History of the “Sounds” of Music Part #1964

The 1960s..."The Road to Woodstock" Evolution of the Sounds of Music

Classic Rock Turntables.com

By William W. Nelson

Founder of the Asheville School of Classic Rock

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1964

Introduction

The post-World War II "Baby Boom" created a demographic phenomenon that would profoundly impact the Social and Cultural Landscape of the 1960s. This unprecedented Population surge resulted in a vast cohort of Young People coming of age simultaneously... this created a critical Mass of potential Participants in a sweeping reassessment of Societal Norms, Values, and the Methods of Communication by American and British Teens.

Note: I was born in 1944 and Freedom started for me when I turned 16... bought my first Car and became Mobile not having to walk long distances, hitch a ride, or take the Bus. I grew up reading Playboy, and Mad Magazine... read the "Beat Generation," "Silent Spring," and the "Feminine Mystique"... saw the "Wild One," Rebel Without a Cause," and kept current by watching "Walter" every Sunday night.

Several factors contributed to the rise of this counterculture generation:

The sheer number of Young people born between 1946 and 1964 (Boomers - 76 million) created a Youth-dominated Dulture with significant Social and Economic influence... it was the result of a strong Postwar Economic Posterity and Stability, in which Americans felt confident they would be able to support a larger number of Children.

This Economic Security allowed many Young People to move beyond the focus on basic material Needs that had preoccupied their Parents' Generation. Instead, they could turn their attention to higher-order concerns such as Self-actualization, Social justice, and Cultural Experimentation. This led to increased access to Higher Education exposing many young people to new Ideas and Perspectives, and fostering Critical Thinking about Societal Structures and Norms. Couple all of this with the rise of Television and other Mass Media facilitated the rapid spread of new ideas and cultural trends.

Growing up in the Cold War era, with its looming threat of nuclear conflict, many young people developed a keen awareness of global issues and a desire for peace. This combination of factors created a Generation that was not only numerous but also primed to Question and Challenge the status quo. They were uniquely positioned to rethink the direction of American and other Democratic Societies, leading to widespread Social and Cultural changes that would define the 1960s and beyond.

The Counterculture movement that emerged from this context was characterized by a "Rejection of traditional Values," experimentation with new Lifestyles, and a strong emphasis on Personal Freedom and Social Change.... that would have lasting impacts on Politics, Culture, and Social norms in the United States, Great Britain, and other Western Democracies.

Rock n Roll

I grew up on a very Rural Farm 40 miles West of the University of Wisconsin in Madison where the Students were equal in numbers to the OLD Farts who made it through WWII... we did not have a Radio but my Grandfather (Mike) had a Skip Radio that got WLS in Chicago. When I was 10, I got deported to Madison to live with my Father who was an Educator at U of W and lived in a Suburb called Monona Grove... its Schools were associated with the University and they sent their Top Education Wannabees as Student Teachers.

I arrived the morning of 4 July 1954 when I felt my first "Rush" of the Rock n Roll Music being played at 10 am on the Beach across the Street... I strolled over and was offered a Beer by one of the Students who was a Friend of my 2 Step Brothers who had a Band that played for Frat Houses. All of a sudden, I heard "Rock Around the Clock" and became hooked forever... Music became my LIFE! I was allowed backstage in 1958 by my Uncle Billy who was in charge of Events at the Orpheum (PIX) Theatre that had a Rock Concert that held 2,000 with another Mass listening to the outdoor speakers on State Street... there were no other Sounds that could supplant my choice of Music in my delicate Ears.

Well, on February 9, 1964, I got that feeling again when the Beatles played on Ed Sullivan... I had snagged a Job at my Auntie Mary Jane (no pun intended) cleaning up at her Music Shop just off campus. I had gotten Bootleg copies of "Please, Please" but to see them knock the House down at the TKE Frat Party that night. I was very disappointed that Rock Music was in a LULL from Crazes that Dick Clark and others had thrown at us... Dances Songs

So Beatlemania hits the US as the UK group scores 6 number one US hits in 1964. Television is influential with new Primetime Music Shows, and The Beatle's first Ed Sullivan appearance breaking TV ratings records. "Top of the Pops" debuts on UK TV and "Shindig" debuts on ABC in the US. Detroit's Motown Records continues producing hits with The Temptations, Mary Wells, Martha and The Vandellas, The Four Tops, and The Supremes, who have three back-to-back #1 hits. The British Invasion began as more UK Rock Acts followed The Beatles to US Chart success... especially the "Rolling Stones" (my Fav)

Let us cover the evolution of the Beatles and the Stones before we cover the full year... Rock On!

