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What’s That Sound?What’s That Sound?An Introduction to Rock and Its HistoryAn Introduction to Rock and Its History

Chapter 1

Norton Media LibraryNorton Media Library

Chapter 1: The World Before Rock and Roll

Elvis Presley on television in 1956 (See Figure 1.1)

ControversyGrinding hips and suggestive singing on Milton Berle’s showCameras permitted to shoot only from Presley’s chest up on the Ed Sullivan ShowProtest from adult viewers fueled their teenage children’s interestClear indication that rock and roll was specifically intended for teenagers

Elvis Presley on television in 1956 (continued)

B.Importance of Presley’s performance on national television

Instant credibilityReaction (good and bad) was on a large scaleImmediate exposure to vast segment of American society

II.The world of mainstream pop before 1955

National versus regionalEarly post-nineteenth century American culture was regional

People were conditioned by immediate surroundingsLess travelLess access to national and world news


(continued)2.Popular music styles were associated with

geographic regionsCertain styles of music were popular in certain regions of the countryPeople played instruments themselves or went to live performancesMany Americans could read sheet music or play by ear

3.Rock and roll has roots in three styles of musicMainstream popular musicRhythm and bluesCountry and western


(continued)B.Emergence of large-scale entertainment media

Radio was only regional until 1928Developed at the end of the nineteenth centuryOriginally intended for military and maritime communications1920: first important broadcasts by KDKA (Pittsburgh) and WWJ (Detroit) They broadcast news, local information, and live music


(continued)2.NBC went “Coast to Coast” in 1928 with a national

radio network3.1930s and 1940s were a golden age for motion

picturesMusic was an important part of motion picturesMotion pictures played to audiences across the country


(continued)C.1930s–1940s national network programming

made some pop styles more national than othersTarget audience was middle class with their appreciation for certain artists

Bing CrosbyAndrews SistersBig BandsFrank Sinatra


(continued)2.National exposure caused less distinction between

among these styles of mainstream pop3.Styles that remained regional were country and

western and rhythm and bluesLow-income whites seemed to prefer country and western musicLow-income blacks seemed to prefer rhythm and bluesThese styles kept their regional distinctions

III.The rise of radio networks in the 1920s

High power transmission (“Superstations”) had a range of several hundred milesFederally licensed frequencies

Called “clear channels,”, they had no local interferenceRange could be several statesSome stations set up transmitters in Mexico

Called “X” stations because their call letters began with the letter XMore powerful that than allowed by U.S. governmentSometimes X stations could be heard from Mexico to Chicago


(continued)C.In 1928 NBC created the first network that

spanned the entire country—“Coast to Coast”Used ATT telephone lines to connect local and regional stationsParticipating stations were called Affiliates

Programming originated in a central location (usually New York)Affiliates also contributed live programmingThis concept is still in use in televisionThis is also the model for talk radio stations


(continued)3.Up until 1945 records were not played on radio

Considered unethical—that the station was trying to fool the listenersRadio was originally all about live performance in real timeWas a positive environment for musicians—more work for themMusicians’ union worked to keep records off the air


(continued)D.Wide spectrum of network shows broadcast

during the 1930s and 1940sRadio plays and “Soap operas” (continuing serial dramas sponsored by soap companies)a. The Guiding Light (began in 1937)b.Supermanc. The Lone Rangerd.Amos ‘n’ Andy (comparable to the success of Seinfeld,

M*A*S*H, or Friends)


(continued)2.The national network audience defined a national

popular cultureMusic was always an important part of radioNational exposure could render bestow instant success

IV.Television was introduced in the late

1940sCorporate money and interest shifted from radio to televisionRCA (Radio Corporation of America) was a key player

Headed by David SarnoffHe was the radiotelegraph operator who decoded the Titanic SOS signal in 1912Worked his way up to head of the companyHe developed the first NBC network in 1928


1940s (continued)C.Television was thought to be more appealing

than just radioD.Many long long-running radio series moved to

television (see IIID.1.a-d above)E.Now there were three entertainment concepts

that combined to establish a national pop culture:RadioMotion picturesTelevision


1940s (continued)F.As television grew, radio audiences diminished

Local and regional radio executives became creatively entrepreneurialThis new attitude toward survival plays a key role in the development of regional styles

