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The beatles & the british invasion. 1964-1966. i . Popular music in the U.s. at the beginning of the 1960’s. Wide variety of styles Teen idols love songs Folk music Girl-group music Rockabilly Surf music Sweet soul

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i popular music in the u s at the beginning of the 1960 s
i. Popular music in the U.s. at the beginning of the 1960’s
  • Wide variety of styles
    • Teen idols love songs
    • Folk music
    • Girl-group music
    • Rockabilly
    • Surf music
    • Sweet soul
  • None of the artists of any of these styles were considered to be the “Next Elvis.”
  • The music industry was desperately looking among these styles to find a similar phenomenon
slide3

On February 9, 1964, the Beatles appeared on Ed Sullivan’s Sunday evening show

    • Elvis had done the same thing 8 years earlier
    • 73 million people watched it
    • Even the crime rate went down during the time period of the telecast
  • The Beatles and the subsequent British Invasion had a major impact on American pop music
ii british pop in the late 1950 s and early 1960 s
ii. British pop in the late 1950’s and early 1960’s
  • The UK was mostly a consumer of American-made music
    • The same American artists’ records were popular in both Britain and America
    • British artists achieved success at home rather than in the states
  • In the years immediately after WWII Britain was enamored with American popular culture
    • Interest in American pop grew during this time
slide5

Britain already appreciated and had learned to play earlier styles of American music

    • Traditional jazz (nicknamed “trad”) was derived out of New Orleans jazz styles of American music
    • American folk music from earlier in the 20th century fascinated Brits
    • British interest in rock and roll seems to be a logical continuation of that interest in U.S. culture
    • After WWII interest in traditional jazz and American folk increased in Britain
  • Parts of Britain that were destroyed by German bombings were being rebuilt
  • America had no home-front war damage and was considered a model of strength and affluence
slide6

Teen culture in America seemed exotic and romantic

      • Teens in Britain were surrounded by the recovery from war
      • American teens seemed free and unburdened
      • British youth embraced rock and roll with the same enthusiasm as American teens did
  • The British record and radio industries were not set up like their American counterparts
    • Four major labels that licensed music from American labels to distribute in Britain
      • EMI
      • Decca
      • Pye
      • Philips
slide7

Two Radio stations

    • BBC
    • Radio Luxembourg
  • The British government owned the BBC
    • Three channels
    • One of them played rock and roll
  • Radio Luxembourg was a European commercial station
  • Britain had no independent radio or record labels
    • The major labels financed radio shows that played rock and roll on their own label
    • The government controlled the rest
slide8

Availability of American popular music varied

    • Rock and roll records found on pop charts were available in retail stores
    • Rhythm and blues and country and western were not—and they were hard to find
  • Sources began to appear that were devoted to rhythm and blues, country and western, and pop
    • Melody Maker, New Musical Express, and Record Mirror
    • British teens watched American rock and roll movies to keep up on the rock and roll developments
      • Elvis films
      • Alan Freed movies
      • The Girl Can’t Help It
slide9

Some artists toured England and were very enthusiastically received

    • Bill Haley
    • Buddy Holly
    • Everly Brothers
iii the rise of skiffle
iii. The rise of skiffle
  • British bandleaders played New Orleans style jazz and eventually other styles as well
    • Ken Colyer, Kenny Ball, and Acker Bilk
    • Chris Barber
      • Barber’s banjo player-vocalist Tony Donegan recorded a hit song in this skiffle style
      • “Rock Island Line” credited to Lonnie Donegan and his Skiffle Group
      • Barber on bass, Beryl Bryden on washboard, and Donegan played guitar on the recording
slide11

Skiffle-American jazz or folk music played entirely or in part on nonstandard instruments (as jugs, washboards, or Jew's harps); also a derivative form of music formerly popular in Great Britain featuring vocals with a simple instrumental accompaniment

  • “Rock Island Line” by Lonnie Donegan and his Skiffle group
slide12

“Rock Island Line” started a craze for skiffle music

    • Easy to play
    • Similar to the rise of folk music in the United States shortly after that period
    • John Lennon was a teen fan of skiffle
    • So was Jimmy Page
  • Skiffle was replaced by trad in the UK by the late 1950s
  • Trad bands had hits in the late 1950s in the UK and the states
slide13

