MUSIC 143 Songs

Neko Case "Look For Me (I'll Be Around)" (2002)

• -No chorus • look for me is almost a refrain. • shifts from dark to lighter. • Verse, Verse, Bridge, Verse (AABA) • 3 beats per measure • Classic example of the 32-bar song form (AABA form) • The main feature associated with this form - there is not an independent chorus, but there is this independent portion of the song that is referred to as a bridge - a stark change in the music and the lyrics that contrast with the previous verse sections . • This form is very popular for jazz songs 32 bar blues.

Chuck Berry "Too Much Monkey Business" (1956)

• 12 bar blues standard progression. • Each section ends with same 8 measure refrain:no contrasting material. • Simple verse form • Final two lines are repetitive, when you hear the snare drum it is a dead give away to the chorus.

The Shirelles "Will You Love Me Tomorrow" (1960)

• AABA form • Traced back to "There Goes My Baby" in heavy use of strings; mainstream pop • Written by Carole King and Gerry Goffin//The Brill Building • Much more mature way of approaching love.

The Chantays "Pipeline" (1963)

• Beginning of Surf Music Craze • Entirely Instrumental • Music is panned to create a "in the wave" feeling/sound.

The Yardbirds "Heart Full of Soul" (1965)

• Clapton leaves band - Jeff Beck replaces him • Form: contrasting verse chorus • Instruments: lead vocals, back vocals, electric guitar, acoustic guitar, bass guitar, drums, and percussion • Beck's use of distortion: "Fuzz Box" → created an "exotic" sound (like the Sitar) • Rolling Stones inspired band

Johnny Cash "Folsom Prison Blues" (1956)

• Classic folk/blues song • Made a name for Cash on Sun Records. • double, bass electric guitar, made an authentic feel to sell records.

Led Zeppelin "Whole Lotta Love"(1969)

• Compound AABA form • Comprised of four distinct sections. • Each A section is made up of a verse and chorus. • The B sections or ("bridge") in the compound design distinguishes it from verse-chorus forms. • Contains a middle "freak out session", sort of like a bridge. • The middle section is important and lasts long. • Almost any Zeppelin song is in this form.

Chubby Checker "The Twist" (1960)

• Dawn of the "Dance Craze" • Very safe dance, not sexualized • He took the song and kept trying to add on more, limbo dance ect.. • the dance was very popular for teen girls.

Little Richard "Long Tall Sally" (1956)

• Driving/Up-Tempo Song • Little Richard known for piano playing - he was a black, gay man living in the south • on an independent record label • Form? 12 bar blues chord progression maybe?

The Rolling Stones "The Last Time" (1965)

• First song written by Jagger/Richards • Band's third #1 single • Contrasting verse chorus style I thought this was Simple Verse-Chorus?? • More grit/ less "pop" and harmonizing

The Beatles "A Hard Day's Night" (1964)

• Form: AABA, followed by instrumental verse, reprise of B, and return of original A • Instruments: Lead vocals, Background vocals, electric guitar, bass guitar, drums, cowbell, • Introduction of the RICKENBACKER 12 string electric guitar • Experimenting with Tamor (idk how to spell that!)....timbre? • First record written by them. • Gerry and the pacemakers linked with the beatles, the song the beatles turned down how do you do it, one to number one on the charts.

Marvin Gaye "I Heard it Through the Grapevine" (1968)

• Form: Compound AABA; Verse and chorus based on contrasting music; pre-chorus at the end of each verse; moderate/slow tempo • Instruments: Drum, bass, lead vocals, tambourine, conga, backing vocals, electric guitar, tenor sax, elec. organ • shorter bridge than Gladys Knight version, more pop sounds, slower, more somber, relaxed tempo and singing style • Stereo image: left (drums, tambourine, conga, electric guitar), right (organ, strings, horns, bass, background vocals), and center (lead vocals) • The bridge is two lines shorter. • The lyrics go darker and a bit more back in the song creating a dark effect, which make it harder for you to hear than the pips version. • ****issues between rock and juvenile delinquency, made teens bad, caused issues.

Gladys Knight and the Pips "I Heard it Through the Grapevine" (1967)

• Form: Compound AABA; Verses and chorus based on contrasting music; pre-chorus at the end of each verse; uptempo • final two lines of each verse change musically • Instruments: Drums, bass, lead vocals, tambourine, backing vocals, piano, electric guitar, tenor sax, electric organ • added saxophone and new piano melody for the bridge • instrumental bridge • organ added at the end • Was originally written by Marvin gaye, but the pips released it first so it is a cover. • As soon as the song starts it has all the instruments. • has a brighter harmony than the marvin gaye version

The Kinks "You Really Got Me" (1964)

• It was a stones band...

The Beatles "I Want To Hold Your Hand" (1963)

• Lyrically fits in well with other famous music; puppy love, cutesy • Similar to girl groups - vocal harmonies & distinctive clap beat • What made this so famous? → They have accents!!!!!!!!!!!! • Teenagers in the early 60s are getting a new (to them) style of music and it's British • Late 50s rock fans are seeing the old rock style come back • Simple AABA form • The Beatles rejuvenated rock in the USA.

