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| Record store owner and sponsor of The Moondog Show |
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| cleveland DJ; first DJ to play rhythm and blues on the radio, The Moondog Show; most influential in rock and roll's breakthrough to popular mainstream music; did the Rock and Roll Party in NYC; and the Big Beat concert tour; defeated by the payola scandal |
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| gifts for DJ's; record store giveaways; a spot in jukeboxes |
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| three chart genres of the 50's |
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| country and western; rhythm and blues; pop |
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First to crossover into rock and roll;
New Orleans;Imperial records; easy-going image; |
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| another first crossover to rock and roll; Chess records; St. Louis; R&B plus Country; targeted average teens; most imitated guitar style; clever, accomplished lyrics |
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| flamboyant;manic singing and piano playing; wildman image of rock and roll; sexual lyrics |
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| one of the first successful white acts in Rock and Roll |
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| whitened covers of black rock |
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| originated from urban quartets, black; crossover to white music |
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| first rock and roll artist to draw interest from major labels; |
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| started Sun records and first signed Elvis Presley |
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| rockabilly; tennessee; Sun records; Blue Suede Shoes - million selling single from Sun; car accident hurt career; signed to Colombia with Cash |
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| rockabilly; Sun records; signed to Colombia |
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| Sun records shifted to him; hit songs; manic performing style; married to a thirteen year old |
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| Eddie Cochran and Gene Vincent |
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| 2 miscellaneous rockabilly artists on Sun records; killed/ injured in car accident |
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| twelve year old rockabilly girl |
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| "female Elvis"; RCA records; Most Promising Female Artist by Billboard; career ruined by personal problems |
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| rockabilly girl that knew Elvis |
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| first Rock figure to be influenced by early rock icons (influenced by Elvis, Berry and Little Richard); country twang; broad stylistic range of songwriting; died early in plane crash |
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| two set backs of that threatened rock and roll |
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| less rock icons and payola investigations |
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how did these guys leave rock and roll?:
Little Richard, Elvis, Jerry Lee Lewis, Buddy Holly, Chuck Berry |
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| ministry, drafted, 13 year old wife, plane crash, Mann Act |
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| professionals with the power to expose a song to a broad audience |
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| 1st wave of rock and roll dead by this date |
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| Artist was not at the center of the process; Return to the way business had been done pre-rock; songwriting teams |
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Familiar radio show adapted to television
Best-known host was Dick Clark
Lip-synched performances
Facilitated interest in dancing |
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| Chubby Checker's cover that started named dance crazes |
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| Jerry Leiber and Mike Stoller |
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| first independent pop producers, wrote for Elvis and especially the Coasters |
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| Carole King and Gerry Goffin |
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| Will you still love me tomorrow - the shirelles; produced "taking on social issues |
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| wall of sound, most ambitious producer of the early 60s |
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| light pop style with black elements; 29 on top 40; from Gospel to pop; shot in motel in 1964 |
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| had a number two hit by setting a gospel tune to secular lyrics |
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| The new band to take the Drifters' name |
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| fired from Drifters because he claimed they were not paid enough, adopted by Leiber and Stoller |
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| Drifters and Ben King and soul |
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| established sweet soul as a style characterized by fluid lead vocal melody, often supported by doo op back up vocals, medium tempo, melodies in strings, sometimes Latin influenced |
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| difficult signing, father a musician, both brothers wrote songs, clean and smooth, rockabilly |
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| occupied number one slot for three weeks during British Invasion; haunted ballad singing and falsetto |
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| Stylistically combines the Everly rockabilly with good boy Pat Boone; well crafted records, didnt write own music |
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| influenced by black doo wop and white vocal groups; very influenced by producer Phil Spector; surfer music; harmonizing; clean Berry-esqe quitar |
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| similar style as the Beach Boys |
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| Dick Dale and the Del-tones |
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| slid hand down guitar strings wihile picking rapidly. surf guitar |
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| Duane Eddy and the Ventures |
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| increased attention to instrumental playing; inspired by electric blues and jazz; instruments caught up with vocals |
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| There goes my baby - the drifters |
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| stuck between two radio channels? stings and doo wop |
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| instrument or vocals immediately repeated by by others |
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| Be my baby - Phil Spector |
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| ronnetes song that "created an aural impression of grandness of scale that made it stand out from the rest of what was on the radio at the time; unique sound developed by ________ |
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| Dont worry baby - beach boys |
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| imitation of Spector's work on Be my baby |
