Written and produced by Motown’s main production team of Holland–Dozier–Holland, the song’s slow tempo accompanies a somber lyric which delves into the feelings of depression which can set in after a breakup; instrumentally, this is showcased with a gothic and dramatic musical arrangement and use of harpsichord, in tow with the trend of baroque pop during the mid-1960s. “My World Is Empty Without You” was one of the few songs written by the team for The Supremes that didn’t go to number one, peaking at number five on the US pop chart for two weeks in February 1966 and at number 10 on the R&B chart; the single failed to chart on the UK Singles Chart. The group performed the song on the CBS hit variety program The Ed Sullivan Show on Sunday, February 20, 1966.
“I Just Wasn’t Made for These Times” is a song by The Beach Boys from their album Pet Sounds. It is the eleventh song on the album. The lyrics were written by Brian Wilson and Tony Asher about the ruminations on romance and the loss of innocence involved in growing up. Wilson stated in his autobiography that “I Just Wasn’t Made for These Times” was telling a self-portrait of his troubled psyche and that he was too advanced for his time. It is known as the first song that features a keyboard-controlled variation on the theremin—later named the Electro-Theremin or Tannerin—in a rock record. Shortly after this track was recorded, Brian Wilson used the Tannerin on the “Good Vibrations” track. Brian admitted “I was so scared of Theremins when I was a kid, the thing about the ’40s mystery movies where they had those kind of witchy sounds. I don’t know how I ever arrived at the place where I’d want to get one — but we got it.” Wilson stated “It’s about a guy who was crying out because he thought he was too advanced, and that he’d eventually have to leave people behind. All my friends thought I was crazy to do Pet Sounds.” Dennis Wilson was originally intended to sing “I Just Wasn’t Made for These Times”, but when the lead vocal finally was put on tape, it was Brian doing the singing.
“Tomorrow Never Knows” is the final track of The Beatles’ 1966 studio album Revolver but the first to be recorded. Credited as a Lennon–McCartney song, it was written primarily by John Lennon. The song has a vocal put through a Leslie speaker cabinet (which was normally used as a loudspeaker for a Hammond organ) and uses automatic double tracking (ADT) to double the vocal image. Tape loops prepared by the Beatles were mixed in and out of the Indian-inspired modal backing underpinned by Ringo Starr’s constant but non-standard drum pattern. The song is also one of the first uses of a flanger effect on any instrument. John Lennon wrote the song in January 1966, with lyrics adapted from the book The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead by Timothy Leary, Richard Alpert, and Ralph Metzner, which in turn was adapted from the Tibetan Book of the Dead. Although Peter Brown believed that Lennon’s source for the lyric was the Tibetan Book of the Dead itself, which, he said, Lennon read whilst consuming LSD, George Harrison later stated that the idea for the lyrics came from Leary’s, Alpert’s and Metzner’s book and Paul McCartney confirmed this, stating that he and Lennon had visited the newly opened Indica bookshop — Lennon was looking for a copy of The Portable Nietzsche — and Lennon had found a copy of The Psychedelic Experience that contained the lines: “When in doubt, relax, turn off your mind, float downstream”. Lennon bought the book, went home, took LSD, and followed the instructions exactly as stated in the book. The book held that the “ego death” experienced under the influence of LSD and other psychedelic drugs is essentially similar to the dying process and requires similar guidance.
“I’m So Glad” was written and originally recorded as one of 18 recordings by Skip James in 1931. These recordings would influence many early Delta blues artists – including the great Robert Johnson. However, for the next 30 years James would virtually disappear. He didn’t record and drifted in and out of music until his rediscovery in 1964. Eric Clapton and Cream recorded “I’m So Glad” for their 1966 debut album and provided James with the only windfall of his career. Deep Purple also covered the song in 1968 their first album. Skip James died of cancer in 1969 at the age of 67. [Source]
Early in 1965, The Sonics began recording an LP, Here Are The Sonics was recorded at Audio Recording in Seattle, WA by famed Pacific Northwest recording engineer Kearney Barton. It was recorded on a two-track tape recorder, with only one microphone to pick up the whole drum kit. It was here that they began to pioneer some of their infamously reckless recording techniques. The next album, Boom followed in February 1966. During the recording, The Sonics ripped the soundproofing off the walls at the country and western-oriented Wiley/Griffith studio in Tacoma, WA, to “get a live-er sound.”
Inside The Electric Circus is the third studio album by W.A.S.P., released in 1986. This is the first full-length W.A.S.P. release to feature Blackie Lawless playing guitar. The album peaked at #60 in the Billboard Charts. The song is written by Jo Armstead, Nick Ashford and Valerie Simpson. It was a hit song by Ray Charles in 1966. Over the years, it has been covered by bands such as garage rock band The Chocolate Watch Band in 1969, Humble Pie in 1971 and New Riders of the Purple Sage in 1972.
By April 1966, B-side “LSD,” yet another controversial shot in the Pretty Things’ canon, helped pioneer the “freakbeat” sound, whilst the media’s attacks on the Pretties slack, druggy values were foremost to the changing times — in fact, the record was a play on words about the English economy and not a celebration of the merits of LSD usage. However, the band was clearly well-aware of LSD and its effects, and over the coming months further musical explorations that were to steer the band away from their earlier tough R&B sound were to occur. [Source]
“I Can Hear Music” is a song written by Jeff Barry, Ellie Greenwich and Phil Spector. It was originally performed by the Ronettes in 1966, and later covered by the Beach Boys in 1969, by Larry Lurex (a pseudonym for Freddie Mercury) in 1973, by José Hoebee in 1983, and by She & Him in 2010.
White Noise is known for his broad range of production abilities, banging out great electro, house and dubstep tracks. In this remix of the classic Nancy Sinatra Song, White Noise developed a crazy dancy dubstep beat that growls over Nancy’s voice. While the wobble is definitely apparent, it’s not so obnoxious that it overwhelms the original music in the track, which makes it that much better. It’s creative, well mixed and simply put – easy to jam over and over again. [Source]
