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Progressive rock and psychedelic coding in the work of Jimi Hendrix

  • Sheila Whiteley
Extract

Discussion of the 1960s generally identifies progressive rock as the prime organ of communication within the counter-culture. At the same time, musical analysis of the genre is an underdeveloped field of study, including only an identification of musical characteristics (Willis 1978), Mellers' analysis of the Beatles (1973) and Middleton and Muncie's analysis of five representative songs in the Open University's course, Popular Culture (1981). As a particularly heterogeneous genre (compared with, for example, rock 'n' roll and r&b), definitions of progressive rock equally raise problems: to what extent does the variety of styles reflect the variety of radical movements contained within the overall term counter-culture; alternatively, given the variety of styles, can progressive rock be considered a single phenomenon and, if so, to what extent does it have musical codes in common?

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References
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Brown, H. and Pearce, D. 1978. Jimi Hendrix (London)
Fort, J. 1969. The Pleasure Seekers: the Drug Crisis, Youth and Society (New York)
Frith, S. 1978. The Sociology of Rock (London)
Gillett, C. 1970. The Sound of the City (London)
Mellers, W. 1973. Twilight of the Gods (London)
Melody Maker, 1967
Middleton, R. and Muncie, J. 1981. ‘Pop culture, pop music and post-war youth: countercultures’, in Politics, Ideology and Popular Culture (1) (Popular Culture, Unit 20) (Milton Keynes)
Pidgeon, J. 1976. Eric Clapton (London)
Willis, P. 1978. ‘The Creative Age’, Profane Culture (London)
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Popular Music
  • ISSN: 0261-1430
  • EISSN: 1474-0095
  • URL: /core/journals/popular-music
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