Chapter OutlineChapter 5: American Responses (1964-1966)

American audience reaction to the Beatles was very positiveMusicians' response was one of inspired attempts to imitate and innovate

1. Established artists continued with what they were already doing prior to 19642. They continued to enjoy commercial success

Phil SpectorThe Beach BoysThe Four SeasonsMotown artists

There was a music industry movement away from New York to Los Angeles after 19641. The television industry in Hollywood began producing pop music variety shows

Paul Revere and the Raiders hosted one such showThey wore Revolutionary War costumes

2. A television sitcom was developed around the Beatles film A Hard Day's NightThe Monkees (also with a misspelled band name) was a fictitious rock bandEven one member of the cast was BritishDavid Jones was seen on the February 9, 1964, Ed Sullivan Show that debuted the Beatles

3. Folk groups and artists moved to Los Angeles but nearly all were eventually signed to New Yorklabels

4. Ironically the New York labels ignored them when they were in New YorkBy 1965 new American pop styles began to appear

1. Former styles were being fused with Beatles-oriented "beat" music2. The most obvious example is folk rock

Folk music is simpleIt is easily accessible to amateur musiciansLyrics dominated that styleElectric instruments began to be used instead of acoustic instruments

3. The earliest artists to employ these sounds were folk artists firstBob DylanThe ByrdsBoth added electric guitars, electric bass, drums, and occasionally keyboards

4. The folk revival was based on guitar chords accompanying vocals5. The Beatles were originally a guitar-based ensemble

The transition from acoustic to electric is easyWould-be musicians bought electric guitars and began practicing in garages

6. The combination of imitation and adaptation of preexisting styles is best seen in folk rockFolk rock begins with Bob Dylan

Bob Dylan in 19641. Well known in the folk music community2. Relatively unknown to the commercial pop mainstream audience

Folk artists weren't part of the "singles" end of the music industryThey were known for their albums of folk songs

3. At this time the folk music that had high exposure was by the pop-oriented folk artistsPeter, Paul, and MaryThe Kingston Trio

4. Dylan's recording success was based on album sales5. His album sales were fueled by touring

Extensive performances on college campusesFolk clubs

6. Built his style around that of Woody GuthrieAdded new lyrics to familiar public domain folk songsThe new lyrics were about social injusticeThe heroes of Guthrie songs were real people, not folklore

7. Early Dylan songs dealt with social issues"Blowin' in the Wind" addressed civil rights issues"Masters of War" was about the newly erupting Vietnam

8. Eventually Dylan began addressing more personal ideasHe put his talent for crafting lyrics into these relationship-driven topicsThese lyrics were far more poetic than Brill Building songs

9. His second, third, and fourth albums were commercial successes in America and EnglandThe Freewheelin' Bob Dylan (p22 uk16, 1963) had his original version of "Blowin' in the Wind"The Times They Are a-Changin' (p20 uk20, 1964)Another Side of Bob Dylan (p43 uk8, 1964)

Dylan after 19641. He'd been interested in using electric instruments but wasn't satisfied with early attempts2. The Byrds released an electric version of his "Mr. Tambourine Man" in 1965

The Byrds used a Rickenbacker electric 12-string guitar for the hook and accompanimentGeorge Harrison is seen playing one in A Hard Day's NightDylan liked what he heardDecided to try electric instruments again

3. Bringin' It All Back Home (p6 uk1, 1965) was half electric and half acoustic4. He next released a single that became a hit: "Subterranean Homesick Blues" (p39 uk9, 1965)

Electric Dylan and the Newport folk festival controversy1. Dylan appeared at Newport in July of 1965 using electric instruments on some songs2. Folk purists accused him of selling out to the pop mainstream3. Dylan's next single was "Like a Rolling Stone" (p2 uk4, 1965) and also used electric instruments4. The next album was Highway 61 Revisited (p3 uk4, 1965)5. The next single was "Positively 4th Street" (p7 uk8, 1965)

An angry songWhat he called a "finger pointing" songHe used this metaphor in his songs about social injustice and pointed out the perpetratorsIn this song he was accusing the folk music establishment of unfair criticismHe's obviously angry and takes up twelve verses to express it.

