The Rise of the Producer- 9/25/2013 -Problem of 1959-1963 -Famous artists dying, being arrested, going to war, etc. -Industry provokes payola scandal and regains control -The rise of soul and of producers Two Models: 1. Industry control, singer is a disposable unit (Major Record Label) 2. Artist control, artist choose/write songs (Independent Record Label) -A&R (Artist and Repertoire) to production -Record as documentation of performance (Past) -Record becomes performance itself -Jerry Leiber/Mike Stoller -1953, Spark Records, “We don’t write songs, we write records” -The Robins, originally with Spark Records, get a record deal from Atlantic Records, become The Coasters Sweet soul- do-op.. the drifters.. ben e.king

Brill Building - and Aldon Music -Dozens of songwriters worked there, very famous artists in the 70’s -tin pan alley model and limit to teenagers.. floor after floor of a dif company with a lot of songwriters and learn from eachother and become better at writing -used female group singers but no one really cares about the girls actually in there the shirelles- will you love me tomorrow -Most famous for Wall of Sound and Teenage Symphonies -Wall of Sound: Records layering instrument tracks mono and panned.. thick sound -Doubling and unison arrangements -Natural reverberation (Gold Star Studios) -Mono -Mostly singles, not albums -Wrecking Crew, same band recording all of his singers/tracks.. same backup band all the time -Gave unique sound to his records Berry Gordy -Motown, 1959-1988, Detroit -First Major record label owned by African Americans, largest black owned organization in U.S. -Used Tin Pan Alley/ model -Song writing teams: Smokey Robinson, Holland-Dozier-Holland, Production control, write and record, Hitsville USA, quality control meetings, Funk Brothers, Finishing school.. teach them how to act -Sound of Young America -KISS (Keep it simply, stupid) -“Baby Love”, 4-beat percussion, and repetition in form: AAAA, simple band and backing vocals -Took advantage of AM radio, car radio -“You Can’t Hurry Love”, A B C (bridge) B (chorus-but words change) C B Interlude  A AA? B?  B! (You really can’t hurry love)

Exam Period Ends 10/7/2013- The Story of a Band: and the Studio -The Band Model -Master the rock and roll style (usually through covers) -Write original material based on this style -Expand the style -By 1960 rock’n’roll was based mostly on the East Coast -Beach Boys -Start West Coast rock’n’roll with surf music (associated with culture) -“Surfin,” 1961. Candix Records -Brian Wilson, Dennis Wilson, Carl Wilson, Mike Love, Al Jardine -Later signed to Capitol Records in LA -Sang about girls, cars, and surfing -Used lyrics that were almost never sexual -Used vocals from doo-wop or girl groups -Simple-verse form -“Surfin’ USA” (p3, 1963) (Imitation) PHASE ONE -Stop time during verses (Just drums/bass/vocals every other measure) -Copied “Sweet Little Sixteen” (Chuck Berry) -Musically a cover -Lyrically a tribute that shifts dancing to surfing -Doo-wop (surf rock) -“Surfer Girl” (p7, 1963) (Imitation) PHASE ONE -Doo-wop ballad and AABA -“Fun, Fun, Fun” (p4, 1964) (Emulation) PHASE TWO -Opens like Berry, but moves in new ways -“I Get Around” (p1, 1964) (Expansion) PHASE THREE -Modeled recording styling after Phil Spector, Layered tracks and Wall of Sound. The Wrecking Crew (Phil Spector’s Wall of Sound band) backed up the Beach Boys -Band eventually breaks into two groups, the band and then Brian Wilson who starts experimenting with LSD -Breaks into touring group and writing group -After pressure of The Beatles’ ‘Rubber Soul’, The Beach Boys put out ‘Pet Sounds’, considerably the first rock’n’roll concept album (story that unites entire album). Sales shift from singles to albums -Mid to late 60’s they become a psychedelic band, no jams however -“Good Vibrations” (1966) (Experimental/Original) -Use of Theremin -A  B  A  B  C (break)  D  ??  B -‘Smile’ album -Was a disaster -Not fully released until 2004, re-mixed by Brian Wilson in later years -America’s First and “Best?” Rock Band -NOT influenced by rhythm and blues or country western -Their root were in rock and roll (not rhythm and blues) -Influence on Beatles (1965-1967) -Phase One: Imitation -Phase Two: Emulation -Phase Three: Expansion Copied/Borrowed/Similar Songs: -Let the good Times Roll, Louis Jordan -El Loco, Rene Touzet -Louis Louis, the Pharaohs -Louis Louis, (Garage Bands) -Satisfaction, The Rolling Stones -Evil Ways, Santana Ballroom Blitz, Sweet Living for the City, Stevie Wonder

