Lifetime Song List

Quack and the Pneumatic Ducks  --  Mach 7  --  Cinnimon Haze  --  Membrane
Links: With a lot of help from friends, I've tried to list as many as possible of the songs we did throughout the history of the band.  Songs that we covered are listed according to the recording artist, and artists are listed alphabetically.  Under each artist I've tried to list the songs chronologically (by album), oldest first.  Issue dates are for the LPs -- singles might have been issued earlier.

I've added links to CDNow for the groups and albums.  I found the info, song clips and biography links there to be very helpful in making sense of our random song memories.  I've also added AMG links -- they have more and better info, but no clips and you can't buy anything.

Band members and friends!  Please continue to mail me corrections and additions to this list.  It's only gotten this far because of your help.
 -- Chip Chapin.
Visitors since July 3, 2000
Updated July 22, 2000
  Note: This File is updated frequently.  Hit "Reload" on your browser.
All-Music Guide 
topica
 Join the Cinnimon Haze discussion list! 
CinnHaze@topica.com
Search 
You are Here: Cinnimon Haze > Lifetime Songlist

The Animals (later, Eric Burdon and the Animals)

Some of these were released by The Animals and others by the later (1967-69) Eric Burdon and the Animals.  The songs are widely available on "Best Of" collections.  Two problems: (1) many of the collections are from later live performances by Eric Burdon, so don't be fooled, and (2) no single collection appears to contain all three of these except the more-expensive (and complete) 41 song import, Story of the Animals. or the less-complete (but equally expensive) Australian import, Most of the Animals.  There is a UK release titled Most of the Animals which is cheaper, but I haven't seen the track list.
Eric Burdon and the Animals, Best Of

The Association

Chip: It's strange, but I still remember The Association playing Cherish and Along Comes Mary on TV, probably in 1966.  I think they were on The Smothers Brothers.  It was perhaps the first time that I looked at a musical performance and began to think seriously about doing the same thing.  As such, the memory is a pivotal moment for me.  The thing that's strange is that, as a band, we were never really into the sweet somnolence of Cherish (though I remember playing it with Suzie singing), while the sophisticated folk-pop of Along Comes Mary was at first too hard for us, then later just not our style.  I have no recollection of ever even trying it.
The Association, Insight Out

The Beatles

Chip:  I think there are several reasons why we didn't do more material by The Beatles: (1) No version of our band ever had the capability to perform the tight vocal harmonies typical of so much of their music, and (2) they had already entered their psychedelic period, and as a result much of their new stuff was completely unplayable.
The Beatles, The White Album

Buffalo Springfield

Chip: Quack and the Pneumatic Ducks was formed at the very peak of Buffalo Springfield's popularity, and if my memories are at all accurate, we were formed largely for the express purpose of playing playing their music.  Their songs remained a staple as long as Bill remained in the band: with Bill and Suzie both singing we could just barely handle the never-very-tight vocal harmonies of Stills, Nash, Furay and Young, and we needed two guitars to cover the music.  We probably continued to play Mr. Soul with David, I'm not sure.
Buffalo Springfield

The Byrds

The Byrds, Mr. Tambourine Man

Cream

I have a problem here.  I've listened to these particular tunes and played some of them a lot in the last 30+ years, and now, for some of them, it's very hard to recall whether or not we did them.  The only one I can be completely certain of is Sunshine of Your Love, and I'm pretty sure of Tales of Brave Ulysses.  Funny thing: I don't even like "Disraeli Gears" anymore, I enjoy the other Cream albums much more.
Cream, Disraeli Gears

Creedence Clearwater Revival

The album links below are to the "original" reissues, because those CDNow pages have all the track info.  But be aware that remastered versions of all their albums are becoming available during the year 2000.  Check the CCR link above.
Creedance Clearwater Revival Creedance Clearwater Revival, Bayou Country

 

The Doors

Chip: Of all the music we played, the music of  The Doors has been possibly the most enduring for me.  From the moment I heard Light My Fire for the first time in 1967 my world became a different place.  Their instrumental style set a new standard for crisp, clean, unhurried rock solos.  Astoundingly, the long-form version of the song from the LP got more airplay than the stunted version on the 45.  On top of that came Morrison's compellingly honest vocals.
The music of The Doors is also the music that, in my opinion, comes closest to the "native" sound of Cinnimon Haze/Membrane after David was singer.  As a cover band, it was important to pick material on which we could sound reasonably similar to the original.  We not only liked their music, but from the beginning, we could do a good job covering their material -- we had the same instrumentation (or more), could always play the parts, and there were few taxing harmonies.  The Doors were, overall, our favorite group to draw from.

