Sixties Rock: Garage, Psychedelic, and Other Satisfactions
Unlike their rock 'n' roll predecessors, many rock musicians of the mid-sixties came to consider themselves as artists, as self-conscious makers of a new sonic medium. Sixties Rock offers a provocative look at these artists and their innovations in two pivotal rock genres: garage rock and psychedelic music.
Delving into everything from harmony to hardware, Michael Hicks shows what makes this music tick and what made it unique in its time. How did performers distort their voices and guitars to create their own distinctive sound? How do the rhythms, riffs, and chords of garage rock convey an activism and antagonism that link it to the avant-garde? How do the transformations wrought by various artists on the song "Hey Joe" -- a song so famous, according to Lester Bangs, that everybody and his brother "not only recorded it but claimed to have written it" -- reflect the full spectrum of rock enthusiasms during the late 1960s? How did psychedelic rock, which Graham Nash defined as "an LSD session without drugs, " change established musical forms and sounds?
Addressing these questions and more, Sixties Rock creatively and engagingly approaches rock music as a legitimate subject of serious study. This "angular portrait" of an essentially experimental music illuminates the art of rock in the 1960s.
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LibraryThing ReviewUser Review - Muscogulus - LibraryThing
Why does Mick Jagger sing in baby talk and bad dialect? Michael Hicks thinks he knows why. He also explains where the buzzy, fuzzy, and trippy sounds of Sixties rock and roll come from and what they signify. Interesting. Some articles get into music theory. Read full review
The AgainsttheGrain of the Voice
The NotSoAverage Joe
Playing with Fire
Ends and Means
Judex of Song Titles