Mark McDonough (mcdee) Fri 9 Oct 09 09:41
Mark McDonough (mcdee) Fri 9 Oct 09 09:46
It's also interesting to see how things you would *think* would be historical artifacts aren't. This is a 1968 album, but I still love Quicksilver's "Happy Trails" just as much as I did the first time I heard it, and still listen to it regularly. People are often quick to dismiss things that are very far into a particular style (in this case psychedelia) but good music is just good music.
Rik Elswit (rik) Fri 9 Oct 09 09:47
<scribbled by rik Fri 9 Oct 09 09:48>
Every Acid Dealer Gets Busted Eventually (rik) Fri 9 Oct 09 09:49
Slip He preceded it with "resonates over time". And I don't think they do. But yes, they were influential. I simply prefer the stuff that was influenced by them. 1969 was the year I made to the decision to shitcan everything else and get serious about being a professional musician, so I ate, slept, and breathed all the stuff y'all have been discussing here. It certainly influenced me. But my personal taste - what moves me and what I'd rather listen to - is what came later.
Bruce Pollock (bruce-pollock) Fri 9 Oct 09 12:09
I have to say, my favorite paragraph in my book is the one I lifted from Phil Lesh's memoir about the experience of playing music while on acid (luckily it was less than 200 words). Actually, my original idea for the book on 1969 was to be a collection of "survivor" stories about acid trips, orgies, rock festivals, and beating the draft, although my own story was relatively short on orgies.
David Julian Gray (djg) Fri 9 Oct 09 13:44
... I think your experience with orgies, Bruce, is the more common one ... de gustibus, etc. etc. I still get thrilled - not just enjoy - but get thrilled listening to [most of] Highway 61 - particularly "Like a Rolling Stone" - also - Desolation Row (and It's Alright Ma... from the previous album... I have never, and can't imagine ever - getting enough of those tracks ... they thrill me everytime! - despite having memorized them years ago). Recorded music - particularly live performances - is frozen time - and a good percentage of the excitement of special times seems to survive... When I listen to Louis Armstrong's Hot Five recording of "Hotter than That" I also get thrilled - Louis exhiliration of discovering here-to- fore uncharted territory remains palpable - and I hear that in "Like a Rolling Stone" too - I long denied any trace of "nostaligia" in my taste - and have been a music prospector my whole life. Why restrict one's self to the past - statistically most of the great music comes from the past... but that's mostly just because there is lots and lots more past than present, and it's hard to get stuff from the future. There's always great music being made - and, again statistically - it's a lot easier to see live performances of current music makers than ones from the past, since most past music makers have passed. But my first iPod betrayed a skewing of the music I cared to carry around to the years 1959 - 1970 (when I was 6-17) ... so... hmmmm ... Still - the percentage of GREAT music compared to morass is so small - one must always be on the look out, past, present, future... where is it... and there ARE periods of time that just ARE more fertile - 1927 - 1929... all over the world... fertile. and 1969 ... huge ... (in fact, I've only recently discovered Os Mutantes ... )
Scott MacFarlane (s-macfarlane) Fri 9 Oct 09 21:55
Personally, if I had to choose only one Beatles LP, it would be a hard choice between "Rubber Soul" and "Revolver", not "Sgt. Peppers". However, as a sweeping cultural imprint, more than any other record by anyone, Sgt. P's (I'd-love-to-turn-you-on) captured the short-lived era of psychedelia. (My Dylan LP would be, not his earlier mid-60s stuff, but the seminally non-influential "Blood on the Tracks.")
What is going to amuse our bouches now? (bumbaugh) Sat 10 Oct 09 09:36
Put me down as one who still enjoys Highway 61 Revisted. For me, those songs hold up remarkably well.
Every Acid Dealer Gets Busted Eventually (rik) Sat 10 Oct 09 10:39
How often did you listen to it this year? Seriously.
Mark McDonough (mcdee) Sat 10 Oct 09 11:08
In my list, back in <63>, I definitely picked albums I enjoyed at the time, or would have enjoyed if I'd know about them. So in other words, the list is a bit biased, not a random selection of top-selling albums. With that said, I've probably listened to 3/4ths of the albums I listed in the past year. Some of them many times. Highway 61 Revisited is something I listen to once every couple of years. The Dylan albums I listen to all the time are "Blood on the Tracks," "Desire," "Blonde on Blonde," and some of the "Bootleg" sets he's come out with. And the Basement Tapes.
