Heart and soul!

Valentine's Day will come early next year.

January 17 will see the first-ever release of Vince Guaraldi's soundtrack to Be My Valentine, Charlie Brown.

This soundtrack debut will be one of the first highlights during what promises to be an exciting 75th anniversary year of the Peanuts comic strip, which debuted October 2, 1950. It'll also mark the 50th anniversary of this TV special, which debuted on January 28, 1975.

The album will be available in the usual formats: LP, CD and digital download. LP collectors will have three options, starting with the traditional black vinyl, available at Amazon and the usual mainstream outlets. As always, potential future albums of Guaraldi's Peanuts scores will depend on sales of each new release ... so buy one for yourself, and a second as a gift for a friend!

(Shop locally, if possible. Support your brick-and-mortar retailer!)

Additionally, a "Puppy Love Pink" BioVinyl variant will be available as a Barnes & Noble exclusive:

And a limited-edition "Heartburn Red" BioVinyl variant will be available as a Record Store Day exclusive, on April 12, 2025:

All options feature detailed liner notes by my humble self, and producers Sean and Jason Mendelson. 

The official Lee Mendelson Film Productions press release is pending, along with ordering links; I'll add them to this post when they become available. Meanwhile, you can hear four sample tracks via this Soundcloud link.

As had become tradition by the time this 13th Peanuts TV special went into production, Guaraldi composed all the music, which was performed by his trio, under the supervision of John Scott Trotter. Guaraldi handled all the keyboard elements, on piano, Fender Rhodes and ARP String Ensemble synthesizer; he also added occasional soft guitar licks. Seward McCain played bass, and Vince Lateano handled the drum work.

Guaraldi took a different direction with this special’s score, and made a point of not using most of his familiar Peanuts cues, such as “Peppermint Patty,” “Red Baron” and “Blue Charlie Brown.” Although “Linus and Lucy” briefly surfaces twice, the arrangements are so novel, that casual listeners could be excused for thinking they’re entirely different melodies. This approach was intentional, because Guaraldi's score is a “tone poem tapestry,” designed to reinforce the melancholy atmosphere of various love’s labors lost. That’s particularly true of quietly thoughtful tracks such as “Never Again,” “There’s Been a Change,” “Charlie Brown’s Wake-up” and “Jennie L.”

The album's 30 tracks feature the show's 22 score cues, followed by seven alternate takes and bonus mixes. The final track, "Last Call for Love," is a true bonus: When the recording session concluded, the trio jammed on a bluesy 6-minute piece, which features a truly terrific solo from McCain. 

Score tracks:

1. Heartburn Waltz

2. Heartburn Waltz (Reprise)

3. Linus and Lucy

4. Valentine Interlude #1 / Heartburn Waltz (2nd Reprise)

5. Piano Sonata No. 20 in G Major, Op. 49 No. 2 - 1. Allegro ma non troppo, by Ludwig van Beethoven

6. Heartburn Waltz (3rd Reprise)

7. Linus and Lucy (Reprise)

8. Paw Pet Overture

9. Freddie's Mood (Nocturne in E Flat Major, Op. 9, No. 2 by Frederic Chopin)

10. Heartburn Waltz (4th Reprise)

11 Never Again

12 Music Box Dance (Minuet in G Major, BWV Anh. 116, by Johann Sebastian Bach)

13. Woodstock's Mambo

14. Heartburn Waltz (5th Reprise)

15. Jennie L.

16. Heartburn Waltz (6th Reprise)

17. Valentine Interlude #2 / Heartburn Waltz (7th Reprise)

18. There's Been a Change

19. Woodstock's Revenge

20. Charlie Brown's Wake-Up

21. Heartburn Waltz (Reprise)

22. Freddie's Mood (Show Version)

Bonus tracks:

23. Heartburn Waltz (Bonus Mix)

24. Jennie L. (Alternate Take)

25. Heartburn Waltz (Alternate Take)

26. Woodstock's Mambo (Bonus Mix)

27. Heartburn Waltz (Reprise) (Bonus Mix)

28. There's Been a Change (Alternate Take)

29. Heartburn Waltz (5th Reprise) (Bonus Mix)

30. Last Call for Love

The folks at Lee Mendelson Film Productions will get the New Year off to a terrific start!

