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Music 162 > Midterm 2 > Flashcards

Midterm 2 Flashcards

1
Q

“Hoochie Coochie Man”

A 
Muddy Waters (1953)
Harmonica
Stop-Time
Call and Response
Strophic
Extended 12 bar blues
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2
Q

“Smokestack Lightening”

A 
Howlin Wolf (1956)
Cyclical Guitar Riff
"Woo-Hoo" Refrain
Brooding and somber
Harmonica and Gruff
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3
Q

“Mama, He Treats Your Daughter Mean”

A 
Ruth Brown (1953)
Repetitive Lyrics
Tambourine
Stress on Backbeat
Vocals Gospal Like
Extended 12 bar blues/ AAAB
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4
Q

“I’ve Got a Woman”

A 
Ray Charles (1954)
Gospel Chords
Ornamental vocals
Call and Response
Stop Time
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5
Q

“The Wild Side of Life”

A

Hank Thompson (1951)
Polka Rhythm
Vocal Twang, Fiddle Steel Guitar

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6
Q

“It wasn’t God who made Honky Tonk Angels”

A

Kitty Wells (1952)
Response to “The Wild Side of Life”
Women are not the blame for bar culture of unattached women.

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7
Q

“Your Cheatin’ Heart”

A 
Hank Thompson (1952)
Fiddle/ Steel Guitar
Twang and Yodel
Polka
Sustained Words
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8
Q

“Nancy with the Laughing Face”

A

Frank Sinatra
Reserved Vocals
Band Accompaniment, Jazz Syncopation
Strophic with Refrain

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9
Q

“Long Tall Sally”

A 
Little Richard
Stop Time 
12 Bar Blues
Refrain/Chorus
Repetitive Boogie Rhythm
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10
Q

“Rock Around the Clock”

A 
Bill Haley (1954)
Back Beat
12 bar blues (bass guitar)
Honky Tonk Electric  Solo
Sax implies Jump Band
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11
Q

“Maybelline”

A 
Chuck Berry (1955)
Polka Style and Twang Countryish 
12 bar blues
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12
Q

“The Answer is Blowing in the Wind”

A

Peter Paul and Mary (1963)
Refrain makes it folky
Strophic

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13
Q

“The Times are a-changing”

A 
Bob Dylan (1963)
Strophic Ballad with Refrain
Folk Version of rebellion
Political
Triple Meter
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14
Q

“Turn Turn Turn”

A 
The Byrds (1966)
Vocal Harmonies
Refrain
Social Message
12-string Guitar
Rockish
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15
Q

“You’ve Really Got a Hold on Me”

A 
Smokey Robinson and the Miracles (1962)
Motown 
Call and Response 
Back Beat
Guitar Hook
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16
Q

“My Girl”

A 
The Temptations (1965)
Derived from R&B
Guitar Hook
Motown
Back Beat for Dance
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17
Q

“Stop in the Name of Love”

A

The Supremes (1965)
Maturity, Diana Ross
Motown

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18
Q

“Respect”

A

Aretha Franklin (1967)
Gospel/Soul
Call and Response

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19
Q

“Papa’s Bag”

A 
James Brown (1965)
AABA (Head and Bridge)
12 bar blues in A
Call and Response in B
PolyRhythm
"Groove"
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20
Q

“Somebody to Love”

A 
Jefferson Airplane (1967)
Grace Slick leas singer
Hard-edged
Love, Drugs
Mixture of many genres
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21
Q

“Summertime”

A

Janis Joplin (1968)
Blues
Tin Pan Alley Song

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22
Q

“Crossroads”

A

Eric Clapton and Cream (1969)
Cover Robert Johnson
12 bar blues
Power Drum

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23
Q

“Purple Haze”

A

Jimi Hendrix Experience (1967)
Power Trio
Blues Inspired

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24
Q

“Tomorrow Never Knows”

A

Beatles (1967)
Psychadelic
Sitar
Synthsizer

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25
Q

“Black Dog”

A

Led Zepellin
Heavy Metal
Distorted Guitar

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26
Q

“Stairway to Heaven”

A

Led Zepellin
Evolving Form from Strophic
Builds to heavy rock
9 minutes long

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27
Q

“Oye Come Va”

A

Santana (1970)
ChaCHa CHa
Polyrhythmic
Bluesy and no wind instruments

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28
Q

“Azucar pa ti”

A 
Eddie Palmieri
Flute and trombone
Innovative (like 60s)
Improvisation like Jazz
Percussion and polyrhythmic is different
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29
Q

“Bang Bang”

A

Joe Cuba (1968)
Latin and R&B
Back beat
Latin Percussion

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30
Q

“Siembra”

A

Ruben Blades & WIllie Colon (1978)
Salsa
Verse and Coro (call and response)

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31
Q

“Thank You (Falettinme Be Mice Elf Again)”

A

Slay and the Family Stone (1970)
Verse and Chorus
No Chord Progression
Slap Bass

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32
Q

“Flashlight”

A 
George Clinton and Parliment/Funkadelic (1978)
No Chord Progression
Bass
SYnthesized
Collective
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33
Q

“Okie From Muskogee”

A 
Merle Haggard (1969)
Working Class vs Counter Culture
34
Q

“Waiting for the Man

A

Velvet Underground (1967)
ANdy Warhol promoted
Drug Addiction, Violence
Lou Reeds journey to get heroin in Harlem

