Hostname: page-component-78c5997874-m6dg7 Total loading time: 0 Render date: 2024-11-08T15:27:50.628Z Has data issue: false hasContentIssue false

Improvisation and Value in Rock, 1966

Published online by Cambridge University Press:  24 April 2020

Abstract

The mid-1960s has figured as a central period in the historiography of popular music, but the role of improvisation has been little discussed. This article argues that issues of improvisation and value are crucial to understanding the emergence of a high-low split within popular music, a division that figures prominently in criticism and fan discourse up to the present day. This new stratification within popular music made it possible for rock to acquire critical prestige relative to other popular music genres. The formation of rock also relied on its association with a primarily white, male, middle-class demographic. This article demonstrates that rock's prestige rests simultaneously on maintaining this narrow demographic profile while locating aesthetic and spiritual value in musical practices coming from elsewhere (in terms of geography, race, or cultural hierarchy): blues, Indian classical music, jazz. The socio-musical transformation in which improvisation played such an important role is explored through a survey of recordings and an analysis of the development of rock criticism in 1966, the year in which a new constellation of aesthetics, politics, and musical style crystallized.

Type
Research Article
Copyright
Copyright © The Society for American Music 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

I would like to thank the friends, relatives, students, and colleagues who commented on earlier versions of this essay, including Lisa Barg, Ben Brackett, Bernard Gendron, Mimi Haddon, and the students in my historiography seminar in winter 2019. Special mention goes to three PhD advisees who finished dissertations on overlapping topics while I was working on this article: Melvin Backstrom, Sean Lorre, and Farley Miller; and to my research assistants Jennifer Messelink and Kaiya Smith-Blackburn. I also thank JSAM editor David Garcia and the anonymous reviewers for their helpful comments. This research was supported by a grant from the Social Sciences and Humanities Research Council of Canada.

References

References

Ahmad, Aijaz. In Theory: Classes, Nations, Literatures. London: Verso, 1992.Google Scholar
Backstrom, Melvin. “The Grateful Dead and Their World: Popular Music and the Avant-Garde in the San Francisco Bay Area, 1965–1975.” PhD diss., McGill University, 2017.Google Scholar
Bellman, Jonathan. “Indian Resonances in the British Invasion, 1965–1968.” In The Exotic in Western Music, edited by Bellman, Jonathan, 292306. Boston: Northeastern University Press, 1998.Google Scholar
Bernstein, David. The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde. Berkeley: University of California Press, 2008.Google Scholar
Bhabha, Homi K.The Location of Culture. London: Routledge, 1994.Google Scholar
Blum, Stephen. “Recognizing Improvisation.” In In the Course of Performance: Studies in the World of Musical Improvisation, edited by Nettl, Bruno with Russell, Melinda, 2745. Chicago: University of Chicago Press, 1998.Google Scholar
Blum, Stephen. “Representations of Music Making.” In Musical Improvisation: Art, Education, and Society, edited by Solis, Gabriel and Nettl, Bruno, 239–62. Urbana: University of Illinois Press, 2009.Google Scholar
Born, Georgina. “Music and the Materialization of Identities.” Journal of Material Culture 16, no. 4 (December 2011): 376–88.CrossRefGoogle Scholar
Born, Georgina. “Music and the Representation/Articulation of Sociocultural Identities.” In Western Music and Its Others: Difference, Representation, and Appropriation in Music, edited by Born, Georgina and Hesmondhalgh, David, 3137. Berkeley: University of California Press, 2000.Google Scholar
Born, Georgina. “Techniques of the Musical Imaginary.” In Western Music and Its Others: Difference, Representation, and Appropriation in Music, edited by Born, Georgina and Hesmondhalgh, David, 3758. Berkeley: University of California Press, 2000.Google Scholar
Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Translated by Nice, Richard. Cambridge, MA: Harvard University Press, 1984.Google Scholar
Bourdieu, Pierre. “The Field of Cultural Production: or The Economic World Reversed.” In The Field of Cultural Production: Essays on Art and Literature, 2973. New York: Columbia University Press, 1993.Google Scholar
Bourdieu, Pierre. The Rules of Art: Genesis and Structure of the Literary Field. Translated by Emanuel, Susan. Stanford, CA: Stanford University Press, 1996.Google Scholar
Brackett, David. Categorizing Sound: Genre and Twentieth-Century Popular Music. Oakland: University of California Press, 2016.CrossRefGoogle Scholar
Brackett, David. “Jazz at the Crossroads of Art and Popular Music Discourses in the 1960s.” In The Routledge Companion to New Jazz Studies, edited by Gebhardt, Nicholas, Rustin, Nichole, and Whyton, Tony, 347–56. New York: Routledge, 2019.Google Scholar
Brackett, David, ed. The Pop, Rock, and Soul Reader: Histories and Debates. 4th ed.New York: Oxford University Press, 2020.Google Scholar
Brennan, Matt. When Genres Collide: Down Beat, Rolling Stone, and the Struggle Between Jazz and Rock. New York: Bloomsbury, 2017.CrossRefGoogle Scholar
The Byrds. Another Dimension. Sundazed Records SEP2 10-168, 2005. Liner notes.Google Scholar
Clifford, James. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge, MA: Harvard University Press, 1988.CrossRefGoogle Scholar
