RobMCFC
Well-Known Member
Yes, we’re all much better now, thanks. Just left with hacking coughs, but I’ll take that after how I felt a couple of days ago.
Rock Evolution – The History of Rock & Roll - 1985 - (page 203)
- Thread starter RobMCFC
- Start date
Black&White&BlueMoon Town
Well-Known Member
Well, Sydney just celebrated the first New Year within the hour with a fantastic firework display on my streaming TV feed, so the remaining time zones will soon be coming fast and furious.
Seeing the NYE celebrations now makes me wonder what it was like going from 1961 to 1962.
Probably not much of a big thing world wide despite the gradual growth of black and white televisions back then. "Gunsmoke" and "Andy Griffith" probably ruled the airwaves that day instead of a 24 hour news station showing all the celebrations hour by hour.
Delaying our turnover by a day to 1962 sounds about right with the speed of how news probably traveled back then.
As 1961 turned over into a new year, "The Lion Sleeps Tonight" from The Tokens was the #1 Billboard song. Sounds appropriate funny enough. Happy New Year, all!
Seeing the NYE celebrations now makes me wonder what it was like going from 1961 to 1962.
Probably not much of a big thing world wide despite the gradual growth of black and white televisions back then. "Gunsmoke" and "Andy Griffith" probably ruled the airwaves that day instead of a 24 hour news station showing all the celebrations hour by hour.
Delaying our turnover by a day to 1962 sounds about right with the speed of how news probably traveled back then.
As 1961 turned over into a new year, "The Lion Sleeps Tonight" from The Tokens was the #1 Billboard song. Sounds appropriate funny enough. Happy New Year, all!
Blue Tooth
Well-Known Member
Sneaky late entry for 1961. Given that Country and Folk were covered in the intro this might be out of place but here goes. 61 saw Joan Baez release her Joan Baez Vol 2 album with an old traditional 'murder' song included. The Banks of the Old Ohio.
RobMCFC
Well-Known Member
Blue Moon Rock Evolution - 1962
The dominant news story of 1962 was the Cuban Missile Crisis. Earlier in the year, John F. Kennedy had announced an embargo on trade between the US and Cuba, but in October, an American U-2 spy plane photographed Soviet nuclear missile sites being built in Cuba, leading to one of the defining moments of the Cold War.
If music fans were looking for something to take their mind off the clock ticking towards midnight, then the debut releases of three significant artists would come as a welcome relief.
1962 was the year of heroes in all shapes and sizes.
The Beatles
The Beatles auditioned for Decca Records on new Years Day in 1962. Decca's Dick Rowe told fellow A&R rep, Mike Smith, that he'd have to decide between The Beatles and Brian Poole and the Tremeloes, who'd auditioned earlier in the day. With the latter being a "local group", The Beatles were rejected, with Rowe delivering the infamous quote, "Guitar groups are on the way out, Mr. Epstein."
Three months later, they were signed to EMI's Parlophone label by George Martin, with the first session at what would later be known as Abbey Road Studios on 6 June 1962. After replacing drummer Pete Best with Ringo Starr, a recording session on 4th September yielded a recording of "Love Me Do" but a dissatisfied Martin hired drummer Andy White for the band's third session a week later.
Martin initially selected the Starr version of "Love Me Do" for the band's first single, though subsequent re-pressings featured the White version, with Starr on tambourine.
Released in early October 1962, "Love Me Do" peaked at number seventeen on the Record Retailer chart.
Whilst Dick Rowe later became known as "the man who turned down The Beatles", he did sign The Rolling Stones on the recommendation of George Harrison.
Bob Dylan
Bob Dylan's eponymous debut album was released on 19th March 1962. It comprises 13 tracks, only two of which were Dylan originals.
One of them, "Talkin' New York", includes the following lyrics:-
Well, I got a harmonica job, begun to play
Blowing my lungs out for a dollar a day
I blowed inside out and upside down
The man there said he loved my sound
These words neatly summarise how Dylan got his recording contract with Columbia.
Having dropped out of college, Dylan travelled to New York City in January 1961 to perform and visit his musical idol Woody Guthrie at Greystone Park Psychiatric Hospital. The young singer would buy Guthrie cigarettes to smoke in hospital and sing Tom Joad to its author during long afternoons by his deathbed.
Dylan played a show at Gerdes Folk City in New York's Greenwich Village for which music critic Robert Shelton wrote a positive review in The New York Times.
