Category Archives: Producers

#165 – I Want You Back

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#165 – I Want You Back by The Jackson Five

 – There was a popular television show when I was a kid called, I’ve Got A Secret. The song I Want You Back by a preteen Michael Jackson and his brothers has really nothing do with that, except for bringing back how I felt – sort of – when I first heard it in 1969.

The show was hosted by popular television personality, Gary Moore – not to be confused with the guitar playing Gary Moore decades later. A supposedly unknown person would be introduced, chalk his or her name on a blackboard and sit behind a desk with the host. Moore would give a panel of four celebrities a brief hint of what secret the guest was hiding, while the viewing audience would be given the answer at the bottom of our black and white television screens.

The two guests I remember most were Brian Epstein and in a separate episode, Pete Best. Brian’s secret was that he managed The Beatles while Pete’s was being a former Beatle. Of course, to first generation Fab Four fans, there was nothing secret about either guest and we immediately knew when they walked out to sign their name on the chalk board. But it was fun watching the older generation (I also remember Groucho Marx as an occasional guesser) try to figure out who these guys were.

My secret in 1969 was that I really liked The Jackson Five. It may not seem like such a scandalous admission now, but this was around the time when another great musical divide was occurring within the generational gaps.

Anyone have a driver’s license?

As mentioned in previous Classic Rocker ramblings, my particular segment of the boomer generation was too young to experience firsthand the beginning of rock ‘n’ roll in the 1950’s. The dangerous element was toned down into being popular music in the early 1960’s, then burst into the fab stratosphere as pop in 1964. This morphed into more rebellious pop-rock, drifted into hazy psychedelic and eventually just all-out anarchy rock toward the end of the decade. By early 1969 The Beatles had just released The White Album, The Who were promoting Tommy by trashing instruments and acting like punks before anyone ever heard of punk music, and we were just getting into Led Zeppelin.

Woodstock was only a few months away and by the fall we were listening to Abbey Road.

But there was another form of music “bubbling” beneath the surface labeled as bubble gum. My teenaged “just getting our driver’s license” crowd had zero interest in this AM radio takeover, even though we were often forced to listen since that was the only bandwidth our parents’ cars came equipped with at the time. Without doing an internet search, my recollections go to Donny Osmond and his Osmond Brothers, The Archies and… well, that’s the extent of how deep I want to go into the memory bank on this topic.

Bubble gum seemed to be music made for my little sister’s demographic and she was seven years younger than me.

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Now, there’s no way I can ignore Motown in the above listings. I suppose the Top 40 deejays tried to fit it into the pop music category, but we knew it was more than that. Hitsville in Detroit gave us more rhythm and soul than most of the light weight pop acts. Motown could sound clean and smooth, or hot and sweaty. My favorites were The Temptations with David Ruffin and Eddie Kendricks, and The Four Tops with the great Levi Stubbs. But in 1969 Stevie Wonder was still trying to distance himself from the Little adjective that had been stuck on him for his early records and label head Barry Gordy was grooming The Supremes as a lounge act and Diana Ross for solo superstardom.

Okay, now that I’ve set the stage for what a sixteen-year-old boomer was listening to and my thoughts about it all, in the winter of that year we were presented with The Jackson Five and their first hit record, I Want You Back.

Kings of soulful pop!

First thought: This is a kid singing.

Second thought: This is great!

Now, I wasn’t sure if this realization would seem cool to my fellow-teenaged friends that, along with me, were listening to The Beatles, Led Zeppelin or The Who (and The Rolling Stones). But it was impossible for me not to turn up the AM radio dial or even sit still when hearing I Want You Back.

These kids just… Okay, did it rock? Was it pop? Bubble gum? It didn’t sound like the Motown of The Temps, The Tops or Little Stevie, but it couldn’t be ignored. At least by me and the millions of other fans that sent this record screaming up the record charts. Maybe it was because my little sister and her age group were finding their own musical personalities at the time and jumping on the Jackson (and Osmond) bandwagons. There was no reason why I couldn’t also make room on my playlist for this rocking’ and soulful family band.

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But like the television show, I had a secret. There was no way I could ask my friends to turn off Led Zeppelin and listen to The Jackson Five if I wanted to remain hip enough to look cool. So, without Groucho and the other panelists outing me on national television, I kept it to myself. At least for a while.

But here’s another secret…

Ed’s ready to bust a move!

