the beach boys, surf music, the british invasion, and the latin stream in the 1960s

The Beach Boys, Surf Music, The Beach Boys, Surf Music, the British Invasion, and the the British Invasion, and the Latin Stream in the 1960sLatin Stream in the 1960s

Brian Wilson and the Beach Brian Wilson and the Beach BoysBoys

Formed in 1961 by Brian Wilson, his two Formed in 1961 by Brian Wilson, his two brothers, a cousin, and a friend in brothers, a cousin, and a friend in Hawthorne, California Hawthorne, California

Brian Wilson was the guiding spirit of the Brian Wilson was the guiding spirit of the band during the group’s first decade. band during the group’s first decade.

The defining model of the Beach Boys:The defining model of the Beach Boys:– Demonstrate mastery of early rock ’n’ rollDemonstrate mastery of early rock ’n’ roll– Create original material based on and Create original material based on and

extending those stylesextending those styles– Branch out beyond the forms, sounds, and Branch out beyond the forms, sounds, and

lyrics of traditional rock ’n’ roll to create lyrics of traditional rock ’n’ roll to create something truly uniquesomething truly unique

Brian Wilson and the Beach Brian Wilson and the Beach BoysBoys

The songs of the Beach Boys enshrined The songs of the Beach Boys enshrined Wilson’s somewhat mythical version of Wilson’s somewhat mythical version of California in the consciousness of young California in the consciousness of young Americans.Americans.

– ““Surfin’ Safari”Surfin’ Safari”– ““Surfer Girl” Surfer Girl” – ““The Warmth of the Sun”The Warmth of the Sun”– ““California Girls”California Girls”

Wilson’s vision was inclusive even Wilson’s vision was inclusive even though it remained place specific. though it remained place specific.

Brian Wilson’s Journey from Brian Wilson’s Journey from Imitation, through Emulation, to Imitation, through Emulation, to

InnovationInnovation The Beach Boys’ first Top 10 hit, the famous The Beach Boys’ first Top 10 hit, the famous

“Surfin’ USA” (Number Three, 1963), simply “Surfin’ USA” (Number Three, 1963), simply borrows the music of Chuck Berry’s 1958 hit borrows the music of Chuck Berry’s 1958 hit “Sweet Little Sixteen” with new words.“Sweet Little Sixteen” with new words.

The Beach Boys’ next hit, “Surfer Girl” (Number The Beach Boys’ next hit, “Surfer Girl” (Number Seven, 1963), reinvigorated the sound and spirit Seven, 1963), reinvigorated the sound and spirit of the doo-wop ballad by infusing it with of the doo-wop ballad by infusing it with California beach content.California beach content.

““Fun, Fun, Fun” Fun, Fun, Fun” – The group’s first hit of 1964 evoked Chuck Berry. The group’s first hit of 1964 evoked Chuck Berry. – The solo guitar introduction cops its twelve-bar blues The solo guitar introduction cops its twelve-bar blues

licks directly from Berry’s “Roll Over Beethoven” and licks directly from Berry’s “Roll Over Beethoven” and “Johnny B. Goode.”“Johnny B. Goode.”

Brian Wilson’s Journey from Brian Wilson’s Journey from Imitation, through Emulation, to Imitation, through Emulation, to

InnovationInnovation• By mid-1964, Wilson had moved past By mid-1964, Wilson had moved past

obvious emulation into a period of obvious emulation into a period of aggressive experimentation with his aggressive experimentation with his inherited styles and forms. inherited styles and forms.

• ““I Get Around” I Get Around” • The Beach Boys’ first Number One recordThe Beach Boys’ first Number One record• Turns the up-tempo rock ’n’ roll anthem Turns the up-tempo rock ’n’ roll anthem

into a thoroughly individual kind of into a thoroughly individual kind of expressionexpression

““Surf Music” Surf Music”

The popular duo Jan (Berry) and The popular duo Jan (Berry) and Dean (Torrence) worked with Brian Dean (Torrence) worked with Brian Wilson and the Beach Boys on a Wilson and the Beach Boys on a number of projects.number of projects.

