Just as the 1966 debut of the Batman TV series wasn’t my introduction to superheroes on TV, neither was the debut of The Monkees later in ’66 my first televised rock ‘n’ roll experience. For that, we have to go back to at least February 9th, 1964; sure, I’d just turned four years old a little over three weeks before that, but trust me: that Sunday night, everyone saw The Beatles on The Ed Sullivan Show. Yeah, yeah, yeah!
Even before Smilin’ Ed introduced these four young men from Liverpool who called themselves The Beatles, I’m pretty sure I’d seen Chubby Checker twistin’ on TV when I was three, and I may (or may not) have seen The Four Seasons on some show, somewhere, singing “Big Girls Don’t Cry.”
Still, The Beatles’ TV debut was seismic. Every televised rock ‘n’ roll moment I saw after that, from The Monkees through Elvis Costello & the Attractions on Saturday Night Live, and all points in all directions, is filtered in my mind through a memory of John, Paul, George, and Ringo singing “All My Loving” for an American TV audience that felt its hair growing longer and its soul growing freer before that first song was through.
In between February ’64 and September ’66, my specific memories of rock on TV are limited and hazy, at best. Aside from one-off fictional combos like The Mosquitoes on Gilligan’s Island or the actual band The Standells on The Munsters (both of which I’m sure I saw in prime time, but really only remember from reruns in the ’70s), there was The Beatles Saturday morning cartoon series, and there was Dick Clark‘s rockin’ pop showcase Where The Action Is! on weekday afternoons. I know for a fact that I saw at least some episodes of Where The Action Is!, but while I remember watching it, I don’t remember what I saw and heard; I wouldn’t take note of the Where The Actions Is! house band–the fabulous Paul Revere & the Raiders–until rediscovering them in the ’70s. I must have seen American Bandstand, and Hullabaloo, and Shindig! in this time frame, but I can’t swear it’s so.
So The Monkees show was also seismic. The cultural impact of the show remains underrated, but The Monkees probably did more to bring long hair and the burgeoning youth movement into the American middle-class mainstream, into acceptance, than any other single source. Yeah, even more than The Beatles themselves. Throughout 1967 and into the time of the TV show’s cancellation in ’68, The Beatles were getting weird by middle American standards; they did drugs, LSD, and were no longer the cuddly moptops we’d seen running from screaming fans in A Hard Day’s Night (a 1964 movie which was televised on election night in 1968). But The Monkees? Couldn’t call ’em clean-cut exactly, but they weren’t perceived as a threat to the status quo: smilin’ and laughin’, too busy singing to put anybody down. Even with their long hair and their beads and peace signs, The Monkees seemed…normal. The Monkees was the most quietly, successfully subversive TV show on the air in 1967. And it got away with it.
The above is a mere tangent to today’s discussion. While Micky, Davy, Michael, and Peter were subtly moving the needle to the left, they were also an engaging rockin’ pop group, playing their great songs on TV, every week. You wanna talk about rock ‘n’ roll on TV? You’d better have a lot to say about The Monkees.
The only other rock-on-TV moment I can specifically recall from this ’66-’68 span is seeing The Jefferson Airplane sing “Somebody To Love” on American Bandstand. When The Monkees faded to black in ’68, I didn’t really see much more rock ‘n’ roll on the telly for a while thereafter. I guess you could count the animated exploits of The Archies, whose agreeable bubblegum music was way better than anyone should have expected from a Saturday morning cartoon soundtrack, but Riverdale’s Phenomenal Pop Combo wasn’t quite the same as a flesh-and-blood combo, even an initially manufactured combo like The Monkees.
Things changed a bit in the ’70s. I was actively listening to AM Top 40 radio, and starting to see bands on TV. The bands had never gone away from the TV screen, of course; they were still making appearances on variety shows and talk shows, but I just didn’t see ’em. But I did see the TV special James Paul McCartney in 1973, I saw Wings‘ video for “Mary Had A Little Lamb” on The Flip Wilson Show, Smokey Robinson on The Sonny And Cher Comedy Hour, and the new late-night rock ‘n’ roll showcases Midnight Special, ABC In Concert, and Don Kirshner’s Rock Concert. Those three shows gave me opportunities to see artists ranging from The Rolling Stones to The Isley Brothers to The Bee Gees, and even ’60s acts like Herman’s Hermits.
