
1965
The Most Revolutionary Year in Music
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Narrated by:
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Peter Berkrot
About this listen
During 12 unforgettable months in the middle of the turbulent '60s, America saw the rise of innovative new sounds that would change popular music as we knew it. In 1965: The Most Revolutionary Year in Music, music historian Andrew Grant Jackson (Still the Greatest: The Essential Songs of The Beatles' Solo Careers) chronicles a groundbreaking year of creativity fueled by rivalries between musicians and continents, sweeping social changes, and technological breakthroughs.
Jackson weaves fascinating and often surprising stories into a panoramic narrative of the seismic cultural shifts wrought by the Civil Rights Movement, feminism, Youthquake, the miniskirt, the Pill, psychedelics, and Vietnam. 1965 is a fascinating account of a defining year that produced some of the greatest songs, albums, and artists of all time.
©2015 Andrew Grant Jackson (P)2018 TantorListeners also enjoyed...
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Performance
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Ed Ward covers the first half of the history of rock & roll in this sweeping and definitive narrative - from the 1920s, when the music of rambling medicine shows mingled with the songs of vaudeville and minstrel acts to create the very early sounds of country and rhythm and blues, to the rise of the first independent record labels post-World War II, and concluding in December 1963, just as an immense change in the airwaves took hold and the Beatles prepared for their first American tour.
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Author's blindspots mar this book
- By Mark Clark on 03-28-17
By: Ed Ward
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The Double Life of Bob Dylan
- A Restless, Hungry Feeling, 1941-1966
- By: Clinton Heylin
- Narrated by: Kevin Stillwell
- Length: 19 hrs and 14 mins
- Unabridged
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In 2016, Bob Dylan sold his personal archive to the George Kaiser Foundation in Tulsa, Oklahoma, reportedly for $22 million. As the boxes started to arrive, the Foundation asked Clinton Heylin—author of the acclaimed Bob Dylan: Behind the Shades and 'perhaps the world's authority on all things Dylan' (Rolling Stone)—to assess the material they had been given. What he found in Tulsa—as well as what he gleaned from other papers he had recently been given access to by Sony and the Dylan office—so changed his understanding of the artist.
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Expansive and well researched.
- By Zack Groom on 07-02-21
By: Clinton Heylin
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Dylan Goes Electric!
- Newport, Seeger, Dylan, and the Night That Split the Sixties
- By: Elijah Wald
- Narrated by: Sean Runnette
- Length: 11 hrs and 56 mins
- Unabridged
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On the evening of July 25, 1965, Bob Dylan took the stage at Newport Folk Festival, backed by an electric band, and roared into his new rock hit, "Like a Rolling Stone". The audience of committed folk purists and political activists who had hailed him as their acoustic prophet reacted with a mix of shock, booing, and scattered cheers. It was the shot heard round the world - Dylan's declaration of musical independence, the end of the folk revival, and the birth of rock as the voice of a generation - and one of the defining moments in 20th-century music.
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Great book/Awful narration
- By DB on 01-04-25
By: Elijah Wald
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Lorne
- The Man Who Invented Saturday Night Live
- By: Susan Morrison
- Narrated by: Kristen DiMercurio, Susan Morrison
- Length: 22 hrs and 50 mins
- Unabridged
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Over the fifty years that Lorne Michaels has been at the helm of Saturday Night Live, he has become a revered and inimitable presence in the entertainment world. He’s a tastemaker, a mogul, a withholding father figure, a genius spotter of talent, a shrewd businessman, a name-dropper, a raconteur, the inspiration for Dr. Evil, the winner of more than a hundred Emmys—and, essentially, a mystery. Generations of writers and performers have spent their lives trying to figure him out, by turns demonizing and lionizing him.
