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YouTube Channel
Fingal's Cave - Syd Barrett

As time goes by, rumours and stories about musicians and performers often become distorted to fit the more outrageous, dramatic, or desperate side of things. This is often the case for Syd Barrett, one of the founding members of 'The Pink Floyd' as they were termed in the mid-sixties. Barrett is often depicted as a musical genius who became troubled - a lost figure who spent years wandering in the wilderness after parting from the band at an early stage. Ian Priston revisits Syd's story through a Fingal's Cave podcast (for all dedicated Pink Floyd fans) and takes the time to chat and listen to the real story without all the rock 'n' roll baggage. Thankfully, some of the darker rumours are dispelled thanks to an open and honest interview with Rosemary Breen, Syd's sister. At last, maybe the real Syd (Roger Barrett the artist) is revealed by someone with sensitivity and the authority to tell things as they really were post-Floyd, away from all the journalistic hype.

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Produced and Shared by : Fingal's Cave Podcast

YouTube Channel
Justin Hawkins Rides Again

Justin Hawkins talks about the music industry, or 'the music trade', as he more accurately puts it (as from a musician's perspective), and the issues surrounding the fascinating and sometimes challenging lifestyle of a musician in candid podcasts that are both entertaining and well put together - a reflection of the ethos surrounding The Darkness and his other musical projects. Hawkins enjoys a good chat and opens up his honest views on a variety of musical and personal subjects while wearing an array of sensible outfits.

A word or two from Justin himself...

Shared by Justin Hawkins Rides Again : The Darkness

YouTube Channel
Rick Beato

Rick Beato (pronounced be-ah-toh) has a wealth of musical knowledge and a lifetime of stories covering some of the most important and formative decades of musical development ever. Beato has been involved in playing and production to a high level for most of his working life, but surprisingly, he has stepped back from production to take the time to document how things were and how things are likely to be in the future as a kind of unique musical witness statement, which he delivers from his equipment-packed studio (Black Dog Sound Studios) in Georgia. The result is a fascinating array of views, analysis, top-notch interviews, and even rants - all backed with real passion and technical knowledge, both musically and in terms of modern-day copyright issues. Along with the stories, Beato is also an educator and offers guitar tuition courses and presentations for those about to navigate such a complex industry.

A word or two from Rick himself...

Shared by Rick Beato

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Alright? Not 'arf.

Were your ears glued to the radio for The Friday Rock Show (Tommy Vance) or The Saturday Rockshow (Alan Freeman) during the 80s and 90s? Now you can revisit or discover the voices and times of these two great rock vendors along with their iconic jingles, and the artists of the time through selected shows shared by David Garnett on MixCloud - both shows were produced by Tony Wilson for BBC Radio 1.

The Rock Shows - Revisited

You can also listen to the latest incarnation of the BBC Radio 1 Rock Show presented by Daniel P Carter

Shared by David Garnett Playlist: Radio Bits : Steveo99

SITE
Word In Your Ear

Since the late seventies, Mark Ellen and David Hepworth have contributed to the music industry as authors and presenters through some of the biggest journalistic outlets of the time. This included the print publications Record Mirror, NME, Time Out, and The Word magazine. They have also presented early radio shows and the music TV show The Old Grey Whistle Test (1982). They continue to document and catch up with news, views, and musical legends with new online podcasts and music events under the title Word In Your Ear.

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Jet Records

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Jet Records was a recording label and management company that was established in 1974. This playlist explores the myths and legends surrounding Jet, and takes a deeper look at some of the associated artists that contributed to the label's success. The playlist features Roy Wood and Jeff Lynne, and includes one of the best ever Ozzy Osbourne interviews with music broadcaster, Billy Pinnell.

Shared by: tedblight : UKRockHistory : manintheclinic : Chris Stewart

A second playlist features some of the artists that were associated with Jet...

Playlist - Artists

SITE
The Strange Brew

A vast and comprehensive collection of podcasts, interviews, and features about music and the music business from the mid-sixties onwards. Includes a podcast featuring a book about the Marquee Club in London from Robert Sellers and Nick Pendleton, son of founder Harold Pendleton (Marquee : The Story of the World's Greatest Music Venue published by Paradise Road).

External Links

ARTICLE
The Psychology of Death Metal

Death Metal is often seen as the extreme end of the metal genre in terms of the raw energy and attitude that's put into the often violent subject matter. Many don't get it or just loath it. Others love it, but why?
Academic and author William Forde Thompson takes a look at the psychology behind the more extreme and emotional ends of the music spectrum.

Article authors: William Forde Thompson and Kirk N. Olsen. Shared by theconversation.com

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PULP The Story of Common People

The official video followed by a documentary from BBC Three featuring a focus on the track Common People from PULP (1995). How it came about, and a reflection of the music scene and the band at the time.

Shared by PULP : Victor Hugo Silva

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Auger and Hendrix

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King of that Hammond sound, Brian Auger talks about early meetings with Jimi Hendrix, how the musicians used to network, and how the music industry developed.

Shared by Beat-Club : StaggStreetVideos : Jazz on MV : Care Visions Healthy Ageing : WDR Rockpalast

SITE
Louder Than War

John Robb originated, and writes for, the music culture website Louder Than War which emanates from a punk perspective, and broadens out to include various genres of music, along with news, film and book reviews, and some amazing interviews from a variety of journalists and contributors. Robb is a journalist and author, and musically active with the bands Goldblade and The Membranes. He is also a curator of the literary and music focussed festival Louder Than Words

SITE
John Peel Competition

This is a fascinating story from the winner of 600 electronic music records, won in a competition run by DJ John Peel back in 1998 (a prize from his own collection). Luckily, the prize went to someone who understood the significance, and the genre. The result is a shared back-story and samples of the records presented as a two hour production on Mixcloud.

