1960′s and 1970′s Album Track Gems . . . . . . . . . . . . NOVELTY RECORD HITS’ “MAGNIFICENT SEVEN!” Wooly Bully, Surfin’ Bird, The Purple People Eater, The Little Blue Man, The Witch Doctor, The Blob and The Jolly Green Giant

“Novelty Hits’ Magnificent Seven”
All original sculpts, character concepts, digital art copyright 2015 00individual  TLL

EXPERIENCE ROCK HISTORY!
1960′s and 1970′s Album Track Gems
NOVELTY RECORD HITS’ MAGNIFICENT SEVEN!

Being a little Rocker in the ’50s, 00individual was there for the birth of every history-making event over the past half century – and is eternally thankful for the experience.

As part of the post-war Baby Boom, childhood and adolescent life for most American kids was to share in their parents optimistic view of life after winning a world war. This sense of an accepted peace with a life of liberty and the pursuit of happiness released inhibitions with the ability to laugh again and created a nation-wide desire for humor in all media – and the Golden Age of TV delivered.

But there was a far more economic use of time and energy to deliver comedy, satire, stories, and nonsense set to catchy fun tunes by clever writers, musicians, singers, entertainers and comics and that was on 33RPM and 45 RPM records. Due to the novel nature of the recorded hit songs’ subjects the genre came to be known as “Novelty” records.

Novelty records really peaked in the late ’50s and early ’60s, and many whimsical, nonsensical fun characters were created. Of the genre’s heavy hitters, 00individual selected the Magnificent Seven: Wooly Bully, The Purple People Eater (on clear red vinyl!), The Jolly Green Giant, The Little Blue Man, The Witch Doctor, The Blob (Steve Fucking McQueen!) and one of 00individual’s all-time personal favorite tracks ever, Surfin’ Bird! 

00individual is strict with staying within the ’60s/’70s time frame with these posts but is lenient when songs, movies, TV and other media bleed into the ’60s from the ’50s – can’t stop the Cultural Tide!
Therefore, of these seven, four were released in 1958 – but back then things moved at a much slower pace and songs remained in the public’s minds longer and remained popular for years after their release, and in this case their popularity lasted into the early ’60s.

But soon all songs would lose their lasting power due to the boom of the record industry’s sales in the mid-to-late ’60s, when the onslaught of continuous new releases to meet market demand pushed songs and Pop Culture itself into nostalgic obscurity at a much faster rate.

After John F. Kennedy’s assassination in ’63 there wasn’t a market for frivolity. America had lost its innocence and life became sobering and serious and the carefree comedy of the Novelty record had lost its audience.

Much like the Frampton Comes Alive album of ’74 – back in 1960 it seemed as though everyone was issued Vaughn Meader’s insanely popular comedy album “The First Family” which poked good-natured fun at America’s beloved JFK’s Presidency and family. But unlike today’s opportunists, after JFK’s assassination the label for “The First Family” album, Cadence and its producers, pulled and destroyed any existing copies out of respect.  It had not been reissued until 1999 on CD.

While there have been countless hilarious comedy albums released by comedians and comedy troupes ever since, the “novelty” of the Novelty record wore off.
It apparently was deemed as childish and relegated down to the Children s’/Comedy records genre, which ironically and literally comes full circle with David Seville’s monster early entry and easily the most successful Novelty franchise, Alvin and the Chipmunks; now a staple of Children s’ records catalogs and feature-length films.

Not until the ’80s when Weird Al Yankovic revived the Parody song genre into a highly-popular self-styled industry, did the fun of a “novelty-type” song rise again.

So, to salute the late, late ’50s and early ’60s celebration of humor set to catchy tunes,
00individual spotlights Novelty Hits’ Magnificent Seven characters immortalized in song:

Novelty Hits’ Magnificent Seven!

