Ch 4-6

I. A decade of stark contrasts

A. Great hope and great turbulence

1. John F. Kennedy elected president in 1960

a. Young and energetic

b. Passionate about grand ideas for Americas future

c. Presented a model for American youth, giving them a new sense of cultural
identity

2. His assassination on Nov. 22, 1963 on a multitude of changes in attitude

a. Conspiracy theories

b. Suspicion of government, social, religions, and economic institutions

3. General attitudes of youth culture became magnified

a. Youth culture presented itself more forcefully than ever

b. Social movements become more vigorous

c. More critical

d. More violent

B. America was divided by several major issues

1. The civil rights movement

a. Right for African Americans

I. Woolworths sit ins

b. The march on Washington

I. August 28, 1963- 250,000 Americans, MLKJ speech

c. March 164- civil rights act passed by congress

d. Racial tensions built and erupted in a series of riots

2. Vietnam
 a. American combat troops were sent to become more involved in a civil war in
Vietnam

b. Antiwar movement began and gradually became more organized and intense

I. Americans questioned the need for involvement in that war

II. Students held demonstrations against the war

3. Feminist movement began in 1963

a. Feminine Mystique- book- Betty Freidan- made claims about womens role in
society

b. Book stated that women were constrained by the traditional role of society

4. Environmental movement

a. Silent Spring (1962)- Rachel Carsons pestiside book

b. Ralph Naders book- Unsafe at Any Speed

I. Accused automobile industries about style and profits

II. Radio industry began in the 1960s with AM as the main source of popular music

A. By end of 1960s FM had evolved

1. FM reserved for programming other than commercial popular music

a. Classical music

b. Jazz

c. Information

2. In 1967, shifted to music appropriate for new youth movement: hippies

B. TV

1. More focus on situations that were either surreal or just plain fantasy

a. Beverly hillbillies

b. My favorite martian

c. Bewitched

III. California entered the picture in a big way with vocal and instrumental surf music

A. The Beach Boys

1. Three brothers, a cousin, and a high school friend

a. Brian WilsonlLeader, and eventually producer, vocals, bass, and keyboards

b. Carl Wilsonlead guitar and vocals

c. Dennis Wilsondrums and vocals

d. Mike Lovevocals

e. Al Jardineguitar and vocals

2. Early songs were influenced by Chuck Berry and white vocal groups like the Four
Freshmen

a. Music that seemed devoted to teenage summer fun: surf music

b. "Surfin'": a regional hit single in late 1961 written by Brian Wilson on indie
label Candix

3. Signed with Capitol Records in 1962 and released twenty-four top 40 hits by 1967

4. Ten of those were in the top 10, and two were #1

a. "Surfer' Safari" (1962)

b. "Surfin' U.S.A." (1963)

c. "Surfer Girl" (1963)

d. "Be True to Your School" (1963)

e. "Fun, Fun, Fun" (1964)

f. "I Get Around" (1964) the B-side, "Don't Worry Baby," went to # 24

5. They felt a strong sense of competition with the Beatles (distributed in the U.S. by
Capitol records)

6. Early songs relied on straightforward rock and roll melodies, guitar sounds, and chord
progressions

7. Their strong point was exceptional vocal abilities and talent for blending their voices

a. "Surfin' U.S.A." is clearly a reworked version of Chuck Berry's "Sweet Little

Sixteen"

b. Clever vocal parts include the falsetto hook, "Everybody's gone surfin'"

c. Backup vocals are "ooh" and multi-voiced harmonization of "inside, outside,

USA"
 d. Portable electronic organ soloactually chords with a top voice implying a
melody

e. Guitar solo mimics Chuck Berry blues-based solos

f. The melody is Berry's direct from "Sweet Little Sixteen"

8. Ballads demonstrate impressive compositional skill and performance techniques

a. "Surfer Girl"

b. "In My Room"

9. An important aspect of their records: Brian Wilson demanded to be the producer early in
their career

a. He was influenced by Phil Spector's production sound

b. He emphasized innovation in these efforts

c. Early records were simply big sounding records

d. Beginning in 1965 and 1966 he began incorporating impressive new ideas into
the records

B. Jan and Dean (Jan Berry and Dean Torrance)

1. Close friends with the Beach Boys

2. Series of hits during the early 1960s

a. "Little Old Lady from Pasadena,"

b. "Surf City" (1963) co-written by Brian Wilson

c. "Honolulu Lulu" (1963),

d. "Drag City" (1963)

e. "Ride the Wild Surf" (1964)

C. Instrumental Surf MusicDick Dale and the Del-Tones

1. Dale is most closely associated with the term instrumental surf music

a. Made it clear that surfing was the most important part of his life

b. Boasted that he would finish surfing, dry off, and step on stage

2. Technique of rapid flutter picking on a string and running from high to low on the neck
 a. Dale claimed that was his way of recreating the sound of waves crashing around
him

3. One of his best-known songs was "Misirlou" (1962)

a. Trademark rapid tremolo picking on the guitar

b. A tune that had been a Greek pop standard in the 1940s

c. Quick tempo with a rock rhythmic feel

4. "Let's Go Tripping" #60 in 1961

a. Two months before the Beach Boys' release of "Surfin'"

D. Other important instrumental surf music artists:

1. Chantays "Pipeline" (1963)

2. The Duals "Stick Shift" (1961)

3. Surfaris: "Wipe Out" (1963)

4. Duane Eddy "Rebel Rouser" (1958)

5. Ventures "Walk, Don't Run" (1960)

E. The shift in the music business from instrumental to vocal music

1. Before WWII popular music was driven by instrumental music

a. Big band era focused on mainly up-tempo dance-oriented instrumental

recordings

b. Vocals were only occasional and considered a secondary aspect of the music

c. Frank Sinatra led the movement of focus being shifted to the singer-stylist

2. 1950s rhythm and blues combined dance tempo music with vocals

a. Musical accompaniment provided by small (not big) bands

b. Elvis continued Sinatra's approach of making the interpretation of the song the
primary focus

c. Vocal groups used voices to fill in harmonic textures previously provided by big
bands

3. By the end of the 1950s songs that did not have vocals were considered "novelty" songs
IV. The development of production techniques in the 1950s and 1960s shows the importance of record
producers

A. "There Goes My Baby": the Drifters' important 1959 hit produced by Leiber and Stoller

1. Leiber and Stoller were the most important producers in the early stages

a. Written by Ben E. King (aka Benjamin Nelson)

b. Credited to Benjamin Nelson, Lover Patterson, George Treadwell, Jerry Leiber,

and Mike Stoller

c. Others probably get writer credit as compensation for their services

2. Classically oriented string section combined with rhythm and blues stylistic concepts was
a new idea

a. Beginning is a vocal-harmony passage outlining a doo-wop chord progression (I

- vi - IV - V)

b. This is set against tympani and followed an ascending passage from four violins
and a cello

c. King enters in the chorus accompanied by the Drifters and a string counter
melody

d. The verse features a gospel style call-and-response passage between King and
the strings

3. This was a bold experiment, and was allowed only because Leiber and Stoller had great
credibility

B. "Be My Baby": the Ronettes' 1963 hit produced by Phil Spector

1. Phil Spector learned his craft from Leiber and Stoller

2. The "Wall of Sound" concept was already developed and in use for earlier songs

a. A select group of Los Angeles studio musicians were used consistently

b. Known as the "Wrecking Crew" and functioned as a "house band" for Spector
productions

c. Drummer Hal Blaine

d. Pianist Leon Russell

e. Bassists Larry Knechtel and Carole Kaye

f. Guitarists Glen Campbell and Barney Kessel

3. The "Wall of Sound" concept was already developed and in use for earlier songs

a. A select group of Los Angeles studio musicians were used consistently

b. Known as the "Wrecking Crew" and functioned as a "house band" for Spector
productions

c. Drummer Hal Blaine

d. Pianist Leon Russell

e. Bassists Larry Knechtel and Carole Kaye

f. Guitarists Glen Campbell and Barney Kessel

4. The recording was done on a three-track machine

a. Each track to be recorded separately

b. First track had guitars, basses, pianos, and percussion and any other instruments
needed

c. Second track was all vocals

d. Strings added last on the third track

e. These three tracks were mixed to mono

5. Spector was a perfectionist and demanded multiple takes and playbacks

a. Expensive to make because of musician costs

b. Expensive to make because of studio time used

c. Enormously successful because of the impressive result that would get released

6. The "Wall of Sound" in this song is assembled gradually

a. Drums, claps, and castanetsswimming in reverb create a sense of bigness

from the first beat

b. Lead vocal enters with the rhythm instruments (drums, piano, guitars, and bass)

c. Background vocals and low saxophone enter in the second half of the verse

d. Call-and-response vocals dominate the chorus, set against more driving drum
rhythms

e. Strings are added in the second chorus and continue into an instrumental
interlude (half of a verse)
 f. The song finishes with repeats of the chorus, interrupted once by return of the
drum intro

C. "Don't Worry Baby": the 1964 Beach Boys hit produced by Brian Wilson

1. Clearly inspired by Phil Spector's production of "Be My Baby"

a. Similar arrangement ideas fall into place at the same relative points in time

b. Drumbeat beginning and verse melody over an eighth-note rhythmic chord

figure

c. The "Wrecking Crew" from the "Wall of Sound" productions are the backing
musicians here

d. The vocal call-and-response in the chorus closely resemble the vocals in "Be My
Baby"

2. A point of dissimilarity is that there is no string section

3. The lyrics deal with drag racing rather a girl-group "teenage romantic longing" oriented
topic

4. A clear extension of production techniques begun by Leiber and Stoller and continued by
Phil Spector

V. Teenage romanticization of death

A. A number of songs dealt with the subject of teenage death and were products under Brill Building
control

1. An early example is the song "Teen Angel" (p1, 1960) by Mark Dinning

a. Young couple's car stalls on the railroad tracks just as a train is approaching.

b. They escape the car, but the girl goes back to the car to retrieve the boy's class
ring and is killed

2. Other songs that had similar lyric topics were released between 1960 and 1964

a. Ray Peterson's "Tell Laura I Love Her" (1960)

b. Everly Brothers "Ebony Eyes" (1961)

c. J. Frank Wilson and the Cavaliers "Last Kiss" (1964)

d. Shangri-Las: 1964 hit "Leader of the Pack"

e. In 1964 Jan and Dean's hit "Dead Man's Curve" predated Jan Berry's 1966
automobile accident
 f. Berry sustained serious injuries that ended his career

3. These songs about death coincided with the end of the Brill Building control of popular
mainstream music

a. Many of the songwriter-producer teams went off to form their own labels

b. The arrival of the British Invasion in 1964 put an end to the way things were
done

VI.

VII. Popular music in the United States at the beginning of the 1960s

A. Wide variety of styles

1. Teen idols love songs

2. Folk music

3. Girl-group music

4. Rockabilly

5. Surf music

6. Sweet soul

B. None of the artists of any these styles were considered to be the "Next Elvis"

C. The music industry was desperately looking among these styles to find a similar phenomenon

1. On February 9, 1964, the Beatles appeared on Ed Sullivan's Sunday evening show

a. Elvis had done the same thing eight years earlier

b. 73 million people watched it

c. Even the crime rate went down during the time period of the telecast

2. The Beatles and the subsequent British Invasion had a major impact on American pop
music

VIII. British pop in the late 1950s and early 1960s

A. The UK was mostly a consumer of American-made music

1. The same American artists' records were popular in both Britain and America

2. British artists achieved success at home rather than in the states

 3. An exception to this was British orchestra leader Mantovani

a. Twenty-six albums in the American Top 40 from 1955 to 1963

b. Two singles in the US pop Top 40

c. The movie theme from Around the World in Eighty Days (p12, 1957)

d. The movie theme from Exodus (p31, 1961)

B. In the years immediately after WWII Britain was enamored with American popular culture

1. Interest in American pop grew during this time

a. Britain already appreciated and had learned to play earlier styles of American
music

b. Traditional jazz (nicknamed "trad") was derived out of New Orleans jazz styles

c. American folk music from earlier in the twentieth century fascinated Brits

d. British interest in rock and roll seems to be a logical continuation of that interest
in U.S. culture

e. After WWII interest in traditional jazz and American folk increased in Britain

2. Parts of Britain that were destroyed by German bombings were being rebuilt

3. America had no home-front war damage and was considered a model of strength and
affluence

4. Teen culture in America seemed exotic and romantic

a. Teens in Britain were surrounded by the recovery from war

b. American teens seemed free and unburdened

c. British youth embraced rock and roll with the same enthusiasm as American
teens did

