British Invasion

Two distinct styles:

Beatles type bands: Gerry and the Pacemakers, Dave Clark Five
Stones type bands: Yardbirds, Animals
Bands that defied categorization: The Who, The Kinks
The Beatles
Who are The Quarrymen?
-A Skiffle group formed by John Lennon in 1957
-Played skiffle patterned after Lonnie Donegan in and around the local Liverpool area
-Switched to rock and roll when the skiffle craze wound down
-First recording in 1958
-Changed their name briefly to Johnny and the Moondogs
Beatles in Hamburg Germany, why was this an important time for the Beatles?
-The band changed their name one more time to the Beatles
-The Hamburg experience provided the opportunity to develop their musical skills
-The musical influences on the Beatles as they develop their musicianship and creative talents
A. The band changed their name one more time to the Beatles
1. They were offered a job in a nightclub in Hamburg, Germany

2.

3.

a.

The nightclub was in Hamburg's red light district

b.

The Indra Club

c.

They moved to a larger club called the Kaiserkeller

Other British bands were starting to play in Hamburg as well

a.

Derry and the Seniors

b.

Tony Sheridan and the Jets

c.

Rory Storm and the Hurricanes, featuring drummer Ringo Starr

They made a total of five trips to Hamburg from 1960 to 1962

a.

The first stay was the longest: 106 nights

b.

The next stay was 92 nights

c.

The next stay was 48 nights

d.

In 1962 they made two short stays of 14 and 13 appearances, respectively

e.

These performances were under more of a concert setting

f.

They opened for Little Richard and Gene Vincent

B. The Hamburg experience provided the opportunity to develop their musical skills
1.

The performance routine was a grueling one

a.

They played from 7:00 PM to 2:00 AM with fifteen-minute breaks

b.

They were under pressure to make a show for the German patrons

c.

They had to learn as many songs as they could as fast as they could

2.

The result of this kind of pressure on musicians is to either get great or get washed out

3.

The Beatles returned to Liverpool as professional musicians

4.

Their performance at a dance gig at Litherland Town Hall was a sensational success
a.

Great audience reaction foreshadowed the type of atmosphere they would soon be
generating

b.

They had refined their performance techniques such that they were now the best band in
the area

C. The musical influences on the Beatles as they develop their musicianship and creative talents
1.

Lennon and McCartney studied and imitated many successful writers' styles and performers' styles

2.

These influences and fascination with American rock and roll are apparent in their early original
work

3.

Tapes of performances at Hamburg's Star Club and early BBC radio performances show their
tastes

4.

a.

Elvis Presley's version of "That's All Right (Mama)"

b.

Chuck Berry's "Memphis"

c.

Little Richard

d.

Carl Perkins

e.

Leiber and Stoller's Coasters records

f.

Phil Spector's "To Know Him Is to Love Him"

g.

Ray Charles' "Hallelujah I Love Her So"

They eventually covered several styles of songs on their first, second, and fourth albums
a.

Girl-group numbers "Chains" and "Baby It's You"

b.

Motown songs: "You Really Got a Hold on Me," "Please Mr. Postman," and "Money"

c.

Even a movie theme "A Taste of Honey"

d.

Songs by Chuck Berry, Carl Perkins, Little Richard, Leiber and Stoller, and Buddy Holly

Who is Brian Epstein?

-Met The Beatles at a cavern club in Liverpool

-record store manager
-offered to manage them in November 1961
-Epstein arranged a recording audition with Decca in their London studios on January 1, 1962
What is Beatlemania?
-The British press coined term to describe the excitement generated by the band's live performances in 1963
-Beatles were constantly topping the British charts
-Didnt hit America until Capitol Records realeased I wanna Hold your Hand
USA arrival, why were they so successful?
- There were a number of entertainment business aspects that combined to help trigger Beatlemania in America
1.
2.

Capitol Records release of "I Want to Hold Your Hand" hit number one in January
The Band appeared on the Ed Sullivan Show immediately after that

3.

Their U.S. debut album Meet the Beatles went #1 one week later and stayed there for three months

4.

The U.S. release The Beatles' Second Album replaced Meet the Beatles as number one

5.

The July 1964 release of their full-length feature movie A Hard Day's Night

There was a flood of Beatles singles that were hits from that point forward
1. Thirty in the U.S. top 40
-All subsequent albums would go number 1
-Worked furiously so they wouldnt be a fad
How did the Beatles develop from craftsmen into artists?
hey began by imitating American artists
1. They combined some stylistic elements of 1950s and early 1960s American pop
2. An example of this is "I Want to Hold Your Hand"
a.

Chuck Berry-like chords in the low register ("Johnny B. Goode" or "Roll Over Beethoven")

b.

Hand claps from girl-group tunes of the early 1960s ("My Boyfriend's Back")

c.

Everly Brothers duet singing in the song's bridge

d.

Little Richard's "oooh' s" are frequently quoted in their songs

e. They use a common American pop song form - AABA - with abbreviated reprise (see Interlude 1)
They used the Brill Building and Tin Pan Alley "formula" approach to create their early songs
1. Preexisting formula is applied to the process of assembling a song
2. This is an example of how craftsmanship is used in the creative process
a.

Creative problems are solved by applying a proven solution to get the desired result

b.

While considerably less creative, this method generates greater numbers of product

c.

The Beatles were under pressure to produce product quickly and efficiently in the beginning

d.

Their inexperience forced them to use this approach in case their popularity faded quickly

As they grew into more accomplished musicians and songwriters they began using other techniques
1. Classical music composers never solve the same problem twice the same way
2. They continually explore new options that haven't been tried so as to push the art form forward
3.

The Beatles evolved toward this approach as they became more comfortable in the studio

4.

In early 1966 they began bold new experiments in production of Revolver

5.

a.

Use of studio effects

b.

Stylistic juxtapositions

c.

New timbral elements

d.

Structural elements

This approach is exemplified in "Tomorrow Never Knows"

a.

Simple verse form: a single eight-measure structure played nine times with no chorus

b.

Lyrics are from the Tibetan Book of the Deadspiritual advice to those facing death

c.

The adaptation of the text was from Timothy Leary's book The Psychedelic Experience

d.

Accompanying music is a static single harmonic drone

e.

Additional sounds in the recording are made from tape loops

f.

Tape loops were often used by 1950s and 1960s avant-garde classical music composers

g.

The song was mixed in real time, rendering a repeat of the mix impossible (also an art approach)

The band's lyrics also indicate a move toward creating art rather than crafting a product
1. Early song lyrics are driven by Brill Building and Tin Pan Alley Emphasis on innocent romantic themes
a. "She Loves You"

2.

b.

"I Want to Hold Your Hand"

c.

"A Hard Day's Night"

In 1965 lyrics move into new unexplored territory involving previously unexplored topics
a.

Lennon's "Help!" discusses loss of self-confidence that had accompanied youthful naivet

b.

His "Norwegian Wood" discusses sexual frustration after a one-night stand

c.

McCartney's "Eleanor Rigby" focuses on existential alienation

d.

A similar theme is present in his "She's Leaving Home" on Sgt. Pepper's Lonely Hearts Club
Band

e.

A profound influence on their intentional development of lyrics is American folk music

f.

The leader in that movement at the time was Bob Dylan, whom they'd met in 1964

3.

The Sgt. Pepper album cover features printed lyrics to the songs
a.

A first for commercial music

b.

This idea became very common after Sgt. Pepper

The development of greater stylistic range

1. Dylan's influence is apparent on Lennon's "You've Got to Hide Your Love Away" from "Help!"
2. On the same album, a classical-style string quartet accompaniment is used on McCartney's "Yesterday"
3.

Harrison uses a sitar on Rubber Soul's "Norwegian Wood"

4.

Revolver covers a wide range of styles

a.

"Tomorrow Never Knows" demonstrates startling technological techniques with profound lyrics

b.

"Yellow Submarine" has the character of a children's song

c.

"Got to Get You into My Life" introduces horn arrangements

5.

These trends indicate the gradual approach to the highly eclectic concepts on Sgt. Pepper

6.