Coltrane, John (with DeMicheal), Don. “Coltrane on Coltrane.” Down Beat, September 29, 1960, 2627.Google Scholar
Douglas, Susan J.Listening In: Radio and the American Imagination. Minneapolis: University of Minnesota Press, 1999.Google Scholar
Drott, Eric. “The End(s) of Genre.” Journal of Music Theory 57, no. 1 (Spring 2013): 145.CrossRefGoogle Scholar
Echard, William. Psychedelic Popular Music: A History Through Musical Topic Theory. Bloomington: Indiana University Press, 2017.CrossRefGoogle Scholar
Erlmann, Veit. “The Aesthetics of the Global Imagination: Reflections on World Music in the 1990s.” Public Culture 8, no. 3 (1996): 467–87.CrossRefGoogle Scholar
Farrell, Gerry. Indian Music and the West. Oxford: Oxford University Press, 1997.Google Scholar
Feld, Steven. “From Schizophonia to Schismogenesis: On the Discourses and Commodification Practices of ‘World Music’ and ‘World Beat’.” In Music Grooves: Essays and Dialogues, edited by Keil, Charles and Feld, Steven, 257–89. Chicago: University of Chicago Press, 1994.Google Scholar
Fellesz, Kevin. Birds of Fire: Jazz, Rock, Funk, and the Creation of Fusion. Durham, NC: Duke University Press, 2011.CrossRefGoogle Scholar
Fricke, David. Peel Slowly and See. Polydor 31452 7887-2, 1995. Liner notes.Google Scholar
Fricke, David. “Lou Reed: The Rolling Stone Interview.” In The Velvet Underground Companion: Four Decades of Commentary, edited by Zak, Albin III, 106–20. New York: Schirmer Books, 1997.Google Scholar
Frow, John. Genre. London: Routledge, 2006.Google Scholar
Gendron, Bernard. Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. Chicago: University of Chicago Press, 2002.Google Scholar
Gitler, Ira. Soultrane. LP, Prestige 7142, 1958. Liner notes.Google Scholar
Gleason, Ralph J. “Bob Dylan: A Folk-Singing Social Critic.” San Francisco Chronicle, February 23, 1964.Google Scholar
Gleason, Ralph J. “Dead Like Live Thunder.” San Francisco Chronicle, March 19, 1967. Reprinted in The Pop, Rock, and Soul Reader: Histories and Debates, 4th ed., edited by Brackett, David, 233–35. New York: Oxford University Press, 2014.Google Scholar
Gleason, Ralph J. “Like a Rolling Stone.” The American Scholar. 1967. Reprinted in The Age of Rock: Sounds of the American Cultural Revolution, edited by Eisen, Jonathan, 6176. New York: Vintage Books, 1969.Google Scholar
Gleason, Ralph J. “Perspectives: Stop This Shuck, Mike Bloomfield.” Rolling Stone, May 11, 1968, 10.Google Scholar
Goldstein, Richard. “Pop Eye: Evaluating Media.” Village Voice, July 14, 1966, 67.Google Scholar
Goldstein, Richard. “Pop Eye: Flak.” Village Voice, January 12, 1967, 8, 12, 32.Google Scholar
Goldstein, Richard. “Pop Eye: The Flourishing Underground.” Village Voice, March 2, 1967, 5, 7, 34.Google Scholar
Goldstein, Richard. “Pop Eye: Ravi and the Teenie Satori.” Village Voice, January 5, 1967, 2325.Google Scholar
Goldstein, Richard. “Pop Eye: Revolver.” Village Voice, August 25, 1966, 23, 25.Google Scholar
Goldstein, Richard. “Pop Eye: 69 with a Bullet.” Village Voice, November 24, 1966, 10, 12.CrossRefGoogle Scholar
Goldstein, Richard. “Pop Eye: 69 with a Bullet (Part II).” Village Voice, December 1, 1966, 32, 34.Google Scholar
Goldstein, Richard. “Pop Eye: The Vanishing Underground.” Village Voice, February 16, 1967, 56.Google Scholar
Gomelsky, Giorgio. “The Rolling Stones Stake a Claim in the R&B Race (Part One).” Jazzbeat, January 1964, 22–23. Reprinted in The Pop, Rock, and Soul Reader: Histories and Debates. 4th ed., edited by Brackett, David, 216–19. New York: Oxford University Press, 2020.Google Scholar
Gomelsky, Giorgio. “The Rolling Stones Stake a Claim in the R&B Race (Part Two).” Jazzbeat, February 1964, 24. Reprinted in The Pop, Rock, and Soul Reader: Histories and Debates. 4th ed., edited by Brackett, David, 216–19. New York: Oxford University Press, 2020.Google Scholar
Gravenites, Nick. “Gravenites: Stop This Shuck, Ralph Gleason.” Rolling Stone, May 25, 1968, 17.Google Scholar
Greene, Doyle. Rock, Counterculture and the Avant-Garde, 1966–1970. Jefferson, NC: McFarland & Company, Inc., 2016.Google Scholar
Grossberg, Lawrence. Bringing It All Back Home: Essays on Cultural Studies. Durham, NC: Duke University Press, 1997.Google Scholar
Gumbrecht, Hans Ulrich. In 1926: Living at the Edge of Time. Cambridge, MA: Harvard University Press, 1997.Google Scholar
Hall, Claude. “Battle on for ‘Airless’ Acts.” Billboard, October 8, 1966, 1, 8.Google Scholar
Harris, David. “The British Blues Scene.” Mojo Navigator 1, no. 12 (December 22, 1966): 13.Google Scholar
Headlam, Dave. “Does the Song Remain the Same?: Questions of Authorship and Identification in the Music of Led Zeppelin.” In Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies, edited by Marvin, Elizabeth West and Hermann, Richard, 313–63. Rochester, NY: University of Rochester Press, 1995.Google Scholar
Hentoff, Nat. “The Crackin’, Shakin’, Breakin’ Sounds.” New Yorker, October 24, 1964. Reprinted in Bob Dylan: The Early Years: A Retrospective, edited by McGregor, Craig, 4461. New York: Da Capo Press, 1990.Google Scholar
Hesmondhalgh, David. “Bourdieu, the Media and Cultural Production.” Media, Culture & Society 28, no. 2 (March 2006): 211–31.CrossRefGoogle Scholar
Hesmondhalgh, David. “Subcultures, Scenes or Tribes? None of the Above.” Journal of Youth Studies 8, no. 1 (March 2005): 2140.CrossRefGoogle Scholar
Hjort, Christopher. So You Want to Be a Rock ’n’ Roll Star: The Byrds Day by Day 1965–1973. London: Jawbone Press, 2008.Google Scholar
