INDEX

All page numbers are refer to the print edition of this title.

Abbey Road, 180
Abbot, John, 103, 108–10
acid (LSD), 135–36, 157–58
acid culture, 136–37
Africans
    first arrival of, 15–16
    Middle Passage, 12, 13
    slave Christianity, 16
“Air,” 245
al-Andalus, 82–83, 84
Alice’s Adventures in Wonderland, 37, 38
Allen, Renee, 99–100, 103–4, 120
Altamont, 195–96
Amor, 112, 113, 120
“And I Love Her,” 89
“And Your Bird Can Sing,” 274
Anthem of the Sun, 130–31
Anthology of American Folk Music, The,
        75
Aoxomoxoa, 132–35
apocalypse, 55
Argent, Rod, 92
Arlin, Bob, 53
Astral Weeks, 121, 274
    background, 200–202
    as “channeled,” 211
    “Cyprus Avenue,” 204–9
    experience of listening to, 202–3
    as furthest reach of the explosion, 212
    going back to, 211–12
    Madame George and, 205–7, 212
    meditation on suffering, 203
    mood of, 202
    sequencing of, 210–11
    vortex of grief and loss in, 120
    world of, 201

Balin, Marty, 94
Barfield, Owen, 3
Barrett, Syd, 241–42
Beach Boys, the, 50–51, 92, 122
Beach Boys Today, 51
“Beat” culture, 30
Beatle love, 90
Beatlemania, 236
Beatles, the, 7, 37, 121–22
    Abbey Road, 180
    acid (LSD) and, 157–58
    in American reality, 40–41
    Cavern Club and, 150–52, 180
    chords, 150, 154
    Dylan on, 144
    early music, 145
    in Hamburg, 147–48
    happiness of music and, 144
    Hard Day’s Night, A, 145, 154, 235,
        236
    harmonics, 154
    harmonies, 144, 150
    interest in sound, 150
    love song period beginning with, 88
    love songs, 89–90, 95
    music as good news, 152
    in rebirth of romance, 89
    Revolver, 158–59, 177
    romantic love and, 154
    Sgt. Pepper’s, 120, 159–80
    visual style, 36
    White Album, 179–80
Beatnicks, 149
Bee Gees, the 122
“Beginning to See the Light,” 223
“Being for the Benefit of Mr. Kite,”
        169–70
Berlin, Irving, 86
Berliner, Jay, 202
Bernstein, Leonard, 88–89, 114, 122
Berry, Chuck, 130, 150
Blake, William, 3, 131–32, 167, 191,
        214, 271, 276
blues
    listened as pure music, 26
    in 1950s rock-and-roll music, 24–25
    rock-and-roll music and, 25
    as source of black American music,
        24
Blunstone, Colin, 92, 275
“Bo Diddley beat,” 17
Bowie, David, 242
Boyd, Joe, 238
Britain
    histories of, 33
    old stories of, 34
    U.S. cultural ties, 31
British rock-and-roll music
    as detonator, 6
    imaginary world, 37
    outbreak of, 39
    sixties rock-and-roll growth and, 7
broken faith, 117
Brown, James, 23
Brown, Michael
    background, 97–98
    broken heart, 106
    inspired state, 113
    late life and death, 120
    love lost and, 104, 105–8
    photo of, 98
    “Pretty Ballerina,” 113–19
    Tom Finn and, 100
    “Walk Away Renee,” 108–10
    working and writing, 112–13
Browne, Jackson, 57, 221
“Brown Eyed Girl,” 122
Brummels, Beau, 95
Burke, Solomon, 23
Burnett, Frances Hodgson, 232,
        234
“Bus Stop,” 122
Byrds, 72, 93
    at Ciro’s, 52–53
    Dylan and, 69, 72–73
    Fifth Dimension, 79
    principals of, 69
    silver arc, 78–79
    Sweetheart of the Rodeo, 79

