Five forgotten rock debuts from 1969

In common language, many people consider the 1960s to have started in 1960 and ended in 1969, though technically it ran from 1961-1970. However, I’m not concerned with technicalities. I see decades more casually as a span of around ten years, so for me, the 1960s started in 1960 and ended in 1969.

The term we refer to as the ’60s encompasses a cultural movement approximately spanning from 1963 to 1972, with some flexibility in the specific years. Therefore, 1969 did not mark the conclusion of the 1960s as such.

However, it just may have signaled the beginning of the end.

These rock debuts should never be forgotten

1969 was a vibrant period in the music industry, with various genres of popular music bursting at the seams. The artists who debuted albums that year were nothing short of remarkable, some being veterans transitioning to new phases in their careers, yet even they were astonishing.

If you’re craving some classic, bluesy rock, here comes Led Zeppelin! However, Blind Faith also arrived, but their presence was fleeting as it happened simultaneously with their disbandment.

How about rephrasing it like this: In February, MC5 made their legendary live debut with Kick Out the Jams. Towards the end of the same year, The Stooges released their self-titled first album.

Is prog rock your thing? The debuts from Yes and King Crimson came out.

If you’re yearning for an outstanding vocal performance, you’ve got options! Consider Roberta Flack, Koko Taylor, or the lead singer of Big Brother and the Holding Company – Janis Joplin, who released a solo album as well.

Beyond the initial releases by Crosby, Stills & Nash, Elton John, Santana, Chicago, and the iconic Allman Brothers Band, let’s delve deeper. We find blues from John McLaughlin, avant-garde music from Can, and an abundance of psychedelic and progressive rock that would challenge even the most decorated dorm rooms with their black lights and lava lamps. The Music Emporium, Amon Duul II, East of Eden, or Arzachel (preferably known as Uriel) are just a few examples of the musical gems waiting to be discovered in this era.

Still not sold? The Neon Philharmonic released their first two albums in 1969.

We rode into the summer on the smooth pop of the Fifth Dimension, assuring that future held…

Unity and empathy – Kindness and faith overflowing – An end to dishonesty and mockery – Pursuit of enlightened aspirations – Clear insights from mystical gems – And the genuine release of mental constraints…

From mid-April until Memorial Day, a fusion of “Aquarius/Let the Sunshine In” by The Fifth Dimension from the musical Hair held the top spot on charts. Although they weren’t a fresh act, their lyrics about new beginnings resonated deeply with listeners. Music enthusiasts found themselves captivated by it entirely.

Nevertheless, even with all the optimism and conviction, events didn’t unfold as anticipated. The ’60s era seemed to wane. Although the Vietnam War concluded a few years afterwards, the domestic unrest was only intensifying. To echo a famous phrase from that period – one often heard in popular culture – “Shocking, isn’t it?

Instead of turning youthful rebellion’s music into a marketable product being inevitable, it appears clear in hindsight. Back then, people seldom realized they were part of significant events. Today, we’ll revisit five lesser-known debut albums that time seems to have overlooked; some fans may remember them, while others have left lasting impacts.

In this version, the language remains natural and easy to read, maintaining a conversational tone while providing clearer context for the reader.

It seems as if these names and their music have fallen by the wayside, since I can’t recall the last instance of hearing them mentioned or playing on my extensive satellite radio or personalized streaming platforms. In an attempt to rekindle some interest, I’ll share their names within this blog. Perhaps you’ll find pleasure in exploring their work.

Five Leaves Left by Nick Drake

At only 21 years old, Nick Drake was a student at Cambridge and recorded most of his debut album at this time. This period saw an intense search for the next Bob Dylan in the music industry, often referred to as a singer-songwriter boom. Many with a guitar were being signed to record labels. However, only a few, like Nick Drake, demonstrated such remarkable talent.

Joe Boyd, who is known for working with renowned British folk artists such as Fairport Convention, Sandy Denny, and Richard Thompson, was also involved in producing Drake’s album. Given this background, it’s not shocking that Richard Thompson appears on the first track of Drake’s record. His skillful electric guitar playing infuses “Time Has Told Me” with an added energy. However, this collaboration is just a small taste of what Drake has to offer in terms of musical output.

Each track had limited musical scope, with Drake’s minimalistic acoustic guitar and softly spoken vocals, but they managed to uncover vast emotional range and complexity. The eerie violins in “River Man” evolve into a full-blown orchestral swell in “Way to Blue.” There’s the rhythmic drive of “Three Hours,” and the wistful melody of “Thoughts of Mary Jane.

