V.A. Love Is The Song We Sing (San Francisco Nuggets 1965-1970) 4 x CD`s Compilation 2007 US Psych,Acid,Garage Rock
Rhino's compilation CD box setsare are not only amazingly consistent; their creative packaging and superb music programming satisfy neophytes and seasoned collectors. Their latest offering from the ever popular Nuggets series, "Love is the Song We Sing: San Francisco Nuggets 1965-- 1970 " is a trip through the era's psychedelic and ragged glories. You get a healthy dose of greatest hits, gems like the Jefferson Airplane's "White Rabbit," and Santana's "Evil Ways" mixed with less heralded but truly stellar tunes like Kak's "Lemonaide Kid." I swear I've never heard of Kak, but their sweet, easy rollin' epic perfectly evokes the hippy-dippy daze. Blue Cheer's uber-amped classic "Summertime Blues," and The Loading Zone's "The Bells" break free of the the peace and love ooze--that second one's completely over the top wailing and screaming vocal will probably be sampled by a zillion bands. You get 77 tracks spread over four CDs, and while I can't tell you I loved every tune, there were remarkably few clunkers. This is one box set you'll play often; I've already listened through all four discs twice.
Unlike previous Nuggets sets that came with the discs packaged inside boxes this new one tucks the CDs into the back cover of a 9 by 11.25-inch, 120 page book with a gorgeous embossed silver foil cover. Sure, there are lots of rare and groovy photos of the bands, superbly written essays by the likes of Rolling Stone magazine's Ben Fong-Torres, but for me compilation producer Alec Palao's track-by-track commentary mades for the best reading.
Rhino's remastering skills are obvious from the get-go, the sound is cleaner and clearer than you'd expect from 40 year old recordings. Bass goes plenty deep, stereo separation is also excellent. "Love is the Song We Sing: San Francisco Nuggets 1965-1970....~
Rhino's fourth 4xCD Nuggets compilation-- complete with lavishly illustrated and beautifully printed liner notes-- steps laterally away from blasts of fuzzy pop and obscure singles to build a panoramic picture of what was happening in Bay Area rock music between 1965 and 1970.
San Francisco is one of the few truly unique cities in the United States. It could not possibly be mistaken for another city, and its position on the West Coast at the dramatic mouth of a bay gives it an aura unlike any other place I've been. Its hilly topography alone sets it apart, but from its roots as a Spanish mission to the boom of the Gold Rush, right through the mid-20th century San Francisco Renaissance and 1967's Summer of Love, the city has attracted a mix of people that's kept alive a certain frontier spirit that persisted long after it became one of the country's largest urban centers.
When youth counterculture rose into the mainstream and popular music expanded into previously unimagined realms in the latter half of the 60s, San Francisco was undeniably one of the most important epicenters of change. The city's history with the Renaissance poets, the Beats, and a vibrant folk scene left it in a good position to serve as a cultural engine, and the ignition of the San Francisco Sound came from dozens of sources, from Bob Dylan, Paul Butterfield, and the British Invasion to UC-Berkeley's 1964 Free Speech Movement, the evolution of freeform FM radio, and the proliferation of hallucinogenic drugs. By 1967, San Francisco was the most psychedelic city in America, if not the world.
The word "psychedelic" was first coined in 1957 by British psychiatrist Humphry Osmond, but it was popularized by Timothy Leary, the legendary acid guru who did most of his research on psychotropic drugs at Harvard but chose San Francisco's January 1967 Human Be-In gathering to first issue his exhortation to "Turn on, tune in, drop out." Amusingly, given San Francisco's association with drugs, hippies, and flower children, the original name for the city that grew up outside the San Francisco mission was Yerba Buena, literally Spanish for "Good Grass."
Rhino's fourth 4xCD Nuggets compilation steps laterally away from the focus of previous volumes-- on two-to-three-minute blasts of fuzzy pop and obscure singles-- to build a panoramic picture of what was happening in Bay Area rock music between 1965 and 1970. The set's own lavishly illustrated and beautifully printed liner notes take pains to emphasize that this isn't a genre excavation so much as it is a musical examination of a particularly volatile point in space-time. The tracklisting includes transplants like Steve Miller and bands from around the Bay, showcasing bubblegum, folk-rock, proto-metal, Latin funk-rock, garage fuzz, and acid-damaged novelties alongside San Fran staples the Grateful Dead, Jefferson Airplane, the Charlatans, Moby Grape, and Quicksilver Messenger Service.
Not all of the music exactly qualifies as obscure, either-- I'd guess nearly everyone reading this has heard Jefferson Airplane's "White Rabbit", Santana's "Soul Sacrifice" and "Evil Ways", Janis Joplin's "Mercedes Benz" and Blue Cheer's cover of "Summertime Blues". Context seems to be a leading motive for including these, but they could as easily have been swapped for other rarities. Each disc has a theme: Seismic Rumbles, Suburbia, Summer of Love, and The Man Can't Bust Our Music, and each tackles a slightly different aspect of what made the Bay Area music scene so special.
Seismic Rumbles chronicles the transition from the folk scene to the first flashes of psychedelia, which largely began when Dylan went electric at Newport and convinced guys who'd been playing in old-time jug bands that electric guitars were okay. Six of the disc's 21 songs were produced for Autumn Records by Sly Stewart, who was honing his craft while harboring dreams of a multi-racial, multi-gender band that could pull together the strands of r&b and rock'n'roll and make something new from them.
