The T.A.M.I. Show (1964)

Good , But It Is Overrated By Some

Don't listen to the negative reviews

A Masterpiece!

While it doesn't offer any answers, it both thrills and makes you think.

You can't get any better than this, for both concert films and for content. If you weren't around then the film will let you in on why so many think the period was so great. If you were then it'll reinforce you memories. Steve Binder, who did the Elvis Comeback Special (1968), produces. There are so many technical devices used in making TAMI that I'll leave it to others to explain, but they do come out in how the concert feels, the experience and the sound. Binder does a great job. You notice no detail missed as the house band is tops, another Binder trademark. Listen to them in Lesley Gore's set, especially in 'You Don't Own Me', an overlooked classic on its own, and you can see what I mean. Gore's performance anchors the wide ranging acts and gives TAMI a lot of its era feel. If you don't buy the DVD (came out in 2011) your just plain nuts. A solid classic, a must have. For all music fans.

Am United Kingdom 58 year old male. Seen lots of snippets now of this show from YouTube, but don't believe the TAMI show was ever broadcast here except for some excerpts over the years. It was truly our great loss. Lots of wonderful things on the show but my 3 favourites are 1. the Ronnettes Be My Baby (will always love Ronnie - so beautiful), 2. the oh so sexy dancing style of the beautiful girl dancers (never really bettered in my view- I can die happy now), and 3. "Molty" of the Barbarians drumming away so brilliantly on Hey Little Bird with what he had to contend with. Neil ps Stones weren't bad either but you all knew that didn't you.

I'm one of the few who (mercifully) did not see the mutilated PBS version earlier this (2010) year. Finally, SHOUT was able to release (and, yes - WITH the Beach Boys performances restored) this totem of a time of amazing music and performances.I saw this WHOLE film in the early 80's, here in NYC, at the (original) Irving Plaza. It was a 16mm print, and the place was PACKED (for those who don't know - Irving Plaza was THE place to go to for REAL punk music and alternative music concerts back then. It's still around, but - as far as I'm concerned, in name only).The pandemonium on the screen was emphasised by the crowd attending this showing (if you don't know, The TAMI Show - and The Big TNT show were held in legal limbo for many years, so to see it - in any format was a treat). Watching it in this setting, one almost felt as if we were there. It was a very special night.I'll agree with the consensus - James Brown's performance - RIVETING! REAL showmanship! One of my favourite performances (saying one was better than another in this film is impossible)was Marvin Gaye's. I don't want to just throw out superlatives, but - this movie is a must see for anyone interested in seeing a landmark bit of rock & roll. See this, and you'll get sick, thinking about the (very sad) state of music today. There was NO: auto-tuning, misogynistic, violence-riddled garbage. This was the whole SPECTRUM of rock music - with EVERY style represented.For many years after, I pondered the thought; to try and do a TAMI show today would be impossible. The egos. The costs being demanded. Sure - everyone performing got paid, but, it was more than for the money they did this show.I'm a huge Teri Garr fan, and seeing her (and Toni Basil!) doing the pony, , the jerk, the frug, the swim.... and so much more is just wild. Add to this, the incomparable Blossoms (and Ms. Darlene Love!).... there are no words to describe the talent encapsulated in this film.If you're a parent, or just curious to see what rock music was REALLY like, then I highly recommend you purchase this landmark film.

That's the "Teenage Awards Music International" to you and me -- and without a doubt one of the best, grooviest, most utterly enjoyable and righteously raucous, hell, even historically relevant, mid-60's rock concert films to ever romp its way onto celluloid, a dazzling and eclectic mix of rowdy rock'n'roll bands and class act rhythm and blues groups that was performed live at the Santa Monica Civic Auditorium and recorded on videotape and subsequently transferred to film for posterity's sake by American International Pictures.Puckish surf-rock jokers Jan and Dean, who do "The Little Old Lady from Pasadena" and "Sidewalk Surfin'," are the goof-ball hosts of this non-stop musical extravaganza. Chuck Berry gets things off to a rip-roaring start, working his spindly wibble-wobble legs overtime as he tears the place up with roll-over-deadly renditions of "Johnny B. Goode," "Sweet Little Sixteen," and "Nadine." British Invasion band Gerry and the Peacemakers keep everything a hopping by first joining Chuck on "Maybellene,' then holding their own with such winners as the gentle, lulling "Don't Let the Sun Catch You Crying" and the life-affirming "It's Gonna Be Alright." Lovely feminist-rock pioneer Lesley Gore mesmerizes the audience with strong, commanding performances of the "sisters stand up to your man and don't take any guff" anthems "You Don't Own Me," "It's My Party," and "Judy's Turn to Cry." Smokey Robinson and the Miracles deliver a tasty, tuneful truckload of spot-on keening tenor harmonies, highlighted by the gorgeous "You Really Got a Hold on Me" and a crazed, chest-thumping, abdomen-itching cover of the wiggy novelty dance number "Mickey's Monkey." Marvin Gaye, looking mighty spiffy in an immaculate white tux, cuts a suave figure as he belts out "Hitchhike," "Pride and Joy," and "Can I Get a Witness." Representing flavor-of-the-month generic pop slop, the hopelessly dweeby Billy J. Kramer and the Dakotas nerd it up something hysterical with several remarkably doofy songs. Diana Ross and the Supremes, sexy as all hell in clinging dresses and enormous heavily lacquered hairdos, strut their sultry stuff with a scorching medley which includes the luscious "Baby Love." Token grunged-up garage rock outfit the Barbarians do the sinewy caveman stomper "Hey Little Bird," with their famous one-armed drummer Moulty (he's got a hook hand!) gleefully trashing his kit during a gloriously protracted solo. James Brown rides the "Night Train" straight to Funkytown and back with his bring the house down manic antics, complete with wild dancing feet, hips and pelvis a swinging rotation action, the groin pulling splits, crashing onto the floor and getting up for more -- we're talking some seriously smoking theatrics, people. The Rolling Stones, surly, scruffy, arrogant and punk as all get out, burn up the place with lots of sizzling lowdown dirty blues covers, with their blazing rendition of Irma Thomas' "Time Is On My Side" rating as the definite stand-out. The Beach Boys, clad in white striped shirts, end things on a suitably stirring note, doing 100% on the money honey performances of the timeless classics "Surfin' U.S.A.," "Surfer Girl" and "I Get Around."Steve Binder's razor-sharp direction captures the concert's merry, upbeat, bubbly atmosphere with consummate unwavering acuity and expertise. The really into it audience never cease to shriek their approval. A sense of both wide-eyed innocence and carefree, frivolous, oftentimes even downright explosive gaiety pervades throughout. The excellent black and white cinematography makes terrific use of stately crane shots, slow, graceful dissolves and snazzy super-impositions. Phil Spector music arranger Jack Nitzsche served as music director. Terri Garr and Toni Basil are among the nice-looking go-go gals who energetically frug their way across the stage. A marvelously vibrant, joyous and jubilant time capsule of the swell 60's rock scene.