Category Archives: 1960s music

#192 – Sweet Caroline

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#192 – Sweet Caroline by Neil Diamond

 – There are a few pop culture bandwagons I’ve been happy to miss. I’ve never owned a pet rock; could care less if anyone ever solves a Rubik’s Cube, and was never into the cult of Neil Diamond.

Now don’t get me wrong. I get it for the legions of fans who are.

Diamond has sold multi-millions of records, is one of the top pop songwriters of all time and his concerts still sell out. He’s also been inducted into The Rock and Roll Hall of Fame and The Songwriters Hall of Fame.

I get it.

I also loved the dedication and humor sent his way in the film Saving Silverman and the characters’ tribute band, Diamonds in the Rough. Neil made a cameo appearance, which definitely made him a cool guy in my mind. And way back in 1966 I loved Cherry Cherry and was thoroughly impressed when I learned he had written the classic I’m a Believer for The Monkees.

But when it came to my personal tastes in 1969, Neil and Sweet Caroline were nowhere to be found. The music scene was splitting off into different extremes ranging from Woodstock rockers (Classic Rocker preferred) to bubble gum schlockers (Classic Rocker avoidance). Diamond didn’t seem to fit into either category. To my ears, his songs were aimed for a crowd that would now be called Adult Contemporary and not played on the FM rock stations I preferred.

But as I’ve written before, not too many cars in 1969 were equipped with FM radios. And since my pals and I were sixteen years old with newly earned driver’s licenses, AM Top 40 was still our cruisin’ music and we could only hear the current pop chart hits.

Not so sweet memories

One of the songs we heard constantly over our car radios in the fall of 1969 was Sweet Caroline. It definitely has a catchy tune, which seems to be a requisite to land on this Dream Song List, and has obviously stayed with me. Since I’ve never owned a copy and can’t remember the last time I’ve heard it, waking up with this tune running through my head on the morning of June 28th definitely places it into the subliminal category.

And yes, it brings back memories. But they’re not the best…

I was one of the younger members of my high school class and almost all my friends had been driving for months before I was even old enough for a temporary license. That meant I spent a lot of time hanging out at home waiting for rides. Fortunately, my best pal Kevin was as psyched as most sixteen year olds about driving and could always be relied on to be my chauffeur.

Cruisin’ around together gave us plenty of time to talk about a lot of stuff, including who was (or in my case, who would be) the better driver. We even made a bet which one would be the first to have an accident. Yeah, it’s the kind of stuff sixteen year olds would talk about, but at least we were cool enough not to bet on ourselves.

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When I finally scored my driver’s license we were two weeks into August 1969. That made life very different, even though I was still working the same job I’d had since turning ten years old. Don’t worry; we’re not dealing with unlawful child labor when I say that. My job was the chief dishwasher, bread slicer and floor sweeper at our family bakery. As baby boomers will know, parents and grandparents were allowed to put the kids to work so we could pay for our own record collections. For me a was a good deal because while the other kids were sleeping in or watching Saturday morning cartoons, I was collecting a pay envelope and peddling off on my bike to buy the latest Top 40 vinyl releases.

So on a Wednesday morning about two weeks into August 1969, my dad asked me to take my mom’s car to pick up a vacuum cleaner from a local repair shop and drop it off at home. I not only looked at the opportunity as a break from shoving baking pans into an overheated washer, but also a chance to drive.

I was psyched, but you already know what’s coming… right?

I was almost home when I thought I saw one of my younger neighborhood pals walking along the sidewalk. What could be cooler than a “older” sixteen year old pulling up and offering him a ride? Yeah, I thought so too – but when I looked out the passenger window it wasn’t him.

Too bad I wasn’t looking at the road instead.

This was a residential section, so fortunately I wasn’t going more than 25-30 mph. But even at that non-freeway snail’s pace things can happen fast. When I turned my attention back to driving, I had a few split seconds to realize the car in front of me had stopped to make a left turn.

Cue the sound effects!

Okay, let’s take a moment here to imagine your favorite comedy movie where the idiot behind the wheel drives off a cliff or high bridge. The film goes to slow motion and you see everyone in the car go bug-eyed with their mouths hanging open and in a low, slow-mo sound effect they all go, “OH $#$%%#!!!

In my case I envision a Blues Brothers car chase. The cowboys, Nazi’s and police in hot pursuit of Jake and Elwood demonstrate that slow-mo movie look and sound as they fly through the air, hurl off a road, or spin through a mall upside down.

That’s how I still picture my slow-mo self at that moment: “OH $#$%%#!!!”

CAAA-RASSSSH!!!

I’ll interrupt this driving moment to make it clear no one was hurt in the making of this non-comedy movie real life action sequence. As for my mom’s car… Well, that’s another story.

Something like this.

Her car came to a sudden, crunching stop embedded into the rear of the car stopped in front of me. In slow-mo I can still see the front hood of her blue Oldsmobile Cutlass flying up in the air and landing on the road next to me. Then without any notice or fanfare, the engine dropped out with a crash accompanied by the sound of broken glass (or could it have been broken metal?). In an era before airbags, I’m sure my steel grip on the steering wheel and locked arms bracing for impact kept me from a face plant on the dashboard.

The guy I rear-ended happened to be a kid I had been going to school with since about third grade. He jumped out of his car and delivered one of the most famous lines you’d hear during a similar scene in a Hollywood movie:

“WHAT THE $#$%%#??!!!” 

At that point I figured I should probably get out of my car too. The only problem was the doors were jammed shut, so I crawled out of the window. I definitely did not feel as cool as Jake or Elwood.

Wait ’til mom hears about this!

