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		<title>Greatest Albums of All Time (Part 3)</title>
		<link>https://thehistoryofrockandroll.net/greatest-albums-of-all-time-part-3/</link>
		
		<dc:creator><![CDATA[Meagan Paese]]></dc:creator>
		<pubDate>Tue, 28 Nov 2017 01:19:34 +0000</pubDate>
				<category><![CDATA[Rock and Roll]]></category>
		<category><![CDATA[Aretha Franklin: I Never Loved a Man the way I Love You]]></category>
		<category><![CDATA[Cream: Disraeli Gears]]></category>
		<category><![CDATA[Crosby]]></category>
		<category><![CDATA[Diana Ross and The Supremes: Anthology]]></category>
		<category><![CDATA[Dusty Springfield: Dusty at Memphis]]></category>
		<category><![CDATA[George Harrison: All Things Must Pass]]></category>
		<category><![CDATA[Johnny Cash: At Folsom Prison]]></category>
		<category><![CDATA[Nash & Young: Déjà vu]]></category>
		<category><![CDATA[Saturday Night Fever]]></category>
		<category><![CDATA[Simon and Garfunkel: Bridge Over Troubled Water]]></category>
		<category><![CDATA[Stills]]></category>
		<category><![CDATA[The Beatles: Help!]]></category>
		<category><![CDATA[The Yarbirds: Having a Rave Up With the Yardbirds]]></category>
		<category><![CDATA[vinyl]]></category>
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					<description><![CDATA[<p>The post <a href="https://thehistoryofrockandroll.net/greatest-albums-of-all-time-part-3/">Greatest Albums of All Time (Part 3)</a> appeared first on <a href="https://thehistoryofrockandroll.net">The History of Rock and Roll Radio Show</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_0 et_section_regular" >
				
				
				
				
				
				
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				<div class="et_pb_text_inner"><h2>Greatest Albums of All Time (Part 3)</h2></div>
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				<div class="et_pb_text_inner"><h3>Johnny Cash: At Folsom Prison</h3>
<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36451" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/11/Johnny-Cash-At-Folsom-Prison.jpg" alt="" width="195" height="187" />is a live album and 27th overall album by Johnny Cash, released on Columbia Records in May 1968. After his 1955 song &#8220;Folsom Prison Blues&#8221;, Cash had been interested in recording a performance at a prison. His idea was put on hold until 1967, when personnel changes at Columbia Records put Bob Johnston in charge of producing Cash&#8217;s material.</p>
<p>Cash had recently controlled his drug abuse problems, and was looking to turn his career around after several years of limited commercial success. Backed with June Carter, Carl Perkins and the Tennessee Three, Cash performed two shows at Folsom State Prison in California on January 13, 1968. The resulting album consisted of fifteen tracks from the first show and two tracks from the second.</p>
<p>Despite little initial investment by Columbia, the album was a hit in the United States, reaching number one on the country charts and the top 15 of the national album chart. The lead single from the album, a live version of &#8220;Folsom Prison Blues&#8221;, was a top 40 hit, Cash&#8217;s first since 1964&#8217;s &#8220;Understand Your Man&#8221;. At Folsom Prison received positive reviews and revitalized Cash&#8217;s career, becoming the first in a series of live albums recorded at prisons that includes &#8220;At San Quentin&#8221; (1969), &#8220;Pa Osteraker&#8221; (1973), and &#8220;A Concert Behind Prison Walls&#8221; (1976). The album was rereleased with additional tracks in 1999 and as a three-disc set in 2008. It was certified three times Platinum on March 27, 2003 by the Recording Industry Association of America for US sales exceeding three million.</p></div>
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				<div class="et_pb_text_inner"><h3>Dusty Springfield: Dusty at Memphis</h3>
<p><img loading="lazy" decoding="async" class="alignright size-full wp-image-36453" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/11/Dusty-Springfield-Dusty-at-Memphis.jpg" alt="" width="200" height="200" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Dusty-Springfield-Dusty-at-Memphis.jpg 200w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Dusty-Springfield-Dusty-at-Memphis-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Dusty-Springfield-Dusty-at-Memphis-45x45.jpg 45w" sizes="(max-width: 200px) 100vw, 200px" />The fifth studio album by English singer Dusty Springfield. She recorded the album at American Sound Studio in Memphis with a team of musicians and producers that included Jerry Wexler, Arif Mardin, Tom Dowd, conductor Gene Orloff, backing vocalists The Sweet Inspirations, bassist Tommy Cogbill, and guitarist Reggie Young. It featured one of her top-10 UK hits, &#8220;Son of a Preacher Man&#8221;. Although Dusty in Memphis sold poorly when it was first released by Atlantic Records in 1969, the album has since been acclaimed by critics as one of the greatest records of all time and Springfield&#8217;s best work. The album received a Grammy award in 2001.</p>
<p>Hoping to reinvigorate her career and boost her credibility, Dusty Springfield turned to the roots of soul music. She signed with Atlantic Records, home label of one of her soul music idols, Aretha Franklin. Although she had sung R&amp;B songs before, she had never released an entire album solely of R&amp;B songs. She began recording an album in Memphis, Tennessee, where some notable blues musicians had grown up. The Memphis sessions at the American Sound Studios were recorded by the A team of Atlantic Records. It included producers Jerry Wexler, Tom Dowd and Arif Mardin, the back-up singers Sweet Inspirations and the instrumental band Memphis Cats, led by guitarist Reggie Young and bassist Tommy Cogbill.</p>
<p>The Memphis Cats had previously backed Wilson Pickett, King Curtis and Elvis Presley. Terry Manning (also a recording engineer, but in this case) a writer for the New Musical Express attended the recording sessions, and ended up assisting Tom Dowd. The songs were written by, among others, Gerry Goffin &amp; Carole King, Barry Mann &amp; Cynthia Weil, Michel Legrand, Randy Newman, and Burt Bacharach &amp; Hal David.</p></div>
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				<div class="et_pb_text_inner"><h3>Ray Charles: Modern Sounds in Country and Western Music</h3>
<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-29053" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2016/06/1962-I-cant-stop-loving-you-ray-charles.jpg" alt="" width="200" height="200" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2016/06/1962-I-cant-stop-loving-you-ray-charles.jpg 200w, https://thehistoryofrockandroll.net/wp-content/uploads/2016/06/1962-I-cant-stop-loving-you-ray-charles-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2016/06/1962-I-cant-stop-loving-you-ray-charles-45x45.jpg 45w" sizes="(max-width: 200px) 100vw, 200px" />A studio album by American R&amp;B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, before being released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer&#8217;s previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&amp;B, pop, and jazz.</p>
<p>As his fifth LP release for ABC-Paramount, Modern Sounds in Country and Western Music became a rapid critical and commercial success as it brought Ray Charles further mainstream notice, following his tenure for Atlantic Records. With the help of the album&#8217;s four charting singles, Charles earned recognition in the pop market, as well as airplay on both R&amp;B and country radio stations. Modern Sounds and its lead single, &#8220;I Can&#8217;t Stop Loving You&#8221;, were both certified gold by the Recording Industry Association of America in 1962, as each record had shipped 500,000 copies in the United States.</p>
<p>Regarded by many critics as Charles&#8217;s best studio album, Modern Sounds in Country and Western Music has been considered by several music writers to be a landmark album in American music. The album&#8217;s integration of soul and country music bent racial barriers in popular music, amid the height of the Civil Rights Movement. In the process of recording the album, Charles became one of the first African-American musicians to exercise complete artistic control over his own recording career. The album has been called one of the greatest albums of all time by publications such as Rolling Stone and Time.</p></div>
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				<div class="et_pb_text_inner"><h3>The Who: Tommy</h3>
<p><img fetchpriority="high" decoding="async" class="alignright size-full wp-image-30714" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2016/07/1969-The-Who-Tommy.jpg" alt="" width="243" height="243" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2016/07/1969-The-Who-Tommy.jpg 243w, https://thehistoryofrockandroll.net/wp-content/uploads/2016/07/1969-The-Who-Tommy-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2016/07/1969-The-Who-Tommy-45x45.jpg 45w" sizes="(max-width: 243px) 100vw, 243px" />The fourth studio album by the English rock band The Who, a double album first released in May 1969. The album was mostly composed by guitarist Pete Townshend as a rock opera that tells the story about a &#8220;deaf, dumb and blind&#8221; boy, including his experiences with life and his relationship with his family.</p>
<p>Townshend came up with the concept of Tommy after being introduced to the work of Meher Baba, and attempted to translate Baba&#8217;s teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. Tommy was acclaimed upon its release by critics, who hailed it as the Who&#8217;s breakthrough. Its critical standing diminished slightly in later years; nonetheless, several writers view it as an important and influential album in the history of rock music.</p>
<p>The Who promoted the album&#8217;s release with an extensive tour, including a live version of Tommy, which lasted throughout 1969 and 1970. Key gigs from the tour included appearances at Woodstock, the 1969 Isle of Wight Festival, the University of Leeds, the Metropolitan Opera House and the 1970 Isle of Wight Festival. The live performances of Tommy drew critical praise and rejuvenated the band&#8217;s career.</p></div>
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				<div class="et_pb_text_inner"><h3>Diana Ross and The Supremes: Anthology</h3>
<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36457" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/11/Diana-Ross-and-The-Supremes-Anthology.jpg" alt="" width="165" height="163" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Diana-Ross-and-The-Supremes-Anthology.jpg 165w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Diana-Ross-and-The-Supremes-Anthology-45x45.jpg 45w" sizes="(max-width: 165px) 100vw, 165px" />First released in May 1974, is a series of same or similarly titled compilation albums by The Supremes. Motown released revised versions in 1986, 1995 and 2001. In its initial version, a 35-track triple record collection of hits and rare material, the album charted at #24 on Billboard&#8217;s &#8220;Black Albums&#8221; and #66 on &#8220;Pop Albums&#8221;.</p>
<p>In 2003, Rolling Stone Magazine listed the 2001 version of the album at #431 in its list of &#8220;Rolling Stone&#8217;s 500 Greatest Albums of All Time&#8221;. Without specifying which edition, music journalist Robert Christgau lists the album as part of his recommended &#8220;core collection&#8221; of albums representing rock music before 1980.</p>
<p>According to Motown data, the 1974 and 1986 releases combined sold over 1,100,000 copies in the USA, while the 1995 edition sold around 125,000 copies. The fourth and final edition released in 2001 managed to sell around 75,000 USA copies.</p></div>
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				<div class="et_pb_text_inner"><h3>The Yarbirds: Having a Rave Up With the Yardbirds</h3>
<p><img loading="lazy" decoding="async" class="alignright size-full wp-image-36459" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/11/The-Yarbirds-Having-a-Rave-Up-With-the-Yardbirds.jpg" alt="" width="192" height="192" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/The-Yarbirds-Having-a-Rave-Up-With-the-Yardbirds.jpg 192w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/The-Yarbirds-Having-a-Rave-Up-With-the-Yardbirds-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/The-Yarbirds-Having-a-Rave-Up-With-the-Yardbirds-45x45.jpg 45w" sizes="(max-width: 192px) 100vw, 192px" />The second American album by English rock group the Yardbirds. It was released in November 1965, eight months after Jeff Beck replaced Eric Clapton on guitar. It includes songs with both guitarists and reflects the group&#8217;s blues rock roots and their early experimentations with psychedelic and hard rock.</p>
<p>The title refers to the driving &#8220;rave up&#8221; arrangement the band used in several of their songs.<br />
 The album contains some of the earliest live recordings with Clapton. Recorded in March 1964, they appeared on the band&#8217;s British debut album, Five Live Yardbirds, which was not issused in the United States.</p>
<p>The songs with Beck were recorded in the studio in the months after he joined the group in March 1965. These include several charting singles and introduced &#8220;The Train Kept A-Rollin'&#8221;, one of the Yardbirds&#8217; most copied arrangements. Although most were not written by the group, the songs became a fixture of the group&#8217;s concert repertoire and continued to be performed after Jimmy Page replaced Beck.</p></div>
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				<div class="et_pb_text_inner"><h3>The Beatles: Help!</h3>
<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36461" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/11/the-beatles-help2.jpg" alt="" width="175" height="175" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/the-beatles-help2.jpg 175w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/the-beatles-help2-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/the-beatles-help2-45x45.jpg 45w" sizes="(max-width: 175px) 100vw, 175px" />The fifth studio album by English rock band the Beatles, the soundtrack from their film Help!, and released on 6 August 1965. Produced by George Martin, it was the fifth UK album release by the band, and contains fourteen songs in its original British form.</p>
<p>Seven of these, including the singles &#8220;Help!&#8221; and &#8220;Ticket to Ride&#8221;, appeared in the film and took up the first side of the vinyl album. The second side contained seven other releases including the most-covered song ever written, &#8220;Yesterday&#8221;.</p>
<p>The American release was a true soundtrack album, mixing the first seven songs with instrumental material from the film. Of the other seven songs that were on the British release, two were released on the US version of the next Beatles album, Rubber Soul, two were back-to-back on the next US single and then appeared on Yesterday and Today, and three had already been on Beatles VI.</p></div>
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				<div class="et_pb_text_inner"><h3>Crosby, Stills, Nash &amp; Young: Déjà vu</h3>
<p><img loading="lazy" decoding="async" class="alignright size-full wp-image-36463" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/11/Crosby-Stills-Nash-Young-Déjà-vu.jpg" alt="" width="199" height="199" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Crosby-Stills-Nash-Young-Déjà-vu.jpg 199w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Crosby-Stills-Nash-Young-Déjà-vu-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Crosby-Stills-Nash-Young-Déjà-vu-45x45.jpg 45w" sizes="(max-width: 199px) 100vw, 199px" />The second album by trio Crosby, Stills &amp; Nash, and their first as a quartet with Neil Young. It was released in March 1970 by Atlantic Records, catalogue SD-7200. It topped the pop album chart for one week and generated three Top 40 singles: &#8220;Woodstock&#8221;, &#8220;Teach Your Children&#8221;, and &#8220;Our House&#8221;. It was rereleased in 1977 as SD-19188 and the cover was changed from black to brown.</p>
