Producer Lou Adler, best known by 1969 for co-producing The Monterrey Pop Festival and for producing The Mamas and The Papas on his Dunhill Record label (and that really doesn't begin to cover his comings and goings back then or now) had this idea to re-imagine Bob Dylan's music in a gospel setting.

Either you get The Turtles (originally a dance band called The Crossfires) or you don't. Either you think of them as pop schlockmeisters or you see them as they really were: an adventurous, eclectic and sometimes deep post-Beatles psych/rock band. I'm not here to sell them to you. They did write some great tunes and cover many others guided by Hollywood pro A&R guys and they were recorded by the best engineers in Hollywood: "Bones" Howe, Bruck Botnick and Armin Steiner among them.

Though the first studio effort by Miles Davis’ “second great quintet” may not be the group’s finest, it is nonetheless a groundbreaking and very satisfying record, especially considering the backdrop.

Around 1963 Miles’ rhythm section of Wynton Kelly on piano, Jimmy Cobb on drums and Paul Chambers on bass left Davis to form their own group.