Whoa, barely two months into 2016 and the world has lost an incredible amount of musical talent. While you may not know of all these names, here are five more noteworthy artists who have recently passed away.
On January 28th, Jefferson Airplane's lead guitarist and songwriter, Paul Kantner, died at the age of 74 (pictured second from left with glasses). Jefferson Airplane's psychedelic sound and free-spirited mindset helped define the '60s counterculture in San Francisco. Kantner was a co-founder of the
group in 1965 with Marty Balin and the guiding spirit of its successor,
Jefferson Starship. With
hits like "Somebody to Love" and "White Rabbit" (both featured here), Jefferson Airplane
wrote anthems for the hippie movement and the memorable Summer of Love in 1967. While vocalists Grace Slick and Balin were the public faces of Jefferson
Airplane, Kantner was often the creative force
of the band, bringing a freshness from his folk music scene background. From their historic album Surrealistic Pillow in 1967, listen for Kantner's vocal at 1:08 in "How Do You Feel?"
And what are the odds two members of Jefferson Airplane would pass away on the same day and at the same age? Also on January 28th, the band's original female vocalist, Signe Anderson, died at 74 (also pictured in the top photo). Initially a jazz and folk singer in Portland, OR, she joined Jefferson Airplane after a trip to San Francisco in 1965, and sang on their first album Jefferson Airplane Takes Off. Married to one of the Merry Pranksters, Jerry Anderson, and pregnant with her first child, Signe left the group in late 1966, and was replaced by rock 'n roll diva Grace Slick. Check out this footage of the band performing "It's No Secret" at the Fillmore Auditorium in San Francisco in 1966; look for Signe at the 1:34 mark.
On January 16th, American singer and guitarist Gary Loizzo, best-known as the lead singer of The American Breed, passed away at the age of 70. From the greater Chicago area, The American Breed had several hit records, including the million-selling single
"Bend Me, Shape Me" in 1967/'68.
In the early '70s, Loizzo went on to start his own recording studio called 'Pumpkin Studios,' and became a two-time Grammy-nominated recording engineer. He worked with REO Speedwagon, Styx, Bad Company, Slash, Survivor, Liza Minnelli, Tenacious D, and many others. Since "Bend Me, Shape Me" was previously featured here, here's their first Top-40 hit in 1967, "Step Out of Your Mind" (gotta love that "trumpet-playing" drummer).
On February 6th, American singer-songwriter Dan Hicks passed away, also at the end of 74. Combining cowboy folk, jazz, country, swing, bluegrass, pop, and gypsy music in his sound, Hicks first became part of the San Francisco folk
music scene in 1959, performing at local coffeehouses. Later, he joined the San Francisco band The Charlatans in 1965 as drummer, and in 1967, formed Dan Hicks & His Hot Licks, contemporaries of Grateful Dead and Jefferson Airplane. From his first albumreleased in 1969, "How Can I Miss You When You Won't Go Away?" features Hick's humor, frequently infused into his tunes.
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Finally, American musician, songwriter, screenwriter, and voice actor Bill Martin passed away on January 27th at the age of 64. A friend of Monkee Michael Nesmith, Martin's first contribution to The Monkees came in the form of "All of Your Toys,"
recorded during the very first studio sessions that featured the group
supporting themselves instrumentally. Because of a publishing dispute
with Screen Gems, the song never saw the light of day until it was released
on the Missing Links compilation in 1987. He also composed "The Door Into Summer," which did see release on 1967's Pisces, Aquarius, Capricorn & Jones Ltd. album. Martin later collaborated with other artists, including Harry Nilsson ("Rainmaker," covered by Nesmith on his third solo effort, Nevada Fighter). Martin later co-starred with Nesmith in his Grammy-winning Elephant Parts in 1981, and in addition to screenwriting credits (1987's Harry and the Hendersons), his voice skills earned him roles in numerous animated series. Unfortunately, I could not find any photos of him! But these two songs are true gems and needed to be included. Here's the Bill Martin-penned could-have-been-a-hit Monkees' tune, "All of Your Toys," recorded in 1967.
From The Monkees' fourth studio album, here's "The Door Into Summer," officially written by Bill Martin and the Monkees' producer Chip Douglas (although Douglas denies any writing contribution). Another fantastic tune.
Last month, we celebrated my 5-year-old's birthday with a Batgirl party! Continuing with the tradition, here's another full post of Zoe's current favorite tune. Like her mama, my little Batgirl loves the classic stuff, and I'm sure you will appreciate her selection as well!
