The origins of the group lie in Hawthorne, California, a southern suburb of Los Angeles situated close to the Pacific coast. The three sons of a part-time song plugger and occasionally abusive father, Brian, Dennis, and Carl grew up a just few miles from the ocean -- though only Dennis had any interest in surfing itself. The three often harmonized together as youths, spurred on by Brian's fascination with '50s vocal acts like the Four Freshmen and the Hi-Lo's. Their cousin Mike Love often joined in on the impromptu sessions, and the group gained a fifth with the addition of Brian's high school football teammate, Al Jardine. His parents helped rent instruments (with Brian on bass, Carl on guitar, andDennis on drums) and studio time to record "Surfin'," a novelty number written by Brian and Mike. The single, initially released in 1961 on Candix and billed to "the Pendletones" (a musical paraphrase of the popular Pendleton shirt), prompted a little national chart action and gained the renamed Beach Boys a contract with Capitol. The group's negotiator with the label, the Wilsons' father, Murray, also took over as manager for the band. Before the release of any material for Capitol, however, Jardine left the band to attend college in the Midwest. A friend of the Wilsons', David Marks, replaced him.
Finally, in mid-1962 the Beach Boys released their major-label debut, Surfin' Safari. The title track, a more accomplished novelty single than its predecessor, hit the Top 20 and helped launch the surf rock craze just beginning to blossom around Southern California (thanks to artists like Dick Dale, Jan & Dean, the Chantays, and dozens more). A similarly themed follow-up, Surfin' U.S.A., hit the Top Ten in early 1963 before Jardine returned from school and resumed his place in the group. By that time, the Beach Boys had recorded their first two albums, a pair of 12-track collections that added a few novelty songs to the hits they were packaged around. Though Capitol policy required the group to work with a studio producer, Brian quickly took over the sessions and began expanding the group's range beyond simple surf rock.
By the end of 1963, the Beach Boys had recorded three full LPs, hit the Top Ten as many times, and toured incessantly. Also, Brian began to grow as a producer, best documented on the third Beach Boys LP, Surfer Girl. Though surf songs still dominated the album, "Catch a Wave," the title track, and especially "In My Room" presented a giant leap in songwriting, production, and group harmony -- especially astonishing considering the band had been recording for barely two years.Brian's intense scrutiny of Phil Spector's famous Wall of Sound productions was paying quick dividends and revealed his intuitive, unerring depths of musical knowledge.
The following year, "I Get Around" became the first number one hit for the Beach Boys. Riding a crest of popularity, the late 1964 LP Beach Boys Concert spent four weeks at the top of the album charts, just one of five Beach Boys LPssimultaneously on the charts. The group also undertook promotional tours of Europe, but the pressures and time constraints proved too much for Brian. At the end of the year, he decided to quit the touring band and concentrate on studio productions. (Glen Campbell toured with the group briefly, then friend and colleague Bruce Johnston became Brian's permanent replacement.)
With the Beach Boys as his musical messengers to the world,Brian began working full-time in the studio, writing songs and enlisting the cream of Los Angeles session players to record instrumental backing tracks before Carl, Dennis, Mike, and Alreturned to add vocals. The single "Help Me, Rhonda" becamethe Beach Boys' second chart-topper in early 1965. On the group's seventh studio LP, The Beach Boys Today!, Brian's production skills hit another level entirely. In the rock era's first flirtation with an extended album-length statement, side two of the record presented a series of downtempo ballads, arranged into a suite that stretched the group's lyrical concerns beyond youthful infatuation and into more adult notions of love.
Two more LPs followed in 1965, Summer Days (And Summer Nights!!) and Beach Boys' Party. The first featured "California Girls," one of the best fusions of Brian's production mastery, infectious melodies, and gorgeous close harmonies (it's still his personal favorite song). However, dragging down those few moments of brilliance were novelty tracks like "Amusement Parks USA," "Salt Lake City," and "I'm Bugged at My Old Man" that appeared to be a step back fromToday. When Capitol asked for a Beach Boys record to sell at Christmas, the live-in-the-studio vocal jam session Beach Boys' Party resulted, and sold incredibly well after the single "Barbara Ann" became a surprise hit. In a larger sense though, both of these LPs were stopgaps as Brianprepared for production on what he hoped would be the Beach Boys' most effective musical statement yet.
In late 1965, the Beatles released Rubber Soul. Amazed at the high song quality and overall cohesiveness of the album,Brian began writing songs -- with help from lyricist Tony Asher -- and producing sessions for a song suite charting a young man's growth to emotional maturity. Though Capitol was resistant to an album with few obvious hits, the group spent more time working on the vocals and harmonies than any other previous project. The result, released in May 1966 asPet Sounds, more than justified the effort. It's still one of the best-produced and most influential rock LPs ever released, the culmination of years of Brian's perfectionist productions and songwriting. Critics praised Pet Sounds, but the new direction failed to impress American audiences. Though it reached the Top Ten, Pet Sounds missed a gold certificate (the first to do so since the group's debut LP). Conversely, world-wide reaction was not just positive but jubilant. In England, the album hit number two and earned the Beach Boys honors for best group in year-end polls by NME -- above even the Beatles, hardly slouches themselves with the releases of "Paperback Writer"/"Rain" and Revolver.
the Beach Boys' next single, "Good Vibrations," had originally been written for the Pet Sounds sessions, though Brian removed it from the song list to give himself more time for production. He resumed working on it after the completion of Pet Sounds, eventually devoting up to six months (and three different studios) to the single. Released in October 1966, "Good Vibrations" capped off the year as the group's third number one single and still stands as one of the best singles of all time. Throughout late 1966 and early 1967, Brian worked feverishly on the next Beach Boys LP -- a project named Dumb Angel, but later titled SMiLE, that promised to be as great an artistic leap beyond Pet Sounds as that album had been from Today. He drafted Van Dyke Parks, an eccentric lyricist and sessionman, as his songwriting partner, and recorded reams of tape containing increasingly fragmented tracks that grew ever more speculative as the months wore on. Already wary of Brian's increasingly artistic leanings and drug experimentation, the other Beach Boys grew hostile when called in to the studio to add vocals for Parks lyrics like, "A blind class aristocracy/Back through the opera glass you see/The pit and the pendulum drawn/Columnaded ruins domino/Canvas the town and brush the backdrop" (from "Surf's Up"). A rift soon formed between the band and Brian; they felt his intake of marijuana and LSD had clouded his judgment, while he felt they were holding him back from the coming psychedelic era.
As recording for SMiLE dragged on into spring 1967, Brian began working fewer hours. For the first time in the Beach Boys' career, he appeared unsure of his direction. If SMiLE ever appeared salvageable, those hopes were dashed in May, when Brian officially canceled the project -- just a few weeks before the release of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. In August, the group finally released a new single, "Heroes and Villains." Very similar to the fragmentary style of "Good Vibrations," though a distinctly inferior follow-up, it missed the Top Ten. That fall, the group convened at Brian's Bel Air mansion-turned-studio and recorded new versions of several SMiLE songs plus a few new recordings and re-emerged with Smiley Smile. Carl summed up the LP as "a bunt instead of a grand slam," and its near-complete lack of cohesiveness all but destroyed the group's reputation for forward-thinking pop.
