The "older generation"'s music didn't go away completely just because a new generation took over. (Just as an aside, I believe that those two were only single-week chart-toppers, each.)wlllljoyyyyy said:
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...Yes , of course . BTW , I have a theory as to how , especially , Martin's " Everybody Loves " (produced by Jimmy Bowen IIRC) fit in...which I haven't time to go into now 
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...firepoint525 said:
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hornet61
Guest
exactly..but remember you bought them in 1964 not 1963..in reality my statement didn't mention the fact that the songs that vee-Jay released in 1963 were actually available by june of 1962..when they were recorded by george martin..so it's back further than may 1963... the reason that their first 6 lP's (Capitol) were 50% american covers is that they had not written that much material..from Rubber Soul forward there was little or no cover material because their compositions were now the norm.TheFonz said:
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hornet61
Guest
firepoint525 said:Got to see the Beatles tribute band that went by the name 1964 The Tribute. (They were 1964 As The Beatles until the (real!) Beatles' lawyers got involved!melan8tr said:
The Beatles 64 cast,autographed my Beatles song books and my poster of the show...If you want the poster (no charge)you are welcome to it..e-mail me at [email protected] and i will mail to you..I am gettimg rid of all my collections as of early 2012.
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hornet61
Guest
firepoint525 said:
again I say..I don't think we were ready for them... Vee Jay was in a the third biggest market.. historically Capitol artists have never said good things about capitol A&R especially the Beach boys. When the Beatles came to America in 1963 they couldn't get arrested.
In one sense I think that we were ready for the Beatles, and pop culture was ripe for the taking at the time:
The Beatles in particular and The British Invasion in general helped mostly younger people get over the pall in the air that was left over from the Kennedy Assassination.
The time between the JFK tragedy and the Beatles' first appearance on the Ed Sullivan Show (2-9-64) was only 79 days, but the time was right for the mourning amongst the young to end.
As someone else used to say, and now you know the rest of the story.
The Beatles in particular and The British Invasion in general helped mostly younger people get over the pall in the air that was left over from the Kennedy Assassination.
The time between the JFK tragedy and the Beatles' first appearance on the Ed Sullivan Show (2-9-64) was only 79 days, but the time was right for the mourning amongst the young to end.
As someone else used to say, and now you know the rest of the story.
Music had become somewhat "sedate" after payola, blander stuff was being pushed at teens,
and they were ready to cut loose.
There were other signs that such a sound was coming, and unstoppable.
Link Wray had already introduced tthe snarling sound that would be needed in the 50's.
In 1963, "Surfin Bird" by the A -Bones, "Wipeout" by the Surfaris, and "Louie Louie" by the Kingsmen
pretty much opened the door for songs that were far wilder than the [ square] adults of the day approved of.
As far as the Beatles, there was a real anti-Beatle current at the time, Capitol was more or less in favor
of boosting the continuing popularity of the Beach Boys.
The "hair" problem for the Beatles was a great obstacle, and as kids figured out that their parents really didn't
like the Beatles, naturally their popularity increased.
The "longer hair for boys and men" war began then and it's not possible to describe now how
"unacceptable" the mop tops were then to adults.
Dick Biondi broke the Beatles early for Chicago. In most areas they were not well accepted at first.
And as soon as the parents become more accepting of the "earlier" works, say in 1966, they Beatles
started getting all heavy and introspective, so they were always a MOVING target to love/hate.
and they were ready to cut loose.
There were other signs that such a sound was coming, and unstoppable.
Link Wray had already introduced tthe snarling sound that would be needed in the 50's.
In 1963, "Surfin Bird" by the A -Bones, "Wipeout" by the Surfaris, and "Louie Louie" by the Kingsmen
pretty much opened the door for songs that were far wilder than the [ square] adults of the day approved of.
As far as the Beatles, there was a real anti-Beatle current at the time, Capitol was more or less in favor
of boosting the continuing popularity of the Beach Boys.
The "hair" problem for the Beatles was a great obstacle, and as kids figured out that their parents really didn't
like the Beatles, naturally their popularity increased.
The "longer hair for boys and men" war began then and it's not possible to describe now how
"unacceptable" the mop tops were then to adults.
Dick Biondi broke the Beatles early for Chicago. In most areas they were not well accepted at first.
