Stuck in the Psychedelic Era, like most music shows, has its own set of core artists and songs. On the other hand, we have quite a few old favorites on hand as well, including a set from Jefferson Airplane's Surrealistic Pillow album and a couple of last year's most played songs. We also have the only Led Zeppelin track to have never appeared on an LP, a Jimi Hendrix Experience piece that was included on a 7" bonus record with one of Hendrix's posthumously released LPs, a really strange Turtles B side, and three album tracks from artists that have never been featured on Stuck in the Psychedelic Era before (including one from Brazil). From there it gets even crazier, with such oddities as a track credited to Boston's Barbarians that in reality is that group's drummer doing a mostly spoken piece backed up by (believe it or not) The Band, who had just finished touring with Dylan. This week we bounce all over the place, starting with a Kinks B side followed by a pair of singles recorded in Nashville, one a big hit from Bob Dylan, the other only a regional hit for Greenwood Mississippi's Gants.
Then, following a pair of the most identifiable psych classics ever recorded we swim out to the deep end for some long album tracks (one of which takes up an entire side of an LP) before finishing up with two of the best singles of 1967. If the first few songs of the second hour don't have you at least tapping your feet I would suggest checking your pulse, as they are the kinds of tunes that tend to fill up the dance floor in a hurry. This leads to a set of tracks from the last two LPs the Doors made before the departure of Jim Morrison (none of which have been played on Stuck in the Psychedelic Era before), followed by a mix of the familiar and obscure to finish out the first hour. Then we make a detour to 1965 and some tunes that have not been heard on the show in years (if at all). First we have a large set of tracks from 1967 (all of which should be familiar to regular listeners of Stuck in the Psychedelic Era). In addition to the Music Machine tracks we have nearly two dozen more tunes by the usual variety of artists, including one or two you probably never heard of as well as some old favorites like Jimi Hendrix, the Standells and even the Grateful Dead. Elements of Bonniwell's music can be heard in later bands such as the Doors (Ray Manzarek's keyboard style in particular) and Iron Butterfly (especially Doug Ingle's baritone vocal style). The songs themselves showed a sophistication seldom, if ever, heard among their contemporaries. Visually, the Music Machine had a look all their own, with all the members dressing entirely in black (including dying their hair) and wearing one glove on stage, years before Michael Jackson did his first moonwalk. The name of the band itself reflected Bonniwell's idea to segue directly from song to song for an entire set, never pausing long enough to let members of the audience call out requests that Bonniwell had no desire to play. Bonniwell was one of the first rock musicians to take a holistic approach to his musical presentation. The result is a show with no less than eleven tracks from Bonniwell's Music Machine, one of the most underrated garage-psych bands of the late 1960s. I thought of doing a tribute set in the second hour, but then hit upon an idea that I think Bonniwell himself would have appreciated: a Music Machine track in every song set. This week's edition of Stuck in the Psychedelic Era is dedicated to Sean Bonniwell, who passed away on Dec. By the end of the show I thought I finally had it all under control, but then, at the last possible moment, Jimi Hendrix betrayed me by tossing out a two and a half minute song to close the show. At that point I tried Vanilla Fudge, always good for an extended arrangement. The third segment was almost a repeat of the second as I tried a Janis Joplin set, but was once again thwarted when Moby Grape kicked off the next set with a song running only 1:53! The capper was in the final segment when the Monkees sneaked in a five second track. In desperation I turned to Black Sabbath, but by then the first hour was over.
#Ridoc hair wraps full
It worked, but after only three tunes the short ones were back in full force. I knew I had to do something about this so I turned to the old reliable year 1969.
I set out to do a normal show this week, but before I knew it I was surrounded! Short tracks everywhere! Not a one of them over three minutes long! It was scary! By the time I got to the end of the first segment I had already played nine (!) songs in slightly under 27 minutes.
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