Listen to Classic Rock! Exploring a Musical Genre 1440865787, 9781440865787

Table of contents :
Cover
Title Page
Copyright
Contents
Series Foreword
Preface
Chapter 1. Background
Classic-Rock Subgenres
Chord Progressions
Chapter 2. Must-Hear Music
AC/DC
Aerosmith
The Beatles
The Beatles: “A Day in the Life”
The Beatles: Revolver
Chuck Berry
Blood, Sweat & Tears: Blood, Sweat & Tears
David Bowie: “Space Oddity” and Harry Chapin: “Taxi”
Eric Burdon and War
The Byrds: Fifth Dimension and Jefferson Airplane: Surrealistic Pillow
Chicago and Earth, Wind & Fire
Cream
Creedence Clearwater Revival
Jim Croce
Crosby, Stills, Nash & Young, and America
The Doors
The Doors: “Riders on the Storm” and Eagles: “Hotel California”
Bob Dylan
Eagles
Fleetwood Mac: Rumours and Tusk
Genesis (Classic Lineup)
The Jimi Hendrix Experience
The Hollies
Joan Jett & the Blackhearts: I Love Rock ’n’ Roll
Elton John: Goodbye Yellow Brick Road
Janis Joplin
Carole King and Paul Williams
Led Zeppelin and Heart
The Mamas and the Papas
John Mellencamp
Midnight Oil: Diesel and Dust
Joni Mitchell
The Monkees
Monterey Pop, Woodstock, and Related Studio Recordings
The Moody Blues
Tom Petty and the Heartbreakers
Pink Floyd: Dark Side of the Moon
Procol Harum: “A Whiter Shade of Pale” and The Moody Blues: “Legend of a Mind”
Queen
The Rolling Stones
Santana: Abraxas
Del Shannon: “Runaway” and Petula Clark: “Downtown”
Simon & Garfunkel: “America” and Marvin Gaye: “What’s Going On”
The Temptations and Sly and the Family Stone
Tina Turner and Aretha Franklin
U2: The Joshua Tree
The Ventures: Walk Don’t Run and The Ventures Play “Telstar” and the “Lonely Bull”
The Who
Neil Young: Harvest and Lynyrd Skynyrd: Second Helping
The Zombies: “The Time of the Season” and The Kinks: “Sunny Afternoon”
Chapter 3. Impact on Popular Culture
Chapter 4. Legacy
Bibliography
Index
About the Author

Citation preview

LISTEN TO CLASSIC ROCK!

Recent Titles in Exploring Musical Genres Listen to New Wave Rock! Exploring a Musical Genre James E. Perone Listen to Pop! Exploring a Musical Genre James E. Perone Listen to the Blues! Exploring a Musical Genre James E. Perone Listen to Rap! Exploring a Musical Genre Anthony J. Fonseca

LISTEN TO CLASSIC ROCK! Exploring a Musical Genre

MELISSA URSULA DAWN GOLDSMITH

Exploring Musical Genres James E. Perone, Series Editor

Copyright © 2020 by ABC-CLIO, LLC All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Names: Goldsmith, Melissa Ursula Dawn, author. Title: Listen to classic rock! : exploring a musical genre / Melissa Ursula   Dawn Goldsmith. Description: Santa Barbara, California : Greenwood, an imprint of ABC-CLIO,   2020. | Series: Exploring musical genres | Includes bibliographical   references and index. Identifiers: LCCN 2019030878 (print) | LCCN 2019030879 (ebook) | ISBN   9781440865787 (print) | ISBN 9781440865794 (ebook) Subjects: LCSH: Rock music—1961–1970—History and criticism. | Rock   music—1971–1980—History and criticism. Classification: LCC ML3534 .G63 2020 (print) | LCC ML3534 (ebook) | DDC  781.6609—dc23 LC record available at ­https://​­lccn​.­loc​.­gov​/­2019030878 LC ebook record available at ­https://​­lccn​.­loc​.­gov​/­2019030879 ISBN: 978-1-4408-6578-7 (print) 978-1-4408-6579-4 (ebook) 24 23 22 21 20   1 2 3 4 5 This book is also available as an eBook. Greenwood An Imprint of ABC-CLIO, LLC ABC-CLIO, LLC 147 Castilian Drive Santa Barbara, California 93117 ­www​.­abc​-­clio​.­com This book is printed on acid-free paper Manufactured in the United States of America

Contents

Series Foreword

ix

Preface xiii 1 Background Classic-Rock Subgenres Chord Progressions 2 Must-Hear Music

1 4 11 17

AC/DC 17 Aerosmith 22 The Beatles

27

The Beatles: “A Day in the Life”

33

The Beatles: Revolver 37 Chuck Berry

43

Blood, Sweat & Tears: Blood, Sweat & Tears 48 David Bowie: “Space Oddity” and Harry Chapin: “Taxi”

54

Eric Burdon and War

58

The Byrds: Fifth Dimension and Jefferson Airplane: Surrealistic Pillow 62 Chicago and Earth, Wind & Fire

66

vi Contents

Cream 72 Creedence Clearwater Revival

75

Jim Croce

80

Crosby, Stills, Nash & Young, and America

84

The Doors

91

The Doors: “Riders on the Storm” and Eagles: “Hotel California”

95

Bob Dylan

100

Eagles 104 Fleetwood Mac: Rumours and Tusk 110 Genesis (Classic Lineup)

116

The Jimi Hendrix Experience

120

The Hollies

123

Joan Jett & the Blackhearts: I Love Rock ’n’ Roll 127 Elton John: Goodbye Yellow Brick Road 131 Janis Joplin

135

Carole King and Paul Williams

139

Led Zeppelin and Heart

144

The Mamas and the Papas

149

John Mellencamp

153

Midnight Oil: Diesel and Dust 157 Joni Mitchell

160

The Monkees

164

Monterey Pop, Woodstock, and Related Studio Recordings

169

The Moody Blues

172

Tom Petty and the Heartbreakers

175

Pink Floyd: Dark Side of the Moon 181

Contents  vii

Procol Harum: “A Whiter Shade of Pale” and The Moody Blues: “Legend of a Mind”

186

Queen 192 The Rolling Stones

198

Santana: Abraxas 202 Del Shannon: “Runaway” and Petula Clark: “Downtown”

206

Simon & Garfunkel: “America” and Marvin Gaye: “What’s Going On”

210

The Temptations and Sly and the Family Stone

216

Tina Turner and Aretha Franklin

222

U2: The Joshua Tree 229 The Ventures: Walk Don’t Run and The Ventures Play “Telstar” and the “Lonely Bull” 233 The Who

240

Neil Young: Harvest and Lynyrd Skynyrd: Second Helping 247 The Zombies: “The Time of the Season” and The Kinks: “Sunny Afternoon”

252

3 Impact on Popular Culture

257

4 Legacy

273

Bibliography 283 Index 295

Series Foreword

A

sk some music fans, and they will tell you that genre labels are rubbish and that imposing them on artists and pieces of music diminish the diversity of the work of performers, songwriters, instrumental composers, and so on. Still, in the record stores of old, in descriptions of radio-station formats (on-air and Internet), and at various streaming audio and download sites today, we have seen and continue to see music categorized by genre. Some genre boundaries are at least somewhat artificial, and it is true that some artists and some pieces of music transcend boundaries. But categorizing music by genre is a convenient way of keeping track of the thousands upon thousands of musical works available for listeners’ enjoyment; it’s analogous to the difference between having all your documents on your computer’s home screen versus organizing them into folders. So Greenwood’s Exploring Musical Genres series is a genre- and performance-group–based collection of books and e-books. The publications in this series will provide listeners with background information on the genre; critical analysis of important examples of musical pieces, artists, and events from the genre; discussion of musthear music from the genre; analysis of the genre’s impact on the popular culture of its time and on later popular culture trends; and analysis of the enduring legacy of the genre today and its impact on later musicians and their songs, instrumental works, and recordings. Each volume will also contain a bibliography of references for further reading. We view the volumes in the Exploring Musical Genres series as a go-to resource for serious music fans, the more casual listener, and everyone in between. The authors in the series are scholars who probe into the details of the genre and its practitioners: the singers, instrumentalists, composers, and lyricists of the pieces of music that we love. Although

x  Series Foreword

the authors’ scholarship brings a high degree of insight and perceptive analysis to the reader’s understanding of the various musical genres, the authors approach their subjects with the idea of appealing to the lay reader, the music nonspecialist. As a result, the authors may provide critical analysis using some high-level scholarly tools; however, they avoid any unnecessary and unexplained jargon or technical terms or concepts. These are scholarly volumes written for the enjoyment of virtually any music fan. Every volume has its length parameters, and an author cannot include every piece of music from within a particular genre. Part of the challenge—but also part of the fun—is that readers might agree with some of the choices of “Must-Hear Music” and disagree with others. So while your favorite example of, say, grunge music might not be included, the author’s choices might help you to open up your ears to new, exciting, and ultimately intriguing possibilities. By and large, these studies focus on music from the sound-recording era: roughly the 20th century through the present. American guitarist, composer, and singer-songwriter Frank Zappa once wrote, On a record, the overall timbre of the piece (determined by equalization of individual parts and their proportions in the mix) tells you, in a subtle way, WHAT the song is about. The orchestration provides important information about what the composition IS and, in some instances, assumes a greater importance than the composition itself [italics and capitalizations from the original]. (Zappa with Occhiogrosso 1989, 188) The gist of Zappa’s argument is that everything that the listener experiences (to use Zappa’s system of emphasizing words)—including the arrangement, recording mix and balance, lyrics, melodies, harmonies, instrumentation, and so on—makes up a musical composition. To put it another way, during the sound-recording era, and especially after the middle of the 20th century, we have tended to understand the idea of a piece of music—particularly in the realm of popular music—as being the same as the most definitive recording of that piece of music. And this is where Zappa’s emphasis on the arrangement and recording’s production comes into play. As a result, a writer delving into, say, new-wave rock will examine and analyze the B-52s’ version of “Rock Lobster” and not just the words, melodies, and chords that any band could sing and play and still label the result “Rock Lobster.” To use Zappa’s graphic way of highlighting particular words, the B-52s’ recording is the piece.

Series Foreword  xi

Although they have expressed it in other ways, other writers, such as Theodore Gracyk (1996, 18) and Albin Zak III (2001) concur with Zappa’s equating of the piece with the studio recording of the piece. In the case of musical genres not as susceptible to being tied to a particular recording—generally because of the fact that they are genres often experienced live, such as classical music or Broadway musicals— the authors will still make recommendations of particular recordings (we don’t all have ready access to a live performance of Wolfgang Amadeus Mozart’s Symphony No. 40 any time we’d like to experience the piece), but they will focus their analyses on the more general, the noteson-the-page, the expected general aural experience that one is likely to find in any good performance or recorded version. Maybe you think that all you really want to do is just listen to the music. Won’t reading about a genre decrease your enjoyment of it? My hope is that you’ll find that reading this book opens up new possibilities for understanding your favorite musical genre, and that by knowing a little more about it, you’ll be able to listen with proverbial new ears and gain even more pleasure from your listening experience. Yes, the authors in the series will bring you biographical detail, the history of the genres, and critical analysis on various musical works that they consider to be the best, the most representative, and the most influential pieces in the genre; however, ultimately, the goal is to enhance the listening experience. That, by the way, is why all of these volumes have an exclamation mark in their titles. So please enjoy both reading and listening! —James E. Perone, Series Editor REFERENCES Gracyk, Theodore. 1996. Rhythm and Noise: An Aesthetics of Rock. Durham, NC: Duke University Press. Zak III,  Albin. 2001.  The Poetics of Rock: Cutting Tracks, Making Records. Berkeley: University of California Press. Zappa, Frank, with Peter  Occhiogrosso.  1989.  The Real Frank Zappa Book. New York: Poseidon Press.

Preface

B

etween the 1970s and the 1980s, the joy of any car ride was likely the music broadcast on a classic-rock radio station. It seemed like young people not only knew all the lyrics to “Hotel California,” “We Are the Champions,” and “Don’t Bring Me Down” but also could perform air-guitar solos to “Another Brick in the Wall” and “Sweet Child o’ Mine.” In addition to the Top 40s, classic-rock radio stations played oldies-but-goodies like “(I Can’t Get No) Satisfaction,” “Light My Fire,” and “Space Oddity.” The coolest teachers played these songs on transistor radios or ghetto blasters during class. The popularity of classic rock was so strong that band geeks figured out how to play these songs on their instruments. Though the lyrical content and musical structure of late classic-rock songs became better suited to radio format (much to the chagrin of aficionados), these broadcasts nevertheless piqued the curiosity of listeners who came to learn that the songs were likely taken out of context. Classic rock and the concept album—a collection of sound recordings connected together primarily by a narrative—were made for each other, and many serious listeners collected these albums to discover and explore the world of a song. Classic rock emerged in the mid-1960s—a decade after its parent genre, rock and roll. From its parent, classic rock employs chord progressions, blues and rhythm-and-blues elements, lyrical content, singing techniques, rhythm, structure, and core ensemble (usually singer, electric guitar(s), and drums, often with electric keyboard and/or electric bass). From Western art music, classic rock incorporated classical, folk, and jazz, but it also included Eastern musical aspects such as Indian classical music ragas and instruments like the sitar. As a distinct genre from earlier

xiv Preface

rock and roll, classic rock employed more elaborate chord progressions and instrumentation; it better accommodated virtuosity and was aimed toward more serious listening (sometimes more so than certain kinds of classical music). Creating its own culture, classic rock unified youth through its musical sound, loudness, diverse political message(s), mystical visual and artistic appearance, atmospheric feeling, and merchandise. The designation “classic” suggests that this kind of rock serves as a basis for later rock, which it surely does; however, examples of classicrock subgenres or styles like folk rock, prog rock, or psychedelic rock express a great deal of innovation, complexity, and eclecticism in contrast to some later rock music. The designation also implies a rock repertory that should be best known—a kind of music that was more complex with a harder edge than the poodle-skirt rock and roll that aired on 1970s television shows like Sha Na Na or the retro musical aspects of 1980s new wave, contemporary pop, and R&B that gained popularity through MTV and VH1. For some, “classic” was merely a designation of a period of rock music—its heyday between the late 1960s and late 1970s (though it continues today)—that had an influence on later styles like alternative and hard rock. For others, the distinction between classic rock and its parent genre seems clear enough because of its combined use of rock-and-roll and new chord progressions, emphasis on drama, instrument virtuosity (usually focusing on electric guitar but also exploring other instruments such as keyboard, drums, and bass), and elaborate production values. Listen to Classic Rock! Exploring a Musical Genre traces the origins and sociocultural contexts of classic rock and provides a listeningoriented discussion of the creative output, particularly studio albums, of musicians (including songwriters) and bands. In addition, it offers a close listening/reading of a variety of classic-rock songs and addresses the overlooked diversity of these musicians. There are several kinds of chapters in this book. Chapter 1 provides the background of classic rock by describing the genre, its history, and the sounds that define it. Chapter 2 consists of 50 “Must-Hear Music” entries on albums, musicians and bands, concerts, and songs. Entries on albums focus on why the entire album should be experienced. Some of these entries pair albums together to highlight significant connections. Entries on musicians and bands focus on the classic-rock subgenres that they use in their studio sound-recording output. One entry is devoted to studio sound-recording output that resulted from the Monterey International Pop Music Festival (a.k.a. Monterey Pop, June 16–18, 1967) and Woodstock Music & Art Fair (a.k.a. Woodstock, August 15–18,

Preface  xv

1969)—the most important early outdoor music festivals in classic-rock history. Entries on specific songs analyze and deconstruct classic-rock elements, discuss the sounds of the songs and their covers, give attention to performance practice and production values, and provide historical and sociocultural context. Songs are paired based on their recording histories, influence, innovation, messages, literary devices, classic-rock subgenres, and musical and extramusical elements. Chapter 3 examines classic rock’s impact on pop culture, and Chapter 4 investigates its legacy. Classic rock is one of my favorite popular music genres. For years, I have included classic-rock songs to help my students understand Western art music such as classical music and jazz. This project has been an absolute pleasure, and I am grateful to ABC-CLIO’s acquisitions editor, Catherine M. Lafuente, for bringing this series to my attention, and to Exploring Musical Genres’ series editor, James E. Perone, for his guidance and support. I had the great fortune to be part of a small network of writers working on other books in this series. I wish to thank Anthony J. Fonseca and Jim Gallant for our exchanges and our friendship. Tony has read most of this book, always providing outstanding suggestions on how to refine and streamline my writing. Though I take credit for any shortcomings found here, I could not ask for a better second set of eyes. Thank you, too, Amnet editorial project manager Angel Daphnee, for such thoughtful work during this book’s final stages. I am also grateful to my colleagues in the Music Department at Westfield State University (thank you, James Argiro and Edward Orgill for answering my questions on saxophones and turnarounds), as well as my friends Amy Baker, Pat Gallant, Steve and Valerie Lavender Berlin, and Latisha Rocke. Many thanks, too, for the warm hospitality of La Fiorentina, an Italian pastry shop in Northampton, Massachusetts, where most of this book was written. Finally, I would like to dedicate this book to my mother, Ursula Irene Anna Goldsmith, who shared her love of rock, radio, and albums with me. The Goldsmiths are a family of late bloomers, and I am no exception to that tendency. This book may have come late, but I remain grateful to the first person who taught me that girls can rock.

CHAPTER 1

Background

L

istening to just a few songs from a single year demonstrates how much classic rock is a hodgepodge of diverse musical subgenres and influences. Take, for example, these 1977 releases: The Eagles’ “Hotel California,” Fleetwood Mac’s “Don’t Stop,” Tom Petty and the Heartbreakers’ “American Girl,” Heart’s “Barracuda,” Yes’s “Going for the One,” Styx’s “Come Sail Away,” Steely Dan’s “Aja,” Queen’s “We Are the Champions,” Lynyrd Skynyrd’s “What’s Your Name,” J. J. Cale’s (or Eric Clapton’s) “Cocaine,” Wings’ “Mull of Kintyre,” and The Kinks’ “Father Christmas.” A multitude of rock-fusion subgenres is represented here, such as blues-rock, country rock, folk rock, glam rock, hard rock, Heartland rock, jazz-rock fusion, pop-rock, prog rock, psychedelic rock, soft rock, and Southern rock—all are subgenres rooted in rock and roll. At times, classic rock incorporates rock and roll as a retro element, but it also expands on these elements. Despite its diversity and the fact that early subgenres such as bluesrock and folk rock are rooted in a much earlier time than the mid-1960s, classic rock has been subjected to some draconian classifications. Some classic-rock purists have strictly assigned the genre—as rock beginning in 1965 and ending in 1975, identifying this period as a Golden Age. But classic-rock standards such as “Hotel California” were still being produced after 1975, and beyond. The classic-rock repertory continued with Kansas’s “Dust in the Wind” and Electric Light Orchestra’s “Mr. Blue Sky” (both 1978), AC/DC’s “Highway to Hell,” the Eagles’ “Heartache Tonight” (1979), and so forth well into the 1980s. Some classic-rock purists believe that only albums should be considered as examples and not the songs on them; their point of view is that the decline of classic rock is marked by musicians’ increased efforts to create hits instead

2  Listen to Classic Rock!

of artistically ambitious albums. Nonetheless, some of the best concept albums and rock operas, such as The Who’s Tommy (1969, within the aforementioned Golden Age, between 1965 and 1975) and Pink Floyd’s The Wall (1979, released after the Golden Age), have had notable standalone hits that received frequent airplay on FM and AM radio. As of 2019, stores that sell vinyl albums still classify the genre as nearly all-white and all-male, with just a few exceptions, such as Jimi Hendrix, Janis Joplin, Santana, and Fleetwood Mac. Ignored or actively left out of the classic-rock bins are funk rock, soul rock, and psychedelic soul, as are important musicians who not only used rock fusion prominently in their recordings but were also important to classic rock’s development. Just a few of these musicians were Ike and Tina Turner (together as well as separately), Marvin Gaye, Sly and the Family Stone, The Temptations, and Eric Burdon and War. This book’s exploration of classic rock is more inclusive than many previous studies. It includes detailed discussion of songs, albums, and musicians (precursors and successors) that have shortsightedly been considered either outside or on the margins of the genre. Exploring the rock-and-roll precursors that led to fully developed classic rock means going further back than 1965. Most classic rock shares and expands on, rather than departs from, rock-and-roll elements such as a focus on the lead vocalist (surely found in earlier music genres such as blues and swing), an emphasis on guitar playing, an inclination toward steady quadruple meter (four beats per measure), the use of a rhythm section that includes at least bass and drums if not also a rhythm guitar and/or keyboard, and an interest in mining earlier musical genres for ideas, especially rhythm and blues, blues, country, folk, jazz, and other kinds of roots music (also called Americana). Going beyond musicians’ appearance and behavior, both genres aim to appeal to young audiences through lyrical content, and performance practice. The very earliest rock-and-roll studio recordings, such as Goree Carter’s “Rock Awhile,” recorded in April 1949 on the Freedom Recording Company label in Houston, Texas, and Jackie Brenston and his Delta Cats’ “Rocket ’88” (with an uncredited Ike Turner and his band, Ike Turner’s Kings of Rhythm, posing as the Delta Cats), recorded in April 1951 on the Chess Records label in Memphis, Tennessee, already demonstrate these elements. There are many ways classic rock expands on rock and roll’s elements, such as lyrics. Though rock-and-roll lyrical content seems a lot tamer than that of classic rock, many pioneering rock-and-roll musicians were bravely breaking barriers. During the American civil rights movement

Background  3

(1954–1968), pioneering rock-and-roll singer-songwriter-guitarist Chuck Berry (1926–2017) recorded on the Chess label. Berry had crossover hits on rhythm-and-blues and pop singles charts in the United States, starting with “Maybellene” (1955), which, like “Rocket ’88,” focused on a woman and a car and, like Carter’s “Rock Awhile,” included an overdriven electric guitar. Without a word to directly explain what he was doing, Berry wrote and recorded songs that appealed to youth and reached beyond the time’s racial boundaries. For example, “School Day (Ring! Ring! Goes the Bell)” (1957) describes working hard in school and then enjoying the time after the school bell rings by listening to rock-and-roll records on the jukebox. On their own, these lyrics focus on innocuous topics, sung by Berry in a sweet, laid-back style, but within their historical context, they are courageous. The song was released about a year after regressive legislation like the Southern Manifesto (1956), which advocated separate public schools for black and white students. Berry’s song was No. 5 and 1, respectively, on the Billboard Hot 100 (then called The Top 100) and Billboard’s Hot R&B Songs singles charts. Innocuous topics that concerned young people, such as boyfriend/girlfriend issues, fast cars, and dancing, were employed frequently throughout rock-and-roll music, and they continued (albeit less pervasively) in classic rock. The most innocuous lyrics exist in pop-rock, including hot rod and the vocal surf music recorded in the early to mid-1960s by The Beach Boys, whose music was inspired by Berry. In contrast, Berry’s contemporary, singer-songwriter-keyboardist Little Richard (Richard Wayne Penniman, 1932–), released recordings with more overt lyrics on sex. His 1956 rendition of “Good Golly, Miss Molly” (John Marascalco and Bumps Blackwell), recorded at J&M Studio in New Orleans on the Specialty label, was released in 1958, after The Valiants’ 1957 recording. Though it was No. 10 and 4, respectively, on the Billboard Hot 100 and Billboard’s Hot R&B Songs, Little Richard’s own addition of more sexualized lyrics as well as his aggressive performing approach were too ahead of their time for rock and roll (though his use of innuendo was cleaner than 1950s country music hokum and dirty blues). They were nevertheless inspiring to contemporary white rock-and-roll musicians like Elvis Presley and Jerry Lee Lewis, who enjoyed popularity in finding ways to be sexually risqué, as well as classic-rock musicians who were growing up during this time, such as members of The Beatles and Creedence Clearwater Revival. Like musicians during the commercially successful folk revival, which took place during the late 1950s and early 1960s in the United States, classic-rock musicians aimed to draw

4  Listen to Classic Rock!

in young adult, college-aged listeners through the use of either subversive or overt texts on topics such as race, war and violence, drugs, and sex. Like blues, which paved the way for more explicit lyrics on drugs (including alcohol) and sex, folk music paved the way for political protest songs in classic rock. CLASSIC-ROCK SUBGENRES Two of the earliest classic-rock subgenres were blues-rock and folk rock. Where and when blues-rock first emerged requires more scholarly investigation. Its roots are obviously found in blues. African American blues and rhythm-and-blues musicians such as Muddy Waters, Howlin’ Wolf, Willie Dixon, Albert King, Otis Rush, B. B. King, John Lee Hooker, and Little Walter—all from Mississippi except for Little Walter, who was from Louisiana—made influential recordings that were appreciated in both the United States and the United Kingdom. While racial discrimination and segregation precluded the appreciation of blues and rhythm and blues in the United States, hard-to-obtain recordings in these styles were admired by young U.K. musicians in the 1950s. By the early 1960s, British blues-rock and rhythm-and-blues bands emerged and found success performing not only in London but also in other cities. The band Blues Incorporated (1961–1966), led by Alexis Korner (Alexis Andrew Nicholas Koerner, 1928–1984), covered electric blues and rhythm-andblues songs. Korner’s leadership approach of keeping his band loosely organized spawned many other bands that began with a purist approach toward playing blues and rhythm and blues but began fusing blues and rock by the mid-1960s. These acts include The Rolling Stones, The Graham Bond Organisation, John Mayall & the Bluesbreakers, The Yardbirds, and, a bit later, Cream. Georgie Fame and the Blue Flames (1961–1966) was a contemporary British rhythm-and-blues band to Blues Incorporated. Their approach was more eclectic and included jazz, pop, soul, and ska. Meanwhile, in other cities in the United Kingdom, British blues and rhythm-and-blues bands such as The Spencer Davis Group (from Birmingham) and The Animals (from Newcastle) emerged, also with more eclectic musical interests. By 1965, many English bands were playing blues-rock, keeping blues structure, central riffs (a phrase that prominently repeats), lengthy instrumental solos or jams (often based on improvisation), expressiveness found in blues singing styles (these include sliding up or down pitches, scooping from a target pitch down then back up to the pitch, shaking or quivering, wailing, and growling),

Background  5

and lyrical content while also borrowing and creating new renditions of traditional blues songs and using rock’s steady quadruple meter (four beats per measure), more instruments, and louder amplification. The prominent London venue for blues-rock became the Marquee Club, which opened its doors in 1958 in the West End. The British Invasion (1964) brought popularity of British blues-rock to the U.S. British bands playing blues, blues-rock, rhythm and blues, at times combining these styles with hard rock. These included The Who, Peter Green’s Fleetwood Mac, Pink Floyd, Shotgun Express, Ten Years After, Savoy Brown, Climax Blues Band, The Jeff Beck Group, and the American-led band The Jimi Hendrix Experience. Several bands that performed blues-rock at the Marquee Club, such as Jethro Tull, Pink Floyd, King Crimson, and Yes, shifted their focus to prog rock, the most complex classic-rock subgenre that combines rock with classical music elements and aesthetics. In the United States, early blues-rock acts included B. B. King, Hooker, Lonnie Mack, Taj Mahal and Ry Cooder (separately and with the Rising Sons), Johnny Winter, Paul Butterfield Blues Band (Butterfield’s mentor was Muddy Waters), and Canned Heat. Into the 1970s and 1980s, blues-rock was one of the most prominent classic-rock subgenres. Carrying on the tradition of British blues-rock and American blues-rock of the 1960s were bands such as Steppenwolf, Mythology, Lynyrd Skynyrd, The Allman Brothers Band, Grand Funk Railroad, Foghat, The Fabulous Thunderbirds, Humble Pie, Jethro Tull, and ZZ Top. Southern rock and swamp rock, which emerged in the late 1960s, enjoyed increased popularity in the 1970s as both styles embraced blues-rock as well as other kinds of regionally flavored roots music. The Allman Brothers Band and Lynyrd Skynyrd played Southern rock; Lynyrd Skynyrd and Creedence Clearwater Revival played swamp rock. Meanwhile, several bands played some blues-rock but not as a sole emphasis. Just a few of these bands were Big Brother and the Holding Company with Janis Joplin, The Doors, Creedence Clearwater Revival, and The J. Geils Band. Several bands that started out playing blues-rock or a combination of hard rock and blues-rock serve as precursors to acid rock, heavy metal, and glam rock. These bands included The Who, Steppenwolf, Grand Funk Railroad, Led Zeppelin, ZZ Top, Aerosmith, and AC/DC. Others started out playing and recording hard rock and blues-rock and eventually moved onto heavy metal. Led Zeppelin and Aerosmith remained hard-rock bands but also played heavy metal (their sound includes psychedelic rock), influencing or at least working with subsequent hard rock or heavy metal bands without a blues-rock focus such as Kiss and Cheap Trick. Black Sabbath and Judas Priest moved

6  Listen to Classic Rock!

away from their hard rock and blues-rock fusion roots in favor of heavy metal. In the 1980s, Guns N’ Roses played a combination of hard rock, heavy metal, and blues-rock while Metallica, mostly a heavy metal band, had at times incorporated blues-rock and rhythm-and-blues elements, heard especially on ReLoad (1997). In contrast, their later contemporary, Blues Traveler, focused on blues-rock while incorporating some psychedelic rock. Beyond heavy metal, grunge emerged in the mid-1980s in Seattle. Both use dark subject matter. Like blues-rock, grunge emphasizes improvised guitar solos (with effects) and blues singing techniques (as exemplified in Nirvana and Pearl Jam). Folk rock is rooted partly in folk music, particularly music celebrated during the folk music revival that saw a commercially successful period in the late 1950s and early 1960s, led by musicians such as Joan Baez and Bob Dylan. During this time, the major folk music revival scene in the United States was Greenwich Village; its venues included coffeehouses such as Café Wha?, The Purple Onion, The Gaslight, The Night Owl Café, Café Figaro, The Bitter End, The Other End, and Gerde’s Folk City. Meanwhile, smaller folk music scenes emerged on the West Coast, where The Ash Grove and The Troubadour in the Los Angeles area as well as The Purple Onion and the hungry i in San Francisco became main venues. Folk rock had a difficult time being accepted at venues where acoustic folk was performed, but by the late 1960s, folk-rock acts such as The Byrds, Buffalo Springfield, The Mamas and the Papas, We Five, and James Taylor performed at the hungry i, The Troubadour, and later, The Matrix. Folk rock may trace back to a less prominent sound in some early 1960s studio recordings. Before Beatlemania, when the band’s lineup consisted of John Lennon, Paul McCartney, George Harrison, Stuart Sutcliffe, and Pete Best, The Beatles recorded as the backing band for English rock-and-roll singer Tony Sheridan on his album, My Bonnie (1962) in West Germany. The album includes their rock-and-roll cover of the Scottish traditional song, “My Bonnie Lies over the Ocean.” Easy-listening orchestra leader Bert Kaempfert produced the album on the Polydor label. Sheridan’s arrangement favors rock and roll over folk. “My Bonnie” was released in October 1962 and became No. 5 in West Germany. The album, in contrast, charted more modestly at No. 32. Another recording that also uses a traditional folk song is The Animals’ 1964 rendition of “House of the Rising Sun” (the band’s arrangement was credited to keyboardist Alan Price only); however, like the Sheridan recording with The Beatles, the musicians’ use of a folk song along with another style, this time the classic-rock subgenres blues-rock and psychedelic rock, does not make it a folk-rock recording in earnest.

Background  7

By the time of Lennon’s “I Should Have Known Better” (recorded in February 1964), released on A Hard Day’s Night (1964), the band became interested in American singer-songwriter Dylan’s music and played his folk album The Freewheelin’ Bob Dylan (1963) often. Lennon, who became so inspired by Dylan’s songwriting and style that he began to wear a Huckleberry Finn cap (seen in the film A Hard Day’s Night), plays harmonica in the song’s introduction. “I Should Have Known Better” includes other folk-influenced sounds such as Lennon’s double-tracked lead vocals placed intimately in the foreground, his jangling use of acoustic guitar, and Harrison’s own jangling use of 12-string lead guitar. Shortly afterward, Dylan released Bringing It All Back Home (1965), which featured an electric side (folk rock) and an acoustic side (folk). His album’s sound incorporated blues and country elements, which are also folk music. In the same year, The Byrds, originally a West Los Angeles–based folk and roots band, followed in Dylan’s footsteps by recording a folk-rock cover of Dylan’s “Mr. Tambourine Man,” from the acoustic side of Bringing It All Back Home, along with other folk-rock songs on their album, Mr. Tambourine Man (1965). The jangling sound of acoustic guitars, including acoustic 12-string Rickenbacker guitar, resembled the sound on “Should Have Known Better.” The success of The Byrds paved the way for many folk-rock acts such as Simon & Garfunkel, The Lovin’ Spoonful, Buffalo Springfield, The Youngbloods, and Gordon Lightfoot as well as acts such as Donovan, Love, Jefferson Airplane, and The Mamas and the Papas, whose main sound also included psychedelic rock. Recordings often maintained the intimate atmosphere heard in folk with an emphasis on the singer-songwriter. This sound became a precursor to singer-songwriter albums of the 1970s such as those by Jim Croce and James Taylor, who both recorded folk rock in addition to other classic-rock subgenres, accompanied by acoustic guitar(s), as well as Carole King and Paul Williams, who recorded soft pop and whose main instrument was acoustic piano. Dylan and The Byrds’ recordings took place the same year as perhaps the most momentous event in folk-rock history when Dylan, who was headlining at the 1965 Newport Folk Festival, plugged in his electric guitar and began playing folk rock with his backing band. After three songs, Dylan was booed offstage; however, the floodgate of folk-rock acts and recordings was opened. Afterward, Dylan continued to record folk rock; Baez also recorded some folk rock, and both, along with The Byrds, also recorded country rock. Meanwhile, another classic-rock subgenre, pop-rock, continued to be a style used by bands that wanted to employ easy-to-remember

8  Listen to Classic Rock!

melodies, particularly refrains, while employing either more electric guitar or heavier emphasis on drums and keyboards. The Beatles, The Monkees, and The Beach Boys’ early studio-recording output included a lot of pop-rock (vocal surf music was themed pop-rock); however, none of these highly successful bands exclusively recorded pop-rock songs, and all eventually moved toward the opposite end of the spectrum of classic-rock subgenres—experimental rock. In the late 1960s, baroque pop-rock emerged, often combining pop-rock with instruments associated with Baroque music, such as harpsichord and organ as well as with playing styles and compositional techniques associated with classical music, such as classical acoustic guitar playing, lots of arpeggiation (broken chords), and Alberti bass or ground bass (or basso ostinato, a persistent melodic phrase that appears in the bass throughout a piece). Baroque pop-rock and baroque pop’s uses of keyboards with classical music elements may be perceived as precursors to prog rock, which delved to the furthest extremes with using classical music elements; on the opposite end of the spectrum and very different from pop-rock’s memorable melodic and accessible approach, prog rock aims to create challenging and complex music for its musicians and listeners. By the late 1970s, several bands that were known for playing other classic-rock music subgenres such as Jefferson Starship (a spinoff from Jefferson Airplane), Fleetwood Mac, The Hollies, Genesis, and Foreigner shifted to pop-rock. Formerly a prog rock band, Genesis and its (later) lead singer Phil Collins made the same stylistic shift as the country-rock and folkband America by ultimately shifting stylistically to adult contemporary, a soft variety of pop-rock that has always been radio-friendly. Over the years, classic-rock aficionados have criticized musicians for shifting to pop-rock, sometimes describing the shift as selling out or the results as not as good as their previous work. At the very least, these listeners express a yearning for these musicians to return to performing and recording music in their previous, though less profitable, styles. By the late 1960s, classic-rock subgenres such as psychedelic rock and jazz-rock fusion emerged. Inspired by the culture of psychedelia, which placed an emphasis on psychedelic drugs and mind-altering experiences that extended into meditation and thus raga (and raga rock), psychedelic rock became celebrated at both the Monterey Pop (1967) and Woodstock festivals (1969). Musical aspects of psychedelic rock include metrical and tempo shifts (changing the meter, rhythm, and speed of a song) as well as psychedelic lyrical content and effects created either by instruments (with their equipment) or the recording studio. Lyrical content may occasionally directly mention drugs and the hallucinogenic

Background  9

experience, such as Jefferson Airplane’s “White Rabbit” (1967), but most of the time, psychedelic rock focused on a variety of topics. Several psychedelic-rock acts used light shows to accompany both their music and attendees’ acid trips (from taking the hallucinatory drug LSD, also known as lysergic acid diethylamide). Both San Francisco and London became major scenes for psychedelic counterculture, represented by Jefferson Airplane and Grateful Dead (San Francisco) as well as Pink Floyd (London). Popular venues for psychedelic rock were The Matrix and The Ark in San Francisco; London’s were the UFO Club and the Middle Earth Club. Since the late 1960s, psychedelic-rock acts often needed large concert venues to accommodate their increasingly large live audiences. In San Francisco, for example, concert venues for psychedelic rock became The Fillmore, The Avalon Ballroom, The Regency Ballroom, and California Hall. In many ways, psychedelic-rock acts stand out for their openness to incorporating other kinds of classic-rock genres. Jefferson Airplane was not just known for its psychedelic rock but also its folk rock; likewise, The Mamas and the Papas combined psychedelic rock with folk rock and pop-rock. It comes as no surprise that most classic-rock subgenres primarily associated with or classified as black rock also performed psychedelic rock. During the Summer of Love (1967), Diana Ross & The Supremes had a hit with the psychedelic pop-rock and soul song “Reflections” (Brian Holland, Lamont Dozier, and Eddie Holland) at No. 2 on the Billboard Hot 100 and No. 5 on the U.K. Singles Chart. An early hit song that used the Moog synthesizer, in addition to psychedelic studio effects, it was influenced by The Beatles and The Beach Boys and represents Motown artists’ entry into classic rock. The Temptations, inspired by Sly and the Family Stone’s use of psychedelic soul and funk rock, would follow in these footsteps, as would Marvin Gaye, most notably with his album, What’s Going On? (1971). Jazz-rock fusion often employed elements of psychedelic rock, pioneered by jazz musicians who admired rock and roll as well as early classic-rock acts such as The Beatles and The Rolling Stones. The earliest jazz-rock fusion albums included The Free Spirits’ Out of Sight and Sound and The Gary Burton Quartet’s Duster (both 1967). Trumpeter Miles Davis’s initial jazz-rock fusion efforts can be traced back to his albums Miles in the Sky (1968) and Filles de Kilimanjaro (Girls of Kilimanjaro, 1969), but his first jazz-rock fusion album was In a Silent Way (1969). His subsequent album, Bitches Brew (1970), which was No. 35 on the Billboard 200 and No. 1 on Billboard’s Top Jazz Albums chart, became the most important album to inspire other jazz-rock fusion acts

10  Listen to Classic Rock!

and recordings. His album eventually attained double-platinum status in the United States and gold status in the United Kingdom. Davis himself was a fan of classic-rock musicians such as Jimi Hendrix and Sly and the Family Stone; both acts played psychedelic rock among other classic-rock subgenres. Bitches Brew established defining jazz-rock fusion elements such as an emphasis on solo improvisation, using blues techniques (such as slides, scoops, shakes, wails, and growls) on instruments other than voice, creating large ensembles that feature not only jazz and rock instruments but also world music percussion, favoring rock’s steady quadruple meter (four beats per measure, with syncopation or stressed accents on unexpected beats such as beats two and four or in-between beats, also called the and-beats or off-beats). Since the mid1960s, several bands such as The Mothers of Invention used jazz instruments while performing other kinds of classic-rock subgenres such as art rock and prog rock. Jazz-rock fusion bands of the late 1960s include Chicago; Blood, Sweat & Tears; Santana; Soft Machine; Colosseum; and Nucleus. Early on, Santana fused jazz-rock fusion with Latin rock and psychedelic rock. Though The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band (1967) contains psychedelic rock and is significant for being considered the first classic-rock concept album, the band’s early psychedelic-rock sound can be heard on the North American version of Help! and psychedelic-rock sound and studio effects appear on Rubber Soul (both 1965) as well as Revolver (1966). Psychedelic studio effects included heavy reverb, panning (having a sound or instrument appear on one speaker and then shift to another, giving a sense of movement), fader work that created a sense of oscillation, and the use of feedback and distortion. Recordings by psychedelic-rock acts such as Jefferson Airplane, Deep Purple, The Jimi Hendrix Experience, Grateful Dead, Iron Butterfly, and The Doors feature many of these effects; and acts less known for psychedelic rock, such as Creedence Clearwater Revival and Simon & Garfunkel, enjoyed using these effects. In contrast, country-rock and some folk-rock acts such as The Byrds and Eagles and Heartland acts such as Bruce Springsteen use these effects sparingly. Country rock gained popularity, especially in California during the 1960s and 1970s. The first fully country-rock album was The Byrds’ Sweetheart of the Rodeo (1968), who, along with Dylan, The Band, Buffalo Springfield, Gram Parsons, Jimmy Buffett, Glen Campbell, Grateful Dead, and The Monkees, became early country-rock acts. Heartland rock, which emerged in the 1970s, uses country-rock elements such as pedal steel guitar, honky-tonk acoustic piano, twangy acoustic and

Background  11

electric guitars, clean fingerpicking techniques on guitar, affected or nasal vocals, and comparatively stripped-down studio techniques such as keeping the vocals dry. This subgenre often avoids using psychedelic effects. Psychedelic rock’s use and exploration of keyboards, epic song structures (including multiple sections), and lengthy instrumental sections that feature virtuosity can be heard in The Beatles, The Beach Boys, Procol Harum, The Moody Blues, The Doors, The Zombies, The Who, The Nice, The Crazy World of Arthur Brown, King Crimson, and Pink Floyd. By the end of the 1960s, several of these bands naturally moved on, becoming prog rock bands. These included The Moody Blues, The Nice, King Crimson, and Pink Floyd. Prog rock ambitions were not limited to lengthy concept-related and complex songs; they extended to theatricality and sound. Often famous for their live shows, prog rock bands like Genesis and Pink Floyd added elaborate theatricality and film projections. Many acts performing prog rock realized their symphonic rock visions through concerts backed by large orchestras, followed by studio recordings. These included The Moody Blues, The Nice, Emerson, Lake & Palmer, Yes, and Electric Light Orchestra (ELO). Though prog rock is most often associated with adapting classical music elements, some prog rock bands such as King Crimson, The Nice, Frank Zappa and the Mothers of Invention, Soft Machine, and Uriah Heep employ jazz-rock fusion. CHORD PROGRESSIONS Much of rock and roll and classic rock’s sound relies on chord progressions—a chain or pattern of chords or harmonies that form the basis of a song. Different chord progressions add variety to music and are one way to distinguish a rock-and-roll song from a classic-rock song. Classic rock expanded rock and roll’s basic chord progression, which is also known as the three-chord trick: I-IV-V (the I chord is the home chord or tonic; IV is the subdominant; and V is the dominant). Two examples of countless rock-and-roll songs that use the three-chord trick are Ritchie Valens’ “La Bamba” (1958) and The Beatles’ 1964 rendition of “Twist and Shout” (1961, Phil Medley and Bert Berns). A retro rock-and-roll example in classic rock that uses this progression is Led Zeppelin’s “Rock and Roll” (1972) and the instrumental introduction, instrumental interlude, and first two lines of verses 1 through 3 of Bruce Springsteen’s “Born to Run” (1975). Instead of simply relying on the three-chord trick, classic rock also favored a new progression: I-bVII-IV (the I chord is still the home

12  Listen to Classic Rock!

chord; the bVII chord is the subtonic; the IV chord is still the subdominant but is now placed at the end of the progression). The new and bluesier-sounding progression became known as the classic-rock progression. It is easy to understand here how the classic-rock chord is an expansion rather than a departure from rock and roll. After all, both progressions contain I and IV (incidentally, a I-IV can be heard as related to rock and roll, and it can also be interpreted as a basic folk progression). Just a few examples that use the classic-rock progression are the instrumental introduction, verses, instrumental interlude, and outro in the Rolling Stones’ “The Last Time” (1965); the verses and refrains in Fleetwood Mac’s “Don’t Stop” (1977); and the instrumental introduction, verses, prechorus, and instrumental outro in Crosby, Stills & Nash’s “Southern Cross” (1982). Like songwriters in other genres, classic-rock songwriters expanded their own creative possibilities with both the rock-and-roll (I-IV-V) and classic-rock (I-bVII-IV) progressions through displacement, substitution, and variation. Displacement involves rearranging one or more chords in a progression (for example, instead of I-IV-V, songs can use I-V-IV or V-IV-I). There are many examples of classic-rock songs that appropriate the three-chord trick and displace it, using I-V-IV. Just a couple are the verses in Tommy James and the Shondells’ “Crimson and Clover” (1968), the keyboard introduction and verses in The Who’s “Baba O’Riley” (1971), and the first two verses and the instrumental verse in the Eagles’ “Take It Easy” (1972). A notable displacement of the classic-rock progression is I-IV-bVII, heard in the verses (returning to I) of The Kinks’ “Lola” (1970). Substitution means replacing one or more chords, usually with a closely related one to maintain the sound and purpose of the chord progression (for example, iii-IV-V, instead of I-IV-V for the iii chord sounds similar to I because two out of three of its pitches are identical or vi-IV-V for the vi chord is the relative minor of I and also has two out of three common pitches). Examples in classic rock that substitute the I for a vi chord in rock and roll’s three-chord trick are refrains in Heart’s “Crazy on You” (1976) and in Fleetwood Mac’s “Go Your Own Way” (1977). A substitution of the classic-rock progression is I-bIII-IV, heard in the verses (returning to I) of J. J. Cale’s as well as Eric Clapton’s “After Midnight” (1966, Cale). Variation of chord progressions usually takes place by adding or subtracting chords (for example, variations of the rock-and-roll I-IV-V progression with addition is I-IV-V-IV, and with subtraction, it is I-IV). A retro rock-and-roll example in classic rock that uses a I-IV-V-IV variation

Background  13

of the rock-and-roll progression is The Troggs’ “Wild Thing” (1966). An example of variation of a classic-rock progression is I-bVII-bIII-IV (in which bIII is added to the usual I-bVII-IV classic-rock progression) and can be heard in the first two lines of the refrains in Harry Chapin’s “Cat’s in the Cradle” (1974, with Sandra Chapin). The classic-rock progression is one of the definitive features of the sound classic rock and distinguishes the genres from rock and roll. Theoretically, these three techniques may be combined in any way; however, the more techniques or alterations are applied to a chord progression, the further away it gets from its intended rock-and-roll or classic-rock sound. Although rock-and-roll and classic-rock progressions are found as the basis of entire songs or significant sections, these are not the only chord progressions that were commonly used. Rock and roll, more frequently than classic rock, employed what became called the ’50s progression, also known as the doo-wop or “Heart and Soul” (1938, Frank Loesser and Hoagy Carmichael) progression (in a major key, this is I-vi-IV-V, often returning to I). A rock-androll example of this progression is The Marcels’ 1961 doo-wop rendition of “Blue Moon” (1934, Richard Rodgers and Lorenz Hart), and a classic-rock example is Elton John’s famous falsetto passage (a second refrain) in “Crocodile Rock” (1972). Likewise, the three techniques and combinations have been applied to this chord progression. In the ballad section of Queen’s “Bohemian Rhapsody” (1975) just after the introduction, I-vi-ii-V, a frequent substitution for I-vi-IV-V, pattern is used. Another progression, a Flamenco or Spanish progression, called “money chords” by songwriters who profited from selling songs constructed of them, is heard often in both rock and roll and classic rock. A common money chord progression is i-VII-VI-V(7) (usually returning to i to start the pattern over again), which is heard in the verses of Del Shannon’s “Runaway” (1961, with Max Crook) and in a variant (i-V[7]-VII-IV-VI-III-iv-V) in the introduction, instrumental interlude, and verses of the Eagles’ “Hotel California.” Other examples of chord progressions shared between rock and roll and classic rock is the 12-bar blues (typically, I-I-I-I, IV-IV-I-I, V-IV-I-I, with each chord being played for four beats, creating 12 measures or bars; pitches that are an interval of a seventh to the root are often added to create seventh chords and a bluesy sound) as well as the Pachelbel’s Canon progression (I-V-vi-iii-IV-I-IV-V, back to I to restart it), as well as circle (circle of fifths) and cyclical progressions (for example, descending fifths progressions such as I-IV-vii-iii-vi-ii-V-I in the major key or i-iv-VII-III-VI-ii-V-I in the minor key).

14  Listen to Classic Rock!

Lyrical content and chord progressions are just two ways that classic rock expanded on elements of rock and roll. Another area of expansion was with musical instruments. Several “Must-Hear Music” entries in this book will cover musical instruments as well as innovations with their effects. This background chapter offers just a brief overview on classic rock’s prehistory and history, musical sound, and music technology. The following 50 entries of “Must-Hear” songs, albums, and musicians focus on classic-rock musicians’ sounds (including uses of classic-rock subgenres) and historical context by mainly focusing on studio recordings. To a lesser extent, live performances, recordings, and compilations are considered. One major innovation had a huge impact on classic-rock albums and how studio production techniques would be used in the genre. In 1954, Decca recorded the first LP album in stereo, a two-channel vinyl album (LP means long playing and these albums are also known as a 331/3-rpm record). This was a classical music recording of Nikolai Rimsky-Korsakov’s Antar (1868; revised in 1875 and 1891), performed by L’Orchestre de la Suisse Romande under the conductor Ernest Ansermet. Four years later, in 1958, the first stereo albums were manufactured and made commercially available. Most rock-and-roll albums were therefore monaural (shortened to mono), whereas with classic rock, both options were available for LPs. Ideally, stereo offered a greater sense of sonic depth and sense of where sounds such as drums and bass versus vocals and lead guitar were coming from; however, not all mixing on stereo was good, and some bands in their earliest years, such as The Who, sounded better on their mono recordings than on their stereo versions. Advances in music technology used by the music industry gave classic-rock sound recordings another boost, starting with the June 1968 release of the first 45-rpm record (the typical format for singles) in ­stereo. The recording was The Doors’ psychedelic rock, hard rock, poprock, and Kinks-sounding “Hello, I Love You,” with their psychedelic rock and music hall–sounding “Love Street” on its B-side (composed in 1965 and 1967, respectively). Both appear on Waiting for the Sun (1968). “Hello, I Love You” features a psychedelic instrumental effect such as electric guitar fuzz distortion, a mixture of psychedelic instrumental and studio effects with the Gibson G-101 keyboard portamenti (sliding down and then up, created by a side piece on its pedal) with applied reverb. An example of a psychedelic studio effect that doubles for showcasing the single’s stereo sound is the panning from left to right speaker on the portamenti just after the song reaches its false stop. The Billboard Hot 100 No. 1 single attained gold certification, convincing

Background  15

the music industry from then on to manufacture 45s almost entirely in stereo. Whether on LP or 45s, studio albums contributed to a widespread appreciation of classic rock and are helpful for accomplishing analysis through close listening. These artifacts not only include recordings; they also facilitate perspectives on classic-rock fusion, performance practices, studio techniques, and the creative role of the producer and sound engineer.

CHAPTER 2

Must-Hear Music

AC/DC AC/DC (1973–) initially began as a glam-rock band in Sydney, Australia but shifted quickly to hard rock and blues-rock fusion. It incorporated hard-rock sounds that are often considered elements of heavy metal: an emphasis on guitar virtuosity; a constant exploration of effects (especially distortion, overdrive, and feedback) on all electric instruments; a frequent use of power chords and guitar doubling; a loud, driving drum and bass groove that requires physical endurance; and an equally loud, unbreakable voice capable of belting, wailing, screaming, and theatrical expressiveness. Early on, AC/DC toured with heavy metal pioneer Black Sabbath; it influenced later heavy metal bands such as Iron Maiden, Def Leppard, Saxon, Mötley Crüe, Anthrax, and Megadeath; however, AC/DC has never identified as a heavy metal band despite its frequent focus on dark subject matter such as violence, depression, drug use, misogyny, sex, general excesses, and hard living, all conventions of the heavy metal ethos. Like its contemporary Aerosmith, AC/DC experienced a successful comeback in the 1980s after its own rise in the 1970s. AC/DC began with Glasgow-born singer-songwriter-guitarist brothers Malcolm (1953– 2017) and Angus Young (1955–), whose family immigrated to Sydney after the Big Freeze of 1963 in Scotland. Malcolm took on the responsibility of rhythm guitarist, and Angus became lead guitarist; they formed their band in 1973 with Welsh-born lead vocalist Dave Evans (1953–), San Francisco–born bass guitarist Larry Van Kriedt (1954–), and Sydney-born drummer Colin Burgess (1946–). The Youngs named the band after noticing the AC/DC switch on their sister Margaret’s sewing machine.

18  Listen to Classic Rock!

After a year of engagements in Sydney, AC/DC switched from glam rock to focusing on hard rock and blues-rock, though Angus Young continued wearing costumes such as his schoolboy uniform. Evans’s smooth high tenor voice resembled Scottish glam-rock band The Sweet’s lead singer Brian Connolly. Because he no longer fit the new image of the band, in addition to his involvement in a physical fight with manager Michael Browning, AC/DC fired him. At the time, AC/DC became the regular supporting band for Lou Reed when he toured in Australia, and the band’s new lead singer, Bon Scott (Ronald Belford Scott, 1946–1980), had first come to admire the band during one of these performances in Adelaide. In September 1974, AC/DC reluctantly hired Bon Scott (born in Forfar, Scotland) upon the suggestion of their friend, Vince Lovegrove, who sang in The Valentines (1966–1970) with him. But Scott quickly became a cowriter with the Youngs and helped them rewrite “Can I Sit Next to You, Girl” and “Rockin’ in the Parlour.” Both had been on the only singles that AC/DC recorded with Evans. AC/DC recorded its debut album High Voltage (1975) in November 1974 at Albert Studios in Sydney on Albert Productions, under EMI Records. Harry Vanda (Johannes Hendrikus Jacob van den Berg, 1946–) and the Youngs’ oldest brother, George Young (1946–2017), produced the album, which was released on February 17, 1975. Also, songwriting partners Harry Vanda and George Young had been in the rock-and-roll band The Easybeats (1964–1969) and would shortly afterward establish the new wave rock band Flash and the Pan (1976–1993). High Voltage began AC/DC’s studio recording output, which, as of 2019, includes 16 albums—all but the latest has attained multiple-platinum certifications in Australia. After High Voltage and T.N.T. (both 1975), the band signed onto the Atlantic Records label. Their debut album yielded their first hits in Australia, “Can I Sit Next to You, Girl” and “Love Song” at No. 50 and 20, respectively. “High Voltage,” which appears not on their debut album but on T.N.T., as well as “It’s a Long Way to the Top,” were AC/ DC’s first Top-10 hits in Australia at No. 10 and 9, respectively. Early on, the band underwent personnel changes. Bassist Mark Evans (1956–) replaced Van Kriedt and first appears on T.N.T. This album was also the first album for drummer Phil Rudd (Phillip Hugh Norman Witschke Rudzevecuis, 1954–) with AC/DC. Starting with another album titled High Voltage (1976), Atlantic released AC/DC’s albums internationally, working with the Sydney-based label, Albert Productions. AC/DC’s first successful string of albums took place in the late 1970s and included Dirty Deeds Done Dirt Cheap (1976), Let There Be Rock (1977), Powerage (1978), and Highway to Hell (1979). Dirty Deeds

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Done Dirt Cheap was No. 5 and 3, respectively, in Australia and the United States, charted internationally, and stood out as their top-selling album of this period, attaining sextuple-platinum status in Australia and the United States. The album’s humorous title track was No. 29 and 34, respectively, in Australia and New Zealand. After the album was released in 1980 in the United States, “Dirty Deeds Done Dirt Cheap” was reissued as a single with “Highway to Hell” as its B-side. The reissue was No. 4 on the Billboard’s Mainstream Rock chart and No. 47 in the United Kingdom. “Big Balls” also performed on this chart at No. 26. Let There Be Rock was No. 19 in Australia but just No. 154 on the Billboard 200. It was nevertheless a quintuple-platinum album in Australia and a double-platinum album in the United States. Some of its songs, such as “Dog Eat Dog,” and its title track did not chart strongly in Australia, and “Whole Lotta Rosie” failed to chart in Australia. The last, a hard-rock and blues-rock song, is about a one-night stand with a large, sexually adroit Tasmanian woman named Rosie. The title parodies Led Zeppelin’s 1969 hard rock, blues-rock, and psychedelic-rock hit “Whole Lotta Love.” Curiously, it became No. 5 in the Netherlands. It has also become a live concert favorite and a live version was released on their first and only live album with Scott, If You Want Blood You’ve Got It (1978). In the same year as this live album, Powerage was released, becoming No. 22 and 133, respectively, in Australia and the United States. The hard-rock and blues-rock album is the first to include bass guitarist Cliff Williams (1949–), who replaced Mark Evans. Previously, the Youngs fired Mark Evans after he recorded “Cold Hearted Man.” Powerage attained triple-platinum and platinum certification, respectively, in Australia and the United States. It had a minor hit with their hard rocking “Rock ’n’ Roll Damnation.” Highway to Hell was AC/DC’s final album with lead singer Scott. The album was No. 13 and 17, respectively, in Australia and the United States. Its title track was the band’s first charting hit in the U.S. The song was No. 24 and 47, respectively, in Australia and the U.S. “Touch Too Much” bubbled under at No. 106 on the Billboard Hot 100 in the U.S. On February 19, 1980, Scott died of acute alcohol poisoning while in London. After auditions, the band hired Brian Johnson as its new lead singer (1947–). Previously, he was a cofounder of the glam-rock, hard-rock, blues-rock band Geordie (a.k.a. Powerhouse, 1971–1980, 1982–1985, 2018–), from Newcastle, England, the home of the British Invasion blues-rock band, The Animals. Though Scott’s tenor vocals were thinner-sounding, he brought to AC/DC his sense of lyrical delivery and theatricality that gave the band its menacing edge. His inspirations

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included Little Richard and rhythm-and-blues musicians, whereas Johnson was more interested in soul and had a background singing cabaret and soft pop. In contrast to Scott, Johnson’s voice is deeper—starting at second tenor, but soon moving down to baritone—as well as fuller and raspier. Another contrast is Johnson’s incorporation of humor in his performances. Johnson immediately became one of AC/DC’s songwriters and started his work with the band by recording AC/DC’s most successful album, Back in Black (1980). Recorded in between April and May 1980 at Compass Point Studios in Nassau, The Bahamas, Back in Black was released on July 25, 1980. Mutt Lange (Robert John Lange, 1948–), the album’s Johannesburg-raised producer, had previously produced Highway to Hell as well as The Boomtown Rats’ “Rat Trap” (1978)—the first No. 1 punk-rock single in the United Kingdom. The highly anticipated album topped charts in Australia and elsewhere and was No. 4 on the Billboard 200, attaining duodecuple-platinum and double-diamond status, respectively, in Australia and the United States. Though “Rock and Roll Ain’t Noise Pollution” was No. 7 in Australia and charted internationally, it missed the Billboard Hot 100 and was instead No. 50 on Billboard’s Mainstream Rock chart. The song’s B-side, “Hells Bells,” became a strong fan favorite and was eventually certified gold in the United States. The song begins with a church bell gonging on the pitch A, followed by lead guitar (left) playing a melody in A minor. A second guitar then appears (right) and answers the lead guitar’s lines, followed by soft cymbals, bass, and then drums. Johnson enters with his raspy voice singing the first verse. The song is a tongue-in-cheek revenge piece that mentions Satan and hell—in a way, poking fun at people who believe rock of any kind is Satanic. The album’s title track was a minor hit in Australia and the United States, but its most significant hit was the hard rock and pop-rock “You Shook Me All Night Long” at No. 8 and 35, respectively, in Australia and the United States. Notable for its lead guitar melody, which gets pleasingly doubled, the song is more radio-friendly than most AC/DC songs while representing their repertory, which often focused on sex. Back in Black began the band’s second and lengthiest string of hit albums: For Those about to Rock (We Salute You) (1981); Flick of the Switch (1983); Fly on the Wall (1985); Blow Up Your Video (1988); The Razors Edge (1990); Ballbreaker (1995); Stiff Upper Lip (2000); Black Ice (2008); and Rock or Bust (2014). For Those about to Rock (We Salute You), their follow-up album to Back in Black, was No. 3 and 1, respectively, in Australia and the United States, attaining quintuple-platinum and quadruple-platinum status, respectively, in both

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countries. Flick of the Switch was Rudd’s last album with the band until he reunited with it 11 years later. In this time, Simon Wright (1963–) replaced him. Who Made Who (1986), though less successful, returned AC/DC to the Top-10 in Australia with its Vanda and Young–produced title track. The Razors Edge performed as well in Australia, was No. 2 in the United States, and attained quintuple-platinum status in the United States. Drummer Wright left to join the American heavy metal band Dio before this album was released and was replaced by Welsh drummer Chris Slade (Christopher Rees, 1946–). Previously, Slade was in the original lineup of Manfred Mann’s Earth Band. The Razors Edge included “Thunderstruck,” which was No. 4 in Australia and No. 5 on Billboard’s Mainstream Rock chart in the United States. The Vanda and Johnson-produced “Heatseeker” (1988) was No. 5 and 20, respectively, on these charts in both countries. Rudd reunited with the band, starting with Ballbreaker, coproduced by notable hip-hop producer, Rick Rubin. AC/DC’s best chart-performing album, Black Ice, on the Columbia Records label, topped charts in Australia, the United States, and internationally and attained quintuple-platinum and double-platinum status, respectively, in Australia and the U.S. “Rock ’n’ Roll Train” was No. 1 on Billboard’s Mainstream Rock chart. Later charting success for AC/DC mostly took place on this chart. AC/DC’s No. 1 hit singles on Billboard’s Mainstream Rock chart included “Big Gun,” used in the soundtrack for the American film The Last Action Hero (1993); “Hard as a Rock” (1995) on Ballbreaker; the title track (2000) appearing on Stiff Upper Lip; and “Rock ’n’ Roll Train” (2008) from Black Ice. After Black Ice, Malcolm Young, who survived lung cancer, was diagnosed with dementia and retired in 2014. AC/DC’s latest album as of 2019, Rock or Bust (2014), is the band’s only album without Malcolm Young. On Rock or Bust, the Youngs’ nephew, Stevie Young (1956–), replaces him, officially joining the band. Over the years, he supported the band and filled in for Malcolm Young on various tours. AC/DC has experienced further personnel changes, most notably with Rudd’s departure in 2015 and Johnson’s due to hearing loss in 2016. Rudd pled guilty for threatening to kill his assistant and to drug charges; he was sentenced to eight months of home detention and fired by the band. In 2016, Axl Rose replaced Johnson so that AC/DC could complete its Rock or Bust World Tour and decided to join as a permanent replacement; however, in 2018, the band and Johnson began working together again. Meanwhile, in 2017, Malcolm Young died from complications related to dementia.

