Musings of the Past

After two months since the most recent post, I thought this would be a good time for another installment of this irregular feature, in which I republish select content from the earlier days of the blog. This post from August 2018 was part of a series I called The Hardware that focused on prominent instruments in rock. Realizing this is a somewhat inside baseball topic for many readers and that I’m not exactly a music gear technician, these posts did not go too deeply into the technical aspects. To make the content more entertaining, they also featured music clips showing the gear I was highlighting.

The Hardware: Vox Continental

Compact keyboard with characteristic sound became hit among touring bands in ’60s

When I listened to Light My Fire by The Doors the other day, I was reminded of Ray Manzarek’s distinct keyboard on that tune, a sound I’ve always loved. It also came to me that I hadn’t done a post on important music hardware in a long time – two good reasons to write about the Vox Continental, a handy and cool-looking organ that became popular in the ’60s and can be heard on many songs released during that decade and thereafter.

For those who are visiting my blog for the first time or haven’t seen one of my previous hardware posts, I’d like to reiterate that I’m not an engineering guy; in fact, having two left hands, it’s more of the opposite! As such, one could say there’s a certain degree of irony that I write about the subject. But while I’m not exactly a techie and therefore don’t go deeply into the technical aspects, music gear can still excite me like a little child, primarily from a sound and visual perspective. With that disclaimer out of the way, let’s get to it.

Jennings Organ Company founder Thomas Walter Jennings at his Dartford factory in Kent, England in 1964

Prior to the Vox Continental’s introduction in England in 1962, the Vox brand name had been synonymous with guitar amplifiers, especially the Vox AC30 used by The Shadows, The Beatles, The Rolling Stones, The Kinks and other ’60s bands. However, as its name already indicates, the company that made the amps, The Jennings Organ Company founded by Thomas Walter Jennings in Kent, England after the Second World War and renamed Jennings Musical Industries (JMI) in 1957, started out as a manufacturer of home and church organs. Their first successful product was the Univox, an electronic keyboard similar to the Clavioline.

The Vox Continental is a so-called combo keyboard. Does it come with French fries and a Coke you might ask? Well, not quite. Combo actually is another (British) term for band. Okay, it’s a keyboard for a band, but so is a Hammond or a regular piano, so what’s the big deal? While pianos were frequently used in the recording studio, amplifying their sound during live performances was tricky. Hammond organs like the mighty B3 certainly could meet volume requirements, but they were pretty clunky. A compact combo keyboard like the Vox Continental offered a great solution. It also looked pretty cool!

The electronic inside of a Vox Continental

The Vox Continental was made possible by the invention of transistors that were less heavy and smaller than the electron tubes used in big electronic organs. The handy keyboard came in two basic variations, a single manual and a dual manual. One of the Continental’s distinct visual features is its reversed colored keys: what on a regular keyboard are the white keys are black, while the traditionally black keys are white (see image on top of the post). The top part covering the electronics with its orange or grey finish stands out as well. The curving and removable chrome stand is another distinct feature. Without a bass section, no bass pedals, no percussion, no sustain and only a single-speed vibrato, the Vox Continental was fairly archaic. Yet because of its sound and the aforementioned design features, the instrument became very popular.

Initially, Vox Continental keyboards were made at two plants in Kent: JMI’s facility in Dartford and the Vox Sound plant in Erith. In 1964, Jennings signed a licensing deal with the Thomas Organ Company in the U.S. JMI and Thomas subsequently also formed EME (Elletronica Musicale Europea), a joint venture with Italian guitar and keyboard manufacturer EKO. With the advent of the Moog and other more elaborate keyboards by the early ’70s, the appeal of Vox Continental organs started to decrease, and production was phased out. While it continued to have a significant following and remains sought-after, it took until September 2017 that Vox revived the Continental with an updated version. Since 1992, the company has been owned by Japanese electronics corporation Korg.

As noted at the outset, the Vox Continental is featured in many songs released during the ’60s and thereafter. This post wouldn’t be complete without some examples.

The House Of The Rising Sun (The Animals)

The version of the traditional by The Animals featuring Alan Price on keys is one of the most compelling showcases of the Vox Continental, in my humble opinion as somebody who isn’t a keyboard player. Sure, the sound isn’t as fat and growling as the Hammond B3; in fact, it’s rather thin by comparison, and yet it still sounds awesome at least to my ears!

