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Things we didn't know or do in the 60's and 70's

Because we grew up listening to the Beatles and Motown, the Allman Brothers and Santana, Led Zeppelin and Sly and the Family Stone. We learned our instruments both by taking lessons and by playing along to great, great records, learning our parts by moving the needle on the record player over and over again. It was a great boot camp for musicians and I think it showed in the quality of local bands during that era. We did not have great gear, but we had a sound in our head that we were trying to emulate. And that sound was a darn good one.

Then came Punk and kids thought that playing the same three chords at high volume with lots of energy and attitude was what it meant to be in a band. That, in my opinion, was the beginning of the end. Don't get me wrong, I also love Punk and could not be happier listening to some of the iconic groups like the Ramones, the Clash, Sex Pistols and such. But, I don't think a lot of kids ever became a great musicians playing along to those records, the same way that we did - with apologies to Billie Joe, Tre and Mike, who may be the exception to the rule.
Dunno. Every generation complains about that - same three chords played at high volume could be said about Chuck Berry and a good portion of rock and blues in general. Never mind the 4 chord vamp of do wop. Etc.
 
I suppose so....

but that music and period is sort of like classical music as far as rock and pop goes. They were the Mozarts and Beethovens.

I don't think it's just nostalgia.
Some of my very favorite music comes from this period, but to compare '60s musicians in general to the best classical composers is just way over the top, IMO. That is nostalgia in action, isn't it?
 
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Yep. Seems you can’t talk about anything that doesn’t involve some people without them feeling all threatened and defensive because they can’t accept that it’s not somehow being directed at them.

Like Oscar Wilde so aptly put it, when it comes to some people, the only thing they think worse than being talked about is not being talked about at all. ;)

Yeah. So it goes around here sometimes. You start a thread where people get together to celebrate and laugh at themselves and their old foibles a bit and it’s only a matter of time before someone with, as you noted, no sense of humor - (and who is seldom within the demographic of the thread) shows up. And having no fun stories of their own to add to the slush pile, decides to be all offended and troll it.

It’s kinda the web equivalent of someone who crashes a party and tries to pick a fight with one of the guests. What can I say? You get ‘em. :laugh:

Contrasting opinions are always welcome. State your thesis, present your evidence, and make your case if you’re feeling contrarian and nobody will have a problem with it.

Snarky one-liners and comebacks, or “sniping” to use another social media term (which is the preferred modus of a small group of TBers whose handles I’m sure many of the regulars here already recognize) aren’t contributing anything to the conversation.

FWIW, my roots in the online world go back before the Internet when I was one of the early subscribers (or “Well Beings”) on The WELL and hosted a few of my own dial-up online bulletin boards. Back then there was a set of generally accepted guidelines regarding what constituted acceptable behavior that was referred to as “netiquette.” And for the most part, they were pretty well adhered to.

One of the netiquette guidelines suggested that if you ever found yourself in a conversation where you had nothing of value or interest to add, and you didn’t feel like chiming in as a supporter, you either be a “lurker” (i.e. reader) or exit it and go find another conversation you could constructively participate in. As the guideline put it: Avoid playing devil’s advocate unless there’s a serious and compelling reason for you to do so. Most differences you’ll encounter online are differences of opinion rather than actual substance. Learn to recognize the difference. :)

There’s been many topics and threads I’ve encountered here where I disagreed strongly with the trend in the discussion or didn’t have any skin in the game so to speak. So I just moved into other threads where I could more profitably spend my time. Spared me dozens of circular arguments and wasted keyboarding.
Wow, so many assumptions about others, followed by a lecture on netiquette. That is just precious. :D
 
Thank you Greg! Here’s a nice shiny star to put on your collar for completely missing my point. Couldn’t resist putting that last little dig in either, could ya? Nice when a comment serves as its own example. :);)
You took far more digs than I.
 
We used Bogan columns with a Bogan m60 pa amp. No monitors. You could not hear anything you were singing. Like shooting basketball blindfolded.

