Non-fiction

RON PAUL WANTS TO ABOLISH INCOME & DEATH TAXES

Paul Revere midnight writer — Fri, 06 Jan 2012 16:16:39 GMT

The article below is taken from the Ron Paul website.. The more you know about Ron Paul , the more you will realize he is not just some politician making empty promises to get himself elected. This man is the real deal! Look him up on Wikipedia encyclopedia , click on his bibliography and you will find consistancy. Not only does he do what he says he will do ,but goes beyond. You will see all the books & newsletters he has put out over these many years alerting the American people of the freedoms they were losing and what they can do about it. He has been fighting for the freedoms of the American people since about the 1980's.. Please do check out his books they are awesome. .

Ron has been a congressman for Texas for many years .This guy is the real deal and I have found he cannot be bought. . He is a rare gem. Thats why Im a fan and trying my best to tell my fellow Americans about him. . The more you read about this guy and his past, the more you will see his icharacter.

Any thinking American who has been looking into the direction" we as a people "are going, knows American freedoms are in deep trouble. Im doing my part to alert Americans , I truly hope my efforts are bearing fruit.

The following article is taken from Ron Pauls website.~

KEEP MORE OF YOUR MONEY

The power to tax is the power to destroy, which is why Ron Paul will never su pport higher taxes.

Our national debt is currently over $14 trillion, with the government spending nearly $2 trillion more per year than it collects. The American people should not have to pay for Washington’s reckless and out-of-control appetite for debt.

High taxes stifle innovation, prevent saving, destroy production, crush the middle class and the poor, and discourage investment. Every American is entitled to the fruits of his labor, especially during these tough economic times.

Lowering taxes will leave you more money to take care of yourself and your family, and it will allow businesses greater opportunities to hire new workers, increase current salaries, and expand their companies.

As President, Ron Paul will support a Liberty Amendment to the Constitution to abolish the income and death taxes. And he will be proud to be the one who finally turns off the lights at the IRS for good.

Capital gains taxes, which punish you for success (and interfere with your efforts to hedge against inflation by purchasing gold and silver coins), should also be immediately repealed.

Struggling college students and those working to support their families would be greatly benefited and receive an immediate pay raise by eliminating taxes on tips.

As a congressman, Ron Paul has consistently endorsed legislation to let Americans claim more tax credits and deductions, including on educational costs, alternative energy vehicles, and health care. He also believes it is immoral to tax senior citizens twice by requiring them to include Social Security benefits in their gross income at tax time. A first step to eliminating that requirement would be to repeal the 1993 increase in taxes on Social Security benefits. Then we must abolish that tax entirely.

While a Flat Tax or a Fair Tax would each be a better alternative to the income tax system, Congressman Paul believes we would have to guarantee the 16^th Amendment is repealed to avoid having both the income tax and one of these systems as an additional tax.

But there is a better way. Restraining federal spending by enforcing the Constitution’s strict limits on the federal government’s power would help result in a 0% income tax rate for Americans.

The answer to spending and debt is to return to a constitutionally limited government that protects liberty – not one that keeps robbing Peter to pay Paul.

1969 album extract from 'A Pop Revolution' by the invisible man

Oh Sam Bin Laden — Sun, 04 Dec 2011 10:13:10 GMT

The best album of 1969?

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533

Led Zeppelin by Led Zeppelin

peaked in the UK charts at No.6

peaked in the US charts at No.10

produced by Jimmy Page

released in January

It was a bizarre coincidence that as the brilliant Cream were bowing out of the rock scene in November 1968, a new act were filling their considerable void. Whilst Cream are hailed as the first supergroup, Led Zeppelin (or the New Yardbirds, as they were initially known) were themselves drawn from previous dalliances in the world of pop. In fact, Jimmy Page and John Paul Jones were prolific session men who had been hired to lend their professional expertise to a plethora of rather unlikely pop songs. Their CV makes for interesting viewing as they offered their assistance to a variety of pop acts. Now at last, Page and Jones were stepping out from the shadows of the recording studio, determined to make their own mark. They hired Robert Plant and John Bonham from the heart of the Black Country of the West Midlands, and it wasn’t long before their new appointments were vindicated, as Led Zeppelin cemented their reputation as one of the hottest live acts on the globe. In between live performances, this particular fab four managed bouts of recording which helped give birth to their debut long player. It is famed for being recorded with much haste and little expense, and lambasted for being a little too plagiaristic for some scoffers. However, it is not unnatural for a new group, finding their feet, to draw upon their own musical influences in their first recorded tracks. Whilst the debate rages on about the originality of their debut album, the musicianship is of the highest order. True, Robert Plant was still in his infant stages as a songwriter and by his own admission had not yet blossomed as a vocalist, but the foursome’s interpretation of the blues was without equal from a group of white English lads. Their rendition of Willie Dixon’s ‘You Shook Me’ is an obvious highlight. ‘Dazed And Confused’ meanwhile is a Page original that was intended for the Yardbirds. Here is its finest version before the group would fail to resist the temptation to play prolonged live attempts of this classic which at times would last the guts of half an hour. I once found myself driving along to the sound of ‘Dazed And Confused’, wondering if it was wise to be steering my way through such a heavy, sinister-sounding track. Elsewhere, the album-opener ‘Good Times, Bad Times’ and ‘the sonic mayhem of ‘Communication Breakdown’ were much shorter and thus laden with high energy. John Paul Jones’s prowess on keyboards also is in evidence on the vengeful ‘Your Time Is Gonna Come’. No sooner had this album made a triumphant invasion of Transatlantic album charts than a follow-up surfaced later in 1969 to reinforce the mighty Zep as the originators of a new genre, heavy metal. If nothing else, their first album is the greatest karaoke offering ever, and no 21st century fledgling rock act dare bypass this important manual which has left all imitators and competitors trailing miles behind.

The album’s best song? How Many More Times

SPORT IN 1969

English Division One soccer champions: Leeds United

English FA Cup final : Manchester City 1 Leicester City 0

English League Cup winners: Swindon Town

Scottish Division One soccer champions: Glasgow Celtic

Scottish FA Cup final: Glasgow Celtic 4 Glasgow Rangers 0

Scottish League Cup winners: Glasgow Celtic

Irish League soccer champions: Linfield; Irish Cup winners: Ards

League Of Ireland soccer champions: Waterford; cup winners: Shamrock Rovers

European Cup final: AC Milan 4 Ajax Amsterdam 1

European Cup-Winners’ Cup final: Slovan Bratislava 3 Barcelona 2

European Fairs’ Cup final: Newcastle United beat Ujpest Dozsa 6-2 on aggregate

English county cricket champions: Glamorgan

Five Nations’ rugby union champions: Wales (triple crown)

Formula One world drivers’ champion: Jackie Stewart

Gaelic football All-Ireland champions: Kerry; hurling champions: Kilkenny

British Open golf champion: Tony Jacklin

US Masters golf champion: George Archer

US Open golf champion: Orville Moody

USPGA golf champion: Ray Floyd

Rugby league Challenge Cup final: Castleford 11 Salford 6

Wimbledon men’s singles tennis champion: Rod Laver

Wimbledon ladies’ singles tennis champion: Ann Jones

The Aintree Grand National steeplechase winner: Highland Wedding

The Epsom Derby winner: Blakeney

The Ryder Cup: Great Britain & Ireland 16 USA 16

1969 songs from the book 'A Pop Revolution' by the invisible man

Oh Sam Bin Laden — Sat, 03 Dec 2011 09:47:24 GMT

The best 10 songs of 1969?

