ANTI SONGS
THE BEAT GENERATION
Louis Armstrong & His All Stars
(Kent, Walton)
MGM 1035, single 1959
From the film The Beat Generation
Sample the lyrics:
Now, your life don’t have a meaning
No, you’re living up a storm
You’d do anything at all except conform
You don’t have much ambition
Am aimless and depressed
You think you’re really with it
But you’re missing all the best
The film was a low-budget crime story, “behind the weird way-out world of the beatniks. Louis Armstrong didn’t write it and it was a paying gig. Who knows whether he identified with it? Maybe so. Beatniks were into the cooler end of jazz than Louis.
And so it went with 1959’s The Beat Generation, which answers the roar of the MGM lion with a blast of Louis Armstrong’s trumpet, then attempts to couch a police procedural about the hunt for a serial rapist inside a stinging exposé of beatnik culture.
(Craig J. Clark, Dissolve)
LIFE’S A TRIPPY THING
Nancy Sinatra & Frank Sinatra
(Linda Laurie, Howard Greenfield)
Reprise 1011, 1971, USA
Bonus track on: Nancy in LondonCD & reissue LP, 1995
In 1963, Bob Dylan was to my generation the anti-Sinatra writ large. Dylan was the antidote to all that narrow tied, narrow lapelled Italian suit, hat-wearing “Swinging” crap. Let’s not go into Bob’s misguided Shadows in The Night album of Sinatra covers then. A quote:
Rock ‘n’ roll smells phony and false. It is sung, played, and written for the most part by cretinous goons and by means of its almost imbecilic reiteration…it manages to be the martial music of every sideburned delinquent on the face of the earth.
(Frank Sinatra 1957)
Then let’s go to 1966 /67 when (according to YouTube) Frank recorded Life’s A Trippy Thing with his daughter, Nancy. It was an unfortunate stab at the Summer of Love. The forced (and hypocritical) lyrics are neither’s best moment. They include:
Nancy: Getting stoned on sunshine, getting high on air
Frank: Getting to it naturally, really getting there
Nancy: Getting such a high on, loving what I do
Frank: And I’m so full of happiness, I’m hooked on something new
Yes, that’s Frank Sinatra. Swinging Mafiosi wannabe. Cigarette in one hand, whisky in the other preaching about substance abuse. It gets worse:
My pot is filled with flowers, my grass is bright and
green
My tea is brewing in my cup, and still I make the scene.
That was written by Linda Laurie and Howard Greenfield too. This could so easily turn into “Why I loathe Frank Sinatra” (and as a person I could go on and on). Except I don’t loathe Frank Sinatra’s music anymore. I always thought Nancy was kind of cool, but I guess that was working with Lee Hazlewood and wearing those long, long boots.
It claims to be a 1970 recording, issued as a 1971 single, but it turns up on reissues of 1966’s Nancy in London. Reviews call it ‘cringingly outdated’ and I strongly suspect an earlier date, which is what YouTube lists. A European single paired it with the 1968 duet with her dad, Somethin’ Stupid.
DAWN OF CORRECTION
The Spokesmen: Dawn of Correction, 1965
(Madera, White, Gilmore)
Decca USA 31844, Brunswick UK 05941
This was an answer disc to Barry McGuire’s Eve of Destruction, which had been written by P.F. Sloan. The Spokesmen were John Madara (aka Medera), Dave White and Ray Gilmore. They had a good track record as composers, including At The Hop and Rock ‘n’ Roll Is Here To Stay for Danny & The Juniors, and Dave White was a member of that band, as Dave White Tricker. Madara and White had hits for Lesley Gore with You Don’t Own Me, Chubby Checker with The Fly and Len Barry with 1-2-3. Dawn of Correction was a #36 hit in the USA, for which poor P.F. Sloan failed to get a cent. Madara was one of the founders of Philly Soul, credited with discovering Gamble & Huff, Hall & Oates as well as writing Len Barry’s great 1-2-3.
Madara’s lead vocal is exceedingly vituperative:
The western world has a common dedication
To keep free people from Red domination
And maybe you can’t vote, boy, but man your battle stations
Or there’ll be no need for votin’ in future generations
Was this a genuine right wing loathing of protest, or simply a chance to make a quick buck? The hoarse vocal loathing bit is popular for the genre.
