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Larry Tamblyn, keyboardist and co-founder of the 1960s garage rock band The Standells, passed away on March 21, 2025, at the age of 82. With his idiosyncratic keyboard playing as a driving force behind the band's raw, outlaw sound; Larry Tamblyn's style defined the music of The Standells and congealed their position in rock history.
Well-known for songs that personified the counterculture of the 1960s, The Standells were among the first garage rock bands. In honor of Tamblyn's work, here are five songs that reflect his classifiable musical style and the band's lasting legacy.
1. "Dirty Water" (1966)
Most popular of all The Standells' recordings, Dirty Water became the de facto chorale of Boston, even though the group was created out of Los Angeles. The raw energy of the taping, Larry Tamblyn's hypnotic keyboard riff, and the rebellious lyrics made it a classic the first time it was heard.
It has been embraced by Boston sports teams, particularly the Red Sox and Bruins, and is still a feature of their games. The keyboard work of Tamblyn on this tune is the perfect complement to the rough; nearly contemptuous vocal performance, with the raw texture of 1960s garage rock.
This is still the highlight of The Standells' career and a fitting memorial to Tamblyn.
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2. "Sometimes Good Guys Don't Wear White" (1966)
This song captures the rebellious attitude of the 1960s, defying social norms and conventions. The lyrics resist the notion that only neatly dressed and traditionally "good" individuals are worthy of respect, making it an anthem for outsiders.
Larry Tamblyn's keyboard playing provides a pounding rhythm that serves to heighten the song's snarling, combative attitude. Merging gritty guitar riffs, thudding drums, and Tamblyn's white-hot playing imbues the song with a dominating energy.
It is still one of The Standells' classic songs, distilling the attitude of youthful rebellion that defined the period.
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3. "Riot on Sunset Strip" (1967)
Composed for the 1967 film of the same title, Riot on Sunset Strip is a musical encapsulation of the 1966 curfew protests against the youth in Los Angeles. The song conveys the tension and turmoil of the period; with Larry Tamblyn's keyboards generating an urgent, near-frantic energy.
His playing provides texture to the track, reflecting the frustration and unrest that drove the actual events. This record is a snapshot of a frenetic time in rock and youth culture and stands as one of The Standells' most important recordings.
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4. "Try It" (1967)
By 1967, The Standells had started to get adventurous with new sounds and Try It demonstrated this. The tune, briefly censored by certain radio stations because of its provocative lyrics, is given a psychedelic flavor by Larry Tamblyn's keyboards; which dominate the band's far-out, trance-like atmosphere.
Though it never became as famous as Dirty Water, Try It is indicative of the group's desire to experiment with music. The whirling organ lines and rhythmic vitality make this cut an excellent indication of The Standells' skill at progressing without losing their garage rock heritage.
5. "Why Pick on Me" (1966)
This cut illustrates The Standells' skill at combining melody and raw emotion. The song's lyrics discuss feelings of being misunderstood, which resonated with the young audience in those days.
Larry Tamblyn's keyboard work supplies a solid, melodic foundation to the song, lending depth to its sad but defiant mood. Though less aggressive than some of their other songs, Why Pick on Me still retains the band's trademark edge, and it is an important addition to their discography.
Larry Tamblyn's impact on The Standells and garage rock overall cannot be questioned. His contributions to the keys added a signature flair to the band's music; forming a key part of their non-conformist style.
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These five songs give one a glimpse of Larry Tamblyn's contributions musically and of the band's enduring influence. As the public revisits the music; it is celebrating more than the music of The Standells alone – it is acknowledging the staggering skill and commitment to music Tamblyn exhibited in what he played.
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