THE PURPLE PEOPLE EATER
Sheb Wooley – 1958

THE BLOB
The Five Blobs – 1958

THE WITCH DOCTOR
David Seville – 1958

THE LITTLE BLUE MAN
Betty Johnson – 1958

SURFIN’ BIRD
The Trashmen – 1963

WOOLY BULLY
Sam the Sham and the Pharaohs – 1965

THE JOLLY GREEN GIANT
The Kingsmen – 1965

The last three are actually categorized as “Top 30 Hits” or in the Pop Rock genre(s) –
but are also easy crossovers into the Novelty genre.
Besides, 00individual’s been dyin’ to create this line-up for a while and needed their inclusion.
Would’ve included Ray Stevens’ “Harry the Hairy Ape“ but didn’t want any trouble between him and Wooly Bully.

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Enjoy these other trippy ’60’s and ’70’s
ALBUM TRACK GEMS

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00individual does not endorse nor receive any payment of any kind from any advertiser(s).

1960’s and 1970’s Culture Archives . . . . . . . . . . . . . 1973: The BEGINNING of the END of the COUNTER CULTURE’S REIGN . . . . . . . . . . . . . . . . . . . . . . . . 1970′s Historic & Classic Rock Albums . . . . . . . . . . 1973: BILLY COBHAM . . . SPECTRUM

“The ’60s and the ’70s: Wonderland” copyright 2015 00individual  TLL

EXPERIENCE ROCK  & COUNTER CULTURE HISTORY!

1973: The Beginning of the End of the Counter Culture’s Reign

By 1973 00individual, along with many other Tribe members, became somewhat jaded Rockers. For a generation so in tune with the past. present and future, our increasing age and “been there done that” attitude created a strange unspoken vibe.
The exploration of our youth was coming to an end, the end was near, the end was our future.

We had successfully survived the transition from high school, to jobs and moving out on our own, but after the many, many extended hours, days, months and years of unparalleled joy there existed a sad vibe with the knowledge of the inevitable end of an era.

Many purists believed that the end had come after the Summer of Love, but 00individual can attest that, like the songs, albums and concerts, as well as kindred spirit Brothers and Sisters, the Vibe carried on through the next few years – it was certainly not as intense, but it was there.
The days when the Vibe was like oxygen, life-sustaining and readily-available, were now slipping away and had to be sought out and cultivated.

With friends, 00individual always had a real-world observation of the Tribe’s movements as “Host” to four of the better-known rental places to hang, get high, Rock-Out and solve the World’s problems – and kept the “communal house” atmosphere until ’75 – as he had been doing more on than off since ’69. (For examples see: Mind-Blower #9 –  Mescaline, Mind-Blower #4, Mind-Blower #1, Mind-Blower #5 – the Good).

The time-crunching history of surreal events that were happening world-wide, locally and daily, paralleled our growth. Every year’s jam-packed revelations seemed like two or three combined, and that in turn created a feeling of hurtling into the future in slow motion. It was like an anti-climax of some expectation from the fulfillment of so much.

By the mid-’70s the sad break-up of Tribes across the Nation had begun, spirits were questioned, as was everything, and introspection about the future and present-day concerns about survival presented sobering facts that before always seemed to take care of themselves while living full tilt.

There were many contributing historical factors to the Fall of the Counter Culture, ironically the Vietnam War was one of them.
The War finally ended in April 1975 and although the Counter Culture and Student/Youth Movements are historically acknowledged as major forces toward the success of the end of that unjust war – it left the Counter Culture at large, as well as many hard fought anti-war movement Counter Culture Activists and Devotees without a major cause to champion.
It had been a dedicated decade-long war against the government, the military, the establishment and any and all forces of unjust power, so to come down off that psychological level, even a notch or two, could be a heavy cold-turkey withdrawal of a sense of loss of meaning in one’s life.

Many members of the Counter Culture adapted, took on a new lifestyle, dropped-out, continued school, took careers seriously, reinvented themselves, moved, married or capitalized on their past experiences.
Some, like 00individual, were ‘tuned-in” and were all too aware of the rarity of the times so continued on and rode out the last Sex, Drugs and Rock ‘n’ Roll waves of ’74 and ’75.
And as these sets of waves came in less and less, and when the shoreline resembled the edges of a lake rather than an ocean, – life was still far and above more exciting because of how our lives were enriched by our past Counter Culture experiences.

