MUSC 107 - History of Women In Rock Music

San Francisco

"The epicenter of the counter-revolution and great rock music of the 1960s and '70s was San Francisco..." opens the first in a series of discographies and research for his book on American rock 'n roll. "...One of the best bands to come out of San Francisco during this period, the Holding Company provided the perfect musical chemistry Janis Joplin needed to shine. After Big Brother and The Holding Company recorded an undistinguished self-titled album in 1967, they teamed up with Joplin to deliver an incendiary set at the The Monterey International Pop Music Festival, a venue that seemed to bring out the best from the bands that played there. Rave notices of the performance from the Monterey Festival helped build anticipation for the Big Brother/Joplin release in 1968 of Cheap Thrills, an album that went to number one. It remains one of the enduring albums of the period...." "...In the 1960s Jimi Hendrix turned rock 'n roll upside down. He even played guitar upside down (left-handed). One of the most innovative and scintillating musicians of the twentieth century, it's easy to forget his solo career as frontman lasted only three years, beginning with the release of Are You Experienced? in 1967. After years playing in backing bands for singers Curtis Knight and The Isley Brothers, Hendrix was lured to England by Chas Chandler of the British band The Animals. His first album was a hit as three singles ("Hey Joe," "Purple Haze," and "The Wind Cries Mary") immediately hit the Top Ten music charts in the UK. In the same year Are You Experienced? became a world wide sensation as Hendrix electrified and shocked the crowd at The Monterey International Pop Music Festival with a bravura performance that culminated in lighting his guitar on fire..."

Western Music

Anglo-Western musicians used the same traditional instruments used by European musicians in the beginning but soon developed their own forms and 'new' structures. Folk fiddling, playing lutes and harmonicas, and recorders, were eventually replaced by Guitars from Spain as Western music evolved into its own style.

LESSON 2 - R&B Beginnings - Popular 'Black' Music

"The term [rhythm and blues] was coined by Jerry Wexler in 1947, when he was editing the charts at the trade journal Billboard and found that the record companies issuing Black popular music considered the chart names then in use (Harlem Hit Parade, Sepia, Race) to be demeaning. The magazine changed the chart's name in its June 17, 1949, issue, having used the term rhythm and blues in news articles for the previous two years. Although the records that appeared on Billboard's rhythm-and-blues chart thereafter were in a variety of different styles, the term was used to encompass a number of contemporary forms that emerged at that time." Because guitar soloing was considered "country" and unsophisticated, smaller bands, consisting of five to seven members, would to take turns in short lead breaks, sometimes in 'call-and-response' style much like early Plantation Work songs. Another hallmark of small-group rhythm and blues was the relegation of the guitar, if indeed there was one. Typically in early forms of R&B, the guitar was there to keep time. By the mid-1950s, much of the guitar-led electric blues music coming out of Chicago and Memphis was now considered rhythm and blues, since it appealed to older buyers.

*(LESSON 1) Early Music Industry

*Start of Lesson 1 Notes

LESSON #3 - Rockabilly

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LESSON #4 - Early Female Idols

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American Folk Roots and EVolution

American folk music roots go back to the early 19th century. Musicologists John and Alan Lomax researched and recorded a large number of 20th century early folk songs. These songs included themes of protest over the Civil War, the abolition of slavery, and women's rights. Songs like "Free America" and "Yankee Doodle" are considered protest songs. Protest songs were written to be part of a movement for cultural, social or political change, and to galvanize that movement by drawing people together and inspiring them to take action or reflect. The foundation for protest songs in the 1960s were laid at the turn of the century. 20th century folk protest songs were written as part of a drive to achieve equality for workers. At the time, radical unionists were actively fighting corporations for labor rights in America.

The Shangri-las

Adolescent Woes and Dark material...'runaways, dead bikers, doomed love affairs, teen deaths/teen melodramas The Shangri-Las were a girl group that formed in 1963 in Queens, New York. The group consisted of two sets of sisters — Mary and Betty Weiss, and identical twins Mary Ann and Marge Ganser, who attended high school together. They sang in school talent shows, and quickly became one of the most important acts of the "girl group" era, later influencing performers as diverse as the Go-Go's, Aerosmith, Amy Winehouse, and punk rock acts such as the New York Dolls and Blondie. While performing in nightclubs in 1963, the group was approached by producer George "Shadow" Morton to record a demo song for the Red Bird label. The song "Remember (Walking in the Sand), written by Shadow Morton himself was originally 7 minutes long and was recorded using a new production style with the use of sound effects. The group signed with Red Bird in 1964 and released a pared down re-recorded version as a single. The song went to #5 on the charts in the U.S. and #14 in the U.K. Written and arranged in the same style, "I Can Never Go Home Anymore" (1965), tells a young girl's story of first love, lost innocence, and her mother dying of a broken heart. Morton's full orchestral section following a pulled line from various children's poems, "...hush little baby don't you cry..." (a prelude to "Leader of the Pack"?), and then the lead singer calling out for her mother after, brings the dire circumstances of the song full circle. NOTE: Both of these songs end musically, 'unresolved'... The Shangri-Las combined innocent adolescent charm with a hint of darkness in their music. The group's most popular songs were about teenage runaways, teenage death, and tragic love. The songs played like teen melodramas and their tough image w

Alan Freed

Alan Freed aka "Moondog" was an American radio disc jockey and promoter who is also known as the "Father of Rock and Roll" or "King of Rock and Roll". He was the first white DJ to play "rock and roll" and is credited for coining the term in promotion of this new genre of music. In 1951, Freed began hosting a program on WJW radio in Cleveland, playing a mix of blues, country and R&B. He played these records to mass audiences to help promote and popularize the genre which was rarely played on white stations. Due to racial stigma at the time he began calling R&B music "rock and roll" (ironically the term was used as slang for "sex" in the black community). By 1954, "rock and roll" became a common term across the nation representing this "new" sound. More and more white Americans, especially teens, started listening to the new music helping to break down racial barriers in the U.S. during a time when segregation was rampant. In 1959, as a result of the Payola investigation, Freed was accused of accepting bribes, coupled with accusations that he had been given credit as a co-writer for some songs. Freed would end up pleading guilty to commercial bribery admitting that he had accepted bribes from record companies to play their records. He was given a suspended sentence along with a fine. Although his punishment was relatively light, his reputation was tarnished beyond repair which prevented the top stations from hiring him and interfered with his concert promotions, and as a result he lost everything. In 1965, Alan Freed died at the age of 43 before he was able to fully re-establish his reputation.

Annette Funicello

Annette Joanne Funicello, American singer and actress, born on October 22, 1942 in Utica, New York, was known for her starring roles on Walt Disney's The Mickey Mouse Club where she first gained recognition in the mid-50s. Post the MM Club, she found fame on Television and film, earning the status of being one of the first 'surfer girls' in a series of 'Beach Parody' films, as well as starring in several Disney produced films through the 1960s. Annette's family moved to the San Fernando Valley in California when she was 4 years old. In 1955, Walt Disney saw her as the dancing lead in Swan Lake, a Walt Disney production at the Starlight Bowl in Burbank, California, and invited her to audition for his new children's show, The Mickey Mouse Club. At age 13, Annette became the last of the twenty-four original members, and hand-picked by Walt Disney himself. Walt Disney immediately signed the 13-year old to a 7-year contract at $160.00 a week, and eventually raised to $325 per week in 1959. By the end of the first season of the Annette was receiving over 6,000 fan letters a month as the most popular Mouseketeer! The afternoon show ran through 1958, and Annette became the 'sweetheart' image of both the Mickey Mouse Club and the Disney Industry. During her years in the MM Club, she had roles in several Disney produced TV and big screen films, including "Zorro" (1957), "The Shaggy Dog" (1957), "Babes in Toyland" (1961) opposite Tommy Sands (one of the 50s teen-idols), and "The Monkey's Uncle" (1965). (See Video). In 1959, Danny Thomas borrowed Annette from Walt Disney for a role on his highly praised TV show, "The Danny Thomas Show". (running since 1953) Annette also found fame as a pop singer, recording one of her biggest hit singles "Tall Paul" (1959 - Sherman Brothers) #7 on the charts, and as a result, joined Dick Cla

Built on Love

As a previous employee at Ford-Lincoln-Mercury Motor Company, Berry Gordy Jr. fashioned Motown Records production process after Detroit's assembly lines. He signed African-American youths who attended classes on speaking, walking, hair, makeup, dress. He placed them in classroom rehearsals, where they learned choreographed moves and proper etiquette. Gordy's Artists were groomed, packaged, marketed, and produced...as high-quality Acts. In addition to his goal to produce nothing but Hit singles, he made sure his songs came through clearly on car radios, where he believed hits were made. Motown's first top 40 Hit record came in 1961. In 1972, what marked the end of the Motown's 'Golden Decade', Gordy moved MOTOWN to Los Angeles. The change cost him the 'family' feel he'd created in Detroit, as California presented a different kind of environment. The further loss of H-D-H, along with Key Artists, as part of that decision, more importantly to Berry, he wanted separation from the militant sounds being produced by SOUL. He didn't want his Artists to be confused with the Soul sounds. Gordy's goal had always been POP radio, not just R&B, even though R&B and Soul elements exist in Motown's style. In 1988 Gordy sold his Motown Empire for $61 million. He had started the label in a garage with a family loan of $800.00. Where he got the rest of the cash needed to start a Record label is a mystery. Motown Records was the highest earning African-American Business in the U.S. for decades, and no one since has been able to reproduce the classic Motown Sound of the late 60's.

American Folk Protest Music

As the civil rights movement gained momentum in the 1960s, folk music gave voice to a new generation longing for equality and justice. "We Shall Overcome" is particularly well-known as a civil rights anthem. Folk music also played an influential role in environmental political efforts and anti-war protests during the United States' engagement in Vietnam. Smithsonian Folkways Recordings playlists, Sounds of the Civil Rights Movement and Peace Songs of the 1960s, reveal the vibrancy of the genre.

The Sound of Integration

Berry Gordy Jr. supported Dr. Martin Luther King Jr.'s goals and ideals of peace, harmony, equality. Gordy wanted Motown to be a community of ALL races coming together to make music... "I wanted songs for the whites, blacks, the Jews, Gentiles, the cops and the robbers"

Carol Connors

Born Annette Kleinbard, Carol Connors, known for her amazing diversity of lyric and music songwriting talents is a successful Singer, Songwriter, Storyteller, Charity Organizer, is also closely with Veterans as a 'Wounded Warrior' activist. She has been nominated for several major music awards throughout her long career: Emmy's, Grammy's, Golden Globes and two Oscars, including one for the Rocky Theme "Gonna Fly Now" in 1976. Annette attended Fairfax high school in Los Angeles, and with a $10 loan from her parents, 15 year old Annette launched her singing career. The money went toward studio time to make a demo of a song written by her classmate, Phil Spector, called "To Know Him Is To Love Him". Along with Spector, Annette (Carol) and her brother Marshall, she helped form the trio The Teddy Bears. Spector fell in love with her voice and arranged for the song to be recorded at Gold Star Studios in Los Angeles, paying $75.00 for the recording time, and musicians. Spector wrote the song specifically with Carol's voice in mind, wanting to showcase her talent. "To Know Him Is To Love Him" was released in 1958 on Era's, Dore Label that same year. Unknowingly at the time, Phil Spector had written, arranged, played, sung, and produced what would be the top song in the country, changing the direction of rock and roll. The single stayed in the top 100 for 23 weeks. It remained in the top 10 for 11 weeks, and held the #1 spot for 3 weeks on the U.S. charts, reaching #2 in the U.K.. As of 2014 the single ranked #184 on the top 5,000 rock & roll hits of all time, according to Billboard Magazine. The song was the Trio's only single, and a year later the group disbanded. Annette legally changed her name to Carol Connors afterwards, and went on to write songs focused around 50-60s California music. She wrote, performed, re

LaVern Baker

Born Delores Williams was born November 11, 1929 in Chicago, Illinois, LaVern Baker was an American rhythm-and-blues singer and occasional actress. Baker was one of the most prominent female stars of the mid-'50s, known for her seductive and energetic vocal style, and one of R&B's earliest and sexiest divas of the early rock & roll Era. The niece of Memphis Minnie, a prominent blues guitarist and singer-songwriter of the 40s, LaVern came from a family of Jazz and Blues singers and grew up singing Gospel music in church. By age 17, she was singing at the Club DeLisa on Chicago's south side, decked out in raggedy attire, billed as "Little Miss Sharecropper", moving into Jazz, and eventually to R&B, successfully crossing over to white radio. Later earning the nick name "The Countess", Baker produced a One of Baker's best known singles was "Jim Dandy", another Pop-crossover song written by Lincoln Chase in 1957. the single hit #1 on the R&B charts and reached #17 Pop charts. (NOTE: #343 of 500 greatest songs of all time; Rolling Stone's R&R Hall of Fame 500) Baker continued with Atlantic Records, recording several hit songs between 1955 and 1960, including her hit single "See See Rider" in 1963 that reached #9 on the R&B Charts. (NOTE: "See See Rider Blues": Traditional Blues standard recorded by Ma Rainey in 1925). By 1963, LaVern had 11 songs in the top 10 on the R&B Charts. During the late-'60s LaVern traveled to entertain the troops in Vietnam. She stepped away from the limelight after she had been hospitalized for an illness, and in 1970 she retired from the stage, settling in the Philippines where she remained for 22 years, running the entertainment side of an NCO Club on Subic Bay. In 1988 Baker returned to the States to star in Atlantic's 40th Anniversary show at New York's Madison Square Garden.

