Stayin’ Alive: Herb Alpert

Herb Alpert is 83 years old. You probably don’t know who he is. Or maybe you’ve heard of him but don’t know much abut him. My “Stayin’ Alive” series attempts to shine a light on legends who are still with us. It’s surprising how many major contributors to pop culture are still alive but, the way ‘celebrity’ works, they don’t get near as much love as they deserve. After they die, the tributes fly but I am hoping to point out the impact these people had before they go to meet Houdini.

First and foremost, Herb Alpert is a trumpeter. However, the list of other things he is goes on for quite some time: composer, arranger, producer, songwriter, singer, record executive, painter, sculptor, philanthropist, actor… I like to refer to him as a mogul. I’ve seen mogul described as “a great personage, an important or powerful person, especially in the motion picture or media industry”. “An influential person: big gun, big hitter, high level honcho, superior”. My favourite is “power derived from experience and skill, not popularity (most celebrities, while called moguls, are in fact not)”. An apparently low-key guy like Mr. Alpert would likely cringe at being described as such and I think in Herb’s case, I would tend to use the word “influential” more than “powerful”. Definitely, though, he was a major player in a major market at a major point in the history of the music business.

Herb was born near the start of spring in the Boyle Heights section of East Los Angeles to Tillie and Louis, two Jewish immigrants from the Ukraine and Poland. When Herb was growing up, Boyle Heights was a predominantly Jewish neighbourhood. Later, the area saw an influx of Latinos. While today Boyle Heights is made up of 95% Latinos, the neighbourhood has a history of Jews and Latinos working together, politically and civilly, to improve living conditions. As a musician, Herb embodies this combination of Jew and Latin; he was of Jewish heritage and immersed himself in a Latin sound that he sought to share with the world. Record producer Lou Adler also grew up in Boyle Heights and became an associate and good friend of Herb (Adler, once married to Shelley Fabares, is also ‘stayin’ alive’ at 84 years of age). Other notable one time residents of the area include: Verve’s Norman Granz, will.i.am, Mickey Cohen and Anthony Quinn.

Herb’s whole family was musical and Herb began to play trumpet at age 8 and he experimented at an early age recording himself. He went to Fairfax High School which, at the time, had a predominantly Jewish student body. The school boasts an impressive list of notable alumni, everybody from Carole Lombard and Darla Hood to Mickey Rooney and Ricardo Montalban and up to Phil Spector, Anthony Kiedis and Demi Moore. Herb graduated in 1952 and then joined the Army. After his hitch, he tried his hand at acting, appearing as an extra (“drummer on Mt. Sinai”) in Cecil B. DeMille’s “The Ten Commandments”.

In 1957, Herb took to songwriting and wrote hits for Jan & Dean (“Baby Talk” – #10) and Sam Cooke (“Wonderful World” – #12) before starting a recording career of his own. Herb took his son’s name, Dore, and released a handful of singles, none of them making much of an impression on the charts. It was at this point that he joined forces with his good friend, Jerry Moss. The two buddies decided to start their own label to release Herb’s recordings and also to record other artists they hoped to discover and develop. A&M Records was born.

The fledgling record company set up shop in Herb’s garage where Herb started working with a song a friend had written called “Twinkle Star”. On a break from working on this track, Herb went to Tijuana, Mexico to watch the bull fights. Alpert was taken with the atmosphere and the enthusiastic roars of the crowds. When he got back to his garage he took a different direction with “Twinkle Star”, adding crowd noises and double-tracking his mournful trumpet. He was happy with the sound which was decidedly “Mexican”. Alpert released the single as A&M’s first, renaming it “The Lonely Bull”. Still using their own money to fund operations, Alpert and Moss shopped the single around to various radio stations. The song began to receive airplay and eventually struck fire, reaching #6 on the pop charts in the fall of 1962. Oh, to be back in an era when a song like this could be Top Ten in the country. Now that they had a hit on their hands, Alpert needed an album. “The Lonely Bull” LP was released at the end of the year credited to “Herb Alpert and the Tijuana Brass”; in reality this was Herb’s trumpet backed by the legendary session band, the Wrecking Crew.

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The simplicity of the early 1960’s. The bare-bones cover of the first album released on A&M Records.

For later releases and live performances, Herb would put together an actual band and released “Volume 2” in 1963 and “South of the Border” in 1964. “South of the Border” may be considered the first “essential” TJB album. The disc signaled a move away from predominantly Spanish flavoured songs to a more easy listening style which would become their trademark – the style is more easy listening. However, 8 of the twelve titles contain Spanish/Latin references. Their versions of “The Girl from Ipanema” and “All My Loving” pointed the way to a lighter, middle-of-the-road sound.

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A decidedly “Mexican” setting is actually the Patio del Moro apartment complex in West Hollywood. The model is Sandra Moss – wife of Jerry – and the boys are billed as “Herb Alpert’s Tijuana Brass”.

