The Monterey International Pop Music Festival was a three-day concert event held June 16 to June 18, 1967 at the Monterey County Fairgrounds in Monterey, California. Crowd estimates for the festival have ranged from 25,000-90,000 people, who congregated in and around the festival grounds. The fairgrounds’ enclosed performance arena, where the music took place, had an approved festival capacity of 7,000, but it was estimated that 8,500 jammed into it for Saturday night’s show.

Festival-goers who wanted to see the musical performances were required to have either an ‘all-festival’ ticket or a separate ticket for each of the five scheduled concert events they wanted to attend in the arena: Friday night, Saturday afternoon and night, and Sunday afternoon and night. Ticket prices varied by seating area, and ranged from $3 to $6.50 ($22–47, adjusted for inflation).

The festival is remembered for the first major American appearances by The Jimi Hendrix Experience, The Who and Ravi Shankar, the first large-scale public performance of Janis Joplin and the introduction of Otis Redding.

The Monterey Pop Festival embodied the theme of California as a focal point for the counterculture and is generally regarded as one of the beginnings of the “Summer of Love” in 1967; the first rock festival had been held just one week earlier at Mount Tamalpais in Marin County, the KFRC Fantasy Fair and Magic Mountain Music Festival. Because Monterey was widely promoted and heavily attended, featured historic performances, and was the subject of a popular theatrical documentary film, it became an inspiration and a template for future music festivals, including the Woodstock Festival two years later.

The festival was planned in seven weeks by John Phillips of The Mamas & the Papas, record producer Lou Adler, Alan Pariser and publicist Derek Taylor. Monterey and Big Sur had been known as the site for the long-running Monterey Jazz Festival and Big Sur Folk Festival; the promoters saw the Monterey Pop festival as a way to validate rock music as an art form in the way in which jazz and folk were regarded. The organizers succeeded beyond all expectations.

The artists performed for free with all revenue donated to charity, except for Ravi Shankar, who was paid $3,000 for his afternoon-long performance on the sitar. Country Joe and the Fish were paid $5,000 not by the festival itself, but from revenue generated from the D.A. Pennebaker documentary.

Lou Adler later reflected:

Our idea for Monterey was to provide the best of everything — sound equipment, sleeping and eating accommodations, transportation — services that had never been provided for the artist before Monterey…

We set up an on-site first aid clinic, because we knew there would be a need for medical supervision and that we would encounter drug-related problems. We didn’t want people who got themselves into trouble and needed medical attention to go untreated. Nor did we want their problems to ruin or in any way disturb other people or disrupt the music…

Our security worked with the Monterey police. The local law enforcement authorities never expected to like the people they came in contact with as much as they did. They never expected the spirit of ‘Music, Love and Flowers’ to take over to the point where they’d allow themselves to be festooned with flowers.

Monterey’s bill boasted a lineup that put established stars like The Mamas and the Papas, Simon & Garfunkel and The Byrds alongside groundbreaking new acts from the UK and the USA.

Jefferson Airplane

With two huge singles behind them, Jefferson Airplane was one of the major attractions of the festival.

The Who

Although already a big act in the UK, and now gaining some attention in the US after playing some New York dates two months earlier, The Who were propelled into the American mainstream at Monterey. The band used rented Vox amps for their set, which were not as powerful as their regular Sound City amps which they had left in England to save shipping costs. At the end of their frenetic performance of “My Generation”, the audience was stunned as guitarist Pete Townshend smashed his guitar, smoke bombs exploded behind the amps and frightened concert staff rushed onstage to retrieve expensive microphones. At the end of the mayhem, drummer Keith Moon kicked over his drum kit as the band exited the stage. During Jimi Hendrix’ stay in England he and the Who had seen each other perform, they were both impressed with and intimidated by each other, so neither wanted to be upstaged by the other. They decided to toss a coin, with The Who ending up performing just before Hendrix.

The Jimi Hendrix Experience

Hendrix’ use of extremely high volumes, the feedback this produced, and the combination of the two along with his dive-bombing use of the vibrato bar on his guitar, produced sounds that, with the exception of the British in attendance, none of the audience had ever heard before. This, along with his look, his clothing, and his erotic antics onstage, had an enormous impact on the audience. To take things further, after seeing The Who’s explosive finale, he asked around for a can of lighter fluid, which he placed behind one of his amplifier stacks before beginning his set. He ended his Monterey performance with an unpredictable version of “Wild Thing”, which he capped by kneeling over his guitar, pouring lighter fluid over it, setting it on fire, and then smashing it onto the stage seven times before throwing its remains into the audience. This performance put Hendrix on the map and generated an enormous amount of attention in the music press and newspapers alike.