The Doors

Grand Funk Railroad

Chip: I just loved these guys for about two years, then realized that they weren't considered hip and hadn't listened to them at all since about 1973.  While unearthing out old memories for these web pages I realized that I really did still like much of their material, especially from their second album, Grand Funk.  Strangely, it does not appear to be in print in the United States and is only available as an import.
Grand Funk Railroad, Grand Funk

Iron Butterfly

Chip: In-A-Gadda-Da-Vida was little more than a long jam and it helped indoctrinate us into the acid rock jam format.  We did an excellent cover of the song, much to the delight of some audiences.  For example, in 1971 or so the middle school students at Meadowbrook in Poway demanded that we play it, even though we had long since dropped it from our set lists.  It was fun and very unusual for us to have an audience clamoring to hear a particular song.
Iron Butterfly, In-A-Gadda-Da-Vida

Jefferson Airplane

Chip: 1967's White Rabbit was one of the first songs we played with Suzie (how we got from White Rabbit to Ode to Billie Joe is a journey I don't even want to remember).  I remember that the rumbling White Rabbit bass part was difficult for me to play fingerstyle -- today I would prefer using a pick to get a crisper sound.  Despite the fact that 1968's Crown of Creation was a favorite album of ours, I don't think we attempted any more Jefferson Airplane after Suzie's departure.
 
Jefferson Airplane, Surrealistic Pillow

Jethro Tull

Chip: I thought we did more Jethro Tull, but I looked through the track lists for all their albums prior to Aqualung and didn't find anything that I can remember doing as a band.
Jethro Tull, Aqualung

Jimi Hendrix

Chip: As I gathered this list I realized that I expected to find more Hendrix tunes that we had done, but I really don't think there are.  What about All Along the Watchtower and Little Wing? Voodoo Chile?  Were they too difficult for us?
Jimi Hendrix, Are You Experienced?

Led Zeppelin

Chip: What?  No Stairway to Heaven?  Well, the album Led Zeppelin IV wasn't released until November 1971, pretty close to the end our band.  I just don't think we ever got to it.
Led Zeppelin

Neil Young

Chip: Young's solo albums contained great stuff for us to cover: the instrumental arrangements were much simpler than Buffalo Springfield and the vocals were more straightforward with less harmonies.  I always felt that we did a great job with these songs.
Neil Young

The Rolling Stones

Chip: The Stones were a staple in the first year of our band.  Chris did an adequate job on the vocals, and the basic R&B material was just within our grasp. We turned away from the Stones for a couple of reasons: (1) Suzie replaced Chris on vocals and (2) the November 1967 release of Their Satanic Majesty's Request seemed to signal that the Stones would follow the Beatles into complex, psychedelic pastures where our feet could not tred.  The Stones later returned to their R&B roots, and we had David to sing it, but never went back to them as much as we might have.  Speaking for myself, the subtleties of good R&B no longer held much appeal compared to the more exotic sounds of The Doors, Spirit, Jethro Tull and others.  Also, their arrangements are busier than they sound; after Bill left we only had one guitarist and we never had a harp.  However I regret that we didn't attempt more of their stuff from Let It Bleed.
The Rolling Stones, Between The Buttons

Spirit

Chip: I sometimes think that during the last two years of our band we might have been content doing nothing but Spirit and The Doors.  Spirit was one of those groups whose music, like that of The Doors and Yes, absolutely held me spellbound the moment I heard it.  In my case, I believe I was listening to "underground" FM radio late at night when I heard Spirit's Mechanical World. It is a peculiar "song" that mocks convention, but its patient development, harmonized guitar leads, and moments of anguished intensity completely won me over.
Spirit, The Family That Plays Together

Steppenwolf

Chip: Any rock cover band of the 60's with an organ would have to have been dead not to have tried Born To Be Wild.
Steppenwolf

other artists

Originals

Chip: We never did many originals and in retrospect I wish we'd pushed ourselves harder to write.  Perhaps we criticized each others' work too vigorously.  Perhaps we just weren't prepared, as individuals, to expose ourselves so deeply, to make ourselves so vulnerable to people we'd grown up with and on whose approval we depended.  Nevertheless, I do remember a few that actually got seriously worked on by the band...
Copyright (c) 2000, All Rights Reserved
Chip Chapin / cchapin AT cs.stanford.edu