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533

He Ain’t Heavy , He’s My Brother by The Hollies

Long before the emergence of Madchester or before Manchester became a mecca for the indie/new wave scene, it was the Hollies who originally flew the flag for this city. The group regularly flirted with the upper echelons of the UK singles chart, having been ‘top of the pops’ in 1965 with ‘I’m Alive’. However, arguably their greatest ‘sixties recording was this slice of brotherly love, ably assisted by a prominent harmonica, strings, and the group’s trademark harmonies.

If I Can Dream by Elvis Presley

The king of rock ‘n’ roll made a belated attempt to regain his throne by abandoning his mediocre acting career and returning to what he always did best: singing and performing. A ‘Comeback Special’ was filmed and screened to wide acclaim with Elvis showcasing a new tune, ‘If I Can Dream’. It wasn’t exactly hip-swivelling stuff, but ‘If I Can Dream’ is a mini-epic which reminded one and all of the majesty of Mr P. Buoyed by this comeback, Elvis enjoyed a brief flurry of big hits.

I Want You (She’s So Heavy) by The Beatles

After group relations were frayed by the sessions for the not-yet released ‘Let It Be’ album, the once fab four managed to patch up their differences and re-enlisted George Martin for the more harmonious ‘Abbey Road’ project. Determined to go out on a high, John Lennon weighs in with the lengthy and slightly disturbing ‘I Want You (She’s So Heavy)’. Dominated by guitar and Lennon’s unremitting demand of ‘I want you’, the song ends abruptly when Lennon states: cut the tape ‘there’.

Nothing Is Easy by Jethro Tull

Long-haired flautist Ian Anderson carved out his own niche in the world of rock with a number of unique singles and albums. Nothing is indeed easy but Jethro Tull serve up a treat with this item from their ‘Stand Up’ album. Not only is the flute-playing a joy to behold, but the intro is out of this world. Jethro Tull are largely unheard of by the 21st century audience of X Factor devotees. One can feel nothing but sympathy for those who are oblivious of this quirky recording.

Ramble On by Led Zeppelin

Ace guitarist Jimmy Page alternated between acoustic guitar and electric guitar while Bonzo Bonham’s drumming was both sedate and ferocious as the mighty Zeppelin demonstrated their light and shade dynamic in this outstanding piece from their second album. Robert Plant meanwhile revisits the well-worn theme of the rolling stone, born under a wanderin’ star who is unable to settle down and whose itchy feet set out for pastures new. Here was a new band really hitting its awesome stride.

Reflections Of My Life by Marmalade

Marmalade were the toast of the airwaves with their own joyful rendition of the Beatles’ ‘Ob-La-Di-Ob-La-Da’ which reached the top of the pops in the UK in early 1969. At the end of the year, the gang were back again with something completely different. ‘Reflections Of My Life’ was a sensitive tune and didn’t belong in the happy-go-lucky bracket. The track is notable for a backwards guitar whilst also decorated with strings. It is one of the best sad songs in popular music.

Someday We’ll Be Together by Diana Ross & The Supremes

The Supremes closed out the decade by occupying familiar territory, the summit of the Billboard Hot 100. It was something of a bitter-sweet triumph as this was the swansong for the leading Supreme, Diana Ross, who had just announced that this single would be her last with the group, as she prepared to launch her own solo career. Whether the song title suggested a group reunion was open to question, but the tragic death of original Supreme, Flo Ballard in 1976, scuppered any such hopes.

Something In The Air by Thunderclap Newman

There was certainly something in the air in 1968, which was something of a year of protests and riots. This theme surfaces in this memorable tune from the short-lived ‘Thunderclap Newman’. This revolutionary single was a call to arms which if nothing else climbed to the peak position of the UK chart in mid-summer. This studio band included Jimmy McCulloch, future guitarist with Wings and the song was produced by Pete Townshend. It was his only involvement with a UK chart-topper.

Wonderful World , Beautiful People by Jimmy Cliff

Before Jimmy Cliff found fame with his leading role in the film, ‘The Harder They Come’, he made a few forays into the UK charts. Notable among them was this single which revealed Cliff’s longing for a better world. Cliff even exhorts Prime Minister Wilson and President Nixon in mid-song, though one could argue that his pleas fell on deaf ears. Here was another song that fell into the skinhead reggae category as Jamaican music found an unlikely audience with working-class white men.

You Can’t Always Get What You Want by The Rolling Stones

1969 witnessed the death of Rolling Stone, Brian Jones, (who was almost certainly murdered) while Marianne Faithfull nearly joined him a few days later when she overdosed. Undaunted by these traumas, Mick Jagger rode on regardless, as he went down to the demonstration to get his fair share of abuse! A choir was thrown in to this epic for good measure. This was the long closing track to the critically acclaimed ‘Let It Bleed’ album which had opened with the equally remarkable ‘Gimme Shelter’.

1968 album extract from 'A Pop Revolution' by the invisible man

Oh Sam Bin Laden — Fri, 02 Dec 2011 07:13:11 GMT

The best album of 1968?

The Beatles by The Beatles

peaked in the UK charts at No.1

peaked in the US charts at No.1; produced by George Martin; released in November

By 1968, all was not well on planet Beatles. Brian Epstein's untimely death in August 1967 prompted the seemingly

unsinkable quartet to go it alone and manage their own affairs for the next eighteen months. However, musicians they were; businessmen they were not. This state of affairs was compounded by a revolving door of girlfriends as Cynthia

Lennon was obliged to trade places with the avant-garde Japanese artist, Yoko Ono, while Jane Asher abandoned her

role as Paul McCartney's significant other, a vacancy that was quickly filled by the American Linda Eastman. On top of all

this emotional upheaval, even the Fab Four were becoming increasingly tired of one another. Having decided to quit

touring in the summer of 1966, this in hindsight was the precursor to the eventual break-up, and the decision to spend

more time cooped up together in the recording studio was itself partially counter-productive, as many long hours together perfecting their art would have tried anyone's long-standing friendships. The Beatles sought spiritual relief in the Himalayan foothills in the company of their favourite guru, the Maharishi Mahesh Yogi, but even this experience proved less than fruitful, prompting a typically acidic Lennon to compose the majestic put-down of 'Sexy Sadie', his less-than-subtle revelation that the Maharishi was a fraud, or at least a self-proclaimed holy man who allegedly expressed an unholy interest in one of the Farrow sisters. If nothing else, their retreat to India provided a fertile ground for more songs which would surface later in the year on what came to be known as the 'White Album'. Here, the kings of pop made their own daring statement of providing an album cover that was the very antithesis of Sergeant Pepper. There was no colourful, all-singing, all-dancing album cover with a cast of thousands. Hell, there wasn't even a clever album title. Instead, the famous four were intent on letting their music do the talking and to steer clear of any fancy packaging or marketing. It remains a testimony to their ever-constant popularity that this ninety-minute delight was able to thrive in the absence of an accompanying tour. Here again, as with Pepper, the Beatles were making their own rules. In my semi-humble opinion, the 'White Album' contains songs that far surpass the majority of Pepper tunes, but effectively each song was a solo track, with the composer singing his own song, accompanied sometimes merely by an orchestra. Nevertheless, there are some terrific moments that reminded us of their camaraderie as an exhausted

Ringo exclaims "I've got blisters on my fingers" at the conclusion of the raucous 'Helter Skelter'. Eric Clapton also

made a welcome contribution on 'While My Guitar Gently Weeps'. Even as group harmony began to unravel, the Beatles

were still remarkably capable of delivering an album of unquestioned greatness.