The same month, Dylan met producer John Hammond at a rehearsal session for Carolyn Hester on September 14, 1961. Hester, who had been signed by Hammond the year before, invited Dylan to the session as a harmonica player. Hammond later told Shelton that he decided to sign Dylan "on the spot" and invited him to the Columbia offices for a more formal audition recording. There, Hammond presented him with Columbia's standard five-year contract for previously unrecorded artists, and Dylan signed immediately.
With studio time scheduled for late November, Dylan used the intervening period to search for new material even though he was already familiar with many songs. According to Dylan's friend Carla Rotolo (sister of his girlfriend Suze Rotolo), "He spent most of his time listening to my records, days and nights. He studied the Folkways Anthology of American Folk Music", and the singing of folk singers such as Ewan MacColl. Funny to think that the greatest folk singer in the second half of 20th Century was inspired by a lad from Salford. Dylan himself recalls reading books he found on other people's shelves during the time he made the album: Shelley, Poe, Faulkner, Gogol, and The White Goddess by Robert Graves.
The album was ultimately recorded in three short afternoon sessions between November 20th to 22nd at Columbia's 7th Avenue studio. Hammond later said that "It occurred to me at the time that I'd never worked with anyone so undisciplined before," in reference to Dylan popping every ‘p’, hissing every ‘s’ and constantly wandering off the mic. "His guitar playing, let us say charitably, was rudimentary, and his harmonica was barely passable, but he had a good sound and a point of view and an idea," Hammond recalled, adding that "He was very disenchanted with the social system. I encouraged him to put all his hostility on tape, because I figured this was the way, really, to get to the true Bob Dylan."
Whilst the album was made at low cost, it only sold 5,000 copies in its first year, just breaking even.
The other original on the album is "Song To Woody", in tribute to his hero. The tune uses the melody from Guthrie's song "1913 Massacre", and the line "that come with the dust and are gone with the wind" paraphrases the line "we come with the dust and we go with the wind" in Guthrie's "Pastures of Plenty", a song about people displaced by the dust storms and drought which swept Oklahoma, Texas and other states in the 1930s during The Great Depression.
The Beach Boys
The Beach Boys - brothers Brian, Dennis and Carl Wilson, plus their cousin Mike Love and friends David Marks and Al Jardine - released their first album, Surfin' Safari, in October 1962.
Whilst Mike sang both the lead tenor and deep bass parts in the band's complex vocal arrangements, it was Brian who arranged their vocals and was considered the genius behind the band. Inspired by George Gershwin's music, specifically "Rhapsody in Blue", and the vocals of the Kingston Trio (who The Beach Boys took their trademark striped shirts and white pants from), Brian Wilson created what was probably the first significant rock band of the 1960s - certainly in terms of album releases.
One of the aspects that makes this album so significant is that, unlike other contemporary rock albums, three-quarters of the songs were originals, written by Brian Wilson and Mike Love along with friend Gary Usher, a musician, songwriter, and record producer who worked with various Californian acts. Another significant aspect was, of course, those harmony vocal arrangements and the incredible vocal range used in their songs.
Booker T & The MGs
Booker T. Jones was still in high school when he got his first professional gig, playing baritone sax on the "Cause I Love You" session for Rufus and Carla Thomas. This was the first hit single for Satellite Records, which as we read in Threespires’ 1961 write-up, had changed its name to Stax based on the names of founders, siblings Jim Stewart and Estelle Axton. After that initial session, Jones convinced the owners that they should keep him on by demonstrating his piano and organ prowess.
As a way of financing Stax in the early days, Estelle Axton opened a record shop, and when it became a popular hangout with the local teenagers, it provided Axton with a way of understanding what sounds appealed to the younger generation. In addition to being part of the Mar-keys, who appeared on our 1961 list, 20-year-old Steve Cropper worked behind the counter and this was how he met Booker T.Jones. When Jones found out Cropper played guitar, they teamed up with two older musicians for a 1962 recording session at the studios and when the singer failed to turn up, the four musicians started jamming in the studio. Jones laid down an organ groove and the others jammed around it, the whole thing being recorded by Stax president and producer Jim Stewart, who was behind the recording console at the time.