Country and western music stylesRhythm and blues music styles

V.Tin Pan Alley and the sheet music publishing

industryIt was an area in New York City with a high concentration of music publishing companies

First half of twentieth twentieth century, sheet music was the principal way to sell music

Tin Pan Alley’s music publishing companies employed staff songwritersThey worked on old pianos that seemed to sound like tin pans


industry (continued)B.Tin Pan Alley is also used as a term to describe a

way of doing business in popular music Thousands of songs written by professional songwriters

Irving Berlin Cole Porter George and Ira GershwinJerome Kern


industry (continued)2.The Tin Pan Alley era focused on marketing the

song itselfWas a contrast to rock music, which markets recordings of songs on record, tape, CD, or MP3Tin Pan Alley was focused on selling the intellectual property: words and musicThe goal was to get as many different singers as possible to record the song their own wayThe more versions, the more royalties for the songwriter and the publisher


industry (continued)3.Songs were marketed to the public in various ways

with the goal being sheet music salesMost common: convince performers to include it in their performance“Song pluggers” working for publishers interrupted performances with their new songSongs could be included in Broadway shows and motion pictures—especially musicalsThe best guarantee of success was getting a song performed on national radio


industry (continued)4.Radio was dominated by big bands (1935–1945) and

star singers (1945–1955)C.Tin Pan Alley songs followed (with flexibility)

several formal patterns

VI.Tin Pan Alley era formal structural patterns

Sectional verse-chorusSectional verse section sets the mood of the songSectional chorus is the main section of the song that is most recognizable

Irving Berlin’s “White Christmas” is best known by its sectional chorusMost popular version sung by Bing CrosbyFeatured in the movie Holiday Inn that included the entire song.

VI.Tin Pan Alley era formal structural patterns

(continued)3.Sectional choruses often in a 32-measure pattern

called AABA form“Over the Rainbow” sung by Judy Garland in the film Wizard of OzThe AABA form is common in rock music

VII.Singers and Big Bands

Tin Pan Alley publishers, singers, and radio networks all depended upon each other to survive

Big bands were dance bands that included:Rhythm section of bass, drums, piano, and guitarHorn sections of trumpets, trombones, and saxophones

VII.Singers and big bands (continued)

2.Big bands were led by permanent leaders who were instrumentalists

Benny GoodmanTommy DorseyJimmy DorseyGlenn Miller

3.Singers were merely featured soloists—intended to add some variety to the act

4.Singers and musicians within the band were temporary and interchangeable


B.Bing Crosby (see Performance Box 1.1)Most important pop singer of 1930s and 1940sRelaxed crooning style generated a string of hit recordings

“Pocket Full of Dreams” (1938)“Only Forever” (1940)“Swinging on a Star” (1944)“White Christmas” (1942) and (1945)


3.Had successful film acting careerIn several films he co-starred with Bob Hope

4.Hosted his own radio variety show sponsored by Kraft Foods

C.The Andrews SistersMany hit records capitalizing on their harmony vocal arrangements

“Bei Mir bist du Schoen” (1938)“Shoo-Shoo Baby” (1943)“Rum and Coca Cola” (1945)


D.The Mills BrothersLike Andrews Sisters, their style was built on harmony vocal arrangements

“Tiger Rag” (1931) “Paper Doll” (1943) “You Always Hurt the One You Love” (1944)

Both groups’ singing style foreshadowed 1950s doo-wop and 1960s girl groups


E.Frank SinatraLike Bing Crosby, he broke away from being a big band featured singer and went solo

Sang with Harry James bandSang with Tommy Dorsey band

Establisted Established the singer as the star of the show, setting the stage for future rock singers

Elvis PresleyPat Boone


3.Went solo in 1943• Became a teen idol based upon good looks and sensual

style of singing• Young girls reacted by swooning and fainting• A great example of his singing style is “I’ve Got a

Crush on You” (1948)• He became one of the most successful singers of pop

music• His career as a performer lasted well into the 1980s


F.Big band era ended at the end of the 1940s due to financial hardships—too costly an enterprise.