10/9/13- Folk to Folk Rock Rock’n’roll: First wave  decline 1959-1963 (dry spell)/(rise of producer) -College audience views it as dry spell -New (younger) audience appreciates Rise of Producer, British invasion -Two groups eventually search for the “real” music  older audience finds to folk rock and younger audience finds soul/Motown -NO MATTER WHAT A PERFORMER DOES IN THE MUSIC BUSINESS, THEY ARE STILL PART OF THE ENTERTAINMENT BUSINESS Industry Target Audience High School College Brill Building Folk Music -Folk music as popular culture -The differences between folk and folk rock (Simon & Garfunkel’s first folk album) -College audience (more mature lyrics, authenticity, obscure referencesAfrican- American Blues, “real”) -Community/populist -Solo style, not over produced -Political vs. Apolitical -The Almanac Singers (1940’s) – Pete Seeger, Woody Guthrie -The Weavers (late 1940’s) – Pete Seeger -‘This Land Is Your Land’ is a pro-communist song. Senator McCarthy investigated them during “communist witch-hunt”, ruining their career - Apolitical Folk Revival Late 1950’s – early 1960’s Populist Easy to perform Not theatrical Spontaneous “Authentic” -The Kingston Trio- “Tom Dooley” #1, 1959 -Peter, Paul, and Mary (folk group) -Bob Dylan (Robert Zimmerman) -1959-1961 has no record deal, first album released in 1962 -‘See That My Grave Is Kept Clean’ is a cover of Blind Lemon Jefferson’s original blue song -Dylan adds tension and aggression to the song musically and lyrically, makes it “more” -Black culture has a sense of emotional unrestraint; Dylan expresses this idea in his performances -Artificial Authenticity- Bringing back old, class songs of America but performing them in a new way for a new audience -Obscurity as authentic -Imaginary Perceptible Difference- Forgetting racial crossovers, believe that we can assume the singers race by just their voice -Black Culture=missing link/authenticity -Bob Dylan is acting similar to Minstrel Show, trying to imitate what white people think black culture is -‘The Lonesome Death of Patty Carrol’ The Times They Are A-Changin’, 1964 -White man beats black woman to death with cane, gets almost no jail time -Encourages people sitting around feeling sorry for her to stop and take action -Folk is community while rock is self -“Mr. Tambourine Man”, 1965. Dylan’s version does not reach #1 but The Byrds version (with The Wrecking Crew) does: Their first folk-rock hit -“Like a ”, 1965 reaches #2 -A new sound: two keyboards, Dylan’s voice -Variable strophes -A “live” performance? -Newport Folk Festival, July 1965  Almost killed in a motorcycle accident in 1966, takes a hiatus  Expanded the subject matter  Rock as art  Rock for adults (a new, or rather “old” audience)  Amateurism (not about the sound)  No longer black -Simon & Garfunkel -“Wednesday Morning, 3 A.M.” -“The Sound of Silence -Album does terribly, Tom Wilson their producer reworks ‘The Sound of Silence’ music to make it sound bigger and more like Dylan (also his producer). This gets Simon & Garfunkel back together

10/11/13- Women Who Rock (Discussion Class) -The Roots of Rock (Our Foremothers) -Bessie Smith (1894-1937) - (1915-1973) -Mahalia Jackson (1911-1972) -Billie Holiday (1915-1959) -Rock and Roll (Get Outa’ That Kitchen, Rattle Those Pots and Pans) -Ruth Brown (1928-2006) -Wanda Jackson (b. 1937) -LaVern Baker (1929-1997) -Brenda Lee (b. 1944) Girl Groups in the Early 1960’s -Darlene Love, The Shirelles, Lesley Gore, The Ronettes, The Shangri-Las, The Supremes, -Feminist Voices in the Late 1960’s -Mavis Staples, Loretta Lyn, Bonnie Raitt, Grace Slick, Janice Joplin, Joni Mitchell, Jaura Nyo, Michele Philips and Mama Cass, Odetta, Tina Turner

