1964 American Vs BEATLES Battle Of The Groups ROLLING STONES DAVE CLARK 5 L GORE
Item History & Price
Up forauction is this 1964 issue of Modern Annual magazine, Vol. 1, No. 1, titled Americanvs. Beatles Battle of the Groups. The magazine was published annually by CountryWide Publications, Inc., New York, New York. In additionto several illustrated articles on the Beatles, there are also articles andphotographs of The Dave Clark 5, The Rolling Stones, The 4 Seasons, GeorgeMaharis, Cliff Richard, Lesley Gore, Dusty Springfield, Jan and Dean, theSearchers, The Brothers 4, Connie Fra...ncis, Jack Jones, Bobby Vinton, Ruby andthe Romantics, Freddie Cannon, Jackie Wilson, Brenda Lee, Chris Crosby, BobbyVee, Rick Nelson, Bobby Rydell, Elvis Presley, Jay and the Americans, TheMiracles, Little Eva, Joannie Sommers, Peter, Paul and Mary, The ChristyMinstrels, Ray Charles, Trini Lopez, Lenny Welch, Johnny Tillotson, BrianHyland Stevie Wonder, B.B. King, James Darren, Gene McDaniels, The Ventures, The Lettermen, The Impressions, The Fourmost, Freddie Scott, The Tams, ConwayTwitty, Hank Williams, Jr., Buddy Holly, Shelley Fabares, Nancy Sinatra, JimmyVelvet, Johnny Mathis, Paul Peterson, and more. The 8.25 x11-inch 66-page magazine is profusely illustrated with black and whitephotographs as stated above. As you cansee from the scans, the magazine is in very good condition. There is some minoredge wear to the covers. However, the interior pulp pages are clean andunmarked. Thismagazine is a must have for any fan of The Beatles, or any fan of Rock and PopMusic in the 1960s. The magazine appears to be rare as I could only find fourother copies of it for sale on the internet. However, I am starting the auctionfor this piece of Rock Music memorabilia at a low opening bid, and the magazineis OFFERED WITH NO RESERVE. I am selling5 other Beatles publications from the 1960s on eBay this week and I will behappy to combine shipping if you win more than one auction.From Wikipedia, the free encyclopedia: This article includes an overview ofthe major events and trends in popular musicin the 1960s.In North America, Europe and Oceania, the decadewas particularly revolutionary in terms of popular music, as it saw the formation and evolution of rock. At thebeginning of the 1960s, pop and rock and rolltrends of the 1950s continued; nevertheless, the rock and roll of the decadebefore started to merge into a more international, eclectic variant known asrock. In the early-1960s, rock and roll in its purest form was gradually overtakenby pop rock, beat, psychedelic rock, blues rock, and folk rock, which had grown in popularity. The country and folk-influencedstyle[1]associated with the latter-half of 1960s rock music spawned a generation ofpopular singer-songwriters who wrote and performed their own work. Towards thedecade's end, genres such as Baroque pop, [2]sunshine pop, [3]bubblegum pop, [4]and progressive rock started to grow popular, with the latter two findinggreater success in the following decade. Furthermore, the 1960s saw funk and soul musicrising in popularity; rhythm and bluesin general remained popular, and this style was commonly associated to Girl groupsof the time, whose fusion of R&B and Gospel with rockand roll enjoyed success until the mid-part of the decade.[5]Aside from the popularity of rock and R&B music in the 1960s, Latin American as well as Jamaican and Cuban musicachieved a degree of popularity throughout the decade, with genres such as Bossa nova, the cha-cha-cha, [6]ska, [7]and calypso being popular. From a classicalpoint of view, the 1960s were also an important decade as they saw thedevelopment of experimental, jazz and contemporaryclassical music, notably minimalismand free improvisation.[8]In Asia, various trends marked the popular music of the 1960s. In Japan, the decade saw the rise in popularity of several Westernpopular music groups such as The Beatles.The success of rock music and bands in the Japan started a new generation, known as Group Sounds, which was popular in the latter half of the decade.In South America, genres such as bossa nova, Nueva canciónand Nueva olastarted to rise. Rock music began leaving its mark, and achieved success in the1960s. Additionally, salsa grew popular towards the end of the decade.[6]In the 1960s cumbia entered Chile and leaving a long-lasting impact on tropical musicin that country.[9]TheU.K.BeatmusicThe arrival of the Beatlesin the U.S., and subsequent appearance on The Ed Sullivan Show, marked the start of the British Invasionin which a large number of rock and roll, beat and pop performersfrom Britain gained massive popularity in the U.S.In the late 1950s, a flourishingculture of groups began to emerge, often out of the declining skiffle scene, inmajor urban centres in the UK like Liverpool, Manchester, Birminghamand London. This wasparticularly true in Liverpool, where it has been estimated that there werearound 350 different bands active, often playing ballrooms, concert halls andclubs.