MUS 354 Part 2 Facts Exam CH 6-8

The Beatles' music went through four phases, each lasting about two years:

Beatlemania: from 1962 to the end of 1964 Dylan-inspired seriousness: 1965-1966 Psychedelia: late 1966-1967 Return to roots: 1968-1970

Which song best sums up the sgt. Pepper worldview?

"A Day in the Life"

Joe Elliot, lead vocalist for Def Leppard, was quoted as saying:

"In 1971, there were only three bands that mattered. Led Zeppelin, Black Sabbath, and Deep Purple."

the year that rock matured

1965

how long did The Beatles' career last?

8 years

Of the early metal bands, which group stayed truest to the style?

Black Sabbath -Deep Purple strayed far enough from metal basics that some critics considered them an art rock band -From the start, Led Zeppelin was much more than "just" a heavy metal band. Their music covered a broad range of styles, even at times within a single song

modal harmony

Chords built from modal scales, rather than major and minor scales. Modal scales are common in British folk music.

Was heavy metal a monolith?

NO very diverse

Were the records of country and electric Bluesmen easy to obtain in Britain

No--that's why they were so prized

it is ____ _______________ ability to personalize any style they absorb into their music—to make it work for a particular song—that sets their music apart from everyone else's.

The Beatles'

Why is it difficult to gauge the impact and importance of the Beatles' music in a small sampling of songs?

There are two reasons for this difficulty: the rapid evolution of their music, and its unparalleled emotional and musical range

Rock is all about the rhythm; Y/N

Yes

Describe how Brown secured his "brand new bag"

by subtraction; he gradually eliminated anything not essential to maintaining the rhythmic flow of a song: repeated guitar riffs, repetitive bass lines, keyboard chords, busy drum parts, and the like. With "Papa's Got a Brand New Bag," the process is complete.

What are heavy metal's main outlets?

recordings and live performances; never received much airplay

The guitar had been a _______ instrument from the earliest days of rock and roll.

solo

What musical feature was absent from black sabbath?

virtuosity

_____________ popular music consisted mainly of pop stylings and "trad": British-style Dixieland jazz. In the late fifties, "skiffle" was the hot new sound in the United Kingdom.

British -Skiffle mixed American and British folk music, rockabilly (in its use of the drum set), and other sources. It is often viewed as the first British take on US rock and roll.

Where did Jimi Hendrix die?

London

Slow Soul/ Soul Ballads

One of the classic examples of this branch of sixties soul music is Percy Sledge's "When a Man Loves a Woman," a lament of love gone wrong.

Although Sgt. Pepper seems a logical next step in the Beatles' musical evolution, it can also be understood as a response to which album?

The Beach Boys' "Pet Sounds"; particularly the track "Good Vibrations"--set forth a new example and method for multitrack recording

describe the Heavy Metal audience

almost exclusively young males, typically disaffected and from middle- or lower-class environments. (More recently, the audience for heavy metal has broadened to include both older males—those who have grown up with it—and females.) -Immersion in heavy metal has been a rite of passage for many teens around the world.

At what point did The Beatles' music become most influential (with regard to their previous work)

from Rubber Soul on

What do critics of heavy metal attack it for?

perceived cheapness and cruelness

where does the metal approach to harmony come from?

seemingly, the blues; osbourne and zeppelin were first incarnated as blues bands -Bluesmen adapted conventional chords—I, IV, V—to the blues. But instead of arranging them in typical progressions, they simply shifted from one chord to the next, much like heavy metal guitarists shifted from one power chord to the next. -Although the chords and chord progressions are different from the blues progression, they are conceptually more in tune with deep blues, because harmonies simply shift away from the home chord and return.

Which of Dylan's songs was his first single to chart?

"Subterranean Homesick Blues", from "Bringing it all Back Home" -his albums fared way better than his singles -it reached No. 39.

heavy metal

A hard rock style that developed in the early 1970s, featuring often ear-splitting volume; heavy use of distortion; simplified chord progressions and melodies; lyrics that reflect adolescent, often male preoccupations; and elaborate stage shows.

What are the distinctive sounds of the Stones?

Jagger's singing and Richards's guitar playing

which acts came out of the heavy metal scene?

Ritchie Blackmore and Jimmy Page to Eddie Van Halen, Randy Rhoads, and Yngwie Malmsteen. -Perhaps more than any other rock style, heavy metal values and demands technical excellence.

How were Dylan and The Beatles similar?

They both came to rock from the outside (one from folk, the others from Liverpool) and stretched rock to its limits

"Soul" had replaced "rhythm and blues" as the umbrella term for the new black music that had emerged during the mid-sixties; T/F

True

Shortly after Jumpin' Jack Flash, how did the Stones refer to themselves?

as "the World's Greatest Rock and Roll Band."

How was Led Zeppelin originally categorized?

as a seminal heavy metal band -it is apparent from their first album though that their musical center is blues -what is so interesting about them is that although their music covers vast stylistic territory, it is not compartmentalized; all of the influences bleed into each other

influence of electric bluesmen on 60s acts

electric bluesmen such as Guitar Slim, Buddy Guy, and Freddie King (one of Clapton's idols) were playing the guitar in a style that paralleled their raw, earthy singing, exploiting such novel effects as severe distortion in the process. Their style served as a direct inspiration for a new generation of rock guitarists.

Why did Dylan never enjoy the commercial success that his contemporaries did?

he challenged his audience to meet him at his level

Where did the range of Led Zeppelin come from?

mainly from guitarist Jimmy Page (b. 1944), whose curiosity led him to not only immerse himself in the blues but to seek out exotic musical styles (for example, Flamenco and East Indian music).

How does "Jumpin' Jack Flash" show it's roots in deep blues?

mainly in the lyric, Jagger's singing, the thick texture, and the attitude that these features project. And it is this attitude—realized far more forcefully in this music than in rock and roll and early rock—that gives hard rock and heavy metal such power. In these songs, we hear the deep blues influence and the evolution beyond blues style.

did the electric blues have much influence on rock in the 50s?

no; if it did, it was indirect (mostly through instrumentation) -At this point, the Delta bluesmen were all but forgotten as well

What did Motown offer to the new black music of the 60s?

not just a new take on pop, but a new, black popular style—and a new kind of romantic music.

what is harmony in heavy metal about?

-not about building tension and release or arriving at a destination via a clearly defined path; about power

Throughout the recorded history of deep blues, the __________ had been a melody instrument as well as a harmony and rhythm instrument in support of the voice.

Guitar

Who did Clapton claim to be his major influence?

Muddy Waters

Among the most compelling new sounds of the late sixties were ___________ _________ such as Cream and the Jimi Hendrix Experience

Power trios -These were bare bones bands—just guitar, bass, and drums—set up to showcase the skills of their exceptionally able guitarists: Eric Clapton and Jimi Hendrix. -These and other like-minded guitarists, such as Jeff Beck and Jimmy Page, took one additional element from blues—the guitar as the bluesman's "second voice." They used it as a point of departure as they introduced a new element into rock: virtuosic soloing.

"Paranoid," the title track of their second album, typifies the sound of Black Sabbath and, by extension, early heavy metal. In its original studio version, it defines the salient features of early heavy metal. They include:

Power-trio instrumentation: lead vocal, guitar, bass, and drums Substantial distortion in both guitar and bass Riffs built from power chords, which are repeated throughout most of the song Chord progressions developed from modal scales A strong, aggressive, clearly marked rock beat at a fast tempo, with syncopation mainly in the vocal line and the occasional riff A dramatic vocal style, in which the boundary between speech and song is often blurred A very loud dynamic level -This song offers a reductive approach to rock rhythm. The timekeeping is more prominent—guitar, bass, and drums all mark the eight-beat rock rhythm layer through most of the song. Most of the rhythmic conflict occurs with Osbourne's singing; he is constantly off-beat; nevertheless, still generates remarkable rhythmic momentum -It is an approach that grew out of the breakthroughs of the late sixties.

"Jumpin' Jack Flash"

Rolling Stones 1968 -begins with Richards's syncopated guitar riff. Rhythm guitarist Brian Jones enters on the second iteration of the riff, marking the rock rhythm; Wyman also enters playing a bass line that matches up rhythmically with the main guitar riff. On the third iteration of the riff, Watts enters, marking both the rock rhythm and the backbeat, in alternation with a bass drum sound on the first and third beats. At this point, rhythm guitar and drums are marking the regular rock rhythmic layer, while bass and lead guitar play against this regular rhythm. Nowhere in the rhythm do we hear any instrument marking off the beat; our sense of the beat emerges from the interaction of the other rhythms, rather than some kind of steady timekeeping. The absence of beat-keeping gives the rhythm a flow that is not present in "Satisfaction" and other songs that evidence a similar approach to rhythm. The rhythmic texture is also richer, with several rhythmic layers in the drum part, a steady but occasionally syncopated bass line, plus riffs and insistent rhythms in the guitar parts. The chorus features not only vocal harmony but also a freer bass line and a high obbligato guitar part—all of which produce a rich, vibrant rhythmic texture. The increased density of the texture and the guitar halo during the chorus are just two of several features that the Stones add to this otherwise straightforward verse/chorus rock song to give it an individual character. -In any noteworthy Rolling Stones song, there are always features—some obvious, some more subtle—that lift the song well above the ordinary.

Where did Jimi Hendrix grow up?

Seattle, WA

purported "first" heavy metal groups

Some writers credit Blue Cheer, a very loud San Francisco band. Others cite Led Zeppelin or Iron Butterfly. But Black Sabbath was the first band whose music consistently laid out the most widely used conventions of the heavy metal world.

Aretha Franklin

The Queen of Soul; 1947-2018 -Her father, C. L. Franklin, was one of the most charismatic preachers in the country (Gordy even recorded some of his sermons, released on a subsidiary of Motown Records); he TOURED -Although shy as a child (throughout her career, only her singing has been extroverted) and the daughter of a wealthy man, Aretha was anything but sheltered. As a teenager, she went on the road with her father and his entourage; her mother had left when she was six. She crammed a lifetime of experience into those few years. Before she set off for New York at eighteen to begin her secular career, she had repeatedly experienced the discrimination that went with being black in the fifties, endured endless bus rides from town to town, and given birth to two children. So when she sang about love and respect, her feelings came directly from her own experience.

Describe the Stones' dynamic

The Rolling Stones' sound was the result of teamwork. What they did best, they did as a group, even though at the time this song was recorded, there was considerable friction between Richards and Brian Jones. Their rock-defining groove grew out of the interaction among all the band members. So did the loose, somewhat unkempt texture. Although Jagger is the visual focus of the band, there is no one musician whose talent dominates the sound.

Improvisation

The act of creating music spontaneously rather than performing a previously learned song the same way every time. Improvisation is one of the key elements in jazz. It gives musicians the opportunity to express inspirations and react to situations; requires virtuosity, melodic inventiveness, personality, and the ability to swing.

What was the Stones' answer to Sgt. Pepper's?

Their Satanic Majesties Request

What was the Stones' most significant achievement?

the perfection of the rock rhythm

Compare/contrast "You Really Got Me" and "Satisfaction"

"Satisfaction" presents a more complex form of rock rhythm than we heard in "You Really Got Me." Watts strongly marks both the beat and the rock beat layer; Jones's rhythm guitar part also reinforces the rock rhythm layer. These steady rhythms serve as a foil for other parts: Richards's guitar riffs, Jagger's vocal line and occasional tambourine rattles, and Wyman's free bass lines. Together they create a dense overlay of conflicting rhythms. The result is a thick, active rhythmic texture that balances heavy timekeeping with strong syncopations. The songs by the Kinks and the Rolling Stones present a rock rhythmic conception that is purged of any transitional elements. However, in both cases, the beat is routinely marked, which inhibits the flow of the rhythm somewhat. Neither "You Really Got Me" nor "(I Can't Get No) Satisfaction" is a blues song. Still, this group-oriented music by the Rolling Stones and the Kinks embraced essential aspects of blues style and sensibility Musically, the strongest connections are found in the rough vocal quality of singers like Jagger, the heavy reliance on repeated riffs, and the dense, dark texture resulting from the interplay of instruments operating in middle and low registers.

James Brown

(1933-2006) was the godfather of soul, the man who had nurtured it longer than anyone else and whose music had more influence than any other soul artist. Brown's career spanned almost the entire history of the rock era. His first hit recording, "Please Please Please," appeared on the R&B charts in 1956. We continue to hear his music today in multiple forms: not only the original recordings but also via samples woven into rap recordings. It took Brown almost a decade to arrive at the original sound heard in "Papa's Got a Brand New Bag," his breakthrough 1965 hit. The majority of his hits in the fifties were typical slow R&B ballads. Other than Brown's singing, there is little in these recordings that anticipates the originality of his work in the sixties.

