1964-1966
Musicians’ response was one of inspired
attempts to imitate and innovate
A.
1.
Established artists (Phil Spector, The Beach
Boys, The Four Seasons, Motown artists)
continued with what they were already doing
and enjoyed much commercial success.
There was a music industry shift away from
New York toward Los Angeles
B.
1.
2.
The television industry (Hollywood) began
producing pop music variety shows (Paul
Revere and the Raiders)
A TV sitcom was developed around the Beatles
film A Hard Day’s Night featuring The Monkees.
Folk groups and artists moved to L.A., but most
signed with New York labels
Ironically, the New York labels had ignored
them when they were in New York.
3.
4.
By 1965 new American pop styles began to
appear
C.
Former styles were being merged with Beatlesoriented “beat” music
Most obvious example is folk rock
1.
2.
a)
b)
c)
d)
3.
Folk is simple
Easily accessible to amateur musicians
Lyrics dominate the style
Electric instruments win over acoustic
Earliest artists were Bob Dylan and The Byrds:
both added electric guitars, bass, drums, and
sometimes keyboards.
4.
5.
The folk revival was based on guitar chords
accompanying vocals
The Beatles were originally a guitar-based
ensemble
a)
b)
6.
Transition from acoustic to electric is easy.
Wanna-be/would-be musicians bought electric
guitars and started practicing in garages
The combination of imitation and adaptation of
preexisting styles is best seen in folk rock.
Bob Dylan in 1964
A.
Well-known in the folk music community, but
relatively unknown to the pop mainstream
audience
1.
a)
b)
2.
3.
Folk artists weren’t part of the “singles” end of the
industry
Known for their albums of folk music
At this time, the folk music that had high
exposure was by pop-oriented folk artists such
as Peter, Paul and Mary and The Kingston Trio
Dylan’s recording success was based on album
sales which were fueled by touring on college
campuses and in folk clubs
Built his style around that of Woody Guthrie
4.
a)
b)
c)
Added new lyrics to familiar public domain folk
songs
Lyrics were about social injustice
Heroes of Guthrie songs were real people, not
folklore
Early Dylan songs dealt with social issues
5.
a)
b)
“Blowin’ in the Wind” about Civil Rights
“Masters of War” about Vietnam
Eventually Dylan began addressing more
personal ideas
6.
a)
b)
He put his talent for crafting lyrics into these
relationship-driven topics
These lyrics were far more poetic than Brill Building
songs
Dylan after 1964
B.
He wanted to use electric instruments, but
wasn’t satisfied with his early attempts
The Byrds released an electric version of his
“Mr. Tambourine Man” in 1965
1.
2.
a)
b)
3.
The Byrds used a Rickenbacker electric 12-string for
the hook and accompaniment—Dylan liked what he
heard
He decided to try electric again
Bringin’ It All Back Home was half electric/half
acoustic
Electric Dylan and the Newport Folk
Festival controversy
C.
1.
Appeared ate Newport in July 1965 using
electric instruments on some songs
Folk purists accused him of selling out to the
pop mainstream
Dylan’s next single, “Like a Rolling Stone” used
electric instruments.
His next single, “Positively 4th Street” was an
angry, “finger-pointing” song.
2.
3.
4.
a)
b)
c)
5.
About social injustice that pointed out the
perpetrators
He was accusing the folk music establishment of
unfair criticism
He takes 12 verses to express his anger
His last album of 1966 was Blonde on Blonde on
which he used a band named the Hawks as his
backups. They then changed their name to the
Band.
Dylan spent several
months recovering from a
near-fatal motorcycle
accident in July of 1966.
6.
a)
b)
7.


His albums inspired musicians
to follow his path
They used electric
instuments to accompany
lyrics about serious issues
Dylan was gone for
awhile, but folk rock was
continued by other, more
commercial artists.
“Times They are-AChangin’” & “Like a
Rolling Stone” by Bob
Dylan.
Genre: Folk Rock
First international folk rock hit was a cover
of Dylan’s “Mr. Tambourine Man”
A.
1.
2.
3.
B.
