Raga rock
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Raga rock is
The style emerged as part of the psychedelic rock aesthetic in the 1960s.[1] Most raga rock recordings originate from that decade, although there are subsequent examples of Indian-derived sounds in rock and pop music, particularly during the 1990s.
Development
Definition
Ragas are specific melodic modes used in the classical music of the Indian subcontinent. The term "raga rock" originated in March 1966 as a description of rock music that featured Indian sitar styling. According to musicologist Jonathan Bellman, citing Lillian Roxon's 1969 book Rock Encyclopedia: "This catchphrase eventually came to describe any Rock song that evoked an Indian or general Oriental mood, whether by use of sitar or another instrument imitating it."[2] Music journalist Rob Chapman says the phrase was a "catch-all term" and "something of a misnomer", since it was often applied to any piece of rock music that "used non-European instrumentation or music styles to denote its exotic qualities".[3]
A major influence on raga rock was the music of
- sitar (usually serving the role of an electric guitar)
- drone, provided by tambura in raga performances and by Indian harmoniumin vocal pieces
- modal melodies based on Indian scales
- vocal stylings
- additive, rather than divisive, rhythms (tal)
- question-and-answer interplay (jawab-sawal) between lead instruments
- lead instruments mirroring the vocal line
- lyrical themes related to mysticism or religious symbolism.[5][6]
Antecedents
Writing for
1960s
Early examples
Music researcher William Echard states that "
"Heart Full of Soul" and "See My Friends" were both influential on the emerging trend,[21] but according to author Jon Savage, "the first truly mass exposure" was through the Beatles' 1965 film Help!, which included incidental music played by Indian session musicians.[22][nb 1] Writing in 1997, Bellman commented that the Yardbirds and Kinks recordings were often overlooked in discussions of raga rock's origins, as history instead highlighted the Beatles' "Norwegian Wood (This Bird Has Flown)".[14] Issued in December 1965 on the band's Rubber Soul album, the folk-styled "Norwegian Wood" was the first Western pop song to incorporate the sitar, which was played by lead guitarist George Harrison,[24][25] and the first to feature Indian instrumentation played by a rock musician.[26] The song's popularity inspired a wave of interest in the sitar and Indian sounds, a phenomenon that Shankar later called "the great sitar explosion".[27][28] According to authors Nicholas Schaffner and Bernard Gendron, raga rock was inaugurated by the release of "Norwegian Wood".[29][30][nb 2]
The Byrds' raga-rock press conference
The Byrds' March 1966 single "Eight Miles High" and its B-side, "Why", were also influential in originating the subgenre.[32] Whereas earlier recordings by the Kinks, the Yardbirds and the Beatles had used Indian sounds to complement standard song forms, the Byrds incorporated the improvisational technique typical of Shankar's work and of John Coltrane's jazz interpretations of ragas.[33] In his 1968 Pop Chronicles interview, however, Byrds member Roger McGuinn denied that "Eight Miles High" was raga rock;[34] co-writer David Crosby also dismissed the term.[35] While many listeners assumed that the lead instrument on these and other songs on the Byrds' Fifth Dimension album was a sitar,[36] McGuinn played a Rickenbacker 12-string electric guitar throughout, and had customised his guitar amplifier to achieve the sitar-like sound.[37]
It's rock 'n' roll, it's neither jazz nor Indian music. But we listen to their music and we like it and it influences our minds and our playing ... Rock is going to keep growing. It has in it now African, South American, jazz, folk, church, Bach, Indian, Greek, country, bluegrass.[38]
– David Crosby discussing the Byrds' raga rock sound in 1966, although he later rejected the term
The term "raga rock" was coined by the Byrds' publicist in press releases for "Eight Miles High" and was first used in print by Sally Kempton of The Village Voice in her report of the band's press conference for the single's release.[2][39] The press conference was organised by former Beatles publicist Derek Taylor and took place in New York on 28 March, with a sitar symbolically placed in front of the table where the Byrds sat.[40] Kempton wrote dismissively of the event,[30] during which McGuinn and Crosby spoke earnestly of the group's adoption of Indian influences, with the two musicians demonstrating raga techniques on sitar and acoustic guitar, respectively, while their two bandmates appeared bored and instead read magazines.[39] Kempton said that the message was lost on those attending the press conference, namely female reporters from teen magazines and conservative-looking representatives from the music industry.[30]
Peak popularity and impact
In May 1966, the Rolling Stones issued the raga rock single "Paint It Black",[44] which featured a sitar part played by guitarist Brian Jones and became an international number 1 hit.[45] According to author Mark Brend, the song "spawned a whole subgenre of minor-key psychedelia".[46] The Hollies' "Bus Stop", released as a single in June, was another example of the style's growing popularity.[47] Echard identifies the song's sitar-like guitar solo as both an authentic indicator of raga rock and a device seemingly aimed at exploiting the trend.[48]
Along with "Eight Miles High", Echard highlights the Beatles' Revolver album among the "landmark" raga rock music issued in 1966.[49] Released in August, it included "Love You To",[50] written by Harrison especially for sitar and tabla interplay, and "Tomorrow Never Knows", which featured heavy tambura drone, tape loops and psychedelic instrumentation.[51][nb 3] The album represented pop music's most overt incorporation of Indian instruments, musical form and philosophy up to that point,[52] with the influence also evident in the use of vocal melisma[53] and in the Indian-inspired guitar solos on "Taxman" and "I'm Only Sleeping".[54] That same month, the Paul Butterfield Blues Band released the album East-West, the title track of which (originally titled "The Raga") had evolved from their live performances since February. Led by guitarist Mike Bloomfield, the 13-minute instrumental fully explored the modal improvisation introduced by McGuinn on "Eight Miles High".[55] Bloomfield likened the Indian drone to "the sound a bee makes: a steady hum" and said that while the pattern was essentially simple, the "challenge" was in "improvis[ing] a free melody around the one basic drone".[32] In Lavezzoli's view, Bloomfield's playing on "East-West" "opened the door to unlimited freedom of expression for all rock guitarists, from Eric Clapton and Jerry Garcia to Duane Allman and Jimi Hendrix".[55]
During the height of the subgenre's popularity that year, Indian musicians also contributed to its development.