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AEROSMITH Aerosmith (1970–), a successful continuation of hard rock and bluesrock fusion, formed as an American blues-rock band in Boston. It incorporated hard-rock sounds that are often considered elements of heavy metal: an emphasis on guitar virtuosity; a constant exploration of effects (especially distortion, overdrive, and feedback) on all electric instruments; a frequent use of power chords and guitar doubling; a loud, driving drum and bass groove that requires physical endurance; and an equally loud, unbreakable voice capable of belting, wailing, screaming, and theatrical expressiveness. Aerosmith began as a band merger. In 1970 Chain Reaction (a.k.a. The Strangeurs, 1964–1970) from Yonkers, New York, and Jam Band (ca. 1964–1970) from Boston performed together at a Boston gig. Chain Reaction included lead vocalist and drummer Steven Tyler (Steven Tallarico, 1948–) and his childhood friend, guitarist Ray Tabano (1946–); and Jam Band included Tyler’s friend from Yonkers, drummer Joey Kramer (1950–), lead guitarist and vocalist Joe Perry (Anthony Joseph Perry, 1950–), and bass guitarist Tom Hamilton (1951–). Chain Reaction had more professional experience than Jam Band, having been an opening act for The Beach Boys, The Byrds, and The Yardbirds. Tyler liked the way the bands sounded and suggested creating a new band as long as he could be the lead singer and no longer drum. Kramer, who relocated to Boston to attend the Berklee School of Music, dropped out to play in Jam Band and was amenable to the idea, as were Perry and Hamilton. Tabano joined as the fifth original member but was replaced in 1971 by rhythm guitarist and vocalist Brad Whitford (1952–), another Berklee student. The band’s name came from Kramer, inspired partly from the title of Harry Nilsson’s album, Aerial Ballet (1968) and its cover art, which prominently featured a trapeze artist swinging from a ladder attached to a biplane. After considering other names, and hearing Kramer’s explanation of the spelling, the band decided to name itself Aerosmith. In 1972, Aerosmith signed onto the Columbia Records label and began its most prolific studio-recording period with its eponymous album (1973). Aerosmith was recorded in October 1972 at Intermedia Studios in Boston and released on January 5, 1973. The album was No. 21 on the Billboard 200, eventually attaining double-platinum status, and its tracks received a lot of FM radio airplay. Despite this success, critics and some listeners insisted on comparing the band to The Rolling Stones, mainly because of Tyler’s physical appearance and some of his performance demeanor that resembled

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that of The Rolling Stones’ lead singer, Mick Jagger. Though the physical appearance is striking, their voices are different from each other, despite Jagger’s influence on Tyler and their both being tenors with a similar range. Tyler’s voice sounds smoother and more trained than Jagger’s, which is slightly deeper and louder. In addition, Perry’s role as lead guitarist and songwriter led to comparisons between him and The Rolling Stones’ lead guitarist, Keith Richards. Aerosmith’s first hit, “Dream On,” was No. 59 on the Billboard Hot 100 Since their comeback, which was initiated in the United States. The by their 1986 collaboration with Run-DMC album’s producer, Adrian on their rap-rock cover of “Walk This Way,” Barber (1938–), had previ- Aerosmith has become one of the best-selling ously been an engineer on classic-rock bands of all time. Pictured here are English blues-rock, hard- lead singer Steven Tyler and lead guitarist Joe rock, and psychedelic-rock Perry performing in 1989 at the Boston Garsupergroup Cream’s final den. (Eautographhunter/­Dreamstime​.­com) album, Goodbye (1969), and produced another blues-rock as well as Southern rock act, The Allman  Brothers Band’s eponymous studio album (1969) and the proto-punk and retro rock-and-roll band The Velvet Underground’s fourth studio album, Loaded (1970). A 1976 reissue of Aerosmith led to stronger charting success for “Dream On,” this time becoming No. 6 in the United States and charting internationally. Composed by Tyler when he was about 18 years old, “Dream On” stands out on the album for being a hard-rock song that comes very close to prog rock. Most of the songs, such as “Somebody,” “Write Me a Letter,” “One Way Street,” and “Movin’ Out” were blues-rock often fused with hard rock. “Dream On” also stands out for sounding the most like the band; in other words, the band was so nervous recording their first album that their sound on most

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tracks was more rigid than usual. At the time, Tyler lacked confidence as a blues-rock singer, so he purposely altered his voice. Barber’s laid-back approach and the availability of drugs did not help the situation. “Dream On,” in F minor, is a moderately slow song in quadruple meter. Its recorded song structure is as follows: instrumental introduction (bifurcated); verse 1; vocal bridge; refrain 1; instrumental bridge; verse 2; refrain 2; instrumental interlude; refrain 2; refrain 3 (outro). The introduction begins with an F minor tonic pedal (the home key extends throughout this section), featuring electric guitars, bass (right), and keyboard (left), followed by a melodic lead electric guitar (left). On verse 1, drum cymbals enter, and rhythm guitar appears more clearly on the right speaker. Lots of reverb is applied to Tyler’s soft voice, which oscillates on the word “pay” in the vocal bridge. The same effect appears again at the end of refrain 2 and in refrain 3, which becomes the outro. Here, Tyler, a low tenor, repeats the “dream on” refrain using falsetto (the highest register of his voice). The refrains are based on a Flamenco progression (also called money chords with the usual pattern of i-VII-VI-V[7]), creating a descending sound with the following chord progression: F minor-E-flat major-D-flat major-E-flat major (F minor: i-VII-VI-VII back to i, repeating with some chord substitution and ending on a D-flat major seventh chord, or VI7, which sounds like a big C major or V substitution). The instrumental interlude has introductory-related material and gives the song a brief folk-rock sound and places guitars in the foreground. As expected, drums become more prominent in the refrains (including the outro). Aerosmith’s album charting success improved tremendously after Get Your Wings (1974), which was just No. 74 on the Billboard 200. Toys in the Attic (1975) was No. 11 and attained octuple-platinum status, followed by Rocks (1976) at No. 3 with quadruple-platinum status, Draw the Line (1977) at No. 11 with double-platinum status, and Night in the Ruts (1979) at No. 14 with platinum status. Toys in the Attic represents Aerosmith’s stylistic shift away from blues-rock in favor of hard rock with some pop-rock, glam-rock, and psychedelic-rock elements. “Sweet Emotion,” which appeared on Toys in the Attic, was the band’s second hit single at No. 36 on the Billboard Hot 100. Jack Douglas produced this album; he had previously produced Get Your Wings and, much like producer George Martin with The Beatles, he often became involved as a musician on Aerosmith’s albums. In A major, “Sweet Emotion” is structurally less complex than “Dream On,” but it uses more psychedelic-rock elements. The recorded song structure is as follows: instrumental introduction; refrain; verse 1;

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instrumental bridge; verse 2; instrumental bridge (extended, with soft vocalizations in the background); refrain; verse 3; instrumental bridge; verse 4; instrumental bridge (extended); instrumental outro. The song’s introduction suggests raga rock, though no sitar or other Hindustani classical instrument is used. Perry uses a talkbox (Kustom Electronics’ device called The Bag) on his guitar (left), which has the main melody. The drone-like sound (right) is Hamilton’s funky riff on bass and sound engineer Jay Messina’s bass marimba, all accompanied by Tyler shaking a sugar packet (for maracas). Tyler’s vibraslap (left) enters a couple times as the drone-sounding bass alternates from right to left speaker. The lead guitar (still right) oscillates at the end of this introduction. Tyler begins the simple refrain by doubling Perry’s melody; drums also enter here. The refrain repeats the words “sweet emotion,” accompanied by a two-chord progression (A major-D major-A major or A major: I-IV-I) The verses are more blues-rock sounding, yet less melodic, and feature Tyler talk-singing. The instrumental outro features Perry’s lead guitar solo (left) and another guitar track (right) with a wah-wah pedal applied as the song fades out. From the same album as “Sweet Emotion,” “Walk This Way,” like “Dream On,” charted better after a 1976 reissue. Originally failing to chart, it became No. 10 on the Billboard Hot 100. At No. 21, another significant hit was “Last Child” from Rocks. Aerosmith portrayed the hard-rock band F.V.B. (a.k.a. Future Villain Band) in Michael Schultz’s American musical comedy film Sgt. Pepper’s Lonely Hearts Club Band (1978) with a narrative based loosely on and using new renditions of songs from The Beatles’ albums, Sgt. Pepper’s Lonely Hearts Club Band (1967) and Abbey Road (1969). Aerosmith’s rendition of The Beatles’ (1960–1970) “Come Together” (1969), which appeared on the Sgt. Pepper’s Lonely Hearts Club Band Soundtrack (1978), was No. 23 on the Billboard Hot 100 and was the band’s last significant hit of the decade. By the end of the 1970s, the band experienced drug issues. Perry departed from Aerosmith in 1979 after Tyler confronted him about his wife’s throwing a glass at Hamilton’s wife backstage while the band was performing. Tyler himself was dealing with drug addiction and collapsed several times while performing onstage. Leaving in the middle of recording Night in the Ruts, Perry took his songs and immediately signed onto the MCA label and started his hard-rock and blues-rock band, The Joe Perry Project (1979–1984). Perry had already recorded several tracks on Night in the Ruts. Whitford filled in along with Richie Supa (Richard Goodman), who was a friend of the band and contributed songs recorded by them such as “Chip Away the Stone” (1978), and Jimmy

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Crespo (1954–), who replaced Perry from 1979 until he reunited with the band in 1984. Aerosmith entered the 1980s with the less successful yet charting hit albums, Rock in a Hard Place (1982) at No. 32 on the Billboard 200 and Done with Mirrors (1985) at No. 36, but had no charting singles on the Billboard Hot 100. The latter recording marked Perry’s return to the band. Earlier, in 1984, Aerosmith signed onto Geffen and began working on its drug issues the following year. In 1986, Tyler finished attending a drug-addiction rehabilitation program. That year, Aerosmith found its second wind through Run-DMC’s (1981–2002) hip-hop cover of “Walk This Way” (1986), on which Tyler and Perry were invited to perform vocals and guitars. Run-DMC’s rendition, which appeared on their album Raising Hell (1986), was No. 4 on the Billboard Hot 100. Both the song as well as the MTV video, which included Tyler, Perry, and the rest of the band onstage as guests, brought mainstream popularity to hip-hop. This amusing video starts with Run-DMC banging on a wall as Aerosmith practices next door. Run-DMC responds by rapping to the song, accompanied by Jam Master Jay’s turntables, and ultimately performing together with the band, albeit in a competitive way onstage, backed by a wall of Marshall amplifiers—the last a subtle running joke between heavy metal bands. Aerosmith’s Permanent Vacation (1987) and Pump (1989) both performed significantly better than their previous 1980s albums at No. 11 and 5, respectively, on the Billboard 200. This comeback made Aerosmith one of the top-selling classic-rock bands of all time. Permanent Vacation and Pump attained, respectively, quintuple- and septuple-platinum status. Permanent Vacation included “Angel,” a fusion of hard rock and glam rock called glam metal that became No. 3 on the Billboard Hot 100. The album’s first single, “Dude (Looks Like a Lady),” a hard-rock and blues-rock hit at No. 14, also increased the band’s mainstream popularity. Pump had more successful hits with the hard rock, bluesrock, and funk metal “Love in an Elevator” at No. 5, which became a gold-certified single, and the hard-rock and psychedelic-rock “Janie’s Got a Gun” at No. 4. “Janie’s Got a Gun” is about a girl who shoots her male abuser and rapist. The MTV video for “Janie’s Got a Gun” received frequent airplay. The psychedelic-sounding introduction was originally a separate piece titled “Water Song” that featured Canadian composer and multi-instrumentalist Randy Raine-Reusch (1952–), who plays glass harmonica, wind gong, and bullroarers. Tyler adds eerie-sounding vocals to the second part of this introduction.

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Into 1990, Pump had another hit single with “What It Takes” at No. 9 on the Billboard Hot 100. Mostly hard rock and blues-rock, the song stands out for its country-rock elements. Between the 1990s and 2000s, Aerosmith’s albums include Get a Grip (1993), Nine Lives (1997), Just Push Play (2001), Honkin’ on Bobo (2004), and Music from Another Dimension! (2012). Get a Grip and Nine Lives were No.  1 on the Billboard 200, whereas Just Push Play was No. 2. Honkin’ on Bobo and Music from Another Dimension were No. 5. Like Pump, Get a Grip attained septuple-platinum status. The second most successful selling album of these two decades was Nine Lives, which attained double-platinum status. The band’s most significant hits of this period all appeared on Get a Grip. These were “Cryin’” at No. 12 and certified gold, “Crazy” at No. 17, and “Livin’ on the Edge” at No. 18. Out of Aerosmith’s latest albums, significant hit singles are “Pink” at No. 27 and the gold-certified “Falling in Love (Is Hard on the Knees)” at No. 35, both on Nine Lives, as well as “Jaded” at No. 7 on Just Push Play. Over these years, Aerosmith earned four Grammy Awards for Best Rock Performance by a Duo or Group with Vocals for “Janie’s Got a Gun,” “Livin’ on the Edge,” “Crazy,” and “Pink.” Aerosmith also had a No. 1 hit with the hard-rock and pop-rock (power pop) single, “I Don’t’ Want to Miss a Thing” (composed by Diane Warren). This gold-certified hit was used in the soundtrack of the American science fiction–natural disaster film Armageddon (1998). Aerosmith, like AC/DC, was a second-generation heir to British bands like The Rolling Stones and The Yardbirds, followed by Led Zeppelin, who fused blues-rock and hard rock in ways that foreshadowed heavy metal. Though sharing the same hard rock and heavy metal sounds of emerging 1980s hair bands such as Bon Jovi, Van Halen, and Twisted Sister, Aerosmith and AC/DC, along with Guns N’ Roses, set themselves apart with their use of some blues-rock and by generally avoiding recording songs in the pop-rock style. In 2001, Aerosmith was inducted into the Rock and Roll Hall of Fame. THE BEATLES No musical act rivals The Beatles (1960–1970) for their contributions to the development of classic rock or their influence on other classic-rock musicians. Several parts of this book address specific aspects of The Beatles. The background chapter briefly mentions a couple of early musical practices that can be heard in their studio recordings and their

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The most influential classic-rock band of all time is The Beatles. The band’s first visit to the United States in February 1964 sparked the British Invasion. Appearing at a press conference are lead guitarist George Harrison, drummer Ringo Starr, bassist and keyboardist Paul McCartney, and guitarist and keyboardist John Lennon. All shared vocal responsibilities. (Library of Congress)

influences, especially on the sound of pop-rock, folk rock, and psychedelic rock, whereas other “Must-Hear Music” entries delve more deeply into their psychedelic-rock masterpieces—the album Revolver (1966) and the song “A Day in the Life,” from the album Sgt. Pepper’s Lonely Hearts Club Band (1967). In contrast, this entry offers an overview of The Beatles’ studio recording output by focusing on its musical styles and its consistent use of rock-and-roll and classic-rock chord progressions. In addition, this entry also explores the recording output of some of The Beatles’ most prominent spinoff acts. The Beatles’ studio-recording output reflects their two main periods: during their prehistory, from 1956 until 1965, The Beatles (1960–1970) were a well-manicured, suited band that played rock and roll, pop, poprock, and soft rock with some occasional folk rock; between 1966 until their dissolution in 1970, they became more experimental and shifted to psychedelic rock, hard rock, and art rock. During the psychedelic era, the lineup included John Lennon (1940–1980), Paul McCartney (James

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Paul McCartney, 1942–), George Harrison (1943–2001), and Ringo Starr (Richard Starkey, 1940–). Either Lennon or McCartney initiated most of the songs, though Harrison also composed a few himself. Lennon and McCartney had a publishing arrangement to just credit songs as Lennon-McCartney—their music publishing company was Northern Songs Limited (1963–1973), while Harrison’s for his songs was Harrisongs Ltd (1964–). Many of The Beatles’ albums were released in the United Kingdom before they were released in North America. This release pattern, in addition to country- or region-specific releases, complicates their discography. U.K. studio releases from the first period are Please Please Me and With the Beatles (1963), A Hard Day’s Night and Beatles for Sale (1964), and Help! and Rubber Soul (1965). U.K. studio releases from the second period are Revolver (1966), Sgt. Pepper’s Lonely Hearts Club Band (1967), The Beatles (a.k.a. The White Album, 1968), Abbey Road (1969), and Let It Be (1970). In brief, the prehistory of The Beatles starts with The Quarrymen, singer and guitarist Lennon’s skiffle and rock-and-roll band, which he founded in September 1956. In 1957, singer and guitarist McCartney met Lennon, and, by July, he joined the band. Lennon also began songwriting that year, completing his first song, “Hello Little Girl” (eventually recorded by The Beatles in 1962 for a demo they used during an unsuccessful audition with Decca and credited to Lennon-McCartney). By early 1958, McCartney’s friend, guitarist and singer Harrison joined and became their lead guitarist. While performing at local engagements, The Quarrymen recorded its first original song, “In Spite of All the Danger” with McCartney singing lead vocals, and it first cover, Buddy Holly’s “That’ll Be the Day” (1957, with Jerry Allison), with Lennon on lead vocals. When Lennon attended Liverpool College of Art, he met Stuart Sutcliffe (1940–1962), one of the school’s best students. Sutcliffe tutored Lennon to improve on his art. In 1960, after he and Lennon became roommates, Sutcliffe joined The Quarrymen (who had just changed their name to The Silver Beetles) as their bassist, even though art interested him much more than music. The band recorded another Lennon song, “The One after 909,” at Phillips’ studio; and very shortly afterward, they named themselves The Beatles. Between 1960 and 1962, The Beatles maintained residencies—due to lengthy performance engagements—between Liverpool and Hamburg, West Germany. Madras-born drummer Pete Best (Randolph Peter Scanland, 1941–) replaced Colin Hanton (1938–), who was a member since 1957 and the band’s Quarrymen days. Best’s

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mother, Mona Best, owned the Casbah Coffee Club in the family basement, the venue that offered The Beatles’ first residency in Liverpool. Playing for as many waking hours as possible with few breaks, The Beatles honed their musicianship as well as songwriting. In 1961, Brian Epstein (1934–1967) became impressed with The Beatles after hearing them at The Cavern Club in Liverpool, and he eventually became the band’s manager in January 1962. Meanwhile, The Beatles had obtained a recording contract with Polydor. In order to move forward, Epstein negotiated with the German label to end the band’s contract early, in exchange for The Beatles’ recording more backing tracks for English rock-and-roll singer Tony Sheridan (Anthony Esmond Sheridan McGinnity, 1940–2013, heard on his 1961 album, My Bonnie). After an unsuccessful in-studio audition with Decca Records, producer George Martin (1926–2016) signed The Beatles to EMI’s Parlophone label. The band dismissed Best after an initial recording session on June 6, 1962, in London. Ringo Starr replaced him, departing from his skiffle and rock-androll band, Rory Storm and the Hurricanes (1959–ca. 1967). Ringo Starr joined the band only two weeks before his first recording session, so Martin decided to use a sessions drummer on The Beatles’ first Parlophone single, “Love Me Do”; however, after three sessions with different drummers, including Starr, it was his version that was selected for the single’s U.K. release on October 5, 1962. The Andy White version was included on the band’s debut album Please Please Me (1963), The Beatles’ Hits EP (1963), and Capitol Records’ release of the single on April 27, 1964, in the United States. “Love Me Do” is a rock-and-roll song that includes Merseybeat, another kind of music that The Beatles played often and a popular style in late-1960s England. Merseybeat is a Liverpool-based rock-and-roll fusion of earlier doo-wop, rhythm and blues, folk, blues, jazz, and skiffle. It stresses beats two and four in quadruple meter (four beats per measure). This syncopation is also called backbeat as the heavier beats fall behind the expected first beat or downbeat and beat three. “Love Me Do” was No. 17 and 1, respectively, on the U.K. Singles Chart and the Billboard Hot 100 in the United States, where it was also certified platinum. After “Please Please Me” (1963) was No. 2 in the United Kingdom, The Beatles hit their stride with topping charts in the United Kingdom and the United States with “She Loves You” (1963). During this period of time, Lennon led their songwriting. This early period of The Beatles focused mostly on rock and roll and pop, exemplified in the aforementioned singles and others like “I Want to Hold Your Hand” (1963), which also contained Merseybeat and which typically followed an AABA form found in pop (each letter represents

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a section with B representing the contrasting section, often called the middle-eight or the bridge). By 1964 the band’s members were beginning to compose songs that appealed to older listeners, such as “A Hard Day’s Night,” in G major, which opens with a dissonant chord played by Harrison on his Rickenbacker 360/12 12-string electric guitar, with Lennon on his Gibson J-160E 6-string acoustic guitar, Martin on a Steinway acoustic grand piano, McCartney on his Höfner 500/1 electric bass, and Starr on snare drum and ride cymbal. This song’s title was the same as The Beatles’ first motion picture (1964) and became No. 1 in the United Kingdom, the United States, and internationally. A hard-sounding rock-androll song that approaches power pop, this romantic song is in G major. The verse’s first two lines uses the chords G major-C major-G major-F major-G major (G major: I-IV-I-bVII-I, which sounds like a displacement and variation of the classic-rock progression, I-bVII-IV). During this time, The Beatles still performed rock and roll, but they also incorporated chords and sounds that reached beyond this style and the three-chord trick (I-IV-V), which is used in some later Beatles songs as well as in the refrain of “Lucy in the Sky with Diamonds,” which appears on Sgt. Pepper’s Lonely Hearts Club Band (1967) and is one of the band’s greatest examples of psychedelic rock. It shifts in meter from triple (three beats per measure) in the verses, in G-sharp major, and prechorus, in A major, to quadruple (four beats per measure) in the refrains, in F-sharp major. The modulations are also characteristic of psychedelic rock. Another earlier example, using some displacement and variation, appears in “Nowhere Man,” a folk-rock–sounding song on Rubber Soul (1965). Flamenco progressions or money chords (i-VII-VI-V), such as the descending progression heard in Del Shannon’s verses for “Runaway” (1961, with Max Crook), are also found in The Beatles’ early recorded repertory. Examples include their earlier 1962 cover of The Coasters’ “Three Cool Cats” (1958) and their own “I’ll Be Back” (1964). Doowop or the ’50s progression, also from rock and roll, continues on as well. Early examples that use some kind of doo-wop progression are the non-album singles “I Want to Hold Your Hand,” “All My Loving,” and “All I’ve Got to Do” from Meet the Beatles (1963); the ending of “And I Love Her” from A Hard Day’s Night (1964); and “You Like Me Too Much” from Help! (1965). Later examples include the non-album singles “Strawberry Fields Forever,” “All You Need Is Love,” and “Hello Goodbye” (all 1967); “Julia” from The White Album (1968); and the title track from Let It Be (1970). The Beatles’ “Come Together,” in D minor, from Abbey Road (1969), contains several sounds that are adapted from rock and roll. Rather than

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clearly using a 12-bar blues structure, this blues-rock-sounding song contains verses that use a variation and displacement of the doo-wop progression, while the refrains are based on a Flamenco progression with substitution. The chord progression in these refrains is B-minor-A major-G major-A major (D minor: vi-V-IV-V), which leads back to the home key, D minor (i). The recorded song structure is as follows: introduction; verse 1; bridge; verse 2; refrain; bridge’; verse 3; refrain; bridge’’; instrumental interlude; bridge’’’; verse 4; refrain; bridge’’’’; outro. The groove or riff heard at the beginning is one of the song’s most prominent features. The introduction consists of McCartney’s bass five-note bass ostinato, accompanied by Lennon’s whispering “shoot it” between the elongated fourth note and the fifth note, with the “it” part of his whisper being placed in the mix’s background by the bass note, percussion, and an echoed handclap (left), followed by Ringo Starr’s hi-hat cymbal and toms (also left) in the foreground. Lots of reverb is applied to this intro groove, which reappears in the bridges and works like a vamp, cuing in Lennon’s verses. Some slight variation occurs in the bridges so that no two are exactly the same. For example, the second bridge (bridge’) contains Harrison on electric guitar (right) doubling McCartney’s bass (now also right), followed by McCartney’s bass tag. The instrumental interlude also features Harrison’s high-pitched electric guitar melody (mostly center), accompanied by Lennon’s “heh, heh, heh” percussive vocables with Starr’s drums and cymbals. The song was recorded in between June 21 and July 3, 1969, and was released on October 6, 1969, as a double A-side single with the more lyrical soft-rock hit, “Something.” Martin worked mostly with Lennon, who composed the song with its absurd verses. Like “Tomorrow Never Knows,” Lennon found inspiration in Timothy Leary again, this time supporting Leary’s candidacy for governor of California (his intent was to run against incumbent Republican governor Ronald Reagan). Leary used the phrase “come together” as part of his campaign slogan (his candidacy became void six months later in 1970 when he was sentenced for possession of marijuana). The verses use one chord per line (D minor, D minor, A dominant7, G dominant7, or D minor: i, i, V7, IV7), which is a displacement of a truncated blues structure. Though folk-rock is so often a nondominating subgenre employed on The Beatles’ albums, it is used constantly throughout the band’s career. Folk-rock’s sound is often characterized by its use of basic progressions, favoring the home chord (I) and a chord known as the subdominant (IV). Borrowed from folk, this two-chord trick is easy to play. The basic folk progression abounds in Beatles studio sound recordings. Their song “Girl,” on Rubber Soul (1965), uses this progression on the first and third

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lines of its verses, but substitutes the major home key with a minor one and the subdominant with the dominant seventh (i-V7 instead of I-IV). The verses serve as contrast to the refrains as well as the Greek bouzouki music-sounding instrumental interlude. Early uses of basic folk progressions are found in “P.S. I Love You” (1962), “Please Please Me” and “Do You Want to Know a Secret” from Please Please Me (1963), their cover of Ricky Dee’s “Devil in His Heart” (1962) from With the Beatles (1963), “No Reply” from Beatles for Sale (1964), “Ticket to Ride” from Help! (1965), and “Drive My Car” from Rubber Soul (1965). Late examples are the non-album singles “Paperback Writer” and “Day Tripper” (1966), “Happiness Is a Warm Gun” and their metatextual “Glass Onion” from The White Album (1968), and “Golden Slumbers” from Abbey Road (1969). The Beatles used so many other kinds of progressions found in rock and roll, from one-chord and two-chord progressions, cycle progressions, 16- and 24-bar blues, to progressions that create ascending or descending movement in the bass. Though the classic-rock progression (I-bVII-IV) is found mostly in Beatles’ songs composed in the late 1960s into 1970, there are some early examples that nevertheless exist. Classic-rock progressions (from straightforward I-bVII-IV, to displacements such as bVII-IV-I, variations such as I-bVII-IV-I, and substitutions such as I-bIII-IV or some combination of a displacement, variation, or substitution) are found in “I’m a Loser” from Beatles for Sale (1964), “Michelle” and “Norwegian Wood” from Rubber Soul (1965), “I Get By with a Little Help from My Friends,” “Good Morning Good Morning,” and the title track from Sgt. Pepper’s Lonely Hearts Club Band (1967), “I Am the Walrus,” and the title track from Magical Mystery Tour (1969, a double-EP in the United Kingdom and an LP in the United States), and “Polythene Pam” from Abbey Road (1969). In 1988, during the same year as The Beach Boys, The Beatles were inducted into the Rock and Roll Hall of Fame. For their solo careers, Lennon was inducted in 1994, McCartney in 1999, and Harrison in 2004. Starr has yet to be included despite his solo success; however, in 2015, as a sideman, he received the Rock and Roll Hall of Fame’s Award for Musical Excellence. THE BEATLES: “A DAY IN THE LIFE” The final track of The Beatles’ (1960–1970) eighth studio album Sgt. Pepper’s Lonely Hearts Club Band (released on May 26, 1967 and No. 1 on the U.K. Albums Chart and the Billboard 200), “A Day in the Life”

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is often ranked at the top of the classic-rock canon. The song combines psychedelic and art rock inspired by music-hall and avant-garde Western art music, in addition to The Beatles’ late-1960s experimental studio practices and already well-known sense of absurdity. Its compound verse structure sews together two contrasting songs as musical sections—John Lennon’s deliberately slow opening verses that indicate ennui (section A with its home key in G major) and Paul McCartney’s cheery middle-eight verses that describe mundane daily activities (section B with its home key in E major). Though McCartney initiated most of the songs on the album, this song’s composition began with Lennon. Despite its complexities, its 5-minute-35-second duration, and its being banned by the BBC for perceived drug references, the song received frequent radio airplay. By the late 2010s, “A Day in the Life” became the album’s third most downloaded song. In November 1966, McCartney wanted to compose a song about a fictional Edwardian-style military band. At this time, The Beatles had retired from touring and, starting on November 24, 1966, began recording “Strawberry Fields Forever” and “Penny Lane,” both full of dreamy, nostalgic images based on the band members’ childhoods in Liverpool, England. Following this aesthetic vein, the band recorded “When I’m Sixty-Four” from December 6 to 21, 1966. Pressure from EMI resulted in the February 13, 1967, release of “Strawberry Fields Forever” and “Penny Lane” as a double A-side single. Though “When I’m Sixty-Four” would be used on the new album, the band felt like it needed to start over. “A Day in the Life” represents this new start, as well as Lennon and McCartney’s introduction of the surreal musical collage into the album. Producer George Martin (1926–2016) and sound engineer Geoff Emerick (1945–2018) added sonic dimensions to the song, such as contrasting Lennon’s wet or echoing vocals, accomplished by using slight tape delay and chamber reverb, to McCartney’s dry vocals. Production values underscore the mood of each section as well as the singers’ different text deliveries (i.e., Lennon’s held-out, lilting notes versus McCartney’s energetic syllabic treatment). Other examples include assigning instruments to specific speakers, subtle and abrupt speaker panning, and use of attack and decay. The introduction establishes G Major as the home key. It begins with strummed acoustic guitar, acoustic piano, and maracas that can be heard on the right speaker. Two measures into the introduction the bass plays, appearing on the left speaker, and contributes to a fuller sound. By the introduction’s end, the guitar and piano plays C major chords (strongly asserting IV), making the listener wonder what will happen next. The

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introduction foreshadows the mood of Lennon’s first verse (section A). His voice is heard on both speakers, with acoustic guitar, acoustic piano, and maracas continuing on the right speaker and bass continuing on the left. The second and third verses (A’ and A’’) add more drums on the left speaker. These verses focus on the singer’s point-of-view narrative in which he read the news about a wealthy man who kills himself. The idea for the lyrical content originated with Lennon, who read in the January 17, 1967, issue of the Daily Mail about the child custody aftermath of Tara Browne’s death. On December 18, 1966, Browne had crashed his Lotus Elan on Redcliffe Gardens, centrally located in southwest London, England. He was Lennon and McCartney’s friend and is often credited for encouraging McCartney’s first LSD (lysergic acid diethylamide) experience. While Lennon was composing these verses, he kept the newspaper article about Browne’s death on his piano. Through further revision with McCartney, who may have been unaware of Lennon’s inspiration, the verses became more symbolic than straightforward narrative. For example, the drums in the second verse underscore Lennon’s “he blew his mind out in a car,” a line with several possible meanings, including drugs or a gunshot to the head. The third verse’s lyrics show detachment as Lennon alludes to the dark comedy film in which he just starred, How I Won the War (1967), by A Hard Day’s Night (1964) director Richard Lester. This verse segues into a bifurcated interlude (a vocal bridge on the words “I’d love to turn you [on]” plus an instrumental bridge). The strings are added first, appearing on the left and then subtly panned to both speakers. The texture then builds up, adding woodwinds and brass, followed by Mal Evans’ spoken-word count. Just after this climax suddenly drops off, the sparse introduction to McCartney’s section B—with acoustic piano (right) and bass, maracas, and drums (left). The maracas are then quickly shifted to appear on both speakers. An alarm clock rings on the right speaker, the result of The Beatles assistant and roadie Mal Evans’s (1935–1976) joke during a recording session (the sound could not be removed, but it worked well with McCartney’s content and was incorporated). Section B establishes E major as the new home key, suggesting detachment from Lennon’s world. Within the context of classic rock, this nonfunctional key change from G to E major does not sound shocking, though it is unexpected. A more predictable choice might have been G minor (G major’s parallel minor), D major (the dominant or V of G major), or E minor (iii, G major’s relative minor; like G major, its key signature also has F-sharp, and the E minor chord has two pitches in common with the G major chord—G and B).

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In his two verses, McCartney’s first-person narrative describes waking up. His nonchalant, sprightly tone, accompanied by walking bass on the left speaker and the piano’s occasional doubling of the bass, adds charm. His heavy breathing is heard alternating between right and left speakers as he hurries. McCartney’s words were loosely based on Dorothy Fields’s lyrics in “Sunny Side of the Street” (1930), a Broadway musical number turned popular standard that was originally composed for Lew Leslie’s International Revue. This little song gets interrupted when McCartney’s persona drifts into a dream, a vocal bridge (repeating the sound “ah”) that leads to Lennon’s fourth verse (A’’’). Though composed by McCartney, Lennon sings this vocal bridge with the same vocal effects applied to his opening verses. In four measures that are repeated, this bridge briefly speeds up the harmonic rhythm: C down to G major, then D down to A major; both amen-sounding gestures (IV-I, a plagal relationship). A melodic tag with doubled strings outlines E minor just before the fourth verse begins and the home key of G major returns. Lennon’s fourth verse is based on another article in the same issue of the Daily Mail. “The Holes in Our Roads” uses the number of potholes found in Blackburn, Lancashire, England (4,000), to calculate London and Great Britain’s potholes. Lennon appears to understand the absurdity of juxtaposing such a nonstory to the previous article on his friend. A reference to the Royal Albert Hall, a London concert venue for classical music, concludes the verse. Lennon struggled with this line, so Beatles’ business associate Terry Doran (1936–) helped him by suggesting that the potholes could fill the venue. The interlude used between Lennon’s third verse and McCartney’s middle-eight verse appears again. It was composed and recorded after the verses. Lennon and McCartney wanted to have a large musical event follow the “I’d love to turn you on” line and suggested using a full orchestra (originally of 90 musicians, but they settled on 40). McCartney wanted this buildup to use some improvisation, so Martin just scored the strings to continue the trill (oscillating notes) at the end of Lennon’s section and provided instructions for the orchestra’s glissando (sliding-up notes) and crescendo (getting gradually louder). Some instruments were scored to create pitch levels before getting to the E major chord. Allowing the performers to decide how to reach each level and the chord is an avant-garde practice known as aleatoric or chance music. This passage would also be used as the conclusion—the loudest and fullest one on the song and album. Abrupt panning between speakers takes place; horns enter the foreground; the highest note of each musician’s glissando is then reached; then there is silence; then the orchestra attacks

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the E major chord. The final chord’s duration of nearly 42 seconds is unusually long. This final sound offers a unique experience for everyone. Here is just one way of hearing it: the attack makes the E (also the chord’s root) sound loudest at first; then the third (G-sharp) enters the foreground, perhaps for the longest time; finally, the fifth (B) rings out as the chord dissipates. The choice of E major at the end of a song in G major seems random; however, it is also the home key of McCartney’s middle-eight verse. Within the song’s context, the E major chord may signify the mundane tasks described in McCartney’s section; therefore, the conclusion serves as a continuation, an endless loop of days in the life rather than a terminal end. Most of “A Day in the Life” was recorded at night on January 19, 1967, at EMI’s Studio Two, shortly after Lennon and McCartney revised the opening verses. The song’s working title was “In the Life of.  .  .  .” After the fourth take, Lennon switched from acoustic piano to acoustic guitar, and McCartney shifted from Hammond B3 organ to acoustic piano. The Beatles’ guitarist George Harrison ended up playing maracas. The Beatles’ drummer Ringo Starr remained on drums and congas. The entire song was recorded in eight sessions, with the most lavish one taking place on February 10, 1967, at EMI’s Studio One. McCartney and Martin conducted the orchestra. McCartney wanted the session to be a whimsical party, so he supplied musicians and guests with masks, costumes, and props, and the session was filmed as part of a promotional movie (which was never completed) for the album. The intention was to have a segment shot for each song on the album (finished segments appear on The Beatles Anthology DVD in 2003). The orchestra was recorded several times, using all four tracks of a four-track electric tape recorder and was ultimately overdubbed to sound like a much larger orchestra. The final recording session followed on February 22 at EMI’s Studio Two. To create the sound of the final E major chord, keyboards were added to the orchestral overdubs. Lennon, McCartney, Starr, and Evans on three acoustic grand pianos, with Martin on harmonium, played the chord together. Sound levels were set so loud that a squeaking chair, shuffled papers, and a pedal release were captured. These keyboards were later overdubbed three times. THE BEATLES: REVOLVER Revolver was The Beatles’ (1960–1970) seventh studio album. It was recorded in between April 6 and June 21, 1966, at EMI Studio Three

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at Abbey Road in London and released on August 5, 1966, on the Parlophone label in the United Kingdom. George Martin (1926–2016) produced the album. Revolver represents The Beatles’ full embrace of the psychedelic-rock style. It was their last recording before they retired from performing live and touring (previous discussions of The Beatles, its members, style eras, and songwriting can be found in the “Must-Hear Music” entry titled “The Beatles”). Its extensive use of studio techniques and technology, not to mention the results accomplished in the recording, convinced The Beatles to focus their attention on studio work. The U.K. version of Revolver contains 14 tracks, whereas the North American version on Capitol Records, released on August 8, 1966, contains just 11 tracks. Prior to the album’s release, Capitol included three of its songs—“I’m Only Sleeping,” “Doctor Robert,” and “And Your Bird Can Sing”—on Yesterday and Today (released in June 1966), a compilation album that also contains songs from Help, Rubber Soul, and the double A-side single “Day Tripper”/“We Can Work It Out.” The album’s cover features Klaus Voormann’s (1938–) line drawing and his collage of Robert Freeman’s photographs taken between 1964 and 1965. Illustrator Aubrey Beardsley’s line drawings in The Yellow Book (1894–1897), an artistic and literary periodical in England, inspired Voormann. Another inspiration was the psychedelic and experimental sound of “Tomorrow Never Knows.” Revolver’s back cover is one of a series of photographs of cigarette-smoking, sunglasses-wearing Beatles that was taken by Robert Whitaker during filming at Abbey Road on May 19, 1966. Revolver was No. 1 in the United Kingdom and the United States; it also charted internationally. It attained double-platinum and quintuple-platinum certification, respectively, in both countries and multiple-platinum certifications internationally. On August 5, 1966, “Yellow Submarine” and “Eleanor Rigby” were released as a double A-side single in both countries. “Yellow Submarine” was No. 1 and 2, respectively, on the U.K. Singles Chart and the Billboard Hot 100 in the United States, topped charts internationally, and attained gold certification in the United States. It became more popular later, after the release of the English full-length animated musical film, Yellow Submarine (1968). “Eleanor Rigby” was No. 1 and 11, respectively, in the United Kingdom and the United States. As the U.K. version contains more songs, and the stereo mix reveals Martin’s studio recording techniques better than the mono mix, the version in stereo is discussed here. Side One begins with The Beatles’ guitarist George Harrison’s relaxed count-in, which differs from the upcoming energetic song’s tempo and mood. Fret noises from an electric guitar

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(left) appear in the background while an electric guitar amplifier buzzes (right). “Taxman,” in D major, contributes to Revolver’s aggressive, dark opening. One of the most overtly political songs of their repertory, “Taxman,” protests against the tax rates that The Beatles had to pay under Great Britain’s Prime Minister Harold Wilson. The song fuses blues-rock, hard rock, and psychedelic rock. On the stereo version, its first voice and refrain feature voices mixed to the left and all other instruments mixed right. This mix changes by the second verse, in which additional percussion enters (left). The song features Harrison’s solo electric guitar in the instrumental interlude (left). “Eleanor Rigby,” in E minor, follows. Another dark song, this time focusing on loneliness and neglect, “Eleanor Rigby” sounds more like a classical music–inspired pop song than classic rock. A string octet is featured rather than the band on their instruments. The song consists of a steady beat in quadruple meter (four beats per measure) that is common in both classical music and rock, a jazzy melodic line sung by Paul McCartney, and Beatles-sounding three-part harmonies sung by McCartney, John Lennon, and Harrison in the refrains. McCartney composed most of the song, using some help with the lyrics from other members. The recording assigns low strings on the left speaker and high strings on the right speaker. After his first verse, a cello (left) enters during his line, “all the lonely people.” In each verse, the strings provide the beat. The strings’ down-bow sounds demonstrate influence on Martin from Bernard Herrmann’s score of Alfred Hitchcock’s psychological thriller film, Psycho (1960). Lennon composed “I’m Only Sleeping,” a leisurely point-of-view psychedelic-rock and folk-rock song in quadruple meter about a lazy fellow (himself) who prefers staying in bed to the hustle and bustle of the outside world. It is the first song on the album that features manipulated tape sounds; these enter on Lennon’s second verse. The verses feature Lennon’s double-tracked and filtered voice (with slight delay), followed by harmonizing backing vocals at their end. Harrison recorded his Gibson SG electric guitar with fuzz applied on one track but without it on another one, creating a duet mixed down to one tape, which became the song’s backward guitar. It enters again in the foreground (left) of the instrumental interlude and in the song’s conclusion. The song also features a jangly acoustic guitar, which provides its only introductory element—a roll-off. “Love You To,” another Harrison song, is his first full incorporation of Hindustani classical music as a songwriter. Unlike “Norwegian Wood (This Bird Has Flown)” (on The Beatles’ 1965 album, Rubber Soul), which features the sitar playing the main Western-sounding melody,

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“Love You To” employs several Hindustani instruments and more closely follows Hindustani classical performance practices and structure. Harrison plays sitar, backed by Indian musicians from the Asian Music Circle (1946–), a London organization dedicated to promoting both Indian and Asian music. These musicians played sitar, tambura (creating the drones), and tabla (a double-drum set that sometimes sounds like it is under water). The song’s pitch center or home pitch is on C. Like the previous track, its first sound is a roll-off, this time achieved on the sitar. Much has been mentioned about how Harrison’s use of the hallucinatory drug LSD (lysergic acid diethylamide) influenced this song’s carnal lyrics, which focus on wanting sex now; however, the title also suggests the more romantic notion of making love or loving someone endlessly. The soft-rock ballad, “Here, There, and Everywhere,” in G major, was composed mainly by McCartney and features his double-tracked vocals. Inspired by The Beach Boys’ vocal surf ballad “God Only Knows,” which appears on their most adventurous and psychedelic album, Pet Sounds (1966), McCartney returns to romantic lyrical content (Wilson himself composed the impressively complex song after hearing his label mates’ Rubber Soul). Like “I’m Only Sleeping,” this song uses a quick acoustic guitar roll-off before its introduction, which is distinct from the rest of the music. The soft-rock ballad does contain some elements of psychedelic rock, such as its introductory metrical shifts and the delay applied to McCartney’s voice. “Yellow Submarine” is another McCartney song, though Lennon helped with the lyrics. Its playful theme, meant to appeal to children, contrasts greatly with the gloomy songs that open the album and the dreamy ones that appear just before it. This folk/pop novelty is the only song that features Ringo Starr’s lead vocals. Scottish folk and folk-rock singer Donovan’s (Donovan Philips Leitch, 1946–) famous contribution was simply adding the words “sky of blue” and “sea of green,” which appear in the third verse. “Yellow Submarine” employs crowd sounds that enter during the second verse, which cues the horns in its instrumental bridge. In the following refrain, Starr’s piston-sounding percussion accompanies other sound effects such as honks and whistles. Side One concludes with “She Said She Said.” Lennon, whose lead vocals are featured, composed this psychedelic-rock and pop-rock song. Tensions flared, causing McCartney to depart toward the beginning of recording. Harrison therefore plays bass guitar and contributes harmonizing vocals. Metrical shifts from quadruple to triple meter take place in the song’s lyrical B sections, where Lennon sings, “When I was a boy, everything was right.”

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In the early 1960s, The Beach Boys began as a vocal surf group that performed pop-rock; however, their leader and producer, Brian Wilson, found inspiration in The Beatles and another producer, Phil Spector, and quickly moved onto psychedelic and experimental musical ambitions. Pictured here (from top clockwise) are lead singer and frontman Mike Love, drummer Dennis Wilson, songwriter-producer-multi-instrumentalist Brian Wilson, lead guitarist Carl Wilson, and rhythm guitarist Al Jardine. With exception to Dennis Wilson, the group’s only surfer, all shared responsibilities for creating close doo-wop inspired vocal harmonies. (Bettmann/Getty Images)

Side Two begins with Revolver’s most pop-rock oriented song. McCartney composed “Good Day Sunshine.” Here, his lead vocals and music hall–influenced acoustic piano playing are featured. This time, McCartney worked alone with Martin, though the band’s harmonizing backing vocals appear at the end. The song’s music-hall element was influenced by “Daydream” (1966), a song by John Sebastian and his folk and folkrock band, The Lovin’ Spoonful (Everett 1999, 58). Lennon, with some help from McCartney, composed “And Your Bird Can Sing.” This upbeat song fuses hard rock and pop (called power pop) with psychedelic rock. It features both Harrison and McCartney playing

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lead electric guitar. “For No One,” composed mainly by McCartney, follows. Like his earlier “You Won’t See Me” on Rubber Soul, McCartney used his relationship with Jane Asher as his inspiration. Like “Good Day Sunshine,” the song mainly involves McCartney and Martin. This baroque pop-rock song begins with McCartney on clavichord (left), accompanied later by Starr on drums and percussion. McCartney also plays bass (right) and acoustic piano (left) in this song. The instrumental interlude features Alan Civil (1929–1989), a member of the Royal Philharmonic Orchestra, on French horn (right). He also played on “A Day in the Life” on Sgt. Pepper’s Lonely Hearts Club Band (1967). Lennon mainly composed “Doctor Robert” in some collaboration with McCartney. The psychedelic-rock song stands out for having a guitar-driven sound derived from blues-rock. Lennon’s lyrics, which praise a Doctor “Feelgood” physician, may have been based on a real doctor, as it was common during that time for general physicians to dispense and administer combinations of amphetamines and vitamins to their patients. Coincidentally, in 1963, The Beatles’ early rival and friends, Rory Storm and the Hurricanes (1959–ca. 1967), recorded a rock-and-roll song titled “Dr. Feel Good” (1962) on the same label as The Beatles. Rory Storm and the Hurricanes was the band from which Ringo Starr departed before joining The Beatles in 1962. Though their songs share a protagonist, they sound different from each other. Starting in A major, the recorded song structure is as follows: Instrumental introduction; verse 1 (section A); refrain; verse 2 (A’); refrain; instrumental bridge; verse (section B); verse 3 (A’’); refrain; verse (B); verse 4 (A’’’). The A sections and their bluesy seventh chords are juxtaposed against more lyrical B sections that feature harmonium and pulsating electric bass guitar (left) and pulsating electric guitar (right). Unlike other parts of the song, the flowing B sections about feeling fine do not contain drums. “I Want to Tell You” is Harrison’s last song on the album. The LSD-inspired psychedelic-rock song features Harrison’s lead vocals, backed by McCartney and Lennon. This time, McCartney, who takes the high part of their vocal harmonies, includes an Indian classical music element—ornamentation called gamak. McCartney’s following track, “Got to Get You into My Life,” was composed after attending a 1966 Stevie Wonder performance at the Scotch of St. James nightclub in London. This performance, in addition to Motown and Stax-Volt Studios’ use of horns in their soul recordings, inspired McCartney. His song features horns recorded by the eclectic rhythm-and-blues, jazz, pop, and ska band, Georgie Fame and the Blue Flames (1961–1966). Ten years later, “Got to Get You into My Life” charted internationally due to its

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re-release as the B-side of a 1976 re-release of The Beatles’ promotional single “Helter Skelter” (originally released in 1968 on The White Album). This issue coincided with the television film Helter Skelter, which was about the Manson Family murders (1969) and trials (1970–1971). In 1976, “Got to Get You into My Life” was No. 1, 6, and 7, respectively, in Canada, the United Kingdom, and the United States. Ultimately, the single attained gold status in the United States. Revolver concludes with its psychedelic-rock masterpiece, “Tomorrow Never Knows,” composed mainly by Lennon, whose lyrics come very close to quoting verses from the Tibetan Book of the Dead (a.k.a. the Bardo Thödol), revealed by Buddhist Karma Lingpa (1326–1386) and translated by Kazi Dawa Samdup (1868–1922), that were reinterpreted in Timothy Leary (1920–1996), Ralph Metzner (1936–2019), and Richard Alpert’s (a.k.a. Ram Dass, 1931–) The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead (Citadel Press, 1964). Led by Leary, the authors (previously at Harvard University) of The Psychedelic Experience investigated the therapeutic strengths of hallucinatory drugs such as LSD and altered states of consciousness (including mystical states). The book also gives instructions on undergoing such hallucinatory experiences to approach (Buddhist) enlightenment, relating to The Tibetan Book of the Dead, which is used to teach people about dying—connected to rebirth—and a kind of self-surrender called “egodeath.” The song employs a simple verse form (without refrains). Like “I’m Only Sleeping,” tape sounds (Harrison’s backward guitar again) are placed in the foreground (left) in the instrumental interlude, which is an instrumental verse), alternating with earlier sound effects heard in the song, such as seagulls (right). At the very beginning, tambura (left) plays a drone, the very same instrument that plays drones on “Love You To.” Revolver’s influence on classic rock may be second only to its subsequent psychedelic-rock album, Sgt. Pepper’s Lonely Hearts Club Band (1967), which includes “A Day in the Life” (discussed as a separate “Must-Hear Music” entry in this book). Resurgence of interest in Revolver took place after a 1987 reissue, which resulted in the album charting again in the United Kingdom and the Netherlands, and following a 2009 reissue, which resulted in the album becoming No. 9 in the United Kingdom and charting internationally. CHUCK BERRY One of rock and roll’s pioneers is also responsible for influencing the development of classic rock’s aesthetics, image, sound, showmanship,

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Singer-songwriter-guitarist Chuck Berry was not only a pioneer of rock and roll, he was also highly influential to classic rock. Just one aspect of this influence was his live showmanship. Here, Berry is pictured doing his famous duckwalk at a 1979 Rock and Roll Spectacular during Chicagofest. His daughter, Ingrid Berry, is dancing behind him. (Laurence Agron/­Dreamstime​.­com)

and, most of all, guitar playing. In the 1950s, Chuck Berry (Charles Edward Anderson Berry, 1926–2017) recorded some of the earliest successful rock-and-roll songs while gaining tremendous notoriety for his guitar showmanship in live performances. Though he did not invent the duckwalk—a way of moving forward and backward in a partial squatting position while playing his guitar—it became his signature move. His most famous duckwalk starts by squatting, bending his knees together, and getting low in intervals, much like approaching a limbo stick. He also employed a one-foot duckwalk, in which he leaned back a bit while squatting and lifting his front leg in a flexed position. Berry had a lifelong love of and talent for singing. To appeal to a broad audience, he emulated Nat King Cole’s singing style while playing country music, pop standards, and R&B. Muddy Waters recommended that Berry meet his recording label owner, Leonard Chess (Lejzor Schmuel Czyz˙, 1917–1969). That year, he began recording for Chess Records in

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Chicago. Initially, Berry believed that he would be recording the blues, which was his specialization, but Chess had been noticing a decline in that market and was looking for a new sound. After listening to Berry’s rendition of “Ida Red,” based on Bob Wills and his Texas Playboys’ Western swing take (1938) on the traditional song, Chess suggested that the song’s rural title and lyrics should be changed to appeal to a teen audience. Berry’s song “Maybellene” (1955) marked the beginning of his recording career. It exemplifies Berry’s early mastery of writing a story song that contains a memorable narrative twist toward the conclusion. Chess added a heavier beat and maracas to Berry’s song, which gives it a sense of urgency and a rock feel. Its immediate success showed the crossover appeal that both Berry and Chess wanted: it was No. 5 on the Billboard Hot 100 and No. 1 on Billboard’s Hot R&B Songs. “Maybellene” was the beginning of a string of Billboard Hot 100 hits: “School Day (Ring! Ring! Goes the Bell)” and “Rock-and-Roll Music” (both 1957) were, respectively, No. 3 and No. 8; “Sweet Little Sixteen” and “Johnny B. Goode” (both 1958) were No. 2 and No. 8; “No Particular Place to Go” (1964) was No. 10; and “My Ding-a-Ling” (1972) was No. 1. Berry had a large number of Top 40 hits on the same chart as well: “Roll Over Beethoven” (1956); “Carol” (1958); “Almost Grown” and “Back in the U.S.A.” (1959); “Nadine (Is It You)” and “You Never Can Tell” (1964); and “Reelin’ and Rockin’” (1972). Several lesser hits like “Jo Jo Gunne,” “Merry Christmas, Baby,” and “Run, Rudolph, Run” (1958); “Little Queenie” (1959); “Let It Rock” (1960); and “Promised Land” (1964) have also become popular. Starting with his debut album, After School Session (1957), Berry recorded 20 studio albums; most appear on the Chess label. His earliest albums were actually compilations of his single 45s (a smaller vinyl album that usually contained one single on each side). In 1959 he was arrested for allegedly having sex with 14-year-old waitress Janice Escalanti and for taking her across state lines to hire her as a hat-check girl at his racially integrated St. Louis club, Berry’s Club Bandstand. The arrest was based on the police’s interpretation of the Mann Act, known as the White-Slave Traffic Act, which is a federal law (effective since 1910) that made interstate and foreign transport of a woman or girl for the purpose of prostitution or other kinds of “debauchery” a felony. After failed appeals, Berry served a year-and-a-half-long prison term. Berry continued recording with Chess while in prison, but his record sales began to decline. In response, he signed onto the Mercury label between 1963 and 1969 (he would return to Chess in 1969). Meanwhile,

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bands like The Beatles and The Rolling Stones were covering his songs. By 1963, The Beach Boys based the melody of its hit “Surfin’ U.S.A.” on Berry’s melody in “Sweet Little Sixteen.” Between the British Invasion and rise of surf-rock bands, Berry attained a second wind. His first charting albums on the Billboard 200 were St. Louis to Liverpool (1964), which peaked at No. 124, and From St. Louie to Frisco (on the Mercury label), which peaked at No. 185. Berry’s best charting success was with The London Chuck Berry Sessions (1972), which was No. 8 on the Billboard 200 and Billboard’s Top R&B Albums chart. His follow-up studio album Bio (1973) was No. 175 on the Billboard 200 and No. 58 on Billboard’s Top R&B Albums chart. Many years later, a posthumous release, Chuck (2017), the first album to have mostly new original material since Rock It (1979), became Berry’s second-highest charting album. Chuck was No. 49 on the Billboard 200 and No. 9 in the United Kingdom. In addition, Berry obtained many honors, including the Grammy Lifetime Achievement Award (1984) and the Kennedy Center Honors (2000). Berry recorded mono and stereo versions of his hits. The stereo versions enable listeners to better observe production techniques. “Maybellene” was originally released as a single. It eventually appeared on his third studio album, Chuck Berry Is on Top (1959), which, among other personnel, included Bo Diddley (also on electric guitar) and The Moonglows (backing vocals). Diddley also collaborated with Berry on Two Great Guitars (1964), which features their lengthy, improvised rock-androll jams. Their studio album was released on Checker Records, a subsidiary company of Chess Records that featured black artists and groups. “Maybellene” is a fast rockabilly song that fuses rock and roll, country, and rhythm and blues. Its home key is in A major (I) and begins with Berry’s electric guitar introduction, which appears on the left speaker (a typical production value on many of Berry’s recordings). The refrain follows, using just three chords and a 12-bar blues influence (A major: I; IV7-I; V7-IV7-I). The seventh chords, known as dominant chords, also add a bluesy feeling while possessing strong tonal implications (a need to lead to the next chord). This story song uses a first-person narrative to describe his relationship with his girlfriend, whose love is more dedicated to fast, fancy cars than to him. Berry’s accompaniment includes electric organ, drums, bass, and tambourine. An interesting production detail can be heard in the refrain after the second verse, in which his solo guitar evokes a Doppler effect by employing a decrescendo (gradually getting softer) and distortion effect. This sound, which was previously used in jazz recordings, has been used again in classic rock.

