
Jon Savages 1969-1971~ Rock Dreams On 45
Product Info
Brand new item available to buy online now, in store or click and collect.
More Info
Unlike the previous volumes in Jon Savageâs series of year-based 2CD compilations, which featured music from an expansive mixture of genres, this latest edition spans three years of 100% rock.
In the late 60s, British pop and youth culture began to fragment into tribes. There were many reasons for this: social class, economics, and events within the music industry itself. The success of the Beatlesâ âSgt Pepperâ confirmed the primacy of the album over the single for the smart end of white pop, which was undergoing a prolonged dalliance with psychedelia and the drug culture. Hard mods disdained this trend, cleaving closer to the soul, Motown and Jamaican music that they danced to. By 1969, this began to harden into tribal warfare, as skinheads and hippies found themselves on opposite sides of the subcultural divide.
The divisions had always been there, even at the height of the supposedly classless mid-60s. I was an unrepentant rock fan. That was my tribe. I still bought Motown and reggae hits, but they were the hits: there was no deeper exploration. After Radio Caroline had gone, Iâd lost most of the connection to black American music as part of the wider pop experience that Iâd had in 1965, 1966 and 1967, even 1968. Thus streamed, I hunted the bins all over London for singles on Island, Elektra and Track.
On these singles, sound, attitude and, on occasion, lyrics were all important. They are expressions of a moment in time, when youth conflated purchasing power with political power. Looking into the future to a world they would fashion differently from that of their parents, they felt free to speak what was on their minds with the expectation that it might be listened to and have meaning. Here you have darkness and light, devilment and the searching for god, the escape to the country and the desire for rousing, primal rockânâroll.
Rock in the US and the UK encompassed male braggadocio, anguished reflection, sincere if not naive protest, stonking riffs and loud, distorted guitars. Much of it was blues-based, particularly in 1969 as the back-to-the-roots impulse of 1968 worked its way through the sharp end of rock, but a year or so later some of it became wilder, stranger and even more basic â looking forward to what a truly 1970s white teenage music could be: that groundswell that eventually burst out in mid-decade onwards.
There was no real name for this period but, just before glam, it was an era of massive riffs, overloading guitars, mindless yet heartfelt protest, goblin chants and a general mood of questioning, exploration and disillusion. While many songs from this period have become generational clichĂŠs, it is hoped that this collection will help you in hearing them afresh. They were new once, like we all were.
JON SAVAGE
Tracklist
1-1 Spooky Toothâ Waitin' For The Wind
3:26
1-2 The Byrdsâ Bad Night At The Whiskey
3:21
1-3 Dave Daviesâ Creeping Jean
3:13
1-4 Manâ Sudden Life
4:09
1-5 The Youngbloodsâ Darkness, Darkness
3:47
1-6 Freeâ Broad Daylight
3:08
1-7 The Kinksâ King Kong
3:21
1-8 Blossom Toesâ Peace Loving Man
4:52
1-9 Leviathan (22)â The War Machine
5:16
1-10 Steamhammerâ Junior's Wailing
3:17
1-11 Marsha Huntâ Walk On Gilded Splinters
3:29
1-12 The Idle Raceâ Days Of The Broken Arrows
3:46
1-13 Shy Limbsâ Reputation
3:32
1-14 Brute Force (2)â Nobody Knows
3:01
1-15 Jeff Beck Groupâ Plynth (Water Down The Drain)
3:04
1-16 Kaleidoscope (3)â Lie To Me
2:44
1-17 The Stoogesâ 1969
4:03
1-18 The Open Mindâ Magic Potion
3:28
1-19 The James Gang*â Funk #48
2:46
1-20 Mott The Hoopleâ Rock And Roll Queen
3:41
1-21 Procol Harumâ The Devil Came From Kansas
4:30
2-1 Delaney & Bonnie & Friendsâ Comin' Home
