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The History of Rock 1965
- 3. A S THE YEAR dawns, the personalities who will define much of the music of the next 50 years – be that The Beatles, Bob Dylan, or The Rolling Stones – are all still in their early twenties. They are already working at an extremely high level, producing classic work like Help!, Highway 61 and “Satisfaction”. In their wake, a second wave of innovators are busy determining their own paths, inspired by the work of others (“they knocked us out” is a phrase you’ll read a lot) and their ownuniquevisions. The music writers of New Musical Express and Melody Maker were there with them all. These were not by any means the faintly dandyish figures of the following decades. Rather, these were diligent newspapermen with musical leanings;dedicatedrecord“trade”professionalswhouncoveredpivotaldetail bytheirfastidiousreportingofmusicevents.Theyskilfullycapturedthemajor personalitiesupclose,atatimewheremusic–andalongwithit,musicwriting– wasundergoingrapidchange. ThisistheworldofTheHistoryOfRock,anewmonthlymagazineandongoing projectwhichwhichreapsthebenefitsofthisaccessforthereaderdecadeslater, one year at a time. In the pages of this first edition, dedicated to 1965, you will find verbatim articles from frontline staffers, compiled into long and illuminating reads. You will be present as enduring reputations (“the witty Beatles”; “the battling Kinks”) are formed, but also to discover fascinating bywaysoffthemaintrack. You will recognise many of the names, faces and places here, but you’ve perhapsneverquiteseenthemquitesoinnocently,orsointimatelyintheirtime. Here,CarnabyStreetisstillafashionabledestination.ARickenbackerguitar,as advertised by John Lennon, will cost you 150 guineas. Andrew Loog Oldham seems to have a hand in everything. America? America is spoken of as an extremely remote place indeed, and a sense of spirited transatlantic competitionthrivesinthelanguageofmuchofthereporting. What may surprise the modern reader most is the access to, and the sheer volume of, material supplied by the artists who are now the giants of popular culture.Now,acombinationofwealth,fearandlifestylewouldconspiretokeep reportersatarathergreaterlengthfromthelivesofmusicians. Atthisstage,however,representativesfromNewMusicalExpressandMelody Maker are where it matters. At John Lennon’s dinner table. Being serenaded by JohnColtraneinhishotelroom.InaTVstudiowithTheRollingStones. Jointhemthere.You’llbeknockedout! W elcome to1965 HISTORY OF ROCK 1965 | 3 1965 MONTH BY MONTH
- 5. Time Inc. (UK) Ltd, 8th Floor, Blue Fin Building, 110 Southwark St, London SE1 0SU | EDITOR John Mulvey, whose favourite song from 1965 is Turn! Turn! Turn! by The Byrds DEPUTY EDITOR John Robinson Outlaw Blues by Bob Dylan ART EDITOR Lora Findlay Stop! In The Name Of Love by The Supremes PRODUCTION EDITOR Mike Johnson Downtown by Petula Clark ART DIRECTOR Marc Jones I Can’t Explain by The Who DESIGNER Michael Chapman Circles by The Fleur De Lys PICTURE EDITOR Kimberly Kriete Highway 61 Revisited by Bob Dylan COVER PHOTO John Pedin/NY Daily News Archive via Getty Images THANKS TO Helen Spivak, Michael Bonner, Jo Smalley, Lucy Thompson, Sofia Gerganova MARKETING Charlotte Treadaway SUBSCRIPTIONS Sonja Zeven PUBLISHING DIRECTOR Ed Beale MANAGING DIRECTOR Paul Williams COVERS PRINTED BY Polestar Wheatons TEXT PRINTED BY Polestar Chantry | WWW.UNCUT.CO.UK OrnetteColemandropsby theoffice,too. 118News CharlieWattsliftsthelid ontheband’slatestsessions.Bob Dylananswerssomequestions. 120TheWho Hits.Arguments.Fights. SaysRogerDaltrey:“Thisbeat generationismovingsofastit’s runningoutofideas...” 124News IntroducinggroovyEast Londonersthe SmallFaces. Plus:what Maccathinks aboutthe proliferationof “Yesterday”. Whichisthe stars’favouriteversion:his,Matt Monro’sorMarianne’s? 126TheWalkerBrothers America’ssmoothest, strangestLondonresidents introducethemselves.Got acigarette? 132TheYardbirds Gregorianchants...sitars.Damn righttheyhaven’tgottheblues. 136TheBeatles AChristmasspecial. Thebandoffertheirthoughtson theyear,reviewthelatestsingles, andplayliveinLondon... Beatlemanialives! 144Letters LPwinner!Readers offertheiropiniononthe burningissues. TheRollingStones –pages34and102 MICHAEL OCHS ARCHIVES/GETTY IMAGES HISTORY OF ROCK 1965 | 5
- 6. 6 | HISTORY OF ROCK 1965 MIRRORPIX Beatles are chart champions – again! “We hope to maintain our success on record, and of course we are looking forward to our next film” John Lennon NMEJANUARY1,1965 Asanewyearbegins,NME’sstatsguruassesses thechartsof’64anddiscoversTheBeatlescomeoutontop.But watchout–TheBachelorsarerunningthemaclosesecond… T HEBEATLESHAVEpulledit offagain!Forthesecondyear runningtheyareBritain’stop- sellingattractiononrecord– andIdon’tsupposeanyonewill beatallsurprisedbytheirlatestvictory.But whatmaycauseafeweyebrowstoraiseisthe factthatTheBachelorshavejumpedinto secondplace,lessthan200pointsbehindthe Liverpoollads–andtomethisisthe outstandingfeatofthisyear’ssurvey. Atonetime,whenTheBeatleswereabsent fromthechartsduringOctoberandNovember, itlookedasthoughTheBachelorsmighteven overhaulthem.Allthesame,TheBachelors havedoneremarkablywellforagroupseenby manyasbeingsomewhat“onthesquare”side. Theirfeatisproofthatit’snotjusttheDJsand rockerswhobuytheirrecords.Evenmore