So most of you guys know we moved to Virginia last year, but I don't think I've mentioned that we're already back in Southern California (thanks to military life)! During our East Coast stint, this Batgirl enjoyed identifying with her roots as a California Girl and regularly requested this Beach Boys standard. A #3 summer hit in 1965, gotta love The Beach Boys performing "California Girls" on The Jack Benny Show, the ultimate "California Sound" from the 1960s.
And while on the subject of California, she (and me too) also found a whole new appreciation for this classic, especially after experiencing a chilly winter in Virginia. The Mamas & The Papas convey that feeling of longing for the California warmth all too well in this beauty, and my kid perked up every time it came on the radio. Peaking at #4 on the US chart in '65, "California Dreamin'" is truly one of the greatest songs of all time (classic performance on Hullabaloo).
While there are quite a few Manfred Mann tunes that Zoe loves like the hilarious "My Name Is Jack" and the catchy "Do Wah Diddy Diddy," this minor US hit really caught her attention. Released in spring of 1966, "Pretty Flamingo" reached #1 in the UK (#29 in the US) and features future Cream bassist Jack Bruce, who briefly joined the band in '65. Thank goodness for satellite radio (the '60s on 6 channel) which introduced us to this gem!
And now for something completely different, here's a
little something from American country music singer Sonny James. Originally an instrumental by British guitarist Bert Weedon, the 1954 American western filmApache was the inspiration for this tune. Referred to as the "Indian song" by my kiddo (yeah, sorry, not political correct), here's Sonny James' 1961 version of "Apache." (Love The Ventures' cover too!)
Well, here's a cute ditty that Zoe loves to bop around to. Seriously, what youngster wouldn't like a gum-smacking tune like "Sweet Pea?" Written and performed by American pop music singer-songwriter Tommy Roe, "Sweet Pea" reached #8 on the Billboard chart and #1 in Canada in 1966. Singing with a young girl from Santa Monica in '67, here's a cute video of the innocent days of yesteryear.
Now here's a real hoot: a little psychedelic made this playlist! I'll never forget hearing this tune come on the radio while driving in the car and Zoe was immediately interested, asking to hear it again. Reaching #11 in 1967, here's The Electric Prunes performing their psychedelic rocker "I Had Too Much to Dream (Last Night)" on American Bandstand. Can't say I've seen a garage band with an autoharp before. Gotta appreciate this kid's variety!
Here's another catchy tune that Zoe loved belting out in the car this past year (notice we're always listening to music in the car?!). British sweetheart Petula Clark had a huge international hit in 1964 when "Downtown" reached in #1 in the US and #2 in the UK. What a classic song by a lovely singer. Enough said.
Being familiar with fairy tales, this Batgirl loves this garage rock song by Sam the Sham & The Pharaohs. "Lil' Red Riding Hood" was the group's second Top-10 hit, reaching #2 on the Billboard chart and in Canada. It might be the wolf howls, but I was a sucker for this classic tune at her age too. Excited I finally found footage of a performance but too bad the audio is out of sync.
Next up is an English beat group that always sounds like they're having a great time. Written by Cat Stevens (ya learn something new every day!), The Tremeloes' cover version of "Here Comes My Baby" reached #4 in the US and #13 in the US in 1967. Zoe insists that her dad and his Marine buddies sang this song to her as a baby. Cute story, but we'll give all the credit to this spunky group. Love their energy in this live performance! (And check out Cat Stevens' original version here with a bit of a baroque pop sound).
Now can't forgot this totally groovy tune: "Crimson and Clover" by Tommy James & The Shondells. Written by frontman James and drummer Peter Lucia Jr, this psychedelic pop tune reached #1 on the charts after its release in late 1969, selling 5 million copies. Batgirl can't get enough of the super-cool tremolo effect on the vocals at the end of the song, however, I haven't shown her this little creepy performance from The Ed Sullivan Show.
And the most recent song added to Batgirl's playist is The Monkees' garage rock tune "(I'm Not Your) Steppin' Stone." Written by Tommy Boyce & Bobby Hart, it was first recorded by Paul Revere & The Raiders, but with the help of The Monkees TV series, this B-side single made it to #20 the charts in 1966. Sometimes all it takes is a simple lyric like "I-I-I-I-I'm not your steppin' stone" to get a kid bouncing. Such a blast from the past getting to watch this groovy show with my kiddo!
