listening quiz #3
Tomorrow Never Knows
-The BeatlesYear- 1966Form- Simple VerseFact- much mix tape and distortion-saturated sound- fading various tapes in and out, over one another and backwards-stoned, depressed and fed up with touring -made in basement for album revovler-Martin now basically co-producer by now-extremely different than Beatles 2 years earlier-Tampura- Indian classical insturment-transition from craft to art- most dependent on effect, one chord throughout-less teen oriented-1st true studio album-McCartney and Lennon made most, McCartney takes over as leader-title is one of Ringo's mixing cliche jokes-many lyrics from Tibetain Book of the Dead-last song on album BUT first recorded
Respect
Artist: Aretha Franklin Year: 1967 Form: modified simple verse Fact: daughter of famous reverend -exposed to exceptional gospel singers from young age - queen of soul -Otis Redding sang original version- very sexist -Franklin turned it into a feminist anthem -started w/ columbia records, then went to Atlantic at Muscle Shoals -10mm, so measure 4 is a refrain and bridge only 8mm
Positively 4th Street
Artist: Bob Dylan Year: 1965 Form: Simple Verse Fact: subtle retalitation against purists -purists angry because he went to ELECTRIC GUITAR -song does not repeat at all except for verse 11 and 12 -each verse leves hanging to next -not a freindly tune-pointed attack at folkies -transitions b/c having more fun following Beatles than folk community -creates folky inspiration in Beatles in late 64 -bob uses very metaphorical lyrics -songwriter: sold albums not singles -lyric shift from we to me- Lennon fascinated by this from political to personal
More Than a Feeling
Artist: Boston Year: 1976 Form: Compound AABA Fact: wall of sound right from the beginning -a lot of distortion on electric guitar but not acoustic is not -tom shultz- father of heavy metal distortion (warm, smooth distortion) -distortion created by distortion box now, not cranked up amp -can see roots of metal forming -bridge: 2 guitar solo -subtle from change hints at art rock -shortened song length for mainstream
You've Got a Friend
Artist: Carole King Year: 1970 Form: Compound AABA Fact: on album Tapestry which was highest selling until Micheal Jackson, large selling albums like this bring in large corporate interest into rock -bridge sounds like a coda but isnt because followed by a chorus -uses jazz chords- shows how rock is creeping into jazz
Sunshine of Your Love
Artist: Cream Year: 1968 Form: simple verse Fact: riff based typical pentatonix blues- 5 scale octave instead of 8 -massive distortion gives standard music language new expressive potential -chuck berry riffs with distortion -sustained notes- can fill up a lot more sonic space -verses have 2 phrases: change in style by not enough change to create a separate chorus, so just long verse -DOUBLED 12 BAR BLUES- each chord lasts twice as it does in 12 bar blues -similar to blues in psychedelic setting like Animals and Who -drummer like muppet Animal
Pump It Up
Artist: Elvis Costello and the Attractions Year: 1978 Form: Contrasting Verse Chorus Fact: 2nd verse shortened so chorus comes early -into has strong riffs w/ organ -new wave post punk rock signed.. shows superficialness of corporations -very muscially intelligent -faux accent for song -presents self in a way thats hard to nail down -bass heavy song
White Rabbit
Artist: Jefferson Airplane Year: 1967 Form: AABA or through composed Fact: lead singer Grace Slick- lead a female! -dynamic cresendo- additive texture, gets bigger/louder as song progresses -spanish sounding with spanish motives -drums are Bolero-like or marching band like -wanted to have AM radio audience -part of San Fran psychedelic scene -album surrealistic pillow
Whole Lotta Love
Artist: Led Zepplin Year: 1969 Form: Compound AABA Fact: Jimmy Page and Robert Plant combination of blues and psychedelia lyrics focused on sexual topics-> influenced by hokum blues -riff is modified muddy waters, text is from willie dixon -chorus is not a refrain because there's more vocals and textural change than a refrain, lasts longer -bridge- -very long and psychedelic, many sound effects and heavy british rock like Cream -2 distinct phases: psych and heavy rock -argued it can be secional or compound AABA because of sectional form of bridge!!
