THE JIVE ACES - GOOD ROCKIN' TONIGHT

I have followed the career of The Jive Aces for many years, been fortunate to see them in concert and had the opportunity to spend time with them backstage. They have always taken time to chat and made me feel welcome whenever we have met.

For more than three decades they have been the UK’s Number One Jive and Swing band with a worldwide following, touring all across the United Kingdom, throughout Europe and America.

The line-up consists of Ian Clarkson (lead vocals & ukulele), Alex Douglas (trombone, washboard & blues harp), John Fordham (tenor saxophone), Vince Hurley (piano), Ken Smith (double bass), Peter Howell (drums) and Grazia Bevilacqua (accordion).

I have been a guest at their Big Jive All Dayers held in Worthing, my hometown, where I have photograhed the event and my photos have appeared, along with my reviews, in various magazines including Vintage Rock and Vintage World.

I covered the 2024 event on this blog a few years ago and it can be read here Big Jive All Dayer. I also reviewed their last album, Keeping The Show On The Road. In this article I will be reviewing their latest album, Good Rockin' Tonight - The Roots Of The King.

Due for release on 31 July the album finds them celebrating the music that influenced and inspired Elvis Presley. It is not a 'covers' album but one filled with new and original interpretations of music from the 1940s and 1950s.

This article and review will look back at the history of each song along with a look at the Jive Aces performance of each track.

The album was recorded and mixed at Mad Hatter Studios in Los Angeles and mastered by Bernie Grundman, the highly regarded audio engineer whose work has included albums by Joni Mitchell, Steely Dan, Prince and many more.

The artwork was designed by the band with a cover photograph taken by Noelle Vaughn. As with their previous albums I love the retro feel to their album artwork and it captures perfectly the content of the album.

Noelle Vaughn, who also took the other photos featured in this article. is a vocalist who combines rock 'n' roll, rhythm & blues and the sultry torch style in a mix she describes on her website as 'Vintage with Voltage.' I was fortunate to meet and spend some time with her, including capturing some photos, during a recent Big Jive All Dayer event.

In the liner notes The Jive Aces recall how they were drawn to each other through a love of American roots music. As teenagers they had discovered blues, bluegrass, rockabilly and many other styles. It was through the door that had been smashed open by Elvis Presley in the 1950s that they all made this discovery.

The album opens with Mystery Train, a song written and recorded by Junior Parker and released, under the name Little Junior's Blue Flames, on the Sun Records Label in November 1953. One mystery is the fact that the title is not mentioned at all in the lyrics. The song was the b-side of Elvis Presley's fifth Sun Records single, released in August 1955, with I Forgot To Remember To Forget as the a-side. When re-issued by HMV in the United KIngdom Mystery Train became the a-side and a subsequent hit. With a great vocal from Ian Clarkson, harmonica playing from Alex Douglas and a saxophone solo from John Fordham this moves along like a steam train coming down the line and is the perfect opener to the album.

From 1972 until his final concert in June 1977 Elvis opened his live shows with See See Rider. Credited to Gertrude 'Ma' Rainey and Lena Arant it was Rainey who was the first to record the song in 1924. A popular 12-bar blues it is often known as C. C. Rider and See See Rider Blues. Once again John Fordham provides some great saxophone work along with another fine vocal from Clarkson with support from the rest of the band. It features an excellent bluesy ending.

Blue Moon Of Kentucky was a slow waltz written by bluegrass pioneer Bill Monroe, recorded with his band The Bluegrass Boys and issued as a single in 1947. In 2002 his version was one of 50 recordings chosen by The Library of Congress to be added to the National Recording Registry. When looking for a song to release as a b-side to their version of Arthur 'Big Boy' Crudup's That's All Right, Elvis, Scotty (Moore) and Bill (Black) turned to this classic giving it a rockabilly treatment. Opening with some ukulele this song gives all the members of the band the opportunity to shine musically with some great slap bass, washboard, drums, piano and brass. The song is taken at the same pace as Elvis' version and is one of the highlights on the album.

The Lloyd Price classic Lawdy Miss Clawdy had been a hit in 1952 and became one of the biggest selling R&B records of the year. Recorded in New Orleans it is notable for the inclusion of Fats Domino on piano who stood in for the original pianist, Salvador Doucette. Producer Dave Bartholomew was unhappy with Doucette's playing and on Domino's arrival at the studio persuaded him to sit in on the recording. A regular inclusion in Elvis' 1970s live operformances he originally recorded it back in February 1956 at the RCA Studios in New York and it appeared on his debut album Elvis Presley. A fine bluesy interpretation of this classic features another strong vocal from Clarkson with Vince Hurley providing some Jerry Lee Lewis style piano playing, John Fordham displays why he is one of the countries best saxophone players.

Hound Dog was written by songwriting partnership Jerry Leiber and Mike Stoller and will always be remembered for Elvis' 1956 recording and hit record. However, it was first recorded by Big Mama Thornton in 1952 and became her only hit record, selling more than 500,000 copies. Recorded by many artists it was vocal group Freddie Bell and The Bell Boys version that Elvis most likely based his version on. They had mnodified the lyrics and after seeing them in concert in Las Vegas he decided to record his own version. In concert he would often slow down the tempo and perform a bluesy, burlesque version which, at the time, following a TV performance caused uproar from adults, but not from his millions of fans. Starting off in a similar vein to Elvis' version it then turns into a slow, bluesy style reminiscent of Freddie Bell's version, and Elvis' TV performance, before ending with a fast tempo. Once again support from everybody is first class.

