Midterm 1 Flashcards
1
Q
The Chords - “Sh-Boom”
A
- 1954 doo-wop song originally performed by a black group
- Gospel vocal group style
- R&B instrumentation
- quicker tempo and more R&B than cover version
2
Q
The Crew Cuts - “Sh-Boom”
A
- Cover version by a white group produced for radio
- Directed toward an older white audience
- The singing is less “soulful” … not as much gosepl influence
- Pop instrumentation
3
Q
Doo-wop
A
- Musical genre inspired by gosel quartets in the 1950s
- Remained popular until the 1960s
- Very maintstream … no sexualized lyrics
- Use of vocables … non-lexical syllables… words without meaning “fa la la”
- Originals by black groups and commonly cover versions by white groups were made for mainstream radio
4
Q
Ray Charles - “What’d I say”
A
- 1959 top 10 hit by Ray Charles
- Wasn’t really played on the radio because of the strong sexual ineuendo… moans
- Gospel esctatic style, soulful singing
- Rythym has a Latin-feel
- Gosep influence from Hammond organ and call and response singing style
*
5
Q
Bo Diddley - “Bo Diddley”
A
- 1955 song by Bo Diddley
- Influence from electric blues and afro-cuban music
- The “Bo Diddley” beat is a subtle alteration to the cuban clave beat
- Use of maracas
- Lyrics are inspuired by a childhood lullaby
6
Q
Rockabilly
A
- ALMOST rock music
- A musical genre that came around in 1954 that merged country, R&B, and rock n roll
- “Rock Around the Clock” showcased in Blackboard Jungle
7
Q
Blackboard Jungle
A
- 1954 anti-rock music movie that wrned of ll the “teenage terror” brought on by the new rock n roll music
- Featured “Rock Around the Clock”
8
Q
Elvis Presley - “Heartbreak Hotel”
A
- 1956 #1 hit for Elvis (his first #1)
- This hit lead to numerous TV appearances
- Elvis is the first rock n roll star
9
Q
Jalihouse Rock
A
- 1957 Elvis film
- Featured his song “Jailhouse Rock”D
- Featured Elvis as dangerous and rebellious… influenced his dancing style… known as “Elvis the Pelvis”
- Walking bass line, rythym between shuffle, 8-beat rock
10
Q
Elvis Presley
A
- The King of Rockabilly
- pre-1958 music is rockabilly
- 1956 hit “Heartbreak Hotel”
- Lots of TV appearances… quickly became a crossover movie star
- 1955-58 is his creative peak
- Joined the Army from 1958-60 but when he came back rock music had changed and he never caught up to the changing styles
- focussed on movies for the rest of his career
11
Q
Chuck Berry - “Maybellene”
A
- 1955 hit #5 on the charts
- Static harmony, alternating with a 12-bar blues form
- ALMOST rock
12
Q
Chuck Berry - “Johnny B Goode”
A
- 1958 hit
- Loud, in your face music
- sytle blendng ==>> Rock n Roll
- Backbeat and 8-beat rhythm
- Strong guitars and vocal style
- Lyrics are aimed at the youth, not racial…black and white kids
13
Q
Jerry Lee Lewis - “Great Balls of Fire”
A
- 1957 one hit wonder
- flamboyant pianist
- The song had STRONG, fast rock beat and aggressive piano beat
- Career ended in 1958 when he married his 1st cousin, 13 year old Myra…his 3rd wife by age 23
13
Q
Buddy Holly
A
- Career: from August 1957 until February 59 when he died in a plane crash
- Creates the bridge between “the founders” and rock’s “next generation”
- He pushed rock farther
- Influences… electric blues, create the bridge form, showed that rock could be more than just dance music
14
Q
Buddy Holly - “That’ll Be The Day”
A
- 1957 hit
- conventional… used rockabilly styles to his own use
*
15
Q
Buddy Holly - “Everyday”
A
- 1957 experimental song
- Sounds like something that The Beatles might have done…
16
Q
Buddy Holly - “Not Fade Away”
A
- 1958 song
- More abstract
- Lyrics are starting to pull away from the teeny bopper love-style… “a love that won’t fade away..”
- adopts clave beat
- Abstract story telling
17
Q
Buddy Holly Legacy
A
- Short career, long shadow
- Experimentation
- Showed that rock could be more than just dance music
- Used many different musical styles and pulled from different genres
- Showed that a song can tell a story… expressive lyrics
- Bridge to the next generation of rock music ==> The Beatles, Bob Dylan, etc….
