10) The Beatles Sgt. Pepper’s Lonely Hearts Club Band (1967)
After decades, this finally opened up for me in the last six months, thanks to the dual mono/stereo format in which the band’s albums now seem to be routinely released. Usually, I don’t have any trouble deciding which I prefer (especially with the Beatles–monomonomono!), but this one I go back and forth on. I wouldn’t say I’ve been listening obsessively, like I’m in the freshman dorm circa 1967, but I’ve finally been forced to pay attention to the stretch between “Lucy in the Sky With Diamonds” and “Day in the Life.” That’s what life is for, I suppose. To live, to learn and to find oneself wondering if hearing the same thing in both ears is better than hearing different things in different ears. By Jove, I think they’ve finally got me!
9) The RascalsAnthology: 1965-1972 (1992)
This has always been more my speed. No shame there. The Rascals’ best music is as essential as anything in life and they never stopped being great–not something one can say for many bands who made the journey from 1965 to 1972 and actually tried to keep up. Even as a big fan, I still remember being shocked at how much force this had when I first heard so much gathered in one place.
I’m not shocked anymore–but it still hits hard, all of it. Their great theme was Love, in all its variants–good, bad, personal, political, lost, found. A classic case of someone being so completely of their time they transcend it. and remind all who attend them now of how much was lost when their time passed.
6-8) WarAll Day Music, The World is a Ghetto, Deliver the Word (1971, 1972, 1973)
No one has ever produced a greater trifecta. That these three albums, among the most radical ever made, went gold or platinum (The World is a Ghetto was the best-selling album of 1973) is still astonishing, as is the fact that singles as potent as “Slippin’ Into Darkness” and “The World is a Ghetto” were even more powerful as isolated extended album cuts–and mind-bending in the context of their respective LPs. From this distance, there really isn’t any way to process the existence of such music, let alone the idea/reality that it once topped the charts. No music has ever been quite so successful in reaching from the last dead end street all the way to the sky–and you can’t feel the full effect unless you listen to all three at once. I promise…
5) Cyndi LauperShe’s So Unusual (1983)
As what I’m starting to hear as the most radical album ever released, this makes a nice followup to War at their peak. Astounding on so many levels, my favorite being that Lauper was the only singer who, as a singer, had a truly Punk ethos–she held nothing back, took more vocal risks than anyone since the fifties, more emotional risks than anyone since Janis Joplin, and meant to top the charts with it…which, oh by the way, she did.
Not the *&%$in’ British charts either.
More coming…eventually…I promise.
4) The Four TopsAnthology: 50th Anniversary (2004)
The first disc is devoted to the dark side of love and need. The titles tell most of the story: “Baby I Need Your Lovin’,” “Standing in the Shadows of Love,” “7-Rooms of Gloom,” “Ask the Lonely,” “You Keep Running Away.”
But even when the words carry a hint of optimism–“Reach Out (I’ll Be There),” “Something About You,” even “I Can’t Help Myself”–Levi Stubbs’ voice and Holland/Dozier/Holland’s arrangements fill in the blanks. This man will never know happiness!
Second disc is good solid post-sixties soul music that starts near-great (like maybe he could be happy) and ends fair-to-middlin’-with-little-distinction (sort of sub-Luther Vandross), though “Catfish” is a hidden gem….an update of the Coasters, with whom the pre-fame Tops had competed in the fifties and as far from their persona as it was possible to get.
3) The StylisticsThe Stylistics (1971)
Speaking of post -sxties soul music, this is coming from the inspired angle. One of the great debut albums, from the era when Thom Bell could do no wrong, and it never quits. Odd, though, that the absolute killer was the only song Bell and Linda Creed didn’t write–and just possibly his greatest production. If there could be such a thing.
Also, just possibly Russell Thompkins Jr.’s greatest ever vocal.
Neneh didn’t turn out to be a genius and that was pretty apparent listening to Raw Like Sushi even then. She was, however, a talented hip-hopper, speaking from a street tough stance that the mainstream hadn’t seen much of at the time. These days, even in the wake of Mary J. Blige and a few others who could claim genius status, this still sounds fresh…and even Mary J. has never laid “Buffalo Stance” in the shade. Because nobody has and nobody could.
1) Al GreenGreen is Blues (1969)
Al Green was always a genius. It was only with his next album (his third) that the world started to take notice, but all the elements were in place here: the Hi rhythm section, Willie Mitchell’s sure touch in the production booth, the startling taste in covers (here jumping from “Get Back” to “Summertime” at the close–Beatles to Gershwin in a bandbox Memphis studio with a bunch of little-knowns and unknowns in the late sixties, with psychedelia blooming all around. Nobody had done anything like that since, well that guy who walked into a bandbox Memphis studio in the mid-fifties. Of whom, as I’ve noted before, Green was the greatest descendant….and, as it turned out, Rock and Roll America’s last great hope.
