An infectious hit on both sides of the Atlantic, with the We Five having the hit in America and Crispian St.Peters in Great Britain. While most of their early work was decidedly non-psychedelic, and more folksy and traditional, they were the first San Francisco group to go electric. Considered by many to be the finest female vocalist of the era, Beverly Bivens actually delivers a sub par vocal on this song. Most of the group's first album contains soaring, nearly operatic, vocals by Bev backed by glorious harmonies from her four male bandmates.
Nevertheless this tune has a great dance beat for the GAZZARRI DANCERS. It's hard to keep JUNE, LUCILLE, DeANN, GWEN, MIMI, and SHELLEY off our minds while watching this performance.
Well known to northern Californians the Fugitives were a very successful Sacramento based band. On their resume they opened for the Rolling Stones, the Kinks, and the Byrds. Guitarist Laramy Smith later went on to collaborate with Gene Clark of the Byrds. This tune unfortunately never broke out nationally in spite of its infectious beat. The other song they performed on this episode "Blowin' My Mind" was released and met the same fate, although it did surface again in a Sacramento band nuggets CD of 2000.
Also appearing on this episode was Group B, another Sacramento band, and We Five who were from the San Francisco area. As related by Allen Purdy we know that the Fugitives and We Five flew on the same flight from SFO to LAX to appear on the show.
In one of the zaniest HOLLYWOOD A GO-GO moments we find SAMleading a conga line throughout the set. This had obviously been quietly pre-planned because the main platform, usually occupied by several GAZZARRIDANCERS, is empty. The six dancers are on small risers and on the floor. The line started with just some of the audience dancers and eventually it appears that all joined in and got their opportunity to dance on the set's main platform for a moment. Even the Fugitives didn't see this coming. Watch guitarist Tony Powell's surprised look at the approaching commotion and noise.
Many thanks to Fugitives bass player Allen Purdy for finding this gem of a tape after a decade long search.
EPISODE # 42
GAZZARRI DANCERS DANCING TO "WIPE OUT A GO-GO" BY CHALLENGERS
This is the type of performance that fans of the GAZZARRI DANCERS love. There is no musical group competing with them for camera time. They are the stars of this video. Although they are dancing to a song by the Challengers, and the Challengers appear on this episode, we don't get to see them playing.
There are three dancing segments in this performance. It starts with all six dancers doing the "swim". They are paired off on three seperate ladders and wait for their turn to jump down to the circular platform to do their best free-style dancing. One at a time they come down to dance solo in the following order: GWEN(0:30), LUCILLE (0:17), JACQUI (0:13), MARIA (0:10), JUNE (0:21), and DeANN (0:19). The time that each GAZZARRIdances solo is in parenthesis behing their names. The remaining girls continue to "swim" during the solo performances. Once everyone has had their turn they all squeeze in and dance on the platform together. This is a high energy performance and none of the dancers disappoint.
By this time in HOLLYWOOD A GO-GO's run it had become apparant that many viewers were tuning in to watch the GAZZARRI ladies. It was time (and long overdue) to showcase them as performers in their own right. This must have been a very successful move because on the next episode (#43) they are showcased on their own again. This was then repeated on episodes # 47 and # 49.
This is such an entertaining video. There is nothing else quite like it in the entire GAZZARRI catalogue. Watching six GAZZARRI DANCERS lined up on the main stage and doing a Rockettes style can-can is quite a treat.
Before we get to the can-can line we get to see the dancers paired up. DeANN dances with JUNE, MARIA with JACQUI, and LUCILLE with GWEN. This is another unique piece of choreography put together by MIMIand JACQUI. MIMI was sidelined with her ankle injury but was still there for every episode on the sidelines either choreographing or helping SAM with introductions.
Both of the songs performed by the Dillons on this episode were catchy tunes. They must have made a favorable impression because they also appeared on the previous episode (# 41). Not too much is known about them however. There were no known albums and apparantly only one single on an obscure label. We have been unable to come up with their individual names. If you know more about the Dillons please send us a message via the website Contact page.
Three words to describe this performance - hot, hot, and hot. This is one of those videos that flew under the radar here at GAZZARRIDANCERS.COM until we dusted it off and had a good look. Evie is one of those performers who never really broke through to the big time, but nevertheless left a lasting impression on those who had seen her perform. Her biographical story on wikipedia is well worth reading.
Evie was just 19 years old at this taping. The song has an almost Greenwich Village bohemian feel to it (Evie is a Brooklyn girl) and alternates between her talking and belting it out.
On the GAZZARRI DANCER front this performance is also a clear winner. The girls all look delightful in their bare midriff outfits and the upbeat tempo of the song leads to some great dancing. JACQUI'S hip-swiveling is noteworthy. And we've never seen DeANN up this close before.
In this video we get to see the dynamic Evie Sand's other performance from the episode. There are no bad Evie performances. She impresses on all levels. And true to her history she belts out another song that was made famous by other artists after she laid the groundwork. It was released as Evie's first single on the Blue Cat label, with "Run Home To Your Mama" as the B side. Chess Records literally stole it from her and released a version by Jackie Ross two days before the Blue Cat debut. The Chess single received the bulk of airplay and Evie's faded. Then in the summer of 1967 "Take Me For A Little While" appeared on the Vanilla Fudge's debut album and the song, which was written by Trade Martin, picked up further followers.