3:11
2-2 Norman Greenbaumâ Spirit In The Sky
3:58
2-3 Jethro Tullâ The Witch's Promise
3:48
2-4 Toe Fatâ Bad Side Of The Moon
3:23
2-5 Faces (3)â Flying
4:13
2-6 King Crimsonâ Cat Food
2:44
2-7 The Guess Whoâ American Woman
3:52
2-8 MC5â The American Ruse
2:28
2-9 Fleetwood Macâ The Green Manalishi
4:36
2-10 Quicksilver Messenger Serviceâ Shady Grove
2:58
2-11 Amon Dßßl IIâ Archangel's Thunderbird
3:31
2-12 The Rattlesâ The Witch
2:28
2-13 Status Quoâ Gerdundula
3:18
2-14 Jack Nitzscheâ Natural Magic
1:37
2-15 Tangerine Dreamâ Ultime Thule, Teil 1
3:19
2-16 Alice Cooperâ Caught In A Dream
3:03
2-17 The Velvet Undergroundâ Sweet Jane
3:15
2-18 John Kongosâ He's Gonna Step On You Again
4:22
2-19 Mountainâ Travelin' In The Dark (For E.M.P)
4:22
2-20 Crazy Horseâ Beggars Day
4:29
2-21 Detroit (2) Featuring Mitch Ryderâ Rock 'N Roll
3:40
2-22 The Flamin' Grooviesâ Yesterday's Numbers
3:57
Soundwave
Product Info
Brand new item available to buy online now, in store or click and collect.
More Info
Unlike the previous volumes in Jon Savageâs series of year-based 2CD compilations, which featured music from an expansive mixture of genres, this latest edition spans three years of 100% rock.
In the late 60s, British pop and youth culture began to fragment into tribes. There were many reasons for this: social class, economics, and events within the music industry itself. The success of the Beatlesâ âSgt Pepperâ confirmed the primacy of the album over the single for the smart end of white pop, which was undergoing a prolonged dalliance with psychedelia and the drug culture. Hard mods disdained this trend, cleaving closer to the soul, Motown and Jamaican music that they danced to. By 1969, this began to harden into tribal warfare, as skinheads and hippies found themselves on opposite sides of the subcultural divide.
The divisions had always been there, even at the height of the supposedly classless mid-60s. I was an unrepentant rock fan. That was my tribe. I still bought Motown and reggae hits, but they were the hits: there was no deeper exploration. After Radio Caroline had gone, Iâd lost most of the connection to black American music as part of the wider pop experience that Iâd had in 1965, 1966 and 1967, even 1968. Thus streamed, I hunted the bins all over London for singles on Island, Elektra and Track.
On these singles, sound, attitude and, on occasion, lyrics were all important. They are expressions of a moment in time, when youth conflated purchasing power with political power. Looking into the future to a world they would fashion differently from that of their parents, they felt free to speak what was on their minds with the expectation that it might be listened to and have meaning. Here you have darkness and light, devilment and the searching for god, the escape to the country and the desire for rousing, primal rockânâroll.
Rock in the US and the UK encompassed male braggadocio, anguished reflection, sincere if not naive protest, stonking riffs and loud, distorted guitars. Much of it was blues-based, particularly in 1969 as the back-to-the-roots impulse of 1968 worked its way through the sharp end of rock, but a year or so later some of it became wilder, stranger and even more basic â looking forward to what a truly 1970s white teenage music could be: that groundswell that eventually burst out in mid-decade onwards.
There was no real name for this period but, just before glam, it was an era of massive riffs, overloading guitars, mindless yet heartfelt protest, goblin chants and a general mood of questioning, exploration and disillusion. While many songs from this period have become generational clichĂŠs, it is hoped that this collection will help you in hearing them afresh. They were new once, like we all were.
