The Bronze Age Of Blogs: The House That Haunted Batman
Here's a great Batman tale from Marv Wolfman, Len Wein & Neal Adams, that Marv and Len put together a 's inspired script on spec, that. April 5, Format: MP3 MusicVerified Purchase. I'm a big fan of Jan & Dean and these tracks are a ton of fun. There are many great tracks here that are Not. Jan Berry (born April 3, ) and Dean Torrence (born March 10, ) met at at his parents' home, however, and recording take after take of various songs.
Lubin overdubbed a band led by Don Ralke on top of the basic track of two vocals, a piano, and percussion, and issued the song on Arwin in the late winter of Arwin tried two follow-ups that performed far less well, and by the late fall ofwith show business looking a lot less promising, Ginsburg left the duo.
Jan & Dean: Avant-Pop Pioneers?
Luckily, Torrence's army service ended just then and Berry asked him if he could try singing together again. The duo also decided to get some help from a pair of new producers -- Lubin having run out his string with them at Arwin -- Herb Alpert, a jazz trumpet player with major ambitions, and his songwriting partner, Lou Adler, who got them onto the Dore Records label.
There were still problems to be overcome, however. They felt that Dore Records was a dead end in terms of getting them wider national exposure, and wanted to sign with a major label.
They desperately wanted to be on Liberty, and Adler and Alpert were prepared to go with them as producers, but even this switch wasn't easy to accomplish.
Astonishingly in retrospect, Liberty balked at releasing "Heart and Soul," a new recording of the duo that they were positive would hit, but which Liberty rejected. In fact, they'd run into a trough in their success, owing to the weak material that they were receiving from their publisher, Aldon Music amazingly, home of Carole King and Gerry Goffin, Barry Mann, and Cynthia Weil, et al.
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Instead, they began writing their own material and producing themselves. They began their climb back to success with Berry's first official production, "Linda," which got to number 28 in earlytheir best chart placement in two years.
The Beach Boys were currently enjoying their first Top Ten national hit, and the group backed the duo at their shows -- all of them took an immediate liking to each other, especially Brian Wilson and Berry.
Both were as much architects of sound as they were musicians, with definite ideas about the shape of the sound they wanted. The single also heralded a major change in their sound as they jumped headfirst into surf music.
Comic-Con Special Reissue Theory: “Jan and Dean Meet Batman” - The Second Disc
For the next few years, the duo's sound was rooted in a surf-guitar sound acquired from guitarist Dick Dale by way of the Beach Boys and increasingly bold use of harmony singing.
The duo might've been expected to lose momentum with the advent of the British Invasion inbut that summer they hit number three with "The Little Old Lady From Pasadena," and "Ride the Wild Surf" got to number 16 that fall. The duo's music grew in complexity inBerry attempting ever more daring productions behind their songs -- it was seldom cited by historians or critics for this virtue, but the single "Dead Man's Curve," recorded after the version that appeared on Drag City, involved 18 separate vocal parts.
Their recordings of "Sidewalk Surfin'" and "Ride the Wild Surf" were also exceptionally ambitious, but their complexity in the recording studio was masked by the overt, lighthearted fun of their subject matter as songs.
The Beach Boys ran the risk of being similarly underrated, except that their singles took on a more lyrical, seriously romantic veneer that allowed them to be taken more seriously, at least by rock music critics and listeners.Batman Theme from Jan and Dean Meet Batman
They even ended up in occasional conflict with their record company, as Liberty attempted to release singles that the duo felt were less than first-rate, efforts that were usually blocked. It was easy to overlook, amid the fun, the craftsmanship of their work.
The latter even came to rub off on the Beach Boys. As important as their own music was, the influence that the duo had on rock music by way of the Beach Boys and Brian Wilson was equally great, and perhaps greater.
When he'd first met Berry, Wilson was trying to shape the group's sound as well as writing or co-writing most of the songs and playing bass on-stage.
By lateWilson had given up playing with the group to concentrate on writing and producing the group's recordings, but was stymied by the group's tour commitments, in terms of getting them into the studio.
Berry pointed out that there was no reason for the Beach Boys not to use those same musicians and other session men; he also pointed out that no listeners really cared much if Dennis Wilson or Carl Wilson played drums or guitar on the group's records. But the comic biz and the music world have long been intertwined, on screen, on stage and on record. Those three words — and others like them — instantly conjure up the visages of Adam West and Burt Ward, sliding down the Bat-pole, encountering guest stars ranging from Ethel Merman to Eli Wallach, and fighting a campy Joker, squawking Penguin and sultry Catwoman.
Enter Jan Berry and Dean Torrence. The surf-pop duo had their first taste of success inwhen Batman was fighting monsters and solving crimes with the aid of fantastic gadgets designed by legendary artists like Sheldon Moldoff and Dick Sprang. Like Wilson, Jan Berry was constantly pushing the envelope in the studio as a producer, and also like his friend Brian, had an interest in bringing comedy to music.
In earlynothing was hotter than Batman. And the Batman show was nothing if not irreverent. So why not produce an all-out comedy-meets-music extravaganza about, well, Batman?
Comic-Con Special Reissue Theory: “Jan and Dean Meet Batman”
Jan and Dean Meet Batman was born! Who is The Boy Blunder?
And just how wild is the Joker, anyway? Stay tuned after the jump — same Bat-time, same Bat-channel! The album is a musical collage, incorporating dialogue, spoken-word comedy bits, musical gags, and original songs into something resembling a, well, batty radio show.