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1965: The Most Revolutionary Year in Music
A lively chronicle of the year that shaped popular music forever! Fifty years ago, friendly rivalry between musicians turned 1965 into the year rock evolved into the premier art form of its time and accelerated the drive for personal freedom throughout the Western world.The Beatles made their first artistic statement with Rubber Soul. Bob Dylan released "Like a Rolling Stone, arguably the greatest song of all time, and went electric at the Newport Folk Festival. The Rolling Stones's "Satisfaction" catapulted the band to world-wide success. New genres such as funk, psychedelia, folk rock, proto-punk, and baroque pop were born. Soul music became a prime force of desegregation as Motown crossed over from the R&B charts to the top of the Billboard Hot 100. Country music reached new heights with Nashville and the Bakersfield sound. Musicians raced to innovate sonically and lyrically against the backdrop of seismic cultural shifts wrought by the Civil Rights Movement, Vietnam, psychedelics, the Pill, long hair for men, and designer Mary Quant’s introduction of the miniskirt.In 1965, Andrew Grant Jackson combines fascinating and often surprising personal stories with a panoramic historical narrative.
353 pages, Kindle Edition
First published February 3, 2015
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About the author
Andrew Grant Jackson
9 books26 followersANDREW GRANT JACKSON is the author of 1973: Rock at the Crossroads, 1965: The Most Revolutionary Year in Music, Still the Greatest: The Essential Songs of the Beatles’ Solo Careers, Where’s Ringo? and Where’s Elvis?
He has written for Rolling Stone, Slate, Yahoo!,PopMatters, and Please Kill Me. He directed and co-wrote the feature film The Discontents starring Perry King and Amy Madigan. He lives in Los Angeles.
Jackson's websites:
www.facebook.com/1973book
www.facebook.com/1965book
www.facebook.com/solobeatlebook
https://www.facebook.com/whereselvisbook
www.1965book.com
www.solobeatles.com
Praise for 1973: Rock at the Crossroads
“Jackson's book paints a vivid portrait of the year through the lens of popular music ― mostly rock, but also country and hip-hop … His analysis of sexuality and rock music is particularly interesting ... Jackson also proves to have a real talent for evoking the places that made 1973 such a consequential year in music.” ―NPR
“A comprehensive account of the year of 1973 and its legendary music and momentous social change.” ―Rolling Stone
“It’s the excellent―and frequently hilarious―saga of a moment when the whole sprawling pageant of pop music was one great big band on the run.” ―Rob Sheffield, author of Dreaming the Beatles
Praise for 1965: The Most Revolutionary Year in Music
“Jackson has a better ear than a lot of music writers, and one of the best parts of this book is his many casual citings of songs that echo others: Marvin Gaye’s first million-selling single, “I’ll Be Doggone,” builds on a riff used in the Searchers’ “Needles and Pins,” one also pinched by the Byrds for “I’ll Feel a Whole Lot Better” … A lot of the best insights come from writers who show us the familiar through fresh eyes, as Jackson does when he returns us to a year when a lot of us were young and poor and not as happy as we thought we were, yet there was always a great song on the radio.”
-- Washington Post
He has written for Rolling Stone, Slate, Yahoo!,PopMatters, and Please Kill Me. He directed and co-wrote the feature film The Discontents starring Perry King and Amy Madigan. He lives in Los Angeles.
Jackson's websites:
www.facebook.com/1973book
www.facebook.com/1965book
www.facebook.com/solobeatlebook
https://www.facebook.com/whereselvisbook
www.1965book.com
www.solobeatles.com
Praise for 1973: Rock at the Crossroads
“Jackson's book paints a vivid portrait of the year through the lens of popular music ― mostly rock, but also country and hip-hop … His analysis of sexuality and rock music is particularly interesting ... Jackson also proves to have a real talent for evoking the places that made 1973 such a consequential year in music.” ―NPR
“A comprehensive account of the year of 1973 and its legendary music and momentous social change.” ―Rolling Stone
“It’s the excellent―and frequently hilarious―saga of a moment when the whole sprawling pageant of pop music was one great big band on the run.” ―Rob Sheffield, author of Dreaming the Beatles
Praise for 1965: The Most Revolutionary Year in Music
“Jackson has a better ear than a lot of music writers, and one of the best parts of this book is his many casual citings of songs that echo others: Marvin Gaye’s first million-selling single, “I’ll Be Doggone,” builds on a riff used in the Searchers’ “Needles and Pins,” one also pinched by the Byrds for “I’ll Feel a Whole Lot Better” … A lot of the best insights come from writers who show us the familiar through fresh eyes, as Jackson does when he returns us to a year when a lot of us were young and poor and not as happy as we thought we were, yet there was always a great song on the radio.”