As the Beatles were ushering in the psychedelic age, the Beach Boys stalled with the all-important teen crowd, who quickly began to see the group as conservative, establishment throwbacks. The perfect chance to stem the tide, a headlining spot at the pioneering Monterey Pop Festival in summer 1967, was squandered. Though the Beach Boys regrouped quickly -- the back-to-basics Wild Honey LP appeared before the end of 1967 -- their hopes of becoming the world's pre-eminent pop group with both hippies and critics had fizzled in a matter of months.
All this incredible promise wasted made fans, critics, and radio programmers undeniably bitter toward future product. Predictably, both Wild Honey and 1968's Friends suffered with all three audiences. They survive as interesting records nevertheless; deliberately under-produced, with song fragments and recording-session detritus often left in the mix; the skeletal blue-eyed soul of Wild Honey and the laid-back orchestral pop of Friends made them favorites only after fans realized the Beach Boys were a radically different group in 1968 than in 1966. Sparked by the Top 20 hit "Do It Again" -- a song that saw the first shades of the group as an oldies act -- 1969's 20/20 did marginally better. Still, Capitol dropped the band soon after. One year later, the Beach Boys signed to Reprise.
The first LP for Brother/Reprise was 1970's Sunflower, a surprisingly strong album featuring a return to the gorgeous harmonies of the mid-'60s and many songs written by different members of the band. Surf's Up, titled after a reworked song originally intended for SMiLE, followed in 1971. Though frequently lovable, the wide range of material on Surf's Up displayed not a band but a conglomeration of individual interests. During sessions for the album, Dennis put his hand through a plate glass window and was unable to play drums. Early in 1972, the band hired drummer Ricky Fataarand guitarist Blondie Chaplin, two members of a South African rock band named the Flame (Carl had produced their self-titled debut for Brother Records the previous year).
Carl and the Passions: So Tough, the first album released with Fataar and Chaplin in the band, descended into lame early-'70s AOR. For the first time, a Beach Boys album retained nothing of their classic sound. Brian's mental stability wavered from year to year, and he spent much time in his mansion with no wish to even contact the outside world. He occasionally contributed to the songwriting and session load, but was by no means a member of the band anymore (he rarely even appeared on album covers or promotional shots). Though it's unclear why Reprise felt ready to take such a big risk, the label authorized a large recording budget for the next Beach Boys album. After shipping most of the group's family and entourage (plus an entire studio) over to Amsterdam, the Beach Boys re-emerged in 1973 with Holland. The LP scraped the bottom rungs of the Top 40, and the single "Sail On, Sailor" (with vocals by Chaplin) did receive some FM radio airplay. Still, Holland's muddy sound did nothing for the aging band, and it earned scathing reviews.
Perhaps a bit gun-shy, the Beach Boys essentially retired from recording during the mid-'70s. Instead, the band concentrated on grooming their live act, which quickly grew to become an incredible experience. It was a good move, considering the Beach Boys could lay claim to more hits than any other '60s rock act on the road. The Beach Boys in Concert, their third live album in total, appeared in 1973.
Then, in mid-1974, Capitol Records went to the vaults and issued a repackaged hits collection, Endless Summer. Both band and label watched, dumbfounded, as the double LP hit number one, spent almost three years on the charts, and went gold.Endless Summer capitalized on a growing fascination with oldies rock that had made Sha Na Na, American Graffiti, and Happy Days big hits. Rolling Stone, never the most friendly magazine to the group, named the Beach Boys its Band of the Year at the end of the year. Another collection, Spirit of America, hit the Top Ten in 1974, and the Beach Boys were hustled into the studio to begin new recordings.
Trumpeted by the barely true marketing campaign "Brian's Back!," 1976's 15 Big Ones balanced a couple of '50s oldies, like Chuck Berry's "Rock And Roll Music" which was their first top 5 single since "Good Vibrations", with some justifiably exciting Brian Wilson oddities like "Had to Phone Ya." It also hit the Top Ten and went gold, despite many critical misgivings. Brian took a much more involved position for the following year's The Beach Boys Love You (it was almost titled Brian Loves You and released as a solo album). In marked contrast to the fatalistic early-'70s pop of "Til I Die" and others, Brian sounded positively jubilant on gruff proto-synth pop numbers like "Let Us Go on This Way" and "Mona." However idiosyncratic compared to what oldies fans expected of the Beach Boys, Love You was the group's best album in years. (A suite of beautiful, tender ballads on side two was quite reminiscent of 1965's Today.)
After 1979's M.I.U. Album, the group signed a large contract with CBS that stipulated Brian's involvement on each album. However, his brief return to the spotlight ended with two dismal efforts, L.A. (Light Album) and Keepin' the Summer Alive. the Beach Boys began splintering by the end of the decade, with financial mismanagement by Mike Love's brothers Stan and Steve fostering tension between him and the Wilsons. By 1980, both Dennis and Carl had left the Beach Boys for solo careers. (Dennis had already released his first album, Pacific Ocean Blue, in 1977, and Carl released his eponymous debut in 1981.) Brian was removed from the group in 1982 after his weight ballooned to over 300 pounds, though the tragic drowning death of Dennis in 1983 helped bring the group back together. In 1985, the Beach Boys released a self-titled album which returned them to the Top 40 with "Getcha Back." It would be the last proper Beach Boys album of the '80s, however.
Brian had been steadily improving in both mind and body during the mid-'80s, though the rest of the group grew suspicious of his mentor, Dr. Eugene Landy. Landy was a dodgy psychiatrist who reportedly worked wonders with the easily impressionable Brian but also practically took over his life. He collaborated with Brian on the autobiography Wouldn't It Be Nice and wrote lyrics for Brian's first solo album, 1988's Brian Wilson. Critics and fans enjoyed Wilson's return to the studio, but the charts were unforgiving, especially with attention focused on the Beach Boys once more. The single "Kokomo," from the soundtrack to Cocktail, hit number one in the U.S. late that year, prompting a haphazard collection named Still Cruisin'. The group also sued Brian, more to force Landy out of the picture than anything, and Mike Love later sued Brian for songwriting royalties (Brian had frequently admitted Love's involvement on most of them).
Despite the many quarrels, the Beach Boys kept touring during the early '90s, and Mike and Brian actually began writing songs together in 1995. Instead of a new album though, the Beach Boys returned with Stars and Stripes, Vol. 1, a collection of remade hits with country stars singing lead and the group adding backing vocals. Also, a Brian Wilson documentary titled I Just Wasn't Made for These Times aired on the Disney Channel, with an accompanying soundtrack featuring spare renditions of Beach Boys classics by Brian himself. Just as the band appeared to be pulling together for a proper studio album, though, Carl died of cancer in 1998.
