Southern Music in the Southern Music in the Postwar EraPostwar Era

Southern Music in the Postwar Southern Music in the Postwar EraEra

““Race music” and “hillbilly music” Race music” and “hillbilly music” underwent a series of name changes.underwent a series of name changes.

In 1949, In 1949, BillboardBillboard began using the began using the terms “rhythm & blues” and “country terms “rhythm & blues” and “country and western.”and western.”

Southern Music in the Postwar Southern Music in the Postwar EraEra

During the late 1930s and the 1940s, During the late 1930s and the 1940s, millions of people had migrated from millions of people had migrated from the rural South in search of the rural South in search of employment in defense-related employment in defense-related industries. industries.

This migrant population greatly This migrant population greatly expanded the target audience for expanded the target audience for southern-derived music. southern-derived music.

RadioRadio

Radio played a crucial role in the Radio played a crucial role in the popularization of this music. popularization of this music.

During the war, a number of white During the war, a number of white disc jockeys began to mix in black disc jockeys began to mix in black popular music with pop records.popular music with pop records.

In 1949, WDIA in Memphis, In 1949, WDIA in Memphis, Tennessee, became the first radio Tennessee, became the first radio station dedicated to playing music for station dedicated to playing music for a black audience.a black audience.

The AFM Recording Ban and The AFM Recording Ban and the Rise of BMI the Rise of BMI

The AFM recording ban of 1942–44, The AFM recording ban of 1942–44, along with the rise of BMI, provided along with the rise of BMI, provided many southern-born musicians with many southern-born musicians with new opportunities for recording.new opportunities for recording.

The success of country and western The success of country and western and rhythm & blues (R&B) music was and rhythm & blues (R&B) music was indebted to the reemergence of indebted to the reemergence of dozens of small, independent record dozens of small, independent record labels. labels.

Rhythm & BluesRhythm & Blues

Described music performed almost Described music performed almost exclusively by black artists for sale to exclusively by black artists for sale to African American audiencesAfrican American audiences

A loose cluster of styles rooted in southern A loose cluster of styles rooted in southern folk traditions:folk traditions:– Swing-influenced “jump bands” Swing-influenced “jump bands” – Tin Pan Alley–style love songs performed by Tin Pan Alley–style love songs performed by

croonerscrooners– Various styles of urban bluesVarious styles of urban blues– Gospel-influenced vocal harmony groupsGospel-influenced vocal harmony groups

Jump Blues Jump Blues

The first commercially successful The first commercially successful category of R&Bcategory of R&B

During the war, the leaders of some During the war, the leaders of some big bands were forced to downsize. big bands were forced to downsize.

Specialized in hard-swinging, Specialized in hard-swinging, boogie-woogie–based party music, boogie-woogie–based party music, spiced with humorous lyrics and spiced with humorous lyrics and wild stage performanceswild stage performances

Louis Jordan (1908–75)Louis Jordan (1908–75) Led the most famous jump band, The Led the most famous jump band, The

Tympany FiveTympany Five Arkansas-born saxophone player and Arkansas-born saxophone player and

singersinger Began making recordings for Decca Began making recordings for Decca

Records in 1939Records in 1939 The first jump band musician to appeal to The first jump band musician to appeal to

a mass audiencea mass audience Flamboyant style and humorous lyrics Flamboyant style and humorous lyrics His ensemble setup—two trumpets, two His ensemble setup—two trumpets, two

saxophones, bass, piano, and drums—saxophones, bass, piano, and drums—became the standard for R&B.became the standard for R&B.

Listening: “Choo Choo Ch’ Listening: “Choo Choo Ch’ Boogie” (1946)Boogie” (1946)

Louis Jordan’s biggest hitLouis Jordan’s biggest hit Released in 1946 by Decca RecordsReleased in 1946 by Decca Records Topped the R&B charts for an amazing Topped the R&B charts for an amazing

eighteen weeks, reached Number Seven on eighteen weeks, reached Number Seven on BillboardBillboard’’s pop hit list, and sold over two ’’s pop hit list, and sold over two million copies million copies

Exemplifies key elements of the jump blues Exemplifies key elements of the jump blues style of R&Bstyle of R&B

Cowritten by Milt Gabler, Jordan’s producer, Cowritten by Milt Gabler, Jordan’s producer, and two country and western musicians who and two country and western musicians who worked at a radio station in New York Cityworked at a radio station in New York City

Listening: “Choo Choo Ch’ Listening: “Choo Choo Ch’ Boogie” (1946)Boogie” (1946)

The title of the song draws a parallel The title of the song draws a parallel between the motion of a train and between the motion of a train and the rocking rhythm of boogie-woogie the rocking rhythm of boogie-woogie music. music.