remarkableisthefactthatthey’venothad aNo1hit. AndTheRollingStones,whofinishedamere 30pointsbehindtheIrishladsandmadea braveattempttocapture runner-upspot,wereonly toppingthechartsfortwo weeksthisyear.They’ve donemightywellthough, foragroupuponwhomso muchcontroversyalways seemstobecentred.AndI shouldn’tbesurprisedto seethemgiveTheBeatles anevencloserrunfortheir moneyinthe1965table. Andsotothefantastic successofthelateJim Reeves.Jim’striumph canbeattributedalmost exclusivelytotworecords–“ILoveYou Because”,whichenjoyedmostofitschartrun beforehisuntimelydeath,and“IWon’t ForgetYou”,whichthefansturnedtoafter theReevestragedy. ImmediatelybehindJimintheracecomes RoyOrbison–notreallysurprising,whenone considersthathewasthefirstAmericanto scoreaNo1hitinthiscountrysince1962.And hedidittwiceinsuccession!Roy’simmense popularityoverherehasbeenconsolidatedby hisregularvisits,andweapplaudhishigh placinginthisyear’stable–whichshowsan improvementofonepositionoverlastyear. ThisisthelowestCliffRichardhasbeenin thetablesincetheoutsetofhiscareer,butI’m surehewillnotbedisappointedbythisdrop, sincehenowregardshimselfintheroleof afamilyentertainer. FORTHEBEATLES1964wasatestingyearin whichtheystartedontopandcameouton top,heapingnewhonoursaroundthemall thewhile. SaidJohnLennon:“1964hasbeenareally fantasticyearforallofus,bothinthiscountry andabroad,andwe’reall hopinglikemadthat1965 isgoingtohavesomegreat momentsaswell. “Wehopetomaintain oursuccessonrecord,and ofcoursewearelooking forwardtomakingour nextfilm,whichwestart inFebruary.AHardDay’s Nightwasalotmore successfulthanwe’dever dreamed,soit’svery importantthatwekeep upthestandardweset inthat. “AndpersonallyIhopemynextbookproves aspopularasInHisOwnWrite.Ifthatlotcomes truewe’llbelaughin’!” 1965 JANUARY–MARCH
- 7. HISTORY OF ROCK 1965 | 7 JohnLennonleadsThe Beatlesonstageduringthe NMEPoll-Winners’All-Star ConcertattheEmpirePool, Wembley,April26,1964
- 8. B OBDYLANIStotourBritain.The mostinfluentialfolkstarinAmerica flieshereforasix-cityconcerttrip fromApril30. Thiswillbe24-yearoldDylan’sfirstreal Britishtour.Lastyearheplayedonlyone concertatLondon’sFestivalHall. ImpresarioTitoBurns,whosignedDylan thisweek,said:“Hewillplayoneshowatthe AlbertHall,LondononMay10.BetweenApril 30andthatdate,hewillplaytheCityHall, Sheffield;DeMontfortHall,Leicester;Town Hall,Birmingham;CityHall,Newcastle;and FreeTradeHall,Manchester.” Whilehere,Dylanwillalsotelerecordhis ownTVshow.Exactdatesforthetourarestill beingworkedout. ThroughhisLPs,BobDylan,AnotherSide OfBobDylan,TheFreewheelin’BobDylan and TheTimesTheyAreA-Changin’thefolk starhasemergedintooneoftheworld’smost controversialartists. Hissongs,allwrittenbyDylan,are pungent socialcommentariesthathave attractedenormousattention.Hewrote “Blowin’InTheWind”,aninternationalhit for Peter,PaulAndMary. DylanisaclosefriendofTheBeatles,whom hemetinAmericalastyear.JohnLennon returnedfromtheStatesandsaidhewas “knockedout”byDylan’smusic. Dylanto tourUK MMMARCH6Folkstarwillvisit BritishcitiesandfilmaTVshow Dusty in the firing line T HERUMBLINGSOFtheDusty SpringfieldSouthAfricanaffairare stillechoingaroundtheworld.Andto judgebysomeoftheitemsreceivedat MelodyMaker–apro-fascistcarsticker wasoneofthemoreobscene–Dusty’sstand againstracialdiscriminationhasdredgedthe cranksupfromtheirpsychiatrist’scouches. Ignoringthelunaticfringe,therehavebeen oneortwolettersfromSouthAfricawhich deserveananswer. MrJanAJordaanwrotefromCapeTown: “Itseemsthatthecolour-consciousMiss SpringfieldcametoSouthAfricatoprepare herselfforher‘spiritualhome inAmerica’.Itisobviousthat shestartedtroublewith premeditation,became theheroineofthousands ofanti-SouthAfricansand will,ofcourse,beaccepted nowbycolouredAmerican artistslikeRayCharles, Belafonte,MiriamMakeba, Armstrong,Ellington,Ella Fitzgeraldandothers. “She’sanamenowbutIcanassureherthat hersingingwon’tliveuptothat‘name’.The Springfieldsgroupwasaresoundingflopand hadtobreakup–MissSpringfieldwon’tbe moresuccessful.” Justtoputthefactsstraight–MiriamMakeba isSouthAfrican;theSpringfieldsbrokeupat theheightoftheirsuccessandshortlyafter winningtheMMPoll;andDustyisenormously successful,inBritain,AmericaandEurope. MrJordaancontinues:“Ifasingercomesto SouthAfricahemustabidewiththepolicy andrulesofthatcountry,whetherhelikesit ornot.FrankIfield,RussConway,VeraLynn andahostofothertrulygreatentertainersand non-‘rebels’didn’tcreatetroublewhilethey wereoverhere.” Onthefirstpoint,Dustysigneda contractwhichsaidshewouldbeplayingto multi-racialaudiences,beforesheaccepted theSouthAfricantour.Asfarastheother starsareconcerned–itisamatterfortheir ownconsciences. MrJordaangoeson:“AsingerlikeHelen Shapiro(aJewess)wastoldafewmonthsagoby EgyptandtheArabiancountriesthatshe’snot welcomethereandshewon’tdreamofgoing theretodefytheirruling.” TheMM,MrJordaan,condemnsallracial discrimination–whetheranti-Semitism,Jim CroworCrowJim.Itis,afterall,only20years sincetheendofawarto destroyfascistideas. MrJordaancastigates DustyforcallingSouth Africaa“policestate”, adding:“Ifthat’sthecase, thenBritainisastateof long-haired,third-rate entertainerswithherselfas undisputedQueenOfThe Mods.Ithinksheshould tellthepersonwhoputthe words‘policestate’inhermouthtotrytothink outsomethingmoreoriginal–ourcountrywas calledthosecenturiesago.” MMFEBRUARY6 THEACTIONSOFDustySpringfieldandAdam FaithinquittingtheirrecentSouthAfrican toursoversegregatedaudienceswereattacked byPeterandGordonwhentheyflewinto LondonfromSouthAfricaonMonday. PeterAshertoldtheMM:“Ourtourwent verywellbuttherehasbeenconsiderable reactiontowhatDustyandAdamdid. Theatreswhichhad,upuntilthen,been multi-racialarenowsegregated.Thetrouble hasstartedtheGovernmentbeinginterested inthetheatres.” MMJANUARY9TheabortedtourofSouthAfrica:readerswrite “She’s a name now but I can assure her that her singing won’t live up to that ‘name’” Afterbeingorderedto leaveSouthAfricafor performingtoamixed- raceaudience,Dusty Springfield arrivesat HeathrowAirportwith herbackingbandThe Echoesandhermanager VicBillings(withbeard), December18,1964 1965 JANUARY–MARCH
