British Beat Groups- “beat” from “big beat” rhythm and blues back beats- In the US “The British Invasion”R&B, Rock ‘n’ Roll based:- Beatles (Liverpool)- Hollies (Manchester)- Kinks (London)- Zombies (London)- Manfred Mann (London)- The Who (London)Blues, Rock ‘n’ Roll based:- The Rolling Stones (London)- The Animals (Newcastle)- Spencer Davis Group (Birmingham)- The Yardbirds (London)The BeatlesInfluences- Rock ‘n’ Rollo Elvis Presleyo Little Richardo Chuck Berryo Carl Perkinso Buddy Hollyo Eddie Cochran- Rhythm and Blueso Ray Charles- Skiffle (British bands who copied American folk bands with homemade instruments)o Lonnie Donnegan*The British music hall was similar to the American Tin Pan Alley, Broadway shows, etc.*Important People- Brien Epstein; manager- George Martin; producer- Stu Sutcliffe; original electric bassist- Pete Best; original drummer- John Lennon; co-founder, songwriter, guitar- Paul McCartney; co-founder, songwriter, bass- George Harrison; lead guitar- Ringo Starr; drumsFirst Style Period (1962-1964): Initiation- Influenced byo Chuck Berryo Little Richardo Buddy Hollyo Carl Perkins- Originals musically resemble covers- Original song characteristics:o “idyllic” or “edenic” quality of lyrics- lyrics that express an underlying sense of innocenceo Lyrics describe the process of growing upo Many songs seem to be directly from performer to listener through the use of personal pronounsFrom Me to You I Saw Her Standing ThereShe Loves YouP.S.- I Love YouPlease Please MeSecond Style Period (1965-1967): Experimentation-Timber (Sound)o More use of acoustic instrumentso Exotic instruments (sitar, tabla)o Traditional orchestral instrumentso Experiments with tape and studio production techniques: musique concréte-Textureo Polyphonico Obligatto lead guitar (always there, always constant, but not always in the foreground)-Harmonyo Experimental chord progressions, not blues or rock ‘n’ roll progressions-Text Contento Influenced by Bob Dylano Mind-expanding drugsLyric imageryStudio techniques-Melodyo Fit accentuation of texto Some asymmetric phrases to follow texto Songs meant to be listened to, not danced to-Best example: Revolver (1966)-Listened to Norwegian Wood in classThird Style Period (1968-1970): Maturity- Turn away from expressive experimentation- Hardly any use of full orchestras or orchestral instruments in general- Less use of exotic instruments, return to rock band format- Experimental, but functional chord progressions- Return to rock ‘n’ roll roots, but more self-assurance in playing ability (not as stiff)o Lady Madonnao Hey Jude- “Rock ‘n’ Roll” songs expand the basic 12-bar blues progressiono Get Backo Back in the USSRo RevolutionThe End from Abbey Road; the last song recorded as a group and the only song where Ringo gets a soloThe WhoImportant People:- Pete Townshend; guitar, vocals, composer- Roger Daltrey; vocals- John Entwistle; bass, vocals- Keith Moon; drums, vocals (died 1978)- Kenney Jones; drums (from 1981-1989)- Pete Meaden; managerRoots in “trad jazz” (traditional jazz)- Dixieland- Pete; banjo- John; trumpet- Roger; trombonePrevious Bands- The Detours (1962-1963)- The Who (1964)- The High Numbers (1964)o Contrafact song: Zuit Suito “Mods” vs. “Rockers”- The Who (1964-1989)Early Who (1965-1969)- Chordal guitar solos- Melodic bass lines (lead bass)- Busy drums, but not cluttered- Short songs- Rhythm and blues influence- Teen anthemso Angero Angst (distress, anxiety)o My Generation (1965)Transition: Rock Opera; Tommy (1969)- We’re Not Gonna Take It; teen anthem- Large scale work- Concept album- Longer songs- More intricate song constructionLate Who (1969-1989)- Longer songs- More polyphonic, layered musical texture- Long introduction to songs- Much use of synthesizers- Daltrey screams more- Bass still melodic- More melodic guitar solos, but still much chordal work- Drums maniacally busy, yet still not cluttered- Anthem: Won’t Get Fooled Again; Baba O’Reilly (1971)- Autobiographical: Who Are You (1978)The Rolling StonesInfluences:- Blues (all Chicago Urban Blues)o Muddy Waters; name of group from songo Elmore James; specifically Brian Joneso Jimmy Reed; specifically Mick Jaggero Howlin’ Wolf- Rock ‘n’ Rollo Chuck Berryo Bo Diddleyo Elvis Presley (guitarist Scotty Moore); specifically Keith Richardso Little Richard; specifically Mick Jaggero Buddy HollyImportant People:- Andrew Oldham; manager until 1966- Nanker Phelge; group persona as composer, made up for when the entire group contributed to writing a song- The Glimmer Twins; producers, Mick Jagger and Keith Richards, after 1974- Ian Stewart; pianisto Influenced by jazz and blues, and boogie woogieo Boogie With Stuo Original 6th member of The Rolling StonesFirst Style Period (1963-1965)- Coverso Rhythm and Blueso Rock ‘n’ Rollo Blueso Soulo Motown- Original songs imitated cover models- No real personal style until around 1965- Generally stiff performances- Strict adherence to the beat/ precise rhythms- Little By Little (1964)o Strophico 24-bar blues progression- Satisfaction (1965)o First of great Keith Richards “riff tunes”o Originally envisioned as a country songSecond Style Period (1966-1969)- Experimental period- Almost all original songs (Jagger/Richards)- Less live performances; more studio work- Experimental characteristics:o Intricate layers of sound (polyphonic)o Guitar solos worked into song texture rather than solo breaks (obilgatto)o Used traditional orchestral instruments Ruby Tuesday; recorded Under My Thumbs; marimba As Tears Go By; stringso Used folk/ethnic instruments Paint It Black; sitar Lady Jane; dulcimero Expressive imagery in lyricso Music designed to fit the meaning and rhythm of the texto Asymmetric balance between melodic phrases; between verses and choruso Many songs based on a riffThird Style Period (1969-1974)- Personnel change: Brian Jones out (died 1969), Mick Taylor in- Many songs are still riff-based- Turn away from studio experimentations and use of unusual instruments- Return to a rhythm and blues feel:o Use of R&B horn sectiono Raw, rough edged soundo Return of blues forms and techniqueso Not stiff rhythmically, like the first periodo Keith, mostly riffs; Mick T, almost all guitar solos- Honky Tonk WomenFourth Style Period (1974-present)- Personnel change: Taylor out, Ron Wood in; Wyman quits in 1992- Turn away from raw, R&B sound- Songs become