Podcast appearances and mentions of Betty Everett

It's another 2 hour 1960s radio dance party, with tunes from Bob & Earl, Chuck Jackson, Betty Everett, Baby Washington, Eddie Holland, a big score from the Valentinos, a funky cover of a Johnny Cash signature tune, and more, all on 45 rpm vinyl! -Originally broadcast April 27, 2025- Willie Mitchell / That Driving BeatBob & Earl / Dancin' EverywhereBaby Washington / You Never Could Be MineEtta James / Tighten Up Your Own ThingEddie Holman / You Know That I WillChuck Jackson / These Chains Of Love (Are Breaking Me Down)Jerry Williams / Come And Get ItFreda Payne / (Desafinado) Slightly Out Of TuneThe Capitols / We Got A Thing That's In The GrooveShorty Long / Night Fo' LastBetty Everett / I've Got A Claim On YouThe Jarmels / A Little Bit of SoapPearlettes / Duchess Of EarlEddy Giles / Losin' BoyThe Malibus / I Just Can't Stand ItKelly Brothers / How Can True Love Be This WayThe Jades / You're So Right For MeHank Jacobs / Monkey Hips and RiceTina Britt / I Found A New LoveDee Dee Warwick / Don't You Ever Give Up On MeBarbara Mercer / Nobody Loves You Like MeFreddy-Henchi & the Soulsetters / Folsom PrisonBilly Barnes / UntilLee Rogers / Love For A LoveDorothy Prince / I Lost A LoveJunior Parker / Why Do You Make Me CryThe Valentinos / Sweeter Than The Day BeforeThe Hesitations / Soul Kind of LoveThe Fascinations / I'm In LoveJerry Butler / Windy City SoulEddie Holland / If It's Love (It's Alright)Melodics / Ain't That Sharing My LoveGloria Parker / Why Can't We Get TogetherOtis & Carla / Knock On WoodBaby Washington / I'm Good Enough For YouJackie Paine / No Puppy LoveBoogaloo Joe Jones / Inside Job Hosted on Acast. See acast.com/privacy for more information.

Folks, things happen. Plans are made, plans fall through. It's no big deal for us though, because even if we got nothing, we can always pull a playlist out of thin air using our patent-pending Emergency Pod format. It helps to have the amazing and imminently available Shannon Hurley on hand. Shan is always down to clown, and brings the goods in a true emergency Emergency Pod with a complete top ten list of amazing songs we put together on the spot.If you like what you hear with this format, you should know it's usually reserved for our friends over at Patreon, who are kindly contributing $2 a month and in turn are receiving one of these Emergency Pod episodes featuring our favorite guests every month. Find out more at https://www.patreon.com/c/alltimetoptenShannon is up to as much creative stuff as she can get her hands on these days. Follow her on Instagram or go to her website for updates:https://shannonhurley.com/

National Espresso Day.  Entertainment from 1963.  Prescribing beer for medicianl purposes now illegal, WW2 food rationing ended, Jukebox debuts.  Todays birthdays - Franklin Pierce, Boris Karloff, Betty Everett, Bruce Hornsby, Miley Cyrus.  Larry Hagman died.Intro - Pour some sugar on me - Def Leppard    https://defleppard.com/Have another espresso - Shel SilversteinI', leaving it up to you - Dale & GraceLoves gonna live here - Buck OwensBirthdays - In da club - 50 Cent    https://www.50cent.com/The shoop shoop song (its in his kiss) - Betty EverettJust the way it is - Bruce Hornsby & the RangeParty in the USA - Miley CyrusExit - In my dreams - Dokken   https://www.dokken.net/Follow Jeff Stampka on facebook, linkedin and cooolmedia.com 

This week's show sees Pete feature great new and recent releases from Gerardo Frisna, Reckoners and from Flevans. There are birthday celebrations for Betty Everett, Dr John, Smoove and for Jocelyn Brown. He also pays respects to Sharon Jones, who left us 8 years ago this week. For more info and tracklisting, visit: https://thefaceradio.com/superfly-funk-and-soul-show/Tune into new broadcasts of the Superfly Funk & Soul Show, LIVE, Fridays from 10 AM - 12 PM EST / 3 - 5 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Label: Sound Stage 7 1520 djYear: 1976Condition: MPrice: $20.00Stereo/Mono promo copy. Here's the best evidence I've heard yet that there was definitely life for Betty Everett after the 1960's. This has got to be one of the hottest soul tracks I've heard lately... Smokin'! Note: This copy comes in a vintage Sound Stage 7 Records factory sleeve. It has no notable flaws, grading Mint across the board (Labels, Vinyl, Audio).

Frankie takes over the Blow Up studios this week and is joined by Rich & Molly for a 2 hour show recorded live in Brisbane's Fortitude Valley.Featuring music from Betty Everett, Holly Golightly, Art Guy, Ray Scott and Brisbane's own The Busymen. For more info and tracklisting, visit: https://thefaceradio.com/blow-up/Tune into new broadcasts of Blow-Up, Sundays from 8 - 10 AM EST / 1 PM - 3 PM GMT, in association with Brisbane's 4ZZZ.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

On this week's episode we're covering the boring and just kind of bothersome movie Fallen from 2016.  It's about an angel creeping on a woman.  Also in this episode, Suesie is so angry at Frank.  Frank complains about ripping off Superman.  Intro is Rebel Girl by Bikini Kill.  Outro is Shoop Shoop(It's in his Kiss) by Betty Everett.  We have shirts! Find them here: https://www.teepublic.com/stores/teen-girl-talk-podcast Please rate, review and subscribe to the show on iTunes E-mail: realteengirltalk@gmail.com Facebook: https://www.facebook.com/groups/teengirltalk/ Twitter: @TeenGirlTalk3 Suesie's Instagram: https://www.instagram.com/susieboboozy/ Frank's Instagram: https://www.instagram.com/siriwouldchallenge/ Frank's YouTube: https://www.youtube.com/channel/UCJcUttxP0ujvc6HXBz-4kIw

There's another fresh batch of old records at the Midnight Hour Sound System headquarters for another action-packed episode of That Driving Beat! Shake it to rare soul, rhythm & blues, and Mod tunes by The Fabulettes, Ray Pollard, Ruby Andrews, Dusty Springfield, Barbara Lynn, Arthur Alexander, Betty Everett, and even Dolly Parton!? Originally broadcast February 25, 2024 Willie Mitchell / That Driving BeatTheresa Lindsey / Gotta Find A WayBeverly Jones / Hear You TalkingThe Apollas / Sorry MamaThe Ideals / Mojo HannaThe Fabulettes / The Bigger They Are (The Harder They Fall)Little Eva / Bend ItDolly Parton / Busy SignalJack Scott / Cry, Cry, CryBob and Earl / The SissyBilly Butler / Thank You BabyWade and Jamie / Don't Put Off 'Till TomorrowJean King / The In-CrowdMel Brown / Swamp FeverRonnie Milsap / Total DisasterDusty Springfield / Silly, Silly, FoolThe Ambassadors / I Can't Believe You Love MePaul Mauriat and His Orchestra / Black Is BlackPatti Jerome / No More TearsThe Ronettes / Baby, I Love YouEvelyn Legrand / I Got CaughtRay Pollard / WanderlustJimmy "Soul" Clark / All Your Lovin'Arthur Alexander / Pretty Girls EverywhereHedy Sontag / Bad GirlThe Five Du-Tones / The Chicken AstronautRuby Andrews / Away from the CrowdLittle Willie John / Mister GlennBarbara Lewis / Love Makes The World Go RoundBarbara Lynn / Second Fiddle GirlBarbara Lynn / You're Losing MeClara Wilson / Don't Say Nothin' BadBetty Everett / Please Love MeWade and Jamie / Send For MeTommy Yates & The Imperial Showband / Darling. Something's Gotta GiveVigor Fisher / Think Of HappinessGail Noble / Be Good To Your Baby Hosted on Acast. See acast.com/privacy for more information.

We're celebrating 300 episodes over six years of That Driving Beat! We pull out some of our all-time favorites, and stuff we're into right now for this version of the radio dance party. We've got Northern Soul anthems, R&B shakers, popcorn movers, garage rockers, and Mod swingers from Maxine Brown, Shirley Ellis, Harold Melvin & The Blue Notes, Nina Simone, Baby Washington, Jerry Williams Jr., Terry Callier, Dean Parrish, Betty Everett, and more! Originally broadcast February 11, 2024 Willie Mitchell / That Driving BeatHarold Melvin & The Blue Notes / Get OutShirley Ellis / Soul TimeMaxine Brown / One In A MillionBobby Hebb / Love Love LoveThe Steinways / You've Been Leadin' Me OnTony Clarke / LandslideLevon & The Hawks / He Don't Love You (And He'll Break Your Heart)The High Keys / Que Sera, SeraJimmy Elledge / Your Funny Way Of Loving MeDean Barlow / Don't Let Him Take My BabyThe Traits / Too Good To Be TruePearlean Gray and the Passengers / I Don't Want to CryBarbara Acklin / Am I the Same GirlRonnie Love and His Orchestra / Chills and FeverRosco Gordon / You Got My BaitFrankie Valli & The Four Seasons / The NightNina Simone / It Be's That Way SometimeBetty Everett / Getting Mighty CrowdedBobby Allen Poe / Concrete JungleDean Parrish / Bricks, Broken Bottles and SticksAnna King / The Big ChangeBaby Washington / Leave Me AloneLew Courtney / The Man With The CigarTammi Lynn / I'm Gonna Run Away From YouJerry Williams / If You Ask Me (Because I Love You)The Showmen / Our Love Will GrowRoddie Joy / If There's Anything Else You Want (Let Me Know)Major Lance / You Don't Want Me No MoreVirgil Murray's Tomorrow's Yesterday / I Still CareThe Bad Seeds / I'm A King BeeSoul, Inc. / Midnight HourTerry Callier / Look At Me NowJackie Day / Come On Try MeSonny Fishback / Heart Breaking ManThe Sacred Four / Somebody Watching YouGloria Jones / Tainted LoveHal Frazier / After Closing Time Hosted on Acast. See acast.com/privacy for more information.

Sarah Sinclair and Rafael Musa have turned in a festive Friday crossword, with that joy coming from all quadrants of the grid. We appreciated 24D, Pandemic health worker, UNSUNGHERO (sadly, quite true); 4D, Starts off-key?, HOTWIRES (

durée : 00:59:34 - Vauriens ! - par : Nathalie Piolé -

House, funk, soul, bass and beats for open-minded listeners with an old-skool state of mind, presented by DJ D'Francisco Catch the pod live every Friday afternoon on www.musicboxradio.co.uk 3-5 UK time, as a podcast or at www.mixcloud.com/francisco Tracklist: Bettye Everett - God Only KnowsAlice Russell - Hurry OnTa'Raach - BaaabyDobey Dobe - At Ease ft. Perry PorterRoots Manuva - Let The SpiritBig Daddy Kane - Warm It UpMbuzi Gang - BaikokoNatty, Benjamin Zephaniah & Mala - Word & SoundKokoroko - War Dance (Hagan Remix)DJ Center - Some Say AhOrlando Julius - Disco HighlifeBosq & Kaleta - Meji Meji (Folamour Remix)Sonny Okosuns Ozziddi - Oba ErediauwaDangerous Dan & Nicky Night Time - Mystery (DJ Kaos Edit)DJ Joe Lewis - Dub of My Own (remix)Boyd Jarvis - The Musics Got MeChuck Armstrong - Something Got A Hold Of MeMark Knight, Green Velvet & James Hurr - The Greatest Thing AliveXpress 2 - Say WhatKleu & Cropz - Turn Up The MusicGenetix & Habitat - Back In The DayUrban Shakedown - ArsonistMeat Beat Manifesto - Radio Babylon

Nuevo capítulo de esta colección en donde recordamos canciones que alcanzaron su máximo puesto en listas estadounidenses hace exactamente 60 años. Todo lo que escuches estaba entre lo más vendido de enero de 1964, lo que nos permite ver la variedad de estilos que compartían espacio en la música popular de aquellos días. Playlist;(sintonía) DUANE EDDY “The son of rebel rouser” (top 97)BOBBY VINTON “There! I've said it again” (top 1)THE MURMAIDS “Popsicles and icicles” (top 3)NINO TEMPO and APRIL STEVENS “Whispering” (top 1)BETTY EVERETT “You’re no good” (top 51)THE EXCITERS “Do-Wah-Diddy” (top 78)THE RAINDROPS “That boy John” (top 64)THE ORLONS “Bon doo wah” (top 55)MARTHA and THE VANDELLAS “Quicksand” (top 8)THE SUPREMES “When the lovelight starts shining through his eyes” (top 23)THE MIRACLES “I’ve gotta dance to keep from crying” (top 35)JAN AND DEAN “Drag City” (top 10)THE TRASHMEN “Surfin’ bird” (top 4)SHIRLEY ELLIS “The Nitty Gritty” (top 8)TRINI LOPEZ “Kansas City” (top 10)FATS DOMINO “Who cares” (top 63)BARBARA LEWIS “Snap your fingers” (top 71)BRENDA LEE “As usual” (top 12)RAY CHARLES “That lucky old Sun” (top 20)Escuchar audio

We are in Mississippi this week and have a wicked episode in store for you! First, Kenzie shares the story of the Ghosts of Mississippi, a tragic tale of the murders of five elderly people in Columbus, Mississippi. Their cases are still unsolved to this day, and have continued to haunt the small town. Next, Lauren brings us witchy legends from around the state. She'll tell us about evil witches, dancing witches, and places that witches rendezvous. Who knows how many ghosts really haunt Mississippi…--Follow us on Social Media and find out how to support A Scary State by clicking on our Link Tree: https://instabio.cc/4050223uxWQAl--Have a scary tale or listener story of your own? Send us an email to ascarystatepodcast@gmail.com! We can't wait to read it!--Thinking of starting a podcast? Thinking about using Buzzsprout for that? Well use our link to let Buzzsprout know we sent you and get a $20 Amazon gift card if you sign up for a paid plan!https://www.buzzsprout.com/?referrer_id=1722892--Works cited!https://docs.google.com/document/d/1yta4QOa3v1nS3V-vOcYPNx3xSgv_GckdFcZj6FBt8zg/edit?usp=sharing --Intro and outro music thanks to Kevin MacLeod. You can visit his site here: http://incompetech.com/. Which is where we found our music!

National tie one on day. Entertainment from 1979. Jukebox debuted, no more giving beer for medicine, World of Warcraft released. Todays birthdays - Franklin Pierce, Boris Karloff, Bruce Hornsby, Betty Everett, Miley Cyrus. Larry Hagman died.

After last week's special Beatles themed show, Pete's back with a whole bunch of great new tracks, including music from Black Pumas, Wolfgang Valbrun, Lack Of Afro and 2 from The Inciters. There are birthday celebrations for Betty Everett and Clyde McPhatter, plus a nod towards The Style Council with the 40th anniversary (yes, that's right!) of A Solid Bond In Your Heart. Tune into new broadcasts of the Superfly Funk & Soul Show, LIVE, Friday from 10 AM - 12 PM EST / 3 - 5 PM GMT.For more info visit: https://thefaceradio.com/superfly-funk-and-soul-show///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Tunes old and new this week as Jaf spins Reggae, Blues, Rock n Roll, Funk, Jazz-Funk and Dance records. Newies from Offshore & Coen, Andrew Sant & Kameelah Waheed, Go Soul Map and Electric Blue Vision. Oldies from Johnny Adams, Betty Everett, Max Romeo and lots moreTune into new broadcasts of Blues & Grooves, Sunday from 4 - 5 PM EST / 9 - 10 PM GMT.For more info visit: https://thefaceradio.com/blues-and-grooves///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Sammy and Anita take a trip around the world this week.From Kingston Town to Ipanema, New York to Memphis, we're checking the weather and booking a ticket to ride. Featuring tracks from Betty Everett, Roy Ayres, Piney Brown and Tribe.Tune into new broadcasts of Blow-Up, Sunday from 8 - 10 AM EST / 1 PM - 3 PM GMT, in association with Brisbane's 4ZZZ.For more info visit: https://thefaceradio.com/blow-up///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

The guys almost have this radio broadcasting thing down after over five years, but that charming amateurism is still on display. Here's 2 more hours of your radio dance party. We've got Sonny Fishback under his own name and his Sonny Fisher alias on this episode, plus K.C. Douglas, Johnny Nash, The Toys, The Shirelles, James Carr, Betty Everett & Jerry Butler, Detroit soul from Al Kent, The Four Sonics, and Marvin Gaye, plus a short diversion into some English-language Montreal pop! Originally broadcast June 25, 2023 Willie Mitchell / That Driving BeatChuck Edwards / Sweet Sweet LoveSonny Fisher / I'm Going (All The Way)Brenda & The Tabulations / The WashThe Young Folk / Lonely GirlJimmy Thomas / Hurry And Come HomeBobby Jameson / I'm LonelyK.C. Douglas / The Little Green HouseYoung Hearts / Get Yourself TogetherThe Soul Clan / Soul MeetingBetty Everett & Jerry Butler / Ain't That Loving You BabyDeon Jackson / Love Takes a Long Time GrowingAl Kent / The Way You Been Acting LatelyThe Four Sonics / It Takes TwoThe 4 Seasons / Beggin'Walter Jackson / One Heart LonelyThe Ovations / They SayVernon Harrell / If This Ain't Love (Ain't No Cows In Texas)The Toys / May My Heart Be Cast Into StoneThe Shirelles / Too Much of a Good ThingTimi Yuro / What's A Matter Baby (Is It Hurting You)Marvin Gaye / Your Unchanging LoveCassietta George / Somebody's WatchingKim Tolliver / I Gotta Find A WayThe Artistics / The Chase Is OnJerry-O / Funky Boo-Ga-LooWilmer & The Dukes / Give Me One More ChanceDon Gardner / My Baby Likes to BoogalooSonny Fishback / Heart Breaking ManJames Carr / Coming Back to Me BabyElvis Presley / Rubberneckin'The Classels / Tomorrow May Be Too LateSolomon King / I Get That Feeling Over YouThe Kingsmen / The Wolf Of ManhattanRay Singer / Who Can I Talk To About ItJames Brown & His Orchestra / Out Of SightJohnny Nash / UnderstandingCharlie Rich / Hurry Up Freight TrainThe Fenways / Hard Road Ahead Hosted on Acast. See acast.com/privacy for more information.

The sound of both longing and empowerment surfaces in this morning's Deeper Roots show as we take the wayback machine to the 1960s for some of the very best in female soul. With every female vocalist, group-based or solo, that surfaced from the Motown stable there were dozens upon dozens of hopefuls lined up by other labels and producers. We've visited many of them in past shows but there are always more to share and some memorable performances that can get easily overlooked in the crowded field. And while we've heard a number of these performers in past shows: Betty Everett, Mary Wells, and Carla Thomas…there are also the unknowns who deserve attention. We'll spend some more time with Mitty Collier, Dee Dee Warwick and Etta James and find some other names to pay attention to including Odessa Harris, Helene Smith, and Delilah Keenebruew. Tune in Friday morning at 9 Pacific for some deep tracks and favorites from a few of those 60s soul divas.

Oscar-winning filmmaker Jane Campion joins The Letterboxd Show for a very special episode, marking the 20th anniversary of one of Gemma Gracewood's Four Favorites: In the Cut (2003). Campion's erotic thriller stars height-of-her-fame box office darling Meg Ryan and pre-Hulk, pre-13 Going on 30 Mark Ruffalo as a literary professor and a detective, respectively, who dive headlong into a red-hot sexual romance, while a serial killer is on the loose in New York City. In the Cut received an infamous CinemaScore ‘F' grade on release, with many major critics panning the film. But the Letterboxd average rating has only grown over the years as the misunderstood noir masterpiece finds its audience at last. Now, with a new uncut director's cut Blu-ray on the market, Gemma reads Campion some thirsty Letterboxd reviews and gets the goods from Jane about her favorite sex scenes, intimacy coordination, earning trust with actors, what it really means to win an Oscar, and why the structures of filmmaking need to change. Credits: Recorded in New Zealand. Edited by Slim. Editorial producer: Brian Formo. Production manager: Sophie Shin. Special thanks to Stuart McKenzie. The Letterboxd Show and Weekend Watchlist are TAPEDECK productions. The songs in this episode are from the soundtrack for In the Cut: Pink Martini's cover of Que Sera Sera, and Betty Everett's You're No Good. Lists & Links: List of movies mentioned In the Cut uncut director's cut Blu-ray from Mill Creek Entertainment. Reviews of In the Cut by Jeffrey Chen, Jaime Rebenal, Mia Vicino, Kanane and Sophie Shin.

Linda Lewis in conversation with David Eastaugh best known for the singles "Rock-a-Doodle-Doo" (1973), "Sideway Shuffle" (1973), and her version of Betty Everett's "Shoop Shoop Song (It's in His Kiss)" (1975).[1] Her discography includes solo albums, Lark (1972), Not a Little Girl Anymore (1975), Woman Overboard (1977), and the later Second Nature (1995),

Originally Broadcast on April 30, 2023 James runs the show solo again, and gets into some crossover soul sounds, garage rock, and funky things, plus the usual That Driving Beat northern soul and R&B tunes. You'll hear Solomon Burke, Betty Everett, The Dynamic Tints, Nolan Porter, Tina Britt, Clarence Reid, The Metros, The Leaves, The Gentrys, Travis Wammack, and so much more. Willie Mitchell / That Driving BeatRobert Parker / Everybody's Hip HugginThe O'Jays / Looky Looky (Look At Me Girl)Wilson Pickett / Don't Fight ItSolomon Burke / StupidityThe Magictones / Happy DaysThe Capitols / Ain't That TerribleClarence Reid / Let Those Soul Sounds PlayThe Dynamic Tints / Be My LadyJoi / Spring Fever - Part 1Charles Wright & The Watts 103rd Street Rhythm Band / Love LandJoe Jeffrey / The TrainThe Mob / Give It To MeArthur Conley / Funky StreetLenny Williams / Feelin' BlueTravis Wammack / Louie LouieThe Revels with Sam Eddy / It's Party TimeThe Mindbenders / Love is GoodThe Gentrys / Brown Paper SackWillie Hightower / Walk a Mile in My ShoesSight Unseen / One More ThingDramatics / Your Love Was StrangeThe Moonlighters / Right On BrotherThe Metros / Since I Found My BabyTina Britt / You're Absolutely RightMelodics / Ain't That Sharing My LoveNolan Porter / If I Could Only Be SureBetty Everett / Hands OffPatty La Belle and the Blue Belles / Tear After TearSteve Alaimo / I Told You SoPatty & The Emblems / Mixed - Up, Shook - Up, GirlBobby Bland / TodayThe Girl Watchers / Lonely AvenueThe Megatons / Detroit SoundOtis & Carla / TrampThe Blue Beats / Extra GirlThe Kitchen Cinq / Still in Love With You BabyThe Muffets / LostThe Leaves / Too Many PeopleDumpy "Piano" Rice / The In Crowd Hosted on Acast. See acast.com/privacy for more information.

