70年代流行音乐课件

xjxiidjsns

2010-07-16 15:32:14

我学了一门70年代流行音乐，里头有notes，大家有兴趣么？不过不是60年代的

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  xjxiidjsns 楼主 2010-07-28 03:19:14

  Lecture 1 Introduction and the Blues to LZ

  The 1970s

  • Called the “me-decade”: indicates possible shift from the 1960s’ communitarian sensibilities • American looks inward: Self-doubt • Vietnam War (withdrawal from Saigon in 1975) • Focus on domestic problems (oil crises of 1973, economic inflation, resignation of Richard Nixon in 1974)

  Nostalgia

   Movies like American Graffiti (1973), Broadway musical and film, Grease, and television show Happy Days – all evoked the golden age of the 1950s  1970s: start of the “oldies” radio format (played the hits of the 50s and early 60s)  Rebirth of some 60s icons: Elvis and Chuck Berry

  Music

  • Jimi Hendrix died in 1970 • Janis Joplin in 1970 • Jim Morrison in 1971 • Beatles dissolved the business partnership in 1970

  Music Industry Consolidation

  Six huge corporations:

  1. Columbia/CBS
  2. Warner Communications
  3. RCA Victor
  4. Capitol/EMI
  5. MCA
  6. United Artists/MGM

   Responsible for over 80% of record sales in the US

  Reliance on the Mega-seller

   Industry depended on a small number of million-selling (platinum) LPs to turn a profit  market share of small independent labels decreased to one in every ten records sold  Energy crises in 1973: vinyl expensive = indie bankruptcies

  Choices

  • Emergence of many specialized types of popular music:

  MOR = Middle of road Adult Contemporary Singer-Songwriters Country Pop Soft Soul Urban Contemporary Funk Disco Reggae Oldies Many subcategories of rock: country rock, folk rock, soft rock, hard rock, pop rock, heavy metal, southern rock, jazz rock, blues rock, Latin rock, art rock, glam rock and punk rock

  Radio

   radio playlists grew restricted  Top 40 playlist format (nationally distributed pretaped sequences of hit songs)  impossible for bands without the backing of a major label to break into the Top 40  beginning of the end of the independent DJ  free-form programming of the 1960s now found only on tiny (college) radio stations

  FM Radio

   AM radio = top 40 radio  FM radio = hard rock, progressive rock 'n' roll  Number of FM radio stations increased by over a 1000 over the 70s  FM capable of stereo broadcasts and so popularity grew  Many FM stations moved to a format called AOR (album oriented rock)  Aimed at young white males aged thirteen to twenty-five

  White Black Split

   Greater economic efficiency (radio stations and record companies targeting a very specific demographic)  Rock (for various reasons) was increasingly defined as white music  And disassociated itself from the African American legacy  Billboard soul charts: almost no rock single charted during 70s (Rolling Stones had one, Led Zeppelin, Deep Purple, Pink Floyd – none)

  “Black musicians are now implicitly regarded as precursors who, having taught the white men all they know, must gradually recede into the distance” (Morse, 1971, p. 108)

  Illustrative Example: Altamont (December 6, 1969)

  • Free concert that the RS planned as the climax to their 1969 tour promoting their Let it Bleed album • Altamont Speedway outside SF = tiny = 1st mistake • (Captured in documentary, Gimme Shelter) • 2nd mistake: Hiring the Hell’s Angels to provide security for $500 in free beer – suggested by Grateful Dead • Violence climaxes with brutal murder of a black student named Meredith Hunter while the RS played “Under my Thumb • Optics very, very bad:

  “A black man murdered in the middle of a white crowd, by white men, while white men play their version of black music.”

  Rolling Stones: Exile on Main Street (1972)
  • Considered their best album although it was met with mixed reviews when it first appeared because of: • Dense sound and the inaudibility of its lyrics • Double Album: 18 songs • Unified by texture (dense, dark, guitar-based rock); rough studio sound; surliness • Return to RS’s musical roots: blues-based rock songs like “Rocks Off” and “Shake Your Hips” (“Sweet Virginia” and “Sweet Black Angel” are country and folk-influenced rock songs) • Recorded in Keith Richard’s basement in home in the south of France • Jagger’s voice buried in mix on purpose • Producer Jimmy Miller largely responsible • = Bleakness and desolation

  The Blues and 1970s Rock

  Blues: A genre of music originating principally from the field hollers and work songs of rural blacks in the southern United States during the latter half of the nineteenth century. Themes treated by blues lyrics included the oppressive conditions suffered by African Americans; love gone wrong; alienation; misery; and the supernatural.

  Qualities (Traditional Blues)

  • Polyrhythmic: = different rhythmic layers • Distinctive vocal and instrumental techniques: “moaning” and string bending = rich variety of colors or timbres

  “Notes is good enough for you people, but us likes a mixtery”

  • Incorporated “blue notes” = off-pitch tones that slip between the piano keys • And the “Blues Scale”: Flatted thirds and sevenths, and fifths of the regular 8-note Western scale • Short melodic phrases or statements that start on blue note or flatted note • Phrases usually fall from high to low • Very limited vocal range • Call-and-response with guitar and other instruments

  Chicago Blues

  • Muddy Waters, Howlin’ Wolf, B.B. King, Willie Dixon • = use of electric amplifiers in the early 1950s • Imported into England and changed…. • Typical Chicago Blues band contained 2 (sometimes 3) guitars, drums, acoustic bass, harmonica and piano • In England: sound totally dominated by lead guitar • What is called “guitar fetishization”

  Chicago Blues to Hard Rock

  ***Iron Butterfly: “In-A-Gadda-Da-Vida” from debut album (1968) #4 US Pop (17 minute opening title track): churning, slow and very heavy electric “blues”

  Deep Purple

  • Formed in 1968 • Led by guitarist Ritchie Blackmore (and organist John Lord) • Called “proto-metal”

  Machine Head (1972) #7 US Pop

  • Best-selling album and contains best known single,

  “Smoke on the Water” #4 US Pop

  Opens with famous….

  Riff: A simple, repeating melodic idea or pattern that generates rhythmic momentum; typically played by horns, piano or (in rock contexts) the electric guitar

  • Classic blues “lick” includes 2 flatted notes (3rd and 5th) • And syncopated • Rhythm section = driving rock record • Bass player plays a relentless, repeated single note • Ian Gillan’s vocal = characteristic hard rock sound • Instrumentation built up in layers

  Introduction: famous distorted riff + another guitar track layered in with high-hat cymbal + drum adding backbeat + bass layered in (playing single note)

  Verse 1: “Well, we all came out to Montreux” Refrain: “Smoooooooke on the waaaaater” Verse 2: “They burned down the gambling house” Refrain: “Smoooooooke on the waaaaater” Guitar Solo: over the music of the verse Verse 3: “We ended up at the Grand Hotel” Refrain: “Smoooooooke on the waaaaater” + riff repeated 4 times

  Led Zeppelin (formed in 1968 in London)

   Most popular and profitable rock band of the 70s  1973: tour broke American concert attendance record set by the Beatles  4 Members

  1. Jimmy Page (a brilliant guitarist, honed his skills as Eric Clapton’s successor in a pioneering British band called the Yardbirds)
  2. John Bonham (who established the thunderous sound of heavy metal drumming)
  3. John Paul Jones (provided the band’s solid bottom, doubling on organ and electric bass)
  4. Robert Plant (vocals – oft-imitated, very tight pants)

   Musical influences: urban blues, psychedelic rock (SF and Hendrix), folk music (traditions of the British Isles)

  “Stairway to Heaven” (1971) from the LP: Led Zeppelin IV

   Most requested song on FM radio (adolescent males 13-25) during the 70s  8 minutes song never released as a single (brilliant marketing strategy)

  Marketing of Led

  Its album cover did not have:

   band name  album name  name of record company

  LZ IV # 2 US Pop, remained on chart for 5 years, eventually sold 14 million copies

  Why was it so popular?

  1. bone-crunching beats, heavy textures, loud volume
  2. affection for English and Celtic mythology

   Song lurches from sonic aggression to quiet reflection  Mixture of rock physicality and mysticism appealed strongly to adolescent males  As did the occult quality of the mysticism  The lyrics of “Stairway” include a number of references to mythological beings drawn from folklore

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  xjxiidjsns 楼主 2010-07-28 03:19:44

  Lecture 2: Led Zeppelin (July 7, 2010)

  “Whole Lotta Love” (1969) #4 US Pop, Released on album Led Zeppelin II, #1 US Pop

  • Illustrates the transformation of the blues into hard rock • Originally credited to Page and Plant: now credited to LZ and Willie Dixon because of lawsuit • Establishes pattern followed by many (hard) rock bands during the 1970s

  Form Chart

  Introduction: Guitar playing blues lick (riff): bass joins the 2nd time through

  A: Verse: lead vocal + riff in guitar and bass “You need coolin’”

  Chorus: drums enter, background vocal provide “hook” – sliding guitar effect in call-and-response to vocal “Got a whole lotta love…”

  A: Verse as before + drums “You’ve been learnin’…”

  Chorus as before….leads to…

  B: Central Section: irregular span of spacey psychedelia – drums keep light beat + guitar sounds + vocal wail – ends with aggressive guitar Break

  A: Verse: slightly extended, “you’ve been coolin’…”
  Chorus: “Got a whole lotta love”

  Coda (tail) Vocal cadenza in free time then riff returns as Plant improvises vocally and song fades out

  Hook = Catchy or otherwise memorable musical phrase or pattern.

  “Stairway to Heaven” (1971) from the LP: Led Zeppelin IV

   3 main sections

  First:

  A (8) Instrumental (guitar + recorder) – slow tempo B (8) Guitar and recorder A (8) Vocals: “There’s a lady…” B (4) “ooo, and she’s buying…” A (8) “There’s a sign…” A (4) Instrumental

  Second:

  B (8) “Oooo, it makes…” A (8) “There’s a feeling…” X (1) Instrumental link….guitar more prominent B (8) same as above, texture thickens, tempo increase A (8) “and it’s whispered…” X (1) Instrumental linking section B (8) Instrumental, tempo increase

  Third section: (longest – almost half the song’s length)

  C (8) New melody “If there’s a bustle…” tempo increase X (1) Instrumental link B (8) “And it makes…” C (8) “Your head…” X (2) link + pause D (8) new instrumental fanfare, tempo increase leading to guitar solo Guitar Solo (20): tempo faster, multi-tracked guitar plays supporting patterns

  C (18) “And as we…” C (8) Instrumental, tempo slows B (3) Concludes with Plant repeated the key line of the text “And she’s buying a stairway to heaven” vocal, slower and slower

   Arrangement: escalation of density, volume and speed  from 72 bpm to 84 bpm at start of Section 3, to 98 during the guitar solo  What does it all mean?