Shared by peel600 (External Link)

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Charlie Watts
If It Ain't Got That Swing

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A tribute to Charlie Watts (1941-2021). Interviews and clips about his playing and musical interests.

Shared by TubeworksVideo : The Rolling Stones : Deltics IORR : Rolling Stones Data : NME : Music Reserves

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Viola Smith

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A tribute to professional drummer Viola Smith (1912-2020), with additional live footage including Frances Carroll and The Coquettes. This interview is from Tom Tom Magazine - a publication featuring female percussionists and drummers from all over the world.

Shared by Tom Tom Magazine (see playlist for additional videos)

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LOUDER

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Louder is an extensive resource for music related news, articles, and information. Incorporates the magazine publications Classic Rock Magazine, Metal Hammer, and Prog Magazine, and also covers indie, blues, and punk. This playlist is a selection from the Must See and Breaking Bands YouTube Channel playlists for Classic Rock Magazine and Metal Hammer. A metal focussed Metal Hammer Spotify playlist is linked below.

Future Publishing Limited  Playlist videos shared by Louder

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The Famous Charisma Label

Stratton-Smith and Chrisma RecordsTony Stratton-Smith, or 'Strat', was a lover of sport and a true entrepreneur in the world of music and entertainment. His relaxed persona and sense of fun was deceptive in that he was successful in managing some well-known artists. He eventually founded and managed Charisma Records with help from his PA, Gail Colson, from 1969 to 1983 (subsequently under Virgin Records until 1986). He tended to sign new artists and music that was not so mainstream, and was a regular around the Marquee Club, and the pubs in the Soho area of London. Stratton-Smith was also involved in the release of British movies Monty Python and Holy Grail (1975), and Sir Henry at Rawlinson End (1980). He died in 1987 aged 53. Some of the artists he spotted and supported feature in this playlist.

Shared by (see playlist)

Update:
Strat!: The Charismatic Life & Times of Tony Stratton Smith Book now released - published by Wymer Publishing

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British Jazz and Peter Eden

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This playlist features tracks that are associated with producer and label owner Peter Eden. Drummer turned record executive and manager, and later, children's TV writer and record store owner, Eden was involved in some of the more creative musical development of progressive jazz during the late sixties and early seventies. An atmosphere of a particular musical climate pervades as things progress through folk to British Jazz, with recordings released on Dawn, Pye, and Decca's Deram label (1966 - 1979) and later, Eden's own Turtle Records label. A true music fan and songwriter, Eden encouraged, supported, and produced a diverse roster of musicians including the likes of Donovan, The Crocheted Doughnut Ring, and jazz saxophonist, John Surman.

Shared by : see playlist

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Andy's Jukebox

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A YouTube playlist from the writer and broadcaster Andy Kershaw. A diverse mix mostly covering the sixties to the eighties. Kershaw is one of a few DJs with true worldwide musical knowledge, and he connects listeners with musicians and rich musical cultures that are rarely given exposure.

YouTube Playlist shared and curated by Brian McGeeney

SITE
Chris Charlesworth

Chris Charlesworth is an author and journalist who was on the ground during the seventies, and around the top names in the music business at the time. Charlesworth worked for the weekly publication Melody Maker as music journalist and news editor. He was also involved with music management and production companies later on. He currently runs a blog called Just Backdated, which is a fascinating insight and archive of the stories and artists from past decades. If you really want to know, ask someone who was there.

Chris Charlesworth appears in a documentary specifically about the Melody Maker entitled Melody Makers from film maker Leslie-Ann Coles (released 2019).

External Links

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The Damned - Interviews

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A collection of interviews featuring members of the British punk band The Damned. It's been forty-five years since the release of the single New Rose, and to celebrate, Dave Vanian, Rat Scabies, Captain Sensible, and Brian James will play venues in Glasgow, Manchester, Birmingham, and London late 2022.

Shared by Wah Wah Wah : UnionSquareMusic : Highlight Media : The Damned : Scooped Mids

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The Wonderful and Frightening World Of...

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DJ John Peel and Tony Wilson (TV Presenter and owner of Factory Records) both championed one of the most transient and unique bands that were around from the 70s to 2000s - or 'the worst band I've ever seen' according to an early implied accolade from radio producer John Walters after seeing them for the first time. The Manchester based band The Fall were acerbic and chaotic, fronted by vocalist Mark E Smith and his crazed American preachers' schwa. Repetition, quirky intonation, tapes, and spoken word gave a lyrical style that set the sound to a large extent, backed with a flow of input from various musicians as they came and went. There were regular releases on various labels, finally ending with Cherry Red Records after the death of Smith in early 2018. The Wonderful and Frightening World Of... is the title of The Fall's seventh album (1984), and a TV Movie documentary directed by Dione Newton (2005) also uses this reference for a full length documentary, but most of all, the title accurately describes The Fall as they were.

Shared by Ed Blaney : Noisey : Gav McCaughey : Darren Wilshaw

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King Rocker

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A documentary film about Robert Lloyd and his long musical history with The Prefects and The Nightingales. Stewart Lee is the writer and conduit for this real and unique story of life in music, with all the humour and strife that goes with it. Directed by Michael Cumming and produced by James Nicholls, this film demonstrates the art of film making for love rather than money. The result is a great and well presented story with a very British angle. Nicholas Munro's mighty King Kong may have failed to conquer Birmingham in the seventies, but The Nightingales are still going. This playlist covers the back-story.

See the official website for details of where to watch the full film.

Shared by King Rocker : Indie City : The Nightingales : Merlin7huna : firerecordings : GingerBeardMark

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The Glastonbury Experience

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Legends : A playlist from BBC Music showcasing some of the memorable performances at the Glastonbury Festival from 1994 onwards.