And as soon as the parents become more accepting of the "earlier" works, say in 1966, they Beatlesstarted getting all heavy and introspective, so they were always a MOVING target to love/hate.
desertv said:
Getting back to the original question, it needs to be said that a big part of this musical turning point was demographic. An awful lot of kids were born from 1946 to 1952, making teenagers a big part of the population by then. After the first wave of rock and roll fizzled out in '59, the radio and records businesses were going in circles with teen idol pop --cute singers but not a lot of great move-your-feet music. So there was pent up demand for rock and R&B and a growing number of ready fans.
Someone mentioned above that the psychological blow of the JFK Kennedy assassination helped spark the British Invasion, and I think that's certainly a factor. A station in DC played an import single of "I Wanna Hold Your Hand" the week after the assassination and the teen listeners loved it -- a sign of what came weeks later nationwide. What's amazing is to listen to airchecks of Top 40 stations from the fall of '63 and from the summer of '64 -- it's like two different universes. The music reshaped radio, which reshaped the record biz, which reshaped radio ... and on and on.
RicoGregg said:
Listening to stories my mom told of that time, I'd agree with this. She was born in May 1950, so she was 13 when Kennedy was killed. She remembers vividly working furiously to get her homework done on 2/9/64 so she could watch Ed Sullivan. I showed her a clip of that show on YouTube a while back and she couldn't believe what she was watching.
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hornet61
Guest
TheFonz said:
I also pretty much prefer up to "Rubber Soul" (maybe because I'm 66 yrs old)...I like some of the SGt Pepper for the pure genius of the LP..
Many Top 40 stations were mass appeal and "full service" back in the 60's. Even if parents hated the music they'd listen to a Top 40 station because they had the best and fastest news department. Some Top 40's played more MOR or (especially in the south) Country crossovers in the morning-early afternoon to appeal to adults when the teenagers were in school. So little wonder why something like "Hello Dolly" made #1.
And its amazing that Capitol was so stuck up about releasing the Beatles in the USA. EMI in the UK had the rights to the Dave Clark 5, The Yardbirds, Herman's Hermits, The Hollies, Manfred Mann, The Animals, Freddie & The Dreamers, and Gerry & The Pacemakers.
Yet the old farts in the Tower refused to release their records in the USA, let them go to other labels and only hung onto "safe" artists like Peter & Gordon, Cillia Black and The Seekers. Capitol could have created a couple more labels to go along with Tower and made a killing with those bands.
And its amazing that Capitol was so stuck up about releasing the Beatles in the USA. EMI in the UK had the rights to the Dave Clark 5, The Yardbirds, Herman's Hermits, The Hollies, Manfred Mann, The Animals, Freddie & The Dreamers, and Gerry & The Pacemakers.
Yet the old farts in the Tower refused to release their records in the USA, let them go to other labels and only hung onto "safe" artists like Peter & Gordon, Cillia Black and The Seekers. Capitol could have created a couple more labels to go along with Tower and made a killing with those bands.
billyg said:
That is an excellent point.
When JFK was assassinated in 1963, and I was stuck at school with other students and a few teachers in the music room gathered around an old wooden tube radio, my mother was glued to both the TV and the local Top 40 outlet.
When I got home later, she told me that the radio news was quicker and more concise than the TV networks.
The radio station stayed glued to the story.
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Thomps2525
Guest
In 1963 in Los Angeles, there were two top-40 stations, KFWB and KRLA. KHJ was adult contemporary. Following the Kennedy assassination, all three stations immediately began full-time news coverage. Following the funeral, the first station to go back to music was KHJ, and then they played only ballads and soft instrumentals. The country was in no mood for upbeat music. But I disagree that radio provided better coverage than television. We saw film footage of the Presidential motorcade, live updates from the Dallas hospital, the shooting of Lee Harvey Oswald, the funeral procession, the burial of the President, John Kennedy Jr. saluting the casket, and the respected and trusted journalist Walter Cronkite falling apart and uttering "Damn." The JFK assassination is the event that made newscasts "must-see TV" (to steal a phrase from NBC).
LARadioRewind said:
Right, radio did a great job covering it, but seeing the TV footage even now is still very depressing. The live broadcasts of the 9-11 attacks were the only thing I can think of that was equally shocking to our nation.
That said, Beatles and the rest of the British Invasion were the right bands to come along at the right time.
I wish we had a new Rock band with a fresh sound and full of happy positivity like the early Beatles had that would burst into the world, sell millions of albums and downloads, and make all these angry rock bands and rappers instantly "uncool" with teenagers as teen idols suddenly were when Beatlemania exploded in 1964.
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