Ma Rainey

Born Gertrude Pridgett in Columbus, Georgia, April 26, 1886, Gertrude made her first public appearance around age of 14 in a local talent show at the Springer Opera House in Columbus. In 1904 she married William Rainey, a vaudeville performer known as Pa Rainey, and together they toured with various African American Minstrels groups as a song-and-dance team. As Ma Rainey, she began singing a style of music that would become the blues, as he traveled throughout the South with Jazz and Jug bands. While on touring in a Musical Extravaganza in the South, Rainey had a direct influence on a young Bessie Smith. Though several sources state she was born in 1886 in Columbus, Georgia; others place her birth in 1882 in Alabama, but little else is known of her early years. Renowned for her flamboyant style, deep contralto voice, and the emotion she put into her songs, Rainey achieved a widely popular reputation. Although she'd been singing for 20 years, she didn't make her first recordings until 1923, with Paramount. She has been called the 'Mother of the Blues', recording over 100 songs by the time she retired in 1933. In 1925, Ma Rainey recorded "Bo-Weavil Blues" and over the next 5 years several others, including "See See Rider Blues", "Blues Oh Blues", "Trust No Man", and "Slave to the Blues", all in an early 12-bar blues style. She inspired, and gave vocal lessons to Bessie Smith, and taught her about life -the two women became friends and lead very scandalous lives! She continued to sing and perform in public into the 1930s. She lived in the house she had built for her mother, from 1935 until her death. In 2007 a small museum was opened in there. 1983 Inducted into Blues Foundation Hall of Fame 1990 Inducted into the Rock & Roll Hall of Fame: Early Influences

Lesley Gore

Born Lesley Sue Goldstein in Brooklyn, May 2, 1946 in Brooklyn, New York, she was an American Singer, Songwriter, Actress, Women's Activist, and the All American Girl Next Door. Her parents hired a vocal coach for Lesley when she was 16 years old and she recorded a few vocal-piano demos. Those demos, made their way to Mercury Record's president, who recommended her to producer Quincy Jones, who was then an A&R man for Mercury. He became both her manager, producer and mentor and would produce all four of Gore's Top 5 hits. Gore's sudden fame was a little overwhelming as she was still in school at the time, and recalls in bio.com after the release of "It's My Party", "We recorded the record on a Saturday afternoon, March 30th, and I heard the record for the first time on April 6th. I was driving to school, literally seven days later. " The single was rush-released when Jones found out that another producer named Phil Spector had plans to record the same song with his group The Crystals. The song with the "good girl done wrong" theme was released and within 4 weeks would reach the top of the charts becoming a number 1 hit song and a gold record. Her success with "It's My Party" was quickly followed by the second single and sequel titled "Judy's Turn to Cry". The song would hit number 5 on the charts establishing Lesley as a teen idol. Her all American "girl next door" image and voice that teen girls could relate to, contributed to her success. Both songs would be included on her debut album titled 'I'll Cry If I Want To' which hit #24 on Billboards Top 200 albums chart. Over the next two years, while in high school, Gore released a string of what was considered at the time, bubble-gum hits, including "She's A Fool" (#5), and "Sunshine, Lollipops and Rainbows" (#13 One song that stood out from th

60's West Coast Social Influences

Social material was drawn from beach parties and hot-rods The music reflected the 'myth' of the California Dream Surfing, Bikinis, Drag Racing, and wholesome High School environments Disneyland opened July 17, 1955 The Hollywood Lifestyle and golden sunsets

Dusty Springfield

Born Mary Isabel Catherine Bernadette O'Brien on April 16, 1939 in west Hampstead, England, Dusty Springfield was an English pop singer and record producer. She began her career in the late '50s, with a trio she formed with her brother, Dion and friend Tim Feilds, The Springfields. in 1962 the trio found success in both the U.S. and the U.K. with their biggest hit single "Silver Threads and Golden Needles" (Reynolds/Rhodes). Born Mary Isabel Catherine Bernadette O'Brien on April 16, 1939 in west Hampstead, England, Dusty Springfield was an English pop singer and record producer. She began her career in the late '50s, with a trio she formed with her brother, Tom, The Springfields. in 1962 the trio found success in both the U.S. and the U.K. with their biggest hit single "Silver Threads and Golden Needles" (Reynolds/Rhodes). Dusty went on to a solo career with the Philips Label, releasing "I Only Want To Be With You" (Hawker/Raymonde) in November 1963 in the U.S., just ahead of 'Beatlemania'. The single was produced in a manner similar to Phil Spector's 'Wall of Sound' with rhythm-and-blues features such as full horn sections, backing singers, and double-tracked vocals. It was produced in the style of Girl Groups that Dusty admired. The single reached #10 in the U.K. and #12 on the U.S. Billboard Charts, and remained on the charts for 10 weeks. She followed with 2 more hit singles in 1964, "Wishin' and Hopin'" (Burt Bacharach/Hal David); a U.S. top 10 hit, along with a cover version of Lesley Gore's "You Don't Own Me" (Madara/White) that appeared on her debut album 'A Girl Called Dusty'. The album reaching #6 in the U.K. With her 'blue-eyed soul' sound, tinged with her folk-influenced background, 1960s Motown, American Soul and R&B feel, Dusty Springfield was the mos

Petula Clark

Born Petula Sally Olwen Clark, November 15, 1932 in Epsom, Surrey, England is singer, composer and a former child-actress. She was nearly a decade older than the singers coming out of Europe in the mid-60s. Her career began at age 7, in October 1942, when she was asked to sing "Mighty Lak' a Rose" to calm the live radio audience in attendance during a World War II bombing air raid. Her impromptu performance was so lifting, it was repeated over BBC radio series across the country. She was dubbed "Britain's Shirley Temple, performing some 500 appearances and programs designed the entertain the troops. British troops soon posted her picture on their tanks for good luck. By age 17, she had moved into television and started recording music, releasing records in the U.S. in the early 1950's. Her career began to slow down in the 60s, and she began releasing non-English recordings, in various genres. Petula also began writing songs during this time, and in 1964, her career picked up to the next level when she hooked up with Tony Hatch and released her next two hit records "Downtown", the single peaking at #2 in the U.K.. In 1965, as part of the British Invasion, the single topped the charts at #1 in the U.S., and won the Grammy for Best R&R Recording of 1964. The single became a major global hit: U.K., France, Australia, Italy, Rhodesia, Japan, and India...for the short list. (Pictured: Petula Clark, Keith Richards, Mick Jagger) Her second hit single, also written by Tony Hatch "I Know a Place" reached #1 as, earning Clark another Grammy for Best Contemporary Rock & Roll Vocal Performance by a Female. Over the next few years, Petula 15 consecutive top 40 hits through the late 60s. 1998: Clark was presented the Commander of the Order of the British Empire (O.B.E.) by Queen Elizabeth. In 2012, Petula was awarde

Cilla Black

Born Pricilla Maria Veronica White, in Vauxhall, Liverpool, Lancashire, England, Cilla Black died in Malaga, Spain in 2015., Cilla was a singer, television presenter, actress, and author. While attending Anfield Commercial College, among other jobs, she took a part time job as a cloakroom attendant at the Cavern Club in Liverpool so she could work on her entertainment skills. It was here Cilla was heard members of the Beatles, who were impressed with her impromptu performances. Becoming fast friends with both John Lennon and Paul McCartney, John encouraged her to audition for their manager, Brian Epstein, when she turned 21. It took a second audition before Brian signed her in 1963. Cilla Black was the only female singer managed by Brian Epstein (Beatles manager). (Pictured on right: Cilla working on a song with Paul McCartney) Cilla's first single "Love of the Loved", written by John Lennon and Paul McCartney, made the top 40 on the U.K. charts, followed by her breakthrough singles "Anyone who Had a Heart" (1963) (Bacharach-David), and "You're My World" (Umberto Bind). Both later singles reached #1 in 1964. "You're My World" was Cilla's only top 30 hit in the U.S. reaching #26. Cilla also did some film work between 1965 and 1969, including 'Ferry 'Cross the Mersey' (1965), 'Work is Four-Letter Word' (1968), and was considered for a role in 1969's 'Italian Job' with Michael Caine. Cilla represented the Mod-London image, toned-down harder leather-look portrayed in Europe at the time. (Pictured, Ringo Starr, John Lennon, Cilla Black, Paul McCartney) Her association with the Beatles continued through 1971. 1997: Cilla was awarded the Order of the British Empire by Queen Elizabeth.

Woody Guthrie

Born Woodrow Wilson Guthrie July 14, 1912 in Okemah, Oklahoma, Woody Guthrie was a singer/songwriter and one of the legendary figures of American folk music. He wrote about the common man's plight in American, and spoke out for the struggles of American Workers during the Depression of the 1930s. With his guitar and harmonica, he traveled through the mid-west in railroad cars, hitched rides from passing migrants eager to get to California; he lived among hobos and in migrant camps, singing and lifting the spirits of the poor, and homeless. He became their voice, a spokes-person who wrote songs about their plight and misfortunes, both in the everyday struggles in their lives, and as working laborers. By 1940, Guthrie had found his way to New York, where he embraced the ideals of leftism and was soon protesting against big corporations and government suppression of the common people of America. He took up social causes and helped establish folk music alongside John Lomax, Huddle Leadbelly, and Pete Seeger. making folk music more than a voice for change, but a viable new commercial genre within the music industry, Guthrie wrote over 1,000 songs, including his most famous American Folk ballad, "This Land Is Your Land" penned in the late 40s (released 1951) that became the unofficial national anthem. The original title "God Blessed America For Me", in answer to Irving Berlin's song "God Bless America" recorded by Kate Smith in the 1930s. The original 1940 lyrics consist of 6 versus; two of the versus were critical of the United States and were cut in the later versions, but have been added back into the song in the National Recording Registry by the Library of Congress in 2002. Guthrie didn't actually release the song until the early 50's, having put the song aside after writing it. The song has been surrounded by c

Mamie Smith

Born in Cincinnati, Ohio, May 26, 1883, Mamie Smith (née -Robinson) is notably, the first black female to record a vocal Blues song. Smith was an American Vaudeville singer, dancer, pianist and actress, and performed in Harlem Clubs before World War I. She made several popular recordings throughout the 1920s for Okeh, Ajax, and Victor, and toured the U.S. and Europe with her band, Mamie and the Jazz Hounds, as part of her Struttin' Along Review in the mid 20s. Mamie also appeared in motion picture films. On August 10, 1920, black African-American song writer, Perry Bradford, persuaded Fred Hagar of Okeh Records to record Smith singing a set of his songs, including "That Thing Called Love", "You Can't Keep a Good Man Down", and her big hit, "Crazy Blues" (originally titled "Harlem Blues" (1918), the first successful recording by a black female singer, selling over 7,000 copies in one week, and one million in just six months. Although these were the first recordings by a black blues singer, breaking the 'color' barrier in 'black music', the backing musicians were all 'white'. The overwhelming success of Smith's early recordings prompted record companies to seek out record other black female singers, that started the 'classic female blues' era. Because of its historical significance, "Crazy Blues" was inducting into the Grammy Hall of Fame in 1994, and selected for preservation, along with Smith's other works, in the National Recording Registry of the Library of Congress in 2005. Mamie Smith retired from recording in 1931, but returned to performing in several motion pictures in 1939, through 1943. She died in New York at age of 63, in 1946.

Mary Wells

Born in Detroit, Michigan, Mary Esther Wells was an American singer/songwriter. Mary wanted to be a writer, and in 1961 auditioned with a song she'd written, intended for Jackie Wilson, "Bye Bye Baby", singing it a'cappela in a back hallway for Berry Gordy. Immediately impressed with her Gospel influenced, sultry, mature voice, at just 17 years old, he signed her to his newly formed Motown label. The song was recorded and peaked at #8 on the R&B charts, and reached #45 on the Pop charts. Mary Wells had become Motown's first successful solo female Act, and with the single being the first top 40 Hit, Mary established Gordy's Company as a prominent Record Label. And as the Label's first Artist to be nominated for a Grammy, Wells propelled Berry Gordy to success. Mary's rise as the top R&B singer, was threatened by the growing popularity of the Girl Groups. Her 'gutsy' vocal sound on her debut album a year before, on songs like "Bye Bye Baby", could not complete with the romantic lyrics topping the charts. 1962 In 1962, the sultry voice Wells became known for, can be heard on follow-up releases in the (3) top ten hits written for Mary by Smokey Robinson for her second Album, 'The One Who Really Loves You'. They were what she needed, and the lyrics in these songs also represented what Berry Gordy wanted to hear in Motown's music; 'current' and 'storytelling', and a plus; they had that popular 'girl group' appeal. "The One Who Really Loves You" #2, "You Beat Me To The Punch" #1, "Two Lovers" #7 (Pictured: Mary Wells with band members) At the height of Beatlemania, in 1964, what would become Mary's 'signature song' "My Guy", peaked at #1 in the U.S. on the Pop charts. The single, written by Smokey Robinson, remained on the top of the charts for several weeks unti

Mary Travers

Born in Louisville, Kentucky, November 9, 1936, Mary Allin Travers was an American singer/songwriter and a member of the folk group, Peter, Paul and Mary. Travers grew up in New York's Greenwich Village area, where she attended high school, but left in the 11th grade to join the Song Swappers in 1953, the teenage group providing backups for Pete Seeger at Carnegie Hall. (1955). Among her early influences were The Weavers (Pete Seeger Folk Trio), Huddle Leadbelly, and Woody Guthrie (Folk protest singer; 1930s-40s). Performing every Sunday afternoon in Washington Square Park, which served as part of the campus grounds for New York University, Travers soon became a solid figure in the Greenwich Village Folk scene. Working, while pursuing a singer career, Mary made her stage debut as part of the chorus in a short-lived Broadway show. She spent much of her time participating in the New Port Folk Festival, where she eventually met Joan Baez and Bob Dylan. During this time, she worked local folk clubs in the evenings, and daytime employment in the literary and art worlds, and helped form the folk trio, Peter, Paul and Mary, with Peter Yarrow, and performed their debut show at the Bitter End in 1961.

