AmplifiedLIFE

It’s the late fifties-early sixties. The Fireballs are a hot New Mexico rockabilly band with a slick Tex-Mex style, using staccato guitar lines way before surf music caught on. The Fireballs had taken their name from the 1957 Jerry Lee Lewis smash hit, “Great Balls of Fire.” – which they had performed to thunderous applause at their high school talent show. The Fireballs first ever performance. The Fireballs were having some early success with instrumental tracks like "Torquay" which went to #39 in 1959, and then "Bulldog" which went to #24 in 1960. The Fireballs were basically an instrumental band, but they used a vocalist whenever they played concerts or went on tour, to help fill out their sets. The Fireballs were using the same producer & studios as Buddy Holly was using. Norman Petty Studios. When the Fireballs needed a new lead singer, Producer Norman Petty put them together with Jimmy Gilmer – a solo artist who was also on the Petty roster. Joining forces and becoming Jimmy Gilmer and the Fireballs - they took to the road. At this point in the story, the band has just come home from their latest regional tour and they’re looking for new material for the next time they go back out on the road – which is going to be soon. Another artist on Norman Petty’s record label - Keith McCormack – hears that the Fireballs are looking for new songs, so he records seven on his own songs on a tape and gets the tape to Fireballs lead singer, Jimmy Gilmer. McCormack himself has a band called the String-a-Longs –and the String-A-Longs also had their own charting hit - "Wheels" in 1961 went to #3. There were seven Keith McCormack songs on the tape he gave to the Fireballs. One of them was called, "Sugar Shack." Keith McCormack said: "I wrote Sugar Shack early one morning, coming home after cruising until about four AM. I wrote it in my mom’s kitchen. I kind of ad-libbed it straight through the night and into early morning. My aunt Faye was up drinking coffee, watching television and ironing, and as I started fooling around with the song I couldn't remember what you called those tight pants girls wore at the time, so I asked my Aunt Faye and she said, “leotards”. We started traded lyrics back and forth, one at a time, as we both tried to outwit one another, and we continued on until we had the whole story." Keith finished up Sugar Shack over breakfast - which explains why the word ‘coffee’ shows up twice in the lyrics. “Espresso coffee tastes mighty good” and “I'm gonna drink a lot of coffee, spend a little cash” Keith McCorack’s aunt Faye had contributed to his lyrics before, so Keith decided to share this particular songwriting credit with his aunt because of all the support she and her husband Johnny had given him over the years. Johnny Voss had been his band's original manager and promoter. “And to tell you the truth”, says Keith McCormack, “at the time I thought 'Sugar Shack' was kind of silly." The Fireballs listen to McCormack’s tape of seven songs and choose three of them to take out on the road. Over the next six months, one song in particular always gets an incredible response from the audience – the reactions being so good that the band begins playing the song twice in every show. That song is of course, ‘Sugar Shack’. Because of the response the band is getting, they want to record it at the very next opportunity. And they do. At Norman Petty Studios. Sugar Shack jumps right in with a short, snappy drum beat – and then it starts chugging away like a Texas freight train, in part due to a clipped, buzzing low-end Fender Jazzmaster guitar. Jimmy Gilmer’s crisp, clear vocals slide in next. Remember – this song clocks in at a tight and 2:00 minutes even – so it’s gotta move right along. There’s no time for messin’ around. The vocals tell you right away that this song is going to be about fun: “Ah, there's a crazy little shack beyond the tracks. And everybody calls it the sugar shack.” And then comes that distinctive whistling riff. Is it a piccolo? Nope. It’s the sound of the primitive precursor to the synthesizer, the Solovox. A Hammond Model J Solovox Organ to be specific, and it’s being played by record producer Norman Petty. Norman adds the Solovox to the track at a later date – while the band’s on the road again, and then he plays it back for the band later. Their reactions are – well, why don’t I let their lead guitarist tell you about his experience? It looks like time – and the record charts – show us who was right on that one. Talk about an “I told you so!” Sugar Shack is released in May 1963 and for the next four months, it sells well locally. But it couldn't seem to break through on a national basis. In fact, the record label is ready to give up on Sugar Shack and try putting out another single for the band. But a radio station on the Detroit/Canadian border starts playing Sugar Shack and it rapidly spreads throughout North America. In September Sugar Shack debuts as Billboard’s #65. The next week it moves to 19, then to 4 and on October 12, 1963 Sugar Shack goes to #1, where it remains for 5 solid weeks. Its infectious beat made it a smash. “Sugar Shack” sells more than one million copies in a five-week period and is eventually named Billboard’s 1963 “Song of the Year.” Some Extra Liner Notes: - Jimmy Gilmer and The Fireballs were the last American band to top the charts before Beatlemania hit. - Sugar Shack replaced 'Blue Velvet' by Bobby Vinton at the #1 spot. - Sugar Shack had the longest run of any #1 record in 1963. - And, there are two more Top 30 hits with ‘sugar’ in the title: "Sugar, Sugar" by The Archies and "Brown Sugar" by The Rolling Stones. You’ll be pleased to know that the songwriter, Keith McCormack, enjoyed a wonderful life. He continued to thrive in a successful singer/songwriter career, and as well, he pursued many other interest in life including becoming a pilot and an aviation instructor. A life long close friend of his said, "Keith was a very likable person, a person people just loved." Keith McCormack, writer of Sugar Shack, died in 2015 at the age of 74. Lead vocalist Jimmy Gilmer continued fronting the Fireballs for many years. In 1969 he left to pursue artist management and record production in Nashville.He eventually became a Vice President of CBS Songs. Of the entire band experience, band member Torres has said, "We were a band of brothers. We never fought. It was just a happy, happy time in our lives." Sugar Shack. A rockin’, dancin’, ageless, feelgood song. I hope you’ve enjoyed this little peek into how one of the top songs of 1963 - came to be. By Peter Beamish - - - - - - - - - - - ** TO SUPPORT MY CHANNEL ** Patreon: https://www.patreon.com/peterbeamish PayPal: paypal.me/peterbeamish - - - LINKS: Sugar Shack – Jimmy Gilmer & The Fireballs (#1, 1963) https://youtu.be/ATgMNQfO0Po Torquay – The Fireballs (#39, 1959) Composer: George Tomsco https://www.youtube.com/watch?v=tDQBkbWhCvE Bulldog – The Fireballs (#24, 1960) Composer: George Tomsco https://youtu.be/Icj7xQnNfsc Wheels – The String-A-Longs (#3, 1961) https://youtu.be/DlI36K0KOQs The Fireballs George Tomsco interview 12/8/2017 https://youtu.be/DHa7HBu-mJU - - - The Fireballs Members On ‘Sugar Shack’: Jimmy Gilmer - vocals George Tomsco - guitar Doug Roberts - drums Stan Lark – bass - - - LYRICS: There's a crazy little shack beyond the tracks
 And everybody calls it the sugar shack
 Well, it's just a coffeehouse and it's made out of wood
 Espresso coffee tastes mighty good
 That's not the reason why I've got to get back
 To that sugar shack, whoa baby
 To that sugar shack.

