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Posts Tagged ‘British Invasion’

BIGGEST DISC SELLERS IN U.S. FOR 1965

In generational/fashion, history, music on April 22, 2014 at 11:54 pm

Nineteen sixty-five was the year the Beatles relinquished a big gooey dollop of their kiddywink appeal for American tweenies to another English group, Herman’s Hermits, from Manchester. While the Beatles surrendered quite a chunk of their disc sales too compared with 1964, they moved on to more mature music and broadened their fanbase, “peaking” with Yesterday, of Elizabethan pedigree. Couldn’t get much older-style or high-falutin’ than that. The Hermits, led by 17-year-old Peter Noone of panto and Coronation Street experience, stole the Beatles’ music hall base which they wouldn’t fully reclaim until the Sgt Pepper’s album two years later.

The Rolling Stones hit the US in a big way and around the world in 1965. From left, Bill Wyman, Mick Jagger,  a stoned Brian Jones, Charlie Watts, a young, relatively humanoid Keith Richard

The Rolling Stones hit the US in a big way and around the world in 1965. From left, Bill Wyman, Mick Jagger, a stoned Brian Jones, Charlie Watts, a young, relatively humanoid Keith Richard

The Hermits’ American label, MGM, would claim no fewer than seven million-selling singles for them during 1965, most of them including their two fastest sellers, Mrs Brown (You’ve Got a Lovely Daughter) and I’m Henry VIII I Am, firmly from the English Music Hall tradition. Deputising for them delivering music hall from Manchester were Freddie & the Dreamers, and in more serious mode, from Liverpool, Gerry & the Pacemakers. Where was rock music going? Fast taking over with two striking number ones, selling multi millions around the world, were the Rolling Stones. And there were still the Dave Clark Five, adding to their string of big hits.

Subdued beneath these English groups in singles sales were the most popular American groups, the Beach Boys and the Four Seasons hardly rating outright million-sellers anymore and now joined by the Byrds, Sonny & Cher and the Lovin’ Spoonful. In fact, at the height of the British Invasion the Beatles were slow off the mark to raise an RIAA Gold Disc. But the British showed their overall influence by converting to their style not only the Byrds (supposedly inspired by Bob Dylan) but popsters Gary Lewis & the Playboys and big-voiced soloist P. J. Proby.

P. J. Proby: from Texas, endorsed in the UK by the Beatles and had talent overflowing enough to go worldwide and then some.

P. J. Proby: from Texas, endorsed in the UK by the Beatles and had talent overflowing enough to go worldwide and then some.

Businesswise, it was a strangely divided year: high selling in the New Year and early spring when Petula Clark and Roger Miller had easily their biggest-ever hits, the Temptations and Marvin Gaye their biggest of mid decade and lesser Brit acts; but turning to distinctly mediocre by June, after which hot young acts like the Byrds couldn’t sell a million with a strong tail wind of publicity and Bob Dylan and the Beatles beneath their wings. The Byrds’ Mr Tambourine Man and Turn, Turn, Turn both hit no.1 in the US for multiple weeks but failed to sell a million in a low-selling period of 1965 during generally rising sales — the first one their top seller ever at a documented 900,000 nationally.

1. A Taste Of Honey (Herb Alpert & the Tijuana Brass)…. reported as 4.5 million US in 16 months, supporting mega-million sales of their albums

2. Wooly Bully (Sam the Sham & the Pharaohs)….. well over 2 million

3. I Can’t Help Myself (Four Tops)…. 2,500,000

4. King Of the Road (Roger Miller)…… 2 million or more

5. Mrs Brown You’ve Got a Lovely Daughter (Herman’s Hermits)…. sold a million US in first week

6. Downtown (Petula Clark)…. instant million-seller and eventually 3 million in US

7. My Girl (Temptations)….. eventually passing 2 million in US

8. Yesterday (Beatles)….. 1,800,000 in US

9. I’m Henry VIII I Am (Herman’s Hermits)….. over 600,000 orders in 2 days

10. I Got You Babe (Sonny & Cher)….. certified gold within two months and continuing strong to reach 3 million in next two years

We Can Work It Out (Beatles)…… 1,600,000 in US

Help! (Beatles)…. sold a million in US in one week

Satisfaction (Rolling Stones)…. a quick US million of its 4.5 million worldwide

Let’s Hang On (Four Seasons)….. est. 1,500,000 or more

I Got You (I Feel Good) (James Brown)…. a certified million in under 2 months

You’ve Lost That Lovin’ Feelin’ (Righteous Bros)…. nearing a million in under two months

Eve Of Destruction (Barry McGuire)….. a million and a half US

Get Off Of My Cloud (Rolling Stones)….. 500,000 US in 5 days

1 – 2 – 3 (Len Barry)….. 1,500,000

Stop In the Name of Love (Supremes)….. sold a prompt million US early spring

Help Me Rhonda (Beach Boys)….. over a million in its chart run

Ticket to Ride (Beatles)….. 750,000 orders but slow to retail the million

Can’t You Hear My Heartbeat? (Herman’s Hermits)…. certified a million US in ten weeks

This Diamond Ring (Gary lewis & the Playboys)…. a million US in less than 3 months

The Birds and the Bees (Jewel Aken)….. a fast million in early spring

I Hear a Symphony (Supremes)….. over half in US of world total of more than 2 million

Papa’s Got a Brand New Bag (James Brown)….. ditto US & world

Treat Her Right (Roy Head)…… 1,300,000

A Lover’s Concerto (Toys)….. certified gold in less than 3 months

Like a Rolling Stone (Bob Dylan)….. certified gold in 3 months

Hang On Sloopy (McCoys)…. certified gold in 5 months

Crying In the Chapel (Elvis Presley)….. certified gold US in summer

‘In’ Crowd (Ramsey Lewis Trio)….. gold

I Like It Like That (Dave Clark Five)….. reported million in US

Eight Days a Week (Beatles)….. took 6 months to be certified gold

Back In My Arms Again (Supremes)….. eventual million US

Over and Over (Dave Clark Five)……. million-seller US

Game Of Love (Wayne Fontana & the Mindbenders)….. probable spring million-seller

Count Me In (Gary Lewis & the Playboys)…. est. million US

The Name Game (Shirley Ellis)…. fast New Year seller

Flowers On the Wall (Statler Bros)…. sold a million into 1966

Keep On Dancing (Gentrys)…. a million US subsequently

Where the Action Is (Freddie Cannon)…. pop music tv theme, went gold in tv season

I’m Into Something Good (Herman’s Hermits)…. half million or so at first, passed a million during their US tour in May six months later

Hold What You’ve Got (Joe Tex)….. took almost a year to sell the million US

I’m Telling You Now (Freddie & the Dreamers)…. no.1 US but no reported gold disc

You Were On My Mind (We Five)….. passed 600,000 two weeks into top 20 US

What’s New Pussycat? (Tom Jones)…. almost a million in US chart run

California Girls (Beach Boys)…… debated million-seller US

Catch Us if You Can (Dave Clark Five)….. label claimed a million-seller

Tired Of Waiting for You (Kinks)….. ditto

All Day and All of the Night (Kinks)….. ditto, New Year seller

Unchained Melody (Righteous Bros)….. ditto, summer seller

Ebb Tide (Righteous Bros)…. ditto, Xmas seller

Red Roses for a Blue Lady (Bert Kaempfert)….. a subsequent million

Keep Searchin’ (Del Shannon)….. eventual million sale reported

Baby I’m Yours (Barbara Lewis)….. ditto

Save Your Heart for Me (Gary lewis & the Playboys)….. close to a million

The Boy From New York City (Ad Libs)….. gold unclaimed

Silhouettes (Herman’s Hermits)….. advance of 400,000 and eventual million

Mr Tambourine Man (Byrds)….. reported 900,000 in US

Turn Turn Turn (Byrds)….. less than 900,000 in US despite 3 weeks at no.1

Ferry Cross the Mersey (Gerry & the Pacemakers)….. est. 850,000

England Swings (Roger Miller)….. reported approaching a million

The Clapping Song (Shirley Ellis)….. ditto

Everybody Loves a Clown (Gary lewis & the Playboys)…. est. over 800,000

Nowhere to Run (Martha & the Vandellas)….. est. ditto

Goldfinger (Shirley Bassey)…. est. ditto

Bye Bye Baby (Four Seasons)….. three quarters of a million or more

Hush, Hush Sweet Charlotte (Patti Page)…… est ditto

How Sweet It Is (Marvin Gaye)….. over 800,000 as reported by Marvin

I’m A Fool (Dino, Desi & Billy)…… reported as 800,000 US

It’s the Same Old Song (Four Tops)….. over 750,000

Positively 4th Street (Bob Dylan)….. reported as 750,000-plus

Wonderful World (Herman’s Hermits)….. probably no more than three quarters of its world million in the US

