““GOOD VIBRATIONS”GOOD VIBRATIONS”

AMERICAN POP AND THE AMERICAN POP AND THE BRITISH INVASION, 1960sBRITISH INVASION, 1960s

American Pop and the British American Pop and the British Invasion, 1960sInvasion, 1960s

The decade of the 1960s was one of the The decade of the 1960s was one of the most disruptive, controversial, and violent most disruptive, controversial, and violent eras in American history. eras in American history.

Civil rights movementCivil rights movement Vietnam WarVietnam War Assassinations of John F. Kennedy and the Reverend Assassinations of John F. Kennedy and the Reverend

Martin Luther King Jr. Martin Luther King Jr.

– Popular music played an important role in Popular music played an important role in defining the character and spirit of this decade.defining the character and spirit of this decade.

Rock ’n’ roll developed into “rock.” Rock ’n’ roll developed into “rock.”

The Early 1960s: Dance Music The Early 1960s: Dance Music and “Teenage Symphonies”and “Teenage Symphonies”– Three important trends emerged in the Three important trends emerged in the

early 1960s:early 1960s:1.1. A new kind of social dancing developed, A new kind of social dancing developed,

inspired by “The Twist” and other dance-inspired by “The Twist” and other dance-oriented records.oriented records.

2.2. Members of the first generation to grow up Members of the first generation to grow up with rock ’n’ roll were beginning to assume with rock ’n’ roll were beginning to assume influential positions in the music industryinfluential positions in the music industry

3.3. The Tin Pan Alley system was reinvented The Tin Pan Alley system was reinvented for the new music and new audiences.for the new music and new audiences.

The Twist The Twist

““The Twist” began as the B-side of a 1959 The Twist” began as the B-side of a 1959 single by the veteran R&B group Hank single by the veteran R&B group Hank Ballard and the Midnighters.Ballard and the Midnighters. – ““The Twist” was a teen-oriented rock ’n’ roll The Twist” was a teen-oriented rock ’n’ roll

song using a twelve-bar blues structure that song using a twelve-bar blues structure that featured a simple, hip-swiveling dance step. featured a simple, hip-swiveling dance step.

– Ballard’s indie label, King, did not promote the Ballard’s indie label, King, did not promote the song, and instead promoted the A-side of the song, and instead promoted the A-side of the single “Teardrops on Your Letter,” which single “Teardrops on Your Letter,” which peaked at Number Eighty-nine on peaked at Number Eighty-nine on Billboard’Billboard’s s “Hot 100” chart. “Hot 100” chart.

Chubby Checker Chubby Checker (b. Ernest Evans, 1941)(b. Ernest Evans, 1941)

Evans, a former poultry plucker, signed to Evans, a former poultry plucker, signed to Philadelphia-based Parkway Records in 1958. Philadelphia-based Parkway Records in 1958.

His cover of “The Twist” in 1960 reached His cover of “The Twist” in 1960 reached Number One. Number One.

The song and the dance step were promoted The song and the dance step were promoted on Dick Clark’s nationally broadcast on Dick Clark’s nationally broadcast television program television program American BandstandAmerican Bandstand. .

The twist was essentially an individual, The twist was essentially an individual, noncontact dance without any real steps. noncontact dance without any real steps.

Phil Spector: Producer as Phil Spector: Producer as ArtistArtist

Phil Spector (b. 1940) Phil Spector (b. 1940) – ““The first tycoon of teen” The first tycoon of teen” – During the 1960s, he established the During the 1960s, he established the

role of the record producer as creative role of the record producer as creative artist. artist.

– At age seventeen, he had a Number At age seventeen, he had a Number One record as a member of the vocal One record as a member of the vocal group the Teddy Bears, whose hit song group the Teddy Bears, whose hit song “To Know Him Is to Love Him” he “To Know Him Is to Love Him” he composed and produced.composed and produced.

Phil Spector: Producer as Phil Spector: Producer as ArtistArtist

In 1960, Spector became an assistant to Jerry In 1960, Spector became an assistant to Jerry Lieber and Mike Stoller; he co-produced Lieber and Mike Stoller; he co-produced “Stand by Me” by Ben E. King (1961). “Stand by Me” by Ben E. King (1961).

By the early 1960s, Spector had established By the early 1960s, Spector had established himself as a songwriting producer.himself as a songwriting producer.

At age twenty-one, he was in charge of his At age twenty-one, he was in charge of his own independent label, Philles Records. own independent label, Philles Records.