The serene, slow, innocent life of the ’50s allowed us a never-to-be-seen-again-in-history childhood experience before we accelerated into a life of excitement, injustice, adventure, confrontation, awareness, wars, love, assassinations, Sex, Drugs and Rock ‘n’ Roll of the ’60s.
The Counter Culture, born from the Beat Generation, but created by the Boomer Generation, culminated into a fast and furious psychedelic rush to its true end; the mid-’70s.

“Disco” and the “Love Songs of the ’70s” by Singer/Songwriters dominated music, and by 1980 the Counter Culture, Tribes, Hippies, Revolutionaries and Brothers and Sisters were a cultural diaspora – mind-expanded nomads, whom history notes of the 1960’s Counter Culture as being directly responsible for more lasting and beneficial advancements “for the People” than any generation before or since.

We had acquired a whole lotta cosmic knowledge – mind-blowing and mind expanding knowledge on a myriad of subjects that mattered – and in a compressed period of time.
And we all could feel it, the moments leading up to that moment when it all changed. Even though it was gradual, it was making itself known, it was all around you, it was everywhere you went, there was no denying the fact that what changed, . . . was you.

It was a historical ride, a once in anyone’s lifetime trip and 00individual is thankful right down to the real nitty gritty of his Rock ‘n’ Roll Soul for the experience.*

BILLY COBHAM . . SPECTRUM October 1, 1973

1973: A Sonic Shot of Adrenaline

Meanwhile in 1973 Rock History was at it’s Pinnacle, and to celebrate the last vestiges of the era, the faithful received the psychedelic sonic jolt of Jazz Rock drummer Billy Cobham’s album Spectrum.

Spectrum had a stellar line up with fellow Mahavishnu Orchestra band member and future “Miami Vice” keyboardist, Jan Hammer; veteran studio musician Lee Sklar on Fender bass; and Tommy ”Zephyr” Bolin on guitar.
Everyone on this album worked at a surreal synchronistic level – sublime, precise  – the trade offs of musicians’ “solos riffs” were cohesive as if one entity. Whew!

Bolin has been recognized as at the height of his short but dazzling career and at the top of this game on this album – Quadrant 4 is insane, truly – Tommy Bolin is a True Rock and Jazz Guitar God.

Cobham is a unique blend of Gene Krupa, Elvin Jones and Keith Moon and is an amazing force – Sklar’s bass is powerful funk and Jan Hammer is an Icon in his own right and future leader of his own  group – there’s some musician wizardry going on here by all!

Classic and highly accessible Jazz/Rock

All songs written and composed by Billy Cobham.

SPECTRUM 
Side One
Quadrant 4
Searching For The Right Door / Spectrum
Anxiety / Taurian Matador
Side Two
Stratus
To The Women In My Life /Le Lis
Snoopy’s Search / Red Baron

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Spectrum was a welcome wake-up call to all of us jaded Rockers
to remember that there were still a few perfect musical waves out there to catch.

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00individual caught Mezzanine-era Massive Attack at the Hollywood Palladium back in ’98 –
their sample of Cobham’s Stratus achieved excellence with their track
Safe From Harm . . .

. . . and on that note,
Love, Peace and Happiness, Brothers and Sisters!

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*In ’75 00individual met his Malibu Nature Girl Soul-Mate,
married her in ’77 and had a little Rocker in ’80.

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– Please disregard any advertisements that may appear on this site –
00individual does not endorse nor receive any payment of any kind from any advertiser(s).

