Below: The picture of earth from the Moon, July 1969.

On 20 July 1969 human beings stepped onto the surface of the moon, in one giant leap for mankind.

A Giant Leap of Imagination:

I was just twelve years old when the Apollo 11 lunar module landed on the moon. I remember the event very clearly, being allowed to stay up to watch on our small, black and white television. The whole event was in black and white for everyone on earth, as colour television transmissions did not begin until the following year when we went round to a friend’s house to watch the Football World Cup via satellite from Mexico.

Looking back over those fifty years, it’s interesting to see how much of popular culture on both sides of the Atlantic has been influenced by that event, and the subsequent two Apollo landings of the seventies. Before 1969, most classical compositions and popular song lyrics referenced the moon and the stars in the romantic terms of ‘moonlight’ and ‘Stardust’, even Sinatra’s ‘Fly me to the Moon’. These metaphors continued afterwards, but they were joined by a growing genre of songs about ‘rocketmen’ and space and time exploration which had begun in the early sixties with TV series like ‘Fireball XL-5’, ‘Dr Who’ and ‘Star Trek’.

Gradually, Science Fiction literature and films took us beyond cartoonish ‘superhero’ representations of space and HG Wells’ early novels until, by the time I went to University, ‘Star Wars’ had literally exploded onto the big screens and was taking us truly into a new dimension, at least in our imaginations.

The Dawning of a New Age?

The ‘Age of Aquarius’ had begun on earth as well, with rock musicals, themed albums and concerts, and ‘mushrooming’ festivals under the stars providing the soundtrack and backdrop to the broadening of minds and horizons. Those ‘in authority’ were not at all tolerant of the means used by some to help broaden these horizons and, in those days, these mass encampments were not always seen as welcome additions to the rural landscape and soundscape. Many evangelical Christians were suspicious of the ‘New Age’ mysticism embraced by the Beatles, the outrageous costumes and make-up of David Bowie and Elton John, and the heavy rock music of a series of bands who made use of provocative satanic titles and emblems, like ‘Black Sabbath’. But some, like Larry Norman and ‘The Sheep’, decided to produce their own parallel ‘Christian Rock’ culture. The first Christian ‘Arts’ Greenbelt Festival was held on a pig farm just outside the village of Charsfield near Woodbridge, Suffolk over the August 1974 bank holiday weekend.

My Christian friends and I, having already seen the musical Lonesome Stone in Birmingham, made the trek across the country to discover more of this genre. Local fears concerning the festival in the weeks running up to it proved to be unfounded, but the festival didn’t return to the venue. We, on the other hand, were excited and enthused by what we saw and heard.

The ‘mantra’ we repeated when we got home to our churches was William Booth’s question, voiced by Larry, Why should the devil get all the best tunes? We wrote and performed our own rock musical, James (a dramatisation of the Book of James) touring it around the Baptist churches in west Birmingham, a different form of evangelism from that of Mary Whitehouse and her ‘Festival of Light’. One of our favourite songs was Alpha and Omega:

He’s the Alpha and Omega,

The Beginning and the End,

The first and last,

Our eternal friend.

Another of their ‘millenarian’ songs, Multitudes, also emphasised the importance of the Day of the Lord, which seemed to chime in well with the ‘nuclear age’ and the Eve of Destruction songs of Bob Dylan and Barry McGuire, among others.

Sun, Moon and Stars in their Courses Above:

But though we began to sing new songs, much of this revivalist spirit still owed its origins and source of inspiration to the 1954 North London crusade of Billy Graham, and the hymns associated with it. Great is Thy Faithfulness, written in the USA in the early 1920s, really owes its popularity in Britain to its use by the Billy Graham Crusade (pictured right).

It took some time to for it to find its way into the hymnbooks in Britain, but it now stands high in the ‘hit parade’, ranking fourth in the 2002 BBC Songs of Praise poll. It has much in common with our other hymn, How Great Thou Art, which was the most popular and probably still is, thanks to recent recordings. Both hail from the early part of the twentieth century and both display a strong emphasis on creation and nature, which have become dominating discourses by the early part of the twenty-first century.

Great is Thy Faithfulness is the work of Thomas Chisholm (1866-1960), a devout Methodist from Kentucky who worked successively as a journalist, a school teacher and a life-insurance agent before becoming ordained. He wrote the verses in 1923 and later reflected that there were no special circumstances surrounding their writing and that he was simply expressing his impressions of God’s faithfulness as recounted in the Bible. Yet, as Tom White has written recently in his book on Paul, our ‘justification’ as Christians is not the result of our own ‘little faith’ so much as the great faithfulness of God as revealed in his son, Jesus Christ. Chisholm sent his poem, along with several other poems, to his friend and collaborator William Runyan (1870-1957), a fellow Methodist who achieved considerable fame in the USA as a composer of sacred music and gospel songs.

Its early popularity in the USA was partly the result of its promotion by Dr Will Houghton, president of the Moody Bible Institute in Chicago (pictured right), who used it frequently both in the services he took and on his radio broadcasts on WMBI. George Beverly Shea, first as a singer on the station’s early morning programme, Hymns from the Chapel, and then as the lead singer at Graham’s rallies, also helped to popularise the hymn across America.

The opening verse is based directly on scriptural affirmations about God. Lamentations 3.22 and 33 proclaim that His compassions fail not; they are new every morning: great is thy faithfulness, and James 1.17 declares that every good gift and every perfect gift is from above, and cometh down from the Father of lights, with whom there is no variableness, neither shadow of turning:

Great is thy faithfulness, O God my Father,

there is no shadow of turning with thee;

thou changest not, thy compassions they fail not,

as thou hast been, thou for ever wilt be!

 

Great is thy faithfulness! 

Great is thy faithfulness!

Morning by morning new mercies I see;

all I have needed thy hand hath provided –

great is thy faithfulness, Lord unto me!

 

Summer and winter, and spring-time and harvest, 

sun, moon and stars in their courses above,

join with all nature in manifold witness

to thy great faithfulness, mercy and love.

Inspired by a Summer Evening in Sweden:

The second verse places the individual Christian in the context of the wider creation and emphasises the interdependence of the whole created order under its creator. This is the theme which is taken up in How Great Thou Art.