– He supervised every aspect of his records’ sound.He supervised every aspect of his records’ sound.

““The Wall of Sound” The Wall of Sound” The characteristic Philles sound was The characteristic Philles sound was

remarkably dense yet clear. It became remarkably dense yet clear. It became known as the “wall of sound.” known as the “wall of sound.”

– Multiple instruments doubling each part of Multiple instruments doubling each part of the arrangement the arrangement

– Huge amount of echo, known as Huge amount of echo, known as reverberation or “reverb”reverberation or “reverb”

– Carefully controlled balance so that the Carefully controlled balance so that the vocals were pushed clearly to the frontvocals were pushed clearly to the front

The thick texture and presence of strings The thick texture and presence of strings on these records led them to be called on these records led them to be called “teenage symphonies.”“teenage symphonies.”

Listening: “Be My Baby”Listening: “Be My Baby” Composed by Phil Spector, Ellie Greenwich, and Composed by Phil Spector, Ellie Greenwich, and

Jeff BarryJeff Barry Performed by the Ronettes Performed by the Ronettes Number Two, 1963Number Two, 1963 This was one of the biggest hits among the This was one of the biggest hits among the

many produced by Spector. It is an excellent many produced by Spector. It is an excellent illustration of Spector’s “wall of sound.” illustration of Spector’s “wall of sound.”

Full orchestral string sectionFull orchestral string section PianosPianos Full array of rhythm instrumentsFull array of rhythm instruments Background chorusBackground chorus

Simple but effective verse-chorus form Simple but effective verse-chorus form Drum pattern opens the song, is an effective Drum pattern opens the song, is an effective

hook hook

Phil Spector: Producer as Phil Spector: Producer as ArtistArtist

Recorded at Gold Star Studios in Los Recorded at Gold Star Studios in Los Angeles with a group of studio musicians Angeles with a group of studio musicians known as “the “wrecking crew” known as “the “wrecking crew”

Preferred the sound of female vocal groups Preferred the sound of female vocal groups and spearheaded the rise in popularity of and spearheaded the rise in popularity of the “girl group” phenomenon of the early the “girl group” phenomenon of the early 1960s 1960s

Retired from steady writing and production Retired from steady writing and production work in 1966 work in 1966

– By age twenty-five, his star was on the wane, By age twenty-five, his star was on the wane, and he became a troubled recluse. and he became a troubled recluse.

The Brill Building: The Brill Building: Rock ’n’ Roll’s Tin Pan AlleyRock ’n’ Roll’s Tin Pan Alley

Located at 1619 Broadway in New York City, Located at 1619 Broadway in New York City, which once housed Tin Pan Alley publisherswhich once housed Tin Pan Alley publishers

During the 1960s, home to a new wave of During the 1960s, home to a new wave of pop-rock songwriting teamspop-rock songwriting teams

Rock ’n’ roll’s vertical Tin Pan AlleyRock ’n’ roll’s vertical Tin Pan Alley Singer-songwriters and songwriting teams:Singer-songwriters and songwriting teams:

– Barry Mann and Cynthia WeillBarry Mann and Cynthia Weill– Carole King and Gerry GoffinCarole King and Gerry Goffin– Neil Sedaka and Howard GreenfieldNeil Sedaka and Howard Greenfield

Berry Gordy Jr. and MotownBerry Gordy Jr. and Motown

Berry Gordy (b. 1929) Berry Gordy (b. 1929) Expert songwriter and producer Expert songwriter and producer

who created blues- and gospel-who created blues- and gospel-based pop music designed to based pop music designed to appeal to the widest possible appeal to the widest possible listening public. listening public.

Motown RecordsMotown Records

Named after the “Motor town” or “Motor Named after the “Motor town” or “Motor city” of Detroit, the automobile production city” of Detroit, the automobile production capital of the Americacapital of the America

Founded in 1960 by Berry GordyFounded in 1960 by Berry Gordy Became the first black-owned and -Became the first black-owned and -

controlled indie record company to rise to controlled indie record company to rise to “major label” status“major label” status

Gordy started the company in a converted Gordy started the company in a converted house on West Grand Blvd. A sign hung house on West Grand Blvd. A sign hung over the doorway read “HITSVILLE, U.S.A.”over the doorway read “HITSVILLE, U.S.A.”