Holt, Fabian. Genre in Popular Music. Chicago: University of Chicago Press, 2007.CrossRefGoogle Scholar
Ireland, Brian, and Gemie, Sharif. “Raga Rock: Popular Music and the Turn to the East in the 1960s.” Journal of American Studies 53, no. 1 (2019): 5794.CrossRefGoogle Scholar
James, Robin. “Is the Post- in Post-Identity the Post- in Post-Genre.Popular Music 36, no. 1 (January 2017): 2132CrossRefGoogle Scholar
Jameson, Fredric. “Periodizing the 60s.” In The Ideologies of Theory, Essays 1971–1986, Volume 2: The Syntax of History, 178208. Minneapolis: University of Minnesota Press, 1988.Google Scholar
Jones, Steve, ed. Pop Music and the Press. Philadelphia: Temple University Press, 2002.Google Scholar
Jurgens, Tim. “Review of The Jefferson Airplane Takes Off.” Crawdaddy! 7 (January 1967): 3031.Google Scholar
Kahn, Jeffrey. “Ronald Reagan Launched Political Career Using the Berkeley Campus as a Target,” UC Berkeley News, June 8, 2004. https://www.berkeley.edu/news/media/releases/2004/06/08_reagan.shtml.Google Scholar
Keightley, Keir. “Reconsidering Rock.” In The Cambridge Companion to Pop and Rock, edited by Frith, Simon, Straw, Will, and Street, John, 109–42. Cambridge: Cambridge University Press, 2001.CrossRefGoogle Scholar
Keith, Michael C.Voices in the Purple Haze: Underground Radio and the Sixties. London: Praeger Publishers, 1997.Google Scholar
Kempton, Sally. “Raga Rock: It's Not Moonlight on the Ganges.” Village Voice, March 31, 1966, 2324.Google Scholar
Landau, Jon. “Review of The Blues Project: PROJECTIONS, Verve Folkways 3008.” Crawdaddy! 8 (March 1967): 1516.Google Scholar
Landau, Jon. “Review of the Paul Butterfield Blues Band, East-West.” Crawdaddy! 6 (November 1966): 2729.Google Scholar
Lesh, Phil. Searching for the Sound: My Life with the Grateful Dead. New York: Back Bay Books, 2005.Google Scholar
Lewis, George. “Improvised Music After 1950: Afrological and Eurological Perspectives.” Black Music Research Journal 16, no. 1 (Spring 1996): 91122.CrossRefGoogle Scholar
Lewisohn, Mark. The Beatles: Recording Sessions. New York: Harmony, 1988.Google Scholar
Lindberg, Ulf, Gudmundsson, Gestur, Michelsen, Morten, and Weisethaunet, Hans. Rock Criticism from the Beginning: Amusers, Bruisers, & Cool-Headed Cruisers. New York: Peter Lang, 2005.Google Scholar
Local D. J. Sounds.Mojo Navigator 1, no. 2 (August 16, 1966): 3.Google Scholar
López, Ian Haney. Dog Whistle Politics: How Coded Racial Appeals Have Reinvented Racism & Wrecked the Middle Class. New York: Oxford University Press, 2014.Google Scholar
Lorre, Sean. “British R&B: A Study of Black Popular Music Revivalism in the United Kingdom, 1960–1964.” PhD diss., McGill University, 2017.Google Scholar
Mann, William. “What Songs the Beatles Sang…” The Times, December 27, 1963. Reprinted in The Pop, Rock, and Soul Reader, 4th ed., edited by Brackett, David, 194–96. New York: Oxford University Press, 2020.Google Scholar
McHale, Brian. “1966 Nervous Breakdown; or, When Did Postmodernism Begin?Modern Language Quarterly 69, no. 3 (September 2008): 391413.CrossRefGoogle Scholar
Miller, Farley. “Popular Music and Instrument Technology in an Electronic Age, 1960–1969.” PhD diss., McGill University, 2018.Google Scholar
Monson, Ingrid. Freedom Sounds: Civil Rights Call Out to Jazz and Africa. New York and Oxford: Oxford University Press, 2007.CrossRefGoogle Scholar
Monson, Ingrid. “The Problem with White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse.” Journal of the American Musicological Society 48, no. 3 (Autumn 1995): 393422.CrossRefGoogle Scholar
Neale, Stephen. Genre. London: British Film Institute, 1980.Google Scholar
Neer, Richard. The Rise and Fall of Rock Radio. New York: Random House, 2001.Google Scholar
Negus, Keith. Music Genres and Corporate Cultures. London: Routledge, 1999.Google Scholar
Nettl, Bruno. “Introduction: An Art Neglected in Scholarship.” In In the Course of Performance: Studies in the World of Musical Improvisation, edited by Nettl, Bruno with Russell, Melinda, 123. Chicago: University of Chicago Press, 1998.Google Scholar
Nettl, Bruno. “Thoughts on Improvisation: A Comparative Approach.” Musical Quarterly 60, no. 1 (1974): 119.CrossRefGoogle Scholar
Newfield, Jack. “Bob Dylan: Brecht of the Juke Box, Poet of Electric Guitar.Village Voice (January 26, 1967): 1, 12.Google Scholar
Nisenson, Eric. Ascension: John Coltrane and His Quest. New York: St. Martin's Press, 1993.Google Scholar
North, Michael. Reading 1922: A Return to the Scene of the Modern. New York: Oxford University Press, 1999.Google Scholar
North, Michael. “Virtual Histories: The Year as Literary Period.” Modern Language Quarterly 62, no. 4 (December 2001): 407–24.CrossRefGoogle Scholar
Packer, George. “The Uses of Division,” New Yorker, August 11 & 18, 2014. https://www.newyorker.com/magazine/2014/08/11/uses-division.Google Scholar
Pearlman, Sandy. “LIVE! (Four Tops, Rolling Stones).” Crawdaddy! 8 (March 1967): 57.Google Scholar
Pearlman, Sandy. “Patterns and Sounds: The Uses of Raga in Rock.” Crawdaddy! 7 (January 1967): 510.Google Scholar
Perna, Alan. Guitar Masters: Intimate Portraits. Milwaukee, WI: Hal Leonard Corporation, 2012.Google Scholar
Porter, Lewis. John Coltrane: His Life and Music. Ann Arbor: Michigan University Press, 1998.CrossRefGoogle Scholar
Powers, Devon. Writing the Record: The Village Voice and the Birth of Rock Criticism. Amherst: University of Massachusetts Press, 2013.Google Scholar
Reck, David B.Beatles Orientalis: Influences from Asia in a Popular Song Form.” Asian Music 16, no. 1 (1985): 83150.CrossRefGoogle Scholar