Engine Engine No.9 (Roger Miller)….. est. 750,000 or so

I Go to Pieces (Peter & Gordon)….. est. ditto

It’s Not Unusual (Tom Jones)….. est. ditto

Baby Don’t Go (Sonny & Cher)….. est. around three quarters of a million US

It Ain’t Me Babe (Turtles)….. est. ditto

Just a Little Bit Better (Herman’s Hermits)….. probably less than 750,000 in US

I’ll Be Doggone (Marvin Gaye)….. est. ditto

Ain’t That Peculiar (Marvin Gaye)….. est. ditto

Just Once in My Life (Righteous Bros)…. est. ditto

I Will (Dean Martin)…. est. ditto

Don’t Think Twice (Four Seasons)…… sold a fast half-million and continued

Laugh At Me (Sonny)…. over 700,000 US

The Last Time (Rolling Stones)….. sold less in US (est. 700,000) than in UK

Do You Wanna Dance? (Beach Boys)….. est. 700,000

People Get Ready (Impressions)…. ditto

True Love Ways (Peter & Gordon)….. est. ditto

Last Chance to Turn Around (Gene Pitney)….. est. ditto

Reelin’ and Rockin’ (Dave Clark Five)….. ditto

Do the Freddie (Freddie & the Dreamers)….. est. 650,000 US

We’ve Gotta Get Out of This Place (Animals)….. est. 650,000

I’m Yours (Elvis Presley)….. 650,000 initially, gold long term

Puppet On a String (Elvis Presley)…. initially over half a million, long term gold disc US

Nothing But Heartaches (Supremes)….. est. around 600,000

Come Home (Dave Clark Five)…. ditto

Houston (Dean Martin)….. ditto

Little Girl I Once Knew (Beach Boys)….. est. 600,000 or so

But You’re Mine (Sonny & Cher)…. est. ditto

Tracks of My Tears (Smokey Robinson & the Miracles)…. est. ditto

Don’t Let Me Be Misunderstood (Animals)….. est. ditto

Mohair Sam (Charlie Rich)….. est. ditto

In the Midnight Hour (Wilson Pickett)…. est. ditto

Send Me the Pillow You Dream On (Dean Martin)….. est. ditto

Heart Of Stone (Rolling Stones)….. est. 600,000

You Were Made For Me (Freddie & the Dreamers)….. reported 600,000 in US

Girl On the Billboard (Del Reeves)….. est. ditto, c&w no.1 for many weeks

With These Hands (Tom Jones)….. probably 600,000

Willow Weep For Me (Chad & Jeremy)….. est. ditto

Before and After (Chad & Jeremy)….. est. ditto

It’s My Life (Animals)….. est. ditto

Set Me Free (Kinks)….. est. ditto

Lookin’ Through the Eyes of Love (Gene Pitney)…… est. ditto

Tell Me Why (Elvis Presley)….. just over 500,000 initially, gold long term

(Such An) Easy Question….. Estimated half a million sales or more

I’ll Be There (Gerry & the Pacemakers)….. est. half-million or so

I’ve Got a Tiger By the Tail (Buck Owens)…. top c&w disc selling over a half-million

I Must Be Seeing Things (Gene Pitney)….. est. ditto

Girl Come Running (Four Seasons)…. est. ditto

Just You (Sonny & Cher)….. est. half a million

I Understand (Freddie & the Dreamers)….. reported half a million US

Blue Christmas (Elvis Presley)….. probably around a half-million this Xmas, awarded gold long term

Do the Clam (Elvis Presley)…. reported just under half-million

BIGGEST SELLING DISCS OF 1964: “IT WAS 50 YEARS AGO TODAY…”

In history, music on April 7, 2014 at 2:09 am

No, nothing to do with the Sgt Pepper’s album, whose 50th anniversary is still to come three years from now. Though the Beatles changed the stakes by selling just as many albums in the States as singles, individual songs (the A-side of a vinyl single) still made the biggest impact on the charts and to careers — to change to albums later in the decade.

It was 1964 that was unquestionably the year of the Beatles — in the United States. In their homeland the Beatles had already made multiple breakthroughs right through 1963, their singles more than doubling the sales of the previous one until reaching a ceiling: from Love Me Do (116,000) to Please Please Me (310,000), From Me to You (660,000), the Twist & Shout e.p. the same, She Loves You (1,890,000) and I Want to Hold Your Hand (1,640,000). These last two would remain their biggest-ever sellers in the UK (double that of Hey Jude in 1968 after four years of steadily falling sales across the British industry). After From Me to You had ‘peaked’ for them at 21,000 North American sales, the very last was the disc that finally broke through in America with hefty saturation promotion via New York radio stations during the two weeks of the New Year 1964 holiday. The Beatles were a commercial phenomenon, the biggest thing on disc since the Chipmunks sold seven million of their Xmas song in 1958-59.

N.B. The figures quoted in this article are the official retail totals of cross-counter sales through each disc’s chart run as far as can be determined from this distance. In Britain this is generally the single’s total up to date, unless specially re-released and publicized as such. In the States vinyl presses tended to be kept at the ready for big hits, especially for long-running performers who could promote the song all over again for seasonal occasions or on tour, and many medium to big hits turned into monumental ones over the years. (Fans couldn’t get enough of those cute Chipmunks and took their disc to 12 million over the next two Xmases.) Note also that the cost of a single in America (and Britain) in the early to mid Sixties ranged from 75 cents upwards — proportionate to relative incomes, more than $10 today. Additionally, the population of the USA — and its record-buyers — was barely more than half what it is today.

The year before, the Beach Boys had been the biggest sellers of US singles (the Four Seasons in 1962) at around six and a half million in total (my estimate) in a low-selling year, followed by Dion, the Four Seasons, Ray Charles, and Chubby Checker fading, 5th. Surfin’ USA was ajudged the top-selling single by torturous process, out on its own but at probably well under two million, compared to 1962 which had boasted at least seven singles selling the double-million or approaching it.

The Beatle industry’s massive assault on the USA and rest-of-the-world markets really began in fall 1963 when Capitol executives were summoned from Hollywood to London by Sir Joseph Lockwood, chairman of parent company EMI, to please explain why his trans-global corporation had made no dent at all in the States with its fluffiest product. Capitol, from its point of view, had done fine with its biggest disc sellers, Bozo the Clown in the Fifties, and now the Beach Boys. Lockwood was determined to give a hefty promotional push to this one product in the all-eggs-in-one-basket approach. Sure enough, the Beatle singles that flopped in America over the past year — Please Please Me, From Me to You, She Loves You — were about to be unloaded all over again as new product on an unsuspecting public to sell in the millions, along with such worthies as And I Love Her/If I Fell that got lost in the rush and missed the top 10 (maybe selling close to three quarters of a mill) and real dogs like My Bonnie, that never made it past the 300,000 sales mark but still through saturation airplay made the Billboard top 30 and Sie Liebe Dich (Ja, Ja, Ja) that barely made the Hot 100 — its German even less comprehensible than Liverpudlian. Suffice to say, during April 1964 it was figured that 60% of singles sold in the USA across a three-week period were Beatle ones. At the end of that month, of 14 Beatle singles listing on the charts, five of them lined up at the very top of the Billboard chart.

The Beatles, mid 1964

The Beatles, mid 1964

    THE BIGGEST-SELLING SINGLES OF 1964 in the U.S.A.

alone, as accurately as I can gauge by assiduous research into a period eons before Neilson-Soundscan electronic retail recording:

1. I Want to Hold Your Hand (Beatles)….. 3,500,000 over the US chart run and building eventually to an estimated 5,300,000; over 12 million worldwide

2. Hello Dolly (Louis Armstrong)….. approaching 3,000,000 US through 1964

3. She Loves You (Beatles)……. more than 2,500,000

4. Oh Pretty Woman (Roy Orbison)…… around 2,000,000 or more

5. I Get Around (Beach Boys)…… approaching 2,000,000 during US chart run

6. Louie Louie (Kingsmen)…… approaching 2,000,000 but many during 1963

7. My Guy (Mary Wells)…… more than 1,500,000

8. Glad All Over (Dave Clark Five)….. more than 1,500,000

9. Everybody Loves Somebody (Dean Martin)….. almost 2,000,000 running into 1965

10. Dominique (The Singing Nun)…. more than 1,750,000 but many during 1963

(These are the top ten for the year according to Cash Box, the best trade paper at tracking sales, closely confirmed by Billboard for the first five places and then showing increasing variance.)