Pumpkin Jazz

Thanks to the long-awaited 2022 release of Guaraldi's soundtrack to It's the Great Pumpkin, Charlie Brown, a few of the groups that mount annual Charlie Brown Christmas holiday shows have added similar performances to celebrate that Halloween album. It's a small list thus far, but they certainly deserve the same sort of shout-out ... and I'm sure more bands will follow in the future.

If I learn of any others in a timely fashion, I'll add them as an UPDATE, so you might want to check back every few days.

(I expect to post the annual Christmas performance list in mid-November.)

As for this debut Great Pumpkin list ... I gotta say, if you live in Illinois, you're about to have a great week!

• The Mich Shirey Trio, also known as Guitar for Guaraldi — Shirey, guitar; Nick Fane, bass; and Joey Buttlar, drums — will perform the music from It's the Great Pumpkin, Charlie Brown, along with other Guaraldi treats, on Thursday, October 24, at the Tack Room in Chicago, Illinois. Details.

• The Doug Ferdinand Quartet — Ferdinand, keyboards; Patrick Keelan, vibraphone; Colin O'Malley, bass; and Brendan Mack, drums — will perform the music from It's the Great Pumpkin, Charlie Brown on Sunday, October 27, at the Blue Island Beer Company in Blue Island, Illinois. Details.

• The Chris White Quartet — White, piano; Greg Dudzienski, sax and flute; Sean Jacobi, bass; and Ryan Jacobi, drums — will perform the music from It's the Great Pumpkin, Charlie Brown on Tuesday, October 29, at Hey Nonny in Arlington Heights, Illinois. Details.

• The Mich Shirey Trio, also known as Guitar for Guaraldi — Shirey, guitar; Nick Fane, bass; and David Kuchera drums — will perform the music from It's the Great Pumpkin, Charlie Brown, along with other Guaraldi treats, on Wednesday, October 30, at The Whistler in Chicago, Illinois. Details.

• The Chris White Quartet — White, piano; Greg Dudzienski, sax and flute; Sean Jacobi, bass; and Ryan Jacobi, drums — will perform the music from It's the Great Pumpkin, Charlie Brown on Wednesday, October 30, at The Winters Jazz Club in Chicago, Illinois. Details.

Vince on the Web: 2024 update

This topic hasn't been revisited since 2014, and it's definitely time for another look. Rather than link back to that earlier post, I'll simply repeat, modify and update it here.

Guaraldi fans are lucky; all of the albums under his own name have remained in print and been readily available since their initial release, with new ones arriving rapidly these days. 

But what about material that saw limited commercial release, or none at all?

Quite a few nuggets exist, thanks to the Web. Some are housed in authorized online archives that share them with the general public; others are bootlegs that (shall we say) lack that level of legitimacy, but nonetheless can be enjoyed by folks who haven't yet discovered them.

Onward!

Our first stop is SugarMegs Audio, "where live music lives since 1996." The site hosts a massive archive of more than 120,000 concert recordings, in whole or in part. Most are rock/pop, but you'll find other things as well. (One can get lost in this site for days...) On the homepage, scroll down to where THE STREAMING AUDIO COLLECTION is headlined, then click on the "database interface" link below. That'll bring up a page with a small white SEARCH box on the left. Enter the name "Guaraldi," and — as these words are typed — you'll get 15 hits. Most are other performers covering one or more Guaraldi songs, but two entries actually feature Vince. From the top, they are:

• A shared billing with no less than Carlos Santana, during a benefit for the College of Marin in Kentfield, California, on the afternoon of October 7, 1972. The band also included Coke and Pete Escovedo; other personnel, if present, remain unnamed. Although numerous sources agree that the entire show was broadcast by a local radio station — some claim KPFA, others KSAN — only two fragments seem to have survived: a portion of a jam running just shy of 7 minutes, and a second, longer fragment from an extended jam version of "Evil Ways," which clocks in at about 15:38. You'll find them both here, stitched together as a single file. Guaraldi's electric keyboard can be heard quite clearly throughout both fragments, although the melodic quality of his contribution is open to debate. Mostly, he delivers the extemporaneous riffs that characterized his occasional rock-inflected appearances at the Matrix, during this part of his career. This file's nice bonus, however, is the DJ who speaks over the music at roughly 20:40, to identify Santana on guitar, and Guaraldi on electric piano.