<p>In 2003, the album was ranked #148 on Rolling Stone magazine&#8217;s list of the 500 greatest albums of all time. Certified septuple platinum by RIAA, the album&#8217;s sales currently sit at over 8 million copies. It remains the highest-selling album of each member&#8217;s career to date.</p>
<p>Déjà Vu was greatly anticipated after the popularity of the first CSN album and given the addition of Neil Young to the group. Stephen Stills estimates that the album took around 800 hours of studio time to record; this figure may be exaggerated, even though the individual tracks display meticulous attention to detail.</p>
<p>The songs, except for &#8220;Woodstock&#8221;, were recorded as individual sessions by each member, with each contributing whatever was needed that could be agreed upon. Young appears on only half of the tracks, and drummer Dallas Taylor and bassist Greg Reeves are credited on the cover with their names in slightly smaller typeface while Grateful Dead frontman Jerry Garcia plays pedal steel guitar on &#8220;Teach Your Children&#8221; and former Lovin&#8217; Spoonful leader John Sebastian plays harmonica on the title track.</p>
<p>Four singles were released from the album with all but the last, &#8220;Carry On,&#8221; charting on the Billboard Hot 100. The song &#8220;Country Girl&#8221; by Young is a suite put together from three song fragments entitled &#8220;Whiskey Boot Hill,&#8221; &#8220;Down Down Down,&#8221; and &#8220;Country Girl (I Think You&#8217;re Pretty),&#8221; and is so identified in the credits.</p></div>
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				<div class="et_pb_text_inner"><h3>Simon and Garfunkel: Bridge Over Troubled Water</h3>
<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36465" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/11/Simon-and-Garfunkel-Bridge-Over-Troubled-Water.jpg" alt="" width="209" height="209" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Simon-and-Garfunkel-Bridge-Over-Troubled-Water.jpg 209w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Simon-and-Garfunkel-Bridge-Over-Troubled-Water-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Simon-and-Garfunkel-Bridge-Over-Troubled-Water-45x45.jpg 45w" sizes="(max-width: 209px) 100vw, 209px" />The fifth and final studio album by American folk rock duo Simon &amp; Garfunkel, released in January 1970 on Columbia Records. Following the duo&#8217;s soundtrack for The Graduate, Art Garfunkel took an acting role in the film Catch-22, while Paul Simon worked on the songs, writing all tracks except Felice and Boudleaux Bryant&#8217;s &#8220;Bye Bye Love&#8221; (previously a hit for the Everly Brothers).</p>
<p>With the help of producer Roy Halee, the album followed a similar musical pattern as their Bookends, partly abandoning their traditional style in favor of a more creative sound, combining rock, R&amp;B, gospel, jazz, world music, pop and other genres. After filming Catch-22, Garfunkel returned and the duo recorded around 14 tracks, three of which were not featured in the album. The inclusion of a 12th track was long discussed but they eventually decided upon 11 songs. It was described as both their &#8220;most effortless record and their most ambitious.&#8221;</p>
<p>Bridge over Troubled Water was released on January 26, 1970, and several re-releases followed. The album was mixed and released in both stereo and quadraphonic. Columbia Records released a 40th Anniversary Edition on March 8, 2011, which includes two DVDs, including the politically themed TV special Songs of America (1969), the documentary The Harmony Game, additional liner notes and a booklet. Other reissues contain bonus tracks, such as the 2001 version, which covers the demo tapes of &#8220;Feuilles-O&#8221; and &#8220;Bridge over Troubled Water&#8221;.</p>
<p>Despite numerous accolades, the duo decided to split up, and parted company later in 1970; Garfunkel continued his film career, while Simon worked intensely with music. Both artists released solo albums in the following years. Bridge includes two of the duo&#8217;s most critically acclaimed and commercially successful songs, &#8220;Bridge over Troubled Water&#8221; and &#8220;The Boxer&#8221;, which were listed on Rolling Stone&#8217;s 500 Greatest Songs of All Time. Critically and commercially successful, the album topped the charts in over ten countries and received two Grammy Awards, plus four more for the title song. It sold around 25 million records and was ranked on several lists, including at number 51 on Rolling Stone&#8217;s 500 Greatest Albums of All Time.</p></div>
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				<div class="et_pb_text_inner"><h3>Aretha Franklin: I Never Loved a Man the way I Love You</h3>
<p><img loading="lazy" decoding="async" class="alignright size-thumbnail wp-image-36467" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/11/Aretha-Franklin-I-Never-Loved-a-Man-the-way-I-Love-You-150x150.jpg" alt="" width="150" height="150" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Aretha-Franklin-I-Never-Loved-a-Man-the-way-I-Love-You-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Aretha-Franklin-I-Never-Loved-a-Man-the-way-I-Love-You-45x45.jpg 45w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Aretha-Franklin-I-Never-Loved-a-Man-the-way-I-Love-You.jpg 185w" sizes="(max-width: 150px) 100vw, 150px" />The eleventh studio album by American singer Aretha Franklin.</p>
<p>Released on March 10, 1967 by Atlantic Records, It went to number 2 on the Billboard album chart and number 1 on the magazine&#8217;s Top R&amp;B Selling chart.</p>
<p>It was certified Gold by the RIAA in 1967.</p></div>
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				<div class="et_pb_text_inner"><h3>George Harrison: All Things Must Pass</h3>
<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36469" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/11/George-Harrison-All-Things-Must-Pass.jpg" alt="" width="186" height="186" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/George-Harrison-All-Things-Must-Pass.jpg 186w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/George-Harrison-All-Things-Must-Pass-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/George-Harrison-All-Things-Must-Pass-45x45.jpg 45w" sizes="(max-width: 186px) 100vw, 186px" />A triple album by English musician George Harrison. Recorded and released in 1970, the album was Harrison&#8217;s first solo work since the break-up of the Beatles in April that year, and his third solo album overall.</p>
<p>It includes the hit singles &#8220;My Sweet Lord&#8221; and &#8220;What Is Life&#8221;, as well as songs such as &#8220;Isn&#8217;t It a Pity&#8221; and the title track that had been turned down for inclusion on releases by the Beatles. The album reflects the influence of Harrison&#8217;s musical activities with artists such as Bob Dylan, the Band, Delaney &amp; Bonnie and Billy Preston during 1968–70, and his growth as an artist beyond his supporting role to former bandmates John Lennon and Paul McCartney.</p>
<p>All Things Must Pass introduced Harrison&#8217;s signature sound, the slide guitar, and the spiritual themes that would be present throughout his subsequent solo work. The original vinyl release consisted of two LPs of songs and a third disc of informal jams, titled Apple Jam. Several commentators interpret Barry Feinstein&#8217;s album cover photo, showing Harrison surrounded by four garden gnomes, as a statement on his independence from the Beatles.</p>
<p>Production began at London&#8217;s Abbey Road Studios in May 1970, with extensive overdubbing and mixing continuing through October. Among the large cast of backing musicians were Eric Clapton and Delaney &amp; Bonnie&#8217;s Friends band – three of whom formed Derek and the Dominos with Clapton during the recording – as well as Ringo Starr, Gary Wright, Preston, Klaus Voormann, John Barham, Badfinger and Pete Drake. The sessions produced a double album&#8217;s worth of extra material, most of which remains unissued.</p>
<p>All Things Must Pass was critically and commercially successful on release, with long stays at number 1 on charts around the world. The album was co-produced by Phil Spector and employs his Wall of Sound production technique to notable effect; Ben Gerson of Rolling Stone described the sound as &#8220;Wagnerian, Brucknerian, the music of mountain tops and vast horizons&#8221;.[1] Reflecting the widespread surprise at the assuredness of Harrison&#8217;s post-Beatles debut, Melody Maker&#8217;s Richard Williams likened the album to Greta Garbo&#8217;s first role in a talking picture and declared: &#8220;Garbo talks! – Harrison is free!&#8221; According to Colin Larkin, writing in the 2011 edition of his Encyclopedia of Popular Music, All Things Must Pass is &#8220;generally rated&#8221; as the best of all the former Beatles&#8217; solo albums.</p>
<p>During the final year of his life, Harrison oversaw a successful reissue campaign to mark the 30th anniversary of the album&#8217;s release. Following this reissue, in March 2001, the set was certified six-times platinum by the Recording Industry Association of America. Among its appearances in critics&#8217; best-album lists, All Things Must Pass was ranked 79th on The Times&#8217; &#8220;The 100 Best Albums of All Time&#8221; in 1993, while Rolling Stone currently places it 433rd on the magazine&#8217;s &#8220;500 Greatest Albums of All Time&#8221;.</p></div>
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				<div class="et_pb_text_inner"><h3>Cream: Disraeli Gears</h3>
<p><img loading="lazy" decoding="async" class="alignright size-full wp-image-36471" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/11/Cream-Disraeli-Gears.jpg" alt="" width="201" height="200" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Cream-Disraeli-Gears.jpg 201w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Cream-Disraeli-Gears-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Cream-Disraeli-Gears-45x45.jpg 45w" sizes="(max-width: 201px) 100vw, 201px" />The second studio album by the British rock band Cream. It was released in November 1967 and went on to reach No. 5 on the UK Albums Chart.</p>
<p>It was also the group&#8217;s American breakthrough, becoming a massive seller in 1968, and reaching No. 4 on the American charts.</p>
<p>The album was No. 1 for two weeks on the Australian album chart and was listed as the No. 1 album of 1968 by Cash Box in the year-end album chart in the United States. The album features the two singles &#8220;Strange Brew&#8221; and &#8220;Sunshine of Your Love&#8221;.</p></div>
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<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36473" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/11/Saturday-Night-Fever.jpg" alt="" width="169" height="169" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Saturday-Night-Fever.jpg 169w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Saturday-Night-Fever-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/11/Saturday-Night-Fever-45x45.jpg 45w" sizes="(max-width: 169px) 100vw, 169px" />The soundtrack album from the 1977 film Saturday Night Fever starring John Travolta. In the United States, the album was certified 15× Platinum for shipments of at least 15 million units. The album stayed atop the album charts for 24 straight weeks from January to July 1978 and stayed on Billboard&#8217;s album charts for 120 weeks until March 1980. In the UK, the album spent 18 consecutive weeks at No. 1. The album epitomized the disco phenomenon on both sides of the Atlantic and was an international sensation. The album has been added to the National Recording Registry in the Library of Congress for being culturally significant. </div>
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<p>The post <a href="https://thehistoryofrockandroll.net/greatest-albums-of-all-time-part-3/">Greatest Albums of All Time (Part 3)</a> appeared first on <a href="https://thehistoryofrockandroll.net">The History of Rock and Roll Radio Show</a>.</p>
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		<title>1970-1971 Music (Part 1)</title>
		<link>https://thehistoryofrockandroll.net/1970-1971-music/</link>
		
		<dc:creator><![CDATA[Meagan Paese]]></dc:creator>
		<pubDate>Sun, 22 Oct 2017 19:17:47 +0000</pubDate>
				<category><![CDATA[Rock and Roll]]></category>
		<category><![CDATA[All Right Now by Free]]></category>
		<category><![CDATA[American Woman by The Guess Who]]></category>
		<category><![CDATA[and Thieves by Cher]]></category>
		<category><![CDATA[Another Day by Paul McCartney]]></category>
		<category><![CDATA[Black Dog by Led Zeppelin]]></category>
		<category><![CDATA[Bridge Over Troubled Water by Simon and Garfunkel]]></category>
		<category><![CDATA[Does Anybody Really Know What Time It Is by Chicago]]></category>
		<category><![CDATA[Fire and Rain by James Taylor]]></category>
		<category><![CDATA[Gypsy]]></category>
		<category><![CDATA[I Want You Back by The Jackson Five]]></category>
		<category><![CDATA[Imagine by John Lennon]]></category>
		<category><![CDATA[Instant Karmal by John Lennon]]></category>
		<category><![CDATA[It’s Too Late by Carole King]]></category>
		<category><![CDATA[Kentucky Rain by Elvis Presley]]></category>
		<category><![CDATA[Knock Three Times by Tony Orlando and Dawn]]></category>
		<category><![CDATA[Let It Be by the Beatles]]></category>
		<category><![CDATA[Love Grows (Where My Rosemary Goes)]]></category>
		<category><![CDATA[Make It With You by Bread]]></category>
		<category><![CDATA[Mama Told Me Not to Come by Three Dog Night]]></category>
		<category><![CDATA[Mr. Bojangles by Nitty Gritty Dirt Band]]></category>
		<category><![CDATA[My Sweet Lord by George Harrison]]></category>
		<category><![CDATA[Nash & Young]]></category>
		<category><![CDATA[No Matter What by Badfinger]]></category>
		<category><![CDATA[Ohio by Crosby]]></category>
		<category><![CDATA[Peace Train by Cat Stevens]]></category>
		<category><![CDATA[Stills]]></category>
		<category><![CDATA[Tramp]]></category>
		<category><![CDATA[Venus by Shocking Blue]]></category>
		<category><![CDATA[You’ve Got a Friend by James Taylor]]></category>
		<guid isPermaLink="false">http://www.thehistoryofrockandroll.net/?p=36184</guid>

					<description><![CDATA[<p>The post <a href="https://thehistoryofrockandroll.net/1970-1971-music/">1970-1971 Music (Part 1)</a> appeared first on <a href="https://thehistoryofrockandroll.net">The History of Rock and Roll Radio Show</a>.</p>
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										<content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_14 et_section_regular" >
				
				
				
				
				
				
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				<div class="et_pb_text_inner"><h2>Venus by Shocking Blue</h2></div>
			</div><div class="et_pb_module et_pb_text et_pb_text_15  et_pb_text_align_left et_pb_bg_layout_light">
				
				
				
				
				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36186" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/Venus-by-Shocking-Blue.jpg" alt="" width="219" height="146" />Venus by Shocking Blue a 1969 song written by Robbie van Leeuwen. In 1970, the Dutch rock band Shocking Blue took the song to number one in nine countries. In 1981 it was sampled as part of the Stars on 45 medley. In 1986, the British female pop group Bananarama returned the song to number one in seven countries. The composition has been featured in numerous films, television shows and commercials, and covered dozens of times by artists around the world.</p>
<p>Released in late 1969 as a single from the group&#8217;s third album Scorpio&#8217;s Dance (later also on reissues of the second album At Home), Shocking Blue&#8217;s single reached number one on the Billboard Hot 100 on 7 February 1970. RIAA certification came on 28 January 1970 for selling over one million copies in the US, garnering a gold record. Worldwide, the single sold over 7.5 million copies.</p>