The Beatles made use of their creative freedom in the studio to become the model for others to follow
a.

They moved from being craftsmen to artists

b.

Instilled a sense of seriousness and self-consciousness into rock musicians who followed their lead

Why did they stop touring?

John Lennon remarked in a UK interview that religion was in a state of decline
a. He said that this was evident when a Beatles concert could outdraw a church service
b. American journalists took his comments out of context
c. They accused Lennon of saying that the Beatles were bigger than Jesus
d. This triggered uproar in the south involving bonfires of Beatles products
e. The Beatles were threatened by the Ku Klux Klan
-Had last tour in 1966
-August 29,1966 in San Fanciscos Candlestick park
The Rolling Stones
a.
b.

Mick Jagger, vocals

Keith Richards, guitar

c.

Brian Jones, guitar

d.

Bill Wyman, bass

e.

Charlie Watts, drums

f.

Ian Stewart, piano (though he didn't stay long with the group)

What style is their music rooted in?

 They conveyed a more radical side of the British Invasion concept

a. Brash
b. Nonconformist
c.

Rebellious

Not influenced by softer American pop music styles as were the Beatles and other Beatle-type bands
a. The Rolling Stones drew from the 1950s Chicago electric blues tradition
b. Blues that featured slide guitar, harmonica, and vocal delivery styles similar to Muddy Waters
They were involved in the blues revival that was taking place in London in the early 1960s
What was their image and why was it important?
Their rebellious image wasn't as well received as the cleaner image projected by Beatle-type groups
Eventually their "troublemaker" image began to be better received by teens in the United States
a. This is what appealed to British teens
b. They needed to be perceived as an alternate choice to the cleaner groups in order to succeed

Other British Bands

The Yardbirds - roots, rave-ups, Eric Clapton
Replaced the Rolling Stones at the Crawdaddy Club when they left
Even more dedicated to the blues than the Stones
a. Keith Relf on vocals
b. Paul Samwell-Smith on bass
c.

Jim McCarty on drums

d.

Chris Dreja and Tony Topham on guitar

e.

Topham was replaced by lead guitarist Eric Clapton

f.

Clapton was replaced by Jeff Beck, who was subsequently replaced by Jimmy Page

They developed long, improvisatory sections at the end of songs displaying members' virtuosity
These can be seen as a model for styles that appear later that focus on improvisation
Little chart success until they recorded Graham Gouldman's "For Your Love" (p6 uk3, 1965)
a. Studio musicians were used on the verses, as was a common practice on pop records
b. The entire band only played in the middle bridge section
c.

Clapton disapproved of this pop music approach and quit the band

d.

He was replaced by Jeff Beck

e.

Manager Gomelsky was producing their recordings at this time

Beck's more experimental style contributed to the success of "Heart Full of Soul" (p9 uk2, 1965)
a. The song was also written by Gouldman
b. Like "Satisfaction" a fuzz tone effect is used for the lead guitar hook
c.

"Heart Full of Soul" was recorded three weeks before "Satisfaction"

a.

Produced by Simon Napier-Bell and bassist Samwell-Smith

b.

Samwell-Smith left to work on producing bands

c.

He was replaced by Jimmy Page on bass

d.

For a short while, both Page and Beck were in the band at the same time

e.

Page and guitarist Dreja switched roles and Page became the other guitarist with Beck in 1966

Beck quit and Page continued on with the band until they disbanded in 1968
a. Page formed a new band, the New Yardbirds, to finish out the Yardbirds' commitments
b. He changed the name of this new group to Led Zeppelin

The Animals - House of the Rising Sun

-Came from Newcastle in North England
a.
b.

Preceded the Rolling Stones and Yardbirds with hits in the UK and United States
Lead singer Eric Burton and known for their wild stage presence

c.

Played in Hamburg's Star Club

d.

Moved to London in 1964

Important break came with a chance to play on a Chuck Berry tour in the UK
a. They played "House of the Rising Sun," a slow folk-blues number
b. It was a contrast to all the other rock and roll songs on the show
c.

They recorded the song and it was a hit in the UK and the United States (p7 uk6, 1964)

-They had a string of hits produced by Herman's Hermits producer Mickey Most
-They had more hits with new producer Tom Wilson
- The original band disbanded and Burton continued as Eric Burton and the Animals
Bassist Chas Chandler discovered and managed Jimi Hendrix
Folk Music (chapter 3 page 113-118)
Splitting of the teen markets
1959-1963 is a time of transition
1. The teens who embraced the first wave defined by Elvis and Little Richard were now young adults
a. They comprised one of two marketsone meant for them as college-age former rockers
b.
2.

Teens a few years younger (the age group of their younger siblings) constituted the other market

Two distinctly contrasting styles emerged marketed at these two distinctly different age groups
a.

Teen idols with nonsexual songs about romance and dancing were directed at the younger teens

b.

Folk music with focus on social, political, and cultural issues was directed at the older audience
-there were 2 groups of young people, the young teenagers and their older
siblings

-what style of music did the young teens prefer?

a. - Teen idols with nonsexual songs about romance and dancing were directed at the younger teens
-what style of music did the older teenagers embrace?

a. - Folk music with focus on social, political, and cultural issues was directed at the older audience

Why did people like folk music?

Folk music had been somewhat popular throughout the 1940s
a. Woody Guthrie
b. Pete Seeger
c.

Guthrie and Seeger played together with the Almanac Singers

- Folk music and the artists singing it addressed issues that concerned less fortunate members of society
1.

2.

They openly advocated social change toward what was considered left-wing political ideals
a.

They came under fire during McCarthy era anti-communist investigations

b.

Weavers were blacklisted because of their affiliations with the American Communist Party

During the 1950s folk music withdrew from political causes

c.

It became popular with college-age audience

d.

Folk artists returned to political idealism centered on the civil rights movement

Folk music had a noncommercial sound and character

1. It was music for regular people, performed by regular people
2. Performers seemed to represent the masses
a.

It was not pretentious

b.

Virtuosity and showmanship were avoided

c.

Lyrics focused on social issues

d.

That made lyrics more important than the performers' talents or appearance

e.

This alone was a strong contrast to the teen idol music of the pop mainstream

3.

Much of the folk movement appeal was the break from middle-class ideals

4.

Folk music triggered an upsurge in sales of acoustic guitars in the early 1960s

5.

It was simple music to sing and play

a.

That made it appear that it was for the common person

b.

This aspect also enhanced the importance of the lyrics

Kingston Trio
The Kingston Trio became one of the most successful acts in popular music
1. Named after the Jamaican city because of Americans' fascination with calypso music
a. Dave Guard, Bob Shane, and Nick Reynolds
2.

Recorded a traditional folk song called "Tom Dula"

3.

Renamed it "Tom Dooley" (1959)

4.

5.

6.

a.

This success moved the folk music revival into the pop mainstream

b.

Polished three-part harmony and scripted spoken introduction

c.

They were pleasant to listen to and fit easily into the pop mainstream tastes

From 1958 to 1965 the Kingston Trio had ten top 40 pop hits recorded by major label Capitol Records
a.

"Where Have All the Flowers Gone" 1962)

b.

"Reverend Mr. Black" (1963)

Great success with album sales

a.

1950s artists' successes were judged by sales of singles

b.

Jazz, classical, and now folk music were geared toward the album rather than singles

Kingston Trio had nineteen top 40 albums from 1958 to 1964

a.

Thirteen were in the top 10

b.

Five went number one

c.

Their first album in 1958 lasted for 195 weeks on the charts

The split in the folk music world

1. Two factions became clear in the early 1960s
a. Traditional folk music and the roots from which it sprang
b.
2.

Polished commercial-oriented folk groups aligned with the pop mainstream

The Kingston Trio represented the latter, more commercial side due to the high sales numbers

Peter Paul and Mary

Peter, Paul, and Mary were assembled in 1961 to be a folk group that would appeal to the pop mainstream
a. Peter Yarrow
b. Paul Stookey
c.

