Category Archives: British Invasion

#171 – A Summer Song

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#171 – A Summer Song by Chad & Jeremy

 – Being a Classic Rocker is not always an exact science. Especially when the archeological dig through our minds lack video or photographic evidence from the world of pop and rock, which was once considered disposable.

If you’re not familiar with what I’m alluding to, the eras of what we consider now as pop culture during the 1950s and ’60s were thought to be nothing more than a passing fad. Many live television shows were just that – live for that moment and then gone forever. Television studios could save money by taping shows in advance of airing and then reuse that same film for the next broadcast. So a lot of what we might remember exists only in our memories.

We’re lucky when a program like The Ed Sullivan Show was a national hit, filmed for airing in all time zones and saved for later repeats. Otherwise, we might not even have these performances by Elvis, Buddy Holly, The Beatles, The Rolling Stones and many others from the ’50s and ’60s to watch again and again.

This is the dilemma I faced when trying to find exact information, including video and photographic evidence, of my personal television debut. And that’s frustrating because I think of it as a worthy (personal) pop culture moment since it happened in a Dick Clark Production with Chad & Jeremy.

So to begin this archaeological dig through my mind…

Chad & Jeremy were always one of my favorite British Invasion acts on the (Cuban) heels of the Beatles kicking things off in early 1964. I’ve mentioned in earlier Classic Rockers that as a preteen I didn’t have the funds to splurge on every great record that hit the charts, so after spending on the Beatles’ latest I had to be selective. One I couldn’t resist was the duo’s Yesterday’s Gone. I loved it then and still do.

Jeremy & Chad with Laura Petrie

Though the Beatles and other groups might have been more selective on what television shows they appeared on, Chad & Jeremy seemed more accessible. Along with the usual must watch television variety shows like Ed Sullivan, Hullabaloo and Shindig, they guest-starred (with speaking roles) on The Patty Duke Show and The Dick Van Dyke Show.

So yeah, I knew who these guys were. I didn’t confuse them with Peter and Gordon, like some of the other kids had an annoying habit of doing.

The summer of 1966 was huge for me. I turned thirteen in June – finally a teenager – the music was great and I earned enough money in my parents’ bakery to have a decent record collection. I also went to my first concert, which was The Beatles at Cleveland Stadium.

Like I said… huge.

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But also being a teenager meant having more freedom than when I was just a “kid.” Now, this is where it morphs into not being an exact science, but sometime in either July or August I was allowed to spend a week living on my cousin’s boat at the popular amusement park, Cedar Point, in Sandusky, Ohio. You might know it now as America’s Roller Coast for it’s outlandish collection of HUGE roller coasters and other thrill rides, and to us in the 1960’s it had that same reputation. It was one of the coolest places on earth to a thirteen year old and I would be staying there with my fifteen year old cousin John with nothing more to do than ride rides, swim on the beach (where we learned to surf on wooden “pizza boards”) and roam around with no parental supervision.

Like I said… cool.

The place to be!

One of our favorite rides at that time was the go-cart track. This was very different than you might be picturing during an immediate archaeological dig through your mind. There were no loud gas-powered motors. The track was a large oval with raised curves and electrical strips imbedded into the track. The go-carts had connectors (brushes) underneath and were powered by electricity. When the guy running the ride switched on the power, we’d race around the track using the cart’s accelerator and (sometimes) the brake. When the power was turned off, that’s where we stopped.

It was a popular ride and always had a line of wannabe racers. Since John and I were living on the boat docked in the park’s marina, we’d run in as soon as the gates opened so we could race around at least a few times before it became too crowded. We followed our plan that morning and though we weren’t first in line, we were pretty close.

It was a nice day, sun was out and the sky was blue. The ride was right next to the beach, which I’ve always considered to be one of the nicest beaches on Lake Erie and we could watch boats and people swimming while we waited.

I mentioned the sun and blue sky because if you were going to film anything there really wouldn’t be a need for “studio lighting.” I’m not sure when I noticed there were television cameras set up alongside the track but being a typical thirteen year old I was more concerned about when we would get on the ride. I also remember we waiting a bit longer than what should have been “opening” time. But since we had a good place in line we weren’t about to leave.

Sort of like this – but not really.

Then a guy who seemed to be in charge of the ride asked, “Who wants to ride go-carts?” Before I knew it, John had grabbed my arm and raised it up in the air with his. Obviously he had been paying better attention than me. We were both selected along with about six or eight others and were let in to choose our go-carts.

We drove around for awhile, stopping when the power was shut off and then starting again. After a bit we were told this would be filmed for a television special and before it had a chance to sink in, Chad & Jeremy walked in through the exit gate and sat in two empty go-carts.

Yeah… very cool.

The kids left watching from the sides of the track looked pretty excited as we drove go-carts with Chad & Jeremy for about an hour (if I remember correctly) while the cameras filmed us. At one point we were stopped and I was next to Chad (if I remember correctly). With all my thirteen year old British Invasion inspiration and some unfounded need to sound English, I looked at him and said, “Hullo.”

Yeah… not very cool. At least he answered, “Hello.”

That was cool.

After they had enough film, we ended our marathon go-cart ride. The cameras were moved to the beach and Chad and Jeremy lip-synced a song. This is where video would help. I’ve always thought they sang A Summer Song, but my memory might have been influenced by the time of year. After some online research I learned they were heavily promoting their latest song Distant Shores at that time in 1966 so it might be that one instead.

