1. Have a Nice Day Rock in the 1970s

2. Rhythm in late ‘60s-early ‘70s PolyrhythmicPolyrhythmic Sixteen-beat style beatSixteen-beat style beat Syncopated bass lines, guitar riffsSyncopated bass lines, guitar riffs Percussiveness emphasized through various techniquesPercussiveness emphasized through various techniques –Choked guitar sound - removes pitch –“Slapped” bass –Short vocal phrases

3. Last Days of Motown Motown dominance of charts wanes after 1971Motown dominance of charts wanes after 1971 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”

4. Stevie Wonder (1950- ) 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

5. Stevie Wonder - Style Dense, polyrhythmic texturesDense, polyrhythmic textures –On early albums, Wonder plays all instruments –Extensive use of synthesizer Long, syncopated riffs as foundationLong, syncopated riffs as foundation Latin, reggae, and jazz rhythms prominentLatin, reggae, and jazz rhythms prominent

6. Superstition Sixteen-beat style beatSixteen-beat style beat Strongly accented backbeatsStrongly accented backbeats 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 (serves as refrain)Leads to hook (serves as refrain)

7. 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 Melismas, range of tone colors, techniquesMelismas, range of tone colors, techniques Vocal virtuosity replaces rhythmic drive, lyric messageVocal virtuosity replaces rhythmic drive, lyric message Ex. Tired of Being AloneEx. Tired of Being Alone

8. Philadelphia 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

9. Philadelphia Sound Heavily produced – thick, “Wall of sound” texturesHeavily produced – thick, “Wall of sound” textures Tight studio band - MFSBTight studio band - MFSB –Mother, Father, Sister, Brother Riff-drivenRiff-driven Hard, rock-style timekeeping with 16 beat style beatHard, rock-style timekeeping with 16 beat style beat Ex. The O'Jays, Back StabbersEx. The O'Jays, Back Stabbers

10. FUNK Fusion of soul, acid rock, and James BrownFusion of soul, acid rock, and James Brown Riff-driven polyrhythmic structureRiff-driven polyrhythmic structure –Over minimal harmonies or pentatonic scale Backbeat avoided in favor of accenting each beat of barBackbeat avoided in favor of accenting each beat of bar –“Flat four” beat –Key defining characteristic of funk Ex. Sly and the Family Stone, “Thank You (Falletinme Be Mice Elf Again)”Ex. Sly and the Family Stone, “Thank You (Falletinme Be Mice Elf Again)”

11. Thank You (Falettinme Be Mice Elf Again) Primarily 8 bar sectionsPrimarily 8 bar sections –Some have lyrics on each repetition –Others serve as refrain (“Thank you, falettin me…”) Polyrhythms; separate patterns ofPolyrhythms; separate patterns of –Guitar –Bass –Various percussion Great deal of rhythmic layeringGreat deal of rhythmic layering

12. Parliament and Funkadelic Premiere funk bands of 70s, led by George ClintonPremiere funk bands of 70s, led by George Clinton 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 Thick, polyrhythmic texturesThick, polyrhythmic textures Ex. Up for the Down StrokeEx. Up for the Down Stroke

13. Mainstream Rock Less spontaneity, more focus on finding mainstream audienceLess spontaneity, more focus on finding mainstream audience Multi-Platinum hits of the mid 1970sMulti-Platinum hits of the mid 1970s –Platinum record – 1 million copies sold –Peter Frampton - Frampton Comes Alive –Fleetwood Mac – Rumors Reveal the amount of money that could be made from rock musicReveal the amount of money that could be made from rock music

14. Pop Rock Most glam rockMost glam rock Some singer/songwritersSome singer/songwriters –Paul Simon –Billy Joel Groups and artists that might be classified as pop or rockGroups and artists that might be classified as pop or rock –Elton John –Wings –Rod Stewart –Fleetwood Mac

15. Elton John – Tiny Dancer Lyric dominatesLyric dominates Verse-transition-refrainVerse-transition-refrain –2 part verse, each AABA End weighting through gradual addition of instruments, new tone colorsEnd weighting through gradual addition of instruments, new tone colors Subtle sixteen-beat rhythmic foundationSubtle sixteen-beat rhythmic foundation

16. Jazz-Rock Fusion Rock bands influenced by jazz rhythmic and harmonic sophisticationRock bands influenced by jazz rhythmic and harmonic sophistication Often jazz players in groupOften jazz players in group Exs.Exs. Blood, Sweat, and TearsBlood, Sweat, and Tears ChicagoChicago Steely DanSteely Dan Ex. Blood, Sweat, and Tears, Spinning WheelEx. Blood, Sweat, and Tears, Spinning Wheel

17. Spinning Wheel - Form Short intro - crescendo (increase in volume), horns play one measure of 16-beat style beat A: “What goes up…” A: “You got no money…” B: Extensive contrasting section/short bridge A: “Someone is waiting…” A: 1/2 verse as bridge (piano solo) C: solo section: Improvisation on melody by trumpet, 2x through changes, plus extension 2x through changes, plus extension A: “Someone’s waiting…” D (outro)? Mixed meter stop time, alternating with calliope-like improvisation

18. “Blue-eyed soul” White groups influenced by gospel and soulWhite groups influenced by gospel and soul –Doobie Brothers –Dr. John Ex. Doobie Brothers, Takin' it To the StreetsEx. Doobie Brothers, Takin' it To the Streets

19. “Blue-Eyed Soul” Takin’ it to the StreetsTakin’ it to the Streets –Soulful vocal style delivery –Active bass line, ala Stax Soul –Hammond organ –Backing vocals added in refrain –Extensive syncopation