In 1972, my band went to see Bobby "Blue" Bland at a little club in Topeka. Apparently his contract called for the venue to provide a PA. What the club provided as a speaker was a single one of these, and we could tell he was not happy about it:

$_61.JPG
 
Early amps I had access to were had only 2 prong plugs.
Ah, ok. I get it now. Yep, these became necessary around the time we began grounding things and ubiquitous sometime after that. I think the grounded plug became a standard thing sometime in the early 70's. I'm guessing, going by memory, as I was born in 1959 and I quite recall seeing them when I was a fairly young thing but I don't remember how young. So there was a time prior to that when you wouldn't have needed it. I just didn't see Paula's original post as excluding everything that was done after that date, though.
 
In 1972, my band went to see Bobby "Blue" Bland at a little club in Topeka. Apparently his contract called for the venue to provide a PA. What the club provided as a speaker was a single one of these, and we could tell he was not happy about it:

$_61.JPG

Technically, the venue fulfilled the requirement stipulated in the sound rider. That is indeed a "public address" loudspeaker. The rider probably should have said "sound reinforcement". Ordinarily though, the sound rider specifies the system desired, or equivalent. Ike and Tina Turner Review, for example, stipulated a system from Swanson Sound, and provided you put up something decent that would work, Ike Junior would sign off on it.
 
Technically, the venue fulfilled the requirement stipulated in the sound rider. That is indeed a "public address" loudspeaker. The rider probably should have said "sound reinforcement". Ordinarily though, the sound rider specifies the system desired, or equivalent. Ike and Tina Turner Review, for example, stipulated a system from Swanson Sound, and provided you put up something decent that would work, Ike Junior would sign off on it.
I expect that, in 1972, people were still figuring out what was sufficient for music sound reinforcement and I wonder if that term was even out there. We always called them PA systems, even though there's a clear difference between what's needed to call Bingo and what's needed to hear a band well. I doubt the venue made this mistake again, though you never know!
 
I expect that, in 1972, people were still figuring out what was sufficient for music sound reinforcement and I wonder if that term was even out there. We always called them PA systems, even though there's a clear difference between what's needed to call Bingo and what's needed to hear a band well. I doubt the venue made this mistake again, though you never know!

Well, Sun had introduced their Coliseum "PA" system by then, so yeah, you do have a point. The term "PA" got grafted onto the music business. The Coliseum "PA's" were awesome, though, and would work well today at many venues. Those JBL 2" compression drivers with acoustic lenses would literally throw the sound at you like a baseball!

Psychedelic-Rock'n'roll: SUNN AMPLIFIER COLISEUM PA SYSTEM

However, Don Nielson of Swanson Sound which was arguably the premiere sound company on the West Coast back then would pitch a fit if you dared to say "PA" at the shop. Don had his own personality, but we loved him.
 
Well, Sun had introduced their Coliseum "PA" system by then, so yeah, you do have a point. The term "PA" got grafted onto the music business. Those Coliseum "PA's" were awesome, though, and would work well today at many venues.

Psychedelic-Rock'n'roll: SUNN AMPLIFIER COLISEUM PA SYSTEM

However, Don Nielson of Swanson Sound which was arguably the premiere sound company on the West Coast back then would pitch a fit if you dared to say "PA" at the shop. Don had his own personality, but we loved him.
The Shure Vocal Master system came out in 1968. So, yeah, I think the whole concept was pretty new still in '72. I was still running into Vocal Master systems in the late 70's though by then they were being replaced by larger component systems.

My husband was at that last Beatles concert in the Bay Area and said all they had were amps on stage and you could hear nothing but the screaming of teen-aged girls.
 
In 1972, my band went to see Bobby "Blue" Bland at a little club in Topeka. Apparently his contract called for the venue to provide a PA. What the club provided as a speaker was a single one of these, and we could tell he was not happy about it:

$_61.JPG

Sometimes, ain't nothin' you can do.

ETA: But if I were Mr. Bland, I'd have been plenty miffed.
 
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