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ROCK AND ROLL (1954-1958)

Reading: AM (Chapter 9, pp. 119-127) Listening: CD2 (16 and 17)

A. B. C. D.

SOCIAL AND HISTORICAL CONTEXT TECHNOLOGICAL DEVELOPMENTS CHANGES IN MUSIC INDUSTRY ROCK AND ROLL STYLES

A.

SOCIAL AND HISTORICAL CONTEXT

POST WORLD WAR II ECONOMIC BOOM (1) MIDDLE-CLASS FAMILY INCOME = $5,000 - $6,000/ YR (2) GROWTH OF DISPOSABLE INCOME /LEISURE TIME (3) GROWTH OF SUBURBS (4) MIGRATION OF SOUTHERN BLACKS TO THE URBAN NORTH (see % change African-American Population)

BABY BOOM (1) 76 MILLION IN US / 6 MILLION IN CANADA (2) TEENAGER (13-18 YEARS OLD) (3) TEEN IDENTITY: DRESS/LANGUAGE/BEHAVIOUR ROCK AND ROLL = AGE SPECIFIC MUSIC (4) GROWTH OF HIGH SCHOOL SYSTEM (5) HIGH SCHOOL DESEGREGATION: BROWN VS BD. OF ED., TOPEKA, KS.(1954) ROCK AND ROLL = RHYTHM AND BLUES

C.

TECHNOLOGICAL DEVELOPMENTS
TRANSISTOR TECHNOLOGY VINYL TECHNOLOGY (45 RPM AND 33 1/3 LP) ELECTRIC GUITAR AND MICROPHONE MAGNETIC TAPE TECHNOLOGY:

D.

CHANGES IN THE MUSIC INDUSTRY

NETWORK TELEVISION AND INDEPENDENT RADIO AFRICAN-AMERICAN RADIO - WDIA, MEMPHIS (1948) RADIO DJ'S CREATION OF BMI (1939) GROWTH OF INDEPENDENT RECORD LABELS MAJOR RECORD COMPANIES VS. INDIES *search for a youth specific music*

MAJOR RECORD COMPANIES COLUMBIA/CBS RCA/NBC ABC/PARAMOUNT CAPITOL/EMI

DECCA/UNIVERSAL MERCURY

LARGE BUREAUCRACY: 1. CENTRALIZED CONTROL 2. HIERARCHICALLY ORGANIZED 3. RULE DRIVEN 4. FUNCTIONALLY COMPARTIMENTALIZED: A&R Publishing Writing Session Musicians Production Promotion Distribution 5. CONSERVATIVE (ARTIST LONGEVITY- SHAREHOLDERS) 6. NATIONAL DISTRIBUTION (100,000 SALES) 7. VERTICALLY INTEGRATED: PUBLISHING-PRODUCTIONDISTRIBUTION (e.g., EMI - CAPITOL - HMV) 8. OWNED PRESSING PLANTS

INDEPENDENT RECORD LABELS SUN ATLANTIC VEE JAY CHESS

1. SMALL STAFF 2. REGIONAL DISTRIBUTION (10-20,00 SALES) 3. HAND-TO-MOUTH FINANCING 4. PROBLEMS: (a) did not own pressing plants (b) cash flow (c) payola (cost of doing business) (d) payment from distributors (30-60 days) inferior equipment (e) bootlegging (f) (un)successful artist

1954-1958 342 TOP-10 HITS 147 R&R 101 Independent Releases

E. MID-1950s ROCK AND ROLL STYLES COVER VERSIONS (Crew Cuts: Sh-Boom) VOCAL GROUP (Chords: Sh-Boom)
GOSPEL/BLUES-BASED ROCKABILLY ACOUSTIC & ELECTRIC GUITAR/SLAP BASS Memphis (Elvis: Blue Moon of Kentucky) JUMP BAND a. HORN/PIANO-BASED (Little Richard: Tutti Frutti) b. GUITAR-BASED (Chuck Berry: Maybellene)

Song 1954
"Earth Angel" "Goodnight, Well It's Time to Go" "Hearts of Stone" "Shake, Rattle and Roll" "Sh-Boom" "Sincerely" "Two Hearts" "Tweedle Dee"

1950s COVER VERSIONS Original Artist(s)

Cover Artist(s)

