{"product_id":"various-classic-rock-1968-shakin-all-over-cd-comp-vg-vg","title":"Various \/ Classic Rock 1968: Shakin' All Over - CD, Comp (VG+\/VG+)","description":"\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e1.  The Jimi Hendrix Experience - All Along The Watchtower 3:58\u003cbr\u003e2.  Big Brother \u0026amp; The Holding Company - Piece Of My Heart 4:14\u003cbr\u003e3.  Aretha Franklin - The House That Jack Built 2:20\u003cbr\u003e4.  Cliff Nobles \u0026amp; Co - The Horse 2:40\u003cbr\u003e5.  The Classics IV - Spooky 2:52\u003cbr\u003e6.  Marvin Gaye \u0026amp; Tammi Terrell - You're All I Need To Get By 2:52\u003cbr\u003e7.  Blue Cheer - Summertime Blues 3:48\u003cbr\u003e8.  People (4) - I Love You 4:34\u003cbr\u003e9.  Donovan - Jennifer Juniper 2:42\u003cbr\u003e10.  The Fifth Dimension - Stoned Soul Picnic 3:28\u003cbr\u003e11.  Percy Sledge - Take Time To Know Her 3:01\u003cbr\u003e12.  The Chambers Brothers - Time Has Come Today 4:59\u003cbr\u003e13.  The Kasenetz-Katz Singing Orchestral Circus - Quick Joey Small (Run, Joey, Run) 2:24\u003cbr\u003e14.  The Foundations - Baby, Now That I've Found You 2:36\u003cbr\u003e15.  The Stone Poneys - Different Drum 2:38\u003cbr\u003e16.  Creedence Clearwater Revival - Susie Q (Part One) 4:33\u003cbr\u003e17.  The Amboy Dukes - Journey To The Center Of The Mind 3:36\u003cbr\u003e18.  John Fred \u0026amp; His Playboy Band - Judy In Disguise (With Glasses) 2:56\u003cbr\u003e19.  Friend And Lover - Reach Out Of The Darkness 3:07\u003cbr\u003e20.  Gary Puckett \u0026amp; The Union Gap - Young Girl 3:04\u003cbr\u003e21.  The Dells - Stay In My Corner 6:07\u003cbr\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eMedia Condition:\u003c\/strong\u003e Very Good Plus (VG+)\u003cbr\u003e\r\n\u003cstrong\u003eSleeve Condition:\u003c\/strong\u003e Very Good Plus (VG+)\u003c\/p\u003e\r\n\r\n\u003cp\u003eCat # : 2CLR-19, OPCD-2581\u003c\/p\u003e\r\n\r\n\u003cp\u003eBarcode : \u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003eRock, Funk \/ Soul, Pop \/ Folk Rock, Pop Rock, Soul, Rhythm \u0026amp; Blues, Psychedelic Rock, Classic Rock\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eNotes:\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003c\/p\u003e\u003cpre style=\"white-space: pre-wrap; text-align: justify;font-family: unset;\"\u003eVolume 19 of a 30 volume set.\n\nTrack durations obtained from software.\n\nComplete liner notes:\n\n\"Time has come today,\" sang the Chambers Brothers in 1968, and those who heard them agreed that the jarring social and political events of that year had begun to feel a little apocalyptic. The escalating Vietnam War inflamed the smoldering tensions of the civil rights struggle, while riots, assassinations and mass protests shook the country. The popular music industry responded to the splintered times by releasing a great variety of recordings. \n\nThe Chambers Brothers, four siblings from rural Mississippi whose roots were in traditional black gospel music, landed in the midst of the turmoil. They had moved to Southern California in search of new opportunity. Folk singer Barbara Dane, with whom the Chambers had recorded an album for the Folkways label, encouraged the group, in a 1965 Sing Out article, to move away from \"the comparatively easy victory of rock-and-roll stardom\" in favor of \"the real, root thing.