Episode 160 of A History of Rock Music in Five Hundred Songs looks at “Flowers in the Rain" by the Move, their transition into ELO, and the career of Roy Wood. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "The Chipmunk Song" by Canned Heat. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Note I say "And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record." -- I should point out that after Martin's theme fades, Blackburn talks over a brief snatch of a piece by Johnny Dankworth. Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one . I had problems uploading part two, but will attempt to get that up shortly. There are not many books about Roy Wood, and I referred to both of the two that seem to exist -- this biography by John van der Kiste, and this album guide by James R Turner.  I also referred to this biography of Jeff Lynne by van der Kiste, The Electric Light Orchestra Story by Bev Bevan, and Mr Big by Don Arden with Mick Wall.  Most of the more comprehensive compilations of the Move's material are out of print, but this single-CD-plus-DVD anthology is the best compilation that's in print. This is the one collection of Wood's solo and Wizzard hits that seems currently in print, and for those who want to investigate further, this cheap box set has the last Move album, the first ELO album, the first Wizzard album, Wood's solo Boulders, and a later Wood solo album, for the price of a single CD. Transcript Before I start, a brief note. This episode deals with organised crime, and so contains some mild descriptions of violence, and also has some mention of mental illness and drug use, though not much of any of those things. And it's probably also important to warn people that towards the end there's some Christmas music, including excerpts of a song that is inescapable at this time of year in the UK, so those who work in retail environments and the like may want to listen to this later, at a point when they're not totally sick of hearing Christmas records. Most of the time, the identity of the party in government doesn't make that much of a difference to people's everyday lives.  At least in Britain, there tends to be a consensus ideology within the limits of which governments of both main parties tend to work. They will make a difference at the margins, and be more or less competent, and more or less conservative or left-wing, more or less liberal or authoritarian, but life will, broadly speaking, continue along much as before for most people. Some will be a little better or worse off, but in general steering the ship of state is a matter of a lot of tiny incremental changes, not of sudden u-turns. But there have been a handful of governments that have made big, noticeable, changes to the structure of society, reforms that for better or worse affect the lives of every person in the country. Since the end of the Second World War there have been two UK governments that made economic changes of this nature. The Labour government under Clement Atlee which came into power in 1945, and which dramatically expanded the welfare state, introduced the National Health Service, and nationalised huge swathes of major industries, created the post-war social democratic consensus which would be kept to with only minor changes by successive governments of both major parties for decades. The next government to make changes to the economy of such a radical nature was the Conservative government which came to power under Margaret Thatcher in 1979, which started the process of unravelling that social democratic consensus and replacing it with a far more hypercapitalist economic paradigm, which would last for the next several decades. It's entirely possible that the current Conservative government, in leaving the EU, has made a similarly huge change, but we won't know that until we have enough distance from the event to know what long-term changes it's caused. Those are economic changes. Arguably at least as impactful was the Labour government led by Harold Wilson that came to power in 1964, which did not do much to alter the economic consensus, but revolutionised the social order at least as much. Largely because of the influence of Roy Jenkins, the Home Secretary for much of that time, between 1964 and the end of the sixties, Britain abolished the death penalty for murder, decriminalised some sex acts between men in private, abolished corporal punishment in prisons, legalised abortion in certain circumstances, and got rid of censorship in the theatre. They also vastly increased spending on education, and made many other changes. By the end of their term, Britain had gone from being a country with laws reflecting a largely conservative, authoritarian, worldview to one whose laws were some of the most liberal in Europe, and society had started changing to match. There were exceptions, though, and that government did make some changes that were illiberal. They brought in increased restrictions on immigration, starting a worrying trend that continues to this day of governments getting ever crueler to immigrants, and they added LSD to the list of illegal drugs. And they brought in the Marine Broadcasting Offences Act, banning the pirate stations. We've mentioned pirate radio stations very briefly, but never properly explained them. In Britain, at this point, there was a legal monopoly on broadcasting. Only the BBC could run a radio station in the UK, and thanks to agreements with the Musicians' Union, the BBC could only play a very small amount of recorded music, with everything else having to be live performances or spoken word. And because it had a legal obligation to provide something for everyone, that meant the tiny amount of recorded music that was played on the radio had to cover all genres, meaning that even while Britain was going through the most important changes in its musical history, pop records were limited to an hour or two a week on British radio. Obviously, that wasn't going to last while there was money to be made, and the record companies in particular wanted to have somewhere to showcase their latest releases. At the start of the sixties, Radio Luxembourg had become popular, broadcasting from continental Europe but largely playing shows that had been pre-recorded in London. But of course, that was far enough away that it made listening to the transmissions difficult. But a solution presented itself: [Excerpt: The Fortunes, "Caroline"] Radio Caroline still continues to this day, largely as an Internet-based radio station, but in the mid-sixties it was something rather different. It was one of a handful of radio stations -- the pirate stations -- that broadcast from ships in international waters. The ships would stay three miles off the coast of Britain, close enough for their broadcasts to be clearly heard in much of the country, but outside Britain's territorial waters. They soon became hugely popular, with Radio Caroline and Radio London the two most popular, and introduced DJs like Tony Blackburn, Dave Lee Travis, Kenny Everett, and John Peel to the airwaves of Britain. The stations ran on bribery and advertising, and if you wanted a record to get into the charts one of the things you had to do was bribe one of the big pirate stations to playlist it, and with this corruption came violence, which came to a head when as we heard in the episode on “Here Comes the Night”, in 1966 Major Oliver Smedley, a failed right-wing politician and one of the directors of Radio Caroline, got a gang of people to board an abandoned sea fort from which a rival station was broadcasting and retrieve some equipment he claimed belonged to him. The next day, Reginald Calvert, the owner of the rival station, went to Smedley's home to confront him, and Smedley shot him dead, claiming self-defence. The jury in Smedley's subsequent trial took only a minute to find him not guilty and award him two hundred and fifty guineas to cover his costs. This was the last straw for the government, which was already concerned that the pirates' transmitters were interfering with emergency services transmissions, and that proper royalties weren't being paid for the music broadcast (though since much of the music was only on there because of payola, this seems a little bit of a moot point).  They introduced legislation which banned anyone in the UK from supplying the pirate ships with records or other supplies, or advertising on the stations. They couldn't do anything about the ships themselves, because they were outside British jurisdiction, but they could make sure that nobody could associate with them while remaining in the UK. The BBC was to regain its monopoly (though in later years some commercial radio stations were allowed to operate). But as well as the stick, they needed the carrot. The pirate stations *had* been filling a real need, and the biggest of them were getting millions of listeners every day. So the arrangements with the Musicians' Union and the record labels were changed, and certain BBC stations were now allowed to play a lot more recorded music per day. I haven't been able to find accurate figures anywhere -- a lot of these things were confidential agreements -- but it seems to have been that the so-called "needle time" rules were substantially relaxed, allowing the BBC to separate what had previously been the Light Programme -- a single radio station that played all kinds of popular music, much of it live performances -- into two radio stations that were each allowed to play as much as twelve hours of recorded music per day, which along with live performances and between-track commentary from DJs was enough to allow a full broadcast schedule. One of these stations, Radio 2, was aimed at older listeners, and to start with mostly had programmes of what we would now refer to as Muzak, mixed in with the pop music of an older generation -- crooners and performers like Englebert Humperdinck. But another, Radio 1, was aimed at a younger audience and explicitly modelled on the pirate stations, and featured many of the DJs who had made their names on those stations. And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record. At different times Blackburn has said either that he was just desperately reaching for whatever record came to hand or that he made a deliberate choice because the record he chose had such a striking opening that it would be the perfect way to start a new station: [Excerpt: Tony Blackburn first radio show into "Flowers in the Rain" by the Move] You may remember me talking in the episode on "Here Comes the Night" about how in 1964 Dick Rowe of Decca, the manager Larry Page, and the publicist and co-owner of Radio Caroline Phil Solomon were all trying to promote something called Brumbeat as the answer to Merseybeat – Brummies, for those who don't know, are people from Birmingham. Brumbeat never took off the way Merseybeat did, but several bands did get a chance to make records, among them Gerry Levene and the Avengers: [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"] That was the only single the Avengers made, and the B-side wasn't even them playing, but a bunch of session musicians under the direction of Bert Berns, and the group split up soon afterwards, but several of the members would go on to have rather important careers. According to some sources, one of their early drummers was John Bohnam, who you can be pretty sure will be turning up later in the story, while the drummer on that track was Graeme Edge, who would later go on to co-found the Moody Blues.  But today it's the guitarist we'll be looking at. Roy Wood had started playing music when he was very young -- he'd had drum lessons when he was five years old, the only formal musical tuition he ever had, and he'd played harmonica around working men's clubs as a kid. And as a small child he'd loved classical music, particularly Tchaikovsky and Elgar. But it wasn't until he was twelve that he decided that he wanted to be a guitarist. He went to see the Shadows play live, and was inspired by the sound of Hank Marvin's guitar, which he later described as sounding "like it had been dipped in Dettol or something": [Excerpt: The Shadows, "Apache"] He started begging his parents for a guitar, and got one for his thirteenth birthday -- and by the time he was fourteen he was already in a band, the Falcons, whose members were otherwise eighteen to twenty years old, but who needed a lead guitarist who could play like Marvin. Wood had picked up the guitar almost preternaturally quickly, as he would later pick up every instrument he turned his hand to, and he'd also got the equipment. His friend Jeff Lynne later said "I first saw Roy playing in a church hall in Birmingham and I think his group was called the Falcons. And I could tell he was dead posh because he had a Fender Stratocaster and a Vox AC30 amplifier. The business at the time. I mean, if you've got those, that's it, you're made." It was in the Falcons that Wood had first started trying to write songs, at first instrumentals in the style of the Shadows, but then after the Beatles hit the charts he realised it was possible for band members to write their own material, and started hesitantly trying to write a few actual songs. Wood had moved on from the Falcons to Gerry Levene's band, one of the biggest local bands in Birmingham, when he was sixteen, which is also when he left formal education, dropping out from art school -- he's later said that he wasn't expelled as such, but that he and the school came to a mutual agreement that he wouldn't go back there. And when Gerry Levene and the Avengers fell apart after their one chance at success hadn't worked out, he moved on again to an even bigger band. Mike Sheridan and the Night Riders had had two singles out already, both produced by Cliff Richard's producer Norrie Paramor, and while they hadn't charted they were clearly going places. They needed a new guitarist, and Wood was by far the best of the dozen or so people who auditioned, even though Sheridan was very hesitant at first -- the Night Riders were playing cabaret, and all dressed smartly at all times, and this sixteen-year-old guitarist had turned up wearing clothes made by his sister and ludicrous pointy shoes. He was the odd man out, but he was so good that none of the other players could hold a candle to him, and he was in the Night Riders by the time of their third single, "What a Sweet Thing That Was": [Excerpt: Mike Sheridan and the Night Riders, "What a Sweet Thing That Was"] Sheridan later said "Roy was and still is, in my opinion, an unbelievable talent. As stubborn as a mule and a complete extrovert. Roy changed the group by getting us into harmonies and made us realize there was better material around with more than three chords to play. This was our turning point and we became a group's group and a bigger name." -- though there are few other people who would describe Wood as extroverted, most people describing him as painfully shy off-stage. "What a  Sweet Thing That Was" didn't have any success, and nor did its follow-up, "Here I Stand", which came out in January 1965. But by that point, Wood had got enough of a reputation that he was already starting to guest on records by other bands on the Birmingham scene, like "Pretty Things" by Danny King and the Mayfair Set: [Excerpt: Danny King and the Mayfair Set, "Pretty Things"] After their fourth single was a flop, Mike Sheridan and the Night Riders changed their name to Mike Sheridan's Lot, and the B-side of their first single under the new name was a Roy Wood song, the first time one of his songs was recorded. Unfortunately the song, modelled on "It's Not Unusual" by Tom Jones, didn't come off very well, and Sheridan blamed himself for what everyone was agreed was a lousy sounding record: [Excerpt: Mike Sheridan's Lot, "Make Them Understand"] Mike Sheridan's Lot put out one final single, but the writing was on the wall for the group. Wood left, and soon after so did Sheridan himself. The remaining members regrouped under the name The Idle Race, with Wood's friend Jeff Lynne as their new singer and guitarist. But Wood wouldn't remain without a band for long. He'd recently started hanging out with another band, Carl Wayne and the Vikings, who had also released a couple of singles, on Pye: [Excerpt: Carl Wayne and the Vikings, "What's the Matter Baby"] But like almost every band from Birmingham up to this point, the Vikings' records had done very little, and their drummer had quit, and been replaced by Bev Bevan, who had been in yet another band that had gone nowhere, Denny Laine and the Diplomats, who had released one single under the name of their lead singer Nicky James, featuring the Breakaways, the girl group who would later sing on "Hey Joe", on backing vocals: [Excerpt: Nicky James, "My Colour is Blue"] Bevan had joined Carl Wayne's group, and they'd recorded one track together, a cover version of "My Girl", which was only released in the US, and which sank without a trace: [Excerpt: Carl Wayne and the Vikings, "My Girl"] It was around this time that Wood started hanging around with the Vikings, and they would all complain about how if you were playing the Birmingham circuit you were stuck just playing cover versions, and couldn't do anything more interesting.  They were also becoming more acutely aware of how successful they *could* have been, because one of the Brumbeat bands had become really big. The Moody Blues, a supergroup of players from the best bands in Birmingham who featured Bev Bevan's old bandmate Denny Laine and Wood's old colleague Graeme Edge, had just hit number one with their version of "Go Now": [Excerpt: The Moody Blues, "Go Now"] So they knew the potential for success was there, but they were all feeling trapped. But then Ace Kefford, the bass player for the Vikings, went to see Davy Jones and the Lower Third playing a gig: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] Also at the gig was Trevor Burton, the guitarist for Danny King and the Mayfair Set. The two of them got chatting to Davy Jones after the gig, and eventually the future David Bowie told them that the two of them should form their own band if they were feeling constricted in their current groups. They decided to do just that, and they persuaded Carl Wayne from Kefford's band to join them, and got in Wood.  Now they just needed a drummer. Their first choice was John Bonham, the former drummer for Gerry Levene and the Avengers who was now drumming in a band with Kefford's uncle and Nicky James from the Diplomats. But Bonham and Wayne didn't get on, and so Bonham decided to remain in the group he was in, and instead they turned to Bev Bevan, the Vikings' new drummer.  (Of the other two members of the Vikings, one went on to join Mike Sheridan's Lot in place of Wood, before leaving at the same time as Sheridan and being replaced by Lynne, while the other went on to join Mike Sheridan's New Lot, the group Sheridan formed after leaving his old group. The Birmingham beat group scene seems to have only had about as many people as there were bands, with everyone ending up a member of twenty different groups). The new group called themselves the Move, because they were all moving on from other groups, and it was a big move for all of them. Many people advised them not to get together, saying they were better off where they were, or taking on offers they'd got from more successful groups -- Carl Wayne had had an offer from a group called the Spectres, who would later become famous as Status Quo, while Wood had been tempted by Tony Rivers and the Castaways, a group who at the time were signed to Immediate Records, and who did Beach Boys soundalikes and covers: [Excerpt: Tony Rivers and the Castaways, "Girl Don't Tell Me"] Wood was a huge fan of the Beach Boys and would have fit in with Rivers, but decided he'd rather try something truly new. After their first gig, most of the people who had warned against the group changed their minds. Bevan's best friend, Bobby Davis, told Bevan that while he'd disliked all the other groups Bevan had played in, he liked this one. (Davis would later become a famous comedian, and have a top five single himself in the seventies, produced by Jeff Lynne and with Bevan on the drums, under his stage name Jasper Carrott): [Excerpt: Jasper Carrott, "Funky Moped"] Most of their early sets were cover versions, usually of soul and Motown songs, but reworked in the group's unique style. All five of the band could sing, four of them well enough to be lead vocalists in their own right (Bevan would add occasional harmonies or sing novelty numbers) and so they became known for their harmonies -- Wood talked at the time about how he wanted the band to have Beach Boys harmonies but over instruments that sounded like the Who. And while they were mostly doing cover versions live, Wood was busily writing songs. Their first recording session was for local radio, and at that session they did cover versions of songs by Brenda Lee, the Isley Brothers, the Orlons, the Marvelettes, and Betty Everett, but they also performed four songs written by Wood, with each member of the front line taking a lead vocal, like this one with Kefford singing: [Excerpt: The Move, "You're the One I Need"] The group were soon signed by Tony Secunda, the manager of the Moody Blues, who set about trying to get the group as much publicity as possible. While Carl Wayne, as the only member who didn't play an instrument, ended up the lead singer on most of the group's early records, Secunda started promoting Kefford, who was younger and more conventionally attractive than Wayne, and who had originally put the group together, as the face of the group, while Wood was doing most of the heavy lifting with the music. Wood quickly came to dislike performing live, and to wish he could take the same option as Brian Wilson and stay home and write songs and make records while the other four went out and performed, so Kefford and Wayne taking the spotlight from him didn't bother him at the time, but it set the group up for constant conflicts about who was actually the leader of the group. Wood was also uncomfortable with the image that Secunda set up for the group. Secunda decided that the group needed to be promoted as "bad boys", and so he got them to dress up as 1930s gangsters, and got them to do things like smash busts of Hitler, or the Rhodesian dictator Ian Smith, on stage. He got them to smash TVs on stage too, and in one publicity stunt he got them to smash up a car, while strippers took their clothes off nearby -- claiming that this was to show that people were more interested in violence than in sex. Wood, who was a very quiet, unassuming, introvert, didn't like this sort of thing, but went along with it. Secunda got the group a regular slot at the Marquee club, which lasted several months until, in one of Secunda's ideas for publicity, Carl Wayne let off smoke bombs on stage which set fire to the stage. The manager came up to try to stop the fire, and Wayne tossed the manager's wig into the flames, and the group were banned from the club (though the ban was later lifted). In another publicity stunt, at the time of the 1966 General Election, the group were photographed with "Vote Tory" posters, and issued an invitation to Edward Heath, the leader of the Conservative Party and a keen amateur musician, to join them on stage on keyboards. Sir Edward didn't respond to the invitation. All this publicity led to record company interest. Joe Boyd tried to sign the group to Elektra Records, but much as with The Pink Floyd around the same time, Jac Holzman wasn't interested. Instead they signed with a new production company set up by Denny Cordell, the producer of the Moody Blues' hits. The contract they signed was written on the back of a nude model, as yet another of Secunda's publicity schemes. The group's first single, "Night of Fear" was written by Wood and an early sign of his interest in incorporating classical music into rock: [Excerpt: The Move, "Night of Fear"] Secunda claimed in the publicity that that song was inspired by taking bad acid and having a bad trip, but in truth Wood was more inspired by brown ale than by brown acid -- he and Bev Bevan would never do any drugs other than alcohol. Wayne did take acid once, but didn't like it, though Burton and Kefford would become regular users of most drugs that were going. In truth, the song was not about anything more than being woken up in the middle of the night by an unexpected sound and then being unable to get back to sleep because you're scared of what might be out there. The track reached number two on the charts in the UK, being kept off the top by "I'm a Believer" by the Monkees, and was soon followed up by another song which again led to assumptions of drug use. "I Can Hear the Grass Grow" wasn't about grass the substance, but was inspired by a letter to Health and Efficiency, a magazine which claimed to be about the nudist lifestyle as an excuse for printing photos of naked people at a time before pornography laws were liberalised. The letter was from a reader saying that he listened to pop music on the radio because "where I live it's so quiet I can hear the grass grow!" Wood took that line and turned it into the group's next single, which reached number five: [Excerpt: The Move, "I Can Hear the Grass Grow"] Shortly after that, the group played two big gigs at Alexandra Palace. The first was the Fourteen-Hour Technicolor Dream, which we talked about in the Pink Floyd episode. There Wood had one of the biggest thrills of his life when he walked past John Lennon, who saluted him and then turned to a friend and said "He's brilliant!" -- in the seventies Lennon would talk about how Wood was one of his two favourite British songwriters, and would call the Move "the Hollies with balls". The other gig they played at Alexandra Palace was a "Free the Pirates" benefit show, sponsored by Radio Caroline, to protest the imposition of the Marine Broadcasting (Offences) Act.  Despite that, it was, of course, the group's next single that was the first one to be played on Radio One. And that single was also the one which kickstarted Roy Wood's musical ambitions.  The catalyst for this was Tony Visconti. Visconti was a twenty-three-year-old American who had been in the music business since he was sixteen, working the typical kind of jobs that working musicians do, like being for a time a member of a latter-day incarnation of the Crew-Cuts, the white vocal group who had had hits in the fifties with covers of "Sh'Boom" and “Earth Angel”. He'd also recorded two singles as a duo with his wife Siegrid, which had gone nowhere: [Excerpt: Tony and Siegrid, "Up Here"] Visconti had been working for the Richmond Organisation as a staff songwriter when he'd met the Move's producer Denny Cordell. Cordell was in the US to promote a new single he had released with a group called Procol Harum, "A Whiter Shade of Pale", and Visconti became the first American to hear the record, which of course soon became a massive hit: [Excerpt: Procol Harum, "A Whiter Shade of Pale"] While he was in New York, Cordell also wanted to record a backing track for one of his other hit acts, Georgie Fame. He told Visconti that he'd booked several of the best session players around, like the jazz trumpet legend Clark Terry, and thought it would be a fun session. Visconti asked to look at the charts for the song, out of professional interest, and Cordell was confused -- what charts? The musicians would just make up an arrangement, wouldn't they? Visconti asked what he was talking about, and Cordell talked about how you made records -- you just got the musicians to come into the studio, hung around while they smoked a few joints and worked out what they were going to play, and then got on with it. It wouldn't take more than about twelve hours to get a single recorded that way. Visconti was horrified, and explained that that might be how they did things in London, but if Cordell tried to make a record that way in New York, with an eight-piece group of session musicians who charged union scale, and would charge double scale for arranging work on top, then he'd bankrupt himself. Cordell went pale and said that the session was in an hour, what was he going to do? Luckily, Cordell had a copy of the demo with him, and Visconti, who unlike Cordell was a trained musician, quickly sat down and wrote an arrangement for him, sketching out parts for guitar, bass, drums, piano, sax, and trumpets. The resulting arrangement wasn't perfect -- Visconti had to write the whole thing in less than an hour with no piano to hand -- but it was good enough that Cordell's production assistant on the track, Harvey Brooks of the group Electric Flag, who also played bass on the track, could tweak it in the studio, and the track was recorded quickly, saving Cordell a fortune: [Excerpt: Georgie Fame, "Because I Love You"] One of the other reasons Cordell had been in the US was that he was looking for a production assistant to work with him in the UK to help translate his ideas into language the musicians could understand. According to Visconti he said that he was going to try asking Phil Spector to be his assistant, and Artie Butler if Spector said no.  Astonishingly, assuming he did ask them, neither Phil Spector nor Artie Butler (who was the arranger for records like "Leader of the Pack" and "I'm a Believer" among many, many, others, and who around this time was the one who suggested to Louis Armstrong that he should record "What a Wonderful World") wanted to fly over to the UK to work as Denny Cordell's assistant, and so Cordell turned back to Visconti and invited him to come over to the UK. The main reason Cordell needed an assistant was that he had too much work on his hands -- he was currently in the middle of recording albums for three major hit groups -- Procol Harum, The Move, and Manfred Mann -- and he physically couldn't be in multiple studios at once. Visconti's first work for him was on a Manfred Mann session, where they were recording the Randy Newman song "So Long Dad" for their next single. Cordell produced the rhythm track then left for a Procol Harum session, leaving Visconti to guide the group through the overdubs, including all the vocal parts and the lead instruments: [Excerpt: Manfred Mann, "So Long Dad"] The next Move single, "Flowers in the Rain", was the first one to benefit from Visconti's arrangement ideas. The band had recorded the track, and Cordell had been unhappy with both the song and performance, thinking it was very weak compared to their earlier singles -- not the first time that Cordell would have a difference of opinion with the band, who he thought of as a mediocre pop group, while they thought of themselves as a heavy rock band who were being neutered in the studio by their producer.  