The car was totaled. In fact, the only part that was salvageable was the AM radio, which was still playing while we waited for the police and a tow truck. And just in case you’re wondering, it was not playing Sweet Caroline.

That memory is still coming up…

Within a hour my dad had picked me up in his car and I was back at work to finish washing pans and sweeping the floor. Fortunately, my parents took it all quite well and were happy no one was hurt. And with insurance my mom got a new car.

So business as usual? Well, not quite…

My punishment would be handed out during a date in traffic court a few months later. But the real punishment that hit home for me as a sixteen year old psyched about driving came as advice from the police and even the judge, who were all frequent visitors in the family bakery. They mentioned to my parents it wouldn’t be a good idea for me to drive before traffic court, just in case I saw another neighbor walking along the street.

So until I had to face the Judge in his courtroom, rather than in our bakery, I was back to hanging out at home waiting for friends – like my pal Kevin – to drive me somewhere. It was also a good stretch of time to lose any skills a sixteen year old might continue to develop while sitting behind the wheel of a car.

Sweet Caroline? It’s coming up…

When I finally went to court, which was only about half a block from the bakery and probably with a box of our donuts in the outer office, the judge just gave me a talk about being more careful. That was it. Then I asked the BIG question: when can I start driving again?

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He said I could have been driving the entire time.

Say what? “OH $#$%%#!!!” And no – I didn’t say that, but it probably ran through my mind. And with so much time away from driving, it was almost like starting from scratch. At least that’s what it felt like.

My instructor in “learning to drive again 101” was my dad. My backseat driving coach was pal Kevin. The first step was to cruise around some country roads until I got the hang of it again, so the three of us took off in mom’s new car.

I have to admit to being a bit scared. Totaling a car will do that to someone. On the two lane back roads we had some laughs with my instructor and coach joking about sharp corners, stop signs and oncoming cars. But at one point as we went under a low bridge and around a corner, a large truck was coming from the other direction. I put a steel grip on the wheel, went over the right side edge lines and slowed down to a crawl as the truck blew past us. They faked being scared (at least I hope they were faking!), but I broke out in a slight sweat. Driving wasn’t as cool for me as it was when I first got my license.

And looking back, that’s a good thing. I actually learned to be a more careful driver rather than a psyched sixteen year old with a license.

BUT – and here it is…

The song playing on the AM radio at that moment the truck blew by us? The Top 40 hit Sweet Caroline by Neil Diamond. And yes – it’s true. I remember that, which is why the song still carries that memory for me.

BUT there’s another part of this story that also has a steel grip in my memory bank. Remember the bet I made with my pal Kevin?

There were only a couple weeks until school started when I wrecked my mom’s car. That same evening we had marching band (very cool – don’t ever doubt that) practice at the high school. I called Kevin with my non-comedy sorrowful tale of on road destruction and asked him for a ride. Since the main attraction of being in the band was hanging out with girls, an assorted group of us piled into Kevin’s car (actually his mom’s car) after practice and…

Well… You already know what’s coming – right?

Wait ’til your mom hears about this one!

We drove to a local restaurant for something to eat. When we were leaving, there were about four or five kids crammed in the backseat and three of us – Kevin driving, me in the middle and another pal Rob riding shotgun – sitting in front. Kevin made a sharp right turn out of the parking lot that caused all of us to lean left. In fact we leaned so far left that

CAAA-RASSSSH!!!

Kevin was shoved against the driver’s side door with his arms locked in place. He yelled out something to the effect of a slow-mo, “OH $#$%%#!!!”

Everyone else sort of screamed. The car scraped over a concrete curb causing a stream of sparks to fly up in the air around us, smashed through a landscape of bushes, and dug a couple donut shaped ruts in the front lawn of the restaurant before coming to a stop. Once again, no one was hurt except for another mom’s car. But this time all it took was a tire change and a slow unsteady drive home.

As you can tell, Kevin won the bet, but only by a few hours. And I became a more careful driver at the age of sixteen because to tell the truth, two accidents in one day was “$#$%%#!!!”

Back to Sweet Caroline? Yeah, I know it’s a standard at Boston Red Sox Games and an uplifting, healing song for The Boson Marathon after runners and supporters were attacked by cowardly militant scums (or in more polite terms, $#$%%#!!!).

I get it.

But for me, I’d rather for-get the experience of Sweet Caroline and my sixteen year old driving experience. Hail, hail public transportation!

Here’s a video of the great (I get it!) Neil Diamond performing Sweet Caroline.

To purchase All-Time Greatest Hits by Neil Diamond with Sweet Caroline visit Amazon.com

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Dave Schwensen is The Classic Rocker and author of The Beatles At Shea Stadium and The Beatles In Cleveland. Visit Dave’s author page on Amazon.com.

Copyright 2017 – North Shore Publishing

Comment? Please use the form below and as always… Keep Rockin’!!

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#195 – Act Naturally

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#195 – Act Naturally by The Beatles

Acting naturally

– I’m going to say something that might just make your country granddad kick over his rocker, summon the hounds and reach for his musket. But before he starts ruffling rhinestones and planning to mount me as a hood ornament on the family bass boat, allow me to plead my case as being sincere. This is coming from a Classic Rocker who still loves his mother, the American Flag and believes Elvis is The King.

The British made country music cool.

Okay, I’m not saying it was totally uncool since The King, Jerry Lee and The Man In Black were all inspired by the country greats. They took it in a different direction by adding their own personal roll from black-owned rhythm and blues to make it rock.

And for a young baby boomer with northern roots and an urban outlook, members of the country branch that the rock and roll originators were listening to had never been played on my vinyl turntable.

