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The Association is an American sunshine pop band from Los Angeles, California. During the late 1960s, the band had numerous hits at or near the top of the Billboard charts (including "Windy", "Cherish", "Never My Love" and "Along Comes Mary") and were the opening act at 1967's Monterey Pop Festival. Generally consisting of six to eight members, they are known for intricate vocal harmonies by the band's multiple singers.

Key Information

Their best-known lineup included Terry Kirkman (vocals, woodwind instruments, percussion), Russ Giguere (vocals, guitar), Jim Yester (vocals, rhythm and lead guitar), Jules Alexander (vocals, lead and rhythm guitar, bass), Brian Cole (vocals, bass) and Ted Bluechel Jr. (vocals, drums, percussion). This lineup recorded their first two albums, And Then... Along Comes the Association and Renaissance (both 1966) before Larry Ramos replaced Alexander in early 1967. With Ramos, the group recorded their third and fourth albums, Insight Out and Birthday. Alexander re-joined in late 1968, and the group released their fifth album The Association in 1969. Keyboardist Richard Thompson replaced Giguere in 1970, with whom the band recorded their final two albums Stop Your Motor (1971) and Waterbeds in Trinidad! (1972). The group has since been through several lineup changes. The current lineup includes Alexander, Yester and longtime members Jordan Cole, Del Ramos, Bruce Pictor and Paul Holland.

History

[edit]

Beginnings

[edit]

Jules Alexander was in Hawaii in 1962 serving a stint in the Navy when he met Terry Kirkman, a visiting salesman. The two young musicians jammed together and promised to get together once Alexander was discharged. That happened a year later; the two eventually moved to Los Angeles and began exploring the city's music scene in the mid-1960s, often working behind the scenes as directors and arrangers for other music acts. At the same time, Kirkman played in groups with Frank Zappa for a short period before Zappa went on to form the Mothers of Invention.

Eventually, at a Monday night hootenanny at the Los Angeles nightclub The Troubadour in 1964, an ad hoc group called the Inner Tubes was formed by Kirkman, Alexander and Doug Dillard, whose rotating membership contained, at one time or another, Cass Elliot, David Crosby and many others who drifted in and out. This led, in the fall of 1964, to the forming of the Men, a 13-piece folk rock band. This group had a brief spell as the house band at The Troubadour.

After a short time, however, the Men disbanded, with six of the members electing to go out on their own in February 1965. At the suggestion of Kirkman's then-fiancée, Judy, they took the name the Association. The original lineup consisted of Alexander (using his middle name, Gary, on the first two albums) on vocals and lead guitar; Kirkman on vocals and a variety of wind, brass and percussion instruments; Brian Cole on vocals, bass and woodwinds; Russ Giguere on vocals, percussion and guitar; Ted Bluechel Jr. from the Cherry Hill Singers on drums, guitar, bass and vocals; and Brian Cole's friend and bandmate from the group Gnu Fokes, Bob Page on guitar, banjo and vocals. However, Page was replaced by Jim Yester on vocals, guitar and keyboards before any of the group's public performances.

The new band spent about five months rehearsing before they began performing around the Los Angeles area, most notably a regular stint at The Ice House in Pasadena (where Giguere had worked as lighting director) and its sister club in Glendale.[3] Eventually, the small Jubilee label issued a single of "Babe I'm Gonna Leave You", a song originally recorded by Joan Baez and later popularized by Led Zeppelin, but nothing happened. Finally, Valiant Records offered them a contract, with the first result being a version of Bob Dylan's "One Too Many Mornings", which was produced by Valiant's owner, Barry De Vorzon, at Gold Star Studios.

The Men were first managed by Doug Weston, owner of the Troubador, before switching to actor Dean Fredericks, who remained on board when the Association was formed and helped get them the Valiant deal. In 1966 Fredericks turned the reins over to Pat Colecchio, who managed the group for the next eight years, then on and off during the two years after that. Fredericks later sued the band for breach of contract and was awarded a settlement.

First success

[edit]
The band in 1966. Top row: from left to right; Alexander, Cole, Giguere. Bottom row: from left to right; Bluechel, Yester, Kirkman.

Their national break came with the song "Along Comes Mary", written by Tandyn Almer.[3] Alexander first heard the song when he was hired to play on a demo version and persuaded Almer to give the Association first dibs on it, with Jim Yester on lead vocals. The song was controversial with some media observers noting that "Mary" was street slang for marijuana, but it went to No. 7 on the Billboard charts and led to the group's first album, And Then... Along Comes the Association (July 1966), produced by Curt Boettcher and begun in Gary S. Paxton's garage, with vocals done separately at Columbia. Another song from the album, "Cherish", written by Kirkman,[3] became the Association's first No. 1 hit in September 1966 and one of a handful of the Sixties' most popular "slow dance" ballads.

The group followed with their second album, Renaissance, released in November 1966. The band changed producers, dropping Boettcher in favor of Jerry Yester (brother of Jim and formerly of the Modern Folk Quartet and later, a member of the Lovin' Spoonful). The album did not spawn any major hits (the highest-charting single, "Pandora's Golden Heebie Jeebies", stalled at No. 35), and the album only reached No. 34, compared with the No. 5 showing for And Then... Along Comes the Association.

Crest

[edit]

In late 1966, Warner Bros. Records, which had been distributing Valiant, bought the smaller label and, with it, the Association's contract.

In 1966, a collection of poems penned by the six members was released as Crank Your Spreaders; the book was reprinted in August 1969.[4]

In April 1967, Alexander left the band to study meditation in India and was replaced by Larry Ramos (born Hilario Ramos)[5] on vocals and guitar. Ramos joined the band while Alexander was still performing with them after bassist Cole's hand was injured by a firecracker; Alexander subbed on bass while Ramos played lead guitar. Ramos had previously performed with the New Christy Minstrels and had even recorded solo singles for Columbia Records. He went on to sing co-lead (along with Giguere and Kirkman) on two of the Association's biggest hit singles, "Windy" and "Never My Love".

With the lineup settled, the group returned to the studio, this time with Bones Howe in the producer's chair. The first fruits of this pairing were the single "Windy", written by Ruthann Friedman, topping the Billboard Hot 100 on July 1, 1967, and staying there for four consecutive weeks, preceded by the album Insight Out, which reached No. 8 in June.

On June 16, 1967, the Association was the first act to perform at the Monterey Pop Festival. (The Criterion Collection DVD of the festival includes their performance of "Along Comes Mary" on disc 3.)

The Association performing at the Monterey Pop Festival. From left: Terry Kirkman, Larry Ramos, Russ Giguere, Jim Yester, Brian Cole.

The group's success continued with its next single, "Never My Love", written by Dick and Don Addrisi; it went to No. 2 in Billboard and No. 1 in Cash Box in October 1967. It became the group's only double-sided charted record, as its B-side, "Requiem for the Masses", made a brief showing on the Billboard chart. Like "Cherish" and "One Too Many Mornings", "Never My Love"'s vocal arrangement was provided by Clark Burroughs, former member of the Hi-Lo's. "Never My Love" has since been certified the second-most-frequently-played song in America during the 20th century (the group placed two other songs, "Cherish" and "Windy", on BMI's list of the 100 most played).[6]

In 1968, after turning down a cantata composed by Jimmy Webb that included the now-classic "MacArthur Park", the group produced its fourth album, Birthday (March 1968), with Bones Howe again at the controls. This album spawned "Everything That Touches You", the group's last Hot 100 Top 10 hit, and "Time for Livin'", the group's final Hot 100 Top 40 hit.