C. The British record and radio industries were not set up like their American counterparts

1. Four major labels that licensed music from American labels to distribute in Britain

a. EMI

b. Decca

c. Pye

d. Philips
 2. Two Radio stations

a. BBC

b. Radio Luxembourg

3. The British government owned the BBC

a. Three channels

b. One of them played rock and roll

4. Radio Luxembourg was a European commercial station

5. Britain had no independent radio or record labels

a. The major labels financed radio shows that played rock and roll on their own
label

b. The government controlled the rest

D. Availability of American popular music varied

1. Rock and roll records found on pop charts were available in retail stores

2. Rhythm and blues was notand it was hard to find

3. Same with country and western

E. Sources began to appear that were devoted to rhythm and blues, country and western, and pop

1. Melody Maker

2. New Musical Express

3. Record Mirror

4. British teens watched American rock and roll movies to keep up on the rock and roll
developments

a. Elvis Films

b. Alan Freed movies

c. The Girl Can't Help It

5. Some artists toured England and were very enthusiastically received

a. Bill Haley

b. Buddy Holly
 c. Everly Brothers

IX. The rise of Skiffle

A. British bandleaders played New Orleans style jazz and eventually other styles as well

1. Ken Colyer

2. Kenny Ball

3. Acker Bilk

4. Chris Barber

a. Barber's banjo player-vocalist Tony Donegan recorded a hit song in this style

b. "Rock Island Line" (UK 8, & p8 in the U.S. 1956) credited to Lonnie Donegan
and his Skiffle Group

c. Barber on bass

d. Beryl Bryden on washboard

e. Donegan played guitar on the recording

5. "Rock Island Line" started a craze for skiffle music

a. Easy to play

b. Similar to the rise of folk music in the United States shortly after that period

c. John Lennon was a teen fan of skiffle

d. So was Jimmy Page

6. Skiffle was replaced by trad in UK by the late 1950s

7. Trad bands had hits in the late 1950s in the UK and the states

a. Barber's "Petite Fleur" (uk3 p5, 1959)

b. Ball's "Midnight in Moscow" (uk2, 1961; p2, 1962)

c. Bilk's "Stranger on the Shore" (uk2, 1961; p1, 1962)

B. British artists had difficulty getting hits in the UK

1. American artists dominated the charts

2. There were only a few British artists who succeeded in getting hits in England
 3. They were patterned after American hit artists

a. The first was Decca's Tommy Steele, "Rock with the Caveman" (uk13, 1956)

b. Steele also had a hit in 1956 with "Singin' the Blues"

c. Steele had sixteen more hits through 1961

4. The most successful British rocker was EMI's Cliff Richard and his backup band, the
Shadows

a. English equivalent of the Ventures

b. Twenty-seven UK hit singles on the UK charts

c. "Apache" (uk1, 1960)

d. Richards and the Shadows didn't do well in the United States

X. The Beatles as students of American pop (1960-1963)

A. In 1957 a Liverpool teenager named John Lennon formed a skiffle group called the Quarrymen

1. Played skiffle patterned after Lonnie Donegan in and around the local Liverpool area

2. Switched to rock and roll when the skiffle craze wound down

3. John Lennon was fifteen years old and Paul McCartney was thirteen years old when rock
and roll arrived

4. They were part of the first generation of the new rock and roll youth culture

a. This generation learned rock and roll by imitating the first wave of rockers

b. The first recording of the Quarrymen (including fifteen-year-old George

Harrison) was in 1958

c. They recorded Buddy Holly's "That'll Be the Day," closely imitating the original

d. They recorded an original song on the other side of that acetate home recording

e. Holly wrote his own songs, so they did too: "In Spite of All the Danger"

f. Written by Paul McCartney and George Harrison

5. They changed their name briefly to Johnny and the Moondogs

a. Inspired by Alan Freed who called himself Moondog on the air

B. Personnel changes and name changes occurred in up through 1960

 1. John Lennon's friend Stu Sutcliffe was added on bass guitar

2. They changed the band's name to the Silver Beetles

a. Further acknowledgement of Holly's influence

b. His band's name was the Crickets

3. The band toured Scotland in 1960 backing singer Johnny Gentle

4. They added drummer Pete Best in the summer of 1960

XI. Hamburg

A. The band changed their name one more time to the Beatles

1. They were offered a job in a nightclub in Hamburg, Germany

a. The nightclub was in Hamburg's red light district

b. The Indra Club

c. They moved to a larger club called the Kaiserkeller

2. Other British bands were starting to play in Hamburg as well

a. Derry and the Seniors

b. Tony Sheridan and the Jets

c. Rory Storm and the Hurricanes, featuring drummer Ringo Starr

3. They made a total of five trips to Hamburg from 1960 to 1962

a. The first stay was the longest: 106 nights

b. The next stay was 92 nights

c. The next stay was 48 nights

d. In 1962 they made two short stays of 14 and 13 appearances, respectively

e. These performances were under more of a concert setting

f. They opened for Little Richard and Gene Vincent

B. The Hamburg experience provided the opportunity to develop their musical skills

1. The performance routine was a grueling one

 a. They played from 7:00 PM to 2:00 AM with fifteen-minute breaks

b. They were under pressure to make a show for the German patrons

c. They had to learn as many songs as they could as fast as they could

2. The result of this kind of pressure on musicians is to either get great or get washed out

3. The Beatles returned to Liverpool as professional musicians

4. Their performance at a dance gig at Litherland Town Hall was a sensational success

a. Great audience reaction foreshadowed the type of atmosphere they would soon
be generating

b. They had refined their performance techniques such that they were now the best
band in the area

C. The musical influences on the Beatles as they develop their musicianship and creative talents

1. Lennon and McCartney studied and imitated many successful writers' styles and
performers' styles

2. These influences and fascination with American rock and roll are apparent in their early
original work

3. Tapes of performances at Hamburg's Star Club and early BBC radio performances show
their tastes

a. Elvis Presley's version of "That's All Right (Mama)"

b. Chuck Berry's "Memphis"

c. Little Richard

d. Carl Perkins

e. Leiber and Stoller's Coasters records

f. Phil Spector's "To Know Him Is to Love Him"

g. Ray Charles' "Hallelujah I Love Her So"

4. They eventually covered several styles of songs on their first, second, and fourth albums

a. Girl-group numbers "Chains" and "Baby It's You"

b. Motown songs: "You Really Got a Hold on Me," "Please Mr. Postman," and
"Money"

c. Even a movie theme "A Taste of Honey"

 d. Songs by Chuck Berry, Carl Perkins, Little Richard, Leiber and Stoller, and
Buddy Holly

XII. Brian Epstein met the band at the Cavern Club in Liverpool

A. The Beatles began performing regularly at the Cavern Club in February of 1961

1. Their musicianship was in top form and they quickly established a reputation as a great
band

2. Almost 300 performances at the Cavern through early 1962

3. They developed a huge following there

a. Many performances were lunch shows

b. There was a general atmosphere of fun, casual attitudes, and sometimes silliness

c. The Beatles developed a loyal following in the Cavern Club

B. During a return trip to Hamburg in early 1961 they recorded a single with Tony Sheridan

1. They were backing musicians for Sheridan on his version of "My Bonnie Lies over the
Ocean"

a. The record became a hit in Germany

b. It also was being requested in record stores in England

c. Record store manager Brian Epstein became curious and went to see them at the
Cavern Club

2. Epstein offered to manage them in November of 1961

a. Cleaned up their appearance

b. Had them wear tailored matching suits

c. He worked at finding them better places to play for more money

d. Brian Epstein went to work building the band's career

3. Epstein arranged a recording audition with Decca in their London studios on January 1,
1962

a. Decca executive Dock Rowe passed on signing them

b. They were allowed to keep the demo tape

c. Epstein took that tape to other labels to try to secure a recording contract
 4. In June of 1962 an audition was arranged with George Martin at EMI's Parlophone
records

5. Martin agreed to sign the band and set the first recording session for September on one
condition

a. Martin didn't like Pete Best's playing and told them they needed a better
drummer

b. Ringo was invited to join the band and he accepted in August

c. Wary of the last experience, Martin hired a substitute drummer for that session

6. The first record released was an original song by Lennon/McCartney

a. "Love Me Do" rose to #17 on the UK charts during the autumn on 1962

b. The Beatles were the first Liverpool band to get a major record deal and have a
chart hit

7. Other northern groups began to go to London to seek record deals

a. Bands from Liverpool, Manchester, and Birmingham were called "Mersey Beat"
groups

b. Martin had the Beatles record Mitch Murray's song "How Do You Do It" for the
single release

c. Lennon and McCartney wanted only their own originals released as singles

d. Epstein was managing another Liverpool group, and they released it

e. The Gerry and the Pacemakers version of "How Do You Do It" hit number one
in the UK in 1963

8. Prior to the Beatles' success, northern groups had had no success breaking into the British
record business

a. They were too far from London where all the record companies were

b. The irony is that those groups had better access to American records coming into
the seaports there

c. Rhythm and blues records and country and western were easier to find in the
northern seaports

d. This is a possible reason northern groups had more of a conglomerated style

than London groups

XIII. Beatlemania in England in 1963

A. The British press coined term to describe the excitement generated by the band's live
performances in 1963

1. Beatles records were consistently topping the British charts

a. "Please Please Me" (uk2),

b. "From Me to You" (uk1)

c. "She Loves You" (uk1)

d. Their first album: Please Please Me (1963)

e. Their second album: With the Beatles (also 1963)

2. The big break was performing on the Sunday Night at the London Palladium TV show

a. The top rated TV show in Englanda British counterpart to America's Ed

Sullivan Show

b. Millions of British viewers saw it

3. In early November they appeared on the Royal Variety Performance TV show attended
by British royalty

a. Queen

b. Princess Margaret

c. Lord Snowdon

4. Their second album, With the Beatles, was released on November 22, 1963

5. Their fifth single, "I Want to Hold Your Hand" was released a week later and was #1 by
December

a. It replaced "She Loves You"

b. This was definitely their third consecutive number one record

c. This is the song that would finally break them into the American pop market

B. No Beatlemania in America had occurred during 1963

1. Capitol records in the United States had become a subsidiary of EMI

2. They refused to release any of the first Beatles recordings

a. They assumed that the U.S. market wouldn't buy Beatles records
 b. The reason was that no other British artist had been successful in the United
States

3. George Martin licensed the first four singles and first album to American independent
labels

a. "Please Please Me" and "From Me to You" were licensed to Vee Jay

b. "She Loves You" was licensed to Swan

c. The entire Please Please Me album was also licensed to Vee Jay

4. Beatlemania arrived in America in the beginning of 1964

a. In November of 1963 Brian Epstein booked the band on the Ed Sullivan Show
for February

b. Capitol agreed to release "I Want to Hold Your Hand" in the United States

XIV. American Beatlemania

A. There were a number of entertainment business aspects that combined to help trigger Beatlemania
in America

1. Capitol Records release of "I Want to Hold Your Hand" hit number one in January

2. The Band appeared on the Ed Sullivan Show immediately after that

3. Their U.S. debut album Meet the Beatles went #1 one week later and stayed there for
three months

4. The U.S. release The Beatles' Second Album replaced Meet the Beatles as number one

5. The July 1964 release of their full-length feature movie A Hard Day's Night

B. There was a flood of Beatles singles that were hits from that point forward

1. Thirty in the U.S. top 40

2. Twelve of those went to number one including

a. "Can't Buy Me Love" (1964)

b. "A Hard Day's Night" (1964)

c. "Ticket to Ride" (1965)

d. "Help!" (1965)

e. "Paperback Writer" (1966)

 3. All subsequent Beatles albums would go to number one

a. Capitol released albums that contained different songs than the original UK
releases

b. The Capitol releases also had different album titles

4. Fearing that they would be a passing fad, the Beatles worked furiously accomplish as
much as possible

a. Touring

b. Recording

c. No break in the momentum

d. Resulting in the most hits ever recorded by a popular music artist or group

5. They had become "The Next Elvis"

a. Interesting to note that nobody now is looking for "The Next Elvis"

b. Rather, there is always the question of who will be "The Next Beatles"

C. There was a negative swing in 1966

1. John Lennon remarked in a UK interview that religion was in a state of decline

a. He said that this was evident when a Beatles concert could outdraw a church
service

b. A reflection on the ongoing debate related to the Vatican II reforms going on at

the time

c. American journalists took his comments out of context

d. They accused Lennon of saying that the Beatles were bigger than Jesus

e. This triggered uproar in the south involving bonfires of Beatles products

f. The Beatles were threatened by the Ku Klux Klan

2. The 1966 world tour was such a negative experience that the band decided to stop touring

a. They were exhausted from the relentless pace they'd been on

b. The U.S. controversy was the last straw

c. They performed their last official concert to a ticketed audience on August 29,
1966
 d. San Francisco's Candlestick Park

XV. How the Beatles developed from craftsmen into artists

A. They began by imitating American artists

1. They combined some stylistic elements of 1950s and early 1960s American pop

2. An example of this is "I Want to Hold Your Hand"

a. Chuck Berry-like chords in the low register ("Johnny B. Goode" or "Roll Over
Beethoven")

b. Hand claps from girl-group tunes of the early 1960s ("My Boyfriend's Back")

c. Everly Brothers duet singing in the song's bridge

d. Little Richard's "oooh' s" are frequently quoted in their songs

e. They use a common American pop song form - AABA - with abbreviated reprise
(see Interlude 1)

B. They used the Brill Building and Tin Pan Alley "formula" approach to create their early songs

1. Preexisting formula is applied to the process of assembling a song

2. This is an example of how craftsmanship is used in the creative process

a. Creative problems are solved by applying a proven solution to get the desired
result

b. While considerably less creative, this method generates greater numbers of

product

c. The Beatles were under pressure to produce product quickly and efficiently in
the beginning

d. Their inexperience forced them to use this approach in case their popularity
faded quickly