In his article for Crawdaddy!, Pearlman identified two categories of contemporary raga rock songs: those that merely adopted Indian sounds as an exotic feature, such as "Norwegian Wood", "Paint It Black" and Donovan's
One of Crosby's final songs with the Byrds, "Mind Gardens", from the 1967 album
Consolidation and decline
Further examples of the subgenre in 1968 were the Rolling Stones' "
According to Echard, the raga rock trend was largely over by early 1968, having declined late the previous year.
1970s and beyond
From 1969 and through the early 1970s, the British progressive rock band Quintessence mixed elements of Indian classical music with rock and jazz.[92] Ananda Shankar (a nephew of Ravi Shankar) released his self-titled album in 1970, a raga rock work[93] that blended sitar with Moog synthesizer.[94] Later in the decade, guitarist John McLaughlin and his band Shakti introduced a jazz-influenced version of raga rock over the course of three albums.[95]
In the 1990s, the British
Recently, a revival of sorts has been heralded by Western bands such as
, with an increasing blend of Western instruments with the traditional Indian ones – the flute and the sitar.Lyrical themes and Orientalism
Some scholars approach raga rock and other uses of non-Western musical materials in Western popular music from sociological perspectives, especially as a manifestation of Orientalism. Common lyrical themes include drug use, sexual exploration, and spirituality.
"Eight Miles High" was the subject of radio bans in the United States due to its interpretation as an LSD song in which "high" referred to drug-induced euphoria.
See also
Notes
- ^ The film's focus on Kali and other Hindu themes anticipated the counterculture's fascination with Indian philosophy and music. These aspects were nevertheless portrayed in a largely negative and stereotypical way by director Richard Lester.[23]
- ^ Writing in 1988, musicologist Gerry Farrell said the recognition afforded the Beatles for changes in the musical landscape during the 1960s was because their popularity and influence was such that they represented "a kind of spirit-level of pop music". He also wrote: "Attempts at fusions with Indian music, especially with jazz, go back to the late fifties but it took the Beatles and a media which had a seemingly insatiable hunger for all that band's activities to catapult Indian music to the forefront of public awareness and, briefly, makes the sitār a common feature of popular culture in the West."[31]
- ^ Echard cites "Tomorrow Never Knows" as an example of raga rock "rubb[ing] shoulders with the classical avant-garde".[49]
- ^ Raga Rock included cover versions of "Norwegian Wood", "Paint It Black",[56] "Eight Miles High"[59] and the Yardbirds' "Shapes of Things", among other contemporary rock songs.[58][60] Rao was a longstanding associate of Shankar[61] and briefly taught Brian Jones the sitar.[62]
- ^ Pearlman nevertheless categorised "Love You To" among the songs in which an Indian influence was more decorative than an intrinsic part of the composition.[7]
- ^ During this period, the Beatles also recorded two Indian-inspired songs that Harrison performed on Hammond organ – "It's All Too Much" and "Blue Jay Way" – using the instrument to achieve a harmonised drone. In addition to borrowing from the Hindustani ragas Kosalam and Multani,[72] "Blue Jay Way" featured a cello part played in the style of a sitar.[73]
- Raga Marwa.[83]
References
- ^ Bellman, Jonathan (1998). The Exotic in Western Music. Lebanon, NH: University Press of New England. ISBN 1-55553-319-1. p. 294-95.
- ^ a b Bellman 1998, p. 351.
