1960s Historic & Classic Rock Albums . . . . . . . . . . . . 00individual Presents The 1960’s Counter-Culture’s Sub-Culture’s Top 33 Albums

EXPERIENCE ROCK HISTORY!
00individual Presents The 1960’s Counter-Culture’s Sub-Culture’s Top 33 Albums

Profound Statement: None of the artists, vocalists, musicians, bands, composers, or musical genres on this list are new or original.  Every vocal and beat derived from mankind’s early hip primal urge to express himself vocally and to sing along with the soul-resonating beat of a hand-clap or stick against a hollow log. Everyone knows monkeys pounded out “Louie, Louie”, “Mona”,”Smoke On The Water”, and “Sunshine Of Your Love” at some point, alone or in a group (band), over the eons.  The only difference is that now all of those Tribal chants of yore are plugged in, amplified, and reinvented into Rock ‘n’ Roll! 

On With The Show: Most “Best Of” lists for any decade rely on the obvious, usually represented by Billboard Top 100-type lists – therefore few non-commercial yet icomic albums are recognized.

While sales and popularity are important data, there is a level that is probably more relevant and true to the times. This level was in the places where the Groove set in, it hung out where true Rock and Inspiration shared a bowl, this was the level where the Counter-Culture’s Sub-Culture drove the Machine.

Although the Sub-Culture had regional Sub-Cultures, this is a personal list representative of one demographic of the Los Angeles and San Francisco and Beyond Sub-Culture.  These were responsible, under the radar drug taking drug dealing, hard-working, knowledgeable about Rock and socio-political issues, amusing, seriously-fun Psychonauts whom existed deep in the Vibe.

00individual includes many iconic albums and leaves off as many – that’s the defintion of any Sub-Culture; to differentiate but retain founding principles – in this case, in the macro-micro universe, what was the Counter-Culture’s Sub-Culture groovin’ to?  The answer is in this excruciatingly short list:

DICK DALE and his DELTONES
SURFERS’ CHOICE – 1962
He is the Man to which every guitarist today must pay tribute; the “King of the Surf Guitar”, Dick Dale.

The VENTURES
THE VENTURES IN SPACE – 1964
The Ventures were so inspired by the current interest in space exploration, science fiction, and the supernatural that they chose to make an entire album about those themes; a concept album that was as important to Instrumental Space Rock as the Beatles Sgt. Pepper’s was to Psychedelic Pop Rock.
And even more impressive, The Ventures slip cover states that “. . . all the unique, unworldly sounds featured in the album’s tracks were made with musical instruments, rather than with electronic devices.”

THEM
THEM (Here Comes the Night) – July 1965
This is one of the most bad-ass albums ever!
And way ahead of the curve – this record needs to be recognized for the absolute cool that it exudes.
THEM is a major groove throughout, and every cut is hip, strong, otherworldly, soulful, melancholy, and rocks harder than anyone at the time or in many cases, since.

The YARDBIRDS
HAVING A RAVE UP – November 20, 1965
Although many of the groups were covering blues classics, the Yardbirds were interpreting the blues not just as cover versions – but as a new form of Rock ‘n’ Roll; the first evidence of Hard Rock, Psychedelic Rock, and the bright embryonic flash of  Heavy Metal – this was The Yardbirds.

LOVE
LOVE – July 1966
While LOVE’s debut album was not a commercial success it was bursting with originality – and with only two covers; their hit, Bacharach’s “My Little Red Book” and Robert’s de-rigueur “Hey Joe” – Arthur Lee’s lyrics, arrangements, compositions and voice far surpassed any bands at that time.
Remember, other than Dylan, the Beatles, the Stones and the Seeds – Hendrix, the Doors, Buffalo Springfield, Spirit and many, many others surely were influenced by LOVE’s unique sound, blend of styles and attitude that was on display before any of their debut album releases.
The eponymous LOVE album was perfect as an introduction and high-water mark for all of the Hippie, Psychedelic, Rock, Folk Rock bands and albums that followed.

DONOVAN
SUNSHINE SUPERMAN – September 1966
The spirit of Rock goes far deeper than volume and virtuosity; with Sunshine Superman, there is no question. Donovan certainly started out labeled as a Folk Rock Balladeer, and was being touted as the British Invasion’s answer to Bob Dylan; neither turned out to be true as Donovan carved-out his own niche in the Psychedelic Rock genre.  But it was his linguistic ability with sublime lyrics that created something way more than a song; it is a portal to a place that is known, remembered, and a place that makes one feel homesick, yet joyous.

The DOORS
the DOORS – January 4, 1967
To hear the Doors debut album for the first time is an exhilarating experience for anyone – to hear the Doors’ debut album for the first time in 1967 was a life-changing experience. Their songs Rocked the hardest, yet were seductive and etheric with a mysterious vibe that cast a spell; a spell that empowered.  All good Rock has the ability to empower but there was something otherworldly, spiritual and unique about the Doors’ music – and this album specifically.

JEFFERSON AIRPLANE
SURREALISTIC PILLOW – February 1, 1967
Surrealistic Pillow, was like a greatest hits album, every track excellent and memorable, and was the first album to perfectly combine all of the San Francisco Hippie Goodness of Sex, Drugs and Rock ‘n’ Roll and the love that was felt universally into one immensely popular epic landmark of Psychedelic Rock.

BOB DYLAN
BOB DYLAN’S GREATEST HITS – March 27, 1967
Volumes have been written about Dylan by writers and historians with dedicated intense insightful detail, so all 00individual can add is that through his exceptional music he provided the spirit and window into the world that a young teen needed at just the right time to become an individual.
Thanks Man!

The JIMI HENDRIX EXPERIENCE
ARE YOU EXPERIENCED – May 12, 1967
Up until 1966, Rock ‘n’ Roll even in it’s most outlandish state had unspoken parameters.
With this 1967 album there were none  – Hendrix created an art form.

CREAM
DISRAELI GEARS – November 2, 1967
Disraeli Gears was an immediate hit with all Hippies and Counter-Culturists as it was powerful, mind-bending Rock that conjured up a “Strange Brew” of “Tales of Brave Ulysses” on a journey of acid-laced “Swalbr”, all bathed in the “Sunshine of Your Love” – that’s right, Cream were Far Out, way Far Out!

The MOODY BLUES
DAYS OF FUTURE PASSED – November 10, 1967
They weren’t Rock, not Pop, not even the Progressive genre they originated, nor the seminal explorers of Classical Rock that emerged within the Prog-Rock era of the ‘late 60s and early-to-mid ’70s – The Moody Blues were and are an enigma in Rock, and Pop, and Prog and . . ..