    OTHER CONTENDERS & RUNNERS-UP

:

* Chapel Of Love (Dixie Cups)….. around 2,000,000

* Can’t Buy Me Love (Beatles)……. record advance order of 2,100,000 but actual sales apparently didn’t approach this

* I Feel Fine (Beatles)…. advance orders (not retail sales) of a million-plus, building to 1,600,000 but counted under 1965

* A Hard Day’s Night (Beatles)…… RIAA Gold Disc for a million in the US awarded one month into top 20 run

* Rag Doll (Four Seasons)….. RIAA Gold Disc awarded two months into top 20 run

* Twist & Shout (Beatles)…… 1,250,000

* Last Kiss (J Frank Wilson & the Cavaliers)….. a million within three months

* You Don’t Own Me (Lesley Gore)…… more than 1,000,000 during chart run

* Dawn (Go Away) (Four Seasons)….. over a million by internal evidence relative to others

* Bits and Pieces (Dave Clark Five)….. Gold disc awarded by Epic label within three months

* Please Please Me (Beatles)……. 1,185,725 in US

* Love Me Do (Beatles)……. 1,165,200 in US

* Dancing In The Street (Martha & the Vandellas)….. 1,000,000 in chart run

* We’ll Sing in the Sunshine (Gale Garnett)…. posted by Billboard at 9th for the year but only documentation is more than 900,000 within three months

* Where Did Our Love Go? (Supremes)………. 1,072,270 sale quoted by Motown contract

* Do You Want to Know a Secret (Beatles)…… 1,000,000

* Fun Fun Fun (Beach Boys)……. accumulating 1,000,000 in US in a few months; reported in 1995 as having sold “over 4 million”

* Baby Love (Supremes)….. more than 1,000,000 but counted into 1965

* Remember (Walking in the Sand) (Shangri-Las)….. “a million”

* G.T.O. (Ronny & the Daytonas)…… “a million”

* Walk Don’t Run ’64 (Ventures)….. “(second) gold disc”

* My Boy Lollipop (Millie Small)…… “almost a million”

* Little Old Lady From Pasadena (Jan & Dean)… presumed million from internal evidence

* California Sun (Rivieras)….. “almost a million”

* The Girl From Ipanema (Stan Getz & Astrud Gilberto)….. “almost 1,000,000”

* Dang Me (Roger Miller)…… claimed a million

* Chug-A-Lug (Roger Miller)….. claimed a million

* Little Honda (Hondells)…. Beach Boys in disguise, selling a million

* Don’t Let the Rain Come Down (Crooked Little Man) (Serendipity Singers)…. 800,000-plus initially

* Baby I Need Your Lovin’ (Four Tops)….. 750,000 initially, building to a million in 1965

* A Woman’s Love (Carla Thomas)…. barely made the weekly top 100 but sold a million in the r&b market

* Dance Dance Dance (Beach Boys)…. at least three quarters of a million, taken over the million by record club sales

* When I Grow Up (Beach Boys)…. as above, similarly barely top 10 in Billboard (airplay) but top 5 in sales charts

* Ask Me/Ain’t That Lovin’ You Baby (Elvis Presley)…. initially 700,000 sold, going on eventually to gold disc US

* Kissin’ Cousins (Elvis Presley)…. quoted 700,000 sales

* Viva Las Vegas (Elvis Presley)…. initially just under 500,000 but going on long term to a US gold disc

* Dead Man’s Curve (Jan & Dean)…. reported 790,000 sold in US spring chart run

* Ride the Wild Surf (Jan & Dean)…. est. three quarters of a million plus

* Sidewalk Surfin’ (Jan & Dean)…. (reworded from the Beach Boys’ Catch A Wave), reported 700,000-plus by spring ’65 though barely top 30

    SPECIAL MENTION

:

* Downtown (Petula Clark)….. didn’t enter top 20 till second day of 1965 (but went on to sell 3 million in US alone)

* You’ve Lost That Lovin’ Feelin’ (Righteous Bros)….. ditto the same day

    QUESTION MARKS

:

* House of the Rising Sun (Animals)…… no.1 but no confirmation

* Do Wah Diddy Diddy (Manfred Mann)…… no.1 but no confirmation

* Leader of the Pack (Shangri-Las)….. no.1 but similarly no confirmation of a million US sale (but pulled off a rare feat of placing top in all four major US charts, Billboard, Cash Box, Record World, Variety)

* She’s Not There (Zombies)….. no.1 but no confirmation

Martha Reeves heading the Vandellas.

Martha Reeves heading the Vandellas.

BUY MY BOOKS, DAMN IT!

In literature, music on August 17, 2013 at 8:55 am

Once upon a time in London, centuries ago, before Fleet Street became a synonym for the journalism of daily reportage, there was Grub Street. This was a catch-all for the work place and social milieu of the hack writer, hundreds of whom hired themselves out to write bits and pieces great and small. The famous Dr Samuel Johnson started like this, lucky to be able to afford company at a coffee shoppe, compiling his dictionary in the 1750s with assistance from emmanuensises, sponsored by wealthy “patrons”. After the best part of a decade the dictionary was finished and when his patrons came a-calling he could afford to kick their asses. Don’t know exactly what I’m trying to say here, but if you buy my books as a patron of my work I promise I won’t kick your ass…

Irish writer Oliver Goldsmith (She Stoops to Conquer, The Vicar of Wakefield) was another habitue of Grub Street and friend of Johnson, who was finally acknowledged but was forced to sell his classics cheap to publishers, was continually hounded by creditors and died young of privations already sustained. Johnson himself didn’t escape multiple afflictions from his imposed lifestyle. And Richard Savage was another notable acquaintance, a talented poet who never made it and starved to death.

But I’m quite comfortably off, though it’s normally two months between moca bowls (at the NZ Herald Proofreaders Old Boys Gathering, Cafe Liaison, Pompallier Tce, Ponsonby) — So, sorry for laying the guilt trip on you. The thing is, I don’t care at all for the marketing that goes into being “an author” these days and being a shameless self-promoter rubbing shoulders with get-rich-quick grifters and self-improvement freaks. But if I’m doing this once I might as well try the hard sell.

The series "Sixties Whiteboy Rock" is based on my 2007 book "Beach Boys vs Beatlemania: Rediscovering Sixties Music" -- revised and expanded.

The series “Sixties Whiteboy Rock” is based on my 2007 book “Beach Boys vs Beatlemania: Rediscovering Sixties Music” — revised and expanded.

To buy ($9.99) or borrow (about $2.50) an ebook go to Amazon and look up “Sixties Whiteboy Rock”. There will be two available in the series to choose from, but since you’re there you might as well buy both — featuring everything you ever wanted to know about Sixties Music up to around mid 1965; though black music will be featured more fully in its own volume later. Each volume is about 65,000 words plus 60 photos. The next two volumes, due out in the next few months, will cover the second half of the Sixties. Even if you don’t like Sixties Music there are some good polemical chapters/passages arguing for authenticity in art. And if you don’t care for early rock music or argumentative criticism, I should have my first short novel up in the next half-year or so, of the gritty-street-life variety and set in Auckland.

“ROCK MUSIC EBOOK 2013 — SIXTIES WHITEBOY ROCK (Part 2): Beach Boys, Jersey Boys & Beatledom” by G. A. De Forest

In art, celebrity, generational/fashion, music on July 30, 2013 at 8:44 pm

Buy this ebook from Amazon for $9.99 (or borrow it for two weeks for a lot less) — or face the consequences. These include staying ignorant of the real facts of the Sixties music scene, a subject, though a half-century out of date, remains dear to the hearts of all right-thinking people around the world. Rock stars to this day are strongly influenced, “sample” and downright copy sounds from this era. But they do this at their peril because no way can they recapture the excitement and spirit of that music and time — set in context as it is here in this book.

The direct link to the book is: http://www.amazon.com/dp/B00DQFWEJQ

It is about 60,000 words and has some 60 photos of top attractions of the day — so Bon voyage!

Don’t be the only loser on your block!

My New Book: “Black Rock via Beach Boys vs Beatlemania = Sixties Music”

In celebrity, history, music on October 21, 2011 at 10:11 pm

MichaelJasboy284My new book is due out before Christmas — this Xmas, 2011 [CORRECTION: Xmas 2013]. Entitled “Black Rock via Beach Boys vs Beatlemania = Sixties Music”, it is an ebook distributed by Booklocker.com — The price hasn’t been set yet, but should be way affordable for all you rockers interested in reading over 600 pages (over 250,000 words) touching on almost every aspect of the music business in the Sixties. Again, like the previous paperback “Beach Boys vs Beatlemania: Rediscovering Sixties Music” (booklocker.com, 448 pages, publ 2007), it is seen in the context of the Beach Boys vs Beatles debate. The bulk of the original book is still there, and refined. But I’ve added a LOT more (nearly 200 pages) especially on the highly influential and pivotal roles of your favorite neglected African American acts of the Sixties: James Brown, Sam Cooke, Ray Charles, Jackie Wilson, Hank Ballard & the Midniters, the Tokens, the Isley Bros, Chubby Checker, Ike & Tina Turner, Etta James, the Chantels, the Shirelles, the Chiffons, the Crystals, the Ronettes, the New Orleans and Chicago schools, Sly & the Family Stone — and all the VeeJay, Motown, Atlantic stars including Little Esther Phillips, Little Willie John, Jerry Butler, Curtis Mayfield & the Impressions, Bobby Blue Bland and Mercury stars Sarah Vaughan, Brook Benton,Dinah Washington, Timi Yuro.

