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Post by The Watcher on May 17, 2005 6:11:41 GMT -5
Hey guys and gals here we can list our fav. songs of the years between 1960 and 1969. and talk about what made them great. have fun.
1. Hey Jude- Beatles 2. Aquarius- The 5th Dimension 3. In The Year 2525- Zager & Evans 4. Can't Buy Me Love- Beatles 5. The Dock Of The Bay- Otis Redding 6. I Want To Hold Your Hand- Beatles 7. I Heard It Through The Grapevine-CCR 8. Cathy's Clown- The Everly Brothers 9. People Got To Be Free- The Rascals 10. I'm A Believer- The Monkees
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Post by The Watcher on May 21, 2005 15:37:55 GMT -5
I am going to place the BIO of the groups from my list here for everyone to check out but for the Beatles see the songs from the 70's thread....
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Post by The Watcher on May 21, 2005 15:42:32 GMT -5
The three men — Billy Davis, Jr., Ron Townson and LaMonte McLemore — who formed The 5th Dimension grew up together in St. Louis, Missouri, each going in separate directions in their teens; all ended up in Los Angeles with hopes of making the big time.
Billy, in several gospel and soul groups, studied at Washington Tech. He opened his own nightclub, eventually ending up in Los Angeles, hoping to sign with Motown’s West Coast recording company. LaMonte went into professional baseball as well as photography only to discover his love for singing while in the Navy. Ron sang opera from an early age. He graduated from Lincoln University, and left for Los Angeles with aspirations in singing.
LaMonte McLemore met beauty contestant winner Marilyn McCoo while photographing her during the Miss California Bronze Talent Award. Marilyn was born in New Jersey and grew up in Los Angeles. She always had a desire to go into the entertainment business, but her parents wanted her to finish school. She graduated from UCLA and accepted Lamonte’s offer to join the group he was forming.
With Billy experienced in gospel and rhythm and blues, Ron opera and LaMonte jazz, Marilyn jazz and pop, they needed another female member to complete their well-rounded vocal sound.
While photographing Florence LaRue, the winner of the Miss California Bronze Talent Award the year after Marilyn won, McLemore decided to ask her to join the group. At first she didn’t accept the offer because she had graduated from Cal State University in Los Angeles and had just started teaching. Both she and Marilyn joined the group initially as a hobby, with McCoo wanting a solo singing career and LaRue still dreaming of a career in acting.
In 1965, the quintet, with their varied vocal backgrounds, named their group the Versatiles. They put together a demo tape and sent LaMonte to Detroit to see Berry Gordy at Motown Records. Gordy listened to the demo tape and was impressed with their sound but didn’t hear chart hits with the songs. He asked McLemore to return with more songs for him to hear. LaMonte returned home and the group continued to sing at local L.A. clubs.
Their future manager, Marc Gordon, would soon change their lives. He was a director of West Coast Operations at Motown Records. Gordon was in the process of leaving Motown when he heard the Versatiles and offered to manage them. They recorded You’re Good Enough For Me /Bye Bye Baby, both co-written by Marc Gordon on the Bronco label. It wasn’t until Gordon introduced the group to Johnny Rivers, who was starting Soul City Records, that something exciting was about to happen in music.
Johnny Rivers instantly liked their sound and decided to produce them. He wanted them to change their outdated group name and look, so The 5th Dimension was the new name and with their new "mod" outfits, they were ready. The first single Rivers produced, I’ll Be Lovin’ You Forever/Train Keep On Movin’, in 1966, didn’t create much excitement with radio listeners. The follow-up single the next year, written by John Phillips was called Go Where You Wanna Go. Phillips' group, the Mamas and Papas also recorded this single. It was The 5th Dimension who took the song up Billboard’s Top 20, peaking at #16.
They agreed to hear some songs by a new songwriter named Jimmy Webb, who was under contract with Rivers. Webb was at the piano playing a song he had written about a beautiful balloon. The group loved the song, Up, Up & Away, and it was released in February of 1967. An album with the same title was also released. The song entered the Top 10 and peaked at #7, staying on the Top 40 for 10 weeks, bringing this quintet to fame. The song was awarded Best Performance By A Vocal Group, Best Contemporary Group Performance, Best Contemporary Single, Song Of The Year and Record Of The Year at the Grammy Awards.
With the popularity of Webb’s composition, Up, Up & Away, the group eagerly agreed to team up with him on their second LP, The Magic Garden, later retitled, The Worst That Could Happen. Jimmy Webb wrote all but one song on that album. Webb was going through a tough period in his personal life and his girlfriend at the time, Susan, was the inspiration for these songs. It was almost like a storybook as one song was beautifully connected to the next. Although none of these songs topped the charts, it is considered to be one of the finest of all the 5th’s albums. Paper Cup (1967) and Carpet Man (1968) both entered the Top 40.