19
Q
The Death of Rock and Roll
A
- Many ppl thought it was “just a fad”
- “The Founders” careers’ are over by the end of the 50s
- Chuck Berry, Elvis Presley, Little Richard, Jerry Lee Lewis, Ray Charles, Buddy Holly
- Buddy Holly dies in 1959 plane crash
- Chuck Berry in jail from 1962-65 for the Mann Act (59) “violation”
- Elvis joins the army
- Ray Charles goes soul and drugs
- Jerry Lee Lewis is blacklisted
20
Q
Roy Orbison
A
- aka “The Voice”
- His music shows blending of all of “the founders’” styles
- Rockabilly roots
- Cultivated 2 different sounds: 1. mellodramatic rock ballads (“Only the Lonely”) and 2. updated rockabilly (“Oh, Pretty Woman”)
21
Q
The Early 1960’s
A
- The evolution of rock and roll is in a bad place because all of the early pre-rock acts are gone
- Roy Orbison and Surf Rock lead the way to the British Invasion
22
Q
Roy Orbison - “Oh, Pretty Woman”
A
- 1964… his biggest hit
- Rock rhythm
- Catchy riffs
- Liberated bass line
- “Updated rockabilly”
23
Q
Surf Rock
A
- The first time music is linked with a place (time, too) ==> Southern California (60s)
- Semiotic
- Beach Boys
- Distinctive gutar sound invented by Dick Dale
24
Q
Dick Dale
A
- Lefty… played his guitar like Jimi Hendrix
- Guitar innovator
- Experimentation
- Intense tremelos
- rapid scale runs
- “wet sound”
- Middle Eastern modal systems
- “Misserlou” (62)
25
Q
Dick Dale - “Misserlou”
A
- Uses a specfic scale called Hijaz bar/Double Harmonic
- Heard in many surf rock songs
26
Q
The Quarry Men
A
- John Lennnon invited Paul McCartney to join the band after a church-like function
- George Harrison joins in 1958
- Evolved from a skiffle group by Lennon
- Represents the fade of skiffle
- Liverpool… key location because it is a port town ==> 1st listen at “the founders” music
27
Q
The Hamburg Years
A
- End of the Quarry Men, beginning of The Beatles
- Liverpool <–> Hamburg, Germany
- Working the club scene
- First “hit” is “My Bonnie” (61) w/Tony Sherridan… it reached #5 in Germany
- After, became house band at Cavern Club in Liverpool
- Met Brian Epstein (the “5th Beatle,” future manager) in Liverpool
28
Q
Brian Epstein
A
- The “Fifth Beatle”
- Met The Beatles at the Cavern Club in Liverpool
- Manager
- Helps craft their sound and image ==> appealing to everyone
29
Q
The Beatles
The Beginning
A
- 1/1/1962 Decca audition ==> didnt impress
- George Martin hears demo ==> they are signed to EMI/Parlophone and helps produce
- Ringo Starr
- Brian Epstein helps craft their image ==> appealing to everyone
- Group effort ==> everyone + Epstein + Martin contributed
30
Q
The Beatles
The Periods
A
- 4 distinct style periods/eras
- Beatlemania (62-64) emergence and early success
- Dylan-inspired Seriousness (65-66) self-examination
- Psychedelia (66-67) drugs, experimentation, hippie culture, retire from touring, return to studio
- Return to Roots (68-70) band dissolves, make efforts to recapture early excitement of members
31
Q
The Beatles
The Canons
A
- Only the UK albums that Parlophone releases
- Last 4 are released by Apple Corps (but distributed by EMI/Parlophone
- Exception: Magical Mystery Tour (67)
- Many early albums released by Capitol Records were compilations of UK tracks
32
Q
The Beatles - “Please Please Me”
A
- Break-thru hit
- Standard rock band music == > instrumentation, beat, rhythm
- 4 piece band
- vocal harmonies
- Beatlemania
33
Q
The Beatles - “If I Fell”
A
- A Hard Day’s Night (64)
- by Lennon
- “strange” chord progression
- 2-part harmony
- no clear verse/chorus/bridge form
- introspection
- lyrical sophistication ==> out with teeny-bopper… deeper meaning
- Beatlemania
34
Q
The Beatles - “Eleanor Rigby”