Don’t miss out on what could be the ONE book on Sixties Music you’ve been wanting.

ROCK MUSIC — FAVORITE HITS OF 1965

In music on August 31, 2010 at 8:31 am

Mohair Sam — Charlie Rich
Engine Engine No. 9 — Roger Miller
King of the Road — Roger Miller
Wooly Bully — Sam the Sham & the Pharoahs
Do You Believe in Magic? — Lovin’ Spoonful
James-Brown_1973Papa’s Got a Brand New Bag — James Brown
I Got You — James Brown
Let’s Hang On — Four Seasons
Ticket to Ride — Beatles
We Can Work It Out — Beatles
Help! — Beatles
California Girls — Beach Boys
Do You Wanna Dance — Beach Boys
Help Me Rhonda — Beach Boys
The_Temptations_on_the_Ed_Sullivan_ShowMy Girl — Temptations
It’s the Same Old Song — Four Tops
My Generation — The Who
I Can’t Explain — The Who
Keep On Running — Spencer Davis Group
Mr Tambourine Man — Byrds
Turn Turn Turn — Byrds
All I Really Wanna Do — Byrds
Satisfaction — Rolling Stones
Get Off of My Cloud — Rolling Stones
How Sweet It Is — Marvin Gaye
Nowhere to Run — Martha & the Vandellas
FontellaBassRescue Me — Fontella Bass
Baby I’m Yours — Barbara Lewis
Yes I’m Ready — Barbara Mason
Like a Rolling Stone — Bob Dylan
Positively 4th Street — Bob Dylan
With These Hands — Tom Jones
It’s Not Unusual — Tom Jones
What’s New Pussycat? — Tom Jones
1 — 2 — 3 — Len Barry
Go Now — Moody Blues
It Ain’t Me Babe — Turtles
Let Me Be — Turtles
Eve of Destruction — Barry McGuire
Make It Easy on Yourself — Walker Bros
My Ship is Coming In — Walker Bros
Ebb Tide — Righteous Bros
Just Once in My Life — Righteous Bros
True Love Ways — Peter & Gordon
Heart Full of Soul — Yardbirds
Evil Hearted You — Yardbirds
I’m a Man — Yardbirds
Tired of Waiting For You — Kinks
See My Friend — Kinks
Don’t Let Me Be Misunderstood — Animals
We Gotta Get Out of This Place — Animals
It’s My Life — Animals
Concrete and Clay — Unit Four Plus Two
Crying in the Chapel — Elvis Presley
I Got You Babe — Sonny & Cher
Back in My Arms Again — Supremes
Stop In the Name of Love — Supremes

ROCK MUSIC’S ALTERNATIVE UNIVERSE: THE SIXTIES

In history, music on July 25, 2010 at 11:38 pm

Popular music as it was shaping going into 1962 promised to follow up the original rock’n’roll explosion of 1955-57 with a heady infusion of power and sophistication from many sources. Pop music created for the youth market was already being called ‘Rock’ as short for rock’n’roll by Billboard, Cash Box and other trade publications. (Record World, Crawdaddy and Rolling Stone would come later in the Sixties.)

According to the usual economic cycles, and specifically due to the cheap Japanese pocket transistor radios entering the market, record sales had come down since their historical peak in the 1957 calendar year. By that time a brigade of teen idols had infiltrated the purity of Rock and broadened it to “rock and roll”, expanding overall sales thanks to Pat Boone, Tab Hunter, Tommy Sands, Frankie Avalon, Fabian, Bobby Rydell et al promoted by Dick Clark’s American Bandstand, and Connie Francis, Brenda Lee and other teens dependent on Brill Building songwriters in New York.

In contrast to most of these, in the second half of 1960 and increasingly through 1961 strong Rock performers such as Lloyd Price, Hank Ballard & the Midniters (‘Finger Poppin’ Time’), Chubby Checker (riding on a remake of Hank’s ‘The Twist’) and vocal groups the Drifters and the Impressions, among others, brought the energy of r&b to mainstream radio. Many others celebrated lesser degress of success but contributed their influence to the mix.

Hank Ballard: too black for a superstar in 1960

By the end of 1961, Chubby Checker a transcendent figure bringing The Twist as a dance to middle-agers around the world, was joined at no.1 by strong r&b entries in the Marcels’ ‘Blue Moon’, Ernie K. Doe’s ‘Mother-in-Law’, Gary US Bonds’ ‘Quarter to Three’, Bobby Lewis’s ‘Tossing and Turning’, Ray Charles’ ‘Hit the Road Jack’, the Marvelettes’ ‘Please Mr Postman’, the Tokens’ ‘The Lion Sleeps Tonight’ — and growling white boys Roy Orbison, Del Shannon and Dion breaking away from the teen idol stereotype.

Control freak Phil Spector had written and produced for Atlantic and as a hands-on boutique independent brought popped-up black r&b into the top 10 with girl groups the Crystals (’62) incorporating Darlene Love, and the Ronettes (’63), each with a string of a half-dozen classic hits and only stopped by the arrival of the Beatles and the summary takeover of the airwaves by raucous male groups and accompanying dissing of girl acts.

In mid 1962 came the initial big hits of two white American groups, the Four Seasons based in New York and recrafting Doo Wop, and the Beach Boys of Los Angeles, likewise but purveying it from a foundation of adapted, advanced rock’n’roll. From their start with the double ‘Surfin’ Safari’/ ‘409’ the Beach Boys were judged to be broadly talented enough to produce bestselling albums — the first such teen group to do so. In 1963 not only the Beach Boys but James Brown and Stevie Wonder had number one albums. The revolution was on…

Both the Four Seasons and Beach Boys recognised the primacy of Black input into modern American music (predicted generations earlier by classical Czech composer Dvorak as its proper course) and kept it in the mainstream as its closest white interpreters until blues-centred English groups the Animals, Rolling Stones and Kinks arrived in the big time late in 1964, bringing the most purist Blues oriented stylings since the mid Fifties.

By then Spector and the Righteous Brothers had arguably perfected the ‘softer’ American r&b, now called Soul, in the form of ‘You’ve Lost Lovin’ Feelin”, leaving James Brown and Aretha Franklin to take up the more spontaneous, shouting form of African-based Soul — supported by South African diva Miriam Makeba (‘Pata Pata’). In the meantime, Motown had usurped the positions of the Four Seasons and Beach Boys in r&b-tinged pop, rendering secondary white groups such as the Kingsmen and Paul Revere & the Raiders superfluous but leaving the field open for the likes of the Rascals and Three Dog Night, bestselling white groups during 1966-69.

The English strand developed in a more open field, though never reaching the singular instrumental virtuosity or vision of Blues master Jimi Hendrix — through The Who, Cream, and the Yardbirds morphing into Led Zeppelin in 1969.

Given this, the Beatles-led British Invasion centred on Music Hall, show tunes and pablum-rock, offered not much more than a weenie/preteen alternative. Until the Beatles went folk in 1965, baroque in 1966, and electronic in 1967 strongly directed by Bob Dylan, record producer George Martin and others. Mostly, clustered around the top of Billboard with the Beatles, the British were the entirely expendable Herman’s Hermits, Dave Clark Five, Freddie & the Dreamers, Peter & Gordon, Chad & Jeremy, Gerry & the Pacemakers…

The tragedy is that this distraction (tolerated as a novelty by serious musicians 1964-66) from the main event has been taken seriously by historians ever since.

