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David Hepworth on the complicated affair between the US & the UK which drove rock music for 20 years
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- Опубліковано 14 вер 2020
- Mark Ellen talks to David Hepworth about his new book "Overpaid, Oversexed and Over There" which describes how British imitations came out from under the shadow of American originators in the early 60s, how a handful of acts from the UK went on to command the heights of the worldwide music industry, the things they learned, the things they taught and the transatlantic traffic in sounds and styles which led from the Beatles to Boy George. Also includes: the amazing story of the Dave Clark Five, the strange genius of the Animals, how the British invented the guitar hero, what the Stones learned in America, the bands that were built in the UK with the US in mind, why punk rock took years to detonate in America, the one thing that makes American music stars different from their British counterparts and the reason 2020 may turn out to be just like 1961.
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David's so right about the feelings you get on the first trip to the US. I went there solo in the late 70's and suddenly it was like I was walking the streets of the US TV programmes I had been watching for a number of years. Exciting and almost like a dream.
Great again men. your knowledge and memories are amazing. I"m the same age, can"t remember yesterday. your knowledge is priceless..... And you keep my memories alive.....🎼🎵🎶
Nobody writes more knowledgeably and wittily about rock music than David Hepworth and this new book is just the latest in a long line of absolute gems.
fantastic book series David! love all your books, always enjoy watching both you guys.. entertaining, informative and fun. music lovers unite! :)
Pre-ordered the audiobook as I’ve enjoyed David reading all the others. A chapter each bedtime is a nice way to end the day.
That was excellent. A good point every three minutes. Makes you think, and gives you the info to do so.
This is some great chat, the only thing missing is a few pints.
The insight provided by the author on this pc is just jawdropping. Easily the most engaging oh ANY pc I've heard on popular music in ages. Wow. Please. Consider one more book sold.
Really great insights, many thanks.
I absolutely love you chaps. Keep it up
Aw!
Top geezers!
I'm pretty safe to say this has been the most enjoyable podcast that you've done thus far. Great work.
I can vividly remember the sensory overload I felt when I first went to America (Miami, 1984, aged 15). Hamburger overload, too - I practically lived in Burger King. Cut out bins - records for 50c? Yes please! Record shops the size of my school? Bring it on! Traffic lights like in the movies. Cars the size of boats. People the size of boats. Seedy motels with flickering neon signs. Unforgettable.
In 1996, and 1997, I finally made it to London, after reading about the UK music scene. The Melody Maker, NME, Sounds, Record Mirror, and later Kerrang for PROG, and the MOJO starting in 1994!
My guides for the 1970's Classic and Prog rockers!
I was an angofile rocker basically since that Ed Sullivan Feb ,1964, aged 9 !
Some US stuff was alright, but no KING CRIMSON, YES, GENESIS, Procul, StrawbS, Gentle Giant, ELP, MOODIES, Floyd...
Still at it in 2021!
My first time in the Smoke I was quite shocked by the coin fed gas meter and coin operated phone in the actual gaff!
Really enjoyed this, fellas. So interesting. And I've read enough over the years to know the US was crying out for some fresh ideas and fun when the Fabs touched down at JFK, that being just a few months since Dallas the previous November. Those Liverpool lads had everything going for them, i.e. not only overwhelming talent musically but also their look, attitude, sense of humour and everything else that was thrown into the pot. Add in to that pot the sheer good fortune regards timing, I guess that made them unstoppable. Also, I've noticed over the years how many of the truly huge acts from America (Madonna, Prince, Michael Jackson and Springsteen) tended to be solo stars, yet the Brits big names tended to be groups. As you elude to in this video. All very interesting. Enjoy your channel a lot, guys, so thanks for the posts.
Wished I hadn't cleared out my copies of Word magazine...now have the time to read them all over again!Great chat cheers!
Very good insights there David but I do have to protest that we only had instrumental groups as we did have the Beach Boys. Otherwise I'm going to get the book and give it a read.
just put my order in.
Bless you.
@@davidhepworth May I ask if you have any plans to maybe do a word in your ear with Dr John Cooper Clarke? He has his autobiography coming out soon and I think he would fit right in on your vlog although I do believe though that he doesn't do technology. Keep up the great work and please let us have some more of you and Mark just chatting about music I love listening to the pair of you just nattering.
David & Mark, this endless banter on all things Rock & Pop music is such a delight, only in this truly original video cast can you hear lines like "fairy dust of Swinging London" "Dance Parlours" "Electric Ballrooms" "Morecambe Pavilion to Monteray"" even though Punk never really converted over to the U.S one can safely say as you point out America owned Rock N Roll and thus Britain always owned Punk!
Insubordination is an indelible British trait and as Johnny Rotten eloquently parodied "It's so hard to be noice"... The likes of Lennon, Bowie, Boy George delivering it in a more subtle version often going over the head of the interviewer (but not in Britain!)
My first trip to the U.S in 83 was like yourselves, solo and David you nailed when you say "It was like having a dream but in real life" there I was siting in Greenwich Village NYC absorbing it all in seeing all the characters from the likes of Kojak, Village People, Flashdance all around! To be a Brit visiting there riding on the wave of MTV was such an enjoyable delight😇
I loved Q, The Word and the books but guys you need to stay with this WIYA UA-cam format
It's priceless😎👍
Thanks for that, Steve. As for WIYA, we plan to keep going. Glad you like it!
😎👍
First off, I received my signed bookplate in the mail today, so a huge thanks to Mr. Hepworth for overlooking the additional postage cost to make an American reader's day today.