Boogie woogie provided an important Boogie woogie provided an important link between R&B and country music link between R&B and country music during the postwar period.during the postwar period.

Listening: “Choo Choo Ch’ Listening: “Choo Choo Ch’ Boogie” (1946)Boogie” (1946)

FormForm– Series of verses in twelve-bar blues Series of verses in twelve-bar blues

form, alternated with an eight-bar form, alternated with an eight-bar choruschorus

– Combines elements of African American Combines elements of African American music and Tin Pan Alley songmusic and Tin Pan Alley song

Listening: “Choo Choo Ch’ Listening: “Choo Choo Ch’ Boogie” (1946)Boogie” (1946)

The arrangement—devised by Gabler and JordanThe arrangement—devised by Gabler and Jordan Opens with a twelve-bar instrumental Opens with a twelve-bar instrumental

introduction introduction – A trumpet and two saxophones imitate the sound of a A trumpet and two saxophones imitate the sound of a

train whistle.train whistle. The rhythm section establishes a medium-tempo The rhythm section establishes a medium-tempo

boogie-woogie rhythm—a “shuffle”boogie-woogie rhythm—a “shuffle” Twelve-bar verse and eight-bar chorus, both sung Twelve-bar verse and eight-bar chorus, both sung

by Jordanby Jordan Twelve-bar boogie-woogie piano solo Twelve-bar boogie-woogie piano solo Twenty-bar saxophone solo instead of a piano Twenty-bar saxophone solo instead of a piano

solo solo

Blues Crooner StyleBlues Crooner Style

– Dominated by a blend of blues and pop Dominated by a blend of blues and pop singingsinging

– The roots of this urbane approach to The roots of this urbane approach to the blues reach back to a series of race the blues reach back to a series of race recordings made in the late 1920s and recordings made in the late 1920s and 1930s by1930s by the pianist Leroy Carr (1905–35) and the pianist Leroy Carr (1905–35) and the guitarist Scrapper Blackwell (1903–62). the guitarist Scrapper Blackwell (1903–62).

Cecil Gant (1913–51)Cecil Gant (1913–51)

A black G.I. from Nashville, Tennessee A black G.I. from Nashville, Tennessee The “G.I. Singsation”The “G.I. Singsation” Recorded a love song called “I Wonder”Recorded a love song called “I Wonder”

– Sung in a gentle, slightly nasal, bluesy styleSung in a gentle, slightly nasal, bluesy style– Accompanied only by his own piano playingAccompanied only by his own piano playing– Reached Number One on Reached Number One on BillboardBillboard’s “Harlem ’s “Harlem

Hit Parade” and attracted attention from Hit Parade” and attracted attention from some white listeners.some white listeners.

– Gant was never able to repeat the success of Gant was never able to repeat the success of his first hit. his first hit.

Charles Brown (1922–99)Charles Brown (1922–99)

The most successful blues crooner of the The most successful blues crooner of the late 1940s and early 1950slate 1940s and early 1950s

– A soft-spoken Texas-born pianist and singerA soft-spoken Texas-born pianist and singer– Studied classical piano as a child, graduated Studied classical piano as a child, graduated

from college in 1942 at the age of twenty from college in 1942 at the age of twenty – His smooth, sensitive, somewhat forlorn vocal His smooth, sensitive, somewhat forlorn vocal

style (sometimes called “cocktail blues”) style (sometimes called “cocktail blues”) attracted attention.attracted attention.

– He began to develop a national reputation He began to develop a national reputation with the release of “Drifting Blues,” one of with the release of “Drifting Blues,” one of the top-selling R&B records of 1945 and the top-selling R&B records of 1945 and 1946. 1946.

Listening: “Black Night” Listening: “Black Night”

Written by Jessie Robinson; performed by Written by Jessie Robinson; performed by Charles Brown and His Band; released in Charles Brown and His Band; released in 1951 1951

One of Brown’s most successful One of Brown’s most successful recordings, held the Number One position recordings, held the Number One position on the R&B charts for fourteen weeks in on the R&B charts for fourteen weeks in 1951 1951

““Black Night” did not show up on the pop Black Night” did not show up on the pop charts, because of its dark mood, slow charts, because of its dark mood, slow tempo, and somber lyrics.tempo, and somber lyrics.