Percy Sledge

(1940-2015) was born in Leighton, Alabama, a small town not far from Muscle Shoals, where he recorded "When a Man Loves a Woman" in 1966. -Quin Ivy, a local disc jockey and all-around entrepreneur, had discovered Sledge singing in a local group called the Esquires. Ivy engineered a solo artist contract with Atlantic and arranged the recording date that produced Sledge's first and biggest hit.

In ________, everything went sour. The pivotal event was the assassination of Dr. King

-1968 -left many wondering whether "the dream died with the dreamer," as Stax producer Al Bell put it. -Race riots in Detroit and Watts and the confrontation between liberals and radicals during the 1968 Democratic Convention replaced the idealism of the civil rights movement with disillusionment. -The nation quickly discovered that laws do not change attitudes overnight.

In the ________s, the popular music audience would realign along racial lines to some degree.

-70s -Nevertheless, popular music did not retreat to a pre-soul past, just as the nation could not return to the federally sanctioned injustices of segregation.

Because the ________ ____________ could only play one note at a time, Townshend must have created the synthesizer chords by overdubbing. In performance, the Who used a tape of the synthesizer part rather than an actual performer.

ARP 2600

Describe the recording of "I Never Loved a Man"

-Aretha Franklin, 1967 -Although put together on the fly—the horns were in the studio's office working out the riffs while Aretha was rehearsing with the rhythm section—the song was recorded in a couple of takes. -a fight between studio owner Rick Hall and Ted White, Aretha's husband and manager at the time, broke out sometime in the wee hours. With that, the session was called off, Aretha headed back to Detroit, where she all but disappeared for weeks, and Wexler went back to New York with one-and-a-half songs. He finally got Aretha to return to finish the second song, and the rest is history.

Describe the influence of James Brown's music

-Brown's music has been profoundly influential. With its emphasis on intricate rhythms and de-emphasis of melody and harmony, it would create the blueprint for funk and rap. -With deep roots in gospel, blues, rhythm and blues, and jazz, and its blending and modernizing of these styles, the music of James Brown represents a unique soul synthesis. -In its originality and individuality, it stands apart from all the other music of the sixties. It remains one of the most influential styles from that decade.

The great black music of the sixties came mainly from two cities:

-Detroit and Memphis. -Detroit was the home of Berry Gordy's Motown empire. -Memphis was "soul city" in the sixties, just as it had been the mecca for rockabillies in the fifties. As before, it was a single recording studio that was the magnet: in the sixties, Jim Stewart and Estelle Axton's Stax Records eclipsed Sam Phillips's Sun Records as the source of cutting-edge sounds from Memphis.

Compare the Byrd's "Mr. Tambourine Man" with Dylan's version

-Dylan's version is acoustic. The Byrds' cover uses a full band, including McGuinn's electric 12-string guitar. -Dylan's version lasts five minutes and thirty seconds; the Byrds' version lasts only two minutes and twenty-nine seconds. And even that difference is deceptive, because the Byrds' recording has a slower tempo and includes McGuinn's introductory riff, which also serves as an extended tag. -The Byrds' version is also much more like a rock song in form. Two statements of the refrain frame just one of the four verses. This truncated version cut out over half of the lyrics—precisely the element that had made the song so special for Dylan fans. But the expanded instrumentation, simpler form, and slower tempo gave the song much wider appeal. -McGuinn's famous opening riff, played on a 12-string guitar, seemed to evoke the "jingle-jangle" of the refrain.

musical conventions of heavy metal

-EXTREME distortion (Defining feature of the genre) -blues-derived pentatonic and modal scales, often unharmonized; power chords; extended, flamboyant solos; ear-splitting volume; screamed-out, often incomprehensible lyrics; and pounding rhythms, often performed at breakneck speed.

Describe "Like a Rolling Stone"

-First track recorded on "Highway 61 Revisited" -shows how Dylan channeled his verbal virtuosity into an accessible rock song. The words still have sting: the song paints an "I told you so" portrait of a young girl who's gone from top to bottom. But they tell a story that we can follow, even on the first hearing. -The song sounds like rock from the outset: it begins with a free-for-all of riffs that overlay Dylan's vigorous electrified strumming and a straightforward rock beat on the drums. This sound is maintained throughout the song, with Dylan's harmonica competing with Mike Bloomfield's guitar in the instrumental interludes. -The body of the song consists of four long sections. Within each section, verse and refrain alternate, as they do in many rock songs. However, Dylan immediately puts his own spin on this rock convention: each section has, in effect, two verses and two hooks. The first verse of each section consists of two rapid-fire word streams, saturated with internal rhymes—typical Dylan. But each word stream paints only one picture, and each phrase ends with a short, riff-like idea (such as "Didn't you, babe?"), followed by a long pause. The slower pacing of the images and the break between phrases help the listener stay abreast of Dylan's lyric. -The second verse serves as a long introduction for the first of two melodic hooks: Dylan's voice drips scorn as he sings "How does it feel?" followed by a memorable organ riff; this is repeated, the question left hanging in the air. Dylan then gives a series of equally scornful responses that fill out our picture of the girl's plight. These culminate in the title phrase. -By expanding each section internally, Dylan also expands the dimensions of the song: it lasts over six minutes, twice the length of a typical song.

The musical influence of Jimi Hendrix

-Hendrix set the standard for solo improvisation in rock. -Hendrix's contribution to rock, and more particularly improvisation in rock, is so substantial because it is multifaceted. -He brought to rock guitar playing unprecedented fluency, a new expressive vocabulary, and a dazzling array of new sounds. In all three dimensions, we hear both Hendrix's deep indebtedness to the blues and his thorough transformation of this blues foundation into the most spectacular and influential rock guitar style of the early rock era. These qualities are evident in recordings such as "Voodoo Child," a track from his 1968 recording, Electric Ladyland.

"Papa's Got a Brand New Bag"

-James Brown, 1965 Underneath Brown's short vocal riffs, the horns play short riffs, the baritone sax a single note, the guitar a chord on the backbeat (except for the double-time repeated chord at the end of each statement of the refrain—a brief moment in the spotlight), the bass short groups of notes separated by silence, while the drummer plays a rock rhythm on the hi-hat and bass drum kicks on the off-beat. The little timekeeping that's audible comes from the drummer. The drummer's light timekeeping is like aural graph paper, onto which Brown and his band draw their rhythmic design. The open sound that results from this bare minimum texture was not only Brown's new "bag" (in sixties slang, a "bag" is a person's special skill; here, it refers to Brown's new conception of rhythm and texture), but also one of the most original conceptions of the rock era. "Papa's Got a Brand New Bag" alternates blues-form refrains with sections that don't use blues form. The boundaries between sections are sharply drawn; so are the shifts within sections. Further, each section has its own well-defined character, which usually remains the same throughout. By sharply defining the character of each section and the boundaries between sections, Brown creates forms that seem assembled from blocks. This differentiates them from the Motown songs, which proceed in waves of sound.

"Cold Sweat"

-James Brown, 1967 -In "Papa's Got a Brand New Bag" and "I Got You (I Feel Good)," Brown emphasized rhythm, texture, and the soulfulness of his singing over melody and harmony. -In this song, he goes a step further. The basic approach is the same: riffs layered over light timekeeping. However, there is virtually no harmonic movement: one chord lasts the entire opening section, and the bridge oscillates between two chords. At the same time, the texture is more active. The guitar part adds fast-moving rhythmic counterpoint. -Of special interest is the new choked guitar sound. The guitar becomes in effect, a percussion instrument, with more rhythm than pitch. Moreover, its pattern is active and highly syncopated, enriching the rhythmic texture more than any other line. Other strands—drums, bass, baritone sax, other horns—are also more consistently syncopated than in the previous songs. Because the texture is more active, Brown sings less, especially in the contrasting section. Here Brown seems to sing only when he feels like it. He is content to ride the band's rhythmic wave. The combination of an active, syncopated rhythm texture and harmonic stasis creates a sense of open-ended time: we are immersed in an "eternal present." Because they create and maintain a groove, sections are infinitely extensible: they don't go anywhere, they just are. This was a huge conceptual breakthrough, anticipated only infrequently by such songs as Bo Diddley's "Bo Diddley." Brown goes well beyond these early efforts.

Stax Records

-Memphis, Tennessee, rockabilly's home base in the fifties, became soul's spiritual center in the sixties, mainly through Jim STewart and Estelle AXton's Stax Records -In many respects, Stax Records was set up like Motown: it had owners, producers, staff songwriters, a house band, and interchangeable singers. -The Stax sound seemed more a collective effort than a decision from above (as was the case with Motown). Instead of playing from written arrangements, the Stax musicians would listen to a song a few times and construct what amounted to a head arrangement (that is, created on the spot—off the top of their heads). They would play the song through and briefly discuss among themselves who should do what. Then, often within minutes, they would be ready to record. -Moreover, the operation was thoroughly integrated. -Their headliners included Otis Redding, Rufus and Carla Thomas, Sam and Dave, and others -The house rhythm section, which recorded under its own name, was Booker T. and the MGs

Explain the Beatles' and Bob Dylan's mutual appreciation for each other

-The Beatles had acquired The Freewheelin' Bob Dylan while in Paris in January 1964; according to George Harrison, they wore the record out, listening to it over and over. John Lennon, in particular, seemed drawn to Dylan's gritty sound and rebellious attitude. -Somewhat later during that same year, Dylan was driving through Colorado when he heard the Beatles for the first time over the radio. Later he would say, "I knew they were pointing the direction where music had to go." Each had something that the other wanted and perhaps found intimidating: the Beatles, and especially Lennon, wanted Dylan's forthrightness; Dylan responded to the power of their kind of rock and envied the Beatles' commercial success. -Later, in explaining their musical breakthrough in the mid-sixties, McCartney said, "We were only trying to please Dylan." -the meeting gave Dylan the motivation to go electric, "Bringing it all Back Home" (1965) ushered in his era as a rock musician

The major phase of ____ ____________ career lasted just under eight years.

-The Beatles' -For all intents and purposes, it began on June 6, 1962, when they auditioned for George Martin, the man who would produce most of their records. -It ended on April 10, 1970, when Paul McCartney announced that they had disbanded. After their breakup, all continued their careers as solo performers. -But we remember them mainly through their recordings, and those were made between 1962 and 1970.

How did Jimi Hendrix expand the sound range of the guitar?

-They range from the pitchless strummings of the opening of "Voodoo Child" and the biting sound on the rapid repeated intervals on the bottom strings (at about two minutes into the song) to the sustained high-note wails, distorted chords, and hyper-vibrated notes in his solos. And he mixes them together in dazzling sequences that seem completely spontaneous in their unpredictability. -Hendrix plays in Technicolor—there are times when almost every note has a sound that's different from the ones around it. Both the degree and frequency of sound variety far exceed that heard in earlier improvisation-based styles—indeed, such variety was not possible before Hendrix began to exploit the potential of the electric guitar. -he elevated sound variety to a level of interest comparable to pitch and rhythm, and he enormously expanded the vocabulary of available sounds. -How to integrate solo brilliance into a group conception became an issue for rock bands in the wake of Hendrix's expansion of rock guitar resources

Why was Korner's club so significant?

-a regular stop for American bluesmen touring England, was a mecca for British blues fans. It was also an outlet for the British blues musicians—a place where they could gain valuable performing experience. -The roster of musicians who played at Korner's club reads like a Who's Who of British rock in the sixties and early seventies. Both the Rolling Stones and Cream were made up of Korner alumni, while key members of Led Zeppelin, the Yardbirds, John Mayall's Bluesbreakers, and other notable bands also paid their dues there. -Clapton played there with Sonny Boy Williamson and gained a new perspective on how to genuinely play the blues; crucially shaped the future of his sound--the most essential form of rock

Describe the production of Highway 61 Revisited

-almost like spontaneous combustion; everything came about haphazardly but worked -EX: Al Kooper playing organ for the first time on "Like a Rolling Stone"—crucially shaping the final result. -The songs juxtapose the sublime and the ridiculous and package elusive ideas in images that brand themselves on your brain. Above all, they democratize popular music while elevating its message in a way that had never been done before: with Dylan, high art did not have to be high class.

Describe Southern Soul

-although not as well-oiled as Motown, many great Soul songs and acts came from the South -generally came in two speeds: fast and slow. -Up-tempo songs built on the groove found in the rock-influenced rhythm and blues of the early sixties. Some are upbeat as well as up-tempo, while others sermonize or upbraid. -The slow songs almost always deal with the pain of love. -EX: See Otis Redding's "I Can't Turn You Loose," recorded for Stax Records, and Percy Sledge's "When a Man Loves a Woman," recorded in Muscle Shoals at the Fame Recording Studio for Atlantic Records.