Big Brother and the Holding Company (Janis Joplin)

Monterey Pop was also one of the earliest major public performances for Janis Joplin, who appeared as a member of Big Brother and the Holding Company. Joplin gave a provocative rendition of the song “Ball ‘n’ Chain”. Columbia Records signed Big Brother and The Holding Company on the basis of their performance at Monterey.

Eric Burdon and the Animals

Eric Burdon changed gears with his performance at Monterey. After six years of playing with the original Animals as part of the British Invasion, and the breakup of that band, Eric assembled a new band, a “New Animals” and at the festival, they performed the seminal work “Paint It Black” which showcased Burdon’s new style: anti-war, hard rock. Monterey affected his career intensely, as later captured in the song he wrote about it.

Otis Redding

Redding, backed by Booker T. & The MG’s, was included on the bill through the efforts of promoter Jerry Wexler, who saw the festival as an opportunity to advance Redding’s career. Until that point, Redding had performed mainly for black audiences, besides a few successful shows at the Whisky a Go Go. Redding’s show, received well by the audience (“there is certainly more audible crowd participation in Redding’s set than in any of the others filmed by Pennebaker that weekend”) included “Respect” and a version of “Satisfaction”. The festival would be one of his last major performances. He died six months later in a plane crash at the age of 26.

Ravi Shankar

Ravi Shankar was another artist who was introduced to America at the Monterey festival. The Raga Dhun (Dadra and Fast Teental) (which was later miscredited as “Raga Bhimpalasi“), an excerpt from Shankar’s four-hour performance at the 1967 Monterey Pop Festival, concluded the Monterey Pop film, introducing the artist to a new generation of music fans.

The Mamas & the Papas

The Mamas & the Papas closed the festival. They also brought on Scott McKenzie to play his John Phillips-written single “San Francisco, (Be Sure To Wear Flowers In Your Hair)”. Their set included their biggest hits, “Monday, Monday” and “California Dreamin'”.

Several acts were also notable for their non-appearance.

The Beach Boys, who had been involved in the conception of the event and were at one point scheduled to headline and close the show, failed to perform. This resulted from a number of issues plaguing the group. Carl Wilson was in a feud with officials for his refusal to be drafted into military service during the Vietnam War. The group’s new, radical album Smile had recently been aborted, with band leader Brian Wilson in a depressed state and unwilling to perform (he hadn’t performed live with the group since late 1964, although he would do so in Honolulu, Hawaii in August 1967). Since Smile had not been released, the group felt their older material would not go over well. The cancellation permanently damaged their reputation and popularity in the US, which would contribute to their replacement album Smiley Smile charting lower than any other of their previous album releases.

The Beatles were rumored to appear because of the involvement of their press officer Derek Taylor, but they declined, since their music had become too complex to be performed live. Instead, at the instigation of Paul McCartney, the festival booked The Who and the Jimi Hendrix Experience.

The Kinks were invited but could not get a work visa to enter the US because of a dispute with the American Federation of Musicians.

Donovan was refused a visa to enter the United States because of a 1966 drug bust.

Captain Beefheart and the Magic Band was also invited to appear but, according to the liner notes for the CD reissue of their album Safe as Milk, the band turned the offer down at the insistence of guitarist Ry Cooder, who felt the group was not ready.

Dionne Warwick and The Impressions were advertised on some of the early posters for the event, but Warwick dropped out because of a conflict in booking that weekend. She was booked at the Fairmont Hotel; the hotel was reluctant to release her and it was thought that canceling that appearance would negatively affect her career.

Bob Dylan did receive an invitation, but he declined due to the fact that he was still recovering from his motorcycle accident the previous year. Hendrix paid tribute to him by covering “Like a Rolling Stone”.

The Mothers of Invention were invited to perform, but their leader Frank Zappa declined because of his refusal to share the stage with any of the San Francisco bands who he felt were inferior.

Even though the logo for the band Kaleidoscope is seen in the film as a pink sign just below the stage, the band did not perform at the Monterey Festival.