Among his productions is "Can't Come Down", an early track by the Warlocks, soon to become the Grateful Dead, and still very much in a blues-rock mode-- it sounds more like John Mayall than "Uncle John's Band". Sly shows up later on disc three with the Family Stone, railing against racial inequality on the funky "Underdog", which quotes "Frere Jacques" in its horn chart as a tribute to brotherhood. The Dead appear two more times, including the rarely heard single version of concert staple "Dark Star", a jazzy wisp of a song that sounds like it was composed as the band played it in the studio.
Many of the bands featured were inter-related. For instance, Grace Slick lent her powerful vocals to both the Great! Society and Jefferson Airplane, both of which are featured multiple times. The Society's 1965 original version of the massive Airplane hit "Somebody to Love" unfortunately turns out to be a leaden relic, but their other track, the pounding, raga-inspired "Free Advice", was ahead of its time and is easily as thrilling in its dissonance as Slick belting, "Feed your head!" two years later on Surrealistic Pillow. The compilers have elevated Country Joe & the Fish to a surprisingly exalted position by including three of their songs, including the sound-effects-laden EP version of "I Feel Like I'm Fixin' to Die Rag", which became an iconic anti-war song years later when the band performed it at Woodstock. Perhaps more intriguing is the inclusion of "Section 43", a fluid, mysterious instrumental that features an early dose of the open-ended improvisation that became so important to the San Francisco scene later on.
There was surprisingly little overlap between the scenes in San Francisco proper and its many surrounding communities, and as such the Suburbia disc is the only one that features no bands found on other discs in the set. It's also one of the most solid discs, with its emphasis on tight songs and rough-and-tumble garage rock. Count Five's "Psychotic Reaction" is fantastic, but feels a bit redundant given that it was on the first Nuggets box. Marin County's Front Line back vocal harmonies with wild fuzz and organ, while the Sacramento area's Oxford Circle check in with the roiling psych-punk nugget "Foolish Woman", with drummer Paul Whaley slamming away on his toms in preparation for his future work with Blue Cheer. The weirdest inclusion is Teddy & His Patches' "Suzy Creamcheese", a blistering freak-out complete with psychedelic studio effects and a cheeseball monologue about "opening your closed mind" that was reportedly recorded by a bunch of straight-arrow coattail-riders from San Jose.
The Summer of Love disc zeros in on 1967, the year everything came to a head in San Francisco. It was the year hippiedom went national, but it was also the year that largely destroyed the idealistic collectivism that permeated San Francisco in the mid-60s. The Human Be-In, which attracted 30,000 people to Golden Gate Park in January, stoked optimism that at least a portion of society might be on the brink of a truly new way of living. In a lot of ways, the dream peaked in June at the Monterey International Pop Festival, the first successful outdoor rock festival. But as the summer wore on and wannabe hippies from all over the country crowded into the Haight-Ashbury, the situation became untenable. By the end of the year, many of the original hippies, disgusted by the dilution of what they believed in, had left San Francisco for the hills of Northern California.
Still, plenty of good music poured out of the city amid all the chaos. The Charlatans' "Alabama Bound" features almost the whole band on vocals, and Dan Hicks' drums play in a unique pocket that doesn't rely on any kind of conventional beat. The Beau Brummels, once cast as America's answer to the Beatles, turn in a sublime bit of pop drama on "Two Days 'Til Tomorrow", Moby Grape's "Omaha" is a small masterpiece of barreling American psych, and Quicksilver Messenger Service's cover of Buffy Sainte-Marie's "Codine" gives you the other side of the drug experience, with David Freiberg's tortured vocal slogging through the song's bluesy downer haze.
Nothing was ever quite the same after 1967 in San Francisco, and it's interesting to note that while music continued to grow in excess and ornamentation in many other scenes (for instance in much of Europe, where psychedelia gave way to prog), much of the music coming out of San Francisco as the 60s wound down was markedly pastoral and unadorned. Improvisation remained a central feature, but there's far less open experimentation on the final disc, whose title refers to the numerous run-ins with the law members of San Francisco's rock royalty had incurred by that point. Among the best finds on the disc is Mother Earth's psych-jazz waltz "Revolution", which features an excellent, loose horn arrangement.
The set is bookended by two versions of the same song. At the beginning, Dino Valenti's original solo acoustic version of "Let's Get Together" comes off like a limp Dylan retread with muddled phrasing, but at the end, the Youngbloods turn it into a free-flowing anthem for a dying era, a mix of weary melancholy and wistful optimism (I learned it growing up from TV ads for Time-Life anthologies). By 1970, psychedelia was just about dead in San Francisco, though the city has continued to attract people drawn by the allure of the ideas that fueled the original Summer of Love.
