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Brian Wilson and the Beach Boys. Formed in 1961 by Brian Wilson, his two brothers, a cousin, and a friend in Hawthorne, California Brian Wilson was the guiding spirit of the band during the group's first decade. The defining model of the Beach Boys:Demonstrate mastery of early rock 'n' rollCreat
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1. The Beach Boys, Surf Music, and the British Invasion
2. Brian Wilson and the Beach Boys Formed in 1961 by Brian Wilson, his two brothers, a cousin, and a friend in Hawthorne, California
Brian Wilson was the guiding spirit of the band during the groups first decade.
The defining model of the Beach Boys:
Demonstrate mastery of early rock n roll
Create original material based on and extending those styles
Branch out beyond the forms, sounds, and lyrics of traditional rock n roll to create something truly unique
3. Brian Wilson and the Beach Boys The songs of the Beach Boys enshrined Wilsons somewhat mythical version of California in the consciousness of young Americans.
Surfin Safari
Surfer Girl
The Warmth of the Sun
California Girls
Wilsons vision was inclusive even though it remained place specific.
4. Brian Wilsons Journey from Imitation, through Emulation, to Innovation The Beach Boys first Top 10 hit, the famous Surfin USA (Number Three, 1963), simply borrows the music of Chuck Berrys 1958 hit Sweet Little Sixteen with new words.
The Beach Boys next hit, Surfer Girl (Number Seven, 1963), reinvigorated the sound and spirit of the doo-wop ballad by infusing it with California beach content.
Fun, Fun, Fun
The groups first hit of 1964 evoked Chuck Berry.
The solo guitar introduction cops its twelve-bar blues licks directly from Berrys Roll Over Beethoven and Johnny B. Goode.
5. Brian Wilsons Journey from Imitation, through Emulation, to Innovation By mid-1964, Wilson had moved past obvious emulation into a period of aggressive experimentation with his inherited styles and forms.
I Get Around
The Beach Boys first Number One record
Turns the up-tempo rock n roll anthem into a thoroughly individual kind of expression
6. Surf Music The popular duo Jan (Berry) and Dean (Torrence) worked with Brian Wilson and the Beach Boys on a number of projects.
Wilson co-wrote Jan and Deans biggest hit, Surf City (Number One, 1963).
7. Dick Dale (b. 1937) The guitar style of Southern California surf music is based on the sound created by Dick Dale of the Del Tones.
Solid-body guitar
High-wattage Fender amplifier
Lots of reverb
Wet sounding surf guitar
One of Dick Dales characteristic techniques was the rapid, descending tremolo
Borrowed by the Chantays to open their recording of Pipeline
Sustained national recognition eluded Dick Dale in the 1960s.
His music became famous in the 1990s, when his recording of Misirlou, from 1962, was used as opening music in the hit film Pulp Fiction.
8. Ventures The most successful instrumental group associated with surf rock
Seattle-based ensemble
Adopted aspects of the style after it became popular in California
The Ventures hit Number Four with Hawaii Five-0
Theme song of the hit TV show
Featured on American Bandstand
9. The Beatles, the British Invasion, and the American Response The Beatles
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 Hollys 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).
10. 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.
11. 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.
12. Listening: Please Please Me (1962) Formal structure with two levels
The A sections have their own distinctive form, aabc: a phrases have descending melodic motion;
b phrase text simply repeats the words come on, come on, building intensity; the c phrase is the melodic high point of the section.
AABA
A a a b c
A a a b c
B d d
A a a b c
13. Listening: Please Please Me (1962) A
a Descending melodic motion
a Again
b Come on, come onbuilds intensity
c Please, please memelodic high point of the section
B
d I dont Bridgenew music
d I do Change/extension of phrase
A Exact repetition of A section
14. Listening: A Hard Days 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 chordeffective hook
15. Listening: A Hard Days 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 dont always happen in the expected places.
16. Listening: A Hard Days Night (1964) A Blues-like twelve-bars
Its been a hard days night
Its been a hard days night
But when I get home to you
A
You know I work
And its worth it
So why on earth
17. Listening: A Hard Days Night (1964) B When Im home bridgenew music
AExact repetition of first A
AInstrumentalGuitar solo, eight bars
Voice enters for last four bars of section
B When Im home as before
A Its been a hard days as before
18. Listening: Yesterday Instrumentationacoustic guitar and strings
Distinguishing features of Beatles style:
Reference to popular style
Emphasis on melody
Imaginative instrumentation
Responsiveness to text
19. Listening: Yesterday Romantic ballad with strong roots in Tin Pan Alley popular song tradition
Form: AABABAvariation of Tin Pan Alley thirty-two-bar AABA form
Opening A section
1. Yesterday
2. All my troubles
3. Now it looks
4. Oh, I believe
20. Listening: Eleanor Rigby (1966) Instrumentation: String quartetviolins, 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 formalternation of a persistent refrain and narrative.
21. 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 Cant 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.
22. 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.
23. Beach Boys Brian Wilson, inspired by the Beatles album Rubber Soul (1965), produced what is arguably rocks 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. Peppers Lonely Hearts Club Band.
24. 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
25. 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
26. Listening: Good Vibrations, 1966 A I love the colorful clothes
High solo voice
Organ accompaniment
Flutes
Percussion
Minor key
27. Listening: Good Vibrations, 1966 B Im picking up good vibrations
Bass voice enters
Accompanied by cello, theremin, percussion
Group enters with vocals
Major key
28. Listening: Good Vibrations, 1966 A again
B again structure suggests verse/chorus
C Soft humming, then I dont know but she sends me there
Steadily builds tension
No stable key
29. 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
30. Listening: Good Vibrations, 1966 TransitionAah!
Variations on B, Im picking up good vibrations
Full group texture
Overlapping vocals
Major key
Voices drop out
Cello and theremin
31. Smile At the time Wilson was completing Good Vibrations, he was also at work on an album to be called Smile.
Eagerly anticipated for many months, Smile was abandoned in 1967.
Wilson returned to and completed Smile in 2004.