And finally, in honor of my Batgirl's birthday, here's the opening credits to the campy but classic Batman TV series, which included Yvonne Craig as Batgirl in Season 3 in 1967/'68. We totally had this footage playing in the background at Zoe's party, what a blast! Composed by Neal Hefti and using a guitar hook similar to spy film scores and surf music, this classic tune continues to be one of the most recognizable of TV themes.
Although it's apparently taking me over half the year to get through this awesome series, we all know it's well worth it. Featuring the top-notch L.A. musicians known as the Wrecking Crew, our next recording is the traditional pop song "Strangers in the Night," composed by Bert Kaempfert. Originally part of an instrumental score for the movie A Man Could Get Killed, the song was made famous by Frank Sinatra in 1966. Reaching #1 on the Billboard Hot 100, Easy Listening, and UK Singles chart, it won Sinatra the Grammy Award for Best Male Pop Vocal Performance and Record of the Year. Despite Sinatra's strong hatred of the song, it was his first #1 song in 11 years and his most commercially successful album. The song's most memorable and recognizable feature is Sinatra's scat improvisation of the melody with the syllables "doo-be-doo-be-doo" as the song fades at the end.
Originating in mid-1965 as a band project by the L.A. songwriter/producer duo of P.F. Sloan and Steve Barri, The Grass Roots began with demo recordings using Wrecking Crew musicians.
Songs like "Where Were You When I Needed You" included Sloan on lead vocals and guitar, Larry Knechtel on keyboards, Joe Osborn on bass, and Bones Howe on drums. When moderate interest in the group arose, the producers found a new band that would incorporate The Grass Roots' name and cut a new version of "Where Were You When I Needed You" with the band's lead vocalist, Willie Fulton. The producers would go on to groom a third identity of The Grass Roots before they became a big success, but in the meantime, the second version of this single peaked at #28 on the charts in mid-1966. Here's performance of the temporarily Willie Fulton-lead Grass Roots.
The music of pop singer Bobby Vee also included the session musicians of the Wrecking Crew. With his biggest success in the early '60s, Vee has had 38 Hot 100 chart hits, 10 of which hit the Top 20. His career actually began amid a tragedy, on "The Day The Music Died" in 1959 when the three headline act line-up (Buddy Holly, Ritchie Valens, and the Big Booper) were killed in a plane crash. Vee, then age 15, with a quickly assembled band of Fargo, North Dakota schoolboys volunteered and were given the job of filling in for Buddy Holly and his band who were scheduled for a local engagement. Their performance there was a success, which eventually led to Vee's career as a popular singer. Reaching #3 on the Billboard chart, #2 on the Easy Listening, #9 on the R&B, and #3 in the UK in 1963, here's "The Night Has a Thousands Eyes."
One of the first female singer-songwriters of the rock 'n' roll era, Jackie DeShannon had a string of hit song credits from the 1960s onwards. Using the WC musicians, "Put a Little Love in Your Heart" was a smash single for DeShannon in 1969, reaching #4 on the Hot 100, #2 on the Adult Contemporary chart, and even #1 on South Africa's hit parade. Composed by DeShannon with her brother Randy Myers and Jimmy Holiday, it sold over million copies and was awarded a gold disc. It was performed as the closing number at the Music for UNICEF Concert, broadcast worldwide from the United Nations General Assembly in 1979. Here's a feelgood performance by a talented Kentucky girl.
We all know The Monkees began as a made-for-TV band who weren't allowed to play on their own recordings for their first two albums. Knowing the recipe for success, the producers used the Wrecking Crew studio musicians for these albums and other recordings featured on The Monkees TV show. Written and produced by Monkee Michael Nesmith, "You Just May Be the One" featured guitarists Glen Campbell, James Burton, and Al Casey, bassist Robert West, and drummers Hal Blaine and Jim Gordon. The song features the doubling of regular bass with Danelectro (or "dano" bass) played by one of the guitarists, and the dano bass' distinctive twang gave Nesmith's 1966 tracks a country flavor. The doubling of the bass proved difficult to master as some 35 takes were needed before the backing track was completed. A remake of this song was recorded by the band for their third album Headquarters in 1967. Here's the earlier version with the WC musicians that was used several times during Season One of the TV series.
Sorry for the lack of posts around here. Life has been busy and full of fun but has not allowed much time for the blogosphere. I have many posts planned but most them will have to wait until the new year. By the way, if you've been dying to hear some classic Christmas tunes, be sure to check out last year's Christmas posts here.