 There's this cute little girlie, she's a'workin' there
 A black leotard and her feet are bare
 I'm gonna drink a lotta coffee, spend a little cash
 Make that girl love me when I put on some trash
 You can understand why I've got to get back 
To that sugar shack, whoa baby
 To that sugar shack, yeah honey
 To that sugar shack, whoa yes

 To that sugar shack.

 Now that sugar shack queen is a'married to me, yeah yeah
 We just sit around and dream of those old memories
 Ah, but one of these days I'm gonna lay down tracks 
In the direction of that sugar shack
 Just me and her yes we're gonna go back 
To that sugar shack,
 Whoa uh oh To that sugar shack, yeah honey
 To our sugar shack

 Yeh, yeh, yeh, our sugar shack

Today’s story is about the loudest rock band in the world, a pair of folk-singing super-straight-looking siblings from Connecticut, and a shrapnel-producing, hair-singeing, ear-ringing explosion on live television that shockingly introduced America to an instrument-smashing English band who managed in their very first appearance, to blow a major television network right off the air. All this mayhem took place in 1967, when television was mostly about escapism – Gilligan’s Island, F-Troop, The Green Hornet, Time Tunnel, Flipper, Green Acers & The Beverly Hillbillies. Somehow, a pair of innoculous-looking brothers were offered their own variety show on National television. The catch? They would be going up against the competition-smashing juggernaut TV show, Bonanza. Initially left alone by the network, the Smothers brothers slowly crafted a ground-breakingly controversial television show featuring brilliantly cutting-edge writers – including Mason Williams (who later wrote and performed Classical Gas, Bob Eisenstein (later, Super Dave Osborne), Steve Martin and Rob Reiner (Meathead on All in the Family and director of a bunch of major movie hits. The Smothers Brothers Comedy Hour eventually succumbed to the pressures of Network censorship and the series itself ended with a bang – as CBS abruptly fired the brothers - having had enough of their irreverent and politically incorrect humour. The brothers immediately – and successfully sued the network. But before the series was cancelled, it managed to leave its mark on the hearts, minds and ears of the American public. The Smothers Brothers featured the some of the hippest new musical acts of the day – Ike & Tina Turner, George Harrison, Stepphenwolf, Jefferson Airplane, Buffalo Springfield, Harry Neilsen, The Temptations, The Turtles, … and for the American audience perspective, the introduction of an almost completely unknown scruffy British band called, The Who. BAND BEGINNINGS Formed in 1964, The Who are now considered the godfathers of punk, the pioneers of rock opera, and one of the very first groups to creatively integrate synthesizers into rock and roll. The Who already had a reputation for not only producing incredible records but also for having an incendiary live show. In fact they’ve been described as one of the most electrifying physical live acts of all time. And once they discovered Marshall amps – they became known as world’s loudest rock band – at one time even holding the Guinness Book World Record for performing the loudest concert in the world – in a London stadium. - You had tough guy front man Roger Daltrey’s spinning his microphone and belting out powerful vocals . - Artistic Pete Townshend’s lyrics with a guitar that spewed teen anger. - Strong, silent John Entwistle – also known as The Ox - thumping out a loud and impressive bass noise with what looked like minimal – almost stoic – effort. - And then finally, you had the heroic, tragic, magnificent and silly Keith moon – “the loon” – who took drumming and rock & roll craziness - to a whole new level. Roger Daltry was born in a V1 rocket raid, near the end of World War 2. His mother said that next morning, half the street was gone. It was into that backdrop that The Who, The Beatles, The Stones and other British groups grew up. And as far as the band itself went, Daltry said, “it was a very volatile group of people ... more like a gang.” Townsend says when Daltry invited him to join the band, “it was the greatest moment of my life. I’ve despised him ever since”. Pete by the way, had seen Keith Richards swinging his guitar arm and that gave him the inspiration to become king of the windmill-arm guitar playing style. Pete was once pontificating to the press about the grandeur of rock, and said, “It’s the absolute, ultimate vehicle for self destruction. There’s nothing as effective.” Pete has called himself a mystical frustrated seeker. He called what The Who did, "Power Pop" - at least before it got even angrier with songs like “I Can See for Miles” (and if you want to hear a really angry guitar, check out a later Townsend solo track called “Secondhand Love”. Over the years Pete Townsend proved himself equally capable of writing tight, catchy 3 minute hit singles all the way up to full-on rock operas like “Tommy” and Quadrophenia. But their first single to really go anywhere was, “Can’t Explain” in 1965. Townshend said the song had a similarity to the Kinks hit, "All Day and All of the Night". For the recording, their record producer brought in a vocal group called ‘The Ivy League’ to handle the backing vocals – finding the guys in the Who lacked the finesse he was looking for. Bringing in professional substitutes was the style of many producers at the time. In the case of The Beatles, George Martin didn’t think drummer Pete Best was up to snuff for their first single – Love Me Do, so The Beatles fired Pete Best and brought in Ringo, but George Martin was also unhappy with Ringo’s “unsteady drumming.” Ringo was reduced to shaking a tambourine for the session, something he said took him years to forgive George Martin for. In the case of The Who’s first single, the producer also tried to bring in a replacement drummer, but Keith Moon threatened to kill him if he didn’t take his equipment and get out. And most famously - and before Led Zeppelin had formed – the producer also brought in session guitarist, Jimmy Page. Much has been made of Page’s contribution to the Who’s breakout song. He’s an accredited backing session player, confirmed by the band to have played rhythm guitar behind Pete Townshend’s slashing riff. Page has said the session easily could have gone off without him. “I didn’t need to be there,” Page later told Rolling Stone. “I was just playing rhythm guitar in the background," But the main riff, he confirmed, "was all Pete… He was roaring, man." UK rock fans pushed ‘Can’t Explain’ up the singles charts to No. 8, and the band was officially on its way. They followed it up with "Anyway, Anyhow, Anywhere" also in 1965, and it too went into the top 10 in the UK. Composed by Roger Daltreyand Pete Townshend, it was the only time they wrote together. The guitar feedback - although not the first to be heard on a record (The Beatles' "I Feel Fine" takes that credit), it’ s thought to be the first guitar solo with feedback. Their next single was ‘My Generation’ also released in 1965. It features one of the most iconic rock lines of all time, “Hope I die before I get old”. The story goes that a young, fresh, hip, Pete was driving his brand new Lincoln Continental through a posh part of town and a sophisticated older London woman sneered at him from her car as he cruised by. Townsend says “Hope I die before I get old” - is about everything she represented to him. Another version of the story says that Pete was inspired by theQueen Mother, who allegedly had Townshend's 1935Packardhearsetowed off a street inBelgraviabecause she was offended by the sight of it during her daily drive through the neighbourhood. Daltrey delivers ‘My Generation’ with explosive anger and a frustrated stutter. Various stories exist as to the reason for this distinct delivery.Some say it was to mimic the sound of a British mod on amphetamines (speed). But their producer insisted that it was simply "one of those happy accidents" in the studio that he thought they should keep. Daltrey has also commented that he hadn’t rehearsed the song prior to the recording, that he was nervous, and that he was unable to hear his own voice through the monitors. The stutter came about as he tried to fit the lyrics to the music as best he could, and