Shared by BBC Music (see playlist)

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The Everly Brothers

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A tribute to Don Everly (1937-2021) and his brother Phil (1939-2014). The Everly Brothers wrote a string of hits during the 1950s that featured the close harmonies and R&B / rock n' roll classics they were famous for. They later moved on to Nashville country, country rock, and rockabilly. Eventually they went on to pursue solo careers from the early seventies, and reunited as The Everly Brothers in the early eighties.

Shared by Everly Brothers International

SITE
Prog-Rock - Rockin' Rebel Radio

A specialist UK based radio station from writer and musician Andy Phillips. Care and dedication is applied to a comprehensive presentation of progressive rock, a genre associated with themes that are given the time and the space to progress through full and complete musical ideas. King Crimson, Yes, Emerson, Lake & Palmer, and Pink Floyd are early examples. The station runs on Mixcloud and features discussions, best of shows, and new music. The YouTube channel offers more under the name ProgAxia.

Shared by Andy Phillips

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Peter Jenner

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Peter Jenner is a British manager and producer who was involved with the management and development of acts such as Pink Floyd (during the Syd Barrett era), T.Rex, Ian Dury, The Clash, Billy Bragg, and many others under Blackhill Enterprises with Sumi Nishihata (his wife) and Andrew King, and later, Sincere Management (without King). Jenner uses his knowledge of economics and extensive management and industry experience as a platform to publicize the issues surrounding copyright, publishing, and royalties within the music business. Distribution, exposure, and income are even more vital in the digital age, and this playlist focuses on introducing the man, and his views on the music business as it stands today.

Shared by CnBConvention : UKRockHistory : Fast Moving Targets : Tom Weber Films : Innovation In Music

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Keep on Burning: The Story of Northern Soul

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The music of Detroit and Chicago meets Northern England during the sixties and seventies. A documentary about the dance and social phenomenon known as Northern Soul. Includes memories of the primary clubs running all-night dance events playing soul and Motown music, along with occasional live guest appearances in venues including The Twisted Wheel in Manchester, The Torch in Stoke-on-Trent, Blackpool Mecca, and The Casino in Wigan.

Also looks at the obsessive record collecting, rare releases, and the DJs around at the time, along with the baggy trousers, long skirts, and the event patches collected by club members.

Written by Alan Byron and directed by Alan Byron and Wayne Allen (2012) Shared by northernsoulsongs aand Flick Vault

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All My Homies Hate Skrillex
A story about what happened with dubstep

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The history of dubstep from a UK perspective, related as a personal journey of discovery from Timbah.On.Toast. The UK dubstep community and attitudes of past and present times are opened-up against a backdrop that is atmospheric and inspiring, yet desolate and familiar in ways that can only occur in UK culture. This isn't researched journalism. This is from someone who has lived the lifestyle. Highly watchable and informative even if this is not your genre.

Written, produced, and shared by Timbah.On.Toast

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Stuck To The Floor (2020)

SHOW SCREEN Marquee Club Wardour Street

This short documentary features the history of the music scene in London during the eighties, and The Marquee Club in particular.

Written, produced, and shared by Jo Obrien

 

SHOWTIME!

Club DJ Stage
Club Bar Feature

SHOWTIME!


The SHOWTIME! playlist is all about the live experience. After event videos, audience participation, and some of the great live moments captured on video and shared online.

More links from past events can be found with each festival listing, along with links to official websites, Spotify playlists, and YouTube Channels.

Originally put together as the first festivals were announced post-pandemic, and updated from time-to-time. Visit any official link for more video.

Official Channels include: | BBC Music | Green Day | 3voor12 | Loudwire | Dominator Festival | Ever After Music Festival | Montreux Jazz Festival | GlastonburyOfficial | Stagecoach Festival | princevevo |

A Teenage Mutant Music Fan


Matt Sheen explores his own musical journey and reflects on the future of music with playlists and links along the way...
Originally written February 2021 and updated periodically

Music is now entering a generational transition that began as the fifties became the sixties. Sixty years have now passed, and artists and pioneers who originated rock 'n roll, or built on it in later decades, are either sadly gone (way before their time in some cases) or are now in the latter phase of their careers.

Modern media has made it possible to catch up with many of them as they pass on their experiences and musical legacies. A few have resurfaced after internet exposure, while others are still recording and performing as they have done for decades.

It's unthinkable, but more and more musical voids are likely to appear over the coming years, as more of the influential groups and artists from the defining years of modern music finally call it a day.

There are many creative and talented artists out there who have already taken the baton and continue to produce great music, but the burning question now is how the industry surrounding and supporting artists will develop under these different conditions. Is online access and technology harming music generally? Or is it giving artists a chance to have more of a hand in their careers?

Before considering these questions, let's first take a look at how we got to this point and how things were before these amazing times of global communication.

The following is just one person's story of how music was discovered before the magic wand of the web was waved.

Time to go back. Way back.

I speak from the viewpoint of a teenage music fan who grew up in a nondescript English rural town in the mid-seventies. One small cinema, no live venues, and Woolworth's, a local department store with a tiny record section.

The Gift of Radio

My parents didn't own a record player. The radio was the only source of music, and this was controlled by my mother. I was stuck with mainstream BBC radio for quite a while in my very early years. I listened to inane but jolly patter aimed at 'housewives' and family listening, with crooners, comedy tunes, and fairly forgettable music in between, although some artists did catch my very young ears.

I have vague recollections of hearing "Penny Lane" by The Beatles (released in 1966) as it was replayed later on, and for some reason, female vocals, American bubblegum music, and vocal harmonies seemed to appeal to me at the time. During my pre-teenage years I had no idea who these artists were, and only later discovered they included Dusty Springfield, Tiny Tim, Frank and Nancy Sinatra, The Mamas and The Papas, The Archies, The Monkees, and later, the unique vocal sounds of Sally Carr, lead singer of the band Middle of the Road, and ABBA, with their amazing vocal harmonies. The first rock-ish track I remember hearing was "Crazy Horses" from The Osmonds, who were seen as a teenybopper group, but were actually quite heavy on record.

