Where the Halling Valley River Lies - Carl Halling (lightest ebook reader txt) 📗

Stones; and Eric Clapton, who forsook Pop stardom to seek refuge in Blues purist band Bluesbreakers; whose John Mayall played host to a veritable plethora of future Rock superstars at various stages of his career.
Another vital component of Pop that threatened to subvert Rock’s evolution as an exclusive offshoot of the Blues was melody; which was the very element the Beatles made central to their music. And as the Rock revolution proceeded apace, it came to play as important a part in its music as rhythm.
And this was significantly attributable to the Beatles, who, in thrall to the nascent sounds of Motown, a form of R&B that had been heavily infused with a Pop sensibility, sought to emulate its exquisite romantic tunefulness.
They also imbued their early music with the sentimental sweetness of both Vocal and Latin Jazz and Canzone Napoletana; while all three songwriters were admirers of Classical Music.
Thence the Rock explosion emerged from several incredibly divergent areas to produce a veritable musical Babel. But lest we forget, it did not begin with the Beatles, for even the term Beat was first used in relation to Pop music as early as 1961.
For instance, in "The Big Beat Scene" by British writer Royston Ellis, Beat is used to describe the music of the first British Pop stars to emerge in the wake of Elvis. While the term Rock is used as shorthand for Rock and Roll in the selfsame tome.
In fact, by the time of the Beatles first hit record in 1962, Rock had existed in Britain for at least five years, birthing a host of early superstars. Among these, song and dance men Tommy Steele and Joe Brown had brought a music hall element to the music; while Cliff Richard and the Shadows had preceded the Beatles as the quintessential British guitar band.
In other words, an entire spectrum of British Rock and Pop music had been established even before the Beatles had recorded their first hit record. But this is a truth that history has failed to sufficiently emphasize.

This Thrilling New Art Form

The Beatles are seen by some as the inventors of modern guitar Pop. While this is of course untrue, they are without doubt the best known and most successful Pop group in history. It was they who consolidated and perfected British Pop, thereby laying the foundation for the entire Rock revolution.
Yet, while they began very much as a Pop group, in time, having resisted being typecast as mere Pop, they could be said to have birthed a special type of Art Rock founded on a vast variety of genres, including Classical music, Music Hall, Tin Pan Alley, Rock and Roll, Country and Western, Folk, Jazz, Motown, Soul and the Blues. But no less removed from pure Pop than the Blues-based Rock of their chief rivals the Stones.
While this might lead one to conclude that it was largely through their influence that Rock became the ultimate musical smorgasbord, this was only partly true, as I’ve already made clear.
Yet, during their brief few years of existence, they informed the development of Rock to a greater degree than any other group or solo singer. And that includes the Rolling Stones, for while the Stones' primal proto-Punk went on to constitute the basis of all forms of Hard Rock, even these have benefited from the unrelenting melodic inventiveness of the Beatles.
In addition to those already mentioned, another of its chief sources was the Brill Building Sound, which thrived in that brief period between Elvis's induction into the US Army and the onset of Beatlemania. And during this era, the music's initial threat was neutralised by its co-option by teenage idols who, while heavily influenced by Elvis visually, had nowhere near the same devastating effect on the moral establishment.
Brill Building was named after the very building in New York City where many of its songwriters were housed and which since the '30s had been a centre for Pop music, a term allegedly coined as early as 1926.
Its music could be described as traditional Pop informed by the Rock and Roll revolution; and as such it exerted a massive if largely unsung influence on the evolution of Sixties Rock, with the Beatles covering several Brill Building songs in the early phase of their career.
Yet, while the Beatles remain indelibly associated with modern Pop, by the totemic year of ‘66, they were as much a Rock as a Pop group; and their lyrics had started to acquire a marked intellectual dimension. And this was in no small part attributable to Bob Dylan.
For Dylan was a consciously intellectual figure who, in the fallow years immediately preceding the British Invasion, had mined the ancient American art of Folk Music for inspiration.
By so doing, he’d gained an international reputation as a poet-minstrel in the Protest tradition, and largely thanks to him, Pop had acquired a certain gravitas by the mid 1960s. And one which was strikingly at odds with the innocent and sentimental music of the early Beatles. Yet, the Beatles outgrew the Beat era with ease, while Beat itself was rendered obsolete by the depredations of Rock.
This thrilling new art form developed not just as a result of Dylan's influence as the first great poet of Rock, but an increasing musical complexity, possibly allied to a greater spiritual darkness. And while the Beatles led the field in terms of the former, the latter could be said to have arisen from a tougher element introduced into the music.
This came courtesy of such Blues-based outfits as the Stones, the Kinks, the Yardbirds, the Pretty Things and the Who, and the term Rock was somehow perfect in describing their powerful primal sound. However, when this moved in to supplant Pop as the critic’s term of choice, it's impossible to say.
One thing is certain is that as soon as it did, Rock became far more than a mere music form.
In fact I’d go so far as to say it was a way of life from the outset; a philosophy; even a religion, and as such, one of its prime tenets was rebellion against the traditional Judaeo-Christian values of the West. So it’s not surprising its spiritual homelands were Britain and the USA, given these are the nations most associated historically with the rise of Evangelical Christianity.
For despite having been inextricably linked to Pop since its inception, Rock is clearly more than just another form of popular music. And while it possesses very little ability left to shock, its rebel spirit, and the sexual and social upheavals it once spearheaded have altered the fabric of Western society, possibly beyond all hope of recovery.

