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-Wilson’s answer to poor outing of Pet Sounds
-Labeled as a psychedelic tune
-Wilson’s finest hour as a producer |
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| Pet Sounds (1966) ‘Wouldn’t it be nice’ |
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-Became Brian’s master project
-Critically considered a masterpiece and one of R&R important albums
-A major influence on the Beatles (Sgt. Pepper)
-Many songs show Wilson’s obsession with isolation and his insecurities |
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-Brian Wilson was the quiet genius of the group
-Influenced by Phil Spector’s wall of sound |
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-Americas answer to the Beatles
-Painted a landscape of beach, paradise, hot rods and cali girls
-Combination of the four freshmen and instrumental surf music |
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| Louis, Louis – The Kingsmen |
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-Composed by Richard berry
-First recorded by berry’s group, the Pharaohs
-Lifted their vision from The Wailers, a Seattle based band who missed out on the success of this
-U.S. congress had a full-scale investigation to find out what smut was in the song |
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-Simple, raw form of rock & roll
-Inspired by British invasion bands
-First wave of do-it-yourself punk rockers |
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| Dick Dale and the Deltones |
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-King of Surf Guitar
-Dale’s Deltones spawned many garage bands around Southern Cali |
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-Solidified the two guitar / bass / drum line-up
-Not originally a surf band
-Became a crowd favorite with the surf crowd |
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-Developed a style known as “twangy” guitar
-Formed the model for surf band guitarists that followed |
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| 1960 instrumental groups (surf music) |
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-Surf music was primarily an instrumental style
-Lack of vocals necessitated experimenting with sounds of the guitar
-Guitar had virtually disappeared as lead instrument in early 1960’s pop
-Reestablished the guitar as a central role in R&R |
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| The instrumental groups (1950’s) |
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-Usually built on a simple riff
-1950’s groups set the trends for music tat followed – Rocks first garage bands |
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| The Payola Scandal / Alan Freed |
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| -Payola defined: Bribery of an influential person in exchange for the promotion of a produce or service such that of disk jockeys of the promotion of records |
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-A sound and style rather than an individual voice or image
-Success usually linked to a specific producer
-Projected HIS vision rather than the group’s vision
-The music often had an underlying current of sexuality behind the innocence |
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-Maybe was their big hit in 1957
-Important model for the girl groups that followed |
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-Patterned themselves after the Chantels
-Bridged doo-wop and uptown New York pop-soul |
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| Groups that followed: The Shirelles |
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-Like doo-wop, there were many one shot groups
-Males were idealized images of adolescent romanticism |
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-Inspired Spector’s best work
-Became the “Bad Girls of pop” |
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| -Spector’s last great success |
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| Gerry Goffin and Carole King |
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-Most prolific hitmakers at Aldon Music
-Their variety and ability to change with the times kept them in business |
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| Philadelphia and American Bandstand |
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-City was the most successful teen idol “machine”
-Engine of the teen idol machine was American Bandstand
-Dick Clark – host of Bandstand |
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| Bill Monroe the father of blue grass |
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| Bob Wills and his Texas playboys |
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| king of the Mississippi delta blues: Robert Johnson |
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| Lionel Hampton, Cab Callaway |
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| Thomas Dorsey (The father of gospel music) |
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| country and western, bluegrass, western swing, boogie wooie, rural/classic blues, gospel, and jazz, popular songs |
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| Rock and roll was another name for what? |
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| Jackie Brenston and Ike Turner (first R&R song) about a car, boogie woogie baseline |
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| Billy Ward and his Dominos (1951) first #1 R&R song .First double entendre hit. Cross over hit, (black and white charts) |
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| Big Momma Thorton. Covered by Elvis. Song about pimp |
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| Bill Haley and the Comets. Black board jungle. First #1 R&R song. It was the first important white rock song |
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| vocalist- known as the “boss of blues |
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| vocalist/saxophonist – invented jump band, group known as the Tympani Five – Athletic choreography (“jump”) in horn line |