According to the 2002 Songs of Praise poll, this is Britain’s favourite hymn, and readers of the Catholic weekly, The Tablet, voted it third in their list of top ten hymns in 2004. Like Great is Thy Faithfulness, it owes much of its popularity to its extensive use in the Billy Graham crusades of the 1950s. But prior to that, the hymn owes its origins to a trail leading from Sweden to Britain via central-eastern Europe. The words in English are a translation of a Swedish poem, O store Gud, by Carl Boberg (1859-1940), an evangelist, journalist and for fifteen years a member of Sweden’s parliament. He was born the son of a shipyard worker on the south-east coast of Sweden. He came to faith at the age of nineteen and went to Bible School Kristinehamn. He returned to his native town of Monsteras as a preacher and it was there in 1886 that he wrote his nine-verse poem, inspired to praise God’s greatness one summer evening while looking across the calm waters of the inlet. A rainbow had formed, following a storm in the afternoon, and a church bell was tolling in the distance. Translated literally into English, the first verse of his poem reads:

O Thou great God! When I the world consider

Which Thou hast made by Thine almighty Word;

And how the web of life Thy wisdom guideth,

And all creation feedeth at Thy board:

Then doth my soul burst forth in song of praise:

O Thou great God! O Thou great God!

Boberg’s verses were set to music in 1891 and appeared in several Swedish hymnbooks around the turn of the century. An English translation was published in 1925 under the title O Mighty God, but never really caught on. Earlier, in 1912, a Russian version by Ivan Prokhanoff had appeared. This was almost certainly made from a German translation of the original Swedish hymn. The English translation was the work of British missionary and evangelist, Stuart K Hine (1899-1989), who heard it being sung in Russian in western Ukraine, where he had gone in 1923. After singing the hymn in Russian for many years, Hine translated the first three verses while continuing his missionary work in the Carpathian mountains in the 1930s. The scenery there inspired his second verse which draws little from Boberg’s original poem while remaining true to its general spirit of wonder at God’s creation:

O Lord my God, when I in awesome wonder

Consider all the works Thy hand hath made,

I see the stars, I hear the mighty thunder,

Thy power throughout the universe displayed:

Then sings my soul, my saviour God, to Thee,

How great Thou art! How great Thou art!

(x 2)

When through the woods and forest glades I wander

And hear the birds sing sweetly in the trees:

When I look down from lofty mountain grandeur,

And hear the brook, and feel the gentle breeze;

When are we Going to go Home?

Stuart Hine wrote the fourth verse of his hymn when he was back in Britain in 1948. In that year more than a hundred thousand refugees from Eastern Europe streamed into the United Kingdom. The question uppermost in their minds was When are we going home?  In an essay on the history of the hymn, Hine wrote:

What better message for the homeless than that of the One who went to prepare a place for the ‘displaced’, of the God who invites into his own home those who will come to him through Christ. 

Contrasting with a third verse which is about Christ’s ‘bearing’ of our individual burdens of sin on the cross, the final verse is about our places among the multitudes on the ‘last day’, just like the mass of homeless refugees finding a temporary home in Britain:

When Christ shall come with shout of acclamation

And take me home – what joy shall fill my heart!

Then shall I bow in humble adoration

And there proclaim, my God, how great Thou art! 

Seventy years ago, Stuart Hine published both the Russian and the English versions of the hymn in his gospel magazine Grace and Peace in 1949. O Lord My God rapidly caught on in evangelical circles both in Britain and the UK, as well as in Eastern Europe, despite the oppression of the churches by the Soviet-style communist régimes which were taking control of the states where the hymn was first heard. The Hungarian Baptist Hymnbook contains a translation by Balázs Déri (born in 1954):

The hymn has been regularly sung in Hungarian Baptist Churches in recent decades, but it’s popularity probably stems, not so much to its sub-Carpathian origins, but to George Beverly Shea (below), the leading vocalist in Billy Graham’s evangelistic team, who was given a copy of it during the London crusade at the Haringey Arena in 1954. It became a favourite of Shea, the team’s choir director, Cliff Barrows and Graham himself, who wrote of it:

The reason I liked “How Great Thou Art!” was because it glorified God: it turned a Christian’s eyes toward God rather than upon himself, as so many songs do.

The hymn is still sung, universally, to the beautiful Swedish folk-melody to which Boberg’s original verses were set in 1891. It was the tune that I first fell in love with as a boy soprano when my Baptist minister father introduced my contralto sister and me to the hymn as our entry as a duet into the west Birmingham Baptists’ Eisteddfod (Festival of Arts), which was held during the same year as the lunar landing, my first year of secondary school (1968-69). Looking back, I’m convinced that it was my father’s involvement in the Billy Graham campaign as a young minister in Coventry which encouraged his love of the hymn. When it was sung by the congregation at his second church in Birmingham, he would always provide his own accompaniment on the piano, ensuring that the organist and the congregation did not ‘drag’ the tune and that it kept to a ‘Moody’ style, as in the days of the Graham Crusade.

Its reference to ‘the stars’ as evidence of the works thy hand hath made, inserted by Hine, anticipated the sense of awe and wonder experienced by the astronauts onboard the Apollo missions. Both the words and the music have continued to captivate soloists and congregations alike. Elvis Presley released his version of it, and more recently my favourite Welsh singers, Bryn Terfel, Katherine Jenkins and Aled Jones have also recorded their renditions. It was certainly a favourite of the Baptist congregations I regularly joined during my days as a student in Wales in the seventies, though they had many wonderful tunes of their own, including Hyfrydol, meaning just that. Most recently, the Mormon group, The Piano Guys recorded their ‘crossover’ instrumental version of it on their Wonders album, appropriately combining it with Ennio Morricone’s haunting composition for the film, The Mission, with Jon Schmidt at the piano and Steven Sharp Nelson on cello.

  

Alpha & Omega – In the Beginning and At the End:

For the astronauts on the Apollo 11 Mission, the landing was a profoundly spiritual event, according to their own testimony. They read from the gospel and even celebrated communion (see below). On Sunday (14th July 2019), a service from Leicester Cathedral to mark the 50th anniversary of the Moon landings was broadcast on the BBC under the title The Heavens are telling the glory of God. The service celebrated the achievement of the Apollo 11 Mission and asked whether the ‘giant leap’ has made us more, or less aware of our own human limitations and of our longing for God. It was led by the Dean of Leicester, the Very Reverend David Monteith, with contributions from staff at the National Space Centre and Christians involved in Astrophysics and Space Science. The Cathedral Choir led the congregation in hymns including Great Is Thy Faithfulness and The Servant King.

The Servant King is one of many worship songs written by Graham Kendrick (born 1950), the son of a Baptist pastor, M. D. Kendrick. Graham Kendrick (pictured right, performing in 2019) began his songwriting career in the late 1960s when he underwent a profound religious experience at teacher-training college. This set him off on his itinerant ministry as a musician, hymn-writer and worship-leader. After working in full-time evangelism for Youth for Christ, with which I had been involved in Birmingham, in 1984 he decided to focus all his energies on congregational worship music. He has also become closely associated with the Ichthus Fellowship, one of the largest and most dynamic of the new house churches to emerge from the charismatic revival.