The GAZZARRIladies are wearing a version of the horizontally striped tops that they wore in several promotional photos (see our GAZZARRI DANCER photos page). JUNE and LUCILLE are seen very clearly behind SAM during the intro and during parts of the performance. The other dancers (DeANN, MARIA, JACQUI, and GWEN) are relegated to the background as the spotlight remains on Evie.
There are only three names that come to mind when thinking about solo male artists from the 1960s who also dazzled us with their dancing prowess: Jackie Wilson, James Brown, and Roy Head. Roy definitely had the moves. No one else even attempted to do the things he did on stage. Roy had a major hit on his hands with this tune which spent seven weeks in the Top-Twenty and peaked at the # 2 spot as this show aired.
This performance is noteworthy for the GAZZARRI DANCERS calisthenics workout while attired in black leotards. JACQUI and JUNE appear directly behind Roy's circular platform. Also of note is the banter heard from the stage set floor mic. It is quite loud and an indication that this song really got everybody on the set wound up. This is what you hear on the video after it was mixed in with Roy's lip synch performance to the actual vinyl track.
LUCILLE looks as radiant as ever during SAM'S introduction of both her and Roy Head. SAM states:
"This is Lucille, with a pretty green ribbon in her hair,tonight one of our go-go dancers, Gazzarri Dancers. We try to introduce all of them to you to let them know that they're becoming part of your go-go family every single week."
SAMis correct in stating that by this time in the show's history the GAZZARRI DANCERS were indeedstars and part of the "go-go family". And all of the regular dancers had their moment (or moments) during one or more of his introductions.
Danny Hutton had a modest hit with this song in certain American markets, but did not become a household name until two years later when he became a member of Three Dog Night. The performance is of particular interest to GAZZARRI DANCER fans because this is the episode where JUNEfirst met her future boyfriend on the set. JUNEand Danny were together from this time and right on through the Three Dog Night hit-makingyears.
The GAZZARRI ladies were in a unique position to meet many of the music stars of the era. JUNE'S story of meeting Danny is similar to the one between DALEand Ian Whitcomb on episode # 17. Just as many male TV viewers fell head over heels over the GAZZARRI DANCERS, it stands to reason that some of the musical guests on the show might have had the same reaction. On this website we have photos of several musical guests off the set with GAZZARRI DANCERS: DALEwith Danny Hutton, DALEwith Declan Mulligan of the Beau Brummels, DALEwith Ian Whitcomb, and JUNE with Gene Clark of the Byrds.
You can find an article that Ian wrote about DALE on her page. And JUNE assures us that we will hear more about her and Danny when she finishes her biography.
This is Danny's second tune from his only appearance on HOLLYWOOD A GO-GO. "Sometimes At Night" is a catchy song which is in many ways superior to "Roses and Rainbows". Oddly, we can find no trace of the song except on this performance. It is not the B side of "Roses and Rainbows", and it also doesn't show up on the compilition album of Danny's work prior to Three Dog Night titled "Pre-Dog Night".
The same six GAZZARRI DANCERSappear as on Danny's first performance. JUNEgets to dance on her own platform which is situated closer to Danny. She dances her heart out, no doubt to get his attention (it worked). The blonde trio of DeANN, LUCILLE, and GWEN can be seen (left to right) on the main stage, with JACQUI on the runway in front of them. This was another great dance routine put together by her. MARIA is seen dancing solo on the right. All six were in the groove for this performance. Also note the clothing change by the dancers between performances.
During the intro to this song we get to see SAM sharing the platform with DeANN. Some creative choreography by the six GAZZARRI ladies accompanies this lovely tune by Nancy. This was still several months before she had her break out hit with "These Boots Are Made For Walkin' ".
There is a possible subplot to this performance. Nancy had just divorced her husband of five years, TommySands, shortly before this appearance. Was she referring to him in this song? In what was most likely more than a coincidence Tommy appears on HOLLYWOOD A GO-GO only four weeks later to ogle all of the dancers as he struts across the stage during his performance of "The Statue". Was this his retort to Nancy?
Back seventeen weeks after their first appearance on HOLLYWOOD A GO-GOare the Astronauts, only this time with one more member. We don't know why Bob Demmon was not on board for the episode # 26 performances, but we see him here with a tambourine. He was their second rhythm guitarist, but with RichieFifield and Dennis Lindsey already on guitar he was apparantly used sporadically on his six-string.
Once again the Astronauts put in another very Beatle-esque performance completely belying their reputation as a surf band. Fifield is absolutely on fire with his lead guitar. They churned out nine albums between 1963 and 1967 and were extremely popular in Japan and the Orient.
This video starts with SAM asking Dennis Lindsey to perform some of his vocal impersonations, and then runs right into the song. And it's non-stop rockin' from that moment onward. LUCILLEand GWEN dance in unison on the floor directly in front of the band. JUNE can be seen on a platform behind the Astronauts. In the background we see MARIA and JACQUIon the main stage. Towards the end of the video we get a short but upclose look at DeANN, who like JUNE is dancing solo on a platform. At the 1:44 mark you can briefly see Brenda Holloway grooving to the tune as she awaits her performance which is coming up next.
