Sunday, February 19, 2017


Lenny Kaye, who compiled the original Nuggets double LP set, also compiled a second volume that was never released. Many of the cuts appeared on the later Nuggets releases, but some did not. Below is the tentative track listing for Lenny Kaye's unreleased second Nuggets volume

A list of the proposed Lenny Kaye's Volume 2 of Nuggets (never completed)

    The Lovin' Spoonful – "Do You Believe in Magic" (Kama Sutra)
    The Outsiders – "Time Won’t Let Me" (Capitol)
    The Left Banke – "Walk Away Renée" (Smash)
    Syndicate of Sound – "Little Girl" (Bell)
    The Balloon Farm – "A Question of Temperature" (Laurie)
    Swingin' Medallions – "Double Shot of My Baby’s Love" (Smash)
    The Gentrys – "Keep On Dancing" (MGM)
    The Music Machine – "Talk Talk" (Original Sound)
    The Five Americans – "I See the Light" (Abnak/HBR)
    ? & the Mysterians – "96 Tears" (Cameo)
    Richard & The Young Lions – "Open Up Your Door" (Phillips)
    The Beau Brummels – "Laugh, Laugh"  (Autumn)
    Clefs of Lavender Hill – "Stop-Get a Ticket" (Date)
    The Rainy Daze – "That Acapulco Gold" (Uni)
    The Elastik Band – "Spazz" (Atco)
    The Mystery Trend – "Johnny Was a Good Boy" (Verve)
    The Good Rats – "The Hobo" (Kapp)
    The Yellow Balloon – "Yellow Balloon" (Canterbury)
    The Gestures – "Run Run Run" (Soma)
    The Choir – "It’s Cold Outside" (Roulette)
    Bobby Fuller Four – "I Fought the Law" (Mustang)
    The Myddle Class – "Free As the Wind" (Tomorrow)
    The Evil – "Whatcha Gonna Do About It?" (Capitol)
    The Gants – "Road Runner" (Liberty)
    The Music Explosion – "A Little Bit of Soul" (Laurie)
    The North Atlantic Invasion Force – "Black on White" (Mr. G)
    The Monocles – "Spider and the Fly" (Chicory)
    The Lollipop Shoppe – "You Must Be a Witch" (Uni)
    The Kaleidoscope – "Just a Taste" (Epic)
    Gonn – "Blackout of Gretely" (Emir)
    The Squires – "Goin’ All the Way" (Atco)
    Link Cromwell – "Crazy Like a Fox" (Hollywood)
Lenny Kaye is perhaps best known as Patti Smith’s long-time guitarist and collaborator, but his contributions to rock history and rock ‘n’ roll culture go much deeper than that. In 1972, he collected then forgotten garage and psychedelic singles to create the Nuggets compilation album, which proved to be one of the most influential records of all-time, leading to countless 60s garage rock comps and inspiring generations of new rock ‘n’ roll bands. He was also part of the first generation of rock critics, his writing appearing in publications like Fusion, Crawdaddy, Rolling Stone, Creem, Disc, Melody Maker, Hit Parader, and Rock Scene.

Tuesday, February 7, 2017


I can think of no one better to serve up  for the "No Commercial Potential" holiday of Valentine's Day. Frank gives us some of his doo wop roots and influence here with the Mother's. Enjoy your Holiday Guys and Girls! Put this one on to candlelight as you woo your ladies(or gents) after spending exuberant amounts of cash to get to that point

Revisiting Zappa and the Mothers for a shot at Valentines Day. I added a few extra songs to reach my usual standard of 24  I tryed  to stay in the doo wop mode but when your dealing with Zappa anything
go's This is a repost from a couple of years back

01 cheap thrills

02   wowie zowie

03   how could i be such a fool

04   go cry on somebody else's shoulder

05   i'm not satisfied

06   wplj

07   anything

08   love of my life

09   valarie

10   fountain of love

11   oh no

12   electric aunt jemima

13   stuff up the cracks

14   you didn't try to call me

15   any way the wind blows

16   how could i be such a fool

17   hey nelda

18   deseri

19   dog breath

20   cruising for burgers

21   later that nite

22   another cheap aroma

23   jellyroll gumdrop 

24   directly from my heart to you

Monday, February 6, 2017


"Necessity is the mother of invention" is an English-language proverb. It means, roughly, that the primary driving force for most new inventions is a need In 1964 Frank Zappa took over leadership of the American rock band The Soul Giants. He renamed the band The Mothers, referring to the jazz compliment of motherfucker for a great musician. However, their record company, Verve Records, objected to the insinuation and by necessity Zappa had to change the name, creating (and defining) The Mothers of Invention
A Great mix borrowed from the defunct blog
 Birds With Broken Wings

