Jan and Dean were a rock and roll duo, popular from the late 1950s through the mid 1960s, consisting of Jan Berry and Dean Torrence. They were pioneers of the vocal "surf music" craze that was popularized by The Beach Boys. Among their most successful songs was "Surf City" , which topped both the Billboard and Cashbox music charts in June 1963; "Drag City", which was a #10 hit on both the Billboard and Cashbox charts in 1963; and their cover of the Beach Boys' "The Little Old Lady from Pasadena", which peaked at #3. "Dead Man's Curve", which reached #8 on the Billboard charts in 1964, was inducted into the Grammy Hall of Fame in 2008.[1]
In 1972 Torrence won the Grammy Award for Best Album Cover for the psychedelic rock band Pollution's first eponymous 1971 album,[2] and was nominated three other times in the same category for albums of The Nitty Gritty Dirt Band.
William Jan Berry (born in Los Angeles, California April 3, 1941; died March 26, 2004), was the son of aeronautical engineer William L. Berry (born December 7, 1909 in The Bronx, NY; died December 19, 2004 in Camarillo, California),[3] who had been project manager of the "Spruce Goose" and flown on its only flight with Howard Hughes, and Clara Lorentze Mustad Berry (born September 2, 1919 in Bergen, Norway; died July 9, 2009).[4][5][6][7]
Dean Ormsby Torrence (born Los Angeles, California March 10, 1940), is the son of Natalie Ormsby Torrence (born April 10, 1911 in California; died August 10, 2008 in Los Angeles, California) and Maurice Dean Torrence (born December 5, 1907 in South Dakota; died November 16, 1997 in Los Angeles, California),[8][9] a graduate of Stanford University,[10] who was a sales manager at the Wilshire Oil Company.
Berry and Torrence met while students at Emerson Junior High School in Westwood, Los Angeles and were both on the school's football team. By 1957 they were students in the Vagabond Class of 1958 at the nearby University High School, where again they were on the school's football team, the Warriors.[11] Berry and Torrence had adjoining lockers, and after football practice, they began harmonizing together in the showers with several other football players.[12][13]
In order to enter at a talent competition at University High School, Berry and Torrance helped form a doo-wop group]] known as "The Barons" (named after their high school's Hi-Y club, where they were members),[14] which comprised fellow University High students William "Chuck" Steele (lead singer), Arnold P. "Arnie" Ginsburg (born November 19, 1939) (1st tenor), Wallace S. "Wally" Yagi (born 20 July 1940) (2nd tenor),[15][16] John 'Sagi" Seligman (2nd tenor),[17] with Berry singing bass, and Torrence providing falsetto.[18] During its short duration, Sandy Nelson, a neighbor of Torrence, played drums, and future Beach Boy Bruce Johnston, occasionally sang and played piano. The Barons rehearsed for hours in the garage of Berry's parents' home at 1111 Linda Flora Drive, Bel Air, where Berry's father provided an upright piano and two two-track Ampex reel-to-reel tape recorders.[19][20] During primitive recording sessions in the garage, Berry served as producer and arranger,[21] and experimented with multi-part vocal arrangements (five years before he started working professionally with Brian Wilson)[22]
In 1958 The Barons performed to popular acclaim at the talent competition at University High School, covering contemporary hits like "Get a Job", "Rock and Roll Is Here To Stay", and "Short Shorts".[23] However, after the contest various members of The Barons drifted away, leaving only Berry and Torrance,[24] who tried to write their own songs.
After being inspired by a poster featuring a local, Hollywood burlesque performer Virginia Lee Hicks, who was then performing as Jennie Lee, the "Bazoom Girl", at the New Follies Burlesk at 548 S. Main St, Los Angeles,[25] Ginsburg wrote a tribute song "Jennie Lee" that he brought to Berry and Torrance. Berry adapted Civil War tune "Aura Lea" and arranged the harmonies. After weeks of practice, Berry, Ginsburg, and Torrance planned to record a demo recording in Berry's garage, but Torrance was conscripted into the United States Army Reserve forcing Berry and Ginsburg to record "Jennie Lee" without Torrance,[26] with Berry's friend and fellow University High student Donald J. Altfeld (born March 18, 1940 in Los Angeles, California)[27] "belting out the rhythm on a children's metal high chair".[28] The next day Berry took their recording to Radio Recorders, a small Hollywood recording studio, to have it transferred to an acetate disc.[29] Joe Lubin, Vice President and Head of A & R of Doris Day and Martin Melcher's Arwin Records, was impressed and offered to add instruments and to release it through Arwin.[30] In March 1958, the fathers of Berry and Ginsburg signed contracts authorizing Lubin to produce, arrange, and manage their sons.[31]
Berry and Ginsburg, now christened "Jan & Arnie", re-recorded their vocals on a professional recording system.[32] Produced by Lubin, "Jennie Lee" (Arwin 108), backed with "Gotta Get a Date" (credited to Ginsburg, Berry & Lubin), became a surprise commercial success. According to Berry's biographer Mark A. Moore, "The song (with backing vocals, plus additional instruments added by the Ernie Freeman combo) had a raucous R&B flavor, with a bouncing bomp-bomp vocal hook that would become a signature from Jan on future recordings."[33] Distributed by Dot Records,[34] "Jennie Lee" was released in mid-April,[35] entered the charts on May 10, 1958, the same day they appeared on ABC's Dick Clark Show. "Jennie Lee" peaked at #3 on the Cash Box charts on June 21, 1958,[36] #4 on the R&B charts, and #8 on the Billboard charts on June 30, 1958. Billy Ward and His Dominoes's R&B cover of "Jennie Lee" reached #55 in the Pop charts in June 1958,[37] while other cover versions including that of Moon Mullican (Coral 9-61994) and Bobby Phillips & the Toppers (Tops 45-R422-49), released in 1958 failed to chart.[38]
In July 1958 Jan & Arnie released their second single, "Gas Money" backed with "Bonnie Lou" (Arwin 111), both written by Berry, Ginsburg, and Altfeld. Like "Jennie Lee", "Gas Money" contained a few elements of what would later become surf music. It entered the Billboard charts on August 24, 1958, and peaked at #81 a week later.[39] With Sheb Wooley, The Champs, Link Wray and his Ray Men, Frankie Avalon, The Kalin Twins, and Dicky Doo & The Don'ts, Jan & Arnie were a featured act on the Summer Dance Party that toured the US East Coast, including Pennyslvania, Massachusetts, and Connecticut in July 1958. By the end of the month, they traveled to Manhattan to appear on ABC's Dick Clark Show.