Big Mama Thornton

Born in Montgomery, Alabama, December 11, 1926, gospel singer, Willie Mae "Big Mama" Thornton was an influential African American blues singer and songwriter with a career that began in the 1940s and continued into the 80s. At age 14, she took a job cleaning a local saloon and was substituting for the regular singer when she was noticed by Sammy Green, a music promoter from Atlanta. She became a member of his show, The Hot Harlem Revue for seven years. n 1948 Thornton left Green's show for Houston, Texas to further her singing career, teaching herself to play the drums and harmonica. She was heard by Don Robey who was so impressed by her robust vocals, and ability to play several instruments, he signed her to a 5 year contract with Peacock Records in 1951. Thornton's open lesbianism caused some tension with Robey, but he continued to produce her recordings. She made her Apollo Theatre debut in New York in 1952 with the Johnny Otis show, opening for several well-known singers, including Fat's Domino's. The next time she appeared, she was the Headlining Act. Later that year in Los Angeles, she met soon-to-be rock & roll legends, teen-aged writing duo Jerry Leiber and Mike Stoller who offered her a 12-bar blues they wrote. During her 3rd recording session with Peacock Records, Thornton recorded "Hound Dog", Leiber & Stoller overseeing the recording session themselves. When the single was released in 1953, it reached hit #1, remaining at the top of the charts for 17 weeks. Thornton received only $500.00 for her work on the song. The Rockabilly recording sensation, Elvis Presley heard it during a performance in a Las Vegas show, and won both fame and financial reward for his chart-topping rendition of the song in 1956. "This is perhaps the most notorious example of the inequity that often existed when a black or

Assembly Line Approach

Gordy adopted the idea of making development a team effort and used an assembly line style approach. Employing a multi-racial staff, each member of the team was given a specialized task to perform. He put together groups of experts who could take unrefined young singers and turn them into hit-makers ready to perform and promote the Motown product: hit records. As much of the work as possible was done in-house. The Motown staff included: songwriters, arrangers, producers, and the Funk Brothers studio band music director: arranged songs, instructed singers in basic music, harmonizing, blending and staging choreographer-director: taught singers to dance and created routines, perform synchronized moves etiquette instructor: "Motown Finishing School" taught singers how to present themselves well (speaking, walking, posture, how to move ...) The singers were required to take classes up to 2 hours a day when not on tour. They were also advised on fashion and style including wardrobe, makeup and hair. In essence the artists were put through the artist development system, polished, marketed, and sold.

Connie Stevens

Born on August 8, 1938 in Brooklyn, New York, Concetta Rosalie Ann Ingoglia, Connie Stevens is an American singer, Broadway, Motion Picture, and Television Actress, and a successful business woman. Having performed for four U.S. Presidents at the White House during her career, toured to entertain troops through several military conflicts, Connie soon became a regular headliner in Las Vegas, as well as performing in live concerts worldwide, and Film work, through 2019. Both her parents were Singers, and at age 12, Connie joined The Fourmost vocal group. In 1953, at 16, she moved to Los Angeles with Father and joins The Three Debs. Connie was the first artist signed to a contract on the newly formed Warner Brothers label and recorded two mega-hits in the early 60s during that time. 1958 'Concetta' (debut album) Music standards 1959 - Under her 7-year contract with Warner Brothers ($300.00 a week), Connie found popularity on TV in the role of 'Cricket' Blake on the series Hawaiian Eye, beginning in 1959. She also appeared on several episodes of 77 Sunset Strip (1959-63), a Crime Drama/Comedy series, recording to spoof single "Kookie, Kookie, Lend Me Your Comb" with Edd Byrnes, Show's lead in 1959 that peaked at #4 on the Billboard chars. She recorded several other Standard Albums under her Warner Bros. contract. n 1961 Connie hit the solo charts with the hit single written by Bill & Doreen Post, "Sixteen Reasons" #3 (U.S.) #9 (U.K.)

Etta James

Born on January 25, 1938 in Los Angeles, California, Jamesetta Hawkins a gospel prodigy by age 5, was an American singer who performed in nearly every genre during her illustrious career: Blues, R&B, Soul, Rock & Roll. Jazz, and Gospel. Her mother, Dorothy Hawkins, was 14 years old when Etta was born, and was rarely home at their apartment in Watts, spending much of her time away with various men. Etta always referred to her as 'The Mystery Lady'. Still her mother knew her daughter had talent and encouraged Etta's singing career. Etta was quoted in biography.com years later saying, "My mother always told me, even if a song has been done a thousand times, you can still bring something of your own to it. I'd like to think I did that." Etta never knew her father was, fostered out to family members to raise, but always suspected he might be the famous Pool player "Minnesota Fats". When Etta finally arranged a meeting with the Pool player in 1987, he could neither confirm, or deny it, due to Dorothy's promiscuous life-style. In 1950 she moved to San Francisco with her mother, and formed a Doo-Wop trio, the Creolettes, at age 14. They were picked up by band leader Johnny Otis who brought the trio back to Los Angeles to record "Roll With Me Henry" (1954), a song co-written by Etta James for Modern Records, It was at this time she was was prompted to change her name to Etta James, switching her first name around. The Trio was renamed Peaches, after Etta's light skin and died hair, another of Etta's nicknames. However, the single's title was changed before its release to "Dance With Me Henry" AKA "The Wallflower" in answer to Frank Ballard's "Work With Me Annie". The Record company couldn't have a such a young girl singing such suggestive lyrics the title eluded to. That same year, a popular 'white

Brenda Lee

Brenda Mae Tarpley, born December 11, 1944, was singing from the time she was a baby. Her sister entered her into a talent contest when she was three years old that Brenda won. She began singing professionally at 8 years old after father was killed in construction accident, in order to supplement her family's income. Her first break came in 1955 when she was only ten years old when Country & Western star Red Foley heard her sing and was blown away by the little girl's incredibly powerful voice. He put her on his popular country music television show, Ozark Jubilee, "The Junior Jamboree" where she sang songs like "Jambalya" and the single that would later become part of her nickname, "Dynamite.", 'Little Miss Dynamite'. (BIO.com) Brenda worked with Owen Bradley, the producer for Patsy Cline, who signed her with Decca Records at age 11, and in 1957 her "Dynamite" single was released, charting at #15 on the Country charts, and #42 on Billboard. By age 12, she became a regular star at the Grand Ole Opry in Nashville, and was performing in Las Vegas into 1956. In 1958 Bradley wanted her to record a new song by Johnny Marks, "Rockin' Around the Christmas Tree" in November of that year at age 13. But it didn't do well, selling on 5,000 copies. Rockabilly was in decline, so it was pulled from radio air play, and re-released it in 1959. Still the single didn't do much better, reaching only #14 on the charts. The holiday standard would become her most famous, still popular and being played today after its' re-release in 1959. It reached #6 on the U.K. charts by 1963; by 1965 moved up to #3, and by 2011 achieved over 600,000 downloads across the globe, and in 2013 it charted #62 in the U.K. September of 1959, Brenda reached number one on the Rock and Roll charts with her single, "Sweet Nothings", charting #4 on the Pop

Bessie Smith

By the early 1920's, Bessie was living in Philadelphia and in 1923, she married, and that same year, signed a contract with Columbia Records. In her recording career, Smith worked with important Jazz performers, and collaborated with several famed musicians, including Jazz trumpet player, Louis Armstrong, on "St Louis Blues" (1933). The film: of the same name, 'St. Louis Blues' - contains rare performance footage of her. By the end of the 20s, her popularity faded due to the Great Depression and the new Swing Ear, still she continued to perform. Born in Chattanooga, Tennessee, Bessie Smith was a Jazz and Blues singer earning the title "Empress of the Blues". She began performing as a dancer in 1912 with the Moses Stokes show, and soon after with the Rabbit Roof Minstrels, where she met Ma Rainey. Bessie sang and partied heavily with Ma Rainey who took the young Bessie under her wing for the next decade. In 1929 Bessie released her most popular song "Nobody Knows You When You're Down and Out" written by Jimmy Cox six years earlier. Bessie Smith was the highest-paid black performer of her day at the height of her career. In 1933 she recorded her controversial song "Gimmie a Pigfoot and a Bottle of Beer" (Columbia Records) Smith died in a hospital in Clarkdale, Mississippi from complications received in a car crash in 1937 just she was about to make a career come back. She had just been contacted by producer John Hammond to make new recordings, possibly in the new Swing Ear style. 1980 Smith was inducted into the Blues Hall of Fame 1981 into the Big Band and Jazz Hall of Fame. 1989 Bessie Smith was Inducted into the Rock and Roll Hall of Fame - Early Influences 1989- Grammy Lifetime Achievement Award 1993- Grammy Hall of Fame "St. Louis Blues" (1925) 2006- Grammy Hall of Fame "Downhearted Blues"

1950's music

By the late 1940s and early 50s, Major labels like Columbia, RCA, Decca, and Capitol, began to flood the 'Mainstream' white middle-America market coming out of the Depression years, with various styles of popular music. Independent labels, like Okeh, Ajax, Victor, started up with as new Blues 'forms' emerged, but most were too small and unable to compete in the largely populated, 'white' markets. Most of these early labels, many originating in the late 20s and early 30s, gradually were swept up into the larger, well-established labels, or dissolved. Post WWII saw a rise in the moral outlook across America began to improve, and the popular 'black' music coming out of Chicago, dubbed 'Race' music by the industry, began to filter into the popular music mainstream as well. White audiences sought out and listened to this new 'blues-style' music mostly out of curiosity. The music was sultry and 'forbidden', immersed in 'black' sexuality. Even though there was limited radio play for 'Race' and 'Black' music, the interest by the general population was undeniable, drawing 'white' listeners into 'black' Night Clubs, increasing record sales, and created a new 'audience. A new market. It didn't take long for popular white Artists to take notice of the popular 'new' music as they jumped in to take advantage of this new market. Singers like Pat Boone and Georgia Gibbs began what was called 'white washing' Black Artist's hits to sell records and get in on the profits. Original black artists were lost in the shuffle at first, but soon renewed interest in their other works, gained them recognition and new popularity.

The Rise and Fall of Rock & Roll

By the mid-decade, rock music had all but dominated U.S. radio, and with the growing market of television viewers, it quickly filtered into many 'high-profile' 1950's TV Programs. Popular shows like The Milton Berle Show; with Elvis Presley: The Ed Sullivan Show; featuring Bill Haley & His Comets, and Elvis, at least 3 times : The Steve Allen Show; hosting not only Elvis and Jerry Lee Lewis, but popular black artists, like Fats Domino. Family programs were also influenced by the rise of R&R. Shows like 'The Adventure of Ozzie and Harriet' (1952-1966); featuring the real-life Nelson family, which included their 'rock star' son, Rick Nelson. Short-lived series shows like The Patty Duke Show , staring film and pop singer Patty Duke, and the Disney produced series, Annette, staring Walt Disney's favorite Mouseketeer, Annette Funicello. Outside of all this media attention, Rockabilly, and Rock & Roll music of the 50s in general, had become highly controversial toward the end of the Decade. Then just a quickly as this 'new' popular sound had burst onto the scene, it abruptly came to an end. Conveniently, whether by coincidence, or by fate, the corner-stone, leading rock Icons of popular rock music, were out of the picture by the end of the decade. Rock icons like, Jerry Lee Lewis, who's career had peaked in 1957 with hit singles "Whole Lotta Shakin' Goin' On", and "Great Balls of Fire", fell out of popularity that same year when he married Myra Gale Brown, his 13-year-old third cousin. Elvis Presley, who had become a rock & roll phenomenon and global 'heartthrob", both on vinyl and on stage between 1955 and 1956. His blend of 'black' Artist Rhythm & Blues, and Memphis-style Hillbilly/Country Western, had created what became the Rockabilly sound, with early songs like, "Heartbreak Hotel", "Hound Dog", and "All S

Carole King & Gerry Goffin - Song Writers

Carole King and Gerry Goffin were a husband and wife team of songwriters that wrote a string of hits in the early 1960s. They met in 1958, married in 1959, and began writing songs for Aldon Records. Their first big hit was "Will You Love Me Tomorrow", sung by the Shirelles. It hit number one in 1960 and became a global hit. They also worked with Phil Spector writing songs for The Crystals. Together, they wrote over 100 hit singles, many reaching #1 on the Charts. An early list for the Duo includes such hit singles as: "Will You Love Me Tomorrow" - Shirelles 1960 "The Loco-Motion" - Little Eva 1962 "He Hit Me (It Felt Like a Kiss)" - Crystals (1962) "Mashed Potato Time" - Dee Dee Sharp 1962 "Chains" - The Cookies 1962 "I'm Into Something Good" - The Cookies (1962) "Don't Say Nothin' Bad (About My Baby)" - The Cookies (1963) "One Fine Day" - Chiffons 1963 Awards & Recognitions 1987- Inducted in Songwriters Hall of Fame 1990- Inducted Rock and Roll Hall of Fame

Connie Francis

Concetta Rosa Maria Franconero, was born in Newark, New Jersey on December 12, 1938. She was encouraged by her father to enter Talent Contests, and at an early age appeared on several talent shows, such as Arthur Godfrey's Talent Scouts (1948) at age 11 as a singer and accordion player. Connie grew up in a working-class Italian American family, and a Jewish neighborhood. She is fluent in Yiddish, and many of her hit records have been released in several other languages. Signed to MGM Records in 1955, her recordings failed to find an audience. She could not find her own vocal style, and spent her early years with MGM, doing covers, and overdubbing vocals for non-singing actresses in films. Connie Francis is the voice overdubbing actress Tuesday Weld's vocals in the 1956 Film, 'Rock, Rock, Rock'. Jayne Mansfield's vocals in 'The Sheriff of Fractured Jaw' (1958) are actually Connie's. Over the next several years, Connie found success primarily in updating previous hit songs, and film vocal work. In 1957, disillusioned about a singing career, and learning her contract with MGM would not be renewed, Connie considered returning to school to earn her medical degree on a 4-year scholarship to NY University. She had nearly accepted, when her father had scheduled a recording session--meant to be her last, convincing her to record the song "Who's Sorry Now", a popular 1923 song written by Bert Kalmar & Harry Ruby. She was reluctant to record the song, but the session and the musicians had been booked. There was a little over 2 minutes of tape left, and it was recorded. She was all set to quit music when Dick Clark picked up the record and introduced it on the American Bandstand in 1958, telling his show's eight million viewers that Connie Francis was "a new girl singer that is heading straight for the number one spot.