1960’s and 1970’s Culture Archives . . . . . . . . . . . . . 1960′s and 1970′s Album Track Gems . . . . . . . . . . . . Top 13 “SPAGHETTI WESTERN” INSTRUMENTALS a Tribute to ’60s Icon Ennio Morricone

“A Fistful of Spaghetti Western Instrumentals” copyright 2015 00individual  TLL

EXPERIENCE ROCK HISTORY!
1960′s and 1970′s Album Track Gems
Top 13 “Spaghetti Western” Instrumentals
A Tribute To Ennio Morricone

Being a little Rocker in the late ’50s early ’60s 00individual’s view of TV and Movie Cowboys ranged from John Wayne and Gary Cooper on the big screen to James Garner as Maverick and James Arness as Matt Dillon on the little screen. We were conditioned to believe that what we saw was pretty close to the way things were.
But reality never really took hold when everyone’s clothes were clean, men’s faces were freshly-shaven, and even dirt towns had a somewhat deliberate Disneyland cleanliness to them. The only way you could tell a bad guy was that he wore black as the good guys wore white – except in 1966 when it was postulated by The Standells that “Sometimes Goodguys Don’t Wear White”.

00individual’S Dad worked as a cinetechnician and precision machinist at MGM studios in Culver City and participated in the tooled parts of the build of the “three-in-one camera” for the Cinerama filming process.
He got tickets for a sneak preview at the Cinerama Dome in Hollywood (now Arclight) for the movie, “How The West Was Won” which was filmed for the wide curved Cinerama Dome screen.
This was an epic and impressive film for 1962 both in literal scope and historic scope that stuck to facts and portrayed a realistic image of life over several generations – but it was still meant as a Hollywood money-maker and thus had the era’s acceptable overall colorful and glossy look.

Altho the 3 cameras’ POVs are visible, they disappeared onscreen into an “immersive” experience.

Then in 1964 the first realistic Western was made, “A Fistful of Dollars”.
Directed by an Italian movie-maker, Sergio Leone, and starring Clint Eastwood fresh from his U.S. TV western series “Rawhide” as Rowdy Yates – this movie proved to be history-in-the-making on many fronts that would create not only a distinct film-making style and ground-breaking soundtrack music, but spawned successful careers and created a genre.

It took Sergio Leone, an Italian, to depict America’s Spirit and Symbols of the Wild West truthfully, or at least in comparison to most of all that came before, and what we all subconsciously knew was really underneath the Hollywood veneer.

Thus the Spaghetti Western was born and from that day on, gritty, violent realism, haunting surf rock opera/orchestra soundtracks, iconic laconic loners, and the genre’s standard crowd-pleaser – the surrealistic sounds and ricochets of Spaghetti Western’s Heavy Metal Gunfire, set the standard for westerns. This new genre and style of films reigned for nearly a decade.

And if this quantum leap was not enough we were gifted with the musical genius of Ennio Morricone’s epic and unique soundtracks that were seamlessly prominent and quickly became known as a featured “character” in every movie he scored.
Morricone triggered a genre unto himself – a creative tidal wave of imitation of style that reverberates to this day and to which this “Top 13 Spaghetti Western Instrumentals” post is dedicated.

These 1960′s and 1970′s Instrumental Album Track Gems were hand-picked by 00individual as
Classic Soundtracks of the Spaghetti Western Vibe:

ENNIO MORRICONE
THE GOOD, THE BAD AND THE UGLY
1966

LOVE
EMOTIONS
1967

FLEETWOOD MAC
OH WELL part two
1969

TEN YEARS AFTER
THE BAND WITH NO NAME
1970

ENNIO MORRICONE
A FISTFUL OF DOLLARS
1964

JEFF BECK
BECK’S BOLERO
1967

JORGEN INGMANN
APACHE
1961

DICK DALE
GHOST RIDERS IN THE SKY
1963

ENNIO MORRICONE
FOR A FEW DOLLARS MORE
1965

DAVID GILMOUR
MIHALIS
1978

BO HANSSON
LEAVING SHIRE – THE OLD FOREST – FOG ON THE BARROWS
1972

JIMI HENDRIX
THIRD STONE FROM THE SUN
1967

 – and the best for last –
Nitzsche and Morricone: Sharing the same Vibe since ’63!