-- Washington Post
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Displaying 1 - 30 of 103 reviews
June 4, 2015
This is a good overview of music, with a backdrop of cultural and political history, based mostly in the United States. Of course, in 1965, America was still reeling from the impact of the British Invasion and, by 1965, a host of other groups had followed the Beatles across the Atlantic. Some, it has to be said, were more successful than others – the Kinks suffering a disastrous US tour – while others would have huge hits but soon fade from the charts; think Freddie and the Dreamers or Gerry and the Pacemakers. What is clear is that the success of the Beatles changed popular music in the States, with many suffering from the British domination of the charts deciding to fight back and others being inspired to change things a little.
The author uses the seasons to take the reader through a changing year – from the Brill Building to Folk Rock, from Civil Rights to LSD, Vietnam to the Pill and long hair, Andy Warhol, Motown, the Byrds, Bob Dylan, the Rolling Stones, the Who Timothy Leary and more. At times, the detours into social and cultural events can seem to detract from the music, but gradually you learn that part of what was important about 1965 – what allowed the music to flourish - was the impact of so much social change without too much of a backlash. Yes, there were complaints about the length of boys hair and Bob Dylan was vilified for going electric, but drugs were still not widely on the radar and parents seemed largely unaware that music was changing and the lyrics no longer about young love and holding hands, but moving into more social themes with songs such as “Eve of Destruction,” topping the charts.
Of course, the main reason that 1965 is seem as such a memorable year musically, is because of the music made that year. These are records, and songs, that sound fresh enough to have been recorded this year, rather than fifty years ago – “Satisfaction,” “Yesterday,” “Get Off my Cloud,” “Sounds of Silence,” “My Generation,” and “Mr Tambourine Man,” are just a few of the classics recorded in 1965. Amongst the wonderful musicians recording in that year, there was a lot of influencing each other – and revelling in meeting up and exchanging ideas. It is also interesting to see what the protocol was – while Dylan went to the Beatles, the Beatles went to Elvis… Overall, this is an interesting look at music in 1965 and the various influences involved – from Folk-Rock to LSD – during the year. Although a lot of English groups feature, though,, this is very much music seen from the perspective of the US. An enjoyable overview of a momentous musical year.
The author uses the seasons to take the reader through a changing year – from the Brill Building to Folk Rock, from Civil Rights to LSD, Vietnam to the Pill and long hair, Andy Warhol, Motown, the Byrds, Bob Dylan, the Rolling Stones, the Who Timothy Leary and more. At times, the detours into social and cultural events can seem to detract from the music, but gradually you learn that part of what was important about 1965 – what allowed the music to flourish - was the impact of so much social change without too much of a backlash. Yes, there were complaints about the length of boys hair and Bob Dylan was vilified for going electric, but drugs were still not widely on the radar and parents seemed largely unaware that music was changing and the lyrics no longer about young love and holding hands, but moving into more social themes with songs such as “Eve of Destruction,” topping the charts.
Of course, the main reason that 1965 is seem as such a memorable year musically, is because of the music made that year. These are records, and songs, that sound fresh enough to have been recorded this year, rather than fifty years ago – “Satisfaction,” “Yesterday,” “Get Off my Cloud,” “Sounds of Silence,” “My Generation,” and “Mr Tambourine Man,” are just a few of the classics recorded in 1965. Amongst the wonderful musicians recording in that year, there was a lot of influencing each other – and revelling in meeting up and exchanging ideas. It is also interesting to see what the protocol was – while Dylan went to the Beatles, the Beatles went to Elvis… Overall, this is an interesting look at music in 1965 and the various influences involved – from Folk-Rock to LSD – during the year. Although a lot of English groups feature, though,, this is very much music seen from the perspective of the US. An enjoyable overview of a momentous musical year.
April 13, 2024
So obviously I get the whole 1965 thing. My parents were baby boomers. I was given their collection of 45s to play on my little orange record player you know the one that would also play 33s and 78s so you could make everything sound like Alvin and the chipmunks or the deepest voice from hell? God I got that when I was about three. Most likely because I wouldn’t stop bugging them to put their music on. I have pics of me wearing these massive brown headphones when I was about two at the most. Also there may have been a beer bottle beside me it was 1973, what are ya gonna do? as I got older I got nosier and I found the REAL ALBUMS: jimi, moody blues, cream, jpg and r, OMG! I was in heaven. And my complete obsession with music was on a roll. It still happens when I hear something new (at least to me): dude! Dude, ya gotta watch this video on YouTube, pull up this artist, man why does music make me cry, sing with me, yes I’m dancing while I mop this stupid floor, etc. this past year I have found some artists I adore. So many playlists on my Spotify. Making a budget I will always find $10 for that.
I fantasize about the music of the 60s. When there were actual music radio stations and all you had to do is walk your song straight through the front door (how were those bologna sandwiches ms Loretta Lynn?), when there was no auto tune (sent from the devil I tell ya)and to have witnessed bob dylan plug in his guitar. Haters gonna hate. MIND BLOWN! The days of massive collective audiences not just Woodstock. That dang weed coming from all four directions and being covered in mud (well it can be good for the skin but not the clothing). One year breeding with the next to create something entirely different, entirely angel inspired. And we came together. The bad and the good, the starving and the ones who can never save some room for later, and on the seventh day god said this is groovy and he rested.