6. Dylan had another hit with "Rainy Day Women Nos. 12 and 35" (p2 uk7, 1966)7. His last album of 1966 was Blonde on Blonde (p9 uk3, 1966)

He used a band named the Hawks as his backup musiciansThey subsequently changed their name to the Band

8. Dylan spent several months recovering from a near-fatal motorcycle accident in July of 1966His records inspired musicians to follow in his pathThey used electric instruments to accompany lyrics about serious issues

9. Dylan was gone for a while but folk rock was continued by other, more commercial artistsThe Byrds and the jingle jangle of the electric 12-string guitar

The first international folk rock hit was the Byrds' recording of Dylan's "Mr. Tambourine Man" (p1 uk1,1965)

1. Byrds were formed in Los Angeles in 1964Roger (Jim) McGuinn, electric 12-string guitar and vocalsGene Clark, vocalsDavid Crosby, guitar and vocalsChris Hillman, bass and vocalsMichael Clarke, drums

2. Manager Jim Dickson taped their rehearsals and had them listen to themselvesThe Rickenbacker electric 12-string guitar and folk rock

1. They saw the Beatles film A Hard Day's NightGeorge Harrison is seen playing a Rickenbacker electric 12-string guitarIt was only the second one ever madeMcGuinn traded in his acoustic for a Rickenbacker 12-string similar to Harrison's

2. Their trademark sound was instantly recognizableRich textured harmonized vocals utilizing full and falsetto voicesThe sparkling electric 12-string

3. They recorded rock versions of folk songs and originalsTheir first album was titled Mr. Tambourine Man (p6 uk7, 1965),Total of four covers of Dylan songs

4. They covered a Pete Seeger song, "Turn, Turn, Turn" (p1 uk26, 1966)5. The next album was also titled Turn, Turn, Turn (p 17 uk 11, 1966)

Also some covers of Dylan songsAlso some originals, most written by Gene Clark

When Dylan began writing folk rock songs the Byrds lost their best source of material1. This forced the Byrds into writing their own folk rock songs2. They explored other styles, particularly jazz

Their next hit was written by McGuinn, Clark, and Crosby: "Eight Miles High" (p14 uk24,1966)Inspiration from John Coltrane's "India" for the guitar solos

3. Radio stations quit playing the song when a trade magazine said the song was about drugsThe lyrics referred to a cruising altitude for a transatlantic flightThe word "high" was code for being under the influence of drugs—double meaning was tooclear

4. The Byrds' fourth album showed a wide spectrum of stylistic influencesYounger Than Yesterday (p24 uk37, 967)CountryJazzAvant-garde influencesPsychedelia

The Byrds, Dylan, the Beach Boys, and the music business"Mr. Tambourine Man" is an interesting convergence of music business aspects

1. The entire band is not playing on the recordMcGuinn plays the electric 12-stringMcGuinn and Crosby singThe rest of the track is provided by Phil Spector's "Wrecking Crew" studio musicians

2. The "Wrecking Crew" used the same groove that they used on a Brian Wilson song"Don't Worry Baby" was inspired by Spector's production of "Be My Baby" for the RonettesWilson originally wrote that song for Spector's girl groups—he rejected itThe idea of using studio musicians is a Brill Building conceptMcGuinn had worked in the Brill Building as a songwriter for teen idol Bobby Darin

3. McGuinn claims to have been inspired by a Bach chorale: "Jesu, Joy of Man's Desiring"He had been learning to play it on the electric 12-string guitarThe electric 12-string hook is melodically more similar to classical music than to rock, folk, orblues

4. The use of a Beatles trademark sound in 1964 is unmistakable5. The song has been substantially reduced in length

It is in contrasting verse-chorus form with uneven numbers of measures in the versesDylan had three verses in his original versionOnly one verse is used in the Byrds' cover