- 9. 1965 T HECURRENTRAVEofthebeat groupsisJamesBrown,oneofAmerica’s mostextraordinaryshowbusiness personalities.MickJaggerrateshimthemost excitingstarhehaseverseen,andhasevery recordBrownhasmade.Jaggerandtherest ofTheRollingStonesmetBrowninNewYork whentheytouredtheStateslastyear. InAmerica,Brownisoneofthehighest- paidhitparadeartists.Heemploysaprivate hairdresser,avalet,avocaltriotosupport himwhenhesings,abodyguard,personal tailor,secretary,twochauffeurs,and,of course,apublicist. HetransportsthisarmyaroundAmericain a£14,000luxurycoach. JamesBrownisastar.Itisnotadvisableto sayyoudonotlikeJames’workifJaggeris nearby.“Cor–he’saknockout,”Mickerupted. “Itmightnotseemthatgreatonhisrecords– butIlikethemtoo.Butifyouseehimonstage, you’vegottoadmithe’smarvellous.Hedoes somuch,worksupsuchalotofexcitement, andcavortsaboutthestagelikeamadman. Weallthinkhe’saknockout,butIlikehim morethananyone.” OtherBritishgroups,includingTheAnimals, admireBrown’sact.Oneofitskeyassetsis Brown’sabilitytolureaudiencesinto participation.Heisbilledas“MrDynamite”. WhileBrownhasnotmadeamajorimpact here,hecouldhappeninabigwayoneday– especiallyifalotofmusicianshavetheirway. JamesBrownandTheFamousFlameshave hadseveralLPsissuedinBritain,andmany singles.Themostrecentsingles,theultra- catchy“OutOfSight”and“NightTrain”,have donealottospreadthegospel. Ingroupdressingrooms,BrownLPsare popular–anditisworthrecallingthatthesame sortofthingwashappeningwithRayCharles longbeforehemadeabigimpressiononthehit paradeandbecameinternationallyfamous. AdamFaithwasnamingCharleshisfavourite longbefore“HitTheRoadJack”. ThesamecouldhappenwithJamesBrown, avery“in”namerightnow.Ifhedoesbecome dynamite,Jaggerandcompanywillbeinthe frontlinewavinghimon. “Cor – he’s a knockout” MMJANUARY23MickJagger revealswhyheratesJamesBrown ³TheBeatleshave mixedfeelings abouttheirBeatles ForSalealbum sleeve–themost flamboyant,talked- aboutLPcoverto beissuedinBritain. SaysGeorge Harrison:“It’svery nicebutweweren’t pleasedwiththe colouringandthe shading.Wetold GeorgeMartinthis andhefixedupto haveitreprinted after200,000had beenrunoff.We hopethey’lllook evenbetterthen.” “Raver”NMEMARCH13 ³EricClapton, leadguitaristwith TheYardbirds,has leftthegroup becausehesays: “Theyaregoingtoo commercial”.He hasbeenreplaced byJeffBeckand leaderKeithRelf toldtheMM:“It’s verysadbecause wewereallfriends. Therewasnobad feelingatallbutEric didnotgetonwell withthebusiness. Hedoesnotlike commercialisation. “Helovesthe bluessomuchI supposehedidnot likeitbeingplayed badlybyawhite showerlikeus!Eric didnotlikeournew record“ForYour Love”.Heshould havebeenfeatured buthedidnot want tosingor anythingandonly didthatboogiebit inthemiddle. “Hisleavingis boundtobeablow tothegroup’simage atfirstbecauseEric wasverypopular. JeffBeck,whois verygood,was recommendedby JimmyPage,who is theguv’nor.” MMMARCH13 HISTORY OF ROCK 1965 | 9 BrownandJaggerat theTAMIShow,Santa Monica,October1964 WENN, GETTY IMAGES JANUARY–MARCH
- 12. “Yes, he’ll make a good husband” 12 | HISTORY OF ROCK NMEFEBRUARY19JohnLennonpondersRingoStarr’smarriage;NMEheadstothesouthcoastinhotpursuit “Onethisway,please”: RingoandMaureenface thepressduringtheir honeymooninHove N O,IWASN’Tamazed,shockedor anythinglikethatwhenIheardRingo wasgoingtogetmarried–Iwas surprisedhehadn’tdoneitbefore.He’s themarryingkind,asortoffamily man.Infact,onhisweddingdayhesaidto me:“IwishIhaddoneitwhenyoudid,John.” Theweddinghadbeenplannedforabout twoweeksbeforehandbutwe’vebeenawayso CynandIdidn’tknowuntilwegotbackfrom ourski-ingholiday,onlyafewdaysbeforethe wedding.IwassurprisedIhadn’tknownabout itsooner. NotthatIcangrumble.WhenRingojoined thegroupInevertoldhimIwasmarried.Atthe timeIdidn’twantittogetaroundandIdidn’t knowhowwellIcouldtrusthimtokeepit secret.ButitcameoutonedaywhenweBeatles wenttoanaccountant’sofficeandheasked: “Doyouhaveanydependants?”andIsaid: “Yes,I’vegotawife.” No,Ididn’tlearnaboutRingo’smarriage-to- befromhim.ThedayafterIgotbackfrom SwitzerlandIwaswithaphotographer planningthelaststagesofmynextbook SpaniardInTheWorks(that’saplugbytheway) whenthisfellowsaid:“Ofcourse,youknow aboutRingo?” Isaid:“No,goon,”andheblurteditout.The followingdayGeorgeandIhadameetingwith filmproducerWalter Shensonandafterit BrianEpstein‘officially’ toldusinhiscar.George wasamazed;hesaid somethinglike…well, anyway,hewasamazed! Thenhesaid,“Heehee, morefansforme!” Paulwasonholidayin NorthAfricaandwehadn’tplannedtotellhim untilhegotback,whichwouldbeafterthe event.ButIhadvisionsofnewspaperreporters outthereaskinghimforhiscommentsandhe– thinkingitwasjustanotherBeatlemarriage rumour–he’dhavelaugheditoff. Wedidn’tgetRingoanyweddingpresents. Therewasn’ttime.Isupposewecouldhave broughthimacoupleofspoonsandtaken themalongtotheceremonybuthewould havehadtocarrythemdowntoHove,so whatwasthepoint?We’llgetthemsomething goodwhenthey’vegot ahouse. Therewasn’tawedding breakfasteither.Assoon asitwasalloverthey dashedaway. Evenmostofthe‘wedding’ photographsweretakenthe previousnight. Ihaven’tacluewhere they’regoingtolivebecauseRingohasgotto getoutofhismewsflat.Theirhomewillhave tobeinLondonbecauseheworksthere.Of coursetheyaregoingtohaveafamily.There “George was amazed. Then he said: ‘Hee hee, more fans for me!’” AP , GETTY IMAGES 1965 JANUARY–MARCH
