It’s Just Business

Bodysnatchers, written by Colin Charles Greenwood,
Jonathan Richard Guy Greenwood, Edward John O’Brien, Philip James Selway, and Thomas Edward York; performed by Radiohead (2007)

This weeks song, Bodysnatchers by Radiohead, serves as the key witness to the distrust and angst that arose between the music publishing companies and recording artists. On the one hand were executives who paid out big money for exclusive recording deals and demanded that artists fulfill their contracts. On the other there were hard working artists who, after spending months or even years on concert tours, felt that the constant demand placed on them for something new was too great. The overall tone of Bodysnatchers meets the listener head on with hard-edged, overdriven, sonically angry sound. The premise recalls the days of early Sci-Fi, when terror engulfed the town, as no one could be trusted. Aliens had taken control of neighbors and no one knew who would be next. As an artist being pressured to compose and record music that doesn’t come from as artistic expression but from corporate pressure takes on these feelings of being evicted from ones own body.

Radiohead released the album on the Internet, allowing people to pay what they wanted for it. The average price people paid was $2.26. This direct release to the public garnered the group $2.7 million in direct profits. Later that year the group turned down a multi-million dollar contract from a major label. Though they were not the only group to eschew big business in lieu of retaining creative rights, the song, album and year of release (2007) represent a significant turning point in the relationship between artist and music company. Bodysnatchers embodies the long time struggle with the freedom of expression and corporate interests.

Musical Metamorphosis

     Like the caterpillar emerging from its cocoon to take flight as a beautiful butterfly, so music emerged from the decade of the 1960s with freedom to soar beyond form, tone and content. This week we will look at this decade as rock ‘n’ roll evolves to simply rock through the work of three innovative artist: the Beatles, the Beach Boys and Bob Dylan.

Please, Please Me, written by John Lennon and Paul McCartney,
performed by the Beatles (1962)

As you might expect, we start off the decade without venturing too far from tradition. Please, Please Me follows a traditional form, AABA Tin Pan Alley, maintaining a solid structure even within each of the sections. Variations from tradition are subtle and include the use of “please” as both a verb and adverb, the descending melody stating the issue and then the reply of “come on…” with an ascending melody, and the lack of a cadence until the end of each section. While not pushing the bounds of music too far at this point, the Beatles demonstrate even in these simple ways an adeptness toward molding lyrics and music to present a well constructed composition.

A Hard Days Night, written by John Lennon and Paul McCartney,
performed by the Beatles (1964)

From the onset, the strum of the dissonant guitar, we recognize that A Hard Days Night is going to continue to push the limit of popular music. This first sonic hit serves as an efficient and effective hook. Though still maintaining a typical AABA format and 12 bar blues structure, we see the emergence of poetic variation and chord structure. The traditional chords do not fall in expected places but rather serve the lyric of the song by waiting to resolve the tension until the lyric has also resolved. Additionally, the song ends with the music fading as if to tell the listener that things are “all right.”

Yesterday, written by John Lennon and Paul McCartney,
performed by the Beatles (1965)

Yesterday demonstrates the ability of the Beatles to master the compositional and production aspects of popular music. The striking thing here is the use of non-rock instruments along with the simple appeal of the song. Again we see the typical AABA format and the time honored theme of broken romance. The novelty here is that it is such a departure from rock ‘n’ roll, a deliberate venture into new musical territory, while maintaining the many things that make popular music iconic. The hook of the elongated first word provides us with a basis for the rest of the song. The melody lines fall when we look lyrically backward and soar as we hear the hope that once was. The addition of the string ensemble on the word “suddenly,” perfectly emphesises the feeling along with driving the song forward musically in lush tonality.

Eleanor Rigby, written by John Lennon and Paul McCartney,
performed by the Beatles with accompanying string ensemble (1966)

Eleanor Rigby is the true departure from tradition for the Beatles. Again we see the use of strings as accompaniment, but this time instead of long lush phrasing and counterpoint they bow repeated chords keeping the rhythm of the song much like guitars and drums in a typical rock group. Harmonically the song utilizes two chords, C major and E minor, that have little relation to each other in terms of tonal centering. We would expect that the major chord would dominate the song, but in the end it is the minor chord that plays a larger role. The austere harmonic nature of the song once again serves the lyrics of loneliness and despair. In terms of form, it borrows from the folk ballad, telling the story with the repeated chorus, interrupted by a restatement of the introduction prior to the third verse that builds tension as we wait to hear the rest of the story. The musical phrasing also serves the depressed lyric as the four bar phrase is followed by a one bar interjection, destabilizing the listener and adding to the despair. Finally, the song concludes with the introduction sung over the top of the final chorus. Here again we see the musical tension, lyrical depravity and mastery of the songwriters to match sound and lyric.