His most successful musical accomplishment is his authorship of the song, Shine, Jesus, Shine, which is among the most widely heard songs in contemporary Christian worship worldwide. His other songs, like Meekness and Majesty, have been primarily used by worshippers in Britain. Although now best known as a worship leader and writer of worship songs, Graham Kendrick began his career as a member of the Christian beat group Whispers of Truth (formerly the Forerunners). Later, he began working as a solo concert performer and recording artist in the singer/songwriter tradition. He was closely associated with the organisation Musical Gospel Outreach and recorded several albums for their record labels. On the first, Footsteps on the Sea, released in 1972, he worked with the virtuoso guitarist Gordon Giltrap. In 1975 and 1976, he was one of the contributing artists at the second and third Greenbelt Arts Festival at Odell Castle in Bedfordshire. I was present at both of these, and also attended the fortieth, a much bigger event, at Cheltenham (see below) in 2013 where I watched him perform again.

Until the advent of Shine Jesus Shine, The Servant King was Graham Kendrick’s most popular song and is still one of the top 10 songs in the CCL (Church Copyright Licence). It was also voted 37th in the 2002 Songs of Praise poll. Written to reflect the theme for the 1984 Spring Harvest Bible teaching event and the Greenbelt Festival later that year, it illustrates Graham’s willingness to research a theme using concordances, commentaries and other biblical research tools. He found the theme very inspiring:

It was a challenge to explore the vision of Christ as the servant who would wash the disciples’ feet but who was also the Creator of the universe.

He wrote both the words and the tune, as with virtually all of his songs, first picking out the tune on the piano at home. It is a short and simple hymn which yet has a wonderful theological sweep and depth. The song is based on an incarnational root and is one of the few songs I know that can be used in worship at Christmas and Easter, and at any time between the two as a call to renewed commitment and discipleship. Its opening line is very reminiscent of Martin Luther’s Christmas hymn, From Heaven Above to Earth I Come, and it goes on to cover the agony of Jesus in the garden of tears and his crucifixion and calls on us to serve him as he did his disciples. I remember a Good Friday ‘service of nails’ in which it featured. It begins with the incarnation – From heaven you came, helpless babe – and progresses to one of Graham’s most poignant lines: Hands that flung stars into space to cruel nails surrendered:

From heaven you came helpless babe
Entered our world, your glory veiled
Not to be served but to serve
And give Your life that we might live

This is our God, the Servant King,

He calls us now to follow him,

To bring our lives as a daily offering

Of Worship to the Servant King.

Come see His hands and His feet
The scars that speak of sacrifice
Hands that flung stars into space
To cruel nails surrendered

It reminds us of the timeless nature of the acts of creation, incarnation and reconciliation, and of the inextricable link between them. Jesus is Alpha and Omega, his hands flinging stars into space, but then enters human time as a helpless babe, with the same hands being used to pin him to the cruel Roman gibbet in a once and for all act of atonement of the whole created order, fallen and the restored. For me, the final lines are among the most poignant and poetic of any hymn or worship song. It is also worthy to stand alongside the great classics of evangelical hymnody by Isaac Watts and Charles Wesley. It is more of a contemporary hymn in this classical tradition than a worship-song. It is addressed to Christ, and both its verses and chorus are cast in strophic, metrical form. Kendrick’s tune is also an unmistakably modern idiom and the resulting hymn does not ‘dumb down’ in terms of its theological subtlety and profundity. Neither does it suffer from the excessive individualism of so many contemporary worship songs. Like Great is Thy Faithfulness and O Lord My God, When I in Awesome Wonder, The Servant King places the paradox of greatness and sacrifice at the centre of the Christian religion as a truly universal faith and practice. Like his Meekness and Majesty, this hymn effectively points up the central paradox that Jesus is both king and servant, priest and victim: the one whose weakness is strength and who conquers through love.

Sources:

Ian Bradley (2005), The Daily Telegraph Book of Hymns. London: Continuum.

Wikipedia articles and pictures (Apollo 11).

Greenbelt memorabilia & DVD.

The Piano Guys, Wonders, album artwork, 2014. THEPIANOGUYS.COM.

 

 

Sexual Freedom & Women’s Liberation:

The ‘cultural revolution’ had a profound effect on sexual behaviour in general, and on women in particular. Sex before marriage became less taboo (one-third of young women were pregnant when they married), and there was a general feeling of increasing sexual freedom at various levels in society, which was made a reality through the advent and growing availability of the contraceptive pill from 1962. Women’s liberation also took off, leading to the victory of the Equal Pay Act in 1970. Until that, equal rights and feminism only really touched the surface. There was still a long road to travel on this, however. Too many workplaces were utterly unwelcoming of women wanting work. Too many memoirs recount the gross sexism of the new rock stars, not to mention the abuse of young women and children by a small number of prominent pop celebrities, more recently uncovered in police investigations. ‘The Pill’ might have arrived, and the Abortion Act became law in 1967, but this was still a time of ‘unwanted’ pregnancies, ‘unmarried’ mothers and gross domestic violence being administered by drunken men. Yet the philosophical principles of egalitarianism were gradually weaving their way into social change. Traditions of submission and obedience, together with hierarchies of class and gender based on medieval property rights, industrial capital and imperial administration, began to wobble and dissolve into a society which was more dilute and porous. This was not so much because ‘revolutionaries’ ushered in an age of personal freedom, but more generally because it suited a new economic system based on consumer choices.

In domestic life, two-thirds of families acquired labour-saving devices such as refrigerators and washing-machines. There was a growing ‘snappiness’ and lightness of design, in everything from the cut of clothing to the shape of cars, an aesthetic escape from the gravitas of the post-war period of austerity. But among the population as a whole this was a gradual transformation, experienced in a continuum, not as a revolution. The process was somewhat accelerated among the younger generation.  The real earnings of young manual workers had grown rapidly in the early sixties, creating a generation who had money to spend on leisure and ‘luxury’ goods. The average British teenager was spending eight pounds a week on clothes, cosmetics, records and cigarettes. In London, King’s Road and Carnaby Street became the haunts of this generation. Their attitude is summed up by the designer Mary Quant, whose shop Bazaar in King’s Road, provided clothes…

… that allowed people to run, to jump, to leap, to retain their precious freedom. 

Quant had been cutting up lengths of cloth bought over the counter and selling them at Bazaar since the mid-fifties. Her iconoclastic style involved drawing, slicing and sewing up a uniform that parodied the pleated, padded, extravagant clothes of the Old New Look designers. In doing so, she was taking on the fashion industry of Paris and the West End from her bedsit and tiny shop. Quant’s shockingly short mini-skirts, named after the car she loved, were offensive enough for the occasional brick to be lobbed at her window. She always claimed that she was trying to free women to be able to run for a bus. But it was the sexual allure that shocked. Michael Caine later recalled taking his mother down the King’s Road to see what all the fuss was about:

I said, “here’s one now”, and this girl walks by with a mini up to here. She goes by and my mother looked at her. So, we walk on a bit. She never said a word. So I said, what do you think, mum? She said: “If it’s not for sale, you shouldn’t put it in the window.”