- 14. 14 | HISTORY OF ROCK 1965 “Who wantsto talkabout retiring now?” JohnLennonandPaulMcCartneyaren’t goinganywhere.AsTHEBEATLESrecord Help!,theydiscussfutureplans:silverapples, shedsand“agirlsingerwiththelooksof BardotandthevoiceofDionneWarwick”. Meanwhile,BRIANEPSTEINreportsback fromtheband’striptoNassau. AP —MELODYMAKERFEBRUARY27— F EWPOPSTARSthinkbeyondtheirlatesthit.But JohnLennondoes.HeisthemastermindofThe Beatles.Aborncynicwithbuilt-inscepticismwhen thingsappeartobegoingsmoothly.Thereisan indestructiblebondoffriendshipandambition betweenJohn,Paul,GeorgeandRingo.But24-year-old Lennonisthedeepestthinker,themostpungentwit,andtheBeatle withplansforthefuture.Heisamillionaire.Butyouwouldnever knowit.Hecarrieslittlemoney,isalwaysscroungingcigarettes,and usesmatchesinsteadofaflashylighter.Heismoreinterestedin pokingfunoradministeringtheverbalknifethaninphysical flamboyance.Butaboveall,Johnisdeeplyinterestedinhismusic. Ironically,itwasatlastweek’sBeatlesrecordingsessioninLondon thatLennonspokeofhisplanstobecomeanindependentrecording manager.WhilePaulplayedtheelectricpianoduringalullandGeorge andRingodancedtoaplaybackofasongTheBeatleshadtaped,John » 1965 JANUARY–MARCH
- 15. HISTORY OF ROCK 1965 | 15 Actingnaturally:TheBeatles withleadingladyEleanorBron duringthefilmingofHelp!in Nassau,Bahamas,February1965
- 16. 16 | HISTORY OF ROCK 1965 BEATLES BOOK PHOTO LIBRARY Listeningtoaplayback of“You’reGoingTo LoseThatGirl”, February19,1965 satandansweredquestionsaboutthefuture ofTheBeatlesandhispersonalplans. SomesayTheBeatleshavenow“done everything”tosuchadegreethatthereis nothingleft.Wasthedayapproachingwhen TheBeatleswouldnolongerbepopstars?With theirsecondfilmstartingthisweekandathird alreadytitled,wouldtheynowbeabdicating fromthehitparade? John’sreplywasimmediate.“No.We’llstillbe popstarsaslongaswecontinuemaking records.Andweintendtogoondoingthat.” Didtheytreatfilmingasaseriousbusiness andanimportantnewfield,ordidtheyregardit asanexcursionintolightrelief? “Yes,weregardfilmingasabitofagiggle.We regardrecordingasabitofagiggleaswell.Sowe’re filmstarsandpopstars.Wehope.” Whatabouttherumoursthattheyhavereached theendoftheline?Andtalkthattheymightsoon disbandtoretiregracefullyinablazeofglory? “Idon’tseewhythesethingsareevenbeing considered,”saidLennonwithouthesitation.“The suppositionthat,justbecausewe’vedonewell,we mightaswellpackitin.Themuchmoresensible thingforanybodytosayisthatwe’llneverpackitin completelybecausewe’vemadesomuchmoney andwestillaremakingit. “Peopletalkaloadofrubbishaboutus.Wehave noplanstobreakup.Wemightbeinterestedin doingotherthingsaswellasmakingrecordsandfilms,butTheBeatles willstillbeTheBeatles.” ExactlywhatdidLennonhaveinmindforhisfuture? “Well,I’lltellyouexactlywhatI’minvolvedinrightnow,”hereplied. “I’mdefinitelygoingtodosomeARwork.”Iwanttobeanindependent recordproducer.I’dliketofindsomeoneasgoodas,say,TomJones,and recordthem.ProbablyPaulandme,actually,workingtogether.Until now,there’sneverbeentime.Buttheremightbenow.” “Iwasgoingtohavearecordingstudiobuiltatmyhouse.ButIgaveup theidea.I’vedecidedIcouldn’tworkit.Good God,Ican’tevenworkabloodytaperecorder,so Ican’tseemyselfdoingthebigequipmentbit!” SohowdidtheuntechnicalLennonplanto makerecords? “Well,I’mgettingthisshedbuiltattheback ofthehouse.That’sforpractice.I’lldiscover peopleandthenhireastudiotorecordthem. Itwon’tbeforsometimeyet,soIdon’twant hundredsofpeopleimaginingthatI’mwalking aroundwithabigcigarandopentooffers!” Whatsortofartistsdidhehaveinmind? Mainlygroups,orchieflysoloists? “I’vebeenthinkingaboutthis.Ireckon there’snobodyintheworldequivalentin popularity,Isupposeyou’dsay,toPresleyorus. Imeanagirlsinger.That’swhoI’dreallyliketo discover.SomeonewiththelooksofBardot andthevoiceofDionneWarwick.DoIlike Dionnethatmuch?Well,hervoiceisOK.I’mnot exactlycrazyabouther,butthat’sthesortof combinationI’mthinkingof.Abigsexsymbol. Agirlwholooksgreatandsingswild.She’sgotto beSOMEWHERE.There’sneverbeenanybody likethatasIcanremember.ThesortofgirlI’dbe interestedinforthiswouldbesomeonewithsuch avoicethatallthefellaswouldqueueuptosee whatshelookslike. “Andwhentheyseewhatshelookslike…” IfJohnwassointerestedinbuildingabigsolo star,diditmeanhethoughtthegroupscenemightbequietening? “AllIcanseeinthatway,”Lennonanswered,“isthatthisyeartherecord companieswon’tbesigningupallthecrappygroupsliketheydidlast year.Therewasatimewhenthecompaniessignedupanybodywho madeanoiselikefourmenwithguitars.Theygotlumberedandthey deservedtogetlumbered.” DidJohnthinkthishadinjuredtheBritishmusicscenegenerally? “Idon’tknow,”saidtheBeatle.“AndIcouldn’tcareless.It’sjusttrue –theysigneduprubbishandwhentheydidn’tallgethitsthenstarted “We regard filming as a bit of a giggle, and recording as well” 1965 JANUARY–MARCH
