60s music
Groove along to Beat Media's breakdown of the bands, artists, songs and culture that defined the 60s.
The Amazing History of Rock-And-Roll
Introduction By 1965, rock and roll was criticized as being "white bread music" - tasteless, a little bland and mostly for white audiences.
Chuck HinsonPublished 6 years ago in BeatOn the Road in Somers with Scott Urgola
As could be said for most of us, hearing the Beatles for the first time begins a journey into music that never ends. “I decided at 13,” said Scott Urgola, “that I needed an electric guitar.” This as he was transfixed to the TV during the airing of the Beatles Anthology in 1996. Urgola would progress through that phase in high school and college. But the Somers singer/songwriter’s musical arrival didn’t start until introduced to an American legend much further removed from the telegenic electricity of the Beatles.
Rich MonettiPublished 6 years ago in BeatPaul McCartney's Two New Songs
I heard a new song by Paul McCartney earlier today on Sirius XM's The Beatles Channel—"Come On to Me"—and liked it enough that I just listened to it again on iHeart Radio, along with another new McCartney song, "I Don't Know," which I like even more. You can hear both along with the videos and lyrics over here.
Paul LevinsonPublished 6 years ago in BeatThe Most Powerful Political Songs of the Decade: The 1960s
Teeming with various issues regarding race, religion, and war, still, even 50 years later, the 1960s is one of the most newsworthy decades ever. From the Civil Rights Movement to the assassination of JFK, to rallies on the war in Vietnam, protest music was everywhere.
Shandi PacePublished 6 years ago in BeatSun Records
The year was 1950. A man by the name of Sam Phillips had a dream about recording hits that would blow music lovers out of the water. He loved playing music, but even more so he had the desire to record them. So after saving up as much money as he could, he bought a small little building on the corner of Marshall and Union Avenue. Originally it was called Memphis Recording Service, but in the year 1952 it became Sun Studio. He took his time making the small building his. He hung every piece of tile in the building, from the walls to the ceiling. He converted the old car garage into his very own Recording Studio. Sam Phillips worked hard, but not as hard as his secretary Marion Keisker. She was the first person any of the walk-in artist saw. Her smile and pretty eyes were always welcoming
Kay BernheartPublished 6 years ago in BeatThe Four Seasons
During the 1960s, The Four Seasons was one of the most successful white vocal groups. They had a series of great hit singles between 1962 and 1967. Fans just loved Frankie Valli’s piercing falsetto (three octaves) voice. The group’s career spanned almost 40 years and during that time Frankie Valli and the Four Seasons sold more than 100 million records.
Rasma RaistersPublished 6 years ago in BeatLyrical Interpretation from Bob Dylan: 'Blowin' in the Wind'
Bob Dylan is one of the most well-respected musicians in his era, giving strong meaning and perception to timeless music. "Blowin' in the Wind" (recorded in May of 1962) provides three themes to the song: war, freedom, and peace. Those themes give strong meaning to social movement and the Vietnam War. Each line in the song gives a different meaning and suggests structure throughout the entire song. In analyzing the lyrics of every verse, there’s no right or wrong answer to what something means or suggests. However, a common theme is mentioned, starting with lyrics representing war in the first verse.
Jason AnschutzPublished 6 years ago in BeatThe Golden Age of Gospel - The Highway Q.C.'s
As I have said in the previous post, I would talk about some of my interests, college, music, and my experiences with Young Life. The main interest I have that not many millennials have is gospel music from the 50s and 60s. The reason for that is because this type of music has been forgotten for the last 60+ years in American music history. I believe that because it is gospel music, and that not many people listen to it despite the amount of white and black audiences it attracted then.
Joshua JacksonPublished 6 years ago in BeatDarlene Love Never Fails to Bring Christmas Home
Darlene Love first appeared on the scene in the 1960’s girl group, The Blossoms. The female flowering provided doo-wop backup for artists that ranged from Sam Cooke and Elvis to Frank Sinatra and Dionne Warwick. On her own - through the sometimes contentious relationship with Phil Specter - emerged hits like He’s a Rebel, He’s Sure the Boy I Love and Wait til my Bobby gets Home. Her resume also includes screen credits as Danny Glover’s wife in the Lethal Weapon movies and a decades long run singing Christmas Baby Please Come Home on the David Letterman Show. But while her voice may have destined her for stardom, it was her father’s weekly inspirational oratory that would actually force the path she landed on.
Rich MonettiPublished 6 years ago in BeatWhat It's Like to Be a Beatlemaniac and Vintage Enthusiast in 2017
I was 13 years old the first time I saw The Beatles movie, Help! Before sitting down with a good friend of mine to watch this zany film, I had only been a casual fan of the Fab Four. Sure, I knew all the songs off of Abbey Road and Let It Be, but doesn't every kid whose parents were born in the 1960s? Regardless, I have always been a pop culture fanatic and 13-year-old me was no exception, so I was eager to see the film. As I laughed at those four Liverpudlian lads, really seeing their faces and not just hearing their voices for the first time, I started to feel the rumblings of what would go on to become a lifelong love affair with music and the 1960s.
Mary DevlinPublished 6 years ago in Beat'With The Beatles' with 'The Beatles'
The 22nd of November is a fascinating date in Beatles history. In 1963, the group released their second album, With The Beatles. Five years later, The Beatles (a.k.a. The White Album) was unleashed upon the world. They were pretty big days for the USA too; JFK was assassinated on the first, and Kirk kissed Uhuru on the second. Look at that, America, an interracial kiss on your tellybox.
Andrew BeasleyPublished 6 years ago in BeatYoung, Awake, and Aware
“All the others are third class tickets, is that clear?” If you are unfamiliar with the 1965 minor hit from whence the lyric above is taken, The High Numbers—"I’m the Face," then shorn of its cultural context you will probably draw a blank as to the exact meaning of the word "ticket." But if you were to hear singer Roger Daltrey’s withering and sarcastic delivery of this line, then you would be left with no doubt whatsoever that it wasn’t a compliment. The epithet "ticket" was a derogatory term for the sheep-like followers in the "modernist" movement of the 1960s who would listen in awe to the "ace faces," who in turn were the self-appointed, aloof arbiters of the coolest and most crucial styles and sounds around; and it’s instructive to know also that the mildly inelegant term "modernist" itself would quickly be shortened to the far sleeker and flashier: "mod."
Rahman the WriterPublished 7 years ago in Beat