**The Turtles turned down “Eve of Destruction” because they thought it would be a huge, career-suffocating hit and turn them into one-hit wonders. Mary Weiss has stated that she felt the same about “Leader of the Pack” and was reluctant to record it for that reason. They both made the right choice. If Neneh felt the same about “Buffalo Stance,” she did too. Comes to that, so did Barry McGuire, who took “Eve of Destruction” to number one as an Old Testament warning LBJ and Robert McNamara failed to heed at their–and our–extreme peril.
“We had so much fun in two years, there was no more fun to be had.”
John Phillips (from A Gathering of Flowers, intro to “California Dreamin'”)
The career of the Mamas & the Papas played out with a kind of classical purity. They embodied the dark and the light of “the Sixties” by living lives that were consummately hedonistic and making music that was almost completely self-referential.
“Don’t worry,” their best music said, and says, ” if you aren’t here yet, you will be.”
“It’s also entirely possible,” that same music said, and says, “that we’ll have moved on by then.”
To make it work, they needed to carry off a style of organic arrogance that made the Rolling Stones look like supplicants.
They made it work.
Naturally, being organic, it couldn’t last.
Funny thing, though.
I keep trying to get to the bottom of it.
And I can’t.
Oh sure, there were greater groups. Greater artists. And I have no idea how they seemed in their own time. I was in second grade.
I know how they seem now, from this time: Unfathomable.
And what better description of their time can you get?
Their backstory became famous. In “Creeque Alley” they even made it sound famously typical, which, except for selling millions of records, it maybe was.
But, when I say there were greater artists, I really only mean there were artists whose greatness the Great Narratives imposed by others accepted more readily.
Because whenever I want to cast myself back there–and boy do I–there’s nobody I listen to more, nobody more dangerous, more unsettling, more….thrilling. Their time was the time worth understanding, the time we never walked away from in either dream or (more’s the pity) reality.
And, in memory at least, they are the ones who held it in their hands, more one with that time than literally anyone, one of exactly two sixties’ acts–two any-era acts really–who might have had a deal with the Devil in place.
They were different than the Stones, though. Mick and Keith (well, mostly Mick) just went ahead and made a straight deal. Why not? What did it cost them?
Send Brian Jones to the funeral pyre he was already bound for and tweak John Lennon’s nose now and again and what riches might await!
Who wouldn’t take that deal?
Besides, they were Brits and there was never going to be any more England anyway. Big whoop.
But to have punched a hole in the American boat, to have had your wings melt so close to that sun, ah, now we’re talking subversion–and arrogance–of truly epic proportions.
Come hither, their deal said, and you’ll be the only act alive who can (as the liner notes for one of their many anthologies had it) bridge Rodgers & Hart and Monterey Pop.
Who wouldn’t take that deal?
Well, somebody like me maybe. But that’s different. I was in second grade.
When I was in fourth grade, a couple of years after the Mamas & the Papas broke up (their two years of so much fun there was no more to be had having run out), I took the other deal, the Christian believer deal. I took it, knowing even then, that the biggest part of the deal lay in knowing I’d never be safe from the Devil who makes the deals (he doesn’t bother with the nonbelievers once they make their deal, why would he?) and never have so much fun there’d be no more to be had.
That’s as much as I ever knew about the deal. What my background and choices did prepare me for was understanding singers and their power.
And, oh what singers they were, those four, when they were together in their time. Nobody like them. And it wasn’t like they didn’t know it. Their knowing it is evident in pretty much every photograph they ever sat for.
…and pretty much every line they ever sung.
How they got together was famous even in their own time. They didn’t have to wait for biographers, which was just as well, since there’s never been a good one.
Naomi Cohen reimagined herself as Cass Elliot, then Mama Cass. Then she hung around until the others took her in, or on, or…something.
John Phillips reimagined himself as the type of erstwhile folkie who could end up with Michelle Gilliam, who soon reimagined herself as Mrs. Phillips (“I liked folk music,” she said much, much later, “but what I really liked were folk musicians!”)
Denny Doherty, a touch uncomfortable imagining himself as settling for the title of Mister Cass Elliot, soon reimagined himself as somebody who could have an affair with Mrs. Phillips and was lucky–or was it unlucky?–enough to find her willing to share his illusion, be it ever so briefly.
That was just the personal stuff.
Out of that, the music.