- 22. Atthetimeofmyvisit,theDJpanelondutycomprisedDougKerr (32),SimonDee(28),GaryKemp(31)andTonyBlackburn(21). Tony,aformersinger,toldmethatmostoftheiroff-dutyhourswere takenupinplanningprogrammes,selectingrecordsandsorting throughthequiteconsiderablemail.Enjoyingtheirweekashorewere BrianVaughan(24),KeithSkues(25),ErrollBruce(22)andKeithMartin (28).AnotherwhotakesaspellattheturntableisPaulNoble,whosemain jobisasatechnician. ThedayonCarolinestartswiththeswitchingonofthetransmitter around5.30am,andthedutyDJiscalledfromhisbedat5.45am,readyfor theopeningannouncementsat5.58. FraternisationbetweenCarolineandtheirneighbour,RadioLondon, isforbidden,althoughtheDutchcrewstakeitinturntomaneachship. London’scurrentprideisthereverberatorwhichtheyuseontheir newscasts.Perhapsthestrongesttransmitterofthepirates,London goesontheairfrom6amto9pmandhasregularlistenersasfarnorth asGlasgow.TheyhavebeenpickedupinYugoslaviaandbyradiohams inAmerica. Visitorsare,at present,discouraged becausealterations andinstallationsare stillbeingcarriedout. RadioInvicta operatesfromanold fortintheThames estuary,employing betweenfourandsix DJsatanyonetime. Theyalsogoonthe airat6amfor12hours andarecurrently engagedinabig talentsearch–the firstfruitsbeinganall-girlgroupcalledTheMissionBells, whohavesignedforanationwidetourwithTheBachelors. Invicta’sadvertisingratesvaryfromsixguineasto10guineas per10seconds,whichcompareswithCaroline’s£50to£160per minute,dependingonthelengthofthead,thetimeofdayand variousconcessions. Personally,Ihopethepirateswintheirbattlewithofficialdom.Apart fromanaturaldesiretosupporttheunderdog,Ifeeltheyareobviously providingaservicethatiswelcomedbymillionsoflisteners. ButIwishCarolinewouldfigureaneasierwayofgettingonboardthan jumpingonatenderinthemiddleoftheNorthSea.Inowknowwhyallof theirDJslooklikeOlympicathletes.BobDawbarn —MELODYMAKERMARCH6— I T’STHEBIGGESTmysteryof1965.Theradiopiratesarepouring popovertheairwavesallday–buthowdotheygettherecords? SaysRadioLondon’spressofficerMikeStone:“Officially,the recordcompaniesdon’tco-operate.Unofficially,theydo.” Therecordcompaniesthemselvesvehementlydenyanycontact whatsoeverwiththepirates.ThesewerethereactionstoMike’sstatement: EMIpressofficerSidGillingham:“Wedonotco-operatewithanyofthe pirateshipsinanyway.” DeccapressofficerChrisWilliams:“Ihavenevereversentanythingto RadioLondon.TheyaskedmetoputthemonourmailinglistandIhave notdoneso.Theonlypossiblewaytheycouldgetmaterialwouldbe throughajournalistonourmailinglist.Ilistentothemandhearour musicandthink,‘Good,theyarepluggingourstuff.’Butwheretheyget themfromIdon’tknow.” PhilipspressofficerGloriaBristow:“Untilsuchtimeasanyofthese piratestationsarerecognisedbythegovernment,thiscompanydoesnot recognisetheminanyshapeorform.” PyepressofficerPatPretty:“Wedonotassociateinanywaywithanyof thepiratestations.” BacktoMikeStone,whodeepensthemysterywith:“Wewerethevery firstpeopletohavethecurrentTomJonessingle–beforeitreachedthe shops.Infact,wefeelwewereresponsibleforboostingitupthechart.” Whatevertheirrelationshipswiththerecordcompanies,there’sgoldin themtherepirates. 22 | HISTORY OF ROCK 1965 EMI: “We do not co-operate with any of the pirate stations in any way” T HEBATTLEFORlisteners andadvertisingrevenue betweenthecommercial radiostationsisgatheringforce. Obviously,thegreaterthe area covered,thegreaterthe weaponsinastation’sarmoury. Luxembourg,Carolineand Londonclaimthattheircoverage isextensive.Howtrueisthis?The MMwentroundBritaintofind out.Thesearetheconclusions: LondonTheSouth-East RadioLondoncanclaimthebest reception.Carolineisgood,but intheLondonareaitusually vanisheswhenforeignstations openuparound5.30pm. Luxembourgreceptionis good, buttendstofadeand wanderoffthedialsetting. Torquay Luxembourghasthefield to itself.Receptionis generally clearapartfrom backgroundwhistling. Bristol Receptionforthepirates is almostnon-existent. Luxembourgisvastlybetter thanitusedtobe,butstill inclinedtofadeperiodically.Few oftheyoungstersintheWest CountryandSouthernWales haveheardofthepirateships. Derby Luxembourg,bothCarolines (NorthandSouth)andRadio Londoncanallbereceivedin Derby,whichisinthecentre of England.Luxembourgis very good,thePirates’ reception justtolerable. Birmingham Luxembourg,Carolineand Londoncanallbeheard–butit ratherdependswhereyouare. If youliveontopofahillinthe country,receptionisfine.Ifyou aresurroundedbyfactoriesyou won’tgetthematall.Caroline is reasonableduringtheday but vanishescompletelyinthe lateafternoon.Londonisvery weak.AMidlandsradiodealer saidtheanswerlayinnewsets, whichhavea“bandspread”on themediumwave. Lancashire CarolineandLuxembourgare available.Generallyspeaking, receptionisexcellent,except thatLuxembourgissubjectto somefading.InWestLancs, Carolineisusuallybetterthan theBBC.BothLuxembourg and Carolinecanbeheard throughoutthewholeoftheir hoursoftransmission. Yorkshire LuxembourgandCarolineonly. Luxembourgcomesoverwell butforsomeoddreasonis betterafterdark–reception is nowherenearasgoodin summerasinwinter.Itis always subjecttofadingand fluctuation.Carolinevariesin differentpartsofYorkshire. TheMMdrovefrom Bradford, wherereceptionwas excellent,toSkipton(15miles away),whereitcouldn’tbe pickedupatall.Passing through theLakeDistrictinto Cumberland,Carolinewas strongerthantheBBC. Glasgow LuxembourgandCaroline only. Luxembourgreception is firstclassoverthewhole