Cale, John, 114, 216
California
    alternative spirituality in, 47–48
    apocalyptic undercurrent and, 55
    footless and seeking population, 73
    map (1650), 46
    as paradise, 45
    teen life, 48–49
    utopian colonies founded in, 46
    as western frontier, 44–45
    wise men of the east in, 47
California Zen, 130
Cameron, George, 101
Carmichael, Hoagy, 86
carnival, 185–86, 188, 192
Carroll, Lewis, 165
Castellini, Michael, 20–21
Cavaliere, Felix, 272
Chad and Jeremy, 92
“changing heads,” 64
“Cherish,” 122
“Chimes of Freedom, The,” 63, 68, 69
“China Cat Sunflower,” 134
Christianity, 15
Ciro’s Le Disc nightclub, 52–53, 73
Civil Rights Movement, 20–21, 61,
        137
Clapton, Eric, 153
Clark, Gene, 69, 71
Cooke, Sam, 23, 87
Corbin, Henry, 118
Cotton Kingdom, 16
Creem magazine, 265–67
Crosby, David, 69, 71
culture, 29, 31
Cyprus Avenue, 204–5, 208, 209
“Cyprus Avenue,” 204–9

Dante and Beatrice, 104–5, 106, 110,
        113, 118
“Darling Be Home Soon,” 122
Davis, Mike, 260
Davis, Richard, 202
“A Day in the Life.” See also Beatles
    as ending, 175–76
    final chord, 180
    John’s singing on, 177–78
    orchestral agons, 178
    question raised by, 180
    risk, 174–75
Deadheads, 139
Derminer, Robert (Rob Tyner), 256
Deshannon, Jackie, 91
“Desolation Row,” 77–78
Detroit, 252–53, 256, 259, 263, 265, 268
donna angelicata, 111
Doors, the, 121
Drifters, 88
“Drive My Car,” 156
“Dr. Robert,” 156
“Dupree’s Diamond Blues,” 134
Dylan, Bob, 2, 95, 129, 275
    basement tapes, 79
    on the Beatles, 144
    beginning of “sixties” and, 62
    Byrds and, 69, 72–73
    “The Chimes of Freedom,” 63, 68, 69
    cross-country road trip and, 63
    goodness and corruption and, 62
    hidden history and, 76–77
    Highway 61 Revisited, 77
    John Wesley Harding, 79, 200
    Kennedy assassination and, 61–62
    living the mystery, 76
    music, absorption of, 273–74
    “the only true, valid death” and, 75–76
    songs, 62
    on the “struggle,” 276

“earthquake country,” 132
ecstasy, 12, 14, 61, 138–39
“Eleanor Rigby,” 155
“Eleven, The,” 125, 126
Eliot, T. S., 159
Emerson, Ralph Waldo, 66, 67
English Romantic poets, 3
Epstein, Brian, 152
“Every Little Thing,” 89–90
Exile on Main Street, 197–98

Fedeli d’Amore, 110–12
“Fifth Dimension,” 224
Fifth Dimension, 79
Finn, Tom, 99, 100
“Fixing a Hole,” 167–68
folk music, 73
Four Tops, 93
Franklin, Aretha, 21, 22, 87

Garcia, Jerry, 126, 130, 131, 140, 268
Gershwin, George, 86
“Getting Better,” 165–66, 173–74
“God Only Knows,” 122
“Goin’ Down the Road Feeling Bad,”
        139–40
“The Golden Road,” 57, 130
“Good Morning Good Morning,”
        173–74
gospel music
    beginnings of, 18
    as elephant in the room, 25
    possession by the Spirit and, 20–21
    roots of, 24
    Sanctified-style, 20
    soul music and, 21–23, 24
    white supremacist regime and, 20–21
“Got to Get You into My Life,” 158
Grass Roots, 95, 122
Grateful Dead, the
    acid (LSD) and, 135–36
    Anthem of the Sun, 130–31
    Aoxomoxoa, 132–35
    attitude toward musical tradition,
        128–29
    avant-garde style, 139
    biggest accomplishment, 135
    “earthquake country” and, 132
    ecstasy and, 138–39
    how to play music and, 127
    interpretation of the times, 125–26
    performances, 137–38
    photo of, 126
    psychedelic world, 131, 135–36
    Skull and Roses, 139, 142
    trance music of, 127

