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The British Invasion
British Invasion
was a cultural phenomenon of the mid-1960s when rock and pop music acts from the United Kingdom[1] and other aspects of British culture, became popular in the United States and significant to rising "counterculture" on both sides of the Atlantic.[2] Pop and rock groups such as the Beatles, the Dave Clark Five,[3] the Kinks,[4] the Rolling Stones, Herman's Hermits, and the Animals were at the forefront of the invasion.[5]

Contents

1 Background 2 The Invasion

2.1 Beatlemania 2.2 Beyond the Beatles 2.3 Other cultural impacts

2.3.1 Film and television 2.3.2 Fashion 2.3.3 Literature

3 Impact on American music 4 End of first British Invasion 5 See also 6 Further reading and listening 7 Notes 8 References

Background[edit] The rebellious tone and image of US rock and roll and blues musicians became popular with British youth in the late 1950s. While early commercial attempts to replicate American rock and roll mostly failed, the trad jazz–inspired skiffle craze,[6] with its 'do it yourself' attitude, was the starting point of several British Billboard singles.[7][8] Young British groups started to combine various British and American styles in different parts of the U.K., such as the 1962 movement in Liverpool
Liverpool
known as Merseybeat or the "beat boom".[9][10][11][12] That same year featured three instrumentals, each from an act with British roots, to reach the Hot 100's summit.[13] This included the Tornados' instrumental "Telstar", written and produced by Joe Meek, becoming the first record by a British group to reach number one on the US Hot 100.[citation needed] All were preceded by British jazz musician Kenny Ball peaking at #2 on 17 March 1962 on the Hot 100
Hot 100
with the instrumental "Midnight in Moscow". Some observers have noted that US teenagers were growing tired of singles-oriented pop acts like Fabian.[14] The Mods and Rockers, two youth "gangs" in mid-1960s Britain, also had an impact in British Invasion music. Bands with a Mod aesthetic became the most popular, but bands able to balance both (e.g. the Beatles) were also successful.[15] The Invasion[edit] Beatlemania[edit] Main article: Beatlemania See also: Cultural impact of the Beatles

Fans and media swarm the Beatles at Schiphol Airport in 1964.

In October 1963, the first newspaper articles about the frenzy in England surrounding the Beatles appeared nationally in the US.[16] The Beatles' November 4 Royal Variety Performance in front of the Queen Mother sparked music industry and media interest in the group.[16] During November, a number of major American print outlets and two network television evening programs published and broadcast stories on the phenomenon that became known as "Beatlemania".[16][17] On December 10, CBS Evening News
CBS Evening News
anchor Walter Cronkite, looking for something positive to report, re-ran a Beatlemania
Beatlemania
story that originally aired on the 22 November 1963 edition of the CBS Morning News with Mike Wallace
Mike Wallace
but became shelved that night because of the assassination of US President John Kennedy.[16][18] After seeing the report, 15-year-old Marsha Albert of Silver Spring, Maryland, wrote a letter the following day to disc jockey Carroll James at radio station WWDC asking, "Why can't we have music like that here in America?"[18] On December 17 James had Miss Albert introduce "I Want to Hold Your Hand" live on the air.[18] WWDC's phones lit up, and Washington, D.C., area record stores were flooded with requests for a record they did not have in stock.[18] James sent the record to other disc jockeys around the country sparking similar reaction.[16] On December 26, Capitol Records
Capitol Records
released the record three weeks ahead of schedule.[18] The release of the record during a time when teenagers were on vacation helped spread Beatlemania
Beatlemania
in the US.[18] On December 29, The Baltimore Sun, reflecting the dismissive view of most adults, editorialized, "America had better take thought as to how it will deal with the invasion. Indeed a restrained 'Beatles go home' might be just the thing."[16] In the next year alone, the Beatles would have 30 different listings on the Hot 100.[19]

