History of Rock Final

Distortion devices

Besides electronic distortion devices, such as wah wah pedal and fuzz box, Hendrix also manipulated the tone and volume controls of the guitar, the vibrola (or tremolo bar; whammy bar), and the switch that controlled which pickup or combination of pickups on the instrument were being used.

Feedback

Electronic sound distortion produced when a loud sound from and amplification system is picked up by a microphone or electric guitar pickup and fed back through the amplifier and speakers.

Jimmy Page

Lead guitarist for Led Zeppelin and the Yardbirds

Nirvana

Nirvana was formed in 1987 in Aberdeen, Washington, out of the Seattle hustle, but near enough to take advantage of the location. Formed by Kurt Cobain (vocals and guitar; 1967-1994) and his childhood friend Krist Novoselic (bass; b. 1965), Nirvana went through a variety of drummers and second guitarists along the way. The original drummer was Dale Crover (b. 1967), who was replaced in 1988 by Chad Channing (b. 1967). During this time the band had hired as second guitar Jason Everman (b. 1967), who had played for a while with Soundgarden. With this lineup, Nirvana recorded their first album, Bleach (1989), for the independent label SubPop. Bleach was a very successful recording for Nirvana, at least in the underground sound systems. In 1991, Channing left the band and was replaced by Dan Peters (b. 1967), who would later play with Mudhoney. This new lineup played the Pacific northwest for some time, gradually gaining a solid following of fans. Peters also began to get tired of Nirvana, so he left. After Peters left, Cobain recruited Washington D.C. musician Dave Grohl (b. 1969) to come in on drums. At the same time, artist and repertoire people at Geffen records had heard and were impressed with Bleach, leading them to sign Nirvana to the Geffen label. The first album released by Nirvana on Geffen was Nevermind. Nevermind, while not as raw-sounding and rough-edged as Bleach, reached a wide listening audience particularly on the strengths of the single "Come As You Are" and the single and video of "Smells Like Teen Spirit". While both of these songs were deemed radio-friendly, the song "Lithium" demonstrates the intense anger and angst that Cobain and others of this generation were experiencing. The recording demonstrates one of the most noticeable aspects of Nirvana's music, an alternation of soft dynamic levels suddenly interrupted by extremely loud screams, a rough sound, yet a full sound for an alternative power trio.

Pre-Punk bands

The Velvet Underground The Ramones

Melismatic/melisma

A melody line in which one syllable of a lyric is sung to many different pitches. Used frequently in Gospel music and, through influence, in Soul. The adjective form of the word is melismatic.

Call and response

A practice in singing in which a solo vocalist (the call) is answered by a group of singers. Also heard in instrumental music, or between vocalists and instrumentalists, the style is vocal in origin. Also referred to as antiphonal singing.

The Who (second style period)

1. Longer songs, more intricate song construction 2. Concept albums, narrative songs 3. "Rock opera," large-scale works 4. Layers of synthesizers

The Who (first style period)

1. Short, catchy songs 2. Melodic bass lines 3. Lyrics of teenage angst 4. Not many guitar solos, just chords

The Clash

A group that is often referred to as a punk band is the Clash. The band was formed in 1976 by guitarist Joe Strummer (real name John Mellor; 1952-2002), who had been playing with an early punk group from London called the 101ers, and guitarist Mick Jones (b. 1955) and bassist Paul Simonon (b. 1955) from the punk group London S.S. They held several auditions for the drum spot before settling on Terry Chimes (b. 1956). One of the first gigs they played was as the warmup group for the Sex Pistols in August 1976 which led to a lucrative contract with CBS Records.

Aleatoric/Aleatory

A method of composition in which pitches, rhythms, motives, and other compositional decisions are left to the performers discretion. Also referred to as chance music because whatever happens is due to chance.

Polyphonic texture (Polyphony)

A musical texture in which two or more independent melodic lines of equal importance or interest sound simultaneously.