Clothes became the outward symbols of the ‘Chelsea Set’ of which Caine was a fully paid-up member, as was Quant. But Quant’s fashions were as exclusively priced as the ‘Set’ itself. ‘Biba’, an iconic symbol, promised liberation for women and girls, but liberation through spending. Its founder, Barbara Hulanicki was a girl from an exiled family, born before the war, brought up in British-controlled Palestine and then raised by a ‘bohemian’ aunt in Brighton, before going to art school. She then launched a mail order company with her husband. Biba, named after her younger sister, aimed to offer glamorous clothing at cheap prices. She had been mesmerised by Audrey Hepburn (above and below), her shape; long neck, small head, practically jointless, and her first top-selling design was a pink gingham dress like the one worn by Brigitte Bardot at her wedding.

Her succession of boutiques were dark, chaotic spaces in which customers could lose themselves, pick up and try on, discard and collect, and sometimes steal, a great gush of new designs which seemed to change every week. The clothes were run up at high-speed in the East End and ferried to the boutique (below) several times a week. Turnover was spectacular and soon celebrities were beating a path its door, mixing with shorthand typists and schoolgirls to buy Biba designs – Mia Farrow, Yoko Ono, Princess Anne, Raquel Welch and even Bardot herself. As one Biba admirer said, it was helping to create the concept of shopping as an experience, a leisure activity for the young. George Melley, jazz singer, writer and professional flamboyant called it a democratic version of Mary Quant. Hulancki herself said that she always wanted to get prices down, down, down, to the bare minimum. The cheapness and disposability of the clothes was shocking to an older Britain in which millions of families had been used to make do and mend, followed by making their own clothes, buying patterns from Woolworth’s and sewing them by hand, or using a new electric sewing machine, or knitting woollen dresses and jerseys. Biba was the beginning of the throw-away consumer culture applied to clothing, and though it would present moral dilemma later, in the sixties it simply provided freedom for millions of young single women, career girls about town, who, as yet, had not been shaped by motherhood.

Pop Music and Popular Culture:

Another symbol was popular music. Before ‘pop’ the dominant popular music styles produced low profits. Most public music was live; piano and banjo players on music-hall stages, the star singers and then eventually the big bands of the dance halls and the smoky subculture of ‘jazz’. Sheet-music made big money for talented composers like Ivor Novello and stage stars like Harry Lauder. Gramophone record sales had kicked off with recordings of early twentieth-century opera stars but the invention of the modern microphone in the twenties had then changed popular singing, allowing intimacy and variety of a new kind. The recording industry brought Louis Armstrong, the Ink Spots, Vera Lynn and the crooners of many West End musicals to millions of homes before pop. By the end of the fifties there were four major British recording companies: EMI, Decca, Pye and Philips. Most of their profits came from classical music or comic recordings, like those of Flanders and Swann. It was with the spread of seven-inch forty-fives that records had become something that teenagers could afford to buy. Though first produced in the US as early as 1948, for working-class British youngsters they were still formidably expensive by the late fifties.

The other essential technological changes arrived at around the same time. First, loud electric guitars, invented by radio repairman Leo Fender in 1948. Then transistor radios, originally invented in the mid-fifties to help Americans keep in touch after the coming nuclear war with Russia, and becoming popular for other purposes at the end of the decade. Without the mike, the electric guitar and the seventh-inch record, rock and pop would not have happened. Without the radio, the vital cross-cultural currents would have been unheard. The post-austerity economic boom was putting money in the pockets of teenagers and young workers, and the post-war baby-boom had increased their numbers. Better nutrition meant that they reached puberty earlier, and the mechanisms for the mass-marketing were already in place. By the early sixties, all the essential ingredients of the new market for this were also in place.

Most histories of golden-age sixties rock groups begin with a similar narrative, with the kids discovering Chuck Berry and Elvis Presley under their bedclothes, covertly listening on frequency 208 on their transistor radio to Radio Luxembourg, which broadcast to the UK from 7.00 p.m. onwards every night. They then go on to describe the formation of a ‘skiffle’ band, like that of Lonnie Donegan, using simple chords and home-made instruments like washboards or slatted wardrobe doors, mouth organs and ‘kazoos’. Then the coffee bar or burger bar would make an appearance, a place where teenagers could go to socialize and listen to jukeboxes. The local art college would also, often, be part of this formative, group experience. Many of these were associated with local technical colleges, which before the university expansion of the seventies was where bright, imaginative and often rebellious teenagers would end up after leaving ‘academia’ behind at fifteen. The art schools were the true factories of popular culture, for musicians, painters and sculptors.

By the later fifties, art students were not only listening to skiffle, but the US rock ‘n’ roll stars, and also to British ‘Elvis copies’ like first Tommy Steel, then Harry Webb, ‘reincarnated’ as Cliff Richard, then Tom Jones. John Lennon went to Liverpool Art College, while Ray Davies, who formed The Kinks attended Hornsey, Keith Richard of The Rolling Stones went to Sidcup, and Pete Townsend of The Who went to Ealing Art College. The RAF-style roundels and bold black arrows which appeared on the band’s clothes and became part of the Mods’ insignia, had been swiped from graphic designers and pop painters. Of course, no band was more important in the sixties, and arguably since, than The Beatles. They expressed both youthful rebellion and commercialism, providing British teenagers with an identity that cut across the barriers of class, accent and region. The Beatles had been formed, originally as The Quarrymen, in July 1957 and in 1962 Love Me Do reached #17 in the charts. But it wasn’t until April 1963, that From Me to You became their first number one hit single.

‘Beatlemania’ & the Radio Revolution:

The key to their initial breakthrough, and their continued success, was not studio recordings, but radio performances. Between 1957 and 1970 they performed live in eighty-four different venues in England, fifteen in Scotland, six in Wales and two in Ireland. Many people in the establishment regarded ‘pop’ music with disdain. The BBC held a monopoly over the radio waves and, in a deal with the Musicians’ Union and record manufacturers, ensured that popular music was not given airtime. The Beatles, however, were too popular for the BBC to resist, and between March 1962 and June 1965, no fewer than 275 unique musical performances were recorded in their studios and broadcast throughout the UK. The group played eighty-eight different songs on national radio, some recorded many times. As well as their own songs, these recordings also included rock ‘n’ roll numbers by Chuck Berry and Little Richard. They worked like dogs, once recording eighteen songs in one day on 16 July 1963. Derek Taylor has written about how …

… they became our cheeky chappies, our Elvis, took up residence on the front page, and in the zeitgeist of the age, helped to establish the booming creative potential of provincial England.