the band decided it worked well enough to keep. The BBC initially refused to play "My Generation" because they didn’t want to offend people who stuttered, but they reversed their decision after the song started climbing the charts. The stuttering also allowed Daltry to imply some swearing during their live shows, "Why don't you all just fff ... fade away!" "My Generation" also featured one of the very first bass solos in rock history. “My Generation” has been named ‘the 11th greatest song rock song of all time’ byRolling StoneMagazine on its list of the500 Greatest Songs of All Time. It’s interesting to note that the man who wrote the lyric ‘hope I die before I get old’, when he reached 30, wrote the lyrics: “Goodbye all you punks. Stay young and stay high. Hand me my check book and I’ll crawl out to die.” SMASHING GEAR As The Who was gaining a reputation as one of the most physically electrifying and ear-splitting live acts, they also became known for their ground-breaking practice of destroying their instruments on stage. Pete Townshend said it was an accident the first time he smashed his guitar. The Who were playing in a small cramped room in west London. The ceiling was damp with condensation, the room was smoky, and smelled of sweat and stale beer. While they were playing … Pete says …”I began to scrape my howling Rickenbacker guitar up and down my microphone stand and as I violently thrust my guitar up into the air—I feel a terrible shudder as the sound goes from a roar to a rattling growl; I look up to see my guitar’s broken head as I pull it away from the hole I’ve just punched in the low ceiling. It is at this moment that I make a split-second decision—and in a mad frenzy I thrust the damaged guitar up into the ceiling over and over again. What had been a clean break becomes a splintered mess. I hold the guitar up to the crowd triumphantly. I haven’t smashed it: I’ve sculpted it for them. I throw the shattered guitar carelessly to the ground, pick up my brand-new Rickenbacker twelve-string and continue the show…. One rule for remaining cool. Always make your mistakes look as if you meant to do them all along. Rolling Stone magazine considered the event so important that it has been included in their list of “50 Moments That Changed Rock & Roll”. So that’s where the boys were at when it came time to make their US television debut. THE SMOTHERS BROTHERS SHOW Meanwhile, a clean-cut innocuous looking set of folk-singing brothers had just been offered their own variety show on the CBC television network – and especially big deal as their were only three major American networks at the time. The show started off very non controversial – as the non-threatening, Ivy league-looking boys next door jumped into a suicide spot as a midseason replacement to desperately take on the competition-destroying juggernaut - Bonanza. Half a dozen shows had already crumbled and disappeared in this timeslot so the network felt it had nothing to lose by giving the Smothers Brothers a go. They never used a laugh track – preferring to get 100% genuine audience reaction. In its day, The Smothers Brothers Comedy Hour was the pop culture equivalent of Saturday Night Live. New and innovative performers like Jimi Hendrix , Donovan, Buffalo Springfield, Harry Neilson, Ike & Tina Turner, Paul Revere and the Raiders, Kenny Rogers and the First Edition, Steppenwolf, The Byrds, The Temptations, The Turtles, Jefferson Airplane, and The Doors - to name but a famous few – were introduced to brand-new audiences during the Smothers Brothers Sunday night time slot. The Beatles even debuted their exclusive U.S. videotape premiere of “Hey Jude” on the show. Now CBS TV had thought they were getting an old-school variety show when they added 'The Smothers Brothers Comedy Hour' to their arsenal. Instead, they wound up with the most cutting-edge TV series to date, riding the edge of the countercultural and political zeitgeist with incisive jabs at the latest news and with appearances by some of the coolest musical acts of the day. The Smothers brothers material became more and more brazen and politically volatile, resulting in constant fights with network censors. They were even censored by censors for a doing a sketch on censorship. Eventually, when the CBS Network executives had had enough, they angrily fired the Smothers Brothers and yanked the show off the air, mid-season. It’s of note that the brothers later sued the network – and won. But back to that night in September, 1967. THE PERFORMANCE They say you never get a second chance to make a first impression. Planned or not, Keith Moon was going to make sure that nobody watching The Who’s US television debut would ever forget the moment. The moment they blew up the television and temporarily brought down CBS. When they were booked for their appearance, they’d just notched their first U.S. Top 10, “I Can See for Miles.” They performed that single earlier in the show and ended with “My Generation.” The legendary drummer Keith Moon had taken to filling his bass drums with flash powder to create a loud noise and bright flash - adding to the instrument-smashing mayhem the rest of the band members had come to finish their shows with. Kieth had already become known as Moon the Loon, a crazy man – to say the least. Some of the things he did over his career included driving his Lincoln Continental into a swimming pool on his 21st birthday, nailing his hotel room furniture to the ceiling – which earned the band a lifetime ban from the Holiday Inn chain, and chasing Townshend through a train car while wielding a knife. On stage one evening, Pete was pissed at Roger for something and swung his guitar at Daltrey – just grazing his arm. Former street fighter Keith punched Townsend in the nose, knocking him out cold on stage. Even Keith Moon’s neighbor - Steve McQueen was fair game. McQueen had just starred as a prisoner in “The Great Escape” and Moon would often march past McQueen’s house dressed as a Nazi. One time Moon took horse tranquilizers just before a show and then passed-out over his drums, mid-set in San Francisco. A drummer was recruited from the audience to finish the show. “I really admire their stamina”, the guy said later. "I only played three songs and I was completely exhausted." In Montreal, they trashed their hotel so badly that they were thrown in jail for a night and they earned a lifetime ban from the Holiday Inn chain. So hiding extra explosives in his drum kitwas par for the course for Moon. Now some say that Keith had gotten the stagehand drunk during the afternoon - bribing him with shots of brandy to add an extra charge and give things an extra kick. And Keith may have added even more himself – on top of what the stagehand had done. All of this was set up without the rest of the band having any clue. Some reports say they’d packed in three times the normal amount of explosives; others say it was more like 10 times the amount he normally used to close out Who shows. Either way, it took the network, the audience, the Smothers Brothers, and even The Who themselves, by complete surprise. When Tommy Smothers introduced the group, he said the audience "was going to be surprised what happens.” They were. And he was too. Townshend nearly took the blast straight to his head. As he emerges from the cloud of smoke, you can see him patting down his hair to make sure it wasn’t on fire. He recalled, “It set my hair alight,” and he would later say the explosion was a factor in his future hearing loss. Keith Moon can be seen launching off his perch, grabbing his arm and rolling around in pain as he reportedly received shrapnel injuries to his arm from an exploded cymbal. As confusion reigned, Tommy even got into the fun, his mouth agape with shock as Pete awkwardly removed Tommy’s acoustic guitar and smashed it to bits. Tommy finished the segment with, “Hey Dick,” he said to his brother, “I’d like to borrow your bass for a minute.” And if that wasn’t enough, just slightly off stage and waiting to go on next, was screen legend Bette Davis, who reportedly fainted when she saw the blast. The velocity of the flash even knocked out the studio cameras for a moment – taking the network temporarily off the air. It became one of the most seminal moments in rock and roll history and saw The Who become household names overnight.