New Wave

A number of bands in the late 1970s and early 1980s fit the sound and style of punk. Most were more polished in the studio with elaborate studio gimmicks, as opposed to the rough-edged sound heard in most punk, and frequently made use of more elaborate instrumentation such as electronic keyboards and various synthesizers. These bands were labeled "New Wave" by the media to distinguish them from the rougher, rawer punk bands of the period. The lyrics of these New Wave bands typically dealt with the same topics of earlier rock 'n' roll, that is, teen age love songs, partying, having fun, ironic philosophy, and the like as opposed to the socio-political topics associated with most punk bands. Other groups developed a distinctive rock-based, dance-oriented sound in the 1980s related to but separate from the pop funk styles of Prince, Michael Jackson, and Madonna (see Chapter 12). This included groups like Duran Duran, Loverboy, Toto, and others who became video staples on the newly inaugurated MTV. These dance groups typically had a polished hard rock sound, glittery outfits, and generally long hair like the metal hair bands of the early and mid-1980s, the heavy funk-oriented dance beat and tight horn backgrounds (most often realized on synthesizers) of the pop funk bands, and the electronic rhythms and multiple layers of synthesizers of the New Wave bands. Very clearly these bands were commercialized rock right off the assembly line and designed for mass consumption. Most, if not all, have not had the historical longevity of the bands with which they were in competition in the 1980s. The musical characteristics of New Wave include: Similar to punk, but not as angry Less harsh sound than punk Frequent use of synthesizers, other keyboards Thicker textures Dance-oriented music, hard and often mechanical beat (use of drum machines) More complex chord progressions More polished studio sound Non-political/non-social lyrics "Fun stuff", party music More philosophical lyrics (in some bands)

The Rolling Stones (third style period)

A return to their original blues and rhythm and blues roots. Less experimentation in the studio with effects and non-rock instruments such as orchestras, marimbas, sitars, etc. Loose rhythmic feel as opposed to the stiff performances of the first period. More frequent use of a tight, percussive horn section (trumpets, saxophones, and trombones) that are derived from the soul bands, particularly James Brown's band, but also the MarKeys (Stax Records) and the Muscle Shoals Horns. The horn section frequently enters after the group has performed two verses and achorus, often beginning on the second chorus. More use of slide guitar from Taylor.

Flat-four beat

A rhythm style in which all four beats of a four-beat measure are equally accented, as opposed to an backbeat rhythm. The flat-four beat is prominent in Motown songs.

Riff

A short melodic and/or rhythmic pattern that is repeated over and over while musical changes take place over the fragment. A riff is often the harmonic and rhythmic basis of the entire song. A good example of a riff-based song is the Rolling Stones' Satisfaction.

Strophic

A song form in which each verse of the text is sung to the same music. The music for each verse remains the same while the words change. Most blues songs and folk songs are strophic forms. (Compare with standard song form and through-composed form.)

Two-beat bass

A type of bass accompaniment in which the bassist plays the root of the chord on the first beat of a measure and the fifth of the chord on the third beat of a measure. Associated very strongly with county music.

Jeff Beck

After Eric Clapton had quit the Yardbirds (see Chapter 15), the group was at a dilemma regarding what they should do for a lead guitarist. They first approached Page, who by this time (1965) had a very solid career going as a session guitarist and producer. Page declined the lead guitar spot, citing the possibility of professional conflict with Clapton, though probably recognizing his more important and lucrative spot as one of the most in-demand session guitarists in London, and instead recommended an old art school friend of his, Jeff Beck. Beck had played lead in a local London band, Trident, that did not attract any attention, so he was eager to play in an established group. With Beck on guitar, the Yardbirds recorded some of their most familiar songs including "I'm a Man" (a cover of Bo Diddley's 1956 hit), "Train Kept A-Rollin'", "Shapes of Things", and "Heart Full of Soul". During the time that Beck was with the Yardbirds, he began introducing feedback and electronic distortion effects into their music, becoming one of the first rock guitarists to use distortion extensively. In 1966 the Yardbirds' bass player quit the band and Page was again asked to join the band, this time on bass guitar, which he accepted. By late 1966, Beck began to have some problems with the band (both medical and personal problems), and Page was asked to take over the lead guitar spot in the middle of the 1967 American tour, moving rhythm guitarist Chris Dreja to the bass guitar position. Beck came back to the band and the Yardbirds played some concert dates with the dual lead guitars of Beck and Page; although not many songs were recorded by the Yardbirds featuring their dynamic twin-lead guitar line-up, two songs were recorded and released as a single at the end of 1966: "Happenings Ten Years Time Ago" and the flip side "Psycho Daisies". Both songs are soaked in the new psychedelic sound that was just starting to appear in San Francisco, New York City, and London. The A-side of the single, "Happenings Ten Years Time Ago" also featured John Paul Jones on bass in his first recording with the Yardbirds.