The first time I saw The Jackson Five was on The Ed Sullivan Show. And one of the most memorable parts was how Michael and his brothers danced. So yeah, I wanted to dance like The Jackson Five. Too bad my feet, arms and… well, everything else could never move like that. It’s also too bad I never realized that when I was on a dance floor. More on that in a moment, but first…

I Want You Back danced its way onto this Dream Song List on September 10th. And yeah, I own a copy, it’s on my digital playlist and I had just heard it. So, this one moonwalks into the recent memory category.

I won’t pull any punches here. Myself and my buddies were far from possessing any soulful or rhythmic moves. I might have imagined myself as Michael or even Jackie (or Tito?) at our high school and later college dances, but reality has a way of exposing our secrets. For a description, if you combine The Twist with leg jerks and flaying arms as if you were being attacked by a swarm of mosquitos – it would look better than what we were doing. The effort might have been there, but the talent was missing.

I recently had a chance to reconfirm this no-so-secret admission.

A couple days ago I was just about to leave the house when I Want You Back came on. At this moment, at least for the first verse or two, time and commitments are forgotten. There’s no way to prevent a dance attack and I was doing my best twisting, jerking and flaying moves when I looked up and into a mirror directly in front of me. It was far from being Michael, Jackie or even Tito staring back at me. Of course, I didn’t stop – but from now on I’ll keep these moments between you and me.

Can you keep a secret?

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Please use the contact form below – and keep rockin’!

Here’s a video of The Jackson Five with a very young Michael on lead vocals performing I Want You Back.

 

 

To purchase The Ultimate Collection: Jackson 5 on Motown Records with I Want You Back visit Amazon.

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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 2019 – North Shore Publishing

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#166 – C’mon Marianne

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#166 – C’mon Marianne by The Four Seasons

 – You don’t need to have age revealing personal memories of placing a vinyl 45 rpm on your portable Hi-Fi record player to know The Four Seasons were HUGE during the era when the times really were a’changing. Okay, that’s a round ’bout Bob Dylan-isk (I just added that ending syllable to make up that hyphenated word) way of saying they were having hits before, during and after The British Invasion. That’s was a HUGE accomplishment for a U.S. pop group, especially when success on the music charts after February 9, 1964 pretty much required an English accent and long hair.

The only other band I can think of with the same resume would be The Beach Boys. They held down the West Coast sound while The Four Seasons were… Jersey Boys.

Along with catchy tunes and harmonies, Frankie Valli was The Voice that made their sound distinctive. No one else sounded like him. Brian Wilson could hit some high falsettos singing about surfer girls and woody hot rods, which was a common West Coast term for a surfer dude’s car rather than a common term for a New Jersey guy’s… ah, never mind. But Frankie could belt the upper octaves. There was never a doubt who you were listening to when hearing a Four Seasons song.

And it’s lasted for decades.

Jersey Boys based on The Four Seasons was a hit Broadway show, movie and a favorite revue in regional theaters, Las Vegas and on cruise ships. It’s the power of their hit songs and a story that even during their chart-topping days in the 1960s was rumored to have had a little help from The Underworld.

But I won’t go there. At least not right now…

That’s for the theater and movie fans to drool over. For me it was about the music. And even as a fan of almost every song that came from an English accented, long haired band during the mid-1960’s, I would never change the AM radio dial when The Four Season’s latest release came on.

C’mon Marianne was on just about every AM station’s playlist during the summer of 1967, but those were really some fast changin’ times. Sgt. Pepper came out in early June and by mid-summer everything had changed. Well, just about everything. The Four Seasons stayed true to their sound and image and C’mon Marianne would be the last time they hit the Top Ten during this Decade of Change.

It was The Summer of Love.

Even as a junior high kid who only knew about hippies because I saw them on television, there was a feeling The Four Seasons wouldn’t be contributing to the soundtrack for my segment of the boomer generation for much longer.

Frankie and the boys still looked like they were hanging out in New Jersey while everyone else was shifting their focus to San Francisco and London. They were as far from psychedelic as Frank Sinatra Jr. and had a better chance of drawing a crowd in a Las Vegas lounge than by singing on the corner of Haight and Ashbury.

Don’t get me wrong. I’m not saying I didn’t like their music.

