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Rock 'N' Roll: the New Generation

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Rock 'N' Roll: the New Generation Rock ’n’ Roll: The New Generation MUSC‐21600: The Art of Rock Music Prof. Freeze 12 September 2016 Elvis Presley • The King of Rock and Roll • Incredible performer (but not songwriter) • Musical synthesis (folk, country, R&B, gospel) • Cultivated appeal to teenagers (driving energy, visual characteristics) • What set him apart: timing and team • Full exploitation of TV, film (Colonel Tom Parker) • Pop‐friendly packaging of R&B/country roots (Chet Adkins) • “Don’t Be Cruel” (Elvis Presley, 1956) • Elements of country (hiccupping vocals, southern accent, opening guitar figure) • Elements of R&B (12‐bar blues, strong backbeat, electric guitar) • 12‐bar blues adapted to verse‐chorus (compare “Long Tall Sally”) • Mainstream pop (polished, Gospel‐inspired backup vocals) • Imitation low‐fi sound (reverb) • Cf. raw vitality of Sun records (“Mystery Train,” “That’s All Right Mama”) Buddy Holly • First major rock figure influenced by the rock and rollers who emerged in 1955 and 1956. • Cf. Chuck Berry • Wrote their own songs • Distinctive performance manner • Targeted teenage pop audience • Influenced by country and R&B (to different extents) • Strong influence on later bands • Rockabilly instrumentation (lead guitar, rhythm guitar bass, drums) • Source for prominent song covers • “That’ll be the Day” (The Crickets, 1957) Jerry Lee Lewis and Ritchie Valens • Jerry Lee Lewis, a.k.a. The Killer • Embodiment of rock musician as unbridled, wild, and sinful • Roots in southern, religious culture! • “Whole Lotta Shakin’ Goin’ On” (1957) • Percussive, boogie‐woogie piano style (New Orleans shuffle) • Frantic performing style • Honky‐tonk/hillbilly vocals • Blatantly sexual lyrics • Ritchie Valens • Latin American influence • “La Bamba” (1958) • Adaptation of Mexican folk song (son jarocho) • Valens probably got to know it on film, not in person • Spanish flavor (language, singing style, woodblock, dance pulse in drums) • Interplay of rock guitar timbres The Rise of the Producer • Songwriter/performer distinction upended by rock and roll • By mid 1950s, music industry begins to assimilate rock music • Producer became more powerful • Recording studio becomes more central • Record a kind of performance • Jerry Leiber and Mike Stoller • “Charlie Brown” (The Coasters, 1958) • Lyrics tailored to teenage audience (class clown, “cool,” “daddy‐o”) • Hook (catchy musical phrase or pattern) • Formal sophistication: combines AABA, 12‐bar blues, and verse‐chorus • Characteristic R&B bass voice, sax solo • Studio effect: high voices in bridge.
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