Ed Sullivan
Ed Sullivan
and the Beatles, February 1964

On January 3, 1964, The Jack Paar Program
The Jack Paar Program
ran Beatles concert footage licensed from the BBC "as a joke," but it was watched by 30 million viewers. While this piece was largely forgotten, Beatles producer George Martin
George Martin
has said it "aroused the kids' curiosity".[16] In the middle of January 1964, "I Want to Hold Your Hand" appeared suddenly, then vaulted to the top of nearly every top 40 music survey in the United States, launching the Fab Four's sustained, massive output. "I Want to Hold Your Hand" ascended to number one on the January 25, 1964 edition of Cash Box magazine (on sale January 18)[18] and the February 1, 1964 edition of the Hot 100.[20] On February 7, 1964, the CBS Evening News ran a story about the Beatles' United States arrival that afternoon in which the correspondent said, "The British Invasion
British Invasion
this time goes by the code name Beatlemania."[21] Two days later, on Sunday, February 9, they appeared on The Ed Sullivan
Ed Sullivan
Show. Nielsen Ratings estimated that 45 percent of US television viewers that night saw their appearance.[12] According to Michael Ross, "It is somewhat ironic that the biggest moment in the history of popular music was first experienced in the US as a television event." The Ed Sullivan Show
The Ed Sullivan Show
had for some time been a "comfortable hearth-and-slippers experience." Not many of the 73 million viewers watching in February 1964 would fully understand what impact the band they were watching would have.[22]

"In [1776] England lost her American colonies. Last week the Beatles took them back." Life magazine [23]

