As the Sabs poured into "Wheels of Confusion" like giant gobs of wet cement gushing from the heavens in the never-ending sameness of a taffy-pull performed by mutants, people began pouring into my house. One by one they instantly began digging the Sabs, nodding, heavy dudes one and all. Everyone picked up that old Sab neck-wobble trip where your head sort of rocks back and forth on your neck python-fash, right? Where the organ comes in over the big slow power chords; no it's not an organ, call it a component, yah, straight out of the Middle fucking Ages! Sorta walks right on out. Like some giant prehistoric plant learning how to walk ... right over your house ... so boogie while you can. But you can't lose that dyno chthonic zoomout riff 'cos it's right there in the middle of the next song, "Tomorrow's Dream," which got us so zonked we felt absolutely heavy. The cat did too. Then on into a foxy sorta Carole King piano folk song or something, whew, "Changes," kind of David Bowie we guessed, hey orchestra right? What? Went its evil way? Ooh. The room got kind of deep and spacey, brown all over, and the notes then sounded sorta while coming out of that ... y'know? Like a snowfall? It went on forever. We could dig it. Like we dig chewing gum made out of caulking compound. Right? So then can you conceive of a piercing tone followed by reverberating percussion noises called "FX," huh, that was the next tune, then we got tight with some heavy familiar Sab vibes again, swimming right up there to deep space where nothing hears or talks, right? "Supernaut." My sister had a vision of electronic buffalo ranches on Uranus, so help me. The drum solo in this song did it to her. Also, my watch stopped. But the Sabs didn't. Who needs a watch? I ripped it off my wrist & stomped on it. Slowly. Crunch. Side one groaned to a close, but soon side two followed it, without delay adhering to the walls of one's septum — the total "icicles in my brain" riff — right — "Snowblind," no less — climbing those big staircases made out of vanilla fudge, right up into your mind — so feed your nose, hey? God's a Fuzz Tone, right? The Abominable Snowman? Hey. La Fucking Brea! The tar pits was a heavy scene, right? Ask Freud or Dave Crosby. What a streaming feast of nerve gobble anyhow! But on with the snow, I mean show. Time for a Pez break. Whew. Monster slowness of the unelusive strikes again: "Cornucopia." I about fell out. Ten-ton dogs snarled in the mouth of the volcano. Storms of liquid metal blasted their way into the soap factory. Soaring zoos, etc. Then on to babies' time; breakfast on a sleigh in Hawaii with violins, titled "Laguna Sunrise." All sweet lime stripes across a popsicle spiced with Quaaludes, right. A million artichokes can't be wrong. Dreaming in the sun with their eyes open? Sweet music must end. Grunting, we tumble on into the new dance craze, you guessed it, "St. Vitus Dance." You drive me nervous. Pieces of hair got into my mouth during this one. Same old power saw on Venus move, lovely. "Under the Sun" starts out slow, like dinosaurs yawning, then it speeds up a little. Or does it? I can't tell. Fantastic four-second guitar solo by a gorilla in there somewhere, right — beautiful — gorilla! The Sabs pour it on, man, it's right near the end of the record now and here's a great three-second drum solo by a polar bear, no shit! Put mud in my ears if I lie! I can dig it! Great buncha chords there too, I couldna chose better myself, whew, we're thudding down toward the ultimate rip chord now. Gotcha. Over and out. Molten rocks hurtling across space imitating the origin of the universe, you dig? Ah, lay those chord slabs on my grave ... whew. The Sabs are genius.

“Tonight's the Night”

The lead cut and title track from this girl group's debut album, "Tonight's the Night" was written by 19-year-old bandmember Shirley Owens, who sings lead, and producer Luther Dixon. The band from Passaic, New Jersey met in high school, first calling themselves the Pequellos. The song's frank thoughts about sexual and emotional surrender was racy for the time, but that didn't stop the Chiffons from cutting a similar version immediately after the original came out. "We were the first female group to write some of our own material," band member Beverly Lee recalls. "We did have some say-so in our writing."