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The Beatles, the British Invasion, and the American Response

The Beatles, the British Invasion, and the American Response. The Beatles—Quarrymen If greatness is measured in commercial success and popularity, the Beatles were the greatest popular musicians of the twentieth century.

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The Beatles, the British Invasion, and the American Response

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  1. The Beatles, the British Invasion, and the American Response • The Beatles—Quarrymen • If greatness is measured in commercial success and popularity, the Beatles were the greatest popular musicians of the twentieth century. • They started out as a performing band modeled on Buddy Holly’s group, the Crickets. • After some initial shifts in personnel, the Beatles achieved a stable lineup by 1962, consisting of • John Lennon and George Harrison (lead and rhythm guitars and vocals), • Paul McCartney (bass and vocals), and • Ringo Starr (drums and occasional vocals).Richard Starky

  2. The Beatles • During their extended apprenticeship period, the Beatles played at clubs in their hometown of Liverpool and elsewhere. • In Hamburg, Germany, they performed an imitative repertoire that centered on covers of songs by the American rock ’n’ roll artists they most admired.

  3. Came to America in 1964. Appeared on Ed Sullivan show Feb 9 1964 • By April 1964 had broken a record occupying all top 5 spots on the Billboard Charts • Stopped touring in 1966 after a concert in San Francisco-focused on recording only in the studio

  4. In 1967 released Sgt. Peppers Lonely Heartclub Band. Said by many, (including Rolling Stone Magazine to be the greatest Rock album ever recorded • Penny Lane, Strawberry Fields and the White album were released in 1968 • Last live performance together was 1969

  5. Listening: “Please Please Me” (1962) • Written by John Lennon and Paul McCartney • Performed by the Beatles • An excellent example of the Beatles’ early songwriting and performing. • Straightforward, up-tempo love song in a typical AABA form • Clever internal rhymes: “complainin’” is rhymed with “rain in [my heart]” at the beginning of the B section.

  6. Listening: “A Hard Day’s Night” (1964) • Written by John Lennon and Paul McCartney • Performed by the Beatles • Number One in 1964 • Title song of the Beatles’ first movie • Begins with dissonant guitar chord—effective hook

  7. Listening: “A Hard Day’s Night” (1964) • Overall form is AABA • The A section is twelve bars long, has three four-bar phrases, and uses blue notes that do not follow the typical blues harmonic structure. • More than the three traditional chords are used. • The chord changes don’t always happen in the expected places.

  8. Listening: “A Hard Day’s Night” (1964) • A Blues-like twelve-bars • It’s been a hard day’s night… • It’s been a hard day’s night… • But when I get home to you… • A • You know I work… • And it’s worth it… • So why on earth…

  9. Listening: “A Hard Day’s Night” (1964) • B When I’m home… bridge—new music • A—Exact repetition of first A • A—Instrumental—Guitar solo, eight bars • Voice enters for last four bars of section • B When I’m home… as before • A It’s been a hard day’s… as before

  10. Listening: “Yesterday” • Instrumentation—acoustic guitar and strings • Distinguishing features of Beatles’ style: • Reference to popular style • Emphasis on melody • Imaginative instrumentation • Responsiveness to text

  11. Listening: “Yesterday” • Romantic ballad with strong roots in Tin Pan Alley popular song tradition • Form: AABA form • Opening A section • 1. Yesterday • 2. All my troubles… • 3. Now it looks… • 4. Oh, I believe…

  12. Listening: “Eleanor Rigby” (1966) • Instrumentation: String quartet—violins, viola, cello • The lyrics describe two lonely people whose lives have been exercises in futility • The harmony emphasizes the feeling of loneliness by alternating between two chords without reaching a goal. • The melody does not lead anywhere; there is no sense of melodic development. • Verse-Chorus form—alternation of a persistent refrain and narrative.

  13. The Rolling Stones • Of all the British Invasion acts other than the Beatles, the Rolling Stones have had the greatest cumulative influence in America. • They cultivated an image as “bad boys,” in deliberate contrast to the friendly public image projected by the Beatles. • “(I Can’t Get No) Satisfaction” • Perhaps their most famous hit record • Number One in 1965 • Composed by band members Mick Jagger and Keith Richards • Memorable buzzing guitar hook • Unrelenting beat • Unabashedly self-oriented and ultimately sexual lyrics • The song perfectly exemplifies the distinctive low-down, hard-rocking essence of both the Rolling Stones themselves and their music.

  14. Other British Invasion Bands • The other British Invasion acts that had a long-term impact in America started as the Beatles did: with firm roots in American R&B and rock ’n’ roll. • On the whole, the Rolling Stones, the Animals, the Who, the Kinks, and Eric Clapton remained closer to these roots during their careers than the Beatles did.

  15. Beach Boys • Brian Wilson, inspired by the Beatles’ album Rubber Soul (1965), produced what is arguably rock’s first concept album, Pet Sounds. • Released in mid-1966 • Modest seller, compared with some other Beach Boys albums • Had an enormous impact on other musicians • Paul McCartney affirmed that Pet Sounds was the single greatest influence on the Beatles’ landmark 1967 album Sgt. Pepper’s Lonely Hearts Club Band.

  16. “Good Vibrations” • Wilson furthered his experimentation with the late 1966 single “Good Vibrations,” which reached Number One on the charts and has remained probably the Beach Boys’ most famous song. • Written and produced by Brian Wilson • Performed by the Beach Boys • Innovative hit single

  17. “Good Vibrations” • Virtually every aspect of the record is unusual. • No name for the form • Unique yet effective • Wilson uses a rich sound palette to communicate the sensuous experience that is the essential subject matter of “Good Vibrations.” • Memorable melodic hooks and a wide, colorful palette of chords • Extremely costly recording to produce • Milestone in the developing history of rock production

  18. Listening: “Good Vibrations,” 1966 • A “I love the colorful clothes…” • High solo voice • Organ accompaniment • Flutes • Percussion • Minor key

  19. Listening: “Good Vibrations,” 1966 • B “I’m picking up good vibrations” • Bass voice enters • Accompanied by cello, theremin, percussion • Group enters with vocals • Major key

  20. Listening: “Good Vibrations,” 1966 • A again • B again structure suggests verse/chorus • C Soft humming, then “I don’t know but she sends me there…” • Steadily builds tension • No stable key

  21. Listening: “Good Vibrations” 1966 • Instrumental transition • New key established (major) • D “Gotta keep those lovin’ good vibrations happenin’ with her” • Solo voice, then group • Organ accompaniment • Text repeats, fades out

  22. Listening: “Good Vibrations,” 1966 • Transition—“Aah!” • Variations on B, “I’m picking up good vibrations…” • Full group texture • Overlapping vocals • Major key • Voices drop out • Cello and theremin

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