SITPE # 1221

It's starts off normally enough; a British band and an L.A. band, with a group from East Lansing, Michigan in between. Then there's the 1967 British set, which seems fine, except, well, who is this Mike Proctor guy? The next pair of tunes, featuring labelmates from the L.A. club scene, is pretty much a natural. Of course the Blues Project's version of Muddy Waters's Two Trains Running stands alone and the 1967 set that follows it is as solid as it gets. We soon discover that 1969 was a year for long tracks, as we feature a pair of tunes that run over seven minutes each (and get to hear what the Grease Band's backup vocals REALLY sounded like at Woodstock in the process). To balance that out we have several short tracks from 1966, followed by a progression through the latter years of the decade. We finish out the night with a pair of songs that their respective singers tried to put as much distance from as possible as their careers progressed, albeit for entirely different reasons. Neil Young felt that the success of his hit songs on the Harvest album put him in the middle of a road that soon became a rut, while Kenny Rogers (of the First Edition) just wanted people to forget he had ever been anything other than a country singer.

It's starts off normally enough; a British band and an L.A. band, with a group from East Lansing, Michigan in between. Then there's the 1967 British set, which seems fine, except, well, who is this Mike Proctor guy? The next pair of tunes, featuring labelmates from the L.A. club scene, is pretty much a natural. Of course the Blues Project's version of Muddy Waters's Two Trains Running stands alone and the 1967 set that follows it is as solid as it gets. We soon discover that 1969 was a year for long tracks, as we feature a pair of tunes that run over seven minutes each (and get to hear what the Grease Band's backup vocals REALLY sounded like at Woodstock in the process). To balance that out we have several short tracks from 1966, followed by a progression through the latter years of the decade. We finish out the night with a pair of songs that their respective singers tried to put as much distance from as possible as their careers progressed, albeit for entirely different reasons. Neil Young felt that the success of his hit songs on the Harvest album put him in the middle of a road that soon became a rut, while Kenny Rogers (of the First Edition) just wanted people to forget he had ever been anything other than a country singer.