Highlights are to include five Jerry Garcia guitars, “finished and working manuscripts” for classic Dead songs, gear from the Owsley “Wall of Sound” PA system, and artworks such as Fillmore posters and album graphics.

The Grateful Dead Archive at the University of California-Santa Cruz “loaned a significant number of items” from its collection, the Rock Hall said. Rock Hall curator Howard Kramer said he had full access to the Dead’s warehouse.

Longtime Grateful Dead percussionist Mickey Hart will perform at the exhibit opening. One of his psychedelic custom-painted drum kits will among the museum offerings.

The first major showing of the Grateful Dead archives at the University of California Santa Cruz was at the New-York Historical Museum in early 2010.

The Rock and Roll Hall of Fame exhibition “Grateful Dead: The Long, Strange Trip” runs through December at the Cleveland, Ohio, museum.

The specialty label Analogue Productions released the Pink Floyd album “Wish You Were Here” on a 5.1 SACD late last year, and now reports that it’s “easily the biggest SACD title in the catalog.”

First a bit of history: Super Audio CD (SACD) was introduced in 1999 but failed to catch on with the public, despite quality that’s sometimes billed as four times as good as CDs.

After a burst of activity (2002-2005) that saw releases of classic albums such as Pink Floyd’s “The Dark Side of the Moon” and the Who’s “Tommy,” the format staggered and appeared to be pretty much a goner by the end of the 2000s.

“In retrospect, SACD and (rival format) DVD-A never had a chance,” the Guardian duly reported in 2007.

Yet SACD soldiered on, catering mostly to classical music fans. Audiophile label Analogue Productions (aka Acoustic Sounds), now a decade old, also found a market in jazz albums from Blue Note. Longtime audiophile specialists Mobile Fidelity also remains active with SACDs. (Both labels are quite active in high-end vinyl as well.) Now, improbably, SACD has made a comeback.

“Wish You Were Here,” the Pink Floyd album that followed “Dark Side of the Moon,” arrived on SACD as part of EMI’s huge Why Pink Floyd…? campaign that began last fall. The SACD was created via the original analog master tapes with the 5.1 mix done by the band’s producer/engineer James Guthrie, who reportedly worked on the project for several years.

It is first multichannel presentation of “Wish You Were Here,” Analogue Productions says. The label has “exclusive distribution rights” to the album, which comes to SACD with a price tag of $35. (It’s not available on Amazon as of this writing.)

Critics and fans are turning in raves, mostly. “Guthrie’s expert, musically impeccable multichannel remix added depth and clarity to the superb original,” the Audio Beat’s Paul Bolin wrote in November. “How he got Richard Wright’s ARP string to orbit the room several feet above my head has to be the result of some sort of voodoo.”

Guthrie has said he’d like to make “The Wall” the next Pink Floyd multitrack album, if and when there are more SACDs.

On Nov. 4, EMI rereleased the CD of “Wish You Were Here” in “Immersion” and “Experience” editions.

In addition to the two Pink Floyd albums and “Tommy,” currently available SACD titles with a psychedelic flavor include all of the Doors’ studio albums; the Moody Blues’ “On the Threshold of a Dream” and “To Our Children’s Chidren’s Children”; the Beach Boys’ “Pet Sounds”; and Santana’s “Caravanserai.”

(As with all things audio, the potential for excellence does not always equal excellence, so be sure to check out the reviews.)

Some current Blu-ray players are built to handle SACD signals, as is the PlayStation 3 game console. Hybrid SACDs such as “Wish You Were Here” will play on all CD players since traditional stereo tracks are included, but performance would be the same as from a well-made regular CD.

Before the Houston group made its move, however, it celebrated the charms of the Bay Area ladies with “San Francisco Girls (Return of the Native),” an intriguing single that (barely) cracked the Billboard singles chart in 1968.

“San Francisco Girls,” written by manager/producers Scott and Vivian Holtzman, came on the heels of the 1967 hits “San Francisco (Be Sure to Wear Flowers in Your Hair)” sung by Scott McKenzie and “San Franciscan Nights” by Eric Burdon. Fever Tree’s song certainly holds up its end of that city trilogy.

“San Francisco Girls” opens as a ballad with a tasty but improbable dance of harpsichord and cymbal. Vocalist Dennis Keller sets the scene as a flute eases in:

Out there it’s summertime
milk and honey days
Oh, San Francisco girls with
San Francisco ways

The reverie is short-lived: A guitar amped for heavy sustain repeats and speeds the opening theme until the song works itself into a gallup.