6. The song therefore takes on a "universal" style by embracing many of the current or recent trendsFolk music was the music of "everyman"Rock music was for all of the youth

Simon and Garfunkel and electric folkThe song "The Sounds of Silence" (p 1, 1965) exemplifies how folk can be turned into rock

1. Paul Simon and Art Garfunkel performed as Tom and Jerry in the late 1950sTheir song "Hey Schoolgirl" was patterned after the Everly Brothers' duo approachThey appeared on American Bandstand

2. They turned to folk music and recorded the folk album Wednesday Morning, 3 am (1964)It didn't do well and the duo split upSimon went to EnglandGarfunkel went to graduate school

3. Dylan and the Byrds ushered in the folk rock sound in 19654. The producer was Tom Wilson

He'd worked with Dylan on mid 1960s albumsDylan's first album in 1962 contained an acoustic version of "House of the Rising Sun"By 1966 Wilson was working with the Animals who'd recorded an electric version of it in 1964

5. Wilson decided to add drums and electric instruments to one of the Wednesday Morning, 3 am tracks"The Sounds of Silence"Simon and Garfunkel knew nothing about itThe folk rock version of the single went to number one in the fall of 1965

6. The duo reunited and put the song on their new album, The Sounds of Silence (p21 uk 13, 1966)7. They had more hits through the late 1960s

"Homeward Bound" (p5 uk9, 1966)"I Am a Rock" (p3 uk 17, 1966)

8. The 1967 album Parsley, Sage, Rosemary, and Thyme (p4) moved back to acoustic arrangementsHe'd worked with Dylan on mid 1960s albums"Scarborough Fair-Canticle" (p11, 1968) employed delicate counterpoint"A Hazy Shade of Winter" (p13, 1966) uses a rock arrangement

9. They finished out the 1960s with two monumentally successful albums (commercially andaesthetically)

Bookends (p1 uk1, 1968)Bridge over Troubled Water (pl uk1, 1970)

The California side of the folk rock movementFolk rock began by setting preexisting folk songs to rock arrangementsSeveral artists or groups wrote songs in the new style

1. P. F. Sloan's "Eve of Destruction" was recorded by Barry McGuireLike many folk rockers, McGuire started in New York and moved to California

The Turtles1. A folk rock group that went pop2. The Turtles started their career by covering Dylan songs

"It Ain't Me Babe" (p8, 1965)"Let Me Be" (p29, 1965)

3. They moved toward the mainstream pop sound after that with their own material"Happy Together" (p1 uk12, 1967)"She'd Rather Be with Me" (p3 uk4, 1967)"Elenore" (p6 uk7, 1968)"You Showed Me" (p6, 1969)

4. Characteristic Turtles sound built upon highly polished dual lead vocalistsHoward KaylanMark VolmanBoth vocalists joined Frank Zappa's band for a few years with odd stage namesPhlorescent Leech and Eddie (Flo and Eddie)

Mamas and the Papas1. A quartet of highly skilled singers formed in New York

Singer/songwriter/arranger John PhillipsMichelle PhillipsDenny DohertyCass Elliot

2. Moved to Los Angeles with other folk artists3. Sophisticated four-part vocal arrangements with a wide spectrum of influences

Late 1950s-early 1960s close harmony folk singing similar to Peter, Paul, and MaryGirl-group doo-wop (they had a hit with a cover of the Shirelles' "Dedicated to the One ILove")

4. Accompanied by a rock rhythm sectionDrumsElectricBassGuitarsKeyboards

5. They had several hits that blended folk rock with pop mainstream finesse"California Dreamin'" (p4 uk23, 1966)"Monday Monday" (p1 uk3, 1966)"I Saw Her Again" (p5 uk11, 1966)"Creeque Alley" (p5, 1967)—a musical tale of their (and friends') climb in the folk rock scene

