T.A.M.I. Show

[Jon Stebbins]

Has anyone else noticed during "I Get Around" someone "jamming" along with the group? Most notably on guitar at 0:24-0:39 in the backround towards the right of screen and on piano (?) at 1:12-1:26 and 1:33-1:49 again towards the right of screen in the backround.

That's the house band, and their sound definitely wasn't up for the BB's set. You'll notice in most episodes of Shindig and other '60's TV shows the house band guys usually act like they're playing along with whoever's on camera just so they aren't sitting there doing nothing. Even the Beatles playing live in Germany in '66 you can see house band guys acting like they're playing along with them.

[metal flake paint]

OK, thanks for the explanation.

[TdHabib]

Has anyone else noticed during "I Get Around" someone "jamming" along with the group? Most notably on guitar at 0:24-0:39 in the backround towards the right of screen and on piano (?) at 1:12-1:26 and 1:33-1:49 again towards the right of screen in the backround.

That's the house band, and their sound definitely wasn't up for the BB's set. You'll notice in most episodes of Shindig and other '60's TV shows the house band guys usually act like they're playing along with whoever's on camera just so they aren't sitting there doing nothing. Even the Beatles playing live in Germany in '66 you can see house band guys acting like they're playing along with them.

Shindig with "Do You Wanna Dance" did it with a guy on piano...

On a side note it's interesting, Shindig, Sullivan, Jack Benny...they all did the same then directing wise. They found out that a normal shot of the group got applause and mild cheers, the minute they flash Denny on it was WAAAAAAHHHH screams. It's interesting because once the director finds that out he uses it all the time. Verses, group shot, close up of Mike dancing, maybe a shot of the nerdy Al Jardine for the old folks, chorus Dennis AAAAAAAHHHHHHHHH.

[metal flake paint]

Has anyone else noticed during "I Get Around" someone "jamming" along with the group? Most notably on guitar at 0:24-0:39 in the backround towards the right of screen and on piano (?) at 1:12-1:26 and 1:33-1:49 again towards the right of screen in the backround.

That's the house band, and their sound definitely wasn't up for the BB's set. You'll notice in most episodes of Shindig and other '60's TV shows the house band guys usually act like they're playing along with whoever's on camera just so they aren't sitting there doing nothing. Even the Beatles playing live in Germany in '66 you can see house band guys acting like they're playing along with them.

Shindig with "Do You Wanna Dance" did it with a guy on piano...

On a side note it's interesting, Shindig, Sullivan, Jack Benny...they all did the same then directing wise. They found out that a normal shot of the group got applause and mild cheers, the minute they flash Denny on it was WAAAAAAHHHH screams. It's interesting because once the director finds that out he uses it all the time. Verses, group shot, close up of Mike dancing, maybe a shot of the nerdy Al Jardine for the old folks, chorus Dennis AAAAAAAHHHHHHHHH.

Yeah, I noticed that especially during their performance of "Wendy" on Ed Sullivan where a close-up of Dennis received by far the most audience response, followed by Mike and Brian. Equal last were Al and Carl with no squeal factor.

[MBE]

Has anyone else noticed during "I Get Around" someone "jamming" along with the group? Most notably on guitar at 0:24-0:39 in the backround towards the right of screen and on piano (?) at 1:12-1:26 and 1:33-1:49 again towards the right of screen in the backround.

That's the house band, and their sound definitely wasn't up for the BB's set. You'll notice in most episodes of Shindig and other '60's TV shows the house band guys usually act like they're playing along with whoever's on camera just so they aren't sitting there doing nothing. Even the Beatles playing live in Germany in '66 you can see house band guys acting like they're playing along with them.

Shindig with "Do You Wanna Dance" did it with a guy on piano...

On a side note it's interesting, Shindig, Sullivan, Jack Benny...they all did the same then directing wise. They found out that a normal shot of the group got applause and mild cheers, the minute they flash Denny on it was WAAAAAAHHHH screams. It's interesting because once the director finds that out he uses it all the time. Verses, group shot, close up of Mike dancing, maybe a shot of the nerdy Al Jardine for the old folks, chorus Dennis AAAAAAAHHHHHHHHH.