Byrds were formed in Los Angeles in 1964
Roger (Jim) McGuinn-guitar and vocals, Gene
Clark-vocals, David Crosby-guitar and vocals,
Chris Hillman-bass and vocals, Michael Clarkedrums
Manager Jim Dickson taped their rehearsals and
had them listen to themselves
Rickenbacker electric 12-string guitar and
folk rock
The Byrds saw the Beatles film A Hard Day’s
Night
1.
a)
b)
c)
George Harrison plays the guitar in the movie
It was only the second one ever made
McGuinn traded his acoustic for a Rickenbacker
similar to Harrison’s
Their trademark sound was instantly
recognizable
2.
a)
b)
Twelve-string electric
Rich, textured, harmonized vocals using full and
falsetto voices
Recorded rock versions of folk songs and some
originals
3.
a)
Covered Bob Dylan songs, Pete Seeger songs, and
some originals that were mostly written by Gene
Clark
When Dylan began writing folk rock songs,
the Byrds lost their best source of material
C.
Forced the Byrds into writing their own folk
rock songs
They started exploring other styles, especially
jazz
1.
2.
a)
b)
Their next song was “Eight Miles High” written by
McGuinn, Clark, and Crosby
Inspiration was from John Coltrane’s “India” for
guitar solos
Radio stations quit playing the song when a
magazine said the song was about drugs
3.
a)
b)
The lyrics referred to cruising high altitudes for a
transatlantic flight
The word “high” was code for being under the
influence of drugs—double entendre was too clear
The Byrds’ 4th album
showed a wide
spectrum of stylistic
influences
4.
a)
b)
c)
d)


Country
Jazz
Avant-garde
Psychedelia
“Eight Miles High”
by The Byrds
Genre: Folk Rock
“Mr. Tambourine Man” is interesting
convergence of music business aspects
A.
The entire band is not playing on the record
1.
a)
b)
c)
d)
e)
f)
McGuinn plays the electric 12-string
McGuinn and Crosby sing
The rest of the track is provided by Phil Spector’s
“Wrecking Crew” studio musicians
The Wrecking Crew used the same groove they used
on a Brian Wilson Song
The idea of using studio musicians is a Brill Building
concept
McGuinn had worked in the Brill Building as a
songwriter for teen idol Bobby Darin
2.
3.
4.
McGuinn claims to have been inspired by a Bach
Chorale—the electric hook is melodically more
similar to classical music than to folk, rock or
blues
The use of a Beatles trademark sound is
unmistakable
The song was substantially reduced in length
(only has one verse compared to Dylan’s three)
The song therefore takes on a “universal”
style by embracing many of the current or
recent trends
B.
a)
b)
Folk music was the music of “everyman”
Rock music was for all the youth
 “Mr.
Tambourine Man” by The Byrds
 Genre: Folk Rock
“Sounds of Silence” exemplifies how folk
can be turned into rock
A.
1.
2.
3.
4.
Paul Simon and Art Garfunkel performed as Tom
and Jerry in the late 1950s
They appeared on American Bandstand
They turned to folk music and recorded the
folk album Wednesday Morning, 3 am—the
album flopped and the duo split up. Simon
went to England. Garfunkel went to Graduate
school.
Dylan and the Byrds ushered in the folk rock
sound in 1965
Tom Wilson was Bob Dylan’s producer. He also
worked with the Animals in 1964.
Wilson decided to add drums and electric
instruments to “Sounds of Silence,” one of the
Wednesday Morning, 3 am tracks
5.
6.
a)
b)
7.
8.
9.
10.
Simon and Garfunkel knew nothing about it
The folk rock version went to #1 in the fall of 1965
The duo reunited and put the song on their new
album The Sounds of Silence
They had more hits through the late 1960s:
“Homeward Bound” and “I Am a Rock”
Moved back to acoustic arrangements with 1967
album Parsley, Sage, Rosemary, and Thyme
They finished out the 1960s with two monumentally
successful albums (commercially and aesthetically)
Bookends and Bridge Over Troubled Water
 “Sounds
of
Silence” by Simon
and Garfunkel
 Genre: Folk Rock
 “7
O’Clock News/
Silent Night” by
Simon and
Garfunkel
 Genre: Folk Rock
Folk rock began by setting preexisting folk
songs to rock arrangements
Several artists/groups wrote songs in the
new style (i.e. P.F. Sloan’s “Eve of
Destruction” recorded by Barry McGuire
who moved from New York to California)
The Turtles
A.
B.