John Phillips said, as often as anyone would listen, that he couldn’t write from anything but experience. So they had experiences. That whole thing about a lifetime’s worth in two years was just an excuse to make hits and money. No experiences, no hits. No hits, no money. The legend only came about because they were so good at living lives so many others wished they could live, and even better at singing about it. They reeled off a dozen radio classics in short order and four albums that stagger about a bit, but never quit yielding surprises when you stop and listen close enough. (A fifth, from a contractually obligated “reunion” gig a few years later, was desultory….there was no more fun to be had.)
Their own rise, their own Zeitgeist, their own fall, their own destruction: all right there in the music that came out of the experiences.
For about twenty-five or thirty perfect months (depending on who’s counting and who’s defining perfect), they lived more dreams than four mere lifetimes could hold.
But in order to get the loot, they had to let the world in on it, and from the release of “Go Where You Wanna Go” (instantly pulled in favor of the just-as-perfect “California Dreamin’,” which somebody had initially made the very weird mistake of imagining as a Barry McGuire record) to having the commercial failure of “Safe In My Garden” assured by their sudden absence from their own lives (no more touring, no more television appearances, no more pretending everything, or even anything, was all right) the world grabbed hold. You could say the world has never let go.
And the arc was perfect.
“Go Where You Wanna Go” can’t be plumbed. Don’t even try. Even if you make a definitive decision on You don’t understand, that a girl like me can/can’t have just one man–that is, whether you want to stick with the lyric sheet (the groupie/muse’s ultimate lament) or what the ear can’t help hearing (Women’s Lib on speed!) at least some of the time–it doesn’t really help, so there’s no need to get all balled up about it. I’ve gone there for you and my sincere advice is to go right on thinking it’s simple. It’s not. It’s not even complicated in any ordinary dictionary sense of the word. More like kaleidoscopic.There’s so much going on that if you stop believing it’s simple or go on pretending that it’s complicated but only in the usual ways, it will eat your mind out from the inside.
It will make it like the good part of the Sixties never even happened except in dreams.
You don’t want that!
Better to just go on a journey. “California Dreamin'” so to speak.
It’s a journey only they can take you on and the magic’s in the music for sure–the mostly sharp writing, the Wrecking Crew time and again measuring up to the instrumental challenge of matching and underpinning the vocals, the formal elements of the bottomless harmonies.
But mostly the magic’s in the elements there is no real vocabulary for, musical or otherwise.
It’s not in the come hither. It’s in the nah-na-na-na-nah.
..Which starts right there in “California Dreamin’.”
I mean, from this distance you can hear the fear in it–and you can hear it overridden, stomped on. Put out to pasture. it was the sound that mattered and it was the sound that did it.
We’re so close, the sound said, that the obvious–and fierce to the point of at least metaphorical bloodletting–competition going on, can be turned on its head. They were so determined to be as one that all the counterpointing in the harmonies, all the “yeah’s” that meant “no” and all the “no’s” that meant “yeah”–or “yeah?”–were as nothing. I mean, just listen to them! And, as Lou Adler would have it (naming their first album If You Can Believe Your Eyes and Ears, easily the best-ever album title, after his first audio/visual impressions of the group) just look at them.
The imagery was perfect, almost as if it had been guided into existence by the unique, unsurpassable blend of their voices.
Or perhaps those voices demanded the acceptance of any old imagery they chose as the new definition of perfection.
The dream of the “Sixties” is, after all, right there.
Today will be what we want it to be.
You know, go where you wanna go.
Even the drugs will be cool. I mean….especially the drugs will be cool…
And, by extension, if today will be just what we want it to be, tomorrow will be even better!
In one fell swoop, the Folkies from Everywhere–Mexico, So-Cal, No-Cal, Nova Scotia, Alexandria (Virginia, but it might as well have been Egypt), the Hungry I and the Village and the Virgin Islands, fusing into one–had re-formatted the Protestant Reformation’s promise of a future Golden Age (itself the rejection of the age-old idea that the Golden Age lay in the past, a rejection that set Europe’s Ice People on a staggering five-hundred-year winning streak of which, as of 1966, “Go Where You Wanna Go” seemed like no more or less than the natural conclusion and justification–yes it meant, and means, that much–your refusal to believe in it doesn’t negate its refusal to acknowledge your silly refusals).
There was, of course, no direction to head from there except Utopia or the Long Fall.
We know–perhaps they even knew–where that fork in the road always leads.
You can have the greatest vocal group in history and just happen to include among your number one of the Rock Era’s two or three finest vocal arrangers who just happens to be an ace songwriter.
You can hook up with a great producer and have unlimited access to the best session players in the world–the only people, perhaps, who could ever hope to match your Utopian vocal and visual presence to sounds worthy of comparison (and, believe me, if you ever get around to listening to what’s going on behind the vocals, you’ll find the Wrecking Crew at the far edge of their own weighty experience–not even for Pet Sounds or Frank Sinatra did they reach further). You can be the only group of any era to have great male and female lead singers, breathtaking close and counterpoint harmonies, the ability to answer male and/or female calls with male and/or female responses, and to have the answers be vocal/lyrical affirmations and/or refusals.
