All the Sounds of the 70s

            Moving right along in our musical journey, we get into the 70s, during this week’s readings. You really start to see music develop more with technology and how it branches into many different genres. Though many think of Disco as the leading form of music in the 70s, there were many other great artists who broke out into the scene, or older artists who were still changing and developing their sound.

            Two of my favorite piano men were featured in the beginning of Chapter 11. Stevie Wonder, with his infectious hit “Superstition,” and Elton John with his glamorous “Crocodile Rock.” The minute one hears the opening drum beat of “Superstition,” that is all they need to identify this catchy song. Stevie Wonder, who was a popular Motown artist in his teens, started to redefine what type of music his talent was creating. With the use of his electric keyboard and the twangy guitar, you get the laid-back groove this song is known for. The repeated riff from the keyboard mixed with the brass hits makes this song one that is hard not tap your foot to. This song also shows that even with repetition, an audience can really be entertained. “As a result, in “Superstition,” Stevie Wonder successfully fused something old and something blue with the borrowed and the new to create an irresistible pop hit” (Starr & Waterman, 2014, p. 374). Elton John, another artist known for his rockin’ piano skills, had a very different type of piano hit with “Crocodile Rock”. This song, almost a throwback to the music of the 60s, plays upon the nostalgia and the sense of loss while still keeping its playfulness. “Musically, the flavor is clearly that of an upbeat teenage dance song, and even though there never actually was a famous rock ‘n’ roll dance called the “crocodile,” the song may be deliberately evoking the memory of other “animal” dances, like the monkey” (Starr & Waterman, 2014, p. 375). I grew up listening to Elton John and his rockin’ piano numbers. He always seemed to have a sense of lightheartedness in his music, all while still being a serious artist. I have attached one of my favorite performances of “Crocodile Rock”:

            There isn’t a lot of country music I really enjoy, but I feel when a folk singer performs a country song, that is the ones that I tend to enjoy more. John Denver did just this with his hit, “Thank God I’m a Country Boy.” I love the classic instruments that he uses, with the “boom-chick” of the guitar with the edgy sounds of the fiddle. There seems to be an element of imperfections that the music entails. You can even hear John Denver’s voice break when singing. To me, this makes the music more common and more relatable. “Although live albums were commonplace by this time, live singles were still relatively uncommon; however, the sense of immediacy and spontaneity so essential to the character and appeal of this recording obviously results directly fro the presence of an actual, enthusiastic concert audience” (Starr & Waterman, 2014, p. 376).

            “Psycho Killer” is a song that I actually came to like later in my musical life. Talking Heads is not a group that I know much from, but their popular hit “Psycho Killer” is a great representation of Punk, which became one of the new genres to develop during this time. Punk has hardness to it. It is not meant to be beautiful but gives a slightly daring vibe to its music. The voice of the lead singer, David Byrne, is not one that would be compared to a virtuoso singer, but this song would not have the same tonality without it. “Byre often delivers his lyrics in a nervous, almost schizophrenic stream-of-consciousness voice, like overhears fragments from a psychiatrist’s office” (Starr & Waterman, 2014, p. 432). To me, this is what drew people to this type of music. The madness people were experiencing in their own lives had refuge in this music.

            Hip Hop is probably my least-liked music that is available. However, taking a step back and looking at where this music originated from and listening to the artists from this era makes me enjoy the elements that are prone to hip-hop. It almost makes me wish hip-hop artists of today would go back the “old school” style. “The Message” performed by Grandmaster Flash and the Furious Five has very rhythmic word play and a catchy, laid-back groove enhanced by that synthesized sound. One of my favorite elements is the syncopation created by the lyrics, “Don’t push me cause I’m close to the edge/I’m tryin’ not to lose my head.” The lyrics to this song also serve a bigger purpose than just a rhythm and rhyme scheme. “The lyric alternates between the humorous wordplay typical of hip=hop MC performances and various images of desperation ==threatening bill collectors, a homeless woman “living in a bag,” violent encounters in Central Park, a young child alienated by deteriorating public schools” (Starr & Waterman, 2014, p. 442). This give the music a greater purpose, where I feel that hip-hop music of today is borderline ridiculous.

            Hearing these constant changes in music within such a short time frame really shows you the talent of musicians that are right on the edge. It is easy to forget how far hard work and talent can take someone!

Resource:

Starr, L., Waterman, C. (2014). American popular music: From minstrelsy to MP3. New York: Oxford University Press.