What happened in San Francisco in the late 60s was a key piece of the development of music as we know it today. The social experiments of the hippies largely failed, but the musical experimentation of the period has kept many of these songs fresh to this day. The San Francisco sound was an important step toward the realization that popular music was true art, and for a fleeting moment, arcane concepts such as John Cage and Allan Kaprow's "happenings" gained real macrocultural currency. It's something that will never happen again, and while this boxed set isn't definitive, it's incredibly well-designed, full of detailed information and vintage photos, and does a good job of providing a highly enjoyable starting point for listeners who'd like to explore further....By Joe Tangari..pitchfork....~
This the fourth Nuggets box from Rhino -- following the Children of Nuggets set, which may not count for some listeners as a true entry in the series as it documents the reverberations of Nuggets instead of the original big bang -- Love Is the Song We Sing: San Francisco Nuggets 1965-1970 is easily the most specific and idiosyncratic yet, a set devoted to a time and a place: namely the Bay Area that sowed the seeds of the Summer of Love in 1967. Released in conjunction with that 40th anniversary (although sadly missing the summer of nostalgia in 2007, reaching the stores that fall), Love Is the Song We Sing is surely a time capsule, but it may not be as much interest to those who lived through it as those who pine for the glory days of free love, hippies, and psychedelia. No less of an authority than legendary rock critic Greil Marcus noted in his Interview magazine review that many of these bands are obscure to him -- and he lived through the time, in the Bay Area, so he should know. If Marcus has a gripe, chances are the average listener looking for a heavy dose of nostalgia will also find Love Is the Song We Sing rather overwhelming in its reliance on momentary sensations and obscurities, but that's kind of the point of all the Nuggets set: to dig way deeper than the surface and find the best of its chosen subculture. Fans of Nuggets -- whether in its original double-LP Lenny Kaye incarnation or in the subsequent box sets -- know this, and that's who Love Is the Song We Sing is truly aimed at, but the odd thing is that they may not be entirely satisfied with this set either, as it deviates from the Nuggets formula in a couple of crucial ways. First, there are some genuinely huge songs by genuinely huge bands -- like Jefferson Airplane's "White Rabbit," Country Joe & the Fish's "I Feel Like I'm Fixing to Die Rag," Blue Cheer's "Summertime Blues," and Santana's "Evil Ways" -- a few more marquee names than normal (including the Grateful Dead, Steve Miller Band, Janis Joplin, Sly & the Family Stone, and Moby Grape), and bands are occasionally repeated, but the biggest musical difference is that this is a decided shift away from the wild, wooly guitar rock of the previous Nuggets, lacking both the raw garage and hard, swirling psychedelia that has been the hallmark of the series. Instead, Love Is the Song We Sing is firmly within the camp of the hippies, documenting their rise, their peak, and softly disguising their fall by ending the set in 1970, when the Summer of Love was still echoing strongly but just beginning to fade.
This set takes its time to get to 1967, as that legendary summer doesn't roll around until disc three, but the pace never seems leisurely, as the first two discs document how that summer came to be, beginning with Dino Valenti's "Let's Get Together" (which provides the chorus to the Youngbloods' "Get Together," the '60s standard that closes the set), then winds its way through a lot of folk-rock before tougher, bluesier, trippier sounds work their way into the mix toward the beginning of the second disc. Just like the hippies, Love never really abandons these folkie beginnings and that communal vibe is always present even as soul, jazz, bluegrass, blues, and avant-garde bubble toward the surface. Ultimately, it's best to view this box set as a document of the era of the hippies, a piece of pop culture anthropology that might not be perfect -- it's always possible to quibble over the featured tracks by the biggest names, or notice a missing act that should have been here (most notably the Sir Douglas Quintet, setting up shop in San Francisco while in exile from Austin) -- but there is no comparable compilation to this, no other set that has the same scope or ambition. And few other box sets succeed so well at capturing a specific moment in time, or explaining how that moment in time happened, as those first two discs do a terrific job in pulling together the disparate strands that added up to hippie culture. If there are a bunch of little-known names here, that only helps illustrate how far-reaching the movement was -- after all, if it was a limited phenomenon, could it have spawned so many bands that were forgotten? Plus, these forgotten gems are the reason why Nuggets exist, and in its CD incarnation, there has been no better psychedelic or garage series that serves the passionate record collector who nevertheless isn't quite dedicated enough to sort through all the hard-to-find reissues of quasi-legality to find the good stuff. Fortunately, the compilers of Nuggets, here led by producer Alec Palao (who also contributes excellent notes here, along with Ben Fong-Torres and Gene Sculatti), sift through these pebbles to get the gems, and then present them in logical yet loving fashion, so listening to the box is both illuminating and entertaining. It's possible to argue that this hippie-dippy music -- and make no mistake, this confirms hippie stereotypes as much as it explodes them with its far-ranging musical reach -- is the opposite of the nasty noise of the first Nuggets and perhaps there will be some unrepentant garage rockers who will sneer at this set, but it will be their loss because Love Is the Song We Sing is a remarkable historical document filled with as much great music as Nuggets, Vol. 2. And when all is said and done, it is a set that is for fans of those first three boxes, the kind of rock & roll fan who loves an exceptional guided tour through the past, instead of listeners looking for a quick dose of nostalgia......by Stephen Thomas Erlewine....~
It wasn't all peace, love, and drugs that made San Francisco the fulcrum of the burgeoning hippie scene in the mid '60s. According to this sprawling 77-track, four-disc set--the third in Rhino's ongoing Nuggets series--it was the music that nurtured and helped create Haight-Ashbury. This expansive package succeeds in presenting the disparate acts involved in that cultural revolution through a detailed aural exploration. Sure, the usual suspects like the Grateful Dead, Jefferson Airplane, Quicksilver Messenger Service, and Janis Joplin are here, but it's the obscurities and oddities--some never previously available and many more extremely difficult to find--that provide intimate glimpses into the crevices, building blocks, and influences of what was later dubbed the "San Francisco Sound." The platters are broken down into rough category/chronological groupings, with disc three focusing on 1967, the Summer of Love whose 40th anniversary this box's release celebrates. Even there, acts such as the Ace of Cups, the Mystery Trend, and the Loading Zone fly way below the radar. There's lots to absorb, even for genre enthusiasts, but compiler Alex Palao's extensive, track-specific liner notes provide concise yet vital contextual background to guide the listener through a wildly diverse landscape that runs from the British Invasion-styled pop of the Beau Brummels and the soft folk of the Youngbloods to the furious garage psychedelia of the Count Five and the eardrum-bursting, proto-metal power rock of Blue Cheer. --Hal Horowitz.....~
I was immediately attracted to this collection. I was a big fan of the first two Nuggets sets, both for their eclectic track selection and detailed scholarship ( especially when so little was known about some of the more obscure groups.) Even more exciting was the fact that it was the story of the San Francisco music scene; the place where I spent my childhood and the music I listened to. Could they really get this right, I sure hoped so.
