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CLASSIC ROCK PDF

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Classic Rock UK - Issue , is a British magazine dedicated to rock music, published by Future PLC, who are also responsible for its. Free download Classic Rock Special Edition-AC DC () - magazine, book reading online without registration!. No wonder this shit gets passed around the net, screw you Hal Leonard and anyone who enforces that. Page 3. CLASSIC ROCK. FOR FINGERSTYLE GUITAR.

PromotingCelebrationDay,themembersofZeplookedbackand forward. Butrather thancancelaScandinaviantour, guitaristJimmy Pagehadtakentheopportunityto relaunchtheband withsingerRobertPlant, drummer JohnBonham, andnotedsessionplayer JohnPaulJones onbassandkeyboards. After sitting throughsupportbands DowntownFaction, theJuncoPartnersand NewYorkPublicLibrary thelatteralate replacementfor Terry Reid ,theaudiencefound themselves confrontedwithanunfamiliargroup.

JimmyPage:Weoriginallythoughtthatbycalling ourselvestheNewYardbirdswewouldbeableto keepasortofcontinuityfromtheearlydaysofthe oldgroup. BrianGreenaway Mayfairmanager, : Itallexplodedinthes. Wehad somereallybignameson,peoplelikeTheWho. Sorting myth from fact FraserSuffield promoter :Ipromotedalot ofshowsinthe60sandearly70sattheMayfair. IbookedtheYardbirdsgiginearlyviathe Sherry-CopelandAgency. BobSargeant keyboardplayer,theJunco Partners :FortheseMayfairgigstherewould usuallybeanationalband,anup-and-coming nationalbandandtwolocalsupports.

Wehad alotofjugglingaroundwithdatesaboutthen. Weonly foundoutweweresupportingTheYardbirdswhen wegotthere. TheYardbirdshadchanged alotsincethenbutIwasstillmildlyinterestedto seethem. Hewasaverywell-respected guitarplayer,butveryquiet,reservedand shy.

Itwaslikeastick withapointononeendandmachineheadson theother.

WhileIwasthere,inwalksJohnPaul Jones. Hehadagowithmybass,andstartsplayingthe basslinetoWholeLottaLove,althoughofcoursenone ofusknewitthen.

Itsoundedtotalrubbishonan uprightbass. Thestringswereacoupleofinches offthefretboard,makingitreallydifficulttoplay. CharlieHarcourt guitarist,theJuncoPartners : Beforethegig,eitherthebandortheirroadieasked iftheycouldborrowourorgan.

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Wetoldthemno,theyshould havebroughttheirown. Instead they saw the future of rock. FraserSuffield:Somebandshadrider requirementsaslongasyourarm. RayLaidlaw:Thiswasinthedaysbeforeriders reallycamein. Ifyouwereluckyyoumightget acrateofbeer. Allfourbandswereinthesame dressingroom,whichwasalarge,disusedbarat thesideofthestage. Wewereallmillingaround, comingandgoing.

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Hewas theonlyoneIspoketo. CharlieHarcourt:TheMayfairhadarevolving stage,soonebandwouldbesettingupattheback whiletheotherwasperforming. Whenthatband finishedtheirset,thestagewouldturnandtheother bandwouldarrive. The corridorsbackstagewerefullofgear.

On the other hand, the technological control of the album — its composition, performance and studio production are all in male hands. Notably, Torry was also asked to improvise her part, and claims she had no idea what they wanted and no idea what she was actually doing Lambert.

Women supply the body, men the mind. This is not to say that women are body, but rather that control is here associated with a mental mastery, and that this is associated with masculinity: 'For male instrumentalists throughout history, the delineation of gender has been nearly always metaphorically transparent: it is there, but we do not see it, we see through it Masculinity is normative in relation to music, and thus it is invisible, in contrast to women, whose sexuality tends to be highlighted because of the male gaze.

Pink Floyd are marked by such discourses of impersonality — their studio based works privilege an overall sound picture rather than the personalities of the musicians and even their live performances privilege technical excellence and spectacular visual effects over the performance personae of the band members.

In this sense they are perhaps more like an orchestra than a rock band — their individuality is subjugated to the collective project of realisation of a 'masterwork'.

Indeed in general, the group is remarkably 'faceless'. In contrast, a Rolling Stones tribute band would more or less require performers who looked and sounded like Mick Jagger, Keith Richards etc.

Green goes on to consider how masculinity is normalised in relation to music by its association with composition: 5 Composition itself is gendered through its association with mind, and through its impersonal control of a large ensemble.