The 1960s

            To me, the 1960s is a fantastic time for American popular music. It is full of life, musical development, and major changes that really affected music as we know it. We start to see how the rest of the world has been changed by the development of Rock ‘n’ Roll, and it now became their turn to influence us with the British Invasion. The development of Motown soon became a favorite genre for generations to come.

            On of the first Motown pieces introduced in this chapter was “My Girl” performed by the Temptations. This iconic opening bass line instantly grabs the listener’s attention and give us all that immediate recognition. “From the outset, the arrangement hooks the listener: a repeating solo bass motive establishes the beat, over which a lead guitar enters with a memorable melodic figure” (Starr & Waterman, 2014, p. 297). There was a romantic smoothness to the singers of the Temptations and really gave credit to vocal talent by focusing on the singers and not a band with players performing on specified instruments. This also led the group to perform with simple choreography that enhanced their concert experience. The following YouTube clip does a great job in showing all of these features:

            Much can be said about the Beatles, so it is very hard to only dedicate a paragraph to them. The British Invasion was such an important part of the history of Rock ‘n’ Roll, and much of that is because of the Beatles. Being a fan of a group or artist reached levels of insanity when the Fab Four touched down in America. The Beatles song that I am going to talk about here is “Eleanor Rigby” mainly because it is one of my favorites. The dramatic impact of the strings really changes the way we listen to popular music. “The bowed strings take over the role of a strumming guitar in the “ballad” of “Eleanor Rigby,” paradoxically giving the song a much harder edge” (Starr & Waterman, 2014, p. 310). This song takes away the traditional rock band sound, which makes it mysterious. The song is full of imagery and is beautifully written.

            Another great group to come from this era (have I mentioned lately how I love the 60s?) are the Beach Boys. This group, with its fun surf pop, became a group ahead of their time and wrote catchy tunes like “Good Vibrations”. This piece, like “Eleanor Rigby” really changes the way we think of Rock ‘n’ Roll. “Probably the only remotely conventional thing about the song is its lyrics, with their admiring references to the beloved’s “colorful clothes,” hair, perfume, smile, and eyes” (Starr & Waterman, 2014, p. 313). This piece has so many layers and elements that it should almost sound choppy, but instead takes you on a musical journey that can only be done with a group like the Beach Boys.

            Next, there were two songs that were used in the book to represent soul music. This seems to be a throwback to the beginnings of American music while still having an element of advancement. “Papa’s Got a Brand New Bag” really exemplifies the type of artist James Brown was at that time. We get a typical rhythm section accompanied by the big hits of the winds and brass. However, even with all of that, it does not take away from the rhythmic vocals of James Brown. This music is meant to get you up and has a very specific groove. James Brown also wrote a very popular song performed by Aretha Franklin: “Respect”. This anthem of women’s empowerment became as strong as it did because of the powerhouse vocals Aretha Franklin provided. “Of course, none of Franklin’s play with the gender issues implicit in “Respect” would have any effect if it weren’t for the overwhelming power and assurance with which she delivers the song and makes it her own” (Starr & Waterman, 2014, p. 337).

            This is only a sliver of the music found in this decade, and this post could be almost twice as long. It is always important to look back on this time and see the creativity, teamwork, and collaboration that gave us some of the most recognizable music to date.

Resource:

Starr, L., Waterman, C. (2014). American popular music: From minstrelsy to MP3. New York: Oxford University Press.

Songshare Project

God's Gonna Cut You Down - Johnny Cash


For Reference:
Johnny Cash Music Video:



Odetta Music Video:



Elvis Presley Music Video:

The Postwar Era 1946-1959

This week has been the most exciting for me for we really saw the development of Rock ‘n’ Roll. Historically speaking, this is my favorite time when reflecting on American Popular music. Technology also provided us with better recordings, which became more obvious during our listening.

Our first listening piece is a Frank Sinatra song titled “Nancy (With the Laughing Face).” This is a great example of the crooner style of voices like Frank Sinatra. With the development of the string accompaniment, you get a real sense of swooning. I enjoy the calm qualities of Frank Sinatra’s singing voice. “Sinatra’s voice is relaxed and unforced, with warmth and a slight vibrato, and his hard earned ability to sing along, uninterrupted passages allows him to connect the phrases of the song into one smooth contour” (Starr & Waterman, 2014, p. 209). This is a very sweet song that was co-written with Jimmy Van Heusen and Phil Silvers in honor of the birth of Sinatra’s daughter, Nancy. The genius of this song is that the lyrics can provide the audience with a different connection other than a child.