\" But the allure of the rock world proved too strong. In 1965, the brothers added a white drummer, Brian Keenan. In 1966, they signed a recording contract with Columbia Records and released their first single for the label, Time Has Come Today. Initially the record attracted little attention, but the group cut the song again in 1967 for their first Columbia album. The new version, an 11-minute workout with an extended interlude that featured fuzzed guitars, screams and cowbells, received heavy FM air play. Columbia released two edits of the new recording, a three-minute version and a five-minute version that excerpted the chaotic jam. The five-minute version, in which the brothers proclaimed \"my soul has been psychedelicized,\" became a hit. \n\nOther black musicians were also \"psychedelicizing\" soul music and getting air play on FM stations that catered to white audiences. By far the most daring and successful of these artists was guitarist Jimi Hendrix. At the June 1967 Monterey Pop Festival, Hendrix included Bob Dylan's like a Rolling Stone in his incendiary set. All Along the Watchtower, another Dylan composition, appeared on Hendrix's 1968 chart-topping double LP, Electric Ladyland. Guitarist Mike Bloomfield called the song \"a perfect vehicle for minor- or blues-scale improvisation,\" and Hendrix took full advantage of its possibilities, turning in one of his finest guitar solos. In the notes to his Biograph retrospective album, Dylan expressed his fondness for Hendrix's treatment of the song: \"I liked Jimi Hendrix's record.... When I sing it I always feel like it's a tribute to him in some kind of way.\" \n\nThe success of Hendrix, Cream and the Who inspired a host of American bands to experiment with power blues. In San Francisco, Blue Cheer built its reputation on stacks of Marshall amplifiers that screamed out the distorted, chaotic and oversustained notes of guitarist Leigh Stephens and bassist Richard Peterson. Their version of Eddie Cochran's rockabilly classic, Summertime Blues, borrowed its attack from Hendrix and the Who and represents one of the earliest blasts of the genre now known as heavy metal. \n\nAnother San Francisco group, Big Brother and the Holding Company, had their biggest hit when lead singer Janis Joplin alternately cooed and growled through a cover version of Piece of My Heart. At a rehearsal, Jefferson Airplane bassist Jack Casady suggested that Joplin's band learn the song, a No. 10 R\u0026amp;B hit in 1967 for Aretha Franklin's sister, Erma. In September 1968, just weeks after Big Brother's recording of the song entered the pop charts, Joplin left the group to pursue a solo career. A band from nearby San Jose, People, began I Love You with a histrionic introduction that revealed their arty psychedelic intentions. The song, a cover of an obscure album track from the Zombies, was the group's only chart hit. The Amboy Dukes also had only one chart hit, the cosmic beckoning of Journey to the Center of the Mind, Formed in Detroit by Ted Nugent, the Dukes followed a regal line of Nugent bands that included the Royal High Boys and the Lourdes. Nugent embarked on a solo career in 1975. A self-styled survivalist, he captured the United States National Squirrel-Shooting Archery Contest in 1974. \n\nNo one accused the Long Island songwriting and production team of Jerry Kasenetz and Jeff Katz of drifting toward art. The creeping pretension of many rock critics in the late '60s led them to dismiss releases by the Ohio Express, the 1910 Fruitgum Company, Crazy Elephant, the Shadows of Knight and the Kasenetz-Katz Singing Orchestral Circus as overchewed \"bubblegum.\" However mindless it might have been, bubblegum retained the most essential ingredient of successful radio pop: a beat that insisted dancing was the best response. As Katz stated in a Cash Box interview, \"It's happy music. You don't have to put on a hair shirt to listen to it.\" But all was not innocence. Quick Joey Small (Run, Joey, Run), written by Arthur Resnick and Joe Levine (primary vocalist for many of the Kasenetz-Katz recordings), bordered on the subversive with its jungle beat and jailbird-on-the-lam lyrics. Punk band Slaughter and the Dogs recorded a jagged version of Quick Joey Small (Run, Joey, Run) in 1978, suggesting that bubblegum and punk shared some primal impulse. \n\nWhile some rock musicians went psychedelic, arty or political, other artists maintained the time-honored tradition: boys continued to sing about girls and their charms. Louisiana swamp-pop artist, John Fred Gourrier, wrote Judy In Disguise (With Glasses) as \"a little satire of rock 'n' roll with the old Motown bass.