Penguins Spaniels The Charms Joe Turner The Chords Moonglows The Charms LaVern Baker Fats Domino Etta James Nappy Brown The Charms Smiley Lewis Gene & Eunice Nappy Brown The Marigolds Little Richard The Teen Queens Little Willie John Ivory Joe Hunter Big Mama Thornton Otis Williams The Drifters The Teenagers

The Crew Cuts McGuire Sisters Fontane Sisters Bill Haley & the The Crew Cuts McGuire Sisters Pat Boone Georgie Gibbs Pat Boone Georgia Gibbs The Grew Cuts The Crew Cuts Gale Storm Perry Como Patti Page Fontane Sisters Pat Boone Fontane Sisters Peggy Lee Pat Boone Elvis Presley Cathy Carr Dorothy Collins Gale Storm

1955
"Ain't That a Shame" "Dance with Me, Henry" "Don't Be Angry" "Gum Drop" "I Hear You Knocking" "Ko Ko Mo, I Love You So" "Piddily Patter Patter" "Rollin' Stone" "Tutti Frutti"

1956
"Eddie My Love" "Fever" "I Almost Lost "Hound Dog" "Ivory Tower" "Seven Days" "Why Do Fools Fall in Love?"

"Sh' Boom" The Chords (Cat, 1954: 3/1 Pop) Life could be a dream, life could be a dream Doo doo doo doo sh' boom Life could be a dream sh' boom if I could take up In paradise up above If you would tell me I'm the only would that you love Life could be a dream sweet heart Hello, hello, hello again, sh' boom and I hope we meet again Boom-a-boom, a laudy ding dong, a-leng-a-leng-a-leng A whoa whoa whoa dip, a bibba-dooba-dip Oh life could dream If only my precious plans would come true If would let me spend my whole life lovin' you Life could be a dream sweet heart Every time I look at you something Is on my mind If you do what I want you to Baby we'd be so fine Life could be a dream sh' boom If I could take up in paradise above sh' boom Tell me darling that I'm the only one that you love Life could be a dream sweet heart Hello, hello, hello again, sh' boom and I hope we meet again Vocable verse Sax solo Vocable verse

"Sh' Boom" The Crewcuts (Mercury, 1954: 1/30 Pop) A laudy ding dong, a-leng-aleng-a-leng Boom bah-oh, ba-doo-ba-doo-ba-day Oh life could be a dream If I could take up In paradise up above If you would tell me I'm the only one that you love Life could be a dream sweet heart Hello, hello, hello again sh' boom And I hope we'll meet again Oh life could be a dream If only all my Precious plans would come true If you would let me spend my whole life lovin' you Life could be a dream sweet heart Now every time I look at you Something Is one my mind -- da da da da da dah ... If you do what I want you to Baby we'd be so fine Verse I Sh' boom Sh' boom, ya-da-da, da-da-da, da-da-da, da Sh' boom (x6) Bridge Verse 1 Vocable Intro + Verse 2

The Chords Intro A 4 8 The Crewcuts Intro A 4 8

Voc A B C Voc A 4 8 8 8 4 4

Sax 16

Voc A Tag 4 4

A 8

B 8

C 8

B 16

A 8

Intro A Tag 8 4 12 4

IN-BETWEEN YEARS (1958-1964)

(1) LOSS OF LEADERS (1958) BUDDY HOLLY ELVIS PRESLEY CHUCK BERRY LITTLE RICHARD JERRY LEE LEWIS

(2) PAYOLA SCANDAL HOUSE SPECIAL COMMITTEE ON LEGISLATIVE OVERSIGHT, OWEN HARRIS, CHAIR. INVESTIGATION OF FRAUD IN TELEVISION GAME SHOWS ("TWENTY-ONE") BEGINS IN NOVEMBER 1959. ASCAP PUSHES FOR A SIMILAR INVESTIGATION INTO THE INTERLOCKING INTERESTS BETWEEN RADIO (BMI) AND (INDIE) RECORD LABELS
1954-1958 342 TOP-10 HITS 147 R&R 101 INDEPENDENT RELEASES largely BMI protected music

ALAN FREED DICK CLARK

DICK CLARK'S FINANCIAL NETWORK AMERICAN BROADCASTING CORPORATION TRIANGLE PUBLICATIONS CLICK CORPORATION DREKEL TELEVISION PRODUCTIONS THIS WEEK MAGAZINE COLUMBIA PICTURES ("GIDGET"/"BECAUSE THEIR YOUNG")

1. 2. 3. 4. 5. 6. 7. 8. 9.