Like many great scenes, some of the most definite expressions of this cultural earthquake came early. The Beau Brummels were really the first great San Francisco band. They took the Folk-Rock style so ubiquitious in the mid 60s and fused it with the energy of the English Invasion, very much as their counterparts the Byrds did in Southern California. They were not alone, with other bands like the Mojo Men, the We Five, and the Vejtables bringing a local presence to AM radio, to mix with Motown and Liverpool. The first disc really captures this moment, when the elements combined to bring the message of folk music, the electricity of the Beatles and the awareness of generational change together. Something was definitely happening and even Mr Jones knew it. The Dead were still a bar band named the Warlocks and their great "Can't Come Down" gives you a glimpse of their unique power, before they discovered 30 minute jams. Perhaps the most psychedelic band at this point in time were Country Joe and the Fish whose magnificent original version of "Section 43" is here along with the pre-Grace Airplane led by Marty Balin.
Disc 2 brings us the wider scene, the groups on the penninsula and other parts of the Bay Area that contributed to the tapestry. Most of these groups never found the recognition beyond a fine single or an impossible to find album, and this dic is a great treasure trove for even the most hardcore collectors. The momentum is building, the revolution is almost here.
We arrive at the Haight on disc 3, begining with the best recorded moment by the legendary Charlatans, "Alabama Bound." Moby Grape, Quicksilver Messenger Service, Big Brother and the Holding Company, the Airplane and Dead in their glory; so much was happening all at once. But we also had the Mystery trend, Serpent Power, Blue Cheer and Sly and the Family Stone. It was not a monolitic sound so much as a diverse embarrassment of riches, elements of R&B, Folk, Pop, Acid Rock and outright weirdness all going on on the same stage and echoing in the ears and often-expanded minds of the locals and runaways that populated the streets.
The final disc covers the aftermath of the explosion, with bands like Santana, It's a Beautiful Day and the Sons of Champlin getting their moment in the fog, if you will. Of all the discs, this one is the most familiar in terms of track selection, the energy diminishes despite the greatness of individual efforts. The Summer is over kids, back to real life.
The packaging is really singular in the history of cd packaging, not a booklet, a bonafide book. Great and previously unseen photos along with the complete backstory on everyone, famous and one-hit wonders alike. I do agree the discs are best removed and stored in jewel cases. This is time travel to a glorious past and history of a turbulant era as well. There is certainly tragedy and wistful sadness here as well as joy and love, but that is what makes it great art as well as cherished memories. They got it right.... Mark Roland.....~
I was growing up in New York when all this was happening. Some of it got big enough to be heard back there, but most of this is new for me, and takes me back to that feeling of a local, richly creative, wide open pre-corporate music scene. So this set captures the feeling of a time and place. And what a beautiful storm of music on these 4 discs before things became formulaic, and the feelings trite and derivative. There's something happening here and what it is ain't exactly clear (pardon the L.A. reference), but I sure wouldn't want to do without it. It's also interesting to note the explosion of women in rock, from the obvious Grace and Janis, to Bev Bivens (We Five), Jan Errico (The Vejtables The Mojo Men), Sherry Snow, and Lydia Pense to name just a few represented here. And the set is bookended beautifully, beginning with Dino Valenti's acoustic demo of Let's Get Together, and ending with The Youngbloods touching version of the same. It is a good song to convey the hopes and dreams of 60s American youth, and the naivte as well. But hey, it doesn't hurt at all, in post-election 2008, to once again feel the touch of the winds of change..... Dr. Thomas E. Parker......~
Brilliant idea with a slight lack of thought as regards the treatment of the main raison d'etre.The 4 CDs are crammed into a tight and awkward back page in stiff card.How many times will the packaging and the discs survive playing before the scuff marks render these prized discs unplayable.
Musically the contents are a blast from the past although the inclusion of certain tracks was inexcusable since they've been released by everyone who's even thought of having a stab at an overview of this brilliant genre of music.The photos are superb as is the rest of the book.Ideal for the hippy in denial for Christmas,if you're buying this set get some plastic sleeves to stick the discs in from the start,you'll be glad that you did in years to come......~
Any box set or collection which tries to mop up an era, genre or decade is probably doomed to failure, not from lack of genuine effort but because some artists (the big ones) don't want to be included. So you can get a multiple disc, very inclusive set of the Eighties for example and it doesn't have anything by Madonna, Prince, Springsteen and Michael Jackson.
That the Rhino label did such a good job on their Fifties rebel rock collection Loud, Fast and Out of Control and their classy Seventies set Have a Nice Day was a tribute to their negotiating powers as much as the intelligence which drove them. That magic seemed to elude them on their patchy Eighties collection, Like, Omigod! which was, among other failings, far too American in focus to be of more than passing interest.
However this four CD Rhino set in a hardback book format -- with pages of excellent band photos as well as a couple of essays and very informative notes on the tracks-- is a remarkable document of the San Francisco scene in what became known as the hippie era.