Ten years after his first solo album, Brian became aware of his immense influence on the alternative rock community; he worked with biggest fans Sean O'Hagan (of the High Llamas) and Andy Paley on a series of recordings. Again, good intentions failed to carry through as the recordings were ditched in favor of another overly produced, mainstream-slanted work, Imagination. By early 1999, no less than three Beach Boys-connected units were touring the country -- a Brian Wilson solo tour, the "official" Beach Boys led by Mike Love, and the "Beach Boys Family" led by Al Jardine.
In 2000, Capitol instituted a long-promised reissue campaign, focusing on the group's long out of print '70s LPs, and updated remastering of the '60s LPs followed soon after. Brian Wilson continued his solo career into the 2000s with a string of popular albums, including a live run-though of Pet Sounds (Pet Sounds Live) and, in 2004, a concert tour as well as a re-recording around SMiLE. The surviving members next united in 2006 to commemorate the 40th anniversary of Pet Sounds. Two years later, however, Jardine was forced to settle a lawsuit brought by Love and Carl Wilson's estate over the use of the Beach Boys' name in his touring band (which was renamed the Endless Summer Band).
Regardless of legal actions and strained relations, all of the band's surviving members were on hand in June 2011 for a special announcement: forthcoming were new live dates, reissues (including the first-ever release of The Smile Sessions; it appeared at the end of 2011), new recordings, and a spate of planned releases for 2012 that would feature all of the surviving members of the band who contributed the most to their '60s prime: Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, and even David Marks. The new recordings included a version of their 1968 hit "Do It Again," and by June 2012, a full album, including 12 original songs produced by Wilson and given the title of its first single, That's Why God Made the Radio; the album generated generally positive reviews and debuted at number 3 on the Billboard 200. Just before their 50th anniversary tour ended, in late September, Love announced that additional tour dates for the rest of 2012 would not include Brian Wilson, Jardine, or Marks. The brief reunion was commemorated on the May 2013 live album The Beach Boys Live: The 50th Anniversary Tour.
Decision: 36 top 40 hits and 15 top 10 hits. The summer band! ....and Pop Music HOFers.....
The Four Seasons
The Four Seasons are an American rock and pop band who became internationally successful in the mid-1960s. The Vocal Group Hall of Fame has stated that the group was the most popular rock band before the Beatles. Since 1970, they have also been known at times as Frankie Valli and the Four Seasons.
In 1960, the group known as the Four Lovers evolved into the Four Seasons, with Frankie Valli as the lead singer, Bob Gaudio (formerly of the Royal Teens) on keyboards and tenor vocals, Tommy DeVito on lead guitar and baritone vocals, and Nick Massi on bass guitar and bass vocals.
The legal name of the organization is the Four Seasons Partnership, formed by Gaudio and Valli after a failed audition in 1960. While singers, producers, and musicians have come and gone, Gaudio and Valli remain the group's constant (with each owning fifty percent of the act and its assets, including virtually all of its recording catalog). Gaudio no longer plays live, leaving Valli the only member of the group from its inception that is currently touring.
The Four Seasons (group members 1960–1966) were inducted into the Rock and Roll Hall of Fame in 1990, and joined the Vocal Group Hall of Fame in 1999. They are one of the best-selling musical groups of all time, having sold an estimated 100 million records worldwide.
Frankie Valli's first commercial release was "My Mother's Eyes" (as Frankie Valley) in 1953. The following year, he and Tommy DeVito formed the Variatones (with Hank Majewski, rhythm guitar, Frank Cattone, accordion, and Billy Thompson, drums), which between 1954 and 1956 performed and recorded under a variety of names before settling on the name The Four Lovers. The same year, the quartet released their first record, "You're the Apple of My Eye", which appeared on the Billboard Hot 100 singles chart, peaking at #62. Five additional Four Lovers singles (on RCA Victor) were released over the next year, with virtually no sales, airplay, or jukebox play. In 1957, the group's seventh single (this time on Epic) had a similar lack of success.
From 1956 until 1960, the group stayed together, performing in clubs and lounges as the Four Lovers and recording on various record labels with various names: Frankie Tyler, Frankie Valley, Frankie Valley and the Travelers, Frankie Valle and the Romans, the Village Voices, and the Topics are some of the 18 "stage names" used individually or collectively by the members of the group.
In 1958, the group started working with producer Bob Crewe, primarily with session work (Crewe wrote "I Go Ape", which Valli recorded with the intention of releasing it as a "solo" single). Later that year, the Four Lovers were performing inBaltimore on the same stage as the Royal Teens, who were riding the wave of success of "Short Shorts", a song co-written by then-15-year-old Bob Gaudio, who was also the Royal Teens' guitarist.
The next year, Gaudio replaced Nick DeVito in the lineup, with Gaudio doubling as both keyboardist and guitarist, andCharles Calello replaced Majewski on bass (Calello would soon return as the group's arranger). In 1960, Calello left and was replaced by Nick Massi.
Despite the change of personnel, the fortunes of the Four Lovers did not change at the beginning of 1960, when they failed an audition for a lounge at a Union Township, Union County, New Jersey bowling establishment. According to Gaudio, "We figured we'll come out of this with something. So we took the name of the bowling alley. It was called the Four Seasons." Despite the last few years of frustration of the Four Lovers, this proved to be the turning point for the group: on a handshake between keyboardist/composer Bob Gaudio and lead singer Frankie Valli, the Four Seasons Partnership was formed.
The Four Seasons released their first single in 1961 ("Bermuda"/"Spanish Lace" on Gone Records). The single did not chart. The group began working with producer Bob Crewe as background vocalists, and sometimes leads under different group names, for his productions on his own Topix label. Bob Gaudio eventually wrote a song that, after some discussion between Crewe and Gaudio, was titled "Sherry". The song was recorded and Crewe, along with members of the group, went about soliciting labels to release the record. It was Frankie Valli who spoke with Randy Wood, West coast sales manager for Vee-Jay Records (not the founder of Dot Records) who, in turn, suggested the release of "Sherry" to the decision makers at Vee-Jay. "Sherry" made enough of an impression that Crewe was able to sign a deal between his production company and Vee-Jay for its release. At the time, the Four Seasons were signed, as artists, to Crewe's production company. They were the first white artists to sign with Vee-Jay.
In 1962, the group released their first album, featuring the single "Sherry", which was not only their first charted hit but also their first number-one song. Under the guidance ofproducer/songwriter Bob Crewe, the Four Seasons followed up "Sherry" with several million-selling hits, including "Big Girls Don't Cry" (their second #1 hit), "Walk Like a Man" (their third #1), "Candy Girl", "Ain't That a Shame", and several others. In addition, they released a Christmas album in December 1962 and charted with a unique rendition of "Santa Claus Is Coming to Town".
From 1962 to early 1964, only the Beach Boys matched the Four Seasons in record sales in the United States, and their first three Vee-Jay non-holiday single releases marked the first time that a rock band hit #1 on the Billboard singles charts with three consecutive entries (ignoring their version of "Santa Claus Is Coming to Town").
