rockers were getting a little edgy, jonesin’ for the next “big thing”.

We were accustom to incredible musical trends, historic and classic bands and outtasight music so we knew we were due and we had been patient.

And then it happened; an androgynous alien arrived on the scene, a powerful Rock ‘n’ Roll mutant with his band, the Spiders from Mars!  That’s right, the Spiders from Mars! How cool was that?
And to top it off his name was Ziggy Stardust! And the best part, the absolute best part was that Ziggy and his band were just the dynamic explosion of Rock ‘n’ Roll that we desperately needed. Just like the superhero in any great comic book or movie, Ziggy arrived just in time to save the day!

It’s mind-blowing to think that its been four decades since Bowie invaded the Rock scene and changed life as we knew it. It seems like yesterday that our newly initiated Space Tribe were Rockin’ to the refreshing cosmic-cool sounds and totally fun concept of this album.

For further fantabulous freaky fun surrounding the amazing influence of David Bowie
during this historical era, please check out the links below:

Thankfully, I was very fortunate to have a righteous seat at
Bowie’s U.S. debut at the Santa Monica Civic on 10-20-72
and five months later, (scroll down from the above review) close to the stage for
Ziggy’s Farewell at the Hollywood Palladium on 3-12-73!

“I’m an alligator, I’m a mama-papa coming for you,
I’m the space invader, I’ll be a rock ‘n’ rollin’ bitch for you”
– Ziggy Stardust – “Moonage Daydream”

 

1960′s and 1970′s Culture Archives . . . . . . . . . . . . . TRUE PSYCHEDELIC TRIPS! . . . . . . . . . . . . . . . . . MIND-BLOWER #9 . . . . . . . . . . EARLY 1970’S . . . . A MONSTER, MESCALINE & COOL JAZZ

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TRUE PSYCHEDELIC TRIPS! MIND-BLOWER #9   EARLY 1970S A MONSTER, MESCALINE AND COOL JAZZ

MONSTER
Whenever the people I ran with got together we always had a good time, we were a fun bunch of Psychedelic Kidz. But sometimes things could escalate into fun for some and not so much fun for others; the bong scene from the Mike Judge movie “Extract” reminded me of just that.

It was night time at a girlfriend’s apartment and we were all getting way too stoned on a combo of psychedelics and a dusted joint of PCP (the “good” stuff) and Dealer Mike (from Hippie Road Trip) kept “turning into a monster” and mentally attacking his good friend who was sitting next to him on the floor.
Now Mike was the master of sophistication and manipulation and had a full beard and long frizzy hair and with widened wild eyes he played his part well, but his poor buddy was obviously seeing it in a more sur-real vein than intended.
At first he sensed the joke but under the spell of the drugs he succumbed more to the possible reality that Mike was really turning into a monster and asked him to return to his human form.
Mike relented only long enough to come back and do it again, only more so. The rest of us were amused to the point of subdued laughter, as he wasn’t doing it to us. But I could tell in my own state of weirdness that Mike’s monster could be very intimidating.

Soon Mike had his buddy pleading to stop with plaintiff reasons of, “… but I’m your partner!”, but that had no effect on the merciless Mike. Eventually his buddy and our friend had to get up to escape, whereby Mike apologized and told him he wouldn’t become a monster anymore, so he reluctantly sat back down.

We had all reached that place on the fringes of reality where it could only take a little nudge to enter a swinging saloon door into a world of our friend’s viewpoint – and thus protected ourselves with nervous laughter as we didn’t want the monster to come after us – even though we had been enjoying the “seriously innocent” show.

