Making Cottage Cheese Out of the Air

You never know what’s going to turn up at a Goodwill Store. While running a few quick errands late yesterday morning I thought I’d stop by and check out the Goodwill store’s music bins, a weekly habit of mine (more or less) for the past several years, just to see if by chance anything interesting might have shown up since the last time I visited. While browsing through the vinyl records—an antiquated form of musical storage in this digital age, most always in terrible shape and not worth buying, even for the price of $1—I happened across a well-preserved copy of the soundtrack to the AIP release Hell’s Angels ’69 (Capitol Records) actually autographed on the front cover by Sonny Barger, at the time of the film head of the Oakland chapter of the Hell’s Angels and later a key player in the Rolling Stones’ infamous concert at Altamont Speedway in December 1969.

I’ve never seen Hell’s Angels ‘69, although I’ve read a few on-line reviews of Media Blasters’ 2004 DVD release of the film (none of which compelled me to purchase the DVD). Having listened, now, to the soundtrack (about 28 minutes or so in length), I’m still not inclined to see the film, although as a result of the inevitable process of mental association, I began thinking about so-called “biker music” and, consequently, the band Blue Cheer (initially formed by Bruce Stephens, Dickie Peterson, and Paul Whaley).

Certainly Blue Cheer--perhaps best known for its riotous metal version of Eddie Cochran’s “Summertime Blues,” a Top 20 hit in 1968--has to be considered the biker band, not necessarily because they played louder than everybody else (although the band’s volume is legendary), but because early on, at least, their manager was a Hell’s Angel nicknamed “Gut,” mentioned several times throughout Hunter S. Thompson’s book, Hell’s Angels (1966):

At that time [1965], Gut was not technically a Hell’s Angel. Several years earlier he had been one of the charter members of the Sacramento chapter—which like the Frisco chapter, began with a distinctly bohemian flavor. (127)

Thompson also notes that Gut had completed a year of junior college and “wanted to be a commercial artist.” Apparently he got the chance by hooking up with Blue Cheer sometime in 1967. He received co-credit for the artwork of Blue Cheer’s first album, Vincebus Eruptum (1968, pictured above), along with John Van Hamersveld (Van Hamersveld took the cover photograph, but the now famous cover design is Gut’s). Gut is also credited with the LP album cover design (not cover painting) for Blue Cheer’s second album, Outsideinside (1968), which opens into an “L” shape when fully unfolded. He is not explicitly connected with any album artwork on the third or subsequent albums, so I assume by that time his relationship with the band had ended. (The group itself subsequently disbanded around 1971, but re-formed in the late 1980s.) Gut is also credited with some producing some poster art in connection with Blue Cheer concerts as well.

Donald Clarke’s The Penguin Encyclopedia of Popular Music (Penguin paperback, 1990), contains a quotation by Gut that I’m compelled to reproduce here. Gut said of Blue Cheer: "They play so hard and heavy they make cottage cheese out of the air" (124). I take this as a psychedelicized form of compliment, but clearly Blue Cheer’s appeal was more than the fact that they simply played loud. Although the band members had hippie credentials--the band was supposedly named in homage to a form of LSD, plus they had long hair, bell bottoms, in short, all the appropriate attire--the association of Blue Cheer with “biker music” has to have its origins in that curious, improbable relationship the Hell's Angels had with the hippie counterculture. In his autobiography, Hell's Angel, Sonny Barger says that "The sixties were the best thing that ever happened to the Hell's Angels" (p. 130). The Hell's Angels liked hippies (in contrast to Berkeley radicals), he says, because it was understood that women were always to be the means of exchange: he claims that a hippie would let him screw his girlfriend in return for a ride on his motorcycle (130). Moreover, some members of the Hell's Angels, such as Gut, weaved their lives "into the hippie scene." Certainly both groups saw themselves in the broadest sense as rebels, and both groups saw themselves as unsuited to the demands of a conventional, middle-class life, and held deep disdain for genteel, bourgeoisie sexual morality. Interviewed in 2006, Dickie Peterson tends to confirm what Sonny Barger wrote in his autobiography:

Gut liked our band and came on as our manager. Now through Gut we played a lot of the earlier Hell's Angels parties, along with Big Brother and the Holding Company. There would be Angels coming over to our house, we always had plenty of chicks around and we were always in a party mode, and at the time that's basically what the Angels were. We didn't have a big affiliation with the club, we just knew some of these guys that were friends of Gut's and they would come over to the house and we would party around. These people were all very nice to us, they were the ones that first put me on a Harley. To me it was sort of a childhood dream come true, because when I was growing up in San Francisco sometimes I would cut school to get down to Frederick's street by two o'clock in the afternoon, because these guys would come roaring by on their way out to Playland by the ocean where they hung out at the funhouse. Me and my friends didn't want to miss this, and I wanted to grow up to be like that. So how this all tied in and how it all came together was always a mystery to me, but I'm glad it did. Gut, the Angel that was managing us then, he was a mentor to me.

But how did the music of a power trio serve as the common ground between these groups? Perhaps the lyrics of "Summertime Blues" provide a clue:

I'm gonna raise a fuss, I'm gonna raise a holler
About a-workin' all summer just to try to earn a dollar
Every time I call my baby, and ask to get a date
My boss says, "No dice son, you gotta work late"
Sometimes I wonder what I'm a gonna do
But there ain't no cure for the summertime blues

Well my mom and pop told me, "Son you gotta make some money"
If you want to use the car to go ridin' next Sunday
Well I didn't go to work, told the boss I was sick
"Well you can't use the car 'cause you didn't work a lick"
Sometimes I wonder what I'm a gonna do
But there ain't no cure for the summertime blues

In retrospect, these lyrics suggest a countercultural sensibility avant le lettre, a deep frustration with the prospect of a banal, middle-class existence. But what, precisely, was Blue Cheer's particular innovation? The band made this (by 1968) decade-old song sound new and contemporary; the band brought it "up to date," not simply by covering its lyrics but by altering its sound. The thunderous roar of a heavy metal guitar mimics not only the roar of a Harley-Davidson motorcycle with the exhaust mufflers removed; it also mimics the drone of the factory. It represents not the polished technique of a trained professional, but instead the rough playing of an inspired amateur: it is a blue collar, working class sound, one that is perceived by its listeners as authentic, "hard" as in "hard-working," but equally important, visceral. Regarding Gut's comment about Blue Cheer's sound making "cottage cheese out of the air," Peterson said:

At the time when we first started music was solely an audio sensation that you got with your ears. After standing in front our our amps and feeling the vibration from the speakers, we said, "Wait a minute. This is what people gotta feel, this is what they gotta experience, they gotta experience the air, the wind, the waves hitting them from these speakers. That's what they've gotta experience in order to really experience music." This is what prompted us to keep crankin' it up! That's why he used the term "they turn the air into cottage cheese." Because we would, we would make the air thick with the vibration of those cabinets to where it was quite a physical experience.