On August 24, 1958, Jan & Arnie played in a live show hosted by Dick Clark that featured Bobby Darin, the Champs, Sheb Wooley, The Blossoms, The Six Teens, Jerry Wallace, Jack Jones, Rod McKuen, and the Ernie Freeman Orchestra in front of nearly 12,000 fans at the first rock-n-roll show ever held at the Hollywood Bowl.[40]
By September 6, 1958, Jan & Arnie's third and final single, "The Beat That Can't Be Beat" backed with "I Love Linda" (Arwin 113), again composed by the Berry, Ginsburg, and Altfeld team, was released. However this single failed to chart, due in part to a lack of distribution. On October 19, 1958 Jan & Arnie performed "The Beat That Can't Be Beat" on CBS's Jack Benny Show.[41]
Ginsburg recorded "Kathy Cryin' Heart", a catchy number laced with the ironic humour, that was backed with "Catching Spies", a raw sounding garage number. These songs were unreleased.[42]
By the end of the year, when Torrence had completed his six-month stint at Fort Ord, Ginsburg had become disenchanted with the music business. Ginsburg enrolled in the School of Architecture and Design at the University of Southern California, and graduated in the field of product design in 1966. After graduation, Ginsburg worked for several noted Los Angeles architects, among them Charles Eames.[43] In December 1973 he was granted a U.S. Patent for a table he designed.[44] Arn Ginsburg moved to Santa Barbara, California in 1975, where he worked as an architectural designer,[45] designing the innovative Ginsburg House.[46] In September 1976 Ginsburg and Michael W. O'Neill were granted a patent for a portable batting cage.[47]
After Torrence returned from a six-month compulsory stint in the US Army Reserve, Berry and Torrence began to make music as "Jan and Dean." With the help of record producers Herb Alpert and Lou Adler, Jan and Dean scored a #10 hit with "Baby Talk" (1959), their first song to contain a few of the soon to be famous elements that became associated with surf (close vocal harmonies, selective use of major and minor chords, falsetto doo-wop singing) and then scored a series of hits over the next couple of years. Playing local venues, they met and performed with the Beach Boys, and discovered the appeal of the latter's "surf sound". By this time, Berry was co-writing, arranging, and producing all of Jan and Dean's original material. Berry signed a series of contracts with Screen Gems to write and produce music for Jan and Dean, as well as other artists such as Judy & Jill (which included Berry's girlfriend Jill Gibson and Dean Torrence's girlfriend Judy Lovejoy), The Matadors, and Pixie (a young female solo singer).[48]
During this time, Berry co-wrote and/or arranged and produced songs for artists outside of Jan and Dean, including The Angels ("I Adore Him", Top 30), the Gents, the Matadors (Sinners), Judy & Jill, Pixie (unreleased), Jill Gibson, Shelley Fabares, Deane Hawley, The Rip Chords ("Three Window Coupe", Top 30), and Johnny Crawford, among others.
Unlike most other rock 'n roll acts of the period, Jan and Dean did not give music their full-time attention. Jan and Dean were college students, maintaining their studies while writing and recording music and making public appearances on the side.
Torrence majored in advertising design in the school of architecture at USC, where he also was a member of the Phi Sigma Kappa Fraternity. Berry took science and music classes at UCLA, and entered the California College of Medicine (now the UC Irvine School of Medicine) in 1963. By the time of his 1966 auto accident, Berry had completed two years of medical school.[49]
Jan and Dean reached their commercial peak in 1963 and 1964, after they met Brian Wilson. The duo scored an impressive sixteen Top 40 hits on the Billboard and Cash Box magazine charts, with a total of twenty-six chart hits over an eight-year period (1958–1966). Jan and Brian Wilson collaborated on roughly a dozen hits and album cuts for Jan and Dean, including the number one national hit "Surf City", written by Brian Wilson,[50] in 1963. Subsequent top 10 hits included "Drag City" (#10, 1964), the eerily portentous "Dead Man's Curve" (#8, 1964), and "The Little Old Lady from Pasadena" (#3, 1964).
