music exam 2 songs

hound dog

elvis, 1956, more popular than big mama's version but was simple and had changed lyrics

cool water

sons of the pioneers, 1941, cowboy, Music sounds like horse walking, Says the word water like 50000000 times, Look like singing cowboys, Rhythmic

you really got me

the kinks, 1964, breakthru hit, bluesy, raw, rough, layering heightens intensity, foreshadows heavy metal and punk musical techniques

paper doll

the mils brothers, 1942, Johnny black 1915 composed, Crossover hit in 1943, sold to the level as mainstream pop hits, sold 6 mill copies, On pop charts for 36 weeks, 12 weeks at number 1, Second best selling swing record, Modern update of tin pan alley love song***, Elements of barber shop kinda demeans women

dont be cruel

elvis, 1956, huge hit top charts for 11 weeks, 12 bar blues, blues vocals and country inflections, hiccuping effect , strong backbeat evokes RB, electric guitar western swing

hound dog 2

big mama thorton, 1953, RB song created by lieber and stoller, has a bluesy delta style electric guitar, 12 bar blues form but bars added in and links urban recording to the country blues, has humor to it

respect

aretha franklin, 1967, cover of otis redding version (stax records), changed lyrics to give feminist perspective, vocals demand respect for gender/race, each verse builds to the respect line, stop time vocal break

shake rattle and roll

big joe turner, 1954, rock, 12 bar blues form with an aab text scheme and a repeated section that functions like a chorus, held number 1 on the RB charts but also crossed over to the pop charts, atlantic records and features jazz veterans and medium tempo shuffle rhythm, most sales fro, black community

shake rattle and roll 2

bill haley and the comets, 1954, crossover hit that caught DECCA records attention, bill haley is country and western, emphasizes guitars and has a more rhythmic feeling more akin to western swing than jump blues RB, different lyrics because original to sexual for AM radio and offended the white pop music audience, didnt appear on the RB chart

new san antonio rose

bob wils and his texas playboys, 1940, cowboy, 16 piece ensemble combines string band with fiddle, banjo, three guitars, and steel guitar, piano, string bass drums, two trumpets saxophones, Interplay between musical ideas, Big band and country and western

the twist

chubby checker, 1960, hugely important, number 1 hit in 1960 and 1962, reflected changing dancing styles because not a partner dance, marketed to teenagers and then adults, sexual overtones, 12 bar blues for both verse and chorus, relentless 1-2-3-4 drum/cymbal, free form all about the body, spawns series of dances and movies, rock now reaches broader audience because marketed to adults and teens

maybellene

chuck berry, 1954, distantly modeled on a country number called ida red, elements of RB, thick buzzing timbre of berry's electric guitar, blue notes and slides in both voice and guitar, drum backbeat, 12 bar blues structure

Wrappin it up

fletcher henderson, 1934, swing heavy call and response, evident influences from james reese europe and paul whiteman, continuous and flowing feel, ABAC form, each section 8 measures in length

nancy with the laughing face

frank sinatra, 1945, recording technology, slow, strings dominate, written in the honor of frank's newly born daughter, 32 bar AABA form, co written by a TPA veteran, waltz time

in the mood

glenn miller and his orchestra, 1939, swing, sax opening trombone prominent, call and response, symbols with the drums, stopping, Form alternates the 12 bar blues form with an 8 bar B bridge

truckin

grateful dead, 1970, on the road narrative, long and loping, exploratory, verse chorus plus extra section about an LSD trip

the wild side of life

hank thompson, 1952, composed by william warren and arlie carter, was based on warren's personal experience with a honky tonk angel who found the glamour of the gay night life too hard to resist

ball and chain

janis joplin and big brother and holding co, 1968, live improv psychedelic blues, stop time riffs, originall composed by big mama thorton, recorded at monterey pop festival in 1967, first huge rock festival

great balls of fire

jerry lee lewis, 1957, boogie woogie piano, rockabilly vocals, AABA form with bluesy feel, lyrical mix of religious and sexual fervor

it wasnt god who made honky tonk angels

kitty wells, 1952, country and western, hugely important because first recording by a solo female performer to hit top of country and western chart

long tall sally

little richard, 1956, built on 12 bar blues, first four bars of each blues stanza are set to changing verses while the remaining 8 bars function as repeated chorus

choo choo ch' boogie

louis jordan, 1946, RB, 12 bar blues form, 8 bar chorus, elements of african american music and TPA song form, song appeals to ex-GIs returning from war. The song brings back a character from the great depression era: a poor but honest hobo hopping freight trains. The guy returns home, looks for a job but realizes he has no skills but he remains happy and lives in a shack by the railroad

whats going on

marvin gaye, 1971, about the vietnam war, long hair, and political brutality, jazz/strings/soul/gospel/pop, wide ranging lead vocals/silky, controversial, healing and hopeful music accompanying social protest, name has multifaceted meanings: simple greeting, how can this be happening? and this is whats happening

i got a woman

ray charles, 1954

la bamba

ritchie valens, 1959, traditional mexican wedding song, drums/cowbell highlight rhythm, built on repeated electric guitar riff and guitar solo, breaks to spotlight voice

great speckled bird

roy acuff, 1936, country, hawaiin feel, country twang, steel guitar, talks about birds, Protestant themes, bird is the church, Conservative message, Southern strings

mama he treats your daughter mean

ruth brown, 1953, number 1 on RB chart for 5 weeks, has crossover success and fuses TPA and blues forms, "A" section and "B" is 16 bar blues, riffing behind the singer, warm husky vocal and strong rhythmic feeling, lyric follows AAAB form

a change is gonna come

sam cooke, 1964, Inspired by civil rights movement and adopted by it, Listen for Orchestral accompaniment (conveys earnestness, seriousness) Soaring, passionate, emotional vocals, Autobiographical elements an first person testimony, Slow, ballad, distinctive record

i cant get no satisfaction

the rolling stones, 1965, title updated from chuck berry lyrics, celebrated electric guitar riff, suggestive lyrics and sexual energy, guitar effects, richard uses a fuzz box, tried to look tough in a picture against the beatles

be my baby

the ronettes, 1963, has spector's wall of sound, orchestra, percussion, chorus, ronnie spector lead vocal, straight forward lyrics and verse/chorus form

you cant hurry love

the supremes, 1966, top selling girl group, formed in detroit in 1961, diana ross main vocalist, complex form ABCBCB break AAAB, each section has pop friendly hooks, composed by holland-dozier-holland, message about waiting for love and makes listener actually wait (for the final B section)

my generation

the who, 1965, generation gap/youth rebellion, out of control smashing shit, raw, loud, stuttering delivery linked to what its like to be coked out

in the midnight hours

wilson pickett, 1965, wicked pickett persona, known to be edgy and say stupid things, backed by booker t and the mgs, has a huge delayed backbeeat

good rockin tonight

wynonie harris, 1948, RB, rockin means sex, 16 bar blues form, fast so resembles dance music, trace elements of rock: mixture of music that influences rock, dance oriented: heavy backbeat and upbeat, teenage appeal and covered by rock musicians