C. As they grew into more accomplished musicians and songwriters they began using other
techniques

1. Classical music composers never solve the same problem twice the same way

2. They continually explore new options that haven't been tried so as to push the art form
forward

3. The Beatles evolved toward this approach as they became more comfortable in the studio

4. In early 1966 they began bold new experiments in production of Revolver

 a. Use of studio effects

b. Stylistic juxtapositions

c. New timbral elements

d. Structural elements

5. This approach is exemplified in "Tomorrow Never Knows"

a. Simple verse form: a single eight-measure structure played nine times with no
chorus

b. Lyrics are from the Tibetan Book of the Deadspiritual advice to those facing
death

c. The adaptation of the text was from Timothy Leary's book The Psychedelic
Experience

d. Accompanying music is a static single harmonic drone

e. Additional sounds in the recording are made from tape loops

f. Tape loops were often used by 1950s and 1960s avant-garde classical music
composers

g. The song was mixed in real time, rendering a repeat of the mix impossible (also
an art approach)

D. The band's lyrics also indicate a move toward creating art rather than crafting a product

1. Early song lyrics are driven by Brill Building and Tin Pan Alley Emphasis on innocent
romantic themes

a. "She Loves You"

b. "I Want to Hold Your Hand"

c. "A Hard Day's Night"

2. In 1965 lyrics move into new unexplored territory involving previously unexplored topics

a. Lennon's "Help!" discusses loss of self-confidence that had accompanied

youthful naivet

b. His "Norwegian Wood" discusses sexual frustration after a one-night stand

c. McCartney's "Eleanor Rigby" focuses on existential alienation

d. A similar theme is present in his "She's Leaving Home" on Sgt. Pepper's Lonely
Hearts Club Band
 e. A profound influence on their intentional development of lyrics is American folk
music

f. The leader in that movement at the time was Bob Dylan, whom they'd met in
1964

3. The Sgt. Pepper album cover features printed lyrics to the songs

a. A first for commercial music

b. This idea became very common after Sgt. Pepper

E. The development of greater stylistic range

1. Dylan's influence is apparent on Lennon's "You've Got to Hide Your Love Away" from
"Help!"

2. On the same album, a classical-style string quartet accompaniment is used on

McCartney's "Yesterday"

3. Harrison uses a sitar on Rubber Soul's "Norwegian Wood"

4. Revolver covers a wide range of styles

a. "Tomorrow Never Knows" demonstrates startling technological techniques with

profound lyrics

b. "Yellow Submarine" has the character of a children's song

c. "Got to Get You into My Life" introduces horn arrangements

5. These trends indicate the gradual approach to the highly eclectic concepts on Sgt. Pepper

6. The Beatles made use of their creative freedom in the studio to become the model for
others to follow

a. They moved from being craftsmen to artists

b. Instilled a sense of seriousness and self-consciousness into rock musicians who

followed their lead

XVI. The rest of the British Invade

A. The Beatles opened the door for other British Invasion bands to follow them on to the U.S. charts

1. These bands had a few things in common that create the British Invasion term:

2. Nat King Cole:

a. Long hair
 b. British accents

c. Band members sang and accompanied themselves on guitars and occasional

keyboards

3. British Invasion bands were at first perceived to be an extension of recent teen idols
only foreign

4. Their impact was assumed to be short-lived

5. There was little concern over their stylistic derivations (Motown and Spector or Chess)

B. The bands that arrived from England were met with great enthusiasm in America

1. The Rolling Stones were the next most significant British Invasion band

2. Presented the opposite image of the Beatles

a. Sensual

b. Dangerous

c. Rude

d. They were the anti-Beatles

3. British Invasion bands ended up being categorized with respect to these two models

a. Beatles-type

b. Stones-type

4. Beatles-type bands were noticeably more in the pop style

a. Gerry and the Pacemakers

b. Dave Clark Five

5. Stones-type bands were more blues-oriented

a. Yardbirds

b. Animals

6. Some bands defied categorization

a. The Who

b. The Kinks

C. Beatle-type band characteristics

 1. Several bands employed similar music concepts in their sound

a. Gerry and the Pacemakers had multiple hits in England, starting with "How Do
You Do It"

b. Their one top 10 hit in America: "Don't Let The Sun Catch You Crying"

c. London's Dave Clark Five had nine Top 40 American hits in 1964

d. Liverpool's Billy J. Kramer and the Dakotas had four singles in the Top 40 in
1964

e. The Searchers (also from Liverpool) had five Top 40 singles that year

2. In 1965 a second wave of British Invasion Beatle-type bands arrived from Manchester

3. One of the most successful of these was Herman's Hermits with 14 Top 40 hits through
1968 including

a. "I'm Into Something Good" (p13, 1964)

b. "Mrs. Brown You've Got a Lovely Daughter" (p1, 1965)

c. "I'm Henry VIII, I Am" (p1, 1965)

d. "Listen People" (p3, 1966)

e. "There's a Kind of Hush" (p4, 1967)

4. Freddy and the Dreamers used humor in their act by demonstrating a silly dance: "the
Freddy"

5. The Hollies enjoyed a good deal of chart success

a. One member, Graham Nash, would later unite with future partners Steven Stills
and David Crosby

b. Known for tight vocal harmony arrangements and precise playing

c. One of their biggest hits was "Bus Stop" (p5, 1966)

XVII. The British blues revival

A. The beginnings of the blues side of the British Invasion were a type of underground movement

1. Interest in blues was instigated by guitarist Alexis Korner and harmonica player Cyril
Davies

2. Played blues between sets at performances of Chris Barber's trad band

3. Barber owned a nightclub called the Marquee Club

 4. Korner and Davies began hosting blues nights for other blues enthusiasts

5. Blues recordings were scarce in London and blues fans were careful to recreate the style
faithfully

6. Several early blues revival musicians later rose to great prominence in rock and roll
history

a. John Mayall

b. Stevie Winwood

c. Eric Clapton

d. Jack Bruce

e. John McLaughlin

B. The Rolling Stones (early years)

1. The original membership:

a. Mick Jagger, vocals

b. Keith Richards, guitar

c. Brian Jones, guitar

d. Bill Wyman, bass

e. Charlie Watts, drums

f. Ian Stewart, piano (though he didn't stay long with the group)

2. They conveyed a more radical side of the British Invasion concept

a. Brash

b. Nonconformist

c. Rebellious

3. Not influenced by softer American pop music styles as were the Beatles and other Beatle-
type bands

a. The Rolling Stones drew from the 1950s Chicago electric blues tradition

b. Blues that featured slide guitar, harmonica, and vocal delivery styles similar to
Muddy Waters
 4. They were involved in the blues revival that was taking place in London in the early
1960s

5. Jones was originally the leader, forming the Stones in 1962 to cover American blues
songs

6. Patterned after Korner and Davies' group Blues Incorporated

7. They got a regular gig at the Crawdaddy Club in Richmond

a. Club manager, Giorgio Gomelsky, took up managing the Stones and helped
build their following

b. After the group left for bigger things, they were succeeded by the Yardbirds

c. Gomelsky also managed them

C. The Rolling Stones were signed to Decca records at George Harrison's suggestion

1. Andrew Loog Oldham and Eric Easton began managing the band in 1963

a. Oldham and Easton set up a lucrative deal that was inspired by Phil Spector

b. Decca had exclusive rights to Rolling Stones recordings

c. The band retained ownership of the recordings

d. Oldham took on the role of producer, though he had no studio experience

e. He'd worked for Brian Epstein promoting other bands Epstein managed (not the
Beatles)

2. In the beginning the Stones didn't write their own material

a. They covered American rhythm and blues and rock and roll songs

b. They debuted with a cover version of Chuck Berry's "Come On" (uk21, 1963)

c. The next single: "I Wanna Be Your Man" (uk12, 1963) by good friends Lennon
and McCartney

d. Their third was a cover of Buddy Holly's "Not Fade Away" (uk3, 1964)

3. Oldham ordered Jagger and Richards to start writing their own songs like the Beatles
were doing

a. Their first original to be a hit in the UK was "The Last Time" (uk1, 1965)

b. Original material appeared gradually during the first few years

 c. Their covers reveal their dedication to American rhythm and blues and country
and western styles

d. One of their songs was a hit for singer Marianne Faithful: "As Tears Go By"
(uk9 p22, 1964)

D. The Stones took longer to catch on in the United States

1. Their rebellious image wasn't as well received as the cleaner image projected by Beatle-
type groups

2. Eventually their "troublemaker" image began to be better received by teens in the United
States

a. This is what appealed to British teens

b. They needed to be perceived as an alternate choice to the cleaner groups in order

to succeed

c. "Time Is on My Side" hit number six in 1964

d. "The Last Time" went to number nine in the spring of 1965

3. Their first number one hit was "(I Can't Get No) Satisfaction" in the summer of 1965

a. This reinforced their bad boy image with lyrics that seemed controversial

b. General topic is about disillusion over superficiality of daily life

c. Some claim the last verse refers sexual frustration and masturbation

d. The song features a particularly "dirty" guitar sound produced by Richards on a

fuzz tone device

4. A string of hits followed

a. "Get Off My Cloud" (p1 uk1, 1965)

b. "As Tears Go By" (p6, 1966)

c. "19th Nervous Breakdown" (p2 uk2, 1966)

d. "Paint It, Black" (pl uk1, 1966)

5. Rolling Stones stylistic derivations and influences

a. They were capable of genuine dedication to blues when they covered those
songs

b. They tended to avoid strict 12-bar blues approaches to their own material, but
rather used references
 c. They would use the same overall form as found in 1950s writers' styles like
Berry and Holly

d. They avoided Brill Building AABA forms that the Beatles did frequently use

XVIII. Other important British blues revival groups

A. The Yardbirds

1. Replaced the Rolling Stones at the Crawdaddy Club when they left

2. Even more dedicated to the blues than the Stones

a. Keith Relf on vocals

b. Paul Samwell-Smith on bass

c. Jim McCarty on drums

d. Chris Dreja and Tony Topham on guitar

e. Topham was replaced by lead guitarist Eric Clapton

f. Clapton was replaced by Jeff Beck, who was subsequently replaced by Jimmy
Page

3. They developed long, improvisatory sections at the end of songs displaying members'
virtuosity

4. These can be seen as a model for styles that appear later that focus on improvisation

5. Exemplified by their recording of Howlin' Wolf's "Smokestack Lightning" in 1964

6. Little chart success until they recorded Graham Gouldman's "For Your Love" (p6 uk3,
1965)

a. Studio musicians were used on the verses, as was a common practice on pop
records

b. The entire band only played in the middle bridge section

c. Clapton disapproved of this pop music approach and quit the band

d. He was replaced by Jeff Beck

e. Manager Gomelsky was producing their recordings at this time

7. Beck's more experimental style contributed to the success of "Heart Full of Soul" (p9
uk2, 1965)

a. The song was also written by Gouldman

 b. Like "Satisfaction" a fuzz tone effect is used for the lead guitar hook

c. "Heart Full of Soul" was recorded three weeks before "Satisfaction"

8. The band recorded two songs at Chicago's Chess records in 1966

a. Their first original single, "Shapes of Things" (p3 uk11, 1966)

b. A cover of Bo Diddley's "I'm a Man"

9. The band's last hit single was "Over, Under, Sideways, Down" (p13 uk10, 1966)

a. Produced by Simon Napier-Bell and bassist Samwell-Smith

b. Samwell-Smith left to work on producing bands

c. He was replaced by Jimmy Page on bass

d. For a short while, both Page and Beck were in the band at the same time

e. Page and guitarist Dreja switched roles and Page became the other guitarist with
Beck in 1966

10. Beck quit and Page continued on with the band until they disbanded in 1968

a. Page formed a new band, the New Yardbirds, to finish out the Yardbirds'
commitments

b. He changed the name of this new group to Led Zeppelin

B. The Animals came from Newcastle in North England

1. Their early background

a. Preceded the Rolling Stones and Yardbirds with hits in the UK and United States

b. Lead singer Eric Burton and known for their wild stage presence

c. Played in Hamburg's Star Club

d. Moved to London in 1964

2. Important break came with a chance to play on a Chuck Berry tour in the UK

a. They played "House of the Rising Sun," a slow folk-blues number

b. It was a contrast to all the other rock and roll songs on the show

c. They recorded the song and it was a hit in the UK and the United States (p7 uk6,
1964)
 3. They had a string of hits produced by Herman's Hermits producer Mickey Most

a. "Don't Let Me Be Misunderstood" (p15 uk3, 1965)

b. "We've Gotta Get Out of This Place" (p13 uk2, 1965)

c. "It's My Life" (p23 uk7, 1965)

4. They had more hits with new producer Tom Wilson

a. "Inside Looking Out" (p34 uk12, 1966)

b. "Don't Bring Me Down" (p12 uk6, 1966)