Wilson co-wrote Jan and Dean’s Wilson co-wrote Jan and Dean’s biggest hit, “Surf City” (Number One, biggest hit, “Surf City” (Number One, 1963).1963).

Dick Dale (b. 1937)Dick Dale (b. 1937) The guitar style of Southern California surf music is based The guitar style of Southern California surf music is based

on the sound created by Dick Dale of the Del Tones.on the sound created by Dick Dale of the Del Tones.– Solid-body guitar Solid-body guitar – High-wattage Fender amplifierHigh-wattage Fender amplifier– Lots of reverbLots of reverb– ““Wet” sounding surf guitarWet” sounding surf guitar

One of Dick Dale’s characteristic techniques was the rapid, One of Dick Dale’s characteristic techniques was the rapid, descending tremolodescending tremolo– Borrowed by the Chantays to open their recording of “Pipeline” Borrowed by the Chantays to open their recording of “Pipeline”

Sustained national recognition eluded Dick Dale in the Sustained national recognition eluded Dick Dale in the 1960s.1960s.

His music became famous in the 1990s, when his recording His music became famous in the 1990s, when his recording of “Misirlou,” from 1962, was used as opening music in the of “Misirlou,” from 1962, was used as opening music in the hit film hit film Pulp FictionPulp Fiction. .

VenturesVentures

The most successful instrumental The most successful instrumental group associated with surf rockgroup associated with surf rock

Seattle-based ensembleSeattle-based ensemble Adopted aspects of the style after it Adopted aspects of the style after it

became popular in Californiabecame popular in California The Ventures hit Number Four with The Ventures hit Number Four with

“Hawaii Five-0” “Hawaii Five-0” – Theme song of the hit TV showTheme song of the hit TV show– Featured on Featured on American BandstandAmerican Bandstand

The Beatles, the British Invasion, and The Beatles, the British Invasion, and the American Responsethe American Response

The BeatlesThe Beatles– If greatness is measured in commercial success and If greatness is measured in commercial success and

popularity, the Beatles were the greatest popular popularity, the Beatles were the greatest popular musicians of the twentieth century.musicians of the twentieth century.

They started out as a performing band They started out as a performing band modeled on Buddy Holly’s group, the Crickets. modeled on Buddy Holly’s group, the Crickets.

After some initial shifts in personnel, the After some initial shifts in personnel, the Beatles achieved a stable lineup by 1962, Beatles achieved a stable lineup by 1962, consisting ofconsisting of– John Lennon and George Harrison (lead and rhythm John Lennon and George Harrison (lead and rhythm

guitars and vocals),guitars and vocals),– Paul McCartney (bass and vocals), andPaul McCartney (bass and vocals), and– Ringo Starr (drums and occasional vocals).Ringo Starr (drums and occasional vocals).

The BeatlesThe Beatles

During their extended apprenticeship During their extended apprenticeship period, the Beatles played at clubs in period, the Beatles played at clubs in their hometown of Liverpool and their hometown of Liverpool and elsewhere.elsewhere.

In Hamburg, Germany, they In Hamburg, Germany, they performed an imitative repertoire performed an imitative repertoire that centered on covers of songs by that centered on covers of songs by the American rock ’n’ roll artists they the American rock ’n’ roll artists they most admired.most admired.

Listening: “Please Please Me” Listening: “Please Please Me” (1962)(1962)

Written by John Lennon and Paul McCartneyWritten by John Lennon and Paul McCartney Performed by the BeatlesPerformed by the Beatles An excellent example of the Beatles’ early An excellent example of the Beatles’ early

songwriting and performing. songwriting and performing. Straightforward, up-tempo love song in a Straightforward, up-tempo love song in a

typical AABA formtypical AABA form Clever internal rhymes: “complainin’” is Clever internal rhymes: “complainin’” is

rhymed with “rain in [my heart]” at the rhymed with “rain in [my heart]” at the beginning of the B section.beginning of the B section.


Formal structure with two levelsFormal structure with two levels– The A sections have their own distinctive form, The A sections have their own distinctive form,

aabc:aabc: aa phrases have descending melodic phrases have descending melodic motion;motion;bb phrase text simply repeats the words “come phrase text simply repeats the words “come on, come on,” building intensity; the on, come on,” building intensity; the cc phrase is phrase is the melodic high point of the section.the melodic high point of the section.