The Astronauts hailed from Boulder, Colorado and carved out a niche as one of the very best landlocked surf groups in the USA. Their only chart success was a single ("Baja") with reached # 94 on the Billboard charts for one week. They were however one of the most successful mid-1960s groups in Japan and toured Asia extensively. The Astronauts also hold the record for most appearances in beach-party movies at four ("Surf Party" from 1964, "Wild On The Beach" from 1965, and "Wild Wild Winter" and "Out Of Sight" both from 1966). Most of the west coast music / dance TV shows had them as guests at some point. They did equally as well performing non-surf music and were polished performers covering rock classics like this one written by ChuckBerry and made popular by Johnny Rivers.
JUNE and LUCILLE are the featured dancers in this performance dancing in unison in front of the band. Their attire has a decidedly Mexican flair. JACQUI, GWEN, DeANN, and MARIA also appear.
It wasn't unusual to see the GAZZARRI DANCERS change their outfits once or twice during the taping of a show. What was unusual was guest artists doing this. In this performance the Astronauts are wearing different suits than they did during "Ain't That Just Like Me" from this same episode.
This rocking little cover performed by the Sinners provides our six GAZZARRI DANCERS a good opportunity for a go-go workout. No two dancers are located on the same stage or platform, and they are positioned all over the set. We do get good looks at DeANN and JACQUI who are closest to the Sinners.
The song, while never a hit for any performer, does have an interesting pedigree. It was written by a young Sonny Bono and first recorded by late 1950s southern California duo, Don and Dewey. It was then picked up by the Righteous Brothers, who performed it regularly.
This was Brenda's third appearance on HOLLYWOOD A GO-GO. Her two prior visits were on episodes # 10 and 19. She had good success with her thirteen single releases between 1962 and 1967, with six of them charting and two reaching the Top-Forty. Unbeknownst to many, she co-wrote and recorded "You Make Me So Very Happy", later made a huge hit by Blood, Sweat, And Tears.
The beginning of this performance is of interest because after Brenda took the microphone from an unsuspecting SAM we had a situation similar to Glenn Yarbrough's on episode # 32 when the mic was also left open briefly by the studio audio crew. Just the fact that the microphone ended up in her hands is unusual since HOLLYWOOD A GO-GO did not feature live performances. This was long before the era of wireless mics, so as Brenda descended from the stage and into the audience we see the long mic cord accompany her.
The cameras are mainly focused on Brenda throughout her poised performance leaving only JACQUI, MARIA, JUNE, and DeANN in camera range. All do a creditable job to the slow beat of the tune.
Viewers need to fasten their seat belts for this one. This is a go-go dancing lovers delight that showcases just how energized the GAZZARRI DANCERS could be. This is one of approximately half a dozen performances that have surfaced featuring them dancing to a pre recorded tune. This same formula had worked well on the previous episode so it made sense to try it again. The show was well into the stage where the GAZZARRI DANCERS were stars that sometimes outshone the musical guests.
The dancing in the performance can be divided into three phases. First was the "head bobbing" phase, which was then followed by each dancer doing a freestyle routine, and then to wrap it up a "hair swinging" phase. This was a work out of the highest degree. There was nothing remotely like this performed by the go-go dancers on the competing shows of the era.
The six dancers featured in this performance are MARIA, LUCILLE,,JUNE, DeANN, JACQUI, and GWEN. This is also the order in which they appear during the freestyle segment. MARIA had only been on the show for a few weeks, yet she was given the lead off position in the freestyle. Unlike most of the dancers who were recruited by AL BURTONor one of his scouts, MARIA was brought in by her long time friend JACQUI LANDRUM who was well aware of her dancing experience and prowess.
Eddie is one of a very small group of artists who came back on HOLLYWOOD A GO-GO to perform the same song a second time. He had previously sang "New Orleans" on episode # 25 in June 1965. Having been a child actor in the 1950s and 1960s he had a confident stage presence that carries over to this performance.
This dance routine by the GAZZARRI DANCERS could best be described as a 1965 version of an aerobics exercise workout. Lined up on the stage from left to right we have GWEN, JUNE, JACQUI, MARIA, DeANN, and LUCILLE. Lots of rockin' , rollin' , and shakin' in outfits that were tighter than tight. Or to put it another way - a go-go lover's delight !
This is Eddie's second performance from episode # 44. Unlike "New Orleans", which provided us with a great beat and some classic go-go dancing, this tune is not so up tempo and the GAZZARRI dancing is more artistic in nature.
Once again we get to see some seriously exposed mid-riffs on the dancers, except for MARIA who keeps her top tucked in. The perfect dancing synchronicity between JACQUI, GWEN, JUNE, and DeANN towards the end of the song is striking.
This is another of those famous, talked about HOLLYWOOD A GO-GO performances mainly due to the sensational show put on by DeANN MOLLNER. This video is absolutely wild and possibly the most raucous in the history of the show.
It starts innocently enough with the Turtles lead singer, Howard Kaylan, singing their hit which was written by Bob Dylan. Once we get to the first "It ain't me babe" refrain it gets very boisterous on the set. The band is wild, DeANNis wilder, and the dancers in the audience all feed off it resulting in the loudest stage set mic mix heard on HOLLYWOOD A GO-GO. You can pick up Howard, Mark, and some audience dancers shouting out the refrain. The performance reaches its climax at the end with DeANNdancing wildly with Howard and Mark.