So today is my daugher's birthday. Three years ago, Zoe arrived one week before Christmas, what a nice present! She is hilarious and loves music, especially the tunes from the 1960s (although this could have something do with the fact her mother usually plays the '60s station in the car!). In honor of her birthday (and while she's napping), I thought I'd post all of her favorite songs. She regularly requests these songs by name. I have no idea what drew her to this particular set of songs, but I think you'll appreciate them, too. (Since most of these tunes have been previously featured at The '60s Beat, I'll try to find different videos for each song).
Whenever Zoe thinks it's "the all-request hour" in the car, she'll first ask to hear "I Love the Flower Girl," also known as "The Rain, The Park, And Other Things" by The Cowsills. This multi-million selling single was #2 hit in 1967 for the popular family group, and it's no wonder why my kiddo loves this happy tune. This playful footage of the Cowsills family riding the miniature train looks like something my daughter would love to do.
Every time Sonny & Cher's signature song plays on the radio, my daughter excitedly shouts, "It's 'I Got You, Babe!'" Written and produced by Sonny Bono, this tune became one of her first favorites nearly a year ago; I guess the repetitive chorus stood out to her. Back in the 1965, looks like the charts would agree with Zoe, as this song reached #1 in the US and UK. This performance of the husband and wife vocal duo comes from The Beat Club, a German music program.
The Turtles' "Happy Together" is a newer favorite for my daughter, and she can actually sing the chorus pretty well, the descending arpeggio and all ("I can't see me..."). I discovered that she liked this song when I noticed her singing it to her stuffed animals one day. Released on Valentine's Day in 1967, this quintessential '60s song was also a #1 hit, staying at the top of the US chart for 3 weeks. Zoe refers to this one as "Happy Dugeder."
Now this next favorite of Zoe's comes as quite a surprise. With a title like "I Love You," you'd expect this Zombies' song to have a cheery tune, however, it is actually in a minor key, giving it a darker sound. Written by bassist Christ White, this British single was released in 1965 but failed to make the US chart, although it was quite popular in the Philippines. Three years later, the Californian group People! scored a big hit with their cover version of "I Love You," making them a one-hit wonder. It was so random hearing my daughter as a young 2-year-old regularly requesting to hear this one!
I recently let Zoe watch a few episode of The Monkees TV show and she was totally into it! Right now, her favorite Monkees' song is "Tomorrow's Gonna Be Another Day," from the group's debut, #1 hit album in 1966. Like another one of their infamous tunes, the chorus in this song includes a few "hey, hey, hey's," which has my daughter laughing every time; she actually thinks the name of this song is "Hey, Hey, Hey." Here's a typical Monkees romp from the first season of the show; Zoe loves it.
Finally, I'll end today's post with a final #1 hit, "Good Lovin'" by The Young Rascals. The backing vocals shouting "good lovin'" are what caught Zoe's attention, and she repeats the lyrics as "due lub!" Released in 1966, this high-energy tune is also great for dancing; what 3-year-old doesn't like dancing, anyway? Here's a great live performance by the blue-eyed soul group on The Ed Sullivan Show.
After the heartbreaking news
about the beloved Davy Jones' passing last February, it appeared that the days of ever seeing
the Monkees perform live again were over. However, much to the surprise
of fans across the country, it was announced that the Monkees would in
fact tour again, and even more exciting, Mike Nesmith would be joining
them! This was big news, especially considering that with the exception
of a few random performances, this is the first time that Nesmith has
toured with The Monkees in the US since 1969. Lucky for us, my sister
and I were able to attend the opening night of this quick, 12-date tour
at the California Center for the Arts in Escondido (San Diego County).
If you've read my review
of their 45th Anniversary Concert Tour last year, you'll know these
guys put on an amazing show, and once again, they did not disappoint. Here we are,
quite giddy as we headed out the door to another fabulous concert.
And
boy, were we in for a treat! With a large screen on the back of the stage projecting fun images and video clips of The Monkees in their heyday, Micky Dolenz, Peter Tork, and Michael
Nesmith performed a strong, 95-minute concert which included their
classic hits (like "Last Train to Clarksville" and "I'm a Believer") and fan favorites (like "Goin' Down" and "What Am I Doing Hangin' 'Round?"), as well as many selections from the 1967
Headquarters and '68 Head albums. Backed by
another stellar, 7-man band (including Dolenz's sister, Coco, and
Nesmith's son, Christian), The Monkees once again proved they can do
more than just play their own instruments, but they rocked, and often
jumped onto different instruments throughout the evening.
