Review by Choice Review
Hicks (Brigham Young Univ.) begins his musical, historical explication of sixties rock with a discussion of the unique vocal characteristics of rock singers, particularly Mick Jagger, followed by an analysis of the "sonorous sizzle known as fuzz'" perfected by rock guitarists. Hicks then narrows his discussion to one song, "Hey Joe," tracing its convoluted past through Jimi Hendrix's popular version, and an analysis of LSD and the development of psychedelic music ("Garage rock showed contempt for the trappings of middle- and upper-class society. . . . Psychedelic rock was more subversive, using new forms, unusual chord progressions, sophisticated technology, and novel gadgets to undermine the conventions of popular music, and implicitly, of the whole cultural environment"). Hicks concludes with a technical analysis of the Doors' "Light, My Fire" and the fanciful ways musicians developed to end songs. Two appendixes--a brief discussion of sources and an overview of the changing nature of rock groups' names--along with detailed endnotes and a handful of illustrations add to the book's usefulness. Though no substitute for comprehensive overviews--e.g., Paul Friedlander, Rock and Roll: A Social History (CH, Jul'96)--Sixties Rock adds important insights and detail. Recommended for academic and music libraries, upper-division undergraduate through professional. R. D. Cohen Indiana University Northwest
Copyright American Library Association, used with permission.
Review by Booklist Review
Hicks admirably describes some often-overlooked varieties of rock. Garage is rock made by unprofessional, often adolescent musicians who typically practice in a member's auto shed. The term implies a charming lack of sophistication, and Hicks lengthily explains the implications of musical decisions that many garage bands made based on what members could play, decisions that could eventuate in the overexhilaration garage rock often expressed. Hicks' discussion of psychedelic rock is no less detailed, and he cites resemblances to garage that many fans may not have noticed. His academic bent is best employed in the chapter on the song "Hey Joe," recorded by scads of bands (the Leaves and the Jimi Hendrix Experience cut the most familiar versions). In a musicologically riotous passage, he traces conflicting "Hey, Joe" authorship claims and winds up suggesting it is a venerable folk song of unknowable attribution. The technical side of this book can't be ignored, and casual readers and fans may be put off. Diligent, musically engaged readers, however, will glean much information and insight. --Mike Tribby
From Booklist, Copyright (c) American Library Association. Used with permission.