After the the joint made the rounds again, Mike slowly turned his head toward his buddy, eyes wild and in a scary, creepy menacing way turned into a monster again – and that was it – our friend got up and left.
While I had empathy for our psychically-attacked friend, I was filled with cosmic schadenfreude and couldn’t stop laughing – all the while knowing that a monster was in our midst.
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MESCALINE
My good buddy and I scored a quantity of Green Mescaline, bought some horsecaps and on one sunny Saturday commenced to some serious “‘cappin'” at my apartment which was isolated above alley garages.
Since we were not dealers per se, we had no intent to “cut” the mescaline which was commonly done with either lactose, flour or rat poison (Strychnine) – I’m sure I had a few psychedelic hits in the past that were cut with poison where my stomach severely knotted and that’s a sure sign of a low dose of Strychnine. Having sampled the mescaline previously we knew this strain to be of good quality which is why we purchased a decent quantity.
Anyway, we would scoop the green powder into each half capsule and push them together until the trapped air inside made a little high-pitched burp noise and then we would set the ready-to-take mescaline horsecap aside. With each cap we’d invariably get some green “dust” on our fingers in the process and would then lick our fingers to make them tactile enough to continue.
After about a dozen or so caps apiece we were starting to get a little giddy and seemed to be having quite a lot of fun with our “job”. At first it didn’t dawn on us that we were slowly dosing ourselves with the mescaline dust and after a while we decided to take a break and smoke a joint. By then I was starting to see some faint trails coming off my fingers.

Once we resumed cappin’ and our conversations became more spacey I realized that we were actually probably taking in more “dust” than we thought as we were comin’ on pretty strong – it was good mescaline, and good mescaline was unlike LSD which could have a pretty strong uptake during the come-on process whereas with mescaline the build was steady and strong but pretty smooth – at least that was my experience and especially with this strain – so instead of “whistlin’ while we worked” we were “trippin’ while we worked”.

By the time we finished we decided to each down a cap to make it official and then had the entrepreneurial bright idea to proceed to use ourselves as perfect marketing examples of what our product was capable of.
So with our feet barely touching the ground and powered by the psychedelic “Green” strangeness, we drifted out the door, levitated down the stairs and floated out to my buddy’s car all the while feeling as though we just emerged into a bright and colorful cosmic version of the world we previously knew.
Once in the car, which was now a “space”mobile, we hovered off to hit up our freaky friends for some psychedelic transactions.
Over time we sold our stock, made a small financial profit and had a nice free stash of quality green mescaline to last for a few concerts, parties, get-togethers and just for cosmic fun any day. Far Out!
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COOL JAZZ
One of my close “Mike” friends (not Monster Mike) was friends with a big time dealer, D.E., who literally got run out of the hip resort, Park City, Utah for dealing “too much”. The authorities didn’t want to arrest him as that would make him a martyr to all the rich folks and celebrities who lived and vacationed there and who were his customers. He’d supply Stevie Winwood when he was in L.A. and was the kind of guy who paid cash for a brand new four-wheel drive truck right off the showroom floor.

Anyway, after closing-up the Crane’s Record Store in Palos Verdes that I managed, I drove over to D.E.’s house where I met Mike. I was greeted with a heaping bowl of hashish and sat down on the couch and lit a hit.
Up on the bar D.E. was working a coping saw on what looked like a huge cheese wheel, but it was a nice rich deep tan color, the same color as the hash I was smoking.
This wheel was at least three inches thick in height and about six inches in diameter; when I realized that it was the hash, my jaw just dropped, I had never even seen or heard of such a thing.
As the thin blade was cutting through the hash, fine crumbles gathered at the base and Mike got up and scooped them into the bowl so we could fire up some more.
As I hit the pipe D.E. informed me that he had two more “wheels” bagged and hanging from limbs way up high in a tree in his backyard; I didn’t ask why, must’ve been to keep them out of the house, out of view and out of the scent of drug-sniffing dogs.

As I took another hit Mike gave me a short tubular brown “barrel” pill that was supposed to be THC. I took it as I grooved to the sounds of a current cool jazz album coming from D.E.’s state-of-the-art sound system that gloriously filled the room.

A few minutes later I attempted to get up off the couch to hit the head when it felt like I had lead weights in my arms, ass and legs – I couldn’t get up – I literally could not move my muscles.
Mike just laughed as he realized that it wasn’t a barrel of THC that he had given me but an elephant tranquilizer! He wasn’t falsely dosin’ me – he had some of both and they looked similar – oh well, honest mistake, I wasn’t mad at all, I mean it actually was very relaxing – duh, it was an elephant tranquilizer!

I had taken Tetrahydrocannabinol (the active ingredient in marijuana) before and this was not THC!
So I just sat back, as I had no other choice, and let the psychedelic wave of righteous hash swirl me around the room in an out of body experience with the sounds of cool jazz absorbing and passing through my tranquil body and mind as I explored the heavens.
I enjoyed this altered-state until awhile later when I was able to become ambulatory. Groovy!