Acting unnaturally

What had been fed to us up north through black and white televisions did nothing to help country’s image compared to what we were watching during the swingin’ mid-1960’s. The Ed Sullivan Show, Shindig and Hullabaloo featured British Invasion acts and American pop stars that set the standard for what we found cool at the time. The Beatles, The Dave Clark Five and The Animals were among the first wave of invaders, while Paul Revere and The Raiders, The Byrds, Lovin’ Spoonfull and other U.S. favs did their best to hold the home turf.

That was a big jump over a big swamp when you think about how country’s image was ingrained into our young minds only a few years before. Region was a major factor and television was our only connection.

As a northern boomer I didn’t pine for the sound of a steel guitar. I also didn’t know the roots of other important musical genres like Delta Blues, Chicago Blues or Memphis Blues. There really was no exposure for this type of music until The Stones borrowed our homegrown Bo Diddley beats, Chuck Berry riffs, Muddy Waters howls and Little Walter harp and sold it back to us. But that wasn’t country music. For many of us who were geographically removed from the real deal, our country music education came from television.

And it wasn’t always good.

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My earliest memory of country music was courtesy of Cousin Ernie. Even today with reruns of I Love Lucy moving into its seventh decade, Tennessee Ernie Ford playing Lucy’s cousin remains a preserved image of how sophisticated people (Lucy and Ricky lived in the modern metropolis of New York City) saw country folk. Cousin Ernie hemmed, hawed and whined his way through bumbling country bumpkin, fish-out-of-water situations, before laying his corn-fed wisdom on the Ricardos and (Fred and Ethel) Mertz resulting in a countrified happy ending.

Cousin Ernie

And to top it all off, the couples would dress up in American Gothic style complete with bib overalls and Lucy’s blackened out front tooth in joining Cousin Ernie to sing a yee-haw hootenanny of a song.

By 1964 did any of us really want to grow up to be the Cousin Ernie we were watching in reruns? Not if we could be one of The Fab Four in A Hard Day’s Night instead. And I won’t even mention The Beverly Hillbillies, Petticoat Junction and a few years later the classic cornball humor of Hee-Haw.

Except I just did…

These television shows were not the best images of where The King and his court of rockers first gained their love of music.

And to throw even more salt into a generation gap wound (call off the hounds gramps) our television inspired perceptions could be extreme. On a typical Saturday evening with only three networks to choose from, you could watch The Porter Wagoner Show featuring a big-haired, big-country, big-everything Dolly Parton (I saw her in concert many years later and fell in love with her) or The Lawrence Welk Show. Based on their urban or rural leanings, grandma and grandpa were fans of one or the other. Since I have no recollection of what could possibly have been on the third channel, I’m guessing a lot of the boomer generation in my neck of the woods spent the hour outside riding our bikes and creating adventures.

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Years later we used these adventures as worthy excuses to tell our kids to quit sitting in front of the TV and go outside. But I won’t mention that.

Except I just did…

“I don’t need rehearsing.”

By 1965 the original rock ‘n’ rollers had been put out to pasture and wouldn’t really return until the rock ‘n’ roll revival shows later in the decade. The Beatles were a pop group that gently led us into rock ‘n’ roll. The Rolling Stones were a blues group that dragged us there. But they knew something we didn’t. They thought country music was cool. And for many of us our first eye-opening television exposure to this phenomenon happened on Sunday, September 12th when Ringo Starr sang Act Naturally with his own buckaroo backup band on The Ed Sullivan Show.

The song naturally appeared in my waking mind on June 6th. The reason, outside of being a very catchy tune, was that I had just heard it the day before. I can’t help thinking how funny the mind works as I herd this into the recent memory category of Dream Songs.

Fans in the UK had already been countrified by this song in August 1965 when it was included on side 2 (the non-soundtrack songs) of the album from the Beatles’ second film Help! Since the U.S. version included the (non-Beatles) instrumental background tracks and only songs included in the movie, we hadn’t heard it.

Well, okay… most of us hadn’t heard it.

Max Volume

The Beatles performed Act Naturally during their earth-shaking appearance in front of 55,600 fans at New York’s Shea Stadium on August 15th. That crowd had never heard it either and wondered what song the band was playing. And with girls screaming at max volume, many could leave the concert and still say they hadn’t heard it.

After Shea it was replaced by the more familiar I Wanna Be Your Man for the rest of the summer tour.

My first impression that night watching Ringo sing his first and only solo on The Ed Sullivan Show was that John Lennon and Paul McCartney had written a special number to promote Help! The film had been released in August and we all knew Ringo was the featured Fab being chased by an Eastern cult.

They’re gonna put me in the movies!

That wasn’t the case. Act Naturally was written by Johnny Russell and Voni Morrison. It was a hit for Buck Owens & His Buckaroos in 1963, reaching No. 1 on the country charts. Buck later became one of the co-hosts for Hee-Haw and the circle continued.

To check out Buck singing Act Naturally in 1966, visit this LINK on YouTube.

I Love Cousin Lucy

The Beatles’ version definitely had a country twang that separated it from the rockabilly they also favored with songs like Everybody’s Trying To Be My Baby and Honey Don’t. And by the way, let’s thank the countrified roots of the great Carl Perkins for penning both those classics.

Act Naturally was definitely country, but with the limited exposure we’d had with Cousin Ernie and Uncle Jed, combined with The Fab Four’s 1965 pop star status residing in the stratosphere, it was tough to pin down that genre after only one listen – even without the screams experienced at Shea Stadium. When it was released as a single two days later on September 14th on the B-side of Yesterday, I went outside, hopped on my bike and bought my first country record.