The song they'd come up with was "Behave Yourself" and Stewart told the musicians that he'd put it out as a single. They needed a B-side, which is where "Green Onions" came in, a piece built around Jones' Hammond organ riff. The instrumental was put out under the name Booker T & The MGs, and it was a huge hit, reaching number 3 on the Billboard chart.
That's the story of how Booker T. Jones, along with his band, the MGs, became the architect of the Stax Records sound, becoming one of the most influential soul musicians of all time, given the list of iconic soul records he'd play on throughout the 1960s.
Music Round-Up
Whilst they wouldn’t make their recording bow until the following year, The Rolling Stones made their live debut in 1962 at London's Marquee Club, opening for Long John Baldry.
Other notable music releases this year included "Return to Sender" by Elvis Presley, "It Might as Well Rain Until September" by Carole King, "Sherry" by The Four Seasons, “The End of the World” by Skeeter Davis and, continuing mrbelfry’s theme of novelty records, Bernard Cribbins with "Right Said Fred".
"I Left My Heart in San Francisco" was originally written for singer Claramae Turner, who often used it as an encore but never got around to recording it. Therefore, it was Tony Bennett who first recorded the song in 1962, making it world famous.
"The Young Ones" by Cliff Richard & The Shadows, is the title song to the 1961 film The Young Ones and its soundtrack album. With advance orders of over 500,000, it was released in January 1962 and went straight to No. 1, but this was dwarfed by Frank Ifield’s cover of “I Remember You”, which sold over one million!
Outside of Music
There were heroes outside of the music world too. John Glenn became the first American to orbit the earth as part of Project Mercury, and later that year, President John F. Kennedy, made his "We choose to go to the Moon" speech at Rice University, reaffirming that the U.S. will put a man on the Moon by the end of the decade. 1962 was also the year that the Telstar satellite relayed the first live trans-Atlantic television signal.
Andy Warhol premiered his Campbell's Soup Cans exhibit in Los Angeles and two classic Marvel Comic superheroes made their debuts. The Hulk, created by Stan Lee and Jack Kirkby, first appeared in the debut issue of The Incredible Hulk in May 1962. Whilst The Amazing Spider-Man comic book series didn't start until 1963, the Spider-Man character created by Stan Lee and Steve Ditko, made his first appearance in issue #15 of Marvel's Amazing Fantasy on August 1st.
Actress Marilyn Monroe was found dead aged 36 from an overdose of sleeping pills and chloral hydrate at her home in Los Angeles; it is officially ruled a "probable suicide" but the exact cause has been disputed.
Anti-apartheid activist Nelson Mandela was arrested by the South African government and charged with incitement to rebellion. On November 7, he was sentenced to imprisonment.
In December, David Lean's epic film Lawrence of Arabia, featuring Peter O'Toole, Omar Sharif, Alec Guinness, Jack Hawkins and Anthony Quinn, premiered in London; six days later, it opened in the U.S.
And returning to the Cold War theme, Captured American spy pilot Francis Gary Powers was exchanged for captured Soviet spy Rudolf Abel, in Berlin.
One More Hero
The Cuban Missile Crisis ended on 28th October when Nikita Khrushchev announced that he had ordered the removal of Soviet missile bases in Cuba. In a secret deal between Kennedy and Khrushchev, Kennedy agreed to the withdrawal of U.S. missiles from Turkey. The fact that this deal was not made public made it look as though the Soviets had backed down.
Time for one more hero: The day before this climbdown, Vasily Arkhipov, executive officer of Soviet submarine B-59, refused to launch nuclear torpedoes against the U.S. Navy. This event is widely regarded as crucial in averting a worldwide nuclear war.
The dominant news story of 1962 was the Cuban Missile Crisis. Earlier in the year, John F. Kennedy had announced an embargo on trade between the US and Cuba, but in October, an American U-2 spy plane photographed Soviet nuclear missile sites being built in Cuba, leading to one of the defining moments of the Cold War.
If music fans were looking for something to take their mind off the clock ticking towards midnight, then the debut releases of three significant artists would come as a welcome relief.
1962 was the year of heroes in all shapes and sizes.
The Beatles
The Beatles auditioned for Decca Records on new Years Day in 1962. Decca's Dick Rowe told fellow A&R rep, Mike Smith, that he'd have to decide between The Beatles and Brian Poole and the Tremeloes, who'd auditioned earlier in the day. With the latter being a "local group", The Beatles were rejected, with Rowe delivering the infamous quote, "Guitar groups are on the way out, Mr. Epstein."