5. The original band disbanded and Burton continued as Eric Burton and the Animals

6. Bassist Chas Chandler discovered and managed Jimi Hendrix

C. Other musicians in the blues scene eventually rose to great notoriety

1. Georgie Fame and the Blue Flames

a. Featured guitarist John McLaughlin

b. Jimi Hendrix drummer Mitch Mitchell

c. Vocalist Fame helped popularize the Hammond organ as a blues instrument

2. The Graham Bond Organization also used a Hammond organ

a. Jack Bruce

b. Ginger Baker

c. John McLaughlin

3. Police guitarist Andy Summers was a member of Zoot Money's Big Roll Band

4. Singer-organist Stevie Winwood (Spencer Davis Group) was known as the best British
blues vocalist

a. "Keep On Runnin'" was a hit in the UK (1965)

b. "Somebody Help Me" (1966) also a UK hit

c. "Gimme Some Lovin'" (uk2 p7, 1966)

d. "I'm a Man" (uk9 p10, 1967)

D. The Kinks and the Who had ties to both general categories
 1. Like the Beatles, both groups had strong songwriting members

a. The kinks had Ray Davies

b. The Who had Pete Townshend

2. Like the Stones, both groups used raw power and rhythmic drive

3. The Kinks were formed in 1963

a. Brothers Ray and Dave Davies on guitar and vocal

b. Peter Quaife on bass

c. Mick Avory on drums

4. The band had a string of hits from 1964 to 1966

a. "You Really Got Me" (uk1 p7, 1964) was covered by Van Halen in 1978

b. "All Day and All of the Night" (uk2 p7, 1964)

c. "Tired of Waiting for You" (uk1 p6, 1965)

d. "Till the End of the Day" (uk6 p50, 1965)

e. "A Well-Respected Man" (p13, 1965) focused on clever social critique in step
with Beatles trends

f. "Dedicated Follower of Fashion" (uk4 p36, 1966) also clever lyrics with social
critique

E. The Who

1. Formed in 1962, they didn't rise into prominence until the late 1960s

a. They built their act around captivating stage performance

b. Songs were written by Townshend

c. Singer Roger Daltry fronted the band

d. John Entwistle provided ambitious bass lines

e. Drummer Keith Moon was known for his wild drumming style

2. They had several UK hits during the early 1960s before breaking through in the United
States

a. "I Can't Explain" (uk8, 1965)

 b. "Anyway, Anyhow, Anywhere" (uk 10, 1965)

c. "My Generation" (uk2, 1965) with the famous stuttering "G-Generation" in the
lyric

d. "Substitute" (uk5, 1966)

e. "I'm a Boy" (uk2, 1966)

f. "Happy Jack" (uk3, 1966; p24, 1967)

3. In 1967 they had their first substantial U.S. hit with "I Can See for Miles", charting at
number 9

4. The Who focused attention on two London youth culture factions: the Mods and the
Rockers

5. The Mod subculture

a. Mods dressed meticulously and listened to rhythm and blues and Motown music

b. Rode Vespa motor scooters often embellished with too many rear-view mirrors

c. Used amphetamines to stay out all night partying and dancing

d. Frequented clubs where the Who played regularly

6. The Rockers emulated Marlon Brando's motorcycle gang leader character in The Wild
One film

a. Wore leather clothes

b. Rode motorcycles

c. Often engaged in brawls with the Mods

7. The Who released a concept album in 1973 about the riots that broke out in Brighton
Beach in 1964

a. The album was titled Quadrophenia

b. In 1979 they produced a film version of the album's story line

XIX. The impact of the Beatles and British Invasion bands that followed

A. The Beatles ushered in a new era in the UK focused on British musicians and songwriters

B. British youth had only been interested in American music and performance stylists during the
1950s

C. The Beatles' success in American allowed British bands to gain acceptance and credibility there
 1. Initial focus in America was on superficial elements of appearance and culture

2. The fact that two distinct styles arrived concurrently generated a broader audience

D. The American music industry was unexpectedly shaken out of its control of the music business

1. Phil Spector learned his craft from Leiber and Stoller

2. The "Wall of Sound" concept was already developed and in use for earlier songs

a. There was a clear incentive to regain the record sales lost to English record
labels

b. American musicians drew inspiration from British Invasion bands and began
forming their own styles

XX. American audience reaction to the Beatles was very positive

A. Musicians' response was one of inspired attempts to imitate and innovate

1. Established artists continued with what they were already doing prior to 1964

2. They continued to enjoy commercial success

a. Phil Spector

b. The Beach Boys

c. The Four Seasons

d. Motown artists

B. There was a music industry movement away from New York to Los Angeles after 1964

1. The television industry in Hollywood began producing pop music variety shows

a. Paul Revere and the Raiders hosted one such show

b. They wore Revolutionary War costumes

2. A television sitcom was developed around the Beatles film A Hard Day's Night

a. The Monkees (also with a misspelled band name) was a fictitious rock band

b. Even one member of the cast was British

c. David Jones was seen on the February 9, 1964, Ed Sullivan Show that debuted
the Beatles

3. Folk groups and artists moved to Los Angeles but nearly all were eventually signed to
New York labels
 4. Ironically the New York labels ignored them when they were in New York

C. By 1965 new American pop styles began to appear

1. Former styles were being fused with Beatles-oriented "beat" music

2. The most obvious example is folk rock

a. Folk music is simple

b. It is easily accessible to amateur musicians

c. Lyrics dominated that style

d. Electric instruments began to be used instead of acoustic instruments

3. The earliest artists to employ these sounds were folk artists first

a. Bob Dylan

b. The Byrds

c. Both added electric guitars, electric bass, drums, and occasionally keyboards

4. The folk revival was based on guitar chords accompanying vocals

5. The Beatles were originally a guitar-based ensemble

a. The transition from acoustic to electric is easy

b. Would-be musicians bought electric guitars and began practicing in garages

6. The combination of imitation and adaptation of preexisting styles is best seen in folk rock

XXI. Folk rock begins with Bob Dylan

A. Bob Dylan in 1964

1. Well known in the folk music community

2. Relatively unknown to the commercial pop mainstream audience

a. Folk artists weren't part of the "singles" end of the music industry

b. They were known for their albums of folk songs

3. At this time the folk music that had high exposure was by the pop-oriented folk artists

a. Peter, Paul, and Mary

 b. The Kingston Trio

4. Dylan's recording success was based on album sales

5. His album sales were fueled by touring

a. Extensive performances on college campuses

b. Folk clubs

6. Built his style around that of Woody Guthrie

a. Added new lyrics to familiar public domain folk songs

b. The new lyrics were about social injustice

c. The heroes of Guthrie songs were real people, not folklore

7. Early Dylan songs dealt with social issues

a. "Blowin' in the Wind" addressed civil rights issues

b. "Masters of War" was about the newly erupting Vietnam

8. Eventually Dylan began addressing more personal ideas

a. He put his talent for crafting lyrics into these relationship-driven topics

b. These lyrics were far more poetic than Brill Building songs

9. His second, third, and fourth albums were commercial successes in America and England

a. The Freewheelin' Bob Dylan (p22 uk16, 1963) had his original version of
"Blowin' in the Wind"

b. The Times They Are a-Changin' (p20 uk20, 1964)

c. Another Side of Bob Dylan (p43 uk8, 1964)

B. Dylan after 1964

1. He'd been interested in using electric instruments but wasn't satisfied with early attempts

2. The Byrds released an electric version of his "Mr. Tambourine Man" in 1965

a. The Byrds used a Rickenbacker electric 12-string guitar for the hook and
accompaniment

b. George Harrison is seen playing one in A Hard Day's Night

c. Dylan liked what he heard

 d. Decided to try electric instruments again

3. Bringin' It All Back Home (p6 uk1, 1965) was half electric and half acoustic

4. He next released a single that became a hit: "Subterranean Homesick Blues" (p39 uk9,
1965)

C. Electric Dylan and the Newport folk festival controversy

1. Dylan appeared at Newport in July of 1965 using electric instruments on some songs

2. Folk purists accused him of selling out to the pop mainstream

3. Dylan's next single was "Like a Rolling Stone" (p2 uk4, 1965) and also used electric
instruments

4. The next album was Highway 61 Revisited (p3 uk4, 1965)

5. The next single was "Positively 4th Street" (p7 uk8, 1965)

a. An angry song

b. What he called a "finger pointing" song

c. He used this metaphor in his songs about social injustice and pointed out the
perpetrators

d. In this song he was accusing the folk music establishment of unfair criticism

e. He's obviously angry and takes up twelve verses to express it.

6. Dylan had another hit with "Rainy Day Women Nos. 12 and 35" (p2 uk7, 1966)

7. His last album of 1966 was Blonde on Blonde (p9 uk3, 1966)

a. He used a band named the Hawks as his backup musicians

b. They subsequently changed their name to the Band

8. Dylan spent several months recovering from a near-fatal motorcycle accident in July of
1966

a. His records inspired musicians to follow in his path

b. They used electric instruments to accompany lyrics about serious issues

9. Dylan was gone for a while but folk rock was continued by other, more commercial
artists

XXII. The Byrds and the jingle jangle of the electric 12-string guitar
A. The first international folk rock hit was the Byrds' recording of Dylan's "Mr. Tambourine Man"
(p1 uk1, 1965)

1. Byrds were formed in Los Angeles in 1964

a. Roger (Jim) McGuinn, electric 12-string guitar and vocals

b. Gene Clark, vocals

c. David Crosby, guitar and vocals

d. Chris Hillman, bass and vocals

e. Michael Clarke, drums

2. Manager Jim Dickson taped their rehearsals and had them listen to themselves

B. The Rickenbacker electric 12-string guitar and folk rock

1. They saw the Beatles film A Hard Day's Night

a. George Harrison is seen playing a Rickenbacker electric 12-string guitar

b. It was only the second one ever made

c. McGuinn traded in his acoustic for a Rickenbacker 12-string similar to

Harrison's

2. Their trademark sound was instantly recognizable

a. Rich textured harmonized vocals utilizing full and falsetto voices

b. The sparkling electric 12-string

3. They recorded rock versions of folk songs and originals

a. Their first album was titled Mr. Tambourine Man (p6 uk7, 1965),

b. Total of four covers of Dylan songs

4. They covered a Pete Seeger song, "Turn, Turn, Turn" (p1 uk26, 1966)

5. The next album was also titled Turn, Turn, Turn (p 17 uk 11, 1966)

a. Also some covers of Dylan songs

b. Also some originals, most written by Gene Clark

C. When Dylan began writing folk rock songs the Byrds lost their best source of material

1. This forced the Byrds into writing their own folk rock songs
 2. They explored other styles, particularly jazz

a. Their next hit was written by McGuinn, Clark, and Crosby: "Eight Miles High"
(p14 uk24, 1966)

b. Inspiration from John Coltrane's "India" for the guitar solos

3. Radio stations quit playing the song when a trade magazine said the song was about
drugs

a. The lyrics referred to a cruising altitude for a transatlantic flight

b. The word "high" was code for being under the influence of drugsdouble
meaning was too clear

4. The Byrds' fourth album showed a wide spectrum of stylistic influences

a. Younger Than Yesterday (p24 uk37, 967)

b. Country

c. Jazz

d. Avant-garde influences

e. Psychedelia

XXIII. The Byrds, Dylan, the Beach Boys, and the music business

A. "Mr. Tambourine Man" is an interesting convergence of music business aspects

1. The entire band is not playing on the record

a. McGuinn plays the electric 12-string

b. McGuinn and Crosby sing

c. The rest of the track is provided by Phil Spector's "Wrecking Crew" studio
musicians

2. The "Wrecking Crew" used the same groove that they used on a Brian Wilson song

a. "Don't Worry Baby" was inspired by Spector's production of "Be My Baby" for
the Ronettes

b. Wilson originally wrote that song for Spector's girl groupshe rejected it

c. The idea of using studio musicians is a Brill Building concept

d. McGuinn had worked in the Brill Building as a songwriter for teen idol Bobby
Darin
 3. McGuinn claims to have been inspired by a Bach chorale: "Jesu, Joy of Man's Desiring"

a. He had been learning to play it on the electric 12-string guitar

b. The electric 12-string hook is melodically more similar to classical music than to
rock, folk, or blues

4. The use of a Beatles trademark sound in 1964 is unmistakable

5. The song has been substantially reduced in length

a. It is in contrasting verse-chorus form with uneven numbers of measures in the

verses

b. Dylan had three verses in his original version

c. Only one verse is used in the Byrds' cover

6. The song therefore takes on a "universal" style by embracing many of the current or
recent trends

a. Folk music was the music of "everyman"

b. Rock music was for all of the youth

XXIV. Simon and Garfunkel and electric folk

A. The song "The Sounds of Silence" (p 1, 1965) exemplifies how folk can be turned into rock

1. Paul Simon and Art Garfunkel performed as Tom and Jerry in the late 1950s

a. Their song "Hey Schoolgirl" was patterned after the Everly Brothers' duo
approach

b. They appeared on American Bandstand

2. They turned to folk music and recorded the folk album Wednesday Morning, 3 am (1964)

a. It didn't do well and the duo split up

b. Simon went to England

c. Garfunkel went to graduate school

3. Dylan and the Byrds ushered in the folk rock sound in 1965

4. The producer was Tom Wilson

a. He'd worked with Dylan on mid 1960s albums

 b. Dylan's first album in 1962 contained an acoustic version of "House of the
Rising Sun"

c. By 1966 Wilson was working with the Animals who'd recorded an electric
version of it in 1964