LOVE
FOREVER CHANGES – November 1967
There are very few bands, let alone single songs, that reach this level of intimacy – and here we have a solid album – every single track is honest, beautiful, truly unique and Rocks harder on a deeper level of psychedelic reality.  Here’s the Acid Test: one listen to this album and it could be heard as the next best Album of the Year, of any year, in the past or the future.
Although a time stamp of a specific era, it delivers a timeless yet highly unique sound.

TRAFFIC
HEAVEN IS IN YOUR MIND/MR. FANTASY
December 1967

Traffic contained a special magick of wonder, and psychedelic imagery with a sound that really fit and amplified the feelings that the Counter-Culture were experiencing – that everyday thrill and anticipation of a time when just being alive was enough to insure yet another day of exciting potential.
“Heaven Is In Your Mind” for US release and “Mr. Fantasy” for UK release – both titles/tracks evoke the sign of the times.

JOHNNY RIVERS
REALIZATION – January 1968
Although never promoted as such, “Realization”,  was a mellow psychedelic concept album; the songs had segued ambient music/sounds that led into the next song and sometimes reflected the songs’ themes. Each song was very select and each were able to touch your soul.
Many albums had tracks that dealt with the deeper side of psychedelics and self-realization; but other than the Moody Blues no one achieved this perfect of a introspective album.  Thank you Johnny!

SPIRIT
SPIRIT – January 22, 1968
 Dig early sophisticated garage / jazz-fusion / heavy metal / ballad / psychedelic Rock: 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 serve as a stone music time-capsule of a pivotal-point in the era of sex, drugs and Rock ‘n’ Roll!

DR. JOHN, THE NIGHT TRIPPER
GRIS-GRIS – January 22, 1968
Some albums just reach right down into your basic primal needs and grab a hold of a part of you and never let go.  This album is one of those – it was cool, mystically invigorating and kicked spooky voudou ass!
The whole album created a mystical mood of twilight in the Bayou that conjured-up images of people seen and heard through the silhouetted trees as they danced around a fire, of clandestine meetings where spirits were contacted, of spells cast under the full moon, of skulduggery afoot, of romance and lust writhing through it all, and of drums and chants that seem to echo throughout the Bayou.
It’s always twilight or a dark moonlit night, thrills and intrigue are around every corner, anything is possible. The main streets are alive with people celebrating life. There’s a shanty village on the outskirts of town where an occult ceremony is taking place, deeper in the woods is a path that leads to an inviting ivy-covered archway and you know you must enter and step off into the cosmos, for you must be able to say, “I Walk On Guilded Splinters” with the King of the Zulu.

LEE MICHAELS
CARNIVAL OF LIFE – 1968
Lee Michaels is at the top of the list of Rock’s Unsung Heroes.  A Blues Rocker whose live concert Hammaond organ mastery and volume was legendary and who had one of Rock’s Best “blue-eyed” Soul voices.

PINK FLOYD
A SAUCERFUL of SECRETS – June 29, 1968

1968 was a heavy year; 1967’s Psychedelic Rock still reigned, but it was in a cosmic growth spurt.  The days of incense and peppermints gave way to a stranger brew; with Pink Floyd’s second album A Saucerful Of Secrets the psychedelic sound barrier was broken and Rock ventured out into space.
This would be the only Pink Floyd studio album with all five members’ involvement and would mark founder Syd Barrett’s exit and baton pass to his art school friend David Gilmour as Syd’s LSD-triggered eccentricities and episodes became detrimental to himself and the band.

JANIS JOPLIN
BIG BROTHER & the HOLDING COMPANY
CHEAP THRILLS – August 12, 1968

The Cheap Thrills are Janis at her best with a band at its rawest best which is why this is considered the classic it is – it represents exactly the way Rockers, Hippies, and the Counter-Culture all felt; new, adventurous and unafraid to be who they were and to explore life uninhibited, spontaneous and unrefined.
The excitement of this album begins immediately with the live sounds of movement on the stage and Bill Graham’s announcement, “Four gentlemen and one great, great broad, Big Brother and the Holding Company” which then explodes into “Combination of the Two” – and the rest is history.

JEFF BECK
TRUTH – August 1968

Jeff Beck, straight from another top favorite band, the Yardbirds, stepped-up and electrified-in-stone his place in Rock with “Truth” which began a highly successful life-long career as a True Guitar God and a proven innovator and genre-fusing solo artist.
Every track on “Truth” is perfect and together make one of the most important historic and classic Hard Rock Blues albums of all time!

The CRAZY WORLD of ARTHUR BROWN
September 1968
Fifty years ago, Arthur Brown’s Crazy World collided with Earth and brought forth a really great Psychedelic Shock Rock album filled with insane lyrics and high drama, cool tunes, a crazy wildman with his hair-on-fire, classic Hammond organ, and all the loveliness, thrills and chills of a band that created one of the most memorable Rock imprints of the Psychedelic era: I am the God of Hellfire, and I bring you, FIRE!

JIMI HENDRIX
ELECTRIC LADYLAND – October 25, 1968

. . . and there they were, witnessing the birth of Electric Ladyland.  In late ’68 Rockers and Psychonauts were chosen to connect to a higher level of Sophisticated Psychedelic Sounds. Shit got primal with deep emotion as Hendrix carved arcane history with his Supernatural Ax.
Not-so-strangely, Electric Ladyland served as an actual place, a safe harbor, a place one could call home.
The sounds struck spiritually-soothing chords within – the first true excursions into Psychedelic Soul – Hendrix was the original, Hendrix was the best.

VAN MORRISON
ASTRAL WEEKS – November 1968

Van Morrison has cast a dominant creative shadow down through musical history that cannot be denied.  Astral Weeks is tranquil, yet brooding, spiritual yet instantly memorable, with rhythms, passages, lyrics, instrumentals, hooks, and that Voice; pure and hip, that could Rock better than anyone and croon on a  Sinatra level.  This album is as strong and influential now than nearly all the albums released since, it is truly otherworldly music in the best sense and revealed the emergence of true genius and a blessed inspiration to music lovers and music artists then, now and forever.

LED ZEPPELIN
LED ZEPPELIN – January 12, 1969
This album created a huge impact – Led Zeppelin blew the roof off the ceiling of Electric Blues Rock – and delivered world-class Hard Rock with seminal Heavy Metal archetypes.  The album’s timing on the scene was perfectly lysergic – this was music Psychonauts were waiting for; over the top Rock that matched the virility of the times.

The WHO
TOMMY – May 23, 1969

To commemorate the Last Summer of the Decade, Pete Townshend, Roger Daltrey, John Entwistle and Keith Moon released the historical double album; TOMMY.  For Who fans this was a treasure trove of exciting new tracks in a newly-minted, masterfully-composed and performed Rock Opera genre.  For others it was their introduction to the heights that Rock could achieve.