Because (The Dave Clark Five)

Written by Dave Clark, Because was recorded for the band’s third U.S. studio album American Tour from August 1964. The song also appeared as a single and became the band’s second most successful hit in the U.S., peaking at no. 3 on the Billboard Hot 100. Here’s a nice clip of an appearance on American music variety TV program Shindig! from 1965. While it is much less dominant than in The House Of The Rising Sun, one can nicely see Mike Smith playing the organ.

I’m A Believer (The Monkees)

I’m A Believer appeared on More Of The Monkees, the band’s second studio album released in January 1967, and as the record’s lead single in November the previous year. Written by Neil Diamond, the song became the band’s most successful hit, topping the charts in many countries, including the U.S., Canada, U.K., Australia and Germany, among others. While Peter Tork had known how to play keyboards, the keyboarder on the studio recording was Stan Free. Initially formed a musical acting quartet for a TV series, all of The Monkees eventually learned how to play their instruments.

Light My Fire (The Doors)

Credited to all members of the band, Light My Fire was included on The Doors’ eponymous debut album issued in January 1967. It also became the record’s second single released in April that year. It was the first of their two no. 1 U.S. hits on the Billboard Hot 100. The tune is another great example where the Vox Continental is quite dominant.

In-A-Gadda-Da-Vida (Iron Butterfly)

In-A-Gadda-Da-Vida is the title track of Iron Butterfly’s second studio album from June 1968. It was written by the band’s lead vocalist and keyboarder Doug Ingle. Clocking at more than 17 minutes, the track makes up the record’s entire side B. Iron Butterfly also released a single version, which was shortened to just under three minutes. Here’s a clip of the track in its entire mighty.

Watching The Detectives (Elvis Costello)

After production of Vox Continental keyboards had seized, the combo organs remained popular, as previously noted. One of their champions was Steve Nieve, who among others became known as keyboarder in Elvis Costello’s backing band The Attractions. Here’s a clip of Watching The Detectives from Costello’s debut album My Aim Is True, released in July 1977. Written by Costello, the tune became his first hit, peaking at no. 15 on the U.K. Official Singles Chart.

Don’t Do Me Like That (Tom Petty And The Heartbreakers)

Don’t Do Me Like That, the last song I’d like to highlight in this post, is another post ’60s example featuring a Vox Continental, played by Benmont Tench in this case. It appears on Damn The Torpedoes, the third studio album by Tom Petty and the Heartbreakers from October 1979. In November that year, the song also came out as the record’s lead single. Written by Petty, it became the band’s first top 10 hit in the U.S., reaching no. 10 on the Billboard Hot 100.

– END –

This post was first published on August 16, 2018.

Sources: Wikipedia, Engineering And Technology History Wiki (ETHW), Combo Organ Heaven, YouTube

Song Musings

Happy hump day and welcome to another installment of my midweek feature that takes a closer look at a song I’ve only mentioned in passing or not covered at all to date. My pick today is what many folks call the best pop song ever recorded: God Only Knows by The Beach Boys. While as a long-time fan of The Beatles my knee-jerk reaction is to question that label, thinking the four lads from Liverpool must at least have one song that’s better than God Only Knows, I have to admit The Beach Boys delivered a true gem that’s certainly more than worthy to explore in greater depth!

Co-written by Brian Wilson and Tony Asher, God Only Knows initially appeared on Pet Sounds, the 11th studio album by The Beach Boys, released in May 1966. While it is a remarkable record, I can’t resists to opine it’s not “the greatest rock album ever made”, and also have to say I never quite understood all the fuzz about it. Perhaps one of the best things Pet Sounds did is to influence an album that in my humble opinion is way superior: Sgt. Pepper’s Lonely Hearts Club Band! 🙂

Since this isn’t a post about The Beatles, though they were a much better group than The Beach Boys (I know, I know…), we can work it out and get back to God Only Knows. The pop gem also appeared separately as the album’s third single in July 1966, interestingly as the B-side to Wouldn’t It Be Nice. Notably, the single barely made the top 40 in the U.S., peaking at no. 39 on the Billboard Hot 100. In other countries, God Only Knows was the A-side, which I guess did the trick: No. 2 in the UK, no. 6 in Norway and no. 17 in Australia!