Russo, Greg. Jeff Beck & the Yardbirds: The Yardbird Years. Fuel 2000 Records, 2002. Liner notes.Google Scholar
Said, Edward W.Orientalism. London: Routledge and Kegan Paul, 1978.Google Scholar
Savage, Jon. The Kinks: The Official Biography. London: Faber and Faber, 1984.Google Scholar
Savage, Jon. 1966: The Year the Decade Exploded. London: Faber and Faber, 2015.Google Scholar
Schwartz, Roberta Freund. How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom. Aldershot, UK: Ashgate Publishing, 2007.Google Scholar
Sculatti, Gene. “San Francisco Bay Rock.” Crawdaddy! 6 (November 1966): 2426.Google Scholar
Shankar, Ravi. My Music, My Life. New York: Simon and Schuster, 1968.Google Scholar
Shaw, Greg. “Bill Graham Revisited.Mojo Navigator 1, no. 4 (August 30, 1966): 7.Google Scholar
Shelton, Robert. “Bob Dylan: A Distinctive Folk-Song Stylist.” New York Times, September 29, 1961. Reprinted in Bob Dylan: The Early Years: A Retrospective, edited by McGregor, Craig, 1718. New York: Da Capo Press, 1990.Google Scholar
Shelton, Robert. “On Records: The Folk-Rock Rage.” New York Times, January 30, 1966,.Google Scholar
Siegel, Jules. “Beatles, Teen Music: Requiescat in Pace—That's Where It's At.” Village Voice, September 1, 1966, 7, 14.Google Scholar
Sikes, Laura. “In the Groove: American Rock Criticism, 1966–1978.” PhD diss., University of Rochester, 2017.Google Scholar
Sternfield, Aaron. “V/F Bows New Promotional Tacks.” Billboard, May 21, 1966, 50.Google Scholar
“A Symposium: Is Folk Rock Really ‘White Rock?’” New York Times, February 20, 1966.Google Scholar
Taylor, Timothy D.Global Pop: World Music, World Markets. New York: Routledge, 1997.Google Scholar
Teehan, Mark. “The Byrds, ‘Eight Miles High,’ the Gavin Report, and Media Censorship of Alleged ‘Drug Songs’ in 1966: An Assessment.” Popular Musicology Online (2010). http://www.popular-musicology-online.com/issues/04/teehan.html.Google Scholar
Thornton, Sarah. Club Cultures: Music, Media and Subcultural Capital. Hanover, CT: Wesleyan University Press, 1996.Google Scholar
Toynbee, Jason. Making Popular Music: Musicians, Creativity and Institutions. London: Arnold, 2000.Google Scholar
Waksman, Steve. This Ain't the Summer of Love: Conflict and Crossover in Heavy Metal and Punk. Berkeley: University of California Press, 2009.Google Scholar
White, Ted. “Murray the K.” Crawdaddy! 8 (March 1967): 8–9, 41.Google Scholar
Williams, Paul. “Get Off of My Cloud.” Crawdaddy! 1 (February 1966): 2Google Scholar
Williams, Paul. “Gettin’ Ready: The Temptations.” Crawdaddy! 5 (September 1966): 2931.Google Scholar
Williams, Paul. “The Mama's & the Papa's * The Blues Project * Love.” Crawdaddy! 4 (August 1966): 1520.Google Scholar
Williams, Paul. “Review of the Troggs, Wild Thing LP.” Crawdady! 5, (September 1966): 3132.Google Scholar
Williams, Paul. “Rock Is Rock: A Discussion of a Doors Song.” Crawdaddy! 9 (May 1967): 4246.Google Scholar
Williams, Paul. “What Goes On.” Crawdaddy! 8 (March 1967): 1923.Google Scholar
Wolkin, Jan Mark, and Keenom, Bill. Michael Bloomfield—If You Love These Blues: An Oral History. San Francisco: Miller Freeman Books, 2000.Google Scholar
Willis, Ellen. “Musical Events—Records, Rock, Etc.” New Yorker, July 6, 1968, 5658.Google Scholar
Willis, Ellen. “The Velvet Underground,” in The Velvet Underground Companion: Four Decades of Commentary, edited by Zak, Albin III, 7081. New York: Schirmer Books, [1978] 1997.Google Scholar
Young, Robert. White Mythologies: Writing History and the West. London: Routledge, 1990.Google Scholar
Zwerin, Michael. “Jazz Journal: Are You Serious?” Village Voice, May 4, 1967, 15.Google Scholar
Zwerin, Michael. “Jazz Journal: It's Happenin’, Baby.” Village Voice, March 23, 1967, 17.Google Scholar
The Beach Boys. Pet Sounds. Capitol T 2458, 1966.Google Scholar
The Beatles. “Blue Jay Way.” Magical Mystery Tour. Parlophone SMMT-1, 1967.Google Scholar
The Beatles. “The Inner Light” b/w “Lady Madonna.” Parlophone R-5675, 1968.Google Scholar
The Beatles. “I Want to Tell You.” Revolver. Parlophone PCS 7009, 1966.Google Scholar
The Beatles. “Norwegian Wood.” Rubber Soul. Parlophone PCS 3075, 1965.Google Scholar
The Beatles. “Tomorrow Never Knows.” Revolver. Parlophone PCS 7009, 1966.Google Scholar
The Beatles. “Within You, Without You.” Sgt. Pepper's Lonely Hearts Club Band. Parlophone PMC 7027, 1967.Google Scholar
Brown, James. Live at the Apollo. King Records K-826, 1963.Google Scholar
Butterfield Blues Band. The Butterfield Blues Band. Elektra EKS 7294, 1965.Google Scholar
Butterfield Blues Band. East-West. Elektra EKS-7315, 1966.Google Scholar
The Byrds. “Turn, Turn, Turn” b/w “She Don't Care About Time.” Columbia 4-43424, 1965.Google Scholar
The Byrds. “Eight Miles High.” CBS-202067, 1966.Google Scholar
Coltrane, John. “India.” Impressions. Impulse A-42, 1963.Google Scholar
Cornershop. When I Was Born for the Seventh Time. Wiiija Records WIJCD 1065, 1997.Google Scholar
Davis, Miles. “So What.” Kind of Blue. Columbia CL 1355, 1959.Google Scholar
Dey, Manna. “Dil Se Kya Sahi.” Composed by R. D. Burman. Imaan (Original Motion Picture Soundtrack). Saregama, 1974.Google Scholar
Diddley, Bo. “Bo Diddley.” Checker Records 814, 1955.Google Scholar
Grateful Dead. “Viola Lee Blues.” The Grateful Dead. Warner Brothers WS 1689, 1967.Google Scholar
Grateful Dead. Live performance from November 19, 1966 from the Avalon Ballroom. Available at https://archive.org/details/gd1966-11-19.fm.9730.shnf.Google Scholar
Joe Harriott Double Quintet. Indo-Jazz Suite. Columbia SX 6025, 1966.Google Scholar
King, B. B. Live at the Regal. Recorded November 21, 1964. ABC-Paramount ABC-509, 1965.Google Scholar
