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Rock 'Til You Drop: The Decline from Rebellion to Nostalgia
In the 1960s and early 70s rock and rebellion went arm in arm. This was the generation that angrily refused to grow up, to settle down. The Who captured the zeitgeist with ‘I hope I die before I get old.’
Yet, thirty years later, many of the icons of rock and roll’s angry childhood are not only still alive but continue to haul themselves up on stage, limping through old standards with performances that have lost all edge and meaning. As the grizzled old men of Crosby, Stills, Nash & Young undertake yet another tour, Cher makes her umpteenth comeback, and Yes grind out their old standards to punters at gambling resorts, John Strausbaugh reflects acidly on the declining charm of colostomy rock.
Strausbaugh interleaves acute reflections by commentators such as Ellen Willis, and legendary figures such as John Sinclair (manager of the notorious MC5) and Tuli Kupferberg of the Fugs, with his own take on the business of rock and roll. Intemperate and savvy, he rails at the timidity of Rolling Stone ‘s hipster capitalism, the sterility of the Rock and Roll Hall of Fame, and the appalling prospect of the Stones heading out on the road again after live appearances that were dubbed the ‘Steel Wheelchairs’ tour. He talks to the engaging Giorgio Gromelsky, manager of the Yardbirds, about the early days of rock and roll in London, and to Soul Coughing founder Mike Doughty about how a younger generation of musicians see the business today.
Impassioned and opnionated, Rock Til You Drop is a rousing indictment of a musical generation which started out with pretensions to be world changers and ended up merely as short-changers of their original ideals. The publishers disclaim responsibility for any further medical deterioration of aging rock and rollers who read this book.
Yet, thirty years later, many of the icons of rock and roll’s angry childhood are not only still alive but continue to haul themselves up on stage, limping through old standards with performances that have lost all edge and meaning. As the grizzled old men of Crosby, Stills, Nash & Young undertake yet another tour, Cher makes her umpteenth comeback, and Yes grind out their old standards to punters at gambling resorts, John Strausbaugh reflects acidly on the declining charm of colostomy rock.
Strausbaugh interleaves acute reflections by commentators such as Ellen Willis, and legendary figures such as John Sinclair (manager of the notorious MC5) and Tuli Kupferberg of the Fugs, with his own take on the business of rock and roll. Intemperate and savvy, he rails at the timidity of Rolling Stone ‘s hipster capitalism, the sterility of the Rock and Roll Hall of Fame, and the appalling prospect of the Stones heading out on the road again after live appearances that were dubbed the ‘Steel Wheelchairs’ tour. He talks to the engaging Giorgio Gromelsky, manager of the Yardbirds, about the early days of rock and roll in London, and to Soul Coughing founder Mike Doughty about how a younger generation of musicians see the business today.
Impassioned and opnionated, Rock Til You Drop is a rousing indictment of a musical generation which started out with pretensions to be world changers and ended up merely as short-changers of their original ideals. The publishers disclaim responsibility for any further medical deterioration of aging rock and rollers who read this book.
- GenresMusic
240 pages, Hardcover
First published August 9, 2001
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Displaying 1 - 5 of 5 reviews
November 14, 2007
Rock 'Til You Drop is a commentary on classic rock bands from the 60's-80's that are still performing today, like the Rolling Stones (who are a big topic in the book). I know the author, John Strausbaugh. He's a great guy. Really funny and intelligent. He has frequently wrote for the New York Times and recently released Black Like You, one of the most controversial books of the decade.
Anyway, about the book. This book is just one of the best books I've read in my life. I'm not just saying that because I'm good friends with the author. I really mean this. The book is funny all the way. It has totally changed my view on rock 'n roll. It's for the young people only. No old farts allowed. Also, the writing itself is really good. It didn't have the creative writing of Sound Bites (my last book) but it didn't need it. It's not pretentious. It's straightforward. I can tell this is really him speaking to the reader directly and casually, like he's making yourself your friend.
One big flaw in the book was that it's way too biased. He says rock stars cannot age gracefully but he thinks Iggy Pop has. However, this hasn't hindered my enjoyment of the book.
Overall, I really loved this book. It's a shame it's only 258 pages. I would have read more. He has taught me not to buy those tickets to Led Zeppelin at the O2 and I should be ashamed of myself for seeing the Who at the Royal Albert Hall.
However, I would NOT recommend this book to anyone who likes classic rock AND can't accept the fact that their favorite classic rock acts are too old to record more music, let alone perform their 30+ year old hits live.
Anyway, about the book. This book is just one of the best books I've read in my life. I'm not just saying that because I'm good friends with the author. I really mean this. The book is funny all the way. It has totally changed my view on rock 'n roll. It's for the young people only. No old farts allowed. Also, the writing itself is really good. It didn't have the creative writing of Sound Bites (my last book) but it didn't need it. It's not pretentious. It's straightforward. I can tell this is really him speaking to the reader directly and casually, like he's making yourself your friend.
One big flaw in the book was that it's way too biased. He says rock stars cannot age gracefully but he thinks Iggy Pop has. However, this hasn't hindered my enjoyment of the book.
