How did 70s rock music transition into 80s music?

@larsman: "Who’s to say it was wrong"? It was Clapton! Of course many of his then peers didn’t agree with Eric, and continued down the path Clapton decided to veer off of. Jimmie Page certainly didn’t agree, and his new band after The Yardbirds ended (a band whose original guitarist was of course Clapton, followed by Jeff Beck!) pretty much set the course and created the template for the future of Rock bands. Ironically, Robert Plant is now making music much more like that of The Band than that of Led Zeppelin. He finally "grew up" ;-) .

You’re right, there was a lot of Country-Rock going on in 1968. Dylan with his John Wesley Harding album, The Byrds with their Sweetheart Of The Rodeo, and then The Flying Burritos after Chris Hillman and Gram Parsons left the former. After the breakup of Buffalo Springfield, Richie Furay started Poco. But all those bands were far more Country than Rock.

On the other hand, The Band was not at all a Country group. They were equal parts R & B, Blues, Gospel, Brill Building Pop, 1950’s Rock ’n’ Roll, Hillbilly, Jazz, and just about every other strain of American music. That’s why they are credited with creating the genre now referred to as Americana.

By the way, Elton John and Bernie Taupin have stated that in their Tumbleweed Connection album they were trying to sound like The Band's brown album. Neil Young said the same about his Harvest album, and he was obviously thrilled to death to be on stage with The Band in the Last Waltz concert.

I saw The Dead live only once, on a flatbed truck in the panhandle in Golden Gate Park in the Summer Of Love (1967). Also performing that day were Jefferson Airplane (hot!) and Country Joe And The Fish (cold). At that time The Dead still sounded like their drug of choice was speed, kind of a biker band. Pig Pen was singing,and playing a Farfisa organ, so they had that Garage Band sound heard on their debut album.

 

I was also very much into Television. That is the band that made me want to pick up a guitar and start playing. I really like both guitarists but appreciate Richard Lloyd's playing the best. I also like XTC although I initially didn't go beyond Drums and Wires much. I've picked up several of there albums since then and really enjoyed them. Todd Rundgren was sort of right about them making their records too complicated for normal listeners because they weren't having to play the songs live when he produced Skylarking but I still like all of their stuff including the stuff with a lot of details. There are way too many great 80s underground bands and I keep thinking of more like The Only Ones, Wire (both started in the 70s along with Gang of Four), someone else caught The the, Bahaus, The Cramps, Psychedelic Furs, PiL, Visage, Prefab Sprout, OMD, Bill Nelson, The Sugarcubes, The Jack Rubies, Yello, Wreckless Eric, Stiff Little Fingers, Jane's Addiction, Let's Active, The Primitives, Madness, and The Residents.

@bdp24 ”Authoritarians hate intelligence.”  Ain’t it the truth.

Authoritarianism, in practice, has obviously yielded bad results throughout history.  But an individual adopting authoritarian thinking, while perhaps not actually making laws or issuing tangible punishment to dissenters, is also destructive.  This type of thinking is immune to political ideology.

An artist like the Velvet Underground who says, “we don’t cotton to this trendy hippy nonsense.  We are going to do our own thing,” is reviled because of their distinct break with the prevailing trend.  The authoritarian thinking here is, “we don’t wear all-black, leather and shades.  We don’t do that around here. We wear paisley, tie dye, bell-bottoms, and denim.  We don’t sing honest depictions of S&M, heroin and amphetamine use, sodomy, transgenderism, and violence.  We sing songs about being anti-war, pro-peace/love, and pro-hallucinogen and pot use.  We do make exceptions for Northerners and Californians appropriating rural southern/Appalachian sounds à la The Band and Sweetheart of the Rodeo.  We also make exceptions for Brits appropriating southern rural American blues sounds à la The Yardbirds, Cream, The Rolling Stones, Led Zeppelin, and John Mayall and the Blues Breakers.”

Wouldn’t ya know it…50 years later, those VU albums are considered pop music milestones and no one today gives a hoot ‘n heck about Country Joe and the Fish and the Flying Burrito Brothers.

Dylan, of all people, had to deal with virulent opposition to his artistic choices.  For the egregious crime of having electric guitars, organ/piano, bass and drums in lieu of a solitary acoustic guitar and braying harmonica, and choosing to sing lyrics that were not explicit, pointed critiques of injustice and social ills, he was charged with being a sell-out, a heretic, and a traitor.

Wouldn’t ya know it…the majority of people today will listen to Highway 61 Revisited and Blonde on Blonde 20 times before giving a solitary spin to The Freewheelin’ Bob Dylan or The Times They Are a-Changin’.

The group-think that typifies an all-too-consequential contingent of today’s population is very similar to these things from the ‘60s.

Any artist who deviates from the established dogma and orthodoxy of speech and ideation is branded as a conservative, a bigot, and a social problem. Any question posed to these precepts, regardless of its validity, is deemed an act tantamount to  tacit endorsement of bigotry, hatred, and modern conservative ideology.

 

I’ve probably said this a half-dozen times before on various threads, but sometimes you just have to rely on your subjective impulse and ignore the intellectual folderol we so often use to bolster our arguments on art & music. When I worked in the movie biz reading & evaluating movie scripts and other literary material for possible filming, the head of the studio would sometimes phone me up and simply ask, "Is it good?"

 

By the same token, though, it can definitely be fun as heck to dutifully count the angels on the head of that pin.

@edcyn Art pursuant of intellectual and emotional honesty and truth, rendered with intelligence, artistic bravery, and sensitivity is “fun as heck.”  Art that induces pleasure without insulting my intelligence is “fun as heck.”

Are these ideas the defining criteria of “good” for most studio heads?  Is their definition of “good” not at least a little influenced by a product’s viability as a commodity?

After watching what studios provide funding for, I have a sneaking suspicion that studio heads and I have very different definitions of “good.”