JOHNNY RIVERS – Changes – (Imperial) – 1966

I never had much time for Johnny Rivers in my youth. He always seemed neither here nor there as I thought he was a MOR act just playing some rock n roll.

I also found his nasal, whiney delivery a little annoying.

On the plus side it seemed that a lot of people who I quite liked, liked him. Also his albums were in abundance in op shops.

The more I listened the more worth I found in his music. I’m still not sure that  he will make the upper echelons of my favourites but what I have found, with the passage of time, is a singer who is very smart, knows his music, understands his historical context and can sing and excite when needed.

And that is enough … isnt it?

Johnny is always going to be up against it though. He won’t be as fondly remembered as the other 60s acts because he came a fraction to early and was playing the wrong sort of music. He won’t be praised by cultists either because he had too many hits and his sound wasn’t “dirty” or “scuzzy” enough. His music rocked but the sound was clean.

This is a pity because he fits perfectly, at least up till this album from 1966, the image of a rock n roll artist from the 50s rocking out in the 60s.

He is akin to Bobby Fuller of the Bobby Fuller Four or perhaps Lee Dresser and any number of other rockers from the late 50s and early 60s who tried to weather the attack of surf music, the British invasion and garage rock.

Johnny’s music is simple rock n roll – rhythmic, punchy, exciting and danceable. He rocks hard and fast but with a clean sound. In some ways he is a white R&B precursor to the R&B side of 70s powerpop.

Background, wikipedia: “Born John Henry Ramistella on November 7, 1942, in New York, his family moved to Baton Rouge, LA, in 1948, and it was there that his musical sensibilities were shaped. His father, who played the mandolin and guitar, introduced him to the guitar at an early age, and he proved a natural on the instrument. “

Rivers hit the big time when he, by accident and reluctantly apparently, agreed to perform on Sunset Strip in a stripped-down version of his rock and roll act, with just his electric guitar and a drummer, Eddie Rubin (so much for the White Stripes). The sound was electric and raw but still quite accessible pop and quite different to the pop sound coming out of the Beatles British invasion or the paint by number R&B British acts. The sound also caught on with the audiences, albeit urban sophisticated audiences…and the concept of the Live in LA album was influential in a minor way Trini Lopez, Lee Dressler did similar live in LA stripped down rock pop albums.

From allmusic: “The magnitude of Rivers’ accomplishment shouldn’t be underestimated — since early 1964, the American charts had been dominated almost exclusively by British rock acts, with American artists picking up the scraps that were leftover, and then along came this new white kid from Baton Rouge, playing ’50s-style rock & roll and R&B like he means it (and he did). The sales of the debut album were stunning for their time, rising to number 12 in a 45-week chart run on the strength of the single. In response, another live performance was released as Here We a Go-Go Again in late August of 1964. In the interim, his debut single was followed by Rivers’ version of "Maybelline," which got to number 12.”

The sound wasn’t authentic enough (despite Rivers Louisiana upbringing) for subsequent musicologists to “discover” him, but the sound was authentic enough, or more authentic than it was given credit for.

His music was totally out of step with the 60s but like Elvis movie music of the time ( which is another good comparison as Elvis frequented Rivers live shows when he was living in LA in the 60s …. and Johnny always had a lot of 50s rock n roll in his soul) he managed to have hits and successes.

By 1966 when this album had come out the times were changing. All the US pop stars of the early 60s (and those of the 50s), including Rivers, were finding it difficult to find an audience by 1966. The bar had been significantly moved by the Beach Boys, The Beatles and others.

Rivers response was this album.

This album is not so much a comeback but a change of direction. I can’t say if it came out of no where as I haven’t heard enough of his pre 1966 work but I can say that stylistically it is totally different to the albums immediately preceding it.

Again, Rivers isn’t going out on a limb musically – a lot of it is MOR pop rock, slickly produced by the great Lou Adler, with the cream of LAs musicians (Hal Blaine, Joe Osborn, Larry Knetchel, Tommy Tedesco, Bud Shank and Gary Coleman) in support.

This album doesn’t rock out and isn’t as rootsy as his earlier stuff. In fact the album is all ballads – and ballads which are quite MOR pop with sweet backing vocalists and strings. But it is heartfelt and varied and that is quite surprising because he is otherwise a mainstream artist.

But Johnny is going out on a limb by his standards and that is saying something.

The fact that he didn’t (yet) have to go out on that limb also says something.

Like much of Johnny’s earlier music he leans heavily on covers though, interestingly, the big hit (Poor Side of Town) was written by himself (Rivers started out as a writer but leant towards covers).

The covers are never less than interesting and Johnny has been very liberal with his cover versions changing the tempo and feel of the songs as it suits him, which makes the songs more interesting for us.