FEBRUARY CORPORATION (FILMS) RANDOM HOUSE INC. LOOK MAGAZINE SRO ARTISTS (ARTIST MANAGEMENT) CHIPS DISTRIBUTING (RECORDINGS) MALLARD PRESSING (RECORDINGS) JAMIE RECORDS SWAN RECORDS ARCH MUSIC PUBLISHING
Source: HOUSE SPECIAL COMMITTEE ON LEGISLATIVE OVERSIGHT, OWEN HARRIS, CHAIR. (1960)

(3) MAJOR RECORD COMPANIES REASSERT CONTROL OVER MARKET BOUGHT OUT CONTRACTS OF MAJOR STARS (E.G., ELVIS: SUN - RCA) STREAMLINED A&R/PRODUCTION/DISTRIBUTION BOUGHT OUT SUCCESSFUL INDIE LABELS HIRED INDEPENDENT PRODUCERS

(4) RISE OF FORMAT RADIO TODD STORZ AND BILL DRAKE "REPORTING" RADIO STATIONS (5) AMERICAN BANDSTAND (1956) 8 MILLION VIEWERS 67 TELEVISION STATIONS ACROSS THE U.S. (6) MAINSTREAM ROCK AND ROLL R&R ROMANCE CROONING (BOBBY VINTON/BOBBY RYDELL) DANCE CRAZES (DICK CLARK - AMERICAN BANDSTAND) INSTRUMENTAL ROCK

(7) DEVELOPMENTS IN SOUND RECORDING ARTS: TAPE RECORDER

1929 1935 1947 1954 FRITZ PFEUMER: "BLATTNERPHONE" BASF, MAGNETOPHONE (MAGNETIC TAPE) USED IN RADIO BROADCASTS AND RECORDING DOMESTIC TAPE RECORDERS

STORAGE AND RETRIEVAL CHANGE PLAYBACK SPEED ANY SUCCESSION OF SOUNDS CAN BE ASSEMBLED BACKWARDS -- ABRUPT CRESCENDOS LOOP -- OSTINATO OVERDUBBING SIGNAL PROCESSING (TIMBRAL CHANGES -- FILTERS, REVERB, ETC.)

LES PAUL (b. 1915)

OVERDUBBING VARI-SPEED OVERDUBBING ELECTRONIC ECHO HEADPHONE MIXING 8-TRACK TAPE RECORDING Les Paul/Mary Ford: "Sitting on Top of the World"

PHIL SPECTOR (b. 1940): "WALL OF SOUND"

BOUNCING (BLEEDING) LIVE/PRE-RECORDING MIX MULTIPLE INSTRUMENT COMBINATIONS GIRL GROUPS

"River Deep Mountain High" (1966) Spector/Greenwhich/Barry When I was a little girl, I had a rag doll Only doll I've ever owned Now I love you just the way I love that rag doll But only now my love has grown And it gets stronger in every way And it gets deeper, let me say And it gets higher day by day And do I love you, my oh my Yeah, river deep, mountain high, Yeah, yeah, yeah And if I lost you would I cry Oh how I love you baby, baby, baby When you were a young boy, did you have a puppy The always followed you around Well I'm gonna be as faithful as that puppy No, I'll never let you down "Cause it goes on and on, like a river flows And it gets bigger, baby and heaven knows And it gets sweeter, baby, as it grows And do I love you, my oh my Yeah, river deep, mountain high, Yeah, yeah, yeah And if I lost you would I cry Oh, love you, baby, baby, baby I love you baby like a flower loves the spring I love like a robin loves to sing And I love you baby like schoolboy loves his pie And I love you baby, river deep, mountain high Baby oh, oh baby. Do I love you , my oh my Yeah, river deep, mountain high, Yeah, yeah, yeah And if I lost you would I cry Oh, love you, baby, baby, baby Intro 5 A B C 14 12 16 D 5 A B C 14 12 16 D 4 E 16 F 12 C 16 Tag 3