Friday, February 3, 2017


Saturday, January 14, 2017


"Get Together", also known as "Let's Get Together", is a song written in the mid-1960s by American singer-songwriter Chet Powers, also known as Dino Valenti

  The song is an appeal for peace and brotherhood, presenting the polarity of love versus fear, and the choice to be made between them. It is best remembered for the impassioned plea in the lines of its refrain, which is repeated several times in succession to bring the song to its conclusion.

The song was originally recorded as "Let's Get Together" by the Kingston Trio and released on June 1, 1964, on their album Back in Town While it was not released as a single, this version was the first to bring the song to the attention of the general public. The Kingston Trio often performed it live.

A version of the song first broke into the top forty in 1965, when We Five, produced by Kingston Trio manager Frank Werber, released "Let's Get Together" as the follow-up to their top ten hit "You Were on My Mind". While it did not achieve the same level of success as the other, "Let's Get Together" provided the group with a second top 40 hit on the Billboard Hot 100 when it peaked at #31. It would be their last hit record.

In 1967, the Youngbloods released their version of the song under the title "Get Together". It became a minor Hot 100 hit for them, peaking at #62 and reaching #37 on the US adult contemporary chart. However, renewed interest in the Youngbloods' version came when it was used in a radio public service announcement as a call for brotherhood by the National Conference of Christians and Jews. The Youngbloods' version, the most-remembered today, was re-released in 1969, peaking at #5 on the
 Billboard Hot 100.
01  youngbloods
02  dino valenti
03  we five
04  california poppy pickers
05  hp lovecraft
06  hamilton camp
07  stone ponies( linda ronstadt)
08  jefferson airplane
09  cryan' shames
10  kim richey
11  yankee dollar
12  david crosby
13  joni mitchell
14  kingston trio
15  caculas
16  dave clark five
17  family album
18  carolyn hester coalition
19  a groue called smith
20  big mountain  
21  ultimate spinach
22  indigo girls 
23  sunshine company
24  neil & peggy young


Saturday, January 7, 2017


The Youngbloods could not be considered a major '60s band, but they were capable of offering some mighty pleasurable folk-rock in the late '60s, and produced a few great tunes along the way. One of the better groups to emerge from the East Coast in the mid-'60s, they would temper their blues and jug band influences with gentle California psychedelia, particularly after they moved to the San Francisco Bay Area. For most listeners, they're identified almost exclusively with their Top Ten hit "Get Together," but they managed several respectable albums as well, all under the leadership of singer/songwriter Jesse Colin Young.

Young got his start on the folk circuits of Boston and New York, and had already cut a couple of solo albums before forming the Youngbloods. John Sebastian was one of the supporting musicians on Young's second LP, and comparisons between the two — and between the Youngbloods and the Lovin' Spoonful — are inevitable. Both groups offered good-timey folk-rock with much stronger jug band influences than West Coast rivals like the Byrds, though the Youngbloods made greater use of electric keyboards than the Spoonful, courtesy of the enigmatically named Lowell "Banana" Levinger. The Youngbloods didn't craft nearly as many brilliant singles as the Lovin' Spoonful, but (unlike the Spoonful) endured well into the hippie/psychedelic era.

While Young was always the focal point of the band, their first two albums also had songwriting contributions from guitarist Jerry Corbitt. Produced by Felix Pappalardi (who also worked with Cream), these records (The Youngbloods and Earth Music) were engaging and mature, if inconsistent, folk-rock. Corbitt's "Grizzly Bear" was a small hit, as was "Get Together," a Dino Valenti song that had previously been recorded by Jefferson Airplane. The Youngbloods' slow, soulful interpretation of "Get Together" was definitive, but it wouldn't reach the Top Ten until it was re-released in 1969, after the song had been used in a television public service ad.