In particular, Cordell didn't like that the band fell slightly out of time in the middle eight of the track. He decided to scrap it, and get the band to record something else. Visconti, though, thought the track could be saved. He told Cordell that what they needed to do was to beat the Beatles, by using a combination of instruments they hadn't thought of. He scored for a quartet of wind instruments -- oboe, flute, clarinet, and French horn, in imitation of Mendelssohn: [Excerpt: The Move, "Flowers in the Rain"] And then, to cover up the slight sloppiness on the middle eight, Visconti had the wind instruments on that section recorded at half speed, so when played back at normal speed they'd sound like pixies and distract from the rhythm section: [Excerpt: The Move, "Flowers in the Rain"] Visconti's instincts were right. The single went to number two, kept off the top spot by Englebert Humperdinck, who spent 1967 keeping pretty much every major British band off number one, and thanks in part to it being the first track played on Radio 1, but also because it was one of the biggest hits of 1967, it's been the single of the Move's that's had the most airplay over the years. Unfortunately, none of the band ever saw a penny in royalties from it. It was because of another of Tony Secunda's bright ideas. Harold Wilson, the Prime Minister at the time, was very close to his advisor Marcia Williams, who started out as his secretary, rose to be his main political advisor, and ended up being elevated to the peerage as Baroness Falkender. There were many, many rumours that Williams was corrupt -- rumours that were squashed by both Wilson and Williams frequently issuing libel writs against newspapers that mentioned them -- though it later turned out that at least some of these were the work of Britain's security services, who believed Wilson to be working for the KGB (and indeed Williams had first met Wilson at a dinner with Khrushchev, though Wilson was very much not a Communist) and were trying to destabilise his government as a result. Their personal closeness also led to persistent rumours that Wilson and Williams were having an affair. And Tony Secunda decided that the best way to promote "Flowers in the Rain" was to print a postcard with a cartoon of Wilson and Williams on it, and send it out. Including sticking a copy through the door of ten Downing St, the Prime Minister's official residence. This backfired *spectacularly*. Wilson sued the Move for libel, even though none of them had known of their manager's plans, and as a result of the settlement it became illegal for any publication to print the offending image (though it can easily be found on the Internet now of course), everyone involved with the record was placed under a permanent legal injunction to never discuss the details of the case, and every penny in performance or songwriting royalties the track earned would go to charities of Harold Wilson's choice. In the 1990s newspaper reports said that the group had up to that point lost out on two hundred thousand pounds in royalties as a result of Secunda's stunt, and given the track's status as a perennial favourite, it's likely they've missed out on a similar amount in the decades since. Incidentally, while every member of the band was banned from ever describing the postcard, I'm not, and since Wilson and Williams are now both dead it's unlikely they'll ever sue me. The postcard is a cartoon in the style of Aubrey Beardsley, and shows Wilson as a grotesque naked homunculus sat on a bed, with Williams naked save for a diaphonous nightgown through which can clearly be seen her breasts and genitals, wearing a Marie Antoinette style wig and eyemask and holding a fan coquettishly, while Wilson's wife peers at them through a gap in the curtains. The text reads "Disgusting Depraved Despicable, though Harold maybe is the only way to describe "Flowers in the Rain" The Move, released Aug 23" The stunt caused huge animosity between the group and Secunda, not only because of the money they lost but also because despite Secunda's attempts to associate them with the Conservative party the previous year, Ace Kefford was upset at an attack on the Labour leader -- his grandfather was a lifelong member of the Labour party and Kefford didn't like the idea of upsetting him. The record also had a knock-on effect on another band. Wood had given the song "Here We Go Round the Lemon Tree" to his friends in The Idle Race, the band that had previously been Mike Sheridan and the Night Riders, and they'd planned to use their version as their first single: [Excerpt: The Idle Race, "Here We Go Round the Lemon Tree"] But the Move had also used the song as the B-side for their own single, and "Flowers in the Rain" was so popular that the B-side also got a lot of airplay. The Idle Race didn't want to be thought of as a covers act, and so "Lemon Tree" was pulled at the last minute and replaced by "Impostors of Life's Magazine", by the group's guitarist Jeff Lynne: [Excerpt: The Idle Race, "Impostors of Life's Magazine"] Before the problems arose, the Move had been working on another single. The A-side, "Cherry Blossom Clinic", was a song about being in a psychiatric hospital, and again had an arrangement by Visconti, who this time conducted a twelve-piece string section: [Excerpt: The Move, "Cherry Blossom Clinic"] The B-side, meanwhile, was a rocker about politics: [Excerpt: The Move, "Vote For Me"] Given the amount of controversy they'd caused, the idea of a song about mental illness backed with one about politics seemed a bad idea, and so "Cherry Blossom Clinic" was kept back as an album track while "Vote For Me" was left unreleased until future compilations. The first Wood knew about "Cherry Blossom Clinic" not being released was when after a gig in London someone -- different sources have it as Carl Wayne or Tony Secunda -- told him that they had a recording session the next morning for their next single and asked what song he planned on recording. When he said he didn't have one, he was sent up to his hotel room with a bottle of Scotch and told not to come down until he had a new song. He had one by 8:30 the next morning, and was so drunk and tired that he had to be held upright by his bandmates in the studio while singing his lead vocal on the track. The song was inspired by "Somethin' Else", a track by Eddie Cochran, one of Wood's idols: [Excerpt: Eddie Cochran, "Somethin' Else"] Wood took the bass riff from that and used it as the basis for what was the Move's most straight-ahead rock track to date. As 1967 was turning into 1968, almost universally every band was going back to basics, recording stripped down rock and roll tracks, and the Move were no exception. Early takes of "Fire Brigade" featured Matthew Fisher of Procol Harum on piano, but the final version featured just guitar, bass, drums and vocals, plus a few sound effects: [Excerpt: The Move, "Fire Brigade"] While Carl Wayne had sung lead or co-lead on all the Move's previous singles, he was slowly being relegated into the background, and for this one Wood takes the lead vocal on everything except the brief bridge, which Wayne sings: [Excerpt: The Move, "Fire Brigade"] The track went to number three, and while it's not as well-remembered as a couple of other Move singles, it was one of the most influential. Glen Matlock of the Sex Pistols has often said that the riff for "God Save the Queen" is inspired by "Fire Brigade": [Excerpt: The Sex Pistols, "God Save the Queen"] The reversion to a heavier style of rock on "Fire Brigade" was largely inspired by the group's new friend Jimi Hendrix. The group had gone on a package tour with The Pink Floyd (who were at the bottom of the bill), Amen Corner, The Nice, and the Jimi Hendrix Experience, and had become good friends with Hendrix, often jamming with him backstage. Burton and Kefford had become so enamoured of Hendrix that they'd both permed their hair in imitation of his Afro, though Burton regretted it -- his hair started falling out in huge chunks as a result of the perm, and it took him a full two years to grow it out and back into a more natural style. Burton had started sharing a flat with Noel Redding of the Jimi Hendrix Experience, and Burton and Wood had also sung backing vocals with Graham Nash of the Hollies on Hendrix's "You Got Me Floatin'", from his Axis: Bold as Love album: [Excerpt: The Jimi Hendrix Experience, "You Got Me Floatin'"] In early 1968, the group's first album came out. In retrospect it's arguably their best, but at the time it felt a little dated -- it was a compilation of tracks recorded between late 1966 and late 1967, and by early 1968 that might as well have been the nineteenth century. The album included their two most recent singles, a few more songs arranged by Visconti, and three cover versions -- versions of Eddie Cochran's "Weekend", Moby Grape's "Hey Grandma", and the old standard "Zing! Went the Strings of My Heart", done copying the Coasters' arrangement with Bev Bevan taking a rare lead vocal. By this time there was a lot of dissatisfaction among the group. Most vocal -- or least vocal, because by this point he was no longer speaking to any of the other members, had been Ace Kefford. Kefford felt he was being sidelined in a band he'd formed and where he was the designated face of the group. He'd tried writing songs, but the only one he'd brought to the group, "William Chalker's Time Machine", had been rejected, and was eventually recorded by a group called The Lemon Tree, whose recording of it was co-produced by Burton and Andy Fairweather-Low of Amen Corner: [Excerpt: The Lemon Tree, "William Chalker's Time Machine"] He was also, though the rest of the group didn't realise it at the time, in the middle of a mental breakdown, which he later attributed to his overuse of acid. By the time the album, titled Move, came out, he'd quit the group. He formed a new group, The Ace Kefford Stand, with Cozy Powell on drums, and they released one single, a cover version of the Yardbirds' "For Your Love", which didn't chart: [Excerpt: The Ace Kefford Stand, "For Your Love"] Kefford recorded a solo album in 1968, but it wasn't released until an archival release in 2003, and he spent most of the next few decades dealing with mental health problems. The group continued on as a four-piece, with Burton moving over to bass. While they thought about what to do -- they were unhappy with Secunda's management, and with the sound that Cordell was getting from their recordings, which they considered far wimpier than their live sound -- they released a live EP of cover versions, recorded at the Marquee. The choice of songs for the EP showed their range of musical influences at the time, going from fifties rockabilly to the burgeoning progressive rock scene, with versions of Cochran's "Somethin' Else", Jerry Lee Lewis' "It'll Be Me", "So You Want to Be a Rock and Roll Star" by the Byrds, "Sunshine Help Me" by Spooky Tooth, and "Stephanie Knows Who" by Love: [Excerpt: The Move, "Stephanie Knows Who"] Incidentally, later that year they headlined a gig at the Royal Albert Hall with the Byrds as the support act, and Gram Parsons, who by that time was playing guitar for the Byrds, said that the Move did "So You Want to Be a Rock and Roll Star" better than the Byrds did. The EP, titled "Something Else From the Move", didn't do well commercially, but it did do something that the band thought important -- Trevor Burton in particular had been complaining that Denny Cordell's productions "took the toughness out" of the band's sound, and was worried that the group were being perceived as a pop band, not as a rock group like his friends in the Jimi Hendrix Experience or Cream. There was an increasing tension between Burton, who wanted to be a heavy rocker, and the older Wayne, who thought there was nothing at all wrong with being a pop band. The next single, "Wild Tiger Woman", was much more in the direction that Burton wanted their music to go. It was ostensibly produced by Cordell, but for the most part he left it to the band, and as a result it ended up as a much heavier track than normal. Roy Wood had only intended the song as an album track, and Bevan and Wayne were hesitant about it being a single, but Burton was insistent -- "Wild Tiger Woman" was going to be the group's first number one record: [Excerpt: The Move, "Wild Tiger Woman"] In fact, it turned out to be the group's first single not to chart at all, after four top ten singles in a row.  The group were now in crisis. They'd lost Ace Kefford, Burton and Wayne were at odds, and they were no longer guaranteed hitmakers. They decided to stop working with Cordell and Secunda, and made a commitment that if the next single was a flop, they would split up. In any case, Roy Wood was already thinking about another project. Even though the group's recent records had gone in a guitar-rock direction, he thought maybe you could do something more interesting. Ever since seeing Tony Visconti conduct orchestral instruments playing his music, he'd been thinking about it. As he later put it "I thought 'Well, wouldn't it be great to get a band together, and rather than advertising for a guitarist how about advertising for a cellist or a French horn player or something? There must be lots of young musicians around who play the... instruments that would like to play in a rock kind of band.' That was the start of it, it really was, and I think after those tracks had been recorded with Tony doing the orchestral arrangement, that's when I started to get bored with the Move, with the band, because I thought 'there's something more to it'". He'd started sketching out plans for an expanded lineup of the group, drawing pictures of what it would look like on stage if Carl Wayne was playing timpani while there were cello and French horn players on stage with them. He'd even come up with a name for the new group -- a multi-layered pun. The group would be a light orchestra, like the BBC Light Orchestra, but they would be playing electrical instruments, and also they would have a light show when they performed live, and so he thought "the Electric Light Orchestra" would be a good name for such a group. The other band members thought this was a daft idea, but Wood kept on plotting. But in the meantime, the group needed some new management. The person they chose was Don Arden. We talked about Arden quite a bit in the last episode, but he's someone who is going to turn up a lot in future episodes, and so it's best if I give a little bit more background about him. Arden was a manager of the old school, and like several of the older people in the music business at the time, like Dick James or Larry Page, he had started out as a performer, doing an Al Jolson tribute act, and he was absolutely steeped in showbusiness -- his wife had been a circus contortionist before they got married, and when he moved from Manchester to London their first home had been owned by Winifred Atwell, a boogie piano player who became the first Black person to have a UK number one -- and who is *still* the only female solo instrumentalist to have a UK number one -- with her 1954 hit "Let's Have Another Party": [Excerpt: WInifred Atwell, "Let's Have Another Party"] That was only Atwell's biggest in a long line of hits, and she'd put all her royalties into buying properties in London, one of which became the Ardens' home. Arden had been considered quite a promising singer, and had made a few records in the early 1950s. His first recordings, of material in Yiddish aimed at the Jewish market, are sadly not findable online, but he also apparently recorded as a session singer for Embassy Records. I can't find a reliable source for what records he sang on for that label, which put out budget rerecordings of hits for sale exclusively through Woolworths, but according to Wikipedia one of them was Embassy's version of "Blue Suede Shoes", put out under the group name "The Canadians", and the lead vocal on that track certainly sounds like it could be him: [Excerpt: The Canadians, "Blue Suede Shoes"] As you can tell, rock and roll didn't really suit Arden's style, and he wisely decided to get out of performance and into behind-the-scenes work, though he would still try on occasion to make records of his own -- an acetate exists from 1967 of him singing "Sunrise, Sunset": [Excerpt: Don Arden, "Sunrise, Sunset"] But he'd moved first into promotion -- he'd been the promoter who had put together tours of the UK for Gene Vincent, Little Richard, Brenda Lee and others which we mentioned in the second year of the podcast -- and then into management. He'd first come into management with the Animals -- apparently acting at that point as the money man for Mike Jeffries, who was the manager the group themselves dealt with. According to Arden -- though his story differs from the version of the story told by others involved -- the group at some point ditched Arden for Allen Klein, and when they did, Arden's assistant Peter Grant, another person we'll be hearing a lot more of, went with them.  Arden, by his own account, flew over to see Klein and threatened to throw him out of the window of his office, which was several stories up. This was a threat he regularly made to people he believed had crossed him -- he made a similar threat to one of the Nashville Teens, the first group he managed after the Animals, after the musician asked what was happening to the group's money. And as we heard last episode, he threatened Robert Stigwood that way when Stigwood tried to get the Small Faces off him. One of the reasons he'd signed the Small Faces was that Steve Marriott had gone to the Italia Conti school, where Arden had sent his own children, Sharon and David, and David had said that Marriott was talented. And David was also a big reason the Move came over to Arden. After the Small Faces had left him, Arden had bought Galaxy Entertaimnent, the booking agency that handled bookings for Amen Corner and the Move, among many other acts. Arden had taken over management of Amen Corner himself, and had put his son David in charge of liaising with Tony Secunda about the Move.  But David Arden was sure that the Move could be an albums act, not just a singles act, and was convinced the group had more potential than they were showing, and when they left Secunda, Don Arden took them on as his clients, at least for the moment. Secunda, according to Arden (who is not the most reliable of witnesses, but is unfortunately the only one we have for a lot of this stuff) tried to hire someone to assassinate Arden, but Arden quickly let Secunda know that if anything happened to Arden, Secunda himself would be dead within the hour. As "Wild Tiger Woman" hadn't been a hit, the group decided to go back to their earlier "Flowers in the Rain" style, with "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] That track was produced by Jimmy Miller, who was producing the Rolling Stones and Traffic around this time, and featured the group's friend Richard Tandy on harpsichord. It's also an example of the maxim "Good artists copy, great artists steal". There are very few more blatant examples of plagiarism in pop music than the middle eight of "Blackberry Way". Compare Harry Nilsson's "Good Old Desk": [Excerpt: Nilsson, "Good Old Desk"] to the middle eight of "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] "Blackberry Way" went to number one, but that was the last straw for Trevor Burton -- it was precisely the kind of thing he *didn't* want to be doing,. He was so sick of playing what he thought of as cheesy pop music that at one show he attacked Bev Bevan on stage with his bass, while Bevan retaliated with his cymbals. He stormed off stage, saying he was "tired of playing this crap". After leaving the group, he almost joined Blind Faith, a new supergroup that members of Cream and Traffic were forming, but instead formed his own supergroup, Balls. Balls had a revolving lineup which at various times included Denny Laine, formerly of the Moody Blues, Jackie Lomax, a singer-songwriter who was an associate of the Beatles, Richard Tandy who had played on "Blackberry Way", and Alan White, who would go on to drum with the band Yes. Balls only released one single, "Fight for My Country", which was later reissued as a Trevor Burton solo single: [Excerpt: Balls, "Fight For My Country"] Balls went through many lineup changes, and eventually seemed to merge with a later lineup of the Idle Race to become the Steve Gibbons Band, who were moderately successful in the seventies and eighties. Richard Tandy covered on bass for a short while, until Rick Price came in as a permanent replacement. Before Price, though, the group tried to get Hank Marvin to join, as the Shadows had then split up, and Wood was willing to move over to bass and let Marvin play lead guitar. Marvin turned down the offer though. But even though "Blackberry Way" had been the group's biggest hit to date, it marked a sharp decline in the group's fortunes.  Its success led Peter Walsh, the manager of Marmalade and the Tremeloes, to poach the group from Arden, and even though Arden took his usual heavy-handed approach -- he describes going and torturing Walsh's associate, Clifford Davis, the manager of Fleetwood Mac, in his autobiography -- he couldn't stop Walsh from taking over. Unfortunately, Walsh put the group on the chicken-in-a-basket cabaret circuit, and in the next year they only released one record, the single "Curly", which nobody was happy with. It was ostensibly produced by Mike Hurst, but Hurst didn't turn up to the final sessions and Wood did most of the production work himself, while in the next studio over Jimmy Miller, who'd produced "Blackberry Way", was producing "Honky Tonk Women" by the Rolling Stones. The group were getting pigeonholed as a singles group, at a time when album artists were the in thing. In a three-year career they'd only released one album, though they were working on their second. Wood was by this point convinced that the Move was unsalvageable as a band, and told the others that the group was now just going to be a launchpad for his Electric Light Orchestra project. The band would continue working the chicken-in-a-basket circuit and releasing hit singles, but that would be just to fund the new project -- which they could all be involved in if they wanted, of course. Carl Wayne, on the other hand, was very, very, happy playing cabaret, and didn't see the need to be doing anything else. He made a counter-suggestion to Wood -- keep The Move together indefinitely, but let Wood do the Brian Wilson thing and stay home and write songs. Wayne would even try to get Burton and Kefford back into the band. But Wood wasn't interested. Increasingly his songs weren't even going to the Move at all. He was writing songs for people like Cliff Bennett and the Casuals. He wrote "Dance Round the Maypole" for Acid Gallery: [Excerpt: Acid Gallery, "Dance Round the Maypole"] On that, Wood and Jeff Lynne sang backing vocals. Wood and Lynne had been getting closer since Lynne had bought a home tape recorder which could do multi-tracking -- Wood had wanted to buy one of his own after "Flowers in the Rain", but even though he'd written three hit singles at that point his publishing company wouldn't give him an advance to buy one, and so he'd started using Lynne's. The two have often talked about how they'd recorded the demo for "Blackberry Way" at Lynne's parents' house, recording Wood's vocal on the demo with pillows and cushions around his head so that his singing wouldn't wake Lynne's parents. Lynne had been another person that Wood had asked to join the group when Burton left, but Lynne was happy with The Idle Race, where he was the main singer and songwriter, though their records weren't having any success: [Excerpt: The Idle Race, "I Like My Toys"] While Wood was writing material for other people, the only one of those songs to become a hit was "Hello Suzie", written for Amen Corner, which became a top five single on Immediate Records: [Excerpt: Amen Corner, "Hello Suzie"] While the Move were playing venues like Batley Variety Club in Britain, when they went on their first US tour they were able to play for a very different audience. They were unknown in the US, and so were able to do shows for hippie audiences that had no preconceptions about them, and did things like stretch "Cherry Blossom Clinic" into an eight-minute-long extended progressive rock jam that incorporated bits of "Jesu, Joy of Man's Desiring", the Nutcracker Suite, and the Sorcerer's Apprentice: [Excerpt: The Move, "Cherry Blossom Clinic Revisited (live at the Fillmore West)"] All the group were agreed that those shows were the highlight of the group's career. Even Carl Wayne, the band member most comfortable with them playing the cabaret circuit, was so proud of the show at the Fillmore West which that performance is taken from that when the tapes proved unusable he kept hold of them, hoping all his life that technology would progress to the point where they could be released and show what a good live band they'd been, though as things turned out they didn't get released until after his death. But when they got back to the UK it was back to the chicken-in-a-basket circuit, and back to work on their much-delayed second album. That album, Shazam!, was the group's attempt at compromise between their different visions. With the exception of one song, it's all heavy rock music, but Wayne, Wood, and Price all co-produced, and Wayne had the most creative involvement he'd ever had. Side two of the album was all cover versions, chosen by Wayne, and Wayne also went out onto the street and did several vox pops, asking members of the public what they thought of pop music: [Excerpt: Vox Pops from "Don't Make My Baby Blue"] There were only six songs on the album, because they were mostly extended jams. Other than the three cover versions chosen by Wayne, there was a sludge-metal remake of "Hello Suzie", the new arrangement of "Cherry Blossom Clinic" they'd been performing live, retitled "Cherry Blossom Clinic Revisited", and only one new original, "Beautiful Daughter", which featured a string arrangement by Visconti, who also played bass: [Excerpt: The Move, "Beautiful Daughter"] And Carl Wayne sang lead on five of the six tracks, which given that one of the reasons Wayne was getting unhappy with the band was that Wood was increasingly becoming the lead singer, must have been some comfort. But it wasn't enough. By the time Shazam! came out, with a cover drawn by Mike Sheridan showing the four band members as superheroes, the band was down to three -- Carl Wayne had quit the group, for a solo career. He continued playing the cabaret circuit, and made records, but never had another hit, but he managed to have a very successful career as an all-round entertainer, acting on TV and in the theatre, including a six-year run as the narrator in the musical Blood Brothers, and replacing Alan Clarke as the lead singer of the Hollies. He died in 2004. As soon as Wayne left the group, the three remaining band members quit their management and went back to Arden. And to replace Wayne, Wood once again asked Jeff Lynne to join the group. But this time the proposition was different -- Lynne wouldn't just be joining the Move, but he would be joining the Electric Light Orchestra. They would continue putting out Move records and touring for the moment, and Lynne would be welcome to write songs for the Move so that Wood wouldn't have to be the only writer, but they'd be doing it while they were planning their new group.  Lynne was in, and the first single from the new lineup was a return to the heavy riff rock style of "Wild Tiger Woman", "Brontosaurus": [Excerpt: The Move, "Brontosaurus"] But Wayne leaving the group had put Wood in a difficult position. He was now the frontman, and he hated that responsibility -- he said later "if you look at me in photos of the early days, I'm always the one hanging back with my head down, more the musician than the frontman." So he started wearing makeup, painting his face with triangles and stars, so he would be able to hide his shyness. And it worked -- and "Brontosaurus" returned the group to the top ten. But the next single, "When Alice Comes Back to the Farm", didn't chart at all. The first album for the new Move lineup, Looking On, was to finish their contract with their current record label. Many regard it as the group's "Heavy metal album", and it's often considered the worst of their four albums, with Bev Bevan calling it "plodding", but that's as much to do with Bevan's feeling about the sessions as anything else -- increasingly, after the basic rhythm tracks had been recorded, Wood and Lynne would get to work without the other two members of the band, doing immense amounts of overdubbing.  And that continued after Looking On was finished. The group signed a new contract with EMI's new progressive rock label, Harvest, and the contract stated that they were signing as "the Move performing as The Electric Light Orchestra". They started work on two albums' worth of material, with the idea that anything with orchestral instruments would be put aside for the first Electric Light Orchestra album, while anything with just guitar, bass, drums, keyboard, and horns would be for the Move. The first Electric Light Orchestra track, indeed, was intended as a Move B-side. Lynne came in with a song based around a guitar riff, and with lyrics vaguely inspired by the TV show The Prisoner, about someone with a number instead of a name running, trying to escape, and then eventually dying.  But then Wood decided that what the track really needed was cello. But not cello played in the standard orchestral manner, but something closer to what the Beatles had done on "I am the Walrus". He'd bought a cheap cello himself, and started playing Jimi Hendrix riffs on it, and Lynne loved the sound of it, so onto the Move's basic rhythm track they overdubbed fifteen cello tracks by Wood, and also two French horns, also by Wood: [Excerpt: The Electric Light Orchestra, "10538 Overture"] The track was named "10538 Overture", after they saw the serial number 1053 on the console they were using to mix the track, and added the number 8 at the end, making 10538 the number of the character in the song. Wood and Lynne were so enamoured with the sound of their new track that they eventually got told by the other two members of the group that they had to sit in the back when the Move were driving to gigs, so they couldn't reach the tape player, because they'd just keep playing the track over and over again. So they got a portable tape player and took that into the back seat with them to play it there. After finishing some pre-existing touring commitments, the Move and Electric Light Orchestra became a purely studio group, and Rick Price quit the bands -- he needed steady touring work to feed his family, and went off to form another band, Mongrel. Around this time, Wood also took part in another strange project. After Immediate Records collapsed, Andrew Oldham needed some fast money, so he and Don Arden put together a fake group they could sign to EMI for ten thousand pounds.  The photo of the band Grunt Futtock was of some random students, and that was who Arden and Oldham told EMI was on the track, but the actual performers on the single included Roy Wood, Steve Marriott, Peter Frampton, and Andy Bown, the former keyboard player of the Herd: [Excerpt: Grunt Futtock, "Rock 'n' Roll Christian"] Nobody knows who wrote the song, although it's credited to Bernard Webb, which is a pseudonym Paul McCartney had previously used -- but everyone knew he'd used the pseudonym, so it could very easily be a nod to that. The last Move album, Message From The Country, didn't chart -- just like the previous two hadn't. But Wood's song "Tonight" made number eleven, the follow-up, "Chinatown", made number twenty-three, and then the final Move single, "California Man", a fifties rock and roll pastiche, made the top ten: [Excerpt: The Move, "California Man"] In the US, that single was flipped, and the B-side, Lynne's song "Do Ya", became the only Move song ever to make the Hot One Hundred, reaching number ninety-nine: [Excerpt: The Move, "Do Ya"] By the time "California Man" was released, the Electric Light Orchestra were well underway. They'd recorded their first album, whose biggest highlights were Lynne's "10538 Overture" and Wood's "Whisper in the Night": [Excerpt: The Electric Light Orchestra, "Whisper in the Night"] And they'd formed a touring lineup, including Richard Tandy on keyboards and several orchestral instrumentalists. Unfortunately, there were problems developing between Wood and Lynne. When the Electric Light Orchestra toured, interviewers only wanted to speak to Wood, thinking of him as the band leader, even though Wood insisted that he and Lynne were the joint leaders. And both men had started arguing a lot, to the extent that at some shows they would refuse to go on stage because of arguments as to which of them should go on first. Wood has since said that he thinks most of the problems between Lynne and himself were actually caused by Don Arden, who realised that if he split the two of them into separate acts he could have two hit groups, not one. If that was the plan, it worked, because by the time "10538 Overture" was released as the Electric Light Orchestra's first single, and made the top ten -- while "California Man" was also still in the charts -- it was announced that Roy Wood was now leaving the Electric Light Orchestra, as were keyboard playe

