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Shocking Blue

"Venus" is a 1969 song by the Dutch band Shocking Blue which the group took to number one in the U.S. and five countries across Europe in 1970. When covered by girl group Bananarama, the song returned to number one in the U.S. and topped the charts in six other countries around the world in 1986. The composition has been featured in numerous films, television shows and commercials, and covered dozens of times by artists around the world.



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Norman Greenbaum

"Spirit in the Sky" is a song written and originally recorded[1] by Norman Greenbaum and released in late 1969. The single sold two million copies in 1969-1970 and reached number three in the U.S. Billboard chart (April 18, 1970) where it listed for 15 weeks in the Top 100. It also climbed to number one on the UK, Australian and Canadian charts in 1970. Rolling Stone ranked "Spirit in the Sky" #333 on their list of the 500 Greatest Songs of All Time. The song was featured on the 1969 album of the same name. Cover versions by Doctor and the Medics and Gareth Gates have also made the number 1 spot in the UK.



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Jefferson Airplane

Volunteers is a 1969 album by American psychedelic rock band, Jefferson Airplane. It was controversial at the time because of anti-war messages of certain songs and occasional use of profanity in the lyrics.[citation needed] The original title of the album was intended to be Volunteers of Amerika, but after objections from Volunteers of America the name was shortened.



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The Rolling Stones

"Sympathy for the Devil" is a song by The Rolling Stones which first appeared as the opening track on the band's 1968 album Beggars Banquet. It was written by Mick Jagger and credited to Jagger/Richards. Rolling Stone magazine placed it at #32 in their list of The 500 Greatest Songs of All Time.
 
"Sympathy for the Devil" was written by singer Mick Jagger and guitarist Keith Richards, though the song was largely a Jagger composition.[1] The working title of the song was "The Devil Is My Name", and it is sung by Jagger as a first-person narrative from the point of view of Lucifer.[2]
In a 1995 interview with Rolling Stone, Jagger said, "I think that was taken from an old idea of Baudelaire's, I think, but I could be wrong. Sometimes when I look at my Baudelaire books, I can't see it in there. But it was an idea I got from French writing. And I just took a couple of lines and expanded on it. I wrote it as sort of like a Bob Dylan song."[1] It was Richards who suggested changing the tempo and using additional percussion, turning the folk song into a samba.[3][4] Additionally, the song has some similarities to Mikhail Bulgakov's novel The Master and Margarita.[3] Jagger's philosophy of the devil states that "Just as every cop is a criminal/ and all your sinners saints."
Backed by an intensifying rock arrangement, the narrator, with chilling narcissistic relish, recounts his exploits over the course of human history and warns the listener: "If you meet me, have some courtesy, have some sympathy, and some taste; use all your well-learned politesse, or I'll lay your soul to waste." Jagger stated in the Rolling Stone interview: ". . . it's a very long historical figure — the figures of evil and figures of good — so it is a tremendously long trail he's made as personified in this piece."[1]
At the time of the release of Beggars Banquet the Rolling Stones had already raised some hackles for sexually forward lyrics such as "Let's Spend the Night Together" [5] and for allegedly dabbling in Satanism [3] (their previous album, while containing no direct Satanic references, had been titled Their Satanic Majesties Request), and "Sympathy" brought these concerns to the fore, provoking media rumours and fears among some religious groups that The Rolling Stones were devil-worshippers and a corrupting influence on youth.[3] The lyrics' focus, however, is on atrocities in the history of mankind, including the trial and death of Jesus Christ ("Made damn sure that Pilate washed his hands and sealed his fate"), European wars of religion ("I watched with glee while your kings and queens fought for ten decades / For the Gods they made"), the violence of the Russian Revolution of 1917 and the 1918 massacre of the Romanov family ("I stuck around St. Petersburg when I saw it was a time for a change / Killed the Tsar and his ministers / Anastasia screamed in vain"), and World War II ("I rode a tank, held a general's rank / When the Blitzkrieg raged, and the bodies stank").[6]
The lyrics also refer to the assassinations of John and Robert Kennedy. The recording sessions for the track were in progress when the latter was killed, and the words were changed from "Who killed Kennedy?" to "Who killed the Kennedys?"[citation needed]
The song may have been spared further controversy when the first single from the album, "Street Fighting Man", became even more controversial in view of the race riots and student protests occurring in many cities in the U.S.[7]