Other than a brief side view of JACQUIwe don't get any close ups of JUNE, MARIA, or LUCILLE and GWENwho are in the background on the main stage.
The Turtles rocked the house during the first half of this episode with their wild performance of "It Ain't Me Babe". It follows that they would duplicate the feat with their encore of "Let Me Be". Once again we get a great feel for the raucous atmosphere on the set from the floor mic which was mixed in with the audio.
DeANN is in the same position as she was for "It Ain't Me Babe" and is on fire. We also get some good looks at LUCILLE both during the performance and the post-commercial lead in that we see at the beginning of this video. GWEN can briefly be seen behind LUCILLE. JACQUI is visible behind the band. MARIA and JUNE are barely visible in the shadows.
"Let Me Be" was the follow up single to their Top-Ten hit "It Ain't Me Babe". It was released the same month as this appearance and peaked at # 29 on the charts.
This performance features Jackie & Gayle on their final performance on HOLLYWOOD A GO-GO. Jackie Miller and Gayle Caldwell were both members of the highly successful New Christy Minstrels. In early 1964 they left the group to perform as the duo Jackie & Gayle. They were frequent performers on all of the music/dance and variety shows of the era and usually performed this song. One source had them making 173 television appearances in the few short years that they were together ! In spite of all the publicity and their lovely harmonies they never had a charting record. This particular single was released on Mainstream Records, never known for aggressive marketing. "That's How It Goes", seems to be their most well known song.
They were the only female duo to appear on HOLLYWOOD A GO-GO and were on five episodes (the premier episode, plus #12, #14, #25, #44). They were also one of the few acts invited to go to Hawaii for ALOHA A GO-GO. Someone at KHJ liked them. And what was there not to like ? They were very pretty, by all accounts wholesome, had a great stage presence, and they sang well.
Unfortunately this surviving tape is of poor quality, but still we can see Jackie & Gayle as well as identify all of the GAZZARRI DANCERS. JUNE, DeANN, JACQUI, GWEN, MARIA, and LUCILLE all appear. In the shadows on stage with Jackie & Gayle are MARIA and JACQUI,and we also get to see JUNE doing a statue dance pose during SAM'S introduction. This would be LUCILLE'Spenultimate episode as well as the last one before DAWN'S arrival.
Fontella's "Rescue Me" became a top-five hit only a few weeks after this HOLLYWOOD A GO-GO episode aired on the last weekend of October 1965. It is a solid performance by both her and the seven GAZZARRIDANCERS who appear in this video.
DAWN is a welcome newcomer and sight on her first episode. This would also be LUCILLE'S last episode. The three blondes - LUCILLE, DeANN, and GWEN - form the perfect backdrop on the main stage.
The GAZZARRI DANCERS are running on a full eight cylinders with the return of MIMI to dancing action. She had broken her ankle the previous month while dancing with JUNE at the Trip Nightclub. In the interim between her accident and this episode we saw her during artist introductions with SAM. While we see her right in the middle of the action with the Gentrys note that she never moves her feet while she dances. We surmise that she was the featured dancer in this performance to give viewers the good news that she was back. We also get our first on screen look at DAWN MICHAELS. She was a welcome addition with her sultry looks and trained dancing background. This would be LUCILLE'S last episode and it appears that DAWN was brought in to replace her. Starting with the next episode we have coined the remaining dancers as the "magnificent seven". They would entertain us with some memorable dancing routines under the direction of JACQUI for the next thirteen episodes taking us to the end of the show's run. The "magnificent seven" were JUNE, DeANN, MIMI, GWEN, MARIA, DAWN, and JACQUI.
The Gentrys' "Keep On Dancing" is one of the great garage band hits of the mid 1960s. It certainly lives up to its title whenever it plays and there are people on a dance floor. They were a Memphis band formed in 1963 and continued on with various lineups into the early 1970s. "Keep On Dancing" peaked at the # 4 position on the charts at the time of their HOLLYWOOD A GO-GO appearance. There were several follow up singles that charted outside of the Top 40. One of their most memorable tunes was the original recording of Neil Young's "Cinnamon Girl".
One of the most popular and talked about GAZZARRI DANCER performances is the "sixguns" routine from BobbyFuller's early November 1965 appearance. It was probably choreographed by JACQUI LANDRUM.
Bobby was about to have a major hit on his hands with this tune which was in the Top 20 for five weeks starting in March 1966. In the meantime the group performed on all of the music/dance TV shows. The song itself led to some interesting studio set themes, but from a dance perspective the GAZZARRI ladies were by far the most creative.
DeANN'S navel exposure would more than likely have been censored on a network show. The frequent holstering and unholstering of the pistols during the routine resulted in at least two dropped guns. The routine was obviously well rehearsed, but at the 0:38 mark in the video watch for the black-jacketed audience dancer picking up a dropped gun. He hands it to the girl dancing next to him who in turn hands it back to JACQUI. A few seconds later at the 0:43 mark a dancer in a dress hands another dropped pistol back to DeANN.
This is another great performance from the HOLLYWOOD A GO-GO video archive. As the original Guitar God from the rock 'n roll era, Duane Eddy showcases his first hit single from July 1958, while one of the best lineups of GAZZARRI DANCERS showcase their go-go hair swinging talents.