Good Vibrations, music by Brian Wilson, lyrics by Mike Love,
performed by the Beach Boys with instrumental accompaniment (1966)

Brian Wilson’s masterpiece of musical innovation takes us on a journey of harmonic variance, sumptuous sound and a departure from previously known form. There is no good way to describe the form of Good Vibrations other than to say it builds on the idea the lyrics are describing. Initially a standard verse/chorus pattern (2 statements of each), it falls apart into two diverse sections that only serve to add to the enjoyment of the “good vibrations.” Musically the sound is otherworldly, as the accompaniment is rooted in the organ and Theremin. The tonal center shifts of the C section, which should serve as a bridge were it not for the lack of a restatement of either the A or B sections, also serve the otherness sound of the song. The ecstasy of the chorus is restated at the close of the song but in a way that is derivative rather than repetitive, continuing to develop the idea and texture of the song. Rather than a hard ending the song, the music fades out as if to let us know that the Good Vibrations continue.

Like a Rolling Stone, written by Bob Dylan,
performed by Bob Dylan with instrumental accompaniment (1965)

Bob Dylan single handedly turned musical recording on its ear with Like A Rolling Stone. Aside from the familiar pattern of verse/chorus, everything else here is a departure from tradition. The most obvious note is that the song is more than six minutes long, a huge departure from the three minute limitation of early singles. Additionally, both the verses and chorus are elongated; forty bars for each verse and twenty or twenty-four bars for the chorus’. This expansion along with the lyrical density creates a dynamic intensity that is only amplified by the lack of lyrical closure. Musically, the song is sonically dense and different from previous songs due to the use of two keyboard instruments—the organ and piano. One final ground breaking item to note is that this recording simply sounds like a live studio performance with as little editing or sonic augmentation that would affect the final product.

Reborn without the constraints of the past, rock (and virtually all popular music) presses on into the tumultuous 1970s where the tension between commercialism and authenticity begins to take root. Additionally, the 1970s reveal both the creative rejuvenation of certain popular musical styles as well as the popularization of new forms of cultural music.

Back to the Future

As we press on from WWII on into the 1950s music not only develops into a new style called Rock ‘n’ Roll but earlier genres continue to maintain popularity. In this mix of songs we have swing, crooning, blues and rock. Thus the 1940s and 1950s truly take us back to the future.

Nancy (with the Laughing Face),
music & lyrics by Jimmy Van Heusen and Phil Silvers;
performed by Frank Sinatra with the Alel Stordahl Orchestra (1945)

Frank Sinatra performs this piece with vocal agility that fits the lush orchestral arrangement to a tee. The laid back feel allows Sinatra to stretch out phrases for maximum effect. True to form, we hear long vocal phrases which add to the intimate nature and fluidity of the song. This Tin Pan Alley 32 bar AABA form was written for the birth of Sinatra’s daughter, Nancy. No doubt both the implied romantic feeling along with the reason for conception only adds to the popularity and charm of the song.

Choo Choo Ch’ Boogie
music and lyrics by Milt Gabler, Denver Darling, and Vaughan Horton;
performed by Louis Jordan’s Tympany Five (1946)

Combinding the verse/refrain Tin Pan Alley form, a 12 bar blues verse, and an upbeat swing boogie-woogie and you get a tremendous upbeat song. The predictability of the song along with the masterful arrangement by Louis Jordan brings delight to this song. We hear the train coming into the station in the introduction and the lyrics remind us of those who had to hop the train in search of work during the great depression. What could be a setting for a depressing ballad instead gives us hope for a bright ending. Choo Choo Ch’ Boogie topped the charts for eighteen weeks and reached number seven on Billboards pop hit list.

Maybellene
music & lyrics by Chuck Berry;
performed by Chuck Berry and His Combo (1945)

With this performance we can clearly hear the dawning of a new era in music history. This is partly due to the use of the electric guitar with distortion and partly due to the simple instrumentation of the group; drums, guitar, bass, piano & percussion. The form is the typical verse/refrain form, each part being 12 bar blues poetic phrasing with the chord changes overlooked at the verses. The story that Berry tells reminds us of the British ballad tradition. Barry becomes the bandleader, lead guitarist and head vocalist all in one rock icon.

