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TAMU MUSC 200 - The Everly Brothers and Doo Wop
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Musc 200/226 1st Edition Lecture 17 Outline of Last Lecture I. TestOutline of Current Lecture II. 2nd generation of rock and rollA. The Everly BrothersIII. Doo Wop: Rock and Roll’s Vocal Groupsa. Social contextb. Sounds and stylesCurrent Lecture2nd Generation of Rock and RollThe Everly Brothers- Don and Phil Everly- Originally wrote for the country market and considered themselves country artists- Their record label and management took advantage of their youth and steered them towards a rock and roll direction- First hit in 1957 with “Bye, Bye Love”o Had a string of hits from 1957-1962- Broke up in 1962 due to conflicts between the brotherso Their independent careers never took ofo Got back together in the 80s for a few toursListening: “Bye, Bye Love” by the Everly Brothers- Blends of harmony singing- Country nasality- Emphasis on rhythm guitar (like Buddy Holly)- Both play the acoustic guitar in this tracko Playing Gibson guitars, giving a full and rich soundThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.- Song begins with an instrumental hook, giving power and the defining sound for this song- Though the Everly Brothers wrote many of their own songs, they did not write this one- Combines country and the blues to create a rock and roll vibe- Teen themesListening: “Wake Up, Little Susie” by the Everly Brothers- Reverb and echoo Reverb is the reflected sound that lasts for less than 5 millisecondso Echo is the reflected sound that lasts for longer than 5 milliseconds- Teen themes- Lyrics: 2 teens go to a drive-in movie, fall asleep, and wake up after curfew. They are afraid people will think they had sex even though they didn’t- Very controversial song, made many people upseto Was banned from airplay in Boston- It still sold very well, but the brothers didn’t like the reaction they gotListening: “All I Have to Do is Dream” by the Everly Brothers- After their last controversial song, the brothers did this ballad, steering towards the mainstream so as to not be controversial- Chet Atkins was a studio guitarist who played in this songo The creativity of studio musicians could turn a good song into a great songo Used the tremolo efect – electronic efect built into amps that would cyclically boost and cut the sound Without tremolo: play a note and it fades away With tremolo: play a note and it goes up and down while fading awayo Listen to the very beginning of this song to hear the tremolo efect clearly- Chorus/verse song, like almost all other second generation rock and roll songs we’ve looked at and also typical in country musicDoo Wop: Rock and Roll’s Vocal Groups- Doo wop songs were some of the first crossovers in the 1950s and doo wop lasted until 1964- It was brought back in the late 60s - Most doo wop groups consisted of 4 African American males backed by a small rhythm band- Doo wop was coming out of almost every city in the U.S.- Lyrics focused on teenage themes as the groups were composed of mostly teens- Precursors to doo wop include the A Capella male quartets with their smooth harmonies, wide vocal ranges, and arrangement deviceso Doo wop, unlike the A Capella male quartets, had a band backing them up, but the focuswas still on the vocals Doo wop also didn’t have any previous gospel singers, so they avoided the wrathof gospel peopleo The Ink Spots and the Mills Brothers were two African American pop A Capella male quartets that were very popular in the 30s and 40s Played jazz inflected TPAListening: “Sh Boom” by The Chords- Backed by a small band- 4 singers with one of them as carrying the main melody- This is the original version by The ChordsSocial Context of Doo Wop- Early 50s: small groups of teens would meet up and sing for entertainment on street cornerso Called “street-corner harmonies”o Mostly in urban areaso Teens didn’t have instruments or had nowhere to play so they would sing for fun- Several Italian American groupso Strong biases against Italian Americanso Italian American doo wop groups and African American doo wop groups shared styles - Many doo wop groups were one hit wonders because naïve teenagers would sign bad contracts with record labels. Then when they got a hit song and wanted to do another album, they wanteda better contract. But the record labels saw doo wop groups as replaceable as there were so many groups and they rarely had a “front man” like other rock and roll bands. So they would get cut.Sound/Style of Doo Wop- Ballads: slow, romantic, the lead singer typically steps forward moreo More ornamentation and vocal techniqueso To be continued next class- Up-Tempo: fast and elaborateo Backed by a standard rock and roll rhythm sectiono Used tripletso Lowest (bass) singer was often used for a comedic efect in the intro or outro and also used stop time breakso Punchy, rhythmic phrases by vocalso Sing chords and harmonyo Vocables: nonsense syllables to articulate punchy strong rhythms Purpose was to drive the time and give a percussive/rhythmic interesto Tons of creativity in arrangementListening: “Gee” by The Crows- Straightforward arrangement- The 3 back vocalists have the chords and the other carries the melodyListening: “I Wonder Why” by Dion and the Belmonts- More independent and elaborate than the last song- Independence between the bass singer and the other two backing singers- Back vocals are more melodic and respond to the main vocalist- During the bridge, the back vocals and lead vocal sing slightly diferent rhythms with the lead in falsettoListening: “Blue Moon” by the Marcels- Comic bass at the beginning and end- Originally a TPA hit, but was rearranged towards the end of the doo wop period- Complex background arrangement, but with a straightforward melodyo Almost like 2 diferent melodies- Call and response between 2 beats- Very elaborate with big chords moving to crescendos and then leading smoothly back to the


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TAMU MUSC 200 - The Everly Brothers and Doo Wop

Type: Lecture Note
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