Black Music in the ’70s:

Last Days of Motown Motown dominance of charts wanes after 1971Motown dominance of charts wanes after 1971 –More diverse musical tastes? –Other options in black music? –Less control of artistic product? No single “Motown sound”No single “Motown sound” Biggest hit makers those who defy or expand “sound of young America”Biggest hit makers those who defy or expand “sound of young America”

Jackson 5 Started as Motown artists in early ’70sStarted as Motown artists in early ’70s Early hits adhere to the “formula”Early hits adhere to the “formula” –Ex. ABC Theme: school and pre-pubescent loveTheme: school and pre-pubescent love Infectious hookInfectious hook Simple bass riffSimple bass riff Light Latin flavorLight Latin flavor

Jackson 5 - ABC Contrary to “formula”Contrary to “formula” –Aggressive rock style beat –Active, highly syncopated 16-beat rhythmic layer –Gospel and soul influence on vocal style –Tendency to accent all four beats evenly

Stevie Wonder (1950- ) Began performing professionally at age 10Began performing professionally at age 10 Signed by Berry Gordy at age 12; billed as “Little Stevie Wonder”Signed by Berry Gordy at age 12; billed as “Little Stevie Wonder” Rebels against Motown formula when contract re-negotiated in 1971Rebels against Motown formula when contract re-negotiated in 1971 –Gains control over own musical style

Stevie Wonder - Style Great melodic writerGreat melodic writer Thick, polyrhythmic texturesThick, polyrhythmic textures –On early albums, Wonder plays all instruments –Overdubbing creates master recording –Extensive use of synthesizer Long, syncopated riffs as foundationLong, syncopated riffs as foundation Latin, reggae, and jazz rhythms prominentLatin, reggae, and jazz rhythms prominent

Superstition Demonstrates new style evident on 1972 album Talking BookDemonstrates new style evident on 1972 album Talking Book Wicked grooveWicked groove Sixteen-beat rhythmsSixteen-beat rhythms Strongly accented backbeatsStrongly accented backbeats

Superstition Each 16-bar verse divided into 2 partsEach 16-bar verse divided into 2 parts –First half: Drums, bass, guitar, synthesizer –Second half: Horn line added; jazz flavor –Locally end-weighted Verses harmonically static – built on pentatonic scaleVerses harmonically static – built on pentatonic scale Bridge harmonically activeBridge harmonically active Leads to hook (acting as refrain)Leads to hook (acting as refrain)

Gospel/Soul Fusion of soul, gospel, and popFusion of soul, gospel, and pop Personified in Al GreenPersonified in Al Green –“Voice of soul in the ‘70s –Started as gospel singer –Retains gospel traits in secular, romantic songs

Al Green - Style Vocal style from gospelVocal style from gospel –Melismas –Falsetto shouts, moans, stutters - variety of vocal techniques –Huge range of tone colors –Wide range Vocal virtuosity replaces rhythmic drive, lyric messageVocal virtuosity replaces rhythmic drive, lyric message

Tired of Being Alone Affinity with Motown soundAffinity with Motown sound Ties to Stax Soul?Ties to Stax Soul? New influences?New influences?

Tired of Being Alone Affinity with Motown soundAffinity with Motown sound Ties to Stax SoulTies to Stax Soul –Horn punctuation –Accent on backbeat New influencesNew influences –Four part backing harmonies –Almost no studio production

Philadelphia Sound Regional style of soulRegional style of soul Philadelphia International Records (PIR) founded in early ‘70s by Kenny Gamble and Leon HuffPhiladelphia International Records (PIR) founded in early ‘70s by Kenny Gamble and Leon Huff Closely associated with Philadelphia dance sceneClosely associated with Philadelphia dance scene

Philadelphia Sound Highly produced – thick textures with extensive overdubbingHighly produced – thick textures with extensive overdubbing –Strings –Vibraphone –Horns –Latin percussion BUT lighter sound than the “Wall”BUT lighter sound than the “Wall” –Guitars, synths fed directly into board –Relatively little reverb or echo

PIR Tight studio band - MFSBTight studio band - MFSB –Mother, Father, Sister, Brother –Generally maintain riffs Riff-drivenRiff-driven Hard, rock-style timekeepingHard, rock-style timekeeping

O’Jays Temptations-like soundTemptations-like sound –More jazz influenced rhythms –Stylistically influenced by Stax soul Dense texturesDense textures Gospel influence evidentGospel influence evident Ex. Back Stabbers (1972)Ex. Back Stabbers (1972)

Parliament and Funkadelic Premiere funk bands of 70s, led by George ClintonPremiere funk bands of 70s, led by George Clinton Funk characteristics, ala Sly and the Family StoneFunk characteristics, ala Sly and the Family Stone Hendrix-like guitar distortionHendrix-like guitar distortion Conversational lyrics indirectly addressing political and social themesConversational lyrics indirectly addressing political and social themes –Often with satire, parody –Similar to Frank Zappa Outer space characters, songs (Parliament) or horror movie themes (Funkadelic)Outer space characters, songs (Parliament) or horror movie themes (Funkadelic)

Parliament and Funkadelic - Stylistic influences Fusion of hard rock, R&B songwriting and harmonies, James BrownFusion of hard rock, R&B songwriting and harmonies, James Brown Motown roots evidentMotown roots evident –Glimpses of doo-wop, Brill Building sounds Also influence from art rockAlso influence from art rock –Mixed meters –Sophisticated jazz rhythms –Shifting patterns of accents

Parliament and Funkadelic - Style Wider palate of tone colors than Sly and the Family StoneWider palate of tone colors than Sly and the Family Stone Denser texturesDenser textures Preference for rock style beatPreference for rock style beat Ex. Up for the Down StrokeEx. Up for the Down Stroke