British artists had difficulty getting hits in the UK

    • American artists dominated the charts
    • There were only a few British artists who succeeded in getting hits in England
    • They were patterned after American hit artists
      • The first was Decca’s Tommy Steele, “Rock with the Caveman”
      • Steele also had a hit in 1956 with “Singin’ the Blues”
      • Steele had 16 more hits through 1961
    • The most successful British rocker was EMI’s Cliff Richard and his backup band, the Shadows
iv the beatles as students of american pop 1960 1963
iv. The beatles as students of american pop (1960-1963)
  • In 1957 a Liverpool teen named John Lennon formed a skiffle group called the Quarrymen
    • Played skiffle patterned after Lonnie Donegan in and around the local Liverpool area
    • Switched to rock and roll when the skiffle craze wound down
    • John Lennon was 15 years old and Paul McCartney was 13 years old when rock and roll arrived
slide16

They were part of the first generation of the new rock and roll youth culture

    • This generation learned rock and roll by imitating the first wave of rockers
    • The first recording of the Quarrymen (including 15 year old George Harrison) was in 1958
    • They recorded Buddy Holly’s “That’ll Be the Day,” closely imitating the original
    • They recorded an original song on the other side of that acetate home recording
    • Holly wrote all his own songs, so they did too: “In Spite of All the Danger”
    • Written by Paul McCartney and George Harrison
  • They changed their name briefly to Johnny and the Moondogs (which was inspired by Alan Freed who called himself Moondog on the air)
slide17

Personnel changes and name changes occurred up through 1960

    • John Lennon’s friend Stu Sutcliffe was added on bass guitar
    • They changed the band’s name to the Silver Beetles (which was further acknowledgement of Holly’s influence; his band’s name was the Crickets)
    • The band toured Scotland in 1960 backing singer Johnny Gentle
    • They added drummer Pete Best in the summer of 1960
v hamburg
v. hamburg
  • The band changed their name one more time to the Beatles
    • They were offered a job in the nightclub in Hamburg, Germany
      • The Indra Club was in Hamburg’s red light district
      • They moved to a larger club called the Kaiserkeller
    • Other British bands were starting to play in Hamburg as well: Derry and the Seniors, Tony Sheridan and the Jets, and Rory Storm and the Hurricanes-featuring drummer Ringo Starr
    • They made a total of five trips to Hamburg from 1960-1962
      • These performances were under more of a concert setting
      • They opened for Little Richard and Gene Vincent
slide19

The Hamburg experience provided the opportunity to develop their musical skills

    • The performance routine was a grueling one
      • They played from 7pm-2am with 15 min. breaks
      • They were under pressure to make a show for the German patrons
      • They had to learn as many songs as they could as fast as they could
    • The result of this kind of pressure on musicians is to either get great or get washed out
    • The Beatles returned to Liverpool as professional musicians
    • Their performance at a dance gig at Litherland Town Hall was a sensational success
      • Great audience reaction foreshadowed the type of atmosphere they would soon be generating
      • They had refined their performance techniques such that they were now the best band in the area
slide20

The musical influences on the Beatles as they develop their musicianship and creative talents

    • Lennon and McCartney studied and imitated many successful writers’ styles and performers’ styles
    • These influences and fascination with American rock and roll are apparent in their early original work
    • Tapes of performances at Hamburg’s Star Club and early BBC radio performances show their tastes: Elvis Presley’s version of “That’s Alright (Mama)”, Chuck Berry’s “Memphis”, Little Richard, Carl Perkins, Leiber and Stoller’s Coasters records, Phil Spector’s “To Know Him is to Love Him”, and Ray Charles’ “Hallelujah I Love Her So”
slide21

They eventually covered several styles of songs on their first, second, and fourth albums

    • Girl-group numbers “Chains” and “Baby It’s You”
    • Motown songs: “You Really Got a Hold on Me,” “Please Mr. Postman,” and “Money”
    • Even a movie theme “A Taste of Honey”
vi brian epstein met the band at the cavern club in liverpool
vi. Brian epstein met the band at the cavern club in liverpool
  • The Beatles began performing regularly at the Cavern Club in Liverpool
    • Their musicianship was in top form and they quickly established a reputation as a great band
    • They had almost 300 performances at the Cavern through 1962
    • They developed a huge following there
      • Many performances were lunch shows
      • There was a general atmosphere of fun, casual attitudes, and sometimes silliness
slide23

During a return trip to Hamburg in early 1961, they recorded a single with Tony Sheridan