ROCK MUSIC: FAVORITE HITS OF 1967

In history, music on September 22, 2009 at 6:49 am

Lovely Tammi Terrell, soon deceased of a brain tumor, with Marvin Gaye

Lovely Tammi Terrell, soon deceased of a brain tumor, with Marvin Gaye

Pata Pata — Miriam Makeba
Purple Haze — Jimi Hendrix
Heroes & Villains — the Beach Boys
Happy Jack — the Who
Tin Soldier — the Small Faces
Mas Que Nada — Sergio Mendes & Brasil ’66
So You Want to Be a Rock and Roll Star — the Byrds
The Letter — the Box Tops
Mellow Yellow — Donovan
Words — the Monkees
Chain of Fools — Aretha Franklin
Let the Heartaches Begin — Long John Baldry
Rain on the Roof — the Lovin’ Spoonful
Waterloo Sunset — the Kinks
Ain’t No Mountain High Enough — Marvin Gaye & Tammi Terrell
How Can I Be Sure? — the Rascals
The Wind Cries Mary — Jimi Hendrix
Light My Fire — the Doors
Respect — Aretha franklin
I Feel Free — the Cream
Hello Goodbye — the Beatles
Dedicated to the One I Love — the Mamas & the Papas
There is a Mountain — Donovan
Ode to Billie Joe — Bobbie Gentry
Groovin’ — the Rascals
I’ll Never Fall in Love Again — Tom Jones
I Had to Much to Dream Last Night — the Electric Prunes
Natural Woman — Aretha Franklin
Eight Miles High — the Byrds
Wild Honey — the Beach Boys
Hole in My Shoe — Traffic
Strange Brew — the Cream
Strawberry Fields — the Beatles
A Little Bit Me, A Little Bit You — the Monkees
When I Was Young — the Animals
Pictures of Lily — the Who
Hey Baby — the Buckinghams
The Day I Met Marie — Cliff Richard
I Was Made to Love Her — Stevie Wonder
Itchycoo Park — the Small Faces
Baby Now That I’ve Found You — the Foundations
Sweet Soul Music — Arthur Conley
Jimmy Mack — Martha & the Vandellas
Ruby Tuesday — the Rolling Stones
It Takes Two — Marvin Gaye & Kim Weston
Hey Joe — Jimi Hendrix
I’m a Man — the Spencer Davis Group
Randy Scouse Git (Alternate Title) — the Monkees
I Can See for Miles — the Who
Funny Familiar Forgotten Feelings — Tom Jones
Bernadette — the Four Tops
Show Me — Joe Tex
Homburg — Procol Harum
Magical Mystery Tour — the Beatles
She’s My Girl — the Turtles
I Feel Love Coming On — Felice Taylor
Love is All Around — the Troggs
Come to the Sunshine — Harper’s Bizarre
Get Me to the World On Time — the Electric Prunes
I Got Rhythm — the Happenings
Felice Taylor, au naturale

Felice Taylor, au naturale

ROCK MUSIC — Beach Boys vs Beatlemania: SURFIN’ US/K

In celebrity, generational/fashion, history, music, politics, television on February 10, 2008 at 1:04 am

Excerpt #2 from BEACH BOYS vs BEATLEMANIA: Rediscovering Sixties Musicby G. A. De Forest, published by Booklocker.com and available for around $19.95 from Amazon, Borders, Books-a-Million, Barnes & Noble or any other of your favorite Internet stops

Sales peak thus far: #23 on Amazon.com’s hot 100 Music History & Criticism books, April 26th 2008


In 1965 the world was looking scary — and not only because the most inane warblings of the British Invasion looked like they were here to stay. Twenty years after the end of WWII it turned out that old tensions and seething enmities between cultures had only been swapped for new ones. The USSR, China, and satellites Eastern Europe, Cuba, North Korea and North Vietnam lined up against The West. In January, Britain’s Winston Churchill, savior of western democracy and hawk of the Cold War, died. Khruschev of the USSR had been deposed for not bringing the West to heel though his USA opposite number John F Kennedy was dead a year. In little more than twelve months the three potent figures of the post-War world were gone.

In February and March two events denied all the brief Kennedy Era stood for. Malcolm X, Black Muslim and leader in the civil rights movement, was murdered, spurring race riots in the Watts district of LA. And President Lyndon B Johnson (“Hey, hey, LBJ, how many kids did you kill today?”) committed the first combat troops to Vietnam, an undeclared war plaguing the American psyche long past its ten-year duration.

The Beach Boys, summer of '64, three months before their first UK visit. From left, Carl Wilson, leader Brian Wilson, middle brother Dennis Wilson, cousin Mike Love, and Brian's Hawthorne High School grid iron teammate Al Jardine

The Beach Boys, summer of '64, three months before their first UK visit. From left, little brother Carl Wilson (lead guitar, vocals), big brother and leader Brian Wilson (bass guitar, keyboards, falsetto harmony and lead vocals), middle brother Dennis Wilson (drums, vocals), cousin Mike Love (lead vocals, occasional saxophone), and Brian's Hawthorne High School grid iron teammate Al Jardine (rhythm guitar, occasional lead vocals)

The Beach Boys, victims of their idealism, were about to be trapped in a time warp, objects to be vivisected by the fashion police. For a year pop commentators had questioned the reason for being of these stubborn squares who seemed naïvely unaware of all Beatledom had to offer. The Byrds, switching to folk rock and Dylan, still made the effort to look and sound like Beatles; everyone knew they were “America’s answer” to them. It was “in” and “far out” to conform to the new ‘Counterculture’.

Dennis had gone some way toward beatlesque, hair-wise, in summer ’64; a year later the others were looking fluffier too, if not longer, yet. Mike grew a neatly trimmed beard to distract from his thinning hair, lending a ‘Peter, Paul & Mary’ professorial look to the frontman of a group already up against it with ever younger record-buyers. In November 1966 for their Good Vibrations tour of the UK the eldest Beach Boy — months younger than Ringo Starr and John Lennon — would go the whole hog for the Oxford don look, posing for group publicity stills dressed eccentrically in British tweed, country gentleman’s cap and holding a pipe. Brian (to be replaced in spring 1965 by the lean and handsome, if bland, Bruce Johnston for touring) and Carl were unfashionably chubby — and still clean-shaven unlike the bulky turned-on musos of San Francisco psychedelia just emerging, who knew where it was at and let it all hang out: Jerry Garcia of the Grateful Dead, Bob Hite of Canned Heat…. It was all a clear snub to populism: the Beach Boys would go their own way, in their own time.

FEBRUARY 15TH 1965 BROUGHT A REALISATION THAT irreplaceable figures had died in the past two months: Sam Cooke, murdered; Alan Freed of a failing spirit; now Nat King Cole of lung cancer. For the Beach Boys the year opened with their first ever shows in Canada — good for a dozen big hits so far, their second expedition into the foreign territory of the British Commonwealth (following Australasia a year before). First came a date at Vancouver, the French city of Montreal, Ottawa and Toronto. Brian, hungry for new experiences, plays all but the last, replaced by Glen Campbell. They will take in the same round of cities again in September, with Bruce Johnston and supported by new stars Sonny & Cher.

BBstoday On vinyl, from the completed Beach Boys Today, a new 45 is lifted that fatal February day. On top of a wall of sound but in a flourish of driving, modernized rock, is their rebirth of ‘Do You Wanna Dance?’ both spirited and lush — so maybe too American. Dennis’s sole solo hit, it’s the top debut in the Nashville top 40; streaks fifteen places into the St Louis ten to quench a nine-month drought there; L C Cooke, brother of Sam, rushes out an alternative version that hits the St Louis r&b chart. In the Midwest’s Chicagoland, Milwaukee, Twin Cities, Cincinnati, the Southwest’s Dallas, Phoenix, Tulsa and the Eastern Seaboard’s Washington DC, Baltimore, New England, Newark, Hartford, it is top five with West Coast markets Seattle, Portland, San Jose, San Diego — though here sales are split with its B-side (haunting ballad ‘Please let Me Wonder’); #6 in the South’s St Louis, Memphis, Norfolk, Richmond; lower top ten Montreal, San Francisco, Vancouver, Kansas City. Taking off the gloss are below par receptions just outside in Philadelphia, New York (best at WINS, #12-13, its level in the major national hit parades), Miami and Toronto; and languishing lower top 20 on the playlists at influential stations in Detroit, Houston, Pittsburgh and hometown LA (where it nonetheless peeks in at #6 at local stations in Van Nuys and San Bernardino). Elevated to no.5 in the ShowTime chart distributed to newspapers nationwide, additionally no.8 by United Press International, and no.9 by Gilbert’s youth survey for the Associated Press, mainstream in the leading trade papers (Billboard, Cash Box, Variety) it is no threat to Herman’s Hermits and Freddie & the Dreamers with their red carpet treatment from the media and squatting pampered in the Brit penthouse hosted by the Yanks. The current WABC-New York sales survey, covering the USA’s biggest market, lists Brit acts taking 11 of the top 16 tunes.

In the UK it wasn’t released (‘All Summer Long’ was — later celebrated by George Lucas at the end credits of his American Graffiti but a joke in terms of the hard tack Brits expected from groups at the time), maybe because EMI feared it could take long-term sales from its Cliff Richard & the Shadows’ 45. Following as it did their recent European tour, ‘Do You Wanna Dance?’ should have reinstated them on the Continent, which had given the previous two singles the silent treatment. While it was bought in loyal Scandinavia and played in Italy, it was invisible in Germany, France, Holland and now Australia too, preoccupied with all things Fab.

‘Please Let Me Wonder’ went to #1 as the chosen ‘A’ in San Jose and San Bernardino; #3 in Chicago, Seattle and upstate New York; similarly top five in Phoenix, Salt Lake City and Sacramento; top ten Philadelphia, San Francisco, Houston, San Diego, Milwaukee, Columbus, Hartford, Fresno; Los Angeles, Detroit, Miami, San Antonio, Denver, Vancouver, Buffalo the twenty. It drove to no.9 separately in the Associated Press chart a week before its designated A-side but stalled halfway up the two big charts’ top hundreds, though rising to no.32 in Variety. It is a favorite on compilation albums and retrospective videos.