The 5th Dimension were lucky to have been connected with so many talented songwriters. Their third album was written in part by the late Laura Nyro. Billy said their first meeting with Nyro was at a hotel where they were all staying. Her room was right above theirs and they could hear her singing. The group called her up and they got together.
It was actually Bones Howe, their producer, who heard a hit with Laura’s song — Stoned Soul Picnic. Howe said, "After The Magic Garden we were looking for a piece of material that would reflect what The 5th Dimension was. I came across a song on a demo tape that David Geffen had taken to RCA, a song written by Laura Nyro called Stoned Soul Picnic. I told David that I wanted to cut it with the 5th, but he said we couldn’t because Nyro was going to cut it on her album. But if they didn’t release it as a single, he said it’s fair game. So the album came out, and the company chose Eli’s Coming as the single. I had a test pressing of the album and rushed it to the group and said, 'This is gonna be your first million-selling single. ' They loved the song, and we went in and did the record in three days. And of course, it was their first million-selling single." It was in June 1968 when Stoned Soul Picnic was released and entered the Top 10, arriving at #3 on Billboard and remaining on the Top 40 for 12 weeks. Howe said, "They are an incomparable combination of talent, energy, and personal warmth. It’s a genuine pleasure to work with them."
Frank Sinatra presented the group with a million-selling award for Stoned Soul Picnic at Caesar’s Palace. The single eventually sold over two million copies. Sinatra said, "Without a doubt the freshest, most musical, most capable group in today’s bag." Another Nyro composition, Sweet Blindness, was released a few months later, peaking at #13 and staying on the Top 40 for 6 weeks.
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Post by The Watcher on May 21, 2005 15:43:40 GMT -5
In 1969 the musical Hair was on Broadway. It was interesting how they ended up recording Aquarius/Let The Sunshine In. Florence said, "It was a real fluke. We were performing in New York City and Billy lost his wallet in a taxi. The man who returned it said he had written some music for a play and he invited us to see it. The play of course was Hair. Well we heard Aquarius and we all just looked at each other and said ‘We’ve got to sing this song. It’s great.'" It was producer Howe who suggested splicing Aquarius together with lyrics from another number in the musical which became Let The Sunshine In. "We recorded that song in Las Vegas, in this small studio," says LaRue. "Our voices were all tired, we’d been performing there for over a month. It was the quickest thing we ever recorded and it was one of our biggest hits."
Aquarius/Let The Sunshine In remained in the #1 spot on Billboard for 6 straight weeks and remained on the Top 40 for 16 weeks. Both the single and album Age Of Aquarius went Gold and received two Grammy Awards. The song eventually sold over two million copies. The original song was over 7 minutes long and it was Bill Drake of a Los Angeles radio station who suggested the song needed to be shortened to about 3 minutes; so Howe released 2 versions, one just over 3 minutes and one under 3 minutes.
Aquarius/Let The Sunshine In was only the beginning of their album Age Of Aquarius. Bones Howe told Marilyn about this song that went, "Bill, I love you so, I always will. Won’t you marry me, Bill, etc. So Howe told Marilyn, 'It’d be really funny if you did this song as a joke on the album.' Marilyn and Billy were still courting; she wanted to get married and Billy was dragging his feet. So she did it, and after the album came out I got a call from a guy at a record company who said that a station in San Diego had jumped on the song and that we should release it as a single."
In October of 1969, Wedding Bell Blues, a Nyro composition, was released and soared to the top of the charts, remaining in the Top 40 for 14 weeks. Workin’ On A Groovy Thing co-written by Neil Sedaka peaked at #20 in 1969 and Blowing Away, another Laura Nyro composition, peaked at #21 in 1970.
In 1969, Florence LaRue married their manager, Marc Gordon, high above the Century Plaza Hotel in a hot air balloon. That same year Marilyn McCoo and Billy Davis, Jr. married.
By this time the group was touring all over the world seven-and-a-half months out of the year. They spent 3 months recording songs for their album, leaving them only about 6 weeks for a needed vacation. They were invited to appear on all the top television programs, which included The Ed Sullivan Show, The Tonight Show, Merv Griffin, The John Davidson Show, The Flip Wilson Show, The Bobby Sherman Show, American Bandstand, Dinah Shore and Hollywood Palace. Ed Sullivan has said, "One of the classiest groups we’ve ever had on the show. Their class is with a Capital C."
The group were also on Frank Sinatra’s, Woody Allen’s and Burt Bacharach’s television specials. They were also in their own television musical special — The 5th Dimension: An Odyssey In The Cosmic Universe Of Peter Max, which aired in May of 1970. That same year they appeared at Expo’ 70 in Tokyo. They were selected as "Funding Artists" of the prestigious John F. Kennedy Center For The Performing Arts in Washington. When Princess Grace of Monaco returned to Hollywood for the Motion Picture and Television Relief Fund Gala in Los Angeles at the Music Center, it was The 5th Dimension who headlined the event. They were awarded the Friar’s Club First Annual Gold Medallion Award for Exceptional Contributions within the music industry. Letters and telegrams with congratulations were sent from Frank Sinatra, Hubert Humphrey, New York City Mayor John Lindsay, Dean Martin, and Gregory Peck, to name a few.