I was born in 1971 (Never A Dull Moment indeed), so while I missed the initial British Invasion, I was precisely the target demographic for early MTV. To David's point, the perceived "glamour" of the British bands in their videos was in stark contrast to the then-current crop of American chart-toppers. We basically had to choose between the largely faceless arena rock of Styx, REO Speedwagon, Foreigner, etc and the Urban Cowboy era of country crossover (presumably the truck drivers that David refers to during the show). We were utterly unprepared for Adam Ant, Human League, Duran Duran and Culture Club when they first appeared on our screens. While I suppose to native Brits, these "provincial" groups being deemed even remotely exotic may be amusing; but to us, they might as well have been from another planet, rather than simply another country. That sheer otherworldliness of the videos made the music itself almost superfluous; we were hooked in a way that most likely would not have happened without the visual aid. In fact, there are many songs of that era that, due to their heavy rotation on MTV are remembered as huge hits, but in reality only bothered the lower rungs of the US singles chart...the videos were that powerful.
Thanks to both of you for these life-saving podcasts, and, again, to Mr. Hepworth for the signed bookplate. I'm looking forward to both the next episode and to reading the book.
P.S. - You aren't too far off ... Kiss recorded a cover of the DC5's "Anyway You Want It' in 1977!!
Crikey. That's the postal service just showing off!
@@davidhepworth Happy that they're doing their part to try to keep the distance between us and you all a little closer than it was in 1962! Thanks again, good sir.
Great episode - I bought the book! The Pistols in America is like the Blues Brothers playing Bob's Country Bunker ;-)
Wasn't Satisfaction just a demo that the Stones expected to rerecord but the record company preferred it the way it was, and they were right.
Well getting to Punk the reason the Sex Pistols really didn't catch on is that those of us who were into that kind of music HAD the Ramons, why would we need anything else? And those of us who had memories longer than 5 min. knew we had Iggy and the Stooges, MC5 and the Texas International acts and the Fathers of Punk in the Sonics from Seattle in the early 60's. And you are right, why would we appreciate someone who wants to be entertained? So yes, Punk a la Sex Pistols did catch on later in the US but we had an earlier run 10+ years before it caught on in the UK.
One interesting thread running throughout, up to the inception of MTV, is that British artists seemed to have a greater visual impact than American ones. From the Beatles, Stones and The Who through Hendrix (an honorary Brit) to Bowie, Elton and Queen, there was more to look at, more of a show going on - a feast for the ears and eyes!
Promo films and movie clips were quite common on UK TV and 'popped' up on a range of British shows like Top of the Pops and Whistle Test.
American acts by contrast mostly wore denim or suits and didn't move around that much (James Brown and Alice Cooper being notable exceptions).
Not surprising then that the first music videos featured British artists and that these had a big impact on America when MTV first started.
Another exception would be Kiss who basically imported British glam rock and took it to another level. Interestingly, they never made as big an impact in the UK as they did in the States.
True @@richardjordansongs - Kiss made no impression in the UK whatsoever. Maybe because Glam was already out of fashion!
TV was always the route to making it in the UK. It was rarely the same in the US.
@@davidhepworth Yes. In Britain the 'scene' was that much smaller - hip, happening and groovy shows like Ready Steady Go were important for 'breaking' artists like The Who. In the huge American market, it was radio airplay that really counted, so what a group looked like hardly mattered!
Hugh Terry I think the relative scale of Britain and the USA is important in thinking about how bands make it. Because there are no time differences we have national radio that can break acts in all areas relatively quickly. With a few hours driving groups can play pretty much anywhere. The vastness of America means there is the potential for more localised scenes (a band can be huge on the East Coast but mean nothing in California). There is no weekly national music press in the States (there isn’t one here anymore either, but that’s another story) so there isn’t the same mad pressure to be constantly searching for and bigging up the next big thing. If a band pays its dues, tours all over and dresses in a way that’s acceptable from Tennessee to Arizona to New York State (long hair, denim, leather) then there is a fair chance of success in all those areas. I’m talking about the ‘classic rock’ era here, I’m far too past it to have a clue how things work nowadays.
Lads, I too can remember queing for weeks to see G.I. Blues, then the Young Ones at the Odeon, Maidstone. When the U.S. Press went along to interview The Beatles at their New York press converence. Expecting a group who had nothing to say , to be amazed when The Beatles took over. Do you remember The Rolling Stones on Ready Steady Go ( your weekends start here) with the ever lovely Cathy Mcgowan? In early 1968 The Who, Small Faces and Paul Jones had a sad tour Down Under. Not helped by giving the inpression that they couldn't be bothered. A strange thing (?) has occurred in the states. A lot of people have their own channel where they review records from different artists and decades. And a number of of female reviewers have discovered Cliff Richard and all his old songs that go all the way back in time. Maybe his time to be big in the states is still to come? Thanks for this. Cheers, Chris Perry.
It's never too late these days!
Regarding the final point about regaining some sort of similarity to bands breaking America as they did previously. That has not happened in many years now. The music business changed, you must have noticed. It was obvious 10 years ago when Glastonbury had to rotate the same half dozen bands - Radiohead, REM, Coldplay etc, because bands were not becoming massive anymore. Not a bad thing necessarily but clearly the end of a cycle as with, say skiffle or light entertainment.
I didn't mean to give the impression that I thought there might be a recurrence of UK bands breaking America in the present time. Rather I was trying to say that the current situation re-establishes some of the distance between the two countries that we felt in the early 60s.
Great chat. I was born in 1956 and was mad about pop music from the Mersey sound till I had kids in 1990. Good to hear all the old names and the context.
This is the first version of Satisfaction, mimed to on Shindig. Pretty good but sounds a bit flat. They redid it a few days later. ua-cam.com/video/FJVc0UpK3Z8/v-deo.html
The third wave of hairdressers.