JACK NITZSCHE
THE LONELY SURFER
1963
A Mini-Majestic Masterpiece Movie Soundtrack complete with the Hero riding off into the sunset.
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There are many attributes to the Spaghetti Western genre and apart from the music’s exquisite mix of surf guitar, operatic flares, heart-rending movements, ambient noises, heroic brass, driving rock beats and gorgeously orchestrated compositions; 00individual’s favorite part is something that we all want to see happen and that is, no matter what, justice will be served by the righteous
with a bullet – or a stick of dynamite.

“Get three coffins ready” – A Fistful of Dollars – 1964 (Classic! Full Scene

We had never seen anything like this before!
Dig Eastwood’s sardonic bad-ass persona and delivery –
he created an empire from that squint and smile-to-sneer attitude.
00individual grew up with Clint – saw all of his ’60s and ’70s movies opening day.
Eastwood (the Persona and the Man) is Rock ‘n’ Roll!

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Enjoy these other trippy ’60’s and ’70’s
ALBUM TRACK GEMS

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– Please disregard any advertisements that may appear on this site –
00individual does not endorse nor receive any payment of any kind from any advertiser(s).

1960s Historic & Classic Rock Albums . . . . . . . . . . . 1970s Historic & Classic Rock Albums . . . . . . . . . . 1960’s and 1970’s Culture Archives . . . . . . . . . . . . . The “Pinnacle of Classic Rock Equation: 4 + 4 = 7” The Who The Rolling Stones Led Zeppelin Pink Floyd

“The “Pinnacle of Classic Rock” Equation: 4 + 4 = 7″ copyright 2015 00individual  TLL

EXPERIENCE ROCK ‘N’ ROLL HISTORY!

The main purpose of this site is to convey the truly unique vibe of the 1960 through 1979 era.
One way to do that is to show examples like the following.

The “Pinnacle of Classic Rock” Equation: 4 + 4 = 7
The Top Four consistently and creatively successful Rock Bands – plus – their Four Consecutive Historic and Classic Rock Album Releases – equates to – the Iconic Core of the Historic 1968 to 1975 Seven Year Span during the Pinnacle of Classic Rock; therefore, 4+4=7.

And this was just four bands among the countless bands / album releases / concerts of that era.
Hippies, Rockers and the Counter Culture were living the Pinnacle of Rock.

The Who
Tommy (1969)
Live at Leeds (1970)
Who’s Next (1971)
Quadrophenia (1973)

The Rolling Stones
Beggars Banquet (1968)
Let It Bleed (1969)
Sticky Fingers (1971)
Exile on Main St. (1972)

Led Zeppelin
Led Zeppelin (1969)
Led Zeppelin II (1969)
Led Zeppelin III (1970)
Led Zeppelin IV (1971)

Pink Floyd
Meddle (1971)
Obscured by Clouds (1972)
The Dark Side of the Moon (1973)
Wish You Were Here (1975)

As far as creative output volume that made it to vinyl;
the Who reign at the top as two of their four releases were double albums.
The Stones come in second with one double album.

The 4+4=7 equation was only a small part of the universe of music available – just an example of the compressed yet explosive creativity bursting forth from all aspects of thought and art.
These were mind-blowing, exciting, magical days – and the above releases prove it.

From ’68 through ’75 00individual was 17 through 24, and during that time his psychedelic soul absorbed every note of every track of every album that forever serve as catalyst for amazing sensory memories – and each album serves as an event-filled date on a
Seven Year Sonic Calender.

00individual continues to thank any and all Gods responsible for the perfect timing of allowing him this exceptional life experience during historic times on the Earth Plane.

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To experience the height of the Pinnacle of Rock ‘n’ Roll
check out these three zenith years of Rock History:

Third Best Year for Rock Album Releases – 1971

Second Best Year for Rock Album Releases – 1969

#1 Best Year for Rock Album Releases – 1970

and to explore the Best Rock of the ’60s and ’70s:

Top 69 Historic & Classic 1960s Rock Albums

Top 79 Historic & Classic 1970s Rock Albums

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– Please disregard any advertisements that may appear on this site –
00individual does not endorse nor receive any payment of any kind from any advertiser(s).