I finally got my own tiny transistor radio as a Christmas gift. It came with a single hard plastic ear-bud which was employed for illicit listening after lights out - as many kids did back then. I later inherited the better-sounding red and white Regentone transistor radio from the kitchen after it was replaced with a newer FM radio. From then on, I'd spend hours creeping along the dial to see what was out there.

A whole new world appeared out of the white noise. Big band swing, classical, jazz, foreign language, jingles, adverts, and a fascinating array of weird and wonderful stuff, including the chatter of the World Service, the cryptic yet poetic-sounding shipping forecast, and a range of different show formats and presenting styles.

Static and distant drums...

Radio Luxembourg 208 could only be reached at night and seemed to come from another planet. Snazzy jingles and power plays phased and faded in and out of the static, with the likes of Bob Stewart, Stuart Henry, Emperor Rosko, and Tony Prince. I also clearly remember the death of Elvis being announced on Radio Luxembourg before the news was broadcast in the UK (1977).

Radio waves and Jolly Rogers...

The next big discovery was Radio Caroline, founded by Ronan O'Rahilly and launched in 1964. This was a pirate radio station, and at the time they were broadcasting from a ship called the Mi Amigo somewhere out in the North Sea off the English coast, an element which added extra excitement for a young teenager listening in the mid-seventies. The ship's bell, seagulls stuck in the toilets, occasional rough weather, battles with the broadcasting authorities, the strange "Loving Awareness" messages later on, and the dramatic end made this station something special. Most of all, Radio Caroline really opened my ears musically, and I remember fervently writing down the names of the artists I'd never heard of before. My real musical journey had begun.

During the early eighties I moved to London. There were a few pirate radio stations around, including the rock station Alice's Restaurant (from around 1981), which played albums and long tracks. I had Radio Jackie in range at one point as they broadcast from private houses in South West London. The authorities were always pursuing them and confiscated their equipment a few times. Eventually, necessary innovation led them to broadcast from highly mobile setups in the countryside.

There were many other pop-up underground pirate stations in and around London, broadcasting from a variety of clandestine urban locations (including a then unlicensed Kiss FM). I remember hearing all kinds of early hip-hop, drum & bass, dubstep, reggae, and jungle presented by various cultures and communities in the city. Shows tended to be music-focused with minimal interaction from the DJs, who would often just yell, mumble, or cut in between tracks using slang and heavy Londonised accents - very different from the more middle-of-the-road, chatter-based formats of the commercial stations around at the time.

BBC Radio 1 also presented music that was less mainstream through DJs such as John Peel and Andy Kershaw (both produced by John Walters), Tommy Vance (produced by Tony Wilson), Alan "Fluff" Freeman, Annie Nightingale, the off-the-wall approach of Kenny Everett, and the showcasing of new music by Gary Crowley (also of Capital Radio and XFM) along with Steve Lamacq.

Annie Nightingale, in particular, played early electronic and dance music, and my full introduction to drum & bass was via a Radio 1 One World session towards the end of the nineties, which featured artists signed to the Hospital Records label.

Vinyl and Cassettes

Singles and albums on vinyl sounded great when played and were easy to share. The large twelve-by-twelve-inch album cover art also played a huge part. The imagery, the sleeve notes, and printed lyrics added so much more. The added detail on the covers helped to immerse you in the concept surrounding the music as you listened or read the lyrics. On occasion I would buy an album without knowing the band, just because I liked the cover art or knew of the designer, which included the likes of Barney Bubbles, Stanley Mouse, and Roger Dean, along with George Hardie, Storm Thorgerson, and Aubrey Powell of the design agency Hipgnosis, a name taken from a skewed spelling of hypnosis, apparently seen as graffiti sprayed on a door. All of them took things away from the traditional name and faces approach to album cover design and into more expressive worlds.

On the other hand, there's buying without seeing the cover first. I once ordered Electric Ladyland by Jimi Hendrix from a mail order list run by my school's music club. On arrival, the cover of the UK release on Track Records, featuring photography by David Montgomery, was unexpected, and the extensive full gatefold nakedness caused a bit of a stir to say the least (the portrait of Hendrix inside is fantastic, by the way). Other early mail-order purchases included Hawkwind's Roadhawks, which led me on to the very first Motörhead album. King Crimson's A Young Person's Guide was a revelation and lived up to the title. Edgar Winter's They Only Come Out At Night was ordered after hearing the track Frankenstein, which I hunted down after it was used for a rock show jingle. Lynyrd Skynyrd's Gimme Back My Bullets took me into the American Southern rock genre early on, followed by Supertramp by Supertramp, which was another early start in a band's discography. Rick Wakeman's album, Journey to the Centre of the Earth, provided extensive album art and musical connections with narration that led to author Jules Verne.

A debate started about new and re-releases when the CD format took over in the late eighties. Which was better? Vinyl or CD? My own conclusion was that it depended on the genre rather than the format. Some productions actually added sampled needle drops, DJ scratching, and vinyl ambience in the form of crackle, as was the case for some of the tracks on the 1989 release 3 Feet High and Rising by De La Soul. Pre-recorded vinyl effects were added during production, giving the CD version a pseudo-vinyl feel.

The impact of album art was diminished when releases on CD came in and disappeared altogether with digital file formats. For the first time, music output became an intangible item. Vinyl has made a bit of a comeback in recent years, and it's good to see new and re-releases that include vinyl pressings and the full artwork once again.

