Presentation on theme: "CHAPTER 3 THE DEMISE OF ROCK AND THE PROMISE OF SOUL."— Presentation transcript:
CHAPTER 3 THE DEMISE OF ROCK AND THE PROMISE OF SOUL
SPLITTING UP THE MARKET Brill Building Teen pop music Both a place and a stylistic label Aldon Music Brill Building approach Artist was not at the center of the process Return to the way business had been done pre-rock
The Brill Building: Rock ’ n ’ Roll ’ s Tin Pan Alley Located at 1619 Broadway in New York City, which once housed Tin Pan Alley publishers During the 1960s, home to a new wave of pop-rock songwriting teams Rock ’ n ’ roll ’ s vertical Tin Pan Alley Singer-songwriters and songwriting teams: Barry Mann and Cynthia Weill Carole King and Gerry Goffin Neil Sedaka and Howard Greenfield
SPLITTING UP THE MARKET Teen Idols Cast as potential boyfriends Frankie Avalon Bobby Rydell Bobby Darin Neil Sedaka
THE RISE OF THE PRODUCER What is a producer? A&R, matching artists and repertoire Hiring musicians Had crucial decision-making authority Development of ambitious attitudes toward pop Musical sophistication Trademark “sound” Record is more than a recorded live performance
THE RISE OF THE PRODUCER Leiber and Stoller Music for Elvis “Hound Dog” “Jailhouse Rock” “Don’t” Early 50s rhythm and blues Spark Records Atlantic Records Maintained independence
THE RISE OF THE PRODUCER Leiber and Stoller Coasters Playlets “Smokey Joe’s Cafe” “Little Egypt”
THE RISE OF THE PRODUCER Girl Groups Songwriting teams Sedaka/Greenfield King/Goffin Weil/Mann Berry/Greenwich Mostly black female groups Solo female singers Controlled by industry Producers and songwriters had creative control over music
THE RISE OF THE PRODUCER Phil Spector Worked under Leiber and Stoller Ambitious producer Girl-group pop Signature “wall of sound” “Da Doo Ron Ron,” Crystals “Then He Kissed Me,” Crystals “Be My Baby,” Ronettes “You’ve Lost that Lovin’ Feelin’,” Righteous Brothers
PHIL SPECTOR: PRODUCER AS ARTIST Phil Spector (b. 1940) “ The first tycoon of teen ” During the 1960s, he established the role of the record producer as creative artist. At age seventeen, he had a Number One record as a member of the vocal group the Teddy Bears, whose hit song “ To Know Him Is to Love Him ” he composed and produced.
PHIL SPECTOR: PRODUCER AS ARTIST In 1960, Spector became an assistant to Jerry Lieber and Mike Stoller; he co- produced “ Stand by Me ” by Ben E. King (1961). By the early 1960s, Spector had established himself as a songwriting producer. At age twenty-one, he was in charge of his own independent label, Philles Records. He supervised every aspect of his records ’ sound.
“ The Wall of Sound ” The characteristic Philles sound was remarkably dense yet clear. It became known as the “ wall of sound. ” Multiple instruments doubling each part of the arrangement Huge amount of echo, known as reverberation or “ reverb ” Carefully controlled balance so that the vocals were pushed clearly to the front The thick texture and presence of strings on these records led them to be called “ teenage symphonies. ”
Listening: “ Be My Baby ” Composed by Phil Spector, Ellie Greenwich, and Jeff Barry Performed by the Ronettes Number Two, 1963 This was one of the biggest hits among the many produced by Spector. It is an excellent illustration of Spector ’ s “ wall of sound. ” Full orchestral string section Pianos Full array of rhythm instruments Background chorus Simple but effective verse-chorus form Drum pattern opens the song, is an effective hook
PHIL SPECTOR: PRODUCER AS ARTIST Recorded at Gold Star Studios in Los Angeles with a group of studio musicians known as “ the “ wrecking crew ” Preferred the sound of female vocal groups and spearheaded the rise in popularity of the “ girl group ” phenomenon of the early 1960s Retired from steady writing and production work in 1966 By age twenty-five, his star was on the wane, and he became a troubled recluse.
BERRY GORDY JR. AND MOTOWN Berry Gordy (b. 1929) Expert songwriter and producer who created blues- and gospel-based pop music designed to appeal to the widest possible listening public.
MOTOWN RECORDS Named after the “ Motor town ” or “ Motor city ” of Detroit, the automobile production capital of the America Founded in 1960 by Berry Gordy Became the first black-owned and - controlled indie record company to rise to “ major label ” status Gordy started the company in a converted house on West Grand Blvd. A sign hung over the doorway read “ HITSVILLE, U.S.A. ”
Gordy ’ s Image for Motown Soul music based on the doo-wop vocal group tradition Slick, cosmopolitan sound— “ appealing to the ear ” Carefully constructed musical arrangements overseen by Gordy In-house songwriting and production teams for a sense of consistency The house band, called the Funk Brothers, was used to back up and inspire the vocalists. Bass player James Jamerson Drummer Benny Benjamin Keyboardist Earl Van Dyke
SPLITTING UP THE MARKET Folk music College-age listeners Music that seemed more real that commercial pop Populist characters Untutored quality of folksingers Break with the norms of middle-class life Almost anyone could play it Brief fascination with Caribbean music Importance of album sales
Listening: “ My Girl ” Composed and produced by Smokey Robinson and Ronald White Performed by the Temptations (Number One, 1965) Moderate-tempo love ballad in verse-chorus form A cumulative layering of sounds gives the song a feeling of steadily increasing passion and intensity: Repeated solo bass motive establishes beat Lead guitar enters with a memorable melodic figure Drums and lead voice enter, followed by subtle background vocals Brass enter at the first chorus Orchestral strings are added to the accompaniment The second verse brings new brass fanfares in response to the lead vocalist ’ s calls. There is an instrumental interlude dominated by strings before the third verse. A dramatic upward key change takes place right before the concluding verse and chorus.
Listening: “ You Can ’ t Hurry Love ” Composed by Holland-Dozier-Holland; produced by Brian Holland and Lamont Dozier Performed by the Supremes (Number One, 1966) Cleverly written, innovatively structured Motown pop song The formal structure of the song reflects the meaning. “ You Can ’ t Hurry Love ” is about the importance of waiting.
Listening: “ You Can ’ t Hurry Love ” The opening A section is very short, half the length of the next B and C sections. It is unclear whether the A section functions as an introduction or a short verse. The basic chord progressions of the A and B sections are virtually identical. The C section introduces a striking chord and melody change. The B and C sections alternate—an unorthodox verse-chorus form The words of the chorus are not exactly the same. The A section (played twice through) returns unexpectedly with a vengeance. There is an ambiguous section based on chords from the A and B sections Finally, the voice enters with the B section and fades to an ending.
MOTOWN During Motown ’ s heyday in the mid- 1960s, Gordy ’ s music empire included eight record labels, a management service, and a publishing company. From 1964 to 1967, Motown had fourteen Number One pop singles, twenty Number One R&B singles, forty-six additional Top 15 pop singles, and seventy-five additional Top 15 R&B singles. In 1966, seventy-five percent of Motown's releases made the charts.
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