The Early Greenwich Village Bands of 1964-1965 – an extract from Rock Routes – a book on Rock Music by Opher Goodwin

The Early Greenwich Village Bands of 1964-1965

 

In the early 1960s there were four main groups that were heavily inter-related. They were the Journeymen, The Big Three, the Halifax Three and the Mugwumps.

 

Personnel:

 

Journeymen Big Three Halifax Three Mugwumps
John Philips

Scott McKenzie

Dick Weissman

Cass Elliot

Jim Hendricks

Tim Rose

Denny Doherty

Zalman Yanovsky

Pat Lacroix

Cass Elliot

Jim Hendricks

Denny Doherty

Zalman Yanovsky

 

There was much movement between the various bands. People came and went and Michelle Gilliam, John Philips wife, joined. After a spell working in the Virgin Islands and Puerto Rico the Mugwumps headed to LA to join the Folk Rock scene and morphed into the Mamas and Papas. Zalman Yanovsky stayed in New York and joined up with John Sebastian to form the Lovin’ Spoonful. The Lovin’ Spoonful took off in New York and played in Fisherman’s Wharf in San Francisco helping kick the West Coast scene into ignition.

 

Artist Stand out tracks
Lovin’ Spoonful Younger generation

Nashville cats

Daydream

Do you believe in magic

You didn’t have to be so nice

Summer in the city

Did you ever have to make up your mind?

Mugwumps Searchin’

You can’t judge a book by its cover

Big Three It makes a long time man feel bad
Halifax Three Bull train

The man who wouldn’t sing along with Mitch

 

Everything you ever wanted to know about Rock Music!

If you would like to purchase this book in either digital or paperback it is available on Amazon.

In the UK:

 

In the USA :

Opher Goodwin

Country @ Western – from Rock Routes – a book by Opher Goodwin

I include a section from my book to whet your appetite! Links to the book are at the bottom.

Country & Western

 

The other important fundamental element of Rock ‘n’ Roll was Country & western. C&W also originated in the south of the U.S.A and began to attract nationwide interest in the 40s.It was formed from the kinds of Folk music that the early settlers brought across from Europe. These included British Jigs and Reels. These were types of music that could be played on the light, easily transportable instruments that could fit onto a wagon such as fiddles, guitars and banjos.

In the 1930s the music was dominated by two musical family groups – The Original Hillbillies, Sons of Pioneers and the Carter Family as well as individuals such as Charlie Poole, Roy Acuff and Fiddlin’ John Carson. It then became associated with the cowboy image with Roy Rogers and Gene Autry. There was also the singing Railway man Jimmie Rodgers. He fused the blues and yodelling into a package.

In the 1940s, as with the Blues, it underwent electrification and also adopted the distinctive pedal steel guitar which had featured strongly in Hawaiian music. Around this time it became really popular with radio audiences transmitted from the Grand Ole Opry at the Ryman. This enabled it to reach a far wider audience. This popularity was associated with new artists such as Eddy Arnold – the singing plowboy – with his brand of sentimental country ballads. It was the saccharin sweet sound now associated with modern Country and Western as produced by Jim Reeves and co. All easy on the ear and totally safe and consequently ideal radio material.

Meanwhile in the 1940s and 1950s there was a trend towards creating beaty, uptempo branches of country music – Bluegrass in the East – Western Bop or Swing in the West – by incorporating elements of Jazz and Blues.

Seemingly the zeitgeist was at work; simultaneously C&W and Blues/R&B were moving in a similar direction. Country Boogie would give rise to its own branch of Rock ‘n’ Roll.

Western Swing, created by merging Jazz elements, was typified by Bob Wills and their offshoots. Bluegrass was typified by Bill Monroe and their offshoot Flatt and Scruggs. Then there was Red Foley.

In the 1940s a new style started to develop based around the style from the bars and clubs known as Honky Tonks. Honky Tonk C&W was typified by Ernest Tubb and then Hank Williams and Lefty Frizzell.