The Beatles in America - 1964

PAUL AND GEORGE 1964 (just before their first Ed Sullivan Show appearance)

Q: "Paul, what do you think of your upcoming trip to the States? I understand in about a week you're going to be on The Ed Sullivan Show."

PAUL: "Yeah, that's right. We're going to do the show in New York and we're taping one for later release. Then we go down to Miami, I can't wait! And we do another Sullivan show there. Before that, we do Carnegie Hall, don't we?"

Q: "How were you selected for Ed Sullivan? Was he in England and caught your act or something?"

GEORGE: "We were arriving from Stockholm at London Airport and at the same time the Prime Minister and the Queen Mother were also flying out, but the airport was overrun with teenagers. Thousands of them waiting for us to get back. Ed Sullivan arrived at that time and wondered what was going on."

Let's Follow Their Early Timeline in America...

January 20, 1964 - "Meet the Beatles!" marked the group’s first American album to be released through Capitol Records in both mono and stereo formats. The LP charted at No. 1 for 11 total weeks on the Billboard 200, and spent a cumulative 74 weeks on the tally.

February 1 - Beatlemania hits the U.S. and “I Want to Hold Your Hand” becomes a success and tops the Billboard singles chart on Feb. 1. The Band leaves Britain with about 4,000 Fans bidding them farewell at London’s Heathrow airport, and arrives to the screams of 3,000 devotees at New York’s JFK. The “British Invasion” is officially in full swing.

February 9 - Epstein, ever the shrewd manager, made a deal for The Beatles to appear on three consecutive episodes of The Ed Sullivan Show. Following Sullivan’s intro, the first episode begins with the band performing “All My Loving,” “Till There Was You” (which includes a “Sorry girls, he’s married” caption superimposed over John Lennon) and “She Loves You.” The group returns to play “I Saw Her Standing There” and “I Want to Hold Your Hand.” The episode is seen by 73 million viewers, over a third of the American population.

The following week, they Tape an episode in Miami Beach, where they also meet Muhammad Ali, and barely make it through a thick crowd surrounding the stage to play “This Boy,” “All My Loving,” “I Saw Her Standing There,” “From Me to You” and “I Want to Hold Your Hand.” Their final appearance was previously taped before the Feb. 9 show, and featured “Twist and Shout,” “Please Please Me” and “I Want to Hold Your Hand.”

Aoril 4 - On the Hot 100, the Beatles made history by becoming the only act to monopolize the Chart’s top 5 positions. “Can’t Buy Me Love” blasts to the top, followed by “Twist and Shout” at No. 2, “She Loves You” at No. 3, “I Want to Hold Your Hand” at No. 4 and “Please Please Me” at No. 5. The Beatles eventually score 20 No. 1 singles throughout their career and still hold the record for most No. 1s in the Hot 100’s history.

July 6 - With Beatlemania in full swing, the Group took advantage and released their first feature Movie, a Musical Comedy titled "A Hard Day’s Night". The film, written by Allum Owen, follows McCartney, Lennon, Harrison and Starr and they prepare for a television performance. The movie debuts to critical acclaim.

August 28 - Rock n’ Roll history was made on after The Beatles’ Show at Forest Hills Tennis Stadium in NYC. Following the Concert, they met Bob Dylan and their mutual journalist friend, Al Aronowitz, at The Delmonico Hotel for the first time. The pair, in turn, introduce them to Mary Jane.

December 4 - The Beatle's 4th Album, "Beatles for Sale" released just 21 weeks after A Hard Day’s Night and marks the quartet’s 4th album release in less than 2 years, but the hustle was worth it — the LP spawns yet another No. 1 with “Eight Days a Week.”

Their first North American Tour in the Summer of 1964 included 32 shows in 24 Cities over 33 days. The Tour was financially successful, earning the band approximately $1 million (equivalent to about $7.5 million today). The Tour was marked by massive Fan hysteria, elaborate Security Measures, and unprecedented Media Coverage.

The Beatles' arrival in America marked a significant cultural shift. Their success demonstrated that British bands could achieve massive popularity in the U.S., paving the way for other British Acts like The Rolling Stones and The Who. Their influence extended beyond music, affecting fashion, attitudes, and the music industry itself.