- ^ a b c Chapman 2015, p. 525.
- ^ a b Life staff (9 September 1966). "Psychedelic Art". Life. p. 68. Retrieved 5 July 2017.
- ^ Echard 2017, p. 61.
- ^ Farrell 1988, p. 191.
- ^ a b c Pearlman, Sandy (December 1966). "Patterns and Sounds: The Uses of Raga in Rock". Crawdaddy. Available at pastemagazine.com (9 June 2015). Retrieved 11 July 2017.
- ISBN 0-06097-081-2.
- ^ Echard 2017, p. 32.
- ^ Santoro 1991, p. 13.
- ^ Echard 2017, pp. 31, 32, 35.
- ISBN 1841955515.
- ^ Jackson 2015, p. xix.
- ^ a b Bellman 1998, pp. 294–95.
- ^ Lavezzoli 2006, pp. 154–55.
- ^ Brend 2005, pp. 144–45.
- ^ a b Jackson 2015, p. 256.
- ^ Lavezzoli 2006, p. 155.
- ^ MacDonald 2005, pp. 144fn, 165fn.
- ^ Jackson 2015, pp. 70–71.
- ^ Chapman 2015, p. 527.
- ^ Savage 2015, p. 124.
- ^ Jackson 2015, p. 164.
- ^ Bellman 1998, p. 297.
- ^ Brend 2005, p. 147.
- ^ Lavezzoli 2006, p. 173.
- ^ Lavezzoli 2006, p. 171.
- ^ Brend 2005, pp. 146, 147, 154.
- ^ Schaffner 1978, p. 66.
- ^ a b c Gendron 2002, p. 345.
- ^ Farrell 1988, p. 189.
- ^ a b c Priore 2007, p. 82.
- ^ Lavezzoli 2006, pp. 155–56, 157.
- ^ "Pop Chronicles: Show 35 – The Rubberization of Soul: The Great Pop Music Renaissance". University of North Texas. Retrieved 14 April 2011.
- ^ a b Lavezzoli 2006, p. 156.
- ^ Prendergast 2003, p. 229.
- ^ Lavezzoli 2006, pp. 155–56, 159.
- ^ Hjort 2008, pp. 88–89.
- ^ a b Hjort 2008, p. 88.
- ^ Savage 2015, p. 125.
- ^ Hjort 2008, p. 89.
- ^ Everett 1999, pp. 325, 428.
- ^ Gendron 2002, pp. 189, 345.
- ^ Schaffner 1982, p. 69.
- ^ Lavezzoli 2006, pp. 174–75.
- ^ a b Brend 2005, p. 151.
- ^ Everett 1999, p. 40.
- ^ Echard 2017, pp. 25, 26.
- ^ a b Echard 2017, p. 6.
- ^ a b c Schaffner 1978, p. 68.
- ^ Lavezzoli 2006, pp. 175–76.
- ^ Philo 2015, pp. 110–11.
- ^ Prendergast 2003, p. 206.
- ^ MacDonald 2005, pp. 200, 202.
- ^ a b c d Lavezzoli 2006, p. 158.
- ^ a b Brend 2005, p. 152.
- ^ Tiegel, Eliot (2 July 1966). "The Jazz Beat". Billboard. p. 20. Retrieved 3 July 2017.
- ^ a b Unterberger, Richie. "The Folkswingers Raga Rock". AllMusic. Retrieved 3 July 2017.
- ^ Hjort 2008, p. 94.
- ^ Chapman 2015, pp. 577–78.
- ^ Lavezzoli 2006, pp. 294–95.
- ^ Brend 2005, pp. 151–52.
- ^ Lavezzoli 2006, pp. 176–78.
- ^ Schaffner 1978, pp. 63, 65–66.
- ^ Brend 2005, pp. 148–49, 151.
- ^ Bellman 1998, pp. 295–96, 303.
- ^ Bellman 1998, pp. 294, 295.
- ^ Lavezzoli 2006, pp. 175, 178.
- ^ Bellman 1998, p. 294.
- ^ Lavezzoli 2006, p. 183.
- ^ a b Lavezzoli 2006, p. 180.
- ^ Everett 1999, p. 141.
- ^ Schaffner 1978, p. 91.
- ^ Rogan 1998, pp. 196–202.
- ^ Lavezzoli 2006, p. 159.
- ^ Borgzinner, Jon (18 August 1967). "How a Shy Pandit Became a Pop Hero". Life. p. 36. Retrieved 15 February 2019.
- ^ Brend 2005, pp. 154, 177.
- ^ Brend 2005, pp. 152, 177.
- ^ Schaffner 1982, p. 77.
- ^ Everett 1999, p. 153.
- ^ Lavezzoli 2006, pp. 182–83.
- ^ Reck 2009, pp. 296–97.