In fact C’mon Marianne is on my digital playlist and I had just heard it the day before waking up to Frankie Valli falsetto’ing (just made that word up too) through my mind on September 8th. And if you’re keeping count, that makes it a recent memory Dream Song.

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What I am saying is these Jersey Boys stuck to who they were and what got them there. When psychedelic music reached our portable record players in album form, The Four Seasons weren’t on the vinyl playlist. The times had a’changed (sorry, I’ll stop with the Dylan-isk innuendos).

It would never prevent me from telling Frankie Valli he’s a great singer and I’m a fan. And that’s a good thing because a couple decades and a few years after C’mon Marianne I had the opportunity to do just that.

In the early 1990’s I had a very cool job in Los Angeles scheduling stand-up comedians to appear on a television show called A&E’s An Evening at the Improv. My boss was the legendary Budd Friedman, known to everyone that has anything at all to do with the industry as The Godfather of Comedy.

There’s no underworld reference in that. It’s just that he’s The Guy that started the modern comedy club concept with The Original Improvisation (shortened to The Improv) in New York, then Hollywood and eventually throughout the U.S.

Yeah, it was like The Comedy Invasion and he was Ed Sullivan, if you catch my reference.

We would pre-tape these one-hour shows (running on The Arts & Entertainment Network, hence “A&E” in the title) at The Improv comedy club in Santa Monica. They were aired weekly, which meant there were fifty-two shows a year. Since production expenses would be too over the top to deck out the club with cameras, lights, sound equipment and crew every week, we’d film two or sometimes three hour long shows in one night.

The on camera set up went this way…

Budd, wearing his trademark monocle, would open each show by greeting the live audience and home viewers. Then he would introduce a celebrity guest host who would do a short monologue and introduce the comedians. While each performed his or her seven-minute set, the guest host would sit at a table with Budd until it was time go back on stage, announce a commercial break and after, introduce the next comedian.

Repeat the process for five comedians and that was a show.

The Godfather of Comedy

Since we filmed two or three shows at once, we had to make it look like each was done on separate nights. That meant Budd had to change into different clothes for each show since he would be on stage and sitting with the guest host at a table that the cameras would focus on a number of times so television viewers could see them laughing at the comics.

Me? I didn’t have wardrobe changes in my behind-the-scenes job requirements.

Usually during one of the shows there would be an open seat at the four-person table and Budd would ask me to sit with them. That was also very cool because I knew when it would air and could tell my parents in Ohio to watch for me. Yeah, almost – but not quite – a celebrity son. Then after that particular episode was finished, I would disappear to sit at a table behind the cameras to keep up the illusion each show was filmed on a different night in front of a different audience. It would look pretty suspicious for television viewers to see This Guy (me) sitting at the featured table wearing the same exact clothes for what would seem to be two or three weeks in a row.

As mentioned, I worked with the comedians. So I never really gave much thought about the guest hosts. To be quite honest, I didn’t even know who many of them were. Most were supporting actors on sitcoms I didn’t watch, or hadn’t been on television for years and needed some screen time to let people – and casting directors – know they were still around.

The Godmother of Rockin’ Cars

But one guest host that really attracted my attention was the actress Tawny Kitaen. She played Tom Hanks‘ fiancé in the movie Bachelor Party, but was better known to my male buddies back in New York City as the “hot chick” rolling around on top of a hot car in an MTV music video for Here I Go Again by Whitesnake. It had been on heavy viewing rotation when I lived in NYC pre-Hollywood and if we were hanging out in a bar when it came on television, everything stopped. You could hear a pin drop and ever guy’s jaw hit the floor.

She was The Babe at that moment.

When it came time to film Tawny’s guest hosting episode, I was unfortunately minus a wardrobe change and relegated to a back table. But it was one of the few times I ever brought a camera to a taping and immediately after introducing myself we cheerfully (at least for me) took a photo together. When I mailed copies (pre internet) to my buddies at our local NYC hangout, I’m sure everything stopped except for their jaws hitting the floor.

Don’t worry, I haven’t forgotten about Frankie Valli. That’s the next episode, but first an interesting commercial break…

I don’t know the relationship and again, I won’t go there. Not even later. But Tawny had an entourage with her and there were only four chairs at Budd’s table. So some of her gang was sitting at a table next to me. Following a commercial break Tawny announced there was a celebrity in the audience – and introduced O.J. Simpson. A spotlight and camera zoomed in on the table directly behind me where O.J. stood up and waved to the crowd.