This week's show, after little Lemonheads-1996 trill: Andy Bell, Alvvays, Linda Lindas, Surf Rock is Dead, Tubs, and Motörhead; plus Procol Harum, Tom T Hall, Dennis Wilson, Dovers, Tom Lerher, Betty Everett, and Art Carney

The Black Roots segment this week includes Smokey Robinson & The Miracles, Betty Everett, Fontella Bass, The Velvelettes, The Spinners & more. Join the show on facebook: Caffelatte Joy.   The post #891 (Nov. 27, 2022) – Hour 2: appeared first on Caffé Latté.

National tie one on day. Pop culture from 1979. Jukebox debuted, no more giving beer as medicine, World of Warcraft released. Todays birthdays- Boris Karloff, Franklin Pierce, Bruce Hornsby, Betty Everett, Miley Cyrus. Larry Hagman died.

| Over And Over  | Margaret Bell  | 1991 | Try God  | Mister Chandler  | 2013 | Reflections  | Albert Jones  | 1973 | A Different Kind Of Sweet  | Lyn Roman  | 1987 | Slow Change Up  | Miriah Avila  | 2022 | By Myself  | Jermain Maxwell  | 2005 | He Who Laughs Last Laughs The Best  | Monday After  | 1976 | My Love  | Ron Preyer  | 2021 | I Ain't Got To Love Nobody Else  | The Masqueraders  | 1968 | Miss My Love  | The Al Ur Pal Project feat. The Asidors  | 2022 | Guess I'll Never Understand (The Workings Of Your Mind)  | Fletcher Walker III  | 1971 | You've Got To Take It (If You Want It)  | The Main Ingredient  | 1972 | It's So Hard To Say So Long  | Vee Gees  | 1973 | Just Believe In Love  | Jerry Bell  | 2022 | The Language Of Love  | The Intrigues  | 1971 | I Want You To Know  | SSS Koffee  | 2020 | I Forgot To Be Your Lover  | Klassic Man  | 2022 | Didn't You Know  | Mike Bailey & Krazar  | 2011 | Just Another Reason  | The Passions  | 1969 | I Can't Tell A Lie  | The Gaslight  | 1970 | Butterscotch (feat. Athena Cage)  | Keith Sweat  | 2008 | My Story  | Na'sha  | 2005 | So Glad I Found You  | Avatarr  | 1982 | Wondering  | Betty Everett  | 1974 | Story Of My Life  | Emulations  | 1971 | God's Grace  | Trin-I-Tee 5:7  | 1998 | Plenty Good Lovin'  | Sparkle  | 1998 | Straight Up  | Sparkle  | 1998 | Hey Girl (I Like Your Style)  | Temptations  | 1973 | I Love The Way You Love Me  | Rue Davis  | 2022 | Forever (feat. Mary Brown)  | Donell Jones  | 2009

HOLLAND – DOZIER  WHY CAN'T WE BE LOVERS?HOLLAND – DOZIER  NEW BREED KINDA WOMAN.HOLLAND – DOZIER  IF YOU DON'T WANT TO BE IN MY LIFE.THE JONES GIRLS  COME BACK.DIONNE WARWICK  YOU'RE GONNA NEED ME.LAMONT DOZIER  BREAKING OUT ALL OVER.FREDA PAYNE  WE'VE GOT TO FIND A WAY BACK TO LOVE.LAMONT DOZIER  FISH AIN'T BITIN'LAURA LEE  DON'T LEAVE ME STARVING FOR YOUR LOVE.CHUCK JACKSON  TAKE OFF YOUR MAKE-UP.POPCORN WYLIE  HOW DID I LOSE YOU?LAMONT DOZIER  LET ME MAKE LOVE TO YOU.ELOISE LAWS  LOVE FACTORY.BOBBY HUTTON  LOVING YOU, NEEDING YOU, LOVING YOU, WANTING YOU.LAMONT DOZIER  ALL CRIED OUT.LAMONT DOZIER  ROSE.JIM GILSTRAP  PUT OUT THE FIRE.THE ORIGINALS  LET ME LIVE IN YOUR LIFE.LAMONT DOZIER  JOY.LAMONT DOZIER  CAN'T GET OFF UNTIL THE FEELING STOPS.MARGIE JOSEPH  SOMETHING TO FALL BACK ON.NANCY WILSON  FLYING HIGH.LAMONT DOZIER  I'LL KEEP A LIGHT IN THE WINDOW.Z.Z. HILL  THAT AIN'T THE WAY YOU MAKE LOVE.LAMONT DOZIER  BREAK THE ICE.ARETHA FRANKLIN  SUNSHINE WILL NEVER BE THE SAME.LAMONT DOZIER  WHAT AM I GONNA DO ABOUT YOU (GIRL).BETTY EVERETT  PROPHECY.EDWIN STARR  JEALOUS.BEN E. KING  FAMILY JEWELS.LAWRENCE HILTON JACOBS  FLY AWAY (TO MY WONDERLAND).LAMONT DOZIER  LOVE ME TO THE MAX.LAMONT DOZIER  TOUGH ACT TO FOLLOW.ZINGARA  YOU SURE KNOW HOW TO LOVE ME.RICHIE HAVENS  GOING BACK TO MY ROOTS.LAMONT DOZIER  YOU OUGHTA BE IN PICTURES.LAMONT DOZIER  I AIN'T PLAYING.FUTURE FLIGHT  HIP-NOTIC LADY.ZINGARA  I SURRENDER.LAMONT DOZIER  YOU MADE ME A BELIEVER.LAMONT DOZIER  STARTING OVER.GARLAND GREEN  LOVE'S CALLING.LAMONT DOZIER  LOVE WARS.OMAR  OUTSIDE.THE FOUR TOPS  I JUST CAN'T WALK AWAY.HOLLAND – DOZIER  DON'T STOP PLAYING OUR SONG.

Label: Uni 55100Year: 1969Condition: M-Price: $16.00The flip is an extremely hot slice of female soul... great backing chorus too. Note: This copy comes in a vintage Uni Records factory sleeve. The labels are reversed on this pressing... right songs, wrong labels. The labels look almost pristine otherwise. The vinyl looks untouched, and the audio is very close to Mint.

durée : 00:59:08 - Banzzaï du vendredi 20 mai 2022 - par : Nathalie Piolé - C'est quoi ce truc qu'on appelle l'amour ? Comment savoir quand on aime ? Ce soir dans Banzzaï, on s'en pose, des questions... - réalisé par : Fabien Fleurat

Linda Ronstadt cumplió 75 años el pasado jueves como una de las grandes damas de la música de raíces norteamericanas. Empezó a darse a conocer con los Stones Poneys, un trío de folk formado cuando ella dejó la Universidad de su Arizona natal tras el primer trimestre. Era el año 1964 y se marchó a Los Ángeles, siendo habitual del Troubadour y grabando tres discos muy recomendables. Cuando se aventuró como solista contó con el apoyo de toda la escena del sur de California, llegando a tener como músicos de acompañamiento a quienes más tarde formarían los Eagles. Linda nunca ha olvidado sus raíces, teniendo muy en cuenta que su madre era alemana y, sobre todo, que su padre era mejicano. Este último, Gilbert, cantaba con ella y sus otros dos hijos canciones de su tierra natal en los pocos ratos de ocio que les permitía la ferretería que regentaban. Linda Ronstadt siempre ha hecho guiños a su herencia hispana y en ocasiones se ha permitido versionar al castellano algunos éxitos resonantes e incluso grabar dos álbumes dedicados a esa herencia musical paterna. Hoy, para celebrar en TOMA UNO su cuarto de siglo desde que nació en Tucson, Arizona, hemos querido acogernos a algunas de sus canciones más poderosas y eclécticas, que hemos iniciado con una sorprendente versión de “We Will Rock You” de Queen para acercarnos a mitos de rock and roll como Chuck Berry o Buddy Holly antes de saltar el océano y escucharla versionar a los Rolling Stones. Linda se refugió en “When Will I Be Loved” de los Everly Brothers y se dejó embaucar por el rhythm and blues de Martha & The Vandellas o de Betty Everett, saltándose todas las normas establecidas gracias al atrevimiento de su productor, el enorme Peter Asher. Tampoco ha menospreciado los cambios que la escena musical ha experimentado con el paso del tiempo y la hemos escuchado interpretar temas de Tom Petty o Elvis Costello, aunque siempre ha tenido una inclinación especial hacia sus viejos compañeros de aventuras de sus comienzos como es el caso de Warren Zevon, Jackson Browne o el propio Neil Young. Para despedir un homenaje tan entrañable hemos querido escucharla junto a sus viejas amigas Dolly Parton y Emmylou Harris. Es la mejor manera de cerrar el círculo. Escuchar audio

Episode one hundred and seventeen of A History of Rock Music in Five Hundred Songs looks at “Don’t Worry Baby” by the Beach Boys, and how the years 1963 and 1964 saw a radical evolution in the sound and subject matter of the Beach Boys’ work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “You’re No Good” by the Swinging Blue Jeans. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- ERRATA: I say that the Surfin’ USA album was released only four months after Surfin’ Safari. It was actually over five months. Also, for some reason I pronounce Nik Venet’s name as if he were French here. I believe that’s incorrect and his name is actually pronounced “Vennit”, though I’m not 100% sure. More importantly, I say that “Sweet Little Sixteen” wasn’t a big hit, when of course it made number two on the charts.    Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It’s difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I’ve checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group’s early years, up to the end of 1963. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe’s Bellagio 10452 site is an invaluable resource. Jon Stebbins’ The Beach Boys FAQ is a good balance between accuracy and readability. Stebbins also co-wrote The Lost Beach Boy, David Marks’ autobiography. And Philip Lambert’s Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson’s music from 1962 through 67. The Beach Boys’ Morgan recordings and all the outtakes from them can be found on this 2-CD set. As a good starting point for the Beach Boys’ music, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. Transcript Today, we’re going to take our second look at the Beach Boys, and we’re going to look at their evolution through 1963 and 1964, as they responded to the threat from the Beatles by turning to ever more sophisticated music, even as they went through a variety of personal crises. We’re going to look at a period in which they released four albums a year, had three lineup changes, and saw their first number one – and at a song which, despite being a B-side, regularly makes lists of the best singles of all time. We’re going to look at “Don’t Worry Baby”: [Excerpt: The Beach Boys, “Don’t Worry Baby”] When we left the Beach Boys, they had just secured a contract with Capitol Records, and released their first national hit, “Surfin’ Safari” backed with “409”. Since then we’ve also seen Brian Wilson working with several songwriting collaborators to write hits for Jan and Dean. But now we need to double back and look at what Brian was doing with his main band in that time.  After “Surfin’ Safari” was a hit, in one of the many incomprehensible decisions made in the Beach Boys’ career, Capitol decided to follow it up with an album track that Brian and Gary Usher had written, “Ten Little Indians”. That track, a surf-rock version of the nursery rhyme with the group chanting “Kemo sabe” in the backing vocals, made only number forty-nine on the charts, and frankly didn’t deserve to do even that well. Some have suggested, in fact that the record was released at the instigation of Murry Wilson, who was both Brian, Carl, and Dennis Wilson’s father and the group’s manager, as a way of weakening Usher’s influence with the group, as Murry didn’t want outsiders interfering in what he saw as a family business.  After realising the folly of deviating from the formula, the group’s next single followed the same pattern as their first hit. The B-side was “Shut Down”, a car song co-written by Brian and Roger Christian, who you may remember from the episode on “Surf City” as having been brought in to help Brian with car lyrics. “Shut Down” is most notable for being one of the very small number of Beach Boys records to feature an instrumental contribution from Mike Love, the group’s lead singer. His two-note saxophone solo comes in for some mockery from the group’s fans, but actually fits the record extremely well: [Excerpt: The Beach Boys, “Shut Down”]  “Shut Down” was a top thirty hit, but it was the A-side that was the really big hit. Just as their first hit had had a surf song on the A-side and a car song on the B-side, so did this single. Brian Wilson had been inspired by Chuck Berry’s “Sweet Little Sixteen”, and in particular the opening verse, which had just listed a lot of places: [Excerpt: Chuck Berry, “Sweet Little Sixteen”] He might well also have been thinking of Chubby Checker’s minor hit, “Twistin’ USA”, which listed places in America where people might be twisting: [Excerpt: Chubby Checker, “Twistin’ USA”] Brian had taken Berry’s melody and the place-name recitation, and with the help of his girlfriend’s brother, and some input from Mike Love, had turned it into a song listing all the places that people could be surfing — at least, they could “if everybody had an ocean”: [Excerpt: The Beach Boys, “Surfin’ USA”] “Surfin’ USA” became a huge hit, reaching number two on the charts, and later being named by Billboard as the biggest hit of 1963, but unfortunately for Brian that didn’t result in a financial windfall for him as the songwriter. As the song was so close to “Sweet Little Sixteen”, Chuck Berry got the sole songwriting credit — one of the only times in rock music history where a white artist has ripped off a Black one and the Black artist has actually benefited from it. And Berry definitely did benefit — “Sweet Little Sixteen”, while a great record, had never been a particularly big hit, while “Surfin’ USA” is to this day regularly heard on oldies radio and used in commercials and films. But that success meant extra work, and a lot of it. “Surfin’ USA” was the title song of the group’s second album, released in March 1963 only four months after their first, and they would release two more albums before the end of the year — Surfer Girl in September and Little Deuce Coupe in October. Not only were they having to churn out a quite staggering amount of product — though Little Deuce Coupe featured four songs recycled from their earlier albums — but Brian Wilson, as well as writing or co-writing all their original material, started producing the records as well, as he was unhappy with Nik Venet’s production on the first album. Not only that, but as well as making the Beach Boys’ records, Wilson was also writing for Jan and Dean, and he had also started making records on the side with Gary Usher, doing things like making a “Loco-Motion” knock-off, “The Revolution”, released under the name Rachel and the Revolvers: [Excerpt: Rachel and the Revolvers, “The Revolution”] According to some sources, Usher and Wilson found the singer for that track by the simple expedient of driving to Watts and asking the first Black teenage girl they saw if she could sing. Other sources say they hired a professional session singer — some say it was Betty Everett, but given that that’s the name of a famous singer from the period who lived in the Mid-West, I think people are confusing her for Betty Willis, another singer who gets named as a possibility, who lived in LA and who certainly sounds like the same person: [Excerpt: Betty Willis, “Act Naturally”] Wilson was also in the process of breaking up with his girlfriend and starting a relationship with a young woman named Marilyn Rovell. Rovell, along with her sister Diane, and their cousin, Ginger Blake, had formed a girl group, and Brian was writing and producing records for them as well: [Excerpt: The Honeys, “The One You Can’t Have”] As well as making all these records, the Beach Boys were touring intensively, to the point that on one day in June the group were actually booked in for four shows in the same day.  Unsurprisingly, Brian decided that this was too much for one person, and so in April 1963, just after the release of “Surfin’ USA”, he decided to quit touring with the group. Luckily, there was a replacement on hand. Alan Jardine had been a member of the Beach Boys on their very first single, but had decided to quit the group to go off to university. A year later, that seemed like a bad decision, and when Brian called him up and asked him to rejoin the band, he eagerly agreed. For now, Alan was not going to be a proper member of the group, but he would substitute for Brian on the group’s tour of the Midwest that Spring, and on many of the shows they performed over the summer — he could play the bass, which was the instrument that Brian played on stage, and he could sing Brian’s parts, and so while the Beach Boys still officially consisted of Brian, Carl, and Dennis Wilson, Mike Love, and David Marks, the group that was on tour was Carl, Dennis, Mike, David, and Alan, though Brian would sometimes appear for important shows. Jardine also started recording with the group, though he would not get credited on the covers of the first couple of albums on which he appeared. This made a huge change to the sound of the Beach Boys in the studio, as Jardine playing bass allowed Brian Wilson to play keyboards, while Jardine also added to the group’s vocal harmonies. And this was a major change. Up to this point, the Beach Boys’ records had had only rudimentary harmonies. While Brian was an excellent falsetto singer, and Mike a very good bass, the other three members of the group were less accomplished. Carl would grow to be one of the great vocalists of all time, but at this point was still in his early teens and had a thin voice. Dennis’ voice was also a little thin at this point, and he was behind the drum kit, which meant he didn’t get to sing live, and David Marks was apparently not allowed to sing on the records at all, other than taking a single joint lead with Carl on the first album. With the addition of Jardine, Brian now had another singer as strong as himself and Love, and the Surfer Girl album, the first one on which Jardine appears, sees Brian expanding from the rather rudimentary vocal arrangements of the first two albums to something that incorporates a lot more of the influence of the Four Freshmen. You can hear this most startlingly on “In My Room”. This is one of the first songs on which Jardine took part in the studio, though he’s actually not very audible in the vocal arrangement, which instead concentrates on the three brothers. “In My Room” is a major, major, step forward in the group’s sound, in the themes that would appear in their songwriting for the next few years, and in the juxtaposition of the lyrical theme and the musical arrangement.  The song’s lyrics, written by Gary Usher but inspired by Wilson’s experiences, are about solitude, and the song starts out with Brian singing alone, but then Brian moves up to the third note of the scale and Carl comes in under him, singing the note Brian started on. Then they both move up again, Brian to the fifth and Carl to the third, with Dennis joining in on the note that Brian had started on, before Mike and Alan finally also join in. Brian is singing about being alone, but he has his family with him, supporting him:  [Excerpt: The Beach Boys, “In My Room”] This new lineup of the group, with Alan augmenting the other five, might even have lasted, except for a chain of events that started on David Marks’ fifteenth birthday. Murry Wilson, who was still managing the group at this point, had never liked the idea of someone from outside the family being an equal member, and was particularly annoyed at David because Murry had tried to have an affair with David’s mother, which hadn’t worked out well for him.  But then on Marks’ fifteenth birthday, he and Dennis Wilson both caught a sexually transmitted infection from the same sex worker, and when Murry Wilson found this out — as he had to, as he needed to pay their doctor’s bills — he became furious and started screaming at the whole group.  At that point, David had had enough. His mother had been telling him that he was the real talent in the group and he didn’t need those Wilsons, and as a fifteen-year-old kid he didn’t have the understanding to realise that this might not be entirely true. He said “OK, I quit”. At first, the rest of the group thought that he was joking, and even he wasn’t at all sure that he wanted to leave the group altogether. He remained in the band for the next month, but Murry Wilson kept reminding his sons that Marks had quit and that they’d all heard him, and refused to speak directly to him — anything that Murry wanted to say to David, he said to Carl, who passed the message on.  And even though the rest of the group definitely wanted David to stay — especially Brian, who liked having the freedom not to go out on tour, and Carl, who had been the one who’d lobbied to bring his friend into the group in the first place — David was still, as the youngest member, the only one who didn’t sing, and the only one not part of the family, regarded by the others as somewhat lesser than the rest of the band.  David became increasingly frustrated, especially when they were recording the Little Deuce Coupe album. That album was made up entirely of songs about cars, and the group were so short of material that the album ended up being filled out with four songs from earlier albums, including two from the Surfer Girl album released only the previous month. Yet when David tried to persuade Brian to have the group record his song “Kustom Kar Show”, Brian told David that he wasn’t ready to be writing songs for the group.  All this, plus pressure from David’s parents to make him more of a focal point of the group, led to his resignation eventually being accepted, and backdated to the original date he quit. He played his last show with the group on October the fifth 1963, and then formed his own band, the Marksmen, who signed to A&M:  [Excerpt: Dave and the Marksmen, “Kustom Kar Show”] There have been rumours that Murry Wilson threatened DJs that the Beach Boys wouldn’t co-operate with them if they played Marksmen records, but in truth, listening to the records the Marksmen made during their two years of existence, it’s quite obvious why they weren’t played — they were fairly shoddy-sounding garage rock records, with little to commend them. Indeed, they actually sound somewhat better now than they would have done at the time — some of Marks’ flatter and more affectless vocals prefigure the sound of some punk singers, but not in a way that would have had any commercial potential in 1963. Meanwhile, the Beach Boys continued, with Alan Jardine buying a Stratocaster and switching to rhythm guitar, and Brian Wilson resigning himself to having to perform live, at least at the moment, and returning to his old role on the bass. Jardine was now, for publicity purposes, a full member of the group, though he would remain on a salary rather than an equal partner for many years — Murry Wilson didn’t want to make the same mistake with him that he had with Marks. And there was still the constant need for new material, which didn’t let up. Brian’s songwriting was progressing at a furious pace, and that can be seen nowhere better than on “The Warmth of the Sun”, a song he wrote, with Love writing the lyrics, around the time of the Kennedy assassination — the two men have differed over the years over whether it was written the night before or the night after the assassination. “The Warmth of the Sun” is quite staggeringly harmonically sophisticated. We’ve talked before in this podcast about the standard doo-wop progression — the one, minor sixth, minor second, fifth progression that you get in about a million songs: [demonstrates] “The Warmth of the Sun” starts out that way — its first two chords are C, Am, played in the standard arpeggiated way one expects from that kind of song: [demonstrates] You’d expect from that  that the song would go C, Am, Dm, G or C, Am, F, G. But instead of moving to Dm or F, as one normally would, the song moves to E flat, and *starts the progression over*, a minor third up, so you have: [demonstrates] It then stops that progression after two bars, moves back to the Dm one would expect from the original progression, and stays there for twice as long as normal, before moving on to the normal G — and then throwing in a G augmented at the end, which is a normal G chord but with the D note raised to E flat, so it ties in to that original unexpected chord change. And it does all this *in the opening line of the song*: [Excerpt: The Beach Boys, “The Warmth of the Sun”] This is harmonic sophistication on a totally different order from anything else that was being done in teen pop music at the time — it was far closer to the modern jazz harmonies of the Four Freshmen that Brian loved than to doo-wop. The new five-piece lineup of the group recorded that on January the first, 1964, and on the same day they recorded a song that combined two of Brian’s other big influences. “Fun Fun Fun” had lyrics by Mike Love — some of his wittiest — and starts out with an intro taken straight from “Johnny B. Goode”: [Excerpt: The Beach Boys, “Fun Fun Fun”] But while the rest of the track keeps the same feel as the Chuck Berry song, the verse goes in a different harmonic direction, and actually owes a lot to “Da Doo Ron Ron”. Instead of using a blues progression, as Berry normally would, the verse uses the same I-IV-I-V progression that “Da Doo Ron Ron”‘s chorus does, but uses it to very different effect: [Excerpt: The Beach Boys, “Fun Fun Fun”] That became the group’s fourth top ten hit, and made number five on the charts — but the group suddenly had some real competition. At numbers one, two, and three were the Beatles. Brian Wilson realised that he needed to up his game if he was going to compete, and he did. In April 1964 he started working on a new single. By this time, while the Beach Boys themselves were still playing most of the instruments, Brian was bringing in additional musicians to augment them, and expanding his instrumental palette. The basic track was the core members of the band — Carl playing both lead and rhythm guitar, Alan playing bass, and Dennis playing drums, with Brian on keyboards — but there were two further bass players, Glen Campbell and Ray Pohlman, thickening the sound on six-string bass, plus two saxophones, and Hal Blaine adding percussion.  And the main instrument providing chordal support wasn’t guitar or organ, as it usually had been, but a harpsichord, an instrument Brian would use a lot over the next few years: [Excerpt: The Beach Boys, “I Get Around (backing track)”] The recording session for that backing track was also another breaking point for the band. Murry Wilson, himself a frustrated songwriter and producer, was at the session and kept insisting that there was a problem with the bassline. Eventually, Brian had enough of his father’s interference, and fired him as the band’s manager. Murry would continue to keep trying to interfere in his children’s career, but this was the point at which the Beach Boys finally took control over their own futures. A few days later, they reconvened in the studio to record the vocals for what would become their first number one hit: [Excerpt: The Beach Boys, “I Get Around”] It’s fascinating to see that even this early in the group’s career, and on one of their biggest, summeriest hits, there’s already a tension in the lyrics, a sense of wanting to move on — “I’m getting bugged driving up and down the same old strip/I’ve got to find a new place where the kids are hip”. The lyrics are Love’s, but as is so often the case with Brian Wilson’s collaborations, Love seems to have been expressing something that Wilson was feeling at the time. The Beach Boys had risen to the challenge from the Beatles, in a way that few other American musicians could, and “I Get Around” was good enough that it made the top ten in the UK, and became a particular favourite in the Mod subculture in London. The group would only become more popular over the next few years in the UK, a new place where the kids were hip. “I Get Around” is a worthy classic, but the B-side, “Don’t Worry Baby”, is if anything even better. It had been recorded in January, and had already been released on their Shut Down vol 2 album in March. It had originally been intended for the Ronettes, and was inspired by “Be My Baby”, which had astonished Brian Wilson when it had been released a few months earlier. He would later recall having to pull over to the side of the road when he first heard the drum intro to that record: [Excerpt: The Ronettes, “Be My Baby”] Brian would play that record over and over, on repeat, for days at a time, and would try to absorb every nuance of the record and its production, and he tried to come up with something that could follow it. Wilson took the basic rhythm and chord sequence of the song, plus melodic fragments like the line “Be my little baby”, and reworked them into a song that clearly owes a lot to its inspiration, but which stands on its own: [Excerpt: The Beach Boys, “Don’t Worry Baby”] Phil Spector turned the song down, and so the Beach Boys recorded it themselves, and I have to say that this was only a good thing — Ronnie Spector recorded a solo version of it many decades later, and it’s a fine performance, but the lyric misses something when it’s sung by a woman rather than a man. That lyric was by Roger Christian, and in it we see the tension between the more emotional themes that Wilson wanted to explore and the surf and car lyrics that had made up the majority of their singles to this point. The lyric is ostensibly about a car race, and indeed it seems to be setting up precisely the kind of situation that was common in teen tragedy records of the period. The protagonist sings “I guess I should have kept my mouth shut when I started to brag about my car,  but I can’t back down now because I pushed the other guys too far”, and the whole lyric is focused on his terror of an upcoming race.  This seems intended to lead to the kind of situation that we see in “Dead Man’s Curve”, or “Tell Laura I Love Her”, or in another teen tragedy song we’ll be looking at in a couple of weeks, with the protagonist dead in a car crash. But instead, this is short-circuited. The protagonist’s fears are allayed by his girlfriend: [Excerpt: The Beach Boys, “Don’t Worry Baby”] What we have here is someone trying to deal with a particular kind of anxiety brought about by what we now refer to as toxic masculinity. The protagonist has been showing off about his driving skills in front of his peers, and has now found himself in a situation that he can’t cope with. He’s saved by a figure we’ll see a lot more of in Brian’s songs, whoever the lyricist, the supernaturally good woman who understands the protagonist and loves him despite, or because of, his faults, even though she’s too good for him. Obviously, one can point to all sorts of reasons why this figure might be considered problematic — the idea that the man is unable to deal with his own emotional problems without a woman fixing him — but there’s an emotional truth to it that one doesn’t get in much music of the era, and even if it’s a somewhat flawed view of gender relations, it speaks to a very particular kind of insecurity at the inability to live up to traditional masculine roles, and is all the more affecting when it’s paired with the braggadocio of the A-side. The combination means we see the bragging and posturing on the A-side as just a facade, covering over the real emotional fragility of the narrator. Each side reinforces the other, and the combination is one of the most perfect pairings ever released as a single. “Don’t Worry Baby”, released as “I Get Around”’s B-side, made the charts in its own right peaking at number twenty-four. The B-side to the next single further elaborated on the themes of “Don’t Worry Baby”: [Excerpt: The Beach Boys, “She Knows Me Too Well”] This repurposing of the emotional and musical style of girl-group songs to deal with the emotional vulnerability that comes from acknowledging and attempting to process toxic masculinity is something that few other songwriters were capable of at this point – only some of John Lennon’s work a couple of years later comes close to dealing with this very real area of the emotional landscape, and Lennon, like Wilson, often does so by using the figure of the perfect woman who will save the protagonist. In 1964, the group once again released four albums – Shut Down vol.2, All Summer Long, a live album, and a Christmas album – and they also did most of the work on yet another album, The Beach Boys Today!, which would be released in early 1965. As these recordings progressed, Brian Wilson was more and more ambitious, both in terms of the emotional effect of the music and his arrangements, increasingly using session musicians to augment the group, and trying for a variant on Phil Spector’s production style, but one which emphasised gentle fragility rather than sturm und drang. Possibly the greatest track he created in 1964 ended up not being used by the Beach Boys, though, but was given to Glen Campbell: [Excerpt: Glen Campbell, “Guess I’m Dumb”] Campbell got given that track because of an enormous favour he’d done the group. The mental strain of touring had finally got too much for Brian, and in December, on a plane to Texas, he’d had a breakdown, screaming on the plane and refusing to get off. Eventually, they coaxed him off the plane, and he’d managed to get through that night’s show, but had flown back to LA straight after. Campbell, who was a session guitarist who had played on a number of the Beach Boys’ recordings, and had a minor career as a singer at this point, had flown out at almost no notice and for the next five months he replaced Brian on stage for most of their shows, before the group got a permanent replacement in. Brian Wilson had retired from the road, and the hope was that by doing so, he would reduce the strain on himself enough that he could keep writing and producing for the group without making his mental health worse. And for a while, at least, that seemed to be how it worked out. We’ll take a look at the results in a few weeks’ time.