Opportunities continued to broaden when I was in high school: The Bay City Rollers and The Patti Smith Group on The Mike Douglas Show, Alice Cooper on both The Smothers Brothers and The Snoop Sisters, The Rubinoos and Fanny on American Bandstand. A British import called Supersonic offered me my first televised glimpse of my # 1 Pop Dream Suzi Quatro, as well as appearances by The Hollies, The Crazy World Of Arthur Brown, and that loathsome lizard Gary Glitter. NBC’s Saturday Night offered a Simon & Garfunkel reunion, and a one-off duo of Paul Simon and George Harrison, and–best of all!–THE KINKS!! Even more TV rock stars would appear during my college years: The Rutles. Todd Rundgren, Devo, The Sex Pistols, Bowie, Michael Nesmith, KISS, Tom Petty & the Heartbreakers, Cheap Trick, The Records, Iggy Pop, The Clash, yadda und yadda. In the early ’80s, my access to TV was limited, but there was Rick James and Fear on SNL, and The Ramones on, of all things, Sha Na Na. There was a video for Joey Wilson‘s sublime, elusive “If You Don’t Want My Love” on some long-forgotten video hits show. And then there was MTV, a rant for another day (if ever).
As home video became a thing, I acquired a lot of old rock ‘n’ roll favorites, to peruse again at my leisure. I have all of The Beatles’ appearances on The Ed Sullivan Show. I have a Blu-ray set collecting the entire series of The Monkees. I have officially-licensed Hullabaloo DVDs, a bootleg DVD set of the complete Shindig!, and an assortment of other televised rock ‘n’ roll goodies, both legit and less so, from The Raspberries to The Dave Clark Five. And it’s all on YouTube anyway, for anyone to click and view at a moment’s notice.
While I miss the feeling of rock ‘n’ roll on TV as a unique and special event, I can’t deny that I dig the convenience of being able to see a Dave Dee, Dozy, Beaky, Mick & Tich or (especially!) Suzi Quatro clip online whenever I wish. Expedience trumps nostalgia. But that desire was built on a bedrock of memories, fond recollections of sprawling before the tube to witness The Beatles sing “I Want To Hold Your Hand,” and all that came after that. Thanks, Mr. Sullivan. Set your antenna. Turn it up. Watch the music, and let it rock.
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After 1997’s Blue Sky On Mars, Matthew Sweet just kinda fell off my radar. Although I enjoyed the covers records he did with Susanna Hoffs, I lost touch with his solo work. After hearing rave reviews from friends regarding Catspaw, I thought it might be time to get reacquainted.
Sweet’s voice is in remarkable shape, belying the fact that his ground-breaking Girlfriend Lp is 30 years old. Here, Sweet is stripped back to that era, with in-your-face dry production, framing that evergreen voice. That isn’t the sole reminder of his biggest past success. The songs are really, seriously good.
The opener, Blown Away, is a chugging White Album rocker that blisters with rough guitar and McCartney-inspired bass, both played by Sweet. Opting to cover lead parts himself, Sweet succeeds in pulling off what amounts to an amalgam of all the guitarists who’ve been his sidemen over the years. Challenge The Gods and Stars Explode both get the blood pumping with similar aplomb, chorus hooks and those trademark, double-tracked Sweet harmony vocals.
Catspaw is a strong outing that surprisingly improves with each successive listen. Highly recommended.
For me, one of the joys of listening to and appreciating new music, is that you often get so much more than you originally anticipated. Such is the case with the latest by The Braam Brothers, Landscape.
The brothers were kind enough to send me a vinyl review copy, which is almost unheard of these days. Unpacking the Lp and peeling off the cellophane, I could already feel the anticipation growing. Coupled with a really nicely-designed cover, I hoped that the music inside would be equally as appealing. It would not disappoint.