Hank Williams became the foremost and most influential. His single ‘Move it on over’ with its strong beat was a major step towards Rockabilly. It like a dozen other R&B tracks is credited with being the first Rock ‘n’ Roll song. It was one of many. In fact it was a general movement that seemed to infect many musicians at the same time. Hank’s strength lay in his use of melody and lyric and completely dominated the scene between 1946 and 1952. Unfortunately Hank became addicted to alcohol and painkillers and died in the back of his car from heart failure on the way to a gig on Jan 1st 1953. His legacy had a big impact on Rockabilly and C&W. He influenced the Delmore Brothers, Moon Mullican, Arthur Smith, Merle Travis, Kitty Wells, Patsy Cline and Tenesse Ernie Ford. Later people such as Bob Dylan heralded him as a major influence.

Bluegrass, Country Boogie, Western Swing and Honky Tonk all fed into Rock ‘n’ Roll through Rockabilly artists such as Elvis Presley, Johnny Cash and Carl Perkins.

Sam Philips brought C&W together with R&B. He set up Sun Records in Memphis Tennessee. He specialised in recording black R&B and uptempo Country music. He brought them together to create Rockabilly, the catalyst being Elvis Presley.

Country music was the style favoured by many Rock ‘n’ Roll artists before they heard Elvis. Artists such as Buddy Holly, Eddie Cochran, Jerry Lee Lewis, Carl Perkins, Johnny Cash and the Everly Brothers all started off with Bluegrass, Honky Tonk and Country Bop.

In the late 60s many bands and artists delved back into the rich tradition of C&W. Gram Parson, the Byrds, Flying Burrito Brothers, Band, New Riders of the Purple Sage, Bob Dylan and Hot Tuna all were leading exponents. Later in the 1970s it featured in the style and repertoire of many with bands such as the Eagles, Linda Ronstadt and Jackson Browne.

Country music had left its mark.

Rock has also left its impact on C&W. After a rather slushy period in the 1960s with Jim Reeves, Dolly Parton and Tammy Wynette it began to find some balls again with artists like Steve Earle, Joe Ely, Willie Nelson Emmy-Lou Harris and even Townes Van Zandt. Then there was a brief flurry of new Country.

Where would Rock be without it?

 

Artist Stand out tracks
Carter Family May the circle be unbroken

The Wabash cannonball

Wildwood flower

Keep on the sunny side

Sons of the Pioneers Cool water

Tumbing tumbleweed

Charlie Poole Goodbye booze

Took my gal a walking

I’m the man who rode the mule around the world

If I Lose I don’t care

Hungry hast house

Take a drink on me

Fiddlin’ John Carson The little old log cabin in the lane
Roy Acuff Great speckled bird

Tenesse Waltz

Roy Rodgers Stampede

My Chickasay girl

Gene Autry Back in the saddle again

Do right daddy blues

Jimmie Rodgers Blue Yodel No. 1 (T for Texas)

Blue Yodel No. 8 (Muleskinner Blues)

Pistol packing papa

Hobo Bill’s last ride

Never no more blues

Eddy Arnold There’s been a change in me

I wanna play house with you

Bill Monroe Blue moon of Kentucky

Blue grass breakdown

Little cabin home on the hill

Bob Wills Ida red

San Antonio Rose

Flatt & Scruggs Foggy mountain breakdown

Don’t let your deal go down

Red Foley New Jolie Blone
Ernest Tubb Walking the floor over you

Blue Christmas

Hank Williams Move it on over

Your cheatin’ heart

Cold cold heart

My son calls another man Daddy

Long gone lonesome blues

I just don’t like this kind of living

Dear John

Lovesick blues

Honky tonkin’

You’re gonna change (or I’m gonna leave)

Lost highway

Why don’t you love me (like you used to do)

I’m so lonesome I could cry

A mansion on the hill

I heard that lonesome whistle blow

Honky Tonk Blues

You win again

Jambalaya (on the bayou)

Take these chains from my heart

I’ll never get out of this world alive

Lefty Frizell Long black veil

If you’ve got the money I’ve got the time

Kitty wells It wasn’t God who made Honky Tonk Angels
Hank Thompson The wild side of life

Everything you ever wanted to know about Rock Music!

If you would like to purchase this book in either digital or paperback it is available on Amazon.

In the UK:

 

In the USA :

Opher Goodwin

The greatest Sixties Mod Bands of the Sixties!!

Along with the Merseybeat and R&B bands that sparked up in the sixties there were a lot of Mod Bands that were delivering their own distinctive brand of mainly self-penned tunes.