It opens with Dino Valenti's folksy '64 version of his Let's Get Together which became an anthem of the era and closes with the Youngbloods' '67 more upbeat, but slightly melancholy, rock version of the same piece which didn't become a hit until August '69. Between those two points you can hear folk and pop merge into folk-rock and then spiral out in acid-fuelled rock jams which became emblematic of the period.
And remarkably all the big names are represented, but sometimes not with the songs you might most identify with them. Certainly Moby Grape appear (with Omaha and Murder in My Heart for the Judge), Santana (Soul Sacrifice and Evil Ways), Big Brother and the Holding Company (fronted by Janis Joplin) with their live version of Down on Me, Jefferson Airplane (White Rabbit), Blue Cheer (Summertime Blues) and the Grateful Dead (The Golden Road and the single version of Dark Star).
But the real treasures beyond those familiar pieces are elsewhere: The Great! Society (with Grace Slick) on a raw and desperate early version of Somebody to Love; largely ignored bands such as the Beau Brummels (the terrific Two Days 'Til Tomorrow which was denied radio play because of the refrain "she's coming"); Serpent Road; Salvation, the short-lived Kak; electronic experimentalists Fifty Foot Hose; the harmony vocals from the mellow It's A Beautiful Day . . .
The set also takes note of those who were working away in San Jose, the East Bay area, Monterey and Marin County but weren't in with the hip Haight crowd, like the wilful Sons of Champlin with their jazz-rock style out of Marin, Butch Engle and the Styx in Mill Valley, Teddy and His Patches (with Suzy Creamcheese) from San Jose . . .
There is also the pre-Grateful Dead (the Warlocks), the much overlooked We Five (who looked very square but had tough singer Bev Bivens in their ranks), the wonderful Charlatans, Sly and the Family Stone (Why Did You Put Me On), the Mystery Trend, Dan Hicks and His Hot Licks, Quicksilver Messenger Service's demo of Who Do You Love and much more.
Some of this music has dated in its lyrical content (Country Joe's Section 43 with its references to LBJ, but Barry Melton's guitar is still sublime), but this chronological overview offers 77 songs which helped define not just a place but a period when rock music stretched its limbs, saw no limits and let marijuana and magic acid do the rest.
It's quite a trip -- and one of those rare sets which captures the big picture and the small details. .....~
CD 1
1. Dino Valenti - Let's Get Together (3:00)
2. Country Joe & The Fish - I Feel Like I'm Fixin' To Die Rag (EP Version) (2:43)
3. We Five - You Were On My Mind (2:36)
4. The Charlatans - Number One (4:06)
5. The Warlocks - Can't Come Down (3:01)
6. The Beau Brummels - Don't Talk To Strangers (2:20)
7. The Vejtables - Anything (1:58)
8. Jefferson Airplane - It's No Secret (2:30)
9. The Mystery Trend - Johnny Was A Good Boy (2:37)
10. The Great! Society - Free Advice (2:06)
11. The Grass Roots - Mr Jones (A Ballad Of A Thin Man) (2:55)
12. Blackburn & Snow - Stranger In A Strange Land (2:30)
13. Quicksilver Messenger Service - Who Do You Love (Demo Version) (5:56)
14. The Mojo Men - She's My Baby (3:01)
15. The Wildflower - Coffee Cup (2:18)
16. The Family Tree - Live Your Own Life (2:54)
17. The Sons Of Champlin - Fat City (3:04)
18. The Frantics - Human Monkey (2:09)
19. The Tikis - Bye Bye Bye (Warner Bros Single Version) (2:46)
20. Country Joe & The Fish - Section 43 (EP Version) (6:44)
21. The Sopwith "Camel" - Hello Hello (2:25)
CD 2
1. Count Five - Psychotic Reaction (3:07)
2. The Front Line - Got Love (1:44)
3. The Mourning Reign - Satisfaction Guaranteed (2:18)
4. The Oxford Circle - Foolish Woman (2:32)
5. The Stained Glass - My Buddy Sin (2:53)
6. The Otherside - Streetcar (2:23)
7. Teddy & His Patches - Suzy Creamcheese (3:14)
8. The Immediate Family - Rubiyat (2:34)
9. Syndicate Of Sound - Rumors (2:07)
10. The Harbinger Complex - Sometimes I Wonder (2:17)
11. The New Breed - Want Ad Reader (2:31)
12. The Generation - I'm A Good Woman (4:18)
13. The Chocolate Watchband - No Way Out (2:22)
14. Butch Engle & The Styx - Hey I'm Lost (2:30)
15. People - I Love You (4:31)
16. Public Nuisance - America (3:23)
17. Country Weather - Fly To New York (6:17)
18. The Savage Resurrection - Thing In "E" (3:08)
19. Frumious Bandersnatch - Hearts To Cry (5:05)
CD 3
1. The Charlatans - Alabama Bound (6:26)
2. The Mystery Trend - Carl Street (2:49)
3. The Great! Society - Somebody To Love (LP Version) (4:20)
4. Country Joe & The Fish - Superbird (2:04)
5. The Beau Brummels - Two Days 'Til Tomorrow (3:50)