AABA AABA – AA a a b c a a b c – AA a a b c a a b c – B B d d’d d’– A A a a b c a a b c


AA– a a Descending melodic motionDescending melodic motion– a a AgainAgain– b b “Come on, come on”“Come on, come on”——builds intensitybuilds intensity– c c “Please, please me”“Please, please me”——melodic high melodic high

point of the sectionpoint of the section B B

– d “ I don’t…” d “ I don’t…” BridgeBridge——new musicnew music– d’ “I do…” d’ “I do…” Change/extension of phraseChange/extension of phrase

A A Exact repetition of A section Exact repetition of A section

Listening: “A Hard Day’s Night” Listening: “A Hard Day’s Night” (1964)(1964)

Written by John Lennon and Paul Written by John Lennon and Paul McCartneyMcCartney

Performed by the BeatlesPerformed by the Beatles Number One in 1964Number One in 1964 Title song of the Beatles’ first movie Title song of the Beatles’ first movie Begins with dissonant guitar chordBegins with dissonant guitar chord——

effective hook effective hook


Overall form is AABA Overall form is AABA The A section is twelve bars long, has The A section is twelve bars long, has

three four-bar phrases, and uses blue three four-bar phrases, and uses blue notes that do not follow the typical notes that do not follow the typical blues harmonic structure. blues harmonic structure.

More than the three traditional More than the three traditional chords are used.chords are used.

The chord changes don’t always The chord changes don’t always happen in the expected places. happen in the expected places.


A Blues-like twelve-barsA Blues-like twelve-bars– It’s been a hard day’s night…It’s been a hard day’s night…– It’s been a hard day’s night…It’s been a hard day’s night…– But when I get home to you…But when I get home to you…

A A – You know I work…You know I work…– And it’s worth it…And it’s worth it…– So why on earth…So why on earth…


B B When I’m home…When I’m home… bridge bridge——new musicnew music AA——Exact repetition of first AExact repetition of first A AA——InstrumentalInstrumental——Guitar solo, eight Guitar solo, eight

barsbars Voice enters for last four bars of sectionVoice enters for last four bars of section B B When I’m home…When I’m home… as before as before A A It’s been a hard day’s…It’s been a hard day’s… as before as before

Listening: “Yesterday”Listening: “Yesterday”

Instrumentation—acoustic guitar and Instrumentation—acoustic guitar and stringsstrings

Distinguishing features of Beatles’ Distinguishing features of Beatles’ style: style: – Reference to popular styleReference to popular style– Emphasis on melodyEmphasis on melody– Imaginative instrumentationImaginative instrumentation– Responsiveness to textResponsiveness to text

Listening: “Yesterday”Listening: “Yesterday”

Romantic ballad with strong roots in Romantic ballad with strong roots in Tin Pan Alley popular song traditionTin Pan Alley popular song tradition

Form: AABABA—variation of Tin Pan Form: AABABA—variation of Tin Pan Alley thirty-two-bar AABA formAlley thirty-two-bar AABA form

Opening A sectionOpening A section– 1. 1. YesterdayYesterday– 2. 2. All my troubles…All my troubles…– 3. 3. Now it looks…Now it looks…– 4. 4. Oh, I believe… Oh, I believe…

Listening: “Eleanor Rigby” Listening: “Eleanor Rigby” (1966) (1966)

Instrumentation: String quartet—violins, Instrumentation: String quartet—violins, viola, celloviola, cello

The lyrics describe two lonely people The lyrics describe two lonely people whose lives have been exercises in futility whose lives have been exercises in futility

The harmony emphasizes the feeling of The harmony emphasizes the feeling of loneliness by alternating between two loneliness by alternating between two chords without reaching a goal. chords without reaching a goal.

The melody does not lead anywhere; there The melody does not lead anywhere; there is no sense of melodic development. is no sense of melodic development.

Verse-Chorus form—alternation of a Verse-Chorus form—alternation of a persistent refrain and narrative. persistent refrain and narrative.