The Influence of UK artists

Considered a cultural phenomenon, the British invasion—so named for the wave of British singers and bands who followed the Beatles to the U.S.—came at a time when the Country needed it the most: CHANGE. The British Invasion was, quite simply, one of the watershed developments in American popular music history. The phenomenon involved the virtual domination of AM radio and the record industry in the United States by British artists, particularly the beat groups who had proved adept at recycling the American rhythm and blues and rockabilly songs of the 1950s. Sam Houston State University - American Popular Music - British InvasionLinks to an external site. The British invasion in the mid-60's not only changed the way American musicians wrote music, it altered the direction of popular music in general. This new music also changed the way American listener's looked at popular music. Because America's social unrest, and the hippie and protest movements up to this point, had no real influence on the rock music coming from Europe, it was uncluttered by messages and social values. This new music wasn't angry, or moralistic. It was fun, up-beat, positive, and ultimately lifted the spirits an entire country. As European groups gained in popularity, Fan-Fic magazines emerged, giving teens a sneak 'peek' at these unknown foreign Artists. At the same time, along with many of the upcoming U.S. Pop icons, these magazines, geared toward the teens, were the ultimate 'hype'! They kept the current generation informed, hooked, mesmerized, as they exposed both true and fabricated storylines about their NEW 'Idols' from across the Atlantic. Popular magazines, like 16, Teen World, Spec, Flip, Tiger Beat, and Rolling Stone Magazine, among others, helped to usher in a new Era of rock & roll, making the TEEN marker stronger

Lesson#10

Cultural Phenomenon

European Music

Determined most forms of common Folk music for centuries; through narrative ballads, epic poetry, storytelling, and typically in 4 to 8 bar structures. Traditional Irish and Scottish Folk music, court minstrels, along with classical composers, shaped European music styles.

Dick Clark

Dick Clark in part, helped create the new Teen Idols, clean cut Italian males to represent rock 'n' roll. Clark had created the hit teen show American Bandstand in 1957, a few years ahead of the Congressional Oversight Committee's probe into Payola. American Bandstand aired every day after school, promoting proper images of teens enjoying music in a controlled setting, while dressed in what was considered acceptable parent-teacher school attire. Born Richard Wagstaff Clark on November 30, 1929, Dick Clark was an American radio and television personality, a television producer, gameshow host and film actor. He was one of the most influential figures in popular music, with a youthful look that earned him the nickname "America's Oldest Teenager". Clark hosted the American Bandstand from 1956-1989. The show premiered out of Philadelphia and featured teenagers dancing to popular Top 40 style music. The show went national in 1957 and aired Monday through Friday at 3:30pm (after school). Clark played a major role in establishing rock and roll as okay for teens and acceptable to the parents. He featured clean cut teen idols like Fabian, Frankie Avalon, Paul Anka, Bobby Rydell, Bobby Darrin, and Connie Francis. The show also required a formal dress code of dresses or skirts for girls and coats and ties for boys. This helped establish the show's wholesome appearance, giving it more respectability as well as avoiding potential criticism. Clark was a pioneer in introducing African American artists and other performers, as well as dance styles to millions of young television viewers. He introduced over 10,000 performances giving them national exposure. The show became groundbreaking with Clark's move towards integration. His audiences were integrated and among the first to be seen on television. The show's broad appeal helped tam

Classic Blues Divas

During the early twentieth century, Vaudeville was one of America's most popular forms of entertainment. Vaudeville shows were organized presentations of variety acts including musical and magic acts, acrobatic and comedy routines, and even performances by trained animals, delivered in theatres or tent shows. Classic blues, also referred to as Vaudeville blues was dominated by women in the 1920s. The women singing classic blues were pioneers in the record industry and among the first black blues artists recorded. Their music was significant in popularizing the 12 bar blues throughout the United States and paved the way for other female artists. Early blues recordings were marketed to African Americans and were typically labeled as "race records" to distinguish them from other recordings marketed specifically to white audiences. However, some of these female blues artists would become popular even with white audiences. Most female singers in the classic blues did not accompany themselves like Memphis Minnie. They had grown up hearing country blues music and developed the powerful vocal styles needed to be heard over their accompanying jazz bands. The essence of blues music would become foundational as a contributing genre to Rock and Roll. These classic blues females would later inspire rock singers such as Etta James, La Vern Baker, and Janis Joplin. In this next section, we will discuss three key women known as Divas of the classic blues era.

The '50s Doo-Wop Chord Progression

During the height of the Girl Group ERA the style of music was focused on success. Song writers knew what worked. And what worked was a simple 4-chord recurring progression that could be adapted to hundreds of songs. This 'cyclical' (repetitive) chord progression was very common in rock ballads from the late 1950s and early 1960s, so named the "50s Doo-Wop" chord progression. Well known examples include songs like "Stand By Me" by Ben E. King (1961) and "Duke of Earl" by Gene Chandler (1962) from the Doo-Wop ERA. In our Girl Group LESSONS you'll find the examples of the 4-chord progression as well, in songs like includes songs "Maybe" by the Chantels 957), and most notably, "Angel Baby" by Rosie & the Originals (1960). Click on the website FOUR-CHORD SCHEMA,Links to an external site. scroll down to Doo-Wop and Click in the interactive graphic of the music staff, hit play and see if you can sing along with some of the songs in this LESSON. Then see what songs in today's music you can find that use this chord progression. For Instance, in the chorus of "Total Eclipse of the Heart on YouTubeLinks to an external site." by Bonnie Tyler (1983), "...and I need you now tonight, and I need you more than ever, and if you only hold me tight, we'll be holding on forever...". No pressure if you don't hear it...just have fun with the interactive chord progression.

Memphis Minnie

Elizabeth "Kid" Douglas, known as Memphis Minnie was an intricate guitarist, an astute songwriter and a stylistic innovator. Her work (over 200 recordings) leads the way in the development of blues guitar playing, starting with her first recordings in 1929, including, "Bumble Bee Blues", and "When the Levee Breaks". She remains comparatively understudied, and unknown, despite her importance to blues music during the 30s and 40s, and innovative guitar style. Born June 3, 1897, in Algiers, Louisiana, she was the oldest of 13 brothers and sisters. She began playing the Banjo at age 7, and got her first guitar around 10 or 11 years old. The idea of hitting the fields at dawn never appealed to Minnie, so she began playing the streets of Memphis with her first guitar, known to some as, 'the starvation box". In 1915 Minnie partnered with Willie Brown (better known for his association with Charlie Patton), playing around Bedford, Mississippi. Guitarist Willie Moore recalled in a book on Charlie Patton—Minnie was the better guitarist—"She was a guitar king—but Brown was better known. In 1929, Douglas married guitar-player, Joe McCoy. The played together in a Beale Street barbershop, when a scout from Columbia offered to record them. June 18, 1929, two weeks after Minnie's 32nd birthday, they recorded "Bumble Bee Blues" as Memphis Minnie and Kansas Joe. Both accomplished guitarists, the recorded steadily in New York and Memphis for Columbia, then later for Vocalion, Decca, Okeh, and Bluebird labels. Minnie embraced the latest technologies, and was one of the first blues players to use a National to in 1929, and various wood body electric guitars in the 40s and 50s. Big Bill Broonzy tells the story autobiography, Minnie's arrival in Chicago in 1933, prompted a showdown between the two famed guitari

Ellie Greenwich & Jeff Barry: Song Writers

Ellie Greenwich and Jeff Barry were one of the most successful songwriting duos for the Brill Building in the 1960s. They worked under Leiber & Stoller and also wrote for Phil Spector's Phillies Label. Together they wrote hit songs that helped to define the Brill Building Sound. Greenwich and Barry met and began writing together in 1960 and were married in 1962. In 1964 alone, this husband-and-wife team saw 17 of their compositions make the pop charts. Their voluminous catalog of songs include five number 1 hits. The duo composed hundreds of songs recorded by a variety of artists. Between them, they wrote 25 songs that went gold or platinum, several of their mid-career songs co-written with Phil Spector, Jerry Leiber & Mike Stoller, and Shadow Morton. A brief list of their early hits include singles such as: "Tell Him" - Exciters (1963) "Do Wah Diddy" - Exciters (1963) "Da Doo Ron Ron" - Crystals (1963) "Then He Kissed Me" - Crystals (1963) "Be My Baby" - Ronettes (1963) "Chapel of Love" - Dixie Cups (1964) "Leader of The Pack" - Shangri-Las (1964) "River Deep, Mountain High" - Tina Turner (1966) Awards & Recognitions 1991- Inducted into Songwriter's Hall of Fame 2010- Inducted into Rock and Roll Hall of Fame

Controversy of Poltiical, Religous and Racial Blacklash

Established Black Artists experienced controversy first hand when touring the SOUTH where segregation was at its worst. LaVern Baker was forced to use Taxi Cabs marked for 'Blacks' ONLY. Etta James was forced, at gun point, to apologize to the Hotel Manager for complaining about the flea-infested 'Blacks' ONLY public restroom she was told to use. Performances by 'black' artists in films were cut from prints distributed in the South or muted on screen. Films featuring rock music were frequently outright banned. The 1955 film 'The Blackboard Jungle' was banned in Italy at the Venice Film Festival because it was considered a "degenerate" depiction of juvenile delinquency in public schools with rock and roll featured as the music - Bill Haley and the Comets: "Rock Around The Clock" 'Race' Music, Rock and Roll, Rhythm & Blues were filled with suggestive lyrics and sexual undertones, causing an emotional frenzy in live performances, especially in the South. Black and white audiences mixed together freely during these concerts as the music and the artists grew in popularity. Balcony, or upper-levels were typically reserved for 'white' audience members in concerts featuring Black artists, while 'black' audience members were restricted to the main floor. However, racial segregation and forced concert rules, the banning of black Artist's songs in films, or the backlash over R&R and R&B in general, both from political and religious leaders, was not enough to keep whites away.

UK Females

Europe introduced several female Artists to the U.S. along with the many male groups and Artists, far more than you might realize. Most of the female 'British Invasion' singers had existing careers in Europe before coming to the States. They were older, wiser, more experienced in life than the most U.S. 60's singer. They were grown up, even as teens, independent, evolving from a different social environment, and the music they released, was influenced by very different current social values than those surrounding young U.S. singers. U.K. Artists, males and females alike, grew up listening to 50's blues singers, and touring Motown and Soul groups. Black artists and black music, were very popular in Europe. In turn, many U.S. male and female Artists found success in Europe during those same touring shows, then returned home to revitalize existing, or flailing careers, thus gaining new recognition, and renewed success. There were far too many female Artists that appeared on the charts in the 1960s to name here, but here are a few chart topping singers who came to the U.S. during this first 'wave' of the Invasion: A few on the short list..Sandy Shaw, Shirley Bassey (James Bond theme "Goldfinger" (1964)), Jackie Trent, Barbara Ruskin, Samantha Jones, Julie Rogers, Lynn Annette Ripley (Twinkle), Kathy Kirby, Susan Maughan, Billie Davis...

The Voice of a Generation

Every decade, musicians and singers emerge to represent their own generation, the current 'market'. Each decade of music ultimately reflects the attitudes and ideals of the younger generation. Popular music captivates, inspires, and communicates, speaking directly to the 'new' market of the you...almost exclusively! By the mid-1950's, Mainstream music moved exclusively to the teen market. The post WWII baby boomers had come of age and instinctively turned away from the music of their parents; Frank Sinatra, Bing Crosby, and Rosemary Clooney. The new generation of young listeners sought out Artists making 'race' music. Whether out of rebellion or the need to separate themselves from the 'older' generation, the youth were hungry for change, and 'race' music's popularity was quickly on the rise. By the end of the 1950's, Rhythm & Blues, and early forms of what would be later termed 'Rock & Roll', quickly dominated the airwaves.

Lesson #8

Folk Protest Music

Folk Protest Music Evolves and Moves On

Folk/Protest moved away from social injustice and political material, evolving into the NEW electric sounds that began to emerge in the styles of folk-jazz and 70's style blues-folk. British Invasion influenced the shift in R&R's direction away from the protest scene in the last 60s as well, due to the fact that European social issues were completely different from the U.S.. ...however, change never comes without loss... Protest lyrics that had once been centered around the common man, became less and less about the message. The new generation lacked controversial material, and individual goals began to overshadow 'common' ideals and human beliefs. Folk songs became commercialized as the genre grew and moved into big business, the need for monetary profit by big record companies, and some singers, strayed from the original concerns of War and Civil Rights. Many Artist were faced with the need of continued financial gain and searched for longevity in order to survive, sacrificing ideals they had initially stood for. The proverbial nail in the FOLK-Protest coffin, however, came in 1965, when Bob Dylan showed up at the Newport Folk Festival with an electric guitar, and a full band with amplifiers. Dylan was literally booed off stage by the audience, and his closest friend at the time, Pete Seeger, was so shocked at what he heard on stage, that he hid in his car covering his ears. It is said some audience members tried to unplug the amps and instruments while the band of Dylan's musicians were on stage. Bob Dylan's crossover into Rock and Roll was influenced by John Lennon of the Beatles, whom he secretly admired. Dylan knew the Beatles had drawn a line n the sand. Soon Dylan made his change in direction, he was followed by others from the Folk/Protest Movement in the wake of the Beatles' phenomenon. (Rolling Sto

Motown

Founded in the late '50s, the 'Sounds' coming out of Motor-Town, Detroit, changed the direction of popular music in the 1960s. Not only did the ideals of Motown music contribute to the Civil Rights Movement, during a time when segregation was at its worst, Motown brought black musicians and their music into the mainstream. With the introduction of several new black Artists, Motown Artists successfully competed for, and reached, many of the top spots on the charts, enduring the takeover of the British Invasion of the mid-60s. Motown music not only consistently topped the charts, its style and message of unity and 'love' was embraced by all audiences on every level. Because of this, African-American songs and faces of the entered the homes of every American in the country regardless of race still maintain popularity even to this day. The "Motown Sound" was wildly popular through the 60's and 70's, appealing to both white and black audiences, young and old alike. The combined elements of music from the inner soul, with harmonic upbeat lyrics and the feel of 'community' created something that spoke to the times. Motown Records became one of the most influential black owned and operated companies in the world, and the sound still stands as one of the most popular styles of American music today.