You can hold all that in your hand while you take the coolest drugs, ride around in the fastest cars, sleep in the biggest, spookiest movie star mansions with the partners of your choice under the world’s most beautiful skies.
You can even promise to share it with your listening audience–to transport them into your world, three golden minutes at at time.
And you can deliver over and over again.
But that choice between the Garden you found and the Mean Old World you couldn’t quite leave behind will linger on.
For you and the world.
That deal you made with the Devil will still have a payoff–and a due date.
For you….and the world.
In their case the payoff was in a run of gold records. Hell, they even sold albums like hotcakes, in an age when not many did.
The due date was the same as America’s. And the world’s.
By the time it was done, they were done.
Then the Mean Old World moved on–or pretended to.
They gave up and disbanded, the first of the great Utopian Sixties’ groups to do so. (The Byrds never really disbanded–pieces just kept falling off until nothing was left but the name. A very different process, but those were the two paradigms. Break up…or linger on. When the Doors and the Beatles broke up, they were copping the Mamas & Papas’ style. When everybody else lingered on, the pieces just kept falling off and they ended up being worse than nothing.)
That left the question of who got it and who didn’t.
Time has given us the answers, even if nearly everyone is reluctant to admit it.
We need not speak of what Lyndon Johnson, lingering on in the White House, understood. But in the Pop World that existed in the summer of ’68, it turned out that only Elvis Presley, reporting to a series of TV sound stages and with God on his side, and the Mamas & the Papas, cooped up in John and Michelle’s mansion a few miles away, concluding their deal with the Master of this world, understood that we would never walk away from 1968.
From a Pop Political standpoint, the Beatles now sound like clever children, the Stones like mere cynics. Bob Dylan was already retreating into the rusticism his great mid-sixties albums had promised an escape from. The Byrds lay in pieces on the ground and Brian Wilson had already blown his mind.
And, as Pop Prophets went, Jimi Hendrix and Jim Morrison were finally only self-destructive.
But at least they made great music.
Never mind the Thinkers. No need to pay even a modicum of attention to them.
Whoever you thought they were, time has already washed them away.
We’re left with who got it. Who looked around at the world of 1968 and said: We’ll never walk away from this.
Well, these people:
Naomi Cohen (32) died of heart failure in a London hotel in 1974.
John Phillips died in 2001 (65) never having emerged from the drug-induced haze produced by having so much fun in two years there was no more to be had.
Denny Doherty (66) died in Mssissauga, Ontario in 2007, worn down by years of alcoholism.
Michelle Philips will still show up to defend her group’s legacy. She probably hopes you won’t ask too many questions about the incest allegations John’s oldest daughter has made.
It all seems so very long ago.
And so very present.
Today, you might go on the internet and find an essay that describes “Safe In My Garden” as “happy” and “bucolic,” as though it represents an ode to a safe space replete with milk and cookies and teddy bears.
That represents real fear, I think. An understanding–an awareness of the terror abiding within the song’s formal beauty, right down to its meandering close-out, as though the group–and the world–have literally run out of places to wanna go and things to wanna do and whoevers to wanna do it with.
Else oblivion. An almost insanely pure ability to resist the obvious–the persistence in demanding that, contra Philip K. Dick, if you stop believing in reality, it will stop believing in you.
Reality still believes. The Mamas & the Papas are still the ones who recognized and sang about it, half-shouting, half-crooning, straight from the heart of the dying dream.
The world’s on fire, they sang.
We know, because we struck the match. they did not have to sing.
Aww, come on. Nobody who knows the heart of rock and roll has one single all time once and forever favorite one-hit wonder. You think it’s remotely possible? Take a look at, say, 1961:
That’s just a sampling of the vocal groups. In 1961 It doesn’t even include the all time homage to the vocal groups…In 1961
And it doesn’t include (from 1961) something like this…
Which, believe me, actually would put this otherwise impossible argument to an end, except Dick and Dee Dee actually had other hits (not that you’d know this by listening to your average oldies’ station or probably even a really great oldies’ station, for the last fifty years and counting).
That’s just a glimpse into one aspect of a single year, a year that, according to many a certified crit-illuminati scribe was rock and roll’s nadir from which we never would have been saved if the British hadn’t invaded a few years later. And I’m not even saying I love every one of those records up there enough to put them in a serious competition for the title of my favorite one-hit wonder (though I’d certainly include a few of them).
