Rock & Roll Online

In 1995 two 10 hour mini-series appeared on air simultaneously about the history of rock & roll (the other being History of Rock and Roll by Time-Warner). This one aired first on PBS and seems to stay closer to its documentary roots, and more factual informations are found in this series. Its 10 segments are arranged in the following way:

Episode 1: The Renegades

After World War II, black music was mostly still segregated. They had their own radio stations, and their independent record labels were putting out blues music. Few white folks listened to black music on these records and radio stations and liked them for what they were. Fats Domino was the first black musician to crossover in a major way with his boogie based style and non-threatening persona. Little Richard and Chuck Berry was crossing over with their unique blend of boogie woogie, and country music influence. Sam Phillips of Sun record was recording black blues musicians but couldn't get the crossover hit he was looking for until Elvis Presley walked in his door.

Episode 2: In the Groove

Lieber and Stoller and other song writers like Carol King were situated at the Brill building in NY writing hits for black singers. Aided by these talented writers, black musicians were starting to crossover into the main stream American music scene. Brian Wilson of the Beach Boys and Phil Spector wrote and produced their own music. They collectively established that song writers can have full creative control over their music. West coast rock scene was also emerging with the advent of "Surf" music.

Episode 3: Shakesperes in the Alley

Bob Dylan was becoming a major star. His lyrics hit a chord with other musicians, and his style was widely adopted. Across the Atlantic the Beatles were creating their own style of music. Music writing styles of both became the major influence of pop music from then on. Force of their talents are featured in this episode.

Episode 4: Respect

Berry Gordy Jr. started his own record label Motown. Motown grew quickly within few years to be the major force in the pop industry as artists and songs were all selected on the basis of having crossover potential. Gordy also hired outside talents such as Maxine Powell, and Charlie Atkins to polish the appearance and style of their artists. Jerry Wexler of Atlantic records worked with STAX records to bring Aritha Franklin into the pop scene, later followed by Otis Redding.

Episode 5: Crossroads

Records of blues men like Muddy Waters found its way by ways of merchant seamen to port cities such as New Castle in Britain which influenced young kids like Eric Burdon, Keith Richards, Mick Jagger, Brian Jones, Jimmy Page, Jeff Beck, Eric Clapton in a major way. Alexis Korner started his own band and a club which became the breeding ground for future bands like the Stones and the Cream. One of these musicians, Chas Chandler becomes a producer, and offers Jimi Hendrix a contract in England. Hendrix later breaks big at the '67 Montrey Pop Festival.

Episode 6: Blues in Technicolor

'60s was coming to an end and major experimentation with drugs was invading the culture. Sex, drugs and rock n roll was the way of life then. San Francisco was the Mecca for the drug culture and San Francisco bands like the Grateful Dead and Jefferson Airplane found its way into rock's mainstream. This cumulates one in Woodstock where half a million people came to the concert and other at Altamont Speedway near San Francisco where the Stones was to give a free concert. Altamont ended in death and violence which brought an end to the '60s.

Episode 7: The Wild Side

Lou Reed and his group the Velvet Underground was doing theatrical rock as part of Andy Warhol's stage act. Theatrical rock was coming into the scene with them and another cross dressing pop star David Bowie. Initially Bowie didn't make it big in the America but few years later he finds a much more receptive audience as America was getting used to their own cross dressing rockers like Alice Cooper. Cross dressing and "Glam" continued, and rock concerts turns into a full blown stage production.

Episode 8: Make it Funky

James Brown starts a new type of rhythm and blues called Funk which carries a big beat on the first note of the bar. Funk music finds its roots in black music as Sly Stone and others join the Frey. This episode documents the rise of Funk music as it becomes part of the pop culture in the '70s.

Episode 9: Punk

The Ramones, Blondie, and the Talking Heads all had their start at the CB GB's. The scene influences a clothing store owner from Britain who took some of this idea back to London and presented at his shop. Few kids approached him telling him that they want to start a band. This band was to become the Sex Pistols which would become along with Clash the center piece of Punk music. Punk music didn't really find footings in the affluent middle class America, but 10 years after the wave of Punk music, another type of music from the streets called the "Grunge" takes shape in America.

Episode 10. The Perfect Beat

In New York, dance music scene was going strong. A local DJ later named Grand Master Flash finds out that if he played certain portions of the record repeatedly, crowd will get excited. He would incorporate this into his style which will eventually become Hip-Hop. Other rap artists started to arrive on the scene including an all white group the Beastie Boys. MTV who were somewhat anti-black at the time started to have segments on rap which was a big hit indicating that rap music has come into the mainstream pop culture.

