Rock and Roll: A Social History
"This lively, detailed history of rock and roll addresses what notes were played, who played them, and how society was registered between the drum breaks and the power chords."--David Sanjek, "BMI Archives"
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Classic Rockers the Second Generation Theres Good Rockin Tonight
DooWop Street Corner Serenade
The Early Sixties The Calm Before the Storm
The San Francisco Sound People in Motion
The Guitar Kings And I Gave Her the Gun
The Seventies Dazed and Confused
Punk Rock Buzzsaw Bravado and Shock Politics
The Eighties The Revolution Will Be Televised
Its Only Rock and Roll but I Like It
Some Artists Who Fell Through the Cracks
The Rock Window One Way to Listen and Understand
The Beatles Because the World Is Round It Turns Me On
The Rolling Stones Its Only Rock and Roll but I Like It
The Who People Try to Put Us Down
Bob Dylan Somethin Is Happening but You Dont Know What It Is
FolkRock So You Want to Be a Rock and Roll Star
Soul Music RESPECT
Motown Hitsville USA
About the Book and Author
acoustic Airplane album American artists audience band band's bass bassist beat Beatles became Berry's Black music Bob Dylan Brian British invasion Brothers Buddy Holly career charts chords Chuck Berry classic rock commercial success concert counterculture country music creative critical cultural dance dominated doo-wop drummer drums early electric Elvis emotional era's Eric Clapton Everly fans folk-rock genre Gordy gospel Greatest Hits guitar solo guitarist Haley instrumental jazz Jerry Lee Jimi Hendrix John Keith label later Led Zeppelin Lennon listener Little Richard live Love mainstream major Mick Motown musicians Paul performance Pete piano played players political popular music Presley produced punk radio record companies released Rhino rhythm and blues rock and roll rock music rock's rock/pop music rockers Rolling Stone San Francisco sexual singer singing sixties songs songwriter soul sound studio stylistic talent teen teenage tour Townshend tune vocal style vocalist York young
Page 44 - If I could find a white man who had the Negro sound and the Negro feel, I could make a million dollars.
Page 2 - n' roll smells phony and false. It is sung, played and written for the most part by cretinous goons and by means of its almost imbecilic reiteration, and sly. lewd, in plain fact, dirty lyrics • • • it manages to be the martial music of every sideburned delinquent on the face of the earth.
Page 98 - And in the end, The love you take Is equal to The love You make The drone behind it all was the note, C, right there in the soul of his brain.
Page 143 - Because something is happening here, but you don't know what it is, do you, Mister Jones? — Bob Dylan, Ballad of a Thin Man...
Page 222 - ... knew Jimi could not burn his guitar every night. But what he could do was a direct-action burlesque/satire of the whole "pop" sex symbol scene — and blow everybody's mind. Before, Jimi had only played around with the guitar: slinging it under his legs as he flickered his tongue. Now he developed it. Falling suddenly to his knees like James Brown during "Please, Please" and lip-synching a scream as his Stratocaster emits an orgasmic howl.
Page 31 - I felt then that if I could take, say, a Dixieland tune and drop the first and third beats, and accentuate the second and fourth, and add a beat the listeners could clap to as well as dance this would be what they were after.