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#60s pop
cassidyfuller03 · 2 months
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♡the beatles♡
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thegroovywitch · 10 months
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Brian Wilson being weird
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OK. here we go. MATCHUPS! notes + text version under the cut
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poll starts Sunday (Dec. 17th) now live !! links under the cut
Jimi Hendrix vs. Jimmy Page Phil Ochs vs. Lou Reed Janis Joplin vs. Jim Morrison Debbie Harry vs. Leonard Cohen Paul McCartney vs. Eric Andersen Syd Barrett vs. Bob Dylan Norma Tanega vs. Levon Helm Chuck Berry vs. Dusty Springfield Ronnie Spector vs. Cher Davy Jones vs. George Harrison John Lennon vs. Joni Mitchell Lesley Gore vs. Graham Nash Nancy Sinatra vs. Françoise Hardy Joan Baez vs. Ringo Starr Nick Drake vs. Margo Guryan Dolly Parton vs. Stevie Nicks
SO. i did try to balance around popularity and how well-known an artist is because (from my experience) people do tend to vote for the person they happen to know regardless of poll theme... but as i was sorting this i realized that, wow, a lot of these guys are INSANELY well known. it was hard to just outright avoid wild matchups in round 1, they were kind of inevitable.
(also, before anyone says it, i am aware that debbie harry/blondie is more 80s... she was technically musically active in the 60s and i just straight up missed it while checking artists i didn't know, but that's entirely on me)
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ava0brx · 11 months
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joanofarc · 22 days
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dinner for two, lunchbox (2024).
if all that's ever really true oh, what can we do to solve the problem known as us
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weneverlearn · 2 months
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Mary Weiss, me; outside Magnetic Field, Brooklyn, 2008 (photographer unknown)
Mary Weiss, R.I.P.
It was 2005, and I'd lived in NYC for less than a year. I somehow finagled my way into a listening party for the incredible new Rhino Records box set, One Kiss Can Lead to Another: Girl Group Sounds Lost & Found. It was at some small event space in midtown, I don't remember what it was called. Cool joint though...
I felt a bit overwhelmed in this packed room of esteemed scenesters, aging industry big wigs, and the incredible original performers from the box set they were able to round up and sing a few songs.
Luckily the ever-fun couple of Miriam Linna and Billy Miller (Norton Records) were there, scanning the room with eyes as wide as anyone's, and the two introduced me to a few heps, like Richard Gottehrer -- the amazing producer/songwriter who sprung form the Brill Building and ultimately produced some of my faves, like Richard Hell, the Go-Gos, and Marshall Crenshaw, among many.
Then I saw Sune Rose Wagner, singer/guitarist of the Raveonettes, one of my newer faves of the moment, and he was crying. I'd interviewed him over the phone a couple years earlier for a Cleveland mag, so I re-introduced myself and asked what was wrong. We hugged. He said that earlier in the week they'd played and had all of their instruments stolen afterwards, and he was so distraught he was thinking about quitting music. I told him no way, maybe they'll find the stuff, etc... He kind of perked up, and then once the women started singing with a live band, his teary eyes started shining from the glow of the stage taking over the pretty dark room. These women -- and I can't remember which acts they came from, but they were all on the box set -- were resplendent in glittering dresses, hair done big, and smiles wider than 5th Avenue.
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I saw Billy and Miriam again, and they were chatting with Mary Weiss lead vox/face of the Shangri-Las -- arguably one of the top three acts of the whole mid-60s "girl group" scene. I was introduced quickly, but I let them get at their convo as I assumed the Norton nabobs knew Mary from way back.
However, Billy comes up to me later and tells me he had never met her before, that she was his first female musical star crush, and he absolutely sounded like a 16-year old trying to cram his melting heart back into his chest. I was pretty floored myself -- I always loved the Shangri-Las from first hearing them slip out of oldies stations growing up to when I first started diving into girl group sounds as a record-amasing teen. They, the Ronettes, and Darlene Love were the cream of the dreamy crop in my book.