The album's best song? Sexy Sadie

SPORT IN 1968

English Division One soccer champions: Manchester City

English FA Cup final: West Bromwich Albion 1 Everton 0

English League Cup winners: Leeds United

Scottish Division One soccer champions: Glasgow Celtic

Scottish FA Cup final: Dunfermline Athletic 3 Heart of Midlothian 1

Scottish League Cup winners: Glasgow Celtic

Irish League soccer champions: Glentoran; Irish Cup winners: Crusaders

League Of Ireland soccer champions: Waterford; cup winners: Shamrock Rovers

European Cup final: Manchester United 4 Benfica 1

European Cup-Winners' Cup final: AC Milan 2 SV Hamburg 0

European Fairs' Cup final: Leeds United beat Ferencvaros 1-0 on aggregate

English county cricket champions: Yorkshire

Five Nations' rugby union champions: France (grand slam)

Formula One world drivers' champion: Graham Hill

Gaelic football All-Ireland champions: Down; hurling champions: Wexford

British Open golf champion: Gary Player

US Masters golf champion: Bob Goalby

US Open golf champion: Lee Trevino

USPGA golf champion: Julius Boros

Rugby league Challenge Cup final: Leeds 11 Wakefield Trinity 10

Wimbledon men's singles tennis champion: Rod Laver

Wimbledon ladies' singles tennis champion: Billie Jean King

The Aintree Grand National steeplechase winner: Red Alligator

The Epsom Derby winner: Sir Ivor

The European Championship soccer final: Italy 2 Yugoslavia 0

1968 songs from the book 'A Pop Revolution' by the invisible man

Oh Sam Bin Laden — Thu, 01 Dec 2011 10:17:23 GMT

The best 10 songs of 1968?

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533

Build Me Up Buttercup by The Foundations

Having enjoyed a marvellous chart-topper in 1967 with ‘Baby, Now That I’ve Found You’, the Foundations journeyed up the hit parade again with the toe-tapper ‘Build Me Up Buttercup’. It still deservedly receives airplay many decades later, a testimony to its timeless impact. Although this single climbed to the top spot on the US Cashbox chart in early 1969, the Foundations did not build upon the foundations of this commercial triumph.

Burning Of The Midnight Lamp by The Jimi Hendrix Experience

“Loneliness is such a drag” wailed Hendrix on this remarkable track from the double album ‘Electric Ladyland’. Here the guitar virtuoso treats us to some wah-wah guitar, and throw in the harpsichord plus the rhythm of Mitch and Noel, and the outcome is pretty spectacular. It was such a pity that Hendrix would part company with Chas Chandler, and in time with his bass player and drummer too. Jimi never matched this excellence again. What a waste.

Can Blue Men Sing The Whites? by The Bonzo Dog Band

Having initially guested on the Beatles’ ‘Magical Mystery Tour’ film fiasco, the Bonzos were back in the limelight in 1968 with the suitably ludicrous ‘I’m The Urban Spaceman’. These urban spacemen also released an album entitled ‘The Doughnut In Granny’s Greenhouse’. This project included the spoof song which in its own weird way questioned whether English white boys should be singing the blues. It’s a frantic little number with guitar and harmonica to the fore. It’s worth checking out.

Crossroads by Cream

In-fighting amongst the trio’s rhythm section ensured that Cream would be a short-lived phenomenon. Before they bade their ‘fond’ farewells at the Royal Albert Hall, they weighed in with an outstanding live interpretation of Robert Johnson’s ‘Crossroads’. This must surely rank alongside ‘My Back Pages’ and ‘All Along The Watchtower’ as the best cover version of the decade. Take four minutes to bask in Eric Clapton on guitar and vocals here. It’s time well spent.

Lazy Sunday by The Small Faces

The cockney mods had really found their feet with the splendid ‘Ogden’s Nut Gone Flake’. The LP included this UK Number Two smash. It’s a real slice of joie de vivre from that artful dodger Steve Marriott, assisted by Ian McLagen on keyboards, bemoaning intolerant neighbours who have no time for ravers! The Small Faces were really starting to go places, but regrettably Marriott jumped ship, leaving les autres to form the Faces with Rod and Woody, a rock group-c*m-drinking club.

Old Friends by Simon And Garfunkel

The old friends of Paul Simon and Art Garfunkel had spent enough time together that by the late ‘sixties, their old friendship was becoming strained. Before they took a prolonged leave of one another, they recorded their penultimate studio album, ‘Bookends’. The LP takes its name from the track ‘Old Friends’, a gentle, reflective piece with an orchestral arrangement thrown in. It may not be one of their toe-tappers, but this easy listening item is worth several listens.

Pictures Of Matchstick Men by Status Quo

Status Quo were the latest English male guitar group to emerge on planet pop. Their debut single was very much in keeping with its time, a slice of psychedelia which would be a far cry from much of their output in the rockin’ seventies. Francis Rossi for the time being was sporting a moustache and hadn’t yet reinvented himself as a good time rocker. He was however the lead vocalist on one of the best songs of its era, and that was more than good for starters.

Rainbow Valley by The Love Affair

Young Steve Ellis and his group helped themselves to a brilliant UK Number One with ‘Everlasting Love’. Although its follow-up, ‘Rainbow Valley’, failed to reach the ‘top of the pops’, it was a hugely commendable single. Ellis longs for the safe haven of Rainbow Valley accompanied by fine female vocals and a notable contribution from the brass section. Deservedly, this release found a place in the UK Top 5. It is without doubt among the best singles of not only 1968, but of all-time.

Set The Controls For The Heart Of The Sun by Pink Floyd

With the wayward genius of Syd Barrett beginning to lose his marbles on account of his acid consumption, the other three were resigned to having to cut their umbilical cord and go it alone without the charismatic Syd. Recruiting new guitarist, Dave Gilmour, they opted for space rock on ‘Set The Controls For The Heart Of The Sun’. This was one of the first occasions when Roger Waters took over songwriting duties. The result was sufficiently impressive to encourage him to write more tunes.