<p>The song&#8217;s lead vocals are performed by Mariska Veres. The song&#8217;s music and lyrics were written by Robbie van Leeuwen, the band&#8217;s guitarist, sitarist and background vocalist, who also produced along with record producer Jerry Ross. Van Leeuwen originally miswrote the line &#8220;&#8230;the goddess on the mountain top&#8230;&#8221; as &#8220;&#8230;the godness on the mountain top&#8230;&#8221;, so Veres sang it this way on the hit recording of the song.</p></div>
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				<div class="et_pb_text_inner"><h2>All Right Now by Free</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignright size-full wp-image-36187" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/All-Right.jpg" alt="" width="136" height="136" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/All-Right.jpg 136w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/All-Right-45x45.jpg 45w" sizes="(max-width: 136px) 100vw, 136px" />All Right Now by Free is a single by the English rock band Free. The song, released in 1970, hit #2 on the UK singles chart and #4 on the US Billboard Hot 100 singles chart. &#8220;All Right Now&#8221; originally appeared on the album Fire and Water, which Free recorded on the Island Records label, formed by Chris Blackwell. In 1991, the song was remixed and re-released, reaching #8 on the UK singles chart.</p>
<p>&#8220;All Right Now&#8221; was a #1 hit in over 20 territories and was recognized by ASCAP (American Society of Composers, Authors, and Publishers) in 1990 for garnering 1,000,000 plus radio plays in the U.S. by late 1989. In 2006, the BMI London awards included a Million Air award for 3 million air plays of All Right Now in the USA.</p>
<p>According to drummer Simon Kirke, &#8220;All Right Now&#8221; was written by bassist Andy Fraser and singer Paul Rodgers in the Durham Students&#8217; Union building, Dunelm House</p></div>
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				<div class="et_pb_text_inner"><h2>American Woman by The Guess Who</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36189" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/American-woman-by-the-Guess-Who.jpg" alt="" width="166" height="166" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/American-woman-by-the-Guess-Who.jpg 166w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/American-woman-by-the-Guess-Who-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/American-woman-by-the-Guess-Who-45x45.jpg 45w" sizes="(max-width: 166px) 100vw, 166px" />American Woman by The Guess Who is a song released by the Canadian rock band The Guess Who in November 1969, from their sixth studio album of the same name. It was later released in March 1970 as a single backed with &#8220;No Sugar Tonight&#8221;, which reached number one on the Billboard Hot 100.</p>
<p>Billboard magazine placed the single at number three on the Year-End Hot 100 singles of 1970 list. On May 22, 1970, the single was certified as gold by the RIAA.</p></div>
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				<div class="et_pb_text_inner"><h2>Bridge Over Troubled Water by Simon and Garfunkel</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignright size-full wp-image-36191" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/Bridge-over-trouble-water.jpg" alt="" width="188" height="188" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Bridge-over-trouble-water.jpg 188w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Bridge-over-trouble-water-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Bridge-over-trouble-water-45x45.jpg 45w" sizes="(max-width: 188px) 100vw, 188px" />Bridge Over Troubled Water by Simon and Garfunkel is a song by American music duo Simon &amp; Garfunkel. Produced by the duo and Roy Halee, the song was released as the follow-up single to &#8220;The Boxer&#8221; in January 1970. The song is featured on their fifth studio album, Bridge over Troubled Water (1970). Composed by singer-songwriter Paul Simon, the song is performed on piano and carries the influence of gospel music. The original studio recording employs elements of Phil Spector&#8217;s &#8220;Wall of Sound&#8221; technique using L.A. session musicians from the Wrecking Crew.</p>
<p>It was the last song recorded for their fifth and final album, but the first fully completed. The song&#8217;s instrumentation was recorded in California while the duo&#8217;s vocals were cut in New York. Simon felt his partner, Art Garfunkel, should sing the song solo, an invitation Garfunkel initially declined. Session musician Larry Knechtel performs piano on the song, with Joe Osborn playing bass guitar and Hal Blaine closing out the song with drums. The song won five awards at the 13th Annual Grammy Awards in 1971, including Grammy Award for Record of the Year and Song of the Year.</p>
<p>The song became Simon &amp; Garfunkel&#8217;s biggest hit single, and it is often considered their signature song. It was a number one hit on the Billboard Hot 100 for six weeks, and it also topped the charts in the United Kingdom, Canada, France, and New Zealand. It was a top five hit in eight other countries as well, eventually selling over six million copies worldwide, making it among the best-selling singles. It became one of the most performed songs of the twentieth century, with over 50 artists, among them Elvis Presley and Aretha Franklin, covering the song.</p></div>
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				<div class="et_pb_text_inner"><h2>Does Anybody Really Know What Time It Is by Chicago</h2></div>
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				<div class="et_pb_text_inner"> Does Anybody Really Know What Time It Is by Chicago is a song by the rock band Chicago. It was included on their 1969 debut album Chicago Transit Authority and released as a single in 1970. The song was written and sung by Robert Lamm. </div>
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				<div class="et_pb_text_inner"><h2>Fire and Rain by James Taylor</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36194" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/Fire-and-Rain-by-James-Taylor.jpg" alt="" width="166" height="167" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Fire-and-Rain-by-James-Taylor.jpg 166w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Fire-and-Rain-by-James-Taylor-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Fire-and-Rain-by-James-Taylor-45x45.jpg 45w" sizes="(max-width: 166px) 100vw, 166px" />Fire and Rain by James Taylor is a folk rock song written and performed by James Taylor. Released on Warner Bros. Records as a single from his second album, Sweet Baby James, in February 1970, the song follows Taylor&#8217;s reaction to the suicide of Suzanne Schnerr, a childhood friend, and his experiences with drug addiction and fame.</p>
<p>After its release, &#8220;Fire and Rain&#8221; peaked at number two on RPM&#8217;s Canada Top Singles chart and at number three on the Billboard Hot 100</p></div>
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				<div class="et_pb_text_inner"><h2>Instant Karmal by John Lennon</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignright size-full wp-image-36196" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/Instant-Karmal-by-John-Lennon.jpg" alt="" width="151" height="151" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Instant-Karmal-by-John-Lennon.jpg 151w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Instant-Karmal-by-John-Lennon-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Instant-Karmal-by-John-Lennon-45x45.jpg 45w" sizes="(max-width: 151px) 100vw, 151px" />Instant Karmal by John Lennon is a song written by English musician John Lennon, released as a single on Apple Records in February 1970. In the UK, the single was credited to &#8220;Lennon/Ono with the Plastic Ono Band&#8221;. The song reached the top five in the British and American singles charts, competing with the Beatles&#8217; &#8220;Let It Be&#8221; in America, where it became the first solo single by a member of the band to sell a million copies.</p>
<p>&#8220;Instant Karma!&#8221; was written, recorded and released within a period of ten days, making it one of the fastest-released songs in pop music history. The recording was produced by Phil Spector, marking a comeback for the American producer after his self-imposed retirement in 1966, and leading to him being offered the producer&#8217;s role on the Beatles&#8217; Let It Be album (1970).</p>
<p>Recorded at London&#8217;s Abbey Road Studios, &#8220;Instant Karma!&#8221; employs Spector&#8217;s signature Wall of Sound technique and features contributions from George Harrison, Klaus Voormann, Alan White and Billy Preston. The B-side was a song composed and performed by Yoko Ono, titled &#8220;Who Has Seen the Wind?&#8221; Recently shorn of the long hair synonymous with their 1969 campaign for world peace, Lennon and Ono promoted the single with an appearance on Britain&#8217;s Top of the Pops.</p></div>
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				<div class="et_pb_text_inner"><h2>I Want You Back by The Jackson Five</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36198" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/I-Want-You-Back-by-The-Jackson-Five.jpg" alt="" width="245" height="165" />I Want You Back by The Jackson Five is a 1969 song by the Jackson 5 which became a number-one hit for the band and the Motown label in early 1970.</p>
<p>The song, along with a B-side cover of &#8220;Who&#8217;s Lovin&#8217; You&#8221; by Smokey Robinson &amp; the Miracles, was the only single used in the Jackson 5&#8217;s first album, Diana Ross Presents the Jackson 5. It went to number one on the Soul singles chart for four weeks and held the number-one position on the Billboard Hot 100 singles chart for the week ending January 31, 1970.</p></div>
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				<div class="et_pb_text_inner"><h2>Kentucky Rain by Elvis Presley</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignright size-full wp-image-36200" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/Elvis-my-little-friend.jpg" alt="" width="208" height="212" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Elvis-my-little-friend.jpg 208w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Elvis-my-little-friend-45x45.jpg 45w" sizes="(max-width: 208px) 100vw, 208px" />Kentucky Rain by Elvis Presley was a 1970 hit song for Elvis Presley. Featuring pianist Ronnie Milsap and written by Eddie Rabbitt and Dick Heard, the single peaked at #16 on the pop charts. It was recorded at American Sound Studio.</p>
<p>Released as a single on January 29, 1970, &#8220;Kentucky Rain&#8221; was one of the early hits in the 1970s for Presley, though the song was not included on an album until the compilation package Worldwide 50 Gold Award Hits Vol. 1 (LPM-6401); while the track does appear on the 2000 re-release of From Elvis in Memphis, it was not included on the original 1969 album. During Presleys&#8217; February 1970 engagement, he performed it some sixteen times, introducing it as a new song &#8220;out about a week.&#8221; Live versions are available on the box sets Elvis Aaron Presley and Live in Las Vegas.</p>
<p>The song depicts an anxious lover as he walks and drives through the &#8220;cold Kentucky rain&#8221; in search of his missing love</p></div>
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				<div class="et_pb_text_inner"><h2>Let It Be by the Beatles</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36202" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/Let-It-Be-by-the-Beatles.jpg" alt="" width="169" height="163" />Let It Be by the Beatles is a song by the English rock band the Beatles, released in March 1970 as a single, and (in an alternate mix) as the title track of their album Let It Be. At the time, it had the highest debut on the Billboard Hot 100, beginning its chart run at number 6. It was written and sung by Paul McCartney.</p>
<p>It was their final single before McCartney announced his departure from the band. Both the Let It Be album and the US single &#8220;The Long and Winding Road&#8221; were released after McCartney&#8217;s announced departure from and the subsequent break-up of the group.</p></div>
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				<div class="et_pb_text_inner"><h2>Love Grows (Where My Rosemary Goes)</h2></div>
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				<div class="et_pb_text_inner"> <img loading="lazy" decoding="async" class="alignright size-full wp-image-36204" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/love-grows.jpg" alt="" width="166" height="163" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/love-grows.jpg 166w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/love-grows-45x45.jpg 45w" sizes="(max-width: 166px) 100vw, 166px" />Love Grows (Where My Rosemary Goes) a popular song by &#8220;one-hit wonder&#8221; Edison Lighthouse. The single hit the number one spot on the UK Singles Chart on the week ending on 31 January 1970, where it remained for a total of five weeks. It also became the first number one single of the 1970s (not counting Rolf Harris&#8217; &#8220;Two Little Boys&#8221; which was a holdover from 1969. </div>
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				<div class="et_pb_text_inner"><h2>Make It With You by Bread</h2></div>
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				<div class="et_pb_text_inner"> <img loading="lazy" decoding="async" class="alignright size-full wp-image-34950" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/Make-It-With-You-By-Bread.jpg" alt="" width="178" height="179" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/02/Make-It-With-You-By-Bread.jpg 178w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/02/Make-It-With-You-By-Bread-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/02/Make-It-With-You-By-Bread-45x45.jpg 45w" sizes="(max-width: 178px) 100vw, 178px" />Make It With You by Bread a song written by David Gates and originally recorded by the pop-rock group Bread, of which Gates was a member. Only Gates and drummer Mike Botts appear on the song and the song was a #1 hit. The song first appeared on Bread&#8217;s 1970 album, On the Waters. Released as a single that June, it was the group&#8217;s first top-ten hit on the Billboard Hot 100 singles chart and spent the week of August 22, 1970, at number one, their only single to do so; it also reached #5 on the UK Singles Chart. Billboard ranked &#8220;Make It with You&#8221; as the No. 13 song of 1970, and it was certified gold by the RIAA for sales of over one million copies </div>
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				<div class="et_pb_text_inner"><h2>Mama Told Me Not to Come by Three Dog Night</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36207" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/Mama-Told-Me-Not-to-Come-by-Dog-Night.jpg" alt="" width="168" height="169" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Mama-Told-Me-Not-to-Come-by-Dog-Night.jpg 168w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Mama-Told-Me-Not-to-Come-by-Dog-Night-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Mama-Told-Me-Not-to-Come-by-Dog-Night-45x45.jpg 45w" sizes="(max-width: 168px) 100vw, 168px" />Mama Told Me Not to Come by Three Dog Night is a song by American singer-songwriter Randy Newman written for Eric Burdon&#8217;s first solo album in 1966. Three Dog Night&#8217;s 1970 cover of the song topped the US pop singles chart. Tom Jones and the Stereophonics&#8217; cover version also hit number four on the UK Singles Chart in 2000.</p>
<p>Also in 1970, Three Dog Night released a longer, rock &#8216;n roll and funk-inspired version (titled &#8220;Mama Told Me (Not to Come)&#8221;) on It Ain&#8217;t Easy.</p>