5. Wilson decided to add drums and electric instruments to one of the Wednesday Morning,
3 am tracks

a. "The Sounds of Silence"

b. Simon and Garfunkel knew nothing about it

c. The folk rock version of the single went to number one in the fall of 1965

6. The duo reunited and put the song on their new album, The Sounds of Silence (p21 uk
13, 1966)

7. They had more hits through the late 1960s

a. "Homeward Bound" (p5 uk9, 1966)

b. "I Am a Rock" (p3 uk 17, 1966)

8. The 1967 album Parsley, Sage, Rosemary, and Thyme (p4) moved back to acoustic
arrangements

a. He'd worked with Dylan on mid 1960s albums

b. "Scarborough Fair-Canticle" (p11, 1968) employed delicate counterpoint

c. "A Hazy Shade of Winter" (p13, 1966) uses a rock arrangement

9. They finished out the 1960s with two monumentally successful albums (commercially
and aesthetically)

a. Bookends (p1 uk1, 1968)

b. Bridge over Troubled Water (pl uk1, 1970)

XXV. The California side of the folk rock movement

A. Folk rock began by setting preexisting folk songs to rock arrangements

B. Several artists or groups wrote songs in the new style

1. P. F. Sloan's "Eve of Destruction" was recorded by Barry McGuire

a. Like many folk rockers, McGuire started in New York and moved to California

C. The Turtles
 1. A folk rock group that went pop

2. The Turtles started their career by covering Dylan songs

a. "It Ain't Me Babe" (p8, 1965)

b. "Let Me Be" (p29, 1965)

3. They moved toward the mainstream pop sound after that with their own material

a. "Happy Together" (p1 uk12, 1967)

b. "She'd Rather Be with Me" (p3 uk4, 1967)

c. "Elenore" (p6 uk7, 1968)

d. "You Showed Me" (p6, 1969)

4. Characteristic Turtles sound built upon highly polished dual lead vocalists

a. Howard Kaylan

b. Mark Volman

c. Both vocalists joined Frank Zappa's band for a few years with odd stage names

d. Phlorescent Leech and Eddie (Flo and Eddie)

D. Mamas and the Papas

1. A quartet of highly skilled singers formed in New York

a. Singer/songwriter/arranger John Phillips

b. Michelle Phillips

c. Denny Doherty

d. Cass Elliot

2. Moved to Los Angeles with other folk artists

3. Sophisticated four-part vocal arrangements with a wide spectrum of influences

a. Late 1950s-early 1960s close harmony folk singing similar to Peter, Paul, and
Mary

b. Girl-group doo-wop (they had a hit with a cover of the Shirelles' "Dedicated to
the One I Love")

4. Accompanied by a rock rhythm section

 a. Drums

b. Electric

c. Bass

d. Guitars

e. Keyboards

5. They had several hits that blended folk rock with pop mainstream finesse

a. "California Dreamin'" (p4 uk23, 1966)

b. "Monday Monday" (p1 uk3, 1966)

c. "I Saw Her Again" (p5 uk11, 1966)

d. "Creeque Alley" (p5, 1967)a musical tale of their (and friends') climb in the
folk rock scene

XXVI. American pop on both coasts

A. Phil Spector continues onward

1. Achieved his greatest successes in the months after the Beatles arrived

a. The Crystals: "Doo Doo Ron Ron" (p3 uk5, 1964) and "Then He Kissed Me"
(p6 uk2, 1964)

b. The Ronettes' "Be My Baby" (p2 uk4, 1964)

2. Spector and the Righteous Brothers hit with three big singles:

a. "You've Lost That Lovin' Feeling" (p1 uk1, 1965)

b. "Unchained Melody" (p4 uk14, 1965)

c. "Ebb Tide" (p5 uk48, 1966)

3. He hoped "River Deep, Mountain High" would be his greatest record ever

a. Written by Spector, Jeff Barry, and Ellie Greenwich

b. Sung by Tina Turner

c. Failed in charts (p86, 1966) went to number three in the UK

d. Spector was crushed by the failure and retired from the music business

4. Later produced some Beatles-related projects that went to number 1

 a. The Beatles "Let It Be" (1970)

b. George Harrison "All Things Must Pass" (1970)

c. John Lennon "Imagine" (1971)

B. The Beach Boys: Brian Wilson becomes another Phil Spector

1. Beach Boys continued to have hits after the Beatles arrived

a. They shifted away from surf music

b. "Fun, Fun, Fun" charted at number 5 during the Beatlemania craze

c. "I Get Around." was their first U.S. number 1 (number 7 in the UK) in 1964

2. They were in direct competition with the Beatles

a. Both groups were on Capitol records

b. Capitol was at that time owned by EMIthe Beatles' parent label

3. Brian Wilson decided to stop touring with the Beach Boys in December 1964

a. He wanted to devote all of his time to writing and producing the Beach Boys'
songs

b. The band replaced him on the road with Glen Campbell and then Bruce
Johnston

4. Wilson continually developed very sophisticated writing, arranging, and production

techniques

a. "Help Me Rhonda" (p1 uk7, I965)

b. "California Girls" (p3 uk26, 1965)

5. The album Pet Sounds (pl 0 uk2, 1966) upped the standard for record production and
arranging

a. "Sloop John B" (p3 uk2, 1966) uses Spector' s "Wall of Sound" with Wilson's
vocal arrangements

b. "Wouldn't It Be Nice" moves beyond surf music concepts

c. "God Only Knows," is the best example of how far Wilson's music developed

6. Pet Sounds became one of the most influential albums of the 1960s

a. Inspired the Beatles to even greater experimentation in Sgt. Pepper's Lonely

Hearts Club Band
 7. The next single, "Good Vibrations," became a new model for studio creativity

C. The "California Girls" introduction section exemplifies a sophisticated arrangement

1. Blend of symphonic melodic and harmonic concepts with surf music

a. Contrasting verse-chorus formal design

b. Overall structure has noticeable similarity to Spector's song "Be My Baby"

c. Instrumental break after the second chorus and before the chorus fade-out

2. Eight-measure introduction is unique to the song and does not recur

a. A brief two-measure figure played quietly at first

b. Repeated as new instruments enter

c. Chords build in the horns

d. Two-measure rhythmic figure leads into the first verse

3. Various musical concepts show Wilson's interest in expanding the sound of rock music

a. Drums change rhythmic pattern during the chorus

b. Drum accents in the choruses are rhythmic patterns more common to symphonic
music

4. The subtleties in this 1965 song foreshadow new experiments in Pet Sounds and "Good
Vibrations"

XXVII. Sonny and Cher (Sonny Bono and Cherilyn La Piere)

A. Sonny had been involved in the Los Angeles music scene since the 1950s

1. Worked at Specialty Records

a. Assigned to Little Richard before the singer decided to give up rock for the
ministry

2. Handled promotion for Phil Spector's label, Philes Records

a. Close to Spectora trusted employee

b. Played percussion on many Spector productions at Gold Star Studios

c. Learned Spector's production techniques

d. Often brought girlfriend Cher in to sing backup vocals

B. Sonny and Cher released three unsuccessful singles in 1963 as Caesar and Cleo

1. Sonny wrote and produced singles that became regional hits in 1964

a. "Baby Don't Go" and "Just You" for the first half of 1965

2. They cashed in on the new folk rock trend of covering folk material

a. Sonny produced Cher's cover of Dylan's "All I Really Want to Do"

b. It went to number 15

c. Caused the Byrds' version to stall in the charts at number 40

d. "I Got You, Babe" hit number one in both the U.S. and UK charts

3. Earlier songs returned successfully to the charts

a. "Baby Don't Go" (p8 uk11) and

b. "Just You" (p20)

4. They next had a series of pop hits:

a. "But You're Mine" (p15 uk17, 1965)

b. "Little Man" (p21 uk4, 1966)

c. "The Beat Goes On" (p6 uk29, 1967)

C. They developed into cultural icons

1. They were known for their outlandish hippie attire and long hair

a. The youth culture embraced them for their conviction to nonconformity

b. The establishment resented them for it and harshly criticized them for it

c. They were among the first to state that people had a right to look the way they
wanted to

2. They conveyed an anti-establishment image

3. Eventually hosted their own network TV variety show that was very successful

a. By the time that happened, they were considered to be "family entertainment"

b. They employed humor that was directed at conservative values as well as each
other

c. They married and became one of the "America's Sweetheart" celebrity couples
XXVIII. More Los Angeles artists

A. Gary Lewis and the Playboys

1. Leader was comedian Jerry Lewis's son

2. Gary had appeared in his dad's 1957 film Rock-a-Bye Baby

a. In 1964 his band was regular entertainment at Disneyland

b. Cameo appearance in the film A Swingin' Summer starring Raquel Welch

3. The group's first hit, "This Diamond Ring" (p1, 1965)

a. Produced by veteran producer Snuff Garrett

b. Arrangements by Wrecking Crew pianist Leon Russell

4. The song was co-written by Al Kooper

a. He played organ on Dylan's "Like a Rolling Stone" and "Positively 4th St."

b. Lewis performed it with his father in the film The Family Jewels

5. Eleven more hits in the next few years, including

a. "Count Me In" (p2, 1965)

b. "Save Your Heart for Me" (p2, 1965)

c. "She's Just My Style" (p3, 1965)

d. "Green Grass" (p8, 1966)

B. Johnny Rivers (John Ramistella)

1. In the music business for several years before getting a hit record on Imperial Records

a. His first two hit singles were Chuck Berry covers

b. "Memphis" (p2, 1964) and

c. "Maybellene" (p12, 1964)

2. "Midnight Special" was a cover of a Weavers hit

a. Number twenty hit in February 1965

b. Before the Byrds or Dylan introduced folk rock

 3. Eleven more Top 40 singles in the 1960s

a. "Where Have All the Flowers Gone" (p26, 1965)

b. "Poor Side of Town" (p1, 1966)

c. "Secret Agent Man" (p3, 1966)his best known song

d. It was a theme for a popular TV show

4. Started his own label in 1966, Soul City

a. Signed songwriter Jimmie Webb

b. Rivers produced the Fifth Dimension's "Up, Up, and Away" (p7, 1967)

5. Eight Top 40 albums

XXIX. Meanwhile back in New York

A. The Lovin' Spoonful

1. Formed by songwriter-folk singer John Sebastian

a. Zalman Yanovsky, guitar

b. Steve Boone, bass

c. Joe Butler, drums

2. Kama Sutra Records released "Do You Believe in Magic" (p9, 1965)

a. Written by Sebastian, produced by Erik Jacobsen

3. Songs tended to be playful and upbeat

a. "Daydream" (p2 uk2, 1966)

b. "Did You Ever Have to Make Up Your Mind" (p2, 1966)

c. "Summer in the City" (pl uk8, 1966)

d. "Nashville Cats" (p8 uk26, 1967)

B. The Young Rascals

1. Signed to Atlantic Records; allowed them to produce themselves

a. Felix Cavaliere on Hammond organ

 b. Eddie Brigati on vocals

c. Gene Cornish on guitar

d. Dino Danelli on drums

2. First hit was a rock and roll cover of the Olympics' rhythm and blues hit "Good Lovin"
(p1, 1965)

3. Further hits were written in rhythm and blues influenced style by Cavaliere and Brigati

a. "I've Been Lonely Too Long" (p 16, 1967)

b. "Groovin'" (p1 uk8, 1967)

c. "How Can I Be Sure" (p4, 1967)

d. "A Beautiful Morning" (p3, 1968)

e. "People Got to Be Free" (p 1, 1968)

4. They opened for the Beatles at the Shea Stadium concert in the summer of 1965

a. Their manager was Sid Bernstein

b. Bernstein was the promoter of the concert who booked the Beatles

C. What happened to the Brill Building

1. Don Kirschner (Aldon Music) moved to Los Angeles to run Colpix records

2. Leiber and Stoller returned to Los Angeles and formed Red Bird records

a. The Ad Libs' "The Boy from New York City" (p8, 1965)

b. Dixie Cups' "Chapel of Love" and the

c. Shangri-Las' "Leader of the Pack" (both discussed in Chapter 3)

d. Left the Drifters with producer Bert Berns

3. In 1965 Berns formed Bang! Records

a. Partners were Ahmet and Neshui Ertegun and Jerry Wexler from Atlantic
Records

b. Produced a group called the McCoys

c. They had a hit with "Hang On Sloopy" (p1, uk5 1965)patterned after "Louie
Louie"
 d. Two more Top 40 hits: "Fever" (p7 uk44, 1965) and "Come On Let's Go" (p22,
1966)

4. Bang! signed Neil Diamond and his hits started in 1966

a. "Cherry, Cherry" (p6, 1966)

b. Diamond wrote "I'm a Believer" and it became a hit for the Monkees

D. The Four Seasons

1. Highly successful vocal groupan East coast answer to the Beach Boys' vocal
arrangements

a. Lead singer Frankie Valli used high falsetto

b. Overall vocal sound was tight and powerful

2. Signed to Vee Jay records

a. In 1963 Beatles producer George Martin had licensed the first Beatles LP to Vee
Jay

b. Capitol had refused to release the first Beatles album and four singles

c. Vee Jay put out a double album called Beatles vs. the Four Seasons

3. Four Seasons had a long string of hits through the first half of the 1960s

a. "Sherry" (p1, 1962)

b. "Big Girls Don't Cry," (p1, 1962)

c. "Walk Like a Man" (p1, 1963)

d. "Rag Doll" (p1, 1964)

e. "Let's Hang On" (p4, 1965)

f. "Workin' My Way Back to You" (p9 uk50, 1966)