Mary Travers

Successful string of hit songs in the early 1960s

a. "Lemon Tree" (1962)
b. "If I Had a Hammer" (1962)

c.

"Puff the Magic Dragon" (1962)

d.

"Blowin' in the Wind" (1963)

Ten top 40 albums during the 1960s including two number one albums
They supported the causes embraced by serious folk purists and gained acceptance with them
-Blowin in The Wind originally by Bob Dylan Peter, Paul, and Mary cover version
a.
b.

Professionally sung
Professionally played

c.

Professionally arranged by Milton Okun

d.

Strong aspects that would appeal to a pop mainstream audience

e. Sincerity and authenticity are implied (or "applied") but convincing nonetheless

Bob Dylan
-Created blowin in the wind
Original by Bob Dylan
a. Stark arrangement
b. Guitar, vocal, and harmonica
c.

Performance of the vocal is rough and amateurish

d.

Clearly not suitable for a pop mainstream audience

e. Sincere and authentic delivery are the strong points

American Response
Folk Rock
How is folk rock different from folk?
By 1965 new American pop styles began to appear
1. Former styles were being fused with Beatles-oriented "beat" music
2. The most obvious example is folk rock

3.

a.

Folk music is simple

b.

It is easily accessible to amateur musicians

c.

Lyrics dominated that style

d.

Electric instruments began to be used instead of acoustic instruments

The earliest artists to employ these sounds were folk artists first
a.

Bob Dylan

b.

The Byrds

c.

Both added electric guitars, electric bass, drums, and occasionally keyboards

4.

The folk revival was based on guitar chords accompanying vocals

5.

The Beatles were originally a guitar-based ensemble

6.

a.

The transition from acoustic to electric is easy

b.

Would-be musicians bought electric guitars and began practicing in garages

The combination of imitation and adaptation of preexisting styles is best seen in folk rock

Who were the first to record in the folk-rock style?

-Bob Dylan
-The Byrds
Bob Dylan-musical contributions, lyrics (topics and !importance)
Folk rock begins with Bob Dylan
A. Bob Dylan in 1964
1. Well known in the folk music community
2.

3.

Relatively unknown to the commercial pop mainstream audience

a.

Folk artists weren't part of the "singles" end of the music industry

b.

They were known for their albums of folk songs

At this time the folk music that had high exposure was by the pop-oriented folk artists
a.

Peter, Paul, and Mary

b.

The Kingston Trio

4.

Dylan's recording success was based on album sales

5.

His album sales were fueled by touring

6.

7.

a.

Extensive performances on college campuses

b.

Folk clubs

Built his style around that of Woody Guthrie

a.

Added new lyrics to familiar public domain folk songs

b.

The new lyrics were about social injustice

c.

The heroes of Guthrie songs were real people, not folklore

Early Dylan songs dealt with social issues

a.

"Blowin' in the Wind" addressed civil rights issues

b.

"Masters of War" was about the newly erupting Vietnam

8.

9.

Eventually Dylan began addressing more personal ideas

a.

He put his talent for crafting lyrics into these relationship-driven topics

b.

These lyrics were far more poetic than Brill Building songs

His second, third, and fourth albums were commercial successes in America and England
a.

The Freewheelin' Bob Dylan (p22 uk16, 1963) had his original version of "Blowin' in the
Wind"

b.

The Times They Are a-Changin' (p20 uk20, 1964)

c.

Another Side of Bob Dylan (p43 uk8, 1964)

B. Dylan after 1964

1.

He'd been interested in using electric instruments but wasn't satisfied with early attempts

2.

The Byrds released an electric version of his "Mr. Tambourine Man" in 1965
a.

The Byrds used a Rickenbacker electric 12-string guitar for the hook and accompaniment

b.

George Harrison is seen playing one in A Hard Day's Night

c.

Dylan liked what he heard

d.

Decided to try electric instruments again

3.

Bringin' It All Back Home (p6 uk1, 1965) was half electric and half acoustic

4.

He next released a single that became a hit: "Subterranean Homesick Blues" (p39 uk9, 1965)

C. Electric Dylan and the Newport folk festival controversy

1.

Dylan appeared at Newport in July of 1965 using electric instruments on some songs

2.

Folk purists accused him of selling out to the pop mainstream

3.

Dylan's next single was "Like a Rolling Stone" (p2 uk4, 1965) and also used electric instruments

4.

The next album was Highway 61 Revisited (p3 uk4, 1965)

5.

The next single was "Positively 4th Street" (p7 uk8, 1965)
a.

An angry song

b.

What he called a "finger pointing" song

c.

He used this metaphor in his songs about social injustice and pointed out the perpetrators

d.

In this song he was accusing the folk music establishment of unfair criticism

e.

He's obviously angry and takes up twelve verses to express it.

6.

Dylan had another hit with "Rainy Day Women Nos. 12 and 35" (p2 uk7, 1966)

7.

His last album of 1966 was Blonde on Blonde (p9 uk3, 1966)
a.

He used a band named the Hawks as his backup musicians

b.
8.

9.

They subsequently changed their name to the Band

Dylan spent several months recovering from a near-fatal motorcycle accident in July of 1966
a.

His records inspired musicians to follow in his path

b.

They used electric instruments to accompany lyrics about serious issues

Dylan was gone for a while but folk rock was continued by other, more commercial artists

-Newport Folk Festival (what happened, audience reaction)

Electric Dylan and the Newport folk festival controversy
1. Dylan appeared at Newport in July of 1965 using electric instruments on some songs
2. Folk purists accused him of selling out to the pop mainstream

The Byrds - Mr. Tambourine Man

The Byrds and the jingle jangle of the electric 12-string guitar
A. The first international folk rock hit was the Byrds' recording of Dylan's "Mr. Tambourine Man" (p1 uk1,
1965)
1. Byrds were formed in Los Angeles in 1964

2.

a.

Roger (Jim) McGuinn, electric 12-string guitar and vocals

b.

Gene Clark, vocals

c.

David Crosby, guitar and vocals

d.

Chris Hillman, bass and vocals

e.

Michael Clarke, drums

Manager Jim Dickson taped their rehearsals and had them listen to themselves

B. The Rickenbacker electric 12-string guitar and folk rock

1.

2.

3.

They saw the Beatles film A Hard Day's Night

a.

George Harrison is seen playing a Rickenbacker electric 12-string guitar

b.

It was only the second one ever made

c.

McGuinn traded in his acoustic for a Rickenbacker 12-string similar to Harrison's

Their trademark sound was instantly recognizable

a.

Rich textured harmonized vocals utilizing full and falsetto voices

b.

The sparkling electric 12-string

They recorded rock versions of folk songs and originals

a.

Their first album was titled Mr. Tambourine Man (p6 uk7, 1965),

b.

Total of four covers of Dylan songs

4.

They covered a Pete Seeger song, "Turn, Turn, Turn" (p1 uk26, 1966)

5.

The next album was also titled Turn, Turn, Turn (p 17 uk 11, 1966)
a.

Also some covers of Dylan songs

b.

Also some originals, most written by Gene Clark

C. When Dylan began writing folk rock songs the Byrds lost their best source of material
1.

This forced the Byrds into writing their own folk rock songs

2.

They explored other styles, particularly jazz

3.

4.

a.

Their next hit was written by McGuinn, Clark, and Crosby: "Eight Miles High" (p14
uk24, 1966)

b.

Inspiration from John Coltrane's "India" for the guitar solos

Radio stations quit playing the song when a trade magazine said the song was about drugs
a.

The lyrics referred to a cruising altitude for a transatlantic flight

b.

The word "high" was code for being under the influence of drugsdouble meaning was
too clear

The Byrds' fourth album showed a wide spectrum of stylistic influences

a.

Younger Than Yesterday (p24 uk37, 967)

b.

Country

c.

Jazz

d.

Avant-garde influences

e.

Psychedelia

Mr. Tambourine Man

The Byrds, Dylan, the Beach Boys, and the music business
A. "Mr. Tambourine Man" is an interesting convergence of music business aspects
1. The entire band is not playing on the record

2.

a.