The Way Young Lovers Do by Van Morrison

Van the man served his musical apprenticeship with Them who were welcome visitors to the airwaves with the likes of ‘Here Comes The Night’. Belfast’s most famous singer then chose to go it alone and came forth with a remarkable eight-track album entitled ‘Astral Weeks’. Although this project was something of an acquired taste, it did possess this obscure gem which, assisted by an excellent horns accompaniment, was a bit more energetic than most of the other laid-back tunes on the LP.

1967 album extract from 'A Pop Revolution' by the invisible man

Oh Sam Bin Laden — Wed, 30 Nov 2011 09:55:30 GMT

The best album of 1967?

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533

Are You Experienced by The Jimi Hendrix Experience

peaked in the UK charts at No.2; peaked in the US charts at No.5

produced by Chas Chandler; released in May

James Hendrix was languishing in New York, going nowhere slowly, when ex-Animals’ guitarist Chas Chandler chanced upon him and correctly identified Hendrix as a prodigious talent who was wasting himself. Chandler persuaded the talented left-handed axeman to flee his native land and find fame in the UK. In the winter of 1966/7, word began to spread amongst the chattering classes of London town about this extraordinary guitarist. Paul McCartney and Eric Clapton were two such high-profile champions of Hendrix and it therefore came as little surprise when Jimi and his two excellent sidekicks, Mitch Mitchell and Noel Redding, began a successful incursion of the airwaves in early 1967. During the course of this year, Hendrix and his Experience would offload two albums of startling sounds upon the British (and eventually American) public. ‘Axis: Bold As Love’ has its merits, but I believe ‘Are You Experienced’ lays a credible claim to being the best debut album ever. Herein however lay a problem for Hendrix. Had he peaked too soon? Could he maintain this formidable sound? Would he have to reinvent himself to stay ahead of the chasing pack? Whatever considerations played upon his drugged mind, 1967 was regrettably his creative peak, even if ‘Electric Ladyland’ possesses a handful of jaw-dropping tracks. As for the debut album, Hendrix and his very competent rhythm section proceed to unleash a series of raw power chords that no-one had been prepared for. Are You Experienced? The listener was not, though Cream, Jeff Beck, and the Who were also in the vanguard of laying the foundations for what has become known as ‘rock music’. Hendrix and his first album were certainly foremost in providing a heavy alternative to the lighter, easy listening sounds of pop music. Generation gaps were well and truly pronounced now as the youth tuned in to guitar feedback and their elders pined for the return of the Shadows. Popular music had clearly come a long way. Was it only two years earlier that groups adorning Moptops and suits, and aping the Mersey sound were in vogue? Not for nothing did Hendrix exclaim in ‘Third Stone From The Sun’ that “but then you’ll never hear surf music again”. This wasn’t strictly true but what Hendrix was suggesting was that he and his Experience were flying their freak flag and ushering new sounds which challenged the traditional teeny pop music which had run its course. If ever the popular music scene was undergoing a transformation, it was here on this vinyl. ‘Fire’ highlighted Jimi’s sense of humour whilst the title track underpinned the playfulness of a shy man who paradoxically had copious female conquests. Even an impressed Clapton felt obliged to grow his own Hendrix afro. For a while, Hendrix was the talk of the town. However, rock music is a dangerous pastime, and Jimi was out of the game permanently in September 1970.

The album’s best song?

Third Stone From The Sun

SPORT IN 1967

English Division One soccer champions: Manchester United

English FA Cup final: Tottenham Hotspur 2 Chelsea 1

English League Cup winners: Queen’s Park Rangers

Scottish Division One soccer champions: Glasgow Celtic

Scottish FA Cup final: Glasgow Celtic 2 Aberdeen 0

Scottish League Cup winners: Glasgow Celtic

Irish League soccer champions: Glentoran; Irish Cup winners: Crusaders

League Of Ireland soccer champions: Dundalk; cup winners: Shamrock Rovers

European Cup final: Glasgow Celtic 2 Inter Milan 1

European Cup-Winners’ Cup final: Bayern Munich 1 Glasgow Rangers 0

European Fairs’ Cup final: Dynamo Zagreb beat Leeds United 2-0 on aggregate

English county cricket champions: Yorkshire

Five Nations’ rugby union champions: France

Formula One world drivers’ champion: Denny Hulme

Gaelic football All-Ireland champions: Galway; hurling champions: Kilkenny

British Open golf champion: Roberto De Vicenzo

US Masters golf champion: Gay Brewer

US Open golf champion: Jack Nicklaus

USPGA golf champion: Don January

Rugby league Challenge Cup final: Featherstone Rovers 17 Barrow 12

Wimbledon men’s singles tennis champion: John Newcombe

Wimbledon ladies’ singles tennis champion: Billie Jean King

The Aintree Grand National steeplechase winner: Foinavon

The Epsom Derby winner: Royal Palace

The Ryder Cup: USA 23.5 Great Britain & Ireland 8.5

1967 songs from the book 'A Pop Revolution' by the invisible man

Oh Sam Bin Laden — Tue, 29 Nov 2011 10:03:16 GMT

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533

THE BEST 10 SONGS OF 1967?

Death Of A Clown by Dave Davies

Having previously treated the airwaves to the superb ‘Waterloo Sunset’, Dave Davies emerged from the shadow of his brother Ray and the other Kinks to briefly fly solo on this delightful ditty. He followed up the success of this release with another admirable single, ‘Susannah’s Still Alive’ before returning to further Kinks projects. Anyhow, let’s all drink to this UK Top 3 hit with its la-la-la backing vocals.

Don’t Sleep In The Subway by Petula Clark

‘Downtown’ is undoubtedly Petula’s best-known song. It even reached the coveted Number One position on the US Billboard and Cashbox singles charts. However, I have a liking for this relatively minor hit. Petula Clark may have delivered a number of strong-selling singles, but her vocals and the musical accompaniment on this particular recording are worthy of repeated listens.

007 by Desmond Dekker And The Aces

Desmond Dekker was the first male Jamaican singing sensation to find international popularity. This recording may have been viewed in some quarters as something of a novelty song, but more hits followed. In this track Dekker makes reference to the rude boys of the shanty town. These were Jamaican gangsters whose deeds inspired some of the material at this time in Jamaica where the craze of blue beat and ska was in fashion. It also found a willing audience amongst inner-city Britain.

Excerpt From A Teenage Opera by Keith West

It wasn’t exactly an opera song, though the subject matter was something of a soap opera as folks ponder the absence of the once-reliable grocer Jack. As we discover that poor old Jack’s delivery days are over, we are treated to a wondrous tune. The backing vocals of the children would have attracted a young audience, but this single proved popular amongst the older age group who appreciated the strings of this unusual ballad. This was definitely one of the 1960s’ best novelty records.

Let’s Go To San Francisco by The Flower Pot Men

San Francisco was the happening place to be in 1967 as numerous flower people made pilgrimages to Haight-Ashbury to bask in the sunshine, the sea, the sounds, and the substances. The Flower Pot Men were one-hit wonders but they did leave the legacy of this fine museum piece from the ‘summer of love’. Scott McKenzie and the Animals had also paid homage to San Francisco in their song titles, as the west coast of the USA became the Mecca for all self-respecting hippies.