    • They were backing musicians for Sheridan on his version of “My Bonnie Lies over the Ocean”
      • The record became a hit in Germany; It also was being requested in record stores in England
      • Record store manager Brian Epstein became curious and went to see them at the Cavern Club
    • Epstein offered to manage them in November of 1961
      • Cleaned up their appearance
      • Had them wear tailored matching suits
      • He worked at finding them better places to play for more money
slide24

Epstein arranged a recording audition with Decca in their London studios on January 1, 1962

    • Decca executive Dock Rowe passed on signing them, but they were allowed to keep the demo tape
    • Epstein took that tape to other labels to try to secure a recording contract
  • In June of 1962 an audition was arranged with George Martin at EMI’s Parlophone records
  • Martin agreed to sign the band and set the first recording session for September on one condition
    • Martin didn’t like Pete Best’s playing and told them they needed a better drummer
    • Ringo Starr was invited to join the band and he accepted in August
slide25

The first record released was an original song by Lennon and McCartney

    • “Love Me Do” rose to #17 of UK charts in 1962
    • The Beatles were the first Liverpool band to get a major record deal and have a chart hit
  • Other northern groups began to go to London to seek record deals
    • Bands from Liverpool, Manchester, and Birmingham were called “Mersey Beat” groups
    • Martin had the Beatles record Mitch Murray’s song “How Do You Do It” for the single release
    • Lennon and McCartney wanted only their own originals released as singles
    • Epstein was managing another Liverpool group, and they released it
    • The Gerry and the Pacemakers version of “How Do You Do It” hit #1 in the UK in 1963
slide26

Prior to the Beatles’ success, northern groups had had no success breaking into the British record business

    • They were too far from London where all the record companies were
    • The irony is that those groups had better access to American records coming into the seaports there
    • Rhythm and blues records and country and western were easier to find in the northern seaports
    • This is a possible reason northern groups had more of a conglomerated style than London groups
vii beatlemania in england in 1963
vii. Beatlemania in england in 1963
  • The British press coined the term to describe the excitement generated by the band’s live performances in 1963
    • Beatles records were consistently topping the British charts
      • “Please Please Me”, “From Me to You”, “She Loves You”
      • Their first album: Please Please Me; second album: With the Beatles (both in 1963)
    • The big break was performing on the Sunday Night at the London Palladium TV show
      • The top rated TV show in England—British version to America’s Ed Sullivan Show
      • Millions of British viewers saw it.
slide28

In early November they appeared on the Royal Variety Performance TV show attended by British royalty

  • Their 5th single, “I Want to Hold Your Hand” was released a week after their 2nd album in November 1963 and was #1 by December
    • This was definitely their 3rd consecutive #1 record
    • This is the song that would finally break them into the American pop market
slide29

No Beatlemania had occurred in America during 1963

    • Capitol records in the United States had become a subsidiary of EMI
    • They refused to release any of the first Beatles recordings
      • They assumed that the U.S. market wouldn’t buy Beatles records
      • The reason was that no other British artist had been successful in the United States
    • George Martin licensed the first four singles and first album to American independent labels
    • Beatlemania arrived in America in the beginning of 1964
      • In November of 1963 Brian Epstein booked the band on the Ed Sullivan show for February
      • Capitol agreed to release “I Want to Hold Your Hand” in the United States
viii american beatlemania
viii. American beatlemania
  • There were a number of entertainment business aspects that combined to help trigger Beatlemania in America
    • Capitol Records release of “I Want to Hold Your Hand” hit #1 in January
    • The band appeared on the Ed Sullivan Show immediately after that
    • Their U.S. debut album Meet the Beatles went #1 one week later and stayed there for three months
    • The U.S. release The Beatles’ Second album replaced Meet the Beatles as #1
    • The July 1964 release of their full-length feature movie A Hard Day’s Night
slide31

There was a flood of Beatles singles that were hits from that point forward

    • Thirty in the U.S. top 40
    • Twelve of those went to #1 including: “Can’t Buy Me Love” (1964), “A Hard Day’s Night” (1964), “Ticket to Ride” (1965), “Help!” (1965), and “Paperback Writer” (1966)
    • All subsequent Beatles albums would go to #1
      • Capitol released albums that contained different songs than the original UK releases
      • The Capitol releases also had different album titles
    • Fearing they would be a passing fad, the Beatles worked furiously to accomplish as much as possible by touring, recording, not allowing a break in the momentum, which resulted in the most hits ever recorded by a popular music artist or group
slide32

