A few unavoidable social considerations aside, the analysis I'm trying to breakdown in this blog isn't social, but musical. What became of the hippies and weather they or their sons and daughters became yuppies, isn't the object here. Rock got harder.
Electronic music was still in its infancy steps.
The market seemed to finally be ripe for a popular rythm that had been trying for years to "make it" outside its local boundaries, into the world market: Reggae, which had evolved from Ska and Rocksteady, finally burst out "from Jamaica to the World" - yet, it took one Mr. Bob Marley, to do it.
Hard Rock detractors splintered into three main musical trends: those that said "it isn't hard enough!" broke out with what would come to be known as Metal Rock; those that said "it's not rebellious enough!" broke out with Punk Rock (Punks were suddenly cool! Or better yet, it wasn't cool to be cool!). The third splinter took the world radios, tv sets, movie houses, bars, discotheques, elevators, waiting rooms, you name it! They said "we want a soft but danceable kind of rock beat - heck, youngsters haven't danced properly since the early sixties' twist! It's time to go back to the dance floor! Yeah, we dig rock, but the soft swinging kind, that you can move your hips to, and invite a lady out to swing it with you." The discotheque venue was so important for this movement, the beat became known as Disco. In the long run, the new kids rediscovered a rockbeat they could dance to, and the old hippies discovered they too, could dance! (at the hight of the hippy movement, dance had been deconstructed into "body movement": ANY body movement was considered "dancing with nature: move your head from side to side and you're dancing with the stars and the planets, dig it, man?" - so, dance in itself, as a popular teen craze, with steps and moves - aside from wriggling like crazy, or shaking your braincells - died out in the laye 60's/early 70's.) Leo Sayer illustrated a bit of this, with his one big 70's hit "Long Tall Glasses (I Can Dance!)"I've posted audio illustrations with a few of the main hits of the day, which defy any categorization except 70's. It was the labels decade anyway: funky, soul, punk, disco, metal, reggae, they all flourished or were born (or eventually got "fused" together), as new styles in the 70's.
About 70's Rock: please refer to the still-to-be-published category/post named "Rock", for main references which haven't been mentioned in the category/posts published so far, as well as some of the main illustrative recordings that marked the history of Rock, and which, for some reason or other, just happened to take place in the 70's.)
Smoking In The Boys Room
Barry Manilow - Mandy
America - Horse With No Name
CCR - Jeremiah Was A Bullfrog (Joy To The World)
That'll Be The Day
Monday, July 16, 2007
Thursday, July 12, 2007
A definite contribution to the new sound of rock in the 60's, as well as to the radical rebellion, from the california beaches to the world, in psychedelic rock form, was the musical group The Doors - mainly, the leader, vocalist, poet, composer and image creator Jim Morrison. Ray Manzarek, on the keyboards, helped with the new sound. The electric organ sound was paving the way to the early 70's "moog" or electronic synthesizer - ideally, one instrument with ALL the sounds. It didn't make it all the way, but it still went quite far, specially in extending the sound capabilities of small musical groups, as were the ever emerging "rock bands".
"The Doors were unusual among rock groups because they did not use a bass guitar whilst playing live. Instead, Manzarek played the bass lines with his left hand on the newly invented Fender Rhodes bass keyboard, an offshoot of the well-known Fender Rhodes electric piano, and other keyboards with his right hand." (source: Wikipedia)
The Doors brought on a definite 60's sound, influencing many artists, in as many musical categories; rock matured as a music category on it's own, no longer considered just an emotional and youthful type of country/rythm & blues with soul; it was still blues, but it had a whole new "progressive" sound and a whole new soul, it could have deep lyrics, it could go back to older, classic roots and bring out modern age, avant-garde, art. The New was happening. The Now was here. The Future was just around the corner. Anything else from then on, had to be called "post-modern".
As to rebellion? Break everything! No one gets out alive, anyway!
"If the doors of perception were cleansed, everything would appear to man as it is: infinite."
- William Blake
Hello, I Love You
Alabama Song (Whiskey Bar)
Break On Through (To The Other Side)
Light My Fire
Love Her Madly
Riders On The Storm
(This Is) The End
When You're Strange