Which band took the same approach as Blue Cheer but had far greater success? Grand Funk Railroad. They were also loud, long-haired, sweaty, and shirtless, with a working-class sensibility (We're An American Band"). What happened to Grand Funk once they dropped their metal edge and became more "pop" sounding ("Some Kind of Wonderful")? They were dropped by their constituency, and didn't survive the 1970s, either.

Grease For Peace

Joe Sasfy, who created Time-Life’s 50-album, 1, 100 song, Rock 'n' Roll Era series some years ago, emailed me in connection with my March 13 blog entry, in which I discussed Art Laboe’s Oldies But Goodies series of compilation albums. I’m quite sure that Time-Life’s Rock 'n' Roll Era is the biggest and biggest-selling oldies series of all time.

Mr. Sasfy reports that Time-Life has just inked a deal with Art Laboe and will issue a new, 10-CD collection titled The Ultimate Oldies But Goodies Collection, to be sold primarily as an infomercial. The host of the infomercial will be Bowzer (Jon Bauman, pictured) of the group Sha Na Na. Readers are invited to review my earlier blog entry, in which I linked Art Laboe and the Mothers of Invention album Cruising With Ruben & the Jets (1968) to the formation of Sha Na Na in the late 60s, an “oldies” act that very early in its performing history appeared, somewhat improbably, at the Woodstock Festival (August 1969).

Like many people did, I first saw Sha Na Na in Warner Brother’s documentary of the Woodstock Festival, Woodstock (1970), performing "At the Hop." For some reason, although my parents primarily listened to swing music, they always seemed for some reason to have on Sha Na Na’s television variety show (1977-81) at the appropriate time--episodes of which, surprisingly, have never appeared on DVD. During those same years, in 1978, Sha Na Na appeared in the hugely successful motion picture version of the musical Grease, under the name of Johnny Casino and the Gamblers; their songs can be heard on that movie’s very popular soundtrack. The group still performs to this day.

Regarding the Ultimate Oldies But Goodies Collection, Mr. Sasfy says, “You might say that, as we teeter here at the edge of rock ‘n’ roll history, all the remaining players in the oldies 'game' have joined together for one last un-ironic nostalgia fest.” I have written Mr. Sasfy asking him to keep me posted regarding the availability of the forthcoming Ultimate Oldies But Goodies Collection; I will let you know as soon as I hear something.

In the meantime, to quote Bowzer's parting message that closed each Sha Na Na television show: “Grease for Peace!”

University of Nebraska at Kearney student Grant Campbell responded to an observation I made in my previous (April 9) blog entry, “Rock History and How It’s Made,” prompting me to expand on some comments I made in that post. In response to my previous entry, he made the following comment:

The technology aspect is most certainly a driving force behind the change in “style” of the era’s [the 1960s] music. However, wouldn't it be genealogical for a certain era’s musicians to find their own way of utilizing that technology? I know you aren't taking ALL the credit away from musicians and giving it to technology. But if technology is going to advance anyway, I still think that it is the artists who need to be primarily recognized for their creative genius.

I should add that he’s responding to an observation I made at the end of my post, that most histories of rock ‘n’ roll focus on influence understood rather narrowly as artistic influence, rather than on the influential role of technological innovation, an “invisible” factor driving popular musical change. While I was by no means trying to diminish the role of the musician, I should say that what is meant by “artistry” might well in fact mean, in part, how the musician exploits the potential of a new technology, meaning on that point I'm in agreement with Grant when he talks about a musician’s finding his “own way of utilizing” a specific technology. But I would add that technological changes continue to challenge and modify what we mean by "artist" in the first place.

Since I suspect there are many who share his thoughts (or rather, hesitations), perhaps I ought to provide some examples of what I meant by my earlier assertion about the role of technology in popular music in order to illustrate my general point (not an entirely original one, I might add):

--Frank Sinatra responded to the development of the LP (long-play) record by creating albums unified by a sense of mood or tone, e.g., In the Wee Small Hours (1955). With an entire side available consisting of roughly twenty minutes, he was no longer restricted by the limitations of one side of a 78, or roughly five minutes. The second side of The Beatles’ Abbey Road (1969) exploits the length of a side of the LP in a similar way. Remember that the word “album” used to refer to a heavy cardboard portfolio that consisted of several 78s tucked inside separate sleeves, not a single 12" LP record.

--In the 1960s, rock musicians responded to the potential of the LP by “stretching out” or “jamming”—the “jam session,” which sometimes took up the entire side of an LP. While I certainly don’t wish to get into a simple “chicken-or-egg” dialectical argument, one wonders whether the storage capacity of one side of an LP didn’t in fact prompt musicians to stretch out or jam in the first place. A case in point is a band such as the Grateful Dead, a band that made records attempting to duplicate the ambiance of their live concerts, a practice in flat contradiction to that of most bands at the time, which tried to make their concerts sound like their records.

--The development of multitrack recording, among other engineering innovations, enabled the development of psychedelic music, the aural equivalent of an hallucinogenic trip. As Jim DeRogatis observes:

Musicians couldn’t specifically reproduce any of these [hallucinogenic] sensations, but drug users also talked about a transfigured view of the everyday world and a sense that time was elastic. These feelings could be invoked—onstage [synaesthesia, the “psychedelic light show”] but even more effectively in the recording studio—with circular, mandala-like song structures; sustained or droning melodies; altered and effected instrumental sounds; reverb, echoes, and tape delays that created a sense of space, and layered mixes that rewarded repeated listening by revealing new and mysterious elements. (Turn On Your Mind, Hal Leonard Corporation, 2003, p. 12)

The “altered and effected” instrumental sounds to which DeRogatis refers are technically known as “non-linear synthesis,” meaning that the sound that goes in to a particular electronic device is not the sound that comes out—think, for example, of the use of the Leslie (see my earlier entry) or the ring modulator. In this sense, I suppose, the use of technology to approximate a drug trip is an example of the banal insight that technology follows the path of ideology.

--After a live concert, the Velvet Underground--the band which I specifically mentioned in my last post--frequently left the stage leaving their plugged-in guitars behind, thus enabling a self-sustaining feedback effect (the amplifiers would generate sound waves that in turn would vibrate the guitars' strings, thus creating a loopiness, or self-sustaining feedback). Jimi Hendrix often did the same thing, exploiting electronic technology’s potential to operate independent of any conscious (human) control. Lou Reed's later Metal Machine Music (1975) is an entire album consisting of self-sustained feedback, pushing the point of technology's ability to operate autonomously of human control to the extreme--see below.

--In a further development since the 1960s, digital sampling enables one to make a record by combining fragments of songs compiled entirely from previous recordings—yet another challenge to what is traditionally meant by the word artist. Certainly the Velvet Underground was—in the traditional sense of the word—influenced by Andy Warhol’s notion of the pop artist, since he was at the time the VU formed using found photographs for the making of prints. Remember that Warhol referred to his studio as the Factory, suggesting the potential for “art” to be a mass-produced item just like any other, or perhaps, no different than any other. Think of Duchamp's "Fountain," a urinal to which he applied the signature "R. Mutt" and placed in an art gallery.

