Lecture 5 - American Pop and The British Invasion (early 1960s) Flashcards

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1
Q

Between 1956 and 1972, how many movies did Elvis Presley make? What role did Elvis play in the 60s?

A

33

reshifting music that was at the periphery to the center

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2
Q

What was the music industry trying to do since Elvis left to make movies?

A

find another Elvis

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3
Q

Did they find another Elvis?

A

the music industry took big risks on individuals that tried to ignite the same reaction as Elvis such as Frankie Avalon and Fabian Forte

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4
Q

What was the American Bandstand? What years was it playing? What would performers who came onto this platform do when they appeared on American Bandstand?

A

Popular daily television program devoted to promoting teen pop and the latest dance craze: the twist, fly, fish, mashed potato, etc.

1952-1989

They would lip-synch to their own pre-recorded voice which was the norm

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5
Q

Who would watch the American Bandstand? Who was also featured on the American Bandstand? What song did he perform?

A

it was family-friendly entertainment but teens were made at this because part of rock ‘n’ roll was in response to the aggression generations that came before and if the whole family was watching then rock ‘n’ roll would lose its edge

Paul Anka

Lonely Boy

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6
Q

Who was the American Bandstand also about other than the aspiring musicians?

A

also about the teenagers who were filmed in the studio reacting to the musicians and dancing. This was a dance show and it often featured the dancers and the audience performing the latest dance craze.

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7
Q

What is a producer?

A

Usually hired by an artist or record company, a producer assists or directs the recording process. Duties may include hiring musicians, finding arrangements, making technical decisions, motivating the artist creatively, helping realize the artist’s vision in a commercially viable way, and staying under budget.

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8
Q

What was the producer’s role in the earlier years of rock ‘n’ roll? How is that different in terms of mainstream pop? How did A&R’s role change in the 60’s?

A

Country, western, and R&B: songs were often original, and the recording process was driven by the artist rather than the producer so the artists would be leading the recording process and providing guidance in terms of what they want the finished product to look like.

Mainstream pop: songs were usually written by other professionals, and the recording process was industry-driven, often led by the A&R person. Since mainstream pop was reaching a wide audience in the 50’s, the process needed to be driven by other professionals.

The role of A&R in the 50’s was like a producers role and in the 60’s, they became scouts, which is a person who is on the lookout for fresh talent.

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9
Q

What happened to the producers role in the later years of rock ‘n’ roll?

A

The role of the producer began to develop. This is because producers wanted to leave their mark on their records so that regardless of the artist, if it was produced in their studio or under their leadership and supervision, that as soon as you would hear that record, you would identify to which producer it belonged to. Albums became products of the producer’s vision. Producers oversaw music arrangements, use of technology like microphone placement, and some had experimental, over-arcing visions for the sound of their records.

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10
Q

What happened to live performances in terms of records?

A

Gone were the days when records were simply recorded versions of live performances; records became performances in their own right because it was almost impossible to recreate the music that was recorded in the studio during a live performance

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11
Q

Who was Phil Spector? Who did he study his craft under?

A

Spector started out as a performer himself in a group called the Teddy Bears but switched careers to become a producer

under Jerry Leiber and Mike Stoller

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12
Q

What did Phil Spector like about Jerry Leiber and Mike Stoller? What did Phil Spector become in the early 1960s?

A

that they were songwriting but also maintaining independence within their label

He became the most ambitious producer and the most important producer of all-female vocal groups (so-called “girl groups”) with his indie, Phillies Records

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13
Q

Where did Phil Spector die?

A

in prison because he was convicted of murder of an actress

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14
Q

Why was Phil Spector so successful?

A

because there was something about the sound he produced which was called the “wall of sound” by Spector

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15
Q

What is Phil Spector’s “wall of sound”? What 3 elements did it include?