Live a Virgin
Artist: Madonna Year: 1988 Form: Compound AABA Fact: very big in media culutre- seen as a pop icon -fantastic performer and dancer -controlled own career and image -easy to market as an entertainer -signed for disco, club and dance music song is on off beat -1+2+3+4 (-1 and + between 2 and 3)
Billy Jean
Artist: Michael Jackson Year: 1983 Form: Simple Verse Chorus Fact: classical style of sting lines- like sweet soul -prechorus: sounds liek a bridge but leads to a chorus not verse -fantastic dancer and entertainer that was easy to market -cbs forced MTV to put him o -raised music video bar- professonal directors -producer Quincy Jones -92 mixes before settling on this one
Show Me the Way
Artist: Peter Frampton Year: 1976 Form: Contrasting Verse Chorus Fact: voice box lead guitar- talk box creates unusual distorted sound -hippie aesthetic
Evil Ways
Artist: Santana Year: 1970 Form: Simple Verse -> rare! Fact: organ and guitar solos -no chorus or contrasting bridge -blend of blues, jazz, and latin styles -same pentatonix language as cream and hendrix but with jazz over -distinctive guitar -articulation and unique idioms- sustained on high notes -contains riffs and dark fat colors by using thick strings -distorted but clean and warm -santana big in San Fran psychedelic scene
Anarchy in the U.K.
Artist: Sex Pistols Year: 1977 Form: Modified Simple Verse with instrumental bridges sooo AABA Fact: simpler musical style and not arty like corporate rock -2nd verse thickens in text compared to 1st -2nd refrain has a harmony -modified because there's two contrasting sections -coda with repeating refrain- multiple tracks singing over himself (jonny rotten) like a self harmonization
Whipping Post
Artist: The Allman Brothers Band Year: 1971 Form: Contrasting Verse-Chorus Fact: intro and interludes is 11 beats instead of 12 -when vocals start it goes back to 12 -example of southern rock -heavier than country rock and blues influenced -guitar solo very blues heavy and distorted
House of the Rising Sun
Artist: The Animals Year: 1964 Form: Simple Verse Fact: dangerous rock type -arpeggios lead into the song -deep voice but can clearly hit high notes -emulated chicago blues even though british -refrain ends with song title -OPPOSITE of Somewhere over the Rainbow -swung meter
Good Vibrations
Artist: The Beach Boys Year: 1966 Form: Contrasting V/C becomes SECTIONAL Fact: consumed a lot of studio time -Brian Wilson called it his pocket symphony - many sounds much like a symphony & when not paying close attention can easily loose place in form becomes sectional after 2nd V/C -sections have distinct color -slight tempo change in sections-strange for rock -flirts with chorus but never returns -theramin- high pitched eary "UFO" sound -experimenting with cut and paste tape
California Girls
Artist: The Beach Boys Year:1965 Form: Contrasting Verse-Chorus Fact: Symphony meets surf style -recorded 6 months before pet sounds -around time when psychedelia begins so they begin to explore more complicated musical structures -broader palette of instrumentation such as orchestral -texture thickens after 2nd V/C complex
A Day in the Life
Artist: The Beatles Year: 1967 Form: compound ABA form Fact: from album Sgt. Pepper's Lonely Hearts Club -considered most important album in history of rock -transitions from craftsmen to artists -129 days to record, original album- no covers -first album to include lyric sheet -wide range of instruments and timbres- strange for rock -1st Beatles album to be identical in U.K. and U.S. -shift from singles to albums -song 1st half Lenin, then McCartney -many see this song as peak of achievement -excerpts from the Daily Mail -recorded songs by messing around in stdio then figuring it out later - "chance music"-telling orchestra to start as low as possible, go as high and loud as possible in 23 measures--> interlude between A & A
Mr. Tambourine Man
Artist: The Byrds Year: 1965 Form: Contrasting Verse-Chorus Fact: McGuinn has Brill Bldg background- wrote songs for teen icons -saw 12 string guitar in Beatles' film so went and bought one -released popular rock versions of folk songs -STUDIO CREW records for the Byrds in the studio -called: Wrecking Crew -not any less industrial than Brill Bldg - McGuinn not happy about it, but didn't have much say -more brittle and emotionally flat than Bob Dylan's version- slower and on drugs -example of rock becoming folk rock to rock
My Best Friend's Girl