<p>Three Dog Night&#8217;s version had the same 3/4 by 2/4 time change as Eric Burdon&#8217;s version and featured Cory Wells singing lead in an almost humorous vocal style, Jimmy Greenspoon playing a Wurlitzer electric piano, and Michael Allsup playing guitar.</p></div>
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				<div class="et_pb_text_inner"><h2>No Matter What by Badfinger</h2></div>
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				<div class="et_pb_text_inner"> No Matter What by Badfingeris a song originally recorded by Badfinger for their album No Dice in 1970, written and sung by Pete Ham and produced by Mal Evans. </div>
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				<div class="et_pb_text_inner"><h2>Mr. Bojangles by Nitty Gritty Dirt Band</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignright size-full wp-image-36210" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/Mr-Bojangles-.jpg" alt="" width="173" height="173" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Mr-Bojangles-.jpg 173w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Mr-Bojangles--150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Mr-Bojangles--45x45.jpg 45w" sizes="(max-width: 173px) 100vw, 173px" />Mr. Bojangles by Nitty Gritty Dirt Band a song written and originally recorded by American country music artist Jerry Jeff Walker for his 1968 album of the same title. Since then, it has been recorded by many other artists, including US country music band the Nitty Gritty Dirt Band, whose version (recorded for the 1970 album Uncle Charlie &amp; His Dog Teddy) was issued as a single and rose to number nine on the Billboard Hot 100 pop chart in 1971. Live versions of the song appeared on Walker&#8217;s 1977 album, A Man Must Carry On and his 1980 album The Best of Jerry Jeff Walker.</p>
<p>The NGDB&#8217;s single version begins with the Uncle Charlie interview (subtitled &#8220;Prologue: Uncle Charlie and his Dog Teddy&#8221;) that also precedes the song on the Uncle Charlie album. This was originally backed with another interview with Uncle Charlie, also taken from the album. When &#8220;Mr. Bojangles&#8221; started climbing the charts, the B-side was re-pressed with the same song without the interview prologue. NGDB guitarist Jeff Hanna performed most of the lead vocals on the track, with bandmate Jim Ibbotson performing harmony vocals; the two switched these roles on the last verse.</p></div>
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				<div class="et_pb_text_inner"><h2>Ohio by Crosby, Stills, Nash &amp; Young</h2></div>
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				<div class="et_pb_text_inner"><p>Ohio by Crosby, Stills, Nash &amp; Young is a protest song and counterculture anthem written and composed by Neil Young in reaction to the Kent State shootings of May 4, 1970, and performed by Crosby, Stills, Nash &amp; Young. It was released as a single, backed with Stephen Stills&#8217;s &#8220;Find the Cost of Freedom&#8221;, peaking at number 14 on the US Billboard Hot 100 and number 16 in Canada.</p>
<p>Although a live version of &#8220;Ohio&#8221; was included on the group&#8217;s 1971 double album Four Way Street, the studio versions of both songs did not appear on an LP until the group&#8217;s compilation So Far was released in 1974. The song also appeared on the Neil Young compilation albums Decade, released in 1977, and Greatest Hits, released in 2004.</p></div>
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				<div class="et_pb_text_inner"><h2>Knock Three Times by Tony Orlando and Dawn</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36213" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/Knock-Three-Times.jpg" alt="" width="160" height="159" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Knock-Three-Times.jpg 160w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Knock-Three-Times-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Knock-Three-Times-45x45.jpg 45w" sizes="(max-width: 160px) 100vw, 160px" />Knock Three Times by Tony Orlando and Dawn is a popular song credited to Tony Orlando and Dawn. The actual singers were Tony Orlando, Toni Wine, and Linda November, prior to the creation of &#8220;Dawn&#8221; with Telma Hopkins and Joyce Vincent Wilson.[citation needed] The song was released as a single in November 1970, paired with Orlando&#8217;s other hit song, &#8220;Candida&#8221; (also written by Toni Wine). The single hit number one on the Billboard Hot 100 in January 1971 and eventually sold six million copies, also claiming the number-one spot on the UK Singles Chart. The song registered well at Adult Contemporary stations, reaching #2 on Billboard&#8217;s &#8220;Easy Listening&#8221; survey.</p>
<p><img loading="lazy" decoding="async" class="alignright size-full wp-image-36214" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/Knock-Three-Times-Tony-Orlando.jpg" alt="" width="155" height="155" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Knock-Three-Times-Tony-Orlando.jpg 155w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Knock-Three-Times-Tony-Orlando-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Knock-Three-Times-Tony-Orlando-45x45.jpg 45w" sizes="(max-width: 155px) 100vw, 155px" />The composers of this song, L. Russell Brown and Irwin Levine, were thinking of the song Up on the Roof and they wanted to write a song with that kind of lyrical flavor, about tenement living. In the song, the singer has fallen in love with a woman who lives in the apartment directly below him but has no clue as to her interest, so he asks her to respond by either knocking three times on the ceiling (yes) or banging twice on the pipe (no), and the chorus includes sound effects of the two choices. (However, the song never states her response.)</p>
<p>Michael Anthony Orlando Cassavitis was, at the time of the recording, working as a producer/singer for a rival record label, and first heard the tune recorded by another artist and immediately knew the song could be a hit if produced as he envisioned. Cassavitis cut the track under the name &#8220;Tony Orlando&#8221;, having to do the studio sessions on the &#8220;down low&#8221; to ensure that his current record label wouldn&#8217;t become aware. Upon release, the song, produced as Orlando had envisioned became a great success.</p>
<p>Knock Three Times actually sold more than 100,000 records a day in New York City alone for ten straight days.</p></div>
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				<div class="et_pb_text_inner"><h2>My Sweet Lord by George Harrison</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36216" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/My-Sweet-Lord-by-George-Harrison.jpg" alt="" width="182" height="185" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/My-Sweet-Lord-by-George-Harrison.jpg 182w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/My-Sweet-Lord-by-George-Harrison-45x45.jpg 45w" sizes="(max-width: 182px) 100vw, 182px" />My Sweet Lord by George Harrison is a song by English musician and Beatle, George Harrison. It was released in November 1970 on his triple album All Things Must Pass. Also issued as a single, Harrison&#8217;s first as a solo artist, &#8220;My Sweet Lord&#8221; topped charts worldwide and was the biggest-selling single of 1971 in the UK.</p>
<p>In America and Britain, the song was the first number-one single by an ex-Beatle. Harrison originally gave the song to his fellow Apple Records artist Billy Preston to record; this version, which Harrison co-produced, appeared on Preston&#8217;s Encouraging Words album in September 1970.</p>
<p>Harrison wrote &#8220;My Sweet Lord&#8221; in praise of the Hindu god Krishna, while at the same time intending the lyrics to serve as a call to abandon religious sectarianism through his deliberate blending of the Hebrew word hallelujah with chants of &#8220;Hare Krishna&#8221; and Vedic prayer. The recording features producer Phil Spector&#8217;s Wall of Sound treatment and heralded the arrival of Harrison&#8217;s much-admired slide guitar technique, which one biographer described as being &#8220;musically as distinctive a signature as the mark of Zorro&#8221;. Preston, Ringo Starr, Eric Clapton, and the group Badfinger are among the other musicians appearing on the recording.</p>
<p>Later in the 1970s, &#8220;My Sweet Lord&#8221; was at the centre of a heavily publicized copyright infringement suit, due to its similarity to the Ronnie Mack song &#8220;He&#8217;s So Fine&#8221;, a 1963 hit for the New York girl group the Chiffons. In 1976, Harrison was found to have subconsciously plagiarized the earlier tune, a verdict that had repercussions throughout the music industry. He claimed to have used the out-of-copyright &#8220;Oh Happy Day&#8221;, a Christian hymn, as his inspiration for the song&#8217;s melody.</p>
<p>Harrison performed &#8220;My Sweet Lord&#8221; at the Concert for Bangladesh in August 1971, and it remains the most popular composition from his post-Beatles career.</p></div>
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				<div class="et_pb_text_inner"><h2>Imagine by John Lennon</h2></div>
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				<div class="et_pb_text_inner"><p>Imagine by John Lennon is a song written and performed by English musician John Lennon. The best-selling single of his solo career, its lyrics encourage the listener to imagine a world at peace without the barriers of borders or the divisions of religion and nationality, and to consider the possibility that the whole of humanity would live unattached to material possessions.</p>
<p><img loading="lazy" decoding="async" class="alignright size-full wp-image-34591" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2016/11/Imagine-John-Lennon.jpg" alt="John Lennon" width="253" height="253" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2016/11/Imagine-John-Lennon.jpg 253w, https://thehistoryofrockandroll.net/wp-content/uploads/2016/11/Imagine-John-Lennon-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2016/11/Imagine-John-Lennon-45x45.jpg 45w" sizes="(max-width: 253px) 100vw, 253px" />Lennon and Yoko Ono co-produced the song and album of the same name with Phil Spector. Recording began at Lennon&#8217;s home studio at Tittenhurst Park, England, in May 1971, with final overdubs taking place at the Record Plant, in New York City, during July. One month after the September release of the LP, Lennon released &#8220;Imagine&#8221; as a single in the United States; the song peaked at number three on the Billboard Hot 100 and the LP reached number one on the UK chart in November, later becoming the most commercially successful and critically acclaimed album of Lennon&#8217;s solo career. Although not originally released as a single in the United Kingdom, it was released in 1975 to promote a compilation LP and it reached number six in the chart that year. The song has since sold more than 1.6 million copies in the UK; it reached number one following Lennon&#8217;s murder in December 1980. In 1985, the Central Park Conservancy memorialised a portion of the park in honour of Lennon, called Strawberry Fields, with a mosaic that reads &#8220;Imagine&#8221;. Shortly before his death, Lennon acknowledged Ono&#8217;s role in inspiring the concept behind &#8220;Imagine&#8221;; as of June 2017, plans were underway to ensure that she receives a co-writing credit for the song.</p>
<p>BMI named &#8220;Imagine&#8221; one of the 100 most-performed songs of the 20th century.</p></div>
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				<div class="et_pb_text_inner"><h2>Another Day by Paul McCartney</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36219" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/Another-Day.jpg" alt="" width="156" height="162" />Another Day by Paul McCartney is a song recorded by Paul McCartney in New York in 1970, during the sessions for his album Ram. Although it was the first single of McCartney&#8217;s solo career, &#8220;Another Day&#8221; was written and previewed during the Beatles&#8217; Let It Be sessions in 1969. It was released on 19 February 1971 in the UK, with &#8220;Oh Woman, Oh Why&#8221; as the B-side. Neither song was included on the Ram album.</p>
<p>Another Day&#8221; is written in an observational style reminiscent of &#8220;Eleanor Rigby&#8221;; Denny Seiwell, the drummer from the Ram Sessions, called it &#8220;&#8216;Eleanor Rigby&#8217; in New York City.&#8221; The lyrics describe the drudgery and sadness of an unnamed woman&#8217;s life at work and at home.</p>
<p>Paul&#8217;s wife, Linda McCartney, provided vocal harmonies on &#8220;Another Day&#8221;. Describing his and Linda&#8217;s distinctive harmonies, McCartney said &#8220;I wanted &#8216;our&#8217; sound.&#8221; Paul was deliberately attempting to create a unique McCartney style, a musical identity outside of the Beatles</p></div>
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				<div class="et_pb_text_inner"><h2>Black Dog by Led Zeppelin</h2></div>
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				<div class="et_pb_text_inner"> Black Dog by Led Zeppelin is a song by English rock band Led Zeppelin, the opening track on their fourth album (1971). It was released as a single in the United States and in Australia with &#8220;Misty Mountain Hop&#8221; as the B-side, reaching number 15 on the Billboard Hot 100 and number 10 in Australia. </div>
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				<div class="et_pb_text_inner"><h2>It’s Too Late by Carole King</h2></div>
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				<div class="et_pb_text_inner"> It’s Too Late by Carole King is a song from Carole King&#8217;s 1971 album Tapestry. Toni Stern wrote the lyrics and King wrote the music. It was released as a single in April 1971 and reached number 1 on the Billboard Hot 100 and Adult Contemporary charts. Sales were later gold-certified by the RIAA. Billboard ranked &#8220;It&#8217;s Too Late&#8221; and its fellow A-side, &#8220;I Feel the Earth Move&#8221;, as the No. 3 record for 1971. </div>
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				<div class="et_pb_text_inner"><h2>Gypsy, Tramp, and Thieves by Cher</h2></div>
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				<div class="et_pb_text_inner"> Gypsy, Tramp, and Thieves by Cher was a #1 single in 1971 by American singer-actress Cher from the album of the same name, her seventh solo album. It was her first chart-topper as a solo artist in the United States. The single was certified Gold by the RIAA for its sales of over 1 million copies. </div>
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				<div class="et_pb_text_inner"><h2>Peace Train by Cat Stevens</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignright size-full wp-image-36224" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/peace-train.jpg" alt="" width="168" height="166" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/peace-train.jpg 168w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/peace-train-45x45.jpg 45w" sizes="(max-width: 168px) 100vw, 168px" />Peace Train by Cat Stevens is the title of a 1971 hit song by Cat Stevens, taken from his album Teaser and the Firecat. The song climbed to No. 7 on the Billboard Hot 100 chart during the week of October 9, 1971, becoming Stevens&#8217; first US Top 10 hit.</p>
<p>The song also spent three weeks at No. 1 on the adult contemporary chart. It is also featured on The Very Best of Cat Stevens compilation album. He re-recorded the song for War Child in 2003.</p>
<p>Pop songs with messages of peace were common in the Vietnam War era, and &#8220;Peace Train&#8221; was preceded by &#8220;Give Peace a Chance&#8221; in 1969. Not everyone found Cat Stevens&#8217;s peace-themed song convincing, however.</p>