The Byrds

-came together in the summer of 1964 to form what would become the first folk-rock band. -The original lineup included guitarists Jim (later Roger) McGuinn, Gene Clark, and David Crosby; bassist Chris Hillman; and drummer Mike Clarke. -McGuinn, Clark, and Crosby had formed a folk trio in Los Angeles in late 1963, which went nowhere. Adding Hillman and Clarke changed their sound and put them on the cutting edge of the mix between folk and rock.

in less than a ___________, rock musicians learned to play with rock rhythm

-decade -by adding other rhythmic layers, most of which conflict with the timekeeping layers; adding faster rhythms; varying the timekeeping, even to the point of completely omitting it for long stretches; and focusing particularly on the rock rhythmic layer. In the process, they transformed rock rhythm from the relatively straightforward rhythms heard in music from the early and mid-sixties into the irresistible groove that is the heart of rock and roll.

describe the roots of heavy metal

-deep roots in the blues, direct and indirect -direct: diabolical overtones, half-sung, half-spoken high-register vocal style, lack of harmonic movement, and reliance on riffs easily reach back to Robert Johnson ("Come on in My Kitchen"). Power chords and endlessly repeated riffs trace back to John Lee Hooker ("Boogie Chillen'"), and heavy distortion to mid-fifties bluesmen ("Rocket 88"). -indirect: the early music of the Kinks (for example, "You Really Got Me"), as well as Hendrix, Clapton, and the other blues-based rock guitarists of the late sixties. -In transmuting blues rhetoric into heavy metal, bands intensified and stylized these features. Classical music as well; derived virtuosity and expropriated virtuosic patterns from classical works; this emphasis on transcendent instrumental skills shows up not only in the guitar solos but also in the tight ensemble (typically, not a feature of blues style) and pedal-to-the-metal tempos. Modality has been another seminal influence -modes formed the scales of much English folksong: most of the early metal bands were British -modes were the basis of a fresh new harmonic language within rock (i.e. the Stones) -the African American pentatonic scale maps onto most modes. In fact, modes can be understood as an expansion of the melodic resources of the pentatonic scale. -Fourth, precisely because it is the basis of so much folksong, as well as medieval and Renaissance classical music, it connotes archaic, even mythical, times. This meshes smoothly with the gothic element in much heavy metal

Significance of "Like a Rolling Stone"

-established Dylan's rock credentials and his originality as well as any one song could. No one else could have written a song like this: a cinematic portrayal of a privileged princess who's strung out and trying to survive on the streets. -Despite its length, the song would become one of Dylan's most successful singles, briefly reaching No. 2 in the summer of 1965.

Black Sabbath

-everything from their name, to their music, to their stage presence was meant to evoke the occult (i.e. burning crosses on stage, images of devil worship) -the third incarnation of a blues band from Birmingham, England. Vocalist Ozzy Osbourne (b. 1948), guitarist Tommy Iommi (b. 1948), bassist Terry "Geezer" Butler (b. 1949), and drummer Bill Ward (b. 1948) first came together as Polka Tuck, then changed their name to Earth. By 1969, they had become Black Sabbath; their first album appeared a year later. -Through relentless touring, they developed an international audience. As a result, their second album, Paranoid (1971), sold over 4 million copies. They remained the top metal act for the first half of the decade. With the ascendancy of punk and disco in the late seventies, their popularity waned, and Osbourne left Black Sabbath in 1979 to front his own highly successful and notorious group.

Describe Dylan's "Mr. Tambourine Man"

-features just his singing, harmonica and guitar accompaniment, plus another guitar playing an obbligato line. The song combines a catchy melody and memorable refrain ("Hey Mr. Tambourine Man, play a song for me") with impressionistic lyrics ("evening's empire," "magic swirlin' ship," "skippin' reels of rhyme," "twisted reach of crazy sorrow," "circled by the circus sands"), and the perfect sixties symbol: a pied piper leading a group of hip individuals to a new level of consciousness. -opened popular music up to a radically new kind of lyric. Country, folk, and blues lyrics were direct, as we have seen and heard. Pop-song lyrics could be sophisticated; rock-and-roll lyrics could talk nonsense ("Da Doo Ron Ron") or capture the essence of teenage angst ("Not Fade Away"). But none had been surreal.

Describe Aretha Franklin's career

-her career in secular music began in 1960, when she signed a contract with Columbia Records. Her producer was John Hammond, perhaps the most knowledgeable and sensitive advocate of black music in the music business during the middle of the century. -Although he recruited her for the label, the company didn't know how to tap her talent. Some of her recordings show her as a bluesy pop singer, à la Dinah Washington, who was very hot around 1960; others capture her singing pop treacle accompanied by syrupy strings. Jerry Leiber suggested that Aretha was "suffering from upward mobility." Although she produced some good work, her career went nowhere. In 1966, Atlantic Records' producer Jerry Wexler bought her contract. He took her to Muscle Shoals in January 1967 for what in retrospect proved to be one of the most famous recording sessions of all time. Within seconds after she sat down at the piano to play through "I Never Loved a Man," everyone in the studio knew they were in the presence of someone special.

define the sound space of heavy metal

-interplay between modal harmony, distortion and power chords; -the mid-register space that would typically be filled by guitar and vocals in traditional rock is filled by power chords and distortion in heavy metal

The Kinks

-largely a family affair; two brothers, Ray and Dave Davies, formed the band in 1963—Ray (b. 1944) was the lead vocalist and main songwriter; Dave (b. 1947) was the lead guitarist—by inviting bassist Pete Quaife (1943-2010) and drummer Mick Avory (b. 1944) to join them. The Kinks scored early: "You Really Got Me" and "All Day and All of the Night," the band's first and most influential hits, charted in late 1964. In them, they laid down a formula borrowed from the blues that would become a hallmark of hard rock styles. -longest-maintained rock band aside from the Stones (active since 63')

the recording of Good Vibrations

-multitrack recording -Wilson recorded "Good Vibrations" in four studios over a period of six months. The song, his wonderfully imaginative setting of it, the novel instrumentation, and—above all—the superb production (a remarkable achievement in the days before 24-track boards) made "Good Vibrations" unique, and a challenge to the Beatles and all who aspired to a higher standard of production.

What did British Musicians take from the blues?

-several of its most distinctive features: the attitude and posturing of the bluesmen, often obvious in its sexual challenge; lyrics that told their stories in plain, direct language, often with a nasty edge (Muddy Waters's "I Can't Be Satisfied" and the Rolling Stones' "[I Can't Get No] Satisfaction"); a rough, declamatory vocal style; heavy guitar riffs and string-bending blues-scale guitar solos; a strong beat; and a thick, riff-laden texture. -This music is identified variously as hard rock, as a hard-rock substyle, such as heavy metal or southern rock, or simply as "rock."

How did Jimi Hendrix break as an artist?

-touring with blues and rhythm-and-blues artists, got his solo career going in England, made his first big splash in the United States at the 1967 Monterey Pop Festival -transformed the blues into the most daring and influential instrumental style of the sixties.

Otis Redding

1941-1967 -The King of the Southern Soul singers -grew up in Georgia, first tried to break into the music business in Macon; he eventually ended up singing behind Little Richard. -After he secured an Atlantic recording contract, he turned out a string of R&B hits at Stax. He broke through to the pop market with a scintillating performance at the 1967 Monterey Pop Festival, where he won over a new, largely white audience for his music. -Tragedy struck soon after: he died in a plane crash later that year. The posthumously released "(Sittin' on the) Dock of the Bay," written with Steve Cropper in Monterey, was his biggest hit. (Ironically, it was one of his least soulful recordings.) -Redding's singing calls to mind a preacher. Especially in up-tempo numbers, his singing is more than impassioned speech but less than singing with precise pitch. It is as if the emotion of the moment is too strong to be constrained by "correct" notes. "I Can't Turn You Loose," one of his classic soul recordings, showcases his unique delivery, sandwiched between the Memphis Horns and the MGs.

Jimi Hendrix

1942-1970 -His father's record collection had a lot of blues and jazz -After a hitch in the army, cut short by a back injury suffered in a parachute jump, Hendrix began his musical apprenticeship by working in the backup bands of a wide variety of black performers: bluesman B. B. King, Little Richard, saxophone great King Curtis, the Isley Brothers, and Jackie Wilson. -In 1966, Hendrix formed his own band: Jimmy James and the Flames. They were heard in New York by ex-Animals' bassist turned talent scout Chas Chandler, who encouraged Hendrix to come to England. -When he arrived, Chandler introduced him to bassist Noel Redding and drummer Mitch Mitchell, who began jamming with Hendrix. Soon, they were performing on the London club scene as the Jimi Hendrix Experience. -Their first hit, "Hey Joe," released in the fall of 1966, made Hendrix a star almost overnight. -Their first album, Are You Experienced? released early in 1967, secured Hendrix's reputation in England. -A spectacular performance at the 1967 Monterey Pop Festival spread his reputation in the United States. For the remainder of his too-short career, he cemented his place as rock's most influential and innovative soloist. -Hendrix was one of the most flamboyant performers of sixties rock. Like several of the bluesmen who inspired him, he developed unconventional ways of playing the guitar; his guitar was a sexual extension of the self in a way that had never been done before. -his most memorable visual moment came at the Monterey Pop Festival, when he drenched his guitar in lighter fluid and set it on fire. His red guitar, flickering with flames, remains one of rock's most enduring visual images.

disco

A dance music that rose to popularity in the mid seventies. Disco songs typically had a relentless beat; a complex rhythmic texture, usually with a 16-beat rhythm; and rich orchestration, typically an augmented rhythm section with horns and strings.

punk

A rock style that emerged in the late 1970s characterized musically by relatively simple instrumentation, rhythms, and production. The Ramones and the Sex Pistols were among the best-known punk bands.

Psychedelic rock

A rock substyle defined not by a musical feature but simply by the music's ability to evoke or enhance the drug experience.

art rock

A rock substyle that sought to elevate rock from teen entertainment to artistic statement, often by drawing on or reworking classical compositions (e.g., Emerson, Lake, and Palmer's version of Mussorgsky's Pictures at an Exhibition). Art rock was often distinguished by the use of electronic effects and mood music-like textures far removed from the propulsive rhythms of early rock.

in 1969, what did Alan R. Pearlman found?

ARP instruments; he wanted to produce synthesizers. -His first synthesizer, released in 1970, was a fairly large machine. -His second model, the ARP 2600, which was released in 1971, was portable and flexible enough to be used in live performances, although it was monophonic. -To promote his new instruments, Pearlman gave units to some of the top rock and R&B musicians of the era, in return for permission to use their names in promoting his product. -Among his first clients was the Who's Pete Townshend. He featured it on several tracks of their 1971 album Who's Next, where it served as the best possible advertising for ARP and its instruments.

Compare/contrast music by black and white artists in the 60s

Although much black music crossed over to the pop charts and influenced musicians of all races (Paul McCartney claims Motown bassist James Jamerson as a primary influence), black performers created music distinctly different from that of most of their white counterparts. There are three main reasons for this. -The first and most significant is the strong gospel tradition. There is no better example than Aretha Franklin, the queen of soul: Aretha's father was pastor of one of the largest churches in Detroit, and she sang at his services from early childhood. -Another was the increasing musical distinction between rock and roll and rhythm and blues. As we heard in the previous chapters, the differences between the two styles increased toward the end of the fifties, not only because of the gospel influence in the singing, but also because of differences in rhythm, instrumentation (for example, horn sections were the rule in black music; they were rare in white music), and texture (the bass was in the foreground in black music, the guitar typically more in the background; the reverse was true in white rock). The trend continued with black artists whose careers began in the sixties. -A third reason for the array of distinctly black styles in the sixties was the artistic control of a few key producers. Berry Gordy, the emperor of Motown, was one. Another was Jerry Wexler, who had helped build Atlantic Records into a major pop label. Memphis-based Stax Records relied more on the musical intuition of its house musicians—which included Booker T. and the MGs, and the Memphis horns—to create a "house" sound.

The Motown formula

As it developed during the early sixties, Motown's organizational structure was a pyramid. -At the top of the pyramid was Gordy. -Underneath him were those who wrote and produced the songs, like Smokey Robinson and the Holland/Dozier/Holland team. -Underneath them were the arrangers and house musicians. Berry recruited his core players from Detroit's jazz clubs. He relied on the skill and inventiveness of musicians such as bassist James Jamerson (the man most responsible for the freer bass lines of sixties rhythm and blues and rock), keyboardist Earl Van Dyke, drummer Benny Benjamin, and guitarists Robert White and Joe Messina. -The fourth level were the acts themselves: Stevie Wonder, Smokey Robinson and the Miracles, the Supremes, the Four Tops, Martha Reeves and the Vandellas, Mary Wells, the Temptations, and Marvin Gaye.

