1. “PAPA’S GOT A BRAND NEW BAG” COUNTRY, SOUL, URBAN FOLK, AND THE RISE OF ROCK, 1960s

2. Country and Western and R&B Crossovers Much of the significantly popular R&B and country music did not cross over into the mainstream pop market during the late 1950s and 1960s. Much of the significantly popular R&B and country music did not cross over into the mainstream pop market during the late 1950s and 1960s. Artists and records that appealed to select or regional audiences were much less likely to find their way onto the pop charts than those that managed to cut across such distinctions. Artists and records that appealed to select or regional audiences were much less likely to find their way onto the pop charts than those that managed to cut across such distinctions.

3. Nashville Sound During the 1960s, country musicians opted for a new, sophisticated approach to the vocal presentation and instrumental arrangement of country music. During the 1960s, country musicians opted for a new, sophisticated approach to the vocal presentation and instrumental arrangement of country music. This approach came to be known as “countrypolitan” — a fusion of “country” and “cosmopolitan.” This approach came to be known as “countrypolitan” — a fusion of “country” and “cosmopolitan.” Nashville was at the center of this development, and the style was also often called the “Nashville sound.” Nashville was at the center of this development, and the style was also often called the “Nashville sound.”

4. Patsy Cline and the Nashville Sound Patsy Cline (1932–63) Patsy Cline (1932–63) Began her career as a hit maker in 1957 with her recording of “Walkin’ after Midnight,” which was successful on both the country and pop charts Began her career as a hit maker in 1957 with her recording of “Walkin’ after Midnight,” which was successful on both the country and pop charts In 1961, she had two big crossover hits, “I Fall to Pieces” and “Crazy” In 1961, she had two big crossover hits, “I Fall to Pieces” and “Crazy”

5. Listening: “Crazy” Patsy Cline’s songs reflected a particular sensibility: Patsy Cline’s songs reflected a particular sensibility: –Ballads of broad appeal—not “teen” records –Her vocal style, while sophisticated, still retained hints of rural bluesy inflections. –Crooning backup vocals sounded like pop music. –High-register piano sounded like honky-tonk country music. She was a significant presence in pop and country until her premature death in a plane crash in 1963. She was a significant presence in pop and country until her premature death in a plane crash in 1963.

6. Ray Charles and Soul Music The term “rhythm & blues” disappeared from pop music vocabulary during the early 1960s and was replaced by the term “soul.” The term “rhythm & blues” disappeared from pop music vocabulary during the early 1960s and was replaced by the term “soul.” Soul music became the symbol of the black community’s effort to achieve cultural definition during the 1960s. Soul music became the symbol of the black community’s effort to achieve cultural definition during the 1960s. Stylistically, soul music combined Stylistically, soul music combined –gospel singing, –rock ’n’ roll, and –rhythm & blues.

7. Ray Charles (born Ray Charles Robinson, 1930–2004) Born in Albany, Georgia Born in Albany, Georgia Blind from age six Blind from age six He originally got into music in Seattle during the 1940s, leading a jazz trio in the clubs on Jackson Street. He originally got into music in Seattle during the 1940s, leading a jazz trio in the clubs on Jackson Street. The sound of his trio was based on the sound of the Nat King Cole trio. The sound of his trio was based on the sound of the Nat King Cole trio. He signed with Atlantic Records and scored several R&B hits in 1954. He signed with Atlantic Records and scored several R&B hits in 1954.

8. Ray Charles –Charles’s recordings stood out from other R&B hits  Played the piano with unmatched brilliance  Used the best available studio musicians to accompany him  Demanded the best out of everyone involved in his recordings; the consummate professional, a perfectionist

9. Ray Charles A constant presence on the R&B charts during the 1950s, but major crossover success eluded him until 1959 A constant presence on the R&B charts during the 1950s, but major crossover success eluded him until 1959 “What’d I Say” (Number Six pop, Number One R&B, 1959) “What’d I Say” (Number Six pop, Number One R&B, 1959) “Georgia on My Mind” “Georgia on My Mind” –His first Number One pop hit –A version of an old Tin Pan Alley standard –Number Three on the R&B charts Charles recorded an album of soul interpretations of country songs in 1962, Modern Sounds in Country and Western Music. Charles recorded an album of soul interpretations of country songs in 1962, Modern Sounds in Country and Western Music.