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“Johnny B. Goode” appears on the same LP as “Maybellene.” This story song about a boy genius on guitar fuses country-style singing with blues and rock and roll. Berry’s electric guitar introduction in F major foreshadows his persona’s talent. The song begins on a bluesy F major seventh chord (or I7) instead of just F major (I). Like “Maybellene,” the influence of the 12-bar blues structure can be heard, this time in the verses and refrain. A touch of substitution keeps his chords from sounding too repetitive. Berry draws in listeners to his upcoming solo by using Inspired by Chuck Berry and Bob Dylan, the word “Go” at the end singer-songwriter-guitarist Bruce Springsteen of his second refrain, which alternated between recording with his E Street leads into his lengthiest solo, Band and recording as a solo artist. Songs an instrumental bridge. He appearing on his albums are honed through used “Go!” earlier, at the end frequent live performances like this one in of the fourth verse, leading 2008 at the BankAtlantic Center in Sunrise, into his lengthiest bridge on Florida. (Michael Bush/­Dreamstime​.­com) “School Day (Ring! Ring! Goes the Bell)” (1957, appearing on After School Session). Other ways in which Berry draws attention to his solos include ending the second verse on the words “Mississippi Bridge” before his instrumental interlude (and lengthiest bridge), a great use of wordplay with musical structure, in “Memphis, Tennessee” (1959, but it did not appear on an LP until Chuck Berry’s Golden Hits in 1967), and “come and check me out” at the end of the third verse in “Check Me Out” (first appearing on Chuck Berry in Memphis in 1967). Some classic-rock acts got their early breaks by working with Berry during his concert tours. For example, singer-songwriter-guitarist Bruce Springsteen was in his backup band during Berry’s 1970s tours. He would serve in that capacity again in 1995, over a decade after his own success, at Berry’s Rock and Roll Hall of Fame concert.

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BLOOD, SWEAT & TEARS: BLOOD, SWEAT & TEARS Americans had reached a saturation point with the ironic complexities of the late 1960s: despite the inundation of news about the Vietnam War and the protests against the war, ongoing racism and segregation, gender and sexual inequality, environmental destruction, the threat of nuclear war, economic conditions, and starvation elsewhere, they became preoccupied with the Apollo space program’s efforts, Elvis’s comeback, and Jacqueline Kennedy’s marriage to Aristotle Onassis. Some ignored the world and enjoyed the peace of a quiet afternoon by simply turning off the radio or television and playing a good record. One album that can easily be selected as a soundtrack of this mind-set is Blood, Sweat & Tears, which was recorded in between October 7 and 22, 1968, at CBS Studios in New York City and released on December 11, 1968, on the Columbia Records label. The second studio release of the American jazz-rock fusion and psychedelic band Blood, Sweat & Tears (a.k.a. BS&T, 1967–1981, 1984–), it includes the hits “You’ve Made Me So Very Happy,” “And When I Die,” and “Spinning Wheel.” Most of the albums’ tracks feature David Clayton-Thomas (David Henry Thomsett, 1941–), an English-born Canadian baritone with a bold, soulful voice that is somewhat reminiscent of Welsh pop, R&B, soul, and country singer Tom Jones (Thomas John Woodward, 1940–). Just after the success of its debut album, Child Is Father to the Man (1968), BS&T had personnel changes, most notably with the departure of its founding bandleader, vocalist, and keyboardist Al Kooper (Alan Peter Kuperschmidt, 1944–). Blood, Sweat & Tears was therefore Clayton-Thomas’s debut album. Though it contained mostly covers of other artists’ songs, ClaytonThomas’s “Spinning Wheel” became the band’s biggest hit. This song exemplifies BS&T’s best-known sound, which includes Clayton-Thomas’s voice, stylistic and mood shifts, significant instrumental interludes, jazz-infused harmonies, and musical humor. Toward the end of the song, a calliope-sounding tune based on “Did You Ever See a Lassie,” “The More We Get Together,” or “Ach, du lieber Augustin” (“Oh, Dear Augustin,” 1815) is inserted, and then the merry-go-round spins out of control with the musicians’ performance also falling apart. Drummer Bobby Colomby (1944–) is heard faintly commenting, “That was not very good,” which ends the song. By 1969, “Spinning Wheel,” “And When I Die, and “You’ve Made Me So Very Happy” had all peaked at No. 2 on the Billboard Hot 100. That year, the critically acclaimed album became No. 1 on the Billboard 200, alternating for a couple of

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weeks with Glen Campbell’s country-folk album, Wichita Lineman, and the original Broadway cast recording of Hair (both released in 1968). One of the first commercially released 16-track recordings, Blood, Sweat & Tears also reached No. 15 in the United Kingdom. Jim Guercio (1945–) produced the album. Close to the same time, this former member of The Mothers of Invention and producer of the Chicago pop band The Buckinghams was producing another successful American jazz-rock fusion, pop-rock, and soft-rock band—Chicago (originally The Chicago Transit Authority, 1967–). Blood, Sweat & Tears won the 1970 Grammy Award for Album of the Year. Keyboardist, flutist, and trombonist Dick Halligan (1943–), who created the instrumental arrangement of the modern avant-garde Parisian composer Erik Satie’s (1866–1925) ambient solo piano works, Gymnopédies No. 1 (published in 1888 in Paris) and No. 2 (published in 1895 in Paris), titled on the album as “‘Variations on a Theme by Erik Satie’ (1st and 2nd Movements),” won a Grammy Award for Best Contemporary Instrumental Performance. Recently, the album was certified quadruple platinum. Despite consisting of standalone hits, Blood, Sweat & Tears is structured as a concept album bound more by a worldview that embraces the time’s complex ironies than by storyline. It is complete with bookend tracks, the first titled as “‘Variations on a Theme by Erik Satie’ (1st and 2nd Movements)” and the last as “‘Variations on a Theme by Erik Satie’ (1st Movement)”—arrangements of the aforementioned Satie’s Gymnopédie No. 1 (Lent et douloureux, to be played slowly and painfully, in D major/D minor). Halligan’s first arrangement of Gymnopédie No. 1, Movement 1, is the album’s first track. He captures the original’s calm, atmospheric mood, though he takes artistic liberties, such as with phrasing, repetition, and instrumentation. To piano, he adds solo flute (followed by two more flutes), acoustic guitar, bass, and wind chimes. Halligan creates a dual purpose for the opening plagal or amen-sounding IV-I progression in D, suggested by the alternation of G and D in the piano’s lower register, later doubled with acoustic guitar and bass (the piano’s left-hand part is just like the original). The progression maintains the ambient mood while it demonstrates classic rock’s affinity of the IV-I progression. All establish triple meter (three beats per measure). The flute solo’s melody (the right-hand part of Satie’s piece) then enters for the first time, starting on F-sharp (the third degree or scale step 3 of the D major scale), and the chimes enter quietly. The second time, a second flute’s countermelody and more noticeable chimes accompany the first flute’s melody. The third and last time, three flutes are used, and the chimes become louder. The

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song concludes with the IV-I progression, followed by just chimes, which are used to segue into Movement 2 (still track 1 on the album), which is when the jazz-rock fusion begins. Movement 2 opens with Gymnopédie No. 1 as its basis, but in quadruple meter (four beats per measure). Horns enter with the flute’s Movement 1 melody, modulating down a half step, by starting on F instead of F-sharp. As the drums enter with the lower brass and synthesizers, F major is established. The instrumental texture of horns, synthesizers, and drums, the harsher dissonances and multiple pauses, and faster tempo suggests both disintegration and the futuristic (particularly with the analog synthesizers). Despite the somber horns, this variation is a clear departure from the mood of Halligan’s Movement 1 and Satie’s own Gymnopédie No. 1. Halligan’s Movement 2 meanders harmonically and employs some material from Gymnopédie No. 2 (Lent et triste, to be played slowly and sadly, in C major) and newly composed material, before functioning as a buildup to the second track, BS&T’s cover of English folk-rock, psychedelic rock, jazz-rock fusion, and progrock band Traffic’s (1967–1974) “Smiling Phases” (originally released in 1967 on Mr. Fantasy), arranged by BS&T’s alto saxophonist and pianist, Fred Lipsius (1943–). “Smiling Phases” is the first song that features Clayton-Thomas. It has an ironically bitter message: no matter how good our intentions and efforts to smile through adversity, the world laughs at us when we are down. This energetic song employs a contrasting verse-refrain structure, alternating G major in its refrains and instrumental sections with C major (the subdominant key of G major) in its verses. Its recorded structure is as follows: instrumental introduction; verse 1; refrain; instrumental interlude 1; verse 2; refrain; instrumental interlude 2; instrumental verse; verse 3; refrain; instrumental outro. In the middle of instrumental interlude 2, verse material appears in the piano (left), which gives way to walking bass (right); eventually horns (right) and bass (left) play more verse material. Horns and organ (right), which play a hymn, followed by drums (panned), cue in verse 3. The most memorable passage is the refrain’s last two acerbic phrases that summarize the song’s dark theme: the song shifts from quadruple meter to triple meter and employs a descending sound comprised of two pairs of fourths—F and C (bVII-IV or IV/IV-IV in G major, sounding borrowed from G minor), then B-flat and F chords (bIII-bVII or IV/VII-VII in G major, also sounding borrowed from G minor). The F-natural or lowered F (again, sounding borrowed from G minor) as well as A-flat or lowered A (sounding borrowed from F melodic minor) stand out piquantly as Clayton-Thomas’s sequential

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melody descends and outlines a scale from F4 to G3. In the final refrain’s concluding phrase, this descending sound provides word-painting that underscores “slide down the rail.” The A-flat before the home pitch, G, gives a sense of a rough landing. BS&T’s lengthiest instrumental interludes with metrical shifts, jazz textures and harmonies, and solos often sound more like jazz than rock. The aforementioned interlude 2 of “Smiling Phases” uses instrumental groupings and exchanges as well as production techniques heard elsewhere on the album, most notably in “Spinning Wheel,” and “Blues—Part II.” The opening of instrumental interlude 2 of “Smiling Phases” features the acoustic piano’s solo using parallel fourths quickly in G minor (on left speaker), a nod to the first phrase of guitarist Ritchie Blackmore’s G minor blues scale-based riff in “Smoke on the Water,” released on Deep Purple’s album Machine Head (1972). Drums (right) and then organ (also right) accompany the piano. Another song on the album that borrows a central riff is “Blues—Part II,” the penultimate track on Side Two. This mostly instrumental jam evolves into variations on Cream’s descending central riff in “Sunshine of Your Love” (on Disraeli Gears, 1967). According to Dave Headlam, Cream’s riff (also starting and ending on D) is based on the minor blues pentatonic scale (the D, C-natural, D, A, A-flat, G, D, F, D melody outlines scale steps 1-b7-5-b5-4-b3-1) and, along with its punctuating rests, creates a groove (Headlam 1997, 84). In “Blues—Part II,” this central riff begins in the bass guitar and a crescendo eventually takes place, with the horns taking it over. “Blues—Part II” also uses Willie Dixon’s blues song “Spoonful” (1960) and BS&T’s founder and former keyboardist Kooper’s “Somethin’ Goin’ On,” a song that was recorded on BS&T’s debut album. A rendition of “Spoonful” also appears on Cream’s debut album, Fresh Cream (1966). Composed by multi-instrumentalist Steve Katz (1945–), the pensive soft-rock aftermath-of-a-breakup ballad, “Sometimes in Winter,” and its use of flutes with muted trumpets and horns offer contrast. It is the only song on the album that features Katz’s muted, low tenor lead vocals. The song uses a modified AABA form with an additional section of contrasting material: instrumental introduction; verse 1 (A); verse 2 (A’); B; C; instrumental interlude; verse 3 (A’’); verse 4 (A’’’); instrumental cadence (outro). The instrumental introduction, verses, and instrumental interlude are in A major whereas the more assertive B section, with its syncopated vocal lines, is in E minor (the minor dominant of A major). Section C, the brightest passage, starts in G major, but returns to A major, cuing in the instrumental interlude. The end of the pop-sounding

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section C contains the most jarring passage: The instrumental texture reduces to just piano chords (right) on B minor and voice singing, “it’s a cold room.” This word-painting underscores the coldness of departure, leading into the instrumental interlude. “More and More” brings back the energy of “Smiling Phases” and foreshadows Side Two’s “You’ve Made Me So Very Happy” (1967, Brenda and Patrice Holloway, Frank Wilson, and Berry Gordy), as a happy love song about relationships that only get better. “More and More” employs a faster tempo and has funk-infused horns, whereas “You’ve Made Me So Very Happy” incorporates soul with horns and organs. The recorded structure of “You’ve Made Me So Very Happy” is a modified AABA form with refrains in A-flat major (the dominant of D-flat major, the song’s home key): instrumental introduction; verse 1 (A); prechorus; refrain; verse 2 (A’); prechorus; refrain; instrumental refrain; B; bridge 1; bridge 2; modified refrain. The instrumental introduction, in A-flat major, contains the refrain’s melody and begins loudly with horn trills and a drum roll that leads into Clayton-Thomas’s softer smoky, laid-back verse vocals. The verse starts on E-flat minor instead of the home key (ii in D-flat major) and uses a jazz progression (E-flat minor to D-flat major7, or ii-I7, omitting A-flat major or V—a substitution of ii-V-I). It also uses seventh chords and vocal appoggiaturas (approaching a chord with a dissonant note, followed by a resolving note in the melody); both create a soulful feeling. The prechorus’s horns and tambourine (right), along with the change of the rhythm to a four-to-the-floor beat (emphasis on each beat of a measure in quadruple meter), creates potential energy before the refrain returns in A-flat major. The muted trumpet tags added to verse 2 create an additional smoky element. Covers of “And When I Die” (1966, by Laura Nyro, whom the band considered a candidate for lead singer before Clayton-Thomas’s audition, released by Peter, Paul, and Mary in 1966 and by Nyro in 1967) and “God Bless the Child” (1939, Billie Holiday and Arthur Herzog) conclude Side One. “And When I Die” contains a folk or basic two-chord progression in its verses: A major6-D major6 (I6-IV6 in A major), the same progression that starts the “God Bless the Child’s” verses, but made more soulful with added chords (G major13-C major11 or I13-IV11 in G major). “And When I Die” stands out for its pauses and country-western inspired effects (using temple blocks): The world is indeed the wild West. In “Smiling Phases,” this world laughs at you while you are down, and in “God Bless the Child,” this world throws the have-nots (without money) out. A Latin-jazz outro creates a sense of irony—unexpected for “God Bless the Child,” yet fitting for this album.

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Side Two opens with Lipsius’s arrangement of “Spinning Wheel,” which uses a modified AABA form: instrumental introduction; verse 1 (section A); verse 2 (A’); verse (section B); bridge 1 (introductory material); verse 3 (A’’); instrumental interlude (with lots of subsections); bridge 2; verse 4 (A’’’); instrumental outro. The lyrical content uses metaphors or suggestions of spinning, circling, or cycling objects, including a wheel and a merry-go-round or carousel. The song’s ending, suggesting a calliope (often associated with wheeled steamboats or stagecoaches) and using cycling chord progressions, underscore the song’s outlook—life comes around full circle, no matter what. The opening brass fanfare crescendo on a D7#9 chord sounds like a large dominant chord (V). In other words, it sounds like it is moving somewhere; however, verse 1 is in the home key of E minor and starts on an E dominant7 chord (Clayton-Thomas’s voice begins on the seventh, on D, the note gives the chord its bluesy sound). The first musical cycle begins on Clayton-Thomas’s opening truism, “What goes up, must come down” (E dominant7-A dominant7, D dominant7-G major [V7/A leads to A7 and V7/G leads to G], a descending cycle of secondary dominants called a VI-II-V7-I cycle [or A-D-G-C cycle in C major]). In verse 2, more complex added chords are used, yet the same cycle is achieved (this time, it is E7#9-A13, D7#9-G). Verse 1 demonstrates the song’s frequent instrumental texture changes: Clayton-Thomas starts, accompanied by the low register of an acoustic piano (left); cowbell enters two measures later. On the second half of the verse, cowbell (right) returns, followed by the trumpets’ glissando, then just Clayton-Thomas’s voice by itself. Verse 2 adds more horns but ends the same way. Section B, which brings in bass (left), has a descending melody like section A, but it uses C major-B-flat major, A-flat major-G major (the chords’ root notes outline part of the C minor scale), with Clayton-Thomas singing on the third of each chord. Section B has a brighter sound that underscores the desire to find a straight path rather than a circular one. Reverb and a processing effect applied to Clayton-Thomas’s voice makes his sustained note sound pulsating or choppy and adds a psychedelic touch. Later, the instrumental interlude also uses many instrumental texture changes and assigns them to speakers. Clayton-Thomas’s “huhs” punctuate the first part of the interlude, which features piano (left) and bass (right) with section A material, followed by electric guitar. The second part features a blaring trumpet solo (right) with section A material, accompanied by bass, with piano (left). Drums enter, followed by descending horns, and serve as bridge 2, leading back to verses 3 and 4. In the aforementioned outro, the rhythmic accompaniment shifts to triple meter with the brass’s oom-pahs, followed by “Ach, du lieber

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Augustin” played by a recorder duet, which overblow pitches to imitate the calliope’s timbre. Lipsius’s alto saxophone enters after the oompahs alternate with the recorders. They play together, but eventually fall apart, ironicizing “The more we get together, the happier we’ll be.” “You’ve Made Me So Very Happy” and “Blues—Part II” follow, and keep up the energy of “Spinning Wheel”; however, Side Two concludes quietly and returns to the opening mood with “‘Variations on a Theme by Erik Satie’ (1st Movement).” This time, the shorter track includes a couple of new sound effects: footsteps, followed by a door slam. Lucy Angle, a popular New York City–based fashion model who eventually became Guercio’s wife, created these sound effects. These final sounds signify disruption not only to the final track but also to this spinning wheel of a concept album. Perhaps they suggest that it’s time to get out. DAVID BOWIE: “SPACE ODDITY” AND HARRY CHAPIN: “TAXI” David Bowie’s (David Robert Jones, 1947–2016) “Space Oddity” and Harry Chapin’s (1942–1981) “Taxi” are classic-rock hits that combine elements of acoustic folk and electric psychedelic rock. They are also narrative songs that share the philosophical theme of free-falling: Bowie’s main character, Major Tom, floats into outer space, whereas Chapin’s protagonist, Harry, perpetually floats aimlessly through life. These characters check out and leave listeners haunted by their fates. Other common narrative elements include traveling in vessels (Major Tom’s spaceship and Harry’s taxi) and struggling to connect with others. A close comparative listening not only explores further these narrative and musical similarities but also reveals strikingly different approaches to classic rock’s music arrangement and production. “Space Oddity’s” demo was recorded in January 1969 at 39 Manchester Street in London. It featured a sparse arrangement, with Bowie’s singing and playing acoustic guitar and Stylophone (a stylus-operated miniature synthesizer that was invented in 1967), accompanied by harmonizing vocals and electric guitar. The earliest studio recording was made on February 2, 1969 as one of seven songs for Bowie’s promotional short film for PolyGram, Love You Till Tuesday (commercially unavailable until 1984). Though Bowie signed to the Philips label, a U.K. subsidiary of Mercury Records in the United States, the second studio recording of “Space Oddity” was delayed. Bowie was unable to convince The Beatles’ producer George Martin to work on his album, and though producer Tony

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Visconti (1944–) liked most of the demo tracks, he believed that “Space Oddity” was a veiled jab at the United States’ Apollo 11 space flight mission, and he handed off his responsibilities to Gus Dudgeon (Angus Boyd Dudgeon, 1942–2002). This recording, which took place on June 20, 1969, at Trident Studios in London, would become the most successful one. Bowie and Visconti’s new arrangement added strings, flutes, bass, synthesizers, and Mellotron (a keyboard-operated tape replay instrument that was a precursor to the keyboard sampler)—the last played by Rick Wakeman (later of Yes). As a seven-inch single, “Space Oddity” was No. 5 on the U.K. Singles Chart. It became the opening track on David Bowie, released on November 14, 1969, on the Philips label in the United Kingdom and as Man of Words/Man of Music on Mercury in the United States. A 1972 RCA reissue and a 1973 rerelease followed, making “Space Oddity” Bowie’s first U.S. hit, as it became No. 15 on the Billboard Hot 100. RCA’s 1975 reissue became No. 1 on the U.K. Singles Chart. In contrast to Bowie’s false starts with “Space Oddity,” American acoustic folk-rock singer-songwriter Harry Chapin’s “Taxi” paved a smooth path to his success. In 1971 Chapin recorded “Taxi” as one of seven songs on a demo at Media Sound in New York City. Chapin sent the demo to Elektra Records’ producer Jac Holzman (1931–), who made a modest offer. Chapin held back, then Columbia Records expressed interest. But after acquiring a newfound love for “Taxi,” Holzman offered Chapin one of the largest advances and most lucrative contracts of the time. “Taxi” was released in March 1972 on Chapin’s debut studio album, Heads and Tales. Immediately after he gave a live performance of “Taxi” on television for NBC’s The Tonight Show Starring Johnny Carson, so many viewers sent telegrams demanding an encore performance that Chapin became the first musician to return the next night on the show. “Taxi” remained at No. 24 on the Billboard Hot 100 for 16 weeks in the U.S. and was No. 3 in Canada. In 1980, Chapin had a follow-up hit with “Sequel,” in which his main characters reunite. Although “Sequel” charted one rung better than “Taxi,” it remained on the Billboard Hot 100 for just two weeks. “Space Oddity” employs vocal personae: Major Tom, ground control (representing Earth), and a countdown (spoken word). In addition, at times the acoustic guitar represents ground control on Earth whereas the Stylophone, electric guitar, and bass sometimes evoke spaceship sounds. The instrumental introduction fades in and features a 12-string acoustic guitar alternating between F major7 and E minor (IV7 and iii, respectively, in the song’s home key, C minor), accompanied by drums. Bowie’s

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first verse (section A) as ground control contacting Major Tom opens with static sounding C minor to E minor (i to iii), accompanied by a drone-like Stylophone. The verse ends with a spoken-word countdown on the right speaker with the bass (right) ascending glissando (sliding upward) that represents liftoff. This instrumental tag, or liftoff music, builds upon a jazzy-sounding added C major chord (C Major9#11). The second verse’s (section B), new music begins with a clear arrival on a C major chord (the parallel major of C minor), which contributes to its strikingly bright sound. The first phrase’s shift from C major to E major7 (III7, a chromatically altered mediant with an added seventh) underscores the narrative that Major Tom has left Earth. Dubbed high harmonizing vocals appear on the right speaker, adding to his main tenor range vocals on left speaker. The harmonizing voices stop momentarily as the main voice describes Major Tom leaving his spaceship, but return to finish the verse. The song’s most stunning passage is the refrain. Major Tom sings for the first time, starting with “Here am I sitting in a tin can,” accompanied by the same chords heard in the instrumental introduction: F major7 to E minor7 (IV7 to iii7). Bowie’s use of these subdominant (IV) and mediant (iii) chords underscores the sense of floating in outer space. As Major Tom, he sings the seventh of the IV7 chord, the very note that makes this chord sound jazzy and unstable. Here, Bowie’s lower harmonies (right) appear and accompany his lead vocals (left). This refrain, which also includes strings and flutes, gives the listener pause, wondering where the song will go next. Finding its way back to a C major chord, a bifurcated instrumental interlude with two adjacent instrumental bridges follow: the first features acoustic guitar, followed by clapping, ending with a shimmering cymbal effect; the second features booming electric guitar attacks and leads to the third verse (section B). This time, Major Tom tells his wife that he loves her, but tragedy returns, underscored by the home key of C minor. In this final verse, accompanied by Mellotron instead of Stylophone, Major Tom has been disconnected and is floating perilously into space. In the song’s only bridge with vocals (a passage that is slightly related to section A with its opening lyrics), ground control attempts to contact him yet fails, leading into Major Tom’s final utterance, a repeat of the refrain. The instrumental interlude returns and leads to the conclusion. The outro begins with the electric guitar playing increasingly higher pitches, accompanied by flutes (right) and computer sound effects. The Beatles’ experimental studio practices in “A Day in the Life” (1967) and “Revolution 9” (1968) can be heard in the outro’s use of the Mellotron,

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disorienting speaker panning, brief silence, and ascending glissandi. These are followed by a fade-out. Unlike “Space Oddity,” Chapin’s “Taxi” uses a compound verse structure without a refrain. Through his warm lyric tenor vocals, Chapin uses the character Harry for his point-of-view narrative. Strings are used more prominently here than in “Space Oddity.” Chapin’s producer Holzman opted for the song to be heard mostly on both speakers in contrast to “Space Oddity’s” more imaginative production techniques. “Taxi” opens in the home key of C major (I) with Chapin’s percussive, harplike acoustic guitar harmonics (the high-pitched ringing sounds) creating raindrop effects. In the first verse (section A), Harry, a San Francisco taxi driver, picks up a passenger named Sue. The bass guitar (left) gives the second verse (A’) a fuller texture. During the first instrumental bridge, the cello solo modulates up a whole step, establishing D major as the new home key. This gesture adds necessary spatial interest, as the verse music (A) is heard so often. In the third and fourth verses (also section A), Sue recognizes Harry. A cello tag cues in new music (section B), which underscores their greeting each other, followed by another instrumental bridge featuring cello. Here, the cello has a melody that is related to section A. The fifth verse (A) is Harry’s recollection that he and Sue were lovers. Strings and a mixed choir accompany him. Section B returns, underscoring Chapin’s description of their dreams—her acting and his flying ambitions. A bridge featuring strings playing ascending arpeggios (broken chords) modulates back to C major and to a third contrasting musical passage (section C). Harry holds out notes (creating unexpected stresses or syncopation) to express his unwillingness to settle down. A falsetto voice echoes his last line, foreshadowing the song’s midpoint (section D). During this most haunting passage, bassist John Wallace sings in falsetto, starting with “Baby’s so high that she’s skying,” accompanied by piano and a cello countermelody. Like “Space Oddity’s” refrain, this section’s opening chords are F major to E minor7 (IV to iii7 in C major). Though less jazzy, “Taxi” feels like it has reached an equally effective floating feeling at its midpoint. Perhaps to add to its evocative appeal, an urban legend that poet Sylvia Plath composed the midpoint’s four lines was created; however, full copyright belongs to Chapin. A bridge brings back the introduction, the raindrops, and D major as the home key. In the sixth and seventh verses (section A) Harry arrives at Sue’s home. He concludes that they will not meet again. In the eighth and loudest verse of the song (A), with its suddenly strong drumbeat, Harry explains that he needed to let Sue go. His tone and accompanying

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music nevertheless suggest resentment. Section B returns as Sue walks away, followed by the ninth verse in which he reiterates their dreams (section A, not section B, is used this time). Section B is reserved for the song’s conclusion: Sue has moved on, pretending to be happy in her new life. Harry’s flying ambition has become twisted: his repeated final line stresses that he now gets high on drugs. The instrumental outro brings back the introductory material as strings play and a car drives away. The fade-out includes a brief but interesting production detail, with the strings playing a tremolo (a nervous alternation between two pitches) that appears on the right speaker. If the opening acoustic guitar harmonics serve as a narrative frame suggesting Harry’s drive in the rain, this tremolo provides the concluding frame, suggesting Harry’s state of mind. Like “Space Oddity’s” Major Tom, “Taxi’s” Harry has been cast off into ethereal oblivion. ERIC BURDON AND WAR After The Animals, an English blues-rock band, broke up in 1969, lead singer Eric Burdon (1941–) moved to San Francisco, where he met Copenhagen-born harmonica virtuoso Lee Oskar (Lee Oskar Levitin, 1948–). Together, they searched for a hard-rocking, urban-sounding band, and American producer, manager, and graphics marketing entrepreneur Jerry Goldstein (Gerald Goldstein, 1940–) convinced them to hear Nightshift, which was performing at the Rag Doll Night Club in North Hollywood. Nightshift played and arranged songs and fused psychedelic funk, blues, rhythm and blues, R&B, soul, jazz, rock and roll, and classic rock. Their energetic, uplifting music evoked the city’s underbelly—just the sound that Burdon and Oskar were looking for. Nightshift’s roots trace back to 1962. As The Creators, the band was formed by Long Beach-based guitarist Howard E. Scott (1946–) and percussionist Harold Ray Brown (1946–), who along with singer-songwriter and keyboardist Lonnie Jordan (Leroy Jordan, 1948–), percussionist-vocalist Papa Dee Allen (Thomas Sylvester Allen, 1931– 1988), flutist-saxophonist-vocalist Charles Miller (1939–1980), and bassist-vocalist B. B. Dickerson (Morris Dickerson, 1949–), played at local events. In 1966, Scott and Brown were drafted for the Vietnam War, but The Creators was reunited in 1967. By 1968, they changed their name to Nightshift. Containing members who lived in racially mixed ghettos in Compton, Long Beach, Torrance, and San Diego, Nightshift felt inspired to incorporate Latin jazz, Chicano rock (fusing R&B and rock, using brass and organ, funk-style bass lines, and Mexican-influenced English

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vocals), brown-eyed soul (fusing soul, rock and roll, and Latin music), and reggae. The day after Burdon and Oskar’s visit, Eric Burdon and War (1969– 1970) was formed. Their lyrical content advocated for getting along but also protested racism, poverty, police brutality, and gang activity. Their studio recordings were psychedelic funk-rock dominated, often featuring a funk groove (heavily stressing the downbeat, the first beat of every measure) with prominent rhythm and horn sections, fun bass lines, and dance-oriented drum breaks. In 1970, the band signed with MGM, with Goldstein as their producer and Chris Huston (1943–) as their engineer. Goldstein was a member of The Strangeloves (1964–1968), whose songwriting hits were The Angels’ “My Boyfriend’s Back” (1963) and their own “I Want Candy.” He also signed classic-rock acts such as Jimi Hendrix, The Rolling Stones, Cream, The Doors, and Led Zeppelin to his merchandising company, Visual Thing. Huston was the founding lead guitarist of The Undertakers (1961–2018). In 1965, he departed from the English band to become a music engineer in the United States and worked in that capacity with The Rascals (an American blues-rock contemporary of The Animals), James Brown, Van Morrison, Led Zeppelin, and The Who. Eric Burdon and War’s studio output did not sound unlike Santana or Blood, Sweat & Tears, yet the band is often classified as a funk or—because of the race of its members—as black-rock group and compared to Sly and the Family Stone (1966–1983), a racially mixed band that foreshadowed War’s lyrical themes, and fused psychedelic funk, soul, and classic rock. Eric Burdon Declares “War” (1970), the band’s debut studio album, was gold-certified and became No. 18 on the Billboard 200 and No. 47 on Billboard’s Hot R&B Albums chart; it was also No. 7 and 50, respectively, in Australia and the U.K. A concept album, it focuses on three suites, with the most famous one being “Tobacco Road” (1960, a blues standard composed by John D. Loudermilk). From the album, “Spill the Wine,” became the band’s first hit, peaking at No. 3 on the Billboard Hot 100 and charting internationally. Funk and Latin music (with güiro and congas) dominate this song’s fusion, which also incorporates soul, psychedelic rock (Miller’s flute solo), blues-rock (Oskar’s harmonica and Burdon’s vocals), and spoken word (Burdon in English and Spanish spoken by his unidentified girlfriend). In C major, the song repeats F-C-B-flat-B-flat-C (or C: IV-I-bVII-bVII-I), outlining a displaced classic-rock progression (bVII-IV-I) as the introduction’s two-measure vamp. The refrain, also based on this vamp, was inspired by Burdon’s chanting “Spill the wine” in response to

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Jordan’s accidentally spilling a Styrofoam cup of Strawberry Hill wine on a studio mixer. Eric Burdon and War’s double album, The Black-Man’s Burdon, was recorded in 1970 at Wally Heider Studios in San Francisco and released in December. Like their debut album, this concept album contains suites. Its only single, “They Can’t Take Away Our Music,” fusing funk, R&B, soul, and gospel, was No. 50 on the Billboard Hot 100. At No. 28 on The Billboard 200, War’s second album did not chart as well Eric Burdon Declares “War”; however, it performed better on Billboard’s Hot R&B Albums chart at No. 31. The Black-Man’s Burdon fuses psychedelic funk, soul, Latin jazz, blues-rock, jazz-rock fusion, and psychedelic rock. Side One is mostly the seven-track “Paint It Black (Medley)”— their cover of The Rolling Stones’ song (1966) which serves as a focal piece, with their own compositions inserted. Side Two consists of a suite using their cover of The Moody Blues’ “Nights in White Satin” (1967) serving as a focal piece. Both exemplify Eric Burdon and War’s sound and Huston’s production techniques. The Rolling Stones’ “Paint It Black” was a psychedelic rock song that used sitar to evoke Indian ragas and was the subject of several covers. The Los Angeles–based funk and soul band Africa (1968) had a notable Latin-flavored funk rendition on their critically acclaimed Music from “Lil Brown” (1968), released on Ode Records. Afterward, Africa became label mates with Eric Burdon and War but never released a second album. The Rolling Stones’ original “Paint It Black” and Africa’s rendition are in F minor whereas Eric Burdon and War’s rendition is in B-flat minor. At this time, Burdon’s voice, like The Rolling Stones’ lead singer Mick Jagger, was a low tenor but was fuller and had more flexibility. Like Africa, Eric Burdon and War employs chanting as well as Latin percussion and rhythms. This suite opens with “Black on Black in Black,” a conga solo, followed by chanting, drum rolls, and descending flute (left speaker) and harmonica dissonances (right) with organ chords plus bass. The conga solo returns, taken over by surf rock-inspired drums, electric guitar vamp, bass, and then sustained organ notes (left) with harmonica (right). The organ sounds reminiscent of Ray Manzarek’s in The Doors’ “Break on Through (to the Other Side)” (1967). Burdon’s introductory words cue in his verse (section A) of “Paint It Black I.” The middle-eight (section B) adds saxophones and descending flute scales. Burdon adds text to the outro, as he does in the introduction, along with scatting. The drum solo piece, “Laurel and Hardy,” demonstrates Huston’s painstaking separation and assigning techniques of percussion instruments

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to left and right speakers and use of high and low fields (upper and lower parts of stereo monitors). “Pintelo Negro II,” a Latin and funk cover, features a flute verse (section A), accompanied by güiro and other Latin percussion instruments. Section B uses backing singers (also in B-flat minor) and repeats with cowbell. The music modulates, using A as its home pitch, and an accordion cues in “P.C. 3.” This spoken-word piece about the British police constable’s use of profiling and brutality drifts into absurdity when Burdon imagines having sex with the Queen of England. “Black Bird,” a groove-based Latin rock piece, returns to B-flat minor and uses flute to lead into “Paint It Black III.” Burdon’s vocals evoke James Brown in the introduction. This last cover brings together the surf-rock drums, blues-rock, and “Pintelo Negro II’s” Latin sound, adding horns that use the Doppler effect. Burdon’s wide intervals in section B precede the outro and final jam. Here, the saxophones accompany his added text, “Together we stand, divided we fall,” by outlining i and V (B-flat-D-flat-F twice, then F-A-C twice), creating an accelerating rock-and-roll groove. This passage stops suddenly and concludes as chords punctuate Burdon’s last words. The “Nights in White Satin” suite includes “The Bird and the Squirrel,” “Nuts, Seeds, and Life,” and “Out of Nowhere,” bookended by the band’s psychedelic covers of “Nights in White Satin.” Like the original, the covers are in 6/8 meter (six eighth notes or beats per measure), but they incorporate blues-rock (Burdon’s vocals), rock and roll (backing “ah” vocables in the “I love you” refrains), and jazz rock (drumming with brushes and saxophones). The band inserts compositions that feature flute and bass solos, as well as spoken word. Though less elaborate than the “Paint It Black” suite, it uses several signature sounds: flute-harmonica doubling and flutter-tonguing, effortlessly shifting grooves, and lots of assigning (including drum set separation) and panning between speakers. To promote The Black-Man’s Burdon, the band toured Europe. Burdon, who suffered from asthma since childhood, had a severe attack and, on that tour, departed to pursue a solo career. His solo style incorporated hard rock, jazz-rock fusion, R&B, and funk with his backing group, the Eric Burdon Band (1971–). Burdon continued into the 2000s, having the most success in Europe with covers of The Animals’ songs and releasing new ones like “Power Company” (1980), which reached No. 11 in Austria. Shortly after Burdon’s departure, the band renamed itself War. Oskar continued with the band, whose members took turns on lead vocals. War signed onto United Artists Records and released its eponymous album (1971). War also had gold-certified studio albums: Deliver the

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Word (1973), Why Can’t We Be Friends (1975), and its best album, The World Is a Ghetto (1972), which hit No. 1 on The Billboard 200. War’s biggest hit single was “The Cisco Kid,” a funk-driven, R&B, and Latin song from The World Is a Ghetto that reached No. 2 and 5, respectively, on the Billboard Hot 100 and Hot R&B Songs chart. Other hit singles were “Why Can’t We Be Friends,” which employed reggae, R&B, and soul, and “Low Rider,” which used a Latin-funk fusion. A Greatest Hits (1976) compilation album reached No. 6 and 12, respectively, on the Billboard 200 and Billboard’s Hot R&B Albums chart. War also scored the gang drama Youngblood (1978). Since the 1990s, rap artists have sampled Eric Burdon and War and War’s 1970s songs. The album Rap Declares War (1992), released on Avenue, features Poor Righteous Teachers, Brand Nubian, De La Soul, Ice-T, Tupac Shakur, and Beastie Boys. THE BYRDS: FIFTH DIMENSION AND JEFFERSON AIRPLANE: SURREALISTIC PILLOW Two psychedelic-rock studio albums capable of facilitating stoned adventures while offering down-to-earth folk-rock were The Byrds’ Fifth Dimension (1966) and Jefferson Airplane’s Surrealistic Pillow (1967). The American folk-, psychedelic-, and raga-rock band The Byrds (1964–1973) established themselves in West Los Angeles while American psychedelic-, acid-, and folk-rock band Jefferson Airplane (1965– 1972) emerged in San Francisco. Even though Los Angeles was the major recording center of the West Coast (both bands recorded there), San Francisco became the epicenter of both psychedelic and hippie countercultures. Shortly after Grace Slick (Grace Barnett Wing, 1939–) joined in 1966 as one of their lead vocalists, Jefferson Airplane became the psychedelic band of San Francisco, surpassing the Grateful Dead. The Byrds, Roger McGuinn (a.k.a. Jim McGuinn and James Roger McGuinn, born James Joseph McGuinn III, 1942–), Gene Clark (Harold Eugene Clark, 1944–1991), David Crosby (1941–), Chris Hillman (1944–), and Michael Clarke (Michael James Dick, 1946–1993), recorded Fifth Dimension in 1966 at Columbia Studios in Hollywood, California. The Byrds wanted their manager, Jim Dickson, to produce their album, replacing Terry Melcher (Terrence Paul Jorden, 1942–2002), who produced their Mr. Tambourine Man and Turn! Turn! Turn! (both 1965). But their label, Columbia Records, employed in-house producers only, so Fifth Dimension became seasoned producer Allen Stanton’s (1924–2015) first classic-rock album. It was released on mono on July

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18, 1966, followed by mono and stereo releases on September 22, 1966, on CBS in the United Kingdom. The album was No. 24 and 27, respectively, in the United States and the United Kingdom. The Byrds’ original song, “Eight Miles High,” was the album’s most successful hit, reaching No. 14 on the Billboard 100 and No. 24 on the U.K. Singles chart. “5D (Fifth Dimension),” the title track, was No. 44 on the Billboard Hot 100, whereas “Mr. Spaceman” did better at No. 36. Unlike The Byrds’ first two albums, which comprise about half original songs (mostly composed by Clark) and half covers, Fifth Dimension is almost entirely made up of originals, with no Bob Dylan covers. The only exception was their psychedelic rendition of “Hey Joe (Where You Gonna Go)” (1962, copyright obtained by Billy Roberts). Fifth Dimension moves boldly into psychedelic rock. Side One begins with the title track, a country-rock and folk-rock ballad with psychedelic lyrics, originally composed in triple meter (three beats per measure, though its phrasing sounds more like 6/8 meter). In addition to the lyrics’ floating and falling imagery, McGuinn questions his purpose in a world that is collapsing yet envelopes him with love. This soft first track established dry vocals that are used throughout the album—an unusual feature of a psychedelic-rock album, but not so for country rock and folk rock. On the album’s stereo version, acoustic and bass guitars (on the right speaker) are juxtaposed against drums (left). An organ, played by Van Dyke Parks, later appears (right), eventually accompanying a solo electric guitar (left). The Byrds’ rendition of “Wild Mountain Thyme” (traditional) is a quiet invitation to a lady to pick thyme blooms. This folk-rock arrangement of an Irish or Scottish folk song juxtaposes acoustic guitars, bass guitar, and drums (right) against the band’s voices (left), which creates an unsettling, thinned-out sound. Strings enter later (left), using a portamento effect (sliding up)—this song’s only psychedelic aspect—toward the end. “Mr. Spaceman” is a contrasting upbeat country-rock novelty in G major that is about a protagonist who wishes to go on a UFO ride with aliens, and the harder psychedelic rock “I See You” has an electric guitar solo that foreshadows the raga rock that appears later in “Eight Miles High.” Side One’s somber concluding folk-rock track is “I Come and Stand at Every Door” (Jeanette Turner’s 1958 English translation of the antiwar poem “Kiz Çocug˘u,” meaning “The Girl Child,” originally written in 1956 by Turkish writer and director Nâzim Hikmet). Side Two begins with the psychedelic raga-rock hit “Eight Miles High” in E minor. Its lyrics were inspired by The Byrds’ airplane flight and first tour of London in 1965—imagery such as “rain gray town, known

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for its sound” allude to the city. The recorded song structure follows: instrumental introduction (bifurcated); verse 1; bridge; verse 2; instrumental interlude; verse 3; instrumental outro. Instrumentation includes rumbling bass, snare drum echoes, electric guitar ragas and feedback, and high-pitched electric guitar trills. “Hey, Joe” is a hard-rock cover with heavy cowbell (left) and an upbeat instrumental interlude jam. Fifth Dimension’s concluding track is “2-4-2 Fox Trot (The Lear Jet Song),” a blues-rock song full of previously recorded airplane engine effects (left). Electric guitars soon enter (right), juxtaposed against an announcer (left) as harmonizing vocals repeat “‘goin’ to ride a lear jet.” A play on the band’s name, the album concludes by fading out after taking off. Jefferson Airplane’s second studio album, Surrealistic Pillow showcased the band’s classic lineup: Marty Balin (Martyn Jerel Buchwald, 1942–2018), Paul Kantner (1941–2016), Jorma Kaukonen (1940–), Jack Casady (John William Casady, 1944–), Spencer Dryden (1938–2005), and Grace Slick (Grace Barnett Wing, 1939–). Earlier, Kaukonen named the band after his blues moniker, Blind Thomas Jefferson Airplane (based on blues and gospel singer-songwriter and guitarist Blind Lemon Jefferson). Slick replaced Signe Anderson (Signe Toly, 1941–2016), a folk and jazz vocalist with a contralto vocal range. On the U.K. release of Surrealistic Pillow, Anderson is the lead vocalist on the band’s driving bluesrock rendition of “Chauffeur Blues” (1966, Lester Melrose), which also appears previously on the band’s debut album, Jefferson Airplane Takes Off (1966), on the RCA label. Both Anderson and Slick’s vocals share a strong, expressive sound; in contrast, Anderson’s vocals were fuller sounding than Slick’s powerful mezzo-soprano. Surrealistic Pillow (1967) ambitiously delves into psychedelic rock. Rick Jarrard produced the album with The Rolling Stones’ former recording engineer and concurrent Grateful Dead producer, Dave Hassinger (Walter David Hassinger, 1927–2007). Surrealistic Pillow was No. 3 on the Billboard 200 and by July 24, 1967, the album attained gold certification in the U.S. Its first hit, “My Best Friend,” barely missed charting on the Billboard Hot 100 at No. 103; however, the band’s best-known hits followed. These were “Somebody to Love” (Darby Slick) at No. 5 and “White Rabbit” (Grace Slick) at No. 8. Grace Slick brought with her these two songs when she departed from her brother’s short-lived psychedelic band, The Great Society (1965–1966). Side One of Surrealistic Pillow begins with the psychedelic-rock and folk-rock song “She Has Funny Cars,” opening with drums with shakers and cymbal crashes added (right), then electric baritone guitar (left), followed by rumbling fuzz bass (right)—all create a groove that is based

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on a 3-2 son clave rhythm that is also known as the Bo Diddley beat (a  two-measure, quadruple meter, Afro-Cuban rhythmic pattern with three strikes in the first measure and two in the second). “She Has Funny Cars” features Balin’s lead vocals, as well as Grace Slick’s countermelody. The harder rocking psychedelic “Somebody to Love,” in F-sharp minor. The recorded song structure follows: verse 1 (A); refrain; bridge  1; verse 2 (A’); refrain; verse 3 (A’’); refrain; bridge 2; verse 4 (A’’’); refrain (extended); outro. The song begins immediately with Slick’s lead vocals with a lot of applied reverb singing verse 1, accompanied by on-the-beat drums (right) in quadruple meter and lead electric guitar, followed by higher electric guitar (left). The verses each consist of one rhyming couplet. The refrains, in A major (the relative major of F-sharp minor), feature Balin’s harmonizing backing vocals (right) to Slick’s continuing lead vocals and Casady’s more prominent Rickenbacker 360/12 bass guitar (left). The bridges feature Kaukonen’s lead guitar solo on a Gibson ES-335 electric guitar (left). Slick varies her vocal melody most on the third and final verses (verse 3 has a couple dropped beats after the word “eyes”), singing higher pitches than before and using a lot of vibrato, suggesting anguish. The song addresses a woman who is mistreated by her lover(s) and ultimately estranged from her friends. The refrain, “don’t you want somebody to love,” is open to interpretation, meaning not only to find another but also that by finding love, the pain can subside. The song ends Kaukonen’s wailing electric guitar solo (left), with a lot of reverb, and ends on a ringing guitar chord. “My Best Friend” is a fusion of soft psychedelic rock, country rock, and pop-rock. “Today,” a psychedelic-rock and folk-rock love ballad that features the Grateful Dead’s—and, according to the album’s cover, Jefferson Airplane’s “spiritual advisor”—Jerry Garcia (Jerome John Garcia, 1942–1995) playing lead electric guitar (left) and Balin’s lead vocals. Slick’s harmonizing backing vocals emerge later. A lot of reverb is applied to the entire recording, which makes Garcia’s electric guitar timbre a bit reminiscent of Neil Young’s electric guitar in Buffalo Springfield’s “For What It’s Worth” (1966). Side One concludes with the folkrock ballad “Comin’ Back to Me.” Side Two begins with the upbeat psychedelic-rock song “3/5 of a Mile in 10 Seconds,” which includes bluesy-sounding electric guitars, great exchanges between bass (left) and electric guitar (right), and tight harmonies between both lead vocalists. The following track, “D.C.B.A.-25” is more folk-rock sounding, opening with Casady’s descending bass guitar diatonic scale (left), followed by Kantner’s lead vocals on verse  1, accompanied by McGuinn-inspired jangly electric 12-string guitar

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(right). The band’s rendition of “How Do You Feel” (Tom Mastin) is folk-rock that features the band’s vocals with hints of country-twangy electric guitar (right), accompanied by tambourine (right), acoustic guitar (left), and bass guitar (right). It concludes with a cappella singing. Kaukonen’s “Embryonic Journey” stands out as a folk instrumental. It features fingerpicked acoustic guitar tracks, all with drop-D tuning (in which the lowest E string is lowered a whole step to D to make playing easier and to create a slightly deeper sound). It is a gorgeous bright, soft reprieve that takes place before the album’s darkest and most famous track, “White Rabbit,” a hard psychedelic-rock and ominous song about the effects of LSD (lysergic acid diethylamide), evoking a bad acid trip that builds up to its quick, climactic end. Again, a lot of reverb is applied overall. “Plastic Fantastic Lover” is the album’s hard psychedelic-rock conclusion, adding some experimental rock. Surrealistic Pillow was Jefferson Airplane’s strongest and most successful album. They rode out their success with their more experimental and harder rocking After Bathing at Baxter’s (1967), this time produced by Al Schmitt. The album was No. 17 on the Billboard 200. The Byrds’ subsequent album, Sweetheart of the Rodeo (1968), became a monument for country rock. In 1974, the remaining members of Jefferson Airplane who appeared on the Surrealistic Pillow album divided into two bands: Kantner and Grace Slick formed Jefferson Starship, and Kaukonen and Casady joined Hot Tuna full time. Between the 1970s and 1980s, McGuinn had a successful country and country-rock career, most notably collaborating with Dylan on songs for Sam Peckinpah’s Western film drama, Pat Garrett and Billy the Kid (1973). In 1991, the classic lineup of The Byrds was inducted into the Rock and Roll Hall of Fame. In the same year, Clark died of heart failure. In 1996, Jefferson Airplane was inducted. CHICAGO AND EARTH, WIND & FIRE Late 1960s Chicago, still nicknamed “the Windy City,” became the place of origin for two horn-driven classic-rock bands: Chicago (1967–) and Earth, Wind & Fire (EWF, 1969–). Early on, both bands had hits on the Billboard Hot 100; as both bands gained momentum in popularity, they also had several personnel in common, though at different times. For instance, Canadian keyboardist-songwriter and arranger David Foster (1949–) co-composed six out of the nine songs that appeared on Earth, Wind & Fire’s ninth studio album I Am (1979) and later went on to produce Chicago’s 1980s albums: Chicago 16 (1982), Chicago 17 (1984),

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and Chicago 18 (1986). He also cowrote several of Chicago’s soft poprock chart-topping hits on the Billboard Hot 100, including “Hard to Say I’m Sorry” (1981) at No. 1 and “You’re the Inspiration” (1984) at No. 3. Over the years, Chicago shifted from a mainly jazz-rock fusion style with some pop-rock elements to favoring pop-rock, soft rock, and pop. EWF, which has always been eclectic, shifted from a fusion of funk rock, jazz-rock fusion, pop-rock, soul, Afro pop, and Latin rock to R&B; its stylistic shift seems comparatively subtle. As large bands, both Chicago and EWF have had many personnel changes over the years. But despite these changes, some original members have remained. As of 2019, Chicago, which began as the Big Thing in 1967, consists of four original members—keyboardist and singer-songwriter Robert Lamm (1944–), saxophonist Walter Parazaider (1945–), trumpeter and songwriter Lee Loughnane (1946–), and trombonist James Pankow (1947–)—who are still with the band. Other founders were guitarist Terry Kath (1946–1978) and drummer Danny Seraphine (1948–). In 1967, the band recruited singer-songwriter and bassist Peter Cetera (1944–). EWF’s most long-standing member who is still in the band is bassist, percussionist, and vocalist Verdine White (1951–). Both vocalist and conga and kalimba player Philip Bailey (1951–) and percussionist and vocalist Ralph Johnson (1951–) first joined the band in 1972, shortly after its formation. In 1969, vocalist and Chess Records sessions drummer Maurice White (1941–2016) founded EWF. Between 1966 and 1969, he was a member of the Ramsey Lewis Trio, a Chicago jazz act that focused on pop songs. At the time he formed EWF, White was in a Chicago songwriting team with soul vocalists Wade Flemons (1940–1993) and Don Whitehead. Creating a band called The Salty Peppers, they attained a contract with Capitol Records, though they had limited success with their two singles, “La La Time” and “Uh Huh Yeah” (both 1969). Though both bands continued to identify with their Chicago roots, they moved to Los Angeles to launch their careers. In 1968, the Big Thing relocated and changed its name to Chicago Transit Authority, soon afterward signing to Columbia Records while holding a residency engagement at the Whisky a Go Go nightclub in West Hollywood. Since this band’s formation, each member has had the opportunity to arrange his own part; this is unusual for rock or pop, as either the label is responsible or one or two band members are contractually obliged to write arrangements. Likewise, songwriting was also divided between the members willing to contribute this way. At the time, they were the opening act for both Janis Joplin and The Jimi Hendrix Experience. In

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1969, Maurice White relocated to Los Angeles on his own and started to form a band with other Chicago transplants, vocalist Sherry Scott and drummer Yackov Ben Israel; he then convinced his younger brother Verdine White to join them in 1970. That same year, Maurice White named the band Earth, Wind & Fire, based on the astrological elements, and the band attained a recording contract with Warner Bros. Records. At the time, debut albums were always just one-album releases. But Chicago Transit Authority’s eponymous debut double album (1969) was an immediate success. It was No. 17 on the Billboard 200, eventually attained double-platinum certification in the United States, and was nominated for a 1969 Grammy Award for Best New Artist of the Year. Jim Guercio (1945–), who relocated the band to Los Angeles, produced the album. Chicago Transit Authority was recorded in between January 27 and 30, 1969, at Columbia Recording Studios. The album consists of mostly originals composed by Lamm. While producing this album, Guercio was approached to produce Blood, Sweat & Tears’ (1967–1981, 1984–) eponymous album (1968). Like Chicago Transit Authority, Blood, Sweat & Tears was a horn-driven band that focused on jazz-rock fusion; though they used psychedelic rock more, they used pop-rock less often than Chicago Transit Authority. The album consists of mostly originals composed by Lamm. “Does Anybody Really Know What Time It Is?” became Chicago Transit Authority’s major hit at No. 7 on the Billboard Hot 100. It was released much later in October 1970 after the band’s second studio album, Chicago. Composed and sang by Lamm, this jazz-fusion song epitomizes the band’s early classic-rock sound and their sociopolitical lyrics. The song observes how everybody is working and running to get places, unaware of their surroundings or what is going on beyond their own world. It may be understood as a commentary about those who are self-centered, unaware, or uncaring about issues of the time. The music, however, is upbeat and has many complex jazz elements. The recorded song structure on the album is as follows: instrumental introduction (quadfurcated); verse 1; refrain; verse 2; refrain; verse 3; refrain; instrumental bridge; outro. Usually cut off for AM radio yet left as is for FM radio airplay, the introduction opens with a free-form piano solo in its first part. Its second part with horns and third part with acoustic piano have some quick metrical shifts before finally getting to the fourth part with the refrain-related trumpet solo in quadruple meter that cues in the voice. The verses include acoustic piano and horn tags whereas the refrains provide instrumental texture changes with harmonizing backing vocals added along with Kath’s electric guitar (right). Verse 3 features

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perhaps too much of Lamm’s spoken word over the music. The bridge features the horns and is followed by an outro that contains some tonicizations (quick key changes) and is refrain-related. The album also had a minor hit, “Questions 67 and 68.” Kath’s outstanding electric guitar playing with lots of distortion and Seraphine’s drumming, in addition to Latin percussion, are exemplified in their hard-rock cover of The Spencer Davis Group’s blues-rock song “I’m a Man” (1967). Side Four opens with a recording of people chanting, “The whole world is watching,” at the 1968 Democratic National Convention. Guercio’s one-minute recording adds another layer of political commentary to the album. The band shortened its name to Chicago, which is reflected in their following studio album’s title. Taking the cursive writing of the word “Chicago” from its first album, this band was the first to use branding with a logo. The albums eschewed complex titles, initially opting for the band’s name and roman numerals, much in the same way Led Zeppelin did for half of its albums. Also a double album, Chicago (a.k.a. Chicago II) was No. 4 on the Billboard 200 and attained double-platinum status. The album’s main work was “Ballet for a Girl in Buchannon,” a suite of seven songs, including one of the album’s main hits, “Make Me Smile” as well as a popular instrumental, “Colour My World,” which eventually was No. 7 on the Billboard Hot 100. “Memories of Love” is another suite, this time with four songs. “Make Me Smile” and “25 or 6 to 4” at No. 9 and 4, respectively, on the Billboard Hot 100. “25 or 6 to 4” features a catchy bass groove, sliding horns, and features Kath on electric guitar using effects such as the wah-wah pedal in the instrumental interlude. Cetera sings lead vocals. The song’s title is based on Lamm’s composing it at 4:25 or 4:26 AM. The jazz-rock fusion sound continues in subsequent albums such as Chicago III (1971), Chicago at Carnegie Hall (1971, the band’s fourth album and first live album), and Chicago V (1972). The last, the band’s first one-album issue, was No. 1 on the Billboard 200 and contained the No. 3 Billboard Hot 100 hit, “Saturday in the Park.” This single was certified gold in the United States. By Chicago VI (1973), Chicago VII (1974), and Chicago VIII (1974), which were all No. 1 albums on the Billboard 200, the band’s sound was transitioning to pop-rock and soft rock. Chicago VII contains the most jazz-rock fusion, but the album explores other classic-rock subgenres, such as soft rock and prog rock with some symphonic rock ambition. The band’s Chicago IX: Chicago’s Greatest Hits (1975), a compilation album, was also No. 1. Chicago X (1976) strongly shows their shift to pop-rock and soft rock. Its main hit was Cetera’s “If You Leave Me Now,” a soft-rock song that still

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incorporates horns. Lamm’s “Another Rainy Day in New York City” stands out for combining jazz-rock fusion with calypso. The former was No. 1, whereas the latter was No. 32 on the Billboard Hot 100. In addition, “If You Leave Me Now” was a platinum-certified single and won 1977’s Grammy Award for Best Arrangement Accompanying Vocalist(s) for Jimmie Haskell’s strings arrangement as well as Best Pop Vocal Performance by a Duo, Group, or Chorus. Meanwhile, EWF had a slower ascent on the Billboard 200. The band’s eponymous debut album (1971) was No. 172. Containing funk, psychedelic soul, and soul, much like The Temptations albums of the time, the album had mixed reception and one minor hit, “Love Is Life” at No. 93 on the Billboard Hot 100. Gradual charting performance improved with The Need of Love (1971), Last Days and Time (1972), and Head to the Sky (1973), though the last was No. 2 on Billboard’s Top R&B Albums and attained platinum certification. Last Days and Time marked some personnel changes and the band’s move to Columbia Records. It was also lead singer Bailey’s first album with the band. Bailey’s tenor vocals, along with Maurice White’s contrasting baritone became an important aspect of EWF’s from this point on. EWF hit its stride with Open Our Eyes (1974), a fusion of soul, funk, jazz, and rock, which was No. 15 and 1, respectively, on the Billboard 200 and Billboard’s Hot R&B Albums. But That’s the Way of the World (1975) catapulted the band’s success. The album was No. 1 on the Billboard 200, attained triple-platinum status, and had a No. 1 hit with “Shining Star.” Recorded in between September 16 and October 2, 1974, at Caribou Ranch in Nederland, Colorado, as well as many studios in the Los Angeles vicinity, such as Sunset Sound, Hollywood Sound Recorders, and The Burbank Studios, That’s the Way of the World folded in pop-rock with its main combination of soul, funk, and R&B. Maurice White coproduced the album with Charles Stepney (1931–1976), also from Chicago. Previously, Stepney was in a psychedelic-soul, psychedelic-rock, and jazzrock fusion band called Rotary Connection (1966–1974) with Marshall Chess, who was the son of Chess Records cofounder Leonard Chess. He also produced Ramsey Lewis’s soul album Mother Nature’s Son (1968), albums by Muddy Waters and Howlin’ Wolf, and EWF’s That’s the Way of the World. “Shining Star” uses a funk-related groove on electric guitars as its main sound, but it also incorporates pop-rock in its refrains. The recorded song structure is as follows: introduction (bifurcated); verse 1; refrain; instrumental bridge 1; instrumental bridge  2; verse 2; refrain; and vocal outro. The first part of the introduction features an electric guitar solo that is in rhythm-and-blues style—for a

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moment, listeners may think they have come across an Eric Clapton blues-rock song. The second part establishes the funk groove between electric guitar, bass, and drums as melodic horns enter. Lead vocals are traded between Maurice White, Verdine White, and Bailey with verses featuring the soloist and call-and-response backing vocals. In E major, the verses are based on just one chord, an E dominant seventh sharp ninth chord (E7#9) that came to be known as a Hendrix chord, after classic-rock guitarist Jimi Hendrix. The refrains offer a lyrical contrast and a break from the groove, fusing a pop-rock melody and beat with R&B harmonizing vocals and falsettos. The outro stands out for EWF’s a cappella vocals. EWF followed with its funk-rock album, Spirit (1976), which was No. 2 on the Billboard 200 and attained double-platinum status. The album is dedicated to Stepney, who died during its recording. The album’s major hits were the more R&B sounding “Getaway” at No. 12 on the Billboard Hot 100 and the more pop-rock sounding R&B song “September” at No. 8. Both singles attained gold certification. In A major, “September” also employs a funk groove, horns, and pop-rock and R&B-fused refrains. Like Chicago’s “If You Leave Me Now,” strings are used. Chicago XI (1977) continues the band’s pop-rock sound, now featuring fewer songs by Lamm. Its major hit was “Baby, What a Big Surprise” at No. 4 on the Billboard Hot 100. The album was No. 3 on the Billboard 200 and was certified double-platinum. In 1978, Kath accidentally shot himself to death. The band nevertheless continued successfully, though continually de-emphasizing its horn sound and jazz-rock fusion style. Hot Streets (1978, the band’s twelfth album) and Chicago 13 (1979) included Chicago’s disco efforts. Likewise, EWF began to focus more on R&B starting with All ‘n All (1977) and the critically acclaimed Faces (1980). Its disco efforts included on I Am (1979) and Raise! (1981). Powerlight (1983) included R&B, but also disco, new wave rock, and electric funk rock. Electric Universe (1983) continues in a similar stylistic vein without disco. After Chicago XIV (1980), the compilation album Greatest Hits, Volume II(1981) was released. The band had a comeback with the Foster-produced Chicago 16 (1982), employing mostly Cetera’s lead vocals and yielding the major pop- and soft-rock hit “Hard to Say I’m Sorry/Get Away.” The American film Summer Lovers (1982) helped make the song popular as did The Karate Kid (1984) with “You’re the Inspiration” on Chicago 17 (1984), which also included 1980s hits “Stay the Night” and “Hard Habit to Break.”