BRIAN WILSON (Beach Boys) (b. 1942)

HARMONIC EXTENSIONS (THE FOUR FRESHMEN) INNOVATIVE INSTRUMENT COMBINATIONS ADDITIVE ARRANGING TECHNIQUES

"Sloop John B" Beach Boys (Brian Wilson, arranger) from Pet Sounds (1966) We come on the Sloop John B My grandfather and me Around Nassau Town we do roam Drinkin' all night Got into a fight Well I feel so broke up I wanna go home So hoist up your John B sails See how the main sail sets Call for the captain ashore and let me go home Let me go home I wanna go home, yeah, yeah Well I feel so broke up I wanna go home The first mate he got drunk Thrown in the captain's trunk The constable had to come and take him away Sheriff John Stone Why don't you leave me alone Well I feel so broke up I wanna go home VERSE 2 The fore cook he caught the fins And threw away all of my grits And then he took and ate up all of my corn Let me go home Why don't they let me go home This Is the worst trip I've ever been on

Intro 2

V1 16 8 8 4 4 4 4 solo vox guitar

V2 V3 16 16 8 8 8 8 62 4 4 4 4 rhyth un/do wop

V2 V4 16 16 8 8 8 8 4 4 4 4 4 4 4 4 round/a cap solo

V2 (fade) 8 4 4 round

flute glock perc

glock bs dm dms (1) dms (2+4) 4/42/4

A. SOCIAL HISTORY
1909 IWW (INTERNATIONAL WORKERS OF THE WORLD): TRADE UNIONISM (LITTLE RED BOOK) 1920s FIDDLERS CONVENTION/HOOTENANY - WOODY GUTHRIE/PETE SEEGER 1940s ANTI-WAR MOVEMENT 1958 POPULARIZATION OF FOLK MUSIC - KINGSTON TRIO ("Tom Dooley") COLLEGE CAMPUS /COFFEE HOUSES - CIVIL RIGHTS MOVEMENT - ANTI-WAR MOVEMENT (VIETNAM) - WOMEN'S MOVEMENT - ENVIRONMENTAL MOVEMENT SINGER SONGWRITER/POLITICAL ACTIVISTS - JOAN BAEZ - PHIL OCHS - TIM BUCKLEY - TOM PAXTON

B. BOB DYLAN (b. 1941 -- Hibbing, Minnesota)

1961 1963 1965 MOVES TO NEW YORK (GREENWICH VILLAGE) RECORDS FIRST ALBUM RECORDS "BLOWIN' IN THE WIND" KENNEDY ASSASSINATION (NOV. 22) RECORDED BRINGING IT ALL BACK HOME - FOLK ROCK NEWPORT FOLK FESTIVAL (JULY) SONG WRITING BECOMES MORE INTROSPECTIVE

"Oxford Town" B. Dylan, 1963 Oxford Town, Oxford Town Ev'rybody's got their heads bowed down The sun don't shine above the ground Ain't a-goin' down to Oxford Town He went down to Oxford Town Guns and clubs followed him down All because his face was brown Better get away from Oxford Town Oxford Town around the bend He come in to the door, he couldn't get in All because of the color of his skin What do you think about that, my frien'? Me and my gal, my gal's son We got met with a tear gas bomb I don't even know why we come Goin' back where we come from Oxford Town in the afternoon Ev'rybody singin' a sorrowful tune Two men died 'neath the Mississippi moon Somebody better investigate soon Oxford Town, Oxford Town Ev'rybody's got their heads bowed down The sun don't shine above the ground Ain't a-goin' down to Oxford Town