[10]Beat bands were heavily influenced by American bands of the era, such as Buddy Holly and the Crickets (from which group the Beatlesderived their name), as well as earlier British groups such as the Shadows.[11]After the national success of the Beatles in Britain from 1962, a number ofLiverpool performers were able to follow them into the charts, including Gerry &the Pacemakers, the Searchers and Cilla Black.Among the most successful beat acts from Birmingham were the Spencer Davis Group and the Moody Blues.From London, the term Tottenham Sound was largely based around the Dave Clark Five, but other London bands that benefited from the beat boomof this era included the Rolling Stones, the Yardbirds and the Kinks. The first non-Liverpool, non-Brian Epstein-managed band to break through in the UK were Freddie andthe Dreamers, who were based in Manchester, [12]as were Herman's Hermits.[13]The beat movement provided most of the groups responsible for the British invasionof the American pop charts in the period after 1964, and furnished the modelfor many important developments in pop and rock music.TheBritish InvasionBy the end of 1962, the British rockscene had started with beat groups like the Beatlesdrawing on a wide range of American influences including soul music, rhythm and blues and surf music.[14]Initially, they reinterpreted standard American tunes, playing for dancersdoing the twist, for example. These groups eventually infused theiroriginal rock compositions with increasingly complex musical ideas and adistinctive sound. In mid-1962 the Rolling Stones started as one of a number of groups increasingly showingblues influence, along with bands like the Animalsand the Yardbirds.[15]During 1963, the Beatles and other beat groups, such as the Searchers and the Hollies, achieved great popularity and commercial success in Britain itself.British rock broke through tomainstream popularity in the United States in January 1964 with the success ofthe Beatles. "I Want toHold Your Hand" was the band's first No. 1hit on the Billboard Hot 100 chart, starting the British Invasion of the American music charts.[16]The song entered the chart on January 18, 1964 at No. 45 before it became theNo. 1 single for 7 weeks and went on to last a total of 15 weeks in the chart.[17]Their first appearance on The Ed Sullivan Show February 9 is considered a milestone in American popculture. The broadcast drew an estimated 73 million viewers, at the time arecord for an American television program. The Beatles went on to become thebiggest selling rock band of all time and they were followed by numerousBritish bands.[18]During the next two years, Chad & Jeremy, Peter and Gordon, the Animals, Manfred Mann, Petula Clark, Freddie andthe Dreamers, WayneFontana and the Mindbenders, Herman's Hermits, the Rolling Stones, the Troggs, and Donovan would have one or more No. 1 singles.[16]Other acts that were part of the invasion included the Kinksand the Dave Clark Five.[19]British Invasion acts also dominated the music charts at home in the UnitedKingdom.[15]The British Invasion helpedinternationalize the production of rock and roll, opening the door forsubsequent British (and Irish) performers to achieve international success.[20]In America it arguably spelled the end of instrumental surf music, vocal girl groups and (for a time) the teen idols, that had dominated the American charts in the late 1950s and '60s.[21]It dented the careers of established R&B acts like Fats Dominoand Chubby Checker and even temporarily derailed the chart success ofsurviving rock and roll acts, including Elvis Presley.[22]The British Invasion also played a major part in the rise of a distinct genreof rock music, and cemented the primacy of the rock group, based on guitars anddrums and producing their own material as singer-songwriters.[23]Britishblues boomIn parallel with Beat music, in thelate 1950s and early 1960s a British blues scene was developing recreating thesounds of American R&B and later particularly the sounds of bluesmen RobertJohnson, Howling Wolfand Muddy Waters. It reached its height of mainstream popularity in the1960s, when it developed a distinctive and influential style dominated byelectric guitar and made international stars of several proponents of the genreincluding the Rolling Stones, Eric Clapton, the Yardbirds, Fleetwood Mac and Led Zeppelin.A number of these moved through blues-rockto different forms of rock music and as a result British blues helped to formmany of the subgenres of rock, including psychedelic rockand heavy metal music. Since then direct interest in the blues in Britain hasdeclined, but many of the key performers have returned to it in recent years, new acts have emerged and there have been a renewed interest in the genre.