Start counting surf instrumentals or Troy Shondell doing “This Time” or Freddie King doing “Hideaway” or Ernie K-Doe doing “Mother-In-Law” or any of a few dozen others that I could imagine being somebody’s favorite even if they wouldn’t quite be mine (well, maybe “Mother-In-Law”) and you begin to see the pure ridiculousness of the exercise.
Like I said. Impossible. Crazy. Even to pick a favorite, forget a best or greatest. Just for 1961 (well, maybe “Mother-In-Law).
So I just have to go with the first record that popped into my head when I thought of the category and I couldn’t quite manage to dislodge no matter how long and hard I thought about it.
Okay, I didn’t really think about it all that long and hard. Because the second record I thought of was this one….
And I figured if that couldn’t knock the song Lyndon Johnson should have listened to before he sent any more troops into Viet Nam (and the American Experiment straight to Hell right along with them), out of my head, then nothing could.
I’m sure our sunny present day circumstances had nothing to do with it coming to mind…or refusing to leave…
I’ve mentioned my fondness for Time Life’s old rock n’ roll collections from the eighties and nineties before. (They’ve been recycling the concepts to ever diminishing returns ever since.) They don’t exactly make up for the collapse of radio, though I suppose they might if I accumulated enough of them.
For now, I make do with what I have. Want to listen to the oldies? Be reminded why they matter, how much they still have to say about where we’ve been, where we are and where we’re likely headed? Well, you could do worse.
Today, the second volume of 1965, from the “Classic Rock” series–classic rock, in this case, meaning a more or less random selection of the best top 40 music from any given year.
And, lo and behold, what develops out of not entirely thin air while I’m bopping around the den, is a kind of battle of the sexes.
The White Boy Ravers against the (mostly black) Girl Talkers.
There are other cuts that confuse the issue. Aren’t there always?
Black men crooning or pleading (Smokey Robinson, Otis Redding, Joe Tex, Marvin Gaye) or at least not raving (Levi Stubbs, always in supreme control, no matter the tempo). Appropriating Girl Talk space rather than assaulting it. Like the white men harmonizing or rhapsodizing (Byrds, Beach Boys, Beau Brummels, Turtles).
But that still leaves an album’s worth of thematics: Barry McGuire’s Old Testament prophecy of doom on “Eve of Destruction” (itself a nice juxtaposition with “Turn, Turn, Turn,” the Byrds’ insistent plea on behalf of the New), followed by Fontella Bass’ “Rescue Me.”
The world ending in fire versus Bass playing John the Baptist to Aretha Franklin’s Jesus.
And that’s just the warm-up.
Later on, the Kinks crash through “All Day and All of the Night” only to have Martha and the Vandellas hammer out a warning on “Nowhere to Run.” Roy Head leers “Treat Her Right” like treating anybody right is strictly for suckers. The Ad Libs dream right back, the lead singer imagining “The Boy From New York City,” who sounds like the kind of guy who was born not needing Roy Head’s advice, will love her until she dies.
Back and forth. Back and forth.
And then the apocalypse. Seduction as the sound of a freight train. Try protecting your girly, intimate space from this (or anyway, try wanting to)…
And, if you think it can’t be done, that the space can’t possibly be reclaimed, you might try this, which I confess until now I never really heard for the push back it surely is…
Or this…which always sounded like it was pushing back against a lot more than Ravers invading the intimate space….
After that, the Gentrys’ “Keep On Dancing,” which sounds great in just about any other context, ain’t got a chance.
Girls win…this time. Proof of the verities: When in doubt, pull out the Shangri-Las.
“Barry (McGuire) had said that he had some friends coming through San Francisco, could I take a listen to ‘em. I had a habit of when I listened to a new group I tried not to look at the group, so not to be influenced in any way by the way they looked, but hear them as I would hear them on a record. And so they went through the four or five songs and I opened my eyes, looked up at ‘em, and that’s how I got the title of the first album If You Can Believe Your Eyes and Ears, after hearing how fantastic it was and then to see what they looked like. I mean they were just back from the Caribbean, and they were scruffy as could be and Michelle was as beautiful as could be and Cass was as big as she could be and John was as tall as he could be…”
Producer/Label Owner Lou Adler (Source–California Dreamin’: The Songs Of The Mamas & The Papas DVD (2005))
I have no idea how it came across in 1966. From this distance it’s the cynosure of cool (and, yes, I kind of have a feeling it was then, too).
Weird, but I never noticed the apostrophes before. I was probably too busy worrying about the toilet (which was covered up when the album started to sell).
Or maybe Michelle’s boots.
Or what was in them.
Perfect in any case, because it was such a transcendent blend of Show Biz and Counter Culture–kind of like the music that was waiting inside.
As before, I’ve linked to live performances, or at least interesting video comps, where possible, even if they aren’t always the best vocal presentations–there’s usually a pure studio version next door on YouTube if you just want to listen to the record. Also, as before, I’ve listed lead singers for groups and relevant harmony singers (not necessarily every singer who appeared on every record).