In 1964, at the height of their fame, Jan and Dean hosted and performed at The T.A.M.I. Show, a historic concert film directed by Steve Binder. The film also featured such acts as The Rolling Stones, Chuck Berry, Gerry & the Pacemakers, James Brown, Billy J. Kramer & The Dakotas, Marvin Gaye, The Supremes, Lesley Gore, Smokey Robinson & The Miracles, and The Beach Boys (whose sequence was later cut from the film, due to contract issues). [Note that Dick Clark recently purchased the rights to the TAMI film and re-inserted the Beach Boys' numbers - This TAMI resurrection was used as a PBS fundraiser and the DVD is available from the PBS website.] Also in 1964, the duo performed the title track for the Columbia Pictures film Ride the Wild Surf, starring Fabian, Tab Hunter, Peter Brown, Shelley Fabares, and Barbara Eden. The song, penned by Jan Berry, Brian Wilson, and Roger Christian, was a Top 20 national hit. The pair were also to have appeared in the film but their roles were cut following their friendship with Barry Keenan who had engineered the Frank Sinatra Jr kidnapping.[51]
Jan and Dean also filmed two unreleased television pilots: Surf Scene in 1963 and On the Run in 1966. Their feature film for Paramount Pictures, Easy Come, Easy Go, was canceled when Berry, as well as the film's director and other crew members, were seriously injured in a railroad accident while shooting the movie in Chatsworth, California in August 1965.
After the surf craze, Jan and Dean scored two Top-30 hits in 1965: "You Really Know How to Hurt a Guy" and "I Found a Girl"—the latter from the album Folk 'n Roll. During this period, they also began to experiment with cutting-edge comedy concepts such as the original (unreleased) Filet of Soul and Jan & Dean Meet Batman. The former's album cover shows Berry with his leg in a cast as a result of the accident while filming Easy Come, Easy Go.
On April 12, 1966, Berry received severe head injuries in an automobile accident just a short distance from Dead Man's Curve in Los Angeles, California, two years after the song had become a hit. He was on his way to a business meeting when he crashed his Corvette into a parked truck on Whittier Drive, near the intersection of Sunset Boulevard, in Beverly Hills. He had also separated from his girlfriend of seven years, singer-artist Jill Gibson, later a member for a short time of The Mamas & the Papas, who had also co-written several songs with him.
Berry traveled a long and difficult road toward recovery from brain damage and partial paralysis. He had minimal use of his right arm, and had to learn to write with his left hand. Doctors said he would never walk again, but he refused to give up, and ultimately succeeded. Torrence stood by his partner, maintaining their presence in the music industry, and keeping open the possibility that they would perform together again.[52]
In Berry's absence, Torrence released several singles on the J&D Record Co. label and recorded Save for a Rainy Day in 1966, a concept album featuring all rain-themed songs. Torrence posed with Berry's brother Ken for the album cover photos. Columbia Records released one single from the project ("Yellow Balloon") as did the song's writer, Gary Zekley, with The Yellow Balloon, but with legal wrangles scuttling Torrence's Columbia deal and Berry's disapproval of the project, Save for a Rainy Day remained a self-released album on the J&D Record Co. label.[53]
Besides his studio work, Torrence became a graphic artist starting his own company, Kittyhawk Graphics, and designing and creating album covers and logos for other musicians and recording artists, including Harry Nilsson, Steve Martin, the Nitty Gritty Dirt Band, Dennis Wilson, Bruce Johnston, The Beach Boys, Diana Ross and The Supremes, Linda Ronstadt, Canned Heat, The Ventures and many others. Torrence (with Gene Brownell) won a Grammy Award for "Album Cover of the Year", for the group Pollution in 1973.
Berry returned to the studio in April 1967, one year almost to the day after his accident. Working with collaborators, he began writing and producing music again. In December 1967, Jan and Dean signed an agreement with Warner Bros. Records. Warner issued three singles under the name "Jan and Dean", but a 1968 Berry-produced album for Warner Bros., the psychedelic Carnival of Sound, remained unreleased until February 2010, when Rhino Records' "Handmade" label put out CD and vinyl compilations of all tracks recorded for Carnival, along with various outtakes and remixes from the project.[54]
Berry began to sing again in the early 1970s, and he arranged and produced a number of singles (both solo and as Jan & Dean) between 1972 and 1978 on the Ode and A&M labels, facilitated by friend and former manager Lou Adler.[55] Berry also toured with his Aloha band, while Dean began performing with a band called Papa Doo Run Run.
In 1973, Jan and Dean made an appearance at the Hollywood Palladium, as part of Jim Pewter's "Surfer's Stomp" reunion, in which the duo attempted to lip sync "Surf City," and the record failed. They were booed off stage. The duo's first live performance after Berry's accident occurred at the Palomino Nightclub in North Hollywood on June 5, 1976 (ten years after the accident) as guests of Disneyland regulars Papa Doo Run Run. Their first actual multi-song concert billed as Jan and Dean took place in 1978 in New York City at The Palladium as part of The Murray The K Brooklyn Fox Reunion Show. This was followed by a handful of East Coast shows as guests of their longtime friends The Beach Boys. Four nationwide J & D headlined tours followed through 1980. Jan was still suffering the effects of his 1966 accident, with partial paralysis and aphasia. He had a noticeable limp and his right arm was useless. In addition, his speech was slowed down a bit to keep up with his still almost genius IQ.[56][57]
On February 3, 1978, CBS aired a made-for-TV movie about the duo titled Deadman's Curve. The biopic starred Richard Hatch as Jan Berry and Bruce Davison as Dean Torrence, with cameo appearances by Dick Clark, Wolfman Jack, Mike Love of the Beach Boys, and Bruce Johnston (who at that time was temporarily out of the Beach Boys), as well as Berry himself (near the end of the movie, he can be seen sitting in the audience, watching "himself" (Richard Hatch) perform onstage). The part of Jan & Dean's band, Papa Doo Run Run, was played by themselves. Johnston and Berry had known each other since high school, and had played music together in Berry's garage in Bel Air—long before Jan & Dean or the Beach Boys were formed. Following the release of the film, the duo made steps toward an official comeback that year, including touring with the Beach Boys.
