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https://www.youtube.com/watch?v=FlCoc_OismQ

Good shit.

https://www.youtube.com/watch?v=ZuWqrBaq9xE

Few would have believed that, at the time, the Doors half seriously pondered whether no less a crooner than Frank Sinatra might deign to cover You're Lost Little Girl. The tough and tender melody seemed to make it a perfect vehicle for Ol' Blue Eyes. John Densmore thought it would have made a great serenade to his waifish wife, Mia Farrow.

Producer Paul Rothchild was concerned that Jim not push the vocal too hard, and that, for the track to work, Jim had to sound completely relaxed. Jokingly, he suggested hiring a prostitute to join Jim in the vocal booth.

Pamela Courson overheard the suggestion and objected strenuously - such work was her responsibility. She joined Jim in the vocal booth, lights were dimmed and tape began to roll. Jim began to sing, but then stopped. All that could be heard in the control room was some rustling from the booth, the mics were switched off and they were left alone for awhile.

A later take made it onto the album - apparently without involving any unzipping at all. It had just the right sound - the kind of serene "afterglow" Rothchild was looking for.

In fact, no matter what Jim Morrison did in the studio, and no matter what the Doors did around him, the singer's sex appeal always made its way through to those fans who were smitten with him as America's finest heart-throb. Already he was growing tired of that type of celebrity, but he couldn't get away from it.

"I've often wondered if Morrison was just too good-looking for his own good," says Chris Darrow of Kaleidoscope. "Nobody else at the time had that kind of sex appeal, and that brought a whole different kind of attention. Look at Buffalo Springfield, The Byrds, Iron Butterfly, or the band I was in. We were just regular guys up on stage playing in bands. Nothing special to look at. We knew the Doors were making some interesting music too, but I have to say that there really was some resentment among us musicians over Jim's looks."

https://www.youtube.com/watch?v=xIkUiD8N81k

This archetypal American high-school teen love song was composed by Gary Geld and lyricist Peter Udell. The duo began their writing partnership in the early sixties and wrote over 100 songs together. One of their first songs was this, which they wrote in 1960 and was a hit for Brian Hyland two years later. Bryan recalls Geld saying the song was "based on, but not totally based on, a Bach finger exercise."

Hyland said in "1000 UK #1 Hits by Jon Kutner and Spencer Leigh", "Sealed With A Kiss" was recorded about a year before I did it by The Four Voices, who had a sound like The Brothers Four. It dragged and didn't have any life in it, so it wasn't a hit. I told them we should do it."

Brian Hyland's puppy-love pop virtually defined the sound and sensibility of bubblegum during the pre-Beatles era. In the years after his teen idol stature faded, he enjoyed a creative renaissance, releasing a series of underrated country-inspired efforts and even making a brief return to the pop charts.

Born November 12, 1943, in Brooklyn, NY, Hyland studied guitar and clarinet while singing in his church choir. At 14 he co-founded a harmony group dubbed the Delfis, which cut a demo they shopped to various New York City record labels. Hyland ultimately signed as a solo artist to Kapp Records, and in late 1959 issued his debut single, "Rosemary." For the follow-up, "Four Little Heels (The Clickety Clack Song)," the label paired him with the Brill Building songwriting duo of Lee Pockriss and Paul Vance, and when the single proved a minor hit, Pockriss and Vance set to work on the follow-up. The resulting "Itsy Bitsy Teeny Weenie Yellow Polka Dot Bikini" topped the Billboard pop charts in the summer of 1960, vaulting the 16-year-old to teen heartthrob status.

After a move to ABC Records, Hyland partnered with the songwriting and production tandem of Gary Geld and Peter Udell for the hits "Let Me Belong to You" and "I'll Never Stop Wanting You." With 1962's "Sealed with a Kiss," a Top Five entry on both sides of the Atlantic, Hyland sealed his reputation as a paragon of youthful innocence and first-kiss romance, perfectly capturing the adolescent zeitgeist in the months leading up to Beatlemania. With 1962's Top 30 hit "Warmed-Over Kisses (Leftover Love)," Hyland introduced elements of country music into his sound, an approach he explored on singles including "I May Not Live to See Tomorrow" and "I'm Afraid to Go Home" and culminating with the 1964 LP Country Meets Folk. While Hyland's music clearly anticipated the folk-rock and country-rock that would blossom in the years to follow, he seemed hopelessly out of touch in contrast to the British Invasion acts now dominating pop radio, and his commercial fortunes rapidly dwindled. Hyland nevertheless forged on, teaming with producer Snuff Garrett and famed session men J.J. Cale and Leon Russell to score a pair of surprise Top 30 hits, "The Joker Went Wild" and "Run, Run, Look and See."

https://www.youtube.com/watch?v=WS-OIgpQJp4

Although released by Tom Rush before Jackson Browne, this song was originally written by Jackson Browne when he was just 16 years old in either 1964 or 1965, who released his in 1973. It appeared on a Browne demo in early 1967 under the title "I've Been Out Walking." Browne recorded the song on his 1973 For Everyman LP, with an arrangement written by Gregg Allman (who also covered it around the same time on his Laid Back debut solo set).

https://www.youtube.com/watch?v=yZgblTKscX0

Like many Led Zeppelin songs, this borrows from an old Blues tune, in this case a song of the same name also known as "Jesus Make Up My Dying Bed" which was performed by Blind Willie Johnson. Blind Willie Johnson recorded the song during his first recording session on December 3, 1927, as "Jesus Make Up My Dying Bed" and the second take was released as his first single in 1928.

The lyrics "Jesus goin' a-make up my dyin' bed" appear in historian Robert Emmet Kennedy's Mellows – A Chronicle of Unknown Singers published in 1925, on Louisiana street performers, and also listed in the Cleveland Library's Index to Negro Spirituals. The variation "He is a Dying-bed maker" appears in the song "When I's Dead and Gone" as transcribed in 1924 or 1925 in the south-east. A close theme in English hymnary is found in Isaac Watts, and many derivative hymnals. In October 1926, Reverend J. C. Burnett recorded "Jesus Is Going to Make Up Your Dying Bed", but it was never issued. Blind Willie Johnson may have heard Burnett's song or otherwise learned some of his lyrics.

Bob Dylan recorded an adaptation of the song on his first album, which Led Zeppelin used as the basis for their version of "In My Time Of Dying."

https://hooktube.com/watch?v=L4DdAs0PddQ

Inspired by Bill Haley and His Comets' "Rock Around the Clock", Jeff Beck plays both the lead guitar and bass guitar. "Over Under Sideways Down" was ranked number 23 in Rolling Stone's list of the 100 Greatest Guitar Songs of All Time.