Liberace Feelin’ Groovy

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This may be one of the strangest—and most wonderfully 1968—things I’ve come across in a while. That’s Liberace getting “groovy” with The Youngfolk on The Red Skelton Hour on March 5, 1968.

And The Youngfolk weren’t just a bunch of dancers thrown together for the show. They were an actual seven-member Los Angeles folk group who recorded for United Artists and had already made several appearances with Red Skelton.

The song, of course, was Paul Simon’s “The 59th Street Bridge Song (Feelin’ Groovy).” Simon & Garfunkel recorded it on August 16, 1966—which, amazingly, was 60 years ago this week. Their version wasn’t originally the big single, though. Harpers Bizarre turned it into a #13 hit in 1967 with an arrangement by Leon Russell.

What I love about this clip is watching television try to interpret the whole flower-power generation for a mainstream audience. Giant flowers, bright colors, “groovy” slang—and right in the middle of it all is Liberace, completely committing to the bit.

Even better, Paul Simon eventually admitted he really didn’t care for this song and once jokingly used it as his own punishment after making a mistake onstage!

Do you remember seeing variety shows trying to get “hip” like this back in the late ’60s?

Tokin’ With Lawrence Welk

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Only on The Lawrence Welk Show could “One Toke Over the Line” somehow become a “modern spiritual.”

In 1971, Gail Farrell and Dick Dale performed the Brewer & Shipley song on the show, giving it the clean-cut Welk treatment. The funny part came afterward, when Lawrence Welk referred to it as a modern spiritual, apparently not realizing the “toke” in the title was not exactly Sunday-morning church material.

It does not seem like someone deliberately pulled one over on Welk. It was probably more of a perfect generational misunderstanding: a hit song with the word “Jesus” in the chorus made it onto one of TV’s cleanest shows, and everyone smiled through it like it belonged there.

That is what makes the clip so unforgettable. It is a perfect little time capsule of early 1970s television, where a song with counterculture roots could be polished up, dressed up, and served with champagne bubbles.

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