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  xjxiidjsns 楼主 2010-07-28 03:20:16

  Lecture 3: Black Sabbath and Wings Heavy Metal and Sex • Compare lyrics of LZ and Willie Dixon “Whole Lotta Love” You need coolin', baby, I'm not foolin', I'm gonna send you back to schoolin', Way down inside honey, you need it, I'm gonna give you my love, I'm gonna give you my love. *Wanna Whole Lotta Love (X4) You've been learnin', baby, I bean learnin', All them good times, baby, baby, I've been yearnin', Way, way down inside honey, you need it, I'm gonna give you my love... I'm gonna give you my love. * Chorus You've been coolin', baby, I've been droolin', All the good times I've been misusin', Way, way down inside, I'm gonna give you my love, I'm gonna give you every inch of my love, Gonna give you my love. * Chorus Way down inside... woman... You need... love. Shake for me, girl. I wanna be your backdoor man. Keep it coolin', baby. “You Need Love” by Willie Dixon You've got yearnin' and I got burnin' Baby you look so sweet and cunning Baby way down inside, woman you need love Woman you need love, you've got to have some love I'm gonna give you some love, I know you need love You just gotta have love, you make me feel so good You make me feel all right, you're so nice, you're so nice You're frettin', and I'm petting A lot of good things you ain't getting Baby, way down inside, you need love You need to be hugged and squeezed real tight, by the light of the moon on some summer night You need love and kissing too, all these things are good for you I ain't foolin' you need schoolin' Baby you know you need coolin' Baby, way down inside, woman you need love • Similarities? Differences? Charles Murray (Crosstown Traffic) on the difference: The former (“You Need Love”) is a seduction….warm and solicitous. Dixon suggests that the woman to whom he is singing is both sexually inexperienced and starved of affection, and volunteers to remedy both conditions….Led Zeppelin, by contrast, come on like thermonuclear gang rape….The woman is strictly an abstract, faceless presence; she is an essential part of the intercourse kit, but not as an individual. Love in this context, is a euphemism for something measurable with a ruler • No women in Hard rock during the 1970s with the partial exception of the Wilson sisters (Heart) • Heavy Metal criticized on the left for sexism • And on the right: the Occult – pagan, pre-Christian mysticism Black Sabbath • Ozzy Osborne: voice • Tony Iommi: guitar • Geezer Butler: bass • Bill Ward: drums Started as Earth – working-class, hippie blues-rock band from Birmingham England • Changed their name to BS after writing a song with that title, which was taken from an old Boris Karloff movie called “Black Sabbath” • Coincided with a move to a louder, more aggressive style and something of a break with the group’s hippie past Stylistic Notes • Black Sabbath (US #23, UK#8, 1970): uses (overuses) the tritone (2 notes played simultaneously, sound has very old associations with the devil) • Paranoid (#12 US,#1 UK, 1970): “Iron Man” o Music remains based in blues riffs and structures o Innovation: guitar, bass and voice all play/sing variants of the same riff simultaneously • Master of Reality (#8 US,#5 UK, 1971) • Black Sabbath, Vol. 4 (#13 US,#8 UK, 1972) all large commercial hits • End of the decade, the original lineup had parted ways and Ozzy went on a solo career as the most prominent practitioner of 1980s heavy metal Wings • McCartney first solo album: McCartney, 1970 • Second solo album Ram (1971) Then Wings: • Denny Laine and Henry McCullough on guitars • Denny Siewell on drums • Linda McCartney on synth/keyboard 1st album: Wild Life (1971) 2nd Album: Red Rose Speedway (1973) 3rd Album: Band on the Run (1974) • Recorded in part in Lagos, Nigeria “Jet” (#7 US, 1974) Jet! I Can Almost Remember Their Funny Faces That Time You Told Me That You Were Going To Be Marrying Soon. And Jet, I Thought The Only Lonely Place Was On The Moon. Jet! Jet! Jet! Was Your Father As Bold As A Sergeant Major? How Come He Told You That You Were Hardly Old Enough Yet? And Jet, I Thought The Major Was A Lady Suffragette. Jet! Jet! Ah, Matter, Want Jet To Always Love Me? Ah, Matter, Want Jet To Always Love Me? Ah, Matter, Much Later. Jet! With The Wind In Your Hair Of A Thousand Laces. Climb On The Back And We'll Go For A Ride In The Sky. And Jet, I Thought The Major Was A Lady Suffragette. Jet! Jet! • Blues-riff based… • Melodically uniform (little melodic difference between verse and chorus) • Unison low-register saxophone lines • Falsetto vocal harmony in the chorus • Makes almost no sense Santana • Led by guitarist Carlos Santana (b 1947 in Mexico) • Born and grew up in Tijuana, moved to SF when he was 15 and immersed himself in music that was to have a great influence: 1. Jazz: John Coltrane and Miles Davis 2. Salsa: a NY based style of Latin dance music strongly rooted in Afro-Cuban traditions 3. SF Rock: Janis Joplin, Sly and the Family Stone and Jimi Hendrix Abraxas, (#1 US, 1970) • Second LP sold over 4 million copies and held the #1 position for 6 weeks – spent 88 weeks on the chart • 2 hit singles: Black Magic Woman (Fleetwood Mac) and… “Oye Como Va” (#13 US, 1971,#32 R&B) • Composed by NY Latin percussionist and dance music king Tito Puente • Guitar, bass, keyboards, drums (rock band) + Latin percussion • But also the “mix”: the precise tonal quality, balancing, and positioning of sounds recorded on various tracks in the studio • Santana’s instantly recognizable sound focused on the fluid lead guitar style of Carlos and the churning grooves created by the drummer, the bass player and the 2 Latin percussionists Stereo…. • Complexity of arrangement necessitates clear stereo-separation • Electric bass is in the middle • Guitar and keyboards should be on the left and right of centre • And the other percussion instruments further out on the left and right Introduction: basic cha-cha rhythm is established on organ and bass and then later, percussion = interlocking groove = pulsing heart of this music A: guitar states a short melodic phrase that’s repeated B: unison melodic and rhythmic figure played by whole band C: Vocals “Oye como va” B: Instrumental unison figure Guitar Solo: Extended solo by Carlos S. Interlude: Call and response between guitar and band Groove: from intro (back to the basics) Interlude: quieter at first then building to… Organ Solo: Groove: and again B: Unison figure again C: “Oye com ova” vocals Interlude: quiet and then builds to… Another Guitar Solo B: unison figure closes the song • Nearly half of the song consists of improvised solos by guitar or organ • This is a vehicle for instrumental soloing – Santana’s Guitar Style • Uses the electric guitar’s ability to sustain notes for long periods of time to create long, flowing melodic lines that gradually rise in intensity American Blues Rock and Southern Rock: The Allman Brothers Band • Nashville guitarist Duane Allman was sought-after session musician • In 1969 he enlisted bassist Barry Oakley • Guitarist Dickey Betts • And drummers Jai Johnson and Butch Trucks • His brother Gregg Allman = vocalist The Style • Southern rock is marketing trick: images? Associations? • AB did have a deep knowledge of the blues • Signed to the Capricorn record label in the very late 1960s which was based in Macon, Georgia • With their 3rd album, Live at Fillmore East (#13 US, 1971) = surprise commercial success • Best example of their blues influence and penchant for long improvised solos – nice comparison with LZ • Contains great version of the band’s signature song: “Whipping Post” (Released first in 1969 on Allman Brothers Band) Introduction: in bass, adding drums, guitar and finally organ one by one along the way – builds into… Verse: Lead vocal: “I’ve been down…” and ends with extension building to chorus Chorus: “Tied to the whipping post…” = short, choppy phrases that leads to “Stop-Time” climax; guitars then echo vocal phrase and lead to transition based on introduction • Stop Time = when all instruments play same rhythm characterized by short notes separated by long-ish pause Instrumental Verse: guitar solo Verse: “My friends tell me…” Chorus: “Tied to the whipping post…” leading to…. Instrumental Verse: Another guitar solo Interlude: Instrumental buildup, ascending scale that leads to another stop-time section then “Sometimes I feel…” drives headlong into the final statement of the chorus Chorus: As before but with more energy and the guitar echo is replaced by quiet mysterious jazz-influenced ending • Improvisations – link to jazz (like Santana) Lyrics: I've been run down I've been lied to And I don't know why ... I let that mean woman make me a fool She took all my money ... wrecked my new car Now she's with one of my good time buddies ... they're drinkin' in some cross town bar Sometimes I feel Sometimes I feel ... (= extension/transition to chorus) like I've been tied to the whippin' post Tied to the whippin' post Tied to the whippin' post Good Lord I feel like I'm dyin' My friends tell me ... that I've been such a fool And I have to stand by and take it baby ... all for lovin' you I drown myself in sorrow ... as I look at what you've done But nothin' seems to change ... the bad times stay the same ... and I can't run Sometimes I feel Sometimes I feel ... like I've been tied to the whippin’ post Tied to the whippin’ post Tied to the whippin’ post Good Lord I feel like I'm dyin' Sometimes I feel Sometimes I feel ... like I've been tied to the whippin’ post Tied to the whippin’ post Tied to the whippin' post Good Lord I feel like I'm dyin'

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  xjxiidjsns 楼主 2010-07-28 03:20:39

  Lecture 4: Country – Hardcore and Progressive • The 1970s, C&W music became just “country” • Big business reaching out to young and middle-class listeners • In 1974 the Grand Ole Opry moved from its run-down Nashville theatre to a multi-million dollar facility complete with an 100-acre theme park called Opryland • Newsweek and Time ran cover stories about country musicians (Loretta Lynn and Merle Haggard) • And 3 country music shows were being featured on network TV: Glen Campbell Goodtime Hour, The Johnny Cash Show, and Hee-Haw • Films like Nashville (1975 by Robert Altman), and Coal Miner’s Daughter (1980, on the story of Loretta Lynn) Mainstreaming • As it moved into the mainstream Country smoothed itself out…. The Nashville Sound The advent of rock n roll in the min-1950s sent country music reeling. It dropped drastically in popularity as more and more radio stations switched over the playing the new teenage music. In response, several Nashville producers began to procedure country records for the adult buyers of easy-listening pop music…The procedure was to smooth over the roughness of the country style of a singer with violin sections, soft background voices, sophisticated arrangements, and studio technology (Robert Oermann, “Listening to Country Music” in The Country Music Book, 1985) • Nashville Sound = “whining steel, the swelling choruses, the same familiar sidemen playing the same familiar licks that are stamped on every record.” • How to spot the difference: if the has hardworking fiddles = either old-time country or bluegrass; if it swoons on a cushion of violins = Nashville Sound • A response against…. “Back to Basics” • Straight-forward, emotionally direct approach of postwar honky-tonk musicians like Hank Williams and Ernest Tubbs • Honky Tonks were bars originally in Texas that featured a very strong rough version of R&B country (Hank Williams Sr.) • Rhythm tracks were swinging, arrangements included electric guitar Merle Haggard born in Bakersfield California in 1937 • He was the son of migrants from Oklahoma who left during the Depression • A bad boy…wound up in San Quentin prison at 19 with a 3-year sentence for burglary • Released in the early 1960s and began playing in Bakersfield’s Honky Tonks • These HTs developing distinctive style of country music began to develop “Bakersfield Sound” Defined by: 1. Spare, twangy sound 2. Electric instrumentation 3. Strong backbeat “inflected” by syncopation in some other instrumental part • Described himself as “a white man singing the blues” • In 1965 Haggard scored a Top 10 country hit with the song, “(My Friends Are Gonna Be) Strangers,” • Established the name of his band: The Strangers • Led to a recording contract with Capitol Records • Poet of the lives of everyday people • The central character of many Haggard songs is a white male worker, struggling to achieve the comfort and security of a middle-class life “Okie From Muskogee” (1969) • An infamous moment…. We don’t smoke marijuana in Muskogee We don’t take our trips on LSA We don’t burn our draft cards down on Main Street We like livin’ right and bein’ free We don’t make a party out of lovin’ We like holdin’ hands and pitchin’ woo We don’t let our hair grow long and shaggy Like the hippies in San Fransisco do… We still wave Old Glory down at the courthouse, In Muskogee, Oklahoma, USA • Part of a conservative sensibility very strong in country music: family love and duty, the work ethic, the wages of sin, patriotism, even old-time religion Haggard in the 1970s • In 1972 pardoned for his burglary offense • Began a steady string of country #1 hits throughout the 1970s “If we make it to December” (#1 Country,#23 Pop, 1973) • Style of singing is directly emotional: use of cracks in the voice and stylistic features of black music such as blue notes and melismas at key moments • Example of the Bakersfield Sound Lyrics: If we make it through December Everythings gonna be all right I know It's the coldest time of winter And I shivver when I see the fallin snow If we make it through December I got plans of bein in a warmer town come summer time Maybe even California If we make it through December we'll be fine I got laid off down at the factory And there timings not the greatest in the world Heaven knows I been workin' hard I wanted Christmas to be right for daddy's girl Now I don't mean to hate December It's meant to be the happy time of year And why my little girl don't understand Why daddy can't afford no Christmas here If we make it through December Everythings gonna be alright I know It's the coldest time of winter And I shivver when I see the fallin' snow If we make it through December I got plans of bein' in a warmer town come summer time Maybe even California If we make it through December we'll be fine • Re-animated the blues in Country A Reminder: Ray Charles: Modern Sounds in Country and Western Music (1962):  Album of C&W covers  merged together aspects of country, jazz, the pop ballad, blues and gospel into something completely original  On top of the pop charts for 12 weeks in 1962. “I Can’t Stop Loving You” from Modern Sounds in Country and Western Music written and composed by country singer, songwriter and musician Don Gibson (recorded 1957)  Merges aspects of country, Tin Pan Alley, gospel, blues and jazz  Charles added orchestral strings and crooning background chorus  Charles sings a gospel song + orchestral strings and crooning background chorus  Rhythmically free  Engages in a stylistic call-and-response with this large background choir  ***Charles’ offhand aside to the chorus, “Sing the song, children” Dolly Parton (b. 1946) • Born in the hill country of Tennessee • In the 1970s she was an established Country star who began to move into the pop mainstream • Light, flexible soprano voice, “like a nanny goat” • Accomplished songwriter • 1st female country musician to host her own national television series • She had a massive string of #1 hits (on the country charts) during the 1970s including…. “I Will Always Love You” (#1 Country, 1974) • The mono-tonal song: chorus anchored by ONE note • A woman’s persistence in loving… Progressive Country • Generally more liberal in outlook – and more concerned with testing the outer limits of the country tradition Key artists: 1. Willie Nelson 2. Kris Kristofferson 3. Tom T. Hall 4. Townes Van Zandt Willie Nelson (b. 1933, in Texas) • Left Nashville for Texas in 1971 (already had a successful career back in TN as a songwriter, wrote “Crazy”) • Settled in Austin – a university town • Let his beard and hair grow long, had an earring, headband, wore jogging shoes and blue jeans • He sang in an unpolished, almost conversational voice • Incredibly broad: released a jazz album, Stardust, in the late 1970s Outlaw • Became associated with a group of musicians called The Outlaws • Centered on the figure of Waylon Jennings (1937-2002): prior to Nelson as a country rebel • Appeared on an 1972 album called Ladies Love Outlaws in bad guy dress (black cowboy hat + 6-shooter) • Nashville recognized the commercial appeal Red-Headed Stranger (1975, #28 US Pop (this is undoubtedly wrong), 2 million copies sold) • Main medium of country music was the single (45 rpm) • This is the first Country Concept Album • Nelson stuck close to the traditional time limit of 3 minutes per song • Musical accompaniment consists of acoustic guitar, electric guitar, mandolin, piano, harmonica, electric bass and drums • = spare and restrained • Some tracks only use guitar and piano The Story • Album opens with the song, “Time of the Preacher” It was a time of the preacher, when the story began Of a choice of a lady, and the love of a man How he loved her so dearly, he went out of his mind When she left him for someone that she’d left behind He cried like a lady, and he screamed like a panther in the middle of the night And he saddled his pony, and he went for a ride It was a time of the preacher, in the year of ‘01 Now the preaching is over and the lesson’s begun • In the next song (1.5 minutes) Nelson is the cowboy, who discovers his wife’s cheating ways “I couldn’t believe it was true” • “Time of the Preacher Man” the returns = thematic refrain connecting the various songs • Willie Nelson appears on the cover dressed as the red-headed stranger • Blurs boundaries between fictional persona and the musician who sings the song