Cassette tapes and integrated home stereo systems also changed things, as any source could be recorded. Music became easy to copy and share from vinyl and the radio, and live performances could be bootlegged. For the first time, you could record and replay radio shows, make your own playlists, and even edit if you had a double cassette deck.

On the more legal side, new and previous releases were cheaper on cassette, and they were an economical and effective way for bands to distribute demos or homemade releases to fans, record companies, and DJs. Car audio systems often included a cassette player, and players became compact and portable with products such as the Walkman from Sony (1979).

I was often on a tight budget, so bought a few releases on cassette and could also afford to experiment with music I didn't know by raiding the bargain bins. Random buys introduced me to the subtlety and power of classical music with Holst's The Planets, Ravel's Boléro, Erik Satie, The Best of Strauss, and the mind-blowing Stravinsky's Firebird. Other discoveries included the album Killer on the Rampage by Eddy Grant, featuring the classic tracks "Electric Avenue" and "I Don't Wanna Dance," which I bought after sharing an elevator with a concierge at a very posh London hotel, who absently whispered the lyrics of "Electric Avenue" to himself while tapping his foot ever so slightly. Inspirational elevator music for sure, and confirmation that musical messages can reach all. A few others I remember for one reason or another include a copy of a home-made Be-Bop Deluxe compilation, a best-of Count Basie compilation, Janis Joplin live, Bob Marley and the Wailers live, and Herb Alpert's Tijuana Brass greatest hits. Feeling down? Before you reach for the Prozac, try a little Herb.

Jukeboxes

Instrumental during the musical transition from the fifties to the sixties, jukeboxes continued to be a great way to share music. Pubs, cafés, and student common rooms often installed a jukebox. Pubs and bars in particular were ideal environments to catch the listening mood, as some tracks became a part of the social experience. Many can still remember what was on their local jukebox.

Although not always my own personal choices, these jukebox tunes became a reference to my past as they were replayed many, many times, over and over. Conversely, other tracks have been consigned to my "never again" list for the same reason.

Read More...

 

MUSIC EVOLUTION

Club DJ Stage
Club Bar Feature

 

The Music Press

The music press provided a regular outlet for interviews, photos, opinions, live dates, and reviews of releases and live shows. There were also sections for musicians, including musicians wanted and studio listings.

Large-format newspapers dedicated to music were published weekly and included Sounds, Melody Maker, and New Musical Express (NME). Other publications included Kerrang! and Metal Hammer, which were both dedicated to the rock scene and published in a more glossy magazine-style format.

The first American music journalist I encountered was the fantastically named Cameron Crowe through his sleeve notes for Zeppelin's live album, The Song Remains The Same, which led me on to the American music magazine Rolling Stone, which featured Crowe as writer and editor.

If you lived in rural areas, these publications were one of the few ways to keep up with the latest reviews and trends. The early days of punk, for example, were very local to the London area, and the only way to follow the action if you were outside London was through the music press.

Television

Ready Steady Go! was a music TV show that ran on the BBC from 1963 to 1966 (a little early on for me), and featured some of the biggest artists around at the time. Apart from that, TV seemed pretty much devoid of dedicated music programming in the early years. British music television consisted of the Eurovision Song Contest, the surreal and disturbing Black and White Minstrel Show, the chart show Top of The Pops, and the music review show Juke Box Jury. The only American TV show I can recall is The Monkees, which was broadcast on British TV in the late sixties and early seventies. It was a comedy music show set in California, and the production included quick-cut clips and music segments that was heading towards a format that became music video later.

There were a few early TV moments that made an impact on me personally. The first was the heavy theme tune for a topical political news show called Weekend World which turned out to be a section from the track Nantucket Sleighride by Mountain (1971). Another TV moment was a late-night concert featuring Rory Gallagher. I have to admit a crime as I grabbed a small cassette recorder and made a bootleg for myself a few tracks in. Never heard anyone play this way, and from that moment on, knew that music had something exciting to offer.

The Old Grey Whistle Test followed in 1971 and featured semi-live appearances and album material, rather than mainstream chart music.

My first in-depth experience of Elvis and his music was through a televised show, Aloha from Hawaii Via Satellite (1973), which was a rebroadcast of a live concert.

MTV blasted its way onto screens in the early eighties and focused on the emerging music video boom. My own early experience of MTV in England was limited to pubs that had cable. Channel 4 in the UK also began showing music-based programming through Network 7 (hosts included Jaswinder Bancil and Magenta Devine), The Word (hosted by Terry Christian, Mark Lamarr, and Katie Puckrik), The Tube (hosted by Jools Holland and Paula Yates), Max Headroom (played by Matt Frewer), and Rapido (hosted by Antoine de Caunes).

The Movies

During these early decades, live performances in more rural areas were few and far between. The bigger bands usually toured the big cities, which was cost prohibitive for the younger fans out in the sticks. The only alternative for the visual experience was film.

Music video was in early stages, leaving TV and cinema as the primary outlets. Small independent cinemas around Soho would occasionally show music-related movies, alongside cult horror movies and other eye-opening arty titles. Music movies I went to see either on release or saw later in private cinemas included Led Zeppelin's The Song Remains The Same (1976), Pink Floyd Live at Pompeii (1972), Leonard Cohen Bird on a Wire (1972), Woodstock (1970), ABBA The Movie (1977), and 200 Motels from Frank Zappa (1971).

American Graffiti was released in 1973 and introduced me to some of the early American artists, such as Chuck Berry, Fats Domino, The Beach Boys, Bill Haley and The Comets, and the first howlings of DJ Wolfman Jack. I also discovered doo-wop, which I found fascinating yet comedic at the same time, perhaps in the same way Frank Zappa did when he released Cruising with Ruben and the Jets in 1968 and a cover of The Four Deuces song, "White Port and Lemon Juice," in 1970.