• The massive jam during the final night of the five-day farewell party for San Francisco's Fillmore West, which ran June 30-July 4, 1971. Guaraldi was part of the final evening's "San Francisco Musicians Jam," which included Van Morrison, the Tower of Power horn section, Quicksilver Messenger Service, Cold Blood, Hot Tuna, the Loading Zone and even rock impresario Bill Graham, on cowbell. The entry labeled "FillmoreWestFinalNightJams1971" focuses on that set. Guaraldi played electric organ. You'll be hard-pressed to hear him over the chaos, but you're welcome to try!

The campaign heats up!

 Back in the spring and summer of 1972, as presidential contenders Richard Nixon and George McGovern jockeyed for advantage, an increasingly popular underdog candidate entered the fray. Hallmark kicked off that campaign with the lenticular button shown above.

Alas, Snoopy was defeated at the polls. We can only speculate how much better our country would be today, had he become The World-Famous President.

 

Another equally important election took place on October 29 that year, just nine days before Nixon galloped home with 60.7 percent of the popular vote. Linus Van Pelt and Russell Anderson faced off in You’re Not Elected, Charlie Brown, the eighth prime-time Peanuts special from the artistic dream team of Charles Schulz, Lee Mendelson, Bill Melendez and Vince Guaraldi.

As previously mentioned in my July 10 post, Guaraldi’s soundtrack for this special debuts this Friday, September 6. Three physical releases will be available: a CD; a regular black vinyl LP, available at all retailers; and a “Woodstock Yellow” vinyl LP, excusive to independent record stores. The album also will be available via all streaming services, and as a digital download. Click here for purchase and streaming links to select stores and services (although the album also will be available from many other retailers and digital services).

 

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Looking ahead, fans of colored vinyl variants will be pleased to learn that last year’s soundtrack album for A Charlie Brown Thanksgiving will be re-released in three new exclusive versions on October 18:

 

• A picture disc from Barnes & Noble, featuring two scenes from the special

• A “turkey tan” vinyl from Target, and

• A “purple jelly bean” vinyl available only from independent record stores.

Note: The musical content is exactly the same as last year’s LP release. And, of course, the regular CD, black vinyl and digital releases also remain available. Purchase links for all options can be found here.

This Election features a different McCain!

Heath Holland, host of the pop-culture podcast Cereal at Midnight, has been delivering marvelously passionate shows about Lee Mendelson Film Productions’ recent, never-been-seen-before releases of Guaraldi’s scores for the vintage Peanuts TV specials, always with the equally enthusiastic participation of Sean and Jason Mendelson.

Check out the previous shows devoted to A Charlie Brown Thanksgiving and It Was a Short Summer, Charlie Brown (which also earned a second show).

 

Holland’s just-posted coverage of You’re Not Elected, Charlie Brown finds the aforementioned individuals similarly excited — and excitable — but it’s also extra-special for an additional reason. Bassist Seward McCain, a former Guaraldi sideman, also participates in this super-sized episode; he’s on camera for most of the first half-hour. His memories, anecdotes and commentary are wonderful.

 

I don’t want to spoil the fun to be had while watching the entire show, but I couldn’t help extracting some of Seward’s choice remarks.

 

In his voice, then:

 

It was interesting to hear these [album] cuts, because it reminded me of how Vince worked. We would show up at the studio — usually a two-day session — and spend all day recording, from late morning to late hours at night. Vince was very purposeful; he knew what order he wanted to record everything. He didn’t want to write things out and make it sound mechanical; he liked it loose ... to play like we did on trio gigs.

 

Vince would bring in themes and ideas; he’d already been talking with John Scott Trotter or Lee [Mendelson], and he had a real plan. He’d bring in a storyboard on paper, and he knew the timings of everything; he was very well prepared every time. It could be improvised; he’d say, “Okay, we’ve got a cue here that’s about a minute and a half” or “This one is 17 seconds.” Sometimes Vince would say, “I dunno ... we need some mood music,” and he’d just start playing something! Of course, some of it was themes from other shows, and we’d do a new version of, say, “Linus and Lucy.”

[The music on the album] sounds fresher to me, because you don’t hear it in the show so much, because it’s designed to be a background; this way you can just listen to them. I’ve never had these tracks this way, and it’s so much fun.

 

I wonder where the time has gone, because I feel like the same person, particularly when I listen to this record. I just turned 80, but I have no sense of it (other than a doctor visit or two). This record pulls me back into the studio, with those players. They’re good, strong memories. You hear Vince’s voice in the studio. You hear him count it off, or say something, and that really makes you feel like you’re listening to tracks, and not a prepared album. That’s pretty fun.