The larger point, I think, is that the language we use to talk about popular music is itself problematic, for as the practice of digital sampling reveals, terms such as "artist" and "musician" no longer really function. The question we need to consider seriously is whether they were terms antiquated decades ago, when rapid changing technologies began to profoundly change popular music.

Rock History And How It's Made

Several blog entries ago I discussed Art Laboe's first Oldies But Goodies (1959) compilation, a collection of mid-50s doo wop and R&B consisting largely of L.A.-based groups such as The Penguins (“Earth Angel”) and The Medallions (“The Letter”). By issuing the Oldies But Goodies album in 1959, so I argued, Laboe was the first to historicize rock ‘n’ roll, to lend it the dignity and distinction of a “classic” or “golden” era, represented by the album title itself emblazoned in gold. While I think I was correct in that observation, in retrospect I don’t think at the time I wrote the entry I had fully considered all of the implications of my remarks. What I should have said in that earlier post is that the initial Oldies But Goodies collection serves to mark or distinguish the first from the second generation of rock ‘n’ rollers.

Although he’s writing about the idea of “nationhood” and the formation of modern nations, Benedict Anderson makes the trenchant observation in Imagined Communities that since it was impossible for the generation that came of age after the historic ruptures of 1776 (America) and 1789 (France) to recapture the spirit and inspiration that gave rise to these revolutionary moments, the following, or second, generation began “the process of reading nationalism genealogically—as the expression of an historic tradition of serial continuity” (1991 paperback ed., p. 195). The process of reading nationalism genealogically, as a process unfolding serially in time, gave rise to the study of history, history itself as a profession—the historian. Those who, for example, take upon themselves the duty of constructing The History of Rock ‘n’ Roll perform the same sort of activities as other historians, selecting representative figures, moments, and events from the past and then ascribing to them value and distinction in a larger pattern of meaning.

Take, for example, the claim widely attributed to Brian Eno, that although just a few thousand people bought the first album by the Velvet Underground, virtually every one who did so was inspired to start a band. While one might legitimately ask how he (or whomever actually uttered the remark) managed to acquire such information and to possess such grand, omnisicent knowledge, that’s really not the point. My point is that he’s taking on the role of the historian—like all historians, his role a self-appointed one—constructing a cause-and-effect narrative history of rock, giving it a genealogy and hence a tradition. In this case, he’s ascribing to the Velvet Underground a key or foundational moment in a larger, sequential narrative called the history of rock, asserting that those who came within earshot of that VU album were the inheritors—the torchbearers—of the spirit and innovation of the band (the proper names of the group normally would follow). By analogy, think of the genealogical style of Biblical chronicles: x begat y, y begat z, and so on.

He has every right to make remarks like that, of course, as Benedict Anderson points out, since those who come after, the second, third, and subsequent generations, have the right to speak for the dead--even when those on whose behalf they speak could have never understood themselves as such (198). (As Anderson points out, Michelet, the self-appointed historian of the French Revolution, claimed to speak for those who sacrificed themselves for the nation of France, insisting that he could speak on behalf of the dead, saying what they "really" meant and what they "really" wanted.) In the creation of a narrative in which the Velvet Underground serves as the grand ur-precursor to every subsequent avant-garde, experimental, glam rock, punk, post-punk, new wave, goth, and indie rock band to follow, the historian is actually speaking his own history, in actuality his own desire, articulating a faith, for he is really designating as a precursor a band whose members authored a future that they could have neither predicted nor fully comprehended.

Here’s the same general point, stated more poetically, by Gertrude Stein:

No one is ahead of his time, it is only that the particular variety of creating his time is the one that his contemporaries who are also creating their own time refuse to accept. And they refuse to accept it for a very simple reason and that is that they do not have to accept it for any reason. . . . Those who are creating the modern composition authentically are naturally only of importance when they are dead because by that time the modern composition having become past is classified and the description of it is classical. That is the reason why the creator of the new composition in the arts is an outlaw until he is a classic, there is hardly a moment in between and it is really too bad very much too bad naturally for the creator but also very much too bad for the enjoyer. . . . For a very long time everybody refuses and then almost without a pause almost everybody accepts. (“Composition as Explanation,” in Selected Writings of Gertrude Stein, ed. Carl Van Vechten (The Modern Library, 1962), 514-15.

Why is the construction of such genealogical histories so important to us? Because to claim that there is no rationally directed development is to open one to the realization, as Karl Popper observed in the 1940s, that history has no discernible meaning or pattern, that the future is radically contingent. His argument has never been answered because it is unanswerable (except by an appeal to faith, a belief in teleology). Popper claimed that the human future will be as it has always been, dominated by technological changes. The history of rock has been dominated by technological change; a book ought to be written exploring the role of technology rather than, as most all are, as genealogical influence. What would rock music be if not for the electric guitar? The programmable synthesizer? And way back when: how else would have Elvis burst onto the national spotlight if not for television?

Genealogical history has the virtue of connecting the present to a past that consequently becomes meaningful, and hence providing the semblance of continuity from one generation to the next. But as for the creation of rock histories, influence (however defined) is a faith, and hence undemonstrable.

Charlton Heston, 1923-2008

There is a story that Jean-Luc Godard, although he despised John Wayne’s politics, nonetheless burst into tears at the moment in The Searchers (1956) when the John Wayne character, Ethan Edwards, rather than killing his niece Debbie as we think he’s going to, sweeps the girl up in his arms and says to her, tenderly, “Let’s go home, Debbie.” Thus Godard understood early on something about the cinema that a filmmaker such as Michael Moore, apparently, never has: no amount of ideological demystification can diminish the sheer power of the movies—or movie stars, for that matter. In my undergraduate days at a major midwestern university, I remember standing in line to see Citizen Kane; there were several screenings that day, each of them with packed audiences. As the earlier crowd was leaving the theater so that we, the next audience, could take our seats, as he was leaving a spoilsport who’d just seen the film yelled out, loudly, so that all waiting to see the next screening of the movie might hear him, “Rosebud’s a sled!” But the joke was on him: did he really think that we were all waiting in line to see Citizen Kane merely in order to learn the final revelation of its grand enigma, as if that is what going to the movies is all about?