<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-36225" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/peace-train-cat-stevens.jpg" alt="" width="271" height="164" />Robert Christgau criticized &#8220;Peace Train&#8217;s&#8221; message in his November 1972 Newsday review of a concert by Stevens at the New York Philharmonic Hall: &#8220;I don&#8217;t mind when Johnny Nash sings a charming ditty about how things are getting better, but when Stevens informs the world that we&#8217;re all on a peace train, I get annoyed. We&#8217;re not, and if Stevens ever stops shaking his head long enough to see clearly for a second, he might realize it.&#8221;</p>
<p>Cat Stevens later converted to Islam, changed his name to Yusuf Islam, and reduced his public appearances, but during the Iraq War he commented on the song&#8217;s renewed relevance, saying: &#8220;&#8216;Peace Train&#8217; is a song I wrote, the message of which continues to breeze thunderously through the hearts of millions. There is a powerful need for people to feel that gust of hope rise up again. As a member of humanity and as a Muslim, this is my contribution to the call for a peaceful solution.&#8221;</p></div>
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				<div class="et_pb_text_inner"><h2>You’ve Got a Friend by James Taylor</h2></div>
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				<div class="et_pb_text_inner"><p><img loading="lazy" decoding="async" class="alignright size-full wp-image-36227" src="http://www.thehistoryofrockandroll.net/wp-content/uploads/2017/10/Youve-got-a-friend-james-taylor.jpg" alt="" width="164" height="164" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Youve-got-a-friend-james-taylor.jpg 164w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Youve-got-a-friend-james-taylor-150x150.jpg 150w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/10/Youve-got-a-friend-james-taylor-45x45.jpg 45w" sizes="(max-width: 164px) 100vw, 164px" />You’ve Got a Friend by James Taylor a 1971 song written by Carole King. It was first recorded by King, and included in her album Tapestry. Another well-known version is by James Taylor from his album Mud Slide Slim and the Blue Horizon. His was released as a single in 1971 reaching number 1 on the Billboard Hot 100 and number 4 on the UK Singles Chart. The two versions were recorded simultaneously in 1971 with shared musicians.</p>
<p>&#8220;You&#8217;ve Got a Friend&#8221; won Grammy Awards both for Taylor (Best Male Pop Vocal Performance) and King (Song of the Year).</p></div>
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<p>The post <a href="https://thehistoryofrockandroll.net/1970-1971-music/">1970-1971 Music (Part 1)</a> appeared first on <a href="https://thehistoryofrockandroll.net">The History of Rock and Roll Radio Show</a>.</p>
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		<title>The Counterculture</title>
		<link>https://thehistoryofrockandroll.net/the-counterculture/</link>
		
		<dc:creator><![CDATA[Meagan Paese]]></dc:creator>
		<pubDate>Sun, 26 Feb 2017 17:33:39 +0000</pubDate>
				<category><![CDATA[Blues]]></category>
		<category><![CDATA[Country]]></category>
		<category><![CDATA[Folk]]></category>
		<category><![CDATA[Folk Rock]]></category>
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		<category><![CDATA[Psychedelic Rock]]></category>
		<category><![CDATA[Rock and Roll]]></category>
		<category><![CDATA[Rockabilly]]></category>
		<category><![CDATA["San Francisco (Be Sure to Wear Flowers in Your Hair)"]]></category>
		<category><![CDATA[and Nash]]></category>
		<category><![CDATA[Bob Dylan]]></category>
		<category><![CDATA[British Invasion]]></category>
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		<category><![CDATA[Civil Right Movement]]></category>
		<category><![CDATA[Cream]]></category>
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		<category><![CDATA[Flower Power]]></category>
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		<category><![CDATA[Lyndon B. Johnson]]></category>
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		<category><![CDATA[Peter Max]]></category>
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		<category><![CDATA[Rolling Stones]]></category>
		<category><![CDATA[Sgt Peppers]]></category>
		<category><![CDATA[Stills]]></category>
		<category><![CDATA[Summer of Love]]></category>
		<category><![CDATA[The Band]]></category>
		<category><![CDATA[the Beatles]]></category>
		<category><![CDATA[The Byrds]]></category>
		<category><![CDATA[The Doors:]]></category>
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					<description><![CDATA[<p>1960s Counterculture Music Discover the stories that shaped rock &#38; roll Listen to the audio overview: Collector&#8217;s Note: If you enjoyed this audio deep-dive, we’ve curated the definitive British Invasion collection—including rare vinyl and the full ’10 Moments’ book—over at our Official Shop. The Ed Sullivan Show (Pt 1) &#124; The Ed Sullivan Show Pt [&#8230;]</p>
<p>The post <a href="https://thehistoryofrockandroll.net/the-counterculture/">The Counterculture</a> appeared first on <a href="https://thehistoryofrockandroll.net">The History of Rock and Roll Radio Show</a>.</p>
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<h1>1960s Counterculture Music</h1>
<p><strong>Discover the stories that shaped rock &amp; roll</strong><br />
<em>Listen to the audio overview:</em></p>
<audio class="wp-audio-shortcode" id="audio-35147-1" preload="none" style="width: 100%;" controls="controls"><source type="audio/mpeg" src="https://thehistoryofrockandroll.net/podcast/How_Music_Fueled_the_Sixties_Revolution.mp3?_=1" /><a href="https://thehistoryofrockandroll.net/podcast/How_Music_Fueled_the_Sixties_Revolution.mp3">https://thehistoryofrockandroll.net/podcast/How_Music_Fueled_the_Sixties_Revolution.mp3</a></audio>
</div>
<div class="bi-monetization-mini"><strong>Collector&#8217;s Note:</strong> If you enjoyed this audio deep-dive, we’ve curated the definitive British Invasion collection—including rare vinyl and the full ’10 Moments’ book—over at our <a href="https://rockndroll.com" target="_blank" rel="noopener">Official Shop</a>.</div>
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<p><a href="https://www.thehistoryofrockandroll.net/the-ed-sullivan-show-pt-1/">The Ed Sullivan Show (Pt 1)</a> | <a href="https://www.thehistoryofrockandroll.net/the-ed-sullivan-show-pt-2/">The Ed Sullivan Show Pt 2</a></p>
<h2>The Counterculture Movement 1965-1971</h2>
<p><strong>The Counterculture</strong> refers to an anti-establishment cultural phenomenon that developed first in the United States and then spread throughout much of the Western world between the early 1960s and the mid-1970s, with New York City, and San Francisco being hotbeds of early countercultural activity.</p>
<p>The aggregate movement gained momentum as the American Civil Rights Movement continued to grow, and became revolutionary with the expansion of the US government’s extensive military intervention in Vietnam. As the 1960s progressed, widespread social tensions also developed concerning other issues, and tended to flow along generational lines regarding human sexuality, women’s rights, traditional modes of authority, experimentation with psychoactive drugs, and differing interpretations of the American Dream.</p>
<p>As the era unfolded, new cultural forms and a dynamic subculture which celebrated experimentation, modern incarnations of Bohemianism, and the rise of the hippie and other alternative lifestyles, emerged. This embracing of creativity is particularly notable in the works of British Invasion bands such as the Beatles, and filmmakers whose works became far less restricted by censorship. In addition to the trendsetting Beatles, many other creative artists, authors, and thinkers, within and across many disciplines, helped define the counterculture movement.</p>
<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-35149" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/the-counter-culture-2.jpg" alt="" width="300" height="225" />Several factors distinguished the counterculture of the 1960s from the anti-authoritarian movements of previous eras. The post-World War II “baby boom” generated an unprecedented number of potentially disaffected young people as prospective participants in a rethinking of the direction of American and other democratic societies.</p>
<p>Post-war affluence allowed many of the counterculture generation to move beyond a focus on the provision of the material necessities of life that had preoccupied their Depression-era parents. The era was also notable in that a significant portion of the array of behaviors and “causes” within the larger movement were quickly assimilated within mainstream society, particularly in the US, even though counterculture participants numbered in the clear minority within their respective national populations.</p>
<p>The counterculture era essentially commenced in earnest with the assassination of John F. Kennedy in November 1963. It became absorbed into the popular culture with the termination of U.S. combat-military involvement in Southeast Asia and the end of the draft in 1973, and ultimately with the resignation of President Richard Nixon in August 1974.</p>
<p>Many key movements were born of, or were advanced within, the counterculture of the 1960s. Each movement is relevant to the larger era. The most important stand alone, irrespective of the larger counterculture. In the broadest sense, 1960s counterculture grew from a confluence of people, ideas, events, issues, circumstances, and technological developments which served as intellectual and social catalysts for exceptionally rapid change during the era.</p>
<h2>Free Speech Movement</h2>
<p><strong>Free Speech Movement</strong> was a student protest which took place during the 1964–65 academic year on the campus of the University of California, Berkeley under the informal leadership of students Mario Savio, Jack Weinberg, Michael Rossman, Brian Turner, Bettina Aptheker, Steve Weissman, Art Goldberg, Jackie Goldberg, and others.</p>
<p><img loading="lazy" decoding="async" class="size-full wp-image-34378 alignright" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2016/10/Free-Speech-Movement.jpg" sizes="(max-width: 378px) 100vw, 378px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2016/10/Free-Speech-Movement.jpg 378w, thehistoryofrockandroll.net/wp-content/uploads/2016/10/Free-Speech-Movement-300x168.jpg 300w" alt="Free Speech Movement" width="378" height="212" />In protests unprecedented in scope, students insisted that the university administration lift the ban of on-campus political activities and acknowledge the students’ right to free speech and academic freedom. Sol Stern, a former radical who took part in the Free Speech Movement, stated in a 2014 City Journal article that the group viewed the United States to be both racist and imperialistic and that the main intent after lifting Berkeley’s loyalty oath was to build on the legacy of C. Wright Mills and weaken the Cold War consensus by promoting the ideas of the Cuban Revolution.</p>
<h2>Civil Rights</h2>
<p><strong>Civil Rights</strong> encompasses social movements in the United States whose goals were to end racial segregation and discrimination against African Americans and to secure legal recognition and federal protection of the citizenship rights enumerated in the Constitution and federal law. This article covers the phase of the movement between 1954 and 1968, particularly in the South. The leadership was African American, and much of the political and financial support came from labor unions (led by Walter Reuther), major religious denominations, and prominent white Democratic Party politicians such as Hubert Humphrey and Lyndon B. Johnson and white Republican Party politicians such as Governor Nelson Rockefeller and Senator Everett Dirksen.</p>
<p><img loading="lazy" decoding="async" class="alignleft wp-image-34379 size-full" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2016/10/Civil-Rights.jpg" sizes="(max-width: 308px) 100vw, 308px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2016/10/Civil-Rights.jpg 308w, thehistoryofrockandroll.net/wp-content/uploads/2016/10/Civil-Rights-300x202.jpg 300w" alt="Civil Rights" width="308" height="207" />The movement was characterized by major campaigns of civil resistance. Between 1955 and 1968, acts of nonviolent protest and civil disobedience produced crisis situations and productive dialogues between activists and government authorities. Federal, state, and local governments, businesses, and communities often had to respond immediately to these situations, which highlighted the inequities faced by African Americans. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955–56) in Alabama; “sit-ins” such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama; and a wide range of other nonviolent activities.</p>
<p>This phase of the Civil Rights Movement witnessed the passage of several major pieces of federal legislation. The Civil Rights Act of 1964, expressly banned discrimination based on race, color, religion, sex, or national origin in employment practices and ended unequal application of voter registration requirements and racial segregation in schools, at the workplace, and by public accommodations. The Voting Rights Act of 1965 restored and protected voting rights for minorities. The Immigration and Nationality Services Act of 1965 removed racial and national barriers and opened the way for black immigrants from Africa and the Western Hemisphere. The Fair Housing Act of 1968 banned discrimination in the sale or rental of housing. African Americans re-entered politics in the South, and across the country young people were inspired to take action.</p>
<p><img loading="lazy" decoding="async" class="alignright size-full wp-image-35152" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/civil-rights-movement.jpg" sizes="(max-width: 308px) 100vw, 308px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/civil-rights-movement.jpg 308w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/civil-rights-movement-300x188.jpg 300w" alt="" width="308" height="193" />A wave of inner city riots in black communities from 1964 through 1970 undercut support from the white community. The emergence of the Black Power movement, which lasted from about 1966 to 1975, challenged the established black leadership for its cooperative attitude and its nonviolence, and instead demanded political and economic self-sufficiency.</p>
<p>Many popular representations of the movement are centered on the leadership and philosophy of Martin Luther King, Jr., who won the 1964 Nobel Peace Prize for his role in the movement. But, some scholars note that the movement was too diverse to be credited to one person, organization, or strategy.</p>
<h2>Swinging London</h2>
<p><strong>Swinging London</strong> is a catch-all term applied to the fashion and cultural scene that flourished in London in the 1960s. It consisted largely of music, discothèques, and mod fashion.</p>
<p><strong>Background</strong></p>
<p>Swinging London was a youth-oriented phenomenon that emphasized the new and modern. It was a period of optimism and hedonism and a cultural revolution. One catalyst was the recovery of the British economy after post-World War II austerity which lasted through much of the 1950s.</p>
<p>“Swinging London” was defined by Time magazine in its issue of 15 April 1966 and celebrated in the name of the pirate radio station, Swinging Radio England, that began shortly afterward. However, “swinging” in the sense of hip or fashionable had been used since the early 1960s, including by Norman Vaughan in his “swinging/dodgy” patter on Sunday Night at the London Palladium.</p>
<p>In 1965, Diana Vreeland, editor of Vogue magazine, said: “London is the most swinging city in the world at the moment.” Later that year, the American singer Roger Miller had a hit record with “England Swings”, which steps around the progressive youth culture (both musically and lyrically).</p>
