MUSC 309 Lecture 9: The Reaction to Rock and Roll
I. Rock and roll (and R&B) didn’t enjoy instant popularity and success
A. Reaction from churches and civic groups
1. Unwholesome, obscene
2. Morally corrupting - encouraging wild, rebellious behavior and violence
3. Also racist objections as well
a. Encyclopedia Brittanica in 1955 (referring, basically, to early rockabilly
and R&B) defines as “maximum of rhythmic noise, deliberately
competing with the artistic ideals of the jungle itself”
b. NY Times article called “cannibalistic and tribalistic”
c. White Citizens Councils in south at least open about objections
i. Feared integration
ii. Exposure of whites to African-American culture
B. Reaction of large record labels: how do we make money on this?
1. Large record labels missed out on early rock and roll
a. Elvis early hits for Sun records in Memphis
i. As does Jerry Lee Lewis
ii. And most other rockabilly artists
b. Chuck Berry with Chess records in Chicago
c. Little Richard recorded on Specialty label in New Orleans
2. Want to capitalize on new style
3. Mostly by making rock and roll more acceptable to white mainstream
4. Strategies
a. Cover versions of R&B hits by white artists
i. Different from earlier cover arrangements
aa. Exact copying of arrangements
bb. Cleaning up “ragged” qualities
cc. Expunging all sexual innuendo from lyrics
ii. Most infamous – Pat Boone covers of Little Richard tunes!
b. Create dance crazes for rock and roll songs
c. Infuse characteristics of rock and roll into pop mainstream
d. Create teen idols to sing new music
i. White
ii. Good looking, teen idol types vaguely resembling Elvis
aa. Fabian (Fabian Forte, 1943- )
bb. Frankie Avalon (1940- )
cc. Bobby Rydell (1942- )
5. Mostly, taming of rock into “wilder” flavor of pop
II. Several things happen in 1959 that nearly wipe out rock and roll
A. “The Day the Music Died” Feb. 3, 1959: Holly, Big Bopper, Richie Valens killed
B. Elvis drafted in late 1958 (by design?)
C. Jerry Lee Lewis marries 13 yr. old cousin while still married to (second) wife, causes
public backlash
D. Chuck Berry arrested for violation of Mann Act
E. Payola Scandal
1. Congressional committee formed to investigate corrupt broadcasting practices
2. Including charges that independent record companies paying disc jockeys to
play their records
a. True, to certain extent
b. Used to force several indie labels, and several prominent DJs (including
Freed) out of business
F. But, record companies don’t want to lose money to be made on rock, so…
III. The Brill Building
A. Attempt of record companies to manufacture “rock and roll”
B. Mostly a pop phenomenon
1. Many songs written by Aldon Music Co.
2. So-called “Brill Building” (even though across street)
a. Hired teams of songwriters (including Leiber and Stoller) to write rock
and roll hits
b. Pop crafted songs with teen themes, rock sensibilities (more or less)
3. Songwriters included
a. Gerry Goffin and Carole King
b. Neil Sedaka
c. Paul Anka
4. Show tape of Neil Sedaka
C. However, occasionally artists produced solid pop rock hits of some note
1. Ricky Nelson (1940-1985)
2. Dion (Dion DiMucci (1939- ) and the Belmonts: Ex. Runaround Sue
D. Brill Building becomes new Tin Pan Alley
D. Brill Building becomes new Tin Pan Alley
1. Music by its songwriters in a zone where rock and roll and pop merge
2. Distinctive, and rather homogenous, sound
a. popular songs
i. Typical pop lyrics about relationships
ii. Most in AABA pop song form
iii. Focused on melody line with simple harmonic accompaniment
b. Heavily influenced by doo-wop
i. Background vocals in doo-wop style
ii. Frequent call and response
c. Animated beat
d. Thick textures
i. Made possible by multitrack recording
ii. Overdubbing
aa. Different layers of song recorded onto audio tape
bb. Additional sounds, like sweetening instruments, added
cc. mixed onto master tape before committed to acetate
dd. Effects can be added to any, all layers
iii. Greatly effects sound of the record, band
iv. Decisions made by producer
aa. Selects which arrangement, takes are used
bb. Can use overdubbing to add instruments, sounds, etc.
cc. Approves (if doesn’t do) mix
– Relative levels of each track
– Effects: changes to audio signal
• Echo or reverb, panning, etc.
