The Turning Point

You're probably wondering, "Why wasn't '64 picked? Wasn't that an important year, musically?"
The previous year did give us "Keep On Pushing" by The Impressions (which was a hopeful look at civil rights in particular and making it through life in general), "We'll Sing In The Sunshine" by Gale Garnett (very ahead of its time, about a free spirit. No moping/pining around over a guy; no marriage here!), "Mr. Lonely" by Bobby Vinton ( a soldier at war, wanting to go home) and of course, that Liverpool British group.

But in my humble opinion, I consider 1965 as the crucial turning point.

Because within this year alone, protest songs (banned or not) became top 40 hits, folk-rock became a new genre (thanks to Bob Dylan), and even several regular pop songs had a social message or new "mod" sound to them (the electric guitar, the sitar and other foreign instruments not previously heard on rock/pop songs).

There will ALWAYS be room for comedy/novelty tunes, your basic love songs, and "hey everybody, let's dance" music, but I also think that even the standard love songs became a bit more sophisticated: "Baby,I'm Yours" (Barbara Lewis), "Heart Full Of Soul" and "For Your Love" (The Yardbirds), and of course, "Yesterday" (The Beatles).

Speaking of the Fab Four, this was also the year in which the group raised the album format to an art form, a "must hear" event.

Before, with the exception of a "Greatest Hits" compliation, practically all rock and roll albums had one or two hits, perhaps one or two decent songs, and all the rest was just filler. The Fab Four changed all that, right from "Meet The Beatles" on. Every cut had hit quality!

But "Rubber Soul" (U.S. release in December) was a landmark: this was a new mature sound, both in thought and music; several songs were introspective and philosophical. The album was one of the new defining sounds of the year (and of 1966) and an instant classic.

In 1963, "Puff, The Magic Dragon" (Peter, Paul, and Mary) was alleged in some circles to be a drug-oriented song and holds the dubious distinction of being the first rock/pop song labeled as such.

In 1965, there were SEVERAL songs (big hits, too) thought to be drug-oriented: "You Turn Me On" (Ian Whitcomb), "Get Off Of My Cloud" (The Rolling Stones), and some of Bob Dylan's material. Legend has that "Mr. Tambourine Man" (The Byrds) was about a drug dealer!

Let's take a look at some other themes: Civil rights were touched on in "People Get Ready" (The Impressions) and "A Change Is Gonna Come" (Sam Cooke); The lovely "What The World Needs Now" was a plea for peace and tolerance, while "Turn! Turn! Turn!" (The Byrds) was adapted by the legendary Pete Seeger from the Bible - Ecclesiastes, 3:1-8, Old Testament .

"Eve Of Destruction" (Barry McGuire) was probably '65's most controversial song and the first rock protest hit; though banned on many radio stations, it became a no. 1 smash. There was even an answer song to this, "Dawn Of Correction" by The Spokesmen.
"Times They Are A-Changin" (Bob Dylan), "It's Good News Week" (Hedgehoppers Anonymous), "There But For Fortune" (Joan Baez), and "Universal Soldier" (Donovan, the "Scottish Bob Dylan") also were overtly political songs. (I honestly don't know if "SubterraneanHomesick Blues" and "Like A Rolling Stone" were political or not; I'm not really sure what these two songs were about. I DO know that the words and overall sound were unlike any before.)

Youth dissatisfaction and new social attitudes were reflected by "It Ain't Me, Babe" (The Turtles), "ICan Never Go Home Anymore" (The Shangri-Las, Dec. 1965), "(I Can't Get No)Satisfaction" (The Rolling Stones), "All I Really Want To Do"(Cher; The Byrds also had a version), "We Gotta Get OutOf This Place" (The Animals), "My Generation" (The Who), and "Sounds Of Silence" (Simon and Garfunkel, Dec. 1965)

Quite an impressive year, wasn't it?

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