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Deep Purple

"Smoke on the Water" is a song by the British rock band Deep Purple. It was first released on their 1972 album Machine Head. In 2004, the song was ranked number 434 on Rolling Stone magazine's list of the 500 greatest songs of all time,[2] ranked number 4 in Total Guitar magazine's Greatest Guitar Riffs Ever,[3] and in March 2005, Q magazine placed "Smoke on the Water" at number 12 in its list of the 100 greatest guitar tracks.[4]



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The Doors

"Love Me Two Times" is a song by The Doors. It was written by the band and first appeared on the 1967 album Strange Days. It was released as the second single (after "People Are Strange") from that album, and reached #25 on the charts in the US. [1]
Ray Manzarek played the final version of this song on a harpsichord, not a clavichord. See Ray Manzarek's book, Light My Fire on page 258.
"Love Me Two Times" was considered to be somewhat risqué for radio airplay.[citation needed]
The lyrics were written by guitarist Robby Krieger. According to band members, the song was about a soldier/sailor on his last day with his girlfriend before shipping out, ostensibly to war (Vietnam).[citation needed]





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Willie Dixon

"Back Door Man" is a blues song written by Willie Dixon and recorded by Howlin' Wolf in 1961. It was released by Chess Records as the B-side to Wolf's "Wang Dang Doodle" (catalog no. 1777). The song is considered a classic of Chicago blues.

 In southern culture, the phrase "back-door man" refers to a man having an affair with a married woman, using the back door as an exit before the husband comes home.[1] "When everybody trying to sleep, I'm somewhere making my midnight creep / Every morning the rooster crow, something tell me I got to go / I am a back door man," Wolf sings. The promiscuous "back-door man" is a standard theme found in many blues, including those by Charley Patton, Lightnin' Hopkins, Blind Willie McTell and Sara Martin: "every sensible woman got a back-door man," Martin wrote in "Strange Loving Blues" (1925).[2] Robert Plant references the Dixon song in Led Zeppelin's "Whole Lotta Love" (1969): "Shake for me girl, I want to be your back-door man."[3][dead link] The phrase "back-door man" dates from the 1920s, but the term became a double entendre in the 1960s, also meaning "man who practices anal intercourse."[4]

The song was recorded in Chicago in June 1960 by Howlin' Wolf (vocals), Otis Spann (piano), Hubert Sumlin and Freddy Robinson (guitars), Willie Dixon (double bass), and Fred Below (drums).[5] The chord progression in the refrain of the song, similar to that found in Bo Diddley's "I'm A Man" (1955), John Lee Hooker's "I'm Mad (Again)" (1957), and Dixon's "Hoochie Coochie Man" (1954), dates back to work songs sung during the construction of train tracks.[6] "Back Door Man" was included on the 1962 Wolf compilation album Howlin' Wolf. He re-recorded the song in November 1968 and it appeared on The Howlin' Wolf Album.

 The Doors recorded a rock version of the "Back Door Man" for their eponymous debut album. The "door" of the song, like the name of the band, suggests a Blakean symbol of perception, with an awareness of the 1960s Queer-culture double entendre, giving the expression an additional layer of meaning.[8] The Doors' drummer John Densmore described the song as "deeply sexual and got everyone moving."[9] The song also appears on The Doors' live album Absolutely Live (1970).



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Jimi Hendrix

"Voodoo Child"
The closing track on Electric Ladyland, the third and final album by The Jimi Hendrix Experience. The song is known for its wah-wah-heavy guitar work. It is #101 on Rolling Stone's list of 500 greatest songs of all time.[1]
The song was recorded in 1968, and was re-released as a single after Hendrix's death in 1970. It reached Number 1 in the UK, making it the band's only single to top the charts.[2] It was catalogued as "Voodoo Chile" (Track 2095 001), and that is the title which appears on the single and is the title referred to officially. This obviously confuses it with the 15-minute song "Voodoo Chile" also on Electric Ladyland. The B-side of the single featured two of his previous hits: "Hey Joe" and "All Along the Watchtower".

