"},"parts":[{"template":{"target":{"wt":"refn","href":"./Template:Refn"},"params":{"group":{"wt":"nb"},"1":{"wt":"Almer wrote \"[[Along Comes Mary]]\" for [[the Association]], which was a top 10 hit on the ''Billboard'' charts in 1966."}},"i":0}}]}"> [nb 3] Bernstein then discusses the Beatles' contribution to modern songwriting, in terms of the unexpected key and tempo changes found in their songs "Good Day Sunshine" and "She Said She Said".[20] He admires the range of musical moods evoked in contemporary pop, citing the Beatles' "Penny Lane", "Eleanor Rigby" and "Love You To" for, respectively, their trumpet solo, orchestral strings and Indian raga qualities, and the Rolling Stones' "Paint It Black" for its "arab café" mood.[21] Seated at a piano throughout, he compares some of the Beatles' most adventurous efforts to works by classical composers Bach and Schumann; he lauds Bob Dylan's lyrics as befitting "a bombshell of a book about social criticism".[10] Bernstein says that the poetic and subtle nature of contemporary pop lyric writing represents "one of our teenagers' strongest weapons", since: "Protected by this armor of poetry, our young lyricists can say just about anything they care to, and they do care."[22] He also expresses admiration for the Left Banke's "Pretty Ballerina" and its use of both Lydian and Mixolydian modes, and for the Monkees' "I'm a Believer".[2] Other artists mentioned include the Byrds, the Association and Tim Buckley.[9]
For the end of part one, Bernstein invited teenage folk singer Janis Ian to perform "Society's Child",[8] which she wrote about the then controversial issue of interracial romance.[3][23] Due to its subject matter, the song had been banned by many radio stations.[2][3]
Singer-songwriter Bobby Jameson momentarily appears as a protester in the film, albeit uncredited.[26][nb 5]Herman's Hermits also appear,[3] as does Graham Nash of the Hollies.[2][nb 6] One of the program's final scenes is a film of Brian Wilson, on solo piano and vocals, premiering the original song "Surf's Up".[9][nb 7] In the narration accompanying his performance, Oppenheim remarks that the song holds too much to comprehend on an initial listen, and attributes a profound and elusive quality to the composition.[28]
Legacy
Inside Pop: The Rock Revolution premiered on the CBS network, on April 25, 1967,[1] and represented the first time that pop music had been presented on television as a genuine art form.[3] Through Bernstein's support and her appearance on Inside Pop, Ian's "Society's Child" became a top 20 hit in the United States.[3][29] According to journalist Nick Kent, when Wilson viewed the finished documentary, he was disturbed by the praises he was afforded, thereby accelerating the collapse of the Smile album.[30] After Inside Pop, Almer spent some time as a staff songwriter for A&M Records and collaborated on a number of songs with Wilson.[19]
↑ Band publicist Derek Taylor arranged for Wilson to appear in the film.[14]
↑ Filmed on December 15, the session was dedicated to the songs "Surf's Up" and "Wonderful".[16] Wilson and Oppenheim were dissatisfied with the footage, and decided to reshoot the "Surf's Up" sequence at Wilson's home on December 17. His performance that day, executed in one take with a candelabrum placed on his grand piano, was captured by three film cameras and deemed satisfactory for use in the documentary.[17]
↑ Decades later, Zappa reflected that after the 1960s, record executives were succeeded by their "far more conservative -- and more dangerous" hippie employees. He explained that "the old guys ... were willing to take a chance on an [unusual or experimental] idea, even if [they didn't] like or understand it. The new guys don't have that spirit."[25]
↑ Jameson was featured as a subject in the documentary film Mondo Hollywood, released in the same year. At the time, he was in a relationship with Gail Sloatman (later the wife of Zappa) who characterized him as "somebody who was desperately seeking to be famous or die."[26]
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.