The Beatles' performances and success motivated many American artists to form their own bands and pursue music careers. Their influence extended to folk artists like Bob Dylan and The Byrds, who were inspired to embrace electric music... The "British Invasion" was holding America's Music Scene Hostage!

Note: This all would happen again in 1983 with the 2nd British Invasion...

Not to mention the impact of the Rolling Stones, indeed...

The Rolling Stones in America - 1964

March thru May... On their way

The Rolling Stones' 3rd single, "Not Fade Away", was released March 6 in the U.S.

In early March, Ron Wood is in the audience for a Yardbirds performance at the Crawdaddy Club and fills in for Keith Relf, who is sick. He meets his future wife Krissy Findlay, who was dating Eric Clapton. The Rolling Stones perform at 14 venues across England, with appearances in Chatham, Tunbridge Wells, East Grinstead and Ramsgate in the south, Ryde on the Isle of Wight, and Kidderminster and Bletchley in the center. They also perform again in Birmingham and the Southern Cities Salisbury, Southampton, Windsor, London, Guildford and Reading. After their concert in Chatham, the Group talks with then-session Guitarist Jimmy Page backstage.

They would Tour Scotland, Central England, and were on BBC numerous times... on May 29, they release their first U.S. Album, "The Rolling Stones - England's Newest Hit Makers."

June

They landed at Kennedy Airport on June 1 greeted by about 500 screaming fans... held a "Press Conference" at the airport with approximately 100 Journalists in attendance...The Stones’ first television appearance stateside was a June 2nd interview on The Les Crane Show. Crane joked about Brian Jones’ “Prince Valiant” hairdo, and pressed the comparison between them and The Beatles by continuingly referring to the Stones’ as “that other British Group.” After two days of New York Press, the Band flew to Los Angeles for their notorious American TV debut performance on Dean Martin’s "Hollywood Palace Show."

On the 4th they visited the RCA Recording Studios in Los Angeles... on the 5th, their first "Concert" took place in San Bernardino's Swing Auditorium at the National Orange Show... Keith said of their first American Gig, "It was a straight gas, man. They all knew the Songs and they were all Hopping. It was like being back home. Ah, love these Americans and Route 66 mentioned San Bernardino, so everybody was into it."

From the 5th to the 7th, they had Concerts at San Bernardino, California, and San Antonio, Texas where the Stones met Saxophonist Bobby Keys.

Keith commented, "The reason I remember San Antone so much is waking up and this is, I mean, a young English cat never been face to face with the realities of American life... I put on the TV the first morning: 15 killed last night in a brawl down on the river Brazos or whatever it is. I thought, God, they're riotin' down here, what's going on? Is it a race riot, old chap? Did you hear that?... Turn on the TV next morning, 18 people killed last night and it slowly began to sink in, right, every night around 15 or 20 people get it done to them in San Antone, either Mexicans or spades or kids that go out... I mean, that's amazing. Why doesn't someone do something about that? That's what I used to think then. You know, that doesn't happen in my home town. It happens, one could find it, you could find it in any town, you could find it in my town, sure. But it wasn't that 18 PEOPLE were dead the next morning, you know, and one could certainly get one's self chipped about quite easily."

On the 10th to 11th, The Rolling Stones record in the U.S. for the first time, at the famed Chess Studios in Chicago. They record their next single "It's All Over Now", as well as material for their next Album and Songs "Down the Road Apiece," "Time Is on My Side," and "Look What You've Done. "They also met Muddy Waters, Chuck Berry, Willie Dixon, and Buddy Guy.

Their Interview at Chess:

Keith: Before we went to America it was very difficult to record in England. Nobody could record or had recorded the sound we were trying to get. People weren't used to that kind of roughness. Everyone in England at the time was incapable: engineers, equipment, producers and, to a certain extent, musicians. No one could get a really good funky American sound which is what WE were after. The best move we could possibly do was get to America as quickly as possible and record there.

Bill: The methods of recording in England and America were completely different. The only people you could use over here were Bill Fowley at Regent Sound and Glyn Johns, if you could get hold of him. The big trouble with recording in England was that for a rock group the studio acoustics were so bad because you couldn't play loud. When we recorded at the Chess Studios in Chicago, we had Ron (Malo), the guy who engineered all the Chuck Berry, Bo Diddley and Howlin' Wolf records. He knew exactly what we wanted and he got it almost instantly.

