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The song was written and composed by duo partner Chad Stuart (Jeremy Clyde made few contributions to Stuart's and his repertoire) with Clive Metcalfe and Keith Noble.

Like Stuart's and Clyde's breakthrough selection in duo partnership, "Yesterday's Gone," "A Summer Song" is a reminiscence of a summer romance. However, "A Summer Song" eschews the "Merseybeat" sound of "Yesterday's Gone" in favor of a gentler folk-influenced arrangement, with the lyrics also being wistful in tone. Stuart would recall, on The Steel Pier Radio Show, that his "A Summer Song" collaborators, Clive Metcalfe and Keith Noble, were themselves a musical duo with whom he and Clyde had become friendly, and that "A Summer Song" was written and composed in Stuart's flat in London: "We were sitting around jamming on four chords and we came up with 'A Summer Song.'" "We never thought 'Summer Song' could possibly be a single," he recalled another time. "It was just a pretty, romantic song. Or so we thought...you never can tell, can you?"

Clayton-Thomas was quoted as describing the song as being "written in an age when psychedelic imagery was all over lyrics...it was my way of saying, 'I came up with the song just picking it away on a guitar when I found some chord changes I liked. As for the lyrics, everybody was getting so serious about 'The Revolution' and everything else in those days. Don't get too caught up, because everything comes full circle'."

This was inspired by a Joni Mitchell song called "The Circle Game," where Mitchell sings about seasonal cycles and brings in the carousel with the line, "The painted ponies go up and down."

This marked the first instance of a Joni Mitchell influence in a popular song. Like Clayton-Thomas, Mitchell is from Canada, and he heard her work long before most. Mitchell didn't release her first album until 1968, but in the years prior she developed a reputation as an insightful songwriter and performer, and Clayton-Thomas was a big fan.

The song ends with the 1815 Austrian tune ["O Du Lieber Augustin"](https://hooktube.com/watch?v=ol_yvHK3P3U) ("The More We Get Together" or "Did You Ever See a Lassie?") and drummer Bobby Colomby's comment: "That wasn't too good", followed by laughter from the rest of the group. According to producer James William Guercio this section was added in at the last minute after the end of the master tape was recorded over accidentally by an engineer at the studio. Most of this section and the trumpet solo were edited out for the single version. The eight-bar piano solo which precedes the trumpet solo on the album version is overlapped with guitar on the single version before the last verse.

Blood, Sweat & Tears was formed in 1967 by Al Kooper after leaving the group Blues Project. Four of their eight members played horns, which defined their sound. Their 1968 album Child Is Father to the Man managed just modest sales, and Kooper left soon after. He was replaced by David Clayton-Thomas, who brought "Spinning Wheel" to the group and became their lead vocalist. With Clayton-Thomas up front, BS&T became one of the biggest acts of the late '60s and early '70s, with "Spinning Wheel" their calling card.

The group had trouble keeping momentum because they burned out on the road, since that was the only way most of their members could make a living. Clayton-Thomas left in 1972 but returned in 1975. The band stopped recording in 1980, but continued as a live act with various iterations into the '10s.

Jimmy Dean wrote and composed this in collaboration with Roy Acuff. Dean wrote this on a flight from New York to Nashville when he realized he needed another song for his recording session. Released in September 1961, by the beginning of November it went to number one on the Billboard Hot 100 and won Dean the 1962 Grammy Award for Best Country & Western Recording. Dean wrote this about fellow actor John Mentoe ("Destry Rides Again"), who was 6' 5" tall. According to Dean's roommate (at the time), the song was intended to be a joke. The words "At the bottom of this mine lies one hell of a man – Big John." (Some versions of the song change the last line to "lies a big, big man" to replace what was at the time considered to be borderline profane language.)

Floyd Cramer, a famous country/gospel pianist ("[Last Date](https://www.hooktube.com/watch?v=JvfG9uFswis)"), was hired to play the piano on the recording but wound up hitting a chunk of steel with a hammer instead. It was Floyd's idea to make the switch.

Its 1962 sequel, "[The Cajun Queen](https://hooktube.com/watch?v=23zRerieZxg)," describes the arrival of "Queenie," Big John's Cajun Queen, who rescues John from the mine and marries him. Eventually, they have "110 grandchildren." The sequel's events are more exaggerated than the first, extending the story into the realm of tall tales. In June 1962, the story continued (and evidently concludes) with the arrival of "[Little Bitty Big John](https://hooktube.com/watch?v=hnoAHUInimw)" learning about his father's act of heroism.