The single spawned an album with the same title, which included two Dylan songs, Love Minus Zero and It Ain’t Me Babe, Colours by Donovan, You’ve Got To Hide Your Love away by Lennon-McCartney and There But For Fortune by Phil Ochs, and a Joan Baez hit. The last has these lyrics:
Show me the country where the bombs had to fall
show me the ruins of the buildings, once so tall
and I’ll show you young man
with so many reasons why,
there but for fortune go you and I
Hold on, isn’t There But For Fortune a protest song?
BEGGAR’S PARADE
The 4 Seasons
(Crewe, Gaudio)
B-side of Opus 17 (Don’t You Worry ‘Bout Me) (Philips 1493) UK #20, and on the Working My Way Back To You LP
This song was in my Toppermost article on The 4 Seasons, (LINKED) one of the ten I selected. Back in 1966, the DJ at Le Kilt in Bournemouth played three 4 Seasons tracks incessantly: Let’s Hang On, Working My Way Back To You and Beggar’s Parade. The last was the B-side of Opus 17, the third hit single released from the Working My Way Back To You LP. The A-side was not a dancing track, so it got flipped and we loved the rhythm and melody. The lyrics? Well, a cool Bournemouth discotheque in early 1966 was hardly a centre for the counter-culture.
Jersey Boys (the movie) throws light on the New Jersey Italian-American culture, and these hard-working lads had no time for protest or peaceniks, and neither did their Mafiosi patrons. Frankie Valli later took a role as Rusty in The Sopranos. The lyrics are sneering, ultra-conservative:
Hungry for bread, plant a seed
Satisfy your evil greed
No, you’d rather collect that unemployment check
Why should you work, like the rest,
When it’s easier to protest?
Oh, you’re all the same,
Bowery bum, banker’s son
Beat the drum, here they come
I’m not the only fan. It appeared on the CD compilation Off Seasons: Criminally Ignored Sides by Frankie Valli & The 4 Seasons. The sleeve notes suggest that the song was one reason why they were critically shunned … too middle class and too “entertainment industry.”
Frankie Valli as Rusty in The Sopranos
There was a British cover version by The Falling Leaves on Decca which appeared in some pirate radio playlists.
THE MASTER PLAN
Jerry Fuller
(Jerry Fuller)
Challenge 45 USA, October 1965
The trademark anti-protest coarse croak again. Glen Campbell is on 12 string guitar.
Some people say
They don’t care for my homeland
But they sign fictitious names
And live there anyway …They’ll stop at nothing
To forsake the good of man
and carry out their master plan
Sounds like some kind of commie conspiracy to me. Perhaps they could build a wall to stop them? No, no one would ever think of anything that daft.
Still it makes me feel so good to stand where my father stood …
Jerry Fuller wrote Travelin’ Man and 23 other songs for Ricky Nelson. Then he swas lead singer of The Champs with Glen Campbell and Seals & Crofts.
He produced Gary Puckett & The Union Gap and wrote Lady Willpower and Young Girl for them, plus producing for O.C. Smith and Mark Lindsay.
THE ANTI-PROTEST PROTEST SONG
David Winters
(Shelby Singleton, Alan Lorber)
Mercury 72537, USA February 1966
THE ANTI-PROTEST PROTEST SONG LINK
David Winters was an English-born actor, dancer, singer and choreographer. He played in the Broadway versions of Gypsy and West Side Story and was then in the film version of West Side Story. He led a dance troupe on TV’s Shindig!And Hullabaloo and appeared in three Elvis 60s movies … the crap ones (Girl Happy, Tickle Me, Easy Come Easy Go). In 1967 he choreographed the TV movie Movin’ With Nancy and appeared with Nancy Sinatra and Frank Sinatra … see Life’s A Trippy Thing above.
I’d say it was a quick cash in rather than hearfelt protest. The writer Shelby Singleton was a major producer (Boll Weevil Song, Hey Paula, Wooden Heart, Walk On By, Harper Valley PTA) and had novelty previous with Ahab the Arab by Ray Stevens. It went for jokey and followed the route of namechecking Bob Dylan, The Beatles, Sonny & Cher. The main theme seems to be jealousy at counter culture artists financial success. Winters adopts the hoarse spiteful vocal air preferred in the genre.