Yeah, I noticed that especially during their performance of "Wendy" on Ed Sullivan where a close-up of Dennis received by far the most audience response, followed by Mike and Brian. Equal last were Al and Carl with no squeal factor.

The Shindig shows are classic for that watch Johnny B Goode! It's sad but funny too!

[Jon Stebbins]

These huge differences in fan reactions are not anecdotal. A significant number of the the Beach Boys female fans bought their records due to the fact that Dennis was in the band. That is a fact. He made them more popular than they would have been without him. Anyone who denies it needs to go back and do some research, read the zines and the biz press of the time. Talk to people who sorted the fan mail. Dennis' image made a difference in the group's bottom line. Dennis never really got the credit he deserved for this. Does anyone regaling the BB's history really ever admit that Dennis was more known and certainly more popular among the Beach Boys large 1964/65 fan base than Brian or any of the others? Most people tend to downplay, or completely ignore this fact...probably because it had to do with charisma, and physical energy, and looks. Its not exactly palatable to say a group who made the best records and had rock's greatest genius, were partially popular because the drummer was hot. But its true.

[Ed Roach]

"A significant number of the the Beach Boys female fans bought their records due to the fact that Dennis was in the band. That is a fact. He made them more popular than they would have been without him. Anyone who denies it needs to go back and do some research, read the zines and the biz press of the time. Talk to people who sorted the fan mail. Dennis' image made a difference in the group's bottom line. Dennis never really got the credit he deserved for this. Does anyone regaling the BB's history really ever admit that Dennis was more known and certainly more popular among the Beach Boys large 1964/65 fan base than Brian or any of the others? Most people tend to downplay, or completely ignore this fact...probably because it had to do with charisma, and physical energy, and looks. Its not exactly palatable to say a group who made the best records and had rock's greatest genius, were partially popular because the drummer was hot. But its true."

And let's not forget the effect that the fanatical, Beatle-esque screams which Dennis elicited had on Brian, and his decision to stop touring...

[TdHabib]

"A significant number of the the Beach Boys female fans bought their records due to the fact that Dennis was in the band. That is a fact. He made them more popular than they would have been without him. Anyone who denies it needs to go back and do some research, read the zines and the biz press of the time. Talk to people who sorted the fan mail. Dennis' image made a difference in the group's bottom line. Dennis never really got the credit he deserved for this. Does anyone regaling the BB's history really ever admit that Dennis was more known and certainly more popular among the Beach Boys large 1964/65 fan base than Brian or any of the others? Most people tend to downplay, or completely ignore this fact...probably because it had to do with charisma, and physical energy, and looks. Its not exactly palatable to say a group who made the best records and had rock's greatest genius, were partially popular because the drummer was hot. But its true."

And let's not forget the effect that the fanatical, Beatle-esque screams which Dennis elicited had on Brian, and his decision to stop touring...

It couldn't have been easy on his ear(s)

[ESQ Editor]

I've viewed the whole thing, and it's absolutely astonishing to see it so clear, and sound so good. There will be lots of cool extras, with a complete collectible booklet.

[mikee]

Dennis never really got the credit he deserved for this. Does anyone regaling the BB's history really ever admit that Dennis was more known and certainly more popular among the Beach Boys large 1964/65 fan base than Brian or any of the others? Most people tend to downplay, or completely ignore this fact...probably because it had to do with charisma, and physical energy, and looks. Its not exactly palatable to say a group who made the best records and had rock's greatest genius, were partially popular because the drummer was hot. But its true.

Credit for being "hot"?

[Cal]

I've viewed the whole thing, and it's absolutely astonishing to see it so clear, and sound so good. There will be lots of cool extras, with a complete collectible booklet.

Could you possibly post a full-fledged review about the entire DVD's contents? It would be appreciated by all!

Thanking in advance!