Mods liked fashion – smart appearance – girls with short hair, plastic macs, plastic minis, contrasting colours, black and white. They liked R&B and Ska.

Leading the way were the Who (formerly the Detours doing a brand of R&B). They took on a distinctive Mod fashion (Union Jack, roundels, Italian suits, parkas, layered hair, lambrettas etc) and developed their new vocabulary (faces, numbers, purple hearts). With numbers like I Can’t Explain, My Generation and Anyway, Anyhow Anywhere. They blew everyone away.

Up with them were the Smallfaces with What’ya Gonna Do About it? and Sha-la-la-la-lee.

It included the Kinks with their red hunting frock coats and frills with numbers like You Really Got Me and All Day and All Of the Night.

Then there were the Birds, Paramounts, Sorrows, Action, Creation and Poets.

As the Mod movement got going bands like the Stones, Yardbirds, Pretty Things and Animals took on more of a Mod appearance and moved away from the Blues.

Mod became the prevailing sound in the mid-sixties! Though in the States it really did not seem to develop as a style.

The Greatest West Coast Acid Rock Bands in the World (or rather my favourites)

On the West Coast of America lysergic acid had a dramatic effect on bands and music from LA and San Francisco in the mid to late sixties. The counterculture was in full swing and a whole slew of music sprang up that reflected the values and catered for the preferences of these counterculture communities.

They were actually influenced by earlier bands such as the Loving Spoonful and Byrds and also by Bob Dylan.

Some of the bands came in from the Folk Scene – such as Jefferson Airplane and Country Joe and the Fish and some came in from the Blues side – such as Captain Beefheart and the Magic Band, the Grateful Dead and the Doors. Then we had Frank Zappa and the Mothers of Invention who were a more experimental mixture of Doo-wop and social satire with dollops of weirdness.

The LA scene tended to be different to the San Francisco scene but the two cross-pollinated.

Here’s some of my favourites:

Captain Beefheart and the Magic Band

Country Joe and the Fish

The Doors

Buffalo Springfield

Love

The Mother’s of Invention

Big Brother and the Holding Company

Jefferson Airplane

Quicksilver Messenger Service

Byrds

Grateful Dead

Blue Cheer

Crosby Stills Nash and Young

Seeds

Electric Prunes

Younger Generation

When we were young we were so blasé about taking risks. We thought that living safe humdrum lives was the ultimate of boredom. We wanted excitement, adventure and risk.

That’s not so easy when it comes to allowing your children the freedom to experiment. We have seen the risks, seen friends die, seen the outcomes. The dangers are now clear.

But how do we find a good balance? Kids have to have freedom to grow yet we want to keep them safe.

This song focusses it for me.

“Younger Generation”

Why must every generation think their folks are square?
And no matter where their heads are they know Mom’s ain’t there
Cause I swore when I was small that I’d remember when
I knew what’s wrong with them that I was smaller than

Determined to remember all the cardinal rules
Like sun showers are legal grounds for cutting school
I know I have forgotten maybe one or two
And I hope that I recall them all before the baby’s due
And I know he’ll have a question or two

Like “Hey pop can I go ride my Zoom?
It goes two hundred miles per hour suspended on balloons
And can I put a droplet of this new stuff on my tongue
And imagine frothing dragons while you sit and wreck your lungs?”
And I must be permissive, understanding of the younger generation

And then I’ll know that all I’ve learned my kid assumes
And all my deepest worries must be his cartoons
And still I’ll try to tell him all the things I’ve done
Relating to what he can do when he becomes a man
And still he’ll stick his fingers in the fan

And “Hey pop, my girlfriend’s only 3
She’s got her own videophone and she’s a taking LSD
And now that we’re best friends she wants to give a bit to me
And what’s the matter Daddy, how come you’re turning green
Can it be that you can’t live up to your dreams?”

The Best Rock Music Bands and artists in the World! (Or at least my favourites!)

Rock Music has been an incredibly important part of my life. I love live music, I love playing Rock Music and I have shelves of vinyl, CDs and DVDs – because I am a collector.

I use the term Rock Music very loosely indeed.