Whilst we listen to music, it is not just the inherent meanings that occupy our attention, but also our idea of the composer's mental processes. The masculine delineation of music is articulated through. A comparison may be made with film auteur theory — the value of a work is related to the 'mind' that 'created' it, which is not directly present but is articulated through technical elements of mise-en-scene, editing, cinematography Sarris, But who is the auteur of Dark Side? Waters' lyrics display a thematic coherence from Dark Side on that arguably give him the status of auteur, plus the fact that he writes the majority of the songs, and seems to have originated the concept of this and other Floyd albums Animals, The Wall Jones , pp.

His control of the band in visionary and other terms places him close to the discourse of the composer outlined above by Green. Deena Weinstein describes Waters' affiliation to high art , p.

Such control involved manipulation of the other musicians in the band, and when they didn't measure up, Waters replaced them or attempted to alienate them, Rick Wright for example.

In Waters' view, the band became increasingly a vehicle for what he had to say, rather than a cooperative enterprise.

Classic Rock Magazine # 139 : Space Rock

The recording was very ordinary, really' quoted in Resnicoff, The album marked the point at which he began to assume control. However, it would be unfair to single out Roger Waters for criticism although many have and to reduce gender to the reported behaviour of individuals to argue ad hominem, so to speak.

Moreover, even though Waters may see himself and be seen as an auteur, it is fairly clear that rock music like film is collaborative and that authorship is probably better understood in collective terms. Foucault suggests that it is misleading to read power discourses, for example gender, only in terms of authorship.

In Foucault's terms, what matters most is not so much what is 'in' the discourses e. In other words, not who did it, but how was it done? This leads towards a consideration of Dark Side in terms of technology and gender I am not suggesting that technology is only oppressive, but rather that in specific instances, it can be used in the interests of a dominant group.

It is thus possible for an individual to use multitracking to achieve a total musical vision, adjusting parts by overdubbing, like the composer rewrites a score to make each part 'perfect'. As the complexity of equipment increased, so too did the cultural and financial capital required to gain access to the means of production. In 7 effect the record industry had ceded control to a coterie of established rock-masters Toynbee, , p.

This coterie involved both the 'superstar culture' mentioned above, but it also gave a new status to the 'technological expert', the usually faceless technologist whose knowledge of complex technology and 'abstract systems' is essential to the maintenance of production - in the case of rock, the 'producer'.

Masculinities in modernity, I would argue, are marked by their association with discourses of power: rationalisation, industrialisation and technological knowledge Giddens, , pp. Power in Western industrialised society increasingly 'expresses itself not directly as authority but indirectly as the transformation of all relationships into objective, instrumental, depersonalised forms'. Benjamin, , pp. Authority is asserted through the implementation and adjustment of 'abstract systems' and their manipulation and control, rather than through direct performativity or 'machismo'.

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This created one of the great marketing strategies of all time — the anti-image image … think about the powerful icons the band have created … These are amongst the most recognised and evocative images on earth It also suggests how 'high art' values segue neatly into consumerism.

Yesterday's concept album is tomorrow's 'high concept'. Pink Floyd in this sense have become a very much a 'corporate' entity, marked by the same anonymity that we often find in modern multinationals, what Jeff Hearn describes as a 'public' masculinity , p. In classical music, body is subservient to mind — the mental concept of the composer, as articulated in the score, is central, and the orchestra is like a machine which translates this into sound.

Bodily display is kept to a minimum — both orchestral players and audiences may not physically respond to the music except within tightly controlled limits — the movements necessary to play, the applause at the end of the piece.

Moore describes the affect of a typical Floyd track as 'almost solipsistic', which again emphasises the subjective aspect of 'inner space' p. Live, Pink Floyd showed a strong interest in controlling audience experience, rapidly moving from the 'freak-out, into the more controlled, refined atmosphere of the arts festival', where they could experiment and improve their sound — the technological sophistication of their presentation clearly required a more upmarket, bourgeois setting than the average rock concert.

Their response was not to change themselves, but to change their environment. Floyd's concern with 'quality control' led to a highly 9 structured concert experience in which the band's 'works' were often faithfully reproduced in their entirety, including Dark Side Welch, , p.

Such an approach is more redolent of classical than popular music, and perhaps it is unsurprising that Waters eventually became frustrated with the 'passivity' of audiences leading to The Wall. But one has to say that the band put up the wall themselves, by buying into the high art ethos, which is based around controlling dichotomies that reproduce patriarchal structures.

Rock and popular culture Rock as popular culture emphasises resistance to rather than complicity with dominant social groups, a creative form 'listened to and made by the same group of people' usually working-class youth Landau, , p.