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  xjxiidjsns 楼主 2010-07-28 03:20:58

  Lecture 5: Singer-Songwriters • The singer-songwriters of the 1970s arose in part from the folksingers of the 1960s: Bob Dylan Carole King • Important songwriter for more than a decade • Own stardom: release of her album Tapestry (1971) Tapestry (1971, #1 US for 15 weeks, remained on charts for 6 years, sold 10 million copies/Diamond certification) “It’s Too Late” (#1 US Pop, 1971) Lyrics: Stayed in bed all morning just to pass the time There's something wrong here There can be no denyinga One of us is changing Or maybe we've just stopped trying And it's too late baby, now it's too late Though we really did try to make it Something inside has died and I can't hide And I just can't fake it It used to be so easy living here with you You were light and breezy And I knew just what to do Now you look so unhappy And I feel like a fool And it's too late baby, now it's too late Though we really did try to make it Something inside has died and I can't hide it And I just can't fake it There'll be good times again for me and you But we just can't stay together Don't you feel it too Still I'm glad for what we had And how I once loved you But it's too late baby, now it's too late Though we really did try to make it Something inside has died and I can't hide And I just can't fake it Don't you know that I... I just can't fake it Oh it's too late my baby Too late my baby You know It's too late my baby • For adults • Break-up song that’s resigned and “mature” Music: • Her acoustic piano = the backbone of the song and it leads to a progression of relatively complex chords (with light rhythm – this is NOT the focus) • Near end of the long instrumental interlude preceding the final verse of the song sax enters = light jazz feel • Recording as whole = “soft rock” Elton John (Reginald Kenneth Dwight) • Numerous artists from the UK achieved hit albums and singles in the largest market in the world • 7 consecutive #1 albums during the decade – all of which sold over a million copies each • Keyboard-based • All of his songs are created on the piano – not the guitar “Crocodile Rock” (1972, #1 US Pop) From the album: Don’t Shoot Me I’m Only the Piano Player (1972); his first #1 hit • Written with his main songwriting partner, the lyricist Bernie Taupin • Capitalizes on nostalgia for the 1950s • (Elvis Presley was enjoying his biggest hit in many years: “Burning Love”) Lyrics: I remember when rock was young Me and Suzie had so much fun holding hands and skimming stones Had an old gold Chevy and a place of my own But the biggest kick I ever got was doing a thing called the Crocodile Rock While the other kids were Rocking Round the Clock we were hopping and bopping to the Crocodile Rock Well Crocodile Rocking is something shocking when your feet just can't keep still I never knew me a better time and I guess I never will Oh Lawdy mama those Friday nights when Suzie wore her dresses tight and the Crocodile Rocking was out of sight But the years went by and the rock just died Suzie went and left us for some foreign guy Long nights crying by the record machine dreaming of my Chevy and my old blue jeans But they'll never kill the thrills we've got burning up to the Crocodile Rock Learning fast as the weeks went past we really thought the Crocodile Rock would last • Compare to “American Pie” • Happy memories: “I remember when rock was young, me and Susie had so much fun” • Verses unpleasant reality of today: “But the years went by and rock just died” • Second verse: = remembered joy: “but they’ll never kill the thrills we’ve got” • Final verse is simply a return back to the first, “when rock was young” The Music • Upbeat dance record based on non-existent 1950s dance craze • Chord progressions evoke classic 1950s rock n roll chord progressions but carry with them some characteristic Elton touches: relatively complex melodies and chord structures • Added novelty: wordless part of the chorus with the kazoo-like sound Elton’s Farfisa organ “Tiny Dancer” (1971, Madman Across the Water) • Incomprehensible lyrics (to groupie) + Extended, lyrical melody + accomplished piano playing = Elton John • One long melodic idea spun out through each section (verse to pre-chorus to chorus) Introduction: set over a pedal note (low note that runs through the entire section); 2 chords alternating • Main riff played by piano (intricate) Verse 1: Melody of the verse is interwoven in Elton's piano parts = counterpoint to Elton’s playing • Verse is given an AABA structure • B section features fast chord progression – 8 distinct chords v. 2 for the rest of the verse • At the end of the B-part of the 1st verse, pedal steel guitar is introduced (country) • At end of first verse entire band enters Verse 2 : as before + choir Pre-Chorus: = small section that contrasts significantly from the verse and builds tension to chorus • Unusual chord to start (may be considered as a key change – to a minor key) • + quick march rhythm Chorus: added strings, massive ascending piano chords • Expansion of the verse’s chord progression Form: Verse 1 a) Blue jean baby, L.A. lady, seamstress for the band a) Pretty eyed, pirate smile, you'll marry a music man b) Ballerina, you must have seen her dancing in the sand a) And now she's in me, always with me, tiny dancer in my hand Verse 2 a) Jesus freaks out in the street Handing tickets out for God a) Turning back she just laughs The boulevard is not that bad b) Piano man he makes his stand In the auditorium a) Looking on she sings the songs The words she knows the tune she hums Pre-Chorus (key change) But oh how it feels so real Lying here with no one near Only you and you can hear me When I say softly slowly Chorus Hold me closer tiny dancer Count the headlights on the highway Lay me down in sheets of linen you had a busy day today Blue jean baby, L.A. lady, seamstress for the band Pretty eyed, pirate smile, you'll marry a music man Ballerina, you must have seen her dancing in the sand And now she's in me, always with me, tiny dancer in my hand • 2 main features to his music: o melody he sings often comes to a rest at a different point then the rest of the band = melodic independence from the harmony o And “modal mixture”: juxtaposes major chords with minor chords or vice verse by altering notes in the chords The Performer • Post-Liberace • Brilliant business man: Rocket is his own record label, owns his own song copyrights The Eagles • Early: navigate between soft rock and country • Guitarist Glenn Frey, drummer Don Henley, bassist Randy Meisner, guitarist Bernie Leadon (later replaced by Joe Walsh) • First album: Eagles (#22 US Pop, 1972) was followed by a country-concept album, Desperado (#41, 1973) • Achieved #1 statues with One of These Nights (#1 US Pop,#8 UK, 1975): 4th studio album Their Music • Most sympathetically: they brought together several strands of the 1960s together • Singing group (like the Byrds or Beach Boys) with 2 very strong lead voices (Grey and Henley) • They wrote all of their own music, played on their own albums and made most of the important production decisions “Take It Easy” (#12 US Pop, 1972) From the album: The Eagles • Opens with big brilliant guitar chords (rock), another electric guitar follows with a lick that sounds to me like an imitation steel guitar (country) • Lead vocal: Glenn Frey with a western accent • Backup vocals = tribute to the Beatles/Beach Boys • Harmonies are set high in the male voice register Form • 3 full verses, one shorter instrumental version of the verse + a coda • Each verse is made up of three distinct melodic phrases • The middle phrase sounds like chorus and the last phrase has its own short refrain Introduction: Big guitars open (rock) then short extension (Country riff with full band) Verse 1: “Well, I’m runnin’…”: 3 phrases, rich vocal harmonies Verse 2: “Well, I’m standin’…”: preceded by short country riff from introduction, adds back-up vocal part in the first and third phrases Instrumental Verse: guitar solo based on first 2 phrases of the verse + banjo to accompaniment Verse 3: “Well, I’m runnin’…”: as before but with the addition of even more backup vocals and repetition of 2nd phrase (refrain phrase) in place of 3rd phrase Coda: Vamp with choral vocals on top and the banjo moving to the front of the mix – then a new melody based on the verse - ends with a “surprise” chord Well, I’m running down the road Tryin’ to loosen my load I’ve got seven women on My mind, Four that wanna own me, Two that wanna stone me, One says she’s a friend of mine Take it easy, take it easy Don’t let the sound of your own wheels Drive you crazy Lighten up while you still can Don’t even try to understand Just find a place to make your stand And take it easy Well, I’m a standing on a corner In winslow, arizona And such a fine sight to see It’s a girl, my lord, in a flatbed Ford slowin’ down to take a look at me Come on, baby, don’t say maybe I gotta know if your sweet love is Gonna save me We may lose and we may win though We will never be here again So open up, I’m climbin’ in, So take it easy Well I’m running down the road trying to loosen My load, got a world of trouble on my mind Lookin’ for a lover who won’t blow my Cover, she’s so hard to find Take it easy, take it easy Don’t let the sound of your own Wheels make you crazy Come on baby, don’t say maybe I gotta know if your sweet love is Gonna save me, Coda: oh oh oh Oh we got it easy We oughta take it easy

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  xjxiidjsns 楼主 2010-07-28 03:21:27