Three months later, they were signed to EMI's Parlophone label by George Martin, with the first session at what would later be known as Abbey Road Studios on 6 June 1962. After replacing drummer Pete Best with Ringo Starr, a recording session on 4th September yielded a recording of "Love Me Do" but a dissatisfied Martin hired drummer Andy White for the band's third session a week later.Martin initially selected the Starr version of "Love Me Do" for the band's first single, though subsequent re-pressings featured the White version, with Starr on tambourine.
Released in early October 1962, "Love Me Do" peaked at number seventeen on the Record Retailer chart.
Whilst Dick Rowe later became known as "the man who turned down The Beatles", he did sign The Rolling Stones on the recommendation of George Harrison.
Bob Dylan
Bob Dylan's eponymous debut album was released on 19th March 1962. It comprises 13 tracks, only two of which were Dylan originals.
One of them, "Talkin' New York", includes the following lyrics:-
Well, I got a harmonica job, begun to play
Blowing my lungs out for a dollar a day
I blowed inside out and upside down
The man there said he loved my sound
These words neatly summarise how Dylan got his recording contract with Columbia.
Having dropped out of college, Dylan travelled to New York City in January 1961 to perform and visit his musical idol Woody Guthrie at Greystone Park Psychiatric Hospital. The young singer would buy Guthrie cigarettes to smoke in hospital and sing Tom Joad to its author during long afternoons by his deathbed.Dylan played a show at Gerdes Folk City in New York's Greenwich Village for which music critic Robert Shelton wrote a positive review in The New York Times.
The same month, Dylan met producer John Hammond at a rehearsal session for Carolyn Hester on September 14, 1961. Hester, who had been signed by Hammond the year before, invited Dylan to the session as a harmonica player. Hammond later told Shelton that he decided to sign Dylan "on the spot" and invited him to the Columbia offices for a more formal audition recording. There, Hammond presented him with Columbia's standard five-year contract for previously unrecorded artists, and Dylan signed immediately.
With studio time scheduled for late November, Dylan used the intervening period to search for new material even though he was already familiar with many songs. According to Dylan's friend Carla Rotolo (sister of his girlfriend Suze Rotolo), "He spent most of his time listening to my records, days and nights. He studied the Folkways Anthology of American Folk Music", and the singing of folk singers such as Ewan MacColl. Funny to think that the greatest folk singer in the second half of 20th Century was inspired by a lad from Salford. Dylan himself recalls reading books he found on other people's shelves during the time he made the album: Shelley, Poe, Faulkner, Gogol, and The White Goddess by Robert Graves.
The album was ultimately recorded in three short afternoon sessions between November 20th to 22nd at Columbia's 7th Avenue studio. Hammond later said that "It occurred to me at the time that I'd never worked with anyone so undisciplined before," in reference to Dylan popping every ‘p’, hissing every ‘s’ and constantly wandering off the mic. "His guitar playing, let us say charitably, was rudimentary, and his harmonica was barely passable, but he had a good sound and a point of view and an idea," Hammond recalled, adding that "He was very disenchanted with the social system. I encouraged him to put all his hostility on tape, because I figured this was the way, really, to get to the true Bob Dylan."
Whilst the album was made at low cost, it only sold 5,000 copies in its first year, just breaking even.
The other original on the album is "Song To Woody", in tribute to his hero. The tune uses the melody from Guthrie's song "1913 Massacre", and the line "that come with the dust and are gone with the wind" paraphrases the line "we come with the dust and we go with the wind" in Guthrie's "Pastures of Plenty", a song about people displaced by the dust storms and drought which swept Oklahoma, Texas and other states in the 1930s during The Great Depression.
The Beach Boys
The Beach Boys - brothers Brian, Dennis and Carl Wilson, plus their cousin Mike Love and friends David Marks and Al Jardine - released their first album, Surfin' Safari, in October 1962.
Whilst Mike sang both the lead tenor and deep bass parts in the band's complex vocal arrangements, it was Brian who arranged their vocals and was considered the genius behind the band. Inspired by George Gershwin's music, specifically "Rhapsody in Blue", and the vocals of the Kingston Trio (who The Beach Boys took their trademark striped shirts and white pants from), Brian Wilson created what was probably the first significant rock band of the 1960s - certainly in terms of album releases.