American pop on both coastsPhil Spector continues onward

1. Achieved his greatest successes in the months after the Beatles arrivedThe Crystals: "Doo Doo Ron Ron" (p3 uk5, 1964) and "Then He Kissed Me" (p6 uk2, 1964)The Ronettes' "Be My Baby" (p2 uk4, 1964)

2. Spector and the Righteous Brothers hit with three big singles:"You've Lost That Lovin' Feeling" (p1 uk1, 1965)"Unchained Melody" (p4 uk14, 1965)"Ebb Tide" (p5 uk48, 1966)

3. He hoped "River Deep, Mountain High" would be his greatest record everWritten by Spector, Jeff Barry, and Ellie GreenwichSung by Tina TurnerFailed in charts (p86, 1966) went to number three in the UKSpector was crushed by the failure and retired from the music business

4. Later produced some Beatles-related projects that went to number 1The Beatles "Let It Be" (1970)George Harrison "All Things Must Pass" (1970)John Lennon "Imagine" (1971)

The Beach Boys: Brian Wilson becomes another Phil Spector1. Beach Boys continued to have hits after the Beatles arrived

They shifted away from surf music"Fun, Fun, Fun" charted at number 5 during the Beatlemania craze"I Get Around." was their first U.S. number 1 (number 7 in the UK) in 1964

2. They were in direct competition with the BeatlesBoth groups were on Capitol recordsCapitol was at that time owned by EMI—the Beatles' parent label

3. Brian Wilson decided to stop touring with the Beach Boys in December 1964He wanted to devote all of his time to writing and producing the Beach Boys' songsThe band replaced him on the road with Glen Campbell and then Bruce Johnston

4. Wilson continually developed very sophisticated writing, arranging, and production techniques"Help Me Rhonda" (p1 uk7, I965)"California Girls" (p3 uk26, 1965)

5. The album Pet Sounds (pl 0 uk2, 1966) upped the standard for record production and arranging"Sloop John B" (p3 uk2, 1966) uses Spector' s "Wall of Sound" with Wilson's vocalarrangements"Wouldn't It Be Nice" moves beyond surf music concepts"God Only Knows," is the best example of how far Wilson's music developed

6. Pet Sounds became one of the most influential albums of the 1960sInspired the Beatles to even greater experimentation in Sgt. Pepper's Lonely Hearts ClubBand

7. The next single, "Good Vibrations," became a new model for studio creativityThe "California Girls" introduction section exemplifies a sophisticated arrangement

1. Blend of symphonic melodic and harmonic concepts with surf musicContrasting verse-chorus formal designOverall structure has noticeable similarity to Spector's song "Be My Baby"Instrumental break after the second chorus and before the chorus fade-out

2. Eight-measure introduction is unique to the song and does not recurA brief two-measure figure played quietly at firstRepeated as new instruments enterChords build in the hornsTwo-measure rhythmic figure leads into the first verse

3. Various musical concepts show Wilson's interest in expanding the sound of rock musicDrums change rhythmic pattern during the chorusDrum accents in the choruses are rhythmic patterns more common to symphonic music

4. The subtleties in this 1965 song foreshadow new experiments in Pet Sounds and "Good Vibrations"Sonny and Cher (Sonny Bono and Cherilyn La Piere)

Sonny had been involved in the Los Angeles music scene since the 1950s1. Worked at Specialty Records

Assigned to Little Richard before the singer decided to give up rock for the ministry2. Handled promotion for Phil Spector's label, Philes Records

Close to Spector—a trusted employeePlayed percussion on many Spector productions at Gold Star StudiosLearned Spector's production techniquesOften brought girlfriend Cher in to sing backup vocals

Sonny and Cher released three unsuccessful singles in 1963 as Caesar and Cleo1. Sonny wrote and produced singles that became regional hits in 1964

"Baby Don't Go" and "Just You" for the first half of 19652. They cashed in on the new folk rock trend of covering folk material

Sonny produced Cher's cover of Dylan's "All I Really Want to Do"It went to number 15