Well Sonny & Cher if you’ll take a hint
With protest hair and they’re making a mint
Eve of Destruction says we’ll soon be dead
I never knew misery could make such bread
THE REVOLUTION KIND
Sonny
(Sonny Bono)
Atlantic AT4060, December 1965
Also on The Wondrous World of Sonny & Cher LP
The Italian-American connection is strong on this stuff. Sonny was born in Detroit to Sicilian parents. He also ended up as a Republican politician.
The lyrics:
Destruction is near we heard the moans
But I got conclusions of my own
Have I got some kid I have to teach
That if somebody makes a speech
And what he said you don’t agree
Just let him scream the man is free
Ironically, David Winters Anti-Protest Protest Song holds Sonny & Cher up as protest symbols because with their hair they looked the archetypal hippies. Still Sonny Bono goes for The Spokesmen / David Winter tone, proving forever that Cher was 95% of the singing talent in the duo.
ARE YOU A BOY OR A GIRL
The Barbarians
USA, Laurie 3308, June 1965
LP – Are You a Boy or A Girl? 1966
Also available on Nuggets – Original Artifacts From The First Psychedelic Era (1965-1968) 2 LP set (Elektra 7E-2006 1972)
A garage band classic. The Barbarians claim to fleeting fame was that their drummer, Moulty, had a hook in place of a hand. It was said that The Band (as Levon & The Hawks) ghosted for The Barbarians, but probably only on the track about the drummer, Moulty. It had been assumed that The Band had merely ‘contributed’ but it now sounds as if the single Moulty was largely by The Hawks. There is harmonica and rather delicate organ touches, so at an easy guess, Garth Hudson contributed. Possibly Levon Helm on harp. There’s no hint of them elsewhere on the album or on Are You A Boy Or A Girl?
This looks like an anti-song, but as The Barbarians all had long hair, they’re lampooning people’s attitude to them. Nevertheless, some rednecks thought it was an anti song.
Jon Savage included it on his compilation 1965: The Year The Sixties Ignited and says:
The Barbarians collected some of these taunts (about long hair) and threw them back at the world with a liberal sense of humour, cool call-and-response vocal line with a loose thumping beat dominated by a powerful bass line.Jon Savage
It was a US #55 hit.
KICKS
Paul Revere and The Raiders
(Barry Mann & Cynthia Weil)
February 1966
An anti-drugs song (like Bert Janch’s Needle of Death or John Prine’s Sam Stone) rather than an anti-protest song, but they are related genres. It was written as a pitch to The Animals, but Eric Burdon declined it, no doubt already having a bleary eye on the future amidst San Franciscan Nights. Paul Revere & The Raiders (lead singer Mark Lindsay) deliberately set out to make it sound British in spite of their silly Revolutionary war costumes.
David Crosby particularly disliked the song as it got the airplay that Eight Miles High was denied and described it as “a dumb anti-drug song with a falsely adopted stance.” The song made the band somewhat uncool and Establishment in the general counter-culture a couple of years later. It still made #400 on Rolling Stone’s 500 Best Songs of All Time.
# 4 in USA, #1 in Canada
REVOLUTION
The Beatles
(Lennon-McCartney)
August 1968
B-side of Hey Jude, the first Apple single
This is the big one because it was a surprise. It’s also the best musically and lyrically, but that’s a given. There were three versions, and this was the second one, recorded after the slower bluesier Revolution No 1 (on The White Album)
49 million YouTube views can’t be wrong.
LYRICS:
But when you talk about destruction
Don’t you know that you can count me out…You ask me for a contribution
Well, you know
We’re doing what we canBut if you want money for people with minds that hate
All I can tell is brother you have to wait …But if you go carrying pictures of chairman Mao
You ain’t going to make it with anyone anyhow …
The Beatles were being assailed by demands to support the political end of the counter-culture (especially financially). This song was conceived by John Lennon in India as a reply to the constant requests for comment, and was in direct contrast to The Rolling Stones Street Fighting Man, released as a US single the same month.
Lennon maintained his stance saying in 198o:
Count me out if it’s for violence. Don’t expect me on the barricades unless it’s with flowers.
How right he was. In 1968, very few realized that Mao had killed on or above the level of Hitler or Stalin. It’s non-productive to ask who killed the most when numbers are so extraordinarily large, and you can argue direct v consequential. Pol Pot may have been the largest in terms of percentage of the population of his country. The Great Leap Forward was responsible for 45 million deaths. Add in the Cultural Revolution. I suspect Mao wins the prize.