The singer then delivers the cold-hearted kiss-off at the heart of the story — perhaps importing the ‘tude from Fever Tree’s garage-band days:

Don’t try to stop me girl, you can’t have your way
Don’t try to stop me girl, nothin’ you can say
Live like you wanna live and stay where you wanna stay
I just gotta go and get back to the Bay

The tempo shifts several more times before the cinematic finale is ushered in by soaring sustain-drenched guitar.

“San Francisco Girls” gets its punch from guitarist Michael Knust and percussionist John Tuttle. The elegance comes from classically trained multinstrumentalist Rob Landes, who did the harpsichord bit. Producer David Angel of “Forever Changes” fame apparently worked on the song as well.

(Coincidence, no doubt, but “San Francisco Girls” brings to mind the Guess Who’s “American Woman,” of two years later, right down to Burton Cummings’ vocals.)

“San Francisco Girls (Return of the Native)” brought a modest fame to Fever Tree and endured as a free-form FM favorite.

The original band issued one compelling album, “Fever Tree,” featuring several tracks of the same quality as “San Francisco Girls” as well as some contemporary covers. Sundazed recently rereleased this, Fever Tree’s first album.

Then came the less ambitious “Another Time, Another Place” and the career-crashing “Creation.”

Sundazed also has released “Live ’69″ on vinyl/download (the band’s farewell performance).

Update: The filmmakers are “currently in talks” with several distributors, a spokeswoman for the project told PsychedelicSight.com. “Jerry: The Movie” is aiming for a spring 2012 release.

The 42,000 in attendance at the San Francisco Giants’ Jerry Garcia Day last summer got a sneak peek of the docu while filmmakers were busy shooting more footage. Behind the camera that day was Justin Kreutzmann, the son of Grateful Dead drummer Bill Kreutzmann, who’s listed as a co-producer on the documentary.

The film’s based on three hours of conversation Leo shared with Garcia in 1987, a decade before the Grateful Dead guitarist’s death.

“The historic interview was shot on negative film with studio quality sound and lighting,” the producers said in a release, noting that they had secured rights.

The Garcia movie web site refers to it as “Jerry: The Movie,” but that could well be a working title since no name is identified in the press materials.

The filmmakers promise unseen concert footage and “rare home movies.”

Another Garcia movie, “Dark Star,” was announced in 2010 and is marked on imdb for a 2012 release. It’s a biopic about Garcia’s younger years, based on the book “Dark Star: An Oral Biography of Jerry Garcia.”

For the documentary, Leo’s producing partner is John Hartmann, described as the former manager of Peter, Paul & Mary, Crosby, Stills & Nash, the Eagles and Poco. Hartmann apparently is the brother of the late comedian Phil Hartmann.

Leo’s credits include the films “This Is Elvis” and “The Beach Boys: An American Band.” For TV he presentations include “Crosby, Stills & Nash: Long Time Comin,’” “Red Hot & Blue” and “Rolling Stone: 20 Years of Rock ‘n Roll.”

Bill Kreutzmann’s credits include the short film “Backstage Pass,” a documentary, as well as a pair of videos connected to the Who.

The Music Machine had one hit single — 1966′s blazing “Talk Talk” — and produced only one album with its classic lineup. Still, the fuzz-and-Farfisa band is remembered as a vanguard act — an important link from garage rock to moody psychedelic rock and then the proto-punk bands.

Bonniwell wrote most of the Music Machine’s songs and fronted the L.A. band, which was known for wearing all black on stage — the garb including a single leather glove.

Rolling Stone headlined its appreciation of Sean Bonniwell: “The Dark Prince of Garage Rock.”

Bonniwell, a born-again Christian, left the music business as the 1960s faded away. He died Dec. 20, 2011, of lung cancer, in Visalia, Calif., various sources said.

“(Turn On) The Music Machine,” the first album, featured a half-dozen Bonniwell originals, notably “Masculine Intuition” and “The People in Me.” The songs appeared to be part self-therapy as Bonniwell inventoried his demons on vinyl. (Note: The first album appears in various forms, but seems to be best represented on Ultimate Turn On per Bonniwell’s web site.)

