Rock it pocket review. Rock-It Pocket Review: Epoch Hawk Sequel Lacrosse Head – Innovative Design and Performance

What features make the Epoch Hawk Sequel stand out among lacrosse heads. How does the “Laid Back” technology improve player control and ball retention. Why is the Sequel universally legal for all levels of play.

The Evolution of Epoch Lacrosse Heads: Introducing the Hawk Sequel

The Epoch Hawk Sequel represents a significant advancement in lacrosse head design, building upon the success of its predecessor, the Epoch Hawk. This innovative head incorporates “Laid Back” technology, a design feature that offers players enhanced control and ball retention capabilities.

Developed in collaboration with Rock-It Pocket, a company with 29 years of stringing experience, the Sequel aims to provide players with a unique feel and performance on the field. But what exactly sets this head apart from others on the market?

Key Features of the Epoch Hawk Sequel

• Universally legal for all levels of play
• Incorporates “Laid Back” technology for improved offset and balance
• Weighs just over 130 grams, making it one of the lightest heads available
• 10-inch face length from scoop tip to throat
• 6.5-inch wide face opening
• Designed to accommodate both mesh and traditional string pockets

Understanding “Laid Back” Technology: A Game-Changing Innovation

The cornerstone of the Epoch Hawk Sequel’s design is its “Laid Back” technology. This innovative approach to head construction offers several advantages over traditional offset designs. How does it work?

Unlike conventional offset heads where the offset occurs immediately and remains parallel throughout, the Sequel’s sidewall widens as it approaches the sweet spot. This unique configuration results in the ball sitting deeper in the pocket and further away from potential checks by opposing players.

Additionally, the Sequel’s scoop doesn’t curve upward like most other heads. This design choice reduces whip issues that often plague players during throwing and shooting motions. The combination of these features gives players a sense of holding the ball in the palm of their hand, offering unprecedented control and feel.

Optimized Pocket Placement and Stringing Options

While the Epoch Hawk Sequel can accommodate various pocket styles, it’s particularly well-suited for mid-pocket setups. How does the head’s design facilitate this?

The strategic placement of stringing holes allows for versatile pocket configurations. Larger holes can accommodate traditional leather strings, while ample smaller holes provide options for mesh pockets. The holes are protected on both sides of the sidewall, minimizing string fraying and extending the life of your pocket.

For stringers, the Sequel offers subtle options to fine-tune pocket placement and performance. This flexibility allows players to customize their stick to match their playing style and preferences.

Performance on the Field: Scooping, Catching, and Ball Control

How does the Epoch Hawk Sequel perform in game situations? Let’s break down some key aspects of its on-field performance:

Groundball Acquisition

The Sequel’s scoop design prioritizes efficient ground ball pickup. The widest part of the scooping blade is located at the center, providing maximum surface area for securing loose balls. The subtle curvature of the scoop surface is particularly effective for scooping balls while on the run, a crucial skill in fast-paced game situations.

Ball Retention and Pocket Feel

The “Laid Back” technology truly shines when it comes to ball retention. The deeper pocket placement and unique sidewall design make it more difficult for opponents to dislodge the ball with checks. Players report a superior feel and control, especially when cradling and maneuvering through traffic.

Throwing and Shooting Accuracy

By minimizing whip issues often associated with deep pockets, the Sequel allows for more consistent and accurate passing and shooting. The reduced forward curve of the scoop contributes to a smoother release, potentially improving both short and long-range accuracy.

Material Construction and Durability

What materials and construction techniques contribute to the Sequel’s performance and longevity? Epoch has employed state-of-the-art plastic technology in the Sequel’s design, resulting in a head that balances stiffness with a slight degree of flex.

The throat area is engineered to be durable without adding unnecessary weight, contributing to the head’s impressive overall weight of just over 130 grams. This lightweight construction doesn’t come at the expense of durability, as the Sequel is built to withstand the rigors of high-level play.

Additionally, the plastic used in the Sequel readily accepts dye, allowing for customization options to match team colors or personal preferences.

Comparing the Sequel to Other Popular Lacrosse Heads

How does the Epoch Hawk Sequel stack up against other popular lacrosse heads on the market? While direct comparisons can be subjective due to individual player preferences, we can examine some key differentiators:

1. Offset Design: The Sequel’s unique “Laid Back” technology sets it apart from traditional offset heads, offering a different feel and ball control experience.
2. Weight: At just over 130 grams, the Sequel is among the lightest heads available, potentially providing a speed advantage.
3. Versatility: Being universally legal for all levels of play makes the Sequel a viable option for youth, high school, college, and professional players.
4. Pocket Placement: While many heads favor high or low pockets, the Sequel is optimized for mid-pocket setups, which can offer a balance of control and quick release.
5. Scoop Design: The Sequel’s scoop doesn’t curve upward as dramatically as many other heads, potentially reducing whip and improving consistency.

Who Benefits Most from the Epoch Hawk Sequel?

Given its unique design features, which players are likely to benefit most from using the Epoch Hawk Sequel? The head’s characteristics make it well-suited for several player types:

• Midfielders: The lightweight design and efficient scooping ability cater to the two-way play required of midfielders.
• Attackmen: Players who prioritize ball control and quick, accurate releases may find the Sequel’s pocket design advantageous.
• Face-off Specialists: The head’s stiffness and scoop design could provide an edge in face-off situations.
• Developing Players: The reduced whip and improved feel could help younger players develop proper throwing and catching techniques.
• Players Transitioning Levels: Given its universal legality, players moving between age groups or competition levels can maintain consistency in their equipment.