SAVOY BROWN
A STEP FURTHER – July 1969
The whole side one was a Blues Rock Killer, and side two was full-on Savoy Brown Boogie “live” with a rousing medley – a really classic all-around great album that was nearly drowned in the wake of the sheer volume of highly creative, highly popular and prolific artists’ and bands’ album releases of 1969, 1970 and 1971.  The stone Rock Boogie Blues of Savoy Brown permeated the air to create a heartfelt unique blend: Introspective Rebellious Soulful Hard Rock Blues: “And I’m not gonna try to please, Eyes that just don’t see. If I get myself together, You’ll have the blues, not me.”

TEN YEARS AFTER
SSSSH – August 1969

Ten Years After were always there – from their first self-titled album with “I Can’t Keep from Crying, Sometimes“, Undead “Live“, Stonedhenge “Going to Try” and all the way up past Ssssh to Cricklewood Green “Love Like A Man” and beyond – Watt “The Band With No Name“, A Space in Time “One Of These Days“, TYA served as a core sound that was in the air throughout those psychedelic years. With Ssssh, TYA delivered the sound Rockers’ bodies and minds demanded – this was a true Energetic Hard Rock Psychedelic Blues Stoner Album.
Alvin Lee and Co. Rocked the Blues!

FLEETWOOD MAC
THEN PLAY ON – September 9, 1969
This is the Blues album that the Rock ‘n’ Roll Fates brought “The Mac” together for – it is beyond belief. Drop the needle anywhere on any track on this album and you will experience a super-reality of the Blues, of Rock, of Music.  One of those albums that never ever gets old – simply the Best!

The BEATLES
ABBEY ROAD – September 26, 1969
The Abbey Road album rocked throughout That winter 00individual was nineteen, had his own place, a bitchen art department job, a car, a motorcycle, two girlfriends, a cool group of fellow stoners, classic concerts to attend, and classic Rock album releases to enjoy and all the drugs he wanted – Sex, Drugs and Rock ‘n’ Roll in the best environment – and Abbey Road provided the perfect soundtrack music for the Psychedelic Winter of ’69 – across America, Europe and around the world. Historic! Classic!
This album would be more important than known at the time, as this would be the Beatles official unofficial “Farewell Album”.

KING CRIMSON
IN THE COURT OF THE CRIMSON KING
October 10, 1969
King Crimson’s debut album, “In The Court Of The Crimson King” was revolutionary!
The term “Progressive Rock” had yet to enter the general Rock Lexicon, so like most of the music that was creatively flooding the airwaves, we just appreciated it without categorizing it. It was Rock ‘n’ Roll – ever evolving, and it was good.
Every track and sound on the album was magical and mesmerizing and dramatic – remember, we had never heard anything like this before – this album was a perfect example of the high we were on with new kinds of music like this being invented every day.
On the Righteous Road of Rock History a definitive Iconic Landmark is emblazoned on the signpost up ahead, it reads:
King Crimson’s “In The Court Of The Crimson King”:

The MOODY BLUES
TO OUR CHILDRENS’ CHILDRENS’ CHILDREN
November 21, 1969
This is one of the absolute best lyrically written and sung, musically composed and performed albums of all time – it is a true gem among gems, an exquisite album that has so much beauty, feeling and transcendent power that it is in a category all its own.The Moody’s concepts have always dealt with feelings of spiritual and psychedelic themes; they opened a door to awareness that was set to irresistible music and lyrics.

The ROLLING STONES
LET IT BLEED – December 5, 1969
There never has been or ever will be another Rock ‘n’ Roll Band that can rightfully claim the title of The World’s Greatest Rock ‘n’ Roll Band.
And with Beggar’s Banquet, Let It Bleed and their following two releases – Sticky Fingers and Exile On Main Street – The Stones were historically sculpted in Solid Stone in a place at the very top of Mount Rockmore.
For 00individual, and millions of other Counter-Culture Rockers, anytime any track from this album is heard, a level of Rock Perfection is released and a Pavlovian response triggers a time when the Stones’ were hitting the heights; as were the Youth, Pop Culture, and History, across all levels of life.

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1970′s Historic & Classic Albums . . . . . . . . . . . . . . DAVE GRUSIN – “THREE DAYS OF THE CONDOR” Soundtrack – September 24, 1975

EXPERIENCE KILLER SOUNDTRACKS!
“THREE DAYS OF THE CONDOR”
Original Soundtrack – Dave Grusin – September 24, 1975

Just the mention of “THREE DAYS OF THE CONDOR” in last week’s “Trouble Man” post was enough catalyst to honor this supreme classic album.  The Film is a Top 20 fave, as is the Soundtrack – a serious combo!

This is much more than a movie soundtrack, this is the one record to send into space to rep the 1970s.  Three Days Of The Condor is the epitome of the Height of Smooth-As-Silk Raunchy ’70’s New York Porno Nightlife and Espionage set in hot sexy sax and wonderful wah-wah tracks.

Some albums literally evoke a time and place; this is New York in the ’70s, back in the classic gritty days before the Disneyfication of Manhatten.  The sophisticated emblematic ‘70s Sax ‘n’ Wah-Wah has much to do with it – but it is also the timing and the direct association with this classic film that creates love for this music.

Like with Angelo Badalamenti’s David Lynch film scores, it was music 00individual was waiting for all his life! Also, it is music from his Homeland, his place of origin, wherever that may have been. To feel good, comfortable, mysterious and groovy is to hear this score.  It all comes together as a cool, hip, dangerous, trippy, jazzy, emotional, seductive, funky, gotta-love-it, exciting experience – every time.

Redford and Dunaway can speak more dialog with their facial expressions that most others can barely do with words, as does Max Von Sydow; the plot is priceless and super heavy for the times and still extremely impressive today – (just now it’s all well-known fact) – and Grusin is in world-class top form to bring all of the screen’s elements together to make this a classic Killer Soundtrack!

The only grievance with this album is that it is waaay too short – approximately 30 minutes total!
Side One
1             Condor! (Theme From “3 Days Of The Condor”)   3:33
2             Yellow Panic 2:14
3             Flight Of The Condor    2:28
4             We’ll Bring You Home    2:22
5             Out To Lunch  2:00
6             Goodbye For Kathy (Love Theme From “3 Days Of The Condor”)    2:15
Side Two
1             I’ve Got You Where I Want You  Vocals – Jim Gilstrap  3:10
2             Flashback To Terror  2:22
3             Sing Along With The C.I.A.    1:31
4             Spies Of A Feather, Flocking Together (Love Theme) 1:54
5             Silver Bells  Vocals – Marti McCall 2:36
6             Medley: Condor! (Theme) / I’ve Got You Where I Want You  1:56

Do yourself a sublime favor, give yourself a visual, mental and aural orgasm: see this excellent, excellent true thriller of a movie and then listen to the equally excellent soundtrack!  But be aware; 3DC can be addicting!  00individual has been hooked for over 40 years!