The Beatles gave us a continuing soundtrack of unparalleled charm and reassurance. As long as they kept on delivering fresh songs along with the morning milk, everything was right in our optimistic world. Quite quickly, the Beatles became an institution all of their own, with all sorts of attendants – fanatics and detractors, revisionists and archivists, accountants and lawyers, scribes and Pharisees.

That the Beatles were woven into the fabric of British life was due in large part to the regularity of their attention to good habits – the Christmas message to the fans, the package tours, the visits home to Liverpool families, an honest paying of all the expected dues and in no small measure to the BBC, who provided that unparalleled broadcasting expertise to keep the nation in touch with ‘the boys’ through fifty-three broadcasts. Radio allowed them to ‘be themselves’ and that was always enough for the Beatles and their followers.

The Beatles’ frequent access to the BBC’s studios and airwaves was the consequence of an age of wireless innocence. Although millions were hungry for rock ‘n’ roll, on the radio it was severely rationed. When you tuned in during the day, there was only the choice of the BBC’s three national networks and, of those, only the Light Programme might occasionally allow Elvis or Buddy Holly into your house. There was no local radio or commercial radio. The only alternative was a crackling, phasing Radio Luxembourg beamed across Europe at night. When ‘the Light’ did feature ‘pop’, due to the Musicians’ Union restriction, records were frequently side-lined by emasculated renditions of hits from dance orchestras. But without competition, BBC radio programmes were guaranteed huge audiences. The Beatles’ manager, Brian Epstein, had understood this opportunity and sent an application for a radio audition to the BBC’s Manchester outpost early in 1962. Producer Peter Pilbeam had auditioned them and, despite his note on his report about the singers – John Lennon, yes; Paul McCartney, no – both had featured on their BBC debut in front of an audience at Manchester Playhouse in March 1962. This regional radio breakthrough had come seven months before the release of their first single on ‘Parlophone’, Love Me Do, and no recording exists of the concert or any of their other three broadcasts of 1962. It remains ‘pre-history’ in terms of the Beatlemania years, especially when compared to their ‘meteoric’ rise to fame in 1963.

At the beginning of 1963, Britain was experiencing its worst winter weather since 1947. The country shivered through freezing temperatures at a time when few houses had the luxury of central heating. Most of the land was covered in deep snow making transport difficult. Undaunted, The Beatles spent many hours during those cold early months of 1963 in a van driven by a friend, journeying up and down the country to appear onstage at theatres and ballrooms and to perform in radio and TV studios. Before this breakthrough year, the group had worked hard at their craft, including hundreds of hours spent entertaining the rowdy clientele of a Hamburg nightclub and the friendly regulars at the Cavern Club in Liverpool, enabling the development of an extensive and varied repertoire. Their musical expertise combined with discipline and stamina proved to be an unbeatable formula.

Though the stories of British rock and pop bands follow a predictable trajectory, the stories of the earlier bands are more interesting simply because the story had not occurred before. Though pop was a business it was also narrative about class and morality; almost every band’s story described the tension between the marketing of the music and the attempt by the band to stay in some way ‘authentic’, true to themselves. Many never tried to be authentic in the first place, but the groundbreaking ones did but didn’t find it easy. The Kinks were four north London boys who affected a camp look and played rough, hard pop were put into the most extraordinary pink hunting jackets, ruffs and thigh-high suede boots. The Beatles were bullied and cajoled by Epstein into ditching the rough jeans and leather Luftwaffe jackets they had learned in Hamburg. To get their first recording contract with EMI, the Beatles were told to stop smoking on stage, stop swearing, turning up late, and making spontaneous decisions about which songs they would play at their gigs. They also had to learn to bow smartly to the audience, all together, after every song. They agreed. It was only later in their successful sixties that they felt they could tell their managers where to get off.

The BBC’s Saturday Club presenter, Brian Matthew (above), commented, following their appearance on his show on 26th January 1963:

At the moment, the majority of ‘The Beatles’ fans are in their home town of Liverpool and I have a very strong suspicion it won’t be long before they’re all over the country.

Brian Matthew’s belief was quickly confirmed. From ten o’clock to twelve noon every Saturday, the show reached an enormous audience of around ten to twelve million. The Beatles were featured ten times on the programme and quickly established a rapport with Matthew and producer Bernie Andrews, who supervised the music sessions.  Six numbers were recorded in sessions lasting no more than three and a half hours; sometimes as short as ninety minutes. Throughout 1963 number one records followed in quick succession: Please Please Me, From me to You, She Loves You and I Want to Hold Your Hand. The debut album, Please Please Me, the Twist and Shout EP, and the With the Beatles LP were also released within that year. While those releases kept them high in the charts, the pressure of The Beatles schedule never eased for a moment, but they were match-fit. They performed music in thirty-nine radio shows in 1963 and, most importantly, fifteen of those programmes were editions of their own radio series Pop Go the Beatles which the BBC invited them to host during the summer of 1963. Tuesday evening became an essential date with the radio for millions of fans. They were encouraged by the presenter to let their humour shine between the songs, and producer Terry Henebery remembers this ‘zaniness’ not being confined to the recorded speech links:

They’d come to the studio and horse about. You had to crack the whip and get on the loudspeaker talk-back key quite a lot and say “Come on, chaps!” They’d be lying all over the floor, giggling. And I can remember afternoons down at the Paris Cinema studio, where you were just looking at the clock, throwing your hands up in horror and thinking, ‘will they ever settle down?’ I mean, people would go and get locked in the toilets and fool about. But you were, at the end of the day, getting some nice material out of them.

No one would have predicted it in 1963, but the songs The Beatles chose to perform for their radio series constitute the most fascinating aspect of their music sessions for the BBC. The New Musical Express reported that R-and-B material will be strongly featured. The shows certainly lived up to that promise. Required to record six songs for every show, to avoid undue repetition, the group would often romp through an old favourite or work on a new number. As Ringo observed:

It was fine when doing the repertoire we knew, but some weeks it’d be real hard. We’d rehearse two or three songs in the lunch break and then go and record them in the afternoon.