Compare/contrast the influence of the blues on Eric Clapton and Jimi Hendrix

Because they were the dominant soloists of their time, Clapton and Hendrix are inextricably linked. -Some of the differences between Hendrix and Clapton may have grown out of their early exposure to the blues: Hendrix grew up with the blues, hearing it as part of a broad spectrum of black music that also included jazz and rhythm and blues. Clapton approached the blues with the fervor of a convert, especially after his encounters with American bluesmen. -Although they used the blues as a point of departure, Hendrix and Clapton took these new-found capabilities several steps further; in so doing, they helped transform the electric guitar into the transcendental solo instrument of rock.

Describe the commercial breakthroughs of the Beatles and how they transformed the medium of the record

Before the Beatles, rock records were promoted mainly as singles; albums were compilations of singles. However, with the Beatles, from Rubber Soul on, the process was reversed: the singles now typically came from the album. Part of the message in this reversal of form was that this music was important (that is, adult) enough to be released in album format. Indeed, Beatles' albums became rock milestones. -The commercial breakthrough, for the Beatles and for rock, was their total domination of the album charts, in addition to their success on the singles charts.

The two acts most responsible for elevating rock's level of discourse and expanding its horizons

Bob Dylan and The Beatles

Significance of "Cold Sweat"

Brown's music, especially "Cold Sweat" and much of the work that followed it, bring popular music closer to its African roots than it had ever been before. Indeed, John Chernoff reported in his 1971 book, African Rhythm and African Sensibility, that African musicians felt more at home with James Brown's music than any other popular musician of the time.

How did Led Zeppelin contribute to rock?

By both reaffirming it's core and through spectacular innovation; one of the few bands/artists who were able to accomplish that

"Strange Brew"

Cream -the blues influence runs deep, yet it's transformed into one of the most influential rock sounds of all time. -The underlying harmony is a basic 12-bar blues; the lyric and melodic form use the verse/chorus blues form - the deeper blues influence is in Clapton's guitar playing. Clapton fills three distinct roles in this song. One is the sharp chords that come on alternate backbeats. A second is the rapidly rising riff that runs throughout the song. Third are the solo episodes: during the introduction, answering the vocal, and the brief solo in the middle of the song. The deep blues influence is most evident in the solos, where Clapton adapts many trademark features of electric blues style: the fast vibrato, bent notes, free rhythms, extensive use of the pentatonic scale, and heavy inflection of individual notes. -his guitar surpasses his voice - Clapton's repeated riff is a textural breakthrough for rock. From Chuck Berry on, rhythm guitarists had typically played chords. Usually they surfaced as some kind of boogie-woogie derived pattern (Berry, Holly), strummed (Beatles, Rolling Stones), or arpeggiated (Dylan, Beatles). Clapton's alternative, while certainly based on chords, breaks away from the rhythmic and melodic regularity that are customary in rhythm guitar parts. In this respect, it is more like a repeated riff in an electric blues than anything commonly found in rock and roll. -Similarly, the texture created by the riff, Clapton's lead guitar line, and Bruce's bass line resembles the intertwined melodic strands of the electric blues style heard in the Muddy Waters examples. -At the same time, the concept is considerably updated, not only by the shift to rock rhythm, but also the emancipation of the bass line.

Highway Star

Deep Purple (1972) -clearly demonstrates the influence of classical music, and especially the music of the early eighteenth-century composers J. S. Bach and Antonio Vivaldi. Blackmore acknowledged his classical sources; the chord progression was taken from Bach, and the solos are "just arpeggios based on Bach" -Lord also adapts the melodic patterns and fast even rhythms of Bach and Vivaldi to rock. (Both solos are overdubbed with harmony parts, further evidence of the skill of both players. -Blackmore's solo shows one way in which classical and blues influences come together in heavy metal: side by side, rather than blended. Blackmore's solo begins with blues-based riffs. After gaining considerable momentum, it reaches a climactic point where more energy is required. It is at this point that Blackmore shifts into classical high gear. After about 30 seconds, the solo returns to less active but more emotionally charged blues-based riffs.

"Black Dog"

Demonstrating the Band's internalization of rock rhythm, the song begins with A noodle on the guitar Plant singing without accompaniment The band playing an extended, blues-based melodic line, without a vocal This is a major step forward in rhythmic freedom from typical sixties hard rock songs. Typically, these songs start with a guitar riff that sets the tempo. Other instruments layer in, setting up the groove. That doesn't happen here. Early on, we feel the beat strictly from Plant's vocal line. The silence that follows and the strung-out instrumental line make it difficult to group the beats into measures. In terms of freeing rhythm while still retaining the groove, "Black Dog" goes about as far as possible. The extended instrumental lines in "Black Dog" also point to another feature of Led Zeppelin's approach to rock—one that would profoundly influence heavy metal bands. In effect, they harness solo-like lines within a tight group conception. closer to "pure" heavy metal than any other song on the record

Describe Led Zeppelin's popularity

Despite, or perhaps partly because of, the mystery with which they enveloped themselves, Led Zeppelin gained a large, loyal audience. Their tours sold out and broke attendance records, and all of their recordings went platinum. They are still popular, almost three decades after they disbanded. There is no ambiguity as to why: their music is a rare combination of almost unrestrained power and subtle artistry, of raw emotion and superbly calculated craft. For some, the mix was too heady: the band never attracted the broad-based audience of the Beatles or Elton John. But for a large core, it was just the right strength. Millions of loyal fans remain unsatiated.

Eric Clapton

During the sixties, Eric Clapton (b. 1945) refined and purified his blues conception, especially during his short stint with John Mayall's Bluesbreakers in 1965 and 1966. The purity of this conception was important to him: he had left the Yardbirds just prior to joining Mayall when the band moved away from blues toward psychedelic rock.

___________ made rock a music that mattered almost overnight. His songs were significant in a way that popular song had never been: they were profound, not clever, and they were without compromise.

Dylan -approached the standards typically reserved for music considered art—for example, classical art songs, bop, and post-bop jazz. Just as significant, he made his music important completely on its own terms, rather than by emulating an established style.

_________'s musical settings opened up new sound worlds, and—more important—new possibilities for the integration of words and music.

Dylan's -because the lyrics were often so provocative and challenging, Dylan used musical settings to evoke mood—to convey the general character of the song without overpowering the words.

In rock and roll's first decade (1955-1965), there were three overwhelmingly popular singles sources:

Elvis, the Beatles, and the various Motown groups. -All sang tuneful songs with voices that were not as sweet as those of pop singers, but not so rough that mainstream youth would find them unpleasant.

etymology of the term heavy metal

Everyone agrees that the term appeared in rock as part of the lyric ("heavy metal thunder") in Steppenwolf 's 1968 song, "Born to Be Wild." Its history prior to that is less clear. Rock mythology has the term coming most directly from William Burroughs's Naked Lunch. That source is myth: Burroughs does not use the phrase anywhere in the book. In any event, it was in common use by the early seventies.

Describe Aretha's musical versatility

Having quickly established her credentials as the queen of soul, Aretha began to explore other musical territory. She has been one of the very few artists of the rock era who can cover songs convincingly. -Her versions of Burt Bacharach's "I Say a Little Prayer," Sam Cooke's "You Send Me," Nina Simone's "Young, Gifted, and Black," and Paul Simon's gospel-influenced "Bridge over Troubled Water" are all standouts. Several of her own songs give further evidence of her expressive range: in "Rock Steady," she tips her hat to James Brown, while "Daydreaming" is as tender and romantic a song as any released in the early seventies. -Aretha's music is deeply personal and, at the same time, universal. The responsive listener feels her communicate one-on-one, yet her message transcends such a relationship. -The best of Aretha's music seems to demand both empathy and ecstasy. No one in the rock era has fused both qualities more powerfully and seamlessly than she.

Describe Jimi Hendrix's improvisation

Hendrix's brilliant improvisations are the expressive focus of the performance. They are skilled to a degree matched only by jazz in the popular music tradition before rock. toward the end of his life, Hendrix immersed himself in the music of John Coltrane, one of jazz's great virtuosos as well as its most progressive voice in the sixties, and collaborated with fusion guitarist John McLaughlin, who also recorded with Miles Davis at this time. -The quality that stands out above all is the astounding variety of Hendrix's playing. It is most apparent in his improvisatory strategies and range of sounds. -Hendrix does not limit himself to any particular improvisatory style—for instance, a fast-moving single-line melody or variations on a riff. Instead, he roams over the entire range of the instrument, interweaving sustained bent notes, rapid running passages, riffs, and chords in a dizzying sequence. - he built on the expressive sounds of the blues and the artistry and melodic inventiveness of jazz, merging and transforming them into a definitive improvisational style in rock.

"Voodoo Child"

Jimi Hendrix, 1968 -blues-inspired song, on several levels. The vocal sections of the song inflate and reshape 12-bar blues form. The lyric begins as if it is a conventional rhymed couplet with the first line repeated. But Hendrix adds a refrain-like fourth line to the lyric, which contains the title phrase of the song. -Hendrix also modifies the musical features of blues form by extending the length of the phrases and by using a strikingly different harmonization: static in the first part of the song, then fresh-sounding chords in the latter part. The relationship between voice and guitar recalls the Delta blues of Robert Johnson and Muddy Waters in the heterophonic passages and the call-and-response between voice and guitar. -The vocal sections serve as formal pillars, supporting what is in essence an unbroken five-minute improvisation. Hendrix ignores the harmony of the vocal section in his solos; they take place over one chord.

Describe Aretha Franklin's influence on Soul

Many of Aretha's first hits explored the heartbreak of love, like most soul ballads of the time. However, her first up-tempo hits, most notably her cover of Otis Redding's "Respect" and her own "Think," emotionally redefined fast soul. What had frequently been a forum for men to boast about their sexual prowess became the backdrop to a demand for dignity in "Respect" and a tongue-lashing in "Think." -In both songs, the groove is as good as it gets, but it assists a call to arms rather than an invitation to sensual pleasure. "Respect," in fact, took on a meaning beyond the intent of its lyric: it became an anthem for the women's movement, which was just gathering momentum.

Compare/contrast "Respect" and "I Can't Turn You Loose"

The musical formula for "Respect" is much the same as for "I Can't Turn You Loose": interlocked rhythm section, with horns playing riffs or sustained chords. The two major differences are Aretha's singing and the backup vocals, which give the song a churchier sound. The most memorable and individual section of the song is the stop-time passage when Aretha spells out what she wants—"R-E-S-P-E-C-T"—so that there's absolutely no misunderstanding. What had been a straightforward verse/refrain song suddenly shifts up a gear. The remainder of the song features the dense texture previously heard in the refrain: a series of riffs from the backup vocalists—"sock it to me," "just a little bit," and finally the repeated "Re-re-re-re" (not only the first syllable of "respect" but also Aretha's nickname)—piled on top of the beat and horn riffs, with Aretha commenting on it all from above.

Good Morning, Vietnam

Robin Williams portrays Adrian Cronauer, an Air Force disc jockey brought in to improve morale among the troops. Cronauer junks the staff-approved tame white pre-rock pop, replacing it with an integrated playlist that includes James Brown, Motown, and the Beach Boys. While he's on the air, the film cuts away to scenes of the soldiers, on and off duty, listening to the music that he's playing. They are smiling, dancing, moving to the groove. In the film, music is the most powerful symbol of the huge generation gap between the old guard and the young troops.

"You Really Got Me"

The Kinks, 1964 -The idea of building a song over a short, repetitive guitar riff came directly from electric blues: recall the riff that opens Muddy Waters's "Hoochie Coochie Man." -the Kinks transform Waters's approach by harmonizing the riff with a power chord, adding distortion, speeding up the tempo, substituting a rock beat for a slow shuffle, and repeating the riff at successively higher pitches throughout the song. -In these changes, we can hear both the connection with electric blues and the differences between blues and blues-drenched rock. -The guitar/bass riff is the dominant rhythmic feature of the song: it is louder than any other instrumental sound, and it runs continuously through the song. Regular rhythms are either implicit or in the background -In the dominance of the riff rhythm and rhythmic freedom of the bass, the rhythmic texture is clearly rock (but very straightforward) -The harmony of the song puts a new spin on blues-based harmonies. In this song, the Kinks adapt the Delta blues one-chord approach to a verse/chorus form. -They sustain one basic harmony through the first two phrases, then shift up to another chord, and then skip up to still another chord, which underpins the multiple statements of the hook containing the title phrase. This was a novel way to build momentum toward a goal without using standard progressions. -Heavy, distorted riffs set to power chords convey Ray Davies's unbridled lust more powerfully than the lyrics, which in retrospect seem pretty tame. Songs like this formed the bridge between electric blues and heavy metal. -Using this sound as a point of departure, heavy metal bands increased the volume and the distortion, as Van Halen's 1978 cover of the song evidences. -However, the song seemed to represent a dead end for the Kinks. Their music went in several different directions (such as the proto-punk of "You Do Something to Me") but seldom returned to the simple but powerful formula of their two early hits.