10. The “Genius of Soul” Charles was a fine songwriter, having written R&B classics like “I’ve Got a Woman” and “Hallelujah I Love Her So.” Charles was a fine songwriter, having written R&B classics like “I’ve Got a Woman” and “Hallelujah I Love Her So.” Highly skilled arranger Highly skilled arranger Exceptionally fine keyboard player, fluent in jazz as well as mainstream pop Exceptionally fine keyboard player, fluent in jazz as well as mainstream pop Outstanding vocalist; had a distinctive timbre Outstanding vocalist; had a distinctive timbre –He is now widely acknowledged as the first important soul artist. –His work had an incalculable influence on James Brown, Aretha Franklin, Curtis Mayfield, Otis Redding, Sly Stone, and innumerable others.

11. James Brown (b. 1933) The “Godfather of Soul” and “Soul Brother Number One” The “Godfather of Soul” and “Soul Brother Number One” No other single musician influenced the sound and style of black music like James Brown. No other single musician influenced the sound and style of black music like James Brown. Rough, unrestrained vocals; relentless rhythms; active, open textures Rough, unrestrained vocals; relentless rhythms; active, open textures

12. James Brown (b. 1933) His first record, “Please, Please, Please” (Number Five R&B, 1956), which Brown wrote himself, is indicative of his style: His first record, “Please, Please, Please” (Number Five R&B, 1956), which Brown wrote himself, is indicative of his style: –Although the song is in the form of a strophic 1950s R&B ballad, Brown’s vocals cling obsessively to repetitions of individual words (e.g., “please,” or even a simple “I”). –Sometimes, the activity of an entire strophe centers on the syncopated, violently accented reiterations of a single syllable.

13. “Say It Loud—I’m Black and I’m Proud” Reached Number One on the R&B charts and Number Ten on the pop charts in 1968 Reached Number One on the R&B charts and Number Ten on the pop charts in 1968 –For all intents and purposes, a rap number—a striking anticipation of important black music to come Brown’s records are sampled by hip-hop artists more than those of any other musician. Brown’s records are sampled by hip-hop artists more than those of any other musician. Brown exults and excels in live performance. Brown exults and excels in live performance. –His acrobatic physicality and remarkable charisma add great excitement to his vocal improvisations.

14. Listening: “Papa’s Got a Brand New Bag” Brown’s most successful pop record —Number Nine on the pop charts Brown’s most successful pop record —Number Nine on the pop charts Established the mature “James Brown sound” Established the mature “James Brown sound” –Riffs in brass –Syncopation –Percussive style of playing guitar, bass, and brass –Call and response –Twelve-bar blues form broken up with an eight-bar bridge –Complex interlocking polyrhythms

15. Aretha Franklin (b. 1942) The “Queen of Soul” The “Queen of Soul” Daughter of 1950s evangelist and singer Reverend C. L. Franklin Daughter of 1950s evangelist and singer Reverend C. L. Franklin Sang in her father’s gospel church choir Sang in her father’s gospel church choir Discovered by John Hammond Discovered by John Hammond –Signed a record contract with Columbia in 1960 –Columbia (against Hammond’s wishes) had her record jazzy, popular Tin Pan Alley songs. –She was let go by Columbia in 1966 after failing to draw much interest.

16. Atlantic Records Signed by Atlantic Records Signed by Atlantic Records –Atlantic producers Ahmet Ertegun and Jerry Wexler encouraged her to record strong material well suited to her particular voice. –Ertegun and Wexler teamed her with the Stax/Volt production team and musicians to record gospel-laced soul music.

17. Aretha Franklin (b. 1942) Beginning in 1967, Franklin produced an extraordinary and virtually uninterrupted stream of hit records over five years. Beginning in 1967, Franklin produced an extraordinary and virtually uninterrupted stream of hit records over five years. –Included thirteen million-sellers and thirteen Top 10 pop hits  Overwhelming power and intensity of vocal delivery  Wrote or co-wrote a significant portion of her repertoire  Powerful keyboard player –Franklin not only symbolized female empowerment in the sound of her records but also actualized empowerment in the process of making them.

18. Listening: “Respect” Composed by Otis Redding Composed by Otis Redding Cover of a 1965 hit by Otis Redding Cover of a 1965 hit by Otis Redding Number One pop and Number One R&B in 1967 Number One pop and Number One R&B in 1967 Each strophe builds effectively to the crucial word “respect,” at which point the backing group joins in call and response with Franklin. Each strophe builds effectively to the crucial word “respect,” at which point the backing group joins in call and response with Franklin.