The Second Generation The Early 1960s M Complete the followi

The Second Generation The Early 1960s M Complete the following sentence from Friedlander, "The years between 1959 and 1963 were . . . ."

According to Friedlander, what were some of the reasons that "hastened the demise of fifties (1950's) rock"?

What is payola?

Describe the music of the so-called "teen idols". Name two of these artists. What image did they present to the public? In what ways were they different from the classic rockers of the fifties?

Listen to and describe the musical activity you notice in the following clip from Dick Clark's Saturday Night Beechnut Show TV show in 1959 featuring Paul Anka (1941) singing his own composition, "Put Your Head On My Shoulder" (1959).

Listen to and describe the musical activity you notice in the following clip from 1960 featuring two songs

by The Everly Brothers (Phil and Don) - "All I Have To Do Is Dream" and "Cathy's Clown". The band backing them up is Buddy Holly's band, The Crickets.

Listen to and describe the musical activity you notice in the 1961 recording of "Hello Mary Lou" composed by Gene Pitney , performed by late 1950's early 1960's teen idol Ricky Nelson ().

Research The Brill Building from sources on the web. What was happening there that was so significant to popular music? Name some of the song writers (composers) and musicians who worked in that building during the 1950's and 1960's.

In what way did music of the sanctified church influence the music of Ray Charles?

Listen to and describe the musical activity in Ray Charles' cover of Hank Snow's country song, "I'm Movin' On", and in his cover of the Walter Davis composition, "Come Back Baby".

Name the host of the popular ABC Television network weekday afternoon show, American Bandstand.

This famous pop culture person served as the host of American Bandstand from 1956 until its very last episode in 1989.

Describe and comment on what you are seeing and hearing in these three extraordinary video clips from different years on American Bandstand: Here he is introducing Bill Haley and the Comets on his show in 1960; Here he is introducing Roy Orbison in 1966; Here he is introducing ABBA in 1975.

In 1961, Ben E. King was playing with the words to an old spiritual called Lord, Stand By Me. His placement of secular lyrics into the spiritual created the pop classic, Stand By Me - a song that is considered to be one of the earliest examples of what would become known as Soul Music. Listen to the recording of Stand By Me, by Ben E. King. List some of the characteristics you notice in the song. What music styles are present here?

Listen to and describe what you notice in the recorded selections by James Brown below. List any of the unique characteristics (as detailed in Friedlander) you happen to hear in his music. Also, watch the video of James below performing "Sex Machine" from 1971. What do you notice happening musically and physically here?

What is Motown? Who is Berry Gordy Jr.? In what American city was Motown established?

What was the name of the excellent Motown House Band that featured the great James Jamerson on Bass?

Name two songs composed by Smokey Robinson. Name two songs composed by the songwriting team of Holland, Dozier, & Holland (HDH).

Listen to and describe each of the following Motown songs: a) My Guy - Mary Wells; b) Heat Wave Martha and the Vandellas; c) For Once In My Life - Stevie Wonder; d) Where Did Our Love Go? - The Supremes; e) My Girl - The Temptations; f) Ain't Too Proud To Beg - The Temptations.

Listen to and describe "Cloud Nine" by The Temptations. How was this song different than the majority of Motown's earlier songs?

Providing an alternative to the polished sound of the Motown recording artists from Detroit, the bass-centered, rhythmically punchy sound out of Memphis by the Stax Records house band, Booker T. and the MG's. Briefly outline the origin, impact, and musical contributions of this great soul band. What was the racial make-up of the personnel in the band?

Listen to and describe what you hear in the following examples of this distinctive Stax/Atlantic Soul Music Sound: "Soul Man" - Sam & Dave; "Green Onions" - Booker T and the MG's.

Listen to and describe the four wonderful Aretha Franklin selections below (be sure to list instruments you hear, and stylistic influences present): a) Think; b) Chain of Fools; c) Respect; d) video of "Think" from The Blues Brothers.

Listen to and reflect upon James Brown's, Say It Loud-I'm Black I'm Proud. Why, and how does this song

transcend the boundaries of a typical pop song?

What primary contributions has Phil Spector made to the history of rock and roll? Describe and provide the name given for his special recording technique?

View, listen to, and describe the video of The Ronettes singing "Be My Baby". Did the advent of the "girl groups" and the rise of individual female performers in popular music of the early sixties help to balance their artistic or financial status in the music/recording industry?

Among the composers writing hit songs in the sixties were Carole King and her husband at that time Gerry Goffin. List three of their song titles along with the respective performing artist who recorded the song.