Routinely lumped in with garage bands, the Music Machine produced a more ambitious sound that brought to mind L.A. contemporaries Love — and anticipated bands-to-be such as Iron Butterfly and the Crazy World of Arthur Brown. Bonniwell sang in “Masculine Intuition”: “I’ve got a masculine intuition/And it/Do/Not/Never be wrong,” right in line with vintage Arthur Lee.

Unfortunately, the first album (on the dinky Original Sound label) was filled out with cover versions (“Cherry Cherry” and a great “Hey Joe”), leaving a stunning but skimpy record of Bonniwell at his peak. Band members reportedly quit over Bonniwell’s auteur approach, some of them forming the group Millennium.

Bonniwell signed with Warners and released a second album, called “The Bonniwell Music Machine.” Much of the material was recorded previously and it produced no hits. The Warner recordings can be found on Sundazed’s 1996 collection Beyond the Garage.

Bonniwell published his memoirs in 1996, also titled “Talk Talk.” He recorded a couple of solo albums and performed his Music Machine material on occasion, sometimes doctoring the lyrics to reflect his Christian bearings. Bonniwell recently marketed a Music Machine video documentary on his web site. (text continues)

Personal note: My first band, the Pack, popped up in 1966. Ft. Lauderdale, Fla. We stole the name from Terry Knight and the Pack. We copped the look from the Music Machine — black on black. We played “Talk Talk” and “Masculine Intuition,” and the rest of the songs came from the Yardbirds. Chris Campbell played drums. I sang and played bass. Wish I could remember the guitarist’s name, think it was Jerry.

The multi-instrumentalist, who shared Zappa’s love of the avant-garde and the nonsensical, worked on all Mothers albums, including the classics “Freak Out!” and “We’re Only in It for the Money.”

Sherwood died Dec. 25 of undisclosed causes.

Although Sherwood can be heard on the early Mothers records, he started out as a their roadie and didn’t join the band full-time until 1968. Sherwood also contributed vocals, vocal effects and the onstage comedy bits expected of all members.

In the 1950s, Sherwood attended high school with Zappa in California’s Inland Empire. Sherman played in several rock ‘n’ roll bands with the guitarist before the Mothers of Invention came to fame in L.A. in the mid-1060s.

After the Mothers disbanded, he performed on Zappa’s debut solo album, “Lumpy Gravy,” and continued to work off and on with the guitarist/composer until Zappa’s death in 1993.

The woodwind player also appeared in Zappa’s movie “200 Motels,” about the insanity of touring as a rock band, and the semi-documentary “Uncle Meat.”

The Mothers nicknamed Sherwood “Motorhead,” based on his love of working on cars. He also was dubbed “Larry Fanoga.”

Sherwood played sax with Reuben and the Jets, a Zappa-produced group that grew out of a doo-wop concept album. Later credits include the Mothers veterans band the Grandmothers and other projects with (ex-Mother) keyboardist Don Preston.

Producer/engineer Glyn Johns, who worked with the heaviest of the British psychedelic rock bands, also is to be honored April 14 in Cleveland.

Beastie Boys, Guns N’ Roses, Laura Nyro and Red Hot Chili Peppers filled out the list of Rock Hall inductees. Faces (with Rod Stewart) share the honor with the band’s earlier incarnation, the Small Faces.

The early influencer nod went to bluesman Freddy King, the only black artist to be honored this year. Songwriter/TV rock producer Don Kirshner (“The Monkees”) is to be memorialized in the non-performer slot.

Rock producers Johns and Tom Dowd, and New Orleans studio owner Cosimo Matassa are to receive awards for musical excellence.

Donovan, a nominee last year, was among the first recording artists to chart with psychedelic songs. He also was among the first long-haired British pop stars busted for drugs. The artist (pictured, top) was closely associated with the hippie movement and flower pop.

Donovan’s psychedelic singles include “Sunshine Superman,” “Mellow Yellow,” “Hurdy Gurdy Man” and “Barabajagal (Love Is Hot).”

The album “Sunshine Superman” was among the first rock works to feature the sitar. Donovan also flirted with jazz and Indian music, making for a heady musical brew that remains underappreciated among casual music fans.

The Small Faces first scored with the heavily flanged psychedelic single “Itchycoo Park,” a global smash in 1967 despite a BBC ban for its druggie lyrics.