"The Lonesome Death of Hattie Carroll " B. Dylan, 1964

William Zanzinger killed poor Hattie Carroll With a cane that he twirled around his diamond ring finger At a Baltimore hotel society gathrin'. And the cops were called in and his weapon took from him As they rode him in custody down to the station And booked William Zanzinger for first-degree murder. But you who philosophize disgrace and criticize all fears, Take the rag away from your face Now ain't the time for your tears. William Zanzinger, who at twenty-four years Owns a tobacco farm of six hundred acres With rich wealthy parents who provide and protect him And high office relations in the politics of Maryland, Reacted to his deed with a shrug of his shoulders And swear words and sneering, and his tongue it was snarling., In a matter of minutes on bail was out walking. But you who philosophize disgrace and criticize all fears, Take the rag away from your face Now ain't the time for your tears Hattie Carroll was a maid of the kitchen. She was fifty-one years old and gave birth to ten children Who carried the dishes and took out the garbage And never sat once at the head of the table And didn't even talk to the people at the table Who just cleaned up all the food from the table And emptied the ashtrays on a whole other level, Got killed by a blow, lay slain by a cane That sailed through the air and came down through the room, Doomed and determined to destroy all the gentle. And she never done nothing to William Zanzinger. But you who philosophize disgrace and criticize all fears, Take the rag away from your face Now ain't the time for your tears.

In the courtroom of honor, the judge pounded his gavel To show that all's equal and that the courts are on the level And that the strings in the books ain't pulled and persuaded And that even the nobles get properly handled Once that the cops have chased after and caught 'em And that the ladder of law has no top and no bottom, Stared at the person who killed for no reason Who just happened to be feelin' that way without warnin'. And he spoke through his cloak, most deep and distinguished, And handed out strongly, for penalty and repentance, William Zanzinger with a six-month sentence. Oh, but you who philosophize disgrace and criticize all fears-, Bury the rag deep in your face For now's the time for your tears.

IT'S ALRIGHT, MA (I'm Only Bleeding), 1965 Darkness at the break of noon Shadows even the silver spoon The handmade blade, the child's balloon Eclipses both the sun and moon To understand you know too soon There is no sense in trying. Pointed threats, they bluff with scorn Suicide remarks are torn From the fool's gold mouthpiece The hollow horn plays wasted words Proves to warn That he not busy being born Is busy dying. Temptation's page flies out the-door You follow, find yourself at war Watch waterfalls of pity roar You feel to moan but unlike before You discover That you'd just be one more person crying. So don't fear if you hear A foreign sound to your ear It's alright, Ma, I'm only sighing.

As some warn victory, some downfall Private reasons great or small Can be seen in the eyes of those that call To make all that should be killed to crawl While others say don't hate nothing at all except hatred. Disillusioned words like bullets bark As human gods aim for their mark Make everything from toy guns that spark To flesh-colored Christs that glow in the dark It's easy to see without looking too far That not much is really sacred While preachers preach of evil fates Teachers teach that knowledge waits Can lead to hundred-dollar plates Goodness hides behind its gates But even the president of the United States Sometimes must have to stand naked. An' though the rules of the road have been lodged It's only people's games that you got to dodge And it's alright, Ma, I can make it. Advertising signs that con you Into thinking you're the one That can do what's never been done That can win what's never been won Meantime life outside goes on All around you. You lose yourself, you reappear You suddenly find you got nothing to fear Alone you stand with nobody near When a trembling distant voice, unclear Startles your sleeping ears to hear That somebody thinks They really found you. A question in your nerves is lit Yet you know there is no answer fit to satisfy Insure you not to quit To keep it in your mind and not forget That it is not he or she or them or it That you belong to.

Although the masters make the rules For the wise men and the fools I got nothing, Ma, to live up to. For them that must obey authority That they do not respect in any degree Who despise their jobs, their destinies Speak jealously of them that are free Do nothing more than something they invest in. While some on principles baptized To strict party platform ties Social clubs in drag disguise Outsiders they can freely criticize Tell nothing except who to idolize And then say God bless him. While one who sings with his tongue on fire Gargles in the rat race choir Bent out of shape from society's pliers Cares not to come up any higher But rather get you down in the hole That he's in. But I mean no harm nor put fault On anyone that lives in a vault But it's alright, Ma, if I can't please him. Old lady judges watch people in pairs Limited in sex, they dare To push fake morals, insult and stare While money doesn't talk, it swears obscenity, Who really cares? Propaganda, all is phony. While them that defend what they cannot see With a killer's pride, security It blows the minds most bitterly For them that think death's honesty Won't fall upon them naturally Life sometimes must get lonely.

My eyes collide head-on with stuffed graveyards False gods, I scuff At pettiness which plays so rough Walk upside-down inside handcuffs Kick my legs to crash it off say okay, I have had enough What else can you show me? And if my thought-dreams could be seen They'd probably put my head in a guillotine But it's alright, Ma, it's life, and life only.