Caused the Byrds' version to stall in the charts at number 40"I Got You, Babe" hit number one in both the U.S. and UK charts

3. Earlier songs returned successfully to the charts"Baby Don't Go" (p8 uk11) and"Just You" (p20)

4. They next had a series of pop hits:"But You're Mine" (p15 uk17, 1965)"Little Man" (p21 uk4, 1966)"The Beat Goes On" (p6 uk29, 1967)

They developed into cultural icons1. They were known for their outlandish hippie attire and long hair

The youth culture embraced them for their conviction to nonconformityThe establishment resented them for it and harshly criticized them for itThey were among the first to state that people had a right to look the way they wanted to

2. They conveyed an anti-establishment image3. Eventually hosted their own network TV variety show that was very successful

By the time that happened, they were considered to be "family entertainment"They employed humor that was directed at conservative values as well as each otherThey married and became one of the "America's Sweetheart" celebrity couples

More Los Angeles artistsGary Lewis and the Playboys

1. Leader was comedian Jerry Lewis's son2. Gary had appeared in his dad's 1957 film Rock-a-Bye Baby

In 1964 his band was regular entertainment at DisneylandCameo appearance in the film A Swingin' Summer starring Raquel Welch

3. The group's first hit, "This Diamond Ring" (p1, 1965)Produced by veteran producer Snuff GarrettArrangements by Wrecking Crew pianist Leon Russell

4. The song was co-written by Al KooperHe played organ on Dylan's "Like a Rolling Stone" and "Positively 4th St."Lewis performed it with his father in the film The Family Jewels

5. Eleven more hits in the next few years, including"Count Me In" (p2, 1965)"Save Your Heart for Me" (p2, 1965)"She's Just My Style" (p3, 1965)"Green Grass" (p8, 1966)

Johnny Rivers (John Ramistella)1. In the music business for several years before getting a hit record on Imperial Records

His first two hit singles were Chuck Berry covers"Memphis" (p2, 1964) and"Maybellene" (p12, 1964)

2. "Midnight Special" was a cover of a Weavers hitNumber twenty hit in February 1965Before the Byrds or Dylan introduced folk rock

3. Eleven more Top 40 singles in the 1960s"Where Have All the Flowers Gone" (p26, 1965)"Poor Side of Town" (p1, 1966)"Secret Agent Man" (p3, 1966)—his best known songIt was a theme for a popular TV show

4. Started his own label in 1966, Soul CitySigned songwriter Jimmie WebbRivers produced the Fifth Dimension's "Up, Up, and Away" (p7, 1967)

5. Eight Top 40 albumsMeanwhile back in New York

The Lovin' Spoonful1. Formed by songwriter-folk singer John Sebastian

Zalman Yanovsky, guitarSteve Boone, bassJoe Butler, drums

2. Kama Sutra Records released "Do You Believe in Magic" (p9, 1965)Written by Sebastian, produced by Erik Jacobsen

3. Songs tended to be playful and upbeat"Daydream" (p2 uk2, 1966)"Did You Ever Have to Make Up Your Mind" (p2, 1966)"Summer in the City" (pl uk8, 1966)"Nashville Cats" (p8 uk26, 1967)

The Young Rascals1. Signed to Atlantic Records; allowed them to produce themselves

Felix Cavaliere on Hammond organEddie Brigati on vocalsGene Cornish on guitarDino Danelli on drums

2. First hit was a rock and roll cover of the Olympics' rhythm and blues hit "Good Lovin" (p1, 1965)3. Further hits were written in rhythm and blues influenced style by Cavaliere and Brigati

"I've Been Lonely Too Long" (p 16, 1967)"Groovin'" (p1 uk8, 1967)"How Can I Be Sure" (p4, 1967)"A Beautiful Morning" (p3, 1968)"People Got to Be Free" (p 1, 1968)