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But going through my waking mind on September 1st was A Summer Song, which is what stirred this archeological mind dig in the first place. Being a C&J fan of course I own a copy and had just heard it, so it goes into the recent memory category of Dream Songs.

After the excitement of riding go-carts for television cameras, John and I found out Dick Clark Productions was at Cedar Point filming a television special. A lot of different areas were blocked off, but we found out – and saw on television a couple months later – that Paul Revere and The Raiders performed Hungry at the Pirate Ride and The Vogues lip-synced Five O’Clock World while riding in a golf cart along the Cedar Point midway.

Again… very cool.

Dick Clark bringing the action!

I don’t remember the name of the special, but I’m sure it was connected to one of Clark’s programs either American Bandstand or Where The Action Is. It was airing during fall 1966 and we watched, knowing it would be pretty exciting to see ourselves on television. An all too brief go-cart sequence (in black and white) was shown at the very beginning of the special announcing that Chad & Jeremy were featured artists. During this opening segment I remember seeing my cousin John zip by and just as my go-cart came onto the screen…

You could see me only from the neck down.

It was my national television debut, so it was still pretty cool.

But it could have been cooler.

As I said at the beginning of this rambling adventure, a lot of video from the 1960s has been lost and apparently this is one of them. Over the years I’ve occasionally been inspired to search online for any written record, video footage or photos from this Dick Clark Special and have found almost nothing. At one point there was a glimpse of hope when I found a title and air date, but never made a note of it. In other words, this slight bit of information has been lost to memory and I wasn’t able to dig it up again for this version of The Classic Rocker.

Yesterday’s gone, but C&J still cool

About five or six years ago during one of these inspired searches, I somehow found an online contact for Chad & Jeremy. Don’t ask me how, but it might have had something to do with an upcoming appearance they were making at a Beatles fan conference. Since I have written a couple books on the Beatles and been a guest author at a few of these events, maybe that’s how this connection was made.

The contact answered my query and thought it was an interesting story. He said he would ask Chad & Jeremy if they remembered anything about this and get back with me.

Yeah… okay…

But a few days later I was surprised when I received an email from this contact. He said he’d had the chance to ask. One or both said they had a memory of driving go-carts for a television special and… Well, that’s it. They had no photos, video or anything more than I did – which is a memory that’s still pretty vivid even though it took a deep archeological dig into my mind to find it.

Have a comment?

Please use the form below – and keep rockin’!

At least I didn’t have to dig too far to find of video of Chad & Jeremy performing Summer Song.

And to make it very cool – the duo is introduced by Dick Cark.

 

To purchase The Very Best of Chad & Jeremy with A Summer Song 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 2018 – North Shore Publishing

 

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#178 – Sir Duke

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#178 – Sir Duke by Stevie Wonder

 – Motown was everywhere in the 1960’s. If your transistor radio could pick up a Top 40 station, regardless of where you were located, you heard the hits coming out of Detroit scoring big-time on the music charts. Even in the midst of The British Invasion deejays would spin new releases by The Supremes, Temptations and Four Tops as often as they did The Beatles and The Dave Clark Five.

My claim to being a pop music know-it-all and future Classic Rocker didn’t fully gel until Ed Sullivan introduced us to The Beatles on February 9, 1964. But the roots had already been digging in. When I was about nine or ten years old I had a friend who lived across the street. And he had something I didn’t:

A teenage brother.

Per tradition when it comes to teenagers dealing with younger siblings and their immature friends, we as little kids were not allowed to go in his room or touch any of his stuff.

And of course as little kids, that’s exactly what we would do when he wasn’t home.

The 12 year old genius

A magnet for us would be his record player and collection of 45 rpm disks, usually scattered around his bedroom floor. The ones I remember most were Big Bad John by Jimmy Dean (1961) and Fingertips Part 2 by Little Stevie Wonder, released on Motown’s Tamla label in 1963. He was billed as “The 12 Year Old Genius,” which told us he wasn’t a teenager either.

On the few occasions we were caught red-handed in his room and subject to firsthand demonstrations of Big Time Wrestling moves until we could break away and run out of the house screaming for parental intervention, I never thought of using this age gap as a self-defense weapon. Why the heck were little kids banned from this treasure trove of infectious music when the teenager himself was a fan of The 12 Year Old Genius?

I answered that for myself a few years later when as a teenager I ordered my little sister to stay out of my room and never touch my stuff. If these age gap rules weren’t followed, her punishment would be the same Big Time Wrestling moves I had learned the hard way while listening to Big Bad John and Fingertips Part 2.

And in case you’re wondering about the title, the live recording was too long to fit on one side of a 45 rpm vinyl. So like the classic Isley Brothers’ rocker Shout, Fingertips was edited into two sections. Part 1 was actually the A-side of the single. But thanks to Stevie’s hyper-excited close to the live performance and his “Goodbye, goodbye” ending chorus that we hoped would go on forever, deejays played the B-side and that’s the title that hit number one on the music charts.

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As time will do with all of us, we grew older over the years. But unlike with my circle of teenage friends during the mid to late 1960’s, Stevie Wonder was making hit records. He also dropped “Little” from his billing and by the end of the decade he was a mature artist blazing a trail through funk and soul music. I guess that also earned him enough rock ‘n’ roll cred that he flew directly into my realm of fandom via a rock concert. It was during my final year as a teenager when he opened for The Rolling Stones during the legendary Exile On Main Street Tour in July 1972.

This was four years before the release of his mega hit double LP Songs in the Key of Life with the song Sir Duke, but his creativity had already been taking him in that direction. His latest album prior to The Stones’ tour was Music of My Mind and his next single would be Superstition.