Maximizing Performance with the Epoch Hawk Sequel

To get the most out of the Epoch Hawk Sequel, players should consider the following tips and strategies:

Pocket Stringing and Maintenance

Experiment with different stringing patterns to find the optimal pocket placement for your playing style. Regular maintenance, including re-adjusting strings and replacing worn mesh or leathers, will ensure consistent performance over time.

Stick Skills Practice

Take advantage of the Sequel’s unique feel by practicing cradling, catching, and throwing drills. Focus on developing a quick, smooth release that capitalizes on the head’s design.

Groundball Technique

Work on your groundball technique to fully utilize the Sequel’s efficient scoop design. Practice scooping at various angles and speeds to improve your versatility in game situations.

Dodging and Protection

Leverage the deep pocket placement by incorporating tight cradles and body positioning to protect the ball during dodges and in traffic.

Shooting Accuracy

Spend time fine-tuning your shooting technique with the Sequel. The reduced whip can allow for more consistent shot placement, but may require some adjustment if you’re used to a different head design.

The Epoch Hawk Sequel represents a significant innovation in lacrosse head design, offering players a unique combination of control, feel, and performance. Its “Laid Back” technology and thoughtful construction make it a versatile option for players at all levels of the game. By understanding and leveraging its unique features, players can potentially elevate their performance on the field.

Hawk Sequel | Rock-It Pocket

“The Stick Guys”

29 Years of Stringing Experience

Say hello to the SEQUEL

For the last few years we have been working with Epoch Lacrosse with designing of and R&D for the
Hawk, and now we are so excited about the next one called the SEQUEL. It is Son of
Hawk. The “laid Back” technology we have developed offers the offset advantages and a
balance that lets you feel control almost like you are holding the ball in the palm of your hand. The
Hawk Sequel is Universally legal for all levels of play.

Full Review (02/02/16)

The Epoch Sequel is the second head that Epoch has produced using my “Laid Back”
technology. I suppose the name Sequel would give away that it isn’t the first. I have
and will have much to say about the process and passion that many people put in to this project, but I
will attempt here to just review the head like I would and do most all of them as they come out.
Objectivity is my goal. I am not sure if I succeed or not.

The Epoch Sequel is the follow-up head for the Epoch Hawk, the second Epoch head made
for men’s play.

EPOCH HAWK the SEQUEL

At first glance my thought is that the Sequel has attractive look and elegant lines. The
front face opening has a somewhat ‘pinched’ look even though it is universally legal, which means the
throat opening is wider than HS heads at 3” legal minimum. Word is that rule will become more universal
in the near future.

The Sequel head will take the pocket well anywhere, but it is
certainly designed and perhaps sets up best with the pocket in the middle of the head

We (Epoch and Rock-it Pocket) are so excited about this next and new head called the
SEQUEL. It is ‘Son of Hawk’. The “Laid Back” technology we have developed offers the
offset advantages and adds balance and control that lets you feel almost like you are holding the ball
in the palm of your hand. The maximum “offset” feel’ is all in one place, the ball spot place. This is
different from other mainstream offset designs where the offset happens immediately and the bottom of
the sidewall is exactly like and parallel to the top of the wall on every head on the market. That is
all pretty much save one, and that one is the Hawk Sequel. The fact is that on the side
wall of this one, the  measurement gets wider (low part of wall/eye line) by dropping its ‘bottom as it
moves up toward the sweet, ball-sitting area. The end result is that the ball is sitting deeper into the
pocket and farther away from a surface check than ALL other heads. On top of that, on almost all heads
(Brine Edge offset would be one exception) the scoop always curves back up. Or forward toward the top,
which further opens the world of whip and whip problems for throwing and shooting far more than the
Sequel as well as the first one, the Sequel Father called the Hawk by
Epoch as well. That one is a high pocket set up that has no whip, a rare occurrence sometimes.

Some stats and stuff:

Weight-     At just over 130 grams it is one of the lightest heads on
the market

Hole Placement –     There are (larger) holes to accommodate leathers. There are
plenty of holes for easy mesh placement, and holes are protected on the both sides of the wall
minimizing string fray. Hole placement gives stringer lots of subtle options. It is easy to place the
mesh pocket in this head, maybe unlike the Hawk.

Face –     10” from tip of scoop to foam stop at throat, making it on the high
measurement (long) side of that stat. Widest opening looks tight even at 6.5”, giving the head a narrow
look in spite of being legal for all. The Epoch Sequel is universally legal
(X)

Sidewalls –     The sidewall design is the cutting edge of “Laid Back” tech. The
maximum ‘feel’ is where the ball sits. The top of the sidewalls are beveled in to encourage the ball
into the head and pocket. The “Laid Back” top-of-the-wall line allows the pocket to be deeper than heads
where the bottom of the sidewall mirrors the top, but with the scoop NOT curving forward there are also
less pocket whipping possibilities.

Grab the Throat –     The engineers made the throat area durable but not weighty.
The feel and balance of this head is great, and best when ball is in pocket. The throat area is really
cool looking, too.

What’s the scoop –     The scooping blade surface is widest exactly in the center
where more surface area helps the getting-the-ball-off-ground-safely-and-easily cause. The plastic side
wall construction tapers into the scoop really smoothly. The angle of the Sequel scoop
blade is great for getting ‘balls on the run’ with its subtle scoop surface curvature.

Stiffness –     The Sequel is pretty stiff, but also seems to
have just a little ‘give’. The plastic technology is state of the art/science. I don’t have numbers,
just the seat of my pants reckoning.

Dyes –     The plastic takes dye coloring really well, and the texture makes it
seem to the eye and touch almost like the old Warrior Noz.

Features –     The recently patented “Laid Back” technology is designed to give
the player that ‘hands on’ feeling where it is like holding the ball in the palm of his hand. There is
more hold capability and way less whip chance than the now generic offsets, which are pretty much all of
the other 100+ stick heads now available.