March 30, 1969
The Avalon Ballroom, San Francisco, CA.
FM Radio.

1. Ride the Wind
2. Sugar Babe
3. Four in the Morning
4. Too much monkey Business
5. Banana's
6. Dolphins
7. The Wine Song
8. Darkness, Darkness

Tuesday, December 27, 2016


Peace by Piece is the ninth album by San Francisco psychedelic rock band Quicksilver Messenger Service and the first to be released with guitarist Gary Duncan at the sole command

Despite the title, you should not put too much hopes in this CD because the music has nothing to do with the Quicksilver Messenger Service from the 60s and 70s. Rather, it is a Gary Duncan solo album with a slight cross-reference to its past, and the man should have already been well advised to delete the * messenger service * without replacement.

The LP was first released in 1986 and was released on CD at Pymander Records in 1997. The cover art work is by no less than the Bay Area artist legend Rick Griffin. Musically, Duncan has shaken the dust off two decades and offers modern rock music. Duncan has developed and can make his ideas from very good songs.

.Comment from an author( unknown) on the internet. A good re-visit


1 Good Thang        4:40
2 24 Hour Deja Vu  4:31
3 Midnight Sun  5:21
4 Swamp Girl  5:50
5 Wild In The City  5:15
6 Pool Hall Chili   4:27
7 Crazy Jesse  3:24
8 Pistolero  5:05
9 Electric Love  5:11
10 Peace By Piece    9:49


  Gary Duncan was another deer caught in the headlights and he owes it to a myopic media strapped to headlines rather than story. In 2007, writers, papers and magazines flocked to his door, supposedly to interview Gary Duncan, musician. Duncan soon found that what they really wanted were a few lines to support already written headlines about the so-called Summer of Love.

“What I did 40 years ago, that's what I've been doing as far as interviews all year,” he said. “Going back and reliving all of those things is something I'm not really into. The music was good and the whole thing was great, but now it's 40 years later and my music is totally different. I've been trying to get the word out about what I am doing now. I have around twelve CDs out now, all newer. I had a recording studio for about 20 years and recorded everything I played. Then, when 9/11 happened, there suddenly weren't any more gigs. I didn't work for five years and lost the studio, but I kept the 500+ hours of music I'd recorded. If the music has been bad, it would have been easy. I could have just thrown it all away. But after listening to it, I realized it was good, so I ended up tying up with a guy named Karl Anderson, who owns Global Recording Artists. That's the label my music is released on now.

“I had stuff on cassette, on DAT tapes, two-track mixes, on 2-inch tape. We went through all of it and are slowly getting them out. I have maybe six CDs that we haven't released yet. They sell, but not a lot. I don't make a lot of money off of those.”

Why Global Recording, you ask? Why not a major label?

“Quicksilver's Peace By Piece came out on Capitol in 1986. It was getting really good promotion, was starting to move, then the president of the label got fired and everybody he'd signed got dropped. They dumped the record. They just stopped promoting it and didn't make any more copies. I called them and asked if they had the masters because I wanted to put it out and they said no, we don't have them. We don't even have a copy. Well, I did. I had a copy of the original mix, so I put it out myself.

“I put out Shape Shifter on my own label, as well, and now it is on GRA Records. Most people don't even know it's out there because it never got any promotion.”

Shape Shifter, originally a two CD set, took on a life all its own. Keying on theme and variations, Duncan recorded and re-recorded many of the tracks, some remarkably different than those on the original discs. The original set is now available on single discs as Volumes 1 & 2.

The third volume of Shape Shifter consists of three 'new' tracks--- Light Up the Night, Cover Girl, and Time to Shine--- and alternate versions of songs from Volumes 1 & 2.

Unlike the original set, on Volume 3 Duncan handles the vast majority of the instruments himself. “Volume 3 of Shape Shifter was actually the original demos Gary produced for the album,” explained Karl Anderson of Global Recording Artists. “Gary played almost everything on those tracks. The idea was to record the demos and give them to the band so they could learn the parts for the sessions. In the process, some songs were dumped and a lot of the tracks ended up significantly different than the final versions. While going over the material, we decided those 'demo' tracks were worthy of inclusion in the expanded set of discs we were going to put out.”