After that, we have the charmingly fleeting folk tune “Day is Done,” which seems significantly profound compared to “Time in a Bottle” by Jim Croce, appearing almost insubstantial in contrast.

Moreover, let me not forget to highlight Drake’s exceptional lyrical skill. Here’s an example from “Fruit Tree,” one of his debut tracks that closes with a powerful lyric…

Stepping into this place, it feels like I’m stepping back in time – an old, revamped ruin that once echoed with the sounds of a bygone era. It’s a glimpse into a past life, a moment frozen, yet fleeting – much like my own gaming adventures. This theater, filled with the melancholy of forgotten performances, whispers tales of times long past.

At age 21, Drake started his music career on the brink of takeoff. Five years later, he tragically passed away due to an overdose of amitriptyline. The inquest concluded it was a suicide. His third and last album, “Pink Moon,” released in 1972, is now widely regarded as one of the greatest folk albums ever produced.

Those Who Are About to Die Salute You by Colosseum

The original Colosseum, not the one reborn in the mid-70s led by drummer Jon Hiseman, is what we’re referring to here. In the ’60s, Hiseman and saxophonist Dick Heckstall-Smith played with some of Britain’s top blues rock bands, including those fronted by Graham Bond and John Mayall. At the end of the decade, they formed their own band.

They incorporated Dave Greenslade on the Hammond organ, Tony Reeves on the bass, and James Blake’s father, James Litherland, on the guitar. Notably, Litherland was also responsible for the vocals.

As a die-hard fan, I can tell you that the very first track set the stage for their musical journey. Titled “Walking in the Park,” it was a composition by Graham Bond, and although rooted in blues, it was pure, unadulterated joy. The saxophone melodies, skillfully played by Heckstall-Smith, were beautifully complemented by Henry Lowther on trumpet. The rhythm was relentless. Litherland’s guitar then gracefully emerged with a few enchanting solos. It was classic rock & roll, but through the grandeur of a full jazz ensemble. In essence, it was one of the earliest expressions of jazz-rock fusion.

The noise would persistently continue without letting up. It could lean towards a bluesy feel, like in “Plenty Hard Luck,” or veer towards psychedelic tones in “Debut.” At times it might delve into eastern melodies as in “Mandarin.” Occasionally the horns would take control, other times the rhythm section would dominate (as seen in “The Road She Walked Before”), and on some tracks it was the guitar blues that led the way. However, throughout all these variations, the overall sound remained harmonious.

The Colosseum band produced a few additional albums before disbanding in the early ’70s. Afterward, members went their separate ways, with guitarist Clem Clempson, who stepped in for Litherland on the third album, joining Humble Pie following Peter Frampton’s departure. In contrast to the first album’s jazz-blues-rock style, Hiseman’s second version of the band focused more heavily on jazz fusion.

The Gilded Palace of Sin by the Flying Burrito Brothers

In contrast to other genres flourishing during the late ’60s, country music remained relatively unexplored and unchanged. This genre adhered to its own guidelines, which were established by traditionally conservative figures in the Nashville music industry, also known as Music Row. The only significant Nashville artist who debuted in 1969 was Emmylou Harris.

It was yet a few years off when Willie Nelson and Waylon Jennings ignited the outlaw country movement. However, some up-and-coming musicians – Californian longhairs with roots in folk rock – believed that the realm of country music could be equally vast and diverse as any other genre.

Gram Parsons and Chris Hillman previously collaborated in the group known as the Byrds. Later, Parsons teamed up with Chris Ethridge in the International Submarine Band. Known for his nomadic lifestyle, by the late sixties, Parsons was eager for a fresh start. Alongside Hillman and Ethridge, he enlisted pedal steel guitarist Pete Kleinow, thus giving birth to the Flying Burrito Brothers.

Parsons and Hillman collaborated on the composition and arrangement of “Christine’s Tune.” The melody had a distinct country feel, with elements of twang and steel guitar, yet it also showcased rock and roll undertones, featuring some gritty electric guitar notes. This genre, which was previously emerging, now flourished fully. “Sin City” and “Do Right Woman” were quintessential country tunes. “My Uncle,” while still country at its core, promoted draft evasion. “Hot Burrito #1” was a catchy pop ballad, whereas “Hot Burrito #2” had a jazzy rock vibe. “Hippie Boy” was an anthem driven by the organ.