They had become “The Next Elvis”

      • Interesting to note that nobody now is looking for “The Next Elvis”
      • Rather, there is always the question of who will be “The Next Beatles”
  • “Can’t Buy Me Love” and “A Hard Day’s Night”- British pop
slide33

There was a negative swing in 1966

    • John Lennon remarked in a UK interview that religion was in a state of decline
      • He said this was evident when a Beatles concert could outdraw a church service
      • American journalists took his comments out of context by accusing Lennon of saying that the Beatles were bigger than Jesus
      • This triggered uproar in the south involving bonfires of Beatles products
      • The Beatles were threatened by the Ku Klux Klan
    • The 1966 world tour was such a negative experience that the band decided to stop touring
      • They were exhausted from the relentless pace they’d been on
      • The U.S. controversy was the last straw
      • They performed their last official concert to a ticketed audience on August 29, 1966 at San Francisco’s Candlestick Park
ix how the beatles developed from craftsmen into artists
ix. How the beatles developed from craftsmen into artists
  • They began by imitating American artists
    • They combined some stylistic elements of 1950s and early 1960s American pop
      • Chuck Berry-like chords in the low register
      • Hand claps from girl-group tunes of the early 1960s
      • Everly Brothers duet singing in the song’s bridge
      • Little Richard’s “oooh’s” are frequently quoted in their songs
      • They use a common American pop song form-AABA
slide35

They used the Brill Building and Tin Pan Alley “formula” approach to create their early songs

    • Preexisting formula is applied to the process of assembling a song
    • This is an example of how craftsmanship is used in the creative process
      • Creative problems are solved by applying a proven solution to get the desired result. While considerably less creative, this method generates greater numbers of product
      • The Beatles were under pressure to produce product quickly and efficiently in the beginning. Their inexperience forced them to use this approach in case their popularity faded quickly
slide36

As they grew into more accomplished musicians and songwriters they began using other techniques

    • Classical music composers never solve the same problem twice the same way
    • They continually explore new options that haven’t been tried so as to push the art form forward
    • The Beatles evolved toward this approach as they became more comfortable in the studio
    • In early 1966 they began bold new experiments in the production of Revolver: Use of studio effects, stylistic juxtapositions, new timbral elements, structural elements
slide37

This approach is exemplified in “Tomorrow Never Knows”

    • Simple verse form
    • Lyrics are from the Tibetan Book of the Dead—spiritual advice to those facing death
    • The adaptation of the text was from Timothy Leary’s book The Psychedelic Experience
    • Accompanying music is a static single harmonic drone
    • Additional sounds in the recording are made from tape loops
    • The song was mixed in real time, rendering a repeat of the mix impossible (also an art approach)
slide38

The band’s lyrics also indicate a move toward creating art rather than crafting a product

    • Early song lyrics are driven by Brill Building and Tin Pan Alley emphasis on innocent romantic themes
    • In 1965 lyrics move into new unexplored territory involving previously unexplored topics
      • Lennon’s “Help!” discusses loss of self-confidence that had accompanied youthful naivete
      • His “Norwegian Wood” discusses sexual frustration after a one-night stand
      • McCartney’s “Eleanor Rigby” focuses on existential alienation; a similar theme is present in his “She’s Leaving Home” on Sgt. Pepper’s Lonely Hearts Club Band
      • A profound influence on their lyrics is American folk music
      • The leader in that movement at the time was Bob Dylan, whom they’d met in 1964
slide39

The Sgt. Pepper album cover features printed lyrics to the songs

      • A first for commercial music
      • This idea became very common after Sgt. Pepper
  • The development of greater stylistic range
    • Dylan’s influence is apparent on Lennon’s “You’ve Got to Hide Your Love Away” from Help!
    • On the same album, a classical-style string quartet accompaniment is used on McCartney’s “Yesterday”
    • Harrison uses a sitar on Rubber Soul’s “Norwegian Wood”
slide40