We've never seen a musical guest perform on a pair of stage props like this before. Duane maintains his balance while standing on two high risers of differing heights. And these risers are in turn situated on a large platform. Most of the camera footage of him is taken from a low frontal angle giving him a larger than life appearance.
The dancers open the performance with the statue dance, with cameras focusing on JUNE who appropriately invented the dance along with MIMI. (The new dance is properly introduced on the next episode during Tommy Sands "The Statue"). However they soon change over to some classic go-go-ing complete with flying hair. We also get some nice looks at GWEN and DeANN.
Close observers might notice that from the 1:41-1:51 mark we get ten seconds of footage that seems out of place. For reasons entirely unbeknownst to us ten seconds of tape from episode # 31 is spliced in. We actually see two small snippets from Gary U.S. Bonds "Quarter To Three" performance.
This performance stands out from the hundreds of released HOLLYWOOD A GO-GO videos because we actually get to hear a group singing live. It's not the tune that the Apollas were scheduled to sing, but the acapella performance that SAM requests from them before they launch into "Lock Me In Your Heart". All songs on HOLLYWOOD A GO-GO were lip-synched except for an odd line here or there that survived a production taping error and wasn't edited out. This appears to be the only currently known live singing that was deliberately taped. The Apollas perform about thirty seconds of "Swing Down Chariot", singing directly into SAM'S hand-held mic, afterhe queries them about their gospel singing past.
This performance is also noteworthy for the scorching hot dancing by the GAZZARRI DANCERS, particularly DAWN. Pay particular attention to her sultry moves throughout.
We've got the perfect storm here where song title and the best dancers in the business converge. Sam theSham and his bandmates do their best Bo Diddley impersonation in a tribute song to go-go girls.
And we've got exactly six of them in this performance. JUNE and DeANN are featured up close and don't disappoint with their go-go-ing. Lots of swinging hair, white go-go boots, and tight tops and skirts. And watch DeANN'Slittle jumps perfectly timed to the beat of the music. GWEN, DAWN, JACQUI, and MARIAalso perform.
There are few performances that better demonstate the fun and party-like atmosphere on the HOLLYWOOD A GO-GO set than this one. Non-stop raucous fun from JUNE'Splay acting with Sam the Sham at the beginning right on through to the chorus line of the episode's musical guests seen on stage at the end. This was the last performance from episode # 47 and one gets the feeling that everyone on the set was primed and ready for this wild finale.
In a scene somewhat reminiscent of DeANN'S dance with Howard Kaylan of the Turtles on episode # 44, JUNEtakes it a step further by go-go-ing with Sam the Sham for the entire performance. Her terror feigned play acting climaxes with a scream (that you can clearly hear from the set floor mic) as Sam describes the wooly bully as having "two big horns". JUNE would of course eventually parlay her acting skills into over a dozen movies after her GAZZARRI DANCER days ended.
We also get to see GWEN tapping on drummer Jerry Patterson's high-hat for nearly a full minute. At the 2:04 mark you can see that someone off camera has either distracted her or told her to cease. And for a few brief moments we see MIMI toying with a harmonica, while DAWN who is to her right does her best faux trumpet playing.
And if JUNE'S dancing with Sam, and GWEN'S high-hatting wasn't enough fun, we have almost the entire line up of musical guests doing kick steps as they are lined up on the main stage in the background. The chorus line from left to right is: Tommy Roe, the Apollas, Ted Cassidy, Damita Jo, Tommy Sands, GAZZARRI MARIA, Ray Peterson, and two members of the Nooney Ricket 4. DeANNand SAM RIDDLE are in front of the pack leading the steps. Note how Ted "Lurch" Cassidy towers over DeANN who was the tallest GAZZARRI.
During the introduction to this performance SAM RIDDLE, accompanied by MIMI, makes note of the fact that it was JUNE and MIMI who invented the "statue dance". All seven of the GAZZARRI DANCERS in this video are seen performing it.
The video begins with Tommy Sands sauntering across the back stage, from left to right, stopping to gaze at MARIA, DAWN, JUNE, and then JACQUI before descending to a lower position between DeANN and GWEN to finish the song. We get some particularly good looks at all the dancers except for JACQUI.
On the GAZZARRI DANCERS photo page we also have a picture of JUNE and MIMIdoing the statue dance at the Trip nightclub in 1966.
(See the Nancy Sinatra capsule on this page for a possible explanation behind this appearance.)
Most episodes of HOLLYWOOD A GO-GO have at least one slower-paced song that puts the GAZZARRI DANCER choreography to the test and causes them to be creative. This is one of those tunes. The dance routine for this performance was more than likely choreographed by JACQUI LANDRUM. The GAZZARRI team works well together and entertains us with a set more appropriate for a Broadway production than a go-go music show.
Damita was a well known lounge singer who started in the profession in 1949. She had a pair of top-twenty hits on the R & B charts in the early 1960s. This 1965 song oddly appeared only a few months after Tom Jones had his smash hit "What's New Pussycat". Unlike Tom's tune, this one went nowhere on the charts.