As Nesmith
strummed his beautiful, 12-string guitar (modeled after the one he
played in The Monkees TV series), he was such a wonderful
addition to the performance, and his country-flavored voice sounded
fantastic! One hilarious moment of the night was when the group
performed "Daily Nightly" (previously discussed during Psychedelic Week here),
a Nesmith-penned tune in which the studio recording featured one of the first use of a
Moog synthesizer on a rock album. After joking about
failing to find a Moog for the concert, Nesmith instead "sang" the wacky
sounds of the Moog part as Dolenz sang the imagery-filled lyrics, and
this had us crying with laughter. And of course, the audience shed other
tears as well during the poignant video songs and tributes to the
energetic and cheeky Davy Jones, who was missed but definitely not
forgotten. Another touching moment was when it came time to perform
Jones' signature tune "Daydream Believer," Dolenz said to the audience,
"This song is no longer ours; it belongs to you," and randomly chose two
girls to come up onstage and sing it.
Since we were just 6 rows away from the stage (here's my photo during Dolenz's infamous "Randy Scouse Git") and apparently in "family and friends" section, we were able to really enjoy the musicianship onstage from a much better vantage point this time around. The banter was kept pretty light in between songs (something, I'm guessing, will become more polished as the tour continues), and it was pleasant to see Nesmith enjoying himself with his old bandmates, as his laid-back demeanor would suddenly break into a cute, little dance. It was such a fun night and I'm sure the rest of the tour will continue to be a success as the band has still to perform at already sold-out venues.
And since I love posting music, here's one of the video songs featuring Davy Jones that was shown during the Head segment of the concert (which was instrumentally backed by the live band during the performance). Written by Harry Nilsson, "Daddy's Song" was one of the better parts of The Monkees' wild 1968 film, and features Jones dancing with Toni Basil (who later had a hit with "Mickey [You're So Fine]" in 1982). This guy seriously should have been on Dancing with the Stars! (Oh, and the bit at the end with Frank Zappa cracks me up).
While the concert tour concludes with "Listen to the Band" and "Pleasant Valley Sunday," I'll end this post with a favorite Nesmith song that was performed during the Headquarters portion of the evening. During their performance, they made sure to cover the exact instruments that they had played in the album recording with Tork on bass (although generally a guitarist and keyboardist), Micky on drums, and Nesmith on 12-string, just like the video clip from their TV show.
Thank you to The Monkees for another night to remember!
Well, sorry it took so long to get this post up; it's difficult to write when the topic is an unexpected, sad one. As I'm sure you've all heard by now, last week on February 29th, Davy Jones of The Monkees passed away at the age of 66, after suffering a massive heart attack. Like several generations of Monkees' fans, I am shocked and sadden to lose a wonderful '60s music icon. At 14 years old, The Monkees were the soundtrack of my life, and the cute, little British Davy was my first favorite, just adorable and full of life. There was something special about The Monkees, as we fell in love with these guys and their music through their innovative TV series. I think I speak for many fans that The Monkees' music and show remind us of the fun, innocent days of our childhood/teen years, so it's sad to see the death of someone that represented those sweet memories. Since I don't think I can add anything new that hasn't been mentioned already in the numerous, great articles from this past week (including a nice one here by NPR about how the group is long-overdue for induction into the Rock and Roll Hall of Fame), so here's a few of those hit songs sung by one of the world's favorite teen-idols. Released in October 1967, "Daydream Believer" became The Monkees' third #1 hit single, topping the US charts for four weeks, and peaked at #5 in the UK. Written by John Stewart of The Kingston Trio, the original lyrics in the second stanza were "now you know how funky I can be," however, The Monkees changed "funky" to "happy." Unsure of the song's potential at first, Davy later admitted to having a hint of annoyance in his vocals while recording ongoing takes, which kind of slips through during the humorous opening (not usually played on the radio): "...don't get excited, man. It's 'cause I'm short, I know." This video is not meant to be taken too seriously as the guys are clearly goofing around with the instruments, you know, like Mike strumming the guitar through his tie and Micky passing his hand right through the middle of the tambourine. Gotta love Davy's groovy dance moves, just like he's ice staking!
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Written by Boyce & Hart for The Monkees, "Valleri" reached #3 on the US Billboard chart, #1 on Cash Box, and #12 in the UK. After being asked by Don Kirshner (The Monkees' music supervisor) to write a "girl's name song" to be used in the TV series, Tommy Boyce and Bobby Hart pretended over the phone that the song was already finished, however, they came up with the song on their way to Kirshner's office! In this video, this version of "Valleri" is actually the first version of the song and was only intended to be used in the TV show, not released as a single. However, after radio DJs made bootleg recordings of this tune (recording it directly of the TV), it began receiving quite a bit of radio airplay. By the end of 1967 when The Monkees won the right for complete creative control over their music production, they re-recorded "Valleri" to be included on their fifth album, adding a popping brass arrangement. As Davy "floats" above the band in this clip, pay no attention to the fact his tambourine part does not actually match the recording. :)
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And how about one more? Here's the Neil Diamond-penned "Look Out, Here Comes Tomorrow" from the 1967 album More of the Monkees.