Among her numerous musical accomplishments, Carole King recorded in 1971 one of the greatest albums in all of pop music history, Tapestry. The album sold millions of copies and helped inaugurate the Seventies' singer/songwriter style. The music of The Beatles, Radiohead, Johann Sebastian Bach, The Who, Bela Bartok, Little Richard, John Adams, The Rolling Stones, Ludwig van Beethoven, Chuck Berry, Thelonious Monk, Wolfgang Amadeus Mozart, Miles Davis, and Clifford Brown all pass the test with flying colors. The Tapestry album by Carole King is in this same league. Listening to songs from the 1971 album "Tapestry," list any songs you already know or have familiarity with. If all of these songs are new to you, please write that as your response. Then, select two songs to profile—list musical characteristics you notice in the two songs—including lyrics, instruments used, vocal delivery style, and vocal timbre. Of what significance is this album to American Popular Music history?

Paper For Above instruction The period between 1959 and 1963 marked a significant transitional era in American popular music, transitioning from the exuberance of fifties rock 'n' roll toward the more socially conscious and musically diverse landscape of the early sixties. Friedlander characterizes this time as a period of both upheaval and innovation, driven by evolving cultural currents, technological advancements, and the emergence of new musical styles that would shape the decades to come.

Several factors hastened the decline of fifties rock, including the saturation of the market with similar-sounding acts, the advent of new musical genres such as Motown and soul, and the involvement of commercial interests like payola—an illegal practice where record companies paid radio disc jockeys to play specific songs, thereby artificially inflating their popularity. Friedlander notes that payola was a

significant influence on radio programming, often skewing public perception of what constituted authentic music during that era.

The "teen idols" of the early sixties emerged as a new breed of pop stars characterized by their clean-cut image, appealing looks, and accessible styles. Artists like Frankie Avalon and Fabian epitomized this trend, presenting wholesome, personable images that contrasted sharply with the rebellious attitudes of fifties rockers like Elvis Presley and Chuck Berry. While the classic rockers promoted a more rebellious and edgy persona, teen idols emphasized innocence and charm, often marketed directly to a teenage demographic through television appearances and fan magazines.

Listening to Paul Anka's "Put Your Head On My Shoulder" from 1959 reveals a gentle, melodic vocal delivery accompanied by lush string arrangements and a smooth rhythmic pulse that exemplifies the soft, romantic ballad style prevalent during this period. The performance's musical activity features a restrained yet emotive vocal style, emphasizing intimacy and vulnerability.

The Everly Brothers' performances of "All I Have To Do Is Dream" and "Cathy's Clown" from 1960 showcase their tight harmonies and clean vocal blend, underscored by the backing of Buddy Holly's band, The Crickets. The arrangements are simple but effective, with close harmony singing at the forefront, supported by acoustic guitar and minimal percussion, highlighting the emerging folk-rock sensibility that would influence later musical developments.

Ricky Nelson's "Hello Mary Lou" from 1961 features a lively rhythm characterized by energetic guitar chords and a spirited vocal style that captures the youthful exuberance of early sixties rock and roll. The song's melodic hook and rhythm-driven backing exemplify the teen idol's role in shifting the music toward a more energetic and danceable direction.

The Brill Building, situated at 1619 Broadway, became a hub for songwriting and music publishing in the late 1950s and early 1960s. It fostered a collaborative environment among prolific songwriters, who created many of the era's hits. Notable figures associated with the Brill Building include Carole King, Gerry Goffin, Neil Sedaka, and Barry Mann. The building's significance lies in its role in shaping the "Brill Building Sound," a style characterized by catchy melodies, polished production, and often, themes appealing to teenage audiences. These songwriters and producers helped define the sound of popular music that dominated the charts during this pivotal decade.

Ray Charles's gospel and sanctified church roots had a profound influence on his music, blending spiritual

fervor with bold, emotive performance styles. His use of call-and-response vocals, rich gospel-infused melodies, and soulful improvisation contributed to the development of soul music, a genre that prioritized emotional expression and social commentary.

Ray Charles's covers of Hank Snow's country song, "I'm Movin' On," and Walter Davis's "Come Back Baby" exemplify his ability to bridge genres. His interpretation of "I'm Movin' On" features a soulful vocal delivery that recontextualizes the country tune within a blues and gospel framework, emphasizing emotional depth. Similarly, "Come Back Baby" showcases his improvisational prowess, blending gospel vocals with blues phrasing to create a deeply expressive version that transcends genre boundaries.

American Bandstand, hosted by Dick Clark, served as a critical platform for teen-oriented music from 1956 to 1989. Clark's charismatic hosting introduced millions of viewers to new artists and trends, making him a pivotal figure in American pop culture. His appearances with artists such as Bill Haley, Roy Orbison, and ABBA illustrate the show's evolution alongside popular music development.

The classic clips from American Bandstand reveal the changing styles and performances across decades—from the energetic rock and roll of Bill Haley in 1960, the romantic balladry of Roy Orbison in 1966, to the flamboyant pop of ABBA in 1975. These performances highlight not only the artistic diversity but also the show's role in shaping public perception of musical trends and performer personas over time.