Regards,
Cal aka "Beatle Bob"

[Jon Stebbins]

Dennis never really got the credit he deserved for this. Does anyone regaling the BB's history really ever admit that Dennis was more known and certainly more popular among the Beach Boys large 1964/65 fan base than Brian or any of the others? Most people tend to downplay, or completely ignore this fact...probably because it had to do with charisma, and physical energy, and looks. Its not exactly palatable to say a group who made the best records and had rock's greatest genius, were partially popular because the drummer was hot. But its true.

Credit for being "hot"?

Everyone always says the other guys were "lucky" because Brian's talent gave them their wealth and success. That is absolutely true. However, if you can imagine a time when no one gave a rats behind that Brian was a genius, but a lot of people(females) cared what the drummer looked like on TV, record covers, magazines, concert appearances...and rushed out and bought the records with that in mind. It wasn't the entire formula for their popularity, but it was a significant part of it in '64/65. This is a fact. Dennis rarely gets credit for it in any serious way. The others were "lucky" to have him in the band. It made them more popular, and wealthier.  

[Cal]

Specs from Amazon:

http://www.amazon.com/T-M-I-Show-Collectors/dp/B0030ATZIA/ref=sr_1_1?ie=UTF8&s=dvd&qid=1264613547&sr=1-1

Regards,
Cal aka "Beatle Bob"

[The Shift]

Anyone know whether this is getting a UK release? Not showing up on Amazon.uk...

[ESQ Editor]

Asking. I'll let you know.

[ESQ Editor]

No UK release is planned. No explanation as to why. Look for a full review of the TAMI in the Spring edition of ESQ, as well as an upcoming edition of Goldmine that I'll be writing after I interview the director, Steve Binder.

There'll be rare pictures from the set of the show, in addition to comments from Dean Torrence on hosting the show with Jan Berry.

[Shady]

No UK release is planned. No explanation as to why. Look for a full review of the TAMI in the Spring edition of ESQ, as well as an upcmoing edition of Goldmine that I'll be writing after I interview the director, Steve Binder.

There'll be rare pictures from the set of the show, in addition to comments from Dean Torrence on hosting the show with Jan Berry.

No UK release, that's ridiculous

[mikee]

In the AIP vault were the original 35mm negative, and 35mm positive print. The original 3 track Audio mag was missing, so the audio cannot be remixed.

The audio source that they did use is not also 3 track?  fold down mono?

I wonder if they still have the original audio for the Big TNT show, and if it is 3 track or something other?  

[The Shift]

No UK release is planned. No explanation as to why. Look for a full review of the TAMI in the Spring edition of ESQ, as well as an upcoming edition of Goldmine that I'll be writing after I interview the director, Steve Binder.

There'll be rare pictures from the set of the show, in addition to comments from Dean Torrence on hosting the show with Jan Berry.

Thanks David - is the standard US release Region 1 coded, or Region 0 ?

Be a real shame if European & Asian fans were out of the loop on this -  we don't all have region-free players!

[Ed Roach]

The 1964 concert never turned into the annual fundraiser it was envisioned as, but it did bring together the Rolling Stones, Chuck Berry, the Beach Boys and James Brown, and now it's on DVD.

By Randy Lewis

March 23, 2010

"The T.A.M.I. Show," the fabled film document of an equally legendary 1964 concert in Santa Monica with the Rolling Stones, James Brown, the Beach Boys, Marvin Gaye, the Supremes, Chuck Berry and a half-dozen other acts, has a back story that reads like the inspiration for the Stones' observation years later about getting what you need even when you don't get what you want.

As originally planned, "The T.A.M.I. Show" was supposed to be considerably more than a concert film featuring several of the day's hottest pop-music acts.

Executive producer William Sargent Jr. envisioned the event, whose acronym stood for "Teenage Awards Music International," as an annual nonprofit concert series and award ceremony that would be televised internationally, with proceeds going toward music scholarships and programs benefiting teens worldwide.

None of that ever panned out.

"I think Bill was the prototype for the Zero Mostel character in 'The Producers,' " says Steve Binder, the director of "The T.A.M.I. Show" feature film that arrives Tuesday for the first time in an official home-video release.