Their fourth album was a legendary release and remains their most popular record. “Whipped Cream and Other Delights” has been called the “Sgt. Pepper” of easy listening. It is the pinnacle of the early style of the genre and is firmly entrenched in pop consciousness. With this record, mass audiences became aware of Herb Alpert’s music. Songs from this album were used on “The Dating Game” which started a trend of hip, contemporary music being used incidentally on television. The cover alone is iconic and features model Dolores Erickson – three months pregnant at the time – covered in what is supposed to be whipped cream. The quality of the music and Alpert’s arranging both peaked with this album as best heard in the stunning and emotional “Lemon Tree”. The album reached number one and sold 6 million copies. It is the quintessential adult LP of the mid-1960’s. The sound and the cover spawned scores of imitators.

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If you scrounge through the second hand stores, as I do, you’ve seen this record a thousand times.

Other albums that deserve mention are “What Now My Love” and “Christmas Album”. The title track of the former won Herb two Grammy awards – one for arranging – and is the example I always use when I talk about what a great arranger Alpert is. This song – and you can hear it in many different forms from Sinatra to Presley – is just gorgeous in Herb’s hands, one of my favourites. “What Now My Love” was the #1 album in the country for 9 weeks – the longest stay at the top for any Brass album. The Christmas album may be an acquired taste. Most of the songs feature wordless vocals arranged by Shorty Rogers. This whispering chorus will gently introduce a song and then Herb and the boys come in with their jaunty TJB sound. This technique threw me at first but now all I can tell you is that it is one of the albums – not just Christmas albums – that I am most fond of. Herb has written some special arrangements of seasonal chestnuts that make for wonderful fireside listening. With many significant LP releases then, Herb and the TJB became among the first of the great “album artists” and they became known for their album releases – a full program of music as opposed to singles. In the days of the “hi-fi” and the bachelor pad, their records sold impressively and charted well. Seven of their first nine albums reached the Top Ten, five of these reaching #1. 1965 through 1967 was a particularly successful period for Herb and the Brass. In this era that is remembered for the cultural and musical contributions of the Beatles, the Rolling Stones, the Beach Boys, the hippie movement and the origin of hard rock, Herb Alpert and the Tijuana Brass outsold them all, winning six Grammy Awards along the way. For 81 consecutive weeks during this time, the Brass had at least one album in the Top Ten. And the oft-quoted fact is true – in 1966, the TJB sold 13 million records, more than the Beatles did. Also in ’66, the Guinness Book of Records acknowledged that, at one point, Herb had 5 albums in the Top 20 at the same time, a feat that has never been repeated. Consider that, in April of 1966, four of the Top Ten albums in the land were Herb Alpert records. Even more ridiculously, Herb took a rare vocal on the Bacharach/David song “This Guy’s in Love With You” and it went to #1.

Herb’s original record-setting run with the Tijuana Brass came to an end in 1969. He disbanded the group, reforming the band for a few album releases over the next 15 years. Having conquered the pop charts with the Brass, Herb – and partner, Jerry – now turned their attention to expanding their label, A&M Records. Headquartered at the famous Charlie Chaplin Studios at 1416 North La Brea Avenue in Hollywood, A&M’s roster grew to include an impressive list of artists across different genres. Herb himself discovered Sergio Mendes and Brasil ’66, an act that enjoyed colossal success with their mod brand of jazzy Brazilian pop. Sergio and Herb began a lifelong friendship and business relationship and Herb married Lani Hall, one of the vocalists in the group. Herb and Lani – who has also released albums on A&M – are still married 45 years later.

The list of artists who recorded for A&M Records is as impressive as it is long. To be fully appreciated, though, you have to remember that most of the major record labels of the time were off-shoots of or owned by large movie studios or conglomerates. They had buckets of money to place at artists’ disposal. Herb and Jerry – remember, this label was started in a garage – were able to attract some very big names because of their reputations in the industry, because of their savvy and because of their ability to personally deal with artists and take care of their needs, both in the studio and out. The list of artists on the label includes: Burt Bacharach, Baja Marimba Band, the Sandpipers, We Five, the Carpenters, Captain and Tennille, Quincy Jones, Stealers Wheel, Liza Minelli, Gino Vanelli, Wes Montgomery, Paul Desmond, Paul Williams, Joan Baez and Billy Preston. Later, A&M added to their roster Cat Stevens, Joe Cocker, Procol Harum, Humble Pie, Fairport Convention, Carole King, Cheech and Chong, Nazareth, Styx, Supertramp, Chris DeBurgh, Chuck Mangione and Peter Frampton. The 1980’s saw the label continue to sign notable acts including Janet Jackson, the Police and later Sting, the Go-Go’s, Bryan Adams, the Human League and Amy Grant. Next time you’re looking through some records at a garage sale, look for records with the A&M Records logo – the one with the trumpet.

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Started by two buddies in their garage. The trumpet is the perfect touch.