In spite of the fact that I designed the technology for this Epoch Sequel head just
released by Epoch Lacrosse, it was the Epoch Lacrosse/Rock-it Pocket Lacrosse team that put their best
foot forward for this project. Sequels often do not match an original, but this is an exception to that
rule. The EPOCH SEQUEL had to be made. We hope you love it.

From Epoch:

Company description goes like this, “Inspired by Italian supercars and engineered
with maximum functionality The Hawk Sequel design and styling language is defined by
the recurring triangular and polygonal elements incorporated throughout. The surfaces have precisely
distinct sharp edges that flow together to form subtle yet pronounced corners that incorporate radiuses
that are both appealing to the eyes and performance enhancing.

The Sequel’s elegant industrial design is only matched by it functionality and
performance.  The Sequel’s beauty resembles a piece of art worthy of dedicated wall
space but make no mistake about it; the Sequel is engineered for the
field.

Laid Back Profile – The laid back profile and lowered scoop keeps the ball tucked
under the shooting strings when cradling and dodging for maximum, hold while providing an optimal
release point and improving ball trajectory vs. conventional offset heads when passing and shooting.

Mid/High Pocket Design – The Sequel laid back profile is
engineered for that perfect Zone 4 mid to high pocket and allows for a lightening quick release,
superior ball control and maximum feel.

Flex iQ – The Sequel is manufactured with Epoch’s proprietary
blend of materials creating a super tough polymer with maximized stiffness and flexibility properties
and also UV protection. The Hawk Sequel comes in a iQ of 3.

The Hawk Sequel is manufactured with pride in the USA and comes with a 1-year
manufacturer warranty

Composite Injected Polymer – The Sequel to the Hawk is
constructed with state-of-the-art materials by utilizing an industry first and proprietary composite
injected polymer, providing not only optimal strength and durability but maximum energy transfer for
improved velocity. ”

Get Epoch and LIVE. PLAY. BE. (Epoch Mantra)

Mad Rock Shark 2.0 Review

Modest performance for a modest price

Credit: Mad Rock

$129 at Backcountry

$129 at Amazon

Price:  $129 List

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Manufacturer:  
Madrock

By Jack Cramer ⋅ Review Editor  ⋅  Nov 18, 2019

60

OVERALL
SCORE

RELATED: Best Climbing Shoes of 2023

Our Verdict

Occasionally a shoe shocks with impressive performance in all of our rating metrics. More often the results are mixed. The Mad Rock Shark 2.0 represents a rare case where performance is universally underwhelming. Our testers found it to be a soft shoe that somehow manages to also feel insensitive. The limited elasticity of the tongue means that it’s frustratingly hard to take on and off for its single strap slipper design. We are also disappointed with its mediocre performance in cracks and pockets. Nevertheless, you can still find plenty of Shark fans online. Try them on if you get a chance, and if they fit you as well as some people say, you’ll get to enjoy a great value.

REASONS TO BUY

Bargain price

Pointy toe for pockets

REASONS TO AVOID

Uncomfortable

Mediocre at edging

Hard to take on and off

Our Analysis and Test Results

Performance Comparison

Single strap shoes are great for bouldering or short sport routes. The Sharks are one of the more affordable single strap options.

Credit: Jack Cramer

Edging

The Shark 2.0 is made with 3.8 m of Science Friction rubber fitted to an AES sole that’s soft at the center but stiff on the edges. Theoretically, this stiffer outer edge should facilitate good edging, but our testers remain unimpressed. Part of the problem is that the single strap slipper design is ineffective at keeping the foot in place inside the shoe. This lateral play makes it more difficult to use the Shark on small edges and is the primary reason why it receives a subpar edging score.

The Shark isn’t particularly great at edging. This is partially due to the single strap design which isn’t very ineffective at locking your foot inside the shoe.

Credit: Jack Cramer

Cracks

Apart from the elastic tongue, almost the entirety of the Shark is encased in sticky rubber. This would provide excellent grip inside a crack, if only you could endure the pain this shoe causes. The primary issue Shark’s moderate downturn, which places your toes in a curled position. This makes foot and toe jams considerably more painful. These shoes could still be useful for difficult thin cracks with limited jamming, but for ordinary cracks that are hand-sized or larger, there are much better options.

The synthetic upper on the Shark is pretty inelastic. This makes taking them on and off more of a chore than you might expect for a single strap design.

Credit: Jack Cramer

Comfort

The lead tester wears a 10.5 street shoe but had to size up to an 11 to squeeze his feet inside the Sharks. During the break-in period the Syn Flex upper hardly stretched at all. The result is a shoe that still feels like it doesn’t fit despite two months of regular use. Our testers were also underwhelmed with the elasticity of the tongue. Ordinarily, single strap slippers are easy to take on and off, but it’s an unpleasant task with the Sharks because they don’t stretch open very wide.

The Sharks perform modestly well for pocket climbing. The toe volume is a little smaller than average, but they lack a sharp downturn in the forefoot.

Credit: Jack Cramer

Pockets

When talking about pocket climbing performance, it’s important to consider the profile of the toe. From top to bottom, the toe of this shoe is pretty slim, but from side to side, its wider than average. That means the Shark can fit inside some small pockets, but not all. It depends on how they’re oriented. If the toe can get inside, the Shark is good for pulling with your feet because they have a considerable downturn from heel to toe and an added edge on the underside of the toe from the concave AES midsole.

There is a little extra play in the heel of the Mad Rock Shark 2.0, which makes heel hooks less secure than with most other bouldering shoes.

Credit: Jack Cramer

Sensitivity

The Shark has a soft midsole that stiffens on the forefoot, especially along the edges of the toe. This stiffness boosts support but interferes with your sensitivity in the exact location where the shoe usually contacts the rock. It also features a “Molded Edge Heel” made of a harder rubber compound that heel hooking an imprecise endeavor. Together this means that the Shark is surprisingly insensitive for its otherwise soft design.