We’ll get more into that concert experience in a moment, but first…

Songs in the Key of Life

Sir Duke joined this Dream Song list on August 12. I’ll call it Big Band Funk since it was a tribute to Duke Ellington, Count Basie, Louis Armstrong (Satchmo) and others mentioned by name in the song and stands as one of the many highlights from Songs in the Key of Life. But since my vinyl copy is stored in the Classic Rocker Archives and I can’t recall hearing it since my son Paul’s junior high jazz band performed the song as an instrumental during a school program, it funks its way into the subliminal category.

Of course I had been a Stevie fan since Fingertips Part 2, but once he entered the Superstitious era I appreciated his genius even more. It had become a Christmas tradition that I would be gifted with an album. It started with Beatles ’65 in 1964 and Rubber Soul the next year (which I hijacked and started playing a couple weeks before). I remember The Stones’ Let It Bleed made the list, along with George Harrison’s All Things Must Pass and The Concert For Bangladesh.

In 1976 it was Songs in the Key of Life. The entire collection of songs, along with Sir Duke made both LP’s mandatory listening throughout the winter.

But now let’s return to the summer of 1972…

A new era

At the time Stevie Wonder seemed to be a strange choice to open shows for The Rolling Stones. With their roots in the blues, it was never a surprise when artists like B.B. King, Muddy Waters or The Ike and Tina Turner Review kicked off the concert experience. But Stevie Wonder didn’t seem that far removed from his 1960’s Motown hits and the once descriptive adjective “Little” before his name.

As I’ve mentioned in an earlier Classic Rocker, my pals and I saw the Exile On Main Street Tour at the Akron (Ohio) Rubber Bowl on July 11th. It was outdoor, festival seating – meaning you arrived early to find a good seat and stake claim to it. By the time we got to the outdoor stadium we were relegated to space halfway up in the stands and about a fifty-yard rush to the left side of the stage. Fortunately it was the first concert I had ever been to that had huge screens on both sides of the stage and we had close-up views of everything happening under the spotlights.

Also from our vantage point, we had no problem seeing a lot of what was happening below us on the football field that was jammed packed with fans.

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Keep in mind this was 1972 and things were different. The concert scene had been going through some recent changes…

The screaming teens that had turned Beatles and DC5 appearances into short pop music events had matured into The Woodstock Generation. If you didn’t at least try to look like a hippie with longer hair, bellbottoms and concert t-shirt, you probably looked out of place. Most Stones fans were also old enough to purchase alcohol, (3.2% beer if you were at least 18 in Ohio) and the smell of marijuana wafting through the air was as much a part of the scene as the music.

But that didn’t mean this entire scene was all that acceptable to the older generation.

One of my most vivid memories of this concert happened during Stevie Wonder’s opening set. We had all read about the violence and mayhem that followed The Stones on this tour. There were stories of violence and injury reports at almost every stop and there was no reason why Akron would be different.

Stevie and Mick Exiled on Main Street

Sometime during Stevie’s opening set a large contingent of policemen gathered at the end of the football field facing the stage. We all noticed – and all started watching. Then forming in a long line, they pushed and shoved their way through the crowd like they were zeroing in on a certain group. Again, we were all watching – only this time everyone started booing the cops.

About midfield they stopped and – apparently – tried to drag out a few hippies. We could only speculate it was a drug bust and it took everyone’s attention away from what was happening on stage. We could see it turning into a brawl and fans near the action were throwing bottles and whatever at the cops. I distinctly remember seeing blood on the top of one officer’s bald head.

Eventually the cops retreated. And as far as I remember, there were no arrests – at least on the field during the concert. The fans cheered as the cops withdrew and all eyes and ears went back to Stevie Wonder. And they stayed that way after the sun went down, the stage lights went up and the images of Mick and Keith kicking into Brown Sugar were projected onto the large screens at both sides of the stage.

Have a comment? Please use the form below.

Here’s a video of Stevie Wonder performing Sir Duke.

 

To purchase Songs in the Key of Life with Sir Duke 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 2018 – North Shore Publishing

#180 – Sloop John B

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#180 – Sloop John B by The Beach Boys

 – Here’s something I’ve mulled over in my Classic Rocker mind the past few decades. I’ve been to four Beach Boys concerts and have seen a different lineup of the core five members each time.

Let me explain that better…

The Beach Boys were the three Wilson brothers, Brian, Dennis and Carl, their cousin Mike Love and Brian’s high school football buddy Al Jardine. And yeah, I know Wilson neighbor David Marks is considered an original member and played on their early albums, but by the time the band was releasing hit singles competing with The Beatles and other British Invasion groups on the pop charts, Marks had left. Also Bruce Johnston came on in 1965 to take Brian’s place in live performances and has been with the band longer than Ronnie Wood has been with The Rolling Stones.

But the first-mentioned five are the only Beach Boys inducted into The Rock and Roll Hall of Fame. So we’ll use them as the core lineup.

Now after that brief diversion, let me get back to my explanation…

On the really big “shew”!

The Beach Boys are one of the few major U.S. hit-makers outside of Motown that I remember paying attention to during The British Invasion that started with The Beatles first appearance on The Ed Sullivan Show. Because of finances as a preteen making only a few bucks every week working in the family business and mowing lawns, I had to be selective in my record purchases. Any new release by The Beatles was worth the bike ride to my local record store. Otherwise a song would need to really grab me to dig into my reserves and make a purchase.