C.
1.
2.
3.
Folk rock group that went pop
Started career by covering Dylan songs “It Ain’t
Me Babe” and “Let Me Be”
Then moved toward mainstream pop sound
with original material
3.
4.


Characteristic Turtles
sound was built upon
highly polished dual
lead vocalists
Howard Kaylan and
Mark Volman
Both vocalists joined
Frank Zappa’s band
for a few years with
stage names Flo and
Eddie
“Happy Together”
by The Turtles
Folk Pop
The Mamas and the Papas
D.
A quartet of highly skilled singers formed in
New York: John Phillips (singer, songwriter,
arranger), Michelle Phillips, Denny Doherty,
Cass Elliot
Moved to Los Angeles with other folk artists
Sophisticated 4-part vocal arrangements with
wide spectrum of influences
1.
2.
3.
a)
b)
4.
Late 1950s- early 1960s folk singing (similar to Peter,
Paul and Mary)
Accompanied by a rock rhythm section: drums,
electric guitars, bass, keyboards
They had several hits that blended folk rock
with pop mainstream finesse
 “California
Dreamin’ by The Mamas and The
Papas
 Genre: Folk Pop
Phil Spector continues onward
A.
1.
2.
3.
Achieves his greatest successes in the months
after The Beatles arrived: “Da Doo Ron Ron” by
The Crystals, “Be My Baby” by The Ronettes’,
and “You’ve Lost That Lovin’ Feeling” and
“Unchained Melody” by The Righteous Brothers
He hoped “River Deep, Mountain High” would
be his greatest hit, but it failed in charts.
Because of this he retired from the music
business.
Later he returned to produce some Beatlesrelated projects that went to #1: “Let It Be” by
the Beatles, “All Things Must Pass” by George
Harrison, and “Imagine” by John Lennon
The Beach Boys: Brian Wilson becomes another
Phil Spector
B.
The Beach Boys continued to have hits after the
Beatles arrived
1.
a)
b)
c)
They shifted away from surf music
“Fun, Fun, Fun” charted at #3 during Beatlemania
“I Get Around” was their first U.S. #1 hit in 1964
They were in direct competition with The Beatles
2.
a)
b)
Both groups were on Capitol records
Capitol was—at that time—owned by EMI, the Beatles’
parent label
Brian Wilson decided to stop touring with the
Beach Boys in December 1964
3.
a)
b)
He wanted to devote all his time to writing and
producing the Beach Boys’ songs
The band replaced him on the road with Glen Campbell,
then Bruce Johnston
Wilson continually developed very sophisticated
writing, arranging, and production techniques
(i.e. “Help Me Rhonda” and “California Girls”)
The album Pet Sounds raised the standard for
record production and arranging
4.
5.
a)
b)
6.
7.
“Sloop John B” uses Spector’s Wall of Sound with
Wilson’s vocal arrangements
“God Only Knows” is the best example of how far
Wilson’s music developed
Pet Sounds became one of the most influential
albums of the 1960s—it inspired the Beatles to
even greater experimentation in Sgt. Pepper’s
Lonely Hearts Club Band
The next single, “Good Vibrations” became a new
model for studio creativity
 “California
Girls” by
The Beach Boys
 Genre: Pop
a)
b)
c)
d)
Blends symphonic concepts
with surf music
Eight-measure
introduction is unique and
does not recur
Drums change rhythmic
pattern during chorus
Subtleties foreshadow new
experiments in Pet Sounds
and “Good Vibrations”
Sonny had been involved in the L.A. music
scene since the 1950s
A.
He worked with Little Richard before the singer
left the industry for the ministry
Handled promotions for Phil Spector’s label,
Philes Records
1.
2.
a)
b)
c)
d)
B.
Close to Spector—trusted employee
Played percussion on many Spector productions
Learned Spector’s production techniques
Often brought his girlfriend Cher in to sing backup
vocals
Sonny and Cher released 3 unsuccessful
singles in 1963 as Caesar and Cleo
Sonny wrote and produced singles that became
regional hits in 1964
They cashed in on the new folk rock trend of
covering folk material
1.