In academia, the work of the Birmingham School of subcultural studies Hebdige, Willis articulates this broadly left-wing agenda, but it is also a founding tenet of rock criticism hence the Landau quote. Central is the idea that rock music legitimates itself by articulating the voices of repressed groups, particularly, I would argue, in terms of age, class and ethnicity rather than gender.

Hence arises the concept of homologies between musics and repressed social groups, mythologies of rock's working class 'street credibility' and perhaps most importantly of its African-American origins.

For instance, Dick Hebdige treats Mods as emulating the 'cool' of the potent 'immaculate' African-American man, placing them squarely in a masculine lineage , p. Similar themes of gender and race also occur in relation to rock performance. Writing on the electric guitar as a cultural signifier in rock music, Steve Waksman suggests 'a racial subtext For it was during this period [the mid 60s] that the electric guitar came to embody a certain set of countercultural desires that hinged upon the transference of sexual identity between African-American and white men' , p.

Thus Hendrix made even 'superstar' white musicians such as Eric Clapton, Mike Bloomfield and Pete Townshend, feel inadequate and 'emasculated' , pp. Instead, Syd's music brought forth a white middle class art school agenda' Jones, , p. A crucial intermediary genre in this process was psychedelia, which encouraged such experimentation in the first place, and became, especially in the UK, a way of articulating a new kind of rock masculinity that did not depend for its legitimation upon African-American musical forms.

Pink Floyd as Psychedelic Mummy's Boys Psychedelia, argue Simon Reynolds and Joy Press in The Sex Revolts, is a key to understanding changes in the ways masculinities were articulated in 60s rock music, offering a 'way out' for white masculinities who felt that they could not compete with the perceived authenticity of African-American musicians, whose claims to be 'the people' were always going to be more compelling than those of middle-class English white boys.

Pink Floyd fit the model in a number of ways — they were clearly psychedelic in terms of their audiences and milieux and also their music, which favoured drones which Reynolds sees as a fundamental element of psychedelic music , 'weird' sound effects, mind-expanding light shows, and Barrett was certainly infantile.

Later they lost Barrett's quirkiness, but adopted the slow tempos and hypnotic effect that characterised their 70s sound, rock pastoralism, a kind of 'relax and let it all wash over you' effect, which Reynolds and Press find womblike and embracing. I would suggest that this model is a simplification.

What psychedelia did, I would argue, is rearticulate a masculine myth of rock authenticity by moving it away from African-American 'origins' and finding an alternative source of authority in the past, literally — the myth of paradise, of original innocence, childhood. This return to Eden was effected through psychedelic drugs that 'destroyed' the masculine superego and restored a primitive naivety. It also connected strongly to Romantic ideologies about the 'true' vision of childhood, and the nostalgic, regressive Arcadianism that is a recurring theme in English middle- class culture.

Notably however, their discussion stops abruptly short of Dark Side, and we might wonder why this is the case. Perhaps it is because its lyrical themes are implicitly critical of the whole psychedelic mummy's boy thesis. Clearly the group's involvement with Barrett is at least partially responsible for the band's lyrical preoccupation with madness and marginality, but their take on such themes is far removed from Reynolds' giddy Utopianism.

More broadly, perhaps it is that to hear psychedelic music purely as an expression of 'male passivity' overlooks the aspects of technological mediation and performance, aspects very much to the fore on Dark Side.

Indeed, the growth of psychedelia is inextricable from discourses of technological progress and mastery of the recording studio. The Beatles' psychedelic period coincided with and was inseparable from their growing mastery and manipulation of studio technology, assisted by George Martin and the other Abbey Road sound engineers.A crucial intermediary genre in this process was psychedelia, which encouraged such experimentation in the first place, and became, especially in the UK, a way of articulating a new kind of rock masculinity that did not depend for its legitimation upon African-American musical forms.

The music predominantly selected for the format has been identified as commercially successful songs by white male acts from the Anglosphere , expressing values of Romanticism , self-aggrandizement, and politically undemanding ideologies. From Wikipedia, the free encyclopedia. A second point of similarity is the perceived 'anonymity' of dance producers, which could be seen as continuing a tradition of 'retiring', non-performative masculinities, hiding behind their machines, like Pink Floyd in live performance: super techno boffins, whose physical non appearance belies their mental and financial mastery and control.

Three days leading up to January 1, , MTV Classic aired hour block "Decade-a-thons" consisting of music videos from the s leading up to the s. More broadly, perhaps it is that to hear psychedelic music purely as an expression of 'male passivity' overlooks the aspects of technological mediation and performance, aspects very much to the fore on Dark Side. We hope you will give us a try and sign up for a lesson today. Connell, Robert.

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