Not one of their most memorable songs, but that's definitely the sound of my 60s.
Another strong element of my internal 60s soundtrack. A very easygoing sound and sentiment.
Reminds me of Willie Whistle.
That's a nice, and long, performance. I love "Honeysuckle Rose."
Very nice, and appropriately surreal.
Well, the producers had probably seen it or seen parts of it, or at least stills from it.
Tara was fine. Her only problem was that she was not Emma Peel. But nobody is Emma Peel.
I watched Ironside hardly at all back in the day and Raymond Burr seems so stuffy that it's funny to think his show was so groovy.
Oooh, I love Michael Dunn.
It does seem pretty entertaining. I'll have to pay more attention if it ever shows up on one of my channels.
There's the Third Spy Network. I remember getting a big kick out of that.
I don't remember this one. Easy to listen to, but nothing special.
I had forgotten about this one, but I like it. Definitely the sound o' the times.
Not exactly one of Stevie's best.
Nice party song. They've done better, but it's also part of my internal soundtrack. I somehow connect to the theme from the Saturday-morning Hardy Boys cartoon.
Oh, yeah, you must see both of these. Both are amazing classics.
Not
See, that's why I used the term "critical hindsight" several posts back on this subject. The Who barely made a blip on the American radar during the British Invasion period. It's easy to retroactively insert them as a major force in that part of the decade after they've done something like Tommy, but by that point the British Invasion was a major musical movement or three in the past. The Who simply were not playing on the same field as the Beatles or the Stones for the bulk of the decade.
If that's the case, it would explain why they specifically look like pilot-era Trek, since there were a lot of promotional photos with those uniforms.
It was dealing with issues of its time, in an arguably less reactionary manner than Dragnet.I watched Ironside hardly at all back in the day and Raymond Burr seems so stuffy that it's funny to think his show was so groovy.
Hasn't made much of an impression on me yet. It's a charting B-side, and it sounds like one.
Definitely an obscuro and one-hit wonder, but yeah. And here's a fun fact that I just stumbled across: It was a cover of a Zombies song!
Not by his own high bar, but a perfectly enjoyable single.
Definitely a stone-cold classic of the period.
I have seen both...I own 2001. I'm just planning to give each a proper 50th anniversary watch and review.
Interesting thought. You're right that their later careers influenced the perspective on their early careers.
That wouldn't take much arguing.
Wow, interesting indeed. Even more interesting is that there are (at least) three volumes of Zombies recordings....
That's a fine version of the song, it's just that there's no comparing anyone to Diana Ross.
Pleasant, but all intro.
I think it sounds good enough that it deserved to do better before the Supremes and Temptations got ahold of it.
This one hasn't really caught on with me yet. These are the peak hits by both artists, so we likely won't be hearing anything else from them in these parts.Pleasant, but all intro.
I'm not denying that the Who were one of the more important and influential groups in their own time, but lumping them in with the British Invasion is chronologically off. Their first album was released in the UK in Dec. '65, and in slightly altered form in the US (where it didn't chart) in Apr. '66. The "My Generation" single was released in the US in Nov. '65, and only got to #74 on the Hot 100 in early '66. By that point, we were well into the Folk Rock era and fast approaching psychedelia; the Beatles had done Rubber Soul and were making Revolver. The "British Invasion" period was over, British bands were established and had already transformed the American music scene. The Who were simply not a factor in that earlier phase when British groups were taking America by storm...they were still playing clubs in London. Throwing a video of the Who performing "My Generation" into a documentary about the British Invasion ca. 1964 is pure retconning. They made their mark in the post-psychedelic era.
...and he's going to use it to rob the Gotham Mint! WAUGHK! WAUGHK! WAUGHK!Xfinity said:
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Wiki said:
H&I said:
That...pretty much covers the entire episode premise. I suppose it's noteworthy that the humor of the badly written humor in the episode relies on the audience never hearing a full example of either writer's material, just out-of-context hints that are meant to convey how bad it is.Wiki said:
Yeah, it's funny that it didn't do better. Madeline Bell might have had a different career.