Next, we move on to the development of Latin Dance music with the popular hit, “Mambo No. 5” by Perez Prada. You can hear the obvious influence of the American big band sound with the timely rhythm section and dominant horn section. This piece is fun and inviting and was clearly meant to make people get up and dance. With that being said, it still has an element of control with musical surprises that keeps the audience entertained. I feel that the popularity of Latin Dance music, especially among the white audience, is important to discuss and learn about. Many times we get stuck in country and R&B in 1949, but there were other musical genres, such as this, that were equally important.

In 1953, we get some female vocal powerhouse singers that released bluesy R&B songs. “We have already seen several portrayals of male identity in R&B, including Charles Browns dejected lover and Muddy Waters magically charged mojo man. Here we want to briefly examine male-female relationships in the work of two influential female R&B singers, Ruth Brown and Willie Mae “Big Mama” Thornton” (Star & Waterman, 2014, p. 228). First, we were presented with “Mama, He Treats Your Daughter Mean,” by Ruth Brown. You can hear the gospel influence in this R&B hit, especially with the tambourine playing by the artist herself. Then we have the hit “Hound Dog” by Big Mama Thornton. Most people think of Elvis Presley when they hear the song “Hound Dog,” but it is important to note that this was not originally his song. In fact, this original version sung by Big Mama is supposed to be sung in the female perspective. “Although both records are intended to create a humorous effect, the defiant attitude of “Hound Dog” makes an interesting comparison of the complaining tone of “Mama He Treats Your Daughter Mean”…” (Star & Waterman, 2014, p. 229).

Rock ‘n’ Roll begins to take storm with the introduction of songs like “Maybelline” by Chuck Berry. “It was a novel synthesis that did not sound precisely like anything before it, and it introduced listeners to an already fully formed style of song writing, singing, and guitar playing that would exercise a primal influence on virtually all the rock and roll to follow” (Starr & Waterman, 2014, p. 255). The fiery tempo of this song really drives the syncopate rhythms of the verses. You can easily understand how this piece became popular in 1955. You can hear the 12 bar blues influence, but it has more of a Verse/Chorus structure. Next, we get “Don’t Be Cruel,” by Elvis Presley. Elvis is one of the most well-known artists from the rock and roll decade, thus gaining the title of “The King of Rock ‘n’ Roll.” Elvis used his 12 bar blues and country influences to develop his own personal style. He is also one of the original artists to perform and record race music as a white artist. This “rockabilly” sound is very representative of the artist that Elvis was striving to be in the late 1950s. “Don’t Be Cruel” has a fast paced feel that still has an element of crooning you found with artists like Frank Sinatra.

Resources:

Starr, L., Waterman, C. (2014). American popular music: From minstrelsy to MP3. New York: Oxford University Press.

The Blues, Swing, and Beyond

            The Blues is such an important musical genre in the development of American music. This music was a representation of the black communities of the Deep South and was full of expression and emotion. This music was the inspiration for many future artists, so the development of the Blues is very important. One of the pieces I always made sure to play for my students was one of the first talked about in this chapter. “St. Louis Blues” is a piece written by W. C. Handy, but made famous by the blues singer Bessie Smith. Her haunting performance really makes the audience feel the sadness that people associate with the Blues. “Although Smith was by no means a rural blues singer herself, she approached the song as one intimately familiar and comfortable with many of the varied oral traditions of African American music, and consequently her performance treated Handy’s composition with considerable—but never inappropriate—freedom” (Starr & Waterman, 2014, p. 133). This quote is the exact reason Bessie Smith made this piece relatable and popular among blues fanatics. Listen to the recording below to get a sense of her vocal style:

            “That Black Snake Moan” is a great example of the Blues with that country edge. The recording by Blind Lemon Jefferson adds the layer of the guitar riffs to his very specific vocal styling. It is noted that the guitar playing doesn’t supply us with the typical chord changes we expect to hear from the Blues. I like this element because it really has you focused on the lyrics. I actually feel that the saddest part about all of this is how unfairly these musicians were treated. Blind Lemon Jefferson was denied any profits of his talents and was buried in an unmarked grave in Texas. It is sad to see these important musicians treated in such a way, but maybe that is what makes the Blues full of so much feeling.

            Though it is not always the choice of music I would listen to, I really enjoyed “Blue Yodel No. 2,” written and performed by Jimmie Rodgers. The hillbilly and country feel makes it very fun to listen to. The “boom-chick” of the guitar playing is a very common feel of music such as this. The yodel is something that someone would not originally think would be a part of the blues structure, but Jimmie Rodgers does a nice job blending the two ideas together without sounding campy. “Rodger’s performance of this song conveys a sense of freedom through unpredictable phrasing and of course through the yodels that occur between stanzas” (Star & Waterman, 2014, p. 149). The Cater Family contributes to the hillbilly genre with their recording of “Gospel Ship”. I have always been a fan of the Carters, especially in the later years with June and her influences on Johnny Cash. The carters use their rich harmonies to really develop the sound of this country music.

