Lesson #13 PAPA’S GOT A BRAND NEW BAG

“PAPA’S GOT A BRAND NEW BAG”: 

“PAPA’S GOT A BRAND NEW BAG” COUNTRY, SOUL, URBAN FOLK, AND THE RISE OF ROCK, 1960s Lesson # 13

Country and Western and R&B Crossovers: 

Country and Western and R&B Crossovers Much of the popular R&B (Black misic ) and country music did not cross over into the mainstream pop market during the late 1950s and 1960s. Artists and records that appealed to select or regional audiences were much less likely to find their way onto the pop charts than those that managed to cut across such distinctions.

Nashville Sound: 

Nashville Sound During the 1960s, country musicians opted for a new, sophisticated approach to the vocal presentation and instrumental arrangement of country music. This approach came to be known as “ countrypolitan ” — a fusion of “country” and Blues” Nashville was at the center of this development, and the style was also often called the “Nashville sound.”

Patsy Cline (1932–63) : 

Patsy Cline (1932–63)

Patsy Cline and the Nashville Sound: 

Patsy Cline and the Nashville Sound Patsy Cline (1932–63) Began her career as a hit maker in 1957 with her recording of “ Walkin ’ after Midnight,” which was successful on both the country and pop charts In 1961, she had two big crossover hits, “I Fall to Pieces” and “Crazy ” She grew up listening to BLACK FEMALE SINGERS.

Listening: “Crazy”: 

Listening: “Crazy” Patsy Cline’s songs reflected a particular sensibility: Ballads of broad appeal—not “teen” records Her vocal style, while sophisticated, still retained hints of BLACK bluesy inflections. Crooning backup vocals sounded like SOUL music. High-register piano sounded like honky-tonk BLUES music. She was a significant presence in pop and country until her premature death in a plane crash in 1963.

Ray Charles: 

Ray Charles

Ray Charles and Soul Music: 

Ray Charles and Soul Music The term “rhythm & blues” disappeared from pop music vocabulary during the early 1960s and was replaced by the term “soul.” Soul music became the symbol of the black community’s effort to achieve cultural definition during the 1960s. Stylistically, soul music combined gospel singing, CHURCH MUSIC rock ’n’ roll rhythm & blues.

Ray Charles (born Ray Charles Robinson, 1930–2004): 

Ray Charles (born Ray Charles Robinson, 1930–2004) Born in Albany, Georgia Blind from age six He originally got into music in Seattle during the 1940s, leading a jazz trio in the clubs on Jackson Street. The sound of his trio was based on the sound of the Nat King Cole trio. He signed with Atlantic Records and scored several R&B hits in 1954.

Ray Charles: 

Ray Charles Charles’s recordings stood out from other R&B hits Played the piano with unmatched brilliance Used the best available studio musicians to accompany him Demanded the best out of everyone involved in his recordings; the consummate professional, a perfectionist

Ray Charles: 

Ray Charles A constant presence on the R&B charts during the 1950s, but major crossover success eluded him until 1959 “What’d I Say” (Number Six pop, Number One R&B, 1959) “Georgia on My Mind” His first Number One pop hit A version of an old Tin Pan Alley standard Number Three on the R&B charts Charles recorded an album of soul interpretations of country songs in 1962, Modern Sounds in Country and Western Music. A major star till his death in 2004

The “Genius of Soul”: 

The “Genius of Soul” Charles was a fine songwriter, having written R&B classics like “I’ve Got a Woman” and “Hallelujah I Love Her So.” Highly skilled arranger Exceptionally fine keyboard player, fluent in jazz as well as mainstream pop Outstanding vocalist ; He is now widely acknowledged as the first important soul artist. His work had an incalculable influence on James Brown, Aretha Franklin, Curtis Mayfield, Otis Redding, Sly Stone, and innumerable others.

James Brown: 

James Brown

James Brown: 

James Brown

James Brown (May 3, 1933 – December 25, 2006) : 

James Brown (May 3, 1933 – December 25, 2006) He has been referred to as " The Godfather of Soul ," " Mr. Dynamite ," " Soul Brother Number One " and " The Hardest Working Man in Show Business .“ No other single musician influenced the sound and style of black music like James Brown. Rough, unrestrained vocals; relentless rhythms; active, open textures

James Brown: 

James Brown His first record, “Please, Please, Please” (Number Five R&B, 1956), which Brown wrote himself, is indicative of his style: Although the song is in the form of a strophic 1950s R&B ballad, Brown’s vocals cling obsessively to repetitions of individual words (e.g., “please,” or even a simple “I”). Sometimes, the activity of an entire strophe centers on the syncopated, violently accented reiterations of a single syllable.

PowerPoint Presentation: 

“James Brown sound” Riffs in brass Syncopation Percussive style of playing guitar, bass, and brass Call and response Twelve-bar blues form broken up with an eight-bar bridge Complex interlocking polyrhythms

Aretha Franklin: 

Aretha Franklin

Aretha Franklin (b. 1942): 

Aretha Franklin (b. 1942) Beginning in 1967, Franklin produced an extraordinary and virtually uninterrupted stream of hit records over five years. Included 23 million-sellers and 28 Top 10 pop hits Overwhelming power and intensity of vocal delivery Wrote or co-wrote a significant portion of her repertoire Powerful keyboard player Franklin not only symbolized female empowerment in the sound of her records but also actualized empowerment in the process of making them as a producer.

Aretha Franklin: 

Aretha Franklin The “Queen of Soul” Daughter of 1950s evangelist and singer Reverend C. L. Franklin Sang in her father’s gospel church choir Discovered by John Hammond

Atlantic Records: 

Atlantic Records Signed by Atlantic Records Atlantic producers Ahmet Ertegun and Jerry Wexler encouraged her to record strong material well suited to her particular voice. Ertegun and Wexler teamed her with the Stax /Volt production team and musicians to record gospel-laced soul music.

Listening: “Respect” : 

Listening: “Respect” Composed by Otis Redding Cover of a 1965 hit by Otis Redding Number One pop and Number One R&B in 1967 builds effectively to the crucial word “respect,” at which point the backing group joins in call and response with Franklin.