God Only Knows took an impressive production effort. Over the course of March and April 1966, Wilson gathered about 20 session musicians. Most were associated with The Wrecking Crew, a loose collective of L.A.-based top session cats who played on hundreds of top 40 hits in the ’60s and ’70s. To call out a few, Hal Blaine played drums and the sleigh bells, which give the song a bit of a Christmassy touch. Another quite noticeable instrument is the French horn, which was provided by Alan Robinson. A third key musical feature are the strings by The Sid Sharp Strings, creating a lush Phil Spector-type sound.

While the musical arrangement is notable, to me, the true outstanding aspect of God Only Knows are the mighty vocals. Personally, that’s how I feel about The Beach Boys overall, especially when looking at their surf music, which from a strictly musical perspective was pretty derivative. That said, I still love it – because of their incredible vocals! Going back to God Only Knows, the amazing lead vocals were sung by Carl Wilson, which some consider his finest performance. Brian Wilson and Bruce Johnston provided the song’s beautiful harmony vocals. Here’s a mind-boggling October 2014 star-studded cover produced in connection with the launch of BBC Music.

God Only Knows is among the majority of songs on Pet Sounds Brian Wilson wrote with Tony Asher. BTW, in case you’re wondering, Tony Asher neither is related to actress Jane Asher, Paul McCartney’s former girlfriend, nor English musician, manager and record producer Peter Asher, Jane’s older brother. Tony Asher has expressed his thought that God Only Knows was his most effortless collaboration with Brian Wilson who acknowledged he had not written a song like it before and that Asher was a musical influence.

God Only Knows, rightfully, has received much recognition. To start with, none other than Paul McCartney has called it “the greatest song ever written.” I guess Macca forgot about a few Beatles songs! 🙂  Here are some other quotes noted by Songfacts: Pete Townshend: “‘God Only Knows’ is simple and elegant and as stunning as when it first appeared. It still sounds perfect.” Barry Gibb: “It blew the top of my head off. My first thought was, ‘Oh, dear, I’m wasting my time. How can I ever compete with that?'” Dave Bayley of Glass Animals: “That [song – CMM] just keeps taking on new meanings as you go through life. I often ask people if the world was going to end what three songs would you listen to. I change my three songs all the time, but ‘God Only Knows’ is on there most often.”

In 2004, God Only Knows was included in the Rock & Roll Hall of Fame’s 500 Songs That Shaped Rock & Roll. In 2021, Rolling Stone ranked it at no. 11 in their list of 500 Greatest Songs of All Time. I know the Rock Hall and the publication’s lists continue to trigger passionate debate, but as along as I agree with them, I will shamelessly continue to reference them! 🙂

The song has also been covered by god only knows how many other artists. Some include Neil Diamond, Olivia Newton-John, Glen Campbell, David Bowie and even Time magazine’s 2023 Person of the Year, Taylor Swift. Wouldn’t it be nice to hear one of these covers? You bet! Here’s English singer-songwriter and actress Joss Stone who included a beautiful rendition on her September 2044 album Mind Body & Soul.

Following are select additional tidbits from Songfacts:

Brian Wilson wrote “God Only Knows” with Tony Asher, an advertising copyrighter and lyricist Wilson worked with on songs for the Pet Sounds album. Asher came up with the title, but the song reflects Wilson’s interest in spirituality. It was a big departure from previous Beach Boys songs that dealt with girls, cars and surfing.

“It came from God through me,” Wilson told Steve Baltin in the book Anthems We Love. “I was 24 when I wrote ‘God Only Knows’ and the rest of Pet Sounds. All I know is I wrote what was in my heart. And the lyrics and the music just connect with people.”

“God Only Knows” is a pop music landmark and Beach Boys classic, but it went unheralded in the United States when it was released as a single in July 1966. It was first released as the B-side of “Wouldn’t It Be Nice,” and then as an A-side, but with little promotion. Fear was that radio stations would refuse to play a song with “God” in the title.

In the liner notes to the reissued Pet Sounds album, Tony Asher explained, “I really thought it was going to be everything it was, and yet we were taking some real chances with it. First of all, the lyric opens by saying, ‘I may not always love you,’ which is a very unusual way to start a love song.”