In the early 1980s, Papa Doo Run Run left to explore other performance and recording ventures. Berry struggled to overcome drug addiction. Interestingly, in 1979, Jan also performed over 100 concerts of Jan and Dean songs with another front man from Hawaii, Randy Ruff, so Torrence toured briefly as "Mike & Dean," with Mike Love of the Beach Boys. Later, the duo reunited for good. In "Phase II" of their career, Dean Torrence led the touring operation. In 1986, Berry helped establish the Jan Berry Center for the Brain Injured in Downey, California. Though Berry only made a partial recovery, he remained a high-profile example for patients with traumatic brain injury.[58]
Jan and Dean continued to tour on their own throughout the 1980s, 1990s, and into the new millennium—with 1960s nostalgia providing them with a ready audience, headlining oldies shows throughout North America, usually during the summer months. Noted Chicago Tribune columnist Bob Greene penned a 2008 book, When We Get to Surf City: A Journey Through America in Pursuit of Rock and Roll, Friendship, and Dreams, detailing his occasional appearances with Jan & Dean's touring band throughout the 1990s and early 2000s. Sundazed Records reissued Torrence's Save for a Rainy Day in 1996 in CD and vinyl formats, as well as the collector's vinyl 45" companion EP, "Sounds For A Rainy Day," featuring four instrumentals versions of the album's tracks.
Between the 1970s and 1990s, Torrence issued a number of re-recordings of classic Jan and Dean hits. An album titled One Summer Night / Live was issued by Rhino Records in 1982. He participated with Berry on Port to Paradise, released as a cassette on the J&D Records label in 1986. In 1997, after many years of hard work, Berry released a solo album called Second Wave on One Way Records. On August 31, 1991, Berry married Gertie Filip at The Stardust Convention Centre in Las Vegas, Nevada. Torrence was Berry's best man at the wedding.
Jan and Dean ended with Jan Berry's death on March 26, 2004, after suffering a seizure at the age of 62. Berry was an organ donor, and his body was cremated.[59] On April 18, 2004, a "Celebration of Life" was held in Berry's memory at The Roxy Theatre on the Sunset Strip in West Hollywood, California. Celebrities attending the event included Dean Torrence, Lou Adler, Jill Gibson, and Nancy Sinatra. Also present were many family members, friends, and musicians associated with Jan and Dean and the Beach Boys including the original 1970s version of Papa Doo Run Run.
Torrence now tours occasionally with The Surf City Allstars. He serves as a spokesman for the City of Huntington Beach California, which, thanks in part to his efforts, is nationally recognized as "Surf City USA." His website, Jan & Dean, features—among other things—rare images, a complete Jan & Dean discography, biography, and a timeline of his career with cohort Jan Berry. He currently resides in Huntington Beach, California with his wife and two daughters.
In 1964 Jan and Dean were signed to host what became the first multi-act Rock and Roll show that was edited into a motion picture designed for wide distribution. The T.A.M.I. Show became a seminal and original production - in essence one of the first rock videos - on its release in 1964. Using high quality film (good enough to be transferred from television kinescope directly onto 35mm motion picture stock), new sound recording techniques and having a remarkable cast, the T.A.M.I. Show set the standard for all succeeding music film and video work, including many of the early videos shown by Music Television 17 years later. The revolutionary technical achievements of The T.A.M.I. Show and the legendary list of performers (including a performance by James Brown that many critics have called the best of his career) marked a high point for Jan and Dean, as they were the hosts and one of the main featured acts as well. They became one of the main faces of mid-1960s music until Berry's auto accident two years later through their T.A.M.I. Show appearance.
According to rock critic Dave Marsh, the attitude and public persona of punk rock can be traced to Jan and Dean.[60] Certainly their early hits, recorded with myriad overdubs in a garage, and their casual and goofy stage antics were consistent with some of punk rock's ethos. But their constant improvement and the increased complexity of their arrangements in the latter recordings showed their fealty to Brian Wilson's baroque approach. Many of their records feature the top session players of the era, and their arrangements, with multiple key changes and complex vocal harmonies, reflected a high level of craftsmanship.
Nevertheless, both Jan Berry and Dean Torrence's anti-establishment attitude toward the music industry is well documented. Their music has been covered by numerous Punk and alternative bands since the 1970s.
Along with Phil Spector, Brian Wilson, and Lee Hazlewood, Berry enjoyed a reputation as one of the best record producers on the West Coast.[61] Brian Wilson has cited Berry as having a direct impact on his own growth as a record producer.[62]
In an interview conducted by Jan & Dean fan and historian David Beard for the Collectors' Choice release, Jan & Dean The Complete Liberty Singles,[63] Dean Torrence stated that he felt the duo should be in the Rock & Roll Hall of Fame: "We have the scoreboard if you just want to compare number of hits and musical projects done. We beat 75 percent of the people in there. So what else is it? I've got to think that we were pretty irreverent when it came to the music industry. They kind of always held that against us. That's OK with me."