McGuinn plays the electric 12-string

b.

McGuinn and Crosby sing

c.

The rest of the track is provided by Phil Spector's "Wrecking Crew" studio musicians

The "Wrecking Crew" used the same groove that they used on a Brian Wilson song
a.

"Don't Worry Baby" was inspired by Spector's production of "Be My Baby" for the
Ronettes

b.

Wilson originally wrote that song for Spector's girl groupshe rejected it

c.

The idea of using studio musicians is a Brill Building concept

d.
3.

McGuinn had worked in the Brill Building as a songwriter for teen idol Bobby Darin

McGuinn claims to have been inspired by a Bach chorale: "Jesu, Joy of Man's Desiring"
a.

He had been learning to play it on the electric 12-string guitar

b.

The electric 12-string hook is melodically more similar to classical music than to rock,
folk, or blues

4.

The use of a Beatles trademark sound in 1964 is unmistakable

5.

The song has been substantially reduced in length

6.

a.

It is in contrasting verse-chorus form with uneven numbers of measures in the verses

b.

Dylan had three verses in his original version

c.

Only one verse is used in the Byrds' cover

The song therefore takes on a "universal" style by embracing many of the current or recent trends
a.

Folk music was the music of "everyman"

b.

Rock music was for all of the youth

Motown
Motown records was an independent label founded in Detroit, Michigan
a. Had enormous commercial success that paralleled the Beatles' success timeline in the early 1960s
b. Built the sound of the records around styles that appealed to a white audience
c.

That generated accusations that Motown had "sold out" for big profits

Location
-Detroit, Michigan
Musical Characteristics
Gordy formed Motown Records in 1959 and patterned many songs after other successful records
a. First hit was in 1960, Barrett Strong's "Money (That's What 1 Want)" (p23 r2)
b. The Marvelettes' "Please Mr. Postman" (p1, r1, 1961) draws from Brill Building "girl group" style
c.

By the Contours' "Do You Love Me" (p3 r1, 1962) resembles the Isley Brothers' style

Gordy knew that the best commercial potential was in crossover records
a. From rhythm and blues to pop
b. He used the same approach as Chuck Berry: the original version would become the crossover
c.

That eliminated the need (or opportunity) for other labels to cover the records

d.

This concept brought huge financial rewards

e.

Records generally charted higher on the rhythm and blues charts but pop was always close

Gordy studied the successful models and used them in his own company
1. The Leiber and Stoller idea of songwriters producing their songs had worked

2.

That idea had been adopted by the Brill Building successfully so Gordy employed it in Motown

3.

The original Motown songwriter-producer team from 1960 to 1964 included

a.

Gordy

b.

William "Mickey" Stevenson

c.

William "Smokey" Robinson

Who is Berry Gordy?

-Formed Motown Records in 1959 (^^^^)
Songwriting and producing procedures
Quality ControlMotown style
1. Recordings were produced in two adjoining Detroit houses called "Hitsville, USA"
2. Gifted and experienced studio musicians helped producers craft their arrangements
a.

Similar to Phil Spector's "wrecking crew"

b.

Musicians were talented jazz musicians, adept at improvising and spontaneous "arranging"

c.

Holland-Dozier-Holland sessions frequently began with only sparse musical directions

3.

A core group of musicians were at the center of the production process

4.

They played on most of the recordings

a.

Pianist Earl Van Dyke

b.

Drummer Bennie Benjamin

c.

Electric bassist James Jamerson

5.

They were the studio band, "the Funk Brothers," responsible for the mid-1960s "Motown sound"

6.

In 2003 a documentary was produced about the Funk Brothers

7.

a.

Standing in the Shadows of Motown

b.

The film featured interviews with surviving members of the studio band

c.

Attention was finally focused on the musicians who were so much a part of that style

Gordy held a weekly meeting with the Motown staff to decide which records they thought would be hits

The Producers
1. From 1964 to 1967 Brian Holland, Lamont Dozier, and Eddie Holland created many hits for groups
recording for the label:
a. Supremes
b.

Four Tops

c.

Martha and the Vandellas

2.

From 1967 to 1970 Norman Whitfield produced hits for the Temptations

3.

Other important late 1960s Motown producers included

a.

Frank Wilson

b.

The team of Valerie Ashford and Nick Simpson

Gordy studied the successful models and used them in his own company
1. The Leiber and Stoller idea of songwriters producing their songs had worked
2. That idea had been adopted by the Brill Building successfully so Gordy employed it in Motown
3.

The original Motown songwriter-producer team from 1960 to 1964 included

a.

Gordy

b.

William "Mickey" Stevenson

c.

William "Smokey" Robinson

Assembly Line process?

Quality ControlMotown style
1. Recordings were produced in two adjoining Detroit houses called "Hitsville, USA"
2. Gifted and experienced studio musicians helped producers craft their arrangements

3.

a.

Similar to Phil Spector's "wrecking crew"

b.

Musicians were talented jazz musicians, adept at improvising and spontaneous "arranging"

c.

Holland-Dozier-Holland sessions frequently began with only sparse musical directions

A core group of musicians were at the center of the production process

Artistic Development for the artists, what did this involve?

Artist development was incorporated into the label
1. Purpose was to teach low-income-bred artists how to behave in all possible social situations
2. Former Broadway choreographer Cholly Atkins was hired to teach dance and stage movements

3.

a.

Dance movements had to be refined and graceful

b.

Motown artists had to project an image of class and sophistication

Gordy hired a charm school teacher, Maxine Powell, to teach proper manners and etiquette
a.

Artists learned how to speak and move with charm and grace

b.

They were groomed to be able to appear at elegant performance venues

c.

They were to be prepared to perform at the White House or Buckingham Palace

Who are The Funk Brothers?

 They played on most of the recordings

a. Pianist Earl Van Dyke
b. Drummer Bennie Benjamin
c.

Electric bassist James Jamerson

They were the studio band, "the Funk Brothers," responsible for the mid-1960s "Motown sound"
In 2003 a documentary was produced about the Funk Brothers
a. Standing in the Shadows of Motown
b. The film featured interviews with surviving members of the studio band
c.

Attention was finally focused on the musicians who were so much a part of that style

Who is H-D-H and why are they important?

The Producers
1. From 1964 to 1967 Brian Holland, Lamont Dozier, and Eddie Holland created many hits for groups
recording for the label:
a. Supremes
b.

Four Tops

c.

Martha and the Vandellas

Holland-Dozier-Holland produced five consecutive number one hits

a. "Where Did Our Love Go" (p1, 1964)
b. "Baby Love" (1964)
c.

"Come See about Me" (r3, 1964)

d.

"Stop! In the Name of Love" (r2, 1965)

e.

"Back in My Arms Again" (r 1, 1965)

f.

"Reflections" (p2 r4, 1967)

Holland-Dozier-Holland left Motown in 1967 but the Supremes had another hit in 1968
a. "Love Child" (p1 r2, 1968)
b. Diana Ross left in 1969 to pursue a solo career
c.

Their last single featuring Ross was "Someday We'll Be Together" (p1 r1, 1969)

-Produced many popular artists hits. The Supremes The Four Tops Martha and the Vandellas
The Temptations,
The Temptations
1. The Temptations formed in 1961 and were one of Motown's top acts from 1964 to 1972
2. They were made up of members of two Detroit area groups: the Distants and the Primes
a.

Otis Williams

b.

Melvin Franklin

c.

Al Bryant, who was replaced by David Ruffin in 1963

3.

4.

5.

d.

Eddie Kendricks

e.

Paul Williams (no relation to Otis)

f.

Dennis Edwards replaced Ruffin in 1968

The group had a hit in early 1964: "The Way You Do the Thing You Do" (p11)
a.

Written and produced by Smokey Robinson

b.

Exemplifies Robinson's clever approach to lyrics

c.

"You got a smile so bright, you could've been a candle," works with Robinson's cheerful music

d.

Features Kendrick's high tenor vocal

Robinson went on to write and produce more Temptations hits

a.

"My Girl" (p1 r1, 1965) featuring Ruffin on lead vocals

b.