In America, the song peaked at a lowly #39 in September 1966 and would only be truly appreciated much later. It did far better in the UK, where it went to #2 in August behind The Beatles’ “Yellow Submarine.” That November, The Beach Boys played the song at some London concerts, which is where they first saw its impact.

Carl Wilson (Brian’s brother) handled lead vocals on this track. Not long after the song was released, he said, “At present our influences are of a religious nature. Not any specific religion but an idea based upon that of Universal Consciousness. The concept of spreading goodwill, good thoughts and happiness is nothing new. It is an idea which religious teachers and philosophers have been handing down for centuries, but it is also our hope. The spiritual concept of happiness and doing good to others is extremely important to the lyric of our songs, and the religious element of some of the better church music is also contained within some of our new work.”

Brian Wilson produced the song, but the only Beach Boy to play an instrument on the track is Carl Wilson, who added guitar. The group used session musicians at this time, and lots of them. Fortunately, the Los Angeles area where they recorded was home to some of the best.

These musicians aren’t credited on the album [deplorable! CMM], but a Beach Boys researcher named Craig Slowinski did the work of figuring out who they were, with some interesting discoveries, especially with the percussion. Hal Blaine played drums but also sleigh bells; another drummer, Jim Gordon, played “plastic orange cups.” There’s also harpsichord by Larry Knechtel, accordion by Carl Fortina and Frank Marocco, and flutes by Jim Horn and Bill Green.

Brian Wilson has cited both “The Sound Of Music” and the works of the composer Tchaikovsky as influences on the melody.

Brian Wilson planned to sing the lead vocal himself, but decided that his brother Carl was better suited for the track. “I was looking for a tenderness and a sweetness which I knew Carl had in himself as well as in his voice,” said Brian.

Asked by The Guardian which Beach Boys song took the least effort to write, Brian Wilson replied: “I wrote ‘God Only Knows’ in 45 minutes. Me and Tony Asher.”

In Al Kooper’s tell-all autobiography Backstage Passes and Backstabbing Bastards, Kooper talks about his evening visiting Brian Wilson only a week before Pet Sounds hit the streets: “Brian played a test-pressing of the record, jumping up and stopping cuts in the middle and starting them over to emphasize his points. He was very proud of his accomplishment, maybe even a little show-offish, but I wasn’t about to argue. Do you remember the first time you heard ‘God Only Knows’?”

Sources: Wikipedia; Songfacts; YouTube

The Hump Day Picker-Upper

For those of us taking care of business during the regular workweek, I guess it’s safe to assume we’ve all felt that dreadful Wednesday blues. Sometimes, that middle point of the workweek can be a true drag. But help is on the way!

My proposition for today is I’m a Believer by The Monkees. While it’s a silly love song, it always makes me happy. And what’s wrong with that?

It may come as a surprise to some readers that I’m a Believer was written by then-25-year-old Neil Diamond. He actually spent his early career as a songwriter in New York’s legendary Brill Building. By the time Diamond penned I’m a Believer, he already had created a top 20 hit for Jay and the Americans with Sunday And Me that had come out in November 1965.

According to Songfacts, Don Kirshner while looking for material for The Monkees came across I’m a Believer. As part of a deal with Diamond, he allowed him to record the song as well. The Monkees’ version appeared first in November 1966 as their second single. It became a smash, topping the charts in the U.S., Canada, Australia, UK and various other European countries.

Diamond’s version certainly wasn’t bad. It appeared on his sophomore album Just for You from August 1967 but wasn’t among the three singles that were released from the record – probably a smart decision, given it would have been very unlikely to match the success of The Monkees or even come anywhere close to it.

A few additional tidbits from Songfacts: The Monkees sang on this, but did not play any instruments. The producers used session musicians because they were not convinced The Monkees could play like a real band. This became a huge point of contention, as the group fought to play their own songs. [We know eventually they did – CMM]

Neil Diamond had intended the song to be recorded by the Country artist Eddy Arnold, and was surprised when record executive Don Kirshner passed it instead to The Monkees.

Monkees guitarist Michael Nesmith didn’t believe this would be a hit, complaining to the producer, Jeff Barry, “I’m a songwriter, and that’s no hit.” Jeff Barry banned him from the studio while Micky Dolenz recorded his lead vocal.

