By Joe Boyd
“This is the easiest booklet approximately song I’ve learn in years, and a gripping piece of social history.”—Brian Eno
When Muddy Waters got here to London first and foremost of the Sixties, a child from Boston known as Joe Boyd was once his travel supervisor; while Dylan went electrical on the Newport pageant, Joe Boyd was once plugging in his guitar; whilst the summer season of affection bought going, Joe Boyd used to be operating alien craft, the good membership in London; whilst a number of membership regulars known as purple Floyd recorded their first unmarried, Joe Boyd used to be the manufacturer; while a tender songwriter named Nick Drake desired to provide his demo tape to anyone, he selected Joe Boyd.
More than any past sixties song autobiography, Joe Boyd’s White Bicycles bargains the genuine tale of what it was once prefer to be there on the time. in addition to the sixties heavy-hitters, this e-book additionally deals splendidly bright photos of a complete host of alternative musicians: every person from the good jazzman Coleman Hawkins to the people diva Sandy Denny, Lonnie Johnson to Eric Clapton, Sister Rosetta Tharpe to Fairport conference.
Record and picture manufacturer Joe Boyd was once born in Boston in 1942 and graduated from Harvard in 1964. He went directly to produce purple Floyd, Nick Drake, Fairport conference, R.E.M., and so forth. He produced the documentary Jimi Hendrix and the movie Scandal. In 1980 he began Hannibal documents and ran it for 20 years. He lives in London.
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Extra info for White Bicycles: Making Music in the 1960s
Example text
After a week, I headed north to Chicago. On the South Side I toured the declining blues clubs, most of whose customers were old and poor. The area was poised between its golden age, when it vied with Harlem for the role of capital of Black America, and the dismal last decades of the twentieth century when it spiralled down into violence and destitution. I introduced myself to Muddy Waters at Pepper’s Lounge, his home base. His band included stars in their own right, such as James Cotton on harmonica and pianist Otis Spann.
I repeated the experiment with Big Joe Williams a few months later, but despite lessons learned, his visit was almost as stressful as Estes’. I was beginning to grasp some of the recurring themes in my life: the tension when artists from a poverty-stricken community confront the spoiled offspring of the educated middle class and the conflict between the latter’s desire to hear the ‘real thing’ and the former’s desire to be ‘up to date’. Hearing traditional musicians when they first emerge from their own communities is a wonderful experience but impossible to repeat: the music is inevitably altered by the process of ‘discovery’.
Before long, prefab rockers like Fabian and Frankie Avalon started edging out the doo-wop groups. In a year or two, the rock’n’roll era was over, replaced by chirpy corporate pop. Like most non-conforming kids, we began to look further afield for our musical adventures. Chapter 2 THERE IS A NAÏF SKETCH from the 1820s of apprentices at a New York market watching black kids ‘dancing for eels’ on overturned stall tables. The white boys lean forward, fascinated by the exuberance of the dancers. Warwick and I and a few of our friends were like the boys in that old drawing, leaning towards a culture we sensed held clues for us about escaping the confines of our middle-class upbringing and becoming male sexual beings.