“THREE DAYS OF THE CONDOR” – Dave Grusin – 1975

For those who want to soak in the full coolness of the ’70s soundtrack sounds like Dave Grusin’s 1975 “Three Days of the Condor”, 00individual suggests the superb “Trouble Man”,  and would play them back to back with a little of the Bernard Herrman/Tom Scott 1976 “Taxi Driver” soundtrack to extend the coolest Trip of the ’70’s Sax “n” Wah-Wah genre.

“For years studio development execs have tried to use Sydney Pollack’s classic conspiracy thriller as a template for would-be blockbusters, but hardly any of the various subsequent attempts have equalled it. A model of plot construction and cleverly built tension.” – Don Coscarelli

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1970′s Historic & Classic Albums . . . . . . . . . . . . . . MARVIN GAYE – “TROUBLE MAN” Soundtrack December 8, 1972

EXPERIENCE KILLER SOUNDTRACKS!
MARVIN GAYE – TROUBLE MAN – Original Soundtrack – December 8, 1972

Released between two history-making Marvin Gaye landmark albums, “What’s Going On? 1971 and “Let’s Get It On” 1973, “Trouble Man” 1972, gets overlooked due to those two epic giants, but is actually their instrumental equal.

Trouble Man is the crème de la crème of noir hipster cool!  Marvin Gaye is the Man!  The music ebbs and flows like a good thriller would, so it creates its own nightlife atmosphere of danger and cool intrigue.

A Blaxplotation film score in the Best of the Best category along with Isaac Hayes’ “Shaft” and Curtis Mayfield’s “Superfly”, “Trouble Man” shows Gaye’s genius for scoring a film that also achieves solid stand alone tracks that soar above all others as a solid, righteous example of hip, cool, ambient Soul, Rock, Blues and Jazz!

The only song with full lyrics among all of the fine Gaye-penned instrumentals is Trouble Man, sung by Marvin Gaye – and it is riveting – his croon gives way to a seriously cool rap about “T”, … and life.

With satisfying sax throughout and the best mixture of R’n’B/Jazz/Blues; this KILLER SOUNDTRACK comes highly recommended by 00individual.

TROUBLE MAN
All songs written by Marvin Gaye (except side two, track two)
Check out these hip tracks:
Side one:
“Main Theme From Trouble Man (2)” – 2:30
“‘T’ Plays It Cool” – 4:27
“Poor Abbey Walsh” – 4:13
“The Break In (Police Shoot Big)” – 1:57
“Cleo’s Apartment” – 2:10
“Trouble Man” – 3:49  – This is the shit!
“Theme From Trouble Man” – 2:01
Side two:
“‘T’ Stands For Trouble” – 4:48 (vocal version)
“Main Theme From Trouble Man (1)” (Gaye/Dale Oehler) – 3:52
“Life is a Gamble” – 2:32
“Deep in It” – 1:25
“Don’t Mess with Mister ‘T’” – 3:04
“There Goes Mister ‘T’” – 1:37

The Talent:
Marvin Gaye: vocals, drums, keyboards, piano, Trevor Lawrence: alto, tenor and baritone saxophone, Dale Oehler: horns, Eli Fountain: alto saxophone, Marty Montgomery: soprano saxophone, Gene Page: strings, Bob Ragland: piano, strings, James Anthony Carmichael: horns

“Trouble Man” film intro and alternate take sung over the opening credits by Marvin Gaye:    Dig it!

MARVIN GAYE – TROUBLE MAN – 1972

For those who want to soak in the full coolness of the ’70s soundtrack sounds like Trouble Man, 00individual suggests Dave Grusin’s 1975 “Three Days of the Condor”, a superb match/follow up to Trouble Man and a beyond excellent ’70’s vibe.  00individual would play them back to back with a little of the Bernard Herrman/Tom Scott 1976 “Taxi Driver” soundtrack to extend the coolest Trip of the ’70’s sax “n” wah-wah genre.

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00individual does not endorse nor receive any payment of any kind from any advertiser(s).

1970′s Historic & Classic Rock Albums . . . . . . . . . . BEAVER AND KRAUSE – GANDHARVA – 1971 Ambient, New Age, and Electronic Jazz Originators!

EXPERIENCE PSYCHEDELECTRAGLIDE SOUNDS!

(Paul) Beaver & (Bernard) Krause
GANDHARVA – Warner Brothers WS1909 – 1971

Psychedelectraglide indeed!

With their 1967 “The Nonesuch Guide to Electronic Music” and 1970 “In A Wild Sanctuary” album releases, Paul Beaver & Bernard Krause literally created the Ambient and New Age genres and were early leaders in Electronic Jazz!

“Gandharva”, their third release, was truly a landmark LP that virtually slipped under the radar at the time, (but not by 00individual, who has been basking in its power and glory for over forty-five years) this iconic album is now recognized for its incredible visionary style that spawned highly-successful genres for musicians in the decades to come.

Side One: Is a clash of styles; that opens very promisingly with Soft/White only to be the intro to a rousing “Rocker”.  Then Beaver’s psychedelic moog and style influence that was featured prominently on the “Performance” film soundtrack is evident with Nine Moons in Alaska and Walkin’ – then the side ends with a righteous Gospel.
1   Soft / White  0:52
2   Saga Of The Blue Beaver  4:19
3   Nine Moons In Alaska  3:04
4   Walkin’  2:42
5   Walkin’ By The River  2:39

However, it is Side Two that makes history – here is the essence of soulful music with instrumentals that had the ability to not only spiritually-stir one’s very being, but to provide an aural place to call home.

Side Two was recorded at Grace Cathedral, San Francisco, February 10-11, 1971 and captures a wholly-unique sound that was their “soundtrack to a non-existent film” – only this rich sound easily creates images that become a film in one’s mind.  All of side two is truly a transcendent group of tracks that EVERYONE needs to hear.