[24]BritishpsychedeliaBritish psychedelia emerged duringthe mid-1960s, was influenced by psychedelicculture and attempted to replicate and enhance the mind-altering experiences ofhallucinogenicdrugs. The movement drew on non-Westernsources such as Indian music's ragas and sitars as well as studio effects and long instrumental passagesand surreal lyrics. Established British artists such as Eric Burdon, the Who, Cream, Pink Floydand the Beatles produced a number of highly psychedelic tunes during thedecade. Many British psychedelia bands of the 1960s never published their musicand only appeared in live concerts during that time.NorthAmericaFolkmusicThe Kingston Trio, the Weavers, Pete Seeger, Woody Guthrie, Odetta, Peter, Paul and Mary, Joan Baez, Bob Dylan, Judy Collins, Leonard Cohen, Joni Mitchell, Carolyn Hester, Phil Ochs, Tom Paxton, Buffy Sainte-Marie, Dave Van Ronk, Tom Rush, Fred Neil, Gordon Lightfoot, Ian and Sylvia, Arlo Guthrieand several other performers were instrumental in launching the folk musicrevival of the 1950s and 1960s.[25]RockRoy Orbison was one of rock's famous artists who wrote ballads of lostlove.The Mamas& the Papas were one of the most prominentAmerican Folk-rock artists of the decade.By the 1960s, the scene that haddeveloped out of the Americanfolk music revival had grown to a major movement, utilizing traditional music and new compositions in a traditional style, usually on acoustic instruments.[26]In America the genre was pioneered by figures such as Woody Guthrieand Pete Seeger and often identified with progressiveor labour politics.[26]In the early sixties figures such as Bob Dylanand Joan Baezhad come to the fore in this movement as singer-songwriters.[27]Dylan had begun to reach a mainstream audience with hits including "Blowin' in the Wind" (1963) and "Masters of War"(1963), which brought "protest songs"to a wider public, [28]but, although beginning to influence each other, rock and folk music hadremained largely separate genres, often with mutually exclusive audiences.[29]Early attempts to combine elementsof folk and rock included the Animals "House of the Rising Sun" (1964), which was the first commercially successfulfolk song to be recorded with rock and roll instrumentation.[30]The folk rock movement is usually thought to have taken off with the Byrds'recording of Dylan's "Mr. Tambourine Man" which topped the charts in 1965.[29]With members who had been part of the cafe-based folk scene in Los Angeles, theByrds adopted rock instrumentation, including drums and 12-string Rickenbackerguitars, which became a major element in the sound of the genre.[29]Later that year Dylan adopted electric instruments, much to the outrage of many folk purists, with his "Like a Rolling Stone" becoming a US hit single.[29]Folk rock particularly took off in California, where it led acts like the Mamas& the Papas and Crosby, Stills and Nash to move to electric instrumentation, and in New York, whereit spawned performers including the Lovin' Spoonful and Simon and Garfunkel, with the latter's acoustic "The Sounds of Silence" being remixed with rock instruments to be the firstof many hits.[29]Folk rock reached its peak ofcommercial popularity in the period 1967-68, before many acts moved off in avariety of directions, including Dylan and the Byrds, who began to develop country rock.[31]However, the hybridization of folk and rock has been seen as having a majorinfluence on the development of rock music, bringing in elements ofpsychedelia, and helping to develop the ideas of the singer-songwriter, theprotest song and concepts of "authenticity".[29][32]PsychedelicrockPsychedelic music's LSD-inspired vibe began in the folk scene, with the NewYork-based Holy Modal Rounders using the term in their 1964 recording of "Hesitation Blues".[33]The first group to advertise themselves as psychedelic rock were the 13th Floor Elevators from Texas, at the end of 1965; producing an album thatmade their direction clear, with The Psychedelic Sounds of the 13th Floor Elevators the following year.[33]Psychedelic rock particularly tookoff in California's emerging music scene as groups followed the Byrds from folkto folk rock from 1965.[34]The Los Angeles-based group the Doorsformed in 1965 after a chance meeting on Venice Beach.Although its charismatic lead singer Jim Morrisondied in 1971, the band's popularity has endured to this day. The psychedeliclife style had already developed in San Francisco since about 1964, andparticularly prominent products of the scene were the Grateful Dead, Country Joeand the Fish, the GreatSociety and Jefferson Airplane.