And it was a lot cooler than Cousin Ernie and Cousin Lucy (with a blackened out front tooth) had made it seem only a few years before.

Here’s what fans may have heard – or might have missed depending on their seating section’s scream level volume. Ringo Starr & His Beatles Buckaroos singing Act Naturally during a very hot summer evening at Shea Stadium on August 15, 1965.

 

 

To purchase the UK version of the Help! movie soundtrack with Act Naturally visit Amazon.com.

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Dave Schwensen is The Classic Rocker and author of The Beatles At Shea Stadium and The Beatles In Cleveland. Visit Dave’s author page on Amazon.com.

Copyright 2017 – North Shore Publishing

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#196 – Rainy Day Women #12 & 35

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#196 – Rainy Day Women #12 & 35 by Bob Dylan

 – When this song was marching out of our AM transistor radios during the spring and summer of 1966 the deejays would announce the real title, but most of us referred to it as Everybody Must Get Stoned. It sounded like Dylan and his backup musicians were having a rollicking good time in the studio while once again throwing out confusing lyrics that we knew – somehow – had to mean something.

We just weren’t sure what that something actually meant.

When it was released as a single that March I was still a few months away from becoming a teenager. And as the result of growing up in a sheltered community in northern Ohio (we’re not talkin’ The Inner City Hood here folks!) the word stoned was a main source of my confusion.

Being that sheltered age in the baby boomer year of 1966 my knowledge of stoned only had two possible meanings. With the hindsight of decades, the first undoubtedly would’ve come from ancient Biblical stories we’d heard at Sunday School. People that crossed the powers that be were often stoned. We’re not talkin’ gettin’ high here folks. They were actually cornered or tossed into a pit and hit with stones and rocks until they were dead.

We’re talkin’ about capital punishment…

So why was Dylan singing about stoning people? With more hindsight on the composer and the era, it’s easy to follow in that direction. Dylan had been labeled a protest singer when folk singers were still the rage prior to The British Invasion in 1964. He had only gone electric in 1965 (with much protests from his dedicated followers) but still wasn’t a bonafide cover of Sixteen Magazine pop star like The Beatles, The Dave Clark Five and other mid-60’s chart toppers. Dylan’s songs were much more complex than just wanting to hold someone’s hand or feeling glad all over.

So my original thought with Dylan still being a protest singer makes sense when listening to his lyrics. Racial tensions were high and ready to explode that summer with riots in cities across the U.S., so “Trying to keep your seat” could be interpreted as African Americans refusing to sit only in the back of a bus in a racist society. In the south they risked being dragged off buses, beaten and worse. As Dylan sang, “They’ll stone you.”

Other thoughts…

Dylan wrote protest songs against the growing war in Vietnam and against young American men being drafted to fight: “They’ll stone you and then say you are brave. They’ll stone you when you are set down in your grave.”

Newport 1965

And as mentioned above, he caught a lot of flack when he ditched his solo acoustic sound and walked on stage with an electric guitar at the Newport Folk Festival in 1965:

They’ll stone you when you’re playing your guitar.”

For me the song took the ancient meaning of stoned, but made it more verbal, physical and even political abuse, rather than actually throwing rocks. And with hindsight, that’s not a bad lyrical translation from a sheltered preteen in 1966.

The second and lesser meaning involved alcohol – getting stoned. With all the laughing, yelling and general rollicking going on throughout the song by Dylan and his musical cohorts, it certainly sounded like they were drinking something stronger than water or soda. Some of the writings about this song say Dylan insisted they get drunk before recording, while others (and some of the musicians) deny this. And to prove they were sober, it’s pointed out there were other songs for Dylan’s Blonde On Blonde album recorded during the same session and after Rainy Day Women #12 & 35 was completed.

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And again as a young preteen I had heard the word stoned referring to someone being drunk – and most likely heard it on television. Being sheltered I have no memories of being around any adults intoxicated enough to be called stoned. And on the rare occasion when there was an “adult party” (parents) with alcohol, I was relegated to one of the bedrooms with my cousins and friends to play board games until the festivities ended. This would usually only happen on New Year’s Eve, except I do have a memory of a Halloween party where we laughed at how silly the adults looked in their costumes, before heading off for a marathon game of Monopoly.

And of course the third definition would involve marijuana. Pop music fans all know about the importance of weed when it came to the 1960’s pop/rock stars. Supposedly Dylan turned on The Beatles during their first visit to New York City in 1964, though deep research by a favorite author turned up evidence the Fab Four may have toked a few puffs during their marathon sessions in Hamburg or Liverpool.

But playing the sheltered hindsight card again as a Midwestern preteen, I don’t recall ever even hearing the word marijuana before or during the time we were listening to Rainy Day Women #12 and 35. That mental enhancement didn’t find its way into our vocabulary until the rumors were written in reference to Sgt. Pepper’s Lonely Hearts Club Band during the summer of 1967.

I never even smelled it until a Three Dog Night concert around 1969. I had to ask my best friend what was filling the air at Cleveland’s Pubic Auditorium that night and he said, “Pot.” Then I wanted to know how he knew that since he was as sheltered and naive as I was.

Turns out it was just an accurate guess.

It was no guess that Rainy Day, etc. was weeding its way through my mind the morning of May 30th. Yeah, I’m a Dylan fan and yeah, I had just heard it, so yeah – it goes into the recent memory category of Dream Songs.

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Another great thing about this rollicking (and I’ve never used that word to describe anything before this) song is remembering how it could irritate the older generation. That was important information during the days when the generation gap obviously divided the younger Dylan, Beatles, Stones teens and preteens from the oldster’s that demanded we cut our hair and turn down our music.