April 21st they played both sides on Shindig, ‘Help Me Rhonda’ just released and pocket jams of ‘Fun Fun Fun’ and ‘Long Tall Texan’, demolishing English guests Wayne Fontana & the Mindbenders and Cilla Black, producer Jack Good still plugging his countrymen and women though as many would come unstuck as stick; no.1 Italian songstress Rita Pavone also ran. They met up too on set with the Shangri-Las and the Ikettes—from that first bill over three years before.

Both hits were — happily — out of sync with prevailing (lack of) taste, which saw what was already a year-long lapse accelerate into a headlong dive. The public was forcefed the silliest pop ditties yet, Top 40 stations now programmed via remote control by bosses in the biggest cities at network h.q.s, even star DJs straightjacketed from injecting local content or personal favorites. Songs masticated into the new chew for a few weeks, losing what bland flavor they had. Previously this trend was signalled by the Beatles’ superior ‘And I Love Her’ and somewhat lesser ‘If I Fell’, both lapped up by sentimental moviegoers. The Dave Clark Five jumped at the Beatles’ lead, and made them utterly sickening: ‘Because’, ‘Everybody Knows’ — two glutinous-syrupy ballads vying with Brian Poole & the Tremeloes’ ‘Someone, Someone’ for most nauseating weepie of the era.

The Beach Boys sustained their fun-loving, exuberant image, seen in a stocktake-of-things-that-matter Carl wrote for Tiger Beat:

Brian: a Cadillac Eldorado and Mustang

Dennis: a Ferrari and Cobra

Mike, the real collector: a Pontiac MG, Jaguar and Classic MG

Carl: an Aston Martin (James Bond style), Triumph 500 motorbike

Al, ever sensible: a lone T-Bird, as featured in ‘Fun Fun Fun’

The Beach Boys posing with their muscle cars a year before in early '64, the Beatles about to arrive (as can be seen by Brian's experimental hairstyle): From left, Brian Wilson, Al Jardine, Dennis Wilson, Carl Wilson, Mike Love

The Beach Boys posing with their muscle cars a year before in early '64, the Beatles about to arrive (as can be seen by Brian's experimental hairstyle): From left, Brian Wilson, Al Jardine, Dennis Wilson, Carl Wilson, Mike Love

By now the three Wilson brothers had bought their own homes on the outskirts of Hollywood. Mike and Al stayed close to home at Manhattan Beach. A roll call of Dennis’s pets told much of the elemental Beach Boy: two (wild, freedom-loving) horses, an otter (at home in water), a parakeet named after mother Audree, a power-dog German Shepherd and ever-present underdog for Dennis to look after — a lost puppy run over outside his house, with a broken leg needing healing. Always a mass of contradictions, supposedly least talented when the group started, he was turning himself into a multi-instrumentalist. The most Beach Boy — runner-up in a Hawaiian surfing tourney, an accomplished danger-skier on hair-raising Rocky Mountain slopes — he was also the most un-Beach Boy, developing a husky, cracked blues voice.

It was Dennis in full flight who pulled as much mob appeal as a Beatle. Fans would breach the carefully mounted barricades at concerts, and all of the boys had their clothes torn and were taught tactics to escape girls’ clutches — rolling out of the tackle grid-iron style. Dennis, though, sometimes surrounded despite the best game strategies, had several times been literally k.o.’ed by love. In Louisville, Kentucky, coincidentally the home of Muhammed Ali, he required three stitches to his head. When audience reaction was deemed out of hand local police forces used their ultimate power of censorship, cutting the feed to amplifiers or yanking down the stage curtain mid-performance, much to the group’s disgust. In l.p. liner notes Mike remarked on the Cincinnati fans as champion “cop-dodgers” and “Then there’s the helpless feeling of seeing a girl, who maybe spent her last dollar to see us, crying or something, ’cause the cops wouldn’t let her stay and get a Beach Boys autograph.” Unlike the Beatles, the group never had sealed, womblike limos to duck into to separate them from their public, and for less hysterical crowds would often stay behind for hours to sign autographs and chat.

UNLIKE THEIR HERMETICALLY PROTECTED RIVALS the Beach Boys no doubt felt themselves in the full swim of the Swinging Sixties. Carl named his favorite acts as the Beatles, Four Seasons, Supremes, Manfred Mann and the Animals—in preference over the Rolling Stones. The Stones, he said, showing considerable prescience, would be around as long as they made hits. Brian, in a 1996 interview, said that he and Carl “liked John [Lennon] a lot” — and that he wrote ‘Girl Don’t Tell Me’ as “a kind of tribute to John.” Said at one time to have been intended for the Beatles to record, it was one of Brian’s favorite songs, written on vacation in Hawaii without a piano or guitar: “And it’s the only song I wrote that way.” He had penned ‘Kiss Me Baby’ months before in a Copenhagen hotel room, also without much in the way of composing aids.

Certain other revelations Brian has made about his lifestyle at this time have shed light on his creative processes: Put simply, take marijuana and sit down at the piano. For The Beach Boys Today!he was experimenting: “The whole second side had been written and arranged while I was high. Compared to previous Beach Boys albums the music was slower, more plaintive, and emotional. The chord patterns were more complex, the production denser, richer in sound, and my thinking in regard to making records was different. Able to break down songs to precise little increments, I began to deal with each instrument individually, stacking sounds one at a time” (BrianWilson.com).

Three months later in April he took a quantum leap into the drug world with his first experience of LSD. He at first justified this by the fact that it led instantly to the composing of ‘California Girls’. Later, he noticed that it was the beginning of auditory hallucinations—voices talking to him, often threatening ones — and an everworsening fragility of mind. It was about this time too he wrote and recorded its flipside ‘Let Him Run Wild’ in hommage to Burt Bacharach’s renowned chord progressions — and that’s as far as any resemblance goes.

ROCK MUSIC — Beach Boys vs Beatlemania: “WE LOVE YOU BEATLES, OH YES WE DO!”

In celebrity, generational/fashion, history, music on February 9, 2008 at 6:16 am

Excerpt #1 from BEACH BOYS vs BEATLEMANIA: Rediscovering Sixties Music by G. A. De Forest, published by Booklocker.com and available for around $19.95 from Amazon, Borders, Books-a-Million, Barnes & Noble or any other of your favorite Internet stops

Sales peak thus far: #23 on Amazon.com’s hot 100 Music History & Criticism books (April 26th 2008)


The Fab Four, mops flourishing by mid 1964

The Fab Four, mops flourishing by mid 1964

To be caught up in Beatlemania ’64 was something as exciting as it was indescribable. Imagine Irish music, Riverdance and leprechaun outfits taking over the world—held aloft for everyone else to aspire to: a crude but apt comparison. The Beatle phenomenon has been uncritically celebrated long past the point of drop-dead kicking-the-corpse boredom, so to this day no one has been able to say convincingly what their music had to do with it. But you had to be there—the pop culture ‘happening’ of the mid-Sixties. It was experienced so deeply by many youths it seemed all that was needed to fix the world was immersion in Beatledom so everything would turn “fab”. Harrypottermania is the only phenomenon to compare with it today.

Tony Barrow, rock journalist and Beatle publicist: “The whole thing changed. The balance of power fell from an average age of 40 to 25 overnight.”

Derek Taylor, Beatle and later Beach Boy publicist: “We saw them in that sense [of being saviors]. People saw them as being some sort of answer to the miseries of the world or in our own little lives. They were the four-headed Santa Claus.”

Astrid Kirchherr, designer of the Beatlehair: “My heart just opens up with pride and joy to know I was so lucky to get to know these wonderful people who deserved all this fame and fortune.”

Astrid Kirchherr: “You could tell Paul really hated [Stuart]” (Salewicz).

Murray Kaufman (Murray the ‘K’), star DJ and self-proclaimed Fifth Beatle: “To this day when you hear [other superstars] you know it. With every album The Beatles gave us a 180-degree change. A completely different change, a different sound, a different attitude. They kept changing with us. The Beatles inspired a lot of the political and social revolution that took place, because from a subliminal standpoint The Beatles represented change. We saw the Beatles change right in front of our eyes.”

This habit of the Beatles being diverted every six months sounds alarmingly like a description of one of the Sixties’ most charming and persuasive fakers, Andrew Loog Oldham, by his friend John Douglas: “… a dilettante: though he’d got natural ability, he didn’t stick long with things, because there was always something new to have a crack at.”