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The whole night was not unlike making your way through a Shangri-Las compilation: every emotion possible heaving up and down, surrounded by sounds lilting, swelling, crumbling, but always with that Big Beat bubbling, ready to shove you out of the sadness...
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After the news of Mary Weiss' sad passing yesterday, of course many acknowledged her teen stardom of the mid-60s; the influence of the Shangri-Las' street-tough image and emotions on the New York Dolls (who used Shangri-Las producer, Shadow Morton, for their second album) and much of the early new wave of the mid-70s; the respect of her keeping a singing career going through the years, and the glorious third act she had in the late 2000s with the help of Norton Records and the great album, Dangerous Game, where Weiss, in excellent voice, was backed by the rulers of garage pop of that era, the Reigning Sound.
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No, it wasn't some top 10 album, but it just oozed with a kind of vintage-to-ever cool that is so rarely captured in a "comeback." (And it definitely got her press and new young fans.)
In fact I think that album, and especially that incredible Rhino box set, brought back that '60s malt shop-meets-back-alley girl group ouvre to a whole new generation.
This was not front page news. Nevertheless loads of acts like King Khan & BBQ, Peach Kelli Pop, Shannon & the Clams, Hunx and His Punx, the Vivian Girls, Baby Shakes, Black Lips, A Giant Dog, and even the re-emergence of Nikki Corvette and Ronnie Spector to the stage brought the cloud-bound reverb and scruffy riffs of vintage girl groups back to prominence in the underground garage rock scene. And again, due to their sounds and looks, the Shangri-Las and the Ronettes were the template.
It has since dawned on me many times that Mary Weiss -- and the Shangri-Las as a whole -- have a nearly singular place in R'n'R history. Considering the admittedly limited catalog of songs, their outsized influence has spread from radio hits in the '60s to the underground proto-punk not ten years later; to the CBGB scene; early '80s new wave and power pop shadow-pep (like Blondie, Go-Gos, and many more); Aerosmith covered "(Remember) Walking in the Sand," and others of the big coif/high dramatics of hair metal had some Shangri-Las DNA in the hair spray; from transgressive filmmakers like John Waters to drag queen blueprints; to 2000s female neo-soul hitmakers -- arising at the same time as the aforementioned garage pop underbelly -- and even up to the recent talk/sing busted romance stylings of mega-popsters like Taylor Swift.
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I saw Weiss at a couple shows over the next year or so. She was always so excited and grateful for all the accolades and thanks people laid on her. She played a remarkable show in Brooklyn that Lee Greenfeld booked, at the Atlantic Antic street fest in September, 2007 -- right outside Greenfeld's madly-missed club, Magnetic Field. We felt the Antic gig would be the first of many, but there were just a few more local gigs, if memory serves.
Somewhere in 2008, at an A-Bones / Yo La Tengo show at Magnetic Field, I chatted with Weiss for a bit afterwards. I can't express enough how inspiring was her love of music and hanging out at a small bar with a bunch of music obsessives knocking back cheap beers. At the 1 a.m. chime, she kissed my cheek, I laid one on her's, I walked home, and I will assume that if there is a Heaven, that moment should get me into the meetings where they discuss how to improve Heaven. It's a cinch it's improved today.
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Variety obituary here.
From obituary:
The group’s tough-but-vulnerable New York City teen image was genuine. “Overall, the girl groups had very sweet images, except for the Ronettes and the Shangri-Las, who had a tougher, harder attitude,” Greenwich told the website Spectropop in an undated interview. “By today’s standards, they were as innocent as the day is long. Back then, they seemed to have a street toughness, but with a lot of vulnerability. Mary Weiss [had] the sweetest long straight hair, an angelic face, and then this nasal voice comes out, and this attitude — the best of both worlds.
“In the beginning, we did not get along,” she continued. “They were kind of crude, with their gestures and language and chewing gum and the stockings ripped up their leg. We would say, ‘Not nice, you must be ladies,’ and they would say, ‘We don’t want to be ladies.'”
