Henk Bergman, Errit Petersma

Van Gennep, Amsterdam
ISBN 90-6012-092-2
184 pp, paperback, 17,5 x 11 cm

Mothers Of Invention got 4 pages in this book. Only the Beatles, Rolling Stones and Bob Dylan got more.

Harry Knipschild:
Google translate: Also in 1970, the Amsterdam publisher Van Gennep published a book by two authors who presented themselves on the cover as 'Petersma and Bergman'. The title of the book was Pophandboek. Decisive for the cover was a drawn cannon. From the barrel of the firearm flew a white bird (dove of peace?) with 'S5' on its tail. That meant, according to wikipedia, 'that a 5 had been scored for (mental) stability. This was popular with many conscripts. The examining doctors saw that a completely unmotivated person in the army was of no use and disapproved of many people on the basis of S5.' Petersma and Bergman did not explain the drawing on the cover in the book.

Google translate: Introduction
This book is published in 1970 and the sixties can therefore be completed and reviewed. Pop music is an important and typical phenomenon of the sixties, especially for the second half of this decade, when this music is no longer seen as 'something that will pass', but is fully accepted. The attention that the mass media is increasingly paying to pop music is indicative of this. The emphasis in this book is therefore on the latter period. This implies that the emphasis has come to lie on the groups that cannot be called directly traditional.

It doesn't make much sense to us to define the term pop music. We do, however, consider it relevant to identify some elements and forms of expression of the two trends in pop music that we distinguish, traditional and progressive music (see also page 169). Traditional pop music can be described as music that is made with the intention of to get on the charts. On the one hand, progressive pop music has the element of protest against existing values, norms and views, which is mainly expressed in lyrics; an altered conception of sex, expressed in the "sexy act" and in textual pleas for free love and the element of mind-expanding drugs. On the other hand, we also consider progressive pop music to be music in which the aforementioned elements are not directly in the foreground, but which does not only pretend to be on the charts. This distinction is of course not absolute.

The first part of this book aims nothing more than to bring together the massive amount of data that is now spread over many institutions such as weekdays, weeklies, record companies, fan clubs and others and to make it into a manageable whole.

Not included in the scope:
- rock and roll pioneers: Bill Haley, Elvis Presley, Little Richard, Chuck Berry, Everly Brothers and many others. Although it is admitted that without these figures the pop music of the sixties might not have been possible, their influence is taken for granted here.
- pop singers and singers; the reason is lack of space and the fact that these have generally been of less influence and significance to pop music than groups. A clear exception is Bob Dylan; it is therefore discussed.
- the 'brown sound': Soul and rhythm & blues.

So it's about pop groups. In a book of a certain number of pages, a choice from a very large number of pop groups is inevitable, a subjective element is thus introduced.

Criteria for our choice have been:
- the degree of influence of a group on other groups.
- the extent to which a group represents a certain period and/or movement in pop music.

The choice of groups is expanded upon for both American and English pop music in an introduction preceding the separate discussion of the groups.

There are groups of which only the LPs can be called important; singles are possibly 'tapped' from the LP. Examples: The Band, Iron Butterfly, Pink Floyd and Soft Machine. In addition to these groups, which mainly emerged in and after 1967, there are older pop groups where the regular release of a single exceeds the production of LPs in importance. An LP is often a collection of singles. We call: Moms & Dads, Hollies. Finally, there are groups where both single production and albums are important, for example Beatles, Who and Beach Boys.

Only LPs are mentioned of the first category, while both the long-playing records and the singles are mentioned for the other two categories. Every effort has been made to be as complete as possible. Included are LPs and singles that were released before April 1, 1970 and were released in the Netherlands.

The starting point was a self-constructed card system, supplemented with countless data from foreign and domestic music magazines (especially Rolling Stone, International Times, New Musical Express and Hitweek/Aloha), national and international fan clubs, gramophone record companies, reviews in newspapers and weeklies and many conversations.

The second part consists of a number of chapters about some concepts from pop music. 


Een Nederlands handboek over popmuziek (1970)
Pophandboek in issuu.com
Review in Leidse Courant, November 21, 1970