Artist: The Cars Year: 1978 Form: Compound AABA Fact: signed as a punk band in the boston punk scene -signed to electra -1st album was produced by Roy Thomas Baker (Queen's producer) combined pop (form,hook), rock(sound) and punk (attitude) -Rick Ocasek- vox -Elliot Easton- guitar -Ben Orr- vox, bass -Greg Hankes- key -David Robinson- drums -intro is Beach Boys like with wet tambre and hand clap -rockabilly and surf sound -synthesizer very 70s sound -good studio production: wet harmonies and dry lead singer created in studio
Take it Easy
Artist: The Eagles Year: 1972 Form: MODIFIED Simple Verse Fact: produced very well and clear verses have 3 distinct parts -country rock - no repetitive chorus, sounds chorus like but isn't -modified SV because can't sing verse over entire chorus, only most of it
Purple Haze
Artist: The Jimi Hendrix Experience Year: 1965 Form: simple verse with contrasting bridge Fact: heavy blues riffs and jazz chords -verrryyy sustained because of distortion -pentatonix scale with exotic passing tones -willing to hangout longer on wrong notes between octaves -same materials as blues and early rock but different timbres and phrasing for completely different sound -plays left handed -taken over chuck berry to be known as MOST INFLUENTAL ROCK GUITARIST -shifted way rock guitarists play
You Really Got Me
Artist: The Kinks Year: 1964 Form: Simple Verse Fact: started in the blues scene but didn't enjoy it -aggressive pop approach -mirrored Beatles when they moved into artistic songwriting in -65 -distortion now caused by pedals instead of amp -nasaly like Beach Boys -3rd type of rock: neither cute or from blues- neither Beatles or Stones -sarcastic but not dangerous
Last Train To Clarksville
Artist: The Monkees Year: 1966 Form: modified simple verse Fact: modified SV because slightly less irregular and with 2 musical interludes different from rest of song -resembles Beatles "Paperback Winter" which recorded 3M before Last Train -TV very satirical and clever -cast as TV actors, not as a band -Archies, Scooby Doo -Brill Building experience mixed with Beatles inspiration -America's most commercially successful band other than Beatles
(I Can't Get No) Satisfaction
Artist: The Rolling Stones Year: 1965 Form: Contrasting Verse Chorus Fact: unusual because begins with chorus and chorus goes straight into a verse -musical motive = good riff -chorus has 3 distinct parts -not alot of contrast between verse and chorus so cant say verse is a bridge -word change in chorus from satisfaction to girl reaction makes it even more verse like -bassist became manager for Jimi -blues/ Stones type of Rock -lead singer: Eric Burden known for wild stage act
Baby Love
Artist: The Supremes Year: 1965 Form: Simple verse Fact: simple verse even though sax solo in verse 3 and key change in verse 5 -well produced and clean- Brill Bldg model -example of regional black pop during British invasion -Motown girl group -written and produced by Holland, Dozier, and Holland -Diana Ross's good voice caused her to become more and more famous overtime -often accused of selling out to white customers BUT still popular with blacks
My Generation
Artist: The Who Year: 1965 Form: Simple Verse Fact: a part of the Mod scene ( goth, punk. bad attitudes, r&B purism snobs, dance party culture, emulated by punks in 70s) -British Invasion brought them from blues to rock -sound American -Beach Boys-like with high pitch nasaly backup voacls -stutter in vocals could represent youthful rage (F-bomb)
Pride (In the Name of Love)
Artist: U2 Year: 1984 Form: Compound AABA Fact: verses and chorus contrast -bridge contrasting guitar solo -one of the few compound AABA songs by U2 because they didnt know how to write songs -very religious -took ten years to get a #1 single -very contrast to dance musci of the time -inspired to be a band by the Ramones -Bono, Edge, Clayton and Mullen
In the Midnight Hour
Artist: Wilson Picket Year: 1965 Form: Simple Verse Fact: stax sound: sounded live -Memphis based recording studio, partnered with Atlantic for more profit -Picket signed with Atlantic and recorded at stax - more gospel and less motown -southern soul
Roundabout
Artist: Yes Year: 1972 Form: Compound AABA or Sectional (Say sectional on test) -book says aaba and prof says sectional because A sections are aaba within themselves Fact: leads in with reversed piano episotic form macro aaba- definetely not Bill Building at all -known for good instrumentation -songs have hints of eastern spirituality -synthesizer.. typical of 70s progressive rock
I Want To Hold Your Hand
I Want to Hold Your Hand Artist: The Beatles Year: 1963 Form: AABA Fact: well crafted song much like the professionals of tin pan alley -bridge feat. soft arpeggios -B1= unison vocals B2= harmony vocals -first four track song -performed on Ed Sullivan show -unexpected chords and vocal harmonies like B chord instead of B minor in the key of G