"Get Ready" (p29 r1, 1965)

Norman Whitfield produced several Temptations hits in the later part of the 1960s
a.

"Ain't Too Proud to Beg" (p13 r1, 1 966)

b.

"I Know I'm Losing You" (p8 r1, 1966)

c.

"You're My Everything" (p6 r3, 1967)

d.

"Cloud Nine" (p6 r2 1968) displays influence of Sly and the Family Stone

The Supremes,
The Supremes
1. Best example of the Motown sound from the mid to late 1960s
2. The extension of the Brill Building's girl-group concept to highest level of commercial success
3.

4.

Formed in Detroit in 1959 as a sister group to the Primes, they were called the Primettes
a.

Diana Ross

b.

Mary Wilson

c.

Florence Ballard, replaced by Cindy Birdsong in 1967

Unsuccessful releases until Holland-Dozier-Holland produced five consecutive number one hits
a.

"Where Did Our Love Go" (p1, 1964)

b.

"Baby Love" (1964)

c.

"Come See about Me" (r3, 1964)

d.

"Stop! In the Name of Love" (r2, 1965)

e.

"Back in My Arms Again" (r 1, 1965)

f.
5.

"Reflections" (p2 r4, 1967)

Holland-Dozier-Holland left Motown in 1967 but the Supremes had another hit in 1968
a.

"Love Child" (p1 r2, 1968)

b.

Diana Ross left in 1969 to pursue a solo career

c.

Their last single featuring Ross was "Someday We'll Be Together" (p1 r1, 1969)

The Supremes and Holland-Dozier-Holland

1. One of the most successful writing and production teams in popular music
2. "Baby Love" is a good example of the H-D-H/Supremes approach during the mid 1960s
3.

4.

5.

6.

The introduction uses an arrangement idea similar to their previous hit "Where Did Our Love Go?"
a.

A sound like handclaps: actually wooden 2x4s slapping together

b.

Introduction that features a series of pulsating piano chords with drums

c.

Vibraphone (or "vibes"): similar to the xylophone but with a sustained sound with vibrato

Simple verse form

a.

Seven verses repeated mostly without much change in accompaniment

b.

Accompaniment includes electric guitar and bass after the introduction

c.

Other Supremes provide backup vocals

Nice twists to the arrangement

a.

Third verse: saxophone takes a solo for the last eight measures

b.

Verse 5 introduces a change of key: up a 1/2 step

Holland-Dozier-Holland were so successful because they repeated ideas that worked

a.

In the first two Supremes songs the word "Baby" is frequently used

b.

The first three singles use simple verse form

c.

Contrasting verse-chorus form used in "Stop! In The Name of Love" and "Back in My Arms
Again"

Martha Reeves and the Vandellas,

Martha (Reeves) and the Vandellas formed in Detroit in 1962
1. Recorded for Chess Records as members of the Del-Phis, they became the Vandellas in 1963
a. Rosalyn Ashford
b.

Annette Beard (replaced by Betty Kelly Beard in 1964)

2.

Reeves and friends sang backup on Marvin Gaye's "Stubborn Kind of Fellow" (p46 r8, 1962)

3.

Holland-Dozier-Holland produced most of the Martha and the Vandellas hits

4.

a.

"Heat Wave" (p4 r1, 1963)

b.

"Quicksand" (p8, 1963)

c.

"Dancing in the Street" (p2, 1964) was produced by Mickey Stevenson

d.

"Nowhere to Run" (p8 r5, 1965)

e.

"Jimmy Mack" (p10 r1, 1967)

Martha and the Vandellas vocal style was drawn from gospel music
a.

Powerful full-throated vocal style from Reeves

b.

Stark contrast to the Supremes' much more reserved pop style

c.

Foreshadowed more soulful singers who would arrive in mid-decade

d.

Acceptance of the Martha and the Vandellas sound opened the door for Aretha Franklin

Marvin Gaye,
Marvin Gaye
1. One of three artist-producers on the Motown label
a. Smokey Robinson was one
b.

Stevie Wonder was the other

2.

His first hit was in 1962: "Stubborn Kind of Fellow"

3.

Sixteen more Top 40 singles

4.

Ten Top 40 hits in duets with Mary Wells, Tammi Terrell, and Kim Weston

5.

Gaye collaborated with Motown producers on many hit songs

6.

7.

a.

"Pride and Joy" (p10 r2, 1963) for Mickey Stevenson

b.

"How Sweet It Is (To Be Loved by You)" (p6 r4, 1965) for Holland-Dozier-Holland

c.

"Ain't That Peculiar" (p8 r1, 1965) for Smokey Robinson

d.

"Ain't Nothing Like the Real Thing" (p8 r1, 1968)

e.

(Sung with Tammi Terrell and produced by Ashford and Simpson)

Gaye produced hits for the Originals in the late 1960s

a.

"Baby I'm for Real" (p14 r1, 1969)

b.

"The Bells" (p12 r4, 1970)

Gaye's most important production was his 1971 concept album What's Going On

Stevie Wonder
Stevie Wonder

1.

His first hit was "Fingertips, pt. 2" at age 13

a. Live recording of an impromptu performance from a Motown revue concert
b.

2.

3.

Spontaneity made this one of Motown's biggest hits

Wonder had several hits through the late 1960s (after his voice changed) on songs he co-wrote
a.

"Uptight (Everything's Alright)" (p3 r1, 1966)

b.

"I Was Made to Love Her" (p2 r1, 1967)

c.

"For Once in My Life" (p2 r2, 1968)

d.

"My Cherie Amour" (p4 r4, 1969)

He began producing his own records in 1970

a.

"Signed, Sealed, Delivered, I'm Yours" (p3 r1)

4.

He produced his own album Where I'm Coming From in 1971

5.

That album contained two hit singles

6.

a.

"If You Really Loved Me" (p8 r4, 1971) and

b.

"We Can Work It Out" (p13 r3, 1971): a cover of the Beatles' 1965 hit

Stevie Wonder's writing and production skills helped Motown evolve into the 1970s

Southern Soul
-Southern soul from the Memphis area remained truer to musical roots in black culture
Those who considered Motown to be a "sell-out" of black identity and culture looked to the South
1. Southern soul music countered the Motown move away from black cultural roots

Location
Memphis, Tennessee
Musical Characteristics
The music originated from a combination of styles, including blues (both 12 bar and jump), country, early rock and
roll, and a strong gospel influence that emanated from the sounds of Southern African-American churches.
Jerry Wexler
-Jerry Wexler held an important role in developing southern soul music during the 1960s
Producer Jerry Wexler wasn't getting to produce as much as he wanted to
a. Leiber and Stoller had taken over much of the production of the label's songs
Wexler and Bert Berns signed Solomon Burke to the label and co-produced several hits
a. "Just Out of Reach (Of My Two Open Arms)" (p24 r7, 1961)
b. "If You Need Me" (p37 r2, 1963)

c.

"Goodbye, Baby (Baby Goodbye)" (p33, 1964)

d.

"Got to Get You off My Mind" (p22 r1, 1965)

e.

"Tonight's the Night" (p28 r2, 1965)

Wexler's renewed enthusiasm for production led him to explore southern black music styles
a. Southern black music was more emotional
b. It had an exuberance more commonly found in black gospel music
c.

This quality was not evident in sweet soul songs by the Drifters or Ben E. King

Stax Records/The Stax Sound

-Atlantic records formed a licensing agreement with Memphis-based Stax records
Stax records formed in 1960 in Memphis by Jim Stewart and sister Estelle Axton (St+Ax = Stax)
a. Original name was Satellite Records
b. Wexler liked one of their records by Rufus Thomas called "Cause I Love You"
c.

Sung by Thomas and his daughter Carla

d.

Atlantic leased the record and another, "Gee Wiz," in 1961

e.

"Gee Wiz" was a Top 10 hit in pop and rhythm and blues charts

Atlantic and Stax set up leasing agreements for many songs during the early 1960s
a. "Last Night" (p3 r2, 1961) by the Mar-Keysan instrumental
b. "Green Onions" (p3 r1, 1962) by Booker T. and the MG'salso an instrumental
c.