The Beatles
The Beatles
soon incited contrasting reactions and, in the process, generated more novelty records than anyone — at least 200 during 1964–1965 and more inspired by the "Paul is dead" rumour in 1969.[24] Among the many reactions, favoring the hysteria were British girl group the Carefrees' "We Love You Beatles" (#39 on 11 April 1964)[25] and the Patty Cakes' "I Understand Them", subtitled "A Love Song to the Beatles".[26] Disapproving the pandemonium were American group the Four Preps' "A Letter to the Beatles" (#85 on 4 April 1964)[27] and American comedian Allan Sherman's "Pop Hates the Beatles."[28] On April 4, the Beatles held the top five positions on the Billboard Hot 100
Hot 100
singles chart, and to date, no other act has simultaneously held even the top three.[12][29] The Beatles
The Beatles
also held the top five positions on Cash Box's singles chart that same week, with the first two positions reversed from the Hot 100.[30] The group's massive chart success, which included at least two of their singles holding the top spot on the Hot 100
Hot 100
during each of the seven consecutive years starting with 1964, continued until they broke up in 1970.[12] Beyond the Beatles[edit] One week after the Beatles entered the Hot 100
Hot 100
for the first time, Dusty Springfield, having launched a solo career after her participation in the Springfields, became the next British act to reach the Hot 100, at number 12, with "I Only Want to Be with You".[31][nb 1] During the next three years, many more British acts with a chart-topping US single would appear.[nb 2] As 1965 approached, another wave of British Invasion
British Invasion
artists emerged which consisted usually of either of groups playing in a more pop style, such as the Hollies or the Zombies or with a harder-driving, blues-based approach.[51][52][53][54][excessive citations] On May 8, 1965, the British Commonwealth
British Commonwealth
came closer than it ever had or would to a clean sweep of a weekly Hot 100's Top 10, lacking only a hit at number two instead of "Count Me In" by the US group Gary Lewis & the Playboys.[55][56] The British Commonwealth
British Commonwealth
also nearly swept the Cash Box singles chart's top ten the previous week, lacking only a hit at number six instead of "Count Me In".[57] That same year, half of the 26 Billboard Hot 100
Billboard Hot 100
chart toppers (counting the Beatles' "I Feel Fine" carrying over from 1964) belonged to British acts. The British trend would continue into 1966 and beyond.[58] British Invasion
British Invasion
acts also dominated the music charts at home in the United Kingdom.[51] The musical style of British Invasion
British Invasion
artists, such as the Beatles, had been influenced by earlier US rock 'n' roll, a genre which had lost some popularity and appeal by the time of the Invasion. However, a subsequent handful of white British performers, particularly the Rolling Stones and the Animals, would appeal to a more 'outsider' demographic, essentially reviving and popularizing, for young people at least, a musical genre rooted in the blues, rhythm, and black culture,[59] which had been largely ignored or rejected when performed by black US artists in the 1950s.[60] Such bands were sometimes perceived by American parents and elders as rebellious and unwholesome unlike parent-friendly pop groups, such as the Beatles. The Rolling Stones would become the biggest band other than the Beatles to come out of the British Invasion,[61] topping the Hot 100
Hot 100
eight times.[62] Sometimes, there would be a clash between the two styles of the British Invasion, the polished pop acts and the grittier blues-based acts due to the expectations set by the Beatles. Eric Burdon of the Animals said "They dressed us up in the most strange costumes. They were even gonna bring a choreographer to show us how to move on stage. I mean, it was ridiculous. It was something that was so far away from our nature and, um, yeah we were just pushed around and told, 'When you arrive in America, don't mention the [Vietnam] war! You can't talk about the war.' We felt like we were being gagged." [63] "Freakbeat" is a term sometimes given to certain British Invasion
British Invasion
acts closely associated with the mod scene during the Swinging London period, particularly harder-driving British blues
British blues
bands of the era that often remained obscure to US listeners, and who are sometimes seen as counterparts to the garage rock bands in America.[64][65] Certain acts, such as the Pretty Things and the Creation, had a certain degree of chart success in the UK and are often considered exemplars of the form.[66][67][68][69][excessive citations] The emergence of a relatively homogeneous worldwide "rock" music style marking the end of the "invasion" occurred in 1967.[9] Other cultural impacts[edit] Outside music, other aspects of British arts became popular in the US during this period and led US media to proclaim the United Kingdom as the center of music and fashion. Film and television[edit] The Beatles