I fantasize about the music of the 60s. When there were actual music radio stations and all you had to do is walk your song straight through the front door (how were those bologna sandwiches ms Loretta Lynn?), when there was no auto tune (sent from the devil I tell ya)and to have witnessed bob dylan plug in his guitar. Haters gonna hate. MIND BLOWN! The days of massive collective audiences not just Woodstock. That dang weed coming from all four directions and being covered in mud (well it can be good for the skin but not the clothing). One year breeding with the next to create something entirely different, entirely angel inspired. And we came together. The bad and the good, the starving and the ones who can never save some room for later, and on the seventh day god said this is groovy and he rested.
March 8, 2015
The mission of Andrew Grant Jackson's book "1965" is to tie together the hit music and social/political changes of the time. Although the book is organized by chronological sections (winter, spring, etc)each sub-chapter deals with a genre of music and how it related to American/British culture. Therein lies my first criticism. Yes, most of the music we know of 1965 came from the US and Britain, but outside of our myopic view the rest of the world was undergoing some radical changes as well, also accompanied by regional soundtracks. To really cover the worldwide scene would have taken a much longer book, but it would have better served the stated goal. To be fair, there is a chapter on Jamaica/ska.
Having said that, Mr. Jackson does a serviceable job covering a big topic in less than 300 pages, not counting the 35 pages of notes and bibliography. The narrative ranges from "the big picture" to minor gossipy details. Do we really need to re-hash the sexual antics within the Mamas & Papas to understand the sexual revolution? I kept feeling like a PhD of 1960's Western Culture reading a high school text on the subject. Yes, there were some details that were new to me, but much of it I had read, heard and watched before. It s a great introduction but hardly a must own for people whose personal libraries mirror the bibliography.
Finally, a word about the chapter "It Came from the Garage". I have to assume from this section that the author is not a fan of the garage rock scene. He seems to believe that the music appeals to "contemporary hipsters" yet the average age of the people I see at the shows nowadays is about 50. Luminaries in the field, such as "Little" Steven van Zandt, Bill Kelly and Richie Unterberger would likely punch Mr. Jackson if he had the temerity to call them hipsters to their faces. Moving on, I have to wonder why there is absolutely no mention of the 13th Floor Elevators or the Monks, both of whom were active in 1965 and both of whom were incredibly influential and ground-breaking in their own ways. No, they did not chart on Billboard that year, but I don't see how any book on the explosive creativity and social influence of music in 1965 can leave them out.
Having said that, Mr. Jackson does a serviceable job covering a big topic in less than 300 pages, not counting the 35 pages of notes and bibliography. The narrative ranges from "the big picture" to minor gossipy details. Do we really need to re-hash the sexual antics within the Mamas & Papas to understand the sexual revolution? I kept feeling like a PhD of 1960's Western Culture reading a high school text on the subject. Yes, there were some details that were new to me, but much of it I had read, heard and watched before. It s a great introduction but hardly a must own for people whose personal libraries mirror the bibliography.
Finally, a word about the chapter "It Came from the Garage". I have to assume from this section that the author is not a fan of the garage rock scene. He seems to believe that the music appeals to "contemporary hipsters" yet the average age of the people I see at the shows nowadays is about 50. Luminaries in the field, such as "Little" Steven van Zandt, Bill Kelly and Richie Unterberger would likely punch Mr. Jackson if he had the temerity to call them hipsters to their faces. Moving on, I have to wonder why there is absolutely no mention of the 13th Floor Elevators or the Monks, both of whom were active in 1965 and both of whom were incredibly influential and ground-breaking in their own ways. No, they did not chart on Billboard that year, but I don't see how any book on the explosive creativity and social influence of music in 1965 can leave them out.
December 23, 2015
Really interesting overview of what really was a magical year for popular music. Pretty much every chart topper is a classic staple of its respective genre, and Jackson provides insights into how the various artists influenced one another. Like 1939 for cinema, 1965 may be the peak year for American popular music. Also worth the read for learning Cher lost her virginity to Warren Beatty after cutting him off in traffic! The last chapter on Rubber Soul, my favorite album of all time, was a cherry on top.
October 1, 2018
Read this for a class on the Cold Wart and popular culture. A fascinating snapshot of American music during one incredible year, it covers not only "music factories" like Motown and the Brill Building but also draws in British influences (the Beatles and the Rolling Stones), new musical tech (electronic vs acoustic), Beat poets (Ginsberg and Kerouac), pop art (Andy Warhol), the anti-war movement, and even French surrealism (it influenced Bob Dylan, who knew?). The end product is a dizzyingly detailed picture of music in conversation with culture, art and politics, as well as with itself. It's like looking at a google map of the U.S. with little pushpins everywhere, all of them lighting each other up.