Throughout the 1970’s, Herb continued to record as a solo artist. His records from this era have a wonderfully smooth sound. Today’s listeners may dismiss them as lightweight but they all possess Herb’s particular brand of exquisite musicianship and are infinitely listenable. With the Brass in the mid-’60’s, Herb was tops among the artists that were purveyors of a “middle-of-the-road” sound that began to be favoured by a specific demographic. “Easy listening” can trace it’s roots back to the early ’50’s albums of Paul Weston and others but through the 1960’s, Herb and the TJB took this sound to the masses. Into the ’70’s, Herb was still practicing his brand of jazz-flavoured easy listening. Actually, his sound at this time helped give rise to what came to be known as “smooth jazz”. Significantly, smooth jazz can trace it’s roots to three albums that guitarist Wes Montgomery made with producer Creed Taylor. These three albums, from 1967 and 1968, featured Wes’ incomparable playing on renditions of pop hits of the day. What label were these three albums released on? A&M Records. Though the sound of today’s smooth jazz may have gone in an unfortunate direction, the origin of the genre is a further example of Herb Alpert being instrumental in yet another aspect of the industry.

My regular readers have heard me reference the “victory lap” that can occur in a performer’s career. After the initial blaze of popularity, often an artist’s career will wane. Then, sometimes circumstances will align and a singer will make a sort of comeback – release an album that cements his or her place in history and elevates them to “legend”. It allows their earlier work to be reassessed and appreciated all over again. Sinatra and Bennett both wrote the template for the “victory lap”. Think also of Eric Clapton and Rod Stewart. Herb Alpert’s victory lap – as a recording artist, at least – came quite out of the blue. After years of releasing quality albums of jazz/pop, Herb teamed with South African trumpeter Hugh Masekela for a couple of interesting albums. Then, in 1979, Herb was given a song by his nephew, Randy Badazz Alpert. “Rise” was a departure of sorts for Herb. Randy Alpert and his production partner Andy Armer had written the tune as an up-tempo dance number. At the recording session, it was decided to slow it down – this decision has been credited to both Herb and the drummer on the session, Steve Schaefer. The slower tempo was key. A highlight of this slow funk groove is the bass line laid down by studio legend Abe Laboriel – it is my all-time favourite bass line. Clocking in at 7 minutes and 40 seconds, the tune is an aural delight combining a disco/early hip-hop mood with Herb’s flawless, ethereal playing.

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This is how much I love this record.

The single was released in the summer of ’79 and was immediately picked up by club DJs who would play it on two turntables at once, imaginatively staggering the records to make the song play longer and playing one off the other. As the song began it’s ascent up the charts, it received an unexpected boost in it’s promotion from it’s use as a back-drop for the relationship of “Luke and Laura” on the daytime soap opera, “General Hospital”. With the success of the single, Herb went into the studio to record an LP. The result – also titled “Rise” – is one of my favourite albums of all-time. It’s a fantastic record that manages to sound like the late ’70’s but still sound engaging and somehow relevant almost 40 years later. The album starts with the fanfare “1980”, which had originally been commissioned for use during the Summer Olympics but was instead used as the official theme of the 1986 FIFA World Cup. “Rotation” is another Badazz/Armer track that shimmers along at a nice easy pace. It also was released as a single and hit the top 30. I heard it used once on an episode of “Sex and the City”. “Rotation” has been called one of the first “chillout” tunes making Herb a pioneer in yet another sub-genre. The glowing gem of side two is undoubtedly “Angelina”. The gorgeous song features lyrical playing from Herb and steel guitar. Co-written by Gary Brooker, founder of Procol Harum, this song sounds like sunset looks. This song sounds like a young California guy in love with a Mexican girl. Her family doesn’t like him and her brothers want to kill him but the two lovers manage to steal away for walks down by the water, watching the boats come back in while the sun dips golden behind the horizon. *sigh* The album closes with Herb’s interpretation of “Concierto de Aranjuez” by Joaquin Rodrigo. The guitar piece, written in 1939, is considered the pinnacle of Spanish music. Miles Davis had done a version of it on his “Sketches of Spain” album and here Herb takes it to the night club. The piece is titled “Aranjuez (Mon Amour)” here and is an exhilarating piece that combines the drive and flair of Spanish music with the snapping hi-hat of disco and the R&B/funk of the late 1970’s. The album is, simply put, fantastic and the single release of the title track went to Number One. As if Alpert hadn’t achieved enough, this chart-topper makes him the only artist in history to have a number one song as a vocalist (“This Guy’s in Love With You”) and as an instrumentalist. “Rise” was notably sampled by Sean Combs for “Hypnotize” by the Notorious B.I.G.