Listening: “Black Night”Listening: “Black Night”

Form Form – Twelve-bar bluesTwelve-bar blues

LyricsLyrics– Convey a deep anxiety about the future Convey a deep anxiety about the future

and a fear of loneliness, evoked by the and a fear of loneliness, evoked by the coming of night coming of night

Chicago Electric BluesChicago Electric Blues Urban blues tradition of the postwar eraUrban blues tradition of the postwar era

Derived more directly from the Mississippi Delta Derived more directly from the Mississippi Delta tradition of Charley Patton and Robert Johnsontradition of Charley Patton and Robert Johnson

Chicago was the terminus of the Illinois Chicago was the terminus of the Illinois Central railroad line, which ran up through Central railroad line, which ran up through the Midwest from the Mississippi Delta.the Midwest from the Mississippi Delta.

The rural blues tradition had almost The rural blues tradition had almost completely died out as a commercial completely died out as a commercial phenomenon by World War II. phenomenon by World War II.

The old Delta blues emerged in a The old Delta blues emerged in a reinvigorated, electronically amplified reinvigorated, electronically amplified form.form.

Muddy Waters (McKinley Muddy Waters (McKinley Morganfield) (1915–83)Morganfield) (1915–83)

““Discovered” in the Mississippi Delta Discovered” in the Mississippi Delta by Allan Lomax in 1941by Allan Lomax in 1941

Moved to Chicago in 1943Moved to Chicago in 1943 Played both acoustic and electric Played both acoustic and electric

slide guitarslide guitar The single greatest influence on the The single greatest influence on the

British blues boom in the 1960s British blues boom in the 1960s

Listening: “Hootchie Cootchie Listening: “Hootchie Cootchie Man”Man”

Muddy Waters, 1953Muddy Waters, 1953 Features Muddy’s lineup in the early Features Muddy’s lineup in the early

1950s:1950s:– Two electric guitarsTwo electric guitars– Bass, drumsBass, drums– Amplified harmonicaAmplified harmonica

Combines blues form with strophic Combines blues form with strophic verse-chorus structureverse-chorus structure

Typical Chicago electric/urban bluesTypical Chicago electric/urban blues

Vocal Harmony Groups Vocal Harmony Groups

Although this tradition is today Although this tradition is today sometimes called “doo-wop,” the sometimes called “doo-wop,” the earliest performers did not use this earliest performers did not use this term.term.– During the postwar era, variants of the During the postwar era, variants of the

African American vocal harmony African American vocal harmony tradition, both sacred and secular, tradition, both sacred and secular, moved into the R&B market.moved into the R&B market.

The Dominoes The Dominoes

The vocal harmony group most The vocal harmony group most responsible for moving away from the pop-responsible for moving away from the pop-oriented sound of the Mills Brothersoriented sound of the Mills Brothers– Created a harder-edged sound more closely Created a harder-edged sound more closely

linked to black gospel musiclinked to black gospel music Led by vocal coach Billy WardLed by vocal coach Billy Ward In 1950, Ward started rehearsing with a In 1950, Ward started rehearsing with a

number of his most promising students number of his most promising students and a seventeen-year-old tenor singer and a seventeen-year-old tenor singer named Clyde McPhatter (1932–72). named Clyde McPhatter (1932–72).

““Sixty Minute Man”Sixty Minute Man”

The Dominoes’ first big hitThe Dominoes’ first big hit Recorded in New York City and Recorded in New York City and

released by the independent label released by the independent label Federal Records in 1951Federal Records in 1951

A large part of the song’s popularity A large part of the song’s popularity was due to its lyrics, which catalogue was due to its lyrics, which catalogue the singer’s lovemaking technique in the singer’s lovemaking technique in some detailsome detail

““Have Mercy Baby”Have Mercy Baby”

The Dominoes pushed vocal-group R&B The Dominoes pushed vocal-group R&B firmly in the direction of a harder-edged, firmly in the direction of a harder-edged, explicitly emotional sound. explicitly emotional sound.

