OVERVIEW: The Foundation of Rock And Roll During the Great Migration more than 100,000 African-American laborers moved from the agricultural South to the urban North bringing with them their music and memories. Also, during the 1920’s the phonograph and the rise of commercial radio began to spread Hillbilly music and the Blues. This gave rise to an appreciating of American vernacular music, both white and black. Ultimately, the homogenizing effect of blending several regional musical styles and cultural practices gave birth to 1950’s rock and roll. The Tin Pan Alley Po ra 15-mid 1950’s) “The Great American Songbook” 1940’s Big Bands 1950’s Polar sic New York: “Tin Pan Alley” 14th St. and 2nd Ave. 1 Tin Pan Alley - New York 15-thogh 1940’s) The msic was distribted throgh sheet msic Proessional songwriters dominated the eriod George Gershwin and ole Porter omosers wrote or o msic Broadway and ilm ventally Tin Pan Alley tradition was relaced by the ock and oll tradition Tin Pan Alle – Ke oints 1. Written b a proessional oten non-peroring song-riters 2. ophisticated arrangeent 3. ncopated rhth accents on unepected, eak beats) 4. lever, ell-crated lrics 5. triving or upper-class sensibilities 6. Priar audience Adults 2 “Roots Music” - K oits 1. Riona ou o music 2. tu usicis 3. ot o tut 4. tou o titio 5. o maistream ican ists 6. o t i co cois “Roots Music” = he Blues D Country music he Blues Country Music 1920’s: Mississippi Delta Blues 1920’s: Cowboy Songs 1930’s: rban Blues 1930’s: Hillbilly Music 1940’s: ump Blues 1940’s: Country Swing 1950’s Rhythm and Blues Country and estern Roc Ro 3 “Tin Pan Alley” Traition “Roots Music” Music markt tou st o ist music and “song uggs” uics Possio soits ti os “repertoire based” “rendition based” oistict o i oy Poot t usic sis o stist Roc Ro 1955 1965 1975 Roc Ro Ti P Cowboy Songs and Other Frontier Ballads (1910) Negro Songs as Sung by Lead Belly (1936) Jon oa 1867-1948) Hisis sonson, onAlan Lomaxoa (1915(1915-2002)-2002) followedFollowed inin hishis father’sfather’s footstepsfootsteps 4 he oa ar otfitted with priitie adio reordin eipent lan oax, son of ohn oa continued in his father’s footsteps uddie “eadey” Ledbetter (1888–1949) e ecoes a ouar entertainer ain “old-fashioned” blues Lead Belly's Last Sessions (1948) contained sons that ecae the srinoard to the 1960’s folk revival: The House of the Rising Sun The Midnight Special Rock Island Line Goodnight, Irene an eade sons ere “covered” by British acts of the 1960’s 5 he nfluence of the Blues e bues ere deried rom ied oers and or songs Man o te songs ere or songs designed to sncronie manua abor suc as singing an ae or pounding rairoad spies ter songs eped reiee te monoton and pass te time during repetitie tass e songs ere ept aie and ita b rote memoriation and an ora tradition Booie Wooie iano layin oogie Woogie piano paing imitates a cug-a-ug train rtm and as oten paed on on-ton trains transporting aborers trougout te Midwest. The style of makes use of “walking bass” Mississii Delta Blues (1900-190 Also known “country blues” the primary practitioners were male African- merican itinerant aborers e lyrics oten epressed basic uman conditions suc as poert omeessness unaitu oe penitentiar ie and aienation e oca ste eatures a ierce singing ste simiar to tat o ied oers Tpica instruments incuded side guitar and armonica e rtm as oten uctuating and uneen mong te most inuentia o te eta uesmen ere on ouse (1902-1988 and Robert onson 11-1938) Mississippi elta lues or ountry lues (1900-1930) •Primate blues style •nstruments limited to oice and acoustic guitar and sometimes harmonica •luid fluctuating rhythm based on the lyrics •ondance music that tells a story about hardships loneliness or se 6 obert Johnson (1911–1938 alleedly sold his soul to the evil at the crossroads e ebodies the sirit of the rocker a an and his uitar tellin his story to the orld Th ti (1915-1940) 7 Why there North? 