Category Archives: British Invasion

#169 – 25 or 6 to 4

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#169 – 25 or 6 to 4 by Chicago

 – Sometimes there’s nothing like a solid horn section to punch up a great rock ‘n’ roll song. For me that feeling goes back to the early days of Little Richard (though I was too young to actually experience it at the time) when a dirty-sounding saxophone raged over his pounding piano. And even today since a young Little Richard is never too old for the digital age of listening, the volume is worthy of being turned up whenever The Upsetters – his backing horn section – kick it in with him.

The same can be said for Bobby Keys and The Rolling Stones. Brown Sugar would not be the same song without his sax, even if Keith Richards and Mick Taylor had practiced what Keef refers to as “the ancient art of guitar weaving” for the instrumental break.

Saxophone was one of the founding instruments in rock ‘n’ roll. But as also a big fan of rhythm & blues, soul and Motown, a horn section with brass trumpets and trombones are also requirements. I have a feeling any promoter suggesting James Brown, Otis Redding or Marvin Gaye could have cut costs by leaving the horns at home would have found himself with nothing but an empty stage to promote.

But when I was finally old enough to experience what was happening in the world of pop music, it was the beginning of The British Invasion. Other than The Dave Clark Five with Denis Payton on sax, groups featured guitar players. Even when American groups counterpunched with The Byrds and The Lovin’ Spoonful, no one was blowing into anything other than an occasional harmonica – and that includes Bob Dylan.

With a horn section!

In May 1966 The Outsiders caught my attention with Time Won’t Let Me and a great backing horn section. Then later that summer The Beatles released Revolver with the Motown influenced Got To Get You Into My Life. But it wasn’t so much that horns were changing the pop music we were listening to. It was more like pop was borrowing from the other styles to give us a lesson in what a big segment of the youngest baby boomers was missing by only listening to our local Top 40 AM radio stations.

What does that have to do with 25 or 6 to 4? I’ll tell you…

I remember a slight bit of personal confusion when Chicago hit big in 1970. Pop had morphed into rock and the main engine driver was a high-powered electric guitar. Jimi Hendrix, Jimmy Page, Pete Townshend and Eric Clapton were making that notion very clear. Horns could be a great background enhancement, but none of our radio favored bands seemed to have these jazzy players as permanent members.

So with embarrassed hindsight, my perception of Chicago predated the lyrics Dire Straits sang a few years later in Sultans of Swing:

They don’t give a damn about any trumpet playin’ band. It ain’t what they call rock and roll.

But then Chicago changed that.

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Their innovative style as a band in the pop-rock world wasn’t really new. Al Kooper’s original Blood, Sweat & Tears made the scene in the late 1960’s and was the first group I took notice of that had a permanent horn section. But just like the subsequent version led by David Clayton-Thomas, they were too jazzy for my tastes.

It ain’t what they call rock and roll.

Chicago’s first LP under the name Chicago Transit Authority went unnoticed by me. But the opening riff of 25 or 6 to 4 when it was released in June 1970 definitely caught my attention. It rocked. And I don’t think I’m saying anything dedicated classic rock fans will object to, but it struck a rock chord by sounding a lot like Babe I’m Gonna Leave You by Led Zeppelin. And then the horn section came in over the grungy guitar and…

That’s what they call rock and roll.

This sound was coming in through my grungy brain on the morning of September 4th. It rocks its way into the recent memory category because I had just heard it. In fact, this song has occasionally crept into my Top 25 list of Most Played Songs that iTunes so conveniently keeps track of. And by the way, in case you can’t tell from the countdown aspect of these Classic Rocker ramblings, I enjoy that feature immensely.

I should have been more welcoming to the brassy horn sounds of Chicago. But as mentioned, The Guitar Gods had taken hold of the rock scene. I say this because at the time I was a player that could have fit into either section.

My guitar fumbling (for lack of a better term) started soon after The British Invasion – like many other baby boomers. But my skills have never been anything to write home about. I tend to blame that on never having the best guitars. I went more for “looks” (does it look cool?) rather than ease of playing. But trumpet was the opposite. I had access to two very cool horns and a practiced ability to play them.

My interest in the trumpet didn’t start when my parents “told me” that’s the instrument I’d play in the junior high and eventually high school band. It was a tradition on my dad’s side that started with his father and continued with him. And believe me, they were both good players. Especially my dad who played bugle in the U.S. Navy and made trumpet his creative outlet by performing with numerous bands around where we lived. He could play anything from jazz, big band to marching band. I have memories as a very little kid going with my mom to watch his shows. He had invested in a very good (let’s call it expensive) trumpet in the 1950’s and yeah, he looked and sounded cool.

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My grandfather was a lot older than my friends’ grandfathers. He was 46 when my dad was born. I don’t know how young he was when he started playing, but know he had purchased a silver cornet in 1905 and was a member of the town’s concert and marching band. Not only do I still have my dad’s trumpet, but also my grandpa’s silver cornet – and the 1905 proof of purchase receipt.

Yeah, you could say I’ve always been good at hanging on to important stuff.

Herb Alpert & TJ Brass

I alternated between the trumpet and cornet when I joined the school band, but again – I didn’t have much interest. I thought the guitar was cooler. But in April 1967 I watched a television special by Herb Alpert & the Tijuana Brass and beginning at that exact moment – by the end of the show – trumpet looked pretty cool. I’m positive that I immediately went to my room and started practicing on grandpa’s cornet. My dad – most likely shocked but overjoyed at the same time – got out his trumpet and started teaching me. Before long we were playing duets and it became a father-son bonding I’ll always have with him.

Another totally shocked victim of my new-found love for brass was our junior high band director. For close to three years I had been languishing in the lower reaches of the trumpet section, barely able to make any type of recognizable musical noise. A few weeks after the Herb Albert TV special we had tryouts for “chair placement” and I aced it.

I still remember him staring at me – smiling – and wondering out loud why this happened “to him” when I’d be moving on to the high school band and a different director in just a few months. My band friends were also flabbergasted (again – lack of a better term) when I propelled past about 30 other trumpeters from the back end of the section to third chair. I never looked – or went – back after that.

Beatles Horn Section

But would I have wanted to be in a rock band like Chicago? Honestly, not in the horn section. As Paul McCartney once pointed out, his first instrument had also been the trumpet – also a gift from his dad – but you can’t play and sing at the same time.

Since that’s what I had in mind when I auditioned for the high school musical – and aced it – my trumpet playin’ band days came to an end. When I took off for college and later New York City, a couple guitars were in the back of my station wagon and the brass horns were left behind.

But they didn’t go unused, since I’ve always been good at hanging on to important stuff. More than a century after my grandpa bought his cornet and half a century after my dad bought his trumpet, my son Paul was playing both in the high school band. But now that he’s a professional singer, they’re both on the shelf waiting for the next generation.

And as for Chicago, they’ve also lasted for a few generations. Sometimes there’s nothing like a solid horn section to punch up a great rock ‘n’ roll song. And since there are still plenty of rock ‘n’ rollers from first generation baby boomers on down, I don’t hear that sound fading out any time soon.

Have a comment?

Please use the form below – and keep rockin’!

To watch the original Chicago lineup performing 25 or 6 to 4, check out this video…

 

 

To purchase Chicago’s Greatest Hits with 25 or 6 to 4 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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#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

 

#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

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

 

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.

Ed Beatles 2

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.