  Lecture 6: End Songwriters; Some kitsch; Art Rock Singer-songwriters and Soft Rock • In the 1960s personal concerns were often treated as sentimentalities and navel-gazing that got in the way of revolution or subversion • Soft rock was modestly amplified; it was reserved not aggressive • = female side of the equation • First style since the advent of rock n roll that allowed women to sing in their own voice and encouraged men to soften it up Joni Mitchell (b. 1943 Fort Macleod, Alberta) • She grew up in Saskatoon • Moving to Toronto she worked the coffee house circuit • First big break: 1968 when folk singer Judy Collins recorded one of her songs, “Both Sides Now” • Moved from acoustic guitar to a soft rock band to jazz when she switched to Asylum Records • String of Top 40 Hits: “Big Yellow Taxi”, “You Turn Me On, I’m a Radio” and “Help Me” • Hoped crowning achievement of the 1970s would be a collaboration with the jazz bassist Charles Mingus (died before recording) • Sang of her romantic involvements with: • David Crosby, the producer of her first album Songs of a Seagull (1967) • Graham Nash, the inspiration for the song “Willy” on Clouds (1969) • James Taylor, inspiration for “My Old Man” on Blue (1971) • Robert Christgau on Blue: Like her voice, Joni Mitchell’s lyrics have always suggested emotional life with startling highs and lows and an attenuated middle. Just because she knows herself, she reveals how dangerous and attractive such a life can be, especially for women…In a male performer such intense self-concern would be an egotistic cop-out. In a woman it is an act of defiance. Not that Mitchell herself has always perceived it that way. Musical Style • Near-3 octave range • Fond of unresolved chords, because it bothers men • Complex chords (and voicings) with long sinuous melodies (folk + jazz), made-up of melodic units/phrases with different lengths • Rarely do these melodies come to a rest at “cadences” – closure “Help Me” (from Court and Spark, 1974) 1970s Kitsch • Music prompts that half-physical revulsion—the "yuk!" feeling • French term for late 19th century: L'art pompier —pumped-up art • Disparity between the emotion claimed by the music and the technique used to suggest it Cliché • Music is faking an emotion, by means that could never express it with any measure of sincerity • Requires the listener/viewer to suspend criticism, to fantasize instead of imaginative sympathy • Intention not matched by technique; a reliance on shortcuts and stock gestures to express something relatively important • = faked emotion “Lovin’ You” by Minnie Riperton (#1 US,#2 UK, 1975) • Begins with birds and they are chirping • Riperton had massive range: via whistle tones Lovin' you is easy cause you're beautiful Makin' love with you is all i wanna do Lovin' you is more than just a dream come true And everything that i do is out of lovin' you La la la la la la la... do do do do do No one else can make me feel The colors that you bring Stay with me while we grow old And we will live each day in springtime Cause lovin' you has made my life so beautiful And every day my life is filled with lovin' you Lovin' you i see your soul come shinin' through And every time that we oooooh I'm more in love with you La la la la la la la... do do do do do • Lyrics: clichés • No percussion • Profession of undying love (on the surface) • Built out of one melodic phrase repeated with tremendous persistence: Lovin’ You….. on a ridiculously trite chord progression (simple – far too simple) • The descending bass line is slightly ornamented by the voice that follows its descent = the hook • Heard around 16 times in the song • Vocal style: refuses to commit – slides through most of the notes • This is the opposite of “I Will Always Love You” • Disparity between the emotion claimed by the music and the technique used to suggest = LIE Progressive or Art Rock (start) • “Art Rock”? • Rock as art involves the capacity of the musician to create a personal, almost private universe and to express it fully Art Rock was premised on certain ideas about pop newly popular: 1. Sgt. Pepper: transformed rock 'n' roll into an art form  Less because of songwriting/more because of Martin’s production  Beatles mark the turning point “when the Beatles stopped being ritual dance music and became music to be listened to” Wilifred Mellers  “No one who can hear today can possibly find any way in which the Beatles imitate Black musicians” (Ralph Gleason, Rolling Stone Editor, 1968)  Eric Clapton: “I listen to the same sounds and records but with a different ear. I’m no longer trying to play anything but like a white man.”  Remember Dave Morse (Motown historian): Black musicians are no regarded as precursors  They laid the foundation, now whites would build the edifice 2. Bob Dylan: rock could be used to address serious/lofty issues The Art Schools • A more systematic inspiration for the creation of art rock came from the British Art School Simon Frith, Art Into Pop: “…these art schools promoted a nineteenth-century Romantic notion of high art as an autonomous, personal statement operating within (and sometimes resisting) the shifting demands of capitalist culture. The schools thus encouraged an atmosphere of experimentation and self-indulgence that enabled would-be musicians to bring into music-making attitudes that could never have been fostered under the pressures of professional entertainment.” Emerson Lake & Palmer Keith Emerson: keyboardist Greg Lake: guitarist (blues trained) Carl Palmer: drummer (blues trained) Alas, Emerson was the creative force • Emerson loved the music of Bela Bartok – a Hungarian composer of the 20th century who attempted to reinvigorate music with a special system that tried to absorb folk music into his harmonic language • Influence in ELP = percussive piano playing • Had a string of 4 Top Ten albums in the 1970s until 1977 when they temporarily broke up to follow individual projects • In 1977 staged a comeback and released Works: Vol. 1 and Works: Vol. 2 (almost all the tracks were solo material): tour fizzled and they disbanded again, this time for a decade ELP “Nutrocker” from Pictures at an Exhibition (1971)  Borrowed music from Modest Mussorgsky (1831-1881)  embellished it (guitar, instrumental solos + backbeat)  Ends with “Nutrocker” a rock version of Tchaikovsky’s Nutcracker Suite  This is a rock re-orchestration of a classical piece

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  xjxiidjsns 楼主 2010-07-28 03:22:04

  Lecture 7: Art Rock of the 1970s ELP: “The Endless Enigma” (from Trilogy, 1972, #5 US) • One of the most ambitious songs ever written by ELP • It is in 3 parts: “The Endless Enigma Part I,” “Fugue” and “The Endless Enigma Part II” Passage Instruments Meter Key a Synth, piano, bongos free ? b Piano, organ, drums bass 6/8 C# (minor) c Organ, bass, drums 6/8 C (minor) d (as above) 6/8 C# Verse 1 Organ, bass, voice, drums 4/4 F# Verse 2 (as above) 4/4 F# Verse 3 (as above) 4/4 Eb-F# Verse 4 (as above) 4/4 Eb-F# e Organ, bass, drums 6/8 C#-F# f Piano Free D (minor) g Piano, bass, percussion Varies C Fugue (as above) 4/4 C h Piano, bass, drums 4/4 C-F# i Organ, synth, bass, chimes 4/4 F# Verse 5 Organ, synth, bass, voice, drums 4/4 F# Verse 6 (as above) 4/4 F# Coda Organ, synth, bass, drums 6/8 ? End What’s Rock: • Straight-forward meters (patterns of accented beats) • Very regular phrases ( units of 4+4 or 2+2 = 8-beat units and 4-beat units) • And each sung phrase ends on a very conventional chord • Most chords common What’s Unusual • The length • The Structure: 3 parts, blurred boundaries • Fugue beginning obscured: begins – at “f” = an introduction to the fugue; and after the fugue, “h” and “I” sound like “f” and “g” • Does not end with a feeling of resolution: ends on the tension-laden sonority (Dissonant) • Occasional use of chords with strange bass notes – chord rests on a non-chord note bass) = wrong-bass chords • Large number of different scales/keys in a single song • Unusually number of chords • Polyphony: a texture of 2 or more simultaneous melodies kept distinct by rhythmic independence (so the fact there is a fugue in the first place) Lyrics: Part I Why do you stare Do you think that I care? You've been mislead By the thoughts in your head Your words waste and decay Nothing you say Reaches my ears anyway You never spoke a word of truth Why do you think I believe what you said Few of your words Ever enter my head I'm tired of liver for freaks? With tongues in their cheeks Turning their eyes as they speak They make me sick and tired Are you confused To the point in your mind Though you're blind Can't you see you're wrong Won't you refuse To be used Even though you may know I can see you're wrong Please, please, please open their eyes Please, please, please don't give me lies I loon? all of the earth Witness my birth Cried at the sight of a man And still I don't know who I am I've seen paupers as kings Puppets on strings Dance for the children who stare You must have seen them everywhere Lyrics: Part II Each part was played Though the play was not shown Everyone came But they all sat alone The dawn opened the play Waking the day Causing a silent hooray The dawn will break another day Now that it's done Are we going to see the reason why I'm here The LP as Song Cycle  Development of the conception of the LP as a unified whole  (Concept pioneered by Pet Sounds, Sgt. Pepper)  songs linked, progression of dramatic peaks and valleys  Rarely musical links….usually depends on thematic context (back story) or content of lyrics Pink Floyd Dark Side of the Moon (#1 US for ONE week, 1973) • Sold around 18 million copies in the US • Greatly praised as well as criticized as purveyors of psychedelic muzak DSotM as Concept Album • Has non-stop connections between songs, has a musical reprise (“Breathe”) and the return in the last song of the words, “all you touch and all you see” from the first song • = integrated whole • The 10 songs on the album were written by various subsets of the band’s members: David Gilmour, Nick Mason, Richard Wright and Roger Waters • Waters wrote everything with lyrics and was the band’s “leader” • Theme = modern condition • War, greed and organized religion are bad “Brain Damage” The lunatic is on the grass. The lunatic is on the grass. Remembering games and daisy chains and laughs. Got to keep the loonies on the path. The lunatic is in the hall. The lunatics are in my hall. The paper holds their folded faces to the floor And every day the paper boy brings more. Chorus: And if the dam breaks open many years too soon And if there is no room upon the hill And if your head explodes with dark forebodings too I'll see you on the dark side of the moon. The lunatic is in my head. The lunatic is in my head You raise the blade, you make the change You re-arrange me 'til I'm sane. You lock the door And throw away the key There's someone in my head but it's not me. Chorus: And if the cloud bursts, thunder in your ear You shout and no one seems to hear. And if the band you're in starts playing different tunes I'll see you on the dark side of the moon. • Lyrics: alienation from the world = insanity • Notice: lunatic keeps getting closer and closer (from the grass to his head) • There are 2 persons here: the singer and the lunatic and this is reflected in the music • Scale’s 3rd note is often played lowered: “The lunatic is on the grass” at “grass” the note drops a half-step • Choruses could be in 2 keys: chord progression that “works” in 2 keys simultaneously • Until the very end: the recognition of the key comes in as gradually as the singer’s realization of the lunatic’s presence in his head – this happens in the 3rd line of the chorus Yes a) Jon Anderson: vocals b) Steve Howe: guitar c) Chris Squire: bass and vocals d) Rick Wakeman: Keyboards e) Bill Bruford: drums • Wakeman = leader • First US Success = 3rd LP Fragile (1972) and had one of their very few pop single hits “Roundabout” • 2 Main Qualities: • The different sections in the piece are marked by changes in tone and timbre as well as rhythm • Focus on beautifully executed harmony vocals “Roundabout” from Fragile (#13 US, 1972) • Consists of 2 main melodies (one for the verses and one for the transitional bridge) + at least 3 instrumental interludes and an abundance of melodic material spun through them • Sections are also marked by different Introduction: reversed recording of piano then free-rhythm introduction on guitar playing harmonics (lightly touching the 6th, 3rd, 2nd and 1st strings of the acoustic guitar with the 12th fret) then descending acoustic guitar line into… Verse 1: melody “A”: “I’ll be in the roundabout….” Verse 2: melody “A”: “The music dance and sing…” Transition: Melody “B”: “In and around the lake…” Verse 3: Melody “A”: “I will remember you…” Instrumental Interlude: repeating bass + guitar riff over a complex drum pattern (actually made up of many different rhythmic patterns) • Then harmonized vocals layered: “Along the drifting could, the eagle searching down on the land….” • Then return of melody “A”: “I’ll be in the roundabout” Introduction Returns: new riff in synth added then “B” melody enters: “In and around the lake…” Instrumental Interlude: blues style organ solo while other instruments play melody “B” • Another Instrumental Interlude: solos between organ and guitar, ascending scale leads to… Verse 1: melody “A”: “I’ll be in the roundabout…” Transition: melody “B”: “In and around the lake…” Coda: Multiple harmony vocals enter over an acoustic rhythm guitar singing “da da da”; harmonies layered in groups – the first sings a simple repetitive melody and the second entered with a short countermelody = the first 3 notes of “Three Blind Mice” • Closes with return of descending acoustic guitar line from the end of the introduction Art Rock v. Black Music • Black music still built around the hit single • Art rock focused on the LP suite • ELP = 8 Top 40 albums during the 1970s • Yes = 11 between 1972 and 1983 • Pink Floyd = 7 between 1973 and 1983 • Commercial dimension to the conflict • Aesthetic/Social dimension: Art Rock = “head music” • “Body Music?” Was it devalued as a consequence? • Stylized partner dancing virtually disappeared until later in the 1970s

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  xjxiidjsns 楼主 2010-07-28 03:22:32

  Lecture 8: Glam Rock • Glam or glitter rock challenged traditional notions of masculinity and femininity as no other style of music had done • In the US: New York’s Mercer Art Centre collected the following groups: • Forty-Second Street Harlots, the Miamis, Teenage Lust, and the transvestite Wayne County • And New York Dolls • Like Rolling Stones but pretty • “…a bunch of transsexual junkies or something” • They never got beyond cult status UK • Marc Bolan shortened the name of his group from Tyrannosaurus Rex to T. Rex, he moved to an electric hard rock style (“Bang a Gong (Get it On)” 1972) • And sequins • + The Sweet (“Little Willy”) and Gary Glitter • Neither made much of an impact on North American charts David Bowie • Born David Jones • No artist before him had marketed sexual ambiguity so brilliantly • “Space Oddity” from first album Man of Words, Man of Music (1969) • Became a Top 40 hit when it was re-issued in 1973 • Established space alien persona • Next album = The Man Who Sold the World (1970) • Then Hunky Dory (1972) contained “Changes” and “Oh, You Pretty Things” and “Queen Bitch” (celebration of advanced, complex sexuality) = characteristic of this the new better counterculture Hunky Dory (1971) • Conventionally melodic • sweeping orchestral arrangements • songs built around piano and acoustic guitar “Life on Mars?” • Elaborate parody of Frank Sinatra’s pop ballads • Verse-chorus form • Song mocks emotional excess and sentimentality: o Lounge-like piano intro, orchestral strings (that swoon during the chorus) + hysterical singing o Sweeping expressive melody (large leaps in between notes) o each verse gradually builds in intensity (instrumental density) to the chorus • Lyrics typically meaningless

  • Then The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972) “I packaged a totally credible plastic rock star” an alien who comes to visit earth and becomes first a superstar and finally a rock 'n' roll suicide perishing under the weight of his own fame.  Bowie = Ziggy; (androgynous clothing - leotards, heavy brightly-colored makeup) and the album is a narrative of his adventures on earth  Theatrical premise perfect for staging:  Bowie set the standard for later acts

   Then Aladdin Sane (RCA, 1973) incorporated avant-garde jazz  Diamond Dogs (RCA, 1974) (George Orwell: 1984) – incorporated disco, rhythm and blues and medieval folk song • Tony De Fries = manager and for Lou Reed, Iggy Pop and the Stooges, and Mott the Hoople • So Bowie is on the route between glam and punk • Then in 1975 he went in another direction: Thin White Duke • = white soul boy • Young Americans (1975) = avant-garde disco • Includes two relatively big hits: the title track and “Fame” written with John Lennon Station to Station (RCA, 1976) is the culmination of his mid-1970s avant-garde disco work: mixed disco, glam and soul  Advanced melodic structures + dance groove  helped to popularize black styles with the white mainstream

  Berlin Years – the trilogy: Low (RCA, 1977), ‘Heroes’ (RCA, 1977) and Lodger (RCA, 1979) are his most innovatory albums  Low: important in the history of pop  half electronic pop and half extended instrumental pieces  album firmly paved the way for a wave of British bands:  Joy Division, Human League, the Eurythmics and Soft Cell.