MLK JR

In 1954 Martin Luther King became the pastor of the Dexter Avenue Baptist Church in Montgomery, Alabama. King was already a strong worker cvil rights, and by this time was a member of the National Association of the advancement of Colored People (NAACP) committee. In 1955 he accepted the leadership of the first great Negro nonviolent demonstration of contemporary times in the United States. Suffering personal abuse, his home was bombed, and he was arrested during this time, but emerged a Negro leader, and in 1957 was elected president of the Southern Christian Leadership Conference and formed new leadership for the civil rights movement. (Berry Gordy Jr. handing Martin Luther King a vinyl recording of his speeches) Between 1957 and 1968 King traveled over six million, spoke over twenty-five hundred times for injustice, peaceful protests, and actions using the techniques of Gandhi. He delivered his "I Have a Dream" speech in Washington, D.C., before 250,000 peaceful marchers in March 1963. Civil Rights Act: King had conferred with President John F. Kennedy and campaigned for Presidential Lyndon B. Johnson advocating for civili rights. John F. Kennedy's Bill to ban discrimination in the U.S. was written June 11, 1963, but Kennedy was assassinated on November 22.1963 before the bill was signed. On July 2, 1964, Lyndon B. Johnson signed the Bill, enacting it into Law. Sections of the Bill included the eligibility to vote only required a sixth-grade education; and a section that forbade discrimination in public buildings and Schools. A year later, The Equal Employment Opportunity Commission was established. Martin Luther King, Jr. was assassinated on April 4, 1968 while standing on the balcony of his motel room in Memphis, Tennessee.

Betty Gordy jr.

In 1959 Berry Gordy Jr. and Smokey Robinson formed what would be referred later as the 'Music Machine' in Detroit, Michigan. The two songwriters met in 1957 when Berry was 17 years old. Between the two writers, they had written. recorded, and released a few hit singles of their own, but under 'other' established labels. The practice was standard in the Industry at that time. After several months of peddling their songs, Smokey thought they should start their own pressing label to sell their music, and together they created Motown Records in Detroit, with the famed Funk Brothers as the backing band. Motown Records was born in a garage, from combining Jobete Music Publishing Co., Tamla Records (R&B), and Anna Records. All previous record labels Gordy had started earlier. Following the Ideals of Martin Luther King, Jr., Gordy wanted Motown to be a community of all races coming together in Love and Harmony to make music. His aim was to create music for white and black audiences alike. Gordy's 'Built on Love' ideals meant he wanted NO militant sounding lyrics, and rejected dream images and poetry; he wanted 'present tense' stories that listeners could relate to.

The End of an Era

In 1972, Berry Gordy moved Motown to Los Angeles. Many events led up to this decision including the 1967 Detroit riots and the loss of the songwriting trio H-D-H due to irreconcilable differences. Gordy turned his energy and focus on Ross's solo career in both music and film. Berry Gordy wanted to get into moviemaking, and he expanded Motown's horizons into television and film production. The transition had been a couple of years in the making even though most of the general public and the media were not aware of it. After the move to Los Angeles, Motown lost the "family" feel. Gordy said that even though Motown had moved, "the same feelings went into the music — the love, the honesty, the soul and the family way of doing things." However, only a few of the original staff members and artists remained part of the team. The change from the little house studio to a structured office environment gave Motown more of a conglomerate setting. In 1988, Berry sold Motown for $61 Million. This was quite a profit from the original startup cost of $800 from a family loan. Motown remained an independent company until June 28, 1994.

The Ronettes

Inspired by weekend family parties centered around entrainment and music, in 1959, sisters Veronica and Estelle Bennett, along with cousin Nedra Talley, formed the first incarnation of the Ronettes; The Darlings. They sang wherever they could get a gig, and in 1961 met Stu Phillips with Colpix Records. Prompted to change their name to The Ronettes, the few recordings they did with Colpix failed to chart. It was during this time they, working in Spanish Harlem, the girls perfected their 'working class' style and signature look by copying the local girls, with 'mile-high' beehive bouffant hairdos and heavy black eyeliner and mascara. Discouraged, Ronnie decided to call the already famous Phil Spector to audition for his Philles Label. Ronnie's voice was the sound he'd been looking for, and after a few songs, hit it big with a song he'd written with Ellie Greenwich "Be My Baby" in 1963. The song ended up defining Spector's Wall of Sound, Ronnie's voice capturing the innocence of youth and the Voice of a Generation. It appears on the Group's Album, 'The Best of the Ronettes' (ABKCO) The Group set the standard for the kind of Pop sound artists had been trying to recreate ever since. Yet after a handful of singles, many of their songs released that year, by the fall of 1963 their climb to the came to an end, due to Spector's jealous relationship with Ronnie. The Group broke up in 1967 and a year later Ronnie married Spector, that Ronnie states in her book 'Be My baby: How I Survived Mascara, Miniskirts, and Madness, was the beginning of 7 years of Hell. Among the Group's last top 40 hits were "Paradise" (co-written by Spector), and "Baby, I Love You" (Greenwich/Barry/Spector) - (Leon Russell pianist, Darlene Love and Cher backups) in 1964. Spector's controlling of Ronnie's life and career accelerated the decline of

'60's Girl Groups Part 2

Into the 1960s, the teen music craze was sweeping the United States, causing record labels to turn to the Brill Building songwriters for a constant stream of new hits. Many of these hits came from a small number of songwriting duos. The husband and wife teams of Goffin & King (Gerry Goffin and Carole King), who produced chart topping hits like "Will You Love Me Tomorrow", "Chains", "One Fine Day"; and Ellie Greenwich & Jeff Barry, "Be My Baby", "Tell Him", "Leader of The Pack". Writing Duos like these have become almost synonymous with the Brill Building sound of the 60s, but there were a number of other teams and individual songwriters that contributed so much to the history of this Era. The young women who made up the groups (many singers never gaining individual recognition or due credit in their own right), challenged their male contemporaries as their popularity grew, and their songs of unrequited love dominated the charts. The timing, though imperfect, was ripe for the Girl Group singers who began to emerge, between the end of Rockabilly and the beginning of the British Invasion, as the Voice of Adolescent Women. The reign of the 60's Girl Groups may have been short-lived, but their importance in saving rock and roll is Undeniable! The Girl Groups were truly, the Voice of Adolescent Women!

Music Migration North

It didn't take long for these two basic styles of music to start to merge, and fuse together through word-of-mouth and example. Most of these musicians had very little knowledge of musical technic or structure, or were able to translate what they played on to paper in the form of notes or chords. Thus the origin of blues music can be traced back to the combination of both black and white folk music forms. After the Civil War, vast numbers of African Americans moved to the North. This was known as the Great Migration.

Jerry Leiber & Mike Stoller (Original Hound Dogs)

Jerry Leiber and Mike Stoller were American songwriting and record producing partners in the 1950s- 1960s and worked in the Brill Building. They are two of the most important writers in early rock and roll. Their break through hit in 1952 was the song "Hound Dog" that they wrote for Big Mama Thornton. They helped to bring the R&B sound into crossover pop hits. Together they wrote more than 20 songs that were recorded by Elvis including "Hound Dog", and "Jailhouse Rock". In 1964 they founded the Red Bird record label with George Goldner, that was largely devoted to female acts and girl groups. They used Brill Building songwriters and produced many Top 40 hits, including songs co-written with Greenwich & Berry, and Phil Spector. The label's first release was the #1 hit song "Chapel of Love" by The Dixie Cups followed by The Shangri-Las #1 song "Leader of the Pack". They wrote or co-wrote over 70 hit songs including "Stand By Me" (along with recording Artist Ben E. King), "There Goes My Baby" (The Drifters) and "Searchin" (The Coasters). Artists and groups who have recorded their songs include: The Beatles. The Rolling Stones, The Beach Boys, Ruth Brown, James Brown, The Coasters, The Drifters, Little Richard. Jerry Lee Lewis, Buddy Holly, Fats Domino, The Everly Brothers, Bill Haley and the Comets, Barbra Streisand, Jimi Hendrix, Muddy Waters, Johnny Mathis, Joe Williams, Count Basie, John Mellen-camp. Lou Rawls, Tom Jones, Edith Piaf, Bobby Darin, Chet Atkins, Aretha Franklin, Luther Vandross, B.B. King, Otis Redding, among hundreds of others! Awards & Recognitions 1985- Inducted into Songwriter's Hall of Fame 1987- Inducted into Rock and Roll Hall of Fame 1988- "Hound Dog" earned a Grammy Hall of Fame Award 1995- Star on the Hollywood Walk of Fame

Joan Baez

Joan Baez is an American folksinger and political activist who drew young audiences into folk music in the 1960s, with a career spanning over 60 years. Joan is consistently, a pacifist, stands in support for pro-environment groups, and is very religious, as both her parents were active ministers or priests. Baez knew Racial Discrimination first hand; her father, from Puebla, Mexico, and her mother, born in Edinburgh, Scotland. They had moved away from the Catholic church, to Methodist, and, during Joan's early childhood, converted to Quakerism. Born on January 9, 1941, in Staten Island, New York, Joan Chandos Baez spent most of her youth in San Francisco, and received a Ukulele from her father when her interest in music became apparent. She quickly began to play along with the current Rhythm & Blues Artists she heard on the radio and her parents feared the music she was listening to would lead her to taking drugs. So her aunt took her to a Pete Seeger concert when she was 13, and she fell in love with Folk music. In 1957. she bought her first Gibson acoustic guitar. In 1958, after she graduated from high school, her parents returned to the East Coast, relocating in Boston, where the Folk-music scene was on the rise. Baez became a drama student at New York University, and spent most of her time performing on campus as well as at nearby, Cambridge. She took her music and what she believed in, very seriously, and when playing in local coffee houses, and on College Campuses, she would insist that folks [students] listen to her music. She was not there as background music for them to study by. Her career began to take hold when after joining in with folk enthusiasts, Bob Gibson (1931-1996) and Odetta, (1930-2008, both civll rights activists. She performed with them at the 1959 Newport Folk Festival where she was introduce

John Lomax, his son Alan Lomax

John Avery Lomax was born in Goodman, Mississippi, on September 23, 1867....After teaching in rural schools for a few years, Lomax entered the University of Texas in 1895, specializing in English literature. In Adventures of a Ballad Hunter, he recounts the story of his arrival at the university with a roll of cowboy songs he had written down in childhood. He showed them to an English professor, only to have them discounted as "cheap and unworthy," prompting him to take the bundle behind the men's dormitory and burn it. Without John Lomax we would have no record of these early plantation and cowboy songs. And most likely not have Rock & Roll as we know it today. Recorded original American Folk songs Discovered Rural Blues Artists and Southern sounds of Black America Transcriptions of Cowboy Songs, Early Blues, Field Songs First Book on Cowboy Songs and Frontier Ballads Established American Folklore Society Foundation and Preservation of American Folklore NO European influence in these Early Sounds!

Groups With a Special Sound

Little Eva Eva Boyd, also known as Little Eva was the babysitter for songwriters Goffin & King. They would hear her singing around the house and knew she had a good voice. Little Eva recorded the demo for the Goffin & King song "The Loco-motion". Originally the song was meant for Dee Dee Sharp. The publishers decided to use the demo and the song was released. She was paid more for babysitting than she was paid for recording. In 1962, Little Eva's "The Loco-motion" would hit #1 on the Billboard Hot 100. The song is notable for appearing in the American Top 3 charts, three times, in three different decades: 1974- Grand Funk Railroad #1, 1987- Kylie Minogue #3 🎥 🎧 "The Locomotion" "The Locomotion" Lyrics on GeniusLinks to an external site. The Jaynetts The Jaynetts were an American R&B style Girl Group out of the Bronx, formed in the mid-50's by producer/composer Zelma "Zell" Sangers. The group was more of a collection of J&S singers, the name conceived by adding the 'J' from Sander's J&S label founded by her in 1955, to 'Anetta', the middle name of Lezil Valentine, a session vocalist who sang on the groups recordings. The first released single under the Jaynetts was, "I Want To Be Free" (1958). J&S Records had its first real success after Abner Spector of Chess Records stepped in, and in 1963 he approached Zell Sanders to create a group of girls to recored a song written by his wife, "Sally Go Round The Roses." The credited members of the assembled group were Yvonne Bushnell, Ethel Davis, Ada Ray Kelly and Johnnie Louise Richardson, Mary SueWells, and Lezil Valentine. Several other girls were brought in as well. According to Richardson, "Anybody that came in the studio that week, Spector would put them on the track." 20 voices overall are on the recorded, the week long sessions costing $60,000.00 in studi