One of the aspects that makes this album so significant is that, unlike other contemporary rock albums, three-quarters of the songs were originals, written by Brian Wilson and Mike Love along with friend Gary Usher, a musician, songwriter, and record producer who worked with various Californian acts. Another significant aspect was, of course, those harmony vocal arrangements and the incredible vocal range used in their songs.
Booker T & The MGs
Booker T. Jones was still in high school when he got his first professional gig, playing baritone sax on the "Cause I Love You" session for Rufus and Carla Thomas. This was the first hit single for Satellite Records, which as we read in Threespires’ 1961 write-up, had changed its name to Stax based on the names of founders, siblings Jim Stewart and Estelle Axton. After that initial session, Jones convinced the owners that they should keep him on by demonstrating his piano and organ prowess.
As a way of financing Stax in the early days, Estelle Axton opened a record shop, and when it became a popular hangout with the local teenagers, it provided Axton with a way of understanding what sounds appealed to the younger generation. In addition to being part of the Mar-keys, who appeared on our 1961 list, 20-year-old Steve Cropper worked behind the counter and this was how he met Booker T.Jones. When Jones found out Cropper played guitar, they teamed up with two older musicians for a 1962 recording session at the studios and when the singer failed to turn up, the four musicians started jamming in the studio. Jones laid down an organ groove and the others jammed around it, the whole thing being recorded by Stax president and producer Jim Stewart, who was behind the recording console at the time.
The song they'd come up with was "Behave Yourself" and Stewart told the musicians that he'd put it out as a single. They needed a B-side, which is where "Green Onions" came in, a piece built around Jones' Hammond organ riff. The instrumental was put out under the name Booker T & The MGs, and it was a huge hit, reaching number 3 on the Billboard chart.
That's the story of how Booker T. Jones, along with his band, the MGs, became the architect of the Stax Records sound, becoming one of the most influential soul musicians of all time, given the list of iconic soul records he'd play on throughout the 1960s.
Music Round-Up
Whilst they wouldn’t make their recording bow until the following year, The Rolling Stones made their live debut in 1962 at London's Marquee Club, opening for Long John Baldry.
Other notable music releases this year included "Return to Sender" by Elvis Presley, "It Might as Well Rain Until September" by Carole King, "Sherry" by The Four Seasons, “The End of the World” by Skeeter Davis and, continuing mrbelfry’s theme of novelty records, Bernard Cribbins with "Right Said Fred".
"I Left My Heart in San Francisco" was originally written for singer Claramae Turner, who often used it as an encore but never got around to recording it. Therefore, it was Tony Bennett who first recorded the song in 1962, making it world famous.
"The Young Ones" by Cliff Richard & The Shadows, is the title song to the 1961 film The Young Ones and its soundtrack album. With advance orders of over 500,000, it was released in January 1962 and went straight to No. 1, but this was dwarfed by Frank Ifield’s cover of “I Remember You”, which sold over one million!
Outside of Music
There were heroes outside of the music world too. John Glenn became the first American to orbit the earth as part of Project Mercury, and later that year, President John F. Kennedy, made his "We choose to go to the Moon" speech at Rice University, reaffirming that the U.S. will put a man on the Moon by the end of the decade. 1962 was also the year that the Telstar satellite relayed the first live trans-Atlantic television signal.
Andy Warhol premiered his Campbell's Soup Cans exhibit in Los Angeles and two classic Marvel Comic superheroes made their debuts. The Hulk, created by Stan Lee and Jack Kirkby, first appeared in the debut issue of The Incredible Hulk in May 1962. Whilst The Amazing Spider-Man comic book series didn't start until 1963, the Spider-Man character created by Stan Lee and Steve Ditko, made his first appearance in issue #15 of Marvel's Amazing Fantasy on August 1st.
Actress Marilyn Monroe was found dead aged 36 from an overdose of sleeping pills and chloral hydrate at her home in Los Angeles; it is officially ruled a "probable suicide" but the exact cause has been disputed.
Anti-apartheid activist Nelson Mandela was arrested by the South African government and charged with incitement to rebellion. On November 7, he was sentenced to imprisonment.
In December, David Lean's epic film Lawrence of Arabia, featuring Peter O'Toole, Omar Sharif, Alec Guinness, Jack Hawkins and Anthony Quinn, premiered in London; six days later, it opened in the U.S.
