Sunday, May 31, 2009

Rock ‘n’ Roll - ‘Still Is’ or ‘Has Been’?

In my previous posts I have commented on a number of the most influential groups and artist of rock and roll from Elvis who contributed to the formation of the rock genre to the living legacy of rock and roll in the Rolling Stones. These musicians were reaching outside of their boundaries and were bringing together sounds from outside their particular and various genres to create music that was unique in sound to all other known styles, and it became known as Rock ‘n’ Roll.

So what was that original sound? Was it the in the music, with the prominence of the electric guitar? Or was it in the vocals and lyrics? There is not nearly as much difficulty in picking out a country singer or country song, there is a very distinctive sound and style to their music,which seems to be easy to identify when you listen to it. So what is so different about rock? Is the genre just very broad or have we made too many sub-genres within it when we could have distinguished new genres altogether? To another extreme, does ‘rock and roll’ still exist or has it’s time passed? Most of all who gets to decide what is or isn’t rock, and what criteria should be followed?

I could attempt to persuade you that the correct definition of ‘rock and roll’ is the one found in the Miriam-Webster online dictionary:


“popular music usually played on electronically amplified instruments and characterized by a persistent heavily accented beat, repetition of simple phrases, and often country, folk, and blues elements.”

But does this definition convey the essence of rock and roll? I think most people would agree that in order to have a good understanding of what rock is, you would have to listen it. This however, quickly brings us right back to the original question...what songs or artists would you need to listen to in order to get a clear idea of what is considered rock?

If you asked someone off the street what artist you could listen to in order to get a good idea of what rock and roll is, they would likely give you the name of a relatively modern rock band such as Greenday or Blink 182. Others, myself included, would point you to the first group of artists who were considered ‘rock’ artists, like Elvis Presley. Others might tell you to listen to the Beatles, and others yet might say Jimi Hendrix or the Rolling Stones (Grierson 2009). All of these artists had their own style and uniqueness, which is what made them such legends in their own respects, but there were also similarities (Grierson 2009). I think it is those similarities that make the essence of rock and roll, and I also think that that essence comes across differently to different people.

Ultimately I think it is very difficult to define rock and roll, and that in order to get an idea of what rock is, you should listen to a variety of artists who are considered to be in the ‘rock’ genre. I think every individual experiences rock in their own way, and from that will make their own decision, apart from what music ‘professionals’ say, as to what they consider rock and roll.

So as for the questions I posed at the start of this post:

When I think of true rock and roll, I think of the prominent electric guitar with a quick paced bass drum and snare combination for a full sound and edgy vocals and lyrics to pull it all together. I think that single bands or artists can make music that falls under a number of genres and so it is also hard to categorize artists. I also believe that over time the rock genre has been spread thin by the creation of sub-rock genres. If it were me, I would break off some of these sub groups into new genres. Most importantly I believe true rock and roll does still exist and that we as consumers should make up our own minds as to what should be considered rock.

But hey, that’s just me.



References:

‘Rock [2] noun’ in the Miriam-Webster Dictionary Online, viewed 1 June 2009, http://www.merriam-webster.com/dictionary/rock%5B2%5D.

Grierson T. 2009, What Is Rock Music: A Brief History of Rock Music, About.com, viewed 1 June 2009, http://www.newcastle.edu.au/service/library/biol1030/harvard.html#web.

John Lennon's having a revolution in his head and you're all (sorta) invited


He's a funny bloke that John Lennon. For all his incredible musical talent, revolutionary spirit and innovation in the world of rock n roll, not to mention his status as arguably one of the giants of the world's greatest rock group (do i even need to say who?) I'm really having a hard time pinning down who this guy really was and what he was about.

Oh sure, i know he was into peace, unity and the coming together of a world divided against itself, but after taking a slightly closer look, one can't help but think that Mr Lennon might himself have had trouble making his mind up and choosing who to back, even amongst his closest friend's.

1968 was a year that Platoff (2005) describes as "a high point of political unrest in the 60's", recounting the Tet Offensive at the apex of hostilities in the Vietnam War, protests of 100's of thousands of anti-war protestors, police brutality, student riots in France and the death of Martin Luther King Jnr to a sniper's bullet as crucial events which would shape the social and political climate of the year. In this same year of turmoil and upheaval, John Lennon recorded with the beatles most of the material which would comprise their all time classic self titled album, now commonly known as The White Album, nestled amongst which was the song "Revolution", a song intended to reflect John Lennon's and (at least in Lennon's mind) the band's sentiments towards the war.