Today’s story is about one of the oddest musical pairings in rock & roll history.
 In 1967, a man who would soon become one of the world’s most legendary acid rock guitarists of all time, agreed to be the warm-up act for a tour by one of the goofiest – but hottest - bubblegum teenybopper groups in America at that time. Yes, it’s true. Jimi Hendrix once opened for The Monkees. Ten shows, in fact. -- They say that aims and ambitions can create strange bedfellows, and in the more naive days of the first decade of classic rock, it’s hard to wrap your mind around such an odd pairing – although keep in mind that in that very same year, The Who opened for Herman’s Hermits. (And as an aside – the 2 minute Herman’s Hermit hit song – I’m Henry The 8th I Am – is one of the most annoying earworm monstrosities of all time. If you look it up and play it, don’t say I didn’t warn you!) So to properly set this up, let’s go back a couple of years earlier. The Monkees – how they came to be. The Monkees were “artificially” assembled in 1965, and by the spring of 1967 – the time of this particular tour – they were arguably the biggest act in America. Aspiring filmmaker Bob Rafelson had actually developed the idea forThe Monkeesa few years earlier, in 1962, but he was never able to sell the series. However, when in 1964 The Beatles' film,“A Hard Day's Night”came out to huge success, it inspired Rafelson to revive his idea forThe Monkees. Rafelson corrects the often-reported assumption that “The Monkees,” was inspired by “A Hard Day’s Night. “I wrote the show six years before the Beatles existed, and the pilot was based on my own life as an itinerant musician when I was 17 years old,” Rafelson continues. “What the Beatlesdid was to create a kind of permission for rock ‘n’ roll to be a popular subject for television.” He and his partner Bert Schneider sold The Monkees TV Show to Screen Gems Television in 1965. The concept was to make a TV version of A Hard Day's Night. An imaginary band like the Beatles – but who hadn’t yet experienced any success. Rafelson & Schneider’s original idea was to cast an existing New York group,The Lovin' Spoonful, who were not well known at the time. However, the band had already signed a record contract, which would have denied Screen Gems the right to market the music from the show – so they were out. What the two television producers eventually decided to do, was run an ad in theHollywood ReporterandDaily Varietyinviting “insane boys, age 17–21” to audition. Here’s the ad: MADNESS!! Auditions. Folk & Roll Musicians-Singers for acting roles in new TV series. Running parts for 4 insane boys, age 17-21. Want spirited Ben Frank’s-types. Must have courage to work. Must come down for an interview. By the way - Ben Frank’s was a Sunset Boulevard, West Hollywood restaurant and favourite late night hangout of rockers like Frank Zappa & the Stones due to its proximity to many recording studios. This “looking for talent”, cattle-call ad drew over 400 aspiring actors and musicians, all of whom were no doubt dreaming of getting paid handsomely to be in a rock band. Some of the hopefuls it attracted, included: PAUL WILLIAMS – who ended up becoming a hugely successful singer, songwriter and actor in his own right. STEPHEN STILLS - best known for his work with Buffalo Springfield and Crosby, Stills, Nash & Young. (Legend says Stills didn’t get the gig because his teeth weren’t straight enough. Stills did however, tip off his friend Peter Tork, and Peter ultimately got the gig. DANNY HUTTON - also answered the ad and auditioned – he’s best known as one of the three lead singers in Three Dog Night. HARRY NILSSON - also responded to the ad and auditioned. Nilsson also went on to be a renowned singer-songwriter himself, and was to become a drinking buddy of John Lennon during his “Lost Weekend” phase. And Nilsson actually had one of his songs later recorded by the Monkees – Cuddly Toy. It was a hit, and Nilsson earned enough in royalties to be able to quit his job at the bank, and begin his own career as a singer. The producers finally settled on the quartet of Micky Dolenz, Davy Jones, Mike Nesmith and Peter Tork – but not before they all went through a series of about 15 separate screen tests each. And then it seemed like overnight – and it really was the textbook description of ‘overnight success’, they went from being a lip-syncing boy band of comedians to becoming genuine international pop stars. Micky once said “it was the equivalent of Leonard Nimoy really becoming a Vulcan.” With a stable of super-talented songwriters lined up to write for them, including Tommy Boyce and Bobby Hart – who wrote the Theme song and Last Train to Clarkesville, Neil Diamond, David Gates – of the band Bread, Andy Kim, Neil Sedaka and Carole King & Gerry Goffin – the hits began to pour in. And combined with the talents of many amazing studio musicians including members of The Wrecking Crew, the Monkees TV show – their music – and their careers – all took off like a rocket. When asked about the sudden rush of fame - Micky Dolenz – who had already experienced a level of fame as a child actor, said, “We were actually rather isolated and secluded from it. Our workload was enormous. We were rehearsing the TV show 10 hours a day and then rehearsing for touring and recording at night - that went on for a couple of years.” It was when they went on tour that it really hit them all. “Nothing could have prepared us for what we were presented with. Usually, you start in a new band and you play at birthday parties or in bowling alley parking lots. Our first Monkees gig was at a 10,000-seat sold-out arena. It was very exciting... and quite daunting. On the other hand, you couldn't hear anything anyway!" [Laughs] The Monkees would go on to sell more than 75 million records,making them one of the top selling bands of all time with hits like "Last Train to Clarksville", "Daydream Believer", "Pleasant Valley Sunday", “I’m Not Your Steppin’ Stone”, and "I'm a Believer". AND … they also had a very cool car. The Monkeemobile! A 1966 candy-apple red Pontiac GTO convertible with some so-sixties, modifications that included a rear-mounted parachute. So there. Critics of the Monkees said they were simply the "Pre-Fab Four", a made-for-TV knockoff ofthe Beatles; however, the Beatles themselves took it in stride and even hosted a party for the Monkees when they visited England. George Harrisonpraised their self-produced musical attempts, saying, "It's obvious what's happening. There's talent there. They're doing a TV show. It’s a difficult chore and I wouldn't want to be in their shoes for the world. Mike Nesmith once asked Lennon "Do you think we're a cheap imitation of the Beatles, your movies and your records?" to which Lennon assuredly replied, "I think you're the greatest comic talent since theMarx Brothers. I've never missed one of your programs." Regardless of what The Beatles thought of them, a good summation of the negative backlash the band was getting can be seen in this article by dance band trombonist Jack Bentley – later the show business editor of the Sunday Mirror newspaper. Titled, “"A Disgrace to the Pop World", Bentley denounced the Monkees as talentless frauds who mimed to music played by others. An outraged Bentley wrote: This idiotic Monkee business — was there ever a bigger spoof pulled on the pop world? … The group’s musical fame is the result of a gigantic Hollywood TV publicity campaign. Americans never forgave the Beatles for not being born there, so they decided to create their own. Even the Monkees’ television show is a prolonged imitation from the Beatles’ films. The fact that the big spoof came off, making the Monkees No.1 on both sides of the Atlantic, is a downright disgrace, an insult to pop fans, a threat to the pop business as a whole and a deterrent to any youngster