A

this was achieved through the combination of elements in the studio including:

1.Spillover: Recording many instruments in a small space so that the sound of one instrument would spillover into the microphone of the next and would be mixed together in to a monophonic backing track, increasing texture and density

  1. doubling: a technique that requires two or more instruments to play exactly the same notes at the same time; he often paired instruments with contrasting timbres (meaning the colour or character of a sound) (for example: a violin and flute)
  2. echo: Using echo to thicken the overall texture allowing the songs to sound lush and expansive as possible. These were also referred to as “teenage symphonies”
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16
Q

Who did Phil Spector work with to create this sound? Who were they? Did they just work for Spector?

A

The Wrecking Crew

core group of top-tier musicians who can pick up music easily and sight read with no problem and even on the spot, create their own arrangements on the spot as necessary. They weren’t band members.

No, they worked for others including the Crystals, Frank Sinatra, etc.

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17
Q

Who were the Ronettes? Whose group were they? What song did they make that clearly exemplifies Phil Spector’s ‘wall of sound’?

A

A girl group consisting of a pair of sisters, Veronica and Estelle Bennett, and their cousin, Nedra Talley

One of Phil Spector’s groups

“Be My Baby”

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18
Q

‘Be My Baby’ - Composed by who? What form? Which instrument is in the introduction? What other instruments throughout the song? What happens in the chorus? What happens in the second verse? How does the song build excitement? What does a partial instrumental verse mean?

A

Composed by Phil Spector, Ellie Greenwich, and Jeff Barry

verse-chorus form

Drum which hooks listeners in the introduction which is a trademark of pop hits because it starts with something that immediately grabs our attention

Piano, bass, electric guitar, horns, strings, hand clapping (can be an element for the performers to do), lead and backup vocals, but they’re not all playing and singing all the way through. The texture builds over time. We start with the lead vocals then the backups enter with the saxophones.

It’s only until that first chorus that we have the full texture of singers and players.

In the second verse, we also have a pullback and a reduced texture for that second verse

The form builds excitement because we think we’re done with the song but it comes again

shortened verse

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19
Q

What is the Brill Building? How is it different than Tin Pan Alley? What was the Brill Building practice? What was the Brill Building close to? How was this different that the Brill Building?

A

Brill Building was a place where many aspiring songwriters and publishers worked and it was a stylistic label (similar to Tin Pan Alley). Songwriters try to write hits and pair it with the right artist and hopefully land on a record and radio.

Tin Pan Alley usually refers to AABA songs whereas the Brill Building appealed to a wide audience where mainstream pop was created (it’s a place but also a style)

  1. Songwriters composed a song
  2. A potential hit was matched to an appropriate performer
  3. A producer organized the recording and the song would be released to labels

Aldon Music

They had another style (different from the Brill Building)

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20
Q

Who worked at Aldon Music? Who did they use as a model and why?

A

Carole King and Gerry Goffin

Jerry Leiber and Mike Stoller for writing popular songs with social commentary (to say something about social issues)

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21
Q

By the early 1960s, who were many of the songwriting teams at the Brill Building and Aldon Music writing for? Who did Carole King and Gerry Goffin write for?

A

writing for all-female vocal groups like the Shirelles

the Shirelles

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22
Q

What hit did the Shirelles come up with? What was the song about? What number did it reach on the charts? The Shirelles were the first to do what? With success come imitators, who were they?

A

‘Will you still love me tomorrow?’

teenage sex

Number 1

First song by a black all girl group to reach number 1 in the US

the Crystals, the Chiffons, the Cookies, the Dixie Cups, etc.

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23
Q

Who were the Shirelles signed with? Where were they based?

A

Scepter Records

in New York City

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24
Q

Provide 4 reasons why all-female vocal groups were being invested in now.

A
  1. They were terrific singers who had often grown up singing Gospel music in church.
  2. They offered potential in varied textures and their voices were able to blend and they blended beautifully when singing together but were also able to cut down to a pair or soloist.
  3. The groups lacked leaders allowing the producer to emerge as the star
  4. That the producers were usually white and male and the members in the groups were usually black and female may have created an appealing power dynamic for some producers (it’s like the producer had the power)
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25
Q

What was Motown Records? Where was it founded? When was it founded? Who was it led by? What did it’s name change to? Why was Motown a success story?

