1966
The Kinks,who had recorded some of the hardest rock of the British Invasion,were also turning to a more serious,progressive style,reflecting the trends of the later 60s.In A Well Respected Man and Dedicated Follower of Fashion, Ray Davis satirized the English middle class.Over the next three years,his song-writting skills developed to such high level that he rivaled the teams of Jagger-Richards and Lennon-McCartney.
CLASSIC ROCK
1966
The Cyrkle,a folk-based trio of American students, were discovered by the Beatles' manager,Brian Epstein,who got them a recording contract with Columbia. Like their matching blazers,the Cyrkle'd music was clean and pressed,designed for a collegiate audience.Red Rubber Ball,co-written by Paul Simon,was the groups first hit,and on its strength the Cyrkle joined the Beatles on their last U.S. tour.
The Cyrkle,a folk-based trio of American students, were discovered by the Beatles' manager,Brian Epstein,who got them a recording contract with Columbia. Like their matching blazers,the Cyrkle'd music was clean and pressed,designed for a collegiate audience.Red Rubber Ball,co-written by Paul Simon,was the groups first hit,and on its strength the Cyrkle joined the Beatles on their last U.S. tour.
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Remember_The_Name
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noreply66 wrote:1966
The Cyrkle,a folk-based trio of American students, were discovered by the Beatles' manager,Brian Epstein,who got them a recording contract with Columbia. Like their matching blazers,the Cyrkle'd music was clean and pressed,designed for a collegiate audience.Red Rubber Ball,co-written by Paul Simon,was the groups first hit,and on its strength the Cyrkle joined the Beatles on their last U.S. tour.
1966
In the mid-60s,Frank Sinatra's Reprise label was floundering in the field of teenage pop.Sinatra had started Reprise as a vehicle for himself and his associates,including his daughter,Nancy.Producer Lee Hazlewood,responsible for the wild echo behind guitarist Duane Eddy's hits in the late 50s was enlisted to record Nancy,and he hired some of the best L.A. musicians including pianist Don Randi and drummer Jim Gordon.The arrangement placed Nancy Sinatra's voice in the best possible setting.Hazlewood's charts and Sinata's tough-girl stance took These Boots are Made for Walkin' to the No.1 position.While the song's lyrics are still amusing, the real humor of the record rests in the famous descending bass line (played by Chuck Berghofer) heard at the intro to each verse,
In the mid-60s,Frank Sinatra's Reprise label was floundering in the field of teenage pop.Sinatra had started Reprise as a vehicle for himself and his associates,including his daughter,Nancy.Producer Lee Hazlewood,responsible for the wild echo behind guitarist Duane Eddy's hits in the late 50s was enlisted to record Nancy,and he hired some of the best L.A. musicians including pianist Don Randi and drummer Jim Gordon.The arrangement placed Nancy Sinatra's voice in the best possible setting.Hazlewood's charts and Sinata's tough-girl stance took These Boots are Made for Walkin' to the No.1 position.While the song's lyrics are still amusing, the real humor of the record rests in the famous descending bass line (played by Chuck Berghofer) heard at the intro to each verse,
1966
Cher had her sound shaped by a producer--her husband ,Sonny Bono,Sonny met Cher at a studio date with the legendary Phil Spector,known for his "wall of sound" production.Sonny combined Spector's techniques with folk-rock in a series of hits for himself,Cher and the duo,beginning in 1965 with Sonny and Cher's I Got You Babe and Cher's All I Really Want to Do. As a fashion model and TV star,Cher defined "cool" for the female pop singer,and she rode the folk-rock boom into a lifetime show business career. Cher's Bang Bang, penned by Bono,was the couples's most dramatic moment,a swirling and sentimental production that eventually became a standard for crooners, including Frank Sinatra.
Cher had her sound shaped by a producer--her husband ,Sonny Bono,Sonny met Cher at a studio date with the legendary Phil Spector,known for his "wall of sound" production.Sonny combined Spector's techniques with folk-rock in a series of hits for himself,Cher and the duo,beginning in 1965 with Sonny and Cher's I Got You Babe and Cher's All I Really Want to Do. As a fashion model and TV star,Cher defined "cool" for the female pop singer,and she rode the folk-rock boom into a lifetime show business career. Cher's Bang Bang, penned by Bono,was the couples's most dramatic moment,a swirling and sentimental production that eventually became a standard for crooners, including Frank Sinatra.
1966
Phil Spector was producer for the Righteous Brothers in 1964,the same year they appeared on the premiere of ABC's weekly music show Shindig The Righteous Brothers first hit with Spector was the Barry Mann-Cynthia Weil song You're Lost That Lovin'Feelin, a minisymphony built on Bill Medley's booming bass and Bobby Hatfield's shrieking falsetto.They left Spector's label in 1966 but recorded another Mann-Weil composition,Soul and Inspiration,again as a minisymophony,albeit without Spector's magic touch.