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Great read but several weird mispronunciations
- By Larry Carlat on 02-20-25
By: Susan Morrison
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Sonny Boy
- A Memoir
- By: Al Pacino
- Narrated by: Al Pacino
- Length: 12 hrs and 28 mins
- Unabridged
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To the wider world, Al Pacino exploded onto the scene like a supernova. He landed his first leading role, in The Panic in Needle Park, in 1971, and by 1975, he had starred in four movies—The Godfather and The Godfather Part II, Serpico, and Dog Day Afternoon—that were not just successes but landmarks in the history of film. Those performances became legendary and changed his life forever. Not since Marlon Brando and James Dean in the late 1950s had an actor landed in the culture with such force.
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I loved this so much!!! But….
- By paintgal on 10-24-24
By: Al Pacino
What listeners say about 1965
Average customer ratingsReviews - Please select the tabs below to change the source of reviews.
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- Terri Hill
- 12-01-23
Groovy
I really, really enjoyed this book! It was packed full of interesting facts. It mentioned probably every singer or group from 1965 and their song(s). I’m going to listen to the book again to make sure I have all the songs in my playlist. The reader was easy to listen to. I highly recommend this book.
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- Stephen
- 08-25-18
interesting for rock and roll fans
fair amount of politics but I understand that politics were important in mid 60s rock music. lots of interesting information there's nothing particularly groundbreaking.
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1 person found this helpful
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- Peter
- 08-07-18
Juicy but over-thought
Loads of juicy nuggets of information, but over done in that every concept seems over thought. Too many references to Mr. tambourine Man and its influence on everything! Creativity seems diminished as a result.
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1 person found this helpful
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- Ruth
- 11-30-23
awesome book with great knowledge
I loved the way history was weaved through this story about an incredible year in music. I broke up this listen over a few weeks, but really enjoyed this title!
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- wylie smith
- 01-12-23
Seems like a good overview
I was in high school in 1965, and while the events and music are quite familiar, I experienced them day by day and I had no real sense of the overarching whole. It is nice to be able to see the forest and not just the trees.
But there were enough factual mistakes to make me distrust some of what is written. I saw a few mistakes early, but the first chapter on folk rock had more than few. Jackson keeps referring to Larry Knechtel as a bass player. It was keyboards while Joe Osborn played bass (and Hal Blaine played drums), at least on the Lou Adler/Dunhill recordings. A big deal? No, but if facts are stated, then the facts should be correct.
Jackson implies that PF Sloan was inexperienced when he wrote ‘Eve of Destruction,’ but Sloan had been around for more than five years. When Adler started Dunhill, he brought the songwriting team of Sloan & Barri with him. They had worked with Adler when he recorded Jan & Dean. Sloan & Barri made a record - with studio musicians - as the Fantastic Baggys to capitalize on their surf compositions. The Grass Roots were Sloan & Barry’s second album made with studio musicians. That success lead to Adler finding a real LA band willing to change their name. As for the name Grass Roots, the band Love had become the next big thing in LA as the Grass Roots. The band name came off words on the cover of a Malcolm X album. When Adler did not get the real Grass Roots to sign with him, he poached their name for his new studio project. And their single, ‘Mr. Jones,’ was a Dylan composition.
There were a few other mistakes in that chapter, such as John Sebastian being a member of the Mugwumps. Sebastian was a sideman for the Mugwumps for a gig, but that was Cass’s idea to get Sebastian to play with Yanovsky.
As I said, not really a big deal, but just because something is in print does not make it true. In this case, it just raised a few doubts about the truthfulness about what I read.
But I was quite pleased with the book overall, and I am glad that I heard. I was not impressed with the narrator, particularly when he pronounces agape with two syllables instead of the three that would be correct when talking about love.
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9 people found this helpful
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- David A. Lytel
- 12-05-19
9/10th of a good listen
Competent storytelling until the epilogue, in which he tells us what it all means. Then there is a surprising turn for the worse. He asserts that a nation that takes LSD is embracing freedom, which is good, but a nation taking anti-depressants is anesthetizing itself and no longer hip and healthy. And he says that the Christian dissidents who first settled the country did so to enable non-Christians to thrive, not a thought that was on their minds. Best to skip the epilogue (the editor must have wandered off) and decide for yourself what it all means, then begin a new book.
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3 people found this helpful