The world-class heavyweight talent on this record is listed below, but it’s Gerry Mulligan’s Baritone Sax that reverberates within the cathedral, that in turn reverberates in one’s heart and soul.
This is inspired music:
1  Gandharva  1:12
2  By Your Grace  5:13
3  Good Places  3:37
4  Short Film For David  5:23
5  Bright Shadows  4:53

The talent:
Alto Saxophone, Flute – Bud Shank.
Baritone Saxophone – Gerry Mulligan.
Bass – Ray Brown, Rod Ellicott.
Drums – George Marsh, Lee Charlton.
Guitar – Howard Roberts, Mike Bloomfield, Rik Elswit, Ronnie Montrose.
Harp – Gail Laughton, Mixed By – Robert Orban.
Piano – LaMont Johnson, Mike Lang.
Synthesizer [Moog] – Bernard L. Krause.
Synthesizer [Moog], Organ [Hammond, Pipe] – Paul Beaver.
Voice – Bernard L. Krause, Bill King, Edna Wright, Evangeline Carmichael, Lewis Morford, Ron Lee Hicklin, Vanetta Fields.
Voice [Lead] – Clydie King, Patrice Holloway.
Producer – Bernard L. Krause, Paul Beaver.
Engineer – Ed Peterson, John Payne, Phil Edwards, Robert De Sousa, Robert Orban, Rudy Hill, Sol Weiss.

Many a dreamy surreal evening was further mystified and made a deeper experience by the Moogy Saxy Sounds of side two of “Gandharva”.  The smokey wisps of weed and hash intertwined with Gerry Mulligan’s sax, filled the room, and spilled-out into the ethers for everyone to enjoy.  Spiritually Cool!

While this is not a psychedelic album, it actually is, as it represents the Psychedelic Mood, that etheral timeless place where one’s spirit runs free – a very hard emotion to convey but Beaver and Krause accomplished the nearly impossible.

To fully appreciate the true quality of this recording; the warm original sound of analog vinyl is highly recommended.

Beaver & Krause
GANDHARVA

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1960′s Historic & Classic Rock Albums . . . . . . . . . . TEN YEARS AFTER – Debut Album – 10/27/67 . . . and the 50 Year Old Mystery of the Weird Fifth Face

EXPERIENCE ROCK HISTORY!
TEN YEARS AFTER – Debut Self-titled – 10/27/67 – Deram DES 18009

Ten Years After – with a very sci-fi, futuristic, doomsday, paradise, premonition, undead, band name that begged the question, Watt?  It soon became clear that the TYA name meant a Psychedelic Blues Rock Band and Vibe that delivered with a distinct, unique sound and style.

Coming into the first year’s end of 00individual’s first year of getting high, Ten Years After released a very impressive time-stamp imprint of a space in time that served as an introduction to a vast new world of sound on the horizon.  By 1967, British bands were plumbing the depths of American Blues with electrifying results.  These sincere “tributes” to the Blues created a solid genre of British Blues Rock.

Led by Alvin Lee’s righteous Blues vocals and incindiary guitar, Ten Years After were  blessed with the Rockin’ precision of Leo Lyons’ bass, Chick Churchill’s organ, and Ric Lee’s (no blood relation to Alvin) drums.

TYA had the Psychedelic aspects of the Blues ingrained from the start, including a very LSD influenced album cover that continued with Undead and then to make sure they got their psychedelic point across TYA let Rockers know that they too were Stoners with the title of their next studio album, Stonedhenge.  Alvin Lee and Company were right there, on the scene at every milestone of the Rock ‘n’ Roll Highway during the Classic Rock Era.

There were two tracks that really resonated with 00individual and stone Blues Rockers everywhere; I Can’t Keep from Crying Sometimes and Help Me.  These two alone speak volumes of  the passion and intense smoldering casual ambience of ’67/’68/’69 – and if you can dig it, up to the present.

TEN YEARS AFTER
Side one
“I Want to Know” (Sheila McLeod as pseudonym Paul Jones) – 2:11
“I Can’t Keep from Crying Sometimes” (Al Kooper) – 5:24
“Adventures of a Young Organ” (Alvin Lee, Chick Churchill) – 2:34
“Spoonful” (Willie Dixon) – 6:05
“Losing the Dogs” (Alvin Lee, Gus Dudgeon) – 3:03
Side two
“Feel It for Me” (Alvin Lee) – 2:40
“Love Until I Die” (Alvin Lee) – 2:06
“Don’t Want You Woman” (Alvin Lee) – 2:37
“Help Me” (Ralph Bass, Willie Dixon, Sonny Boy Williamson) – 9:51

The 50 Year Old Mystery of the Weird Fifth Face
. . . what’s with the weird fifth face peeking over Chick Churchill’s shoulder?

It is obvious that who or what is peeking was not in the original shot as all others are equally over-exposed and saturated and the tilted semi-motion blur that is uniform with TYA runs opposite with the Peeker.

Definately a pretty clean 1967’s paste-up job, but not as good as the infamous February 21, 1964 Life magazine cover of Lee Harvey Oswald – the conflicting shadows and lighting, the proportions, the stance – horrendous by today’s discerning eyes, but back then it was real.

What really begs the question is: Were TYA aware and was it done with their approval? Was this an art department prank that stuck? Was this an inside joke?  Or was this just another accepted step in psychedelia that was expected; something to trip on – as the cover’s text and the image are both very LSD influenced. Or was it a ghostly apparition only seen when the film was developed?  Yeah, the last one.

Bottom line, Trippy Far Out 1967 Psychedelic Blues Rock record and cover!

Ten Years After would make Rock History with their next two albums ’69’s “Ssssh” and  ’70’s “Cricklewood Green” – both Iconic ’70’s Rock.

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1960′s Historic & Classic Rock Albums . . . . . . . . . . TEN YEARS AFTER – STONEDHENGE 2/22/69 plus a Mini-MindBlower – TYA & 2001: A Space Odyssey!

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TEN YEARS AFTER – STONEDHENGE – February 22, 1969 – Deram Des 18021
plus
a Mini-Mindblower: TYA & 2001: A Space Odyssey!

The day after 00individual turned eighteen Ten Years After released the album Stonedhenge.  The overtly clever album’s title acknowledged the band’s endorsement and certainly their fans approval.

Stonedhenge was one of those direct hits at a time when music really shaped the environment. The beach pad 00individual shared with two good friends was a nightly place to gather, get high,
hang-out and enjoy music and good times.

Most everyone, whether they consciously know it or not, have imprints made by the music associated with personal life events, or even casual moments, these imprints can unlock detailed memory files – here’s a trippy example from the Stonedhenge-era:

Ten Years After and 2001: A Space Odyssey – Dig this Mini-Mindblower 
2001: A Space Odyssey was released on April 4^th, 1968 and was considered a huge event at the time with nearly everyone and especially the Counter-Culture.  The heavy symbolism and sounds of Strauss’ waltzes as background to the glorious images of a real space station in orbit and the slowly well-paced direction of Stanley Kubrick created a technical and realistic foundation for the film’s phantasmagorical ending – which was both the definition of visual psychedelic AND a true mental mind-blower.  This wall-to-wall, floor-to-ceiling psychedelic extravaganza was a must LSD Trip.

