History Of Rock And Roll Mid-Term

Front 1

Joe Turner

Back 1

- vocalist
- known as the "Boss of Blues"
- worked in Territory Jazz bands in KC

Front 2

Louis Jordan

Back 2

- vocalist/ saxophonist
- innovator of the jump band

Front 3

decline of the Big Band...

Back 3

- direct effect of war
- no sholack for records, went to war effort

Front 4

T-Bone Walker

Back 4

-guitar/ vocalist
- 1st to popularize electric guitar in R&B

Front 5

Muddy Waters

Back 5

- originator of the "Chicago Blues" sound
- major influence on rock bands (especially British)

Front 6

William "Hoss" Allen

Back 6

- white DJ
- ignored mainstream white labels
- played small independent labels

Front 7

Allen Freed

Back 7

-heard hoss and coined the term "Rock and Roll"

Front 8

New Orleans

Back 8

- major contributor to crossover R&B music
- emphasis on (piano/bass/sax) vs guitar styles of Memphis + Chicago
- bass lines derived from the rich cultural mix of New Orleans population

Front 9

Fats Domino

Back 9

- ambassador of New Orleans sound
- offered white kids an easy first step into the world of black music
- "Ain't that a Shame"

Front 10

Cosimo Matassa

Back 10

- ownder of J+M records studio (only studio in New Orleans)

Front 11

Dave Bartholomew

Back 11

- collaborations with Fats Domino

Front 12

Little Richard

Back 12

- direct opposite of Fats Domino
- total EXTROVERT "bronze liberace"
- has written some of rock's greatest songs
- "Long Tall Sally," "Tutti Frutti"

Front 13

Difference btwn Fats and Richard

Back 13

- calm, refined VS crude, high-strung
- never strained VS always strained
- polished, easy, charm VS out of control

Front 14

Early R&R in Chicago

Back 14

- the Delta blues became amplified in Chicago
- Chess records begam in the late forties by Leonard and Phil Chess

Front 15

Bo Diddley

Back 15

- known for the "Bo Diddley Beat"
- known for distinctive rhythm patterns
- beat can be tracked to "hambone" beats and the "ring shouts" of slaves

Front 16

Chuck Berry

Back 16

- helped establish R&R as a musical form in itself
- established the guitar as THE rock instrument
- the first great rock lyricist/poet
- broke through the color barriers/played and sold to an intergrated audiences

Front 17

Sam Phillips

Back 17

- Memphis
- ownder and operator of Sun Studios
- important figure in development of R&R

Front 18

Elvis Presley

Back 18

- was the 1st rock hero (the KING of R&R)
- Elvis was the singer, not the song
- forced R&R down mainstream's throat
- made it possible to talk about R&R as more than a passing fad for R&B

Front 19

Elvis Rockabilly Traits

Back 19

- "slapback" echo...a trait of Sun Records

Front 20

Elvis with RCA

Back 20

- Col. Tom Parker became his new manager
- reaches national status w. "Heartbreak Hotel"
- Elvis simply defined the rock image of the fifties

Front 21

Dave Bartholomew

Back 21

- collaborations with Fats Domino

Front 22

Little Richard

Back 22

- direct opposite of Fats Domino
- total EXTROVERT "bronze liberace"
- has written some of rock's greatest songs
- "Long Tall Sally," "Tutti Frutti"

Front 23

Difference btwn Fats and Richard

Back 23

- calm, refined VS crude, high-strung
- never strained VS always strained
- polished, easy, charm VS out of control

Front 24

Early R&R in Chicago

Back 24

- the Delta blues became amplified in Chicago
- Chess records began in the late forties by Leonard and Phil Chess

Front 25

Bo Diddley

Back 25

- known for the "Bo Diddley Beat"
- known for distinctive rhythm patterns
- beat can be tracked to "hambone" beats and the "ring shouts" of slaves

Front 26

Chuck Berry

Back 26

- helped establish R&R as a musical form in itself
- established the guitar as THE rock instrument
- the first great rock lyricist/poet
- broke through the color barriers/played and sold to an intergrated audiences

Front 27

Sam Phillips

Back 27

- Memphis
- ownder and operator of Sun Studios
- important figure in development of R&R

Front 28

Elvis Presley

Back 28

- was the 1st rock hero (the KING of R&R)
- Elvis was the singer, not the song
- forced R&R down mainstream's throat
- made it possible to talk about R&R as more than a passing fad for R&B

Front 29

Elvis Rockabilly Traits

Back 29

- "slapback" echo...a trait of Sun Records

Front 30

Elvis with RCA

Back 30

- Col. Tom Parker became his new manager
- reaches national status w. "Heartbreak Hotel"
- Elvis simply defined the rock image of the fifties
- created acceptance for black music and opened doors for black artists
- wanted to be an actor, so sang ballads and lost his edge

Front 31

Decline of Elvis

Back 31

- went to Las Vegas

Front 32

Rockabilly defined

Back 32

- invented by Elvis, "That's All Right"
- frenzied mix of country, blues, gospel, and pop
- classic rockabilly was almost entirely the product of Sun Records and Sam Phillips

Front 33

Carl Perkins

Back 33

- became known as the "King of Rockabilly"
- remained true to his style

Front 34

Jerry Lee Lewis

Back 34

- paralleled to Little Richard
- became known as "The Killer"
- viewed as Elvis' rival

Front 35

Rock; changes in the music

Back 35

- late 50's transitional period btwn. initial R&R and teen idal period
- newcomers had clean-cut images, broadened appeal, sexual overtones faded, replaces by hummable tunes