Elvis Presley "Blue Moon of Kentucky" (1954)

• More upbeat/faster tempo than original • Changed from 3 beats per measure to 4 beats • Turned country song into a blues song • AABA form

Bruce Springsteen "Thunder Road" (1975)

• Music builds as the song goes on • The Coda at the end is the most important part of the song. This is because the focus of this track is his getting up and leaving. • This song is experienced by the song opening up and all the instruments just bust out. • The song is about busting out and breaking out of town. • The 5th verse we finally hear a song title corresponds to a chorus. • The 7th verse could be a bridge bc the instrumentation lack off a bit.

Bruce Springsteen "Born in the USA"(1984)

• Opening: drums and bass • Simple verse-chorus • same music through the entire song. • The only thing that changes about the music is that the first verse is sparse starting off with keyboard drums and bass. • Independent chorus section unlike Too much monkey business.

Bill Monroe "Blue Moon of Kentucky" (1947)

• Plucky guitar, all rhythm from strings. typical country style • Waltz song • Violin, double bass no drums, acoustic guitar • AABA form • Simple verse

The Drifters "There Goes My Baby"(1959)

• Produced by Jerry Leiber/Mike Stoller( really into making songs sound different compared to other groups.) • Dominated by string instruments • R&B with lyrics, Mainstream Pop w/ instruments • Very unique sound: trademark of Leiber/Stoller

Big Joe Turner "Shake, Rattle and Roll" (1954)

• Question and answer technique • dirty, sexual, sexist lyrics • Simple verse-chorus→ I've seen both V-C and AABA for this song, which is right?: It's V-C. It's a 12 bar blues, AABA is when there's no definitive chorus. • 12 bar blues progression

The Who "My Generation" (1965)

• Relies on instruments • Time based on a riff • The bass solo - not heard often • Ends with a collapse • Aggressive mentality → Living for the present! • "hope I die before I get old" • Rolling Stones inspired band • A lot of screaming.

Hank Williams "A Mansion on the Hill" (1947)

• Simple Verse throughout • uses a steel and fiddle • nazly style • song is about economic divide between him and his lover • no drums or rhythm instruments.

The Beach Boys "Surfin' U.S.A." (1963)

• Surf Music • Ripped instrumental from Chuck Berry's "Sweet Little Sixteen" • Berry sued and won in court • Vocal harmonies was a defining element. • The idea of california and surfing was exotic thats how it spread beyond california borders.

Fats Domino "Blueberry Hill" (1956)

• The Glenn Miller Orchestra • AABA form • Mainstream pop song written by a tin pan alley songwriter.

The Beatles "Eleanor Rigby" (1966)

• Turning point in lyrics, instrumentation, and style • Producer pushed for experimentation and trying new things • Manager also allowed for musicians to push the limits and try new sounds → no way would managers allow this experimentation now • Dark, bleak song → Listener's are thrown into a situation that they don't understand • Who are these people? What's going on? • Instruments: double string quartet → dark, classical sound • Form was strange too - intro showed back up in the middle of the song

Arthur "Big Boy" Crudup "That's All Right Mama" (1946)

• Urban blues song • Covered by Elvis which was Elvis first single. • Double bass, acoustic and electric guit ar, no drum set. • The instrumentation sounds like country music except that country would not have the electric guitar. - It's simple verse-chorus

Chuck Berry "Johnny B. Goode" (1958)

• Verse-chorus form • Rooted in 12 bar blues • In terms of tempo, vocal delivery, and guitar sounds - more rock than R&B • Chuck Berry: creative songwriter • Began movement between R&B and Rock • showpiece for Chuck Berry's guitar skills • noticeably distorted guitar, fast tempo, heavy emphasis on guitar solos. • Guitar riffs/solos derived from other songs

Elvis Presley "That's All Right (Mama)" (1954)

• added country to blues - It's simple verse-chorus

The Rolling Stones "(I Can't Get No) Satisfaction" (1965)

• contrasting verse-chorus form • distorted guitar, bass, drums, tambourine, acoustic guitar • chorus doesn't have the riff, only present in verse. • Jumps into the chorus right away, has an identifiable riff like smoke on the water. • Pre-chorus gets you all hype for the main chorus. • starts with the chorus

Buddy Holly "Peggy Sue" (1957)

• hell anybody can do it! • Buddy Holly learned to craft and write songs. • He gave ppl hope that they can make it to the music busi by his performance on the ed sullivan show. • Showed you don't have to be good looking to be in rock and roll.

The Ronettes "Be My Baby"(1963)

• inspired Brian Wilson to write Don't Worry Baby • Written by Ellie Greenwich & Jeff Berry//The Brill Building • one of the first of Phil Spector's "wall of sound" • Wall of sound is how to make songs sound bigger and recorded in the same place.

Deep Purple "Smoke on the Water" (1972)

• lyrics= verse chorus. • Contrasting different music for the verse than the chorus. • Contrasting Verse-Chorus Form (contrasting refers to the musical relation between a Verse and a Chorus) • Simple cave man beat. • Narrative verse • Distorted guitar for first 8 measure, the chorus has background vocals, riffs, no riff in the chorus bc we are supposed to be listening to the vocals.

Les Paul and Mary Ford "I'm Sitting on Top of the World" (1953)

• overdubbing - Where you record the baseline then takes tape and records over top of if----a lot of ppl picked up on idea---les paul did it first. • using recording techniques to modify sound was a big deal • AABA form • Tin pan alley song

Bill Haley "Shake, Rattle and Roll" (1954)

• simple verse-chorus • 12 bar blues progression • more choruses • less dirty lyrics • more light and uptempo - makes it more acceptable for white, middle-class America