Tag Archives: pop music

#160 – Those Were The Days

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#160 – Those Were The Days by Mary Hopkin

 – Take an old Russian folk song, rewritten English lyrics, a talent show winner and a Beatle and you come up with a 1968 hit record. That was the formula for one of the earliest releases by Apple Records that hit number one in England. In the States it was kept from the top spot by another early Apple release, Hey Jude by the same Beatle and his three business partners.

Working off trivia memory that I must have read somewhere, Paul McCartney heard this song performed in a London club by Gene Raskin, an American folksinger. Raskin is the guy that wrote the English lyrics, which is information I can’t claim to have in my memory bank. He’s given songwriter credit on the record.

One Beatle and Mary

McCartney liked the song, but never had any intention for the Beatles to record it. Those Were The Days was so very different than anything else on the pop charts that he needed someone very different to record it. When Mary Hopkin won the televised British talent show Opportunity Knocks, he found the voice. Taking a break from recording The Beatles (The White Album) he took her into EMI Studios and produced this very different sounding song.

It was also a very different way to wake up on September 21st with Mary Hopkin’s voice singing this song in my mind. It’s not one you hear… well, at all on Classic Rock Radio. And since I don’t own a copy and haven’t heard it in… well, it seems like forever, it goes in the subliminal category of Dream Songs.

But I did own a copy at one time. It’s a very catchy tune and after hearing it on Top 40 AM Radio late that summer, I bought the 45 rpm single. But it wasn’t the type of song my friends and I would play at parties because it wasn’t exactly uplifting. It wasn’t the vinyl you’d put on a turntable to get everyone up to dance.

But speaking of parties…

My best friend and I were fifteen years old and had summer jobs at my family’s bakery when this song was climbing the charts. We lived in a tourist town on the shores of Lake Erie and though we started work early in the morning, we’d usually be finished around noon. That gave us plenty of daytime to hang out at the beach or ride our bikes around town looking for adventures. And since fifteen year old guys don’t need a lot of rest, we’d stay up most of the nighttime supposedly sleeping outside in one of our backyards (both with and without a tent), which was actually an excuse to have no parental supervision. That meant we could also ride our bikes around town all night looking for more adventures.

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We were pretty much inseparable and kept ourselves – and our circle of friends – very entertained.

I’ll go ahead and say Kevin and I were ringleaders of fun because we always had ideas and something going on. One of our objectives was to have parties so we could hang out with the cool girls in our class. But we didn’t want to throw a party like everyone else. We had to make it seem like an event, which meant we would have a theme.

Our most popular was a movie premier.

If you wanted to see a movie in 1968 you either went to the local theater or watched television. There were no video rentals, we had never even heard of Beta, VHS or the very futuristic DVDs, cable, internet or streaming services. Of course that lack of technology wouldn’t stop this great theme idea. We just had to make our own to make it happen.

Something like this!

Kevin’s family had a home movie camera (we’re talking about using a reel of film) so we became producers, writers, actors and directors. Kevin and I were cast as the stars (hey, it was our movie) and if we needed villains for any scenes, we’d use his younger brother and best friend. We’d pick on them anyway, so the only difference would be filming it.

We’d create short scenes of craziness and comedy bits, separated by brief psychedelic light shows. This visual effect was accomplished by holding the camera lens directly on different colored light bulbs for a few seconds each, resulting in changing color bursts when we projected it on a screen, signaling the end of one bit and the beginning of the next.

We had no editing capabilities, so whatever we shot would be in the movie. There was also no sound with 1968 home movie cameras (at least not on the one we had), so like silent movies we had to write out any important dialogue on poster boards and hold it up in front of the lens. It’s no wonder our sight gags (silent) worked the best.

Much of this is lost to memory, but one bit is worthy of being stuck in my mind.

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The scene opened with me sitting at an empty kitchen table. I’d rub my stomach acting like I was hungry, act like I had a great idea and snap my fingers. Kevin would stop the film and I’d stay motionless as he put an empty dinner plate in front of me. He’d start the film and just like in the television show Bewitched, it looked like I had magically made the plate appear. We continued with the routine until I had silverware, a napkin, lit candles, a wine glass and then the glass filled (but not with wine). In what should have been my final finger snap conjuring up a delicious meal, an old shoe appeared on the dinner plate.

But wait – that wasn’t the end of the bit. Acting disgusted, I snapped my fingers again. Then, like magic, I disappeared and Kevin was sitting in my chair at the table with a sandwich on the plate. Acting happy, he reached for the wine class (not with real wine) and took a sip.

Laughter and applause from our audience, a psychedelic light show on the screen – and then onto the next scene.

Samantha Stevens

As the scene’s featured thespian my emotions had to run from hungry, to surprise, to almost elated and at the end, disappointment. Too bad we never came up with an awards ceremony theme to our parties because I would’ve been a shoe-in (pun intended – thank you).