John Wayne became the biggest movie star of all time because he understood the fundamental principle about being a movie star: play yourself. Robert B. Ray writes:

Film stars, in fact, have always been less actors than personalities, paid to personify (rather than impersonate) a certain character type. As one film historian (Ronald L. Davis) has written, “Most of the old studio stars created a persona, and they acted that persona no matter what role they played. Audiences flocked to the theaters more to see their favorite stars than to watch realistic performances. . . . Most of the great Hollywood stars were almost pure personality, like Clark Gable, who didn’t much like acting.” (“The Riddle of Elvis-the-Actor,” 103-04)

Charlton Heston was a great Hollywood movie star because he was pure personality--he played himself. He can thank Cecil B. DeMille in large part for his magnificent career, for it was DeMille—who didn’t care two pins for so-called “realistic” acting, despite his claims to the contrary—who early on realized that Heston never would be effective at playing “slice-of-life” drama: his personality was too strong, his acting skills too rudimentary, to succeed at that sort of performance. Thus it was only appropriate that his star-making performance should have been in The Greatest Show on Earth (1952), a superb melodrama that’s really more like vaudeville than “slice-of-life.” As circus boss Brad, Heston commanded that heterogeneous group of circus performers by sheer force of his personality, not by patient, carefully reasoned argument. That movie was the proverbial harbinger of things to come: he played the same role for DeMille again, but under a different name, in The Ten Commandments (1956).

He won an Academy Award for his performance in the Biblical epic Ben-Hur--this time reprising his role from The Ten Commandments rather than The Greatest Show on Earth--and thus became a Big Star. But had Charlton Heston by chance died after making Ben-Hur, he would have become simply the answer to a trivia question: the actor who played Moses. Or perhaps the actor who appeared in one of Orson Welles' best later films, Touch of Evil (1958).

Although I now contradict the standard (sanctioned) career retrospective, his greatness as an actor lies in the films he made in the 1960s and 1970s, films such as El Cid (1961), Khartoum (1966), and Planet of the Apes (1968). It is the latter movie that placed Charlton Heston on that privileged Mount Rushmore of Hollywood stars inside my head--it has remained one of my Top 10 favorite movies for forty years. Planet of the Apes gave Charlton Heston one of the greatest moments--and greatest punch lines--in Hollywood history, and only Heston could have delivered that line addressed to a "damned dirty ape" with such memorable panache, a mixture of arrogance, contempt, loathing, recalcitrance, and seething hatred.

Moreover, after the triumph of Planet of the Apes, he performed in a series of apocalyptic films that I still find remarkable:

Beneath the Planet of the Apes (1970)
The Omega Man (1971)
Soylent Green (1973)

He dies the reluctant martyr in each one, going one step further than Brando, who often greatly physically suffered, but seldom died. It has been observed, correctly, that Marlon Brando brought to the movie screen an eroticized violence, in films such as On the Waterfront (1954), One-Eyed Jacks (1961), and The Chase (1966). I think Charlton Heston learned from these films, and like Brando began to take on roles in which he had to suffer great physical violence at the hands of his enemies: he suffered, but like Samson, took his enemies with him. I love his performance as the cynical, corrupt cop in Soylent Green: he's by turns slimy, nasty, thuggish, sentimental, and teary-eyed--and has to suffer a terrible beating by someone who's even more slimy, nasty, and thuggish, and corrupt than he is, Chuck Connors. And at the end of Soylent Green he gets to utter another famous line, but this time not yelled out with arrogance or hatred, but with revulsion and disgust mixed with resignation: "Soylent green is people."

And then, afterwards, with the films he made after that amazing stretch from 1968-1973, he was the movie star, always playing himself, as certain as gravity, his face as instantly recognizable as one's own. He would later appear on a couple episodes of Saturday Night Live, shows which I've seen in re-run; he genuinely seems to be enjoying himself, and having fun puncturing his own image. Always the actor, he couldn't turn down the limelight, accepting the controversial role as figurehead for the NRA--leader once again, defending the U. S. Bill of Rights as Moses defended the ten commandments. But unlike Michael Moore, his politics didn't much interest me. Counterculture figures such as Frank Zappa defended the Bill of Rights, too--remember the Grand Funk Railroad album Zappa produced, Good Singin' Good Playin' (1976), the album which contained the song, "Don't Let 'em Take Your Gun"?

Charlton Heston will forever remain one of my favorite Hollywood stars, one of the stars who in my lifetime conjured up the magic of the cinema, and drew me under its spell. He did so for a reason I hope he would take as a sincere compliment: by sheer force of his personality.

Trans

My friend Tim Lucas posted a comment in response to my previous entry, “His Master’s Voice,” containing a number of interesting ideas that prompted me to pursue yet another line of speculation regarding the meaning of the Moog synthesizer in sixties popular music. I'll admit to being especially intrigued by an observation made by Trevor Pinch and Frank Trocco in Analog Days: The Invention and Impact of the Moog Synthesizer (Harvard University Press, 2002), one which I cited in my earlier post:

The Moog was a machine that empowered . . . transformations. The [Moog] synthesizer . . . was not just another musical instrument; it was part of the sixties apparatus for transgression, transcendence, and transformation. (305)

In addition to the grouping of transgression, transcendence, and transformation, one could add any number of words containing the prefix trans: transmission, transistor, translation, transvestite, transferal—and transsexual. Pinch and Trocco speculate as to whether Walter Carlos’ transformation into Wendy Carlos--which roughly coincided with the time she began work on the hugely successful synthesizer album Switched-On Bach (1968)--occurred “around the time she was developing as a synthesist,” and whether the transformation “had anything to do with the Moog, and with synthesis itself” (137). Admittedly, as Pinch and Trocco themselves point out:

The question of gender and the synthesizer is a tricky one. Certainly electronic music technologies have traditionally been used for building masculine identities—the boys and their latest toys. But different sorts of masculinity can be involved in how men interact with technologies, and several women we interviewed for this book, notably Suzanne Ciani and Linda Fisher, have developed intense personal relationships with their synthesizers....If, as Judith Butler argues, gender identities have to be performed, a key prop in the performance of these synthesists is the machine with which they spent most of their hours interacting—the synthesizer. What we want to suggest with Wendy [Carlos] and her synthesizer is that it may have helped provide a means whereby she could escape the gender identity society had given her. Part of her new identity became bound up with the machine. (138)

While I’d like to pursue some implications of these speculations by Pinch and Trocco, I'll digress for a moment in order to point out how their speculations contribute to a theory about how we might possibly interpret a musician’s particular use of the synthesizer during live performance:

Keith Emerson (Emerson, Lake, and Palmer): genital prosthesis/phallic symbol
Rick Wakeman (Yes): genital prosthesis/phallic symbol (but more synths than Emerson, therefore his is “bigger”)
Allen Ravenstine (Pere Ubu): non-instrumentally, as noise, a child playing with a complicated toy, thus conforming perfectly with David Thomas’ odd stage persona as a prematurely large, chubby kid (Baby Huey)

In Wendy Carlos’ case, the use of the synthesizer to interpret a Baroque composer such as Bach is, of course, avant-garde in its impulse, but if one pauses to consider the synthesizer as a fetish object, her identification with the Moog, a machine whose operation rested upon its capacity to be re-wired--think of the endless plugging and unplugging of patch cables across a bewildering array of panels, as well as the tweaking of many dozens of knobs--in order to produce a different sound effect, is not an inappropriate object of identification for a transsexual, since gender is indeed in part a social performance--an effect. (Derrida on the fetish: “the projection operates in the choice rather than in the analysis of the model.”) In addition, engineers' coding of wire connections as "male" and "female" is highly suggestive as well.