00individual has seen this film stoned and straight and it’s aces either way, but that ending sequence was epic and far out and truly like nothing anyone had seen prior to Kubrick.  No concert light show could come close.  And since the sequence was meant to literally put you into the main character, actor Kier Dullea’s, Point Of View surging through space and time; mid-theater was a good peripheral choice for viewing.  By the time one vicariously emerges as the Starchild, well, whew, what a Trip!

A year later in February of ’69, Ten Years After released their album, Stonedhenge.  Two months later 2001: A Space Odyssey played in selected theaters for its one year anniversary celebration.

00individual dropped acid and went to see and experience this great event again.  Toward the end of the film, the viewer is literally inside Dullea’s space suit and can hear him breathing throughout nearly the entire Psychedelic Trip sequence and the aging process, which is a perfect way to immerse and engage the audience.

Anyway 00individual tripped good, and he carried the mysterious contemplative high with him from the theater out into the late evening air.

Back at his beach pad, still stoned on acid but manageable, he put on TYA’s Stonedhenge and the first track is “I’m Going to Try” – and it starts with a heart beat and deep audible breathing and immediately 00individual flashed on the breathing/heartbeat in 2001 and it was a cool trippy synchronistic connection – and an archival stamp on a place in time and history for his experience of film, music and pure Hippie exhilaration!

Aside from the 2001 synch, “I’m Going to Try” gets cooler when Alvin begins to sing – at 1:23 into the track it sounds as though he’s channeling Elvis – he starts out like Elvis and then becomes Elvis.  00individual had heard Alvin Lee live on camera in a TV interview back then and 00individual could hardly understand a word he said because of his thick English accent, but right there on camera he started playing acoustic guitar and singing, and his voice was clear and totally understandable, but when he stopped and chatted with the interviewer, 00individual lost him again.

Stonedhenge was the perfect blend of diverse genres; Blues, Rock, Jazz, Scat, Boogie, Ballad and Psychedelia, that once heard as a whole, took on a weird concept feel, and it was the first album where nearly all tracks are by Alvin Lee.

STONEDHENGE
Side one
“Going to Try” (Alvin Lee) – 4:52
“I Can’t Live Without Lydia” (Chick Churchill) – 1:23
“Woman Trouble” (Alvin Lee) – 4:37
“Skoobly-Oobly-Doobob” (Alvin Lee) – 1:44
“Hear Me Calling” (Alvin Lee) – 5:44
Side two
“A Sad Song” (Alvin Lee) – 3:23
“Three Blind Mice” (traditional, arranged by Ric Lee) – 0:57
“No Title” (Alvin Lee) – 8:13
“Faro” (Leo Lyons) – 1:10
“Speed Kills” (Alvin Lee, Mike Vernon) – 3:42.

Even the back album cover’s infrared heiroglyphed Stonehenge image triggers memories of ’69.
These were the carefree days just before things burst loose and all forms of cosmic shenanigans  became seemingly daily adventures that were physical, mental, emotional, and fucking fun.

STONEDHENGE!

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1970′s Historic & Classic Rock Albums . . . . . . . . . . JETHRO TULL – AQUALUNG – 1971

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JETHRO TULL – AQUALUNG – March 19, 1971 – Reprise MS 2035

It is a strange human reaction to feel that the normal roll-over of months into years is somehow magnified when that roll-over is from the end of one decade and the beginning of another. Although there is no difference, the significance is great.

Back in 1969 the review of the past ten years was truly historic so looking forward to the 1970s seemed like venturing into some stranger land filled with unknown possibilities of furthering sex, drugs, and rock ‘n’ roll, in the best sense.

That willful mind-bend added to the ongoing tide of an ever evolving reality with a high level of optimism and anxiety similar to the 1999 roll-over into 2000 and this was due to the fact that the Counter-Culture was in full-force – while the ’60s built an incredible cultural framework – the ’70s followed-through with vigor.

While individuals and groups progressed in their chosen fields, musicians, singers and bands also took this opportunity to show the “future of the ’70s”.  There were a few bands who debuted strong and Rock stalwarts who flexed their muscles – one of those muscular types was Jethro Tull.

After the very impressive time-stamp albums, “This Was” (Hard Rockin’ Blues with an Ian Anderson twist), and “Stand Up” (full-blown Renaissance Jazz Flute Rock) and both with sublime folk ballads, Tull released “Aqualung”; the album most fans agree to be their best, and is always highly-ranked as one of the Best Rock Albums ever.

The let down of Tull’s third album, “Benefit” (with the exception of the most excellent track, Teacher), was totally redeemed by the impact of a near perfect album, Aqualung.

Back in ’71 the world had a different Vibe from the late ’60s, yet most all would agree that nothing had really changed, it just evolved. Yet the early ’70s seemed to release a strong but subtle ubiquiteous feeling that the time was right to explore; it was now or never, no holds barred, live for today, Sex, Drugs, and Rock ‘n’ Roll Unlimited and it was the perfect environment and time for all of it.

This was the spirit shared by many individuals, including many bands that filled arenas, concert halls, and garages.  This spirit was not lost on Jethro Tull – Ian Anderson gifted Rockers with a near perfect album; rockin’ riffs, bass hooks, infectious drums, and lyrics that questioned authority, religion, and life  –  and who knew the stone rockin’ value that a flute could produce, by the right person – Ian Anderson.

In the process of Aqualung’s success, Jethro Tull became a perfected version of Jethro Tull.  With what many saw as a concept album, and much to his chagrin, The Mad Flutist created a real “mock concept album” with the single track covering both sides of the monster album, “Thick As A Brick”.

Up until “Thick As A Brick” 00individual saw Jethro Tull as a Rock band featuring Flute Wizardry, with TAAB Tull embraced and helped define Progressive Rock.

But before the TAAB Monster was unleashed, Jethro Tull hit the highest eschalons of early ’70s Rock with Aqualung; an album that traveled strong with Rockers the rest of the way to the Pinnacle of Rock – that was so near, yet so far away.

AQUALUNG
Side one: 1. “Aqualung” 6:34, 2. “Cross-Eyed Mary” 4:06, 3. “Cheap Day Return” 1:21, 4. “Mother Goose” 3:51, 5. “Wond’ring Aloud” 1:53, 6. “Up to Me” 3:15.  Side two: 1. “My God” 7:08, 2. “Hymn 43” 3:14, 3. “Slipstream” 1:13, 4. “Locomotive Breath” 4:23, 5. “Wind-Up” 6:01

Tull were perceived – due to not knowing how to classify them – as: Progressive, Hard Rock, Metal, Folk, Blues, Classical, Jazz, Psychedelic, Rockin’ Minstrel Balladeers.