Every Acid Dealer Gets Busted Eventually (rik) Sat 10 Oct 09 12:27
God help me. The only Dylan album I play with any regularity is "John Wesley Harding", and that's for the rhythm section. Buttrey and McCoy are magnificent, and even more so when you know that McCoy's main instrument wasn't bass.
Bruce Pollock (bruce-pollock) Sat 10 Oct 09 13:04
My Top 5 Dylan songs: Like a Rolling Stone Every Grain of Sand Blind Willie McTell Mississippi Bob Dylan's 116th Dream
Bruce Pollock (bruce-pollock) Sat 10 Oct 09 13:19
By the way, further on my thought that the period starting after the killings at Kent State in 1970 and ending in '72 with the McGovern massacre was particularly fraught with melancholy and retreat, and laden with decadence, here are some of my favorite songs from the era (I've always been more of a song guy than an album guy). 1970 Fire and Rain James Taylor Let It Be The Beatles Memo from Turner Mick Jagger Paranoid Black Sabbath Ohio CSNY Time Passes Slowly Bob Dylan Jesus Is Just Alright The Byrds Truckin' The Grateful Dead Mother John Lennon Compared to What Les McCann Everything Is Beautiful Ray Stevens PF Sloan Jim Webb Sweet Jane Velvet Underground After the Goldrush Neil Young 1971 Changes David Bowie One Toke Over the Line Brewer & Shipley Eighteen Alice Cooper Find the Cost of Freedom CSN Watching the River Flow Dylan Third Week at the Chelsea Jefferson Airplane Mercy Mercy Me Marvin Gaye Captain Jack Billy Joel It's Too Late Carole King Lola The Kinks Layla Stairway to Heaven Led Zeppelin How Do You Sleep John Lennon Trenchtown Rock Bob Marley American Pie Don McLean Blue Joni Mitchell Road Runner Jonathan Richman & the Modern Lovers Been on a Train Laura Nyro Sister Morphine Rolling Stones Sam Stone John Prine Low Spark of High Heeled Boys Traffic The Song Is Over 1972 A Horse with No Name America Song for Adam Jackson Browne Take It Easy Eagles Beauty School Dropout Cast of Grease Crocodile Rock Elton John Celluloid Heroes Kinks Superfly Curtis Mayfield Hi Hi Hi Paul McCartney All the Young Dudes Mott the Hoople Garden Party Rick Nelson God's Song (That's Why I Love Mankind) Randy Newman Good Time Charlie's Got the Blues Danny O'Keefe Love Has No Pride Bonnie Raitt Walk on the Wild Side Lou Reed Me & Julio down by the Schoolyard Paul Simon Reeling in the Years Steely Dan Children of the Revolution T-Rex Papa Was a Rolling Stone Temptations Pancho & Lefty Townes Van Zandt Dead Skunk Loudon Wainwright Dueling Banjos Eric Weisberg The Song Is Over The Who The Needle and the Damage Done Neil Young Personally, I was just the opposite, moving in with my girlfiend in 1969, going back to school and getting married in 1970, winning the writing prize in 71, getting a writing job after graduation in '72.
Bruce Pollock (bruce-pollock) Sat 10 Oct 09 13:22
Couple of typos in the above: Layla was by Derek & the Dominoes, re-released in '72. The Song Is Over by the Who is from '71.
Bruce Pollock (bruce-pollock) Sat 10 Oct 09 13:23
All right, one last revision. I wouldn't say most of these were my favorites (aka "A Horse with No Name"); just that they were emblematic of the time.
David Julian Gray (djg) Sat 10 Oct 09 17:01
RE: Charlie McCoy's main instrument wasn't bass... Mostly known for his magnificent harmonica playing - Charlie McCoy's main instrument is Charlie McCoy - he's just one of those folk who exude music - and glorius meaningful moving music - I'm sure he could pick up rattlesnake or a broom or a carburator and move us all to tears ... His guitar accompaniment to Highway 61's Desolation Row is one of the great monuments to artisitic achievement ... (I really held myself back there on the hyperbole... wanted to keep it to the facts ... )
Bruce Pollock (bruce-pollock) Sun 11 Oct 09 08:17
Actually, it wasn't "Bob Dylan's 116th Dream." It was "Bob Dylan's Dream," from Freewheelin'--got me through my first year of college.
