Lead singer Sky Saxon had a musical career that went back to pre-Beatle music days, when he recorded a few 45-rpm singles under the name Richie Marsh. Born in Salt Lake City, he was based in Los Angeles from the early 1960s. The Seeds were formed in 1965 with Saxon joining as a response to an advertisement. Keyboardist Daryl Hooper was a major factor in the band's sound; the band was one of the first to utilize keyboard bass. Guitarists Jan Savage and Jeremy Levine with drummer Rick Andridge completed the original quintet, but Levine left shortly after the first recording sessions for personal reasons. Although Sky Saxon is usually credited as bass player, he did not play bass on any of the Seeds' recordings. This was handled by session men, usually one Harvey Sharpe. On stage, keyboardist Daryl Hooper would handle the bass parts via a separate bass keyboard, in the same way as Ray Manzarek later did with The Doors.
The Seeds' first single Can't Seem to Make You Mine was a regional hit in southern California in 1965. The song was also played regularly on AM rock stations in northern California (and probably elsewhere), where it was well received by listeners. The band had their only national Top 40 hit, Pushin' Too Hard, in 1966. Three subsequent singles, Mr. Farmer (also 1966), a re-release of Can't Seem To Make You Mine (1967), and A Thousand Shadows (1967) achieved more modest success, although all were most popular in southern California. Musically uncomplicated and dominated by Saxon's vocal style and flair for simple melodic hooks, their first two albums are today considered classics of '60s garage music. A later album (Future, 1967) was full-blown psychedelic rock, with ornate flower-themed graphics to match, and another was devoted to the blues (with liner notes by Muddy Waters).
By mid-1968, with their commercial popularity flagging, the group's personnel began to change; the band was renamed "Sky Saxon and the Seeds" in 1969, by which point Bob Norsoph, guitar, and Don Boomer, drums, had replaced Savage and Andridge. Saxon continued to use the name “The Seeds”, using various backup musicians, at least through 1972; the last major-label records of new material by the Seeds—two non-charting singles on MGM records—were released in 1970.
After the dissolution of the Seeds, Sky Saxon joined the Yahowha religious group, inspired by their leader Father Yod. Although a member of the Source Family for several years, Saxon did not participate in any of the albums released by Yahowha 13 in the mid 1970s. He does appear on the "Golden Sunrise" album by Fire Water Air, which was a Yahowha 13 offshoot, and later recorded the "Yod Ship Suite" album in memory of the deceased Father Yod. In the 1970s, Saxon also released the solo LPs "Lovers Cosmic Voyage" (credited to Sunlight) and "Live At The Orpheum" credited to Sunlight Rainbow. In the 1980s, Saxon collaborated with several bands—including Redd Kross and The Chesterfield Kings—before reforming the original Seeds in 1989 to headline "The Summer of Love Tour", along with Big Brother and the Holding Company, Arthur Lee and Love, The Music Machine, and The Strawberry Alarm Clock.
The Seeds remained dormant again until 2003, when Saxon reformed them with original guitarist Jan Savage and newcomers Rik Collins on bass, Mark Bellgraph on Guitar and Dave Klein on keyboards. This new version of the Seeds went through several incarnations, with Savage departing midway through their 2003 European tour due to his health. Saxon remained the only original member of The Seeds, which continued to tour Europe and the United States. Saxon died on June 25, 2009 of heart and renal failure.
On July 24, 2009, members of The Smashing Pumpkins, Love, and The Electric Prunes performed a tribute concert at the Echoplex in Los Angeles in memory of Sky Saxon.
A documentary film about The Seeds has been prepared by GNP Crescendo Records President Neil Norman, the son of the label's founder Gene Norman. Filming began in 2007, and draws on first-hand knowledge of the band, interviews and concert footage. The film titled Pushin' Too Hard, directed by Norman and produced by Alec Palao, premieres August 16, 2014 at the Egyptian Theater in Los Angeles. A DVD release will follow later in the year.[4][5]
Some lyrics in Frank Zappa's album "Joe's Garage" refer to "Pushin' Too Hard": "You're plooking too hard/ Plooking too hard on ME".
The Seeds were a 1960s rock and roll band based in Los Angeles, California, United States, whose raw and abrasive energy, and simple, repetitive lyrics came to exemplify the garage rock style. The band was active from 1965 to 1972. The group reunited in 1989, split again in 1993 and reunited once more in 2003. The band's future is in question after the June 2009 death of its only constant member, singer Sky Saxon.
Lead singer Sky Saxon was heavily influenced in style and appearance by Mick Jagger, and the group promoted the fact that Blues great Muddy Waters once called them "America's own Rolling Stones." Keyboardist Daryl Hooper was a major factor in the band's sound; the band was one of the first to utilize keyboard bass; guitarist Jan Savage and drummer Rick Andridge completed the original quartet. Vocalist Saxon also played bass guitar.