            Now we look more into the development of Jazz and head into the era of Swing. Swing music is one of my favorite forms of Jazz because of its up-tempo dance-like feel. It is hard to listen to great swing music and now have the urge to at least tap your foot. “Wrappin’ it Up” by Fletcher Henderson does just this. The sounds of the saxes all playing together makes the music sing! The walking bass provides the quick pulse that just takes you onto the dance floor. The form of this piece is also much more extensive and developed than what is heard with the blues. I also like that our listening brought us to a Benny Goodman piece other than “Swing, Swing, Swing”. “Taking a Chance on Love” gives us an example of swing music that is slower paced, but still offers that ability to make you tap your foot. This orchestration and arrangement by Fletcher Henderson show just how rich a jazz ensemble can make a piece of music.

            Finallly, we looked into the classic country with “New San Antonio Rose.” Written by Bob Will and performed by Bob Will and His Texas Playboys is a fun fast paced classic country song. We get the similar AABA form from Tin Pan Alley. “The vocal takes us through the entire thirty-two-bar AABA structure of the song, Duncan’s singing supported with soft harmonies in the brass and reeds and occasionally interrupted by Wills’s trademark vocal interjections” (Starr & Waterman, 2014, p. 183). We also experience Latin music in the swing era with music such as “Brazil” by Ary Barroso and performed by Xavier Cugat and His Waldor-Astoria Orchestra. This music also has that Latin rhythm one expects with the fast rhythm section and the lush string harmonies. This music is meant for dancing!

Resource:

Starr, L., Waterman, C. (2014). American popular music: From minstrelsy to MP3. New York: Oxford University Press.

Timeline

Social Dance, Jazz, and Tin Pan Alley Songs

            As we moved along in this week’s listening assignments, we started with a recording of “Castle House Rag” performed by the James Reese Europe’s Society Orchestra. At first, this recording was hard for me to listen to for the quality is very poor. However, it has a historical relevance being that it was recorded in 1914. The quality of the recording is almost as important at the music itself. “While the sound quality of this recording is primitive by today’s standards, it nonetheless gives us a sense of the style of Europe’s band and some of its musical influences, including ragtime and marching band music” (Starr & Waterman, 2014, p. 84).  “Tiger Rag”, written by Nick LaRocca, was a ragtime piece that still had the quality recording you would expect from that time era, but better intonation and aesthetic quality. I enjoy that there is no strongly defined melody with much of the music. “This means that the listener’s attention is focused on other aspects of the music, including the ensemble interaction, the variations played by individual instruments, and the rhythmic drive of the performance” (Starr & Waterman, 2014, p. 87).  See the following video for a recording of this piece:

            Moving on to dance music, we come to “East St. Louis Toodle-oo”, written by Duke Ellington and Bubber Miley. Edward Kennedy “Duke” Ellington was a very well known musician and had an important influence in the jazz world. You can hear his creativity in music such as “East St. Louis Toodle-oo”, where we get that feel of the dance band. You get a full sense of the arranging abilities of Duke Ellington by the rich textures and timbres heard in his orchestra.

            One of my favorite pieces to listen to this week was “My Blue Heaven,” written by Walter Donaldson and George Whiting. This music is simple and beautiful and very care-free sounding. The solo Cello really gives this piece warmth, and sounds great with the piano and the voice in harmony. You can hear the early “crooner” influence that was about to take over. Gene Austin has a very smooth voice that complements this song very well. See the following recording of Gene Austin singing “My Blue Heaven”:

            Next, we had two recording of “April Showers,” written by Louis Silvers and Buddy DeSylva and performed by Al Jolson. This song can be identified as that Tin Pan Alley songwriting with a very campy time of singing. Even though this song is considered a ballad, it still has an upbeat feel that keeps the attention of the listener. “Where with Austin (singing “My Blue Heaven”) everything is quiet and intimate, Jolson’s dominating, larger-than-life approach turns this gentile song into a grand statement” (Starr & Waterman, 2014, p. 113). I personally enjoyed the singing of Austin better than Jolson, for the overdramatic singing seems to take away from the music. However, this is an important historical moment to teach about, because of what was popular at that time.

Resource:
Starr, L., Waterman, C. (2014). American popular music: From minstrelsy to MP3. New York: Oxford University Press.