Although The Rolling Stones did not play, guitarist and founder Brian Jones attended and appeared on stage to introduce Hendrix. The group was on the short list of invitees, but was unable to get work visas because of the drug arrests of Mick Jagger and Keith Richards.

It was long rumored that Love had declined an invitation to Woodstock, but Mojo Magazine later confirmed that it was the Monterey Festival they had rejected.

The promoters also invited several Motown artists to perform and even were going to give the label’s artists their own slot. However, Berry Gordy refused to let any of his acts appear, even though Smokey Robinson was on the board of directors.

The Monkees were the biggest-selling musical act in the United States in 1967 and were seriously considered to play, but after weeks of deliberation, John Phillips and Lou Adler decided not to invite them. However, group members Micky Dolenz (in full American Indian buckskins and headdress) and Peter Tork attended the festival and mingled with musicians backstage. Tork was asked to introduce Buffalo Springfield, his favorite group, for their set. Tork also introduced Lou Rawls and was involved in a bizarre incident where he walked out onstage in the middle of the Grateful Dead’s set to try to stop fans from climbing on stage and dancing. Tork also informed the crowd that The Beatles were not at the festival in disguise.

According to Eric Clapton, Cream did not perform because the band’s manager wanted to make a bigger splash for their American debut. However, it has since been revealed that the band were not considered by the festival organizers.

Music writer Rusty DeSoto argues that pop music history tends to downplay the importance of Monterey in favor of the “bigger, higher-profile, more decadent” Woodstock Festival, held two years later. But, as he notes:

…Monterey Pop was a seminal event… featuring debut performances of bands that would shape the history of rock and affect popular culture from that day forward. The County Fairgrounds in Monterey, California … had been home to folk, jazz and blues festivals for many years. But the weekend of June 16–18, 1967 was the first time it was used to showcase rock music.

The festival launched the careers of many who played there, making some of them into stars virtually overnight, including Janis Joplin, Laura Nyro, Canned Heat, Otis Redding, Steve Miller, and Indian sitar maestro Ravi Shankar.

Monterey was also the first high-profile event to mix acts from major regional music centers in the U.S.A. — San Francisco, Los Angeles, Chicago, Memphis, and New York City — and it was the first time many of these bands had met each other in person. It was a particularly important meeting place for bands from the Bay Area and L.A., who had tended to regard each other with a degree of suspicion — Frank Zappa for one made no secret of his low regard for some of the San Francisco bands — and until that point the two scenes had been developing separately along fairly distinct lines. Paul Kantner of Jefferson Airplane said “The idea that San Francisco was heralding was a bit of freedom from oppression.”

Monterey also marked a significant changing of the guard in British music. The Who and Eric Burdon and The Animals represented the UK, with the Beatles and the Rolling Stones conspicuously absent. The Stones’ Brian Jones wafted through the crowd, resplendent in full psychedelic regalia, and appeared on stage briefly to introduce Jimi Hendrix. It would be two more years before The Stones hit the road, by which time Jones was dead, and the Beatles never toured again. Meanwhile, The Who leaped into the breach and became the top British touring act of the period.

Also notable was the festival’s innovative sound system, designed and built by audio engineer Abe Jacob, who started his career doing live sound for San Francisco bands and went on to become a leading sound designer for the American theater. Jacob’s groundbreaking Monterey sound system was the progenitor of all the large-scale PAs that followed. It was a key factor in the festival’s success and it was greatly appreciated by the artists—in the Monterey film, David Crosby can clearly be seen saying “Great sound system!” to band-mate Chris Hillman at the start of the Byrds’ sound check. Lighting by Chip Monck attracted the attention of the Woodstock Festival promoters.

Electronic music pioneers Paul Beaver and Bernie Krause set up a booth at Monterey to demonstrate the new electronic music synthesizer developed by Robert Moog. Beaver and Krause had bought one of Moog’s first synthesizers in 1966 and had spent a fruitless year trying to get someone in Hollywood interested in using it. Through their demonstration booth at Monterey, they gained the interest of acts including The Doors, The Byrds, The Rolling Stones, Simon & Garfunkel, and others. This quickly built into a steady stream of business, and the eccentric Beaver was soon one of the busiest session men in L.A. He and Krause earned a contract with Warner Brothers.