A cover version by Smash Mouth was featured in the 2001 movie Shrek and went to #25 in the US. Diamond wrote the song “You Are My Number One” for Smash Mouth’s next album.

Mojo magazine July 2008 asked Neil Diamond if he resented at all the Monkees’ success with this song at a time when his own recording career was less successful. He replied: “I was thrilled, because at heart I was still a songwriter and I wanted my songs on the charts. It was one of the songs that was going to be on my first album, but Donny Kirshner, who was their music maven, hears ‘Cherry, Cherry’ on the radio and said, ‘Wow, I want one like that for The Monkees!’ He called my producers, Jeff Barry and Ellie Greenwich…But the head of my record company freaked. He went through the roof because he felt that I had given #1 records away to another group. I couldn’t have cared less because I had to pay the rent and The Monkees were selling records and I wasn’t being paid for my records.”

Happy Hump Day, and always remember George Harrison’s wise words: All things must pass!

Sources: Wikipedia; Songfacts; YouTube

Is Monkee-Mania Still Alive?

Yesterday, I coincidentally listened to a new live album by The Monkees. And, nope, this isn’t some old material somebody had dug out from an archive. It was actually recorded in March 2019 from the so-called Mike & Micky Show and is the first live album released by Michael Nesmith and Micky Dolenz, who toured as The Monkees in 2018/2019. No matter how you feel about what initially was a fictitious band created for an American television show in the mid-’60s, listening to the 24 tracks isn’t only fun but also vividly illustrates how many great songs The Monkees have had. Plus, let’s not forget that Nesmith and Peter Tork had instrumental skills from the beginning and Davy Jones was a capable vocalist, while Dolenz eventually learned how to play the drums.

The collection spans the entire 50-plus year catalog of The Monkees. Frankly, I had not realized how active the band had remained in more recent years. Their latest studio album Christmas Party appeared in October 2018. And while it has a Christmas theme, it’s not just pop versions of holiday tunes. It also came out only less than two years after Good Times!, their previous studio release from May 2016. By the way, both of these albums were co-produced by Fountains of Wayne co-founder and key song contributor Adam Schlesinger, who passed away last Tuesday from complications caused by COVID-19. It’s kind of crazy how much the coronavirus already has impacted the music industry in less than two months!

Michael Nesmith (left) & Micky Dolenz

Even after The Monkees had become a “real” band, they largely continued to rely on outside writers like the songwriting duos of Tommy Boyce and Bobby Hart and Jerry Goffin and Carole King. But they also penned some of their songs themselves, especially Michael Nesmith. The album features various tunes he wrote, such as The Girl I Knew Somewhere, Listen to the Band and Papa Gene’s Blues. Two of them, St. Matthew and Auntie’s Municipal Court, the band didn’t perform during their heyday. ‘Nuff talk, let’s get to some music!

The album kicks off with Last Train to Clarksville, the band’s debut single released in August 1966. It’s one of the tunes written by Boyce and Hart. And it’s certainly no coincidence that it sounds very Beatle-esque. Frankly, this is an awesome song that is comparable to some of the mid-’60s tunes by The Beatles, and I say this as a fierce Fab Four fan! Here’s the official video.

Nesmith wasn’t the only member who contributed to the band’s own songs. For Pete’s Sake was co-written by Peter Tork and Joey Richards. The tune appeared on The Monkees’ third studio album Headquarters from May 1967.

A Little Bit Me, a Little Bit You, a tune written by Neil Diamond, was the band’s third single released in March 1967. It didn’t quite match the chart success of their previous smash hit I’m a Believer, but still climbed to no. 2 on the Billboard Hot 100, hit no. 1 in Canada, and reached the top 10 in many other countries. It’s a fun tune that reminds me a bit of That’s What I Like About You by The Romantics.

Next up, one of the above noted Nesmith tunes: Papa Gene’s Blues. As Nesmith points out, it’s an acoustic version. Originally, that song appeared on The Monkees’ eponymous debut album from October 1966. Apart from the track, it’s kind of entertaining to listen to the announcement, with Nesmith and Dolenz trading jokes.

Let’s do two more. I’ve always loved these tunes and simply couldn’t skip them. Daydream Believer, written by John Stewart, is a track from the band’s fifth studio album The Birds, The Bees & The Monkees released in April 1968. It’s the perfect sing-along, and not surprisingly, Mike & Micky asked the audience to join them – feel free to follow their lead!

