Early Rock ’n’ Roll Early Rock ’n’ Roll StarsStars

Three Prominent African Three Prominent African Americans Performing in Rock: Americans Performing in Rock:

R&B Side R&B Side Chuck Berry Chuck Berry

– Addressed his songs to teenage America Addressed his songs to teenage America (white and black) in the 1950s (white and black) in the 1950s

Little Richard Little Richard – Outrageous performance style attracted Outrageous performance style attracted

attention through strangeness, novelty, and attention through strangeness, novelty, and sexual ambiguitysexual ambiguity

Fats Domino Fats Domino – Most directly embodied the continuity of R&B Most directly embodied the continuity of R&B

with rock ’n’ roll with rock ’n’ roll

Charles Edward Anderson Charles Edward Anderson (“Chuck”) Berry (b. 1926)(“Chuck”) Berry (b. 1926)

Born in California, grew up in St. Born in California, grew up in St. LouisLouis

– Absorbed blues and R&B stylesAbsorbed blues and R&B styles– One of the first and most successful One of the first and most successful

black musicians to consciously forge black musicians to consciously forge his own version of blues and R&B his own version of blues and R&B styles for appeal to the mass market styles for appeal to the mass market

Listening and Analysis: Listening and Analysis: “Maybellene” “Maybellene”

Distantly modeled on country song Distantly modeled on country song

““Ida Red” Ida Red” Primary elements have roots in R&BPrimary elements have roots in R&B Thick, buzzing timbre of Berry’s electric guitarThick, buzzing timbre of Berry’s electric guitar

Blue notes and slides in both voice and Blue notes and slides in both voice and guitarguitar

Socking backbeat of the drumSocking backbeat of the drum Derived from twelve-bar blues Derived from twelve-bar blues

structuresstructures

Listening and Analysis: Listening and Analysis: “Maybellene”“Maybellene”

Original elements: Original elements: – Explosive tempo Explosive tempo – The lyrics describe a lover’s quarrel in the form The lyrics describe a lover’s quarrel in the form

of a car chase.of a car chase.– Punning invented verb form (“motorvatin’”)Punning invented verb form (“motorvatin’”)– Humorous details (“rain water blowin’” under Humorous details (“rain water blowin’” under

the automobile hood, which is “doin’ my motor the automobile hood, which is “doin’ my motor good”)good”)

– Breathless ending in which the singer catches Breathless ending in which the singer catches Maybellene in her Cadillac at the top of a hillMaybellene in her Cadillac at the top of a hill

– Implied class distinction in the lyrics Implied class distinction in the lyrics Top-of-the-line Cadillac Coupe de Ville and “V-8 Ford”Top-of-the-line Cadillac Coupe de Ville and “V-8 Ford”

Listening and Analysis: Listening and Analysis: “Maybellene”“Maybellene”

Verse-chorus form based on the twelve-bar bluesVerse-chorus form based on the twelve-bar blues

Chorus: “Maybellene, why can’t you be true”—Chorus: “Maybellene, why can’t you be true”—follows twelve-bar blues chord patternfollows twelve-bar blues chord pattern

Verse—no chord changes—all on the “home” (or Verse—no chord changes—all on the “home” (or tonic) chord tonic) chord

Voice delivers rapid-fire lyrics using brief, Voice delivers rapid-fire lyrics using brief, repetitive patterns of notes.repetitive patterns of notes.

Verses build enormous tension, so that when the Verses build enormous tension, so that when the choruses and chord changes return, there is a choruses and chord changes return, there is a feeling of release and expansion.feeling of release and expansion.