Light My Fire by The Doors

The Doors eclipsed both the Beach Boys and the Byrds in 1967 as the leading act from the west coast of the USA. They hit the ground running with a memorable debut album that featured the psychotic ‘The End’ as well as this lighter item. Ray Manzarek’s keyboards are an absolute joy here as the charismatic Jim Morrison remains sufficiently sober to get playful. Hereafter Jim’s behaviour would become erratic, but quality tunes continued to be delivered until his death in 1971.

Massachusetts (The Lights Went Out In) by The Bee Gees

Whilst other citizens of pop world were thinking about San Francisco, the Bee Gees were singing of a location on the opposite coast. A decade before they became the premier disco act, the Gibb brothers were issuing this two and a half minute piece of melancholy. Record buyers were suitably impressed by the orchestral arrangement and the vocals of this release to reward these new singing sensations with a British chart-topper. The USA were yet to be convinced.

She’s A Rainbow by The Rolling Stones

1967 has been described as an ‘annus horribilis’ for the strolling ruins as they fell foul of the law and fell out with one another. Ultimately Brian, Keef, and Mick narrowly escaped porridge, but they didn’t escape widespread scorn when they attempted their very own ‘Pepper’ album. The result was the sorely under-rated ‘Their Satanic Majesties Request’. This LP featured the delightful ‘She’s A Rainbow’. Assisted by the piano, this was a colourful psychedelic Stones track.

Somethin’ Stupid by Nancy Sinatra And Frank Sinatra

The Sinatras had been regular visitors to the Transatlantic charts in recent times, and each had enjoyed a Number One single in 1966. In fact they spent the turn of the year competing against one another in the midst of the Billboard’s Top 10. Now at last, father and daughter joined ranks with this easy listening piece which predictably climbed to the top of the pop listings. It was a unique achievement for a family get-together. Maybe it inspired the Jacksons and the Osmonds.

Within You, Without You by The Beatles

George Harrison was among the first western pop artists to embrace the eastern sounds as demonstrated by the likes of India’s sitar man, Ravi Shankar. Harrison brought this influence into his own compositions. A number of Asian instruments were drafted into the likes of John Lennon’s ‘Strawberry Fields Forever’ and George’s offering for the Pepper album, ‘Within You Without You’. This five-minute wonder is a strong contender for the album’s best song.

1966 album extract from 'A Pop Revolution' by the invisible man

Oh Sam Bin Laden — Mon, 28 Nov 2011 10:10:52 GMT

The best album of 1966?

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533

Pet Sounds by The Beach Boys

peaked in the UK charts at No.2; peaked in the US charts at No.10

produced by Brian Wilson; released in May

Beach Boy chief composer Brian Wilson and Paul McCartney were not only born two days apart in 1942, but they were a mutual appreciation society. Wilson cites the Beatles’ ground-breaking ‘Rubber Soul’ (born in December 1965) as a huge influence upon the development of ‘Pet Sounds’. McCartney, by the same token, attributes ‘Pet Sounds’ as equally important upon the recording of Sergeant Pepper. Wilson, it has to be remembered, was in the contradictory position of being within a group but at the same time he had to go it alone in terms of finding material that would challenge the British invasion of 1964 and 1965. This was a large burden for the fragile Wilson to shoulder but for a couple of years anyway, he was more than equal to the task at providing America’s belated response to the Beatles, Stones, and Kinks, amongst others. In the event, Wilson took the risky step of forsaking the Beach Boys’ tried and trusted formula of surfing songs and pop songs about cars which largely appealed to an alpha male psyche. Instead, he hired the finest session musicians and a lyricist called Tony Asher and decided to build a cycle of songs which effectively amounted to a teenage soap opera, exploring emotions such as hope and despair which all adolescents could relate to. Whilst the boys were on the road, Wilson retreated to the safe haven of his home (and eventually his bedroom) and in the mean time knocked out a dozen tracks which took the rest of the group by surprise when they returned from touring. Reception was generally favourable though a non-plussed Mike Love (Wilson’s erstwhile co-writer) urged Wilson to jettison this ‘ego music’ and stick to the winning formula. Wilson was not to be deterred, even if Capitol Records also raised their eyebrows at an album that in their commercial minds strayed too far away from mass appeal. With Capitol Records not providing the marketing muscle that Wilson had hoped for and indeed undermining the album’s sales potential by hastening to issue a Best Of compilation which deflected attention and sales away, ‘Pet Sounds’ found a more sympathetic audience in the UK, no doubt helped by lavish praise from media mouthpiece Andrew Loog Oldham and PR guru Derek Taylor who each pushed the line that Brian was a genius and that ‘Pet Sounds’ was the greatest album imaginable. Buoyed by this partial success, Wilson scaled new heights with ‘Good Vibrations’ but then got dizzy in more ways than one as his ‘Smile’ project threatened to achieve world domination, only for an increasingly unhinged Wilson to pull the plug on that remarkable enterprise. ‘Pet Sounds’ features beautiful harmonies from the boys, beautiful strings and musicianship, but it was effectively a Brian Wilson solo album and showcased his own production expertise. It still sits deservedly in lofty positions in ‘Greatest Album Ever’ polls.

The album’s best song?

Don’t Talk (Put Your Head On My Shoulder)

SPORT IN 1966

English Division One soccer champions: Liverpool

English FA Cup final: Everton 3 Sheffield Wednesday 2

English League Cup winners: West Bromwich Albion

Scottish Division One soccer champions: Glasgow Celtic

Scottish FA Cup final: Glasgow Rangers 1 Glasgow Celtic 0

Scottish League Cup winners: Glasgow Celtic

Irish League soccer champions: Linfield; Irish Cup winners: Glentoran

League Of Ireland soccer champions: Waterford; cup winners: Shamrock Rovers

European Cup final: Real Madrid 2 Partizan Belgrade 1

European CupWinners’ Cup final: Borussia Dortmund 2 Liverpool 1

European Fairs’ Cup final: Barcelona beat Real Zaragoza 4-3 on aggregate

English county cricket champions: Yorkshire

Five Nations’ rugby union champions: Wales

Formula One world drivers’ champion: Jack Brabham

Gaelic football All-Ireland champions: Galway; hurling champions: Cork

British Open golf champion: Jack Nicklaus

US Masters golf champion: Jack Nicklaus

US Open golf champion: Billy Casper Junior

USPGA golf champion: Al Geiberger

Rugby league Challenge Cup final: St Helens 21 Wigan 2

Wimbledon men’s singles tennis champion: Manuel Santana

Wimbledon ladies’ singles tennis champion: Billie Jean King

The Aintree Grand National steeplechase winner: Anglo

The Epsom Derby winner:Charlottown

World Cup soccer final: England 4 West Germany 2

1966 songs from 'A Pop Revolution' by the invisible man

Oh Sam Bin Laden — Sun, 27 Nov 2011 10:41:25 GMT

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533

THE BEST 10 SONGS OF 1966?