It made Lennon no friends on the Far Left.
“Betrayal” (Ramparts)
“A lamentable petty bourgeois cry of fear” (New Left Review)
RIGHT ON
The Rascals
(Felix Cavaliere)
From “Search & Nearness”
1971
The Rascals are among the most musically-accomplished groups in the list so far. The title Right On leads to political lyrics. Felix Cavaliere started his career with New Jersey’s finest, Joey Dee and The Starliters. The backing band evolved into The Young Rascals, then the Rascals. Cavaliere apparently fits the Italian-American template that keeps cropping up in these anti- protest songs: Madera, Gaudio, Valli, Bono, Sinatra. Also all hard-working musicians who started out before the post-1963 shifts.
There’s word play and humour in there … party to a musician versus (political) party. I don’t see Cavaliere as anti-protest. I’m probably wrong, but knowing musicians’ humour, I wondered about the filthy rugby songs version of “The Red Flag” and considered whether that was a double entendre too.
LYRIC:
Stopped for some coffee then I saw a sweet thing
She was talkin’ with a dude all about a revolution
I just looked in her eyes and my heart began to fly.And I said, right on brother oh, right on sister
When love comes along all my plans are gone
Well now let me see what’s in store for me, oo wee.I moved right on over, smiled at her so sweetly
She told me ‘bout a party, what time she would meet me
Can you dig my surprise when a red flag flied ?
THE GREAT DECEPTION
Van Morrison
From Hard Nose The Highway
1974
(Thanks to Greg Wall for suggesting this)
Years ago, I started a series on the Worst Albums by the Greatest Artists and Hard Nose The Highway was my Van Morrison choice. There have been far duller ones since. Anyway, The Great Deception was apparently a dig at Lennon among others.
Richie Yorke said of the song:
One of the most stinging indictments from any observer, let alone a rock artist, of the tragic hypocrisy of so many participants in the sub-culture, in particular the big-time rock stars of this era. Richie Yorke, Into The Music
LYRIC:
Did you ever hear about the great deception
Well the plastic revolutionaries take the money and run
Have you ever been down to love city
Where they rip you off with a smile
And it don’t take a gun …Did you ever hear about the rock and roll singers
Got three or four Cadillacs
Saying power to the people, dance to the music
Wants you to pat him on the back
HARRY HIPPIE
Bobby Womack
(Jim Ford)
1972
LYRIC:
Everybody claims that they want the best things
Outta life, (ha) but not everyone, not everyone
Want to got through the toils and strifes …Mary Hippie, she’s Harry’s lady
Panhandles money just to feed Harry’s baby
She can lie down a story so incredible
Man, you want to help her take the food
Home and put it on the tableI’d like to help a man when he’s down
But I can’t help ya Harry
If you want to sleep on the ground
Sorry Harry, you’re too much weight
To carry around
It was written as a joke, not a put down, based on Bobby Womack’s brother and bass player, Harry Womack. It was an internal band piss-take that became a hit.
Womack says:
Harry was the bass player and tenor for the brothers when we were the Valentinos. He lived a very carefree life. As a child he always said he wanted to live on an Indian reservation. We used to joke about it, but when we got older he was the same way. He always thought I wanted the materialistic things and I said, ‘I just want to do my music. My music put me into that comfortable territory.’ He didn’t want the pressure. We used to laugh and joke about the song when I’d sing it. When he was brutally killed in my home, it was by a jealous girlfriend who he’d lived with for five years. She fought a lot, violence. And in our home it was considered to be worth less than a man to fight a woman, so he didn’t fight back and she stabbed him to death. At the time I was in Seattle doing a gig and he was going to join me when we got back. Previously I had hired a new bass player because I felt it would help Harry’s relationship with his spouse if he wasn’t on the road. And that turned out to be very sour. He ended up losing his life behind it. At that time, “Harry Hippie” wasn’t a joke anymore; I had lost a brother. I still do that song in his honor today.” — Bobby Womack
R*B #8 1973
OKIE FROM MUSCOGEE
Merle Haggard
(Merle Haggard & Roy Burris)
1969
We can only touch lightly on country because there are just too many, but this is the best-known.
