Test 2 Flashcards
(72 cards)
1
Q
Jump Bands
A
- Scaled-down big bands for dancing
- National popularity; films and TV
2
Q
“Choo Choo Ch’Boogie,”
A
Louis Jordan and his Tympani Five
*form? 12-bar blues verse, 8-bar chorus; alternating solos
Regional Style: Kansas City
3
Q
Why was there a rise of indies in 1940s?
A
-1930s slump in record sales (indies wiped out in 30s)
-disputes over royalties
1914 ASCAP founded (copyright enforcement)
1941 ASCAP strike against radio: BMI gives space for
country, R&B
1942-44 AFM strike against recording cos: bye bye big band
-wartime migration of southerners to cities
-youth marketing
-regional radio programming
-Magnetic tape makes studio recording more affordable
4
Q
Regional dance music–“Urban blues”
A
e. g. Chicago Blues:
* Chess records
- Phil and Leonard Chess (Polish Jews)
5
Q
“Hoochie Coochie Man”
A
Muddy Waters
Drums, harmonica (harp), electric guitar,
bass, piano, call and response, stop time
Form: 12 bar blues + 4 bar @ stop time, stropic
6
Q
R&B recording Stars
A
Creating styles vs. presenting local styles
7
Q
Atlantic Records
A
Ahmet Ertegun (Turkish) and Herb Abramson Promoting singers nationally, using studio musicians, less directly related to regional entertainment scenes
8
Q
“Mama, He Treats Your Daughter Mean”
A
(1953) Ruth Brown (Atlantic record) *Anything here remind you of her gospel music roots? -vocal timbre and effects -timbre -cyclical call/response section
9
Q
“I’ve Got A Woman”
A
(1954)
Ray Charles (Atlantic)
-gospel chord progression and singing style
-call and response section // stop time; also at end
-honking tenor sax
-controversy
Mambo influence in “mainstream”, e.g….
10
Q
Honky Tonk
A
Songs of loss and displacement
Modern “roots” of authentic country
Answer songs
11
Q
“The Wild Side of Life”
A
(1951) Hank Thompson
- fiddle and steel guitar
- story-telling
12
Q
“Your Cheatin’ Heart”
A
1952
- What are the markers of country style?
- steel guitar, fiddle
- polka beat (boom chick)
- accent and breaks in voice, yodelling
- form? AABA (Tin Pan Alley influence)
13
Q
Rock And Roll
A
Racial Boundary Crossing
Records and regional radio programming (new in 1940s) bring black
music to white youth
1951 Alan Freed’s “Moon Dog House Rock and Roll Party”
In Cleveland, later NYC
14
Q
“Long Tall Sally”
A
Little Richard (Early rock and roll star) Risquee, wild quality of R&R Boogie woogie piano style instrumentation? Jump band *form? 12-bar blues
15
Q
“Rock Around the Clock”
A
Bill Haley 1954
“Back beat” (accent on 2 & 4)
sax and electric guitar
12-bar blues, boogie woogie style, walking bass
(jump band style)
**Country musician appealed to r&b audience
16
Q
“Maybelline”
A
(1955) Chuck Berry Electric guitar virtuoso *What is “country” about this? -song about an unfaithful woman? -polka beat -accent/speech style
17
Q
“Cover” phenomenon
A
Dot records used Boone to cover black R&B musicians like Little
Richard
-“mechanical revenues” are what Little Richard lost
-lack of legal recognition for recording (performance) as
copyrightable intellectual property (book p.246)
18
Q
Elvis Presley
A
Sun Studios (Memphis) producer Sam Philips “Rockabilly”
19
Q
“Mystery Train”
A
1955 (originally Junior Parker)
- What African American elements? What White?
- aab text
- sort of 12-bar blues
- Signed by RCA
20
Q
“Don’t Be Cruel”
A
1956
Elvis Presley and Chet Atkins Musical director, nashville
-Back beat
Buddy Holly (The Crickets) :
Rock quartet instrumentation: Drums, bass, rhythm guitar, lead guitar
pioneered studio recording techniques such as overdubbing
21
Q
“La Bamba”
A
1958 Richie Valens *What’s “Latin” about this? -Spanish language -conga tumbao on drum set -clave/wood block -son jarocho
22
Q
Beatles Presentation
A
3 periods of beatles within 1960s to 1970s
Beatles at the cavern clup (liverpool) (pete best on drums) 1962
Ed sullivan show
-spent time in india meditate
effect of lsd on the band, esp john lennon on opening
-KKK
-Beatles > jesus
23
Q
“Sh’Boom”
A
Doo Wop Chords (1954) -nice warmth in vocal harmony; voices like instrumental accompaniment -more fluid, less breaks and changes -blend of lead voice w/backup -sax solo -vocal timbre—more active, engaging, less sappy -more relaxed rhythmic feel, reggae-ish
24
Q
“Sh’Boom” by Crew Cuts
A
(1954)
- lead voice stands
- more intricate instrument
- break with tympany
- very bright vocal blend
25
Doo Wop
very mixed race
| Relation to African American gospel quartets
26
“The Sun Didn’t Shine”
Golden Gate Quartet
27
New Business models for pop: 1. Marketing
-Youth marketing and creation of teen stars
-Challenges to racialization of genre categories (rockabilly)
-cross marketing with TV and movies (precedent in earlier era of
movie musicals)
28
New Business models for pop:2. Singer/songwriter model
-Ideas of “authenticity” and innovation, opposed to TPA
29
New Business models for pop
| 3. Importance of producers
```
Jerry Lieber and Mike Stoller, esp. w/Atlantic fr. ca. 1950
Sam Phillips, Sun Studios in Memphis
Cosimo Matassa New Orleans
Chess Brothers, Chicago
George Martin of Beatles (fr. 1962?)