For some groups, a series that demanded six new recordings every weeknight might have been daunting; but it allowed The Beatles to air their influences and try out some new favourites. They performed fifty-six new songs in all, twenty-five of which had not and would not be released on any of their records. The choice of material in these and other programmes clearly reveals the artists who had inspired the group. They recorded nine cover versions of Chuck Berry songs which, except for Roll Over Beethoven were all belted out by John. In addition, they covered six Carl Perkins and four Elvis Presley songs, while the four Little Richard rockers were the exclusive vocal property of Paul and his throat-ripping ‘whoops’ and ‘hollers’. In gentler moments, Paul sang A Taste of Honey and Till There Was You, but his most unusual ballad was The Honeymoon Song. John produced a real gem in Ann-Margret’s I Just Don’t Understand. The four were adept at digging out unusual material, often beating rival Liverpool groups to sought-after American records and learning the B-side. As Paul commented in 2013,

You will find stuff in our repertoire that came off little odd-ball records. We had started off going onstage and playing songs that we liked, but then we would find that on the same bill as us in the Liverpool clubs, there might be another band that would play exactly the same songs. If they were on before us, it made us look a bit silly. We started to look further afield, study the American charts and see what was there. We’d listen to radio a lot and find out if there was anything up and coming. We would also flip records and listen to the B-sides; see if we could find anything that way. In fact, that’s what started John and I writing, because this was the only foolproof way that other bands couldn’t have our songs. There was no great artistic muse that came out of the heavens and said, ‘Ye shall be a songwriting partnership!’ It was really just we had better do this or everyone is going to have our act. …

In addition to the night-time broadcasts of Radio Luxembourg, the other sources for rock ‘n’ roll music on discs were coffee-bar jukeboxes, fairgrounds and record shops. Fortunately, this era was a golden era for record stores. Hundreds of family-run concerns, like Brian Epstein’s NEMS in Liverpool, would take pride in stocking at least one copy of everything released. Many Liverpool musicians spent hours in listening booths at NEMS while records were played to them. Occasionally, they might even buy one! At the time of their BBC sessions, The Beatles were seeking out the latest Rhythm and Blues records from the States. Although many of these by groups such as The Miracles did not, at first, make the British charts, they were a key influence on The Beatles. Again, Paul McCartney explains:

With our manager Brian Epstein having a record shop – NEMS – we did have the opportunity to look around a bit more than the casual buyer. …

Ringo would get stuff from the sailors. … he happened to have a few mates who’d been to New Orleans or New York and had picked up some nice blues or country and western. … But it was really a question of looking harder than the next guy. We made it our full-time job to research all these things; to go for the road less travelled.

These records, and those by The Shirelles, who did have some UK hits, had sophisticated vocal, string and horn parts. Rearranging them for a four-piece line-up helped to create the Beatle sound just as much as the earlier singles by the rock ‘n’ roll pioneers. Current R&B records were not easy to get hold of or hear in Britain. But in 1963, records released on the Tamla and Motown labels were distributed in the UK by Oriole. Radio Luxembourg also featured the latest records by Mary Wells, The Miracles, Marvin Gaye, Martha & the Vandellas and Little Stevie Wonder. Although none of them was a hit at the time, The Beatles’ love of the records from Detroit was demonstrated when they included three Motown songs on With the Beatles. Their devotion to black soul music proved crucial to its wider acceptance.

The significance of The Beatles’ BBC radio sessions also stems from the way the sound of the group was captured for their broadcasts. At that time, artists were not given large amounts of studio time. At EMI studios, on 11th February 1963, The Beatles had to record ten songs for their debut album, Please Please Me. The fact that this was achieved in under ten hours subsequently became regarded as a remarkable achievement. This was seen as especially true when the quality of the tracks was considered. It was common practice in 1963 to complete a minimum of two songs in a standard three-hour session. As Paul has pointed out,

It was just the rate people worked at. … Looking at it now, it seems so fast, but then it seemed very sensible.

At the BBC, the work-rate was even higher. Apart from when they were performing in front of an audience for a broadcast, The Beatles had to record five or six songs in a short session so they were not fazed by this requirement. The recordings were made onto a four-track tape machine at EMI in October 1963, but multi-tracking did not begin at the BBC until a decade later. This meant that the mono recordings could not be edited, except by editing different takes of a song onto the same tape. Otherwise, there was the option to ‘overdub’ by copying the first recording to another tape, while at the same time adding more instruments or vocals. Both of these processes could be very time-consuming, so what we hear on the BBC tapes is the sound of the group performing ‘live’, direct to tape, as if to an immediate audience, but without the noisy hysteria which accompanied their public concerts. The pop songs of the early Beatles were not neatly produced commodities as all pop songs later became. You can hear the fun involved in their creation.

When Pop Go The Beatles finished its run, they were once more at the top of the charts with She Loves You. From that point on, things went crazy and pretty much stayed that way. Their unassailable popularity was reflected by the press who applied the epithet Beatlemania to the hysteria that surrounded their every move. In February 1964, the States surrendered to the magic and Brian Epstein’s bold boast that his group would be ‘bigger than Elvis’ proved to be true. Having ‘hit the business jackpot’, as Brian Matthew expressed it in Saturday Club, the number of times The Beatles came to the BBC was greatly reduced; compared to the thirty-four programmes recorded in 1963, from October 1963 to June 1965 there were just fifteen specially recorded sessions. Having once been prepared to rush from one end of the country to the other for a radio show, global success now made the group less available. Their last BBC radio performance was the solitary one of 1965, on Whit Monday, entitled The Beatles Invite You to Take a Ticket to Ride. It was understandable that they now had real need of this particular kind of radio exposure. But most of the sessions at the BBC had been exciting and fun. DJ Alan ‘Fluff’ Freeman worked with the Beatles in 1964. He remembered that:

Their music and persona freed me from middle age … because the things that were coming from The Beatles made me feel like a ten-year-old! They made us all feel tremendously happy.

Just before The Beatles made their last BBC recording, at Easter 1964 the first illegal ‘pirate’ radio station, Radio Caroline, began broadcasting from a ship just off the Sussex coast. Within months, millions of young people were listening to Radio Caroline North and Radio Caroline South, Radio London and other pirate stations that sprung up. Not only did they broadcast popular music records, but they also reminded their listeners that any attempt to silence them would constitute a direct ‘attack on youth’. With the advent of these radio stations, the BBC monopoly on airtime was broken, and bands were able to get heard beyond their concerts. Eventually, the Government acted to bring an end to its cold war with the British record industry. The BBC set up Radio One to broadcast popular records and in August 1967, the Marine Offences Act outlawed the pirate ships.

The Rock Generation:

In the early days of pop and rock, it was not always quite as obvious that money would always trump vitality. There were still battles to be fought between the two. The Who (pictured below) were a west London band which had, like so many others, emerged from skiffle, and had been kick-started by the early successes of The Beatles. They were encouraged by their manager, Peter Meadon, to dress stylishly and address themselves to the new audience of ‘Mods’. Their first single, I Can’t Explain was self-consciously derivative of The Kinks, and was released in January 1965. It made it to #8 in the charts, but it was their second single, My Generation which really caught the mood of the times and the imaginations of pop fans, later became the first British rock ‘anthem’. It was recorded at the Pye Studios in London in October 1965 and released as a single on 5th November. Just before its release, Roger Daltry was fired from the band for fighting with the other members, but he was quickly reinstated when it reached #2. The fighting and onstage antics continued throughout their early career, though, including the smashing up of guitars by the band’s leader, Pete Townsend. While delighting their live audiences, their guitar-smashing kept them away from mainstream venues.

