John Paul Jones on mandolin and Jimmy Page on 6- and 12-string acoustic, Gibson Les Paul electric, and pedal steel create a country/folk rock song that is a “thousand years” better than their macho blues bombast on LZ I & II. Their girl group vocal harmonies, groovy rhythm section (Lena Simon on bass and Marian Li-Pino on drums), retro organ (Alice Sandahl), and surf rock guitar (Shana Cleveland) are the perfect soundtrack for endless summers and infinite highways.Ī song about lost love written by Jimmy Page ( “measuring a summer’s day, I only find it slips away to grey, the hours, they bring me pain) and sung, of course, by Robert Plant, this track was created during the band’s most imaginative time during their stay at Bron-Yr-Aur in the wilderness of Wales. Their newfound feeling of liberation courses through all of the tracks on their energizing and intoxicating record Floating Features. La Luz relocated from rainy Seattle to sunny Los Angeles. “Summer’s Game” is an acid flashback: blurry, evanescent, and gossamer. Jacco Gardner’s baroque pop, cinematic production (harpsichord, Mellotron) and his childlike, delicate vocals on his debut record Cabinet of Curiosities are reminiscent of Syd Barrett and other 1960s whimsical psychedelia. Released in June 1969, the eponymous debut album by San Francisco hippies It’s A Beautiful Day feels like a hallucinogenic, heat haze mirage: the duetting, impassioned vocals of David LaFlamme and Linda LaFlamme, wah-wah guitar, warbling organ, whirling violin, and wistful harmonica. Recorded in August 1967, the penultimate track on the album, “Bummer in the Summer” is the briefest (barely over 2 minutes) and yet it has a driving energy: acoustic folk, barreling piano, a Bo Diddley beat breakdown, twanging country rock guitar. Her soprano and his baritone complement each other in this track which is a tale of a psychedelic cowboy seduced by a succubus who steals from him and the hangover on the morning after: a narrative specialty of Lee Hazlewood who wrote the song.Īrthur Lee’s baroque pop masterpiece Forever Changes is one of the greatest records of the 1960s. Nancy Sinatra was in her 20s and Lee Hazlewood was in his 30s when they recorded the baroque pop, dreamlike “Some Velvet Morning” and “Summer Wine”. Nancy Sinatra was, like her father, performing lounge tunes and covers of famous musicians (although they were swingin’ ‘60s versions), while Lee Hazlewood had already begun recording his cinematic, experimental country/folk albums before collaborating with Nancy Sinatra. Nancy Sinatra was 11 years younger than Lee Hazlewood. “Summer Wine” (Nancy Sinatra & Lee Hazlewood)
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