As I went through the first listen, my mind seriously began to wander. Not because the songs or performances were lacking or uninteresting, but because the overall vibe of the production took me back to a very specific place and time.
In the early 90’s, my best friend lived in a loft in Chicago, with two of his fellow Second City performers. It was everything you’d imagine, from a manikin serving as a coatrack, to a beat-up motorcycle permanently installed in the freight elevator. My friend’s roommates were obsessed with R.E.M., and their first record seemed to be playing in that place, 24 hours a day. It almost had the feel of being on the set of a hip indie film, or stage production. For me, it was always a cool hang, whether we were scarfing down pizza as we took in an old monster movie, or making fun of the Johns nervously trying to pick up the girls that were always, literally, walking the streets below.
The Braam Brothers took me back there, to a place and time that I rarely ever think about these days. Those dusty memories were there in my head alright, though months, even years, go by without their remembrance. I can’t promise a similar experience for you, but I can promise that, at the very least, you’ll get to hear some top-notch music.
My picks to click on this are the stirring title track, and the haunting I Want Your Love, both of which will make this Lp a contender for any year-end best list. These are honest tunes, played with no filter, by real musicians.
The Laurie Berkner Band
Laurie Berkner has covered in the upper echelon of family music for years now. Her songs are always crisp, smart and tuneful, a trend that continues with her latest, Let’s Go!
The title track is a nifty bit of pop set to the hand-jive rhythm, which lists everything that needs to be accomplished before we leave the house. If you’ve got one of those kids that drags his or her feet getting ready for an outing, this one’s for you!
Got a kid that resists wearing a mask during these unique times? The Superhero Mask Song is here to save the day! Without fear or condescension, Berkner explains how every kid can contribute to making their world a better place. This is good, positive stuff! My fave of the set is When It’s Cold, a winter song about keeping warm that’s as fun as it is funky.
Taking in this release just on the strength of how it sounds, it’s expertly produced and lively. The musicianship is top-notch, too. Berkner’s also got a ringer in the band’s line-up, with Brady Rymer on bass guitar. Top-notch.
By Dan Pavelich
Born on this day in 1947, in Nambour, Queensland, legendary record producer, Mike Chapman. In Chapman’s long and storried career, he’s worked with; Sweet, Suzi Quatro, Blondie, The Knack, Rod Stewart, Pat Benatar, and so many more.
In the past few days, we’ve had readers from so many different countries! It’s a pleasure to know that we’re entertaining people all over the world! Thank you all for stopping by!
Don’t tell me that love hurts
I read the book, I saw the movie
Got the T-shirt
“T Shirt” by J. Imray (recorded by The Crickets)
I don’t wear plain Ts, of course; I favor some kind of design, usually a graphic from pop culture, whether it’s a rock group or a comic book character, whatever. I remember wearing a Batman T-shirt when I was six (circa the 1966 Batman TV series). I have no other recollection of what T-shirts (if any) I wore as a kid. (Though I should at least mention my Baron Daemon sweatshirt, proudly emblazoned with the black-and-white image of Syracuse’s favorite TV vampire, and stating, I’m a real cool ghoul.)
Even into high school, I don’t really remember what T-shirts I may have owned. The only one that specifically comes to mind is the Budweiser shirt I had when I was 15. I didn’t drink Budweiswer then, and I don’t drink it now, though the reason why has evolved; in 1975, I didn’t drink Budweiser because I didn’t drink beer, whereas nowadays I don’t drink Budweiser because I don’t regard it as a real beer. Gimme a Belgian, man.
Really, college was when I started getting more into identity-proclaiming T-shirts. I’m sure I wore a bunch of ’em freshman year, 1977-78, though I only remember my dorm T-shirt, my free local disco Club 2 On 2 T-shirt (which was definitely not identity-proclaiming, but it was free), and a White Rock T I won from Utica’s WOUR-FM. The White Rock shirt–which was connected to a ski movie scored by Rick Wakeman from Yes, not some stupid neo-Nazi thing–caused friction with my girlfriend’s roommate Rosanne; Ro also had a White Rock T-shirt, but hers went missing, and it was an uncommon enough item that I can’t blame her for being suspicious when she saw me wearing mine (especially given, as she put it, that I was hanging around her room so much).