The Beach Boys scored more than a few of those. I don’t need to list the classics since I’m assuming you’ll know them all anyway. But I’m proud to say I pretty much wore down my 45 rpm vinyl singles of I Get Around and California Girls, just to name two.

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But somewhere after the release of their classic album Pet Sounds and The Summer of Love in 1967 when Sgt. Pepper and the psychedelic music craze changed everything from pop to rock, The Beach Boys seemed to disappear. I don’t remember them making the transformation – for lack of a better term. It may have had something to do with their follow-up LP Smile not being released, but I’ll go ahead and take the blame for not paying closer attention. We were getting more into albums, so when the singles Heroes And Villains came out in 1967 and Friends the next year, I didn’t discover them until the early 1970’s.

And speaking of the ’70s…

Central Park 1971

I had a personal transformation during the summer of 1971 when I watched a television special called Good Vibrations From Central Park that featured The Beach Boys. Honestly, I didn’t even know they were still together. But the real shock was how they looked. They had somehow morphed into the Woodstock Generation by ditching the surf band striped shirts and white slacks for hippie bellbottoms, long hair and beards.

They played hits including Good Vibrations, but also a completely unexpected version of Okie From Muskogee. It was a cornball country novelty song as far as I was concerned (sorry Merle Haggard), but somehow The Beach Boys sounded and looked cool doing it. They also had a crowd of New York City hippies in Central Park singing along.

Their comeback became official later that year when they were on the cover of Rolling Stone and released the LP Surf’s Up, which I consider a classic and one of my favorites. I was back to being a fan.

So what about the core lineups? Okay…

I grew up outside of Cleveland, Ohio and can only guess I was home from college for Thanksgiving Break when I took my girlfriend to see the reinvented Beach Boys at Cleveland Music Hall on November 20, 1971. It was a smaller venue with great acoustics compared to the larger Public Auditorium next door and the band, with a horn section sounded great.

Of course Surf’s Up was featured, along with the hits.

In the smaller venue there was more interplay between the band and audience. I remember some guy yelled out, “Where’s Dennis?!” Carl answered back, saying Dennis had hurt his hand and not with them. And since Brian had stopped performing, that concert only included core members Carl, Mike and Al.

A memory from that show includes Al Jardine’s guitar strap breaking and his acoustic guitar dropping onto the stage. As the exasperated father yelled on Meat Loaf’s Bat Out Of Hell LP:

“That’s no way to treat an expensive instrument!”

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Five months later on April 28th The Boys were back in the Cleveland area at John Carroll University. I can only guess I was on spring break from college and my girlfriend had dumped me, because I was there with two of my best friends. Dennis made it to this one and joined the core lineup with Carl, Mike and Al.

Since this was a college show it was a younger and more rambunctious crowd and there was a rush to get closer to the stage. Of course we were part of this music madness. Our pal Tim must have had some open running room in front of him and picked up enough speed that by the time he reached the stage the security guys grabbed him and kept his momentum continuing through the exit door. Locked out, he spent the end of the concert in the parking lot waiting for us.

I finished the concert close enough to be part of a small group that Mike Love allowed on stage to help sing the chorus of Barbara Ann. And yeah, it was very cool.

Brian & Carl Central Park 1977

My third concert included the entire core when Brian performed with the group in New York’s Central Park on September 1, 1977. I had only moved to the city a few months before and have an almost positive memory of going to the concert alone.

Well… okay, there were about a million other people there so it was far from a lonely experience.

As a Beach Boys fan, it was a real thrill to see the reclusive Brian Wilson on stage. And according to what I just found searching the internet to confirm this date, he sang lead on Sloop John B that hot, dry afternoon. And yeah, hot is a key word in that last sentence since we were in a late summer heat wave. I still have photos somewhere showing the band as small figures on a distant stage with clouds of dust  (from the softball fields?) hanging in the air.

Then I took a break for 22 years…

By the next time I saw The Beach Boys I was doing what a lot of boomers were doing when I was rocking out to the entire core lineup in Central Park. I was more mature and settling down with a family.

Making a return to northern Ohio I was writing concert reviews for a local newspaper. I was doing a feature on The Beach Boys at The Sandusky State Theater (near Cedar Point Amusement Park for all you roller coaster enthusiasts) and decided to make it a family outing. The date was October 22, 1999 and along with my wife Debutant Deb, sons 11-year old Chaos Kevin and 4-year old Dangerous Paul, we raided my once extensive collection of Hawaiian shirts so we could all dress surf-worthy for the show.

The Beach Boys

This version only included core member Mike Love and long-time member Bruce Johnston with their backing band. They were still billed as “The Beach Boys” since Love had legally secured the name from the surviving members, Brian and Al. Dennis had been gone since 1983 and Carl since only 1998.

The two cores and replacements reproduced the hits and we had the kids up and dancing for most of the show. And I have to admit it was great for a mature Beach Boys fan, though the other core members were very missed. It wasn’t the group picture I still have in my mind.

Sloop John B joined this Dream Songs list on August 9th. Brian Wilson rightfully deserves the title genius when it comes to his contributions and innovations to the 1960’s as a composer and producer, but he didn’t write this one.

It’s an older folk song that folkie Al Jardine suggested for the group. Brian did an updated arrangement and included it on Pet Sounds.

It’s one of my favorite tracks by The Beach Boys and even though Brian and Mike took turns singing lead on the recording, it turned into one (of many) that featured Carl during their live performances. Of course I own a copy and had just heard it, so we’ll surf this one into the recent memory category.

Have a comment? Please use the form below.