G.Tin Pan Alley supplied songs to singers backed by smaller combo bands until 1955

VIII.Pop music in the early 1950s

• Singer is out in front of the music—solo vocalist with instrumental background

• Wholesome songs are meant for family audience: children, their parents, and grandparents– Patti Page

• “How Much Is That Doggie in the Window?” (1953)• “Tennessee Waltz” (1950) was number one for 13 weeks

– Eddie Fisher: “Oh My Papa” (1954)– Tony Bennett “Rags to Riches” (1953)

VIII.Pop music in the early 1950s (continued)

4.Johnny Ray “Cry” (1951) introduced a more emotional style of singing

5.Les Paul and Mary Ford introduced the solid body electric guitar to their vocal duo style• “I’m Sittin’ on Top of the World” (1953)

6.Other female vocal stars reinforced the concept of singer backed by instrumental accompaniment• Jo Stafford: “You Belong to Me” (1952)• Kay Starr: “Wheel fo of Fortune” (1952)

VIII.Pop music in the early 1950s (continued)

C.This was the sound on the national network airwaves up through 1955

D.Tin Pan Alley was not ready for rock and roll– The broadcasters, record companies, and publishers

were focused on the pop audience– Rock also included aspects of two other styles that

were not considered important (or lucrative)• Country and western music• Rhythm and blues music

– Big music businesses didn’t understand these styles

IX.Country and Western Music: two distinct regional styles until the late

1940s• “Country” music in 1920s–1930s southeast

– Nashville became the center for recording this type of music in late 1940s

– “Country” music was found in southeast and Appalachia• Derived from folk music of the British Isles• Earliest field recordings made by Ralph Peer known as

“hillbilly music”• He recorded “Fiddlin’” John Carson and Gid Tanner

and His Skillet Lickers

IX.Country and western music: two distinct regional styles until the late

1940s (continued)3.The Carter Family exemplify this early regional style

—influenced by white gospel music• Maybell: acoustic guitar and vocals• Sarah: autoharp and vocals• A.P.: vocals• “Can the Circle Be Unbroken” (1935)

4.Roy Acuff and His Crazy Tennesseans• included Included slide guitar in their sound• Slide guitar foreshadowed inclusion of Hawaiian pedal

steel in later country and western music • “Great Speckled Bird” was a hit for them in 1936


1940s (continued)

B.“Western” music in 1920s–1930s, California and southwest– Connection with Hollywood movies about cowboys– Gene Autry was the first of the “singing cowboy”

movie stars• “Back In in the Saddle Again” (1935) was a big hit for

him• Roy Rogers was also extremely popular• Patsy Montana’s “I Want to Be a Cowboy’s Sweetheart”

(1935) used Jimmie Rodgers-style yodeling


1940s (continued)

C.Western swing– Big band with a cowboy twist

• Radio dance band with rhythm section, horns, fiddles, steel guitar, and Mariachi trumpet parts

– Popularized by Bob Wills and his Texas Playboys (they were also in movies)• “New San Antonio Rose” (1940) is an example of this

style• Bing Crosby’s 1941 version further popularized the

style


1940s (continued)

D.Jimmie Rodgers: the first country music star– He was to country music what Gene Autry and Roy

Rogers were to western music– Difference being that Autry and Rogers carreers

were enhanced by film appearances


1940s (continued)3.Jimmie Rodgers’s singing style was imitated by

subsequent country and western singers• Yodeling: “Blue Yodel” (1927) was covered by Lynyrd

Skynyrd• Rodgers was known as “The Blue Yodeler”—a rustic

“back porch” image• Also known as “The Singing Brakeman”—a wandering

hobo type of person• This was just marketing, as he was known to perform

in fancy decorative clothing4.The Jimmie Rodgers image became the model for

country and western artists

X.Superstation broadcasts of country and western

music• Radio stations began broadcasting country music

in the 1920s– WSB in Atlanta in 1922 broadcast performances by

local artists• “Fiddlin’” John Carson • Git Tanner

– WBAP in Ft. Worth


music (continued)3.WSM in Nashville launched the Grand Ole Opry in

1925 and became a clear channel station in 1932 4.WLS in Chicago broadcast the National Barndance,

going national in 1933 on NBC5.NBC began a coast-to-coast broadcast of WSM’s

Grand Ole Opry in 1939


music (continued)B.Country Music music during WWII

– Soldiers stationed together shared music interests—especially Country country and Western western music