Marianne Faithful

Marianne Evelyn Gabriel Faithful, singer, songwriter, stage actress, born in Hampstead, December 29, 1946, was more interested in Folk music than she was Pop. Influenced by Joan Baez and Bob Dylan in the early 60s, she began singing in coffeehouses, and did some modeling and was active in stage and theater. Marianne was discovered at a Rolling Stones launch party by Andrew Loog Oldham, the upcoming British Group's manager. Impressed with what he heard and what he saw in her, Oldham convinced Mick Jagger and Keith Richards to write a song for her to record. "As Tears Go By" was their first composition as a writing Duo in 1964, and became Marianne's first single. (Picture far right: Rolling Stones Band & Marianne Faithful) According to an article by Alexis Petridis in The Guardian, Marianne's career would be short lived and was never supposed to be much of anything. Nor was she expected to be as influential as she would be for decades to come. She was pretty and Oldham saw her as an opportunity to promote his management career as the 'British Phil Spector'. Marianne later recalled she was "treated as somebody who not only can't even sing, but doesn't really write or anything, just something you can make into something ... I was just cheesecake really, terribly depressing". Even though "As Tears Go By" reached #1 in 1964, her breakthrough hit single, Marianne ditched Oldham as her producer, but continued with Decca and managed to convince the label to release several more albums before her career collapsed in 1969. Due to drug addiction and the lifestyle she had been leading, Marianne admits in several interviews that she lost interest in her music when she became Mick Jagger's partner in 1969. (Picture: Mick Jagger & Marianne Faithful) Her marriage to John Dunbar (1965-1970), a British Artist

Martha Reeves and the Vandellas

Martha Rose Reeves was born in Alabama in 1941. Her family moved to Detroit where she began working on her career, singing solo at first, then with several minor girl groups. In 1957 she joined a local working group, the Del-Phis, three Detroit natives; Annette Sterling Beard, Gloria Williams and Rosalind Ashford. After going nowhere with the Del-Phis, in 1961 Martha returned to her solo career goals, performing in Detroit nights clubs. A Motown staff member heard her and invited her to audition, but she showed up on the wrong day of the week: Tuesday. Auditions were held on Thursdays. But she applied anyway (wanting in) and was hired as a secretary; answered phones, did payroll, and helped with new auditions. Martha was then instrumental in bringing in the group she used to performed with, the Del-Phis, as backup singers, now calling themselves the Vels. Gloria Williams left the group after a single they'd recorded drew no interest, reducing the group to a Trio. Within a year the Vels were the backup singers for Marvin Gaye, appearing on his first hit "Stubborn Kind of Fellow". Gordy saw potential in the group and offered the girls a recording contract, renaming the trio The Vandellas and brought in Holland-Dozier-Holland (H-D-H) to write songs for them. The combination of H-D-H proved the right move, the group recording the million seller "(Love is Like a) Heat Wave" in 1963. The single reached #4 on the Pop charts, and #1 on R&B. An additional hit single with H-D-H "Nowhere To Run" peaked at #5 in 1965. In 1964 Martha and the Vandellas recorded the single, "Jimmy Mac", written in tribute to writer Ronald Mack ("He's So Fine") by Lamont Dozier of H-D-H. The song's lyrics, however, did not fit in with Berry's ideal of 'current storytelling' being a tribute to a 'deceased' Artist and

Shelley Fabares

Michele Ann Maire Fabares, an American actress and singer was born into a show biz life on January 19, 1944 in Santa Monica, CA. As the niece of singer/comedienne Nanette Fabray, started tap dancing at age 3. She modeled during her elementary school years, and began appearing on TV shows at age 10. She had small, supporting roles in film, beginning in 1955, through 1958, guest starring in numerous TV shows, that included, a semi-regular role in Annette Funicello's series 'Annette' in 1958. Her teen-idol status developed with her coming-of-age-daughter role, Mary Stone, on The Donna Reed Show in 1958. The show ran until 1966. During her Donna Reed years, Fabares increased her national popularity when she aligned acting with singing. Under the Colpix label (Columbia Pictures), Shelly released several singles, including her signature hit, "Johnny Angel" (Lyn Duddy & Lee Pockriss), which went to #1 on the Billboard 100 in April 1962, and peaked at #41 in the UK. It sold over one million copies and went certified gold. She recorded 5 studio albums, 3 of them in the Billboard 200, in 1962 and 1963. With recording behind her, Shelly left the music business and returned to her acting career. Between TV and Film, through 2003, she shared the stage with several famous actors, including 3 films with Elvis Presley. By the 70s, as an adult actress, she began appearing regularly on series shows like One Day at a Time, and co-stared on Coach (1989-1997). Her voice work credits include Superman: The Animated Series, Justice League (2003), Superman: Braniac Attacks (video; 2006). Backing Shelley on "Johnny Angel" are Glen Campbell (guitar), Hal Blaine (drums), the Blossoms (backing vocals), and the rest of the Wrecking Crew.

Lesson#9

Motown

Cultural Revolution of the 60's

Our involvement in the Vietnam War and the ethics of the Government were being questioned by the new generation in the 60's. Folk music turned its focus on the military conflict, protesting the U.S. involvement in the War. The U.S. finally pulled out of Vietnam in 1975. The need for peace and truth were demonstrated through peaceful protests in the forms of 'Be-Ins' and 'Sit-Ins' across the country, as college students became more aware and vocally involved in global issues. New laws were written and passed in the mid 60s dealing with segregation and Civil Rights issues. Middle class youths and adults were walking out on their jobs and families as they began to question the morals of their parents and focused on anti-materialism, natural living, joining and forming Communes and free-living. Socially driven material, influenced song writers of a new generation, and chemically introduced ideals through the use of drugs like LSD, Marijuana and various hallucinogenics, altered previous realities, increasing awareness among the young. Women, in general, began to reinvent themselves and their roles of society's ideal and their purpose in their Domestic environments. Female artists started to question where the stood in the music Industry alongside their male counterparts. Once the 'Cultural Revo

Early Female Teen Idols

Outside of all this media attention, the new popular style of music, Rockabilly, and Rock & Roll music of the 50s in general, had become highly controversial toward toward end of the Decade. The rise of rock music threatened the Music Industry's control, and nearly came to an end. However, there was still a large, substantial market of teenagers in the U.S. that record labels wanted to tap into to sell records. But to do that, they knew they had to appease the political groups, and organizations like the Parent Teacher Association (PTA) who had openly opposed rock & roll, and the unfavorable opinions the 'older' generation had for the highly popular music their teens were listening to. They needed wholesome looking, 'white' male singers to represent the 'new ideals' of music envisioned by the general public. To keep the Industry from outright banning rock music altogether, new 'Pop' Teen Idols were created. Along with these newly created young male singers, came young female singers as well. By the first decade of the 60s they had gained popularity on radio, TV, and vinyl, and with almost no controversy. These young women emerged from existing TV and Film careers to become 'Pop' stars, releasing a few hit songs before returning to their previous careers. The singers who found success in the early 60's, and managed to survive the British Invasion of 1964, went on to have successful careers in the music business.

Slave Populations

Plantation workers as musicians, learned to play European instruments so they could entertain the Plantation owners, and their guests. However, these Slaves had their own body of music, inherent to the country they originated from that they sang for themselves. The sounds, forms and structures of their music were drawn from the personal experience, spiritual and soul handed down through generations, in 'story-telling' tradition. These 'Folk' songs, handed down through generations of their people, were not influenced by European, or Western styles of music.

Prelude to Social Change in the '50s

Post 40's economy was good across the country - unemployment was down, wages were up - family values were high Middle-Class Americans were spending more - buying new cars, suburban housing The average 'white' household in the late 50's, had a television, a dishwasher, electric appliances The Baby Boomer generation was coming of age by the late 1950's, creating the new 'market' African-American families still struggled against racism and discrimination and had entered the mainstream America African American life-styles continued far below 'average - in employment and education opportunities 'Black' American was looking for answers and new leadership - both politically, and publicly African-American youths became a part of the new 'market' Racial barriers were challenged as 'race' music and R&B continued flooding the industry R&R bridged racial gaps of the 50s & early 60s - due to new 'teen market' White audiences started listening to 'race' music throughout the 50's - Black audiences were finding music they liked in 'country' sounds 50's Musicians ultimately brought the two styles together in the Hybrid form of Rockabilly The Music Industry was threatened even more by the NEW surge of popularity in R&B and R&R - Truly "THE VOICE OF A GENERATION"

Girls With Guitars

Rockabilly became a force that 'shook' the expectations of women, not only as performers, and musicians, but as homemakers and wives. Women were beginning to rock like men and fell under criticism; they were fronting bands and strutting on stage and writing their own music. This bold change compromised their place in society, went against what was considered the acceptable standard of behavior by women. But, even with their success, Rock & Roll was still considered a man's domain in the eyes of society and the music industry. (Martindale) Women crossed over from their Country music backgrounds. Country songs moved into the Pop charts as country sounds were put to rock beats, with a "Blues-country flavor"... Women in general as front singers in bands and as lead instrumentalists in rock genres didn't fit with mainstream American ideals of women as homemakers. Rock music was still a man's domain in the eyes of society and the music industry. The idea remained for some time that women could not play rock and roll music. However, more women were beginning to rock like men in the 1950s and 1960s, fronting bands, writing their own music, and strutting around with their guitars. It was the female guitarists playing rock that went against the mainstream ideals of a women's place in the home. Women were successfully playing from country music backgrounds both as vocalists and musicians. Country singers, however, did not receive the same backlash: June Carter, Patsy Cline, etc...They were seen as more feminine and demure. They wore conservative dresses while performing, fitting in with the expectations for that time.

The Doo-Wop Formula

Recipe for Success Songs were cranked out daily by teams of songwriters Songs were created from the same mold, like a recipe for hit singles Sometimes the writing teams knew what singer or group they were writing a song for Sometimes the writing teams wrote songs for no group in particular then sold them to the highest bidder Reality of The Formula Record labels and producers created the hits...they did not create the singers Record labels and producers repeated the formula, made another hit single, then moved on to the next song Individual singers or groups were not as important as the song Individual singers and groups were all interchangeable, manipulated by the record labels and producers Individual singers could be moved from group to group or song to song without choice Lead singers were moved around within a group to change the sound of a song These changes made it difficult to know which group was which group on some recordings.

R&B-Country Rock

Rockabilly is the 1950s early form of rock music performed by mostly white performers in the American South; (literally rock and roll played by hillbillies). Rockabilly emphasizes the country side of rock and roll. Other important rockabilly influences include western swing, boogie woogie, and rhythm and blues. The term Rockabilly was coined by record reviewers describing the rhythm driven musical style performed by Elvis Presley's first recordings in Memphis. The music features a strong rhythm, twangy electric guitar, acoustic stand-up bass (slap-back), energetic blues influenced guitar solos, emotion and feeling, with a wild extreme vocal style often with added vocal tricks and tics, from hiccups to croons... Rockabilly had its popularity from the early-to-mid 1950s to around 1960. Rockabilly music was the sound that set rock and roll in motion in the 1950s and the first real sign of what would become today's rock and roll. Rockabilly had a revival in the late 1970s that lasted to the early 1980s. Record labels would cash in on the new sound. Sun Records in Memphis Tennessee would be a magnet for rockabilly talent, recording artists like Elvis Presley, Johnny Cash, Roy Orbison, Carl Perkins and Jerry Lee Lewis. The other pioneers include: Decca Records (UK and U.S. Companies) Buddy Holly, Bill Haley & His Comets, Wanda Jackson, Brenda Lee; Chess Records (Chicago) Chuck Berry; and artists like Little Richard, Fats Domino, Chubby Checker and Bo Diddley.

Diverse Groups

Rosie Hamlin - Rosie & The Originals Rosalie "Rosie" Hamlin was an American singer and songwriter who was the frontwoman of the group Rosie and the Originals, best known for the song "Angel Baby", which became a Top 40 hit in 1960. Hamlin began singing with the band at 13 while she was attending Mission Bay High School in San Diego, California. She wrote the lyrics for "Angel Baby" as a poem for her first boyfriend when she was 14. When she was 15 she and the band rented the only recording studio they could find within 100 miles of San Diego. Part of a hanger owned by an airplane mechanic. The took the finished master to Kresqe's department store and convinced the manager to play it in the listening booth of the store's music department. A scout Highland Records heard the song and offered the group a recording contract, under the condition the record company take possession of the master. He also insisted the song writing credit go to David Ponce because he was the oldest member. "Angel Baby", which featured Hamlin's noted soprano vocals and debuted in November before the group had received their contract. When the group formally established a contract, The single charted at #5 for 8 weeks on the Billboard Singles Chart. Hamlin found out she was ineligible to collect record royalties from the song because she was not listed as the songwriter. This led to the group's break-up, and although Hamlin secured the copyright to her music in 1961, decades of battles over royalties followed. Hamlin's track "Angel Baby" was cited by John Lennon as one of his favorite songs, and he covered the track in 1975. Rosie Hamlin was the first Latina to be honored by the Rock and Roll Hall of Fame, on their Wall of One-Hit Wonders 🎧 1960: "Angel Baby" "Angle Baby" Lyrics on GeniusLinks to an external site. The first thing to take a

Lesson #11

San Francisco

60's East Coast Music Influences

Segregation and Civil Rights influenced music styles Girl Groups ruled the airwaves - songs of heartbreak, romance, and teenage love topped the charts Soul and Motown were on the rise by the mid 60's East coast music was more about life on the streets and the gritty environment of city life Staff writers at the Brill Building were producing the hits

Creating That Surf Guitar Sound 101

Solid-Body Guitars... ...found a home in Surf music with two specific electric guitars created by Leo Fender. Innovative guitars, like the Telecaster (1950) (left, wood finish) was not originally intended for Surf Music, but may have been used later. But the Fender Stratocaster (1954), Jazzmaster, and Jaguar, are most associated with, and were created for the surf sound. "...The important elements of a good surf guitar are a set of bright, bold single-coil pickups, and a relatively stable vibrato system for the whammy bar action required." Guitar enthusiasts go to: http://reverb.com/news/secrets-of-the-surf-guitar-sound Dick Dale (1937-2019) and The Del Tones - credited for introducing the Surf guitar sound, working closely with Leo Fender when the guitars and amps were being produced at the onset of the Surf ERA. "Miserlou" (1962 - Deltone Records) 'King of the Surf Guitar'- influenced by Rockabilly, with Middle Eastern and Mexican influences; key changes Kathy Marshall, Age 13, "The Queen of the Surf Guitar" pictured with her custom finish '62 Jaguar Stratocaster. Only one recording of her is known to exist (featuring two songs written for her by the Ventures), but it remains unpublished. Today, she is a successful Folk Artist. Surf music instrumentals like "Pipeline" (1962) by the Chantays, "Walk, Don't Run" (1960) by the Ventures are two great examples of the surf guitar sound that is still relevant today. Even the electric piano in "Pipeline' has a 'watery' sound to it.