2.
a)
b)
c)
Sonny produced Cher’s cover of Dylan’s “All I Really Want
to Do” and it went to #15
It caused The Byrds’ version to stall on the charts at #40
“I Got You, Babe” hit #1 on both the U.S. and U.K. charts
Earlier songs returned successfully to the charts
Then they had a series of pop hits: “But You’re
Mine”, “Little Man”, and “The Beat Goes On”
3.
4.
They developed into cultural icons
C.
They were known for their outlandish hippie attire
and long hair
1.
a)
The youth culture embraced them for their conviction to
nonconformity
b)
c)
The establishment resented them for it and harshly
criticized them for it
They were among the first to state that people had a
right to look the way they wanted to
They conveyed an anti-establishment image
Eventually, they hosted their own network TV
variety show
2.
3.
a)
b)
c)
By that time they were considered to be family
entertainment
They used humor that was directed at conservative
values as well as each other
They married and became on of the “America’s
Sweetheart” celebrity couples
 “I
Got You
Babe” by
Sonny and
Cher
 Genre:
Pop
Gary Lewis and the Playboys
A.
1.
2.
3.
4.
5.
Leader was comedian Jerry Lewis’s son
Gary had appeared in his dad’s 1957 film Rock-aBye Baby
In 1964, his band was regular entertainment at
Disneyland
First hit was “This Diamond Ring”
Had 11 more hit songs in the next few years
Johnny Rivers (John Ramistella)
B.
1.
2.
3.
In the music business for several years before
getting a hit record on Imperial Records
First two hits were Chuck Berry covers
Some other hits include “Where Have All the
Flowers Gone” and “Secret Agent Man”
4.
5.
6.
Started his own label in 1966, Soul City
Had 11 more Top 40 singles in the 1960s
Had 8 Top 40 albums
The Lovin’ Spoonful
A.
1.
2.
3.
Formed by songwriter-folk singer John Sebastian
also includes Zalman Yanovsky—guitar, Steve
Boone—bass, and Joe Butler—drums
Kama Sutra Records released “Do You Believe In
Magic”
Songs tended to be playful and upbeat
The Young Rascals
B.
1.
2.
3.
Signed to Atlantic Records; allowed them to
produce themselves
Felix Cavaliere on Hammond organ, Eddie Brigati on
vocals, Gene Cornish on guitar, and Dino Danelli on
drums
1st hit was a rock and roll cover of the R & B hit
“Good Lovin’”
Further hits were written in R & B style by
Cavaliere and Brigati
They opened for the Beatles at the Shea
Stadium concert in the summer of 1965
Manager was Sid Bernstein (the promoter of the
concert who booked the Beatles)
4.
5.
6.
What happened to the Brill Building
C.
Don Kirschner moved to Los Angeles to run
Colpix records
Leiber and Stoller returned to Los Angeles and
formed Red Bird Records
1.
2.
a)
b)
3.
Dixie Cups’ “Chapel of Love” and Shangri-Las
“Leader of the Pack” (from Chapter 3)
Left the Drifters with producer Bert Berns
In 1965 Berns forms Bang! Records
a)
b)
Partners were Ahmet and Neshui Ertegun and Jerry
Wexler from Atlantic
The group called the McCoy’s had a hit with “Hang on
Sloopy”, then 2 more top 40 hits
Bang! Signed Neil Diamond and his hits started in
1966
4.
The Four Seasons
D.
Highly successful vocal group—an East coast answer
to the Beach Boys’ vocal arrangements
1.
a)
b)
Signed to Vee Jay records
2.
a)
b)
3.
Lead singer Frankie Valli used high falsetto
Overall sound was tight and powerful
Beatles producer, George Martin, licensed the 1st Beatles
LP to Vee Jay (the one Capitol records refused)
Vee Jay put out a double album called Beatles vs. the
Four Seasons
Four Seasons had a long string of hits through the
first half of the 1960s
Radio in the 1st half of the 20th century
changed from its original concept into
something entirely different
A.
Broadcasting was originally built around
specific types of programming
1.
a)
b)
c)
2.
3.
Similar to the way television is now
Some portion of each day was saved for national
shows
Dramas, soap operas, mysteries, comedies, news,
music, or variety shows
Television drew audiences away from radio
Television featured viewable versions of what
radio provided
The transistor radio was introduced in the
1950s
B.
The audience that embraced this technology
was younger and more active
This audience was more interested in music
than previous generations had been
1.
2.