The Sharks never became one of our testers’ favorites, but their low price makes them worth considering for boulderers on a budget.

Credit: Jack Cramer

Value

Perhaps the best aspect of the Shark is its price. For just a little more than a hundred buck you get a decent shoe made from solid materials. However, there are cheaper options that we recommend for beginners, such as the Best Buy-winning La Sportiva Tarantulace, and we suggest experienced spend a little more to get a lot more performance. Thus, despite its low price, we don’t think the Shark is an exceptional value.

Conclusion

There is a bewildering array of options in the climbing shoe market. Unfortunately, the Mad Rock Shark 2.0 did little to distinguish itself from the field of shoes we tested. We concluded that its single strap design feels insensitive and too insecure for marginal edging. To top things off, it’s not even easy to take on or off. Due to its low price, however, the Shark could still be worth considering. Maybe you’ll be become one of the many happy customers out there eagerly singing its praises.

—
Jack Cramer

 

the most rebellious music in the world – 55 years old

The larger the phenomenon, the more difficult it is to trace where it originates from. This fully applies to rock and roll. However, fans of this genre have their own legitimate holiday. World Rock and Roll Day is celebrated annually on April 13, although the event to which this holiday is timed took place a day earlier – on April 12, 1954. On this day, American musician Bill Haley, who is considered one of the pioneers of rock, recorded the single “Rock Around The Clock” (“Rock around the clock”). The song was a huge success and was one of the first compositions in the new genre, which soon won the hearts of music lovers all over the world.

As for the term “rock and roll” itself (translated from English means “swing and spin”), it appeared even earlier – in 1951. The authorship is attributed to Alan Freed, a disc jockey from Cleveland, who decided to challenge the conservative American society. Fried liked the new music that was gaining momentum in the 50s – loud, rhythmic, rhythm and blues full of life. But since it was black music, the white audience avoided it. Then Fried found a way out: one evening he launched energetic compositions in the style of rhythm and blues on the air of his radio station, and in order not to shock the listeners, he disguised them under a different name – “rock and roll”. And at 19In 1952, Freed and his associates organized the Moondog Coronation Ball in Cleveland. Today it is considered the world’s first rock and roll concert. Thus, the daring act of one enthusiast gave impetus to a giant wave of new music that managed to capture the whole world for many years and erase all boundaries, including racial, age and political.

Today it is fashionable to say that rock is dead: supposedly, artists of a different sort run the stage, other genres are in use, and a bunch of elderly “true rockers” who still creak and sometimes even fill stadiums are all we have left. But in order to properly understand all this, you need to look into the very “deep centuries”, namely, to turn to the origins.

The rise of rock and roll was financed by teenagers of the 60s

Alexander Belyaev, a music critic, journalist and well-known Moscow music lover devoted an impressive part of his life to rock and roll. And, although in recent years he switched to jazz, the spirit of rock is forever in his heart.

“Rock and roll is a great, powerful, mass musical genre, the entire history of which is documented on discs and other media. The grandiosity and scale of the spread of rock and roll around the world is precisely connected with the development of technology, namely with the advent of various sound recording and sound reproducing devices in the 20th century. As for this date – April 13, it is impossible to determine a birthday for jazz, rock and roll, and, in general, for any genre, it is always a conditional date. Something more or less significant is chosen. But with Bill Haley and his single “Rock Around The Clock” there was a very tricky story,” says Alexander.

Bill Haley and The Comets

It turns out that this song was written by American musicians Max Friedman and James Myers back in 1952. Myers originally suggested recording it to Bill Haley and his band The Comets, but Haley’s producer didn’t like the idea. As a result, Myers gave the song to another artist – Sonny Day and his band The Knights. Thus, for the first time “Rock Around The Clock” saw the light of day in the record of these guys. However, that version had very little in common with Haley’s future single.

In 1954, Bill Haley moved to Decca Records and immediately decided to record his own version of “Rock Around the Clock”. The song began to play on the radio, and she even entered the American hit parade, but still did not have a grand success. And only after the release of the film “School Jungle”, where this composition sounded as a soundtrack, “Rock Around the Clock” became really popular. According to the Guinness Book of Records, “Rock Around the Clock” remains the second best-selling single in the history of pop music to this day, surpassed only by Bing Crosby’s “White Christmas”. “Obviously, this was the first real “white” rock and roll, which was soon heard in all countries,” says Belyaev.

Old school fans like to repeat that everything is “not the same anymore” and remember how it was “in our time”, but you can’t fool Alexander that easily. He is an experienced music lover, and has long understood that the essence of music is in movement, in constant development.

“You know, I am a 40-year-old man, and I will say: yes, now everything is not the same, but not in the same sense. Firstly, in my opinion, there is no rock music as such. Rather, it exists as one of the styles of some niche cult. There is, for example, a whole subculture of progroc fans. Obviously, this is good, highly professional, developed music, but it is not popular, it exists only in its own niche. There is also metal and its subgenres – nu metal, progressive metal. This is all, in general, rock and roll, if you look at the form, the school of playing electric guitars, drums and so on. But this music no longer has any wide popularity,” explains Belyaev.

Rock and roll for him, as for many others, is not just music, but something more. It’s a lifestyle, a way of thinking.