The Kinks, “See My Friends.” Pye Records 7N.15919, 1965.Google Scholar
Menuhin, Yehudi, and Ravi Shankar. West Meets East. Angel Records 36418, 1966.Google Scholar
The Mothers of Invention. Freak Out! Verve Records V6-5005-2, 1966.Google Scholar
The Yardbirds. Five Live Yardbirds. Columbia 33SX 1677, 1964.Google Scholar
The Yardbirds. “I'm a Man.” Epic 5-9857, 1965.Google Scholar
The Yardbirds. “Heart Full of Soul.” Epic 5-9823, 1965.Google Scholar
The Yardbirds. “Shapes of Things.” Epic 5-9891, 1966.Google Scholar
The Yardbirds. “Over, Under, Sideways, Down.” Epic 5-10035, 1966.Google Scholar
The Velvet Underground. The Velvet Underground & Nico. Verve Records V-5008, 1967.Google Scholar
The Velvet Underground. Peel Slowly and See, Polydor 31452 7887-2, 1995.Google Scholar
Bar-Lev, Amir, dir. Long Strange Trip. New York: Double E Pictures, 2017.Google Scholar
Dupre, Jeff, and Maro Chermayeff, dir. Soundbreaking: Stories from the Cutting Edge of Recorded Music. Aired November 29, 2016, on PBS. Silver Spring, MD: Athena, 2016.Google Scholar
Peck, Raoul, dir. I Am Not Your Negro. Paris, France: Velvet Film, 2017.Google Scholar
Ahmad, Aijaz. In Theory: Classes, Nations, Literatures. London: Verso, 1992.Google Scholar
Backstrom, Melvin. “The Grateful Dead and Their World: Popular Music and the Avant-Garde in the San Francisco Bay Area, 1965–1975.” PhD diss., McGill University, 2017.Google Scholar
Bellman, Jonathan. “Indian Resonances in the British Invasion, 1965–1968.” In The Exotic in Western Music, edited by Bellman, Jonathan, 292306. Boston: Northeastern University Press, 1998.Google Scholar
Bernstein, David. The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde. Berkeley: University of California Press, 2008.Google Scholar
Bhabha, Homi K.The Location of Culture. London: Routledge, 1994.Google Scholar
Blum, Stephen. “Recognizing Improvisation.” In In the Course of Performance: Studies in the World of Musical Improvisation, edited by Nettl, Bruno with Russell, Melinda, 2745. Chicago: University of Chicago Press, 1998.Google Scholar
Blum, Stephen. “Representations of Music Making.” In Musical Improvisation: Art, Education, and Society, edited by Solis, Gabriel and Nettl, Bruno, 239–62. Urbana: University of Illinois Press, 2009.Google Scholar
Born, Georgina. “Music and the Materialization of Identities.” Journal of Material Culture 16, no. 4 (December 2011): 376–88.CrossRefGoogle Scholar
Born, Georgina. “Music and the Representation/Articulation of Sociocultural Identities.” In Western Music and Its Others: Difference, Representation, and Appropriation in Music, edited by Born, Georgina and Hesmondhalgh, David, 3137. Berkeley: University of California Press, 2000.Google Scholar
Born, Georgina. “Techniques of the Musical Imaginary.” In Western Music and Its Others: Difference, Representation, and Appropriation in Music, edited by Born, Georgina and Hesmondhalgh, David, 3758. Berkeley: University of California Press, 2000.Google Scholar
Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Translated by Nice, Richard. Cambridge, MA: Harvard University Press, 1984.Google Scholar
Bourdieu, Pierre. “The Field of Cultural Production: or The Economic World Reversed.” In The Field of Cultural Production: Essays on Art and Literature, 2973. New York: Columbia University Press, 1993.Google Scholar
Bourdieu, Pierre. The Rules of Art: Genesis and Structure of the Literary Field. Translated by Emanuel, Susan. Stanford, CA: Stanford University Press, 1996.Google Scholar
Brackett, David. Categorizing Sound: Genre and Twentieth-Century Popular Music. Oakland: University of California Press, 2016.CrossRefGoogle Scholar
Brackett, David. “Jazz at the Crossroads of Art and Popular Music Discourses in the 1960s.” In The Routledge Companion to New Jazz Studies, edited by Gebhardt, Nicholas, Rustin, Nichole, and Whyton, Tony, 347–56. New York: Routledge, 2019.Google Scholar
Brackett, David, ed. The Pop, Rock, and Soul Reader: Histories and Debates. 4th ed.New York: Oxford University Press, 2020.Google Scholar
Brennan, Matt. When Genres Collide: Down Beat, Rolling Stone, and the Struggle Between Jazz and Rock. New York: Bloomsbury, 2017.CrossRefGoogle Scholar
The Byrds. Another Dimension. Sundazed Records SEP2 10-168, 2005. Liner notes.Google Scholar
Clifford, James. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge, MA: Harvard University Press, 1988.CrossRefGoogle Scholar
Coltrane, John (with DeMicheal), Don. “Coltrane on Coltrane.” Down Beat, September 29, 1960, 2627.Google Scholar
Douglas, Susan J.Listening In: Radio and the American Imagination. Minneapolis: University of Minnesota Press, 1999.Google Scholar
Drott, Eric. “The End(s) of Genre.” Journal of Music Theory 57, no. 1 (Spring 2013): 145.CrossRefGoogle Scholar
Echard, William. Psychedelic Popular Music: A History Through Musical Topic Theory. Bloomington: Indiana University Press, 2017.CrossRefGoogle Scholar
Erlmann, Veit. “The Aesthetics of the Global Imagination: Reflections on World Music in the 1990s.” Public Culture 8, no. 3 (1996): 467–87.CrossRefGoogle Scholar
Farrell, Gerry. Indian Music and the West. Oxford: Oxford University Press, 1997.Google Scholar
Feld, Steven. “From Schizophonia to Schismogenesis: On the Discourses and Commodification Practices of ‘World Music’ and ‘World Beat’.” In Music Grooves: Essays and Dialogues, edited by Keil, Charles and Feld, Steven, 257–89. Chicago: University of Chicago Press, 1994.Google Scholar
Fellesz, Kevin. Birds of Fire: Jazz, Rock, Funk, and the Creation of Fusion. Durham, NC: Duke University Press, 2011.CrossRefGoogle Scholar