Early Moog synthesizers had the capacity not only to produce “ethereal” or “unearthly” sounds but also the capacity to produce simulacra--not the sound of an actual harpsichord, for instance, but a pseudo-harpsichord--a “fake” or “trick” harpsichord. A simulacrum is like its model in every way, yet is unlike it because of an often intangible difference based on lack. For Wendy Carlos, the synthesizer is not a prosthesis for genital display (as are banks of synthesizers, or the electric guitar), but is homologous to a castrati, a castrated male who, dressed as a female, sang soprano parts in Italian opera. Although their high voices were the consequence of a physical cut, an alteration, castrati were nonetheless highly feted singers. (See Roland Barthes’ S/Z, a reading of Balzac’s “Sarrasine,” the story of a naïve French artist named Sarrasine who takes the requisite artistic pilgrimage to Rome. Ignorant of the fact that soprano parts are performed by castrati, Sarrasine falls in love with a soprano who goes by the name of La Zambinella, eventually to learn the devastating truth about the actual identity of his beloved and that his love is un-consummateable.)

How appropriate, then--and I remark upon this without irony or sarcasm—that Switched-On Bach was presented by “Trans-Electronic Music Productions.” It is also interesting to note that, as revealed by Pinch and Trocco's interview with Bernie Krause, the eccentric Paul Beaver--an early synthesist pioneer who died prematurely in 1975, and whose career has been largely overlooked in favor of Wendy Carlos' career--was bisexual, yet another provocative association with the Moog synthesizer, and those drawn to its mystery and singularity.

His Master's Voice

Although colloquially referred to as a “Leslie”, the Leslie Rotating Speaker System is actually a sound modification (deformation) device, not a standard speaker as such, in the sense of being an amplification and reproduction mechanism, one so accurate and so realistic in its sound that the reproduction could fool one’s faithful dog. The mythic origin of the relationship between the master, the master’s voice, and the faithful dog is ancient: it can be traced back to Homer’s Odyssey, with the relationship between Odysseus and his elderly dog, Argos. If you’ll remember, Odysseus has been gone from Ithaca for twenty years, and when he finally returns, he’s disguised as a beggar. Having landed back home after such a long absence, when Odysseus eventually speaks, even after all those long years, Argos, his old, dying dog—so miserably old that the only way the beast can stay warm is lay on a composting manure pile—instantly lifts up his head in excitement, having recognized his master’s voice. The presence of his master’s voice, of course, means to the dog that his master has finally returned. Thus Nipper, the name of the dog used as a model in the painting that eventually became RCA’s logo, is really misnamed. In honor of that miserably old dog that waited twenty years just to hear--once more before he died--his master’s voice, RCA’s mascot should be re-christened Argos.

The Leslie did not originate as a speaker the purpose of which was to reproduce “his master’s voice.” Although invented in the 1940s to augment the sound of the Hammond organ, in the 1960s the Leslie--named after its inventor, Donald J. Leslie (1911-2004)--began to be put to use by rock bands in an unexpected way. Michael Jarrett writes:

The overlapping waveforms produced by the Leslie’s two speakers—not unlike the effect derived by yelling into an electric fan—generate a sonic moiré pattern (a Doppler effect): the tremulant sound associated with Hammond organs. But other instruments have also been played through Leslie cabinets....To the psychedelic mind, the Leslie and LSD were homologous; both altered everyday perception. (140)

The lead guitar part on The Beach Boys’ “Pet Sounds” was modified by a Leslie, while on “In-A-Gadda-Da-Vida” it was Ron Bushy’s drums. The Beatles’ vocals were modified by a Leslie on “Tomorrow Never Knows” (among others), as was Ozzy Osbourne’s on Black Sabbath’s “Planet Caravan.”

A Few Representative Recordings Featuring the Leslie:

The Beach Boys, “Pet Sounds,” Pet Sounds (1966)
The Beatles, “Tomorrow Never Knows,” Revolver (1966)
Procol Harum, “A Whiter Shade of Pale,” Procol Harum (1967)
Steppenwolf, “Born to be Wild,” Steppenwolf (1968)
The Band, “Tears of Rage,” Music from Big Pink (1968)
Iron Butterfly, “In-A-Gadda-Da-Vida,” In-A-Gadda-Da-Vida (1968)
Black Sabbath, “Planet Caravan,” Paranoid (1970)

The Leslie was to LSD what the Moog synthesizer was to interstellar space travel. If the Leslie was light-hearted and benign, the Moog synthesizer was dark and forboding: the Leslie was incapable of creating the sinister drone of the Moog. However, both machines reveal that for sixties rock bands, sound made all the difference. According to Trevor Pinch and Frank Trocco, in Analog Days: The Invention and Impact of the Moog Synthesizer (Harvard University Press, 2002), Donald Cammell and Nic Roeg’s Performance (filmed 1968, released 1970) “is the only movie we know of where the Moog synthesizer [a Moog Series III] itself makes a cameo appearance.” (Brian De Palma’s Phantom of the Paradise [1974] featured the synthesizer TONTO, but not its sounds. Jon Weiss actually set up a patch for Mick Jagger on the Performance set.) Pinch and Trocco write:

In a key scene . . . Turner [Mick Jagger] for a moment is the mad captain at the controls of spaceship Moog. The Moog and its sounds are the perfect prop, part of the psychedelic paraphernalia, the magical means to transmigrate a fading rock star into something else. The Moog was a machine that empowered such transformations. The synthesizer for a short while in the sixties was not just another musical instrument; it was part of the sixties apparatus for transgression, transcendence, and transformation. No wonder the sixties rock stars loved their Moogs. (305)

The synthesizer’s key place in sixties rock began in June 1967. Paul Beaver and Bernie Krause (the recording duo of Beaver & Krause) set up a booth on the Monterey fairground as part of the Monterey International Pop Festival in June 1967 in order to promote, and perhaps even sell, the Moog synthesizer. They actually sold several. According to Pinch and Trocco, “Monterey was the place where the subculture became mainstream” (117).

A Few Representative Recordings Featuring the Moog Synthesizer:

Mort Garson and Bernie Krause, The Zodiac Cosmic Sounds (1967)
Johnny Mandel, Point Blank (1967) (Film Score Monthly, 2002)
The Doors, Strange Days (1967)
Paul Beaver and Bernie Krause, The Nonesuch Guide to Electronic Music (1968)
The Byrds, The Notorious Byrd Brothers (1968)
Walter [Wendy] Carlos, Switched-On Bach (1968)
Emerson, Lake, and Palmer, Emerson, Lake, and Palmer (1971)

Critical Overcomprehension

In his witty and insightful book, Adventures in the Screen Trade (1983) William Goldman, a highly successful screenwriter (Butch Cassidy and the Sundance Kid) but also a wry critic of Hollywood, observes that a Hollywood studio head is very much like the manager of a baseball team: each and every day he wakes up knowing that sooner or later he is going to be fired.