Mick: Murray the K gave us It's All Over Now, which was great because we used to think he was a cunt but he turned us on to something good. It was a great record by the Valentinos but it wasn't a hit.

Bill: (At Chess Studios in Chicago), Willie Dixon walked in to see us and talked about the scene. So did Buddy Guy. We felt were were like taking part in a little bit of history - after all, those studios were used by Muddy Waters as well as Chuck Berry and Bo Diddley. We knew pretty well what numbers we wanted to get in the can... like It's All Over Now... and the atmosphere was so marvelous that we got through them in double quick time. Then, on the next day, both Chuck and Muddy came in to see us. Fantastic.

Keith: I have several memories of Muddy Waters. The weirdest one is when we first went into Chess Studios in '64, the first time we came here... There's Phil Chess and there's Ron Malo, the engineer, and this guy in white overalls painting the ceiling. As we walked by into the studio, somebody said, Oh, by the way, this is Muddy Waters, and he's painting the ceiling. He wasn't selling records at the time, and this is the way he got treated... I'm dying, right? I get to meet The Man - he's my fucking god, right - and he's painting the ceiling! And I'm gonna work in his studios. Ouch! Oh, this is the record business, right?... And bless him.

From the 12th to the 20th, complete their first U.S. tour with concerts in Minneapolis, Omaha, Detroit, Pittsburgh, Harrisburg, and New York City at Carnegie Hall.

Keith Richards on Omaha and Carnegie Hall:

"We really felt like a sore pimple in Omaha. On top of that, the first time we arrived there, the only people to meet us off the plane were 12 motorcycle cops who insisted on doing this motorcade thing right through town. And nobody in Omaha had ever heard of us. We thought, Wow, we've made it. We must be heavy. And we get to the auditorium and there's 600 people there in a 15 000-seat hall. But we had a good time. That's what stopped us from turning into popstars then... Then we really had to work America and it really got the band together... Some towns you went into on that first tour they'd look at you with a look that could kill. You could just tell they wanted to beat the shit out of you."

"(Carnegie Hall) was just screaming with Kids. We'd almost forgotten what it was like, 'cause we were used to that every night, every time we played (in England), and suddenly (on our first American tour) we were brought down, bang, everybody saying, What a fuckup, we've blown it. America was still very much into Frankie Avalon. There wasn't any thought of long-haired kids, we were just entertainment-business freaks, with long hair, just like a circus show. And we get to New York and suddenly we realize that maybe we... that it's just starting."

The Stones return to England and from then until October 23, they Tour Ireland, Belgium, and France... they arrive in New York City for their 2nd American Tour and hold a Press Conference at Kennedy Airport with thousands mobbing around.

On the 24th, they appear on U.S. TV's Clay Cole Show and perform at New York City's Academy of Music and on the 25th make their first appearance The Ed Sullivan Show.

From the 26th to November 1, they tour California, performing again in San Bernardino, Sacramento, Santa Monica, Long Beach, and San Diego. Their performance in Santa Monica with other Artists (James Brown, The Beach Boys, The Supremes, Chuck Berry, and Marvin Gaye among others) is filmed for the Movie "The TAMI Awards Show."

On the 2nd, record for the first time at RCA Studios in Hollywood, Los Angeles, for their next Album(s). They record "Pain in My Heart," "Everybody Needs Somebody to Love," "Down Home Girl," and "Heart of Stone" among others.

Keith, "Back in the [old] days, when we were recording in Chicago and Los Angeles, we used to go down to the local record stores, buy up a whole bunch of soul singles, sit down by the record player and learn 'em. Things like Oh Baby (We Got a Good Thing Goin') and Otis Redding stuff and then we'd do 'em as quickly as possible."

Jack Nitzsche on Working with the Stones:

"There was no guidance at all on those early records. And very little need for it. What the fuck, this was the first time a band got together and just played. They changed my whole idea of recording. Before I'd just been doing sessions, 3 hours to get the tunes down. Working with the Stones made sense right away. Booked studio time for 24 hours a day for two weeks and if you didn't get it, fuck it. The great new thing about them was they'd record a song the way they had written it. And if it didn't work nobody thought twice about making it a tango. They tried every way possible."

On November 3-4, in Cleveland, Ohio and Providence, Rhode Island.

On the 8th, they are back in Chess Records in Chicago, recording What a Shame and a second version of "Time Is on My Side" among others.