"(I Can't Get No) Satisfaction"

The Rolling Stones, 1965 -For the Stones, was a musical and commercial milestone. No other major band so thoroughly distilled their essence into their first major hit. -Every aspect of the song—the title, its lyric, its melody and form, Jagger's singing and Richards's guitar playing, the sound of the band, and the relentlessness of its beat—embodied the rebellious image the band wanted to project. -begins with one of the most memorable guitar riffs of all time. It sounds menacing, because Richards uses fuzztone, situates the riff in the lowest register of the guitar, and places a strong, syncopated accent on the highest and longest note of the riff, which pushes against the beat established in the first two notes. -The riff functions not only as an introduction, but also as a refrain. It clarifies both the sequence of events and the underlying meaning of the lyric. -Reverses verse/chorus form; The title phrase comes where the verse typically appears. The music builds toward a high point, which is sustained for several measures. In a song with a conventional form, this would be the chorus. However, after "I can't get no ...," the lyric is verse-like: Jagger spews out a litany of complaints. -Richards's guitar riff mimics the energy and rhythm of intercourse; that it never changes underscores the fact that Jagger never gains sexual release, at least during the song. Here, the music seems to convey directly what the lyrics do not.

The Who

The Who had come together as a group in 1964. Vocalist Roger Daltrey (b. 1944), guitarist Pete Townshend (b. 1945), and bassist John Entwhistle (1944-2002) had been part of a group called the High Numbers; they became the Who when drummer Keith Moon (1947-1978) joined them. A year later, their music began to appear on the British charts. Their early hits, most notably "My Generation" (1965) and "Substitute" (both 1966), speak in an ironic tone: indeed, "My Generation" became the anthem for the "live hard, die young, and don't trust anyone over 30" crowd. -Musically, they were a powerhouse band with a heavy bass sound that betrayed the strong influence of sixties rhythm and blues. Still, it seemed that they were no more than a singles band, incapable of anything more than a series of good three-minute songs. -That perception began to change with the release of the album Happy Jack (1967), which included an extended piece, "A Quick One While He's Away," and it was dramatically altered with the release of the rock opera Tommy in 1969. -In 1970, Townshend conceived of a sequel to Tommy, which he called Lifehouse, that was to be even grander. He eventually put the project aside but incorporated some of the material into an album of singles, entitled Who's Next. Unlike Tommy and several subsequent efforts (such as Quadrophenia), Who's Next is not thematic.

"Won't Get Fooled Again"

The Who, 1971 -Townshend spotlights the synthesizer right from the start. A steady stream of changing chords marking the eight-beat rhythm emerges from the opening chord. The band returns about 30 seconds later, at first intermittently, then settling into a groove. -As the song proper gets underway, it's clear that the synthesizer chords serve a particular purpose: they are, in effect, a futuristic rhythm guitar, pitched in a high register instead of the more characteristic midrange, but providing steady reinforcement of the rock rhythmic layer throughout the song. Musically, there is a direct line between Chuck Berry's transformation of boogie-woogie patterns and the synthesizer chords; both serve the same purpose. -In this song, the insistent rhythm of the synthesizer chords seems to liberate the rest of the band. Townshend's power chords and riffs, Entwhistle's active and free bass lines, and Moon's explosive drumming all play off of this steady rhythm. It is this interplay between the steady rhythm of the synthesizer and the rest of the group that gives the song its extraordinary rhythmic energy.

The making of "Satisfaction"

The apparent sexual undercurrent of "Satisfaction" may have emerged originally from the group's subconscious. By Richards's own account, the riff came to him in the middle of a restless night: he woke up from a troubled sleep long enough to play it into a tape recorder, then went back to sleep. The words and the working out of the rest of the song came later.

The Rolling Stones

The band grew out of a chance encounter in 1960, when Mick Jagger (b. 1943) saw Keith Richards (b. 1943) standing in a train station with an armful of blues records. It was not their first meeting; both had grown up in Dartford, England, and had attended the same school for one year, when they were six. Their meeting eleven years later would be the beginning of their band. -Both spent a lot of time at Korner's club, where they met Brian Jones (1942-1969) and Charlie Watts (b. 1941). At the time, Watts was the drummer for Korner's Blues Incorporated, which would also include Jagger after 1961. The band came together in 1962 when they added bassist Bill Wyman (born William Perks, 1936) via an audition. Keyboardist Ian Stewart (1938-1985) was also a member of the band at the time. He stopped performing with the group soon after their career took off but retained a close connection with the Stones and performed on many of their recordings. -Like the other British bands, the Rolling Stones began by covering blues and rock-and-roll songs. Within a year, Jagger and Richards, inspired by the success of Lennon and McCartney, started writing original songs for the band. They had their first U.K. hit in 1963 and reached the top of the American charts for the first time in 1965 with "(I Can't Get No) Satisfaction."

In what ways do "Black Dog" show Rock's debt and distance from deep blues?

The blues connection is clear in the rough vocal sound, the dark texture in those passages where the band plays continuously, and the use of riffs—and the nasty attitude that these features help project. The distance is evident in the differences between this song and a conventional blues. Unlike blues singers, who sing in their natural range, Plant sings very high. The extended riff at the beginning, while based on the African American pentatonic scale, is far more elaborate than a typical blues riff. The dark texture is mainly a result of register: low and low middle. However, instead of the riff free-for-all commonly heard in a blues song, the lines are carefully worked out, with guitar and bass moving in tandem. With regard to rhythm, not only is the basic beat different—a rock beat versus a shuffle beat—but there are long stretches where there is no timekeeping. These are much longer than the stop-time sections one might hear in a blues song. It is as if Led Zeppelin has taken characteristic elements of blues style and pushed them to an extreme: really high vocal, extended riffs, expanded stop-time breaks. In the process, they thoroughly transform the blues elements into something quite new.

Describe the evolution of Led Zeppelin's music

The music of Led Zeppelin evolved considerably from their first album to Physical Graffiti (1975). That, coupled with the wide range of their music, makes it difficult to represent their achievement adequately with a discussion of a single album, much less a single song. However, the album that best captures the salient qualities of their music is the untitled fourth album, known variously as Led Zeppelin IV, Zoso, or the Runes LP. The music on the tracks ranges from the unbridled power of "Rock and Roll" to the delicacy of the acoustic "The Battle of Evermore," which provides clear evidence of the group's mystical/mythical bent. "Stairway to Heaven," perhaps the best-known song on the album, merges both. "Black Dog," another track from the album, demonstrates Led Zeppelin's connection with heavy metal and their role in the continuing evolution of rock rhythm. From the very beginning of the song, it is clear that they have internalized the feel of rock rhythm.

Deep Purple

Their lineup during their most successful period, from 1970 to 1973, included vocalist Ian Gillan (b. 1945), guitarist Ritchie Blackmore (b. 1945), keyboardist Jon Lord (1941-2012), bassist Roger Glover (b. 1945), and drummer Ian Paice (b. 1948). The inclusion of a keyboard in a metal group was unusual. However, Lord was an important creative voice within the group. Among the first recordings of the newly constituted group was Lord's Concerto for Group and Orchestra, which Deep Purple recorded with the Royal Philharmonic. At this point, they were marching in step with classically influenced art rockers like Yes, King Crimson, and Emerson, Lake & Palmer. However, the band soon shifted direction, focusing more on volume (they were listed in the Guinness Book of World Records as the loudest rock band) and heavy guitar riffs. Nevertheless, the classical influence was still apparent in both Lord and Blackmore's playing. Both were expert musicians who borrowed as heavily from the classics as they did from the blues. "Highway Star," a song from the album Machine Head (1972), shows how they combined the two influences.

Describe the influence of Muddy Waters on the Rolling Stones

They got their name from his 1950 recording, "Rolling Stone" -Their first song, "(I Can't Get No) Satisfaction" was a re-work of his 1948 recording, "I Can't Be Satisfied"

How were the British groups that infiltrated American soundwaves different than the Beatles?

They had a tougher sound than the Beatles: more prominent and more distorted guitar, a stronger beat, rougher vocals, and, behind it all, a more aggressive attitude. -included blues-influenced groups; the Kinks, the Rolling Stones, the Animals to name a few

What did Cream do for the Rock rhythm?

They loosened it up; -In "Strange Brew", the basic beat is the eight-beat rhythm of rock, but all three instruments occasionally include patterns that move twice as fast as the basic rock beat. -The most persistent and obvious is Clapton's riff, but there are also occasional double-time patterns in the drum part (a variant of the "fatback" beat so popular in soul music) and the double-time break toward the end. The double-time rhythms (that is, twice as fast as the rock beat layer) open up new paths toward greater rhythmic complexity.

Explain the significance of HWY 61 to Dylan

US Highway 61 begins in Minnesota and runs through the heart of the Mississippi Delta. The title track is a hard shuffle with strong echoes of deep blues.

Describe the synthesis of Soul music

What makes it virtually unique is the fact that the sources were almost exclusively black. This musical style combined the emotional depth and range of the blues, the fervor of gospel, and the energy of rhythm and blues and rock.

How was "Lucy in the Sky with Diamonds" perceived in the 60s?

a coded reference to LSD. Lennon's adamant denial only helped strengthen everyone's conviction that it was so

What were the circumstances around Lennon's first trip?

a friend sent Lennon on his first acid trip by spiking a drink, well after Dylan and others had been tripping regularly -the Beatles were not the first, but some of the most prominent drug users of the Sixties

What happened to Dylan in the summer of '66?

a serious motorcycle accident prompted him to briefly retire -he resumed recording in 1967 with John Wesley Harding.

The ________ revival that paralleled the folk revival of the late fifties and early sixties exposed young rock musicians to the power and emotional depth of what rock critic Robert Palmer called deep blues.

blues

The black music of the sixties helped ___________ the gap between that world and the multicultural society we now see in both the media and real life.

bridge

By the ___________ __________________, the rock revolution was over

early seventies -It was evident in the flurry of hastily arranged musical marriages between rock and pre-rock styles: pop rock, rock musicals, jazz fusion. -Most fundamentally, it was evident in the music itself. It took rock musicians about fifteen years to really get it—that is, to completely assimilate the numerous musical influences and transform them into the now-dominant style and to become comfortable with the conventions of this new style.

Most of the conventions of heavy metal—distortion; massive amplification; use of modes, pentatonic scales, and power chords; basic rhythms; power-trio instrumental nucleus—were also part of the vocabulary of all _________ ___________ music in the early seventies.

hard rock -What metal bands did was to take these features and streamline or amplify them to give them more impact. -Metal bands used more distortion and played more loudly. They took rock's shift away from traditional harmony several steps further by using conventional chords sparingly or, in some cases, abandoning harmony altogether. Its guitarists played power chords with more "power"—that is, greater resonance—and used them almost exclusively, and they developed more flamboyantly virtuosic styles. Its riffs and rhythms were stronger and more pervasive: at times, vocal lines seemed to ride on the riffs. -Above all, the music is there more. One quality that distinguishes heavy metal from most other styles is the sheer amount of nonvocal music. Even more important, music is the primary source of heavy metal's overwhelming impact and expressive power. Words serve a largely explanatory role. -became rock's most ritualistic music, if rock is ritual

No music of the Rock era has been more misunderstood than:

heavy metal -Until the nineties, surveys of any Top 40/50/100 list of major acts of the rock era generally gave metal groups short shrift. The only names likely to have appeared were Led Zeppelin and Van Halen; seminal metal bands, most notably Black Sabbath, are conspicuous by their absence.

describe the importance of power chords in heavy metal

important in creating the tangible mass of sound evident in heavy metal; not a conventional chord, because it does not complete a harmony. -important in thickening the sound, especially when doubled with the bass

What do "Won't Get Fooled Again" and "Black Dog" demonstrate?

in quite different ways, show the rhythmic independence achieved by elite rock musicians when they felt comfortable with the rhythmic foundation of rock. -The Who use a novel instrument as a substitute for a rhythm guitar, while Led Zeppelin dispense with persistent timekeeping altogether. That they can use this minimal timekeeping as a springboard for great rock is not only a testament to the excellence of both groups but also to the rapid and dramatic evolution of rock rhythm from the mid-sixties through the early seventies.

How did the Rolling Stones perfect the rock rhythm?

in the late sixties, in songs like "Jumping Jack Flash" and "Honky Tonk Women." It involved two interrelated developments: a change in timekeeping and an enrichment of the rhythmic texture. The new approach to timekeeping involved two major changes: (1) increased emphasis on the rock rhythmic layer and the backbeat and (2) the virtual elimination of steady beat-keeping. -The enrichment of the rhythmic texture involved adding more layers of rhythm while maintaining an ideal balance between regular timekeeping and rhythms that conflict or play with the regular rhythms.