And returning to the Cold War theme, Captured American spy pilot Francis Gary Powers was exchanged for captured Soviet spy Rudolf Abel, in Berlin.
One More Hero
The Cuban Missile Crisis ended on 28th October when Nikita Khrushchev announced that he had ordered the removal of Soviet missile bases in Cuba. In a secret deal between Kennedy and Khrushchev, Kennedy agreed to the withdrawal of U.S. missiles from Turkey. The fact that this deal was not made public made it look as though the Soviets had backed down.
Time for one more hero: The day before this climbdown, Vasily Arkhipov, executive officer of Soviet submarine B-59, refused to launch nuclear torpedoes against the U.S. Navy. This event is widely regarded as crucial in averting a worldwide nuclear war.
threespires
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Quality write-up @RobMCFC and a triple like for the Stax part, glad to see you're home and hopefully all recuperating.
Stax pioneered in so many ways, it wasn't just Stax's great great house band that was racially integrated, the whole operation was including the admin and back office. Pretty unusual for somewhere like Memphis at that time. It's interesting how little things and sliding door moments influence the course of music and beyond and there's lots of that with Stax. It sounds like much of the time it was organised chaos. Johnny Jenkins might only be a footnote in music for blues guitar fans but for the fact that he couldn't drive and that he was pretty efficient in the studio. That first fact meant he employed the young singer from his band as his personal driver too. The second fact meant there was 40 minutes of spare studio time to be used after a session one day and as fate would have it that young singer, called Otis, was on hand to record what would become his first single of note.
These Arms of Mine - Otis Redding
This song narrowly missed out on being mine and Mrs Spires wedding dance.
Lawrence of Arabia just about to start on C4 in a moment!
Happy New Year to all musical Mooners!
Stax pioneered in so many ways, it wasn't just Stax's great great house band that was racially integrated, the whole operation was including the admin and back office. Pretty unusual for somewhere like Memphis at that time. It's interesting how little things and sliding door moments influence the course of music and beyond and there's lots of that with Stax. It sounds like much of the time it was organised chaos. Johnny Jenkins might only be a footnote in music for blues guitar fans but for the fact that he couldn't drive and that he was pretty efficient in the studio. That first fact meant he employed the young singer from his band as his personal driver too. The second fact meant there was 40 minutes of spare studio time to be used after a session one day and as fate would have it that young singer, called Otis, was on hand to record what would become his first single of note.
These Arms of Mine - Otis Redding
This song narrowly missed out on being mine and Mrs Spires wedding dance.
Lawrence of Arabia just about to start on C4 in a moment!
Happy New Year to all musical Mooners!
Notable in 1962 was the clarinet instrumental “Stranger on the Shore” by Acker Bilk.
It reached No.1 in the UK and was the first British song to reach No. 1 in the US.
It hung around the top 30 in the UK for almost a year and became the highest ever selling instrumental single, with about 1.1 million sales.
It reached No.1 in the UK and was the first British song to reach No. 1 in the US.
It hung around the top 30 in the UK for almost a year and became the highest ever selling instrumental single, with about 1.1 million sales.
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chesterbells
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1962.
The year it all started in my eyes/ears.
I’m yet to find any music from before 62 that bears repeated listening, but from The Beatles in 62 onwards, I’m in.
The year it all started in my eyes/ears.
I’m yet to find any music from before 62 that bears repeated listening, but from The Beatles in 62 onwards, I’m in.
Not even “Jonny be Good”?
chesterbells
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Hard not to like that one tbf, agreed!
I suppose I just mean I wouldn’t seek out to play anything pre 62 and don’t own any pre-62 music myself.
Saddleworth2
Well-Known Member
Meanwhile in Motown,
The first Motortown Revue was a legendary roadshow, remembered in countless Motown biographies and autobiographies, including the chairman’s own memoir, To Be Loved. “We had in-house everything,” wrote Berry Gordy. “Artists, producers, musicians, chaperones and road managers. It was a perfect opportunity not only to expose the artists who already had hits, but to break in lesser-known acts.” The caravan of stars, originally tagged as the “Motor Town Special,” set out to play more than 30 shows up and down the east coast of the U.S., from late October to mid-December 1962.