This wasn’t too long before the infamous murder and notorious trial. So at the time it was no big deal. But thinking back on it now… Yeah, it’s kind of creepy.

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There was one other time I wished a camera had been a job requirement. It was when I arrived for a taping and learned Frankie Valli would be our guest host. Normally I would meet the guest hosts in the club’s showroom right before filming started. But this moment dictated an exception to that routine.

For the first and only time I went searching backstage to find The Voice.

Since it wasn’t a large area and a small office would be set up as a dressing room, I very quickly looked past a half-opened door and saw Frankie sitting in a chair. He was wearing makeup (remember, this was television) and a dark suit with a high white collar and tie looking like…

Well, looking like a Jersey Guy.

Now it might have just been me. In fact, I’m SURE it was ME basing my first impression on a preconceived stereotyped image.

The Godfather of Vocals

I knocked on the door and introduced myself as the talent coordinator for the show. Once he was assured I had a reason to be there we made small talk about the comedy biz before I took the opportunity to tell him I’d been a big fan for a long time and it was a thrill to meet him.

Frankie Valli could not have been a nicer guy.

That should have been the end of the story and it actually is, except for my misconstrued preconceived stereotyped image kicking in. Frankie held out his hand for me to shake and I remember noticing he wore a large ring – or maybe even two that definitely told me he wasn’t just another guy from just another neighborhood in New Jersey. With his high collared buttoned white shirt, dark tie and suit, and a hair style that was closer to Sonny Corleone’s than a hippie holdover from The Summer of Love my mind wandered to the rougher parts of New Jersey, The Underworld and…

Well, I was greeting The Voice himself.

Yeah, I might have mentally viewed it closer to The Don (as in Sonny’s dad) – which is wrong. I know that. But when it comes to Frankie Valli he deserves respect. And just to dig myself into a deeper hole with insinuations, preconceived notions, unfounded stereotyping, too many long-gone rumors and too many viewings of Jersey Boys, when he said I could enter dressing room to say hello…

It was an offer I couldn’t refuse.

Have a comment?

Please use the contact form below – and keep rocking’!

Sorry – I searched – but couldn’t find a video of Frankie Valli and The Four Seasons performing C’mon Marianne. So what I found instead was this STRANGE film of STRANGE teenagers from the 1960’s with the song used as a soundtrack. Enjoy? That’s up to you. It might find it difficult just getting through it.

 

To purchase The Very Best of Frankie Valli and The Four Seasons with C’mon Marianne, 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

Top 3 Classic Rocker Christmas Songs

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Top 3 Classic Rocker Christmas Songs

 – Once my head hit the pillow Thanksgiving night, I never dreamed there was a chance I wouldn’t wake up from my turkey hangover this year. But the overindulgence of tryptophan had me stirring the next morning to what I assumed were angels singing in the background. It was a festive sound, but then I realized there were no harps or even Victoria’s Secret models with wings. And since I long ago passed the requirement for Billy Joel’s “Only the good die young,” there was a better chance I had made a U-turn on the stairway to heaven and was heading in the opposite direction.

Then again if I wanted to declare Billy Joel my spiritual advisor and musical guru, this could be a joy ride where “sinners have much more fun.” And besides, maybe I could melt off a few pounds in the heat.

When my head cleared from the turkey fog, I realized I hadn’t gone to Rock’n Roll Heaven or hell. I had only slept through the official change in holiday seasons and the classic rock station on my clock radio had changed formats.

I must’a had too much to dream last night.

It’s officially Christmas Season and a simple sleigh ride through the radio dials brings that message home faster than if you were living next door to Clark Griswold. It’s the only time of the year when Burl Ives, U2, Mariah Carey, Willy Nelson and Perry Como can co-exist on one single airwave.

You wanna hear some Bruce? Okay, he’s in the mix. But instead of arriving in a pink Cadillac he’s riding with Santa Claus all the way to town. The Beach Boys are there too with Little Saint Nick sitting shotgun in their surf woody.

I don’t know when this conglomerate of standard, classic and modern holiday jams started, but guess it was a commandment from the higher ranks of Clear Channel or another radio god. I don’t have it in front of me, but somewhere there’s an office memo stating after the last bite of Thanksgiving turkey knocks everyone semi-unconscious…

Thou shalt not play nothing but Christmas music on thy classic rock radio station.