Here’s the 1966 promotional film for Sloop John B. If you haven’t seen it, it’s not what you might expect…

To purchase The Very Best of The Beach Boys: Sounds Of Summer with Sloop John B 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 2018 – North Shore Publishing

#182 – No Particular Place To Go

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#182 – No Particular Place To Go by Chuck Berry

 – Musicologists, historians and even guys like me can sit around for hours debating the origins of rock ‘n’ roll. Robert Johnson, Delta Blues, rockabilly and obscure riffs from obscure regions can all fall into the mix if you dig deep enough. But for our purposes and particularly mine in an effort to avoid debate, it all started with Chuck Berry.

I recently read an article naming the most influential rock songs by Rock Hall members (only) that listed Chuck Berry’s Johnny B. Goode as numero uno. There had been earlier rock ‘n’ roll songs by the time he recorded it in 1958, but Berry came up with a sound that had more influence on 1960’s rockers than anything else. It was a three-chord masterpiece copied by everyone from The Beatles to The Rolling Stones and beyond.

I’ve mentioned before about getting into the roots of rock ‘n’ roll through the back door. The first Chuck Berry song I remember hearing was during the first wave of U.S. Beatlemania in 1964 when they covered Roll Over Beethoven with George Harrison singing AND playing a wicked lead guitar break that still stands as one of my favorites. But it was only the tip of a very large musical iceberg I was yet to discover.

Another clue came later that same year when Johnny Rivers had a hit with Memphis Tennessee. My older cousin pointed out to me that his favorite duo, Jan and Dean, had released the same song a year earlier on their album, Surf City and Other Swingin’ Cities. When I questioned him about the composer of these songs, listed as “Berry” under the titles, he informed me it was Jan Berry (from Jan and Dean).

Oh well, what can you expect. I was about ten and he was only a year and a half older. What we didn’t know we would make up.

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The Beatles At Shea Stadium

The Story Behind Their Greatest Concert

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Somewhere along the way I saw the real Chuck Berry on a television show like Hullabaloo or Shindig, so I wasn’t completely clueless. But it wasn’t until the era I consider to be a Rock ‘n Roll Revival that started with Elvis’ Comeback TV special in 1968 and the sudden popularity of Sha-Na-Na (who performed at Woodstock in 1969) that I started exploring the iceberg of originators. Instead of cover versions, I wanted the real deal and the first LP I purchased with this new frame of mind was a collection of Chuck Berry’s greatest hits.

To say I became a dedicated fan is an understatement. And to make sure Chuck Berry knew it, I had the chance to tell him a few years later. Well, sort of…

No Particular Place To Go joined this Dream Song list on August 2nd. It’s interesting (to me anyway) that of all the Chuck Berry songs I love, this is one I haven’t heard covered by the next wave of rockers. The only reason I can come up with is that Berry didn’t release the song until May 1964 when we were already in the midst of The British Invasion. It appeared later that year on the album St. Louis to Liverpool, which was already paying tribute to the mop tops that were putting Chuck back on the map. But by this time the newer bands were already playing his classics or borrowing his earlier riffs and turning them in to classics of their own.

Get Yer Ya Ya’s Out!

The main sources of inspiration for this newer wave of rockers included the three mentioned earlier (Johnny B. Goode, Roll Over Beethoven and Memphis Tennessee). Along with School Days, these are usually The Berry Fab Four found most often on my digital playlists. And on what I consider to be the best live album ever recorded, Get Yer Ya Ya’s Out by The Rolling Stones, the band kicked up the originator’s influence a notch by ripping through versions of Carol and Little Queenie that I’m positive have contributed to any hearing loss I might have thanks to cranking up the volume at the sound of the first notes.

And just for the fun of it, here’s a related question for dedicated Classic Rockers. Where would Keith Richards be without Chuck Berry? No answer needed – even he knows.

Of course I own a copy of No Particular Place To Go. And thanks to mixing up my digital playlists every week or two, I had just heard it. So this one has a place to go, which is into the recent memory category of Dream Songs.

The opportunity for me to tell Mr. Berry I was a dedicated fan happened in the spring of 1972. My musical tastes at the time were spread pretty wide, but three chord rock ‘n’ roll masterpieces still touched my soul more than anything else. I was full into the originators, along with The Beatles, Stones, Led Zeppelin, The Who and others that were exploding off the turntable of my portable stereo during my freshman year in college. Hanging on my dorm walls were larger than life posters of John Lennon and Elvis and my inner conscious wondered why I was studying for classes I could care less about (and still don’t) instead of playing three chord masterpieces on an electric guitar in a band is beyond my looking back comprehension.

Chuck Berry Wallpaper Photo

I walked into the local record store to check out new releases and saw a stack of flyers on the counter advertising Chuck Berry’s upcoming concert at a university within hitchhiking distance from us. I flipped out. I told a guy working at the store what a huge fan I was and he handed me the entire stack. He asked me to tape them up around our school. I said sure and immediately went back to my dorm room and turned the stack into Chuck Berry wallpaper surrounding my posters of Elvis and Lennon.

One of my best friends went to the neighboring school and I convinced him in to buy tickets for myself and the six or seven other guys in my dorm that I had converted into Berry fans. Since we were all college freshmen with no cars, on the morning of the concert we hitchhiked in shifts of two or three with plans to meet up at the arena.

We all arrived around noon, making us the first in line for general (festival) seating. Eventually there was a long line behind us and when the doors opened around 6 pm we raced ahead of everyone and claimed the floor space directly front and center of the stage.