Long Tall Sally
music & Lyrics by Entros Johnson, Richard Penniman and Robert Blackwell;
performed by Little Richard and unidentified band (1956)

Little Richard posses much of the ebullient personality that Louis Armstrong presented years earlier and it comes through in the extra exclamations and vocalizations. This song is a twelve bar blues progression with the last four bars becoming the repeated chorus. This form becomes a standard for the pop music of the time as we will see in the next two songs. The stop time feel in the beginning of each verse allows for clarity in the vocal line so that the listener can hear the story easily while still maintaining a sense of forward motion.

Don’t Be Cruel,
music & Lyrics by Otis Blackwell and Elvis Presley;
performed by Elvis Presley with the Jordanaires (1956)

Toping the charts for 11 weeks late in the summer of 1956, Don’t Be Cruel maintains the blues form like Long Tail Salley with the last 4 bars become the repeated chorus. The use of the Jordanaires provides a sweetening of the sound as they provide both rhythmic support and harmonic depth to the simple instrumentation. Elvis’ style is evident early with the “hiccupping” effect that identifies the singer to the listner. In this recording we also begin to hear electronic effects, reverb, being applied to mimic natural auditory phenomena. Presley breaks the strophic form after the first chorus by adding the extension to the blues phrasing.

Charlie Brown,
music & Lyrics by Jerry Leiber and Mike Stroller;
performed by the Coasters with King Curtis, sax (1958)

Our last song reminds us that by this point music was being targeted to teens and young adults as they purchased more than a third of the recordings. With the cartoon reference and the “yackety sax” it is little wonder why this song was so popular. The song is high energy, with spoken cat calls and the repeated iconic phrase, “why is everybody always pickin’ on me?” For being a 12 bar blues form it is noticeably lacking in blue notes—save the saxophone. The use of stop time in the verses again leaves us to hear the words of the verses clearly. The Coasters add a B section to add contrast and dynamic tension to the song.

With the birth of Rock ‘n’ Roll behind us we press on and see how the form solidifies during a time of exploration and political tension during the 1960s. American Pop, the British Invasion, Urban folk and Rock take center stage as the music industry diversifies and multiplies.

It Don’t Mean A Thing…

From the mid 1920’s to the mid 1940’s we see the rise and dominance of swing music in the United States. Swing provided a euphoric experience during the Great Depression as people escaped their difficult circumstances and retreated to the night clubs and dance halls. In the examples this week we will see the influence of African rhythm into new forms of music. The delayed subdivision in the meter provides for a wide stylistic pallet, from blues to big band to vocal harmony groups.

St. Louis Blues, music and lyrics by W.C. Handy (1914);
Performed by Bessie Smith, accompanied by Louis Armstrong, cornet,
and Fred Longshaw, reed organ (1925)

While the St. Louis Blues don’t sound like the bouncy swing of the 30’s, it nevertheless contains a swing rhythm. This “classic blues” piece falls into a standard 12 bar blues pattern. The tonic chord is played for 4 bars, followed by the subdominant for 2 bars, the tonic for 2 bars, the dominant for 2 bars and ending with 2 bars of the tonic chord. While strictly not an AABA Tin Pan Alley form due to the final A section being a different melody, the use of the same chords and number of bars in St. Louis Blues functions in that same vein. One addition to note in blues is the bent or flattened note, “blue notes.” These notes add to the sound of despair or sadness in the song.

Wrappin’ It Up, composed and arranged by Fletcher Henderson;
Performed by Fletcher Henderson and His Orchestra (1934)

Here we see the syncopation of swing in full bloom. The bass plays on every beat and the accents on the offbeat drive the rhythm of the song. We hear the call and response of earlier African-American styles continuously utilized instrumentally as the brass and reeds play off one another. Wrappin’ It Up utilizes the same form structure, ABAC, with little variation through their four instances in the piece. The variation then becomes what instrument(s) will play the melody or solo and which will back them up. Fletcher Henderson, credited with inspiring the rise of swing, arranges this and the next piece.

Taking a Chance on Love, composed by Vernon Duke,
lyrics by John Latouche and Ted Fetter; arranged by Fletcher Henderson;
performed by Benny Goodman and His Orchestra (1940)

Though a slower tempo than the Wrappin’ It Up, Taking a Chance On Love maintains that dominate syncopated swing feel. The essential form of the song is introduction, vocal, instrumental sections. Henderson does a masterful job in the introduction of presenting the melody and hook without playing through the whole main section. The last two sections are set up similarly with the voice leading the melody first. Then the instruments take over with solos and group parts. Taking a Chance On Love stands as an example of a ballad style love song that swings with linear motion of the music.