[34][35]The Byrds rapidly progressed from purely folk rock in 1966 with their single"Eight Miles High", [36]widely taken[by whom?] to be a reference to drug use.Psychedelic rock reached its apogeein the last years of the decade. In America the Summer of Lovewas prefaced by the Human Be-In event and reached its peak at the Monterey Pop Festival, [37]the latter helping to make major American stars of Jimi Hendrix and the Who, whose single "I Can See for Miles" delved into psychedelic territory.[38]Key recordings included Jefferson Airplane's Surrealistic Pillow and the Doors' Strange Days.[39]These trends climaxed in the 1969 Woodstock Festival, [40]which saw performances by most of the major psychedelic acts, but by the end ofthe decade psychedelic rock was in retreat. The JimiHendrix Experience broke up before the end of thedecade and many surviving acts, moved away from psychedelia into moreback-to-basics "roots rock", the wider experimentation of progressiverock, or riff laden heavy rock.[34]SurfrockIn the early 1960s, one of the mostpopular forms of rock and roll was Surf Rock, which was characterized by being nearlyentirely instrumental and by heavy use of reverb on the guitars. The springreverb featured in Fender amplifiers of the day, cranked to its maximum volume, produced aguitar tone shimmering with sustain and evoking surf and ocean imagery.Duane Eddy's "Movin' and Groovin" is thought by many to bethe main contender for laying the groundwork as the first surf rock record, while others claim the genre was invented by Dick Daleon "Let's Go Trippin'", which became a hit throughout California.Most early surf bands were formed in during this decade in the Southern California area. By the mid-1960s the Beach Boys, who used complex pop harmonies over a basic surf rock rhythm, [41]had emerged as the dominant surf group and helped popularize the genre.[42]In addition, bands such as the Ventures, the Shadows, the Atlantics, the Surfaris and the Champswere also among the most popular Surf Rock bands of the decade.GaragerockGarage rock was a raw form of rockmusic, particularly prevalent in North America in the mid-1960s and is calledsuch because of the perception that many of the bands rehearsed in a suburbanfamily garage.[43][44]Garage rock songs often revolved around the traumas of high school life, withsongs about "lying girls" being particularly common.[45]The lyrics and delivery were notably more aggressive than was common at thetime, often with growled or shouted vocals that dissolved into incoherentscreaming such as the influential Washington based band, The Sonics.[43]They ranged from crude one-chord music (like the Seeds)to near-studio musician quality (including the Knickerbockers, the Remains, and the Fifth Estate). There were also regional variations in many parts of thecountry with flourishing scenes particularly in California and Texas.[45]The Pacific Northwest states of Washington and Oregon had perhaps the mostdefined regional sound.[46]The style had been evolving fromregional scenes as early as 1958. "Louie Louie"by the Kingsmen (1963) is a mainstream example of the genre in itsformative stages. By 1963, garage band singles were creeping into the nationalcharts in greater numbers, including Paul Revereand the Raiders (Boise), [47]the Trashmen(Minneapolis)[48]and the Rivieras (South Bend, Indiana).[49]In this early period many bands were heavily influenced by surf rockand there was a cross-pollination between garage rock and frat rock, sometimes viewed as merely a subgenre of garage rock.[50]The British Invasion of 1964-66greatly influenced garage bands, providing them with a national audience, leading many (often surf or hot rod groups) to adopt a British Invasion lilt, and encouragingmany more groups to form.[45]Thousands of garage bands were extant in the USA and Canada during the era andhundreds produced regional hits.[45]Despite scores of bands being signed to major or large regional labels, mostwere commercial failures. It is generally agreed that garage rock peaked bothcommercially and artistically around 1966.[45]By 1968 the style largely disappeared from the national charts and at the locallevel as amateur musicians faced college, work or the draft.[45]New styles had evolved to replace garage rock (including blues-rock, progressive rock and country rock).[45]In Detroit garage rock stayed alive until the early '70s, with bands like the MC5 and the Stooges, who employed a much more aggressive style. These bands began to be labelled punk rockand are now often seen as proto-punkor proto-hard rock.[51]Blues-rockThe American blues-rock had beenpioneered in the early 1960s by guitarist Lonnie Mack, [52]but the genre began to take off in the mid-'60s as acts followed developed asound similar to British blues musicians. Key acts included Paul Butterfield(whose band acted like Mayall's Bluesbreakers in Britain as a starting pointfor many successful musicians), Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, the J. Geils Band and Jimi Hendrixwith his power trios, the Jimi Hendrix Experience and Band of Gypsys, whose guitar virtuosity and showmanship would be among the most emulated of thedecade.