Various - Classic Rock 1965: The Beat Goes On (CD, Comp) (Very Good Plus (VG+))

Description: Media Condition : Very Good Plus (VG+) Sleeve Condition : Very Good Plus (VG+) writing on insert Notes : Track durations obtained from software. Volume 8 of a 30 volume set. Complete liner notes: While folk-rock was a short-lived phenomenon, really lasting only three years (1965-1967), it was an important one. With Bob Dylan as figurehead and musical guru, folk-rock melded Top 40 pop with social themes and literary conceits, thus introducing seriousness to rock, for better or worse. The impact of his albums Another Side of Bob Dylan and Bringing It All Back Home was revolutionary, and rockers were suddenly intoxicated with the possibility of saying more than "I want to hold your hand" or "I wanna be Bobby's girl" in a song. The long shadow cast by Dylan inspired an abrupt change in direction for P. F. Sloan, a West Coast writer, producer and performer who spent the early part of the '60s composing surf ditties and novelties. In 1965, Sloan seemed to sprout a social conscience overnight, abandoning frivolous themes for "heavy" statements. His account of this transformation is blunt: "I'll give credit where it's due - Dylan's 'Masters of War' and 'Gates of Eden.' Those were what I needed to open my mind." Sloan's heaviest statement was Eve of Destruction, an angry prophecy of doom he wrote after being bombarded by TV images of worldwide violence and social ills. He took this song and others to Lou Adler of Dunhill Records, who handed them to Barry McGuire, an ex-member or the New Christy Minstrels. Reinforced by McGuire's growling sandpaper voice, Eve of Destruction soared to No. 1, despite being banned by numerous radio stations. It also prompted a right-wing, "positive" answer song, the Spokesmen's Dawn of Correction. Sloan was quickly hailed as "the new Dylan" (the first of hundreds), and went on to write hits for the Grass Roots (Where Were You When I Needed You), the Searchers (Take Me for What I'm Worth) and the Turtles (Let Me Be and You Baby). The Turtles grew out of a Los Angeles surf band, the Crossfires, which had spawned a folkie offshoot called the Crosswind Singers. Experienced in both folk and rock, and now equipped with a new name and a hipper image, the Turtles had no problem following the path blazed by the Byrds with their electrification of Dylan's Mr. Tambourine Man. The Turtles' debut record was It Ain't Me Babe, the second Dylan song to enter the top 10. Since the compositions of rock's poet laureate were gaining widespread exposure over the airwaves, it was no surprise that the Byrds followed Mr. Tambourine Man with another Dylan tune, All I Really Want to Do. When Cher's version outdistanced theirs on the charts, the Byrds turned to a more venerable folk singer, Pete Seeger, for material. Seeger had adapted words from the Book of Ecclesiastes into Turn! Turn! Turn!, and the Byrds' ringing guitar rendition became their second No. 1 hit. Mr. Tambourine Man is generally considered the pioneering folk-rock record, yet the same jangly guitar-and-harmonies sound had surfaced earlier in the Searchers' Needles and Pins and the Beau Brummels' Laugh, Laugh, both cut in 1964. San Francisco's Beau Brummels deserve credit as the first American band to reflect the guitar-based style and shaggy look of the Beatles. The group, produced by Sylvester Stewart (Sly Stone), was cast as animated characters in the television cartoon series The Flintstones. Even though the Beau Brummels' image was novel in America, it wasn't nearly as bold as that of the Sir Douglas Quintet, who courageously sported long hair in Texas. Guitarist-vocalist Doug Sahm conspired with veteran record man Huey Meaux in 1964 to put together an act that would combat the British Invasion, even fabricating the English-sounding name, the Sir Douglas

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Location: Philadelphia, Pennsylvania

End Time: 2024-11-19T04:51:35.000Z

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