This is a great performance by Tommy Roe and another knock-out performance by the GAZZARRI DANCERS once we get past the continuity problems at the start of the video. The cute and sultry exchange between SAM and DAWNat the beginning of the video, where she states that she is about to purr, actually precedes the Damita Jo "Sweet Pussycat" tune. This is followed by a clip from the introduction of the episode. The video then gets to Tommy doing his top-ten hit from November-December 1963.
We can't help but notice that the GAZZARRI girls are on fire again. Even with the recent loss of LUCILLEand the continued sidelining of MIMI, due to her broken ankle, this group of six dancers might be the strongest and most cohesive from the history of the show. Note the crafty half-speed dancing by DeANN, JACQUI, and GWEN on the main stage during the midway mark instrumental interlude. And once again we can pick up some audience chatter from the studio floor mic.
This is one of the most unusual HOLLYWOOD A GO-GO video performances. It is one of only two known (with the other being "The Future Mrs. 'Awkins" by Noel Harrison) to use stage props. The GAZZARRI DANCERS do no dancing per se, but rather fill several other roles unique for them. They assist Ted with removing his Lurch makeup from his previous song, act as faux back-up singers to him, and act as his sole visible audience, all the while swaying gently to the tune.
With the makeup removed Ted delivers a homily in his deep voice, surrounded by his audience of six attentive (and diminutive) GAZZARRI DANCERS. At 6' 9" tallhe towers over even the tallest GAZZARRI by nearly a foot (DeANN at 5' 10").
This is actually very rare footage of Ted Cassidy outside of his Lurch role. His son knows of only one other video clip where Ted is not in Addams Family attire. His co-star from the show, John Astin, appears on the very next HOLLYWOOD A GO-GO episode (# 48) to also perform a pair of tunes. At the time of this taping, and with Halloween only one week prior, The Addams Family was midway through its very popular two year run on national television.
During this performance we get to see the more familiar side of Ted Cassidy - namelyLurch from TheAddams Family. Decked out in his full television Lurch attire he groans and even dances his way through the song named for him.
The following week his Addams Family co-star, John Astin, would appear doing a novelty song of his own. Surely it can not be a coincidence that these two television personalities were booked on consecutive weeks.
MIMI, with her ankle healed well enough to dance in a stationary position, makes a welcome appearance during SAM'S introduction.JUNE, DAWN, MARIA, and JACQUI pick up the new "Lurch" dance from their towering tutor. DeANN and GWEN have their dancing images superimposed on Lurch's open hands as the cameramen experiment with new techniques. The same effects were used two weeks later on GlenCampbell's "Finger Pickin' " performance.
EPISODE # 47
GAZZARRI DANCERS (DANCING TO "WHITTIER BOULEVARD" BY THEE MIDNITERS)
This is one of the great go-go performances from HOLLYWOOD A GO-GO. It features sixGAZZARRIDANCERS performing to "Whittier Boulevard", which was a hit for Thee Midniters. The dancers are let loose to perform individually for about twenty seconds each, and then collectively for the finale. No band in the background, no audience dancers, no distractions. Just six of the best go-go dancers in the business, a pair of platforms, and a spotlight.
This was the opening performance for episode # 47, which is a good indication that the GAZZARRI DANCERShad attained star billing status. First up to go-go is DeANN, followed by MARIA, JUNE, GWEN, JACQUI, and DAWN. MIMI is in this episode and can be seen solo on a small platform shortly after the introduction. However, it appears that her ankle was not quite healed enough for this type of action.
The individual dancing was most likely not choreographed and each girl was given free reign to do whatever dance she chose. But after the solo performances the dancers group themselves into two trios on two platforms and at the 2:37 mark they all jump in unison. This entire routine was a great start to an episode that fittingly has Sam the Sham performing "Go-Go Girl".
What do you get when you combine the paso doble and the statue dance in the same performance? We get to see the results here in what is one of the most striking GAZZARRI dance routines to date. This video was another sleeper that flew under the radar here at GAZZARRIDANCERS.COM until we took another look at it.
Abandoning the go-go dancing, and creating a memorable, stylistic, and serious routine was the work of JACQUI LANDRUM. HOLLYWOOD A GO-GO was her first choreographic job in a career that lasted decades in the dance world. She had a reputation of taking her work very seriously and this is where it all began. There were five GAZZARRI DANCERS that studied and were trained in the dance field: JACQUI, MARIA, and DAWN, who appear in this performance, and ROBERTAand MILLIEfrom earlier in the show's history.
The costuming of the dancers with their bolero capes and hats fits in well with the flamenco sound of Noel's song. This combined with the darkened studio and spotlights on the dancers, as well as Noel, gave JACQUI a unique tapestry upon which to work her magic. The result is a combination of fluid dance and statue dance frozen posing. JACQUI'S pirouetting and JUNE'S high legs kicks are noteworthy. We posed the question to JUNE whether this taping took place at the same time as the rest of the episode. She recollects that the studio dance floor was cleared of the audience dancers for both of Noel's spotlighted performances.
The song was written by Charles Aznavour and merits paying close attention to the somber lyrics and sudden stark ending. It was Noel's only charting single in the USA at # 51, although it did reach # 5 in Canada.
