Rockin’ In Time
NINTH EDITIONRockin’ in TimeA Social History of Rock and RollDavid P. SzatmaryFormer Vice Provost, University of Washington, Seattle330 Hudson Street, NY NY 10013A01 SZAT1357 09 SE FM.indd 123/05/18 4:27 PM
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To My Wife, MaryA01 SZAT1357 09 SE FM.indd 323/05/18 4:27 PM
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ContentsPreface viiiIntroduction x1The Birth of the Blues 1Born in Slavery 1The African-American Church 3The Birth of the Blues 3Train Stations, Frolics, and Juke Joints 6The Rural Blues Explosion 8The Great Migration 9The Blues Singers 211The Advent of Rock and Roll 15Muddy Waters and the Postwar Electric Blues 15The Wolf 17Bo Diddley and Other Chess Discoveries 184 he Teen Market: From BandstandTto Girl Groups 55Lost Idols 55The Booming Teen Market 56Dick Clark and American Bandstand 57Clark’s Creations 59The Payola Investigation 61Don Kirshner Takes Charge 62The Sounds on the Streets 63The Girl Groups 64The Dream 665Surfboards and Hot Rods:California, Here We Come 68Surfing U.S.A. 69The Sound of the Surf 70The Beach Boys 71Jan and Dean 7273Modern Records: B. B. King, Elmore James,and John Lee Hooker 19Other Discoveries 21Drag City The Blues Audience 22Rock and Roll Emerges: Little Richard andChuck Berry 624Rock and Roll and the Changing American Culture 27Songs of Protest 75Racist Backlash 29The Folk Revival 77The Music Industry versus Rock and Roll 30Sit-Ins, Freedom Rides and Marches 79The Blanching of Rock 31Kennedy and the New Frontier of Racial Equality 82The Story of Arthur “Big Boy” Crudup 32Bob Dylan: The Music of Protest 83Joan Baez 86The Singer-Activists 87Dylan’s Disenchantment 88Folk Rock 893Elvis and Rockabilly 34Rockabilly Roots 34The Rockabilly Sound 36Sun Records and Elvis 37“The Killer” 40“Blue Suede Shoes” 41Johnny Cash 42The Sun Rockabilly Stable 43The Decca Challenge 43Rockabilly Sweeps the Nation 46The Selling of Elvis Presley 47Reactions Against the Presley Mania 49Elvis Becomes a Respectable Icon 517The New Frontier of Folk The British Invasion ofAmerica: The Beatles 7592The Mods, the Rockers, and the Skiffle Craze 93The Early Beatles 95Brian Epstein Shapes the Beatles 96The Toppermost of the Poppermost 97The Beatles Invade America 98The Cute and Safe Beatles 101The Mersey Beat 102The Monkees 104vA01 SZAT1357 09 SE FM.indd 523/05/18 4:27 PM
vi Contents8The British Blues Invasion andGarage Rock 106The British Blues Explosion 107The Rolling Stones Emerge 108The Stones Turn Raunchy 109Success 110The Who 113The British Blues Onslaught 114American Garage Rock 1169Motown: The Sound of Integration 119Motown: The Early Years 119Civil Rights in the Great Society 120The Sound of Integration 122The Supremes on the Assembly Line 123The Motown Stable 12610Acid Rock 128The Beats 128The Beats Reemerge in New York 130The Haight-Ashbury Scene 131The Hippie Culture 132Acid Rock: The Trip Begins 136Rock-and-Roll Revolution 137Psychedelic London 141The Decline of Hippiedom Monterey and the Commercialization ofPsychedelic Rock 11Soul Music: Fire from the Streets Seventies Singers-Songwriters 181Sweet, Sweet Soul Music 18314 ock Turns Serious: Jazz RockRand Progressive Music 186The Jazz–Rock Fusion Begins 186Miles Ahead 188The Offspring of Miles: Fusion Explodes on the Scene 189Progressive Rock 19315The Era of Excess 197The “Me” Decade 197Elton John 199Heavy Metal Theater 199Art Pop in the Arena 205Rumours 206Funk from Outer Space 207Disco 209Corporate Rock 16Punk Rock 211214New York Punk 214The Sex Pistols and British Punk 218The British Punk Legion 222Ska, Reggae, and Radical Punks 223143The Punk Independents 226The Decline of British Punk 227144Postpunk Depression 228The New Wave 230146Black Pride 14817From R&B and Gospel to Soul 152Stirrings in Los Angeles 233Funk 156Orange County Hardcore 234Black Soul in White America Regional Hardcore 237Hardcore Politics in San Francisco 23712Guitar Heroes and Heavy Metal 157160American Hardcore 233Escalating Conflict in Vietnam 16118Campus Unrest 161MTV and the Video Age 239The White Blues 165The New Romantics 240Jimi Hendrix: The Sound and the Fury 166MTV Goes Electro-Pop 242Guitar Rage of the Metal Pioneers 168MTV and Michaelmania 244Heavy Metal Thunder 169The Jackson Legacy 247Woodstock, Kent State, and the End of an Era 173Pop Goes the Metal 24913 oft Sounds: Country Rock, theSSingers-Songwriters, and Sweet Soul 17719I Want My MTV The Promise of Rock and Roll 239253Trickling Down with Ronald Reagan 253Back to the Country 177The Boss 255Dylan and California Country Rock 177The Benefits 258A01 SZAT1357 09 SE FM.indd 623/05/18 4:27 PM
