LISTEN TO BOOMTOWN RADIO! “ALL the Music That Matters for the Generation That Created Rock 'n' Roll”

Music

From the pages of 16 Magazine, what Sally Fields really thinks of the Monkees, Bobby Sherman and more!

 

2016's simultaneous release of Eight Days a Week and Live at the Hollywood Bowl reignited interest in the Beatles live shows. But these are not the only places you can find Liverpool’s favorite sons performing live.

Here’s an overview of all the ways you can experience the Beatles in concert:

“Shout” by the Isley Brothers was already a classic when the movie Animal House launched it into a kind of musical immortality few songs ever achieve. It might surprise you to know that “Shout” was never really intended to be a song at all.

Like a lot of R&B acts at that time, the Isleys were hugely influenced by Jackie Wilson, who was pioneering an energetic style of performing that was electrifying audiences. In 1959, the Isleys were closing their shows with their version of Wilson’s “Lonely Teardrops,” a song that had been a hit just a year before. The Isley Brothers were booked into the Uptown Theater in Philadelphia as part of a soul revue, with 15 other acts. The group’s lively rendition of “Lonely Teardrops” landed them the coveted spot closing the bill.

One night during the run of this engagement, the audience got particularly excited, leaving their seats and dancing in the aisle. Lead singer, Ronald Isley began improvising lyrics to keep the song going. One of those ad-libs was “You make me wanna shout!” The band responded with “Shout!,” so he repeated the line. Now, the crowd joined in with “Shout!”

The brothers continued to perform the song this way for the rest of their engagement. When they next entered the recording studio, they discussed recording the song with their producers, Hugo & Luigi. It was the producers who suggested they drop “Lonely Teardrops” and just concentrate on the “Shout” portion.

When they were finished, the Isley Brothers had a song that was too long for just one side of single. So, they cut it in two and released “Shout Part 1” and “Shout Part 2” as a single. And from that time until today, they still close every live show with “Shout.”

In 1952, 19-year old Lloyd Price was just another poor kid in New Orleans who dreamed of making it big. His mother owned a sandwich shop where Lloyd liked to hang out and play the piano. He had been working up a little song that combined a phrase one of the DJs at the local R&B radio station used (“Lawdy, Miss Clawdy”). He had recently broken up with his girlfriend, so that went into the lyrics as well.

He was playing his little song in the restaurant one day when one of the customers came up and asked if he’d like to record the song. The man was local band leader Dave Bartholomew. It seemed L.A. record label owner, Artie Rupp, was in the Crescent City looking for local talent to add to his label, Specialty Records.

Lloyd, of course, jumped at the chance and met Bartholomew and Rupp at a local recording studio a few days later. There was only one problem. Price had only composed one verse for the song. Told he’d have to do better, he composed a second verse on the spot. Then, he was asked what song he might have for the record’s B-side. Price had nothing. So, he and the musicians improvised a song they eventually called “Mailman Blues.”

Lloyd never even heard a playback of his songs that day. Instead, a few weeks later, he was helping father replace a septic tank at the family home when he first heard his record being played by the same local DJ who had originated the Lawdy Miss Clawdy phrase!

The song rocketed to #1 on the R&B charts and is cited as one of the first black songs that crossed over to a white audience and helped launch rock ‘n’ roll. Price went on to a long successful career that included multiple Top 10 hits including “Stagger Lee,” “Personality” and many more.

One other interesting note. The day that Price recorded “Lawdy Miss Clawdy,” the session piano player was another local musician who had already had a taste of national success – a young New Orleans singer/songwriter named Fats Domino.

Jailhouse Rock (1957), Elvis Presley’s 3rd feature and the first to really offer Elvis’ brand of rock ‘n’ roll undiluted, is probably his most famous and best-regarded film. The production number where the King sings and dances to the title track has been showcased in dozens of “Best of Hollywood Musicals” retrospectives, but how many have actually watched the entire film from which it comes?

Let’s take a deep dive into this milestone in the history of rock & roll movies.

There's a dance after the basketball game this Friday. Be there or be square!

MEET THE BEATLES - The Beatles (1964)

Any self-respecting Baby Boomers record collection begins with “Meet the Beatles.”

While there are certainly Elvis fans among our generation, most of us didn’t reach puberty until the 1960’s, when Elvis had already entered the Army and would never be as wild as he was before he went in. For most of us, Elvis was the music our babysitters listened to while the Beatles (along with the Beach Boys and Four Seasons) were the first group we could really call our own!