Episode one hundred and seventeen of A History of Rock Music in Five Hundred Songs looks at "Don't Worry Baby" by the Beach Boys, and how the years 1963 and 1964 saw a radical evolution in the sound and subject matter of the Beach Boys' work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "You're No Good" by the Swinging Blue Jeans. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- ERRATA: I say that the Surfin' USA album was released only four months after Surfin' Safari. It was actually over five months. Also, for some reason I pronounce Nik Venet's name as if he were French here. I believe that's incorrect and his name is actually pronounced “Vennit”, though I'm not 100% sure. More importantly, I say that "Sweet Little Sixteen" wasn't a big hit, when of course it made number two on the charts.    Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group's early years, up to the end of 1963. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. Stebbins also co-wrote The Lost Beach Boy, David Marks' autobiography. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. The Beach Boys' Morgan recordings and all the outtakes from them can be found on this 2-CD set. As a good starting point for the Beach Boys' music, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. Transcript Today, we're going to take our second look at the Beach Boys, and we're going to look at their evolution through 1963 and 1964, as they responded to the threat from the Beatles by turning to ever more sophisticated music, even as they went through a variety of personal crises. We're going to look at a period in which they released four albums a year, had three lineup changes, and saw their first number one – and at a song which, despite being a B-side, regularly makes lists of the best singles of all time. We're going to look at “Don't Worry Baby”: [Excerpt: The Beach Boys, "Don't Worry Baby"] When we left the Beach Boys, they had just secured a contract with Capitol Records, and released their first national hit, "Surfin' Safari" backed with "409". Since then we've also seen Brian Wilson working with several songwriting collaborators to write hits for Jan and Dean. But now we need to double back and look at what Brian was doing with his main band in that time.  After "Surfin' Safari" was a hit, in one of the many incomprehensible decisions made in the Beach Boys' career, Capitol decided to follow it up with an album track that Brian and Gary Usher had written, "Ten Little Indians". That track, a surf-rock version of the nursery rhyme with the group chanting "Kemo sabe" in the backing vocals, made only number forty-nine on the charts, and frankly didn't deserve to do even that well. Some have suggested, in fact that the record was released at the instigation of Murry Wilson, who was both Brian, Carl, and Dennis Wilson's father and the group's manager, as a way of weakening Usher's influence with the group, as Murry didn't want outsiders interfering in what he saw as a family business.  After realising the folly of deviating from the formula, the group's next single followed the same pattern as their first hit. The B-side was "Shut Down", a car song co-written by Brian and Roger Christian, who you may remember from the episode on "Surf City" as having been brought in to help Brian with car lyrics. "Shut Down" is most notable for being one of the very small number of Beach Boys records to feature an instrumental contribution from Mike Love, the group's lead singer. His two-note saxophone solo comes in for some mockery from the group's fans, but actually fits the record extremely well: [Excerpt: The Beach Boys, "Shut Down"]  "Shut Down" was a top thirty hit, but it was the A-side that was the really big hit. Just as their first hit had had a surf song on the A-side and a car song on the B-side, so did this single. Brian Wilson had been inspired by Chuck Berry's "Sweet Little Sixteen", and in particular the opening verse, which had just listed a lot of places: [Excerpt: Chuck Berry, "Sweet Little Sixteen"] He might well also have been thinking of Chubby Checker's minor hit, "Twistin' USA", which listed places in America where people might be twisting: [Excerpt: Chubby Checker, "Twistin' USA"] Brian had taken Berry's melody and the place-name recitation, and with the help of his girlfriend's brother, and some input from Mike Love, had turned it into a song listing all the places that people could be surfing -- at least, they could "if everybody had an ocean": [Excerpt: The Beach Boys, "Surfin' USA"] "Surfin' USA" became a huge hit, reaching number two on the charts, and later being named by Billboard as the biggest hit of 1963, but unfortunately for Brian that didn't result in a financial windfall for him as the songwriter. As the song was so close to "Sweet Little Sixteen", Chuck Berry got the sole songwriting credit -- one of the only times in rock music history where a white artist has ripped off a Black one and the Black artist has actually benefited from it. And Berry definitely did benefit -- "Sweet Little Sixteen", while a great record, had never been a particularly big hit, while "Surfin' USA" is to this day regularly heard on oldies radio and used in commercials and films. But that success meant extra work, and a lot of it. "Surfin' USA" was the title song of the group's second album, released in March 1963 only four months after their first, and they would release two more albums before the end of the year -- Surfer Girl in September and Little Deuce Coupe in October. Not only were they having to churn out a quite staggering amount of product -- though Little Deuce Coupe featured four songs recycled from their earlier albums -- but Brian Wilson, as well as writing or co-writing all their original material, started producing the records as well, as he was unhappy with Nik Venet's production on the first album. Not only that, but as well as making the Beach Boys' records, Wilson was also writing for Jan and Dean, and he had also started making records on the side with Gary Usher, doing things like making a "Loco-Motion" knock-off, "The Revolution", released under the name Rachel and the Revolvers: [Excerpt: Rachel and the Revolvers, "The Revolution"] According to some sources, Usher and Wilson found the singer for that track by the simple expedient of driving to Watts and asking the first Black teenage girl they saw if she could sing. Other sources say they hired a professional session singer -- some say it was Betty Everett, but given that that's the name of a famous singer from the period who lived in the Mid-West, I think people are confusing her for Betty Willis, another singer who gets named as a possibility, who lived in LA and who certainly sounds like the same person: [Excerpt: Betty Willis, "Act Naturally"] Wilson was also in the process of breaking up with his girlfriend and starting a relationship with a young woman named Marilyn Rovell. Rovell, along with her sister Diane, and their cousin, Ginger Blake, had formed a girl group, and Brian was writing and producing records for them as well: [Excerpt: The Honeys, "The One You Can't Have"] As well as making all these records, the Beach Boys were touring intensively, to the point that on one day in June the group were actually booked in for four shows in the same day.  Unsurprisingly, Brian decided that this was too much for one person, and so in April 1963, just after the release of "Surfin' USA", he decided to quit touring with the group. Luckily, there was a replacement on hand. Alan Jardine had been a member of the Beach Boys on their very first single, but had decided to quit the group to go off to university. A year later, that seemed like a bad decision, and when Brian called him up and asked him to rejoin the band, he eagerly agreed. For now, Alan was not going to be a proper member of the group, but he would substitute for Brian on the group's tour of the Midwest that Spring, and on many of the shows they performed over the summer -- he could play the bass, which was the instrument that Brian played on stage, and he could sing Brian's parts, and so while the Beach Boys still officially consisted of Brian, Carl, and Dennis Wilson, Mike Love, and David Marks, the group that was on tour was Carl, Dennis, Mike, David, and Alan, though Brian would sometimes appear for important shows. Jardine also started recording with the group, though he would not get credited on the covers of the first couple of albums on which he appeared. This made a huge change to the sound of the Beach Boys in the studio, as Jardine playing bass allowed Brian Wilson to play keyboards, while Jardine also added to the group's vocal harmonies. And this was a major change. Up to this point, the Beach Boys' records had had only rudimentary harmonies. While Brian was an excellent falsetto singer, and Mike a very good bass, the other three members of the group were less accomplished. Carl would grow to be one of the great vocalists of all time, but at this point was still in his early teens and had a thin voice. Dennis' voice was also a little thin at this point, and he was behind the drum kit, which meant he didn't get to sing live, and David Marks was apparently not allowed to sing on the records at all, other than taking a single joint lead with Carl on the first album. With the addition of Jardine, Brian now had another singer as strong as himself and Love, and the Surfer Girl album, the first one on which Jardine appears, sees Brian expanding from the rather rudimentary vocal arrangements of the first two albums to something that incorporates a lot more of the influence of the Four Freshmen. You can hear this most startlingly on "In My Room". This is one of the first songs on which Jardine took part in the studio, though he's actually not very audible in the vocal arrangement, which instead concentrates on the three brothers. "In My Room" is a major, major, step forward in the group's sound, in the themes that would appear in their songwriting for the next few years, and in the juxtaposition of the lyrical theme and the musical arrangement.  The song's lyrics, written by Gary Usher but inspired by Wilson's experiences, are about solitude, and the song starts out with Brian singing alone, but then Brian moves up to the third note of the scale and Carl comes in under him, singing the note Brian started on. Then they both move up again, Brian to the fifth and Carl to the third, with Dennis joining in on the note that Brian had started on, before Mike and Alan finally also join in. Brian is singing about being alone, but he has his family with him, supporting him:  [Excerpt: The Beach Boys, "In My Room"] This new lineup of the group, with Alan augmenting the other five, might even have lasted, except for a chain of events that started on David Marks' fifteenth birthday. Murry Wilson, who was still managing the group at this point, had never liked the idea of someone from outside the family being an equal member, and was particularly annoyed at David because Murry had tried to have an affair with David's mother, which hadn't worked out well for him.  But then on Marks' fifteenth birthday, he and Dennis Wilson both caught a sexually transmitted infection from the same sex worker, and when Murry Wilson found this out -- as he had to, as he needed to pay their doctor's bills -- he became furious and started screaming at the whole group.  At that point, David had had enough. His mother had been telling him that he was the real talent in the group and he didn't need those Wilsons, and as a fifteen-year-old kid he didn't have the understanding to realise that this might not be entirely true. He said "OK, I quit". At first, the rest of the group thought that he was joking, and even he wasn't at all sure that he wanted to leave the group altogether. He remained in the band for the next month, but Murry Wilson kept reminding his sons that Marks had quit and that they'd all heard him, and refused to speak directly to him -- anything that Murry wanted to say to David, he said to Carl, who passed the message on.  And even though the rest of the group definitely wanted David to stay -- especially Brian, who liked having the freedom not to go out on tour, and Carl, who had been the one who'd lobbied to bring his friend into the group in the first place -- David was still, as the youngest member, the only one who didn't sing, and the only one not part of the family, regarded by the others as somewhat lesser than the rest of the band.  David became increasingly frustrated, especially when they were recording the Little Deuce Coupe album. That album was made up entirely of songs about cars, and the group were so short of material that the album ended up being filled out with four songs from earlier albums, including two from the Surfer Girl album released only the previous month. Yet when David tried to persuade Brian to have the group record his song "Kustom Kar Show", Brian told David that he wasn't ready to be writing songs for the group.  All this, plus pressure from David's parents to make him more of a focal point of the group, led to his resignation eventually being accepted, and backdated to the original date he quit. He played his last show with the group on October the fifth 1963, and then formed his own band, the Marksmen, who signed to A&M:  [Excerpt: Dave and the Marksmen, "Kustom Kar Show"] There have been rumours that Murry Wilson threatened DJs that the Beach Boys wouldn't co-operate with them if they played Marksmen records, but in truth, listening to the records the Marksmen made during their two years of existence, it's quite obvious why they weren't played -- they were fairly shoddy-sounding garage rock records, with little to commend them. Indeed, they actually sound somewhat better now than they would have done at the time -- some of Marks' flatter and more affectless vocals prefigure the sound of some punk singers, but not in a way that would have had any commercial potential in 1963. Meanwhile, the Beach Boys continued, with Alan Jardine buying a Stratocaster and switching to rhythm guitar, and Brian Wilson resigning himself to having to perform live, at least at the moment, and returning to his old role on the bass. Jardine was now, for publicity purposes, a full member of the group, though he would remain on a salary rather than an equal partner for many years -- Murry Wilson didn't want to make the same mistake with him that he had with Marks. And there was still the constant need for new material, which didn't let up. Brian's songwriting was progressing at a furious pace, and that can be seen nowhere better than on "The Warmth of the Sun", a song he wrote, with Love writing the lyrics, around the time of the Kennedy assassination -- the two men have differed over the years over whether it was written the night before or the night after the assassination. "The Warmth of the Sun" is quite staggeringly harmonically sophisticated. We've talked before in this podcast about the standard doo-wop progression -- the one, minor sixth, minor second, fifth progression that you get in about a million songs: [demonstrates] "The Warmth of the Sun" starts out that way -- its first two chords are C, Am, played in the standard arpeggiated way one expects from that kind of song: [demonstrates] You'd expect from that  that the song would go C, Am, Dm, G or C, Am, F, G. But instead of moving to Dm or F, as one normally would, the song moves to E flat, and *starts the progression over*, a minor third up, so you have: [demonstrates] It then stops that progression after two bars, moves back to the Dm one would expect from the original progression, and stays there for twice as long as normal, before moving on to the normal G -- and then throwing in a G augmented at the end, which is a normal G chord but with the D note raised to E flat, so it ties in to that original unexpected chord change. And it does all this *in the opening line of the song*: [Excerpt: The Beach Boys, "The Warmth of the Sun"] This is harmonic sophistication on a totally different order from anything else that was being done in teen pop music at the time -- it was far closer to the modern jazz harmonies of the Four Freshmen that Brian loved than to doo-wop. The new five-piece lineup of the group recorded that on January the first, 1964, and on the same day they recorded a song that combined two of Brian's other big influences. "Fun Fun Fun" had lyrics by Mike Love -- some of his wittiest -- and starts out with an intro taken straight from "Johnny B. Goode": [Excerpt: The Beach Boys, "Fun Fun Fun"] But while the rest of the track keeps the same feel as the Chuck Berry song, the verse goes in a different harmonic direction, and actually owes a lot to "Da Doo Ron Ron". Instead of using a blues progression, as Berry normally would, the verse uses the same I-IV-I-V progression that "Da Doo Ron Ron"'s chorus does, but uses it to very different effect: [Excerpt: The Beach Boys, "Fun Fun Fun"] That became the group's fourth top ten hit, and made number five on the charts -- but the group suddenly had some real competition. At numbers one, two, and three were the Beatles. Brian Wilson realised that he needed to up his game if he was going to compete, and he did. In April 1964 he started working on a new single. By this time, while the Beach Boys themselves were still playing most of the instruments, Brian was bringing in additional musicians to augment them, and expanding his instrumental palette. The basic track was the core members of the band -- Carl playing both lead and rhythm guitar, Alan playing bass, and Dennis playing drums, with Brian on keyboards -- but there were two further bass players, Glen Campbell and Ray Pohlman, thickening the sound on six-string bass, plus two saxophones, and Hal Blaine adding percussion.  And the main instrument providing chordal support wasn't guitar or organ, as it usually had been, but a harpsichord, an instrument Brian would use a lot over the next few years: [Excerpt: The Beach Boys, "I Get Around (backing track)"] The recording session for that backing track was also another breaking point for the band. Murry Wilson, himself a frustrated songwriter and producer, was at the session and kept insisting that there was a problem with the bassline. Eventually, Brian had enough of his father's interference, and fired him as the band's manager. Murry would continue to keep trying to interfere in his children's career, but this was the point at which the Beach Boys finally took control over their own futures. A few days later, they reconvened in the studio to record the vocals for what would become their first number one hit: [Excerpt: The Beach Boys, "I Get Around"] It's fascinating to see that even this early in the group's career, and on one of their biggest, summeriest hits, there's already a tension in the lyrics, a sense of wanting to move on -- "I'm getting bugged driving up and down the same old strip/I've got to find a new place where the kids are hip". The lyrics are Love's, but as is so often the case with Brian Wilson's collaborations, Love seems to have been expressing something that Wilson was feeling at the time. The Beach Boys had risen to the challenge from the Beatles, in a way that few other American musicians could, and "I Get Around" was good enough that it made the top ten in the UK, and became a particular favourite in the Mod subculture in London. The group would only become more popular over the next few years in the UK, a new place where the kids were hip. "I Get Around" is a worthy classic, but the B-side, "Don't Worry Baby", is if anything even better. It had been recorded in January, and had already been released on their Shut Down vol 2 album in March. It had originally been intended for the Ronettes, and was inspired by "Be My Baby", which had astonished Brian Wilson when it had been released a few months earlier. He would later recall having to pull over to the side of the road when he first heard the drum intro to that record: [Excerpt: The Ronettes, "Be My Baby"] Brian would play that record over and over, on repeat, for days at a time, and would try to absorb every nuance of the record and its production, and he tried to come up with something that could follow it. Wilson took the basic rhythm and chord sequence of the song, plus melodic fragments like the line "Be my little baby", and reworked them into a song that clearly owes a lot to its inspiration, but which stands on its own: [Excerpt: The Beach Boys, "Don't Worry Baby"] Phil Spector turned the song down, and so the Beach Boys recorded it themselves, and I have to say that this was only a good thing -- Ronnie Spector recorded a solo version of it many decades later, and it's a fine performance, but the lyric misses something when it's sung by a woman rather than a man. That lyric was by Roger Christian, and in it we see the tension between the more emotional themes that Wilson wanted to explore and the surf and car lyrics that had made up the majority of their singles to this point. The lyric is ostensibly about a car race, and indeed it seems to be setting up precisely the kind of situation that was common in teen tragedy records of the period. The protagonist sings "I guess I should have kept my mouth shut when I started to brag about my car,  but I can't back down now because I pushed the other guys too far", and the whole lyric is focused on his terror of an upcoming race.  This seems intended to lead to the kind of situation that we see in "Dead Man's Curve", or “Tell Laura I Love Her”, or in another teen tragedy song we'll be looking at in a couple of weeks, with the protagonist dead in a car crash. But instead, this is short-circuited. The protagonist's fears are allayed by his girlfriend: [Excerpt: The Beach Boys, "Don't Worry Baby"] What we have here is someone trying to deal with a particular kind of anxiety brought about by what we now refer to as toxic masculinity. The protagonist has been showing off about his driving skills in front of his peers, and has now found himself in a situation that he can't cope with. He's saved by a figure we'll see a lot more of in Brian's songs, whoever the lyricist, the supernaturally good woman who understands the protagonist and loves him despite, or because of, his faults, even though she's too good for him. Obviously, one can point to all sorts of reasons why this figure might be considered problematic -- the idea that the man is unable to deal with his own emotional problems without a woman fixing him -- but there's an emotional truth to it that one doesn't get in much music of the era, and even if it's a somewhat flawed view of gender relations, it speaks to a very particular kind of insecurity at the inability to live up to traditional masculine roles, and is all the more affecting when it's paired with the braggadocio of the A-side. The combination means we see the bragging and posturing on the A-side as just a facade, covering over the real emotional fragility of the narrator. Each side reinforces the other, and the combination is one of the most perfect pairings ever released as a single. "Don't Worry Baby", released as "I Get Around”'s B-side, made the charts in its own right peaking at number twenty-four. The B-side to the next single further elaborated on the themes of "Don't Worry Baby": [Excerpt: The Beach Boys, "She Knows Me Too Well"] This repurposing of the emotional and musical style of girl-group songs to deal with the emotional vulnerability that comes from acknowledging and attempting to process toxic masculinity is something that few other songwriters were capable of at this point – only some of John Lennon's work a couple of years later comes close to dealing with this very real area of the emotional landscape, and Lennon, like Wilson, often does so by using the figure of the perfect woman who will save the protagonist. In 1964, the group once again released four albums – Shut Down vol.2, All Summer Long, a live album, and a Christmas album – and they also did most of the work on yet another album, The Beach Boys Today!, which would be released in early 1965. As these recordings progressed, Brian Wilson was more and more ambitious, both in terms of the emotional effect of the music and his arrangements, increasingly using session musicians to augment the group, and trying for a variant on Phil Spector's production style, but one which emphasised gentle fragility rather than sturm und drang. Possibly the greatest track he created in 1964 ended up not being used by the Beach Boys, though, but was given to Glen Campbell: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Campbell got given that track because of an enormous favour he'd done the group. The mental strain of touring had finally got too much for Brian, and in December, on a plane to Texas, he'd had a breakdown, screaming on the plane and refusing to get off. Eventually, they coaxed him off the plane, and he'd managed to get through that night's show, but had flown back to LA straight after. Campbell, who was a session guitarist who had played on a number of the Beach Boys' recordings, and had a minor career as a singer at this point, had flown out at almost no notice and for the next five months he replaced Brian on stage for most of their shows, before the group got a permanent replacement in. Brian Wilson had retired from the road, and the hope was that by doing so, he would reduce the strain on himself enough that he could keep writing and producing for the group without making his mental health worse. And for a while, at least, that seemed to be how it worked out. We'll take a look at the results in a few weeks' time.