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In 2000, EWF was inducted into the Rock and Roll Hall of Fame, followed in 2016 by Chicago. As of 2019, Chicago has released 24 studio albums, and EWF has released 21. EWF experienced a brief comeback with Forever (2013), which was No. 11 on the Billboard 200 and contains R&B and funk rock. CREAM By the early 1960s, London became fertile ground for blues, rhythm-andblues, blues-rock and hard-rock (including garage-rock) experimen­ tation. The music of Cream (1966–1968) resembles the earliest British blues, rhythm-and-blues, and blues-rock pioneers while fusing psychedelic rock. The band is an early jazz-rock fusion act, coinciding with American acts such as The Free Spirits (1965–1968), trumpeter-composer Miles Davis, and vibraphonist-composer Gary Burton. Davis’s jazz-rock fusion recordings—Miles in the Sky (1968), Filles de Kilimanjaro and In a Silent Way (1969), and Bitches Brew (1970)—span throughout Cream’s short-lived career. Cream differs from many blues-rock and jazz-rock fusion acts by being a trio and one of the earliest classic-rock supergroups. The trio consists of Scottish singer-songwriter and bassist Jack Bruce (John Symon Asher Bruce, 1943–2014), English guitarist and singer-songwriter Eric Clapton (1945–), and English drummer-songwriter Ginger Baker (Peter Edward Baker, 1939–2019). Though Bruce became Cream’s lead vocalist and Clapton their lead guitarist, their interaction appeared more like a jazz combo than a classic-rock act, which would typically position the lead vocalist as front man or place primary or secondary importance on the lead guitarist. Clapton’s role was divided between melodic playing (often sliding on one string) and rhythm guitar timekeeper. Like many jazz combos, Cream established itself as a musicians’ band, emphasizing virtuosity, a jam-band mentality, and serious musicianship. Lyricist and singer Pete Brown (1940–) of The First Real Poetry Band (ca. 1964–1967) attended Cream’s early concerts and began working on songwriting with Baker. He soon discovered that he worked better with Bruce. Together, Baker and Bruce led Cream’s original songwriting though Clapton and Baker contributed original songs throughout the band’s career. Meanwhile, Cream also continued reworking and arranging blues songs and took a great deal of inspiration—especially incorporating psychedelic elements—from Jimi Hendrix, who performed with them shortly after his arrival in London in 1966. Cream’s debut album, Fresh Cream (1966), had the same number of originals (on Side One) as blues-rock covers (on Side Two). Generally,

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this pattern of grouping originals and previously composed covers exists throughout their output. Fresh Cream became No. 6 and 39, respectively, on the U.K. Albums Chart and No. 39 on the Billboard 200 in the United States, charted internationally, and attained gold certification in both countries. Disraeli Gears (1967) was Cream’s breakthrough album, at No. 5 and 4, respectively, in the United Kingdom, No. 1 in Australia, and attaining gold and platinum status, respectively, in the United Kingdom and United States. Its hits One of the earliest classic-rock supergroups, include “Strange Brew,” Cream consisted of bassist and lead vocalin A minor, at No. 17 ist Jack Bruce, drummer Ginger Baker, and in the United Kingdom guitarist Eric Clapton (shown performing and “Sunshine of Your from left to right). Inspired by Jimi Hendrix, Love,” in D major, at No. the short-lived trio created a heavy-sounding 25 and  5, respectively, in fusion of blues-rock, jazz-rock fusion, and both countries. A blues- psychedelic rock. (Michael Ochs Archives/ rock and psychedelic-rock Stringer/Getty Images) song, based on a 12-bar blues structure and Clapton’s central guitar riff, “Sunshine of Your Love” was a certified-gold single in both countries. Cream followed up with a double album, Wheels of Fire (1967). The album was No. 3 and 1, respectively, in the United Kingdom and the United States, topped charts internationally, and attained platinum and gold certifications, respectively, in both countries. Its second album, subtitled Live at the Fillmore, was actually from concert performances at Winterland in San Francisco. This live album consisted of mostly improvised jams. The album’s most significant hit, “White Room,” was No. 28 and 6, respectively, in the United Kingdom and

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the United States and became a gold-certified single in the United States. Composed by Brown and Bruce, “White Room” is psychedelic rock and hard rock that begins with an introduction in G minor. The recorded song structure may be heard this way: Instrumental introduction; verse  1 (section A); verse 1 (section B); verse 2 (A’); verse 2 (B’); instrumental bridge; verse 3 (A’’); verse 3 (B’’); bridge; instrumental outro. Much attention is giving to “Sunshine of Your Love” and its central riff, but “White Room” features Bruce’s vocal range and expressiveness as he alternates between the hard-rocking A sections in D minor and the lyrical B sections in C major; the latter features his sweet high tenor range. Bruce plays the song’s descending riff on electric bass (right). This time, Clapton’s electric guitar solo (left) is heard in the outro, where a lot of wah-wah pedal effects are applied. Typical of psychedelic rock, the song employs a metrical shift from quintuple meter (five beats per measure, which was one of Baker’s contributions to the song) in the song’s introduction and related instrumental bridges to quadruple meter (four beats per measure) in the verses of both sections. Baker’s use of double-bass drumming, created by doubling tomtoms with timpani, occurs in the introduction and instrumental bridges. The fervent doubled drums give the opening its bold, roaring sound and contrast with Clapton’s overdubbed high-pitched electric guitar (right). The album’s producer, Felix Pappalardi (1939–1983), adds violas, which smooth out the lyrical B-section verses. Brown’s verses are psychedelic, mixing urban, pastoral, gothic, and fantastic imagery. Loosely, the song, sang by Bruce in first-person narrative, is about a lover’s departure, ensuing loneliness met with joy about being free, then finding comfort through another woman at a party. The lyrics in the B sections are similar to each other, revealing the protagonist’s romantic consciousness, a strong contrast to the stark imagery (e.g., “white room,” “black curtains”) of the lyrics in the A sections. As usual, Bruce and Brown composed most of the originals on this album, which include, “As You Said,” “Politician,” and “Deserted Cities of the Heart,” in addition to “White Room.” Other originals on Wheels of Fire include three by Baker and jazz pianist Mike Taylor (1938–1969), which were “Passing the Time” on Side One and “Pressed Rat and Warthog” and “Those Were the Days” on Side Two. By the time the trio recorded Wheels of Fire, members were ready to move onto other projects. Tensions existed between Baker and Bruce, but it was Clapton who initiated the trio’s dissolution after reading Jon Landau’s review of the album in Rolling Stone. Landau, however, was

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a harsh critic against psychedelic rock and the use of psychedelic studio effects in music. Cream’s final album, Goodbye, was recorded in October 1968 and released on February 5, 1969. The album was mostly a compilation of live tracks with three songs recorded at IBC Studios. “Badge” was the trio’s final hit at No. 18 and 60, respectively, in the United Kingdom and the United States. Though its critical reception was mixed, Goodbye nevertheless topped the U.K. album chart, was No. 2 on the Billboard 200 in the United States, and attained platinum and gold certifications in both countries. In 1993, Cream was inducted into the Rock and Roll Hall of Fame. Clapton was inducted in 1992 as a member of The Yardbirds and in 2000 for his solo career. As of 2019, he is the only musician who has been inducted three times. In 2005, Cream reunited to perform concerts at the Royal Albert Hall in London and Madison Square Garden in New York City, which was captured on the live album, Royal Albert Hall London 1–2–3–4. In 2014, Bruce died of liver cancer. Baker’s latest recording was his jazz album, Why? (2014). CREEDENCE CLEARWATER REVIVAL Creedence Clearwater Revival’s (CCR, 1967–1972) swamp rock and blues-rock convinced listeners that band members grew up on the bayou in Louisiana, alongside oak trees bedecked with moss, voodoo priests and priestesses, and the loup garou (a Cajun werewolf or shapeshifter). But none hailed from either there or from the South. Rather, the band started in El Cerrito, a city located on San Francisco Bay’s eastern shore and just over five miles away from the University of California, Berkeley. Nearby San Francisco had developed into a central scene for psychedelia and the hippie subculture at a time when teens were still lacing up their Oxfords. CCR began as the rock-and-roll, rhythm-and-blues, rockabilly, and roots music band, The Blue Velvets (1959–1964). Members were singer-songwriter-guitarist John Fogerty (1945–), pianist Stu Cook (1945–), and drummer Cosmo Clifford (Douglas Raymond Clifford, 1945–). John Fogerty’s older brother, Tom Fogerty (1941–1990), sometimes sang and played guitar with them. By 1959, he became their lead singer-songwriter and guitarist. Between 1961 and 1962, they released three nationally noncharting singles on Oakland’s Orchestra Studios label and attained airplay in the Bay Area. In 1964, John Fogerty watched a National Education Television special that focused on American jazz pianist, composer, and arranger Vince Guaraldi’s “Cast Your Fate to the Wind” (1962, with lyrics by Carel

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Werber). Produced by the local independent jazz label, Fantasy Records, the cool jazz song was No. 22 on the Billboard Hot 100—by this time, an unusual accomplishment for jazz. John Fogerty contacted Fantasy, and The Blue Velvets signed shortly afterward, becoming the Golliwogs. Between 1965 and 1966, the brothers shared lead vocals and songwriting responsibilities, evolving The Golliwogs from being an American reaction to British Invasion rhythm-and-blues bands to a swamp-rock and blues-rock band with dark lyrics written in the Southern gothic vein. John Fogerty and Clifford, respectively, joined the Army Reserve and the Coast Guard Reserve to avoid being drafted during the Vietnam War. Though service disrupted the band’s success, by 1967, Fantasy Records’ new owner, Saul Zaentz (1921–2014), offered to produce their first album if they changed their name and agreed to a publishing contract that removed their copyrights. Fantasy executives made Cook switch to bass, Tom Fogerty to rhythm guitar, and John Fogerty to lead vocals and lead guitar. The Fogertys were both tenors with a bright upper register. Tom Fogerty’s voice was softer and smoother, and though it worked well for rock and roll, his brother’s weary, raspy vocals, which produced multiphonics (sounding more than one tone at the same time) and vocal grinding sounded most ideal for blues-rock and swamp rock. In between October 1967 and February 1968, the band’s eponymous debut album was recorded at Coast Recorders in San Francisco. Meanwhile, in January 1968, they named themselves Creedence Clearwater Revival. Released on May 28, 1968, the album includes The Golliwog’s final single, the cowbell-heavy country-rock and swamp-rock “Porterville” (1967), and a rerecording of their hard rocking “Walk on Water” (1966). Other originals were “The Working Man,” “Get Down Woman,” and “Gloomy.” The rest of the album consists of CCR’s blues-rock and swamp-rock renditions of Screamin’ Jay Hawkins’s rhythm-and-blues novelty “I Put a Spell on You” (1956), the Cajun rockabilly “Susie Q” (1957, Dale Hawkins and Robert Chaisson), and the rhythm-and-blues and soul “Ninety-Nine and a Half (Won’t Do)” (1965, Steve Cropper, Eddie Floyd, and Wilson Pickett). The album reached No. 52 on the Billboard 200 and charted internationally. Its Billboard Hot 100 hits were renditions of “Susie Q (Part One)” at No. 11 and “I Put a Spell on You” at No. 58. Under Zaentz, the detailed studio-recording techniques on CCR’s debut album were the work of engineer Walt Payne and John Fogerty. Saturated with studio and instrumental psychedelic effects, the album evokes a haunting bayou world. Payne was the sound engineer on Bobby Darin’s “That Funny Feeling” from the American romantic comedy film

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of the same title (1965), as well as albums by Liberace, Julie London, and The Smothers Brothers. Side One of CCR’s debut album begins with eerie sound effects and lots of reverb, kicking off “I Put a Spell on You” in E minor (the same home key as the original). Instruments are frequently assigned to left and right speakers. In this song’s introduction, lead guitars and bass are assigned left, with rhythm guitar and keyboard assigned right. To evoke the protagonist’s driven passion, Fogerty belts and uses vocal grind in verse 1. Not only does this track bring listeners into an ominous atmosphere that is full of voodoo, but it also demonstrates the band’s early tendency to include lengthy instrumental interludes. Most psychedelic effects are found in the instrumental sections. The bridge is full of quick key changes (tonicizations). Fervent strumming here and in the instrumental interlude (featuring John Fogerty’s lead guitar solo on left speaker) gives a sense of mesmerizing, underscoring a strengthening black magic spell. The outro also features these sounds and ends with the beginning sound effects. In contrast, the following track and the album’s first original, “The Working Man,” uses a straightforward blues-rock style with frequent breaks, lots of melodic electric bass guitar, and effective doubling. Just a few psychedelic effects are used in its lengthy instrumental interlude. The album’s third track and breakout hit, “Susie Q,” is blues-rock with many playful psychedelic effects. CCR’s album version has an 8-minute, 37-second duration. The single release divides this recording into two parts, with its A-side fading out before the instrumental interlude finishes, creating a 4-minute, 33-second AM radio-friendly version. The B-side fades in with this interlude. The album version’s structure is as follows: instrumental introduction (bifurcated); verse 1; verse 2; instrumental interlude 1; verse 3; verse 4; instrumental interlude 2; verse 1; verse 2 (repeats); instrumental and vocal outro. In E minor, the first part of the introduction begins with drums being panned from right to left and a crescendo (the music gets louder), followed by the second part, which features John Fogerty’s pentatonic central electric guitar riff in the foreground (right, using the pitches D, E, G, A, and B). Bass, rhythm guitar, and tambourine enter (left). In verses 1 and 2, John Fogerty’s lead vocals (left) are accompanied by melodic bass that has shifted right; here, the bass takes up the lower part of the riff while the lead guitar (still right) plays the upper part while commenting on verse 1’s first lines. This accompaniment carries into verse 2, in which the voice remains on left speaker. Instrumental interlude 1 features distorted electric guitar solo (right), accompanied by the riff in the bass (right), followed by an eerie fading guitar effect (right). In verses 3 and 4, the lead vocals shift

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right and are filtered and sound distant. Instrumental interlude 2 continues the central riff, followed by electric guitar solo (right) and eventually cymbal, harmonica, and vocal effects (right). These give way to the riff, which turns into a vamp, cuing in the voice (now left) and the return of verses 1 and 2. The instrumental outro enters with the eerie guitar effect from earlier and solo electric guitar (both right), accompanied by drums (left) and bass, which takes over the central riff (right). Another electric guitar enters (left), which doubles the bass as high-pitch sound effects emerge softly in the background (right). Electric guitar strums enter the foreground, followed by harmonized voices (right). Toward the end, tremolos, more guitar effects (right), and upward chromatic ­movement (by half-step) build suspense, allowing for dissonance as strums accelerate to a ringing, sustained electric guitar pitch. All that is left are the heartbeat of the opening drums, now panned from left to right and fading out. In 1969, CCR released three albums that mainly consisted of John Fogerty’s songs with just one cover on each: Bayou Country was No. 7 on the Billboard 200, charting internationally. Its Billboard Hot 100 hit was “Proud Mary,” which was No. 2. At this time, John Fogerty began writing and performing songs on his Rickenbacker 325 Sunburst electric guitar. The album’s other originals include “Bootleg,” “Graveyard Train,” “Penthouse Pauper,” and “Keep on Chooglin.’” Bayou Country begins with “Born on the Bayou,” a slow swamp-rock song with an instrumental introduction that takes off with a psychedelic effect: A sustained electric guitar note is panned from left to right, followed by the lead electric guitar’s opening broken-chord riff in E major. “Born on the Bayou” was released as the B-side to “Proud Mary.” Though it was a hit for CCR, Ike and Tina turned “Proud Mary” into their signature song (1970) with New Iberia, Louisiana, rhythm-and-blues drummer Soko Richardson’s arrangement. Green River was CCR’s first No. 1 album on the Billboard 200. Its top Billboard Hot 100 hits were the swamp-rock “Bad Moon Rising” and title track at No. 2. The album was recorded in between March and June 1969 at Wally Heider Studios in San Francisco. House engineer-producer Russ Gary was auditioned and hired to help John Fogerty produce this album. Gary’s recording techniques, such as separately and closely micing the drums and assigning the lead and rhythm guitars carefully enough to capture exchanges between the brothers, were appealing to CCR. He remained their engineer for the rest of their existence and on members’ solo studio albums. Green River’s songs were all originals except for the concluding “Night Time Is the Right Time” (1957, Nappy Brown).

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Originals include the blues-rock “Tombstone Shadow,” the country-rock “Wrote a Song for Everyone,” the swamp-rock “Cross-Tie Walker,” and the blues-rock and psychedelic-rock “Sinister Purpose.” The last stands out for its use of delays, pedal effects, feedback, and shifting instruments to different speakers. It shows that John Fogerty still had a penchant for psychedelic studio effects, though at this point they were toned down to just one song per album. Willy and the Poor Boys was recorded in the same location as Green River and released on November 2, 1969, several months after CCR’s successful performance at Woodstock. It was No. 3 on the Billboard 200. Both the A-side and B-side of its swamp-rock single “Down on the Corner”/“Fortunate Son” were Billboard Hot 100 hits, respectively, at No. 3 and 14. “Down on the Corner” is an upbeat song that focuses on a buskering fictional band named Willy and the Poor Boys, whereas “Fortunate Son,” released during the Vietnam War, protests how poor young men get sent off to fight wars for rich old men. Cosmo’s Factory, released on July 16, 1970, and titled after Clifford’s nickname and a Berkeley factory space in which the band rehearsed during its hungry days, marked CCR’s return to No. 1 on the Billboard 200. Its Billboard Hot 100 hits include its two double A-side singles, “Travelin’ Band”/“Who’ll Stop the Rain,” both at No. 2, and “Run through the Jungle”/“Up around the Bend” at No. 4 and 2, respectively, as well as both A-side and B-side “Lookin’ Out My Back Door”/“Long as I Can See the Light” at No. 2. “Run through the Jungle,” also coinciding with the Vietnam War, fuses swamp rock with psychedelic rock and uses a lot of reverb, delay, and assigning instruments to speakers. Released on December 7, 1970, Pendulum is CCR’s first album that uses a Fender Rhodes keyboard prominently, in addition to saxophone. It was No. 5 on the Billboard 200. Its double A-side single, “Have You Ever Seen the Rain?”/“Hey Tonight” were No. 8 on the Billboard Hot 100. Though John Fogerty’s songs often focus on the bayou, many are actually based on growing up in California. “Have You Ever Seen the Rain” is a country-rock ballad that was written at the height of CCR’s internal tensions. Though Pendulum demonstrates CCR’s branching into other styles, many of its songs do not have the earlier swamp-rock edge. The swamp-rock “Sailor’s Lament” and “Hey Tonight” have poprock elements; “It’s Just a Thought” was soulful folk rock; and “(Wish I Could) Hideaway” was psychedelic rock. The album concludes with “Rude Awakening #2,” which begins with an acoustic guitar folk opening but evolves into a surreal psychedelic-rock piece that sounds unlike CCR, employing tape sounds and a kalimba that resembles a toy piano.

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After Pendulum was recorded, Tom Fogerty angrily departed from the band. CCR’s final album, Mardi Gras, was the only one with shared producer and individual songwriter credits. Released on April 11, 1972, the album was No. 12 on the Billboard 200 and charted internationally. Its Billboard Hot 100 hits were “Sweet Hitch-Hiker” at No. 6 and “Someday Never Comes” at No. 25. John Fogerty also sang lead vocals on the band’s swamp-rock rendition of Gene Pitney’s rockabilly song “Hello Mary Lou” (1960). Mardi Gras was poorly received, and CCR disbanded shortly afterward due to internal tensions and touring to the point of exhaustion. Meanwhile, Fantasy Records’ Zaentz profited enough from reissues of CCR’s greatest hits to produce motion pictures such as One Flew over the Cuckoo’s Nest (1975) and Amadeus (1984). John Fogerty and Zaentz had legal disputes long after CCR’s dissolution. In 1995, Cook and Clifford formed Creedence Clearwater Revisited with John Tristao on lead vocals and rhythm guitar; The Captain (Steve Gunner) on rhythm guitar, harmonica, keyboards, and backing vocals; and The Cars’ lead guitarist Elliot Easton. Despite personnel changes (Easton left in 2004 and Tristao in 2016), the band continues to specialize in playing live renditions of CCR songs. Despite previous animosity, Cook and Clifford invited John Fogerty to reunite with them, but he turned them down. Two years later, John Fogerty successfully filed a legal injunction to stop the band’s use of the CCR name, so the band changed its name to Cosmo’s Factory. When the injunction was overturned, Cosmo’s Factory became Creedence Clearwater Revisited again and, a year later, they released the live album, Recollection (1998). Six out of seven of CCR’s albums have attained at least platinum certification in the United States; Mardi Gras, despite its poor reception, has attained gold certification. Cosmo’s Factory has been CCR’s most successful album, attaining quadruple-platinum certification, followed by Green River with triple-platinum certification. Zaentz, however, made the most money from their recorded output, especially from the compilation album Chronicle, Vol. 1 (1976), which was No. 22 on the Billboard 200 and attained diamond status in the United States. JIM CROCE Since the mid-1960s, singer-songwriters have recorded albums that not only feature folk rock but also combine folk rock with other classic-rock subgenres like blues-rock, country rock, soft rock, and jazz-rock fusion. Jim Croce (1943–1973), like his contemporaries Joni Mitchell and James Taylor, had a down-to-earth approach to writing and recording

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folk rock and hardly ever embraced the psychedelic-rock aesthetic of his Woodstock contemporaries. His voice was best suited for folk and folk rock—opting for an acoustic sound that placed it in the foreground. His approach to folk-rock fusion, however, was distinguished by his use of elements of baroque rock, blues-rock, and soft rock. Croce stands out for his lyrics, storytelling, characterization, and keen sensibility of the sounds of words, rhymes, phrasing, and line endings. His five studio albums include Facets (1966), Jim & Ingrid Croce (1969), You Don’t Mess around with Jim (1972), Life and Times (1973), and I Got a Name (1973). His last three albums, released on ABC Records, all attained gold certification. His self-released debut album, Facets, was financed by his parents’ $500 wedding gift. Though they intended to show him that he could not support his family on his music career and to convince him to return to college, Croce made a profit by selling every copy of Facets. Afterward, he signed a contract with Capitol and recorded the folk album Jim & Ingrid Croce with his singer-songwriter wife. His third and most successful studio album was a solo effort and return to folk rock. You Don’t Mess around with Jim became No. 1 on the Billboard 200. It featured his soft baroque-rock song “Time in a Bottle,” which was No. 1 on the Billboard Hot 100, Billboard’s Easy Listening, and Cash Box’s Top 100 charts, as well as in Canada and Australia. The album’s title track and “Operator (That’s Not the Way It Feels)” were No. 8 and 17, respectively, on the Billboard Hot 100 and charted internationally. Other songs, such as “Tomorrow’s Gonna Be a Brighter Day,” “New York’s Not My Home,” “Photographs and Memories,” and “Rapid Roy (The Stock Car Boy),” attained popularity and airplay on classic-rock and easy-listening stations. He followed with his folk-rock album, Life and Times, which reached No. 7 on the Billboard 200, and had another hit with “Bad, Bad Leroy Brown.” The song was No. 1 on the Billboard Hot 100 and charted internationally. In addition, “One Less Set of Footsteps” and “It Doesn’t Have to Be That Way” reached No. 37 and 64, respectively, on the Billboard Hot 100. On September 20, 1973, Croce died in a plane crash after performing a concert at Northwestern State University in Natchitoches, Louisiana. I Got a Name, released posthumously, became No. 2 on the Billboard 200. The title track was No. 10 and 4, respectively, on the Billboard Hot 100 and Billboard’s Easy Listening chart. “Workin’ at the Car Wash Blues” was No. 32, and his folk-rock ballad, “I’ll Have to Say I Love You in a Song,” was No. 9 on the Billboard Hot 100. Three songs that appear on You Don’t Mess around with Jim exemplify Croce’s style and folk-rock fusions. These are the title track (combining

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folk rock and blues-rock), “Rapid Roy (The Stock Car Boy)” (folk rock, blues-rock, and a hint of surf rock, or nod to Chuck Berry), and “Time in a Bottle” (folk rock and baroque pop-rock). The album was recorded during 1971 and 1972 at The Hit Factory and released in April 1972. Terry Cashman (Dennis Minogue, 1941–) and Tommy West (Thomas Picardo, 1942–) produced it, as well as Croce’s Life and Times and I Got a Name. Cashman, West, and Gene Pistilli were once a trio and had a songwriting hit with Cashman and Pistilli’s “Sunday Will Never Be the Same” (1967), covered by Spanky and Our Gang. The trio’s hit, as The Buchanan Brothers, was “Medicine Man” (1969). “You Don’t Mess around with Jim” is a narrative song about a pool hall hustler named Big Jim Walker. The percussive acoustic guitar introduction employs a simple folk oscillation between F and B-flat (I and IV in F major). Croce then starts with verse 1. Tracing the syncopation of his melody and use of lyrics is fascinating: already by the third phrase his vocal pattern changes. A blues-inflected, twangy acoustic guitar plays a brief tag after his fourth phrase (right speaker). By his fifth and sixth phrases, the progression I7-IV-bVII emerges (a displacement of the classic-rock progression I7-bVII-IV) as he creates another syncopated vocal pattern. One would expect the verse to be symmetrical and complete after eight measures, but he extends it (rocking momentarily with IV7-I6/4-IV), leading into the refrain (also in F major, but now emphasizing IV(7)-I(7), a folk progression displacement, and ending on V7, a C dominant7 chord). Here, listeners learn that one just doesn’t mess around with this guy; after all, “you don’t tug on Superman’s cape.” He follows the refrain by playing again with the listener’s expectations—instead of getting to verse 2 right away, he scats for a couple of measures (using his voice as a musical instrument by singing nonsense vocables; he also rocks between I and IV). Verse 2 explains that Slim is looking for Jim. An acoustic piano enters (left). This time, his vocal tag at the end of the verse is accompanied with backing singers who also sing the refrain. Verse 3 uses a more drawn-out accompaniment with gospel-sounding backing vocals sustaining notes to add suspense to the story. Claps (right) enter as the final repeat of the refrain stresses wordplay—Slim is the new guy that you don’t mess with from now on. Again, Croce plays with listeners’ expectations and adds a spoken-word section as an aftermath—Jim is no longer hustling in pool halls, giving a moral to his story before repeating the final refrain, followed by a vocal and an instrumental outro with acoustic guitar and piano. This song foreshadows “Bad, Bad Leroy Brown,” released on Life and Times, which is also a narrative but has a catchier refrain, with its diatonic ascending bass line.

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“Rapid Roy (The Stock Car Boy)” begins with an acoustic guitar nod to Berry’s “Johnny B. Goode” and other songs while also alluding briefly to surf rock (which used Berry’s music often). Surf rock also celebrated the joy of fast cars. The introduction returns as a brief instrumental interlude in the song. An imagistic song, it features Croce’s choppy eighth-note lyrics that are at times syncopated (contrasting short versus elongated lines) and a wonderful use of internal rhyme, particularly with employing assonance. He also skillfully reorders details in lines to create end rhymes. Take, for example, his description of a tattoo in the first verse—instead of describing it as reading, “hey, baby,” he stretches the line to point out that it reads “baby” and then adds later that it also reads, “hey.” Though it uses more bass (left), the song has some similarities to “You Don’t Mess around with Jim,” including its blues-inflected, twangy acoustic guitar (right), a passing reference to Alabama, and its key (F major). “Time in a Bottle” is a striking contrast to his narrative songs and ballads. A love song, it tells no story and simply stresses end rhymes. Assonance can still be found in the verses, yet less so in this song. “Time in a Bottle” employs triple meter (three beats per measure) and an eighthnote accompaniment on acoustic guitar (the baroque pop-rock part that gives the song its momentum—a use of Fortspinnung, meaning spinning forward, which was popular in the late Baroque period of Johann Sebastian Bach). The descending chromatic line adds to the song’s sense of swing. The song’s recorded structure is contrasting verse-refrain, as follows: introduction; verse 1; verse 2; refrain; instrumental interlude; verse 3; refrain; instrumental outro. The refrain, in D major (the parallel major to D minor), provides the brighter-sounding passages. It features three acoustic guitars—a Gibson Dove played by Croce and the Martin D-18 and D-35, played by Maury Muehleisen (1949–1973), a classically trained folk guitarist who died with Croce in the plane crash. A harpsichord, played by West, enters sparsely in the first occurrence of the refrain but takes over the accompaniment by the outro. West added the harpsichord in the song’s mixing stage when he discovered an out-oftune one left behind in the studio (Eskow 2009). Technically, the song is as much prog rock as Procol Harum’s earlier hit, “A Whiter Shade of Pale” (1967), with its use of Baroque Fortspinnung and its favorite keyboard, the harpsichord. “Time in a Bottle” became Croce’s most successful song—immediately following his death, disc jockeys played the song as a tribute, likely because the song was about not having enough time to do everything one intends. Croce’s folk-rock styles contributed to 1970s classic rock’s softer musical sound. His songs’ characters, stories, and emotional

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range—his songs’ perfection—defy the idea of covers. Numerous artists have ­covered Croce’s “Bad, Bad Leroy Brown,” but with Croce’s songs, these covers are an exception rather than the general rule. CROSBY, STILLS, NASH & YOUNG, AND AMERICA By the late 1960s, the dissolutions of three major classic-rock bands, The Hollies (1962–), The Byrds (1964–1973), and Buffalo Springfield (1966– 1968, 2010–2012), led to the formation of the American supergroup, Crosby, Stills, Nash & Young (CSNY, 1969–1970, 1973–2015). Originally an acoustic vocal-guitar trio that played folk rock, country rock, and soft rock, Crosby, Stills & Nash (CSN, 1968–1970, 1973–2015) became influential with its close tenor harmonies, political and philosophical lyrics, and combination of hippie and country aesthetics. One of the most accomplished CSN-inspired groups was established across the pond. After the release of Crosby, Stills & Nash (1969), a trio called America (1970–), living in London, understood that CSN would be a defining sound of the 1970s. In response, they honed their vocal harmonies and acoustic guitar skills, composed numerous CSN-inspired songs, and found success. CSN’s prehistory started at the Monterey Pop Festival (June 16–18, 1967) with American singer-songwriters and guitarists David Crosby (1941–) of The Byrds and Stephen Stills (1945–) of Buffalo Springfield; both were American folk-rock, country-rock, and psychedelic-rock bands. At the time, Stills’s Buffalo Springfield bandmate, Canadian singer-songwriter, guitarist, keyboardist, and harmonica player, Neil Young (1945–), had departed briefly over creative differences. Much to the chagrin of The Byrds’ founders, lead guitarist and vocalist Roger McGuinn (a.k.a. Jim McGuinn 1942–) and bassist Chris Hillman (1944–), Crosby inserted political rants in between songs at their Monterey Pop performance and then, a night later, at Stills’s request, filled in for Young without disruption at Buffalo Springfield’s performance. The Byrds returned to record The Notorious Byrd Brothers (1968) in West Los Angeles, but by October 1967, McGuinn and Hillman ousted Crosby when he refused to approve their recording of “Goin’ Back” (1966, Gerry Goffin and Carole King). Crosby wanted the album to have all original songs. By May 1968, Buffalo Springfield disbanded over drug issues and creative differences. Stills finished their final album, Last Time Around (1968), and appeared as a featured guitarist on Blood, Sweat & Tears’ (1967–1981, 1984–) former founder and keyboardist Al Kooper’s (Alan

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Peter Kuperschmidt, 1944–) project album, Super Session (1968), on the Columbia label. The album was No. 12 on the Billboard 200 and attained gold certification. That same year, English singer-songwriter and guitarist Graham Nash (1942–) left his pop-rock and psychedelic pop and rock band, The Hollies, over creative differences and relocated to Laurel Canyon, California. He and Crosby, whom he had previously met on a 1966 Hollies tour in the United States, became friends through neighbor and mutual friend, singer Cass Elliot (Ellen Naomi Cohen, 1941–1974) of the folk-rock, psychedelic-rock, and pop-rock band, The Mamas and the Papas (1965–1971). Kooper’s supergroup concept inspired the formation of CSN. Though they failed an audition with The Beatles’ label, Apple Records, CSN signed with Atlantic Records. Each CSN member was responsible for songwriting and singing lead vocals on his own songs while all sang backing vocals, played guitars, and produced together. Stills was the most involved in the eponymous debut album (1969), adding keyboards and other instruments. Eventually attaining quadruple-platinum status, the album’s Billboard Hot 100 hits were “Marrakesh Express” at No. 28 and “Suite: Judy Blue Eyes” at No. 21. Its other popular songs were “Guinnevere” and “Wooden Ships” (with Jefferson Airplane’s Paul Kantner). In 1970, CSN won the Grammy Award for Best New Performer. In 1969, Young released his debut solo albums, Neil Young and Everybody Knows This Is Nowhere (the latter with his band, Crazy Horse). Upon hearing Crosby, Stills & Nash, Atlantic’s cofounder Ahmet Ertegün (1923–2006) encouraged Young, who sings tenor and countertenor vocals, to join the all-tenor trio. By August 1969, CSN and CSNY performed acoustic and electric sets at Woodstock. CSN’s acoustic “Suite: Judy Blue Eyes” and CSNY’s electric “Wooden Ships” appeared on the album Woodstock: Music from the Original Soundtrack and More (1970). Also included was CSNY’s “Sea of Madness” (1969), which was not from Woodstock but from a September 1969 live concert at the Fillmore East in New York City. Believing that the filming distracted the audience from the music, Young refused to be involved in Michael Wadleigh’s Academy Award–winning documentary, Woodstock (1970), and just performed his songs, “Mr. Soul” (1967, originally a Buffalo Springfield release) and “Wonderin’” (1967), during CSNY’s acoustic set. In Woodstock, the camera focuses on Stills instead of Young during “Sea of Madness.” Studio recordings of CSN’s “Long Time Gone” (1969) and “Wooden Ships” nevertheless appear on the film’s soundtrack. Woodstock performances of CSNY’s “Guinnevere,” “4+20,” and “Marrakesh Express” appear on the sequel album, Woodstock 2 (1971).

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Young’s edgy, hard-rock style can be heard on CSNY’s debut album, Déjà Vu, and on their first nonalbum single, “Ohio.” Déjà Vu was recorded between July 1969 and January 1971 at Wally Heider’s Studio C in San Francisco and Wally Heider’s Studio 3 in West Los Angeles. It became No. 1 on the Billboard 200 and topped charts internationally. Its Billboard Hot 100 hits were the group’s hard-rock rendition of Joni Mitchell’s “Woodstock” at No. 11, the country-rock and folk-rock “Teach Your Children” at No. 16, and the soft folk-rock “Our House” at No. 30. Canadian folk and folk-rock singer Mitchell’s “Woodstock,” based on her boyfriend Nash’s account of the event, appeared on her album, Ladies of the Canyon (1970). “Ohio” was recorded on May 21, 1970, at the Record Plant Studios’ West Los Angeles location and rush-released the following month. Young composed it in response to Life magazine’s photographs of the Kent State shootings (May 4, 1970), in which Ohio National Guardsman fired 67 rounds that killed four unarmed students who were either protesting against U.S. President Nixon’s Cambodian Campaign or were innocent bystanders. “Ohio” became No. 14 on the Billboard Hot 100, charted internationally, and was later included on CSNY’s first compilation album, So Far (1970), which features Mitchell’s artwork on its front cover. Establishing the home key, D minor, Young’s introductory twomeasure electric guitar vamp (assigned to the right speaker) turns into the verses’ and interludes’ central riff (D5-F major-C major, or D minor: i5-III-VII). It disappears in the lyrical refrains that feature CSN’s harmonized vocals. Fusing hard rock and folk rock, the recorded song employs this structure: instrumental introduction (bifurcated); verse 1; refrain; instrumental interlude 1; vocal interlude; refrain; instrumental interlude 2; vocal outro (verse-related). Verse 1 begins with voices in unison. The vocal interlude uses verse-related music, CSN’s close harmonies, and “nana” vocables. Young sounds like he is beginning another verse toward the song’s end, but instead the outro starts. It features CSN’s harmonized backing vocals repeating “four dead in Ohio” between Young’s lines. Despite success, CSNY broke up when Stills, addicted to alcohol and cocaine and believing that Bob Dylan was attending their 1970 Fillmore East concert, spontaneously performed an extended solo set to impress him. The others fired Stills on July 9, 1970, in Bloomington, Minnesota, and CSNY officially broke up to pursue solo careers. Solo albums released just after CSNY’s dissolution were Stephen Stills (1970) and Stephen Stills 2 (1971), Young’s After the Gold Rush (1970), Crosby’s If I Could Only Remember My Name (1971), and Nash’s Songs for Beginners (1971). In 1972, Young’s Harvest, Stills’s Manassas (his new

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band’s eponymous album), and the duo Crosby and Nash’s Graham Nash David Crosby were released. As a duo, Crosby and Nash continued releasing studio albums, including Wind on the Water (1975), Whistling Down the Wire (1976), and Crosby & Nash (2004). Despite solo success, members worked both individually and together on many other artists’ recordings. Just before CSNY’s dissolution, America’s ascent began. Consisting of sons of U.S. Air Force servicemen stationed near London, the original trio consisted of singer-songwriter guitarists Dan Peek (1950–2011, born in Panama City, Florida), Dewey Bunnell (1952–, Harrogate, Yorkshire, England), and Gerry Beckley (1952–, Fort Worth, Texas). While in different bands, Peek met Bunnell on long school bus rides and Beckley in art class. Under several names, the high school seniors played at the local teen club. In 1969, Peek attended Old Dominion University in the United States, and the band broke up; but by 1970, he dropped out, returned, and reunited the band. With borrowed acoustic guitars, they soon called themselves America to stand out from English acoustic acts (as Americans playing American music). Like CSN, each took on songwriting and sang lead vocals on his own song (except for Bunnell’s lead vocals on a few non-Bunnell songs). Shortly afterward, America was discovered and managed, respectively, by English producers, DJs, and promoters Ian Samwell (1937–2003) and Jeff Dexter (1946–). By 1971, the trio signed onto Kinney Records, which immediately reassigned them to the related Warner Bros. U.K. label. Between March and December, America recorded their eponymous album at Trident and Morgan Studios in London. Samwell and Dexter co-produced America. Previously, Samwell composed Cliff Richards’ debut single, “Move It” (1958), one of the earliest rock-and-roll songs written in the United Kingdom. Dexter introduced the twist craze to London. His friend Samwell produced his songs, “Let Me Teach You How to Dance”/“Twistin’ Like the French Kids Do!” (1962). He later hosted and promoted English bands such as Pink Floyd and The Who and American bands such as The Byrds and Jefferson Airplane at the Middle Earth club. America became No. 1 on the Billboard 200, No. 14 in the United Kingdom, charted internationally, and eventually attained platinum status in the United States and Canada. Its hits were “A Horse with No Name,” which was No. 1 on the Billboard Hot 100, and “I Need You,” which was No. 9. Both charted internationally. “A Horse with No Name” was not included on the album’s original release. Warner Bros. executives believed that releasing America’s soft-rock ballad “I Need You” as a debut single was a poor choice and requested an upbeat song.

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On November 12, 1971, America released a three-track debut single that included the folk-rock and country-rock song “A Horse with No Name” as its official A-side, although the side was shared with another nonalbum single, “Everyone I Meet Is from California”; its B-side was “Sandman.” Despite an initial unenthusiastic European reception, “A Horse with No Name” replaced Young’s “Heart of Gold” (1971) at No. 1 on the Billboard Hot 100 in the United States, and Warner Bros. reacted by reissuing America in 1972 with the song. “A Horse with No Name” appealed to many listeners with its novel, absurd lyrical imagery, its bouncy two-measure acoustic guitar vamp, Bunnell’s weary tenor lead vocals that resembled Young’s, sessions percussionist Ray Cooper’s bongos, and the trio’s CSN-inspired harmonies in the vocal interludes and refrains. Bunnell’s vivid point-of-view lyrics take listeners on a desert journey, where “the heat was hot” and “the air was full of sound.” In E minor, the recorded song uses this structure: instrumental introduction; verse 1; refrain; vocal interlude; verse 2; refrain; vocal interlude; drum bridge; instrumental interlude; verse 3; refrain; vocal interlude (used as outro). The acoustic guitar vamp oscillates between the home key and a blurry first-inversion D major chord (F-sharp in the bass) with an added ninth (E minor: i-VII6/9), evoking, with the help of the lyrics, a road mirage. Samwell and Dexter’s psychedelic production touches can be heard throughout the recording. For example, at the beginning, the 6-string acoustic guitar and Bunnell’s first vocal phrases are assigned left; then Peek’s bass, Cooper’s drums (right), and Beckley’s 12-string acoustic guitar (left) bring in a fuller sound, with Cooper’s bongos entering shortly afterward (right). Toward the end of the instrumental interlude, Beckley’s 12-string acoustic guitar solo, accompanied by 6-string acoustic guitars, are momentarily panned, shifting from left to right speaker. Lots of reverb is added to the backing harmonies, contributing to a fuller sound in the last refrain and vocal outro. While “A Horse with No Name” was a hit on AM radio stations, the harder gothic folk-rock “Sandman” gained popularity on FM ones. Bunnell’s vocal persona addresses listeners, who wish to avoid the Sandman, a Northern European folklore character who puts people to sleep. But in the final verse, Bunnell asks, “Did you hear of my enlistment?” As the song was composed during the Vietnam War, one possible interpretation is that the song’s persona is a ghost, and sleep is death. This lyrical twist recontextualizes the tightly harmonized prechorus’s comments about having no time. Composed in A minor, the recorded song’s structure follows: instrumental introduction; verse 1; prechorus; refrain; instrumental interlude (bifurcated); bridge; verse 2; prechorus; refrain; vocal

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outro; instrumental outro. The arrangement and production details also contribute to the song’s haunting sound. At the beginning of verse 1, Bunnell’s introductory acoustic guitar strums (assigned left) shift right, accompanied by soft cymbal crashes (left). Synthesizer effects (panning from right to left) emerge as the accompaniment gets fuller (both speakers). The instrumental interlude begins with drums, bass, and an acoustic guitar solo (left), followed by distorted bass, Peek’s electric guitar doubling acoustic guitars (left), and then his solo (right). The tempo accelerates before the bridge but returns to the original by verse 2. The final refrain contains psychedelic effects that are applied to the electric guitar (right). Its dense texture suddenly stops, suddenly shifting to a proto–heavy metal sparse texture in the vocal outro, with acoustic guitars strums and on-the-beat drumming accompanying tightly harmonized voices in the foreground. But instruments end the song, most notably electric guitar, accompanied by a soft, jangly 12-string acoustic guitar, before fading out. The album title Homecoming (1972) coincides with America’s self-producing its second album at the West Los Angeles location of The Record Plant. Released on November 15, 1972, on the Warner Bros. label, the album was No. 9 on the Billboard 200. Homecoming has a similar acoustic sound to America, but it employs more electric guitar and synthesizer, as well as polished, yet less detailed, production values. Its hits were “Ventura Highway” at No. 8 on the Billboard Hot 100, charting internationally; “Don’t Cross the River” at No. 35; and “Only in Your Heart” at 62. The acoustic folk-rock “Ventura Highway” opens with a bluegrass-sounding, fingerpicked, harmonized acoustic guitar figure, and its prechorus uses a displaced basic G major–D major7 folk progression (D major: IV-I7, a reversal of I-IV). Contextualized by lyrics, the opening bluegrass figure may evoke a country field, but the song’s bright, upbeat mood belies its lyrics’ meaning: the protagonist is very sad that someone (“you”) is determined to leave for sunny California, represented by Ventura Highway. The prechorus and refrain describe the beauty of this destination. Like “A Horse with No Name,” the song uses curious imagery. The “alligator lizards in the air”—large, billowy clouds shaped like animals—come from Bunnell’s memory of his family driving south from Vandenberg Air Force Base. Also self-produced, and using the same studio as Homecoming, America’s Hat Trick (1973) was the original lineup’s weakest album, charting at No. 28 on the Billboard 200. Their bluesy folk-rock cover of “Muskrat Candlelight” (1972, Willis Alan Ramsey), retitled by the group as “Muskrat Love,” reached No. 67 on the Billboard Hot 100.

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America made a significant comeback with Holiday (1974), a collaboration with The Beatles’ (1960–1970) producer and arranger George Martin (1926–2016). The album was recorded between April 17 and May 7, 1974, at AIR Studios in London. Holiday was released on June 26 that year on the Warner Bros. label and was No. 3 on the Billboard 200. It fuses Martin’s orchestral arrangements with America’s acoustic folk-rock sound, though it is more pop-oriented than earlier albums. Engineer Geoff Emerick (1945–2018), who worked on The Beatles’ Revolver (1966), Sgt. Pepper’s Lonely Hearts Club Band (1967), and Abbey Road (1969), maintained America’s polished production values while bringing back some of Samwell and Dexter’s earlier studio techniques, such as assigning instruments to speakers. Holiday’s Billboard Hot 100 hits were the jazzy folk-rock and soft-rock ballad “Tin Man,” featuring Martin on acoustic piano, at No. 4, and the country-rock and folk-rock ballad “Lonely People,” at No. 5. In contrast to Bunnell’s jazz-inspired vocal delivery in “Tin Man,” “Lonely People” features Peek’s soft, high lyric tenor vocals. “Lonely People” was an uplifting response to The Beatles’ “Eleanor Rigby” on Revolver. Martin and America took Hearts (1975) further in a pop-oriented direction with orchestration and synthesizers. Recorded in between January 6 and 30 at The Record Plant’s Sausalito, California, location and released on March 19, 1975, Hearts was No. 4 on the Billboard 200. Its Billboard Hot 100 hits were the cello-heavy “Daisy Jane,” at No. 20; “Woman Tonight,” at No. 44; and America’s earlier and best-known single, “Sister Golden Hair,” at No. 1, topping charts internationally. Beckley’s point-of-view song explains to his lover that he is not ready to marry but still wishes to be with her. Los Angeles–based folk-rock, soft-rock, and country-rock singer-songwriter, guitarist, and pianist Jackson Browne’s (Clyde Jackson Browne, 1948–) songs inspired Beckley. Browne and Glenn Frey’s country-rock song “Take It Easy” (1972), a No. 12 hit for Frey’s band, the Eagles (1971–1980, 1994–), on the Billboard Hot 100, can heard as an influence on “Sister Golden Hair,” particularly with Beckley’s lap steel guitar and bright tenor vocals that resembles Frey’s. Another influence is The Beatles’ guitarist George Harrison’s “My Sweet Lord” melody, which originally appeared on his All Things Must Pass (1970 in the United States and 1971 in the United Kingdom). Both Martin-produced, America’s final albums that featured its original lineup, Hideaway (1976) and Harbor (1977), were No. 11 and No. 21 on the Billboard 200, respectively, and they charted internationally. Hideaway’s Billboard Hot 100 hit singles were the folk-rock “Today’s

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the Day,” at No. 23, and soft-rock “Amber Cascades,” at No. 75, on the Billboard Hot 100. Harbor, which included the disco song “Slow Down,” was a commercial failure. Peek left after the recording of this album to become one of the pioneering musicians of Christian rock. The duo’s first album, Silent Letter (1977), is also the band’s first album that does not begin with an “H.” It marks their move to Capitol and was the group’s final Martin-produced album. It was No. 110 on the Billboard 200. America became an adult contemporary soft-rock and pop band, initially demonstrating its new sound on its nonalbum single, a cover of The Mamas and the Papas’ hit, “California Dreamin’” (1965), for the American post-beach party film of the same title (1979). The band followed up with less success with Alibi (1980 in the United States and 1981 in the United Kingdom), which was No. 142 on the Billboard 200. While America departed from its CSN-inspired acoustic sound, CSN reunited, having success with CSN (1977), which was No. 2 on the Billboard 200, followed by Daylight Again (1982) at No. 8, which had hits with the Gordon Lightfoot–sounding “Southern Cross” at No. 18 and “Wasted on the Way” at No. 9 on the Billboard Hot 100. The latter was CSN’s first Top-10 hit in 10 years. Released less than a month after CSN’s Daylight Alone, America’s partly self-produced View from the Ground (1982) marked the band’s comeback. The album was No. 41 on the Billboard 200, and it charted internationally. Its hits were the soft pop-rock hit “You Can Do Magic” (Russ Ballard), at No. 8 on the Billboard Hot 100, and “Right Before Your Eyes” (Ian Thomas), at No. 45. Recorded at Abbey Road Studio 2 in London, “You Can Do Magic” brought a resurgence of interest to the group. America’s follow-up album, Your Move (1983), was No. 81 on the Billboard 200 and included the soft-rock hit, “The Border,” at No. 33 on the Billboard Hot 100. America’s final album with Capitol, Perspective (1984), was No. 185 on the Billboard 200. In 1997, CSN was inducted into the Rock and Roll Hall of Fame. THE DOORS One day in July 1965, Jim Morrison (1943–1971) sang “Moonlight Drive” to his friend Ray Manzarek (born Manczarek, 1939–2013) on Venice Beach in West Los Angeles. Using lyrics from one of his poems and his own melody, Morrison’s song inspired Manzarek’s immediate vision to start a band that played a dark variant of psychedelic music. He became so excited that he told Morrison that his lyrics were the best he ever heard and that they should form a band and make a million

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dollars. This story, often told by Manzarek himself, explains how his band, which became The Doors (1965–1974), was established. Shortly after drummer John Densmore (1944–) and guitarist Robby Krieger (1946–) joined the band, Morrison suggested the name, based on the title of Aldous Huxley’s book The Doors of Perception (1954). Huxley’s title came from a line in William Blake’s poem “The Marriage of Heaven and Hell” (1793). Manzarek, who became the band’s keyboardist, shared some musical background with both Densmore and Krieger: Like Densmore, he developed a passion for playing jazz, and like Krieger, he was classically trained but enjoyed playing the blues. Manzarek’s initial connection to Morrison, however, was filmmaking. Both studied film at the University of California, Los Angeles (UCLA), where they originally met. Morrison (an undergraduate student) and Manzarek (a graduate student) both studied under Expressionist filmmaker Joseph von Sternberg, who was most famous for his film Der blaue Engel (The Blue Angel, 1930). The combination of Morrison’s poems as a source for lyrics, the band members’ musical backgrounds, and Morrison and Manzarek’s passion for imagery from studying filmmaking at UCLA contributed to The Doors’ sound. The four original members performed live and recorded six studio albums in just six years. On July 3, 1971, Morrison died in Paris, and though the band continued on for three more years, recording two more studio albums and performing concerts, it dissolved in 1974. The focus of this discussion is on the original lineup’s six studio albums only. With Morrison, The Doors’ studio albums include The Doors (1967), Strange Days (1967), Waiting for the Sun (1968), The Soft Parade (1969), Morrison Hotel (1970), and L. A. Woman (1971). All albums were produced on the Elektra label, topped the Billboard 200, charted internationally, and attained at least platinum status. The band’s debut album is to date its best-selling one, attaining quadruple-platinum certification, followed by its final album, L. A. Woman, with its double-platinum certification. The Doors was recorded August 19–24, 1966, at Sunset Sound Recorders in Hollywood. Paul A. Rothchild (1935–1995) and Bruce Botnick (1945–), respectively, produced and engineered the album using just a four-track tape machine. Despite using just three out of four tracks to record songs (the fourth track was assigned to overdubbing), recording techniques like assigning specific instruments to left or right speakers contributed to the album’s sonic dimension. These techniques would be used throughout The Doors’ studio album output. Some of The Doors’ best-known originals appear on this album. These include “Break on Through (To the Other Side),” “Soul Kitchen,” “The Crystal Ship,”

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“Twentieth Century Fox,” “Light My Fire,” and “The End.” A couple of well-known covers are also included: “Alabama Song (Whisky Bar),” an adaptation of Bertolt Brecht and Kurt Weill’s “Alabama Song” (translated in 1925 from German to English by Elisabeth Hauptmann, set to music in 1927 for the play Little Mahagonny and used again in 1930 in Weill’s satirical opera Aufstieg und Fall der Stadt Mahagonny or Rise and Fall of the City of Mahagonny), and Willie Dixon’s blues song “Back Door Man” (1960). Some songs emphasized themes and sounds that could be heard throughout The Doors’ recorded output. Expressionism had an influence on Manzarek and Morrison’s filmmaking, and its influence can also be heard here, particularly with stressing inner dark feelings, angst, and using fragments to suggest the whole. “Break on Through” became the first single released by the band; at No. 126, it missed the Billboard Hot 100. The song’s verses appear to draw from religion scholar Mircea Eliade’s The Sacred and the Profane: The Nature of Religion (1953), in which he describes how humans seek religion to find ways to divide night and day. Like Eliade, Morrison was fascinated by shamanism, which was manifest in the lyrics of several Doors songs on later recordings (e.g., “Not to Touch the Earth” on Waiting for the Sun and “Shaman’s Blues” on The Soft Parade). “Light My Fire,” initiated by Krieger but with a second verse and revisions by Morrison, went to No. 1 on the Billboard Hot 100. Its introduction showcases Manzarek’s keyboard playing, descending from G to D major, F then B-flat major, and E-flat then A-flat major before landing on the home key, A major, with his right hand playing the flowing melody on his Vox Continental. On the album, Manzarek used his left hand on his Fender Rhodes Piano Bass, but it was doubled with session bassist Larry Knechtel. This introduction serves as a bright contrast, ending on A major, to its adjacent verse, which begins on an A minor chord. Morrison’s voice already shows great range on this album, from its softest and most laidback in “Alabama Song” to screaming and most maniacal in the “The End,” the album’s lengthiest epic song. Strange Days was recorded between May and August 1967 and, like the debut album, at Sunset Sound Recorders. “Moonlight Drive” appears on this album, along with its title track, “People Are Strange,” “My Eyes Have Seen You,” and “When the Music’s Over.” The album also contains a spoken-word poem recitation, “Horse Latitudes,” an early poem by Morrison that is accompanied by sound effects. “People Are Strange” reached No. 12 on the Billboard Hot 100. It features a softer-voiced Morrison. Written by Morrison and Krieger, the song uses the Expressionist idea of alienation and distanciation—purposely