A string of top ten hits followed in 1965-67, from Substitute to Pictures of Lily and I Can See for Miles. Pete was disappointed that the last of these only reached #10 in the UK charts compared with #9 in the US, commenting shortly afterwards that to him, that was the ultimate Who record yet it didn’t sell and I spat on the British record buyer. Throughout a stellar career during which some think, with their concept albums, eclipsed The Beatles after the break-up of the ‘fab four’, The Who, though, far from revolutionary in politics, were never properly ‘tamed’.  Nor were The Kinks, whose song-writing genius Ray Davies became involved in a punch-up with an American television union official who had called them a bunch of commie wimps. That altercation got them banned from the States for four crucial years.

The big battle lines, however, were drawn over the content of the songs, which quickly moved beyond the easy American boy-meets-girl themes of Buddy Holly and the Everly Brothers. By 1968, rock was beginning to escape from the urban and suburban Britain of its young consumers. For most of them, their teenage years would end in a more conventional working life and marriage, which was (perhaps somewhat conversely) more popular than ever in the late sixties, with marriage rates peaking in 1972. But drugs, mysticism, gangs and sexual experimentation were some of the alternatives celebrated by pop culture, much to the discomfort of record companies, the BBC, politicians and the newspapers. Songs such as Lola by The Kinks and I’m a Boy by The Who challenged existing sexual stereotypes, and there was a ‘libertine’ element in The Rolling Stones songs which shocked those parents who could follow the lyrics.

Above all, the rate of experimentation and change in sixties pop itself was astonishing, as a new sound, instrument, length of song and sexually explicit album cover image seemed to come along every few weeks in 1966-68. It was a classic, market-driven competition between the top bands and artists, measured by sales of records. Lennon and McCartney remained at the forefront of this experimentation, feeding back discoveries about tape loops, modern composers and Bach into the music of The Beatles, retreating more and more into their Abbey Road studio to produce more complex sounds. The Stones’ blues-rock challenged the ‘Mersey Beat’ and the ‘Mods’ began to produce early versions of the ‘heavy metal’ genre, followed by Led Zeppelin at the end of 1968, who made it their own. But, at this stage, The Beatles were still seen as the pioneers, the first big stars to fall for Indian mysticism, sitars, or the next drug craze, and the first to break up under the strain. Their trajectory, like their output, seemed impossible to beat. As Andrew Marr concludes,

A band’s success was based on its members’ skills but also on their authentic claim to be the kids from the streets whose anger, enthusiasm, boredom and wit reflected the actual Britain all around them, the lives of the people who would save up and buy their songs. Pop was music from below or it was nothing. Yet the successful musicians would be cut off from the world they came from by the money and the security needed to keep fans at bay until they were fated to sound introspective and irrelevant.  

By 1968, other forms of music were receding before the ear-splitting tidal advance of rock and pop, driven by radio. In painting, pop art and the pleasure principle were on the attack. Simpler and more digestible art forms, suitable for mass market consumption, were replacing élite art which assumed an educated and concentrated viewer, listener or reader. Throughout these years there were self-conscious moves to create new élites, to keep the masses out. They came from the portentous theories of modern art or the avowedly difficult atonal Classical music arriving from France and America, but these were eddies against the main cultural current.  Similarly, when Mary Quant set up her shop she was a rotten businesswoman. The fun was in the clothes. No business with so little grasp of cash could afford to be cynical. Of course, the King’s Road was a foreign country to most Britons in the mid-sixties. The majority of those who lived through that period have personal memories of rather conventional and suburban lives. Most working-class people were still living in Edwardian and Victorian red-brick terraces in the English and Welsh industrial cities, and in tenements in Glasgow, Dundee and other Scottish towns.

For this vast majority, the early sixties were experienced as a continuation of the fifties, not as a break with that decade. Britain remained an industrial society, though more prosperous, whose future was believed still to depend on factories producing cars, engines, washing machines and electrical goods, both for the ‘domestic’ market and for export. The older generation of authority figures – teachers, judges and above all parents – still derived their clothes and morality from their wartime experience, and were the butt of widespread mockery, especially by the cartoonist Giles of The Daily Express (commemorated by the statue shown above, located in Ipswich town centre) and on TV by David Frost. Television also gave further mass exposure to the pop industry, with regular editions of  ‘Jukebox Jury’, ‘Ready, Steady, Go’, and ‘Top of the Pops’ attracting huge young audiences. The radio, TV and magazine publicity machine was up and going. The equipment was in every second home, radios and record players turned out by Britain’s booming electronics industry. But the men with moustaches and ‘short back and sides’ haircuts were visibly still in power. As Andrew Marr has written,

The Britain which proudly displayed volumes of Churchill’s war memoirs on bookshelves, and stood up in cinemas for the national anthem, did not disappear when Ringo Starr grew his first luxuriant moustache.   

Swinging London and its New Celebrities:

The new culture was far from elitist; it was meritocratic, but it could be just as exclusive as the older forms. It was shaped by upper-working-class and lower-middle-class people who had never enjoyed this level of cultural influence before. The northern cities of England, especially Liverpool, but also Newcastle and Manchester, that were sending their sons and daughters south to conquer, even if it was only on radio and television shows. The older Britain with its regimental traditions, its racism and clear divisions in terms of class, geography and dialect. The ‘scouse’ voices of The Beatles and the ‘Geordie’ accents of the Animals had been rarely heard on the radio before 1963, and for many metropolitan and Home Counties listeners, they came as something of a shock. By the summer of 1965, however, what was called Swinging London, or the Scene, was a small number of restaurants, shops and clubs where a small number of people were repeatedly photographed and written about. In Chelsea, Biba, ‘Granny Takes a Trip’, ‘Bazaar’ and ‘Hung on You’ were honeypots for the fashionable. They spent their evenings and nights at clubs like ‘Annabel’s’, ‘Showboat’ and ‘Talk of the Town’.

There were perhaps no more than twenty ‘celebrities’ at the heart of Swinging London. They included The Beatles and Mick Jagger, among eight pop singers, the model Jean Shrimpton, the designer Mary Quant, painter David Hockney, actors Michael Caine and Terence Stamp, and photographers Lord Snowdon, David Bailey and Terence Donovan. The ‘list’ compiled and published by Private Eye journalist Christopher Booker in 1969, also included an interior decorator, a creative advertiser, a film producer, a discotheque manager, a ballet dancer and the Kray brothers from the East End who could only be described as connected with the underworld. These New Aristocrats, as Christopher Booker called them, were all concerned with the creation of images. Following the Profumo affair of a few years earlier, old money, big business, the traditional arts and politics were being marginalised and replaced by working-class ‘upstarts’. Among the photographers, Bailey was a tailor’s son and Donovan a lorry driver’s son, both from the East End. Michael Caine was a Billingsgate fish porter’s son and Stamp the son of a tug-boat captain. The female aristocrats included Lesley Hornby of Neasden, better known as ‘Twiggy’, a carpenter’s daughter, and Priscilla White, better known as ‘Cilla Black’, another (originally) ‘scruffy Scouser’. A few were there entirely because of their looks, like ‘supermodel’ Jean Shrimpton, a description first used in 1968. Very few of these men and women would have made it in the London of previous decades. The intertwining of this aristocracy of pop was as sinuous as the old Tory cliques of the fifties. But their significance was that they represented the increased mobility of talented people from working-class backgrounds.