The group were the toast of the town. Receiving glowing reviews from critics and fellow entertainers, they were on top of the world. Lou Rawls said, "They’re the greatest thing to hit the scene in the past 5 years! They have a whole new concept within the music industry." Sammy Davis, Jr. described the group as "Absolutely fantastic! The 5th Dimension really sock it to you!" Phyllis Diller had a few words to say, "I ADORE The 5th Dimension!" Robert Hilburn, Los Angeles Times music critic, wrote about The 5th Dimension after their concert at the Greek Theater in the early 70’s, "Despite such glamorous competition as Burt Bacharach, Andy Williams and the Temptations, The 5th Dimension gave by far the most entertaining show of the young Greek Theater season Monday night. It was in a word, supurb."
Two hit albums were released in 1969. The single, The Girl’s Song which featured Florence and Marilyn on lead was climbing the charts and was included on the Greatest Hits album. Another album of hits released after that was The July 5th Album.
The group albums continued to sell well. Changing labels, they went with Bell Records headed by Larry Uttal. Their first single from the Bell label was The Declaration, a song not popular with the government, though at a performance which included President Nixon and the Governors of 50 states, they performed The Declaration. Only after Nixon began clapping at the song’s end did the rest of the audience dare applaud this controversial song.
The album, titled Portrait, had 3 songs which entered the Top 40. One was a song co-written by Neil Sedaka, Puppet Man, released in May of 1970 at about the same time Tom Jones’ version hit the air waves. The 5th Dimension’s version peaked at #24. The following month they released another Nyro tune called Save The Country which peaked at #27. Stronger songs, This Is Your Life and One Less Bell To Answer, were not selected as August releases because their producer wanted a summer song. So they released On The Beach (In The Summertime) in 1970. In the meantime, a Los Angeles radio station called up Bell Records and said that people were calling his station when he played One Less Bell To Answer and they should really release it as a single. In November of 1970, One Less Bell To Answer, written by Burt Bacharach and Hal David was released and flew up to #2, eventually selling over two million copies. The group were guests on the television series with Robert Wagner called It Takes A Thief and both Puppet Man and One Less Bell To Answer were featured on the show.
In March of 1971, they released the single Love’s Lines, Angles & Rhymes which peaked at #19. It was also the title of their album that year. That same year the group had their second television special, The 5th Dimension Traveling Sunshine Show. Later that year they released their double Live! LP which was taped in Las Vegas. With McCoo’s success with lead vocals, they released Never My Love in October 1971 which went to #12. In early 1972 they released a McCoo/Davis duet also from the Live! LP, Together Let’s Find Love, peaking at #37.
In 1972 the group were singing more solo vocals than the harmonies they were initially known for. The best description of the direction of the group was the album titled Individually & Collectively. Marilyn’s solo, (Last Night) I Didn’t Get To Sleep At All, was released in April of 1972 and made the Top 10 arriving at #8 and eventually selling over two million singles. Five months later another McCoo solo, If I Could Reach You, was released reaching #10 on Billboard.
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Post by The Watcher on May 21, 2005 15:44:31 GMT -5
The album Living Together, Growing Together was released in 1973. The LP title was released as a single in February of 1973. It entered the Top 40 arriving at #32. Two other singles were released but failed to chart well. That same year, they decided to release Flashback and the flip side Diggin’ For A Livin’ — neither a song on the album. Flashback was also recorded by Cher but neither charted with the song.
For the month of April 1973, The 5th Dimension toured Turkey and Eastern Europe under the U.S. State Cultural Presentations Program of the Dept. of State. That Goodwill Tour took them to nine cities which included concerts in Ankara and Istanbul, Turkey, to Bucharest and Ploesti, Romania and Warsaw and Katowice, Poland to Ostrava, Bratislava and Prague in Czechoslovakia. Their visit to Ankara and Istanbul did tie in with American participation in Turkey's 50th Anniversary as a republic. The group waived their salaries & U.S. engagements, making the tour a national public service. This public-spirited act embodied the American spirit of voluntarism in pursuit of peace. McCoo: "They seemed so ready for western entertainment, and especially American, they were interested in our life style, the dances we do, the way we dress." LaRue: "They often asked us about the drug and crime problems in the U.S. but never about Vietnam or race relations." To finish their extensive behind-the-curtain tour, the group appeared on the ABC show, "Issues and Answers," marking the first time entertainers have ever been invited to appear on that politically oriented show.
