ABC’s American Bandstand

ABC’s American Bandstand

August 5, 1957

First ABC broadcast of "American Bandstand"

ABC's American Bandstand

First Bandstand

          In March 1950 WFIL-TV in Philadelphia broadcast Bandstand. Bob Horn, also a radio DJ,  hosted the show. It was not a dance show. It featured short musical films and only occasionally had guests. Think black and white MTV. 


          It was a time when television, the new media kid on the block, selected a successful radio show and literally visualized it.


           By the way, I've placed the more familiar music theme, "Bandstand Boogie," by  Larry Elgart over this blog, but the first theme song for the original Bandstand was Artie Shaw's  "High Society." 

Dancing Bandstand

          The Bandstand show that Boomers remember today, with teenagers dancing to hit records, came into being on  October 7, 1952. Bob Horn continued as host with Lee Stewart. Stewart left as co-host in 1955.  The short music films continued to be part of the show. 

DWI

          In July, 1956, WFIL and The Philadelphia Inquirer  were doing a series on drunk driving.  In July, 1956, police arrested Horn for drunk-driving. 

          On July 9, 1956, Dick Clark took over as the host 

ABC’s American Bandstand

          Broadcast companies are always searching for the next hit.  A year after he became host of Bandstand, Dick Clark pitched his show to ABC. The network did not say "Yes" immediately, but eventually did. I'm sure they were happy they did.

August 5, 1957

          On this date, ABC did the first national broadcast. Since it was now a nationally televised show, the name changed to American Bandstand. Duh!

          The  more popular Mickey Mouse Club interrupted the for half an hour in the middle. The first guest was the Chordettes and the first record danced to on the show was Buddy Holly's "That'll Be the Day."

           The show  moved to Los Angeles in 1964. It had already switched from a daily to a weekly Saturday show in which it continued as until 1987.

 

 

Beatles Release Revolver

Beatles Release Revolver

UK, August 5, 1966

US, August 8, 1966

Beatles Release Revolver

1965

           When we think of the powerful music of the 1960s, a certain musicians and albums come to mind.  Albums in particular, but it wasn't until the mid-60s that performers released those albums. 

           1965 is the turning point.

           Bob Dylan released "Bringing It All Back Home" on  March 22 that year. He'd recorded it over three days, January 13 - 15, 1965. Exclamation point.

           The Beatles recorded Rubber Soul, the album that changed the way many bands envisioned making music and created albums, from October 12 to November 15, 1965. They released the album December 3, 1965 from October 12 to November 15.

Beatles Release Revolver

           From 6 April 6 – June 21, 966, the Beatles were back in the studio to record again. As you hear above, Paul thinks of this album as Rubber Soul part 2. 

           I think it is, but then again not so much.

           It's a matured Rubber Soul if that's true. The newness of Rubber Soul  isn't new now. We know that the Beatles are still helping us explore places we didn't know existed.

           And using typical Beatle humor, why Revolver? What does a record do? Yup. That simple.

UK v US

           The Brit kids heard Revolver two days before we Yanks, but they also heard the album that the Beatles created, not the album that Capital Records made out out that album.

           Most now know that the British released Beatle albums had 14 songs, unlike the typical 12 that Americans got. (That difference would change in 1967 with Sgt Pepper.)

           Americans didn't get I'm Only Sleeping", "And Your Bird Can Sing," and "Doctor Robert" on their album, but they'd actually already gotten those three on Yesterday and Today.

Cover

           Klaus Voorman, an old Beatle friend, did the cover. illustrations. Voorman was a name that Beatle fans regularly saw over the Beatle years including occasionally playing bass. 
         

           Clever Voormann put his  own photograph and name (Klaus O.W. Voormann) into Harrison's hair on the right-hand side of the cover. Click on the pic to enlarge and view better.

            Robert Whitaker took the photos that are incorporated into Voorman's drawings. He also took the back cover photograph as well as the infamous and belatedly cancelled butcher cover for Yesterday and Today.  

Voorman RevolverDetail

Track by track

Think about what you heard on each of Revolver's songs:

 

Side one

  • George Harrison’s “Taxman.” Few if any of us were in the same financial position as George and his mates were as far as taxation, but if George complained about the government then we were on board with that, too.
  • “Eleanor Rigby.” What were we listening to? If we’d read an English literature by now (and many of us had) we thought perhaps the Beatles had ripped off a Bronte sister. “Wearing a face that she keeps in a jar by the door.”
  • “I’m Only Sleeping.” Not as simple as the title.  And that backward guitar. More going on here than meets sleep. “Stay in bed, float upstream.”
  • George Harrison’s “Love to You” with its sitar dominating the instrumentation. We now knew that sitar was not a misspelling of guitar. “Make love all day long.”
  • Paul’s “Here There and Everywhere.” A slow song supreme. “Knowing that love is to share.”
  • Ringo’s “Yellow Submarine.” What fun! “So we sailed up to the sun
    Till we found the sea of green.”
    Uncredited, Patti Boyd, Donovan, Marianne Faithful, and Brian Jones help with background vocals.
  • John’s “She Said She Said.” “I know what it’s like to be dead.”

Side two

  • “Good Day Sunshine.” “Then we’d lie beneath the shady tree
    I love her and she’s loving me.” 
    You hear it now and still sing along at the fading end repeating the title with Paul.
  • “And Your Bird Can Sing.” American fans likely didn’t realize bird meant girl. “You tell me that you’ve heard every sound there is
    And your bird can swing, But you can’t hear me, you can’t hear me.”
  • “For No One.” Back to lost love. “You stay home, she goes out.”
  • “Dr Robert.” Amphetamines, but I’m not sure we knew that. “He helps you to understand.”
  • George’s “I Want To Tell You.” Is that piano out of tune? Cool. “But if I seem to act unkind, it’s only me it’s not my mind
  • “Got to Get You Into My Life.”
  • In 1967 we’d have “A Day in the Life.” At the end of Revolver we have “Tomorrow Never Knows.” What is going on? Have I ever heard anything like this? Tibetan Book of the Dead we heard. George brought India to our ears. John put Tibet in our heads.

The best?

           Rob Sheffield, writing in The Rolling Stone Album Guide (2004), said that the album found the Beatles "at the peak of their powers, competing with one another because nobody else could touch them", and concluded that, "these days, Revolver has earned its reputation as the best album the Beatles ever made, which means the best album by anybody." [Brackett, Nathan; with Hoard, Christian (eds) (2004). The New Rolling Stone Album Guide (4th edn). New York, NY: Fireside/Simon & Schuster.]

The future was close…

The Beatles started recording Sgt Pepper's on Nov 24,  1966. 

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