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White Bicycles – Making Music in the 1960s is the memoir of music producer Joe Boyd.It is published by Serpent's Tail.A companion CD of music he had produced in the 1960s and associated with the book was published by Fledg'ling Records at the same time.
Boyd left Hannibal/Ryko in 2001 and his autobiography, White Bicycles - Making Music in the 1960s, was published in 2006 by Serpent's Tail in the UK. In 2008, Boyd was a judge for the 7th annual Independent Music Awards to support independent artists. [11] Boyd was a producer on the long-delayed Aretha Franklin concert film "Amazing Grace."
The Psychedelic era was the time of social, musical and artistic change influenced by psychedelic drugs, occurring from the mid-1960s [1] to the mid-1970s. [2] The era was defined by the proliferation of LSD and its following influence in the development of psychedelic music and psychedelic film in the Western world.
In Joe Boyd's book White Bicycles – Making Music in the 1960s he asserts the band's performance of “Revolution” one night at the UFO Club was the apotheosis of the 1960s UK underground. [3] Tomorrow also jammed with Jimi Hendrix at the UFO Club. [4]
Joe Boyd, who worked with Paul Rothchild on the sound mixing for the festival, described the audience reaction in his memoir, White Bicycles: Making Music in the 1960s. [22] By today's standards, the volume wasn't particularly high, but in 1965 it was probably the loudest thing anyone in the audience had ever heard.
According to Tomorrow drummer John 'Twink' Alder, the song was inspired by the Dutch Provos, an anarchist group in Amsterdam which instituted a bicycle-sharing system: "They had white bicycles in Amsterdam and they used to leave them around the town. And if you were going somewhere and you needed to use a bike, you'd just take the bike and you ...
In parallel with Beat music, in the late 1950s and early 1960s a British blues scene was developing recreating the sounds of American R&B and later particularly the sounds of bluesmen Robert Johnson, Howlin' Wolf and Muddy Waters.
Popular music, or "classic pop," dominated the charts for the first half of the 1950s.Vocal-driven classic pop replaced Big Band/Swing at the end of World War II, although it often used orchestras to back the vocalists. 1940s style Crooners vied with a new generation of big voiced singers, many drawing on Italian bel canto traditions.