Now that's more like it.
At least they didn't shoot a bunch of Bostonians over on State Street.....He's actually a stranded Vulcan. He went on to invent Velcro.
That's kind of heavy.
Deja vu all over again.
You'd think they wouldn't have any trouble coming up with bad jokes. Or maybe they were afraid it would be too similar to the good jokes.
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Xfinity said:
Yet you described them as part of the British Invasion. The Invasion had moved to Occupation by the time their first album came out on either side of the pond.
Bullshit. The Who's first album came out the same day as Rubber Soul in the UK. The Byrds had invented Folk Rock with Mr. Tambourine Man, Dylan had plugged in and released Highway 61 Revisited, and Brian Wilson was working on Pet Sounds by that point. Your chronology is skewed and you're way oversimplifying what else was going on in music while the Who were still playing London clubs. The story of the Who's influence as you tell it relies on reducing everyone who preceded them to insignificance.
But the fact that their first album didn't chart at all in the States tells a story...that they were still relatively unknown in the States at that point. It's hard to be influential when nobody's heard of you. Never mind "help[] establish the 'British Invasion' as a serious musical force," as you put it upthread. Citing them as a serious musical force in the British Invasion refers to their influence on this side of the pond, not in the London club scene; and earlier than anyone would have had reason to have heard of them in the States.
And nobody's debating that they'd started to become a known force in the States by that point. They were on their second album (which did chart) and had done the Monterey Pop Festival.
And for clarity, Happy Jack (the US version of their second album) reached its peak position of #67 in the aftermath of Monterey.Wiki said:
Their impact was after the Invasion. The Beatles, Dylan, the Byrds, and the Beach Boys had already changed the American music scene in huge ways by the time of the Who's "coming out" on this side of the pond at Monterey in mid-1967.TREK_GOD_1 said:
Little girl in political ad: Thank you, the Who, for the British Invasion.
The Wiki list of guest appearances said:
Wiki said:
Another Saint-style title, though I don't remember which show did one before.Wiki said:
The Chief said:
In Beatle news, John, George, and wives return from Rishikesh on April 12.
No, that was just Folk, or maybe "Folk Pop" if one is subgenrizing to that extent. Folk Rock was a distinct new phase when people performing folk music "plugged in," using electric/rock instrumentation rather than the traditional acoustic arrangements. The Byrds are credited for having gotten this going by fusing the styles of the two most influential acts of the era, the Beatles and Bob Dylan.
Wiki said:
No, I'm just trying to put them in their proper historical context. There's no shame in their having emerged as an influential group in a later period of the decade than the Beatles and the Stones did. I'm not an aficionado of the UK-specific music scene of the period, so I can't speak to that. If the Who were creating some sort of stirring in the British music scene as early as '64, I'll take your word for it. But that's a different thing from having been an integral part of the British Invasion in America.TREK_GOD_1 said:
Wiki said:
"El Condor Yesterday." I've never given much thought to Beatles covers, but this is certainly a good fit for Smokey.
Interesting indeed. I'd love to see more of the readings and poetry that were on the show.
Oops. The pitfalls of being topical.
I don't remember that one at all. Pleasant, but doesn't hold up to their other stuff of the period.
I love that stuff.
It's a shame they never did a Perry Mason/Ironside crossover. That would have been the best spin on the twin-split screen gimmick ever.
Your capsule descriptions make it sound pretty good.
I wonder if the censors just didn't get it.
Oh, yeah, I remember that, along with the new "more exciting" intro that came later.
I don't remember this one. Kind of ordinary.
I don't remember this one either, but it's toe-tappin.'
Ah, now this is a stone-cold time-travel classic for me. I'm in Dorchester, sitting on the piazza, eating a spucky and drinking a can of tonic....
Another classic.
Another favorite, happy 60s classic.
And I love this, too, as I love most Who songs.