Barry Gordy of Motown (fr. 1960)
Brian Wilson of Beach Boys
Phil Spector’s “girl groups” e.g. Ronettes
```
30
Beach Boys
Brian Wilson (writer/producer/performer)
“Surf music” as genre:
Instrumental focus, conducive to virtuosity
Attention to instrumental sounds (e.g. ‘surf guitar’)
Inventive song writing and studio work of Beach Boys in particular
31
Urban Folk
| 1. music and politics
-One of the streams that mix with rock and roll
Woody Guthrie
-working class folk musician fr. Oklahoma, politicized
-1930s radio show in LA
>Association w/1950s civil rights and union movements
Guthrie: “This land is Your Land” (lyrics)
Pete Seeger:
-college educated urban revivalist fr. NYC
-1940s collaborations w/ Guthrie, 1950s Weavers, college
residencies;
-“If I had a Hammer,” “Where Have all the Flowers Gone”,
popularized “We Shall Overcome”
32
2. anti-commercial folk “authenticity”
>Tension betw. folk/mass pop--Guthrie, Seeger, et al. are encouraging
a national movement that builds around a “folk” repertoire that
has mass dissemination
Coffee houses (CBGBs) and college campuses
Folk scene another 1950s “alternative”, along w/R&B, jazz
Commercial folk music briefly popular in 1950s
e.g. Kingston Trio fr. SF.
33
“The Answer is Blowing in the Wind”
Peter Paul and Mary
(1963)
-Dylan’s anti-war song
-guitar, vocal harmonies
34
Bob Dylan
-born in Minnesota
-learned fr. Woodie Guthrie, on scene in Greenwich village NYC
-influential song writer, brought sophisticated poetry and social
commentary into lyrics in early Columbia recordings 1962-64.
-infused the counter culture with new seriousness and conscience
35
“The Times are a-changing”
1963
Dylan
Strophic ballad
Folk version of youth rebellion: more political, not just aesthetic
and sexual
1965-Dylan goes electric at Newport Folk festival, scandalizes purists.
-Beginning of “Folk Rock”
36
“Turn, Turn, Turn”
The Byrds
(1966)
Roger McGuinn’s electric 12-string guitar
Harmonies
Stronger back beat, more slick mainstream sound generally, e.g.
sweet sound of Beatles
37
*As a cultural phenomenon, what did rock and roll and the folk
music movement have in common?
-anti-establishment attitude, rebellion
38
what are some important differences between rock and roll and the folk music?
- instrumentation
- folk music more political
- commercial entanglements of rock and roll
39
Motown
Label that practically became a genre
Founded by Berry Gordy in 1960 (originally Tamla records). A
black-owned record label that aimed to cross over to white audiences
successes: e.g. Stevie Wonder, Marvin Gaye, Diana Ross, Michael
Jackson, and many other
40
Motown Hit making
-in-house writing and arrangement (a bit like Tin Pan Alley?)
-also cultivated careers—(a concept not often found in whitecontrolled
indies)
-uncontroversial lyrics (sentimental love songs), smooth and danceable
-elegant image
41
“You’ve Really Got a Hold on Me,”
```
Smokey Robinson
”Motown sound” (another example of producer’s importance)
-lush instrumental background
-back beat guitar strum
-lead vocalist prominent over back-up
```
42
“My Girl”
Temptations (1965)
| doo wop
43
"Stop in the name of love"
The Supremes (1965)
44
Ray Charles
began recording w/Atlantic in 1952 (lived in Seattlebefore that, born in GA)
45
Aretha Franklin
-started as professional gospel singer -produced by Jerry Wexler as pop star
46
“Respect”
1967
Aretha Franklin (c.Otis Redding)
*What influences of African American church music can you hear? -call and response between lead singer and backup singers -gospel vocal ornament, timbre
47
“Godfather of Soul”-
James Brown,
“Papa’s Got a Brand New Bag” was a crossover hit in 1965-Before that Brown performed for black audiences on a circuit of theaters, including the Apollo Theater in NYC.