The Beatles
movie A Hard Day's Night marked the group's entrance into film.[9] Mary Poppins, released on August 27, 1964, and starring English actress Julie Andrews
Julie Andrews
as the titular character, became the most Oscar-winning and Oscar-nominated Disney film in history, and My Fair Lady, released on December 25, 1964, starring British actress Audrey Hepburn
Audrey Hepburn
as Cockney
Cockney
flower girl Eliza Doolittle, won eight Academy Awards.[70] Besides the Bond series which commenced with Sean Connery
Sean Connery
as James Bond in 1962, films with a British sensibility such as the "Angry Young Men" genre, What's New Pussycat?
What's New Pussycat?
and Alfie styled London Theatre. A new wave of British actors such as Peter O'Toole
Peter O'Toole
and Michael Caine
Michael Caine
intrigued US audiences.[14] Four of the decade's Academy Award winners for best picture were British productions, with the epic Lawrence of Arabia, starring O'Toole as British army officer T. E. Lawrence, winning seven Oscars in 1963.[71] British television series such as Danger Man
Danger Man
(renamed Secret Agent in its U.S. airings) and The Avengers began appearing on American screens, inspiring a series of American-produced espionage programs such as I Spy, The Man From U.N.C.L.E., and the parody series Get Smart. By 1966, spy series (both British and American) had emerged as a favorite format of American viewers, alongside Westerns and rural sitcoms.[72] Television shows that featured uniquely American styles of music, such as Sing Along with Mitch
Sing Along with Mitch
and Hootenanny, were quickly canceled and replaced with shows such as Shindig!
Shindig!
and Hullabaloo that were better positioned to play the new British hits, and segments of the new shows were taped in England.[73][74] Fashion[edit] Fashion and image marked the Beatles out from their earlier US rock and roll counterparts. Their distinctive, uniform style "challenged the clothing style of conventional US males," just as their music challenged the earlier conventions of the rock and roll genre.[60] "Mod" fashions, such as the mini skirt from "Swinging London" designers such as Mary Quant
Mary Quant
and worn by early supermodels Twiggy, Jean Shrimpton
Jean Shrimpton
and other models, were popular worldwide.[75][76][77][78][78][79][80][excessive citations] John Crosby wrote, "The English girl has an enthusiasm that American men find utterly captivating. I'd like to import the whole Chelsea girl with her 'life is fabulous' philosophy to America with instructions to bore from within."[81] Even while longstanding styles remained popular, US teens and young adults started to dress "hipper." The evolution of the styles of the British Invasion
British Invasion
bands also showed in US culture, as some bands went from more clean cut to being more hippie.[22] Literature[edit] In anticipation of the 2013 50th anniversary of the British Invasion, comics such as Nowhere Men, which are loosely based on the events of it, have gained popularity.[82] Impact on American music[edit] The British Invasion
British Invasion
had a profound impact on popular music, internationalizing the production of rock and roll, establishing the British popular music industry as a viable centre of musical creativity,[83] and opening the door for subsequent British performers to achieve international success.[51] In America, the Invasion arguably spelled the end of the popularity of instrumental surf music,[84] pre- Motown
Motown
vocal girl groups, the folk revival (which adapted by evolving into folk rock), and temporarily, the teen idols that had dominated the American charts in the late 1950s and 1960s.[85] It dented the careers of established R&B acts like Chubby Checker and temporarily derailed the chart success of certain surviving rock and roll acts, including Ricky Nelson,[86] Fats Domino, and Elvis Presley (who nevertheless racked up 30 Hot 100
Hot 100
entries from 1964 through 1967).[87] It prompted many existing garage rock bands to adopt a sound with a British Invasion
British Invasion
inflection and inspired many other groups to form, creating a scene from which many major American acts of the next decade would emerge.[88] The British Invasion
British Invasion