[53]Blues-rock bands like Allman Brothers Band, Lynyrd Skynyrdand eventually ZZ Top from the southern states, incorporated country elementsinto their style to produce distinctive Southern rock.[54]RootsrockRoots rock is the term now used todescribe a move away from the excesses of the psychedelic scene, to a morebasic form of rock and roll that incorporated its original influences, particularly country and folk music, leading to the creation of country rockand Southern rock.[55]In 1966 Bob Dylan spearheaded the movement when he went to Nashville to recordthe album Blonde on Blonde.[56]This, and subsequent more clearly country-influenced albums, have been seen ascreating the genre of country folk, a route pursued by a number of, largely acoustic, folk musicians.[56]Other acts that followed the back-to-basics trend were the group the Band and theCalifornian-based CreedenceClearwater Revival, both of which mixed basic rock androll with folk, country and blues, to be among the most successful andinfluential bands of the late 1960s.[57]The same movement saw the beginning of the recording careers of Californiansolo artists like Ry Cooder, Bonnie Raitt and Lowell George, [58]and influenced the work of established performers such as the Rolling Stones' Beggar's Banquet(1968) and the Beatles' Let It Be (1970).[34]In 1968 Gram Parsonsrecorded Safe at Home with the InternationalSubmarine Band, arguably the first true country rockalbum.[59]Later that year he joined the Byrds for Sweetheartof the Rodeo (1968), generally considered one ofthe most influential recordings in the genre.[59]The Byrds continued in the same vein, but Parsons left to be joined by anotherex-Byrds member Chris Hillman in forming the FlyingBurrito Brothers who helped establish therespectability and parameters of the genre, before Parsons departed to pursue asolo career.[59]Country rock was particularly popular in the Californian music scene, where itwas adopted by bands including Hearts & Flowers, Poco and Riders ofthe Purple Sage, [59]the Beau Brummels[59]and the Nitty Gritty Dirt Band.[60]A number of performers also enjoyed a renaissance by adopting country sounds, including: the Everly Brothers; one-time teen idolRicky Nelsonwho became the frontman for the Stone Canyon Band; former Monkee Mike Nesmithwho formed the First National Band; and Neil Young.[59]The Dillardswere, unusually, a country act, who moved towards rock music.[59]The greatest commercial success for country rock came in the 1970s, with artistincluding the Doobie Brothers, Emmylou Harris, Linda Ronstadt and the Eagles (made up ofmembers of the Burritos, Poco and Stone Canyon Band), who emerged as one of themost successful rock acts of all time, producing albums that included HotelCalifornia (1976).[61]The founders of Southern rockare usually thought to be the Allman Brothers Band, who developed a distinctive sound, largely derived from blues rock, but incorporating elements of boogie, soul andcountry in the early 1970s.[62]The most successful act to follow them were Lynyrd Skynyrd, who helped establish the "good ol' boy"image of the subgenre and the general shape of 1970s guitar rock.[62]Their successors included the fusion/progressive instrumentalists Dixie Dregs, the more country-influenced Outlaws, jazz-leaning Wet Willie and (incorporating elements of R&B and gospel) the OzarkMountain Daredevils.[62]After the loss of original members of the Allmans and Lynyrd Skynyrd, the genrebegan to fade in popularity in the late 1970s, but was sustained the 1980s withacts like .38 Special, Molly Hatchetand the MarshallTucker Band.[62]ProgressiverockProgressive rock, sometimes usedinterchangeably with art rock, was an attempt to move beyond established musical formulasby experimenting with different instruments, song types and forms.[63]From the mid-1960s the Left Banke, the Beatles, the Rolling Stones and the Beach Boys, hadpioneered the inclusion of harpsichords, wind and string sections ontheir recordings to produce a form of Baroque rockand can be heard in singles like Procol Harum's"A Whiter Shade of Pale" (1967), with its Bach inspired introduction.[64]The Moody Blues used a full orchestra on their album Days ofFuture Passed (1967) and subsequently createdorchestral sounds with synthesisers.[63]Classical orchestration, keyboards and synthesisers were a frequent edition tothe established rock format of guitars, bass and drums in subsequentprogressive rock.[65]Instrumentals were common, whilesongs with lyrics were sometimes conceptual, abstract or based in fantasy and science fiction.