Haight, 137, 138, 199
“The Half-Remarkable Question,” 245
The Hangman’s Beautiful Daughter,
        244–45, 247
happiness, 5, 82, 144–45, 149, 152, 154
Hard Day’s Night, A, 145, 154, 235, 236
Harris, Thomas Lake, 47
Harrison, George, 90, 154, 235–36,
        242
“Here Without You,” 93
Herman’s Hermits, 92
“Heroin,” 218
Heron, Michael, 237, 238, 244, 247, 248
“Hey Joe,” 52–54
“Hide Your Love Away,” 95
Highway 61 Revisited, 77
“Hold Me Tight,” 154
Hollies, 91–92, 93, 122
Holy Spirit, 6, 19, 23, 111, 137, 226, 259
Hunter, Robert, 126, 131, 140–41
Huxley, Aldous, 48, 175

“I Heard Her Call My Name,” 220, 225
“I Know You Rider,” 139, 140–41
“I’ll Be Your Mirror,” 218–19
“illuminated politics,” 5
imagination, 239
“I’m Alive,” 92, 93
“I’m Set Free,” 223
“I’m Waiting for the Man,” 217–18
Incredible String Band, the
    dedication to the fantastic, 246
    depth, 243
    festivity as premature, 248
    first members, 237
    The Hangman’s Beautiful Daughter,
        244–45, 247
    music blend, 238–39
    photo of, 237
    time in history, 234
    U, 247
    Wee Tam, 244, 245
innocence, 97, 236

“Jack,” 190–91
Jagger, Mick, 39, 147, 155
    as Jumpin’ Jack Flash, 191–92
    Performance, 196–97
James, Elmore, 25
James, William, 8
Jefferson Airplane, 10, 94, 120
“Jesus,” 223, 225–26
John Wesley Harding, 79, 200
Jones, Brian, 39
Jones, Joe, 49–50
“Jumpin’ Jack Flash,” 191–92, 197
Jung, Carl, 226

Kelpius, Johannes, 65
Kennedy assassination, 59–62
Kick Out the Jams, 258–61, 275
King, Ben E., 22, 88
King Arthur, 85–86
“Koeeoaddi There,” 232, 234
Kramer, Barry, 265
Kramer, Wayne, 256, 258

La Revue Nègre, 32
Lawrence, T. E., 8
Leary, Timothy, 39, 171
Led Zeppelin, 238, 239
Left Banke, the. See also Brown, Michael
    band members, 101
    great breakthrough, 110
    national hit, 113
    photo of, 107
    “Pretty Ballerina,” 113–19, 121
    “Walk Away Renee,” 108–10
Lennon, John, 8
    austere sublimity in landscape and, 146
    in “Every Little Thing,” 89–90
    harmonies, 144
    “horizontal” writing, 145
    “I was the Walrus, now I’m John”
        and, 197
    singing on “A Day in the Life,”
        177–78
Let it Bleed, 194
Lewis, C. S., 35, 62, 127–28, 207
“Like a Rolling Stone,” 78, 157
Little Richard, 30, 32, 150
Loaded, 215, 216, 226–30
Lomax, John and Alan, 140
Lookofsky, Harry, 97, 101, 103, 108,
        112, 114
love
    Beatle, 90
    with capital L, 85
    commerce and, 86
    first, experience of, 96
    romantic, 82, 84, 85–86, 111, 154
    Sufism explanation of, 83
    theme, 5
    vision of, 84
“Lovely Rita,” 172–73, 177
“Love Me Do,” 146–47
love song period, 88–122
“Lucy in the Sky with Diamonds,”
        164–65