Herb Alpert and his partner and friend Jerry Moss decided to sell A&M Records in 1989. There’s a really interesting interview with Jerry Moss that I can highly recommend. In this interview, Jerry explains that he and “Herbie” (as Jerry affectionately refers to Alpert), while they weren’t ‘shopping’ A&M, had a good relationship with PolyGram when that company offered to purchase A&M. Purchase price? $500 million. Jerry says the purpose of selling A&M was to expand it, to make it bigger. By the mid-’90’s, artists were getting huge advances from record companies and A&M simply couldn’t compete. And PolyGram liked Jerry and Herb and wanted them to stay on and run the label. It’s an interesting story and I’ll try to give it to you in a nutshell. Jerry had a good connection with a guy at PolyGram. This guy, though, soon retired and his replacement wasn’t into A&M and didn’t like Jerry personally. This type of breakdown was the opposite of what Herb and Jerry had been promised when they sold. Instead of working with Alpert and Moss, PolyGram bought them out of their agreement. For $200 million. So, in the end, PolyGram purchased the organically birthed and nurtured label, a label with humble beginnings, that started with two employees and a garage, a label that had built a reputation as one that treated their employees and the stars on their roster well, for $500 million. Add to that the $200 million buy-out money and the total is $700 million. Think about that. This is a part of Herb’s story that I love and it puts me in mind of Berry Gordy, Jr. who started Motown Records with an $800 loan and sold it 25 years later for $61 million. Regular Joes who thought they’d try their hands at making records. In the end, not surprisingly, considering today’s record industry, A&M was absorbed into it’s parent company and A&M Records, as an active entity, was no more. The lot on La Brea was shuttered. Jim Henson Productions took over the old Chaplin studios and Herb and Jerry’s adventure was over – and they were $700 million dollars richer.

Herb Alpert’s “retirement” years have been busy. He has indulged his love of creating abstract expressionist art and sculpture and has enjoyed exhibits of his work. He and Moss (at Jerry’s urging) started another record label – Almo Sounds – predominantly to release Alpert’s subsequent albums. But here again they ran a label that nurtured new acts, signing Garbage and Lazlo Bane. In 2000, Alpert regained the rights to his past albums and began lovingly remastering and re-releasing them. Alpert has been embraced by purveyors of electronic music and many of his tracks have been remixed by DJs. The “Whipped Cream” album was remixed in it’s entirety in 2006 with Herb offering up some new trumpet work. Yet another genre that has thrown a nod to Herb Alpert.

Herb has received several lifetime achievement awards and in 2012 the National Medal of Arts award from then President Obama. Sting inducted Alpert and Moss into the Rock ‘n’ Roll Hall of Fame in 2006 as non-performer lifetime achievers. Today, Herb continues to maintain a social media presence and still releases what he calls “positive” music. In 2017, he released “The Christmas Wish” and “Music Vol. 1” with more volumes on the way.

Herb himself may be most satisfied with his work as a philanthropist. In the 1980’s, Herb founded the Herb Alpert Foundation, which supports youth and arts education as well as environmental issues. Herb and wife, Lani, have donated millions in scholarships to various arts schools in the US. This includes $30 million to UCLA, $24 million to the California Institute of the Arts, $10 million to Los Angeles City College and $5 million to the Harlem School for the Arts. All of these gifts are aimed at providing education to youths who otherwise may not have the opportunity to pursue these avenues of learning.

Herb Alpert’s career has checked all the boxes. He may not be regularly referred to or often heralded but the fact remains that he is a legend of serious weight, one that is still active in the fields he loves. Herb’s fingerprints are all over the record industry and through his foundation, he and Lani are doing what they can to ensure that the next generation has a chance to excel. For me, Herb’s greatest legacy is the music. Constantly seeing Tijuana Brass records in thrift stores fascinated me and got me into collecting vinyl. “Rise” means the world to me. And all this is capped off by the fact that Herb Alpert is ‘stayin’ alive’ – still with us, still making us feel good. Thanks, Herb.

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In a shady industry, the Alpert’s seem like good people.

Postscript: I’m a “ranker” so I can’t close out this tribute without running down Herb Alpert’s Top 5 Best Songs. OK, maybe not his best but here’s five tracks that can serve as a sampler of Herb’s work. Check out these tunes and see if you’re not hooked.

5. “Jerusalem” (1971 – from “Summertime”) — From the final stages of the initial run of the TJB, this dramatic track was written by Herb.

4. “Lemon Tree” (1965 – from “Whipped Cream and Other Delights”) — Trini Lopez’ jaunty version has nothing on Herb’s arrangement. This song – and #2 on this list – are the best examples of Alpert’s expertise and unique touch as an arranger. The TJB’s version of “Lemon Tree” is mournful yet beautiful with gentle playing from Herb and some great chord changes.

3. “Angelina” (1979 – from “Rise”) — I can’t say much more about this track than I already have. It is sublime and can evoke an extreme flutter in the chest. Emotional. Wonderful.

2. “What Now, My Love” (1966 – from “What Now My Love”) — This French song has been done many different ways by many different singers, from Sinatra to Presley to Andy Williams. All excellent. But again here Herb adds his special touch with a fine arrangement. The bouncy joy of this track does not totally avoid the wistfulness of the chord changes and the melancholy of the lyrics – omitted here, of course. Herb’s playing is clipped and precise while still exhibiting warmth. Delightful acoustic guitar from, I’ll assume, John Pisano. Probably the finest Tijuana Brass song.