Some music-related movies were shown on TV such as the pretty dreadful Elvis movies and a few from The Beatles - Help! (1965), Hard Days Night (1964), and Yellow Submarine (1968). I remember seeing The Who's chaotic rock opera Tommy (1975) on TV a few years after the cinema release, which featured Roger Daltrey in the lead role (directed by Ken Russell), and went to the cinema to see the mod movie Quadrophenia in 1979 - a more cinematic movie also released by The Who.

My first encounter with Mick Jagger was through the film Performance (1970), a story about identity set in London and based around a rock star and a gangster featuring sexual encounters, graphic violence, and psychedelic drug use. The soundtrack was great. Jagger performs a couple of tracks in the movie, including the track Memo from Turner. Others included on the atmospheric soundtrack are Ry Cooder, Randy Newman, Buffy Sainte-Marie, The Last Poets, and Jack Nitzsche. I subsequently went on to listen to The Rolling Stones and some of the blues musicians that had influenced them.

I also discovered a very diverse range of music by exploring movie soundtracks and full film scores from composers such as Lalo Schifrin and Ennio Morricone. I often followed up music from recording artists used in movies as the film credits made it easier to track them down, although some were impossible to find or buy at the time.

Disco Fever

My early live experiences consisted of local bands playing covers and social music events such as local 'discos.' Wannabe DJs, often someone's dad or older brother, would play the latest singles and novelty records through a PA, with a few sound-to-light boxes for dramatic effect. I learnt about 'mixing' at such events. I learnt that mixing sweet cider and Martini was not such a good idea, and the same applied to beer and chocolate cake later on. The mess of youth.

There was also a local club and pub circuit where the DJs were a little more musically aware. I worked for one for a while as a roadie during the late seventies and got to know the record box quite well. Everything was on vinyl, and some of the songs sounded great through a decent PA system and still do when replayed today.

Funk, soul, and disco were a departure from my usual taste, but after going deeper into the music I discovered some great musicians, vocalists, and song writers, who were still very much band-based, although backing tracks were on the way, and things started to shift with artists such as Grandmaster Flash and The Sugarhill Gang. The term 'DJ' started to take on a different meaning as 'MCs' took things in a new direction.

Live Music

The first major concert I went to was Led Zeppelin at Knebworth in 1979. I had a ticket for the first weekend of two (4th and 11th of August) with a bill that also included Chas and Dave, Todd Rundgren, and Fairport Convention. Large outdoor concerts are really something if the sound is right. The addition of a full lightshow and the atmosphere only large crowds can generate give musical and life experiences people remember and cherish.

For me, live music is by far the best experience. It's loud and played as intended. I was sometimes disappointed after buying an album by a band I'd only seen live. Studio recordings just didn't sound the same - often overproduced or flat. Conversely, it was always a result when a band that sounded great on record turned out to be even better live. Something special happens in a live environment with all the anticipation and the amplification cranked and hot - humming, crackling, on the edge and ready to go. Exciting stuff.

My live music experiences really expanded after the move to London in the early eighties. All the famous venues could easily be reached by using the London Underground train network and night buses, and I made the most of it. I was a regular around Soho and frequented The Ship pub, the underground caverns of St. Moritz, and The Marquee Club during the tail end of punk, the start of new metal, and the residency of Marquee DJ Jerry Floyd, who obsessively sought out and played the latest releases. The Marquee Club in particular was often full and always hot.

Many recall how scruffy the Wardour Street incarnation of the Marquee Club was and how your feet stuck to the carpet. As far as I can recall, there wasn't even a carpet. The bar area flooring was rubber coin-tiles. There was nothing to soak up spillage of beer and other fluids, so once things dried out, you walked around on a layer of sticky gloop. If you stood still, you became attached to the floor, which might explain why some were able to remain standing at the end of a heavy night.

Entrance fees weren't over the top, which made the club accessible to all, and it was a place where new or famous musicians, journalists, industry people, and music fans could gather together without any hassle. The only disadvantage was the limited capacity, which meant the venue sold out quickly on popular nights. The Marquee Club was very much a working, no-nonsense venue right in the centre of London. No airs, no graces. Just music. Many remember it with great affection, including myself.

Other venues around London at the time included The 100 Club, various incarnations of the Whisky a' Go Go, The Roxy Club, The Roundhouse, The Rainbow Theatre (Astoria Finsbury Park), Brixton Academy, and the London Astoria (Charing Cross Road), Lyceum Theatre, The Electric Ballroom, The Music Machine, and The Rock Garden, along with pub venues such as The Dublin Castle, The Greyhound, The Golden Lion, and The Sir George Robey, with The Royal Standard (occasionally featuring metal DJ Neal Kay) and The Ruskin Arms catering specifically for rock fans.

Some of these venues are still around. Some have changed name, use, or owners. Some are gone forever.

Opinion...

OPINION - The times they are a-changin'


This article follows my own personal musical journey and how it was influenced. I consider myself lucky to have witnessed some of the most exciting decades of musical innovation and evolution first-hand. I learnt to disregard preconceptions about artists and genres and didn't restrict myself to any particular style. Some music hits you at the time, some grows on you later. I just followed my ears.

Those also around during past times might be familiar with some of this journey - those around later might view it as nostalgic twaddle that doesn't mean very much - but the whole point is to recognize that music must not be left to drift into bland nothingness after all the passion and great music that has gone before.

In the future, everyone will be world-famous for 15 minutes, err, seconds...

New artists now have a chance to put their work in front of massive worldwide audiences like never before. Unfortunately, many end up lost in a vast sea of others trying to do the same thing, a sea that is now a lot deeper and even more crowded than it was in the past. Originality or new genres are difficult to come by, which is now also the case in the world of art and fashion.