In The Mood, composed by Joe Garland and Andy Razaf;
arranged by Glenn Miller; performed by Glenn Miller and His Orchestra (1939)

Of all the songs reviewed so far, In the Mood is arguably the most recognizable to this day. A standard for all High School Jazz Bands, it offers a straight-forward unforgettable riff at the top of the piece that continues to be played throughout. Part of what makes it so memorable is its predictability. Yet with reputation we do not get board due to dynamic contrast, individual solos and connecting phrases that propel the song forward instead of letting it stagnate. Its brilliance is confirmed at the end with an extended setting leading us to anticipate the culmination of the song.

Paper Doll, music and lyric by Johnny S. Black (1915)
performed by the Mills Brothers (1942)

Perhaps the simplest song of the week, Paper Doll is the song you want to listen to while sitting on the porch on a warm summer evening drinking lemonade. This laid back swing envelopes the listener in the first presentation of the chorus and then engages as the double-time verse takes us to euphoria. Interesting to note the lament of the song stands in contrast to this double-time section almost assuring that everything is going to be alright. The vocal harmonies stem from the African American jubilee quartet tradition. The background vocals sing “Ooo’s” behind the lead from the start and then punch the final chorus with their tight harmonies.

Throughout the Swing Era, we see experimentation with rhythm and instrumentation. Latin influences from Cuba and Brazil rise in popularity and perpetuate this rhythmic revolution. In the early 40’s we see a decline in Big Band swing groups due to the ASCAP and AFM strikes. Yet musical rhythmic boundaries continue to be pushed as BeeBop and Rock take center stage in the late 40’s and 50’s.

Codify and Innovate

Just as the gears of the second industrial revolution began to take root in American society, the early 1900s dawn with promise of commercialized music available to a larger audience than ever before. By this point the technological advancement of the gramophone and nickelodeon make the production of music available to a mass audience. As we press on into the roaring twenties technology will birth both electronic recording using a new invention called a microphone and the means to transport those sounds over the air via commercial radio stations. The foundation has been laid for the music industry to come of age and innovation will propel it into the lives and homes of America.

Castle House Rag, Music by James Reese Europe;
performed by James Reese Europe’s Society Orchestra (1914)

The first black group to sign a record deal is the James Reese Europe’s Society Orchestra in 1913. Castle House Rag is a lively orchestral version of a typical ragtime piece with several themes placed into a larger structure. The hook is the rhythmic interest on display throughout the piece along with each of the sections being repeated. New musical elements emerge such as a stoptime effect (where most instruments drop out for a second) and the use of a less lively section that allow the listener to take a break before the rambunctious ending. These pieces also served a transitioning society as people wanted to experience the new, upbeat, couples dances that were appearing.

My Blue Heaven, music by Walter Donaldson, lyrics by George Whiting (1924)
performed by Gene Austin (1927)

Upon its release, My Blue Heaven became the best selling album and was not surpassed until White Christmas was released 15 years later. By this time listeners had come to expect the AABA format as they listened to new songs. My Blue Heaven stays true to this popular Tin Pan Alley format throughout the main body of the piece. Also the typical introduction of the main musical theme is played in the introduction giving the listener an idea of what is to come. Along with the invention of the microphone and electric recording came a new style of singing called crooning. This intimate style can be heard in My Blue Heaven as Austin’s light and lilting voice has freedom to go beyond just the melody and lyric to a “la dee da” section. We also here the warbling whistle drawing the listener into the lyric, “As whippoorwill calls.” As society fell headlong into the great depression, it is easy to understand how this lilting song affirming a simple happy life came to be so popular.

April Showers, music by Louis Silvers, lyrics by Buddy DeSylva (1921)
Performed by Al Jolson (1921 & 1932)

Al Jolson made his mark early, performing in minstrel and vaudeville shows. A product of an earlier age, Jolson’s voice, unlike the crooners of the era, is strong throughout both performances even in the tender moments. April Showers stays true to form in the refrains with the slightest variation. Instead of AABA the melody pattern, ABA’C. Here again in the first performances we hear the orchestra introduce the hook during the introduction. Whether do to its previous popularity or a growing musical sophistication, the second performance utilizes music that evokes a feeling of anticipation without utilizing the melodic hook of the piece. Similarly, during the repeat of the refrain in the second piece, Jolson alternates between singing and speaking the lyrics propelling the lyric with greater emphasis. Like My Blue Heaven, April Showers provides the needed encouragement for society during the great depression.