A local group came out and played a set – I remember a high-energy cover version of Sympathy For The Devil – then became the backing band for Chuck Berry. In case you’re not up on Berry’s way of touring, he traveled alone in his Cadillac (or whatever he was driving). He’d tell the concert booker in advance to find backup musicians and have them learn the songs on his Greatest Hits album. He’d show up, they’d play on stage together for the first (and only) time, then Chuck would collect his money and drive off to the next gig.

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All of us in the packed arena were on our feet when Chuck walked on stage and started playing one classic after another. Near the end of his set he looked at the front row where we were standing and motioned for some of us to come up on stage to dance. I turned to a girl I had never seen before or since and said, “Let’s go!

My college pals did the same and while Chuck and his back-up band played we jumped, danced and sang along only a few feet away from him. When he finished, I seem to remember the girls going back into the audience. The guys? We had a chance to be close to Chuck Berry and we took it.

Before introducing the next song he said something to us, though I can’t remember what. It might have been about having a good time, so I took it as a cue. I put my arm over his shoulder and told him he was the greatest.

Travelin’ Chuck

Seriously. I’m not making that up.

He appeared to be in a good mood, which according to his reputation could be an unpredictable state, and I’m positive he thanked me. He launched into another song – we jumped around on stage – and that was it. He shouted goodnight, waved and left. We continued cheering from the stage as the crowd roared its approval.

As the audience was leaving I looked down from the stage and saw a guy I had gone to high school with making his way to the front. He shouted hello, reached up and we shook hands. He told me how cool it was that I had been on stage with Chuck Berry. He might even have told me we did a good show (together with Chuck?) but on second thought, I might just be making that part of the story up. Similar to being a ten-year-old kid, long ago memories have a way of doing that.

On a final note, No Particular Place To Go has another special meaning for me.

During the late 1980’s while living in New York City, I had a cat named Kokomo. We were pals and I still miss her. Later with my wife and two sons we had two cats and a dog, but Kokomo was my only pet before becoming a family man.

Almost everyone that visited my apartment and met Kokomo assumed I had named her after the 1988 Beach Boys hit that was in the soundtrack for the 1988 movie Cocktail starring Tom Cruise. Nope… sorry to disappoint, but as a Classic Rocker I go much deeper than that. All the way back to lyrics by Chuck Berry:

No particular place to go, so we parked way out by the Kokomo.

Both the originator and my feline pal are gone, but not forgotten. Keep rockin’!!

Have a comment? Please use the form below.

To watch Chuck Berry perform No Particular Place To Go – live – with Keith Richards as part of his back up band, check out this video…

To purchase The Best of Chuck Berry with No Particular Place To Go 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 2018 – North Shore Publishing

#185 – Turn! Turn! Turn!

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#185 – Turn! Turn! Turn! by The Byrds

 – It’s unreal how young many of us were when the 1960’s music scene started changing our lives. And if we really stop and think, it’s mind-boggling how fast everything was changing. It seemed we were being exposed to new sounds and looks on a weekly basis.

When The Beatles kicked open the floodgates with their February 1964 appearances on The Ed Sullivan Show, it was more than the music. It was also the visuals – how they looked. It was considered pretty shocking and for many of the boomers, also very cool.

The younger boomers had been too late for the original 1950’s rock ‘n’ rollers who brought a sound and look that earned them dangerous and rebellious reputations – mainly from the older generations. But our firsthand adolescent exposure in the early ’60s was through clean-cut male crooners in letter sweaters and girls in party dresses and bouffant hair. To emphasize my point, The Singing Nun had a number one song in late 1963 with Dominique.

Believe me, there was nothing dangerous, rebellious or shocking about that.

So The Fab Four with long hair, tight tailored business suits and high-heeled Beatle boots made a definite impression. But by 1965 that visual was practically clean-cut compared to what was happening. The second wave of The British Invasion included The Rolling Stones, who were considered the anti-Beatles with longer hair and a dislike for matching suits.

And on this side of the Atlantic the new wave included The Byrds.

The Sound

They were different. Of course it was visual, which is the direction this rambling is headed. Like The Stones they ditched matching suits and grew hair longer than a mop top. When I first saw them on television singing Mr. Tambourine Man in early 1965, the only one that seemed to have eyes visible beneath his hair was Jim McGuinn (who didn’t change his name to Roger until 1967). And when I stop and think about it, I’m sure his eyes were only noticeable due to the rectangular “granny” glasses he pioneered into one of many teenage fads of the 60’s.

Musically they were also different. The Beatles were at first considered rockers and The Stones were bluesmen. The Byrds were folkies. Mr. Tambourine Man was a Bob Dylan song while their second number one, Turn! Turn! Turn! was written by Pete Seeger. And even though George Harrison was playing a 12-string electric Rickenbacker guitar when recording the soundtrack for A Hard Day’s Night, it wasn’t considered the main “Beatles sound.”

Still, it was enough to influence a former folkie. With McQuinn the 12-string “Ric” became the basis of The Byrds sound and kicked open the floodgates for folk rock.

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The electric guitars and harmonies of McGuinn, Gene Clark and David Crosby made Mr. Tambourine Man very different from the Bob Dylan solo acoustic version. Add the visuals that came along with The Byrds, including longhairs Michael Clarke and Chris Hillman, and the whole package could be pretty shocking for older generations and original folk music diehards.

But for many of the boomers, that’s what also made them very cool.

