Rock and Roll: A Social History

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Westview Press, Jan 1, 1996 - Music - 356 pages
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"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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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
Selected Bibliography
About the Book and Author

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Popular passages

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.
Page 2 - Sinatra later added that rock and roll was "the most brutal, ugly, desperate, vicious form of expression it has been my misfortune to hear.

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About the author (1996)

Dr. Paul Friedlander is Director of California State University, Chico Music Industry Program. He is author of the Encyclopedia Americana “Rock Music” entry, many book chapters and journal articles, and is past-president of the International Association for the Study of Popular Music/American Chapter. As a musician, he has sung with Pete Seeger’s Children’s Chorus at Carnegie Hall, played bluegrass banjo at southern music festivals, hit notes with New York homeboys The Chapters, played folk music in Moscow’s Gorki Park, and rock and rolled across the U.S.A.

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