Here is a artist who had something to say and wanted to say it but said it in musical terms he was familiar with.

Tracks (best in italics)

• By the Time I Get To Phoenix – the first appearance of this classic Jimmy Webb song, made immortal by Glen Campbell a few years later. If you thought Glen’s version was sweet this one with strings and backing vocals is pure ear candy. Still, it’s a great song, though I still prefer Glen’s version.
• A Taste Of Honey –  pure MOR meets pop …..magnificent.
• Days Of Wine and Roses – nice guitar playing – the gentle pop standard by Henry Mancini and Johnny Mercer.
• California Dreamin’ – cellos and orchestra – dramatic and not unlike Eleanor Rigby. Still, its out there for a performer like Johnny. These are Californian musicians having fun. A beautiful song as done by the Mamas and the Papas this version is equally special and totally different.
• Do You Wanna Dance? – the Mamas and the Papas subsequently cut this and used this arrangement. Again, a mind fuck – the frantic dance shouter is given a leisurely stroll and is equally endearing .
• Cast Your Fate To the Wind – bouncy and catchy with some interesting lyrics…
• Poor Side Of Town – a big hit written by Rivers and Adler. MOR backing voices and strings with lyrics that have a little bite when referring to social class distinctions …..I love when pop songs sneak in some social observations. This song harkens back to the Brill building days and the mini operas of Jay and the Americans and is accordingly well sung. This was Rivers only #1 – dooby doo oh wah shooby dooby indeed ! http://en.wikipedia.org/wiki/Poor_Side_of_Town_(Johnny_Rivers_song)
• If I Were a Carpenter – Tim Hardin’s great song which Bobby Darin did a great version of. Lyrically beautiful
• Softly As I Leave You – the old standard – mostly associated with Sinatra, but tackled by everyone, though this is perhaps a lift from Darin …this version is not as emotionally devastated as either of those versions.
• The Shadow Of Your Smile – another Darin lift and another MOR cosmopolitan MOR standard. Despite the fine arrangements I don’t think they work because Rivers doesn’t really have the voice for this material – it’s a bit to rustic.
• Strangers In The Night – The Sinatra standard – again ….not too sure about this ….
• Gettin’ Ready For Tomorrow – a gentle song full of optimism optimistic both personal and wider. Looking towards the future …yadda yadda

And …

The second side isn’t as good as the first but as a whole the album is certainly diverse but tied in with the arrangements and the committed vocals. If this album was by anyone else it would be a highly regarded album. Convincing and varied …I’m keeping it.

Chart Action

US

Singles

1966  Poor Side of Town  The Billboard Hot 100 1

Album

1967  Changes  The Billboard 200 # 33

England

Singles

—

Album

—

Sounds

By the Time I Get To Phoenix

http://www.youtube.com/watch?v=qJp-5aDZ0V0

A Taste Of Honey

Days Of Wine and Roses

http://www.youtube.com/watch?v=qE0B-ZGt0lM

California Dreamin’

video clip

http://www.youtube.com/watch?v=e7t66QbDCGI

and attached

Johnny Rivers – California Dreaming

Do You Wanna Dance?

http://www.youtube.com/watch?v=RSI_7O2bOME&feature=related

live

http://www.youtube.com/watch?v=5peSa2jTkUk&feature=related

Poor Side Of Town

live

http://www.youtube.com/watch?v=UwVOlLF9VGQ&feature=related

If I Were a Carpenter

http://www.youtube.com/watch?v=bZ8vvsB0ipU

Softly As I Leave You

http://www.youtube.com/watch?v=ZV6-4WWPdGE&feature=related

The Shadow Of Your Smile

http://www.youtube.com/watch?v=qMjd1mGCL0U

Strangers In The Night

http://www.youtube.com/watch?v=n3iLIaEoE1g

Others

http://www.youtube.com/watch?v=6iaR3WO71j4

http://www.youtube.com/watch?v=kRjSTpkF7lI&feature=related

http://www.youtube.com/watch?v=F5R-_ZUf0wY

http://www.youtube.com/watch?v=SMKQgnT_fTY

Review

http://www.allmusic.com/album/changes-r16649/review

Bio

http://www.johnnyrivers.com/jr/images/one_sheet_bio.pdf

http://www.allmusic.com/artist/johnny-rivers-p118948/biography

Website

http://www.johnnyrivers.com/jr/index.php

Trivia

• Did Johnny Rivers “burn” Elvis? http://www.elvis-history-blog.com/elvis-johnny-rivers.html
• Johnny recorded an album of material including Elvis covers, at the Sun Studios in 1991 which were released on his 1998 album “ The Memphis Sun Recordings”.
• Johnny, like a number of other US acts of the 60s (Gary Lewis, Jay & The Americans, Paul Revere and the Raiders etc), never had any hits in England.