The Four Seasons in 1966Despite the group's success, Vee-Jay Records was in financial distress. The label had released several early Beatles singles in America. When the Beatles became wildly popular, Vee-Jay was swamped with orders, and they shipped more than two million Beatles records in a single month. The huge demands of mass production, the cash-flow problems involved, and the loss of the Beatles when Trans-Global (a firm licensed by EMI to distribute its products) canceled Vee-Jay's contract on August 3, 1963, due to non-payment of royalties, found Vee-Jay hard pressed to stay afloat. Vee-Jay continued to produce one Beatles album (in various forms) in defiance of the cancellation. After over a year of legal negotiations, Capitol Records was finally able to stop Vee-Jay, effective October 15, 1964. While the label went through internal turmoil with the Beatles and Capitol Records, a royalty dispute between Vee-Jay and the Four Seasons headed to court. In January 1964, after several successful albums and lack of money from Vee-Jay, the Seasons left Vee-Jay and moved to Philips Records, then a division of Mercury Records. In the 1965 settlement of the lawsuit, Vee-Jay retained release rights for all material the group recorded for the label. Vee-Jay exercised those rights liberally over the following year. The group was obligated to deliver one final album to Vee-Jay, which they did in the form of a "faux" live LP. When Vee-Jay was declared bankrupt in 1966, the Four Seasons' Vee-Jay catalog reverted to the band and the tracks were reissued by Philips.
The change of label did not diminish the popularity of the Four Seasons in 1964, nor did the onslaught of the British Invasion and Beatlemania. In fact, the Seasons are the only act to have a Hot 100 #1 hit before, during, and after the years that the Beatles had their Hot 100 #1 hits. However, "Dawn (Go Away)" (recorded for Atlantic Records, but never released by them), was kept from the #1 spot on the Hot 100 by no fewer than three Beatles singles in the March 21, 1964, edition (two weeks later, the top five slots were filled by Beatles singles).
In a two-record set dubbed The Beatles vs. the Four Seasons: The International Battle of the Century!, Vee-Jay created an elaborate two-disc package that the purchaser could use to write on and score individual recordings by their favorite artist. The discs were reissues of the albums Introducing... The Beatles and Golden Hits of the Four Seasons, featuring each original album's label, title and catalog number. Today, this album package is a collector's item.
Nick Massi left the Four Seasons in September 1965. The group's arranger, Charles Calello (a former member of the Four Lovers), stepped in as a temporary replacement. A few months later, Joe Long was permanently hired. Joe became the mainstay on bass and backing vocals until 1975. In the meantime, the Four Seasons released recordings under a variety of names, including the Valli Boys, the Wonder Who?, and Frankie Valli: every Valli "solo" recording from 1965 to "My Eyes Adored You" in 1975 had the same production team as the Four Seasons ones that were recorded at the same time; his first post-1950s single without the Seasons was 1975's "Swearin' to God".
More Top 20 singles followed in 1965, 1966, and 1967, including "Let's Hang On!", "Don't Think Twice, It's All Right" (as the Wonder Who?), "Working My Way Back to You", "Opus 17 (Don't You Worry 'bout Me)", "I've Got You Under My Skin", "Can't Take My Eyes Off You" (released under Valli's name as a "solo" single), "Beggin'", "Tell It to the Rain", "C'mon Marianne", and "I Make a Fool of Myself" (Frankie Valli "solo"). "Will You Love Me Tomorrow" was the group's last top 40 hit for seven years (reaching #24), just after Valli's last "solo" hit of the 1960s, the #29 "To Give (The Reason I Live)".
By 1969 the group's popularity had deteriorated as public interest moved towards rock with a harder edge, deeper soul music, and music with more socially conscious lyrics. Aware of that, Bob Gaudio partnered with folk-rock songwriter Jake Holmes to write the songs for The Genuine Imitation Life Gazette, a bid at a concept album discussing contemporary issues from the group's standpoint as thirty something men. The album cover was designed to resemble a newspaper's front page, pre-dating Jethro Tull's Thick as a Brick by several years. But the album was a commercial failure. The Seasons' last single on Philips, "Patch of Blue," featured the group's name as "Frankie Valli & the 4 Seasons," but the change in billing did not alter the act's lack of success in 1970.
After leaving Philips, the Four Seasons recorded a one-off single for the Warner Brothers label in England. John Stefan, the band's lead trumpeter, had arranged the horn section parts for these recordings. These songs showed how versatile the Four Seasons were, introducing a fresh new R&B breakaway style from their already famous sound. This single was never released in the USA. The songs were "Sleeping Man" backed with "Whatever You Say".
Following that single, the group signed to Motown with disastrous results. The first LP, Chameleon, failed to sell after it was released by Motown subsidiary label MoWest Records in 1971. A Frankie Valli "solo" single from 1971 ("Love Isn't Here" on Motown) and three Four Seasons singles ("Walk On, Don't Look Back" on MoWest in 1972, "How Come" and "Hickory" on Motown in 1973) sank without a trace. A recording that was destined to reach the upper parts of the UK Singles Chart, "The Night", was not commercially released as a single by Motown in the United States after promotional copies (showing the artist as Frankie Valli) were distributed in 1971.
In late 1973 and early 1974, the Four Seasons recorded eight songs for a planned second Motown album, which the company refused to release to the public. Later in 1974, the record label and the band parted ways. On behalf of the Four Seasons Partnership, Valli initially tried to purchase the entire collection of master recordings the group had made for Motown; upon hearing the amount needed to buy them all, he arranged to purchase one recording for $4000 (US): "My Eyes Adored You".
Valli took the tape to Private Stock Records' owner and founder Larry Uttal, who, after repeated listenings of the Four Seasons recording, wanted to release it as a Frankie Valli "solo" single. While the group remained unsigned in the later part of 1974, Valli had a new label—and a new solo career.
While the hits for the Four Seasons had dried up in the first half of the 1970s, the group never lost its popularity as a performing act. Longtime member Joe Long stayed in the group until 1975. The new lineup boasted two new lead singers in Don Ciccone (formerly of the Critters) and Gerry Polci, who eased the singing load on an ailing Frankie Valli (who was gradually losing his hearing due to otosclerosis, though eventually surgery restored most of it).
As "My Eyes Adored You" climbed the Hot 100 singles chart in early 1975, Valli and Gaudio managed to get the Four Seasons signed with Warner Bros. Records as the disco era dawned. At the same time, Uttal was persuaded to release The Four Seasons Story, a two-record compilation of the group's biggest hit singles from 1962 to 1970. It quickly became agold record, selling over one million copies before the RIAA started awarding platinum records for million-selling albums.
In 1975, record sales exploded for both Valli and the Four Seasons as both acts had million-selling singles in the United States ("My Eyes Adored You" hit #1 on the Hot 100 for Valli in March, "Who Loves You" peaked at #3 in November for the group). In the United Kingdom, Tamla Motown released "The Night" as a single and saw it reach the #7 position on the UK Singles Chart. "My Eyes Adored You" was also a Top 10 hit in the United Kingdom, in February of that year.
