The Case for the Early Flamin’ Groovies (1968-1969) in the Baroque Pop Canon

When discussing the quintessential baroque pop acts of the late 1960s, the conversation often circles around artists like The Left Banke, Van Dyke Parks, The Zombies, and Love—pioneers who blended pop sensibilities with classical influences, ornate arrangements, and emotive songwriting. However, one band that rarely finds itself in this conversation, yet deserves a seat at the table, is the early incarnation of the Flamin’ Groovies during their formative years of 1968 and 1969.  

Known primarily as a proto-punk and power pop band, the Flamin’ Groovies’ early work reveals an underappreciated knack for intricate melodies, lush harmonies, and sophisticated arrangements that align them more closely with the baroque pop tradition than many would assume. Tracks from their early releases, particularly their 1969 debut album *Supersnazz*, showcase a deep engagement with the same baroque textures and melancholic romanticism that define the genre.  

### Baroque Pop Defined: Van Dyke Parks and "Walk Away Renée"  

Baroque pop emerged in the mid-1960s as a fusion of rock and classical music, marked by the use of harpsichords, strings, woodwinds, and layered vocal harmonies. Van Dyke Parks, with his 1968 album *Song Cycle*, epitomized this genre by marrying avant-garde classical influences with Americana and poetic lyricism. Similarly, The Left Banke’s *“Walk Away Renée”* (1966) stands as an emblem of baroque pop, its wistful string arrangement and melodic sophistication elevating it beyond standard pop fare.  

### The Flamin’ Groovies’ Baroque Side  

While later iterations of the Flamin’ Groovies embraced a raw, garage-rock ethos, their early material reveals a more nuanced and eclectic approach. Tracks like *“A Part from That”* and *“First Plane Home”* evoke a tender, almost chamber-like quality, with acoustic guitars, piano flourishes, and delicate vocal harmonies that wouldn’t feel out of place on a Zombies or Left Banke record.  

Moreover, *“End of the World,”* a highlight from *Supersnazz,* employs melodic phrasing and bittersweet lyrical themes reminiscent of “Walk Away Renée.” The subtle orchestration, coupled with wistful vocal delivery, suggests a clear affinity with the baroque pop ethos. This period of the Groovies' career reveals a band willing to experiment with melodic richness and emotional complexity, qualities that situate them within the same creative spirit as Van Dyke Parks and other pioneers.  

### Shared Themes of Nostalgia and Melancholy  

Baroque pop often thrives on a sense of yearning and nostalgia, a characteristic central to both Van Dyke Parks’ poetic explorations of lost Americana and The Left Banke’s tales of unrequited love. The Flamin’ Groovies’ early work mirrors this sentiment. Tracks like *“Brushfire”* and *“My Yada”* exude a wistful charm, blending introspection with a playful yet sophisticated pop sensibility.  

### Why They Belong in the Canon  

The Flamin’ Groovies' early forays into baroque textures are an overlooked aspect of their identity. Though their later work would pivot to rawer, riff-driven styles, the material from 1968-1969 deserves recognition for its artistic ambition and alignment with the baroque pop tradition. Their approach to songwriting and arrangements, particularly on *Supersnazz,* aligns them with the same movement that birthed classics like *Odyssey and Oracle* and *Song Cycle.*  

By recontextualizing the Flamin’ Groovies’ early material within the baroque pop framework, we gain a richer understanding of their versatility and contribution to the late-1960s musical landscape. It’s time to revisit these hidden gems and grant the Groovies their rightful place alongside Van Dyke Parks and *“Walk Away Renée”* in the pantheon of baroque pop.