Psychedelic/Acid Rock -Heavily influence by LSD (legal at the time) -Ken Kesey and Tim Leary -Little or obscure form, tracks sound endless -Modal (Neither major nor minor) -More improvisation -Experimentation with instruments (Eastern instruments) and technological effects -Experience (Acid tests, Human Be-In) -Grateful Dead -Began in San Francisco -Live music, struggled with recording their music because they would simply play -The Beatles -Sgt. Peppers Lonely Hearts Club Band (concept album) -Trackless sections -Sounds like live performance -Many instruments “Being For the Benefit of Mr. Kite” -Aleatory: Chance (cutting up audio strips and putting them together randomly) -Musique, Concrete: Using real sounds, (carnival sounds) -“A Day In The Life” -Combination of a Lennon song and a McCartney song 10/14 From Stage to Studio: The Beatles Part II Rock ‘n’ Roll  Dance music created for (and marketed to) a teenage audience  Music with a strong connection to Rhythm and Blues (and thus black culture)  New Trends o Lyric maturity (Dylan) o Sophisticated songwriting (Beach Boys) o Complex studio effects (Spector/Wilson) Rock  Not primarily dance music  More influenced by outside traditions (and thus less black)  A tradition itself  In short- A ritualized dance music BECOMES music for listening Two Drugs  1966 Drug Culture enters mainstream pop  Marijuana  LSD  Two large figures o Timothy Leary 1920-96 o Ken Kesey 1935-2001  “8 miles high” The Birds Rock as Art  Capital Records o Rubber Soul ‘65 o Pet Sounds ‘66 o Revolver ‘66 o “Good Vibrations” ‘66 The Beatles  29th August 1966 Last Performance  Performing “wasn’t fun anymore”  Rock will be recordings  1st of Sgt. Pepper sessions: 24th November 1966 o 4 months to record  “Strawberry Fields Forever” 1967 o Dream like o Lyrics are obscure o Stereo separation o Cellos and other classical instruments . Playing inside the piano . Reversed tape sounds . Mellotron . Two spliced takes  Sgt. Pepper’s Lonely Hearts Club Band, June 1967 o Songs run together o Studio Album set up like a live concert o Printed lyrics o Trackless sections o Run out track o Sitar, keyboards, studio musicians o Fuzz box, pedals, Leslie speakers o Overdubbing (4 tracks) o Flanging and phasing o “Benefit of Mr. Kite” . Musique Concréte: classical practice . Aleatoric Music: music by chance o “A Day in the Life” . Two songs spliced together Lennon first, then McCartney The Beatles “The White Album” 1968  “Julia” John Lennon  “Blackbird” McCartney  George Harrison  “Don’t Pass Me By” Ringo Star  “Revolution 9” Yoko Ono Yellow Submarine 1969 Jan 20, 1969  Perform live for the first time in 3 years  Roof of record studio Abbey Road, 1969 Let it Be, 1970  Only recorded 5 years together  On the forefront of new take on rock, explains popularity

Vietnam 1. Pro-War at the beginning (1964) 2. Anti-War later on (1968), Mai Lai massacre changes the opinions of Americans 3. More political responses to war -Many Vietnam songs were a response to the war after it had ended -“The Ballad of the Green Beret” –SSGT Barry Sadler -“Ohio”, Kent State protest shooting -“Universal Soldier” “The 60’s” means something very different from the 1960’s  ’69-71 = The 60’s  “Good Night Saigon” Billy Joel 1982  Looking backwards, a very difference sense of the Vietnam War Vietnam War  August 2nd 1964 Gulf of Tonkin incident  March 1968 My Lai 300-500 Vietnamese civilians o Public opinion changes  1970, US protest begins o 6 students killed for protesting on campus o Maryland protest ~May, National Guard called  Public Polls o 1965- 64% favored US involvement o 1967- 70% favored bombing of Vietnam o Early Support- Jingoism . “God, Country, and My Baby” . Connie Francis “Nurse in the US Army Corp.” . Sgt. Barry Sadler “Ballads of Green Berets” . “The Son of a Green Berets” . “What We’re Fighting For” o 1968- beginning opposition 42% people in their 20’s . total of 5 anti war songs in ‘68 . “2+2=” makes it to #90 . “Scarborough Fair” Simon and Garfunkel . “Music business is a whore” . John Lennon “Give Peace a Chance” o 1970’s . “War” Edwin Star, first explicit anti war to reach #1 . “Peace Train” Cat Stevens . Anti War Songs – A commercial move  Folk Charts o Anti Military Song “Universal Soldier” Donovan (British) . “Universal Coward” response o Kent State Shooting . “Ohio” . “For What it’s Worth” adopted as an anti war song . New Zealand charted “Hey Sandy”