The sixties invented new musical concepts. The seventies built on them. The eighties adapted previous ideas. The nineties moved things on with grunge, dance music, and hip-hop. These four decades sealed the possibilities in many creative fields, and this has created a problem.

We can't keep reminiscing and insisting that past groups reform or rely on tribute bands to keep the memories going - new music must continue to happen but needs to be fresh, full-fat music rather than bland, homogenized replication.

The rapid rise of technology has fuelled major changes in music, especially in terms of production, exposure, and the balance of power. The internet has been around in a more usable form since 1995 but was a little out of control in terms of music until around 2005, with pirating issues around file sharing and streaming. Following years saw things turn around a little with the progressive development of new business models and more advanced technology. Visual media has become a more integral part of music, and performers and DJs with little real musical knowledge can carry off some kind of career with the support of technology and imagery. Some do this very well, and exploring these possibilities is what music is all about.

However, a commercial fame-first or production-first mentality and throwaway music now seem to dominate the mainstream, which is not helping things. Auto-tune vocal effects, correction software, computer-generated drum tracks, samples, mash-ups, and revisited originals are all well and good, but erode the apprenticeship process of mastering an instrument or vocal technique. Writing, creating, or expressing things on a deeper technical and emotional level, along with being true to the audience when performing live, generally marks out those who have put in the work or have real talent, and they usually stand out a mile.

Learning the trade before becoming abstract or reaching for stardom is important in any creative discipline. My ears tell me that things are often the other way around these days.

Musician or Movie Star?

Without a live connection, new music is in danger of becoming a product that is gauged by the number of online views, likes, or votes, with progressively more reliance on attention-grabbing visual content. Music videos used to only be available on video cassettes or were broadcast, but now every modern device can play visual media, which often gives video as much importance as the music.

Artists in some genres already creep over the musical threshold and into more cinematic worlds in which extreme visuals, borderline porn, and negative social attitudes are sometimes used to get attention. At the other end of the scale, things become pretentious or trivial. Heavy on visuals but light on the musical side. There used to be sex, drugs, and rock 'n roll. Sometimes, it seems the rock 'n roll element has been reduced to a soundtrack for videos about the other two. Things are going the wrong way.

Aside from videos documenting performance, the more cinematic approach can demote the music to a secondary element. To my mind, music video with an emphasis on video is a movie with a soundtrack. Music video with little musical value is a movie. Music that can stand without visual assistance is the real deal.

Lost in music

Watching accomplished musicians and vocalists play or sing live, and with feeling, is something to behold. Guitarists, keyboard players, drummers, vocalists, and classically trained musicians can lift a performance out of the average and on to something special in a live environment. Unfortunately, mainstream music is often all about the look rather than the feel, and an overriding brand mentality is likely to prevail over live skills. This is nothing new. What is relatively new (for one reason or another) is the dwindling number of music venues within communities - small, affordable venues in particular.

Small and dingy music venues are an essential middle-ground and need to be filled with new bands and performers who can play and experiment live without any pressure and connect with their potential audiences face-to-face - audiences who in turn don't have to pay extortionate ticket prices, have enough cash left for a beer or two, and don't need to worry about spoiling the furniture.

Lost in space

Sadly, cold hard profit seems to have won out over past cultural experiences as venues are priced out by the value of the space they occupy or are clobbered by high running costs, red tape, and restrictions.

I used to be surprised by this as I imagined many from the generations that rose through the early creative decades as kids and young people were now controlling the purse strings or in a position to finance or encourage community culture. This didn't happen. With the exception of a few with genuine passion, these ex-punks, ex-mods, and ex-rockers now seated behind desks of authority or turned entrepreneur seemed to have forgotten their roots. They now cruised past the ghosts of Soho and onward through ultra-priced and 'satisfyingly' gentrified lands. What happened?

I've since come to realize it's not about individuals. It's about faceless financial groups, who in turn are often supported by government and financial institutions. I suspect that some could be unaware or even critical of the culture that has gone before and have no personal connection or understanding of what is being lost.

An insistence on gentrification usually results in a more culturally sanitized and bland environment, which pushes out the more creative population - the results of which are not always pretty and often come with a profound sense of loss for communities and, sadly, a measure of indifference from developers and their new residents.

If you have to cut down a tree everyone loves, surely another should be planted somewhere close to replace it; otherwise, guess what? The same applies to public entertainment venues. Unfortunately, for every venue closed, a coffee shop, retail outlet, or housing project is planted in its place. There seems to be no place for low-cost communal entertainment in the grand scheme of things. Yes, things need to move on, but is it actually still possible to run intimate and affordable venues in areas where society has been polarized in such a way?

Without affordable live outlets, musicians and audiences have to retreat into the online world and wait for the festivals, and this has already changed how music is produced and perceived. It's more digital, has to be more visual, and the communal dance element and audience connection are different, or lost, if there's no live experience.

It's a sad fact that it might take something as tragic as a pandemic to level the playing field again. It will be interesting to see if a temporarily reduced corporate presence will allow a niche to form with more community-led venues or projects as things rebound, or if even more public venues go under for good.

Rise...

On a more positive note, technology and low-cost independent production have allowed musicians to have more time and space to write, arrange, and record without having to work against the clock in expensive studio time. There is also the chance to learn about production, and the musical process can be completed pretty much in-house to standards high enough for a producer to work with or even for release in some genres. What would have been demos in the past are getting closer to the finished product.

Different, but the same...

Creative musicians will produce music no matter what - it's what they do. However, the big sticking point still remains. Distribution. How to distribute music and receive income. The internet is not solely responsible for illegal file sharing and lost revenue - this has been the case ever since music could be mechanically copied by the public. Sharing and making copies is nothing new. Lost revenue is still an issue for record companies. Many recording artists are still being squeezed at the very bottom of the financial pile. Nothing has changed really. The problem has just become more obvious.