who has a musical future in mind. Musicians like myself spend years of hard practice before being able to earn a living comparable to a grocery assistant’s. Even the lowliest pop group in Britain can’t get a job withoutsomehard work…. Yet here are a bunch of kids trading on other people’s talents and cashing in on millions. Who can ever regard that No.1 spot with any seriousness again? Musically, comparing the Monkees with the Beatles is like comparing a milk float with a Mercedes. But this critical reputation has softened somewhat over the years, with the recognition that the Monkees were neither the first manufactured group nor unusual in this respect. Yes The Wrecking Crew musicians provided most of the musicianship, but as we now know, there were a LOT of artists using studio talent – bands like the Beach Boys, the Beatles, the Mamas and the Papas, and the Byrds. In fact, the Wrecking Crew played on several hundred Top 40 hits. And it’s been said that the Monkees pioneered the music video format and paved the way for everyboy bandthat followed in their wake. Monkee money also enabled their producers to financethe movies Easy RiderandFive Easy Pieces, which made Jack Nicholson a star. Perhaps it wasn’t so much righteous indignation, but rather, thinly disguised jealousy that motivated the scornful dismissal of what must, in retrospect, be seen as an entertaining, imaginative and highly memorable exercise in pop culture. And let it be known that in 2014 the Monkees were inducted into America's Pop Music Hall of Fame The Monkees Discover Hendrix Back to 1967 – at Monkeemania’s peak. Micky Dolenz was the first Monkee to “discover” Hendrix. While visiting New York, a friend advised him to “check out this amazing musician in the Village who played guitar with his teeth”. Dolenz was impressed but didn’t remember the guitarist’s name until he saw The Jimi Hendrix Experience onstage at the Monterey Pop Festival several months later. Mickey and Peter were sitting in the audience in Monterey, and as Mickey explains, “out walks these three incredibly decorated characters, and I just remember going, that’s the guy who plays guitar with his teeth! Afterwards I told our producers, hey you got to check this guy out! The Monkees were about to embark on a U.S. concert tour and Dolenz strongly suggested to the show producers that Jimi Hendrix and The Experience would be a really cool opening act because they were very theatrical and The Monkees was this theatrical act. Peter Tork and Michael Nesmith supported the choice; as both were anxious to be accepted as serious musicians and believed that Hendrix would lend them some credibility with rock critics and older record buyers. “Besides,” Tork would later say, “it would give us the chance to watch Jimi Hendrix perform night after night!” Mike Nesmith had first heard Hendrix playing "Hey Joe" while listening to a cassette club recording at a dinner party with John Lennon, Paul McCartney and Eric Clapton. (Why don’t I ever get invited to those parties?) Nesmith recalls, "Everyone at the table was silent”. "When the song was over, someone said, 'How could anybody be that good?'" "When I got back to the hotel after that dinner, I ran into Micky. He told me he had seen Hendrix and asked him if he would be the opening act for the next leg of the Monkees tour, and Jimi had agreed." Although Nesmith thought the combination of the Monkees and The Jimi Hendrix Experience - was "staggeringly weird," he couldn't help but let the thrill of seeing this electric new musician in person every night stop him from sensibly challenging the logic of joining up these two different acts. Hendrix already had three hits in England but he was virtually unknown in America. His manager wanted to capitalize on the buzz generated by Jimi’s recent Monterey Pop performance, and The Monkees were just about the biggest act in the country at that time. As theNew York Timesnoted in 2006, "The Monkees wanted respect, and Hendrix wanted publicity." With the goal of attaining a mainstream hit in the United States, Jimi Hendrix and the Experience agreed to join the tour. What could possibly go wrong? The Odd Coupling Tour The Monkees' 1967 summer tour occurred at the height of Monkeemania, visiting 28 different cities in the United States and England throughout July and August. Just five days before they began the tour, the Monkees TV series had taken home two Emmy Awards, including 'Outstanding Comedy Series.' And throughout the tour, The Monkees' third album,Headquarters, was at #2 on the charts behind The Beatles'Sgt. Pepper's Lonely Hearts Club Band. Hendrix joined the tour in Jacksonville, Florida, in July of 1967. The musicians from both bands struck up of a friendship that Nesmith said thankfully outlived the tour. Tales from the Monkees tour reveal that everyone got along great. "He was such a sweet guy," said Tork. "It was really just a pleasure to have him around for company." It’s great that the two bands got along, because Monkees audience members had a slightly different reaction to Mr. Hendrix. The Monkees were playing to 12,000 14-year-old girls, so when Hendrix walked on stage, it was an absolute anomaly. Micky Dolenz said, "The parents were probably not too crazy to begin with about having to sit through a Monkees concert, much less this guy in a psychedelic Day-Glo blouse, playing music from hell, holding his guitar erotically, and then lighting it on fire ... Jimi would amble out onto the stage, fire up the amps and break into … (Micky) “Foxy Lady – wah wah wah – We want Davy! We want Davy! We want the Monkees … It was very embarrassing.” Eventually Hendrix had had enough. He had joined the tour on its first date in Jacksonville, Florida., on July 8, and stuck it out for nine more shows, exiting after a run of three concerts at the Forest Hills Tennis Stadium in New York City in mid July. Jimi walked off the Monkee’s stage for the final time, giving the finger to his audience as he left. And just like that – one of rock and roll’s most unlikely couplings – had come to an end. Jimi Hendrix and The Experience had been scheduled to play 29 tour dates. Of his exit after a mere 10 days of Monkeemania? Hendrix has said that it was just the “wrong audience,” joking that he was being replaced by “Mickey Mouse.” - An aside on Jimi. He had already had some strange employment experiences. Two of them come to mind. A few years before meeting the Monkees, Hendrix had been hired by Little Richard, who then fired him after only one set. Then Ike Turner of Ike & Tina Turner hired him. And shortly thereafter, they fired him. And speaking of odd facts – I want to throw two other odd Monkees facts in here. Mike Nesmith’s mother invented "Liquid Whiteout" in her kitchen in 1951, originally calling the stuffMistake Out. Her correction fluid would go on to be a godsend for millions of typists and bring millions of dollars to herself and then to her son Michael Nesmith. And, did you know that David Bowie’s real name is David Robert Jones. He went by Davy Jones in his early, formative rock & roll days, but he changed his name to Bowie to avoid confusion with the already famous Monkee Davy Jones. He picked Bowie based on frontiersman Jim Bowie and his famous knife. So, as I said, the exposure of being on tour with the hottest act in America DID propel Hendrix and company to the next level, as his music began to be recognized in the United States. "Purple Haze" debuted on the Billboard Hot 100 in August, and as a result, superstardom came quickly for Hendrix. So Monkee-ing around for a few weeks may not have been that bad of an idea at all. And whatever you think of The Monkees’ music, you have to admit that they had one of the most extraordinary careers of any band in rock and roll. --- To support my channel: Patreon: https://www.patreon.com/peterbeamish

