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Fascinating.

Do you think (remember) that the incentives for bands were different? I know people listened to more full albums because it'd be tedious otherwise, but was consuming music more of a dedicated activity than it is today?

If so, with record sales being viable income streams, it'd make sense why it'd optimize for more varied, blended, complex, and interesting listens (indexing on FM play for comparison; we're awash with incredible music elsewhere).

I enjoy some music for accompaniment or sing alongs, and then some as a captivating experience (like a movie or even more so a roller coaster).

The blues, jazz, and fusion scenes were vibrant as well and had the same _music as activity_ feature distinct from a dance floor. The audience is expected to actively respond mid song to leads and fills that were moving.

(I know I riffed on my own question but it's not intended to be rhetorical)




I do agree and I also think that bands played to their listeners more rather than being employees of their producers like was more common earlier in the 60s. The bands in the later 60s played their music and then found their fanship, discovering their fame as opposed to having it designed in by the producers.

And as you mention, people used to hang out and listen to records together as a social activity. People cared about what they thought of as truth in music, so you would have arguments about Beck vs. Clapton vs. Hendricks from various standpoints, not just pure talent but honesty, faith to the material, etc.

Not to say that doesn’t happen today, people are still seeking that just as much, it’s just that the industry has changed to relagate music into just another form of “content” to market for ad revenue.




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