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| Aldon Publishing sold to Colombia Pictures |
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| down fall of Brill Building |
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| controlled by big companies and big labels; tough to be indie label; R&B and country records rarely in stores; American music and teen idolized by Brits; hard to make us charts |
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| BBC radio rock show with Brian Matthew |
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| folk music with big band jazz feel |
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| most important in skiffle; influenced Beatles |
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| places the Beatles played before making it |
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| Hamburg, and Liverpool's Cavern Club |
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| Elvis, Chuck Berry, Carl Perkins, Little Richard, The Coasters, Ray Charles, girl group and Motown |
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| record company that thought Beatles would die out |
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| February 1964 "I Want To Hold Your Hand" |
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| month and year Beatles USA debut on Ed Sullivan and first US #1 |
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| out of context Lennon remark '66 |
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| its a sign of the poor health of religion in England that a Beatles concert could outdraw a church service |
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| album that the started the Beatles experimenting; |
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| influenced the change in Beatles music (and POT) |
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| Beatles development brought a shift to a new seriousness and self consciousness among rock paving the way for _________ |
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| guitars; long hair; marketing and image rather than stylistically |
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| Brian Epstein manager Liverpool band that sounds like the beatles |
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| more successfull than Gerry and the Pacemakers (though less than Beatles) |
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| survived the demise of the British invasion |
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| Alexis Korner and Cyril Davies |
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| Blues players in London's Marquee Club, inspiring musician like Clapton, Richard and Jagger |
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| first manager of Rolling Stones; manager and producer of Yardbirds; managed Crawdaddy Club |
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| Andrew Oldham and Eric Easton |
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| managed Rolling Stones; deal with Decca |
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| unprecedented deal with Decca |
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| Stones retain ownership of songs |
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| Producer of the Rolling Stones |
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| encourages Stones to be bab boys and to write own songs - locked in room |
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| raucousness of Rolling Stones |
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| riots and police interventions at their concerts |
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| Brill Building song forms |
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| strings broke on stage that he had to fix earned him this nickname |
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| long improv instrumentation at the end of songs by the Yardbirds |
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| blues based, Rolling Stones - like band |
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| Producer of the Kinks and the Who |
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| Significant elements of the mod subculture include: fashion (often tailor-made suits); pop music, including African American soul, Jamaican ska, and British beat music and R&B; and Italian motor scooters. The original mod scene was also associated with amphetamine-fuelled all-night dancing at clubs.[4] From the mid-to-late 1960s onwards, the mass media often used the term mod in a wider sense to describe anything that was believed to be popular, fashionable or modern. "The Who" Anti rocker |
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| accomplished folk performer and songwriter |
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| showed that pop music could address issues other than teenage romance and leisure, and this seriousness of purpose became a model for others. |
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| Mr. Tambourine Man - The Byrds |
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| first international folk rock #1 hit |
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| Brill Building writer for Bobby Darin |
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| did rock versions of folk songs |
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| Byrds, because of George Harrison |
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| used electric 12 string guitar because of _______ |
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| Band used for byrds AND Beach Boys backup |
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| Eve of Destruction by Barry McQuire |
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| one of the first original folk rock songs; not a folk song adapted to folk rock |
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| Eve of Destruction by Barry McQuire |
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| one of the first original folk rock songs; not a folk song adapted to folk rock |
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| Manager of the Monkees and the Archies |
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| Started Motown records; appeal to the whites to avoid cover; Brill building; artists portrayed class and sophistication; |
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| Motown finishing school lady |
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| Smokey Robinson and Holland-Dozier-Holland |
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| motown producers that worked with the supremes |
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| Other R&B producing company in 60s |
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| music producer and partner; Atlantic records; coined the term R & B |
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| Jim Stewart and Estelle Axton |
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| Most important black pop performer, doo wop to soul; in control of own music; little Richard stand in |
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| Turn on, tune in, drop out |
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| CIA tests with LSD; wrote one flew over the cukoo's nest |
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| Grateful Dead (The Warlocks) |
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| House band for Keseys acid tests |
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| 2nd contrasting vocal melody |
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