“The bottom line is that rock and roll and everything that came after it a little later, that is, classic rock in the form in which we know it, merged into the world as such a phenomenon that is not only cultural, it is also social and business. I am often asked: “Can a second The Beatles appear in our country and, in general, in the world?” I calmly say: “No, they can’t.” They cannot because then, 60 years ago, a unique situation developed in Europe. First, the Western world was recovering from the Second World War, and there slowly began to take shape what Baudrillard later called the “cult of consumption. ” People began to live a little better, and it was noticeable. If, for example, you read the autobiographies of great rock musicians from Eric Clapton to Keith Richards (guitarist of The Rolling Stones – ed. note), they all describe that in childhood they did not taste sugar, did not see gingerbread and sweets. But in the late 60s there was a rather sharp increase in people’s well-being. All of them had families and children. And these children, who had free time, who did not have to go to war and who had record players at home, put aside their pocket money to buy records. And this is how a new business model gradually formed: new music appeared, a new thriving market appeared for it, ”says the journalist.

The Beatles. Photo: TASS

Thus, the teenagers of the 60s actually financed the powerful rise of rock and roll with their pocket money, and with it the powerful development of the record business and the concert industry.

“Before rock musicians, no one performed at stadiums! It was generally the idea of ​​the Beatles promoters in America. When they were faced with the fact that all tickets for The Beatles were sold out, and there were much more people who wanted to get to the concert than there were seats in the hall, they simply began to arrange shows in stadiums. Although then, after all, the necessary equipment did not really exist! That is, in every sense it was a unique situation. No matter how clichéd it may sound, but then rock and roll was a lifestyle. It was the lifestyle of an entire generation. Now this is not the case: society is arranged differently, the world is arranged differently,” Alexander explains.

Music of protest: rock vs rap

The dispute between rockers and rappers seems to be one of the most violent and irreconcilable in the history of music. Nevertheless, these two dissimilar genres have not always been at enmity, and there are many common features in their origin.

“Rap is the echo of rock and roll, its social “black” counterpart,” Belyaev believes. – He has the underlying reason for the emergence – the same. Rock and roll did not immediately find its protest content in the political and social sphere. He was originally born with the goal of “trolling” the elders. And already on this energy of protest against what I don’t know (remember how Alice Cooper sang: “I’m eighteen and I don’t know what I want”), naturally, everything else was superimposed: the Vietnam War, questions of morality, religion, etc. .d. It was the same with rap. He appeared in the late 70s in America, among blacks. It was such an art of a closed minority – people who lived in the ghetto had no rights. And so they began to read poetry to other people’s funk records, fight each other in rap battles, dance break dance, etc. And when this culture finally came out of the underground in the 80s, it was seized upon, because it was a new sound, new content, and again this notorious protest energy. It’s very contagious!”

Nowadays, no one will be surprised by the combination of roaring electric guitars with recitative. Recall at least the same Linkin Park, Limp Bizkit and other bands playing in the rap-rock genre. In fact, this genre, which combines elements of hip-hop and alternative, has been around for quite a few years. The first rock bands that dared to experiment with rap were Blondie, The Clash. And even such luminaries of rock as Aerosmith did not shun hip-hop, releasing a remake of the song “Walk This Way” together with the rappers Run-D.M (and this, for a minute, was 1975 years old!). The track was instrumental in popularizing hip-hop among white audiences, and shortly after its release, genres such as funk metal, rapcore, and even rap metal took shape.

“In my youth, this at first alerted me – for ideological reasons,” recalls Alexander Belyaev. – After all, then it was impossible to mix it up: you are either for one or for the other. I stood for rock and roll. I remember in 1991 Guns N’ Roses released their double album Use Your Illusion. In this album, the last track is called “My World”: it lasts only one minute, and there is a real recitative along with the beat! And all my friends then were “moved” on rap. I let them listen to this song “My World”. As a result, they got hooked on Guns N’ Roses, and I already started listening to some rap. Mixing genres is fine. When some sharp new style appears, everyone tries to somehow master it, attach it to themselves, beat it. This is a natural and normal process with art,” the critic is convinced.

Axl Rose, lead singer of Guns N’ Roses. Photo: Wikipedia/Public domain

Rock as a misdemeanor, and why in Russia they run after the “peaks”

A well-known trend is such that all Western cultural (and not only) trends reach Russia with a big delay. We will not judge here whether it is bad or good – we simply recognize it as a given. And, if rock music poured into Europe and America like a tsunami, then it rather seeped into the Soviet Union – slowly, gently, gradually. But it is extremely stubborn.

“It was also an absolutely unique situation in an absolutely unique country,” says Belyaev. – In those years, playing rock music was not just an act, but also a misdemeanor. It was practically an anti-state affair! And if you got involved in it, then it was serious. As a teenager in the 80s, I caught the moment when those guys who sounded from all the tape recorders, such as the same Nautilus, Alice, Boris Grebenshchikov, Kino, suddenly began to show sharply on TV. Again, this is a unique situation.

During his life, Alexander managed to listen to hundreds of records, but even now, preferring jazz, he does not forget about the musicians who captured him in his youth, fed his rebellious spirit. The journalist admits that now he perceives these songs in a completely different way, but he still likes the effect, albeit a little strange.

“For example, I first heard jazzman Sergei Kuryokhin on the album Radio Africa by the Aquarium group. Then I thought: “God, what garbage! Why are they fooling around?” And then I had a completely different attitude to this music. I listened to what Kuryokhin does in the avant-garde style, and was simply stunned by what a progressive person he is. And over the years, you understand that this music is serious if such a talented, skilled person was engaged in it. Yes, some old records used to strain me: something is a little muffled here, the tape is not played there, I’m not talking about vinyl records. And now you listen and think: such a nice sound, no one does this anymore. In these recordings there is a feeling of some kind of man-made, vintage art…”, – Alexander nostalgically.

It is obvious that even today there are many people who are ready to shell out a tidy sum for a rare record or simply buy a CD in a store. And yet, in the digital age, these media are increasingly losing their relevance and becoming the lot of collectors. This, like many others, is noted by another connoisseur of heavy music, editor-in-chief of Rockcor magazine Alexei Boldov .

