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 producersTwo 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 dont write songs, we write records-The Robins, originally with Spark Records, get a record deal from Atlantic Records, become The CoastersSweet soul- do-op.. the drifters.. ben e.king

Brill Building-Don Kirshner and Aldon Music-Dozens of songwriters worked there, very famous artists in the 70s-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 therethe shirelles- will you love me tomorrowPhil Spector-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 recordsBerry Gordy-Motown, 1959-1988, Detroit-First Major record label owned by African Americans, largest black owned organization in U.S.-Used Tin Pan Alley/Brill Building 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 Cant Hurry Love, A B C (bridge) B (chorus-but words change) C B Interlude A AA? B? B! (You really cant hurry love)

Exam Period Ends

10/7/2013- The Story of a Band: Surf Music and the Studio-The Rock and Roll Band Model-Master the rock and roll style (usually through covers)-Write original material based on this style-Expand the style-By 1960 rocknroll was based mostly on the East Coast-Beach Boys -Start West Coast rocknroll 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 Spectors 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 rocknroll concept album (story that unites entire album). Sales shift from singles to albums-Mid to late 60s 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-Americas 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: ExpansionCopied/Borrowed/Similar Songs:-Let the good Times Roll, Louis Jordan-El Loco, Rene Touzet-Louis Louis, the Pharaohs-Louis Louis, The Kingsmen (Garage Bands)-Satisfaction, The Rolling Stones-Evil Ways, SantanaBallroom Blitz, SweetLiving for the City, Stevie Wonder

10/9/13- Folk to Folk RockRocknroll: 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 BUSINESSIndustryTarget AudienceHigh School CollegeBrill Building Folk Music-Folk music as popular culture-The differences between folk and folk rock (Simon & Garfunkels first folk album)-College audience (more mature lyrics, authenticity, obscure referencesAfrican-American Blues, real)-Community/populist-Solo style, not over produced-Political vs. Apolitical-The Almanac Singers (1940s) Pete Seeger, Woody Guthrie-The Weavers (late 1940s) 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 RevivalLate 1950s early 1960sPopulistEasy to performNot theatricalSpontaneousAuthentic-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 Jeffersons 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. Dylans version does not reach #1 but The Byrds version (with The Wrecking Crew) does: Their first folk-rock hit-Like a Rolling Stone, 1965 reaches #2-A new sound: two keyboards, Dylans 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)-Sister Rosetta Tharpe (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 1960s-Darlene Love, The Shirelles, Lesley Gore, The Ronettes, The Shangri-Las, The Supremes, Carole King-Feminist Voices in the Late 1960s-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 instrumentsBeing 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 song10/14 From Stage to Studio: The Beatles Part IIRock n RollDance music created for (and marketed to) a teenage audience Music with a strong connection to Rhythm and Blues (and thus black culture)New TrendsLyric maturity (Dylan)Sophisticated songwriting (Beach Boys)Complex studio effects (Spector/Wilson)RockNot primarily dance musicMore influenced by outside traditions (and thus less black)A tradition itself In short- A ritualized dance music BECOMES music for listeningTwo Drugs1966 Drug Culture enters mainstream popMarijuana LSDTwo large figuresTimothy Leary 1920-96Ken Kesey 1935-20018 miles high The BirdsRock as Art Capital RecordsRubber Soul 65Pet Sounds 66Revolver 66Good Vibrations 66The Beatles29th August 1966 Last Performance Performing wasnt fun anymoreRock will be recordings 1st of Sgt. Pepper sessions: 24th November 19664 months to record Strawberry Fields Forever 1967Dream like Lyrics are obscure Stereo separationCellos and other classical instruments Playing inside the pianoReversed tape soundsMellotronTwo spliced takes Sgt. Peppers Lonely Hearts Club Band, June 1967Songs run together Studio Album set up like a live concertPrinted lyricsTrackless sectionsRun out trackSitar, keyboards, studio musicians Fuzz box, pedals, Leslie speakersOverdubbing (4 tracks)Flanging and phasing Benefit of Mr. Kite Musique Concrte: classical practice Aleatoric Music: music by chance A Day in the LifeTwo songs spliced together Lennon first, then McCartney The Beatles The White Album 1968Julia John LennonBlackbird McCartney George HarrisonDont Pass Me By Ringo StarRevolution 9 Yoko OnoYellow Submarine 1969Jan 20, 1969Perform live for the first time in 3 years Roof of record studioAbbey Road, 1969Let it Be, 1970Only recorded 5 years together On the forefront of new take on rock, explains popularity