Originally broadcast on PBS, this deadly serious, Ken Burns-ish, take on the evolution of rock and roll manages to deliver some incredibly absorbing archival footage and interviews presented in a very concise, logical manner. Far superior than the other rock n' roll documentary that aired around the same time, this series places such icons as the Beatles, Chuck Berry & Elvis Presley more firmly within the fabric of the other music of the time. The history is mostly told through racially-themed observations, often at the expense of some white artists, such as the always-overlooked Bill Haley, who doesn't garner a single mention, let alone any credit. While one would be careless to avoid the racial importance that rock and roll deserves, the accusation that the Beatles were deliberately poised as "safe" replacements for black music (specifically Motown) is simply lacking merit.

Most any rock fan will find issue not so much with what's included, but what's omitted. Heavy metal is given as much slight mention as Haley.

Other problems arise as the series approaches the modern day, devoting much too much time by lavishing over-significance on such schlock as the Beastie Boys, as well as the overstated influence of reggae (as briefly seen in such bands the Police, the Talking Heads and The Clash). Racism (as well as gay-bashing) is credited yet again, this time for the ultimate rejection of disco. Alternative/grunge music - being all the craze at the time - is hoisted into the spotlight by the final episode, presented as some kind of ultimate culmination of the rebel ethic began by all those who proceeded them. Just my opinion, but this type of "history" gets so complicated and uncertain at this point that the film would've been much better served halting it's anthropology around the pre-disco/punk period of 1975 or '76. Rock has been less easier to define since then.

Still, the series is at its best covering the post-Buddy Holly/pre-Monterey Pop era, when rock not only demonstrated some of its greatest artistry, but - it could be argued - its highest diversity. Here, ample time & affect is given to the pop, folk, soul, surf & psychedelic movements. Ultimately, for all its faults, "Rock and Roll" is a terrific primer for the uninitiated, and a wonderful conversation piece for die-hards.

I saw this documentary as a teenager and it changed my musical tastes forever. At the time, I thought the classic rock that I heard on the radio was the best music had to offer. Because of this documentary, my eyes were opened the roots of rock as well as punk and rap. I learned about groundbreaking groups such as The Velvet Underground, Richard Hell, The Modern Lovers, Afrika Bambattaa, and other acts that changed music history.

While other documentaries spend time with who was popular in certain decades, this documentary shows you the real pioneers and introduces you to the most critically acclaimed acts in each genre. You actually understand how music evolved through this set.

Like anything, it's not perfect. They are missing some important acts, but this is far superior to other rock and roll documentaries that I have seen.

The more you love music, the more you'll love this series. It not only presents the music, it presents the context for each musical movement. Unfortunately, it is regularly compared to "The History of Rock 'N' Roll" and this review is no exception. The comparison is necessary for you to fully appreciate it.

Many people take issue with how this series presents the bigotry and social upheaval these songs formed the soundtrack for. The assumption is that bigotry inspired all of these movements. I think they are looking at it from the wrong perspective.

This series was not just meant to document the history of rock. It was meant to deify rock in all of its' forms. It has been said that rock did more to help end racial tension than all politicians combined. The best way to deify rock is to present the social upheaval it affected. This series does this and more.

To fully appreciate this series, it's important to understand that it approaches the history of Rock & Roll from a British perspective. That means, for Americans, there will be a disconnect in which bands were more central to rock's future. The other thing to keep in mind is that British documentaries tend to expect you to have a passing knowledge of the subject. This is where I say, if you can get this series, I recommend that you get "The History of Rock 'N' Roll" at some point as well. They compliment each other quite well giving you a fuller picture of the times in which these styles evolved.

It's also important to understand when both series were made. In the early 90's grunge revolted against the glam & metal sounds, and by the time of this production, metal was seen as passe and almost an embarrassment. A similar attitude seemed to apply to the disco movement. Both series overlook the contributions of both.

Even if you prefer the other series, I highly recommend picking this up if you find it. It's very rare. My copies are actually the VHS copies I taped off of the PBS broadcast.

I think this film was decent in providing an understanding of Rock and Roll. I would agree with the reviewer above who said that covering a lot of the pieces was nice, but to gloss over Michael Jackson, Bruce Springsteen, The Police, Sting, U2, and many others I didn't feel was a good directional choice. I liked the first few parts that covered the 50s and 60s, however I feel that the film would have been better off trying something different with the middle of it like the poster above said. It also seemed that they had Phil Collins on a boat and forced him to answer questions for each of the 10 films, which is fine, but I really grew to resent Collins before the end of the series. I also felt they overstated the importance of The Sex Pistols in rock and roll as well. It seemed that the directors locked in a group and that's all that was covered in a particular episode. They also glossed over Nirvana, while focusing basically an entire hour on party music. I agree with the poster above who said that the film would have been better off going in depth with the real stars of music, instead of asking Phil Collins what he thinks of everything.

Overall, for a summer class it was nice to watch this film and see different artists that I may have missed throughout history, but I felt that they made their agendas and biases too obvious. I also wish my professor provided more insight on this subject, but alas.