The group in 1967. Top row, from left: Jim Yester, Brian Cole, Ted Bluechel. Bottom row: Russ Giguere, Larry Ramos, Terry Kirkman

Later that year, the group released a self-produced single, the harder-edged "Six Man Band". This song also appeared on Greatest Hits, released in November 1968.

Comings and goings

[edit]

At the close of 1968, Alexander, who had returned from India and had done a stint with another band called Joshua Fox, returned to the group, which now made the Association a seven-man band.

The larger band's first project was to contribute to the soundtrack for Goodbye, Columbus (1969), the film version of Philip Roth's best-selling novel. The title track, written by Yester, peaked at No. 80. John Boylan, one third of the little-known group Hamilton Streetcar, worked with the group on the soundtrack and stayed on board for its next album, The Association (August 1969). Many of the tracks on this album have a country-rock sound but none of the singles released made any impact, so the group re-teamed with Curt Boettcher in late 1969 for a one-off single, "Just About the Same" (released in February 1970), a reworking of a song Boettcher had recorded with his group, the Millennium. This too failed to catch on.

Despite all this, the band remained a popular concert draw, and on April 3, 1970, a Salt Lake City performance was recorded for The Association Live.

In June 1970, Giguere left the band; he released a solo album, Hexagram 16, the following year. The Association replaced him with keyboardist Richard Thompson (not to be confused with the English singer-songwriter/guitarist), who had contributed to previous albums and began playing live with the group for some July 4 & 5 appearances in Atlantic City. Thompson had previously been known primarily in jazz circles.

The album Stop Your Motor was released in July 1971. It was the group's least popular up to that date, reaching only No. 158 on the Billboard chart. Stop Your Motor marked the end of the Association's tenure at Warner Brothers.

In early 1972, they resurfaced on Columbia with Waterbeds in Trinidad! (April 1972), produced by Lewis Merenstein (best known for producing Van Morrison's Astral Weeks). The album fared even less well than Stop Your Motor, reaching No. 194, while a single of the Lovin' Spoonful's "Darlin' Be Home Soon" failed to break the Hot 100.

Breakup and reformation

[edit]

For their 1972 tour, the group expanded, bringing in first session bass player Wolfgang Melz, and then Mike Berkowitz on drums, to add more musical versatility on stage and free up Brian Cole and Ted Bluechel to concentrate on singing. But on August 2, 1972, 29-year-old Cole was found dead in his Los Angeles home of a heroin overdose.

For the rest of the 1970s, the Association was in a state of flux, releasing singles intermittently along with sporadic touring.

In September 1972 Kirkman departed, as did Melz and Berkowitz later on that fall. The group was then moved over to the CBS distributed Mums label and put out a new single, Albert Hammond's "Names, Tags, Numbers & Labels", in February 1973. It failed to make much of an impression, though, and the label's funding for a hoped for album by the group never materialized. Mums folded by the end of 1974.

In late 1972, the remaining quintet of Alexander, Bluechel, Yester, Ramos and Thompson brought in new members Maurice Miller (vocals, drums, percussion, formerly of Charles Wright & the Watts 103rd Street Rhythm Band) and David Vaught (vocals, bass, fresh from a stint in the band Rosebud and later a member of the Lopez Beatles, who later played in the first lineup of Roger McGuinn's Thunderbyrd in 1976 and who died on March 20, 2013, from pancreatic cancer) and continued touring.

Jim Yester left in the late summer of 1973 and was briefly replaced by his brother Jerry (who, like Vaught, had just played in Rosebud). Jim Yester returned a short time later when Alexander left in late 1973, eventually to join Giguere and former Honey Ltd. female vocalists Alex Sliwin, Joan Sliwin and Marsha Temmer in a new outfit, Bijou. Jerry Yester stayed with the Association until the end of 1974 and pianist Thompson also left at that time. Dwayne Smith (vocals, keyboards) was then brought in.

In 1975 the band signed with RCA Records where they released two singles, "One Sunday Morning" (produced in Canada by Jack Richardson) and "Sleepy Eyes". An album called The Association Bites Back was to follow but was never released.

During this period, the band was offered a production deal with Mike Curb, who wanted them to record a disco version of the prior hits, "Cherish", "No Fair At All" and an original song which Larry Brown wrote and sang entitled "It's High Time To Get High". The deal did not go through.

Membership was fluid in 1975–1976. Smith had joined in December 1974 and appeared on "One Sunday Morning" but was replaced by Andy Chapin by the end of 1975. Ramos departed as well in mid-1975 and was replaced by Art Johnson, then the aforementioned Larry Brown (vocals, guitar). The increased tour schedule led to Chapin's departure in 1976 (he later played for artist Ricky Nelson and perished along with Nelson and his band when his plane crashed on December 31, 1985). Chapin was replaced, first by Jay Gruska, who then left for a stint with Three Dog Night, and then by David Morgan (who later joined Three Dog Night himself) in mid-1976.

In 1977 Bluechel, Jim Yester, and the current lineup recorded new versions of "Windy", "Cherish", "Never My Love", "Along Comes Mary" and "Everything That Touches You" with session players for K-tel Records that later ended up on a 1983 album collection, Back to Back, where one half of the record was the Association songs and the other half tunes by the Turtles.

During the spring of 1977, Brown left to concentrate on session work and keyboardist Ric Ulsky joined, leaving Jim Yester as sole guitarist in the lineup. But by the summer of that same year, with the prime gigs proving to be fewer and far between, Yester left, leaving Bluechel as the only original member. Yester was replaced by lead guitarist Cliff Woolley and the group had two keyboardists for a short time in 1977–78, Ulsky and David Morgan, before Morgan was succeeded by guitarist/singer John William Tuttle (son of makeup artist William Tuttle; John died on August 17, 1991, at age 41 of a perforated ulcer in Van Nuys, California).

Russ Levine (who had played with Bobby Womack, Donna Summer and Ultimate Spinach) also arrived in 1978 to take over drums from Maurice Miller (who went on to play with Lena Horne, and died of complications from diabetes October 10, 2005, in Burbank, California, at age 73) on drums. A short time after that, guitarist Jack Harris took over from Woolley. Jerry Yester also returned for several gigs with the group in the fall of 1978.

The band dissolved shortly afterward, leaving Bluechel with a huge debt. To help clear away some of it, in November 1978, he leased the group's name to a company that put a fake "Association" out on the road.

In September 1979 the surviving key members Kirkman, Alexander, Giguere, Bluechel, Yester and Ramos combined with Richard Thompson and seasoned studio bassist and arranger Ray Pohlman to reunite the Association at the Ambassador Hotel's Coconut Grove nightclub in Los Angeles for an HBO special called Then and Now (Kirkman was working for HBO at the time). The following year the reunited group also appeared at a charity show hosted in Dallas by Ed McMahon called Ed McMahon and Company that ran on the Showtime cable network in August 1980.

This led, in the early 1980s, to the band recording some self-financed demos and then a short-lived deal with Elektra Records resulting in a few singles (one of which, "Dreamer", reunited them with producer Bones Howe and made the Hot 100 with virtually no promotion) and more touring.