Doo-wop group The Platters recorded and had a hit with Only You in 1955. Written by the groups manager and producer Buck Ram it became a number one hit on the R&B Charts, spending seven weeks on the top spot. In 1999 their recording was inducted into the Grammy Hall of Fame. Although Elvis never recorded the song I am sure it was one he enjoyed and influenced much of his style. Ian Clarkson turns in a stunning reading of the song supported by great work from the whole band, especially the saxophone solo by John Fordham. I never thought this song could be performed better than The Platters original but this comes very close. Another standout track and one of my favourites on the album. 

Corine, Corrina is only the second song on the album that wasn't recorded by Elvis, although there is no doubt he would have known the song. Another 12-bar blues first recorded back in 1928 by Bo Carter although it wasn't copyrighted until 1932 when composer credits were Carter (under his real name Armenter Chatmon) along with his publishers Miotchell Parish and J. Mayo Williams. Recorded in many styles including blues, country, jazz and western swing it has been recorded by many different artists. A jazzy/swing feel to this track makes it an enjoyable listen. A song that wouldn't have been out of place on many of the bands earlier albums.

That's All Right was the song that turned a nineteen year old truck driver from Memphis into an overnight sensation. Originally recorded by Arthur 'Big Boy' Crudup in 1946 it was less successful than some of his previous recordings. Elvis' version  would become his first single, although the song wasn't planned for the session. During a break they fooled around with the song giving it an up-tempo rhythm. Producer Sam Phillips was impressed and asked them to do the song again while he hit the record button. He had been looking for a white artist who sounded black and on that July 1954 day he found it. Another great vocal but what I really like is the accompaniment... ukulele, washboard, harmonica, saxophone which drives the song along at a fast pace. Another highlight on an album full of highlights! 

It's Now Or Never was a number one for Elvis in 1960 selling more than 20 million copies worldwide. It was based on the Italian song O Sole Mio and There's No Tomorrow recorded by Tony Martin in 1949. He loved Mario Lanza's version and asked for English lyrics to be written. Songwriters Aaron Schroeder and Wally Gold wrote the English lyrics in around 30 minutes. Grazia Bevilacqua opens the song with her excellent accordion skills before Ian joins in with the Italian lyrics of O Sole Mio before turning in a passionate vocal on the track. I enjoyed the way that half way through it changes tempo to swing. I like the way the two songs are combined and even though it is not my favourite song on the album it is still an enjoyable listen, especially Grazia's accordion work which I could listen to all day.

Written by Robert Blackwell and John Marascalo and recorded by Little Richard in 1956 Rip It Up became a number one hit on the Billboard Rhythm & Blues Chart and was a top twenty hit on the Hot 100. It was one of three songs recorded by Little Richard that Elvis covered in 1956. The other two songs were Long Tall Sally and Ready Teddy. Elvis stuck to the original on his recording which was the opening track on his second RCA album Elvis, released in 1956. They really rip it up on this version that features another strong vocal, hand clapping and more of Vince's impressive keyboard skills.

Gospel music was a major influence on Elvis and throughout his career he recorded many gospel songs and released three religious albums, His Hand In Mine, How Great Thou Art and He Touched Me. Although he never recorded a studio version of Up Above My Head he did include it as part of a gospel medley in his 1968 Comeback Special, along with Where Could I Go But To The Lord and Saved. It is not known who wrote the song which was originally recorded and released by the Southern Sons in 1941. However, it is the 1947 recording by Sister Rosetta Tharpe and Marie Knight that is best known and likely the version heard by Elvis. Listening to their version of this gospel standard makes me wish they would turn their hand to an album of hand-clapping gospel material. With vocal support from all the band and more Vince Hurley piano you can imagine a Sunday 'going to church meeting' with the crowd on their feet singing and clapping along. 

Closing the album is Good Rockin' Tonight, the song that gives the album its title. A jump blues song written by Roy Brown and released by him as a single in 1947 it has been covered by many artists including Jerry Lee Lewis, The Doors and, of course, Elvis. Also recorded by Wynonie Harris in 1948, who at first turned the song down, it became Elvis' second single released on the Sun Records label in September 1954 backed with I Don't Care If The Sun Don't Shine. Elvis followed Harris' version but added extra drive to the song. The fourth song on the album from Elvis' time at Sun Records brings the album to a fitting close. Once again it features a trong vocal and instrumental support on this classic track.

Ian Clarkson spoke about the album, "We have always been huge fans of Elvis and his music. He was a pioneer who brought rock 'n' roll to the masses and influenced generations of musicians." He went on to say, "We wanted to pay tribute to him and his music roots by playing some of his songs and the songs that he loved. We hope that our audience will enjoy this album as much as we did recording it!"

I certainly did enjoy this new album which gives the listener the opportunity to drift back to the 1950s and the music that inspired Elvis Presley. I have no hesitation in recommending this excellent new release... there certainly is Good Rockin' Tonight!

Don't miss out, order your copy today. It can be purchased, along with their other releases and merchandise, from their on-line store - https://jiveaces.org/store

Thanks to Grazia Bevilacqua for providing a review copy of the CD for my collection.

WHITE MANSIONS

White Mansions - A Tale From The American Civil War 1861-1865 was a concept album released in 1978. In this article I will look back at the making and release of the album.

I must point out that this article in no way condones slavery or the wrong-minded and horrific realities of the Civil War or the pre-war South. It is just an album I found interesting, well put together and an enjoyable listen, musically, and one that tackles the story head on with its stories of the various Southern archetypes of the time.