Revolver covers a wide range of styles

    • “Tomorrow Never Knows” demonstrates startling technological techniques with profound lyrics
    • “Yellow Submarine” has the character of a children’s song
    • “Got to Get You Into My Life” introduces horn arrangments
  • These trends indicate the gradual approach to the highly eclectic concepts on Sgt. Pepper
  • The Beatles made use of their creative freedom in the studio to become the model for others to follow
    • They moved from being craftsmen to artists
    • Instilled a sense of seriousness and self-consciousness into rock musicians who followed their lead
x the rest of the british invade
x. The rest of the british invade
  • The Beatles opened the door for other British Invasion bands to follow them on to the U.S. charts
    • These bands had a few things in common that create the British Invasion term: Long hair, British accents, and band members sang and accompanied themselves on guitars and occasional keyboards
    • British Invasion bands were at first perceived to be an extension of recent teen idols—only foreign
    • Their impact was assumed to be short-lived
    • There was little concern over their stylistic derivation
slide42

The bands that arrived from England were met with great enthusiasm in America

    • The Rolling Stones were the next most significant British Invasion band
    • Presented the opposite image of the Beatles: Sensual, dangerous, and rude. They were the anti-Beatles
    • British Invasion bands ended up being categorized with respect to these two models
      • Beatles-type
      • Stones-type
    • Beatles-type bands were noticeably more in the pop style
      • Gerry and the Pacemakers
      • Dave Clark Five
slide43

Stones-type bands were more blues-oriented

      • Yardbirds
      • Animals
    • Some bands defied categorization
      • The Who
      • The Kinks
  • Beatle-type band characteristics
    • Several bands employed similar music concepts in their sound
      • Gerry and the Pacemakers had multiple hits in England, starting with “How Do You Do It”
      • Their one top 10 hit in America: “Don’t Let the Sun Catch You Crying”
      • London’s Dave Clark Five had 9 top 40 American hits in 1964
      • Liverpool’s Billy J. Kramer and the Dakotas had 4 singles in the top 40 in 1964
      • The Searchers had 5 Top 40 American hits in 1964
slide44

In 1965 a second wave of British Invasion Beatle-type bands arrived from Manchester

  • One of the most successful of these was Herman’s Hermits with 14 Top 40 hits through 1968 including: :I’m Into Something Good”, “Mrs. Brown You’ve Got a Lovely Daughter”, “I’m Henry the VIII, I Am”, “Listen People”, and “There’s a Kind of Hush.”
  • Freddy and the Dreamers used humor in their act by demonstrating a silly dance: “the Freddy”
  • The Hollies enjoyed a good deal of chart success
    • One member, Graham Nash, would later unite with future partners Steven Stills and David Crosby
    • Known for tight vocal harmony arrangements and precise playing
    • One of their biggest hits was “Bus Stop”
xi the british blues revival
xi. The british blues revival
  • The beginning of the blues side of the British Invasion were a type of undergound movement
    • Interest in blues was instigated by guitarist Alexis Korner and harmonica player Cyril Davies
    • Played blues between sets at performances of Chris Barber’s trad band
    • Barber owned a nightclub called the Marquee Club
    • Korner and Davies began hosting blues nights for other blues enthusiasts
    • Blues recordings were scarce in London and blues fans were careful to recreate the style faithfully
    • Several early blues revival musicians later rose to great prominence in rock and roll history: John Mayall, Stevie Winwood, Eric Clapton, Jack Bruce, and John McLaughlin
slide47

The Rolling Stones (early years)

    • The original membership: Mick Jagger, vocals; Keith Richards, guitar; Brian Jones, guitar; Bill Wyman, bass; Charlie Watts, drums; Ian Stewart, piano (though he didn’t stay with the group for very long)
    • They conveyed a more radical side of the British Invasion concept (Brash, Nonconformist, and rebellious)
    • Not influenced by softer American pop music styles as were the Beatles and other Beatle-type bands
      • The Rolling Stones drew from the 1950s Chicago electric blues tradition
      • Blues that featured slide guitar, harmonica, and vocal delivery styles similar to Muddy Waters
slide48

They were involved in the blues revival that was taking place in London in the early 1960s

    • Jones was originally the leader, forming the Stones in 1962 to cover American blues songs
    • Patterned after Korner and Davies’ group Blues Incorporated
    • They got a regular gig at the Crawdaddy Club in Richmond
      • Club manager, Giorgio Gomelsky, took up managing the Stones and helped build their following
      • After the group left for bigger things, they were succeeded by the Yardbirds
      • Gomelsky also managed them
  • The Rolling Stones were signed to Decca records at George Harrison’s suggestion
slide49

