Today BBC 6 music is making a big fuss about the Beach Boys’ Pet Sounds album because it was released exactly fifty years ago. Well, how astounding. What a perfect opportunity to celebrate a seminal work of popular culture, apart from the fact that Brian Wilson’s alleged masterwork sounds exactly the same as it did in 2015. And I can assure you that next year the notes will all still be in the same place.
The rock industry, like all aspects of mass-market culture – including books, films and wars – now relies almost exclusively on anniversaries to flog its wares to us.
The Beatles industry similarly kicks up a fuss about Sgt Pepper every ten years, provoking a frenzy of fake nostalgia for the ‘summer of love’ as if the whole nation was floating around on acid in 1967. Sure, the album was a hit but middle-of-the-road crooner Jim Reeves actually sold more records that year. The truth is that these albums accrue cultural value gradually, rather than landing like cultural meteorites.
A while back Iggy Pop re-released the Raw Power album (remastered and fucked-about-with no doubt) to celebrate the fact that it was forty years old, as if its original release had been some kind of great cultural moment – far from it, The Stooges were virtually unknown during their early career and Raw Power was one of a clutch of recordings that existed virtually underground, gaining a reputation over time.
All this wayward historiography would not be such a bad thing if it didn’t grab all the attention that could be available to current musicians.
These days it’s not uncommon to walk past a rack of music magazines in the supermarket and see a line of exclusively dead faces pouting at you. How depressing that pop journalists, lovers of an art form that can embody the present-day zeitgeist like no other should find themselves writing for what are essentially history magazines.
David Hepworth, the ex-Whistle Test anchorman, embodies this tendency of backward looking rock journalism. He has just published 1971- Never a Dull Moment, a misty-eyed eulogy to the cheesecloth generation, wherein he celebrates a year that produced enduring classics such as Led Zeppelin 4, Sticky Fingers and Tapestry. I’m sure it’s a great read but if he really wanted to cash in he should surely have waited until 2021…
Anyway, it has been decreed that today we must have a double collective orgasm because not only is this the anniversary of Pet Sounds, but also Bob Dylan’s album Blonde on Blonde was also released exactly 50 years ago. How amazing!
Blonde on Blonde is a great collection of music, but to me it sounds the same (and is equally as good as) his previous albums Highway 61 Revisited and Bringing it all Back Home. They all feature his mid-sixties persona of the acid-beatnick, musically featuring a ramshackle mix of epic folky ballads, mind-blowing lyrics and spiky rock’n’roll. It’s all great stuff, but personally I can’t fit a Rizla paper between those albums. Hang on though, Blonde on Blonde’s a double album – it must be a classic…