also played a major part in the rise of a distinct genre of rock music and cemented the primacy of the rock group, based around guitars and drums and producing their own material as singer-songwriters.[89] Though many of the acts associated with the invasion did not survive its end, many others would become icons of rock music.[51] The claim that British beat bands were not radically different from US groups like the Beach Boys and damaged the careers of African-American and female artists[90] was made about the Invasion. However, the Motown sound, exemplified by the Supremes, the Temptations, and the Four Tops, each securing its first top 20 record during the Invasion's first year of 1964 and following up with many other top 20 records, besides the constant or even accelerating output of the Miracles, Gladys Knight & the Pips, Marvin Gaye, Martha & the Vandellas, and Stevie Wonder, actually increased in popularity during that time.[91] Other US groups also demonstrated a similar sound to the British Invasion artists and in turn highlighted how the British 'sound' was not in itself a wholly new or original one.[92] Roger McGuinn
Roger McGuinn
of the Byrds, for example, acknowledged the debt that American artists owed to British musicians, such as the Searchers, but that "they were using folk music licks that I was using anyway. So it's not that big a rip-off."[93] Both the US sunshine pop group the Buckinghams and the Beatles-influenced US Tex-Mex act the Sir Douglas Quintet
Sir Douglas Quintet
adopted British-sounding names,[94][95] and San Francisco's Beau Brummels took their name from the same-named English dandy.[96] Roger Miller
Roger Miller
had a 1965 hit record with a song titled "England Swings".[97] Englishman Geoff Stephens (or John Carter) reciprocated the gesture a la Rudy Vallée a year later in the New Vaudeville Band's "Winchester Cathedral".[98][99] Even as recently as 2003, "Shanghai Knights" made the latter two tunes memorable once again in London scenes.[100][101] Anticipating the Bay City Rollers
Bay City Rollers
by more than a decade, two British acts that reached the Hot 100's top 20 gave a tip of the hat to America: Billy J. Kramer
Billy J. Kramer
with the Dakotas and the Nashville Teens. The British Invasion
British Invasion
also drew a backlash from some American bands, e.g., Paul Revere & the Raiders[102] and New Colony Six[103] dressed in Revolutionary War uniforms, and Gary Puckett & The Union Gap donned Civil War uniforms.[104] Garage rock
Garage rock
act the Barbarians' "Are You a Boy or Are You a Girl" contained the lyrics "You're either a girl, or you come from Liverpool" and "You can dance like a female monkey, but you swim like a stone, Yeah, a Rolling Stone."[105][106] In Australia, the success of the Seekers and the Easybeats (the latter a band formed mostly of British emigrants) closely paralleled that of the British Invasion. The Seekers
The Seekers
had two Hot 100
Hot 100
top 5 hits during the British Invasion, the #4 hit "I'll Never Find Another You" in May 1965 and the #2 hit "Georgy Girl" in February 1967. The Easybeats
The Easybeats
drew heavily on the British Invasion
British Invasion
sound and had one hit in the United States during the British Invasion, the #16 hit "Friday on My Mind" in May 1967.[107][108] According to Robert J. Thompson, director of the Center for the Study of Popular Television at Syracuse University, the British invasion pushed the counterculture into the mainstream.[22] End of first British Invasion[edit] The historical conclusion of British Invasion
British Invasion
is ambiguous. American bands regained mainstream prominence in the late 1960s along changing cultural norms. Nevertheless, British bands retained their popularity throughout the decade, and in the 1970s, bands such as Badfinger
Badfinger
and the Sweet, and American band the Raspberries are considered to have evolved the genre into power pop. In 1978, two rock magazines wrote cover stories analyzing power pop as a savior to both the new wave and the direct simplicity of rock. Along with the music, new wave power impacted current the fashion, such as the mod style of the Jam or the skinny ties of the burgeoning Los Angeles scene. Several power pop artists were commercially successful,; most notably the Knack, whose "My Sharona" was the highest ranked U.S. single of 1979. Although the Knack and power pop fell out of mainstream popularity, the genre continues to have a cult following with occasional periods of modest success.[109] A subsequent wave of British artists rose to popularity in the 1980s as British music videos appeared in American media, leading to what is now known as the "Second British Invasion". The last recognized movement of British mainstream prominence in U.S. music charts came in the mid-1990s with the brief success of Spice Girls, Oasis and Robbie Williams. At least one British act would appear somewhere on the Hot 100
Hot 100
every week from November 2, 1963 until April 20, 2002, originating with the debut of the Caravelles' "You Don't Have to Be a Baby to Cry". British acts declined in popularity throughout the 1990s, and in the April 27, 2002 issue of Billboard, Craig David
Craig David
and Ozzy Osbourne
Ozzy Osbourne
were the only British artists ranked in the US music charts, under the top 100 albums.[110] See also[edit]