Why was Townshend's use of the synthesizer so innovative?

innovative on two levels. One is simply the use of it—the ARP was a brand-new machine, and the Minimoog with which it competed had only been available for about two years. The more compelling inventiveness is his integration of the synthesizer into the heart of the band—a real novelty at the time. The synthesizer seems to expand not only the sound world created in "Won't Get Fooled Again" but also the size of the song. It is a sprawling song—over eight and a half minutes of music. The long synthesizer introduction and even longer interlude toward the end provide a dramatic contrast to the vocal sections, and its steady rhythm underpins the electrifying group jams in the extended instrumental passages. Here innovative technology enhances the basic sound and rhythm of a rock band. In both its featured role (where it contrasts with the heart of the song) and in its supporting role, the synthesizer part adds a significant dimension to both sound and rhythm. The groove is so compelling that the lyrics almost seem incidental; we lose ourselves in the sounds and rhythms of the song. It makes clear that the Who never forgot how to rock and roll.

Eric Clapton and Cream

left the yardbirds; by the time he formed Cream in 1966, with bassist Jack Bruce (1943-2014) and drummer Ginger Baker (born Peter Baker, 1939), Clapton had developed into rock's premier guitar virtuoso. He was the first major rock performer to play extended, improvised solos, especially in live performances. To accommodate his solo excursions, Cream dispensed with the rhythm guitar in live performance, although a second guitar was often added on recordings. -was the first of the power trios: lead guitar, bass, and drums but no chord instrument. -In live performance, the spotlight was on Clapton, although Bruce and Baker played active roles in support of his solos. -They became a different band in the studio. The demands of AM radio airplay, with its three-minute target, constrained Clapton's solo excursions. -Their material gravitated toward the then-fashionable psychedelic rock, although it still retained a strong blues connection. And, through the miracle of overdubbing, the band acquired additional instrumental voices without additional personnel—most notably, Clapton on rhythm guitar. -See: "Strange Brew" (not a singles hit, but one of their best-remembered recordings)

the maturation of rock rhythm was largely a process of ____________

liberation; -Rock rhythm eventually arrived at its now-classic realization primarily by eliminating timekeeping at beat speed and increasing the amount of syncopation and other forms of rhythmic play. -the point of arrival was Johnny B. Goode

What other developments, aside from those brought about by Dylan and the Beatles, took place in the first decade of rock?

other significant developments during that same period—among them the emergence of an important new black pop, soul music, the consolidation of rock style, the proliferation of numerous rock substyles.

The roots of the Beatles

the summer of 1957, when John Lennon (1940-1980) met Paul McCartney (b. 1942) and soon asked him to join his band, the Quarrymen. George Harrison (1943-2001) joined them at the end of year; the group was then known as Johnny and the Moondogs. They went through one more name change, the Silver Beetles, and one more drummer, Pete Best, before settling on the Beatles and Ringo Starr (born Richard Starkey, 1940), who joined the group after they had signed a recording contract.

Led Zeppelin

their front man was vocalist Robert Plant (b. 1948), who was Page's second choice as lead singer but who turned out to be an ideal voice for the group. Bassist John Paul Jones (b. 1946) was, with Page, part of the British music scene in the late sixties; drummer John Bonham (1948-1980) was a friend of Plant's from their Birmingham days. Page also produced their albums. His production skills were as important a component of their success as his guitar playing: he brought a wonderful ear for sonority and texture to their music. Page and Plant shared a deep interest in the mystic, the mythical, and the occult. This interest would increasingly inform their work, from untitled albums to cryptic covers, sparse liner notes, nonreferential lyrics, and numerous archaic musical influences. Another quality that sets their music apart from every other group of the era is their ability to establish, then reconcile, extremes. (I.e. plant's vocal range, the band's playing, songs such as Stairway and Dazed and Confused exemplify this)

Deep Purple's contributions to heavy metal

their infusion of classical elements into heavy metal brought new dimensions to the music. The most emulated was virtuosity, especially among individual performers. for a handful of top guitarists (and those who wished to play at that level), Baroque music became a primary source for musical ideas. The infusion of Baroque musical elements also led to a more straightforward rhythmic approach: classical music is seldom as syncopated as good rock music. The rhythmic excitement comes primarily from the speed—the fast tempo of the song and the double-time solo lines. heavy metal also places a premium on precise ensemble playing, often at breakneck speeds. This is a different kind of virtuosity, but no less challenging, and it occurs more frequently in heavy metal than in any other important rock substyle

Why was Motown so significant?

-For the first time in history, a black style was on equal footing with white music. -result of black excellence in entrepreneurship

Sampling of songs from the Beatles' "Return to Roots" era

"Back in the USSR" is twice-fried rock and roll: it recalls both Chuck Berry and the Beach Boys (the pseudo-Beach Boys harmonies and allusions to "Moscow girls" ironically recall the sunny surf music that the Beach Boys popularized). "Ob-La-Di, Ob-La-Da" is the Beatles' take on West Indian music. The song is touched by calypso and ska, the Jamaican precursor of reggae, which was known in England all through the sixties. "The Ballad of John and Yoko" owes part of its sound to country rock—appropriately enough, since ballads (long storytelling songs) have deep country roots. "Something" is a pop ballad: "the greatest love song of the past fifty years," according to Frank Sinatra—who should know. "Let It Be" comes straight out of black gospel.

describe Dylan's commercial success

"Like a Rolling Stone" and "Rainy Day Women #12 and 35" reached No. 2 on the singles charts; "Lay Lady Lay," released in 1969, was his only other song to reach the Top 10. -However, his music profoundly influenced many of the important acts of the 1960s and beyond. -Nowhere is Dylan's influence more evident than in the music of the Beatles.

Berry Gordy (Jr.)

(b. 1929) -got out of the army in 1953, he returned to Detroit, his home town, and opened a record store. He stocked it with jazz, a music he loved, but refused to carry rhythm-and-blues records.Two years later, he was out of business. He would learn that there was much more money to be made from pop. After a couple of years working on an assembly line at the Ford plant, Gordy returned to the music business. In 1957, Gordy began writing songs for Jackie Wilson, at the beginning of Wilson's solo career; several of his songs were hits. Although encouraged by his songwriting success, Gordy realized that the only way he could gain complete artistic control of his music was to form his own record company. Gordy started Motown in 1959 with little more than his dream and his drive. He knew that storytelling songs sold, and he soon learned how to sell them: Motown's first No. 1 R&B hit (the Miracles' "Shop Around") came in 1961; the label had a No. 1 pop hit the following year (the Marvelettes' "Mr. Postman"). By 1964, the roster of Motown performers included Mary Wells, Martha and the Vandellas, the Supremes, Stevie Wonder, Marvin Gaye, the Miracles, the Temptations, and the Four Tops. By mid decade, three out of every four Motown releases charted—unprecedented success for a record label. Motown was a unique phenomenon in popular music. Gordy was the first black person to create and manage a major record label, and the empire that he created was like no other. The Motown sound was a collective effort. It was hundreds of people—Gordy, his singers, songwriters, producers, musicians, plus all the business and clerical staff—all working together to produce a reliable product.

How were the Beatles introduced to weed? What impact did that have on their music?

-Dylan most likely introduced them when they first met -As Paul McCartney later recalled, "Till then, we'd been hard Scotch and Coke men. It sort of changed that evening." -gave way to the introspective and sensual moods captured in their music (from weed and LSD)

"Eleanor Rigby"

-"Eleanor Rigby," recorded in June 1966, for the album Revolver, broke sharply with pop-song conventions in both words and music. McCartney relates the story of Eleanor Rigby with a detachment rare in popular music. There is no "you" or "I," even of the generic kind. The story is told strictly in the third person. Her tale is as gloomy as a cold, damp, gray day. -theme is unlamented death, unprecedented in pop at the time -The musical setting is as bleak as the words. A string octet (four violins, two violas, and two cellos), scored by George Martin from McCartney's instructions, replaces the rock band; there are no other instruments. The string sound is spare, not lush—the chords used throughout emulate a rock accompaniment, not the dense cushions of sound heard in traditional pop. -Like Eleanor Rigby herself, the melody of both chorus and verse don't go anywhere. Set over alternating chords, the chorus is just a sigh. The melody of the verse contains longer phrases, but they too mostly progress from higher to lower notes. The harmony shifts between chords; there is no strong sense of movement toward a goal. Lyric, melody, harmony, and the repetitive rhythm of the accompaniment convey the same message: time passes, without apparent purpose. With "Eleanor Rigby," the Beatles announced that their music—and, by extension, rock—was, or could aspire to be, art. The most obvious clue was the classical-style string accompaniment. However, the subject of the song and the detachment with which it is presented have more in common with classical art songs than pop or rock songs.

Marvin Gaye

-(1939-1984). His turbulent life—stormy relationships with his wife and other women, drug and alcohol abuse, and his death by his father's hand—seemed to find expression in his music. -Whether singing about love, as in "I Heard It Through the Grapevine," or contemporary life, as in several songs from his groundbreaking 1971 album What's Going On, he communicated an almost tangible range of feeling: pain, hope, joy, frustration.

"My Girl"

-1964, The Temptations first No. 1 on the pop AND R&B charts -one of the best early examples of the assembly-line process of hit-making that served Motown so well in the sixties. The first stage in the process was the writing of the song itself. "My Girl" was one of several hits that Smokey Robinson (b. 1940), the lead singer in the Miracles and one of the top Motown songwriters, wrote for the Temptations. -The simple lyric of "My Girl" offers a succession of images that give us a character portrait of his "girl." -The song begins with a simple bass riff that is distinctive enough to be memorable. The guitar enters with another more elaborate riff; like the bass riff, it is repeated several times. -Lead vocalist David Ruffin enters, singing the two short phrases of the verse. On the second phrase, the other Temptations discreetly support his vocal with gentle background harmonies. The chorus begins with a short, simple transition that builds to the title phrase, which is repeated several times. Horns reinforce the vocal harmonies, although they stay in the background. Lush string parts soar over the several statements of "my girl." -The second verse is virtually identical to the first melodically. However, the background is much richer, with strings and horns present throughout. In most of the background parts there are little snippets of melody—trumpet flourishes, string countermelodies. After the second set of "my girls," the violins play an elaborate interlude that moves the melody to a higher key. Like the second verse/chorus statement, the melody remains the same, and the instrumental background remains rich and active. The song ends with an extended tag that hammers home the main point of the song. In this song, we hear key components of the Motown sound. -These features work together to provide multiple points of entry for a widely varied audience. The form is easy to navigate, not only because of the lyrics and melody but also because of the texture, which helps shine the spotlight on the title phrase.

When did Dylan officially enter the Rock Era?

-Highway 61 Revisited. Recorded in the summer of 1965, the album brought into full flower the rock-fueled power latent in the electric side of Bringing It All Back Home. The songs mix blues, country, rock, and even pop—in "Ballad of a Thin Man"—into a new Dylan sound.

Return to Roots (1968-70)

-Rather than making another statement, the Beatles began to respond to the music around them -From one perspective, the songs from this period are their unique reinterpretations of the styles that were "out there." Gone, for the most part, are the big orchestras, electronic collages, crowd noises. In their place, more often than not, is some straight-ahead, high-class rock and roll. -Their maturity, and the maturation of rock, gave their new music a depth and breadth that it could not have had at the beginning of the decade. -Yet, despite the more modest scale of their efforts (although The Beatles was a double album), the songs of their last period continued to expand the emotional range of their music.