March 30, 2017
Absolutely sensational book about one of my favorite years in Rock and Roll, 1965.
Even though I was only two years old at the time, this year has always been very special to me. All my favorite songs in the Seventies were from 1965. "Like A Rolling Stone" by Bob Dylan. "Ticket to Ride" by the Beatles. "Satisfaction" and "Get Off My Cloud" by the Rolling Stones. "My Generation" by the Who and "Help Me Rhonda" by the Beach Boys.
The amazing thing about this book is that Andrew Grant Jackson fits in everything that was happening that year. Even if you already know everything there is to know about the Beatles or the Beach Boys, he has amazing details about people like Andy Warhol, and James Brown, and Johnny Cash, and Edie Sedgwick. One minute he's explaining how LSD was invented and the next he's describing how Paul Simon wrote "Sounds of Silence." And the amazing thing is that he really ties everything together so that you understand how it all fits together with the year 1965.
The best thing about this book is that even though I thought I knew everything there was to know about classic rock, I discovered some great new classics, like "Night Owl Blues" by the Loving Spoonful. What an amazing treasure house this book is!
Even though I was only two years old at the time, this year has always been very special to me. All my favorite songs in the Seventies were from 1965. "Like A Rolling Stone" by Bob Dylan. "Ticket to Ride" by the Beatles. "Satisfaction" and "Get Off My Cloud" by the Rolling Stones. "My Generation" by the Who and "Help Me Rhonda" by the Beach Boys.
The amazing thing about this book is that Andrew Grant Jackson fits in everything that was happening that year. Even if you already know everything there is to know about the Beatles or the Beach Boys, he has amazing details about people like Andy Warhol, and James Brown, and Johnny Cash, and Edie Sedgwick. One minute he's explaining how LSD was invented and the next he's describing how Paul Simon wrote "Sounds of Silence." And the amazing thing is that he really ties everything together so that you understand how it all fits together with the year 1965.
The best thing about this book is that even though I thought I knew everything there was to know about classic rock, I discovered some great new classics, like "Night Owl Blues" by the Loving Spoonful. What an amazing treasure house this book is!
February 28, 2016
If you are of a certain age or have a strong interest in music history, you'll love this extremely well researched chronology of the stories behind the sounds of 1965: Dylan, The Beatles, The Byrds, The Beach Boys, Motown, Simon and Garfunkel, Johnny Cash, Marvin Gaye, Stevie Wonder, The Mamas and the Papas, Sonny and Cher, Frank Sinatra (making a comeback that year), James Brown and many, many, many others. It was an astonishing year in music!! Inside stories of the innovations, inspiration (so much sharing and stealing) and appellations are revealed. Andrew Grant Jackson does not neglect to fill in the turbulent history of the time, which informs the spirit of the music. A book to keep and refer back to.
February 4, 2015
This book does a solid job covering the evolution of music through an ever changing period in history.It was really interesting to see how the artists influenced each other and pushed each other to get better and experiment with new directions.The inclusion of the events in America and how they fit in was well done as well.The numerous citations show how much work and research was put into the writing.Recommended. ####I won this book through goodreads in exchange for an unbiased review#####
August 25, 2018
1965 was a great and revolutionary year for music. I thought this book was going to provide an analysis of why that might be so. It gave a history and background of some of the groups and events at the time but didn't have the charm of "Girls Like Us".
There were interesting tidbits like: the Grateful Dead used to be called the Warlocks (so did the Velvet Underground); the Kinks didn't do well on their American tour account of an onstage fight between band members; the Rolling Stones Brian Jones beat women and considered the group his; Sam the sham and the Pharoahs song "Wooly Bully" ony reached number two but was the top income earner for the year; Dean Torrence, of Jan and Dean (formerly the Barons) was lead singer on the Beach Boys hit "Barbara Ann"; the Stones vs the Beatles was a markating ploy by the Stones' manager and a quote from page 213: "Jagger's songs tell stories, unlike most of the Beatles' and his stories are also decipherable, unlike Dylan's".
There were interesting tidbits like: the Grateful Dead used to be called the Warlocks (so did the Velvet Underground); the Kinks didn't do well on their American tour account of an onstage fight between band members; the Rolling Stones Brian Jones beat women and considered the group his; Sam the sham and the Pharoahs song "Wooly Bully" ony reached number two but was the top income earner for the year; Dean Torrence, of Jan and Dean (formerly the Barons) was lead singer on the Beach Boys hit "Barbara Ann"; the Stones vs the Beatles was a markating ploy by the Stones' manager and a quote from page 213: "Jagger's songs tell stories, unlike most of the Beatles' and his stories are also decipherable, unlike Dylan's".
October 22, 2020
1965 seems to have been a good year for American pop music. Yep.
