Jan Berry, leader of the music duo Jan & Dean from the late 1950s to mid-1960s, was an intense character who experienced more in his first 25 years than many do in a lifetime. As an architect of the West Coast sound, he was one of rock 'n' roll's original rebels--brilliant, charismatic, reckless, and flawed. As a songwriter, music arranger, and record producer for Nevin-Kirshner Associates and Screen Gems-Columbia Music, Berry was one of the pioneering self-produced artists of his era in Hollywood. He lived a dual life, reaching the top of the charts with Jan & Dean while transitioning from college student to medical student, until an automobile accident in 1966 changed his trajectory forever. Suffering from brain damage and partial paralysis, Jan spent the rest of his life trying to come back from Dead Man's Curve. His story is told here in-depth for the first time, based on extensive primary source documentation and supplemented by the stories and memories of Jan's family members, friends, music industry colleagues, and contemporaries. From the birth of rock to the bitter end, Berry's life story is thrilling, humorous, unsettling, and disturbing, yet ultimately uplifting.
Jan & Dean were among the most successful artists of the late 1950s through the mid-1960s, with hits including "Baby Talk," "Surf City," "Dead Man's Curve" and "The Little Old Lady (From Pasadena)." Slapstick humor and offbeat personas were a big part of their shtick, but Jan Berry was serious when it came to the studio. This book chronicles Jan's career as a songwriter and arranger--and his tenure as producer for Jan & Dean and other acts--with day-by-day entries detailing recording sessions, single and album releases, concerts and appearances, film and television projects, behind-the-scenes business and legal matters, chart positions and more. Extensive commentary from Berry's family, friends and colleagues is included. Studio invoices, contract details, tape box notes, copyright information and other particulars shed light on how music was made in the Hollywood studio system of the 1960s.
Excerpt from Catalog of Copyright Entries, Third Series, Part 5a, Number 1, Vol. 8: Published Music; January-June 1954 The catalog OF copyright entries is published by authority of sections 210 and 211 of Title 17 of the United States Code. Section 210 provides in part: The current catalog of copy right entries and the index volumes herein provided for shall be admitted in any c0urt as prima facie evidence of the facts stated therein as regards any copyright registration. The Catalog is subdivided to represent the classes of material listed in section 5 of said Title 17. The table at the end of this preface shows the organiza tion of the Catalog, the symbols used with the registration numbers to distinguish the classes, and the prices of the semiannual issues. The annual subscription for each part is twice the price of a single issue and the complete catalog, including all parts, may be secured on a subscription basis for $20 a year. The record of each copyright registration listed in the Catalog includes a description of the work copyrighted and data relating to the copyright claim (the name of the copyright claimant, as given in the application for registration, the copyright date, the copyright registration number, etc.) Available information in the records of the Copy right Office, including information relating to sub sequent changes of ownership, can be obtained upon request and upon payment to the Register of Copyrights of the fee specified in section 215 of said Title 17 for each hour of time consumed) for the conduct of a search of the records. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.