They’ll stone you when you listen to ‘that noise’…

While writing about an earlier song on this list I mentioned the novelty record They’re Coming To Take Me Away, Ha-Haaa! by Napoleon XIV (Jerry Samuels) that was riding the AM Top 40 charts during summer 1966. And as if that song wasn’t annoying enough for the older folks, the flip side of the 45 rpm single was the same song – only backwards.

For my cousin, best friend and myself (ages 15, 14 and 13 once I hit that magical teenager mark) a great summer adventure was when my mother would drop us off in a nearby city and let us find our own way back. It’s not as bad as it sounds – we weren’t being abandoned. We were just given the entire day to be on our own for exploring, shopping, eating, catching a movie and then buying a bus ticket to our home town. From there we’d walk to one of our houses to spend the night.

Teenagers – March 21, 1966

Remember, I’m talkin’ about the 1960’s – so think Ozzie & Harriett land.

During one of these adventures we stopped in a diner for lunch. We were kids among the old folks giving us the evil eye. You know, as in “Children should be seen and not heard, unless they’re teenagers and then we don’t even want to see them.”

So thanks to the bad vibes and if I remember correctly, not the best service from an annoyed server we used Rainy Day Women #12 and 35, They’re Coming To Take Me Away, Ha-Haaa! and the flip side, !aaaH aH ,yawA eM ekaT oT gnimoC er’yehT (go ahead – I dare you to listen!) to let them know we were in the building. We shoved our quarters in the jukebox and played all three songs a few times while we ate our lunch and the older side of the generation gap simmered. For good measure we put in another quarter for three plays and punched in the same songs again before walking out the door.

Brats?

Naw… we were good kids. But mischievous would be a better adjective. I’m sure we hit a matinee movie afterwards, each bought an album or single at a downtown record store, then made it to the bus station in time for the last ride home. These are lasting memories of growing up during an era when Bob Dylan could take a word give it enough worthwhile meanings that it still means something to all of us today.

Dylan never made an “official” music video for the song, so here’s an interesting live version performed with Tom Petty and the Heartbreakers for Farm Aid in 1986.

 

To purchase the classic double LP Blonde On Blonde by Bob Dylan with Rainy Day Women #12 & 35 visit  amazon.com

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Dave Schwensen is The Classic Rocker and author of The Beatles At Shea Stadium and The Beatles In Cleveland. Visit Dave’s author page on Amazon.com.

Copyright 2017 – North Shore Publishing

Beatles Program

 

#199 – Leave It To Beaver Theme Song

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#199 – Leave It To Beaver Theme Song

 – The television sitcom Leave It To Beaver portrayed the television image of Middle America in the late 1950’s and early 60’s. Everything was perfect. The family unit included a nice house, a mom and a dad, and two kids. Dad supported the family; mom took care of the family and any problems the kids were in could be solved by the family within a half hour episode.

Were things really that simple? Maybe on television, but not in real life.

The 1960’s, as many of us remember the decade, was simmering in the background. The show was broadcast into our living rooms each week in glorious black and white beginning October 4, 1957 until signing off on June 20, 1963. Elvis was still pre-army when viewers first met the Cleaver family and when the final episode aired we were only five months away from JFK’s fateful trip to Dallas.

In May 1963 Bob Dylan released his second album, The Freewheelin’ Bob Dylan, with songs about civil rights and nuclear war. In August Dr. Martin Luther King declared “I have a dream” in Washington D.C. and went on to be named Time Magazine’s Man Of The Year. And The Beatles were gearing up for a televised surprise attack on our senses that came on February 9, 1964.

Along with many other factors including The Space Race, The Cold War and The Vietnam War, our generation was in for a change. A BIG change. The sitcoms – and many are considered classic and still very entertaining – were far from being reality shows for the era.

The Cleavers

Leave It To Beaver was one of the moving picture postcards of The American Dream delivered into our living rooms every week. As referred to above, it was broadcast in black and white. But when you think about it, there really was no “black and white” on television during these years. Except for African Americans appearing as guest stars or supporting players, the first black leading character on a network series didn’t happen until 1965 when Bill Cosby starred in I Spy with Robert Culp.

As a member of the younger edge of baby boomers (I was five years younger than Jerry Mathers, who played Theodore “The Beaver” Cleaver), Leave It To Beaver was one of my weekly looks at the outside world. But it really didn’t seem that much different from where I was growing up in northern Ohio. School, friends, girls (not always the same as “friends”), dealing with teenagers and respecting adult authority were about as deep as things got. I was fortunate that my parents were always more open than some of the others. My mother was from Detroit and they both enjoyed taking me on weekend excursions to other big cities such as Cleveland, New York and Chicago.

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In all honesty, that’s where I’d see minorities. But the cities to me were exotic places with energy, excitement and adventures on every block and didn’t seem to exclude anyone because of color, sex or religion. As a young visitor in those days before the race-related riots of the 1960’s, I was never exposed to any inner city problems. Like the Cleavers and their social circle in Leave It To Beaver, it was life in a protected bubble. But these youthful real world experiences in big cities helped me form the opinion there were no reasons why we all couldn’t – or shouldn’t – live together.

Not The Cleavers

So when I write about the dramatic changes that still make the 1960’s the most talked about and studied decade of the Twentieth Century, The American Dream and The American Reality on how the 60’s played out serve as bookends. Start with Leave It To Beaver and end with the film Woodstock and you’ll understand why Boomers are so passionate about this decade of change.