1960s portal Rock music
Rock music
portal Music portal

Anglophile Britpop Cool Britannia List of Billboard Hot 100
Billboard Hot 100
number-ones by British artists List of British Invasion
British Invasion
artists Music of the United Kingdom (1960s) Second British Invasion, 1980s

Further reading and listening[edit]

Gilliland, John (1969). "The British Are Coming! The British Are Coming!: The U.S.A. is invaded by a wave of long-haired English rockers" (audio). Pop Chronicles. University of North Texas Libraries.  Harry, Bill The British Invasion: How the Beatles and Other UK Bands Conquered America Chrome Dreams
Chrome Dreams
2004 ISBN 978-1-84240-247-4 Miles, Barry The British Invasion: The Music, the Times, the Era Sterling Publishing 2009 ISBN 978-1-4027-6976-4 "The British Invasion" 2002 – Oral History by Vanity Fair

Notes[edit]

^ She soon followed up with several other hits, becoming what AllMusic described as "the finest white soul singer of her era."[32] On the Hot 100, Dusty's solo career lasted almost as long, albeit with little more than one quarter of the hits, as the Beatles' group career before their breakup. ^ Peter and Gordon, the Animals, Manfred Mann, Petula Clark,[33] Freddie and the Dreamers, Wayne Fontana and the Mindbenders,[34] Herman's Hermits,[35] the Rolling Stones,[36] the Dave Clark Five,[37] the Troggs, Donovan,[38] and Lulu in 1967, would have one or more number one singles in the US.[9] Other Invasion acts included the Searchers,[39] Billy J. Kramer,[40] the Bachelors,[41] Chad & Jeremy,[42] Gerry and the Pacemakers,[43] the Honeycombs,[44] Them[12] (and later its lead singer, Van Morrison), Tom Jones,[45] the Yardbirds (whose guitarist Jimmy Page
Jimmy Page
would later form Led Zeppelin),[46] the Spencer Davis Group, the Small Faces, and numerous others. The Kinks, although considered part of the Invasion,[4][47][48] initially failed to capitalize on their success in the US after their first three hits reached the Hot 100's top 10[49] (in part due to a ban by the American Federation of Musicians[50]) before resurfacing in 1970 with "Lola" and in 1983 with their biggest hit, "Come Dancing".

References[edit]