The Doors

Aldous Huxley, The Doors of Perception William Blake, The Marriage of Heaven and Hell (c. 1790): "If the doors of perception were cleansed, All things would appear to man as they are, infinite." Influences: Jim Morrison, vocals: Beat poets (Allen Ginsberg) Symbolist poets (Arthur Rimbaud) Ray Manzarek, keyboards: Blues Rhythm and blues Rock 'n' roll Robby Krieger, guitar: Flamenco Blues Jazz John Densmore, drums: Jazz Rock 'n' roll Style characteristics: Dark sound emphasized by minor keys Morrison's voice has a flat, emotionless quality Melodic lines are repetitive Melodic lines have a narrow range Lyrics centered around death, violence, and sex; equates sex with death Accompaniment has a hypnotic quality Hammond organ gives recognizable tone color Songs: Break On Through (1967) Not To Touch the Earth (1968) L.A. Woman (1971) In ternary (three-part) form: A B A' MR MOJO RISIN = JIM MORRISON Note accelerando from B to A

Alternative

Alternative Rock Bands from the mid-'80s-'90s Alternative to: Metal "hair bands" Dance music, techno Pop funk commerciality Rap commerciality Characteristics include: Simple guitar bands, lack of keyboards Simple chord progressions Chords move by step, half step (two frets or one fret on guitars) Relatively simple guitar solo, not flashy Aggressive rhythms Lyrics addressed to teens of the time ("Generation X") Also referred to as "grunge" Inspired by raw, rough edge of 1960s garage bands, gritty harder rock Beat groups from England (Kinks, The Who, etc.) Many bands from "I-5 Corridor" (between San Francisco/Seattle) Most from college towns Most very popular with college radio, college audiences R.E.M. Nirvana Pearl Jam

Montuno

An extended improvisation section usually based on two chords: the minor seventh chord built on the second degree of the scale (supertonic of ii7) and the dominant seventh chord (V7)--in the key of G major the chords Am7 and D7. The montuno was adopted from Mexican mariachi music, in which the improvisation is used to extend the middle of dance songs. Familiar montunos in rock music include Dark Star by the Grateful Dead (Live Dead, 1970) and Oye Como Va by Santana (Abraxas, 1970).

Fill

An instrumental embellishment played during breaks (rests) in a vocal melody. The standard 12-bar blues from has an instrumental fill at the end of each sung line. Fill also refers to anything played by a drummer other than strict time-keeping.

The Rolling Stones (second style period)

An intricate layering of sounds in a thick polyphonic texture. Several independent musical lines occurring at the same time. Richards' solo guitar work is generally incorporated into this thick polyphonic texture rather than appearing as a solo instrumental break, though many songs still feature an extended solo. The sound of the band is augmented by the use of traditional orchestral instruments (recorder—"Ruby Tuesday", marimba—"Under My Thumb") and by the use of folk or ethnic instruments (dulcimer—"Lady Jane", sitar—"Paint It Black"). An asymmetric balance between verses and choruses occurs more often, designed to follow the form of the text. "Sympathy for the Devil" balances a 17-bar verse against an 8-bar chorus. Lyrics are generally more expressive and full of imagery and the music is designed to fit the texts. Examples include "Paint It Black", "2000 Light Years from Home", and "Jumping Jack Flash".

The Ramones

Another group with strong influence on the punk bands New York City 1974 Members not related; stage names taken from early Paul McCartney pseudonym (Paul Ramon) While most sources consider Ramones to be punk (even calling them the first punk band) their early material doesn't have the socio-political edge like the mid-70s groups Teenage topics of early rock 'n' roll After gigging for a while they get a steady show at THE punk/new club of NYC, CBGGs 1976 debut self-titled Short songs at fast tempos with topics of teenage angst

Allan Ginsberg

As a lyricist, Morrison (The Doors) seems to be most influenced by the Beat poets of the 1950s, such as Allan Ginsberg.

Arthur Rimbaud

As a lyricist, Morrison seems to be most influenced by the Beat poets of the 1950s, such as Allan Ginsberg. There is also a strong influence from the late 19th century French symbolist poet Arthur Rimbaud (Une Saison en Enfer - A Season in Hell, 1873). His lyrics certainly contain the philosophically-oriented imagery that is reminiscent of Rimbaud and some of the Beat poets. As a performer, Morrison, who originally was a film student at UCLA when he and Manzarek met, had a flair for the dramatic which comes across in his recordings and live performances.

Happening (Dead)

As the Warlocks, the band often played free communal concerts and eventually became the standard "house band" for San Francisco happenings - get togethers for partying, music, and drug experimentation (especially LSD; San Francisco happenings were the basis of Tom Wolfe's book, The Electric Kool Aid Acid Test). In this type of experimental atmosphere, the Warlocks had the opportunity to experiment freely with their music. The characteristics of their music at this time were: - Louder in volume. - Harder edge to their rhythm and blues-based rock. - More improvisatory, and not just in the guitars--bass, keyboards, and drums also take the opportunity to improvise heavily; collective improvisation. - Longer songs to incorporate all the improvisation- a musical interpretation of a drug trip perhaps? - Experimentation with electronic sounds: distortion, feedback.