George Martin, who produced all the Beatle records: “In my book The Beatles were the greatest performers and writers ever… They were never satisfied with sticking to one style, one format, one sound… I think I was part of a five-piece group… My particular specialty in the beginning was introductions, endings and solos. The rest of the song was theirs. Later on it [was] the addition of things they hadn’t thought of—all the backward guitar stuff and that kind of thing.”—Excerpts from Pritchard & Lysaght’s The Beatles: an Oral History (1998).

Note that Martin’s “specialty” was composing beginnings, endings and middles of Beatle songs?! “The rest of the song was theirs”, he adds amusingly. For Martin it all came down to how well crafted the song and the variety of ways they were presented. For Murray the K, how mutable the sound and attitude. Changeability was the common theme. So they might rate above Gilbert & Sullivan in adventurousness but below genuine artists in not having a recognisable style. Picasso changing his Blue Period and succeeding phases every four to six months?—the interval between Beatle albums. Novelty, and reading constantly changing trends— Murray the K: “They kept changing with us””—was their real stock in trade.

These four Liverpool lads of Irish descent had no small touch of the blarney in their blood: the pixieish wit; the crude, crying-into-your-beer sentiment and, encouraged by Dylan, self-pitying bitterness in layers; and Celtic “animal magnetism”—as ascribed by Brian Wilson to the Britons in general. If the Irish kissed the Blarney Stone for luck the Beatles and their minders must have ravished it full-frontal. Ritualistic mystique was all there staged in the Beatles—the Parisian styled hair, the Gallic cut suits, the Beatle bow in unison from the waist. Even Paul’s intriguing German-made ‘violin’ bass guitar, like no other. Was he dead?—Only true initiates could read the signs. It all assumed titanic significance, like Lord of the Rings and Harry Potter overlapping into real life.

Clean-cut American Beach Boys as they looked on the arrival of the Beatles, February 1964: didn't stand a chance

Clean-cut American Beach Boys as they looked on the arrival of the Beatles, February 1964: didn't stand a chance

They had charm by the bucketful; presence—not the smarm or vacuous additood that passes for it today and is glibly called charisma. To immune observers they were interchangeable mop-tops, but fans knew better: John, the defiant leader with a loose chip on his shoulder, standing at the mike bowlegged gunslinger style; Paul, the smooth, fun-loving pretty boy and the most versatile musically, popping out melodies literally in his sleep—but called “the shrewdest and the toughest” by a teacher who knew them both; George, “the Dark Horse”—only fragments showing above surface, the most “vociferous” at the first meeting with George Martin and the most business minded, but passive-aggressive because dominated by his senior partners, overlooked until his death prompted a gushing media, when his palatial estate showed he had just as massive an ego; Ringo, contributing his personality on drums and off, the best actor in films—seemingly earthbound, living off a suitcase of baked beans on a spiritual exploration of India (the others ate theirs in the studio, scooped from silver service). Starting with no higher ambition than to open a hairdressing salon once the Beatles had struck modest success, ironically he was probably the most spiritual one through his childhood illnesses. But he was painted goofy. Girls liked to mother him for his melancholy. Later, with his head shorn, on his unshaven days he bore an unfortunate resemblance to Yasser Arafat.

At the start they were so… fluffy—and so saleable. While little girls wanted them as cuddly toys who walked, talked, peed and sang, mature females too fantasized about cuddling up to one or other of them. It wasn’t that the marketing strategy was inspired— just that everyone jumped on the bandwagon at once creating an unstoppable momentum, the more venal devotees grabbing fortunes hand over fist. The worldwide money-go-round was carved up continent by continent by seriously monied men, who made Elvis’s Colonel Tom Parker look like a nickel-and-dime grifter. There were Beatle suits and ties, Beatle shoes, Beatle wigs, even Beatle guitars and drum kits. On their first trip to the US, from their tiny cut of the money generated by their own image the group made more from Beatle bubblegum than from performances.

Despite their “Luv, Luv, Luv” mantra, nasty personal politics emerged in breakup as all burst into song unflattering to all—tit for tat attacks in unbounded superstar self-indulgence, abusing their exalted position to demean their art form. Yet because the group died violently in its prime (and resisted all pleas for a rebirth) the Princess Diana Effect mummifies a far-fetched pristine image. There is no question of speaking ill of their legacy, and an objective reappraisal of their value will wait till all media contemporaries in their thrall have retired from the airwaves.

While the Beatles weren’t responsible for every loopy gesture of fandom a finger points at them for hyping it: shaking their hair got their biggest audience reaction, not playing a favorite song—all of their songs were favored. The fans were screaming too loud to care how the music sounded, or if it sounded at all, so that the group at times stopped singing (or substituted bawdy rhymes) unnoticed. Their unbounded, unconditional success has a lot to answer for in foisting a travesty on the musical world, preventing a genuinely new course for modern popular music. They could be accused of corrupting rock in their own way as much as the tame Elvis-lookalikes they allegedly saved rock’n’roll from.

AS AMERICAN POPSTERS PROTESTED AT THE TIME, the Beatles—first called “the English Everly Bros” though Phil & Don weren't thrilled about it—were offering little that Stateside acts hadn't, musically; they had once even called themselves the Four Everlys. Their records were unsophisticated, producer George Martin having no experience in rock, coming from the show tradition of the Goons (Peter Sellers, Spike Milligan & Harry Secombe), forerunners of Monty Python. Sound engineer “Hurricane” Smith had to work with primitive UK studio equipment. So it is no wonder to the ears of American industry professionals ‘Please Please Me’ sounded like the Country Pop of the real Everlys. In fact it is very much like ‘That's Old Fashioned’ (1962)—so, an attractive recording but obviously nothing new.

English record producer and former rock journo Charlie Gillett: “For a while in the mid-Sixties, to be an American producer in Britain was to be in a distinct category, as Americans were recognized to have more adventurous production styles [and] played an important part in educating our engineers in American production techniques.” Yanks in the UK included Jimmy Miller helming the Rolling Stones and Spencer Davis Group, Shel Talmy the Kinks and The Who, Bert Berns (a.k.a. Russell) of Don Kirshner/Brill Building pop producing recordings for Them and Lulu, Felix Pappalardi for Cream, and Phil Spector, eventually, for the Beatles themselves. Yet Gillett claims Beach Boy music, from the same mainsprings of rock, was outdated on the arrival of the Beatles— without offering any illustration of his point—and presumably came right on first hearing the Beatles in 1964 (?)! Maybe it is to fit this outlandish statement that Gillett post-dates the commencement of Brian Wilson productions three years to ’65.

While well-bred manager Brian Epstein put his twopenn’th in about what the Beatles should record, the group obviously knew better and were happy leaving to chance Capitol’s doctoring of the master tapes in America—recognising virtually any Americans (and Capitol ‘experts’ fell into that category for rock’n’roll) would improve on Parlophone’s work done with the Beatles’ own input. No surprise that many Beatle records, especially releases outside the US, have a quirky feel of Tin Pan Alley uncomfortably mixed with rockabilly, or an English attempt at it.

Yes, they were different, in their Old World charm that urban Americans had long forgotten. If their charm and humor was Irish via Liverpool, the down-to-earth opportunism—and an awe of all that was flashy in American culture—was pure working-class England. An American equivalent might be experientially deprived hillbilly Jethro Beaudine coming to the big city and aping all he saw—in his fashion. Their presentation, via influences from Bert Kaempfert, Klaus & Astrid & Jurgen, Brian Epstein, came from Continental Europe. Not only appearance: Close your eyes and listen to early Beatle music, and picture everyman’s Liverpool-via-Hamburg group putting out the same: an act that Rory Storm & the Hurricanes could call their equal. People who knew them and their music intimately at the time said it. It was on top of hundreds of years of European traditional music that they attempted to overlay rock’n’roll. Question: Was this rock’n’roll, an advance on rock’n’roll, or a diluted alternative more related to other Euro acts: Edith Piaf, Johnny Halliday, James Last, Kraftwerk?

Lennon & McCartney came up with a perfect combination of show tunes and ersatz rock’n’roll—not a blending of the two but a craft division as in two assembly streams in a song factory. Their rock’n’roll was as straight as they could make it, improving in the late Sixties with ‘Revolution’ and ‘Back in the USSR’; and their Music Hall songs, which by Sgt Peppers they learned to give a rock veneer, were pure sentiment. Everyone could take something from it, and this catchall ‘something for everyone’ approach— that Elvis had turned to in 1960—brought unparalleled success.

It was all over after the music critic of The Times anointed Lennon & McCartney “the greatest composers since Beethoven”— not even Gilbert & Sullivan. Their habit of descending a third from minor to major, then another third back to major (as in ‘Can’t Buy Me Love’—personal communication from Celia Wood-Calvert)—brought comparisons with Schubert but was the sort of thing untutored musicians not hidebound by academic orthodoxies were likely to stumble upon in the normal course of exploring possibilities. It was their good fortune to be hailed for it.