Chuck Berry Chuck Berry

Songs became celebrations of Songs became celebrations of American teenage culture and its American teenage culture and its music. music. – ““Roll over Beethoven” (1956) praises Roll over Beethoven” (1956) praises

R&B at the expense of classical music. R&B at the expense of classical music. – ““School Day” (1957)School Day” (1957)– ““Rock and Roll Music” ( 1957) Rock and Roll Music” ( 1957) – ““Sweet Little Sixteen” (1958) Sweet Little Sixteen” (1958) – ““Johnny B. Goode” (1958) Johnny B. Goode” (1958)

Richard Wayne Penniman Richard Wayne Penniman (“Little Richard”) (b. 1932)(“Little Richard”) (b. 1932)

Early career as an R&B performerEarly career as an R&B performer– Hit the pop charts in 1956 with the Hit the pop charts in 1956 with the

song “Tutti-Frutti”song “Tutti-Frutti”– Delivered in an uninhibited shouting Delivered in an uninhibited shouting

style, complete with falsetto whoopsstyle, complete with falsetto whoops Epitomized the abandon celebrated Epitomized the abandon celebrated

in rock ’n’ roll lyrics and musicin rock ’n’ roll lyrics and music– The sound of his recordings and the The sound of his recordings and the

visual characteristics of his visual characteristics of his performances made Little Richard a performances made Little Richard a strong influence on later performers.strong influence on later performers.

Listening: “Long Tall Sally”Listening: “Long Tall Sally”

Built on the twelve-bar blues, Built on the twelve-bar blues, adapted to reflect the more adapted to reflect the more traditionally pop-friendly format of traditionally pop-friendly format of verse-chorusverse-chorus

– The first four bars of each blues stanza The first four bars of each blues stanza are set to changing words—verses—are set to changing words—verses—while the remaining eight bars, with while the remaining eight bars, with unchanging words, function as a unchanging words, function as a repeated chorus.repeated chorus.

Antoine “Fats” Domino (b. Antoine “Fats” Domino (b. 1928)1928)

Born and raised in New OrleansBorn and raised in New Orleans An established presence on the R&B An established presence on the R&B

charts for several years before charts for several years before scoring rock ’n’ roll hits scoring rock ’n’ roll hits

Pop breakthrough was in 1955 with Pop breakthrough was in 1955 with “Ain’t It a Shame” (Number Ten “Ain’t It a Shame” (Number Ten pop, Number One R&B)pop, Number One R&B)

– Popularized distinctive New Orleans Popularized distinctive New Orleans soundsound

Antoine “Fats” Domino (b. Antoine “Fats” Domino (b. 1928)1928)

First African American to beat white cover First African American to beat white cover versions in the mid 1950s versions in the mid 1950s

Recorded a number of standards in Recorded a number of standards in contradistinction to artists like Chuck contradistinction to artists like Chuck Berry and Little RichardBerry and Little Richard

1956 remake of “Blueberry Hill” proved to 1956 remake of “Blueberry Hill” proved to be his most popular recordbe his most popular record

Recorded a rocking uptempo version of Recorded a rocking uptempo version of “My Blue Heaven” “My Blue Heaven” – A striking and amusing contrast to Gene A striking and amusing contrast to Gene

Austin’s original recording Austin’s original recording

Independent Labels Independent Labels

Chuck Berry, Little Richard, and Chuck Berry, Little Richard, and Fats Domino all achieved their Fats Domino all achieved their successes recording on successes recording on independent labels.independent labels.

– Chuck Berry—Chess in ChicagoChuck Berry—Chess in Chicago– Little Richard—Specialty Records in Little Richard—Specialty Records in

HollywoodHollywood– Fats Domino—Imperial in Los AngelesFats Domino—Imperial in Los Angeles

Early Rock ’n’ Roll Stars on the Early Rock ’n’ Roll Stars on the Country SideCountry Side

Elvis Presley (1935–77)Elvis Presley (1935–77) Born in Tupelo, MississippiBorn in Tupelo, Mississippi

Moved to Memphis, Tennessee as a teenagerMoved to Memphis, Tennessee as a teenager ““Discovered” by Sam Phillips, owner of Sun Records, Discovered” by Sam Phillips, owner of Sun Records,

a small independent label in Memphisa small independent label in Memphis First recordings were for Sun Records First recordings were for Sun Records