ContentsviiChildren of the Sixties 259The Rap-Rock Explosion 310Classic Rock and the Compact Disc 260Nu-Metal Anthems 31320Country Boomers 26325The Age of the Internet 315The Country Rock Rebirth 263The Advent of the Internet 315Garth Brooks 264The Download Mania and the Ipod 316Free Music for the Masses 317The New Realities of the Music Industry 319The Reinvention of the Music Industry 32021The Generation X Blues 267Generation X 267From the New Wave of British Heavy Metalto Thrash Metal 26926Death Metal and Grindcore 272A Never-Ending War 324The Industrial Revolution 274Life in Wartime 324Global Warming 325Grunge 275Rock Against Bush 326Grunge Spreads 281The Singer-Songwriters 328Grunge’s Demise 283Hip-Hop Pop with a Message 330Black Metal 33122Post-Grunge Party 285Britpop 28527Jam Bands The End of Hope 334The Tea Party 335The Country Counter-Revolution 33623The Hip-Hop Nation 288292African-American Reality 292Old School 293The Second Wave 29728Country Counter-Revolution he Rave RevolutionTand Electronic Dance Music 334340Gangsta 298House and Techno 340Young, Gifted, and Black 300A Rave New World 341New Jack Swing 303Chillin’ Out 344The Return of Shaft 304The Dark Side of the Jungle 345The Big Beat 346Electronic Dance Music Captivates the United States 34724 etal Gumbo: From Rap-RockMto Nu-Metal Hip-Hop Rock A01 SZAT1357 09 SE FM.indd 7309309Bibliography 350Index 36323/05/18 4:27 PM
PrefaceNew to this EditionI have used many new photos and images to make the text more relevant and to better show the connection of rock and roll to social history. I have added new material,including the following: New chapter on Delta blues New section on fusion jazz New chapter on the electronic dance movement Additional new material incorporated into each chapterI have also corrected any errors in the text. I hope that you find this revision useful andwould appreciate any comments as you read it.This text is available in a variety of formats—digital and print. To learn more aboutour programs, pricing options, and customization, visit www.pearsonhighered.com.Music for this title is available through Spotify. The link to the title-specific Spotifyplaylist can be found on this title’s page at www.pearson.com.AcknowledgmentsThanks to several people who helped me with this book: Bill Flanagan, TimothyLeary, Michael Batt, Jamie Steiwer, Peter Blecha, Chris Waterman, Charles Cross,Gene Stout, John Shannon, Richard Carlin, Gary June, Joe Moore, Dave Rispoli, JerrySchilling, Keith John, Joel Druckman, W. Michael Weis, and Sonny Masso offeredperceptive comments and constant help on various drafts of the text. I also thankRobert Palmer, Bob Guiccione, Jr., Alan Douglas, Mike Farrace, Gregg Vershay, andBob Jeniker for their encouragement. I especially want to thank Stewart Stern, Richard Hell, Sebastian, Frank Kozik, Mark Arminski, Alex Conry, Emek, and rapper Ed“Sugar Bear” Wells for their insights. Obviously, none of those who provided assistance can be held responsible for the contents of this book.I have others to thank as well. Jerry Kwiatkowski (Kaye) introduced me to theworld of rock and prodded me to listen to everyone from Captain Beefheart to EricClapton. Mike Miller helped me explore the summer concert scene in Milwaukee. NeilFligstein, Eileen Mortenson, Gail Fligstein, Tom Speer, and Pete Acevez did the samefor me in Tucson and Seattle. On the East Coast, Dave Sharp fearlessly accompaniedme on journeys to see Sid Vicious and explore the meanings of Root Boy Slim.I want to acknowledge my former coworkers at Second Time Around Recordsin Seattle—owners Wes and Barbara Geesman, Dan Johnson, Mike Schwartz, DaveWolter, Howie Wahlen, Jeff Taylor, Rob Innes, Michael Wellman, and Jim Rifleman—foradding to my understanding of rock music and the rock business. At the University ofArizona, Donald Weinstein graciously allowed me to teach a class on the social h istoryof rock and roll, which served as the beginning of this book; Rick Venneri did the sameat the University of Washington. Students in those classes added to my knowledge ofrock music. Thanks to Dudley Johnson at the University of Washington for initiallyputting me in contact with Prentice Hall.I owe a special debt to the late Bob “Wildman” Campbell, the king of psychedeliawho spent many hours with me analyzing the lyrics of Larry Fischer, the nuances ofTibetan Buddhists chants, Bonzo Dog Band album covers, and the hidden meaningbehind the grunts of Furious Pig. He shared with me his definitive psychedelic recordviiiA01 SZAT1357 09 SE FM.indd 823/05/18 4:27 PM