Recorded in Cincinnati, Ohio, and Recorded in Cincinnati, Ohio, and released by Federal Records in 1952released by Federal Records in 1952

It was the first record to combineIt was the first record to combine– the twelve-bar blues form,the twelve-bar blues form,– the driving beat of dance-oriented R&B, andthe driving beat of dance-oriented R&B, and– the intensely emotional flavor of black gospel the intensely emotional flavor of black gospel

singing. singing.

Johnnie Ray (1927–90) Johnnie Ray (1927–90)

Partially deaf since childhoodPartially deaf since childhood Rose to become one of the biggest Rose to become one of the biggest

international pop stars of the early 1950sinternational pop stars of the early 1950s Crowned the “Prince of Wails” and Crowned the “Prince of Wails” and

parodied as the “Guy with the Rubber Face parodied as the “Guy with the Rubber Face and the Squirt Gun Eyes” and the Squirt Gun Eyes”

His hit “Cry” reached Number One on both His hit “Cry” reached Number One on both the pop and R&B hit parades.the pop and R&B hit parades.– He was the only white performer to reach the He was the only white performer to reach the

top of the black charts between 1946 and top of the black charts between 1946 and 1956.1956.

Women in R&B: Ruth Brown Women in R&B: Ruth Brown (b. 1928)(b. 1928)

““Miss Rhythm” Miss Rhythm” Born in VirginiaBorn in Virginia Began her professional career at the Began her professional career at the

age of sixteenage of sixteen In 1949, signed with the new In 1949, signed with the new

independent label Atlantic Recordsindependent label Atlantic Records

Listening: “Mama He Treats Listening: “Mama He Treats Your Daughter Mean” Your Daughter Mean”

Written by Johnny Wallace, Herbert J. Written by Johnny Wallace, Herbert J. Lance, and Charles SingletonLance, and Charles Singleton

Performed by Ruth BrownPerformed by Ruth Brown Released in 1953Released in 1953 Held the Number One position on the Held the Number One position on the

R&B charts for five weeks in 1953 R&B charts for five weeks in 1953 and reached Number Twenty-three and reached Number Twenty-three on the pop charts on the pop charts

Listening: “Mama He Treats Listening: “Mama He Treats Your Daughter Mean” Your Daughter Mean”

The form is another example of the The form is another example of the blending of blues and Tin Pan Alley–derived blending of blues and Tin Pan Alley–derived forms. forms. – The twelve-bar form here is expanded by adding The twelve-bar form here is expanded by adding

four extra bars in the middle of the song.four extra bars in the middle of the song. Brown’s vocal style:Brown’s vocal style:

– Warm, somewhat husky tone Warm, somewhat husky tone – Strong rhythmic feelingStrong rhythmic feeling– Little upward squeals at the ends of words such Little upward squeals at the ends of words such

as “mama,” “man,” and “understand” as “mama,” “man,” and “understand”

Big Mama Thornton (1926–Big Mama Thornton (1926–84)84)

Born in Montgomery, AlabamaBorn in Montgomery, Alabama The daughter of a Baptist ministerThe daughter of a Baptist minister Began her career as a professional singer, Began her career as a professional singer,

drummer, harmonica player, and comic on drummer, harmonica player, and comic on the black vaudeville circuit and later the black vaudeville circuit and later settled in Houston, where she sang in settled in Houston, where she sang in black nightclubs black nightclubs

In the early 1950s, arrived in Los Angeles In the early 1950s, arrived in Los Angeles and began working with Johnny Otis, a and began working with Johnny Otis, a Greek-American drummerGreek-American drummer

Listening: “Hound Dog”Listening: “Hound Dog”

Written by Jerry Lieber and Mike Written by Jerry Lieber and Mike StollerStoller

Sung by Big Mama ThorntonSung by Big Mama Thornton One of the top-selling R&B records One of the top-selling R&B records

of 1953 of 1953 Number One for seven weeksNumber One for seven weeks

Listening: “Hound Dog”Listening: “Hound Dog”

Thornton’s deep, raspy, commanding Thornton’s deep, raspy, commanding voice projects a stark image of female voice projects a stark image of female power rarely, if ever, expressed in popular power rarely, if ever, expressed in popular music of the 1950s. music of the 1950s.

The bluntness of the lyrics is reinforced by The bluntness of the lyrics is reinforced by the musical accompaniment.the musical accompaniment.

The tempo is relaxed, and the The tempo is relaxed, and the performance is energetic but loose. performance is energetic but loose.

The basic form of the song is twelve-bar The basic form of the song is twelve-bar blues.blues.