White Mansions, a musical portrait of the American Civil War, was the idea of Paul Kennerley, who was not from the southern states or anywhere in America but born in Cheshire, England in 1948 and the son of a company director based in Liverpool. Following school he became an apprentice at the design studios of a Liverpool advertising agency. He spent part of 1969 in New York at an agency before returning to London where he was employed as a layout artist.

A career change was soon on the horizon. He had a passion for music and in the early seventies managed a London 'Pub Rock' band. Leaving the world of advertising in 1974 to pursue a career as a songwriter he soon discovered country music and in particular Waylon Jennings and his recording, Let's All Help The Cowboys Sing The Blues, which appeared on Jennings 1975 album Dreaming My Dreams. In an interview he recalled, "It really excited me and led me to discover many other artists and an entire genre I had never listened to before."

He only wanted to write country songs but his lack of experience of rural American life and culture seemed inauthentic. This, and his interest in the Civil War, led to his decision to write songs that were set in an historical setting and would become White Mansions, his first major project. 

His songs have been recorded by a wide range of artists including Johnny Cash, Brenda Lee, The Everley Brothers, Dave Edmunds, Kenny Rogers, Martina McBride, Marty Stuart and Emmylou Harris, who he married in 1985 and divorced in 1991. He co-wrote most of the songs on Harris' 1986 concept album Ballad Of Sally Rose which was loosely based on her relationship with Gram Parsons.

He has also had songs featured in movies... I Don't Want To Love You (But I Do) (Thelma and Louise), Crazy Old Soldier (The Lost Boys) and Born To Run (Wild Rose).

White Mansions was produced by Glyn Johns, the English record producer who has worked with many of the famous rock artists and groups including The Rolling Stones, The Beatles, Bob Dylan, Eric Clapton, The Ozark Mountain Daredevils and The Eagles.

In his autobiography he talked about the project, "I have always loved the chemistry part of my job, mixing up musicians who have not played together before, particularly Americans and British."

Kennerley had approached Johns who he felt would be the ideal producer to help with the project. He sent him the lyrics and demos with a covering letter. Johns took the idea to Jerry Moss at A&M Records who didn't delay in signing Kennerley to a record and publishing deal.

With the story of Southern Pride from the point of view of four white Southerners during the American Civil War meant selling the idea wouldn't be easy. However, it was offset with the story being told from an outsiders perspective.

Chosen to play the various roles in the story were Waylon Jennings, Jessi Colter, John Dillon and Steve Cash, the latter two were members of the Ozark Mountain Daredevils, and Rodena Preston's 'Voices of Deliverance.' 

Musicians appearing on the album included, John Dillon (acoustic guitars, piano, electric piano, dulcimer and fiddle), Bernie Leadon (acoustic & electric guitars, banjo, mandolin dobro and pedal steel guitar), Waylon Jennings (electric & acoustic guitars), Dave Markee (bass guitar and string double bass), Henry Spinetti (drums), Steve Cash (harmonica) and Tim Hinkley (piano & organ). Strings were arranged by Brian Rogers.

Eric Clapton also appears on several tracks on the album playing electric slide guitar and dobro. 

Backing vocalists throughout the album were Bernie Leadon, John Dillon, Steve Cash and Paul Kennerley.

Although details about the recordings are not known, information about the songs featuring Waylon Jennings is available in the excellent Waylon Discography compiled by John L. Smith.

Sessions held at Olympic Studios in London during January 1978 resulted in the five songs featuring Waylon Jennings with one also featuring Jessi Colter. The songs recorded were, Dixie, Hold On, The Union Mare And The Confederate Grey (with Jessie Colter), The Southland's Bleeding, They Laid Waste To Our Land and Dixie, Now You're Done.

While no exact details are known it is more than likely that the remaining tracks on the album were recorded around the same time at both Olympic Studios and at Sunset Sound Studios in Hollywood.

In the liner notes, Kennerley wrote, "White Mansions is a portrayal of life in the Confederate States of America 1861-1865. The high hopes and deep sorrows of the Southern people are reflected in the experiences of the four characters whose combined words tell the tale of the American Civil War."

The main characters in the story are...

Matthew J. Fuller (John Dillon) is the twenty-three year old son of a wealthy Georgian cotton plantation owner and typical of the young aristocracy of the South. Brought up on a plantation that was worked by four hundred slaves he attended college, military academy and was dedicated to preserving the lifestyle of 'Old Dixie'. When war breaks out he enlists in the Confederate Army as a Captain.

Polly Ann Stafford (Jessi Colter) plays the love interest in the story as Matthew's sweetheart. The daughter of a nearby landowner she lives an opulent life and after the outbreak of war she does her bit to help the war effort by working in a disease-ridden hospital attending to the dying and wounded soldiers.

Caleb Stone (Steve Cash) portrays and epitomises 'white trash', a class of poor Southerners who lack any professional skills, land or property. Finding work wherever and whenever he can, often overseeing and keeping order among the negro field hands.

He resents the power and status of those who own the plantations but, despite this, has a loyalty to the South. One of his reasons for joining the fight is to preserve his superiority over the blacks.

The Drifter (Waylon Jennings) acts as the narrator of the story. He is descended from good Southern stock and unable to fight following injuries received fighting for Texas during the Mexican War. Roaming from town to town he is not involved in any fighting during the Civil War. He views both sides clearly speaking with a gentle strength and wisdom. 

