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The Standells<\/strong> \u2013 considered a quintessential protopunk band of the 1960s \u2013 got their start as a matching-suited, club band playing frat-rock and covers of the day. The pride of Boston thanks to their name-checking 1966 hit, \u201cDirty Water,\u201d The Standells weren’t even from Massachusetts; they were a Los Angeles group.<\/p>\n But with the passing of a few months and a few band members, The Standells quickly coalesced a lineup around founder and former solo act, keyboardist Larry Tamblyn<\/strong>, and former Mouseketeer Dick Dodd<\/strong> on vocals and drums. The band toughened their image, and signed with Tower Records, where they began to work with producer Ed Cobb<\/strong>. Cobb would write (or co-write) \u201cDirty Water\u201d for (or with) the group, and went on to produce another legendary 60s garage group, The Chocolate Watchband<\/strong>.<\/p>\n Buoyed by the success of \u201cDirty Water,\u201d the group cut more songs in the nascent garage rock style, including genre classics \u201cSometimes Good Guys Don’t Wear White,\u201d \u201cRiot on Sunset Strip\u201d (from the 1967 teen exploitation movie of the same name), \u201cWhy Pick on Me,\u201d and the banned-in-Texas \u201cTry It.\u201d By ’68 the group’s style was past its sell-by date, and though they would continue with various lineups, no new music was forthcoming.<\/p>\n Back in ’64 an early Standells lineup released The Standells in Person at P.J.’s<\/em>, but that set captured the pre-garage version of the group. In 2001, Sundazed released a 10\u201d vinyl record, The Live Ones!<\/em> (a riff on the title of The Standells’ second of three 1966 LPs, The Hot Ones!<\/em>). That set provided the first officially-available live document of the garage-era group. Recorded in the summer of 1966 at Michigan State University, the surprisingly good quality recording found the band at their snarling yet good-natured, fuzztone best.<\/p>\n Now \u2013 almost fifty years after it was recorded \u2013 Sundazed has unearthed yet another live document of The Standells from that banner year of 1966. Recorded no more than a couple of months after the show that would yield The Live Ones!<\/em>, and performed less than sixty miles southeast, Live on Tour \u2013 1966!<\/em> is equally exciting, and it features twice as many songs.<\/p>\n The recording opens with a laughably tepid introduction (probably by a college administrator) explaining that there will be two acts on the evening’s bill: The Standells (curiously, this is met by silence from the audience) and The Beach Boys<\/strong>. The crowd seems to chuckle inwardly at the announcement before breaking into delayed applause. But once the announcer introduces The Standells, the crowd’s reaction is much more enthusiastic. A friendly bit of pandering from Dick Dodd (\u201cWe hear somebody won a game today; is that right?\u201d) leads straight into the guitar buzz of \u201cMr. Nobody.\u201d<\/p>\n Dodd’s vocals come through loud and clear, as do Tony Valentino<\/strong>‘s electric guitar, Larry Tamblyn’s Vox Continental organ, and Dave Burke<\/strong>‘s Fender bass. Dodd’s drums are less distinct, but overall Live On Tour \u2013 1966!<\/em> is a superbly recorded (and preserved) recording.<\/p>\n The setlist doesn’t differ greatly from what’s showcased on The Live Ones!<\/em>; while that set featured songs closely associated with The Standells, this disc features the complete opening-act length set, a setlist that included covers that were well-known (and oft-played) by garage bands across the USA: \u201cGood Lovin’,\u201d James Brown<\/strong>‘s \u201cPlease, Please, Please,\u201d Wilson Pickett<\/strong>‘s \u201cMidnight Hour,\u201d and the all-but-required \u201cGloria.\u201d But The Standells imbue their readings of these tunes with just the right combination of polish and grunge.<\/p>\n Mid-set, they feature a Tamblyn lead vocal (with ample vocal support from the rest of the band) in a faithful cover of the then-brand-new \u201cSunny Afternoon.\u201d The Kinks<\/strong>‘ single had been released in the USA weeks before; at the time of this concert (October 22, 1966) the tune was riding high on the singles charts. Dodd notes afterward, \u201cThat song can be found on an album of ours which will be released around Christmas time, where we do nothing but everybody else’s hits…probably the best album we ever made.\u201d It wasn’t, not by a long shot; the world didn’t really need a Standells reading of \u201cEleanor Rigby.\u201d<\/p>\n But there are no Beatles<\/strong> ballad covers on Live on Tour \u20131966!<\/em> \u201cNow that we’ve messed up everybody else’s number, we’d like to mess up one of our own.\u201d Drawing out the tension with a serious of groan-eliciting one-liners, the band finally relents and launches into the garage rock anthem, \u201cSometimes Good Guys Don’t Wear White,\u201d playing it in a fashion that’s both Just Like the Record and shot through with the energy that only comes from an onstage performance. The crowd claps along start to finish while the band closes their set with their million-selling hit, \u201cDirty Water.\u201d<\/p>\n With the fine exception of the low-key Kinks cover, Live on Tour \u20131966!<\/em> is a consistently uptempo, rocking good time, and proves \u2013 in case there were any doubts \u2013 that The Standells were a solid, engaging live band, one that leveraged a garage-punk image with professional musicianship.<\/p>\n This review was previously published in<\/em> BLURT Magazine.<\/p>\n Follow \u201cthe_musoscribe\u201d on <\/a> The Standells \u2013 considered a quintessential protopunk band of the 1960s \u2013 got their start as a matching-suited, club band playing frat-rock and covers of the day. The pride of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"footnotes":""},"categories":[33,49,62,65],"tags":[2030,2086],"class_list":["post-8197","post","type-post","status-publish","format-standard","hentry","category-garage","category-new-release","category-rawk","category-review","tag-standells","tag-sundazed","cat-33-id","cat-49-id","cat-62-id","cat-65-id"],"_links":{"self":[{"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/posts\/8197","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/comments?post=8197"}],"version-history":[{"count":0,"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/posts\/8197\/revisions"}],"wp:attachment":[{"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/media?parent=8197"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/categories?post=8197"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/tags?post=8197"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"http:\/\/musoscribe.com\/images\/icon_twitter_small.jpg\"){kind=icon}
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