Describe the musical diversity of Highway 61 Revisited

-fully revealed what Dylan would bring to rock -"Tombstone Blues," an up-tempo song with a hard honky-tonk beat "It Takes a Lot to Laugh, It Takes a Train to Cry," a Dylanesque transformation of the blues, set to a medium groove shuffle rhythm "From a Buick 6," a blues-form song with piles of riffs and a honky-tonk beat "Ballad of a Thin Man," a ballad with slithery pop-ish harmony and a light shuffle beat "Queen Jane Approximately," an early sixties-style rock ballad -there are no recurrent, consistent styles; Dylan shows a "freewheelin'" attitude toward rock -Dylan thumbed his nose at the conventions of pop music and at the pop music business. Songs ranged in length from just over three minutes to well over eleven minutes; most were five minutes or more. -The song titles could be descriptive and evocative—or not: the title of one song, "From a Buick 6," has no apparent connection to the song itself. -Shows roots in rock and roll, blues, folk, country, and Beat poetry

Describe "A Day in the Life"

-the contrast between the mundane everyday world and the elevated consciousness of acid tripping is made even more dramatic than in "Lucy...". It is projected by the most fundamental opposition in music itself, other than sound and silence: music with words versus music without words. The texted parts of the song are everyday life, while the strictly instrumental sections depict tripping—they follow "I'd love to turn you on" or a reference to a dream. This contrast is made even more striking by the nature of the words and music. The text of the song, and the music that supports it, paints four scenes. The first scene is Lennon's response to a newspaper account of a man who dies in a horrible automobile accident while (Lennon suspects) he was tripping. The second pictures Lennon attending a film—perhaps an allusion to the film How We Won the War, in which he'd acted a few months prior to recording the song. The third depicts Lennon in the rat race of the workaday world. The last one is a commentary on another even more mundane news article. In Lennon's view, it is news reporting—and, by extension, daily life—at its most trivial: who would bother counting potholes? The music that underscores this text is, in its most obvious features, as everyday as the text. It begins with just a man and his guitar. The other instruments layer in, but none of them makes a spectacular contribution. This everyday background is opposed to the massive orchestral blob of sound that depicts, in its gradual ascent, the elevation of consciousness. The dense sound, masterfully scored by George Martin, belongs to the world of avant-garde classical music—it recalls the Polish composer Krzysztof Penderecki's Threnody to the Victims of Hiroshima (1960) and other works of that type, works familiar to classical music insiders but not well-known generally. This creates another strong opposition: well-known versus obscure, and by implication, the unenlightened masses (that is, those not turned on) versus those few who are enlightened. The apparent simplicity of the vocal sections obscures numerous subtle touches. Starr's tasteful drumming and McCartney's inventive bass lines are noteworthy. So is the doubling of the tempo in the "Woke up" section. What had previously been the rock beat layer is now the beat. This expresses in music the narrator's frantic preparation for work without disturbing the underlying rhythmic fabric of the song. Perhaps the nicest touches, however, are found in the vocal line: the trill heard first on "laugh" and "photograph," then expanded on "nobody was really sure" before floating up to its peak on "lords." It is precisely this melodic gesture—the trill, now set to "turn you on"—that presages the move from the vocal section to the orchestral section and by extension the beginning of an acid trip. When the trill/leap material returns in the film-viewing vignette, this connection becomes explicit: the melodic leap is followed by the trill, which blends seamlessly into the orchestral texture. As a melodic gesture, the trill/leap sequence is also a beautiful surprise, strictly on its own terms—a sequel of sorts to the leap to "hand" in "I Want to Hold Your Hand." The final chord is an instrumental "om," suggesting the clarity of enlightenment after the transition, via the orchestral section, from mundane life in the "normal" world. It is a striking ending to a beautifully conceived and exquisitely crafted song, a song that is one of the most powerful metaphors for the acid experience ever created.

The Temptations

-the premier male Motown group act - In sound and image, they embodied the Motown esthetic: five elegantly dressed men moving smoothly in skillfully choreographed steps, and singing with the grit and soulfulness of street-corner singers but with perfectly polished harmonies. It was the Motown blend of soul and class. -The group was a vocal quintet that originally came together in 1960 from members of two aspiring vocal groups, the Primes and the Distants, to audition for Gordy. Their career took off when David Ruffin replaced original member Eldridge Bryant as the lead singer. Ruffin would stay for four years, from 1964 to 1968. This now-classic version of the quintet included—from high to low, Eddie Kendricks, David Ruffin, Otis Williams, Paul Williams, and Melvin Franklin, the deep bass voice of the group. -Their first No. 1 hit on both the pop and R&B charts was the 1964 song "My Girl."

Describe the cultural significance and connotation of "Soul" in the 60s

-was more than a musical term. -It came into use as an expression of the positive sense of racial identity that emerged during the decade: "black is beautiful" was the slogan of many politically active members of the black community. -This shift in attitude, among both blacks and some whites, was the social dimension of the relentless pursuit of racial equality. -It went hand in hand with the enfranchisement of so many blacks through the Civil Rights Act of 1964 and the Voting Rights Act of 1965.

The Beatles were the major players in the transformation of the recording industry. They influenced several developments that made popular music recording in 1970 substantially different from what it had been in 1960. Among the most significant were:

1. The record becomes the document: This process was well underway by 1965. The Beatles confirmed this trend by divorcing recorded performance from live performance. 2. The first studio band: Beginning with Rubber Soul, Beatles' records explored a sound world built on cutting-edge recording technology—including more than an orchestra's worth of instruments, everyday sounds such as crowd noises, and special effects such as tapes run in reverse. The result was a stream of recordings that would be difficult, if not impossible, to replicate in live performance. 3. Multitrack recording: The Beatles were not the first band to make use of this technology; overdubbing had been around for over a decade. However, they achieved the most spectacular results with it, especially on albums such as Sgt. Pepper's Lonely Hearts Club Band, and they inspired legions of imitators. Just as important, they used this still-new technology to help redefine the creative process: musicians could create a song in stages, through trial and error, rather than conceiving of it completely before entering the studio or improvising it in the moment. -Because of their work, rock records—by the Beatles and others—sounded a lot different in 1970 than they did in 1962. They were better produced, and they offered a broader palette of sounds.

In ______, almost after the fact, Billboard changed the name of its R&B chart from "Hot Rhythm and Blues Singles" to "Best Selling Soul Singles."

1969

__________ of the top 25 singles acts during the decade were black

12 -It was a diverse group that included James Brown, Aretha Franklin, Ray Charles, Dionne Warwick, and the Supremes; they represented not one style but several.

By ___________, the influence of black culture had been evident in popular music for more than a century.

1960 -black performers had begun to achieve stardom in the 20s, but by the 60s, access to the market was improved -By mid decade, the Supremes, the Temptations, and other Motown acts routinely kept pace with the British bands at the top of the charts. -Aretha Franklin, James Brown, and the Stax soul stars also found a large, integrated audience

When was "Love Me Do" recorded? When was "I Want to Hold Your Hand" recorded? Why is this significant?

1962 and 1963, respectively; -had become the retro band of "Back in the USSR," the groove merchants of "Get Back," or the soul-, gospel-, and folk-influenced creators of "Don't Let Me Down," "Let It Be," and "Here Comes the Sun"—all recorded between 1969 and 1970. -Their music changed so much in such a short amount of time

Dylan-Inspired Seriousness (and humor)

1965-1966 -Rubber Soul (released in December 1965), Yesterday ... and Today (released June 1966), and Revolver (released in August 1966) -Dylan's influence is evident in the lyrics, which were more meaningful, less teen-oriented, and more wide-ranging in subject matter and tone. It is also evident in the music; although, it takes a quite different form. -the Beatles expanded their sound world, reaching farther than Dylan into musical traditions far removed from rock and its roots, such as classical Indian music (for instance, the sitar and finger cymbals heard in "Norwegian Wood") and string playing reminiscent of classical music. Moreover, they synthesized these extraneous sounds seamlessly into their music -As their music matured, it became bolder and more individual. The songs are more clearly the work of the (new) Beatles—no one else could have made them—and less like each other.

Concept album

A rock-era album which represented a unified artistic vision rather than a compilation of a group or individual's songs. -the Beatles introduced the concept album

after hearing Dylan, Beat poet ________ ____________ said, "The world is in good hands"

Allen Ginsberg

Describe the paths of Aretha Franklin and James Brown

Aretha Franklin, a Detroit native whose career took off with the support of the Stax house band, linked the two, symbolically and musically. -James Brown followed his own path, geographically (from Georgia to the world via Cincinnati's King Records) and musically.

When Did Bob Dylan and The Beatles first meet face-to-face?

Aug. 28th, 1964 -The Beatles were on tour in the United States and staying at the Delmonico Hotel in New York. -Somewhat later during that same year, Dylan was driving through Colorado when he heard the Beatles for the first time over the radio. -It was Lennon who requested the meeting, through Al Aronowitz, a columnist for the New York Post, who brought Dylan down from Woodstock.

What are the constants of Dylan's style?

His singing; when he sings, it is not pretty, by conventional pop standards, and much of the time he talks/shouts/rants instead of singing. But his singing serves to remind rock that expressive power and personality counts for far more than prettiness.

Describe the album cover of Sgt. Pepper's

In a "group portrait," the Beatles appear twice—"live" and dressed in band uniforms and in wax museum-style likenesses. Icons of high and popular culture, mainly from earlier generations, surround them: Karl Marx, Laurel and Hardy, and Marilyn Monroe are but a few; Dylan is their only contemporary. That they represent themselves as wax figures or in costume suggests that the Beatles no longer see themselves publicly as they had been in A Hard Day's Night. Instead, they are playing a role. -Although the costumes and wax effigies connect most directly to the conceit of the album, the decision by the Beatles to mask their identity might also symbolize their retirement from live performance. On August 25, 1966, shortly after the release of Revolver, the Beatles gave their last performance as a touring band. -Further, by placing themselves among several generations of cultural icons, they seem to imply that their music is culturally significant—that it connects to the past even as it promises a new postmodern future, and that the division between high and low art is not divinely ordained. Indeed, the message seems to be that gaps—both generational and cultural—implode, leaving artistic significance in the eye and ear of the beholder.

Commonalities between Beethoven and the Beatles

In the documentable history of music, there has been one composer and one composing/performing group who have enjoyed widespread popularity and critical acclaim during their career, and whose music has never gone out of favor. The composer was Ludwig van Beethoven; the group was the Beatles. -Beethoven and the Beatles have more in common than commercial and critical success. The music of Beethoven and the Beatles is remarkable for its range; both were able to create music of widely varying moods without forsaking their musical identity. -Both are remarkable for their substantial evolution during the course of their careers. -Both elevated the social status of the creator: Beethoven was the man most responsible for the perception of the composer as artist, with the commensurate upgrade in social standing; the Beatles invested rock with artistic stature. -And both had a profound impact on the music of subsequent generations: Beethoven's influence was evident throughout the nineteenth century and well into the twentieth century; the Beatles' music continues to influence rock-era music, through its continuing popularity—every generation discovers it anew, demonstrating what is possible in rock by example.

Describe the Motown sound template

It is predictable enough that listeners would find new songs familiar, yet customizable enough to give each song a distinct identity, not only in melody but other features as well. -Its flexibility is evident when we compare "My Girl" with Marvin Gaye's "I Heard It Through the Grapevine."

The sixties began full of promise as much of the nation—from President __________ ___ ______________ on down—finally joined civil rights crusaders in the march toward racial equality.

John F. Kennedy -Many Americans were inspired by the words and deeds of Martin Luther King Jr., and other civil rights leaders. When racial equality became the law, racial harmony seemed possible.

Psychedelia (late 1966-1967)

LSD helped shape the Beatles' new relativistic version of reality, evidenced in the cover art for Sgt. Pepper's -throughout the album, there are contrasts between the everyday world and the heightened sensibility experienced while tripping on acid. -This contrast is most sharply drawn in "Lucy in the Sky with Diamonds."

How do we account for their extraordinary boundary-stretching growth as a group? Three important ways:

Knowledge of styles. They had firsthand familiarity with a broad range of styles. In their dues-paying years, the band performed not only rock-and-roll covers and original songs but also pop hits of all kinds. Unlike the vast majority of contemporary groups, they had a thorough knowledge of pop before rock, and they clearly absorbed styles along with songs. Melodic skill. Along with the Motown songwriting teams, the Beatles were the first important rock-era musicians to write melody-oriented songs that were in step with the changes in rhythm, form, and other elements that took place during this time. No one since has written so many memorable melodies. Sound imagination. Aided by the development of multitrack recording and the consummate craftsmanship of George Martin, their producer, the Beatles enriched their songs by startling, often unprecedented, combinations of instruments and—occasionally—extraneous elements, such as the crowd noises and trumpet flourishes of Sgt. Pepper.

Describe "Lucy in the Sky with Diamonds"

Lennon and McCartney put a truly original spin on verse/chorus form. The verse evokes a dreamy state. The lyric contains numerous psychedelic images ("marmalade skies"), and the music floats along in waltz time. It gives the impression of a person in the middle of an acid trip. By contrast, the chorus is straight-ahead rock and roll, which conveys a sense of normalcy. The repetition of the title phrase suggests a second persona in the song: a detached outsider who is watching the "verse" person while he's tripping.

"I Heard it Through the Grapevine"

Marvin Gaye, 1967 -one of the great recorded performances in the history of popular music. It is beautifully integrated: every element blends seamlessly to convey the sense of the text, which gradually unfolds the story of love gone wrong. -The opening keyboard riff, harmonized with open intervals, immediately establishes a dark mood. Other instruments enter in stages, leading to the entrance of the voice. -Each statement of the melody of the song contains four sections. The first two are blueslike, in that they generally stay within a narrow range and go down more than up. The third builds to the final section for the hook of the song: "I heard it through the grapevine." It is the emotional center of each statement. A Greek-chorus commentary by the backup singers ends each section. -We hear all of the key elements of the Motown sound in this recording as well. The song begins with a memorable instrumental hook. It has a muted rock rhythm. There are lots of melodic ideas woven into the texture. The rich instrumental accompaniment includes rhythm instruments, horns, and strings. The song also has a verse/chorus form that builds to a title-phrase hook. As in "My Girl," these features provide easy entry into the song and provide enough interest to keep our attention. -Within these general parameters, we hear the variation in detail that keeps the Motown formula from being formulaic. -The mood of the song is the mirror image of "My Girl": the bitter end of love, rather than the anticipation of it. This is conveyed most directly in the melody of the song, written by Norman Whitfield, and in Gaye's singing

The essence of ___________ was in the songwriting, the production, the conception of the studio musicians, and—above all—in Gordy's overriding vision.