In 1980 the surviving originals (with Ulsky returning in place of Thompson, Levine back on drums subbing for an ill Bluechel and Alexander taking over the bass) went back on the road for a concert tour, putting the short-lived bogus band out of business.

Happy Together Again and the 1960s package tours

[edit]

Jim Yester left again in June 1983 and the group added Keith Moret (bass, backing vocals) as Alexander went back to playing guitar. Moret stayed only briefly until Joe LaManno (who had once done a brief fill-in stint with the group back in late 1972) joined during July 1983.

In 1984 the group was invited to appear on the Happy Together Again tour, a multi-bill of 1960s acts produced by David Fishof (who had taken over the band's management from Pat Colecchio in 1981; Colecchio died of colon cancer on June 3, 2008), headlined by the Turtles, and also including Gary Puckett and Spanky McFarlane of Spanky & Our Gang. Gary's brother, Brian Puckett, played drums in the show for Gary and McFarlane and likewise joined the Association for their set as well. During the latter part of the tour, Mike Peed joined on keyboards in place of Ulsky but left himself in November 1984, turning it over to Donni Gougeon (from Joshua Perahia's band). But by the end of the year, there was a mass exodus as Kirkman (who had already turned in his notice in September), Bluechel, LaManno and Brian Puckett all departed.

In February 1985 the band carried on as Alexander, Giguere, Ramos and Gougeon recruited new members: Paul Beach (vocals, bass, who had also played in the Happy Together Again show band) and Bruce Pictor (vocals, drums, percussion, who had played alongside Beach in Puckett's group in the early 1980s).

Gougeon was replaced in early 1987 by Chris Urmston but was himself succeeded by Paul Holland later the same year. In 1989, when Beach quit, Holland switched over to bass as Gougeon then rejoined for a ten-year stint from 1989 to 1999 before illness in his family called him away. He was replaced by Jordan Cole, son of the band's original bassist, Brian Cole; Jordan first played with the band on a Caribbean Christmas cruise in December 1998, when he was asked to fill in for Holland on bass.

Besides the Happy Together tour, the group became mainstays on many other 1960s package tours, including the 1988 Super 60s Tour with Gary Puckett, the Grass Roots, and the Turtles; and Dick Clark's American Bandstand Tour in 1989, alongside the Spinners, the Guess Who and the Drifters, sponsored by VH1.

Alexander turned in his notice in early 1989. Larry Ramos's brother Del, who had started audio mixing for the group in the 1970s, and then again in the early 1980s, and had begun adding his voice to the mix from the sound board from 1985 on, also assumed bass duties in 1999 after Holland left to tend to his light and sound company. Bob Werner (vocals, guitar, bass), who had been the band's light man and road manager in 1974–75 and fill-in member as needed from 1994 on, was also a member of the group from 1999 to 2008.[citation needed]

During the 1980s and 1990s, the group's recorded output was minimal. They recorded a few new tracks and some covers of popular 1960s songs for a few compilation albums on the Hitbound label made through RadioShack's Tandy Corporation in the mid-1980s. These recordings included their first cover of "Walk Away Renée", which was recorded in collaboration with their original producer, Curt Boettcher, for the Mike Love and Dean Torrence 1983 cassette tape Rock 'n' Roll City. They contributed two Christmas covers to another Radio Shack album, Scrooge's Rock 'n' Roll Christmas (that was also a 1984 TV special). In 1983 they recorded an album of 1960s tunes called New Memories. They re-recorded some of their older material and even more cover songs for another album, Vintage, for CBS in 1983. They released yet another album comprising covers, The Association 95: A Little Bit More, in 1995 through On Track Records (located in New York City), produced by John Allen Orofino and Stan Vincent. The featured single from A Little Bit More was their second rendition of the Left Banke's "Walk Away Renée," which reached the pop Billboard Top 40.

Over the years the group were sometimes visited by former members: Bluechel and Alexander sat in on a few of their 2001 shows, while Paul Holland guested on their DVD, Pop Legends Live!, which came out in 2005. And in September 2003, they were inducted into the Vocal Group Hall of Fame, joined by Yester, Alexander, Kirkman and Bluechel at the induction ceremony at Cafaro Field in Niles, Ohio. Yester, Alexander, Kirkman and Bluechel again rejoined the others for the taping of a PBS 1960s rock music special 60s Experience on December 9, 2004, at Dover Downs Showroom in Dover, Delaware.

In 2007 David Jackson (bass, guitar, formerly of Hearts & Flowers and Dillard & Clark) came into the group for a brief stint when Del Ramos was ill, then Jim Yester returned to sub for Werner. After which, Werner and Yester alternated in the group until late 2008 when Werner left altogether. Also in 2007, they joined Barry Manilow on a remake combining their two biggest hits, "Cherish" and "Windy", that was released on his Greatest Hits of the '60s album.

In 2008 drummer Pictor underwent back surgery. Blair Anderson (Yester's friend from the New Four Preps) sat in for Pictor until he was able to rejoin his bandmates that November.[citation needed]

By 2010, the band included Giguere, Ramos, Jim Yester,[7] Del Ramos, Pictor and Jordan Cole.[7] The Association continued to tour, mostly on bills with similar styled acts of the late 1960s, like the Grass Roots, the Buckinghams, Tommy James and Gary Puckett.

During the summer of 2011, the Association carried a heavy touring schedule throughout the U.S. as part of the Happy Together: 2011 tour, along with the Grass Roots, Mark Lindsay, the Buckinghams and the Turtles featuring Flo & Eddie.[8] The Happy Together appearances featured only Giguere, Ramos and Yester, who were backed up by the Happy Together show band. In late 2011, Ramos was sidelined due to illness, so guitarist Godfrey Townsend (from the Happy Together and Hippiefest back-up bands) subbed for him. In January 2012, Alexander came back to the band as Ramos's stand-in and stayed after Ramos returned in March.[citation needed]

In 2013 Alexander, Giguere, Ramos and Yester became part of the "Where the Action Is"[9] tour that included Mary Wilson of the Supremes, Paul Revere and the Raiders and Mitch Ryder.

Alexander and Yester in 1966

Shindig Magazine named the Now Sounds reissue of the album The Association the best reissue of 2013.[10]

In January 2014 it was announced that both Giguere[11] and Ramos were retiring from touring. Giguere intended to move behind the scenes to the group's management, while Ramos's final performance with the group was a cancer benefit concert on February 24, 2014, at the Blue Fox Theater in Grangeville, Idaho. Upon returning from spending his 72nd birthday in Hawaii, Ramos died from melanoma on April 30.[12] After Ramos' death, former member Paul Holland was brought back into the group, this time as a guitarist/vocalist.

Since 2014, founding members Jim Yester and Jules Alexander have been leading the current line-up of the Association, which includes Bruce Pictor, Paul Holland, Del Ramos, and Jordan Cole. In the summers of 2015, 2017 and 2018, the Association again joined the 'Happy Together' tour. The Association was inducted into the Pop Music Hall of Fame's 2016 class in Canonsburg, Pennsylvania.[13]

In May 2016 Texas guitarist Paul Wilson filled in for Paul Holland at an Association performance in Monroe, Wisconsin. Wilson also subbed for Holland on two occasions in 2018: two shows during the "Flower Power Cruise" in late February in the Caribbean, and then again in May for one show at the Golden Nugget Casino in Las Vegas, Nevada. Then in October 2018, Jim Yester was unable to perform two concerts. For the appearances in Red Rock, Oklahoma, and Bangor, Maine, the lineup consisted of Alexander, Del Ramos, Cole, Pictor, Holland and Wilson. Concerts resumed in 2019 with the regular lineup.