MacDonald, Ian, 40, 81–82, 143, 145,
        162, 177
Mahalia Jackson and the Soul Stirrers,
        26
Mailer, Norman, 66, 88, 261–62
Manfred Mann, 95, 122
Marsh, Dave, 265, 266, 267
Martin, George, 102, 151, 152, 168,
169, 176
Martin-Caro, Steve, 101, 102, 109,
        116, 119
Marvell, Andrew, 3
Mason, David, 162
Mayfield, Curtis, 23
MC5, 121, 234
    afterlife of, 264–68
    background of, 254–56
    as counter to pop-music market, 268
    distortion use, 257
    earliest recordings, 254–55
    founding members of, 256
    John Sinclair and, 250–51, 257–58
    Kick Out the Jams, 258–61, 275
    local kids of, 269
    music as push, 260
    role of, 254
    shows, 259–60
McCartney, Paul, 150, 155
    amor in guitar playing, 89
    harmonies, 144
    in “And I Love Her,” 90
    in “Penny Lane,” 162–63
    “vertical” song structures, 145
McGuinn, Roger, 69, 70–72, 144
“Mental Traveller, The” 191
Miller, Olive Beaupré, 34
Mitchell, Joni, 221, 268
Moby Grape, 54
Moondance, 210
“Moonlight Miles, 197
Moor Eeffoc, 160
Morrison, Jim, 155
Morrison, Van, 122, 274
    Astral Weeks, 120, 121, 200–212
    background, 201–2
    Cyprus Avenue and, 208
    Moondance, 210
“Mountains of the Moon,” 273
“Mr. Tambourine Man,” 71–72
multiple vision, 271
Murphy, Joseph M., 18

New Orleans, 15
Nico, 218–19
1950s rock-and-roll music, 6, 24–25
1960s rock-and-roll music, 5–6
“Norwegian Wood,” 156

“Oh! Sweet Nuthin’,” 228
Orbison, Roy, 151, 152

Page, Jimmy, 238, 239
Palmer, Clive, 237, 238
Partridge, Len, 52
pattern of play, 186
“Penny Lane.” See also Beatles
    background, 160–61
    meaning of, 162
    Penny Lane photo, 161
    vision of, 169
    wake-up call, 161
Performance, 196–97
perversity, 213–14, 220
Peter and Gordon, 92
Pink Floyd, 241
Plant, Robert, 238, 239
Plymouth Colony, 64–65
poetry, commerce and, 87
Porter, Cole, 86
Presley, Elvis, 16, 17, 25, 26, 30, 31, 89
“Pretty Ballerina,” 113–19, 121, 273
    background, 113–14
    commercial success of, 119
    dissonance, 115
    Steve Martin-Caro in, 116–17
    unique direction of, 114
“Pretty Flamingo,” 95, 120
psychedelic, 242
Pyle, Howard, 35

radical politics, 4
R&B pop music, 31
Reay, Tony, 265
Rebennack, Mac, 247
Reed, Lou, 95, 118, 147. See also Velvet
        Underground, the
    background, 216
    as confessional writer, 221
    solo career, 219–20, 230
    in “Sweet Jane,” 228
    on The Velvet Underground, 223
    on White Light/White Heat, 221
Reeperbahn, 147–48
revolution, 8, 18, 55, 68, 73, 82
Revolver, 158–59, 177
Richards, Keith, 39, 153, 191
Rimbaud, Arthur, 1–2, 3, 63, 230, 275
Roberts, Billy, 52
Robinson, Smokey, 93
rock-and-roll music
    audience participation and, 25
    blues and, 25
    British, 6
    fears represented by, 30
    gospel origins of, 25
    1950s, 6
    1960s, 5–6
    underground fermentation, 7
Rockin’ Berries, 95
Rockwells, 53
Rolling Stone, 266, 267
Rolling Stones, 102, 121, 149, 181–98
    Altamont and, 195–96
    background, 181–83
    concerts in late sixties, 193
    creativity, 189–90
    Exile on Main Street, 197–98
    as inspired interpreters, 189
    Let it Bleed, 194
    as mutation, 182
    mythic arena, 194
    1969 American tour, 194–95
    photo of (1965), 183
Romantic love, 82, 84, 111
Romantic painters, 3
Rose, Tim, 52
Rosicrucians, 47, 48, 64
“Ruby Tuesday,” 197
Rumi, 83