In 1974, Soul & Inspiration was released. This album was created by different producers including Howe, Richard Carson, H.B. Barnum, and John Florez. This marks Bones Howe’s departure from producing the 5th Dimension. This was also the last album the group had on Bell Records.
Their final album with the original five members, Earthbound, was released in 1975 on ABC Records. It’s ironic because they began with composer Jimmy Webb on their first album and were able to work again with him on their final album before Marilyn and Billy left the group to venture in another musical direction. As on the Magic Garden LP, Earthbound’s songs flowed beautifully from song to song only this time there wasn’t a Susan in Webb’s lyrics as on The Magic Garden. Even with strong titles like Magic In My Life and Walk Your Feet In The Sunshine, these singles didn’t chart well.
McCoo and Davis left the group after Earthbound. The 5th Dimension continued with ABC Records and released the single Love Hangover which featured LaRue on lead. It was climbing the charts when Motown Records decided to quickly release Diana Ross’ version that was on her LP. It was clearly a race between The 5th Dimension and Diana Ross. Even the sheet music to the song had both The 5th Dimension and Diana Ross pictured on the cover. Ross won with Love Hangover, taking it to the top of the charts.
Ironically, The 5th Dimension agreed to sign with Motown Records and released the LP Star Dancing. Later the same year they released a follow up album, High On Sunshine.
With several name changes in The 5th Dimension, Florence LaRue and LaMonte McLemore never left the group. Ron Townson left for a little while to form Ron Townson and Wild Honey, but later returned to the group.
They have performed for important figures as President Reagan and President Carter. In 1983 they released a concert video called The 5th Dimension: Live at Caesar's Palace. They starred in the Tony Award musical of Fats Waller's Ain't Misbehavin', to glowing reviews. Pittsburgh Post-Gazette: "The 5th Dimension is behavin' just about perfectly in Ain't Misbehavin', the effervescent musical that knits the tunes of the late Fats Waller into one bright patchwork of pizazz." The Flint Journal: "Take five top notch singers called The 5th Dimension, add the always entertaining music of the "Clown Prince of Jazz" Fats Waller, throw in some toe-tapping and foot-stomping and you've got "Ain't Misbehavin'"- the show that seems destined to be a hit of Star Theater of Flint's current season. It's perfectly timed, the multi part harmony that The 5th Dimension is so noted for and no one leaves Whiting Auditorium disappointed."
In the middle 80's, Phyllis Battle was invited to join the group. At that time, she was working at a law firm in Los Angeles and was getting ready to leave Los Angeles, wanting a solo career singing jazz. The group asked her to join knowing her vocal jazz influence would be an asset to the group's sound. Battle had toured worldwide with Frank Sinatra, Nancy Sinatra, Rita Coolidge and Donna Summer.
McCoo was guest on The Home Show and the segment was a tour through McCoo’s and Davis’ home. Marilyn puts it this way, "On the day we were shooting, I was leading (host) Gary Collins through my house and unbeknownst to me, Florence, Ron and LaMonte were sitting in the family room." Billy had secretly arranged a surprise visit from the other members. It had been years since the five of them were all together. Donald Trump saw the reunion and thought it would be interesting to see if they would be open to the idea of a reunion performance for New Year’s Eve at his hotel in Atlantic City. It happened in 1990 with Ron’s response, "It’s been fantastic. It’s like family getting back together again." Billy Davis, Jr. felt, "Getting back together was emotional for me. We did our old hits and put in other ingredients to add a bit of life to the show." A standing-room-only crowd at the event convinced the group to take it on a city to city tour the following year. The Original 5th Dimension reunited throughout the 90's and decided to call it quits at the end of that decade. The current 5th, however, would continue performing.
In 1991 The Original 5th Dimension received a Star on Hollywood’s Walk Of Fame which is located at the famed Roosevelt Hotel across from Mann’s Chinese Theater.
In the early 90's, The 5th Dimension needed a male member and that was when Greg Walker was asked to join the group. Greg was once the lead singer in Santana. He also had a solo career and released a solo CD in 1991 titled, Love You So Good. He has toured with Joan Baez and was also lead vocals for musicians and recording artists such as Herbie Hancock, Kenny G., Jeff Lorber, Rodney Franklin, and Keiko Matsui. Greg earned a Bachelor's Degree in Liberal Arts.
The 5th Dimension released a CD in 1995, In The House, on Dick Clark’s label, Click Records. It features Say (U Love Me) which LaRue co-wrote. It also includes two 5th Dimension songs from the past, Puppet Man and Stoned Soul Picnic done in the newer 5th style.
The 5th Dimension (pictured below left to right in 1995) are LaMonte McLemore, Florence LaRue, Greg Walker, Phyllis Battle and Ron Townson. Since then, Willie Williams replaced Ron Townson in 1998, Van Jewel replaced Phyllis Battle in May 2002.