These ‘celebrities’ were joined by footballers, who in 1966-68 were raised from tradesmen and servants to the level of golden gods, sometimes behaving badly too. England’s victory in the 1966 World Cup, with its dramatic finale at Wembley and the team’s 4-2 defeat of West Germany was the stuff that dreams are made of, leading to ritual disappointed expectations every four years ever since. Despite reaching the semi-finals on two occasions since, in 1990 and 2018, the nation has not yet been able to repeat the dressing up and dancing in the streets that went on then, with every English man, woman and child joining in. Alf Ramsey, the English team manager, had been part of the team who had lost 3-6 to Hungary at Wembley in 1953. Now he and his lions had brought football home at last. The three ‘Eastenders’, West Ham’s Bobby Moore, Martin Peters and Geoff Hurst outshone the Charlton brothers on this occasion, but Bobby Charlton was himself part of Manchester United’s ‘home’ international trio together with George Best and Denis Law who won the European Cup, beating Eusebio and Benfica 4-1 in 1968. This was a remarkable achievement, coming just a decade after Busby’s ‘babes’ were all but wiped out in the Munich air disaster of 1958. Glasgow Celtic had been the first British team to win the European Cup in the previous year, under the management of Jock Stein in 1967. Some of these soccer celebrities, like George Best, were later to struggle with the limelight, but for now they could do no wrong as far as the British public were concerned. The articles and photos below are from a facsimile of the Sunday Mirror from 31 July 1966:

The new celebrities were not just fascinated by images, but quickly colonised the entire new media of pop music, radio, television, fashion, advertising, colour magazines, and hairdressing. These were not the property of the City or of old money. Linguistic diversity was as important as imagery in this democratisation of society and culture. It was the breakthrough lead given by Lennon and McCartney in singing their own material that persuaded scores of other British bands to follow suit. Others chose to mimic the accents and vocabulary of the American rockers who had inspired them, even when producing their own compositions. There are few songs in the ‘transatlantic’ repertoire of The Rolling Stones which sound particularly English, unlike those of other iconic London bands such as The Kinks and The Who. Banned from the US while others were breaking into the American market, Ray Davies turned back to local subjects. He had always written pop songs about everything from the death of the dance-halls to the joys of an autumn sunset over Waterloo Bridge, but The Kinks Are The Village Green Preservation Society of 1968 was on an entirely different scale. As Ray Davies commented himself:

While everybody else thought the hip thing to do was to drop acid, take as many drugs as possible and listen to music in a coma, the Kinks were singing songs about lost friends, draught beer, motorbike riders, wicked witches and flying cats.

The title song of their album calls for the ‘preservation’ of Desperate Dan, strawberry jam, the George Cross, the ‘Sherlock Holmes English-speaking vernacular’, little shops, china cups, virginity, Tudor houses and antique tables while attacking the new skyscrapers and office blocks. The album, which sold in tiny numbers compared with Sergeant Pepper, with its equally nostalgic Liverpudlian and Lancastrian-themed lyrics, confused contemporary critics who could not decide whether the group were being serious or satirical. The simple answer, with the benefit of a critical hindsight which regards the disc as one of the greatest achievements of British pop in the sixties, “both”. The band showed that it was possible to write inspiring rock music about what was around you, rather than posturing as a boy from Alabama or pretending to be an Afro-American. On the other hand, in listening to Dusty Springfield, who had one of the ‘purest’, most spell-binding voices of the decade, you could be forgiven for thinking she was from Detroit or Paris. Few of the songs she sang, if any, had British themes and British English vocabulary. But then, ‘son of a preacher man’ scans better! The English folk-song revival of the early sixties also played into this democratic, eclectic mix, with the founding of Fairport Convention in 1967, named after the house in which they practised in North London. Their folk-rock genre took themes and dialects from all parts of the British Isles. By 1968, regional accents had become commonplace in radio and television programmes, especially the perennial ‘soap operas’, though it took much longer for the provincial presenters of news, views and features to be accepted onto the national broadcasts of the BBC, not to mention those from ethnic minorities. This reflected the slow progress in British society in general towards genuine devolution, diversity and gender equality.

Despite the dramatic increase in wealth, coupled with the emergence of distinctive subcultures, technological advances (including television) and unprecedented shifts in popular culture, by the end of the sixties, there was a general sense of dissatisfaction and disillusionment with society and politics in Britain. In the early seventies, when John Lennon was asked to assess the impact of The Beatles by Rolling Stone magazine, he commented that…

Nothing happened, except we all dressed up. The same bastards are in control, the same people are running everything, it’s exactly the same.

Conclusion: A Real Counter-cultural Revolution?

The counter-cultural ‘revolution’ in Britain had no organisation and no practical agenda. It was largely middle class in its amorphous leadership, without any real or effective links to the working-class socialists who wanted higher wages and perhaps even workers’ cooperatives, but were less keen on long-haired students taking drugs, or indeed on angry black people. The counter-cultural currents influenced pop and rock music, but it did not immediately create an indigenous, autonomous British movement. It was dependent on passing American fads and voices, like that of Bob Dylan and Allen Ginsberg. Like both Dylan and John Lennon in the early seventies, The Who questioned revolutionary values and violent methods in their second great ‘anthem’, Won’t Get Fooled Again, written by Pete Townsend in 1970 and recorded and released the next year. It ends with the line, Meet the new boss; he’s the same as the old boss! Townsend wrote,

It’s really a bit of a weird song. The first verse sounds like a revolution song and the second like somebody getting tired of it. It’s an anti-establishment song. It’s ‘anti’ people who are negative. A song against the revolution because … a revolution is not going to change anything at all in the long run, and a lot of people are going to get hurt.

Symbolically, perhaps, the group has usually played the full eight-and-a-half minute version of the song at the end of its concert. More than any other song, it sums up the relationship between pop music and sixties’ counter-culture.

Sources:

Joanna Bourke, Shompa Lahiri, et. al. (eds.) (2001), The Penguin Atlas of British & Irish History. London: Penguin Books.

Andrew Marr (2007), A History of Modern Britain. London: Macmillan.

Kevin Howlett (2014), The Beatles: The BBC Archives, 1962-1970.