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68 Cards in this Set
- Front
- Back
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Rock n Roll developed b/c of these social forces... |
- Contradiction between 50s & 60s values - Teens caught in tension between 50s & 60s w/ Rock feeling their own beliefs - American political values shifted to left - Increased focus on education = increase in critical thinking |
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Soft Rock |
- Influenced by TPA & Doo-Wop Elements: Clear, charismatic lead singer, a continuous background of instruments or vocal backup. For romantic records; slow, dreamy lyrics and triple division of the beat. Upbeat records; often humour/novelty, many maintained romantic lyrics. |
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The Platters, "Smoke Gets in Your Eyes" |
- Old TPA standard, #1 on pop charts/#3 on R&B charts, Highly orchestrated (heavy POP influence) and instruments more prominent than background singers |
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Frankie Lymon & the Teenagers, "Why Do Fools Fall In Love" |
Upbeat, rock influenced doo-wop, heavy backbeat, bluesy sax solo - unusual for soft rock, sentimental teen oriented lyrics |
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Teen Idol |
Return to TPA conventions, carefully constructed image "the ideal boyfriend" |
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Frankie Avalon, "Venus" |
Latin-influenced Romantic ballad, crooning style (typical of teen idol), backup vocals constant, light instrumentation, artificial reverberation |
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Lesley Gore, "It's my Party" |
#1, produced by Quincy Jones, double-tracked vocals, intricate backup vocals and horns, lead vocals still very much the focus |
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Dick Clark & the American Bandstand |
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The Dance Craze |
The Twist, the Hitchhike, the Chicken and the Swim |
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"The Twist" originally by Hank Ballard & the Midnight's, covered by Chubby Checker |
1. strong influence of Mainstream rock & doo-wop, sexual innuendo present in lyrics. 2. Almost an exact copy of original, semi-shouting vocal style - more controlled, less emotive. Happy-go-lucky presentation distracts from sexual overtones |
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Little Eva, "The Locomotion" |
- Roots in R&B styles - R&B combo instrumentation - Active drums (handclaps emphasize backbeat) - Doo-wop style background vocals (lyrics rather than nonsense syllables) |
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* "Will You Love Me Tomorrow", The Shirelles |
First "Girl Group" hit, standard pop elements (AABA), doo-wop backup vocals, lyrics a bit more "grown up" |
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First girl group hit with doo-wop backup vocals |
Will You Love Me Tomorrow, the Shirelles |
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"One Fine Day" by the Chiffons |
Strong doo-wop element, R&B saxophone solo, intended as a Little Eva record *singers were commonly replaced/changed |
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Phil Spector & the Wall of Sound |
Dense textures, microphone bleed, echo & reverb |
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"You've Lost that Lovin Feeling", Righteous Brothers |
Uncharacteristic: low-range lead vocal, change of texture, instrumentation, melody etc about half-way through record Characteristic: Dense "wall of sound", considerably longer than a typical pop song |
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Sweet Soul |
Fluid lead vocals; melodic and emotional, often supported by doo-wop backup vocals, counter melodies in the strings (typical of classical music), rhythm section lays down a medium-tempo beat, sometimes influenced by Latin music (Calypso influence) |
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Ben E King, "Stand by Me" <3 |
Layered texture; instruments and vocals enter at one time; density of musical texture increases as song progresses. Opening bass & percussion riff is main hook; rhythms of main melody based off this riff. *Clear, melodic lead vocal delivery; a bit more intense than most sweet soul. Strings play counter melody. Backup vocals fit R&B tradition. |
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Motown Records |
1960; Berry Gordy, Jr opens Tamla Records (later renamed Motown) in Detroit. "Hitsville USA". Primary goal: Write and record Pop records for ALL audiences. |
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Motown Sound |
*Consistency, *percussion, *bass, *guitar, *vocal style, horns, keyboards, multiple hooks, overdubbed & duplicated instrumentation. |
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The Temptations, "My Girl" |