area, butCarolinecanonly be consistentlygotinthe southern areaofthecity,and usuallyonsomethingmore powerfulthana cheaptransistor. Carolineisbestpickedupduring theafternoon. Edinburgh LuxembourgandCaroline only. Luxembourgisloudand clearafterdark,buttendsto wanderoffthestation.Caroline receptionisgoodthroughout theday. Newcastle Caroline’ssignalsaresoweak thatitcanbepickeduponly on oddoccasions.Themajority ofpopfanshaveabandoned hopeofgettingthepirates, thougha fewyoungsterstryto strengthensignalsbyattaching theirtransistorstowaterorgas pipes.Theyclaimthisdoes improvereception. GreatYarmouth Luxembourg,Carolineand London.Thetwopiratesarevery clearduringthedaybuttendto getblockedoutafter6pm. Luxembourgvariesfromloud andcleartonotsogood. Ahoy there, me hearties! MMAPRIL10Britain’sbabyboomersareallears –butwhocanreceivethenewpiratestations? 1965 JANUARY–MARCH
- 23. “Wecovera250-mileradiuswithapossiblelisteningaudienceof 37million,butinfactwehavereceivedlettersfromasfarawayas YugoslaviaandWisconsin,”saysStone. TheoriginalinvestmentinRadioLondon,somehalfamillionpounds, camefromcorporationsintheBahamas,mainlyEnglishandAmerican. RadioLondonhasbeenoperatingforonlyeightweeks,butthey claimtheadvertisingrevenuedoublesitselfeachmonthandthey predictthewholeoftheoriginalinvestmentwillhavebeenwonback withinsixmonths. UnlikeCaroline,RadioLondondoesn’tallowitsDJstoselecttherecords theyplay.Theyarerestrictedtothestation’s“Fabulous40”plussomefive to10discsoutsidethechartwhichareaddedtothelist. InchargeoftheDJsisBenToney,atallTexanwithlongexperienceofthe businessintheStates.HeemploysfiveregularDJsandthreerelief jockeys.Theyworkaboardtheshipfortwoweeksatastretchandthen haveoneweekoff. It’sdifficulttodiscoverwhatRadioLondonestimatesisitscurrent listeningfigure.Butafterfiveweeksofoperation,PhilipBirch,its managingdirector,estimated theywereoverthemillionmark. RadioLondonsaytheirrates arethe“highestintheworld” –varyingfrom£76to£36 half-minuteplugs.Londonis whatisknownintheStatesas aFormulastation. “Weruntomakemoney andappealtothemajority ofpeople,”saysMike.“We justdon’taimatminority groupsatall.” “Wegivethenewseveryhour, onthehour,butI’mafraidour sourcesmustremainamystery,” Stonetoldme.“ButIcanassure youwedon’tstealit.”BobDawbarn Ah-hargh! The Bachelors buy a pirate! MMJANUARY2,1965Theclean-cutIrishtriosetsightsonRadioInvicta P OPSTARSHAVEjoinedthebattleof the airwaves.Itwasannouncedthis week thatTheBachelorsaretobuy Radio Invicta,thepirateradiostation operatingfrom theThamesestuary. The stationbeamspoponLondon,and its formerownerTomPepperwas drownedinDecember. TheofferforInvictahasbeenmadeby all threeBachelorsandtheirmanager,Philip Soloman,throughtheirowncompany, BachelorsLtd.BachelorDecCluskeytoldthe MM:“Wearenotdisclosinganypurchase price–incasewehaven’tagreedonaprice, butwearedefinitelyacquiringthestation. “Themainobjectistomakemoney,of course,butwewillnaturallybepromotingour ownmusicalinterests–notonlyourown records,butdiscsinwhichwehaveaninterest. “Wewillrunthestationonmuchthesame linesasnow,butonabiggerscale. “Occasionallywewillappearourselves becausewewanttobeassociatedwithInvicta. Wethinkthateventuallyeverytownwillhave itsownradiostationandwewanttobethefirst inLondon.” SimonDeelinesup a littlemariachi for theRadioCaroline listeners,1964 GETTY IMAGES (2)
- 28. 28 | HISTORY OF ROCK 1965 TheBillEvansTrio rehearseanappearance onBBCTwo’sJazz625, hostedbyHumphrey Lyttelton,March1965 REDFERNS 1965 JANUARY–MARCH
- 31. “ThereareafewalbumsIwouldprefernottohavehadreleased–butI supposeiftheyarebadtheywillfadequickly.Myattitudeismoreflexible now.AtonetimeIwasneversatisfied–butyouhavetocompromiseinthe end.Therecordcompanyhavebeenverygoodtome.” Neverthelesswhentheywerepreparingrecentlytorelease,asanew album,sometapesmademorethanayearago,Evanssmartlygothistrio intothestudio–justbeforeleavingforthispresenttour–andrecorded newmaterialtoreplacetheold. OnecriticismthathasbeenmadeofEvans’playingisthatitismore cerebralthanemotional.Iputthistohimandheanswered:“Thisis strictlynottrue.Itmaybethatmyemotionsastranslatedintomusic arenotpleasinganddon’thavesufficientimpactforsomepeople.What thecriticsmighthearistheresultofdiscipline.” TheworddisciplinegoesrighttotherootsofEvans’playing.He believesthatfreedomcanonlyexistwithinaframeworkofdiscipline –thatcompletefreedomismusicalanarchy. Healsohastriedtodevelophistechniquetoapointwherehe canplayexactlywhathefeelswithoutworryingabouttheactual mechanicsofplaying.“It’sawholeprocesswhichI’vedeveloped sinceIfirstheardmusic.IfIcompose,it’sdifferent.Idon’tneeda spontaneousfacility.Butwhenplayingjazz,Ido.Andbelievemeittakes alotoftimeandexperiencetogettoapointwhereyoudon’thavetothink aboutthemechanicsofplaying.” Evans’musicisintenselypersonal.Listeningtoityoualmostgetthe feelingthatyouareintruding,becauseitissomuchapartofhimself. Thiscreatesspecialproblemsforhimnowthathehaswonimmense popularacclaim. Headmits:“IamneverhappierthanwhenIamplayingaloneinmy ownhome.Applausegetstobeembarrassing.Iwouldlovetoplaya concertwherenobodyapplaudedatall.Infact,I’malwaysastonishing fellowmusicianswhenItellthemI’dratherplayinanemptyclubthan inacrowdedone.” TheBillEvansTrioneverrehearses.