Motown -not in the acts themselves, although they were instrumental in gaining a wider audience

Compare and contrast the worldviews of 60s Motown and Rock

Motown was heading in the opposite direction from rock. Rock tended to look at love cynically (the Beatles' "Norwegian Wood" comes to mind), lustfully (such as the Rolling Stones' "Satisfaction"), or not at all. Motown songs preserved the romance present in the popular songs of the thirties and forties, even as they brought both lyrics and music into the present. It's evident not only in the sound—the rich string writing, the understated playing of the rhythm section—but also in the look (Slick, well-dressed v. tie die, etc)

What was special about Dylan's "Bringing it all Back Home"?

One side was acoustic, the other was electric (it was an LP, offering the ideal format for this type of record). -he moves forward by returning to his roots as a rock musician -it was the end of the beginning; he effectively ended his folk career, and began his career as a rock legend

"I Can't Turn You Loose"

Otis Redding -The song is the quintessential illustration of the southern soul sound. The song begins with not one, but two, memorable melodic hooks, both of them instrumental. The first is the bass/guitar riff; the second is played by the horn section. There is a wide-open space between the low range guitar/bass riff and the horn riff: that's the range in which Redding sings. This is the typical instrumental backdrop for an up-tempo soul song: heavy on the bottom and top and basically empty in the middle (except, of course, for Redding's singing). The only chord sounds come from the piano, heard faintly in a high register. -The rhythm is also typical of sixties Memphis soul: -Marking of the rock rhythm layer by the bass and guitar -Strong beat keeping from the drums -Frequent syncopations in both riffs that fight against the beat (the famous offbeat horn riff at the end of each big section is the classic example of this) -Redding darting in and out of a steady rhythm with the kind of rhythmic freedom that all the great soul singers had -This performance has a harder edge than many soul recordings, not only because of Redding's gritty singing but also because the guitar is so prominent and has a little distortion. Perhaps the edge comes from rock: one of Redding's big hits was a cover of the Rolling Stones' "Satisfaction."

"When a Man Loves a Woman"

Percy Sledge, 1966 -the band is accompanist rather than partner, more like a frame to a painting than an indivisible part of the mix. The opening is about as unobtrusive as it can be in the rock era: walking bass, slow triplets and backbeat on the drums, sustained chords on a Farfisa organ (one of the wave of electronic keyboards that came on the market during the sixties). -Other layers accumulate during the course of the song: guitar noodles, backup vocals, then horns on the final chorus. Their accompanying role is defined not so much by their volume—eventually the band all but overpowers Sledge—as by the complete lack of rhythmic or melodic interest in their parts. Only the guitarist is doing anything other than sustaining a chord or marking time, and his part remains pretty much in the background. As a result, the sound spotlight shines straight on Sledge. Although this was Sledge's first recording, he "let it all hang out." He held nothing back; there is no emotional reserve in his singing. Previously, such naked emotion had been heard almost exclusively in the blues—and Ray Charles's blues/gospel synthesis. Here, as in Charles's best work, it is amplified through gospel style. Like the blues, the phrases start high and finish low, but the strain from singing so high in his range projects the pain that is inherent in the song. The powerful emotion captured in this song touched a lot of hearts; it was No. 1 on both the R&B and pop charts in 1966 and remains one of the great soul anthems.

Describe the popularity of the Beatles

Record sales were only one dimension of their popularity. When their career took off, Beatlemania gripped the Western world. At concerts, their fans would drown out the group with their screaming. Beatle sightings would inevitably produce a crush of fans. Their first film, A Hard Day's Night, shows the intensity of fan adulation. The film, acclaimed as innovative in its "day in the life" portrayal of the group and refreshing in its lack of pretense, only fanned the flames of their popularity. All this audience attention eventually backfired; the incessant pressure was a major factor in their decision to stop touring. The mere fact of the Beatles' popularity gave weight to everything they did. Their work was both inspiration and model to a generation of rock musicians. It is likely that even without the Beatles, rock would have eventually become the dominant language of popular music. Because of the Beatles, however, it happened almost overnight. By the end of the decade, rock ruled—in the record stores, on the radio, and on stage.

All of this music was called ________ at the time. In fact, however, there were two distinct, if related, style families: the black pop of Motown and the real soul music of Aretha, James Brown, and the Stax artists.

Soul

Black music reached this artistic and commercial peak just as the civil rights movement crested. T/F

T

Who is Rock's classic act?

The Beatles -Their music has spoken not only to its own time but to every generation since. -Their songs are still in the air; they remain more widely known than any other music of the rock era. -Their music is a cultural artifact of unsurpassed importance. No single source—of any kind—tells us more about the sixties than their music

Observations regarding The Beatles' music

The Beatles had their own sound, right from the start. Their uniqueness grew out of their collaborative approach to music making; they were a group, in the fullest sense of the word. Their music is both simple and sophisticated. Their songs always provide easy points of entry that hook us, yet they also contain subtle details that set them apart from the mundane. This blend of simplicity and sophistication is one key to their commercial and artistic success. They had the uncanny ability to absorb outside influences—sometimes almost overnight—and integrate them seamlessly into their music.

When did the Beatles peak musically?

The Beatles reached a pinnacle with Sgt. Pepper's Lonely Hearts Club Band. Their subsequent efforts, most significantly Magical Mystery Tour, were not as successful, either artistically or commercially. By 1968, they had begun to retreat from the grandiose.

Describe the heyday of Southern Soul

The heyday of southern soul was brief—about four years, from 1965 through 1968. The bullet that killed Dr. King—ironically in Memphis—also seemed to pass through the heart of soul. The major southern soul studios were integrated operations: the Stax rhythm section was half black/half white, and the house musicians at Rick Hall's Fame studio were almost all white. In the wake of the racial tensions triggered by Dr. King's assassination, business ground to a halt at Fame and slowed down at Stax. Audience attitudes seemed to change as well. Most of the southern soul stars saw their careers nosedive. Only vocalist Al Green had a major career after the glory years, although Isaac Hayes (CHEF???) had a brief moment in the sun as a performer. Nevertheless, soul left an indelible imprint on the music of the rock era.

Describe the impact and influence of the Beatles

The impact and influence of the Beatles reshaped every aspect of rock music: what it was and what it could be, how it was created, what it stood for, its place in the music business. The early Beatles recordings helped draw the boundary between rock and roll and rock. However, from 1965 on, Beatles songs really begin to sound different from one another, yet they all sound like Beatles songs. Furthermore, they stretched the boundaries of rock: rock became whatever the Beatles produced, simply because it was by the Beatles.

Describe the influence of Highway 61 Revisited

The music was comparably original, particularly in the evocative use of musical style. -He used beats, instruments, harmonies, forms, and the like to create an atmosphere. -In the title track, "Highway 61 Revisited," for example, the rough-and-tumble ensemble sound recalls Delta blues, which contextualizes the title. Earlier generations of pop artists had used style evocatively, but no one before Dylan had let it penetrate so deeply into the fabric of the music. -Highway 61 Revisited became one of the most influential rock albums of all time.

What song did the Byrds cover from "Bringing it all Back Home", and why was it significant?

They covered "Mr. Tambourine Man" in 1965, one month after Dylan's version was released -The success of the single—it topped the charts in June—inspired Dylan to seek out a more commercially promising path.

Beatlemania phase (1962-end of 1964)

began in September 1962, when they recorded their first song, "Love Me Do," and ended early in 1965, with songs like "Ticket to Ride" clearly indicating that their music was exploring new territory. -During this first phase, the Beatles could be characterized as a rock band with a difference. Their instrumentation was conventional: two guitars, bass, and drums, with most of the band singing as well as playing. -However, their singing was rougher than that of most other bands, especially the pop pap that was standard fare on British radio. -The difference also shows up in the songs. It seems that even their first hits had at least one feature that was special to that song and specific to the Beatles. It might be an element that carried through the entire song, or a little detail—or both. In "Love Me Do," for example, the opening phrase of the vocal melody is harmonized mainly with raw-sounding open fifths. "Please, Please Me," their first song with a rock beat, features McCartney's active bass line, a novelty for the time.

How could the new music of black artists be described in relation to the Civil Rights movement?

both an agent and a product of the enormous social changes that grew out of the civil rights movement. -For whites, it opened the window into the black community a little bit wider: now it was not so much a matter of individual performers as it was styles: the girl groups, Motown, Stax/Volt (Volt was a subsidiary label of Stax Records). The cultural penetration of this music during the sixties was unprecedented. As the drive for racial equality peaked, then deflated in the wake of the assassination of Martin Luther King Jr., this music occasionally became a vehicle for social commentary. James Brown released a series of exhortations, beginning with the 1968 song "Say It Loud—I'm Black and I'm Proud." Marvin Gaye's landmark album What's Going On appeared in 1971. But most of the music did not contain overt references to social conditions or racial issues. More often, it dealt with the subjects that so often transcended race: love won and lost, and the good and bad times that resulted. -This music benefited from white America's increased awareness of and sensitivity to racial issues. Open-mindedness toward black cultural expression paralleled open-mindedness toward political and social concerns. It didn't hurt that the music provided such accessible points of entry. -also had a deepening influence on mainstream pop during this period

What happened to perception of music by black artists in the 60s?

had pretty much shed the stigma that was attached to it since the first popular styles--e.g. ragtime -had been previously considered by many to be low-class, wrong-side-of-the-tracks music, capable of corrupting the morals of whites who came in contact with it. -With the emergence of jazz, and crossover black performers such as Lena Horne and Nat Cole, this attitude was neither as prevalent nor as hostile. -Still, fifties rhythm and blues carried heavy racial baggage: recall that Alan Freed used "rock and roll" as code for "rhythm and blues." -However, by the sixties, black music, and especially Motown, had lost any negative connotation, at least among the younger generation. In theory, at least, the playing field had become level.

Describe Gordy's Motown strategy; how did he design it?

he created a style positioned to appeal to as broad an audience as possible. He was lucky to be in the right place at the right time. But in his case, luck was largely the residue of design. Gordy billed the music coming from his Motown studio as "the sound of young America." the songs still endure today

Dylan, post-1967

his work has taken many twists and turns and shaped important trends in rock-era music. -For example, his late-sixties albums strongly influenced country rock. But none of his later work has had the pervasive impact of the first three electric albums, and the electric half of Bringing It All Back Home, if only because these albums were available as a standard of comparison.

Describe the influence of drugs on The Beatles' music

it's not too much to say that the Beatles' shifts in style are a direct consequence of the drug they were taking: alcohol and speed until 1964; marijuana until 1966, acid during the Sgt. Pepper and Magical Mystery Tour years, and a cutting down or, in Lennon's case, a switch from acid to heroin in the last few years.

Describe Dylan's style in Blonde on Blonde (album following HWY 61 Revisited)

offers an even more spectacular example of his eclectic electric style. -Dylan recorded it in Nashville during early 1966, at the suggestion of his producer, Bob Johnston. -Several of his collaborators were veteran Nashville session men, most of whom knew nothing about Dylan's music. After an awkward adjustment period, they worked splendidly together, in large part because Dylan brought them into the creative process. He gave very little guidance before they started taping, preferring to let the songs take shape as they recorded. -expands Dylan's range in every way: verbally, musically, and—most important—emotionally. The contrasts are even more pronounced. In "Visions of Johanna," he follows doggerel-like quick rhymes—gall/all/ small/wall/hall—with the thought-provoking "Infinity goes up on trial" and the searing "Mona Lisa had the highway blues, you can tell by the way she smiles." -Each song on the album has a distinct musical identity. Dylan's eclecticism embraces an even broader range of mood and style: a funky Salvation Army—type band ("Rainy Day Women #12 & 35"), the delicate rock ballad ("Visions of Johanna"), a gritty electric blues/R&B mix in "Obviously 5 Believers."

Describe the Beatles' recording process in their last couple of years

one reason for the greater range of these songs was the growing divisions within the band. -Their increasingly fractious relationship meant that they did as little as possible together. Typically, they would come together to record the basic tracks, and the person who wrote the song would supervise its production. That they created so much high-quality music in the midst of this turmoil is remarkable.