We’ve been hearing this song since it first entered the pop charts in the fall of 1962, but how much do you know about its creation?

Bobby Pickett was an aspiring actor in L.A. who sang with a band called the Cordials at night while attending auditions during the day. One night as the group was performing a cover version of “Little Darling,” Pickett began a short monolog using an impersonation of Boris Karloff’s voice. The crowd loved it.

Pickett then sat down with fellow band member Lenny Capizzi and quickly worked up some monster-themed lyrics as a parody of Dee Dee Sharp’s “Mashed Potato Time.” While the major labels were not interested in their song, writer/producer Gary Paxton was. Paxton was no stranger to novelty records, having written, sung & produced “Alley Oop” just two years earlier.

Paxton called in session musicians like Leon Russell and Johnny MacRae and quickly got “Monster Mash” recorded and released on his own Garpax label. Bobby became Bobby “Boris” Pickett and the session men were christened “the Crypt-Kicker 5.”

The little record from an independent label was an immediate smash (just as Bobby had boasted in the lyrics), reaching #1 on the Billboard Hot 100 during Halloween week of 1962!

Like the Frankenstein monster himself, the record refused to die, getting fresh airplay every year thereafter. It proved so popular that it actually re-entered the Billboard Hot 100 in 1970 and again in 1973 when it went all the way to # 10. The song was actually banned by the BBC in 1962 for being “too morbid.” Pickett had the last laugh when the 1973 re-issue also reached the Top 10 in the UK.

Pickett released several follow-ups to “Monster Mash” (some of which you’ll hear every Halloween here at Boomtown America), but never matched the success of his first release.

He went on a brief career as an L.A. disc jockey and also played bit parts in several low budget movies.

The song is still available on multiple compilations. Just remember, as Bobby said, “When you get to the store, tell them Boris sent you!”

Marty Balin’s influence on rock & roll both in front of the mike and behind the scenes was enormous. He soared to fame during the summer of love as one of the main singer-songwriters for Jefferson Airplane. He passed away over the weekend in Tampa, FL, where had had made his home. The cause of death is, at this time, unknown

Born Martyn Buchwald in Cincinnati, Balin got interested in music at an early age. He recorded two singles in 1962 for the small Challenge Records label. It was that label that changed his name to Marty Balin.

Relocating to San Francisco, Balin hooked up with musicians Paul Kantner, Skip Spence, Jack Casady, Jorma Kaukonen and Signe Anderson in 1965. That same year, he and some partners also opened the hugely influential Matrix nightclub that was a launch pad for many Bay Area groups including the Grateful Dead, Big Brother and the Holding Company and Steppenwolf.

Jefferson Airplane became the first of those San Francisco groups to land a contract with a major label, recording their first album for RCA in 1966. Ms. Anderson, one of the Airplane’s lead singers became pregnant and left the band. She was replaced by Grace Slick. Drummer Spence also left and was replaced by Spencer Dryden.

It was the Airplane’s second album, “Surrealistic Pillow,” that catapulted them to superstardom. While Balin was sharing most of the lead vocal duties with Slick, it was Slick’s songs that became the group’s first hits. From then on, the media tended to focus their attention on Slick and who could blame them? In addition to her powerhouse vocals, she was also an extremely good-looking young woman. Tensions within the band escalated until Balin left in 1971.

The band then renamed themselves Jefferson Starship and continued along. By 1975, Balin had rejoined his old group; and this time, it was his songs that led to their biggest chart successes – “Miracles” “Count on Me,” “Runaway” and “With Your Love.”

Balin left the group again in 1978 avoiding the band’s slide into corporate rock as simply Starship in the 80s.

Balin recorded some solo albums and appeared with his former bandmates in various aggregations, including a full-fledged Jefferson Airplane reunion tour in 1989 and with a reincarnation of Jefferson Starship in the 90’s.

He received a Grammy Lifetime Achievement Award in 2016 and was still writing and singing right into this year.

We are in the process of installing a new music player and switching to a new streaming service. We hope to have the music up and running as soon as possible! Thank you for understanding!

In the very early days of rock & rioll music, magazines like 16 and Tiger Beat were the ONLY rock journalism you could find. We've come into position of a comendium of articles from 16's glory days (under the direction of Gloria Stavers) and we will be reprinting these vintage pieces from time to time.

 

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