A

An independent record label

Detroit, Michigan

1959

Berry Gordy Jr.

Hitsville, USA

because it was an African American Business led by an African American who appeals to African American singers but later crossed charts from R&B to the pop charts and reached a wide audience.

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26
Q

What was Motown’s gifted group of musicians called? Who were they? How many was in this group of musicians?

A

Funk Brothers

in-house group of studio musicians and weren’t shared between labels like the Wrecking Crew was. They were devoted to whoever came through the door at Motown.

a dozen or so performers

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27
Q

Who did Berry Gordy favour?

A

vocal groups including the Temptations, the Supremes, the Jackson Five

28
Q

Motown released the 1st national single for the Jackson Five. What was the song? Vocals by who? Gordy also produced what artists along with vocal groups?

A

‘I Want You Back’

Michael Jackson

solo artists

29
Q

What are the 3 common voice types in women and girls?

A
  1. Soprano (highest range)
  2. mezzo-soprano (middle range)
  3. alto (lowest range)
30
Q

What are the 3 common voice types in men?

A
  1. Tenor (highest)
  2. Baritone (middle)
  3. Bass (lowest)
31
Q

Boys who have not gone through puberty and whose voices have not yet changed are called what? Their ranges overlap with whose?

A

trebles

with sopranos, mezzos, and altos (women and girl ranges)

32
Q

How did Motown market itself? What was Berry Gordy strict about?

A

“the sound of young America” with music that crossed boundaries of race, religion, and class. really focused on appealing to as a wide a base as possible. really just zeroed in generationally speaking on the youth.

He expected them to perform intense preparations and give attention to even the smallest details. He even had strict dress codes offstage. Gordy hired choreographers and even someone who had run a finishing school to make sure that all of the Motown artists projected an image of class, grace, and sophistication in all that they did from their dress to their dance, movement, speech, etc.

33
Q

Who were the Temptations? What were they known for? When did they have their first hit? What song? What was the hit one year after this?

A

A typical Motown all-male vocal quintet (5 singers)

their rich harmonies and elaborate choreography

1964

‘The Way You Do the Things You Do’

‘My Girl’

34
Q

‘My Girl’ - What form? What can be said about the chorus? What instruments?

A

verse-chorus form with a pre-chorus (verse, pre-chours, chorus, …)

Buildup of the texture happening between the parts so each member in the Temptations takes turns and echo one another. The texture thickens but we don’t have full texture. Rather, we pull back and have this echo effect between the voices.

Lots of strings accompanying these performers in the 60s adding to that lushness and turning up the heat in terms of the density and the texture

35
Q

What is a modulation?

A

when the music shifts key, or changes from one harmonic “home base” to another, like moving from C major to G major. Modulations (among other things) allow composers to repeat music that has already been heard in a higher or lower key.

36
Q

What effect does a modulation that is going from a lower to a higher key create? Why do composers do this?

A

the music sounds even more dramatic and thrilling

to refresh everything and build excitement

37
Q

What other in-house group of songwriters worked for Motown? What did they do?

A

Brian Holland, Lamont Dozier, and Eddie Holland Jr. (HDH)

They wrote music for all sorts of members of Motown’s roster

38
Q

Who are the Supremes? How many and led by who? What tradition did they build on? What did fellow Motown artist first call them? What song did Brian Holland, Lamont Dozier, and Eddie Holland Jr. produce for the Supremes before ‘You Can’t Hurry Love?’

A

Motown all-female vocal group

a trio led by Diana Ross (goes on to have her own solo career later)

built on the tradition of the Ronettes (Phil Spector) and the Brill Building (The Shirelles)

the “no-hit” Supremes

‘Where Did Our Love Go’

39
Q

‘You Can’t Hurry Love’ - Performed by who? Composed by who? What form?