In hues of crimson and grace, she perches there, A young female Cardinal, a vision rare. Against my window, she softly peeps, Intriguing, her presence, secrets she keeps. Her feathers, a tapestry of vibrant red, A symphony of colours, by nature spread. Her eyes, bright beads of inquisitive gleam, In them, a world, a whispered dream. As I ponder, what tale does she bring? What melody does she wish to sing? Does she carry a message from skies afar? Or simply seeks solace, under twilight's star? Perhaps she's a harbinger of love's sweet embrace, Or a symbol of hope in this transient space. Her presence, a reminder of nature's profound, In every chirp, a whisper, a sound. Oh, lovely young Cardinal, perched by my side, In your silent gaze, mysteries abide. What secrets do you carry, what stories untold? In your fluttering wings, a message unfolds. So I'll cherish this moment, with you by my pane, A fleeting encounter, not to be in vain. For in your presence, I find solace and grace, A delicate reminder, of life's gentle pace.

"The Sphere," a mesmerizing stainless steel masterpiece crafted by renowned artist Art Price, stands as a captivating emblem of innovation and creativity within the tranquil grounds of the National Research Council of Canada complex on Montreal Road in Ottawa. Rising gracefully from its surroundings, this iconic sculpture embodies the spirit of scientific exploration and artistic ingenuity, captivating the imagination of all who encounter it. Crafted with precision and finesse, "The Sphere" exudes a timeless elegance, its polished surfaces reflecting the ever-changing play of light and shadow. As sunlight dances upon its metallic form, intricate patterns emerge, casting a kaleidoscope of colours and textures that mesmerize and inspire. Each angle offers a new perspective, inviting viewers to embark on a journey of discovery and contemplation. Standing as a beacon of inspiration, "The Sphere" serves as a poignant reminder of the symbiotic relationship between art and science. Its sleek contours and seamless design pay homage to the quest for knowledge and the pursuit of excellence that define the National Research Council of Canada's mission. As a focal point for reflection and dialogue, it sparks conversations and fosters connections, bridging the gap between disciplines and inviting collaboration. Surrounded by lush greenery and pristine landscaping, "The Sphere" commands attention while harmonizing with its natural surroundings. Its presence evokes a sense of wonder and curiosity, beckoning passersby to pause and immerse themselves in its radiant aura. Whether admired from afar or experienced up close, it leaves an indelible impression on all who encounter it, igniting a sense of wonder and awe that transcends boundaries and inspires greatness. In the heart of Ottawa's vibrant landscape, "The Sphere" stands as a testament to the power of art to ignite the imagination and stir the soul. With its timeless beauty and enduring significance, it remains a cherished landmark, enriching the cultural fabric of the city and serving as a symbol of progress and possibility for generations to come.