The Look

The Byrds released Turn! Turn! Turn! in early October 1965. Decades later when I woke up with the song “jangling” through my head on July 28th, it was still very cool. But what’s uncool is when I admit there are other Byrds songs on my digital playlist, but I don’t own a copy and hadn’t heard it in a long time. Maybe I could count the original 45 rpm vinyl since I rode my bike to the local record store in 1965 to buy it, but it would take an archaeological dig through my stored archives to find it. So I’ll just admit to my current lack of coolness and add it to the subliminal category of Dream Songs.

And speaking of digging through the past…

For my end of the baby boomer generation, we weren’t even teenagers yet when The Beatles, The Stones and The Byrds were changing our lives. We were still kids playing with our friends, who were also kids. Televisions had been earning a reputation since the 1950’s as the first electronic babysitters, but that didn’t mean we sat around all day watching cartoons and reruns of I Love Lucy. We had every inch of our backyards memorized and had explored all the woods, fields and creeks within walking distance of our neighborhood.

We did sports; we built forts and we played war. That might even be a decent title for a folk song if anyone wants to borrow it. And though I’m a dedicated peacenik who is stunned beyond disbelief that government madmen have control of nuclear warheads, many of us as kids in the 60’s were blissfully unaware of similar Cold War dangers. Of course that changed fast when we hit our teenage years and the escalating war in Vietnam was broadcast nightly on television news.

That was definitely uncool.

But as young preteens we’d choose sides to hit, pass or shoot a ball. If we were playing war, we might launch a sneak attack on a group of foreign neighborhood kids that might be playing too close to our assumed realm of influence. We’d battle with words and bravado, or during more immature standoffs throw chunks of dirt. If one of our foes landed with a hard chunk and your friend took off crying, the goal was to win the race to his house and tell his mom how brave he’d been in the heat of battle, and then race home before we all got in trouble.

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We built tree houses as high up in the trees as we’d dare to climb. On the opposite extreme we’d sometimes dig a large hole in the ground, cover it with plywood and use dirt, sticks and leaves to camouflage our underground forts. We also made tunnels, which were ditches covered with boards and dirt that were only big enough for us “little kids” to crawl through and keep out the “big kids.” We also believed “big kids” wouldn’t know where these bunkers were located because we could disappear in a small hole and end up crawling in a direction unknown to them.

And yes, as a kid it was all very cool.

After digging and covering one of our underground forts in the fall of 1965, a few of us were inside hiding out and listening to our favorite Top 40 AM radio station. I remember we had an old rug covering the ground so we weren’t sitting on dirt and a battery powered lamp so we also weren’t sitting in the dark.

The deejay announced the new Byrds song and played Turn! Turn! Turn! And when it finished, he shouted in his hip Top 40 radio deejay voice, “That was so good, let’s play it again!” And he did. We immediately heard the song a second time! I’ve always remembered that because it was the first – and only – time I’ve ever heard a song played twice in a row on the radio.

At that moment the deejay seemed dangerous, rebellious and shocking – and also very cool.

The Hit

But what became even more dangerous and shocking (I’ll skip rebellious since it was completely unplanned) during this second spin through Turn! Turn! Turn! the roof to our underground fort started caving in. Fearing we were about to be buried in a pit, we screamed, shouted and flew through our escape tunnel in record crawling time.

Popping out of the ground we saw a neighborhood “big kid” standing on the sinking ground with a stunned look on his face. He had taken a shortcut home through the woods and since we had been good at camouflaging our location, walked on top of our fort. The plywood boards cracked and popped and dirt started falling through the cracks. Stepping off before a complete collapse, he probably gave us some type of “big kid” lecture about making dangerous traps in the woods and then continued his walk home.

He turned, turned, turned (sorry, I can’t help myself) our fort into just another hole in the ground. If we had been playing war, we were the losing force.

A final note about Turn! Turn! Turn!

When Pete Seeger wrote the song he took the lyrics from the biblical Book of Ecclesiastes. And I’m not sure where I read this, but for that creative reason it holds the record as a number one song – with the oldest lyrics. Now there’s a sound visual…

To check out the song and shocking visuals, here’s a video of The Byrds performing Turn! Turn! Turn!

 

To purchase The Byrds – Greatest Hits with Turn! Turn! Turn! 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 2018 – North Shore Publishing

August 15, 1965 – The Beatles At Shea Stadium

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– It started earlier than you might think…

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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

 

February 9, 1964

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I was taken by complete surprise. Well, almost.

Jack Parr

Jack Parr

I had heard of The Beatles before February 9th only because my mom let me stay up late the night Jack Parr aired a brief clip during The Tonight Show on January 3, 1964. It had to be a Friday night and not a school night, but I’m not sure. And it wasn’t because we knew The Beatles were going to be on. Again, I had never even heard of them. We just enjoyed watching Jack Parr. For me it was his sense of smug humor (for lack of a better term). I always thought it was a bit risqué to watch his show because I was still a preteen and he was for adults. It reinforces my opinion that my mom was a little more with it than other parents who wouldn’t let their children stay up late to watch when Parr was host of The Tonight Show.

I also thank her and my dad for taking me to a Beatles concert. Again, I’ve heard too many stories from other young fans “under parental control” who were not allowed.

Other than Parr’s brief clip I have no memory of hearing anything else about The Beatles until February 9th. There was too much other “stuff” going on. I’ve been very clear about my recollections of this time in past Classic Rocker columns and my books The Beatles At Shea Stadium and The Beatles In Cleveland. We were still dealing with a very bleak time in our country’s history following JFK’s assassination in Dallas on November 22nd. We watched the funeral and news updates on television and heard discussions at home and in school about The Cold War and The A-Bomb. Even my neighbor had a bomb shelter and as a preteen baby boomer it was obvious things had changed very quickly.