Farewell, sweet Davy Jones. You'll always be one of our faves.
Bubblegum Pop: Part 3
While the music of Tommy James & the Shondells spans a wide variety from garage rock to psychedelic rock, some of their tunes have been retrospectively labeled as an early form of the bubblegum sound. Released in 1967, "I Think We're Alone Now" was one of Tommy James' most successful recordings, reaching #4 on the US charts during a 12-week stay, and was later named "the bubblegum apotheosis" by some rock critics. Like several of James' records, this was a picture-perfect production masterpiece and a great pop tune with a heart-beat bass line (basically a template for bubblegum pop). Apparently because the bass player that didn't show up to the recording session, James improvised that bass line on guitar himself. This classic, good-timing tune has been covered several times by other artists (a staple for my dad's garage band in the '60s!), including a #1 hit version by Tiffany in the '80s.
------------------------------------------------------------------------------------------------ The prolific songwriting duo of Boyce & Hart had a talent for writing upbeat, hit songs (later called "sunshine pop") that made for the perfect segue into bubblegum pop. After working for Screen Gems and creating the sound of The Monkees, Tommy and Bobby set out together on their own recording adventure, producing three albums with Top-40 hits including "I Wonder What She's Doing Tonight" (previously featured here), "Out And About," and "Alice Long (You're Still My Favorite Girlfriend)." Written, produced, and performed by the duo, "Alice Long" reached #16 on the Cash Box chart and #27 on the Billboard chart in 1968. In this Monkees-like musical romp, these guys look like they're having a great time in this promo video they filmed featuring "Alice Long."
------------------------------------------------------------------------------------------------ Speaking of The Monkees, there is actually some debate online as to whether they were really a bubblegum group (one such hilarious debate here). Yes, these guys were initially a prefabricated band, manufactured to sell records of hit songwriters (the perfect prototype for bubblegum pop), just like the studio-assembled music by Super K Productions from a few posts ago. Before the group staged a coup and took control over their own musical output (this altering their sound), they definitely had some hook-filled pop tunes with that touch of bubblegum, particularly tunes with Davy Jones' vocals. Amongst a very extensive catalog including power pop, psychedelic rock, country rock, garage rock, and even Broadway rock, this Neil Diamond-penned number, "A little Bit Me, A Little Bit You," was actually released against The Monkees' wishes (they had planned on releasing "All of Your Toys" here, the now legendary single-that-never-was), yet it did manage to reach #1 on the Cash Box chart and #2 on the Billboard chart in March of '67. In this musical sequence from their TV show, The Monkees are apparently trying to sabotage the movie career of a pompous singer, played by Bobby Sherman (before he hit teen idol status the following year)!
------------------------------------------------------------------------------------------------ So next up, of course it's American singer and actor Bobby Sherman, who's not pompous at all but among the most kind-hearted and charitable of stars. Being the first performer to star in three different TV series before the age of 30, Sherman began his entertainment career as a regular cast member/house singer for ABC's Shindig! in the mid-'60s (which I'm thoroughly impressed with his cover performance of The Zombies' "She's Not There," featured on the show here), but he didn't become a breakout star and teenage heart-throb until 1968 when he starred in Here Come the Brides. Besides a successful recording career that earned him seven gold singles, one platinum single, and five gold albums, he found another calling in life in the mid-'70s, becoming a certified EMT (emergency medical technician), and since the '90s, he has served as a medical training officer for the Los Angeles Police Department, instructing thousands of police officers in first aid and CPR (what a guy!). Here's a performance of Sherman's first million-selling single, "Little Woman," which peaked at #3 on the Billboard charts in 1969.
------------------------------------------------------------------------------------------------ Well, since our final Bubblegum post scheduled for next week is only featuring family groups, I better toss one last group to complete this post. Another studio concoction created by Super K Productions, Crazy Elephant was a short-lived American bubblegum pop band in the late-'60s. Known as a transatlantic one-hit wonder, their 1969 single "Gimme Gimme Good Lovin'" made it to #12 on both the US and UK charts, however, their follow-up singles failed to chart. Allegedly, Cash Boxmagazine promoted the band as being a group of Welsh coal miners (huh?). Like other Super K-created bands, a touring group was later formed for promotional purposes. With random but fitting footage of the Hullabaloo house dancers, here's an audiophile showing off his original 45 of this fun, bubblegum standard.