No doubt the vast majority of today’s critics--of the theater, movies, music, contemporary fine arts--wake up each morning in a similarly precarious position, not necessarily thinking they will be fired from their privileged critical occupation, but that most certainly and with a creeping, unavoidable inevitability--like the day of their death--they will be wrong. What is a critic’s deepest fear? To have erred in judgment, to have made the wrong call, in short, to have missed the boat.

No music critic wants to miss the boat--to have critically underestimated, or what’s worse, to have dismissed the next Velvet Underground, for instance--so in order to avoid making such an unwitting mistake, the critic engages in what Robert Ray, employing a term coined by Max Ernst, calls overcomprehension (How a Film Theory Got Lost, Indiana University Press, 2001, p. 82). Ray writes:

Aware of previous mistakes, reviewers become increasingly afraid to condemn anything....Hence ... [one] ... of modern criticism’s ... great dangers, what Max Ernst called “overcomprehension” or “the waning of indignation”.... (82)

No critic, of course, can see beyond the curtain of time. Time is the ultimate critic, and the critic’s limited perspective doesn’t allow him to see beyond his own pitifully narrow moment in history. Critical overcomprehension--the act of giving every new record an equally glowing reception--is a result of the critic’s deep fear of being judged by history as wrong. No one wants to be, for instance, television critic Jack Gould, who reviewed the Milton Berle Show appearance of Elvis Presley for the New York Times in 1956:

Mr. Presley has no discernible singing ability. His specialty is rhythm songs which he renders in an undistinguished whine; his phrasing, if it can be called that, consists of the stereotyped variations that go with a beginner's aria in a bathtub. For the ear, he is an unutterable bore, not nearly so talented as Frank Sinatra back in the latter's rather hysterical days at the Paramount Theater. (qtd. in Robert Ray, 80)

Of course, as Ray points out, Gould’s kind of critical error had its own unintended consequences: such gross critical mistakes, Ray argues, led to “rejection and incomprehensibility as promises of ultimate value” (82). In other words, if an album sold poorly, or the artist who recorded it was given scant attention--or worse, completely neglected in his time, the record must therefore be great, perhaps even a masterpiece.

I suppose we all have adopted our favorite neglected artist, the artist whose critical neglect or, if you will, martyrdom, ironically, is the sign of greatness, of ultimate value. In my own music collection, this sort of artist is represented by, among others, Tim Buckley and Phil Ochs.

But I’m wondering, what do we do with the opposite case, the artist who is the critical establishment’s darling and whose records we therefore own, but never play? (Perhaps I'm a heretic, but I find myself playing only certain selections of Trout Mask Replica, not the entire disc.) The presence of both sorts of records, side by side in our music collections, reveals the persistent problem of what Robert Ray calls the Gap, the problem of assimilation, the failure of a new or unusual artistic style to be made intelligible to the public. Although rock 'n' roll is now over fifty years old, we still find ourselves struggling to fully comprehend its challenges and complexities, rather like a person who has difficulty reading or understanding the lines indicating contours and elevations on a topographic map.

DIDs and the Principle of Parsimony

Last night my fellow Video Watchdog kennel member Kim Newman left a comment on my “DIDs” entry (DIDs=Desert Island Discs) that I found so interesting I was prompted to share it:

I assume you know this, but sometimes bits of British pop culture are surprisingly obscure outside the UK. The term “Desert Island Discs” comes from a long-running BBC Radio 4 program--it started in 1942, and is running [!]--in which a celebrity selects the eight records they’d take to a desert island (along with one book and one “luxury”) and is interviewed about their life, work and how they’d survive in this situation. It’s such a simple format that it’s lasted forever in broadcasting terms (its creator, Roy Plomley, was the host until 1985, and only three other presenters have succeeded him). I’d be surprised if it hadn't been done in other countries.

I very much appreciate Kim taking the time to post this information, because in fact I did not know the origin of the practice of selecting Desert Island Discs. In the U.S., most lists default to a “Top 10,” so I’d always assumed a DIDs list consisted of ten albums. But, as Kim points out, the original practice was to select eight records, one book, and one “luxury.” As Tim Lucas pointed out in his comment on the DIDs entry, there are books on the subject of DIDs (the one I know about being Greil Marcus’s), but I’ll admit having never read any of them (see Tim's comment for a discussion). As I mentioned in my earlier blog entry, I find most DIDs lists uninteresting: either they consist of a recitation of the same old titles, or they are so willfully obscure as to be intellectually impenetrable.

The fact that the practice of selecting DIDs originated in England during wartime--that is, during a time of shortages, of scarcity, of rationing (frugality mandated by the government)--in short, a time of widespread lack of the necessities and comforts of life requiring of all civilians the necessity of sacrifice--is quite revealing, really, for in my initial post I’d connected the practice of DIDs to the Principle of Parsimony, an unstated linkage I’m now convinced, thanks to Kim’s post, is correct.

The Principle of Parsimony (parsimony generally being defined as excessive frugality or stinginess, especially with regard to money) is sometimes called “Occam’s Razor” after its putative originator, William of Occam (pictured above). His specific purpose was to formulate the rules of logic that would minimize the proliferation of causal and/or explanatory hypotheses--in colloquial terms, "the simplest explanation is most often the best," or in its laconic, Dragnet formulation, "just the facts, m'am." However, the Principle of Parsimony became more popularly formulated as, “entities should not be multiplied beyond necessity,” a utilitarian principle that not only justifies stinginess (“parsimoniousness,” sometimes referred to as “miserliness”--the Scrooge syndrome) or excessive frugality but forms the basis--seriously--of the Puritanical injunction against recreational sex: recreational sex violates the Principle of Parsimony. In strictly utilitarian terms, you have sexual intercourse when you intend to procreate--period. Parsimony, like the Reality Principle, strives to restrict or inhibit the various expressions of pleasure.

The adage, “entities should not be multiplied beyond necessity,” is just about as good a Puritanical justification as one could find for the practice of compiling DIDs lists. However, if the Principle of Parsimony is the Puritanical underpinning of DIDs lists, the actual mental activity that dictates the selection of the list itself is perversity (resistance, obstinacy). In other words, when faced with the choice of having something or nothing (even if that something is “just a little,” i.e., the Reality Principle), desire chooses something: perversely--out of necessity--it selects a single object of pleasure out of a vast number of possibilities: the rarified, fetishized object--one DID out of a possible 8 or 10 (the total set). Each element of the set is like a game piece one must select before the game starts, the game being how to negotiate the operation of pleasure with a highly restricted economy premised on lack.

There’s a Warner Brothers cartoon (I think) that expresses this mental operation of lack determining desire in a wonderfully concrete form. If my memory serves, the scene depicts a weak, starving, sad-eyed character (a dog?) placing a lone, small bean in the center of an immense plate. With his napkin, knife and fork on his left, he very carefully salts and peppers the single bean. He then ceremonially ties on a bib and raises his knife and fork over the bean . . . and then oh so delicately, with tender, loving care, cuts the bean in half, raising the parsimonious morsel to his mouth and begins to chew it, savoring its delicate, subtle flavors.