  “Heroes” from Heroes (1977) Produced by Brian Eno • Compressed verse, pre-chorus and chorus in one strophe • Rhythm section consisting of Carlos Alomar on guitar, George Murray on bass and Dennis Davis on drums • They composed the underlying riff • Accompanied by a electric clatter that fills the song • It is a multi-layered rhythm made up of a regular band + Eno’s electronic effects that creates a number of distorted, pulsing layers • Pre-chorus has a variation on the riff (up higher) • 2nd verse: the voice moves up an octave; builds from a low croon to near-hysteria Lyrics:

  I I wish you could swim Like the dolphins Like dolphins can swim Though nothing Will keep us together We can beat them For ever and ever Oh we can be Heroes Just for one day

  I I will be king And you You will be queen Though nothing will Drive them away We can beat them Just for one day We can be Heroes Just for one day

  I I can remember Standing By the wall And the guns Shot above our heads And we kissed As though nothing could fall And the shame Was on the other side Oh we can beat them For ever and ever Then we can be Heroes Just for one day

  We can be Heroes We can be Heroes We can be Heroes Just for one day We can be Heroes

  80s….super pop, collapse, Tin Machine….industrial electronica…adult contemporary Bowie as Proto-Madonna

  • Bowie’s attentiveness to image influential • snake-like image shedding in the course of his career: • spaced out extraterrestrial • cocaine sniffing “thin white duke” • blued eyed soul brother • electronic industrial rock

  Talking Heads • Formed by 3 art college students at the Rhode Island School of design: • David Byrne, Chris Frantz and Tina Weymouth • First appeared at the legendary punk music club CBGB in 1975 as the opening act for the Ramones • In 1976 signed to Sire Records • And released Talking Heads: 77 – their first album • Achieved critical acclaim and broke into the Top 100 – an achievement considering Musical Style Minimalism: stresses the use of combinations of a limited number of basic elements, colors, shapes, sounds or words • This approach was popular in the New York art music scene of the 1960s and 1970s • Steve Reich, Terry Riley and Philip Glass • The TH’s instrumental arrangements fused this approach with the interlocking, riff-based rhythms pioneered by James Brown • Also Clarity: TH’s songs simple in structural terms with strong pop hooks and contrasting sections marked off by carefully arranged changes in instrumental texture Visual Presentation • They dressed in slacks, sweaters, and vests, projecting the image of cerebral but nerdy college students • = vile hipsters • Byrne’s voice high and neurotic “Psycho Killer” (from Talking Heads: 77, Pop 92, 1977) • Inspired by Norman Bates • Released during the Son of Sam killing spree in the summer of 1977 (13 people shot dead) Form Introduction: Instrumental – electric bass plays simple, short pattern twice, bass drum enters with steady beat and electric guitar plays sustained chords, 2nd guitar enters completing basic groove – the 2 guitars play choppy, rhythmically interlocking chords ( a la James Brown) A: “I can’t seem to face up…” – voice enters, anchored on single pitch, instrumental accompaniment based on interlocking riffs B: “Psycho Killer, Qu’est ce que c’est” – new chords, bass and drums continue beat B: Repeat Interlude: “Oh….Ai yai yai yai yai…” + instrumental (bass, drums and guitars play basic groove) A: “You start a conversation….” Byrne moves from singing to speech B: “Psycho Killer….” B: Repeat Interlude: “Oh, yai yai yai yai…” C: Ce que j’ai fais, ce soir la (The things I did on that night) Ce qu’elle a dit, ce soir la (The things she said on that night) Realisant mon espoir (realizing my hope) Je me lance vers la gloire….Okay (I through myself toward glory….okay)

  • To march rhythm at first and then rhythm section re-establishes the basic groove We are vain and we are blind I hate people when they’re not polite

  B: Chorus B: Repeat Interlude: Coda: Long (24 bars): Instrumental, building in intensity – last 8 bars feature stereo effect, guitar moving back and forth from left to right

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  xjxiidjsns 楼主 2010-07-28 03:22:58

  Lecture 9: Punk in the 1970s • Some young musicians began to feel rock’s rebellious energy had dissipated • Art Rock and Rock = establishment styles • Punk’s Golden Age between 1975 to 1978 • Punk is both a pop style of music and a cultural style • The Ramones parodied the contrarian impulse behind punk in the song, “I’m Against It” in 1978 I don’t like sex and drugs I don’t like waterbugs I don’t care about poverty All I care about is me I don’t like playing Ping-Pong I don’t like the Viet Cong I don’t like Burger King I don’t like anything Well I’m against it; I’m against it • Punk is the apotheosis and the ultimate exploitation of rock n roll as a symbol of rebellion • Contradictions! Fashion • Punk against the standards of traditional commercial fashion, it was also a fashion system in its own right: • Torn blue jeans, ripped stockings, outfits patched with ragged bits of contrasting material, and pins • Some punk musicians about progressive social values….others flirted with fascist imagery, attaching Nazi swastikas to their clothing and associating with Skinheads Tommy Ramone: We took the rock sound into a psychotic world and narrowed it down into a street lined with energy. In an era of progressive rock, with its complexities in counterpoints, we have a perspective of non musicality and intelligence that took over from musicianship (Laing, 1985, p. 23) • Stripped-down, simplified rock with angst-ridden lyrics (sometimes) Origins • Predecessor: garage band • Rough and ready do it yourself attitude of the garage bands paved the way for punk rock • The New York Dolls were an obvious precedent CBGB • Late 1973: a club owner Hilly Kristal reopened biker hangout on the Bowery (NYC) • Called Country Blue Grass and Blues • Started booking rock bands • = CBGB = epicenter of the New York underground rock scene The Stooges • One of the first underground rock bands booked at CBGB = Television • Stooges formed in Ann Arbor, Michigan in 1967 • Lead singer of the stooges, Iggy Stooge (aka, Iggy Pop, James Osterburg) • Famous for self-mutilation • The guitarist Ron Asheton has described their approach: Usually we got up there and jammed one riff and built into an energy freak out, until finally we had broken a guitar, or one of my hands would be twice as big as the other and my guitar would be covered in blood (Palmer, 1996, p. 263) • The Stooges eponymous first album from 1969 produced by the Velvet Underground’s John Cale created a devoted but small national audience • Their sound = demented garage band • Song titles: “The Dance of Romance” “Asthma Attack” “Goodbye Bozos” and “Search and Destroy” • And “1969”: reflects working-class angst at economic hardship(compare to Woodstock) While its 1969 OK all across the USA It’s another year for me and you Another year with nothing to do Last year I was 21 I didn’t have a lot of fun And now I’m going to be 22 I say oh my and a boo hoo Another year with nothing to do Its 1969, 1969, 1969, 1969, 1969, baby Blondie • Formed by singer Deborah Harry and the guitarist Chris Stein • She = blonde bombshell (borrowed by?) • Had a debut at CBGB in the early 1970s and hit the charts with their 3rd album: Parallel Lines (1978) Parallel Lines (#6 US,#3 UK, 1978) • Yielded 4 hit singles and eventually went on to sell about 20 million copies worldwide • Harry’s voice is generally cool and deadpan • Simple melodies, insistent drumming, minimalists • 1950s and 1960s pop pastiche “Sunday Girl” (#1 Everywhere but N.A., 1979) • Contracting phrases in the verse (repeated twice) • “B” section = “parody” of 1950s rock n roll dance • Prone to verses in French Lyrics: I know a girl from a lonely street Cold as ice cream but still as sweet Dry your eyes Sunday girl Hey, I saw your guy with a different girl Looks like he's in another world Run and hide Sunday girl Hurry up, hurry up and wait I say awake all week and still I wait I got the blues, please come see What your loving means to me She can't catch up with the working crowd The weekend mood and she's feeling proud Live in dreams Sunday girl Baby, I would like to go out tonight If I go with you my folks'll get uptight Stay at home Sunday girl Hey, I saw your guy with a different girl Looks like he's in another world Run and hide Sunday girl When I saw you again in the summertime If your love was as sweet as mine I could be Sunday's girl Hurry up, hurry up and wait I say awake all week and still I wait I got the blues, please come see What your loving means to me I got the blues “One Way or Another” (#24 US, 1979) • Girl predator • Talking Heads – like minimalism: song built up out of the tonic and the flatted-7th of the scale Lyrics: One way or another I'm gonna find ya I'm gonna getcha getcha getcha getcha One way or another I'm gonna win ya I'm gonna getcha getcha getcha getcha One way or another I'm gonna see ya I'm gonna meetcha meetcha meetcha meetcha One day, maybe next week I'm gonna meetcha, I'm gonna meetcha, I'll meetcha I will drive past your house And if the lights are all down I'll see who's around One way or another I'm gonna find ya I'm gonna getcha getcha getcha getcha One way or another I'm gonna win ya I'll getcha, I'll getcha One way or another I'm gonna see ya I'm gonna meetcha meetcha meetcha meetcha One day, maybe next week I'm gonna meetcha, I'll meetcha And if the lights are all out I'll follow your bus downtown See who's hanging out One way or another I'm gonna lose ya I'm gonna give you the slip, a slip of the lip or another I'm gonna lose ya, I'm gonna trick ya One way or another I'm gonna lose ya I'm gonna trick ya trick ya trick ya trick ya One way or another I'm gonna lose ya I'm gonna give you the slip I'll walk down the mall Stand over by the wall Where I can see it all Find out who ya call Lead you to the supermarket checkout Some specials and rat food, get lost in the crowd One way or another I'm gonna getcha, I'll getcha, I'll getcha getcha getcha getcha (Where I can see it all, find out who ya call) One way or another I'm gonna getcha, I'll getcha, I'll getcha getcha getcha getcha (Where I can see it all, find out who ya call) One way or another I'm gonna getcha, I'll getcha, I'll getcha getcha getcha getcha (Where I can see it all, find out who ya call) [repeat until fade] The Ramones • The first bona fide punk rock band was the Ramones • Formed in 1974 in NYC • All the band’s members we’re from middle class families in the New York City borough of Queens 1. Jeffrey Hyman (Joey Ramone) on vocals 2. John Cummings (Johnny Ramone) on guitar 3. Douglas Colvin (Dee Dee Ramone) on bass 4. Tomy Erdelyi (Tommy Ramone)on drums • Taking the stage and blue jeans and black leather jackets the Ramones began playing regularly at CBGB ease in 1975 this • What were the blue jeans and black leather jackets meant to evoke? 1950s nostalgia! • By the end of the year there was signed with sire records • Their eponymous debut album was recorded in 1976 for just over $6000-and it managed to reach number 111 on billboard • Later that year the Ramones staged a British invasion in reverse • Their concerts in English cities, where the records have already created an underground sensation, were attended by future members of almost every important British punk band including the sex pistols, the clash and the damned • In 1977 the Ramones scored a UK top 40 hit with the song sheena is a punk rocker which reached number 88 and the U.S. • The Ramones’ music reflected their origins as a garage band made up of neighborhood phrase • As the guitarist Johnny Ramona phrased it in an interview with the popular music scholar Robert Palmer: I had bought my first guitar just prior to starting the Ramones… It was all very new; we put records on, but we couldn’t figure out how to play the songs, so we decided to start writing songs about were within our capacities • Catchy pop inspired melodies + played it extremely fast tempos • That lasted no more than two and half minutes • The band’s raw, hard and sound was anchored by steady barrage of notes played on drums bass and guitar • Johnnie Ramone rarely if ever to played guitar solos The Ramones: “I wanna be sedated” from album, Road to Ruin (1978) • This was their fourth album • Song a good example of the Ramones’ style and twisted sense of humour: • Example of a stanza: Twenty, twenty, twenty-four hours to go, I wanna be sedated Nothin’ to do and nowhere to go-o-o, I wanna be sedated Just put me in a wheelchair, get me to the show Hurry, hurry, before I gotta go I can’t control my fingers, I can’t control my toes Oh no no no no Ba-ba-bamp-ba ba-ba-ba-bamp-ba, I wanna be sedated Ba-ba-bamp-ba ba-ba-ba-bamp-ba, I wanna be sedated  Lyrics quite nicely captures the onset of drug-induced catatonia  Set to a catchy melody with a Beach-boys like chorus  = “sick bubblegum music” Social Chroniclers • Some recordings did provide commentary of many working class and middle class homes during a period of severe economic recession “I Wanted Everything” (1978) is sung by dispossessed son Guitar Sound of Johnny Ramone o Stripped rock guitar of its ornamentation o played almost every note in a violent, accelerated downstroke o Style: fast, repetitive and aggressive, though always tuneful o influenced, directly or indirectly, almost every punk guitarist since, from the Sex Pistols' Steve Jones and the Clash's Joe Strummer to Nirvana's Kurt Cobain and contemporary players like Billie Joe Armstrong of Green Day Sex Pistols Band perpetrated by… Malcolm McLaren (now dead)  fashion designer who spent the 60s in art school  In 1972 started a clothing boutique with Vivienne Westwood:  Let It Rock then Too Fast Too Live, Too Young to Die  Started with selling biker gear and then Nazi outfits  One early shopper recounted: “we hated older people always harping on about Hitler….It was a way of saying Well I think Hitler was very good actually, a way of watching someone like that go completely red-faced.”  1974: McLaren went to New York to design costumes for the New York Dolls  Communist outfits  Returned to London: put together his own band made up of kids loitering around his chop  Renamed his shop Sex and stocked it full of SM gear  Turned his group into… The Sex Pistols: Warwick Nightingale: guitar, vocals Steve Jones: guitar Paul Cook: drums Glen Matlock: bass  McLaren then eliminated Warwick (because could play instrument?)  introduced new lead singer John Lydon (who had never sung before)  Renamed Johnny Rotten  His stage act involved a great deal of screaming obscenities  At first SP only played at art colleges  Representatives of working class were (by and large) hated by them Sex in Punk  McLaren infamously designed a T-shirt depicting the hood worn by a rapist who was then terrorizing Cambridge  After the huge outcry he printed up more adding the Beatles’ song title “A Hard Day’s Night”  Comments on black music: “brutality and sheer sexual explosiveness”, “big bad noise” and “the brutal beat”  In the late 70s: mounted an exhibition: video monitors playing black music-making  Above read caption: “I’m taking their culture and exposing it the right way.” The Rise and Fall of the Sex Pistols • McLaren managed to secure major label support for the SP  1976 EMI released their first single: “Anarchy in the UK” It was a top 40 hit (in the UK) but soon withdrawn after Rotten uttered an obscenity during a TV interview  1977: bassist (Matlock) replaced by John Ritchie, a non-musician friend of Rotten  = Sid Vicious who could not play the bass  = agitator  Bob Geldof recounts: “Before one concert Sid was hit by Steve Jones who had grown sick of being in a band with someone who couldn’t play his instrument”  McLaren continually fed the band amphetamines  Ritchie/Vicious began an affair d’amour with American prostitute Nancy Spurgeon  She got him hooked on heroin, thus slowing him down  1977: SP signed by Virgin records (after being dumped by EMI)  Virgin then released “God Save the Queen (It’s a Fascist Regime)”  Blank label: Number two on British Charts  Also released only studio album: Never Mind the Bollocks, Here’s the Sex Pistols (1977)  Thereafter the band fell apart with Rotten soon leaving because of fights with McLaren “Anarchy in the UK” Original version released 1976 • Musical structure of “Anarchy…” is simple verse-chorus made up of 3 primary chords Chart: Introduction: “right now…ha ha ha ha…. Verse 1: “I am an antichrist….” Chorus: “I….wanna be….Anarchy….” Verse 2: “Anarchy for the UK….” Guitar solo 1: on different chords from verse and chorus (II and III) Verse 3: “How many ways to get what you want….” Chorus: As before Guitar solo 2: “Needles and Pinks” quotation Verse 4: “Is this the M.P.L.A” Chorus: new words, “Just….another country” Chorus: 4 times: “I…wanna be….anarchy….Oh what a name… Get pissed destroy! Snarl snarl

