Listen: Live / The Merry-Go-Round
Live

I think summer ’67 was the sunniest ever. I remember it like yesterday, and can still feel the angst of wanting every last record that was being released. I was insatiable, riding my bike daily, many times twenty miles each way on the back country roads either between Canastota and Oneida, or into Syracuse. Every night as I lay in bed with the transistor under my pillow, listening to AM broadcasts from far away places in the Midwest or way up into the Northeast via Boston or Maine, I’d be scheming out tomorrow’s plan of where to go, looking for, asking for records.

Back then, at dusk, AM stations were required to switch from broad, local signals, to limited radius and directional. This meant those directional beams would make local broadcasts from hundreds and hundreds of miles away sound down the street. And with many of the looser US Top 40′s playing the latest underground and psychedelic releases overnight, new discoveries became a daily occurrence. Whether it be Country Joe & The Fish, The Pink Floyd, Moby Grape, The Move, The Magic Mushrooms, Tim Hardin, The Lewis & Clark Expedition, The Flowerpot Men or The Peanut Butter Conspiracy, I was hearing it all and my want list was endless.

So off I’d go, to the various shops, blagging promo records, last week’s copies of BILLBOARD, CASHBOX and RECORD WORLD, music surveys from the local Top 40′s, inventory check lists the distributors would leave with the store buyers, I hoarded them all.

Wednesdays were when the national record label reps would hit the Syracuse stations promoting their wares. None of my friends dared join me, so I’d wait alone on my bike in the parking lots for them to pull up, and got good at talking singles out of these guys, handing my high school newspaper record reviews to them in exchange for a dig through their latest releases. I’ll tell you truthfully, I’ve tried just about every drug out there, but never have I found a high near the one a free for all through a promotion man’s trunk full of 1967 promo 45′s could provide.

What became known as sunshine pop surfaced amongst the sub genres and regional music scenes during that summer. God, I hated the term and generally cringe when having to admit liking music tagged as such. Along with The Third Rail, Sagittarius, Eternity’s Children, Colours and The Sunshine Company, I guess The Merry-Go-Round’s ‘Live’ inhabited a slot. Their obvious British looking haircuts caught my eye, and when ‘Live’ started to pick up a lot of daytime play quickly, I was hooked. Critics claim a similarity to The Beatles, I don’t hear it. I preferred to associate them closer to The Hollies or The Tremeloes, they certainly looked the part.

‘Live’ almost made it nationally, but stalled just short of Top 50, which was ultimately a real shame.

You know those songs that take you right back? This is one for me.

Listen: Bitter Wind / Moby Grape
Bitter Wind / Moby Grape

Somewhere during the making of their second album, Moby Grape recorded a previously unreleased, very noisy rock version of ‘Bitter Wind’. That, along with said album and this single version, were included on the short lived double cd VINTAGE: THE VERY BEST OF MOBY GRAPE Columbia released about ten years back. Litigation or some such problem required it be withdrawn. Not sure exactly why, but seems this band is forever haunted by their questionable early business dealings.

Boy am I happy this original album track made it to the 7″ instead of that alternate version. It’s by far my preferred choice.

When they released that second album, WOW, the one with the free second studio jam disc, their sound and the recordings seemed to thin out compared to the first album’s messy collision of guitars. There was more space, and the stark emptiness, I guess you could say, really appealed to me. ‘Bitter Wind’ was the standout, I’d listen to Side One, from which it came, repeatedly.

Couldn’t have been more pleased to find it on the B side of ‘Can’t Be So Bad’, and in the originally released version. Despite the vocals pushing my tolerance ever so slightly, ‘Bitter Wind’ exemplifies the remnants of San Francisco’s summer of love exactly as I recall it.

Listen: Jumpin’ Jack Flash (Mono) / Johnny Winter And JohnnyWinterAndFlash.mp3

Please remember, this came out at a time when blistering acid blues guitar solos were still pretty new and defiant. Mix that up with a skinny, skinny, skinny albino, silky straight white hair, a bloodless complexion, blue velvet jacket and voila: recipe.

Having made a few tame, more traditional blues recordings for labels like Imperial, Johnny Winter signed to Columbia during their great late 60′s renaissance. A time period that saw Big Brother & The Holding Company, The Chambers Brothers, Moby Grape, Al Kooper and Pacific Gas & Electric added to it’s roster.

The first two Columbia albums were pretty much in that trad blues vein, a touch more electrified. The touring to support them included making the rounds of Fillmore type venues in the US.

By album three, Johnny Winter, the artist, became Johnny Winter And. By infusing more Little Richard style wildness and covering a handful of RnR standards, they band and idea blew up.