Fricke, David. Peel Slowly and See. Polydor 31452 7887-2, 1995. Liner notes.Google Scholar
Fricke, David. “Lou Reed: The Rolling Stone Interview.” In The Velvet Underground Companion: Four Decades of Commentary, edited by Zak, Albin III, 106–20. New York: Schirmer Books, 1997.Google Scholar
Frow, John. Genre. London: Routledge, 2006.Google Scholar
Gendron, Bernard. Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. Chicago: University of Chicago Press, 2002.Google Scholar
Gitler, Ira. Soultrane. LP, Prestige 7142, 1958. Liner notes.Google Scholar
Gleason, Ralph J. “Bob Dylan: A Folk-Singing Social Critic.” San Francisco Chronicle, February 23, 1964.Google Scholar
Gleason, Ralph J. “Dead Like Live Thunder.” San Francisco Chronicle, March 19, 1967. Reprinted in The Pop, Rock, and Soul Reader: Histories and Debates, 4th ed., edited by Brackett, David, 233–35. New York: Oxford University Press, 2014.Google Scholar
Gleason, Ralph J. “Like a Rolling Stone.” The American Scholar. 1967. Reprinted in The Age of Rock: Sounds of the American Cultural Revolution, edited by Eisen, Jonathan, 6176. New York: Vintage Books, 1969.Google Scholar
Gleason, Ralph J. “Perspectives: Stop This Shuck, Mike Bloomfield.” Rolling Stone, May 11, 1968, 10.Google Scholar
Goldstein, Richard. “Pop Eye: Evaluating Media.” Village Voice, July 14, 1966, 67.Google Scholar
Goldstein, Richard. “Pop Eye: Flak.” Village Voice, January 12, 1967, 8, 12, 32.Google Scholar
Goldstein, Richard. “Pop Eye: The Flourishing Underground.” Village Voice, March 2, 1967, 5, 7, 34.Google Scholar
Goldstein, Richard. “Pop Eye: Ravi and the Teenie Satori.” Village Voice, January 5, 1967, 2325.Google Scholar
Goldstein, Richard. “Pop Eye: Revolver.” Village Voice, August 25, 1966, 23, 25.Google Scholar
Goldstein, Richard. “Pop Eye: 69 with a Bullet.” Village Voice, November 24, 1966, 10, 12.CrossRefGoogle Scholar
Goldstein, Richard. “Pop Eye: 69 with a Bullet (Part II).” Village Voice, December 1, 1966, 32, 34.Google Scholar
Goldstein, Richard. “Pop Eye: The Vanishing Underground.” Village Voice, February 16, 1967, 56.Google Scholar
Gomelsky, Giorgio. “The Rolling Stones Stake a Claim in the R&B Race (Part One).” Jazzbeat, January 1964, 22–23. Reprinted in The Pop, Rock, and Soul Reader: Histories and Debates. 4th ed., edited by Brackett, David, 216–19. New York: Oxford University Press, 2020.Google Scholar
Gomelsky, Giorgio. “The Rolling Stones Stake a Claim in the R&B Race (Part Two).” Jazzbeat, February 1964, 24. Reprinted in The Pop, Rock, and Soul Reader: Histories and Debates. 4th ed., edited by Brackett, David, 216–19. New York: Oxford University Press, 2020.Google Scholar
Gravenites, Nick. “Gravenites: Stop This Shuck, Ralph Gleason.” Rolling Stone, May 25, 1968, 17.Google Scholar
Greene, Doyle. Rock, Counterculture and the Avant-Garde, 1966–1970. Jefferson, NC: McFarland & Company, Inc., 2016.Google Scholar
Grossberg, Lawrence. Bringing It All Back Home: Essays on Cultural Studies. Durham, NC: Duke University Press, 1997.Google Scholar
Gumbrecht, Hans Ulrich. In 1926: Living at the Edge of Time. Cambridge, MA: Harvard University Press, 1997.Google Scholar
Hall, Claude. “Battle on for ‘Airless’ Acts.” Billboard, October 8, 1966, 1, 8.Google Scholar
Harris, David. “The British Blues Scene.” Mojo Navigator 1, no. 12 (December 22, 1966): 13.Google Scholar
Headlam, Dave. “Does the Song Remain the Same?: Questions of Authorship and Identification in the Music of Led Zeppelin.” In Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies, edited by Marvin, Elizabeth West and Hermann, Richard, 313–63. Rochester, NY: University of Rochester Press, 1995.Google Scholar
Hentoff, Nat. “The Crackin’, Shakin’, Breakin’ Sounds.” New Yorker, October 24, 1964. Reprinted in Bob Dylan: The Early Years: A Retrospective, edited by McGregor, Craig, 4461. New York: Da Capo Press, 1990.Google Scholar
Hesmondhalgh, David. “Bourdieu, the Media and Cultural Production.” Media, Culture & Society 28, no. 2 (March 2006): 211–31.CrossRefGoogle Scholar
Hesmondhalgh, David. “Subcultures, Scenes or Tribes? None of the Above.” Journal of Youth Studies 8, no. 1 (March 2005): 2140.CrossRefGoogle Scholar
Hjort, Christopher. So You Want to Be a Rock ’n’ Roll Star: The Byrds Day by Day 1965–1973. London: Jawbone Press, 2008.Google Scholar
Holt, Fabian. Genre in Popular Music. Chicago: University of Chicago Press, 2007.CrossRefGoogle Scholar
Ireland, Brian, and Gemie, Sharif. “Raga Rock: Popular Music and the Turn to the East in the 1960s.” Journal of American Studies 53, no. 1 (2019): 5794.CrossRefGoogle Scholar
James, Robin. “Is the Post- in Post-Identity the Post- in Post-Genre.Popular Music 36, no. 1 (January 2017): 2132CrossRefGoogle Scholar
Jameson, Fredric. “Periodizing the 60s.” In The Ideologies of Theory, Essays 1971–1986, Volume 2: The Syntax of History, 178208. Minneapolis: University of Minnesota Press, 1988.Google Scholar
Jones, Steve, ed. Pop Music and the Press. Philadelphia: Temple University Press, 2002.Google Scholar
Jurgens, Tim. “Review of The Jefferson Airplane Takes Off.” Crawdaddy! 7 (January 1967): 3031.Google Scholar
Kahn, Jeffrey. “Ronald Reagan Launched Political Career Using the Berkeley Campus as a Target,” UC Berkeley News, June 8, 2004. https://www.berkeley.edu/news/media/releases/2004/06/08_reagan.shtml.Google Scholar
Keightley, Keir. “Reconsidering Rock.” In The Cambridge Companion to Pop and Rock, edited by Frith, Simon, Straw, Will, and Street, John, 109–42. Cambridge: Cambridge University Press, 2001.CrossRefGoogle Scholar