He had no idea what was to come.

This was Keith Emerson's first commercially successful band. The group was formed in 1967 by Emerson, Lee Jackson, David O'List and Ian Hague to back soul singer P. P. Arnold. After replacing Hague with Brian Davison, the group set out on their own, quickly developing a strong live following. The group's sound was centred on Emerson's Hammond organ showmanship and abuse of the instrument, and their radical rearrangements of classical music themes and Bob Dylan songs.

The band achieved commercial success with an instrumental rearrangement of Leonard Bernstein's [America](https://hooktube.com/watch?v=TZlVlhKc1sg). This was Keith Emerson's first commercially successful band. The group was formed in 1967 by Emerson, Lee Jackson, David O'List and Ian Hague to back soul singer P. P. Arnold. After replacing Hague with Brian Davison, the group set out on their own, quickly developing a strong live following. The group's sound was centred on Emerson's Hammond organ showmanship and abuse of the instrument, and their radical rearrangements of classical music themes and Bob Dylan songs.

The band achieved commercial success with an instrumental rearrangement of Leonard Bernstein's "AmericaHookTube" from the musical "West Side Story". In the play it was, to say, a rather unflattering view of being in America by immigrants.

This band began their career at the dawning of rock and its sub genres, the closing of the sixties and an era of growing desires to challenge the boundaries of popular music. The four musicians branched out, utilizing and combining classical, jazz, blues and rock music to forge a new and dynamic sound - later to be known as Progressive Rock. The seeds were already sown for the Symphonic and Orchestral style of music that Keith Emerson would champion throughout the decades to come. Following O'List leaving the group, the remaining members carried on as a trio, releasing several albums, before Emerson decided to split the band in early 1970 in order to form Emerson, Lake & Palmer.

The Nice evolved from Gary Farr and the T-Bones, which keyboardist Keith Emerson and bassist Keith "Lee" Jackson were both members of before the band dissolved in early 1967. Emerson then briefly played with the VIPs, who toured the Star-Club in Hamburg, and his playing style became influenced by the organist Don Shinn, including standing up to play the instrument and rocking it on stage. Meanwhile, P. P. Arnold, a performer who reached a higher level of popularity in the UK than her native U.S., was unhappy with her backing band, The Blue Jays, and wanted a replacement. Her driver suggested Emerson would be able to put together such a group. Emerson agreed, but only on the condition the band could perform on their own as a warm-up act. Since it effectively meant getting two bands for the price of one, manager Andrew Loog Oldham readily agreed. Emerson recruited Jackson, drummer Ian Hague and ex-the Attack guitarist David O'List. The name came from Arnold saying, "Here comes the Naz", which the group misheard as "the Nice".

The band played its first gig in May 1967, and had its first major break at the 7th National Jazz and Blues Festival in Windsor on 13 August. Oldham had managed to secure a separate set for the group in a side tent away from also accompanying Arnold on the main stage, where they gained attention. The next week, Welch wrote in the Melody Maker that "it was the first time I had seen a group actually in the act of winning its first following in quite dramatic circumstances". When Arnold went back to her family in the US shortly afterwards, Oldham offered the group a contract of their own. Hague was not interested in the "progressive" direction the group wanted to go in, so he was replaced by former Mark Leeman Five and Habits drummer Brian Davison. Now a band in their own right, the Nice expanded their gear, recruiting roadies Bazz Ward and Lemmy, the latter of whom provided Emerson with a Hitler Youth ceremonial dagger to stick into the keys on his Hammond organ. They spent the end of 1967 on a package tour with Jimi Hendrix, Pink Floyd, the Move and Amen Corner. Pink Floyd's then leader, Syd Barrett, missed several gigs and O'List had to stand in for him." from the musical "West Side Story". In the play it was, to say, a rather unflattering view of being in America by immigrants.

This band began their career at the dawning of rock and its sub genres, the closing of the sixties and an era of growing desires to challenge the boundaries of popular music. The four musicians branched out, utilizing and combining classical, jazz, blues and rock music to forge a new and dynamic sound - later to be known as Progressive Rock. The seeds were already sown for the Symphonic and Orchestral style of music that Keith Emerson would champion throughout the decades to come. Following O'List leaving the group, the remaining members carried on as a trio, releasing several albums, before Emerson decided to split the band in early 1970 in order to form Emerson, Lake & Palmer.