Psychedelic rock

Characteristics: Recording quality is hazy, muted Volume levels in concert very loud Loudness results in distortion Use of electronic devices for distortion: Fuzz tone Wah wah pedal Phasing (done on control board) Use of feedback Emphasis on instrumentalists (especially on lead guitarists) Influenced by rhythm and blues bands and r&b-influenced British bands Drugs. Lots and lots of drugs: Lyrics often drug-oriented Long, meandering guitar solos imitate drug trip (timelessness) Hazy recording quality imitates hazy consciousness of drug trip Some group names inspired by drug use: Blue Cheer--a type of acid Jefferson Airplane--a roach clip Some group names implied cross-images, like oxymorons, or unusual combinations: Electric Prunes Electric Flag Grateful Dead Iron Butterfly

Glitter/Glam Rock

EXTREMELY theatrical-oriented type of rock Early 70s also called Glitter Rock because of outrageous costumes and makeup Stage show was priority music was secondary Musically similar to hard rock (Black Sabbath, Deep Purple, etc) Hard-driving rhythms Loud sounds Heavy use of distortion Focus on lead guitarists Yelled monotone vocal lines Mostly riff-based songs Alice Cooper (b. Vincent Furnier) Signed with Warner Brothers - produced by Bob Ezrin

Jimi Hendrix Experience

Early influences: Rock 'n' roll: Chuck Berry Blues: Robert Johnson, Muddy Waters, Buddy Guy Jazz: Charlie Christian Rhythm and blues Early Groups (1963-1966) Little Richard (1963) Various soul, blues, and Motown groups: Solomon Burke, Ike/Tina Turner, B.B. King, Supremes Isley Brothers (1964): Testify Curtis Knight and the Squires (1965): Hornet's Nest Jimmy James and the Blue Flames (1965): Rhythm and blues, blues, rock 'n' roll, and Dylan covers Begins to experiment more with distortion-- controlled feedback, fuzz tone, other electronic effects Discovered by record producer Chas Chandler Jimi Hendrix Experience (formed late 1966) Hendrix--Guitars, vocals Noel Redding (b. 1945)--Bass, vocals Mitch Mitchell (b. 1946)--Drums, vocals Band of Gypsies Jimi guitar Billy Cox, bass Buddy Miles, drums General style characteristics: Complex, polyphonic texture Use of distortion in melodic and rhythmic improvisation: Fuzz box, wah wah pedal, vibrola bar Controlled feedback Manipulates tone, volume, and pickup controls/switches Rapid guitar ornaments Intricate overdubbing on studio albums Complex song structures Vividly descriptive lyrics Studio as part of compositional process: Tape manipulation (backwards tapes, speeding and slowing of tape speed) Manipulating sound through stereo channels

John Paul Jones

For the Rolling Stones' studio recordings, Most brought in the best of the London session players including Big Jim Sullivan and Little Jim Page on guitars and bassist/arranger John Paul Jones; Page and Jones later formed the backbone of Led Zeppelin (see Chapter 19).

Fusion rock (Art rock; Jazz rock)

Fusion: merging two or more musical styles; hybrids Folk rock, Country rock Jazz rock Art (Classical) rock (Progressive rock) Note: Fusion usually is reserved for a jazz style that is mixed with rock elements. Rock elements include: Electric instruments Distortion devices Rock rhythm section Loud volumes Rock singing styles, techniques Dependence on guitar as soloist Rock guitar techniques Jazz elements include: Extensive improvisation Extended chord progressions Extended harmonies (9ths, 11ths) Jazz-influenced rhythmic intricacies: Syncopations Changing meters Jazz rock, as a rock style, successfully (commercially) merged elements of rock and jazz. Blood, Sweat & Tears, Lucretia MacEvil (1973) Chicago, 25 or 6 to 4 (1970) Tower of Power, What Is Hip? (1973) Steely Dan, Peg (1977) Art Rock, Progressive Rock (Prog Rock) Classical instruments (orchestra, strings) Heavy keyboards, synthesizers Thick textures Forms: Ternary forms Symphonic forms Opera Concept albums Extended harmonic progressions Extended chords (9ths, 11ths, etc.) Unusual rhythms, meters (5/8, 6/8, 7/4) Long lyrical melodies Some melodies derived from classical works Players are classically trained