The genesis of "Voodoo Child (Slight Return)" was essentially in "Voodoo Chile", a long blues jam featuring guest Steve Winwood.[3] On May 3, 1968 (the day after "Voodoo Chile"'s recording), a crew from ABC filmed the Jimi Hendrix Experience while they played. As Hendrix explained it:
[S]omeone was filming when we started doing [Voodoo Child]. We did that about three times because they wanted to film us in the studio, to make us—"Make it look like you're recording, boys"—one of them scenes, you know, so, "OK, let's play this in E, a-one, a-two, a-three", and then we went into "Voodoo Child".[4]
The song became one of Hendrix's staples in live performances and would vary in length from 7 to 18 minutes. Notable live performances were at Woodstock and during his 1969 show at the Royal Albert Hall, originally released on the posthumous Hendrix in the West album, later re-released on the Experienced Box Set. On the Band of Gypsys live album Live at the Fillmore East, Hendrix refers to the song as the Black Panthers' national anthem.



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Aphrodite's Child

"It's Five O'Clock"
Lyrics / music: (Richard Francis / Vangelis Papathanassiou)
Album :  It's Five O'Clock (December 1969)



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Aphrodite's Child was a Greek progressive rock band formed in 1967, by Vangelis Papathanassiou (keyboards), Demis Roussos (bass guitar and vocals), Loukas Sideras (drums and vocals), and Anargyros "Silver" Koulouris (guitar).[1] Their band's name was derived from the title of a track from another Mercury act, Dick Campbell, from his Sings Where It's At album. Papathanassiou and Roussos had already been successful in Greece (playing in the bands Formynx and Idols respectively) while they got together with Sideras and Koulouris to form a new band. Their first recording as a band was for George Romanos' album In Concert and in Studio where they played on four songs and were credited as 'Vangelis and his Orchestra'. In the same year they recorded a two song demo and submitted it to Philips Records.

The Doors

"The End"
The song is written by Jim Morrison as a song about breaking up with girlfriend Mary Werbelow,[1] it evolved through months of performances at Los Angeles' Whisky a Go Go into a nearly 12-minute opus on their self-titled album. The band would perform the song to close their last set. It was first released in January 1967. The song was recorded live in the studio with no overdubbing.[2]
"The End" was ranked at #336 on Rolling Stone's list of The 500 Greatest Songs of All Time (2010).
The song's guitar solo was ranked #93 on Guitar World's '100 Greatest Guitar Solos of All Time'.[3]



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Pink Floyd

"The Narrow Way"
...is a section on the studio half of Pink Floyd's fourth album Ummagumma.[1] It was written and performed by David Gilmour and is divided into three parts. The only musician to feature is the composer (in this case, Gilmour), who recorded the song using multiple overdubs to play all the instruments himself.
Part one of the song was called "Baby Blue Shuffle in D minor" when played by the band in a BBC broadcast on 2 December 1968;[2] it also strongly resembles the tracks "Rain in the Country (take 1)" and "Unknown Song" recorded (but eventually not used) for the soundtrack of Michelangelo Antonioni's film Zabriskie Point in November/December 1969. This portion features layered acoustic guitar with some spacey effects overtop.
Part two features an electric guitar and percussion which modulate heavily at the end, forming a drone that leads into part three.
Part three of the song features Gilmour's only vocal contribution to the studio part of the album. This final part was incorporated into The Man and the Journey by the full band on their 1969 tour.