“Wedon’teventalkaboutmusic– exceptingeneralterms–betweenconcerts.Yetifyoucanavoidit,ifyou cantreatitasachallengeandovercomeit,you’veachievedalotmore thanyouwouldbyjustchangingtheprogramme. “Everytimewedoanumberitisdifferent–yougetdifferentthings going,andsometimesyougetthatwonderfulexperiencewhen everythinghangstogether.” EvansacknowledgesBudPowellashisbiggestinfluencebutadds:“You learnfromeverybody.Forinstancethere’sabassplayerinmyhometown whomnobodyhasheardof.Butfortwoyears heusedtocallthechangestome,sohehada tremendousinfluenceonmydevelopment.” FinallyIaskedBillEvanswhatheconsidered tobehisbiggestfaultmusically.“Playingtoo muchinthesameway,”hesaid.“Thetrouble isthatasyoudevelopittakeslongerandlonger tolearnlessandless.Youstartwitharush,then yougraduallyslowup. “ButIwanttochangemywholesound. AndIhavemadeafirmresolutionthatwhen thistourisfinishedI’mgoingtotaketime offandreallydigintomusic.There’sso muchtolearn.” —MELODYMAKERMARCH13— M YONEIN-PERSONexperience of the BillEvans Triohardlytook place inidealcircumstances.It wasacold,dampeveningatthe1964festival inComblain-la-Tour,Belgium,withamist swirlingovermusiciansandaudiencelike the climax of a horror film. Themusicalbrillianceofthegroupcanbe judgedbythefactthat,againstalltheodds,it wasthemostmemorablelisteningexperience oftheyear.Bythetimeyoureadthis,thetrio willhaveopenedatLondon’sRonnieScott’s clubandwillhavenodoubthushedthedrinkers intothenecessaryconcentrationonitsmost subtleimprovisations. Onepointaboutthetrioisthesuperbintegrationofitscomponents– Evans(piano),ChuckIsraels(bass)andLarryBunker(drums).Eacha brilliantmusicianinhisownright,theircombinedeffortsfitsoperfectly –onebeginstosuspecttheuseoftelepathy. Eachonecanstarttheothersoffonanewtrack.AsBunkertoldme: “Thereisthatsortofrapportinthegroup.SomenightsIwillplaydifferent andBillwillreactandplaydifferently. “Chuckhasthesameinfluenceonus–hecertainlyinfluencesmy playingallthetime.It’samatterofthemoment–weareprobablyasfree asthreepeoplecanbe.Wearen’tchainedtoanykindofroutine.” ChuckIsraelswasborninNewYorkin1936andswitchedtojazzfrom hisfirstlove,classicalmusic,in1955throughanassociationwithHerb Pomroy.Afterstudyingcelloandguitarheswitchedtobass,onwhichhe islargelyself-taught. LarryBunkerwasborninLongBeach,California,in1928,andsayshis firststeadyjobwasplayingpianoonaMississippiRiverboatin1948.Over thepast10yearshehasbeenoneofthebusiestfreelancersontheWest Coast,onvibesaswellasdrums. HehasworkedwithjustabouteverybodyfromtheLosAngeles PhilharmonictoLawrenceWelk.BobDawbarn BILLEVANSTRIOLIVEATRONNIESCOTT’S F ROMTHEATMOSPHEREofhushedreverencewecould havebeenintheSistineChapel–exceptthatasfarasIknow theydon’thavepicturesofZootSimsandTubbyHayeshanging onthewalls. Infact,wewereinthegloomofLondon’sRonnieScott’sclubpaying homagetotheBillEvansTrio–thefirstfullAmericantriotoplayaBritish club.Andthequiescentaudienceisanecessityifyouaretofullysavour thetastefultranquilityoftheEvansbrandofjazz. Thisisnotmusicforthosewholistenwiththeirfeet.Theexcitement isintellectual,perhapsthemostsubtleincontemporaryjazz,butreal enoughasthegroupexploresthefullmelodicpossibilitiesofeach chordsequence. DelayedinParisforextraconcerts,thetriojustmadeitintimefor Tuesday’sopening.Theiropeningsetsweregreetedwithdeserved acclaimbyapackedaudience.Andtherearemusclesbeneaththe delicateflesh–andwhenflexedtheycanproducemusicthatswings withthebest. Evanshimselfplayswithheadpoisedoverthepiano–anewone hiredfortheoccasion–likeagoldeneagle searchingforCairnterriersinRegent’sPark. Hishandscoaxanendlessflowofideasfrom thekeyboard–highlysophisticated,buteach sequencefirmlyrootedinjazz. Itisfarmorethanaone-manshow.Chuck Israelsprovidesavirtuosoperformanceon bass,whethercomplementingEvans’ thoughtorprovidinghisowncomplexyet alwayslogicalsolos. LarryBunkersoundsasthoughhe wasbornforexactlythistypeoftrio.His drummingsoundsdeceptivelysimple untiloneconcentratesonitforawhileand heneverobtrudes,whetherusingsticks orbrushes. Myonecomplaint,anditisasmalloneaftersuch anenjoyableperformance,isthattherecouldbea widervariationofmoodandtempointheprogramme. BobDawbarn 1965 “As you develop, it takes longer and longer to learn less and less”
- 32. “The albums business will take over” H ASTHEMAGICgoneoutoftherecord business? Topindependentproducer MickieMostthinksithas.Fast-talking Mickieisoneofthemostsuccessfulof thatbattlingbreedofindependents– incompetitionwiththegiantsoftheindustry butadeptatproducinghitafterhit.Among thestarswiththemoststampsontheir recordsareTheAnimals,NashvilleTeensand Herman’sHermits.SinceAprillastyearMickie hasproducedtenhits,including“HouseOf TheRisingSun”,“TobaccoRoad”,“I’mInto SomethingGood”,“I’mCrying”and“IsIt True?”Atonetimehehadfiverecordsinthe Top20andthreeintheTop10. Howmanyindependentproducers arethere? WhenIstartedbackin’63therewasJoeMeek, BobStigwoodandDenisPreston. NowIlook throughthelistsandtherearehundredsof them–fromaccountantstotruckdrivers–all makingrecords. It’sgettingsothereareahundredrecords outeveryweekandonlysevenpercentcanbe successful. Youcan’tpromote100records a week. TheNumber1recordisdifferentevery week,whereasatonetimeitwouldstaythere forsixweeksormore. Ithasneverbeenlike thisbefore. Saturationpoint hasbeenreachedanditwill killthebusiness. Butnothingisbeing done aboutit. Peoplewill notagreetocutdown their releases. Whydoyouthinkthe magichasgone? Therearetoomanyidolsand theycan’talllast. A teenagegirlcan’tbein lovewithninemillion singersatonce! Their affectionisbeingspread andthereisnofocus point.WhenIwasa