In 2018 the first (unofficial) biography of the band – The Association Cherish – written by British author Malcolm C. Searles, was published via Dojotone Publications in the UK detailing the group's 50-year career. Art Johnson, who played guitar briefly for the group in 1975, died in 2018.[14]

The Association were recipients of the Rock Justice Awards on January 19, 2019, at Village Studios in Los Angeles. All five surviving founding members – Kirkman, Alexander, Yester, Giguere and Bluechel – showed up to receive their awards. Ramos and founding member Cole also received awards.[15]

In March 2020 Russ Giguere's autobiography (co-written with Ashley Wren Collins), Along Comes The Association: Beyond Folk Rock and Three-Piece Suits, was released.[16] Mid-1970s Association keyboardist Dwayne Smith died in June 2020.[citation needed]

Bob Page died on December 24, 2022, at age 79 from a head injury in Faial Island.[17][18]

Terry Kirkman died on September 23, 2023, at the age of 83.[19]

Jordan Cole left the band on October 1, 2025. He was replaced by Gary Swan, who played his first gig with the band in New Jersey on October 12.[20]

In November 2025 the Association's website announced that after a concert in San Francisco, California on November 23, Del Ramos would retire.[21] His replacement is Joe Lamanno, who returned to the group after previous playing with them from July to November 1984. Lammano's first show with the band after his return was on November 28.[21]

Million sellers

[edit]

Three songs by the Association have sold over one million copies and have been certified platinum discs: "Cherish", "Windy", and "Never My Love".[22]

Band members

[edit]

Current

[edit]
  • Jules Alexander – lead and rhythm guitar, vocals (1965–1967, 1968–1973, 1979–1989, 2012–present)
  • Jim Yester – rhythm and lead guitar, vocals (1965–1973, 1973–1977, 1979–1983, 2007–present)[a]
  • Joe Lamanno – bass, vocals (1984, 2025-present)
  • Bruce Pictor – drums, vocals (1985–present)
  • Paul Holland – lead and rhythm guitar, vocals (2014–present), bass, vocals (1989–1999), keyboards, vocals (1987–1989)
  • Gary Swan – keyboards, vocals (2025–present)

Timeline

[edit]

Discography

[edit]

Studio albums

[edit]
  • And Then... Along Comes the Association – Valiant VLM-5002/VLS-25002 (No. 5, 1966) (US: Gold[23])
    Reissued in 1967 on Warner Bros. W-1702/WS-1702
    Expanded Mono Edition Reissued in 2011 on CD by Now Sounds CRNOW 25
  • Renaissance – Valiant VLM-5004/VLS-25004 (No. 34 1966)
    Reissued in 1967 on Warner Bros. W-1704/WS-1704
    Expanded Mono Edition Reissued in 2011 on CD by Now Sounds CRNOW 27
  • Insight Out – Warner Bros. W-1696/WS-1696 (No. 8, 1967) (US: Gold[23])
    Expanded Mono Edition Reissued in 2011 on CD by Now Sounds CRNOW 29
  • Birthday – Warner Bros. W-1733/WS-1733 (No. 23, 1968)
    Mono Edition Reissued in 2010 on CD by Now Sounds CRNOW 15
  • The Association – Warner Bros. WS-1800 (No. 32, 1969) (No. 12 Canada)
    Expanded Edition Reissued in 2013 on CD by Now Sounds CRNOW 43
  • Stop Your Motor – Warner Bros. WS-1927 (No. 158, 1971)
  • Waterbeds in Trinidad! – Columbia KC-31348 (No. 194, 1972) (No. 80 Canada)

Other releases

[edit]
  • Greatest Hits – Warner Bros. WS-1767 (No. 4, 1968) (No. 2 CAN 1969)
  • Goodbye, Columbus (soundtrack) – Warner Bros. WS-1786 (No. 99, 1969)
  • The Association "Live" – Warner Bros. 2WS-1868 (No. 79, 1970) (No. 28 Canada)
  • New Memories – Hitbound Records 51-3022 (1983) (by various artists, including the Association, Bobby Vee, Mary McGregor and Mike Love)
  • Vintage – CBS Special Products BT-19223 (1983)
  • The Association 95: A Little Bit More – Track Records (1995)
  • Just the Right Sound: The Association Anthology (Double CD, released in 2002 as Warner Bros. / Rhino R2 78303, including two previously unreleased outtakes ('The Machine', 'Better Times') from 1966. An import variation also includes the outtake 'Caney Creek')
  • The Complete Warner Bros. & Valiant Singles Collection (Double CD, released in 2012) – Now Sounds CRNOW 35D

Singles

[edit]
Year Single (A-side, B-side)
Both sides from same album except where indicated
Label & No. Peak chart positions Certification Album
US US
Cashbox
CAN AUS UK
1965 "Babe I'm Gonna Leave You"
b/w "Baby, Can't You Hear Me Call Your Name"
Jubilee 5505 Non-album tracks
"One Too Many Mornings"
b/w "Forty Times"
Valiant 730
1966 "Along Comes Mary"
b/w "Your Own Love"
Valiant 741 7 9 8 52[b] And Then...Along Comes the Association
"Cherish"
b/w "Don't Blame It on Me" (titled "Don't Blame the Rain" on non-U.S. 45s)
Valiant 747 1 1 1 33
"Pandora's Golden Heebie Jeebies"
b/w "Standing Still" (from And Then...Along Comes the Association)
Valiant 755 35 26 27 Renaissance
1967 "No Fair at All"/
"Looking Glass"
Valiant 758 51
113
53
"Windy"
b/w "Sometime"
Warner Bros. 7041 1 1 1 34 53[b] Insight Out
"Never My Love"/
"Requiem for the Masses"
Warner Bros. 7074 2
100
1 1
1968 "Everything That Touches You"
b/w "We Love Us" (from Insight Out)
Warner Bros. 7163 10 11 6 Birthday
"Time for Livin'"
b/w "Birthday Morning"
Warner Bros. 7195 39 22 21 23
"Six Man Band"
b/w "Like Always" (from Birthday)
Warner Bros. 7229 47 29 29 Greatest Hits
1969 "The Time It Is Today"
b/w "Enter the Young" (from Greatest Hits, new version of a song originally from And Then...Along Comes the Association)
Warner Bros. 7239 Birthday
"Goodbye, Columbus"
b/w "The Time It Is Today" (from Birthday)
Warner Bros. 7267 80 78 68 Goodbye, Columbus soundtrack
"Under Branches"
b/w "Hear in Here" (from Birthday)
Warner Bros. 7277 117 The Association
1970 "Yes, I Will"
b/w "I Am Up for Europe"
Warner Bros. 7305 120
"Dubuque Blues"
b/w "Are You Ready"
Warner Bros. 7349 84 76
"Just About the Same"
b/w "Look at Me, Look at You" (from The Association)
Warner Bros. 7372 106 91 81 Non-album track
"Along the Way"
b/w "Traveler's Guide"
Warner Bros. 7429 Stop Your Motor
1971 "P.F. Sloan"
b/w "Traveler's Guide"
Warner Bros. 7471
"Bring Yourself Home"
b/w "It's Gotta Be Real"
Warner Bros. 7515
"That's Racin'"
b/w "Makes Me Cry" (alternate title for "Funny Kind of Song")
Warner Bros. 7524
1972 "Darlin' Be Home Soon"
b/w "Indian Wells Woman"
Columbia 45602 104 90 61 Waterbeds in Trinidad!
"Come the Fall"
b/w "Kicking the Gong Around"
Columbia 45654
1973 "Names, Tags, Numbers & Labels"
b/w "Rainbows Bent" (from Waterbeds in Trinidad!)
Mums 6061 91 85 Non-album tracks
1975 "One Sunday Morning"
b/w "Life Is a Carnival"
RCA 10217
"Sleepy Eyes"
b/w "Take Me to the Pilot"
RCA 10297
1981 "Dreamer"
b/w "You Turn the Light On"
Elektra 47094 66
"Small Town Lovers"
b/w "Across the Persian Gulf"
Elektra 47146