The members in the group are into their own careers but they all seem to find the time to continue touring together and performing regularly with symphonies, on luxury cruises and all over the world to satisfy their many fans. Their career seems to always be Up, Up & Away!
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Post by The Watcher on May 21, 2005 15:46:44 GMT -5
The folk-rock duo of guitarist/vocalists Denny Zager and Richard Evans made their bid for temporary greatness with "In the Year 2525," a post-apocalyptic vision of life in the future. Formed in Lincoln, NE, Zager & Evans hit number one with "In the Year 2525" less than a month after its release in summer 1969 (the single was written by Evans, allegedly in half an hour). The LPs In the Year 2525 (Exordium & Terminus) and The Early Writing of Zager & Evans followed in quick succession before the end of the year, but the pair's chart run had finished. Food for the Mind, released in 1971, proved their final LP
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Post by The Watcher on May 21, 2005 15:48:55 GMT -5
Born: 1941
Styles: Deep Soul, Southern Soul, Soul
One of the most influential soul singers of the 1960s, Otis Redding exemplified to many listeners the power of Southern "deep soul" -- hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. He was also the most consistent exponent of the Stax sound, cutting his records at the Memphis label/studios that did much to update R&B into modern soul. His death at the age of 26 was tragic not just because he seemed on the verge of breaking through to a wide pop audience (which he would indeed do with his posthumous number one single, "[Sittin' On] The Dock of the Bay"). It was also unfortunate because, as "Dock of the Bay" demonstrated, he was also at a point of artistic breakthrough in terms of the expression and sophistication of his songwriting and singing.
Although Redding at his peak was viewed as a consummate, versatile showman, he began his recording career in the early '60s as a Little Richard-styled shouter. The Georgian was working in the band of guitarist Johnny Jenkins at the time, and in 1962 he took advantage of an opportunity to record the ballad "These Arms of Mine" at a Jenkins session. When it became an R&B hit, Redding's solo career was truly on its way, though the hits didn't really start to fly until 1965 and 1966, when "Mr. Pitiful," "I've Been Loving You Too Long," "I Can't Turn You Loose," a cover of the Rolling Stones' "Satisfaction," and "Respect" (later turned into a huge pop smash by Aretha Franklin) were all big sellers.
Redding wrote much of his own material, sometimes with the assistance of Booker T. & the MG's guitarist Steve Cropper. Yet at the time, Redding's success was primarily confined to the soul market; his singles charted only mildly on the pop listings. He was nonetheless tremendously respected by many white groups, particularly the Rolling Stones, who covered Redding's "That's How Strong My Love Is" and "Pain in My Heart." (Redding also returned the favor with "Satisfaction.")
One of Redding's biggest hits was a duet with fellow Stax star Carla Thomas, "Tramp," in 1967. That was the same year he began to show signs of making major inroads into the white audience, particularly with a well-received performance at the Monterey Pop Festival (also issued on record). Redding's biggest triumph, however, came just days before his death, when he recorded the wistful "(Sittin' On) The Dock of the Bay," which represented a significant leap as far as examination of more intensely personal emotions. Also highlighted by crisp Cropper guitar leads and dignified horns, it rose to the top of the pop charts in early 1968.
Redding, however, had perished in a plane crash in Wisconsin on December 10, 1967, in an accident that also took the lives of four members from his backup band, the Bar-Kays. A few other singles became posthumous hits, and a good amount of other unreleased material was issued in the wake of his death. These releases weren't purely exploitative in nature, in fact containing some pretty interesting music, and little that could be considered embarrassing. What Redding might have achieved, or what directions he might have explored, are among the countless tantalizing "what if" questions in rock & roll history. As it is, he did record a considerable wealth of music at Stax, which is now available on thoughtfully archived reissues.
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Post by The Watcher on May 21, 2005 15:49:59 GMT -5
were not only among the most important and best early rock & roll stars, but also among the most influential rockers of any era. They set unmatched standards for close, two-part harmonies and infused early rock & roll with some of the best elements of country and pop music. Their legacy was and is felt enormously in all rock acts that employ harmonies as prime features, from the Beatles, Simon & Garfunkel, and legions of country-rockers to modern-day roots rockers like Dave Edmunds and Nick Lowe (who once recorded an EP of Everlys songs together). Don (born February 1, 1937) and Phil (born January 19, 1939) were professionals way before their teens, schooled by their accomplished guitarist father Ike, and singing with their family on radio broadcasts in Iowa. In the mid-'50s, they made a brief stab at conventional Nashville country with Columbia. When their single flopped, they were cast adrift for quite a while until they latched onto Cadence. Don invested their first single for the label, "Bye Bye Love," with a Bo Diddley beat that helped lift the song to number two in 1957.