LESSON#5 - The Doo-Wop Formula

Start of L5

Lesson#6 - 60's Girl Groups

Start of l6

Lesson #7

Surf Music - East vs West

Beattlemania

The "Fab-Four" Changed Everything Feb 7, 1964/The Beatles land in New York In October 1963, stateside newspaper articles began to appear, and by November, several TV programs in the U.S. began to pick up the frenzied phenomenon taking place in the Europe. The Beatles quickly made the morning news programs., Then on January 3, Jack Paar ran concert footage from BBC, as a 'joke'. and within days "I Want to Hold Your Hand" topped the American charts, and record stores had orders for an album they didn't have. On February 7th, The Beatles landed at Kennedy International Airport, renamed just 6 weeks earlier for the assassination president in Dallas. Then on February 9th, two days later, the 'Fab-Four' appeared on the "Ed Sullivan Show"in Manhattan, and America was caught up in "Beatlemania". For the 73 million viewers watching TV that night, the Beatles were a cultural wakeup call that few, if any, could fully understand the impact the band would have. The timing was perfect, if not coincidental. The entire country was still traumatized by the assassination of JFK, and in just a handful of weeks, the Beatles changed the social mood, and turned 'pop' music into a new 'pop culture'. The Beatles credit U.S. 50s Artists touring Europe as their main influence, and because they were writing and recording their own music, they helped re-establish the idea of performers self-sufficiency, and Artists' independence, away from the industry and union writers. (right photo: George Harrison, Ringo Starr, Paul McCartney, John Lennon) The Beatles & much of the early 'wave' Artists of the Invasion re-introduced also kept the 'Girl Groups' alive a bit longer, with songs like "Please, Mr. Postman" (Marvelettes), "Baby it's You" (Shirelles), "Chains" and "I'm into Something Good" (Cookies), "Do Wa

Darlene Love & The Blossoms

The Blossoms were an American Girl Group (vocal trio) from California. Darlene Love joined The Blossoms, as lead singer in 1957. The group was located in the Los Angeles area and during the height of their success included members Darlene Love, Fanita James and Jean King. The Blossoms made a deal to become regular session singers for Phil Spector in California, recording at the Gold Star Studios in Los Angeles. Darlene continued recording more lead vocals after "He's a Rebel" for several songs, including "He's Sure the Boy I Love". At the time Darlene thought this song would be released in her name but Spector credited it to The Crystals. The Blossoms recorded and performed backups for many groups and artists including The Crystals, The Ronettes, Elvis, Aretha Franklin, Sam Cook, Frank Sinatra, The Righteous Brothers, Tina Turner, and more. Few would recognize the similarity of the backing voices and The Blossoms remained unknown by name. The group's vocal versatility is why they were selected to contribute the backing vocals for some of the biggest hits of the 1960s including the Ronettes' "Be My Baby", Shelley Fabares' "Johnny Angel", Bobby Boris Pickett's "Monster Mash", and the Crystals' "Da Doo Ron Ron". The trio was in demand and they became resident singers on the TV show Shindig! in spite of the network's objections for having an African American group as regular performers. Darlene Love was a popular session singer that recorded many songs often with no recognition or credit. She was however, one of the few that would stand up to Phil Spector. She recorded as part of a group known as Bob B. Soxx & the Blue Jeans. In 1963, the group recorded a version of "Zip-a-Dee-Doo-Dah" (a song from Disney's Song of the South) that hit #8. Darlene Love recorded 6 singles with Spector's Phillies label under her own name

Beginning Groups

The Bobbettes In 1955, the teenage group The Bobbettes formed out of East Harlem and signed with Atlantic Records. They released "Mr. Lee" in 1957 and it reached #6 on the Billboard Hot 100 and #1 on the R&B charts. The Bobbettes were the youngest of the girl groups; ranging from 11 years old to 14, and were the first black American girl group to have nationwide success. The song was a bit controversial for the time (a teenage crush on a teacher). The girls actually disliked the the teacher they wrote about and the original lyrics "He's the ugliest teacher I ever did see..." were revised by Atlantic before recording. The song is listed at #79 on Billboard's Greatest Girl Group Songs of all time. 🎧 1957: "Mr. Lee" #6 on the Billboard Charts When you listen to the song, read the lyrics to "Mr. Lee"Links to an external site., who is this song about? Who do you think Mr. Lee is? Do yo hear the upright walking-boogie Bass line? The Chantels The Chantels formed in the Bronx in the early '50s and were school friends. They signed with End Records in 1957 releasing their hit song "Maybe". The song was co-written by the lead singer Arlene Smith and is a definitive song of the girl group's genre. The song reached #15 on the pop charts and #2 on the R&B. This song is ranked at #199 out of 500 on Rolling Stones Greatest Songs of All Time. 🎧 1957: "Maybe" #15/#2 R&B/million - gold seller - End Records Read the lyrics to "Maybe"Links to an external site. "Maybe", like so many of the Doo-Wop ERA songs, written in the classic 4-chord progression representing a change in the sound is shown here, There are far too many songs to list, but a few written in this progression include great hits like "Stand By Me", "Angel Baby", "Earth Angel", "You Cheated, You Lied", "The Lion Sleeps Tonight", "Duke of Earl", "A Thousand S

The Chiffons

The Chiffons were an American girl group of young teenagers that formed in 1960 in the Bronx, New York. They were high school friends and originally a trio: Judy Craig, Patricia Bennett and Barbara Lee. Sylvia Peterson was later added to the group in 1962. In 1960, they joined forces with writer and manager Ronnie Mack and signed with Big Deal Records. Three years later with Laurie Records, they had their first hit song in 1963 with "He's So Fine". The song hit #1 on the pop (and R&B) charts for 4 weeks, and became a gold record, originally recorded on a demo of Mack songs, featuring the 'doo-lang doo-lang' intro. Within a few months they released "One Fine Day" written by Goffin & King. The song was originally meant for Little Eva but it tied in with the Chiffon's "fine" theme becoming their second Top 5 hit song at #5. The original piano riff played by Carole King was kept in the recording. The song "One Fine Day" became an international hit and appeared on the Rolling Stone's list of the 500 Greatest Songs of All Time.

The Crystals

The Crystals were one of the most popular girl groups of the 1960s. The group formed in 1961 in Brooklyn, New York while the girls were still attending high school. Originally a quintet, the members included: Barbara Alston, Dee Dee Kennibrew, Mary Thomas, Patricia Wright, and Myrna Gerrard who was later replaced by LaLa Brooks. The Crystals got their first job as a group recording demos for the publisher Hill & Range, which brought them to the Brill Building in midtown Manhattan. Phil Spector at that time was just starting his own Philles Records label and was in the market for new talent. He heard the Crystals rehearsing and signed them to his label in 1961. They released their first single "There's No Other Like My Baby" and it hit #20 on the charts. Their next single "Uptown" was released in 1962 and featured nontraditional pop instruments such as castanets and flamenco guitars. It rose to #13 on the pop charts and #18 R&B. Released in June of 1962, "He Hit Me (And It Felt Like a Kiss)" by Goffin & King, was a song written about Little Eva and her boyfriend. It contained disturbing lyrics about an abusive relationship and received widespread protest. The song was considered an endorsement for abuse and The Crystals did not like it, however Spector insisted they record it. The radio stations would not play the song and the subject matter made it a commercial failure. At this point, the history of The Crystals gets complicated. Darlene Love & The Blossoms A month after "He Hit Me...", Spector recorded "He's A Rebel" written by Gene Pitney, with his studio singers Darlene Love and The Blossoms on the vocals. As the owner and producer of both groups he could decide what songs to put on any of the albums and who would record them. Spector purchased the song in Brill song Auction and rushed it back to Los Angeles t

The Wrecking Crew

The MOST Recorded Musicians You Never Knew! The Wrecking Crew was the heart and soul of the Wall of sound sound, and the most sought after backing band in the music business. The most recorded group of talented musicians included such musicians as Hal Blaine (famed drummer), Carol Kaye (bass, and the only female), Tommy Tedesco (famed guitarist), Earl Palmer, Barney Kessel, Al Casey, Glen Campbell (guitar), James Burton, Leon Russell (piano), Larry Knechtel, Jack Nitzsche...and so many more through the 50s, 60s and well into the 70s. They played for and wrote arrangements for some 'everybody' in the business, in every genre of popular music... Jan and Dean, Frank Sinatra, The Monkees, Sonny and Cher, The Beach Boys, Simon and Garfunkel, the Mamas and the Papas... The Wrecking Crew is the sound behind such well-known pieces of music like the original "Batman" theme, the original "Mission: Impossible" theme, "Hawaii Five-O"...for starters. "The Wrecking Crew passed into a history that it largely created, imperfectly acknowledged but perfectly present in hundreds of American pop songs known to all." When Producers needed the best musicians, they called on The Wrecking Crew.

The End of an Era & The 'Doo-Wop' Girls

The end of this ERA began in 1964 as the current material began to change and writing Duos moved on to the upcoming Artists of the late 60's...some singers hung on as long as they could...some girls managed to move into Folk and Pop in the early 70s The ultimate demise of Doo-Wop however, fell in the wake of the new social 'age of awareness' and the affect the British Invasion had on the commercial music industry; Doo-Wop died out amid the rise of the Hippie Movement, and social unrest that surrounded Civil Rights and the Vietnam War. By the end of the decade, women across America had begun to question where they stood in the music industry, followed by concerns of their expected roles in society with the emergence of Women's Lib in the early 70s...which altered the image and attitudes of female singers, both as musicians and performers. The Doo-Wop ERA and the Girl Groups, and the 1970s Liberation Movement, changed women across the country, in general, forever.

Don Kirshner

The Man Behind The Music Machine In 1958, Don Kirshner at age 21, started the publishing company, Aldon Music with Al Nevins, out of the backlash from the Payola Scandal, and in answer to the 2 big Music Publishing companies, American Society of Composers, Authors and Composers (ASCAP), and Broadcast Music, Inc. (BMI) union writer issues, Kirshner established what came to be known as the 'Music Machine' in New York. The Brill Building, became synonymous with a subgenre of music known as the Brill Building Sound. Working in assembly-line fashion in small rooms and cubicles containing upright pianos, these writers turned out hit song after hit song, all written with the teen market in mind. The open cubicles resulted in everyone hearing what everyone else was writing, and that, combined with the current material of teen-themes and 'puppy love' romance, contributed to the overall Generic Sound of Doo-Wop! It soon became difficult to distinguish one 'group' from another over time, because many of the girls in the groups were interchangeable, or whether they were black or white. Especially when two different hit singles were written by the same team of writers. Nowhere was this union and understanding of the new 'pop' sound, stronger than it was during the classic hit era of the girl groups of the early 1960s. From the Writers, to the Producers, to the Artists, everyone knew history was being made inside the Brill. There were three primary producers working out of the Brill during the 1960s: Don Kirshner and Aldon Music, Geroge "Shadow" Morton, and Phil Spector, along with several teams and individual writers, some who went on to have successful careers of their own. Jeff Barry & Ellie Greenwich Gerry Goffin & Carole King Barry Mann & Cynthia Weil Neil Sedaka & Howard Greenfield Burt Bacharach & Hal David Doc Pomus

Phil Spector

The Man Behind The Wall of Sound Los Angeles, California: Phil Spector (1939-2021) was an American record producer, songwriter, and musician, best known for his innovative recording technique The Wall of Sound he developed during the late 50's at Gold Star Studios. Spector started out as a guitarist, songwriter, and singer as part of the trio The Teddy Bears. The group's only hit single "To Know Him is to Love Him" (1958), was written specifically for Carol Connors by Spector at age 18. The single set in motion what would later become Spector's own personal iconic sound. Unknowingly, Spector had written, arranged, played, sung, and produced the top song in the country and ultimately changed the direction of popular music. At age 21, Spector co-founded Philles Records with Lester Still and during the early '60s, spent time recording and developing his technique at the same Gold Star Studios in Los Angeles. It was there he would record many of his famous Wall of Sound recordings. He used a formula that included multiple instruments performing the same parts in unison. Doubling and tripling the parts created a rich, dense sound. He added musical arrangements for large groups and/or orchestral musicians (strings, horns...) and then recorded the sound in one room, creating an echo chamber with overdubbing and reverberation as instruments bled into other microphones on other instruments. Some songs would have as many as 5 guitars, 2 basses, drums, tambourines, castanets and more. Spector had all the musicians playing at once in one large room. Several takes till he was satisfied with the sound. (photos: Wrecking Crew musicians in the recording studio on left: Carol Kaye Bass player in right photo) But he didn't use special effects or echo like today. That 'fat', almost muddy sound came from the doubled instruments. The lay

The Motown Sound

The Motown sound was "built on love". Gordy created an environment where there was stiff competition however, the artists worked together and supported each other's efforts by performing and playing on each other's records. The early sounds of Motown consisted of a mixture of R&B, gospel, and pop, with strong beat structures (music for dance). Typically used in the mix were tambourines accenting the backbeat, hand clapping, simple structures, sophisticated melodies, prominent and melodic bass lines, and wind and string instruments with a prominent rhythm section. Keeping up with the echo technology as heard with Spector's Wall of Sound, Gordy also incorporated the doubling of instruments and overdubbing. 1960's Motown artists include Mary Wells, Marvin Gaye, Stevie Wonder, Smokey Robinson and The Miracles, The Marvelettes, Martha and The Vandellas, The Four Tops, The Temptations, and the Supremes. The Jackson 5 came to Motown at the end of the decade. There were many Motown songwriters including Berry Gordy, Smokey Robinson, and the trio Holland-Dozier-Holland (Lamont Dozier and brothers Brian and Eddie Holland) who were also known as H-D-H. Motown's house band was The Funk Brothers. They were Detroit based session players that played on the majority of Motown's records before the company relocated to California. The band was billed as Earl Van Dyke and The Soul Brothers and backed the Motown artists both on tour and in the studio giving them their unique sound.

