Saturday, March 7, 2026

Never a Dull Moment 1971, The Year That Rock Exploded

 


A rollicking look at 1971, rock’s golden year, the year that saw the release of the indelible recordings of Led Zeppelin, David Bowie, the Who, Rod Stewart, Carole King, the Rolling Stones, and others and produced more classics than any other year in rock history

The Sixties ended a year late. On New Year’s Eve 1970 Paul McCartney instructed his lawyers to issue the writ at the High Court in London that effectively ended the Beatles. You might say this was the last day of the pop era.

1971 started the following day and with it the rock era. The new releases of that hectic year―Don McLean’s “American Pie,” Sly Stone’s “Family Affair,” Marvin Gaye’s “What’s Going On,” Joni Mitchell’s “Blue,” Led Zeppelin’s “Stairway To Heaven,” the Who’s “Baba O’Riley,” and many others―are the standards of today.

David Hepworth was twenty-one in 1971, and has been writing and broadcasting about music ever since. In this entertaining and provocative book, he argues that 1971 saw an unrepeatable surge of musical creativity, technological innovation, naked ambition and outrageous good fortune that combined to produce music that still crackles with relevance today. There’s a story behind every note of that music. From the electric blue fur coat David Bowie wore when he first arrived in America in February to Bianca’s neckline when she married Mick Jagger in Saint-Tropez in May, from the death of Jim Morrison in Paris in July to the reemergence of Bob Dylan at Madison Square Garden in August, from the soft launch of Carole King’s
Tapestry in California in February to the sensational arrival of Led Zeppelin’s “Stairway To Heaven” in London in November, Hepworth’s forensic sweep takes in all the people, places and events that helped make 1971 rock’s unrepeatable year.

 

 

 

 






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Thursday, March 5, 2026

Ike Quebec • With A Song In My Heart

 



A jazz album by tenor saxophonist Ike Quebec compiled around material from his later Blue Note sessions.  

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Un álbum de jazz del saxofonista tenor Ike Quebec compilado en torno a material de sus últimas sesiones de Blue Note. 


Herbie Mann • London Underground



During the 1960s and '70s, Herbie Mann continually searched for new playing contexts in which to place his flute.  In December 1973, he traveled to London for five days of recording with a group of British rock musicians.  The result was London Underground, an album tilted much more in a rock direction than the soul and R&B-drenched recordings he had been making for the previous five years.  Highlights on this album include the Rolling Stones' "Bitch" ( then-Stone Mick Taylor played guitar on this album ), Thunderclap Newman's "Something in the Air," and "Paper Sun," from the Traffic canon.  The real highlight, however, came about with the addition of Stephane Grappelli on the Donovan pop hit "Mellow Yellow."  With guitarist Albert Lee adopting a Django Reinhardt stance, the cut is reminiscent of the old Hot Club of France recordings in the '30s.  There are a couple of clunkers here ( "Layla" doesn't work ), but for fans of late-'60s/early-'70s rock, not a bad ride. - AMG

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Durante las décadas de 1960 y 1970, Herbie Mann buscó continuamente nuevos contextos de interpretación en los que colocar su flauta.  En diciembre de 1973, viajó a Londres para grabar durante cinco días con un grupo de músicos de rock británicos.  El resultado fue London Underground, un álbum que se inclinaba mucho más en una dirección de rock que las grabaciones de soul y R&B que había estado haciendo durante los cinco años anteriores.  Entre los aspectos más destacados de este álbum se encuentran "Bitch" de los Rolling Stones (en este álbum el entonces cantante Mick Taylor tocó la guitarra), "Something in the Air" de Thunderclap Newman y "Paper Sun", del canon Traffic.  El verdadero punto culminante, sin embargo, se produjo con la adición de Stéphane Grappelli en el éxito pop de Donovan "Mellow Yellow".  Con el guitarrista Albert Lee adoptando una postura de Django Reinhardt, el corte recuerda a las viejas grabaciones de Hot Club of France en los años 30.  Hay un par de clunkers aquí ("Layla" no funciona), pero para los fans del rock de finales de los 60 y principios de los 70, no es un mal paseo. - AMG
 
 

VA • A Blue Butterfly

 




Sounds of War, Music in the United States during World War II

 

 

This book is the first comprehensive study of classical music in the United States during World War II. Whether as an instrument of propaganda or as a form of entertainment, classical music had a cultural relevance and a ubiquity in the war effort that are hard to imagine today. Exploring an abundance of sources ranging from government archives to the correspondence of musicians, this book traces how musicians in the United States responded and contributed to the war, following individual performers and composers as they faced military duty or sought alternative ways in which they could serve. Declassified materials from the Office of War Information, the State Department, and the Armed Forces speak to the manner in which U.S. government agencies instrumentalized and weaponized classical music and music making. In the interplay of individuals and institutions, as well as military and civilian organizations, musicians created works that left its indelible stamp on American music and musical life. Wartime compositions such as Aaron Copland’s Fanfare for the Common Man, Rodeo, and Appalachian Spring speak as articulately to U.S. wartime culture as does Morton Gould’s American Salute. These meshed with the contributions to American concert life of exiled composers such as Darius Milhaud, Béla Bartók, and Arnold Schoenberg, who, having fled the Nazis, went on to write new music for their new American audiences.