Phil Spector was producer for the Righteous Brothers in 1964,the same year they appeared on the premiere of ABC's weekly music show Shindig The Righteous Brothers first hit with Spector was the Barry Mann-Cynthia Weil song You're Lost That Lovin'Feelin, a minisymphony built on Bill Medley's booming bass and Bobby Hatfield's shrieking falsetto.They left Spector's label in 1966 but recorded another Mann-Weil composition,Soul and Inspiration,again as a minisymophony,albeit without Spector's magic touch.
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BubbleGumTiger
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BubbleGumTiger
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BubbleGumTiger
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1966
Another popular due consisted of two cousins from Florida,James Purify and Robert Lee Dickey.Viewed as competitors to Sam and Dave at the Memphis Stax label,James and Bobby Purify recorded at Rick Hall's Fame Studio in Muscle Shoals,Alabama,scoring with I'm Your Puppet, a soul ballad of surrender.Their soothing voices of gentle persuasion were in the black duet tradition of Marvin and Johnny's We Belong Together and Don and Dewey's The Letter.
Another popular due consisted of two cousins from Florida,James Purify and Robert Lee Dickey.Viewed as competitors to Sam and Dave at the Memphis Stax label,James and Bobby Purify recorded at Rick Hall's Fame Studio in Muscle Shoals,Alabama,scoring with I'm Your Puppet, a soul ballad of surrender.Their soothing voices of gentle persuasion were in the black duet tradition of Marvin and Johnny's We Belong Together and Don and Dewey's The Letter.
1966
Memphis,however,was still the heart of soul.As if to copyright the sound the Stax recording studio closed its doors to outsiders in 1966,only those artists whose records were released on Stax and Volt could use the house band and the staff writers.Eddie Floyd,a former member of Wilson Pickett's vocal group,the Falcons,had developed into one of the most dependable songwriters at Staz.Flyod composed and sang a mighty hit,Knock on Wood,after he heard Pickett's In the Midnight Hour.Both songs established themselves as stables for soul and garage bands across America
Memphis,however,was still the heart of soul.As if to copyright the sound the Stax recording studio closed its doors to outsiders in 1966,only those artists whose records were released on Stax and Volt could use the house band and the staff writers.Eddie Floyd,a former member of Wilson Pickett's vocal group,the Falcons,had developed into one of the most dependable songwriters at Staz.Flyod composed and sang a mighty hit,Knock on Wood,after he heard Pickett's In the Midnight Hour.Both songs established themselves as stables for soul and garage bands across America
After Wilson Pickett heard Otis Redding in 1965,he visited the Stax studios in order to capture Redding's down-home style.Pickett followed up his seminal recordeing of Midnight Hour with the impassioned 634-5789, co-written by Eddie Floyd.By the time the song hit the charts,Pickett's status as one of the best male soul singers of the 60s was assured.By the end of 1966,he had moved his recording base from Stax to the rival Fame Studios in Muscle Shoals.
1966
Wilson Pickett stated in a 1967 interview,Memphis is real soul,but Motown is mostly pop. Indeed,the Motown factory in Detroit kept manufacturing hits.The Marvelettes,the label's only group that referred to the traitional girl-group sound,took Don't Mess with Bill to the top.The isley Brothers,with the assistance of the Holland/Dozier/Holland hit machine,pushed This Old heart of Mine into the top 20,while the ever-present Temptations shone with perhaps their finest achievement, Ain't Too Proud to Beg.
Wilson Pickett stated in a 1967 interview,Memphis is real soul,but Motown is mostly pop. Indeed,the Motown factory in Detroit kept manufacturing hits.The Marvelettes,the label's only group that referred to the traitional girl-group sound,took Don't Mess with Bill to the top.The isley Brothers,with the assistance of the Holland/Dozier/Holland hit machine,pushed This Old heart of Mine into the top 20,while the ever-present Temptations shone with perhaps their finest achievement, Ain't Too Proud to Beg.
1966
Jimmy Ruffin,older brother of the Temptation's lead singer David Ruffin ( Jimmy had once turned down an offer to join the Temps.), accounted for one of the label's major moments in What Becomes of the Brokenhearted. The song was offered to the Spinners,then affiliated with Motown,but jimmy Ruffin wanted to cut it.The drama of his performance is overwhelming.lost in the valley of despair when he made the record,Ruffin sang it as a ray of hope to the lonely and troubled.In England Alone,it became Motown's second biggest hit of the 60s.
Jimmy Ruffin,older brother of the Temptation's lead singer David Ruffin ( Jimmy had once turned down an offer to join the Temps.), accounted for one of the label's major moments in What Becomes of the Brokenhearted. The song was offered to the Spinners,then affiliated with Motown,but jimmy Ruffin wanted to cut it.The drama of his performance is overwhelming.lost in the valley of despair when he made the record,Ruffin sang it as a ray of hope to the lonely and troubled.In England Alone,it became Motown's second biggest hit of the 60s.