– ““That’s Allright” That’s Allright” – “ “Mystery Train” Mystery Train”

The biggest rock ’n’ roll star to come from The biggest rock ’n’ roll star to come from the country side of the music the country side of the music

Elvis Presley (1935-77)Elvis Presley (1935-77)

RCA Victor RCA Victor – Bought out Presley’s contract from Sun in Bought out Presley’s contract from Sun in

late 1955 for $35,000late 1955 for $35,000– Turned the “hillbilly cat” into a mainstream Turned the “hillbilly cat” into a mainstream

performer without compromising his appeal performer without compromising his appeal to teenagersto teenagers

Presley’s manager, Colonel Thomas Presley’s manager, Colonel Thomas Parker, saw to it that Presley was seen Parker, saw to it that Presley was seen repeatedly on television variety shows repeatedly on television variety shows and in a series of romantic Hollywood and in a series of romantic Hollywood films. films.

Listening: “Don’t Be Cruel”Listening: “Don’t Be Cruel” Based on the twelve-bar blues Based on the twelve-bar blues Presley’s vocal is heavy with blues-derived and Presley’s vocal is heavy with blues-derived and

country inflections.country inflections.– Striking regional accentStriking regional accent– ““Hiccupping” effect Hiccupping” effect – Strong backbeat from R&B Strong backbeat from R&B – Opening electric guitar figure from western swing bands Opening electric guitar figure from western swing bands

Imposed on all these diverse and intense stylistic Imposed on all these diverse and intense stylistic elements is a wash of electronic reverbelements is a wash of electronic reverb

An attempt by the engineers at RCA’s Nashville An attempt by the engineers at RCA’s Nashville studios to emulate the distinctive “slap-back” studios to emulate the distinctive “slap-back” echo sound of Presley’s previous recordings on echo sound of Presley’s previous recordings on Sun RecordsSun Records

“ “Hound Dog” Hound Dog”

Presley’s version of a song that had Presley’s version of a song that had been a major R&B hit in 1953 for been a major R&B hit in 1953 for Big Mama Thornton On the other Big Mama Thornton On the other side of “Don’t Be Cruel” side of “Don’t Be Cruel”

Big Mama Thornton’s version is full Big Mama Thornton’s version is full of sexual innuendo.of sexual innuendo.

Such sexual implications are gone Such sexual implications are gone in Presley’s rendition.in Presley’s rendition.

Presley’s PopularityPresley’s Popularity Presley’s extraordinary popularity Presley’s extraordinary popularity

established rock ’n’ roll as an established rock ’n’ roll as an unprecedented mass-market phenomenon.unprecedented mass-market phenomenon.

His reputation as a performer and His reputation as a performer and recording artist endured up to his death in recording artist endured up to his death in 1977 at the age of forty-two.1977 at the age of forty-two.

Graceland, his home in Memphis, Graceland, his home in Memphis, Tennessee, is now a public museum visited Tennessee, is now a public museum visited by upwards of 600,000 people annually. by upwards of 600,000 people annually.

Elvis Presley’s principal importance as a Elvis Presley’s principal importance as a musical influence and innovator rests on musical influence and innovator rests on his achievements during the early years of his achievements during the early years of rock ’n’ roll.rock ’n’ roll.

Buddy Holly (Charles Hardin Buddy Holly (Charles Hardin Holley) (1936–59) Holley) (1936–59)

Clean-cut, lanky, bespectacledClean-cut, lanky, bespectacled Born in TexasBorn in Texas Began his career with country music but Began his career with country music but

soon fell under the influence of Presley’s soon fell under the influence of Presley’s musical style and success and formed a musical style and success and formed a rock ’n’ roll band, the Cricketsrock ’n’ roll band, the Crickets

Holly’s first record in his new style, “That’ll Holly’s first record in his new style, “That’ll Be the Day,” rose to Number One on the Be the Day,” rose to Number One on the pop charts in late 1957 and established his pop charts in late 1957 and established his characteristic and highly influential sound.characteristic and highly influential sound.