1. “Rise” (1979 – from “Rise”) — Just perfect. A stone groove. Drama in the song structure while maintaining a relaxed playfulness. Exciting electric guitar punctuations and a thrilling bass line, my favourite ever. Very “’70’s” and timeless at the same time. This tune has heavy street cred as Herb expertly blends ’70’s dance music with the R&B origins of hip-hop.

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Paying the Bills

We lost “country singer” Glen Campbell recently. Glen was “known” for his hits “Wichita Lineman”, “By the Time I Get to Phoenix” and “Rhinestone Cowboy”. He was also known, unfortunately, for his struggle with Alzheimer’s Disease and for the “farewell tour” of recordings he’d been on since his diagnosis. His last album was called “Adios”. Perfect. It got me thinking of the unique situation he was in at the end of his career and life. He knew it was over and acted accordingly. One of the many terrible things about a terminal disease is the knowledge that death is coming and coming soon. While this is an incredibly horrific burden to bear for all involved, it opens interesting possibilities for the artist. If memory serves, Warren Zevon faced a similar situation. Diagnosed with cancer, Zevon rejected treatment that may have incapacitated him and instead focused on making a final album. The album featured many guest appearances and the recording sessions were documented by VH1. Notwithstanding the quality of the album, sentiments were high and the record charted and was nominated for five Grammys, winning two – the first of Zevon’s career. Country singer/songwriter/producer Lee Hazlewood was diagnosed with renal cancer and also went into the studio one last time. Zevon and Hazlewood shared a persona in that they neither cared one iota what the ‘hit parade’ may look like at any time in history but instead went with their guts, sometimes producing music that was inaccessible to the general public but was embraced by the industry, by critics and by the more discerning record buyer. Hazelwood’s final album was a completely different scenario to Zevon’s. Lee’s record featured zero celebrity guest stars and enjoyed zero chart activity or Grammy noms. But it was “Hazelwood” right down to the core and he was able to go out on his own terms.

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Glen Campbell’s last album was released two months before he died. It went to #7 on the US Country charts and #2 in the UK.

Glen Campbell was diagnosed with Alzheimer’s while he was recording what would be his third last album, “Ghost on the Canvas”. He and his producers finished the album with the thinking that it would be his last. He embarked on a farewell tour announcing his diagnosis beforehand so fans would know what was up if things went wrong on stage. Glen was able to record two more albums. “See You There” is a startling testament. Glen revisits old hits and, to me, the strength of his voice is remarkable. Jimmy Webb’s “Postcards from Paris” from this album is one of the most heartbreaking songs I’ve ever heard. “Adios” – his aptly titled final album – features a less vibrant sounding Glen joined by Willie Nelson and Roger Miller. The thing, though, that I always think of when I think of Glen Campbell is his reputation as a guitar virtuoso. When I was young and first heard this I found it hard to reconcile with the guy who hosted “Glen Campbell’s Good Time Hour” and sang “Rhinestone Cowboy”.

I first heard of Glen Campbell through the Beach Boys. I fell in love with Brian Wilson and his band when I was 12 years old.  Those who know will know that Brian left the touring band at the end of the seminal year 1964 to focus on songwriting and production and was replaced by Campbell. When I was a kid and read this it was a real head-scratcher: “what is Rhinestone Cowboy country guy doing in the Beach Boys?”. Fact is, Glen had already played on many Beach Boys hits as part of the famed ‘Wrecking Crew’. This was a crack group of session musicians that were used extensively in the Los Angeles area at the time. They deserve their own post as a case could be made that they played on almost EVERY significant artists’ songs throughout the 1960’s. The Wrecking Crew boasted excellent guitar players, one of which was Glen. The thing about being a session musician was you had to be good. Very good. You had to be able to translate an artist’s thoughts and ideas. You had to give voice to the directions and demands of producers who were looking for a particular sound. In this environment Glen Campbell became one of the best, one of the most respected and sought after musicians on the West coast. So it actually made perfect sense that he would replace Brian on the road, singing and playing bass at several shows at the end of 1964 and into the new year. Glen – and his fellow session musicians – were often called upon to be part of a “band” that had been created by an inspired record producer with an original idea.

