Rockabilly Archaeology: Part One.

Been having quite a love affair with rockabilly of late. This is a bit of a scatter shot post as I’m adopting the Eugen Duhring approach (Frederick Engels. Anti-Duhring Translated by Emile Burns from 1894 edition) and discussing everything under the sun and a few things beside. Okay, so I fudged the quote.

Now, before we discuss the means of production utilised in this now-mostly-ignored genre of white boy musical expression, I feel impelled to warn the class against any short cuts to rockabilly knowledge ie hitting up rockabilly on wicki. The wicki entry is undiluted crap, shorn of all socio-cultural context and probably cobbled together by some hacks from Rolling Stone. And if ever there was a case for a fully-fledged Cultural Revolution in the world of music journalism (sic), those bastards would be for the high jump or an extended dip in the village outhouse. They function somewhat like the Vatican continually restating canonical ‘truths”. 100 best LPs, 100 best guitarists, etc. Fucking sickening self-referential problematic****.

Now that that itch has been scratched, lets look at rockabilly’s basic means of production.
Hit the images link below for the Gretsch Chet Atkins in all their sunburst glory.…0.0…1ac.1.7.img.hZHkNsOz8kw
More specifically, the Gretsch G6120 Double Cutaway which will kill your bank account.
Next on the shopping list is a valve-driven Fender Tweed Bassman.
Finally, a very elemental drum kit and a double bass.

Kimchibilly: Trust the Koreans to go genre excessive. Died laughing with one.

Kimchibilly: Trust the Koreans to go genre excessive. Died laughing with this one.

You have spent a fortune so far, but the mandatory sneer and greasy pompadour are gratis.

The concept of problematic coined by Louis Althusser to describe the regularities in the way problems are formulated and the types of answers consequently sought. Althusser tpoints out that ” …. a word or concept cannot be considered in isolation; it only exists in the theoretical or ideological framework in which it is used”. Equally importantly, ” …it is centred on the absence or problems and concepts within the problematic as much as their presence;…”. Furthermore, it is not the vision or recognitional capacities of subject (musical) historians who establish the framework of questions, answers, modes of proof: the field of vision of the problematic establishes this explanatory framework. @ KT


One Response to “Rockabilly Archaeology: Part One.”

  1. justrecently Says:

    Next on the shopping list is a valve-driven Fender Tweed Bassman.
    Let me know if you find some at reasonable prices. Rainproof, if possible.

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