Andrew Loog Oldham and Eric Easton began managing the band in 1963

    • Oldham and Easton set up a lucrative deal that was inspired by Phil Spector
    • Decca had exclusive rights to Rolling Stones recordings, but the band retained ownership of the recordings
    • Oldham took on the role of producer, though he had no studio experience
    • He’d worked for Brian Epstein promoting other bands Epstein managed
  • In the beginning the Stones didn’t write their own material
    • They covered American rhythm and blues and rock and roll songs
    • They debuted with a cover version of Chuck Berry’s “Come On”
    • The next single: “I Wanna Be Your Man” by good friends Lennon and McCartney
    • Their third was a cover of Buddy Holly’s “Not Fade Away”
slide50

Oldham ordered Jagger and Richards to start writing their own songs like the Beatles were doing

    • Their first original to be a hit in the UK was “The Last Time”
    • Original material appeared gradually during the first few years
    • Their covers reveal their dedication to American rhythm and blues and country and western styles
    • One of their songs was a hit for Marianne Faithful: “As Tears Go By”
slide51

The Stones took longer to catch on in the United States

    • Their rebellious image wasn’t as well received as the cleaner image projected by the Beatles-type groups
    • Eventually their “trouble-maker” image began to be better received by teens in the U.S.
    • Their first #1 hit was “(I Can’t Get No) Satisfaction” in the summer of 1965
      • This reinforced their bad boy image with lyrics that seemed controversial
      • General topic is about disillusionment over the superficiality of daily life
      • Some claim the last verse refers to sexual frustration and masturbation
      • The song features a particularly “dirty” guitar sound produced by Richard on a fuzz tone device
slide52

A string of hits followed: “Get Off My Cloud” , “As Tears Go By”, “19th Nervous Breakdown”, and “Paint It, Black”

  • Rolling Stones stylistic derivations and influences
    • They were capable of genuine dedication to blues when they covered those songs
    • They tended to avoid strict 12-bar blues approaches to their own material
    • They would use the same overall form as found in 1950s writers’ styles like Berry and Holly
    • They avoided Brill Building AABA forms that the Beatles did frequently use
slide53

“(I Can’t Get No) Satisfaction” by The Rolling Stones

  • Genre: British Blues
  • “Paint It, Black” by The Rolling Stones
  • Genre: British Blues
xii other important british blues revival groups
xii. Other important british blues revival groups
  • The Yardbirds
    • Replaced the Rolling Stones at the Crawdaddy Club when they left
    • Even more dedicated to the blues than the Stones: Keith Relf on vocals, Paul Samwell-Smith on bass, Jim McCarty on drums, Chris Dreja and Tony Topham on guitar
      • Topham was replaced by lead guitarist Eric Clapton
      • Clapton was replaced by Jeff Beck, who was subsequently replaced by Jimmy Page
    • They developed long, improvisatory sections at the end of songs displaying members’ virtuousity
slide55

These can be seen as a model for styles that appear later that focus on improvisation

  • Exemplified by their recording of Howlin’ Wolf’s “Smokestack Lightening” in 1964
  • Little chart success until they recorded Graham Gouldman’s “For Your Love”
    • Studion musicians were used on the verses, as was a common practice on pop records
    • The entire band only played in the middle bridge section
    • Clapton disapproved of this pop music approach and quit the band
    • He was replaced by Jeff Beck
    • Manager Gomelsky was producing their recordings at this time
slide57

Beck’s more experimental style contributed to the success of “Heart Full of Soul”

  • The band recorded two songs at Chicago’s Chess Records in 1966
    • Their first original single, “Shapes of Things”
    • A cover of Bo Diddley’s “I’m a Man”
  • The band’s last hit single was “Over, Under, Sideways, Down”
    • Produced by Simon Napier-Bell and bassist Samwell-Smith
    • Samwell-Smith left to work on producing bands
    • He was replaced by Jimmy Page on bass
    • For a short while, both Page and Beck were in the band at the same time
    • Page and guitarist Dreja switched roles and Page became the other guitarist with Beck in 1966
slide58

Beck quit and Page continued on with the band until they disbanded in 1968

      • Page formed a new band, the New Yardbirds, to finish out the Yardbirds’ commitments
      • He changed the name of this new group to Led Zeppelin
  • The Animals came from Newcastle in North England
    • Their early background
      • Preceded the Rolling Stones and Yardbirds with hits in the UK and United States
      • Lead singer Eric Burton and known for their wild stage presence
      • Played in Hamburg’s Star Club
      • Moved to London in 1964
slide59