As HOLLYWOOD A GO-GO neared the end of its run several novelty acts were booked to appear. One of them was John Astin (the others being Ted Cassidy on ep # 47 and the Bantams on ep # 58), who at the time was starring in the hit television show The Addams Family. Since he was not a singer or musician by trade, and judging by this performance could not sing, his appearance seems to be nothing more than a novelty meant to increase viewership. There is no pretense that this is a serious musical performance. With that being said, John talks his way through this goofy song, while being accompanied by several GAZZARRI DANCERS who likewise realize its comedic content. It's reasonable to assume that most viewers would immediately associate John with his Gomez Addams alter ego, especially since TheAddams Family was near the top of television ratings in late 1965.
An interesting sidenote to John's appearance on the show is that several years later (1972) he would appear in the movie "Wacky Taxi" with one of the GAZZARRI DANCERS in this performance, MARIA POGEE. You can find a photo of the two of them together from the movie on this website's MARIA POGEE page.
During the introduction to this song we see the lovely JUNE FAIRCHILD feigning terror at the mention of"Gomez" performing "Wallflower Pete" by jumping into SAM'S arms. Lucky SAM!
A HOLLYWOOD A GO-GO unique performance based upon the fact that the musical guests, Cannibal And TheHeadhunters, dance in near total unison with the GAZZARRI DANCERS. Frankie Garcia (Cannibal) and the Jaramillo brothers were adept dancers on stage and it is quite entertaining to watch them and the GAZZARRI ladies mirror the steps of each other. This was obviously well rehearsed before the actual taping.
We also get to witness some more television censor testing on account of the short and snug tops the dancers have on and the liberally shown bare midsections. Since KHJ produced the show themselves they didn't seem to get the scrutiny that ABC, CBS, and NBC productions did. Hence more skin, tighter clothing, and exposed navels on the dancers.
This tune, "Follow The Music", never charted. In fact their big hit, "Land of 1000 Dances", only peaked at # 30 on the charts in April. The group was an opening act on the Beatles summer 1965 American tour. One of the Headhunters left at this time leaving Frankie with two Headhunters for this performance only a few months later.
Only a scant two weeks after the Bobby Fuller 4 were in the KHJ studios performing "I Fought The Law" (episode # 46), they were back to showcase two more of their tunes. This one, "Never To Be Forgotten", is a rocker and the GAZZARRI DANCERS rise to the occasion.
Rather than run through a set choreographed routine the girls just rocked out on their own as they saw fit. DeANN is energized and absolutely on fire. We get to see GWEN and DAWN at their go-go-ing best. And JACQUI pushes the envelope by testing the censors with her generous mid-riff exposure. She also took it to the limit with her short hemline on the Karen Verros "Little Boy" performance (episode # 58). These were the type of memorable moments not seen on the competing music dance shows of the era and what set HOLLYWOOD A GO-GO apart from its competition.
An electric performance by the impeccably dressed Mr. Wilson who puts the GAZZARRI ladies through a well choreographed and rehearsed workout. DeANN, JUNE, GWEN, MARIA, DAWN, and JACQUI are poetry in motion throughout this high energy video. Note how one of the cameramen catches Bobby Fuller (guest on this episode) mimicing Jackie at the 0:40 mark.
This is another blast-from-the-past HOLLYWOOD A GO-GO performance featuring one of Motown's legendary groups. Team them up with six of the best GAZZARRI DANCERS and you have a recipe for excitement.
The two featured dancers, DeANN and GWEN, work out in unison for the entire performamance. Their bared midriffs combined with low cut jeans are striking. Meanwhile Smokey and the Miracles, one of Motown's best choreographed groups, further entertain us with a "hear no evil, see no evil, speak no evil" dance routine. This is a high energy go-go display and HOLLYWOOD A GO-GO at its best.
"Mickey's Monkey" entered the Top-Ten in September 1963 for the Miracles and remains one of their bestknown hits.
D1 - JACQUI LANDRUM D2 - DeANN MOLLNER D3 - GWEN SELVAGE D4 - DAWN MICHAELS D5 - MARIA POGEE D6 - JUNE FAIRCHILD
MM - MARION MONTGOMERY
By this late point in the show's run JACQUI LANDRUM, who had been doing the choreography as well as dancing, was putting her mark on many of the performances. She had the training, the ability, and the vision to elevate the GAZZARRI DANCER routines to levels well above those of thecompeting music/dance shows. She also had a knack for testing the television censors and knowing what she could get away with. While this performance is not overtly sexy, it certainly is sultry thanks to the generous mid-riff exposure and the clever use of the scarves by the dancers.
Marion Montgomery's version of this old Gershwin song sounds like it came directly out of a gentlemen's club. JACQUI puts the dancers through some moves worthy of the best strippers. She is featured in SAM'Sintroduction, and thereafter we get our best looks at JUNE, DAWN, and MARIA.
Also of note is Marion's uncanny resemblance to Vicki Lawrence from the Carol Burnett Show.
Only a scant three episodes after their infamous "sixguns" routine we get to see the GAZZARRI ladies armed again - only this time with rifles. The dancing has a somewhat backwoods, hillbilly feel to it which fits in well with the country sounding song penned by Roger Miller. We might assume that the "sixguns" exercise was well received leading JACQUI to come up with a similar production for this performance. The mid-1960s was still fertile ground for television westerns and the projected audience for this show would have been teenagers who grew up on this type of entertainment. It was a perfect match for the times - popular music, guns, and GAZZARRI DANCERS.
