Let It Rock

Let It Rock was a British magazine published between October 1972 and December 1975. It was one of several publications of the early to mid-1970s (others included Cream and Strange Days) which attempted to emulate the success of Rolling Stone and other American music-based magazines such as Fusion and Crawdaddy. These were aimed at the large US college-age readership, were more adult in tone and dealt with a wider range of topics than the British pop weeklies. Let It Rock (named after a Chuck Berry song) attracted many notable rock and pop writers; among the editorial group were Dave Laing, Simon Frith, Charlie Gillett and Michael Gray, all of whom had backgrounds in higher education. Perhaps as a consequence of this, Let It Rock was more analytical than its competitors and tried to establish a historical perspective on pop music. It challenged the critical consensus of the post-Beatles "progressive" era by paying more attention to pop singles, soul, reggae, rock'roll and early 1960s American pop, and also ran articles on non-musical topics such as sport, film and television, reflecting the cultural changes of the 1970s.

Let It Rock never managed to secure a firm financial basis. Sales were disappointing and at one point the magazine was published by a "Rock Writers' Co-Operative". It closed down at the end of 1975, but is seen in retrospect as a predecessor of monthly publications such as Mojo, Q, Word and Uncut, all of which have succeeded in recent decades - albeit with greater corporate support and a less challenging agenda.

Links to Peel
John Peel is known to have written at least two articles for Let It Rock. In the November 1974 issue he contributed to the magazine's "Top Ten" feature (pp.12-13). He listed his choices with (most of) their catalogue numbers:
 * 1. Frankie Laine: "The Kid's Last Fight" (Philips PB258)
 * 2. Lonnie Donegan: "Frankie And Johnny" (Nixa NPT 19012, plum label)
 * 3. Little Richard: "Ready Teddy/Rip It Up" (London HLO 8336)
 * 4. Gene Vincent: "Say Mama" (no label given)
 * 5. Duane Eddy: Peter Gunn (no label given)
 * 6. Misunderstood: "I Can Take You To The Sun" (Fontana TF 777)
 * 7. Jimi Hendrix Experience: "Red House" from the LP Are You Experienced (Track 612 001)
 * 8. Country Joe And The Fish: Electric Music For The Mind And Body (Fontana STFL 6081)
 * 9. Pink Floyd: "Interstellar Overdrive" from the LP Piper At The Gates Of Dawn (Parlophone)
 * 10. Faces/Rod Stewart: Anything. That's cheating really but I love the Faces with a fiery devotion.....

The November 1974 issue also contains an article by Dave Amery, "Flowers never bend with the rainfall", on "the decline and fall of Dandelion records" (pp.23-24)

In the January 1975 issue there is a full-page review (p.33) by Peel of the double LP Merseybeat 1962-64 (United Artists UAD 305/6). The review is entitled "The Quality of Mersey", with the sub-heading "An aging scouse DJ reports on the new compilation album that encapsulates 'an era of Shanklyesque energy.'" 