– Country and Western western music became the most popular style among the Armed Forces

– Southerners migrated north after the war to fill factory jobs there—bringing their music with them

XI.Nashville as the headquarters of country and western music in the post–

WWII years

• Country and Western western music business enterprises began moving there in the 1940s– Influence largely due to the impact of the Grand Ole

Opry show– Acuff-Rose publishing company was a key element

• Founded by Roy Acuff and songwriter Fred Rose in 1942• Didn’t rely on printed music but rather recorded music• 1946 Fred Rose signed Hank Williams as a songwriter• Their 1950 pop hit “Tennessee Waltz” expanded their

financial base and influence

XI.Nashville as the headquarters of country and western music in the post–WWII years

(continued)

B.Hank Williams: the personification of 1950s Country country and Western western music– 1948 began performing on the Louisiana Hayride

radio show on KWKH in Shreveport– First important recording was a Tin Pan Alley song,

“Lovesick Blues”– Joined the ranks of regulars on the Grand Ole Opry in

1949


(continued)

4.Hank Williams’s songs and singing style• Extensive vocal inflections sounded like sincere

emotional expressions• Lyrics are direct and simple—common conversational

vocabulary• Autobiographical sounding lyrics and emotional delivery

made him sound believable


(continued)

5.Important Hank Williams songs• “Lovesick Blues”• “Your Cheatin’ Heart”• “Cold, Cold Heart”• “I’m So Lonesome I Could Cry”• “Hey, Good Lookin’”

XI.Nashville as the headquarters of country and western music in the post–

WWII years (continued)

B.Bluegrass music and Bill Monroe and His Blue Grass Boys– Developed by Bill Monroe and His Blue Grass Boys

during Post post–WWII period• Bill Monroe: mandolin and high vocal harmony• Robert “Chubby” Wise: fiddle• Lester Flatt: acoustic guitar and lead vocal• Earl Scruggs: banjo


(continued)

2.First performed on the Grand Ole Opry in 1939 – —gained more popularity in the late 1940

3.Bluegrass music was used as theme music for television and movies• The Beverly Hillbillies television show (“The Ballad of

Jed Clampett”)• “Foggy Mountain Breakdown” from the film Bonnie and

Clyde• “Dueling Banjos” from the film Deliverance


(continued)

4.Virtuosic instrumental aspects of the music overshadow vocals

5.Earl Scruggs developed a new technique called “three finger roll”• Allowed for much more complex passages• Elevated the banjo to new heights of virtuosic technique• Inspired generations of musicians to follow his example

XII.Blues: rural (delta blues) and urban (rhythm

and blues)• Beginning of the blues

– Post Post–WWI sheet music by W.C. Handy was sold nationally • “Memphis Blues”• “St. Louis Blues”

– Recordings by singer Bessie Smith• “Down Hearted Blues”• Sold a million copies in 1923• Recorded in New York with finest jazz musicians


and blues) (continued)B.Delta (rural) Blues

– Robert Johnson• Enormous influence on rock guitarists of the 1960s• Sang and accompanied himself on guitar• Relaxed attitude toward meter and harmonic structure• Extremely emotional vocal style• His “Cross Roads Blues” (1936) is an excellent example

of his style• It was covered by Cream in 1968


and blues) (continued)C.Urban Blues

– Blues musicians moved to cities and formed combos• Electric guitars• Bass• Drums• Harmonica• They used microphones to amplify the vocals• More organized structure because more than one

person was involved


and blues) (continued)2.By the early 1950s Chicago was the center of electric

blues3.Records did not circulate far from the city where they

were recorded• Therefore blues remained much more regional than pop

music of the same time period• This is similar to what happened with country and

western music at the same time


and blues) (continued)D.Jump Blues

– Louis Jordan and the Tympani Five• Some of his songs became popular on the pop charts• “GI Jive” (1944)• “Caldonia Boogie” (1945)• “Choo Choo Ch’boogie” (1946)


and blues) (continued)2.The Jordan approach to blues

• Dance tempos and rhythms found in big band• Reduced instrumentation: rhythm section and his

saxophone• Upbeat humorous lyrics and stage antics• Influenced groups like the Coasters and Chuck Berry