The final films were about ten minutes long. But just so our invited guests (especially the cool girls) didn’t have to watch a completely silent movie, we’d also record a soundtrack playing various instruments (we had some talent) onto my reel-to-reel tape recorder. We’d do our best to sync the sound and film when we’d hit “play” on both at the same time.

Together we were also a good promotional team and built up the anticipation for these premiers that would happen at one of our houses. And since we also had a good group of friends these were successful parties. There were always enough laughs for us to show the latest film a few times, then play the latest records, dance, laugh some more and talk up the cool girls. And if our star power was bright enough (like a psychedelic light show) the evening might end with a kiss, or two… or three.

So, would I say those were the days? Yeah, they really were fun.

But even though I enjoy reminiscing as The Classic Rocker, and Mary Hopkin with Those Were The Days stirred up memories of my cinematic career as a fifteen year old child actor (where was The Disney Channel when I was looking for a job?) I don’t think I’d ever want to go back. Just like each song on this countdown serves as a reminder, I think there are plenty of adventures, laughs – and even a little magic – down the long and winding road ahead. I’m still finding ways to entertain myself. Yesterday was cool, but you never know – tomorrow might be even cooler.

I just wish there was a psychedelic light show I could use to signal my next bit. Why? Because it would look very cool projected on a screen before my entrance into the new scene.

Have a comment?

Please use the form below – and keep rockin’!

Here’s a video from 1968 (with production quality a lot better than mine!) of Mary Hopkin performing Those Were The Days.

 

To purchase Come and Get It: The Best of Apple Records with Those Were The Days and Mary’s follow up hit Goodbye (written by Paul McCartney) 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 2019 – North Shore Publishing

 

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#163 – It’s Still Rock and Roll to Me

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#163 – It’s Still Rock and Roll to Me by Billy Joel

 – When this song came out in 1980 boomers were still controlling the music scene, but something strange was starting to happen. Our rebellious nature had been focused on the older generation, but now we were feeling the push of a generation coming up behind us. They were tagged as Generation X and many of us considered them too young to be of any real notice as we continued to groove through our late twenties. It was noticeable when the punks and new wave bands of the late 1970s (with members born in the boomer generation) started calling our favs like The Rolling Stones, Led Zeppelin, The Eagles and The Who “dinosaurs.”

I’ll go ahead and lay the blame on the newer and younger record-buying age group for pushing the latest vinyl 45 rpm singles to the top of the music charts during the late 1970s. My age demographic had been album-oriented since the late 1960s and the current singles really didn’t interest us.

If a new group didn’t have an album worth buying, we didn’t notice.

But teenagers were buying the singles, making them hits and influencing the latest styles. Since sales equals profit for record companies hoping to stay in the black (vs. going into the red and out of business) they focused on their new audience. And like boomers during our era, the latest look was influenced by new artists, which meant both the music and fashion trends were shifting away from us.

We had to adjust or join the pack of dinosaurs that risked going out of style and being labeled old.

Here’s what I mean:

In the late 1970s you could still be psyched about the latest album from your favorite band that had formed in the 1960s. Fashion-wise you could still maintain some type of cool looking like one of The Eagles from Hotel California, a disco freak from Studio 54, a punk rocker or Keith Richards. As a side note, the Keith Richards look always allowed for admittance into the other groups.

By the time we hit 1980 there was a major shift in music and fashion sense.

I was already three years into my New York City residency when I realized this new trend was taking over. Hippies were past tense, the Woodstock era no more than a memory, disco was dying, and punk was… well, for punks.

The music consisted of more electronics than guitars and the beat came from drum machines. To be fashionable and anti-prehistoric, the guys had ditched bellbottoms for skinny legs and shirts with skinny ties topped with loose jackets. Hair on girls would continue to get higher throughout the decade while the guys went shorter.

But again, the fault didn’t lie with my demographic of baby boomers. The younger crowd was coming into spending money and the music and fashion industries were catering to their newest and profitable big market.

It’s Still Rock and Roll to Me was a protest song about this.

A hit during the summer of 1980, Billy Joel defended our taste in music while still succumbing to a fashion statement in the song’s video that wouldn’t make him seem like a dinosaur. His shorter hair and skinny tie made that perfectly clear.

The song rocked enough to make adulthood challenged boomers still feel relevant while also signaling the end of our musical dominance. The 1980s would’ve only gotten worse for us if we hadn’t been saved by the advent of Classic Rock Radio. At least our hits would still be on the airwaves while it would be decades before our fashion sense became retro.

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The Beatles At Shea Stadium

The Story Behind Their Greatest Concert

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It’s Still Rock and Roll to Me hit this Dream Song list on September 18th. I own a copy and it’s not an unfamiliar addition to my weekly playlists. But it hadn’t been recently. For that skinniest of reason, it goes into the subliminal category.

As a musician I was still playing what I felt was rock and roll at the time, even though it was a far cry from the rock and roll I lived for as a teenager. Over the previous decade bands like Zeppelin, Pink Floyd, The Who and yeah… even KISS had given it more volume, power and flash.