"Bye Bye Love" began a phenomenal three-year string of classic hit singles for Cadence, including "Wake Up Little Susie," "All I Have to Do Is Dream," "Bird Dog," "('Til) I Kissed You," and "When Will I Be Loved." The Everlys sang of young love with a heart-rending yearning and compelling melodies. The harmonies owed audible debts to Appalachian country music, but were imbued with a keen modern pop sensibility that made them more accessible without sacrificing any power or beauty. They were not as raw as the wild rockabilly men from Sun Records, but they could rock hard when they wanted. Even their mid-tempo numbers and ballads were executed with a force missing in the straight country and pop tunes of the era. The duo enjoyed a top-notch support team of producer Archie Bleyer, great Nashville session players like Chet Atkins, and the brilliant songwriting team of Boudleaux and Felice Bryant. Don, and occasionally Phil, wrote excellent songs of their own as well.
In 1960, the Everlys left Cadence for a lucrative contract with the then-young Warner Bros. label (though it's not often noted, the Everlys would do a lot to establish Warners as a major force in the record business). It's sometimes been written that the duo never recaptured the magic of their Cadence recordings, but actually Phil and Don peaked both commercially and artistically with their first Warners releases. "Cathy's Clown," their first Warners single, was one of their greatest songs and a number-one hit. Their first two Warners LPs, employing a fuller and brasher production than their Cadence work, were not just among their best work, but two of the best rock albums of the early '60s. The hits kept coming for a couple of years, some great ("Walk Right Back," "Temptation"), some displaying a distressing, increasing tendency toward soft pop and maudlin sentiments ("Ebony Eyes," "That's Old Fashioned").
Don and Phil's personal lives came under a lot of stress in the early '60s: They were drafted into the Army (together), and studied acting for six months, but never made a motion picture. More seriously, Don developed an addiction to speed and almost died of an overdose in late 1962. By that time, their career as chart titans in the U.S. had ended; "That's Old Fashioned" (1962) was their last Top Ten hit. Their albums became careless, erratic affairs, which was all the more frustrating because many of their flop singles of the time were fine, even near-classic efforts that demonstrated they could still deliver the goods.
Virtually alone among first-generation rock & roll superstars, the Everlys stuck with no-nonsense rock & roll and remained determined to keep their sound contemporary, rather than drifting toward soft pop or country like so many others. Although their mid-'60s recordings were largely ignored in America, they contained some of their finest work, including a ferocious Top 40 single in 1964 ("Gone, Gone, Gone"). They remained big stars overseas -- in 1965, "Price of Love" went to number two in the U.K. at the height of the British Invasion. They incorporated jangling Beatle/Byrdesque guitars into some of their songs, and recorded a fine album with the Hollies (who were probably more blatantly influenced by the Everlys than any other British band of the time). In the late '60s, they helped pioneer country-rock with the 1968 album Roots, their most sophisticated and unified full-length statement. None of this revived their career as hit-makers, though they could always command huge audiences on international tours, and hosted a network TV variety show in 1970.
The decades of enforced professional togetherness finally took their toll on the pair in the early '70s, which saw a few dispirited albums and, finally, an acrimonious breakup in 1973. They spent the next decade performing solo, which only proved -- as is so often the case in close-knit artistic partnerships -- how much each brother needed the other to sound his best. In 1983, enough water had flowed under the bridge for the two to resume performing and recording together. The tours, with a backup band led by guitarist Albert Lee, proved they could still sing well. The records (both live and studio) were fair efforts that, in the final estimation, were not in nearly the same league as their '50s and '60s classics, although Paul McCartney penned a small hit single for them ("On the Wings of a Nightingale"). One of the more successful and dignified reunions in the rock annals, the Everlys continued to perform live, although they have not recorded an album since the late '80s. ~ Richie Unterberger, All Music Guide
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Post by The Watcher on May 21, 2005 15:52:10 GMT -5
along with the Righteous Brothers, Mitch Ryder, and precious few others, were the pinnacle of '60s blue-eyed soul. The Rascals' talents, however, would have to rate above their rivals, if for nothing else than the simple fact that they, unlike many other blue-eyed soulsters, penned much of their own material. They also proved more adept at changing with the fast-moving times, drawing much of their inspiration from British Invasion bands, psychedelic rock, gospel, and even a bit of jazz and Latin music. They were at their best on classic singles like "Good Lovin'," "How Can I Be Sure," "Groovin'," and "People Got to Be Free." When they tried to stretch their talents beyond the impositions of the three-minute 45, they couldn't pull it off, a failure which -- along with crucial personnel losses -- effectively finished the band as a major force by the 1970s.
The roots of the Rascals were in New York-area twist and bar bands. Keyboardist/singer Felix Cavaliere, the guiding force of the group, had played with Joey Dee & the Starliters, where he met Canadian guitarist Gene Cornish and singer Eddie Brigati. Brigati would split the lead vocals with Cavaliere and also write much of the band's material with him. With the addition of drummer Dino Danelli, they became the Rascals. Over their objections, manager Sid Bernstein (who had promoted the famous Beatles concerts at Carnegie Hall and Shea Stadium) dubbed them the Young Rascals, although the "Young" was permanently dropped from the billing in a couple of years.