Keith, Michael C.Voices in the Purple Haze: Underground Radio and the Sixties. London: Praeger Publishers, 1997.Google Scholar
Kempton, Sally. “Raga Rock: It's Not Moonlight on the Ganges.” Village Voice, March 31, 1966, 2324.Google Scholar
Landau, Jon. “Review of The Blues Project: PROJECTIONS, Verve Folkways 3008.” Crawdaddy! 8 (March 1967): 1516.Google Scholar
Landau, Jon. “Review of the Paul Butterfield Blues Band, East-West.” Crawdaddy! 6 (November 1966): 2729.Google Scholar
Lesh, Phil. Searching for the Sound: My Life with the Grateful Dead. New York: Back Bay Books, 2005.Google Scholar
Lewis, George. “Improvised Music After 1950: Afrological and Eurological Perspectives.” Black Music Research Journal 16, no. 1 (Spring 1996): 91122.CrossRefGoogle Scholar
Lewisohn, Mark. The Beatles: Recording Sessions. New York: Harmony, 1988.Google Scholar
Lindberg, Ulf, Gudmundsson, Gestur, Michelsen, Morten, and Weisethaunet, Hans. Rock Criticism from the Beginning: Amusers, Bruisers, & Cool-Headed Cruisers. New York: Peter Lang, 2005.Google Scholar
Local D. J. Sounds.Mojo Navigator 1, no. 2 (August 16, 1966): 3.Google Scholar
López, Ian Haney. Dog Whistle Politics: How Coded Racial Appeals Have Reinvented Racism & Wrecked the Middle Class. New York: Oxford University Press, 2014.Google Scholar
Lorre, Sean. “British R&B: A Study of Black Popular Music Revivalism in the United Kingdom, 1960–1964.” PhD diss., McGill University, 2017.Google Scholar
Mann, William. “What Songs the Beatles Sang…” The Times, December 27, 1963. Reprinted in The Pop, Rock, and Soul Reader, 4th ed., edited by Brackett, David, 194–96. New York: Oxford University Press, 2020.Google Scholar
McHale, Brian. “1966 Nervous Breakdown; or, When Did Postmodernism Begin?Modern Language Quarterly 69, no. 3 (September 2008): 391413.CrossRefGoogle Scholar
Miller, Farley. “Popular Music and Instrument Technology in an Electronic Age, 1960–1969.” PhD diss., McGill University, 2018.Google Scholar
Monson, Ingrid. Freedom Sounds: Civil Rights Call Out to Jazz and Africa. New York and Oxford: Oxford University Press, 2007.CrossRefGoogle Scholar
Monson, Ingrid. “The Problem with White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse.” Journal of the American Musicological Society 48, no. 3 (Autumn 1995): 393422.CrossRefGoogle Scholar
Neale, Stephen. Genre. London: British Film Institute, 1980.Google Scholar
Neer, Richard. The Rise and Fall of Rock Radio. New York: Random House, 2001.Google Scholar
Negus, Keith. Music Genres and Corporate Cultures. London: Routledge, 1999.Google Scholar
Nettl, Bruno. “Introduction: An Art Neglected in Scholarship.” In In the Course of Performance: Studies in the World of Musical Improvisation, edited by Nettl, Bruno with Russell, Melinda, 123. Chicago: University of Chicago Press, 1998.Google Scholar
Nettl, Bruno. “Thoughts on Improvisation: A Comparative Approach.” Musical Quarterly 60, no. 1 (1974): 119.CrossRefGoogle Scholar
Newfield, Jack. “Bob Dylan: Brecht of the Juke Box, Poet of Electric Guitar.Village Voice (January 26, 1967): 1, 12.Google Scholar
Nisenson, Eric. Ascension: John Coltrane and His Quest. New York: St. Martin's Press, 1993.Google Scholar
North, Michael. Reading 1922: A Return to the Scene of the Modern. New York: Oxford University Press, 1999.Google Scholar
North, Michael. “Virtual Histories: The Year as Literary Period.” Modern Language Quarterly 62, no. 4 (December 2001): 407–24.CrossRefGoogle Scholar
Packer, George. “The Uses of Division,” New Yorker, August 11 & 18, 2014. https://www.newyorker.com/magazine/2014/08/11/uses-division.Google Scholar
Pearlman, Sandy. “LIVE! (Four Tops, Rolling Stones).” Crawdaddy! 8 (March 1967): 57.Google Scholar
Pearlman, Sandy. “Patterns and Sounds: The Uses of Raga in Rock.” Crawdaddy! 7 (January 1967): 510.Google Scholar
Perna, Alan. Guitar Masters: Intimate Portraits. Milwaukee, WI: Hal Leonard Corporation, 2012.Google Scholar
Porter, Lewis. John Coltrane: His Life and Music. Ann Arbor: Michigan University Press, 1998.CrossRefGoogle Scholar
Powers, Devon. Writing the Record: The Village Voice and the Birth of Rock Criticism. Amherst: University of Massachusetts Press, 2013.Google Scholar
Reck, David B.Beatles Orientalis: Influences from Asia in a Popular Song Form.” Asian Music 16, no. 1 (1985): 83150.CrossRefGoogle Scholar
Russo, Greg. Jeff Beck & the Yardbirds: The Yardbird Years. Fuel 2000 Records, 2002. Liner notes.Google Scholar
Said, Edward W.Orientalism. London: Routledge and Kegan Paul, 1978.Google Scholar
Savage, Jon. The Kinks: The Official Biography. London: Faber and Faber, 1984.Google Scholar
Savage, Jon. 1966: The Year the Decade Exploded. London: Faber and Faber, 2015.Google Scholar
Schwartz, Roberta Freund. How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom. Aldershot, UK: Ashgate Publishing, 2007.Google Scholar
Sculatti, Gene. “San Francisco Bay Rock.” Crawdaddy! 6 (November 1966): 2426.Google Scholar
Shankar, Ravi. My Music, My Life. New York: Simon and Schuster, 1968.Google Scholar
Shaw, Greg. “Bill Graham Revisited.Mojo Navigator 1, no. 4 (August 30, 1966): 7.Google Scholar
Shelton, Robert. “Bob Dylan: A Distinctive Folk-Song Stylist.” New York Times, September 29, 1961. Reprinted in Bob Dylan: The Early Years: A Retrospective, edited by McGregor, Craig, 1718. New York: Da Capo Press, 1990.Google Scholar
Shelton, Robert. “On Records: The Folk-Rock Rage.” New York Times, January 30, 1966,.Google Scholar
Siegel, Jules. “Beatles, Teen Music: Requiescat in Pace—That's Where It's At.” Village Voice, September 1, 1966, 7, 14.Google Scholar