The actual origin of the Top 40 radio format
is not known
C.
The first all-music radio station was in Omaha,
Nebraska
The owner-operator, Todd Storz, abandoned
network programming and played music all day
1.
2.
a)
b)
It was cheaper
Surveys said listeners preferred music to other types
of programming
The Top 40 format:
3.
a)
b)
c)
d)
e)
The Billboard chart was based on several factors
4.
a)
b)
c)
5.
Host of the show was a DJ (disc jockey)
DJ developed an “on-air” personality to hold the
listeners’ attention
The DJ played records, occasionally inserting news and
advertising between the songs
The songs the DJ played came from prescribed list
provided by the station programmer
This list was based on the weekly Billboard singles chart,
which indicated the most popular songs in the nation for
that week
Number of records sold
Jukebox selections
Call-in requests to radio stations
Not all songs played were from the Billboard chartsongs could be selected by the station programmer
or the DJ
Songs could become hits if a DJ played one and
the audience liked it and began requesting it
6.
a)
b)
c)
d)
DJs played songs based on educated guesses about a
new song’s potential to become a hit
If the audience liked a song, the DJ would play it
more often
This generated more sales, jukebox selections and
call-in requests
These factors would affect the song’s position on the
Billboard chart
This cyclical concept is the reason songs
exploded into hits
7.
a)
b)
c)
It happened with songs that had distinctive qualities
New styles
Novelty songs
Top 40 radio played an important role in the
integration of music styles
D.
The bottom line for stations was advertiser income
Listeners are potential consumers of the
advertisers’ products
Stations had to play a wide variety of music hits to
have a broad listener audience
Songs by artists from different racial or ethnic
groups had positive potential for the station
1.
2.
3.
4.
a)
b)
If the audience liked it, it would get more airplay
This meant more income for the station because it
increased the listening audience
The personality of the DJ played an
increasingly important role in radio
E.
1.
Often the DJ would be the deciding factor in
whether people tuned in
Some DJs became national stars
They played an important role in the hitmaking process: Wolfman Jack, Cousin Brucie,
and Murray the K were some 1960s examples
Many of these celebrity DJs made a point of
informing their listeners of new styles or artists
2.
3.
4.
a)
b)
c)
This helped to promote songs that crossed the color
line
It brought about greater stylistic delivery
It accelerated the changes that occurred in all styles
of popular music
Amateur musicians bought guitars, basses, and
drums and occasionally keyboards
A.
They formed bands that practiced in garages or
basements
These “Garage Bands” can be seen as a direct
reaction to the British Invasion
British Invasion bands, particularly the Beatles,
were idolized by American male teens
1.
2.
3.
a)
b)
Often the goal was to merely play gigs locally at parties
or school dances
They usually used inexpensive equipment and sounded
amateurish
Most of these bands had a few hits and then
disappeared
4.
a)
b)
c)
d)
Were unable to rise to the challenge of staying in
business
Record labels released their first recording for the
novelty appeal more than anything else
Some continued to improve their musicianship to be
able to remain in the business
Doing that worked against them, as they lost the
quaint amateurish sound that had worked for them
The Kingsmen and “Louie Louie”
C.
Garage band that succeeded with their $50
recording of a 1956 calypso-influenced R&B
song
1.
a)
b)
The band is from Portland, Oregon
Recording was made in that area
Rose to number two in 1963
Poor quality of the production caused
controversy
2.
3.
a)
b)
c)
d)
4.
Nearly unintelligible vocals were suspected of being
obscene
In 1964 governor of Indiana declared the song
profane and ordered an FCC investigation
FCC couldn’t decipher the lyrics either
Decision was made that the song was harmless
The Kingsmen had two more hits before
disappearing from view: “Money” and “The
Jolly Green Giant”
 “Louie
Louie” by The Kingsmen
 Genre: Garage band
Paul Revere and the Raiders
C.
1.
2.
3.
4.
5.
6.
7.
Another Portland band that also recorded “Louie
Louie”
Their version lost in the charts to the Kingsmen’s
version
Their gimmick was Revolutionary War costumes
They moved to Hollywood and succeeded in the
music business through TV exposure
They were picked to host a network TV show on
CBS, Where The Action Is
They worked with Byrds’ producer Terry Melcher
to release several hit records in the 1960s: “Just
Like Me”, “Kicks”, “Hungry”, “Good Thing”, “The
Great Airplane Strike”, and “Indian Reservation”
This success qualifies this band as the most
successful garage band of the 1960s
 “Indian
Reservation” by Paul Revere and the
Raiders
 Genre: Garage Band
All the others
D.