And, of course, no concert by The Monkees would be complete without I’m a Believer. Their second single from November 1966 and biggest hit topping the charts in the U.S., Canada, Australia and numerous European countries is another Neil Diamond composition. It also was included on the band’s sophomore album More of the Monkees, which came out in January 1967.

At the time Nesmith and Dolenz were planning their 2018/2019 tour, Tork was still alive but declined to join. Sadly, he since passed away in February 2019. Jones had died seven years earlier in February 2012. Initially, Nesmith and Dolenz had planned to take their show out on the road again in the U.S. and Canada starting later this month. But given COVID-19, most dates have been pushed back until July and September. The current schedule is here.

Sources: Wikipedia; The Monkees website; YouTube

The Hardware: Vox Continental

When I listened to Light My Fire by The Doors the other day, I was reminded of Ray Manzarek’s distinct keyboard on that tune, a sound I’ve always loved. It also came to me that I hadn’t done a post on important music hardware in a long time – two good reasons to write about the Vox Continental, a handy and cool-looking organ that became popular in the ’60s and can be heard on many songs released during that decade and thereafter.

For those who are visiting my blog for the first time or haven’t seen one of my previous hardware posts, I’d like to reiterate that I’m not an engineering guy; in fact, having two left hands, it’s more of the opposite! As such, one could say there’s a certain degree of irony that I write about the subject. But while I’m not exactly a techie and therefore don’t go deeply into the technical aspects, music gear can still excite me like a little child, primarily from a sound and visual perspective. With that disclaimer out of the way, let’s get to it.

Jennings Organ Company founder Thomas Walter Jennings at his Dartford factory in Kent, England in 1964

Prior to the Vox Continental’s introduction in England in 1962, the Vox brand name had been synonymous with guitar amplifiers, especially the Vox AC30 used by The Shadows, The Beatles, The Rolling Stones, The Kinks and other ’60s bands. However, as its name already indicates, the company that made the amps, The Jennings Organ Company founded by Thomas Walter Jennings in Kent, England after the Second World War and renamed Jennings Musical Industries (JMI) in 1957, started out as a manufacturer of home and church organs. Their first successful product was the Univox, an electronic keyboard similar to the Clavioline.

The Vox Continental is a so-called combo keyboard. Does it come with French fries and a Coke you might ask? Well, not quite. Combo actually is another (British) term for band. Okay, it’s a keyboard for a band, but so is a Hammond or a regular piano, so what’s the big deal? While pianos were frequently used in the recording studio, amplifying their sound during live performances was tricky. Hammond organs like the mighty B3 certainly could meet volume requirements, but they were pretty clunky. A compact combo keyboard like the Vox Continental offered a great solution. It also looked pretty cool!

The electronic inside of a Vox Continental

The Vox Continental was made possible by the invention of transistors that were less heavy and smaller than the electron tubes used in big electronic organs. The handy keyboard came in two basic variations, a single manual and a dual manual. One of the Continental’s distinct visual features is its reversed colored keys: what on a regular keyboard are the white keys are black, while the traditionally black keys are white (see image on top of the post). The top part covering the electronics with its orange or grey finish stands out as well. The curving and removable chrome stand is another distinct feature. Without a bass section, no bass pedals, no percussion, no sustain and only a single-speed vibrato, the Vox Continental was fairly archaic. Yet because of its sound and the aforementioned design features, the instrument became very popular.

Initially, Vox Continental keyboards were made at two plants in Kent: JMI’s facility in Dartford and the Vox Sound plant in Erith. In 1964, Jennings signed a licensing deal with the Thomas Organ Company in the U.S. JMI and Thomas subsequently also formed EME (Elletronica Musicale Europea), a joint venture with Italian guitar and keyboard manufacturer EKO. With the advent of the Moog and other more elaborate keyboards by the early ’70s, the appeal of Vox Continental organs started to decrease, and production was phased out. While it continued to have a significant following and remains sought-after, it took until September 2017 that Vox revived the Continental with an updated version. Since 1992, the company has been owned by Japanese electronics corporation Korg.

As noted at the outset, the Vox Continental is featured in many songs released during the ’60s and thereafter. This post wouldn’t be complete without some examples.

