The British Invasion Vol.1 - The History Of British Rock (Complilation Album) (Maj 2024)
British Invasion, glasbeno gibanje sredi šestdesetih let prejšnjega stoletja, sestavljeno iz britanskih rokenrol skupin, katerih priljubljenost se je hitro razširila na ZDA.
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Trijumfalni prihod Beatlov v New York City 7. februarja 1964 je odprl vrata Amerike bogastvu britanskega glasbenega talenta. Tisto, kar bi sledilo, bi bila po volji prevzete kolonije imenovana druga britanska invazija. Tako kot njihovi čezatlantski kolegi v petdesetih letih prejšnjega stoletja je tudi britanska mladina svojo prihodnost slišala v neokusnih ritmih in sugestivnih besedilih ameriškega rokenrola. Toda začetni poskusi ponovitve tega niso bili uspešni. Manjkajoč avtohtonim osnovnim sestavinam - ritmu in bluesu ter country glasbi rock and rolla, lahko navdušenci prinesejo le objokovanje britanskega okrasja in divote. Edini znak življenja je bilo noro skrite puhlice poznih petdesetih let, ki jih je vodil Škot Lonnie Donegan. Skupine s skifliji (na primer Beatlesi, ki so izstrelili kamnolome) so bili akustični ansambli za kitaro in banjo brez bobnarja, vrhovi vrtov,ki so najpogosteje peli tradicionalne ameriške ljudske pesmi, pogosto z več duha kot instrumentalno poljsko.
Do leta 1962, ki jih je v glasbi Chucka Berryja, Elvisa Presleyja, Little Richarda, Eddieja Cochrana, Buddyja Hollyja, Jamesa Browna in Muddyja Watersa spodbudil kdorkoli lahko igra populizem skiffle in samouki, so nekateri britanski najstniki imeli resnično občutek za rock-and-roll idiom. Z mešanjem lokalnih tradicij, kot so dancehall, pop in keltski folk, so oblikovali izvirno glasbo, ki bi jo lahko prepričali, igrali in prepevali prepričljivo. Mlade skupine z električnimi kitarami so začele izvajati in pisati up-tempo melodični pop, ognjeni rock and roll in električni blues v slogu Chicago.
Liverpool became the first hotbed of the so-called “beat boom.” With the Beatles, other exuberant male quartets such as the Searchers, the Fourmost, and Gerry and the Pacemakers—plus the quintet Billy J. Kramer and the Dakotas—launched “Merseybeat,” so named for the estuary that runs alongside Liverpool. The Beatles first reached the British record charts in late 1962 (shortly after the Tornados’ “Telstar,” an instrumental smash that sent word of what was in store by becoming the first British record to top the American singles chart); the rest joined the hit parade in 1963.
Rock swept Britain. By 1964 Greater London could claim the Rolling Stones, the Yardbirds, the Who, the Kinks, the Pretty Things, Dusty Springfield, the Dave Clark Five, Peter and Gordon, Chad and Jeremy, and Manfred Mann. Manchester had the Hollies, Wayne Fontana and the Mindbenders, Freddie and the Dreamers, and Herman’s Hermits. Newcastle had the Animals. And Birmingham had the Spencer Davis Group (featuring Steve Winwood) and the Moody Blues. Bands sprang up from Belfast (Them, with Van Morrison) to St. Albans (the Zombies), with more inventive artists arriving to keep the syles moving forward, including the Small Faces, the Move, the Creation, the Troggs, Donovan, the Walker Brothers, and John’s Children. While the beat boom provided Britons relief from the postimperial humiliation of hand-me-down rock, the Beatles and their ilk brought the United States more than credible simulations. They arrived as foreign ambassadors, with distinctive accents (in conversation only; most of the groups sang in “American”), slang, fashions, and personalities. The Beatles’ first film, A Hard Day’s Night (1964), further painted England as the centre of the (rock) universe. American media took the bait and made Carnaby Street, London’s trendy fashion centre in the 1960s, a household name.
From 1964 to 1966 the United Kingdom sent a stream of hits across the Atlantic. Behind the conquering Beatles, Peter and Gordon (“A World Without Love”), the Animals (“House of the Rising Sun”), Manfred Mann (“Do Wah Diddy Diddy”), Petula Clark (“Downtown”), Freddie and the Dreamers (“I’m Telling You Now”), Wayne Fontana and the Mindbenders (“Game of Love”), Herman’s Hermits (“Mrs. Brown You’ve Got a Lovely Daughter”), the Rolling Stones (“[I Can’t Get No] Satisfaction” and others), the Troggs (“Wild Thing”), and Donovan (“Sunshine Superman”) all topped Billboard’s singles chart. These charming invaders had borrowed (often literally) American rock music and returned it—restyled and refreshed—to a generation largely ignorant of its historical and racial origins. In April 1966 Time magazine effectively raised the white flag with a cover story on “London: The Swinging City.” Peace quickly followed; by the pivotal year 1967 a proliferation of English and American bands were equal partners in one international rock culture.