The Who covered Jan and Dean's song "Bucket T" on their UK EP Ready Steady Who from 1966. It is one of only a few songs the group performed where Keith Moon (a huge surf music fan) provided the lead vocals.
That not everybody considered Jan and Dean's output to be "real" rock 'n roll is illustrated by disc jockey Steve Propes' calling his early-80s Sunday morning program on KLON Long Beach We Don't Play No Jan And Dean. He subsequently renamed the show Rock-N-Roll-N-Rhythm-N-Blues, which reflected its content equally well.[64]
In February 2010, the legendary unreleased Jan & Dean album "Carnival Of Sound" was released on the Rhino Handmade label. Along with the CD, there is also a limited (to 1500 copies) edition which includes the CD album plus a 10 track LP. The album was released in Europe in April 2010 in its original US form.
- Billboard (BB) and Cashbox (CB) chart peak positions show
1958 (Jan & Arnie)
- 01. "Jennie Lee" b/w "Gotta Get a Date" (Arwin 108) - BB #8, CB #3 - (JL)
- 02. "Gas Money" b/w "Bonnie Lou" (Arwin 111) - BB #81 - (JL)
- 03. "The Beat That Can't Be Beat" b/w "I Love Linda" (Arwin 113) - (JL)
1959 (Jan & Dean)
- 04. "Baby Talk" b/w "Jeanette Get Your Hair Done" (Dore 522) - BB #10, CB #7 - (AA)
- First pressings erroneously shown as "Jan & Arnie"
- 05. "There's a Girl" b/w "My Heart Sings" (Dore 531) - BB #97, CB #80 - (AA)
1960
- 06. "Clementine" b/w "You're On My Mind" (Dore 539) - BB #65, CB #88 - (AA)
- 07. "White Tennis Sneakers" b/w "Cindy" (Dore 548) - (AA)
- 08. "We Go Together" b/w "Rosie Lane" (Dore 555) - BB #53, CB #39 - (AA)
- Original pressings show B-side as "Rosilane"
- 09. "Gee" b/w "Such a Good Nights Dreaming" (Dore 576) - BB #81 - (AA)
1961
- 10. "Baggy Pants" b/w "Judy's an Angel" (Dore 583) - (AA)
- 11. "Tomorrow's Teardrops" b/w "My Midsummer Nights Dream" (Ripple 6101) - (LA)
- Jan Berry solo release, misspelled as "Jan Barry" on label
- 12. "Heart and Soul" b/w "Midsummer Nights Dream" (Challenge 9111) - BB #25, CB #16 - (LA) (AJB)
- 13. "Don't Fly Away" b/w "Julie" (Dore 610) - (LA)
- 14. "Wanted One Girl" b/w "Something a Little Bit Different" (Challenge 9120) - BB #104 - (LA)
- 15. "A Sunday Kind of Love" b/w "Poor Little Puppet" (Liberty 55397) - BB #95 - (LA) (AJB)
1962
- 16. "Tennessee" b/w "You're Heart Has Changed Its Mind" (Liberty 55454) - BB #69, CB #83 - (SG) (LA)
- 17. "Who Put the Bomp" b/w "My Favorite Dream" (Liberty 55496) - (LA)
- 18. "Frosty the Snowman" b/w "She's Still Talking Baby Talk" (Liberty 55522) - (LA)
1963
- 19. "Linda" b/w "When I Learn How to Cry" (Liberty 55531) - BB #28, CB #26 - (JB)
- 20. "Surf City" b/w "She's My Summer Girl" (Liberty 55580) - BB #1, CB #1 - (JB)
- 21. "Honolulu Lulu" b/w "Someday (You'll Go Walking By)" (Liberty 55613) - BB #11, CB #10 - (JB)
- 22. "Drag City" b/w "Schlock Rod Part 1" (Liberty 55641) - BB #10, CB #10 - (JB)
1964
- 23. "Dead Man's Curve" b/w "The New Girl In School" (Liberty 55672) - BB #8, CB #9 / BB #37, CB #26 - (JB)
- 24. "The Little Old Lady from Pasadena" b/w "My Mighty G.T.O" (Liberty 55704) - BB #3, CB #5 - (JB)
- 25. "Ride The Wild Surf" b/w "The Anaheim, Azusa & Cucamonga Sewing Circle, Book Review And Timing Association" (Liberty 55724) - BB #16, CB #23 / BB #77, CB #50 - (JB)
- 26. "Sidewalk Surfin'" b/w "When It's Over" (Liberty 55727) - BB #25, CB #28 - (JB)
1965
- 27. "(Here They Come) From All Over the World" b/w "Freeway Flyer" (Liberty 55766) - BB #56, CB #50 - (JB)
- 28. "Summertime Summertime" b/w "Theme From Leons Garage" (Brer Bird 001) (Dean Torrence, Released as "Our Gang") - (GZ-DT)
- 29. "You Really Know How to Hurt a Guy" b/w "It's as Easy As 1,2,3" (Liberty 55792) - BB #27, CB #42 - (JB)
- 30. "It's a Shame to Say Goodbye" b/w "Submarine Races" (Liberty 55816) (Cancelled) - (JB)
- 31. "I Found A Girl" b/w "It's a Shame to Say Goodbye" (Liberty 55833) - BB #30, CB #39 - (JB)
- 32. "The Universal Coward" b/w "I Can't Wait to Love You" (Liberty 55845) - (JB)
- 33. "A Beginning From an End" b/w "Folk City" (Liberty 55849) - BB #109 - (JB)
1966