The House Of The Rising Sun (The Animals)

The version of the traditional by The Animals featuring Alan Price on keys is one of the most compelling showcases of the Vox Continental, in my humble opinion as somebody who isn’t a keyboard player. Sure, the sound isn’t as fat and growling as the Hammond B3; in fact, it’s rather thin by comparison, and yet it still sounds awesome at least to my ears!

Because (The Dave Clark Five)

Written by Dave Clark, Because was recorded for the band’s third U.S. studio album American Tour from August 1964. The song also appeared as a single and became the band’s second most successful hit in the U.S., peaking at no. 3 on the Billboard Hot 100. Here’s a nice clip of an appearance on American music variety TV program Shindig! from 1965. While it is much less dominant than in The House Of The Rising Sun, one can nicely see Mike Smith playing the organ.

I’m A Believer (The Monkees)

I’m A Believer appeared on More Of The Monkees, the band’s second studio album released in January 1967, and as the record’s lead single in November the previous year. Written by Neil Diamond, the song became the band’s most successful hit, topping the charts in many countries, including the U.S., Canada, U.K., Australia and Germany, among others. While Peter Tork had known how to play keyboards, the keyboarder on the studio recording was Stan Free. Initially formed a musical acting quartet for a TV series, all of The Monkees eventually learned how to play their instruments.

Light My Fire (The Doors)

Credited to all members of the band, Light My Fire was included on The Doors’ eponymous debut album issued in January 1967. It also became the record’s second single released in April that year. It was the first of their two no. 1 U.S. hits on the Billboard Hot 100. The tune is another great example where the Vox Continental is quite dominant.

In-A-Gadda-Da-Vida (Iron Butterfly)

In-A-Gadda-Da-Vida is the title track of Iron Butterfly’s second studio album from June 1968. It was written by the band’s lead vocalist and keyboarder Doug Ingle. Clocking at more than 17 minutes, the track makes up the record’s entire side B. Iron Butterfly also released a single version, which was shortened to just under three minutes. Here’s a clip of the track in its entire mighty.

Watching The Detectives (Elvis Costello)

After production of Vox Continental keyboards had seized, the combo organs remained popular, as previously noted. One of their champions was Steve Nieve, who among others became known as keyboarder in Elvis Costello’s backing band The Attractions. Here’s a clip of Watching The Detectives from Costello’s debut album My Aim Is True, released in July 1977. Written by Costello, the tune became his first hit, peaking at no. 15 on the U.K. Official Singles Chart.

Don’t Do Me Like That (Tom Petty And The Heartbreakers)

Don’t Do Me Like That, the last song I’d like to highlight in this post, is another post ’60s example featuring a Vox Continental, played by Benmont Tench in this case. It appears on Damn The Torpedoes, the third studio album by Tom Petty And The Heartbreakers from October 1979. In November that year, the song also came out as the record’s lead single. Written by Petty, it became the band’s first top 10 hit in the U.S., reaching no. 10 on the Billboard Hot 100.

Sources: Wikipedia, Engineering And Technology History Wiki (ETHW), Combo Organ Heaven, YouTube

Clips & Pix: Bob Dylan & The Band/I Shall Be Released

Yesterday (April 7) was the 40th anniversary of the release of The Last Waltz, the triple LP album by The Band and soundtrack to the 1978 concert film directed by Martin Scorsese. The album and picture document the group’s official farewell concert at the Winterland Ballroom in San Francisco on Thanksgiving Day in 1976.

The Bob Dylan tune I Shall Be Released was the closing number of the official show. In addition to Dylan and The Band, it featured other high caliber guests, who had performed earlier during the show, including Van Morrison, Neil Young, Joni Mitchell, Eric Clapton, Ringo Starr, Ronnie Wood, Ronnie Hawkins and Neil Diamond.

Many critics have called the film one of the best rock concert movies; however, not everybody agreed. Notably, The Band’s Levon Helm charged the film portrays The Band as sidemen of Robbie Robertson. He also called it “the biggest fuckin’ rip-off that ever happened to the Band,” adding he and the other group members Rick Danko, Garth Hudson and Richard Manuel didn’t earn a dime from the film and the soundtrack album.

Sources: Wikipedia, YouTube