Volume 4 is another animal altogether. Some tracks are different versions of those from Vol. 1 & 2 sans voice, some were left over from earlier sessions, and some recorded fresh. Duncan kept it instrumental because he liked the way it sounded. This ain't your Granddaddy's Quicksilver, my friend--- more like Gary Duncan Unleashed.

Again, Karl Anderson: “Volume 4 was an instrumental version of songs from the original Shape Shifter. Originally, we were going to call it Waltzing the Warthog, but decided to add it to the Shape Shifter set because we didn't want to confuse fans as they purchased the different albums. You get very different versions on this album and get a chance to hear Gary really play some guitar.”

Duncan has unleashed himself on a number of albums over the years, some criminally overlooked. One wonders whether the Quicksilver fans from the sixties even know they exist and why the ones who do, like the writers who call for interviews, seem to prefer reliving the past to hearing the new. No matter, really. Gary Duncan has gained a loyal following of new fans, enamored almost as much as Duncan himself with his chosen style. Still, it gets frustrating at times, but Duncan has not let it daunt him.

“I grew up playing R&B and jazz. These days, when I can play what I want to, I play jazz--- in my own way. That's what Quicksilver was really doing, anyway. We improvised every night we played. The whole idea was to get stoned, get on stage, start the song and see where it went.”

Duncan has carried that attitude toward music from the beginning. He wrote the quintessential Quicksilver tune Gold and Silver while still in his mid-teens and really never looked back. Like the music, the band evolved as well, musicians joining and leaving as life and the life of the music moved forward.



Thursday, December 22, 2016



Lee Eugene Michaels (born Michael Olsen, November 24, 1945, Los Angeles, California) is an American rock musician who sings and accompanies himself on organ, piano, or guitar. He is best known for his energetic virtuosity on the Hammond organ, peaking in 1971 with his Top 10 pop hit single, "Do You Know What I Mean".

 with The Sentinals, a San Luis Obispo, California-based surf group that included drummer Johny Barbata (later of The Turtles, Jefferson Airplane and Jefferson Starship). Michaels joined Barbata in the Strangers, a group led by guitarist Joel Scott Hill. Michaels later moved to San Francisco, where he joined an early version of The Family Tree, a band led by Bob Segarini. In 1967, he signed a contract with A&M Records, releasing his debut album, Carnival of Life, later that year with David Potter on Drums. As a session musician, he played with Jimi Hendrix, among others.

Michaels's choice of the Hammond organ as his primary instrument was unusual for the time, as was his bare-bones stage and studio accompaniment: usually just a single drummer,[2] most often a musician known as "Frosty," real name Bartholomew Eugene Smith-Frost, who was a member of Sweathog, and whose bare handed technique was an inspiration for John Bonham,[3] or with Joel Larson of The Grass Roots. This unorthodox approach attracted a following in San Francisco, and some critical notice. (Sounds Magazine, for one, reported of Michaels that he had been called "the ultimate power organist.") But Michaels did not achieve real commercial success until the release of his fifth album.

That album, titled 5th and released in 1971, produced a surprise US Top 10 hit (#6 in the fall of 1971), "Do You Know What I Mean." It was an autobiographical homage to the loss of a girlfriend. Michaels's Top 40 follow-up, a cover version of the Motown standard, "Can I Get a Witness," peaked at #39 on Christmas Day of 1971, eight years to the week after Marvin Gaye's version peaked at #22. Billboard ranked "Do You Know What I Mean" as the No. 19 song for 1971 Michaels recorded two more albums for A&M before signing a recording contract with Columbia Records in 1973. But his Columbia recordings failed to generate much interest, and Michaels had gone into semi-retirement from the music industry by the end of the decade.

In 1991, Michaels obtained full rights in all of his A&M recordings from A&M, in settlement of disputes that had arisen from A&M granting licenses to Delicious Vinyl for the use of Michaels's recordings by means of digital sampling on several Young MC recordings. Once he had regained full ownership rights, Michaels granted licenses to Rhino Records and Shout Factory to release several "best of" albums over the years. In November 2015, Manifesto Records released his entire catalog of A&M albums in compact discs and in re-mastered digital form, as well as a vinyl release in February 2016.