6. Moby Grape - Omaha (2:24)
7. The Serpent Power - Up & Down (3:37)
8. Grateful Dead - The Golden Road (To Unlimited Devotion) (2:11)
9. Quicksilver Messenger Service - Codine (5:20)
10. Big Brother & The Holding Company - Down On Me (Live) (2:49)
11. Salvation - Think Twice (7:11)
12. Jefferson Airplane - White Rabbit (2:31)
13. Steve Miller Band - Roll With It (2:27)
14. Notes From The Underground - Why Did You Put Me On (2:43)
15. Sly & The Family Stone - Underdog (3:58)
16. Blue Cheer - Summertime Blues (3:46)
17. The Ace Of Cups - Glue (4:38)
18. Santana - Soul Sacrifice (6:41)
19. The Loading Zone - The Bells (4:00)
CD 4
1. Santana - Evil Ways (3:58)
2. Fifty Foot Hose - Red The Sign Post (2:59)
3. Kak - Lemonaide Kid (5:52)
4. The Sons Of Champlin - 1982-A (3:54)
5. Dan Hicks & His Hot Licks - How Can I Miss You When You Won't Go Away (2:38)
6. Mad River - Amphetamine Gazelle (2:55)
7. Steve Miller Band - Quicksilver Girl (2:47)
8. Mother Earth - Revolution (3:04)
9. Moby Grape - Murder In My Heart For The Judge (2:58)
10. Quicksilver Messenger Service - Light Your Windows (2:36)
11. Flamin' Groovies - I'm Drowning (2:10)
12. Seatrain - Portrait Of The Artist As A Young Lady (3:51)
13. It's A Beautiful Day - White Bird (6:11)
14. Grateful Dead - Dark Star (Single Version) (2:45)
15. Blue Cheer - Fool (Single Version) (2:55)
16. Jefferson Airplane - Mexico (2:13)
17. Janis Joplin - Mercedes Benz (1:48)
18. The Youngbloods - Get Together (4:36)
Tracks taken :
1-1 from UK CD compilation " The Birth Of The San Francisco Sound " ( 1996 ) [Big Beat Records CDWIKD 170] credited to Various Artists. Recorded in San Francisco. CA, January 1964. Originally unissued.
1-2 from EP " Songs Of Opposition / Rag Baby Talking Issue, Vol 1, Issue A " ( October 1965 ) [Rag Baby Records L 1001] credited to Country Joe McDonald & Pete Krug. Recorded in Berkeley, CA, 1965.
1-3 from single A-side ( July 1965 ) [A&M Records 770] . Also from LP " You Were On My Mind " ( September 1965 ) [A&M Records SP 4111]. Recorded in San Francisco, CA, April 1965.
1-4 from 12" EP " The Autumn Demos - August 1965 " ( 1982 ) [Line Records LMS 3025 AN]. Originally unissued. Recorded in San Francisco, CA, August 1965.
1-5 from 5-CD Box Set " So Many Roads (1965-1995) " ( November 1999 ) [Arista / Grateful Dead Records GDCD 4066] credited to Grateful Dead. Originally unissued. Recorded in San Francisco, CA, November 1965.
1-6 from single A-side ( September 1965 ) [Autumn Records 20]. Also from LP " Volume 2 " ( October 1965 ) [Autumn Records LP 104]. Recorded in San Francisco, CA, August 1965.
1-7 from single B-side of " I Still Love You " ( August 1965 ) [Autumn Records 15]. Recorded in San Francisco, CA, May 1965.
1-8 from single A-side ( March 1966 ) [RCA Victor 47 8769]. Also from LP " Jefferson Airplane Takes Off " ( September 1966 ) [RCA Victor LPM 3584]. Recorded in Hollywood, CA, December 1965.
1-9 from single A-side ( February 1967 ) [Verve Records VK 10499]. Recorded in San Francisco, CA, October 1966.
1-10 from single B-side of " Someone To Love " ( February 1966 ) [Northbeach Records #1001]. Recorded in San Francisco, CA, December 1966.
1-11 from single A-side ( September 1965 ) [Dunhill D 4013]. Also from LP " Where Were You When I Needed You " ( August 1966 ) [Dunhill DS 50011]. Recorded in Hollywood, CA, 1965.
1-12 from single B-side of " Uptown-Downtown " ( January 1967 ) [Verve Records VK 10478]. Recorded in San Francisco, CA, January 1966.
1-13 from 2-CD " The Unreleased Quicksilver Messenger Service: Lost Gold And Silver " ( 1999 ) [Collectors' Choice Music CCM 109 2]. Originally unissued. Recorded in San Francisco, CA, 1966.
1-14 from single B-side of " Do The Hanky Panky " ( June 1966 ) [Reprise Records 0486]. A different mix was issued as single A-side ( February 1966 ) [Autumn Records 27]. Recorded in San Francisco, CA, October 1965.
1-15 from LP compilation " With Love A Pot Of Flowers " ( November 1967 ) [Mainstream Records S/6100] credited to Various Artists.
Recorded in Hollywood, CA, August 1966.
1-16 from single B-side of " Prince Of Dreams " ( July 1966 ) [Mira Records 228]. Recorded in Lake Tahoe, CA, 1966.
1-17 from single B-side of " Sing Me A Rainbow " ( February 1967 ) [Verve Records VK 10500]. Recorded in San Francisco, CA, September 1966.
1-18 from single A-side ( July 1966 ) [Action Records AF 1113]. Recorded in San Mateo, CA, 1966.
1-19 from single A-side ( May 1966 ) [Warner Bros. Records 5818]. Recorded in San Francisco, CA, December 1965.
1-20 from EP B-side " Country Joe And The Fish " ( July 1966 ) [Rag Baby Records RB 3]. Recorded in Berkeley, CA, June 1966.