The Slaves (Rodena Preston's 'Voices of Deliverance') represent the freed slaves of the South. The war was fought because of them and despite representing over a third of the population of the south their voices were seldom heard.

All the songs were written by Paul Kennerley with the exception of White Trash which was co-written with Bernie Leadon.

Part One opens with A Story To Tell, performed by Polly Ann Stafford, and sets the scene for the rest of the story and album. She has a premonition in which she sees the collapse and destuction of the 'Old South' reflected in the face of a white-haired plantation owner.

In Dixie, Hold On The Drifter warns of the pressures on the South by the 'civilised' North. Although at first advising caution and debate, due to the concerns that the United States will be split in two and destroy the strength of America, his good sense finally withers under the strain of his Southern spirit. The song ends with him offering up fighting talk.

Join Around The Flag finds Matthew, like many young men, caught up in the excitement that flowed through the South following the surrender of Fort Sumter, the last Union post in the newly formed Confederacy.

With his enthusiasm for the South and President Jefferson Davis he urges everybody to join the adventure and support the secession of the Southern states from the Union.

Caleb Stone makes his first appearance on the album with White Trash. Living a life little better than the slaves, he was tolerated and frowned upon by the upper and middle class. This was until they needed him to fight. He joins the 4th Texas Volunteers, under the command of Colonel J. Hood, and will find action during various battles including Gaine's Mill, Gettysburg and Chickamauga.

The Last Dance & The Kentucky Racehorse tells of the farewell ball at the luxurious home of Matthew's father where he says his goodbyes to Polly before riding off to join General Beauregard's army in Virginia.

With the war raging Caleb relates the early successes of the Confederacy during the opening year in Southern Boys and the overconfident feelings that success would soon be theirs.

Up till now the approach to war had been amateurish on both sides but was now giving way to bitter relentless fighting at places like Antietam and Fredericksburg. In The Union Mare & The Confederate Grey The Drifter begins to grasp the terrible horror of what was happening and regrets their initial desire to fight their arguments with weapons rather than with words. Polly joins him on a song that tries to put the point across that how much happier they would all be if they acted the way of the Union Mare and the Confederate Grey. The song closes Part One.

Opening Part Two is No One Would Believe A Summer Could Be So Cold, in which Matthew, disillusioned and fearing there will be no Confederate victory, writes to Polly about the woes of war. Robert E. Lee's loss at Gettysburg was catastrophic with Lee losing over 28,000 men while support from Britain and France was dashed. There was no doubt the tide was turning.

The Southland's Bleeding finds The Drifter realising that, despite some victories, the South is crumbling. The pride of the South, J.E.B. Stuart's cavalry, had been smashed, the Shenandoah Valley had been devastated by Sheridan and it wouldn't be long before Atlanta fell. It was time to quit and give up the fight but it would rage on for another year... as The Drifter sang, "It's Just Southern Pride, It's Just Southern Blindness."

By March 1865 it was all but over. Lee's army were badly armed, lacked provisions and shattered. The Confederates had abandoned Richmond and the Union Army had driven through Georgia and South Carolina, bringing Dixie to its knees. Before a surrender at Appamattox Court House on 9 April Matthew hopelessly orders up the twelve-pounders in a vain attempt to hold on. In Bring Up The Twelve Pounders we find him ordering for the guns but the only reply is from the ghosts of the Confederate dead. The war was over but the cost had yet to be counted.

They Laid Waste To Our Land finds Matthew, Caleb and The Drifter return home and find the devastation that was bought to the area by Sherman's 'March To The Sea.' A few days after the surrender Abraham Lincoln was assasinated by Southern fanatic John Wilkes Booth. Lincoln was a loss to the defeated Confederates as he had planned the reconstruction of the Union with 'malice towards none' and 'charity for all'. Instead the Federal government treated the surrendered 'rebels' harshly and with bitterness.

Praise The Lord is the only song performed by The Slaves. Although freed on 1 January 1863 by a proclamation made by Abraham Lincoln it was ignored by the Confederacy. It wasnt until the war ended that they were finally free, although many were disillusioned and several stayed loyal to their former masters while over three million headed North. However, many were no better off and in some cases their conditions were worse as they were no longer fed and cared for by their masters. But bondage is the worst state for a human being and although the road to freedom was rocky it was a worthwhile journey.

At the end of the war, and sickened by what he had seen and his own callous attitude to life, Caleb turns to the scriptures. The King Has Called Me Home finds Caleb with a new interest in the teachings of the Lord. He goes from town to town preaching 'fire and brimstone' sermons. His drinking habits though remained.

The penultimate track is Bad Man in which Matthew returns home, only to find his former plantation home has been raised to the ground, members of his family had fled to avoid persecution and, worst of all, his sweetheart Polly had died from an epidemic disease that had killed many thousands. Dixie was in turmoil, greed and corruption were rife and it was hard for Matthew who had lived a privileged life. The laws were often unfair and driven by hate Matthew lived outside of them.

The Drifter brings the album to a close with Dixie, Now You're Done. A simple message... the story is over.

White Mansions (A&M SP-6004) was released in a gatefold sleeve with the album housed in an inner sleeve featuring a needlepoint flag with all the participants, made by Gwen Morris, on one side and comprehensive credits on the other side. The album cover had an old image of a 13-year old Confederate drummer boy centred on the front, characters and songs listed on the reverse while the middle spread was another period image from the 1860s.