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making something familiar into something strange. The song also showcases Krieger’s guitar playing. Most of Waiting for the Sun was recorded between January and May 1968 at TTG Studios in Hollywood (“We Could Be So Good Together” was originally intended for Strange Days and recorded a year earlier). The album includes “Hello, I Love You,” as well as earlier concert favorites like “The Unknown Soldier,” “Spanish Caravan,” and “Five to One.” Though the album was disappointing in comparison to The Doors’ first ones, it contains “Not to Touch the Earth,” the most musical part of a lengthier recording focused on Morrison’s series of poems, “Celebration of the Lizard” (published in 1970). “Not to Touch the Earth” appears as a psychedelic song on the album, but musically it is really part of The Doors’ art and progressive rock effort. The Soft Parade was recorded in between July 1968 and May 1969 at Elektra Sound Recorders in West Los Angeles. The studio had just been built and was Elektra’s headquarters on the West Coast until 1983. Its best-known song is “Touch Me,” which contains a jazz solo by American West Coast jazz tenor saxophonist Curtis Amy and sounds the most like The Doors’ earlier hits, such as “Break on Through” and “Hello, I Love You.” The rest of the album, however, per Rothchild’s advice, used orchestral instruments, and the change of The Doors’ sound partly led to the album’s harsh critical reception. Other problems also developed. The album was recorded after a rigorous concert tour, and it appears that The Doors did not have enough time to polish their songs. In addition, part of one of Krieger’s lines, “get your guns,” from “Tell All the People,” led to Morrison’s insistence on individual songwriting credits on the album. Angered over its call for violent action, and within the historical context of the Vietnam War and police actions against student protests, Morrison did not want listeners to think that the song was his own. It was the first time on a Doors’ album that individual song credits were listed. The title track appears last. As the lengthiest track, and an example of The Doors’ art rock, it contains Morrison’s spoken-word monologue and multiple musical sections. After The Soft Parade, Morrison Hotel was a comeback album and a return to The Doors’ original sound, but with more blues-rock—a classic-rock subgenre that Morrison came to enjoy singing, especially at this time. The Doors’ blues-rock music nevertheless continued in its dark, Expressionist aesthetic vein—the band continued to distinguish itself from the sunshine-pop sound of its local contemporaries, The Beach Boys, and aligned itself instead with the dark blues-rock sound of The Rolling Stones. Both The Doors and The Rolling Stones were friendly

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and mutually receptive of one another’s music. Morrison Hotel was mostly recorded between November 1969 and January 1970; however, “Indian Summer” was originally recorded in August 1966, and “Queen of the Highway” was originally recorded in November 1968 during The Soft Parade recording sessions. Its best-known song was “Roadhouse Blues,” a blues-rock original that enabled Morrison to indulge in his favorite kind of singing. Other notable songs were “Waiting for the Sun,” “Peace Frog,” and “Maggie M’Gill.” This album would be the final one on which Rothchild produced. He would move on to produce and complete Pearl (1971), Janis Joplin’s final studio album. L. A. Woman was The Doors’ final studio album with Jim Morrison. Like Morrison Hotel, L. A. Woman consisted of a lot of blues-rock tracks, though its psychedelic and jazz-rock preferences can also be heard throughout the album. It was recorded between December 1970 and January 1971 in an adapted rehearsal room located on the lower level of The Doors’ Workshop in West Los Angeles (now West Hollywood, California). Toward the beginning of recording, Rothchild felt that the band’s studio performances did not measure up to those on its previous albums. Botnick, however, agreed to produce the album with The Doors. Its biggest hits included the title track, “Love Her Madly,” and “Riders on the Storm” (the last discussed in further detail in the next “Must-Hear Music” entry). The title track, an epic song with multiple sections, was in homage to the city that Morrison loved. A woman is used as a metaphor to describe the city’s topography and atmosphere. Despite having a more weathered sound, Morrison gives one of his best performances on “L. A. Woman,” employing rasp (vocal grinding), sliding, and using most of his vocal range. After Morrison’s death, the remaining Doors recorded Other Voices (1971) and Full Circle (1972). Manzarek and Krieger took over lead vocals. Though Other Voices was generally well received and became No. 31 on the Billboard’s Pop Albums chart, it indicated that the band could not really replace Morrison. In 1978 the band would get together again to record An American Prayer, a spoken-word album of recordings of Morrison reading his poems, accompanied (posthumously) by the remaining Doors’ music. THE DOORS: “RIDERS ON THE STORM” AND EAGLES: “HOTEL CALIFORNIA” The Doors’ “Riders on the Storm” and the Eagles’ “Hotel California” are epic 1970s classic-rock narrative songs that evoke dark and eerie

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images of California. The songs share related philosophical outlooks, although “Riders on the Storm” is about being thrown into the world, whereas “Hotel California” is about permanently checking out. Though “Riders on the Storm’s” narrative is looser than that of “Hotel California,” both give the sense that their California is not the land of The Beach Boys’ “California Girls” and “Good Vibrations.” The Doors’ psychedelic rock differed from the Eagles’ country-rock style, but the band found inspiration with a country/Western song, Stan Jones’s “(Ghost) Riders in the Sky: A Cowboy Legend” (1948), which it combined with the real story of 1950s hitchhiking spree murderer Billy Cook (William Edward Cook Jr., 1928–1952). “Riders on the Storm” suggests California as the unpaved Wild West, whereas “Hotel California’s” roads are fully gilded—despite the initial desert road image—leading to superficial life under the glaring, inescapable sun. In December 1970, The Doors (1965–1973) recorded its final song for its sixth studio album, L. A. Woman (1971), in an adapted rehearsal room located on the lower level of The Doors’ Workshop in West Los Angeles (now West Hollywood, California). Coproduced by Bruce Botnick (1945–), L. A. Woman was mastered at Artisan Sound Recorders in North Hollywood. “Riders on the Storm” followed the March release of “Love Her Madly.” That month, lead singer Jim Morrison (1943–1971) flew to Paris with goals of getting rest and living a poet’s life. Released in June in the United States, “Riders on the Storm” charted on the Billboard Hot 100, but Morrison only briefly enjoyed this success. On July  3, 1971, he was found dead at the age of 27 in a bathtub, the same age as classic-rock musicians Jimi Hendrix and Janis Joplin. After his death was reported, the song’s radio airplay turned into a tribute to Morrison. “Riders on the Storm” was No. 14 on the Billboard Hot 100 and charted internationally. Elektra’s 1976 album reissue brought its return at No. 33 on the U.K. Singles Chart. In 1991, Oliver Stone’s fictionalized biopic The Doors sparked a resurgence of interest. That year, the song became No. 12 and 68, respectively, in Ireland and the United Kingdom. The song originated from a jam session between Morrison and Doors’ guitarist Robby Krieger (on his Gibson SG electric guitar) that was based on “(Ghost) Riders in the Sky.” Morrison started to sing “Ghost Riders on the Storm.” The Doors’ keyboardist Ray Manzarek then played an impromptu bass line and jazz-influenced melody using his Fender Rhodes Mark I electric piano. Later, The Doors’ drummer John Densmore was added, along with session bassist Jerry Scheff (formerly Elvis’s bass player), who doubled Manzarek’s bass. After a rough demo was made, “Riders on the Storm” became the album’s fastest recorded

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song, with just three takes. As a creative afterthought, Morrison added a session of whispers and singing overdubs. He suggested having rain and thunder sound effects, so Botnick used the label’s effects collection and added them while mixing the song. Musical instruments are also sometimes used for sound effects (e.g., the keyboard’s opening descent suggests raindrops). Instruments are also sometimes assigned to specific speakers. The song begins with rain and thunder effects in stereo, followed by drums and the keyboard and bass’s Alberti bass pattern of broken E minor and A major chords. Borrowed from classical music, this accompaniment pattern is also a rumbling oscillation—a sound that is laden with audible potential energy. Here, the home key of E minor (i) alternates with A major (IV), creating instability. Oscillating between two keys is typical of psychedelic rock and is heard in other Doors songs like “Not to Touch the Earth” (from the band’s third studio album, Waiting for the Sun, 1968). A high-pitched, jazzy electric piano solo enters, and then descends from B to E. These sounds evoke a California desert rainstorm and set the mood. Morrison’s first verse is also the refrain (all verses use the same music). E minor remains as the home key. The verse uses a 12-bar blues pattern with a couple of substituted chords. The lyrics mentioning the song’s title (and E minor-A major-E minor, or i-IV-i) provide opening and closing frames. The refrain is the song’s philosophical statement about being thrown into the world—an allusion to philosopher Martin Heidegger’s concept of “thrownness” and to Morrison’s poetry, which focuses on an unsympathetic wilderness. As in traditional blues, the electric guitar answers most of Morrison’s lines. For dramatic purposes, it pauses about three-fourths through the verse and then resumes (the expected V-IV-i pattern is substituted with VII-VI-i, or D major-C major-E minor, before closing). The second verse warns that there is a murderer among us in the form of a hitchhiker, creating angst. This song was completed so quickly because the band used Morrison’s previous script for his independent film HWY: An American Pastoral (1969). Shot in the Mojave Desert and Los Angeles, the film’s main character was based on Billy Cook, who went on a 22-day murder rampage from 1950 to 1951. A bridge featuring Krieger’s electric guitar solo on the left speaker, accompanied by electric piano (right) and drums, takes place between the second and third verses. The guitar embellishes on Morrison’s melody while the verse chord structure is used. The third verse departs from previous verses’ content by addressing a female listener, telling her that

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she’s “gotta love [her] man.” It is up to listeners to interpret these verses as Morrison moves from first- to third- and then to second-person narrative. The instrumental interlude features a jazzy electric piano solo (right), accompanied by electric guitar, bass, and drums. Morrison’s scream appears faintly in the background. A thunderstorm punctuates this solo, and congas enter. This instrumental interlude segues into an instrumental bridge with introductory material and a vamp, which cues in the refrain. This time, the electric guitar does not answer Morrison’s melodic lines. A final bridge features distorted and sliding electric guitar, foreshadowing Morrison’s higher-pitched variation of the melody. Rounding off the verse, a coda follows with Morrison’s whispers, thunderstorms, and rain. In the outro, the electric piano and electric guitar play slow broken chords with a lot of processed reverb, evoking a desert mirage. A thunder crash concludes the song. The Eagles (1971–80, 1994–) were late West Los Angeles contemporaries of The Doors and had in common a parent recording label with the Kinney National Services’ (renamed Warner Communication in 1972) acquisition of The Doors’ recording label, Elektra. In 1972 Elektra merged with the Eagles’ label, Asylum, to form Elektra/Asylum. “Hotel California” was the title track of the Eagles’ fifth studio album (released on December 8, 1976). The single followed in February 1977. In 1978 it won the Grammy Award for Record of the Year. Lead guitarist Don Felder (1947–) composed the melody at his rented Malibu Beach house. As part of the Eagles’ usual creative process, Felder made home recordings of about 16 instrumental tracks on his four-track recorder to submit as song ideas to co-lead singer and drummer Don Henley (1947–) and co-lead singer, guitarist, and keyboardist Glenn Frey (1948–2016). Felder made this recording with his Takamine 12-string acoustic guitar and Rhythm Ace drum machine, later adding a bass line. Henley and Frey selected the melody and, because they heard it as Spanish guitars with a reggae beat, initially titled the song “Mexican Reggae.” Frey created the scenario while Henley suggested imagery and wrote lyrics. It was typical of the Eagles to begin recording a song before composition was finished. Recording began in early 1976 at Studio C at the Record Plant in Los Angeles. Music engineer Bill Szymczyk (1943–), who had been working with the Eagles since the group’s On the Border (1974), produced the album. Henley had lead vocals and played drums and percussion. Felder and Eagles’ guitarist-songwriter Joe Walsh (1947–) accompanied him with their 12- and 6-string electric lead guitars and backing vocals; Frey played 12-string acoustic guitar, and Randy Meisner (1946–), another member of the band, played bass.

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A lot of trial-and-error attempts and editing ensued. After three recording sessions (two at the Record Plant and the last one at Studio C, at Criteria Studios in Miami—Szymczyk’s home city), it was determined that the song’s original key of E minor was too high for Henley. During the second session, it was transposed down to B minor. Though the instrumentation was almost entirely established, the tempo was too fast. The final version that appeared on the album was a splicing of the best of five recordings from the third session, during which the lyrics were finally polished. It also included overdubbed lead guitars by Felder on a 1959 Les Paul and Walsh on a Telecaster and their improvisation in the song’s famous outro. “Hotel California’s” introduction and first verse (all verses use the same music) are based on a cycle of chords that changes every two measures. These chords can be heard as pairs: B minor and F-sharp dominant6/5; then A and E major; G major and D major; and E minor and F-sharp dominant7 (B minor: i and V6/5; VII and IV6/3; VI and III6/3; iv and V7). The second chord of each pair is the dominant of the first one. The final F-sharp dominant7 chord leads back to B minor, completes the cycle, and establishes B minor as the home key. The harmonic pattern (not the rhythm) resembles the verses of “We Used to Know” (1969) by Jethro Tull, an English prog-rock band that once toured with the Eagles. Also worth noting is the bass’s chromatic descent (at half-step intervals) with each chord change on these pitches: B; A-sharp; A; G-sharp; G; F-sharp; and E; then to F-sharp and B to complete the cycle and start again. On the lower guitar strings breathes in cello-like warmth with a lyrical countermelody that starts on D. The first verse sets the story on a California desert highway while the second verse introduces a mysterious woman. Guitars playing close harmony (in thirds) underscore the phrase “mission bells.” Establishing G major as a new home key, the refrain is comparatively bright, but it does not last. The bright sound underscores harmonizing voices (the “voices in the corridor”) that are welcoming and describe the hotel as the place to stay, but the refrain ends on an F-sharp dominant7 chord (V7 of B minor), strongly signifying the return of the truly inescapable original home key. The third verse introduces metaphors about the mysterious woman’s fixations on luxury. The fourth verse reveals the narrator’s observing wine being served—one of the hotel’s luxuries. After the refrain repeats, the fifth and sixth verses close the narrative. With sparse instrumental texture, the fifth verse continues with the narrator’s observations of the hotel’s amenities, including champagne, a feast, and the company of the

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mysterious woman. By the sixth verse, he wants to leave but discovers there is no way out. The outro concludes with an improvised guitar solo, the introductory material returns (with the electric guitar’s higher-pitched variation of the opening countermelody), as does the endless cycle. Without concluding words, the music makes clear the narrator’s fate. Though the cycle could just fade out, the guitars come to a loud stop. BOB DYLAN Before he began recording classic rock, Bob Dylan (Robert Allen Zimmerman, 1941–) had already been a distinguished singer-songwriter, multi-instrumentalist, poet, and writer. His earliest studio albums featured folk, blues, and country blues. These recordings include his debut album, Bob Dylan (1962), followed by The Freewheelin’ Bob Dylan (1963), The Times They Are a-Changin’ (1964), and Another Side of Bob Dylan (1964). The Freewheelin’ Bob Dylan was No. 22 on the Billboard 200 in the United States but became No. 1 on the U.K. Albums Chart; eventually, it attained platinum and gold status, respectively, in the United States and the United Kingdom. The album contains several of Dylan’s most influential and loved original folk songs, all resonating significantly with young adult listeners: “Blowin’ in the Wind” poses rhetorical questions about peace, war, freedom, awareness, and compassion; “A Hard Rain’s a-Gonna Fall” presents horrific images of what is going on in the world, yet suggests to address—not run away from—the world’s suffering. The first album on which Dylan records folk-rock songs is Bringing It All Back Home (1965). Side One, titled the “Electric Side,” represents when Dylan notoriously “plugs in,” playing electric guitar himself and backed by an electric rock band whose Canadian-American members soon became The Band (1968–1977, 1983–1999). Its most notable songs include “Subterranean Homesick Blues,” “Maggie’s Farm,” and “Love Minus Zero/No Limit.” Side Two is titled the “Acoustic Side.” It included members of his backing band from Side One and continued in a folk-rock vein but with lengthier songs that are void of drums. Its most notable songs are “Mr. Tambourine Man,” “It’s Alright, Ma (I’m Only Bleeding),” and “It’s All Over Now, Baby Blue.” Bringing It All Back Home was No. 6 and 1, respectively, in the United States and United Kingdom, and it eventually attained platinum and gold certification, respectively, in both countries. Despite its success, however, the folk music community that embraced Dylan and helped him catapult his career was harshly critical of his combination of folk music and rock.

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As friends and leading folksingers in the 1960s, Bob Dylan and Joan Baez often performed during well-known demonstrations such as the 1963 March on Washington. Eventually, both recorded albums that focused on classicrock subgenres such as folk rock and country rock. (National Archives)

Prior to this album’s release, in 1964, The Byrds’ (1964–1973) manager Jim Dickson (1931–2011) shared a demo of Dylan’s “Mr. Tambourine Man” and convinced the band to cover the song. Dickson and The Byrds’ arrangement of Dylan’s folk song combined acoustic and electric guitars. They sent their demo to Dylan, who contacted them and let them know that he liked what he heard (Rogan 1998, 56). The Byrds’ rendition was further developed and ultimately became a No. 1 hit in the United States and United Kingdom after its April 12, 1965, release, which took place less than a month after Dylan’s on Bringing It All Back Home. Dylan had his own first hit with “Subterranean Homesick Blues,” at No. 39 in the United States, No. 9 in the United Kingdom, and charting internationally. In A major, “Subterranean Homesick Blues” was inspired by Chuck Berry’s lyrics in his rock-and-roll song “Too Much Monkey Business” (1956), Woody Guthrie and The Almanac Singers’ “Take It Easy” (1942), and Jack Kerouac’s novella The Subterraneans (Grove Press, 1958). Alluding to numerous issues that were important to youth of his

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day such as drugs, the Vietnam War, generational clashes, and poverty, this fusion of blues-rock and folk-rock uses the following recorded song structure: instrumental introduction; verse 1 (trifurcated); instrumental bridge; verse 2 (trifurcated); instrumental bridge; verse 3 (trifurcated); instrumental bridge; verse 4 (trifurcated); instrumental outro. Dylan’s harmonica plays during the bridges and in the outro. The song also features lead electric guitar. The trifurcated verses bring a break to the rhythm of the chant-like lyrics. For example, the rhythm of his lyrics gets broken with the lengthier “look out kid” and its following line. Then the chant rhythm returns for the rest of the verse. The song is featured as a short music video, shot in black in white, in D. A. Pennebaker’s documentary film on Dylan’s 1965 concert tour in England, Don’t Look Back (1967). In the video, Dylan holds handwritten cue cards with mostly nouns from his song while standing in front of sacks in an alley. Beat and San Francisco Renaissance poet Allen Ginsberg (Irwin Allen Ginsberg, 1926–1997), Scottish folk, pop, folk-rock, pop-rock, and later psychedelic-rock singer-songwriter Donovan (Donovan Philips Leitch, 1946–), and American folk singer-songwriter, record producer, manager, and visual artist Bob Neuwirth (1939–) wrote the cards; the latter two are shown in the background. Prior to finishing and releasing his subsequent folk-rock album, Highway 61 Revisited (1965), which also consists of blues-rock and rock and roll, Dylan released the folk-rock single “Like a Rolling Stone” (with rock and roll sounding refrains) with “Gates of Eden,” an acoustic folk song, from Bringing It All Back Home on its B-side. “Like a Rolling Stone” was recorded in between June 15 and 16, 1965, and released on July 20 that year, just days before Dylan’s appearance at the Newport Folk Festival. At the event, which took place on July 25, 1965, Dylan notoriously “plugged in” his guitar and performed an electric set, backed by the Paul Butterfield Blues Band’s (1963–1971) guitarist Mike Bloomfield and keyboardist Barry Goldberg. The set included “Maggie’s Farm,” “Like a Rolling Stone,” and “Phantom Engineer” (the last eventually developed into Dylan’s 1965 blues-rock song “It Takes a Lot to Laugh, It Takes a Train to Cry,” which appeared on Highway 61 Revisited). By the third song, Dylan was booed offstage. Returning to the studio to complete Highway 61 Revisited, Dylan recorded “Positively 4th Street” on July 29, 1965. The folk-rock song in F-sharp major sounds like a second-person harangue directed against a person claiming but failing to be his friend. His final verse is a call for empathy, though he concludes with his perception, “What a drag it is to see you.” Dylan has left the song open for interpretation, but many

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conclude that it was directed at the folk music community, possibly the specific Greenwich Village folk-music revival community, who ostentatiously rejected him. Another provocative aspect of Dylan’s song and recording is Al Kooper’s accompanying Hammond B3 organ melody, which is ironically upbeat. “Like a Rolling Stone” and “Positively 4th Street” were No. 2 and 7, respectively, on the Billboard Hot 100 in the United States and strongly charted internationally. Other notable songs on the album are the folk-rock and blues-rock “Just Like Tom Thumb’s Blues” (based on a 16-bar blues structure), folk-rock “Desolation Row” and the electric blues–inspired blues-rock “Ballad of a Thin Man.” Highway 61 Revisited was No. 3 and 4, respectively, in the United States and the United Kingdom, attaining platinum and gold certification, respectively, in both countries as well. Dylan’s double album Blonde on Blonde was his subsequent folk-rock album. Recorded between January 27 and June 1966 at Columbia Studio A in New York City and Columbia Studio B in Nashville, Blonde on Blonde is often viewed as the conclusion of a trilogy of Dylan folkrock albums. It was released on June 20, 1966, and became No. 9 and 3, respectively, in the United States and the United Kingdom, eventually attaining double platinum and platinum status in both countries. Its most notable hit was “Rainy Day Women #12 & 35,” which was No. 2 and 7, respectively, in the United States and United Kingdom. Its other notable songs were “I Want You,” “Just Like a Woman,” “Leopard-Skin Pill-Box Hat,” “Visions of Johanna,” and “Most Likely You Go Your Way and I’ll Go Mine.” The album also contains electric and jump blues–inspired songs, such as “Pledging My Time.” Side Four and the album’s final side consists of just one folk-rock song, “Sad Eyed Lady of the Lowlands.” At 11 minutes and 22 seconds, the epic song focuses on a mysterious woman by using meandering, stream-of-consciousness imagery. The recording in Nashville took place just after Dylan composed the song. Though Dylan had written down its structure, the length of the song was the result of his improvised harmonica solos. Dylan’s other albums included John Wesley Harding (1967), Nashville Skyline (1969), Self Portrait (1970), New Morning (1970), Planet Waves (1974), Blood on the Tracks (1975), Desire (1976), and Street-Legal (1978). The first four of these albums were all No. 1 in the United Kingdom while coming close to topping the Billboard 200 in the United States, and Planet Waves, Blood on the Tracks, and Desire were all No. 1 on the Billboard 200 in the United States and attained double-platinum certification there. “All Along the Watchtower” appears on John Wesley Harding as a folk song featuring Dylan on acoustic guitar as well

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as playing harmonica. Dylan’s live album with The Band, Before the Flood (1974), spawned the country-rock song “Lay Lady Lay,” which was No. 7 and 5, respectively, in the United States and United Kingdom and also charted internationally. Self Portrait stands out for consisting of mostly covers as well as for Dylan’s affected voice, imitating country crooners. He returns to using his familiar voice on New Morning. Dylan’s Pat Garrett & Billy the Kid (1973) was also a soundtrack for the Sam Peckinpah film of the same title. His folk-rock song “Knockin’ on Heaven’s Door” was No. 12 and 14, respectively, in the United States and the United Kingdom, and the Slim Pickens death scene that the song accompanied became an iconic film moment. It took several years before Dylan would have another significantly charting single in the United States. Slow Train Coming (1979), which features folk, blues, and Christian rock in addition to gospel, was recorded after Dylan’s conversion to Christianity. The album’s “Gotta Serve Somebody” is a fusion of gospel and rock and roll. The No. 24 hit on the Billboard Hot 100 won Dylan the 1979 Grammy Award for Best Rock Vocal Performance by a Male. Dylan hit a new stride of successful Billboard 200 Top-10 chart toppers with Time Out of Mind (1997), Love and Theft (2001), which also contains country blues and rock, Modern Times (2006), which also includes rockabilly, Together through Life (2009), and Tempest (2012). For the American film Wonder Boys (2000), Dylan composed and recorded the folk-rock and blues-rock “Things Have Changed,” which won the Academy Award for Best Original Song. Acoustic guitar (left), shaker (right), and bass guitar, and drums mostly accompany Dylan’s weathered voice in this song with a weary refrain, “I used to care, but things have changed.” He also released Christmas in the Heart (2009), focusing on Christmas music. Shadows in the Night (2015) reached an impressive No. 7 on the Billboard 200 for a vocal jazz album that features traditional pop; Fallen Angels (2016), his continuation in the traditional pop vein, achieved an identical chart position, followed by the less successful pop studio album, Triplicate (2017). Dylan’s legendary combination of poetry and music has garnered numerous honors and awards. In 2008, he received a special citation from the Pulitzer Prize Committee. In 2016, he became the first songwriter who was awarded the Nobel Prize in Literature. EAGLES In late 1970s Los Angeles, The Mighty 690 (XEWW-AM), broadcast not from California but from Rosarito in Baja California, was the

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prominent hits station played on car radios. Songs by the Eagles (1971– 1980, 1994–) were a staple on The Mighty 690, and many listeners there favored the band’s lyrical themes, with L.A.-related imagery—a preference that seems ironic not because its members were transplants from elsewhere, but because one of their major inspirations for their lyrics was their loathing of life in L.A. The Eagles were created when a Detroit native (Glenn Frey, 1948–2016) and a native of Linden, Texas (Don Henley, 1947–), decided to form a band while on tour as members of pop, pop-rock, and country-rock singer-songwriter Linda Ronstadt’s (1946–) backing band. She recommended Flying Burrito Brothers member Bernie Leadon (1947–), originally from Minneapolis but raised in San Diego. Frey and Henley also recruited Randy Meisner (1946–), from Scottsbluff, Nebraska. They signed onto David Geffen’s new label, Asylum Records, and became the Eagles about a month later. The Eagles’ eponymous debut studio album was recorded in February 1972 and released on June 1 of that year. Glyn Johns (1942–) produced and engineered the album at Olympic Studios in London. The album was No. 22 on the Billboard 200 in the United States and attained platinum certification, but outside the United States, it only charted at No. 13 in Canada. The album was stylistically torn between Frey’s preferring a tough retro rock-and-roll sound and Leadon’s softer country-rock-mixed-with-folk-rock intentions, while Johns favored the latter and wanted to showcase vocal harmonies. In addition, Henley’s sole lead songwriting contribution on the album is “Witchy Woman” (with Leadon, who originated the song in his Flying Burrito Brothers days), a blues-rock song in G minor with R&B elements and drumming that suggests of Native American (Plains Indians) frame drums. These drums underscore the third verse’s final line (sung by Henley): “She can rock you in the night until your skin turns red”—a line, though overlooked by most listeners in the 1970s, that no longer stands up to time for its anti-Native American implication. Despite the band’s internal tensions and their disagreements with Johns, who was not only engaged in producing them but he also took to the charge of developing them at this formative time, the album yielded three significant Billboard Hot 100 hits: “Take It Easy” at No. 12, “Witchy Woman” at No. 9, and “Peaceful Easy Feeling” (Jack Tempchin) at No. 22. All charted internationally. Glenn Frey and Jackson Browne’s “Take It Easy” is a rollicking country-rock song that uses Leadon’s banjo accompaniment as a bluegrass element. Its verses with fast-paced lyrics, sung by Frey, are in G major and its refrains move from the relative minor (E minor) back to its home key (G major). In contrast, “Peaceful Easy Feeling” is soft

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country rock that contains folk-rock elements with its use of acoustic rhythm guitar and harmonizing vocals. The recorded song structure of “Peaceful Easy Feeling” is as follows: instrumental introduction; verse 1; refrain; verse 2; refrain; instrumental verse; instrumental refrain; verse 3; refrain (extended as outro). In E major, this compact simple verse-refrain song (or verse-chorus) has lead vocals by Frey. Its combination of guitars include Leadon on a twangy steel guitar–sounding Fender Telecaster electric guitar with a B-Bender (right)—this device bends the B-string up (as high as a minor third above B or three frets) and was originally invented in 1968 by country-rock guitarists-songwriters Gene Parsons and Clarence White (both were members of Nashville West and, later, The Byrds)—as well as Frey on acoustic guitars (left) and Meisner on bass guitar (left). Henley on drums (both speakers, separated) accompanies them. Frey sings verse 1 by himself, Leadon’s harmonizing vocals are heard in verse 2, followed by Meisner’s added in verse 3. The verses are mostly a basic folk progression (strumming E major to A major several times, or E major: I-IV). The refrain is still in E major, but starts on A major (IV of E major). Its second line on “won’t let me down” has a half cadence on B dominant7 (V7), which is resolved with a full cadence back to E major (I) in its next and final line. On the word “down” in the subsequent refrains with harmonizing vocals, a gorgeous vocal suspension takes place (F-sharp minor add4-B dominant7, or E major: iiadd4-V7), followed by Frey’s solo vocal line, “’cause I’m already standin’ on the ground,” which moves back to the home key (and underscores his protagonist’s solid state of mind). The refrain’s meaning is contextualized by each verse: First, it sounds romantic; second, a sense of contentment about not being trapped by the woman in his relationship; and third, happiness about ending the relationship, being free, and moving on (and thus lightly humorous). The last refrain is repeated and becomes the outro, featuring the electric guitar with a B-Bender device. The instrumental verse features the same instrument, which quickly takes over the main melody from a lower, drier-sounding acoustic guitar; it continues with the main melody in the instrumental refrain. With its second album, Desperado, containing songs that focused on Wild West themes, the Eagles opted for country rock with some folk-rock. The album was recorded in early 1973 under Johns at Island Studios in London and released on April 17, 1973. The album did not perform as well as Eagles, charting at No. 41 on the Billboard 200; however, it charted in more countries internationally and has ultimately outsold Eagles, attaining double-platinum certification. Its Billboard Hot 100 hits were “Tequila Sunrise” at No. 64 and “Outlaw Man” (composed by David Blue) at

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No. 59. The title track, a soft country-rock ballad, was never released as a single but ultimately matched the popularity of its Billboard Hot 100 hits and marked the beginning of Henley and Frey’s prolific songwriting output. While beginning their recording for On the Border, Johns departed after producing “You Never Cry Like a Lover” and “Best of My Love” back at Olympic Studios. Following Desperado, the band worked toward a harder rock sound while maintaining strong country-rock elements, but Johns’ vision differed, and he lacked confidence in this new sound. Leadon invited his friend, guitarist-singer-songwriter Don Felder (1947–), who quickly became a band member. Originally from Gainesville, Florida, Felder once had a young Tom Petty as his guitar student. On the Border was released on March 22, 1974, and was No. 17 on the Billboard 200, charting internationally, and eventually attaining double-platinum certification. Its Billboard Hot 100 hits were “Already Gone” (Tempchin and Robb Strandlund) at No. 32, “James Dean” at No. 77, and “Best of My Love” at No. 1; the last became the band’s first chart-topping hit. Surprisingly, One of These Nights was a return to the band’s earlier sound; this time, the album included country rock, folk rock, and soft rock. Even though the stylistic change was more in the direction of Leadon’s musical preferences, the band’s harder rock side dissatisfied him. He became increasingly removed from songwriting when he noticed that his songs were frequently being overlooked as singles. One of These Nights was recorded in 1974 and 1975 under Szymczyk at Mac Emmerman’s Criteria Studios in Miami and back at the Record Plant Studios. Released on June 10, 1975, it became No. 1 on the Billboard 200, coming close to topping charts internationally. As the Eagles’ commercial breakthrough album, it has attained quadruple-platinum certification in the United States and platinum certification in Canada and the United Kingdom. At the time, the album contains the band’s top-performing Billboard Hot 100 hits, including the soft-rock title track at No. 1, which features Felder on lead guitar, “Lyin’ Eyes” at No. 2, and “Take It to the Limit” at No. 4. The soft country-rock “Lyin’ Eyes” won the 1976 Grammy Award for Best Pop Performance by a Duo or Group with Vocals. “Take It to the Limit,” in B major, another soft country-rock song, stands out for Meisner’s lead vocals as well as for its use of strings and triple meter (three beats per measure, also called “waltz time,” whereas most classic rock favors four, also known as quadruple meter). Both “One of These Nights” and “Take It to the Limit” include Meisner’s falsetto tenor vocals as well as the Eagles’ tight vocal harmonies.

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After One of These Nights was released, Leadon departed and was replaced, upon Szymczyk’s recommendation, by Joe Walsh (Joseph Fidler, 1947–). Born in Wichita, Kansas, and raised mostly in Columbus, Ohio, Walsh was an ex-member of The James Gang (1966–1977), a hard-rock, funk-rock, and folk-rock band that was established in Cleveland. With Walsh’s nickname being the “Clown Prince of Rock,” Henley was initially concerned that he would distract the band’s trajectory too much with his unpredictable antics and showmanship. But Walsh quickly demonstrated that he was a strong contributor and gave the band an edgy sound that they hoped to achieve. Walsh first appears with the Eagles on Hotel California, which became No. 1 on the Billboard 200 and topped charts internationally. One of the biggest commercial successes in classic-rock history, Hotel California has, as of 2019, attained double-diamond certification in the United States and sextuple-platinum certification in the United Kingdom. Its Billboard Hot 100 hits include “New Kid in Town” and “Hotel California” at No. 1 as well as “Life in the Fast Lane” at No. 11. “New Kid in Town” and the title track, respectively, won 1978 Grammy Awards for Best Arrangement for Voices and Record of the Year. A soft-rock song with some rock-and-roll sound, “New Kid in Town” also features Meisner playing guitarrón, the bass guitar used in mariachi bands, and Walsh on Fender Rhodes electric piano and Hammond organ, accompanying Felder on lead guitars. “Hotel California,” which is discussed in detail earlier in this book, was also a platinum-certified single in the United States and a gold-certified single in the United Kingdom. “Life in the Fast Lane” is a hard-rocking blues-rock story song about a couple’s excesses (including sex and drugs), fast life, and ruin. The song is based on Walsh’s central guitar riff and uses a 24-blues song structure (an augmented version of the 12-bar blues structure). It also includes Frey playing a clavinet, an electric keyboard with an amplifier; though it becomes buried under Walsh and Felder’s lead guitars, Frey’s clavinet track was the basic track laid down first for the recording of this song. Szymczyk created the phaser effects used in the song’s outro, a sound inspired by Electric Ladyland (1967), The Jimi Hendrix Experience’s final studio album (Buskin 2010a). In June 1977, Meisner departed from the Eagles after an argument with the band while on tour supporting Hotel California. Oakland-born and Sacramento-raised guitarist-singer-songwriter Timothy B. Schmit (1947–) replaced him on bass and thus became the band’s only native Californian. This was not the first time Schmit replaced Meisner; earlier, in 1969, he filled Meisner’s position as bassist for Poco (1968–), a West Los Angeles–based country-rock and folk-rock band established by Richie Furay, Jim Messina, and Rusty Young. Schmit’s first Eagles album

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was The Long Run, which was recorded between March 1978 and September 1979 in many locations, including Bayshore Recording Studios in Coconut Grove, Florida, and Los Angeles-based studios such as One Step Up, Love ’n’ Comfort, Britannia, and back at the Record Plant. Szymczyk produced The Long Run, which was No. 1 on the Billboard 200 and contained the Billboard Hot 100 hits were “Heartache Tonight” at No. 1 as well as “The Long Run” and “I Can’t Tell You Why” at No. 8. The album is more eclectic than the Eagles’ earlier albums. It still includes country rock, but it focuses more on hard rock and rock and roll. “I Can’t Tell You Why” includes blue-eyed soul and “Heartache Tonight” is hard blues-rock in G major that uses a relative minor vamp in its verses (G major-E minor). The song features Frey’s lead vocals, Walsh’s slide guitar, distorted electric guitars and bass, and handclaps. “Heartache Tonight” won a 1980 Grammy Award for Best Rock Performance by a Duo or Group with Vocals as well as frequent airplay on AM radio. The septuple-platinum certified Long Run also includes “In the City,” which was originally recorded by Walsh and composed for Walter Hill’s film drama, The Warriors (1979). The album includes Jimmy Buffet’s backing vocals on “The Greeks Don’t Want No Freaks,” Bob Seger’s uncredited backing vocals on “Heartache Tonight,” and David Sanborn’s alto saxophone on “The Sad Café.” In the meantime, the Eagles appeared on Walsh’s But Seriously Folks . . . (1978). The hard-rock comedy album that was coproduced by Walsh and Szymczyk was No. 8 on the Billboard 200. Szymczyk joined in on the fun by playing tambourine and backing vocals. “Life’s Been Good,” a novelty about enjoying the excesses of rock stardom, became his most successful solo it at No. 12 on the Billboard Hot 100. Though the band survived touring exhaustion and successfully polished and recorded 10 eked-out songs on The Long Run, they reached a dead end. On July 31, 1980, Frey and Felder nearly broke out into a fistfight at a Long Beach concert supporting their album. Frey departed from the band, which prompted their dissolution. Elektra/Asylum held them to a contractual obligation to record a live concert album, which was Eagles Live (1980). The only single released from this album was their five-part harmony and acoustic guitar cover of Steve Young’s “Seven Bridges Road” from his country, country-rock, and folk album, Rock Salt & Nails (1969). The Eagles’ arrangement, using a cappella vocals in close harmony, quadruple meter (four beats per measure), and acoustic guitars, is based on Iain Matthews’ rendition, which appeared on Valley Hi (1973), coarranged and produced by former Monkees and fellow country-rock musician, Mike Nesmith. The recorded song, in D major, was from their July 28, 1980, concert at the Santa Monica

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Civic Auditorium. The recorded song structure is as follows: acoustic guitar strum; verse 1 (section A); refrain; instrumental bridge; verse 2 (A’); refrain; verse (B); refrain; verse 3 (A’’); refrain. “Seven Bridges Road” was originally a preconcert warm-up song but became the regular opening song for the Eagles’ concerts. Verse 1 and the first refrain is sung a cappella by band members and includes suspensions on “go” and “road.” Harmonizing acoustic guitars play the bridge, giving this Southern-rock song a folk-rock element. These continue and accompany verse 2 and the B section verse (or middle-eight) and stop before the a cappella texture returns. The applause is also captured in the recording. Though a sentimental single for fans wishing that the Eagles’ dissolution wasn’t so, it belies the immediate, harsh breakup that actually took place. During the completion of this album, Frey cut off communication from the band and refused to do postproduction with them in the same space, so mixing was divided between him in West Los Angeles and individual band members in Miami. After the Eagles’ breakup, Walsh’s drug addiction precluded a fruitful solo career. Meanwhile, all five of Henley’s solo studio albums charted strongly on the Billboard 200 as well as internationally. These include I Can’t Stand Still (1982), Building the Perfect Beast (1985), The End of Innocence (1989), Inside Job (2000), and Cass County (2015). Frey’s solo studio recording output focused on soft rock and blue-eyed soul yet was less successful than Henley’s. His albums include No Fun Aloud (1982), The Allnighter (1984), Soul Searchin’ (1988), Strange Weather (1992), and After Hours (2012). The Eagles’ reunion concert album, Hell Freezes Over (1994), was the band’s return to No. 1 on the Billboard 200, charting internationally and ultimately attaining nonuple-platinum status. In 1998, the Eagles were inducted into the Rock and Roll Hall of Fame. Long Road Out of Eden (2007) reunited Frey, Henley, Walsh, and Schmit, with less involvement from Szymczyk. The album was No. 1 on the Billboard 200, topped charts internationally, and attained septuple-platinum status. In 2016, Frey, who suffered from arthritis, colitis, and pneumonia, died after undergoing gastrointestinal tract surgery. In 2018, the Eagles’ compilation album, Their Greatest Hits (1971–1975) (1976), surpassed Michael Jackson’s pop-rock and R&B album, Thriller (1982), as the best-selling album of all time. FLEETWOOD MAC: RUMOURS AND TUSK Solid Gold, a weekly musical television series in the United States, celebrated contemporary hits through its use of dancers, adding visuals to

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a hits countdown, and performances. One memorable evening in 1980, this very campy show started with Fleetwood Mac’s performing its 1979 hit “Tusk,” fully accompanied by the University of Southern California (USC) Trojan Marching Band in their maroon and gold uniforms, including gold Trojan hats—much to the chagrin of any devoted University of California, Los Angeles (UCLA), Bruin. High-step marching, blaring brass, and swinging bass drums overwhelmed the band that originated the hit, but the full sound of this energetic performance rocked the boob tube. By this point, it came as no surprise that classic-rock bands had shifted their focus away from recording concept albums to creating ones that were full of hits. The English and American rock band Fleetwood Mac (1967–1995, 1997–) made this adjustment successfully. Its 11th studio album, Rumours (1977), won the 1978 Grammy Award for Album of the Year and had hits that were regularly played on both AM and FM radio. Their subsequent album Tusk (1979) would not be nearly as successful, but its title song reached No. 8 on the Billboard Hot 100. The Fleetwood Mac lineup featured on Solid Gold was very different from its original incarnation, a blues-rock band that formed in London. Its original line-up consisted of guitarist Peter Green (Peter Allen Greenbaum, 1946–), drummer Mick Fleetwood (1947–), and bassist John McVie (1945–). Peter Green’s Fleetwood Mac played blues fusion. Among other hits, Green wrote “Albatross” and “Black Magic Woman” (both 1968; Santana successfully covered the latter on its 1970 album, Abraxas). In 1970, a bad dose of LSD (lysergic acid diethylamide) caused Green’s deteriorating mental health, which led to his departure. That year, singer-songwriter-keyboardist Christine McVie (1943–) joined the band. In 1974, Fleetwood Mac relocated to West Los Angeles. Impressed with hearing the pop-rock album Buckingham Nicks (1973), Fleetwood recruited American guitarist Lindsey Buckingham (1949–), who joined on the condition that his girlfriend and musical partner, American singer-songwriter Stevie Nicks (Stephanie Lynn Nicks, 1948–), was added to the band. The newly formed group’s debut album, actually the band’s 10th studio album, was No. 1 on the Billboard 200. Despite the album’s success, the McVies and Fleetwoods’ marriages were falling apart, and Buckingham and Nicks were nearing the end of their eightyear relationship. The original working title for Rumours (1977) was Yesterday’s Gone. Fleetwood Mac, Ken Caillat (1946–), and Richard Dashut (1951–) produced the album on the Warner Bros. label. Caillat had produced Donovan’s Fairytale (1965) and was a sound engineer on The Marshall

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Tucker Band and Warren Zevon’s albums. Rumours was No. 1 on the Billboard 200, topped charts internationally, and ultimately attained double-diamond status in the U.S. and multiple-platinum status elsewhere. Of the album’s 11 songs, its Billboard Hot 100 hits were “Go Your Own Way” at No. 10, “Dreams” at No. 1, “Don’t Stop” at No. 3, and “You Make Loving Fun” at No. 9. All charted internationally. “The Chain,” which is the album’s only song credited to all members of the band, did not chart in the United States, but its 2011 reissue was No. 81 in the United Kingdom and was certified gold there. Side One begins with “Second Hand News,” a surprisingly upbeat pop-rock and folk-rock (Celtic rock) fusion for its autobiographical breakup lyrical theme. It features Buckingham’s tenor lead vocals. Buckingham’s “bow-bow” scatting vocables, which take place before the third verse and the outro, contribute to the song’s fun sound while also suggesting annoyance. The song’s working title, “Strummer,” suggests, in addition to his unique scatting, that Buckingham is singing from his point-of-view; Nicks nevertheless provides backing vocals. “Second Hand News” starts a loose connective thread about the fallout from terminated relationships. “Dreams” provides immediate contrast to the first track with its country-tinged soft-rock sound. Buckingham uses instrumental and studio effects to make his Gibson Les Paul Custom electric guitar sound like a Dobro resonator guitar. Much of the sound, assigned to the right speaker, is created through heavy use of the guitar’s volume pedal. In-studio echo and reverb, in addition to a lot of fader work, is also used on the recording. Nicks’s autobiographical song focuses on her breakup with Buckingham. It features Nicks’s lead mezzo-soprano vocals, mostly in a soft, lyrical upper register. In F major, the recorded song structure is as follows: instrumental introduction; verse 1; prechorus; refrain; bridge; verse 2; prechorus; refrain; vocal outro (or coda). Though based only on two chords, F major7 and G major (F major: I major7-II [or II6], repeated in the verses and refrains; F major: II-I repeated in the prechorus), the song features Buckingham’s Dobro comments, Christine McVie’s synthesizer solo in the bridge, and Fleetwood’s cymbal crashes, all of which add interest. Buckingham also plays acoustic rhythm guitar (right) in the refrains, with Fleetwood’s conga drum playing entering toward their end. Using the F major7 chord instead of a plain F major chord underscores the title of the song, making the home key blurry and evoking dreams. “Never Go Back Again” and “Don’t Stop,” respectively, are the strongest representations of folk-rock and pop-rock on the album. “Never Go Back Again” features Buckingham’s Ry Cooder or Appalachian-inspired

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riff, with Travis fingerpicking on his steel string acoustic guitar (with the index and middle finger of the right hand alternating on two treble notes while the thumb plays bass notes, also alternating between two strings). Like “Second Hand News,” the mood of “Never Go Back Again” belies the song’s lyrics about missing someone after breaking up. In contrast, “Don’t Stop” is the most optimistic song on the album about moving forward. This catchy song in E major combines folk rock and pop-rock. It repeats constantly E major-D major-A major in the first three lines of a verse and refrain (E major: I-bVII-IV; what seems like a classic-rock progression is actually working more like E-B major-F major or I-V-IV, a displaced rock-and-roll progression, I-IV-V, in which the D major or b VII chord substitutes for the B major chord). The fourth and final line is on the dominant of E (or B dominant7, which is V7 and resolves the pattern back to its start at I or E major). “Don’t Stop” most easily stands alone from the context of the album. Later, in 1992, it became the main campaign song for U.S. presidential candidate, Bill Clinton. The breakup-and-run anthem, “Go Your Own Way,” and soft-rock love ballad, “Songbird,” conclude Side One. Side Two begins with “The Chain,” the only Fleetwood Mac song credited to all members of its most famous lineup. The song was partly the result of splicing together and overlapping tracks of several rejected recorded materials, including solos as well as a segment of Buckingham Nicks’s “Lola (My Love)” from analog tape saved from their 1973 album. The rest consists of lesser-known songs. Middle tracks are the pop-rock, soft-rock, country-rock, and funk “You Make Loving Fun”; the jaded country-rock and folk-rock “I Don’t Want to Know,” and the folk-rock and blues-rock “Oh Daddy.” The last was composed for Fleetwood, now the bandleader and father of two daughters. It features Christine McVie’s high lead contralto vocals and stands out for her acoustic piano (especially the crashing chords in the lower register, which eventually pan from left to right in the beginning of her final verse), juxtaposed with her use of the Multimoog, an analog monophonic synthesizer (right). Fleetwood adds castanets (right) to the blues-rock–flavored acoustic-dominated instrumental interlude. The song also has some appealing acoustic guitar fret noises. Rumours concludes with “Gold Dust Woman,” which combines hard-rock, country-rock, and psychedelic-rock elements. It starts softly but builds up with Fleetwood’s heavy bass and kick drums and Buckingham’s haunting Dobro, acoustic electric guitars, and sitar as well as Fleetwood’s experimental sound effects (created by breaking glass while Nicks recorded her vocal tracks). The song and album conclude with Nicks’s voice echoing through the outro’s fade-out.

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While enjoying the success of Rumours, Buckingham found new inspiration by listening to American new wave rock band Talking Heads’ (1975–1991) albums such as Talking Heads: 77 (1977), More Songs about Buildings and Food (1978), and Fear of Music (1979). He wanted Fleetwood Mac’s subsequent album to be less pop-rock oriented and more experimental, so he led the songwriting and production of Tusk (1979). Caillat and Dashut returned to produce this double album. The lyrical content of Tusk is less cohesive than Rumours. Songs range from focusing on love and breaking up to desiring freedom from a relationship and loneliness encountered while being with someone. Containing more art rock than Rumours, it received less radio airplay and acceptance into the mainstream. Rumours sold 10 million copies in its first year and ultimately attained double-diamond certification, whereas Tusk sold 4 million copies and ultimately attained double-platinum certification; these differences in sales led many to conclude that Tusk was a commercial failure. In 1979 and 1980, Tusk was No. 4 on the Billboard 200 and topped charts internationally, but it spent far less time at these rankings than Rumours. This response was unsurprising at a time when jazz-rock fusion and prog-rock albums became increasingly unlikely Billboard 200 hits, prompting bands like Chicago and Genesis to shift to pop-rock. The album’s title song was one of its most successful Billboard Hot 100 hits at No. 8. Other hits were “Sara” at No. 7, “Think about Me” at No. 20, and “Sisters of the Moon” at No. 86. Side One opens quietly with “Over and Over,” a soft-rock song with country-rock elements. The album’s second track, “The Ledge,” represents the beginning of Buckingham’s experimental thread being woven through the album. “The Ledge” is a fusion of art rock and rockabilly that sounds jarring after “Over and Over.” It opens with a muffled electric bass guitar beat (right) and then a fun bass line (right), doubled with Fender Rhodes keyboard bass (left). Buckingham’s fast-paced lead vocals, quirky use of falsetto, and the band’s echoing vocals that come to a whisper resemble new wave rock. Instead of committing in this energetic, upbeat, punky direction, however, Side One concludes with three soft-rock Rumours-sounding songs: “Think about Me,” “Save Me a Place,” and “Sara.” These songs nevertheless show subtle variety: “Think about Me” fuses soft rock with pop-rock, whereas “Save Me a Place” blends in folk rock. “Sara,” the album’s most diverse fusion of classic-rock styles, uses country-rock, pop-rock, and retro rock-and-roll elements. Like “Dreams,” “Sara” is in F major. Its rock-and-roll-sounding refrains approach new wave’s simplicity, with their slightly modified ’50s progression: F major-D minor-B-flat diminished-C major (F major: I-vi-IVdim-V).

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Side Two begins with the “What Makes You Think You’re the One,” a pop-rock song with a heavy beat. “Storms” returns to the country-rock and soft-rock blend that Nicks favors. The country-rock and pop-rock “That’s All for Everyone” and “Not That Funny” appear as middle tracks; the latter returns to a new wave–influenced sound with its use of synthesizer and Buckingham’s vocals. “Sisters of the Moon,” in A minor, concludes Side Two with its hard-rock and psychedelic-rock sound; both foreshadow Nicks’s songwriting on her later solo albums. Side Three begins with another Nicks country-rock and pop-rock fusion, “Angel,” followed by Buckingham’s “That’s Enough for Me.” The latter features Buckingham’s lead vocals in his upper register. “Brown Eyes” stands out as the album’s blues-rock and soft-rock fusion. Side Three concludes with the soft-rock and country-rock “Never Make Me Cry” and the pop-rock, folk-rock, and blues-rock “I Know I’m Not Wrong.” The latter brings back the sound of “The Ledge.” Between demos and final recordings, Buckingham and Fleetwood had drummed on empty Kleenex boxes to create a proto beat for some songs, and the sound was retained in final recordings of “I Know I’m Not Wrong” and “Tusk.” The latter also features Fleetwood slapping lamb chops together. Side Four begins with soft-rock and country-rock “Honey Hi” and “Beautiful Child,” followed by an unusual soft-rock song by Buckingham, “Walk a Thin Line,” and concluding with Christine McVie’s softrock and country-rock song “Never Forget.” Between “Walk a Thin Line” and “Never Forget” is Buckingham’s “Tusk,” which stands out as the most energetic song on this side of the album. “Tusk’s” recorded song structure is as follows: introduction (bifurcated); verse 1; verse 2; bridge; verse 3 (extended); instrumental interlude; interlude (bifurcated); and outro. Many experimental studio techniques appear in this recording. In D minor, the song’s introduction begins with white noise that evolves into recognizable cheers, followed by Fleetwood’s drum groove (separated between left and right speakers). Voices enter softly on verse 1 after the first acoustic guitar strum (right) while cheers continue in the background. Verse 2 also starts quietly, followed by bass (left) and Fender Rhodes electric piano (right), which enters in the instrumental bridge. Verse 3 includes silly “ooga-booga” vocals first on the right and then on the left, followed by their chant, “Don’t say that you love me!” Not really a refrain, lines from this chant return just before the outro’s drum break. As the acoustic guitar is fingerpicked (right), the USC marching band’s horns (left) and trumpets (right) enter the first part of the interlude. The entrance of the flutes (right) marks the second part, in which the chant (repeating once) leads into the marching

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band’s drum break. After echoing crowd sounds, a couple of “wrong notes” on acoustic guitar (right), and a synthesizer sweeping effect, Fleetwood Mac’s instruments and the marching band return. More distinct sound bites from the crowd emerge as the marching band’s horns (left) and trumpets (right) return, and the word “tusk” gets shouted a couple times. Flutes (more right) help take the outro into its fade-out along with electric guitar, which enters the foreground. The band followed Tusk with Mirage (1981) and Tango in the Night (1987), returning to experimental pop-rock and soft rock, yet those albums failed to be nearly as successful as Rumours. In 1998, the band was inducted into the Rock and Roll Hall of Fame. In 2019, Nicks was inducted into the Rock and Roll Hall of Fame for her solo career and was the first woman to be inducted twice. GENESIS (CLASSIC LINEUP) A flower, a reverend, an old man, a watcher of the skies are all personae portrayed and costumes worn by lead singer and flutist Peter Gabriel (1950–) of the English prog-rock band Genesis (1967–1998). The band was originally established in 1967 by Gabriel, keyboardist Tony Banks (1950–), lead guitarist Anthony Phillips (1951–), bass guitarist and backing vocalist Mike Rutherford (1950–), and drummer Chris Stewart (1951–). All were high school students attending the elite college preparatory school, Charterhouse, in Godalming, located in Surrey, England. Since the 1600s, the Charterhouse School has had several notable musicians as alumni, including Ralph Vaughan Williams and Rachel Portman. Knowing that another alum, Jonathan King (Kenneth George King, 1944–), was attending a 1967 reunion, the band, then called New Anon (a.k.a. Anon, 1965–1966), left its audiocassette demo in his car. King, a music promoter, columnist, and songwriter of a Top 10 hit, “Everyone’s Gone to the Moon” (1965), liked what he heard and used his connections with Decca Records to sign the band to JonJo Music. He renamed the band Genesis and hoped to groom it as a pop-rock band, but its members wanted to record complex music. He produced the band’s debut album From Genesis to Revelation (1969). To inspire Genesis, King provided a loose concept based on The Book of Genesis and The Book of Revelation and suggested that they compose instrumental sections to serve as connective tissue between tracks. The album was nevertheless a false start. It was rush-released and King frustrated band members by cutting their solos. Without the band’s consent, he hired arrangers Arthur Greenslade and Lou Warburton to record string and

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horn parts to be assigned to one channel with the band’s recordings on the other one, resulting in an awkward sounding mix. Before the album’s March 7, 1969 release, Decca recommended for the band to change its name because there had already been an American band called Genesis. When the band refused to do so, the resulting compromise was to remove its name from the album. People thought that the album was religious because of its plain black front cover and gold-lettered title. It failed to chart, sold fewer than 700 copies, and had a sound that fell short of the band’s musical ambitions. By September 1969, Genesis was touring England and signing onto Charisma Records. After personnel changes, John Mayhew (1947–2009) became the band’s drummer. Trespass, a fusion of folk rock and prog rock called “folk-prog,” was recorded in between June and July 1970. John Anthony (1944–), with assistant engineer David Hentschel (1952–), produced it. Trespass consists of mostly lengthy tracks that required polish through more rehearsals and live performances. Each band member contributed to its six songs, but the group often initiated composing songs by pairing (usually Gabriel-Banks and Rutherford-Phillips). Gabriel, who just sang and played flute on the band’s debut album, added accordion, bass drum, and tambourine, while Phillips added dulcimer to acoustic and electric guitars. Banks added Mellotron and acoustic 12-string guitar to organ and acoustic piano, and Rutherford added cello to electric bass guitar and acoustic 12-string guitar. After Trespass, Phillips departed from Genesis for creative and health reasons, which nearly broke up the band. All agreed to continue when Gabriel and Rutherford reassured Banks that they would recruit an equally skilled drummer in addition to a guitarist. Mayhew was fired and replaced in August 1970 by Phil Collins (1951–), who auditioned after reading their advertisement in the Melody Maker, a weekly music magazine in the United Kingdom. Collins’s other strength was singing backing vocals. Ex-Quiet World guitarist Steve Hackett (1950–) also auditioned successfully and, in January 1971, joined Genesis. Nursery Cryme was the first Genesis album on which Collins and Hackett, and thus the classic Genesis lineup, appeared. It was No. 39 on the U.K. Albums Chart. Generally, most albums of rock opera productions are too-far removed concert souvenirs. The stories that unfold onstage are not fully represented by the lyrics heard on the albums. For example, “The Musical Box” is set in Victorian England and focuses on Henry, a boy beheaded with a croquet mallet by a girl named Cynthia. When she opens his music box, it plays “Old King Cole” and conjures him as a quickly aging spirit who makes sexual advances toward her. His

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nurse discovers them and throws the music box at him, which apparently obliterates Henry and Cynthia. The lyrics are merely evocative from Henry’s point of view: He mentions the music box’s song, his state of being “lost within this half-world,” how time passes, and his attraction to a lady. The song was composed in F-sharp major. The recording represents Genesis at its best. Banks had a great deal of creative freedom with his keyboards, and Hackett, despite joining the band after this song was composed, contributes memorable lead guitar melodic lines as well as harmonizing guitars. Gabriel sings with weary low tenor vocals and adds a further prog-rock element by playing flute and later oboe (both left). Here, 12-string acoustic guitars are at first assigned right and then move left. The song juxtaposes lyrical folk-rock-sounding sections with harder, electric guitar- and keyboard-driven prog sections. It also includes a music box motive on acoustic guitar, cued by Gabriel’s line, “Play me my song.” The nursery rhyme song “Old King Cole” is also utilized. Foxtrot (1972) marks Genesis’s ascent on the U.K. Albums Chart at No. 12, but it failed to chart in the United States. Like Nursery Cryme, listening to Foxtrot on vinyl is an entirely different experience from attending a Genesis concert. The album’s highlights are its beginning, “Watcher of the Skies,” Hackett’s Johann Sebastian Bach–influenced instrumental, “Horizons,” and the album’s conclusion, “Supper’s Ready,” a 22:57 track that is divided into seven titled sections. Selling England by the Pound (1973) was No. 3 in the United Kingdom and No. 70 in the United States. Its success was due to the band’s supporting it during their first extensive North American tour. Again recorded on a small budget, its studio production was more thoughtful than Foxtrot because the label gave the band more time. “I Know What I Like (In Your Wardrobe)” was No. 21 on the U.K. Singles Chart. It stands out for its prominent use of psychedelic rock, featuring Rutherford’s Beatles-inspired electric sitar and Banks’s psychedelic effects on Mellotron (a keyboard-operated tape replay instrument that was a precursor to the keyboard sampler). Gabriel’s final studio album with Genesis was The Lamb Lies Down on Broadway (1974), which was No. 10 and 41, respectively, in the United Kingdom and the United States. The title track begins with Banks’s acoustic piano introduction, accompanied by strings that buzz back and forth between speakers. Harmonizing voices announce the title, and, later, Genesis quotes ironically the first phrases of “On Broadway” (1963, Barry Mann and Cynthia Weil), predating George Benson’s poprock and funk rendition (1978) in Bob Fosse’s American musical film drama, All That Jazz (1979). Isolated for the first time from the band

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who worked on the music, Gabriel’s concept and lyrics were inspired by the musical West Side Story (1957), Alejandro Jodorowsky’s psychedelic spaghetti Western film, El Topo (The Mole, 1970), John Bunyan’s Christian allegory, The Pilgrim’s Progress from This World, To That Which Is to Come (1678), and Jungian psychology. When Gabriel chose Rael for his protagonist’s name, he was unaware of The Who’s proto-prog rock song “Rael” (Pete Townshend), which appeared on The Who Sell Out (1967); however, after he found out, he kept it. The story is about Rael, a tough Puerto Rican graffiti hooligan, who goes on an Alice in Wonderland–influenced spiritual journey that puts him in touch with his own loving side. Rael’s spiritual white rabbit is a lamb he sees lying down on Broadway. The double album’s “In the Cage” and “The Grand Parade of Lifeless Packaging” features producer and multi-instrumentalist Brian Eno’s (1948–) ethereal vocals (called “Enossifications”). Extravagance and poor planning created tensions: Gabriel’s in-concert theatricality reached its height, but his elaborate costumes required unreasonable care; the band’s performance of over 100 concerts in North America took place before there was enough time for the album to become known; and concertgoers encountered a barrage of new songs and experienced technical difficulties with the accompanying slideshow that clarified the narrative. After returning to England, Gabriel departed due to these tensions, creative differences (especially with Banks), and the band’s insistence on pressing forward while he needed to stay with his wife during her difficult pregnancy. A Trick of the Tail (1976) was the first album that Hentschel fully produced. Individual band members became responsible for songwriting, and, despite the band’s holding open auditions to replace Gabriel, Collins became the band’s lead singer after successfully singing “Squonk,” about a mythical North American creature that gets captured and dissolves into tears. The band hired a second drummer while Collins sang lead vocals during live performances, enabling him to drum during lengthy instrumental passages. Though music journalists announced the band’s death, A Trick of the Tail was No. 3 and 31, respectively, in the United Kingdom and the United States. It sounded a lot like Gabriel-era Genesis with streamlined songs (Collins’ vocal treble, thin timbre, and tenor range were similar to Gabriel). Wind and Wuthering (1976) was Hackett’s third and final Genesis album. He was hoping to continue his solo career, but the group demanded for him to work on this album. Tensions developed during songwriting, so Hackett departed after the release of the EP Spot the Pidgeon (1977), which contains three of the album’s deleted songs.