- Very much like the sweet soul being recorded by other labels (doo-wop inspired vocals, string scoring, etc) - Bass, guitar & finger-snap riff begins & characterizes track - Simple/supportive backup vocals - Smooth/melodic lead vocal - Strings highly featured |
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The Surpremes |
Primettes, before Motown. Early hits in the Girl Group style (lead vocals by Diana Ross and Flo Ballard) |
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The Miracles, "The Tracks of my Tears" |
- Produced, co-performed and co-written by Smokey Robinson. - Typical Motown fashion; grows out of a guitar riff - Not the MOST successful Motown track, but remembered as one of the best & most influential |
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Stevie Wonder, "Uptight (Everything's Alright)" |
A bit grittier/funkier than earlier Motown. A landmark recording for Wonder |
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Early 60's Folk Revival |
Based in New York (especially Greenwich Village), roots in 1940s groups, Groups like the Kingston Trio started scoring hits = resurgence of interest. Successful folk groups got more "hip", slightly more activist leanings |
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Characteristics of Early 60s Folk Music |
Lyrics, target demographic, mode of dissemination, instrumentation |
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Folk Music |
- Serious music dealing w/ political and social issues - Originally acoustic music - Dealt with civil rights, anti-war sentiments and racial harmony - Midwest/East Coast phenomena - Geared towards college crowd |
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Surf Music |
- All entertainment; Dealing with cars, girls, waves and parties. - Used all the new technology - Dealt with images of affluence - fast cars & pretty people - West Coast phenomena - Geared towards teenagers - Guitar style: higher volumes, portable reverb effects; many instruments trying to mimic sound of surging waves |
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Duane Eddy, "Rebel Rouser" |
- Begins with just electric guitar - good example of twangy guitar style - Features a layered texture as other parts are added one at a time |
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The Surfaris, "Wipe Out" (1963) |
- 12 bar blues with stop time (the drums) - Drums; steady beat, no real emphasis on the backbeat - Lead guitar takes melody line; twangy style and lots of reverb and echo |
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The Beach Boys, "Surfin USA" (1963) |
- Clearly derived from Chuck Berry's "Sweet Little Sixteen" - Starts with short electric guitar solo - Clear lead vocals enter with drums; backup vocals and guitars provide fills, use of falsetto. - Everything more active in 2nd verse - Not a strong backbeat - all 4 beats emphasized |
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Jan and Dean, "Surf City" (1963) |
- Starts with main hook in harmonized falsetto - Lyrics combine surfing with car & party culture - Call & response between lead/backup vocals - Chorus features solo vocals & 2 sets of backup vocals ("surf city" and the other oohing in falsetto) |
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The Splatter Platter |
- Teenage romanticization of death become prevalent around turn of decade - Agony of young love became hot commodity and a market developed for the ultimate musical tragedy |
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Jan and Dean, "Dead Man's Curve" (1964) |
- Subdued application of typical J&D style to tale of death; maintains prominence of car culture - Speaking bread provides a slight more somber moment - Chorus; 2 sets of backup vocals enter; one falsetto and the other lower |
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Setting the scene for British Invasion... |
- Absence of 50s style Rock & Roll - British fascination with US teen culture - British familiarity with early US rock and roll styles and other traditional US musical styles |
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British Music Scene |
Record Labels: EMI, Philips & Decca Radio Stations: BBC Racio, Radio Luxembourg |
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Lonnie Donegan, "Rock Island Line" (1954) |
- Begins with strummed guitar and spoken vocals, interspersed with singing - rhythmic strumming on the washboard - Music gets faster as train picks up speed - Melodic tenor lead vocals - lyrics clearly telling a story |
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The Shadows, "Apache" |
- Begins with tribal drumming - Rhythm guitar backs up lead guitar (twangy) - Drums; straight ahead regimental drumbeat |
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Skiffle |
is a music genre with jazz, blues, folk and roots influences, usually using homemade or improvised instruments. Originating as a term in the United States in the first half of the 20th century, it became popular again in the UK in the 1950s, where it was mainly associated with musician Lonnie Donegan.