4. They opened for the Beatles at the Shea Stadium concert in the summer of 1965Their manager was Sid BernsteinBernstein was the promoter of the concert who booked the Beatles

What happened to the Brill Building1. Don Kirschner (Aldon Music) moved to Los Angeles to run Colpix records2. Leiber and Stoller returned to Los Angeles and formed Red Bird records

The Ad Libs' "The Boy from New York City" (p8, 1965)Dixie Cups' "Chapel of Love" and theShangri-Las' "Leader of the Pack" (both discussed in Chapter 3)Left the Drifters with producer Bert Berns

3. In 1965 Berns formed Bang! RecordsPartners were Ahmet and Neshui Ertegun and Jerry Wexler from Atlantic RecordsProduced a group called the McCoysThey had a hit with "Hang On Sloopy" (p1, uk5 1965)—patterned after "Louie Louie"Two more Top 40 hits: "Fever" (p7 uk44, 1965) and "Come On Let's Go" (p22, 1966)

4. Bang! signed Neil Diamond and his hits started in 1966"Cherry, Cherry" (p6, 1966)Diamond wrote "I'm a Believer" and it became a hit for the Monkees

The Four Seasons1. Highly successful vocal group—an East coast answer to the Beach Boys' vocal arrangements

Lead singer Frankie Valli used high falsettoOverall vocal sound was tight and powerful

2. Signed to Vee Jay recordsIn 1963 Beatles producer George Martin had licensed the first Beatles LP to Vee JayCapitol had refused to release the first Beatles album and four singlesVee Jay put out a double album called Beatles vs. the Four Seasons

3. Four Seasons had a long string of hits through the first half of the 1960s"Sherry" (p1, 1962)"Big Girls Don't Cry," (p1, 1962)"Walk Like a Man" (p1, 1963)"Rag Doll" (p1, 1964)"Let's Hang On" (p4, 1965)"Workin' My Way Back to You" (p9 uk50, 1966)

Top 40 RadioRadio in the first half of the twentieth century changed from its original concept into something entirelydifferent

1. Broadcasting was originally built around specific types of programmingSimilar to the way television is nowSome portion of each day was reserved for national showsDramas, soap operas, mysteries, comedies, news, music, or variety shows

2. Television drew audiences away from radio3. Television featured viewable versions of what radio had provided

The transistor radio was introduced in the 1950s

1. The audience that embraced this technology was younger and more active2. This audience was more interested in music than previous generations had been

The actual origin of the Top 40 radio format is not known1. The first all-music radio station was KOWH in Omaha, Nebraska2. KOWH owner-operator Todd Storz abandoned network programming and just played music all day

It was cheaperSurveys indicated that listeners preferred music to any other type of programmingThe idea caught on quickly and spread across the nation

3. The Top 40 format is a simple concept:The host of the show was a disk-jockey—or DJ as they came to be knownThe DJ had to develop an "on air" personality that would hold the listeners' attentionThe DJ played records, occasionally inserting news and advertising between songsThe songs the DJ played came from a prescribed list provided by the station programmerThis list would be based on the weekly Billboard singles chartThat chart indicated the most popular songs in the nation for that week

4. The Billboard chart was based on several factorsNumber of records soldJukebox selectionsCall-in requests to radio stations

5. Not all songs played were from the Billboard chartThey could be songs selected by the station programmerThey could be selected by the DJ

6. Songs could become hits if a DJ played one and the audience liked it and began requesting itDJs played songs based on educated guesses about a new song's potential to become a hitIf the audience liked a song, the DJ would play it more oftenThis generated more sales, jukebox selections and call-in requestsThese factors would affect the song's position on the Billboard chart

7. This cyclical concept is the reason songs exploded into hitsIt happened with songs that had distinctive qualitiesNew stylesNovelty songs

Top 40 radio played an important role in the integration of music styles1. The bottom line for stations was advertiser income2. Listeners are potential consumers of the advertisers' products3. Stations had to play a wide variety of music hits to have a broad listener audience4. Songs by artists from different racial or ethnic groups had positive potential for the station