JON SAVAGE
Tracklist
1-1 Spooky Toothâ Waitin' For The Wind
3:26
1-2 The Byrdsâ Bad Night At The Whiskey
3:21
1-3 Dave Daviesâ Creeping Jean
3:13
1-4 Manâ Sudden Life
4:09
1-5 The Youngbloodsâ Darkness, Darkness
3:47
1-6 Freeâ Broad Daylight
3:08
1-7 The Kinksâ King Kong
3:21
1-8 Blossom Toesâ Peace Loving Man
4:52
1-9 Leviathan (22)â The War Machine
5:16
1-10 Steamhammerâ Junior's Wailing
3:17
1-11 Marsha Huntâ Walk On Gilded Splinters
3:29
1-12 The Idle Raceâ Days Of The Broken Arrows
3:46
1-13 Shy Limbsâ Reputation
3:32
1-14 Brute Force (2)â Nobody Knows
3:01
1-15 Jeff Beck Groupâ Plynth (Water Down The Drain)
3:04
1-16 Kaleidoscope (3)â Lie To Me
2:44
1-17 The Stoogesâ 1969
4:03
1-18 The Open Mindâ Magic Potion
3:28
1-19 The James Gang*â Funk #48
2:46
1-20 Mott The Hoopleâ Rock And Roll Queen
3:41
1-21 Procol Harumâ The Devil Came From Kansas
4:30
2-1 Delaney & Bonnie & Friendsâ Comin' Home
3:11
2-2 Norman Greenbaumâ Spirit In The Sky
3:58
2-3 Jethro Tullâ The Witch's Promise
3:48
2-4 Toe Fatâ Bad Side Of The Moon
3:23
2-5 Faces (3)â Flying
4:13
2-6 King Crimsonâ Cat Food
2:44
2-7 The Guess Whoâ American Woman
3:52
2-8 MC5â The American Ruse
2:28
2-9 Fleetwood Macâ The Green Manalishi
4:36
2-10 Quicksilver Messenger Serviceâ Shady Grove
2:58
2-11 Amon Dßßl IIâ Archangel's Thunderbird
3:31
2-12 The Rattlesâ The Witch
2:28
2-13 Status Quoâ Gerdundula
3:18
2-14 Jack Nitzscheâ Natural Magic
1:37
2-15 Tangerine Dreamâ Ultime Thule, Teil 1
3:19
2-16 Alice Cooperâ Caught In A Dream
3:03
2-17 The Velvet Undergroundâ Sweet Jane
3:15
2-18 John Kongosâ He's Gonna Step On You Again
4:22
2-19 Mountainâ Travelin' In The Dark (For E.M.P)
4:22
2-20 Crazy Horseâ Beggars Day
4:29
2-21 Detroit (2) Featuring Mitch Ryderâ Rock 'N Roll
3:40
2-22 The Flamin' Grooviesâ Yesterday's Numbers
3:57
Soundwave
Description
Product Info
Brand new item available to buy online now, in store or click and collect.
More Info
Unlike the previous volumes in Jon Savageâs series of year-based 2CD compilations, which featured music from an expansive mixture of genres, this latest edition spans three years of 100% rock.
In the late 60s, British pop and youth culture began to fragment into tribes. There were many reasons for this: social class, economics, and events within the music industry itself. The success of the Beatlesâ âSgt Pepperâ confirmed the primacy of the album over the single for the smart end of white pop, which was undergoing a prolonged dalliance with psychedelia and the drug culture. Hard mods disdained this trend, cleaving closer to the soul, Motown and Jamaican music that they danced to. By 1969, this began to harden into tribal warfare, as skinheads and hippies found themselves on opposite sides of the subcultural divide.
The divisions had always been there, even at the height of the supposedly classless mid-60s. I was an unrepentant rock fan. That was my tribe. I still bought Motown and reggae hits, but they were the hits: there was no deeper exploration. After Radio Caroline had gone, Iâd lost most of the connection to black American music as part of the wider pop experience that Iâd had in 1965, 1966 and 1967, even 1968. Thus streamed, I hunted the bins all over London for singles on Island, Elektra and Track.
