Love Me Do!: "Beatles" Progress by Michael Braun (Graymalkin Media 1964)

The New Statesman printed an article by Paul Johnson called ‘The Menace of Beatlism’. He wrote that: ‘Bewildered by a rapidly changing society, excessively fearful of becoming out of date, our leaders are increasingly turning to young people as guides and mentors – or, to vary the metaphor, as geiger-counters to guide them against the perils of mental obsolescence.’ During the following week the paper received nearly 250 letters about the article. The correspondents were three to one against Mr Johnson, and one reader suggested he try monkey glands.

My British Invasion: The Inside Story on The Yardbirds, The Dave Clark Five, Manfred Mann, Herman's Hermits, The Hollies, The Troggs, The Kinks, The Zombies, and More by Harold Bronson (Rare Bird Books 2017)

Members of almost every English rock band of that time—The Beatles, The Rolling Stones, The Who, The Kinks, The Zombies, The Animals, The Yardbirds—had gone to art school. The Yardbirds and The Who even described their music as “pop art.” This exposure inspired progressive and creative concepts and helped to magnify and color the resulting sound. For instance, when The Who debuted their second single, “Anyway Anyhow Anywhere,” many were confused by the purposeful inclusion of feedback. Pete Townshend had attended Ealing Art College, as had Freddie Mercury, Ronnie Wood, and Thunderclap Newman’s John Keene. In interviews Pete kept referring to Gustav Metzger and his auto-destructive art as an influence. Other effects were more nuanced. At Hornsey College of Art and Crafts, Ray Davies watched people in train stations and sketched them. This helped shape his writing, where many of his songs, like “Waterloo Sunset,” placed him in the role of the detached observer.

The Hour of the Innocents by Robert Paston (Forge Books 2014)

The Army gave him a last fuck-you haircut on the way out. It made him look out of place even in the American Legion.

The vets who returned that year were different. I witnessed the change from the bandstand, week after week, from midnight on Saturday until three on Sunday morning. Their predecessors had come home from Nam, drained their GI savings to buy a Chevy Super Sport or a Plymouth Barracuda, and plunged into doomed marriages with high school sweethearts. Those former soldiers and Marines kept their hair as short as their tempers, got union cards through family connections, and shrugged off their years in uniform. When they came out to get drunk, the music was just background noise.

The Tet Offensive divided the past from the future. The vets who came home after that were as apt to buy a Harley as an Olds 442. They grew their hair—not hippie long, but defiant. Drugs arrived. And the new returnees asked us to play different songs. Instead of “Louie Louie,” they wanted numbers from the Doors or the Stones or Cream. The fights that spilled outside onto the sidewalk continued, but these weren’t the old collisions of tomcat pride. These fights were sullen. As if the vets were following orders they hated.

Matty Tomczik looked like a barroom brawler when he walked in.

He was defensive-lineman big, and that last military scalping had cut so close to his skull, you couldn’t be sure of the color of his hair. With a wide Polish face and a fist-stopper nose, he came across as one more dumb-ass coalcracker unsure of what to do with his limbs in public. Later, I learned that what 1 read as oafishness was a shyness so deep, it crippled him around women.

Matty was surrounded by women that night. Angela, the wife of our bass player and front man, led Matty in with a pack of her giggling friends, beauticians and candv-stripe nurses who recently had discovered marijuana. Angela’s long blond hair shone. A year before, when 1 first joined the band, she had worn a beehive and toreador pants. Now she had a San Francisco look, copied from magazines and complete with purple-lensed glasses she didn’t need.

The Leader by Gillian Freeman (J. B. Lippincott Company 1965)

"Fox?"

"Who's that? Jessop?"

"Yes. I'm at the house. It's happened."

"You mean Pearman?"

"You were quite right. He's played himself out. He's just taken an overdose. The ambulance is on its way."

"Why didn't you let him die?"

"What's the point? He's nothing. Nothing. Just pathetic. comic. Let them pump him out. Are you listening?"

"Yes."

"Well, we've got quite a salvaging job to do. I want you to handle the press. As soon as the ambulance men remove him, I'm going up to Birmingham. You can report to me there. All they need is the right leader."

The bell on the ambulance, growing louder, stopped outside the house. It was replaced by the urgent ringing of the doorbell. Jessop went to answer it.

The Magic Flute by Alan Spence (Canongate Press 1990)

'A long time,' said Malcolm. 'Folk change.' He looked about him, seemed edgy. 'Another pint?'

'Thanks,' said Brian. He watched Malcolm cross to the bar, amazed at the change in him, and at meeting him at all.

'Cheers! he said, as Malcolm brought the drinks over.

'Yeah.' The voice was as cold, noncommittal, as the hard stare.

'One of those coincidences, eh? What do they call it, synchronicity?'

'You mean us bumping into each other?'

'The thing is, I was just out seeing my folks and they mentioned George. Told me what happened to your dad. I was sorry to hear about it.'

'Were you?' The look made Brian uncomfortable. It was strangely detached, analytic. 'Just the fact of it I suppose. Somebody you knew. He was, now he's not. Dead as everybody else that's ever died. History. But the truth of it is he was a pompous old get and he's no great loss. If there's anything sad about it, it's what he did with his life.' He looked at Brian again. 'So, how you been wasting yours?'

'Teaching,' he said, then as some kind of justification added, 'Housing scheme. In Edinburgh.'