Notes

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References

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[edit]
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The Association is an American sunshine pop band formed in 1965 in Los Angeles, California, renowned for their intricate vocal harmonies, folk-rock influences, and string of chart-topping hits during the late 1960s.[1] Emerging from the dissolution of a larger folk ensemble called The Men, the group was founded by Terry Kirkman and Jules Alexander, who assembled a core lineup including Russ Giguere, Brian Cole, Ted Bluechel Jr., and Jim Yester, later joined by Larry Ramos.[1] They quickly gained prominence as the house band at the Troubadour club and signed with Valiant Records, releasing their debut album And Then... Along Comes the Association in 1966, which peaked at number five on the Billboard 200.[2] The band's breakthrough came with the singles "Along Comes Mary" (peaking at number seven on the Billboard Hot 100) and the number-one hit "Cherish" in 1966, followed by additional smashes like "Windy" and "Never My Love" in 1967, both reaching number one and number two, respectively.[1] Their music, characterized by lush arrangements and optimistic themes, earned them seven Grammy nominations between 1967 and 1968, as well as a Golden Globe nomination for their contribution to the film Goodbye, Columbus.[3] Albums such as Renaissance (1966) and Insight Out (1967) achieved gold status from the RIAA, and their Greatest Hits compilation later earned double platinum certification.[2] Throughout their career, The Association performed at landmark events, including opening the 1967 Monterey International Pop Festival, and appeared on major television shows like The Ed Sullivan Show and American Bandstand.[3] Inducted into the Vocal Group Hall of Fame in 2003, the band has maintained an active presence with touring and recordings into the 2020s, preserving their legacy as pioneers of harmonious pop.[2][3]

History

Formation and early career (1965–1966)

The Association was formed in the summer of 1965 in Los Angeles, evolving from the 13-piece folk-rock ensemble The Men, which was led by Terry Kirkman and had served as the house band at the Troubadour club.[4] Jules Alexander, recently discharged from the Navy, joined the core members of The Men to help streamline the group into a more focused ensemble, marking the band's shift toward a polished pop sound.[5] This formation emphasized multi-part vocal harmonies and instrumental versatility, drawing from the folk-rock roots of its origins while incorporating Alexander's guitar-driven contributions.[6] The initial lineup consisted of Terry Kirkman (vocals, woodwinds), Jules Alexander (guitar, vocals; credited as Gary Alexander on early recordings), Russ Giguere (vocals, guitar, percussion), Brian Cole (bass, vocals), Ted Bluechel (drums, vocals), Jim Yester (guitar, keyboards, vocals), and Bob Page (keyboards), with Page soon replaced by Yester taking over keyboards.[5] All members contributed to the group's signature layered vocals, with Kirkman and Alexander emerging as key creative forces in songwriting and arrangement.[7] The band quickly secured a recording contract with Valiant Records, a Warner Bros. subsidiary, in late 1965, allowing them to refine their repertoire through local performances at clubs like the Troubadour.[8] In early 1966, the group entered the studio to record their debut album, And Then... Along Comes the Association, produced by Curt Boettcher, whose expertise in harmony-driven pop helped shape their sunny, orchestral style. Released in July 1966, the album showcased the band's transition from folk-rock experimentation to sophisticated vocal pop, highlighted by two breakthrough singles. "Along Comes Mary," issued in June 1966 and written by Tandyn Almer, peaked at No. 7 on the Billboard Hot 100, introducing their harmonious sound to a national audience.[9] Following in August, "Cherish," penned by Kirkman, ascended to No. 1 on the Billboard Hot 100 for three weeks and received a Grammy nomination for Best Performance by a Chorus at the 9th Annual Grammy Awards.[4][10] Early live shows solidified their reputation in the Los Angeles scene, where the group honed a performance style blending tight harmonies with upbeat energy, distancing themselves from pure folk-rock toward the sunshine pop that defined their early hits.[11] These performances, often at intimate venues, built buzz that propelled their singles' success and set the stage for broader fame.[5]

Rise to fame and peak success (1966–1968)

The Association's second album, Renaissance, released in November 1966 on Valiant Records and produced by Jerry Yester, marked a transitional phase amid their burgeoning success, featuring entirely original material written by band members such as Terry Kirkman and Russ Giguere.[12] The record was rushed into production just five months after their debut, as the group balanced touring obligations following the hits "Along Comes Mary" and "Cherish," resulting in a diverse collection of tracks that showcased their vocal harmonies and pop-rock sensibilities, though it peaked at No. 34 on the Billboard 200.[13] Despite lacking a major single, it included B-sides like "Remember" from the "Cherish" release and highlighted the band's songwriting depth with songs such as "Pandora's Golden Heebie Jeebies."[12] The band's commercial breakthrough accelerated with their third album, Insight Out, issued in June 1967 on Warner Bros. Records after the label acquired Valiant, and produced by Bones Howe, whose engineering expertise elevated their sound with intricate arrangements and session musicians from the Wrecking Crew.[14] The album yielded two massive hits: "Windy," written by Ruthann Friedman, which topped the Billboard Hot 100 for four weeks and earned a gold certification, and "Never My Love," penned by the Addrisi Brothers, reaching No. 2 on the Billboard Hot 100 and No. 1 on the Cash Box Top 100 while also going gold.[15] Insight Out itself climbed to No. 8 on the Billboard 200, solidifying their status as sunshine pop leaders.[16] In 1968, the group released their self-titled fourth album on Warner Bros., produced by Howe, which included the Top 10 single "Everything That Touches You" (No. 10 on the Billboard Hot 100), a Kirkman composition emphasizing their lush, orchestral style.[17] This period saw multiple gold albums for the band, including certifications for And Then... Along Comes the Association, Renaissance, and Insight Out.[15] "Never My Love" later achieved enduring acclaim, ranked by BMI as the second most-performed song of the 20th century with over seven million airplays.[18] The Association received Grammy nominations for "Cherish" in categories including Best Performance by a Vocal Group and Best Contemporary (R&R) Performance - Group in 1967, and for "Windy" in Best Contemporary Group Performance (Vocal or Instrumental) in 1968, alongside nods for Insight Out as Best Contemporary Album.[4][19] They performed on high-profile platforms, including The Ed Sullivan Show on December 8, 1968, where they showcased "Never My Love," and toured with major acts like The Doors and The Supremes, cementing their peak as 1960s pop icons.[20]

Lineup changes and creative shifts (1968–1972)