Dedicated Follower Of Fashion by The Kinks

Ray Davies emerged as one of the most respected songwriters of his generation as his compositions were an observation of the state of the UK, from the down-at-heel ‘Dead End Street’ to the nouveau riche lamenting a ‘Sunny Afternoon’. Then of course there was this satirical swipe at the dandies and fashionistas who were making pilgrimage to London’s Carnaby Street. Like many of their contemporaries, the Kinks were travelling away from frantic origins towards something more thoughtful.

Distant Drums by Jim Reeves

Once upon a time, air travel was the tragic undoing of many a talented globetrotter. Jim Reeves succumbed to an early grave, courtesy of an aeroplane crash on July the 31st 1964. His wife still ensured that Jim’s esteemed repertoire would continue to surface beyond his untimely demise. ‘Distant Drums’ was his most successful posthumous smash hit, as it conquered the UK singles chart in the late summer of 1966.

Gimme Some Lovin’ by The Spencer Davis Group

The teenage Stevie Winwood raised the roof with an engaging uptempo number which stands favourable comparison with any dance song that emanated from the swinging ‘sixties. This track was notable for its intro and the fabulous organ sound. Remarkably, it failed narrowly to reach the UK singles summit, though it perhaps was more deserving of this lofty position than the group’s two recent chart-toppers, ‘Keep On Running’ and ‘Somebody Help Me’.

Go Where You Wanna Go by The Mamas And The Papas

Vocal harmonies rarely sounded better than they did when this mixed gender quartet combined so well in the recording studio. Whilst Michelle was sacked and then reinstated on account of her infidelity, the group still thrived in spite of the disharmony. Along with the hit single ‘I Saw Her Again’, this album track was amongst the very best pop songs of 1966.

Last Train To Clarksville by The Monkees

After the Beatles had conquered the United States with both their breezy pop music and their cheeky charm, imitators were sought. In the event, four Beatles clones were found in the guise of the Monkees. Critics may have scoffed at their lack of musical prowess and the fact that they had to rely on other songwriters, nevertheless this new fab four thrilled their teenage followers with such catchy tunes as the guitardecorated ‘Last Train To Clarksville’. Here began the latest stars.

Rainy Day Women Nos. 12 & 35 by Bob Dylan

Many Dylan aficionados take his music a bit too seriously, which is surprising, given that the great man was himself prone to a bit of humour. The album opener for the excellent ‘Blonde On Blonde’ project was one such case, in which Mr Zimmerman suggests “everybody must get stoned.” What, like the early Christian martyr Stephen? No, not exactly, one can safely deduce that this was a call to indulge in some marijuana. This likeable, but rather oddball tune narrowly fell short of the US pop summit.

Reach Out, I’ll Be There by The Four Tops

Nobody can put a date on the origin of disco music, but I would venture that this fine product from Tamla Motown is one of the pioneering dancefloor classics of the 1960s. The Four Tops were one of the great North American singing groups of their era, alongside the Miracles and the Temptations. This danceable delight is undoubtedly the highlight of their career.

When A Man Loves A Woman by Percy Sledge

This release hit the top of the Billboard Hot 100, whilst in the UK, it journeyed into the Top 10 in 1966 and again in 1987 when another retro item, Ben E King’s ‘Stand By Me’ kept it away from the Number One spot. Sledge’s singing is a wonder, assisted by good contributions from the organ and the backing vocalists. Regrettably, he failed to build upon this triumph.

Wild Thing by The Troggs

The Troggs not surprisingly found favour on both sides of the Atlantic with this tune which was something of a rock and pop crossover hit. There may have been only one Elvis, but there were two Presleys, including the group’s lead singer Reg. Jimi Hendrix was sufficiently impressed to cover this song at the Monterey Pop Festival just prior to setting fire to his guitar. The Troggs had a few big hits, including ‘Love Is All Around’ in the USA in 1968, though songwriting royalties from that record weren’t boosted until it was successfully covered in 1994 by Wet Wet Wet.

Wrapping Paper by Cream

They were well-named because the power trio of Ginger Baker, Jack Bruce, and Eric Clapton were the cream of the British blues scene. Their first single, ‘Wrapping Paper’, is by no means their best recording, but it is rather quaint and considerably better than Baker has suggested. The drummer scathingly regarded it as the worst song he had heard in his entire life, which may be attributed to his concern that it was the start of the Jack Bruce/Pete Brown songwriting axis.

1965 album extract from 'A Pop Revolution' by the invisible man

Oh Sam Bin Laden — Sat, 26 Nov 2011 10:25:41 GMT

The best album of 1965 from 'A Pop Revolution'

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533

Highway 61 Revisited by Bob Dylan;

peaked in the UK charts at No.4;

peaked in the US charts at No.3

produced by Bob Johnston

released in August

This new offering from Mr Zimmerman was something of a watershed in a number of respects. Not only was Dylan incurring the wrath of Luddite folk music devotees by plugging his new tunes into electric sockets, but here arguably for the first time was an album of substance, carefully constructed, and thus historically it represented a new departure from the previous formula of artists hastily compiling a dozen filler material to complement the one or two ‘quality’ singles that featured on any given long player. ‘Highway 61 Revisited’, it can be claimed, heralds the dawning of a new genre: folk rock.

No longer was Dylan and other folksters merely strumming protest songs on acoustic guitar, accompanied possibly by harmonica. Now folk music was, horror of horrors, selling its soul (in the eyes of some zealots) and embracing modern technology. Electric guitars, bass guitar, drums, and keyboards were all drafted in to complement the bard of the folk scene. A defiant Dylan merely responded to being called a “Judas” in mid-concert in Manchester by exhorting his group to “play f***ing louder” on their rendition of ‘Like A Rolling Stone’.

Seminal track is an often overused description in popular music tomes, but scarcely a soul anywhere questions its suitability in relation to Dylan’s six-minute album opener which, unlike the other ten songs, was actually produced by Tom Wilson. Such indeed is the enduring appeal of ‘Like A Rolling Stone’ that music critic Greil Marcus was sufficiently moved to compose a whole publication on this one song.

‘Ballad Of A Thin Man’ follows a similar theme as the sixties’ leading songwriter sings once more of alienation and of being the outsider on the periphery, looking inside at the American dream. This was Generation X material, twenty years ahead of its time. Brian Jones, himself an increasingly peripheral figure in the Rolling Stones, was convinced that these two tracks in particular were a commentary on his state of mind. “How’s your paranoia meter?”, Dylan once famously asked Mr Jones. Was it pure coincidence that ‘Ballad Of A Thin Man’ contains the lyric “Something is happening here and you don’t know what it is/Do you, Mr Jones?” A credible case can be made that the subsequent ‘Blonde On Blonde’ project contains better songs, but Highway 61 Revisited is less patchy, in spite of the presence of the lengthy ‘Desolation Row’. For the uninitiated, ‘From A Buick 6’, ‘It Takes A Lot To Laugh, It Takes A Train To Cry’, and ‘Queen Jane Approximately’ are gems waiting to be unearthed. Bob Dylan was emphatically laying down a marker that he was the leading spokesperson for the new generation that viewed the Establishment with disdain and suspicion. Dylan remained an enigma thereafter, allowing his constant flow of product to speak on his behalf. The quality of his output may have varied through time, but Dylan’s status as the main man of the 1960s’ music scene was cemented by this LP.