XXX. Top 40 Radio

A. Radio in the first half of the twentieth century changed from its original concept into something
entirely different

1. Broadcasting was originally built around specific types of programming

a. Similar to the way television is now

b. Some portion of each day was reserved for national shows

 c. Dramas, soap operas, mysteries, comedies, news, music, or variety shows

2. Television drew audiences away from radio

3. Television featured viewable versions of what radio had provided

B. The transistor radio was introduced in the 1950s

1. The audience that embraced this technology was younger and more active

2. This audience was more interested in music than previous generations had been

C. The actual origin of the Top 40 radio format is not known

1. The first all-music radio station was KOWH in Omaha, Nebraska

2. KOWH owner-operator Todd Storz abandoned network programming and just played
music all day

a. It was cheaper

b. Surveys indicated that listeners preferred music to any other type of

programming

c. The idea caught on quickly and spread across the nation

3. The Top 40 format is a simple concept:

a. The host of the show was a disk-jockeyor DJ as they came to be known

b. The DJ had to develop an "on air" personality that would hold the listeners'
attention

c. The DJ played records, occasionally inserting news and advertising between

songs

d. The songs the DJ played came from a prescribed list provided by the station
programmer

e. This list would be based on the weekly Billboard singles chart

f. That chart indicated the most popular songs in the nation for that week

4. The Billboard chart was based on several factors

a. Number of records sold

b. Jukebox selections

c. Call-in requests to radio stations

 5. Not all songs played were from the Billboard chart

a. They could be songs selected by the station programmer

b. They could be selected by the DJ

6. Songs could become hits if a DJ played one and the audience liked it and began
requesting it

a. DJs played songs based on educated guesses about a new song's potential to
become a hit

b. If the audience liked a song, the DJ would play it more often

c. This generated more sales, jukebox selections and call-in requests

d. These factors would affect the song's position on the Billboard chart

7. This cyclical concept is the reason songs exploded into hits

a. It happened with songs that had distinctive qualities

b. New styles

c. Novelty songs

D. Top 40 radio played an important role in the integration of music styles

1. The bottom line for stations was advertiser income

2. Listeners are potential consumers of the advertisers' products

3. Stations had to play a wide variety of music hits to have a broad listener audience

4. Songs by artists from different racial or ethnic groups had positive potential for the
station

a. If the audience liked it, it would get more airplay

b. This meant more income for the station because it increased the listening
audience

E. The personality of the DJ played an increasingly important role in radio

1. Often the DJ would be the deciding factor in whether people tuned in

2. Some DJs became national stars

3. They played an important role in the hit-making process

a. Wolfman Jack
 b. Cousin Brucie

c. Murray the K

4. Many of these celebrity DJs made a point of informing their listeners of new styles or
artists

a. This helped to promote songs that crossed the color line

b. It brought about greater stylistic diversity

c. It accelerated the changes that occurred in all styles of popular music

XXXI. Garage Bands: No professional experience necessary

A. Amateur musicians bought guitars, basses, and drums and occasionally keyboards

1. They formed bands and they practiced in garages or basements

2. These "Garage Bands" can be seen as a direct reaction to the British Invasion

3. British Invasion bands, particularly the Beatles, were idolized by American male teens

a. Often the goal was to merely play gigs locally at parties or school dances

b. They usually used inexpensive equipment and sounded amateurish

4. Most of these bands had a few hits and then disappeared

a. Were unable to rise to the challenge of staying in business

b. Record labels released their first recording for the novelty appeal more than
anything else

c. Some continued to improve their musicianship to be able to remain in the

business

d. Doing that worked against them, as they lost the quaint amateurish sound that
had worked for them

B. The Kingsmen and "Louie Louie"

1. Garage that succeeded with their $50 recording of a 1956 calypso-influenced rhythm and
blues song

a. The band is from Portland, Oregon

b. Recording was also made in that area

2. Rose to number two in 1963

 3. Poor quality of the production caused controversy

a. Nearly unintelligible vocals were suspected of being obscene

b. In 1964 governor of Indiana declared the song profane and ordered an FCC
investigation

c. FCC couldn't decipher the lyrics either

d. Decision was made that the song was harmless

4. The Kingsmen had two more hits before disappearing from view

a. "Money" (p 16, 1964)

b. "The Jolly Green Giant" (p4, 1965)

C. Paul Revere and the Raiders was another Portland band that also recorded "Louie Louie"

1. Their version lost in the charts to the Kingsmen's version

2. Their gimmick was Revolutionary War costumes

3. They moved to Hollywood and succeeded in the music business through TV exposure

4. The were picked to host a network TV show on CBS: Where the Action Is (See XIV.A)

5. They worked with Byrds producer Terry Melcher to release several hit records in the
1960s

a. "Just like Me" (p 11, 1966)

b. "Kicks" (p4, 1966)

c. "Hungry" (p6, 1966)

d. "Good Thing" (p4, 1967)

e. "The Great Airplane Strike" (p20, 1966) written by the band's vocalist Mark
Lindsay and Melcher

f. "Indian Reservation" reached number one in 1971

6. This success qualifies this band as the most successful garage band of the 1960s

D. All the others

1. There was a definite pattern of "one-hit wonders" who didn't last beyond one or two hits

a. Cannibal and the Headhunters: "Land of 1000 Dances" (p30, 1965)

 b. Count Five: "Psychotic Reaction" (p5, 1966)

c. ? and the Mysterians: "96 Tears" (p1, 1966)

d. Seeds: "Pushin' Too Hard" (p36, 1966)

e. Shadows of Knight: "Gloria" (p10, 1966)

f. Standells: "Dirty Water" (p11, 1966)

g. Syndicate of Sound: "Little Girl" (p8, 1967)

2. Tommy James and the Shondells had fourteen Top 40 hits including

a. "Hanky Panky" (p1, 1966)

b. Recorded in 1963 and released in 1966 after a Pittsburgh DJ started playing it

c. "Mony Mony" (p3, 1968)

d. "Crimson and Clover" (p 1, 1968)

e. "Crystal Blue Persuasion" (p2, 1969)

3. Sam the Sham and the Pharaohs had six national hits up through 1967

a. "Wooly Bully" (p2, 1965) was their first of five more including

b. "Little Red Riding Hood" (p2, 1966)

XXXII. 1960s rock and roll television: American Bandstand meets A Hard Day's Night

A. Several television shows appeared modeled after Dick Clark's highly successful show American
Bandstand

1. Clark produced the CBS show Where the Action Is featuring Paul Revere and the Raiders

2. Other similar formatted shows:

a. Shindig debuted on ABC a few months before Clark's show

b. NBC followed with its show Hullabaloo

c. These three network shows (and many local shows) featured British Invasion
and American acts

B. The Monkees television show debuted in September 1966

1. A show inspired by director Richard Lester's Beatles films

2. Television sitcom supported by records

3. Main characters were a rock band

a. General fun and witty humor

b. Songs would be featured in the show and released as records

4. Actors cast for the parts were only involved in singing on the supporting records

a. Guitarist and songwriter Michael Nesmith

b. Peter Tork had been active in Greenwich Village folk music

c. Singer Davy Jones had performed on Broadway in Oliver

d. He performed with that cast on the night the Beatles debuted on the Ed Sullivan
Show

e. Mickey Dolenz had starred in the Circus Boy TV series

5. All focus was directed at the acting in the show, not the records that would be released

a. Songs were needed and were provided and produced in the Brill Building
tradition

b. Professional songwriters Tommy Boyce and Bobby Hart were hired to create the
music

c. Also from the Brill Building: Gerry Goffin and Carole King

d. The first Monkees hit, "Last Train to Clarksville" (p1, 1966) coincided with the
show's debut

e. Neil Diamond wrote the next hit "I'm a Believer" (p1 uk1, 1966)

f. Backing tracks were produced by Boyce and Hart using studio musicians

6. Hollywood had total control of the show and the music

a. This concept closely paralleled the Brill Building approach to pre-Beatles era
1960s song production

b. It was also a successful approach for the Byrds' "Mr. Tambourine Man"

c. Brian Wilson used this approach for the later Beach Boys material, particularly
Pet Sounds

7. The success of the music was unexpected

a. "I'm Not Your Stepping Stone" (p20, 1967) was the B-side to "I'm a Believer"
 b. "A Little Bit Me, a Little Bit You" (p2 uk3, 1967)/"The Girl 1 Knew
Somewhere" (p39, 1967)

c. "Pleasant Valley Sunday" (p3 uk11, 1967)/ "Words" (p11, 1967)

d. "Valleri" (p3 uk12, 1968)/"Tapioca Tundra" (p34, 1968)

e. The first four albums were all number one in the U.S. and within the top 5 in the
UK

f. The first two albums combined to hold a number one position for thirty-one
weeks from 1966 to 1967

8. The band members all improved their musicianship enough to play on their own records

a. Nesmith had played on the records all along

b. They wanted to take control of the writing and production as well

c. Production executives resisted but the band won, just as the Beatles had done

d. Eventually other artists would insist on control of their songs

9. When they gained full control, their popularity diminished

C. A look at "Last Train to Clarksville"

1. Form: simple versefive verses

2. Verse 5 is a return of verse 1

3. The verses are in a 16-measure pattern, though the first and third verses are only 14
measures

a. The last 2 measures of those verses are truncated

b. There are two interludes added in for the sake of formal enhancement

I. The first employs a wordless vocalized syllable ("doo")

II. The second is derived from the first with high background vocals and
guitar arpeggios

III. Like Beatles songs of this same time period, the subtle changes in form
make the song interesting

XXXIII. The bands who never were and the hits they had

A. Hollywood went one step further than the Monkees concept: fictitious bands

1. This could be seen as the Brill Building concept taken to the logical extreme
 a. Songwriter/producers proved that the actual singers were expendable

b. Why not have cartoon characters as the "artist"

c. In 1969 Don Kirschner promoted a cartoon band that had a TV show: the
Archies

d. Their hit was "Sugar Sugar," topping both U.S. and UK charts

2. There were several successful imaginary bands that appealed to 1960s teens

a. The Banana Splits wore fuzzy costumes

b. Lancelot Link and the Evolution Revolution were chimpanzees

c. Pop music was laid under chase scenes in Scooby Doo Where Are You?

3. The Partridge Family sitcom was about a musical family who were also a "working" band

B. All of the songs belonging to pretend bands were in a style that appealed to young teens

1. Their older siblings were interested in songs with more substance

a. Lyrically as with folk rock

b. Musically as with the Beatles (who were embracing folk rock ideals and lyrics
by the mid 1960s)

2. This young teen pop style was named for a substance present in nearly all young teen
mouths: bubblegum

I. The effect of the British Invasion on black pop

A. There is a large consensus that the British Invasion hindered early 1960s pop music by black
artists

1. Some artists and styles survived

a. Phil Spector, Leiber and Stoller, and others had hit records in 1964

b. Shangri-Las' "Leader of the Pack" went to number one for Leiber and Stoller's
Red Bird label in 1964

c. The Righteous Brothers' song "You've Lost That Lovin' Feeling" went went to
number one in 1965

d. That song was a Phil Spector production

e. The Drifters' with "Under the Boardwalk" reached number four in 1964

2. Many artists did not remain on charts after the British Invasion
 a. The Ronettes' "Walking in the Rain" only made it to number twenty-nine

b. The Brill Building approach to making records died out with the British
Invasion

3. There is a temptation to compare the British Invasion to the 1950s

a. British musicians played music inspired or derived from black music styles in
the 1960s

b. White groups and artists covered a great number of black pop songs in the 1950s

B. New black pop music arrived during the 1960s from new artists and other parts of the country

1. Detroit, Michigan

2. Memphis, Tennessee

3. Muscle Shoals, Alabama

4. Atlanta, Georgia

C. Styles from these regions raise the question about whether one style could be "blacker" than others

1. Motown records was an independent label founded in Detroit, Michigan

a. Had enormous commercial success that paralleled the Beatles' success timeline
in the early 1960s

b. Built the sound of the records around styles that appealed to a white audience

c. That generated accusations that Motown had "sold out" for big profits

2. Southern soul from the Memphis area remained truer to musical roots in black culture

II. Motown: Black music for white audiences

A. Founded by Berry Gordy Jr. in 1959

1. Gordy had several jobs before starting a record label

a. Professional boxer

b. Worked for his father's plastering company

c. Owned a record store

d. Worked on the Ford assembly line

2. Gordy was interested in jazz but knew it wasn't commercially successful

 3. A boxing friend, Jackie Wilson, was going into singing and needed songs

4. Gordy collaborated with Billy Davis (a.k.a. Tyran Carlo) on songs for Wilson

a. "Reet Petite" (1957)

b. "Lonely Teardrops" (p7 r1, 1958)

c. "That's Why (1 Love You So)" (p13 r2, 1959)

