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Lecture 3

Lecture Week 3 & 4

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University of Guelph
MUSC 2150
Shannon Carter

Week 3 Rhythm and Blues  Blues and Tin Pan Alley  First listened and played by blacks then white people got interested  Rocket ’88 – Jacki Benston & The Delta Cats o About a car (also a little bit of metaphor)  Hokum Blues (a little) o Bass, drums, piano, saxophone – combo  Shake, Rattle & Roll – Big Joe Turner o Same combo as Rocket ‘88 o Like a one-eyed cat peepin in a sea-food store – metaphor o about a man complaining about his wife. 1930’s-1950’s  Grew out of TPA & urban blues  Lyrics, voices, rounder, diction  Lose emotion (raspy voice)  Rhythm is danceable As rhythm and blues became more popular, white covers of black artists become more and more Doo-Wop  Mix of rhythm and blues and Gospel music  Close harmony singing  Call and response between main singer and back up vocalist  Main singer improvises  Non-sense syllables (nanana…sh boom…etc)  Sh Boom – The Chords o Lyrics about sex, but more polite metaphors – lyrics are well veiled o Cover by the Crew Cuts  More TPA than R&B  Timbre – rounder, clean  Lucile – Little Richard o He’s wearing eyeline and his long hair (pompadour; like Elvis) considered rebellious o Full of energy, standing up while playing piano o Wearing zoot suit (1 ½ times more fabric than regular suit). Considered flamboyant, flashy  Tutti Fruiti – Little Richard o Metaphor for sex o Same combo as urban blues o Vocals: raspy, passionate – drawn from earlier blues & gospel music o Switched from falsetto to chest voice o Call and response. o Improv o Lyrics: Sue is promiscuous, good lover. Daisy is another lover, good to o Cover by Pat Boone  His cover sold more  Portrays ‘I love Jesus’ look. Middle class, white American  Timbre: more TPA-esque, no rasp/breathiness  Combo is same- has back-up siners  Changed lyrics  Blueberry Hill – Fats Domino o Crew cut, not pompadour. No make-up. No zoot suit. Sitting, not standing at piano o Lyrics aren’t sexual. o His image could be sold to middle class, especially white adults. Richard’s couldn’t Demographics in the 1950’s  1946 15 years after baby boomers  Mid 1950’s  earliest boomers are becoming teenagers and getting money to spend. They are shifting the market for music. After 10 years the market for music shifts.  1950’s kids have disposable income at a young age  Kids like things that parents don’t like (i.e. Little Richard, Chuck Berry)  Kids found rhythm and blues because of ASCAP spat, didn’t want to listen to their parent’s TPA Alan Freed  DJ- had fondness for R&B  Created the term “Rock and Roll” (not much difference between that and R&B).  Produced a lot of rock and roll  Show was called “Moon Dog Show”- aired R&B and R&B  Had a good multi-race audience  Late 50’s s- aired R&R (indie labels)  Sounded like a white anchorman – that helped him. Elvis [the pelvis] Presley  Started singing country western and gospel music  Sounded black – radiomen had to confirm his race  Wore make up, zoot suit, and had a pompadour  Was part of Sun records (independent label) Rockabilly  Mix of R&B and country western  Tempo is faster than R&B  12 bar pattern [A A B]  Lighthearted  Not obviously sexual  Rural dialect  Fewer call and response patterns  Sometimes rhythm section lacks bass & guitar  That’s Alright (Mama) – Elvis Presley o Wasn’t full rhythm section: no drums (makes it sound light and airy) o Sung about love gone wrong – not overtly sexual o Form: [FIGURE IT OUT]  she wouldn’t tell us. o Mix of TPA, Blues, Country Western (he’s a brilliant vocalist; can conform to whatever genre) o Swoops and slides into notes, makes it sound more relaxed  Love Me Tender – Elvis Presley o Song is TPA. That’s the way he’s singing it.  Heartbreak Hotel – Elvis Presley o Song with RCA, and crossed charts (1956) o Passionate o Blues, TPA, Country western o Elements of rhythm and blues  Elvis had hits on all 3 charts (first time ever) – new phenomenon o RCA scouted Elvis and bought his contract from Sam Phillips (Su
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