From the 11th to the 15th, they end their 2nd American Tour with Concerts in Milwaukee, Fort Wayne, Dayton (Ohio), Louisville (Kentucky), and Chicago. Brian Jones misses all concerts except the last, because of bronchitis and exhaustion.

Note: I was there and it was great... but there were only 1,200 (held 7,000) Kids there... bummer

Ian Stewart: The beginning of the end for Brian Jones

"He was certainly ill all right, but he didn't do anything to help himself, he aggravated it by taking too much of something and generally behaved very stupidly. I tell you what, he nearly got hoofed out there and then. He hadn't really contributed anything on those Record dates. He was either stoned or pissed or just sick, and they got fed up with him."

Keith Richards on Ballads in America:

"In America we were basically known for heavy, slowish kind of ballads. Time Is On My Side, Tell Me, Heart of Stone, that was what we were known for. Strangely enough that was our thing. Every single was a slow song. Who would believe it? You'd think they'd be clamoring for out-and-out rock and roll, but no, it was the fuckin' Soul Ballads that happened for us in America."

The Top Songs of 1964

Following their national television debut, The Beatles hit #1 in the US for the first time with the single "I Want To Hold Your Hand". They would follow with "She Loves You" and "Can't Buy Me Love" at #1. By April the Top 5 Singles in the US Charts are all by The Beatles. The Beatles ended the year on top in the US and UK with the Single "I Feel Fine" their sixth #1 US hit and third UK #1 hit of 1964. The Group had a busy year with a world tour, a hit movie (A Hard Day's Night), 2 new UK albums and 4 US albums released.

Bob Dylan released his 3rd Album - "The Times They Are a Changin'" which reached #20 US, and #4 UK. Dylan Toured Europe and wrote the Songs for his 4th Album... "Another Side Of Bob Dylan" was released in August. The Album Charts at #43 US, and #8 UK.

London, England Band The Dave Clark Five knock The Beatles off the #1 spot in the UK charts with their Single "Glad All Over". The Song would hit #6 in the US in April, the first of 5 Top Ten singles for the Group in 1964.

Greenwood, Mississippi native Betty Everett moves from gospel to secular music with her #5 US, #31 UK hit single "The Shoop Shoop Song (It's In His Kiss)". A trio of high school girls from East Chicago, IN called The Opals provide backing vocals.

Amarillo, Texas singer-songwriter Terry Stafford goes to #3 in the US with his sound-alike cover of Elvis Presley's 1962 song "Suspicion". The song was one of many written for Elvis by US songwriters Doc Pomus and Mort Shuman.

Recording since the late 50's, California vocal duo Jan and Dean break into the US Top Ten for the fifth time with the teen tragedy single "Dead Man's Curve". They follow at #3 US in August with "Little Old Lady From Pasadena".

Detroit Vocalist Mary Wells has a #1 US, and #5 UK hit with "My Guy" written and produced by singer-songwriter Smokey Robinson of The Miracles for the Motown label. The song is Wells' 4th US Top Ten hit.

Proving that the girl group sound can still compete with the British Invasion, New Orleans Vocal group The Dixie Cups work with the Songwriting team of Ellie Greenwich and Jeff Berry for a #1 US, and #22 UK hit single "Chapel of Love."

UK Duo Peter and Gordon top the charts in both the US and UK with the song "A World Without Love". The Song was written for them by Beatle Paul McCartney, who was dating Peter Asher's sister Jane.

Dionne Warwick, a former Gospel Singer from East Orange, New Jersey has her 2nd US Top Ten hit with "Walk on By" #6 US, and #9 UK from the American Songwriting team of Burt Bacharach and Hal David.

After 4 Top Ten hits in the US, Hawthorne, California Band The Beach Boys scored their first #1 in the US with the Single "I Get Around" (#7 UK). The Group would have 2 more US Top Ten hits in 1964 including "When I Grow Up (To Be A Man)."

Baton Rouge's Johnny Rivers goes all the way to #2 with his cover of Chuck Berry's song "Memphis". Rivers would be booked for a year at the newly opened Whiskey-a-Go Go on the Sunset Strip in West Hollywood, California.

After three UK #1 hits the Liverpool, UK Band Gerry and The Pacemakers break through in the US with the Ballad "Don't Let The Sun Catch You Crying" which charts at #4 US (#6 UK). They hit the US/UK Top Ten again with "Ferry Cross The Mersey."

