Film features Brown, Wilson
ONE OF MY earliest memories of spending time with my father was sitting with him as a little kid listening to all the music he liked. His tastes were deep and wide. The Five Royales. Chuck Berry. David Bowie. The “Jesus Christ Superstar” stage and film soundtracks. Ray Charles. Chet Baker. Sammy Price. Dave Brubeck. Bob Dylan. The Four Tops. Johnny Rivers, who he would later tell me sounds like Michael Stipe.
Dad really liked the Beach Boys. He went to school in the same neighborhood at the same time they did and felt connected to them. But, more importantly, he was attracted by the passion of the band’s material. When I was 10 or 11, right before dad was redeployed overseas by the military, he gave me “Pet Sounds.” I found the songs to be sad and depressing, but remarkably intimate. It made me fear becoming a teenager; it made me fear growing up. I asked myself, “Is this what I have to look forward to as an adult?” Nevertheless, it was riveting music, even for a pre-teen.
Brian Wilson
At the same time, dad had also brought James Brown to my attention. It had a different effect on me than the Beach Boys. James Brown, I remember thinking, was the strangest thing I had ever heard or seen. I didn’t really know what to make of songs such as “Papa’s Got a Brand New Bag.” It was jarring, uncomfortable, puzzling. It made me feel different about myself in ways that I could not explain and would not understand until I was 13 and noticed the opposite sex. Brown’s music—the anxious rhythms and uncurbed vocals—was the sound of things falling apart emotionally and being put back together over and over again.
One of the things dad spoke to me about was the first time he had seen Beach Boys and James Brown perform. It was in a concert film, called “The T.A.M.I. Show,” which documented a group of 1964 performances at the Santa Monica Civic Auditorium. He spoke about it with great passion and urged me, perhaps even ordered me, to see it if it was ever released to movie houses again or made available on home video.
The film, in addition to featuring the Beach Boys and James Brown, included the Rolling Stones, the Supremes, Marvin Gaye and Smokey Robinson and the Miracles. Over the weekend, I saw the version of the black and white film that will be officially released March 23 by The Shout Factory.
Brown’s performance, simply put, is thrilling and masterful. My reaction to him is somewhat different than it was 35 years ago. Today, it does not spark the ruffled panic I experienced when I was younger. Rather, from my current perspective, Brown is something more miraculous than a mere firebrand. Along with Bob Dylan, Brown transformed the way pop music audiences heard music. Both Dylan and Brown challenged mainstream audiences with their bold music arrangements and defiant singing styles. You hear their influence in popular music today, more so than any other two recording artists who come to mind, including Elvis, Chuck Berry or the Beatles.
James Brown
Steve Binder, director of “The T.A.M.I. Show,” perfectly captures Brown’s magnetism and gravity. Fierce and provocative and mesmerizing, Brown won’t let you turn away from the screen. There have been several excellent music or concerts films over the years, notably “Stop Making Sense,” “The Last Waltz” and “That’s the Way it is.” But Brown’s “T.A.M.I” performance is nothing short of astonishing in ways those films cannot match.
In the film, Brown is book-ended by the Beach Boys and the Rolling Stones. Even though the Rolling Stones are in the awkward position of following Brown, the band acquits itself. At the time of the concert, the Rolling Stones were just another British band seeking to capitalize on the early success of the Beatles, who had staged a breakthrough performance on the Ed Sullivan Show mere weeks before “T.A.M.I” was performed and filmed.
It is immediately apparent from the film, however, that the Rolling Stones already possessed the infinite talent and stage command that would eventually result in the band’s success and longevity. Smokey Robinson’s performance is also entertaining. But the other revelation, in addition to Brown, is the Beach Boys.
The T.A.M.I. Show
Typically, I have always preferred the band’s darker material, as best exhibited by “Pet Sounds,” which is Brian Wilson’s creative zenith. But “T.A.M.I.” shows that the Beach Boys were a compelling live rock ‘n’ roll presence: The band produces searing versions of “Surfing USA,” “Dance Dance” and “I Get Around,” driven by Dennis Wilson’s frantic drumming and Brian Wilson’s throbbing base runs and Carl Wilson’s crackling guitar work. The highlight is Brian’s vocal performance on the beautiful “Surfer Girl.” Still, the potency of the band’s set does not hint at the future. Within two months, Brian would suffer a nervous breakdown and cease touring with the band to concentrate on its studio efforts. “T.A.M.I.” is one of the last times the Wilson brothers, Mike Love and Al Jardine would perform as a small, tight unit.
I just had to take a moment and let you know that I’ve been enjoying checking out your posts over the last few months.
Your dad sounds interesting. Brian Wilson and James Brown? I really like the line about Brown’s music being about falling apart emotionally and then being put back over and over. Cool! So glad your panic is less “ruffled” today.
Insightful post about “The T.A.M.I. Show.”