At least that’s what happened in my demographic and I’ve been living with it. I have to, since I padlocked my station of choice on my vintage boom box so the kids can never change it.

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Based on what I’d learned in required college math classes and unused since graduation (until now), we spend one-twelfth of the year listening to Christmas songs. Some are pretty good, while others remind us that life’s not all that bad when Christmas vacation is finally over and you voluntarily have to attend school assemblies if you want to hear children’s choirs.

In case you missed it, that was a well hidden reference to my personal music hangover caused by hearing the children’s dirge from A Charlie Brown Christmas over and over again on the radio without benefit of watching the animation on the tube. I just felt it might have been too hidden for some of you, so I tore off the gift wrapping and just said it.

As my kids would say, that’s real talkAs Charlie Brown disciples might say, get over it Mr. Grinch.

It may not sound like it, but The Classic Rocker is into the holiday spirit and hasn’t even thought about breaking off the dial padlock on the vintage boom box so I can listen to songs we hear during the other eleven-twelfths of the year. There are some definite favorites and hearing them slip-sliding over the airwaves is like welcoming an old friend home in time for the next family sanctioned holiday feeding frenzy.

Some Christmas songs are classic just because of the circumstances. For example, the pairing of David Bowie and Bing Crosby for Little Drummer Boy can still cause more second looks and confusion than trying to figure out how Charlie Brown’s pal Schroeder can outplay Billy Joel on a toy piano. And Keith Richards‘ holiday ode to Chuck Berry with Run Rudolph Run only shows that a rock star’s eggnog is more potent than what we can legally purchase in the grocery store.

I would say those two songs are worthy runners-up for the list I’m about to rock around your Christmas tree. And I’m also tempted to give a shout-out to Mariah Carey for All I Want For Christmas Is You, except that would be like inviting one of your kids to the office Christmas party. It ain’t gonna happen, but here’s a gold star for your effort anyway kid.

There are a few Christmas songs that pass the strict criteria I’m laying down to differentiate between what’s naughty and nice. Naughty means you’re only allowed out for one-twelfth of the year.

Nice…?

Well, the following songs are still not gonna be heard on my vintage boom box in June. But if by chance some deejay was just regaining consciousness six months after attending Keith Richards’ Christmas party and in his eggnog fog broadcast the wrong playlist, I could be sitting by the pool drenched in sunblock, sipping an umbrella drink and still reach over to turn up the volume.

The Top Three Classic Rock Christmas Songs

No. 3 – Blue Christmas by Elvis Presley.

“Ah’m’a havin’a ba-loo Christmas, without you…”

When you hear The King hittin’ the low notes to start this holiday cry fest, you forget all about the wobbly voiced sopranos that kept Snoopy voluntarily out of hearing range and in his doghouse. It brings images of a solo Santa in a sparkling jumpsuit aching for a Mrs. Claus to share a cup of eggnog with. Then again, in an effort to spread holiday cheer, I can also imagine this Santa packing a sack of car keys for a fleet of pink Cadillacs triple parked in the driveway of Graceland as gifts for The Memphis Mafia.

If I could dream…

This song was included on Elvis’ Christmas album that caused more explosions in 1957 than New Year’s Eve at The Griswold’s. It was only a year after his epic breakthrough that had little girls swooning and crying while their parents trembled and cried in horror at the image of a white guy with greasy hair and sideburns singing “race music” to their children. At that time you didn’t see Perry Como or Bing Crosby wearing tight slacks and shaking their hips in time to a stand-up bass, but Elvis broke a holiday sound barrier that year that has never snapped back into place.

It was a scandal and Elvis was scandalous. Ed Sullivan practiced television parental control by only allowing him to be shown from the waist up. Milton Berle tamed him for the entire family by making Elvis The Pelvis focus his singing on a top hat wearing hound dog. The gimmick worked, earning Uncle Miltie big television ratings instead of supermarket tabloid headlines.

So when this hellion of rock’n roll tackled Christmas as flamboyantly as he did rockin’ and rollin’ in the jailhouse, the moral majority said enough was enough. There were demands to ban his holiday music collection and send him back to where he came from, which was driving a truck and singing to his mama.

But that didn’t happen. Swooning teens pushed the album to number one and Blue Christmas has gone on to become a standard heard every year. In fact it’s used by the same swooning teens that are now the horrified grandparents of Lil Wayne fans as an example of the good’ol days of family holiday music.