Young Brazilian Singer Astrud Gilberto teams with American Sax Jazz Veteran Stan Getz on the Bossa Nova Jazz Song "The Girl From Ipanema" which hits #5 US and #29 UK.

New Jersey vocal group The Four Seasons have their 4th #1 single in the US charts with the song "Rag Doll" which also reaches #2 in the UK. The Album of the same name hits #7 US and is their 3rd US Top Ten Album.

UK "Blue-eyed Soul" Singer Dusty Springfield breaks into the US Top Ten with her 2nd single "Wishin' and Hopin'" which Charts at #6 US. She had reached #12 US, (#4 UK) the previous year with the Single "I Only Want To Be With You."

The Drifters Lead Singer Rudy Lewis died and was replaced by the Groups 1950's Era Lead Singer Johnny Moore for the recording of "Under The Boardwalk" which hits #4 US on Atlantic Records.

Folk Classic "The House of the Rising Sun" is covered by Newcastle, UK Blues Band The Animals and hits #1 in both the US & UK. The Animals are the first British Invasion act to follow The Beatles to the top of the US charts.

Texas Singer-Songwriter Roy Orbison tops the Charts for the 2nd time in both the US & UK with the single "Oh Pretty Woman". It would be Orbison's 7th and final US Top Ten hit Single.

British Band Manfred Mann scored a #1 hit in both the US and UK with their Cover of "Do Wah Diddy" which had stalled at #78 previously for American group The Exciters. The group went to #5 UK earlier with "5-4-3-2-1" the theme song for TV Show Ready Steady Go.

Canadian Folk Singer-Songwriter Gale Garnett hits #4 US with her composition "We'll Sing In The Sunshine". Though she would only have one other minor hit, Garnett went on to a career in Acting and later became a Novelist.

Queens, NY Duo Simon and Garfunkel released their first album, Wednesday Morning 3 A.M., which fails to chart. Friends since Elementary School, the Duo had previously released a Single "Hey Schoolgirl" with minor success as Tom & Jerry in 1957.

Martha and The Vandellas hit #2 US, (#28 UK) with the Anthem "Dancing In The Street" written by Marvin Gaye and others. It was the 3rd US Top Ten hit for the group on Motown's Gordy label.

"Baby I Need Your Loving" is another Motown Classic from the Holland-Dozier-Holland Songwriting/Production Team and hits #11 US for Detroit group The Four Tops. It was the first single for the group with gravelly voiced lead singer Levi Stubbs.

Queens, New York High School Girl Group The Shangri-Las hit #1 US, (#11 UK _with the Teen Tragedy Single "Leader of the Pack" produced by George "Shadow" Morton. The Group had reached #5 US earlier in the year with "Remember (Walkin' In The Sand)."

North London, UK Band The Kinks use a catchy Riff based on Power Chords to drive their Single "You Really Got Me" to #1 UK, (#7 US). The use of Power Chords would be influential in the development of many later Rock Genres.

"As Tears Go By" by UK Singer Marianne Faithfull reaches #9 UK, (#22 US). The Song was one of the first original compositions from Rolling Stones Mick Jagger and Keith Richards, but was deemed too tame for the Stones at that time.

Detroit Singer-Songwriter Sam Cooke, with 30 Top 40 hits to his Name, dies after being shot in a Los Angeles Motel Room. Cooke had released his 13th album, "Ain't That Good News" in March which included the Anthem "A Change Is Gonna Come."

St. Albans, England Band The Zombies have their 1st hit in the US with "She's Not There" which goes to #2 US, (#12 UK). The Song was written by Keyboardist (great Riffs) and Group Co-founder Rod Argent.

UK Singer Sandie Shaw goes to #1 UK, (#52 US) with the Burt Bacharach/Hal David Song "There's Always Something There To Remind Me". It was the first in a string of 8 UK Top Ten hits for Shaw in the 60s, though she never broke through in the US.

North London, UK Group The Honeycombs climb to #5 US with their debut single "Have I The Right". The Song had previously topped the UK charts in August. The Band stood out for its' Female Drummer Honey Lantree whose brother John played Bass.

Though fading on the Music Charts, Elvis Presley is still a hit at the box office in the movie Viva Las Vegas with Ann Margret. With The Beatles taking over the Pop charts, Presley had only four Top Twenty singles in 1964, with none reaching the Top Ten.

The Rolling Stones, after a Sluggish start, tour the US for the second time. Their cover of "Time Is On My Side" goes to #6 in the US. In the UK they have their first #1 with a Cover of The Valentinos "It's All Over Now".