Dance Craze

The Orlons Originally a quintet: Audrey and the Teenettes (Audrey age 13) A predominantly female group from Philadelphia, the Orlons had some dance and novelty gems in the early '60s for Cameo-Parkway. Lead vocalist Rossetta Hightower, Marlena Davis, Steve Caldwell, and Shirley Brickley scored with "The Wah Watusi" in 1962; it was a number five R&B and number two pop hit, while the follow-ups, "Don't Hang Up" and "South Street," were also Top Ten R&B and pop successes. "Not Me" was their fourth consecutive R&B Top Ten winner in 1963, and it peaked at number 12 pop. It was also their last, although "Cross Fire!" reached number 19 on the pop charts. But their other singles fizzled, and Davis and Caldwell left in 1964, replaced by Audrey Brickley. When Hightower moved to England in 1968, the Orlons disbanded. These three singles are an example of the Dance Craze music that swept through the late 50's & early 60's. 🎧 1962: "The Wah-Watusi" Lyrics on GeniusLinks to an external site. 1961: Exciters (aka The Masterettes) - End Records The Exciters were high school friends from Queens, New York. They were originally an all girl group called The Masterettes. The group later added 1 guy and they were signed with Leiber and Stoller. In 1962 they released the song "Tell Him" which went beyond the popular demure love songs of the time. The presentation of the song boasted an intensity and change in perception of femininity which paved the way for such tough and sexy acts as The Shangri-Las and The Ronettes. The song hit the pop charts at #4 and the R&B at #5. "Tell Him" is written by Leiber and Stoller. It has a very different feel to it. Notice how the acoustic guitar? How about the dominance of the strings in the second verse with the addition of concert bells? The group separated in the 80s

The Shirelles

The Shirelles were an American girl group that formed in 1957 in New Jersey. They were high school friends and originally called The Poquellos. The group consisted of Shirley Owens, Doris Coley, Beverly Lee and Addie Harris. The group decided to write their own song for a school talent show. That was how their first single "I Met Him on a Sunday" was created. In 1959 they signed to Tiara Label under Decca Records but had no success. Decca released them from their contract due to their lack of hits. The Shirelles signed with Sceptor Records founded by Florence Greenberg and released the song "Dedicated to the One I Love" written by Bass & Pauling in 1959. The song only made it to #83 on the charts initially. In 1960 "Tonight's the Night" peaked at #39 (Shirley Owens/Luther Dixon) and crossed over to White Audience. Their break through hit would come in late 1960, with the Goffin & King song "Will You Love Me Tomorrow". The song became a #1 hit for the group and the first #1 song for the songwriting duo. In 1961 with the group's growing popularity, the song "Dedicated to the One I Love" jumped to the #3 spot on the charts becoming their second Top 5 hit. The Shirelles were the first major female vocal group of the rock era and helped to define the "girl group" sound. Their popularity crossed over to white audiences. The Shirelles produced 7 Top 20 hits through 1963 including "Baby It's You" (1961, Bacharach/David), and "Soldier Boy" #1 (1962, Luther Dixon/Florence Green). Does this last song sound a little Country to you? 1996 Inducted into Rock & Roll Hall of Fame

Peter, Paul, And MAry

The Trio's self-titled debut album, released in March 1962. With the cover songs such as "Lemon Tree" (1950s - Will Holt) based on a Brazilian folk song from 1937, the LP renewed "Folknik" interest with traditional ballads and storytelling. But it was the second single from that album, "If I Had a Hammer" (Seeger/Hayes) that propelled the Folk Trio into the mainstream. "If I Had a Hammer" permeated the popular music airwaves, the timing of its release in line with the protest movements of the 60s, becoming an anthem for civil rights propelling the LP to the top of the charts, where it remained for 10 months, and in the top 20 for several additional years. The success of the single helped restore composer Pete Seeger's career after being blacklisted in the 50s. (Pictured: Peter Yarrow, Bob Dylan, Mary Travers, Stevie Wonder, Paul Stookey) Peter, Paul and Mary's second album, 'In The Wind' (1962) introduced a little known, yet upcoming young folksinger Bob Dylan to the world, recording his "Blowin' in The Wind", and releasing it as a single in 1963, the song reaching #2 on the charts - just a sample of the future songwriter's lyrical genius soon to recognized by entire the world. The Trio was additionally instrumental in popularizing other songwriters, like Gordon Lightfoot, Laura Nyro ("And When I Die"), and released John Denver's penned folk song, "Leaving on a Jet Plane." in 1969. The "In The Wind' LP covered Woody Guthrie's 1930s folks song "This Land is Your Land", bringing it forward to speak for a new generation. Peter, Paul and Mary marched in several Protest Rallies, including the march on Washington D.C. in Aug 1963 with MLK Jr. The Folk trio also joined Joan Baez in boycotted anti-Folk Television shows who had blacklisted some Folk Artists. Peter, Paul, and Mary celebrated Commercial success in bo

Diana Ross and the Supremes

The importance of the Supremes, and Diana Ross, to music history has been greatly 'underrated' in some circles. Critics look back and suggest that Diana Ross was 'overrated' as a singer, and that all the 'Supremes' song's sound alike because she is singing lead on all the songs. Some music historians go on to say, that Ross was not the most talented singer at Motown, and considering who she was competing with, she probably wasn't. Both Mary Wells and Martha Reeves, were far better, stronger singers that Ross. But what Diana Ross had over them, was 'white-radio POP' appeal. Her voice sold records! She and the Supremes were distinctly, and instantly recognized, and along with the Supremes, Diana made the kind of public appearances possible, as Berry had hoped for from the beginning. Martha Reeves and Mary Wells may have been thought of as too outspoken, their vocals too strong and assertive for some 60's listeners, and Berry Gordy. Diana represented that delicate, 'demure' innocence of women the industry wanted, especially for 'black' female singers in the 60s. Diana Ross maintained 'white' radio commercial appeal with her inherent 'fragile grace' and songs of love throughout her career. In 1958 four high school friends in Detroit, Florence Ballard, Mary Wilson, Diana Ross, and Betty McGlown came together first as the Primettes. They sang backups for the R&B group, such as The Temptations, and later called the Primes. In 1960 the girls auditioned for Berry Gordy hoping for a record deal of their own, without success. The girls frequented the headquarters until Gordy finally signed them to his Tamla label to back his other Acts, and in 1961 moved the quartet, (now a trio - less Betty McGlown) over to Motown Records, renaming them, The Supremes. THE SUPREMES After 2 more years perform

Surf Music

The instrumental beginnings of surf music, introduced by such groups as The Ventures, The Chantays, and Dick Dale and the Del-Tones, was a blend of twangy guitars, influenced by the back-beats of Rockabilly, and driving, almost tribal, percussive rhythms. As the music of the West Coast evolved, so did the song content, from instrumental interpretations of surfing, to songs full of lyrics about riding waves, racing hot-rods, and high school sweethearts. Among the predominantly more popular vocal groups were The Beach Boys and Jan and Dean, both with heavy harmonic, and memorable melodies that evoked the fun-filled nights and beach parties along the California coastline. Surf music overall, was positive, and fun, and embodied the dream of living the California Dreams, in the California sunshine. Southern California was the center, where it was happening, and the energetic atmosphere the music created, gave rise to the sound of surf. It became a Folk Movement, a cultural phenomenon that revolved around a sport, that captured a nation, represented by a specific sound. Both instrumental and vocal.

The Original "Surfer Girl"

The rise of the surf sound, and the cultural phenomenon, and popularity of the sport, can actually be credited to a 15-year old, Kathy Kohner. Known as the original Gidget, Kathy surfed her first waves in the summer of 1956, in Malibu, California. He father, Frederick Kohner, a writer, turned Kathy's journaled accounts of her summers on the beach and on the waves alongside the boys surfing, in to a Novel in 1957, 'Gidget - The Little Girl With Big Ideas'. "After a day of surfing, Kathy would arrive home and tell her father about the friends, the rides, and the stories and experiences she had witnessed and lived at the beach." (surfertoday) The book sold well, and in 1959 the book became the first Surf Film. As the popularity of the male dominated sport grew, new surfboard designers emerged, creating lighter boards as more and more people, of all ages, including girls, were 'hitting the waves'. The film had turned surfing into a cultural event that is still fascinating today, and after years of world-wide competition events, finally in 2021, Surfing became an Olympic Medal Sport. Southern California was the center, and the music the energetic atmosphere created, gave rise to the sound of surf. Both instrumental and vocal.

The Payola Scandal

The so-called 'stall' of Rock & Roll music at the end of the 1950's, was due in part by the Congressional Oversight Committee, and the ongoing attempts by politicians, parent groups, and program management officials, to keep all forms of 'rock 'n' roll', from 'race' to 'Rockabilly', off the airwaves, and away from the youth of America. Rock was new, popular with the kids, and generally disliked by their parents. ASCAP had possibly saw a way to get even with rival BMI. They probably saw Rock and Roll as a passing fad! Technology was giving power to the independent radio stations. Introduction of portable transistor radio gave teens their own dial to control. The inexpensive, newly introduced 45 rpm single allowed teens to purchase popular hits on a limited budget. This was the time of the McCarthy Hearings, and the Payola inquiries were carried out by the Congressional Oversight Committee; the same commission that was working on the television game show investigations. The bottom line was, these Big Unions wanted stricter play laws, as they now wanted their share of the popular music being written by the Artists themselves, and not Union writers, And to add to that, the Music Industry believed that Disc Jockeys were being PAID to PLAY Rock & Roll and Race music! Payola & Other Factors The 1950s was an era when radio disc jockeys could make or break an artist. They controlled when and how often a record was played. Music companies would influence DJs in the form of "payola". Payola, also known as pay-for-play, is the practice of paying commercial radio stations to broadcast particular recordings without disclosure to listeners (DJ's getting paid to play rock 'n roll music). At the time it was legal however it became so prevalent in the 1950s that a Congressional subcommittee on legislative oversight

Wanda Jackson

Wanda Lavonne Jackson, is an American country singer who achieved substantial success in Rockabilly and earned the title "The Queen of Rockabilly" and is referred to as the "First Lady of Rockabilly." Jackson found success in Rock & Roll and Country Western as well. Born October 20, 1937 in Maud, Oklahoma, Wanda learned to love music at an early age from her father, Thomas Robert Jackson, a Country musician himself. Jackson recognized his daughter's talent, bought her a guitar, and encouraged her to play . He would later become Wanda's Manager and accompanied her in her early tours as her chaperon. While still in high school, Wanda began singing on a local radio show in 1952, where she was discovered by Hank Thompson, who invited her to record with his band, the Brazos Valley Boys. Her first Country hit "You Can't Have My Love" was recorded with Thompson's group in 1954, and reached #8 on the Country charts. In 1956 Wanda was finally signed by Capital Records after she was turned down initially, being told by Capital executives that, "Girls don't sell records. They had her recording in both country and rockabilly, putting one of each style on each side of the record. With Capitol Jackson recorded several hit singles; "Mean, Mean Man" and "Hot Dog! That Man Made me Mad", among a few. Including "I Gotta Know" (Thelma Blackmon) #15 on the Country charts (1956). Alternating between both Rockabilly and Country-Swing on the song, she created a blend of both styles that fit together well. Even in her teens, Wanda sounded a lot like Elvis Presley and Gene Vincent, and eventually, encouraged by Elvis, she began to cross over to Rock 'n' Roll. They even dated for a short time. Wanda was with Decca Records on some recordings as well during her long career. Wanda gained international fame with the single "Fujiy

History of a Sub-Genre

When it comes to things with long and complex histories (like music), we tend to forget just how strongly the present has been influenced by the past. Pop music today is diverse and draws from many different genres; however, many of these present day styles wouldn't exist without the strong influence of the rhythm and blues music from the mid-20th century. Rhythm and blues (sometimes called R&B) is a style of American music that emerged from the various sub-genres of jazz and blues that were popular throughout the first half of the 20th century. Like all styles of music, it's hard to pinpoint exactly where and when it began. That said, rhythm and blues has deep roots in a variety of African-American styles. Gospel music, with its rhythmic style and religious or spiritual call-and-response vocal

Breaking Through Rules and Traditions

Women who took part in early blues history were overlooked, especially by rock historians. Countless of women in the early 1920's that created popular music alongside male artists, helping the foundation for rock & roll and the rhythm & blues scene to come. Women just wanted to make music, about their real-life experiences from their point of view or other women's, only for the men to be given the credit or spotlight.

Traditional 'white' Folk, or Country/Folk music

found Midwest produced music was in the form of storytelling, and considered more entertainment than history based. These songs were accompanied by played guitars and fiddles, and generally called 'Cowboy' songs of the West, and/or, South West. On long cattle drives, and cross-country wagon trains, musicians would sing about loved ones as a means to pass the time on the trail, and to keep the evening and herds of cattle calm, and traveler's spirits high. Black Cowboys and gospel singers from the south would work cattle drives in the West, and share the music of their heritage. In turn, these singers would learn new chords and lyrics from the white country singers. T hese early forms of Country/Folk and Black Traditional songs were NOT written out. They were typically passed down from singer to singer, player to player, even generation to generation, from culture to culture.

Traditional 'black' Plantation, or Work songs

found in the South might be considered by some music scholars, to be at the heart of the most basic forms of Rock & Roll, through the Blues. Termed 'verse-call & response, these early songs reflected history, loss and pain, praise; centered around a people and a culture, performed without instrumentation.