So You Thought You Knew 60s Pop! 2 Quiz

Answer: The 'In' Crowd

'You ain't been nowhere, till you been "In",' sang Dobie Gray. 'The In Crowd' made US R&B 13 and UK 25 in 1965. Gray (b. Lawrence Darrow Brown, Houston 1940) had little other chart success until 1973, when 'Drift Away' became a major and widely covered hit. 'The In Crowd' was also an instrumental hit for the jazz-oriented Ramsey Lewis trio later in '65. Gray passed away in 2011.

Answer: The youngest solo artist to gain a number-one

Margaret Annemarie Battavio, from Pennsylvania, was only 13 and 4'9" when she cut her first single, aptly titled 'Little Me', hence the nickname, though presumably she grew a bit after that. As of the time of writing this quiz she is still the youngest (and probably the shortest) solo artist ever to have a Billboard number-one record with this torchy ballad, covered notably in the 1992 Whoopi Goldberg/Maggie Smith musical comedy 'Sister Act'. Reportedly most of the profits from the '63 sales were appropriated (legally at the time) by her manager.

Though she never again matched this success in the States, March went on to a solid singing career in Europe, even competing in Germany for the Eurovision Song Contest, but was squeezed out twice to second place in her bid to represent the nation in the final.

Answer: Ten

'I smoked my first cigarette at ten
And for girls I had a bad yen
And I was so much older then
When I was young'

This was the 'New Animals' and a new sound. Main instrumentalist, organist Alan Price, had gone solo, replaced by the haunting electric violin of John Weider. But that smoking volcano of a voice, liable to erupt at any time, remained a force to be reckoned with.

I too smoked my first cigarette at ten, but I had to quit the same day because the local pool kiosk manager tattled to my mum. I have to admit I was a little slower than Eric in developing a bad yen for girls, and even when I did, I wasn't able to do much about it ...

Answer: The Philippines

The full story is told from the horses' mouths in the excellent 1995 Beatles Anthology documentary series. According to George, they were exhausted after a day of sell-out concerts and press circuses. Still jet-lagged, the constant grind of touring caught up with them and they crashed out early in their hotel 'prison cells'. First Lady Imelda Marcos, a former chanteuse herself, was understandably very much looking forward to meeting them and NOT impressed. It so happened she had a powerful husband who knew a thing or two about physical intimidation, and he sent a few of his 'boys' over. I find it kind of amusing to imagine the couple's conversation - a juicy project there for budding screenplay writers?

Next day the 'Fabs' woke up to pandemonium. While the newspapers screamed for blood, they were brusquely 'escorted' straight to the airport, but their plane wasn't allowed to leave until manager Brian Epstein had handed over all the net proceeds of their concert takings. I can't help wondering how many pairs of slingbacks Imelda got out of all that money, which some concertgoers may have saved hard to get just a 30-minute glimpse of their idols in action.

Answer: Slim Harpo

Slim Harpo (James Isaac Moore 1924-70} was a Louisiana-born harmonica player whose songs were covered by both black and white blues artists, and who had a few minor hits of his own. The Stones' version was edgier, featuring Brian Jones's 'stinging' slide work. The suggestive (and totally entomologically incorrect) lyrics made this one of the more openly salacious tracks of the early British blues explosion: 'Baby we can make honey, let me come inside'. At least Mum and Dad were safe in the knowledge that these scruffy, lecherous upstarts wouldn't amount to much ...

The 'father' of electrified Chicago blues, Muddy Waters (McKinley Morganfield 1913-83) inspired the English band's name with a song named 'Rollin' Stone'. Detroit-based John Lee Hooker (1912-2001) was covered by the Animals ('Boom Boom'). Tampa Red (Hudson Woodbridge 1904-81) was an influential Florida-raised Chicago slide guitarist.

Answer: It's Not Unusual

'It's Not Unusual' was Tom Jones's 1965 breakthrough hit, and written by his manager Gordon Mills, lyrics by Les Reed. However he scored the next year with a Bacharach-David song, 'What's New Pussycat', for the soundtrack of the movie of the same name.

'There's Always Something There to Remind Me' was the UK number-one debut for barefoot London songbird Sandie Shaw in late '64. The other alternatives were hits for the songwriters' premier interpreter, Dionne Warwick. Their association with Warwick produced a golden run of classic pop such as 'Reach Out For Me', 'You'll Never Get to Heaven if You Break My Heart', 'Trains and Boats and Planes', 'Do You Know the Way to San Jose' and my personal favorite, 1964's lavish, melodramatic 'Walk on By'. Even at the time, I knew this was one for the ages.

Other interpreters included Dusty Springfield/Sergio Mendes's Brasil 66 ('The Look of Love'), Jackie De Shannon/Petula Clark ('What the World Needs Now') and Cher/Cilla Black ('Alfie', from the soundtrack of the Michael Caine movie of the same name). Gene Pitney scored in '63 with 'Twenty-four Hours from Tulsa' and 'Liberty Valance', trumpeter/producer Herb Alpert had 'This Guy', Jack Jones's 'Wives and Lovers - the list goes on and on. Even the Beatles had a shot with an early cover of 'Baby It's You'. I just can't imagine the 60s without this pair's songs, as anyone who lived through that decade would surely agree.