A year later came the classic LP “Ogdens’ Nut Gone Flake,” an early concept album. Side 2 was devoted to an odd psychedelic fairy tale. Steve Marriott and Ronnie Lane did the band’s heavy lifting until Marriott quit to form Humble Pie.

Then came the Faces, with three original members joined by up-and-coming vocalist Rod Stewart and guitarist Ron Wood. The Faces’ sound shifted to inebriated good-time rock n’ roll. This line-up enjoyed a short but brilliant career, cut short by the demands of Stewart’s solo success and Wood’s wooing by the Rolling Stones.

Producer/engineer Tom Dowd was mostly known for his work on the classic Atlantic R&B recordings, but he also dabbled in psychedelia with acts like Cream, Wishbone Ash and Chicago. Dowd was one of the first engineers to take stereo seriously and to employ multitracking. He died a decade ago after a long run with Criterion Studios in Miami.

Producer/engineer Glyn Johns boasts a sterling resume when it comes to psychedelic music. His credits include the Beatles, Rolling Stones, Small Faces, the Who, Led Zeppelin and Family. He’s best known for his work with the Stones. Johns remains active, recently working with Ryan Adams.

Passed over for induction were the Cure, Heart, the Spinners, Donna Summers, Rufus with Chaka Khan, Joan Jett and the Blackhearts, and Eric B. & Rakim.

The 27th annual Rock and Roll Hall of Fame Induction Ceremony is set for April 14 in Cleveland. The video will run on HBO in early May. A limited number of public tickets go on sale Dec. 17.

Psychedelic music is well represented in the Hall of Fame: Inductees include the Jimi Hendrix Experience, Cream, the Beatles, Pink Floyd, the Grateful Dead, Jimmy Page, Jeff Beck, the Yardbirds, the Byrds, Jefferson Airplane, Miles Davis, Traffic, Santana, Frank Zappa, the Doors and the Who.

Ladd, recently fired by longtime employer KLOS in Los Angeles, has found a home at Deep Tracks, the satellite radio channel reminiscent of the free-form FM stations of the 1960s and ’70s.

He celebrated the news by blasting the “stagnant, preprogrammed fodder that passes for radio today.”

Ladd, dubbed the “last DJ” by Tom Petty, was one of the few major-market rock radio hosts allowed to work without a playlist. He launches his nightly four-hour show in January, on SiriusXM Channel 27.

“I will be playing everything I want, from Pink Floyd to Tom Petty and the Heartbreakers, from the Doors to Moby Grape, freely and with no playlists,” Ladd said. “As I have always done throughout my career, I will be choosing all my own music (and) creating thematic sets.”

Ladd should prove a good fit for Deep Tracks, which focuses on lesser-known songs by top “underground” artists of the 1960s and ’70s, such as Pink Floyd, Jimi Hendrix and Led Zeppelin.

The station’s stated concept is to play songs that didn’t chart, B-sides and live tracks. SiriusXM neighbor Classic Vinyl (channel 26) plays the era’s FM hits.

Deep Tracks is the closest thing to a psychedelic station on the satellite service. The channel’s “The Blacklight” program — “the finest in psychedelic rock” — is similar to Ladd’s hourlong “Headsets” segments. The Grateful Dead also have a channel of their own.

Deep Tracks’ big-name DJs are Bob Dylan and Tom Petty, both of whom do weekly free-form shows. Dylan’s show is so popular that archived episodes of his “Theme Time Radio Hour” now run 24/7 on an Internet-only SiriusXM channel (805).

Ladd seems eager to burn his bridges with terrestrial broadcasting: “Traditional FM radio has turned its back on the very thing that made rock radio the magical experience it was intended to be,” he said in the SiriusXM announcement of the deal.

“SiriusXM is kicking down the doors of the stagnant, preprogrammed fodder that passes for radio today by encouraging me to do my free-form show so we can all share this experience live as it happens.”

KLOS’ firing of Ladd came in a wave of layoffs created by Cumulus Radio’s buyout of Citadel Broadcasting. He wasn’t allowed a farewell show, so a local AM station offered him a one-time 3-hour slot to communicate with his fans. Rockers Roger Waters, John Fogerty, David Crosby, Jackson Browne, Slash and George Thorogood were among the well-wishers who phoned in.

Waters included Ladd in one of his concept albums and tours. Petty’s “The Last DJ” song was written about Ladd.