"He would come up with these great ideas," Binder recalled last week, gently chuckling at the memory, "but he tried to do them independently, and he always seemed to run into money problems."

Fortunately, that first and only "T.A.M.I. Show" turned out to be one of the most celebrated, and sought-after, assemblages of talent in pop music history, documented by the same director and much of the same crew that four years later would be responsible for the equally venerated Elvis Presley 1968 "comeback" special.

"One thing about 'The T.A.M.I. Show' is how beautifully shot it is," said pop music historian and documentary filmmaker David Leaf, who included Binder's film in a class on rock documentaries he taught recently at UCLA. "It captures that era in a way I don't think anything else does. Those extreme close-ups are just stunning: Marvin Gaye, Smokey Robinson, Diana Ross, to see them in the first blush of their careers, when they were young and becoming stars . . . . And it may be the best footage of James Brown ever. Rolling Stone called it the greatest rock 'n' roll film of all time, and in certain ways it is."

The DVD includes the complete feature film that premiered theatrically just two weeks after the concert took place at the Santa Monica Civic Auditorium -- including the long-missing segment featuring the Beach Boys that was excised from more than 2,000 prints a short time after it first screened.

How and why that happened remains a subject of some debate. Binder, who says he wasn't privy to the legal wranglings that went on after he delivered the two-hour film, believes that Murry Wilson, the father of Beach Boys siblings Brian, Dennis and Carl Wilson who had worked for a time as their manager, insisted it be snipped because "he didn't want them to continue to be associated with those early songs about cars and surfing and girls."

Others have suggested it was more a matter of the group's handlers not wanting the quintet -- the most popular American band of the time -- to share a stage with anyone. The success of the Beatles' feature film debut, "A Hard Day's Night," had primed the pump for pop groups making the jump to the big screen, and the Dave Clark Five, Herman's Hermits and Gerry & the Pacemakers (the latter also on the "T.A.M.I." lineup) each eventually starred in films, and some in the Beach Boys camp thought the group might have a shot at a movie of its own too.

Whatever the reason, most people who eventually saw the film -- and there weren't nearly enough of those for it to turn a profit -- saw it minus "Surfin' U.S.A.," "I Get Around," "Surfer Girl" and "Dance, Dance, Dance." Most who have viewed or owned it in the subsequent 45 years did so by way of copies bootlegged from a few isolated television screenings in the 1970s.

The film's labyrinthine ownership trail was finally sorted out by Dick Clark Productions and Shout! Factory, the company specializing in vintage audio and video reissues.

Binder notes in the director's commentary, one of the DVD's bonus features, that Lesley Gore was the biggest star on the bill, having come off a peak year in 1963 when she scored four Top 5 pop singles, including her signature hit "It's My Party."

But the performer who most impressed many of the "T.A.M.I." participants was Chuck Berry. Although it was years past his biggest '50s hits, in 1964 he'd found his way back into the Top 10 with "No Particular Place to Go."

"That was the kind of music Jan and I listened to -- we were in awe," said Dean Torrence, who with his Jan & Dean singing partner Jan Berry not only performed on "The T.A.M.I. Show" but served as its stripe-shirted, skateboard-riding hosts.

Chuck Berry opens the show, then trades songs with Gerry & the Pacemakers, another batch of Liverpudlians handled by Beatles manager Brian Epstein and produced by their recording studio overseer, George Martin.

The Pacemakers get what seems like an inordinate amount of time on camera. "I couldn't agree more," Binder acknowledged. "Had I been able to edit it, I think I would have taken the scissors to it and cut them back a song or two."

But Binder notes that because it was shot essentially in real time and assembled live as the music played, "There was nothing to edit. Unlike when I did the Presley special, there were no outtakes, no isolated cameras for unused angles. I never stopped an act and said, 'Do that over again.' "

And it still holds a special place for those who were there.