Sikes, Laura. “In the Groove: American Rock Criticism, 1966–1978.” PhD diss., University of Rochester, 2017.Google Scholar
Sternfield, Aaron. “V/F Bows New Promotional Tacks.” Billboard, May 21, 1966, 50.Google Scholar
“A Symposium: Is Folk Rock Really ‘White Rock?’” New York Times, February 20, 1966.Google Scholar
Taylor, Timothy D.Global Pop: World Music, World Markets. New York: Routledge, 1997.Google Scholar
Teehan, Mark. “The Byrds, ‘Eight Miles High,’ the Gavin Report, and Media Censorship of Alleged ‘Drug Songs’ in 1966: An Assessment.” Popular Musicology Online (2010). http://www.popular-musicology-online.com/issues/04/teehan.html.Google Scholar
Thornton, Sarah. Club Cultures: Music, Media and Subcultural Capital. Hanover, CT: Wesleyan University Press, 1996.Google Scholar
Toynbee, Jason. Making Popular Music: Musicians, Creativity and Institutions. London: Arnold, 2000.Google Scholar
Waksman, Steve. This Ain't the Summer of Love: Conflict and Crossover in Heavy Metal and Punk. Berkeley: University of California Press, 2009.Google Scholar
White, Ted. “Murray the K.” Crawdaddy! 8 (March 1967): 8–9, 41.Google Scholar
Williams, Paul. “Get Off of My Cloud.” Crawdaddy! 1 (February 1966): 2Google Scholar
Williams, Paul. “Gettin’ Ready: The Temptations.” Crawdaddy! 5 (September 1966): 2931.Google Scholar
Williams, Paul. “The Mama's & the Papa's * The Blues Project * Love.” Crawdaddy! 4 (August 1966): 1520.Google Scholar
Williams, Paul. “Review of the Troggs, Wild Thing LP.” Crawdady! 5, (September 1966): 3132.Google Scholar
Williams, Paul. “Rock Is Rock: A Discussion of a Doors Song.” Crawdaddy! 9 (May 1967): 4246.Google Scholar
Williams, Paul. “What Goes On.” Crawdaddy! 8 (March 1967): 1923.Google Scholar
Wolkin, Jan Mark, and Keenom, Bill. Michael Bloomfield—If You Love These Blues: An Oral History. San Francisco: Miller Freeman Books, 2000.Google Scholar
Willis, Ellen. “Musical Events—Records, Rock, Etc.” New Yorker, July 6, 1968, 5658.Google Scholar
Willis, Ellen. “The Velvet Underground,” in The Velvet Underground Companion: Four Decades of Commentary, edited by Zak, Albin III, 7081. New York: Schirmer Books, [1978] 1997.Google Scholar
Young, Robert. White Mythologies: Writing History and the West. London: Routledge, 1990.Google Scholar
Zwerin, Michael. “Jazz Journal: Are You Serious?” Village Voice, May 4, 1967, 15.Google Scholar
Zwerin, Michael. “Jazz Journal: It's Happenin’, Baby.” Village Voice, March 23, 1967, 17.Google Scholar
The Beach Boys. Pet Sounds. Capitol T 2458, 1966.Google Scholar
The Beatles. “Blue Jay Way.” Magical Mystery Tour. Parlophone SMMT-1, 1967.Google Scholar
The Beatles. “The Inner Light” b/w “Lady Madonna.” Parlophone R-5675, 1968.Google Scholar
The Beatles. “I Want to Tell You.” Revolver. Parlophone PCS 7009, 1966.Google Scholar
The Beatles. “Norwegian Wood.” Rubber Soul. Parlophone PCS 3075, 1965.Google Scholar
The Beatles. “Tomorrow Never Knows.” Revolver. Parlophone PCS 7009, 1966.Google Scholar
The Beatles. “Within You, Without You.” Sgt. Pepper's Lonely Hearts Club Band. Parlophone PMC 7027, 1967.Google Scholar
Brown, James. Live at the Apollo. King Records K-826, 1963.Google Scholar
Butterfield Blues Band. The Butterfield Blues Band. Elektra EKS 7294, 1965.Google Scholar
Butterfield Blues Band. East-West. Elektra EKS-7315, 1966.Google Scholar
The Byrds. “Turn, Turn, Turn” b/w “She Don't Care About Time.” Columbia 4-43424, 1965.Google Scholar
The Byrds. “Eight Miles High.” CBS-202067, 1966.Google Scholar
Coltrane, John. “India.” Impressions. Impulse A-42, 1963.Google Scholar
Cornershop. When I Was Born for the Seventh Time. Wiiija Records WIJCD 1065, 1997.Google Scholar
Davis, Miles. “So What.” Kind of Blue. Columbia CL 1355, 1959.Google Scholar
Dey, Manna. “Dil Se Kya Sahi.” Composed by R. D. Burman. Imaan (Original Motion Picture Soundtrack). Saregama, 1974.Google Scholar
Diddley, Bo. “Bo Diddley.” Checker Records 814, 1955.Google Scholar
Grateful Dead. “Viola Lee Blues.” The Grateful Dead. Warner Brothers WS 1689, 1967.Google Scholar
Grateful Dead. Live performance from November 19, 1966 from the Avalon Ballroom. Available at https://archive.org/details/gd1966-11-19.fm.9730.shnf.Google Scholar
Joe Harriott Double Quintet. Indo-Jazz Suite. Columbia SX 6025, 1966.Google Scholar
King, B. B. Live at the Regal. Recorded November 21, 1964. ABC-Paramount ABC-509, 1965.Google Scholar
The Kinks, “See My Friends.” Pye Records 7N.15919, 1965.Google Scholar
Menuhin, Yehudi, and Ravi Shankar. West Meets East. Angel Records 36418, 1966.Google Scholar
The Mothers of Invention. Freak Out! Verve Records V6-5005-2, 1966.Google Scholar
The Yardbirds. Five Live Yardbirds. Columbia 33SX 1677, 1964.Google Scholar
The Yardbirds. “I'm a Man.” Epic 5-9857, 1965.Google Scholar
The Yardbirds. “Heart Full of Soul.” Epic 5-9823, 1965.Google Scholar
The Yardbirds. “Shapes of Things.” Epic 5-9891, 1966.Google Scholar
The Yardbirds. “Over, Under, Sideways, Down.” Epic 5-10035, 1966.Google Scholar
The Velvet Underground. The Velvet Underground & Nico. Verve Records V-5008, 1967.Google Scholar
The Velvet Underground. Peel Slowly and See, Polydor 31452 7887-2, 1995.Google Scholar
Bar-Lev, Amir, dir. Long Strange Trip. New York: Double E Pictures, 2017.Google Scholar
Dupre, Jeff, and Maro Chermayeff, dir. Soundbreaking: Stories from the Cutting Edge of Recorded Music. Aired November 29, 2016, on PBS. Silver Spring, MD: Athena, 2016.Google Scholar
Peck, Raoul, dir. I Am Not Your Negro. Paris, France: Velvet Film, 2017.Google Scholar