I’m Not In Love With T-T-T-Twiggy (Ready Steady Go !)

In 1959 the Royal Cinema, you know it, on Gilliatt St, near my Nana’s, stopped showing films because everyone was at home watching TV. I think it was that year that my family rented our first set. I wonder what we pointed our furniture at before that. The Royal became the Star Bingo Club, a new thing allowed by an Act of Parliament which liberalised gambling. There were lots of new things at the beginning of the decade… a Labour Government, the Twist, bouffant hairdos (well, ding dong !). Philip Larkin knew the score…

” Sexual intercourse began
In nineteen sixty-three
(which was rather late for me) –
Between the end of the “Chatterley” ban
And the Beatles’ first LP”. (Annus Mirabilis)

Yeah Man ! The Mersey Beatles, they certainly felt like a big new sexy noise for a big new post-war baby boom teenage bulge. That’s why a queue sinuated around the Star Bingo Club on a Saturday afternoon waiting for the “Teen Beat” music session to start. Live bands, records & soft drinks for the under 18’s. All down the line the juveniles, delinquent or otherwise, were chatting about the previous night’s TV programme which brought the best of the new British Beat to a living room near you.

“Ready Steady Go !” began in August 1963. The Stones first single “Come On” was still in the Top 30, the Beatles released “She Loves You”. The commercial & creative surge in British music had not been well served by the 2 TV channels (really !). Groups were shoe-horned awkwardly into light entertainment shows between the  juggler & the mother-in-law jokes. The BBC’s flagship music show played records at a “Juke Box Jury” of 4 know-nothings who decided “hit” or “miss” &…erm…that’s all. RSG surrounded the music with its young, fashionable audience, capturing some of the excitement & informality that a TV studio/schedule still often deflates. This stuff caught on. The Fab Four appeared in October (Paul judged a miming contest !) & the show got its highest audience when they took over the show in March 1964. This clip has received a sound upgrade but “You Can’t Do That” is so good it should be heard at its best. John’s finest Arthur Alexander style songwriting , George’s shiny new Rickenbacker 360 Deluxe 12-string…a B-side as well.

I missed all of this. The vagaries of regional scheduling meant that, in my provincial backwater, the early Friday evening show did not come around until after 10.30 & that was…after my bedtime…hours after! These new bands from that London, the Yardbirds, Manfred Mann, the Kinks, playing the Thames Delta Blues, I would not get to see them until they made the charts. The BBC opted for quantity over quality with a new music show based on sales. The discourse on the concourse about “5-4-3-2-1”, the theme tune, or about that group who smash their instruments (the what ? The Who !)  sounded so exciting, proof that the real fun only started when the kids were asleep. Something was happening in 1964, the RSG crew had a handle on what it was. The young production staff ditched the lip-synch & ran with a new national early evening slot which meant that I could finally see the thing.

The first young Modernist magpies about town favoured Italian fashion, New World rhythms, French cigarettes & philosophy. By 1964 Mod was more about dressing sharp, looking good on the dancefloor & while knocking over the local chemist looking for the pharmaceutical amphetamine or giving a rocker a kicking on a Bank Holiday, your getaway scooter waiting. The symbols of the next big youth movement were in place…you’ve seen “Quadrophenia”. “Ready Steady Go !” made the move from Mersey Beat to Mod giving impetus to its spread out of London up the new motorway system to the rest of the UK. I know, those original Mods viewed this dilution & subsequent commercialisation as the end of it all but, in the mid-60s, provincial British youth were better dressed, with better haircuts, than they had ever been.

RSG’s dance lessons & fashion tips were stiff & lame but there was just so much exciting new music around & whoever was booking the turns or picking the sounds was making plenty of good decisions. In March/April 1965 a roster of Tamla Motown artists had toured the UK to sparse audiences. RSG, prompted by producer & fan Vickie Wickham, filmed an hour long special “The Sound of Motown” featuring Martha & the Vandellas, the Miracles, 14 year old Stevie Wonder, the Temptations &, Motown’s only UK Top 20 act, the Supremes. Wickham’s best friend Dusty Springfield hosted the show. Dusty had been in a faux-folk trio, recorded overdramatic Euro-pop ballads but she had a heart full of soul & she was sheer class. The show was a blast of energy, a blur of hand clapping, foot stomping, funky butt Detroit Soul. We were able to match some faces to some tunes. Tamla Motown was here to stay.

This wonderful clip, Dusty getting some help on “Wishin’ & Hopin'”, her Bacharach & David US Top 10 hit, from Martha Reeves & the Vandellas is what live music TV can be & rarely is. Dusty & Martha seem to have been left to work it out for themselves & are liking what they have done. The gospel boost to finish makes for a unique performance by the Righteous Sisters.

The groups at “Teen Beat” was the first live music I saw. I think that I was a little underwhelmed at first, it was hardly the Swinging Blue Jeans was it ? Now I remember them as good bands from around the North of England who were ahead of those Top 20 fans. The reference point was the first LP by the Rolling Stones, released in April 64 (May in the US as “England’s Newest Hit Makers”). They all played approximate versions of “I Just Want To Make Love To You”, “You Can’t Judge A Book By Its Cover” & surprisingly the soul-jazz groove of Phil Upchurch’s “You Can’t Sit Down”. Y’know if you saw a young bar band playing these songs tonight you would be impressed with their good taste. That was then, 1966 was Now ! & every group was expected to play some new songs.