- 34. "Norwegian Wood" b/w "I Can't Wait To Love You" (Liberty 55856) (Cancelled) - (JB)
- 35. "Batman!" b/w "Bucket "T"" (Liberty 55860) - BB #66, CB #60 - (JB)
- Last single released before Jan's car accident
- 36. "Popsicle" b/w "Norwegian Wood" (Liberty 55886) - BB #21, CB #24 - (JB)
- 37. "Fiddle Around" b/w "A Surfer's Dream" (Liberty 55905) - BB #93, CB #73 - (LA) / (JB)
- 38. "School Day (Ring! Ring! Goes the Bell)" b/w "The New Girl In School" (Liberty 55923) - (JB)
- 39. "Summertime Summertime" b/w "California Lullaby" (Magic Lamp 401) - (DT)
- Also released on J&D 001
- 40. "Like a Summer Rain" b/w "Louisiana Man" (J&D Record Co. 402) - (DT) / (JB)
1967
- 41. "Yellow Balloon b/w "Taste of Rain" (Columbia 44036) #111 - (DT)
- 42. "Hawaii" b/w "Tijuana" (Jan & Dean Label 10) - (JB)
- 43. "Fan Tan" b/w "Love & Hate" (Jan & Dean Label 11) - (JB)
- 44. "Only a Boy" b/w "Love & Hate" (Warner Bros. 7151) - (JB)
- 45. "Vegetables" b/w "Snowflakes On Laughing Gravy's Whiskers" (White Whale 261) - (LG)
- Released as by "Laughing Gravy"
1968
- 46. "I Know My Mind" b/w "Laurel & Hardy" (Warner Bros. 7219) - (JB)
- 47. "Girl You're Blowing My Mind" b/w "In the Still of the Night" (Warner Bros. 7240) - (JB)
- Promo copies known to exist, commercial copies unconfirmed
1960
- 1. Jan & Dean (Dore LP-101) - (AA)
- Issued in mono only, includes bonus photo. Original copies feature blue record labels, 1970s reissues feature black labels
1962
- 2. Jan & Dean's Golden Hits (Liberty LRP-3248 (Mono)/LST-7248 (Stereo)) - (LA)
1963
- 3. Jan & Dean Take Linda Surfin' (Liberty LRP-3294/LST-7294) - BB #71 - (JB)
- 4. Surf City & Other Swingin Cities (Liberty LRP-3314/LST-7314) - BB #32, CB Mono chart #21 - (JB)
- 5. Drag City (Liberty LRP-3339/LST-7339) - BB #22, CB Mono chart #17 - (JB)
1964
- 6. Dead Man's Curve / The New Girl in School (Liberty LRP-3361/LST-7361) - BB #80, CB Mono chart #42 - (JB)
- Original album covers are black and white with pink tint, later replaced with full-color covers of the same photo
- 7. Ride the Wild Surf (Liberty LRP-3368/LST-7368) - BB #66, CB Mono chart #26 - (JB)
- 8. The Little Old Lady From Pasadena (Liberty LRP-3377/LST-7377) - BB #40, CB Mono chart #40 - (JB)
1965 (Note: Mono and Stereo Cashbox album charts were merged by this time)
- 9. Command Performance (Liberty LRP-3403/LST-7403) - BB #33, CB #42 - (JB)
- Featuring their performance from "The T.A.M.I. Show"
- 10. Pop Symphony No. 1 (Liberty LRP-3414/LST-7414) - (JB-GT)
- Instrumental interpretations of Jan & Dean's hits by The Bel-Aire Pops Orchestra, conducted by Jan Berry & George Tipton
- 12. Golden Hits Vol. 2 (Liberty LRP-3417/LST-7417) - BB #107, CB #71 - (JB)
- 13. Folk 'n Roll (Liberty LRP-3431/LST-7431) - BB #145, CB #87 - (JB-GT)
1966
- 14. Jan & Dean Meet Batman (Liberty LRP-3444/LST-7444) - (JB)
- Last album released before Jan's car accident
- 15. Filet of Soul (A "Live" One) (Liberty LRP-3441/LST-7441) - BB #127 - (JB)
- Featuring performances from "The T.A.M.I. Show" plus studio outtakes
- 16. Popsicle (Liberty LRP-3458/LST-7458) - (JB) (SG)
- 17. Golden Hits Vol. 3 (Liberty LRP-3460/LST-7460) - (JB)
- 18. Save for a Rainy Day (J&D Record Co. 101) - (DT)
- Private pressings by Dean Torrence
1967
- 19. Save for a Rainy Day (Columbia CL 2661 (Mono)/CS 9461 (Stereo)) (Cancelled) - (DT)
- Acetate of stereo version confirmed to exist
1968
- 20. Carnival of Sound (Warner Bros.) (Unreleased) - (JB) See entry #32 - 2010
1971
- 21. Jan & Dean Anthology Album (United Artists UAS-9961)
1974
- 22. Gotta Take That One Last Ride (United Artists UA-LA341-H2)
1975
- 23. The Very Best of Jan & Dean (United Artists UA-LA443-E)
- 24. The Very Best of Jan & Dean, Volume 2 (United Artists UA-LA515-E)
1982
- 25. One Summer Night/Live (Rhino RNDA 1498)
1985
- 26. Silver Summer/25th Anniversary Album (Silver Eagle)
1986
- 27. Port To Paradise (J&D)
1996
- 28. Save For A Rainy Day (Sundazed LP 5022)
- First commercial release; 2-record set featuring original mono tracks plus bonus tracks of unreleased songs and alternate mixes