This week is one you CANNOT miss. Filled with your favourite tracks blended with music that’ll get you searching on Discogs or Ebay before the hour is out. Prepare your mojo for inspiration and motivation. Playing tracks by: Gino Parks, Patti & The Emblems, Melba Moore, Arthur Conley, Betty Everett, The Yardbirds and more. Full playlist available at https://umfm.com/programming/broadcast/on-target-297 FACEBOOK: facebook.com/ontargetpodcast INSTAGRAM: instagram.com/modmarty TWITTER: twitter.com/modmarty

In an episode first aired October 19, 2020: DJ Andrew Sandoval revisits show #3 of Come To The Sunshine and replays selections from the Sloan/Barri songbook by: Herman's Hermits; Bruce & Terry; The Grass Roots; Jan & Dean; The Searchers; The Turtles; Terry Black; The Emergency Exit; The Epics; Betty Everett; The Fantastic Baggys; P-Nut Butter; Bev Harrell; Terry Knight & The Pack; The Peppermint Trolley Company; The Wild Life; The Bantams; Barry McGuire; The Thomas Group; The Street Cleaners - as well as loads of wonderful recordings by Phil Sloan himself!

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Hoy os dejamos un nuevo programa con un repaso a algunos de los temas más destacados de la década de los años 60. Betty Everett, Creedence Clearwater Revival, Rolling Stones, Wilson Pickett, Count Five, Jimi Hendrix Experience, Dinah Washington, Searchers, Sam Cooke...y muchos más. También queríamos recordaros que ya podéis votar vuestros podcast favoritos para la próxima entrega de premios de Ivoox. Los podcast musicales están en el apartado 8. Podréis votar desde aquí: https://bit.ly/359JlU1 Las votaciones estarán abiertas hasta el 20/09/2020Escucha este episodio completo y accede a todo el contenido exclusivo de La Gran Travesía. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/489260

Label: Vee-Jay 628Year: 1964Condition: MLast Price: $30.00. Not currently available for sale.From a warehouse find, this is a new, unplayed stock copy, in a vintage Vee Jay Records factory sleeve. I first heard this great Van McCoy tune in a cover version by Elvis Costello, who had released it in 1980 on an obscure single and then on the "Taking Liberties" LP collection. What a treat to hear the glorious Mint audio on this original 1964 version by Betty Everett! Check out the mp3 "snippet" in our "jukebox." By the way, this was a non-album single. Note: This 45 record, though new, has notable storage wear on the labels, which separately grade a strong EX in appearance (see scan). The vinyl has very light storage wear as well, grading Near Mint. After a good cleaning, the audio sounds pristine Mint!

Woooooooo Don Cherry just entered the question.

This isn’t Batman… But it is our deep dive into The Duke and I (2000) by Julia Quinn! Join Lydia and Taylor for book 1 of the Bridgertons as we discuss tropes, patriarchy, consent, soap opera punches to the face, brothers, sassy butlers, and Regency sex ed. Plus: Lydia’s modern resetting of the book, and Taylor’s reading recommendations.The song Lydia definitely didn’t sing is “The Shoop Shoop Song (It’s in His Kiss)” by Betty Everett, popularized by Cher. CW: sexual assault, miscarriage Thanks for listening! Look out for part one of The Viscount Who Loved Me in two weeks. You can find us on Instagram and Facebook @callingcardspod, on Twitter @CardsCalling, on our website, callingcards.wixsite.com/callingcardspod, or by emailing us at callingcardspod@gmail.com. Original music by PASTACAT, @pastacatmusic on Instagram. Books quoted or mentioned:Jane Austen, Pride & Prejudice (1813)Kylie Scott, Repeat (2019) Lyssa Kay Adams, The Bromance Bookclub (2019)Edith Wharton, The Age of Innocence (1920)What we’re reading:Jessie Mihalik, Polaris Rising (2019)Alisha Rai, Girl Gone Viral (Modern Love #2) (2019)Lisa Kleypas, Chasing Cassandra (The Ravenels #6) (2019)Rebecca Roanhorse, Trail of Lightning (The Sixth World) (2018) Recommendations based on The Duke and I:Dukes: [contemporary] Alyssa Cole, A Duke by Default (2018)[Regency] Courtney Milan, The Duchess War (Brothers Sinister #1) (2012Kelly Bowen, Duke of My Heart (2016)Tessa Dare, The Governess Game (2018)Sarah MacLean, The Day of the Duchess (2017), No Good Duke Goes Unpunished (2013) and The Rogue Not Taken (2015)Lisa Kleypas, The Devil in Winter (2006)BFF’s sibling trope: JQ, The Secret Diaries of Miss Miranda Cheever (Bevelstoke #1) (2007) & Just Like Heaven (Smythe-Smith Quartet #1) (2011)Regency dukes plus British colonization of India: Meredith Duran, Duke of Shadows (2008)Regency dukes and the 99%: Elizabeth Hoyt’s “Maiden Lane” series (2010)Fake relationship trope [contemporary]:Talia Hibbert’s Ravenswood series (#3, That Kind of Guy, 2019)Lucy Parker’s London Celebrities series (#1, Act Like It, 2015)Alyssa Cole's A Prince on Paper (2019)Helen Hoang’s The Kiss Quotient (2018)

MP3 Link Tracklisting: Andrew and Dave host the show, delivering some killer selections, including our loving tribute to Bill Withers, who sadly passed away the day before the show was broadcast. Featuring tracks by Bill Withers, Betty Everett, Donald Byrd, Womack & Womack, Tony Sherman, Billy Paul, Change, Johnny Hammond, Gentle Persuasion and much more. Listen and enjoy. RSS Feed: 6MS Sessions

Estreno de 'Language of Love', el álbum que acaba de publicar la cantante Karen Souza, y repaso a novedades de Tony Saunders, Pat Metheny, Will Downing, Special EFX y Adam Hawley. En el bloque del recuerdo recuperamos música de la vocalista Betty Everett y de la saxofonista Aviva Malooney.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Estreno de 'Language of Love', el álbum que acaba de publicar la cantante Karen Souza, y repaso a novedades de Tony Saunders, Pat Metheny, Will Downing, Special EFX y Adam Hawley. En el bloque del recuerdo recuperamos música de la vocalista Betty Everett y de la saxofonista Aviva Malooney.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

**It's The Relax With Rendell Show Replay On Trax FM & Rendell Radio. Rendell Featured Tracks By Alicia Bridges, Betty Everett, Chemise, Esther Phillips, Jimmy Briscoe, Ottawa, Peabo Bryson, Skip Mahoney & The Casuals, Ted Taylor & More Catch Rendell Every Saturday From 7PM UK Time The Stations: Trax FM & Rendell Radio #traxfm #rendellradio #soul #funk #70ssoul #80ssoul #60s #boogie #disco #easylistening #soulclassics #reggae #nusoul #relaxwithrendell Listen Here: www.traxfm.org Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.trax Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm**

En esta receta mezclamos bastantes especias en la sartén para impregnar bien los sonidos. Suenan Hannah Williams & The Affirmations, Vampire Weekend, The Tranzmitors, Cornershop, Ian Kay, Los Largos, Dee Dee Warwick, Betty Everett, Las Kasettes, The Jaybirds, Tigres Leones, The Rosalyns, La Estrella de David, Betunizer y Ukelele Zombies.

'The happiest guy in the world'Lynne Boddy, De-Phazz, Hannah Gadsby, k. d. lang, Alex Stone, T. Rex, Gregory Isaacs, Tommy Tiernan, Dream Warriors, Laurie Anderson, Ian Dury & The Blockheads, Booker T & The MGs, Isa Bonachera, TLC, Jerry Pinto, The Eagles, Simon & Garfunkel, Pigbag, Jimmy Dean, Massive Attack, Daniel Kitson, Grace Jones, Mark Pollock, The Crew-Cuts, US3, Jacky, Air, Steely Dan, Was (Not Was), Glen Campbell, Richard Dawkins, Shinehead, Alan Bennett, Elle King, Lou Reed, Sugar Minott, Blindboy Boatclub, Quincy Jones, Paul Simon, The Paragons, Gemma Hayes, Digable Planets, Betty Everett, Angie Hart, Orchestral Manoeuvres in the Dark, Tek 9

'The happiest guy in the world' Lynne Boddy, De-Phazz, Hannah Gadsby, k. d. lang, Alex Stone, T. Rex, Gregory Isaacs, Tommy Tiernan, Dream Warriors, Laurie Anderson, Ian Dury & The Blockheads, Booker T & The MGs, Isa Bonachera, TLC, Jerry Pinto, The Eagles, Simon & Garfunkel, Pigbag, Jimmy Dean, Massive Attack, Daniel Kitson, Grace Jones, Mark Pollock, The Crew-Cuts, US3, Jacky, Air, Steely Dan, Was (Not Was), Glen Campbell, Richard Dawkins, Shinehead, Alan Bennett, Elle King, Lou Reed, Sugar Minott, Blindboy Boatclub, Quincy Jones, Paul Simon, The Paragons, Gemma Hayes, Digable Planets, Betty Everett, Angie Hart, Orchestral Manoeuvres in the Dark, Tek 9

Je hoort muziek van Betty Everett, Françoise Hardy, Cherry Casino & The Gamblers, Joop van der Marel en Silvie Vartan.

Syleena Johnson's highly anticipated book shares her compelling journey toward self-love and discovery, while chronicling her battles with body image birthed in adolescence and carried throughout her music career. An ode to obstacles faced and conquered, this self-help book sets an indelible tone for reflection, resurgence, and redemption.Syleena Johnson is one of those undeniable talents whose unfaltering truth shines through every note she sings. Undoubtedly one of the best singers of her generation, Johnson has collaborated with everyone from Kanye West and Common to Anthony Hamilton and R. Kelly. In recent years she has enjoyed mainstream exposure appearing on such television shows as TV One’s “R&B Divas: Atlanta” and WE TV’s “Marriage Boot Camp: Reality Stars” and as of September 18, 2017 Syleena is featured on the new TEGNA Media/ TV One daily live talk show “Sister Circle.” On November 10, 2017 Shanachie Entertainment will release REBIRTH OF SOUL, a recording that Syleena has long wanted to bring to fruition. Conceived and produced by her father, the legendary soul/blues singer and producer Syl Johnson, whose original hit version of “Take Me To The River” was covered by Al Green and Talking Heads. Everyone from Jay-Z and Kanye West to Wu-Tang and Usher has sampled Syl Johnson’s recordings. REBIRTH OF SOUL features Syleena Johnson’s searing interpretations of classic R&B songs, mainly from the Fifties and Sixties, recorded in real time with live musicians just the way “real music” used to be made. As Syl Johnson notes,“people don’t use live musicians much anymore; but every musician brings his heart to a recording.” Recording in Chicago, Syl Johnson’s long-time base and Syleena’s hometown, the sessions include musicians who played on hit R&B recordings there over the years and a majority of the album features songs associated with Chicago artists, songwriters or record labels. Syleena shares, “The inspiration behind REBIRTH OF SOUL is my father. I wanted to honor him and classic soul music in a time when auto tune and electronic beats reign supreme. While I am not against this kind of creative musicianship, there is so much more to the real thing. True Soul music tells stories…stories that can heal a nation.”As an artist who came of age during the 90’s hip-hop era and broke through in the early 2000’s, Syleena had never actually recorded live in the studio previously. “The difference with this album,” Syleena relates, “ is that I had the opportunity to record with live instrumentation as well as actual musicians from the (classic) era. On this album I didn’t write any of the songs and it was the first time in a while that I worked with my father. I had to tap into the soul and spirit of the era of each song to bring authenticity to the project.” The songs on REBIRTH OF SOUL, hand-picked by Syl Johnson, run the gamut from lesser-known gems such as Betty Everett’s “There’ll Come A Time,” Syl Johnson’s “We Did It” and Bettye Swann’s “Make Me Yours” to such landmark hits as “Chain of Fools” and “I’d Rather Go Blind,” done definitively by Aretha Franklin and Etta James respectively. Syleena manifests an uncanny ability to get inside of each song, digging deep to deliver passionate performances that bring a fresh spark to even the best known selections. “For each song I channeled the emotions of the record,” Syleena confides. “I put myself in the mind of each storyteller and in doing this I was able to merge myself into the story of each record. This is how I was able to put my own personal stamp on each record.”"The Weight is Over" is now available through Amazon at https://www.amazon.com/dp/B07HRQM89Z/https://www.syleenamusic.comhttp://www.sheleanlife.comSocial media @syleenajohnson*Thank you Syleena for taking time out of your busy schedule to speak with me. Many blessings to you; I hope to work with you again soon. Warmest Regards, NikiMarie@nikimarie_radio (IG)--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app--- Send in a voice message: https://anchor.fm/nikimarieradio/messageSupport this podcast: https://anchor.fm/nikimarieradio/support

Syleena Johnson's highly anticipated book shares her compelling journey toward self-love and discovery, while chronicling her battles with body image birthed in adolescence and carried throughout her music career. An ode to obstacles faced and conquered, this self-help book sets an indelible tone for reflection, resurgence, and redemption. Syleena Johnson is one of those undeniable talents whose unfaltering truth shines through every note she sings. Undoubtedly one of the best singers of her generation, Johnson has collaborated with everyone from Kanye West and Common to Anthony Hamilton and R. Kelly. In recent years she has enjoyed mainstream exposure appearing on such television shows as TV One’s “R&B Divas: Atlanta” and WE TV’s “Marriage Boot Camp: Reality Stars” and as of September 18, 2017 Syleena is featured on the new TEGNA Media/ TV One daily live talk show “Sister Circle.” On November 10, 2017 Shanachie Entertainment will release REBIRTH OF SOUL, a recording that Syleena has long wanted to bring to fruition. Conceived and produced by her father, the legendary soul/blues singer and producer Syl Johnson, whose original hit version of “Take Me To The River” was covered by Al Green and Talking Heads. Everyone from Jay-Z and Kanye West to Wu-Tang and Usher has sampled Syl Johnson’s recordings. REBIRTH OF SOUL features Syleena Johnson’s searing interpretations of classic R&B songs, mainly from the Fifties and Sixties, recorded in real time with live musicians just the way “real music” used to be made. As Syl Johnson notes,“people don’t use live musicians much anymore; but every musician brings his heart to a recording.” Recording in Chicago, Syl Johnson’s long-time base and Syleena’s hometown, the sessions include musicians who played on hit R&B recordings there over the years and a majority of the album features songs associated with Chicago artists, songwriters or record labels. Syleena shares, “The inspiration behind REBIRTH OF SOUL is my father. I wanted to honor him and classic soul music in a time when auto tune and electronic beats reign supreme. While I am not against this kind of creative musicianship, there is so much more to the real thing. True Soul music tells stories…stories that can heal a nation.” As an artist who came of age during the 90’s hip-hop era and broke through in the early 2000’s, Syleena had never actually recorded live in the studio previously. “The difference with this album,” Syleena relates, “ is that I had the opportunity to record with live instrumentation as well as actual musicians from the (classic) era. On this album I didn’t write any of the songs and it was the first time in a while that I worked with my father. I had to tap into the soul and spirit of the era of each song to bring authenticity to the project.” The songs on REBIRTH OF SOUL, hand-picked by Syl Johnson, run the gamut from lesser-known gems such as Betty Everett’s “There’ll Come A Time,” Syl Johnson’s “We Did It” and Bettye Swann’s “Make Me Yours” to such landmark hits as “Chain of Fools” and “I’d Rather Go Blind,” done definitively by Aretha Franklin and Etta James respectively. Syleena manifests an uncanny ability to get inside of each song, digging deep to deliver passionate performances that bring a fresh spark to even the best known selections. “For each song I channeled the emotions of the record,” Syleena confides. “I put myself in the mind of each storyteller and in doing this I was able to merge myself into the story of each record. This is how I was able to put my own personal stamp on each record.” "The Weight is Over" is now available through Amazon at https://www.amazon.com/dp/B07HRQM89Z/ https://www.syleenamusic.com http://www.sheleanlife.com Social media @syleenajohnson *Thank you Syleena for taking time out of your busy schedule to speak with me. Many blessings to you; I hope to work with you again soon. Warmest Regards, NikiMarie @nikimarie_radio (IG) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/nikimarieradio/message Support this podcast: https://anchor.fm/nikimarieradio/support

Chicago based. Major acts on the label in the 1950s included blues singers Jimmy Reed, Memphis Slim, and John Lee Hooker, and rhythm and blues vocal groups the Spaniels, the Dells, and the El Dorados. The 1960s saw the label become a major soul label with Jerry Butler, Gene Chandler, Dee Clark, and Betty Everett having hit singles on both the pop and R&B charts. Vee-Jay was also the first label to nationally issue a record by the Pips (through a master purchase from the tiny Huntom label of Atlanta), who became Gladys Knight and the Pips in 1962 when they moved to Fury Records. I play the original Vee-Jay Gladys Knight Every Beat of My Heart.