There was also an accompanying 24-page booklet, written by Paul Kennerley and visually conceived by Ethan Russell, which told the story of White Mansions with lyrics to all the songs. There was also an opening section which gave an historical background to the American Civil War.

There was a mix of black & white images, some original period photos from the Library of Congress while several others were re-enactments taken by Ethan Russell who, along with Michael Ross, was credited for the art direction.

Among the re-enactments were some featuring the Southern Skirmish Association (London) and were taken at Dodington House, Park and Carriage Museum, Chipping Sodbury, Bristol.

While going through the booklet it is sometimes difficult to tell which images are original and which are re-enactments, so good is the attention to detail by the Southern Skirmish Association.

Very few reviews can be found from the time although one, from the UK music paper Melody Maker was not that impressed. In their review they said, "A dilemma - on the one hand we have some exceptionally good music; on the other, a project of doubtful worth." Reading this it makes you think the reviewer missed the point of the album. However, the reviewer did concede that, "... the songs are outstanding," and that the album was in line with the 'outlaw' style rather than middle of the road country.

Meanwhile, The Guardian described White Mansions as the first and perhaps best outlaw country rock Civil War concept album ever recorded!

The album is a gem in country music but chartwise the album didn't create much interest only reaching #181 on the Billboard Album Chart. However, it fared much better on the Billboard Country Album Chart peaking at #38.

Some of the albums lack of chart success can be put down to the problems associated with promotion. A&M were limited in the amount of publicity they could create especially with all the artists being signed to different labels.

Despite limited radio play and the lack of success on the charts the album did gain a cult appreciation in the years following its release. It is definitely an underrated album and deserves to reach a much wider audience.

Waylon Jennings, in his autobiography, wrote, "White Mansions is a lovely record, and it touched me in a deeply personal way, as a man whose house is built on a Civil War battlefield and a Southerner. Though it probably went over the heads of its intended audience, making the album was one of my most enjoyable experiences."

A couple of years later Kennerley turned to another slice of American history with the concept album The Legend Of Jesse James. For this album he bought together another great line-up of country music artists including Johnny Cash, Charlie Daniels, Levon Helm, Emmylou Harris, Rosanne Cash, Rodney Crowell and Albert Lee.

In 1999 both albums were issued on CD in a two-for-one package given the title Confederate Tales.

Earlier I mentioned that Kennerley had sent demos to Glyn Johns and it is a shame that nobody has seen it worthwhile to re-issue the album as an expanded/deluxe edition with the original album, demos, alternate/unreleased songs with the booklet reproduced and expanded on. With 2028 being the 50th anniversary of the albums release it would be a good time to re-visit this excellent album.

In a future blog article I hope to look back at The Legend Of Jesse James album.

THE BEACH BOYS CHRISTMAS ALBUM

Between 1962 and 1964 The Beach Boys released six albums, Surfin' Safari, Surfin' U.S.A., Surfer Girl, Little Deuce Coupe, Shut Down Volume 2 and All Summer Long and, like many other artists before and since, in 1964 they turned their attention to the Christmas market with an album of classics and original songs.

In this article we look back at the album, it's influence, production, release, reception and success.

In November 1963 Phil Spector released the classic A Christmas Gift For You album featuring The Ronettes, The Crystals, Darlene Love and Bob B. Soxx & The Blue Jeans on a selection of Christmas classics with that 'Wall of Sound' production.

The album made a big impact on Brian Wilson and was the inspiration for the Beach Boys to record their own Christmas offering. It is mentioned that Brian played piano on one track, Santa Claus Is Coming To Town, but Spector dismissed him due to his substandard piano playing!. Maybe that was another reason that Brian wanted to respond by producing his own collection.

However, before this The Beach Boys did release a single. Little Saint Nick, written by Brian Wilson and Mike Love.

Although it was partly inspired by Phil Spector's plans for a Christmas album, Wilson recalls writing the song, "I wrote the lyrics to it while I was out on a date and then I rushed home to finish the music." Originally credited only to Wilson, years later Love's name was added as co-writer.

Part of it's structure and rhythm can be compared to the groups earlier single, Little Deuce Coupe.

Recorded on two days in October 1963 at Western Studio in Hollywood with a tracking session on the 18th and vocals added on the 20th.

Besides guitar (Carl Wilson), bass (Al Jardine), piano (Brian Wilson), drums (Dennis Wilson) and lead vocals (Mike Love), the song featured celeste (Brian), sleigh bells (Carl), glockenspiel (Al) along with additional sleigh-bells by Murry Wilson and backing vocals by Bob Norberg.

Released on 9 December 1963, Little Saint Nick (Capitol 5096) reached #3 on Billboard Magazines seasonal Christmas Singles Chart. An a cappella version of The Lord's Prayer appeared on the B-side.

In the years that followed it did make chart appearances in several countries including Australia, Canada, Sweden, France, Ireland, United Kingdom and America. In the UK it was certified Gold by the British Phonographic Institute (BPI) for sales of more than 400,000.

Sessions for the album ran from 18th June through to the 30th June 1964 at the Capitol Studios and Western Recorders in Hollywood. Along with the five band members a 41-piece orchestra was also present during the sessions.

Brian only arranged four of the songs handing the task to Dick Reynolds, arranger with The Four Freshman, who worked on the remaining tracks.

Brian produced the sessions with Chuck Britz, who had worked on all their previous albums, engineering the sessions.