d. Ex: the Shirelles, Will You Still Love Me Tomorrow
i. Fairly quick tempo
ii. 4 bar intro
iii. Song in five 16-bar phrases, each AABA
aa. End-weighted, to end of section
-- Texture becomes thicker as song progresses
-- E.g. strings added at end of first verse, continue
into second with more active part, backing
vocals become more active, etc.
bb. Overall form is AABA with interlude
iv. backbeat in drum part
aa. second beat of measure subdivided in two =
rebound backbeat
bb. common in early 1960s pop rock
iv. 8 beat rock rhythms
v. Lead vocals, plus doo-wop type accompaniment
vi. Not typical lyrics
aa. Most Brill Building fare deals with teen relationships in
innocent way
bb. This deals with the ramifications of potential one night
stand
vii. Heavily produced – orchestral fills at ends of phrases, as
backing throughout
3. Brill Building style producer driven
3. Most influential producer of the 1960s was Phil Spector (1940- )
a. Part of the Brill Building crowd, worked with Leiber and Stoller
b. Classical music fan, thought of pop records as “little symphonies for the
kiddies”
c. So - Spector records tend to have
i. Thick, full textures achieved by extensive overdubbing
(recording one track over another)
ii. Often include a large orchestra with lots of percussion
iii. Pre-recorded sounds
iv. Background vocals
v. And standard rock ensemble
vi. Plus the group!
d. Textures so complex called the wall of sound or Spector wall of sound
e. Many of groups produced by Spector were girl groups
i. Trios or quartets of female singers
ii. Sound controlled by producers, songwriters
iii. Image controlled by producers and record companies
iv. Marketed to appeal to young, female audience
f. Ex. Da Doo Ron Ron
i. Group less important than Spector production
aa. Viewed groups as interchangeable
bb. Crystals aren’t singing on at least one of their hits!
ii. Wall of Sound
aa. large group of backing vocalists
bb. piano
cc. bass
dd. guitar
ee. drums
ff. saxophones
gg. auxiliary percussion
iii. Rhythmic stratification
aa. Slow harmonic rhythm - saxes
bb. Beat – bass, bass drum, hand claps
cc. Piano – triplets
dd. Backbeat – snare
ee. Syncopated vocal line
iv. Driven by hook = “da doo ron ron”