"There's a story that Keith Richards once said 'Following James Brown was the biggest mistake of our lives,' " Leaf noted. "Maybe, waiting in the wings for the audience to recover, the Rolling Stones felt it was a bad idea at the moment. But watching the footage today, the Stones' performance is first-rate rock 'n' roll. It's just not epic in the way Brown's is. Really, nobody could follow James Brown."

randy.lewis@latimes.com

http://www.latimes.com/entertainment/news/la-et-tamishow23-2010mar23,0,7721882.story

Copyright © 2010, The Los Angeles Times

[A Million Units In Jan!]

Watching them rip through 'I Get Around', they're like an early '60s Ramones. Fast and in your face-at least, as in your face as The Beach Boys could get.

Also, I'm always struck at how only  two years later, Brian was creating the Pet Sounds and SMiLE music. You never would have thought that by looking at him up there in his candy striped shirt, singing the car, surf and girls songs. Quite a musical progression.

[kirt]

Dennis never really got the credit he deserved for this. Does anyone regaling the BB's history really ever admit that Dennis was more known and certainly more popular among the Beach Boys large 1964/65 fan base than Brian or any of the others? Most people tend to downplay, or completely ignore this fact...probably because it had to do with charisma, and physical energy, and looks. Its not exactly palatable to say a group who made the best records and had rock's greatest genius, were partially popular because the drummer was hot. But its true.

Credit for being "hot"?

Everyone always says the other guys were "lucky" because Brian's talent gave them their wealth and success. That is absolutely true. However, if you can imagine a time when no one gave a rats behind that Brian was a genius, but a lot of people(females) cared what the drummer looked like on TV, record covers, magazines, concert appearances...and rushed out and bought the records with that in mind. It wasn't the entire formula for their popularity, but it was a significant part of it in '64/65. This is a fact. Dennis rarely gets credit for it in any serious way. The others were "lucky" to have him in the band. It made them more popular, and wealthier.  

My teenage daughter always refers to Dennis as the cute one. She loves the "I get around" segment.

[Rocker]

Watching them rip through 'I Get Around', they're like an early '60s Ramones. Fast and in your face-at least, as in your face as The Beach Boys could get.

Also, I'm always struck at how only  two years later, Brian was creating the Pet Sounds and SMiLE music. You never would have thought that by looking at him up there in his candy striped shirt, singing the car, surf and girls songs. Quite a musical progression.

And I'm struck at how lame the Beach Boys sounded live in '66 (judging from the Michigan-concerts) compared to this and the "Concert"-stuff.

[Emdeeh]

Here's an interesting interview with the director of the TAMI show, Steve Binder, that lends some insight into why the BB's performance went missing for so long:

http://www.spinner.com/2010/03/22/the-tami-show-dvd/

Steve Binder says:
"There was a big legal battle going on as to who owned the television rights, the motion picture rights, international rights. Then it was compounded when [Murry] Wilson, the father of [Beach Boys] Brian and Dennis, demanded that once the film made its initial distribution run, he'd take the Beach Boys segment out. Somehow, Dick Clark got involved, I don't know how or when. I have a suspicion Sargent must have said, 'Hey, I'll give you the television rights.'"

[Alan Boyd]

A few years ago we obtained an original 35mm print of the Beach Boys' sequence, and we made a high definition transfer.  We lent that high def master to Dick Clark Productions for their restoration as the group's segment had been cut from the original negative.  As our print had a nasty splice in the middle of "Surfer Girl," Dick Clark must have found another source to cover that bit....but I haven't watched the DVD yet, so I'm not positive how they worked that out.

It's interesting to note that the film was originally released in a wide screen format using a letterbox within the 35mm frame, with the top and bottom of the picture area masked.   Watching it in wide screen for the first time, we finally caught a glimpse of Teri Garr, dancing up a storm off to the edge of the frame.  The poor girl been lopped off when the film was transferred to 4x3 video.

Our local PBS station ran the film in High Definition a couple of weeks ago as part of their latest pledge drive, but I only caught the last half hour or so of the broadcast.  It was great to see Dean as one of the hosts for the pledge drive segments.