Rock Evolution – The History of Rock & Roll - 1961 (pg 62)

Can I suggest for the playlist "Sixteen Tons" by Tennessee Ernie Ford.

Always assumed he was a country singer, but clearly broader than that.

And a few more playlist suggestions:

Frankie Lymon and the Teenagers: “Why Do Fools Fall In Love”
The Monotones: “The Book of Love”
Dion & The Belmonts: “A Teenager In Love”
Marilyn Monroe: “Diamonds Are a Girl’s Best Friend”
Harry Belafonte: “Day-O (The Banana Boat Song)”

Glad someone went for Dion & The Belmonts, classic sound.

We've already got Alma Cogan's version of 'Why Do Fools' in the playlist, though it does make the point about how much songs were shared and passed around a phenomenon that I think is much less prevalent these days.
 
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Always assumed he was a country singer, but clearly broader than that.



Glad someone went for Dion & The Belmonts, classic sound.

We've already got Alma Cogan's version of 'Why Do Fools' in the playlist, though it does make the point about how much songs were shared and passed around a phenomenon that I think is much less prevalent these days.
We've also had "The Banana Boat Song" as well, which further underlines the point.
 
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I suppose there's no need to pass songs round between pop artists these days as half of them are playing to a virtually identical bloody formula anyway.

Haha. I've finally become my Dad, yay!
I think the transition from a couple of geezers writing a song and then 500 people recording it in the blink of an eye, and the the era of artists mostly writing their own music will be fascinating to observe in this thread.
 
I wonder the degree to which the class system in the UK hobbled artistic growth especially pre-war ? Is it coincidence that the British invasion and creative explosion coincided with other structural changes in British society? These are not rhetorical questions and tbh I can't believe I've never really asked myself them before.
Just listen to any interview with The Beatles in the early 60s and you can hear them pulling the accents back. Listen to radio, film or TV broadcasts and it's plummy accents. Class - and by extension that includes accents - was a major factor in the post war years still. Deference and knowing your place were everywhere.

You had to sound a certain way. That's a way to keep people in check and a short cut to picking which "type" of music you choose to listen to.

The social changes of the 60s basically started to remove the ideas of deference and class to some extent and by the late 60s you can hear accents in musicians. It's a tiny change but it's almost them saying "this is me, I am not one of the establishment! " The British Invasion almost certainly plays a massive part in that - and I can imagine many an accented Brit finding the American ladies quite liked it!
 
I think the transition from a couple of geezers writing a song and then 500 people recording it in the blink of an eye, and the the era of artists mostly writing their own music will be fascinating to observe in this thread.
Transfers directly to Motown, where pretty much all the acts on the books got the same song to do...best one was released,...the others were drip released later...
 

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