 

I’d probably still be in the band, if Vince were still alive.

 

Like, wow.

 

I’d kill to be able to go back in time, and include that final line in my book.

 

********

 

On a related note...

 

As I explain in my liner notes — and in an amusing example of history repeating itself — much the way It Was a Short Summer, Charlie Brown began life as It Is a Short Summer, Charlie Brown, this special originally was to be called You’re Elected, Charlie Brown ... until the very last second. Wiser heads pointed out that a) Charlie Brown never wins anything; and b) Linus is the person campaigning, not good ol’ Chuck. Last-minute adjustments were made in such haste that the chalkboard title, as this special begins, has an afterthought “Not” inserted with a caret, and — listen carefully — the kid chorus still sings “You’re Elected, Charlie Brown.”

How “last minute” was this change made? Late enough to prevent being able to modify this promotional ad, which ran in TV Guide on October 28, 1972! 

Vinyl madness: 2024

I figured it was only a temporary reprieve.

 

We all wondered, after last year’s sole new vinyl release of A Charlie Brown Christmas — a picture disc from Barnes & Noble — if the annual tsunami of variant LPs had come to an end.

 

After all, we got eight variants each, in 2021 and ’22 ... which, including last year’s single entry — and assuming my math is accurate — brings the total to 43 (!). I’m still waiting to hear from somebody who has purchased and displayed all of them, because that photo will get pride of place in a future blog entry.

 

Meanwhile, rumors of the program’s termination obviously were premature. As of now, I’m aware of four 2024 variants. On top of which, one of my many scouts in the field — a helpful chap named Wes (I have spies everywhere) — sent me the photo at left yesterday. Apparently his local Walmart already has its new variant on display, and for sale ... in mid-August. 

 

Knowing how Charlie Brown frowned upon the commercialization of Christmas in the iconic 1965 TV special — and how Sally groused, when the gang visited a department store in 1974’s It’s the Easter Beagle, Charlie Brown, about Christmas decorations being up so prematurely — I’m pretty sure the Peanuts gang would disapprove of Walmart’s move.

 

That aside, we can look forward to... 

A metallic gold, with green-colored swirl, from Target...

 

 A metallic iridescent green, from Urban Outfitters...

 

This nifty picture disc, from Barnes & Noble...

  

And the aforementioned “Tinseltown Colored Vinyl,” from Walmart.

 

Release dates of the other three are mid-September and mid-October.

Here's a quick link for ordering.

Will there be more?

 

Stay tuned...

A kinder, gentler Election

It has been a busy summer.

Hot on the heels of Guaraldi’s never-before-released score for It Was a Short Summer, Charlie Brown, the similarly never-before-released score for the eighth prime-time Peanuts TV special, You’re Not Elected, Charlie Brown, will debut on September 6 on CD, 12-inch BioVinyl and via digital download. Pre-orders are available now, at the usual outlets. 

 

A Woodstock Yellow BioVinyl variant will be available as a Record Store Day Exclusive.

 

Check out the Lee Mendelson Film Productions press release here.

 

Guaraldi — on keyboards, vocals and guitar — is joined by Tom Harrell, trumpet; Pat O’Hara, trombone; Mel Martin, clarinet, soprano sax and piccolo; Seward McCain, bass and flute; and Glenn Cronkhite, drums. John Scott Trotter was music supervisor. This album is produced by Sean Mendelson and Jason Mendelson; remixed at Bones and Knives by Terry Carleton; and restored and re-mastered by Vinson Hudson.

 

The album features the 16 studio recordings which became the TV special’s score, along with nine bonus/alternative tracks.

Show score:

1. "Incumbent Waltz"

2. "You're Not Elected, Charlie Brown"

3. "Oh, Good Grief!"