As college progressed, I started to get a few Ts more specifically reflective of my pop tastes. Christopher Reeve as Superman. KISS. The Sex Pistols. The Ramones. I recall a visit to a Syracuse University shop called Tops To Please, which at the time had an amazing selection of rock, punk, and new wave shirts, including a shirt emblazoned with the logo of my local heroes The Flashcubes. Alas, I was but a poor college student, and my budget didn’t allow me to purchase anything there. I never even got a Flashcubes T-shirt, at least not at the time. After the ‘Cubes broke up, and their T-shirts were no longer available, I went to a custom shirt place in Brockport, armed with a plain black T and my official membership button from when I joined The Flashcubes International Fan Club. I went to the shop’s counter, and told the clerk, “Make this shirt look like this button.” Yes, I’m guilty of commissioning the world’s first bootleg Flashcubes T-shirt. When the group reunited decades later and offered new shirts for sale, I made sure to buy one in penance for past sins.
For my 21st birthday in 1981, my girlfriend bought me a Monkees T-shirt. I loved that thing, and I wore it whenever I could. I wore it to a club show by a great British Invasion-influenced group called The Insiders. As the show went on, one of The Insiders told the crowd, “I hear there’s a guy here tonight in a Monkees T-shirt. Well, this is the song he came to hear,” and The Insiders played “(I’m Not Your) Steppin’ Stone.” I think they did “Last Train To Clarksville,” too. Hey, hey…!
I remember once staring at a Yardbirds T-shirt for sale at Record Theatre in Rochester, wanting it, but reluctantly moving on because the store didn’t have one in my size. But the ’80s opened the floodgates for my fresh sea of Ts. Johnny Thunders! More Ramones! Batman! Um…Madonna. It was free. And, if memory serves, Ms. Ciccone wasn’t wearing a shirt herself in the image on the front, her strategically-placed arm securing the modicum of modesty necessary for one to wear the T-shirt in polite company.
’80s, ’90s, and into the 21st century. I had souvenir Ts from visits to Key West, Yosemite, Peel Pub in Montreal, and Malaga, several shirts depicting images of Batman and/or The Joker, shirts dressed with logos or likenesses of The Beach Boys, The Rolling Stones, The Wonders (from That Thing You Do!), The Cavern Club, Gerber Music, The Beatles, Lannie Flowers, The Catholic Girls, Coca-Cola, Harry Potter, Syracuse University basketball, Spider-Man…! Some I outgrew, some I replaced. I still wear ’em, from early, early spring to late, late fall.
My favorite T-shirt? The Kinks. People notice it pretty much every time I wear it, and I wear it often. Am I a dedicated follower of fashion? No, plainly not. I read the book, I saw the movie. Now just lemme have my T-shirts.
Fans of pop music will want to check out Waterloo Sunset–Benefit For This Is Rock ‘n’ Roll Radio, a new pop compilation benefiting SPARK! Syracuse, the home of This Is Rock ‘n’ Roll Radio with Dana & Carl. TIR’N’RR Allstars–Steve Stoeckel, Bruce Gordon, Joel Tinnel, Stacy Carson, Eytan Mirsky, Teresa Cowles, Dan Pavelich, Irene Peña, Keith Klingensmith, and Rich Firestone–offer a fantastic new version of The Kinks’ classic “Waterloo Sunset.” That’s supplemented by eleven more tracks (plus a hidden bonus track), including previously-unreleased gems from The Click Beetles, Eytan Mirsky, Pop Co-Op, Irene Peña, Michael Slawter (covering The Posies), and The Anderson Council (covering XTC), a new remix of “Infinite Soul” by The Grip Weeds, and familiar TIRnRR Fave Raves by Vegas With Randolph, Gretchen’s Wheel, The Armoires, and Pacific Soul Ltd. Oh, and that mystery bonus track? It’s exquisite. You need this. You’re buying it from Futureman.