Can someone leave a comment with the name of that cartoon? If I happen to have it, I'll try to post a frame grab on a future blog entry.

The Ideas They Kept A-Rollin’

This morning I was pleased to discover that the number of hits on my blogspot had taken a noticeable spike, I suspect in part because of the stimulating exchange (stimulating to me, anyway) Tim Lucas and I have had the past couple of days regarding the relationship between psychedelia and bubblegum music. I invite all my blogspot visitors to read his comments, available through the comments link at the end of my “Bubblegum Breakthrough (Slight Return)” entry. (His initial comment, that prompted the subsequent discussion, is available at the end of the previous day’s entry.)

I am especially gratified by the number of visitors because I think he and I have, in the space of about 48 hours, generated more ideas about how to read (as in interpret) popular music than one can find on websites specifically dedicated to the task of reviewing albums. It’s true that we have been focused on a rather narrow slice of popular music history--admittedly, a slice that is perhaps not interesting to all readers. But what I’ve found so stimulating (as I think Tim has) is not so much our individual valuations of the individual albums or songs--disagreement is a healthy thing, not a “bad” thing, because it promotes further discussion that usually translates into knowledge--but the various methods we’ve employed to make the music meaningful in the first place. After all, popular music doesn’t “mean” anything at all—doesn’t gain any adherents--until it conforms to certain trends and ideas that make it valuable to listeners.

Perhaps the point is best expressed by James Lincoln Collier, in Jazz: The American Theme Song (Oxford University Press, 1993), a critic whose knowledge about jazz is encyclopedic in its breadth. Although he is writing about how jazz music came to represent the new modern spirit of America in the 1920s (“Modernism”), his point is applicable to the way all popular music is ascribed meaning and value:

The point is that a particular style or form in art gains adherents not simply from purely aesthetic considerations, but also from how well it appears to agree with fashionable social, philosophic, or even political considerations . . . . (p. 9)

It was Collier’s insight that formed the basis of my initial assertion, that psychedelia is the aural equivalent of a hallucinogenic drug trip: the particular “sound” that became known as psychedelia meant nothing until it was ascribed a certain analogical meaning.

I think exchanges of the sort Tim and I have the past couple of days are rare in the sense that they happen because the individual participants coincidentally have the time to dedicate to such pursuits. (He’s trying to assemble the latest issue of Video Watchdog while I’m trying to provide him with the material to do just that.) Although Tim has been writing on the cinema since he was a teenager, and I’ve been writing for Video Watchdog for the past 11 years, both of us have keen interest in popular music and it has always been a pleasure for me to share ideas and views about music with him. I don’t think our mutual love of movies and music should be surprising to those who know us primarily through Video Watchdog, as we’re both extremely interested in what in the most general terms is called the “entertainment industry,” the way it has formed our identities and contributed to the life of our individual imaginations. We’re also interested in it because we’re both striving to understand ourselves as individuals whose identities were formed during a particular historical moment when the cultural influence of the entertainment industry had finally achieved the cultural dominance that we now accept as a given, like a fact of nature.

In short, we take popular music very seriously. Last year he and I both submitted proposals to Contiuum’s 33 1/3 series, only to have our proposals rejected by the editor. The manuscript for his book, on Jefferson Airplane’s Crown of Creation, has been completed for a year now if not longer; my manuscript, on Wall of Voodoo’s Call of the West, is perhaps half completed, as I stopped working on it once I received the rejection notice (an email). Both of us obviously were disappointed by the outcome, as we’d each completed a considerable amount of original research, and a number of original interviews. In my case, I had the complete cooperation and total support of the defunct band’s leader, Stan Ridgway, who is still active touring and making albums. If anyone knows of a potential publisher for these books, please let Tim or me know.

Bubblegum Breakthrough (Slight Return)

Last night my friend Tim Lucas took the time to post comments to my recent entries, “Bubblegum Breakthrough” and “DIDs,” a gesture that I very much appreciate--one hopes that one’s blog entries are taken seriously by somebody. While I’d like to respond at length to the many ideas in both of his posts, for the moment I’ll confine my remarks to Tim’s remarks on my most recent entry, “Bubblegum Breakthrough,” simply because it’s the most recent.

Having mentioned the co-songwriters of “The Rain, the Park & Other Things”--Artie Kornfeld (pictured, at the Woodstock festival) and Steve Duboff--he was right to remind readers that I’d overlooked the fact that Artie Kornfeld was one of the co-producers of the 1969 Woodstock Festival. Those interested might want to visit his webpage, where one can find biographical information as well as behind-the-scenes information on the complexities of staging the famous music and arts festival. (Alternatively, a brief bio of Kornfeld is available here.)

Tim makes an intriguing link between “The Rain, the Park & Other Things” and the heavy rains that festival-goers had to endure while at Woodstock:

No wonder he [Kornfeld] . . . looks so blissed out while standing onstage and rapping to the ABC newsman about all the people sitting in the rain in the Woodstock movie. His rap is the one Charlton Heston has memorized in The Omega Man.

Having read Tim’s comment, it occurred to me that one could think of “The Rain, the Park & Other Things” as a sort of virtual rehearsal for the Woodstock festival itself, as if Kornfeld had, in some half-formed or perhaps unconscious way, the idea for the Woodstock festival in his head when he wrote the song years before, thus making the lyrical content an example of what rhetoricians call prolepsis—speaking of something that has not yet happened as if it already has happened. One wonders if Kornfeld being “blissed out” during the interview isn’t, in part, his own bewildered reaction to the literal realization that “The Rain, the Park & Other Things” was, remarkably, unfolding before him.

In response to my assertion that "The Rain, the Park, & Other Things" was bubblegum music, Tim responded:

The Cowsills may have been a bubblegum act by definition, but I would personally categorize their performance of this song as psychedelia. There is no insincerity or irony in the vocals, for one thing, and the instrumentation has a wonderfully iridescent quality. Wholesome yes, but psychedelic nonetheless--like a black light poster or a strawberry scented candle.

In response, I would say that a fundamental problem--and what makes writing about this sort of music difficult--is that the categories of “bubblegum” and “psychedelia” are ill-defined concepts: they have “fuzzy boundaries” (no pun intended). As an old philosophy professor of mine once warned me: avoid creating false dichotomies between ill-defined concepts. The problem is this: is psychedelia defined by instrumentation, that is, by sound, or by lyrical content, or, as Tim suggests, by a certain rhetorical posture toward the subject matter? (Irony being a defining feature of bubblegum as I understand his argument.)