Ladd, who calls himself “The Lonesome L.A. Cowboy,” built his audience on the legendary L.A. station KMET. He wrote the tell-all book “Radio Waves: Life and Revolution on the FM Dial” (1992). A critic of the time greeted the release by saying that Ladd remains “trapped in a 1960s-1970s time warp.”

For his satellite show, Ladd plans regular interviews with rock stars as well as listener call-ins. The Deep Tracks host most affected by the Ladd signing would appear to be Meg Griffin.

Before the satellite deal was announced Dec. 2, Ladd reportedly was in talks with the city’s 100.3 The Sound.

SiriusXM chief Scott Greenstein said: “Jim Ladd is a classic rock radio icon who turned curating a list of songs into an art form. We are proud and excited to welcome his free-form style to SiriusXM.”

Original MTV VJs Mark Goodman, Nina Blackwood, Alan Hunter and Martha Quinn also have shows on the satellite service.

Yep, but this time out it’s a special Black Friday edition — and the goodies are really good.

Record Store Day, of course, is the festive event in which we celebrate those indie music shops that soldier on in the mp3 era, providing cool physical media such as specialty CDs to those who still want them.

Vinyl records are the coolest of them all these days, and the hipper labels have responded with collectors albums, EPs and singles from artists of quality.

The Black Friday stash includes soon-to-be rareities from psychedelic-leaning acts such as the Beatles, Pink Floyd and Syd Barrett, the Yardbirds, the Byrds and the Who.

We’re spoiled here in L.A. (and in San Francisco) with the massive indie recording purveyor Amoeba, but of course most of the record stores being honored are small shops, run by music-addicted guys and gals. (View list of participating Record Store Day shops.)

Here’s a nod to my closest shop, Freakbeat Records in Sherman Oaks, Calif., where the guys don’t look at you funny if you ask for something by the Ultimate Spinach.

Here are the Black Friday Record Store Day exclusives from bands with 1960s psychedelic connections. Call it the Geezer Collection:

Syd Barrett: “Mick Rock.” Photography of the Pink Floyd founder by his pal Mick Rock, packaged with a 7-inch 45 of “Run Like Hell” and “Don’t Leave Me Now.” Capitol says the package comes “in a picture bag” with the 7-inch single on yellow heavyweight vinyl.”

The Beatles: “The Singles” box set of four 7″ picture-sleeve singles in a flip-top box. The A and B sides are “Ticket To Ride” and Yes It Is”; “Hey Jude” and “Revolution”; “Something” and “Come Together”; “Yellow Submarine” and “Eleanor Rigby.” The tracks are billed as newly remastered.

The Byrds: “Eight Miles High”/”Why.” 7-inch vinyl, 45rpm. Sundazed dug up these first-time-around RCA recordings (the versions most of us know were rerecorded at Columbia). “Eight Miles High” is destined for the top 10 of our Best 100 Psychedelic Songs list.

The Byrds: “The Times They Are A-Changing”/”She Don’t Care About Time.” 7-inch vinyl, 45rpm. This Dylan two-for was supposed to be released in the 1960s, but it never happened. Until now.

The Doors: “L.A. Woman” box set on 7″ Vinyl. Songs include “The Changling,” “Riders on the Storm,” “Love Her Madly” and another single of studio chat. The cover is the original artwork for the “L.A. Woman” album, with a naked woman nailed to a telephone pole.

Grateful Dead: “Live Europe ’72 Vol. 2″ in a four-album vinyl set. With an additional track. The double-disc CD was released in late September. Cover art: A new look at the Ice Cream Kid from artist Stanley Mouse. From Rhino, the Dead’s marketing partners.

Janis Joplin: “Move Over.” Four 7-inch singles with four unreleased tracks. “Magic of Love” and “Call On Me”; “Piece Of My Heart” and “Summertime”; “Raise Your Hand” and “Bo Diddley”; and “”Move Over” and “My Baby.” Some mono, some in stereo.

Janis Joplin: “The Classic LP Collection.” 180 gram vinyl versions of “Pearl,” “I Got Dem’ Kozmik Blues Again Mama,” Big Brother and the Holding Company’s first release and of course “Cheap Thrills.” From Legacy (Columbia). Exclusive to indie record stores until Monday, when orders start being filled at the Janis Joplin web site.