"Walkin' the Dog!" (p10 r5, 1963), a dance hit by Rufus Thomas

The records were recorded in Memphis under conditions similar to Motown's

a. In-house band: Booker T. and the MG's
b. Booker T. Jones on organ
c.

Steve Cropper on guitar

d.

Donald "Duck" Dunn on Bass

e.

Al Jackson Jr. on drums

Songwriters involved in the Stax songs were

a. David Porter
b. Isaac Hayes
c.

Steve Cropper worked with Otis Redding as co-writer and producer

The Stax operation was more casual than the Motown and certainly more so than at Atlantic
a. Musicians took on whatever role was necessary
b. There was more experimentation and spontaneity in the performances
c.

Whatever the tracks lacked in polish was made up in sincerity and urgency

d.

The music just sounded like everyone was trying harder and enjoying the effort

Fame Studios, where is it located?

-Muscle Shoals, Alabama
-Atlantic also recorded artists at Rick Hall's Fame Studios in Muscle Shoals
-When studio time was difficult to get at Stax, Wexler moved to Fame studios in Muscle Shoals, Alabama
Who is Booker T and the MGs?
Atlantic and Stax set up leasing agreements for many songs during the early 1960s
a. "Last Night" (p3 r2, 1961) by the Mar-Keysan instrumental
b. "Green Onions" (p3 r1, 1962) by Booker T. and the MG'salso an instrumental
c.

"Walkin' the Dog!" (p10 r5, 1963), a dance hit by Rufus Thomas

The records were recorded in Memphis under conditions similar to Motown's

a. In-house band: Booker T. and the MG's
b. Booker T. Jones on organ
c.

Steve Cropper on guitar

d.

Donald "Duck" Dunn on Bass

e.

Al Jackson Jr. on drums

Otis Redding,
Otis Redding
1. One of the most important Stax artists who helped bring attention to the "Stax sound"
a. "These Arms of Mine" (r29, 1963)
b.

While only a rhythm and blues chart Top 40 hit, it brought Redding into the picture

c.

Redding's vocal style is drawn heavily from gospel singing style

2.

In 1965 Redding began getting crossover hits

3.

Redding's gospel-influenced vocals and the hard-driving music accompaniment defined the Stax sound

4.

a.

"Mr. Pitiful" (p41 r10)

b.

"I've Been Loving You Too Long" (p21 r2)

c.

"Respect" (P35 r4)

d.

"Try a Little Tenderness" (p25 r4, 1966)

e.

"Sittin' on the Dock of the Bay" went to number one on pop and rhythm and blues charts in 1968

Redding appeared at the Monterey Pop Festival in the summer of 1967

a.

5.

His appearance helped acquaint the hippie audience to southern soul music

Redding was killed in a plane crash in December 1967; he didn't live to see his impact on pop music

Wilson Pickett,
Wilson Pickett
1. Atlantic producer Jerry Wexler discovered Pickett through a demo recording he sang
2. Wexler and Bert Berns produced the song "If You Need Me" with singer Solomon Burke in 1961
3.

The Double L label also released the demo version with Pickett's vocalcompeting with Atlantic

4.

When Pickett came to Atlantic, Wexler immediately signed him to the label

5.

Wexler took Pickett to Memphis to record with Stax musicians in the Stax style
a.

They recorded "In the Midnight Hour" (p23 r 1, 1965)

b.

The song featured a delayed backbeat that Wexler showed the band

c.

Became a characteristic signature sound of the Stax records

6.

When studio time was difficult to get at Stax, Wexler moved to Fame studios in Muscle Shoals, Alabama

7.

Some of Pickett's best-known songs were recorded there

8.

a.

"Land of 1000 Dances" (p6 r1, 1966)

b.

"Mustang Sally" (p26 r6, 1966)

c.

"Funky Broadway" (p8 r1, 1967)

Atlantic had distributed songs from Dial Records in Nashville that were recorded at Fame Studios
a.

Joe Tex's hit "Hold What You've Got" (p5 r2, 1965)

b.

Wexler had licensed Percy Sledge's "When a Man Loves a Woman" (p1 r1, 1965)

c.

Sledge's hit was recorded at Quinvy Studios near Muscle Shoals, but Fame Studios would do
others.

Aretha Franklin
A. Aretha Franklin
1. Gospel-influenced singing style

2.

3.

a.

Born in Memphis

b.

Raised in Detroit

c.

Recorded most of her hits in New York

Daughter of Reverend C. L. Franklin

a.

Well-known Baptist preacher in Detroit

b.

Regularly broadcast his sermons

Originally signed with Columbia in New York

a.

Didn't do well there

b.

Singing in a soft pop mainstream style

4.

Signed with Atlantic in 1966

5.

Jerry Wexler produced her first track in Fame Studios in Muscle Shoals

6.

a.

"I Never Loved a Man (The Way 1 Love You)" (p37 r9, 1967)

b.

Dispute in the studio between Aretha's husband and someone from the Fame organization

c.

They want back to New York

All subsequent tracks were recorded in New York

a.

Wexler flew in the rhythm section from Muscle Shoals

b.

Rick Hall didn't know about it

c.

"Respect" (p 1 r 1, 1967)

d.

"Baby I Love You" (p4 r1, 1967)

e.

"(You Make Me Feel Like) A Natural Woman" (p2 r2, 1967)

f.

"Chain of Fools" (p2 r1, 1968)

g.

"Think"(p7 r1, 1968)

James Brown
James Brown
A. Unquestionably the most important black performer of the 1960s
1. Brown was a member of the southern Georgia based Fabulous Flames in the 1950s
2.

Brown substituted for Little Richard when his hit "Tutti Frutti" led him away from Georgia
a.

Richard was already committed to several performances in the south

b.

Brown actually performed as Little Richard

3.

Brown's first success came with "Please Please Please" (r6, 1956) on King Records in Cincinnati

4.

He had some moderate crossover success with "Try Me" (r1 p48, 1958)

5.

Brown's early hits were rooted in the doo-wop style with backup vocals sung by the Flames

B. Moving from doo-wop to soul

1.

"Think" (p33 r7, 1960) featured new approaches to rhythm

a.

The horn section was given a less melodic role

b.

Horns provided accents for the rhythm section

c.

Less emphasis on melody and/or harmony in the horn section

2.

3.

4.

5.

Brown gained a reputation for his active stage performance

a.

His performance emphasized athletic showmanship

b.

A combination of singing and extremely energetic dancing

He developed a trademark closing routine

a.

Would collapse on the stage in exhaustion

b.

Would be helped off the stage

c.

Before he reached the side he would suddenly get energized and run back out and
continue

Brown and his manager, Ben Bart, released a live album in 1963
a.

Live at the Apollo reached number two on the pop charts

b.

Good example of his energetic performance style

c.

Demonstrated his stylistic range

Beginning in 1964 Brown began to focus his songs on hard-driving rhythmic accompaniment
a.

"Out of Sight" (p24, 1964)

b.

"Papa's Got a Brand New Bag, Pt. 1" (p8 r1, 1965)

c.

"I Got You (I Feel Good)" (p3 r1, 1965)

d.

"It's a Man's Man's Man's World" (p8 r1, 1966)

e.

"Cold Sweat, Pt. 1" (p7 r1, 1967)

C. Brown took control of all aspects of his music and career

1.

He wrote and produced his songs

2.

King Records owner Sid Nathan and manager Ben Bart died in 1968

3.

After that Brown handled his own business affairs

4.

The musicians in his band were extremely talented

5.

a.

Brown rehearsed his band relentlessly

b.

The band was one of the tightest performance ensembles in the 1960s

c.

Heavy emphasis on tightly interwoven rhythmic grooves between horns and rhythm
section

d.

He would fine musicians who made mistakes during shows

The hit "Papa's Got a Brand New Bag" exemplifies the James Brown sound
a.

The track opens with a sustained chord

b.

Verses employ the 12-bar blues structure

c.