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  xjxiidjsns 楼主 2010-07-28 03:23:12

  Lecture 10: Soul Music Introduction Rock Against Racism (RAR) • An organization that was a broadly based mass movement that was opposed to the English neo-fascist National Front (neo-nationalist English party) • 1976: staged concerts • Packaged Reggae + rock • “Any fascist ambiguities in Punk was fueled by the way that the style had bled Rock dry of all black influences; one way to overcome any taint of white supremacy was to affirm visible links with Reggae” (John Savage) On one level RAR was an orthodox anti-racist campaign simply using pop music to kick political slogans into the vernacular. But on another level, it was a jail break. We aimed to rescue the energy or Russian revolutionary art, surrealism and rock and roll from the galleries, the advertising agencies and the record companies, and use them against to change reality, as had always been intended. And have a party in the process. (David Widgery – RAR historian/archivist) Soul Music Term: Soul • Circulating in jazz circles since the 1950s • And it referred to a style of jazz that was less influenced by European musicians • Ray Charles (originator?) knew Charles Mingus who is the “soul” jazz bassist • In pop music generally meant gospel (and James Brown) The LP as Song Cycle  Main point of contact between rock and soul was the conception of the LP as a unified whole  Concept pioneered by Pet Sounds, Sgt. Pepper)  songs linked, progression of dramatic peaks and valleys  Brought into Soul by…. Marvin Gaye (1939-1984): “What’s Going On” (Benson/Cleveland/Gaye) #2 Pop,#1 R&B from the album What’s Going On In the Motown tradition 1. made maximum use of studio technology  Gaye pioneered the studio technique of multitracking  Multitracking: the layering of pre-recorded voices 2. Also standard was the mixture of strings and R&B instrumentation. 3. Excellent backing band  Gaye hired jazz musicians to play on the album  listed their names on the front cover (unusual) Broke from the Motown Tradition 1. Did not focus on singles  Gaye’s version of Sgt. Pepper’s (the unified –almost concept - album) 2. Gaye’s lyrics venture into forbidden territory – for Motown  poverty, pollution, the Vietnam War and the generation gap  Gaye did for Soul Music what Dylan did for rock Stevie Wonder (b. 1950)  SW was a Motown artist as a teenager in the 60s  Signed a new contract with Motown in 1971 (at the age o 21)  guaranteed him full artistic control over all aspects of his music First jack of all trades: 1. Singer 2. Songwriter 3. multi-instrumentalist 4. arranger 5. producer  Played all the instruments and used overdubbing:  he would commit an instrumental part to tape, and then play another part, while listening to the tape and so on…). Talking Book (1972) Innvervisions (1973) Fullfillingness’ First Finale (1974) Songs in the Key of Life (1976) “Superstition” (Stevie Wonder, 1972 #1 Pop and R&B)  Opens with repeated riff over an unchanging chord as the song’s hook (James Brown) + horn riff  Uses Clavinet: electronic keyboard instrument called to play the riff  Chorus: “….when you believe in this you don’t understand” introduces “blues” chord changes  whole the verse-chorus unit of the song: expanded variant of the 12-bar blues “You Are the Sunshine of My Life” (Stevie Wonder, #1 Pop and R&B) 1972 from the album Talking Book Form: Simple verse-chorus Intro: keyboard chord progressions Opens with Chorus: each line given to a different background singer  Two 4-bar phrases, (antecedent-consequent) statement-answer  Like call-and-response Verse: Stevie enters (halo of cymbals)  Another two 4-bar phrases (paired)  Added horn melody Song distinguished by:  Beautiful well-shaped melodies  Subtle instrumentation  Joy – not the most common pop song expressive state Arrangement:  background singers provide countermelody during chorus  Layering of different (though related) melodies  Subtle layering of different rhythmic layers  By the song’s end there is a luminous, transparent but full texture “Living for the City” (#8 US, 1973) Introduction: electric piano and synth bass establish song’s basic chord progression A: Verse 1: “A boy is born” (added drum); Verse 2: “His father works…” (+ kickdrum); Bridge: lead vocal on syllable “la” – changes meter 3 times A: Verse 3: “His sister’s black…”; Verse 4: “Her brother’s smart…”; Bridge A: Vamp: music from verse provides for vocal improvisations, + backup singers + handclaps; Bridge B: Central Drama A: Verse 5: Lead vocal changes color – gruff and bitter “His hair is long…”; Verse 6: “I hope you hear….” (adds another lead vocal + new harmonies and prolongations); Bridge repeated 3 times

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  xjxiidjsns 楼主 2010-07-28 03:23:31

  Lecture 11: Soul Music Part II Isaac Hayes (b. 1942) • Associated with the rise of blaxploitation films… Sweet Sweetback’s Baad Assss Song (1971) • Hollywood took notice and began releasing movies that appealed to the same sensibility • Strong, virile black leading men dealing decisively with inner-city dilemmas Shaft (1971) was marketed directly to a black audience • Soundtrack composed and performed by Isaac Hayes (won an Oscar) • Released Hot Buttered Soul (1969) • Went triple platinum and • His next few albums were in the HBS vein (sold almost as well) • Gave rise to a new genre of soul: • The lengthy, drawn-out monologue, half spoken and half sung, against a dense, throbbing, quasi-orchestral background Hot Buttered Soul’s standout track: 18-minute version of “By the Time I Get To Phoenix” Crossed over to the pop charts however, with the Theme from Shaft (#1 on both pop and R&B charts) • Built on the sound of the wah-wah guitar (association with black pop ever after) Wah-wah pedal modifies the “vowel quality” of a tone – alters pitch and timbre to create a crude simulation of a person saying “wah” “Joy” (#7 US, from Joy, 1974) • Opens with Groove (anchored by slippery bass) + long, high-string pedal note (held for a long time then downward slide) • Speech-singing…fluid prose-rhythms for verse • Then pre-chorus to…….extended chorus (harmony change to major mode + ascending vocal line “blooms”) Curtis Mayfield (1942-1999) • Like Hayes, Mayfield had deep roots in 1960s R&B • Throughout the decade he was a member of the Chicago-based vocal group, the Impressions on the Okeh record label Early style • Eccentric rhythmic approach • Sparse arrangement, unusual dance rhythms (Latin-based) • (Major Lance scored a decent hit with a Mayfield production called, “Um, Um, Um, Um, Um, Um”) Solo Years • Left Okeh in 1966 and started his own record label (Windy C. Records then Curtom) • Style change: Jagged bass lines, frenetic percussion flourishes • And a very aggressive vocal attack • Fairly didactic (not poetic) texts Film Work • Inspired by Hayes’s success with Shaft, Mayfield wrote music for film Superfly (1972) • “Freddie’s Dead” reached #2 on the R&B charts and#4 on the pop • Voiced problems of black urban life • And performed frequently on TV “(Don’t Worry), If There’s a Hell Below, We’re All Gonna Go” (1970, R&B3, Pop29) • From his album Curtis (1st solo) • Said to be the first Soul concept album • Begins with recitations by various voices • Accompanied by bass guitar (distorted) and a groove supplied by the conga drums • Mayfield enters: "Sisters! Niggers! Whities! Jews! Crackers! If there's a Hell below, we're all gonna go!" • Full band follows: wah-wah guitar, horns, congas, Latin percussion, strings, and the heavy rock bass and guitar • Great deal of sonic aggression; song has a loosely defined structure Lyrics And Nixon says 'don't worry' Everybody prayin' And everybody sayin' But when it comes time to do Everybody's layin' They say 'don't worry But they don't know There can be no show And if there's a Hell below We're all gonna go Lord, what we gonna do? Tell me what we're gonna do If everything I say is true This thing's been weighing on me If only all the masses could see Barry White (1944-2003)  performed with a trio of female singers + a 40 piece orchestra known as Love Unlimited  The great seducer…professions of undying love to complete filth  His songs are cross between soap opera and soft porn.  Cavernous deep basso voice – utterly seductive = burnished bronze wrapped in gauze “Can’t Get Enough of Your Love Babe” (1974) #1 Pop,#1 R&B  verse-chorus form: Verses = two, 8-bar units + 8-bar chorus  two-bar prolongation at end of each verse, before chorus = prolongation  Up-tempo disco song + string-dominated arrangement “Love’s Theme” (1973) #1 Pop#1 R&B  Performed by The Love Unlimited Orchestra Emphasizes: 1. Danceability 2. Sweet sound of the string dominated melody  steady dance groove keeps strings from sounding sentimental; string melody prevents the dance beat from sounding overly mechanical AABA form (strophic): B slightly longer…builds anticipation  one of the first disco songs  This recording one of the first in a long line of instrumental disco records  Leached into the “Philadelphia Sound”  May also be considered “soft soul” (Delfonics, Spinners, Stylistics….,)