Vietnam1. Pro-War at the beginning (1964)2. Anti-War later on (1968), Mai Lai massacre changes the opinions of Americans3. 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 60s means something very different from the 1960s69-71 = The 60sGood Night Saigon Billy Joel 1982Looking backwards, a very difference sense of the Vietnam War Vietnam WarAugust 2nd 1964 Gulf of Tonkin incident March 1968 My Lai 300-500 Vietnamese civilians Public opinion changes1970, US protest begins 6 students killed for protesting on campus Maryland protest ~May, National Guard called Public Polls1965- 64% favored US involvement 1967- 70% favored bombing of Vietnam Early Support- Jingoism God, Country, and My Baby Connie Francis Nurse in the US Army Corp.Sgt. Barry Sadler Ballads of Green BeretsThe Son of a Green BeretsWhat Were Fighting For1968- beginning opposition 42% people in their 20stotal of 5 anti war songs in 682+2= makes it to #90Scarborough Fair Simon and Garfunkel Music business is a whoreJohn Lennon Give Peace a Chance1970sWar Edwin Star, first explicit anti war to reach #1Peace Train Cat StevensAnti War Songs A commercial move Folk ChartsAnti Military Song Universal Soldier Donovan (British) Universal Coward responseKent State ShootingOhio For What its Worth adopted as an anti war songNew Zealand charted Hey Sandy

African American Music (1960s)-STAX Records The Sound of Black America (NOT Motown)-Otis Redding-James Brown-Lively stage presence-Band-RHYTHM-Boston RiotCivil Rights1. 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 listeners 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-1940s and 1950s worked with jazz artists like Charlie Parker and Miles Davis-Giant Steps (1960)-1960s 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 rocknroll-1962 deliberate speaker damage gives way to development of the fuzz box-Soulful and Soulless (futuristic machine noise)-Jackie Brenston Rocket 88 (1951), The Kinks You Really Got Me (1964), The Rolling Stones (I Cant 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 1960s/Early 1970s-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. Peppers Lonely Hearts Club Band by The BeatlesMiles 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 DownEmerson, 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 1970s: 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 CriticismThe 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 RockPioneer 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-Schools Out (1972)-Queen-Glam/Hard/Stadium Rock-One of the most popular bands (international appeal)-Lavish and theatrical shows-Hard rock 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; its an approach to rock (and a radio station format)-An understanding of the music-1960s, 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, singlesFM Radio-Better sound quality-Couldnt 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 artLed Zeppelin, 1968-1980-Jimmy Page, Robert Plant, John Paul Jones, John Bonham-Nine albums, couldnt 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 Crowleys castle by Loch NessDazed 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 FastHeavy 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 1970s-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-1950s- Singers who sing other peoples songs (Elvis Presley)-1960s- Bands (Beatles)-1970s- 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 Feminism1. Late nineteenth/early twentieth century-Women should be allowed to vote2. 1960s-1970s-Women who sing AND write-Personal empowerment-Feminist Topics-Men with Feelings-The personal is politicalMen With Feelings-James Taylor-Youve Got a Friend, Carole King cover-Harry Chapin-Paul Simon-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 Subgenres1. Genuine response to stylistic developments-Musical development-Prioritizes different elements-Where from/where going-Marketing2. Response to Modern Identity Crisis-1970s- Me Decade, Me Era-Subgenre= Special-Cultural capital/currency-Insiders/Outsiders