LYRIC:
We don’t smoke marijuana in Muskogee
We don’t take our trips on LSD
We don’t burn our draft cards down on Main Street
We like livin’ right, and bein’ freeWe don’t make a party out of lovin’
We like holdin’ hands and pitchin’ woo
We don’t let our hair grow long and shaggy
Like the hippies out in San Francisco do
Haggard has said:
When I was in prison, I knew what it was like to have freedom taken away. Freedom is everything. During Vietnam, there were all kinds of protests. Here were these [servicemen] going over there and dying for a cause—we don’t even know what it was really all about. And here are these young kids, that were free, bitching about it. There’s something wrong with that and with [disparaging] those poor guys. We were in a wonderful time in America, and music was in a wonderful place. America was at its peak, and what the hell did these kids have to complain about? These soldiers were giving up their freedom and lives to make sure others could stay free. I wrote the song to support those soldiers.”
A lot of listeners take that with a pinch of salt. I find it deliberately funny, over the top.
But the real story of the song coming about was when Merle was on tour with his band. They saw a sign along the interstate that read, “Muskogee 19 miles.” One of the band members commented that the citizens of that little town probably didn’t smoke marijuana. It started out as a joke in the bus. A joke that lasted about three seconds. Merle and drummer Roy Burris fed off that line and in about 20 minutes the song was wrote. The song went to number one November 15, 1969 and spent four weeks at the top. It got a lot of attention, even from politicians. President Richard Nixon sent Haggard a letter congratulating him for the song. KXRB website
People who knew Haggard note that he liked to sing songs from the point of view of a character, and the Okie was one. They say the song was always intended as a spoof or satire, but its success ran away with him. Certainly people who have covered it include The Grateful Dead, Beach Boys, Phil Ochs, Flaming Lips and Hank Williams III, none known for an aversion to marijuana.
2011 LIVE VERSION WITH WILLIE NELSON
Notably, arch-toker Willie Nelson was happy to duet on it with Merle. As a YouTube comment says, “The song was light satire but everyone took it as gospel when it was written.”
There have been parody versions too. The Youngbloods did Hippie From Oleoma. Kinky Friedman did Asshole from El Paso. David Nelson Band did Humboldt County Hippie. John Denver added a new verse about joniing the Ku Klux Klan and burning hippies
US COUNTRY #1
FIGHTIN’ SIDE OF ME
Merle Haggard
1970
Three suggestions already, so let’s add it.
LYRIC:
Our fightin’ men have fought and died to keep
If you don’t love it, leave it
Let this song that I’m singin’ be a warnin’
When you’re runnin’ down our country, hoss
You’re walkin’ on the fightin’ side of meI read about some squirrelly guy
Who claims that he just don’t believe in fightin’
And I wonder just how long
The rest of us can count on bein’ free
They love our milk and honey
But they preach about some other way of livin’
But when they’re runnin’ down our country, man
They’re walkin’ on the fightin’ side of me
The Fightin’ Side of Me” in 1970, a song that was so unapologetically right wing that it left no doubt as to where Haggard stood politically. It became his fourth consecutive #1 country hit and also made an appearance on the pop chart, but any ideas that Haggard was a closeted liberal sympathizer were irretrievably squashed. In the song, Haggard allows that he doesn’t mind the counterculture “switchin’ sides and standin’ up for what they believe in” but resolutely declares, “If you don’t love it, leave it!” In May 1970, Haggard explained his view of the counterculture to John Grissom of Rolling Stone, “I don’t like their views on life, their filth, their visible self-disrespect, y’know. They don’t give a shit what they look like or what they smell like…What do they have to offer humanity?
WELFARE CADILLAC
Guy Drake
1972
LYRICS:
Some folks say I’m crazy
And I’d even been called a fool
But my kids get free books and
All them there free lunches at schoolWe get peanut butter and cheese
And, man, they give us flour by the sack
Course, them welfare checks
They make the payments on this new CadillacThe way that I see it
These other folks are the fools
They’re working and paying taxes
Just to send my youngins through school
The myth of the new car outside a council house runs in Britain too. However, “welfare” in the USA is pejorative in a way that “on the dole” isn’t in Britain.
