1. 1964– 1966 The Beatles and the British Invasion chapter 4

2. British pop between 1964 and 1966  American business taken by surprise in early 1964 by the Beatles  An American fad for British music ensued  Two important strains of the story Chronicle of British pop Influence of British pop on American pop

3. British pop from WWII to 1963 Prior to 1964 British music was considered inferior in America In contrast, American Culture was interesting to Britons –Result of American involvement in WWII British labels licensed music from American independents –Facilitated the spread of American black pop

4. British pop from WWII to 1963 History of British interest in American music includes folk and jazz –“Trad” jazz –Skiffle –Cliff Richard, early rock

5. Lonnie Donegan

6. The Beatles, 1960-1962 Early years –Formed out of the skiffle-based Quarrymen –Among the first generation of musicians who listened to rock as youth –Began performing live actively in 1960

7. The Beatles, 1960-1962 Hamburg –Played six and seven hour evenings –Refined performing skills and repertoire

8. Beatles at the Cavern Club, 1961

9. The Beatles, 1960-1962 Liverpool –Played at the Cavern nearly 300 times through 1962 –Met future manager Brian Epstein in 1961 –Secured Parlophone recording contract in 1962 –First single (“Love Me Do”) goes to 17 on British charts

10. Beatles at the Cavern Club, 1963

11. The Beatles, 1960-1962 Influences –Beatles learned from cover songs performed in early period –Songs performed at Star Club and BBC, 1962-1965 American pop dominates Elvis, Chuck Berry, Little Richard, Carl Perkins, Lieber and Stoller, Spector, Motown

12. The Beatles 1963-1966 Success in England in 1963 –Two high-profile television performances –Four consecutive hits –Led wave of British-based hits in England

13. Beatles on the Ed Sullivan Show

14. The Beatles 1963-1966 Success in America in 1964 –Performed on Ed Sullivan in February –30 Top Ten pop hits between 1964 and 1966 –All studio albums went to number 1 in both UK and U.S. –Feature films Hard Day’s Night (1964) Help! (1965) –Controversy over “bigger than Jesus” remark in 1966 –Final public concert in San Francisco, August 1966

15. The Beatles 1963-1966 Musical development, 1964-1966 –Imitated and extended American models in early music –Used songwriting techniques from Brill Building, 1963-1964 Found variety in solving compositional “problems” “I Want To Hold Your Hand” –Moved from craft to artistic approach, 1964-1966 Experimented with studio effects, stylistic juxtapositions, and timbre, and structure “Tomorrow Never Knows”

16. The Beatles 1963-1966 –Importance of lyrics Teenage love in early years Unconventional in later music –Self-confidence –Sexual frustration –Alienation –Stylistic range Widens in 1965 with “Help!” Novel instrumentation Stylistic eclecticism

17. The British Invasion Beatles led the surge of British music in the United States in 1964 –Groups were British, played guitars, and had long hair Broad stylistic range Had many hits on the U.S. charts between 1964 and 1966 –Two strains modeled after Beatles and Stones

18. The British Invasion (Beatles-type) –Charming, cute, friendly –First wave, 1964 Gerry and the Pacemakers Dave Clark Five Billy J. Kramer and the Dakotas Searchers

19. Gerry and the Pacemakers

20. The British Invasion (Beatles-type) –Second wave, 1965 Herman’s Hermits Freddy and the Dreamers Hollies

21. The British Blues Revival (Stones-Type) Bad boys, in contrast to the Beatles-type image Followed the lead of the Rolling Stones Drew on tradition of Chicago electric blues from 1950s Spawned a wave of enthusiasm for collecting and performing American blues

22. Rolling Stones, Zurich, 1967

23. The British Blues Revival (Stones-Type) Rolling Stones, 1962-1966 –Formed by guitarist Brian Jones as a blues band –Managed by Andrew Loog Oldham and Eric Easton, 1963 –Started move toward pop in 1963 –Early recordings Covered songs by American artists “I Wanna Be Your Man” by Lennon and McCartney Jagger and Richards achieve success as songwriters in 1964 –Did not achieve widespread success in America until 1965 –Preferred contrasting verse-chorus rather than AABA

24. The British Blues Revival (Stones-Type) Yardbirds –Guitarists included Eric Clapton, Jeff Beck, and Jimmy Page –Used studio musicians on early records –Recorded in Chicago at Chess

25. Yardbirds

26. The British Blues Revival (Stones-Type) Animals –Reputation from wild stage act –“House of the Rising Sun” (1964) –Bassist Chas Chandler became manager for Jimi Hendrix in 1966 Spencer Davis Group

27. Animals (Eric Burdon)

28. The British Blues Revival Other British groups did not fit into Beatles/Stones categories –Kinks Formed in 1963 Aggressive pop approach –“You Really Got Me” (1964) Mirrored the Beatles move into artistic songwriting, 1965

29. The Kinks

30. The British Blues Revival –Who Not influential until the late 1960s Never made the U.S. Top 40 during the mid-1960s Representative of the Mod subculture in London

31. The Who, 1967

32. Transformation of American Popular Music Rise of the Beatles transformed popular music –Opened doors for British acts within the UK –Opened new opportunities for British acts outside the UK British Invasion established a cross fertilization between U.S. and UK