For the first generation to be accused of having television as an adult authority figure, sitcoms were our windows to the outside world. And just like race, sex and religion, what we learned from television went a long way in defining how we look at the world – and how the world looks at us.

One of my favorite (and funniest) personal examples happened more than twenty years after Leave It To Beaver faded off into rerun land. I was living in New York City and breaking into the comedy biz. Before ending up with my career “behind the scenes,” I did stand-up comedy. But once again in all honesty, I lacked the necessary edge that in my opinion makes seasoned NYC comedians the funniest. After one particular bleak performance on stage at a famous comedy club, a couple of my black comedian friends (while laughing) told me I was too “white bread” to be truly funny. I was too Ricky Nelson from Ozzie and Harriett, which is another television postcard of 1950’s and 60’s American Dream.

And you know what? I laughed with them because it was true. There was no way around the stereotyping. But looking back, even my friends didn’t get it right. I was more Theodore “The Beaver” Cleaver in the 60’s than the cool Ricky Nelson from the 50’s.

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The Leave It To Beaver Theme Song (actual title; The Toy Parade) is a classic example of the catchy tunes that lured viewers to their television sets and can still set off nostalgic memories for the boomer generation. I’ll even go out on a limb and say most of us can hum it all the way through (there are lyrics, but never heard on the show) just like we can sing I Want To Hold Your Hand and She Loves You. This particular TV tune waxed nostalgic in my waking mind on May 9th. Since it doesn’t fit the classic rock requirements to be on my digital playlist, I can’t remember the last time I heard it and The Toy Parade falls onto the subliminal side of the Dream Song List.

Eddie Haskell

One comic element of Leave It To Beaver that has stayed real for me through the decades is the supporting character Eddie Haskell. If I were to ever list my all-time favorite television characters, he would have to be in the Top 10. Played by Ken Osmond who later left showbiz to become a police officer, Eddie Haskell embodies the heart, soul and devious mind of every wise guy kid who ever stirred up any type of trouble and tried to schmooze his way out of it by being overly polite and agreeable toward whatever adult authority was coming down on him.

My dad, who had a wonderful sense of humor and could make me laugh until I cried, would compare my friends and me to Eddie Haskell whenever we tried to talk our way out of whatever predicament we had gotten ourselves into. And I also used it to describe my son to anyone that might remember the legendary TV name.

Since he was born in 1995, I’m sure Paul has no idea who Eddie Haskell is. But when someone from my generation gushed over how nice and polite he was while growing up, I reminded them of this iconic television character. They knew immediately what I was talking about. Kids can still be typical kids before the BIG changes of adulthood and no different than we were growing up in the 60’s. And similar to when we started asserting our independence while moving into our teenage years, there were many times at home when I felt I was talking to Eddie Haskell in all his American Dream wise guy glory.

The only glitch in the process was that I had grown out of my Eddie Haskell phase. I’ve reverted back to being The Beaver.

The theme song arrangement changed during the years, with the final season using a “swing” style. Below is the opening sequence to Leave It To Beaver from season four, which is the one that scored on this list.

If you’re a dedicated fan, you can purchase the complete Leave It To Beaver series on DVD from Amazon.com. Also separate seasons and episodes are available through the link.

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Dave Schwensen is The Classic Rocker and author of The Beatles At Shea Stadium and The Beatles In Cleveland. Visit Dave’s author page on Amazon.com.

Copyright 2017 – North Shore Publishing

Beatles Program

#200 – I Can’t Get No Nookie

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#200 – I Can’t Get No Nookie by The Masked Marauders

masked marauders – I didn’t get completely taken in by this hoax in late 1969, but I’ll admit to being on the fence for a listen or two. It was an era of rock music exploding into different genres and groupings. Cream and Traffic had formed Blind Faith. The Byrds, Buffalo Springfield and The Hollies begat Crosby, Stills, Nash and Young. The Yardbirds had morphed into Led Zeppelin.

But the biggest supergroup of them all was The Masked Marauders. But then again, not really.

I remember “sort of” a rock and roll revival happening that fall with my buddies that were into music. The big album, of course, was Abbey Road. Paul McCartney’s song Oh Darling was a throw back to a 1950’s sound with pounding piano and raspy voice. I don’t know if that’s what triggered it, but a few of us started looking back to that decade to hear the originators.

It’s important to remember we were at the younger end of the baby boomer generation. The early rock’n rollers had been replaced by the watered down versions being fed to us in the early 1960’s. For example, we weren’t exposed to Little Richard singing Tutti Frutti. Nope. Instead we saw Pat Boone singing his tepid version on our black and white family television shows.

Lennon Jagger

Lennon and Jagger unmasked

I only knew songs like Roll Over Beethoven, Long Tall Sally and many more classics because they were covered by The Beatles. That was also true for releases by The Rolling Stones, Herman’s Hermits and other British Invasion bands. They were reworking American rock and roll hits and bringing them to my generation for “seemingly” the first time. The originals were standards for the older kids who were already teenagers when we were in preschool.

Around the time of Oh Darling and my early teenage years I wanted to know where this music came from.

I had a friend who went by his initials “BS.” He was one of the smarter guys in my high school class, but also an agitator who wasn’t afraid to use his column in the school newspaper to stir up trouble between the “jocks” and the “brains.” His initials stood not only for his first and middle name, but also the slang you might use to tell someone they’re “full of it.”

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The dates are a little out of whack, but I distinctly remember him turning me on to I Hear You Knocking by Dave Edmunds in late 1970. This was a throw back to real, three chord rock and roll from the 50’s while the Beatles, Led Zeppelin and other rock acts at the time were going for more complicated songs, sounds and arrangements. So along with those albums, including Abbey Road and Led Zeppelin I, we were digging through record bins for vinyl by Chuck Berry, Little Richard and Elvis.