Well, I realize it's still November, but if you love the sounds of the Christmas season, you should enjoy the next several weeks here at The '60s Beat. I'll try to keep the descriptions more brief, but we all know how rare that is on this blog...
To kick off the Christmas spirit, how about a cheery tune from that favorite vocal surf pop group, The Beach Boys! Written by Brian Wilson and Mike Love, "Little Saint Nick" went to #3 on the Billboard Christmas charts after its release in December of 1963. It borrows its rhythm and structure from the group's "Little Deuce Coupe," a hit a few months prior. Although that year saw a media-hushed Christmas as the country mourned the recent death of JFK, the single did go into the Top Tens for record sales in dozens of cities, and eventually became an unofficial million-seller. This footage is definitely from later in the '60s when Love started sporting a beard.
------------------------------------------------------------------------------------------------- And here are some of our favorite Brits with a Christmas greeting, wishing Beatle fans a "Happy Crimble!" 'Crimble' was a slang word for Christmas coined by The Beatles in 1964 (more likely John Lennon, who enjoyed wordplay), and has come into general use among Liverpudlians. The greeting is followed by an excerpt of "Christmas Time (Is Here Again)," a song written by all four Beatles for their 1967 fan club Christmas record. These Christmas records included spoken and musical messages on a flexi disc and were issued each year between 1963 through 1969 for official Beatle fan-club members in the UK and US.
------------------------------------------------------------------------------------------- This next seasonal tune comes from an album that's a 1960s Christmas essential: The Four Seasons' Christmas album from 1962. Done in the style of "Big Girls Don't Cry," a #1 hit from that same year, this falsetto version of "Santa Claus Is Coming To Town" is a holiday classic. Although there isn't any live footage with the audio, here's a photo montage of many Santa Clauses to accompany this Christmas standard written by John Frederick Coots and Haven Gillespie back in 1934!
------------------------------------------------------------------------------------------------ And for this post's finale, you get two more Christmas videos, brought to you by the zany and lovable Monkees. This first holiday clip comes from their 1967 Christmas episode where the foursome try to instill the spirit of Christmas in a cynical little boy (played by Butch Patrick a.k.a. "Eddie Munster"!).
Finally, this last clip (also from the Christmas episode) is a impressive performance by The Monkees as they sing an a-cappella rendition of the 16th Century Spanish carol, "Riu Riu Chiu." Sung in Olde Spanish, the lyrics refer to the nativity of Jesus and the virgin birth.
Although this post is kind of concluding on a melancholy note, I think you'll enjoy this Christmas beauty. (And in case you were wondering, they're holding incense; this was a family show, so these guys wouldn't be caught dead smoking!). Peace, Love, and Happy Christmas!
Although Halloween is generally too creepy for me, here's a fun-filled (and I mean full!) post of some innocent, 1960s spookiness.
We're kicking this post off with a Halloween pop favorite, the novelty song "Monster Mash." During the early 1960s, Bobby "Boris" Pickett was an aspiring actor who first gained attention with his Boris Karloff impressions while singing with a band called The Cordials. Composed together with guitarist Leonard Capizzi, Pickett recorded the "Monster Mash" with session musicians credited as "The Crypt-Kickers," and this monster-themed tune reached #1 on the charts in October of 1962, just in time for Halloween. Seeing Pickett's crazy facial expressions are crackup, though you're almost kind of relieved when you finally see him smile at the end (reminds me of the "first Darrin Stephens" from Bewitched in the mid-1960s).
------------------------------------------------------------------------------------------------ This next creepy tune is brought to you by The Turtles before they scored their best-known hit ("Happy Together") in 1967. Released as a single in May of 1966, "Grim Reaper of Love" barely made the Billboard charts since it was clearly too dark for record-buying public. Written by Turtles lead guitarist Al Nichol and bassist Chuck Portz, it's actually a pretty cool and haunting song with the verses metered in a 5/8 feel (some nerdy musician language for ya).
------------------------------------------------------------------------------------------------ And who can forget one of the strangest families on 1960s television? Based on Charles Addams' New Yorker cartoons,The Addams Family TV series ran for two seasons from 1964 to 1966 on ABC, and were often compared to their working-class rivals, The Munsters (that TV theme featured during Surf Rock Week). Composed by American TV and film composer Vic Mizzy (who also wrote the theme to Green Acres), this finger-snappin' tune is still remembered generations later.