Ben E. King's "Stand By Me" from 1961 exemplifies the merging of gospel influences with secular lyrics to create a cornerstone of soul music. The song's smooth bassline, emotional vocal delivery, and reaffirming lyrical message exemplify the genre's core characteristics. It integrates gospel-derived melodies with a simple yet compelling accompaniment, making it timeless and universally relatable.

James Brown's recordings reflect his characteristic rhythmic complexity, dynamic vocal style, and energetic stage presence. Songs like "I Got The Feeling" and "Superbad" showcase Brown's innovative use of syncopation, call-and-response patterns, and improvisational vocal techniques that contributed to funk's development. His live performances, especially "Sex Machine," feature intense rhythmic grooves combined with choreographed dance, demonstrating his mastery of integrating music and physical expression.

Motown, founded by Berry Gordy Jr. in Detroit, revolutionized American popular music through its polished sound, tight vocal harmonies, and sophisticated production techniques. The company aimed to create crossover hits that appealed to both Black and white audiences, making it a cultural and commercial

force. Gordy established Motown as both a record label and a musical empire, cultivating a distinct style that emphasized melody, rhythm, and rhythmically driven arrangements.

The Motown house band, The Funk Brothers, including bassist James Jamerson, provided the musical backbone for many hits. Smokey Robinson, as a songwriter and performer, penned numerous classics such as "My Guy" (Mary Wells) and "Cruisin’" (The Miracles). The legendary songwriting team Holland-Dozier-Holland (HDH) created hits like "Stop! In the Name of Love" (The Supremes) and "Can't Help Myself (Sugar Pie Honey Bunch)" (Four Tops).

Among the influential Motown tracks, "My Guy" by Mary Wells, "Heat Wave" by Martha and the Vandellas, "For Once In My Life" by Stevie Wonder, "Where Did Our Love Go?" by The Supremes, "My Girl" by The Temptations, and "Ain't Too Proud To Beg" by The Temptations stand out for their memorable melodies, lush arrangements, and soulful vocals. These songs exemplify the memorable, accessible sound that made Motown a powerhouse.

"Cloud Nine" by The Temptations marked a turning point from the group’s earlier soulful ballads to a more socially conscious, funk-inspired style. The song's use of electric bass, rhythmic groove, and socially aware lyrics signaled a shift toward the more politically engaged and experimental sounds that characterized the late 1960s.

Stax Records in Memphis, led by Booker T. and the MG's, created a raw, bass-driven sound often regarded as a counterpoint to Motown's polished style. The Memphis soul sound was characterized by its gritty tone, rhythmic emphasis, and emotional vocal delivery. The band’s racially mixed lineup included White, Black, and Hispanic musicians, exemplifying the racial integration within Memphis's musical scene. Their impact was profound in developing funk, soul, and R&B, with hits like "Green Onions" and "Soul Man" solidifying their legacy.

"Soul Man" by Sam & Dave and "Green Onions" by Booker T. and the MG's exemplify the vibrant, rhythmic, and soulful qualities of Memphis-based soul. Their music is distinguished by compelling grooves, tight arrangements, and passionate vocal performances, which became hallmarks of Stax's innovative style.

Aretha Franklin, known as the Queen of Soul, brought a gospel-influenced vocal force to her music.

"Think" features her improvisational gospel style, with powerful vocal leaps and rhythmic phrasing.

"Chain of Fools" exemplifies her emotive vocal delivery, blending gospel call-and-response with blues and

R&B. "Respect" became an anthem for civil rights and gender equality, showcasing her ability to combine social messages with accessible soul music.

James Brown's "Say It Loud—I’m Black, I’m Proud" transcends typical pop expectations through its powerful message of racial pride, social consciousness, and identity. Its energetic rhythm, call-and-response vocals, and explicit social commentary set it apart, inspiring civil rights movements and shaping funk music’s development.

Phil Spector revolutionized rock and roll through his "Wall of Sound" recording technique, which involved dense layers of instrumentation, echo, and reverb to produce a rich, full sound. His productions, exemplified by hits like "Be My Baby" by The Ronettes, defined a lush, orchestral style that influenced countless artists.

The Ronettes' "Be My Baby" showcases Spector's Wall of Sound technique—thick instrumentation, layered vocals, and dramatic production. The rise of girl groups in the early sixties helped provide female artists better artistic control and financial opportunities, though often they sought greater recognition and independence from their record labels.

Carole King and Gerry Goffin wrote numerous classic hits such as "Will You Love Me Tomorrow" (TheShirelles), "The Loco-Motion" (Little Eva), and "It's Too Late" (Carole King). Their songwriting partnership was central to the Brill Building sound and the rise of girl group pop, impacting American popular music profoundly.

Carole King's 1971 album "Tapestry" remains a landmark in singer-songwriter history. Songs like "It's Too Late" and "You've Got a Friend" exemplify intimate lyricism, melodic richness, and emotional expression. The album's enduring appeal lies in its authenticity and timeless musical quality, influencing generations of musicians and music lovers alike.

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