In late 1968, founding member Jules Alexander rejoined The Association after a year-long absence spent studying meditation in India, expanding the lineup to a septet that included his replacement, Larry Ramos, on guitar and vocals. Ramos had joined in 1967 following Alexander's departure, bringing his experience from The New Christy Minstrels to the group. This temporary return of Alexander, alongside the stable core of Terry Kirkman, Jim Yester, Russ Giguere, Brian Cole, and Ted Bluechel, marked a period of personnel flux that influenced the band's dynamic.[21][22] The fifth studio album, Birthday, released in November 1968 on Warner Bros. Records, reflected early signs of experimentation amid these changes, featuring tracks like "Time It Is Today," a composition by Giguere exploring introspective themes. The album incorporated more adventurous arrangements, diverging slightly from the band's earlier harmonious pop style while maintaining vocal-centric structures. Following Alexander's reintegration, the self-titled sixth album, The Association, arrived in 1969, showcasing contributions from Giguere's songwriting, including pieces that highlighted the expanded ensemble's layered harmonies and emerging psychedelic influences. This release captured the septet's fuller sound, blending folk-rock roots with bolder production.[21][23][24] By 1970, further shifts occurred as Giguere departed to pursue a solo career, with keyboardist and vocalist Richard Thompson joining as his replacement, altering the band's creative balance toward a more guitar-driven approach. The seventh album, Stop Your Motor, issued in 1971 on ABC/Dunhill Records, embodied this evolution with a rock-oriented edge, incorporating harder rhythms and less reliance on orchestral elements compared to prior works. The Association's music during this era responded to broader industry trends, moving away from pure sunshine pop toward experimental and rock-infused territory amid internal adjustments. The final album of the period, Waterbeds in Trinidad!, released in 1972, continued this trajectory but was overshadowed by bassist Brian Cole's deteriorating health due to substance abuse, which impacted his contributions and the group's cohesion.[21][23][24]

Decline, breakup, and reformation (1972–1983)

Following the experimental shifts of their prior albums, The Association released their eighth studio album, Waterbeds in Trinidad!, in April 1972 on Columbia Records, marking the final recording with the original core lineup including bassist Brian Cole.[25] The album blended pop, folk, and rock elements with originals and covers but failed to achieve commercial success, peaking outside the Billboard 200 and yielding no hit singles amid the band's fading relevance in a changing musical landscape.[26] Tragedy struck shortly after, as founding member Brian Cole died on August 2, 1972, at age 29 from a heroin overdose in Los Angeles, California, leaving behind three young sons.[27] His death deeply affected the group, with one non-album track featuring his contributions released posthumously, but it effectively ended any momentum from Waterbeds in Trinidad!.[28] Devastated by the loss and persistent low sales—compounded by internal tensions and the departure of leader Terry Kirkman earlier that year—the band disbanded in late 1972, though sporadic recording sessions and informal performances continued until a formal end around 1982.[29] During this period, members pursued individual paths; Jim Yester engaged in session work and production, while others like Russ Giguere focused on solo endeavors, reflecting the group's transition from active ensemble to fragmented pursuits.[30] By 1983, renewed interest in 1960s nostalgia prompted a reformation led by Kirkman and Yester, joined by Ted Bluechel Jr. and additional musicians, to participate in the "Happy Together Again" tour—a multi-act package celebrating era-defining hits alongside acts like The Turtles.[31] The reunion culminated in the release of a live version of their signature hit "Never My Love" as a single, capturing the group's onstage chemistry during the tour and signaling a tentative revival.[32]

Later years and tours (1983–present)

Following their reformation in the early 1980s, The Association embarked on the "Happy Together Again" tour in 1983–1984, sharing stages with other prominent 1960s acts such as The Turtles, Gary Puckett & the Union Gap, and Mark Lindsay, performing over 160 concerts as part of this multi-act oldies package that revitalized their live presence.[2] The tour's success led to expanded participation in similar nostalgia-driven package tours throughout the decade, emphasizing their harmonious hits like "Cherish" and "Windy" to enthusiastic audiences seeking retro pop experiences.[3] In the 1980s and 1990s, the band's recorded output remained limited, with a focus on live performances and compilations rather than new studio material; notable releases included the 1983 covers album New Memories, featuring reinterpreted 1960s standards, and contributions to holiday specials like the 1984 TV production Scrooge's Rock 'n' Roll Christmas. They also reunited briefly in 1981 to record singles, including "Dreamer," which peaked at No. 66 on the Billboard Hot 100. This era solidified their role in the oldies circuit, with lineup adjustments incorporating new members to sustain touring commitments. The group received formal recognition with their induction into the Vocal Group Hall of Fame in 2003, honoring their contributions to vocal harmony in pop music, with original members Jim Yester, Jules Alexander, Terry Kirkman, and Ted Bluechel present at the ceremony in Hershey, Pennsylvania.[33] Throughout the 21st century, The Association maintained an active touring schedule, often as part of events like the ongoing Happy Together Tour, while facing significant losses: guitarist and vocalist Larry Ramos died on April 30, 2014, at age 72 following complications from a 2011 heart attack,[34] and founding member Terry Kirkman passed away on September 23, 2023, at age 83 due to complications from Parkinson's disease.[35] Like many veteran live acts, The Association's tours were interrupted by the COVID-19 pandemic from 2020 to 2022, with cancellations and postponements affecting their schedule amid widespread venue closures and health restrictions in the music industry.[36] As of November 2025, the band remains active on the road, led by surviving core members Jim Yester and Jules Alexander, alongside Del Ramos (brother of the late Larry Ramos; bass), Bruce Pictor (drums), Paul Holland (guitar), and Gary Swan (keyboards), focusing on live performances without new studio albums but occasionally releasing live recordings to capture their enduring stage energy.[37] Founding vocalist Russ Giguere, who left in 1971 but participated in select reunions, continues to support the group's legacy through memoirs and occasional appearances.[38]

Musical style and influences

Sunshine pop characteristics and songwriting

The Association emerged as pioneers of sunshine pop, a mid-1960s genre that fused the intricate vocal harmonies of the Beach Boys with folk-rock structures and subtle baroque pop flourishes in orchestration, such as recorder and string accents that added a classical elegance to their pop framework.[39] This blend produced a sound defined by relentless cheer, lush arrangements, and melodic accessibility, positioning the band alongside vocal ensembles that emphasized group dynamics over individual stardom.[40] A hallmark of their style was the masterful use of six-part vocal harmonies, performed live by all core members to create a seamless, choral depth that elevated simple melodies into symphonic experiences, drawing parallels to the layered interplay of the Mamas & the Papas and the polished ensemble work of the Fifth Dimension.[40] Songwriting contributions from within the band, particularly by Terry Kirkman, drove much of their output; he composed reflective ballads like "Cherish" and "Everything That Touches You," which highlighted emotional nuance through poetic lyrics and harmonic builds.[5] The group also drew from external songwriters, interpreting tracks such as Tandyn Almer's "Along Comes Mary," whose quirky, narrative-driven composition fit their harmonious delivery and folk-rock leanings.[39] Lyrically, their songs centered on themes of youthful romance and gentle introspection, portraying love as both exuberant and contemplative, as in the wistful devotion of "Cherish" or the philosophical musings in "Everything That Touches You."[5] This focus evolved over time, shifting from the buoyant, wind-swept energy of early upbeat numbers like "Windy" to psychedelic-tinged explorations in later material, where harmonies intertwined with more experimental textures to reflect the era's cultural introspection without abandoning their core melodic warmth.[40]