I like being surrounded with my music. I’ve seen most of the best bands live and loved every moment of the pure excitement. These are my favourite bands and artists (in no particular order):

Beatles

Stones

Peter Green’s Fleetwood Mac

Captain Beefheart

Jimi Hendrix

Cream

Roy Harper

Downliner’s Sect

Pink Floyd

Doors

Byrds

Birds

Traffic

Free

Fall

Fugs

Bob Dylan

Phil Ochs

Nick Harper

Jefferson Airplane

Frank Zappa and the Mothers of Invention

Love

White Strypes

Eels

Ian Dury

Doctors of Madness

Elvis Costello

Squeeze

Wreckless Eric

Clash

North Mississippi Allstars

Sex Pistols

Stiff Little Fingers

Stranglers

Neil Young

Eddie Cochran

Elvis Presley

Little Richard

Booker T & the MGs

Otis Redding

Aretha Franklin

Joni Mitchell

Buddy Holly

Bo Diddly

Chuck Berry

David Gray

John Mayall

Incredible String Band

Led Zeppelin

Buffy St Marie

Ritchie Havens

Richard and Mimi Farina

Don and Dewey

James Brown

Ray Charles

Screaming Jay Hawkins

Jerry Lee Lewis

Everly Brothers

Fats Domino

Huey Piano Smith

Coasters

Arthur Brown

Fairport Convention

Leonard Cohen

Country Joe and the Fish

James Varda

Gang of Four

Bruce Springsteen

The Last Poets

Gil Scott Heron

Linton Kwesi Johnson

Lee Scratch Perry

Crosby Stills Nash and Young

Crystals

Ronettes

Michael Smith

PJ Harvey

Bob Marley

Dead Kennedys

Cramps

Tom Robinson Band

Ramones

Talking Heads

Blondie

Velvet Underground

Jackson C Frank

Nick Drake

Jeff Beck

Specials

The Beat

Who

Billy Bragg

Them

Animals

Yardbirds

Kinks

Patti Smith

Hank Williams

Donovan

Nice

Hawkwind

John Renbourn

Bert Jansch

Pentangle

Family

George Harrison

John Lennon

Loudhailer Electric Company

Fela Kuti

Pretty Things

Jackson Brown

George Thorogood

John Cooper Clarke

Contours

Drifters

Nick Cave

Blondie

Janis Joplin – Big Brother & the Holding Company

Grateful Dead

Dire Straits

Police

I’ve missed out the Blues! There are lots of others that I like too and I bet there’s a few major likes that I’ve overlooked. Who is it that I’ve seriously missed out?

PS – I’m not keen on Queen, Rod Stewart, Beach Boys or Elton John!

Richard Brautigan – Unsung Hero of the Beat Generation

Richard Brautigan was a giant among Beat writers. His delicate prose, full of strange ethereal humour and a delicate child-like touch was completely unique.

In the 50s he released poetry and did stand up poetry reading in San Francisco. Then when the 60s came around he extended his work into novels and worked with the Diggers.

But Richard was an unpredictable loner. He was never completely part of either scene.

He is most remembered for Trout Fishing in America but In Watermelon Sugar haunts me most.

He committed suicide in 1984.

A writer who deserves to be remembered and read.

It Can’t Happen Here – Frank Zappa and the Mothers of Invention

Well obviously it is happening here!

This wasn’t exactly the classic two and a half minute track! For 1966 this was extremely weird.

They are freaking out in Washington DC.

“It Can’t Happen Here”

It can’t happen here
It can’t happen here
I’m telling you, my dear
That it can’t happen here
Because I been checkin’ it out, baby
I checked it out a couple a times

But I’m telling you
It can’t happen here
Oh darling, it’s important that you believe me
(Bop bop bop bop)
That it can’t happen here

Who could imagine that they would freak out somewhere
in Kansas . . .
(Kansas . . . Kansas . . . Kansas . . . Kansas . . . )
(Kansas, Kansas, do-do-dun to-to
Kansas, Kansas, la la la)
(Kansas, Kansas, do-do-dun to-to
Kansas, Kansas)
Who could imagine that they would freak out in Minnesota . . .
(Mi-mi-mi-mi-mi-mi-mi-mi-mi-mi-mi-mi-mi
Mi-mi-mi-mi-mi-mi-mi-mi-mi-mi-mi-mi . . . )
(Mama Minnesota, Mama Minnesota, Mama Minnesota,
Ma-ma-ma-ma-ma-ma-ma-ma Mama Minnesota,
Mama Minnesota, Mama Minnesota,
Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma Mama Minnesota)
Who could imagine . . .