[66]The Pretty Things' SF Sorrow (1968) and the Who's Tommy(1969) introduced the format of rock operasand opened the door to "concept albums, usually telling an epic story or tackling a grand overarching theme."[67]King Crimson's1969 début album, Inthe Court of the Crimson King, which mixed powerful guitar riffs and mellotron, with jazz and symphonic music, is often taken as the key recording in progressive rock, helping the widespreadadoption of the genre in the early 1970s among existing blues-rock andpsychedelic bands, as well as newly formed acts.[63]PopThe made for TV band The Monkees, inspired by the Beatles, became a popular band in the 60s.Chubby Checker during the early 1960s popularizes the enduring dance crazethe Twist with his hit cover of Hank Ballard& the Midnighters' R&B hit "The Twist".[41]Gerry Goffin and Carole Kingbecome a very influential duo in pop music, writing numerous number one hitsincluding the first song to ever reach number one by a girl group, theShirelles "Will YouLove Me Tomorrow" and the 1962 number one hit, "The Loco-Motion" which was performed by Little Eva.Sugar Sugar becomes a big hit for the Archies, defining the bubblegum pop genre.The Monkees were a made for TV band, inspired by the antics of the Beatles in A Hard Day'sNight. Under contractual reasons, the group were not allowed to play their owninstruments, which led to many feuds between the band mates and musicsupervisor, Don Kirshner.R&Band SoulThe Detroit-based Motown label develops as a pop-influenced answer to soul music. The label begins a long run of No. 1 U.S. hit singles in 1961 with "Please Mr. Postman" by the Marvelettes. The label would have numerous No. 1 Billboard hits throughout the decade and into the 1990s. Notable Motown acts included the Supremes, the Miracles, the Temptations, the Four Tops, Martha and the Vandellas, Marvin Gaye and the Jackson Five, who debuted in 1969.Soul music develops popularity throughout the decade, led by Sam Cooke, James Brown and Otis Redding, among many others.Funk begins later in the decade with James Brown and Sly & the Family Stone having early hits.You Keep Me Hanging On uses a fast tempo which would prove innovative in the development of disco music.Aretha Franklin's 1967 recordings, such as "I Never Loved a Man (The Way I Love You)", "Respect" (originally sung by Otis Redding), and "Do Right Woman-Do Right Man", are considered the apogee of the soul genre, and were among its most commercially successful productions.CountrymusicTriumph and great tragedy marked the1960s in country music. The genre continued to gain national exposure throughnetwork television, with weekly series and awards programs gaining popularity.Sales of records continued to rise as new artists and trends came to theforefront. However, several top stars died under tragic circumstances, including several who were killed in plane crashes.The predominant musical style duringthe decade was the Nashville Sound, a style that emphasized string sections, background vocals, crooning leadvocals and production styles seen in country music. The style had first becomepopular in the late 1950s, in response to the growing encroachment of rock androll on the country genre, but saw its greatest success in the 1960s. Artistslike Jim Reeves, Eddy Arnold, Ray Price, Patsy Cline, Floyd Cramer, Roger Miller and many others achieved great success through songs suchas "He'll Have to Go, " "Danny Boy, ""Make the World Go Away", "King of the Road" and "I Fall to Pieces."[68]The country-pop style was also evident on the 1962 album ModernSounds in Country and Western Music, recorded by rhythm and blues and soul singer Ray Charles.Charles recorded covers of traditional country, folk and classical musicstandards in pop, R&B and jazz styles. The album was hailed as a criticaland commercial success, and would be vastly influential in later country musicstyles. Songs from the album that were released for commercial airplay andrecord sales included "I Can't Stop Loving You, " "Born to Lose" and "YouDon't Know Me."[69]Among the new artists of the decade, Loretta Lynnwas very successful, releasing her first album in 1963 and peaked at #2 on theBillboard Top Country Albums chart. She gained a total of 4 number one albums, and 4 number one hit singles during the decade.By the end of the decade, theNashville Sound became more polished and streamlined, and became known as"countrypolitan." Tammy Wynette, Glen Campbell, Dottie West and Charley Pridewere among the top artists adopting this style. While George Jones— by the early 1960s one of country music's most consistent hitmakers — alsorecorded countrypolitan-styled music, his background remained pure honky tonk, singing of heartbreak and lonlieness in many of his songs. Also, Marty Robbinsproved to be one of the genre's most diverse singers, singing everything fromstraight-ahead country to western to pop to blues ... and even Hawaiian.Johnny Cash—who became known as "The Man in Black"—became oneof the most influential musicians of the 1960s (and eventually, 20th century).Although primarily recording country, his songs and sound spanned many othergenres including rockabilly, blues, folk and gospel.