\" Initial inspiration came from the Beatles' Lucy in the Sky with Diamonds. The song was the 16th release by John Fred's band, a durable group of bayou musicians who are still active today. \n\nAnother southern outfit, the Classics IV from Jacksonville, Florida, scored their first soft-rock hit when Dennis Yost crooned about a Spooky love interest. Atlanta producer and publisher Bill Lowery first used the group to record with the Tams, Tommy Roe and Billy Joe Royal. The Classics IV's producer Buddy Buie and guitarist James R. Cobb went on to form the Atlanta Rhythm Section. \n\nClad in blue-and-gold Civil War uniforms, Gary Puckett and the Union Gap did not come from some venerable northern heritage but from San Diego, where they once played the local circuit as the Outcasts. Young Girl, a soul-pop confection in which Puckett fights the urge to consort with a minor, became the group's second hit in 1968. The song surfaced again in 1974 as a hit in England. \n\nLinda Ronstadt dropped out of the University of Arizona in 1964 to follow Bob Kimmel, a fellow band member, to Los Angeles. There, they formed a folk trio, the Stone Poneys, with guitarist Kenny Edwards, and played regularly at the Troubadour, Los Angeles' main folk club. In 1965, Mercury offered the group a contract, provided they switch to a surf repertoire. The Stone Poneys declined and then landed a contract with Capitol the following year. Although their first album was not successful, their second, Evergreen, Volume 2, yielded a breakthrough hit, Different Drum, written by Mike Nesmith of the Monkees. \n\nWith fortunes flagging at Chess Records, owner Leonard Chess issued a challenge to his A \u0026amp; R staff, producers and writers: pick any artist on the label's roster and either create a hit or risk being fired. When producer Bobby Miller chose the Dells, his colleagues laughed. Signed to Chess in 1966, the group had been recording since 1954 with only modest success. Working with arranger Charles Stepney, Miller had the group cut a couple of his own compositions, O-o, I Love You and There Is, but he balked at the suggestion to rerecord a full-length version of Stay In My Corner, a ballad the group had done for Vee-Jay as recently as 1965. The group prevailed, however, and Stay in My Corner was added to the group's album, There Is, as filler. Deejays played the track so often that Chess eventually released it as a single; it went on to become the group's biggest hit. \n\nAt Motown, owner Berry Gordy also pitted his producers against one another. The established team of Johnny Bristol and Harvey Fuqua competed with newcomers Nick Ashford and Valerie Simpson. Both produced versions of Marvin Gaye and Tammi Terrell's You're All I Need To Get By for evaluation by the company's quality control division. Gordy happened to attend the quality control meeting on the day that the competing versions were auditioned. He liked the Ashford and Simpson version enough to declare \"Ship it!\" without calling for a vote. Motown scholar Nelson George called the song \"a landmark, as good as anything else created by Motown.\"  \n\n- Jay Orr\u003c\/pre\u003e\u003ca href=\"https:\/\/www.discogs.com\/sell\/item\/4349743860\" target=\"_blank\"\u003eData provided by Discogs\u003c\/a\u003e","brand":"IDshop","offers":[{"title":"Default Title","offer_id":49570117615875,"sku":"2CLR-19, OPCD-2581","price":5.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0030\/9765\/7390\/files\/581791-0392192662ad25d8c120262ad25d8c1204165551458462ad25d8c1206.jpg?v=1788612176","url":"https:\/\/idshop.ca\/products\/various-classic-rock-1968-shakin-all-over-cd-comp-vg-vg","provider":"ID Shop.ca","version":"1.0","type":"link"}