At the first session at Capitol Studios on the 18th, between 2:30 - 5:30 pm, orchestral tracking sessions were held for We Three Kings Of Orient Are, Santa Claus Is Comin' To Town, White Christmas and Blue Christmas. At this session Brian also stripped the sleigh bells and glockenspiels off the earlier version of Little Saint Nick and added new vocals. This was done to match the sound of the current recordings being made.

On the 23rd sessions moved to Western Recorders where an attempt was made to add a vocal for Little Saint Nick onto the October 1963 instrumental track of the song Drive-In. An odd recording that failed and would not be used on the Christmas album remaining unreleased for more than thirty years. It is more than likely that the original lyrics for Little Saint Nick were meant to go with the melody from Drive-In but when it didn't work Brian was forced to write a new melody for Little Saint Nick.

Instrumental tracks for Frosty The Snowman, I'll Be Home For Christmas and orchestral tracks for Jingle Bells and Christmas Eve were laid down during a three-hour session at Western Recorders on the 24th. The latter two tracks would not be used.

A fourth session, once again held at Western Recorders, on the 25th resulted in tracking recordings for The Man With All The Toys, Merry Christmas Baby and Santa's Beard. Brian, Carl and Al were present for the session. Also tracked was Christmas Day and the session ended with the group recording an a cappella version of Auld Lang Syne. With all the tracking and instrumental work completed the remaining sessions would be for vocal overdubs.

Four more sessions held at Western Recorders would result in vocals added to The Man With All The Toys, Santa's Beard and Christmas Day (on the 27th), Blue Christmas, White Christmas and Santa Claus Is Coming To Town (on the 28th) and Frosty The Snowman and We Three Kings Of Orient Are (on the 29th).

The final session, on the 30th, saw the band adding vocals to the final two tracks, Merry Christmas Baby and I'll Be Home For Christmas. With this session recording for the Christmas album was finished.

Multiple attempts at vocal overdubs and backing vocals were attempted during the sessions, many of which would find an unofficial release years later. No vocals were ever added to Jingle Bells and Christmas Eve and the basic instrumental tracks till remain officially unreleased.

The Beach Boys' Christmas Album was released in both mono and stereo formats (Capitol ST-2164 and T-2164) on 9th November 1964. It was their third album to be released in 1964 following Shut Down Volume 2 and All Summer Long.

The cover photo showed the boys, wearing woolly jumpers, decorating a Christmas tree and was taken by Capitol Records staff photographer George Jerman. A change from the Pendleton Shirt and surfin' images. Several photos were taken including the image at the start of this article.

The back sleeve featured a black and white signed image of the group with the heading 'We'd Like To Wish You A Very Merry Christmas.' A track listing and brief liner notes are also included. The notes read in part, 'Because Christmas is a very special occasion, the Beach Boys decided that this should be a very special album... and it is. Here for the first time you'll hear the Beach Boys accompanied by a sonorous forty-piece orchestra, with special arrangements written just for this album by Dick Reynolds.' It goes on, 'The songs the Boys have chosen for their holiday greetings to you range all the way from their own light-hearted seasonal hit "Little Saint Nick" to beautiful traditional favourites done with the orchestra.'

A second single was also issued the same day pairing two of the album tracks, The Man With All Toys and Blue Christmas (Capitol 5312) which would peak at #6 on Billboard Magazines seasonal Christmas Singles Chart. In the years that followed sales would build and it was listed in the Billboard Top 100 Selling Christmas songs, although it was well below Little Saint Nick.

The album peaked at #6 on the Billboard Christmas Album Chart during 1964 and in the years that followed would reach, #66 on the Billboard Top 200 Album Chart, #35 on the Billboard Top Catalog Albums and #23 on Billboards Top Holiday Albums Chart.

The Beach Boys Christmas Album opens with Little Saint Nick, the first of five tracks on the album written by band members, four by Brian and Mike and one by just Brian. The best known track on the album it was a re-recorded version that was used, not the original single. With lead vocals by Mike and great harmonies from the remaining band members it is very reminiscent of some of their earlier material.

The Man With All The Toys follows and has a catchy melody, albeit only running for just 92 seconds. The lyrics are simple...A guy in the North Pole peeks into a window and sees a fat man all dressed up in red surrounded by 'little tiny men everywhere' who are making toys. Tempted to go in he decides to stay out in the cold and leaves and tell everybody what he saw. The song features a lead vocal by Brian and Mike.

The child-like tale of a boy who isn't convinced that the Santa he meets at the department store is real is told in the jaunty Santa's Beard. Pulling the pillow out from under his suit and the beard off his face, the child is upset but is consoled when he is told that he is helping the real Santa Claus. Mike sings the lead vocal  

Merry Christmas Baby, with another excellent lead vocal from Mike, has dreamy romanticism as its theme. However, it is not a typical Christmas, cheery song. Having lost his girl the only thing he wants at Christmas is to have her back in his arms.

Up until now Al Jardine hadn't had a lead vocal on any Beach Boys song but this changed with Christmas Day, his first solo vocal. A beautiful song and my favourite on side one of the album. The song includes a fantastic Hammond organ instrumental break.

Recorded by The Ronettes on the Phil Spector produced A Christmas Gift For You album, Frosty The Snowman features a full orchestra on one of the best versions of this fun Christmas song I've ever heard. The song closes the first side of the album in style. 

Side two opens with We Three Kings Of Orient Are, the longest track on the album, running to just over four minutes.  With its beautiful arrangement and harmonies it is by far the best track on the album.