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From Chapter 33 of The Downtown Pop Underground — order online, or from a local independent bookstore
THE SHANGRI-LAS’ INFLUENCE ON PUNK LOCATION Brill Building The Shangri-Las were one of the common musical denominators that Blondie shared, and Clem Burke explained the Shangri-La’s proto-punk appeal: “They had their black leather vests and their tight black leather pants, and they sang ‘Give Him a Great Big Kiss.’ They sang about dirty fingernails, wavy hair, and leather jackets, and things like that.” The Shangri-Las cast a long shadow over glam and punk rock. The New York Dolls’ “Looking for a Kiss” borrowed the spoken word intro from their “Give Him a Great Big Kiss,” and another Dolls song, “Trash,” copped the campy “How do you call your lover boy?” line from “Love Is Strange,” a catchy 1956 hit by Mickey & Sylvia. The group’s final album, Too Much Too Soon, was produced by Shadow Morton, who had crafted the girl group classics “Leader of the Pack” and “Remember (Walking in the Sand)” for the Shangri-Las. As Burke recalled, “Bubblegum rock was part of the roots of the New York music scene. Some of the old-school guys like Richard Gottehrer or Marty Thau—who had some money and success in pop music—they understood the music because they were coming from that Brill Building mentality.” Thau was the New York Dolls’ first manager before McLaren took the job, and he had previously made a living as a record promoter for late 1960s bubblegum groups the 1910 Fruitgum Company (“Simon Says”) and the Ohio Express (“Yummy Yummy Yummy”). Thau recorded the Ramones’ first demos and released Suicide’s debut album on his independent label Red Star, and also formed the production company Instant Records with the old-school industry hit maker Richard Gottehrer. “Richie was part of that whole Brill Building rock thing,” Leon said, “which had a lot of nostalgia for us because we grew up with it on the radio when we were kids.”
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vyva-melinkolya · 7 months
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best pop song, maybe ever
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acowdognamedbuck · 18 days
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james burton, glen campbell & the wrecking crew, 1964
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retromusicart · 3 months
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The Kinks - The Kinks (Pye UK/Reprise US, 1964) - Design and photography by Klaus Schmalenbach
Was in a British Invasion-y sort of mood today.
Image courtesy of Discogs.
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The Ronettes with Phil Spector
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wallisninety-six · 10 months
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Brian’s Album of Peace - The Spiritual Tranquility of “Friends” (1968)
In 1968, America was collapsing into violence and chaos. America’s band was collapsing into obscurity and near-bankruptcy- and it’s leader slowly withdrew from the world.
During this time, The Beach Boys (especially Mike Love) and their contemporaries like The Beatles were getting much more involved with the Maharishi Mahesh Yogi, and his promotion of Transcendental Meditation (TM). In 1968 this culminated in the Beach Boys launching a nationwide tour to preform songs and promote the Maharishi and his teachings- it was a complete disaster, both financially and critically, barely anyone showed up (Martin Luther King Jr. was killed the same month of the tour), and those who did responded negatively at the Maharishi’s appearance- the tour was thus cancelled prematurely, financially wrecking the band.
During this time, rock was getting heavier, Acid rock was getting more refined and heavy metal was slowly being born- The Beach Boys looked like total, unhip squares as a result. So what did the Beach Boys do to counter not only the negative press they received, but also the heavier sounds in rock? They stuck with their guns, went the polar opposite direction of music trends, and made a lo-fi, tranquil album whose sounds were not heavy, nor intense, but one about hope, peace, as well as explicit spirituality and the little joys of life and love. While Friends’ simplicity fiercely disappointed fans and critics, the work is now seen more positively as a lost and underrated Beach Boys gem.