The album’s best song? Like A Rolling Stone

SPORT IN 1965

English Division One soccer champions: Manchester United

English FA Cup final: Liverpool 2 Leeds United 1

English League Cup winners: Chelsea

Scottish Division One soccer champions: Kilmarnock

Scottish FA Cup final: Glasgow Celtic 3 Dunfermline Athletic 2

Scottish League Cup winners: Glasgow Celtic

Irish League soccer champions: Derry City; Irish Cup winners: Coleraine

League Of Ireland soccer champions: Drumcondra; cup winners: Shamrock Rovers

European Cup final: Inter Milan 1 Benfica 0

European CupWinners’ Cup final: West Ham United 2 Munich 1860 0

European Fairs’ Cup final: Ferencvaros 1 Juventus 0

English county cricket champions: Worcestershire

Five Nations’ rugby union champions: Wales (triple crown)

Formula One world drivers’ champion: Jim Clark

Gaelic football All-Ireland champions: Galway; hurling champions: Tipperary

British Open golf champion: Peter Thomson

US Masters golf champion: Jack Nicklaus

US Open golf champion: Gary Player

USPGA golf champion: Dave Marr

Rugby league Challenge Cup final: Wigan 20 Hunslet 16

Wimbledon men’s singles tennis champion: Roy Emerson

Wimbledon ladies’ singles tennis champion: Margaret Smith

The Aintree Grand National steeplechase winner: Jay Trump

The Epsom Derby winner: Sea Bird II

The Ryder Cup: Great Britain & Ireland 12.5 USA 19.5

1965 songs from 'A Pop Revolution' by the invisible man

Oh Sam Bin Laden — Thu, 24 Nov 2011 10:41:20 GMT

1965 from 'A Pop Revolution' by the invisible man

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533

THE BEST 10 SONGS OF 1965?

Goldfinger by Shirley Bassey

The welsh songbird had previously reached the UK pop summit with the double-A- side ‘I Reach For The Stars’ and ‘Climb Ev’ry Mountain’. However, her singing career is best remembered for her association with the James Bond movie themes. The prime example is ‘Goldfinger’ which briefly invaded the US Top 10. This film is frequently cited as arguably the best 007 movie, and one could easily presume that Bassey’s outstanding vocals were the ideal curtain-raiser for the subsequent action.

In My Life by The Beatles

As the Beatles started to mature into performers of a more sophisticated pop, as exemplified on their ‘Rubber Soul’ album, so John Lennon himself penned a love song which was a far cry from the jolly, uptempo material of the Mersey sound. ‘In My Life’ is presumably a tribute to his first wife, Cynthia, but it is also a gentle, sentimental look back at the people and places who had shaped Lennon’s upbringing.

Make It Easy On Yourself by The Walker Brothers

They weren’t brothers, and none of them was actually called Walker, but this trio stepped forth to deliver vocal performances which found favour with the British record-buying public. Here, the guys were reminding a jilted lover that breaking up is so very hard to do. This wasn’t exactly a happy-go-lucky 45, but this melodrama nevertheless deservedly climbed to the top of the tree in the UK singles chart.

Mr. Tambourine Man by The Byrds

Session musicians were drafted in for this recording and only Jim McGuinn actually played his guitar on this memorable track. Even though the Byrds were merely relegated to harmonies on this smash hit, they were greatly encouraged by its favourable reception. Bob Dylan couldn’t complain either, as here was the first prominent occasion when others dipped into his repertoire and reaped the benefits. The Byrds would continue to do justice to a number of Dylan tunes.

My Generation by The Who

This became one of the great anthems for the emerging mods’ movement, as young folk turned onto Pete Townshend’s lyrics which correctly observed that there was a yawning generation gap between the mod upstarts and their war-hardened parents. This song is notable for Roger Daltrey’s deliberate stuttering and Keith Moon’s characteristically energetic drum sound. The disenfranchised youth may have been largely inarticulate, but here Townshend was acting as their spokesperson.

Stop! In The Name Of Love by The Supremes

The Supremes had a hugely successful 1965 as they cemented their position as the world’s best girl group. ‘Stop! In The Name Of Love’ ranks among their very best recordings and was one of five successive Number One singles on the Billboard Hot 100. Diana, Florence, and Mary had come a long way since their inner-city origins, and now they were the flagship act for Detroit’s highly influential Tamla Motown record company.

Tears by Ken Dodd

Ken Dodd was an unlikely chart-topper, but his tear-jerker was actually one of the biggest-selling singles in the UK in 1965. This year witnessed a number of sad songs which proved surprisingly popular with record-buyers, such as ‘Go Now’, ‘The Minute You’re Gone’, and ‘The Carnival Is Over’. However it was the toothy comedian Dodd who emerged with the most successful of them all. He was sufficiently tickled pink by ‘Tears’ to issue a follow-up entitled ‘The River’.

Unchained Melody by The Righteous Brothers

Bobby Hatfield and Bill Medley built upon the foundations of the outstanding ‘You’ve Lost That Lovin’ Feeling’ with an impressive attempt at the ‘fifties ballad ‘Unchained Melody’. The musical accompaniment was suitably tremendous as the ‘brothers’ found themselves back in the US Top 10. It took the UK a further quarter of a century to appreciate this item when it was belatedly rewarded with a British Number One.

Where Are You Now My Love by Jackie Trent

Cilla Black, Petula Clark, Sandie Shaw, and Dusty Springfield were all reminders that the hit parade was not just a playground for young males. However, perhaps the best British-made single in 1965 from a female artist was this offering. Jackie Trent is ably assisted by a piano as she pines for a lost love. More big-selling singles should have followed.

You’re So Good To Me by The Beach Boys

In the previous year, Brian Wilson quit touring to concentrate on composing and recording new material. This peculiar decision paid dividends as the Beach Boys’ leading songwriter started to branch out with tunes that were on a superior level to most of the other stuff floating on planet pop. ‘You’re So Good To Me’, a prime cut from the ‘Summer Days (And Summer Nights)’ album is one such shining example. Here again, the group’s harmonies excel themselves, inspired by the Four Freshmen. The Beach Boys were in some respects the prototype boy band.

Book extract from 'A Pop Revolution' by the invisible man

Oh Sam Bin Laden — Wed, 23 Nov 2011 13:14:11 GMT

Introduction to 'A Pop Revolution' by the invisible man

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533

The latter half of the 1960s represented a revolution both in popular music and also socially. As well as being a period of unabated Cold War tension, as demonstrated by the escalating conflict in Vietnam, and aside from the tremendous social upheaval characterised by the emergence of the permissive society, not to mention the economic instability exacerbated by the perpetual cycle of boom and bust, the late ‘sixties was an era that witnessed growing strife that spilled onto the streets and manifested itself in student protests and antiwar riots. There was moreover much upheaval in the world of ‘pop’ which found itself undergoing a number of transformations.

