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(Above: Marvin Gaye asks for a witness. He gets four go-go dancers.)

By Joel Francis
The Daily Record

For the past 46 years, few have been able to see “ The T.A.M.I. Show,” the 1964 concert film that captured early performances from the Beach Boys, Marvin Gaye, Smokey Robinson and the Miracles and the first major U.S. appearance of the Rolling Stones.

A tangle of legal issues sent the movie to exile almost immediately after it was sent to the theaters. The producer lost his rights and the film was never released on video rarely shown in public. For years fans would read about how incredible the “T.A.M.I. Show” was – particularly James Brown’s appearance, which Rick Rubin once said “may be the single greatest rock and roll performance ever captured on film” – without being able to see it. Thankfully this has finally been corrected. After decades of wrangling, Shout Factory has finally released the “T.A.M.I. Show” on DVD.

After a montage of all the stars arriving over one of the longest Jan and Dean songs ever, Chuck Berry takes the stage. His appearance ties the film back to “Rock Rock Rock” and the classic ‘50s rock and roll films, but halfway through “Maybelline,” the camera swings over to Gerry and the Pacemakers doing their version of the song. It’s a little disorienting at first, and doesn’t completely work, mostly because Gerry is so campy. He’s constantly playing to the camera, and the group clearly doesn’t have Berry’s talent or charisma.

Fortunately, an endless parade of go-go dancers in bikinis is on hand to distract from any lulls in the music. Constantly in motion, the dancers swarm across the stage – often directly in front of the performers – and on platforms in the back. The producers discovered what MTV perfected in the ‘90s with “The Grind:” buxom, gyrating dancers will make even the most execrable music enjoyable.

The showgirls hog the camera during the first number of Smokey Robinson and the Miracles’ set. Fortunately, lens eventually pulls back on the second number, and the quartet delivers the first great performance of the night. Robinson drops down, jumps up and throws his entire spirit into an extended “You Really Got A Hold On Me.” That energy carries into “Mickey’s Monkey,” that has everyone onstage and in the crowd dancing. Marvin Gaye continues Motown’s strong showing with a great “Stubborn Kind of Fellow.” For “Can I Get a Witness” he performs away from the band, flanked by two shimmying girls.

Director Steve Binder isn’t shy about cutting to the junior high and high school students in the audience screaming in delirium. One long shot accidentally allows a glimpse of policemen in helmets patrolling the aisles. There was clearly a hard line on the level of excitement that could be displayed.

It’s hard to believe Lesley Gore was the biggest star on the bill at the time, and that she didn’t become an even bigger star later. Gore dutifully performs her best-known songs, the No. 1 “It’s My Party” and its Top 5 sequel “Judy’s Turn to Cry,” but her poise, grace and presence suggest she should have had a much longer career. Gore It’s too bad she couldn’t keep up with the harder, psychedelic edge rock music was about to take.

Several of Gore’s songs are captured by a camera that looks like Vaseline has been smeared over the lens. In the commentary track, Binder said that was exactly what was done. He either couldn’t afford or didn’t have time to outfit the rigs with soft focus capability, so they went with this bargain basement substitute. Unfortunately, it looks like Gore is singing through a funhouse mirror.

Jan and Dean, the evening’s MCs, kick off the surf portion of the show, but they are outmatched by the Beach Boys, who follow. Jan and Dean’s harmonies seem thin and the skate-board-in-a-guitar-case trick can’t hold up to the Boys’ rich voices and Brian Wilson’s songwriting. The performance was filmed months before Wilson’s nervous breakdown forced him off the road. Here he looks completely at ease and happy.

After the movie’s initial run, the Beach Boys’ manager demanded his client’s four-song set be removed. When the inevitable “T.A.M.I. Show” bootlegs popped up, the Beach Boys were usually missing. This DVD finally restores the lush “Surfer Girl” and the freedom of “I Get Around.”

The film treads water through the Dakotas, Supremes and Barbarians until – finally – we get to James Brown and the Famous Flames. Honestly, there’s nothing he does here that wasn’t captured on the incredible “Live at the Apollo” album one year earlier. This, however, was his first major show in front of a white audience. It also gave fans the opportunity to see Brown work his magic in addition to just hearing it.