Gordy’s Image for MotownGordy’s Image for Motown

Soul music based on the doo-wop vocal Soul music based on the doo-wop vocal group traditiongroup tradition

Slick, cosmopolitan sound—“appealing to Slick, cosmopolitan sound—“appealing to the ear”the ear”

Carefully constructed musical arrangements Carefully constructed musical arrangements overseen by Gordyoverseen by Gordy

In-house songwriting and production teams In-house songwriting and production teams for a sense of consistencyfor a sense of consistency

The house band, called the Funk Brothers, The house band, called the Funk Brothers, was used to back up and inspire the was used to back up and inspire the vocalists.vocalists.– Bass player James JamersonBass player James Jamerson– Drummer Benny BenjaminDrummer Benny Benjamin– Keyboardist Earl Van Dyke Keyboardist Earl Van Dyke

Listening: “My Girl”Listening: “My Girl” Composed and produced by Smokey Robinson and Ronald Composed and produced by Smokey Robinson and Ronald

WhiteWhite Performed by the Temptations (Number One, 1965)Performed by the Temptations (Number One, 1965) Moderate-tempo love ballad in verse-chorus formModerate-tempo love ballad in verse-chorus form A cumulative layering of sounds gives the song a feeling of A cumulative layering of sounds gives the song a feeling of

steadily increasing passion and intensity:steadily increasing passion and intensity:– Repeated solo bass motive establishes beatRepeated solo bass motive establishes beat– Lead guitar enters with a memorable melodic figureLead guitar enters with a memorable melodic figure– Drums and lead voice enter, followed by subtle background Drums and lead voice enter, followed by subtle background

vocalsvocals– Brass enter at the first chorus Brass enter at the first chorus – Orchestral strings are added to the accompanimentOrchestral strings are added to the accompaniment

The second verse brings new brass fanfares in response to The second verse brings new brass fanfares in response to the lead vocalist’s calls.the lead vocalist’s calls.

There is an instrumental interlude dominated by strings There is an instrumental interlude dominated by strings before the third verse. before the third verse.

A dramatic upward key change takes place right before the A dramatic upward key change takes place right before the concluding verse and chorus. concluding verse and chorus.

Listening: “You Can’t Hurry Listening: “You Can’t Hurry Love”Love”

Composed by Holland-Dozier-Holland; Composed by Holland-Dozier-Holland; produced by Brian Holland and Lamont produced by Brian Holland and Lamont DozierDozier

Performed by the Supremes (Number Performed by the Supremes (Number One, 1966) One, 1966)

Cleverly written, innovatively structured Cleverly written, innovatively structured Motown pop songMotown pop song

The formal structure of the song reflects The formal structure of the song reflects the meaning. “You Can’t Hurry Love” is the meaning. “You Can’t Hurry Love” is about the importance of waiting. about the importance of waiting.

Listening: “You Can’t Hurry Listening: “You Can’t Hurry Love”Love”

The opening A section is very short, half the length of the The opening A section is very short, half the length of the next B and C sections. next B and C sections. – It is unclear whether the A section functions as an introduction It is unclear whether the A section functions as an introduction

or a short verse.or a short verse. The basic chord progressions of the A and B sections are The basic chord progressions of the A and B sections are

virtually identical.virtually identical. The C section introduces a striking chord and melody The C section introduces a striking chord and melody

change.change. The B and C sections alternate—an unorthodox verse-The B and C sections alternate—an unorthodox verse-

chorus formchorus form– The words of the chorus are not exactly the same.The words of the chorus are not exactly the same.

The A section (played twice through) returns unexpectedly The A section (played twice through) returns unexpectedly with a vengeance.with a vengeance.

There is an ambiguous section based on chords from the A There is an ambiguous section based on chords from the A and B sectionsand B sections

Finally, the voice enters with the B section and fades to an Finally, the voice enters with the B section and fades to an ending. ending.

Motown Motown

During Motown’s heyday in the mid-During Motown’s heyday in the mid-1960s, Gordy’s music empire included 1960s, Gordy’s music empire included eight record labels, a management eight record labels, a management service, and a publishing company.service, and a publishing company.

From 1964 to 1967, Motown had fourteen From 1964 to 1967, Motown had fourteen Number One pop singles, twenty Number Number One pop singles, twenty Number One R&B singles, forty-six additional Top One R&B singles, forty-six additional Top 15 pop singles, and seventy-five additional 15 pop singles, and seventy-five additional Top 15 R&B singles. In 1966, seventy-five Top 15 R&B singles. In 1966, seventy-five percent of Motown's releases made the percent of Motown's releases made the charts.charts.