- 29. Save For A Rainy Day (Sundazed CD SC 11035)
- First commercial release; original mono tracks plus 13 bonus tracks of unreleased songs and alternate mixes
- 30. Jan & Dean (The Dore Album) (Sundazed LP 5040)
- Reissue of original Dore LP with bonus tracks and posted, pressed on color vinyl
1997
- 31. Second Wave (Jan Berry)
- Jan's solo album; he served as Executive Producer, Arranger, Singer, Composer
2010
- 32. Carnival of Sound (Warner Bros.) RHM2 521476
- Mostly worked on by Jan from 1966 to 1968 the album was shelved by Warner Brothers for 44 years. It has finally been officially released on Warner's Rhino Records. Cover and back cover artwork by Dean Torrence. Featuring original mono tracks plus 16 bonus tracks of unreleased songs and alternate mixes
(JL) = Produced by Joe Lubin
(AA) = Produced by Lou Adler & Herb Alpert
(LA) = Produced by Lou Adler
(SG) = Produced by Snuff Garrett
(AJB) = Arranged by Jan Berry
(JB) = Arranged & Produced by Jan Berry
(JB-GT) = Arranged & Produced by Jan Berry and George Tipton
(GZ-DT) = Arranged & Produced by Gary Zekley & Dean Torrence
(DT) = Produced by Dean Torrence
(LG) = A Laughing Gravy Production
- Adams, Mark, Jan & Dean/Dean Torrence Interviews, http://www.jananddean.moonfruit.com/articles, retrieved 2007-02-15
- Greene, Bob (2008), When We Get to Surf City: A Journey Through America in Pursuit of Rock and Roll, Friendship, and Dreams, St. Martin's Press, ISBN 978-0-312-37529-4
- Holdship, Bill (April 2005), "Wipeout! (Jan & Dean Article)", MOJO
- Moore, Mark A. (2004), "Jan Berry 101: A Study in Composition — With Bach, Old Ladies, and Bats", Endless Summer Quarterly Summer: 12–22
- Moore, Mark A. (2005), "A Righteous Trip: In the Studio with Jan Berry", Dumb Angel Magazine (Neptune's Kingdom Press) 4: 88–99
- Moore, Mark A. (2007), "Rainy Days in a Carnival of Sound: The Lost Renaissance of Jan & Dean", Endless Summer Quarterly Fall: 31–38
- Moore, Mark A., Jan & Dean History, http://www.jananddean-janberry.com/history.html, retrieved 2007-02-13
- ^ "Dead Man's Curve / The New Girl In School".
- ^ Pollution.
- ^ Ancestry.com. Social Security Death Index [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011.
- ^ Clara Berry — Jan's Mom — Has Passed Away.
- ^ Los Angeles Times (16 July 2009). Ancestry.com. United States Obituary Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2006.
- ^ Ancestry.com. Social Security Death Index [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011.
- ^ Ancestry.com. 1930 United States Federal Census [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2002. Year: 1930; Census Place: Compton, Los Angeles, California; Roll: 125; Page: 3B; Enumeration District: 897; Image: 1073.0; FHL microfilm: 2339860.
- ^ Ancestry.com. Social Security Death Index. Number: 546-07-7303; Issue State: California.
- ^ Ancestry.com. California Death Index, 1940-1997 [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2000.
- ^ Quad, Yearbook of Stanford University (1930):336. ancestry.com. U.S. School Yearbooks [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2010.
- ^ Twist & Shout: The Golden Age of American Rock 'n Roll, Vol. 3, ed. Lee Cotten (Pierian Press, 2002):506.
- ^ Ben Marcus, Surfing USA!: An Illustrated History of the Coolest Sport of All Time (MVP Books, 2005):88.
- ^ Twist & Shout: The Golden Age of American Rock 'n Roll, Vol. 3, ed. Lee Cotten (Pierian Press, 2002):506.
- ^ Barons 1958 Hi-Y Club.
- ^ Often "Wally Agi". However, see University High School Yearbook (June 1958):46, 104.
- ^ Ancestry.com. U.S. Public Records Index, Volume 1 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2010.
- ^ Often misspelled "John Sagliman". However, see University High School Yearbook (June 1958):43.
- ^ Twist & Shout: The Golden Age of American Rock 'n Roll, Vol. 3, ed. Lee Cotten (Pierian Press, 2002):506.
- ^ Ben Marcus, Surfing USA!: An Illustrated History of the Coolest Sport of All Time (MVP Books, 2005):88.
- ^ Kent Hartman, The Wrecking Crew: The Inside Story of Rock and Roll's Best-Kept Secret, 64.