August 1, 2015
As someone who in 1965 was only a year from becoming a teenager, I wondered how an author so much younger could bring out the spirit of the era. Facts are facts and any good researcher can list the hit songs and news events, but this book went far deeper than that. Whether you’re a historian, pop culture enthusiast or looking to relive a year that was pivotal for baby boomers in shaping in who we are and what music we listen to, this book will spike your interest and keep you reading until the end.
*
Starting at the beginning of 1965 and working methodically through to the end of the year, national and world events are put to a soundtrack that was not only the classic Top 40 hits, but also “deep cuts” and genres that widened the generation gap and defined various segments of society. The British Invasion, The West Coast Sound, Motown, soul, folk, country, easy listening, and the roots of psychedelic and The Summer Of Love were evolving musically and lyrically. Songs had meanings based on writers’ perceptions and opinions, from protest and drugs to teenage angst and puppy love. Combined with catchy tunes and rhythmic beats, these songs are valuable insights into where we were – and where we were headed.
*
I found the author’s research into the origins of the best-known and most influential songs of 1965 fascinating. Not only did he go behind the scenes during the recording process, but also traced the roots of songs back to the originals that served as inspiration or were simply borrowed and updated to create newer hits. It was a year of massive changes in music and world events and this book maps it out.
*
Starting at the beginning of 1965 and working methodically through to the end of the year, national and world events are put to a soundtrack that was not only the classic Top 40 hits, but also “deep cuts” and genres that widened the generation gap and defined various segments of society. The British Invasion, The West Coast Sound, Motown, soul, folk, country, easy listening, and the roots of psychedelic and The Summer Of Love were evolving musically and lyrically. Songs had meanings based on writers’ perceptions and opinions, from protest and drugs to teenage angst and puppy love. Combined with catchy tunes and rhythmic beats, these songs are valuable insights into where we were – and where we were headed.
*
I found the author’s research into the origins of the best-known and most influential songs of 1965 fascinating. Not only did he go behind the scenes during the recording process, but also traced the roots of songs back to the originals that served as inspiration or were simply borrowed and updated to create newer hits. It was a year of massive changes in music and world events and this book maps it out.
July 13, 2015
For all the revolutionary music and activities of 1965, I found this book a bit on the dry side.
There is a lot of good stuff here, including lengthy discussions of who influenced whom and details on instrumentation and inspiration, but I found that it didn't convey the tumultuous times as well other books on the subject that I've read managed to do.
There is a lot of discussion of the Civil Rights movement (understandable in terms of protest songs) and a lot of discussion of LSD and other drug experimentation (also understandable in terms of musical innovation). I'm not sure why there were anecdotes about Woody Allen or a discussion of psychotherapy.
It seemed a little here, there, and everywhere, but it was entertaining, with enough anecdotes I'd never heard to keep me interested. My personal favorite was when the Kinks were in Chicago for their disastrous 1965 U.S. tour (the one that got them blacklisted from playing the States for several years) and went back to the house of a local Jaycee for a drink after the show. They got a weird vibe from him and left early. That particular Jaycee was John Wayne Gacy. Since the Kinks are one of my all-time favorite bands, I'm very grateful they escaped his clutches!
It's a fun enough read, although there are better books in this vein.
There is a lot of good stuff here, including lengthy discussions of who influenced whom and details on instrumentation and inspiration, but I found that it didn't convey the tumultuous times as well other books on the subject that I've read managed to do.
There is a lot of discussion of the Civil Rights movement (understandable in terms of protest songs) and a lot of discussion of LSD and other drug experimentation (also understandable in terms of musical innovation). I'm not sure why there were anecdotes about Woody Allen or a discussion of psychotherapy.
It seemed a little here, there, and everywhere, but it was entertaining, with enough anecdotes I'd never heard to keep me interested. My personal favorite was when the Kinks were in Chicago for their disastrous 1965 U.S. tour (the one that got them blacklisted from playing the States for several years) and went back to the house of a local Jaycee for a drink after the show. They got a weird vibe from him and left early. That particular Jaycee was John Wayne Gacy. Since the Kinks are one of my all-time favorite bands, I'm very grateful they escaped his clutches!
It's a fun enough read, although there are better books in this vein.
June 4, 2015
I don't often read books about music and had to set up a new shelve for it. This is mainly because I have been profoundly deaf for many years and recently got cochlear implants. I only was able to follow pop music when I was a teenager from the last half of the 1960's. However, in reading this book about the songs of 1965, I remembered virtually all of them and will now have to get out the old records or CDs or whatever and listen to them. Great book about an exciting time in rock and roll music!
January 25, 2022
In 1965: The Most Revolutionary Year in Music, Andrew Grant Jackson chronicles a creatively explosive year in popular music, from British Invasion acts, to Motown and Stax, folk rock, jazz, country, easy listening, and beyond. Jackson situates the music in its cultural and political context, portraying the year as a golden moment of collective euphoria and experimentation, before the heady trip came crashing down into the disillusionment of the latter half of the sixties. To give you a taste of what the year sounded like, here are a few of the timeless songs and albums that dropped in 1965: A Love Supreme, “I Got You, Babe,” “Nowhere to Run,” “Day Tripper,” Rubber Soul, “Papa’s Got a Brand New Bag,” “Satisfaction,” “I Can’t Help Myself,” Highway 61 Revisited, “California Girls,” “Do You Believe in Magic?,” “Stop! In the Name of Love,” “Turn! Turn! Turn!,” “The Sounds of Silence,” and the soundtrack to A Charlie Brown Christmas, among countless others.