4. "Cookin' Snoopy (Fast Piano Jazz)"

5. "Blue Charlie Brown"

6. "Incumbent Waltz (Reprise)"

7. "Linus and Lucy"/"Poor Charlie Brown"

8. "Joe Cool (Vocal)"

9. "Incumbent Waltz (Second Reprise)"

10. "Elect Linus (Dilemma)"/"Woodstock's Wake Up"

11. "Joe Cool (Unused Reprise)"

12. "Oh, Good Grief! (Reprise)"

13. "Deserted Charlie Brown"

14. "You're Not Elected, Charlie Brown (Reprise)"

15. "Linus and Lucy (Reprise)"

16. "You're Not Elected, Charlie Brown (Second Reprise: End Credits)"

Bonus Content

17. "Joe Cool (Alternate Take 1)"

18. "Joe Cool (Alternate Rehearsal Take)"

19. "Blue Charlie Brown (Alternate Take 1)"

20. "African Sleigh Ride (Bonus Track)"

21. "Cookin' Snoopy (Fast Piano Jazz; Alternate Takes 1, 2 and 3)"

22. "Incumbent Waltz (Second Reprise, Alternate Take 1)"

23. "Incumbent Waltz (Second Reprise, Alternate Take 3)"

24. "Incumbent Waltz (Unused Cue)"

25. "Linus and Lucy (Acoustic Piano Mix)"

Four tracks can be previewed here.

 

Music highlights include a terrific arrangement of "Joe Cool” — much longer than what is heard in the special — which boasts nifty flute and guitar touches. Other tasty treats include an unexpectedly peppy handling of “Blue Charlie Brown,” two delightful variations on “Linus and Lucy,” and McCain’s deft bass work on “Oh, Good Grief (Reprise).”

 

The LPs and CDs are eco-conscious. The LPs are made with BioVinyl, a new product that replaces petroleum in S-PVC by recycling used cooking oil or industrial waste, resulting in considerable CO₂ savings compared to traditional PVC. Each record also comes in a reusable, compostable PLA bag made of 99% renewable material. The jacket, label and liner notes are made from sustainably forested trees, for minimum ecological harm. (None of these modifications sacrifices acoustic or optical quality.) The CDs also are made of recycled material, and their paper content comes from sustainably forested trees.

 

All physical copies feature extensive liner notes by my very own self, along with similarly detailed notes by Sean Mendelson, son of Peanuts producer Lee Mendelson. The LP release also includes rare photographs and images from the original tape boxes: recent re-discoveries that led to this release.

 

Remember: The ongoing wave of these "new" soundtracks depends upon the sales generated by each release ... so buy one for yourself, and a second copy as a gift for a friend! 

Bits & bobs: late spring 2024

The colored vinyl craze shows no sign of letting up.

When the soundtrack for A Charlie Brown Thanksgiving debuted last October, fans of solid media had a choice of formats: CD, plain black vinyl, Record Store Day's jelly bean green vinyl, and Target's cranberry vinyl.

Bet you thought that would be it, right?

Nope.

Those vinyl color variants blew out so quickly, many folks never even saw one in person, let alone were able to purchase one. Well, you'll have another chance. This coming October 18, participating Record Store Day outlets will unveil yet another vinyl variant: jelly bean purple! Details are here.

If you're late to the party, or need a reminder about the album details, check out this earlier post.

Honestly, my LP shelves are sagging...!

********

Back in early 2022, I ran a post about how the folks at Lee Mendelson Film Productions, in collaboration with Hal Leonard Publishing, had made (initally) 18 of Guaraldi's less well-known Peanuts themes and cues available via downloadable sheet music folios. 

Quite a few more subsequently were released, as you can discover by doing a search at Sheet Music Direct for "Vince Guaraldi." (It helps to narrow the search by sub-selecting "Piano Solo.")

Folks who prefer old-fashioned songbooks (and I'm one of them) will be pleased to learn that Hal Leonard has published 20 of these themes and cues in a book titled The Peanuts Piano Collection. It isn't new -- having been issued in May 2022 -- but I never got around to mentioning it ... until now.

********

The new content in the just-published second edition of my Guaraldi biography includes an appendix that lists the use of Guaraldi's music in popular culture ... which is to say, TV shows and movies. I tried to make it authoritative as of publication date, but (of course!) this is the sort of data that quickly becomes incomplete.

Case in point: director Richard Linklater's audacious new film Hit Man, which had a brief theatrical release beginning May 24, and then debuted on Netflix on June 7. The film's charms are many, and I can't recommend it enthusiastically enough; check out my full-length review. (For those unaware, I wear many hats; I've also been a film critic since ...  well, way back in the day.)

The story is set in New Orleans, and the soundtrack is laden with songs by longtime local stalwarts such as Jelly Roll Morton and Dr. John, along with rising newcomers Rob49 and Tuba Skinny. You'll also hear a very familiar tune twice during the film, most memorably during the end credits: Allen Toussaint's gorgeous cover of "Cast Your Fate to the Wind."