Eric Burdon and the Animals later that same year, in their hit “Monterey”, quoted a line from the Byrds’ song “Renaissance Fair” (“I think that maybe I’m dreamin'”) and mentioned performers the Byrds, Jefferson Airplane, Ravi Shankar, Jimi Hendrix, The Who, Hugh Masekela, Grateful Dead, and the Rolling Stones’ Brian Jones (“His Majesty Prince Jones smiled as he moved among the crowd”). The instruments used in the song imitate the styles of these performers.

The festival was the subject of a documentary movie entitled Monterey Pop, by noted documentary filmmaker D.A. Pennebaker. Pennebaker’s team used recently developed portable 16mm crystal-sync motion picture cameras that stayed synchronized with double-system sound recording systems. The film stock was Eastman Kodak’s recently released “high-speed” 16mm Ektachrome 100 ASA color reversal motion picture stock, without which the nighttime shows would have been virtually impossible to shoot in color. Sound was captured by Wally Heider’s mobile studio on a then state-of-the-art eight-channel recorder, with one track used for the crystal-sync tone, to synchronize it with the film cameras. The Grateful Dead believed that the film was too commercial and refused permission to be shown. The screening of the film in theaters nationwide helped raise the festival to mythic status, rapidly swelled the ranks of would-be festival-goers looking for the next festival, and inspired new entrepreneurs to stage more such festivals around the country.

The audio recordings of the festival eventually became the basis for many albums, most notably the 1970 release Historic Performances Recorded at the Monterey International Pop Festival featuring partial sets by Otis Redding and Jimi Hendrix. Other releases recorded at the festival included dedicated live albums by the Grateful Dead, Jefferson Airplane and Shankar. In 1992, a four-CD box set was released featuring performances by most of the artists; various other compilations have been released over the years. According to a radio promotional feature that accompanied the box set release, on modified stages, including flatbed Kaleidscope (LA) trucks, set up in the surrounding environs, there had been several spontaneous jam sessions for the overflow crowds and campers. Among them was one at the Monterey Peninsula Community College sports stadium (right across the Hwy. 1 interchange), where Jimi Hendrix, flanked by Jorma Kaukonen and John Cipollina, played for an enthusiastic audience. It was also reported locally that Eric Burdon had checked out the provisions and healthcare facilities.

Friday, June 16

• The Association
• The Paupers
• Lou Rawls
• Beverly
• Johnny Rivers
• Eric Burdon and The Animals
• Simon & Garfunkel

Saturday, June 17

• Canned Heat
• Big Brother and the Holding Company
• Country Joe and the Fish
• Al Kooper
• The Butterfield Blues Band
• The Electric Flag
• Quicksilver Messenger Service
• Steve Miller Band
• Moby Grape
• Hugh Masekela
• The Byrds
• Laura Nyro
• Jefferson Airplane
• Booker T. & the M.G.’s
• The Mar-Keys
• Otis Redding

Sunday, June 18

• Ravi Shankar
• The Blues Project
• Big Brother and the Holding Company
• The Group With No Name
• Buffalo Springfield (played w/ David Crosby)
• The Who
• Grateful Dead
• The Jimi Hendrix Experience
• Scott McKenzie
• The Mamas & the Papas

The Righteous Brothers: You’ve Lost That Lovin’ Feelin’ is a song written by Phil Spector, Barry Mann, and Cynthia Weil. It was first recorded by the Righteous Brothers in 1964, and was produced by Phil Spector. Their recording is considered by some music critics to be the ultimate expression and illustration of Spector’s “Wall of Sound” recording technique.[3] It has also been described by various music writers as “one of the best records ever made” and “the ultimate pop record”.

The original Righteous Brothers version was a critical and commercial success on its release, becoming a number-one hit single in both the United States and the United Kingdom in February 1965. It was the fifth best selling song of 1965 in the US. It also entered the Top 10 in the UK chart on an unprecedented three separate occasions

Cream: Sunshine of Your Love is a 1967 song by the British rock band Cream. With elements of hard rock, psychedelia, and pop, it is one of Cream’s best-known and most popular songs. Cream bassist and vocalist Jack Bruce based it on a distinctive bass riff or repeated musical phrase he developed after attending a Jimi Hendrix concert. Guitarist Eric Clapton and lyricist Pete Brown later contributed to the song. Recording engineer Tom Dowd suggested the rhythm arrangement in which drummer Ginger Baker plays a distinctive tom-tom drum rhythm, although Baker has claimed it was his idea.