I had previously read David Hepworth’s 1971—Never a Dull Moment: Rock’s Golden Year, and that book hooked me on the charmed-year approach to pop-music history. I’m still a fan after reading Jackson’s 1965. If anything, Jackson works even harder to put popular music into its societal context, and for me, the music nostalgia makes a nice spoonful of sugar to help the history lessons go down. I don’t think you can really compare the two years musically. Both 1965 and 1971 were, no doubt, creatively explosive, but in different ways, and the two authors make different claims about them. Jackson claims 1965 was the most revolutionary year in pop music and makes a compelling case. Hepworth claims 1971 was the dawn of popular music as we know it today and makes a compelling case, too.
I’d give 1965 five stars if not for the occasional rushed/belief-straining claim—for instance that James Brown “invented” funk the day he recorded “Papa’s Got a Brand New Bag.” Surely it had been brewing and drawing on different influences for a long time before that? I also found the long chapter on the proto-hippie and hippie movement in San Francisco to be light on music and heavy on trippy tedium. If I never read about another one of Ken Kesey’s “Acid Test” parties again, that will be a-okay with me.
I had previously read David Hepworth’s 1971—Never a Dull Moment: Rock’s Golden Year, and that book hooked me on the charmed-year approach to pop-music history. I’m still a fan after reading Jackson’s 1965. If anything, Jackson works even harder to put popular music into its societal context, and for me, the music nostalgia makes a nice spoonful of sugar to help the history lessons go down. I don’t think you can really compare the two years musically. Both 1965 and 1971 were, no doubt, creatively explosive, but in different ways, and the two authors make different claims about them. Jackson claims 1965 was the most revolutionary year in pop music and makes a compelling case. Hepworth claims 1971 was the dawn of popular music as we know it today and makes a compelling case, too.
I’d give 1965 five stars if not for the occasional rushed/belief-straining claim—for instance that James Brown “invented” funk the day he recorded “Papa’s Got a Brand New Bag.” Surely it had been brewing and drawing on different influences for a long time before that? I also found the long chapter on the proto-hippie and hippie movement in San Francisco to be light on music and heavy on trippy tedium. If I never read about another one of Ken Kesey’s “Acid Test” parties again, that will be a-okay with me.
May 16, 2020
Traz uma abordagem interessante de tópicos como revolução sexual, guerra do Vietnã, luta negra pelos direitos civis e movimento hippie. A escrita não é pesada apesar de ter bastantes detalhes e "fun facts".
Também mostra como a indústria fonográfica se aproveitou dos movimentos sociais/culturais "orgânicos" para lucrar, o que possibilitou o próprio Roque em Roll rebelde (do jovem americano branco) acontecer numa sociedade notavelmente retrógrada. Também mostra esse processo do capital no Soul, Country, Jazz, etc.
Por mostrar bastante dos bastidores da produção musical, ajuda a desconstruir o papo de que os artistas da época eram magicamente talentosos, mostrando como o mesmo compositor e a mesmo set de músicos trabalhavam para vários artistas ao mesmo tempo, assim como na produção musical atual.
O livro todo carrega um dualismo entre pagar pau pros anos 60 vs. tentar quebrar a visão romantizada que temos sobre esse período, o que fica claro principalmente nos últimos capítulos.
Enfim, um bom resumo da época e tranquilo de ler. Recomendo.
Também mostra como a indústria fonográfica se aproveitou dos movimentos sociais/culturais "orgânicos" para lucrar, o que possibilitou o próprio Roque em Roll rebelde (do jovem americano branco) acontecer numa sociedade notavelmente retrógrada. Também mostra esse processo do capital no Soul, Country, Jazz, etc.
Por mostrar bastante dos bastidores da produção musical, ajuda a desconstruir o papo de que os artistas da época eram magicamente talentosos, mostrando como o mesmo compositor e a mesmo set de músicos trabalhavam para vários artistas ao mesmo tempo, assim como na produção musical atual.
O livro todo carrega um dualismo entre pagar pau pros anos 60 vs. tentar quebrar a visão romantizada que temos sobre esse período, o que fica claro principalmente nos últimos capítulos.
Enfim, um bom resumo da época e tranquilo de ler. Recomendo.
April 27, 2024
Ok this took me awhile to get through because I had to keep stopping to learn more about some of the crazy facts presented in this book — the most unhinged might have been that The Kinks, after playing a show in Illinois, were invited back to one of the organizers’ homes, but dipped because they got weird vibes from the owner… and the owner was JOHN WAYNE GACY?!!!