The Nice evolved from Gary Farr and the T-Bones, which keyboardist Keith Emerson and bassist Keith "Lee" Jackson were both members of before the band dissolved in early 1967. Emerson then briefly played with the VIPs, who toured the Star-Club in Hamburg, and his playing style became influenced by the organist Don Shinn, including standing up to play the instrument and rocking it on stage. Meanwhile, P. P. Arnold, a performer who reached a higher level of popularity in the UK than her native U.S., was unhappy with her backing band, The Blue Jays, and wanted a replacement. Her driver suggested Emerson would be able to put together such a group. Emerson agreed, but only on the condition the band could perform on their own as a warm-up act. Since it effectively meant getting two bands for the price of one, manager Andrew Loog Oldham readily agreed. Emerson recruited Jackson, drummer Ian Hague and ex-the Attack guitarist David O'List. The name came from Arnold saying, "Here comes the Naz", which the group misheard as "the Nice".

The band played its first gig in May 1967, and had its first major break at the 7th National Jazz and Blues Festival in Windsor on 13 August. Oldham had managed to secure a separate set for the group in a side tent away from also accompanying Arnold on the main stage, where they gained attention. The next week, Welch wrote in the Melody Maker that "it was the first time I had seen a group actually in the act of winning its first following in quite dramatic circumstances". When Arnold went back to her family in the US shortly afterwards, Oldham offered the group a contract of their own. Hague was not interested in the "progressive" direction the group wanted to go in, so he was replaced by former Mark Leeman Five and Habits drummer Brian Davison. Now a band in their own right, the Nice expanded their gear, recruiting roadies Bazz Ward and Lemmy, the latter of whom provided Emerson with a Hitler Youth ceremonial dagger to stick into the keys on his Hammond organ. They spent the end of 1967 on a package tour with Jimi Hendrix, Pink Floyd, the Move and Amen Corner. Pink Floyd's then leader, Syd Barrett, missed several gigs and O'List had to stand in for him.

"Into the Mystic" is No. 474 on the list of Rolling Stone The 500 Greatest Songs of All Time.

The lyrics are about a spiritual quest, typical of Morrison's work. "Bass thrums like a boat in motion, and the song comes back to water as a means of magical transformation." "At the very end Van sings: 'too late to stop now', suggesting that the song also describes an act of love." (This phrase would become a key point of many live concerts.) Compared to "Yesterday" by The Beatles, it has been described as "another song where the music and the words seem to have been born together, at the same time, to make one perfectly formed, complete artistic element.“

Morrison remarked on the song and how its use of homophones lent it alternate meanings:
"'Into the Mystic' is another one like 'Madame Joy' and 'Brown Eyed Girl'. Originally I wrote it as 'Into the Misty'. But later I thought that it had something of an ethereal feeling to it so I called it 'Into the Mystic'. That song is kind of funny because when it came time to send the lyrics in WB Music, I couldn't figure out what to send them. Because really the song has two sets of lyrics. For example, there's 'I was born before the wind' and 'I was borne before the wind', and also 'Also younger than the son, Ere the bonny boat was one' and 'All so younger than the son, Ere the bonny boat was won' ... I guess the song is just about being part of the universe."

OCT 10, 2021 One of the most influential instruments of the past century – the first approved prototype of Les Paul's Gibson Goldtop, dubbed #1 – is going on the auction block later this week

Written by Ted Nugent and rhythm guitarist/singer Steve Farmer. This was on the first Dukes album to feature all original songs, all of which were written by Ted Nugent and Steve Farmer. The album was in part a commercial attempt to reach the counter-cultural market by producing somewhat of a concept album. Originally, the record's A and B sides were to be stylistically contrast to each other, and written separately by Nugent and Farmer, respectively. The final project, however, includes most of the lyrics on the first half to be written by Farmer, while the second half features Nugent's only writing contribution to be the music for this song and "Conclusion", which uses the same music. While Nugent's songs are more geared in the direction of hard rock that would pioneer into what is now considered an early precursor to heavy metal music, Farmer's work has much more of a psychedelic, almost trendy by design, feel that tends to make satire out of the music scene at the time rather than embrace it, even going as far as to play out like a continual concept album. Despite the musical differences, the two sides are both experimental in their own right, as they were still in the process of developing their sound that Nugent would ultimately continue to reinvent until the end of the band's career.

This was the sign-off music they would play on my local FM station when FM was first being broadcast here. Every night at midnight, just like TV at the time, Sam Stone would put this on and you knew it was either time to party harder or try to get some sleep. It was so fantastic to be able to hear extended, hard core Rock when AM was still playing pop music.