35
Q

“I Wanna be Sedated”

A

The Ramones (1978)
Working class alienation
Reaction to hippy vision
Making fun of Beach Boys

36
Q

“Anarchy in the UK”

A 
Sex Pistols (1976)
Glam Rock
37
Q

“I Can’t Stop Loving You”

A

Ray Charles (1962)

38
Q

“Friends in Low Places”

A 
Garth Brooks (1990)
Modern Urban Sound
Rock 
Strong Back Beat
Appeals to Working Class
39
Q

“Mama don’t let your babies grow up to be cowboys”

A

Waylon Jennings and Willie Nelson (1977)
Heavy sound in drums and bass
Masculinity
Intimacy in Voice

40
Q

“Funny How Time Slips Away”

A

Willie Nelson (1962)
Steele Guitar
Intimate Voice

41
Q

“Who’ll Turn out the Lights”

A 
Ronnie Milsap (1975)
Full Deep Quality
42
Q

Muddy Waters

A

Hoochie Man

Chicago Blues

43
Q

Ray Charles

A 
Blind
Gospel turned Country
"I've Got a Woman"
"I Can't Stop Loving You"
Lived in Seattle to Atlanta
44
Q

Hank Williams

A

Country Icon
“Your Cheatin Heart”
Drinking Life
Yodel/ deep voice

45
Q

Frank Sinatra

A

Nancy with the Laughing Face
TPA songs
Singing star took spotlight away from dance band

46
Q

Alan Freed

A

Owned Moon Dog House Rock and Roll Party in Cleveland/NYC in 50s
Bring Black Music to White Youth

47
Q

Little Richard

A

One of first rock stars
Risquee and Wild
“Long Tall Sally”

48
Q

Bill Haley

A

“Rock Around the Clock”
+ the comets
Appeals to country and R&B(?)
CHanged Lyrics to Shake Rattle and Roll to less sexual

49
Q

Chuck Berry

A

Country Tendencies
“Maybelline”
Duck Walk

50
Q

Ritchie Valens

A

Rock Music and Latin
La Bamba
Donna on A side
Died in 1959

51
Q

Buddy Holly

A

Died in 1959

52
Q

Pat Boone

A

Dot Records used to cover black artists

No legal recognition for recording copyrightable music

53
Q

The Beach Boys

A

“Good Vibrations” sophisticated studio production (inspired by Beatles)

54
Q

George Martin

A

The 5th Beatle

55
Q

Barry Gordy

A

Founder of Motown in 1960
Business behind music
Many Successes

56
Q

Woody Guthrie

A

Working Class from Oklahoma
Radio Show in 30s
Politicized
“This Land is Your Land”

57
Q

Pete Seeger

A

Urban Revivalist from NYC
Collabed with Guthric
Weavers
“Where have all the flowers gone”

58
Q

Bob Dylan

A

Robert Zimmerman
“THe times are a changing”
Learned from guthrie
Commercial seriousness and politics

59
Q

Grateful Dead

A

Folk Improvisational Rock

60
Q

Janis Joplin

A

Texas-born white “blues” singer
“Summertime”
Died of Heroin overdose very young

61
Q

Temptations

A

Motown Group

“My Girl”

62
Q

Jackson Five

A

Michael Jackson
Motown
“ABC”

63
Q

Aretha Franklin

A

“Respect”
Gospel Singer to Soul
Jerry Wexler made pop star

64
Q

James Brown

A

Godfather of Soul
“Papa’s Bag”
Preformed (crazy) in circuit of theaters

65
Q

Eric Clapton and the Cream

A

“Cross roads”
Power Trio
British
Blues

66
Q

Jimi Hendrix

A

Played with Little Richard
Seattle
Guitar “Purple Haze”
Power Trio

67
Q

Led Zepellin

A 
"Black Dog"
Heavy Metal
Power Trio and Singer
Jimmy Page Guitar
Robert Plant Vocal
"Stairway to Heaven"
Folky
68
Q

Santana

A

“Oye Como Va”
Great guitar
Cha Cha Cha

69
Q

Eddie Palmieri

A

“Azucar pa ti”
Steady Groove but influenced by Jazz
Coro (and Response)
Experimental and Long

70
Q

Ruben Blades

A 
"Siembra"
Coro
Cuban working class 
Fania Salsa
Willie Colon
71
Q

Sly and the Family Stone

A

“Thank You”
Bay Area band
Funk

72
Q

Larry Graham

A

Slap Bass

73
Q

Parliament/ George Clinton

A

Funk Party Group
“Flash Light”
Rock Influence

74
Q

Merle Haggarad

A

Country Icon of authenticity

Okie from Muskogee

75
Q

Stevie Wonder

A

Moog Synthesizer
Motown Start
“Superstition”

76
Q

Velvet Underground

A

Andy Warhol funded
Punk and anger
Art Scene
Drugs in song (heroin in harlem)

77
Q

Ramones

A

“I wanna be sedated”
Punk
Appeals to Youth
First CBGB to sign from NYC

78
Q

Sex Pistols

A

“Anarchy in the UK”

Manufactured misfit band

79
Q

Willie Nelson

A

Country Singer “Mama dont let…”

80
Q

Garth Brooks

A

Urban Sound
“Friends in Low Places”
Popular in late 90s

81
Q

Dolly Parton

A

Jolene

Women and Looks in country

Music 162 (3 decks)

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