Valli had his first truly solo hit in the summer of 1975 when the Bob Crewe-produced "Swearin' to God" followed "My Eyes Adored You" into the upper reaches of the Hot 100, peaking at the #6 position and capitalizing on the growing disco craze. The song was released in three forms: the eight-minute album version, the ten-minute extended 12-inch single version, and the three-minute single version.
The album Who Loves You became a surprise million-seller for the group, as it was the first Four Seasons album to prominently feature lead vocals by anyone other than Valli ("Sorry" on Half & Half had featured Gaudio, DeVito and Long minus Valli, while "Wall Street Village Day" on Genuine Imitation Life Gazette featured Valli on just a couple of 'bridge' section lead vocal lines). Gerry Polci did about half of the lead vocals, sharing them with Valli and one lead by Ciccone ('Slip Away'). The title song had Valli doing the lead on the verses, but none of the trademark falsettos in the chorus. It was a Top 10 British hit in October 1975, relaunching their career there. "December, 1963 (Oh, What a Night)" had Polci singing lead on the verses, Ciccone featured on specific sections, and Valli doing lead vocals only on the two bridge sections and backup vocals on the chorus. "Silver Star" had Polci doing all the lead vocals, with Valli absent from the recording.
The Four Seasons opened 1976 atop the Billboard chart with their fifth #1 single, "December, 1963 (Oh, What a Night)", co-written by Bob Gaudio and his future wife Judy Parker. The single also hit number one in the United Kingdom. Although the group also scored minor chart placements with "Silver Star" (#38), "Down the Hall" (#65 in 1977) both sung by Polci, and "Spend the Night in Love" (#91 in 1980) which again featured Polci as main Lead vocalist and Valli singing the bridge section and contributing to backup group vocals, "December, 1963" marked the end of the Seasons' hit-making run. Both singles were hits in the United Kingdom, with Silver Star making the Top 10. (A dance remix version of "December 1963" returned them briefly to the upper reaches of the Billboard singles charts almost two decades later.)
The success of Who Loves You increased the popularity of the Four Seasons as a touring group and reignited recording unit, but when 1977's Helicon album was released by Warner Bros., the climate was changing again, both for the group and for Valli. The new record yielded only one USA single, "Down the Hall", which limped onto the Hot 100. In the UK they had chart hits with both "Down The Hall" and "Rhapsody" (with verses sung by Don Ciccone and Valli appearing to notable effect only as lead voice over group harmonies on the chorus). At the same time, Valli's string of solo hits had come to an end as he parted ways with Private Stock Records. Helicon saw Polci and Ciccone heavily featured as lead vocalists, Valli, besides his co-lead chorus vocal on "Rhapsody" and some backing vocals, only taking a brief bridge lead vocal on two songs that were largely sung by Polci, though on "New York Street Song (No Easy Way)", Valli also clearly stands out over the group harmonies on two notable a cappella sections. Plus Valli took one solo lead vocal role on the album's concluding song, the brief Gaudio-Parker-penned "I Believe in You".
Excluding Valli's 1978 "Grease" single, which hit #1 while the motion picture of the same name became the highest-grossing musical in cinematic history, the last Top 40 hit for the group was behind them. Both Valli and the group released singles and albums on an occasional basis, but after "Grease", only a remixed version of their biggest seller, "December 1963" would visit the upper half of the Hot 100 (in 1994).
In January 1981 Warner released Frankie Valli & the Four Seasons Reunited Live. Produced by Bob Gaudio, it was a double album of concert recordings which included the two studio recordings "Spend The Night in Love" and "Heaven Must Have Sent You (Here in The Night)" sung by Valli. The latter became a UK single but failed to chart, while the former was released as a single in America, inching its way into the Hot 100.
In 1984, a long-awaited collaboration between the Four Seasons and the Beach Boys, East Meets West, was released on FBI Records, owned by the Four Seasons Partnership. The record did not sell well. It only appeared to feature Valli from the Four Seasons group, but most of the surviving Beach Boys, including even Brian Wilson, took a solo vocal part.
Even after the rise and fall of the group's sales in the disco era, the Four Seasons, in one version or another (the group became a sextet as Jerry Corbetta, formerly of Sugarloaf, joined the lineup), continued to be a popular touring act, with Valli being the only constant in the midst of a fluctuating lineup. Although Gaudio is still officially part of the group (he and Valli are still equal partners in the Four Seasons Partnership), he now restricts his activities to writing, producing, and the occasional studio work.
In August 1985, MCA Records released the group album Streetfighter which yielded two singles in the title track and "Book Of Love", a post-disco-style revamp of the Monotones' 1957 recording.
In September 1992, a group album was released entitled Hope + Glory on the MCA/Curb label.
The latest edition of the Four Seasons, including Valli, conducted a North American tour in the latter half of 2007. Incidental to this tour, the massive 3CD + 1DVD box set ...Jersey Beat... The Music Of Frankie Valli & the 4 Seasons was released in mid-2007, marketed as the most comprehensive collection of Four Seasons music yet. The album title Jersey Beat is a play on Jersey Boys, a wildly successful Broadway musical about the Four Seasons.
In 2008, the Four Seasons' "Beggin'" was revived not by one but by two acts. Pilooski made an electro remix of that song, while rap act Madcon used it as the basis of their song "Beggin'". The latter went to number 5 in the UK charts and was a hit across Europe. The song was featured in a TV commercial for adidas shoes entitled "Celebrate Originality". The Adidas commercial is a popular hit on YouTube and features a house party with famous celebrities such as David Beckham, Russel Simmons, Kevin Garnett, Missy Elliott, Katy Perry, and Mark Gonzales.
Since 2008 Frankie Valli has continued to tour worldwide with a new group of Four Seasons consisting of Todd Fournier, Brian Brigham, Brandon Brigham, and Landon Beard providing him with backup vocal harmonies.
Decision: With 31 top 40 hits, and 15 top 10's(not including Frankie Valli as a solo artist), the Four Seasons are Pop Music HOFers...
Herb Alpert
With Lou Adler, Alpert co-wrote a number of Sam Cooke's most enduring hits, including "Wonderful World" and "Only Sixteen." Under the name Dante & the Evergreens, he and Adler also recorded a cover of the Hollywood Argyles' "Alley Oop"; additionally, Alpert produced tracks for the surf duo Jan & Dean. In 1962 he teamed with Moss to found A&M Records, scoring a Top Ten hit with the single "The Lonely Bull."
From its humble origins as a company run out of Alpert's garage, A&M grew to become the world's biggest independent label; among its greatest successes were the Carpenters, Cat Stevens, Joe Cocker, and Sergio Mendes & Brasil '66. Nevertheless, Alpert and his backing unit, the Tijuana Brass, remained the label's flagship act: on the strength of the hit "A Taste of Honey," his 1965 LP Whipped Cream and Other Delights topped the charts, popularizing his Latin-influenced style (dubbed "Ameriachi"). The follow-up, 1965's Going Places, also hit number one, launching the hit "Spanish Flea."