Interestingly enough, the song itself has more than one version, which itself is indicative of the doubts Lennon had for the direction that these 'revolutionaries' were taking and the measures being used to achieve the desired ends. Three versions exist on wax, the first, as a studio recording containing the ambivalent lyrics "But when you talk about destruction, Don't you know that you can count me out---in". The next version of the song, released as a b side to
"Hey Jude" came without the ambiguous addition of the word "in" at the end of the lyric, before being released with the original lyric on The White Album itself.

Citing causes for the difficulties in deciding on content and performance of the song (the instrumentality differs from version to version), Lennon asserted that members of the band objected to the pace of the song, its outspoken political sentiment and the return of Lennon's dominant personality to the group. Perhaps most importantly however, Lennon's own doubts about the aims and ideas of the civil right's and ideological movements of the time are brought to the fore, something which we observe directly in his lyrics.

The song itself was supposed to be an expression of distaste against the emergence of violent tactics on the left, the abandonment of non-violence and a call to wage a revolution within, in order to change the world. However coming from a millionaire to the masses, this was received by a public which railed against it as preachy, narcissistic and hopelessly absurdist for its baseless optimism: "You know it's Gonna be All Right" formed part of the chorus.

Lennon was slammed by many radicals questioning the legitimacy of older tactics to achieve social change, perhaps surprising only Lennon himself. But he never stopped wanting to revolutionise, he never abandoned the causes and the issues he felt were important.

Rock music is often characterised as subversive and championed by social movements and causes when they fall in line with their aims and objectives. Lennon's idealism, spirit and humanity has been praised by countless millions, his music immortalised and canonised as Rock gospel. However here is what can happen when a darling of the revolution decides to shift stance. Calling for counter-revolution mid-takeover obviously isn't too popular with the higher ups then. Who knew? Maybe John should have just fallen into line and kept it kosher with everyone? I think John's answer might not have been so ambiguous: Count me out.



References:

Platoff, J. (2005), 'John Lennon, "Revolution" and the Politics of Music Reception', The Journal of Musicology, Vol. 22, No. 2, pp. 241-267


Rock and Roll Has A Hero





Bon Jovi, Queen, David Bowie, Kings of Leon, Tom Petty, Bob Dylan, Johnny Cash and The White Stripes have been announced that they will be appearing in a lineup in September 2009. No camping overnight necessary or queuing online for tickets to come on sale. This exclusive line up can be purchased from your local electronics store in the form of Guitar Hero 5, the newest edition to the company’s line of video games.

The commercialism of Rock and Roll has been taken to an all new level with the invention of the Guitar Hero video game series. However, this is one marketing ploy that has brought apparent life and rejuvenation to the rock and roll industry.

Guitar Hero is a video game designed for you to become a rock star in the comfort of your own living room. Players use a guitar shaped console that they can strum, pluck and shred on like their rock star heroes, while playing along with their favourite rock and roll song.

The introduction of Guitar Hero World Tour Edition in 2008, allowed more than one player to play the game at the one time, with the addition of vocals and drums to the fore.

This year’s version, Guitar Hero 5 is one of the most anticipated game releases ever, with the afore mentioned big names, all agreeing to lend some of their best songs to the game for fans to play along with.

While the description of Guitar Hero could trivialize these artists, they seem to have no problem with the game and are more than happy to lend their face, name and creative skills to promote the program.

The lead singer and founder of Def Leppard, Joe Elliot, has nothing but admiration for the game and its creators as he states on the television series, Live from Abbey Road. The series follows a bands recording process and records candid interviews on the current state of the music industry.

Elliot describes that products like Guitar Hero have allowed them to expand their fan base to a significantly younger audience. Guitar Hero is also responsible for the bands longevity and their ability to be able to do an international tour 20 years after their prime time moment.

Guitarist of Guns n Roses and Velvet Revolver, Slash, is another that has leant his face and music to promoting the game, giving it by far the most credibility among the rock community yet.

It appears that this is the one marketing product that has resonated with the music industry and its fans. Guitar Hero has been able to compliment rock music and not take away from the real music makers. It has even managed to give the tired old 80’s hair metal stars a second wind, with more and more albums being released by 80’s rock icons than ever before. Guns n Roses, Bon Jovi, Def Leppard and ACDC are among some of the bands releasing new music in the past 2 years.