1-21 from single A-side ( December 1966 ) [Kama Sutra KA 217]. Also from LP " The Sopwith Camel " ( October 1967 ) [Kama Sutra KLP 8060]. Recorded in New York City, 1966.
2-1 from single A-side ( June 1966 ) [Double Shot Records 104]. Also from LP " Psychotic Reaction " ( October 1966 ) [Double Shot Records LP DSM 1001]. Recorded in Los Angeles, CA, 1966.
2-2 from single B-side of " I Don't Care " ( October 1965 ) [York Records 45 9000]. Recorded in Hollywood, CA, 1965.
2-3 from single A-side ( June 1966 ) {Link Records MR 1]. Recorded in San Francisco, CA, June 1966.
2-4 from single A-side ( November 1966 ) [World United WU 002]. Recorded in Sacramento, CA, October 1966.
2-5 from single A-side ( November 1966 ) [RCA Victor 47 8952]. Recorded in Hollywood, CA, August 1966.
2-6 from single B-side of " Walking Down The Road " ( November 1966 ) [Brent 7061]. Recorded in Los Angeles, CA, August 1966.
2-7 from single A-side ( March 1967 ) [Chance Records 668]. Recorded in San Jose, CA, November 1966.
2-8 from UK CD compilation " What A Way To Come Down " ( August 1997 ) [Big Beat Records CDWIKD 173] credited to Various Artists. Originally unissued. Recorded in San Francisco, CA, March 1967.
2-9 from LP " Little Girl " ( July 1966 ) [Bell Records 6001]. Also from single A-side ( August 1966 ) [Bell Records BELL 646]. Recorded in San Francisco, CA, June 1966.
2-10 from single A-side ( April 1966 ) [Amber Records AR 8999]. Recorded in San Francisco, CA, April 1966.
2-11 from single A-side ( September 1966 ) [World United WU 001]. Recorded in Sacramento, CA, August 1966.
2-12 from UK CD compilation " Golden State Soul " ( April 2000 ) [Kent Soul CDKEND 179] credited to Various Artists. Originally unissued. Recorded in San Francisco, CA, July 1967.
2-13 from LP " No Way Out " ( September 1967 ) [Tower ST 5096]. Also from single B-side of " Are You Gonna Be There (At The Love-In) "
( September 1967 ) [Tower 373]. Recorded in Studio City, CA, May 1967.
2-14 from single A-side ( December 1967 ) [Onyx 2200] credited to The Styx. Recorded in San Francisco, CA, September 1967.
2-15 from single A-side ( January 1968 ) [Capitol Records 2078]. Also from LP " I Love You " ( July 1968 ) [Capitol Records ST 2924]. Recorded in Berkeley, CA, November 1967.
2-16 from 2-CD compilation " Gotta Survive " ( June 2002 ) [Frantic Records 1313]. Originally Unissued. Recorded in Los Angeles, CA, September 1968.
2-17 from Switzerland 2-LP " Country Weather " ( 2005 ) [RD Records RD 15]. First issued on privately pressed one-sided demo album ( 1969 ) [Unnumbered]. Recorded in Berkeley, CA, 1969.
2-18 from single A-side ( May 1968 ) [Mercury 72778]. Also from LP " The Savage Resurrection " ( 1968 ) [Mercury SR 61156]. Recorded in Hollywood, CA, 1967.
2-19 from EP A-side ( 1st song ) " Frumious Bandersnatch " ( June 1968 ) [Muggles Gramophone Works Unnumbered]. Recorded in Sausalito, CA, April 1968.
3-1 from UK CD compilation " The Amazing Charlatans " ( August 1996 ) [Big Beat Records CDWIKD 138]. Originally unissued. Recorded in San Francisco, CA, July 1967.
3-2 from UK CD compilation " So Glad I Found You " ( May 1999 ) [CDWIKD 190]. Originally unissued. Recorded in San Francisco, CA, July 1967.
3-3 from LP " Conspicuous Only In Its Absence " ( April 1968 ) [Columbia CS 9624] credited to The Great Society With Grace Slick. A different version was issued as single A-side ( February 1966 ) [Northbeach Records #1001] credited to The Great !! Society !!. Recorded in San Francisco, CA, June 1966.
3-4 from LP " Electric Music For The Mind And Body " ( May 1967 ) [Vanguard VSD 79244]. Recorded in Berkeley, CA, 1967.
3-5 from single A-side ( June 1967 ) [Warner Bros. Records 7014]. Recorded in Los Angeles, CA, February 1967.
3-6 from LP " Moby Grape " ( June 1967 ) [Columbia CS 9498]. Also from single A-side ( April 1967 ) [Columbia 4 44173]. Recorded in Hollywood, CA, April 1967.
3-7 from LP " The Serpent Power " ( 1967 ) [Vanguard VSD 79252]. Recorded in Berkeley, CA, 1967.
3-8 from LP " The Grateful Dead " ( March 1967 ) [Warner Bros. Records WS 1689]. Also from single B-side of " Cream Puff War " ( April 1967 ) [Warner Bros. Records 7016]. Recorded in San Francisco, CA, January 1967.
3-9 from LP compilation " Revolution - Original Motion Picture Score " ( August 1968 ) [United Artists Records UAS 5185] credited to Various Artists. Recorded in San Francisco, CA, 1967.
3-10 from 2-LP " In Concert " ( February 1972 ) [Columbia C2X 31160] credited to Janis Joplin. Recorded in Detroit, MI, February 1968.
3-11 from LP " Salvation " ( March 1968 ) [ABC Records ABCS 623]. Also fron single A-side ( March 1968 ) [ABC Records 4511025]. Recorded in Los Angeles, CA, 1967.
