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Chapter 3 - the Demise of Rock and Roll and the Promise of Soul

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Chapter 3 - the Demise of Rock and Roll and the Promise of Soul Chapter 3 - The Demise of Rock and Roll and the Promise of Soul 1. Splitting up the Market 1. Brill Building 1. 2. 3. 1. 2. 2. Teen idols – 1. Cast as potential boyfriends – 2. Frankie Avalon 3. Bobby Rydell 4. Freddy Cannon 5. Bobby Vee 6. Bobby Vinton 7. Paul Anka 8. Bobby Darin 9. Neil Sedaka 10. Fabian Forte – 3. American Bandstand 1. 2. 3. 4. 5. 4. Folk music 1. College-age listeners 2. Seemed more "real" than commercial pop- 3. Popular through 1940s – 1. Pete Seeger 2. Woody Guthrie 3. Advocacy for social change 4. Populist character – 1. Untutored quality of folksingers – 2. Break with the norms of middle-class life 3. Almost anyone could play folk music 5. Kingston Trio 6. Importance of album sales 7. Two sides of the folk revival 1. Those who explored rich literature of documented folk music 1. Bob Dylan 2. Joan Baez 2. Commercial, pop-based acts 1. Kingston Trio 2. Highwaymen 3. Rooftop Singers 4. New Christy Minstrels 5. Peter, Paul, and Mary 3. Constructed image of authenticity and sincerity 8. Similarities to Brill Building pop. 2. The Rise of the Producer 1. What is a producer? – 1. Developed from A&R, matching artists and repertoire 2. Shaped sound of record – 1. Details of arrangement 2. Recording process 3. Spurred ambitious attitudes toward pop 1. Musical sophistication 2. Trademark "sound" 3. Record is more than a recorded live performance 2. Leiber and Stoller – 1. Music for Elvis 1. 2. 3. 2. Spark Records 1. Had vision of sound for each song 3. Atlantic Records 1. Maintained independence . 4. Coasters 1. Playlets 2. "Smokey Joe's Café" & “Down in Mexico” 3. "There Goes My Baby" 3. Girl groups 1. Songwriting teams 1. 2. 3. 4. 2. Mostly black female groups 3. Solo female singers 1. 2. 3. 4. 5. 6. 4. Controlled by industry 1. Producers and songwriters had creative control over music 2. Ambitious and socially conscious 1. "Will You Love Me Tomorrow?" 4. Phil Spector 1. Ambitious producer 2. Worked under Leiber and Stoller – . 3. Signature "wall of sound" 4. Important hits – 1. Crystals 2. Ronettes 3. Righteous Brothers 3. Sweet Soul 1. Pop hits by black artists in the late 1950s 1. Nat King Cole 2. Johnny Mathis 2. Gospel-influenced pop hits . 1. Sam Cooke 2. Ray Charles 3. Drifters. 1. "Sweet soul" style 2. Clyde McPhatter, featured singer 3. Ben E. King, featured singer 4. "There Goes My Baby" 1. Rhythm and blues 2. Orchestral strings 4. Ben E. King's solo career 5. Dionne Warwick 4. Rockabilly Pop 1. Brill Building influence in country music 2. Everly Brothers 1. Cadence Records 2. Warner Brothers 3. Both brothers wrote songs 4. Clear country, rhythm and blues influences 5. Influential high, close duet singing 3. Roy Orbison 1. Sun Records 2. Monument Records 3. Wrote most of his own material 4. Distinctive falsetto voice 4. Ricky Nelson 1. Child radio and television star, playing himself 2. Early music tied into television show 3. Influenced by Elvis Presley's music Summary: 5. Surf Music. 1. Beach Boys 1. Capital 1. Twenty-six Top 40 hits in the 2. Many during The Beatles' arrival in the United States – 2. Distinctive backing vocals 1. Doo-wop 2. Girl group 3. Glee club 4. Vocal jazz 3. Ambition of Brian Wilson 1. Producer, inspired by Spector 2. Innovative compositions 2. Jan and Dean 3. Instrumental surf music 1. Dick Dale – 2. Duane Eddy 6. The Splatter Platter 1. Songs dramatically portraying teenage death 2. "Leader of the Pack" 3. "Dead Man's Curve" The period between the first wave of R & R and the arrival of the Beatles is viewed by some as a period of decline, while others see it as an important era with a lot of great music. For those who like the early 1960’s pop, the British invasion was an unfortunate turn of events that snuffed out a number of music styles prematurely. For those who saw the period as dark days, Brill Building pop was R & R without its vitality, neutered for crass commercial purposes. Either way, the Brill Building business was booming and everything was going well until a band arrived from England in February 1964 – which radically changed the business again. .
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