Showing results by author "David Hepworth" in All Categories

The age of the rock star, like the age of the cowboy, has passed. Like the cowboy, the idea of the rock star lives on in our imaginations. What did we see in them? Swagger. Recklessness. Sexual charisma. Damn-the-torpedoes self-belief. A certain way of carrying themselves. Good hair. Interesting shoes. Talent we wished we had. What did we want of them? To be larger than life but also like us. To live out their songs. To stay young forever. No wonder many didn't stay the course.

Mark Ellen and David Hepworth have been talking about and writing about music together and individually for a collective eighty years in magazines like Smash Hits, Mojo and The Word and on radio and TV programmes like "Rock On", "Whistle Test" and VH-1.Over thirteen years ago, when working on the late magazine The Word, they began producing podcasts. Some listeners have been kind enough to say these have been very special to them. When the magazine folded in 2012 they kept the spirit of those podcasts alive in regular Word In Your Ear evenings in which they spoke to musicians and authors in ...

The '60s ended a year late - on New Year's Eve 1970, when Paul McCartney initiated proceedings to wind up The Beatles. Music would never be the same again. The next day would see the dawning of a new era. Nineteen seventy-one saw the release of more monumental albums than any year before or since and the establishment of a pantheon of stars to dominate the next 40 years - Led Zeppelin, David Bowie, the Rolling Stones, Pink Floyd, Marvin Gaye, Carole King, Joni Mitchell, Rod Stewart, the solo Beatles and more.

Pop music’s a simple pleasure. Is it catchy? Can you dance to it? Do you fancy the singer? What’s fascinating about pop is our relationship with it. This relationship gets more complicated the longer it goes on. It’s been going on now for 50 years. David Hepworth is interested in the human side of pop. He’s interested in how people make the stuff and, more importantly, what it means to us. In this wide-ranging collection of essays, he shows how it is possible to take music seriously and, at the same time, not drain the life out of it.

The era of the LP began in 1967, with Sgt Pepper; The Beatles didn’t just collect together a bunch of songs, they Made an Album. Henceforth, everybody else wanted to Make an Album. The end came only 15 years later, coinciding with the release of Michael Jackson’s Thriller. By then the Walkman had taken music out of the home and into the streets, and the record business had begun trying to reverse engineer the creative process in order to make big money. Nobody would play music or listen to it in quite the same way ever again.

Many people will recognise the famous zebra crossing. Some visitors may have graffitied their name on its hallowed outer walls. Others might even have managed to penetrate the iron gates. But what draws in these thousands of fans here, year after year? What is it that really happens behind the doors of the most celebrated recording studio in the world? It may have begun life as an affluent suburban house, but it soon became a creative hub renowned around the world as a place where great music, ground-breaking sounds and unforgettable tunes were forged.

The Beatles landing in New York in February 1964 was the opening shot in a cultural revolution nobody predicted. Suddenly the youth of the richest, most powerful nation on earth was trying to emulate the music, manners and the modes of a rainy island that had recently fallen on hard times.