A
- Dylan-inspired Seriousness
- 1966 hit
- song cycle… forerunner to concept album
- songs with a story… “bigger picture”
- Instrumentation: string octet emulating a rock band, no rock instruments
- Lyrics… existentialism, the lonely ppl, purpuse?…
35
Q
The Beach Boys - “Good Vibrations”
A
- Response to Rubber Soul with Pet Sounds
- Used break-thru studio techniques, more sophisticated sound
- Recorded for Pet Sounds, but saved for Smile
- Sectional/Episodic structure
- Cello and Theramin
- Psychedelic lyrics
- Abstract imagery
- Brian Wilson… main creative force
36
Q
The Beatles - “A Day in the Life”
A
- Psychedelia
- Sgt. Peppers Lonely Hearts Club Band (67)… 1st concept album
- Final track/ “encore”
- Sectional form
- Lyrics
- Avant gard… “cluster chords” transition
37
Q
The Beatles - “Come Together”
A
- Return to Roots
- Abbey Road (69) wide range of styles
- Bluesy-style
- Electric piano
- verse/refrain form
38
Q
The Beatles
Legacy
A
- Took rock music even further
- Continued Holly’s legacy
- 1st primary songwriters
- Diverse range of styles
- Used recording studio as an extension of creativity
- The album as a “document”….complete idea
- Critical and popular acclaim during their career
- Most influencial band of all time
39
Q
The 1st Folk Revival
A
- 1st folk “revival” in 30s during Great Depression
- Preservatio of Anglo-American song tradition
- academia + popular music met
- John + Alan Lomez
- Pete Seeger
- Leadbelly
- collect songs, transcribe, issue recordings
40
Q
Pete Seeger - “Frankie and Johnny”
A
- murder ballad
- traditional folk
- about an “incident” in STL
- basic music, lyrical focus
- guitar and vocals
- storytelling
41
Q
Folk music…
A
…is a living tradition that changes with each performer.
42
Q
The 2nd Folk Revival
A
- never went away completely
- a new generation ==> The Beats
- Pete Seeger and Woody Guthrie pointed the way…
- Bob Dylan emerges…
43
Q
Bob Dylan
The Periods
A
- career has many twists and turns
- Woody Gutrhie Jukebox collection of cover songs, traditional folk songs
- Finger-pointin’ songs Freewheelin Bob Dylan (63), The Times They Are A-Changin’ (64)
- Shift From Protest Music x-pollinization w/The Beatles, Another Side of Bob Dylan (64)
- Goes Electric Bringing It All Back Home (65), Highway 61 Revisted (65), Blonde on Blonde (66)
- Motorcycle accident in 1966, John Wesely Harding (67)
- Gospel Slow Train Coming (79), Saved (80)
44
Q
Bob Dylan - “Song for Woody”
A
- ==>NYC to meet Woody Guthrie in 61
- Tune from Guthrie’s “1913 Massacre”
- References other folk leaders: Leadbilly, Cisco Houston, Sonny Terry
- Tribute to Guthrie and his inspiration
- 1 of 2 originals for Bob Dylan (62)
- Woody Guthrie Jukebox
45
Q
Bob Dylan - “Blowin’ in the Wind”
A
- protest songs, Finger-pointin’ songs
- The Freewheelin’ Bob Dylan (63)
- Words more important than music
- Dylan + Guitar + Harmonica
- Not a hit for Dylan ==> famous by Peter, Paul, and Mary
- Simple chord structure built on I, IV, and V chords
- Abstract idea
- Lyrics are concrete images with structure
46
Q
Bob Dylan - “Subterranean Homesick Blues”
A
- 1st “music video” idea
- not a big hit
- influenced by The Beat poets
- Inspired/cameo by Allen Ginsburg
- Speaking over singing
- impressionist/abstract imagery
- stream of consciousness kind of lyrics
- Going Electric
47
Q
The Mamas and the Papas - “California Dreamin’”
A
- Folk Rock
- mid-60s grousp taking their cue from Dylan
- Rock instrumentation ==> guitar, bass, drums, rhythm
- Folk instrumentation ==> harmonica, tambourine
48
Q
Bob Dylan - “Like a Rolling Stone”
A
- Highway 61 Revisted (65)
- Goes Electric
- features wide variety of styles