Now, I'd like to think that my recommendation — and the involvement of Linklater and stars Glen Powell and Adria Arjona — would be sufficient motivation ... but if you're still wavering, how can you miss this opportunity to hear Guaraldi's signature tune in such a setting? 

Insidious 1960s doings by the coffee industry

Although the final decade of Guaraldi’s composing career was dominated by the many original themes and cues he wrote for the first 15 Peanuts TV specials and 1969’s big-screen A Boy Named Charlie Brown, his live performances during this period — of necessity — were much more varied.

Guaraldi’s early albums also reflected this diversity. Like most jazz performers, he delivered his own arrangements of Great American Standards by — among numerous others — the Gershwins (“Fascinatin’ Rhythm”), Cole Porter (“It’s De-Lovely”), Ann Ronell (“Willow Weep for Me”) and Buddy Johnson (“Since I Fell for You”). Over time, Guaraldi expanded his repertoire to include tunes by Henry Mancini (“Moon River,” “The Days of Wine and Roses” and “Mr. Lucky”), Antonio Carlos Jobim (“The Girl from Ipanema”), Bobby Scott & Ric Marlow (“A Taste of Honey”) and many more.

 

As the 1960s wore on, acknowledging the explosion of pop and rock hits, Guaraldi’s albums and club gigs added songs by — to name just a few —The Beatles, Burt Bacharach, Donovan, Bob Dylan and Sonny Bono.

 

Point being, if you listen to Guaraldi’s albums, focusing on the songs he didn’t compose, you’re bound to recognize just about everything: the titles, the melodies, or both.

 

Except, perhaps, for a track on the sole album that he released on his own D&D label: 1967’s Vince Guaraldi with the San Francisco Boys Chorus.

 

Where the heck, most of today’s listeners must wonder, did “Think Drink” come from?

 

Therein lies quite a tale.

 

As recounted in John Kelly’s fascinating October 2022 Washington Post article, in 1966 the London-based International Coffee Organization (ICO) decided to go after the American youth market: specifically, 17-to-20-year-olds. At that point in time, coffee was viewed as an adult beverage; teens and early twentysomethings were an almost wholly untapped audience. 

 

“We feel that the younger people are not drinking all the coffee they should,” intoned the executive secretary of the World Coffee Promotion Committee, in a New York Times interview that year. (One must chuckle at his pomposity.)

The ICO hired the American ad agency McCann-Erickson to mount a campaign that was quickly highlighted by newspaper ads and a 60-second TV commercial aimed at young adults. The message: that whenever they pondered a difficult decision, or had to study for a test, coffee would activate the brain cells and keep them focused.

 

The TV commercials — one of which can be viewed here — were backed by a catchy instrumental melody written by Richard S. Boyell, called “Music to Think By” — aka “Think Drink” — and performed by (I’m not making this up) “Mr. T and the Coffeehouse 5.” It was released as the 45 single shown above.

 

What’s fascinating, by today’s standards, is that the commercials don’t plug any particular brand of coffee ... just coffee itself!

 

McCann-Erickson also commissioned a 27-minute documentary film, Coffee House Rendezvous, which features groups of teenagers in Pennsylvania, California, Massachusetts and Wisconsin banding together to create coffeehouses in churches, unused downtown offices and even family basements. Viewed today, this film is wincingly corny, with an emphasis on squeaky-clean teens: almost all white, of course, although I did spot fleeting glimpses of a Black young woman and, toward the end, a Black folk singer. During tight close-ups, many of these kids parrot their insistence that these spaces are great for hanging out and having fun. 

 

Or, more precisely — in parallel commentary supplied by numerous parents — “somewhere to stay out of trouble.”

 

“A coffeehouse is a great idea for kids,” chirps one earnest girl. “You know, a place of our own, without a lot of parents staring down our back.”

 

“Kids come in here and meet new friends, talk to old friends, and play cards,” another girl chimes in, “or just sit around and talk, or just do absolutely nothing. It’s good for studying, if you have something to read, and wanna be a little bit alone.”

 

This laughable relic had its own lively title theme, written by Ted Steeg and Jordan Ramin, and performed by The Nitelighters ... and I suspect the average 1966 teen would have preferred root canal surgery, to being forced to watch the silly thing.