1966
Despite the powerful influences exerted in Memphis and Detroit,New Orleans remained a contender in the world of black music,even with its minor artists.Robert Parker had played tenor sax for Professor Longhair,the great R & B pianist and singer,as well as for Ernie K. Doe and Irma Thomas.But in the early summer of the 1966,he sang in the studio for the first time and had instant success with Barefootin'.Parker vocals were relaxed,not frantic like his sax playing.The recording held a solid,danceable beat,yet an unhurried feel,in the best tradition of New Orleans R & B.
Despite the powerful influences exerted in Memphis and Detroit,New Orleans remained a contender in the world of black music,even with its minor artists.Robert Parker had played tenor sax for Professor Longhair,the great R & B pianist and singer,as well as for Ernie K. Doe and Irma Thomas.But in the early summer of the 1966,he sang in the studio for the first time and had instant success with Barefootin'.Parker vocals were relaxed,not frantic like his sax playing.The recording held a solid,danceable beat,yet an unhurried feel,in the best tradition of New Orleans R & B.
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mustang_lvr
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1966
Three types of music dominated the mid-60s American pop charts,and the first two were inseparable.Soul was on the rise,and with it a number of British acts who offered their own exuberant interpretations of the continuum that ran from blues through early rock-n-roll and on Motown and Southern soul.But in the wake of Bob Dylan's emergence as a pop,folk-rock was all over the radio too
Three types of music dominated the mid-60s American pop charts,and the first two were inseparable.Soul was on the rise,and with it a number of British acts who offered their own exuberant interpretations of the continuum that ran from blues through early rock-n-roll and on Motown and Southern soul.But in the wake of Bob Dylan's emergence as a pop,folk-rock was all over the radio too
1966
Few British bands reached American shores without doing their own Merseybeat remakes of R & B, but that didn't stop black Americans from staking their own claims to be pop charts in 1966. Tenor saxman Junior Walker's quartet had been working the Midwestern small-town circuit for nearly a decade and had even released a couple of singles on independent labels before signing with Motown in 1964. Although his was an instrumental group at first. Walker added vocals to his band to come up with raucous party gems such as (I'm a) Road Runner.) He once explained the song to an interviewer by declaring. I'm a road runner.I travel.I blow some.People dance, and I like it."
Few British bands reached American shores without doing their own Merseybeat remakes of R & B, but that didn't stop black Americans from staking their own claims to be pop charts in 1966. Tenor saxman Junior Walker's quartet had been working the Midwestern small-town circuit for nearly a decade and had even released a couple of singles on independent labels before signing with Motown in 1964. Although his was an instrumental group at first. Walker added vocals to his band to come up with raucous party gems such as (I'm a) Road Runner.) He once explained the song to an interviewer by declaring. I'm a road runner.I travel.I blow some.People dance, and I like it."
1966
Junior Walker and his saxophone worked out on songs peppered with funky black slang,but in 1965 and 1966,Diana Ross and the Supremes were going in the opposite direction. The Supreme at the Copa, with liner notes by Sammy Davis Jr. had been released in 1965, and the group had made some 20 network TV appearances,unprecedented for a black act,during this two-year period. In Fact,Motown became so adept at condinating Supremes singles with TV appearances that You Can't Hurry Love went into record stores the day after the group unveiled it on NBC.
Junior Walker and his saxophone worked out on songs peppered with funky black slang,but in 1965 and 1966,Diana Ross and the Supremes were going in the opposite direction. The Supreme at the Copa, with liner notes by Sammy Davis Jr. had been released in 1965, and the group had made some 20 network TV appearances,unprecedented for a black act,during this two-year period. In Fact,Motown became so adept at condinating Supremes singles with TV appearances that You Can't Hurry Love went into record stores the day after the group unveiled it on NBC.
1966
Deon Jackson never made it to Motown.His mentor and manager was Ollie McLaughlin,a former Ann Arbor,Michigan,disc jockey.McLaughlin had discovered and recorded such Detroit talents as Del Shannon,Barbara Lewis,and the Capitals,often for one of his own three labels (Karen,Carla and Maria-named after his daughters) Motor City DJs refraimed from playing the 16-year-old Jackson's Love Makes the World Go Around, saying it was too soft for black audiences,until Detroits Robin Seymour proved otherwise by breaking it on his Swingin Time TV dance show.
Deon Jackson never made it to Motown.His mentor and manager was Ollie McLaughlin,a former Ann Arbor,Michigan,disc jockey.McLaughlin had discovered and recorded such Detroit talents as Del Shannon,Barbara Lewis,and the Capitals,often for one of his own three labels (Karen,Carla and Maria-named after his daughters) Motor City DJs refraimed from playing the 16-year-old Jackson's Love Makes the World Go Around, saying it was too soft for black audiences,until Detroits Robin Seymour proved otherwise by breaking it on his Swingin Time TV dance show.