The Flames are razor-sharp as Brown kicks into “Out of Sight.” Showing his penchant for adventurous covers, Brown resuscitates Perry Como’s hit “Prisoner of Love.” He then directs the Flames into “Please, Please, Please” and the place goes nuts for the now-infamous cape routine. Brown’s pants, which were clean before the song, are scuffed and dirty at the knees from all the times he falls down (only to pop right back again.) During “Night Train” he does this crazy dance on one foot where he manages to wriggle across the stage. Not only does he not fall down, but he looks impossibly smooth.

In his commentary on the “T.A.M.I. Show” trailer, director John Landis, whose entire seventh grade class scored invites to the taping, said the Rolling Stones “were kind of boring after James Brown.” He’s right. The Stones open with a cover of Chuck Berry’s “Around and Around,” an odd choice considering Berry was onstage earlier. They don’t start to live up to their hype and billing until the terrific “Time Is On My Side” and “It’s All Over Now.”

It’s difficult to watch the early Stones without picturing the lazy spectacle they’ve become. There is a hunger in these songs and Mick Jagger is genuinely working to win the crowd’s approval. It’s odd to see Brain Jones so alive and so happy. It seems he was born with those omnipresent bags under his eyes that just grew sadder and deeper until the lids above closed forever.

But that was still several dark years off. The “T.A.M.I. Show” is a celebration that despite some dated production techniques and material still feels vibrant. It’s a peek behind a curtain to a world where artists from not only all over the world, as the song goes, but all genres, could party together on the same stage. In a way, it was a precursor to the weekend festivals that would pop up at the end of the decade and have resurfaced to dominate the summer musical landscape again today.

Keep reading:

Talking James Brown and King Records with Jon Hartley Fox

Talking Motown with Bill Dahl

Review – “King of the Queen City”

Review: The Temptations and Four Tops

(Below: The Beach Boys get around.)

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Above: “True Love Ways” is The Daily Record’s favorite Buddy Holly song.

By Joel Francis

Fifty years ago this week, the plane carrying Buddy Holly, Ritchie Valens and the Big Bopper crashed in an Iowa cornfield, claiming its passengers and 22-year-old pilot Roger Peterson.

The event became known as “The Day the Music Died,” but the fact people were still talking about it 12 years later when Don McLean memorialized the moment with the song “American Pie” proves that music indeed survived.

The rock landscape had changed a lot between 1959 and 1971. The pioneers of the rock and roll were having hard time. Chuck Berry had bounced from Chess to Mercury and back and was seven years removed from his most recent Top 40 hit (although the No. 1 “My Ding-A-Ling” was right around the corner). Carl Perkins was performing as a sideman in Johnny Cash’s band and Little Richard, Bo Diddley, Fats Domino and Bill Haley dismissed as washed up. Only Elvis Presley and Jerry Lee Lewis retained a whiff of their ’50s fervor, but it took a televised “comeback” special and a genre hop to country and western for them to manage the trick.

That Holly was not only remembered, but celebrated in the aftermath of Woodstock and Altamont, in an era where rock’s excesses were just starting to steamroll, was not pure nostalgia.

Far from killing rock and roll, Holly planted the seeds that allowed it to flourish. Holly was one of the first artists to recognize the recording studio as creative environment, by experimenting with double-tracking and overdubs. He was the first songwriter to pilfer the Bo Diddley beat for “Not Fade Away.” He was the first rock and roll star to play a Fender Stratocaster, the guitar of choice for Eric Clapton, Jeff Beck, Jimi Hendrix, Stevie Ray Vaughan and countless others.

Although the Beatles often receive credit for being the first group to write their own material and put strings on a rock album, the truth is, Holly did both nearly a decade before them. It’s not a big leap from Holly’s “Raining In My Heart” to McCartney’s “Yesterday.”

But the most amazing of Holly’s feats is that he did it all by 22, an age at which Bob Dylan was just emerging from his Woody Guthrie fixation, Brian Wilson was begging out of tours because of stage fright and Neil Diamond was still trapped in the Brill Building.

Few mourn other ’50s rock casualties, like Eddie Cochran, who died a scant 14 months later, but Holly’s influence continues to be felt today. It’s  in Elvis Costello’s spectacles, Weezer’s Top 5 1994 hit, and the myriad of bands – ranging from the Rolling Stones to the White Stripes to the cover band in the bar around the corner – who regularly drop “Not Fade Away” into their sets.

The day the music died? Not even close.

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