After a small hit with "I Ain't Gonna Eat Out My Heart Anymore" in 1965, the group hit number one with "Good Lovin'," a cover of an R&B tune by the Olympics, in 1966. This was the model for the Rascals' early sound: a mixture of hard R&B and British Invasion energy, with tight harmony vocals and arrangements highlighting Cavaliere's Hammond organ. After several smaller hits in the same vein, the group began to mature at a rapid rate in 1967, particularly as songwriters. "Groovin'," "Beautiful Morning," "It's Wonderful," and "How Can I Be Sure?" married increasingly introspective and philosophical lyrics to increasingly sophisticated arrangements and production, without watering down the band's most soulful qualities. They were also big hits, providing some of the era's most satisfying blends of commercial and artistic appeal.
In 1968, almost as if to prove they could shake 'em down as hard as any soul revue, the Rascals made number one with one of their best songs, "People Got to Be Free." An infectious summons to unity and tolerance in the midst of a very turbulent year for American society, it also reflected the Rascals' own integrationist goals. Not only did they blend white and black in their music; they also, unlike many acts of the time, refused to tour on bills that weren't integrated as well.
"People Got to Be Free," surprisingly, was the group's last Top 20 hit, although they would have several other small chart entries over the next few years, often in a more explicitly gospel-influenced style. The problem wasn't bad timing or shifting commercial taste; the problem was the material itself, which wasn't up to the level of their best smashes. More worrisome were their increasingly ambitious albums, which found Cavaliere in particular trying to expand into jazz, instrumentals, and Eastern philosophy. Not that this couldn't have worked well, but it didn't. They had never been an album-oriented group, but unlike other some other great mid-'60s bands, they were unable to satisfactorily expand their talents into full-length formats.
A more serious problem was the departure of Brigati, the band's primary lyricist, in 1970. Cornish was also gone a year later, although Cavaliere and Dinelli kept the Rascals going a little longer with other musicians. The band broke up in 1972, with none of the members going on to notable commercial or artistic success on their own, though Cavaliere remained the most active.
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Post by The Watcher on May 21, 2005 15:53:54 GMT -5
Formed: 1965 in Los Angeles, California Years Active: 1965 - 1969, 1985 - 1986, 1995 -1996 Group's Main Members: Michael Nesmith, Peter Tork, Mickey Dolenz, Davy Jones
The Monkees would have to go down as one of the most successful TV rock ideas ever. After all, that was how they began, as an idea for a TV show mold after the Beatles movie, A Hard Days' Night. A TV show about four poor hippie band members, with lots of slapstick comedy and of course, music too.The fact that this manufactured group turned into a real band and had a whole bunch of big hits is really, well, far out!
Screen Gems executive Don Kirshner came up with the idea after seeing the Beatle movie and hired producers Bob Rafelson and Bert Schneider to begin auditions for the show in 1965. An ad was placed in Variety, and amongst the 437 applications were Stephen Stills, Danny Hutton (later of Three Dog Night ), Harry Nilsson and Paul Williams. Only one Monkee would be found from the auditions, guitarist and songwriter Michael Nesmith, who's song "Different Drum" was a then current top ten hit for Linda Ronstadt and the Stone Poneys. Hired later from other sources were folk singer - guitarist Peter Tolk, and actors Mickey Dolenz (who started out as a child actor), and Davy Jones, who didn't know how to play a note of music. They were hired first and foremost as actors for the TV show, and musicians second. It was decided for the show that the members would be portrayed as followed: Nesmith as the lead guitarist, Tolk as the bassist, Dolenz, who could play guitar, was first gonna be the rhythm guitarist, but Jones, who was to be the drummer, was too small to sit behind a drum kit and still be seen. So Dolenz, who never before played the drums, took that part and Jones, well, he was placed out front as the cute one. All four would take turns at lead vocals, as it turned out, the two actors, Jones and Dolenz, were the better singers and in time would get most of the lead vocals with Nesmith handling the vocals on the country rock tunes.