Answer: 'Judas!'

On his 1966 English tour, the second half of Dylan's concerts featured an electrified set with the Hawks, the nucleus of what was later to become The Band. The 'purist' folk fans, who for the most part abhorred the banality of pop and rock, not to mention the volume, did not take it well. Nor did they at the Newport Folk Festival a few months earlier, where Bob debuted his new folk-rock sound with a line-up featuring Paul Butterfield Blues Band guitar ace Mike Bloomfield, shocking the folk establishment. They managed to get through only three songs. Reports of what actually went down conflict somewhat, but according to one account I came across, it was the godfather of the folk revival, Pete Seeger himself, who pulled the plug.

'We were booed wherever we went', recalled Band guitarist Robbie Robertson. Listening back to those live performances now, I believe the problem was not so much the style they were playing but their obvious lack of rehearsal and the limitations of sound engineering in those early days. Endless tuning delays and sound checks, untried material and the unsuitability of Dylan's voice in a live rock setting contributed to lackluster performances. What does a band like that do when they're getting a hostile reception? Play louder, of course, which just made it worse. It was an inauspicious introduction to a trilogy that proved to be among the most groundbreaking and influential studio albums ever: 'Bringing it all Back Home', 'Highway 61 Revisited' and 'Blonde on Blonde'.

Answer: Cindy Birdsong

The Supremes had a golden run of hit singles in mid-decade beginning with US number one 'Where Did Our Love Go?' in September of '64. By early '67 Ballard was gaining weight and developing an obvious drinking problem, which did not sit well with the Motown management, who wanted their flagship female front runners chic, sleek and elegant on stage. Cindy Birdsong (her real name), of Patti Labelle and the Bluebelles, was groomed to 'understudy' and possibly replace her, which increased Ballard's paranoia, and her contract was terminated after some awkward on-stage incidents in '67.

Ironically the Supremes' hits were drying up anyway. The name was changed to 'Diana Ross and the Supremes' in a vain attempt to boost popularity, and in 1970 Diana moved on to a successful solo career. The group continued with fair to moderate success through the 70s with new lead singer Jean Terrell. Solo efforts by Ballard away from Motown proved unsuccessful, which exacerbated her alcohol problems, and she died in ignominious circumstances of a heart condition in 1976. The Supremes story is told from the inside in Mary Wilson's best-selling collaborative 1986 autobiography 'Dreamgirl'.

Answer: I Only Want to Be with You

Dusty (b. Mary O'Brien 1939-99) charted consistently with a long string of hits throughout the decade, culminating in her signature song, 'Son of a Preacher Man', in '69. The alternative titles were all hits. Others included 'Every Day I Have to Cry', 'Wishing and Hoping', 'Goin' Back' and the definitive version of Bacharach-David's 'The Look of Love'.

Her signature bouffanted gold hair and heavy mascara was a familiar sight on British pop shows and she also had her own successful TV specials. 'Preacher Man' was featured on the soundtrack of Quentin Tarantino's 1994 'Pulp Fiction' movie, renewing interest in her recordings.

Answer: Chicago, Illinois

The Brazilian bandleader's commercial fortunes turned dramatically when he recruited Hall after seeing her perform in a Chicago club. A clause in Mendes's recording contract with Herb Alpert's A&M allowed him to include Portuguese language songs, so Lani had to learn the Jorge Ben-penned lyrics from scratch, as well as on other bossa standards such as 'Agua de Beber' ('water of life') and 'Berimbau' (an Afro-Brazilian percussion instrument). 'Mas Que Nada' in colloquial Portuguese means something like 'No way!' or 'You're kidding me!', but the meaning in Spanish is quite different, so I've read.

Hall's sophisticated, jazz-inflected voice proved to be the golden touchstone for Mendes's clever arrangements and cross-rhythms. Chart success continued with Hall's memorable interpretations of Beatles and Bacharach tunes with the band, notably 'The Look of Love' and 'The Fool on the Hill'. The traditional 'Scarborough Fair' was also a 1968 hit. She left the band to record with, and later marry, Herb Alpert, reportedly to Mendes's considerable chagrin. She later sang the theme to the 1983 independent Sean Connery/James Bond movie 'Never Say Never Again'.

Answer: Hank Marvin

Hank B Marvin (b. Harry Rankin 1941) was the lead guitarist for Cliff Richard's backing band the Shadows. Though they had little exposure in the US, they charted consistently throughout the 60s in Britain and Europe with melodic instrumentals, heavy on reverb, delays and drum fills, and are often associated with the 'surf guitar' genre of bands like the Ventures, the Chantays and the Surfaris. Their many hits include 'Wonderful Land' and 'Apache' (covers of US hits by Jerry Lordan), 'Foot-tapper', 'FBI', 'Dance On', 'The Rise and Fall of Flingel Bunt' and numerous others. Their appearances in Cliff Richard's movies made them familiar faces to young audiences.