Prefaceixcollection, mentored me about the beats, and suggested that we venture into CBGBs tosee the Voidoids. Besides reading and commenting on this manuscript, he expandedmy musical horizons with a series of demented tapes and letters, which twisted thisbook into shape. Such a debt can never be repaid, and he will be sorely missed.Thanks to my late parents, Peter and Eunice, for instilling in me a love of musicand the written word. A special appreciation goes to my mother who commented onthe manuscript and gave me suggestions for a title.A special thanks to my grandson, Alexander Fantl who constantly expands mymusical boundaries.My daughter Sara constantly brought me back to reality, when I became overly absorbed in the manuscript, and showed me that energy can be boundless. She providedneeded guidance about music in the twenty-first century and gave me hope that rockand roll will never die. In the last several editions, she offered insightful editorial comments about the newest music on the charts and provided invaluable research.Most of all, I want to thank my wonderful wife Mary for her love and companionship, her openness to all types of music, her editorial comments, her willingness toattend concerts when we were both too old for the venue, and her indulgence of my vinyl and rock-poster addictions. For this edition, she continually provided me rockand-roll material for sources, which I would otherwise have not seen. I could neverhave completed nine editions of this book without her understanding, interest, encouragement, and love. I dedicate this book to her with all my heart.A01 SZAT1357 09 SE FM.indd 923/05/18 4:27 PM
Introduction“Rock and roll will be around for a long, long time. Rock and roll is like hotmolten lava that erupts when an angry volcano explodes. It’s scorching hot,burns fast and completely, leaving an eternal scar. Even when the echoes ofthe explosion subside, the ecstatic flames burn with vehement continuity.”—Don Robey, owner of Peacock andDuke Records, in Billboard, March 1957This book is a social history of rock and roll. It places an ever-changing rock music inthe context of American and, to some extent, British history from the early blues to thepresent. Rockin’ in Time explains how rock and roll both reflected and influenced majorsocial changes during the last eight decades. As Ice-T explained in 1997, “albums aremeant to be put in a time capsule, sealed up, and sent into space so that when you lookback you can say that’s the total reflection of that time.”Rockin’ in Time deals with rock music within broad social and cultural settings.Rather than present an encyclopedic compilation of the thousands of well-known andobscure bands that have played throughout the years, it examines rock and rollers whohave reflected and sometimes changed the social fabric at a certain point in history. Itconcentrates on rock musicians who most fully mirrored the world around them andhelped define an era.Rockin’ in Time emphasizes several main themes, including the importance ofAfrican-American culture in the origins and development of rock music. The blues,emanating from American slaves, provided the foundation for rock and roll. During the early Fifties, African-Americans who migrated from the South to Chicagocreated an urbanized, electric rhythm and blues that preceded rock and roll andserved as the breeding ground for pioneer rock and rollers such as Little Richardand Chuck Berry. African Americans continued to develop new styles such as theMotown sound, the soul explosion of the Sixties, fusion jazz, the disco beat, housemusic, techno, and hip-hop.Many types of rock coincided with and reflected the African-American strugglefor equality. The electric blues of Muddy Waters became popular amid the stirrings ofthe civil-rights movement. During the early Sixties, as the movement for civil rightsgained momentum, folk protesters such as Bob Dylan and Joan Baez sang paeansabout the cause. In 1964 and 1965, as Congress passed the most sweeping civil rightslegislation since the Civil War, Motown artists topped the charts. When disgruntled,frustrated African Americans took to the streets later in the decade, soul artists such asAretha Franklin gained respect. During the late Eighties and throughout the Nineties,hip-hoppers such as Public Enemy rapped about inequality and renewed an interest inan African-American identity.White teenagers embraced rock and roll, when the civil-rights struggle cultivatedan awareness of African-American culture. Youths such as