Brian turns in an impeccable lead vocal performance of Blue Christmas with great backing from the orchestra. Recorded by many artists over the years, most notably by Elvis Presley in 1957, this was a great choice for the album. Probably the best Brian Wilson solo vocal on the album.

Santa Claus Is Back In Town. Starting off slow it soon turns into a catchy/jazzy/big band version with both Brian and Mike sharing the vocals, in style. 

Irving Berlin wrote White Christmas back in the 1940s for the film Holiday Inn and the song won the Academy Award for Best Original Song. Recorded by Bing Crosby it has become the biggest selling song of all time with sales of his version exceeding 50 million physical copies. There have been more than 500 recorded versions, many in foreign languages and artist that have recorded the song include Frank Sinatra, The Drifters, Elvis Presley and Darlene Love. Brian's vocals shine, yet again, on this Christmas classic. 

I'll Be Home For Christmas is another song recorded by many artists and, as with Blue Christmas, highlights how exquisite Brian's voice was when used on songs such as this. The remaining band members add some stunning vocal support.

The album is bought to a close with the beautiful harmonies on the a cappella version of the traditional Auld Lang Syne. Dennis Wilson adds a Christmas message during which he messes up the word, "Happen" . Strange, considering how Brian was so particular about perfection on the groups records, that he allowed the mistake to remain. Despite this it is a great way to end an enjoyable album.

Brian called the first half of the album as the 'teen side', hence describing Father Christmas, in Little Saint Nick,  as " a real famous cat all dressed up in red."

Over the years many magazines and on-line sites have reviewed the album. Music historian James Perone wrote, "It is regarded as one of the finest holiday albums of the rock era."

All Music's Jason Ankeny said, "Brian Wilson's pop genius is well suited to classic Yuletide fare, and the group delivers lush performances of standards ranging from Frosty The Snowman to White Christmas as well as more contemporary material like The Man With All The Toys and Blue Christmas."

Meanwhile Jason Birchmeier stated, "Beach Boy's Christmas Album features the Beach Boys performing a variety of holiday favourites. Most of the featured songs are well known, some of the more popular being Frosty The Snowman, White Christmas, Santa Claus Is Coming To Town and I'll Be Home For Christmas, among others. Furthermore, there are four songs composed by the Beach Boys - Little Saint Nick, The Man With All The Toys, Santa's Beard and Merry Christmas Baby - which begin the album. This mix of favourites and originals makes this a balanced holiday album that should please both Beach Boy admirers and those unfamiliar with the group."

Finally, in 1971 Billboard wrote, "At some time or another, most major artists have recorded either albums or singles devoted to the holiday season, and from there, it's only logical that a few would create classics in this manner. But if we were to chose just one out of the wealth of pop Christmas albums, it would have to be The Beach Boys endearing efforts of a few seasons back." They went on to say, "While the thrust of the album is directed at Christmas as a fun-time event, there are elements of (well...) social commentary (Santa's Beard) and straight emotionalism (Auld Lang Syne), all covered over those uniquely transcendent Beach Boy harmonies and a 'sonorous' (yep, that's what is says in the liner notes) 40-piece orchestra."

Talking about the album, Brian Wilson said, "For our Christmas album we more or less made one side in our own style and the other side in a more traditional style. My memory of recording that album was that it was a real happy time for us, It took about a month to record at Western. I liked that studio because they had a good sounding bass and good-sounding highs."

In 1991 the album was re-issued on CD with bonus material. Along with the twelve original tracks the CD included the single version of Little Saint Nick,an a-cappella The Lord's Prayer, which had been the B-side of The Man With All The Toys single, and alternate takes of Little Saint Nick and Auld Lang Syne without the Dennis Wilson message.

These sessions have been well covered on the unofficial market. The bootleg label Sea Of Tunes have released many CDs under the title Unsurpassed Masters covering The Beach Boys career up to the end of the 1960s. many of these are multi-CD sets covering individual albums.

Among these is the 3-CD set Christmas Sessions - The Alternate Beach Boys Christmas Album.

Over the three CDs are multiple takes of all the tracks on the album with instrumental takes, instrumental overdubs, try-out takes, vocal overdubs, alternate vocals, mono takes, stereo mixes and much more. Also included is the instrumental Jingle Bells but unfortunately no takes of Christmas Eve. An interesting listen for completists only.

The best summary of The Beach Boys Christmas Album is to be found on the original notes on the back sleeve which end with... 'Here, certainly, is an outstanding Christmas album - one that you'll enjoy for many seasons to come.'

How true, as sixty-one years since it's original release many tracks can still be heard on the radio today and the CD will be spinning this festive season in my office.

Check out my other Christmas articles here:

Christmas With Elvis

A Christmas Gift For You

Do They Know It's Christmas @40

All that leaves is for me to wish you all,,,

...A Merry Christmas and A Happy New Year

EVERYTHING AND THE KITCHEN SINK

I love the films from the 1950s and 1960s and this new book, Everything And The Kitchen Sink - UK Film, Music and TV Before The Beatles, written by Simon Matthews, looks in detail at a period whose movies, and TV programmes, have been classed as 'Kitchen Sink Drama'.

The term 'Kitchen Sink Drama' comes from a British cultural movement from the 1950s/1960s that used social realism to depict the gritty and everyday lives of working-class people. It focussed on many themes including social inequality, poverty, pregnancy, abortion, domestic struggles and created the disillusioned, rebellious working-class heroes who, frustrated with the hand they had been dealt in life, became 'Angry Young Men.'