There was a definite pattern of “one-hit-wonders”
who didn’t last beyond one or two hits
1.
a)
b)
c)
d)
e)
f)
g)
2.
3.
Cannibal and the Headhunters
Count Five
? And the Mysterians
Seeds
Shadows of Knight
Standells
Syndicate of Sound
Tommy James and the Shondells had 14 Top 40 hits
including: “Hanky Panky”, “Mony Mony”, “Crimson
and Clover”, and “Crystal Blue Persuasion”
Sam the Sham and the Pharaohs had 6 national hits
through 1967: “Wooly Bully” and “Little Red Riding
Hood” being the most well known
Several TV shows appeared modeled after Dick
Clark’s American Bandstand
A.
1.
2.
3.
Shindig debuted on ABC a few months before
Clark’s show
NBC followed with its show Hullabaloo
These three network shows featured both British
Invasion and American acts
The Monkees TV show debuted in September
1966
B.
1.
2.
TV show inspired by Richard Lester’s Beatles films
It was a TV sitcom supported by records
Main characters were a rock band
3.
a)
b)
General fun and witty humor
Songs would be featured in the show and released as
records
Actors cast for the parts were only involved in
singing on the supporting records
4.
a)
b)
c)
d)
Michael Nesmith—guitarist and songwriter
Peter Tork—active in Greenwich Village folk scene
Davy Jones—performed on Broadway
Mickey Dolenz—starred in another TV series
All focus was directed at the acting in the show,
not the records that would be released
5.
a)
b)
Songs were needed and were provided and produced in
the Brill Building style
Professional songwriters were hired to create the
music—Tommy Boyce and Bobby Hart & Gerry Goffin and
Carole King
c)
d)
e)
The first Monkees hit, “Last Train to Clarksville”
coincided with the show’s debut
Neil Diamond wrote the next hit “I’m a Believer”
Backing tracks were produced by Boyce and Hart
using studio musicians
Hollywood had total control of the show and
the music
6.
a)
b)
c)
This concept closely paralleled the Brill Building
approach to pre-Beatles era 1960s song production
It was also a successful approach for the Byrds’ “Mr.
Tambourine Man”
Brian Wilson used this approach for the later Beach
Boys material, particularly Pet Sounds
The success of the music was unexpected
7.
a)
b)
The first four albums were all #1 in the US and
within the top 5 in the UK
The first two albums combined to hold a #1 position
for thirty-one weeks from 1966-1967
The band members all improved their
musicianship enough to play on their own
records
8.
a)
b)
c)
d)
9.
Nesmith played on the albums all along
They wanted to take control of the writing and
production as well
Production executives resisted but the band won,
just as the Beatles had done
Eventually other artists would insist on control of
their songs
When they gained full control, their popularity
diminished
 “I’m
a Believer” by The Monkees
 Genre: TV Rock
Hollywood went one step further than The
Monkees concept: fictitious bands
A.
This could be seen as the Brill Building concept
taken to the logical extreme
1.
a)
b)
c)
d)
Songwriter/producers proved that the actual singers
were expendable
Why not have cartoon characters as the “artist”
In 1969 Don Kirschner promoted a cartoon band that had
a TV show: the Archies
Their hit was “Sugar, Sugar” topping both the US and UK
charts
There were several successful imaginary bands
that appealed to 1960s teens
2.
a)
b)
The Banana Splits wore fuzzy costumes
Lancelot Link and the Evolution Revolution were
chimpanzees
c)
Pop music was laid under chase scenes in Scooby Doo
Where Are You?
The Partridge Family sitcom was about a
musical family who were also a “working” band
3.
All of the songs belonging to pretend bands
were in a style that appealed to young
teens
B.
Their older siblings were interesting in songs
with more substance
1.
a)
b)
2.
Lyrically as with folk rock
Musically as with the Beatles (who were embracing
folk rock ideals and lyrics by the mid 1960s)
This young teen pop style was named for a
substance present in nearly all young teen
mouths: bubblegum