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British Invasion
(music) - Britannica Online Encyclopedia". Britannica.com. Retrieved January 18, 2011.  ^ James E. Perone (2004). Music of the Counterculture Era. Greenwood Publishing Group. pp. 22–. ISBN 978-0-313-32689-9.  ^ Unterberger, Richie. " The Dave Clark Five
The Dave Clark Five
- Biography - AllMusic". AllMusic.  ^ a b Stephen Thomas Erlewine. " The Kinks
The Kinks
- Music Biography, Streaming Radio and Discography - AllMusic". AllMusic.  ^ Perone, James E. Mods, Rockers, and the Music of the British Invasion. Westport, CT: Praeger,2009. Print. ^ M. Brocken, The British folk revival, 1944-2002 (Aldershot: Ashgate, 2003), pp. 69-80. ^ "Lonnie Donegan > Charts and Awards > Billboard singles". AllMusic. Retrieved February 14, 2011.  ^ Eder, Bruce. "Lonnie Donegan - Music Biography, Streaming Radio and Discography - AllMusic". AllMusic.  ^ a b c d Ira A. Robbins. "Encyclopædia Britannica Article". Britannica.com. Retrieved January 18, 2011.  ^ Morrison, Craig. American Popular Music. British Invasion
British Invasion
(New York: Facts on File, 2006), pp. 32-4. ^ J. Gould, Can't Buy Me Love: The Beatles, Britain, and America (New York, Harmony Books, 2007), pp. 344-5. ^ a b c d e When the Beatles hit America CNN February 10, 2004. ^ Whitburn, Joel (1990). The Billboard Hot 100
Billboard Hot 100
Charts: The Sixties (26 May 1962, 7 July 1962, 22 December 1962 - 5 January 1963). Menomonee Falls, Wisconsin: Record Research, Inc. ISBN 0-89820-074-1.  ^ a b Cogan, Brian (December 12, 2011). Abbe A. Debolt and James S. Baugess, eds. Encyclopedia of the Sixties: A Decade of Culture and Counterculture. Greenwood Press. pp. 80–81. ISBN 9780313329449. Retrieved July 23, 2012. CS1 maint: Uses editors parameter (link) ^ Perone, James (2009). Mods, Rockers, and the Music of the British Invasion. Westport, Connecticut: Praeger.  ^ a b c d e f g "How the Beatles Went Viral: Blunders, Technology & Luck Broke the Fab Four in America," by Steve Greenberg, Billboard February 7, 2014 ^ " The Beatles
The Beatles
in America: We Loved Them, Yeah, Yeah, Yeah". Newseum. February 5, 2009. Archived from the original on November 26, 2010. Retrieved June 29, 2012.  ^ a b c d e f g Tweet the Beatles! How Walter Cronkite
Walter Cronkite
Sent The Beatles Viral ANDRE IVERSEN FOR THE WIN! by Martin Lewis based on information from "THE BEATLES ARE COMING! The Birth of Beatlemania
Beatlemania
in America" by Bruce Spitzer" July 18, 2009. ^ Whitburn, Joel (2003). Top Pop Singles 1955-2002. Menomonee Falls, Wisconsin: Record Research, Inc. pp. 44, 45. ISBN 0-89820-155-1.  ^ "1 February 1964 Hot 100". Billboard. Retrieved February 16, 2012.  ^ The Beatles: The First U.S. Visit documentary ^ a b c "Fab Four + 40: Looking back on the British invasion". TODAY.com.  ^ The British Invasion: From the Beatles to the Stones, The Sixties Belonged to Britain Rolling Stone
Rolling Stone
July 14, 1988 ^ "Beatlesongs!". AlbumLinerNotes.com. Retrieved 2014-05-01.  ^ Whitburn, Joel (1990). The Billboard Hot 100
Billboard Hot 100
Charts: The Sixties (11 April 1964). Menomonee Falls, Wisconsin: Record Research, Inc. ISBN 0-89820-074-1.  ^ "I Understand Them (A Love Song To The Beatles)". Classic 45's. Retrieved 2014-05-25.  ^ Whitburn, Joel (1990). The Billboard Hot 100
Billboard Hot 100
Charts: The Sixties (4 April 1964). Menomonee Falls, Wisconsin: Record Research, Inc. ISBN 0-89820-074-1.  ^ " The Beatles
The Beatles
Invade America - A chronicle of the Beatles' first visit to the U.S. in February 1964". February 11, 2007. Archived from the original on May 27, 2014. Retrieved May 25, 2014.  ^ "UK acts disappear from US charts BBC April 23, 2002". BBC News. April 23, 2002. Retrieved January 18, 2011.  ^ " Cash Box Magazine's (USA) Weekly Single Charts for 1964". 1964-04-04. Retrieved 2017-11-30.  ^ Gaar, Gillian G. (April 2011). "Women of The British Invasion". Goldmine: 22, 24, 26–28.  access-date= requires url= (help) ^ Ankeny, Jason. " Dusty Springfield
Dusty Springfield
- Music Biography, Streaming Radio and Discography - AllMusic". AllMusic.  ^ Gilliland 1969, show 29, track 2. ^ Thompson, Dave. " Wayne Fontana and the Mindbenders - Music Biography, Streaming Radio and Discography - AllMusic". AllMusic.  ^ Eder, Bruce. " Herman's Hermits
Herman's Hermits
- Music Biography, Streaming Radio and Discography - AllMusic". AllMusic.  ^ Gilliland 1969, show 30. ^ Billboard Dave Clark Five Chart Page ^ Gilliland 1969, show 48. ^ Eder, Bruce. "The Searchers - Music Biography, Streaming Radio and Discography - AllMusic". AllMusic.  ^ Unterberger, Richie. " Billy J. Kramer
Billy J. Kramer
- Music Biography, Streaming Radio and Discography - AllMusic". AllMusic.  ^ Ruhlmann, William. " The Bachelors
The Bachelors
- Biography - AllMusic". AllMusic.  ^ Ankeny, Jason. "Chad & Jeremy - Music Biography, Streaming Radio and Discography - AllMusic". AllMusic.  ^ Unterberger, Richie. "Gerry & the Pacemakers - Music Biography, Streaming Radio and Discography - AllMusic". AllMusic.  ^ Unterberger, Richie. " The Honeycombs
The Honeycombs
- Music Biography, Streaming Radio and Discography - AllMusic". AllMusic.  ^ Stephen Thomas Erlewine. "Tom Jones - Music Biography, Streaming Radio and Discography - AllMusic". AllMusic.  ^ Unterberger, Richie. " The Yardbirds
The Yardbirds
- Music Biography, Streaming Radio and Discography - AllMusic". AllMusic.  ^ "iTunes - Music - The Kinks".  ^ "The Kinks". the Guardian.  ^ "U.S. Chart Positions".  ^ Alterman, Loraine. "Who Let the Kinks In?" Rolling Stone, 18 December 1969 ^ a b c d British Invasion
British Invasion
at AllMusic ^ Gilliland 1969, show 38, track 2. ^ Gilliland 1969, show 49, track 2. ^ " The Zombies
The Zombies
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