Critics Poll Game
In the January 1973 issue, various critics and DJs were asked to nominate their choices in ten categories relating to the previous year. Peel supplied more extended comments than usual, and these are transcribed below.
 * 1: Best Single. "Well, that's really difficult. There have been a lot of singles that have given my lady and I pleasure this year so I reckon I'll stick to records that have been generally overlooked. There's not much point in citing Rod Stewart or the Faces although they're still my favourite group. Things like Her Father Didn't Like Me Anyway by Finbar & Eddie Furey, Starting All Over Again by Mel And Tim, Drunk Again by Rab Noakes and Late Again by Stealers Wheel have made us feel good when we were at a low ebb. The new Status Quo single (Mean Girl) is a nice boogie too. That's already four more than you need."
 * 2. Best Album. "Easier. Again avoiding the obvious hits. Last Of The Red Hot Burritos by the Flying Burrito Brothers-mainly for the astounding steel playing of Al Perkins.
 * 3. Least Offensive Pop Singer. "Tricky. I mean, I reckon James Taylor, Cat Stevens, Joni Mitchell-and our Rod too, I suppose-are 'pop singers'. Assume you mean the kind of guy who's going to do Stars On Sunday gigs I'd have to go for Lovelace Watkins. He's really neat in his own way. He's so totally excessive and show-biz that he's like the Liberace or Alice Cooper of straight singing-if you can call it straight. He's a real freak and I even bought a suit so that I could go and see him at the Talk Of The Town. Oh man-how uncool-the gray man's world! Wow!"
 * 4. Worst LP (or single). "Gawd! That's hard. I seldom hear anything that is without redemption. Long Haired Lover From Liverpool by Little Jimmy Osmond comes as close as any."
 * 5. Best album sleeve. "Fumble's LP is pretty good. Never A Dull Moment  too."
 * 6. Favourite record of the moment (LP or single). "Still Last Of the Red Hot Burritos."
 * 7. Record company that has done the most for rock this year. "Dandelion-if only other people realized."
 * 8. Best rock writer. "Hunter S. Thompson (if he counts)."
 * 9. Most significant event of the year. "Tie between the re-election of Richard Nixon and the marriage of James Taylor and Carly Simon."
 * 10. 40-50 words to say whatever you like. "Having read the second part of your circular I find that I have done the whole thing quite wrong and I hope you'll forgive me for that. I'm just on my way out to the village pub to discuss this afternoon's football. You've got to get your priorities right, you know."

Mentioned

 * Issue 1, October 1972
 * P.46: "Since Radio One's Sounds Of The Seventies shares the Radio 2 FM frequency from ten till midnight each weekday evening, this means that at last we can hear John Peel, Pete Drummond et al in glorious living Technicolour."
 * Issue 2, November 1972
 * P.11: "Though their only radio recognition so far has come from the benefactor of imaginative bands, John Peel, Stackridge's new single and album should help to change that."
 * Issue 3, December 1972
 * P.27: "But despite the high esteem the lads were accorded by the freak community, on a wider level Hawkwind were losing out badly. Financially, things were desperate: the music press didn't want to know, their only radio outlet was an occasional play on the Peel-Drummond-Harris circuit, and their record company was barely tolerating them."
 * Issue 4, January 1973
 * P.5 (Clifford T. Ward interview): "I put some of my things on tape and the first person we agreed to send them to was John Peel. I have a great feeling for Dandelion. I would like to sell records for their sake because as a company I feel they've got a lot to offer."
 * P.41: "In the same way, perhaps, that John Peel declared Van Morrison is the only person allowed to say 'Lord, have mercy!' on his show."
 * P.48 (Phil May): 'The reviews we had in the underground press in America and in some degree England, from people like Peel were amazing."
 * P.56: Extended commentary by JP on categories in the Critics Poll Game (see above).
 * P.70: "Disc & Music Echo has a regular column from John Peel."
 * Issue 5, February 1973
 * P.7: "(Gypsy) have trod the weary path as a 2nd Division band and are now poised, with helping hands from John Peel, on the brink of making a real name for themselves."
 * P.62 (on Sounds Of The Seventies): "John Peel's eclecticism (Tuesday and Thursday) transcends the format and I've heard more good singles-soul, reggae, pop, country-on his shows than anywhere else."
 * Issue 11, August 1973
 * P.13: "ln a very limited sense the selection of records is an art, and the only worthwhile dee-jays are those who neither submit to a formula (for example, the current top forty) nor to random programming (a fault John Peel slips into too easily)."
 * P.27: "Ted Templeman now produces Van Morrison, the Doobie Brothers and Captain Beefheart, quite something for the leader of a group [Harpers Bizarre] that was once derisorily labelled by (John Peel) America's answer to Herman's Hermits."
 * P.55: "According to John Peel 'Tubular Bells' represents "the first breakthrough into history that any musician regarded primarily as a rock musician has made."
 * Issue 15, December 1973
 * P.7: "l'm sure ZigZag readers will agree that, apart from John Peel, no one in Britain has done more for progressive rock freaks than Pete Frame. and I think you might acknowledge the fact."