Johnny Cash was invited to the Nixon White House to sing in 1974. The President had two requests, Okie From Muscogee and Welfare Cadillac, his two favourite songs. Johnny Cash politely declined to sing them, saying he had not had time to learn them. He later said:
When the request came down, I said okay, fine, whatever you like to hear. But then I heard ‘Welfare Cadillac’ and I just simply couldn’t do it.
Instead he sang political songs, What Is Truth (his most vehement anti-Nixon song) and Ballad of Ira Hayes, quietly but firmly making his point. Clearly Nixon was on another planet. It’s like asking The Beatles to The White House and requesting Satisfaction and Paint It Black,or perhaps a couple of Cliff Richard hits, The Young Ones and Congratulations
IF THE SOUTH WOULDA WON
Hank Williams Jnr
(Hank Williams Jnr)
From Wild Streak
1988
This is a great recording with the brassy New Orleans backing section meets C&W with a sample of Dixie too. I think it’s truly and intentionally funny BUT some damned humourless Yankees take it as serious. It mentions every Confederate state plus Kentucky.
I’d make my Supreme Court down in Texas
And we wouldn’t have no killers getting off free
If they were proven guilty, then they would swing quickly
Instead of writin’ books and smilin’ on TVWe’d all learn Cajan cookin’ in Louisiana
And I’d put that capital back in Alabama
We’d put Florida on the right track, ’cause we’d take Miami back
And throw all them pushers in the slammer
#8 Country
SUB CATEGORY: Anti- Beatles songs
This could be far longer
POP HATES THE BEATLES
Allan Sherman
From For Swinging Livers Only LP
Perhaps the audience reaction is more offensive than the song. Allan Sherman used to set his parodies to classical themes, in this case it’s nursery rhyme, Pop Goes The Weasel. Still, he never once pretended to be cool, and much can be forgiven for someone who wrote the brilliant Hello Muddah, Hello Fadduh.
LYRICS:
My daughter needs a new phonograph.
She wore out all the needles.
Besides, I broke the old one in half.
I hate the Beatles.
She says they have a Liverpool beat.
She says they used to play there.
Four nice kids from offa the street.
Why didn’t they stay there?
What is all the screaming about?
Fainting and swooning.
Sounds to me like their guitars
Could use a little tuning.
The boys are from the British Empire.
The British think they’re keen.
If that is what the British desire,
God Save The Queen.
STAMP OUT THE BEATLES
The Hi-Riders
Theme song for a campaign in Detroit in 1964. There’s a Beatles bootleg called Stamp out Detroit. The song is not on YouTube but is on the Beatles Novelty Songs CD. Both George Harrison and Brian Epstein were photographed wearing Stamp Out The Beatles sweatshirts.
JOHN, YOU WENT TOO FAR THIS TIME
Rainbo
JOHN YOU WENT TOO FAR THIS TIME LINK
Rainbo is actually a very young Sissy Spacek hoping to make a quick few bucks off reaction to John & Yoko’s LP sleeve for Two Virgins (NOT his “The Beatles are more popular than Jesus” comment). It’s an incredibly elaborate arrangement in baroque style with quotes from A Fool On A Hill and a Penny Lane style horn solo.
Sissy Spacek later proved a great country singer playing Loretta Lynn in A Coal Miner’s Daughter with Levon Helm playing her dad.
[…] link goes to a new article on “Anti Songs.” That is songs which protested against the counter culture, protest, long hair and so on. […]
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Two spring to mind: instead of okie, you might listen to fightin’ side of me, which includes the lines, aimed right at anti war protestors:
Now I don’t mind them changing sides and standin’ up for things they believe in
But when you’re runnin’ down my country, hoss, you’re walkin’ on the fightin’ side of me
The other one is this jaded attempt by Peter Paul and Mary, which has a swipe at the mamas and papas, and Donovan. And what it sees as the vacuity of rock and roll
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Also, I’d argue the Band in ‘Tears of Rage’ as well.
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Partly “Tears of Rage” (words by Bob Dylan) but even more comments Robbie Robertson made around the time of Music From Big Pink about “not hating our parents.” While he had a go at “bands who are just jockstraps and feedback” and “bands who got their guitars last Christmas” I’d separate the conservatism from directly writing songs against the counter-culture. BUT they are similar to The 4 Seasons, Rascals, The Beatles, Madera & co in being professional musicians well before the protest song era.
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