I Got Rhythm, music by George Gershwin, lyrics by Ira Gershwin (1930)
Performed by Ethel Merman (1947)

Ethel Merman’s full speed ahead style is perfectly suited for the upbeat Tin Pan Alley song. Both the refrains and the verse of I Got Rhythm fall into the typical form, AABA’ and AA’BB’. It also begins with a verse that has little memorable effect except to set-up the refrain. George Gershwin was incredibly successful at marrying classical techniques with popular music. These techniques are heard in this piece as all but one of the lines of the refrain begins with the same rhythm. Merman holds the word “I” on the repeat of the refrain until the final hook, “Who could ask for anything more?” The affect is that the hook is lodged into the musical memory of the listener. Another significant stylistic difference is that the verse is set apart from the refrain being slower and rhythmically simple. It sets the stage perfectly for the upbeat answer to the question presented in the verse, “How did I get to be that way? (chipper all the day).” Again we see the delight in the everyday aspects of life. As things got difficult, society needed the encouragement and reminder that there was so much to be happy about.

The first thirty years of the twentieth century were a time of settling into musical pattern and innovating technologically and musically. During this time composer rights and just compensation were established, and the music scene set up shop in the lower Manhattan. As culture moved from prohibition into the great depression, music became an encouraging spark that people could rally around for warmth. The music business had been established as an important part of people’s lives. From Tin Pan Alley we move toward greater musical and rhythmic innovation and exploration in the era of swing.

The Early Years

Paving the way for modern popular music, these four songs, Barbary Allen (1666), Soldier’s Joy (1770s), Jeanie with the Light Brown Hair (1854), and After the Ball (1892), each contain a significant features that we have come to expect today. Each song contains a building block that other songs would emulate and a musical hook that would aid in it becoming popular. Finally, each song holds social significance to the day in which it was written.

Barbary “Barbra” Allen, performed by Jean Ritchie (1960)

From the British Ballad tradition, this song tells the story of love, rejection, remorse, death, and affirmation of love postmortem. Utilizing the 5 note Pentatonic scale, each of the verses of Barbary Allen utilize the same lilting melody and phrasing. The first two lines of each verse begin with the same 4 notes providing the musical hook that aids in remembering the piece. This style of song uses a common theme, giving voice to everyone as it speaks of unrequited love and the hope in the power of love to defy death.

Soldier’s Joy, performed by Gid Tanner and the Skillet Lickers (1929)

Here we see the beginning of popular dance music in the string band tradition. The musical hook is introduced at the beginning and then repeated in the instrumental sections between each verse. The fiddles play phrase A twice followed by phrase B twice. The first verse contains instructions for the dance, similar to modern square dancing or line dancing. The song grew in popularity as it was utilized in social settings, giving not only musical enjoyment but also an understanding of how to participate in the dance.

Jeanie with the Light Brown Hair, music & lyrics by Stephen Foster;

performed by Thomas Hampson & the Jay Ungar Trio (1994)

Stephen Foster, America’s first full-time professional songwriter, pens this lilting piece that set a precedent for songwriters and listeners alike. The arrangement of this song becomes a standard, AABA. The beginning of each A phrase remains the same providing a musical hook, with a bridge, phrase B, containing a new melody and chord structure that provides musical interest to the piece and a brief break from the hook. The final A phrase ends in a musical cadence, the dominant to tonic chord, giving a sense of ending to the section. This layout becomes not only a blueprint for songwriters but also an expectation for listeners.

After the Ball, music & lyrics by Charles K. Harris; performed by the author

In this piece we begin to see the building blocks of the first three songs incorporated into one piece. Building on the British Ballad tradition, After the Ball tells a story interjecting a chorus between the verses. The affect on the listener is a building anticipation for the next part of the story. Its verses are constructed in the Foster layout, AABA. The title is sung twice in the chorus, providing a musical hook and embedding it in the listener’s memory. Finally it is a waltz, a popular dance of the time. In pre-radio America, touring bands and social dances were how music penetrated into the populous. It is hard to overstate how significant it is that this song would have been performed in social settings.

          As popular music begins to take shape, meaningful lyrics, social intersection, and skillful construction of song become the measure of how well a song will be received. With the beginning of the industrial revolution and the invention of the gramophone and radio, we will next see how rapidly new music spreads and how these tell-tales solidify a songs place in history.