5. Gordy formed Motown Records in 1959 and patterned many songs after other successful
records

a. First hit was in 1960, Barrett Strong's "Money (That's What 1 Want)" (p23 r2)

b. The Marvelettes' "Please Mr. Postman" (p1, r1, 1961) draws from Brill Building
"girl group" style

c. By the Contours' "Do You Love Me" (p3 r1, 1962) resembles the Isley Brothers'
style

6. Gordy knew that the best commercial potential was in crossover records

a. From rhythm and blues to pop

b. He used the same approach as Chuck Berry: the original version would become
the crossover

c. That eliminated the need (or opportunity) for other labels to cover the records

d. This concept brought huge financial rewards

e. Records generally charted higher on the rhythm and blues charts but pop was
always close

B. Gordy studied the successful models and used them in his own company

1. The Leiber and Stoller idea of songwriters producing their songs had worked

2. That idea had been adopted by the Brill Building successfully so Gordy employed it in
Motown

3. The original Motown songwriter-producer team from 1960 to 1964 included

a. Gordy

b. William "Mickey" Stevenson

c. William "Smokey" Robinson

4. This team is responsible for several early hits

 a. The first Miracles hit "Shop Around" (p2 r1, 1960)

b. Written by Gordy and Robinson, produced by Gordy

5. Robinson wrote and produced several hits for Motown singer Mary Wells from 1962 to
1964:

a. "The One Who Really Loves You" (p8 r2, 1962)

b. "You Beat Me to the Punch" (p9 r1, 1962)

c. "Two Lovers" (p7 r1, 1962)

d. "My Guy" (p1, 1964)

C. The Producers

1. From 1964 to 1967 Brian Holland, Lamont Dozier, and Eddie Holland created many hits
for groups recording for the label:

a. Supremes

b. Four Tops

c. Martha and the Vandellas

2. From 1967 to 1970 Norman Whitfield produced hits for the Temptations

3. Other important late 1960s Motown producers included

a. Frank Wilson

b. The team of Valerie Ashford and Nick Simpson

D. Quality ControlMotown style

1. Recordings were produced in two adjoining Detroit houses called "Hitsville, USA"

2. Gifted and experienced studio musicians helped producers craft their arrangements

a. Similar to Phil Spector's "wrecking crew"

b. Musicians were talented jazz musicians, adept at improvising and spontaneous

"arranging"

c. Holland-Dozier-Holland sessions frequently began with only sparse musical

directions

3. A core group of musicians were at the center of the production process

4. They played on most of the recordings

 a. Pianist Earl Van Dyke

b. Drummer Bennie Benjamin

c. Electric bassist James Jamerson

5. They were the studio band, "the Funk Brothers," responsible for the mid-1960s "Motown
sound"

6. In 2003 a documentary was produced about the Funk Brothers

a. Standing in the Shadows of Motown

b. The film featured interviews with surviving members of the studio band

c. Attention was finally focused on the musicians who were so much a part of that
style

7. Gordy held a weekly meeting with the Motown staff to decide which records they
thought would be hits

E. Artist development was incorporated into the label

1. Purpose was to teach low-income-bred artists how to behave in all possible social
situations

2. Former Broadway choreographer Cholly Atkins was hired to teach dance and stage
movements

a. Dance movements had to be refined and graceful

b. Motown artists had to project an image of class and sophistication

3. Gordy hired a charm school teacher, Maxine Powell, to teach proper manners and
etiquette

a. Artists learned how to speak and move with charm and grace

b. They were groomed to be able to appear at elegant performance venues

c. They were to be prepared to perform at the White House or Buckingham Palace

III. The Motown artists

A. The Temptations

1. The Temptations formed in 1961 and were one of Motown's top acts from 1964 to 1972

2. They were made up of members of two Detroit area groups: the Distants and the Primes

a. Otis Williams
 b. Melvin Franklin

c. Al Bryant, who was replaced by David Ruffin in 1963

d. Eddie Kendricks

e. Paul Williams (no relation to Otis)

f. Dennis Edwards replaced Ruffin in 1968

3. The group had a hit in early 1964: "The Way You Do the Thing You Do" (p11)

a. Written and produced by Smokey Robinson

b. Exemplifies Robinson's clever approach to lyrics

c. "You got a smile so bright, you could've been a candle," works with Robinson's
cheerful music

d. Features Kendrick's high tenor vocal

4. Robinson went on to write and produce more Temptations hits

a. "My Girl" (p1 r1, 1965) featuring Ruffin on lead vocals

b. "Get Ready" (p29 r1, 1965)

5. Norman Whitfield produced several Temptations hits in the later part of the 1960s

a. "Ain't Too Proud to Beg" (p13 r1, 1 966)

b. "I Know I'm Losing You" (p8 r1, 1966)

c. "You're My Everything" (p6 r3, 1967)

d. "Cloud Nine" (p6 r2 1968) displays influence of Sly and the Family Stone

B. The Supremes

1. Best example of the Motown sound from the mid to late 1960s

2. The extension of the Brill Building's girl-group concept to highest level of commercial
success

3. Formed in Detroit in 1959 as a sister group to the Primes, they were called the Primettes

a. Diana Ross

b. Mary Wilson

c. Florence Ballard, replaced by Cindy Birdsong in 1967

 4. Unsuccessful releases until Holland-Dozier-Holland produced five consecutive number
one hits

a. "Where Did Our Love Go" (p1, 1964)

b. "Baby Love" (1964)

c. "Come See about Me" (r3, 1964)

d. "Stop! In the Name of Love" (r2, 1965)

e. "Back in My Arms Again" (r 1, 1965)

f. "Reflections" (p2 r4, 1967)

5. Holland-Dozier-Holland left Motown in 1967 but the Supremes had another hit in 1968

a. "Love Child" (p1 r2, 1968)

b. Diana Ross left in 1969 to pursue a solo career

c. Their last single featuring Ross was "Someday We'll Be Together" (p1 r1, 1969)

C. The Supremes and Holland-Dozier-Holland

1. One of the most successful writing and production teams in popular music

2. "Baby Love" is a good example of the H-D-H/Supremes approach during the mid 1960s

3. The introduction uses an arrangement idea similar to their previous hit "Where Did Our
Love Go?"

a. A sound like handclaps: actually wooden 2x4s slapping together

b. Introduction that features a series of pulsating piano chords with drums

c. Vibraphone (or "vibes"): similar to the xylophone but with a sustained sound
with vibrato

4. Simple verse form

a. Seven verses repeated mostly without much change in accompaniment

b. Accompaniment includes electric guitar and bass after the introduction

c. Other Supremes provide backup vocals

5. Nice twists to the arrangement

a. Third verse: saxophone takes a solo for the last eight measures
 b. Verse 5 introduces a change of key: up a 1/2 step

6. Holland-Dozier-Holland were so successful because they repeated ideas that worked

a. In the first two Supremes songs the word "Baby" is frequently used

b. The first three singles use simple verse form

c. Contrasting verse-chorus form used in "Stop! In The Name of Love" and "Back
in My Arms Again"

D. The Four tops

1. Formed in 1954 and remained together for four decades

a. Levi Stubbs

b. Obie Benson

c. Lawrence Payton

d. Duke Fakir

2. The male counterparts to the Supremes from 1964 to 1967

3. A string of H-D-H hits that included

a. "Baby I Need Your Loving" (p, 1964)

b. "I Can't Help Myself (Sugar Pie, Honey Bunch)" (p1 r1, 1965)

c. "It's the Same Old Song" (p5 r2, I 965)

d. "Reach Out I'll Be There" (p1 r1, 1966)

e. "Standing in the Shadows of Love" (p6 r2, 1966)

4. Holland-Dozier-Holland arrangement characteristics frequently included classical

references

a. Orchestral strings

b. Classical harmonic progressions

E. Martha (Reeves) and the Vandellas formed in Detroit in 1962

1. Recorded for Chess Records as members of the Del-Phis, they became the Vandellas in
1963

a. Rosalyn Ashford
 b. Annette Beard (replaced by Betty Kelly Beard in 1964)

2. Reeves and friends sang backup on Marvin Gaye's "Stubborn Kind of Fellow" (p46 r8,
1962)

3. Holland-Dozier-Holland produced most of the Martha and the Vandellas hits

a. "Heat Wave" (p4 r1, 1963)

b. "Quicksand" (p8, 1963)

c. "Dancing in the Street" (p2, 1964) was produced by Mickey Stevenson

d. "Nowhere to Run" (p8 r5, 1965)

e. "Jimmy Mack" (p10 r1, 1967)

4. Martha and the Vandellas vocal style was drawn from gospel music

a. Powerful full-throated vocal style from Reeves

b. Stark contrast to the Supremes' much more reserved pop style

c. Foreshadowed more soulful singers who would arrive in mid-decade

d. Acceptance of the Martha and the Vandellas sound opened the door for Aretha
Franklin

F. Marvin Gaye

1. One of three artist-producers on the Motown label

a. Smokey Robinson was one

b. Stevie Wonder was the other

2. His first hit was in 1962: "Stubborn Kind of Fellow"

3. Sixteen more Top 40 singles

4. Ten Top 40 hits in duets with Mary Wells, Tammi Terrell, and Kim Weston

5. Gaye collaborated with Motown producers on many hit songs

a. "Pride and Joy" (p10 r2, 1963) for Mickey Stevenson

b. "How Sweet It Is (To Be Loved by You)" (p6 r4, 1965) for Holland-Dozier-
Holland

c. "Ain't That Peculiar" (p8 r1, 1965) for Smokey Robinson

 d. "Ain't Nothing Like the Real Thing" (p8 r1, 1968)

e. (Sung with Tammi Terrell and produced by Ashford and Simpson)

6. Gaye produced hits for the Originals in the late 1960s

a. "Baby I'm for Real" (p14 r1, 1969)

b. "The Bells" (p12 r4, 1970)

7. Gaye's most important production was his 1971 concept album What's Going On

G. Stevie Wonder

1. His first hit was "Fingertips, pt. 2" at age 13

a. Live recording of an impromptu performance from a Motown revue concert

b. Spontaneity made this one of Motown's biggest hits

2. Wonder had several hits through the late 1960s (after his voice changed) on songs he co-
wrote

a. "Uptight (Everything's Alright)" (p3 r1, 1966)

b. "I Was Made to Love Her" (p2 r1, 1967)

c. "For Once in My Life" (p2 r2, 1968)

d. "My Cherie Amour" (p4 r4, 1969)

3. He began producing his own records in 1970

a. "Signed, Sealed, Delivered, I'm Yours" (p3 r1)

4. He produced his own album Where I'm Coming From in 1971

5. That album contained two hit singles

a. "If You Really Loved Me" (p8 r4, 1971) and

b. "We Can Work It Out" (p13 r3, 1971): a cover of the Beatles' 1965 hit

6. Stevie Wonder's writing and production skills helped Motown evolve into the 1970s

IV. Motown's impact on the civil rights movement

A. Gordy truly believed that Motown artists should appeal to white middle class

1. The carefully controlled choreography and charm-school training guaranteed that this
would happen
 2. The Brill Building approach to the sound of the music also figured in

3. Black Americans embraced the sound

a. They knew it sounded "white" but the artists were from their culture

b. Motown artists demonstrated that all blacks could assimilate into white culture

B. Those who considered Motown to be a "sell-out" of black identity and culture looked to the South

1. Southern soul music countered the Motown move away from black cultural roots

2. Motown songs maintained a strong sense of heritage while also promoting change

C. The Motown model serves as a forerunner to other labels in the 1970s

1. George Clinton took black music in new directions that appealed to all racial groups

2. Gamble and Huff launched the disco era using black pop as a foundation

a. They further extended the Motown/Brill Building approach to orchestrating

songs

b. Their songs were also driven by up-tempo dance rhythms

V. Atlantic, Stax, and Southern Soul

A. Atlantic began the 1960s as a highly successful rhythm and blues oriented label

1. They had incorporated the Leiber and Stoller/Brill Building approach into their song
production

2. Their sweet soul artists' records were successful

a. Drifters

b. Coasters

c. Ben E. King

3. Producer Jerry Wexler wasn't getting to produce as much as he wanted to

a. Leiber and Stoller had taken over much of the production of the label's songs

4. Wexler and Bert Berns signed Solomon Burke to the label and co-produced several hits

a. "Just Out of Reach (Of My Two Open Arms)" (p24 r7, 1961)

b. "If You Need Me" (p37 r2, 1963)

c. "Goodbye, Baby (Baby Goodbye)" (p33, 1964)

 d. "Got to Get You off My Mind" (p22 r1, 1965)

e. "Tonight's the Night" (p28 r2, 1965)

5. Wexler's renewed enthusiasm for production led him to explore southern black music
styles

a. Southern black music was more emotional

b. It had an exuberance more commonly found in black gospel music

c. This quality was not evident in sweet soul songs by the Drifters or Ben E. King

6. Jerry Wexler held an important role in developing southern soul music during the 1960s

B. The Memphis southern soul connection with New York

1. Atlantic records formed a licensing agreement with Memphis-based Stax records

2. Licensing agreements were common between large labels and small labels

a. The large label pressed copies using either their own label or the smaller label

b. These records were distributed by the larger label that had a bigger distribution
network

c. The larger label took a percentage of the sales

d. Everybody wins

e. The small label's songs were usually proven regional hits

f. These songs were often in a unique style that the large label couldn't reproduce
on its own