Front 36

Ricky Nelson

Back 36

- The Adventures of Ozzie and Harriet
- helped his career BUT also put R&R music in America's living rooms
- "LA Rockabilly" style in some of his music

Front 37

Buddy Holly

Back 37

- last of the 50's giant
- plane crash, 2/3/59
- points music toward 1st Rock Band
- 1st major white artist to WRITE and PRODUCE his music
- 1st to use the studio as instrument
- explored the technique of sound and production
- popularized the Fender Stratocastor

Front 38

Buddy Holly and the Crickets

Back 38

- prototype for a self-contained rock band
- 2 guitars/ 1 bass/ drums

Front 39

The Everly Brothers

Back 39

- from Nashville
- beginning of the use of 2 singers

Front 40

Eddie Cochran

Back 40

- early development of the power chord

Front 41

Style Traits of Doo-Wop

Back 41

- emphasizes melody above rhythm
- name "doowop" didn't come til 70's
- reflected the increase commercial possibilities for black music
- star groups: The Platters, Coasters, Drifters
- mainly "one-hit wonder" groups

Front 42

Early Important Transition Groups

Back 42

- The Orioles
- The Ravens

Front 43

The Platters

Back 43

- one of the most successful crossover acts in the 50's

Front 44

The One Shots

Back 44

- few doo-wop groups managed to make it onto the charts or sustain careers
- many groups become the one hit wonders
- individuality was erased by the group

Front 45

Soul Pioneers

Back 45

- Ray Charles
- Sam Cooke
- Jackie Wilson

Front 46

Ray Charles

Back 46

- not really R&R music
- has drawn from the entire spectrum of music (R&B, jazz, swing, gospel, C&W, showtunes)
- church based music was an influence on Aretha Franklin and James Brown

Front 47

Sam Cooke

Back 47

- one of the most graceful voices in soul music
- very different from Ray Charles
- voice has a more floating quality then Ray Charles

Front 48

Jackie Wilson

Back 48

- enormous range and sheer power--great instrument of R&R
- sweeping register leaps, rich vibrato, falsetto breaks was his trademark
- energetic and agile showman

Front 49

"The Death of Rock & Roll"

Back 49

Feb. 3, 1959 (the death of Buddy Holly)

Front 50

Teen Idols

Back 50

- most successful, Bobby Vinton
- Frankie Avalon, Bobby Valine

Front 51

Philadelphia and American Bandstand

Back 51

- city was the most successful teen idol "machine"
- engine of the idol machine was Am. Bandstand

Front 52

Brill Building Pop

Back 52

- songwriters dominated industry, not the singers

Front 53

Aldon Music

Back 53

- was as symbol for the popular music in NY
- pop singers rarely wrote their own music/always needed new songs
- songwriters were usually grouped in pairs

Front 54

Goffin and King

Back 54

- most prolific hitmakers at Aldon
- their variety and ability to change with the times kept them in business

Front 55

Sedaka and Greenfield

Back 55

- less varied in style/ sound since they were writing for Sedaka

Front 56

The "Girls" Groups

Back 56

- a sound and style rather than an individual voice or image
- success linked to a specific producer
- projected HIS vision rather than the groups vision

Front 57

The Chantels

Back 57

- important model for the groups that followed

Front 58

The Shirelles

Back 58

- patterned after The Chantels
- caused 2nd wave of white girl groups

Front 59

The Chiffons

Back 59

- "He's So Fine"

Front 60

THe Marvelettes

Back 60

- Motowns only true pop girl group (Supremes outgrew the image)
- "Mr. Postman"

Front 61

The Shangri-Las

Back 61

- "The Leader of the Pack"

Front 62

The Angels

Back 62

- "My Boyfriends Back"

Front 63

Spector Records-Phil Spector

Back 63

- "little symphonies for kids"
- invented the role of the modern producer

Front 64

The Wall of Sound

Back 64

- Phil Spector
- use of many instruments
- anyone around the studio maybe have ended up on the recording
- large list of studio musicians were used--the "wrecking crew"

Front 65

The Ronettes

Back 65

- inspired Spectors best works
- became the "bad girls of pop"

Front 66

The Righteous Brothers

Back 66

- Spector's last great success
- "You've Lost That Loving Feeling"
- "Unchained Melody"

Front 67

Duane Eddy

Back 67

- developed a style known as "twangy" guitar
- formed a model for the surf band guitarists

Front 68

1960's Instrumental Groups (Surf Music)

Back 68

- surf music was primarily an instrumental style
-lack of vocals allowed expirementing w. sounds on the guitar
- guitar had virtually disappeared as lead instr. in early 60's pop
- reestablished guitar as central role in music

Front 69

The Ventures

Back 69

- solidified the two guitar/bass/drum line-up
- not originally a surf band/favorite w. surf crowd

Front 70

Dick, Dale and the Deftones

Back 70

- king of the surf guitar
- Dale's Deftones spawned many garage bands around SoCal

Front 71

The Beach Boys

Back 71

-became America's answer to the Beatles
- combo of the Four Freshman and instr. surf music
- Brian Wilson was the quiet genius of group
- influenced by Phil Spector's "wall of sound"

Front 72

Pet Sounds (1966)

Back 72

- became Brian's master project
-critically considered a masterpiece and one of the R&R important album
- the album became a major influence on the Beatles (Sgt. Pepper)
- remaining songs and show Wilson's obsession w. isolation and his insecurities

Front 73

Good Vibrations (1966)

Back 73

- Wilson's answer to the poor outing of Pet Sounds
- labeled as a psychadelic tune
- Wilson's finest hour as a producer