On September 12, 1966, the first episode of The Monkees was aired by NBC-TV and in an short time the show was a hit both in the US and the UK. Their self titled debut album was also a huge hit, selling over a million copies, as was its single, "Last Train To Clarksville" (US number 1). Most of the songs were written by Tommy Boyce and Bobby Hart, and Carole King & Gerry Goffin, with just one song, "Papa Gene's Blues" written by Nesmith. Their next album, More Of The Monkees' also was a big hit and its single, "I'm A Believer" went to number one in both the US and UK. They were suddenly the latest and biggest teenage phenomenon (and this being the mid 60s, there were lots of teenagers). However the band did not like the fact that they were not allowed to play on their albums, and they came clean to their fans about this on their own after the second albums' release. Yeah, that was them singing on the first two albums, but except for Nesmith and Tolk playing guitar on the three Nesmith penned songs, all the other music was played by session players. Since the show was now a hit, they got their way when they demanded that for the next album, Headquarters, they would all play most of the instruments with just a limited number of session man backing them. Headquarters would prove that the Monkees did indeed have more than just acting talent, by far their best album. Nesmith would supply three new songs plus lead and steel guitar to the album, Tolk added guitar, keyboards, banjo, bass and one penned song. Dolenz by now was not bad on the drums, he also played guitar on the album, plus wrote the album's closing number and Jones, well, he learned to shake the maracas real nice, but really, he was the band's best singer. Headquarters was released in May of '67 and was a huge hit and a really nice piece of work from the boys. The Monkees were not just a TV singing group anymore, but now a real band. They went on tour after the album release and played for real in front of their fans. This tour featured the famous, if not totally out of aliment pairing of the Monkees and Jimi Hendrix. Hendrix, who was still unknown, opened for the Monkees. In November of '67 the Monkees released their fourth album, Pisces, Aquarius, Capricorn And Jones Ltd. which, dare I say, was a psychedelic masterpiece. The album did have a bit of country rock on it, but more psychedelic tunes. One of those psychedelic songs "Daily Nightly", was the very first rock song to use the new Moog synthesizer (which was the very first synthesizer), played by Dolenz. "Pleasant Valley Sunday" was another number one hit and the Nilsson cover song "Cuddly Toy" was also well recieved.
Things would start to wind down for the group in 1968. On March 25, their final TV episode was screened and the next month their next album, The Birds, The Bees And The Monkees was a disappointment as they returned to using more session musicians to record most of the album. But the album did spawn two big hit singles "Daydream Believer" and "Valleri", with most of the lead vocals on these two sung by Jones. "Valleri" in fact had been recorded back in '66 and only featured Jones on it. Next, The Monkees embarked on a feature film, Head, which upon its release got poor reviews and seemed to be viewed by noone. Tolk left the band after Head's release and the remaining trio continued on without him. They released two more albums that bombed and the band, now going nowhere fast, broke up in '69. They reunited in 1985 (minus Nesmith) for a successful tour, but the new studio album they released, Pool It was horrendous and they broke up the next year. In 1995 all four of the Monkees reunited for an UK tour and released a new studio album in '96, Justus. The album was the first Monkees album to feature all original material from the group members and was produced by Nesmith. It got good reviews and was a minor hit. It was nice to see the entire band back together recording again after so many years.
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Angels4BobSeger
Junior Member
Bob, You And I Are Still Against The Wind Big Guy!.
Posts: 91
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Post by Angels4BobSeger on May 27, 2005 13:31:33 GMT -5
Anything Bob Seger from the sixties.
My fav though of all was Heavy Music Part 2. Not part one. Heavy Music part 2 some radio stations refused to play part 2 they considered it sleezy or dirty.
After that would be Ramblin Gamblin Man
And Hey Jude is my all time favorite Beatles Songs.
Yesterday would be number four
5. All My Lovin By The Beatles! 6.Travelin Man by Rick Nelson 7. It's Now Or Never- Elvis Presley 8. Can't Help Falling In Love-Elvis 9. Sunshine Of Your Love- Cream 10. Journey To The Center Of The Mind - Amboy Dukes! ;D
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Post by The Watcher on May 27, 2005 17:07:41 GMT -5
Bob Seger and The Beatles were way up there on my list of great bands back then too, I am sure that is the way a great many felt about them also.
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Angels4BobSeger
Junior Member
Bob, You And I Are Still Against The Wind Big Guy!.
Posts: 91
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Post by Angels4BobSeger on May 27, 2005 17:22:33 GMT -5
The Watcher!
there was a time that Bob Seger And The Last Heard and later on The Bob Seger System sold more records in Michigan in the sixties. Which is hard to believe. But it was true. And to think they started out as a garage band. And Glen Frey was a part of that for a while. Glen is Bob's best friend. I have a lot of music garage band stuff. With Glen in his former group before the Eagles.
I see my URL have changed again for Against The Wind4 Bob Seger also.
Changes a lot. ;D
Sandibuns
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Post by The Watcher on May 27, 2005 17:38:15 GMT -5
Yea the URL isnt active anylonger, I tried to go and check out the Seger page but it said the page could no longer be found. I look forward to when you get the URL fix for your website.
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Angels4BobSeger
Junior Member
Bob, You And I Are Still Against The Wind Big Guy!.
Posts: 91
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Post by Angels4BobSeger on May 28, 2005 6:59:40 GMT -5
Why thank you Donnie!
You are one cool dude!
Have A Safe And Wonderful Memorial Day Weekend.
That goes for everyone!
Sandy
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