Before his solo journey, Parsons collaborated on one more album with the Brothers. However, the travel bug bit him again, leading to his independent career. Meanwhile, Hillman maintained ties but also worked with various other groups. The Flying Burrito Brothers continued releasing country rock, but by the end of two decades, none of the original members were left. Tragically, Parsons passed away due to an overdose in 1973, just a year before Nick Drake’s demise.

Oar by Skip Spence

Prior to Tom Waits, there was Skip Spence, a musician whose voice and life story were equally captivating yet tragically tinged. He grew up in the Bay Area during the height of the countercultural movement, intersecting with many notable musical acts. Marty Balin discovered him from Quicksilver Messenger Service to play drums on Jefferson Airplane’s debut album. Not long after, Spence departed to form Moby Grape, one of the top psychedelic rock bands of its time.

Throughout his adult years, Spence struggled with mental illness and drug addiction, which impacted his influence within Moby Grape significantly. His struggles eventually led him to imprisonment and institutionalization. However, upon his release, he managed to create his sole solo album, titled “Oar“, in the year 1969. Remarkably, Spence composed every track and played each instrument on this album, a feat that’s challenging to put into words.

This music carries a somber, timeless folk feel, yet infused with psychadelic undertones that give it an unusual twist. “Cripple Creek” sings “Ghost Riders in the Sky” as if a genuine spirit were crooning. “Margaret-Tiger Rug” is a distorted music hall, while “Lawrence of Euphoria” could easily pass for Dylan at his peak. “Books of Moses” delivers an apocalyptic vibe with just one guitar player.

As a devoted admirer, I can’t help but reflect on the unique journey of Spence, unlike the swift and tragic losses we witnessed with Nick Drake and Gram Parsons due to other substances. Instead, he persisted, navigating periods of hardship, dwelling on the periphery of the music scene well into the 90s. Tragically, his life was cut short by lung cancer at the age of 52. Remarkably, several musicians who were inspired by Spence rallied to assist him during his final days.

A group of musicians assembled an album titled “More Oar” as a tribute, just before Spencer passed away in 1999. Artists ranging from Robert Plant and Robyn Hitchcock, all the way to Jay Farrar and Beck took part. Even Tom Waits, who bore a striking resemblance to Spencer in his early recordings, participated in this project.

Tons of Sobs by Free

There’s a good chance that you haven’t listened to any songs by the four bands I mentioned earlier, but it’s quite likely that you are familiar with Free, as their song “All Right Now” from the album “Fire and Water” was a big hit on both sides of the Atlantic. Tracks like “Wishing Well” and the blues-inspired “My Brother Jake” were successful in the UK, but didn’t gain much popularity in the USA.

In the latter part of the 1970s, the ambition to gain more recognition in the U.S. market was among the reasons why half of the band, specifically vocalist Paul Rodgers and drummer Simon Kirke, decided to break away and establish the supergroup Bad Company.

One year prior to their hit “All Right Now,” the band Free debuted the album “Tons of Sobs.” At that time, bandmates Rodgers and Kirke were both twenty years old, making them the eldest members in the group. The album was heavily influenced by Rodgers’s powerful, emotive baritone voice, the blues rhythm established by Kirke and 17-year-old bassist Andy Fraser, and the short, impactful guitar riffs by Paul Kossoff, as well as Rodgers’s own contributions on piano.

Kicking off the album, Rodgers’ original piece “Over the Green Hills (Pt 1)” established a strong blues rhythm. Adapting to the era, they ended the album with a subtly psychedelic version of Pt. 2. Throughout, there were numerous robust blues rock numbers such as “Walk in My Shadow” and the Albert King hit “The Hunter,” penned by Booker T. and the MGs.

After producing several additional albums, Free ultimately disintegrated due to another drug-related issue. Kossoff’s addiction is believed to have significantly contributed to the pulmonary embolism that claimed his life in 1976 at age 25. By then, his personal struggles had already been a contributing factor to the band’s decline. In addition to creative disagreements between Rodgers and Fraser, they also played a significant role in the band’s downfall.

Although Rodgers and Kirke continued to achieve significant success with Bad Company, who are nominees for the Rock & Roll Hall of Fame in 2021, Fraser spent numerous years moving between various bands before his passing in 2015.

2025-02-17 17:01