Production techniques and collaborations

The Association's debut album, And Then... Along Comes the Association (1966), was produced by Curt Boettcher, whose innovative approach emphasized intricate vocal arrangements and a blend of folk-rock with orchestral elements, drawing on session musicians from Los Angeles' vibrant studio scene.[41] Boettcher's production highlighted the band's multi-part harmonies through careful layering, creating a lush, chamber-pop texture that set the group apart in the mid-1960s pop landscape.[42] For their follow-up, Renaissance (1966), the band collaborated with Jerry Yester as producer, who brought a focus on psychedelic folk-rock influences while maintaining the group's signature vocal complexity, though the album's rushed timeline limited its commercial impact.[12] Beginning with Insight Out (1967), the band entered a pivotal phase under producer Bones Howe, whose work on this and the subsequent Birthday (1968) albums incorporated advanced studio techniques like multi-tracking for vocals, allowing the six members' harmonies to achieve unprecedented depth and clarity.[30] Howe's sessions often featured the Wrecking Crew, a collective of elite Los Angeles session players including drummer Hal Blaine and bassist Carol Kaye, who provided rhythmic precision and instrumental embellishments that elevated tracks like "Windy" and "Never My Love."[30] String arrangements by Bill Holman added orchestral sophistication to several cuts on Insight Out, with his jazz-inflected charts weaving brass and strings into the band's pop framework for a more expansive sound.[43] Vocal coach Clark Burroughs, from the Hi-Lo's, contributed to rehearsal and arrangement, refining the layered harmonies that became a hallmark of these recordings.[14] Songwriting collaborations with external talents were integral to the band's output during this era, as they balanced original compositions with outside material to broaden their appeal. Notable examples include Ruthann Friedman's "Windy," which captured a breezy, upbeat vibe central to their sunshine pop identity, and the Addrisi Brothers' "Never My Love," a ballad that showcased emotional depth through intricate vocal overlays.[30] P.F. Sloan's "On a Quiet Night" from Insight Out brought introspective lyrics paired with subtle psychedelic touches, while Tandyn Almer's "Along Comes Mary" on the debut injected a rhythmic, marijuana-tinged narrative that propelled early chart success.[42] These partnerships, often facilitated through Warner Bros. Records' network, allowed the band to integrate diverse stylistic elements without diluting their core harmonic style. By the early 1970s, following lineup changes and a desire for greater creative control, the Association shifted toward self-production on albums like the self-titled The Association (1969) and Stop Your Motor (1971), moving away from ornate session-heavy arrangements to a simpler rock-oriented approach that emphasized live-band energy and reduced orchestral layers.[44] This evolution reflected broader industry trends toward authenticity, with the band handling much of the engineering and mixing in-house, resulting in rawer textures on tracks like "Six Man Band," though it marked a departure from the polished, multi-tracked productions of their peak years.[30]

Band members

Original and core members

Terry Kirkman (December 12, 1939 – September 23, 2023) served as the leader, lead vocalist, and woodwind player for The Association, while also acting as a primary songwriter and co-founder of the group.[45] Born in Los Angeles, California, Kirkman began his musical career in folk groups before forming The Association in 1965, contributing significantly to their signature vocal harmonies and composing key tracks like "Cherish," which became one of the band's biggest hits.[46] His multi-instrumental skills on flute, saxophone, and trumpet added a distinctive layer to the band's sunshine pop sound, and he remained a central figure in the group's creative direction throughout its early success.[35] Jules Alexander (born September 25, 1943), also credited as Gary Alexander on the band's first two albums, was a co-founder, guitarist, and vocalist whose tenor harmonies helped define The Association's polished vocal style.[39] Hailing from Chattanooga, Tennessee, Alexander met Kirkman while serving in the Navy in Hawaii in 1962, leading to their collaboration in early folk ensembles that evolved into the band.[47] As lead guitarist, he brought rhythmic drive and melodic flair to recordings, contributing to the group's breakthrough sound before pursuing personal interests and making occasional returns to the lineup.[48] Jim Yester (born November 24, 1939) joined The Association as guitarist, keyboardist, and vocalist, bringing experience from the folk group The New Christy Minstrels to enhance the band's harmonic arrangements.[49] Born in Birmingham, Alabama, and raised in California, Yester's versatile playing on guitar and piano supported the group's intricate vocal blends, and his background in folk music influenced their transition to pop.[50] He provided steady rhythmic and melodic support, contributing to the band's live performances and studio polish during their formative years. Brian Cole (September 8, 1942 – August 2, 1972) was the bassist and a key vocalist whose rich baritone harmonies were integral to The Association's lush sound.[51] Born in Tacoma, Washington, and raised in Portland, Oregon, Cole initially pursued acting and comedy before focusing on music, joining the band as a founding member and delivering prominent bass lines that anchored their upbeat tracks.[52] His vocal contributions, particularly in group choruses, added emotional depth to hits like "Along Comes Mary," though his life was tragically cut short at age 29.[51] Ted Bluechel (born December 2, 1942) functioned as the drummer, vocalist, and multi-instrumentalist, providing the rhythmic foundation and baritone vocals that propelled The Association's energetic performances.[53] Raised in San Pedro, California, in a musical family—his father was a local doctor—Bluechel's skills extended to guitar and percussion, allowing him to adapt seamlessly to the band's evolving arrangements.[2] His precise drumming and harmonious singing were essential to the group's tight, orchestral pop style from inception through their peak era. Russ Giguere (born October 18, 1943) contributed as a vocalist and percussionist, joining in 1965 and becoming a long-term core member known for his rhythmic support and warm tenor voice.[54] Born in New York City and later based in California, Giguere's background in folk music from groups like The Men informed his role in blending percussion with vocal duties, enhancing the band's folk-rock roots.[55] His enduring presence helped maintain continuity in the group's harmonic identity across decades until his retirement in 2013.[54] Larry Ramos (April 19, 1942 – April 30, 2014) served as guitarist and vocalist, bringing banjo and ukulele expertise from his time with The New Christy Minstrels to replace an early member and solidify the band's lineup.[56] Born in Waimea, Kauai, Hawaii, to Filipino-Chinese-Spanish heritage, Ramos was a child performer who won a Grammy in 1964 with the Minstrels before joining The Association in 1967, where his lead guitar and versatile vocals added fresh energy to their sunshine pop repertoire.[34] As the first Asian American Grammy winner, his contributions included prominent harmonies on tracks like "Never My Love," spanning over four decades with the group.[57]

