Please use this identifier to cite or link to this item: http://hdl.handle.net/1893/2887
Appears in Collections:Communications, Media and Culture Book Chapters and Sections
Title: Music / Industry / Politics: Alan Price's Roles in O Lucky Man!
Authors: Izod, John
Magee, Karl
MacKenzie, Kathryn
Gourdin-Sangouard, Isabelle
Contact Email: k.j.izod@stir.ac.uk
Editors: Forster, Laurel
Harper, Sue
Citation: Izod J, Magee K, MacKenzie K & Gourdin-Sangouard I (2010) Music / Industry / Politics: Alan Price's Roles in O Lucky Man!. In: Forster Laurel, Harper Sue (ed.). British Culture and Society in the 1970s: The Lost Decade, Newcastle upon Tyne: Cambridge Scholars Publishing, pp. 201-212.
Keywords: Alan Price
Soundtrack
Lindsay Anderson
British films of the 1970s
Issue Date: 2010
Publisher: Cambridge Scholars Publishing
Abstract: Prior to directing his 1973 film O Lucky Man!, Lindsay Anderson had been planning to shoot an 'on-the-road' documentary about Alan Price and his band. When this fell through he decided to use them instead in the feature, which is now a neglected critique of British society in the early 1970s. Anderson’s correspondence contains abundant material relating to Price’s work in the film. The music features heavily in these letters, mostly concerned with publicity and promotion. There were, for example, disputes over Alan Price's tour in the US and delays in the album’s release as Warner Bros and Anderson saw both (correctly as it turned out) as important publicity for the film. And indeed the album enjoyed favourable reviews, even more so in the USA where the film too was better received than in Britain. Whilst in marketing O Lucky Man! the band were working in the mainstream, their second function ran counter to dominant culture. Anderson had been influenced by Brecht’s dramatic principles and practice ever since Mother Courage had played in London in 1956. O Lucky Man! was constructed broadly in harmony with those principles and their purpose of casting a new, hard-edged light on contemporary society. So the band participate as characters in the narrative. However, they also comment as if from outside it, functioning through songs written for the production as an all-knowing chorus and providing the moral context that frames the protagonists’ self- seeking behaviour. Our paper investigates the various roles that Alan Price’s band played in
Rights: The publisher has granted permission for use of this book chapter in this Repository. The chapter was first published in British Culture and Society in the 1970s: The Lost Decade by Cambridge Scholars Publishing.; Published with the permission of Cambridge Scholars Publishing.
Type: Part of book or chapter of book
URI: http://hdl.handle.net/1893/2887
URL: http://www.c-s-p.org/Flyers/British-Culture-and-Society-in-the-1970-s--The-Lost-Decade1-4438-1734-1.htm
Affiliation: Communications, Media and Culture
Information Services - Director's Office
Communications, Media and Culture
University of Stirling

Files in This Item:
File Description SizeFormat 
Music Industry Politics.pdf153.21 kBAdobe PDFView/Open


This item is protected by original copyright



Items in the Repository are protected by copyright, with all rights reserved, unless otherwise indicated.

If you believe that any material held in STORRE infringes copyright, please contact library@stir.ac.uk providing details and we will remove the Work from public display in STORRE and investigate your claim.