Who could imagine
That they would freak out in Washington, D.C.
(AC/DC bop-bop-bop)
(AC/DC do-do-do-dun, AC/DC
Ma-ma-ma-ma-ma-ma-ma, AC/DC)
But it can’t happen here
Oh baby, it can’t happen here
(AC/DC bop-bop-bop)
Oh baby, it can’t happen here
(AC/DC bop-bop-bop)
It can’t happen here
Everybody’s safe and it can’t happen here
(AC/DC bop-bop-bop)
No freaks for us
(AC/DC bop-bop-bop)
It can’t happen here
(AC/DC bop-bop-bop)
Everybody’s clean and it can’t happen here
No, no, it won’t happen here
(No, no, it won’t happen here)
(AC/DC bop-bop-bop)
I’m telling you it can’t
(AC/DC bop-bop-bop)
It won’t happen here
Bop-bop-ditty-bop
(I’m not worried at all, I’m not worried at all)
Ditty-bop-bop-bop
Plastic folks, you know
It won’t happen here
You’re safe, mama
(No no no)
You’re safe, baby
(No no no)
You just cook a tv dinner
(No no no)
And you make it
Bop bop bop
(No no no)
Oh, we’re gonna get a tv dinner and cook it up
(No no no no no no no!)
Oh, get a tv dinner and cook it up
Cook it up
Oh, and it won’t happen here
Who could imagine
That they would freak out in the suburbs!
(No no no no no no no no no no
Man you guys are really safe
Everything’s cool)

I remember (tu-tu)
I remember (tu-tu)
I remember (tu-tu)
They had a swimming pool
I remember (tu-tu)
I remember (tu-tu)
They had a swimming pool
I remember (tu-tu)
I remember (tu-tu)
They had a swimming pool

And they thought it couldn’t happen here
(duh duh duh)
They knew it couldn’t happen here
They were so sure it couldn’t happen here
But . . .

Suzy . . .
Yes yes, oh yes-I’ve always felt that
Yes, I agree man, it really makes it . . . yeah . . .
It’s a real THING, man, it really makes it

[FZ:] Suzy, you just got to town, and we’ve been . . . we’ve been very interested in your development
[Suzy:] Forget it!

Hmmmmmmmmm
(It can’t happen here)

My first Captain Beefheart concert in 1968

My first Captain Beefheart concert in 1968

 

I was introduced to Captain Beefheart and the West Coast Acid Rock sound by a very long-haired friend of mine called Mike. His aim in life was to grow his hair as long as he could. To that end he lived in fear of split-ends so he refused to either comb or brush his hair. He would run his fingers through it.

Mike was also fond of LSD. He would take a tab and go up to London to Middle Earth or the UFO to catch Pink Floyd or any of the West Coast Bands. He would tell me about coming out of an all-nighter into the daylight while still tripping and seeing the mounted police morphing into centaurs.

Mike’s favourite bands were Country Joe and the Fish, the Doors, Quicksilver Messenger Service, Jefferson Airplane and Captain Beefheart and the Magic Band. He would play them to me incessantly and I loved them too.

At the time I was taking my A Levels. I had a place at university sorted. All I had to do was achieve the grades. Mike was a year older and was already away at college in York doing a history degree.

Captain Beefheart and the Magic Band came across for their first tour. I already had that first album ‘Safe as Milk’ which I thought contained some of the best music I had heard. I knew I had to see them. They were appearing a week prior to my crucial Biology exam. That was fine. I knew that I wouldn’t get back from the concert to two or three in the morning but that was alright. I had a whole week to recover and do a spot of revision. I wasn’t very good at revision. I tended to leave it to the night before.

Eagerly I went up to London to see them only to discover the concert was postponed. Rockette Morton was ill. They put the Aynsley Dunbar Retaliation on in their place. Now I liked Aynsley but he was by no means my favourite Blues band. I was extremely disappointed.

During the concert they announced that they were going to do a special double-header the following week. Not only was Captain Beefheart going to play but they were putting on John Mayall as well.

Well that floored me.

John Mayall was a favourite of mine. He had Pete Green on guitar. When that was added to Beefheart it was a package not to be missed.