“If you take CDs, then, of course, collectors prefer to buy them now. And that’s why discs most often come out in a beautiful design: companies try to release them in digipaks with liners and other bells and whistles. In terms of “paper”, of course, everything also fell a lot, but nothing – we hold on! Alex says cheerfully.

He is called one of the apologists for periodic printed music rock journalism in Russia. And, I must say, it is quite deserved: his Rockcor has been published since 1991 and bears the proud title of the first independent illustrated rock magazine in Russia.

It is not easy for Alexei Nikolaevich to defend the interests of the rock community in modern Russian realities, oh, it is not easy. But he does not lose heart, although he glances at the West with one eye – not without regret.

“Rock and metal in Russia, alas, is not the mainstream,” laments Alexey. – In contrast, by the way, from the West, where it still remains. Of course, some styles died out, some revived again – for example, with the advent of grunge and bands such as Stone Temple Pilots, Nirvana, etc. And we have after takeoff at 19In 1991, the theme of rock, of course, fell a lot. Including in terms of the number of records: circulations (of rock albums in Russia and in the West – ed. ) are absolutely incompatible! Such a size of circulation of records for a population of 150 million is simply incomprehensible to the West.

Queen (frontman Freddie Mercury and guitarist Brian May). Photo:

According to Boldov, many artists who are big stars abroad are simply not known here. Or they know, but the number of their fans ready to come to the concert is so small that the performances simply cannot take place.

“Recently we had a performance by the Swedish band Adept, 50 people from the West came to the concert. And in Russia, they refuse to release this group on licenses, because no one will need it. Or take Bullet for my Valentine: two shows were canceled due to non-sales of tickets! The musicians are shocked, because there, in the West, they collect stadiums,” says Alexey.

It is difficult for a person who has been to concerts of foreign rockers more than once and suffocated in crowded halls and stadiums, it is difficult to agree with him. Still, we still go to such artists as Thirty Seconds to Mars, Linkin Park (rest in peace, Chester), Imagine Dragons, and heavier bands can also be crowded. But in some ways Aleksey Nikolaevich is right, especially if we remember that foreign artists are touring not only in Moscow and St. Petersburg, but also trying to gather halls in other cities of Russia and the CIS.

And yet, more or less well-known performers are still visited by us, and they are visited everywhere. Boldov gives a simple explanation for this: for a Russian, as for a Soviet person, the power of authority is important.

“This is the notorious specificity of our country: in our country people run only after the well-known “peaks”. Take such bands as Metallica, Iron Maiden – everything is packed there, the whole “Olympic”. Although in terms of music, I don’t even know which is better. I’m afraid to pass for the second Vine, who said, in general, the truth: both Metallica and Iron Maiden have been used up for a long time. Their rise has already been, and nothing new can be expected. Nevertheless, in our country, the cult is above all. Perhaps, by the way, this also explains why cults of great political personalities are so easily created in our country,” Aleksey reflects.

Kurt Cobain, vocalist for Nirvana. Photo: Robert Sorbo/AP/TASS

Pros in rock: to be or not to be?

The prospect of spending many years, money and nerves on music, which in the end may bring you absolutely nothing (except for wounded pride, of course) is for the elite. But what if the soul lies in this craft and categorically refuses to perceive anything else? What about those for whom music is serious? Who can’t breathe without it, listened to the albums of their favorite musicians and is ready to show the world something of their own, maybe no less beautiful?

Young scientist Boris Belik still does not know the answers to these questions. But he is really a scientist – a graduate of the Physicotechnical Institute, a researcher at a large Moscow concern, without five minutes a candidate of sciences. But Boris considers the main business of his life not science, but music, which he has been engaged in for ten years. Behind him are several author’s projects, all in different genres – from melodic death metal to acoustic rock.

He is one of those who are called “professional amateurs”. At home – two electric guitars, one acoustic, bass, synthesizer, cajon (percussion instrument). The workplace resembles the rooms of musician bloggers. It has everything you need for quite high-quality recording: a condenser microphone, instruments and a computer. Having mastered audio editing programs and other useful software, Boris himself began recording and mixing his songs.

“Everyone has their own way with their own rake, and until a person fills his bumps, he is unlikely to understand something,” the young man shrugs. – I can only say: if you can quit music, quit and enjoy life. So, you don’t really need it. If you can’t quit, don’t worry, you’re not the only one.”

Professionalism is, of course, important for a rock musician, but at first not being able and not knowing everything is not critical, Alexei Boldov believes: . The main difference between our performers and Western performers is what we have always suffered from is sound recording. Almost all of our bands can be recognized by ear: both by recording and by the way they play – it is, of course, unprofessional. Of course, now there is a lot of technical progress, and it’s normal when a musician records himself, at home. Modern technology allows this. Nevertheless, I look at those who buy discs, and I see that they are more willing to take those records that came out “at the firm”.

Viktor Tsoi and the Kino group. Photo: Alexander Chumichev, Alexander Shogin/TASS

Nevertheless, Boldov supports self-taught people and recognizes that they are the future. Alexander Belyaev also agrees with him, who cites one of the cult groups of the Soviet Union as an example of brilliant unprofessionalism.

“The same Kino group – I still adore it! In general, this is a very interesting phenomenon: on the one hand, this group is so Soviet-rock, and on the other hand, it is anti-Soviet, apolitical, and somehow transcendental. Yes, indeed, Tsoi does not have a three-octave range, Kasparyan is a self-taught guitarist, Guryanov drummed on two electric cymbals. But now you listen to them – great groove music! A real “new wave” rock, where everything is rocking right,” the journalist believes.