Here’s Elvis performing Blue Christmas during his amazing Come Back television special in 1968…

 

No. 2 – Happy Xmas (War Is Over) by John and Yoko

This one was another lump of coal for the Geritol Generation in 1971. It had only been a few years earlier that John and Yoko, better known as johnandyoko, rattled and rolled parental moral fibers by displaying their naked selves on the cover of their Two Virgins album. Even though it had been gift wrapped in brown paper by the censors, it probably had Hugh Hefner thinking about dress codes and gave a young Richard Simmons his idea for a career.

But if that wasn’t enough to earn Lennon a coveted spot on Richard Nixon’s naughty list, this song helped. After years of bed-ins, protests, marches and songs like I Don’t Wanna Be A Soldier Mama and Power To The PeopleHappy Christmas (War Is Over) still carries their message to more people than all their other “happenings” put together.

It’s become a standard Christmas song thanks to the johnandyoko original and more cover versions than names on Nixon’s vintage enemies list. And you know what? It’s actually a protest song with the same message johnandyoko were telling us since their public honeymoon bed-in at the Amsterdam Hilton.

War is over if you want it.

What they wanted was for us in 1971 was to end the war in Vietnam. Since this was a sugar plum fairy coated protest song, there’s a chance Nixon’s wife Pat might have thought it was Bing, Perry or Frank. I have visions of Tricky Dick reacting with an eggnog spit take the first time Pat had it piped through the White House sound system.

In an interview Lennon said he had learned the message of his song Imagine got through to more people because of the catchy melody and pop production. So instead of screaming, ranting and chanting to end the war, he said it with a catchy and now classic holiday melody and pop production.

It worked. The message still comes across loud and clear every holiday season.

Happy Xmas (War Is Over) is a beautiful song and a beautiful message. It also serves as a yearly reminder of how much we lost when John Lennon was taken away from us on a December evening in 1980. Our generation was never the same again. Happy Xmas johnandyoko.

 

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No. 1 – Christmas (Baby Please Come Home) by Darlene Love

What’s this song have in common with Happy Xmas (War Is Over)? Both were produced by that mad little Christmas elf himself, Ronnie’s ex-husband Phil Spector.

They say genius lives on the edge of madness. Then again, maybe I’m just quoting from memory the teacher’s comments on my fifth grade report card. But before Spector hit tabloid headline-worthy crazy, he made some damn good records.

One classic LP that hasn’t lost any holiday cheer over the last half century is A Christmas Gift For You From Phil Spector. The man behind the Wall of Sound filled two sides of vinyl with holiday pop rock from The Crystals, Bob B. Soxx & the Blue Jeans and the Classic Rocker’s personal favorites, The Ronettes.

But the real favorite on this gift from Phil is Darlene Love’s powerful, rockin’ and soulful plea for her baby to please come home for Christmas. Every listen brings chills, whether you’re opening packages at The North Pole or South Beach. It’s that good and a standard that can’t be topped.

Sorry Bono.

In case you missed it, “Sorry Bono” was a not so hidden reference to the U2 version which is good, but not Darlene Love worthy. And for those speed reading, it shouldn’t be confused with “Sonny Bono,” who was a go-fer for Spector during these sessions that employed his future meal ticket Cher as a background singer.

As fate would have it, this song and the album didn’t get the attention it deserved when released on November 22, 1963President John F. Kennedy’s trip to Dallas sucked the air out of any holiday cheer and Spector’s gift tanked in the sales department. The album didn’t hit the yearly holiday hit parade until it was re-released by Apple Records in 1972, which happened to be owned by johnandyoko and three other guys.

Just another common thread in the web of Christmas songs…

Darlene Love is still belting it out, but we lost a Christmas tradition in our house when David Letterman stepped down as host of The Late Show. Darlene’s annual rendition with Paul Shaffer and the band was must watch television for many years.

The tradition may be gone, but not forgotten. The video below is Darlene’s final appearance during Dave’s final season.

When the fake snow falls on the audience in The Ed Sullivan Theater we’ll go for the rock star eggnog and toast another season of holiday cheer. When the fog clears, it signals the start of summer and raises questions of why I’m waking up next to Keith Richards’ swimming pool wearing a Santa hat.

Happy holiday!

 

Have a comment?

Please use the contact form below – and keep rocking’!

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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