Punk Rock

Historical Context 1970s - Reaction against: Art Rock, Heavy Metal, and Disco Rebellion against established norms Musically an extension of 1960s hard rock styles Artistic movements? Dadaist Anti-Art Anarchism, Nihilism, Pessimism Style Characteristics: Sound Loud volumes Basic rock band Form Simple song forms Strophic and Standard (AABA) Harmony Practical guitar chords 2-3 chord progressions Bass riff is often harmonic foundation Time Very fast tempos Usually duple meter (4/4) Drums heavily accented Melody Vocals in limited range Often yelled in monotone Guitar solos generally avoided or very simple Text Generally anti-establishment Sometimes vulgar Expresses frustration Other Safety pins in body parts Torn and dark clothes Sadomasochistic tendencies Pogo and slam dances

Billy Cox

In 1969, the Experience broke up and Hendrix formed a new group called the Band of Gypsies. This was an all-black rock trio consisting of Hendrix, his old Army friend Billy Cox (b. 1939) on bass, and drummer Buddy Miles (1947-2008), who had been the drummer of the San Francisco psychedelic band The Electric Flag with monster blues guitarist Mike Bloomfield in 1967. In the summer of 1969, Hendrix was invited to play at the Woodstock festival. The Band of Gypsies was not working yet (Miles had some previous obligations) so Hendrix tried to reorganize the Experience, but Redding was already touring with another band. Hendrix got Mitchell to come in and play drums and his friend Billy Cox played bass. There was in addition a rhythm guitarist and a couple of percussion players. This incarnation of the Band of Gypsies opened up the very last day of concerts at Woodstock at around 7:00 in the morning. Hendrix's rendition of the national anthem was an interesting statement about the Vietnam war.

Musique concrète

In musíque concrète, the composer takes various taped sounds and mixes them with real sounds and musical tones. The sounds on the tapes, which can be anything from voices or animal noises to instrumental performances, can be edited to varying lengths of recording tape with the ends of the tape spliced together to create a continuous loop of tape. By playing tape loops of different lengths, the sounds on them can sound faster (on short loops) or slower (on longer loops) and backwards, creating a kind of sound collage effect.

Augustus Owsley

It is interesting to note that one of the consulting engineers listed for this album is Augustus Owsley Stanley III (1935-2011), aka "Bear", one of the major "gurus" of LSD experimentation in 1960s San Francisco; Owsley is credited with making several different types of LSD and at the time it was said on the street that he made the best acid, with very few bad trips. He was also a sound technician and recording engineer for the Dead when they were on the road in the 1960s and early 1970s.

Led Zeppelin

Jimmy Page (lead guitar) Neil Christian/Crusaders, lead guitar (1962-63) London session guitarist (1963-66) Yardbirds, bass (1966) Yardbirds, lead guitar (1966-1967) New Yardbirds (1968) Led Zeppelin (1969-80) Influences: Chuck Berry James Burton Scotty Moore Muddy Waters Elmore JamesFast tempos (generally) Fast guitar licks Catchy guitar riffs Unusual rhythmic patterns Wailing vocals (Plant) Use of distortion Loud volumes Use of studio in composition process Melodies often modal (especially Middle Eastern modes) Lyrics address: occult, supernatural, Celtic legend (after 3rd LP) Guitar solos (Page): Generally fast, repeated licks Often approaches solo with a steady ascent to high register Strict rhythms Even note subdivision

Velvet Underground

New York-based group formed in 1966 Lou Reed (guitar, piano, vocals) John Cale (bass, guitar, piano) Maureen Tucker (drums) *later* Sterling Morrison (guitar) Different from "flower power" bands from the West Coast at the time Songs about brutality of life Drug addiction, death, and the bizarre Shocking image for the time (antiestablishment and anticommercial) Discovered and promoted by artist Andy Warhol Added them to his traveling multi-media show called The Exploding Plastic Inevitable Introduced them to Nico a German fashion model/actress who sang, promoted, and designed the cover of their first album

Malcolm McLaren

Of all the groups connected with punk rock, perhaps the most well-known is the British group the Sex Pistols, which formed in London in 1975. The Sex Pistols are credited with establishing the punk revolution of the 1970s. The group was formed when London erotic boutique owner Malcolm McLaren (b. 1946) gathered together guitarist Steve Jones (b. 1955), drummer Paul Cook (b. 1956), bassist Glenn Matlock (b. 1956), and vocalist John Lydon (b. 1956). McLaren's aim was to create a group that could aurally reproduce the anger and frustration of British youth. It was he who set up the band's image as tough, angry young men in ragged clothes and marketed the band as the antithesis of the glam rock, art rock, and disco bands of the mid-1970s. McLaren renamed Lydon Johnny Rotten and also gave the band its name. As McLaren had wanted, the Sex Pistols evoked disgust everywhere they went, spitting on the crowds, jumping on people from the stage, Rotten slashing himself with razor blades and broken beer bottles on stage, and just being anti-everything nuisances in general. McLaren eventually landed the Pistols a recording contract in 1976 with EMI Records and they recorded their first single "Anarchy in the U.K." which sold fairly well.

