Get Canuck Rock: A History of Canadian Popular Music PDF

By Ryan Edwardson

The bet Who. Gordon Lightfoot. Joni Mitchell. Neil younger. Stompin' Tom Connors. Robert Charlebois. Anne Murray. Crowbar. Chilliwack. Carole Pope. Loverboy. Bryan Adams. The Barenaked girls. The Tragically Hip. Céline Dion. Arcade hearth. K-oS. Feist. those musicians are nationwide heroes to generations of Canadians. yet what does it suggest to be a Canadian musician? And why does nationality even subject? Canuck Rock addresses those questions via delving into the myriad relationships among the folks who make tune, the industries that produce and promote it, the radio stations and executive laws that make sure availability, and the lovers who devour it and make it their own.

a useful source and an soaking up learn, Canuck Rock spans from the emergence of rock and roll within the Fifties via to trendy foreign recording undefined. Combining archival fabric, released money owed, and new interviews, Ryan Edwardson explores how song in Canada turned Canadian music.

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Extra resources for Canuck Rock: A History of Canadian Popular Music

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So when I heard rock ’n’ roll for the first time it was both dangerous and exciting. ’20 His encounters with rock and roll were made all the more exciting by the lack of segregation in local venues. According to Allen, ‘people like Little Richard, James Brown, the Ike and Tina Turner Review etc. performed here to an integrated audience where they couldn’t do that in some states. ’21 Yet Allen was only partially correct in his assessment of authenticity. Black artists were able to perform in front of white audiences in Vancouver, but, more critically, the shows were racially skewed in a different way.

We wound up having to go to the St. ”’13 Cole’s success, limited as it was, was an abnormality. Careers for black musicians were primarily limited to live performances and recordings made by entrepreneurs sold through specialty retail outlets. B. King. Similarly, the duo of Phil and Leonard Chess of Chess Records in Chicago helped establish Muddy Waters, Little Walter, and Howlin’ Wolf. 14 Tellingly, Billboard tracked the music in a separate ‘race records’ chart. Crossovers between the two industries began to appear in the early 1950s as white youths started to dial into radio stations that broadcasted to predominantly black audiences.

Nor did Mac Reynolds’s warnings about the predatory nature of Elvis prevent 16,000 fans from attending the concert. Still, the Vancouver Sun was able to justify its words of warning after the police told Elvis to leave the stage after performing only four songs. The fact that the show’s abrupt end contributed to, if not precipitated, the chaos that followed went unnoted by the Sun. ’ Kirkwood, the same reporter who a year earlier had condemned Bill Haley and His Comets, offered an even more scathing portrayal of rock and roll: Vancouver teen-agers [were] transformed into writhing, frenzied idiots of delight by the savage jungle beat music.

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