Chapter Four – Rock and Roll and the Western Soul

The Burgeoning Generation of Love

The highpoint of Patrick Halling’s early Pop career was undoubtedly his leadership of the string section for "All You Need Is Love", transmitted live at the height of the so-called Summer of Love on July 25th 1967.
The programme, entitled “Our World”, was the first satellite broadcast in history, and it secured an audience of 350 million, which was unprecedented at that time. And among those taking part were such legendary figures of the swinging sixties as Mick Jagger, Keith Richards, Brian Jones, Eric Clapton, Keith Moon, Marianne Faithful and Donovan.
But this was not Pat’s first involvement with the burgeoning Love Generation.
For the previous year of ’66, he’d taken part in the recording of Donovan’s “Museum”, destined to see the light of day on the “Mellow Yellow”
Album, which reached the number 14 position on the Billboard Hot 100. Although it failed to secure a UK release due to contractual complications.
Also involved with the “Mellow Yellow” sessions were close friends Mickie Most, who produced, and John Cameron, who did most of the arrangements, as well as session guitarist Big Jim Sullivan, and future Led Zeppelin members Jimmy Page and John Paul Jones.
A year later, he worked on a project that was as much a concept album as any of the Beatles’ records of the same period, Ken Moule's superb "Adam's Rib Suite", which fused elements of Jazz, Pop and Classical music to recount the history of womankind from Eve to Cleo Laine.
Needless to say though, it was infinitely less successful than any comparable record within the Rock genre, Rock being at the vanguard of popular culture in a way that Jazz had once been, but no longer was. However, by the turn of the decade, a reconciliation between the two alienated factions was well under way, with Jazz-Fusion coming from one camp and the more populist Jazz-Rock from the other.
In '75, Pat served as leader for Mike Gibbs' "Only Chrome Waterfall Orchestra", an unsung classic of British Jazz fusion, which was finally released on CD in 1997. Adam's Rib followed it on CD exactly ten years later.
By the time of his involvement with "Adam's Rib", Pat had already moved into the worlds of film and television. And his early career included solos for the 1960 movie “Exodus”, produced and directed by Otto Preminger, with music by Ernest Gold…as well as for much treasured British sitcom "Steptoe and Son" (1969-’74), whose incidental music was composed by his close friend Ron Grainer.
He also served as concertmaster for the great Johnny Green on Carol Reed's version of Lionel Bart's "Oliver" in 1968, and for John Williams on three movies beginning with the musical version of James Hilton’s “Goodbye Mr Chips”.
And going on to include “Jane Eyre” (1970), directed by Delbert Mann, and “Fiddler on the Roof” (1971), by Norman Jewison.
Directed by Herbert Ross in 1969, “Chips” featured a screenplay by no less a luminary of British literature than Terence Rattigan. And as he was the author of such quintessentially English tragedies as “The Browning Version” and “The Winslow Boy”, both centring on the English private school system, he was the perfect choice.
Sadly, though, for all its virtues, including a lovely score by Leslie Bricusse, it was not a critical success, although it was nominated for several major awards, and has gone on to enjoy something of a following on the internet.
Also in '69, he worked on David Lean's "Ryan's Daughter", a visually beautiful epic set in rural Ireland during the First World War, which was another film that has grown in stature since its initial release. Written by playwright and screenwriter Robert Bolt, with music by Maurice Jarre, it was poorly received by the critics, although today, it’s considered by many to be among Lean’s finest works.
In addition to Williams, Green and Jarre, he's served as concertmaster for a panoply of major 20th Century musical figures working within the media of film and television, including Dimitri Tiomkin, Nelson Riddle, Georges Delerue, Wilfred Josephs and Christopher Gunning.
But to return the world of Pop, which mutated into Rock, possibly some time towards the end of the late 1960s, while retaining a Pop subsidiary; and became known as such to many of its devotees, presumably as a means of investing it with some respectability as an art form:
As the ‘60s ceded to the ‘70s, Pat’s close friend Mickie Most was poised to enter the second phase of his glittering Pop career, having been briefly involved with the nascent Rock movement through his management of the Jeff Beck Group. And yet, even at that, he’d sought to turn guitar virtuoso Beck into a major Pop star…while apparently remaining impervious to the star quality of his one-time