– Combined elements of country, R&B, and Combined elements of country, R&B, and mainstream pop mainstream pop

Buddy Holly (Charles Hardin Buddy Holly (Charles Hardin Holley) (1936–59)Holley) (1936–59)

Holly’s vocal style exhibits elements of both Holly’s vocal style exhibits elements of both fine country singing and fine blues singing, fine country singing and fine blues singing, full of country twang and hiccups.full of country twang and hiccups.

Expressive blue notesExpressive blue notes Mixture of toughness and vulnerability Mixture of toughness and vulnerability The Crickets’ instrumental lineupThe Crickets’ instrumental lineup

– Two electric guitars (lead and rhythm), bass, and Two electric guitars (lead and rhythm), bass, and drums provided strong support for Holly’s voice.drums provided strong support for Holly’s voice.

– During instrumental breaks, Holly’s lead guitar During instrumental breaks, Holly’s lead guitar playing was active, riff-based, and hard-edged in playing was active, riff-based, and hard-edged in a way that reflected the influence of Chuck a way that reflected the influence of Chuck Berry.Berry.

Listening: “That’ll Be the Listening: “That’ll Be the Day” Day”

Form Form – Structured like a typical pop song, Structured like a typical pop song,

alternating verses and choruses of eight alternating verses and choruses of eight bars eachbars each

– At the instrumental break, the Crickets At the instrumental break, the Crickets play a twelve-bar blues patternplay a twelve-bar blues pattern

On some later records, like “Oh, Boy!” On some later records, like “Oh, Boy!” and “Peggy Sue,” Holly used a twelve-and “Peggy Sue,” Holly used a twelve-bar blues structure for the song itselfbar blues structure for the song itself

Buddy Holly (Charles Hardin Buddy Holly (Charles Hardin Holley) (1936–59)Holley) (1936–59)

Killed in a plane crash in 1959 along with Killed in a plane crash in 1959 along with Richie Valens and the Big Bopper (J. P. Richie Valens and the Big Bopper (J. P. Richardson)Richardson)

The Beatles modeled their insect-based The Beatles modeled their insect-based name, their four-piece instrumental lineup, name, their four-piece instrumental lineup, and aspects of their vocal style on the and aspects of their vocal style on the Crickets.Crickets.

Songs Holly wrote and recorded include Songs Holly wrote and recorded include “Everyday,” “Not Fade Away,” and “Rave “Everyday,” “Not Fade Away,” and “Rave On.”On.”

Listening: “La Bamba”Listening: “La Bamba”

Traditional Mexican folk songTraditional Mexican folk song– In the style of In the style of son jarochoson jarocho, a fiery, up-, a fiery, up-

tempo genre that alternates vocal tempo genre that alternates vocal refrains with rapid improvisational refrains with rapid improvisational passages, accompanied by an passages, accompanied by an ensemble of stringed instrumentsensemble of stringed instruments

Adaptation by Ritchie Valens Adaptation by Ritchie Valens (1941–59)(1941–59)

Performed/recorded in 1958 in Los AngelesPerformed/recorded in 1958 in Los Angeles Helped create a distinctive Los Angeles rock Helped create a distinctive Los Angeles rock

’n’ roll sound’n’ roll sound Lyrics exclusively in SpanishLyrics exclusively in Spanish Sonic texture of the recording shaped by Sonic texture of the recording shaped by

the unique tone quality of the instruments the unique tone quality of the instruments usedused

Valens’s recording career lasted only 8 Valens’s recording career lasted only 8 months, cut short by the plane crash that months, cut short by the plane crash that also killed Buddy Holly and the Big Bopper.also killed Buddy Holly and the Big Bopper.