In the first instance, 1965 to 1969 saw the birth of the album as an art form of some substance, whereas before LPs were neither intended nor regarded to be of enduring appeal. Now, more and more performers were committing due care and attention in the pursuit of a long player which would attract positive reviews from critics and stand the test of time. Furthermore, whereas before musicians regarded themselves or were indeed viewed as merely entertainers, they now saw themselves and wished to be projected as artists and not just performers. They now felt that they had something meaningful to say and thus felt the need to commit their observations onto record as they made their very own ‘state of the nation’ musical statements. As well as stepping away from a previous stance of being apolitical or apathetic, the new generation of performers or artists regarded themselves as spokespersons for the youth and the standardbearers of the developing subculture in which adolescents and teenagers campaigned for the need to ‘make love, not war’. All of this was anathema of course to the older generation and in hindsight it all smacked of gross naivety, the youthful feeling that they could conquer a world of cynicism with their very own ideals of peace and love.

However, two major problems arose. First of all, when the forces of the Establishment feel threatened, they soon regroup and channel their energies to snuff out the potential insurrection. There have been many successful revolutions in world history, but what is rarely recorded is the fact there have been a great deal more that failed and were often mercilessly curtailed at their outset. Therefore, “if history has taught us anything” (to quote Michael Corleone) it is that the odds of confronting the established order and winning are rather slim, in spite of the spectaculars of 1776, 1789, or 1917. Therefore, it is easy with hindsight to see how the burgeoning youth subculture of the late sixties was doomed to failure. Was it a complete failure? No, there were many liberal social reforms such as equality for women and protecting the rights of minorities which eventually found their way into law. However, although a new generation of politicians such as Bill Clinton and Tony Blair owed their formative years to the influence of the sixties’ youth revolution, this same era still spawned a conservative reaction which culminated in the election and re-election of Nixon and Reagan in the USA and Mrs Thatcher in Britain. If the agents of change in the latter part of the ‘sixties were urging reform, well the electorate in their respective countries clearly had other ideas.

Also ominous to the successful prosecution of the hippie campaign for love and peace was the substantial amounts of illegal and dangerous substances which many of the protagonists experimented with. It is true that the great artists of this era owed some of their creativity to the stimulus of LSD and of marijuana, but such was the implosion of the flower power generation at the ill-fated Altamont festival in December 1969 that the naive optimism of Woodstock four months earlier was already but a pipedream. If you want to challenge the Establishment, it is best to do so with a clear head, and minds that were afflicted with all manner of substances was clearly not the way to do it.

Meanwhile back on planet pop, another transformation was taking place, alongside the emergence of the album as an art form. Now, the artists were promoting their new genre, known as rock, by means of relentless touring and festival appearances. Yes, the epoch from 1965 to the end of the decade witnessed the rise of the great outdoor festival as a new social gathering in which thousands would come into the sun (in theory) to pay homage to their new heroes. Speaking of heroes, this was the period which also gave birth to the guitar hero. No longer was a guitarist a smiling accomplice who lurked innocently in the background. Now guitarists were often viewed at least on a par with the lead vocalist. Eric Clapton, Jeff Beck, Peter Green, Jimi Hendrix, Pete Townshend, Jimmy Page, and Keith Richards were seven such axemen who were held in the kind of esteem that was previously reserved for singers only. Even drummers were not to be left behind. Ginger Baker, Keith Moon, Mitch Mitchell, and later John Bonham were celebrated drummers whose presence and histrionics on stage by itself would warrant sell-out crowds. This was clearly the age of the musician, as well as the era of the album. Rock music was clearly on a journey far from its origins. It would have been inconceivable a decade earlier that the crooners, balladeers, and skiffle merchants were igniting the runaway train of rock. Rock itself would branch out in due course into heavy metal, punk, and grunge. Other forms of music appeared for the first time during the metamorphosis in popular music of 1965 to 1969, most notably Britain’s importation of Jamaican ska and rock steady which between them paved the way for the growth of reggae in the 1970s.

Were the years from 1965 to the end of the decade a pop revolution? You bet your life, they were. Even artists and their streetwise managers belatedly started to flex their muscles after having had rings run around them by record companies and concert promoters. Rock musicians were slowly starting to wake up to the fact that music was a dog eat dog business and henceforth they were resolved to assert themselves in recording contracts too.

Robin Williams once quipped that “If you remember the ‘sixties, you weren’t there”. This assembly of facts, assessment, and assorted observations is both intended as a companion for those who were there and those who weren’t.

A brief synopsis of Part II of Into The Night

Ivy Scarborough — Fri, 22 Oct 2010 13:20:06 GMT

Part II

Part II of this work focuses on the key institutions and beliefs that form the superstructure of Western civilization. We will discern what they are and come to grips with their parallel decline and decay. We will see that the West’s destiny will be shaped neither by fate, science and technology, or Western man’s intellectual aptitudes, but will lie solely in the province of the human will and character.

We will see in this segment that Christianity forms the very superstructure of Western civilization – a powerful and all-encompassing influence which pervades not simply the religious, but every realm of Western human endeavor: science, technology, economics, government, law, philosophy, military strategy and training, education, and social relationships.

Christianity’s role as the great girders upon which an entire civilization was built means that its renunciation – in whole or in substantial part – will ultimately result in the collapse of the entire edifice.

Contrary to what secularists would blithely assume, the girders cannot be replaced, one by one, by the secularist philosophy and worldview, thereby gradually “reinforcing” the structure with what they regard as more sound supports. Were that attempted – and that process has been well underway for more than a century – all external appearances would, at least initially, remain unchanged. But at the first strong wind or geotectonic shift, visible cracks in the structure would begin. The physics of history dictate that the edifice must fall.

The wheel of history has made another near complete revolution. The fervency, nonconformity, and self-sacrifice of the Christian church of the 1st Century – which eventually made it the superstructure of the new and most powerful of all civilizations – have been dramatically dissipated in the geographic area of the West. With great but perhaps appropriately just irony the Western church has courted the culture and now faces rejection – nearly completely so in Europe and decidedly so in terms of influence in America.

The church’s assignation with the Western world’s power and wealth has brought it in a great circle – now closer to the catacombs than to the cathedral.

The great overarching Question which is rarely asked, and certainly never fully and deeply answered: Why, with all the advantages the Christian church enjoyed in 19th and 20th century Western civilization, is it now in this position? Was this inevitable? Was this decline beyond the church’s control?

I believe, and will strive to demonstrate, that the honest answer is no. The failure is the result of a decline and decay within the church itself which not only paralleled but nurtured the decline and decay of Western civilization as described in Part I. This decline and decay within the church is now so pervasive and insidious that most Western Christians – even the most sincere among them – don’t recognize many of its manifestations. Indeed, the polarities have in many ways been reversed: that which would have once been rightly perceived as secular and “worldly” has now been “baptized” as examples of spiritual “success”.