There is an eight-bar bridge over a static harmony that returns at the end as a coda

d.

The rhythmic groove is created by the full ensemble

e.

The arrangement differs from Stax arrangements because of the stops at the ends of the
verses

f.

No backup vocalsseparating him from Motown and his earlier 1950s doo-wop style

D. Brown was a positive force behind the "Black Pride" movement of the late 1960s and early 1970s
1.

2.

He did not compromise his black culture in his music

a.

Motown and Atlantic purposely created music that would appeal to a white middle-class
audience

b.

Brown's turn to strong rhythmic focus in his music foreshadowed 1970s funk

Brown's contributions to funk make him one of the most important figures in 1970s black pop

Brown in Boston
A. Institutionalized racism in America had reached a dangerous level by the 1960s
1. Black musicians formed a strong voice in response to the civil rights movement
2.

3.

4.

During the 1950s black performers spoke out in the fight for equal rights for black Americans
a.

Harry Belafonte

b.

Lena Horne

c.

Louis Armstrong

Early 1960s black artists included clear political ideas in their music
a.

Sam Cooke's "A Change Is Gonna Come,"

b.

Nina Simone's "Mississippi Goddamn"

c.

Joe Tex's "The Love You Save"

d.

Curtis Mayfield's vocal group the Impressions: "People Get Ready" and "Keep On
Pushing"

These and other black artists propelled the Black Pride movement forward during the late 1960s

B. James Brown single-handedly calmed rioting in several cities the night following the King assassination
1.

Black Americans reacted violently to Dr. Martin Luther King's assassination on April 4, 1968

2.

The next night Brown gave a concert in Boston that was televised across the country

3.

a.

He started the show by asking the viewers to be calm and stay into not destroy their
community

b.

He reminded black viewers about King's dedication to peaceful change

c.

Boston and several other cities were relatively quiet that night

He went to Washington, D.C., the next night and gave a speech on television that ended riots there

4.

James Brown proved that a black musician had the power to bring peace to violent eruption

5.

He had always maintained, "The music wasn't a part of the revolution. The music was the
revolution."

Development as a musician, performance style, his band, civil rights

How did he help bring peace to a violent situation after Dr. Martin Luther King was
assassinated? Where did he help bring peace?

Psychedelic Rock
Geographical centers (city and neighborhood) London and San Francisco
The London psychedelic scene
A. The rise of the British Underground
1. In June 1965 beat poet Allen Ginsberg went to London to organize a poetry event

2.

a.

Held in Albert Hall

b.

Called "Poets of the World/Poets of Our Time"

c.

Over 5,000 people attended

d.

Many were under the influence of marijuana or LSD

In September 1965 Michael Hollingshead opened the World Psychedelic Center in London
a.

Hollingshead had initially introduced Timothy Leary to LSD

b.

World Psychedelic Center became the center for psychedelic music and culture

B. Drugs had been around in England for a while

1.

Bob Dylan introduced the Beatles to marijuana at the end of their first U.S. tour in 1964

2.

Harrison and Lennon had experienced LSD in 1965 when a friend slipped it into their coffee

3.

In England a subculture similar to that of San Francisco was forming around similar elements

4.

a.

Drugs

b.

Eastern philosophy

c.

Radical politics

d.

Experimental music

The Marquee Club was hosting multimedia events called the Spontaneous Underground
a.

Poetry

b.

Music

c.

"Come See about Me" (r3, 1964)

d.

Avant-garde weirdness

e.
5.

6.

Smaller version of Kesey's acid tests

In February 1966 Barry Miles, John Dunbar, and Peter Asher opened the Indica bookstore and
gallery
a.

Miles had organized the "Poets of the World/Poets of Our Time" event in 1965

b.

Dunbar was Marianne Faithful's husband

c.

Asher was the brother of Paul McCartney's girlfriend

d.

John Lennon found Leary's book The Psychedelic Experience in Indica

The London Free School opened in March 1966

a.

A "countercultural night school" addressing a variety of social condition studies:

b.

Housing problems

c.

Race relations

d.

Mental health

e.

Law

C. The psychedelic scenes were developing independently in London and San Francisco at the same time
1.

Few people had personally experienced the San Francisco scene

2.

There was no media information about it until 1967

3.

Much was known simply through word of mouth

London underground clubs and events

A. By October 1966 the UFO Club had been established
1. More of an organization than a place
2.

Originally met in a bar

3.

When meeting in a bar became a problem the UFO relocated

4.

It became the center of the psychedelic scene in London

B. The Saville Theater became a venue for psychedelic events; theater owned by Brian Epstein
What area of San Francisco was considered the center of the psychedelic scene?
Emerging hippie culture and flower power in San Francisco
a. Scott McKenzie's "San Francisco (Be Sure to Wear Flowers in Your Hair)" (p4 UK1, 1967)
b. Large outdoor rock festival in Monterey, California
The San Francisco Scene and Haight-Ashbury
A. The emergence of hippie culture in San Francisco
1. The psychedelic scene had been developing since mid 1965 in the San Francisco area
a.

Grew out of the area's Beat movement of the late '50s and early 1960s

2.

3.

b.

A bohemian scene celebrating the poetry of Allen Ginsberg and the prose of Jack
Kerouac

c.

Gathered in the North Beach City Lights Bookstore of Lawrence Ferlinghetti

d.

Ginsberg, Michael McClure, and Gary Snider mentored the hippie movement

e.

Many similarities between beats and hippies, notably their nonconformist stance

f.

A difference was in musical taste: beats liked jazz, hippies liked rock music

g.

Ginsberg, McClure, and Snider helped organize the Human Be-In

The Human Be-In was held in San Francisco's Golden Gate Park in January 1967
a.

The event was advertised as a "gathering of the tribes"

b.

A day of poetry. spirituality, and music

c.

Music was provided by local bands

d.

The Grateful Dead and the Jefferson Airplane were among the bands featured

The Human Be-In and the San Francisco hippie movement drew national media attention

What did the movement stand for?

Lifestyle elements - drugs, politics, beliefs

Timothy Leary, Ken Kesey, Acid Tests

The Beatles and psychedelic music (Sgt. Peppers Lonely Hearts Club Band Significance)

Gathering of the Tribes - Human Be In, what was this all about?

Grateful Dead

Jefferson Airplane - Grace Slick, First female rock star

Big Brother and The Holding Company and Janis Joplin

Pink Floyd

 Pink Floyd
1. Named after two American blues musicians, Pink Anderson and Floyd Council
a. Guitarist Syd Barrett (replaced by David Gilmore in 1968)
b.

Bassist Roger Waters

c.

Organist Richard Wright

d.

Drummer Nick Mason

2.

Regulars at Spontaneous Underground events and the UFO Club

3.

Popular only on the underground circuit

4.

Their music was derived from avant-garde concepts

5.

a.

Atonality

b.

Tape echo on instruments and voices

c.

Unconventional playing techniques

Two British hit singles in 1967 and their first album, Piper at the Gates of Dawn (uk6, 1967)
a.

Barrett's "Arnold Layne" was about a transvestite who stole women's clothes from clotheslines

b.

"See Emily Play" was the other hit, also written by Barrett

6.

The band refused to play these songs live, preferring their avant-garde extended improvisations

7.

Their albums were hits only in England during the late 1960s

8.

a.

A Saucerful of Secrets (uk9, 1968)

b.

More (uk9, 1969)

c.

Umma Gumma (uk5 p74, 1969)

d.

Atom Heart Mother (uk 1 p55, 1970)

Their concerts in England featured elaborate light shows

Rolling Stones
The Rolling Stones made a foray into psychedelic after the Beatles' Sgt. Pepper
1. By late 1966, Jagger-Richards songwriting dominated the band's music
a. Brian Jones was contributing little to the Rolling Stones' music
b.
2.

Their seventh album, Aftermath, featured only Jagger-Richards songs

Their Satanic Majesties Request (p2 uk3) was released in December 1967
a.

Obvious attempt to follow the Beatles' psychedelic lead

b.

Clearly a response to Sgt. Pepper

c.