[70]His music showed great compassion for minorities and others who were shunned bysociety, including prison inmates. Two of Cash's most successful albums wererecorded live in prison: At Folsom Prisonand At San Quentin.During the latter half of the 1960s, Pride — a native of Sledge, Mississippi — became the first African-Americansuperstar in country music, a genre virtually dominated by white artists. Someof his early hits, sang with a smooth baritone voice and in a style meshing honky-tonkand countrypolitan, included "Just Between You and Me, " "TheEasy Part's Over, " "AllI Have to Offer You (Is Me)" and acover version of Hank Williams' "Kaw-Liga."Pride continued to be successful for more than 20 years, amassing an eventual29 No. 1 hits on the Billboard Hot Country Singleschart.A newly emerging style, which hadits roots in the 1950s but exploded in the mainstream during the 1960s, was the"Bakersfield sound." Instead of creating a sound similar to mainstreampop music, the Bakersfield sound used honky tonk as its base and added electricinstruments and a backbeat, plus stylistic elements borrowed from rock androll. Buck Owens, Merle Haggardand Wynn Stewart were some of the top artists adopting this sound, and bythe late 1960s they were among country music's top selling artists.Dolly Parton, a native of the Smoky Mountainstown of Locust Ridge, Tennessee, gained national exposure on the nationally syndicatedprogram The Porter Wagoner Show. Her mountain-influenced, biographicalbrand of country and her down-home personality won many fans, and her starpower would only begin to rise.In addition to the syndicated The Porter Wagoner Show, several other televisionprograms were produced to allow country music to reach a wider audience, suchas The Jimmy Dean Show in mid-decade. At the end of the decade, Hee Hawbegan a 23-year run, first on CBS and later in syndication; Hee Haw, hosted by Owens and Roy Clark was loosely based on the comedy series Rowan& Martin's Laugh In, andincorporated comedy along with performances by the show's cast or guestperformers from the country music field. The Academy ofCountry Music and CountryMusic Association awards programs were telecast forthe first time in the late 1960s.The 1960s were marred with tragedy. Johnny Horton, who sang in the saga-song style, was killed in a car accident in 1960. A March5, 1963, plane crash claimed the lives of Patsy Cline, Cowboy Copasand Hawkshaw Hawkins. Days later, Jack Anglinwas killed in a car accident, while Texas Rubydied in a trailer fire in Texas. In July 1964, Jim Reeves lost his life whilepiloting a plane near Brentwood, Tennessee. Ira Louvin (one half of the Louvin Brothers) was killed in a caraccident in 1965. Success overcame several of those tragic deaths, as bothCline and Reeves had many posthumous hits (with previously recorded songsissued after their deaths) and enjoyed strong followings for many years, whileLouvin's brother, Charlie, continued as a successful solo performer for more than 40years.The 1960s began a trend toward aproliferation of No. 1 hits on the Billboard Hot Country Singles chart, thanks to ever-changing data collecting methods. When the 1960s decade opened, there were but four No. 1 songs topping the chart (five, if one counts MartyRobbins' "El Paso"), but by the mid-1960s, there were always at least adozen songs topping the chart annually. In 1967, there were more than 20 songsreaching the top spot for the first time ever in a single calendar year ... andthat number would only continue to rise during the next 20 years.Othertrends and musical eventsLate in the decade, the Monterey Pop Festival[37] and Woodstock Music Festival[40] would epitomize the American counterculture.Current events become a major influence on popular music. Many songs are written in protest to the Vietnam War. The song "Ohio" was written about the Kent State Massacre, and became a hit for Crosby, Stills, Nash and Young.World music sees a huge rise in popularity as many seek interest in other cultures. Ravi Shankar performs at the Monterey and Woodstock festivals. Latin Rock artist Carlos Santana sees popularity throughout the decade. George Harrison develops an interest in the Hare Krishna culture, adding Indian influence to the Beatles' music including the use of a sitar. Reggae begins to popularize at this time.In 1969, the Rolling Stones organised the ill-fated Altamont Free Concert.Songs like "Summertime Blues" and "Eve of Destruction" address the issue of the voting age, which at the time was 21. The issue was that soldiers were drafted at 18, but could not vote. The voting