In all seriousness though, I love this era of music so much and so many of the songs/albums/artists mentioned in this book I have loved since I was literally in 5th/6th grade, so it was great to dive deeper into the history and the stories behind music that means the world to me ❤️
In all seriousness though, I love this era of music so much and so many of the songs/albums/artists mentioned in this book I have loved since I was literally in 5th/6th grade, so it was great to dive deeper into the history and the stories behind music that means the world to me ❤️
September 3, 2021
This book describes the history of a time I lived in. I was 14 in 1965 and I listened for hours to my transistor radio and stereo as they played the songs of the musicians described in the book. These experiences allow me to say that Andrew Grant Jackson got it right 99% of the time in explaining the songs, the musicians, and the context of the times. What makes this book stand above most rock n roll histories is the supporting research accompanying clear and interesting explanations. If you read this book with your Spotify or Amazon Music apps to play the songs described, you will have an awesome and rich musical history experience.
May 16, 2023
A writer who didn’t live through 1965 but has done his homework, knowledgeable and fascinated with the year.
Jackson paints it as a transformative musical year. Going from big picture with cause and effect of the music revolution leading to drugs and social problems.
In the acknowledgments he writes that today’s prosaic is yesterday’s LSD. The later for opening our minds and the former for us to seek safety. I wish he’d expanded on this comment and made it a main part of the book but then it would be less about the music.
Jackson still shows how music transformed from lyrics of live to those of drugs and protests. Many songs and artists one should recognize if familiar with the era.
The diversity of genre in the top hits of the year was illuminating. Enjoyed that aspect.
Jackson paints it as a transformative musical year. Going from big picture with cause and effect of the music revolution leading to drugs and social problems.
In the acknowledgments he writes that today’s prosaic is yesterday’s LSD. The later for opening our minds and the former for us to seek safety. I wish he’d expanded on this comment and made it a main part of the book but then it would be less about the music.
Jackson still shows how music transformed from lyrics of live to those of drugs and protests. Many songs and artists one should recognize if familiar with the era.
The diversity of genre in the top hits of the year was illuminating. Enjoyed that aspect.
June 14, 2023
Probably 3.5
Was a decent overview of movement in music, civil rights and sexual freedom that occurred in 1965. While mentioned, a closer examination of the fallout, the hurt, pain and alienation caused by the utter rejection of some (certainly not all - there has never been "glory days") traditions and mores, mediating structures such as church and family, those things that give a sense of rootedness would complete this picture. But that was not the author's goal. It was a crazy time.
Was a decent overview of movement in music, civil rights and sexual freedom that occurred in 1965. While mentioned, a closer examination of the fallout, the hurt, pain and alienation caused by the utter rejection of some (certainly not all - there has never been "glory days") traditions and mores, mediating structures such as church and family, those things that give a sense of rootedness would complete this picture. But that was not the author's goal. It was a crazy time.
December 24, 2019
Claro que fala sobre música , mas vai muito além : um rx da década de 60 e como a música influenciou e foi influenciada em vários aspectos como direito civil, política , religião … e de como Lennon era um mala !!!
September 25, 2021
Recommended if you have a specific interest in 1965 culture and music, but it's likely going to seem a bit dry if you don't. I appreciate the research the author did, although I think he went into the weeds a bit with some of the history that seemed like a few twists and turns away from the music he was discussing. I'm glad I read it but I preferred his book on 1973 -- it also just may be that 1973 was more interesting!
May 10, 2023
(I used this for a history paper and it was honestly pretty boring) 👎
June 7, 2025
3.5 / 5
Pretty interesting. I was constantly comparing the rules & norms of what was allowed in the 60s to today’s standards, and it kept surprising me because 1965 was not that long ago yet the change in what artists are allowed to say in their songs is so huge (particularly when it comes to sexual content). For instance, one musician had a song that radio stations wouldn’t play because the lyrics alluded to a girl going upstairs to his apartment, which was too risqué. Could you imagine how those stations would react if we gave them a Sabrina Carpenter song to play?
Pretty interesting. I was constantly comparing the rules & norms of what was allowed in the 60s to today’s standards, and it kept surprising me because 1965 was not that long ago yet the change in what artists are allowed to say in their songs is so huge (particularly when it comes to sexual content). For instance, one musician had a song that radio stations wouldn’t play because the lyrics alluded to a girl going upstairs to his apartment, which was too risqué. Could you imagine how those stations would react if we gave them a Sabrina Carpenter song to play?
January 23, 2016
Jackson does an impressive job of chronicling a year in the life of popular music, but runs into trouble at times because he almost tries to cover too much material. Rock, pop, soul, jazz, funk...it's all here. You'll discover many pop culture tidbits that you weren't previously aware of (you'll never look at/listen to certain Beatles lyrics the same way ever again). In addition to covering popular music, he also does a stellar job of illustrating the impact that said music had on the society around it.