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  xjxiidjsns 楼主 2010-07-28 03:23:49

  Lecture 12 70s Funk  “Funky” derived from central African term: funki “healthy sweat”  Also used by New Orleans jazz musicians during 1910  Connotations of strong body odor or odors, usually related to sex General Qualities  70s Funk derived from James Brown  Strong, dance oriented grooves (bass and drums on all four beats, snare drum + other instruments on 2nd and 4th beats)  Emphasis on “riffs” (several sometimes simultaneously)  Call and response between voices and instruments  Interlocking rhythmic patterns (guitar, keyboards and horns)  Used rhythm section (guitar, keyboard, bass and drums) + horn section Another influence: Sly and the Family Stone: “psychedelic soul” Sly and the Family Stone  Began by a Texas prodigy name Sylvester Stone in 1967  Assembled multi-racial band of women and men and called themselves the Family Stone  Signed to Epic (a subsidiary of Columbia Records); insisted they weren’t SOUL  Disrupted standard soul “texture” of lead singer + background singer  Everyone participates = “pass-the-parcel” succession of lead voices  = Communism  + jazz inflected trumpet and sax, psychedelic distortion on lead guitar and organ, and percussive electric bass of Larry Graham  Crossed-over with some frequency: “Dance to the Music” (#8, 1969) they began to + #1 singles, “Everyday People (1969), TYFLMBME (1970) Thematically, Sly were on the vanguard of racial awareness Don’t Call Me N*** word, Whitey (Don’t Call Me Whitey, N***) • More often songs were apolitical party music And: Thank You (Falettinme Be Mice Elf Agin) 1970 (#1 Pop and R&B) • Form: Verse-Chorus (+ 2 instrumental interludes after first two choruses) • Built on an unshakeable groove, established by a repeating bass-riff • (Larry Graham is the anchor) • Variation supplied by shift from unison vocals to harmony, the horns providing different riffs, accompaniments change, colors of the arrangements change, fills at end of phrases change… Introduction: Groove established by guitar, bass, and high-hat with drums and horns added later Verse 1: “Lookin’ at the devil…” Chorus: “Thank you…” Interlude: bass drops out and leaves guitar and drums Verse 2: As before + horns fading in and out “Stiff at the collar…” Chorus: As before Interlude: As before Verse 3: Slightly busier accompaniment filling in spaces between vocal phrases, “Dance to the music….” Chorus: As before Contrasting Verse: with new tremulous vocal, “Flamin’ eyes….” Chorus: 3 times First Funk (1973): 1. Kool and the Gang’s “Jungle Boogie” (1973) 2. Ohio Players’ “Fire” (1974) 3. Wild Cherry, “Play that Funky Music” (1976) 4. Earth Wind and Fire • Maurice White = centre + singer Philip Bailey and a vast number of other musicians • Sophisticated band adept at vocal harmonizing (Motown); rhythmic precision (James Brown) and improvisation (jazz) “September” (#8 US,#3 UK) • Essentially a single riff and one chord progression (jazz chords however) • = a type of musical minimalism Introduction: Groove based on piano + guitar – then claps, drums (all sweetly melodic then horns! Verse 1: “Do you remember…” (falling vocal phrases, horn line responds at end of phrase) Verse 2: End of which builds into higher pitched chorus Chorus: “Ba da yay…” (falsetto, ends with harmony vocals) Interlude: vocal syllables over Verse 3: Verse 4: “Now December…” Chorus: Chorus: background vocals provide extension Verse repeat/Chorus/Chorus repeat/Chorus repeat with new horn line The greatest Funk Band: Parliament/Funkadelic  Group of around 40 musicians centered around George Clinton  = Dr. Funkenstein  bandleader, arranger and main songwriter  Recorded for independent label Casablanca (major player in disco)  Created a near-consistent mythology expressed in… Live shows  Wild costumes  Elaborate sets (dominated by “the mothership”) And concept albums  Urban Black sensibility/language + sci-fi derived plots  Conflict between Cro-nasal Sapiens and the Thumpasorus People: who buried the secret of funk in the Egyptian pyramids and left for the Chocolate Milky Way, under the leadership of Dr. Funkenstein aka Star Child aka Sir Lollipop Man  = cosmic defender of funk against Sir Nose D’VoidOfFunk (rhythmically crappy music) “Give Up the Funk (Tear the Roof of the Sucker)” (1976)  Biggest cross-over hit from their biggest selling album: The Mothership Connection P-Funk:  heavy, syncopated bass-lines  interlocking rhythms with strong accent on each beat of each bar (special emphasis on 2 and 4)  multi-section songs  call and response between horns and keyboards  R&B styled vocal harmonies  verbal chants + Choral sing-alongs ***Strong beat on bass and drums anchor the constantly shifting layers of riffs Structure: comprised of 3 sections: • Chorus 1: “You’ve got a real type of thang…” • Chorus 2: “We want the funk” • Interludes: “La la la” • Each instrument and voice has its own part (melody, or rhythmic patterns) • And it is layered in different combinations • ( bass and electric guitar weave complicated rhythmic patterns against the more straightforward patterns in the drums) Influence:  Prince  Outkast  Dr. Dre; Red Hot Chili Peppers  Sampled extensively (2nd only to James Brown) The Rise of Disco (1975-1980)  Word disco derived from discotheque Band unimportant 3 players: Producer (oversaw recording), DJ (played them), Glamorous singer (sang them)  LP unimportant  Single elevated  DJ’s developed techniques to extend the single to great lengths  Techniques made possible hip-hop, house and techno • By mid-1970s clubs common in urban Black, Latino and increasingly visible gay communities in NYC and SF Why invaded pop mainstream?  Dancing neglected (in the mainstream – not in Soul)  Hollywood promoting trends  Recession of 1970s: DJs instead of live musicians Archetypal Hit: Donna Summers, “Love to Love You Baby” Number 2 Pop, Number 3 R&B, 1975)  Recorded in Germany, released in US by Casablanca  Producer Georgio Moroder’s mixing relies on: 1. clear stereo-separation of instruments 2. synthesizers which can mimic sound of other instruments 3. electronic reverb: to establish spatial qualities 4. Multi-tracking 5. The bass (function like hooks – we always notice the bass lines)  Original recording is 17 minutes long expressly for discos  (edited down to 5 minutes)  Opens sexy breath in, then Ms. Summer singing hook “Ah love to love you baby”  accompanied by sound of hi-hat cymbal (pair of cymbals opened and closed by drummer’s left foot)  Next = guitar played with wah-wah pedal  + bass drum playing solid 4 to the beat bar.  = core elements of disco: sexy, studio enhanced female voice, rhythm track borrowed from funk, steady beat The overall song is just two phrases which alternate 1. Verse-chant 2. Chorus = the hook  Overtly sexual….filled with Summer’s orgasmic moans and groans

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  xjxiidjsns 楼主 2010-07-28 03:24:03

  The Rise of Disco (1975-1980)  Word disco derived from discotheque  Displaced Funk (couldn’t keep up with the speed)  Conquered Rock

  Band unimportant 3 players: Producer (oversaw recording), DJ (played them), Glamorous singer  LP unimportant  Single elevated  DJ’s developed techniques to extend the single to great lengths

  Why invaded pop mainstream?  Dancing neglected (in the mainstream – not in Soul)  Hollywood promoting trends  Recession of 1970s: DJs instead of live musicians

  Archetypal Hit: Donna Summers, “Love to Love You Baby” Number 2 Pop, Number 3 R&B)  Recorded in Germany, released in US by Casablanca  Impossible to record without the musical technologies of the 1970s  Producer Georgio Moroder’s mixing relies on:

  1. clear stereo-separation of instruments
  2. synthesizers which can mimic sound of other instruments
  3. electronic reverb: to establish spatial qualities
  4. Multi-tracking
  5. The bass (function like hooks)

   Opens with intake of breath and Summer singing hook “Ah love to love you baby”  accompanied by sound of hi-hat cymbal (pair of cymbals opened and closed by drummer’s left foot)  Next sound is guitar played with wah-wah pedal  + bass drum playing solid 4 to the beat bar  = core elements of disco: sexy, studio enhanced female voice, rhythm track borrowed from funk, steady beat

  • The overall song is just two phrases which alternate

  1. a chanty verse
  2. the hook

  By the late 70s Disco took over pop culture as a whole  Saturday Night Fever (1977) starring John Travolta as a working class kid who becomes a championship disco dancer  Movie revived careers of BeeGees (Australian group, sentimental ballads)  Spread of discos to every corner of America  Fascinating Places (shrines to hedonism)  Strict dress code + sensory bombardment  Disco bandwagon: Barbra Streisand, Rolling Stones’ “Miss You”, Diana Ross, Michael Jackson, James Brown

  What makes a disco record a disco record? 5 Things….

  1. The Beat:

   Consistent, unrelenting with some changes in texture – no such thing as “stop time”

  2. Steady, medium fast tempo:

   Nearly all songs written in same tempo  BPM indications to create seamless sequences  adjustable-speed turntable so dance beat wouldn’t vary

  3. Repetitive Song Forms:

   verse-chorus forms with chorus heard first  chorus begins with title of song: identifying song immediately and supplying concise verbal and musical hook  dance breaks – beat, bass line given special emphasis

  4. Straight-forward subject matter and lyrics

  • Usually no subtleties – lyrics about sex and dancing (with some deeper messages possible)

  5. Limited harmonic vocabulary:

   two chords alternating (most often)  verse based on same chords as chorus (usually)  “Melodic” bass lines – given tremendous force in the production

  ***Five categories could be used to describe 50s rock too “Bad Girls” performed by Donna Summer (#1 US, 1979) Introduction: texture built up gradually and slowly with marvelous “toot toot” Interlude: melody (hook) presented in horns Chorus: “Bad girls…” Verse 1: With girl-group style backup vocals at ends of phrases; “See them out on the street…” Verse 2: horn hits added: “You ask yourself….” • Pattern repeats twice: new guitar lines, new backup vocals… • Reprise of Introduction: varied and expanded: Donna Summer becomes one of the bad girls singing “hey mister, have got a dime” acting on her realization in the third verse that she and the bad girls are both the same. Interlude + Chorus + Ending “Good Times” performed by Chic (#1 US, 1979), Produced by Nile Rodgers and Bernard Edwards Finest band of the disco era: infectious bass line, guitar as texture (great deal of rapid strumming of two chords) • 2 chords that song moves between • Piano used very selectively – reinforce hooks, occasionally for bell-like timbre • + string countermelodies + “punctuation” • Note: bass line: three insistently repeating notes and then an ascending rumble = one of most famous in history

  Verse-chorus (chorus begins song) – counting it, chorus heard three times (memorable, hook) • Sung by small group of vocalists in unison in a clipped robotic style

  Irony? Good Times forced? (Only seems like an upbeat party anthem)