John Lennon: “Imagine 40th Anniversary Box Set.” Vinyl album of the stripped-down 2010 remix job overseen by Yoko Ono. Comes with six-track white vinyl 12″ and a poster. From Apple.

Pete Townshend: “The Quadrophenia Demos, Part 1.” On a 10-inch EP. In a twist, Part 2 won’t be available until Record Store Day 2012. The project was overseen and produced by Townshend. The demo tracks are “The Real Me,” “Cut My Hair,” “Punk,” “Dirty Jobs,” “Is it in My Head?” and “Anymore.” Don’t expect quadraphonic, though.

Pink Floyd: “The Wall.” Box set of three 7-inch singles. “Move Over” and “My Baby”; “Comfortably Numb” and “Hey You”; and “Run Like Hell” and “Don’t Leave Me Now.” The goodies just keep on coming from EMI’s massive Pink Floyd remastering project that began in September. Also just out on SACD.

The Yardbirds: “Ten Little Indians” and “Drinking Muddy Water” on a 7″ single. From the band’s waning days, in which Jimmy Page gets all psychedelic with reverse echo — trying to save the A-side, a strident cover of a Harry Nilsson song. The B-side is an excellent white boy blues workout from “Little Games.” From Sundazed.

The Yardbirds: “Ha Ha Said the Clown” and “Tinker Tailor Soldier Sailor” on a 7-inch single. A 1967 record never released in the U.K. Two solid of the best late-period songs — one pop, one rock — with Jimmy Page leading the way on guitar. From Sundazed.

Of course there are quite a few contributions from acts in many genres, across many decades. Check out the Black Friday music collection. See you in the queue.

Leading the way were the Temptations, a group in transition after the departure of troubled lead singer David Ruffin.

The group fell under the influence of of Sly and the Family Stone — whose “Dance to the Music” arrived like a thunderbolt in early 1968 — and convinced producer Norman Whitfield to bring some of that funk, chaos and communal vibe to the Temptations’ sound. In particular, the Temps liked the Family Stone’s technique of changing singers multiple times during a song.

The first “psychedelic soul” single out of Motown was “Cloud Nine” (October ’68). Criticized as a pro-drug song, it nonetheless reached No. 6 on the Billboard Pop chart. It sprawled over 3 minutes and 37 seconds, an eternity for soul singles of the time. The Temps, for the record, denied “Cloud Nine” was a drug ditty, but no one believed them.

Then came “Runaway Child, Running Wild” (No. 6, 4:53), “I Can’t Get Next to You” (No.1, 2:51) and (another drug song) “Psychedelic Shack” (No. 9, 3:56).

On the Temps’ psychedelic soul albums, some of the songs ran considerably — “Runaway Child” doubled in length — and the stereo studio stunts came into play. (AM radio was mono, of course.)

The most successful Temps’ song in terms of the psychedelic aesthetic came last: “Ball of Confusion (That’s What the World Is Today).”

Like the other psychedelic soul songs, it coated the ace Motown songwriting in a wash of sonic special effects. Whitfield’s bag of tricks included double-tracked guitar, wah-wah, fuzztone, reverb, phase-shifting and dizzying stereo imaging.

Many of Motown’s “psychedelic” songs felt like affectations, but “Ball of Confusion” was different. It could go toe-to-toe with Sly Stone at his heaviest.

“Ball of Confusion” worked its magic at a frantic pace, building to some serious head-spinning disorientation. Here was a mind-bending song, among the most radical of Top 10 1960s singles.

The lyrics seemed left-wing political, but they spoke to much of America. In 1968, people simply were overwhelmed and sick of the turmoil.

So many problems to cite, and so the lyrics devolve at several points into a listing of the world’s woes. The following verse was delivered lightning fast by three singers:

Eve of destruction, tax deduction
City inspectors, bill collectors
Mod clothes in demand
Population out of hand
Suicide, too many bills
Hippies moving to the hills,
People all over the world are shouting “End the War”

Key moments: The cool producer’s count-in, the Funk Brothers’ unexpected heaviness, Stevie Wonder’s harmonica, the free-form drumming and, especially, Melvin Franklin’s Greek chorus contribution: the deep-voiced “And the band played on …”

One of the record’s most memorable lines was “the Beatles’ new record’s a gas.” Perhaps a throw-away, but in ’68 it played like an olive branch from blacks to whites.

And the fusion of hippie rock and Motown soul became manifest for one glorious moment.