3-12 from LP " Surrealistic Pillow " ( March 1967 ) [RCA Victor LSP 3766]. Also from single A-side ( June 1967 ) [RCA Victor 47 9248]. Recorded in Hollywood, CA, November 1966.
3-13 from single B-side of " Sittin' In Circles " ( April 1968 ) [Capitol Records 2156]. Also from LP " Children Of The Future " ( 1968 ) [Capitol Records SKAO 2920]. Recorded in Los Angeles, CA, 1967.
3-14 from Lp " Notes From The Underground " ( 1968 ) [Vanguard VSD 6502]. Recorded in New York City, 1968.
3-15 from LP " A Whole New Thing " ( October 1967 ) [Epic BN 26324]. An edited version was issued as single A-side ( September 1967 ) [Epic 5 10229]. Recorded in Hollywood, CA, June 1967.
3-16 from single A-side ( February 1968 ) [Philips 40516]. Also from LP " Vincebus Eruptum " ( 1968 ) [Philips PHS 600 264]. Recorded in Hollywood, CA, 1967.
3-17 from UK CD compilation " It’s Bad For You But Buy It! " ( December 2003 ) [Big Beat Records CDWIKD 236]. Originally unissued. Recorded in San Francisco, CA, February 1968.
3-18 from LP " Santana " ( August 1969 ) [Columbia CS 9781]. Recorded in San Mateo, CA, May 1969.
3-19 from LP " The Loading Zone " ( 1968 ) [RCA Victor LSP 3959]. Recorded in Hollywood, CA, 1968.
4-1 from LP " Santana " ( August 1969 ) [Columbia CS 9781]. An edited version was issued as single A-side ( January 1970 )
[Columbia 4 45069]. Recorded in San Mateo, CA, May 1969.
4-2 from LP " Cauldron " ( 1968 ) [Limelight LS 86062]. Recorded in San Francisco, CA, 1968.
4-3 from LP " Kak " ( 1969 ) [Epic BN 26429]. Recorded in Hollywood, CA, 1968.
4-4 from single B-side of " Black And Blue Rainbow " ( April 1969 ) [Capitol Records P 2437]. Also from 2-LP " Loosen Up Naturally "
( 1969 ) [Capitol Records SWBB 200]. Recorded in San Francisco, CA, October 1968.
4-5 from single A-side ( July 1969 ) [Epic 5 10511. Also from LP " Original Recordings " ( 1969 ) [Epic BN 26464]. Recorded in Los Angeles, CA, January 1969.
4-6 from single B-side of " High All The Time " (November 1968 ) [Capitol Records 2310]. Also from LP " Mad River " ( 1968 ) [Capitol Records ST 2985]. Recorded in San Francisco, CA, 1968.
4-7 from single B-side of " Living In The U.S.A. " ( September 1968 ) [Capitol Records 2287]. Also from LP " Sailor " ( 1968 ) [Capitol Records ST 2984]. Recorded in Los Angeles, CA, 1968.
4-8 from LP compilation " Revolution - Original Motion Picture Score " ( August 1968 ) [United Artists Records UAS 5185] credited to Various Artists. Also from single A-side ( August 1968 ) [United Artists Records UA 50303]. Recorded in San Francisco, CA, 1968.
4-9 from LP " Wow " ( 1968 ) [Columbia CS 9613]. Recorded in New York City, November 1967.
4-10 from LP " Quicksilver Messenger Service " ( May 1968 ) [Capitol Records ST-2904]. Recorded in Los Angeles, CA, January 1968.
4-11 from 10" Mini-LP " Sneakers " ( 1968 ) [A Snazz Recording R 2371]. Recorded in San Francisco, CA, 1968.
4-12 from LP " Sea Train " ( May 1969 ) [A&M Records SP 4171]. Recorded in Berkeley, CA, 1969.
4-13 from LP " It's A Beautiful Day " ( 1969 ) [Columbia CS 9768]. An edited version was issued as single A-side ( September 1969 ) [Columbia 4 44928]. An earlier recording was issued as single A-side ( 1969 ) [San Francisco Sound BD 7]. Recorded in Los Angeles, CA, 1969.
4-14 from single A-side ( April 1968 ) [Warner Bros. Records 7186]. Recorded in San Francisco, CA, 1968.
4-15 from single A-side ( September 1970 ) [Philips 40682]. A different mix is included on LP " Blue Cheer " ( 1970 ) [Philips PHS 600 333].
Recorded in San Francisco, CA, 1970.
4-16 from single B-side of " Have You Seen The Saucers " ( August 1970 ) [RCA Victor LCD 3164]. Recorded in San Francisco, CA, February 1970.
4-17 from LP " Pearl " ( January 1971 ) [Columbia KC 30322]. Recorded in Los Angeles, CA, October 1970.
4-18 from LP " The Youngbloods " ( March 1967 ) [RCA Victor LSP 3724]. Also from single A-side ( August 1967 ) [RCA Victor 47 9264].
Reissud as single A-side ( May 1969 ) [RCA Victor 47 9752].
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V.A. Love Is The Song We Sing (San Francisco Nuggets 1965-1970) 4 x CD`s Compilation 2007 US Psych,Acid,Garage Rock
https://johnkatsmc5.blogspot.com/2022/12/va-love-is-song-we-sing-san-francisco.html
https://johnkatsmc5.tumblr.com/post/704294273105985536/va-love-is-the-song-we-sing-san-francisco