Overall, I really loved this book. It's a shame it's only 258 pages. I would have read more. He has taught me not to buy those tickets to Led Zeppelin at the O2 and I should be ashamed of myself for seeing the Who at the Royal Albert Hall.
However, I would NOT recommend this book to anyone who likes classic rock AND can't accept the fact that their favorite classic rock acts are too old to record more music, let alone perform their 30+ year old hits live.
August 4, 2018
I'm feeling generous with four stars but it's a much better book than the sub-three star average rating it has while I write this.
I still feel as though the definitive book on rock music and aging has yet to be written, but this is a start. It's miles ahead of the academic jargon-filled book that I attempted to read but put down. That book talked about things like rock as community (not a bad thing in today's world) music as therapy (also good), multiple generations of a family going to a rock show, and all that.
Strausbaugh touches on a bunch of valid points: the corporatization of rock franchises, faux revolution, the lameness of the Rock Hall of Fame, and so forth. Easy targets in a way, but his insights are good, and there's some good Rock History (that cringe-worthy term!) particularly when he talks about Giorgio Gomelsky, the Stones, John Sinclair, and Rolling Stone magazine.
The book enters into its most fertile territory when it really addresses the multigenerational nature of rock. A good example is the punk band - and punk was seen as the end of rock among many older rock fans - that is now thirty years old and is a multigenerational outfit itself. What should older rock types do? I personally found it easy to branch off into different forms of music around that magic late-twenties demarcation line that Strausbaugh mentions. But what if the rock industry is how you make your living? Easier said than done.
I still feel as though the definitive book on rock music and aging has yet to be written, but this is a start. It's miles ahead of the academic jargon-filled book that I attempted to read but put down. That book talked about things like rock as community (not a bad thing in today's world) music as therapy (also good), multiple generations of a family going to a rock show, and all that.
Strausbaugh touches on a bunch of valid points: the corporatization of rock franchises, faux revolution, the lameness of the Rock Hall of Fame, and so forth. Easy targets in a way, but his insights are good, and there's some good Rock History (that cringe-worthy term!) particularly when he talks about Giorgio Gomelsky, the Stones, John Sinclair, and Rolling Stone magazine.
The book enters into its most fertile territory when it really addresses the multigenerational nature of rock. A good example is the punk band - and punk was seen as the end of rock among many older rock fans - that is now thirty years old and is a multigenerational outfit itself. What should older rock types do? I personally found it easy to branch off into different forms of music around that magic late-twenties demarcation line that Strausbaugh mentions. But what if the rock industry is how you make your living? Easier said than done.
August 28, 2021
A very important book. More true today than the day it was written. It’s horrible to see how these bands have held on and on and on…
More importantly, this book makes an iron clad argument the Rock & Roll, as an art form, is legitimately only practiced by the young. People over 35 years of age should get out of the game or, at the very least, evolve or “move on” to a different genre of music. When these oldsters play R&R the energy and wild abandon of youth is gone which means the very soul of the music - it’s life force - has dissipated reducing the performers to puppets LARPing their former selves. It’s a sad carnival driven by greed and marketing playing off nostalgia for a time that never really existed.
There are a few (very few) outliers that might be cited to refute the general theses of this book but the exceptions do NOT disprove the rule. It is more satisfying to listen to teenagers banging out covers of Bo Diddley and Eddie Cochran in the garage than to see The Rolling Stones do a polished gig for the 10,000th time at some stadium. If you want to hear The Stones live then go spin the “Get Your Yaya’s Out” record and hear what they sounded like in their prime just before they should have stopped.
More importantly, this book makes an iron clad argument the Rock & Roll, as an art form, is legitimately only practiced by the young. People over 35 years of age should get out of the game or, at the very least, evolve or “move on” to a different genre of music. When these oldsters play R&R the energy and wild abandon of youth is gone which means the very soul of the music - it’s life force - has dissipated reducing the performers to puppets LARPing their former selves. It’s a sad carnival driven by greed and marketing playing off nostalgia for a time that never really existed.
There are a few (very few) outliers that might be cited to refute the general theses of this book but the exceptions do NOT disprove the rule. It is more satisfying to listen to teenagers banging out covers of Bo Diddley and Eddie Cochran in the garage than to see The Rolling Stones do a polished gig for the 10,000th time at some stadium. If you want to hear The Stones live then go spin the “Get Your Yaya’s Out” record and hear what they sounded like in their prime just before they should have stopped.
January 21, 2010
The author obviously is a rock n’ roll fan, and sometimes we hurt the ones we love. Strausbaugh’s approach to popular music is obviously “cruel to be kind.” He says what all rock fans are secretly thinking: the Rolling Stones just need to hang it up and call it a day. However, his vitriol against the Rock ‘n Roll Hall of Fame is rather gratuitous.
August 15, 2011
Not what I was hoping for when I picked this up. While I agree with the basic idea Strausbaugh is getting across, it doesn't take a whole book to get it across.
Displaying 1 - 5 of 5 reviews