Chapter 3 - The Demise of and the Promise of Soul

1. Splitting up the Market 1. 1.

2.

3.

1. 2.

2. Teen idols –

1. Cast as potential boyfriends –

2. 3. 4. Freddy Cannon 5. 6. Bobby Vinton 7. 8. Bobby Darin 9.

10. –

3. American Bandstand

1.

2.

3.

4.

5.

4. 1. College-age listeners

2. Seemed more "real" than commercial pop-

3. Popular through 1940s –

1. Pete Seeger

2.

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 sales

7. Two sides of the folk revival 1. Those who explored rich literature of documented folk music

1.

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 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. 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.

1. Ambitious producer

2. Worked under Leiber and Stoller – .

3. Signature ""

4. Important hits –

1. Crystals

2. Ronettes

3. Righteous Brothers

3. Sweet Soul 1. Pop hits by black artists in the late 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 2. Orchestral strings

4. Ben E. King's solo career

5. Dionne Warwick

4. Pop 1. Brill Building influence in

2. Everly Brothers

1. Cadence Records

2. Warner Brothers

3. Both brothers wrote songs

4. Clear country, influences

5. Influential high, close duet singing

3.

1. Sun Records

2. Monument Records

3. Wrote most of his own material

4. Distinctive falsetto voice

4.

1. Child radio and television star, playing himself

2. Early music tied into television show

3. Influenced by 's music

Summary:

5. .

1. Beach Boys

1. Capital

1. Twenty-six Top 40 hits in the

2. Many during ' arrival in the –

2. Distinctive backing vocals

1. Doo-wop 2. 3. Glee club 4. Vocal

3. Ambition of

1. Producer, inspired by Spector

2. Innovative compositions

2.

3. Instrumental surf music 1. –

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 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 arrived from England in February 1964 – which radically changed the business again.