References
Guitar Hero, accessed via Internet Explorere, May 29th, 2009.
URL:
http://gh5.guitarhero.com/about.php
Rolling Stone, accessed via Internet Explorer, May 29th, 2009.URL:
http://www.rollingstone.com/rockdaily/index.php/2009/05/28/guitar-hero-5-exclusive-10-bands-in-september-1st-game/




They're Back in Black



With ACDC tickets coming on sale last week and sweeping the nation in a 30 minute sell out, I thought I would celebrate this rock and roll event with an artist close up. I thought rock and roll was dead, along with its supporters. However last week’s mammoth turn out for the little Aussie pub band has blasted this conception right out of the water, and proved that this four piece ensemble is still kicking it.

ACDC was formed by the Young brothers, Malcolm and Angus in the early 1970’s upon their migration to Sydney Australia. The Young brothers were born in Glasgow, Scotland and were inspired to play music by their older brother George who was a member of the Easy Beats, another successful music group from that time.

There has been much speculation about the band name ACDC and what it represents. According to Angus, the name came from the back of a sewing machine that their sister Margaret owned, dispelling all rumours that it was a metaphor for the bands swinging sexual orientation.

In 1973 the two brothers displayed their unique guitar sound at a New Years Eve party at Chequers Club in Sydney, and the rest they say is history.

Malcolm and Angus moved from Sydney to Melbourne within days of their first successful gig, and threw all of their energy into finding a lead singer that would compliment their shredding guitar sound. Bon Scott, a fellow Scotsman, was the man for the job, who had a voice that could match Angus’ guitar. Albums such as ‘High Voltage’ and ‘T.N.T’ cemented them as bonofied rock gods within Australia and soon internationally, conquering Great Britain and the United States in the late 1970’s.

The bounding success came to a dramatic hault with the death of one of a kind front man, Bon Scott at age 33. However, it was thought by the remaining band members that the best way to celebrate and remember the legacy that Bon had left behind, was to continue playing and writing the music that he would love to hear.

One of Bon’s favourite bands, the Geordie, was able to provide more than just good listening, with the lead singer of the group jumping ship and becoming the new lead singer of ACDC. Together with the new lead singer, Brian Johnston, ACDC went on to produce some of its biggest hits with albums like Back in Black and anthems like You Shook Me All Night Long.





And now they are Back in Black again, with their new Album and national Black Ice tour. The lines for the tickets have been kilometers long, with people queuing up for days camping outside ticket booths. With 11 Australian shows, ACDC are not dead yet and are definitely injecting the rock and roll community with a much needed power surge.


Check out their official album for more info on the band, the tour and how to buy merch... well worth it.





References:
Homes T, 2009, ‘Biography’, ACDC Official. Accessed via Internet Explorer on May 30, 2009.
URL: https://tickets.acdc.com/


The Drugs of Rock and Roll


So I’ve always wanted to know while growing what the drugs in the “sex, drugs and rock and roll” phrase is. So here was my chance to find out. My search uncovered that early rock groups such as the Beatles start with the drug cannabis and were also one of the first bands to publically announce that they actually used the stuff. But by releasing this information into the public domain it gave rebellious youths all over the world the idea that drugs are cool because the Beatles do them. Strangely enough this revolution started around the same time as the hippie movements across the world.

It wasn’t until the late 1960’s – 1970’s that bands started to publically admit that other drugs were being sampled and even that some bands had become addicted to certain ones.much of the rock and roll cachet associated with drug use dissipated as rock music suffered a series of drug-related deaths and Although some amount of drug use remained common among rock musicians, a greater respect for the dangers of drug consumption was observed. At the peak of the drug/ rock and roll revolution drugs such as cocaine and heroin on top of the publically know use of cannabis and LSD.

So to summaries the drugs that were ushered in with the rock and roll revolution are still around today and youths still are following in the footsteps of their favorite bands and singers to try bigger and newer things. While there has been a step decline in the use 0of recreational drugs due to having a better knowledge of their effects on the human body. They are still out there.

Source = http://en.wikipedia.org/wiki/Social_impact_of_rock_and_roll

Rockwiz!


Rock is not just about the stars - its about the adoring fans too. Rockwiz, a rock game show screened on SBS each Saturday night, pays true homage to the fans of rock music. The game is played at the Esplanade Hotel in St Kilda, Melbourne. An apt venue, 'The Espy' as it is fondly called has been a very popular live music venue since its doors opened in 1878. It has hosted such stars as Paul Kelly, Dallas Crane, John Farnham, Jet and Wolfmother.