 

McCann-Erickson even commissioned the creation of a signature “Think Drink” coffee mug, shown at left, which one could obtain via mail order for the modest cost of 75 cents. 

The campaign clearly was successful, and it’s probably no coincidence that the first Starbucks opened in Seattle just a few years later, on March 30, 1971. (Indeed, folks at the ICO and McCann-Erickson, back in the day, likely would be astonished by how successful they eventually were!)

 

Boyell’s tune was so popular that it was covered by numerous other performers, including The Harvey Averne Dozen, Mariano Moreno, 2+2, Morty Craft and His Orchestra, The Mighty Flea (aka Gene Conners), The New Swing Sextet, The Howard Roberts Quartet, Dick Boyell and His Orchestra, Benny Golson, Don Patterson (a marvelously funky version) and even Doc Severinsen.  Not to be outdone, The American Breed did a vocal version!

 

You must remember that this was an era when instrumental TV commercial jingles could become pop hits, whether as original compositions — such as “Think Drink” and Grandville A. Burland’s “No Matter What Shape You’re Stomach’s In” (for Alka-Seltzer) — or when borrowed from other sources: most notably Elmer Bernstein’s title theme for The Magnificent Seven (Marlboro cigarettes) and Sid Ramen’s “Music to Watch Girls By” (Diet Pepsi).

 

It's therefore no surprise that Guaraldi, recording an album in 1967, would have included his own take on “Think Drink.”

And now you know why.

 

The second time around!

Big news, gang.

Huge, actually.

After two lonely years spent in my patented deep-sea isolation chamber, I've emerged victorious with the enhanced and improved second edition of my Guaraldi biography. McFarland, my beloved publisher, graciously agreed to share this magnificent tome with the world at large. It officially becomes available today.

[Um ... too much?]

Okay, I embellished a little.

In point of fact, I was quite honored — back in January 2022 — when McFarland expressed interest in an updated version of the original 2012 book. The target goal of such projects, I was told, was at least 25 percent new material; did I think I could supply that much?

Goodness, yes, I replied. Probably a bit more.

For starters — and this is no surprise, with such a book — within weeks of original publication, I started hearing from additional people with great "Guaraldi encounter" experiences to share, along with sidemen I'd either been unable to track down, or who simply hadn't been on my radar at all. Some of their stories first appeared in earlier posts in this blog; others are seeing print for the first time in the book's new edition.

Then, too, Guaraldi's star has gone supernova during the past decade, with all manner of new album releases, expanded and re-mastered editions of earlier albums, and wholly unexpected and unprecedented Billboard chart-making sales figures. Guaraldi arguably is much more famous today, than he was during his own lifetime ... and he was well celebrated then!

The excitement generated by all this fresh success demanded to be recorded for posterity in an updated edition of his biography.

But there was one stipulation: Neither McFarland nor I wanted the book to get excessively fat, because that would have pushed the cover price beyond what we considered reasonable. It therefore became necessary to trim the existing content by roughly 25 percent, in order to make room for the new material.

That was a fascinating challenge ... because, ideally, I wanted such cuts to be invisible, or nearly so. I felt like a director tasked with whittling a 160-minute first cut down to its best possible self, at 120 minutes ... and then making it even better with 40 additional minutes of fresh footage.

And, yes; that took the better part of 20 months. As the work progressed, I frequently was reminded of the sage wisdom of British journalist, critic and novelist Sir Arthur Quiller-Couch, who advised the frequent necessity to ruthlessly "murder your darlings." Which is to say, a glib turn of phrase — or paragraph or three — that's cute for its own sake, serves no real purpose.

Hard advice. I like my glib turns of phrase.

(And yes; I'm well aware that many attribute that guidance to either William Faulkner or Ernest Hemingway. They're wrong.)

Anyway...

Both McFarland and I are pleased with the ultimate result: a heartfelt book that (in my humble opinion) does an even better job of honoring the late and totally great Vince Guaraldi.

I'm further honored to have a new, second Foreword by good buddy and multiple Grammy Award-winning mastering engineer Michael Graves, and the truly snazzy cover designed by equally good friend and multi-talented Douglas Anderson. Gentlemen, take a bow.

The official McFarland order page can be found here.

Although the book wasn't officially released until today, I'm pretty sure folks have been able to order from other sources for awhile. Such is the crazy world of publishing these days.

Needless to say, I hope you all enjoy it...