“Knock On Wood”, “Hold On I’m Coming”, “Mr Pitiful”, this was the new canon. Motown was perhaps a touch too much what with the harmonies & the choreography…at the same time. The music made at Stax Records  was raw, even more basic when there was no horn section, just 4 young energetic kids could fill the dance floor with  these tunes. In September 1966 RSG handed over the show to the label’s figurehead Otis Redding. It was a case of light the blue touch paper & retire to a safe distance as Otis, backed by the Bar-Kays, made a compelling case to be considered as the most exciting act in music. Blue-eyed soul Brits, Chris Farlowe & the great Eric Burdon were invited along & joined in this clip of the closing “Shake”, Sam Cooke’s soul stormer. Eric never looked happier & rightly so. Years later I carried a video tape of this show around, ready to share the greatest 30 minutes of music TV ever. When Stax brought their tour to the UK there were full houses everywhere because people wanted a bit of what they had seen on RSG.

Then, in December 1966, the plug was pulled. Mod probably was past its sell-by-date, the Beat Boom was over but British music was as vibrant in 1967 as it had ever been. The commercial TV network were having none of it, having cancelled the other music show “Thank Your Lucky Stars” in June. Just 2 weeks before RSG ended the UK TV debut of Jimi Hendrix tore up the rule book & knocked us sideways. I had seen the Byrds, the Lovin’ Spoonful, for the first time on the show, I was going to have to dig a bit deeper to see the Doors or Jefferson Airplane because ITV would be not be helping. I would too, no longer get my weekly fix of Cathy McGowan, the Mod Dolly Bird next door who so successfully replaced the stiff DJs for hire with a naturalness, an enthusiasm & well, take a look, we were all a little in love with Cathy.

Aftermath (Rolling Stones)

In 1966 the Rolling Stones released their first LP to consist of all Jagger/Richard compositions. The early records had been reliant upon the Chicago blues and Chuck Berry songs which had formed their repertoire on the London club scene. 1965’s “Out Of Our Heads” included  compositions by Sam Cooke, Marvin Gaye, Barbara Lynn, even Sonny Bono. So “Aftermath” was a move forward for the band. The Beatles, Bob Dylan & other new musicians wrote their own material, it was time for the Stones to  contribute their lyrical take on a tumultuous decade.

In the UK both the Beatles and the Stones did not put their singles onto LPs. “Aftermath” was released between “19th Nervous Breakdown” & “Paint It Black”. There is not the same crepuscular density as these singles but there is some pretty good stuff and “Under My Thumb” is one of the best. There is an element of misogyny in more than a few of the early Stones lyrics. This, “Stupid Girl” & “Play With Fire” are all acerbic but the band were sneering at everything in 1966, it was what they did, better than anyone else.

The Stones were still a blues band on “Aftermath”, there was an 11 minute jam to close side one. They were, though, looking for a new sound and on this record they gave Brian Jones free range in the music shop. Brian’s imaginative contribution to this record, like the sitar on “Paint It Black”, introduces touches of psychedelia and the baroque. “Under My Thumb” is propelled by the marimbas, I don’t think they had any of those in the Chess studios at 2120 South Michigan Avenue.

For “Lady Jane” it’s the Appalachian dulcimer! It’s interesting to see the wild men of rock, in their new dandy finery, sitting down to perform a courtly song of Elizabethan chivalry. I never really “got” this song, “I pledge myself to…” what’s all that about  ? The dulcimer…that’s OK, Brian was not writing songs but was playing his part in the band’s developing sounds. The experiments of the next two studio records are often a result of his involvement. By the time of “Beggars Banquet” (just 2 years after “Aftermath”)  Jones was a spent force, marginalised from the band he formed and too stoned to roll. Next time around the band got this mellow sound just right on “Ruby Tuesday”, “Lady Jane” was a step on the way.

The overall quality of the Stones’ songs at this time could be a little patchy. When they got it right though they made some classics and here’s one now.

It’s back to “Ready Steady Go” the 1960s British TV programme that brought the excitement of the music to our living rooms. They had a head start because the Beatles and the Stones were only too eager to appear on something outside of the confines of the standard variety show which was still anchored in the 1950s. The show was very sharp and spoiled for choice by the music explosion in the UK. As an untroubled young boy in 1964 the only thing that could have improved my life would have been allowed to stay up late enough to watch it !

The dulcimer is around again for “I Am Waiting”. This song is less honeyed, a little ominous and one of the best on the record. At this time the Stones were unable to finish most concerts they played because of the hysteria and chaos they induced. They must have been happy to play these new, more polished songs properly. “I Am Waiting” is used very well by Wes Anderson in his movie “Rushmore”. Anderson is obviously an Anglophile when it comes to music, I was pleased and impressed that he’d selected such a quality but more obscure Stones track.

With “Aftermath” and “Between The Buttons” the Rolling Stones were attempting to find their own voice. The records are inevitably compared to “Rubber Soul” and “Revolver” and come up short against two songwriters at the top of their game. Jagger and Richard did get to it by asserting their blues roots and becoming lyrically more sophisticated. From “Beggars Banquet” to “Exile On Main St” they made records for the ages. These two earlier works are pop experiments and sometimes not successful. They are though pretty pretty good.