The Sex Pistols

Of all the groups connected with punk rock, perhaps the most well-known is the British group the Sex Pistols, which formed in London in 1975. The Sex Pistols are credited with establishing the punk revolution of the 1970s. The group was formed when London erotic boutique owner Malcolm McLaren (b. 1946) gathered together guitarist Steve Jones (b. 1955), drummer Paul Cook (b. 1956), bassist Glenn Matlock (b. 1956), and vocalist John Lydon (b. 1956). McLaren's aim was to create a group that could aurally reproduce the anger and frustration of British youth. It was he who set up the band's image as tough, angry young men in ragged clothes and marketed the band as the antithesis of the glam rock, art rock, and disco bands of the mid-1970s. McLaren renamed Lydon Johnny Rotten and also gave the band its name. As McLaren had wanted, the Sex Pistols evoked disgust everywhere they went, spitting on the crowds, jumping on people from the stage, Rotten slashing himself with razor blades and broken beer bottles on stage, and just being anti-everything nuisances in general. McLaren eventually landed the Pistols a recording contract in 1976 with EMI Records and they recorded their first single "Anarchy in the U.K." which sold fairly well.

Chas Chandler

One person who was particularly impressed with Hendrix's mastery of the instrument was record producer Bryan "Chas" Chandler, one of the original members of the British group The Animals (see Chapter 15). Chandler was so enthusiastic about Hendrix's playing that he immediately signed Hendrix to a management contract.

Backbeat

Placing a strong accent on the offbeats. In a four-beat measure, the drummer typically emphasizes beats 2 and 4, creating the basic rhythm of rock music.

David Bowie

Returned to music in mid60s as front man for a bunch of R&B based groups Names based on songs by Slim Harpo and Muddy Waters 1966 changed his name to avoid confusion with the Monkee of the same name Signed as a solo act on Pye Records and Decca Records but didn't accomplish much and retired in 67 to study Buddhism and mime Returned to music in 1969 with "Space Oddity" (top 5 in GB) 1970 promo tour The Man Who Sold the World Created a Ziggy Stardust, a superstar persona in 72 Alien who came to Earth to become a messianic rock figure Concept album + move from other-worldly sound to hard rock Career spanned R&B, Glam Rock, sonic experimentation, 80s dance mixes, funk rock with tons of famous collaborators Influences from pop singer Anthony Newley, French performer and singer Jacques Brel, mime, Zen Buddhism, Andy Warhol, symbolist poetry Rimbaud and Verlaine, and Expressionist art and drama of early 20th century Was actor in a variety of things ranging from sci-fi to horror and fantasy (notably Labyrinth 1987)

AABA song form

Standard song form that follows a pattern of Verse Verse Bridge Verse, or AABA; this is a common form in popular songs dating back to earlier centuries and then used primarily in American popular song beginning in the early 20th century. Each segment of AABA is a total of 32 measures long, each section consists of 8 measures; the ending harmony (or cadence) for each section except the last features chords that lead on to each following section, giving a feeling of continuity; the last cadence of the last part closes to give the listener a feeling of finality.

The Rolling Stones (first style period)

Stiff performances. Precise sense of rhythm. Lack of beat shifting characteristic of rhythm and blues. A very energetic enthusiasm for what they are playing.

Hard rock

Terms: Derived from psychedelic rock 19th Century (Britain): Big guns on warships Person of heavy power or influence 20th Century rock: Concepts, images of power, intensity Steppenwolf, "Born To Be Wild": I like smoke and lightning Heavy metal thunder Style characteristics: Sound: Vocals mixed into overall sound Loud volumes Lead guitar oriented Electronic distortion Thick-textured sound Form: Mostly riff-based songs Some dependence on basic forms (strophic, standard, hybrid) Harmony: Simple chord progressions 3-5 chords in basic progression Progressions based on guitar practical technique Power chord (root/fifth) Bass ostinato (riff) is the harmonic basis Time: Fast tempos Simple duple/quadruple meters Strong, hard backbeat Bass ostinato (riff) is also the rhythmic basis Melody: Vocals limited in range Guitar solos have wide range Other: Album-oriented bands Some lyrics cultivate negative images: witchcraft, black magic, death, suicide ("occult rock") Many lyrics deal with sex, drugs, drinking, and partying