On the back platform we see DAWN, MARIA, GWEN, and JUNE lined up left to right, with DeANN and JACQUIon their individual platforms.
This great video is fun to watch on account of the talents of guitar virtuoso Glen Campbell and the high energy dancing, especially by JACQUI. Most of these late episodes were choreographed by her, although on the credits she uses the alias of JACQUI LANVIN (instead of LANDRUM). Her lithe moves are a real standout in this performance.
AL BURTON and his successor MILT HOFFMAN were fond of using camera filters and techniques to produce multiple images and various other visual tricks. On this tape we see DeANN superimposed on Glen's guitar. Although it might seem dated now, four decades ago with psychedelia in its infancy, it was innovative cinematography.
With a massive two million hits on YouTube this is one of the most popular HOLLYWOOD A GO-GO videos. This is due in a large part to the stellar performance of DeANN who shows the world how to do the mashed potato. An incredible amount of the complimentary comments on this YouTube video relate to her. Behind DeANN we see JACQUI also mashing up some spuds.
The dancers by this late stage in the show's run had become a steady team of DeANN, JUNE, JACQUI, GWEN, MARIA, DAWN, and MIMI. All are in this performance except MIMI.
"Mashed Potato Time" charted in the Top-Ten for the entire months of April and May 1962.
Another great performance from a great episode. One has to wonder why this song by Marvin never made the Top-Twenty.
The GAZZARRI DANCERS make this performance even more enjoyable to watch. With DAWN located on the same platform as Marvin we get some especially good looks at her. JACQUI, MARIA, GWEN, DeANN, and JUNE also appear.
This performance rates up there with the very best from the HOLLYWOOD A GO-GO library. It is flawless on every level. Marvin was a talented artist with a catalog of infectious hits. This was his fifth Top-Twenty tune in a career that had sixteen and it was in the midst of a seven week run in the Top-Twenty when this episode aired. Many would consider Marvin, Jackie Wilson, and James Brown to be the three most influential black male singers of the era. And HOLLYWOOD A GO-GO presented all three in 1965. In fact Jackie Wilson appeared on the previous episode.
While Marvin does a perfect lip synch to his hit tune the GAZZARRIladies entertain us with some of the best go-go dancing seen on television. Gorgeous GWEN is seen next to SAM during the song intro and then the fun starts as she and the other five dancers, DeANN, MARIA, JACQUI, JUNE, and DAWN all free style their way through the rest of the performance with some electrifying moves. All six are impressive and on fire in their own way. DeANN is not wearing her headband which is usually indicative of some serious go-go-ing. She doesn't disappoint. DAWN'S sultry moves are another standout. We get to see JUNE'Ssignature hair swinging gyrations briefly at the 2:13 mark. MARIA, as a professionally trained dancer, comes up with some lithe moves briefly visible at the 1:48 mark. And Jacqui blows us all away with her upper body moves. By this time she was the show's choreographer and producing great dance routines week after week.
D1 - DAWN MICHAELS D2 - DeANN MOLLNER D3 - MARIA POGEE D4 - JACQUI LANDRUM D5 - GWEN SELVAGE D6 - JUNE FAIRCHILD
D7 - MIMI MACHU _____________________
MG - MARVIN GAYE
The combination of Marvin Gaye singing, and JACQUI LANDRUM choreographing our "magnificent seven" GAZZARRI DANCERSto this tune, adds up to the perfect recipe for yet another memorable performance. This was Marvin's third song on the episode. The norm throughout the show's history was two, but when DONALIE FITZGERALD booked an upper echelon act sometimes two became three.
JACQUI was solely in charge of the choreography at this point in the show's history and this routine has many moves all executed in unison by the dancers. To her go-go dancing was more than just moving your feet. She was fond of incorporating upper body moves in the routines she created. We see a very sultry DAWN for a few seconds during the opening of the video and she gets several good looks from the roving cameras.
Six of the GAZZARRI DANCERS are quite evident during the video. With DeANN, MARIA, JACQUI, and GWEN on the main platform, and DAWN and JUNEon the circular risers up front, one might wonder where is the seventh magnificent member ? MIMI does appear for a few seconds in a rearward view on a small riser in the shadows. It had been two months since her ankle injury relegated her to limited duties. Sharing introductions with SAM had progressed to stationary dancing where she had little foot movement, and then gradually she became more mobile each week. For this performance she was still not back to full speed but clearly could dance in a limited way. We find her on the same riser two weeks earlier in the "Whittier Boulevard" performance. The dancers also wore these same outfits on some of the performances from that episode (# 47).
This routine is vaguely reminiscent of the Tommy Sands performance of three weeks earlier. But instead of Tommy sauntering across the stage to gaze into each GAZZARRI'S eyes we see Lou Rawls approach the four brunette dancers individually as he tries to melt their "cold cold hearts". He is met with nothing but disdain.
The dancing is simple but the play acting between JUNE, DAWN, JACQUI, MARIA andLou is priceless. Was JUNE first discovered by someone in the movie industry during this performance? As the song winds down Lou doesn't have too much time left to interplay with DeANN and GWEN. During SAM'S introduction we also get to see lovely GWEN up close.