African American Music (1960’s) -STAX Records  The Sound of Black America (NOT Motown) -Otis Redding -James Brown -Lively stage presence -Band -RHYTHM -Boston Riot Civil Rights 1. Assimilation (Motown) 2. Cultural Recognition (STAX + James Brown) 3. Political Action (Brown at Boston Riot, Wattstax, 1972 Black National Anthem) 4. Racial Ownership (Hendrix embracing Stagger Lee myth of Minstrel Show)

10/18/2013- Discussion -Acid Rock, Psychedelic Rock: Music that distorts the listener’s sense of time and place, thereby undermining his sense of connection with the “real world” -Little Form -Trippy, hidden or obscured forms -Made to be the sound of the experience -Improvisational quality -Modality -Instrument and studio effect experimentation -Influenced by the blues and jazz -John Coltrane -Tenor saxophone player, shaped the sound of jazz and also influenced rock -1940’s and 1950’s worked with jazz artists like Charlie Parker and Miles Davis -“Giant Steps” (1960) -1960’s began experimenting with psychedelic drugs and switched to a highly experimental sound, sometimes only one chord for an entire song. This influenced acid rockers on one-chord ‘jam’ songs -A Love Supreme (1965) -Suite in four parts: Acknowledgment, Resolution, Pursuance, and Psalm -States religious text through the saxophone -Improvisation over a bass ostinato -Repeated segment like mantra used in meditation -Repetition shows the universal and constant presence of god -Improvisation shows the many faces of god -Acid Rock Effects -Guitar distortion, overdrive, and fuzz -Horn and guitar players imitated the vocal “roar” of blues and gospel singers -Technologies of radio, vinyl records, and weak amplifiers added white noise to early electric blues and rock’n’roll -1962 deliberate speaker damage gives way to development of the fuzz box -Soulful and Soulless (futuristic machine noise) -Jackie Brenston “” (1951), “” (1964), The Rolling Stones “(I Can’t Get No) Satisfaction” (1965) -Jimi Hendrix -The most original, inventive, and influential guitarist in rock -American breakthrough was performance at Monterey Pop Festival -Known for guitar showmanship and exploration of effects (The Star Spangled Banner) -Songs inspired by psychedelic experimentation (“Stone Free”, “Purple Haze”) Acid Rock Values -Tony quality or tone color -Determined by harmonics (fundamental pitch and overtones) and envelope (attack and decay) -Examples of Timbres: Dark, bright, golden, brass, silver, warm, mellow, shrill