They were so powerful live, that for a short time, I’m not sure anyone could top them at their game. Despite being consistently out of tune on stage (a result of the mania specific to this live show), no one cared. It was a tornado of sound and action. You couldn’t take your eyes off them nor sit still.

JOHNNY WINTER AND LIVE became the time tested true documentation of that period. Definitely one of the most exciting live recordings in my collection. The mono 7″ excerpt of ‘Jumpin’ Jack Flash’ edits out the second solo, a real shame. Definitely check the full length for that. Meanwhile, a single, like the live show from which it came, has rarely been hotter.

Listen: Not So Sweet Martha Lorraine / Country Joe & The Fish CountryJoeMarthaLorraine.mp3

Listen: Who Am I / Country Joe & The Fish CountryJoeWhoAmI.mp3

Listen: I-Feel-Like-I'm-Fixin'-To-Die-Rag / Country Joe & The Fish CountryJoeFixin.mp3

Along with Big Brother & The Holding Company, Tim Rose, Moby Grape and The Jimi Hendrix Experience, I finally heard Country Joe & The Fish on Boston’s WBZ very late one night, summer ’67. I would lie awake for hours, a truly twisted little kid, listening to music from cities and towns only reachable after 9pm, when the FCC’s regulations at the time (maybe still) allowed their daytime ‘directional’ antennas to relax, and beam wider and farther. It was a smorgasbord of great late night radio – the kind you only hear about existing so long ago. All this music was actually there for me to hear by searching my pocket sized handheld device. Every kid had one even then: an AM transistor radio.

By summer ’67 I was an old pro at this – the previous spring/summer ’66 brought me the same privilege, but that year the bands were almost exclusively English. Boston and the whole Northeast was pretty UK centric when it came to radio programming. At night you’d hear The Moody Blues, The Small Faces, The Pretty Things, non-hits by hitmakers (Hollies/Troggs/Searchers/Swinging Blue Jeans/Zombies/Them) – loads of stuff. WBZ heavily played Dave Dee, Dozy, Beaky, Mick & Tich’s ‘Hold Tight’ that year, but so did the local Syracuse stations. If it weren’t for Billboard, I’d of had no idea it wasn’t a national smash.

Well by summer ’67 we were at the very front end of what, by ’68, would become FM radio – all the fireside closeness that your pal, the pot head DJ, would exude. But just before it all got commercial, the late night Top 40′s were a Godsend.

I really wanted some records by this band though – and you couldn’t buy their singles for love or money then. Like The Seeds and Moby Grape, they seldom found their way east so it was all about patience in getting any exposure to them – unless you sprung for the album. I finally got ‘Not So Sweet Martha Lorraine’ via my scam with the adult station in town (they’d give me all their unplayable rock singles believing I was indeed from the local children’s hospital). Not until years later did I notice the annoying Farfisa that seemed to be so prevalent. How did I miss it then? I guess they just sat nicely as part of the San Francisco sound due to production and guitar style. Very Quicksilver like tones from Barry Melton (I think it was him).

‘Who Am I’ was the real clincher – hearing this one late at night – it really sounded fantastic. I’d clamp that radio to my ear as soon as it came on. Couldn’t play it too loud for fear of waking up my Mom & Dad – the music battling crickets and the sonic backdrop of the Thruway in the distance. Beautiful ambience.

Woodstock took ‘I Feel Like I’m Fixin’ To Die’ mainstream – FM underground mainstream that is. By then (’69), the band was fried – it didn’t matter. But these singles: classic period pieces.

Listen: Omaha / Moby Grape MobyGrapeOmaha.mp3

When recalling the handful of US 60′s bands I appreciated (at the time that is, I was still pretty buzzed on the British Invasion, it was us-against-them mentality), I always forget Moby Grape. They were a bit wooly looking, yet had a nice splash of psychedelia thrown in, especially on ‘Omaha’ (from their debut LP, MOBY GRAPE), thereby completely tolerable. Initially I probably liked the name and idea of Moby Grape better than Moby Grape themselves. Surprisingly, many UK bands tipped them, with some, like The Move, actually covering their songs live. When the second album, WOW, came out, I felt the compelling urge to buy it. Like Pink Floyd’s UMMAGUMMA, it was a double record, but priced as a single – that helped. The second disc was a jam, and featured Al Kooper and Mike Bloomfield, both well respected….jammers. Let’s be honest, I don’t think anyone got through it more than once, although we all claimed to have. The first disc however had some proper songs in there. It was all very Dennis Hopper. The psychedelic angle had vanished but their dark, cold sound increased nicely – and the vocals were a big attraction. In the end, a top rock group.