The Seeds' first single, "Can't Seem To Make You Mine," was a regional hit in southern California in 1965. The band had their only national top-40 hit, "Pushin' Too Hard", in 1966. Two subsequent singles, "Mr. Farmer," (also 1966) and "A Thousand Shadows" (1968) achieved more modest success. Though musically primitive, one album was devoted to the Blues (with liner notes by Muddy Waters), and another (Future, 1967) was full-blown psychedelic rock, with ornate flower-themed graphics to match. The original Seeds disbanded in 1970, shortly after the release of Raw and Alive at Merlin's Music Box.
Sky Saxon joined the Yahowa religious sect, inspired by their divine leader Father Yod, released several albums as the Yahowa 13 in the mid-70s. Members of the sect went their separate ways after Father Yod died in a hang gliding accident in 1974, although Saxon continues to collaborate with various members of the Yahowa to this day.
In the 1980s, Saxon collaborated with several bands—including Redd Kross and The Chesterfield Kings—before reforming the original Seeds in 1989 to headline "The Summer of Love Tour", along with Big Brother and the Holding Company, Arthur Lee and Love, The Music Machine and The Strawberry Alarm Clock. The Seeds remained dormant again until 2003, when Saxon reformed them with original guitarist Jan Savage and newcomer Rick Collins on bass. This new version of the Seeds has gone through several incarnations, with Savage departing mid way through their 2003 European tour due to his health. Saxon now remains the only original member of The Seeds, currently augmented by the aforementioned Collins as well as organist Ryan Maynes, guitarist Nate Greely, and drummer Justin Smith. The band continues to frequently tour Europe and the United States.
"Pushin' Too Hard" was named one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
I Tell Myself
The Seeds Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Come on further, further,
I know we are whatever we are because we were whatever we were
Don’t tear apart
I don’t see myself like you do
I don’t see myself like you do
I don’t see myself like you
We went too far, we went too far, we went too far,
we went too far
To forget the past
There is a judge for all of us, it ain’t god, neither one of us
Trapped in this scrap yard
I don’t see myself like you do
I don’t see myself like you do
I don’t see myself like you
Oh from time to time I had some trouble on my mind
Oh from time to time I had some trouble on my mind
Oh from time to time I had some trouble on my mind
I don’t see myself like you do
I don’t see myself like you do
I don’t see myself
I don’t see myself like you
The Seeds's song "I Tell Myself" is a powerful track that explores themes of self-reflection and personal identity. The repetition of the phrases "we came so far, we went too far" suggest a journey, perhaps both physical and emotional, that has been taken and has gone too far. The line "come on further" indicates an urge to push past boundaries and limitations, to explore and expand beyond what is known. The use of the phrase "whatever we are" suggests a sense of uncertainty and ambiguity about the self, and how one's experiences shape this identity.
The lines "don't tear apart" and "trapped in this scrap yard" suggest a feeling of being stuck or trapped, perhaps in one's own thoughts or circumstances. The idea of a judge for all of us "it ain’t god, neither one of us" creates a sense of personal responsibility and accountability, in contrast with relying on a higher power for guidance or judgement. The chorus, "I don’t see myself like you do," emphasizes the uniqueness and individuality of each person's experience, and the limitations of how others perceive or understand us.
The repeated phrase "from time to time I had some trouble on my mind" creates a sense of vulnerability and imperfection, acknowledging that despite efforts to understand oneself, there are still struggles and challenges that arise. The final line "I don’t see myself like you" suggests a lack of understanding between people, even when trying to connect and relate to one another.
Overall, "I Tell Myself" is a complex and introspective song that explores the nuances of personal identity, self-reflection, and relationships with others.
Line by Line Meaning
We came so far, we came so far, we came so far
We have made it a great distance, accomplished much, and persevered through many hardships
Come on further, further,
Let's continue on this journey, pushing ourselves even harder and further
I know we are whatever we are because we were whatever we were
Our current identity and state of being is shaped by our past experiences and actions
Don’t tear apart
Let's not let our differences or disagreements break us apart
We went too far, we went too far, we went too far, we went too far
We have crossed a line or boundary that may be difficult to return from
To forget the past
Perhaps we have gone too far in trying to escape or ignore our past experiences
There is a judge for all of us, it ain’t god, neither one of us
We are all accountable for our own actions, and there is no higher power to absolve us of responsibility
Trapped in this scrap yard
We may feel stuck or confined by our circumstances, like we are in a place of refuse and waste
Oh from time to time I had some trouble on my mind
Occasionally, I am burdened by worries and struggles
I don’t see myself like you do
My perception of myself differs from how you perceive me
I don’t see myself
I may not have a clear or accurate understanding of who I truly am
I don’t see myself like you
Perhaps our different perspectives on who I am can cause conflict or misunderstanding
Lyrics © O/B/O APRA AMCOS
Written by: Michael Mentgen, Benjamin Renz, Benjamin Heidrich, Georges Goerens
Lyrics Licensed & Provided by LyricFind