A few hours later, Lou Adler burst into the office, enraged. The president of Dunhill, Jay Lasker, heard it and took the tape to listen to it again himself. Sloan’s writing-producing partner, Steve Barri, took a copy of the tape with him so he could listen to it in his office the next day. They had ten minutes of studio time left, just enough to lay down one take of “Eve of Destruction.” McGuire read the lyrics off the wrinkly paper on which Sloan had written them, building to a rage for the climax in which he bitterly reminds Selma, Alabama, not to forget to say grace while they bury their murdered black neighbors. McGuire recorded Sloan’s “What Exactly’s the Matter with Me” and needed a B side. On Thursday, July 15, McGuire went into the studio with Sloan on six-string and harp, alongside two of LA’s top session men, drummer Hal Blaine and bassist Larry Knechtel of the Wrecking Crew. Dunhill’s Lou Adler was there, and the two started talking about working together. After the Byrds’ performance, McGuire led a conga line into the street. Byrd Gene Clark had once been in the Christys, so he invited McGuire to come watch them play at Ciro’s. You couldn’t make a statement like that and ever work again.”īut a growly singer named Barry McGuire was looking for work after leaving the New Christy Minstrels in January. But we also knew that whoever recorded this song was doomed to have only one record in their/his career. We all knew that it would be a monster hit, it was that powerful. Howard Kaylan recalled, “Our jaws hit the ground. The Byrds rejected the song, though, so Sloan pitched it to Byrds imitators the Tyrtles (later, simply, Turtles) backstage at the Sunset Strip club the Crescendo (later the Trip).
Image is in the public domain via Wikipedia. He decried the hypocrisy of calling the Communists hateful while the Klan murdered in the South and congressmen dithered. Sloan was still haunted by the pounding martial drums from President Kennedy’s funeral and worked those in, along with fears of nuclear apocalypse.
He was nineteen, old enough to be sent to Vietnam but not old enough to vote yet (the voting age was twenty-one in all but four states), the same injustice Eddie Cochran sang about in 1958 in “Summertime Blues,” except now there was a war on. Between midnight and dawn, “Eve of Destruction” came to Sloan in a torrent. Sloan, and told him to come up with a Dylanesque protest single for the Byrds.
It was around that time that Dunhill Records owner Lou Adler gave a copy of Dylan’s Bringing It All Back Home to one of his songwriters, P. Per rock critic Richie Unterberger, the earliest-known use of the term folk rock was in a Billboard cover story on June 12, “Folkswinging Wave On-Courtesy of Rock Groups,” by Eliot Tiegel, who used the term to describe the Byrds, Sonny and Cher, the Lovin’ Spoonful, the Rising Sons, Jackie DeShannon, and Billy J. In 1965, Andrew Grant Jackson combines fascinating and often surprising personal stories with a panoramic historical narrative. Musicians raced to innovate sonically and lyrically against the backdrop of seismic cultural shifts wrought by the Civil Rights Movement, Vietnam, psychedelics, the Pill, long hair for men, and designer Mary Quant’s introduction of the miniskirt. Country music reached new heights with Nashville and the Bakersfield sound. Soul music became a prime force of desegregation as Motown crossed over from the R&B charts to the top of the Billboard Hot 100. New genres such as funk, psychedelia, folk rock, proto-punk, and baroque pop were born. The Rolling Stones’s “Satisfaction” catapulted the band to worldwide success. Bob Dylan released “Like a Rolling Stone,” arguably the greatest song of all time, and went electric at the Newport Folk Festival. The Beatles made their first artistic statement with Rubber Soul. More than half a century ago, friendly rivalry between musicians turned 1965 into the year rock evolved into the premier art form of its time and accelerated the drive for personal freedom throughout the Western world.
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