age was eventually lowered to eighteen.A few songs such as Bob Dylan's "Blowin' in the Wind" address the Civil Rights Movement.LatinAmerica, Spain and PortugalBossaNovaThis Brazilian musical style, whichmeans "New Trend", had its origins in the upscale neighbourhoods of Rio de Janeiro.Immensely popular in the early 1960s, it was a fusion of samba and cool jazz. Antonio Carlos Jobim, João Gilberto, and Astrud Gilberto became the best known artists of the Bossa Nova movement.The latter's The Girl From Ipanema, released in 1964, became the first Bossa Nova song toachieve international acclaim. In 1965, it won a Grammy Awardfor Best Record of the Year.NuevaolaIt was during the 60s that rockmusic began to gain acclaim in Latin America. In Spanish speaking South Americamusicians who adopted US and British inspired rock, mainly rock and roll, twist and British Invasionmusic, were collectively labelled as Nueva ola(Spanish for "New Wave"). Argentina, having his own Rock and Roll andBritish Invasion inspired bands and artist, Sandro de América, Sandroy Los de Fuego[es], JohnnyAllon[es], Los Gatos Salvajes, Los Beatniks, LosBuhos, among others.) suffered the Uruguayan Invasion, a series of British Invasioninspired rock bands from Montevideo that moved to Buenos Aires and soon becamepopular in Argentina Los Shakers, Los Mockers, Los Iracundos.Rock music was during the 60s still largely sung in English, but some bandslike Los Mac's and others mentioned above used Spanish for their songs aswell.[71]NuevacanciónDuring the 1960s Nueva Canciónemerges and starts to expand its influence. This development is pioneered bythe Chileans Violeta Parra and Victor Jarawho base many of their songs in folklore, specially cueca. Nueva Canción spreads quickly all over Latin America andbecomes closely related to the New Left and the Liberation theology movements. In Francisco Franco'sSpain Joan Manuel Serrat reaches widespread notability as an exponent of NuevaCanción and of the political opposition.SalsaEven though salsa musicbegan to take form In a New York scene dominated by Cubans and other Latin Americancommunities, Salsa would not become popular all across Latin America until thelate 1980s.Australiaand New ZealandThe 1960s saw increasing interest inhow electronic music could solve both compositional and more practicalproblems. Composers were also absorbing ideas from overseas, such asindeterminacy and electro-acoustic music, and interpreting them in anAustralian context to mixed responses from local audiences.Early in the decade, Bruce Clarkebegan toying with the new Moog synthesizer.A musicians' strike led him to create a completely electronic soundtrack for acigarette commercial in 1963. Innovative film makers, like Arthur Cantrilland Dušan Marek, employed tape manipulation, turntables and extended instrumenttechniques to create soundtracks for their short films. Avowed amateur andMelbourne physician, Val Stephen, became the first Australian to haveelectronic music released internationally.After working amongst the musicalavant-garde in Paris, Keith Humble's return to Australia helped to encourageeducational institutions to take electronic music seriously. Humble’s mostnotably experimental work was his Nunique series. These vast multimedia eventsfeatured simultaneous performances by rock bands, string quartets and theatreensembles, all according to precise flowcharts.Humble initiated the Melbourne-basedSociety for the Private Performance of New Music in 1966, providing asupportive performance space for young innovators both in and outside theacademy. Among these were the McKimm/Rooney/Clayton trio, who, since the 1964, had been incorporating graphic scores and aspects of serialisminto jazz improvization. Jazz was radicalizing at the fringes: John Sangsterexplored free jazz concepts and Charlie Munroincorporated Eastern musical elements. Syd Clayton would leave jazz behind inpursuit of a new form of experimental music theatre that incorporated chanceoperations along with sports and games as musical structures.Young composers, like David Ahern, emerged, initially inspired by ideas of the European avant-garde, and applying them to Australian icons, such as Captain Cookand Ned Kelly.Ahern would travel to Europe later in the 1960s, where he encountered Stockhausenand Cardew, before returning home with further more radical ideas thatquestioned the very premises of composer and music itself.LegacyIt's difficult to gauge the lastingimpact of 1960s music in popular culture. A 2010 European survey conducted bythe digital broadcaster Music Choice, interviewing over 11, 000 participants, rated the decade rather low, with only19% declaring it the best tune decade in the last 50 years, while participantsof an American land line survey rated the 1960s a bit higher, with 26%declaring it as best decade in music.[72][73]