- ^ Ben Marcus, Surfing USA!: An Illustrated History of the Coolest Sport of All Time (MVP Books, 2005):88.
- ^ Barons and KJAN recordings (open reel tapes, including "a cappella" harmonies) provided by Joe Lubin, eventual producer for Jan and Arnie, to Mark A. Moore. Dean Torrence is present as a vocalist on some of these garage recordings.
- ^ Ben Marcus, Surfing USA!: An Illustrated History of the Coolest Sport of All Time (MVP Books, 2005):88-89.
- ^ The Guinness Encyclopedia of Popular Music, ed. Colin Larkin, 2nd ed., (Guinness Pub., 1995):2134.
- ^ Jennie Lee advertisement.
- ^ Ben Marcus, Surfing USA!: An Illustrated History of the Coolest Sport of All Time (MVP Books, 2005):89.
- ^ Ancestry.com. U.S. Public Records Index, Vol. 1 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2010.
- ^ Kent Hartman, The Wrecking Crew: The Inside Story of Rock and Roll's Best-Kept Secret, 64.
- ^ Kent Hartman, The Wrecking Crew: The Inside Story of Rock and Roll's Best-Kept Secret, 64.
- ^ Ben Marcus, Surfing USA!: An Illustrated History of the Coolest Sport of All Time (MVP Books, 2005):89.
- ^ Contract with Arnold Ginsburg, March 20, 1958; and Contract, March 21, 1958, both Joe Lubin Personal Collection, Los Angeles, California.
- ^ Kent Hartman, The Wrecking Crew: The Inside Story of Rock and Roll's Best-Kept Secret, 64.
- ^ Mark A. Moore, Barons & Bomps.
- ^ for single release, Billboard (April 28, 1958).
- ^ "Headed for Popularity", Santa Monica Evening Outlook (April 30, 1958).
- ^ The CASH BOX Best Selling Singles, Week ending June 21, 1958.
- ^ "Covering Jan and Dean".
- ^ "Covering Jan and Dean".
- ^ Discography 1958-1962.
- ^ Advertisement, Los Angeles Times (August 21, 1958).
- ^ Hartford Courant (Hartford, CT: October 19, 1958).
- ^ Arnie Ginsburg.
- ^ Mary Every, "Making The Most Of A Minimal Life", News-Press (Santa Barbara, CA: August 5, 1989).
- ^ Patent number: D229467
- ^ Mary Every, "Making The Most Of A Minimal Life", News-Press (Santa Barbara, CA: August 5, 1989).
- ^ Nora Richter Greer, Outdoor Decorating and Style Guide: Interior Design and Architecture (Rockport Publishers, 2003):120ff.
- ^ [1].
- ^ Jan Berry's Nevins-Kirshner and Screen Gems contracts in possession of Mark A. Moore.
- ^ Jan Berry's UCLA and CCM school transcripts, in possession of Mark A. Moore
- ^ Murrells, Joseph (1978), The Book of Golden Discs (2nd ed.), London: Barrie and Jenkins Ltd, pp. 160–161, ISBN 0-214-20512-6
- ^ "MYSTERIOUS FINANCIER: Dean Torrence and the Kidnapping of Frank Sinatra Jr". Jananddean-janberry.com. http://www.jananddean-janberry.com/sinatra/sinatra-kidnapping.html. Retrieved 2012-03-25.
- ^ Jan Berry's detailed medical records and psychological evaluations, 1966-2004, in possession of Mark A. Moore.
- ^ Studio and Legal documentation in possession of Mark A. Moore.
- ^ Moore, Mark A. "Rainy Days in a Carnival of Sound: "The Lost Renaissance of Jan & Dean." Endless Summer Quarterly (Fall 2007). Also Studio, AFM, AFTRA, contract, legal, and company documentation in possession of Moore.
- ^ Studio documentation in possession of Mark A. Moore, plus Alan Wolfson, Jim Pewter, and Lou Adler interviews conducted by Moore.
- ^ Don Zirilli, Manager of Papa Doo Run Run.
- ^ Documentation provided by Jim Pewter to Mark A. Moore. Pewter took photographs of the Palomino event.
- ^ In association with Rancho Los Amigos and Southern California Rehabilitation Services. Documentation and promotional literature in possession of Mark A. Moore.
- ^ L.A. Times Mar. 28 2004 p.B.19
- ^ Dave Marsh "An Analytical Study", in the liners for Jan and Dean's Anthology LP, United Artists, 1971.
- ^ Peer acknowledgment from Berry's music industry associates, who knew and worked closely with him, included Artie Kornfeld, P. F. Sloan, Steve Barri, Hal Blaine, Bones Howe, Kim Fowley, and Joe Lubin, among others. From in-depth interviews conducted by Mark A. Moore.
- ^ Brian Wilson interview with Peter Jones Productions, quoted in article by Mark A. Moore titled: Jan Berry 101: A Study in Composition (Endless Summer Quarterly, Summer 2004).
- ^ "Collectors' Choice Music". Ccmusic.com. http://www.ccmusic.com/item.cfm?itemid=CCM09492. Retrieved 2012-03-25.
- ^ FM88/KLON Program Guide, October 1982
![The T.A.M.I. Show 1964 [FULL LENGTH]](http://web.archive.org./web/20130531060450im_/http://i.ytimg.com/vi/oLmZRyUbgFI/default.jpg "The T.A.M.I. Show 1964 [FULL LENGTH]")