------------------------------------------------------------------------------------------------- Next up is a "spooky little" cover by "The White Queen of Soul," British singer Dusty Springfield. Originally an instrumental song played a saxophonist, the best-known version of "Spooky" was actually by The Classics IV, whose jazz fusion/pop rendition reached #3 on the charts in 1968. Unfortunately no decent videos of The Classics IV's "Spooky" are currently available, so here's the next best cover by the beautiful and sultry Dusty, probably in the early 1970s since her signature beehive hairdo of the '60s is not included.
------------------------------------------------------------------------------------------------- One of the most recognizable films in cinema history is Hitchcock's 1960 horror film Psycho, with Bernard Herrmann's musical score adding greatly to the tension and drama. Hitchcock himself stated that "33% of the effect of Psycho was due to the music." The Shower Scene is probably the most famous cue in film music, with the shrill screeching of string instruments. However (no Shower Scene today), this sound clip below is the main title of the soundtrack, an intense yet truly fantastic piece of musical art.
------------------------------------------------------------------------------------------------- And of course a Halloween post deserves a typical and crazy Monkees romp (a music video precursor), featuring the foursome with classic Hollywood monsters in the episode titled "The Monstrous Monkee Mash." Although the episode first aired in January of 1968, the filming actually started on Halloween of '67. Written together by all four of The Monkees with Diane Hilderbrand, "Goin' Down" shows off Micky Dolenz's impressive (and quick) vocal skills, and was the B-side to "Daydream Believer." Sock it to me! (The individual music video has been removed from YouTube, so here's the whole episode! "Goin' Down" begins around the 20-minute mark).
----------------------------------------------------------------------------------------------- First opening in August of 1969 at Disneyland in Anaheim, California, the Haunted Mansion is a beloved dark ride with a classically creepy theme song heard in many different variations throughout "the tour." Composed by Buddy Baker with lyrics written by Disney legend "X" Atencio, "Grim Grinning Ghosts" featured a pickup group of vocalists including Thurl Ravencroft (in the clip, the "singing bust" on its side) who is also known for singing "You're a Mean One, Mr. Grinch," as well as the voice of Tony the Tiger ("they're ggggreat!"). This particular sound clip comes from the "Graveyard Jamboree" variation where the theme is played the loudest in the ride, with ghosts singing over a background loop including the 1960s-style bass line and rhythm section. In college, I actually based a music composition homework assignment on these chords because I liked the progression so much. ("Graveyard Jamboree" begins around the 10:39 mark).
------------------------------------------------------------------------------------------------- To end this Spooktacular post, here's my favorite creepy song of the 1960s: "People Are Strange" by The Doors. Written by bandmates Robby Krieger and Jim Morrison, this psychedelic rock song was released as a single in September of 1967, and peaked at #12 on the Billboard charts and #10 on the Cashbox. As a teenager, I heard a cover version of this used for the opening credits of the 1980s vampire film The Lost Boys (with a teenage Keifer Sutherland!), which I think forever etched into my mind the eeriness of this tune. Showcasing The Doors' interest in the theatrical music of European cabaret, this song isn't at all Halloween-related but about alienation and being an outsider, and seems to expose Morrison's vulnerability. On that depressing note, enjoy!
Other 1960s songs that you can include in your Halloween playlist are "Paint It Black" by The Rolling Stones (already featured here) and The Zombies' very interesting "Butcher's Tale (Western Front 1914)" from their Odessey and Oracle LP here.
Happy Fall, everyone!
On January 28th, Jefferson Airplane's lead guitarist and songwriter, Paul Kantner, died at the age of 74 (pictured second from left with glasses). Jefferson Airplane's psychedelic sound and free-spirited mindset helped define the '60s counterculture in San Francisco. Kantner was a co-founder of the
group in 1965 with Marty Balin and the guiding spirit of its successor,
Jefferson Starship. With
hits like "Somebody to Love" and "White Rabbit" (both featured here), Jefferson Airplane
wrote anthems for the hippie movement and the memorable Summer of Love in 1967. While vocalists Grace Slick and Balin were the public faces of Jefferson
Airplane, Kantner was often the creative force
of the band, bringing a freshness from his folk music scene background. From their historic album Surrealistic Pillow in 1967, listen for Kantner's vocal at 1:08 in "How Do You Feel?" 