I often describe my memories during these days as being in black and white. That probably comes from remembering and still seeing reruns of newsreels and television shows from that era being broadcast in black and white. The Beverly Hillbillies, The Dick Van Dyke Show, The Patty Duke Show. You know the ones I’m talking about, so no need to mention them all. All the shows were in black and white which undoubtedly affects my memories.

I didn’t even know anyone who owned a color television in February 1964 – not even my neighbor with the bomb shelter. But having a color television wouldn’t have made a difference. The Ed Sullivan Show was broadcast in black and white.

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Rehearsal pre-fab

My dad, mom, little sister and I had been on a four day family vacation that started on Wednesday, February 5th. It was a driving trip to Washington, DC and we arrived home in the early evening of Sunday February 9th.  I had no plans to do anything except eat dinner and avoid doing any homework until the last minute. As we did just about every Sunday at 8 pm we all sat down in front of our only television (“The black and white one,” as John Lennon described A Hard Day’s Night at their legendary Shea Stadium concert about a year and a half later) to watch The Ed Sullivan Show.

Dad, mom and sis were on the couch. I sat on the floor with my back against the couch. I remember it as vividly as where I was when my fifth grade teacher announced to the class President Kennedy had been shot. There are a few dates you’ll always remember if you were alive at that time. These are two of the earliest for me.

It would be cool to say we watched because of The Beatles, but don’t remember it that way. We always watched Ed Sullivan. Like for many of us in the U.S. he was part of our television family on Sunday nights.

As the first performers, he announced The Beatles.

Beatles Ed Sullivan

A moment in time

For myself at that moment and for millions of others watching, our world immediately went from black and white to color. It was that dramatic. To use a comparison from my book The Beatles In Cleveland it was like the film The Wizard of Oz. Dorothy was swept away from a black and white Kansas and unexpectedly dropped in colorful Oz.

And The Ed Sullivan Show was broadcast in black and white!!

Beatles music has been listened to, analyzed, discussed, broken down, recreated, and even taught and studied in universities since. There’s no need for me to do that now. The influence is still felt over half a century later.

But it wasn’t just the music. They had an image unlike anyone else before them. You can talk about how shocking Madonna, Michael Jackson and Prince appeared twenty years later, or even more recently with Lady Gaga, Lil’ Wayne and Miley Cyrus. In February 1964 the Beatles’ “look” was shocking compared to what was considered “normal” at the time.

To put it into a baby boomer context based on our television viewing habits. No man in 1964 had hair like that except for Moe from The Three Stooges.

John Lennon MarriedInstead of letter sweaters and slacks, the Beatles wore business suits with tight pants, skinny ties and boots with pointy toes and high heels (Cuban heeled Beatle Boots). It was shocking! And I only learned their first names because they were flashed under their individual shots on the television screen. The music was lively and happy, the Beatles bounced in time and the girls screamed. Then it was over.

Well, not quite for me. Where we lived in northern Ohio, the dividing line between Eastern Standard Time and Central Standard Time in 1964 was drawn between Cleveland and Toledo. That meant we had two separate television markets airing shows an hour apart. At 8 pm EST I watched the Beatles live on The Ed Sullivan Show. An hour later at 8 pm CST I tuned into the Toledo CBS affiliate and watched it again. I did that for each of their three appearances that month.

Beatles Ed 2

Long haired rock’n roll

I was able to watch their U.S. debut on The Ed Sullivan Show twice that same night. It was also rerun later that year, but then I never saw it again until buying a bootleg videotape on 8th Street in Manhattan more than twenty years later. Now like many other fans, I own a legit DVD copy of The Ed Sullivan Show appearances and pretty much have every moment memorized.

The very next day it was also obvious things had changed.

On the Wednesday before, I had left school early for our drive to Washington, DC. There had been no mention of The Beatles in my classroom or anywhere that I can recall.

On Monday morning following The Ed Sullivan Show most of the girls in my fifth grade class had Beatles fan magazines hidden in their desks and their television debut was the main topic of conversation. The guys tried to act cool about it – or at least that’s my perception because we weren’t supposed to be attracted to them like the girls were. They were in love and lust. But I remember listening to their conversations and know some of the guys, me included, wanted to be like The Beatles. It seemed a lot more fun than kicking a ball around the playground.

I’m sure it was also within that first week one of the guys in my class came to school with a Beatles wig. I bought one myself and still have it. There were also a lot of Beatles trading cards, photos, magazines and other merchandize brought to school that would be considered valued collectors items today.

Beatles Bowing

From black & white to color

Of course, there was the music. By the Saturday following their debut on The Ed Sullivan Show I owned the LP Introducing The Beatles as a gift from my parents after listening to me beg for a week. The next Saturday (after more pleading) I had a copy of Meet The Beatles. Somewhere within that time frame I came up with the sixty cents (somewhere in that $$ neighborhood at that time) for the 45 rpm record I Want To Hold Your Hand b/w I Saw Her Standing There.

The floodgates were open and haven’t been closed since. It was February 9, 1964. It all changed that evening and nothing was ever the same again. Thank you to John, Paul, George and Ringo. It’s been a memorable journey to say the least.

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Dave Schwensen is The Classic Rocker and the author of The Beatles In Cleveland and The Beatles At Shea Stadium

Visit Dave’s author page on Amazon.com at THIS LINK.