Heavy metal

Terms: Derived from psychedelic rock 19th Century (Britain): Big guns on warships Person of heavy power or influence 20th Century rock: Concepts, images of power, intensity Steppenwolf, "Born To Be Wild": I like smoke and lightning Heavy metal thunder Style characteristics: Sound: Vocals mixed into overall sound Loud volumes Lead guitar oriented Electronic distortion Thick-textured sound Form: Mostly riff-based songs Some dependence on basic forms (strophic, standard, hybrid) Harmony: Simple chord progressions 3-5 chords in basic progression Progressions based on guitar practical technique Power chord (root/fifth) Bass ostinato (riff) is the harmonic basis Time: Fast tempos Simple duple/quadruple meters Strong, hard backbeat Bass ostinato (riff) is also the rhythmic basis Melody: Vocals limited in range Guitar solos have wide range Other: Album-oriented bands Some lyrics cultivate negative images: witchcraft, black magic, death, suicide ("occult rock") Many lyrics deal with sex, drugs, drinking, and partying

The Grateful Dead

The "archetypal San Francisco band" General style characteristics: Based in folk, folk-rock styles (esp. blues, bluegrass) Long guitar improvisations in live performances Collective improvisations Experimentation with sounds Use of electronic distortion Early bands: The Wildwood Boys (Garcia, Hunter) The Zodiacs (McKernan, Kreutzman) Mother Macree's Uptown Jug Champions (Garcia, McKernan, Weir) Folk, blues, jug band music Largely acoustic; no drums, piano The Warlocks (1965) Electric blues Kreutzman and Lesh join Standard "house band" for San Francisco "happenings" Experimentation in musical style: Louder volumes Harder-edged rock sound More collective improvisation Longer songs to incorporate long improvisations Lots of electronic distortion, feedback The Grateful Dead (1966) Blues, Motown, Soul, Folk, Dylan covers Extensive improvisational sections Distortion, electronic effects, feedback experiments Owsley: Consulting engineer Dark Star (1970) Live performance Use of montuno Truckin' (1970) Autobiographical Hybrid song form

Aldous Huxley

The Doors was formed in 1965 by singer/lyricist Jim Morrison (1943-1971) and keyboardist Ray Manzarek (1939-2013). They were joined by drummer John Densmore (b. 1944) and guitarist Robby Krieger (b. 1946). The name of the group was taken from the title of a book by English author Aldous Huxley called The Doors of Perception. Huxley's book deals with the influences of mind-expanding drugs and was suggested by a phrase by the British Romantic poet William Blake from the poem The Marriage of Heaven and Hell (1798).

Jefferson Airplane

The Jefferson Airplane was one of the most successful groups to emerge from San Francisco in the 1960s and the first San Francisco band to be signed to a major label. The Jefferson Airplane was formed in 1965 by singer Marty Balin (1942-2018) and guitarist Paul Kantner (1941-2916), who had met while playing folk music on the San Francisco coffeehouse circuit. They recruited blues guitarist Jorma Kaukonen (b. 1940) and folk singer Signe Anderson (1941-2016). The group went through several bassists and drummers before finally settling on Jack Casady (b. 1944) and Skip Spence. With this line-up, the band began to attract a local following as a band who played folk lyrics to a hard rock beat. This band recorded their first album The Jefferson Airplane Takes Off (1966) which contained the song "Blues from an Airplane".

The Police

The Police is another band that is difficult for me to connect with the punk movement and punk groups such as the Sex Pistols, although many rock historians refer to them as a punk band. They have the hard-edged sound of punk with over-driven guitar and bass, and screaming, though melodic, vocals. Most of their lyrics are typical rock love songs and appeal quite well to teenagers, rather than the socio-political topics of other punk bands. And rather than the more simplistic rock accompaniments of most other punk bands, the musical texture of the Police's music is usually polyrhythmic (with exceptionally inventive rhythms supplied by Copeland) and polyphonic (with multiple layers of countermelodies and harmony vocals). Yet their sound does not fall into the category known as New Wave (see below). They can definitely be considered a power trio - a three-piece group that produces a great deal of sound. The Police formed in 1977 in England by drummer Stewart Copeland (b. 1952), who had been playing with an art rock group named Curved Air, bassist/vocalist Sting (born Gordon Sumner, 1951), who had been playing around the jazz scene at Newcastle, and guitarist Henri Padovani (b. 1952). The band released a single, "Fall Out/Nothing Achieving", in 1977 on a small label that had been begun by Copeland's brother, Miles, who also later served as the band's manager. "Fall Out" is a fast-paced, hard-edged rocker that is propelled by the bass and drums and features the high-pitched, screaming vocals of Sting coupled with the backing harmony of Copeland, a sound that will become the standard for the Police. The guitar playing by Padovani, on a brief solo and as a rhythm player, is lacking in feel and technique. Technically, Copeland and Sting leave Padovani far behind and this is very noticeable in "Fall Out". Padovani left the band in August 1977 and was replaced by guitarist Andy Summers (b. 1942), who had played with a late version of the Animals and most recently had been playing with the British art rock group Soft Machine.