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The Zombies

"Time of the seasons"

Θεσσαλονίκη  7 Μαΐου 2011, πολυχώρος εκδηλώσεων "Block 33", παράσταση που παρακολούθησαν 200 περίπου φίλοι του σχήματος. 
Οι "Zombies" ήρθαν πρώτη φορά στην Ελλάδα για δύο συναυλίες σε Αθήνα – Θεσσαλονίκη. 
Παρουσίασαν τραγούδια από το νέο τους άλμπουμ και τις επιτυχίες τους που όλοι έχουμε τραγουδήσει.
Το 2011 γιορτάζουν την 50η επέτειο ίδρυσης της μπάντας, το επεσήμαναν στην έναρξη της εκδήλωσης υποσχόμενοι πως θα συνεχίσουν για όσο παραμένουν δημιουργικοί.


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The Zombies are an English rock band. Formed in 1961 in St Albans and led by Rod Argent on piano and keyboards and Colin Blunstone on vocals, the band scored US hits in the mid- and late-1960s with "She's Not There", "Tell Her No", and "Time of the Season".[1] Their 1968 album Odessey and Oracle, comprising twelve songs by the group's principal songwriters, Argent and Chris White, is ranked 80 on Rolling Stone magazine's list of the 500 Greatest Albums of All Time.[2]
The group formed in 1961 in St Albans, England, and gained their initial reputation playing the Old Verulamians Rugby Club in that city. The group was formed while the members were at school. Some sources state that Argent, Atkinson and Grundy were at St Albans School, while Blunstone and White were students at St Albans Boys' Grammar School (since renamed Verulam School).[3][4] Argent was a boy chorister in St Albans Cathedral Choir.
After winning a beat-group competition sponsored by the London Evening News, The Zombies signed to Decca and recorded their first hit, "She's Not There" (Argent's second song, written specifically for this session), which was released in mid-1964 and peaked at number 12 in the UK, where it was their only UK Top 40 hit. This minor-key, jazz-tinged number, distinguished by its musicianship and Blunstone's breathy vocal, was unlike anything heard in British rock at the time. It was first aired in the United States in early August 1964 on New York City rock station WINS by Stan Z. Burns, who debuted the song on his daily noontime "Hot Spot". The tune began to catch on in early fall and eventually climbed to #2.
Like many other British Invasion groups, The Zombies were sent to the United States to tour behind their new hit single. Among their most memorable early U.S. gigs were Murray the K's Christmas shows at the Brooklyn Fox Theatre, where the band played seven performances a day. Hugh Grundy later recalled also contributing to the sets by the Shangri-Las — not as a musician, but by revving a motorcycle brought backstage as a sound effect for their performance of "Leader of the Pack". In January 1965 the band was set to make their first in person appearance on U.S. television. The Zombies were to appear on the first episode of NBC's Hullabaloo. They played "She's Not There" to a screaming hysterical audience full of teenage girls.[1]
After the follow-up single "Leave Me Be" stiffed in the UK (and not issued as an "A" single in the US), Rod Argent's "Tell Her No" became another big seller in the United States (in 1965), but failed to make the Top 40 in the band's native UK. Subsequent recordings such as "I Love You" (which became a hit for People! in 1968), "Indication", "Whenever You're Ready", and "Is This the Dream" failed to achieve the success of the previous two singles (although they had continued success in Scandinavia and the Philippines).[1]
Their first UK LP, Begin Here (1965), was a collection of early singles, featuring half a dozen original songs combined with several R&B covers. In 1967, The Zombies signed to CBS Records, for whom they recorded the album Odessey and Oracle. (The word odyssey was misspelled by cover designers.) Because the band's budget could not cover session musicians, they used a Mellotron, a device designed to imitate orchestral sections.[1]
By the time Odessey and Oracle was released in April 1968, the group had disbanded. The album sold poorly and was only given a U.S. release because musician Al Kooper, then signed to Columbia Records, convinced his label of the album's merits. An album track, "Time of the Season", written by Argent, was released as a single and eventually (1969) became a nationwide hit (Billboard #3).
The band's original lineup declined to regroup for concerts, so various concocted groups tried to capitalize on the success and falsely toured under the band's name. Another such group toured in 1988, going so far as to trademark the group's name (since the band had let the mark lapse) and recruit a member named Ronald Hugh Grundy, who was passed off as being an original member.[5]