By the late ’60’s, Glen Campbell was a good, ol’ boy from Arkansas who found himself the most technically proficient and the most in demand guitar player in Los Angeles. A virtuoso, adept at any and all types of music but with country in his soul. He chose to leave the comforts of the lucrative studio life and become a country music recording artist. This career path makes him unique, to come from the ranks of session musicians to strike out on his own and be successful. I’m hard pressed to think of another example of a performer taking this path. Sheryl Crow, I know, was a back-up singer before making her own records. Now Glen becomes very popular and successful as a country artist, scoring hits with “Wichita Lineman”, “Galveston” and “By the Time I Get to Phoenix”. The general public has no way of knowing of his considerable ability on the guitar. He is, after all, ‘just’ a country singer. While his records didn’t call for it, in concert he was able to show off his incredible skill and YouTube videos can attest that he would often really cut loose in a live performance. Campbell is maybe first in a line of virtuoso guitarists that became popular as singers and personalities that were not necessarily known for their guitar playing prowess. Prince and Keith Urban come to mind. The kind of music they became popular for performing did not necessarily require or feature amazing guitar playing. But when unleashing a blistering solo was called for, all three could deliver. I always imagine people leaving a Glen Campbell show and being amazed that he could play like that. “Why doesn’t he do more of that?!” they may have asked. He didn’t because that was not what paid the bills.

This got me thinking of the many talented people throughout the years that have adopted a persona because it is acceptable and lucrative even though they would much rather be doing something else. The Hollywood studio system during the Golden Age is perhaps where this phenomenon originated. Typecasting was common and if you were an actor who had success in comedies, you made comedies or if you looked like the ‘wise father-type’, you played wise fathers. You can find many examples of this throughout history. Sometimes, it will be like Glen Campbell’s case; he was REALLY GOOD at something other than what he was known for. Other times, it will simply be a case of paying the bills – ‘this is what they know me as and they will pay to see me do this. They won’t pay to see me do what I really want to do’. Think Michael Jordan playing baseball.

People of a certain age will remember Roy Clark. Clark co-hosted a popular country and western-themed variety/comedy show throughout the 1970’s called “Hee Haw”. Roy was an affable country boy who picked and sang and acted in comedy sketches on this immensely popular show that lasted an astounding 23 seasons. Everybody knew Roy Clark as “the host of ‘Hee Haw'”. But Roy was possessed of a skill on stringed instruments that, while largely unknown, was substantial. His abilities on the violin, the banjo and on classical guitar have made him an enormous influence on generations of bluegrass and country musicians. Case in point: to see him play “Malaguena” on an episode of “The Odd Couple” is startling.

The aforementioned Brian Wilson is an interesting example of this phenomenon. As a young man, Brian had aspirations to become another Phil Spector: to be a producer of multiple acts, to have his own stable. In order to get on his feet in the music business, he formed a band with his brothers and cousin that hitched it’s wagon to the surf music trend of the early 1960’s. Unfortunately, the Beach Boys became exceedingly popular and Brian suddenly found himself trapped as the bass player of a surf band. It took mountains moving to even excuse him from tedious life on the road and he was finally able to stay at home and write and produce music; some of the greatest American music ever made. But his reputation was never able to soar above the apparent simplicity of the songs his band put out. Only those who really knew understood his genius and appreciated the harmonic complexity of his work. In keeping with the Beach Boys, both of Brian’s brothers – Carl and Dennis – put out solo records during their decades-long tenures with the band. They also could not emerge from the long shadows and – after exercising their creativity outside the fold – they realized that they had to ‘pay the bills’ – and this meant returning to the band and continuing to be ‘Beach Boys’.

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The record company wanted Brian Wilson to just stay a “Beach Boy”. But he couldn’t help being a genius.

Along the same lines you have another legendary band from the 1960’s, The Monkees. Originally, the four boys had signed on to be on a TV show – not in a band. The show lasted only two years but the band as a musical entity continued to enjoy popularity after the show ended. Eventually, all four members became proficient musicians and wanted to operate as such and they eventually released albums utilizing their own talents. Then, later on, each had a desire to make their own records – to be solo acts. There must have been times – and this has happened with many bands – when each member had written a song they were proud of. They would have loved to have gone into the studio, recorded the song and maybe nine others for an album, released it and toured behind it and promoted it on television talk shows. But the chances of the public buying a record by Peter Tork were low. One by “The Monkees”? Much higher. Therefore, they had to hang on to their songs and wait until the next “Monkees” project could be put together. Another variation of this can be seen in the case of the Grass Roots. An excellent pop/rock band of the late ’60’s, the Grass Roots employed a horn section which set them apart at the time. The band was actually created by producers P.F. Sloan and Steve Barri. The famous Wrecking Crew studio band played on the original songs backing up the vocals of Sloan. When one of these early songs – “Where Were You When I Needed You?” – became a hit, Sloan and Barri had to find an actual band that would become “The Grass Roots”. The “band” went through three incarnations during their hit years. Each time, the producers found an existing band who were not ‘paying the bills’ very well under their own steam and would agree to forego their identity and take up the already-popular moniker – become “The Grass Roots” – and record high quality material in a polished and professional environment. Twice the enlisted bands bristled under the strict direction they were getting and went back to doing things themselves. Interestingly, throughout “The Grass Roots”‘s existence, even with all the changing personnel and the fabricated nature of the proceedings, they put out great songs and had chart success.