youngrecordbuyerI usedtolikeFrankieLaine andJoStafford. Iwould buytheirrecordsregularly. Nowyoucangoon namingnamesallday.Insteadofreallydigging starsliketheyusedto,Inoticethatteenagers justacceptartists–nomoreofthepedestal bit.Andgivingthepublic whatitwantsallthetimeis takingawaythecreativity of recordproduction. The publiclikestobe surprised. Thissaturation hasresultedintheendof themysteryandmagic. Whatofthefuture? Thealbumbusinesswill takeover. TheStones andBeatlessell albums likenobody in this countryhave ever sold before. Fifty thousandforanalbum usedtobefantastica few yearsago. NowThe Beatlescansellamillion. ChrisWelch MMFEBRUARY6Therearetoomany“idols”makingtoomanysingles,saysproducerMickieMost “Instead of really digging stars like they used to, teenagers just accept artists” ProducerMickieMost(third left)withTheAnimals,1965 32 | HISTORY OF ROCK 1965 GETTY IMAGES 1965 JANUARY–MARCH
- 33. HISTORY OF ROCK 1965 | 33 SINGLES RighteousBrothers You’veLostThatLovin’Feeling HardluckonTheRighteous Brothers,whoarebattlingacover versionbyCillaBlackof“You’ve LostThatLovin’Feeling”.Ihaven’t heardCilla’sbutenjoyedthe Americangroup’sLondonrelease. ItfeaturestheSpectorsound now adaptedtotherockaballad trendandPhilwroteitwiththe celebratedMann-Weillteam.It’s a soulfulballadwithasubdued verseandexplosivechoruswith rumblingdrums,tambourine, etherealechovoicesand shimmeringstrings.Thebacking is atrifledistracting.Thudding, ploddingmid-tempobeatwith handclapsandfalsettosfor “There’sAWoman”.Verylittle melody.(NME,1/1) JamesBrown TheFamousFlames HaveMercyBaby ApowerfulshoutandscreamRB opusispresentedbyJamesBrown withTheFamousFlameson London.Withasoul-hardbacking andtorridsax,“HaveMercyBaby” hasaninsistentshakebeat.“Just Won’tDoRight”isathumpingbeat balladwithorganaddingtothe fullnessofthesound. (NME,15/1) DustySpringfield YourHurtingKindOfLove Fasterandmoreforcefulthan “LosingYou”isthelatestDusty SpringfieldofferingonPhilips, “YourHurtingKindOfLove”, a shuffle-rhythmrockaballad with soaringstringsanda compulsivebeat.Features Dusty’s usualheartfeltstyling and powerfulprojection with occasionalextemporisationon the basictheme,andunobtrusive chantinggirls. (NME,5/2) TheWho ICan’tExplain Here’sagroupIlikeimmenselyand theirabsorbingsoundmatches theirgimmickname,TheWho. (TheywereoriginallyTheHigh Numbers). “ICan’tExplain”isa poundingshuffle-shakerwithsurf- likecounter-harmoniesbehindthe mainlyric.It’sinsidiousand insistent,withanarrestinglurching –asortofblendofMerseyand surfing!Keepyoureyeonthisone. Evenbetteris“BaldHeaded Woman”,whichstartswitha bluesy solovocalsettoarasping funerealbackingwithgospel-like chanting–andgraduallydevelops intoawild-handclappingraver. On Brunswick.(NME,15/1) RollingStones TheLastTime Atremendouslyguttysoundwiha stormingthumpingbeathallmarks TheRollingStones’“TheLast Time”,rush-releasedbyDecca today(Friday).Thestrident, vibrantrhythmenvelopsMick Jagger’sforcefulvocal,whilethe melodyisrepetitivetothepointof hypnosis.Butdon’tgetmewrong: thesearen’tfaults–thisismerely a clinicalanalysis.Blended together,itaddsuptoasound of shatteringimpact.Valuefor money,too–thistrackrunsto three-and-a-halfminutes.To use MickJagger’sownwords, “It’s atoe-tappingmedium shaker.”Incompletecontrast, Micksingsthewistfullyricof “Play WithFire’withaninsidious andcompellingbacking.Unlike thetopside,thisisnotJagger- Richards.(NME,26/2) JimmyPage SheJustSatisfies Frenziedrhythmaccompaniedby tambourine,harmonicaandsemi- shoutvocal.“SheJustSatisfies” onFontanahasacontrivedRB effect.Jimmy,whowroteitwith BarryMason,seemstohave taken aleaffromthe Stones’ book. Backgroundchanting,too. “KeepMoving”isanaptlytitled instrumental. (NME,26/2) SpencerDavisGroup EveryLittleBitHurts OriginallywaxedbyBrenda HollowayandcoveredbyCilla BlackonherLP,“EveryLittleBit Hurts”isthemostcommercial disc yetfromFontana’sSpencer DavisGroup.Asoulfulsolo-voice stylingwithhauntingpiano figure. There’saslightspeeding oftempofor“ItHurtsMeSo”, stillRB.(NME,26/2) TheBeachBoys DanceDanceDance ThetypicalsurfingsoundofThe BeachBoys–counter-harmonies, simultaneousfalsettosand chanting,rattlingtambourineand twanging–areagaintotheforein “DanceDanceDance”(Capitol). Oneofthegroup’sbestdiscs, youmayhaveseenthemperform iton“Ready,Steady,Go!”. Becauseit’ssuchasimply constructed,easilymemorised tune,itreallymakesyouwantto obeythetitlecommand.Dreamy rockaballad,“TheWarmthOf TheSun”hasaploddingbacking butisstillcolourfulbecausethe boys’harmoniesareexploited tofulladvantage. (NME,15/1) ALBUMS TheKinks KindaKinks PYE-POPULAR TheseLondonerstaketheir bluesy songswithaneasewhich is relaxingforbeatmusic.They instillsomecharmintotheirwork, whichisprobablywhytheyareso successful.RayDaviestakes10 ofthedozencomposingcredits, and thealbumisnoworseforthat. (NME,19/3) ThePrettyThings ThePrettyThings FONTANA It’seasytoshriekattheir appearancebutwhenitcomesto listeningtoanLPit’sthemusicof ThePrettyThingsthatisontrial. Longhairandoff-beatclothesdo notpermeaterecordgrooves.In thefielditexplores–British rhythmandblues–thisisgood. Instrumentally,ThePrettyThings arestrong.Vocally,theyareOK butnotdistinctiveenough.The tracksherejumpalongprettywell, andsomearegood,crudeand bluesy. (MM,6/3) HISTORY OF ROCK 1965 | 33 ALBUMS SINGLES REVIEW
- 35. T 65: (l ith Richards,BrianJones, CharlieWatts,BillWyman HISTORY OF ROCK 1965 | 35