If you wanted to be in a rock band in 1980 you had to adjust.

I strummed here a few times!

After a couple years strumming an acoustic guitar and going nowhere fast in Greenwich Village folk clubs, I bought a bass and decided it was time to turn up the volume. Along with my pals Tim on guitar and Bobby on drums we formed a hard rock, high volume trio that we called Rox. I found out years later another band had used the same name and released an album, so in the end I guess they own it. But I also maintain we were first.

It’s just that no one outside of our NYC neighborhood ever heard of us.

As a band we spent more time rehearsing and recording than we did playing live shows. I thought it was mistake then and still do. Playing live really was the only way to be seen and hopefully discovered, but the others disagreed. Their logic was to record an album worth of original songs and sell it to a record company.

Rather than debate the merits of that decision let’s just say it didn’t work out.

But thanks to a good friend who worked as a producer of radio jingles and had been a fan of my earlier music in the Village clubs, we scored quality time in a state-of-the-art recording studio in Midtown Manhattan. She basically “piggybacked” us onto scheduled jingle recording sessions. If she had booked four hours for a jingle and it only took three to complete, we inherited the remaining hour. The result is that I own about three-quarters of a finished LP by Rox that no one outside the three of us and a few family and friends have ever heard. And to be honest, it’s pretty good.

Someday I should do something with it. But in the meantime…

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The few live shows we did were more concerts than club gigs. When the mood struck us, we’d rent a large loft near Gramercy Park, rely on friends to help build a stage (and I have no idea who donated the lumber for these “raves”), use a photographer friend’s lights, and borrow a sound system from another band. We’d schedule an opening act, print up flyers and end up packing the place.

These were hot, sweaty, energetic and LOUD performances. The crowd reaction was always great and called for encores until we ran out of songs. But instead of keeping the momentum going, my two band mates were content to spend weeks in rehearsal studios and hours recording our “breakout” album.

Again, it didn’t happen.

Fighting for Rock ‘n’ Roll

It’s Still Rock and Roll to Me was on the charts and video airwaves while all this was going on with Rox. And it reminds me of one live performance that was far from a concert since it was an audition for some type of talent show that was supposed to help us be seen by record people.

It was a Saturday morning (not the best time for rock and rollers) during the summer of 1980 when we carted our equipment via a NYC taxi to a studio in The Village. We set up in a room to play in front of a panel of about six people who would decide if we’d be part of this industry showcase.

Billy Joel’s video comes to mind because we played rock and roll but bowed to the current fashion trend. I remember wearing tight pants, white Capezio dance shoes, shirt with skinny tie and a white cloth jacket with the sleeves pushed up. I’m not sure what the other guys wore, but guessing it wasn’t too far removed from my look. The only real difference from Mr. Joel was our long hair.

The 80’s hadn’t changed us that much – at least not yet.

We were a loud and heavy band, but for some reason Tim and I had written the first – and only – slower, ballad type song we would ever do. It was called Forever and I played a very melodic bass line while Tim floated a flanged guitar effect sound over the top. Bobby kept a simple time on the drums, and I sang lead. By the end of the song it built into a heavier sound that I thought then – and still do – was very cool and more classic rock than ’80s hip.

When we finished the song, we were very pleased with how it went. However, one of the judges came over and asked if we could “turn down the volume” for our second song.

Say what?!

Turn it up to eleven!!

That definitely wasn’t what we were about as a band. We also realized, based on the judges looks (80’s hip) and attitudes (turn it down?) that this showcase wouldn’t be right for us anyway. The three of us came to a quick decision, scratched the idea of doing a more pop song we had planned and turned the volume on our amplifiers up to eleven.

We played one of the hardest rocking songs we’d ever written and recorded called Love On Wheels. I maintain we sounded like Guns ‘n’ Roses at least six years before any of us had even heard of Guns ‘n’ Roses. We also extended the ending lead guitar jam into what we called a Wall Of Sound and pretty much shook the building down to its foundation.

I remember a few of the judges walked out during our performance. I have a feeling their 80’s hipster ears were bleeding to the sound of Rox.

After finishing, we didn’t even wait for the “don’t call us, we’ll call you” decision. Laughing and giving each other high-fives, we dragged our equipment out onto the street, hailed a taxi and made it to our local neighborhood hangout for lunch and beers. A crowd of our friends turned the afternoon into a party and we never thought again about auditioning for a showcase.

We ended up doing one more huge loft gig that year before we split up – staying friends – for other career paths. In my case, my microphone and small practice amplifier were the only equipment needed to start a popular comedy club in our same neighborhood hangout that ended up taking me places and providing experiences I would’ve never dreamed of while protesting the “new sound” by being a rock ‘n’ roller in 1980.

Have a comment?

Please use the form below – and keep rockin’!

And speaking of protesting and defending rock ‘n’ roll in 1980, here’s Billy Joel doing just that:

 

To purchase The Essential Billy Joel with It’s Still Rock and Roll to Me 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 2019 – North Shore Publishing