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The Monkees were labelled “phony” for not playing their own instruments. The same was the case, though, with many other groups.

Tom Jones is another great example. Like most men of his age from the UK, Jones was a huge fan of American blues, r&b and rock ‘n’ roll. When he started out in the business, that’s the kind of music he sang. He was basically a white Wilson Pickett. As he began to become popular, managers and agents became involved. Part of their jobs was to find their clients (who generally didn’t write their own songs) quality material to record. Tom’s handlers came across “It’s Not Unusual”, a song they thought would suit him well. Tom wasn’t so sure. He was a ‘shouter’, after all and this track they wanted him to do was not that. It was very middle-of-the-road and horn-based; not the bleating saxes he was used to but popping trumpets. But, of course, he did it and, of course, it was a huge, international success. His people began to bring him more of the same – and country and western. Next thing you know he is extremely popular but he is not recording the type of music he really wants to. He’s not being the type of singer he really is. Then the money and stardom that Las Vegas in the 1970’s can provide is offered to him and he accepts. Now he’s really not Wilson Pickett. But he’s paying the bills. Which brings to mind what you hear from a lot of singers, usually white males. ‘I love rhythm and blues, I love Elvis Presley, I love Jackie Wilson and all the old singers’ – but what these white males record and have success with is nowhere near what purists would call “rhythm and blues”.

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Tommy Woodward from Wales may have been the original blue-eyed soul blues belter. Until a worldwide smash hit came along.

Speaking of Elvis Presley, he and Sam Cooke both wanted nothing more than to be gospel singers. They both, basically, had to compromise. They both became legends in their respective fields – rock ‘n’ roll and soul – and both lovingly recorded some gospel music throughout their careers, albeit ‘on the side’. I’ve always loved the film “The Fabulous Baker Boys”. Real-life brothers Jeff and Beau Bridges portray Jack and Frank Baker, two legends of the piano bar circuit. After umpteen years of this however, Jeff’s character, Jack, is fed up. He has always loved jazz and plays it anonymously in small clubs every chance he gets. As time goes on, he becomes more and more disillusioned with ‘paying the bills’ by playing music he hates while continually putting his jazz dreams on hold. He’s making money playing “Feelings”. He won’t make much playing “‘Round Midnight” in smoky clubs but that’s what he decides he needs.

Speaking of jazzbos, Charlie Watts is a fascinating example of a guy who’s been ‘paying the bills’ for almost 60 years. The legendary drummer of “The World’s Greatest Rock ‘n’ Roll Band” – the Rolling Stones – is a jazz man at heart. As an aside, the man is also a graphic artist and has designed many of the album covers and stage set-ups the band has used over the years. Wikipedia states it plainly and, I think, comically: “Although he has made his name in rock, his personal tastes lie principally in jazz”. Which is very not rock. The guy’s been considered one of the top 12 rock drummers ever and he doesn’t even like it all that much! As early as the late 1970’s, he has put together jazz ensembles for live performance and for recordings. He has put out jazz records with “The Charlie Watts Quintet” and “The Charlie Watts Tentet”. Those of you who have ever seen him play with the Stones in concert or video will know that he always looks like he’s embarrassed or he’d rather be 100 miles away from Mick as he prances and Keith as he twitches and stumbles. Watts has stayed faithful – faithful – to his wife of 53 years, abused alcohol for only three years in the 1980’s, sketches every hotel room he’s ever stayed in, beat throat cancer which showed up 20 years after he quit smoking, has showed up for years on Best Dressed lists and now lives in a rural village in England and raises horses with his wife. He is one sedate cat who just happens to play drums for maybe the wildest band in history. Hey, it pays the bills.

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The very chill jazzbo, Charlie Watts. Surrounded by madmen.

Elvis Week 2017: Day 5 – Hollywood

Day 5: Hollywood – Released from the Army in 1960, Elvis Presley found himself right back in uniform. King went straight to Hollywood to play Specialist Tulsa McLean in “G.I. Blues”. This film is actually a great example of what is good and what is bad about King Movies. “G.I. Blues” is probably his most comedic film that features one of his best comedic performances. Presley breezes through the film with confidence, sings some great songs, and looks fantastic. The cast is pretty good and King interacts with them well and delivers some funny lines with impeccable comedic timing. On the flip side, however, there are some key things wrong with the film that unfortunately became part of the ‘formula’. The bulk of the film takes place in Germany but of course Presley never shot any scenes there. He’s acting up against a screen for some scenes and for others a stand-in is used. The cast, as I said, is not bad but some of the actors are the goofy, lightweight type that we will see ad nauseam in the films to come. Along with the great songs are some lame ones and the soundtrack ‘features’ a lullaby sang to a baby. His next two films were serious dramas, both excellent: “Flaming Star” and “Wild in the Country”. They weren’t received well and performed relatively poorly at the box office so he found himself back in a playful romp, the greatest of all King Movies and my favourite film ever, “Blue Hawaii”. This film featured an exotic locale, pretty girls and 14, count ’em, 14 songs and became Presley’s most successful film. So, the die was cast. People didn’t want to see Serious Elvis. They wanted Fun Elvis. And that’s the paradox: you know “G.I. Blues” and “Blue Hawaii” became the blueprint for every derivative and lightweight film to follow and you wished he would make more serious films. But, man, Fun Elvis is so enjoyable!