Monday, December 5, 2016


B. Mitchel Reed was born Burton Mitchel Goldberg in Brooklyn on June 10, 1926. After graduating from Boy's High School in 1944, he became a navigator on a B-17 in Europe during the last year of World War II. He entered radio following a decision at the University of Illinois to forgo a career teaching political-science "for the boogie and the glamour of broadcasting." In 1956, he landed the all-night "Birdland Jazz Show" at WOR New York. In 1957, Mitch moved his "Boy On A Couch" show to KFWB Los Angeles and there became one of the original "Seven Swingin' Gentlemen" at the launch of Top 40 "Color Radio" in 1958. "The fastest tongue in the West" hosted a #1 rated 6PM-9PM high energy show using horns, bells and buzzers until February 20, 1963 when he was wooed back to his hometown as one of "The Good Guys" at WMCA New York: "I'm not talking too fast, you're listening too slow." Again rated #1, "Your Leader" spent time in London developing contacts with Brian Epstein, Derek Taylor and The Beatles which led to exclusive interviews and advance record pressings that helped break The Beatles in New York. After his final WMCA show on March 25, 1965 he was cheered by thousands at the airport, a scene that was repeated when he landed in L.A. for his return to KFWB with "The Wide Wide Weird World of BMR" where he became a voice for the counterculture. He recognized a music explosion was beginning, and he turned the evening hours into album-oriented rock programming after he met with Tom Donahue at the June 1967 Monterey Pop Festival and discovered their common frustration with radio music restrictions. Donahue was PD of pioneer underground rocker KMPX-FM San Francisco and was looking for an L.A. outlet. He found KPPC-FM in the basement of the Pasadena Presbyterian Church. After the KMPX/KPPC Strike ended in June 1968, Reed and Donahue each supplied KMET-FM with four hours of taped album rock while BMR programmed the rest of KMET, one of the first 24 hour automated music stations. "The Beamer" gained validity for "Underground Radio" from the ad agencies with his afternoon drive show that finally went live in Summer 1969. He was responsible for introducing to the public many of the most influential rock musicians ever, including Joni Mitchell. He underwent successful coronary bypass surgery in 1978 and left KMET for KLOS-FM. B. Mitchel Reed "kept his mind open and his spirit free" until his death from a lingering heart condition at the age of 56 on March 16, 1983.


Tom "Big Daddy" Donahue (May 21, 1928 – April 28, 1975), was a pioneering rock and roll radio disc jockey.

Donahue's career started in 1949 on the east coast of the U.S. at WTIP in South Carolina and contined at WIBG in Philadelphia and WINX in Maryland. He moved to San Francisco in 1961 after the payola scandal involving Alan Freed and Dick Clark.
Donahue re-invented himself, first as a disc jockey at Top Forty station KYA (now KOIT) in San Francisco, and then to run a record label (he discovered, produced, recorded, and managed The Beau Brummels on his Autumn Records label, later selling the act to Warner Brothers). He also opened a psychedelic nightclub, and produced concerts at the Cow Palace and Candlestick Park with his partner, fellow KYA disc jockey Bobby Mitchell (also known as Bobby Tripp; real name Michael Guerra, d. 1968).
Donahue wrote a 1967 Rolling Stone article titled "AM Radio Is Dead and Its Rotting Corpse Is Stinking Up the Airwaves" which also lambasted the Top Forty format. He subsequently revamped the foreign-language station KMPX into what is considered to be America's first alternative "free-form" radio station on the largely ignored FM band, playing non-commercial music by album-oriented bands. In 1969 he managed Leigh Stephens, Micky Waller, and Pete Sears in the band Silver Metre, and Stoneground in 1970. In 1972 he moved to the role of general manager at KSAN, where he encouraged playlists of music from different eras and genres interspersed with political commentary.
A typical example of KSAN radio featuring Tom Donahue can be found on the album The Golden Age Of Underground Radio.
Donahue, and his DJ wife Raechel, formed further free-form radio stations KMET and KPPC-FM in Los Angeles.
He died from a heart attack in 1975. He was inducted into the Rock and Roll Hall of Fame in 1996 as a non-performer, one of only three disc jockeys to receive that honor

.Original Posting January 2010