Alan Livingston, Capitol president and inventor of Bozo the Clown, presents the Beach Boys with what be their first RIAA Gold Discs in 1965: they were always albums, and awarded so late because audited belatedly.

Alan Livingston, Capitol president and inventor of Bozo the Clown, presents the Beach Boys with what must be their first RIAA Gold Discs in 1965: they were always albums, never singles, and awarded so late because audited belatedly.

A passage in Gerry Bloustein’s Musical Visions: Selected Conference Proceedings from 6th National Australian/New Zealand IASPM compares Lennon-McCartney songwriting with Brian Wilson’s. “The songwriters who most often utilised blues-based songforms were Brian Wilson and John Lennon-Paul McCartney. Wilson’s surf and hot rod songs… often involve original and creative adaptations of the standard blues form, and in this sense Wilson should be accorded more credit as the songwriter who was best able to create a logical development of 1950s rock, and surf groups should be considered to be updated rock and roll bands.

“Wilson’s use of the blues-based form is deserving of some detailed attention. He rarely used the form for a complete song… Most of Wilson’s songs are verse-chorus forms, while in some songs (such as ‘Little Deuce Coupe’, ‘Little Honda’) the blues form is employed in the verse but not the chorus. In others (like ‘Dance Dance Dance’, ‘Drag City’ and ‘Surf City’) the reverse applies. The other technique employed by Wilson was to vary the standard chord progression over the last four bars of the form, thereby creating a striking hook effect, usually in combination with prominent multi-part vocals and a strong lyric hook. This technique is evident on ‘Shut Down’, ‘Drag City’, ‘Surf City’ and ‘Three Window Coupe’.

“Lennon-McCartney also used (copied?) [Bloustein’s term] this latter technique, most notably in ‘Day Tripper’ and they too created some idiosyncratic adaptations of the form… Like Wilson, Lennon-McCartney rarely employed the form for a complete song. Their nor-mal procedure was to use the blues scheme for the A section of the typical AABA form and to create a strongly contrasting B section by using a progression totally unconnected with the blues idiom, as in songs such as ‘I Feel Fine’, ‘Can’t Buy Me Love’ and ‘She’s a Woman’.”

Bloustein goes on to point out that during 1963-66 no other successful writers but the Motown ones make significant use of the blues-based form. But Beatle use of it was strongly tempered by their AABA scheme, which “had been commonly used by popular songwriters for ‘thousands of Tin Pan Alley tunes… a form totally predictable to mid-century listeners’.”

The AABA songform is four 8-bar sections. Many Beatle songs were dependent on a quirky, not to say cute ‘middle eight’ (B) section that caused traditionalists to prick up their ears in gladness.

The myth of Beatle omnipotence—almost a religious belief in which faith triumphs over facts—was reinforced by the likes of Gillett when he misinformed his readers (1975) that “the Beatles brought the idea of the organic songwriting, singing and instrument-playing unit to the American record business”—a myth perpetuated by Murray Kaufman as late as 1998. It was there in germ form in Johnny Cash & the Tennessee Three; even, mostly, Elvis Presley, Scotty Moore, Bill Black & D J Fontana; and Buddy Holly & the Crickets. The Beach Boys took it to the ultimate before the Beatles, as such, were ever recorded.

ACCORDING TO THE ROCK HISTORIAN’S BOOK OF Genesis one summer 15-year-old Paul McCartney saw John Lennon, twenty months older, singing with his band for the local Woolton village fete in their home city of Liverpool, the chief north-of-England port that serviced Lancashire’s coal mines and had cargoed cotton from the Confederacy during the American Civil War in defiance of Abraham Lincoln. Equivalent to New York City’s East River dockland but without the prosperity—Great Britain had won the war but “lost the peace”—Liverpool working people were clannish and proud of their scrappy cum entrepreneurial Irish roots. For the Dead End Kids, in the Hollywood B-movies that had informed so many British Empire kids, read John, Paul, George & Ringo. Who can imagine latter-day serene guru George Harrison as the head-butting kid he was, as described by Paul, when he joined the Quarry Men? Lennon, better at lyrics, and McCartney took quirky Scouse humor and added clever wordplay for their songs. Once they started mixing with the fashionable-arty London crowd in 1963 literary pretentions crept in.

It was early 1958 that the three-man core of the Beatles consolidated. This was three years after Lonnie Donegan hit with skiffle, and Bill Haley & His Comets impacted rock’n’roll on Britain with deva-stating results via ‘Shake, Rattle and Roll’ and ‘Rock Around the Clock’, the theme from gang/rebellion movie Blackboard Jungle. English youths—egged on by violent Teddy Boy subculture—reacted accordingly when Haley & the Comets toured just a few months before, rioting and tearing up seats with flick knives. More than the Teddy Boy image and attire rubbed off on the Quarry Men. Reportedly, the lads themselves were not above a bit of opportunistic rough-housing to get what they wanted from the mean streets of Liverpool or Hamburg.

And it was two years after Elvis Presley. The younger and better looking Elvis had burst from the Tupelo, Mississippi backwoods into throbbing blues center Memphis, Tennessee to mix r&b and country music and take over Teen America. His scintillating, melodramatised performances of ‘Heartbreak Hotel’ and ‘Hound Dog’ were frenetic and frailly breathless, and held to be extraordinary, coming as they did from a white man’s vocal cords. His ‘Jailhouse Rock’ broke a year later at the time Lennon and McCartney were meeting, with Buddy Holly’s ‘That’ll Be the Day’ and ‘Peggy Sue’, and Jerry Lee Lewis’s ‘Whole Lotta Shakin’ Goin’ On’ and ‘Great Balls of Fire’ just as popular.

Though less authentic than Elvis’s earlier Sun recordings of ‘That’s Alright Mama’, ‘Mystery Train’, ‘Baby Let’s Play House’ and ‘Good Rockin’ Tonight’, white rock’n’roll was, after a breach birth, coming out of incubation. Always just a heartbeat and last gasp away from crib death by misadventure, it would soon be rolled on in its slumber by hefty corporate America, rock’n’roll’s domineering stepmother.

Little Richard, Chuck Berry, Bo Diddley and Fats Domino had already scored their first hits on the (white) pop charts—‘Tutti Frutti’, ‘Maybelline’, ‘Bo Diddley’/‘I’m a Man’, ‘Ain’t That a Shame’. All were remorseless rock’n’rollers, until Richard repented, and were black—so couldn’t be teen icons in the eyes of the music industry of the time. The substitutes who were allowed to make white girls go all gooey were pale-complected, fussily groomed Italo-American boys—Bobby Darin, Frankie Avalon, Fabian, Freddy Cannon, Bobby Rydell, James Darren, Lou Christie. Ethnics like Tony Orlando, Teddy Randazzo and Steve Alaimo who didn’t ‘regularize’ their names had viable recording careers but were obviously less stellar. The teen idols were promoted by Bandstand and Pat Boone’s series from the 1957-58 tv season, Billboard magazine and its new Hot 100, and a host of other mass media outlets.

The absence of Elvis Presley in the army for two years cleared the way for these ballroom imitations to replace real rock’n’roll.

“BEACH BOYS vs BEATLEMANIA: Rediscovering Sixties Music”

In celebrity, Humor, literature, music on November 29, 2007 at 5:07 am

garydeforest

Garbonza is proud to announce that after many years in labor his imagination has borne fruit in a 448-page, 1lb 2oz book, name of BEACH BOYS vs BEATLEMANIA: Rediscovering Sixties Music. It includes a Foreword by Fred Vail, the legendary Beach Boy promoter and manager through the 1960s.

It’s not only about the two groups mentioned but about how we see the world and the fact that the best is not always recognized, never mind rewarded — even how history has been changed by the mass media, by the mass media making itself the news. A whole lot of other great (and not so great) bands, girl groups and solo acts of the period are mentioned in context as well as detailed in separate chapters.

The book is available from November 27th 2007 (that’s 36 hours ago — and how come no one has bought it yet?) at Booklocker.com for a very reasonable $19.95 paperback and $8.95 download copy. It is listed under the pseudonym G. A. De Forest as author: Garbonza is loathe to attract the undoubted ensuing opprobrium to himself in taking on such a controversial subject. Who dares to unseat the Beatles from their bogus 40-year reign? Garbonza, he answers modestly.

Make sure you read the two free sample chapters first — there are eight more you have to pay for, probably in multiples, for those Xmas-New Year gifts. Also, the freight gets cheap if you buy more than one copy of the paperback.

See my book published November 2007, ‘Beach Boys vs Beatlemania: Rediscovering Sixties Music’, available from Booklocker.com (offices and printers in London and Bangor, Maine) and Amazon outlets everywhere including the United States, Canada, United Kingdom, France and Japan.

Be sure to tune in for a future post, which will include excerpts from reviews of the book written by reputable magzines in the United States, the United Kingdom, Australia and my beloved Italy.

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