If the audience liked it, it would get more airplayThis meant more income for the station because it increased the listening audience

The personality of the DJ played an increasingly important role in radio1. Often the DJ would be the deciding factor in whether people tuned in2. Some DJs became national stars3. They played an important role in the hit-making process

Wolfman JackCousin BrucieMurray the K

4. Many of these celebrity DJs made a point of informing their listeners of new styles or artistsThis helped to promote songs that crossed the color lineIt brought about greater stylistic diversityIt accelerated the changes that occurred in all styles of popular music

Garage Bands: No professional experience necessaryAmateur musicians bought guitars, basses, and drums and occasionally keyboards

1. They formed bands and they practiced in garages or basements2. These "Garage Bands" can be seen as a direct reaction to the British Invasion3. British Invasion bands, particularly the Beatles, were idolized by American male teens

Often the goal was to merely play gigs locally at parties or school dancesThey usually used inexpensive equipment and sounded amateurish

4. Most of these bands had a few hits and then disappearedWere unable to rise to the challenge of staying in businessRecord labels released their first recording for the novelty appeal more than anything elseSome continued to improve their musicianship to be able to remain in the businessDoing that worked against them, as they lost the quaint amateurish sound that had worked

for themThe Kingsmen and "Louie Louie"

1. Garage that succeeded with their $50 recording of a 1956 calypso-influenced rhythm and blues songThe band is from Portland, OregonRecording was also made in that area

2. Rose to number two in 19633. Poor quality of the production caused controversy

Nearly unintelligible vocals were suspected of being obsceneIn 1964 governor of Indiana declared the song profane and ordered an FCC investigationFCC couldn't decipher the lyrics eitherDecision was made that the song was harmless

4. The Kingsmen had two more hits before disappearing from view"Money" (p 16, 1964)"The Jolly Green Giant" (p4, 1965)

Paul Revere and the Raiders was another Portland band that also recorded "Louie Louie"1. Their version lost in the charts to the Kingsmen's version2. Their gimmick was Revolutionary War costumes3. They moved to Hollywood and succeeded in the music business through TV exposure4. The were picked to host a network TV show on CBS: Where the Action Is (See XIV.A)5. They worked with Byrds producer Terry Melcher to release several hit records in the 1960s

"Just like Me" (p 11, 1966)"Kicks" (p4, 1966)"Hungry" (p6, 1966)"Good Thing" (p4, 1967)"The Great Airplane Strike" (p20, 1966) written by the band's vocalist Mark Lindsay andMelcher"Indian Reservation" reached number one in 1971

6. This success qualifies this band as the most successful garage band of the 1960sAll the others

1. There was a definite pattern of "one-hit wonders" who didn't last beyond one or two hitsCannibal and the Headhunters: "Land of 1000 Dances" (p30, 1965)Count Five: "Psychotic Reaction" (p5, 1966)? and the Mysterians: "96 Tears" (p1, 1966)Seeds: "Pushin' Too Hard" (p36, 1966)Shadows of Knight: "Gloria" (p10, 1966)Standells: "Dirty Water" (p11, 1966)Syndicate of Sound: "Little Girl" (p8, 1967)

2. Tommy James and the Shondells had fourteen Top 40 hits including"Hanky Panky" (p1, 1966)Recorded in 1963 and released in 1966 after a Pittsburgh DJ started playing it"Mony Mony" (p3, 1968)"Crimson and Clover" (p 1, 1968)"Crystal Blue Persuasion" (p2, 1969)

3. Sam the Sham and the Pharaohs had six national hits up through 1967"Wooly Bully" (p2, 1965) was their first of five more including"Little Red Riding Hood" (p2, 1966)

1960s rock and roll television: American Bandstand meets A Hard Day's NightSeveral television shows appeared modeled after Dick Clark's highly successful show American Bandstand

1. Clark produced the CBS show Where the Action Is featuring Paul Revere and the Raiders2. Other similar formatted shows:

Shindig debuted on ABC a few months before Clark's showNBC followed with its show HullabalooThese three network shows (and many local shows) featured British Invasion and Americanacts

The Monkees television show debuted in September 19661. A show inspired by director Richard Lester's Beatles films2. Television sitcom supported by records3. Main characters were a rock band

General fun and witty humorSongs would be featured in the show and released as records

4. Actors cast for the parts were only involved in singing on the supporting records

Guitarist and songwriter Michael NesmithPeter Tork had been active in Greenwich Village folk musicSinger Davy Jones had performed on Broadway in OliverHe performed with that cast on the night the Beatles debuted on the Ed Sullivan ShowMickey Dolenz had starred in the Circus Boy TV series

5. All focus was directed at the acting in the show, not the records that would be releasedSongs were needed and were provided and produced in the Brill Building traditionProfessional songwriters Tommy Boyce and Bobby Hart were hired to create the musicAlso from the Brill Building: Gerry Goffin and Carole KingThe first Monkees hit, "Last Train to Clarksville" (p1, 1966) coincided with the show's debutNeil Diamond wrote the next hit "I'm a Believer" (p1 uk1, 1966)Backing tracks were produced by Boyce and Hart using studio musicians

6. Hollywood had total control of the show and the musicThis concept closely paralleled the Brill Building approach to pre-Beatles era 1960s songproductionIt was also a successful approach for the Byrds' "Mr. Tambourine Man"Brian Wilson used this approach for the later Beach Boys material, particularly Pet Sounds

7. The success of the music was unexpected"I'm Not Your Stepping Stone" (p20, 1967) was the B-side to "I'm a Believer""A Little Bit Me, a Little Bit You" (p2 uk3, 1967)/"The Girl 1 Knew Somewhere" (p39, 1967)"Pleasant Valley Sunday" (p3 uk11, 1967)/ "Words" (p11, 1967)"Valleri" (p3 uk12, 1968)/"Tapioca Tundra" (p34, 1968)The first four albums were all number one in the U.S. and within the top 5 in the UKThe first two albums combined to hold a number one position for thirty-one weeks from 1966to 1967

8. The band members all improved their musicianship enough to play on their own recordsNesmith had played on the records all alongThey wanted to take control of the writing and production as wellProduction executives resisted but the band won, just as the Beatles had doneEventually other artists would insist on control of their songs

9. When they gained full control, their popularity diminishedA look at "Last Train to Clarksville"

1. Form: simple verse—five verses2. Verse 5 is a return of verse 13. The verses are in a 16-measure pattern, though the first and third verses are only 14 measures

The last 2 measures of those verses are truncatedThere are two interludes added in for the sake of formal enhancement

The first employs a wordless vocalized syllable ("doo")The second is derived from the first with high background vocals and guitar arpeggiosLike Beatles songs of this same time period, the subtle changes in form make the songinteresting

The bands who never were and the hits they hadHollywood went one step further than the Monkees concept: fictitious bands

1. This could be seen as the Brill Building concept taken to the logical extremeSongwriter/producers proved that the actual singers were expendableWhy not have cartoon characters as the "artist"In 1969 Don Kirschner promoted a cartoon band that had a TV show: the ArchiesTheir hit was "Sugar Sugar," topping both U.S. and UK charts

2. There were several successful imaginary bands that appealed to 1960s teensThe Banana Splits wore fuzzy costumesLancelot Link and the Evolution Revolution were chimpanzeesPop music was laid under chase scenes in Scooby Doo Where Are You?

3. The Partridge Family sitcom was about a musical family who were also a "working" bandAll of the songs belonging to pretend bands were in a style that appealed to young teens

1. Their older siblings were interested in songs with more substanceLyrically as with folk rockMusically as with the Beatles (who were embracing folk rock ideals and lyrics by the mid1960s)

2. This young teen pop style was named for a substance present in nearly all young teen mouths:bubblegum