To be fair I did think it over for a day or two. I knew how important those exams were. If I messed up that was my whole future. My career was out the window.

But then I never messed up Biology. I had done well in every test. There was no need to panic.

You would think that I might have found a compromise and really put in an effort on the revision on the days leading up to the exam. Unfortunately my adolescent brain simply did not function that way.

I went to the concert. Captain Beefheart and the Magic Band completely blew my mind. The album had been good but live they were in a different universe. I had never heard music like it. It was so exciting, complex and dynamic that it had me bouncing and beaming right through. It was so incredibly good that I only have the vaguest memory of John Mayall. They did all the best stuff off that first album – Electricity, Yellow Brick Road, Drop Out Boogie and Abba Zabba. I still think of it as one of the best concerts I have ever been to.

I did get back at three o clock and my Biology exam started at 9.00 o clock. But I was too excited by what I’d seen. I couldn’t possibly sleep.

Needless to say I missed my university place by one grade. That could conceivably have been one single mark. I ended up going to a polytechnic and not becoming a doctor.

I worked out at some point that the Beefheart concert cost me between one and three million pounds.

But it was worth every penny. You can’t buy memories.

Rockin’ the Curriculum

Rockin’ the Curriculum

In the late 70s my Rock Club at school went from strength to strength. I wish I could say the same for our family finances. We were floundering.
Then I had this brilliant idea.
I would run a History of Rock music course as an evening class. I approached the college adult education and they were keen. I set about it. I had lots of vinyl albums, I’d lived through it and I’d seen most of the major acts. Easy. I was used to talking about it all with my students. I knew my stuff. What could be better than playing the music you loved and talking about it and getting paid for doing it?
What could go wrong?
I could make some money to help tide us over and I would enjoy myself at the same time. It was a win win.
I produced some flyers, spread the word and set about offering my first class. As far as I could tell nobody had ever run such a course in Britain. I was the pioneer.
I needed twelve good people and true. I attracted ten. The college ummed and aahed and decided to let it run. I was to be paid £15 an hour. That meant I would probably, after tax, clear £18 for the two hours. It wasn’t a huge sum but it would make a bit of difference. We were desperate. It was 1978 and we had three children.
It took a lot more preparation than I had envisaged. I had to organise what we covered in the two hours, select the tracks I was going to play, check and research what I was going to say and produce information sheets. It took hours.
My students were all keen. They had areas of expertise. They expected me to know what I was talking about. I was being paid.
That’s where the reality hit home.
My record collection reflected my tastes, which were pretty wide, but there were holes that needed plugging. The weekends were spent trawling around the second-hand record shops and buying up material to plug the gaps. That was fun too. I started to meet a number of interesting people, some of whom I’m friends with until this day.
However, it was not doing anything for our budget. I was spending more on essential albums than I was bringing in.
My course was running well though. It was the only course in the college to actually increase in numbers. By the time I finished it had gone up to sixteen.
My record club at school was also flourishing. I started taking students along to concerts as far afield as Leeds and Sheffield as part of our unofficial extra-curricular activities.
Later, as a Deputy Head, I managed to convince the Head that Rock Music needed to be on the curriculum. I devised a course for the Sixth Form which was ostensibly Skill Development. I delivered a couple of lessons on a Rock genre or musician and they had to analyse my presentation in terms of verbal skills, body language and materials used. Then they formed in small groups and produced presentations on their choices and we analysed their performances and gave pointers on how to improve. They took it very seriously. I remember one group dressed up in Disco gear and produced a dance routine as part of their presentation. It was a hoot. The confidence the students gained was brilliant. It went through the roof and we all had a good time. The students skills are giving presentations also improved which went straight into interview skills. Every school should do it.
Nick Harper was a great favourite with the kids. Not only did I organise trips to see him play but he came into school quite regularly and did a performance for them. He went up into the Sixth Form room and sat around, playing, talking and showing them how it was done. He came into my PSHE lessons and talked to them about song-writing, life on the road and guitar playing. He gave performances in the main hall. Nick was a star in every sense of the word.
I often think about reviving those courses. I did three of them. They lasted two years each. But it was quite a commitment.
I do not think I have the time now that I’ve retired.
But I’m still rockin’ even if the curriculum isn’t.