The album cover was a holographic image of the band dressed in wizard outfits

3.

4.

d.

Beatles wore marching band costumes on the Sgt. Pepper cover

e.

Occult wizards conveyed the Stones more negative "bad boy" image

Two differing opinions on the significance of Their Satanic Majesties Request

a.

Failed attempt to imitate the Beatles too closely

b.

Interesting (perhaps necessary) step in the band's development

Stones formed their own identity after Their Satanic Majesties Request
a.

Stopped worrying about competing with the Beatles

b.

Returned to their rhythm and blues roots

Cream
Cream
1. The first rock "supergroup" formed in 1966
a. Eric Clapton, guitarist from Yardbirds

2.

3.

4.

5.

b.

Jack Bruce, bass

c.

Ginger Baker, drums

Former players in British blues bands with several notable blues band leaders
a.

Alexis Korner

b.

John Mayall

c.

Graham Bond

Purpose was to play traditional blues

a.

Covered traditional blues numbers

b.

Robert Johnson's "Crossroads"

c.

Muddy Waters' "Rollin' and Tumblin'"

Clapton had developed the instrumental "rave-up" sections in Yardbirds' shows

a.

Long sections featuring extensive soloing

b.

Became an important element in Cream's blues adaptations

c.

Example: live version of Willie Dixon's "Spoonful" found on Wheels of Fire (1968)

Bruce and Baker were also accomplished players

a.

Baker's drum solo on "Toad" served as a model for rock drummers

b.

Clapton was celebrated in England as the best rock guitar player in the world

c.

Clapton popularized the use of distortion and the wah-wah pedal

6.

7.

8.

9.

Cream also had pop hits

a.

"I Feel Free" (uk 11, 1966)

b.

"Strange Brew" (uk17, 1967)

Cream established the idea of virtuosity in rock music

a.

Beatles and Beach Boys took songwriting

b.

Beatles and Beach Boys advanced approaches to recording techniques

c.

Virtuosity was not a factor with those bandsjust skillful playing

Cream's initial album success was greater in the UK

a.

Fresh Cream (uk6, 1967) barely made the U.S. Top 40

b.

Albums that followed did better in the states than in UK

c.

Disraeli Gears (p4, uk5 1967)

d.

Wheels of Fire (p1 uk3, 1968)

Guitarists in UK were more revered than those in San Francisco bands at this same time
a.

Clapton is an example of being as well known as his band

b.

Jimi Hendrix is another example

c.

San Francisco band guitarists were generally not as well known as their band

10. Cream broke up in November 1968

a.

Each of the members had solo careers

b.

Clapton was the most successful

Jimi Hendrix
Jimi Hendrix
A. A blend of psychedelic blues and the avant-garde
1. Hendrix is one of the most influential guitarists in the history of rock music
2.

3.

Played with various bands during the early 1960s as a sideman (hired musician)
a.

Little Richard

b.

Isley Brothers

c.

Curtis Knight

d.

Formed his own band in New York, Jimmy James and the Blue Flames, in 1964

Discovered by Animals bassist Chas Chandler at Greenwich Village club Caf Wha?
a.

Chandler offered to manage him

b.
4.

5.

Brought him to London in September 1966

Chandler helped Hendrix form the Jimi Hendrix Experience

a.

Hendrix

b.

Drummer Mitch Mitchell

c.

Bassist Noel Redding

The first two singles were hits in England in 1967

a.

First single, "Hey Joe," went to number six on the UK charts

b.

"Purple Haze" (uk3) in May

c.

The band's first album, Are You Experienced? (uk2 p5, 1967), was a tremendous success
in the UK

d.

Was only kept from number one by Sgt. Pepper

B. Hendrix was an American but he arose out of the London psychedelic scene
1.

Didn't become known in American until he played in the Monterey Pop Festival in June 1967

2.

Are You Experienced? wasn't released in the states until August of 1967

3.

His singles didn't do as well as his albums

4.

a.

This is a "post-Sgt. Pepper" trend

b.

Album sales became a better indication of popularity than singles sales

c.

"Purple Haze" only reached number sixty-five on the U.S. pop charts

d.

"Foxy Lady" only made it to number sixty-seven in the states

Hendrix's albums were hugely successful throughout the rest of the 1960s
a.

By early 1968 Axis: Bold as Love was number three in the United States (uk5)

b.

Electric Ladyland (uk6 p1, 1968)

c.

The compilation album Smash Hits (uk4, 1968; p6, 1969)

5.

The Experience broke up in the summer of 1969

6.

Hendrix formed a new band and played the Woodstock festival in August of 1969

7.

Hendrix died of a drug overdose on September 18, 1970

C. Hendrix's music was a blend of blues, pop, rock, and avant-garde psychedelia
1.

2.

He uses pop craftsmanship to assemble musical passages

a.

"Purple Haze" employs a catchy blues guitar "hook" at the end of each verse

b.

"Foxy Lady" uses the same idea

His experimental side is exemplified in "If 6 Was 9" from Axis: Bold as Love

3.

a.

Three minutes of instrumental playing

b.

Novel guitar sound effects

c.

Some counterculture narration

"1983 (A Merman I Should Turn to Be)" is from Electric Ladyland

a.

Considered Hendrix's most ambitious experimental track

b.

Just under fourteen minutes long

c.

Backward tape effects

d.

Series of loose atmospheric instrumental sections

e.

Hendrix, Mitchell, and Redding each demonstrate their virtuosity

f.

Flute is played by Chris Wood from Traffic

g.

A short electronic piece follows immediately "Moon, Turn the Tides Gently, Gently
Away"

h.

It adds a clear avant-garde final touch to "1983"

4.

Hendrix's experimental music extended the work done by the Beatles and Beach Boys

5.

His guitar virtuosity and sonic innovations are a much-imitated model for rock guitarists

6.

a.

Controlled musical applications to feedback

b.

Vibrato bar

c.

Distortion

d.

Wah-wah pedal

His flamboyance and showmanship further elevated the rock experience and became legend
a.

Sexually suggestive movements and gestures

b.

Setting his guitar on fire on his American debut at the Monterey Pop Festival

The Doors
The Doors
1. Formed in 1965 by singer/lyricist Jim Morrison and keyboardist Ray Manzarak
a. Additional band members included Robbie Krieger and John Densmore
b.

Band's name came from eighteenth-century British poet William Blake

c.

Discussed in Aldous Huxley's book The Doors of Perception

2.

Music and lyrics explored the dark side of emotions and drug use

3.

The first album in 1967, The Doors, exemplifies Morrison's determination to explore forbidden topics

4.

5.

6.

7.

a.

The song "The End" explores Oedipal desires

b.

The first song on the album, "Break on Through" mentions "bad trip" experiences

Through all their albums lyrics focus on negative issues

a.

Alienation and repression

b.

Morrison developed an on-stage persona to convey these concepts: the "Lizard King"

c.

The Lizard King was introduced in the third album, Waiting for the Sun (p1 uk16, 1968)

The additional aspect of an alter ego inspired many rock artists who came later
a.

Alice Cooper

b.

David Bowie

c.

Peter Gabriel

d.

Kiss

e.

Madonna

The Doors had several hit singles during the late 1960s as they refined their musical style
a.

"Hello I Love You" (p1 uk15, 1968)

b.

"Touch Me" (p3, 1969)

c.

"Love Her Madly" (p11, 1971)

Morrison died in mysterious circumstances in 1971

Iron Butterfly
Iron Butterfly
1.
2.

Formed in San Diego in 1966

Second album became a rock classic: In-A-Gadda-Da-Vida (p4 1968)
a.

Title track is seventeen minutes long

b.

Menacing organ intro and accompanying sections reminiscent of horror film music

c.

Much of the song is instrumental soloing by organ, guitar, bass, and drums

d.

An edited single version reached number thirty on U.S. charts in 1968

3.

The solos became a model for many rock bands' live shows for many years

4.

The overall sound foreshadowed heavy metal bands of the early 1970s
a.

Black Sabbath

b.

Deep Purple

c.

Led Zeppelin