After 1966's What Now My Love -- his most popular effort, remaining at number one for nine weeks -- Alpert continued to dominate the charts with records including 1966's S.R.O. and the following year's Sounds Like and Herb Alpert's Ninth. In 1968, he scored his first number one single by taking a rare vocal turn on a rendition of Burt Bacharach's "This Guy's in Love With You"; the album Beat of the Brass followed the hit to the top of the charts, becoming Alpert's fifth and final number one LP.Released in 1969, Warm was the first of Alpert's 11 albums not to crack the Top 20; by 1971's Summertime, his commercial fates had fallen to the point where he no longer reached the Top 100. As A&M continued to thrive, he moved his primary focus from music to industry, although he regularly recorded throughout the early '70s; 1974's You Smile -- The Song Begins was his most successful outing in several years, but subsequent releases like 1975's Coney Island and 1976's Just You and Me met with greater chart resistance.
In 1979, Alpert staged a major comeback with Rise; not only did the album reach the Top Ten, but the title track topped the singles charts and became the biggest hit of his career. The follow-up, 1980's Beyond, was a Top 40 success, but subsequent efforts like 1982's Fandango and 1985's Wild Romance fared poorly. In 1987 Alpert enjoyed another renaissance with the album Keep Your Eye On Me; the lead single "Diamonds" hit the Top Five and featured a guest vocal from Janet Jackson, one of A&M's towering successes of the late '80s.
Alpert continued recording throughout the 1990s, producing work like 1991's North on South Street, 1992's Midnight Sun, and 1997's Passion Dance. After selling A&M to PolyGram in 1990 for a sum in excess of $500 million, he and Moss founded a new label, Almo Sounds, in 1994; among the imprint's hit artists was the group Garbage. His own albums, including 1997's Passion Dance and 1999's Colors, were also released on the label. Alpert also tackled other forms of media, exhibiting his abstract expressionist paintings and co-producing a number of Broadway successes, including Angels in America and Jelly's Last Jam. He also established the Herb Alpert Foundation, a philanthropic organization dedicated to establishing educational, arts, and environmental programs for children.
Decision: The most successful instrumental artist of the Rock Era, but only had 5 top 10 pop hits. It's a no for the HOF.
Peter, Paul & Mary
Peter, Paul and Mary were part of the 1960s folk revival, but they can trace their roots and inspiration back to music and events from the late '40s, and the founding of the Weavers. In 1948, the musical and political left had been galvanized behind the presidential campaign of former Vice President Henry Wallace and his running mate, Senator Glen Taylor. In the wake of that ticket's defeat that year, in the course of trying to pick up the pieces, singer/composers Lee Hays and Pete Seeger, whose history together went back to the early '40s, and a group called the Almanac Singers, joined with Fred Hellerman and Ronnie Gilbert in forming the Weavers. They subsequently found themselves with the top-selling record in the country, Goodnight Irene, and for the next two years, the Weavers entertained millions and brought folk music to the public consciousness in a new and vital way through recordings such as "Kisses Sweeter Than Wine." Then, as word of the members' personal leftist political histories began circulating, their bookings came to a halt -- ironically enough, the Weavers as a performing group were virtually apolitical in their songs and presentation, but that didn't save them from being blacklisted by the entertainment industry.
They broke up in late 1952, but they left behind two seeds planted in American popular culture. One, deriving from their success, was a modest folk song revival, in some small clubs and especially on college campuses, mostly as entertainment; and the other, a byproduct of their blacklisting, was the coalescing of newly vital, very politically focused branch of folk music. The latter existed as an underground phenomenon, "apart" from a few relatively friendly locales such as New York City's Greenwich Village; it was invisible to most Americans, but it provided a modest living for older performers, and drew and nurtured new, younger talent.
The entertainment branch manifested itself in the guise of acts like the Easy Riders and their younger successors the Kingston Trio, the Limeliters, the Brothers Four, and the Highwaymen, trios and quartets of male singers who brought a smooth veneer to the music. Each of them had their moment -- and sometimes much more than a moment -- in the sun and on the charts beginning in the late '50s. Older performers such as Pete Seeger of the Weavers (as well as the reunited group itself), Ed McCurdy, and Oscar Brand were also around, selling fewer records but making more serious, purposeful records, aimed at smaller audiences. And younger, grittier performers such as Eric Von Schmidt, Dave Van Ronk, and Ramblin' Jack Elliott were also working and recording. And in 1962 and 1963 came the big-band folk outfits the New Christy Minstrels and the Serendipity Singers, who applied elaborate arrangements, utilizing up to nine singers, to folk melodies.
It was against this backdrop, from the late '40s onward, that Mary Travers (b. November 9, 1936, Louisville, KY; d. September 16, 2009, Danbury, CT), Peter Yarrow (b. May 31, 1938, New York, NY), and Paul Stookey (b. December 30, 1937, Baltimore, MD), all came of age. Travers, the daughter of journalists, was raised in Greenwich Village, and was both politically and musically aware; she'd made her first recordings while still in high school, during 1954, in a chorus backing Pete Seeger for Folkways Records. She became a member of the Song Swappers, doing albums of international folk songs and camp songs, and also participated in a stage production, The Next President, written by and starring topical comedian Mort Sahl. As a singer, she was heavily influenced by Ronnie Gilbert of the Weaversand also by Jo Mapes, a bluesy white folksinger from Los Angeles who'd emerged in the mid-'50s.
Paul Stookey, born Noel Paul Stookey, had become a huge fan of jazz and what was later called R&B in the mid- to late '40s, took up guitar, and had formed his first band, the Birds of Paradise, in high school during the early '50s. He continued singing in college, and also discovered two additional talents, as a raconteur and as a standup comic, with a special knack for improvising sound effects. He gravitated to Greenwich Village, where he began to learn about folk music. He and Travers became friends and occasionally performed and composed music together. Mostly, however, he did his comedy at local clubs and she made her living working at Elaine Starkman's boutique on Bleecker Street. (Starkman, later a pioneering art gallery owner in New York's SoHo, was a well-known Village designer who made the gownTravers wore for her first wedding. In 1961, part of Stookey's comedy act was captured in Jack O'Connell's film Greenwich Village Story, another part of which was also shot at the Starkman boutique, though Travers was never glimpsed).
Peter Yarrow was a graduate of Cornell University who fell into music while serving as a teaching assistant. By the end of 1959, he was playing in Greenwich Village and, the following year, was booked on a CBS network television show about folk music, during which he met Albert Grossman. Grossman, who went on to manage Bob Dylan and the Band, proposed the idea to Yarrow of forming a trio that would offer serious folk songs, but utilize the same kind of mixed male/female voices as the Weavers, and also the humor of the Limeliters, and the overall spirit of fun found in acts like the Kingston Trio.Yarrow and Grossman approached Travers, and Stookey came aboard last, dropping his first name in favor of his better-sounding middle name Paul, and Peter, Paul and Mary were born. With the guidance of arranger Milt Okun, who had worked with Harry Belafonte and the Chad Mitchell Trio, they put together a three-part vocal sound that was distinctive and, after seven months of careful preparation, the group emerged to instant acclaim in Greenwich Village.