The attempts of more explicit harmony & healing thus led to a more gentle, comforting work that passes by in a flash- many of the songs don’t even reach the 2-minute mark. The sound is sparse, delicate, dream-like and bubbly and bouncy at times too. Spiritual undertones are throughout, in sound and in lyrics too- from Brian singing about his first child being born, a mysterious-yet-welcoming healer, the simple joys of the sun rising and starting the day- things that can enrich the soul. It intentionally contrasted gory imagery of hatred and war that saturated US TV screens and horrified the populace in 1968. The closer for the album, “Transcendental Meditation” is an unfortunate and sonically abrasive misstep for the album (the earlier demo for it, simply titled “New Song” is much more fitting as the closer, in my mind.)
Friends perhaps features some of the most ethereal, gentle, and most gorgeous harmonies of the Beach Boys’ entire career- instead of using them for grandiose and loud orchestrations or for energetic rock, they effectively used their genius knack for harmonies to further uplift the songs into a practically angelic level- the best examples being “Anna Lee the Healer” and the wordless “Passing By”. Notably, Brian Wilson recruited his father Murray and his then-wife Marilyn Wilson to do backing vocals in a few of the tracks. Even with the instrumentals, Brian comes through once more in creating strange yet inviting worlds, like in the track “Diamond Head”.
The themes and sounds of peace that manifest in the album (perhaps unintentionally) reflected the odd circumstances surrounding the production: Despite the Maharishi and TM, there seemed to be an attempt at reconciliation between Brian Wilson and Murry- a man who infamously beat him and his brothers senseless, and Marilyn- whose marriage with Brian was slowly falling apart. But aside from that, Wilson’s mental struggles deteriorated further after his daughter was born, struggles that led him straight to the psychiatric ward the next year. The oddities are apparent as in the bossa nova-inspired “Busy Doin’ Nothin”, Brian literally tells the listener actual directions on how to get to his house- only if they can figure out the starting point.
Like Pet Sounds, labeling this as a Beach Boys album is slightly misleading- aside from two tracks, the record is largely a Brian Wilson solo album, as he arranged, produced, and led the project. Those two other tracks (”Be Still” and “Little Bird”) however, were made by his brother Dennis- his first songwriting contributions in a Beach Boys album, a trend that would only grow in the band’s future. His unexpectedly strong songwriting and music production in the coming years would culminate in his critically acclaimed 1977 album Pacific Ocean Blue.
Friends is a near-masterpiece that doesn’t cry for peace- it prays for it. Considering the background and timeframe in which it was made, and considering that modern times in the world have gotten frightening once more, Friends reminds us that despite seemingly apocalyptic times- happiness can exist in the mundane, love always persists and can grow, and peace might even be right around the corner- within ourselves, and our world.
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cassidyfuller03 · 1 month
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♡paul and john♡
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thegroovywitch · 1 year
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YOUR CONTESTANTS.
that's right, it's time !! after so many submissions, i've compiled a list of our 32 contestants for most attractive 60s artist, with artists with the most entries taking priority...
"attractive" is a broad term-- you can vote based on if you think an artist is hot, cute, pretty, handsome, good-looking, whatever, and decide yourself if you want to factor their personality and music into the attractiveness factor !
1) Syd Barrett 2) George Harrison 3) Jimi Hendrix 4) Ronnie Spector 5) Jim Morrison
6) Phil Ochs 7) Cher 8) John Lennon 9) Ringo Starr 10) Leonard Cohen 11) Bob Dylan 12) Janis Joplin 13) Joni Mitchell 14) Joan Baez 15) Paul McCartney 16) Françoise Hardy 17) Nick Drake 18) Graham Nash 19) Chuck Berry 20) Stevie Nicks 21) Eric Andersen 22) Norma Tanega 23) Dusty Springfield 24) Dolly Parton 25) Lou Reed 26) Debbie Harry 27) Levon Helm 28) Davy Jones 29) Nancy Sinatra 30) Lesley Gore 31) Jimmy Page 32) Margo Guryan
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unuhadity · 11 months
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Watch "Nico ft. Jimmy Page - I'm Not Sayin' / Last Mile (1965)" on YouTube
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spilladabalia · 1 month
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The Shangri-las - Out In the Streets
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