The main (and, really, only) quibble that I had with the whole thing is that Jackson seems to delve deeply into certain topics (The Beatles, The Stones, Dylan) and then quickly speeds through a brief litany of other subjects (almost like time lines in paragraph form); these items hardly register at all because it seems that the surface is barely skimmed. Marvin Gaye, in particular, is only mentioned in passing, which is criminal!
The main (and, really, only) quibble that I had with the whole thing is that Jackson seems to delve deeply into certain topics (The Beatles, The Stones, Dylan) and then quickly speeds through a brief litany of other subjects (almost like time lines in paragraph form); these items hardly register at all because it seems that the surface is barely skimmed. Marvin Gaye, in particular, is only mentioned in passing, which is criminal!
March 1, 2019
A fun overview of 1965, its music and its politics.
Jackson does a good job connecting all the disparate dots of the music scene, going roughly from month to month with the Beatles, Stones, Beach Boys and the rest. Don't think this is all about rock, though. Chapters focus on the country music scene, folk, jazz, even ska/reggae.
This isn't an in-depth treatment, though. For example, one chapter deals with Dylan plugging in, and angering folkies, at the Newport Folk Festival. A full treatment of the event can be found in Dylan Goes Electric! by Elijah Wald.
All in all, a good starting point. Maybe it'll encourage you to seek out more about each artist - and seek out the music, too!
More reviews at my WordPress site, Ralphsbooks.
Jackson does a good job connecting all the disparate dots of the music scene, going roughly from month to month with the Beatles, Stones, Beach Boys and the rest. Don't think this is all about rock, though. Chapters focus on the country music scene, folk, jazz, even ska/reggae.
This isn't an in-depth treatment, though. For example, one chapter deals with Dylan plugging in, and angering folkies, at the Newport Folk Festival. A full treatment of the event can be found in Dylan Goes Electric! by Elijah Wald.
All in all, a good starting point. Maybe it'll encourage you to seek out more about each artist - and seek out the music, too!
More reviews at my WordPress site, Ralphsbooks.
May 24, 2020
O livro é extremamente interessante, a pesquisa foi extremamente bem-feita, não apenas sobre a parte musical mas sobre todas as mudanças sociais e políticas acontecendo naquela época (o autor é músico e historiador), mas infelizmente a tradução para o português é muito fraca, com vários erros primários. Ficou nítido que o tradutor nem se deu ao trabalho de se informar sobre o jargão usado na área, vide por exemplo a quantidade de erros de tradução para termos utilizados em música (como confundir "tom" com "acorde"). Uma pena, pois o material é excelente. Imagino que o original deva ser bem melhor, mas pra quem não lê inglês e não se incomoda tanto com esse tipo de tradução feito meio "às pressas", ainda assim eu recomendaria.
January 18, 2020
For the most part, a fun, breezy overview of a truly momentous year in American (and world) history, culturally. However, just a bit too heavy-handed in regard to the author's personal politics. Additionally, the last 1/4 of the book felt a bit rushed, and was too reliant on superfluous information from seemingly every year EXCEPT 1965, that made it feel as though the author wanted to include it all to show off that he had gained this knowledge - not necessarily in service to his premise or the reader's understanding of the importance of 1965. Lastly, the epilogue was entirely unnecessary, as it's rather ludicrous to spend an entire book on one year, and then attempt to summarize the following 50 years in a single chapter.
April 9, 2015
First, thank you to Goodreads choosing me to receive this book in their giveaway. I was really excited and so glad that I had a chance to read it. Second, the author is clearly a Beatles' fan, so how could it go wrong. Finally, it took me longer to read than it should have because every time I read a song title (which is constant) the song burst forth in my head and I had to sing it (in my head). Well researched, interesting stories and theories, great music and photos! Anyone who likes this time and genre of music will enjoy this book.
April 20, 2015
what amounts to a chronological tale of all the unbelievable music created in 1965, this book contains myriad fun facts and serves as a testimony to the power of rock and roll ... it reads as a who's who of artists of what would become the classic rock era, and historically speaking, if you knew nothing about 1960s rock this would would be an excellent place to start ... there are moments that leak into sociology (it was a very interesting time to be alive), but thankfully, the music mostly takes center stage
July 24, 2015
I probably particularly enjoyed this book because of the memories it stirred of when I was 13 and 14. There is a focus on music, but the story also explores the many significant historical events and cultural changes beyond music. Medicare, the assasination of Malcolm X, Selma, LSD, Watts riots, Viet Nam, Andy Warhol, the Pill, and an interesting discussion of the creation and first showing of Charlie Brown's Christmas.
As far as music goes, this was the year of Satisfaction, Sounds of Silence, Like a Rolling Stone, and Yesterday.
Good book to either learn about or relive that year.
As far as music goes, this was the year of Satisfaction, Sounds of Silence, Like a Rolling Stone, and Yesterday.
Good book to either learn about or relive that year.
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