1. Farmi machin 2. Worl work ortunities ies 3. WW red Europe 4. Dr northe kers 5. Unskilled workers were recruited 6. Nor offer southern workers well- obs, free transpor - Mudd (1915 –1983) Bor McKinley ganfield important masters. es derived their name from Muddy Waters’ song “Rolling Stone” 8 ristol ennessee ecordin Sessio held 192 Victo Talking Machin Comp CA). Th described “he ig ang of ountry musi” Ralh eer (1892–1960) Talent sout reording engineer and reord roduer in the s and 1930s he influene of the arter Family an e heard in the film rother Where rt hou immie Rogers he arter amily 9 lliams r., 923– Countr wi Blues Up Archtop Guitar Fiddle 10 yp (1930-1950) transplanted South blues style, unique urban or “city blues” styles emerged. majo hub Chicago, the versio blues. (1930-60) P ar-roo drinking musi vo Chicag blu oft r nding. V rarely using - strug or and unemployment. W II gu and beco commo stron emph "back-be Much the musi rded pendent stud Chicago. 11 – Call It Stormy Monday Phr 1 2 3 4 Statement Instrumenta ill Phr 5 6 7 8 tement Instrumenta ill Phr 9 10 11 12 Conclusion Instrumenta ill [Optional [1st 12-Bar [2nd 12-bar horus] Intro:] [Instrumenta [3rd 12-bar horus] sby (1903-1977) Th the der dered pre-recor programs! 12 T order ri t In compani Atlan Specialty now mercha the recordin own like “Sun Records” sma ndepen prov new b b “Indies” The irst commercial tae recorders became aailable sortly ater WWII. mall indeendent record labels suc as ess, un, and tlantic records emerged riding te ae o interest in rhythm and blues. As “Indie” records began filling te ue boes in te inner cities in te early 195s, an increasing number o ite teenagers became inatuated it te ne sound. is oceys suc as leelands lan reed (1921- 196 began laying rytm and blues records using te term roc and roll, a relatiely unnon blues euemism or se and artying, to disguise te musics blac origin. 13 Imortant Indeendent Record abels indies) ni - e or (Ahmet Ertegun erb Abramson and erry Weler 1947 his imortant indie label recorded early stars including uth ron ig oe Turner ay harles lyde Mchatter and en . King ess - hicago Leonard and Phil hess 1946-1947 he hess brothers recorded uddy Waters o iddley olin olf Willie ion onny oy Williamson Arthur ig oy rudup acie renston huc erry. hess Records through its .. subsidiary Pye label was largely resonsible for the floering of Briis es. n dis- emhis am Phillis 1950 un was the birthlace of the rocabilly style of roc am Phillis recorded masters of blac bluesmen for other comanies. Among artists he recorded during this eriod ere olin olf and Ie urner disn indes s disn (184 –1931) 14 onograp record resent 10- record (1930-40s 12-inch, 33 rpm “long-playing” record (LP) 1948, mbia 7-inch rpm sin RCA 5- 0-50 C Disc s, 1982 The portable record player brought music to teenager’s bedrooms and proided an opportunity to eole teen oriented music oc and oll 15 Although the term “race music” seems derogatory o at the time it shoed ride ad suort or Arica America eole ad culture n 1949 tlantic record eecutie and illboard reporter erry eler (1917-2008 as instrumental in re-labeling “Race Music” “Rhythm and Blues” is biggest discoery as retha ranlin 16 From Blues to “Rhythm and Blues” 1920-1930: sssspp elta Blues 1930’s: Urban Blues Types hao Blues emphs Blues ansas ty Blues Teas Blues e rleans Blues 1940’s e rleans ump Blues Late 1940’s Rhythm and Blues Benny oodman rchestra B Band n mus as the most popular style o mus durn World War B band tourn as urtaled by ratoned as and rubber ump bands ere a saled don erson o sn bands th a ay bouny beat 17 e rleans ump Blues: The 1940’s forefather of rhythm and blues: tyle haratersts: B band sn style dane mus mall ensemble: ne or to horns pano utar drums and bass Bouny and upbeat rhythm Booe-ooe pano rhythm eared toard youner audenes ore manstream and ommeral than other blues styles ous ordan and hs Tmany Fie: New Orleans “Jump Blues” King 18 e Bill prvie lans r mes an euain is gae rise a mre aluen mile class in the 1950’s. he ill 1944 nce hees an ais slies etne t nane es s climbin the scial lae settlin in t estic 1955 Noel lie an aisin ailies. lan ilsn 19 he a Boom he rise of the Post bay boomers millio childre bor etee 1945-1964 led to a sustatial youth suclass he tyical alloace of many 1950’s teenagers was greater than the main family breadwinner of the reious geeration. The term “teenager” was first used in 1941 in reference to juvenile deliuecy he term soo ega to e associated ith the tastes styles attitudes ad cultural idetity of the groig ras of bay boomers he rise of teeage alloaces ad greater free time set the stage or some-thing new (anything new) to capture the teenager’s youthful energy. 1950’s films depicted problems of this new teenage idle time in such films as Reel ithout A ause.