The times are definitely a-changin' as some established artists are now cashing in their catalogues, and new artists come and go with relatively short career spans in terms of industry-supported musical development. It'll be interesting to see what endures and how music and the business around it continue to evolve in the new century and the effect any new forms of distribution (streaming or direct-to-fan ecommerce, for example) will have on the kind of music produced, the value of royalties, and the kind of audiences reached in the long term.

Artificial Intelligence is also undoubtedly going to have an effect, but in what way and to what extent is yet to be seen. It may well produce interesting results, but the key word here is 'artificial'. Does the music industry really need more fake processes that could undermine raw talent and the live experience even further?

Things are simple really. Music is all about evoking that personal connection between performer and listener - whatever genre it is. Nothing can beat the experience of the musicians and the audience connecting in the same place, at the same time.

As the proliferation of bright yellow Musicians' Union stickers on guitar cases, drum cases, and band vans in the seventies used to say, the most important thing is to 'keep music live.' Perhaps it would be a touch ironic to stick one of these on a home studio laptop lid today.

The new mantra seems to be 'Invest In Musicians.' I totally agree but think we should add '...and venues' to this. One should not be without the other.

Matt Sheen ★webstar.tv - Feb MMXXI
mattsheen (at) webstar.tv

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Life On The Road


You don't need to be a musician to tour...

The rock 'n roll lifestyle has always been portrayed as crazy, decadent, and dangerous - especially when it comes to touring and life on the road. Perhaps this fills the long hours of waiting and travelling between shows for the star performers on luxurious tour buses, but it can be a different story for musicians crammed in a van, and those behind the scenes. In reality, things have to be tight and well organised otherwise things just fall apart.

There is a vast range of professions and skills involved in touring and the bigger shows. At a professional level there are crews consisting of managers, engineers, riggers, electricians, technicians, pyrotechnic technicians, and various support positions for a full production tour, along with indirect roles such as drivers, caterers, merchandisers and more.

READ MORE...

Many assume or wonder if being a musician is an advantage when working as crew. Being able to tune and play a little is probably an advantage if you're a drum or guitar tech, but other support roles need more practical skills. As in any profession, the ability to do the job is the focus. An understanding of how things work, problem solving skills, maintenance strategies and awareness of particular requirements are all necessary attributes. Those that can change mindset from wannabe rock star to instrument technician can do well, and have professional careers that are still closely linked to the music business and touring, and in some cases have longer careers than the acts they take care of.

A love of particular music genres or styles is not essential, but having pride in putting on a good show is the attitude to have if you want to be involved in the more practical side of things. Loading gear in and out, transportation, and stage construction are more concerned with practical skills and logistics. However, a love and an understanding of both music and audience experience is crucial if working directly with the music in terms of lighting or sound.

In some ways, making it with a band and working as a member of a crew present similar problems. Everyone wants to do it and competition is high. If you wait for the job adverts to appear, you might be left waiting for some time. The entertainment industry works largely on a word-of-mouth basis and looks inwards before recruiting.

If you'd like to make a start in the industry, step one is learning for pleasure and knowing your subject inside-out. Step two is to get out there and do it (and be good at it), even if there is no financial reward to begin with. Step three is to have the right attitude and an understanding of who and what is around you in a live environment.

Taking courses or having qualifications can help with conveying the more technical side and technical vocabulary, but in many cases, a course would be for your own knowledge rather than an automatic ticket to a career. Experience and networking are large factors.

The work is freelance and doesn't come with job security. Sometimes fitness, stamina and a thick skin are needed as things can get a little edgy and raw at a professional level as there are often tight deadlines and very little room for error. If you are socially sensitive, in love, have financial responsibilities, or not mentally prepared for long hours, then fatigue and the low or tedious periods during long and extensive tours might become problematic. Alternatives are studio work, production work at a venue, support work at festivals, equipment sales and hire companies, or lighting design, but the job openings are likely to be few and far between.

On the positive side, in terms of job satisfaction the rewards can be enormous. Being involved in theatrical or musical production can be an exciting experience, and lead to fulfilling careers, or good memories at the very least. For many it becomes a way of life, and some have close ties with particular musicians and production companies. If you didn't make it as a famous musician you can still be involved and contribute to the industry. If you love the music world but don't have any musical skills at all, you can still go out on the road and tour.

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Club Bar


The bar is often where a night of musical entertainment begins and ends. There used to be two kinds of establishment. The first was a pub that ran a music venue. The second was a music venue with a bar. These days there are café style venues, dance clubs, and industrial spaces that are offering live music, along with a few surviving pubs and venues from the 70s and 80s.

Many of the famous historical venues have since disappeared. They used to be places where a lot of socializing, networking, drinking, gossip and discovery went on alongside the music. Some venues were basic, and bore the scars of many nights of music and mayhem, which in some ways is what made them great. Their function was to provide an affordable music experience and there was little in terms of interior decor. There was a bar, a stage, and sometimes a dressing room. Many had no seating to speak of, no air conditioning, and toilet plumbing that wasn't designed to cope with a capacity crowd, much like the jam-packed main stage areas on some nights.

These tiny musical oases were, and still are, vital in connecting people and providing common ground where only the music matters.

The articles and links featured in this club bar aim to continue the bar-side chatter and connect you to writers, producers, musicians and some of the best online music resources out there.

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★webstar.tv curates third-party material from official sources, and provides support for the featured artists and resources by providing links to official sites, Spotify, Apple Music, Mixcloud, YouTube Channels and online stores.

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In past decades, the bar at pubs and small venues represented the office for many in the music business. These bars were where both musicians and fans gathered socially, and the up-and-coming bands played. Many musical ideas were formed, and deals and connections were made. Here you can catch up with news and interviews past and present, and take a look backstage where the all important crews and support industries are represented.

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