Andy Warhol

The Velvet Underground's first break came in 1967 when they were discovered by artist Andy Warhol (1928-1987) in New York's underground club scene. Warhol took the Velvets under his wing and added them to his traveling multi-media artwork which he called The Exploding Plastic Inevitable. Warhol introduced the group to German fashion model/actress Nico (b. Christa Päffgen, 1938-1988), who became a vocalist for the Velvet Underground, promoted the band, and even designed the cover of their first album, The Velvet Underground and Nico (1967). The group's image and sound were shocking for the time. They were very much antiestablishment and anticommercial. The song lyrics, primarily by Reed, are generally literate and usually half-spoken rather than sung. This, coupled with a hard-cutting sound, did not agree with many listeners who were looking for peace and love in their music. Many felt that the band's connection with Warhol proved that the Velvet Underground was not a "real band" but was rather a publicity stunt.

Pink Floyd

This British band was formed in 1965 from the remains of several other bands. The Pink Floyd Sound, named after Carolina East Coast (Piedmont) bluesmen Pink Anderson and Floyd Council, as the band was originally known, consisted of Syd Barrett (guitar, vocals; 1946-2006), Bob Close (guitar; b. 1945), Roger Waters (bass; b. 1943), Nick Mason (drums; b. 1944), and Rick Wright (keyboards; 1943-2008). The band was originally part of the British beat groups from London, heavily influenced by blues and rhythm & blues, they played blues and rhythm & blues covers. As Barrett gradually became more involved with psychedelic drugs (i.e., LSD), the music tended to expand in length, to include long, detailed improvisations, and to also incorporate more electronic effects. Before the end of 1966 they had progressed to more psychedelic music, guitarist Close was eliminated from the band, and Pink Floyd became a four-piece outfit, a part of the Swinging London psychedelic scene.

Bend (bent notes)

To slightly alter the pitch of a note by pilling on a string, raising or lowering the voice, or tightening or loosing the embouchure, or mouth position, on a horn. The bent note is often considered a blue note.

Polyrhythms

Two or more rhythms performed simultaneously.

The Yardbirds

Yardbirds lead guitarists: Eric Clapton (1962-1965) Jeff Beck (1965-1967) Jimmy Page (1966-1968) John Paul Jones (bass, keyboards) London studio musician, producer (1963- 68) New Yardbirds, bass (1968) Led Zeppelin, bass, keyboards (1969-80) New Yardbirds add Robert Plant (vocals) And John Bonham (drums)

Power chord

a chord commonly played on the guitar consisting of the root note and the perfect fifth

Super group

a music group whose members are previously successful as solo artists or as part of other groups or well known in other musical professions

Power (guitar) trio

a rock and roll band format having a lineup of electric guitar, bass guitar and drum kit (drums and cymbals), leaving out a second rhythm guitar or keyboard instrument that are often used in other rock music bands that are quartets and quintets. Larger rock bands often use one or more additional rhythm sections to fill out the sound with chords and harmony parts.

Happening (Warhol)

he announced that he was "leaving art" and staged a happening: a 40-foot long silver balloon was launched into space from the Factory roof

Concept album

is a studio-produced album where all musical or lyrical ideas contribute to a single overall theme or unified story.

Jello Biafra

the former lead singer and songwriter for San Francisco punk rock band Dead Kennedys One of the most politically outspoken groups of the period was the Dead Kennedys. Formed in San Francisco in 1978, the DKs consisted of Jello Biafra (Eric Boucher; b. 1958), vocals; East Bay Ray (Ray Pepperell; b. 1948), guitar; Klaus Fluoride (Geoffrey Lyall; b. 1949), bass; and Ted (Bruce Slesinger), drums. Ted was replaced by DH Peligro (Darren Henley) in 1981.

Contrafact/contrafacta

the substitution of one text for another without substantial change to the music