Important break came with a chance to play on a Chuck Berry tour in the UK

    • They played “House of the Rising Sun,” a slow folk-blues number
    • It was a contrast to all the other rock and roll songs on the tour
    • They recorded the song and it was a hit in the UK and the United States
  • They had a string of hits produced by Herman’s Hermits producer Mickey Most: “Don’t Let Me Be Misunderstood”, “We’ve Gotta Get Out of This Place”, “It’s My Life”
  • They had more hits with new producer Tom Wilson: “Inside Looking Out”, “Don’t Bring Me Down”
slide61

The original band disbanded and Burton continued as Eric Burton and the Animals

    • Bassist Chas Chandler discovered and managed Jimi Hendrix
  • Other musicians in the blues scene eventually rose to great notoriety
    • Georgie Fame and the Blue Flames
    • The Graham Bond Organization
    • Police guitarist Andy Summers was a member of Zoot Money’s Big Roll Band
    • Singer-organist Stevie Winwood (Spencer Davis Group) was known as the best British blues vocalist: “Keep On Runnin’”, was a hit in the UK, “Somebody Help Me”, also a UK hit, “Gimme Some Lovin’”, and “I’m a Man”
slide62

The Kinks and the Who had ties to both general categories

    • Like the Beatles, both groups had strong songwriting members
      • The Kinks had Ray Davies
      • The Who had Pete Townsend
    • Like the Stones, both groups used raw power and rhythmic drive
    • The Kinks were formed in 1963: Brothers Ray and Dave Davies on guitar and vocal, Peter Quaife on bass, Mick Avory on drums
    • The band had a string of hits from 1964-1966: “You Really Got Me” was covered by Van Halen in 1978, “All Day and All of the Night”, “Tired of Waiting for You”, “Till the End of the Day”, “A Well-Respected Man” focused on clever social critique in step with the Beatles trends, and “Dedicated Follower of Fashion” also clever lyrics with social critique
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The Who

    • Formed in 1962, they didn’t rise into prominence until the late 1960s
      • They built their act around captivating stage performance
      • Songs were written by Townshend
      • Singer Roger Daltry fronted the band
      • John Entwistle provided ambitious bass lines
      • Drummer Keith Moon was known for his wild drumming style
    • They had several UK hits during the early 1960s before breaking through in the United States: “I Can’t Explain”, “Anyway, Anyhow, Anywhere”, “My Generation” with famous stuttering “G-Generation” in the lyric, “Substitute”, “I’m a Boy”
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In 1967 they had their first substantial U.S. hit with “I Can See for Miles”, charting at #9

  • The Who focused attention on two London youth culture factions: the Mods and the Rockers
  • The Mod subculture
    • Mods dressed meticulously and listened to rhythm and blues and Motown music
    • Rode Vespa motor scooters often embellished with too many rear-view mirrors
    • Used amphetamines to stay out all night partying and dancing
    • Frequented clubs where the Who played regularly
  • The Rockers emulated Marlon Brando’s motorcycle gang leader character in The Wild One film
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Wore leather clothes

      • Rode motorcycles
      • Often engaged in brawls with the Mods
    • The Who released a concept album in 1973 about the riots that broke out in Brighton Beach in 1964
      • The album was titled Quadrophenia
      • In 1979 they produced a film version of the album’s story line
  • “My Generation” by The Who
  • Genre: British Rock
xiii the impact of the beatles and british invasion bands that followed
xiii. The impact of the beatles and british invasion bands that followed
  • The Beatles ushered in a new era in the UK focused on British musicians and songwriters
  • British youth had only been interested in American music and performance stylists during the 1950s
  • The Beatles’ success in America allowed British bands to gain acceptance and credibility there
    • Initial focus in America was on superficial elements of appearance and culture
    • The fact that two distinct styles arrived concurrently generated a broader audience
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The American music industry was unexpectedly shaken out of its control of the music business

    • Phil Spector learned his craft from Leiber and Stoller
    • The “Wall of Sound” concept was already developed and in use for earlier songs
      • There was a clear incentive to regain the record sales lost to English record labels
      • American musicians drew inspiration from British Invasion bands and began forming their own styles