San Andreas Fault, 56
Sanctified Churches, 19–20
Sebastian, John, 95
Secret Garden, The, 232, 233
“See Emily Play,” 242
Sehnsucht, 127, 128
Sgt. Pepper’s Lonely Hearts Club Band,
        120, 159–80
    “Being for the Benefit of Mr. Kite,”
        169–70
    “A Day in the Life,” 174–76, 178, 180
    England and, 163–64, 170
    “Fixing a Hole,” 167–68
    “Getting Better,” 165–66, 173–74
    “Good Morning Good Morning,”
        173–74
    integration and, 166–67
    “Lovely Rita,” 172–73, 177
    “Lucy in the Sky with Diamonds,”
        164–65
    “Penny Lane,” 160–65, 169
    “She’s Leaving Home,” 168–69, 172
    unity in, 163
    “When I’m Sixty-Four,” 172, 177
    “With a Little Help from My
    Friends, 164
    “Within You Without You,” 171–72
Shaker gift drawing, 67
Shakespeare, 3, 8, 35, 156, 229
“She Said, She Said,” 158
“She’s Leaving Home,” 168–69, 172
“shout,” 17–18
Sidemen, 26
Simon, Paul, 199
Sinatra, Frank, 86, 87–88
Sinclair, John, 250, 258. See also MC5
    background, 254, 257–58
    White Panther Party and, 263, 269
“Sister Ray,” 221
“sixties,” beginning of, 62
sixties bands, audience experience and,
        9–10
sixties musicians, 9
Skull and Roses, 139, 142
Smith, Fred, 256, 258
Smith, Harry, 74–75, 77
Smith, Warren, Jr., 202
soul music, 21–23, 24
Springfield, Dusty, 89
Springsteen, Bruce, 267
Starr, Ringo, 90, 144, 155
Stevenson, Robert Louis, 35
Stooges, the, 121
Sufism, 83
“Sunday Morning,” 217
Sutcliffe, Stu, 148
Sweetheart of the Rodeo, 79
“Sweet Jane,” 227, 228

“Things We Said Today,” 89
“Today,” 120
“To Love Somebody, 122
Traherne, Thomas, 3
Tucker, Moe, 224
“Twist and Shout,” 148

Vaughan, Sarah, 86
Velvet Underground, The, 215, 216,
        222–26
Velvet Underground and Nico, The,
        215, 216–19
Velvet Underground, the, 95, 114, 120,
        121. See also Reed, Lou
    albums, 214–15
    groove, 220
    Loaded, 215, 216, 226–30
    perversity, 214, 220
    The Velvet Underground, 215, 216,
        222–26
    The Velvet Underground and Nico,
        215, 216–19
    version of the monomyth, 216
    White Light/White Heat, 215, 216,
        219–21
vision, 275
visionary art, 3, 4
visionary schools, 3, 4, 5
“Visions of Johanna,” 120, 157
Voodoo, 11, 14, 15, 81

“Walk Away Renee.” See also Brown,
        Michael
    background, 108–9
    last line, 110
    as national hit, 110
    singing in, 109
    specificity, 109
“Waltz of the New Moon,” 245
“We Can Work It Out,” 121–22, 155
Wee Tam, 244, 245
Weir, Bob, 126
West Coast, 44–45, 48, 57
“What Goes On,” 224
“What You’re Doing,” 89, 90, 156
“When I’m Sixty-Four,” 172, 177
“When You Walk in the Room,” 91
“Where Were You When I Needed
        You?,” 122
White Album, 179–80
White Light/White Heat, 215, 216,
        219–21
Whitman, Walt, 66, 67
Williams, Paul, 10
Williamson, Robin, 234, 237, 248.
        See also Incredible String Band
    in character, 247
    Middle Eastern music and, 238
    as songwriter, 244
Wilson, Brian, 51, 94, 159
Winfield, Jeff, 101
“Witches Hat,” 245
“With a Little Help from My Friends,”
        164
“Within You Without You,” 171–72
Wordsworth, William, 239
“working the spirit,” 6
“World Turned Upside Down, The”
184

Yule, Doug, 224

“Zenta New Year,” 259
Zombies, 92, 275