00individual was a Record Store Manager in the early-to-mid ’70s, Jethro Tull was alphabetically filed in the “J” section in the “Rock” section.

JETHRO TULL – AQUALUNG – 1971

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NEIL YOUNG – “Everybody Knows This Is Nowhere” May 14, 1969 and “Harvest” February 1, 1972

NEIL YOUNG with CRAZY HORSE – EVERYBODY KNOWS THIS IS NOWHERE
Reprise RS 6349 – May 14, 1969

Neil Young’s career is truly legendary with both hit recordings and live SRO performances – solo or with the historic, classic Rock bands; Buffalo Springfield and Crosby, Stills, Nash and Young – as well as with a solid fan base over the decades.

This second solo release after leaving Buffalo Springfield saw him reach a righteous balance of Ballads and Hard Rock. Joined with the solid musicians of Crazy Horse, the hooks and beats became infectious classics.  Cinnamon Girl packs a head-nodic three minute punch, and both ten minute classics Down by the River, and Cowgirl in the Sand serve as the basis for countless bands’ songs ever after.

“Everybody Knows This Is Nowhere” Side One: 1. Cinnamon Girl 2:58, 2. Everybody Knows This Is Nowhere 2:26, 3. Round & Round 5:49, 4. Down by the River 9:13.  Side Two: 5. The Losing End (When You’re On) 4:03, 6. Running Dry (Requiem for the Rockets) 5:30, 7. Cowgirl in the Sand 10:06.

Young would soon be etched in Rock History in 1970 by joining ex-Byrd David Crosby, his Springfield bandmate Stephen Stills, and ex-Hollies Graham Nash to form Crosby, Stills, Nash & Young and release the era’s defining album “Déjà Vu”.

He would take another place in Rock History Hierarchy with “Harvest”, his fourth solo album, and the Best-Selling Album of 1972 in the United States.  00individual can testify that as a So. Cal. Record Store Manager in the early ‘70s, “Harvest” was a monster!

One of the lost gems in Rock History is the rousin’, rockin’ eponymous 1971 debut album by the truly great band Crazy Horse: Danny Whitten – guitars, lead vocals, Nils Lofgren – guitars, vocals; legendary Jack Nitzsche – piano, vocals; Billy Talbot – bass, vocals, Ralph Molina – drums, vocals.
The whole album is aces with stand-out classics Gone Dead Train and Beggars Day.

NEIL YOUNG – HARVEST
Reprise RS 2032- February 14, 1972

1971 – After defeating hundreds of other applicants for a job at the notoriously-discounted and famously-known Crane’s Records in Inglewood; the Home of the Fabulous Forum!  00individual was able to land the coverted job!  Well, …actually at $1.00 an hour, ten hours a day from 10 AM until 8 PM, Monday through Sunday (seven days a week) – for three months straight – no one else wanted the job.  But he was in – and after the crash course of record store boot camp, and upon achieving super-human knowledge via his trivia-obsessed mutant form of Hyperthymesia (blessing/curse), and with a $3.00 an hour raise, he was put in charge as sole manager of Crane’s Palos Verdes Record and Tape Store on Highway 1, located near the beach, just north of Malaga Cove, which was around the point from the original “Marineland” of the Pacific.  Groovy.

At twenty, for nearly a year, from ’71 to ’72, that store became his second home and he really styled and customized the place.  He took the fixtures from a clothes store next door that had closed and installed their slanted shingled “roof” over the length of the whole cash register area; supported by slender real tree trunk poles braced at both ends, this gave the counter area a “natural” environment and a nice place to do business.

With a wall of cassettes behind him, 00individual would look out across his domain and down all of the aisles as his satisfied subjects flipped and sifted through bins of choice records while rockin’ to the cranked-up sounds of Hendrix’ “In the West”, or T-Rex’ “Electric Warrior”, or Led Zeppelin IV, or Deep Purple’s “Machine Head”, or America’s debut album – or Alice Cooper’s “Schools Out”, or Neil Young’s “Harvest” – and those were just the most recent Warner/Reprise/Atlantic releases! Good times?  No, epic times!

“Harvest” sold so well that 00individual just stacked the sealed factory boxes with the top box open – no need to file or display “Harvest” – just keep it in stock.

“HARVEST” Side one 1. “Out on the Weekend” 4:35, 2. “Harvest” 3:11, 3. “A Man Needs a Maid” 4:05, 4. “Heart of Gold” 3:07, 5. “Are You Ready for the Country?” 3:33  Side two 1. “Old Man” 3:24, 2. “There’s a World” 2:59, 3. “Alabama” 4:02, 4. “The Needle and the Damage Done” (recorded in concert January 30, 1971) 2:03, 5. “Words (Between the Lines of Age)” 6:40.

Apparently Lynyrd Skynyrd wrote “Sweet Home Alabama” in response to Young’s racist portrayal of the South with the “Harvest” track,  Alabama and the “After The Goldrush” track, Southern Man.  So basically Neil Young is responsible for one of the most loved and famous songs of the ’70s.
But . . .
in his 2012 autobiography Waging Heavy Peace, Young commented on his role in the song’s creation, writing “My own song ‘Alabama’ richly deserved the shot Lynyrd Skynyrd gave me with their great record. I don’t like my words when I listen to it. They are accusatory and condescending, not fully thought out, and too easy to misconstrue”.

A rarity; a man owns up – and that’s why Neil Young is a Legend – well, that, and all that other music stuff.

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1960′s Historic & Classic Rock Albums . . . . . . . . . . CTA – Chicago Transit Authority – April 28, 1969

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CTA / CHICAGO TRANSIT AUTHORITY  – Columbia GP8 – April 28, 1969

Before Jazz Rock Fusion was a term, there was CTA.  While this new Jazzy/Brass form of Rock initially took a quick bit of music appreciation, it was soon fully embraced by the Counter-Culture and Rockers everywhere.