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In 2010, the classic Genesis lineup—Gabriel, Collins, Banks, Hackett, and Rutherford—were inducted in the Rock and Roll Hall of Fame. Their folk-prog-rock style has influenced English neo-prog bands such as Twelfth Night, Pendragon, Marillion, and IQ (Covach 1997, 6). The London-based Genesis tribute band ReGenesis (1994–2006, 2009–) is devoted to recording Gabriel-era Genesis productions and songs. In 2005 and in between 2011 and 2012, the Montreal-based Genesis tribute band The Musical Box (1993–) toured, performing staged productions of The Lamb Lies Down on Broadway. THE JIMI HENDRIX EXPERIENCE Although guitarist-singer-songwriter Jimi Hendrix’s musical career was cut short when he died at age 27 due to a barbiturate overdose, his influence on classic rock was nevertheless substantial. The Seattle-born and -raised Hendrix (James Marshall Hendrix, born Johnny Allen Hendrix, 1942–1970) worked toward studying guitar at around age 14 when he found a ukulele with one string in the garbage and started practicing with it (Hendrix and Mitchell 2012, 56–57). Over a year later, he bought his first guitar, a right-handed acoustic guitar that he restrung upside down to accommodate his left-hand playing. He started studying blues guitarists such as B. B. King and playing by ear. Despite only having access to an acoustic guitar, Hendrix started the Velvetones (ca. 1958–1960). When he realized that he needed an electric guitar to be heard over his band, his father bought him a Supro Ozark 1560s from Myers Music shop. This guitar was stolen a couple years later and his father replaced it with a Silvertone (a Sears brand) Danelectro. After performing professionally on the Chitlin’ Circuit (at venues that would accept African American musicians) in the early 1960s and backing the Isley Brothers and Little Richard on recordings and concerts, Hendrix joined Curtis Knight and the Squires (ca. 1965–1968), a Harlem-based rhythm-and-blues band, who recorded “How Would You Feel” and its B-side, “Welcome Home” (1965) on the RSVP label. Ed Chalpin, who produced the recordings and co-owned RSVP, offered Hendrix a three-year recording contract. Meanwhile, Hendrix moved to Greenwich Village, which was at the center of the folk music revival. Forming his own blues, rhythm-and-blues, and rock-and-roll band, Jimmy James and the Blue Flames (1966), he worked with them to hone many of his own compositions and renditions. He visited London at the behest of The Animals’ Chas Chandler (Bryan James Chandler, 1938–1996), forming The Jimi Hendrix Experience (1966–1969, 1970): bassist Noel

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Redding (David Noel Redding, 1945–2003), drummer Mitch Mitchell (John Graham Mitchell, 1946– 2008). The band’s debut single, “Hey Joe” (1962, copyright registered by Billy Roberts). “Hey Joe” was No. 6 on the U.K. Singles Chart. Their second single, also released in 1966, included Hendrix’s “Purple Haze,” with his “51st Anniversary” on the B-side. This became their best-charting hit at No. 3 in the United Kingdom; however, none crossed over and charted in the United States. The psychedelic rock and hard-rock song “Pur- Jimi Hendrix’s virtuoso guitar playing, showple Haze” provides two manship, psychedelic fusion, and musical important sounds of the experimentation made him the inspiration classic-rock canon: Hen- of countless classic-rock musicians. Here, he drix’s distorted guitar is playing at his final large concert in Sepriff and solo in the intro- tember 1970 at the Love-and-Peace Festival duction, followed by his on the German isle of Fehmarn. (Stormarn/­ blues-rock-sounding break Dreamstime​.­com) on the words, “excuse me, while I kiss the sky.” On this song, the Octavia effects pedal is recorded for the first time (McDermott, Kramer, and Cox 2009, 27). The device creates the higher octave doubling heard on Hendrix’s solo and adds fuzz. The recording uses psychedelic studio effects such as various background sounds (partly contributed by Redding) and panning; it also contains a Hendrix guitar track at half-speed that is sped up to change its pitch (McDermott, Kramer, and Cox 2009, 27). Adding a jazzy sound, and a psychedelic instrumental effect, is the initial dissonance between Hendrix and Redding as well as Hendrix’s signature chord, often interpreted as E7#9, which simultaneously plays a doubled root of E below middle C, E above middle C, G-sharp, D, E, and G-natural (this chord is sometimes

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called a dominant seventh sharp ninth chord). The song also uses power chords (triads with the third missing, which determines if the chord is major or minor). The Jimi Hendrix Experience’s debut album, Are You Experienced, was recorded in between October 23, 1966, and April 4, 1967, at De Lane Lea, CBS, and Olympic Studios in London. The album, entirely comprising Hendrix’s compositions, was No. 2 in the United Kingdom. Its most notable track is “Foxy Lady,” a psychedelic-rock song that nevertheless showcases Hendrix applying blues-style playing techniques such as sliding between notes, using bent notes, and shakes (vibrato) as well as his famous Hendrix chord, which appears both in this song and in “Purple Haze.” Electric Ladyland (1967) was The Jimi Hendrix Experience’s final album. Its psychedelic-rock and hard-rock rendition of Bob Dylan’s folkrock song “All Along the Watchtower” (also 1967) was released as a single. It is in C minor, a half-step lower than Dylan’s original home key in C-sharp minor. The recorded song structure of The Jimi Hendrix Experience’s rendition is as follows: instrumental introduction (bifurcated); verse 1; instrumental bridge; verse 2; instrumental interlude (bifurcated); verse 3; outro. The descending sound heard throughout the song is a Flamenco chord progression (also known as money chords) with a substituted chord (in C minor, the progression is C minor–B-flat major–A-flat major–B-flat major or C minor: i-VII-VI-VII, instead of a typical Flamenco progression, which is i-VII-VI-V). Hendrix, who produced the song, adds a lot of psychedelic studio effects and instrumental effects, heard especially in the instrumental interlude. His electric guitar solo (begins on the left) starts out with introduction-related material in the first part; a texture and drumbeat change marks the second part, where Hendrix slides on his guitar as it is panned first from the left and then to the right speaker, followed by more panning. The outro also features Hendrix’s solo and these quick pans. Hendrix’s instrumental effects include use of slides, Vox wah-wah and delay pedals, and some overdrive on his Vox AC30 amplifier. He also used this amplifier in the studio for overdubbing. To get an idea of Hendrix’s perfectionism at this point, the release is his 27th take during recording. Guest musicians and friends Dave Mason (1946–), of the English psychedelic-rock, folk-rock, and prog-rock band Traffic (1967–1969, 1970–1974), and Brian Jones (Lewis Brian Hopkins Jones, 1942–1969), of The Rolling Stones (1962–) joined them. Mason strums 12-string acoustic guitar (right), which takes on the role of a rhythm guitar, and Jones plays vibraslap, which can be heard in the introduction. Like his guitar playing early on in the song, Hendrix’s voice begins soft and reserved in verse 1, picks up some volume by verse 2, and finds its fullest

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intensity in its final section. In verse 3, Hendrix’s vocals create a sense of urgency about the impending change. Dylan’s symbolic and subversive lyrics describe a watchtower, which seems to represent power that is already in place, in verse 1. By verse 3, approaching riders represent change as the howling wind suggests the end of the princes and their power. In 1992, The Jimi Hendrix Experience—Hendrix, Mitchell, and Redding—were inducted into the Rock and Roll Hall of Fame. In 1995, Hendrix’s family won the rights to all RSVP and PPX materials related to Hendrix. In 2015, Legacy Recordings released the compilation album, You Can’t Use My Name: The RSVP/PPX Sessions, which features Curtis Knight and the Squires with Hendrix. THE HOLLIES Shortly after the British Invasion in 1964, the Manchester Sound found popularity in the United States with bands such as Freddie and the Dreamers, The Mindbenders, Herman’s Hermits, and The Hollies. Of all these bands, The Hollies (1962–) has had the most prolific studio recording output and the lengthiest musical career. Initially, they played rock and roll, rhythm and blues, and Merseybeat, but by the late 1960s they incorporated folk-rock, soft rock, and psychedelic rock into their music. The Hollies’ prehistory began when singer-songwriter-guitarist and harmonica player Allan Clarke (Harold Allan Clarke, 1942–) and singer-songwriter-guitarist and keyboardist Graham Nash, who were best friends, formed a short-lived duo, Ricky and Dane Young, which resembled The Everly Brothers. Eventually, the duo joined The Deltas (ca. 1961–1962), a Manchester band that included Vic Steele (Victor Farrell, 1945–) on lead guitar, Eric Haydock (1943–2019) on bass guitar, and Don Rathbone on drums. They renamed themselves The Hollies, after Buddy Holly and the ornamental Christmas evergreen. Guitarist and singer Tony Hicks (1945–) replaced Steele just before The Hollies’ successful 1963 Liverpool audition with Parlophone, The Beatles’ label. Parlophone’s assistant producer, Ron Richards (1929–2009), had previously worked on producing their first recording session. He continued on as The Hollies’ producer until 1976. The band’s first single was performed at their audition. Their 1963 rendition of The Coasters’ “(Ain’t That) Just Like Me” (1961) was No. 25 on the U.K. Singles Chart. Generally, The Hollies charted more successfully with their singles in the U.K. than anywhere else. In 1964, The Hollies recorded their debut studio album, Stay with The Hollies, which was No. 2 on the U.K. Albums Chart. Ironically, drummer Rathbone didn’t stay with The Hollies during this recording, as English drummer

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Bobby Elliott (1941–) replaced him. The album consisted of mostly renditions of rock-and-roll and rhythm-and-blues songs (some were charting singles) with one exception: “Little Lover.” The U.S. version, “Here I Go Again” (1964) on the Imperial Records label, was thus titled after their pop-rock crossover (1964, Mort Shuman and Clive Westlake), which was No. 4 in the United Kingdom, No. 107 in the United States, and charted internationally. In the Hollies Style (1964) contained songs mostly composed by Clarke, Hicks, and Nash, who were credited as L. Ransford, based on Nash’s grandfather’s name, because they felt the list of their names was too long. The album, which failed to chart, also contains a few covers of rhythm-and-blues songs and feature Clarke’s sharing more lead vocals with Nash. Within a couple years after The Beatles’s first visit to the U.S. and the British Invasion, The Hollies found their greatest success with their singles. Of their 21 LP studio recording output, a couple of their best charting albums were released at this time. These were Hollies (1965), their third studio album, at No. 8 and 145, respectively, in the United Kingdom and the United States, and For Certain Because (1966), at No. 23 and 91, and Evolution (1967), at No. 13 and 43. The Hollies achieved their first No. 1 hit in the United Kingdom with “I’m Alive” (Clint Ballard Jr.); however, the song just bubbled under at 103 on the Billboard Hot 100 in the United States. Their fourth studio album, Would You Believe? (1966), also mostly covers, just reached No. 16 in the United Kingdom. Capitol’s U.S. and Canadian versions, titled Beat Group! (1966), replaced and reordered some tracks, adding The Hollies’ rendition of “A Taste of Honey” (1960, Bobby Scott and Ric Marlow). The album concluded with their hit single, “I Can’t Let Go” (1965, Chip Taylor and Al Gorgoni), which was No. 2 and 42, respectively, in the United Kingdom and the United States. Bus Stop (1966), a U.S. release on the Imperial label, was No. 75 on the Billboard 200. Richards produced the album. Previously, he had worked with George Martin while producing The Beatles’ first single, “Love Me Do” (1962). Haydock departed during the album’s recording and appears on all tracks except for “Don’t Run and Hide” and “Bus Stop.” The latter was No. 5 in the United Kingdom and the United States and became The Hollies’ breakthrough hit. Bus Stop was also the final album on which L. Ransford was credited for songs by Clarke, Hicks, and Nash. “Bus Stop,” in A minor, combines pop-rock and folk rock, as well as raga rock. It is about a couple that meets at a bus stop and falls in love, sung from the male counterpart’s point of view. The recorded

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song structure is as follows: instrumental introduction; verse 1 (bifurcated); refrain; verse 2 (bifurcated); instrumental interlude; refrain; verse 1 (bifurcated); instrumental outro. The instrumental interlude consists of a lead electric guitar melody, accompanied by electric rhythm guitar as well as bass guitar with motor-like eighth notes and drums. The raga rock is heard mainly in the instrumental interlude, played by the lead electric guitar (mostly left) that sounds a bit like a sitar. It is accompanied by an electric guitar countermelody (right), bass (left), and drums, concluding on an A major chord, the parallel major to A minor. This material returns again in the outro, after a return of verse 1, which fades out. With “Bus Stop,” The Hollies became the third band to bring the Manchester Sound craze to the United States during the British Invasion, following fellow bands such as Herman’s Hermits and Freddie and the Dreamers. The Hollies’ concurrent charting success in the United Kingdom and United States continued with their single “Stop Stop Stop” at No. 2 and 7, respectively, in both countries. Like “Bus Stop,” “Stop Stop Stop” employs musical orientalism; this time, Hicks’s banjo undergoes tape delay, which makes it sound somewhat like a balalaika. It was recorded on June 20 and August 17, 1955, at EMI Studios and appears as the last track on For Certain Because, which was released on December 9, 1966. The U.S. and Canadian versions of the album were retitled as Stop! Stop! Stop! due to the success of their single. For Certain Because was the first Hollies album that entirely consisted of songs composed by Clarke, Hicks, and Nash. “Stop Stop Stop” employs D as its pitch center or home pitch. The recorded song structure follows: instrumental introduction; verse 1; instrumental bridge; verse 2; refrain; bridge; verse 3; refrain; instrumental bridge; instrumental interlude; refrain; verse 4; outro (the refrain, extended). The instrumental introduction starts with solo banjo (left), followed by bass (right), and then banjo appears on both tracks, accompanied by rhythm guitar (right), bass (left), and shakers (right). The pitch center remains as the banjo’s melody outlines a D dominant7 chord, which gives it a slight bluesy or jazzy sound. Despite remaining into the verses, the constant D dominant7 emphasis sounds like it is traveling somewhere and that it is the dominant (V7) of G major or minor. This is why the chord change in the refrain sounds so satisfying on the word “stop”: G major finally gets heard. Here, it becomes a giant subdominant (IV of D). The banjo is featured in the bridges, with some reverb applied, and in the instrumental interlude. Another aspect of this song is the close harmonizing backing vocals, which come in later in the verses and together in the refrains.

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The Hollies’ single “On a Carousel” was No. 4 and 11, respectively, in the United Kingdom and the United States and charted internationally. “On a Carousel” sounded like a logical follow-up to “Stop! Stop! Stop!,” whereas “Carrie Anne,” a song that was actually written to Marianne Faithfull, was pop-rock with some rock-and-roll elements. The song was No. 3 and 9, respectively, in the United Kingdom and the United States. Evolution (1967) marked a stylistic shift for The Hollies, who fused more psychedelic rock with pop-rock than before. Like on For Certain Because, Clarke, Hicks, and Nash composed all songs. Evolution was recorded during the same time The Beatles recorded Sgt. Pepper’s Lonely Hearts Club Band, also at EMI’s Abbey Road Studios. Nash led the recording of The Hollies’ Butterfly (1967), another psychedelic pop-rock album. The U.S. version was retitled Dear Eloise/King Midas in Reverse and included the two singles. Though “King Midas in Reverse” was No. 18 in the United Kingdom, it was No. 51 in the United States. “Dear Eloise” did not chart in the United Kingdom, but it was No. 50 in the United States and charted internationally. The album, however, did not chart. In 1968, the band rejected Nash’s “Marrakesh Express” and opted to record an album of Bob Dylan covers. After recording “Blowin’ in the Wind” (1963), hating every moment of it, and arguing with the easygoing Richards, Nash departed from The Hollies, relocated to the United States, and shortly afterward formed Crosby, Stills & Nash (1968–1970, 1973–2015). Liverpool-born singer-songwriter Terry Sylvester (1947–) replaced him and was featured on Hollies Sing Dylan (1969), which was No. 3 in the United Kingdom. Hollies Sing Hollies (1969) followed; the U.S. version (also 1969) contained the group’s last concurrently charting hit single, “He Ain’t Heavy, He’s My Brother” (Bob Russell and Bobby Scott), which was No. 7 in the United States and certified silver and No. 3 in the United Kingdom. The song featured a young Elton John on acoustic piano. In the early 1970s, The Hollies had less successful albums with Confessions of the Mind (1970), Romany (1971), and Out on the Road (1973). One of two exceptions was Distant Light (1971), which was No. 21 in the United States. Its single, “Long Cool Woman in a Black Dress” (1972), was No. 32 in the United Kingdom and No. 2 in the United States, attaining platinum status. American swamp-rock band Creedence Clearwater Revival inspired the song, and Clarke’s lead vocals sound very much like the band’s lead singer, guitarist, and songwriter, John Fogerty, in its timbre and style. It is much harder rocking and heavier sounding than most of The Hollies’ songs. “The Air That I Breathe” (1974), which was No. 2 and 6, respectively, in the United Kingdom and

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the United States and attained silver and gold status (it appears on Hollies, 1974), was the band’s final charting hit. The Hollies had no comeback in the late 1970s or 1980s. In 2010, The Hollies were inducted into the Rock and Roll Hall of Fame, following Nash, who was inducted in 1997 with Crosby, Stills & Nash. JOAN JETT & THE BLACKHEARTS: I LOVE ROCK ’N’ ROLL By the early 1980s, a resurgence of interest in 1950s music and fashion took place. Straight-edge punk embraced 1950s-style suits with bright, colorful ties, which were worn by both men and women. Many artists took a postmodern approach to employing rock and roll while using 1980s drum machines, guitar and vocal effects, synthesizers, and production values. A result of this kind of approach was I Love Rock ’n’ Roll, released on November 18, 1981, by hard-rock and punk-rock singer-songwriter-guitarist Joan Jett (Joan Marie Larkin, 1958–) and her band, The Blackhearts (1979–). The title track’s video became a mainstay on early MTV. I Love Rock ’n’ Roll was Jett’s second studio album and her band’s debut album. It was also the band’s most successful album. It reached No. 2 on the Billboard 200 in the United States, charted strongly internationally, and attained platinum status in the United States. As a founding member of one of the earliest all-girl American hard-, punk-, and glam-rock bands, The Runaways (1975–1979), Joan Jett cocomposed the band’s most successful song, “Cherry Bomb” (1976), with manager Kim Fowley. Though it narrowly missed the Billboard Hot 100, “Cherry Bomb” was No. 1 in Japan. While on a 1976 tour in England, Jett watched the Arrows (1974–1977), an English hard-rock band, perform “I Love Rock ’n’ Roll” (1975) on the band’s eponymous weekly television show. Lead singer Alan Merrill and guitarist Jake Hooker composed this song as a response to The Rolling Stones’ “It’s Only Rock ’n’ Roll (But I Like It)” (1974). Jett included her rendition of “I Love Rock ’n’ Roll” in her live set list. In 1979 she recorded it with guitarist Steve Jones and drummer Paul Cook of the English punk band the Sex Pistols. The recording appeared as the B-side of Jett’s single, “You Don’t Own Me,” on the Vertigo label. Former member of the rock band Tommy James and the Shondells (1964–) Kenny Laguna (1954–), produced the album. Jett and Laguna started their independent label, Blackheart Records (1980–), in New York City. It produced her eponymous debut album (1980), and sales did so well that Boardwalk Records re-released the album as Bad Reputation (1981), which reached No. 51 on the Billboard 200.

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Joan Jett & the Blackhearts’s music bridges between post-punk, new wave rock, and classic rock. To date, the band’s most successful album has been I Love Rock ’n’ Roll. (Paul Mckinnon/­Dreamstime​.­com)

I Love Rock ’n’ Roll was recorded and produced between June and September 1981 at Kingdom Sound and Soundworks Studios in Long Island, New York. Laguna, songwriter Ritchie Cordell (Richard Joel Rosenblatt, 1943–2004), and sound engineer Glen Kolotkin (1942–) produced the album. Cordell cowrote Tommy James and the Shondells’ hits “I Think We’re Alone Now” (1966) and “Mony Mony” (1968). Kolotkin had previously worked with classic-rock icons like The Byrds, Jimi Hendrix, Janis Joplin, and Carlos Santana. Personnel included Jett (guitar and voice), Ricky Byrd (guitar), Gary Ryan (bass), and Lee Crystal (drums). While recording, Jett and Byrd faced Ryan and Crystal in one room. Their sounds leaked onto each other’s mics, but in a carefully calculated way. Surprisingly, “I Love Rock ’n’ Roll” was not recorded first, but took place after producers asked Jett if she performed any songs that she thought could be a hit (Buskin 2010b). The album consists mostly of covers of rock-and-roll songs that employ typical rock-and-roll progressions and narrative tropes (e.g., getting and keeping a boyfriend or being a bad girl), in addition to parodies of other rock songs. I Love Rock ’n’ Roll is a concept album that

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adds Jett’s hard-rock edge via her guitar playing and vocal rasp (vocal grinding) and shouts. The title track was No. 1 on the Billboard Hot 100 and topped charts internationally. It opens with a drums, bass, and electric guitar introduction (Jett’s axe is a Gibson Melody Maker). Electric guitar power chords outline chords with the outer pitches (the root and the highest pitch of the chord, the fifth) without filling in the chords (with the third). These differ from just open chords because the guitar is amplified with a lot of distortion—enough to make the root sound heavier, evoking a powerful bass, giving a sense that the chord is filled in, and letting the fifth ring a bit. The introduction establishes E minor as the home key. A small melodic tag (a riff) features a brief electric guitar solo that leads into the first verse (section A); the riff also appears at the end of the first lines of Jett’s verses and other sections in the song. The song’s narrator sees a young man while enjoying her favorite music, rock and roll, at a jukebox. The song uses the lower register (range) of Jett’s mezzo-soprano voice. The following prechorus rocks between E5 and A5 power chords (I5 and IV5) and stands out because of its shift from Jett’s singing to chanting (“me, yeah, me”). The refrain (in the home key) expresses “I love rock ’n’ roll” (likely a metaphor for sex). It creates another texture change via the addition of male backing vocals. Blended together, these voices make Jett’s voice sound deeper. Some listeners found this sound to be masculine or androgynous. In the second verse (section A), the two greet each other. After the second refrain (using the same instruments as the first refrain), an instrumental interlude with an electric guitar solo takes over. The song closes with the chanted prechorus and repeated refrain. The final refrain changes texture by initially using just blended vocals with drums. The refrain then repeats with blended vocals, sustained electric guitar drones, and the other instruments. In comparison to “I Love Rock ’n’ Roll,” Jett and Laguna’s original song “(I’m Gonna) Run Away” employs Jett’s middle and upper vocal register. This first-person breakup song is a declaration of independence from her lover that explains that the relationship is no longer working and that she will never return. The song is nevertheless upbeat and energetic. Its introduction opens in B major (the home key) with an electric guitar solo, followed by another electric guitar. Jett’s first verse (section A) immediately addresses her lover. This time the refrain consists of Jett’s harmonizing overdubs—a more feminine sound than the blended vocals on “I Love Rock ’n’ Roll.” The contrasting B section (or middle-eight) modulates to A major. Here, she recalls how she once wanted her lover. The instrumental bridge returns to the home key and features a fun,

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whirring electric guitar sound in a higher range. The song ends with the refrain. Jett’s “Love Is Pain” and her cover of the doo-wop group The Halos’ hit “Nag” (1961, Arthur Crier) carry on with “(I’m Gonna) Run Away’s” narrative theme that having a lover can be difficult—or, in Jett’s more fun way of expressing it, a pain. “Nag” is a parody of the doo-wop group The Silhouettes’ hit “Get a Job” (1957). Side Two also contains tracks that focus on difficult love, including Jett’s rendition of The Dave Clark Five’s call-and-response (antiphonal) song “Bits and Pieces” (1963), with male backing vocalists singing the “bits and pieces” part and Jett replying; Jett, Greg Kihn, and Laguna’s “Be Straight,” which also uses male backing vocals and gives instructions on how to remain her boyfriend; and Jett’s “You’re Too Possessive,” which also uses male backup singers. The originals maintain the energetic and fun retro sound of the covers. “Be Straight” has a hand-jive music sound, an antiphonal refrain, and military-style “huhs” punctuate the later electric guitar bridge and verse. The album’s second most successful hit appears at the end of Side One. Jett’s rendition of Tommy James and the Shondells’ hit “Crimson and Clover” (1968) was No. 7 on the Billboard Hot 100. The song uses a first-person narrative to explain a love-at-first-sight encounter with a female object (girl or woman). That excitement, or lust, is expressed both directly in wanting to meet her and also indirectly in a suggestive way. “Crimson and Clover,” the refrain, alludes to James’s favorite color and flower. Jett’s version is less psychedelic than the original. She keeps the object female to maintain the rhymed endings (some listeners at the time believed it indicated that Jett was gay). Jett’s middle register vocals are at her softest on the album, which adds to the ballad’s impressionist or atmospheric feeling. This song in C major seems as if it is using just three chords (the home key, its subdominant, and dominant or I, IV, and V; sometimes V7 to return to I), but it adds an E minor chord (the parallel minor of E major) for a little color in the refrain. The most memorable part of the song comes after the first instrumental interlude and bridge, featuring electric guitar and arriving on G dominant7 (V7), when she sings “yeah” (back in the home key, C major) before her verse—a kind of lustful release before she explains how she wants to do everything with this girl. Side Two has two songs that offer something different: Jett and Laguna’s bad-girl anthem “Victim of Circumstance” and the album’s conclusion, Jett’s rendition of Katherine K. Davis, Henry Onorati, and Harry Simeone’s classic Christmas carol, “Little Drummer Boy” (1941). After the holiday, the album was re-released, replacing this song with Jett’s

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“Oh Woe Is Me.” The beat used here does sound reminiscent of Garry Glitter songs, but, aside from this distraction, it offers a more comprehensive and sadder conclusion to the album. A 2009 reissue contains both concluding tracks, as well as Jett, Laguna, and Cordell’s “You Don’t Know What You’ve Got” (a rehearsal recording and the B-side of the original “I Love Rock ’n’ Roll” single) as bonus tracks. ELTON JOHN: GOODBYE YELLOW BRICK ROAD Released on October 5, 1973, on the DJM (U.K.) and MCA (U.S.) labels, Goodbye Yellow Brick Road is the seventh studio album by English softrock, glam-rock, and pop-rock singer-songwriter and pianist Elton John (Reginald Kenneth Dwight, 1947–), who typically works with English lyricist Bernie Taupin (1950–). The double LP became Elton John’s best-selling and most critically acclaimed recording, becoming No. 1 on the U.K. Albums Chart and the Billboard 200 in the United States, topping charts internationally, and attaining octuple-platinum certification and multiple-platinum certifications in the United States and internationally. The soft-rock title track was No. 2 on the Billboard Hot 100 in the United States and charted internationally. The country-tinged softrock ballad “Candle in the Wind” was not released in the United States and reached only No. 11 in the United Kingdom, but it later became No. 1 in the United Kingdom and internationally as “Candle in the Wind 1997,” rewritten as a tribute to Diana, Princess of Wales (1961–1997), who died in an automobile accident. Despite Elton John’s strong reluctance, the pop- and glam-rock song “Bennie and the Jets” was released as a single in the United States. And though it reached only No. 37 in the United Kingdom, it was No. 1 on the Billboard Hot 100, becoming the album’s most successful hit. “Bennie and the Jets” attained frequent airplay on American R&B and soul music radio stations (most notably in Detroit) and thus reached No. 15 on Billboard’s Hot Soul singles—a crossover chart performance that led to Elton John’s 1975 appearance on the American popular music television show Soul Train (1971–2006). The hard-rock, Jerry Lee Lewis-inspired song, “Saturday Night’s Alright for Fighting,” was No. 7 in the United Kingdom and No. 12 on the Billboard Hot 100. Recording for Goodbye Yellow Brick Road began in January 1973 at the barbwire-surrounded Dynamic Sound Studio in Kingston, Jamaica, where The Rolling Stones (1962–) had previously recorded Goats Head Soup (1973). But by Elton John and his road band’s arrival, this studio was missing nearly all its recording equipment, and it presented

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acoustics issues during a recording of “Saturday Night’s Alright for Fighting.” Musicians played together within the same studio space, using dividers to avoid bleed-through between microphones. Remixing and overdubbing took place later at Trident Studios in London. Gus Dudgeon (1942–2002) produced the album and Dave Hentschel (1952–) was its sound engineer. Previously, Dudgeon worked as an engineer on The Zombies’ recordings, including “She’s Not There” (1964), and John Mayall’s album, Blues Breakers with Eric Clapton (1966). He also produced David Bowie (1969), which contains “Space Oddity” (1968). Hentschel was the engineer on George Harrison’s triple album, All Things Must Pass (1970), and the assistant engineer on Genesis’s Nursery Cryme (1971). An accomplished keyboardist, he played the ARP 2500 (an early monophonic analog modular synthesizer) on Elton John’s “Rocket Man,” appearing on Honky Château (1972) as well as on “Funeral for a Friend” on Goodbye Yellow Brick Road. Dudgeon was hoping to use 20th Century Fox’s motion picture overture as the album’s opening track; Goodbye Yellow Brick Road therefore began as Silent Movies and Talking Pictures. After Dudgeon was unsuccessful with attaining the music clearance, however, the album was titled after Elton John’s song. The album opens with an epic track: “Funeral for a Friend/Love Lies Bleeding”—two separate songs joined together simply because the instrumental “Funeral for a Friend,” beginning in C minor, concludes in A major, the latter the opening key of the vocal song “Love Lies Bleeding.” Wind sound effects, followed by the ARP 2500, contribute a prog-rock sound. Each recorded track contains just one monophonic ARP synthesizer line; these are layered to accomplish a warm sounding polyphony and plug melodies from some of the album’s other songs, including “Candle in the Wind,” “I’ve Seen That Movie, Too,” and “The Ballad of Danny Bailey (1909–1934).” In “Funeral for a Friend,” Elton John’s acoustic piano emerges in the foreground, followed by Davey Johnstone’s electric guitar solo, accompanied later (and curiously) by castanets. “Love Lies Bleeding” features Elton John’s low tenor voice for the first time and contextualizes the funeral music through its lyrics: Elton John sings from the devastated protagonist’s point of view after a breakup. Typical of his musical style, the song is softer than glam rock, yet it is eclectic for its use of classic-rock elements such as prog rock and pop-rock. “Candle in the Wind,” in E major, is a soft ballad in which Elton John sings from an autobiographical point of view about admiring American actress Marilyn Monroe (Norma Jean Mortenson, 1926–1962)

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from afar. This love song to Marilyn Monroe took place about three years before Elton John announced publicly that he was bisexual (and about 15 years before he became openly gay). Side One concludes with “Bennie and the Jets.” Dudgeon made this studio recording sound like a live performance at the Playhouse Theatre, located in London’s City of Westminster. Reverb added to previously recorded audience sounds from Elton John’s live performances and Jimi Hendrix’s live album, Isle of Wight (1971), and Elton John’s false start, playing F and A simultaneously on his acoustic piano (implying F major, a whole step below the song’s home key, G major), contribute to the live effect. Expressing a young rock-and-roll fan’s excitement while adding a touch of fabulous glam-rock style, Elton John uses falsetto in the prechorus to his friends, Candy and Ronnie, and especially in the final refrain. A textbook emphasis on the downbeat (the first beat) and third beat in a steady rock quadruple meter (four beats per measure) and Elton John’s glissandi on organ (sliding upward and downward through pitches) underscore his fun, absurd lyrics. Surprisingly, “Goodbye Yellow Brick Road” opens Side Two instead of Side One. This soft-rock breakup song exemplifies Elton John’s most thoughtful songwriting. He sings from the perspective of a bloke who realizes that his well-bred, wealthy lover can no longer keep him. Nostalgic images, such as his father’s farm plow and returning to his country home in the woods are juxtaposed with the refrain’s “Yellow Brick Road”—an allusion to The Wizard of Oz (1939), an American film classic in which this road leading to Oz, who promises to fulfill dreams and solve problems. The recording’s song structure is as follows: Instrumental introduction; section A (verse 1; bifurcated); prechorus; refrain (bifurcated); prechorus; instrumental bridge; A’ (verse 2; bifurcated); prechorus; refrain (bifurcated); prechorus. One unusual structural use found in the song is with the prechorus. The purpose of the prechorus is to build up to the refrain, but here it also works as a coda (or a postrefrain release). The song features a couple of pleasing descending sequences that are cyclical: The verses use the same chord progression found in “Autumn Leaves” (1945, Joseph Kosma and Jacques Prévert), a jazz standard that became the only No. 1 charting piano instrumental in the United States with Roger Williams’ 1955 recording. The song, in G minor, is almost completely full of ii-V-I and ii-V sequences. In “Goodbye Yellow Brick Road’s” verses, Elton John’s lilting symmetrical phrases are in F major, accompanied by strings: G minor7-C major (ii7-V, phrase 1); stepping down a whole step to F major-B-flat major (I-IV, phrase 2). The third and

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fourth phrases conclude the first half of the verse, tracing a ii-V-I pattern while underscoring the stability of his father by using the home key (I). The verse’s second half uses the same sequence, but its third phrase steps down to an E-flat major chord-C major (bVII-V), then finds its way back home to F major (I) in the fourth phrase. The refrain, also in F major, consists of another kind of cycle of descending sequences, this time using dominant seventh chords in expected and unexpected ways. Dominant seventh chords carry strong tonal implications that need to be resolved. But this is classic rock, and expectations are certain to be violated. The refrain begins with F major-A dominant7 (I-III7 or V7/vi, phrase 1) with Elton John’s voice outlining the chord content (F-C-A, then E). The A dominant7 chord is surprising since it is left unresolved. The sequence continues to B-flat major-F major (IV-I, ending on an imperfect cadence, phrase 2). But then expectation is satisfied with D dominant7-G minor (V7/ii-ii, phrase 3), which ironically underscores, “you can’t plant me in your penthouse.” The fourth phrase closes the first half of the refrain by returning to the home key and the (father’s) plow. The second half of the refrain contains other harmonic surprises: D minor-A dominant7 (vi-III7 or V7/vi), then B-flat major-D-flat major (IV-bVI), landing on the word “toad.” The jarring D-flat major is purposeful with Elton John outlining the chord content and singing an A-flat (the fifth of the D-flat major chord). Rather than simply concluding on the home key, the refrain’s last phrase elides into the prechorus with Elton John and his band’s vocables. The prechorus is in a surprising key, A-flat major (bIII of F major). Sometimes it elides into the refrain, as it does the first time, whereas later it is allowed to cadence and bring pause to the song, as it does just before the instrumental bridge and verse 2. The prechorus also concludes the song. Here, Elton John’s voice’s last note is not on the home pitch, which would create a perfect authentic cadence and give a strong sense of closure, but rather a major third above it, on A, creating an open-sounding imperfect authentic cadence. Another soft-rock ballad, “This Song Has No Title,” gives a sense of framelessness by beginning in the middle of Elton John’s acoustic piano introduction. It employs flutes and Farfisa organ, the same keyboard used on his 1972 retro rock-and-roll hit, “Crocodile Rock.” “Grey Seal” and “Jamaica Jerk-Off” follow and go into stylistically different directions: “Grey Seal” opens with an arpeggiated prog rock–sounding acoustic piano, followed by electric piano and Mellotron, and fuses pop-rock, psychedelic rock, and touches of funk, whereas “Jamaica Jerk-Off” is a reggae song, comically credited to “Reggae Dwight and Toots Taupin” on the album’s illustrated inside cover. Side Two

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concludes with “I’ve Seen That Movie, Too,” a fully orchestrated softrock jaded breakup ballad. “Sweet Painted Lady,” in G major, opens Side Three. Its nostalgicsounding melody, kitchen-sink use of French horn (in the verses), accordion (in the refrain), and seagull sound effects (in the outro) sound like a Paul Williams soft-rock song. The pop-rock and country-rock aftermath/ story song, “The Ballad of Danny Bailey (1909–1934)” follows. Side Three concludes with the country-rock “Dirty Little Girl,” followed by the raucous blues-rock “All the Young Girls Love Alice,” which features Kiki Dee’s backing vocals and contains some psychedelic and prog-rock touches (for example, the cosmic effects used at the end). Side Four continues the energetic mood with the Jerry Lee Lewis– inspired rock-and-roll songs “Your Sister Can’t Twist (But She Can Rock ’n’ Roll)” and “Saturday Night’s Alright for Fighting.” The latter opens with Johnstone’s electric guitar solo in G major and Nigel Olsson on drums. Instead of using Elton John’s prominent acoustic piano, the song is electric guitar–driven. The raucous outro features Elton John singing the electric guitar’s “Saturday” melody. “Roy Rogers” with its soft and country-rock steel guitar and triple meter (three beats per measure) shifts the mood dramatically. The songs “Candle in the Wind” and “I’ve Seen That Movie, Too” suggest the album’s original film-related concept. It segues into “Social Disease,” which continues the country-rock sound but features tambourine, alto saxophone, and a bluegrass-sounding banjo. The album’s final song is the soft-rock ballad “Harmony,” which employs Elton John’s acoustic piano, heavy strings and electric bass, and backing vocals. JANIS JOPLIN Any musical discussion on Janis Joplin (1943–1970) should focus on her voice and vocal stylization. As American psychedelic and blues-rock band Big Brother and the Holding Company’s (1965–1972, 1987–) lead singer from 1966 to 1968, and later as a solo act, Joplin was known for her raspy, powerfully expressive mezzo-soprano voice. Not only can her influence be heard in female rock singers like Pat Benatar, Melissa Etheridge, Joss Stone, and Bonnie Tyler, as well as Bette Midler’s fictional character based on Joplin in the American film drama The Rose (1979), but it can also be heard in male rock singers like Neil Diamond, Meat Loaf, John Mellencamp, Axl Rose, David Lee Roth, and Steven Tyler. Joplin’s vocal strengths included a well-developed throaty chest voice and controlled head voice—she used her lower register (vocal range) to

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produce growls and her flexible upper register to sing lyrical passages. Her raspy or resonant quality (known as vocal grinding) was cultivated when she had to sing loudly enough to be heard against her backing electric band. Her multiphonics (producing more than one tone at the same time) were as skilled as those of country, folk, and rock singer Hoyt Axton; blues, R&B, soul, and gospel singer Etta James; and funk, soul, and rock singer Sly Stone. Joplin studied the singing techniques of her favorite performers, including Lead Belly, Ma Rainey, Bessie Smith, and Big Mama Thornton. These techniques included vocally shaking or quivering (vibrato), sliding up or down to target notes, scooping (starting on a target note, dipping down, then returning to it), and growling or wailing. Joplin died unexpectedly on October 4, 1970, of an accidental heroin overdose while in her Landmark Hotel room in Hollywood, California. She was another statistic in Los Angeles’s overdose fatality rise due to a toxic batch of heroin. Her recording output included four studio albums: with Big Brother, she recorded Big Brother and the Holding Company (1967) and Cheap Thrills (1968); and as a soloist, she recorded I Got Dem Ol’ Kozmic Blues Again, Mama! (1969), backed by the Kozmic Blues Band (1968–1970), and Pearl (released posthumously in 1971), backed by the Full Tilt Boogie Band (1969–1970). Big Brother reached No. 60 on the Billboard 200 and No. 28 on Billboard’s Top R&B Albums chart; Cheap Thrills reached No. 1 on the Billboard 200 (as did her most successful solo album, Pearl) and No. 7 on Billboard’s Top R&B chart; Kozmic Blues reached No. 5. Several singles also charted in the top half of the Billboard Hot 100. With Big Brother these included covers of the traditional 1920s freedom song “Down on Me” (1967, arranged by Joplin), which peaked at No. 43, and the soul rock ballad “Piece of My Heart” (1968, Jerry Ragovoy and Bert Berns), which reached No. 12; with the Kozmic Blues Band, “Kozmic Blues” (1969) at No. 41. In 1971, Joplin’s country-rock cover of “Me and Bobby McGee” (1970, Kris Kristofferson and Fred Foster) and her blues-infused soul ballad “Cry Baby” (1970, Ragovoy and Berns) were No. 1 and 42, respectively. In 1995, she was inducted posthumously into the Rock and Roll Hall of Fame. Many of Joplin’s live concerts and previously unreleased studio recordings—some commercially recorded—have been released as well: In Concert (1972), Live at Winterland ’68 (1998), Live at the Carousel Ballroom 1968 (2012), and The Woodstock Experience (2009), with the Kozmic Blues Band. The compilation Box of Pearls (1999) contains some rarities. Big Brother and the Holding Company was released in August 1967 on Chicago’s Mainstream Records label, shortly after the band’s successful

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June 17th Monterey Pop Festival appearance. In addition to Joplin, Big Brother and the Holding Company included singer-songwriter-guitarist Sam Andrew (1941–2015), guitarist and bassist Peter Albin (1944–), guitarist James Gurley (1939–2009), and drummer and music engineer David Getz (1940–). In 1968, Columbia Records took over the band’s contract and reissued the album, adding “featuring Janis Joplin” on the cover and two more songs: guitarist and bassist Peter Albin’s psychedelic novelty “Coo Coo” and Joplin’s blues-rock original “The Last Time.” The album’s covers and originals are in a variety of styles. Notable examples include blues and folk rock (Powell St. John’s “Bye, Bye Baby” and “Down on Me,” and Joplin’s “Women Is Losers”); psychedelic rock (Albin’s “Light Is Faster Than Sound” and Louis “Moondog” Thomas Hardin’s “All Is Loneliness”). Some originals are reminiscent of The Mamas and the Papas and The Turtles, such as “Light Is Faster Than Sound”; “All Is Loneliness”; and Joplin, Albin, Andrew, and Getz’s “Blindman.” On Big Brother and the Holding Company, Joplin alternates some lead singing with Andrew. The album’s most successful single, “Down on Me,” showcases her lyrical upper register and ornaments (specifically, an upper mordent: singing the target note, then quickly the note above, and returning to the target note) in the refrain. The opening of the album’s first track, “Bye, Bye Baby,” features Joplin sliding to each note in a chromatic ascent (moving up pitches by half steps). The band’s brief metrical shifts from a rock quadruple meter (four beats per measure) to a swinging triple meter (three beats per measure, like a waltz) and back add interest. “Women Is Losers” comes the closest to a traditional blues song, with Joplin applying slides and shakes, specifically at the end of the middle-eight (section B), where a walking bass is used, using her lower register, wailing, and adding nonsense vocables to the verses (section A). The album ends with the group’s psychedelic canon “All Is Loneliness,” with its melody sung in a round. Here, Joplin participates as the fourth entering voice in the refrain. Cheap Thrills was released on August 12, 1968, and recorded between March 2 and May 20, 1968, at Columbia’s Studios in New York and Los Angeles. It contains Big Brother’s eclecticism, with more instrumental solos. Examples of musical styles include hard rock (Andrew’s “Combination of the Two”); blues and folk rock (“Piece of My Heart” and a cover of Big Mama Thornton’s 1968 blues song “Ball and Chain”); and psychedelic rock (Andrew’s arrangement of George and Ira Gershwin’s aria “Summertime” from the opera Porgy and Bess, 1935). Though added crowd sounds give the impression that all the tracks are

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live performances, “Ball and Chain,” performed at The Fillmore in San Francisco, was the only song that was recorded onstage. Clarity was sacrificed in favor of this production aesthetic. Engineering is credited to Fred Catero (1933–), Jerry Hochman, and Roy Segal, as well as the band’s Joplin and Gurley. Joplin arranged for R. Crumb to create the cover art (Crumb refused payment by Columbia). “Summertime” showcases a large number of Joplin’s vocal techniques. She employs vocal grinding, exaggerated vibrato (starting and stopping the voice quickly to sound like shaking, a technique often used by soul, R&B, and pop singer Aaron Neville), stuttering, repetition, melisma (singing many notes on one syllable), and slides (e.g., up on the word “rise”). On her final lilting notes, one can hear her lyrical upper register. The song also demonstrates Big Brother’s strengths: Andrew’s arrangement and electric guitar solo, blending electric guitars and periodically using a fuzzbox distortion pedal, in addition to Getz’s jazz drumming and production techniques. A classically trained guitarist, Andrews’s Johann Sebastian Bach–inspired solo has led to some classifying this rendition as baroque rock. The guitar interlude is a fantastic alternation of instrumental textures and guitars on specific speakers—the first solo is on the right speaker, the second (more distorted) solo takes over on the left, the third appears on the right, and then the self-described “Bach-inspired” solo appears in stereo. “Piece of My Heart” was the band’s biggest hit single prior to Joplin’s death. In addition to Joplin’s vocal grinding, here the band playfully sings the first two words of each line of the refrain (e.g., “take it”), which she completes, underscoring her persona’s broken heart. This song’s structure is interesting because it begins with the prechorus, which typically builds up to the refrain, but is instead followed by the first verse. Despite its success, Cheap Thrills marked the end of Joplin’s career with Big Brother. Record executives had previously approached her to pursue a solo career and hire her own band so that she could make more money; however, Joplin left over creative differences. She wanted to add brass, but the band members refused, believing they would sound too much like the jazz-rock band Chicago Transit Authority (a.k.a. Chicago). In 1968 she launched a short-lived solo career with the Memphis label Stax-Volt, but returned to Columbia to record her debut solo album, I Got Dem Ol’ Kozmic Blues Again, Mama, between June 16 and June 26 at its studios in New York City. Pearl was recorded from September 5 until her death on October 4, 1970, at Sunset Sound Recorders in Hollywood. Its singles included “Me and My Bobby McGee” and “Mercedes

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Benz.” The former builds up to Joplin using many vocal techniques in its outro, including vocal grinding, singing nonsense vocables (scatting), and wailing. She also shows that she is having fun in her final recording, “Mercedes Benz,” completed in one take just three days before her death. “Mercedes Benz” is an a cappella folk song that offers listeners the opportunity to hear Joplin’s unaccompanied voice (she goes slightly off pitch by the third verse) and her laugh. CAROLE KING AND PAUL WILLIAMS The pop music success of American singer-songwriters Carole King and Paul Williams makes it easy to overlook their contributions to soft rock and classic rock. Both compose well-crafted, piano-based songs that demonstrate a love of lyrics and singing. These songs contain catchy melodies and a keen sense of voice leading, syncopation, and varied repetition. Carole King (Carol Joan Klein, 1942–) married Gerry Goffin (1939– 2014) and formed the Goffin-King songwriting partnership. Their pop songwriting hits included The Shirelles’ “Will You Still Love Me Tomorrow” (1960), Bobby Vee’s “Take Care of My Baby” (1961), Little Eva’s “The Loco-Motion” (1962), The Chiffons’ “One Fine Day” (1963), Herman’s Hermits’ “I’m into Something Good” (1964), and The Righteous Brothers’ “Just Once in My Life” (1965, with producer Phil Spector). Their R&B and soul hits included The Drifters’ “Some Kind of Wonderful” (1961) and “Up on the Roof” (1962)—the latter became a folk-rock hit (1979) for folk-rock, country-rock, and pop-rock singer-songwriter-guitarist James Taylor (1948–), who later became King’s longtime friend—and Aretha Franklin’s “(You Make Me Feel Like) A Natural Woman” (1967, with Atlantic Records producer Jerry Wexler). Goffin-King songs entered the classic-rock repertory through notable covers such as The Monkees’ “Pleasant Valley Sunday” (1967) and “Porpoise Song (Theme from Head)” (1968). King and Goffin divorced in 1968, and King relocated to California. Shortly after moving to Laurel Canyon in West Los Angeles, she partnered with lyricist Toni Stern (1944–) on songs such as Strawberry Alarm Clock’s psychedelic-rock “Blues for a Young Girl Gone” (1968), as well as King’s soft-rock “Where You Lead” (1970), her jazz-infused soft-rock “It’s Too Late” (1971), and her pop-rock “It’s Going to Take Some Time” (1971) and “Sweet Seasons” (1972). King’s singing debut album, Writer (1970), which consisted of mostly Goffin-King songs, had modest chart success at No. 84 on the Billboard

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200 in the United States. She followed with Tapestry (1971), which was recorded at the same time as Taylor’s Mud Slide Slim and the Blue Horizon. All three albums included Taylor, guitarist Danny “Kootch” Kortchmar, and King’s second husband, bassist Charles Larkey. Previously, King, Kortchmar, and Larkey had worked in a trio called The City (1968–1970). Writer and Tapestry were recorded on Lou Adler’s (Lester Louis Adler, 1933–) Ode Records label (a.k.a. Ode Sounds and Visuals, 1967–1989) and distributed by A&M Records. Session producer John Fischbach produced Writer, whereas Adler produced Tapestry, which was recorded in January 1971 at Studio B at the A&M Recording Studios in Hollywood. Released on February 10, most of Tapestry’s songs were completely written by King alone (namely, “I Feel the Earth Move,” “So Far Away,” “Home Again,” and “Way Over Yonder” on Side One and “You’ve Got a Friend” and “Tapestry” on Side Two). But Tapestry also features Stern-King collaborations (“It’s Too Late” and “Where You Lead”) and Goffin-King songs (“Will You Still Love Me Tomorrow,” “Smackwater Jack,” and “[You Make Me Feel Like] A Natural Woman”). Folk and folk-rock singer-songwriter-guitarist and Laurel Canyon neighbor Joni Mitchell (Roberta Joan Mitchell, 1943–) befriended both King and Taylor and collaborated with them individually on a few recordings. On Tapestry, Mitchell contributes backing vocals with Taylor, who also plays acoustic guitar. As King’s best-known and most critically acclaimed album, it became No. 1 on the Billboard 200, earned decuple-platinum status in the United States (as well as double platinum in the United Kingdom and gold in Japan), and won the 1972 Grammy Award for Album of the Year. King also won Grammy Awards for Best Pop Vocal Performance (Female), Record of the Year (for “It’s Too Late”), and Song of the Year (for “You’ve Got a Friend”). The latter was a response to Taylor’s refrain in “Fire and Rain,” which appeared on Sweet Baby James (1969), on which she played piano and sang backing vocals. King’s soft, muted mezzo-soprano voice seems better suited for ballads, so her energetic, raucous opening vocals on “I Feel the Earth Move” stand out. She skillfully contrasts bluesy, punchy, talk-singing refrains (in C minor) with bright, lyrical, pop-reminiscent verses (in the key of E-flat major, the relative major of C minor). The recorded song uses a contrasting verse-refrain structure: instrumental introduction, refrain 1, verse 1, refrain 2, instrumental interlude 1, verse 2, instrumental interlude 2, refrain 3, and outro (using refrain 4). The song opens with just King on acoustic piano, playing a two-bar rock vamp (on C minor7 and F major or i7-IV). The electric bass then doubles, establishing the vamp as the

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refrains’ main groove. Representing King’s sexual arousal, the back-andforth groove is constructed of an eighth-note rhythm and oscillation between contra and low C (C1 and C2) in the piano’s low register, with right-hand chords punctuating every other beat, followed by syncopated right-hand chords. It also establishes C as the home pitch, and although King feels the earth move, the musical ground is rock solid. In the refrain, she uses word-painting by alternating her voice and piano chords (e.g., “earth”-chord, “move”-chord). Another example of word-painting is her melisma (adding several notes per syllable) to the word “around.” In The Words and Music of Carole King, James E. Perone discusses King’s word-painting, particularly with the word “tumblin’.” Her use of syncopation stresses the last syllable instead of the first one, creating, as Perone describes, “a musical tumble” (Perone 2006, 34). The vamp drops out in the verses, but returns in the instrumental interludes. Instrumental interlude 1 features Kortchmar’s electric guitar solo (assigned to the left speaker), followed by King’s piano solo (right speaker), with some alternation between the two, accompanied by Larkey on electric bass and Joel O’Brien on drums. The second one includes King’s vocables (further sexualizing the song). The slowing down (or ritardando) on “tumblin’ down” at the end of the song suggests exhaustion, as does King’s final vocal grinding. With its slower tempo and laid-back bossa nova–sounding conga accompaniment, the breakup ballad “It’s Too Late” sounds like the polar opposite of the exhilarating “I Feel the Earth Move.” “It’s Too Late” features King’s acoustic piano rock vamp (A minor to D minor6, or i-iv6, in the home key of A minor) and a contrasting verse-refrain structure: instrumental introduction; verse 1, refrain, bridge 1, verse 2, refrain, bridge 2, instrumental interlude, verse 3, refrain, bridge 3, outro. Verse 1 uses King’s voice and piano most intimately, which are accompanied by electric piano, electric guitar, electric bass, and congas. Music engineer Hank Cicalo (1932–) assigns the electric guitar and drums to the left speaker and the electric piano’s vibraphones on the right in the refrain. In addition to the soft backing vocals, this production technique creates a fuller texture. The instrumental interlude uses a lot of the refrain’s material and features close harmonies between King and her backing singers’ vocables. In addition, this instrumental interlude contains Kortchmar’s electric guitar (left) and King’s doubling with acoustic piano (right) and bebop legend Curtis Amy’s (1929–2002) soprano saxophone solo (Amy had a famous extended solo on The Doors’ 1968 hit “Touch Me”). Gentle panning of the accompanying electric piano with its vibraphone voice (left to right speaker) adds a dreamy, psychedelic touch.