Why 1964 was a Pivitol Year in the Evolution of the "Sounds of Music"

The key parts of the Evolution to Modern Music Sounds include the following:

The period before the "Roaring 20s" that are the Genesis of Modern Music was a transition from African-American Field Music and Songs that dealt with the troubles Blacks lived with every day... the "Blues."

In New Orleans, in the early 1900s, there was the first Transitional Period to the Commercialization of the Songs mainly being perfected by what is called "Race Music"... as Black and Creole Blacks got the Rythums and Styles of using the Piano, Winwoods, Brass, and Guitar to integrate to what we call a "Modern Band." The first to create a Model "Modern" Band was one Buddy Holden whom we generally refer to as the "King of Jazz" and was emulated by all of the Greatest.

Note: The French first used the term "Band" (Troop) to describe Louis XIVs famous Group of Violins... in the 19th Century it evolved to include Piano, Wind, Brass, and Percussion Instruments. It would evolve from a small group of Musicians to larger Ensembles of Brass, Concert, and Military... soon, in the Roaring 20s, 30s, and 40s as a synonym for Orchestra, but a smaller one that uses a Band Leader who participates in Songs while Conducting without a Wand. Orchestras are perceived as more "Sophisticated" of Formal while Bands are more "Casual" or "Pop-oriented."

In 1949, Billboard Magazine, which had been publishing a "Race Records" Chart, changed the name to the "Rhythm & Blues" Records Chart. This change was part of a broader shift towards more inclusive and respectful terminology, reflecting the evolving Social attitudes of the time. White Musicians began to take hold of the Sounds and the first form of Integration was presented to a, soon-to-be-come, Integrated Group of Listeners and bought Records based on the Sounds of Songs rather than who created them.

I feel, along with others, that the first true Rock n Roll Song was "Rocket 88" written, in 1948, by Ike Turner and his Band, the Kings of Rhythm... Jackie Benson and his Delta Cats popularized it... then by Bill Haley & the Comets in 1951... as so, to me, Rock Muscic was on the Map! Rock On ♪♪♪

Then along came Radio (the first Tool for Music Producers to use their skills to mass-produce Songs as a huge Producer of Bucks!... couple that with Dick Clark's American Bandstand, had a captive Audience of Teens at 3:30 pm that brought about the "Dance Craze" that put Rock Songs in a "lull Period" in the late 50s until 1964.

The Brill Building Sound flourished in New York City, with Professional Songwriters crafting sophisticated Pop Hits... Phil Spector began developing his revolutionary "Wall of Sound" production technique, which would go on to define the Sounds of many 1960s Pop Records... Jerry Wexler was a Key Producer at Atlantic Records helping to shape R&B and the Soul Sounds which influenced the dance Craze.

So, there was a Lull in Rock Music... the newest Dance Craze since the 20s brought about Songs that invented dances, such as: Bomba, The Chicken, Bunny Hop, Sock Hop, Madison, The Stroll, Hully Gully, Shimmy, The Twist, The Chicken Walk, The pony, The loco-Motion, Martian Hop, The Monster Mash, The Swim, The Watusi, Popeye Dance, the Chicken Dance, the Monkey, The Frug, The Jerk, The Freddie, The Mouse. The Limbo, Batusi, and The Shake... all before the 60s ended! Oh MY!!!

My Take: Give it UP for the Beatles (Rock On ♪♪♪)... you have to admit that they have one of the largest diversity of "Sound Discography" setlists (a collection that reflects an Artist's or Band's Musical Journey and Legacy.... along with Frank Zappa, The Grateful Dead, and Bob Dylan... and there is no Dance called The Beatles!

What I am saying is that; THEY threw Gasoline on a Smoldering Fire and "Kick-Started" the rejuvenation of Rock Music... along with the Rolling Stones. This is all why I identify the Period of "Classic Rock" popularity between 1964 and 1984, when Progressive Rock, Jazz Fusion Rock, New Wave, Metal, and Synth-Pop gained their ground... nuff said.

Classic Rock Music is the one Genre that not only Reflected but also actively Shaped the Social and Political landscape of the Era Modern Sounds of Music we have today... there, is something for everybody in Today's Setlist but Classic rock will always be identifiable for its contribution to future Music Listeners.

We now move on to the upper 60s culminating with Woodstock which was the "Liftoff" for the "International Sounds of Music"...

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