A

The Supremes

Brian Holland, Lamont Dozier, and Eddie Holland Jr.

two contrasting song forms (one by author of book and one by prof)

40
Q

Who matched the Supremes hit-by-hit through the years?

A

The Beatles

41
Q

Who dominated the British charts? Especially in what generation of Britains?

A

American artists

the younger generation of Britains

42
Q

Why was it hard for UK musicians to be heard? What were England record labels trying to do?

A

People in the UK were fascinated by cowboys, by teen culture in the states, by American rock ‘n’ roll, American dance crazes, the cars, driving movies, etc. and they heard them sung about in songs and so they sought out American music much more than the British contemporaries of that era

trying to follow what the americans did and find that next Elvis and there were a few contenders including Tommy Steele and Cliff Richard

43
Q

What were 2 UK domestic hits?

A

Tommy Steele, “Elevator Rock”
Cliff Richard, “Living Doll” (managed to cross over to the states)

44
Q

What was the problem in terms of record labels in the UK? Why was there limited opportunity on the radio?

A

there wasn’t very much competition in terms of labels in the UK . They were limited to 4 major record labels and Indies had a very hard time because there were no indies in the UK at this time so there wasn’t that natural competition happening between labels and the labels seemed to be simply trying to imitate the states rather than investing in their own.

because there were fewer stations, less playing time and just not much platforms for artists to launch their careers

45
Q

What 4 Britains were the next Elvis?

A

The Beatles

46
Q

In 1964, the Beatles played what song on the Ed Sullivan Show and launched their careers this way? Why did they choose to go on the Ed Sullivan show?

A

‘I Want to Hold Your Hand’

As part of their introduction to the american public, they had to appear on Ed Sullivan so they could reach so many people so quickly

47
Q

When did the Beatles first form themselves? What did they first call themselves?

A

1957

The Quarry Men

48
Q

What was the Beatles first recording in 1958?

A

a cover of Buddy Holly’s “That’ll Be the Day” on one side of the disc and an original song called “In Spite of All the Danger”

49
Q

Why did the Beatles go to Hamburg, Germany? Where was Cavern Club and what did the Beatles do there?

A

They would visit Hamburg, Germany and stay there for around 100 days each time and performed mostly covers of American Music (they were familiar with this because that’s what they heard on the radio) there regularly at a few different clubs and sometimes the sets would be as long as 6 hours to fill

Cavern Club is in their hometown (Liverpool) and they worked on their performance skills

50
Q

What is the significance of Liverpool?

A
  1. Liverpool is a port, a gateway to the world, where a wider range of goods was available, including American music so the Beatles had access to this american popular music.
  2. It was hard for northern, working-class musicians to gain acceptance in London, where the UK music business was based. It was hard to be taken seriously if you were from up north (Liverpool). There was a real divide between people from London and the rest of the country. The Beatles had a really hard time getting heard and finding their way and getting signed. It took many tries
51
Q

Who was the Beatles’ manager? What did he work as? What did he convince the Beatles to do and what were they all successful at doing?

A

Brian Epstein

ran a record store in Liverpool

convinced the group to clean up their act. He got them an audition at Decca in London

52
Q

Who turned down the Beatles at Decca? Who did he turn them down for and with what song? Why did he prefer this other group? Who says ‘yes’ to the Beatles?

A

Dick Rowe (known as the Decca A&R man who turned down the Beatles

for Brian Poole and the Tremoloes (“Silence is Golden”)

because as adult males, they were able to cultivate the highest notes of their vocal range

EMI

53
Q

Who was the head of the small EMI label called Parlophone that said ‘yes’ to the Beatles? What did he become known as?

A

George Martin

the 5th Beatle

54
Q

Who were the 4 members of the Beatles and what were their roles in the group?

A
  1. John Lennon (lead and rhythm guitars and vocals)
  2. George Harrison (lead and rhythm guitars and vocals)
  3. Paul McCartney (bass and vocals)
  4. Ringo Starr (drums and occasional vocals)
55
Q

What had the Beatles achieved by the end of 1962? What single were they able to place on the UK charts?