<p>1967 saw the release of Peter Whitehead’s cult documentary film Tonite Lets All Make Love in London which accurately summed up both the culture of Swinging London through celebrity interviews, and the music with its accompanying soundtrack release featuring Pink Floyd.</p>
<p><strong>Music</strong></p>
<figure id="attachment_35154" class="wp-caption alignleft" aria-describedby="caption-attachment-35154"><img loading="lazy" decoding="async" class="wp-image-35154 size-full" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/swinging-london-music.jpg" width="255" height="187" /><figcaption id="caption-attachment-35154" class="wp-caption-text">The Kinks in 1967</figcaption></figure>
<p>Already heralded by Colin MacInnes’ 1959 novel Absolute Beginners, Swinging London was underway by the mid-1960s and included music by the Beatles, the Rolling Stones, the Kinks, the Who, the Small Faces, and other artists from what was known in the United States as the “British Invasion”.</p>
<p>Psychedelic rock from artists such as the Jimi Hendrix Experience, Pink Floyd, Cream, and Traffic grew significantly in popularity. This sort of music was heard in the United Kingdom over pirate radio stations such as Radio Caroline, Wonderful Radio London, and Swinging Radio England because the BBC did not allow this on their radio station.</p>
<p><strong>Fashion and symbols</strong></p>
<figure id="attachment_34380" class="wp-caption alignright" aria-describedby="caption-attachment-34380"><img loading="lazy" decoding="async" class="wp-image-34380 size-full" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2016/10/Swinging-London.jpg" alt="Swinging London" width="280" height="186" /><figcaption id="caption-attachment-34380" class="wp-caption-text">Carnaby Street, circa 1968.</figcaption></figure>
<p>During the time of Swinging London, fashion and photography were featured in Queen magazine, which drew attention to fashion designer Mary Quant.</p>
<p>The model Jean Shrimpton was another icon and one of the world’s first supermodels. She was the world’s highest-paid and most photographed model during this time. Shrimpton was called “The Face of the ’60s”, in which she has been considered by many as “the symbol of Swinging London” and the “embodiment of the 1960s”.</p>
<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-35155" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/swinging-london-fashion.jpg" sizes="(max-width: 232px) 100vw, 232px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/swinging-london-fashion.jpg 232w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/swinging-london-fashion-227x300.jpg 227w" alt="" width="232" height="306" />Other popular models of the era included Veruschka, Peggy Moffitt, and Penelope Tree. The model Twiggy has been called “the face of 1966” and “the Queen of Mod,” a label she shared with others, such as Cathy McGowan, who hosted the television rock show, Ready Steady Go! from 1964 to 1966.</p>
<p>Mod-related fashions such as the miniskirt stimulated fashionable shopping areas such as Carnaby Street and King’s Road, Chelsea. The fashion was a symbol of youth culture.</p>
<p>The British flag, the Union Jack, became a symbol, assisted by events such as England’s home victory in the 1966 World Cup. The Mini-Cooper car (launched in 1959) was used by a fleet of mini-cab taxis highlighted by advertising that covered their paintwork.</p>
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<h2>The Beatles</h2>
<p><strong>T</strong><img loading="lazy" decoding="async" class="wp-image-35157 size-full alignright" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-the-beatles.jpg" width="256" height="192" /><strong>he Beatles</strong> were an English rock band, formed in Liverpool in 1960. With members John Lennon, Paul McCartney, George Harrison and Ringo Starr, they became widely regarded as the foremost and most influential act of the rock era. Rooted in skiffle, beat, and 1950s rock and roll, the Beatles later experimented with several musical styles, ranging from pop ballads and Indian music to psychedelia and hard rock, often incorporating classical elements and unconventional recording techniques in innovative ways.</p>
<p>In the early 1960s, their enormous popularity first emerged as “Beatlemania”, but as the group’s music grew in sophistication, led by primary songwriters Lennon and McCartney, they came to be perceived as an embodiment of the ideals shared by the counterculture of the 1960s.</p>
<h2>Sgt Peppers</h2>
<p><strong>Sgt Peppers</strong> is the eighth studio album by the English rock band the Beatles. Released on 1 June 1967, it was an immediate commercial and critical success, spending 27 weeks at the top of the albums chart in the United Kingdom and 15 weeks at number one in the United States. Time magazine declared it “a historic departure in the progress of music” and the New Statesman praised its elevation of pop to the level of fine art. It won four Grammy Awards in 1968, including Album of the Year, the first rock LP to receive this honor.</p>
<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-31808" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2016/07/1967-Beatles-Sgt-Peppers.jpg" sizes="(max-width: 230px) 100vw, 230px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2016/07/1967-Beatles-Sgt-Peppers.jpg 230w, thehistoryofrockandroll.net/wp-content/uploads/2016/07/1967-Beatles-Sgt-Peppers-45x45.jpg 45w" alt="" width="230" height="223" />In August 1966, the Beatles permanently retired from touring and began a three-month holiday from recording. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian era military band that would eventually form the impetus of the Sgt. Pepper concept. Sessions for what was to become the Beatles’ eighth studio album began on 24 November in Abbey Road Studio Two with two compositions inspired from their youth, “Strawberry Fields Forever” and “Penny Lane”, but after pressure from EMI, the songs were released as a double A-side single and were not included on the album.</p>
<p>In February 1967, after recording “Sgt. Pepper’s Lonely Hearts Club Band”, McCartney suggested that the Beatles should release an entire album that would represent a performance by the fictional Sgt. Pepper band. This alter ego group would give them the freedom to experiment musically. During the recording sessions, the band endeavored to improve upon the production quality of their prior releases. Knowing they would not have to perform the tracks live, they adopted an experimental approach to composition, writing songs such as “With a Little Help from My Friends”, “Lucy in the Sky with Diamonds” and “A Day in the Life”. Producer George Martin and engineer Geoff Emerick’s innovative recording of the album included the liberal application of sound shaping signal processing and the use of a 40-piece orchestra performing aleatoric crescendos. Recording was completed on 21 April 1967. The cover, depicting the band posing in front of a tableau of celebrities and historical figures, was designed by the British pop artists Peter Blake and Jann Haworth.</p>
<h2>British Invasion</h2>
<p><strong>British Invasion</strong> was a phenomenon that occurred in the mid-1960s when rock and pop music acts from the United Kingdom, as well as other aspects of British culture, became popular in the United States, and significant to the rising “counterculture” on both sides of the Atlantic. Pop and rock groups such as the Beatles, the Dave Clark Five, the Kinks, the Rolling Stones, Herman’s Hermits, the Animals, and the Who were at the forefront of the invasion.</p>
<p><img loading="lazy" decoding="async" class="alignnone size-full wp-image-35159" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-british-invasion.jpg" sizes="(max-width: 589px) 100vw, 589px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-british-invasion.jpg 589w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-british-invasion-300x146.jpg 300w" alt="" width="589" height="287" /></p>
<h2>Vietnam War</h2>
<p><strong>Vietnam War</strong> The Vietnam War, and the protracted national divide between supporters and opponents of the war, were arguably the most important factors contributing to the rise of the larger counterculture movement.</p>
<p><img loading="lazy" decoding="async" class="alignnone size-full wp-image-35161" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/the-vietnam-war.jpg" sizes="(max-width: 522px) 100vw, 522px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/the-vietnam-war.jpg 522w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/the-vietnam-war-300x189.jpg 300w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/the-vietnam-war-400x250.jpg 400w" alt="" width="522" height="328" /></p>
<p>The widely accepted assertion that anti-war opinion was held only among the young is a myth, but enormous war protests consisting of thousands of mostly younger people in every major US city, and elsewhere across the Western world, effectively united millions against the war, and against the war policy that prevailed under five US congresses and during two presidential administrations.</p>
<h2>Flower Power</h2>
<p><strong>Flower Power</strong> was a slogan used during the late 1960s and early 1970s as a symbol of passive resistance and non-violence ideology. It is rooted in the opposition movement to the Vietnam War. The expression was coined by the American beat poet Allen Ginsberg in 1965 as a means to transform war protests into peaceful affirmative spectacles. Hippies embraced the symbolism by dressing in clothing with embroidered flowers and vibrant colors, wearing flowers in their hair, and distributing flowers to the public, becoming known as flower children. The term later became generalized as a modern reference to the hippie movement and the so-called counterculture of drugs, psychedelic music, psychedelic art and social permissiveness.</p>
<p><img loading="lazy" decoding="async" class="size-full wp-image-35163 aligncenter" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-flower-power.jpg" sizes="(max-width: 483px) 100vw, 483px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-flower-power.jpg 483w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-flower-power-300x225.jpg 300w" alt="" width="483" height="362" /></p>
<h2>Summer of Love</h2>
<p><img loading="lazy" decoding="async" class="size-full wp-image-34331 alignright" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2016/09/Flower-Power-Summer-of-Love.jpg" sizes="(max-width: 391px) 100vw, 391px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2016/09/Flower-Power-Summer-of-Love.jpg 391w, thehistoryofrockandroll.net/wp-content/uploads/2016/09/Flower-Power-Summer-of-Love-300x180.jpg 300w" alt="" width="391" height="235" /><strong>Summer of Love</strong> was a social phenomenon that occurred during the summer of 1967, when as many as 100,000 people, mostly young people sporting hippie fashions of dress and behavior, converged in San Francisco’s neighborhood Haight-Ashbury. Although hippies also gathered in many other places in the U.S., Canada and Europe, San Francisco was at that time the most publicized location for hippie fashions.</p>
<p>Hippies, sometimes called flower children, were an eclectic group. Many were suspicious of the government, rejected consumerist values, and generally opposed the Vietnam War. A few were interested in politics; others were concerned more with art (music, painting, poetry in particular) or religious and meditative practices.</p>
<h2>“San Francisco (Be Sure to Wear Flowers in Your Hair)”</h2>
<p><img loading="lazy" decoding="async" class="wp-image-35166 size-full aligncenter" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-san-francisco.jpg" sizes="(max-width: 509px) 100vw, 509px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-san-francisco.jpg 509w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-san-francisco-300x154.jpg 300w" width="509" height="261" /></p>
<p>Musician John Phillips of the band The Mamas &amp; the Papas wrote the song “San Francisco (Be Sure to Wear Flowers in Your Hair)” for his friend Scott McKenzie. It served to promote both the Monterey Pop Festival that Phillips was helping to organize and to popularize the flower children of San Francisco. Released on May 13, 1967, the song was an instant success. By the week ending July 1, 1967, it scored number four on the Billboard Hot 100 in the United States, where it remained for four consecutive weeks.Meanwhile, the song scored number one in the United Kingdom and much of Europe. The single is purported to have sold more than 7 million copies worldwide</p>
<h2>The Who</h2>
<p><strong>The Who</strong> are an English rock band that formed in 1964. Their classic line-up consisted of lead singer Roger Daltrey, guitarist and singer Pete Townshend, bass guitarist John Entwistle, and drummer Keith Moon. They are considered one of the most influential rock bands of the 20th century, selling over 100 million records worldwide and holding a reputation for their live shows and studio work.</p>
<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-35168" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-the-who.jpg" sizes="(max-width: 350px) 100vw, 350px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-the-who.jpg 350w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-the-who-300x205.jpg 300w" alt="" width="350" height="239" />The Who developed from an earlier group, the Detours, and established themselves as part of the pop art and mod movements, featuring auto-destructive art by destroying guitars and drums on stage. Their first single as the Who, “I Can’t Explain”, reached the UK top ten, followed by a string of singles including “My Generation”, “Substitute” and “Happy Jack”. In 1967, they performed at the Monterey Pop Festival and released the US top ten single “I Can See for Miles”, while touring extensively. The group’s fourth album, 1969’s rock opera Tommy, included the single “Pinball Wizard” and was a critical and commercial success.</p>
<p>Live appearances at Woodstock and the Isle of Wight Festival, along with the live album Live at Leeds, cemented their reputation as a respected rock act. With their success came increased pressure on lead songwriter and visionary Townshend, and the follow-up to Tommy, Lifehouse, was abandoned. Songs from the project made up 1971’s Who’s Next, which included the hit “Won’t Get Fooled Again”. The group released the album Quadrophenia in 1973 as a celebration of their mod roots, and oversaw the film adaptation of Tommy in 1975. They continued to tour to large audiences before semi-retiring from live performances at the end of 1976. The release of Who Are You in 1978 was overshadowed by the death of Moon shortly after.</p>
<h2>The Kinks</h2>
<p><strong>The Kinks</strong> were an English rock band formed in Muswell Hill, North London, in 1963 by brothers Dave and Ray Davies. They are regarded as one of the most important and influential rock groups of the era. The band emerged in 1964 during the height of British rhythm and blues and Merseybeat. They were briefly part of the British Invasion of the US until their touring ban in 1965.</p>
<p><img loading="lazy" decoding="async" class="alignright size-full wp-image-35170" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-the-kinks.jpg" sizes="(max-width: 350px) 100vw, 350px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-the-kinks.jpg 350w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-the-kinks-300x197.jpg 300w" alt="" width="350" height="230" />Their third single, the Ray Davies penned “You Really Got Me”, became an international hit, topping the charts in the United Kingdom and reaching the Top 10 in the United States. Between the mid-1960s and early 1970s, the group released a string of hit singles; studio albums drew good reviews but sold less than compilations of their singles. They gained a reputation for reflecting English culture and lifestyle, fuelled by Ray Davies’ observational writing style.</p>