They were signed to Warner Bros., and their first, self-titled LP was released in March of 1962. It was accompanied by a single, "Lemon Tree," that rose to number 35 on the charts late that spring. This was a good beginning, but it was their second single, "If I Had a Hammer," that marked their breakthrough. The song, written by Seeger and Hays in the days of the Weavers, was a rousing number with great hooks and a memorable chorus, and also a definite (yet not threatening) philosophical and political edge. As topical songs go, its timing was perfect -- in late 1962, the civil rights movement was becoming a concern to a growing number of middle-class onlookers; "If I Had a Hammer" embodied this zeitgeist in its most idealistic form and, with its upbeat, soulful performance -- which made it seductive even to those listeners who cared little about the political controversy of the times -- the single hit number ten on the charts. It also won the trio their first two Grammy Awards, for Best Performance by a Vocal Group and Best Folk Recording.
In their first six months of existence, Peter, Paul and Mary, working in a somewhat more favorable political climate, had managed to do what the Weavers never had a chance to do, bringing political concerns to the public through song. And it was a massive public, owing to the fact that PP&M also had a foot in the entertainment side of the folk revival -- their music had a decidedly serious edge, but it and the group were also as much fun to listen to as anything the Limeliters or the Highwaymen were doing. Their stage act, as captured on theIn Concert album, poked fun at what they did and at themselves, and one couldn't help but laugh at Stookey's comedy, which drew on music, self-generated sound effects, and a self-deprecating manner second only to Woody Allen (then a standup comic himself). Additionally, although this has seldom been discussed in retrospect, they had Mary Travers, who not only had a big voice that helped make the records extraordinary, but was also drop-dead gorgeous, and a great asset in their photographs, television appearances, and concerts.The overall effect, between the entertainment and the songs, was as though the Kingston Trio had suddenly started doing the repertoire of the Almanac Singers, and people were listening. Phil Ochswould attempt a similar but less successful approach to mixing popular music and ideology with his Gold Suit Tour, trying to turn Elvis Presley into Che Guevara. But John Phillips, at that time a folkie himself as a member of the Journeymen, would perfect the formula behind PP&M's visual appeal in 1966 with the Mamas & the Papas, by putting his wife, Michelle, an ex-model, out front in that lineup.
With "If I Had a Hammer" wafting over the AM airwaves, thePeter, Paul and Mary LP rose to number one and subsequently spent years on the charts. Their second album,Moving, released in January of 1963, got off to a slightly slower start, but it found its way to number two and a 99-week run with help from "Puff (The Magic Dragon)," a song thatPeter Yarrow had written in college. The single rose to number two that spring and became one of the most beloved children's songs of all time, as well as the trio's passport through any potential controversy.It was on the heels of that year's success that Bob Dylanentered the group's orbit. The young folksinger and songwriter -- who came under Grossman's management in 1963 -- hadn't made much impact with his own recordings on Columbia Records; his lyrics were too piercing and his voice too bluesy, in an environment dominated by much smoother folk sounds. PP&M, however, had no problem with public acceptance, and they took Dylan's song "Blowin' in the Wind" to the public in a way that he never could have. Their recording, released in June of 1963, was an instant hit, shipping over 300,000 copies in less than two weeks -- many times the number of records that Dylan himself had sold up that point -- and eventually rising to number two on the charts. Once more, the trio seemed to grab the moment in history, politics, and art with a song. The era of public activism over civil rights, directed at the administration of President Kennedy, was rising to new heights, and "Blowin' in the Wind" embodied the spirit of the time. In one fell swoop, it established Bob Dylan as the new conscience of a generation, and PP&M as the voice of that conscience, culminating with their performance of the song at the same August 1963 March on Washington where Martin Luther King, Jr. gave his I Have a Dream speech.
The trio's third album, In the Wind, which was released in October 1963, not only hit number one on the charts but pulled their two previous albums back into the Top Ten with it. Up to this point, all of the trio's successes took place during a relatively quiet time in popular music, in which there was little distraction from rock & roll. With the exception of Elvis Presley and a handful of newer acts such as the Beach Boysand Del Shannon, the music was going through one of its periodic flat periods, which had left the field open to folk acts like Peter, Paul and Mary. All of that changed as 1964 dawned.Suddenly, PP&M found themselves competing with the Beatles and other groups out of England, playing a new, forceful, and relatively sophisticated brand of rock & roll. Peter, Paul and Mary were the only folk-revival group to survive the British Invasion and the ensuing folk-rock boom with their audience and visibility largely intact. Their record sales slackened somewhat, especially their singles, which had a hard time competing on AM radio with the sounds of the British Invasion, and it was three years before they would enjoy another Top Ten hit. Their albums, however, continued selling well, and their bookings never dropped off.
One of the reasons for their continued success, popularity, and relevance was a series of political and historical events separate from the music. The civil rights movement was still going strong as the battleground shifted from the Lincoln Memorial to the back roads of Mississippi -- where three college students who had come to help register black voters were murdered in 1964 -- to the halls of Congress. The murder of President Kennedy in November of 1963 and Lyndon Johnson's ascent to the presidency began a series of events that finally forced meaningful civil rights legislation out of Congress. Even as that battle continued raging in the streets, from Birmingham, AL, to Cicero, IL, and other points north. Once the laws were on the books, however, Johnson's presidency also opened up a new political wound on the American landscape with his escalation of the Vietnam War. In that uneasy environment,Peter, Paul and Mary had the history of involvement, the credentials, and the credibility to address this new issue in ways that, say, the Kingston Trio never could have, even if they'd wanted to. Moreover, their records had a way of not only staying relevant -- "If I Had a Hammer" was as topical in 1965 as it had been in 1962, but it was still fun to sing around a campfire -- but evolving in their relevancy; as the Vietnam War ran on, and draft notices and departures for the military and service overseas became more commonplace, cuts like the beautiful "500 Miles," off of their debut album, took on deeply personal resonances for tens, and then hundreds of thousands of people.
For the remainder of the decade, the trio walked a fine line, appealing to liberals and antiwar activists, and raising the consciousness of the interested, but also entertaining middle-of-the-road listeners, and especially to parents who felt their music was safe for younger children. They were accomplishing precisely what the Weavers had set out to do a decade and a half earlier (and, not coincidentally, also exactly what the Weavers' political opponents had feared the latter group would do, spreading liberal ideas and politics on the popular landscape with pretty music).