The song was included on Cream’s second album Disraeli Gears in November 1967, which was a best seller. Atco Records, the group’s American label, was initially unsure of the song’s potential. After recommendations by other label-affiliated artists, it released an edited single version in January 1968.[a] The song became Cream’s first and highest-charting American single and one of the most popular singles of 1968. In September 1968, it became a modest chart hit after being released in the UK.

Cream performed “Sunshine of Your Love” regularly in concert and several live recordings have been issued, including on the Royal Albert Hall London May 2-3-5-6, 2005 reunion album and video. Hendrix performed faster instrumental versions of the song, which he often dedicated to Cream. Several rock journals have placed the song on their greatest song lists, such as Rolling Stone, Q magazine, and VH1. The Rock and Roll Hall of Fame included it on its list of the “500 Songs That Shaped Rock and Roll”.

Janis Joplin/Big Brother and the Holding Company The song became a bigger pop hit when recorded by Big Brother and the Holding Company in 1968, with lead singer Janis Joplin. The song was taken from the group’s album Cheap Thrills, recorded in 1968 and released on Columbia Records.

This rendition made it to number twelve on the U.S. pop chart. The song’s instrumentation was arranged by Sam Andrew, who also performed three distorted, loud guitar solos giving the song a psychedelic touch.
Franklin said in an interview that when she first heard Joplin’s version on the radio, she didn’t recognize it because of the vocal arrangement.

Noted cultural writer Ellen Willis wrote of the difference: “When Franklin sings it, it is a challenge: no matter what you do to me, I will not let you destroy my ability to be human, to love. Joplin seems rather to be saying, surely if I keep taking this, if I keep setting an example of love and forgiveness, surely he has to understand, change, give me back what I have given”. In such a way, Joplin used blues conventions not to transcend pain, but “to scream it out of existence

The Association: Never My Love is a pop standard written by American siblings Donald and Richard Addrisi and best known from a hit 1967 recording by The Association. The Addrisi Brothers had two Top 40 hits as recording artists, but their biggest success was as the songwriters of “Never My Love”. Recorded by dozens of notable artists in the decades since, in late 1999 the Publishing Rights Organization Broadcast Music, Inc. (BMI) announced it was the second most-played song on radio and television of the 20th century.

The first recording of “Never My Love” to achieve success was by The Association, an American pop rock band from California. Their version of the song, recorded with members of The Wrecking Crew peaked at number two on the Billboard Hot 100 chart and hit number one on the Cashbox charts in October 1967, one of the band’s five top-ten hits in the late 1960s. Their third #1 on the Cashbox Top 100 Singles Chart, following “Cherish” (1966) and “Windy” (1967), it was featured on the band’s album Insight Out (1967). The song also reached number one in Canada’s RPM charts.

By the time The Association’s record was certified Gold by the RIAA for one million copies sold as of December 1967, Billboard noted that sixteen artists had recorded the song. Their third number one single had made them a top concert act and highly in demand by the TV variety series, specials, and talk shows that were a predominant format at the time, and they performed the hit on The Ed Sullivan Show, The Andy Williams Show, The Smothers Brothers Comedy Hour, The Hollywood Palace, The Dean Martin Show, Dick Clark’s American Bandstand, Hullabaloo, Shindig!, The Tonight Show Starring Johnny Carson, The Dick Cavett Show, The Joey Bishop Show, The Steve Allen Show, and a Carol Channing special.

Neil Diamond: Sweet Caroline is a song written and performed by American recording artist Neil Diamond and officially released on September 16, 1969, as a single with the title “Sweet Caroline (Good Times Never Seemed So Good)”. It was arranged by Charles Calello,[3] and recorded at American Sound Studio in Memphis, Tennessee.

The song reached #4 on the Billboard chart and eventually went platinum for sales of one million singles. In the autumn of 1969, Diamond performed “Sweet Caroline” on several television shows. It later reached #8 on the UK singles chart in 1971.

In a 2007 interview, Diamond stated the inspiration for his song was John F. Kennedy’s daughter, Caroline, who was eleven years old at the time it was released. Diamond sang the song to her at her 50th birthday celebration in 2007. On December 21, 2011, in an interview on CBS’s The Early Show, Diamond said that a magazine cover photo of Caroline Kennedy as a young child on a horse with her parents in the background created an image in his mind, and the rest of the song came together about five years after seeing the picture. However, in 2014 Diamond said the song was about his then-wife Marsha, but he needed a three-syllable name to fit the melody

Creedence Clearwater Revival: Proud Mary is a rock song written by John Fogerty and first recorded by his band Creedence Clearwater Revival. The song was released by Fantasy Records as a single from the band’s second studio album, Bayou Country, which was released by the same record company in January 1969.

