Clash of the Timbres

Abstract

Abstract This chapter explores the conflict between live- and studio-centered aesthetics in the context of the San Francisco and Los Angeles rock scenes in the late 1960s. Bands such as Jefferson Airplane, who had spent their careers playing live concerts, were faced with new challenges of working in a more technical setting. By the same token, the technological capabilities of studio recording practice allowed for increased creative opportunities. Contributors to nascent rock magazines such as Crawdaddy often disagreed about the true meaning of “authentic” rock and roll, some advocating for a more polished and produced sound while others argued that rock should imitate live performance, even in a recording studio. Over time, artists and producers developed means to oscillate between live and recorded styles depending on their artistic intention.

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