The Rolling StonesThe Rolling Stones Of all the British Invasion acts other than the Beatles, the Of all the British Invasion acts other than the Beatles, the

Rolling Stones have had the greatest cumulative influence in Rolling Stones have had the greatest cumulative influence in America.America.

They cultivated an image as “bad boys,” in deliberate They cultivated an image as “bad boys,” in deliberate contrast to the friendly public image projected by the contrast to the friendly public image projected by the Beatles. Beatles.

““(I Can’t Get No) Satisfaction” (I Can’t Get No) Satisfaction” – Perhaps their most famous hit record Perhaps their most famous hit record – Number One in 1965Number One in 1965– Composed by band members Mick Jagger and Keith Composed by band members Mick Jagger and Keith

RichardsRichards Memorable buzzing guitar hookMemorable buzzing guitar hook Unrelenting beatUnrelenting beat Unabashedly self-oriented and ultimately sexual lyricsUnabashedly self-oriented and ultimately sexual lyrics

– The song perfectly exemplifies the distinctive low-down, The song perfectly exemplifies the distinctive low-down, hard-rocking essence of both the Rolling Stones hard-rocking essence of both the Rolling Stones themselves and their music.themselves and their music.

Other British Invasion BandsOther British Invasion Bands

The other British Invasion acts that had The other British Invasion acts that had a long-term impact in America started a long-term impact in America started as the Beatles did: with firm roots in as the Beatles did: with firm roots in American R&B and rock ’n’ roll. American R&B and rock ’n’ roll.

On the whole, the Rolling Stones, the On the whole, the Rolling Stones, the Animals, the Who, the Kinks, and Eric Animals, the Who, the Kinks, and Eric Clapton remained closer to these roots Clapton remained closer to these roots during their careers than the Beatles during their careers than the Beatles did.did.

Beach Boys Beach Boys Brian Wilson, inspired by the Beatles’ Brian Wilson, inspired by the Beatles’

album album Rubber Soul Rubber Soul (1965), produced (1965), produced what is arguably rock’s first concept what is arguably rock’s first concept album, album, Pet Sounds.Pet Sounds.

– Released in mid-1966Released in mid-1966– Modest seller, compared with some other Modest seller, compared with some other

Beach Boys albumsBeach Boys albums– Had an enormous impact on other musiciansHad an enormous impact on other musicians

Paul McCartney affirmed that Paul McCartney affirmed that Pet Sounds Pet Sounds was the single greatest influence on the was the single greatest influence on the Beatles’ landmark 1967 album Beatles’ landmark 1967 album Sgt. Sgt. Pepper’s Lonely Hearts Club Band.Pepper’s Lonely Hearts Club Band.

““Good Vibrations”Good Vibrations”

Wilson furthered his experimentation Wilson furthered his experimentation with the late 1966 single “Good with the late 1966 single “Good Vibrations,” which reached Number Vibrations,” which reached Number One on the charts and has remained One on the charts and has remained probably the Beach Boys’ most probably the Beach Boys’ most famous song.famous song.

Written and produced by Brian WilsonWritten and produced by Brian Wilson Performed by the Beach BoysPerformed by the Beach Boys Innovative hit single Innovative hit single

““Good Vibrations” Good Vibrations” Virtually every aspect of the record is Virtually every aspect of the record is

unusual. unusual. – No name for the formNo name for the form– Unique yet effectiveUnique yet effective

Wilson uses a rich sound palette to Wilson uses a rich sound palette to communicate the sensuous experience that communicate the sensuous experience that is the essential subject matter of “Good is the essential subject matter of “Good Vibrations.”Vibrations.”– Memorable melodic hooks and a wide, colorful Memorable melodic hooks and a wide, colorful

palette of chordspalette of chords Extremely costly recording to produce Extremely costly recording to produce Milestone in the developing history of rock Milestone in the developing history of rock

productionproduction

Listening: “Good Vibrations,” Listening: “Good Vibrations,” 19661966

A “A “I love the colorful clothes…”I love the colorful clothes…”– High solo voiceHigh solo voice– Organ accompanimentOrgan accompaniment– FlutesFlutes– PercussionPercussion– Minor keyMinor key