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The Beatles (beginning) |
- Lennon & McCartney meet in 1957 - Begin making music that emulated their favourite artists/heroes - Heavy interest in American Music |
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Former Beatle formations |
The Quarrymen, Nerk Twins, Jonny & the Moondog, Long John and the Silver Beatles, and the Silver Beatles |
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Early 60's Beatles |
Hamburg (2 years) and Cavern Club - Develop image, performance abilities, songwriting and musicianship - Would meet w/ musicians to teach them new techniques - Learn about drugs & sex - Extremely long performances & lots of covers (mostly to appease American sailors in audience) |
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The Outliers |
10, 000 hours to become successful |
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Beatles - Essential Members |
- John Lennon, Paul McCartney, George Harrison, Ringo Starr - The 5th Beatle, George Martin *producer - Brian Epstein *manager |
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Brian Epstein |
- Finds them at Cavern Club (Mersey Beat Magazine) - They record a demo at Decca - Cleaned up image - Provided them with American equipment so they seem more like American artists (i.e. Chuck Berry) |
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Changing Image |
Beatles went from "Rolling Stones" type punk look to a more family-friendly image that look more refined and clean |
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George Martin |
- The Fifth Beatle, Parlophone records - Influences of pop and classical music - Focused & refined songwriting, chose outside material - Influences from early 60s soft rock (not as aggressive as surfer music) |
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Early Beatles |
- Returned to Liverpool as heroes before ever recording - Functioned as an actual band (not one clear lead singer, entire band involved in performance/writing and singing) - Artists writing their own successful music - Early album featuring several covers from live shows - Taken seriously & loved by media (musical analysis in newspapers = a testament to how good they were) - New sub-genre "Mersey Beat" - Writing for other artists |
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Beatles Synthesis of these Genres.. |
Skiffle, R&B (especially Chuck Berry & Little Richard), Rockabilly, brill building pop and Motown
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The Beatles, "Love Me Do" |
- R&B combo instrumentation - Vocal harmonies that would characterize the Beatles early records - AABA form - Lyrics of a teen idol song with a rock n roll sound - Went to #17 (and an honest charting, they didn't cheat on sales) |
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The Beatles, "Please Please Me" (1963) |
- 1963, released in England - First #1 - Had a Roy Orbinson sound w/ big notes at the end - Call & response (American influence) - Nasally vocals, lyrics (sexual content), strong backbeat |
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Please Please Me (Record) |
Capitol Records, "Introducing the Beatles" (Sold out) - Re-released as Meet the Beatles - Their American fame now solid/breakthrough - Predominantely R&B and Motown w/ distinct Beatles sound |
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The Beatles, "I Want to Hold Your Hand" (1963) |
- #1 - Beatles said to have done everything possible in music - Alternates between unison vocals and singing in harmony - When lead vocals start, handclaps emphasize the backbeat - Harmonizing backup vocals enter sporadically - Another example of the early Beatles mixture of teen idol lyrical sensibilities with R&R sound |
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With the Beatles (1963) |
- Released only 4 months after Please Please me - Extension of their touring sett - 8 original song, 6 covers (mostly America) - Including Roll Over Beethoven |
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The Beatles, "Roll Over Beethoven" |
- Originally by Chuck Berry - Very faithful to original - Beatleisms: double lead vocal, use of falsetto "whose" (attempting to copy Little Richard), handclaps make it sound a bit "poppier" - George Harrison singing lead |
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The Beatles in the US |
- Famously performed on the Ed Sullivan Show to 34% of the US population (73 million viewers) - Kick off to Beatlemania |
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A Hard Day's Night (1964) - Record |
- First Beatles album to "sound like the Beatles" - Kick started the British Invasion (clothes, music & British culture) - Style became an emblem of rebellion - Record March to April 1964 |
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The Beatles, "A Hard Day's Night" (1964) |
- Starts with sustained guitar chord (Rickenbacker 12-string) - Vocals lead into bass, guitar and drums - more like Buddy holly - Cowbell added at Bridge - Harder driving sound than most of their early hits - Extra production elements (bongos, double tracked vocal, solo) |
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The Beatles, "I'll Be Back" |
- John & Paul harmonies in the A section - Clear influence of George Martin - Alternates between major and minor key |
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Beatles, mid-1964 |
- Demanding World Tour - Meeting Dylan - Beatlemania - Several very successful singles |
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Beatles for Sale (1964) |
- Demands of touring impact the material - Shows maturity of Lennon-McCartney |
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The Beatles, "I'm a Loser" (1964) |
- Influence of Dylan - Darker, more introspective - Strong elements of folk & rock - Harmonica |
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The Beatles, "Help" (1965) |
- Created for the film - Acoustic and country direction - Influence of new studio technology, sound palette - Drugs (again) - Harmonized vocal shots in a call & response with lead vocals - Variety in textures; instrumentation reduced dramatically at beginning of final verse |
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The Beatles, "You've got to Hide Your Love Away" (1965) |
- Acoustic guitars - Drums use brushes rather than sticks - Solo vocals enter - melodic style - Tambourine enters to accentuate backbeat - Simple folk-like texture matches a more serious style of lyrics *big Bob Dylan influence |
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The Beatles, "Yesterday" |
- Acoustic guitar, solo vocal, string quartet, no electric guitars, bass or drums, a brief bit of double tracked vocal |
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The Beatles, "Rubber Soul" (1965) - Record |
- Dedicated studio time, first "experimental" period album, further studio exploration (instruments and tech), further lyrical complexity - French influence, baroque, extra percussion, fuzz bass, Beach Boys, Dylan |
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The Beatles, "Norwegian Wood" |
- Instrumentation: acoustic guitar, bass, drums, tambourine and SITAR. - Acoustic guitar starts with the melody - Sitar and bass enter next - sitar is somewhat nasal sound - Another example of experimental instrumentation and more "grown up" lyrics |
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Lennon vs McCartney |
Lennon: Much darker themes, musical-shouting. Much more raw lyrics. McCartney: More conservative and technical, king of whimsical. Lyrics are smart and thought-out. |