XIII.Blues and the music business

• How the radio business works in conjunction with – Commercial radio stations are supported by

money from advertisers• They sponsor programs that are suited to an

audience that would buy the sponsor’s products• The early 1950s pop audience had shifted from

radio to television—this was good– Inventive radio executives tried broadcasting

styles of music other than pop• Country and western music• Blues

XIII.Blues and the music business (continued)

3.Black audiences grew in urban areas during the 1940s • Creating a market in cities for radio stations playing

music that blacks liked• Creating a market in cities for products that blacks liked• Informing blacks of advertisers that wanted their business• Due to racial segregation in those times, that was helpful

information4.Because it was broadcast, white listeners (particularly

teens) could hear it too


B.Post Post–WWII Independent independent Record record Labelslabels– Independent record labels opened specializing in

rhythm and blues• Sun Records in Memphis• Chess Records in Chicago• King Records in Cincinnatti• Atlantic records in New York City


2.Independent record labels were small operations• Not capable of national distribution• Capitalized on major labels’ lack of interest in black

music• Radio capitalized on television’s lack of interest in

black music• Radio and independent labels supported each other


3.Major labels at the beginning of the 1950s:• Decca • Columbia • Rca-Victor • Mercury • Capitol • MGM


C.Gospel music influence – Southern blacks learned to sing in church– Harmony ideas derived from gospel music– Sacred song lyrics sometimes changed into secular

black pop songs– Good example: “I Got a Woman” by Ray Charles– Caused controversy, considered blasphemous and/or

a “sell out”


D.Chess Records in Chicago– Founded in 1947 by Caucasian blues fans Phil and

Leonard Chess– Low-budget facilities and equipment– Specialized in solo singers backed by small electric

bands• Howlin’ Wolf: “Evil” (1954)• Muddy Waters: “I Just Wanna Make Love to You” (1954)• John Lee Hooker• Little Walter• Bo Diddley: “I’m a Man” (1955)


4.Rough-edged emotion, expressive vocals, unpolished production

5.Instrumental accompaniment combined technical skill with bravura

6.General impression conveyed was simple honesty7.Adult-oriented lyrics8.This style of Chicago electric blues was not meant

to appeal to white middle-class tastes


E.Atlantic Records Black Pop– Founded in 1948 by (white blues fans) Ahmet

Ertegun and Herb Abramson– Atlantic records songs were more polished—the

singer out front• Similar approach to the big band style when singers

were featured performers• Incorporated some of the big band harmony, rhythm,

and instrumentation


3.Singers were technically more polished• Ruth Brown• Big Joe Turner• Clyde McPhatter• Ray Charles

4.Arrangements were more structured and controlled5.Less emphasis on instrumental solos


F.Doo-Wop: Urban Vocal Music– Began with competing street singers in urban

neighborhoods– Couldn’t afford instruments so songs were sung a

capella– Doo-wop refers to nonsense syllables in the vocal

arrangement– Derived harmonic aspects of the music from church

singing– Solo singer against vocal group accompaniment


6.AABA form derived from Tin Pan Alley style songs7.Compound meter: beats are divided into three equal

parts instead of two8.Important groups and songs in this style include:

• Chords: “Sh-Boom” (1954)• The Five Satins: “In The the Still of the Night” (1956)


G.Controversy– White middle-class parents disapproved of their

teenage children’s interest in this music– Disapproval largely due to negative racial

stereotypes– Lyrics were often suggestive and sometimes blatent– Hokum blues contained double-entendres– When white artists covered rhythm and blues they

cleaned up the lyrics or topic

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This concludes the Norton Media LibrarySlide Set for Chapter 1

What’s That Sound?What’s That Sound?An Introduction to Rock and Its HistoryAn Introduction to Rock and Its History

byJohn Covach

W. W. Norton & CompanyIndependent and Employee-Owned

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