Every Acid Dealer Gets Busted Eventually (rik) Sun 11 Oct 09 08:37
Pardon the drift, but one of my fantasies as a record producer would be to have been able to get the Fillmore East version of the Allman Brothers to back up Wilson Pickett on "Highway 61 Revisited". That awesome double- drummer shuffle, a four-bar slide intro as a tease to what's to come later, and Pickett comes in, full-bore, with "God says to Abraham, kill me a son..." Admit it. It would have just killed.
Mark McDonough (mcdee) Sun 11 Oct 09 09:03
It would have! "Freewheeling" and "John Wesley Harding" are both on my list of things that I listened to a billion times before some junkie stole the vinyl. Just have never gotten around to replacing them on CD. I've been sorta surprised by how much I've enjoyed "Desire" over the years - I thought I'd get sick of it, but I haven't. And that's a great list of songs. There are a few I don't own, but I've certainly listened to at least half of those in the past year. Although I could never pick just one Steely Dan track. I never listen to 1960s/early 70s music for nostalgia value - to me the music just stands on its merits.
Bruce Pollock (bruce-pollock) Sun 11 Oct 09 10:03
My favorite Steely Dan cut is "Kid Charlemagne," with the great guitar solo by Larry Carlton. I prefer individual tracks because of my love of mixed tapes (and cds). Once, after making a hundred or so, I said to myself, "Gee, I wish I could get a job where all you do all day is make mixed tapes." A year later I had one, at BMG, which lasted twelve years. Unfortunately, most of the time I had to restrict myself to mainly BMG tracks (but what a history RCA had, from Louis Armstrong to Jimmie Rodgers to Tommy Dorsey to the Astronauts).
Scott MacFarlane (s-macfarlane) Sun 11 Oct 09 10:06
Love it, Rik... ...but that is serious drift. The Allman's at the Fillmore East happened way after the end of the musical revolution of '69. July 1971 just doesn't cut it! ;=)
Bruce Pollock (bruce-pollock) Sun 11 Oct 09 11:48
I think you're mistaking "musical revolution" and "revolutionary music" or just plain great music. Anyway, I've always found the subtitle of my book misleading, in that my whole theme is that revolution that started in '65 or so came to an end in '69.
Mark McDonough (mcdee) Sun 11 Oct 09 12:08
Nice job there.
Scott MacFarlane (s-macfarlane) Sun 11 Oct 09 13:58
;=) was just my way of politely disagreeing with you, Bruce. Again, the cauldron of musical vitality from the period starting in 1965, IMO, did not cool until 1972. This is not to say that 1969 wasn't an amazing year. I simply don't see it as the "end," as you suggest. With music at the fore, there was a dialectical morphing of Western culture taking place as a result of the tensions between the counterculture and mainstream culture. It produced a new mainstream (and a great deal of plain music) by the mid-70s. Two key markers of this change in the U.S. were the end of the draft and, then, Watergate. Musically, with the examples I mentioned earlier from Marvin Gaye and a bevy of singer-songwriters, there was too much "revolutionary" fervor still in the air in 1970, 71 and 72, to consider 1969 as the "end." 1969 was the peak, maybe, but not the end.
Bruce Pollock (bruce-pollock) Sun 11 Oct 09 15:06
In my thesis--and I'm sticking to it--68 was the peak and '69 the beginning of a precipitous slide (accompanied by a last gasp--and what a gasp it was--of great music, much like the last gasp of Woodstock, which seemed to symbolize something beginning but just as easily symbolized something ending. Maybe the turnouts were bigger for some of the demonstrations of the early 70s, but I think the counter culture was already crushed. To me, 1970 was The Jackson Five, Bread, the Carpenters, Bobby Sherman, "My Sweet Lord" by George Harrison, "Spirit in the Sky" by Norman Greenbaum. 1971 was Tony Orlando and Dawn, the ChiLites, Olivia Newton John and Donny Osmond. 72= Gilbert O'Sullivan, Mac Davis, "My Ding a Ling" by Chuck Berry, "Sunshine" by Jonathan Edwards. Like radio took a swing to the right, easy listening designed to blot out the turbulent memory of the late 60s. By '74, however, I think it was beginning to heat up again, after the end of the war and Nixon's waterloo at Watergate, Dylan's comeback, and punk rock taking over the Lower East Side.
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