A

the Beatles had done what no Liverpool band had ever done: gone to London, signed a record contract (with a big label), and placed a single on the UK charts

‘Love Me Do’

56
Q

What did the Beatles do to promote their first 2 albums? What was the name of their first 2 albums?

A

performed live and on television broadcasts like Saturday Night at the London Palladium

“Please Please Me” and “With the Beatles”

57
Q

What did the Beatles do at the beginning of 1963?

A

recorded and toured in support of their first album “Please please me”

58
Q

What was the UK equivalent to the Ed Sullivan Show that the Beatles performed at to reach a wider audience? What happened when they released their second album?

A

Saturday Night at the London Palladium

enters the UK charts at number 2 and so now they are established Britain stars and becoming more widely known across Europe but they just need to tap into the American market

59
Q

Who was Capitol Records? Did Capitol Records take the Beatles in? What happened as a result of this?

A

EMI’s American subsidiary

no

George Martin was forced to license them to American indies like Vee-Jay and Swan

60
Q

When did Capitol finally agree to the Beatles? Why? What did Capitol Records do as a result of this? What was the significance of the timing?

A

in 1964

because they saw the financial opportunity and potential

they launched a promotional campaign behind “I want to hold your hand” and its accompanying album, Meet the Beatles including those appearances on Ed Sullivan Show

months following President Kennedy’s assassination so people were waiting for something good to happen. The Beatles were there to lift everyone’s spirits.

61
Q

Why are we able to see how the Beatles evolved?

A

Because they had so many covers, songs and original albums

62
Q

How many appearances did Epstein book the Beatles on the Ed Sullivan show in early 1964? Why were the Beatles working at a very fast pace?

A

3 appearances

Because they were so worried that the American public was going to fall out of love with them. They kept touring and recording to keep producing music for people so that the Americans would not stop listening to them and loving their music.

63
Q

‘Please, Please Me’ - Performed by who? What form? How do the lead voices interact (drone)? What homophones/wordplays are found in the lyrics? What is a homophone? What does a homophone do to the song?

A

The Beatles

expanded AABA form

There’s a voice going lower and lower and then there’s another voice holding a tune and repeating it which is called a drone

The repetition of the word please, love (but love isn’t back to back) and blue

when we have the same pronunciation of a word but different meanings

Adds a playfulness to the lyrics and extra interest

64
Q

What is a drone?

A

Drone is when we have a repeated accompanimental figure supporting another melodic line. (a held tune and another voice going lower and lower)

65
Q

‘Eleanor Rigby’ - Performed by who? What year? What tradition? What form? How does the song begin? How does the song end? What instruments? What is the harmonic language? What does the limited harmonic palette (not as many chords) mirror? What is atypical about the phrase lengths?

A

The Beatles

1966

Ballad tradition because it’s telling a story

Verse-chorus with the introduction recurring towards the end of the song

It starts abruptly without an introduction and with the voices singing a high, loud “Ah”

It ends with the melody and lyrics of the opening sung in counterpoint (when we have more than 1 melody happening simultaneously) against the melody and lyrics of the chorus, followed by the strings bringing the song to an abrupt end (no fade out)

Strings (violins, violas, and cellos) provide an active accompaniment

Whereas the song starts with a major chord, it settles on an unexpected minor chord; these chords alternate and give the feeling of discomfort.

The limited harmonic palette (not as many chords) mirrors the loneliness and repression expressed in the lyrics

they are irregular, some unusually long and others are unusually short (it is unpredictable)

66
Q

Listen to:

A

‘Lonely Boy’
‘Be My Baby’
‘Will you Still Love Me Tomorrow’
‘I Want You Back’
‘The Way You Do the Things You Do’
‘My Girl’
‘Where Did Our Love Go’
‘You Can’t Hurry Love’
‘That’ll be the Day’
‘I Want to Hold Your Hand’
‘Please Please Me’
‘Eleanor Rigby’