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Like “I Feel the Earth Move,” “It’s Too Late” uses relative keys to contrast its refrains from its verses, but the former assigns its refrain to the minor key, whereas the latter assigns it to the major key. “It’s Too Late” starts its refrain in F major, but on B-flat major7 (IV major7) instead of the home key. In contrast to the introduction and verses’ i-iv6 rock vamp, the refrain reverses the progression with IV major7-I major7-IV major7 and uses jazzy major seventh chords, which contribute to the song’s dreamy sound. King sings on the seventh note at times, most strikingly on the words “too late” on A, the major seventh of a B-flat major7 chord. Perone observes that the outro seems inconclusive—rather than closing on a perfect authentic cadence, the home key of A minor is substituted with its mediant, C major, and King’s voice ends on E, the major third of the C major chord (constructed of pitches C, E, and G; Perone 2006, 33–34). Since the late 1960s, Paul Williams had a concurrent influence on the sound of American pop. By the age of 13, the Omaha native and his younger brother, Mentor, who became a music producer and also a songwriter, lived in Long Beach, California. In 1966, Williams auditioned unsuccessfully for a role as a band member on The Monkees television show (1966–1968). In 1970, Richard Carpenter of the American pop duo The Carpenters (1969–1983) heard Williams and Roger Nichols’s pop ballad “We’ve Only Just Begun,” which was composed for a Crocker Bank commercial. The Carpenters’ rendition, including a Williams-Nichols extension, became Williams’s first hit. Other Williams-Nichols pop songwriting hits for The Carpenters were “Rainy Days and Mondays” (1971) and “I Won’t Last a Day Without You” (1974, Williams’ contribution was lyrics). The Carpenters also recorded Stern-King’s “It’s Going to Take Some Time” (1974). Williams released his pop debut studio album, Someday Man (1970), on the Reprise Records label under Warner Bros. Its Williams-Nichols title song was recorded earlier by The Monkees, released as the B-side of the band’s “Listen to the Band” (1969), and was No. 81 on the Billboard Hot 100. Williams’ first A&M studio album was Just an Old Fashioned Love Song (1971), which was produced and engineered by Michael James Jackson and recorded at A&M Studios and Sunset Sound in Hollywood. It contained mostly self-composed pop-rock and soft rock songs, including his own rendition of “We’ve Only Just Begun.” “(Just an) Old Fashioned Love Song” was originally written for The Carpenters, but was rejected. It became Williams’s greatest classic-rock songwriting success with Three Dog Night’s psychedelic-rock rendition, released on Harmony on September 30, 1971, and as a single in

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November on Dunhill Records (originally co-founded by Adler), a subsidiary label of ABC Records. Williams’ recording of “Old-Fashioned Love Song” features his voice with acoustic piano, saloon piano, acoustic guitar, electric bass, drums, and Dixieland band. This jaded metatextual song about the clichéd quality of romantic popular songs uses a contrasting verse-refrain structure: introduction, verse 1, prechorus, refrain, verse 2, prechorus, refrain, instrumental interlude, refrain, instrumental outro. It opens quietly in G minor with a trombone solo (right) and acoustic guitar (left), which continue into verse 1. This verse as well as verse 2 features voice and an acoustic piano countermelody. The prechorus’s strummed acoustic guitar and piano chords offer a rhythmic change. A bright shift to G major (the parallel major of G minor) takes place here, but G minor returns quickly, underscoring the jaded point that these songs have never gone away (i-III and VI-V, in G minor). The refrain substitutes G minor with B-flat major (its relative major) and includes an energetic, ascending diatonic bass line (B-flat, C, E-flat, F, to B-flat or scale steps 1-2-4-5-1). The first refrain introduces the saloon piano, trumpet, clarinet, and, later, Dixieland band. The clarinet and trumpet play tags in verse 2, which returns to a sparse texture. Sustained Dixieland horns enter the second prechorus, building up to the second refrain, which includes the Dixieland band. A pause, followed by four drumbeats, cues the instrumental interlude, which features a kazoo duet and Dixieland band. But then the kazoos choke, causing the song to pause. The last refrain places the kazoos in the background. All the instruments jam together as Williams sings upper harmonies. Tubas become prominent in the outro, which concludes with a cute Dixieland ending. The unusual additions of saloon piano, Dixieland band, and kazoos in a soft-rock song evoke nostalgia, yet provide a sense of comical novelty that works at cross-purposes with Williams’s weary verse vocals. Classic-rock bands have used these kinds of instruments before to evoke an earlier time or an old-fashioned music-hall atmosphere (take, for example, The Beatles or Big Brother and the Holding Company). In contrast to Williams’ recording, Three Dog Night’s rendition of “(Just an) Old Fashioned Love Song,” produced by Richie Podolor (1936–), favors a smokier psychedelic rock sound with prog-rock touches contributed by classically trained Jimmy Greenspoon’s Hammond B3 organ’s countermelody and Mellotron (a keyboard-driven analog sampler). Hutton’s tenor voice is the same range as Williams. His voice a mellower sound than Williams, who employs a lot of vibrato on the bright treble (high) end of his vocal register. Also in G minor, this

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rendition changes the structure just slightly: instrumental introduction; verse 1; prechorus; refrain; verse 2; prechorus; refrain (repeats); outro (fades out with the refrain). The introduction opens with electric piano (right), which dramatically pauses before verse 1. The electric piano’s countermelody enters (also right) with electric bass guitar and drums, giving a contrasting fuller texture. Sustained keyboards enter (left), followed by more psychedelic keyboards that pan on the words “wrapped around the music.” Greenspoon often used the Leslie switch on the Hammond B3 organ for timbral variation, increasing the instrument’s vibrato and resulting in its psychedelic sound. This keyboard continues in the prechorus, which gives the bass the countermelody (left). The second refrain brings in backing singers and eventually a new buzzy Hammond B3 sound (panned right to left) with Mellotron (left). The psychedelic Hammond B3 returns, followed by a pause and psychedelic pulsation. Singing the refrain is left to the backing singers in the outro while Hutton punctuates them with the same high-pitched harmonies that Williams used. The buzzy B3 emerges in the foreground as the song fades out. Another collaborator of Williams is American songwriter, arranger, and jazz pianist Kenneth Ascher (1944–). Williams’s major songwriting successes include Helen Reddy’s “You and Me against the World” (1974, with Ascher), Barbra Streisand’s “Evergreen” for her film vehicle A Star Is Born (1976, lyrics only; both won an Academy Award for Best Original Song), and Kermit the Frog’s (Jim Henson) “Rainbow Connection” and “Moving Right Along” for The Muppet Movie (1979, also a Williams-Ascher pop collaboration). He has a concurrent acting career, appearing on The Muppet Show (1976–1981) and in films such as Bugsy Malone (1976) and Smokey and the Bandit (1977). He is also known for writing, scoring, and starring in Brian De Palma’s Phantom of the Paradise (1974)—a rock opera horror cult film that earned him Academy Award and Golden Globe nominations for his score. In 2001, Williams was inducted into the Songwriters Hall of Fame. King was inducted earlier in 1987. Since 2009, Williams has been president and chairman of ASCAP (the American Society of Composers, Authors, and Publishers). LED ZEPPELIN AND HEART Led Zeppelin (1968–1980) started as a classic-rock band similar to British blues-rock bands such as The Rolling Stones and The Animals. But by the 1970s, a mature Led Zeppelin incorporated folk rock in addition to hard rock and blues-rock and felt at home in rock arenas. Performing

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British blues-rock and hard-rock band Led Zeppelin reached the zenith of their career in the 1970s. Pictured in 1973 (from left to right), next to an engine of their private airliner, The Starship, are bassist and multiinstrumentalist John Paul Jones, drummer John Bonham, lead guitarist Jimmy Page, and lead singer Robert Plant. (Hulton Archive/Getty Images)

in this same style and finding themselves equally at home at these venues was Heart (1973–). Both bands’ hard-rock styles are correctly labeled heavy metal and, without becoming hair bands themselves. Led Zeppelin’s studio recording output consists of eight albums, ending in 1980 by the band’s dissolution after their drummer, John Bonham, died of acute alcohol poisoning. As of 2019, Heart’s studio recording output includes 16 albums; Heart continues to perform and record. Originally a later incarnation of The Yardbirds (1963–1968, 1992–), in 1968, Jimmy Page (1944–), John Paul Jones (1946–), Robert Plant (1948–), and John Bonham (1948–1980) renamed themselves Led Zeppelin and signed a lucrative contract with Atlantic Records, which granted them a lot of artistic control. Page produced their eponymous debut album, recorded in 1968 and released in 1969. Glyn Johns (1942–) engineered and mixed the album. Led Zeppelin, consisting mostly of hard rock (heavy metal) and blues-rock, was No. 6 and 7, respectively, in the United Kingdom and the United States, eventually attaining doubleand octuple—platinum status in those countries, respectively. The band’s

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aesthetic preference was to focus on entire albums as their audience’s main listening experience rather than worry about hit singles. Despite their intentions, their debut single from the album, “Good Times Bad Times,” was No. 80 on the Billboard Hot 100. Since their second studio album, Led Zeppelin II (1969), the rest of the band’s studio album output was No. 1 in the United Kingdom and the United States. In the United States alone, all attained multiple-platinum certifications. As of 2019, Led Zeppelin IV has attained double-diamond status, whereas Led Zeppelin II, Houses of the Holy, and Physical Graffiti have attained diamond status in the United States. Led Zeppelin II was a stylistic continuation of the band’s debut album. Its opening track, “Whole Lotta Love,” became the album’s most notable song. The blues-rock, hard-rock, and psychedelic-rock song was No. 4 on the Billboard Hot 100 in the United States. “Whole Lotta Love” rocks between D major and resolves upward to E major (E major: b VII-I), with Page playing the central riff on his Sunburst 1958 Les Paul Standard electric guitar. The riff works like a vamp, cuing in some of the verses. The recorded song structure is as follows: Instrumental introduction; verse 1 (section A); refrain; verse 2 (A’); refrain; B (psychedelic interlude); instrumental bridge; verse 3 (A’’); refrain; vocal cadenza (coda); instrumental bridge; outro. The song can be heard as having mostly A-section verses with a lengthy psychedelic interlude identified as a B section or bridge to more A-section verses. Plant’s vocal cadenza certainly sounds like it is resolving earlier musical ideas presented in both sections, so it can be heard as the beginning of a coda, which would contain this cadenza, an instrumental bridge, and the outro. Page’s studio techniques employ many psychedelic effects throughout. For example, in the instrumental introduction, which establishes the driving central riff in quadruple meter (four beats per measure), Page’s lead guitar on the right speaker echoes over on the left one, and, in the refrains, he plays distorted sounding slides that get panned from right to left repeatedly (these sound a bit different from electric guitar dive-bombs created on the whammy bar). In the second refrain, drumstick ticks on a hi-hat cymbal as a slow pan takes place from right to left, leading into the psychedelic section. In this section, frequent panning of electric guitar and alternating Plant’s voice on different speakers takes place. Several of these same effects return in the cadenza. Some of what seems to be the upper register of Page’s guitar is actually his careful pitch matching and weaving in of theremin. After verse 3 and the following refrain, a pause suddenly takes place where some feedback is heard. Plant’s lead tenor vocals employ blues singing techniques (e.g., sliding up or down), which

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enhance Page’s psychedelic instrumental and studio effects. The cadenza features Plant’s vocal improvisation, including some of his orgasmic sounds. On the word “love,” the sound starts on the left, then becomes fuller using the right speaker. The outro, which fades out, contains more improvised vocalizations. Another song on Led Zeppelin II is the opening track on Side Two, “Heartbreaker,” a blues-rock and hard-rock song that was honed at concerts. Like “Whole Lotta Love,” “Heartbreaker” employs a driving and catchy central riff. The song has a unique, abrupt stop on Plant’s word “heart.” “Ramble On” foreshadows the use of folk rock that later became a major sound on their subsequent album, Led Zeppelin III (1970). The song “Bron-Y-Aur Stomp” stands out for its combination of skiffle, folk rock, and country blues (Bron-Yr-Aur literally means breast of gold and, poetically, hill of gold in Welsh). Often employing homemade, found, and manufactured musical instruments, skiffle is a music genre that enjoyed popularity especially in 1950s England, during the formative years of The Beatles. The skiffle instruments on the song include spoons and castanets (played by Bonham). Jones plays upright bass on this song. Led Zeppelin IV (1971) generally consists of a harder rock sound than Led Zeppelin III, but its track, “Stairway to Heaven,” a combination of folk rock, prog rock, and hard rock, became the album’s—and the band’s—most famous song, not to mention one of the best-known songs of the classic-rock canon through frequent FM radio airplay. It was not, however, one of the album’s single releases. These were the hard-rock “Black Dog” and the blues-rock “Rock and Roll” (based on a 24-bar blues structure), which were No. 15 and 47, respectively, on the Billboard Hot 100. As Led Zeppelin established itself as one the best classic-rock bands of the 1970s through live concerts and recording, the band Heart was just forming. Heart began in 1967 with a Seattle band called The Army, which experienced several personnel changes. In 1969, the band was renamed White Heart after Arthur C. Clarke’s collection of science-fiction short stories, Tales from the White Hart (1957). By the time singer-songwriter-guitarist and flutist Ann Wilson (1950–) joined the band in 1972, it had undergone more personnel and name changes, including Heart and Hocus Pocus. In 1974, Ann Wilson’s sister, guitarist, mandolinist, and backing singer Nancy Wilson (1954–) joined the band. More personnel changes would take place, but at this point, the Wilson sisters were the core members and sound of Heart. The band’s debut album, Dreamboat Annie (1975), was a combi­ nation of hard rock, folk rock, and prog rock—all the styles that Led

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Zeppelin had embraced. The album became distributed by Mushroom Records in the United States and became No. 20 and 7, respectively, in Canada and the United States. It began the band’s first string of platinum and multiple platinum albums in both countries. Though their first single, “How Deep It Goes,” failed to chart, “Crazy on You” was No. 25 and 35, respectively, in Canada and the United States; “Magic Man” followed at No. 26 and 9, respectively, in both countries, and the title track became a minor hit there as well. Both “Crazy on You” and “Magic Man” exhibit Heart’s 1970s sound, which featured Ann Wilson’s powerful dramatic soprano vocals and Roger Fisher’s virtuosity on guitar (at the time, Nancy Wilson was the band’s rhythm guitarist). Heart’s rise in the 1970s started to coincide with Led Zeppelin’s decline. Heart’s follow-up album, Little Queen (1977), was No. 2 and 9, respectively, in Canada and the United States. The album was released on Portrait Records, a subsidiary of CBS Records, while the band was still signed to Mushroom Records. Magazine (1977) was released less than a month before Little Queen, but it performed less well on the Billboard 200 chart at No. 17. Magazine’s only single, ironically, was “Heartless” at No. 18 and 24, respectively, in Canada and the United States. A court decision granted Heart the chance to remix tracks, resulting in a reissue of Magazine in 1978. Little Queen, however, had a strong hit with “Barracuda” at No. 2 and 11 in both countries with its title track and “Kick It Out” as minor hits. “Barracuda” is in E major and fuses hard rock with some psychedelic-rock elements. Its recorded song structure is as follows: instrumental introduction (bifurcated); verse 1 (A); prechorus; refrain; instrumental bridge; instrumental bridge’; verse 2 (A’); prechorus; refrain; instrumental bridge’’; B; instrumental interlude; prechorus; refrain; instrumental outro. Like “Whole Lotta Love,” “Barracuda” is also based on a driving central riff played on electric lead guitar and later with the rhythm guitar added. The introduction also uses quick panning from left to right. The song is in quadruple meter (four beats per measure) and features Ann Wilson’s vocals, which become more soaring in verse 2 than in verse 1 (both section A). A metrical shift between quadruple and triple meter (three beats per measure) takes place in the prechorus, which returns to quadruple meter by the short refrain. Section B (middle-eight) provides a texture change with harmonizing vocals and cymbal crashes. The instrumental interlude features lead guitar and has material related to section B. The outro uses weaving lead and rhythm guitars (a technique used earlier in other bands, such as The Rolling Stones with guitarists Keith Richards and Brian Jones). In 1978 the band

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released the double album Dog and Butterfly on the Portrait label (now under Epic Records), which was No. 9 and 17, respectively, in Canada and the United States. It represented the band’s new stylistic tendencies, with Side One, titled “Dog,” featuring hard-rock songs and Side Two, titled “Butterfly,” featuring soft rock and folk rock. After experiencing a decline in album sales and chart success in the early 1980s, Heart moved on to Capitol Records. The album Heart (1985) marked the band’s stylistic shift to glam metal and pop-rock as well as its comeback. At No. 1 on the Billboard 200, the album had significant hits with “What about Love” (Sheron Alton, Brian Allen, and Jim Vallance), “Never” (Holly Knight, Greg Bloch, and Connie—the Wilson sisters and friend Sue Ennis), “These Dreams” (Bernie Taupin and Martin Page), “Nothin’ at All” (Mark Mueller), and “If Looks Could Kill” (Jack Conrad and Bob Garrett). Heart attained quintuple-platinum and sextuple-platinum certification, respectively, in the United States and Canada. Since Heart, the band’s albums contain more songs by other songwriters. In 2012, the Wilsons performed a tribute set to Led Zeppelin at the Kennedy Center Honors. This performance received a standing ovation and its YouTube video went viral. In 2013, Heart was inducted into the Rock and Roll Hall of Fame. Earlier, in 1992, Page was inducted with The Yardbirds, and in 1995, Led Zeppelin was inducted as well. Heart went on a three-year hiatus when Ann Wilson’s husband, Dean Wetter (whom she married in 2016), pled guilty for assaulting Nancy Wilson’s twin sons; however, they reunited in 2019. THE MAMAS AND THE PAPAS One of the most important musical groups of the 1960s hippie counterculture, The Mamas and the Papas (1965–1968), fused folk-rock, sunshine pop, psychedelic rock, and sometimes jazz-rock fusion, resulting in John Phillips’ (1935–2001) intricate four-part arrangements. All of their studio albums charted on the Billboard 200: If You Can Believe Your Eyes and Ears (1966) was No. 1.; The Mamas and the Papas (1966) was No. 4; The Mamas and The Papas Deliver (1967) was No. 2; The Papas & The Mamas (1968) was No. 15; and People Like Us (1971), released after their breakup, was No. 84. Their first three albums were certified gold in the U.S. Lou Adler (Lester Louis Adler, 1933–) at Dunhill Records (1964–1975, a subsidiary label of ABC Records) produced all but the last album, which was produced by Phillips. The group consisted of tenors John Phillips and Denny Doherty (1940–2007), soprano Michelle Phillips (Holly Michelle Gilliam,

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1944–), and mezzo-soprano Cass Elliot (Ellen Naomi Cohen, 1941– 1974). Its history traces to 1963, when Doherty filled in as a singer in John Phillips’ folk trio, The New Journeymen (simply The Journeymen, 1961–1964) from Greenwich Village, New York City, while touring in Canada. Doherty and Elliot challenged John Phillips’ vision of a folkrock vocal group by wanting to incorporate pop and psychedelic rock. The Mamas and the Papas found its break as backing singers on psychedelic rock singer-songwriter-guitarist Barry McGuire’s This Precious Time (1965). The album included his rendition of “California Dreamin’” (originally composed in 1963 by John and Michelle Phillips), accompanied by The Wrecking Crew, a West Los Angeles–based collective of session musicians at Conway Recorders in Hollywood who were active in the 1960s and 1970s. After signing to Dunhill, The Mamas and the Papas’ first single, the sunshine pop–flavored folk-rock song “Go Where You Wanna Go” (1965), was a popular anthem with those settling for greener grass in California, but it failed to chart. Their own rendition of “California Dreamin’,” released on December 8, 1965, followed and became No. 4 on the Billboard Hot 100, charting internationally and attaining gold certification in the United States. Both songs appear on their debut album, If You Can Believe Your Eyes and Ears, which was recorded in 1965 and 1966 and released in March 1966. As their best-known song, “California Dreamin’” exemplifies the group’s sound. The recording recycles The Wrecking Crew’s instrumental accompaniment and the group’s backing vocal tracks from McGuire’s album. Lead and additional tracks, including Bud Shank’s (Clifford Everett Shank Jr., 1926–2009) cool jazz-influenced alto flute solo, were recorded on November 4, 1965, at United Western Recorders’ Studio in Hollywood. Bones Howe (Dayton Burr Howe, 1933–) was the recording engineer on the single “California Dreamin’” and its subsequent album. The Phillips composed “California Dreamin’” while still living in New York. This point-of-view song focuses on a protagonist who yearns for sunny California during a gloomy winter elsewhere. The stereo version uses the following structure: instrumental introduction; section A; refrain; A’; refrain; instrumental interlude; A’’ (opens like A); refrain (extended and used as a vocal outro). The acoustic guitar’s introduction (assigned to right speaker) ends with a pause, followed by verse 1 (section A), which opens with male voices (left) and alternates with female voices (right), who repeat parts of the lines. Drums and electric bass guitar accompany them. McGuire’s voice can be heard briefly (right) because it could not be removed from the backing vocals track. Each verse is accompanied by a Flamenco progression in C-sharp

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minor, moving through C-sharp minor, B major, A major, to G-sharp minor7 (i-VII-VI-v7, a slight modification of a descending Flamenco or money chord progression that substitutes V, G-sharp major, with v7, G-sharp minor or the parallel minor of G-sharp major). In this section, a jazzy-sounding weak cadence underscores “and the sky is gray.” The accompanying rhythm changes when the drummer plays on the beat (in quadruple meter, which is four beats per measure) during the refrain, which is also in C-sharp minor. Verse 2 (section A’) features Doherty’s solo lead vocals (left), accompanied by acoustic piano, acoustic guitar, and bass (all right) and tambourine (left). After the second refrain, new music appears in the instrumental interlude, which features Shank’s improvised alto flute solo, accompanied by bass, drums, and tambourine (left) and acoustic guitar (right). Shank’s moody melody takes a few leaps before leading to verse 3 (A’’). This verse begins like the first, but its last two lines reveal that the protagonist cannot leave a woman and is left to only dreaming. The extended final refrain features the voices’ last chord on the home key; however, the prominence of the highest pitch (G-sharp, a fifth above C-sharp) clouds the chord’s sense of finality, underscoring the protagonist being stuck in his gray world. The accompanying instruments provide closure with their own C-sharp minor chord. “Monday, Monday” (1966), which opens the album, later became No. 1 on the Billboard Hot 100, charted internationally, and was certified gold. This pop and folk-rock song, along with “California Dreamin’,” were the group’s Dunhill audition songs. The structure of “Monday Monday” is as follows: introduction (bifurcated); verse 1 (section A); verse 2 (A’); refrain; verse 3 (A’’); refrain; verse 4 (A’’’, extended and used as an outro that fades out). As Doherty’s lead vocals suggest that Monday cannot be trusted, neither can the home key of this song, for it moves around. For example, the song begins in F-sharp and then moves up chromatically (a half step) to the new home key of G major in its first refrain, which ends on D-sharp major, a chord that leads to verse 3’s (A”) new home key, G-sharp major. The introduction begins with a two-measure doo-wop vocal vamp (right), followed by drums and woodblock and then by tambourine, jangly acoustic guitar, electric guitar, and harpsichord (all left). This vamp uses suspension chords that constantly resolve to the home key (F-sharp major, F-sharp major sus4, and back to F-sharp major, or I-I sus4-I). The home key is the basis of these chords, but the progression gives the illusion of movement (sounding like a plagal or amen cadence or I-IV-I). The highest voice stands out here, singing A-sharp, B, and then A-sharp (scale steps 3-4-3) to create the suspension sound, bridging one kind of tonic (home) chord to the

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next. The vocal vamp cues in and accompanies Doherty’s lead vocals (left). At the beginning of verse 2 (A’), Michelle Phillips’s harmonies (right) briefly stand out in the foreground. Strings (right) are added in this verse. The juxtaposition of the refrain’s lyrics, “every other day” and the verses’ “Monday, Monday” is structurally underscored. The comparatively assertive refrains begin with the male voices in unison (left), echoed by female voices (right). Verse 3 (A’’) begins with the vocal vamp and tambourine, followed by Doherty’s lead vocals. After the second refrain, the song comes to a false conclusion and stops. After a silent moment, the final verse gets used as an outro. Added material—a bluesy coda and a way of completing a musical idea—is sung by Doherty about not trusting Monday. The two hits from the second album, The Mamas and the Papas, were the sunshine pop–flavored folk-rock song “I Saw Her Again” and vaudeville-sounding psychedelic-rock song “Words of Love.” Both were No. 5 on the Billboard Hot 100 and charted internationally. With its use of acoustic saloon piano, “Words of Love” features Elliot, known at this point as Mama Cass, on lead vocals. The most popular song not to chart was The Mamas and the Papas’ rendition of Martha and The Vandellas’ Motown hit, “Dancing in the Street” (1964, Marvin Gaye, Mickey Stevenson, and Ivy Joe Hunter). Their rendition features a punky Elliot and Doherty namedropping cities, using some funny voices and accompanied by the verses’ bluesy one-chord E-dominant7 vamp. Less than a year after this album’s release (August 30, 1966), the group performed the song to close Monterey Pop (June 16–18, 1967), an influential outdoor music festival that was organized by Adler and John Phillips. The festival used John Phillips’s “San Francisco (Be Sure to Wear Some Flowers in Your Hair)” (1967), sung and later recorded by fellow Journeymen member and friend, Scott McKenzie (Philip Wallach Blondheim, III, 1939–2012). The Papas & The Mamas featured their last big hit, “Dream a Little Dream of Me” (1931, Fabian Andre, Wilbur Schwandt, Gus Kahn), which was No. 12 on the Billboard Hot 100, No. 11 in the United Kingdom, and No. 1 in Australia. Michelle Phillips introduced the group to this song, which was co-written by her father’s friend, Fabian Andre (1910–1960). In late 1968, the Phillipses divorced, and The Mamas and the Papas broke up only to reunite to create new material for one last album that was under contractual obligation with Dunhill. Elliot started her solo career with Dunhill, recording as Mama Cass on Dream a Little Dream (1968), Bubblegum, Lemonade, and  .  .  . Something for Mama (1969), which was reissued about six months later and retitled after her hit, “Make Your Own Kind of Music,” as Make Your Own Kind of Music/

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It’s Getting Better (1969), and Mama’s Big Ones (1970). Dream a Little Dream was her most successful album, becoming No. 87 on the Billboard 200. Her last albums, Cass Elliot (1972) and The Road Is No Place for a Lady (1972), were with RCA, which dropped her stage name. Her studio albums feature mostly pop-rock, psychedelic-rock, and sunshine-pop covers of musicians’ songs in a great variety of styles, ranging from country and folk to Tin Pan Alley, jazz, and contemporary popular standards. John Phillips and Doherty restarted the group as The New Mamas and The Papas (1980–2000), but the group never recorded a studio album. JOHN MELLENCAMP Like Heartland rock musicians such as Bob Seger and Bruce Springsteen, singer-songwriter-guitarist John Mellencamp (a.k.a. Johnny Cougar, John Cougar, and John Cougar Mellencamp, 1951–), who was born and raised in Seymour, Indiana, sang with a strong local dialect and wrote many autobiographically and regionally based songs. One of Mellencamp’s major songwriting collaborators was his childhood friend, lyricist George Michael Green (1952–2011). As of 2019, Mellencamp has released 24 studio albums, beginning by focusing East—New York and London—in his musical career, recording on the MCA label under the name Johnny Cougar. His debut album Chestnut Street Incident was a Heartland rock album recorded at the Gilfoy Sound Studio in Bloomington, as well as at The Hit Factory in New York City. The album featured a variety of covers such as “Oh, Pretty Woman” (1964, Roy Orbison and Bill Dees), The Lovin’ Spoonful’s “Do You Believe in Magic?” (1965, John Sebastian), and The Doors’ “Twentieth Century Fox” (1967), but also several originals such as the title track, “American Dream,” “Dream Killing Town” (with George M. Green), and “Good Girls.” The album sold so poorly that MCA refused to release his second album, The Kid Inside (recorded in 1977 and released later in 1983), which consisted almost entirely of originals; however, A Biography (1978), recorded on a lesser-known label in London, Riva Records and using the same “Johnny Cougar” name that he disliked, charted at No. 19 in Australia and his own “I Need a Lover” was No. 5 there. John Cougar (1979), another Riva Records release, sparked a real beginning for Mellencamp’s career, though not yet a breakthrough. The album was No. 64 on the Billboard 200 and attained gold status. The cover features a more weathered, cigarette-smoking Mellencamp, complete with five o’clock shadow. The album included “I Need a Lover” and “Taxi Dancer” from Biography.

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In the early 1980s, Mellencamp would reach the height of his musical career. He felt forced by the music industry to record more pop-oriented songs at first, but he eventually pulled away from this influence and also made creative music videos, prominently featuring the blue-collar Midwest. His emerging sound became truer to Heartland rock—eschewing the synthesizers and psychedelia that fellow Heartland band Tom Petty and the Heartbreakers had adopted. His appearance (e.g., wearing blue jeans) and music more closely resembled Heartland rock contemporary Bruce Springsteen; however, Mellencamp became harder rocking, angrier, and more socially conscious. Still under the John Cougar name, Mellencamp’s Nothin’ Matters and What If It Did (1980) was No. 37 on the Billboard 200, and “This Time” and “Ain’t Even Done with the Night” were No. 27 and 17, respectively, on the Billboard Hot 100. Completely annoyed with the pop sound of Nothin’ Matters and What If It Did, Mellencamp recorded his fifth studio album, American Fool, in 1981 and 1982 at Cherokee Studios in Hollywood and Criteria Studios in Miami. Partly produced by Don Gehman and Mellencamp, still using the John Cougar name and appearing on the Riva label, American Fool was No. 1 on the Billboard 200 and had three Billboard Hot 100 Hits with the pop-rock-sounding “Hurts So Good” (Mellencamp and George Green) at No. 2 and his more Heartland rock–themed “Jack and Diane” at No. 1. A lesser hit was his “Hand to Hold on To.” Success from these hits and the album led to MainMan Records’ release of Mellencamp’s The Kid Inside (1983). In 1983, Mellencamp finally built up enough leverage to have his own name added to his stage name. John Cougar Mellencamp’s Uh-Huh (1983) was harder rocking than American Fool. At this point, Mellencamp’s backing band solidified with main members Larry Crane on guitars, Toby Myers and Louis Johnson on bass guitars, and Kenny Aronoff on drums and percussion. The album consisted of Billboard Hot 100 hits such as “Crumblin’ Down” (Mellencamp and Green) at No. 9, “Pink Houses” at No. 8, and “Authority Song” at No. 15. The harder-rocking “Crumblin’ Down” loosely focused on Mellencamp’s fame, whereas “Pink Houses” was inspired by a drive Mellencamp took going home to Bloomington from the Indianapolis airport. Near an overpass, he waved at an old black man sitting in front of his pink shotgun house. The man is mentioned in the song’s first verse. Through its diverse imagery, “Pink Houses” captures the beauty and warts of rural American life. In 1985, John Cougar Mellencamp released his most intriguing—and gothic—album Scarecrow, which was No. 2 on the Billboard 200 and, like American Fool, attained quintuple-platinum certification in the

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United States. Scarecrow was Mellencamp’s eighth studio album and was recorded between March 20 and April 29, 1985, at Mellencamp’s studio, Belmont Mall, in rural Belmont (near Bloomington), on the Riva label. Mellencamp produced the album with Gehman, who had worked on Mellencamp’s albums since American Fool and continued on until The Lonesome Jubilee (1987). Mellencamp’s harder-rocking autobiographical “Small Town” is thematically connected to Uh-Huh’s “Pink Houses.” Here, his message is that people in small-town America, just like those living in big cities, have meaningful, fulfilling lives. “Small Town” was No. 6 on the Billboard Hot 100. This hit and the album’s retro rock-and-roll “R.O.C.K. in the U.S.A. (A Salute to ’60s Rock)” at No. 2 belies Scarecrow’s dark atmosphere, represented better by the hit “Lonely Ol’ Night” at No. 6, “Rumbleseat” at No. 28, and “Rain on the Scarecrow” at No. 21. “Rain on the Scarecrow” (Mellencamp and Green) is the hard-rocking first song on Side One. It protests the miserable financial predicament of farmers in the late 20th century, who can no longer make a living like their fathers once did. Despite being a Heartland-rock song, several instrumental and studio sound effects are used. The home key of this song is F-sharp minor, just like Tom Petty and the Heartbreakers’ “Refugee” (1980). Also like “Refugee” is its constant use of F-sharp minor-A major-E major progression (F-sharp minor: i-III-VII) in the verses. The prechorus is in D major, but the refrain returns to F-sharp minor. The structure of the recorded song is as follows: instrumental introduction (bifurcated); verse 1; prechorus; refrain; verse 2; prechorus; refrain; instrumental interlude (bifurcated); verse 3; prechorus; refrain; prechorus; refrain; outro. The introduction begins with lead electric guitar (right), answering lower electric guitar (left), four-to-the-floor bass and kick drums (left, emphasizing each beat of quadruple meter, with four beats per measure), which lead into a refrain-related vamp with bass and hi-hat (left), followed by rattlesnake-sounding shakers that pan from left to right speaker. This vamp cues in verse 1 with Mellencamp singing lead vocals, accompanied by lead electric guitar (right) and doubling on electric bass guitar and another electric guitar (left). Just before the prechorus, jingle bells briefly enter (panned from right to left). The refrains feature basso profundo (extremely low bass) backing vocalist doubling with Mellencamp’s raspy, low tenor voice. The instrumental interlude features a distorted, squealing lead guitar. The interlude also brings back the panned shaker and then pans the jingle bells (left to right); these sound effects, along with a heartbeat-sounding drum, may be understood as evoking a barren land. They return in the instrumental outro,

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which also contains introductory material and an electric guitar tremolo (alternating quickly between two pitches). In 1987, Mellencamp released another successful album, The Lonesome Jubilee, which was No. 6 on the Billboard 200 and consisted of his Billboard Hot 100 hits “Paper in Fire” at No. 9, “Cherry Bomb” at No. 8, and “Check It Out” at No. 14. The album marks Mellencamp’s shift to Mercury Records. He followed The Lonesome Jubilee with Big Daddy, which was No. 7 on the Billboard 200 and included “Pop Singer,” his autobiographical criticism of the music industry. The song was No. 15 on the Billboard Hot 100. Another hit from the album was “Jackie Brown” at No. 48. Mellencamp’s albums continued charting strongly during most of the decade. Mellencamp’s Whenever We Wanted (1991) was No. 17 on the Billboard 200, but Human Wheels (1993) was No. 7, Dance Naked (1994) was No. 13, and Mr. Happy Go Lucky (1996) was No. 9. Dance Naked contains Mellencamp’s last Top-10 album as of 2019, “Wild Night,” a cover of Van Morrison’s song (1971), which also features Me’Shell Ndegéocello. The song was No. 3 on the Billboard Hot 100. Mellencamp released an eponymous album (1998) on the Columbia label before heading back to Mercury for the contractually obligated Rough Harvest (1999). Originally inspired by Donovan’s folk-rock and psychedelic-rock album, Sunshine Superman (1966), John Mellencamp is a departure from his usual Heartland-rock style, but not as far into psychedelia and raga rock as he intended it to be. In contrast, Rough Harvest includes his acoustic renditions of some of his songs as well as others such as Bob Dylan’s “Farewell Angelina” (1965). Neither album charted as well as previous ones. John Mellencamp was No. 41 on the Billboard 200, whereas Rough Harvest was No. 99. He returned on the Columbia label with Cuttin’ Heads (2001) at No. 15 and Trouble No More (2003) at No. 31. Cuttin’ Heads includes a duet between Mellencamp and neosoul singer ­India​.­Arie, “Peaceful World,” which focuses on racial prejudice. The album’s title track was cowritten by Mellencamp and Public Enemy’s Chuck D (as Carlton Douglas Ridenhour) and Kyle Jason. Trouble No More contains blues and folk rock in addition to Heartland rock. Mellencamp concludes the album with his rendition of the traditional song “To Washington,” with his rewritten lyrics that criticize U.S. President George W. Bush and the Iraq War (2003–2011). Mellencamp has continued to branch out, recording other musical styles into the 2000s while still focusing on Heartland rock. Freedom’s Road (2007) contains country rock and saw a return to the top of the Billboard 200 at No. 5. Life, Death, Love and Freedom (2008) contains blues-rock, country rock, and folk rock. The

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T Bone Burnett-produced album was No. 7 on the Billboard 200. In the same year he released Life, Death, Love and Freedom, Mellencamp was inducted into the Rock and Roll Hall of Fame. Mellencamp’s 2010s albums continue to chart strongly with the Burnett-produced No Better Than This (2010) at No. 10, Plain Spoken (2014) at No. 18, Sad Clowns & Hillbillies (2017) at No. 11, and his self-produced Other People’s Stuff (2018) at No. 7. The last two albums were recorded on the Republic Records and returned to Heartland rock. MIDNIGHT OIL: DIESEL AND DUST Australian alternative rock band Midnight Oil’s hit song “Beds Are Burning,” with its provocative open electric guitar chords on E5, G5, and A5 (outlining chords with the lowest pitch, the root, and the highest pitch, the fifth), doubled by brass, sparked American listeners’ in its sixth studio album Diesel and Dust (1987). At the time, Midnight Oil (1976–2002, 2016–) was barely known in the United States, with only slight success based on its fifth studio album, Red Sails in the Sunset (1984), which was No. 1 in Australia but only reached No. 177 on the Billboard 200. Established in 1972 in Sydney originally as Farm (1972–1976), Midnight Oil’s early live shows covered classic-rock hits by Cream, Creedence Clearwater Revival, Jethro Tull, Led Zeppelin, and Yes. During the late 1970s and early 1980s, band members created originals that incorporated punk rock. Diesel and Dust was almost entirely recorded between January and April 1987 at Albert Studios in Sydney, Australia. The one exception was “The Dead Heart,” which was released as a single in 1986. Released on August 21 on the Columbia Records/CBS and Sprint Music labels, the original vinyl album credits all songs to the entire band. At the time, band members were lead singer Peter Garrett (1953–), main songwriter, guitarist, and keyboardist Jim Moginie (1956–), guitarist Martin Rotsey, bassist and vocalist Peter Gifford (1955–), and drummer and vocalist Rob Hirst (1959–). Producers Warne Livesey (1959–) and the band, along with sound engineer Guy Gray, employed studio techniques that added sonic dimension, from using Outback-inspired sound effects to assigning certain instruments to individual speakers and panning between speakers. Diesel and Dust was certified septuple platinum in Australia and platinum in the United States. It reached No. 21 on the Billboard 200. After releasing “The Dead Heart,” a hit that raised awareness of the Stolen Generations—Aboriginal Australian children who were removed

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from their families by the Australian government between 1910 and the 1970s—and a call for a handing-back ceremony of Ayers Rock (a.k.a. Uluru) to the Aboriginal Australians, Midnight Oil was invited to visit Aboriginal Australian communities in the Outback. Marketed as the Blackfella/Whitefella Tour, the band performed live in the most remote area of Australia. The band’s biggest international hit, “Beds Are Burning” was No. 17 on the Billboard Hot 100 in the United States and in Canada, New Zealand, and South Africa. It charted in the Top-10 in Australia and was certified platinum in Australia. Like several songs on the album, the structure of “Beds Are Burning,” which advocates for Aboriginal Australian rights and protests against atrocities imposed by the Australian government, white Australians, and national and global corporations, includes verses, prechorus, refrain, and instrumental interludes and adds complexity by borrowing text from one part of the song and using it differently in a later section. Near this song’s conclusion, the prechorus’s text (starting with “The time has come”) is used for the vocal bridge, with different music in between two refrains. Other shared musical aspects are uses of jazzy brass and tenor Peter Garrett’s creaky vocalizations and disjointed (or angular) melodies. “Beds Are Burning” opens with a bifurcated introduction, divided by a pause. The first part contains the band’s open chords, followed by a driving bass riff that resembles Henry Mancini’s “Peter Gunn” theme (1959). The first verse features Garrett’s voice and establishes E minor as the home key. The prechorus enters with a cowbell on right speaker and occasional shaker on left speaker and changes the vocal texture by adding high backup vocals. A cymbal crash indicates the beginning of the refrain, which features the band singing together. At the end of the refrain, the brass melodic tag sounds like a speeding train. Panning the brass’s sound from left to right speaker creates this sense of a Doppler effect. The introductory material returns, followed by the second verse, and return of the prechorus. This time, an organ appears, followed by a sound effect of breaking glass that leads into the refrain. Later on, the brass completes the final refrain that was started by the voices. The introductory chords return, followed by the sliding down brasses. The antiwar and antigun-violence song “Put Down That Weapon,” which was No. 32 in Australia, begins quietly, also with E minor as its home key—the same key as “Beds Are Burning.” The same strategies to maintain interest exist in this song. Particularly, the prechorus (starting with “And if we think about it”) uses higher backing vocals, while the refrain returns to focusing on Garrett’s voice. Some spoken and sung overdubs can also be heard in the background. At the second electric

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guitar bridge, the song gradually gets louder with a crescendo. The final prechorus features Garrett’s higher, louder (almost yelling) voice, accompanied by militaristic drums. Garrett also starts a refrain, but his musical accompaniment takes over to finish it. The brighter, more energetic “Dreamworld” opens in E major (the parallel major of E minor) and serves as contrast to the previous and subsequent tracks. Titled after a theme park and zoo located in the Gold Coast in Queensland, “Dreamworld” bemoans the demolition of Queensland landmarks such as the Cloudland Dance Hall (where the band used to perform), in order to renovate and gentrify the area. It also protests against the environmental devastation created by capitalist ventures. “Dreamworld” became No. 16 on Billboard’s Modern Rock Tracks. It employs some vocal texture changes in the refrain, alternating between the backing vocals call and Garrett’s completion of lines as response. Other highlights include a modulation to G-sharp minor in the guitar bridge to the contrasting B section (middle-eight), where voice and organ enter the foreground, as well as Garrett’s yells and repetitions for emphasis (“fall”) just before the instrumental outro. The slow song “Arctic World” segues into “Warakurna,” which finishes Side One. “Arctic World” seems to be the album’s most meticulously produced song. Echoing sound effects (alternating between left and right speakers) give the impression of ice melting in a cavern and appear in the foreground during the first part of a bifurcated introduction. The second part of the introduction features acoustic guitar, accompanied by acoustic piano, bass strings, and percussion (the last also alternates between left and right speakers). The melody begins with a descending scale that establishes D major as the home key. The first verse features Garrett singing with some vocal fry (the lower part of his register that creaks). The song stands out for not being directly related to Aboriginal Australian issues; many have interpreted it as a protest against oil drilling in Greenland. It certainly laments the coldness of industrial greed that has taken its toll not only on this planet, but also on the singer’s persona’s heart. The prechorus in A major (the dominant or V of D major) pulls too briefly away from the home key, which quickly returns with the refrain, underscoring, “There is nothing that grows in your Arctic world.” Another highlight is a later return of the prechorus and refrain that adds more strings. Garrett sings a higher embellishment of the refrain’s melody. The lengthiest instrumental interlude, which places strings in the foreground, follows and briefly speeds up the harmonic rhythm (D major, B minor, C major, and D major chords take place in quick succession; D major: I-vi-bVII-I), a way of building up to the outro. Here opening sound effects return to

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the foreground and then the orchestra descends, ultimately establishing F-sharp minor, “Warakurna’s” home key. Opening with “there is enough,” “Warakurna’s” (titled after an Aboriginal Australian community that Midnight Oil visited while on tour) message is that this community has a right to exist. The band was struck by the strange juxtaposition of gorgeous natural landscape with remains of civilization such as a crashed satellite part and rolled-over, abandoned cars. These images appear here and also in “Gunbarrel Highway,” which was not included on the vinyl album that was distributed in the United States, but rather as the 11th track on international copies of the compact disc. Side Two begins with the album’s second most successful hit. In 1988, “The Dead Heart” became No. 53 on the Billboard Hot 100. This song about Aboriginal Australian rights references the white man’s theft of land and corporate greed. It uses a point-of-view narrative of Aboriginal Australians who wish to preserve their heritage. A bifurcated introduction features acoustic guitars and bass, which establish B minor as the home key, followed by the band’s chanting on the vocable, “do.” Notable aspects include the refrain, sung by the entire band, and the conclusion in which the introductory chant becomes the background to Garrett’s echoed talk-singing, which calls out the kinds of companies guilty of taking Aboriginal Australian territory, claiming they have more rights than people. The outro features a French horn solo, decorated by xylophone or Glockenspiel. Side Two also features the gothic “Whoah” (in C-sharp minor with an acoustic guitar introduction) and “Sell My Soul” (a vocal standout), the uptempo “Bullroarer,” and “Sometimes.” As the album’s final song, “Sometimes” is in E minor with a refrain that is initially in G major (III of E minor, or the relative major of the home key), which gets modulated up to A major (a whole step higher). Its ringing outro guitars create the album’s final sound. JONI MITCHELL Joni Mitchell (Roberta Joan Anderson, 1943–) recorded folk-rock and hardly ever embraced the psychedelic-rock aesthetic of her Woodstock contemporaries. She continued the practices of her 1950s folk revival predecessors, opting for an acoustic sound that eventually included art or experimental rock, pop-rock, and jazz-rock fusion. Mitchell’s strengths are her mezzo-soprano voice, intricate melodies (sometimes using chromaticism or unusual tuning), and vast harmonic palette (for example, added notes to chords to create soft dissonances).

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Best known for her voice as it was used in folk and folk-rock on early albums such as Song to a Seagull (1968, produced by David Crosby), Clouds (1969), and Blue (1971, with several guitar tracks played by folk-rock, country-rock, and pop-rock singer-songwriter-guitarist James Taylor), Mitchell employed other kinds of classic-rock styles. Her third album, Ladies of the Canyon (1970), includes a combination of folk rock, folk, and pop. For the Roses (1972) employs jazz-rock fusion, as do Mingus (1979), Night Ride Home (1991), and Turbulent Indigo (1994). Other albums feature pop-rock oriented songs and include Court and Spark (1974), Hejira (1976), The Hissing of Summer Lawns (1975), the double album Don Juan’s Reckless Daughter (1977), and Wild Things Run Fast (1982, also containing folk). Mitchell’s only new-wave rock efforts, Dog Eat Dog (1985) and Chalk Mark in a Rain Storm (1986), contain pop-rock and experimental rock. At No. 2 on the Billboard 200, her top-charting album, Court and Spark, was certified double-platinum in the United States; Blue and Ladies of the Canyon were certified platinum. Clouds, The Hissing of Summer Lawns, Hejira, and Don Juan’s Reckless Daughter were certified gold. Mitchell has won numerous Grammy Awards, including Best Folk Performance for Clouds, Best Arrangement Accompanying Vocalist(s) for “Down to You” (first released on Court and Spark), Best Pop Album and Album Package for Turbulent Indigo, Best Traditional Pop Vocal Album for Both Sides Now (2000), and Best Pop Instrumental Performance for “One Week Last Summer” (released on Shine, 2007). Both Sides Now and Shine contain rock, pop, and jazz. In addition, in 2002, Mitchell recorded the jazz album Travelogue. That same year, she won the Grammy Lifetime Achievement Award and an award for her vocals on Herbie Hancock’s River: The Joni Letters (2007), the 2008 winner of the Grammy Award for Best Contemporary Jazz Album and for Album of the Year. Of her 19 studio albums, Ladies of the Canyon (released in March 1969 on the Reprise label) offers two contrasting examples of Mitchell’s folk-rock fusion with “Big Yellow Taxi” (folk rock and pop-rock) and “Woodstock” (folk rock, psychedelic rock, and experimental or art rock). These songs appear as the 10th and 11th tracks on Mitchell’s self-produced album. In April 1970, “Big Yellow Taxi” was released as a single with “Woodstock” on its B-side. “Big Yellow Taxi” was inspired by Mitchell’s first vacation to Hawaii, where she relied on a taxi to get to her hotel. After waking up, she opened a curtain to enjoy the view only to find that she could see the mountains but also an ugly parking lot, which ruined the experience. The song’s message is encapsulated in, “you don’t know what you’ve got till it’s

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gone.” It refers not only to the loss of paradise to urban development (environmental) and the loss of what used to be (nostalgia) but also to the more personal loss of a partner (romance). Without using an instrumental interlude, “Big Yellow Taxi” was a short, radio-friendly song that employs a contrasting verse-refrain structure: instrumental introduction; verse 1; refrain; verse 2; refrain; verse 3; refrain; verse 4; refrain; vocal outro. The folk elements include Mitchell’s voice and acoustic guitar in addition to a lot of emphasis on IV-I (A major to E major in the key of E major, a displacement of the basic I-IV folk music progression). The pop elements are the simple, upbeat, sing-song melodies of the verses and refrains, the sound of Mitchell and her backing singers on their vocables, and the lift heard in the introduction as she strums energetically from A major to B major (IV-V). Complexity in this Mitchell song is found in its subtleties. For example, Mitchell alternates major chords with major sixth chords in the introduction as well as in her verses (in other words, she adds a major sixth note, F-sharp, to her A major chord). Her melodies in both the verse and phrase have their first cadence (or pause) on the third of E major; this most memorable moment of the refrain is heard with the words “That you don’t know what you’ve got till it’s gone” (with the third of E major heard on “gone”). She resolves both the verse and refrain melodies by returning to the home pitch, E, scale step 1 and the root of E major. The recording of “Big Yellow Taxi” places Mitchell’s vocals in the foreground with acoustic guitar, backing singers, along with Los Angeles–based session percussionist Milt Holland (1917–2005), who studied world music instruments such as the tabla, as well as ethnomusicology. Holland’s use of percussion creates the song’s most interesting textures. He plays triangle, congas, and pandeiro (a Brazilian tambourine that has a drier sound than its relative) on the recording. The beginning of each refrain features just Mitchell’s singing and Holland’s triangle (left) with much softer acoustic guitars in the background. This sparse texture contrasts to the rest of the song’s fuller instrumentation, including drums and backing singers. The final repeat of the refrain, which is heard twice, pauses the longest on the word “gone” and leads into Mitchell’s outro. Here, she repeats the last two lines of the refrain, with backing singers’ vocables. Mitchell has some fun in her final utterance of the lines by singing the first one an octave higher and the second one an octave lower. “Woodstock” features Mitchell’s early, bright folk-style vocals as well as her playing a Wurlitzer electric piano (set on tremolo) with backing singers on the refrains. At the time, she had been in a romantic

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relationship with English singer-songwriter and guitarist Graham Nash of the trio Crosby, Stills & Nash (1968–1970, 1973–2015), and the four originally intended to appear on The Dick Cavett Show instead of the Woodstock festival. Though the trio changed its mind, Mitchell followed manager David Geffen’s advice to appear on the television talk show. Mitchell’s lyrical content is therefore based on Nash’s account of the event (Kintner 2016, 5). This contrasting verse-refrain song begins in E-flat minor: instrumental introduction; verse 1; refrain; vocal bridge; verse 2; refrain; vocal bridge; verse 3; modified refrain plus extension; instrumental outro; vocal outro; final instrumental chords. The tremolo effect on electric piano makes an otherwise folk-rock song sound blues-infused and psychedelic, evocative of a cloud. The introduction begins with a bluesy melody that dissipates into open fifths that ring. An outline of an E-flat minor chord (E-flat, B-flat, E-flat) cues in the voice. The recording places Mitchell’s voice in the foreground with the electric piano (at times on both speakers and, other times, mostly on the right one). The refrain, starting in A-flat minor, passes through E-flat minor, before its most famous line about returning to Woodstock (she uses the metaphor, “the garden”), which ends on E-flat minor (or Ab9sus 4, eventually to E-flat minor11). The vocal bridge, featuring the backing singers’ vocables, brings the music back to E-flat minor (oscillating between i and VII to reinforce the home key). Verse 2 has a more prominent keyboard. Here, Mitchell sings the word “smog” into speech and hints at her vocal effects in the outro. Verse 3 stands out for her veiled antiwar protest, mentioning how bombers turn into butterflies. This held-out word leads into a modified refrain with the backing singers’ doubling her inserted lyrics. After the electric piano outro, Mitchell’s vocal outro gets a bit experimental as she concludes with a lengthy melisma and adds vocal effects such as moving around her tessitura—in other words, fluctuating between her head and chest vocals—in a strained way. Though Mitchell’s “Both Sides Now” from Clouds received frequent airplay on both AM and FM radio stations in the late 1960s, her live performances were better known than her albums. “Big Yellow Taxi” was No. 67 on the Billboard Hot 100 in 1970 and did better at No. 24 in 1974, as a live version re-recording from Miles of Aisles. In contrast, Mitchell’s “Woodstock” recording garnered a cult following and became one of hippie counterculture’s favorite songs about the festival. Later in 1970, her friends Crosby, Stills, and Nash, along with Neil Young, recorded a country-tinged hard-rock rendition of “Woodstock,” which reached No. 11 on the Billboard Hot 100. Just before the Crosby Stills,

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Nash & Young (CSNY, 1969–1970, 1973–2015) hit, the English Southern rock and rockabilly band Matthew’s Southern Comfort (1969–1971, 2010–) had a hit in the United Kingdom and the United States, reaching No. 23 on the Billboard Hot 100, with its simpler yet Mitchell-approved Southern-rock arrangement. Though both versions were more successful and brought “Woodstock” more notoriety, Mitchell’s original recording was musically more complex and experimental. Individually, Crosby, Stills, and Nash contributed to some of Mitchell’s subsequent albums. Mitchell’s folk-rock style contributed to 1970s classic rock’s softer musical sound. Her songs’ characters, stories, sociopolitical messages, and emotional range, in addition to musical complexities have at times inspired covers. For example, rock versions of “Big Yellow Taxi” were most notably recorded by Moya Brennan (a.k.a. Máire Brennan) on Misty Eyed Adventures (1994) and by Counting Crows and Vanessa Carlton on the band’s album, Hard Candy (2002). THE MONKEES The Monkees (1966–1971) began as a fictional musical comedy band for American television, but they quickly became a real band, even outselling The Beatles (1960–1970). Music journalists, reflecting the counterculture’s negative sentiment over The Monkees’ corporate-induced formation, called them “The Pre-Fab Four.” They were the dream child of Bob Rafelson (1933–), a writer, producer, and aspiring film director, who imagined the band-related television comedy in 1962—before Beatlemania and the British Invasion. He teamed up with hipster Bert Schneider (1933–2011), a film and television producer and aspiring film director whose father, Abraham, was the Head of Colpix Records and Screen Gems Television in Culver City, California. Rafelson and Schneider formed Raybert Productions for filmmaking; however, The Beatles’ films A Hard Day’s Night (1964) and Help! (1965) inspired them to rework Rafelson’s idea, and on April 16, 1965, they sold The Monkees to Screen Gems Television. Raybert Productions hired local songwriting duo Boyce and Hart (Tommy Boyce, Sidney Thomas Boyce, 1939–1994; Bobby Hart, Robert Luke Harshman, 1939–), to compose and sing for the television show, which included musical segments showing the band “playing” music or acting out scenarios. In March 1966, Screen Gems appointed Don Kirshner (1934–2011) as head of music to oversee their musical productions. Initially, producers wanted to cast the American folk-rock, pop, and rock-and-roll band The Lovin’ Spoonful (1965–1969). Since they

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were unavailable, open auditions were held in 1966, resulting in 437 actors vying for the four band member roles. Classic-rock musicians Paul Williams, Harry Nilsson, Stephen Stills (later of Crosby, Stills, Nash & Young), and Danny Hutton (later of Three Dog Night) auditioned unsuccessfully. Davy Jones (1945–2012), from Manchester, England, was hired first. A baritone, Jones was often made to sing in his bright upper register on recordings. His English accent offered legitimacy to a mostly American group during the British Invasion. Micky Dolenz (George Michael Dolenz Jr., 1945–), once the child star of Circus Boy (1956–1958), a television adventure series, was also hired. Dolenz’s supple and expressive muted high tenor vocals contributed the most to The Monkees’ sound. Dallas-born singer-songwriter and guitarist Michael Nesmith (Robert Michael Nesmith, 1942–) auditioned in his signature wool hat. Greenwich Village folk guitarist and singer Peter Tork (Peter Halsten Thorkelson, 1942–2019) rounded out the band. Both Nesmith and Tork were lower tenors. Rafelson and Schneider encouraged the group’s comedic improvisation and welcomed jokes on the set. Without knowing who he was, Dolenz met a very serious Kirshner by pouring a can of soda over his head. Soon afterward, Kirshner insisted on one-on-one work only. In studio, The Wrecking Crew (a West Los Angeles-based collective of session musicians that was active in the 1960s and 1970s) and Boyce and Hart’s band, Candy Store Prophets, recorded as the fictional band. As cofounder of Aldon Music, Kirshner commissioned professional Brill Building songwriters such as Carole King, Gerry Goffin, Neil Diamond, Barry Mann, Cynthia Weil, and Jack Keller. The Monkees’ first single, the pop-rock and country-rock “Last Train to Clarksville” (Boyce and Hart), was released on August 16, 1966, less than a month before the first television broadcast of The Monkees (1966–1968). Becoming No. 1 on the Billboard Hot 100, the song’s charting performance foreshadowed the show’s reception and prompted a debut album. “Last Train to Clarksville,” in G major, presents some wonderful points of listening interest such as uneven phrasing, sighing falsetto backing harmonies and an electric guitar lick (left), all of which are reminiscent of The Beatles’ “Paperback Writer” (1966). Also, it featured contrasting vocal textures (for example, double-tracked solo vocals, followed by solo with backing harmonies in verse 1, then double-tracked solo vocals starting verse 2, later accompanied by higher sustained backing vocals), and the assigning of specific instruments to speakers. The last, a studio technique, reveals exchanges of the song’s main theme between electric guitar (left) and electric bass (right) in the introduction, bridge, and interlude.