Philadelphia’s Uptown Theater, pictured above, was among the venues which welcomed Motown’s young stars in ’62 and 1963. As the photograph indicates, most of Motown’s hitmakers – and one or two without hits – were featured for this particular booking, including the Marvelettes (the company’s first act to reach Number One on the Billboard Hot 100, with “Please Mr. Postman”), the Miracles and Mary Wells. Lower down the bill were Marvin Gaye, Martha & the Vandellas, the Contours and…the Supremes.
But 1962 would see a lot more for Motown than just the growth of Smokey Robinson's reputation and wallet. The year would produce a top 5 pop hit by way of the highly unlikely Contours. It would see Mary Wells rise from a promising R&B favorite to a pop chart sensation. Almost a full decade before the Prince of Motown would cement himself as soul music’s most revered legend, he ditched lackluster jazz for R&B and found his first hit. Brought on board as a mini-Ray Charles gimmick by Miracle Ronnie White, Little Stevie Wonder would release his first, uneven recordings. And desperately waiting in the wings, Motown’s two biggest groups, the Supremes and the Temptations, would keep on struggling (and keep on struggling some more) for a breakthrough hit.
My nomination for the playlist is
Smokey Robinson and the Miracles - You've really got a hold on me
The first Motortown Revue was a legendary roadshow, remembered in countless Motown biographies and autobiographies, including the chairman’s own memoir, To Be Loved. “We had in-house everything,” wrote Berry Gordy. “Artists, producers, musicians, chaperones and road managers. It was a perfect opportunity not only to expose the artists who already had hits, but to break in lesser-known acts.” The caravan of stars, originally tagged as the “Motor Town Special,” set out to play more than 30 shows up and down the east coast of the U.S., from late October to mid-December 1962.
Philadelphia’s Uptown Theater, pictured above, was among the venues which welcomed Motown’s young stars in ’62 and 1963. As the photograph indicates, most of Motown’s hitmakers – and one or two without hits – were featured for this particular booking, including the Marvelettes (the company’s first act to reach Number One on the Billboard Hot 100, with “Please Mr. Postman”), the Miracles and Mary Wells. Lower down the bill were Marvin Gaye, Martha & the Vandellas, the Contours and…the Supremes.
But 1962 would see a lot more for Motown than just the growth of Smokey Robinson's reputation and wallet. The year would produce a top 5 pop hit by way of the highly unlikely Contours. It would see Mary Wells rise from a promising R&B favorite to a pop chart sensation. Almost a full decade before the Prince of Motown would cement himself as soul music’s most revered legend, he ditched lackluster jazz for R&B and found his first hit. Brought on board as a mini-Ray Charles gimmick by Miracle Ronnie White, Little Stevie Wonder would release his first, uneven recordings. And desperately waiting in the wings, Motown’s two biggest groups, the Supremes and the Temptations, would keep on struggling (and keep on struggling some more) for a breakthrough hit.
My nomination for the playlist is
Smokey Robinson and the Miracles - You've really got a hold on me
Whilst 1961 still had a very late 50’s feel to it - that initial write up really makes 1962 sound like the beginning of much that we will come to associate with the 60’s - Beatles - BeachBoys - Dylan - Stax. Groups who wrote their own songs and would eventually produce their own sound as well.
But I’m going to stick to politics and the response of folk music. I think it’s hard for those of us were unborn or too young to know what was going on to realise the impact of the Cuban Missile Crisis - there was a real fear that the world was launching back into war and a war like nothing that had gone before. The relief when both sides backed down was palatable - and it led to a different way of viewing life that we will come to associate the sixties. So who was responsding - well Seeger of course, Joan Baez is emerging, Dylan we have already. But in looking around I was surprised to find a song that would become a Christmas standard was written as a direct response to Cuban Missile Crisis and released with an initial pressing of 250,000 copies which sold out within the week.
Do you hear what I hear? - Harry Simeone Chorale.
But I’m going to stick to politics and the response of folk music. I think it’s hard for those of us were unborn or too young to know what was going on to realise the impact of the Cuban Missile Crisis - there was a real fear that the world was launching back into war and a war like nothing that had gone before. The relief when both sides backed down was palatable - and it led to a different way of viewing life that we will come to associate the sixties. So who was responsding - well Seeger of course, Joan Baez is emerging, Dylan we have already. But in looking around I was surprised to find a song that would become a Christmas standard was written as a direct response to Cuban Missile Crisis and released with an initial pressing of 250,000 copies which sold out within the week.