B “B “I’m picking up good vibrations”I’m picking up good vibrations”– Bass voice entersBass voice enters– Accompanied by cello, theremin, Accompanied by cello, theremin,

percussionpercussion– Group enters with vocalsGroup enters with vocals– Major key Major key


A againA again B againB again structure suggests structure suggests

verse/chorusverse/chorus C Soft humming, then “C Soft humming, then “I don’t know I don’t know

but she sends me there…”but she sends me there…”– Steadily builds tensionSteadily builds tension– No stable keyNo stable key

Listening: “Good Vibrations” Listening: “Good Vibrations” 19661966

Instrumental transitionInstrumental transition– New key established (major)New key established (major)

D “D “Gotta keep those lovin’ good Gotta keep those lovin’ good vibrations happenin’ with her”vibrations happenin’ with her”– Solo voice, then groupSolo voice, then group– Organ accompanimentOrgan accompaniment– Text repeats, fades outText repeats, fades out


Transition—“Transition—“Aah!”Aah!” Variations on B, “I’m picking up good Variations on B, “I’m picking up good

vibrations…”vibrations…”– Full group textureFull group texture– Overlapping vocalsOverlapping vocals– Major keyMajor key– Voices drop outVoices drop out– Cello and thereminCello and theremin

Smile Smile

At the time Wilson was completing At the time Wilson was completing “Good Vibrations,” he was also at “Good Vibrations,” he was also at work on an album to be called work on an album to be called SmileSmile. .

Eagerly anticipated for many Eagerly anticipated for many months, months, Smile Smile was abandoned in was abandoned in 1967.1967.

Wilson returned to and completed Wilson returned to and completed SmileSmile in 2004. in 2004.

The Latin Stream in the 1960sThe Latin Stream in the 1960s

Three distinct tributaries of Latin Three distinct tributaries of Latin influence on mainstream popular influence on mainstream popular music emerged between 1962 and music emerged between 1962 and 1966:1966:

Bugalú, or Latin soulBugalú, or Latin soul Bossa novaBossa nova Mexican musicMexican music

Bugalú, or Latin soulBugalú, or Latin soul

Emerged in New York City as a fusion of Emerged in New York City as a fusion of the rumba and mambo with black the rumba and mambo with black American popular musicAmerican popular music

Biggest hit was “Watermelon Man,” Biggest hit was “Watermelon Man,” recorded by Ramon “Mongo” Santamariarecorded by Ramon “Mongo” Santamaria

““El Watusi,” by Ray Barretto and his El Watusi,” by Ray Barretto and his Charanga ModernaCharanga Moderna

– More closely aligned with Latin American musicMore closely aligned with Latin American music– Pop chart success largely as a result of the Pop chart success largely as a result of the

Watusi dance crazeWatusi dance craze

Bossa novaBossa nova

Brazilian genre, blend of samba rhythms and Brazilian genre, blend of samba rhythms and the West Coast style of modern jazzthe West Coast style of modern jazz

João Gilberto most often credited with João Gilberto most often credited with initiating initiating

First recording of the genre made by Antônio First recording of the genre made by Antônio Carlos Jobim (version of “Chega de Saudade”) Carlos Jobim (version of “Chega de Saudade”)

““The Girl from Ipanema” on the album The Girl from Ipanema” on the album Getz/GilbertoGetz/Gilberto, sung by João Gilberto’s wife, , sung by João Gilberto’s wife, Astrud, with Stan Getz on tenor saxAstrud, with Stan Getz on tenor sax– Biggest hit of the bossa nova eraBiggest hit of the bossa nova era

Mexican-style musicMexican-style music

Herb Alpert and the Tijuana BrassHerb Alpert and the Tijuana Brass ““Ameriachi” soundAmeriachi” sound 10 albums in the 10 albums in the BillboardBillboard Top Ten Top Ten

between 1965 and 1968between 1965 and 1968 ““The Lonely Bull”The Lonely Bull” ““A Taste of Honey”A Taste of Honey”

the beach boys, surf music, the british invasion, and the latin stream in the 1960s

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