- ^ Lavezzoli 2006, p. 198.
- ^ MacDonald 2005, p. 274.
- ^ Schaffner 1982, p. 301.
- ISBN 1-84353-140-2.
- ^ Farrell 1988, p. 198.
- ^ Echard 2017, p. 146.
- ^ Echard 2017, p. 5.
- ^ Bellman 1998, p. 301.
- ^ Bellman 1998, pp. 299–302.
- ^ Eder, Bruce. "Quintessence Biography". AllMusic. Retrieved 14 April 2011.
- ^ Priore 2007, p. 151.
- ^ Pruett, Jon. "Ananda Shankar Ananda Shankar". AllMusic. Retrieved 15 February 2019.
- ^ Huey, Steve. "John McLaughlin Biography". AllMusic. Retrieved 14 April 2011.
- ^ ISBN 0-7546-4064-7.
- ISBN 0-8223-3513-1.
- ISBN 0-7546-4064-7.
- ^ Rogan 1998, pp. 158–62.
- ^ Harris, John (2003). "Cruel Britannia". Mojo Special Limited Edition: 1000 Days of Revolution (The Beatles' Final Years – Jan 1, 1968, to Sept 27, 1970). London: Emap. p. 41.
- ^ Womack 2007, p. 140.
- ^ Lavezzoli 2006, p. 175.
- ^ Lavezzoli 2006, pp. 177–79.
- ^ Womack 2007, pp. 176–77.
- ^ Bellman 1998, p. 304.
Sources
- Bellman, Jonathan (1998). The Exotic in Western Music. Lebanon, New Hampshire: UPNE. ISBN 1-55553-319-1.
- Brend, Mark (2005). Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop. San Francisco, CA: Backbeat Books. ISBN 978-0-879308551.
- ISBN 978-0-571-28200-5.
- Echard, William (2017). Psychedelic Popular Music: A History through Musical Topic Theory. Bloomington, Indiana: ISBN 978-0253026590.
- ISBN 978-0-19-512941-0.
- Farrell, Gerry (May 1988). "Reflecting Surfaces: The Use of Elements of Indian Music in Popular Music and Jazz". Popular Music. 7 (2): 189–205. S2CID 194102429.
- Gendron, Bernard (2002). Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. Chicago, IL: University of Chicago Press. ISBN 978-0-226-28737-9.
- Hjort, Christopher (2008). So You Want to Be a Rock 'n' Roll Star: The Byrds Day-By-Day (1965–1973). London: Jawbone Press. ISBN 978-1-906002-15-2.
- Jackson, Andrew Grant (2015). 1965: The Most Revolutionary Year in Music. New York, NY: Thomas Dunne Books. ISBN 978-1-250-05962-8.
- Lavezzoli, Peter (2006). The Dawn of Indian Music in the West. New York, NY: Continuum. ISBN 0-8264-2819-3.
- Locke, Ralph P. (2011) [2009]. Musical Exoticism: Images and Reflections. Cambridge, UK: Cambridge University Press. ISBN 978-0-521-34955-0.
- ISBN 1-84413-828-3.
- di Perna, Alan (2012). Guitar Masters: Intimate Portraits. ISBN 978-1-4803-2970-6.
- Philo, Simon (2015). British Invasion: The Crosscurrents of Musical Influence. Lanham, MD: Rowman & Littlefield. ISBN 978-0-8108-8626-1.
- Prendergast, Mark (2003). The Ambient Century: From Mahler to Moby – The Evolution of Sound in the Electronic Age. New York, NY: Bloomsbury. ISBN 1-58234-323-3.
- Priore, Domenic (2007). Riot on Sunset Strip: Rock'n'Roll's Last Stand in Hollywood. London: Jawbone Press. ISBN 978-1-906002-04-6.
- Reck, David B. (2009). "India/South India". In Titon, Jeff Todd (ed.). Worlds of Music: An Introduction to the Music of the World's Peoples (5th edn). Belmont, CA: Schirmer Cengage Learning. ISBN 978-0-534-59539-5.
- Rogan, Johnny (1998). The Byrds: Timeless Flight Revisited. Rogan House. ISBN 0-9529540-1-X.
- Santoro, Gene (1991). OCLC 144959074. 48661.
- ISBN 978-0-571-27763-6.
- Schaffner, Nicholas (1978). The Beatles Forever. New York, NY: McGraw-Hill. ISBN 0-07-055087-5.
- Schaffner, Nicholas (1982). The British Invasion: From the First Wave to the New Wave. New York, NY: McGraw-Hill. ISBN 0-07-055089-1.
- Womack, Kenneth (2007). Long and Winding Roads: The Evolving Artistry of the Beatles. New York, NY: Continuum. ISBN 978-0-8264-1746-6.
External links
- Indian influences in Western music Archived 15 October 2008 at the Wayback Machine