Rockwiz itself is hosted by Julia Zimero and Brian Nankervis. Before the show goes to air Brian holds a quiz among audience members, the four with the finest of rock knowledge are invited to participate in the show, the final member of each three man team is a star of some sort of music fame. Last night the 'stars' were John Paul Young (JPY) and Betty Harris. Now, as far as I am aware, John Paul Young is not known for his rock music; his fame lies in disco, stage musicals and pop. Before I could bag JPY's musical career (which is predominantly made up of "Jesus Christ Super Star" performances and "Love is in the Air"), Julia offered a little bit of trivia which almost gave him credibility - before Bon Scott, AC/DC reportedly asked him to be their lead singer! JPY dismissed this as a rumour and just like that his rock cred was gone. In all fairness though, he did play the game well so while he may not be a rock performer he very well could be another rock fan.

Betty Harris, while not a rock star herself, is a brilliant soul singer who is widely respected in the music industry (hey, its not pop so its ok). Her knowledge was not quite as broad as JPY but her life performance of "Cry to Me", which she originally released in 1963, completely made up for it!
She has amazing stage presence and a beautiful voice to go with it.

While the guests are not always 'rockers', the "Rockwiz Orkestra" certainly are. As usual, they amazed everyone with their abilities. They do not have a lead singer (though the lead guitarist has the presence of one), apart from that they are a true rock band. There is a lead electric guitarist who also plays the organ (he switches between the two with admirable ease), a bass guitarist and a drummer. The segment which best shows off their talents is 'million dollar riff' - the name of this segment is taken from a Sky Hooks song. Each riff is a flashback for all the rock fans out there, many of which are playing along with their 'mouth guitars' (you know the one).

Aesthetically, Rockwiz is less than glamorous - and we love them for it! The performers are sweaty on stage, the guests dress themselves and do their own hair and make-up so their true style shines (literally), and the room has a true live venue in a pub feel (probably because it is a true live venue in a pub). It embodies authentic rock culture. Everything is black, red and gold and hosts are always dressed in their own interesting style. Honesty, realism and grit make the show the success that it is - if you haven't watched it yet you have to tune in next week!

This show is the perfect combination of rock meets TV. It has kept the facets of rock that we love while providing a great show made just for the rock fans and enthusiasts.

Check it out on http://www.sbs.com.au/rockwiz

Saturday, May 30, 2009

The Case of Japanese Rock-Copycats of a genre, unique or something else?

Yasser Mattar's (2008) "Miso Soup for the Ears" is an analysis of the emergent musical styles in Japanese culture that have mirrored their contemporary Anglicized counterparts, tracking this development from the dissemination of popular Rock music in the 1950's and 60's across the world and through to the present day's rocker's and hip hoppers in the Japanese music industry. Whilst the mainstay of the article's audio comparisons and visual contrasts read like a 10 year old's science lab report (okay so that may be a slight exaggeration), the article does note a few key points:

1. The assertion of copycat trend mimicry in Japanese music only really holds weight in so far as it notes that cultural trends disseminate across global borders regardless of notions of race, culture and authenticity.
2. Japanese cultural forms of Rock music have developed over the course of decades, exhibiting both similar trends to anglicized Rock and later more divergent fusions of Japanese culture and Aesthetics through the use of what Mattar describes as Kei visual, a generically diverse form of semiotic communication through costumes and aesthetics of appearance designed to "shock the audience visually with pomp and pageantry". I have provided a youtube video below exhibiting some of the differing Kei styles. Ironically enough the video itself is referencing the adoption of many of these trends into Western societies and sub-cultural groups and shows an interesting retroactive loop in the communication of cultural trends.




Conversely, in Bourdagh's (2006) article on the stages and cycles of musical culture in Japanese rock culture, special attention is paid to the role of Record Labels themselves and their role in both producing and by extension limiting the images of popular rock groups of the day, especially in regards to how this is believed to have inspired the emergence of Japan's own unique Rock Aesthetic.

It seems then that the biggest similarity between the two counterparts, Japanese and Anglicised Rock lies not so much in the perceived transplanting of trends, but more in the similar ways in which the two have evolved through the processes involved in the establishment of the culture itself.


References

1. Mattar, Y. (2008) 'Miso Soup for the Ears: Contemporary Japanese Music and its Relation to the Genres Familiar to Anglophonic Audience', Popular Music and Society, Vol. 31, No. 1, pp. 113-123
2. Bourdagh, M. K. (2006), 'Za Kinkusu: Ray Davies and the Rise and Fall of Japanese Rock and Roll', Popular Music and Society, Vol. 29, No. 2, pp. 213-221