Elvis Presley listened to latenight, rhythm-and-blues radio shows that challenged and broke down racial barriers.During the Sixties, white teens readily accepted African-American performers such asthe Ronettes, the Temptations, and the Supremes who had been carefully groomed forsuccess in a mainstream market. At the same time in Britain, teenagers such as the Rolling Stones became obsessed with Chicago blues and brought their version of the bluesback to adoring fans in America. Later in the decade, white youth bought soul recordsand revered Jimi Hendrix as the ultimate guitar hero. By the Eighties, young whitesuburbanites wore baggy pants and chanted the lyrics of inner-city rappers. In the newxA01 SZAT1357 09 SE FM.indd 1023/05/18 4:27 PM
Introductionxicentury, American teens danced at massive festivals to the African-American soundsof house music and techno. During the last eight decades, black and white Americanshave been integrated through rock and roll.Population shifts and generational changes, the second theme of this book, provided an audience for African-American-inspired rock and roll. During World War II,African Americans from the South streamed into large Northern cities such as Chicagoin a Great Migration. Blues musicians such as Muddy Waters came north along withthousands of African-American migrants who provided a ready audience for the electrified blues.When the war ended, soldiers came home to their wives and had children whoas a group became the baby boom and represented one of the most populous generations of all time. By the mid-Fifties, an army of youngsters demanded their own music.Along with their older brothers and sisters who had been born during the war, theylatched onto a young, virile Elvis Presley who attracted hordes of postwar youth.Until the early Eighties, rock music reflected the interests of the baby-boom generation. The music of the Dick Clark era, Brill Building songwriters, the Beach Boys,Motown artists, and the early Beatles focused on dating, cars, high school, and teenlove for young boomers. Catering to post-teen baby boomers during the Sixties, rockmorphed into the serious protest music of Bob Dylan and psychedelic bands that questioned basic tenets of American society. When college-age boomers were threatened bythe Vietnam War military draft and the prospect of fighting in an unpopular war, themusic turned harsh and violent with heavy metal and then escapist after the studentkillings at Kent State. During the Seventies, after the war ended and when many college rebels landed lucrative jobs, glitter rock and disco exemplified the excessive, selfcentered behavior of the boomers. During the Eighties, artists such as Bruce Springsteen reflected the baby-boom yearning for the Sixties spirit of social change.The sons and daughters of the baby boom, born between 1965 and 1981 and calledGeneration X, carried forward the rock-and-roll banner. Disaffected youths born on thecusp of the new generation delivered a stinging British punk rock and an Americanhardcore to vent their anger. Other youth from Gen X watched and listened to Britishdance music, Michael Jackson and a pop-oriented version of heavy metal on the MTVtelevision network. As they grew older, Generation X confronted sobering social conditions with thrash, grunge, death metal, and rap.By the late Nineties, a third generation of youth, born between 1982 and 2001 andreferred to as the Baby Boom Echo, Generation Y, or the Millenials, developed theirown rock. Confronted by a plethora of economic, environmental and political problems, they flocked to socially conscious singer-songwriters and rappers. During thepast decade, amid a conservative upheaval in the United States, many Millenials listened to the traditional message of a country rock and escaped their troubles by dancing to electronic beats.The roller-coaster ec
adding to my understanding of rock music and the rock business. At the University of Arizona, Donald Weinstein graciously allowed me to teach a class on the social history of rock and roll, which served as the beginning of this book; Rick Venneri did the same at the University of Washington. Students in those classes added to my knowledge of
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OH BOY! – Buddy Holly 1957 40 OH MARY DON'T YOU WEEP - Traditional 41 PRECIOUS TIME - Van Morrison 1999 42 PUTTING ON THE STYLE - Lonnie Donegan 1957 43 ROCKIN' ALL OVER THE WORLD - John Forgerty 1975 44 SAN FRANCISCO BAY BLUES - Jessie Fuller 1954 45 SAY YOU LOVE
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