And, once again, this is really a smattering. Most “vocal events” in rock and roll history are deep enough and broad enough to warrant their own encyclopedias. The Byrds, Bob Dylan and the Mamas and the Papas, for instance, could each easily sustain a list of this length all by themselves.
What I’m trying to do with each segment is give the general shape of the thing from a singing perspective–including all the most important voices, who did what, a little of why it mattered and what it may have felt like in the moment, plus how it resonates through the years. I encourage any and all to comment on any significant oversights! I do put some time into these but it ain’t entirely scientific.
As a final note, for all of this great genre’s vaunted (and revolutionary) lyricism–defined by, but not limited to, the emergence of Bob Dylan as the Voice of a Generation–it was, as always, the singing which put it across. Harmony singing, for instance, though it had (thanks to the Everly Brothers) been in the rock and roll mix from almost the very beginning and had been raised to new, exciting heights by the Beach Boys and the Beatles, had never been quite so central to American music and never quite would be again.
“When You Walk In The Room”–Jackie DeShannon: Released as a B-side, it crawled to #99 on the charts in the space between John Kennedy’s assassination and the Beatles’ arrival in America, staying there for exactly one week. Not the first time the future has come creeping in the back door. This was probably intended as a “girl group” record and, frankly, it works on that level, too. But she was already on to Bob Dylan and somebody, at least, was on to jangling guitars. Her record company refused to let her do an album of Dylan covers or the actual term “folk rock” might have been coined a year and half earlier than it was. (Heck a lot of things might have had names a year or two earlier than they did if the world had been in the habit of paying just a touch more heed to whatever Jackie was up to.) Anyway, with rockabilly and soul already deep in her skin, bones and vocal chords and every hipster in L. A. in her social circle, she really was the perfect harbinger.
“Laugh, Laugh”–The Beau Brummels (Sal Valentino, lead vocal): This broke out of San Francisco in the Winter of ’64. It sort of got lost, later on, that the Summer of Love San Francisco scene-sters nearly all started out as folkies. Odd, then, that the Beau Brummels should grab the spotlight first–and with Sly Stone producing no less. Their sound was nicely stripped down, though. Folk rock before it had a name, yes, but the “rock” part was from the garage. (Alternate: “You Were On My Mind” by San Francisco’s We Five, which radiates joy.)
“Mr. Tambourine Man” and “Chimes of Freedom”–The Byrds (Roger McGuinn, lead vocals, Gene Clark and David Crosby harmony vocals): The cataclysm. Summer of ’65. Of course, “Mr. Tambourine Man” was the breakout, watershed, etc.–truly one of the most important records ever made. Dylan had been taken high on the charts as a protest poet (Peter, Paul and Mary’s “Blowing In the Wind,” Mary Travers leading) and slick-as-grease ladies’ man (P,P&M’s “Don’t Think Twice, It’s Alright,” Noel Paul Stookey leading and laying it on even thicker than Dylan himself, which was maybe harder than anybody thought at the time). Now, he went to the very top–not as those or any of the multitude of other, occasionally dubious. things he was–but as magic realist. All well and good. But the purely vocal essence of both the Byrds and the larger cosmos they had latched onto, was perhaps better defined by “Chimes of Freedom,” which was not only more imaginatively arranged and deeply felt, but more magical and realist and Dylanesque as well. (Alternate: Their version of DeShannon’s “Don’t Doubt Yourself Babe,” also from their monumental first album, which, among other things, brought Bo Diddley’s beat into the mix.)
“Like a Rolling Stone”–Bob Dylan: Speaking of cataclysms. Greil Marcus wrote a good book about this one and I don’t think I really have anything to add except to say that it’s worth writing a book about.
“The Sound of Silence”–Simon and Garfunkel (Paul Simon and Art Garfunkel, shared lead vocals): (Also known as “The Sounds of Silence.” I’m using Simon’s preference.) Recorded a bit earlier, when folk harmony duos were all the rage on the folk scene and nowhere else. Even the success of British variants like Peter and Gordon in the wake of the Beatles success couldn’t get the concept off the ground in Middle America. But the duo (which had broken up by the summer of 65) had been signed to Columbia and, after the Byrds and Dylan smashed out, producer Tom Wilson decided to see how the folkies would sound with electric guitars and an echo chamber. Turned out it sounded like a natural #1. The boom was on. Thrown back together by the record’s unlikely ride up the charts, Paul and Artie sounded like they could finish each other’s heartbeats. They’ve been fighting ever since.