- Song length 3-11 min
- Lyrical form… 2-part verse leading into chorus
- music expands/contracts for lyrics ==> “frames” the focus on lyrics
- internal rhyming “once upon a time you dressed so fine you threw the bums a dime in your prime…”
- Looking at the world froma different POV
49
Q
Bob Dylan - “All Along the Watchtower”
A
- Motorcylce accident + brief retirement
- John Wesley Harding (67)
- Return to acoustic soul
- Made famous by Hendrix Electric Ladyland (68)
- surreal lyrics… mostly images
- One of the most covered songs of all time
- conversation ==> metaphor, literary characters
50
Q
Bob Dylan - “Lily, Rosemary, and the Jack of Hearts”
A
- ballad song
- Motorcycle accident
- Blood on the Tracks (75)
- long as shit
51
Q
Bob Dylan
Legacy
A
- Rock music that matters
- Music is substantial
- Significance, relevent
- Folk rock scene goes electric
- ==>> hippie rock, acid rock, etc…
52
Q
Back to the early 60’s
A
- White vs Black ==> both “styles” had the same elements, diff directions
- Motown - record company - continues the doo-wop legacy
- Soul, Funk, and Rap all have roots in Motown
53
Q
The Motown System
A
- Hit factory
- Top-down system ==> Gordy controlled all aspects of the record creation
- Particular, expected sound
- Founder/CEO Barry Gordy - 1959
- Songwriters Smokey Robinson, Holland/Dozier/Holland, crafting the songs..
- House Musicans and Arrangers
- Performers the least important ppl @ Motown
54
Q
The Motown Sound
A
- One of the most successful labels
- Unique, distinct style
- Predictable
- Male groups The Temptations, Four Tops
- Girl groups The Supremes
- Solo acts Smokey Robinson, Marvin Gaye, Gladys Knight (+ The Pips)
55
Q
The Temptations - “My Girl”
A
- Dense textures
- String section, brass
- Distinctive bass line
- Abundance of melodies
- Lyrics - love song
56
Q
Aretha Franklin - “Think”
A
- Call for female empowerment
- Powerful voice, in your face
- Emoitional
- Queen of Soul
57
Q
Aretha Franklin
A
- The Queen of Soul
- Memphis ==> Detroit
- singed to Columbia… ==> Atlantic in 66
*
58
Q
James Brown - “Papa’s Got A Brand New Bag”
A
- James Brown, born in Atlanta
- Striped down R&B sound
- Title itself is metaphor for this new sound
- Isolated horn riffs
- Choked guitars
- Anticipates funk=====>hip hop, rap
- Still highly emotional vocals
59
Q
Marvin Gaye - “I Heard It Through the Grapevine”
A
- Gladys Knight also recorded it
- Gaye’s version is darker
- Moody electric piano
- Subtle steings + backing vocals
- Prominent bass line
- Emphasizing lower registers
60
Q
Marvin Gaye - “What’s Goin’ On”
A
- MLK + Kennedy assassinations in 68
- Song cycle
- Lyrics: 1/2 spoken, 1/2 sung
- Mellow funk feel
- Prominent bass line
- Soul Style
61
Q
Al Green - “Tired of Being Alone”
A
- “bedroom music”
- Changes voice thruout to emphasize meaning
- wide and expressive vocal style
- Last of great soul singers
62
Q
Sly and the Family Stone - “Thank Ya (Falletinme Be Mice Elf Agin)”
A
- Striped down vocal melody
- Dense instrumental riffs
- “Funky” bss of Larry Grahm
- 16-beat rhythm (next step up from 8 beat rock)
- Lyrics move slowly above faster beat
63
Q
Stevie Wonder - “Superstition”
A
- Funk-inspired
- Clarinet
- Percussive piano style
- Trumpet + sax
- Black artists embrace technology
- Dense textures
- Lyrics ==> unfounded beliefs, self-fullfilling prophecy
64
Q
Stevie Wonder
A
- Recorded a range of styles
- Blind piano prodegy
- Motwon contract expires at 21
65
Q
George Clinton + Parliament/Funkadelic - “Give Up The Funk (Tear The Roof of the Sucker)”
A
- 1976
- dense textures
- heavy syncopation
- HUGE band
- static harmonies = repeated riffs
- simple, repeated lyrics
66
Q
A