The water feature inside the National Art Gallery of Canada in Ottawa, is a captivating blend of artistic expression and natural elegance, seamlessly integrated into the architectural landscape of the gallery. Situated at the heart of the gallery's interior, this water feature serves as a serene focal point, inviting visitors to pause and contemplate amidst the bustling environment of artistic exploration. Crafted with meticulous attention to detail, the design of the water feature harmonizes with the gallery's aesthetic ethos, marrying modern sophistication with timeless beauty. Smooth, polished surfaces of marble or granite may encase the water, reflecting the gallery's refined ambiance and enhancing the play of light within the space. The water's gentle movement creates a tranquil ambiance, its soft murmurs offering a soothing soundtrack to the artistic journey unfolding around it. The water feature's design may incorporate elements inspired by the natural world, such as cascading streams, tranquil ponds, or gracefully arcing fountains. These elements evoke a sense of fluidity and motion, mirroring the dynamic energy of creativity and expression found within the gallery's walls. Intricate sculptures or architectural elements may rise from the water, further enriching the visual tapestry and inviting contemplation. Surrounding the water feature, lush greenery or carefully curated landscaping enhances the sense of tranquility, creating a verdant oasis within the gallery's interior. The interplay between water, light, and foliage fosters a harmonious atmosphere, encouraging visitors to engage with the art on display with a heightened sense of mindfulness and appreciation. Whether serving as a reflective pool for contemplation, a dynamic focal point for artistic dialogue, or simply a respite from the bustling gallery experience, the water feature inside the National Art Gallery of Canada is a testament to the power of design to elevate and enrich the human spirit. It stands as a testament to the intersection of art and nature, inviting visitors to immerse themselves in a sensory journey that transcends the boundaries of time and space.

