". . . a great blow-by-blow account of an exciting and still-legendary scene."---Marshall CrenshawFrom the early days of John Lee Hooker to the heyday of Motown and beyond, Detroit has enjoyed a long reputation as one of the crucibles of American pop music. In Grit, Noise, and Revolution, David Carson turns the spotlight on those hard-rocking, long-haired musicians-influen". . . a great blow-by-blow account of an exciting and still-legendary scene."---Marshall CrenshawFrom the early days of John Lee Hooker to the heyday of Motown and beyond, Detroit has enjoyed a long reputation as one of the crucibles of American pop music. In Grit, Noise, and Revolution, David Carson turns the spotlight on those hard-rocking, long-haired musicians-influenced by Detroit's R&B heritage-who ultimately helped change the face of rock 'n' roll. Carson tells the story of some of the great garage-inspired, blue-collar Motor City rock 'n' roll bands that exemplified the Detroit rock sound: The MC5, Iggy Pop and the Stooges, Mitch Ryder and the Detroit Wheels, SRC, the Bob Seger System, Ted Nugent and the Amboy Dukes, and Grand Funk Railroad.An indispensable guide for rock aficionados, Grit, Noise, and Revolution features stories of these groundbreaking groups and is the first book to survey Detroit music of the 1960s and 70s-a pivotal era in rock music history....
|Title||:||Grit, Noise, and Revolution: The Birth of Detroit Rock 'n' Roll|
|Number of Pages||:||416 Pages|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
Grit, Noise, and Revolution: The Birth of Detroit Rock 'n' Roll Reviews
“Little white punks from the suburbs” playing “high output electronic music instruments.”OK, I confess. The quote is a complete fabrication, a hybrid of a revelation from SRC’s Gary Quackenbush spot welded to a line excised from a 1968 mandate from the city of Ann Arbor prohibiting live music in its parks in the wake of several free shows featuring the likes of Seventh Seal, the Up, and the Prime Movers. Apparently neighbors didn’t appreciate the noise. Go figure…But it cuts right to the quick of David A. Carson’s groundbreaking and impeccably researched treatise on Detroit’s storied, influential, revered and in some instances overblown rawk prototype, a timeline with stops at 1940’s blues, 1950’s R&B, and 1960’s Motown and garage before it all collapses under its own weight – not to mention a raft of drugs and repression from “the pigs” - in 1972.The two marquee names here are of course The MC5 and The Stooges, without whom this chronicle would have been much briefer and infinitely less engaging. If you’ve stumbled upon this URL, chances are you’re familiar with what both bands brought to the stage, studio, and county lock-up and any attempt on my part to canonize them further would be futile and completely unnecessary. Besides, Carson has it covered in spades.Beyond the frontlines, though, is what MC5 manager John Sinclair dubbed a “guitar army” of lesser known acts, at least outside of Wayne, Oakland, Washtenaw, and Genessee counties, looking for liberation from the path of least resistance to the auto plants and, in many cases, merely an opportunity to bay at the moon. With Marshall stacks. The contributions of The Amboy Dukes, Rationals, Bob Seger System, Mitch Ryder & The Detroit Wheels, Underdogs, Unrelated Segments, Third Power, The Frost, and The Up are no less important to what Carson has termed “the birth of the noise” than those bands on whom fate has been kinder, “kinder” being relative of course when it comes to the MC5 and The Stooges.Nearly 40 years on, Sinclair’s complicated wet dream of revolution in the streets of Detroit with the MC5 as his toy soldiers seems woefully misguided, hopelessly naïve, and completely out of the wheelhouse of a bunch of guys from Lincoln Park primarily consumed with smoking dope, dropping acid, and playing on “10.” But what do I know? When all of this began, I was a callow sixth-grader from the lily-white hamlet of Dearborn whose idea of subversion was a record with the word “motherfuckers” on it.The Stooges’ revolution was conducted on stage, their debut at the Grande Ballroom preceded by 15 minutes of an amplified, water-filled blender played through the PA followed by Iggy’s grand entrance in a nightshirt, whiteface, and an aluminum foil Afro wig. A vacuum cleaner, washboard, and golf cleats completed the stage crew’s “to do” list. Peanut butter, glass shards, and the habitual torture of Ron Asheton's wah pedal would come later. Although R&B and Berry Gordy’s Motown sound was an undeniable influence on nearly all of the above (the “nearly” thrown in for The Stooges’ benefit - who knows what they were thinking?), thankfully Carson doesn’t spend too much time belaboring the connection. Let’s face it – bookstore shelves are sagging beneath the collective weight of volumes dissecting the long shadow cast by Hitsville U.S.A. and the influence of R&B on rock ‘n’ roll in general. Do we really need another recap?Carson digs deeper into the story than just the bands, exploring the role of the audience, radio stations, managers, promoters, producers, and the vortex from which it all seemed to spiral out of control; the Grande Ballroom. Without the efforts of people like Jeep Holland, Dave Leone, Russ Gibb, and Robin Seymour, our story may well have played out with a much different coda and certainly a much quieter one. It’s tempting to describe “Grit, Noise, and Revolution” as definitive, but there’s simply nothing else out there to compare it to in terms of breadth, cheap, voyeuristic thrills and, above all, readability. I wonder if Carson can cozy up to the adjective “revolutionary”?