On these singles, sound, attitude and, on occasion, lyrics were all important. They are expressions of a moment in time, when youth conflated purchasing power with political power. Looking into the future to a world they would fashion differently from that of their parents, they felt free to speak what was on their minds with the expectation that it might be listened to and have meaning. Here you have darkness and light, devilment and the searching for god, the escape to the country and the desire for rousing, primal rockânâroll.
Rock in the US and the UK encompassed male braggadocio, anguished reflection, sincere if not naive protest, stonking riffs and loud, distorted guitars. Much of it was blues-based, particularly in 1969 as the back-to-the-roots impulse of 1968 worked its way through the sharp end of rock, but a year or so later some of it became wilder, stranger and even more basic â looking forward to what a truly 1970s white teenage music could be: that groundswell that eventually burst out in mid-decade onwards.
There was no real name for this period but, just before glam, it was an era of massive riffs, overloading guitars, mindless yet heartfelt protest, goblin chants and a general mood of questioning, exploration and disillusion. While many songs from this period have become generational clichĂŠs, it is hoped that this collection will help you in hearing them afresh. They were new once, like we all were.
JON SAVAGE
Tracklist
1-1 Spooky Toothâ Waitin' For The Wind
3:26
1-2 The Byrdsâ Bad Night At The Whiskey
3:21
1-3 Dave Daviesâ Creeping Jean
3:13
1-4 Manâ Sudden Life
4:09
1-5 The Youngbloodsâ Darkness, Darkness
3:47
1-6 Freeâ Broad Daylight
3:08
1-7 The Kinksâ King Kong
3:21
1-8 Blossom Toesâ Peace Loving Man
4:52
1-9 Leviathan (22)â The War Machine
5:16
1-10 Steamhammerâ Junior's Wailing
3:17
1-11 Marsha Huntâ Walk On Gilded Splinters
3:29
1-12 The Idle Raceâ Days Of The Broken Arrows
3:46
1-13 Shy Limbsâ Reputation
3:32
1-14 Brute Force (2)â Nobody Knows
3:01
1-15 Jeff Beck Groupâ Plynth (Water Down The Drain)
3:04
1-16 Kaleidoscope (3)â Lie To Me
2:44
1-17 The Stoogesâ 1969
4:03
1-18 The Open Mindâ Magic Potion
3:28
1-19 The James Gang*â Funk #48
2:46
1-20 Mott The Hoopleâ Rock And Roll Queen
3:41
1-21 Procol Harumâ The Devil Came From Kansas
4:30
2-1 Delaney & Bonnie & Friendsâ Comin' Home
3:11
2-2 Norman Greenbaumâ Spirit In The Sky
3:58
2-3 Jethro Tullâ The Witch's Promise
3:48
2-4 Toe Fatâ Bad Side Of The Moon
3:23
2-5 Faces (3)â Flying
4:13
2-6 King Crimsonâ Cat Food
2:44
2-7 The Guess Whoâ American Woman
3:52
2-8 MC5â The American Ruse
2:28
2-9 Fleetwood Macâ The Green Manalishi
4:36
2-10 Quicksilver Messenger Serviceâ Shady Grove
2:58
2-11 Amon Dßßl IIâ Archangel's Thunderbird
3:31
2-12 The Rattlesâ The Witch
2:28
2-13 Status Quoâ Gerdundula
3:18
2-14 Jack Nitzscheâ Natural Magic
1:37
2-15 Tangerine Dreamâ Ultime Thule, Teil 1
3:19
2-16 Alice Cooperâ Caught In A Dream
3:03
2-17 The Velvet Undergroundâ Sweet Jane
3:15
2-18 John Kongosâ He's Gonna Step On You Again
4:22
2-19 Mountainâ Travelin' In The Dark (For E.M.P)
4:22
2-20 Crazy Horseâ Beggars Day
4:29
2-21 Detroit (2) Featuring Mitch Ryderâ Rock 'N Roll
3:40
2-22 The Flamin' Grooviesâ Yesterday's Numbers
3:57