“Do You Believe In Magic”–The Lovin’ Spoonful (John Sebastian, lead vocal): Here, the “magic” was rock and roll, which was a pretty heady admission for any folkie as deep-dyed as John Sebastian–I mean, the man played an autoharp. Probably the best example, among an army of such, of a singer–and a band–forced out of their collective comfort zone by the times. They retreated soon enough, but while the walls were down they went a lot further than anybody could have guessed in the days before Bob Dylan and Jackie DeShannon came along. Never further than this, their brightest of many shining moments.
“It Ain’t Me Babe”–The Turtles (Howard Kaylan, lead vocal): A heartbeat earlier, they were the Crossfires and you know a concept is breaking big when it catches up the local surf band and turns them into singing folkies. And you also know the local surf band isn’t just any old band–that they might have a run of hits in them–when they make it sound this good.
“I Got You Babe”–Sonny and Cher: What was it George Melly said? Revolt into style? Something like that. (Alternate: “Summer Rain” by Johnny Rivers, which sounds even better but lacks the essence of a Zeitgeist that’s bound to occur whenever Cher is involved in either the revolt or the style. NOTE: It could be my imagination, but judging by the chilly audience reception in the otherwise very charming Top of the Pops clip I linked, the Brits may really have seen folk rock as a very specific threat to the Pop hegemony the Beatles had established on an almost gut-level. In which case, they were right. Or maybe Sonny had ticked somebody off. Yeah, that could be it.)
“Eve of Destruction”–Barry McGuire: Go tell it on the mountain again. Tell everybody an earthquake is coming.
“California Dreaming”–The Mamas and the Papas (Denny Doherty, lead vocal; Cass Elliot, John Phillips, Michelle Phillips, harmony vocals): The greatest pure vocal group in folk rock and probably in all of rock and roll, with two fantastic leads (one male, one female) and, because of the unrivaled gender balance, so many ways to approach harmony that my lifetime of listening has never stopped yielding surprises. And their credentials were fully established before they escaped the first line of their first record. (Incidentally, I heard a right wing talk show host play this coming out of a commercial break just the other day. He wanted to make some point about the uselessness of hippies–yes they still do that. He thought this was the song to do it with. Believe me, it was a mistake.)
“Go Where You Wanna Go”–The Mamas and the Papas: Lead? Harmony? Who knows. The dynamics are literally head-spinning. The lyric is a great shout of freedom, something you might have expected from the early Beatles. The vocal arrangement, which might be the tightest in the history of the universe, is also so expansive that it actually amounts to a shout of maniacal laughter directly in the face of any and all listeners (let alone any rival singers) who try to keep all the way up. All that without being too tricky for its own good. Given what happened–to them and the world–it winds up in a rather disorienting place. Every time it starts, I think it’s bound to end happily and every time it ends I can’t believe I got fooled again. Can’t get more folk or rock than that. (By way of comparison, the Fifth Dimension, who have a claim on being one of the dozen or so greatest vocal groups of the rock and roll era themselves, covered this, had a hit with it, and sounded like somebody had stranded them in the middle of the Pacific Ocean.)
“Sloop John B”–The Beach Boys (Brian Wilson and Mike Love, lead vocals, Carl Wilson, Al Jardine, Bruce Johnston, harmony vocals): Having had no small amount of influence on the scene themselves, it figured they’d make at least onr classic of the form. That it would be an actual folk song–and from the West Indies at that–was maybe not so obvious. Nor was the fact that they would improve the concept so dramatically.
“For What It’s Worth”–(Stephen Stills, lead vocal, Richie Furay and Dewey Martin, harmony vocals): Stills looked out the window (or something) and saw some kids being hassled over protesting the closing of a night club (or something). Wrote this song, waxed his greatest vocal by far, and proved a point: All politics is local (or something).
“Different Drum”–The Stone Poneys (Linda Ronstadt, lead vocal): Not my favorite Ronstadt by a long shot, but a necessary deep breath in the wake of “Go Where You Wanna Go,” and a look ahead to some essential elements of California Rock (and, actually, pretty darn great for all that).
“Too Much of Nothing”–Peter, Paul and Mary (Mary Travers, lead vocal, Peter Yarrow and Noel Paul Stookey, harmony vocals: They had put Bob Dylan on the charts, and done it so far ahead of anybody else that it is hardly a given he would have gotten there at all if they hadn’t made him–and management–a bucket-load of money practically right out of the box. (Laugh if you want, but it never happened for Woody Guthrie and the times hadn’t changed all that much.) That said, there wasn’t much “rock” in their early sound. They smoked this, though, and, on the live version I linked, you can hear (and even see, frankly) Stookey’s roots in doo-wop.
“She Belongs to Me”–Rick Nelson: A chance for a rocker–and a weary teen idol–to pause, take his time, find his natural rhythm, maybe grow up. (Alternate: Bobby Darin’s “If I Were a Carpenter,” and ditto.)