Fun in the sun with the first episode of summer for 2018. A killer mix of Soul, R&B, Jump Blues, Boogaloo, Freakbeat and Funk. Fire up the grill, throw on your summer clobber and... Get into it. Please like the Facebook page here: facebook.com/ontargetpodcast/ ------------------------------------------------- The Playlist Is: "Cruise" Ambertones - Newman "Shake Your Hips" Slim Harpo - Excello "I feel Good" Kip Anderson - Everlast "Boogaloo #3" Roy Lee Johnson - Josie "Tired Of Running From You" The Capitols - Karen "The Way You Shake It" Ben E. King - Atco "Love Is A Beautiful Thing" The Young Rascals - Atlantic "Better Way" The Rainbow express - Mr. G "Back In Time" Toby Twirl - Decca "You're Everything" Jackie Lee - Mirwood "There's No Love Left (In This Heart Of Mine)" Bunny Sigler - Parkway "The Man Is Lonely" Lou Courtney - Riverside "The Watts Breakaway" The Johnny Otis Show - Okeh "Sunshine Of Your Love" Spanky Wilson - BGP "I'm Gonna Make You Love Me" Madeline Bell - Mod "When My Little Girl Is Happy" Pop Workshop - Fontana "Candy" Cinnamon Quill - Morgan "I Want You Babe" The Force Five - Ascot "From The Teacher To The Preacher" Barbara Acklin & Gene Chandler - Brunswick "Ain't That Loving You Baby" Betty Everett & Jerry Butler - Vee-Jay "Shotgun" Pierre Perpall - Citation

A detailed look at black, African-American, culture during the "Sixties". (1960-1969) (Bonus Artists: hidingtobefound & Luck Pacheco)   Overview   "The Sixties":  the counterculture and revolution in social norms about clothing, music, drugs, dress, sexuality, formalities, and schooling – or - irresponsible excess, flamboyance, and decay of social order.   Also labeled the Swinging Sixties because of the fall or relaxation of social taboos especially relating to racism and sexism that occurred during this time.   Also described as a classical Jungian nightmare cycle, where a rigid culture, unable to contain the demands for greater individual freedom, broke free of the social constraints of the previous age through extreme deviation from the norm.   The confrontation between the US and the Soviet Union dominated geopolitics during the '60s, with the struggle expanding into developing nations in Latin America, Africa, and Asia characterized by proxy wars, funding of insurgencies, and puppet governments.   In response to civil disobedience campaigns from groups like the Student Nonviolent Coordinating Committee (SNCC) and the Southern Christian Leadership Conference (SCLC), U.S. President John F. Kennedy, pushed for social reforms. Kennedy's assassination in 1963 was a shock.   Liberal reforms were finally passed under Lyndon B. Johnson including civil rights for African Americans· and healthcare for the elderly and the poor. Despite his large-scale Great Society programs, Johnson was increasingly reviled. The heavy-handed American role in the Vietnam War outraged student protestors around the globe.   The assassination of Martin Luther King, Jr., anti-Vietnam War movement, and the police response towards protesters of the 1968 Democratic National Convention, defined a politics of violence in the United States.   The 1960s were marked by several notable assassinations:   12 June 1963 – Medgar Evers, an NAACP field secretary. Assassinated by Byron de la Beckwith, a member of the Ku Klux Klan in Jackson, Mississippi.   22 November 1963 – John F. Kennedy, President of the United States. Assassinated by Lee Harvey Oswald while riding in a motorcade through Dealey Plaza in Dallas, Texas.   21 February 1965 – Malcolm X. Assassinated by members of the Nation of Islam in New York City. There is a dispute about which members killed Malcolm X.   4 April 1968 – Martin Luther King, Jr., civil rights leader. Assassinated by James Earl Ray in Memphis, Tennessee.   5 June 1968 – Robert F. Kennedy, United States Senator. Assassinated by Sirhan Sirhan in Los Angeles, after taking California in the presidential national primaries.   Social and political movements (counterculture)   Flower Power/Hippies In the second half of the decade, young people began to revolt against the conservative norms of the time. The youth involved in the popular social aspects of the movement became known as hippies. These groups created a movement toward liberation in society, including the sexual revolution, questioning authority and government, and demanding more freedoms and rights for women and minorities. The movement was also marked by the first widespread, socially accepted drug use (including LSD and marijuana) and psychedelic music.     Anti-war movement The war in Vietnam would eventually lead to a commitment of over half a million American troops, resulting in over 58,500 American deaths and producing a large-scale antiwar movement in the United States. Students became a powerful and disruptive force and university campuses sparked a national debate over the war. The antiwar movement was heavily influenced by the American Communist Party, but by the mid-1960s it outgrew this and became a broad-based mass movement centered in universities and churches: one kind of protest was called a "sit-in".   Civil rights movement Beginning in the mid-1950s and continuing into the late 1960s, African-Americans in the United States aimed at outlawing racial discrimination against black Americans and voting rights to them. The emergence of the Black Power movement, which lasted roughly from 1966 to 1975, enlarged the aims of the civil rights movement to include racial dignity, economic and political self-sufficiency, and anti-imperialism. The movement was characterized by major campaigns of civil resistance. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955–1956) in Alabama; "sit-ins" such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama.; and a wide range of other nonviolent activities. Noted legislative achievements during this phase of the civil rights movement were passage of Civil Rights Act of 1964, that banned discrimination based on "race, color, religion, or national origin" in employment practices and public accommodations; the Voting Rights Act of 1965, that restored and protected voting rights; the Immigration and Nationality Services Act of 1965, that dramatically opened entry to the U.S. to immigrants other than traditional European groups; and the Fair Housing Act of 1968, that banned discrimination in the sale or rental of housing.   Hispanic and Chicano movement Another large ethnic minority group, the Mexican-Americans, are among other Hispanics in the U.S. who fought to end racial discrimination and socioeconomic disparity. In the 1960s and the following 1970s, Hispanic-American culture was on the rebound like ethnic music, foods, culture and identity both became popular and assimilated into the American mainstream. Spanish-language television networks, radio stations and newspapers increased in presence across the country.   Second-wave feminism A second wave of feminism in the United States and around the world gained momentum in the early 1960s. While the first wave of the early 20th century was centered on gaining suffrage and overturning de jure inequalities, the second wave was focused on changing cultural and social norms and de facto inequalities associated with women. At the time, a woman's place was generally seen as being in the home, and they were excluded from many jobs and professions. Feminists took to the streets, marching and protesting, writing books and debating to change social and political views that limited women. In 1963, with Betty Friedan's revolutionary book, The Feminine Mystique, the role of women in society, and in public and private life was questioned. By 1966, the movement was beginning to grow and power as women's group spread across the country and Friedan, along with other feminists, founded the National Organization for Women. In 1968, "Women's Liberation" became a household term.   Gay rights movement The United States, in the middle of a social revolution, led the world in LGBT rights in the late 1960s and early 1970s. Inspired by the civil-rights movement and the women's movement, early gay-rights pioneers had begun, by the 1960s, to build a movement. These groups were rather conservative in their practices, emphasizing that gay men and women are no different from those who are straight and deserve full equality. This philosophy would be dominant again after AIDS, but by the very end of the 1960s, the movement's goals would change and become more radical, demanding a right to be different, and encouraging gay pride.   Crime The 1960s was also associated with a large increase in crime and urban unrest of all types. Between 1960 and 1969 reported incidences of violent crime per 100,000 people in the United States nearly doubled and have yet to return to the levels of the early 1960s. Large riots broke out in many cities like Chicago, Detroit, Los Angeles, New York City, Newark, New Jersey, Oakland, California and Washington, D.C. By the end of the decade, politicians like George Wallace and Richard Nixon campaigned on restoring law and order to a nation troubled with the new unrest.   Economics The decade began with a recession and at that time unemployment was considered high at around 7%. John F. Kennedy promised to "get America moving again." To do this, he instituted a 7% tax credit for businesses that invest in new plants and equipment. By the end of the decade, median family income had risen from $8,540 in 1963 to $10,770 by 1969. Minimum wage was $1.30 per hour / ~$2,700 per year (~$18,700 in 2018)   Popular culture   The counterculture movement dominated the second half of the 1960s, its most famous moments being the Summer of Love in San Francisco in 1967, and the Woodstock Festival in upstate New York in 1969. Psychedelic drugs, especially LSD, were widely used medicinally, spiritually and recreationally throughout the late 1960s, and were popularized by Timothy Leary with his slogan "Turn on, tune in, drop out". Psychedelic influenced the music, artwork and films of the decade, and several prominent musicians died of drug overdoses. There was a growing interest in Eastern religions and philosophy, and many attempts were made to found communes, which varied from supporting free love to religious puritanism.   Music   British Invasion: The Beatles arrive at John F. Kennedy International Airport, 7 February 1964   "The 60's were a leap in human consciousness. Mahatma Gandhi, Malcolm X, Martin Luther King, Che Guevara, Mother Teresa, they led a revolution of conscience. The Beatles, The Doors, Jimi Hendrix created revolution and evolution themes. The music was like Dalí, with many colors and revolutionary ways. The youth of today must go there to find themselves." – Carlos Santana.     As the 1960s began, the major rock-and-roll stars of the '50s such as Chuck Berry and Little Richard had dropped off the charts and popular music in the US came to be dominated by Motown girl groups and novelty pop songs. Another important change in music during the early 1960s was the American folk music revival which introduced Joan Baez, Pete Seeger, The Kingston Trio, Harry Belafonte, Bob Dylan, Odetta, and many other Singer-songwriters to the public.   Girl groups and female singers, such as the Shirelles, Betty Everett, Little Eva, the Dixie Cups, the Ronettes, and the Supremes dominated the charts in the early 1960s. This style consisted typically of light pop themes about teenage romance, backed by vocal harmonies and a strong rhythm. Most girl groups were African-American, but white girl groups and singers, such as Lesley Gore, the Angels, and the Shangri-Las emerged by 1963.   Around the same time, record producer Phil Spector began producing girl groups and created a new kind of pop music production that came to be known as the Wall of Sound. This style emphasized higher budgets and more elaborate arrangements, and more melodramatic musical themes in place of a simple, light-hearted pop sound. Spector's innovations became integral to the growing sophistication of popular music from 1965 onward.   Also during the early '60s, the “car song” emerged as a rock subgenre and coupled with the surf rock subgenre. Such notable songs include "Little Deuce Coupe," "409," and "Shut Down," all by the Beach Boys; Jan and Dean's "Little Old Lady from Pasadena" and "Drag City," among many others.   While rock 'n' roll had 'disappeared' from the US charts in the early '60s, it never died out in Europe and Britain was a hotbed of rock-and-roll activity during this time. In late 1963, the Beatles embarked on their first US tour. A few months later, rock-and-roll founding father Chuck Berry emerged from a 2-1/2-year prison stint and resumed recording and touring. The stage was set for the spectacular revival of rock music.   In the UK, the Beatles played raucous rock 'n' roll – as well as doo wop, girl-group songs, show tunes. Beatlemania abruptly exploded after the group's appearance on the Ed Sullivan Show in 1964.   As the counterculture movement developed, artists began making new kinds of music influenced by the use of psychedelic drugs. Guitarist Jimi Hendrix emerged onto the scene in 1967 with a radically new approach to electric guitar that replaced Chuck Berry, previously seen as the gold standard of rock guitar. Rock artists began to take on serious themes and social commentary/protest instead of simplistic pop themes.   A major development in popular music during the mid-1960s was the movement away from singles and towards albums.   Blues also continued to develop strongly during the '60s, but after 1965, it increasingly shifted to the young white rock audience and away from its traditional black audience, which moved on to other styles such as soul and funk.   Jazz music during the first half of the '60s was largely a continuation of '50s styles, retaining its core audience of young, urban, college-educated whites. By 1967, the death of several important jazz figures such as John Coltrane and Nat King Cole precipitated a decline in the genre. The takeover of rock in the late '60s largely spelled the end of jazz as a mainstream form of music, after it had dominated much of the first half of the 20th century.   Significant events in music in the 1960s:   Sam Cooke was shot and killed at a motel in Los Angeles, California [11 December 1964] at age 33 under suspicious circumstances.   Motown Record Corporation was founded in 1960. Its first Top Ten hit was "Shop Around" by the Miracles in 1960. "Shop Around" peaked at number-two on the Billboard Hot 100 and was Motown's first million-selling record.   The Marvelettes scored Motown Record Corporation's first US No. 1 pop hit, "Please Mr. Postman" in 1961. Motown would score 110 Billboard Top-Ten hits during its run.   The Supremes scored twelve number-one hit singles between 1964 and 1969, beginning with "Where Did Our Love Go".   John Coltrane released A Love Supreme in late 1964, considered among the most acclaimed jazz albums of the era.   In 1966, The Supremes A' Go-Go was the first album by a female group to reach the top position of the Billboard magazine pop albums chart in the United States.   The Jimi Hendrix Experience released two successful albums during 1967, Are You Experienced and Axis: Bold as Love, that innovate both guitar, trio and recording techniques.   R & B legend Otis Redding has his first No. 1 hit with the legendary Sitting on the Dock of the Bay. He also played at the Monterey Pop Festival in 1967 just before he died in a plane crash.   The Bee Gees released their international debut album Bee Gees 1st in July 1967 which included the pop standard "To Love Somebody".   1968: after The Yardbirds fold, Led Zeppelin was formed by Jimmy Page and manager Peter Grant, with Robert Plant, John Bonham and John Paul Jones; and, released their debut album Led Zeppelin.   Big Brother and the Holding Company, with Janis Joplin as lead singer, became an overnight sensation after their performance at the Monterey Pop Festival in 1967 and released their second album Cheap Thrills in 1968.   Gram Parsons with The Byrds released the extremely influential LP Sweetheart of the Rodeo in late 1968, forming the basis for country rock.   The Jimi Hendrix Experience released the highly influential double LP Electric Ladyland in 1968 that furthered the guitar and studio innovations of his previous two albums.   Woodstock Festival, 1969   Sly & the Family Stone revolutionized black music with their massive 1968 hit single "Dance to the Music" and by 1969 became international sensations with the release of their hit record Stand!. The band cemented their position as a vital counterculture band when they performed at the Woodstock Festival.   Film Some of Hollywood's most notable blockbuster films of the 1960s include: 2001: A Space Odyssey, The Apartment, The Birds, I Am Curious (Yellow), Bonnie and Clyde, Breakfast at Tiffany's, Bullitt, Butch Cassidy and the Sundance Kid, Carnival of Souls, Cleopatra, Cool , and Luke, The Dirty Dozen, Doctor Zhivago, Dr. Strangelove, Easy Rider, Exodus, Faces, Funny Girl, Goldfinger, The Graduate, Guess Who's Coming to Dinner, , Head, How the West Was Won, The , Hustler, Ice Station Zebra, In the Heat of the Night, The Italian Job, It's a Mad, Mad, Mad, Mad World, Jason and the Argonauts, Judgment at Nuremberg, The Jungle Book, Lawrence of Arabia, The Lion in Winter, The Longest Day, The Love Bug, A Man for All Seasons, The Manchurian Candidate, Mary Poppins, Medium Cool, Midnight Cowboy, My Fair Lady, Night of the Living Dead, The Pink Panther, The Odd Couple, Oliver!, One Hundred and One Dalmatians, One Million Years B.C., Planet of the Apes, Psycho, Romeo and Juliet, Rosemary's Baby, The Sound of Music, Spartacus, Swiss Family Robinson, To Kill a Mockingbird, Valley of the Dolls, West Side Story, Who's Afraid of Virginia Woolf?, The Wild Bunch.   Television   The most prominent American TV series of the 1960s include: The Ed Sullivan Show, Star Trek, Peyton Place, The Twilight Zone, The Outer Limits, The Andy Williams Show, The Dean Martin Show, The Wonderful World of Disney, Alfred Hitchcock Presents, The Beverly Hillbillies, Bonanza, Batman, McHale's Navy, Laugh-In, The Dick Van Dyke Show, The Fugitive, The Tonight Show, Gunsmoke, The Andy Griffith Show, Gilligan's Island, Mission: Impossible, The Flintstones, The Adventures of Ozzie and Harriet, Lassie, The Danny Thomas Show, The Lucy Show, My Three Sons, The Red Skelton Show, Bewitched and I Dream of Jeannie.   The Flintstones was a favored show, receiving 40 million views an episode with an average of 3 views a day.   Some programming such as The Smothers Brothers Comedy Hour became controversial by challenging the foundations of America's corporate and governmental controls; making fun of world leaders, and questioning U.S. involvement in and escalation of the Vietnam War.   Fashion   Significant fashion trends of the 1960s include:     The Beatles exerted an enormous influence on young men's fashions and hairstyles in the 1960s which included most notably the mop-top haircut, the Beatle boots and the Nehru jacket.   The hippie movement late in the decade also had a strong influence on clothing styles, including bell-bottom jeans, tie-dye and batik fabrics, as well as paisley prints.   The bikini came into fashion in 1963 after being featured in the film Beach Party.   Mary Quant invented the miniskirt, which became one of the most popular fashion rages in the late 1960s among young women and teenage girls. Its popularity continued throughout the first half of the 1970s and then disappeared temporarily from mainstream fashion before making a comeback in the mid-1980s.   Men's mainstream hairstyles ranged from the pompadour, the crew cut, the flattop hairstyle, the tapered hairstyle, and short, parted hair in the early part of the decade, to longer parted hairstyles with sideburns towards the latter half of the decade.   Women's mainstream hairstyles ranged from beehive hairdos, the bird's nest hairstyle, and the chignon hairstyle in the early part of the decade, to very short styles popularized by Twiggy and Mia Farrow in Rosemary's Baby towards the latter half of the decade.   African-American hairstyles for men and women included the afro.       James Brown "Papa's Got A Brand New Bag" (1965) "I Got You (I Feel Good)" (1965) "Say It Loud--I'm Black and I'm Proud" (1968)     Ray Charles "Georgia On My Mind' (1960) "Hit the Road Jack" (1961) "I Can't Stop Loving You" (1962)     Marvin Gaye "Ain't That Peculiar?" (1965) "I Heard It Through the Grapevine" (1968) "Too Busy Thinking About My Baby" (1969)     The Temptations "My Girl" (1965) "Ain't Too to Beg" (1966) "I Can't Get Next to You" (1969)     Bobby "Blue" Bland "I Pity the Fool" (1961) "Turn On Your Lovelight" (1961) "Ain't Nothing You Can Do" (1964)     Aretha Franklin "I Never Loved a Man (The Way I Love You)" (1967) "Respect" (1967) "Chain of Fools" (1967-68)     The Supremes "Where Did Our Love Go?" (1964) "Stop! In the Name of Love" (1965) "Love Child" (1968)     Smokey Robinson & The Miracles "Shop Around" (1960-61) "You've Really Got a Hold On Me" (1962-63) "The Tracks of My Tears" (1965)     The Impressions "Gypsy Woman" (1961) "It's All Right" (1963) "People Get Ready" (1965)     Brook Benton "Kiddio" (1960) "Think Twice" (1961) "Hotel Happiness" (1962-63)     Jackie Wilson "Doggin' Around" (1960) "Baby Workout" (1963) "(Your Love Keeps Lifting Me) Higher and Higher" (1967)     Sam Cooke "Wonderful World" (1960) "Bring It On Home To Me" (1962) "A Change is Gonna Come" (1965)     Otis Redding "These Arms of Mine" (1963) "Try a Little Tenderness" (1966-67) "(Sittin' On) The Dock of the Bay" (1968)     Jerry Butler "He Will Break Your Heart" (1960) "Never Give You Up" (1968) "Only the Strong Survive" (1969)     Wilson Pickett "In the Midnight Hour" (1965) "Land of 1000 Dances" (1966) "Funky Broadway" (1967)     Stevie Wonder "Fingertips, Part 2" (1963) "Uptight (Everything's Alright)" (1965-66) "I Was Made to Love Her" (1967)     B.B. King "Beautician Blues" (1964) "Waiting on You" (1966) "Paying the Cost To Be the Boss" (1968)     Joe Tex "Hold What You've Got" (1964-65) "A Sweet Woman Like You" (1965-66) "Skinny Legs and All" (1967)     The Marvelettes "Please Mr. Postman" (1961) "Beechwood 4-5789" (1962) "Too Many Fish in the Sea" (1965)     Mary Wells "Bye Bye Baby" (1960-61) "The One Who Really Loves You" (1962) "My Guy" (1964)     The Four Tops "Baby, I Need Your Loving" (1964) "I Can't Help Myself (A/K/A Sugar Pie, Honey Bunch)" (1965) "Reach Out, I'll Be There" (1966)     Martha & The Vandellas "Heat Wave" (1963) "Dancing in the Street" (1964) "Nowhere to Run" (1965)     Dionne Warwick "Don't Make Me Over" (1962-63) "Anyone Who Had a Heart" (1963-64) "Walk On By" (1964)     Solomon Burke "Just Out of Reach (Of My Two Open Arms)" (1961) "Everybody Needs Somebody To Love" (1964) "Got To Get You Off My Mind" (1965)     Etta James "At Last" (1960-61) "Tell Mama" (1967-68) "I'd Rather Go Blind" (1967-68)     The Shirelles "Will You Love Me Tomorrow? (1960-61) "Dedicated to the One I Love" (1961) "Baby It's You" (1961-62)     Chuck Jackson "I Don't Want to Cry" (1961) "Any Day Now (My Wild Beautiful Bird)" (1962) "Beg Me" (1964)     Gene Chandler "Duke of Earl" (1962) "Rainbow" (1963) "I Fooled You This Time" (1966)     The Drifters "This Magic Moment" (1960) "Save the Last Dance for Me" (1960) "Up on the Roof" (1962-63)     Jr. Walker & The All-Stars "Shotgun" (1965) "(I'm A) Road Runner" (1966) "Home Cookin'" (1968-69)     Gladys Knight & The Pips "Every Beat of My Heart" (1961) "I Heard it Through the Grapevine" (1967) "Friendship Train" (1969)     Carla Thomas "Gee Whiz (Look at His Eyes)" (1961) "B-A-B-Y" (1966) "Another Night Without My Man" (1966)     Chubby Checker "The Twist" (1960) "Pony Time" (1961) "Dancin' Party" (1962)     Sam & Dave "Hold On! I'm A Comin'" (1966) "When Something is Wrong With My Baby" (1967) "Soul Man" (1967)     Joe Simon "My Adorable One" (1964) "Nine Pound Steel" (1967) "The Chokin' Kind" (1969)     The Dells "There Is" (1967-68) "Stay in My Corner" (1968) "Oh, What a Night" (1969)     Little Milton "So Mean To Me" (1962) "We're Gonna Make It" (1965) "Grits Ain't Groceries" (1969)     Ben E. King "Spanish Harlem" (1960-61) "Stand By Me" (1961) "That's When it Hurts" (1964)     Betty Everett "You're No Good" (1963) "The Shoop Shoop Song (It's in His Kiss)" (1964) "There'll Come a Time" (1969)     Hank Ballard & The Midnighters "Let's Go, Let's Go, Let's Go" (1960) "Finger Poppin' Time" (1960) "Nothing But Good" (1961)     Major Lance "The Monkey Time" (1963) "Um, Um, Um, Um, Um, Um" (1964) "Investigate" (1966)     Booker T. & The MGs "Green Onions" (1962) "Hip-Hug-Her" (1967) "Time is Tight" (1969)     The Intruders "Together" (1967) "Cowboys to Girls" (1968) "(Love is Like a) Baseball Game" (1968)     Ike & Tina Turner "A Fool in Love" (1960) "Goodbye, So Long" (1965) "River Deep--Mountain High" (1966)     Johnnie Taylor "I Got to Love Somebody's Baby" (1966) "Who's Making Love" (1968) "I Could Never Be President" (1969)     The Orlons "The Wah Watusi" (1962) "Don't Hang Up" (1962) "South Street" (1963)     Barbara Lewis "Hello Stranger" (1963) "Baby, I'm Yours" (1965) "Make Me Your Baby" (1965)     Maxine Brown "All in My Mind" (1960-61) "Oh No, Not My Baby" (1964) "One in a Million" (1966)     Garnet Mimms & The Enchanters "Cry Baby" (1963) "Tell Me Baby" (1964) "I'll Take Good Care of You" (1966)     Ramsey Lewis "The In Crowd" (1965) "Hang On Sloopy" (1965) "Wade in the Water" (1966)  