Who killed punk and how to get on the big stage

Any musician, whatever one may say, dreams of world fame (and if he doesn’t, then don’t believe him – he pretends). When you pick up a guitar or bring a microphone to your mouth, you immediately imagine yourself in the center of a giant stage, blinding spotlights, a roaring crowd of fans ready to tear you apart …

But wait, rock was originally characterized by underground, a kind of niche. Some music connoisseurs and just amateurs are used to drawing a clear line between a purely commercial product and independent creativity. Can something that once became popular be independent? And doesn’t all this endless line of producers, managers, PR people, songwriters, inevitably associated with the concept of success, put an end to the rebellious spirit of rock and roll, doesn’t it strangle its very nature? The question is complex, I admit even the experts.

“What commercialization has definitely killed is punk rock,” says Belyaev. – You can trace it right by the dates. They played in small clubs, many didn’t even have their own musical instruments. And that’s when EMI signed a contract with the Sex Pistols – that’s it, the whole punk rock was over. The fact is that the punks took on too much. Their social protest was brought to the brink: here you have both anarchy and no future. The record industry for 10-15 years has been starving in anticipation of a new rock and roll. And so they discovered punk and began to sign contracts with these groups literally in batches. As a result, we got a bunch of records of different artistic quality, and the genre itself, in fact, turned out to be just “crooked” rock and roll. Rock, however, was a little different. There are many examples of groups that, thanks to their popularity and good earnings, developed and developed art – The Beatles, Led Zeppelin, Queen. Well, how can you say that they killed the spirit of rock and roll?

Led Zeppelin (2011). Photo: Shamukov Ruslan/TASS

your exhortations.

Suppose success is good, let’s take it as an axiom. The question is: is it worth trying to achieve this success in principle? After all, few are destined to climb to the top of the musical Olympus. The editor of “Rockcor” gives an unequivocal answer: yes, you can break through. But the price will be high.

“We ask this question in every interview with the giants (eminent musicians – editor’s note), and I can answer them in their words. The first thing to do is, of course, devote your life to music, if you want, and hammer, hammer, hammer! Because, besides talent, no doubt, luck is needed. Luck comes when you do something all the time,” says Boldov.

His answer sounds harsh, but gives at least some hope. Softening a little, Alexey adds that he sincerely bows to young musicians who, in spite of everything, continue to follow the chosen path. Not everyone is capable of this, he is sure.

“Of course, it’s very hard,” Boldov sighs. – You need to get promoted, get into all sorts of “tops”, somehow penetrate the radio and television. The same goes for young writers. When they came to me, I always told them: “Guys, if you want to become writers, drop everything! Quit your job, quit your family. Live as Choi wrote: if only there was a pack of cigarettes in your pocket. Because if you still work somewhere to feed yourself, then everything will turn out to be nonsense for you later. You have to put your life into it.”

These words are probably the true essence of rock and roll. For some, this is a teenage protest against school and parents, for others it is a daring freedom and drive, parties, concerts. And for some (and a minority of them), rock is life.

Every day Boris comes home from work and picks up a guitar. Nobody forces him to do this, he really wants to relax, and at these moments he does not think about world tours and platinum albums at all. But he picks up the guitar and starts playing. He watches video lessons, remembers classes with a teacher, masters new techniques. Sometimes he fiercely hates it all and thinks that it would be better if there had never been music in his life. But these periods do not last long – as a rule, until the very moment when the next song comes to his head.

“Everyone likes to say that rock is dead,” Boris grins. – In my opinion, he is more alive than all the living. Liver than ever before in history. Rock in Russia now – as, perhaps, befits rock – is in the underground. A huge number of wildly talented guys play rock music in such a variety that no one has ever dreamed of before. Yes, they do not collect stadiums, and they are unlikely to. But I honestly doubt that those who now listen to rock would listen to it if it was in the mainstream. Therefore, instead of whining that there is no rock in Russia, it’s better to come to small clubs and listen, arrange a slam, have fun! Rock is not dead, it’s just not in sight and not heard. Rock has lived, is alive and will live, because those who play it simply cannot help but do it.

10 classic rock albums worth listening to on vinyl – Reviews and articles

Whether you buy records online or prefer to pick them up in a store, it can be difficult to decide which records are the best to buy to add to your music collection. A limited budget and limited shelf space mean that you have to be smart about it. Just for this occasion, music stores always carry popular classic albums that have stood the long test of time, remaining relevant over the years. We present a selection of ten rock albums that you should definitely listen to on vinyl!

10. Pink Floyd – The Wall (1979)

The rich legacy of Pink Floyd, as you know, consists not only of the album The Dark Side Of The Moon. The Wall, released in 1979, is one of the greatest concept albums of all time. It follows Pink, an anxious young man raised by an overprotective mother. She is trying to break down the wall in Pink’s mind, built by authority figures for him. This story may be close (or at least understandable) to many people, as it is based on the life of a real person: vocalist, bassist and one of the founders of Pink Floyd, Roger Waters, wrote a work inspired by his own life experience. The themes that are touched upon throughout this album seem to stitch the whole story together, creating a stunningly coherent 26-track piece of music. The tour that followed the release of The Wall took this album to new heights, turning it into a vibrant rock opera. The psychedelic music that Pink Floyd so heavily influenced develops throughout the entire record: The Wall changed not only this genre of music, but also the music itself.

