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The social force of rock and roll music leaps off the page as Paul Friedlander provides impressive insights based on hits from "Johnny B. Goode" to "Walk on the Wild Side" and beyond. In this musical journey, he offers the melodious strains and hard-edged riffs of Elvis Presley, the Beatles, the Who, Dylan, Clapton, Doo-Wop, Motown, the San Francisco Beat, New Wave, rap, and much more. The book is written in a refreshing, captivating style that pulls the reader in, offering no less than a complete social and cultural history of rock and roll for students and general audiences alike.Friedlander writes, "This book chronicles the first thirty years of rock/pop music history. Picture the various musical styles as locations on a giant unfolding road map. As you open the map, you travel from place to place, stopping at each chapter to sample the artistry. Take in the tales, pictures, sounds, and feelings of each location; remember the people you met there. Don't forget to dress your imagination appropriately for this trip, because each genre is affected by the societal topography and climate that surround it." Enjoy your trip. We promise it will be a good one!

Tabla de contenidos provista por Syndetics

• Acknowledgments(p. ix)
• 1 If I Were Reading about Rock Music, I Would Want to Keep in Mind .(p. 1)
• 2 The Roots of Rock and Roll: I Went Down to the Crossroads(p. 15)
• 3 Classic Rockers -- The First Generation: Just Give Me Some of that Rock and Roll Music(p. 25)
• 4 Classic Rockers -- The Second Generation: There's Good Rockin' Tonight(p. 41)
• 5 Doo-Wop: Street Corner Serenade(p. 63)
• 6 The Early Sixties: The Calm Before the Storm(p. 69)
• 7 The Beatles: Because the World is Round It Turns, Me On(p. 77)
• 8 The Rolling Stones: It's Only Rock and Roll But I like It(p. 103)
• 9 The Who: People Try to Put Us Down(p. 119)
• 10 Bob Dylan: Somethin' is Happening, but You Don't Know What It Is(p. 133)
• 11 Folk-Rock: So You Want to Be a Rock and Roll Star(p. 147)
• 12 Soul Music: R-E-S-P-E-C-T(p. 159)
• 13 Motow: Hitsville, U.S.A(p. 173)
• 14 The San Francisco Sound: People in Motion(p. 189)
• 15 The Guitar Kings: and I Gave Her the Gun(p. 209)
• 16 The Seventies: Dazed and Confused(p. 231)
• 17 Punk Rock: Buzzsaw Bravado and Shock Politics(p. 247)
• 18 The Eighties: The Revolution Will Be Televised(p. 261)
• 19 It's Only Rock and Roll But I like It(p. 279)
• Appendix A Some Artists Who Fell Through the Cracks(p. 297)
• Appendix B The Rock Window --One Way to Listen and Understand(p. 305)
• Notes(p. 311)
• Discography(p. 319)
• Selected Bibliography(p. 329)
• About the Book and Author(p. 335)
• Index(p. 337)

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Publishers Weekly Review

As rock and roll enters its fifth decade, critics and scholars have taken up the gauntlet to chart its evolution and examine it within the context of late-20th century civilization. Friedlander, a professor at the Conservatory of Music/University of the Pacific, has done his research, reading Robert Palmer on blues, Dick Hebdige on punk and Tricia Rose on rap, among many others. Still, his tome, despite its subtitle, is better read as a catalogue of rock trivia than as a critique. At the outset, Friedlander traces how gospel, country and blues have influenced everyone from Marvin Gaye and Elvis to the Who. Looking back across classic, alternative, punk and folk rock, Friedlander postulates a rather obvious recipe for success: seizing the moment and having a team approach (talent, manager, producer label support). In his conclusion, he speculates on the oligarchy of the few record labels which now dominate the industry. Although not the definitive cultural critique of rock and roll, this does have an appealing tone as Friedlander combines the ebullience of an amateur with the technical fluency of a musician.(Jan.) (c) Copyright PWxyz, LLC. All rights reserved

CHOICE Review

With rock and roll now in its fifth decade, any author intending to write a comprehensive overview takes on a formidable task. Friedlander (Univ. of the Pacific) has an interesting way of engaging his reader; the so-called "rock window" focuses attention on the music, lyrics, societal context, and other factors. Chapter 1, which explains terminology and provides other guides for the text's use, reinforces that Friedlander is writing for a relatively unsophisticated audience. The book's strengths include its index, bibliography, notes, and discography. On the other hand, a variety of irritating errors detract from its usefulness. Misspelling Jerry Leiber's name and attributing a Roy Orbison anthology to the wrong label may be editorial oversights. Misquoting the lyrics of a Chuck Berry song is more serious. That Friedlander could transpose "Hail, hail rock and roll / Deliver me from the days of old ..." to "Remember it from the days of old ..." means that he neither used a primary source for this quote nor understood its meaning. Rock and Roll extends the research in Jim Curtis's Rock Eras (CH, Jan'88). However, as a serious history it falls short of Phillip Ennis's short of Phillip Ennis's The Seventh Stream (CH, Sep'93). Recommended only for general readers and lower-division music courses. H. A. Keesing University of Maryland College Park

Notas de autor provistas por Syndetics

Dr. Paul Friedlander is Director of California State University, Chico Music Industry Program. He is author of the Encyclopedia Americana "Rock Music" entry, many book chapters and journal articles, and is past-president of the International Association for the Study of Popular Music/American Chapter. As a musician, he has sung with Pete Seeger's Children's Chorus at Carnegie Hall, played bluegrass banjo at southern music festivals, hit notes with New York homeboys The Chapters, played folk music in Moscow's Gorki Park, and rock and rolled across the U.S.A.