<p>Albums such as Something Else (1967), The Kinks Are the Village Green Preservation Society (1968), Arthur (1969), Lola Versus Powerman (1970), along with their accompanying singles, are considered among the most influential recordings of the period.</p>
<h2>Jimi Hendrix</h2>
<p><strong>Jimi Hendrix</strong> was an American rock guitarist, singer, and songwriter. Although his mainstream career spanned only four years, he is widely regarded as one of the most influential electric guitarists in the history of popular music, and one of the most celebrated musicians of the 20th century. The Rock and Roll Hall of Fame describes him as “arguably the greatest instrumentalist in the history of rock music”.</p>
<p><img loading="lazy" decoding="async" class="size-full wp-image-34297 alignleft" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2016/09/Jimi-Hendrix.jpg" sizes="(max-width: 443px) 100vw, 443px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2016/09/Jimi-Hendrix.jpg 443w, thehistoryofrockandroll.net/wp-content/uploads/2016/09/Jimi-Hendrix-300x217.jpg 300w" alt="" width="443" height="320" />Born in Seattle, Washington, Hendrix began playing guitar at the age of 15. In 1961, he enlisted in the US Army and trained as a paratrooper in the 101st Airborne Division; he was granted an honorable discharge the following year. Soon afterward, he moved to Clarksville, Tennessee, and began playing gigs on the Chitlin’ Circuit, earning a place in the Isley Brothers’ backing band and later with Little Richard, with whom he continued to work through mid-1965.</p>
<p>He then played with Curtis Knight and the Squires before moving to England in late 1966 after being discovered by Linda Keith, who in turn interested bassist Chas Chandler of the Animals in becoming his first manager. Within months, Hendrix had earned three UK top ten hits with the Jimi Hendrix Experience: “Hey Joe”, “Purple Haze”, and “The Wind Cries Mary”.</p>
<p>He achieved fame in the US after his performance at the Monterey Pop Festival in 1967, and in 1968 his third and final studio album, Electric Ladyland, reached number one in the US; it was Hendrix’s most commercially successful release and his first and only number one album. The world’s highest-paid performer, he headlined the Woodstock Festival in 1969 and the Isle of Wight Festival in 1970 before his accidental death from barbiturate-related asphyxia on September 18, 1970, at the age of 27.</p>
<p>Hendrix was inspired musically by American rock and roll and electric blues. He favored overdriven amplifiers with high volume and gain, and was instrumental in utilizing the previously undesirable sounds caused by guitar amplifier feedback. He helped to popularize the use of a wah-wah pedal in mainstream rock, and was the first artist to use stereophonic phasing effects in music recordings. Holly George-Warren of Rolling Stone commented: “Hendrix pioneered the use of the instrument as an electronic sound source. Players before him had experimented with feedback and distortion, but Hendrix turned those effects and others into a controlled, fluid vocabulary every bit as personal as the blues with which he began.</p>
<h2>Janis Joplin</h2>
<p><img loading="lazy" decoding="async" class="alignright size-full wp-image-35173" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-janis-joplin.jpg" sizes="(max-width: 232px) 100vw, 232px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-janis-joplin.jpg 232w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-janis-joplin-226x300.jpg 226w" alt="" width="232" height="308" /><strong>Janis Joplin</strong> was an American singer considered the premier female blues vocalist of the Sixties; her raw, powerful and uninhibited singing style, combined with her turbulent and emotional lifestyle, made her one of the biggest female stars in her lifetime. She died of a drug overdose in 1970, aged 27, after releasing three albums. A fourth album, Pearl, was released a little more than three months after her death, reaching number 1 on the charts.</p>
<p>Joplin rose to fame in 1967 during an appearance at Monterey Pop Festival, as the lead singer of the then little-known San Francisco psychedelic rock band Big Brother and the Holding Company. After releasing two albums with the band, she left Big Brother to continue as a solo artist with her own backing groups, first the Kozmic Blues Band and then the Full Tilt Boogie Band. She appeared at the Woodstock festival and the Festival Express train tour.</p>
<p>Five singles by Joplin went into the Billboard Top 100, including “Me and Bobby McGee”, which reached number 1 in March 1971. Her most popular songs include: “Piece of My Heart”; “Cry Baby”; “Down on Me”; “Ball ‘n’ Chain”; “Summertime”; and “Mercedes Benz”, the final song she recorded.</p>
<h2>Monterey Pop Festival</h2>
<p><strong>Monterey Pop Festival</strong> was a three-day concert event held June 16 to June 18, 1967 at the Monterey County Fairgrounds in Monterey, California. Crowd estimates for the festival have ranged from 25,000-90,000 people, who congregated in and around the festival grounds.</p>
<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-34386" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2016/10/Monetary-Pop-Festival.jpg" alt="" width="235" height="286" />The fairgrounds’ enclosed performance arena, where the music took place, had an approved festival capacity of 7,000, but it was estimated that 8,500 jammed into it for Saturday night’s show.</p>
<p>Festival-goers who wanted to see the musical performances were required to have either an ‘all-festival’ ticket or a separate ticket for each of the five scheduled concert events they wanted to attend in the arena: Friday night, Saturday afternoon and night, and Sunday afternoon and night. Ticket prices varied by seating area, and ranged from $3 to $6.50 ($21–46, adjusted for inflation).</p>
<p>The festival is remembered for the first major American appearances by The Jimi Hendrix Experience, The Who and Ravi Shankar, the first large-scale public performance of Janis Joplin and the introduction of Otis Redding.</p>
<p>The Monterey Pop Festival embodied the theme of California as a focal point for the counterculture and is generally regarded as one of the beginnings of the “Summer of Love” in 1967; the first rock festival had been held just one week earlier at Mount Tamalpais in Marin County, the KFRC Fantasy Fair and Magic Mountain Music Festival. Because Monterey was widely promoted and heavily attended, featured historic performances, and was the subject of a popular theatrical documentary film, it became an inspiration and a template for future music festivals, including the Woodstock Festival two years later.</p>
<h2>The Mamas and the Papas</h2>
<p><img loading="lazy" decoding="async" class="alignright size-full wp-image-34602" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2016/11/California-Dreamin’-The-Mamas-and-The-Papas.jpg" alt="" width="273" height="286" /><strong>The Mamas and the Papas</strong> was an American folk rock vocal group that recorded and performed from 1965 to 1968, reuniting briefly in 1971.</p>
<p>They released five studio albums and seventeen singles, six of which made the top ten, and sold close to 40 million records worldwide.</p>
<p>The group was composed of John Phillips (1935–2001), Denny Doherty (1940–2007), Cass Elliot (1941–1974), and Michelle Phillips née Gilliam (b. 1944).</p>
<p>Their sound was based on vocal harmonies arranged by John Phillips, the songwriter, musician, and leader of the group who adapted folk to the new beat style of the early sixties.</p>
<h2>Bob Dylan</h2>
<p><strong>Bob Dylan</strong> is an American singer-songwriter, artist and writer. He has been influential in popular music and culture for more than five decades. Much of his most celebrated work dates from the 1960s when his songs chronicled social unrest, although Dylan repudiated suggestions from journalists that he was a spokesman for his generation. Nevertheless, early songs such as “Blowin’ in the Wind” and “The Times They Are a-Changin&#8217;” became anthems for the American civil rights and anti-war movements. Leaving behind his initial base in the American folk music revival, his six-minute single “Like a Rolling Stone”, recorded in 1965, enlarged the range of popular music. Dylan’s mid-1960s recordings, backed by rock musicians, reached the top end of the United States music charts while also attracting denunciation and criticism from others in the folk movement.</p>
<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-35176" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-Bob-Dylan.jpg" sizes="(max-width: 222px) 100vw, 222px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-Bob-Dylan.jpg 222w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-Bob-Dylan-199x300.jpg 199w" alt="" width="222" height="335" />Dylan’s lyrics have incorporated various political, social, philosophical, and literary influences. They defied existing pop music conventions and appealed to the burgeoning counterculture. Initially inspired by the performances of Little Richard and the songwriting of Woody Guthrie, Robert Johnson, and Hank Williams, Dylan has amplified and personalized musical genres.</p>
<p>His recording career, spanning more than 50 years, has explored the traditions in American song—from folk, blues, and country to gospel, rock and roll, and rockabilly to English, Scottish, and Irish folk music, embracing even jazz and the Great American Songbook. Dylan performs with guitar, keyboards, and harmonica. Backed by a changing lineup of musicians, he has toured steadily since the late 1980s on what has been dubbed the Never Ending Tour. His accomplishments as a recording artist and performer have been central to his career, but songwriting is considered his greatest contribution.</p>
<h2>Cream</h2>
<p><strong>Cream</strong> were a 1960s British rock supergroup power trio consisting of bassist/singer Jack Bruce, drummer Ginger Baker, and guitarist/singer Eric Clapton. The group’s third album, Wheels of Fire (1968), was the world’s first platinum-selling double album.</p>
<p>The band is widely regarded as the world’s first successful supergroup. In their career, they sold more than 15 million copies of their albums worldwide. Their music included songs based on traditional blues such as “Crossroads” and “Spoonful”, and modern blues such as “Born Under a Bad Sign”, as well as more eccentric songs such as “Strange Brew”, “Tales of Brave Ulysses” and “Toad”.</p>
<p><img loading="lazy" decoding="async" class="aligncenter size-full wp-image-35178" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-Cream.jpg" sizes="(max-width: 450px) 100vw, 450px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-Cream.jpg 450w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-Cream-300x202.jpg 300w" alt="" width="450" height="303" /></p>
<p>The band’s biggest hits are “I Feel Free” (UK, number 11), “Sunshine of Your Love” (US, number 5), “White Room” (US, number 6), “Crossroads” (US, number 28), and “Badge” (UK, number 18). The band made a significant impact on the popular music of the time, and, along with Jimi Hendrix and other notable guitarists and bands, popularized the use of the wah-wah pedal. They provided a heavy yet technically proficient musical theme that foreshadowed and influenced the emergence of British bands such as Led Zeppelin, The Jeff Beck Group, Deep Purple and Black Sabbath in the late 1960s and the early 1970s. The band’s live performances influenced progressive rock acts such as Rush. The band was inducted into the Rock and Roll Hall of Fame in 1993.</p>
<h2>Jefferson Airplane</h2>
<p><strong>Jefferson Airplane</strong> was a San Francisco, California-based band who pioneered the American counterculture movement as well as psychedelic rock. Formed in 1965, the group defined the San Francisco Sound and was the first from the Bay Area to achieve international commercial success.</p>
<p><img loading="lazy" decoding="async" class="aligncenter size-full wp-image-35180" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-Jefferson-Airplane.jpg" sizes="(max-width: 566px) 100vw, 566px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-Jefferson-Airplane.jpg 566w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-Jefferson-Airplane-300x164.jpg 300w" alt="" width="566" height="310" /></p>
<p>They were headliners at the three most famous American rock festivals of the 1960s—Monterey (1967), Woodstock (1969) and Altamont (1969)—in addition to the first Isle of Wight Festival (1968) in England. Their 1967 break-out record Surrealistic Pillow ranks on the short list of most significant recordings of the “Summer of Love”. Two songs from that album, “Somebody to Love” and “White Rabbit”, are among Rolling Stone’s “500 Greatest Songs of All Time.”</p>
<h2>Peter Max</h2>
<p><img loading="lazy" decoding="async" class="alignright size-full wp-image-35182" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-Peter-Max.jpg" alt="" width="250" height="187" /><strong>Peter Max</strong> is an American artist known for using bright colors in his work. Max synthesized the “Summer of Love” into artworks from canvas to mugs and clocks and scarves and clothes and cruise-ships: a master of Pop Art he is the official portrait artist for the Statue of Liberty and welcome banners at the US Ports of Entry.</p>
<p>His work is an indispensable guide for cultural literacy of the 1960s, and his work commands a solid following worldwide and is consistently collected by the art world</p>
<h2>Bubblegum Pop</h2>
<p><strong>Bubblegum Pop</strong> a genre of pop music with an upbeat sound contrived and marketed to appeal to pre-teens and teenagers, that may be produced in an assembly-line process, driven by producers and often using unknown singers. Bubblegum’s classic period ran from 1967 to 1972. A second wave of bubblegum started two years later and ran until 1977 when disco took over and punk rock emerged.</p>
<p>The genre was predominantly a singles phenomenon rather than an album-oriented one. Also, because many acts were manufactured in the studio using session musicians, a large number of bubblegum songs were by one-hit wonders. Among the best-known acts of bubblegum’s golden era are 1910 Fruitgum Company, The Ohio Express and The Archies, an animated group which had the most successful bubblegum song with “Sugar, Sugar”, Billboard Magazine’s No. 1 single for 1969. Singer Tommy Roe, arguably, had the most bubblegum hits of any artist during this period, notably 1969’s “Dizzy”.</p>
<h2>The Band</h2>
<p><strong>The Band</strong> was a Canadian-American roots rock group, originally consisting of Rick Danko (bass guitar, double bass, fiddle, vocals), Levon Helm (drums, mandolin, guitar, vocals), Garth Hudson (keyboards, saxophones, trumpet), Richard Manuel (piano, drums, vocals) and Robbie Robertson (guitar, percussion, vocals).</p>
<p><img loading="lazy" decoding="async" class="aligncenter size-full wp-image-35184" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-The-Band.jpg" sizes="(max-width: 423px) 100vw, 423px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-The-Band.jpg 423w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-The-Band-300x225.jpg 300w" alt="" width="423" height="317" /></p>
<p>In 1964, they separated from Hawkins, after which they toured and released a few singles as Levon and the Hawks and the Canadian Squires. The next year, Bob Dylan hired them for his U.S. tour in 1965 and world tour in 1966. Following the 1966 tour, the group moved with Dylan to Saugerties, New York, where they made the informal 1967 recordings that became The Basement Tapes, which forged the basis for their 1968 debut album, Music from Big Pink. Because they were always “the band” to various frontmen, Helm said the name “The Band” worked well when the group came into its own.The group began performing as the Band in 1968 and went on to release ten studio albums. Dylan continued to collaborate with the Band over the course of their career, including a joint 1974 tour.</p>