v. Lyrics about young love
vi. Sophisticated production
IV. Dance crazes
A. Importance of American Bandstand
1. TV huge vehicle in popularization of rock and roll
2. Most influential show, throughout history, was American Bandstand
a. Began broadcasting from Philadelphia 1957
b. Projected clean-cut, safe, mostly white (at start) image of rock
B. Launched careers of many of teen idols
C. And created/promoted dance crazes
1. First, dances created to go with popular songs
a. First and foremost – The Twist
b. Popular with all age groups
c. Topped the charts twice: 1960 and 1962
2. Followed by host of other records that provided instructions for new dance fads
a. First? Pinetop’s Boogie Woogie -1928
b. But reached critical mass in early-mid 1960s
c. Many by Chubby Checker
d. Others, such as the Mashed Potato, Watusi manufactured by Brill
Building writers
e. All similar in style
i. 12-bar blues as verse or refrain
ii. Straight rock ensemble, with backing vocals
iii. Not heavily produced
iv. Emphatic presentation of rock style beat
3. Very much pop rock
4. But goes a long way to remove some of stigma of rock
5. And, indirectly, some of segregation taboos
VI. Garage Rock
A. Rock produced outside of rock industry
1. Often forget thousands of amateur groups formed across the country after rock
and roll becomes popular
2. Seems accessible, even for those with little musical experience
3. Play at local drive-ins, small clubs, etc.
4. In time, some recorded by local, independent labels
a. Regional hits picked up by larger record companies
b. Distributed and promoted nationally
B. Characteristics
1. Often amateur or inexperienced musicians
2. Do-it-yourself ethos
a. Learn as you go
b. Passion more important than advanced musicianship
3. Low production values
4. Rudimentary instrumental parts that are repetitive or riff-based
5. Untutored vocals - often harsh and strained
6. Thin or medium textures
7. But lots of energy and rhythmic drive
C. Louie, Louie
1. Quintessence of garage rock style
2. A short history of Louie, Louie
a. Cuban bandleader Rosendo Ruiz Quevedo
i. One of the creators of the cha-cha-cha
ii. Writes song about popularity of dance - “Cha Cha Cha Loco” or
“Amarren al Loco”
b. René Touzet, Cuban bandleader working in LA, creates arrangement
i. To emphasize lyrical content, writes “crazy” riff for intro
iii. replaces the standard cha-cha rhythm—1, 2, cha-cha-cha – with
its rhythmic inversion
c. LA based songwriter Richard Berry adapts for his doo-wop group
i. Number 70 on national charts
ii. But regional hit on West coast
d. Gains popularity in Pacific Northwest
i. Nearly every rock, R&B band does cover versions
ii. Most influential – Rockin’ Robin Roberts and the Fabulous
Wailers
aa. First truly rock and roll version
bb. First recording after Berry version in 1957
cc. Their recording establishes surf rock guitar sound,
alternate riff under verses, and "Let's give it to 'em,
right now!" as essential parts of "Louie, Louie"
e. Kingsmen and Paul Revere and the Raiders record versions in Portland
three days apart at same studio
f. Paul Revere record technically superior, but Kingsmen version becomes
the definitive one
3. The Kingsmen, "Louie, Louie"
a. Shortcomings (by standards of time)
i. Screamed, nearly unintelligible lyrics
ii. Unpredictable timekeeping
iii. Sloppy guitar solo
iv. Muffled bass makes harmonic progression almost subliminal
b. Nearly all intentional
c. Meant to capture excitement of live performance rather than slick studio
production
d. Other features
i. Harsh, untutored vocals that use whole range of voice
ii. Riff dominated
aa. For much of song, keyboards, bass, and guitar all play
riff
bb. Much of vocal line based on same motives
V. Surf rock
A. New rock sound develops in Southern California in early 1960s
1. Little influence of “founding fathers” of rock and roll, especially rockabilly
2. Associated with surfer subculture
3.Guitar oriented sound; defined by instrumentalists
B. Dick Dale
1. “King of the Surf Guitar”
2. Introduces new guitar effects into rock music
a. Tremolo
b. Rapid glissandos – slides between notes
3.Exploits possibilities of Fender Stratocaster
4. Leo Fender
a. California-based luthier (maker of stringed instruments)
b. In 1950 creates first mass-produced solid-body electric guitar, with
single pickup (microphone) for all strings
c.1954 releases redesigned Telecaster = Stratocaster
i. Two tone knobs
ii. Three pickups
iii. Lever selects which pickup projected through amp
aa. Neck
bb. Middle
cc. Lead
iv. Tremolo lever (or whammy bar) connected to slots for all six
strings - can move all at once
5. Ex. Dick Dale - Misirlou
a. Based on Middle Eastern stringed instrument style
b. Adds Latin influences
i.Trumpet
ii.Variant of clave rhythm
c. Heavy backbeat
d. “Sizzling” glissandos
e. Tremolo and reverb prominent in main riff
C. The Beach Boys
1. Brian Wilson (1942- ), Dennis Wilson (1944-1983), Carl Wilson (1946-1998),
Mike Love (1941- ), Alan Jardine (1942- )
2. First hit - Surfin’ Safari - exploits terminology of surfer culture
a. Becomes a hit
b. Sparks nationwide surfer craze
3. Primary influences: Chuck Berry and Bill Haley
a. also influenced by the Four Freshmen (pop jazz singers)
b. and doo-wop
4. Simplicity of early lyrics disguises relatively sophisticated music
5. Beach Boys - I Get Around
a. Wide vocal harmonies
i. Large distance between lowest and highest harmony parts
ii. Falsetto obbligato (requisite high part) from doo-wop
b. Vocal riffs from doo-wop
c. Melody laid over top
d. Different character of verse, refrain
e. Wide variety of sounds shape song
f. A capella introduction
g. Chorus - chugging accompaniment from guitar, bass, drums, organ
h. Verse
i. First two lines – accompanied by bass, with lots of reverb
ii. Second two – claps added
iii. Short transition - guitar, Hammond organ
iv. Third couplet – bass as above, plus delicate, staccato guitar line
v. Fourth – claps re-enter
D. Wide variety of tone colors, amount of studio manipulation in Beach Boys songs
dictated by producer Brian Wilson