“Abraham, Martin and John” and “Sonny Boy” and “Daddy Rollin”–Dion: There had to be one definitive topical record in a genre called folk rock. And there had to be one definitive tribute to the blues in a genre called folk rock. And there had to be one definitive song about drug addiction in a genre that was so deeply associated with the radicalizing aspects of the sixties. Happened that the same guy sang all three–in 1968, when all that stuff pretty much had to happen. Not saying that guy had to be a New York doo-wopper recovering from his own drug addiction of course. But it worked out that way. (Sorry, I couldn’t find a link to “Sonny Boy.”)
“Meet On the Ledge”–Fairport Convention (Richard Thompson and Sandy Denny, dueling lead vocals): The Beatles and the Stones were hardly immune to folk rock and its key practitioners were hardly immune to them. But the Fabs really were a tad slick and the Stones really were a bit louche. That’s a lot of what made them great, mind you, but for a genuine British variant of “folk” and “rock,” I think this dove much deeper into the connection than, say, “Yesterday,” or “Ruby Tuesday.” (Alternate, looking forward: Robert Plant and Denny dueling on “The Battle of Evermore” on Led Zeppelin IV–an album that represents but one of the interesting directions this concept took in the seventies. Alternate, looking back: Donovan’s “Season of the Witch” which I wrote about in the British Invasion portion of the program linked above.)
“Freedom”–Richie Havens: Now there had to be something great in the form that would become attached at the hip to Woodstock. Without that, the cosmos really would have gone all out of whack–God might no longer recognize us at all. And why shouldn’t it be by the dude who owned the coffee-house circuit in the days when the idea of moving so many masses was just so many gleams in so many folk-singer’s eyes? Actually, why would it be by anybody else?
“Get Together”–The Youngbloods (Jessie Colin Young, lead vocal, Jerry Corbit, harmony vocal): A song so many people had taken a shot at that, by 1969, when this became a hit, it must have seemed next to impossible that anybody would ever define it. Turned out somebody already had, all the way back in 1967, when they recorded it. Very folk, that. And very rock and roll. (The link is to a medley, of which “Get Together” is only a small piece…but it’s too perfect a time capsule to pass up. Where else can you find Milton Berle asking for a “warm recession?”)
“Put a Little Love In Your Heart”–Jackie Deshannon: An apotheosis from the founding mother–understatement and urgency tugging on each other’s sleeves. Perhaps the finest purely vocal evocation of the better world waiting that, of course, never arrived.
“We Can Be Together”–Jefferson Airplane (Grace Slick and Marty Balin, shared lead vocals, Paul Kantner, harmony vocal): Had to get some genuinely radical politics in there somewhere. The difference, if you will, between waiting for a better world and demanding it. Not that it ended up making much difference, but it’s nice to recall that somebody–anybody, however callow–once actually tried.
“Ohio”–Crosby, Stills, Nash and Young (Neil Young, lead vocal, David Crosby, harmony vocal, Graham Nash and Stephen Stills, additional harmony vocals): The dirge of history and tragedy and violence that was lying under the folk part of folk rock all along (not to speak of the righteous anger), finally boiling all the way to the surface, with a guitar line that always makes it seem impossible any singer can live up to it, right up until Neil Young opens his mouth.
“Every Picture Tells a Story” and “Maggie May”–Rod Stewart (Maggie Bell and Long John Baldry, harmony vocals on “Every Picture Tells a Story”): Well, like I said, the concept went in interesting directions, including straight back to the blues. I suspect the narratives of these two songs are the sort of story the Coen Brothers were really trying to tell in their recent homage to the early sixties folk scene Inside Llewyn Davis (a scene which Rod Stewart, of course, had nothing to do with but it turned out that a wannabe soccer hooligan diverted by his talent into lasting fame and fortune knew more about it than all their research could discover). Not too surprisingly, they lacked the nerve. Then again, their considerable skill was bound to be squandered. No amount of mere nerve would have let them tell these tales anywhere near as well.
“Lean On Me”–Bill Withers: Back to the healing basics, sans any trace of the old utopianism. And actually a purer example of this style by now so fully incorporated it could go almost anywhere than, say, “Heart of Gold” or “Horse With No Name.” And I’m pretty sure this was the only folk rock record to ever hit #1 on the R&B charts, which it reached the week after the Watergate break-in and initial arrests sent an early sign that the reactionary chill which always follows a revolution (no matter the outcome) and was bound to leave us in need of a little basic healing, had begun in earnest.
“Knockin’ On Heaven’s Door”–Bob Dylan: World weary theme from a Sam Peckinpah movie. Hard to think of a better way to close down the concept than that.