3. Stax records formed in 1960 in Memphis by Jim Stewart and sister Estelle Axton (St+Ax
= Stax)

a. Original name was Satellite Records

b. Wexler liked one of their records by Rufus Thomas called "Cause I Love You"

c. Sung by Thomas and his daughter Carla

d. Atlantic leased the record and another, "Gee Wiz," in 1961

e. "Gee Wiz" was a Top 10 hit in pop and rhythm and blues charts

4. Atlantic and Stax set up leasing agreements for many songs during the early 1960s

a. "Last Night" (p3 r2, 1961) by the Mar-Keysan instrumental

 b. "Green Onions" (p3 r1, 1962) by Booker T. and the MG'salso an instrumental

c. "Walkin' the Dog!" (p10 r5, 1963), a dance hit by Rufus Thomas

5. The records were recorded in Memphis under conditions similar to Motown's

a. In-house band: Booker T. and the MG's

b. Booker T. Jones on organ

c. Steve Cropper on guitar

d. Donald "Duck" Dunn on Bass

e. Al Jackson Jr. on drums

6. Songwriters involved in the Stax songs were

a. David Porter

b. Isaac Hayes

c. Steve Cropper worked with Otis Redding as co-writer and producer

7. The Stax operation was more casual than the Motown and certainly more so than at
Atlantic

a. Musicians took on whatever role was necessary

b. There was more experimentation and spontaneity in the performances

c. Whatever the tracks lacked in polish was made up in sincerity and urgency

d. The music just sounded like everyone was trying harder and enjoying the effort

C. Otis Redding

1. One of the most important Stax artists who helped bring attention to the "Stax sound"

a. "These Arms of Mine" (r29, 1963)

b. While only a rhythm and blues chart Top 40 hit, it brought Redding into the
picture

c. Redding's vocal style is drawn heavily from gospel singing style

2. In 1965 Redding began getting crossover hits

3. Redding's gospel-influenced vocals and the hard-driving music accompaniment defined

the Stax sound
 a. "Mr. Pitiful" (p41 r10)

b. "I've Been Loving You Too Long" (p21 r2)

c. "Respect" (P35 r4)

d. "Try a Little Tenderness" (p25 r4, 1966)

e. "Sittin' on the Dock of the Bay" went to number one on pop and rhythm and
blues charts in 1968

4. Redding appeared at the Monterey Pop Festival in the summer of 1967

a. His appearance helped acquaint the hippie audience to southern soul music

5. Redding was killed in a plane crash in December 1967; he didn't live to see his impact on
pop music

VI. Atlantic Records and the connection to Fame Studios in Muscle Shoals, Alabama

A. Atlantic also recorded artists at Rick Hall's Fame Studios in Muscle Shoals

B. Wilson Pickett

1. Atlantic producer Jerry Wexler discovered Pickett through a demo recording he sang

2. Wexler and Bert Berns produced the song "If You Need Me" with singer Solomon Burke
in 1961

3. The Double L label also released the demo version with Pickett's vocalcompeting with
Atlantic

4. When Pickett came to Atlantic, Wexler immediately signed him to the label

5. Wexler took Pickett to Memphis to record with Stax musicians in the Stax style

a. They recorded "In the Midnight Hour" (p23 r 1, 1965)

b. The song featured a delayed backbeat that Wexler showed the band

c. Became a characteristic signature sound of the Stax records

6. When studio time was difficult to get at Stax, Wexler moved to Fame studios in Muscle
Shoals, Alabama

7. Some of Pickett's best-known songs were recorded there

a. "Land of 1000 Dances" (p6 r1, 1966)

b. "Mustang Sally" (p26 r6, 1966)

 c. "Funky Broadway" (p8 r1, 1967)

8. Atlantic had distributed songs from Dial Records in Nashville that were recorded at Fame
Studios

a. Joe Tex's hit "Hold What You've Got" (p5 r2, 1965)

b. Wexler had licensed Percy Sledge's "When a Man Loves a Woman" (p1 r1,
1965)

c. Sledge's hit was recorded at Quinvy Studios near Muscle Shoals, but Fame
Studios would do others.

C. Sam and Dave with Porter and Hayes

1. Sam and Dave were Atlantic artists who recorded at Stax studios

2. Stax owner Jim Stewart put them together with songwriters David Porter and Isaac Hayes

3. This team functioned similarly to Motown's pairing of writer-producers with artists

a. Holland-Dozier-Holland with the Supremes

b. Norman Whitfield with the Temptations

4. Sam and Dave had several hits as a result of this teamwork

a. "You Don't Know Like I Know" (r7, 1966)

b. "Hold On, I'm Comin'" (p21 r1, 1966)

c. The classic Sam and Dave number "Soul Man" (p2 r1, 1967) is also a result of
their efforts

VII. The Stax sound

A. Wilson Pickett's ''In the Midnight Hour" (one of his few hits that actually was recorded there)

1. Simple verse form with instrumental interlude

2. Introduction

a. Four-measure introduction featuring horns

b. Two measures of a simple two-chord pattern

c. The two-chord pattern is basis for the tune

d. Guitar and snare drum play together on beats 2 and 4

e. They are so late that they are almost out of time

 3. Stax recordings don't have backup vocals

a. Pickett's vocal is the primary focus of the song

b. Instrumental interlude uses a slightly varied chord pattern

c. This interlude creates a sense of formal variety

VIII. Southern soul in the Big Apple

A. Aretha Franklin

1. Gospel-influenced singing style

a. Born in Memphis

b. Raised in Detroit

c. Recorded most of her hits in New York

2. Daughter of Reverend C. L. Franklin

a. Well-known Baptist preacher in Detroit

b. Regularly broadcast his sermons

3. Originally signed with Columbia in New York

a. Didn't do well there

b. Singing in a soft pop mainstream style

4. Signed with Atlantic in 1966

5. Jerry Wexler produced her first track in Fame Studios in Muscle Shoals

a. "I Never Loved a Man (The Way 1 Love You)" (p37 r9, 1967)

b. Dispute in the studio between Aretha's husband and someone from the Fame
organization

c. They want back to New York

6. All subsequent tracks were recorded in New York

a. Wexler flew in the rhythm section from Muscle Shoals

b. Rick Hall didn't know about it

c. "Respect" (p 1 r 1, 1967)
 d. "Baby I Love You" (p4 r1, 1967)

e. "(You Make Me Feel Like) A Natural Woman" (p2 r2, 1967)

f. "Chain of Fools" (p2 r1, 1968)

g. "Think"(p7 r1, 1968)

IX. Motown, Atlantic, Stax, and issues of "blackness"

A. Consensus is that Motown records were less true to black culture than Stax records

1. Motown's musical style is aimed at a pop market

2. Both labels had sales as the main goal, so Stax would have aimed at a pop market as well

a. Motown arrangements were more inspired by successful pop arrangements

b. Stax arrangements appealed to a pop market because of their contrast to Motown

c. Stax balanced out the polish of Motown with their sincerity and spontaneity

3. Discrepancies do confuse the issue

1. Some Motown records sound more like Stax records

a. Martha and the Vandellas' "Dancing in the Street" is an example

b. Main difference is that they had backup vocal parts

c. Rhythm groove and backing musical tracks are tight and simple like at
Stax

2. Motown was a black-owned company

a. Motown producers and songwriters were black

b. Motown band was black

3. Atlantic and Stax were white-owned

a. Atlantic and Stax producers were white

b. Stax songwriters were black and white

c. Stax band was 50 percent black and 50 percent white

d. Everyone at Muscle Shoals except actual singers were white

4. The obvious question: Does race actually matter in the note-to-note performance
process?
 a. Musicians involved in all of the records played as required by the
producers

b. Producers were ultimately responsible for the soundthey made all the
creative decisions

2 1968 was the year of change for black music in America

1 Reverend Dr. Martin Luther King was killed on April 4, 1968

1 King was a highly respected advocate of racial equality

2 His methods of achieving that were nonviolent

3 Racial tensions had been escalating for yearsthis brought on waves of violent reactions

2 Atlantic was sold to Warner Brothers Seven Arts

1 That affected the distribution deal with Stax

2 Stax ended up being sold to Gulf Western

3 The Stax team of writers, musicians, and producers drifted apart

3 Changes were occurring at Motown

1 Holland-Dozier-Holland left Motown in 1967

2 Berry Gordy wanted to move Motown to Hollywood to pursue movie possibilities

3 Motown writers began writing more socially significant songs

a. As reaction to King's assassination

b. More pop music was dealing with social issues

c. An example: the Supremes' "Love Child" (p1 r2, 1968) about illegitimate urban
children

2 By the early 1970s Motown's top artist-writers began focusing on black urban life
situations

2 James Brown

1 Unquestionably the most important black performer of the 1960s

1 Brown was a member of the southern Georgia based Fabulous Flames in the 1950s

2 Brown substituted for Little Richard when his hit "Tutti Frutti" led him away from
Georgia
 a. Richard was already committed to several performances in the south

b. Brown actually performed as Little Richard

3 Brown's first success came with "Please Please Please" (r6, 1956) on King Records in
Cincinnati

4 He had some moderate crossover success with "Try Me" (r1 p48, 1958)

5 Brown's early hits were rooted in the doo-wop style with backup vocals sung by the
Flames

2 Moving from doo-wop to soul

1 "Think" (p33 r7, 1960) featured new approaches to rhythm

a. The horn section was given a less melodic role

b. Horns provided accents for the rhythm section

c. Less emphasis on melody and/or harmony in the horn section

2 Brown gained a reputation for his active stage performance

a. His performance emphasized athletic showmanship

b. A combination of singing and extremely energetic dancing

3 He developed a trademark closing routine

a. Would collapse on the stage in exhaustion

b. Would be helped off the stage

c. Before he reached the side he would suddenly get energized and run back out
and continue

4 Brown and his manager, Ben Bart, released a live album in 1963

a. Live at the Apollo reached number two on the pop charts

b. Good example of his energetic performance style

c. Demonstrated his stylistic range

5 Beginning in 1964 Brown began to focus his songs on hard-driving rhythmic

accompaniment

a. "Out of Sight" (p24, 1964)

b. "Papa's Got a Brand New Bag, Pt. 1" (p8 r1, 1965)
 c. "I Got You (I Feel Good)" (p3 r1, 1965)

d. "It's a Man's Man's Man's World" (p8 r1, 1966)

e. "Cold Sweat, Pt. 1" (p7 r1, 1967)

3 Brown took control of all aspects of his music and career

1 He wrote and produced his songs

2 King Records owner Sid Nathan and manager Ben Bart died in 1968

3 After that Brown handled his own business affairs

4 The musicians in his band were extremely talented

a. Brown rehearsed his band relentlessly

b. The band was one of the tightest performance ensembles in the 1960s

c. Heavy emphasis on tightly interwoven rhythmic grooves between horns and

rhythm section

d. He would fine musicians who made mistakes during shows

5 The hit "Papa's Got a Brand New Bag" exemplifies the James Brown sound

a. The track opens with a sustained chord

b. Verses employ the 12-bar blues structure

c. There is an eight-bar bridge over a static harmony that returns at the end as a
coda

d. The rhythmic groove is created by the full ensemble

e. The arrangement differs from Stax arrangements because of the stops at the ends
of the verses

f. No backup vocalsseparating him from Motown and his earlier 1950s doo-wop
style

4 Brown was a positive force behind the "Black Pride" movement of the late 1960s and early 1970s

1 He did not compromise his black culture in his music

a. Motown and Atlantic purposely created music that would appeal to a white
middle-class audience

b. Brown's turn to strong rhythmic focus in his music foreshadowed 1970s funk
 2 Brown's contributions to funk make him one of the most important figures in 1970s black
pop

3 Brown in Boston

1 Institutionalized racism in America had reached a dangerous level by the 1960s

1 Black musicians formed a strong voice in response to the civil rights movement

2 During the 1950s black performers spoke out in the fight for equal rights for black
Americans

a. Harry Belafonte

b. Lena Horne

c. Louis Armstrong

3 Early 1960s black artists included clear political ideas in their music

a. Sam Cooke's "A Change Is Gonna Come,"

b. Nina Simone's "Mississippi Goddamn"

c. Joe Tex's "The Love You Save"

d. Curtis Mayfield's vocal group the Impressions: "People Get Ready" and "Keep
On Pushing"

4 These and other black artists propelled the Black Pride movement forward during the late
1960s

2 James Brown single-handedly calmed rioting in several cities the night following the King
assassination

1 Black Americans reacted violently to Dr. Martin Luther King's assassination on April 4,
1968

2 The next night Brown gave a concert in Boston that was televised across the country

a. He started the show by asking the viewers to be calm and stay into not destroy
their community

b. He reminded black viewers about King's dedication to peaceful change

c. Boston and several other cities were relatively quiet that night

3 He went to Washington, D.C., the next night and gave a speech on television that ended
riots there
4 James Brown proved that a black musician had the power to bring peace to violent
eruption

5 He had always maintained, "The music wasn't a part of the revolution. The music was the
revolution."