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| guitarist/vocalist – popularized electric guitar in R&B |
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| originator of the “Chicago Blues” sound – All instruments electrified (wailing harmonica) – played a major influence on many rock bands (especially British) |
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| Delta blues vs Chicago Blues |
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| Delta blues: acoustic. Chicago Blues: electric |
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| disk jockeys – Ignored mainstream white major labels – Played small independent labels |
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William “Hoss” Allen / John R Richbourg / Gene Nobels / Herman Grizzard
-White disk jockeys of WLAC (Nashville)
-The “50,000 Watt Quartet” |
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| No drummer used in band – Use of slapping bass – classic rockabilly was almost entirely the product of Sun Records and Sam Philips owned that studio |
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| Owner and operator of Sun records – Important figure in the development of R&R |
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| the first rock hero The king of Rock and Roll: elvis was the singer, not the song. Forced R&R down the mainstreams throat. Made it R&R more than a passing fad for R&B. opened the gates for black R&B artists |
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| Gospel remained a part of Elvis’ repertoire, invented rockabilly |
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| major contributor to the crossover R&B music: emphasis on piano/bass/sax : bass lines derived from the culture mix of New Orleans population |
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| owner of J&M recording studio (only studio in New Oreleans) |
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| played a crucial role in the development of R&R in NO. Collaborations with Fats Domino |
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| summertime blues, power cord sound, influenced British heavy metal bands |
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| Memphis, New oreleans, Chicago |
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| pianist, “The Killer” Elvis’ rival |
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| poet of R&R, wrote about cars, women, teenage love. Took some country and turned it to blues |
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| more clean cut, took what Elvis did and refined it |
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| buddy holly crickets, rock band, set model for Beatles, first white band to really write their own music |
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| rockabilly/pop style. On Ozzy and Hariot TV show |
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| Melody over rhythm. Increased the possibility for African american’s to get into the main stream. All about innocent teenage love. Came from streets of Phili and New York. One hit wonders, not careers. |
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| influenced by surf rock, 4 freshmen, wall of sound. Surfing, surfing safari, surfing USA |
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| acrobatic voice, many vocal techniques brought to his singing.
-Enormous range and sheer power – great instrument of R&R
-Sweeping register leaps, rich vibrato, falsetto breaks was his trademark
-Energetic and agile showman |
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| dwane eddie was first, dick dale followed |
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| Ray Charles, Sam Cook, Jackie Wilson. Main emphasis was gospel music |
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| chanterelles, my angels. Girl groups more about a sound/style. Didn’t necessarily need a lead singer |
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| DJs getting paid for music |
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| most successful teen idol |
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| What is considered “The Day the music Died” |
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| Buddy holly died in plane crash in 1959 “Day the music died” then teen idol music comes out, people thought that was the end |
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| works with girl groups (wall of sound) The ronettes (bad girls of R&R) one of his bands. “The wrecking crew” |
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| Story-song writing style that uses tongue-in-cheek mini-dramas full of wit and insight |
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| Neil Sedaka and Howie Greenfield |
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| Less varied in could since they were writing for Sedaka |
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A symbol for the popular music in New York. Pop singers rarely wrote their own music
-Songwriters were usually grouped in pairs (one/music – the other/lyrics) |
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| -Country turned to Top 40 formats. Songwriters dominated the industry not the singers |
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-Known as the graceful voice in soul music
-Very different from Ray Charles
-Voice is a more floating quality compared to Ray Charles |
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-Ignited R&B with the impassioned testifying of a southern, Holly Roller revival meeting-Not really Rock and Roll music
-Drew from the entire spectrum of music
-Church based music (influenced Aretha Franklin/ James Brown) |
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| The Drifters – Uptown R&B |
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The Drifters – Uptown R&B
-L&S turned to the more sesrious approach compared to Coasters
-Developed a high-tech production style
Reffered to as “Uptown R&B” |
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