The term originated from a 1954 article by an art critic on young painters who concentrated on mundane domestic scenes. The movement began in British theatre but soon spread to film and TV. 

Over seven main chapters Matthews gives the reader a detailed look at the many films released during the 1950s and 1960s including such classics as A Taste Of Honey, Saturday Night And Sunday Morning, Room At The Top, The Leather Boys, Look Back In Anger, Billy Liar and A Kind Of Loving.

There are details about how many of the films started life as books and stage plays, including where the plays were first performed. Problems finding distributors and the different actors who were considered for the lead and supporting roles are covered in comprehensive detail and make for fascinating reading.

The list of people mentioned in the book reads like a who's who with authors and playwrights (John Osborne, Alan Sillitoe, Shelagh Delaney), actors (Albert Finney, Alan Bates, Rita Tushingham, Leonard Rossiter) and producers and directors (Michael Winner, Richard Lester and Ken Loach) all featured.

There are too many other movies to list here but A Place To Go, The L-Shaped Room, Idol On Parade, The Loneliness Of The Long-Distance Runner, Lucky Jim and Only Two Can Play are just a few that are covered in similar detail to the rest.

Both Tony Hancock and Peter Sellers  work on TV, radio and films is covered with a look at Hancock's Half Hour, The Rebel, The Goon Show, Carlton Browne Of The F. O. and I'm Alright Jack among others.

During the late-1950s and throughout the 1960s there were many 'pop' musicals that featured the top artists/groups of the time. Most were simply vehicles to bring together a selection of current hits wrapped up in flimsy plots. However, they were very popular at the time and I have fond memories of many of them.

The book looks at a few of these... It's Trad Dad! (Helen Shapiro), Play It Cool (Billy Fury), What A Crazy World (Joe Brown), Serious Charge (Cliff Richard) and Expresso Bongo (Cliff Richard), the two Cliff Richard movies having a more serious storyline than many of the others. This all leads to The Beatles and A Hard Days Night.

A number of TV productions are also included, many of which I remember watching as a youngster... Z-Cars (one of my favourites), Dixon Of Dock Green, Danger Man, Coronation Street, The Avengers and Steptoe & Son.

As well as the 'Pop' musicals discussed earlier, a number of music programmes also get a mention... Oh Boy!, Six-Five Special, Ready Steady Go and Top Of The Pops.

One of my favourite movies from this period is Beat Girl, set in the Soho scene and starring Adam Faith, Gillian Hills, Noelle Adam and Christopher Lee with music by Adam Faith and The John Barry Seven and I was pleased to see it covered.

The book includes a foreword by Sir Tom Courtenay, a detailed list of commercially released music related to the films, theatre and TV productions mentioned in the book with details of singles, extended play releases and long playing albums and a comprehensive index to the books content.

There are so many great stories throughout the book and I'll leave it to the reader to find out more. However, I do want to mention one that I found very interesting, regarding The Beatles and their first film role. I have added additional information to that covered in the book.

In 1964 A Hard Days Night was released and became an instant and major success, as did the accompanying soundtrack album and singles that were released.

However it could all have been so different. The Beatles were first offered a chance to appear in the 1963 film The Yellow Teddybears, a slice-of-life drama whose plot was described as... 'A clique of girls in an English school who wore small yellow teddy bears on their uniforms to signify that they were no longer virgins!' The leader of the girls, Linda, fears she might be pregnant by her boyfriend, with the name 'Kinky', a wannabe singer.

The movie, directed by Robert Hartford-Davis with a script by Donald Ford and Derek Ford, had a cast that included Jacqueline Ellis, Georgina Patterson, Annette Whiteley, Jill Adams and Iain Gregory.

In the movie The Beatles would be required to sing six songs, none of which would be written by them. It was also going to be released with an alternate, and less-appealing, title... Gutter Girls!

Manager Brian Epstein, and no doubt the band themselves, turned the offer down. Paul McCartney, in later interviews said, "We were excited but it turned out that the fella involved was going to write all the songs, and we couldn't have that." John Lennon also had a few words of his own, "We didn't even want to make a movie that was going to be bad, and we insisted on having a real writer to write it." Fortunately Alun Owen wrote a screenplay that did appeal to the band... A Hard Days Night and the rest, as they say, is history.

Taking a slight detour I wanted to mention a Hidden London Tour I went on a few years ago... Euston Underground - The Lost Tunnels. What has this to do with the book I hear you say. Well, the tour included walks along old running tunnels, passenger walkways and old lift shafts, all of which hadn't been accessed by passengers for many years.

One tunnel was a fascinating trip into the past with the walls covered in adverts and original movie posters from the 1950s and 1960s. One poster was for 1962's A Kind Of Loving and is shown above. There were many others advertising titles like West Side Story, Psycho and The Terror Of The Tongs, although none of these fall into the 'Kitchen Sink Drama' category. 

I really enjoyed this book and it bought back so many memories and has prompted me to add many of the films mentioned in the book to my Blu-Ray collection. I also learnt so much more about the films, directors, authors, artists, screenwriters and fascinating background to the making of the films, especially locations used.

If I had one minor complaint, and it takes nothing away from the text in the book, is the lack of illustrative material. Yes, there are a handful of great black & white, period photos but a book like this would have benefitted from more images including original posters, lobby cards, advertising material, cinema ads and publicity photos. I have included a collage of several of these above to help illustrate my review/article.

Despite the above comment, this book gets five-stars from me and is highly recommended... I'm now off to watch A Kind OF Loving.