Once Chicago Transit Authority was legally forced to change their name, they became Chicago, the incredibly consistent and prolific hit-makers destined for major success with Middle Of the Road/ Album Oriented Rock and Pop and Easy Listening radio stations and audiences.
Here’s the proof:
July 1969 “Questions 67 and 68” “Listen” Oct. 1969 “Beginnings” “Poem 58” March 1970 “Make Me Smile”  Chicago II “Colour My World” June 1970 “25 or 6 to 4”  “Where Do We Go from Here” Oct. 1970 “Does Anybody Really Know What Time It Is?” Feb. 1971 “Free” Chicago III “Free Country” April 1971 “Lowdown” “Loneliness Is Just a Word” June 1971 “Beginnings” (A-side) June 1971 “Colour My World” (B-side) Chicago II Sept. 1971 “Questions 67 and 68” (A-side) Sept. 1971 “I’m a Man” (B-side) July 1972 “Saturday in the Park” Chicago V “Alma Mater” Oct. 1972 “Dialogue (Part I & II)”  “Now That You’ve Gone” June 1973 “Feelin’ Stronger Every Day” Chicago VI “Jenny” Sept. 1973 “Just You ‘n’ Me” “Critic’s Choice” Feb. 1974 “(I’ve Been) Searchin’ So Long”  Chicago VII “Byblos”  June 1974 “Call on Me” “Prelude to Aire” Oct. 1974 “Wishing You Were Here” “Life Saver” Feb. 1975 “Harry Truman” Chicago VIII “Till We Meet Again” April 1975 “Old Days” “Hideaway” Aug. 1975 “Brand New Love Affair (Part I and II)” “Hideaway” June 1976 “Another Rainy Day in New York City” Chicago X “Hope for Love” July 1976 “If You Leave Me Now” “Together Again” March 1977 “You Are on My Mind” “Gently I’ll Wake You” Sept. 1977 “Baby, What a Big Surprise” Chicago XI “Takin’ It On Uptown” Jan. 1978 “Little One” “Till the End of Time” May 1978 “Take Me Back to Chicago” “Policeman” Oct. 1978 “Alive Again” “Love Was New” Dec. 1978 “No Tell Lover” “Take a Chance” March 1979 “Gone Long Gone” “The Greatest Love on Earth” Aug. 1979 “Must Have Been Crazy” Chicago XIII “Closer to You” Oct. 1979 “Street Player” “Window Dreamin'”

BUT with their debut double album one gets the true feel of this group of highly accomplished musicians and vocalists with an absolute love for Rock ‘n’ Roll powered by a rockin’ Horn section that marked a special time of the unique vibe of the last year of the 1960 decade.

Chicago Transit Authority
Side One: 1.”Introduction” 6:35, 2.”Does Anybody Really Know What Time It Is?” 4:35,  3.”Beginnings” 7:54  Side Two: 4. “Questions 67 and 68″  5:03,  5.”Listen”  3:22, 6. “Poem 58” 8:35 Side Three: 7. “Free Form Guitar” 6:47, 8. “South California Purples” 6:11, 9.”I’m a Man” 7:43  Side Four: 10. “Prologue, August 29, 1968” 0:58, 11. “Someday (August 29, 1968)” 4:11, 12. “Liberation” 14:38

CTA: Terry Kath – electric and acoustic guitars, lead and backing vocals, Robert Lamm – grand piano, Wurlitzer electric piano, lead and backing vocals, Hammond organ, Hohner Pianet, maracas, Peter Cetera – bass, lead and backing vocals, Walter Parazaider – saxophones, backing vocals, tambourine, Lee Loughnane – trumpet, backing vocals, claves, James Pankow – trombone, cowbell, brass arrangements, Danny Seraphine – drums, percussion.

While Chicago in any form could never be labeled a Psychedelic Band, that didn’t mean that there wasn’t the desire or ability.  Terry Kath, vocalist and guitarist, cuts loose on Side Three with this Psychedelic Masterpiece, Free Form Guitar.  00individual is not a guitarist and can’t read one note of music, but hearing this solo he knows that to some ears this is just noise, but to the Psychedelic Ear it is an Opera, a Full Length Action Movie, a Sonic Spectacle, and a soulful Epic Tour De Force with Kath giving a Jackson Pollack delivery of intuitive and deliberate evocation – in one take. 

00individual has imprinted memories of rockin’ to this double album on 8 track tape while cruisin’ UCLA and Westwood Village for parties back in ’69.  Truth be known, it was more fun cruisin’ with good friends while gettin’ high, jokin’, laffin’, drinkin’ beer, and rockin’ to the music than any actual parties that were found.
Ain’t it the way – the journey is always better than reaching the destination.

I’M A MAN!

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1970′s Historic & Classic Rock Albums . . . . . . . . . HEART – Dreamboat Annie – February 14, 1976

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HEART
DREAMBOAT ANNIE – Mushroom Records MRS 5005 – February 14 1976

Friday the 13th and February the 14th seem to be based on the ultimate deaths of men who suffered the “No Good Deed Goes Unpunished” syndrome; where one’s positive altruistic beneficial actions often go unappreciated or are met with outright hostility.

Friday, Oct. 13th, 1307 France’s King Philip IV had the dedicated righteous protectors, the Knights Templar, rounded up as a falsely-accused “corrupt order” within the church, and then had them tortured and executed for heresy.

February 14th 270 AD was when St. Valentine was executed for arranging lovers to meet and marry while under a military ban on marriage.

On February 14th: 00individual’s Grandmother was born in 1900, the Gangland St. Valentine’s Day Massacre was in 1929, 00individual got married in 1977, and Heart released an amazing solid Rock album, “Dreamboat Annie” in 1976.

While still thrilling, back in 1976 Classic Rock was in fast decline; Singer/Songwriters and Disco dominated, and the “Love Songs of the ’70s” filled the airwaves.  Rock had splintered into so many different genres it became diluted.  Punk and Glam were on the rise and created a much-needed adrenaline shot to keep the Rock Machine stoked, but other than stalwarts The Who, Led Zeppelin, The Rolling Stones and Pink Floyd, the Classic Rock playing field thinned – as did the Rock Spirit which had been so strong for so long.

However, not all hope was lost as it took three women to really kick some major Rock ‘n’ Roll Ass and jump-start the Good ol’ Rock ‘n’ Roll Spirit.  The first two were Ann and Nancy Wilson of Heart, the third was Chrissie Hynde of The Pretenders.

Heart was known in the Pacific Northwest and Canada as “Little Led Zeppelin” and with very good reason; their perfectly-balanced blend of Ballads and searingly-hot Rock impressed everyone who heard them.  The Wilson sisters had what countless bands desperately wanted – Heart; as in, Rock ‘n’ Roll.

The Wilson Sisters made a huge impact and immediately gained a solid fan base with this album and saw the beginning of a legendary career/band.

DREAMBOAT ANNIE
Side one:
“Magic Man” – 5:28
“Dreamboat Annie (Fantasy Child)” – 1:10
“Crazy on You” – 4:53
“Soul of the Sea” – 6:33
“Dreamboat Annie” – 2:02
Side two
“White Lightning & Wine” – 3:53
“(Love Me Like Music) I’ll Be Your Song” – 3:20
“Sing Child” (A. Wilson, N. Wilson, Steve Fossen, Roger Fisher) – 4:55
“How Deep It Goes” (A. Wilson) – 3:49
“Dreamboat Annie (Reprise)” – 3:50

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