The films of Elvis Presley deserve to be studied at length. Presley’s time in Hollywood needs it’s own book or website – I’ve been making notes to this end for years. There is a general and widespread misconception regarding them. Not about their quality, unfortunately, but about the level of enjoyment they – and many other ‘bad’ movies, for that matter – can provide. As I say, there is a paradox at work here: you find yourself frustrated with the lack of quality of most of the films while at the same time you are enjoying them immensely. Again, it’s so hard to accurately and thoroughly report on this area of Presley’s career in such a short space. I think it can be summed up thusly: the years Elvis spent in Hollywood are the years when Col. Tom Parker did the most damage to his client’s reputation. It’s also the time when Parker’s business practices reached the height of thievery and the pinnacle of abuse of power. In a nutshell, basically every deal Parker made in Hollywood for ‘his boy’ succeeded in benefiting himself more than Elvis and showed a blatant disregard for the effect that releasing a succession of family-friendly, light comedy films overloaded with poor songs would have on the reputation and legacy of his only client. Elvis’ acting ability was undervalued and commerce was not only valued by Parker over art but was held up as the only reason to be in Hollywood.

Now the good news. Elvis Presley’s 33 films are infinitely enjoyable. From a strictly critical standpoint, they are hard to defend. They are the very definition of ‘guilty pleasures’. Elvis Presley loved to go to movies as a young man and when the opportunity came to go to Hollywood to make his own films he jumped at the chance and had aspirations of following in James Dean’s footsteps. He wanted to make serious films with no singing. His first four films showed promise: these four showed him in his natural, untamed state, the songs he was made to sing were, for the most part, good – some even great – and he was surrounded by quality actors. Also, keep in mind that in one of them he shoots his brother and in two others he kills men; one he kills with a switchblade in an alley. They were gritty, vibrant and two of them were the best dramas he ever made. But the evil colonel’s plan went into effect when Elvis returned from the Army. And so began a cycle of film contracts that benefited Elvis, yes, but the Colonel even more, box office hits mostly bereft of any artistic quality and songs so asinine that, taken out of the context of the films they were used in, they are slight, ridiculous tripe. It’s even baffling to me that this is what qualified as an album release by the King of Rock ‘n’ Roll in the 1960’s. Soundtracks. Eight to twelve tracks from the movie with maybe a spare leftover song from the past to flesh it out. The Colonel’s theory was that the films would sell the records and the records would sell the films. For financial reasons, the Colonel had his own stable of songwriters and they filled the movies with songs about fat men overeating, songs about shrimp, about how hard it is to dance in a small vehicle and lullabies sung to babies and small children. They were plot devices not songs. The movies gradually began to feature poor casts and ridiculously claustrophobic studio and back-projection filming techniques. And yet…and yet. Much like Cary Grant and John Wayne, Elvis Presley exuded a natural charisma and a magnetic personality that allowed him to basically play himself in most of his films. And it’s this charm above all other things that makes them so enjoyable. As for the soundtracks, as ridiculous as some of the songs are, Presley’s voice, his style of singing and his way with a song makes a lot of them more-than-listenable. It also helps that there are some genuine gems to be found in these films. The movies are wonderful as ‘comfort viewing’. Often they feature great photography of some beautiful locales, great looking female co-stars, they feature scenarios and lifestyles that any young (or young at heart) person would love to find themselves in and they feature Elvis being Elvis.

By 1967, though, Presley had had enough. He wanted – needed – the exhilaration of live performance again. So, the wheels were set in motion to stop making movies and get back to making records and back to the concert stage. Author Alana Nash has written a mesmerizing book on Col. Tom Parker and his relationship with EP. In this book, she puts forth an astounding notion. Elvis didn’t write his own songs. As previously stated, Parker had a stable of songwriters who were not affiliated with Elvis because they were great songwriters but because they were willing to give up a large percentage of their portion of the profits gained from songwriting to Colonel Tom. These songwriters simply did not have what it took to write songs with a style or a quality to rival the output of Bob Dylan, the Beatles or the Rolling Stones. Therefore, Elvis spending the bulk of the 1960’s in the vacuum of Hollywood and the family-friendly musical comedy served to preserve his celebrity and keep him visible during this turbulent, political era. Talent and charisma aside, the notion is put forth by author Nash that Presley did not have the apparatus in place to stay relevant during the music scene of the ’60’s. The movies kept him alive in the industry until the time was ripe to bust out of the celluloid prison he was trapped in.

When he emerged, he embarked on a season of artistry that rivaled the significance of his first years. His timing was perfect. Yet again.

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