48
"The big payback"
James Brown
Form: Cyclical, vamp
Texture? polyrhythm*What precedents can you think of for this approach to arranging/structuring music? -mambo, riffs, church music
49
1960s chronology
(industry changes, counter-culture, strife and disillusionment);
1959 Death of Buddy Holly, 1960 Motown, other industry changes: producers, FM radioFree speech movement UC Berkeley, 1963 Kennedy assassinated, 1964 Beatles arrive in U.S., 1965 Dylan electric, James Brown crosses over, 1967 “Summer of Love” in SF, Sgt. Pepper
1968 Tet Offfensive, MLK assassination1969 Woodstock
50
S.F. Scene, Psychedelic rock
1967 “Summer of Love” culmination of 60s developments in Haight-Ashbury district -communal living -“be-ins”, w/music, etc. -acid tests -Fillmore West theater, Bill Graham
51
Grateful Dead
epitomized communal spirit—folksy, improvisational jam band
52
“Somebody to Love”
```
Jefferson Airplane (1967)
Grace Slick
```
53
Jimi Hendrix at Woodstock, national anthem
-techniques of distortion and feedback
54
“Purple Haze”
Power Trios - Focused on guitar, english
Jimi Hendrix Experience (1967) -new timbres (distortion, feedback)
-virtuosity on guitar
-from Seattle. Started his power trio in UK, where blues guitar was developing
55
Eric Clapton
gives blues a new feel and meaning for white youth
56
"Crossroads" Robert Johnson (1936) vs. Cream [1969]
*Differences? -consistent tempo, meter -faster tempo -guitar virtuosity featured in extended guitar solos; more free to
play melody -instrumentation -audience (concert hall, stadium); less intimate -more intense, more dense, distorted timbres, “heavy” timbres -guitar riff
*Similarities? 12-bar blues lyrics blues melodic style
57
“Stairway to Heaven”
(1971) Led Zepplin
*How this different from pop song conventions? -length -evolving form (instrumentation, melody, etc.); art rock,
progressive rock
*In what ways is it a precedent for heavy metal? -building, climaxing -screaming vocals -long hair, fashion style -length of song -epic, mythical -virtuosic electric guitar
Blues=black
Metal=white
58
“Oye Como Va,”
Santana
*Dance genre? Cha cha cha
*Texture? Clave-based polyrhythm Blues melodic style in solos
Latin rock
59
“Bang Bang”
Boogaloo- mixing latin and black (cha cha with black beat)
Joe Cuba (1968)
*What’s Latin, and what’s African American?
Latin percussion, piano montuno, call/response coro
Back beat
60
Salsa
| Fania record label
, 1964-return to Caribbean roots-innovations, e.g. trombone, new kinds of arrangements-Puerto Rican musicians predominate originally-Pan-Latino appeal
61
“Siembra”
Ruben Blades & Willie Colón (1978)
LYRICS *Form? Composed verses >> call and response coro, with soloist
improvising (like Cuban son montuno)
62
Sly and the Family Stone
Another multi-ethnic Bay Area band (also Santana and Tower of
Power)
Larry Graham’s thumb-slap bass technique
63
"Thank You (Falettinme Be Mice Elf Again)"
Sly and the
Family Stone (1970)
*Similarities and differences to James Brown’s music? Similarities: cyclic, no chord progression; polyrhythmic; melodic bass
line
Differences: vocal timbre, collective singing; verse and chorus singing
Timbres: synthesizer, wa wa pedal on guitar, bass slap, vocal
distortion (last verse)
64
“Flashlight”
(1978)
George Clinton and Parliament/Funkadelic/P-‐‐Funk-(psychedelic, science fiction imagery -humor and unbridled party aesthetic)
*How do they create interest and change over a cyclical form? -brief instrumental solos that pop in and out -changing sounds and textures -changing lyrics -variations on bass line -“bridge” section aroun 1:30 where bass line drops out
65
Hotel California
Eagles (1977)
| AOR
66
“Living for the City”
Stevie Wonder (1972) -Started with motown
-use of synthesizer -draws attention to racism and poverty
Moog synthesizer
-Developed by Robert Moog at Columbia-Princeton Electronic Music Center-introduced at Monterrey Pop Festival 1967
67
PUNK MUSIC
DIY: Reaction to commercialization and professionalization Aesthetic of alienation
68
“96 Tears,” ?
and the Mysterians [1966] sons of Tejano migrant workers, in Michigan
-Punk
69
"I Wanna Be Sedated"
The Ramones (1978) -working class alienation
-compared to beach boys
1974 Ramones play in England
-goes over even bigger in UK
*Punk’s musical genesis in U.S., but has powerful appeal to English working class youth
70
Sex Pistols, manufactured misfit band
(managed by Malcom McLaren)
| [1976]: "Anarchy in the UK"
71
“I’m so bored with the U.S.A.”
The Clash (1977)
- more musically ambitious
- Clash a model for more politically committed punk music
72
“La Bamba,”
```
The Plugz (LA Chicano band) mid-1980s
Punk Music in diff race
```