Do you hear what I hear? - Harry Simeone Chorale.
threespires
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Everyday is a school day, I had no idea that was the genesis of Do You Hear What I Hear, top info.
I always remember my chemistry teacher at school telling us about the Cuban missile crisis. He claimed that the atmosphere at the football on the Saturday, the day the deal was being brokered though people wouldn't know this, was subdued and that he and his mates had stood there thinking this might be the last football game they ever saw.
Black&White&BlueMoon Town
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Fantastic write up Rob, and definitely worth the wait as hopefully a sober read on this today is even more appreciated by the masses! ;-)
The posts afterwards on the other city connections both musically and politically are a great backstory for exploring this pivotal year in the 1960s.
I'll go for originality on this song written (by Phil Medley and Bert Berns) and recorded (by The Top Notes, using a Latin-tinged R&B sound) in 1961, but first achieved commercial success in 1962 by The Isley Brothers.
Berns produced this version with a new arrangement infused the tune with more "gospel-fired soul passion" in NYC at Atlantic Studios.
The real master trick of this rearrangement was a new bridge consisting solely of four ascending sung notes, the tempo becoming more emphatic and dramatic, ending in exultant sustained whooping before a "shake it up baby" led the Isleys back into the verse. You can hear that starting at 1:26 into the song. Groups that followed that recorded this song, including the Beatles the year after, would use this same arrangement to continued chart topping success.
"Twist And Shout" - The Isley Brothers
The posts afterwards on the other city connections both musically and politically are a great backstory for exploring this pivotal year in the 1960s.
I'll go for originality on this song written (by Phil Medley and Bert Berns) and recorded (by The Top Notes, using a Latin-tinged R&B sound) in 1961, but first achieved commercial success in 1962 by The Isley Brothers.
Berns produced this version with a new arrangement infused the tune with more "gospel-fired soul passion" in NYC at Atlantic Studios.
The real master trick of this rearrangement was a new bridge consisting solely of four ascending sung notes, the tempo becoming more emphatic and dramatic, ending in exultant sustained whooping before a "shake it up baby" led the Isleys back into the verse. You can hear that starting at 1:26 into the song. Groups that followed that recorded this song, including the Beatles the year after, would use this same arrangement to continued chart topping success.
"Twist And Shout" - The Isley Brothers
threespires
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Just spotted this and will add into the 61 playlist. Love a good murder ballad!
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Check out Buddy Holly, a major influence on modern popular music.
mancity111
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Anyone heard of Ray Ragsdale?
Well don't worry after 67 years in the music business fusing comedy , country and pop IMO better than most if not anybody else who tried this difficult assignment with 51 albums to his name for starters this comic genius more than deserves his place in the songwriters hall of fame way beyond a novelty performer that some dismiss him as.
Still not sure , well maybe you might know him by his stage name Ray Stevens.
So for a change of pace and some extremely clever lighthearted music set to rather serious and controversial subject matter that only Ray Stevens could pull off without upsetting to many woke folk I nominate:
Ahab the Arab.
Well don't worry after 67 years in the music business fusing comedy , country and pop IMO better than most if not anybody else who tried this difficult assignment with 51 albums to his name for starters this comic genius more than deserves his place in the songwriters hall of fame way beyond a novelty performer that some dismiss him as.
Still not sure , well maybe you might know him by his stage name Ray Stevens.
So for a change of pace and some extremely clever lighthearted music set to rather serious and controversial subject matter that only Ray Stevens could pull off without upsetting to many woke folk I nominate:
Ahab the Arab.
Saddleworth2
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I noticed that in the billboard 100 for 62. Looking forward to listening to it.
threespires
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I knew I'd heard the name Harry Simeone before but couldn't work out where so I had look it up and it's another Christmas connection. A few years back I found that The Little Drummer Boy, which I had assumed was more traditional, was first recorded by the Von Trapp family in the early 50s as the Carol of the Drums. Harry Simeone was given it in the 60s (and got a co-writing credit for changing the title to The Little Drummer Boy!) and had a hit with it which was the first time most people would have heard it.
threespires
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Same bloke who had a big hit in the UK with The Streak in the 70s I think?
mancity111
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I didn't recall that it was and am a little surprised by that but I have played it many times when looking for a pick me up.
It was never going to go down in history as a classic but Ray Stevens had covered many bases prior to Weird Al attempting to carry his mantle to some degree.