I agree with him in his characterization of the song’s instrumentation (sound being essential to psychedelic music), and I also think he’s correct in his observation that there’s no “insincerity or irony in the vocals.” But we disagree over the issue of irony: actually, I would take the opposite position, and say that it is psychedelia that is defined by irony, not bubblegum, the latter music being the one characterized by a certain naïvete and lack of irony--an absence of self-consciousness. In order to illustrate my point, juxtapose “The Rain, the Park, & Other Things” with, say, the Rolling Stones’ “2000 Light Years From Home”--a song which, historically speaking, has the virtue of being released almost exactly at the same time as “The Rain, the Park, & Other Things.” Which song seems more obviously psychedelic? To me, it is “2000 Light Years From Home,” certainly the more irony-laden and self-conscious of the two. What’s more, the lyrics are more “surreal” as opposed to those of “The Rain, the Park…,” which form a more coherent narrative, even if the narrator can’t decide if the event really happened or was a dream. In contrast, psychedelic lyrics are often highly fragmented, repetitive, and, as I mentioned earlier, surrealistic. As an example, think of the Stones’ “She’s a Rainbow”:

Have you seen her all in gold?
Like a queen in days of old
She shoots colors all around
Like a sunset going down
Have you seen a lady fairer?

She comes in colors everywhere;
She combs her hair
She's like a rainbow
Coming, colors in the air
Oh, everywhere
She comes in colors

She’s like a rainbow
Coming, colors in the air
Oh, everywhere
She comes in colors

I see psychedelic music as the aural equivalent of an hallucinogenic drug trip--“She’s a Rainbow” being the Stones’ answer to “Lucy in the Sky with Diamonds”--while bubblegum is the aural equivalent of non-alcoholic beer (or, alternatively, psychedelic music played by a band that doesn't inhale).

I think the Cowsills’ (cleaned-up) cover of “Hair” also works as wholesome psychedelia--listen to the sound effects during the “It can get caught in the trees” stanza--but “Indian Lake” is unabashed bubblegum.

Yes, and yes--although I was never a fan of the musical Hair nor the Cowsills (which doesn’t mean, incidentally, that just because I wasn’t “for” them meant I was “against” them). “Indian Lake” is on The Best of the Cowsills, but when I play that CD I usually press the “skip” button when “Indian Lake” cues up. To be honest, the only Cowsills record to which I really ever gave a listen was The Cowsills In Concert (which included “Hair” live), an album that a friend insisted I borrow, along with the first Vanilla Fudge album. I have to say that at the time, for some now long-forgotten reason, my tastes gravitated toward Vanilla Fudge, although the last time I listened to their first album (on CD), probably a year or so ago, I found it extraordinarily dull and turgid. Some critic once remarked about the work of the novelist Henry James, “He chewed rather more than he bit off,” a remark that is an apt description of the first Vanilla Fudge album. I probably thought at the time that it was “psychedelic,” but now I think it is just “pulverizedelic,” a plodding, Hammond organ-heavy album that is utterly devoid of any humor or imagination. You can’t imagine how many local bands at the time tried to copy its sound, bands that played so many high school proms I don’t even wish to think about it. In contrast, and to its credit, The Cowsills in Concert is, now, what it was, then--completely innocuous and benign.

Looking back at my previous post, I see that the fundamental issues became even more complicated when I suggested that "Power Pop" developed out of "bubblegum." Anyone wish to chime in on (for example), the relation between . . . the Cowsills and . . . Big Star?

1967: Bubblegum Breakthrough

It is no accident that virtually every album considered among the greatest in rock history is not a live album but made in the studio. To name some obvious examples, think of Elvis Presley's first LP for RCA (1956), The Beatles' Sgt. Pepper’s Lonely Hearts Club Band (1967) and Pink Floyd's Dark Side of the Moon (1973)--all products of improvements in studio recording and engineering technology. Moreover, in the case of Dark Side of the Moon, developments in electronic music and the invention of the Moog synthesizer both contributed to its success and its achievement. Because of developments in electronic music and recording methods, by 1967 popular music had begun to provide an aural, electronic equivalent to the hallucinogenic drug experience, known as “psychedelic rock” or simply “psychedelia.”

What came to be referred to, pejoratively, as Bubblegum Music emerged from, and was a response to, psychedelia. The acknowledged masters of this form of pop music were Jerry Kasenetz and Jeff Katz (known as Super K Productions), who were to Bubblegum music what Alan Parsons was to psychedelic rock. Under the banner of Super K Productions, Kasenetz-Katz were responsible for hits such as “Simon Says” by The 1910 Fruitgum Company and “Yummy, Yummy, Yummy” by the Ohio Express, both released in 1968.

In my mind, though, Bubblegum’s first big hit was recorded by The Cowsills, who, as everyone knows, became the model for the musical family depicted in the TV show The Partridge Family (1970-74). The hit, released late in 1967, was titled “The Rain, The Park & Other Things.” It was written by Artie Kornfeld and Steve Duboff, who’d also written the hit “The Pied Piper” for Crispian St. Peters.

I saw her sitting in the rain, raindrops falling on her
She didn't seem to care, she sat there and smiled at me
Then I knew (I knew, I knew, I knew) she could make me happy (happy, happy!)
Flowers in her hair, flowers everywhere!
I love the flower girl! Oh, I don't know just why, she simply caught my eye
I love the flower girl! She seemed so sweet and kind, she crept into my mind
I knew I had to say hello
She smiled up at me, and she took my hand and we walked through the park alone
And I knew (I knew, I knew, I knew) she had made me happy (happy, happy!)
Flowers in her hair, flowers everywhere!
I love the flower girl! Oh, I don't know just why, she simply caught my eye
I love the flower girl! She seemed so sweet and kind, she crept into my mind
Suddenly the sun broke through (see the sun)
I turned around she was gone (where did she go?)
And all I had left was one little flower in my hand
But I knew (I knew, I knew, I knew) she had made me happy (happy, happy!)
Flowers in her hair, flowers everywhere!
I love the flower girl! Was she reality or just a dream to me?
I love the flower girl! Her love showed me the way to find a sunny day

Betraying Bubblegum’s psychedelic origins, the singer is unsure whether he’s just experienced something real or an hallucination. “The Rain, The Park & Other Things” can also be understood as a benign version of The Association’s “Along Comes Mary” with its supposedly cloaked drug reference (“Mary,” so the story goes, is short for “Mary Jane,” one of the many coded names for marijuana).

Although providing similar titillations as rock but for a younger, teenage set, Bubblegum was psychedelic music deprived of its substance. It was psychedelia with the malignant property removed, the 1960s equivalent of today’s decaffeinated coffee, fat free cream, beer without alcohol, sugarless soda pop. It was The Monkees rather than The Beatles, “I Think We’re Alone Now” rather than “Let’s Spend the Night Together,” “Crimson and Clover” as the good (drug) trip rather than the bad one of “2000 Light Years From Home.”

Bubblegum’s novel flavor dissipated fast, and by the early 1970s it was gone, supplanted by what’s since become known as “Power Pop”—think of The Raspberries’ “Go All the Way” instead of Tommy James’ “Hanky Panky.”