Many a garage band learned their repertoire note for note, including their trademark synchronized 'walks' but few could match Marvin's masterful touch. Hank's red Strat was an object of lust for then-teenaged future guitar heroes like Mark Knopfler and David Gilmour, both of whom have realized their childhood dream of guesting on stage with their boyhood idol.

Answer: John Mayall's Bluesbreakers

Clapton quit the Yardbirds in '64 as the blues-based outfit opted to pursue a more pop-oriented direction. He joined the John Mayall band and cut a series of landmark B B King-inspired solos that were probably the loudest electric guitar performances ever heard up to that point, establishing himself as Britain's premier blues guitarist. But he soon felt restricted and wanted to play more original material. After casual discussions with Baker, they agreed on recruiting Bruce, though he and Baker had sometimes quarrelled violently, apparently, but Clapton insisted on his inclusion.

At that time Bruce was the more confident and stronger vocalist, with Clapton mostly sticking to harmonies. Baker and Bruce were both inventive song writers, and the trio soon established themselves at the cutting edge of blues-rock. They not only charted well on both sides of the Atlantic but also chartered the musical future for a swathe of 70s hard-rock bands - Led Zeppelin, Deep Purple, the Jeff Beck Group and others. By 1968, at the height of their success, the members were ready to part ways for other projects. Jack Bruce passed away in 2014. The other two are still musically active.

Answer: 'Mitch' Mitchell

Keef Hartley was a ranking drummer with the John Mayall Bluesbreakers who later formed his own band. Fleetwood of course went on to form Fleetwood Mac with bassist John McVie, both of whom were also Mayall alumni. Buddy Miles, also a powerful soul singer, was a later Hendrix collaborator, especially on his 'Band of Gypsies' recordings.

John Graham 'Mitch' Mitchell (1946-2008) was ex-Georgie Fame and the Blue Flames. Mitchell's solid jazz chops helped to keep the backing light and flexible for Jimi's soaring flights of fancy, with cymbal flourishes and strategically placed snare rolls unusual in rock-based material. He was not averse to the use of a funky cowbell (e.g. the '68 hit 'Stone Free'). When the Experience parted, Hendrix's original music struggled to find the right backing, evident in the patchy but sometimes brilliant 1968 double-album 'Electric Ladyland'. Mitchell played on a few tracks, notably the iconic Dylan cover 'All Along the Watchtower', but most of the drumming duties were by then taken over by the bombastic Buddy Miles. Something was missing and it was hard to put your finger on exactly what it was, but it was unadulterated, self-produced Hendrix, so who cared?

Answer: They didn't have one

Keyboardist Ray Manzarek covered the bass notes with his synthesizer on live dates for a distinctive sparer sound which effectively brought Densmore's dramatic drum fills to the fore against Morrison's mesmerizing monologues, but in the studio various session bassists were used, among them Larry Knechtel, Chris Etheridge and Leland Sklar. Robbie Krieger was the lead guitarist.

Their spectacular career was cut short within three years by the increasingly erratic and unpredictable behavior of Morrison both on and off the stage, exacerbated by alcohol binges and LSD. He joined the '27 Club' (musicians who died at that age) in 1971 in Paris, in circumstances that remain unclear but believed to be accidental heroin overdose (mysteriously, there was no post mortem, fueling conspiracy theories). Two other bonafide 60s icons and '27 Club' members, guitar wizard Jimi Hendrix and Texan blues singer Janis Joplin, also died from drug-related accidents, all within months of each other. But the legacy of all three is as vivid as ever to their contemporary fans as well as succeeding generations.

Answer: The 'Wrecking Crew'

Of course it was Johnny Cash who married into country music's 'royal' Carter family when he wed June Carter in 1968 (after proposing on stage).

The 'Wrecking Crew' was a loose association of LA session musicians who played on countless 60s hits - the Byrds, the Beach Boys, the Mamas and the Papas, the Phil Spector productions and many others. In addition to Campbell and Russell were various first-call musicians too numerous to list here. Maybe you haven't heard of most of them, but you've almost certainly heard them, and they were responsible for many an uncredited magic moment.

Campbell was born in Arkansas and for a short time actually was a Beach Boy on tour in place of Brian Wilson. His long, prolific career hit a peak in '68 with a historic four Grammies, and he was known especially for his interpretations of Jimmy Webb songs - that 'big sky country' sound of 'Wichita Lineman' and 'By the Time I Get to Phoenix'. He also had a top-rating TV show 1969-72.

The flamboyant, long-maned, wild-bearded Russell, originally from Oklahoma, didn't come to public prominence until Joe Cocker's 'Mad Dogs and Englishmen' tour of 1970 and as the writer of hit songs of the 70s such as the Carpenters' 'Superstar' and 'A Song for You', but he was very active on the scene well before that, including a (beardless) appearance on the pioneering 1964 music film 'The T.A.M.I. Show' in LA, along with other 'Crew' musicians. Not surprisingly, he crops up on Campbell's '67 recording 'Gentle on my Mind'.

Sadly, both musicians are reported to be in poor health as of 2016. At time of writing, Campbell has advanced Alzheimer's disease, and Russell is struggling to recover from bypass heart surgery.