But I bring up BS and sharing our rock music research because I distinctly remember him telling me about this supergroup called The Masked Marauders. I hadn’t read the Rolling Stone Magazine article that started the “buzz” but with Blind Faith and CSN&Y the hot groups at the moment, anything seemed possible.

Stones Dylan

Keef, Mick & Bob marauding about.

According to rumor, The Masked Marauders were made up of John Lennon, Paul McCartney, Bob Dylan and Mick Jagger. There were also hints that Keith Richards and Donovan were part of the lineup, but there was no way this could be confirmed. In an era many decades before the internet and social media, all we could rely on were rumors and our ears.

In late fall 1969 or early winter 1970, BS informed us he had a copy of the self-titled Masked Marauders LP and invited us to his house to listen. Three or four of us sat through both sides of the disk with individual reviews of “no… yes… well, maybe?

I’m sure BS claimed it was real, but I left highly doubtful.

I know because if I had believed this gathering of my favorite rock stars had joined forces near Canada’s Hudson Bay (on the liner notes) and recorded an entire album, I would have run out and bought a copy. I never did.

masked-marauders-news-clipping

It wasn’t long after that everyone found out The Masked Marauders was an elaborate hoax from Rolling Stone Magazine. An article satirizing the trend for “supergroups” was a little too believable for many fans of the above mentioned (supposed) members. In taking the hoax a step further, a California based group was hired – along with Dylan, Jagger and Lennon impersonators – to record the album.

The Masked Marauders LP was released by Reprise Records in November 1969. It goes down in history as the only record ever on their just-made-up Deity label.

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I compare it to Orson Wells reading War Of The Worlds over the radio on Halloween in 1938. A lot of people bought into it and caused a panic that Martians were really landing. In 1969 the same “blind faith” almost landed The Masked Marauders onto the Billboard Hot 100 Album Chart.

One of the (many) fun things about writing The Classic Rocker is not knowing where the next song is coming from. If you’ve read the concept and followed any of these ramblings, some songs are from recent memories while others have been embedded in my subconscious and somehow just came out. In this case, the song I Can’t Get No Nookie has to hold the longevity record for being buried under decades of useless information before climbing to the top of my morning music chart. It happened on April 29th and I’m more surprised than anyone to add it to the subconscious list.

I’m sure someone must have played it when we were in college. Otherwise, the last time I heard it had to be in 1969 or 1970. The mind plays strange tricks – and in this case, strange music.

Dylan Jagger

Bob, Mick and Jack

I Can’t Get No Nookie has to be a play on (I Can’t Get No) Satisfaction. On the MM LP the lead vocal is by the Mick Jagger impersonator. It’s also a catchy tune and with the word “nookie” I’m also sure as teenage guys we sang it for laughs more than a few times in high school or cruising around in cars on weekends.

There’s also another credit I can throw to this fake album.

Using the excuse mentioned above about not hearing the original rock’n rollers until after The British Invasion calmed down, I’ll embarrassingly admit The Masked Marauders introduced me to the classic Duke Of Earl. It was a track supposedly sung by Bob Dylan, but it connected with us as a new song. None of our favorite groups by 1969 had covered it and since there were no oldies stations on our radios at the time, chances were good we hadn’t heard – or remembered hearing – the original by Gene Chandler in 1962.

It made such an impression that for our high school talent show in the spring of 1970, we put together a group to perform the song. On the stage in our school auditorium we had a piano, bass, electric guitar (me) and drums. A few pals stood around one microphone singing back up (“Duke, Duke, Duke, Duke Of Earl, Duke, Duke…“) while our friend Gary did the lead vocals. Not that he was the best singer, but probably because he’s the only one that knew the words.

And before we started, we plugged in a string of Christmas lights draped over the upright piano as our “light show.” Both the lights and our song drew big applause.

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Classic Rock(er)

For the next year’s talent show we went even more retro with our rock’n roll revival adding greased hair, rolled up t-shirt sleeves, cuffed jeans and sunglasses. We called our group Peter Priest & The Rabbis (in good humor) and with two electric guitars, bass, drums and my pal Tim as lead singer, we rocked through loud versions of Blue Suede Shoes and Long Tall Sally.

We did two shows and played “by the rules” for only the first.

During the second show for the younger kids (9th and 10th grades) we decided to keep playing until we were chased off stage. Once we started some of the girls from our class ran into the auditorium and stood by the stage screaming. And after we finished our second song, we kept tearing through three-chord 1950’s rock’n roll until the teachers realized we had no intention of stopping.

The curtain was closed and as our class advisor ran on stage waving his arms for us to stop, Gary (our lead singer from the year before) opened them back up. The advisor ran off in a panic and we kept playing.

Finally he pulled the plug.

Since we were seniors graduating in less than a month and basically good kids, we didn’t get into any trouble. In fact there were more laughs than any supposed punishment over our “hoax” to keep the show going. We never went on to become an undiscovered supergroup, but like the legendary Masked Marauders we had our brief moment in the spotlight.

And it was very rock and roll.

Of course there is no video of the elusive Masked Marauders, but for your listening pleasure…

To purchase The Masked Marauders with I Can’t Get No Nookie visit Amazon.com

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Dave Schwensen is The Classic Rocker and author of The Beatles At Shea Stadium and The Beatles In Cleveland. Visit Dave’s author page on Amazon.com.

Copyright 2017 – North Shore Publishing

Beatles Program

They say it’s your birthday (again)!!