Timeline of personnel changes

The Association's personnel evolved significantly over its six-decades-long history, beginning as a six-member ensemble drawn from the remnants of the folk-rock group The Men and expanding to a classic seven-piece configuration before undergoing multiple departures, deaths, and reunions.[11][21] In 1965, the band formed in Los Angeles with an initial lineup of Terry Kirkman (vocals, woodwinds, percussion), Gary "Jules" Alexander (vocals, guitar), Russ Giguere (vocals, guitar), Brian Cole (vocals, bass), Ted Bluechel Jr. (drums, vocals), and Jim Yester (vocals, guitar, keyboards), following the dissolution of the 13-piece The Men; Bob Page (vocals, guitar, banjo) was an early member but departed before any recordings, replaced by Yester.[11][21][23] By early 1967, following the success of "Cherish," Alexander left to study meditation in India, temporarily reducing the group to six; Larry Ramos (vocals, guitar) from the New Christy Minstrels joined as his replacement later that year, restoring the seven-piece format for the recording of Insight Out.[23][1] Alexander returned briefly in 1968 for the self-titled album and select live performances but departed again in 1969 to pursue spiritual pursuits, leaving Ramos as a permanent fixture.[44] In 1971, Giguere exited to launch a solo career, issuing his debut album Hexagram 16 that year; the band filled the void with keyboardist Richard Thompson.[23] Tragedy struck on August 2, 1972, when bassist Brian Cole died of a heroin overdose in Los Angeles at age 29.[52] The group disbanded in 1976 amid declining commercial success and internal tensions but reformed in 1983 for a PBS concert special, reuniting the core surviving original members Kirkman, Yester, Giguere, Bluechel, Alexander, and Ramos.[23][1][31] Giguere rejoined full-time in the 1980s, contributing to ongoing tours until his retirement in 2013, while further lineup shifts occurred through the 1990s and 2000s, including the departures of Kirkman (due to health issues) and Ramos (died April 30, 2014, from metastatic melanoma).[1][23][58][59] Kirkman retired from performing in the early 2010s and passed away on September 23, 2023, from congestive heart failure at age 83.[45] As of November 2025, the band continues touring under the leadership of founding members Yester and Alexander, with Del Ramos (bass, vocals; brother of Larry Ramos) handling bass duties since the 1980s, alongside Gary Swan (keyboards), Paul Holland (guitar, vocals), and Bruce Pictor (drums, vocals).[60][61]

Discography

Studio and live albums

The Association's discography includes nine studio albums released during their active years from 1966 to 1972, characterized by their signature sunshine pop sound with lush harmonies and orchestral arrangements. These albums captured the band's evolution from debut hits to more experimental works, often produced by notable figures like Jerry Yester and Bones Howe. A notable live album from 1970 documented their concert performances, while post-reunion efforts in the 1980s and 1990s yielded limited releases, including a compilation-style studio project. Recent compilations include Never My Love (2020) and American Portraits: The Association (2020). Their debut studio album, And Then... Along Comes the Association, was released in September 1966 on Valiant Records and peaked at No. 5 on the Billboard 200, earning gold certification for sales over 500,000 copies. It featured the band's breakthrough singles "Along Comes Mary" and "Cherish," both of which showcased their intricate vocal layering and became staples of 1960s pop radio. The follow-up, Renaissance, arrived in November 1966, also on Valiant Records, reaching No. 34 on the charts. Produced amid the band's rising fame, it included tracks like "Remember" and "Pandora's Golden Heebie Jeebies," emphasizing psychedelic influences and complex songwriting by members such as Terry Kirkman and Russ Giguere. In 1967, the band switched to Warner Bros. Records for Insight Out, released in June, which peaked at No. 8 on the Billboard 200 and was nominated for a Grammy Award for Best Contemporary Album. Standout tracks "Windy" and "Never My Love" dominated airplay, with the former written by Ruthann Friedman and the latter a collaborative effort that highlighted the group's melodic prowess.[19] Birthday, their fourth studio album, came out in July 1968 on Warner Bros., peaking at No. 23. It featured the emotive "Everything That Touches You," composed by Edens, and reflected a shift toward more introspective themes amid lineup changes. The self-titled The Association followed in August 1969, also on Warner Bros., reaching No. 32. This release included "Time It Is Today" and covers like The Zombies' "Time of the Season," blending original material with reinterpretations under production by Jerry Yester.[62] In 1969, the band contributed to the soundtrack album Goodbye, Columbus for the film of the same name, released on Warner Bros. in April; though primarily a soundtrack, it functions as a studio album with original songs like "Goodbye Columbus (Love Theme)" and selections such as "It's Getting In." Stop Your Motor, released in August 1971 on Warner Bros., reached No. 158 and featured a more straightforward rock orientation, including "Passenger" and production by Jimmy Webb, who brought string arrangements to songs like "Dreamer." The final original studio album of the era, Waterbeds in Trinidad!, appeared in September 1972 on Columbia Records, marking their label switch and lowest chart position at No. 194. Key tracks such as "Listen to My Heart" reflected a tropical-infused pop style amid the band's declining commercial fortunes. On the live front, The Association "Live", a double album recorded on April 3, 1970, at the University of Utah in [Salt Lake City](/page/Salt Lake City), was released in May 1970 by Warner Bros. It captured energetic renditions of hits like "Along Comes Mary" and Bob Dylan's "One Too Many Mornings," providing insight into their stage dynamics before major lineup shifts. A reissue appeared in 2003 by Collectors' Choice Music.[63] Following their 1980 reunion, the band issued New Memories in 1983 on Hitbound Records, a limited studio release with new recordings of classics and originals like "Across the Way," aimed at rekindling their fanbase.[64] In the 1990s, Just the Right Sound: The Association Anthology (1996, Rhino Records) included some live tracks from tours, but their primary later live output came through concert recordings rather than full albums.

Singles and chart achievements

The Association's breakthrough came with their early singles, which dominated the Billboard Hot 100 chart and established them as a leading sunshine pop act. Their debut single, "Along Comes Mary," released in 1966, peaked at number 7 on the Billboard Hot 100, marking their first major hit and introducing their signature harmonious sound.[65] This was quickly followed by "Cherish," which ascended to number 1 on the Billboard Hot 100 for three weeks in late 1966, becoming one of the year's defining pop anthems.[4] The band's momentum continued into 1967 with "Windy," another number 1 hit on the Billboard Hot 100 that held the top spot for four weeks, driven by its breezy melody and widespread radio airplay.[66] Subsequent releases sustained their chart presence, though with diminishing peaks. "Never My Love," issued in 1967, reached number 2 on the Billboard Hot 100, where it spent two weeks, and was later recognized by Broadcast Music, Inc. (BMI) as the second most-performed song of the 20th century in the U.S., with over 7 million radio and television plays.[67] "Everything That Touches You," from 1968, climbed to number 10 on the Billboard Hot 100, serving as their final top-10 entry of the decade. Later singles like "Time It Is Today" peaked at number 80 on the Billboard Hot 100 in 1968. In the 1970s, the band experienced further commercial decline.
Single TitleRelease YearBillboard Hot 100 PeakWeeks at PeakNotes
Along Comes Mary196671Debut single; B-side "Your Own Love"
Cherish196613From album And Then... Along Comes the Association; also #1 on RPM Top Singles in Canada
Windy196714Written by Ruthann Friedman; B-side "Sometime"
Never My Love196722Written by the Addrisi Brothers; B-side "Requiem for the Masses"
Everything That Touches You1968101Written by Terry Kirkman; #6 on RPM Top Singles in Canada
The band's singles earned multiple Recording Industry Association of America (RIAA) certifications, reflecting strong sales. "Cherish" was certified gold in 1966 for 1 million units shipped, "Never My Love" received gold certification on November 27, 1967, also for 1 million units, and "Windy" was awarded platinum status in 1976 for 2 million units.[68][69][70] Internationally, their top hits performed well in Canada, with "Cherish" and "Windy" both reaching number 1 on the RPM Top Singles chart, underscoring their appeal beyond the U.S. market.

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