<p>The original configuration of the Band ended its touring career in 1976 with an elaborate live ballroom performance featuring numerous musical celebrities. This performance was immortalized in Martin Scorsese’s 1978 documentary The Last Waltz. The Band recommenced touring in 1983 without guitarist Robbie Robertson, who had found success with a solo career and as a Hollywood music producer.</p>
<h2>John Lennon</h2>
<p><img loading="lazy" decoding="async" class="alignleft wp-image-35186" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-John-Lennon.jpg" sizes="(max-width: 301px) 100vw, 301px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-John-Lennon.jpg 301w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-John-Lennon-236x300.jpg 236w" alt="" width="191" height="243" /><strong>John Lenno</strong><strong>n</strong> was an English singer and songwriter who co-founded the Beatles (1960-70), the most commercially successful band in the history of popular music. With fellow member Paul McCartney, he formed a celebrated songwriting partnership.</p>
<p>Born and raised in Liverpool, Lennon became involved in the skiffle craze as a teenager; his first band, the Quarrymen, evolved into the Beatles in 1960. When the group disbanded in 1960, Lennon embarked on a solo career that produced the albums John Lennon/Plastic Ono Band and Imagine, and songs such as “Give Peace a Chance”, “Working Class Hero”, and “Imagine”.</p>
<p>After his marriage to Yoko Ono in 1969, he changed his name to John Ono Lennon. Lennon disengaged himself from the music business in 1975 to raise his infant son Sean, but re-emerged with Ono in 1980 with the new album Double Fantasy. He was murdered three weeks after its release.</p>
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<h2>John F. Kennedy</h2>
<p><strong>John F. Kennedy</strong> was an American politician who served as the 35th President of the United States from January 1961 until his assassination in November 1963. The Cuban Missile Crisis, the Bay of Pigs Invasion, the Nuclear Test Ban Treaty, the establishment of the Peace Corps, developments in the Space Race, the building of the Berlin Wall, the Trade Expansion Act to lower tariffs, and the Civil Rights Movement all took place during his presidency.</p>
<p><img loading="lazy" decoding="async" class="aligncenter size-full wp-image-35187" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-John-F-Kennedy.jpg" sizes="(max-width: 409px) 100vw, 409px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-John-F-Kennedy.jpg 409w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-John-F-Kennedy-300x150.jpg 300w" alt="" width="409" height="204" /></p>
<p>Kennedy’s time in office was marked by high tensions with Communist states. He increased the number of American military advisers in South Vietnam by a factor of 18 over Eisenhower. In Cuba, a failed attempt was made at the Bay of Pigs to overthrow the country’s dictator Fidel Castro in April 1961. In October 1962, it was discovered Soviet ballistic missiles had been deployed in Cuba; the resulting period of unease, termed the Cuban Missile Crisis, is seen by many historians as the closest the human race has ever come to nuclear war between nuclear-armed belligerents.</p>
<h2>Lyndon B. Johnson</h2>
<p><img loading="lazy" decoding="async" class="alignright wp-image-35189" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/Lyndon-B-Johnson.jpg" sizes="(max-width: 266px) 100vw, 266px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/Lyndon-B-Johnson.jpg 266w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/Lyndon-B-Johnson-247x300.jpg 247w" alt="" width="210" height="255" /><strong>Lyndon B. Johnson</strong> was an American politician who served as the 36th President of the United States from 1963 to 1969, assuming the office after serving as the 37th Vice President of the United States under President John F. Kennedy.</p>
<p>He spent six years as Senate Majority Leader, two as Senate Minority Leader, and two as Senate Majority Whip.</p>
<p>Johnson ran for the Democratic nomination in the 1960 presidential election. Although unsuccessful, he was chosen by Senator John F. Kennedy of Massachusetts to be his running mate.</p>
<p>They went on to win a close election over Richard Nixon and Henry Cabot Lodge. Johnson was sworn in as Vice President on January 20, 1961.</p>
<p>Two years and ten months later, on November 22, 1963, Johnson succeeded Kennedy as President following the latter’s assassination.</p>
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<h2>Martin Luther King Jr.</h2>
<p><img loading="lazy" decoding="async" class="alignleft wp-image-35191" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/Martin-Luther-King-Jr.jpg" sizes="(max-width: 350px) 100vw, 350px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/Martin-Luther-King-Jr.jpg 350w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/Martin-Luther-King-Jr-300x228.jpg 300w" alt="" width="258" height="196" /><strong>Martin Luther King Jr.</strong> was an American Baptist minister and activist who was a leader in the African-American Civil Rights Movement.</p>
<p>He is best known for his role in the advancement of civil rights using nonviolent civil disobedience based on his Christian beliefs.</p>
<p>King became a civil rights activist early in his career. He led the 1955 Montgomery bus boycott and helped found the Southern Christian Leadership Conference (SCLC) in 1957, serving as its first president.</p>
<p>With the SCLC, King led an unsuccessful 1962 struggle against segregation in Albany, Georgia (the Albany Movement), and helped organize the 1963 nonviolent protests in Birmingham, Alabama.</p>
<h2>Robert F. Kennedy</h2>
<p><img loading="lazy" decoding="async" class="alignright size-full wp-image-35193" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/Robert-F-Kennedy.jpg" sizes="(max-width: 350px) 100vw, 350px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/Robert-F-Kennedy.jpg 350w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/Robert-F-Kennedy-300x188.jpg 300w" alt="" width="350" height="219" /><strong>Robert F. Kennedy</strong> was an American politician from Massachusetts. He served as a senator for New York from 1965 until his assassination in 1968.</p>
<p>He was previously the 64th U.S. Attorney General from 1961 to 1964, serving under his older brother, President John F. Kennedy and his successor, President Lyndon B. Johnson.</p>
<p>An icon of modern American liberalism, and a member of the Democratic Party, Kennedy ran for its presidential nomination in the 1968 election.</p>
<p>Kennedy was the campaign manager for his brother John in the 1960 presidential election. He was appointed Attorney General after the successful election and served as the closest adviser to the president from 1961 to 1963. 4</p>
<p>His tenure is best known for its advocacy for the Civil Rights Movement, the crusade against organized crime and the Mafia, and involvement in U.S. foreign policy related to Cuba.</p>
<h2>Woman’s Rights</h2>
<p><strong>Feminism</strong></p>
<p><img loading="lazy" decoding="async" class="alignleft size-full wp-image-35195" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/the-feminine-mystique.jpg" sizes="(max-width: 308px) 100vw, 308px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/the-feminine-mystique.jpg 308w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/the-feminine-mystique-300x210.jpg 300w" alt="" width="308" height="216" />The role of women as full-time homemakers in industrial society was challenged in 1963, when US feminist Betty Friedan published The Feminine Mystique, giving momentum to the women’s movement and influencing what many called Second-wave feminism.</p>
<p>Other activists, such as Gloria Steinem and Angela Davis, either organized, influenced, or educated many of a younger generation of women to endorse and expand feminist thought.</p>
<h2></h2>
<h2></h2>
<h2>The Doors</h2>
<p><img loading="lazy" decoding="async" class=" wp-image-35103 alignright" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/The-Ed-Sullivan-Show-The-Doors.jpg" sizes="(max-width: 354px) 100vw, 354px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/The-Ed-Sullivan-Show-The-Doors.jpg 354w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/The-Ed-Sullivan-Show-The-Doors-300x231.jpg 300w" alt="" width="251" height="193" /><strong>The Doors</strong> were an American rock band formed in 1965 in Los Angeles. Signing with Elektra Records in 1966, the Doors released eight albums between 1967 and 1971. All but one hit the Top 10 on the Billboard 200 and went platinum or better.</p>
<p>Their self-titled debut album (1967) was their first in a series of Top 10 albums in the United States, followed by Strange Days (also 1967), Waiting for the Sun (1968), and L.A. Woman (1971).</p>
<p>The band had three million-selling singles in the U.S. with “Light My Fire”, “Hello, I Love You” and “Touch Me”. According to the RIAA, they have sold 33 million certified units in the US and over 100 million records worldwide, making them one of the best-selling bands of all time.</p>
<h2></h2>
<h2>Woodstock</h2>
<p><strong>Woodstock</strong> was a music festival attracting an audience of over 400,000 people, scheduled over three days on a dairy farm in New York state from August 15 to 17, 1969, but which ran over four days to August 18, 1969. Billed as “An Aquarian Exposition: 3 Days of Peace &amp; Music”, it is widely regarded as a pivotal moment in popular music history.</p>
<p><img loading="lazy" decoding="async" class="wp-image-35197" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-Woodstock.jpg" width="386" height="289" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-Woodstock.jpg 386w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/02/thecounterculture-Woodstock-300x225.jpg 300w" sizes="(max-width: 386px) 100vw, 386px" /><br />
<img loading="lazy" decoding="async" class="wp-image-34387" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2016/10/Woodstock.jpg" width="271" height="390" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2016/10/Woodstock.jpg 271w, https://thehistoryofrockandroll.net/wp-content/uploads/2016/10/Woodstock-208x300.jpg 208w" sizes="(max-width: 271px) 100vw, 271px" /></p>
<h2>Kent State Shooting</h2>
<p><strong>Kent State Shooting</strong> involved the shooting of unarmed college students by the Ohio National Guard on Monday, May 4, 1970. The guardsmen fired 67 rounds over a period of 13 seconds, killing four students and wounding nine others. Hundreds of universities, colleges, and high schools closed throughout the United States due to a student strike of 4 million students.</p>
<h2>Rolling Stones</h2>
<p><strong>Rolling Stones</strong> are an English rock band formed in London in 1962.</p>
<p><img loading="lazy" decoding="async" class="size-full wp-image-35200 alignnone" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/Kent-State-Shooting.jpg" sizes="(max-width: 350px) 100vw, 350px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/Kent-State-Shooting.jpg 350w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/Kent-State-Shooting-300x230.jpg 300w" alt="" width="350" height="268" />Identification with the youthful and rebellious counterculture of the 1960s, the group returned to its bluesy roots with Beggars Banquet (1968) which—along with its follow-ups, Let It Bleed (1969), Sticky Fingers (1971) and Exile on Main St (1972)—is generally considered to</p>
<p>be the band’s best work.</p>
<h2></h2>
<h2>Timothy Leary</h2>
<p><img loading="lazy" decoding="async" class="size-full wp-image-35096 alignnone" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/The-Ed-Sullivan-Show-The-Rolling-Stones-2.jpg" sizes="(max-width: 313px) 100vw, 313px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/The-Ed-Sullivan-Show-The-Rolling-Stones-2.jpg 313w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/The-Ed-Sullivan-Show-The-Rolling-Stones-2-300x191.jpg 300w" alt="" width="313" height="199" /></p>
<p><strong>T</strong><strong>imothy Leary</strong> was an American psychologist and writer known for advocating the exploration of the therapeutic potential of psychedelic drugs. Leary popularized catchphrases that promoted his philosophy, such as “turn on,tune in, drop out”, “set and setting”, and “think for yourself and question authority”.</p>
<h2>Ken Kesey and the Merry Pranksters</h2>
<p><img loading="lazy" decoding="async" class="size-full wp-image-35203 alignnone" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/Timothy-Leary.jpg" sizes="(max-width: 350px) 100vw, 350px" srcset="thehistoryofrockandroll.net/wp-content/uploads/2017/02/Timothy-Leary.jpg 350w, thehistoryofrockandroll.net/wp-content/uploads/2017/02/Timothy-Leary-300x225.jpg 300w" alt="" width="350" height="263" /></p>
<p><strong>Ken Kesey and his Merry Pranksters</strong> helped shape the character of the 1960s counterculture with their cross-country voyage in 1964 in a psychedelic school bus named “Furthur”. The Pranksters created a direct link between the 1950s Beat Generation and the 1960s psychedelic scene.</p>
<h3>Music and Revolution</h3>
<p>“The 60s were a leap in human consciousness&#8230; The Beatles, The Doors, Jimi Hendrix created revolution and evolution themes.” – Carlos Santana</p>
<p>The music of the 1960s moved towards an electric, psychedelic version of rock, largely thanks to Bob Dylan’s decision to play electric at the 1965 Newport Folk Festival. This sound was molded by artists like Pink Floyd, The Beach Boys, and The Velvet Underground.</p>
<h2>Anti-nuclear</h2>
<p>The application of nuclear technology, both as energy and war, has been controversial. In 1961, about 50,000 women brought together by Women Strike for Peace marched in 60 cities to demonstrate against nuclear weapons.</p>
<h2>Law Enforcement</h2>
<p>The confrontations between college students and law enforcement became one of the hallmarks of the era. Distrust of police was based not only on fear of police brutality during political protests, but also on generalized police corruption.</p>
<h2>Marijuana, LSD, and other recreational drugs</h2>
<p>During the 1960s, LSD users expanded into a subculture that extolled mystical symbolism and advocated its use as a method of raising consciousness. Gurus like Timothy Leary and musicians like the Grateful Dead and The Beatles attracted significant publicity for the movement.</p>
<h2>Crosby, Stills, and Nash</h2>
<p><strong>Crosby, Stills, and Nash</strong> were an American-British folk rock supergroup made up of David Crosby, Stephen Stills, and Graham Nash. They were noted for their intricate vocal harmonies and political activism.</p>
<p><img loading="lazy" decoding="async" class="size-full wp-image-35212 alignnone" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/Crosby-Stills-and-Nash.jpg" alt="" width="314" height="228" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/02/Crosby-Stills-and-Nash.jpg 314w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/02/Crosby-Stills-and-Nash-300x218.jpg 300w" sizes="(max-width: 314px) 100vw, 314px" /></p>
<h2>The Byrds</h2>
<p><strong>The Byrds</strong> were an American rock band formed in Los Angeles in 1964. They pioneered the musical genre of folk rock, melding the influence of the Beatles with contemporary and traditional folk music.</p>
<p><img loading="lazy" decoding="async" class="size-full wp-image-35214 alignnone" src="https://www.thehistoryofrockandroll.net/wp-content/uploads/2017/02/The-Byrds.jpg" alt="" width="445" height="299" srcset="https://thehistoryofrockandroll.net/wp-content/uploads/2017/02/The-Byrds.jpg 445w, https://thehistoryofrockandroll.net/wp-content/uploads/2017/02/The-Byrds-300x202.jpg 300w" sizes="(max-width: 445px) 100vw, 445px" /></p>
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<p>The post <a href="https://thehistoryofrockandroll.net/the-counterculture/">The Counterculture</a> appeared first on <a href="https://thehistoryofrockandroll.net">The History of Rock and Roll Radio Show</a>.</p>
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