The single is generally considered to have been released in early January 1969 although at least one source states that it came out just before Christmas 1968. The song became a major hit in the United States, peaking at #2 on the Billboard Hot 100 in March 1969, the first of five non-consecutive singles to peak at #2 for the group

The Animals: The House of the Rising is a traditional folk song, sometimes called “Rising Sun Blues”. It tells of a life gone wrong in New Orleans; many versions also urge a sibling to avoid the same fate. The most successful commercial version, recorded in 1964 by the British rock group the Animals, was a number one hit on the UK Singles Chart and also in the United States and France. As a traditional folk song recorded by an electric rock band, it has been described as the “first folk-rock hit”.[ An interview with Eric Burdon revealed that he first heard the song in a club in Newcastle, England, where it was sung by the Northumbrian folk singer Johnny Handle. The Animals were on tour with Chuck Berry and chose it because they wanted something distinctive to sing. The band enjoyed a huge hit with the song, much to Dylan’s chagrin when his version was referred to as a cover. The irony of this was not lost on Dave Van Ronk, who said the whole issue was a “tempest in a teapot.” He also claimed that this version was based on his arrangement of the song. Dylan stopped playing the song after the Animals’ recording became a hit, because fans accused him of plagiarism. Dylan has said he first heard the Animals’ version on his car radio and “jumped out of his car seat” because he liked it so much.

The Animals’ version transposes the narrative of the song from the point of view of a woman led into a life of degradation to that of a man whose father was now a gambler and drunkard, rather than the sweetheart in earlier versions.

The Animals had begun featuring their arrangement of “House of the Rising Sun” during a joint concert tour with Chuck Berry, using it as their closing number to differentiate themselves from acts that always closed with straight rockers. It got a tremendous reaction from the audience, convincing initially reluctant producer Mickie Most that it had hit potential, and between tour stops the group went to a small recording studio on Kingsway in London to capture it.

Recording and release

The song was recorded in just one take on 18 May 1964, and it starts with a now-famous electric guitar A minor chord arpeggio by Hilton Valentine. According to Valentine, he simply took Dylan’s chord sequence and played it as an arpeggio. The performance takes off with Burdon’s lead vocal, which has been variously described as “howling,” “soulful,” and as “…deep and gravelly as the north-east English coal town of Newcastle that spawned him.” Finally, Alan Price’s pulsating organ part (played on a Vox Continental) completes the sound. Burdon later said, “We were looking for a song that would grab people’s attention.”

As recorded, “House of the Rising Sun” ran four and a half minutes, regarded as far too long for a pop single at the time.[16] Producer Most, who initially did not really want to record the song at all, said that on this occasion – “Everything was in the right place … It only took 15 minutes to make so I can’t take much credit for the production” – nonetheless was now a believer and declared it a single at its full length, saying “We’re in a microgroove world now, we will release it.”

In the United States however, the original single (MGM 13264) was a 2:58 version. The MGM Golden Circle reissue (KGC 179) featured the unedited 4:29 version, although the record label gives the edited playing time of 2:58. The edited version was included on the group’s 1964 U.S. debut album The Animals, while the full version was later included on their best-selling 1966 U.S. greatest hits album, The Best of the Animals. However, the very first American release of the full-length version was on a 1965 album of various groups entitled Mickie Most Presents British Go-Go (MGM SE-4306), the cover of which, under the listing of “House of the Rising Sun”, described it as the “Original uncut version.” Americans could also hear the complete version in the movie Go Go Mania in the spring of 1965.

“House of the Rising Sun” was not included on any of the group’s British albums, but it was reissued as a single twice in subsequent decades, charting both times, reaching number 25 in 1972 and number 11 in 1982.

The Animals version was played in 6/8 meter, unlike the 4/4 of most earlier versions. Arranging credit went only to Alan Price. According to Burdon, this was simply because there was insufficient room to name all five band members on the record label, and Alan Price’s first name was first alphabetically. However, this meant that only Price received songwriter’s royalties for the hit, a fact that has caused bitterness ever since, especially with Valentine.