the avid collector’s guide to wild in the streets part 3

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THE AVID COLLECTOR’S GUIDE to Wild In The Streets Part 3 ad­dresses records made that are as­so­ci­ated with this movie—both sin­gles and al­bums. All were re­leased in the wake of the very suc­cessful movie in 1968, but few were hits. Be­fore com­mencing, I rec­om­mend that you first readOn Wild In The Streets As Polit­ical And Social Satire” and then the first part of this four-part se­ries of ar­ti­cles about the movie and its music. READ MORE

the avid collector’s guide to wild in the streets part 1

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IN 1968, AIP’S NEW MOVIE was not about bikers, babes, and devils. While “Wild In The Streets” was an­other Amer­ican In­ter­na­tional Pic­tures ex­ploita­tion B-movie, it was also a clever com­bi­na­tion of black humor, so­ciopo­lit­ical satire, and some gen­uinely good rock & roll. The Avid Col­lec­tor’s Guide to Wild In The Streets Part 1 ad­dresses the records as­so­ci­ated with that movie and its music. READ MORE

david anderle’s won-won-wonderfully weird portrait of brian wilson

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THINGS WERE GETTING WEIRD in Brian Wilson’s world when he met David An­derle. By the third quarter of 1966, many sig­nif­i­cant changes had taken place in his life and his sur­round­ings. PET SOUNDS and Good Vi­bra­tions and the SMiLE ses­sions that everyone in Los An­geles seemed to know about had brought a very dif­ferent kind of at­ten­tion to Brian that pre­vious Beach Boys records had not. READ MORE

It isn’t how it was set up to be (the byrds 1966 part 1)

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WELCOME TO AN INTRODUCTION to the first in a se­ries of ar­ti­cles on the re­leased and un­re­leased recording of the Byrds in 1966. I began this se­ries in July 2013 for my first blog, Neal Umphred Dot Com. As I hadn’t written any­thing in a while (in years, ac­tu­ally), my au­tho­rial chops were rusty. Also, I knew nothing about blog­ging, so the final pieces that I posted now seem timid and em­bar­rassing. READ MORE

God damn the pusher man

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THOSE OF US OLD ENOUGH to have at least wit­nessed “the Sixties”—even if only as teenagers watching it happen all around us—remember that there was a time when the terms “dealer” and “pusher” were NOT syn­ony­mous. A dealer sold only “good” drugs—“head drugs”—like mar­i­juana, hash, and the oc­ca­sional psy­che­delic (mostly LSD). 1

A pusher, on the other hand, sold the hard stuff (read “ad­dic­tive”), the “bad” drugs: the opi­ates (usu­ally heroin) and speed (usu­ally meth). READ MORE

the byrds’ mind gardens and outrageous fortunes

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MIND GARDENS, one of David Cros­by’s con­tri­bu­tions to the Byrds’ legacy, has been a bone of con­tention among fans since its re­lease on the YOUNGER THAN YESTERDAY album in 1967. Ac­tu­ally, using that eu­phemism is in­ac­cu­rate: al­most everyone has some­thing neg­a­tive to say about the recording—the lyrics, the singing, the music. In­cluding me!

As time has passed, my en­joy­ment of those Six­ties artists who took a chance here and there has grown, es­pe­cially given how narrow the main­stream be­came in the ’70s and how boring since. READ MORE

a whiter shade of pale in some spectacular ruins

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PROCOL HARUM MADE A VIDEO of their world­wide hit A Whiter Shade Of Pale in 1967. It was shot in some spec­tac­ular ruins in Witley Court in Worces­ter­shire, Eng­land, once one of the great houses of the Mid­lands, but by then a spec­tac­ular ruin dev­as­tated by fire thirty years ear­lier. It fea­tured the orig­inal members—Gary Brooker, Matthew Fisher, David Knights, Ray Royer, and Bobby Harrison—performing and me­an­dering about the ruins. READ MORE

the return of max frost and the troopers (is this part 6 of the pseudo-psychedelic chad & jeremy essay?)

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THIS ARTICLE IS AN ADDITION to the five part essay on the pseudo-psychedelic record­ings of Chad & Je­remy from 1967-68. Please read those first and then this will make more sense. A note of in­terest to the real diehard Chad & Je­remy col­lec­tors: the ver­sion of Paxton Quigley’s Had The Course that ac­tu­ally ap­pears on the sound­track album THREE IN THE ATTIC was recorded by ses­sion mu­si­cians and cred­ited to Max Frost and The Troopers. READ MORE