10/28/2013- Art Rock -Late 1960’s/Early 1970’s -Problematic “umbrella” or “catch-all” term -Music made by mostly white musicians, many who were British -Seeks to expand stylistic and/or conceptual boundaries -Many influences including jazz and classical -Rocker becomes composer/artist -Presents concept/persona through music -Predecessors: -Pet Sounds by The Beach Boys -Sgt. Pepper’s Lonely Hearts Club Band by The Beatles Miles Davis -Jazz-rock innovator -Jazz instruments and electric rock instruments -Melodic jazz improv and rock accompaniment -Bitches Brew (1970) -E.g., “Miles Runs the Voodoo Down” Emerson, Lake, and Palmer -Pictures at an Exhibition (1971) -Based on Modest Mussorgsky -A modern take on a classical composition -Synthesizers -Art rock pushes conceptual boundaries -The 1970’s: “The Me” Decade -Birth (50s), Vitality (60s), Decline (70s) -Decade of Decadence (glam and flash of show) -Rise of the “Rock Star” -Development of Music Criticism The Who -Tommy (1969) -The first musical work marketed as a “rock opera” -EX: “Pinball Wizard” -Quadrophenia (1973) -Protagonist has multiple personality disorder and each band member personifies on of his personalities -David Bowie -Glam Rock -Pushed -Ziggy Stardust -The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972) -The Thin White Duke -Young Americans (1975) -“Fame” -Avant-Garde Disco? -Alice Cooper -Stadium Rock Pioneer of rock theater -Goal is to create an exciting audiovisual experience for a large audience -Stage persona created through costume and make-up -Pushed the limits of decorum -Challenged traditional concepts of masculinity -“School’s Out” (1972) -Queen -Glam/Hard/Stadium Rock -One of the most popular bands (international appeal) -Lavish and theatrical shows - anthems (“We Will Rock You”) -Intricate compositions produced by multi-tracking (e.g. Bohemian Rhapsody) -Bohemian Rhapsody, (1975) -Path-breaking six minute single in three movements -Success in part due to its video -One of the first conceptual (i.e. non-performance videos) Classic Rock and the Growing Rock Monster -Classic rock is not a musical style; it’s an approach to rock (and a radio station format) -An understanding of the music -1960’s, AM radio was most popular way of listening to music -Top 40 format -Radio needs advertisers -Advertisers want market share (listeners) -Radio thus wants music with a wide appeal, leads to lowest common denominator dance music, singles FM Radio -Better sound quality -Couldn’t broadcast as far as AM radio -Smaller market means less oversight, more experimentation -Limited range means niche marketing -Higher sound quality means studio effects -Creates Rock Fan -AOR: sequencing, deep cuts, unifying concept -Catalog play (also sales), playing older famous songs (e.g., playing songs from 1972 that were not necessarily famous then, but famous now) -Steppenwolf had two dozen albums but only two are played now on the radio, songs the radio plays in their catalog play represents entire band -AOR -Shift of songs for dancing to songs for listening, deep lyrics -Sophisticated music (rewards multiple listenings) -Virtuoso playing -Cover art becomes a piece of art Led Zeppelin, 1968-1980 -Jimmy Page, Robert Plant, John Paul Jones, John Bonham -Nine albums, couldn’t buy singles at the time -Whole Lotta Love -Verse  Chorus  Verse  Chorus  Break  Verse  Chorus -AABA format -Willie Dixon original (adds power guitar riff, distortion, long experimental break, bigger sound/volume/amplification) THESE ADDITIONS ARE QUALITIES OF HARD ROCK -Ramble On, The Battle of Evermore -Lord of the Rings reference, no movies at the time so only those who read the books understood the references. Creates inside club for listeners -Focus on Gothic -Re-radicalize rock -Longer, episodic songs format -E.g. introduction of Stairway to Heaven -Lived in Aleister Crowley’s castle by Loch Ness Dazed and Confused -Jake Holmes cover -Page steals idea of using cello bow on guitar -“The bow is not only a visual symbol for magic; it is also sonically magical, since it drastically transforms the sound of the guitar, taking it out of the realm of what is characteristically possible with the instrument and allowing Page to take an extraordinary musical journey” –Susan Fast Heavy Metal -Musical style? Life style of performer? Life style of audience?

END OF TEST PERIOD 11/11/2013 -The Rock Aesthetic -Album Orientation (AOR) -Listening instead of dancing -Music as a craft -Crisis for independent record labels -Columbia/CBS, RCA Victor, Capitol EMI, MCA, United Artists/MGM=80% market share -Professionalism -Splintering of styles in 1970’s -Art, Glam, Stadium (embrace rock aesthetic) -Country, Southern (reject/extend rock aesthetic) -Singer/Songwriter, Soft Rock (Professionalism of Brill Building, Personal Expression of Folk Rock) -Rock and Roll/Rock had been… -1950’s- Singers who sing other people’s songs (Elvis Presley) -1960’s- Bands (Beatles) -1970’s- Singers who sing their own songs -Folk Influence -Death of major figures like Jimi Hendrix and Jim Morrison -Rock Aesthetic -Audience Age, -Feminism, (Empowerment of female singers/songwriters, Men with feelings, Audience, Political Act) -Waves of Feminism 1. Late nineteenth/early twentieth century -Women should be allowed to vote 2. 1960s-1970s -Women who sing AND write -Personal empowerment -Feminist Topics -Men with Feelings -The personal is political Men With Feelings -James Taylor -‘You’ve Got a Friend”, Carole King cover -Harry Chapin - -Elton John, Theater Rock -Bruce Springsteen

Discussion: 11/15/13 -Genre= Category, musical style, marketing, tone, stance, lyrics, relative similarity or difference, fluid boundaries, single artists can crossover genres -Subgenre= More specified, focal points differ, slightly different stance -Punkabilly -Country Pop/Country rock -Reggae-Rock -Electric trap/Trap rap/Trap style -Death metal/Speed metal/Metalcore -Emo -Fusion=Combination of two separate genres/subgenres -Subgenre- Splintering of same genre -Reasons for Subgenres 1. Genuine response to stylistic developments -Musical development -Prioritizes different elements -Where from/where going -Marketing 2. Response to “Modern Identity Crisis” -1970’s- “Me Decade”, Me Era -Subgenre= Special -Cultural capital/currency -Insiders/Outsiders