Rock And Roll Music From The 60s And 70s

Rock And Roll Music From The 60s And 70s – 1966 vs. 1971: When ‘Rock ‘n’ Roll’ Became ‘Rock,’ And What We Lost: A Documentary Two books about the last two decades in the history of rock and roll, taken together, shows how to play in the playground of white men with guitars.

. Before the 1960s, the church said it only cared about the lonely. In 1971, he made the album that would help define the “heritage rock” industry. Steve Wood / Getty Images hide caption

Rock And Roll Music From The 60s And 70s

. Before the 1960s, the church said it only cared about the lonely. In 1971, he made the album that would help define the “heritage rock” industry.

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In 2009, musician and historian Elijah Wald published an overview of American pop music from the 1890s to the 1960s that he called

. The name is a bombshell – as Wald told me in an interview, he knew that the name would attract more attention than the drier ones like “American Pop From Sousa to Soul” – and as if on cue, one reviewer followed another line. to wave his thesis. “[I] rock died because of [The Beatles]?” confused the Los Angeles Times. “You don’t have to be a critic to know the answer to that question.”

, in the words of critic Robert Christgau, “rock and roll is self-identified as an art form.” Before releasing The Beatles in June 1967

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, “rock and roll” means something associated with the explosion of the mid-fifties, led by Elvis Presley – doo-wop, wave music, Motown, British Invasion, James Brown . “We were influenced by early rock and roll…that wasn’t black,” shares Daryl Hall of Hall & Oates

It also marked an equally important market: 1966 was the last year seven-inch singles outsold twelve-inch LPs, and albums were still king through the digital age, while single-tracks download finally passed the length in 2008. Two new books from British rock critics, each focused on specific years, work before-and-after of how ” rock and roll” that calcified into “rock” followed by those who accessed it as the original, envelope-pushing musical form. of the time.

Is an in-depth study into both the US and UK pop landscape of the year and their accompanying socio-political ferment, almost entirely linked to a non- stop of hits and duds, first experienced by many of the pirate radio, which bubbled. as an alternative to the pop-unfriendly BBC and was gone by 1968.

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, by David Hepworth, veteran of many British rock magazines (most recently, the late, Weeping Monthly Word),

Is a breezy survey without sweeping the high-water mark of rock album-oriented to grow, a year Hepworth called “the busiest, most creative, most interesting and longest-resounding years of the [stone] era.”

Both books are organized in a similar way: twelve chapters each, one month at a time, written on specific materials but go far beyond them. Hepworth is a looser stylist; sometimes too loosely, like when he was referring to the November 1971 release date of Sly and the Family Stone’s

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, only to say several pages later that he had “just been released” during the riots at New York’s Attica State Prison last September. But he is also smart and careful. When he wrote, “The year 1971 was the age of the Marshall group, of the joint tinnitus,” or seeing that the words of Jesus “must be heavenly poetry because they obviously have no understanding in this world,” his speech is a combination of flamboyant and dry wit

Twice as long as Hepworth’s book, it is more voluminous. “The important space is used wherever possible to remove the sight of the invisible and reconstruct the mind of the time,” observes Savage – a contrast not bad to Hepworth, for which the visible has been very important. “If any of my children had been dumped in 1971, they would have been lost,” Hepworth wrote. “However, they will feel at home with that year’s record.” He couldn’t be further from the Savage Award – a timeless sense of modern wonder captured by his carefully cultivated archival digs.

If the latter is often fascinated by rock culture – information companies business plans or without that, the UK in the circuit, the daily life of people who do show after the classic albums Hepworth focuses on. Savage, on the other hand, casts his broad background, focusing on everything from nuclear paranoia (key to Birmingham, UK, rockers The Ugly’s obscure “A Quiet Explosion,” January’s opening chapter) to Vietnam (of Sgt. Barry Sadler’s number one “The Ballad of the Green Berets”, March) to Andy Warhol (Velvet Underground’s “I’ll Be Your Mirror”, June). He connects music—Wilson Pickett’s atomic “Land of 1,000 Dances,” James Brown, Motown—to the rise of Black Power far more doggedly than your mainstream, and does the same for the gay community. -long-ground. right move from focusing on the Tornados’ archly campy “Do you come here often?” – created by Joe Meek, London’s sink answer to Phil Spector and a gay man who committed suicide in February 1967, taking his wife with him.

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If one of the most important elements of rock is that singles are children’s products while albums are the real meat,

Wipes away lies many times: Savage’s 45s have as much general feeling as the albums Hepworth values. (Savage is British and uses ‘pop’ instead of ‘rock and roll’, but the meaning is the same.) Take The Who, a group that, in many ways, is important to Savage’s and Hepworth’s books. In the mid-sixties, The Who was London’s archetypal singles band – by choice, not by chance. “Before we even approached the idea of ​​making an album that was an expression of our own feelings…we only believed in singles,” wrote Pete Townshend in Rolling Stone .

The February 66 release of “Substitute” is still a group hit. “At the beginning of the crash – which, against the genre, only features John Entwistle’s bass guitar – [drummer Keith] Moon drags the hell out of the floor empty-handed in a performance so manic, or drug use, which he has. forgot about the truth”, writes Savage. “I like the flashiness of pop, fast, fast,” said band leader Chris Stamp in March 1966, quoting Savage as saying: “There’s either success or failure – no meaning in tinkering.”

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To be ambitious but not carried out. The music was created for an amorphous epic Townshend called “Lifehouse”: “[It] is meant to be a film, a multimedia film, a unique collaboration between people performer and audience, and, at some level, the crowd. ‘”work of art where the group will help the audience to reach a new level of consciousness,” wrote Hepworth. For him, the secret hero is inside

Was producer Glyn Johns, who persuaded Townshend to abandon the clunky, shapeless ‘Lifehouse’ and instead listen to the songs he wrote: “One thing that makes Glyn Johns a brilliant production is his not interested in the way of work and his readiness to understand how things work.”

If the type of rage with “Lifehouse” is the path to conflict, but the type of if-it’s-not-broken-not-fixed-it seems to lead to

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Also laid the groundwork for the rejection of difference by the mostly male, working-class stonewallers. It is true that the ‘heritage stone’ business in England (of which Hepworth is a part – he helped to produce.

, Britain’s heritage-rock house organ, in the mid-Nineties) is not the monolith of American classic rock radio, especially in the middle of the country, its flat land is made even flatter by forty years of continuous programming the same. written down. But for a Yank, many of the albums Hepworth right to celebrate –

Can still be difficult to feel new, even with the help of reading pleasure of his understanding of the content. By contrast, the excellent 1966 two-CD Savage soundtrack put together for Ace Records never ceases to amaze, not least because of the consistency — mostly on time, but not always. Yes, “Baba O’Riley” is still great, but less than the 1,001st play, especially when about 900 of them are not voluntary. However, Savage’s inclusion of “Substitute” can still feel like a revelation – not least because the song was further credited by Savage making it with New Orleans R & B singer Robert Parker’s horn-led party jam “Barefootin’.”

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The good thing about the albums in Hepworth’s book is that they can give their own content, not to mention that their content is less shy of leaping ambitions. Led Zeppelin, for example, would have been unthinkable in 1966; it’s not easy to think five years later. “It was customary in 1971 … to release an album as soon as humanly possible,” Hepworth wrote. “There is no machine to dominate, no marketing strategy to be effective, no budget to pound, no image with development… no expansion.

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