A detailed look at black, African-American, culture during the "Sixties". (1960-1969)   Overview   "The Sixties":  the counterculture and revolution in social norms about clothing, music, drugs, dress, sexuality, formalities, and schooling – or - irresponsible excess, flamboyance, and decay of social order.   Also labeled the Swinging Sixties because of the fall or relaxation of social taboos especially relating to racism and sexism that occurred during this time.   Also described as a classical Jungian nightmare cycle, where a rigid culture, unable to contain the demands for greater individual freedom, broke free of the social constraints of the previous age through extreme deviation from the norm.   The confrontation between the US and the Soviet Union dominated geopolitics during the '60s, with the struggle expanding into developing nations in Latin America, Africa, and Asia characterized by proxy wars, funding of insurgencies, and puppet governments.   In response to civil disobedience campaigns from groups like the Student Nonviolent Coordinating Committee (SNCC) and the Southern Christian Leadership Conference (SCLC), U.S. President John F. Kennedy, pushed for social reforms. Kennedy's assassination in 1963 was a shock.   Liberal reforms were finally passed under Lyndon B. Johnson including civil rights for African Americans· and healthcare for the elderly and the poor. Despite his large-scale Great Society programs, Johnson was increasingly reviled. The heavy-handed American role in the Vietnam War outraged student protestors around the globe.   The assassination of Martin Luther King, Jr., anti-Vietnam War movement, and the police response towards protesters of the 1968 Democratic National Convention, defined a politics of violence in the United States.   The 1960s were marked by several notable assassinations:   12 June 1963 – Medgar Evers, an NAACP field secretary. Assassinated by Byron de la Beckwith, a member of the Ku Klux Klan in Jackson, Mississippi.   22 November 1963 – John F. Kennedy, President of the United States. Assassinated by Lee Harvey Oswald while riding in a motorcade through Dealey Plaza in Dallas, Texas.   21 February 1965 – Malcolm X. Assassinated by members of the Nation of Islam in New York City. There is a dispute about which members killed Malcolm X.   4 April 1968 – Martin Luther King, Jr., civil rights leader. Assassinated by James Earl Ray in Memphis, Tennessee.   5 June 1968 – Robert F. Kennedy, United States Senator. Assassinated by Sirhan Sirhan in Los Angeles, after taking California in the presidential national primaries.   Social and political movements (counterculture)   Flower Power/Hippies In the second half of the decade, young people began to revolt against the conservative norms of the time. The youth involved in the popular social aspects of the movement became known as hippies. These groups created a movement toward liberation in society, including the sexual revolution, questioning authority and government, and demanding more freedoms and rights for women and minorities. The movement was also marked by the first widespread, socially accepted drug use (including LSD and marijuana) and psychedelic music.     Anti-war movement The war in Vietnam would eventually lead to a commitment of over half a million American troops, resulting in over 58,500 American deaths and producing a large-scale antiwar movement in the United States. Students became a powerful and disruptive force and university campuses sparked a national debate over the war. The antiwar movement was heavily influenced by the American Communist Party, but by the mid-1960s it outgrew this and became a broad-based mass movement centered in universities and churches: one kind of protest was called a "sit-in".   Civil rights movement Beginning in the mid-1950s and continuing into the late 1960s, African-Americans in the United States aimed at outlawing racial discrimination against black Americans and voting rights to them. The emergence of the Black Power movement, which lasted roughly from 1966 to 1975, enlarged the aims of the civil rights movement to include racial dignity, economic and political self-sufficiency, and anti-imperialism. The movement was characterized by major campaigns of civil resistance. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955–1956) in Alabama; "sit-ins" such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama.; and a wide range of other nonviolent activities. Noted legislative achievements during this phase of the civil rights movement were passage of Civil Rights Act of 1964, that banned discrimination based on "race, color, religion, or national origin" in employment practices and public accommodations; the Voting Rights Act of 1965, that restored and protected voting rights; the Immigration and Nationality Services Act of 1965, that dramatically opened entry to the U.S. to immigrants other than traditional European groups; and the Fair Housing Act of 1968, that banned discrimination in the sale or rental of housing.   Hispanic and Chicano movement Another large ethnic minority group, the Mexican-Americans, are among other Hispanics in the U.S. who fought to end racial discrimination and socioeconomic disparity. In the 1960s and the following 1970s, Hispanic-American culture was on the rebound like ethnic music, foods, culture and identity both became popular and assimilated into the American mainstream. Spanish-language television networks, radio stations and newspapers increased in presence across the country.   Second-wave feminism A second wave of feminism in the United States and around the world gained momentum in the early 1960s. While the first wave of the early 20th century was centered on gaining suffrage and overturning de jure inequalities, the second wave was focused on changing cultural and social norms and de facto inequalities associated with women. At the time, a woman's place was generally seen as being in the home, and they were excluded from many jobs and professions. Feminists took to the streets, marching and protesting, writing books and debating to change social and political views that limited women. In 1963, with Betty Friedan's revolutionary book, The Feminine Mystique, the role of women in society, and in public and private life was questioned. By 1966, the movement was beginning to grow and power as women's group spread across the country and Friedan, along with other feminists, founded the National Organization for Women. In 1968, "Women's Liberation" became a household term.   Gay rights movement The United States, in the middle of a social revolution, led the world in LGBT rights in the late 1960s and early 1970s. Inspired by the civil-rights movement and the women's movement, early gay-rights pioneers had begun, by the 1960s, to build a movement. These groups were rather conservative in their practices, emphasizing that gay men and women are no different from those who are straight and deserve full equality. This philosophy would be dominant again after AIDS, but by the very end of the 1960s, the movement's goals would change and become more radical, demanding a right to be different, and encouraging gay pride.   Crime The 1960s was also associated with a large increase in crime and urban unrest of all types. Between 1960 and 1969 reported incidences of violent crime per 100,000 people in the United States nearly doubled and have yet to return to the levels of the early 1960s. Large riots broke out in many cities like Chicago, Detroit, Los Angeles, New York City, Newark, New Jersey, Oakland, California and Washington, D.C. By the end of the decade, politicians like George Wallace and Richard Nixon campaigned on restoring law and order to a nation troubled with the new unrest.   Economics The decade began with a recession and at that time unemployment was considered high at around 7%. John F. Kennedy promised to "get America moving again." To do this, he instituted a 7% tax credit for businesses that invest in new plants and equipment. By the end of the decade, median family income had risen from $8,540 in 1963 to $10,770 by 1969. Minimum wage was $1.30 per hour / ~$2,700 per year (~$18,700 in 2018)   Popular culture   The counterculture movement dominated the second half of the 1960s, its most famous moments being the Summer of Love in San Francisco in 1967, and the Woodstock Festival in upstate New York in 1969. Psychedelic drugs, especially LSD, were widely used medicinally, spiritually and recreationally throughout the late 1960s, and were popularized by Timothy Leary with his slogan "Turn on, tune in, drop out". Psychedelic influenced the music, artwork and films of the decade, and several prominent musicians died of drug overdoses. There was a growing interest in Eastern religions and philosophy, and many attempts were made to found communes, which varied from supporting free love to religious puritanism.   Music   British Invasion: The Beatles arrive at John F. Kennedy International Airport, 7 February 1964   "The 60's were a leap in human consciousness. Mahatma Gandhi, Malcolm X, Martin Luther King, Che Guevara, Mother Teresa, they led a revolution of conscience. The Beatles, The Doors, Jimi Hendrix created revolution and evolution themes. The music was like Dalí, with many colors and revolutionary ways. The youth of today must go there to find themselves." – Carlos Santana.     As the 1960s began, the major rock-and-roll stars of the '50s such as Chuck Berry and Little Richard had dropped off the charts and popular music in the US came to be dominated by Motown girl groups and novelty pop songs. Another important change in music during the early 1960s was the American folk music revival which introduced Joan Baez, Pete Seeger, The Kingston Trio, Harry Belafonte, Bob Dylan, Odetta, and many other Singer-songwriters to the public.   Girl groups and female singers, such as the Shirelles, Betty Everett, Little Eva, the Dixie Cups, the Ronettes, and the Supremes dominated the charts in the early 1960s. This style consisted typically of light pop themes about teenage romance, backed by vocal harmonies and a strong rhythm. Most girl groups were African-American, but white girl groups and singers, such as Lesley Gore, the Angels, and the Shangri-Las emerged by 1963.   Around the same time, record producer Phil Spector began producing girl groups and created a new kind of pop music production that came to be known as the Wall of Sound. This style emphasized higher budgets and more elaborate arrangements, and more melodramatic musical themes in place of a simple, light-hearted pop sound. Spector's innovations became integral to the growing sophistication of popular music from 1965 onward.   Also during the early '60s, the “car song” emerged as a rock subgenre and coupled with the surf rock subgenre. Such notable songs include "Little Deuce Coupe," "409," and "Shut Down," all by the Beach Boys; Jan and Dean's "Little Old Lady from Pasadena" and "Drag City," among many others.   While rock 'n' roll had 'disappeared' from the US charts in the early '60s, it never died out in Europe and Britain was a hotbed of rock-and-roll activity during this time. In late 1963, the Beatles embarked on their first US tour. A few months later, rock-and-roll founding father Chuck Berry emerged from a 2-1/2-year prison stint and resumed recording and touring. The stage was set for the spectacular revival of rock music.   In the UK, the Beatles played raucous rock 'n' roll – as well as doo wop, girl-group songs, show tunes. Beatlemania abruptly exploded after the group's appearance on the Ed Sullivan Show in 1964.   As the counterculture movement developed, artists began making new kinds of music influenced by the use of psychedelic drugs. Guitarist Jimi Hendrix emerged onto the scene in 1967 with a radically new approach to electric guitar that replaced Chuck Berry, previously seen as the gold standard of rock guitar. Rock artists began to take on serious themes and social commentary/protest instead of simplistic pop themes.   A major development in popular music during the mid-1960s was the movement away from singles and towards albums.   Blues also continued to develop strongly during the '60s, but after 1965, it increasingly shifted to the young white rock audience and away from its traditional black audience, which moved on to other styles such as soul and funk.   Jazz music during the first half of the '60s was largely a continuation of '50s styles, retaining its core audience of young, urban, college-educated whites. By 1967, the death of several important jazz figures such as John Coltrane and Nat King Cole precipitated a decline in the genre. The takeover of rock in the late '60s largely spelled the end of jazz as a mainstream form of music, after it had dominated much of the first half of the 20th century.   Significant events in music in the 1960s:   Sam Cooke was shot and killed at a motel in Los Angeles, California [11 December 1964] at age 33 under suspicious circumstances.   Motown Record Corporation was founded in 1960. Its first Top Ten hit was "Shop Around" by the Miracles in 1960. "Shop Around" peaked at number-two on the Billboard Hot 100 and was Motown's first million-selling record.   The Marvelettes scored Motown Record Corporation's first US No. 1 pop hit, "Please Mr. Postman" in 1961. Motown would score 110 Billboard Top-Ten hits during its run.   The Supremes scored twelve number-one hit singles between 1964 and 1969, beginning with "Where Did Our Love Go".   John Coltrane released A Love Supreme in late 1964, considered among the most acclaimed jazz albums of the era.   In 1966, The Supremes A' Go-Go was the first album by a female group to reach the top position of the Billboard magazine pop albums chart in the United States.   The Jimi Hendrix Experience released two successful albums during 1967, Are You Experienced and Axis: Bold as Love, that innovate both guitar, trio and recording techniques.   R & B legend Otis Redding has his first No. 1 hit with the legendary Sitting on the Dock of the Bay. He also played at the Monterey Pop Festival in 1967 just before he died in a plane crash.   The Bee Gees released their international debut album Bee Gees 1st in July 1967 which included the pop standard "To Love Somebody".   1968: after The Yardbirds fold, Led Zeppelin was formed by Jimmy Page and manager Peter Grant, with Robert Plant, John Bonham and John Paul Jones; and, released their debut album Led Zeppelin.   Big Brother and the Holding Company, with Janis Joplin as lead singer, became an overnight sensation after their performance at the Monterey Pop Festival in 1967 and released their second album Cheap Thrills in 1968.   Gram Parsons with The Byrds released the extremely influential LP Sweetheart of the Rodeo in late 1968, forming the basis for country rock.   The Jimi Hendrix Experience released the highly influential double LP Electric Ladyland in 1968 that furthered the guitar and studio innovations of his previous two albums.   Woodstock Festival, 1969   Sly & the Family Stone revolutionized black music with their massive 1968 hit single "Dance to the Music" and by 1969 became international sensations with the release of their hit record Stand!. The band cemented their position as a vital counterculture band when they performed at the Woodstock Festival.   Film Some of Hollywood's most notable blockbuster films of the 1960s include: 2001: A Space Odyssey, The Apartment, The Birds, I Am Curious (Yellow), Bonnie and Clyde, Breakfast at Tiffany's, Bullitt, Butch Cassidy and the Sundance Kid, Carnival of Souls, Cleopatra, Cool , and Luke, The Dirty Dozen, Doctor Zhivago, Dr. Strangelove, Easy Rider, Exodus, Faces, Funny Girl, Goldfinger, The Graduate, Guess Who's Coming to Dinner, , Head, How the West Was Won, The , Hustler, Ice Station Zebra, In the Heat of the Night, The Italian Job, It's a Mad, Mad, Mad, Mad World, Jason and the Argonauts, Judgment at Nuremberg, The Jungle Book, Lawrence of Arabia, The Lion in Winter, The Longest Day, The Love Bug, A Man for All Seasons, The Manchurian Candidate, Mary Poppins, Medium Cool, Midnight Cowboy, My Fair Lady, Night of the Living Dead, The Pink Panther, The Odd Couple, Oliver!, One Hundred and One Dalmatians, One Million Years B.C., Planet of the Apes, Psycho, Romeo and Juliet, Rosemary's Baby, The Sound of Music, Spartacus, Swiss Family Robinson, To Kill a Mockingbird, Valley of the Dolls, West Side Story, Who's Afraid of Virginia Woolf?, The Wild Bunch.   Television   The most prominent American TV series of the 1960s include: The Ed Sullivan Show, Star Trek, Peyton Place, The Twilight Zone, The Outer Limits, The Andy Williams Show, The Dean Martin Show, The Wonderful World of Disney, Alfred Hitchcock Presents, The Beverly Hillbillies, Bonanza, Batman, McHale's Navy, Laugh-In, The Dick Van Dyke Show, The Fugitive, The Tonight Show, Gunsmoke, The Andy Griffith Show, Gilligan's Island, Mission: Impossible, The Flintstones, The Adventures of Ozzie and Harriet, Lassie, The Danny Thomas Show, The Lucy Show, My Three Sons, The Red Skelton Show, Bewitched and I Dream of Jeannie.   The Flintstones was a favored show, receiving 40 million views an episode with an average of 3 views a day.   Some programming such as The Smothers Brothers Comedy Hour became controversial by challenging the foundations of America's corporate and governmental controls; making fun of world leaders, and questioning U.S. involvement in and escalation of the Vietnam War.   Fashion   Significant fashion trends of the 1960s include:     The Beatles exerted an enormous influence on young men's fashions and hairstyles in the 1960s which included most notably the mop-top haircut, the Beatle boots and the Nehru jacket.   The hippie movement late in the decade also had a strong influence on clothing styles, including bell-bottom jeans, tie-dye and batik fabrics, as well as paisley prints.   The bikini came into fashion in 1963 after being featured in the film Beach Party.   Mary Quant invented the miniskirt, which became one of the most popular fashion rages in the late 1960s among young women and teenage girls. Its popularity continued throughout the first half of the 1970s and then disappeared temporarily from mainstream fashion before making a comeback in the mid-1980s.   Men's mainstream hairstyles ranged from the pompadour, the crew cut, the flattop hairstyle, the tapered hairstyle, and short, parted hair in the early part of the decade, to longer parted hairstyles with sideburns towards the latter half of the decade.   Women's mainstream hairstyles ranged from beehive hairdos, the bird's nest hairstyle, and the chignon hairstyle in the early part of the decade, to very short styles popularized by Twiggy and Mia Farrow in Rosemary's Baby towards the latter half of the decade.   African-American hairstyles for men and women included the afro.       James Brown "Papa's Got A Brand New Bag" (1965) "I Got You (I Feel Good)" (1965) "Say It Loud--I'm Black and I'm Proud" (1968)     Ray Charles "Georgia On My Mind' (1960) "Hit the Road Jack" (1961) "I Can't Stop Loving You" (1962)     Marvin Gaye "Ain't That Peculiar?" (1965) "I Heard It Through the Grapevine" (1968) "Too Busy Thinking About My Baby" (1969)     The Temptations "My Girl" (1965) "Ain't Too to Beg" (1966) "I Can't Get Next to You" (1969)     Bobby "Blue" Bland "I Pity the Fool" (1961) "Turn On Your Lovelight" (1961) "Ain't Nothing You Can Do" (1964)     Aretha Franklin "I Never Loved a Man (The Way I Love You)" (1967) "Respect" (1967) "Chain of Fools" (1967-68)     The Supremes "Where Did Our Love Go?" (1964) "Stop! In the Name of Love" (1965) "Love Child" (1968)     Smokey Robinson & The Miracles "Shop Around" (1960-61) "You've Really Got a Hold On Me" (1962-63) "The Tracks of My Tears" (1965)     The Impressions "Gypsy Woman" (1961) "It's All Right" (1963) "People Get Ready" (1965)     Brook Benton "Kiddio" (1960) "Think Twice" (1961) "Hotel Happiness" (1962-63)     Jackie Wilson "Doggin' Around" (1960) "Baby Workout" (1963) "(Your Love Keeps Lifting Me) Higher and Higher" (1967)     Sam Cooke "Wonderful World" (1960) "Bring It On Home To Me" (1962) "A Change is Gonna Come" (1965)     Otis Redding "These Arms of Mine" (1963) "Try a Little Tenderness" (1966-67) "(Sittin' On) The Dock of the Bay" (1968)     Jerry Butler "He Will Break Your Heart" (1960) "Never Give You Up" (1968) "Only the Strong Survive" (1969)     Wilson Pickett "In the Midnight Hour" (1965) "Land of 1000 Dances" (1966) "Funky Broadway" (1967)     Stevie Wonder "Fingertips, Part 2" (1963) "Uptight (Everything's Alright)" (1965-66) "I Was Made to Love Her" (1967)     B.B. King "Beautician Blues" (1964) "Waiting on You" (1966) "Paying the Cost To Be the Boss" (1968)     Joe Tex "Hold What You've Got" (1964-65) "A Sweet Woman Like You" (1965-66) "Skinny Legs and All" (1967)     The Marvelettes "Please Mr. Postman" (1961) "Beechwood 4-5789" (1962) "Too Many Fish in the Sea" (1965)     Mary Wells "Bye Bye Baby" (1960-61) "The One Who Really Loves You" (1962) "My Guy" (1964)     The Four Tops "Baby, I Need Your Loving" (1964) "I Can't Help Myself (A/K/A Sugar Pie, Honey Bunch)" (1965) "Reach Out, I'll Be There" (1966)     Martha & The Vandellas "Heat Wave" (1963) "Dancing in the Street" (1964) "Nowhere to Run" (1965)     Dionne Warwick "Don't Make Me Over" (1962-63) "Anyone Who Had a Heart" (1963-64) "Walk On By" (1964)     Solomon Burke "Just Out of Reach (Of My Two Open Arms)" (1961) "Everybody Needs Somebody To Love" (1964) "Got To Get You Off My Mind" (1965)     Etta James "At Last" (1960-61) "Tell Mama" (1967-68) "I'd Rather Go Blind" (1967-68)     The Shirelles "Will You Love Me Tomorrow? (1960-61) "Dedicated to the One I Love" (1961) "Baby It's You" (1961-62)     Chuck Jackson "I Don't Want to Cry" (1961) "Any Day Now (My Wild Beautiful Bird)" (1962) "Beg Me" (1964)     Gene Chandler "Duke of Earl" (1962) "Rainbow" (1963) "I Fooled You This Time" (1966)     The Drifters "This Magic Moment" (1960) "Save the Last Dance for Me" (1960) "Up on the Roof" (1962-63)     Jr. Walker & The All-Stars "Shotgun" (1965) "(I'm A) Road Runner" (1966) "Home Cookin'" (1968-69)     Gladys Knight & The Pips "Every Beat of My Heart" (1961) "I Heard it Through the Grapevine" (1967) "Friendship Train" (1969)     Carla Thomas "Gee Whiz (Look at His Eyes)" (1961) "B-A-B-Y" (1966) "Another Night Without My Man" (1966)     Chubby Checker "The Twist" (1960) "Pony Time" (1961) "Dancin' Party" (1962)     Sam & Dave "Hold On! I'm A Comin'" (1966) "When Something is Wrong With My Baby" (1967) "Soul Man" (1967)     Joe Simon "My Adorable One" (1964) "Nine Pound Steel" (1967) "The Chokin' Kind" (1969)     The Dells "There Is" (1967-68) "Stay in My Corner" (1968) "Oh, What a Night" (1969)     Little Milton "So Mean To Me" (1962) "We're Gonna Make It" (1965) "Grits Ain't Groceries" (1969)     Ben E. King "Spanish Harlem" (1960-61) "Stand By Me" (1961) "That's When it Hurts" (1964)     Betty Everett "You're No Good" (1963) "The Shoop Shoop Song (It's in His Kiss)" (1964) "There'll Come a Time" (1969)     Hank Ballard & The Midnighters "Let's Go, Let's Go, Let's Go" (1960) "Finger Poppin' Time" (1960) "Nothing But Good" (1961)     Major Lance "The Monkey Time" (1963) "Um, Um, Um, Um, Um, Um" (1964) "Investigate" (1966)     Booker T. & The MGs "Green Onions" (1962) "Hip-Hug-Her" (1967) "Time is Tight" (1969)     The Intruders "Together" (1967) "Cowboys to Girls" (1968) "(Love is Like a) Baseball Game" (1968)     Ike & Tina Turner "A Fool in Love" (1960) "Goodbye, So Long" (1965) "River Deep--Mountain High" (1966)     Johnnie Taylor "I Got to Love Somebody's Baby" (1966) "Who's Making Love" (1968) "I Could Never Be President" (1969)     The Orlons "The Wah Watusi" (1962) "Don't Hang Up" (1962) "South Street" (1963)     Barbara Lewis "Hello Stranger" (1963) "Baby, I'm Yours" (1965) "Make Me Your Baby" (1965)     Maxine Brown "All in My Mind" (1960-61) "Oh No, Not My Baby" (1964) "One in a Million" (1966)     Garnet Mimms & The Enchanters "Cry Baby" (1963) "Tell Me Baby" (1964) "I'll Take Good Care of You" (1966)     Ramsey Lewis "The In Crowd" (1965) "Hang On Sloopy" (1965) "Wade in the Water" (1966)  

Muziek van Jimmy Vaughan, Solomon Burke, Mavis Staples, The Meters, Betty Everett en The Derek Trucks Band.

Mart Smeets hoor je om 22:00 uur met OLM. Vandaag is het thema witte mannen en zwarte vrouwen. Muziek van White Snake, Martha & The Vandellas, Foreigner, Betty Everett, Skid Row en Barbara Lynn.