The glass ceiling within the National Art Gallery of Canada is a shimmering canopy that embraces the space with ethereal grace. Like a delicate veil, it allows the soft glow of natural light to filter through, casting a mesmerizing dance of shadows upon the artworks below. This transparent barrier, adorned with intricate patterns and delicate hues, serves as a symbol of artistic aspirations reaching for the heavens.

Skating down the Rideau Canal feels like gliding through a frozen dreamland, where the world slows down to the rhythm of your skates. As the morning sun casts a soft golden glow upon the icy surface, the canal transforms into a sparkling ribbon of possibility, stretching as far as the eye can see. With each stride, the crisp winter air kisses your cheeks, carrying the faint scent of hot chocolate and laughter from nearby vendors. The cityscape of Ottawa stands tall on either side, its historic buildings and modern skyscrapers framed by the frosted branches of trees lining the canal's edge. The sound of blades carving through the ice harmonizes with the gentle hum of chatter and the occasional delighted squeal. Skaters of all ages and abilities share in the joy of this quintessential Canadian experience, weaving effortlessly between clusters of fellow adventurers and pausing occasionally to admire the picturesque views. Whether gliding solo in quiet contemplation or hand in hand with loved ones, skating down the Rideau Canal is a timeless ritual that celebrates the beauty of winter and the camaraderie of community. Music: Neu! by Hallogallo 1972

Loud and bright, you can’t miss this bird. Here it is on a cold sunny February day in Quebec Canada. This is a Pileated woodpecker, often confused with the Red-headed woodpecker. They are two of the most recognizable bird species. One is easily identified by its solid red head, while the other is recognized by its red crest. Both species have overlapping ranges, but that is about as far as similarities go. Pileated Woodpeckers have red crests and long bills, whereas Red-headed Woodpeckers have red heads with a much shorter bill. Their plumages are entirely different, making it easy to tell apart by appearance alone. Also, Pileated Woodpeckers are considerably larger than Red-headed Woodpeckers. The eating habits of these two woodpeckers also differ significantly. One exhibits classic pecking and gleaning behavior, while the other is primarily a flycatcher. We will discuss the differences between the pileated and red-headed woodpecker in more detail throughout the article. Read on to discover more about two fascinating species!

Music: Shuttlecock, by Manuel Göttsching (1977) Shot & edited by Peter Beamish (2023) Shot on an iPhone 15 Pro Max

3 laps = 1 mile Music: Echo Waves, Manuel Göttsching (1974) Shot & edited by Peter Beamish (2023) Shot on an iPhone 15 Pro Max

Music: Dream, Manuel Göttsching (1977) Shot & edited by Peter Beamish (2023) Shot on an iPhone 15 Pro Max

Music: Die Mulde, Manuel Göttsching (2005) Shot & edited by Peter Beamish (2023) Shot on an iPhone 15 Pro Max

Music: Pluralis, by Manuel Gottsching (1975) Shot & edited by Peter Beamish (2023) I took the November Noon Train To T.O. on a pastel-palleted day. “Enjoy the way”, suggests VIARail. And I did. Shot on an iPhone 15 Pro Max.

A chilly November Ottawa afternoon. The pond is near-frozen. The golden Ginko leaves have all floated to the ground, creating a yellow-leafed carpet. And suddenly, a splash of red appears.

Tell me what you want (and I’ll give you what you need). I think everyone got both what they wanted and what they needed from the 53-year-old-strong rock & roll band from San Jose, California. Some deep cuts, some hits, some interpretations and some jamming. All resulting in a night of sweet, sweet music. Here’s a few highlights for the fans among you who love to keep rockin’ down the highway.

Ideal for relaxing, meditating and vibing out. This video will relieve your stress and mellow your mind. Also ideal for those who are shut-in or otherwise unable to enjoy the great outdoors at the moment. A crisp, autumn, October Canadian morning, as I ride my Radrunner 3+ from Shirley’s Bay through forest and city trails, along the Ottawa River, Rideau Canal, beaches and bridges to my home in Old Ottawa East, Oct 2nd 2023. Enjoy the Fall kaleidoscope of colours along with a wonderful music track that will take you on a calming psychedelic journey. Original music by Silas Durocher, https://youtu.be/ICmWwxaTmB8?si=PzDVANfXUMgMqRAZ