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11885210_10206750047483724_1164378672389296806_n – Guess I should have saved my past birthday posts after the number of years writing The Classic Rocker. It would’ve been like another mini timeline of where, what and what the heck was I thinking! With today being this year’s birthday, here’s the experience (and it was a good one!)…

This really happened and even I wouldn’t dare make this one up.

Today is my birthday. Last night at 11:30 pm I’m standing in line to buy beer. No one in front of me was carded. I got to the counter and the guy asked for my ID. I told him I was “flattered” and it was my birthday.

I also checked to make sure there were no hidden cameras and I wasn’t being “punked.”

The guy said something about my hair (still got it!) and something else. I wasn’t really listening because I was pumped up and psyched-out about this newsworthy anti-aging event. I gave him my driver’s license.

Seriously – his eyes popped out and he goes, “Holy shit!!

He asked about health tips and I told him to only drink light beer. But then he rang up the beer and charged me for it?! I reminded him it was my birthday! He said I still had 30 minutes before the big day, so I (happily) paid up.

I’m good for another year… ha!!

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Dave Schwensen is The Classic Rocker and author of The Beatles At Shea Stadium and The Beatles In Cleveland. Visit Dave’s author page on Amazon.com.

Copyright 2016 – North Shore Publishing

August 15, 1965 – The Beatles At Shea Stadium

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– It started earlier than you might think…

sidbernstein

Sid Bernstein

During the winter of 1963 Sid Bernstein, a New York producer and entrepreneur, decided to expand his horizons by taking a course in Political Science. The instructor said if students wanted learn about democracy they need to study Great Britain, so Bernstein trekked down to Times Square every week and bought the British newspapers.

After reading updates about the government, he turned to where his real interests were – the entertainment section. He noticed the name of a pop group called The Beatles. At first the articles were small, but each week they continued to grow in size. They also included two words about their performances that caught Bernstein’s eye:

SOLD OUT!

To his producer’s way of thinking, these were the same words that described fame-predicting appearances by Frank Sinatra and Elvis Presley, two of the BIGGEST names in showbiz. Since expanding his horizons could also mean taking a chance, he located the Beatles’ manager Brian Epstein and booked the group – then unknown in the U.S. – for two shows in February 1964 at Carnegie Hall in New York.

Epstein Beatles

Brian Epstein and “The Boys”

When dealing with Epstein there were always stipulations. If The Beatles were not getting radio airplay in the U.S. by December 1963, the deal was off. It was a long wait, but as history tells us they made the deadline. I Want To Hold Your Hand broke the airwave barrier, they were scheduled for three February appearances on The Ed Sullivan Show – and Bernstein SOLD OUT both shows at Carnegie Hall.

Following the Beatles summer and fall 1964 tour of North America, Bernstein took another chance and scheduled them to appear in the brand new, state of the art Shea Stadium in Flushing, Queens. Again there were stipulations that included no advertising without a paid deposit, but Bernstein made a bold guarantee and backed it up by selling 55,600 seats through word of mouth. Once again…

SOLD OUT!

Nothing on this scale for a pop concert had ever been attempted before. Elvis had performed a handful of stadium shows leading up to his army induction, but the largest had been in front of 26,000 fans at The Cotton Bowl. The Beatles had to more than double that number to fill Shea Stadium.

Dressing Room

Away from the crowd

On August 15, 1965 The Beatles landed on top of a building at the neighboring New York World’s Fair and were delivered into Shea Stadium via a Wells Fargo armored truck. The dressing room was crowed with visitors including Mick Jagger, Keith Richards and future kingpin business manager for Apple Corp and three of the four Beatles, Allen Klein.

If only Brian Epstein had known…

Their entire visit to New York, beginning Friday, August 13th through Tuesday, August 16th, was filmed for a Beatles In New York (not the title, but the idea) television special. Only backstage and concert footage was used for the final version.

Introduced by Ed Sullivan, John Lennon, Paul McCartney, George Harrison and Ringo Starr ran to a small stage set up over second base on the baseball playing field and performed ten songs in about thirty-seven minutes. Whether anyone heard them depended on where they were seated, if they were screaming – or if they were next to someone screaming. Many of the male fans thought they sounded great. Many of the female fans don’t remember.

Shea on stage

Never before in the history of popular music…

Filmed in 35mm, the quality of the concert footage is similar to blockbuster Hollywood movies of the era. For comparison, The Monterey Pop Festival and Woodstock movies were filmed in 16mm.

The resulting television special, The Beatles At Shea Stadium, was planned for holiday (Christmas) airing in December 1965. One member of the Beatles inner circle approved the version submitted by Ed Sullivan Productions, while five others didn’t. A secret recording session took place in January 1966 to correct the sound and the special wasn’t broadcast in the U.S. until a year later. By that time fans were only weeks away from the release of Penny Lane and Strawberry Fields Forever by a mustached, psychedelic-clothes-wearing, pre-Sgt. Pepper’s Lonely Hearts Club Band.

The film has been restored, color-corrected with both the overdubbed and original audio remastered for mono and stereo. It has yet to be released.

But on television that January evening in 1967 they were still the mop-topped Fab Four riding high on the release of their summer 1965 film, Help! And they played, sang, laughed and sweated during a hot New York August night in front of a SOLD OUT audience of 55,600 fans.

It was 50 years ago on August 15, 1965.

It was the birth of stadium rock.

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Dave Schwensen is The Classic Rocker and author of The Beatles At Shea Stadium and The Beatles In Cleveland. Visit Dave’s author page on Amazon.com.

Copyright 2015 – North Shore Publishing