  “Enough is Enough” (#1 US, 1979) performed by Donna Summer and Barbra Streisand • Off Streisand concept album: Wet • Vehicle for pure vocal virtuosity • Great wall of woman • Form is verse chorus but verses are musically impoverished; = ascending phrases that build into the chorus Barbra It's raining, it's pouring my lovelife is boring me to tears, after all these years Donna No sunshine, no moonlight, no stardust, no sign of romance we don't stand a chance Barbra I've always dreamed I found the perfect lover but he turned out to be like every other man I loved Both Raining (raining) pouring (pouring) there's nothing left for us here and we won't waist another tear

  Donna If you've had enough, don't put up with his stuff, don't you do it Barbra If you've had your fill, get the check pay the bill, you can do it Donna Tell him to just get out, Barbra Nothing left to talk about Donna Pack his raincoat show him out Both Just look him in the eye and simply shout:

  Enough is enough I can't go on, I can't go on no more no Enough is enough I want him out, I want him out that door now Enough is enough enough is enough that's enough

  Donna If you've reached the end, don't pretend that is right when it's over Barbra (it's over) if the feeling is gone don't think twice just move on, get it over Donna (over, over) Both Tell him to just get out, say it clearly, spell it out:

  enough is enough is enough I can't go on, I can't go on no more no enough is enough is enough I want him out, I want him out that door now Enough is enough enough is enough that's enough

  Barbra I've always dreamed to find the perfect lover, but he turns out to be like every other man our love (I had no choice from the start) our love (I've gotta listen to my heart) our love (tearing us apart)

  Enough is enough is enough I can't go on, I can't go on no more no enough is enough is enough I want him out, I want him out that door now Goodbye mister…

  Both No more tears (no more tears) No more tears (no more tears) No more tears (no more tears) No more tears (no more tears) Enough is enough is enough is enough is enough is enough I've had it, you've had it, he's had it, we've had it

  Donna I always dreamed I find the perfect lover, Barbra But he turned out to be like every other man Both I had no choice from the start I've gotta listen to my heart tearing us apart

  Enough is enough is enough I can't go on, I can't go on no more no enough is enough is enough I want him out, I want him out that door now Goodbye mister, goodbye, goodbye mister goodbye sugar It's raining, it's pouring there's nothing left for us here and we won't waist another tear No more tears is enough is enough is enough is enough is enough is enough is enough is enough!

  “What a Fool Believes” Doobie Brothers (#1 US, 1978)

  He came from somewhere back in her long ago The sentimental fool don't see Tryin' hard to recreate What had yet to be created once in her life

  She musters a smile For his nostalgic tale Never coming near what he wanted to say Only to realized It never really was

  She had a place in his life He never made her think twice As she rises to her apology Anybody else would surely know He's watching her go

  But what a fool believes he sees No wise man has the power to reason away What seems to be Is always better than nothing And nothing at all keeps sending him ...

  Somewhere back in her long ago Where he can still believe There's a place in her life Someday, somewhere, she will return

  She had a place in his life He never made her think twice As she rises to her apology Anybody else would surely know He's watching her go

  But what a fool believes he sees No wise man has the power to reason away What seems to be Is always better than nothing There's nothing at all But what a fool believes he sees .

  • Form = Verse-Chorus but ambiguous division • “But what a fool believes he sees, no wise man has the power…” = verse? Chorus?

  The words:

  • Lyrics: verse = meeting between a man and a woman he mistakenly believes is still in love with him; chorus = inner monologue (he knows he’s fooling himself?)

  Chords

  • Introduction opens with a chord that defies classification: could be labeled as at least 3 different chords – remaining progression doesn’t help to clear things up

  Rhythm

  • The rhythms are out of synch between voice and piano (syncopated vocal lines against square piano rhythms or square vocal lines against syncopated piano rhythms)

  Meaning? • What a fool believes….but only half-fooled hence the ambiguity of structure – it is blurred but still perceptible

  Disco revulsion  Anti-disco rally held by Chicago DJ Steve Dahl in 1979 before a White Sox baseball game = ritualized destruction of disco records + riot  3 possible explanations:

  1: Gays  Disco sucks  Disco WAS closely associated with the gay subculture: hedonism, body-consciousness, complicated dance steps and outfits  Biggest selling, most popular act of late 1970s, Village People: formed by French record producer Jaques Morali and promoted by Casablanca records: Macho Man, YMCA, In the Navy, Go West = really gay

  “Go West” (1979, #1 UK, did not chart US)  …to San Francisco  Bass keeps repeating same two-bar line throughout the piece = ground bass  Common device in 18th century laments… “I Was Born This Way” written by Bunny Jones (1975) performed by Carl Bean (1977) • A footnote • The intensity of Bean’s vocal is what sets this apart • It is a stereotypical disco song from the 1970s: bass, instrumentation, beat are all unoriginal • But used to express something unusual and quite deeply felt…

  2: Rock fans offended by the hedonistic lifestyle 3: A result of racial misunderstanding • Disco associated with black pop and so unwelcome • The worlds of white rock and black pop had grown so far apart that no rock fan had the tiniest inkling what was going on in black music • Presumably then if they heard more Stevie Wonder everything would’ve been fine… 4: Disco attacked the rock/hippie aesthetic • Not about serious subjects • Mechanical and simplistic • All about the beat, not about musicianship

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  xjxiidjsns 楼主 2010-07-28 03:24:18

  Lecture 14: The End ABBA Benny Andersson Agnetha Fältskog Anni-Frid Lyngstad Björn Ulvaeus • Victory in the Eurovision Song Contest in 1974, with Waterloo, = the beginning • Cumulative record sales = around 180 million • Abba's music written by Andersson and Ulvaeus with some lyrics by their manager Stig Anderson • 1970s pop and disco + European and Latin folk/pop music • Prominent characteristics = perfect pop hooks, seamless melodic writing with simple harmonic motion (mixture of major and minor chords) • Words supply the rhythms…. • And very detailed production: engineer Michael B. Tretow • Group disbanded in 1982 “Take A Chance on Me” (#3 US, 1977) • Opens a capella – vocals only: “Take a chance, take a chance, take a chick a chance chance” = rhythm that becomes a musical rhythm • Simple chords and chord progressions • Sections of unequal length • (Instrumentation includes country guitar) • Lyrics depressing and needy • Chorus is in major key • Verses veer between major (happy) and minor (sad) Fantasy v. Reality • “We can go dancing, we can go walking” (Minor chord) • “As long as we’re together” (Major chord – a quick burst of optimism) • “Listen to some music, maybe just talking” (Minor) • “You’d get to know me better cos you know I got” (Major) • “So much that I wanna do” (Minor) • “When I dream I’m alone with you” (Major) • “It’s magic!” (Minor) • “You want me to leave it there” (Minor) If you change your mind, I'm the first in line Honey I'm still free Take a chance on me If you need me, let me know, gonna be around If you've got no place to go, if you're feeling down If you're all alone when the pretty birds have flown Honey I'm still free Take a chance on me Gonna do my very best and it ain't no lie If you put me to the test, if you let me try Take a chance on me (That's all I ask of you honey) Take a chance on me We can go dancing, we can go walking, as long as we're together Listen to some music, maybe just talking, get to know you better 'Cos you know I've got So much that I wanna do, when I dream I'm alone with you It's magic You want me to leave it there, afraid of a love affair But I think you know That I can't let go If you change your mind, I'm the first in line Honey I'm still free Take a chance on me If you need me, let me know, gonna be around If you've got no place to go, if you're feeling down If you're all alone when the pretty birds have flown Honey I'm still free Take a chance on me Gonna do my very best and it ain't no lie If you put me to the test, if you let me try Take a chance on me (Come on, give me a break will you?) Take a chance on me Oh you can take your time baby, I'm in no hurry, know I'm gonna get you You don't wanna hurt me, baby don't worry, I ain't gonna let you Let me tell you now My love is strong enough to last when things are rough It's magic You say that I waste my time but I can't get you off my mind No I can't let go 'Cos I love you so If you change your mind, I'm the first in line Honey I'm still free Take a chance on me If you need me, let me know, gonna be around If you've got no place to go, if you're feeling down If you're all alone when the pretty birds have flown Honey I'm still free Take a chance on me Gonna do my very best, baby can't you see Gotta put me to the test, take a chance on me (Take a chance, take a chance, take a chance on me) Ba ba ba ba baa, ba ba ba ba baa Honey I'm still free Take a chance on me Gonna do my very best, baby can't you see Gotta put me to the test, take a chance on me (Take a chance, take a chance, take a chance on me) Ba ba ba ba baa, ba ba ba ba baa ba-ba Honey I'm still free Take a chance on me [fade] Fleetwood Mac • English rock group form in London in 1967 • Founding members = Mick Fleetwood, John McVie and Peter Green • Then Christine McVie (keyboards and vocals) in 1970 and Lindsey Buckingham (guitar and vocals) and Stevie Nicks (vocals) • Reformed band released Fleetwood Mac (1975) = #1 US • Then, Rumours (1977), remained at #1 for 31 consecutive weeks (15-20 milloion albums sold) “Rhiannon” (#11 US, 1975) • Essentially 2 alternating sections + unusual interlude • Intro: Hook (phrase from chorus) • Chorus: Minor • Verse: Major • Interlude: “Rhiannon” (major vocal phrase over minor chord progression) Rhiannon rings like a bell through the night and Wouldn't you love to love her? Takes to the sky like a bird in flight and Who will be her lover? All your life you've never seen A woman taken by the wind Would you stay if she promised you heaven? Will you ever win? She is like a cat in the dark and then She is the darkness She rules her life like a fine skylark and when The sky is starless All your life you've never seen A woman taken by the wind Would you stay if she promised you heaven? Will you ever win? Will you ever win? Rhiannon Rhiannon Rhiannon Rhiannon She rings like a bell through the night and Wouldn't you love to love her? She rules her life like a bird in flight and Who will be her lover? All your life you've never seen A woman taken by the wind Would you stay if she promised you heaven? Will you ever win? Will you ever win? Rhiannon Rhiannon Rhiannon Taken by Taken by the sky Taken by Taken by the sky Taken by Taken by the sky Dreams unwind Loves a state of mind Dreams unwind Loves a state of mind Dreams unwind Loves a state of mind... Queen • Astronomy student Brian May = guitar • Aspiring dentist Roger Taylor = drums • Freddie Mercury = singer • John Deacon = Bass • Signed to EMI in 1972 • 1975 was to prove a watershed in the band’s career “Bohemian Rhapsody” (US #9, UK#1 for 8 weeks, 1975) • Producer Roy Thomas Baker helped complete epic “Bohemian Rhapsody” • 7-minute single as mini-opera • One of the first music videos • Album named = A Night At The Opera; was one of the most expensive and expansive albums of its period (#5 US,#1 UK) • Art Rock + Hard Rock + Show tunes • Marked by an immense, multi-section melodic writing • Complex song structure • And hard rock guitar solos/interjections • Advanced studio techniques (multi-tracking) Is this the real life? Is this just fantasy? Caught in a landslide No escape from reality Open your eyes Look up to the skies and see I'm just a poor boy (Poor boy) I need no sympathy Because I'm easy come, easy go Little high, little low Any way the wind blows Doesn't really matter to me, to me Mama just killed a man Put a gun against his head Pulled my trigger, now he's dead Mama, life has just begun But now I've gone and thrown it all away Mama, ooh Didn't mean to make you cry If I'm not back again this time tomorrow Carry on, carry on as if nothing really matters Too late, my time has come Sends shivers down my spine Body's aching all the time Goodbye, everybody I've got to go Gotta leave you all behind and face the truth Mama, oooooooh (Anyway the wind blows) I don't want to die Sometimes wish I'd never been born at all [Guitar Solo] I see a little silhouetto of a man Scaramouch, Scaramouch, will you do the Fandango Thunderbolt and lightning, very, very frightening me (Galileo) Galileo (Galileo) Galileo, Galileo Figaro Magnifico-o-o-o-o I'm just a poor boy nobody loves me He's just a poor boy from a poor family Spare him his life from this monstrosity Easy come, easy go, will you let me go? Bismillah! No, we will not let you go Let him go Bismillah! We will not let you go Let him go Bismillah! We will not let you go Let me go (Will not let you go) Let me go (Will not let you go) (Never, never, never, never) Let me go, o, o, o, o No, no, no, no, no, no, no (Oh mama mia, mama mia) Mama Mia, let me go Beelzebub has the devil put aside for me, for me, for me! So you think you can stone me and spit in my eye So you think you can love me and leave me to die Oh, baby, can't do this to me, baby Just gotta get out, just gotta get right outta here [Guitar Solo] (Oooh yeah, Oooh yeah) Nothing really matters Anyone can see Nothing really matters Nothing really matters to me Any way the wind blows...

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