Their commercial fortunes and mass appeal remained intact into the second half of the decade. The album In Concert, an unprecedented (for a folk group) double LP, hit number four during the summer and fall of 1964, and the group's next studio LP, A Song Will Rise got to number eight in the spring of 1965. At the same time, however, its highest-charting single, "For Lovin' Me," only reached number 30. See What Tomorrow Brings peaked at number 11 in late 1965, their first placement outside of the Top Ten with an LP, but hardly unrespectable. By 1966, PP&M were feeling the pressure to embellish their music, however, and began adding significant numbers of backup musicians to their records, and exploring more rock-oriented sounds, on The Peter, Paul and Mary Album and, later, Album 1700. Those albums were considered solidly competitive in the musical environment of 1966 and 1967, amid the sounds of folk-rock and psychedelic rock of the era, and both have held up better than those by most of the competition, mostly owing to the quality of the music and the songs.From the beginning of its history, the trio displayed an uncanny ear for great songs and songwriters --Stookey had steered Grossman to Bob Dylan before many people in Greenwich Village had even heard of him. And in early 1962, before their debut album had even been released, the Kingston Trio had picked up a then-new Pete Seeger song, "Where Have All the Flowers Gone," from one of the group's live performances and had a hit with it. During the years 1965-1966, Peter, Paul and Mary gave the first serious airings to the music of Gordon Lightfoot ("For Lovin' Me"), Laura Nyro ("And When I Die"), andJohn Denver ("For Baby (Goes Bobbie)"), interspersed with the occasional unrecorded Dylan tune, such as "When the Ship Comes In" and "Too Much of Nothing." Their sales might not have matched the chart-soaring days of 1963, but the albums had the class, beauty, and substance to stand the test of time.
And when they caught the moment again with a song, the trio proved that they could sell records with the best of them. "I Dig Rock 'n' Roll Music," written by Paul Stookey, brought PP&M back to the upper reaches of the charts and heavy AM radio play with a number nine single in the fall of 1967, right in the middle of the psychedelic boom. The song, which parodied the styles of the Beatles, the Mamas & the Papas, and Donovan, was not only catchy and memorable, but also a reminder to the public that, for all of their devotion to causes and issues, Peter, Paul and Mary was a very funny group as well. For much of the year that followed this commercial comeback, the group was involved in politics, in the form ofSenator Eugene McCarthy's antiwar campaign for the White House. They appeared on behalf ofMcCarthy, and even released a record supporting him. McCarthy's candidacy ultimately failed, in a year that also saw the murders of Martin Luther King, Jr. and Robert Kennedy, though one personal, positive byproduct of the peace campaign was that Peter Yarrow ended up marrying the senator's daughter.
In 1969, they returned to the middle of the charts again withYarrow's "Day Is Done," a surprisingly autumnal work. They also chalked up another Grammy Award that year for Peter, Paul and Mommy, an album of children's songs that became a mainstay of their catalog, reaching generation after generation of parents and children. During the summer of 1969, Warner Bros. got word that DJs around the country had begun playing one of the tracks off of the then two-year-oldAlbum 1700, "Leaving on a Jet Plane," authored by John Denver. Released that September, the single "Leaving on a Jet Plane" peaked at number one, the trio's only chart-topping single, and also pulled Album 1700 back onto the list of top-selling LPs.
By 1970, PP&M had played many hundreds of concerts together and had spent nine years in harness to each other. It was inevitable that there would be a split at some point, given their different, evolving lives. Mary Travers was now the mother of two daughters, Yarrow was newly married, andStookey, in addition to wanting to work with new and different musical sounds, had developed a serious belief in Christianity. Amid a flurry of sales behind "Leaving on a Jet Plane," and the release in the spring of Ten Years Together: The Best of Peter, Paul and Mary (which rose to number 15), the trio completed their concert obligations and announced in the fall of 1970 that they were taking a year's sabbatical from Peter, Paul and Mary.The next eight years saw the three musicians release various solo recordings that failed to catch the public's attention in anything resembling PP&M's impact. Mary Travers continued working in a folk-pop vein for a time, while Peter Yarrow wrote topical songs dealing with the politics of the time, andPaul Stookey proved the most adventurous of the three musically, exploring harder rock sounds as well as jazz, and delving into Christian-oriented music. They moved around each other's orbits, appearing on each other's albums occasionally and even reuniting on behalf of George McGovern's 1972 presidential campaign, but it was clear by the late '70s that none of them had enough of an audience on his own to sustain a full-time performing career. Travers moved from Warner Bros. to Chrysalis Records, and to a very brief stay with the Arista label, all without any hits, while Yarrow enjoyed a hit as a songwriter with "Torn Between Two Lovers," and also saw one of his '70s compositions, "River of Jordan," turn up in the 1980 comedy film Airplane, sung by Lorna Patterson in an excruciatingly funny scene.
This was all a long way from their 1960s heyday, and a 1978 reunion album also proved a false start, selling more poorly than any LP in their history. The concerts surrounding that album, however, marked the beginning of a gradual re-forming of the trio. Travers, a single mother with two daughters and a menagerie of pets to look after, was nonetheless concerned with the antinuclear movement, with whichYarrow had long been involved. Stookey rejoined after some hesitation, and by the early '80s Peter, Paul and Mary were a functioning trio again, playing concerts occasionally and trying to record, including their annual Christmas concerts at Carnegie Hall in New York. Without skipping a beat, they picked up from their early-'60s beginnings, only the civil rights anthems had new meaning in an era when the laws protecting those rights were under attack by the Reagan administration. And they were interspersed with songs about the political strife in El Salvador and the nuclear arms race. As long as they included "Puff (The Magic Dragon)" in their repertoire, however, the trio was still largely immune from attack by the right. The real difficulty was getting their work heard by a larger public in the music environment of the 1980s.
By that late date, none of the major labels were interested in the work of folk groups of their vintage so they did it themselves, initially releasing the live reunion album Such Is Love on their own Peter, Paul and Mary label. They were associated with Gold Castle Records, a promising independent label, for much of the late '80s, until its failure, but they did get to record a handful of LPs that they ended up owning outright. They retained good relations with Warner Bros., sufficient for Peter Yarrow to personally supervise the digital remastering and transfer of their classic 1960s catalog to compact disc at the end of the 1980s. Finally, in 1992, some 30 years after the trio signed with them, Warner Bros. Records became interested in doing a follow-up to Peter, Paul and Mommy, which had been a perennially good seller in its catalog. The resulting album, Peter, Paul & Mommy, Too and an accompanying television special heralded a return of PP&M to Warner Bros., which subsequently reissued their entire Gold Castle catalog on CD.
After the 1980s, the group had been moving into the role of elder statesmen of the folk community -- Mary Travers even hosted a television special that brought together the entire present and former membership of the Kingston Trio on-stage -- and this status was borne out in 1995 with theLifelines album. The latter, an all-star concept album featuring the trio performing with colleagues, older and younger -- including ex-Weaver Ronnie Gilbert and blues legend B.B. King -- was sufficiently successful to generate a concert follow-up, Lifelines Live, the following year. In 1998, they carried the same all-star singalong concept a step further, in a slightly different direction, with Around the Campfire, and in 1999, Warner Bros. issued its secondPP&M best-of compilation, Songs of Conscience & Concern. In 2004, Travers was diagnosed with leukemia and eventually underwent a bone-marrow transplant, but the trio resumed performing by the following year. Successive tours followed during the 2000s until news appeared in 2009 that Travers' leukemia had re-emerged. She began chemotherapy, but died of complications on September 16th of that year.
Decision: Folk Pop legends, and highly influential, but only 13 top 40 hits. Not Pop HOFers...
Tomorrow: 1963 Nominees: Dionne Warwick, Four Tops, The Who, Stevie Wonder
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