'An area of multiple deprivation no doubt!'

'It is actually.'

'So you turn out dole queue material. Or cannon fodder like Eddie Logan.'

'I do what I can within the system. Helped organise the strike over wages.'

'But essentially it's just one big control mechanism. And you've been programmed to keep it going.'

'So tell me something I don't know!'

'I always thought you had possibilities.'

'Hell of a sorry if I've disappointed you.'

'The old repressive tolerance trap. Gets just about everybody. You just said it. You settle for doing what you can within the system.'

'Well that's me summed up and dismissed. What have you been doing with your life?'

'This and that. Carrying on the struggle.' Again he looked around. 'Bastards are trying to nail me.'

'What for?'

'It's a long story. Right now I'm out on bail. That's why Mutt and Jeff over there are keeping an eye on me.'

Brian looked across at two men in the far corner, sitting, not talking. One middleaged, grey hair cut short in a fierce crewcut, the other younger, dark.

'I wouldn't stare,' said Malcolm. 'Probably arrest you for it.'

'Are they really watching you?'

'You think I'd make it up?'

Brian didn't answer. He had no way of knowing. This stranger spouting jargon at him might well be completely paranoid, psychotic.

Stalin Ate My Homework by Alexei Sayle (Sceptre 2010)

It was only slowly that I became aware of the power of swear words. It was a gradual thing, a creeping realisation that blossomed into full comprehension round about my second or third year at grammar school. I heard bigger boys or ones from rough homes using these special, explosive, forbidden expressions, and once the realisation of their power dawned I knew that swearing was a thing I wanted to be intimately involved in.

Once I had got the most powerful obscenities straight in my head I came home from school determined to try out their effect on my mother. Full of excitement, I sat at the dining table in the living room. Molly put my evening meal in front of me, but instead of eating it I said, ‘I … I … I don’t want that. It’s … it’s … it’s fucking shit!’ Then I sat back, waiting to hear what kind of explosion it would prompt. After all, I conjectured, if the bathroom sponge going missing for a few seconds could prompt a screaming fit from my mother, a paroxysm of grief that might involve weeping and howling and crying out to the gods of justice, then me saying ‘fuck’ and ‘shit’ was bound to provoke a tremendous reaction that would be heard at the back of the Spion Kop.

For a short while nothing happened as Molly considered what I had said in a calm and reflective manner. Then finally she said, ‘I don’t care if you eat it or not … but it’s not fucking shit and if you don’t fucking eat it I’m not going to fucking make you anything fucking else so you can fucking go and get your own fucking food in some other shit-fucking place you fucking little bastard shit fuck.’

After that day Molly rarely spoke a sentence without an obscenity in it, and I was often too embarrassed to bring school friends home because I was worried about them being offended by my mother’s foul language. 

(page 110)

And once they had finished buying old overcoats and worn out socks the Lascars could come to our stall and purchase copies of Lenin’s What Is to Be Done?, Karl Marx’s Grundrisse: Foundations of the Critique of Political Economy or Stalin’s History of the CPSU.

The stall itself had been made from an oak door that somebody had salvaged from a building site and was incredibly heavy — it took four of us to carry it the half-mile from the Simon Community hostel where it was stored. We didn’t know anybody who had a car. However, once we had put it up, Liverpool being the sort of place it was the stall did a reasonable amount of trade — better than some of the others that only seemed to sell twisted wire, broken fish tanks and rusted-up fuel pumps. There would always be some little old bloke in a flat cap coming up to us and saying, ‘Ere, son, do you have Friedrich Engels’ The Holy Family, the critique of the Young Hegelians he wrote with Marx in Paris in November 1844?’

‘No, but we do have Engels’ The Condition of the Working Class in England in 1844.’

‘Naww, I’ve already got that.’

‘Make a lovely Christmas present for a family member.’

‘Eh, I suppose you’re right there. Give us two copies then, son.’ 

(page 156)

The Notorious Byrd Brothers by Ric Menck (Continuum Books 2007)

I'm not sure of the exact reason Gary Usher chose "Artificial Energy" as the first track on The Notorious Byrd Brothers, but it sure sounds like that's exactly where it belongs. A few swift cracks of the snare drum and the arrangement instantly springs to life. It feels as if the band are so charged up they can hardly wait to count the song off and go. The instrumental approach is hard and aggressive, and stylistically it relates to the recently released "Lady Friend" in that a horn section is featured. But while "Lady Friend" comes off sounding all strident and regal, "Artificial Energy" has a darker edge. This is mostly due to the song's lyrical imagery, which deals with the horrors of amphetamine use. Strangely, whereas their 1966 single "Eight Miles High" was banned because it supposedly contained overt drug references, no one batted an eyelash when the Byrds actually did write an honest-to-God drug song.

In "Artificial Energy" the song's protagonist takes his "ticket to ride" (okay, there's a drug reference and a Beatles reference all rolled into one), and sits alone waiting for it to take effect. Slowly he feels an "artificial energy" welling up inside, but as the drug takes hold something horrible happens. Instead of achieving some kind of enlightenment, our hero ends up losing control and, in the song's stark final imagery, kills a homosexual and winds up being thrown in jail.

A Serious Man (2009)

John and Mary (1969)

Taking Woodstock (2009)

Shampoo (1975)

The Boat That Rocked (2009)