9. Neil Young – Everybody Knows This is Nowhere (1969)

After major commercial success, popular singer/songwriter Neil Young revisited his creative vision with the release of Everybody Knows This Is Nowhere. Built around long jams, rattling guitars, and a sense of total looseness bordering on sleazy, this album contains catchy songs like “Down By The River” or “Cowgirl In the Sand”. Danny Witten (guitar), Ralph Molina (drums) and Billy Talbot (bass) created an incredible, seething basis for the acclaimed songwriter’s productive work. bright and exciting

8. The Who – Who’s Next (1971)

It’s hard to believe that 1971’s Who’s Next is probably The Who’s most powerful and most accomplished album yet. Barely out of the blooming 1960s (after the release of the psychedelic rock opera Tommy), guitarist, vocalist and songwriter Pete Townsend set to work on Lifehouse, a futuristic concept album so epic in its intended scope that it makes history from the record by comparison. Tommy might seem really skimpy. The fact that Townsend eventually abandoned his outlandish ideas was for the best: Who’s Next, a reworked version of the original concept, has become a recognized masterpiece of hard rock, filled from top to bottom with legendary songs such as “Won’t Get Fooled Again”, “Behind Blue Eyes”, “Bagrain”, “Baba O’Riley” and other powerful compositions.

7. Sex Pistols – Never Mind the Bollocks, Here’s the Sex Pistols (1977)

The

Sex Pistols didn’t take too long to release their second record, because every marketing gimmick has its expiration date, and the Pistols had an especially short one. Bollocks is a musical Ouroboros, as its reputation has changed many times since 1977, from “the savior of all rock ‘n’ roll” to “an embarrassing cartoonish outburst”. If you’re willing to ignore such harsh claims and some of the misplaced notions of greatness foisted on this album, you can probably describe this record as no-frills, biting rock ‘n’ roll recidivism.0003

Led Zeppelin – Led Zeppelin IV (1971)

It’s hard to call Led Zeppelin IV the greatest “hard rock” album in the history of music, because, given its powerful heritage, it is much more than just “hard rock”. Led by traditional guitarist and producer Jimmy Page, Led Zeppelin is really opened up in 1971, branching into lingering progressive rock (the sprawling, majestic epic “Stairway To Heaven”), medieval folk (“The Battle of Evermore”), and psychedelic ballads (the emotional epicenter of the album, “Going to California”), in addition to their signature blues (“Rock and Roll”, “Black Dog”, “Four Sticks”, “When the Levee Breaks”) Eight tracks, eight classic musical creations: this is one of the greatest rock albums ever were recorded. 0003

5. Bruce Springsteen – Born to Run (1975)

After forty years of reverence from critics and fans, there’s not much left to say about the Born To Run record. Bruce Springsteen and the band E Street have created an almost perfect album of just eight tracks – dynamic in its instrumentals, euphoric in its lyrics, controversial in its youth and maturity, cult in its metaphors and imagery. From the opening piano notes on “Thunder Road“, to the thrilling saxophone solo on the finale of “Jungland”, Born to Run has captured the mindset of an entire generation and immortalized it in a powerful musical story

4. The Jimi Hendrix Experience – Are You Experienced? (1967)

As his all-too-brief career blossomed and faded, musical virtuoso Jimi Hendrix emerged as a record industry visionary of sorts who succeeded in changing the perception of rock music. He perfected his mixture of psychedelic writing and magical electric guitar parts as early as 1967, on Axis: Bold as Love, but with Are You Experienced, the debut release with The Experience (drummer Mitch Mitchell, bassist Noel Redding), the musicians demonstrated the sound of a truly exciting power trio at the peak of their power. The track “Foxy Lady” contains one of the most explicit riffs ever recorded, and “Fire” is probably the most correctly named song in the history of rock music.0003

3. The Rolling Stones – Exile On Main St. (1972)

Exile On Main St. Audition is unlikely to create a sense of high-level musicianship and perfectly honed production. If you look at the history behind the making of The Rolling Stones’ 12th album, you’ll know that Mick Jagger is in France with his future wife while Keith Richards is drugged. The band tried day after day to get all the musicians to be present at the recording. Just from period 19From 1968-1972, the same raw realism that is felt in the Exile album appeared: on this record, The Rolling Stones successfully improved in the art of imperfection, bathing in their human essence and the frankness that accompanies it. There are plenty of triumphant moments in these eighteen songs, but the real transcendence comes when the band juxtaposes good and bad, defective and flawless. Thus, The Rolling Stones complete a golden series of four albums, showing the musical group at the peak of its greatness.

2. Bob Dylan – Blood on the Tracks (1975)

Bob Dylan is deservedly revered for his string of legendary 1960s albums (including 1963’s The Freewheelin’ Bob Dylan, 1965’s Highway 61 Revisited, and 1966’s Blonde on Blonde), but he probably saved his the best album until 1975, showing one of the most amazing comebacks in the history of rock and roll with his amazingly emotional album Blood on the Tracks. Despite the fact that the main material for the record was recorded in a ridiculous 10 days, this release remains Dylan’s warmest and most intense recording – with many organ parts, rhythmic acoustic guitar and soulful rhythm sections. But as is usually the case with Dylan’s albums, it’s the lyrics that are the main ingredient of the whole show – especially in the bitter epic “Idiot Wind” as well as the catchy song “Tangled Up in Blue”. Rock’s most critically acclaimed troubadour continued to release great albums after Blood on the Tracks, but it couldn’t surpass this legendary release.

1. The Beatles – Sgt. Pepper’s Lonely Hearts Club Band (1967)

During a decade that was marked by a radical shift in cultural paradigm, the music of the Beatles helped young people around the world become aware of the changes that were taking place around them. The golden years of the Fab Four fell around 1965-1969, during which the musicians constantly changed and progressed noticeably. As John Lennon, Paul McCartney, George Harrison, and Ringo Starr went from cute teen idols to musical psychedelic luminaries, they offered the world their own way of understanding a complex and radical paradigm shift. While it could be said that The Rolling Stones were the true rockers, The Beach Boys were the most innovative band, and Dylan was the lyrical visionary of his era, no artist defined his generation as accurately as The Beatles.