As a Michigander and life-long devotee of Detroit-area music, whether it be rock, Motown, techno, etc., this book was an enjoyable and informative read - with a few major caveats.For one thing, I have a hard time imagining that this book will appeal to many fans from outside of Michigan, excepting those with a seriously deep interest in Detroit rock music. Seeing as this book was first published in 2006, shortly following White Stripes-mania and the rock world's short-lived fascination with the Detroit "garage revival," I'm sure that many non-locals picked up this book hoping to dive into the Rust Belt mythologizing in which scene heads like Jack White love to indulge. Not only is there no mention whatsoever of Detroit rock after about 1975 (excepting short snippets in the epilogue), Carson does relatively little to contextualize why and how the Detroit rock scene of the late 60's/early 70's was so uniquely Detroit. Instead, he spends far too much listing mundane details that will appeal to few, namely, specific street addresses of notable venues and studios and exhaustive lists of band personnel. Keep in mind, I say this both as a resident of Detroit and a trivia tidbit addict, but even I started to skim certain sections. One minor peeve in this vein: Carson often mentions musicians fleetingly in what seems to be a kind of wink and nod to seriously committed Motor City rock fans, and then fails to follow up on what makes them interesting. The most notable example I can think of is session guitarist Dennis Coffey, who was and still is an innovator and impressive solo musician in his own right. Carson brings up his name multiple times throughout the book, but never really addresses who he is or why it matters, although he devotes plenty of space to early Michigan rock, doo wop, and R&B musicians whose legacies have almost completely been obscured by history.This leads me to my other major criticism of the book - the writing is, for the most part, agonizingly dry. This is perhaps not surprising, as this book is a publication of the University of Michigan Regional Press, but there is such little embellishment in describing the intensity of the Detroit scene that it almost fails to convey what a magical blip in space-time the whole thing was. That said, Carson is clearly a massive fan of the MC5, and the sections devoted to them are quite entertaining. One only wishes he could have mustered so much enthusiasm for the rest of his subjects.This brings me to my final complaint - George Clinton and Funkadelic are barely given any attention. Clinton's name pops up once or twice as a footnote, but Funkadelic (in my opinion, one of the top 2 or 3 Detroit-based rock bands of the era) receive about two paragraphs worth of coverage. Much love for the lesser-known bands covered here, but The Rationals and Mitch Ryder get at least a dozen pages apiece. I suppose that one could argue that Parliament/Funkadelic ultimately had more influence on funk and hip-hop than rock, but jeezus, Carson doesn't even mention the words Maggot Brain, which has got to be one of the most white hot and remarkable albums to ever have come out of Detroit!All of this probably sounds like I didn't really enjoy the book, which I did. But as a deep fan of this music and history, I can't honestly recommend this book to many people. If you are already as into this music as I am, you likely won't learn very much that will be new to you. If you aren't a serious fan of Detroit music already, this is likely to be about as thrilling as Bob Seger's recent collaborations with Kid Rock (which is to say, not at all). So while I appreciate the scholarship that went into this book and its value as a reference source, I can't say that it comes anywhere near close enough to truly capturing the manic intensity, humor, and sleaze that Detroit ejaculated into the American music scene in the 60's and 70's.
if you are a fan of the detroit & it's music scene, this book is a must-read. when i started reading this I really had no clue about the rich and vast pedigree that the motor city had when it came to music. my favorite part (of course) was about the MC5. and what better image for the cover than fred "sonic" smith. need i say that this book really can..KICK OUT THE JAMS, MOTHERF&*$ER!!!
Great book, but reads more like a history book or textbook... not nearly as entertaining as Please Kill Me or something a bit more narrative or first person. But this is still a must read for people interested in the history of Michigan's rock scene.
A great, quick read about the Detroit rock scene from the 1960s and 1970s. The book explores the changes taking place in the music scene, following the rise of bands like the MC5, the Stooges, Bob Seger, etc. A must for rock fans!
Having grown up in Detroit during the time this book covers, and having seen most of the bands mentioned, reading this was like coming home (the one you can't go again). Required reading for anyone interested in the development of rock during those seminal years.
It was great to relive those days.I was there in the middle of it all.I went to the Grande. I saw the bands.
If your at all interested in Detroit garage rock this is the definitive book.
Interesting history that is very complete.