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Recorded between July 5 and 25, 1966, at RCA Victor Studios in Hollywood, The Monkees was released on October 10, 1966, on the Colgems label. Boyce and Hart wrote most of the songs and produced the album with Keller (1936–2005). Kirshner appeased Nesmith by allowing him to produce his two songs, and Nesmith asked Tork to play guitar on his songs. So often classified as just a pop album, The Monkees actually contains a variety of classic-rock styles: jazzy pop (Boyce and Hart’s “The Monkees [Theme Song],” hard rock (David Gates’s “Saturday’s Child”), pop ballad (Boyce and Hart’s “I Wanna Be Free”), and psychedelic bluesrock (Boyce and Steve Venet’s “Tomorrow’s Gonna Be Another Day”). Nesmith’s lead vocals appear on his fun novelty, “Papa Gene’s Blues,” which is not blues but rather a folk-rock and country-rock fusion. “This Just Doesn’t Seem to Be My Day” (Boyce and Hart) features Jones’s lead vocals and a raga rock intro. The blues-rock novelty “Gonna Buy Me a Dog” (Boyce and Hart), features Dolenz’s (right) and Jones’s (left) fun, interacting lead vocals. The Monkees sold over five million copies, but their second studio album, More of The Monkees, outperformed it, remaining on the Billboard 200 at No. 1 for 18 weeks. This softer follow-up album contained more rock and roll, pop-rock, and folk-rock, as well as spoken word. It included two Nesmith songs: “Mary, Mary” and “The Kind of Girl I Could Love” (with Roger Atkins). Another song, “Auntie Grizelda” (Diane Hildebrand and Keller), has a melody that is reminiscent of The Beatles’ “Doctor Robert” on their contemporary album, Revolver (1966) and features Tork’s lead vocals for the first time. His vocal sound effects in the song resemble those in John Hartford’s folk novelty, “Good Old Electric Washing Machine” on his Earthwords & Music (1967) on the RCA label. More of the Monkees was their best-selling and chart-performing album; its singles, “I’m a Believer” (Diamond) and “(I’m Not Your) Steppin’ Stone” (Boyce and Hart), went to No. 1 and 20, respectively, on the Billboard Hot 100. But due to having so little artistic control, not being allowed to play their own instruments most of the time, and friction with Kirshner, Nesmith gave an ultimatum to Colgems to change how songs were selected and albums were produced. Rafelson and Schneider sided with The Monkees as they met with Colgems’s attorneys in January 1967. Less than a month later, Kirshner released The Monkees’ “A Little Bit Me, A Little Bit You” (1967, Diamond)/“She Hangs Out” (Jeff Barry) in Canada, violating his agreement not to release The Monkees’ recordings with his own unrelated material. He was immediately dismissed. Nesmith hired The Turtles’ (1965–1970, 1983–) bassist, Chip Douglas (Douglas Farthing Hatlelid, 1942–), as their producer. Headquarters

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was the first studio album on which The Monkees were responsible for playing their own instruments and composing half of their songs. Original songwriting and learning to handle production resulted in the show’s being placed on hiatus. During this time, The Monkees visited The Beatles in London. Nesmith became friends with the Lennons. With Dolenz, he attended the February 10, 1967, recording session for “A Day in the Life” (1967) at EMI’s Studio One. Dolenz also went to an overdub and mixing session for “Fixing a Hole” at Abbey Road Studio Two. With most songs composed by Nesmith, Headquarters exhibits a Beatles’ influence. Headquarters was No. 1 on the Billboard 200 and sold 3 million copies. Pisces, Aquarius, Capricorn & Jones Ltd. (1967) followed at No. 1 on the Billboard 200 with the Billboard Hot 100 hits “Words” (Boyce and Heart) at No. 11 and “Pleasant Valley Sunday” (Goffin-King) at No. 3. The album features Nesmith singing on most of the tracks and returns to relying on professional songwriters and session musicians. It contains two Nesmith songs, “Daily Nightly” and “Don’t Call on Me” (with John London), Tork’s plosive spoken-word tongue-twister, “Peter Percival Patterson’s Pet Pig Porky,” and Harry Nilsson’s “Cuddly Toy.” Despite strong ratings in its first year, two 1967 Emmy Awards for Outstanding Comedy Series and Outstanding Directional Achievement in Comedy, and still reaching No. 1 on the Billboard 200, The Monkees’ television show ratings and album sales took an insurmountable hit when fans heard they did not play instruments on their first albums. NBC canceled The Monkees, and its final episode aired on March 25, 1968. Shortly afterward, The Birds, The Bees & The Monkees (1968) was released. At No. 3 on the Billboard 200, it was their first album not to reach No. 1 and chart in the United Kingdom. It nevertheless had significant Billboard Hot 100 hits with “Daydream Believer” (John Stewart) at No. 1 (intended for the previous album). Head, the official title of The Monkees’ movie, premiered on November 6, 1968, in New York City. It featured the Goffin-King “Porpoise Song.” The psychedelic art rock “Porpoise Song (Theme from Head)” was the album’s only single, reaching No. 62 on the Billboard Hot 100. The single version’s 4-minute duration is longer than the album’s 2 minutes and 56-second version. The recording uses an orchestral arrangement by Jack Nitzsche (Bernard Alfred Nitzsche, 1937–2000), who was once the first assistant of legendary American producer and songwriter Phil Spector. Nitzsche would later produce Young’s Harvest (1972), among other albums. Recorded on February 26 and 28, 1968, at California Recorders in Hollywood, “Porpoise Song” begins after the first

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track, “Opening Ceremony,” a collage of movie dialogue, sound bites, and musical excerpts, featuring some psychedelic panning (shifting from speaker to speaker). The structure of The Monkees’ “Porpoise Song” is as follows: instrumental introduction (bifurcated); verse 1; prechorus; refrain; instrumental bridge; verse 2; prechorus; refrain; instrumental bridge; outro. Rafelson commissioned “Porpoise Song” from Goffin-King. Consisting of disconnected psychedelic images, the song’s lyrics contain some strikingly autobiographical lines. For example, “a face, a voice, an overdub has no choice” alludes to The Monkees’ earliest recording days. From King’s demo recording, The Monkees keep the acoustic piano vamp, juxtaposed with electric piano, and psychedelic effects such as filtered, double-tracked vocals, lots of reverb, and distortion. Produced by Goffin, their recording discards King’s opening and closing Gregorian chant sections (an incipit, or short sequence of notes, from the introit of a Requiem Mass). The recording opens in E major with the Hammond B3 organ’s sustained chords, followed by low strings (right) and ringing tubular bell (left). The pulsating organ leads into the latter part of the introduction which consists of Leon Russell’s acoustic piano vamp (left), accompanied by strings (right), then jangly acoustic guitar (right), accompanied by electric bass guitar (left). Drums (left) cue in verse 1, which features Dolenz’s voice, accompanied by organ (left), acoustic guitar strums (right), and bass and drums (left), adding a bluesy organ tag. The trippy, expansive sound heard in Dolenz’s “My, my” opening line, in E major, results from the movement of an E5 (a power chord suggesting the home key with just the root and fifth and no third) to a borrowed C major in the chord progression (using the parallel major instead of an expected minor vi chord): E5-borrowed C major-D major-A major (or E major: I5-bor VI-bVII-IV). In the refrains, acoustic guitar strums become dissonant, doubling with strums on acoustic piano strings. At the end, an instrumental bridge features taped dolphin sound effects (left) and comes to a false conclusion. A cymbal crash kicks off the outro, a metrical shift, which features tubular bells (left), followed by distorted dolphin sounds (left). Raybert Productions used The Monkees’ name on advertisements for Head only a month before the premiere. Despite becoming a box office failure, the episodic, psychedelic, self-deprecating comedy with an anti-Vietnam War message (written by Rafelson, actor Jack Nicholson, and The Monkees while on a lot of marijuana) gained a cult following and some empathy from the very counterculture that rejected the band. Its soundtrack album was recorded between December 1967 and August 1968.

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MONTEREY POP, WOODSTOCK, AND RELATED STUDIO RECORDINGS The Monterey International Pop Music Festival (a.k.a. Monterey Pop) took place during the Summer of Love at the Monterey County Fairgrounds in Monterey, California (about 120 miles down the coast from San Francisco). It followed a week after the first outdoor rock festival, the KRFC Fantasy Fair and Magic Mountain Music Festival at Mount Tamalpais. Detailed historical accounts of how the Monterey Pop (June 16–18, 1967) became the inspiration for the live music performances at the Woodstock Music & Art Fair (a.k.a. Woodstock, August 15–18, 1969) can be found in various sources, including this book’s background chapter. Woodstock took place on Max Yasgur’s Farm, a 600-acre dairy farm located in Bethel, a rural town in upstate New York. Generally, Monterey Pop was better organized and executed than Woodstock, but Woodstock ultimately eclipsed Monterey Pop’s crowd size (Monterey Pop’s peak was at 90,000 whereas Woodstock’s was over 400,000), commercial success, historical significance, and resulting sound-recording output. Monterey Pop (1968), a documentary film, includes live performances, as well as studio-produced music, such as Scott McKenzie’s “San Francisco (Be Sure to Wear Flowers in Your Hair)” (1967, John Phillips), and the song was released in May 1967 to promote the festival. The producers of Monterey Pop, however, did not turn its soundtrack into an album. Unrelated to the documentary, Reprise released Historic Performances Recorded at the Monterey International Pop Festival (1970), but the album consists only of sets by The Jimi Hendrix Experience (Side One) and Otis Redding (Side Two). Woodstock was modeled on Monterey Pop’s three-day performance schedule (32 invited musicians were to play 40-minute sets during five separate four-hour shows), but the event had many disruptions, including rain, setup delays, and issues with bad management. Artists played longer or shorter sets than expected, and unscheduled musicians were spontaneously added. Several acts performed at both events: Canned Heat; Country Joe and the Fish; Grateful Dead; Hendrix; Jefferson Airplane; and The Who. Some acts like Canned Heat and Grateful Dead played completely different sets from those at Monterey Pop. In contrast to Monterey Pop, the documentary film Woodstock (1970) had a soundtrack album as an ancillary product. The triple-album Woodstock: Music from the Original Soundtrack and More was released on May 11, 1970, over a month after the film, on Cotillion, a sublabel of Atlantic Records. The album was No. 1 on the Billboard 200. Atlantic

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followed up with its double-album sequel, Woodstock 2 (1971), and on the event’s 25th anniversary, the album Woodstock Diary (1994). The last coincided with Atlantic’s four-box CD compilation, Woodstock: Three Days of Peace and Music, a reissue of the three albums with previously unreleased festival performances, but without the previous albums’ stage announcements and crowd sounds. By 1970, the record changer, a machine that could continuously play multiple albums, remained popular. Woodstock: Music from the Original Soundtrack and More contains tracks ordered in respect to how the record changer worked. Performers included were John Sebastian, Canned Heat, Richie Havens, Country Joe and the Fish, Arlo Guthrie, Sha Na Na, Joan Baez and Jeffrey Shurtleff, Crosby, Stills & Nash, The Who, Joe Cocker, Santana, Ten Years After, Jefferson Airplane, Sly and the Family Stone, The Butterfield Blues Band, and Jimi Hendrix (including his rendition of “The Star Spangled Banner”). The three albums are intended to bring Woodstock into listeners’ homes. Some tracks demonstrate minimal studio techniques. For example, the end of Sebastian’s “I Had a Dream” has some reverb added. Canned Heat’s “Going up the Country” assigns instruments to speakers (for example, in its first refrain, the bass, rhythm guitar, and lead electric guitar are assigned to the left and, later on, the electric lead guitar emerges with its solo also on the left). Its outro is followed by a series of cross-faded extramusical sounds, which contain crowd sounds, stage announcements, car noises, someone imitating an electric guitar playing “Home on the Range” (1872, Brewster M. Higley and Daniel E. Kelley), a warning that the brown acid is not good, feedback, a guitar, a microphone test referencing The Beatles’ “Revolution 9” (1968), Havens’ being introduced and tuning, then his acoustic guitar introduction accompanied by congas (right). Havens asks for a guitar microphone before his bluesy refrain of “Freedom.” These cross-faded sounds re-order the festival’s acts seamlessly. Some artists who performed classic rock at Woodstock were not included on the album. Subsequent Woodstock-related recordings offer a fuller glimpse of Woodstock. Woodstock 2 includes Melanie’s “My Beautiful People” (1969) and “Birthday of the Sun” (1969) as well as Mountain’s “Blood of the Sun” (1969) and “Theme from an Imaginary Western” (1969, Pete Brown and Jack Bruce) in addition to more tracks by Baez, Canned Heat, Crosby, Stills, Nash & Young, Hendrix, Jefferson Airplane, and The Butterfield Blues Band. Woodstock Diary includes The Band’s “The Weight” (1968), Johnny Winter’s “Mean Town Blues” (1968), Joplin and her Kozmic Blues Band’s “Try (Just a Little Bit Harder)” (1969) and “Ball

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and Chain”; and Sly and The Family Stone’s “Love City” (ca. 1969). The Woodstock Experience (2009) is a compilation of reissued Legacy/SME Records’ albums of Jefferson Airplane, Joplin and her Kozmic Blues band, Santana, Sly and the Family Stone, and Winter. Other Woodstock concert performances by Joe Cocker, Hendrix, Joplin, and The Butterfield Blues Band have been released, along with unofficial recordings. Rhino/Atlantic’s Woodstock: 40 Years On: Back to Yasgur’s Farm (2009) includes all artists and announcers except for The Band, Keef Hartley Band, and Ten Years After. The order of tracks very much more closely resembles the order of acts at Woodstock. These also include an invocation by Swami Satchidananda and Ravi Shankar, the latter performing in the rain. Shankar, who was The Beatles’ George Harrison’s sitar teacher, had a prolific career of recording Hindustani classical music, which includes Live: Ravi Shankar at the Monterey International Pop Festival (1967), his highest-charting album, at No. 43 on the Billboard 200, and Ravi Shankar at the Woodstock Festival (1970). Woodstock featured many acts that were from New York: Melanie (from Astoria, Queens); folk singer Tim Hardin (a Woodstock resident); folk singer Baez (born in Staten Island); Guthrie and Havens (Brooklyn); Mountain (Long Island); Sebastian (Greenwich Village, New York City); and Blood, Sweat & Tears (formed in New York City). Woodstock made Havens’s career; he continued recording folk, folk rock, jazz, and rock and roll after Woodstock; and, like Guthrie and Melanie, he experienced further chart success. Nearly all of the songs performed at Woodstock have appeared on studio albums. He later had a hit cover of The Beatles’ “Here Comes the Sun” (1969), at No. 16 on the Billboard Hot 100, which appeared on Alarm Clock (1971), his top-charting album at No. 29 on the Billboard 200. Though his most popular Woodstock footage features him on acoustic guitar, Havens played a variety of instruments on his studio albums, such as sitar, tambura, autoharp, koto, ondioline (an electronic keyboard precursor to the synthesizer), and percussion. Perhaps the only exception to Monterey Pop running more smoothly than Woodstock is the performances of The Who and Hendrix. But no studio album could possibly capture the shock of pyrotechnics and visual showmanship of The Who’s Pete Townshend’s smashing his guitar and Keith Moon’s kicking his drums as the band left the stage or Hendrix’s response at the end of his multisong-collage rendition of The Troggs’s “Wild Thing” (1966, Chip Taylor), when he set his guitar on fire with lighter fluid, smashed it seven times, and flung it into the audience. The Who’s Woodstock set included Tommy (1969) and a short version of “My Generation” (1965). The main disruption to their set was

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activist Abbie Hoffman, who took the microphone during “Pinball Wizard” (from Tommy) to protest the arrest of John Sinclair, the jazz poet and founder of the leftist, antiracist White Panther Party. What albums capture is Hendrix’s sound, which involved a lot of fun, unpredictable improvisation such as inserting songs or riffs within songs, adding melismas (adding notes or noodling around the melody) and glissandi (often described as “divebombs”), innovative use of electric guitar effects such as vibrato, fuzz, and wah-wah, and amp effects such as overdriving the unit through high gain (volume) and feedback—all rather newly appreciated in Hendrix’s time. THE MOODY BLUES As folk rock–inspired prog-rock and psychedelic-rock bands, The Moody Blues (1964–) quickly built its studio recording output on their symphonic ambitions. Their lyrical content and album concepts were often philosophical and delved into spiritual and fantastic topics. The band used keyboards and classical music in classic rock, making transitions from analog to digital technology. The classic Moody Blues lineup consisted of singer-songwriter and guitarist Justin Hayward (1946–), singer-songwriter, flutist, and multi-instrumentalist Ray Thomas (1941–2018), singer-songwriter bassist and guitarist John Lodge (1945–), singer-songwriter and keyboardist Mike Pinder (1941–), and singer-songwriter and drummer Graeme Edge (1941–). As of 2019, Hayward, Lodge, and Edge remain in the band. As of 2019, The Moody Blues’ studio recording output consists of 16 albums. The Moody Blues started in Erdington (a suburb of Birmingham, England) with Thomas, Lodge, and Pinder as members of the rock-androll band El Riot & the Rebels. The band broke up when Lodge went to college and Pinder enlisted in the army, but when Pinder returned, he formed the Krew Cats, another rock-and-roll band, with Thomas. Inspired by The Beatles, the Krew Cats attempted residency performances in Hamburg, Germany, but failed and returned home. They soon recruited singer-songwriter and guitarist Denny Laine (Brian Frederick Hines, 1944–) and manager Edge, who became the band’s drummer. Still in college, Lodge was unable to join the band, so they recruited bassist Clint Warwick (Albert Eccles, 1940–2004). In 1964, they began performing as The Moody Blues, adding more rhythm and blues as well as blues to their repertory. While still in Birmingham, The Moody Blues signed onto Ridgepride, a small label that worked with Decca Records. Their first single, “Steal Your Heart Away” (1964) failed to chart, but

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their 1964 Merseybeat cover of Bessie Banks’s rhythm and blues song “Go Now” (1962, Larry Banks and Milton Bennett) was a tremendous hit, topping the U.K. Singles Chart and reaching No. 10 on the Billboard Hot 100, just in time for the British Invasion. Denny Cordell (Dennis Cordell-Lavarack, 1943–1995) produced their singles and debut album, The Magnificent Moodies (1965). He would soon become the producer of English psychedelic-rock band Procol Harum. Although The Magnificent Moodies was No. 5 in the United Kingdom, it failed to crossover to the Billboard 200 in the United States. Decca released just a mono version of the album. Several chart failures and minor hits followed as well as personnel changes. Impatient with the band’s slow rise to success, Laine departed (he would later become a core member of Paul McCartney’s band, Wings). The Moody Blues continued touring and played frequent concerts. Their schedule eventually became exhausting to Warwick, who retired from music to become a carpenter. In 1966, Lodge joined the band and, upon recommendation from Eric Burdon, the lead singer of The Animals, Hayward was invited to join the band. Though they continued covering rhythm-and-blues and blues songs after Hayward joined the band, The Moody Blues transitioned to psychedelic rock by adding new symphonic sounds with Pinder’s Mellotron. A forerunner to the keyboard sampler, the Mellotron is a keyboard-operated tape replay instrument that was invented in 1963 in the Moody Blues’ home city, Birmingham. The band used the instrument in “Love and Beauty” (1967), which also failed to chart. Near the end of their recording contract with Decca, they owed the label money and another album. But The Moody Blues were fortunate enough when Decca executives shifted them to their subsidiary Deram Records, which was developing its Deramic Stereo Sound. Part of their new recording deal was to record a rock-and-roll version of Antonín Dvor˘ák’s New World Symphony (Symphony No. 9 in E minor, Op. 95, 1893), which would promote the new format, already used in Deram’s classical music recordings, to the growing rock music market. The Moody Blues convinced Deram to instead use their own songs with a backing symphonic orchestra on their concept album, Days of Future Passed (1967). One of the earliest albums to combine rock elements with those of classical music, the album was No. 27 in the United Kingdom. Though it failed to cross over to the United States at the time, it managed to become No. 3 on the Billboard 200 five years later. Deram’s Peter Knight (1917–1985) arranged parts for the London Festival Orchestra. The album’s songs were bound by a loose narrative or concept of a day in the life of an average person. Side One starts with a two-track suite titled

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“The Day Begins,” which starts with the song of the same title and ends with “Morning Glory.” This side concludes with “Lunch Break: Peak Hour.” Side Two continues with three sets of suites, “The Afternoon,” which consists of “Forever Afternoon (Tuesday?)” and “(Evening) Time to Get Away,” followed by “Evening” with “The Sunset” and “Twilight Time,” and concluding with “The Night,” which builds up to “Night in White Satin” and “Late Lament/Resolvement.” “Nights in White Satin,” on which the band plays with the orchestra, became No. 19 on the U.K. Singles Chart. “Forever Afternoon (Tuesday?),” known better as “Tuesday Afternoon” became No. 26 on the Billboard Hot 100 in the U.S. “Tuesday Afternoon” exemplifies the band’s symphonic prog rock sound in miniature, featuring Pinder’s Mellotron (right) as well as strings, flutes, and acoustic guitars. Beginning in A minor, the contrasting B sections, in G major, with its bright, bouncy acoustic piano accompaniment (left) were catchy enough to receive a lot of FM and AM radio airplay. The Moody Blues continued with more prog-rock and psychedelicconcept albums such as In Search of the Lost Chord (1968), which consists of one of their best-known songs, “Legend of a Mind.” This song is discussed in its own “Must-Hear Music” entry later in this book. On the Threshold of a Dream (1968) was No. 1 and 20, respectively, in the United Kingdom and the United States. At this time, inspired by The Beatles’ Apple Records, The Moody Blues created their own label, using it to produce their projects while still having Decca as a distributor. Like Apple, Threshold Records signed musical acts. One of these was the English hard-rock, psychedelic-rock, blues-rock, and later funk-rock band, Trapeze (1969–1982, 1991–1992, 1993–1994). But their success was minimal, and they soon decided to continue recording with Deram. On the Threshold of a Dream marks a string of chart-topping hit albums in the United Kingdom, which performed strongly in the United States as well. These include To Our Children’s Children’s Children (1969), A Question of Balance (1970), Every Good Boy Deserves Favor (1971), and Seventh Sojourn (1972). The last was No. 1 in both countries and contains the minor hit “I’m Just a Singer (In a Rock-and-Roll Band).” In 1974, Pinder’s relocation to California and members’ other projects led to the band’s hiatus. The Moody Blues reunited to record Octave (1978). Soon afterward, Pinder departed, and former Yes keyboardist Patrick Moraz (1948–) replaced him. His first album with the band was Long Distance Voyager (1981), which consists of new wave rock and synthpop in addition to prog rock. The album marks a comeback for The Moody Blues and was No. 7 and 1, respectively, in the United Kingdom and the United States.

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Continuing in the same stylistic vein are The Present (1983) and The Other Side of Life (1986); the latter consists of the synthpop and poprock hit “Your Wildest Dreams,” which sparked a resurgence of interest in the band. The song became No. 2 on the Billboard Hot 100 and was followed by another pop-rock-oriented No. 2 hit, “I Know You’re Out There Somewhere,” which appears on Sur la mer (1988). Their most recent albums are Keys of the Kingdom (1991), Strange Times (1999), and the Christmas-themed December (2003). Strange Times stands out for having more acoustic musical instruments and a return to folk rock. This was the final album on which Thomas appears; he retired in 2002. In 2018, the band was inducted into the Rock and Roll Hall of Fame (shortly after Thomas’s death). TOM PETTY AND THE HEARTBREAKERS In contrast to other Heartland rock musicians such as Bob Seger, and Bruce Springsteen, who began their studio recording careers, respectively, in the late 1960s and early 1970s, Tom Petty and the Heartbreakers (sometimes also considered a Southern-rock band) formed late, in 1976 in Gainesville, Florida. Though the band embraced Heartland rock’s use of folk and country music, including folk rock and country rock, as well as American music such as bluegrass, blues, rhythm and blues, and rock and roll, it looked and sounded punkier than its Heartland rock contemporaries. Petty (1950–2017) had a main songwriting collaborator, guitarist and longtime friend Mike Campbell (1950–). As of 2019, Tom Petty and the Heartbreakers (1976–2011) have released 13 studio albums. Petty released three solo studio albums, which nevertheless were supported by several band members. Before Tom Petty and the Heartbreakers formed, Petty was a singer-songwriter and bassist for his Southern-rock and country-rock band, Mudcrutch (1970–1975, 2007–2017), a band he and lead guitarist–vocalist Tom Leadon (1952–), brother of Eagles’ former lead guitarist Bernie Leadon, formed in Gainesville. Another Eagles connection for Petty was Don Felder (1947–), also from Gainesville, Eagle’s lead guitarist who was also one of Petty’s guitar instructors. After personnel changes, Mudcrutch’s lineup included Campbell and keyboardist Benmont Tench (Benjamin Montmorency Tench III, 1953–). In 1974, the band moved to Los Angeles and signed onto Shelter Records (1969–1981), a label formed by legendary keyboardist and singer-songwriter-keyboardist Leon Russell (1942–2016) and former Procol Harum and Moody Blues producer Denny Cordell (Dennis

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Known best for Heartland rock, Tom Petty and the Heartbreakers gained popularity with fans of new wave rock, pop-rock, and country rock. This live performance took place in 2010 at Darien Lake in New York’s Upstate Region. (Roejoe/­Dreamstime​.­com)

Cordell-Lavarack, 1943–1995). In 1975, Mudcrutch recorded its single, “Depot Street,” which failed to chart. When the band broke up at the end of the year, Petty remained with Shelter Records and recruited Campbell and Tench to start The Heartbreakers. Petty was impressed with bassist Ronnie Blair (1948–) and drummer Stan Lynch (1955–) and invited them to join the band. Like Petty, Campbell, and Tench, Blair and Lynch were Gainesville natives who had relocated to Los Angeles. Shortly afterward, Tom Petty and the Heartbreakers recorded their eponymous album (1976), produced by Cordell. The album failed to chart and received mixed critical praise, but after a 1976 U.K. tour, the album became No. 24 on the U.K. albums Chart, and in 1977, its track “Anything That’s Rock ’n’ Roll” was No. 36 in the United Kingdom and became a gold-certified single there a year later. In 1977, “Breakdown” was rereleased and reached No. 40 on the Billboard Hot 100, while “American Girl” was No. 40 in the United Kingdom. Tom Petty and the Heartbreakers’ second studio album, You’re Gonna Get It! (1978), was not as well received critically as their debut album,

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but it was the band’s first charting studio album on the Billboard 200 at No. 23. It attained gold certification and had two Billboard Hot 100 hits with “I Need to Know” at No. 41 and “Listen to Her Heart” at No. 59. The band was slightly stalled on its next album when Shelter Records’ distributor, ABC Records, was sold to MCA (1967–1996), and Petty wished to terminate his transferred contract. After declaring bankruptcy as an attempt to make his contract no longer legally binding, Petty had to settle for signing onto Backstreet Records (1979–), a subsidiary of MCA (until 2003). Months later, Tom Petty and the Heartbreakers had their own breakthrough album with Damn the Torpedoes. Recorded in between 1978 and 1979 at Sound City in Van Nuys, California, and Cherokee Studios in Hollywood, the album was released on October 19, 1979. The album was produced by Petty and Jimmy Iovine (1953–), who had previously worked on Harry Nilsson’s Pussy Cats, Kansas’s eponymous album, and Three Dog Night’s Hard Labor (all 1974) and, most significantly, Bruce Springsteen’s Born to Run (1975). At No. 2 on the Billboard 200, just behind Pink Floyd’s The Wall, Damn the Torpedoes eventually attained triple-platinum certification in the United States. Its three Billboard Hot 100 hits were “Don’t Do Me Like That” at No. 10, “Refugee” at No. 15, and “Here Comes My Girl” at No. 59. “Refugee” features Petty’s thin-sounding, nasal, and strained lower tenor vocals. Composed at a time when Petty and the band still felt angry about being transferred to MCA, the song addresses a person in a romance who is rebellious, angry at the world, and punky—in other words, lives “like a refugee.” The recorded song structure follows: instrumental introduction; verse 1 (section A); prechorus; refrain; verse 2 (A’); prechorus; refrain; B; instrumental interlude; verse 3 (A’’); prechorus; refrain (extended); instrumental outro. The home key is in F-sharp minor, and both the verses and refrains repeat F-sharp minor-A major-E major (F-sharp minor: i-III-VII), stressing the home key by staying there for a couple more beats. The prechorus briefly starts on a D major chord then moves to B major (F-sharp minor: VI-IV), but quickly returns to F-sharp minor to set up the refrain. The music for the song originated with Campbell, who was inspired by John Mayall & the Bluesbreakers’ album Crusade (1967) and put together some taped demos for Petty, who wrote the lyrics. Together, they refined the song with Iovine. The studio recording kicks off with drums (left), followed by a soulful organ (also left), lead electric guitar (center), and electric bass guitar (right). Lead guitar and bass doubling take place at the end of the introduction. Many guitar effects, resulting from playing techniques, take place from the very beginning and throughout this song, which is full of ringing,

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bends and release bends, and vibrating pitches. Verse 1 reveals several layers of electric guitar tracks in a combination with drums and bass (left), organ (now right), and acoustic guitar (left). Light reverb is applied to Petty’s voice throughout the song. Cymbal crashes (right) enter the prechorus and help it build up to the refrain. The more lyrical B section moves to E major (typically, a contrasting B section moves to the parallel major, F-sharp major, or the dominant key, which is C-sharp major or V of F-sharp minor; here, the dominant key is swapped out for the subtonic, VII of F-sharp minor). The refrain-related instrumental interlude features an organ solo (left), followed by verse 3, which starts with the same lines as verse 2. The last refrain includes Petty’s screams, followed by a refrain-related fading-out instrumental outro that features solo lead electric guitar. In the early 1980s, Tom Petty and the Heartbreakers would reach the height of the band’s musical career. Lyrical content still consisted of Heartland-rock topics such as living in a blue-collar town or angrily protesting the economic and living conditions felt by factory workers and farmers, but the band fused its music more with psychedelic rock and new wave rock, employing synthesizers and making outstanding music videos that showed enthusiasm for the strange and unusual—a visual aspect that was especially appealing to new wave rock aficionados. Tom Petty and the Heartbreakers’ 1980s albums performed strongly on the Billboard 200, and charting internationally with Hard Promises (1981) at No. 5 and Long after Dark (1982) at No. 9 on Backstreet, as well as Southern Accents (1985) at No. 7 and Let Me Up (I’ve Had Enough) at No. 20 on MCA. Before the release of Hard Promises, the album was delayed due to a dispute with MCA over raising the price of the album to from $8.98 to $9.98. In protest, the band considered the title Eight Nighty-Eight, but MCA relented. Billboard Hot 100 hits on Hard Promises were “The Waiting” at No. 19 and “A Woman in Love (It’s Not Me)” at No. 79. While the band members recorded Hard Promises, they were expecting to meet John Lennon, who was supposed to record at Sound City Studios in Van Nuys while they were recording; however, the meeting never took place. On December 8, 1980, Mark David Chapman murdered Lennon in New York City, and the band responded by etching “We Love You J. L.” near the LP’s label on the album’s early North American pressings. In 1982, Tom Petty and the Heartbreakers’ Long after Dark had three single releases, but only two charted on the Billboard Hot 100: “You Got Lucky” at No. 20 and “Change of Heart” at No. 21. Blair departed the band because he no longer wanted to be touring. “You Got Lucky” was the first recording that featured the band’s new bassist and backing

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vocalist, Howie Epstein (1955–2003), who took Blair’s place. Close to the very beginning of MTV (1981), Tom Petty and the Heartbreakers were making music videos. The creative impetus—including inspiration from the Australian postapocalyptic film Mad Max 2 (1981)—and writing for the “You Got Lucky” music video was the band’s own. The postapocalyptic scenario starts with Petty and Campbell in the desert as they find a tent and audiocassette player that plays the song, followed by the arrival of other band members and their discovery of left-behind music studio equipment and televisions, which play videos of the band’s earlier songs, “Here Comes My Girl” and “A Woman in Love (It’s Not Me).” Still in the tent, Campbell locates an electric guitar and plays a solo during the instrumental interlude, followed by Epstein’s winning a jackpot on an old slot machine. When the band departs, they leave behind the audiocassette player. This hit, as well as the rest of the album, features a strong presence of synthesizers (such as the Prophet 5), played by Tench and Petty, as well as new wave rock. In 1985, Tom Petty and the Heartbreakers’ Southern Accents continued the band’s delving into new wave rock while fusing the style with Heartland rock and psychedelic rock. Its most successful hit was “Don’t Come around Here No More,” composed and produced by Petty and The Eurythmics’ (1980–1990, 1999–2005) Dave Stewart (1952–), which was No. 13 on the Billboard Hot 100. The song, in F major, features Stewart on electric sitar, who plays a counter melody but also treats the instrument like a tambura, providing dronelike emphasis on two pitches. This practice, a bit more informed than most raga rock, is actually heard in Hindustani classical music. The song also features Daniel Rothmuller on cello and Bugs Weidel on what is credited as a “wild dog” piano. The song’s Alice in Wonderland–themed MTV video includes Stewart as the caterpillar and stars Petty as the Mad Hatter. The menacing song that warns others to go away becomes horrific here as curious Alice (portrayed by Wish Foley), who wandered where she did not belong, is served and eaten as a cake. The album’s other hits were “Make It Better (Forget about Me)” at No. 54 and “Rebels” at No. 74. The latter features Petty on a Rickenbacker 12-string electric guitar, the same kind of instrument made famous by Roger McGuinn on The Byrds’ first two albums, Mr. Tambourine Man and Turn! Turn! Turn! (both 1965). On Southern Accents, Tom Petty and the Heartbreakers’ cover of The Byrds’ psychedelic-rock novelty, “So You Want to Be a Rock ’n’ Roll Star,” became No. 9 on Billboard’s Mainstream Rock chart. In 1987, Tom Petty and the Heartbreakers’ Let Me Up (I’ve Had Enough) scaled back on psychedelic rock and synthesizers. It fared less

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well than Southern Accents with just Petty, Campbell, and Bob Dylan’s “Jammin’ Me” charting at No. 18 on the Billboard Hot 100. In 1989, Petty released his debut solo studio album, Full Moon Fever. The album explores different musical textures and timbres, including some of the band members’ participation, as well as appearances by Roy Orbison, George Harrison, and Jeff Lynne—all members of the country-rock, folk-rock, and roots-rock supergroup the Traveling Wilburys (1988–1991), along with Dylan. Lynne (1947–), previously the cofounder of Electric Light Orchestra (ELO, 1970–1983, 1985–1986, 2000–2001, 2014–), produced and cowrote most of the songs on Full Moon Fever, which was No. 3 on the Billboard 200 and became more successful than any of the band’s albums, attaining quintuple-platinum certification in the U.S. alone. Meanwhile, the Traveling Wilburys Vol. 1 (1988) and Vol. 3 (1990) were No. 1 and 14, respectively, on the Billboard 200. Petty’s list of Billboard Hot 100 hits from Full Moon Fever included the Heartland-rock and folk-rock fusion “Free Fallin’,” composed by Petty and Lynne, at No. 7; “I Won’t Back Down” at No. 12; Petty, Lynne, and Campbell’s harder Heartland rock “Runnin’ Down a Dream” at No. 23; softer Heartland-rock “A Face in the Crowd” at No. 46; and Petty and Lynne’s “Yer So Bad” at No. 86. Though not a hit, Petty also covered The Byrds’ “I’ll Feel a Whole Lot Better” (1965), adding a harder-rocking edge. In 1991, Tom Petty and the Heartbreakers released Into the Great Wide Open, followed later that year by Petty’s solo album, Wildflowers, which marked a move for Petty and the band to the Warner Bros. label and the beginning of Petty’s additional role as a keyboardist. Into the Great Wide Open was Tom Petty and the Heartbreakers’ second most successful album, next to Damn the Torpedoes. The album attained double-platinum status. Seven singles were released from Into the Great Wide Open; however, only “Learning to Fly” and the title track (both by Petty and Lynne) charted on the Billboard Hot 100 at No. 28 and 92, respectively. The album was another production collaboration between Petty, Campbell, and Lynne, whereas Petty, Campbell, and legendary hip-hop producer Rick Rubin collaborated to produce Wildflowers. The latter team also produced Tom Petty and the Heartbreakers’ subsequent soundtrack album, Songs and Music from “She’s the One” (1996) and Echo (1999). Produced by Petty, Campbell, and George Drakoulias, the band’s The Last DJ (2002) contains several songs that criticize the American music industry’s greedy practices. One of these songs, the title track, appeared on the animated comedy television series The Simpsons’ “How I Spent My Strummer Vacation” (November 10, 2002) in which Petty gives Homer Simpson a songwriting lesson. In the same year, Tom

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Petty and the Heartbreakers were inducted into the Rock and Roll Hall of Fame. Before his death from an accidental drug overdose in 2018, Petty’s final solo album was Highway Companion (2006). Also a Petty, Campbell, and Lynne production, Highway Companion was No. 4 on the Billboard 200 and has attained gold certification. Tom Petty and the Heartbreakers had two strongly charting studio albums with Mojo (2010) and Hypnotic Eye (2014) at No. 2 and 1, respectively, on the Billboard 200. PINK FLOYD: DARK SIDE OF THE MOON On an initial listening, The Dark Side of the Moon (1973), the second most successful album by English prog-rock and psychedelic-rock band Pink Floyd (1965–1995, 2012–2014), seems sleepy, introspective, and cosmic; however, its lyrics clarify that the album is about objects, images, and situations that drive people to madness. The Dark Side of the Moon is often the favorite of classic-rock aficionados, even though the band’s most successful recording has been the rock opera, The Wall (1979), a double album that offers a listening experience that is a world apart from The Dark Side of the Moon. Both albums have attained diamond status in the United States, with The Dark Side of the Moon attaining quattuordecuple-platinum status and The Wall attaining treviguple-platinum status as of 2019. The Dark Side of the Moon charted slightly better at No. 2 and 1, respectively, on the U.K. Albums Chart and the Billboard 200 in the United States, whereas The Wall was No. 3 and 1, respectively, in those two countries. The Dark Side of the Moon is certainly quieter and contains more psychedelic rock than The Wall, which contains hard rock and pop-rock in addition to prog rock. The historical context of the albums lends perspective to the album’s lyrical content and sound. Pink Floyd, originally Syd Barrett (Roger Keith Barrett, 1946–2006) and Roger Waters (George Roger Waters, 1943–), and later David Gilmour (1946–), Nick Mason (1944–) and Richard Wright (1943–2008), focused on rhythm and blues, but it gained prominence focusing on psychedelic rock with lengthy instrumental solos, creating lightshows, and becoming the band to hear while on an acid trip (after taking the hallucinatory drug LSD, or lysergic acid diethylamide). Its debut album The Piper at Gates Dawn (1967), on the Columbia Records label, was a seminal psychedelic-rock recording that consisted of proto elements of prog rock. This album was followed by A Saucerful of Secrets (1968). The studio album More (1969) was the band’s first recording on the Harvest Records label (1969–). Pink

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Floyd’s next string of albums (without Barrett, who became addicted and lost his sanity) catapulted the group’s success by reaching the Top 10 on the U.K. Albums Chart and performing much better on the Billboard 200 in the United States. These include Ummagumma (1969), Atom Heart Mother (1970), Meddle (1971), and Obscured by Clouds (1972). The double album Ummagumma employs psychedelic rock, art rock, and space rock. It contains a track titled “A Saucerful of Secrets,” a song titled after the band’s second album, which delves further into prog rock. Meddle, which eventually attained double-platinum status, can be easily perceived as a direct ancestor to Dark Side of the Moon. It marks the band’s shift to prog rock and opens with the instrumental, “One of These Days,” focusing on Gilmour and Waters’s double-tracked bass guitars, accompanied by Hammond organ stabs, a fading-in Hammond organ, all overdubbed with an acoustic piano with sound played through a Leslie speaker, and including many psychedelic studio effects. Side Two of the album consists only of the ambient and psychedelic sounding “Echoes.” Songs from Pink Floyd’s albums attained frequent airplay on FM radio (including Album-Oriented Rock programs) in the United States, which greatly helped Pink Floyd’s following there. Waters led the songwriting of The Dark Side of the Moon, which was recorded between June 1972 and January 1973 at Abbey Road Studios in London. Pink Floyd produced the album, working with music engineer Alan Parsons (1948–), who previously worked on The Beatles’ Abbey Road (1969) and Let It Be (1970) as well as Ambrosia’s eponymous prog-rock album (1975). He would later have mainstream success with his own prog-rock and soft-rock band, The Alan Parsons Project (1975–1990) especially with the songs “Eye in the Sky” (1982) and “Don’t Answer Me” (1984). Side One of Dark Side of the Moon begins with “Speak to Me,” a musique concrète track that begins with a heartbeat (heard on the left speaker), followed by a clock ticking (also left), spoken word about being mad (right), more spoken word (left), the low sounds of a cash register (left) and the high sounds (right), a motor engine (panned quickly from left to right several times), road manager and sound engineer Peter Watts’s laughter (left), and screams (left). Musique concrète manipulates recordings of naturally occurring sounds (at the time of this album, these would be on tape) musical ways. Here, the heartbeat and clock ticking establish a rhythm and meter (grouping of beats; the meter is quadruple or four beats per measure). The addition of the cash register and positioning its low and high sounds on different speakers establishes a groove. The bell ring of the cash register adds pitch. This track serves as an overture to the rest of the album. Most of

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the recorded sounds used here are prominent on other tracks, so the overture foreshadows or plugs the album’s later songs. The most recognizable sound is the cash register from “Money”; other sounds include the clock ticking from “Time,” Peter Watts’s laughter from “Brain Damage,” and Clare Torry’s screams from “The Great Gig in the Sky.” Making the album’s sound come full circle, the beginning heartbeat heard in “Speak to Me” is the album’s final sound on its final track, “Eclipse.” The use of musique concrète and metatextuality reveal a postmodern approach to composition. The track involved Mason, Waters, and Wright and there has been some dispute about its authorship, though Mason is credited as its main songwriter. Waters also worked on recording and manipulating these sounds. The motor engine and final screams in “Speak to Me” segue into a backward recording of an acoustic piano chord, which begins “Breathe.” This second track, in E minor, fuses psychedelic rock with prog rock. It can be heard as having an instrumental introduction and two distinct sections of music, an aggressive-sounding A section has bluesy-sounding verses and a lyrical B section with softer-rocking verses. The recorded song structure is as follows: instrumental introduction; A; B; A’; B’ (extended). All sections feature multitracked recordings of Gilmour playing a 1962 Fender Duo 1000 double-neck pedal steel guitar (mostly left) and applying a Uni-Vibe (a pedal-operated phaser that adds vibrato to the instrument). Sections A and B also feature Gilmour’s double-tracked, husky baritone vocals. After the first B section occurs, Wright’s Hammond C3 organ enters on “run rabbit run.” The song is not only about the birth-to-death journey that everybody takes; it is a warning not to become so completely occupied by work, which speeds one to an early grave. The final Hammond C3 organ chord sustains as “Breathe” segues into another instrumental track, “On the Run.” This time, elements of musique concrète, such as a heartbeat, a female announcer on an airport’s public address system, spoken word by road manager The Hat (Roger Manifold), footsteps, and guitar (the last played backward), are combined with analog synthesizer sounds created by an EMS Synthi AKS and a VCS 3, such as the hi-hat sounding ticks and passing motor sounds (and Doppler effects). Based on these effects, it becomes clear that the song is focused on travel and all of its distressing aspects: running around to get somewhere on time (running feet are panned from left to right after the announcer is heard), which creates heavy breathing and exhaustion; strange, disturbing sounds such as machines whirring and drones (also panned), a horn (panned left, center, then right) and

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an explosion (right-center-left)—for a moment, the last signifies either an airplane taking off or disaster, but the continued plane sound, followed by laughter, makes it clear that the plane is just taking off. As a coda, more running is heard (left-center-right) as the plane has already departed, followed by a ticking clock (left). The same ticking clock in “On the Run” begins “Time,” in F-sharp minor. This most jarring track includes the loud ring of an alarm clock, followed by other sounds that allude to time such as Big Ben and various clocks (left and right), and then the tick-tock of a smaller clock (left) against a heartbeat (also left). The introduction starts with a drone and then sustained chords on Farfisa organ, Mason’s rototoms (toms with definite pitches that can be tuned) and drums, followed by bass guitar and electric guitars music. Keyboards used in this song are Wright’s Farfisa organ, EMS VCS 3, and a Wurlitzer electric piano. “Time” includes a “Breathe Reprise,” which takes place as Gilmour’s voice enters with an A section verse from the previous “Breathe” track. This time, Wright sings the lyrical B section, accompanied mainly by female backing singers and Gilmour singing harmonizing vocals. The lyrics here focus on how time passes and one day there is no time left. The song contains two instrumental interludes that are related to the A and B sections and feature Gilmour on electric guitar (left). Toward the end of the song, however, a slower third section (C) is added that focuses on remaining at home (tired from life). Afterward, section B returns, in which the lyrics suggest death and keyboard chords are sustained. Side One ends with “The Great Gig in the Sky,” featuring lead vocals by English singer-songwriter Clare Torry (1947–), who improvises vocables on the track. Parsons selected Torry to sing on the track. The song suggests music that would be played as one undergoes death. Its introduction begins with acoustic piano, followed by Gilmour again on pedal steel guitar (left). Spoken-word statements on not being afraid of dying were recordings of Gerry O’Driscoll, an Abbey Road Studios janitor, and Watts’s wife, Puddie (Patricia) appear in the introduction and later on, respectively. Torry, a contralto, applies some blues singing techniques such as sliding and wailing as well as screams. No lyrics are used at all in the track. The song just ends, but there is a pitch bend on the piano and bass’s final notes. Side Two starts with “Money,” which focuses on people’s obsession with it. In B minor, this blues-rock and prog-rock song begins with a groove that combines musique concrète with instrumental sounds. The opening part of the groove is complex and involves several sounds, the most prominent ones being an opening cash register, coin jingle, and

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tearing paper (left) followed by an electric bass guitar riff (also left). The recorded song structure is as follows: Introduction; verse 1 (A); verse 1 (B); verse 2 (A’); verse 2 (B’); instrumental interlude 1; instrumental interlude 2; instrumental bridge; verse 3 (A’’); verse 3 (B, extended). The introduction, which establishes the groove in 7/4 meter (seven beats per measure), starts on a bluesy B minor seventh chord (the seventh above the root, B, creates the bluesy sound). Again, the verses in section B (starting on F-sharp minor7, moving to E minor, then B minor7 or B minor7: v7-iv-i7) provide lyrical and harmonic contrast to the more assertive verses in section A (just in B minor), which are harmonically static. The second track, “Us and Them,” provides a dreamy contrast to “Money” by fusing prog rock with jazz-rock fusion. It features Gilmour’s echoed vocals as well as sessions musician Dick Parry (1942–) on tenor saxophone, who plays a solo in the second instrumental interlude. Parry also plays tenor saxophone on “Money” and later appears on “Shine on You Crazy Diamond” on Pink Floyd’s subsequent album, Wish You Were Here (1975), and much later on “Wearing the Inside Out” on Pink Floyd’s The Division Bell (1994). The antiwarfare and antiviolence message of “Us and Them” is accompanied with the most ambitious accompaniment on the album, mainly consisting of mixed backing vocals, Gilmour’s electric guitars, Waters’s fuzz bass, and Mason’s drums. The song is in D major, the relative major of “Money’s” B-minor. Speaking from the end of “Money” is used to segue into the Hammond C3 organ solo on “Us and Them.” The song segues into another instrumental, “Any Color You Like.” This psychedelic-rock track focuses on more keyboard effects, again with Wright playing Hammond C3 organ as well as EMS VCS 3 and Synthi AKS analog synthesizers, accompanied by electric guitars and bass guitar. It also features Gilmour’s scat singing (using his voice as an instrument). “Brain Damage,” in D major, has a bit of the playfulness of Barrett’s childlike lyrical approach. The most sing-song track on the album, it features Waters’ lead vocals and contains A section verses that explain where the lunatic is located; ultimately, it is clarified that the lunatic is in the singer’s head. The contrasting B sections include more Hammond C3 organ and backing singers whose lyrics contain the title of the album. The last B section becomes more soulful and is followed by a concluding instrumental A section. Dark Side of the Moon concludes as the drums are used to segue into “Eclipse,” a short track sung by its songwriter. This final song contains both a nihilistic and universal message. It lists numerous human experiences and actions and how these all are eventually gone, aligned

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with everything under the sun yet “the sun is eclipsed by the moon.” Like “Money,” it employs an unusual meter for rock, though not an unexpected one for prog rock. Here, the meter is in 9/8 (nine beats per measure, which feels a bit like triple meter or three beats per measure). “Eclipse” begins with an introduction featuring Hammond C3 organ and drums (both left), followed by its lengthy verse, which can be heard as just one big section. After Waters sings, backed by mostly female singers toward the end, the heartbeat from “Speak to Me” returns (left, this time in 9/8 meter) and fades out. On the original album, there is a very faint orchestral version of The Beatles’ “Ticket to Ride” (1965) on the outro, which was accidentally included in the background when O’Driscoll’s spoken-word lines were being recorded. Much of the album’s sound and composition relied on physically splicing various segments of tape at a time when analog technology was the most advanced in the music studio. The Beatles’ song has been removed from later copies. Dark Side of the Moon’s “Money” and “Us and Them” found much airplay on FM radio stations. Waters would return again to madness as a theme in “Shine on You Crazy Diamond” on Wish You Were Here. But afterward, the dreamy, introspective Pink Floyd gave way to a generally harder prog-rock style with the George Orwell-inspired Animals (1977), The Wall (1979), and The Final Cut (1983). In 1979, Wright was fired from the band, and in 1985, after growing internal tensions, Waters departed to start a successful solo career. Under Gilmour’s leadership, Pink Floyd continued recording prog-rock and art-rock albums such as A Momentary Lapse of Reason (1987) and The Division Bell (1994). In 1996, Pink Floyd—including Barrett, Gilmour, Mason, Waters, and Wright—were inducted into the Rock and Roll Hall of Fame. PROCOL HARUM: “A WHITER SHADE OF PALE” AND THE MOODY BLUES: “LEGEND OF A MIND” Listening to music transforms effortlessly into experiencing dreams. Though classic-rock albums are often intended and used as vehicles for adventures in altered consciousness, some singles, on their own can cause dreams or be used for trips. Procol Harum’s “A Whiter Shade of Pale” and The Moody Blues’ “Legend of a Mind” are two such songs; they combine psychedelic and prog rock with lyrical content that features disassociating and disorienting imagery as well as evokes an altered consciousness. But despite these common dream- or trip-inducing approaches, these songs sound very different from each other because of their contrasting use of instrumentation, tempo, duration, and structure.

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Procol Harum (1967–1977, 1991–) recorded “A Whiter Shade of Pale” in April 1967 at Olympic Sound Studios in southwest London. It was released as a seven-inch record on May 12, 1967, on the Deram Records label. Lead singer Gary Brooker (1945–), lyricist Keith Reid (1946–), and organist Matthew Fisher (1946–) composed the song (the last, uncredited since the album’s release, won a 2009 lawsuit for authorship and royalties earned by the song since 2005). The recording features Brooker singing and on piano, Fisher on a Hammond M-102 electric organ, Ray Royer on electric guitar, David Knights on bass, and Bill Eyden, a recording session musician, on drums. The recording became No. 1 on singles charts in the United Kingdom, topped charts internationally, and was No. 5 on the Hot 100 in the United States. At the time of the recording, Procol Harum was just forming. The band originally began with Brooker, in the aftermath of Southend-on-Sea’s (about an hour and a half east of London) The Paramounts (1960–1967), a rhythm-and-blues, blues-rock, early hard-rock, and later soul band. Also led by singer-songwriter and guitarist Robin Trower and including multi-instrumentalist Chris Copping as a guitarist and B. J. Wilson on drums, the band had a hit with its cover of “Poison Ivy” (composed by Jerry Leiber and Mike Stoller), which reached No. 35 in the United Kingdom (Trower and Copping had previously been together in a band called The Raiders). “A Whiter Shade of Pale” was produced by Denny Cordell and engineered by Keith Grant. Earlier in 1965, Cordell (Dennis Cordell-Lavarack, 1943–1995) had produced The Moody Blues’ debut album, The Magnificent Moodies (1965). “A Whiter Shade of Pale’s” most memorable feature is its use of the Hammond M-102 electric organ. The instrument was a kind of organ that was originally marketed by the Hammond Organ Company to be sold to churches as an inexpensive alternative to purchasing a piano or pipe organ. The song’s introduction features an organ melody that is reminiscent of the melody from “Air on the G String,” the second or slow movement of Johann Sebastian Bach’s (1685–1750) Orchestra Suite No. 3 in D Major, BWV 1068 (composed around 1730 and first published in 1854). Like Bach’s piece, the first note is sustained just before the rest of the melody is played as the bass line descends stepwise. “A Whiter Shade of Pale” opted for C major as its home key instead of Bach’s original key, which coincides with German violinist August Wilhelmj’s (1845–1908) 1871 arrangement. Wilhelmj transposed Bach’s piece down a step and the first violin part down an octave, so that he could play the entire melody on G, the violin’s lowest string. The musical logic applied here is to make the melody flow like a human voice.

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The title “Air on a G String” is attributed to Wilhelmj, who wrote these words above the solo violin’s part on his original manuscript. The song’s instrumentation also differed from Bach’s original instrumentation, which was for first and second violins, violas, and harpsichord (continuo). Procol Harum’s use of a church organ brought a new sound to a classic-rock hit, though Fisher’s blues-inflected playing style sounds a lot like the rhythm and blues and early soul organs found on Satellite Records (1957–1960), which changed its name to Stax Records in 1961. That Procol Harum used a church organ for a Bach-inspired melody was not a new idea: Since the 19th century, the somber-sounding movement has often been arranged for organ (Bach himself was an organist in the Late Baroque era) and was commonly used for weddings and funeral services. Inspiration not implying imitation, it is easy to see what Procol Harum changed: Aside from a newly composed melody, Procol Harum’s introduction unfolds in eight measures at a moderate tempo, with a four-plus-four measure symmetrical phrasing, whereas Bach’s melody unfolds more slowly in six measures, with a two-plus-two-plustwo symmetrical phrasing. This Bach-inspired organ melody adds a baroque-rock character to “A Whiter Shade of Pale.” Other baroque-inspired elements include its stepwise descending bass line, which can be thought of as a ground bass—an ostinato or repeated melodic and rhythmic pattern in the bass line that was used as accompaniment during the Baroque era—and the interweaving of the Bach-inspired melody from the foreground in the introduction, instrumental interlude, and outro to the background, as countermelody, in the verses and chorus. Structurally, the recording of “A Whiter Shade of Pale” is a simple verse-refrain that repeats, book ended and divided in the middle: instrumental introduction; verse 1 and refrain; instrumental interlude; verse 2 and refrain; and instrumental outro, followed by a fading out vocal outro of the refrain. In the background during the introduction, the drums softly accompany the melody. In verse 1, Brooker’s soul and R&B-inspired voice is assigned the main melody and the introductory melody continues to play in the background as the countermelody. The organ’s glissando, another soul music element reminiscent of the Stax-Volt recordings, works as a tag that cues the refrain each time. The original song had four verses but was cut to two for the recording. Much speculation has been made about the meaning of the lyrics and their inspiration, and the band’s own input on the question adds perspective yet further clouds any understanding. This lyrical content contributes to the song’s overall psychedelic aesthetic. In addition, the

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song uses spinning and vibrating images in its lyrical content. The harmonies contribute as well by evading a firm grounding in the home key, with the only exception being the beginning of each verse and refrain. The song begins on the home key (C major or I) but takes considerable time before the listener gets to hear a satisfying return to this home key. One has to go through the entire verse, which finds ways to substitute the home key. Four phrases later, for example, the verse passes through the home key and pauses briefly on A minor (or vi, a common substitute for I). The verse ends on D minor (or ii), which feels incomplete or like a statement ending in upspeak. That D minor chord, however, helps set up the refrain, which starts on a G7 major chord (a V7 chord of C major, which signifies that the music will be brought to the home key). And though it comes to a satisfying close on “whiter shade of pale,” the cadence is not a perfect authentic one—the chords here are C major (“whiter”)-F major (“shade of”)-C major (“pale”), or I-IV-I, with the voice ending not on the home pitch, C, but rather on E (the third scale step of C major). A quick Gsus4-3 chord (or Vsus4-3) that follows sets the interlude and Bach-inspired motive back in motion again. That perfect authentic cadence evades the listener and never takes place. The song has to fade out with a refrain to avoid doing so. Less than a year after “A Whiter Shade of Pale’s” release, The Moody Blues (1964–) recorded “Legend of a Mind,” a song composed by multi-instrumentalist Ray Thomas (1941–2018). One of the founding members of the band, which came from Erdington (a suburb of Birmingham, England), Thomas explored altered consciousness by studying transcendental meditation technique (a.k.a. TM) in the late 1960s. The Maharishi Mahesh Yogi (1918–2008) developed and popularized this mantra-based meditation, which also fascinated other classic-rock musicians in bands such as The Beatles and The Doors. The song focuses on Timothy Leary (1920–1996), an ex-Harvard professor who advocated for the use of LSD (lysergic acid diethylamide) and became famous for his “turn on, tune in, drop out” speech that took place on January 14, 1967, at the Human Be-In at Golden Gate Park in San Francisco. Leary, a friend of the band, was known for embracing Eastern meditation, mysticism, teachings (dharma), and philosophical outlooks, as found in Bardo Thödol (Liberation through Hearing during the Intermediate State, created by Padmasambhava in the eighth century and written down by his student, Yeshe Tsogyal), better known as The Tibetan Book of the Dead. “Legend of a Mind” features Thomas singing lead and playing a two-minute flute solo; Justin Hayward on 6- and 12-string acoustic and electric guitars; John Lodge on bass guitar and backing vocals; Mike

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Pinder on Mellotron and backing vocals; and Graeme Edge on drums, percussion, and tabla. The strings used on the recording and album were part of the London Festival Orchestra, conducted by Peter Knight. It is an epic song that uses an unusual compound multi-refrain structure, with one distinct verse and three instrumental interludes. The recorded song structure is as follows: instrumental introduction (related to refrain 1); refrain 1; refrain 2; instrumental interlude 1; refrain 1’; refrain 2’; instrumental interlude 1’; brief instrumental bridge; verse 1; verse 2; instrumental interlude 1; instrumental interlude 2 (flute solo); instrumental interlude 3; refrain 3 (same text as refrain 2, but with different music); vocal outro; instrumental outro. In addition, the flute interlude (instrumental interlude 2) has its own subdivisions. Unlike most refrains, which repeat and return throughout a piece, refrains 1 and 2, next to each other, are repeated just once and early on in the song. Refrain 1, which starts with the name Timothy Leary, is in A major, whereas refrain 2, about Leary’s flying his “astral plane,” is in A minor—the parallel key relation here suggests that A minor is the “astral plane” of A major. Refrain 3, also in A major, appears and repeats toward the end only. The Moody Blues fully employs elements that distinguish psychedelic rock throughout the piece. These include tempo and metrical shifts, classical Hindustani musical inspiration (refrain 1 and interlude 1 contain scales that sound like ragas—played on electric guitar—as well as the later uses of tabla for the beat and strings as drones in interlude 2), and changes of moods, textures, and drumming patterns between sections. All contribute to evoke a kind of journey or trip. The music for the verses stands out mostly because of the sudden change in the accompaniment from arpeggios to a pattern that alternates dotted eights and 16th notes. Instrumental interlude 1’ slows down a bit and a brief instrumental bridge contains a change in the drumbeat and bass. Here, the meter is still quadruple (four beats per measure), but the music sounds suddenly bouncy as fewer beats are stressed by the drum and bass. The most noticeable back-and-forth metrical shift occurs during the end of verse 2. Briefly, the music shifts between quadruple (four beats per measure) and triple meter (three beats per measure). Noticeable tempo shifts take place later with slowing down (ritardando) in interlude 2 (flute solo) and acceleration (accelerando) in interlude 3, which bridges to refrain 3. Here, the lyrics used in refrain 2 appear again, but with new music that leads into the vocal outro. The combination of instrumental and vocal textures, registers, production techniques, and altered-consciousness aesthetics (substance- and TM-influenced) make “Legend of a Mind” especially impressive and one

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of the most well-constructed psychedelic-rock songs. The opening musical textures are sparse, with just an acoustic guitar introduction (appearing mostly on the left speaker) leading into refrain 1. Thomas’s first line (right) is responded to by harmonized vocals (left). On the repeat of refrain 1, portamento sound strings are added. Scooping up and down, these strings evoke Hindustani or other kinds of Eastern music. The next time that refrain 1 is heard, echo, reverb, and falsetto vocal harmonies are added. Some TM-influenced ideas translate well musically. For example, “Timothy Leary” is sung as if it is a mantra during passages of the song. In Search of the Lost Chord is a concept album that explores notions of discovery through psychedelia. Another mantra, using “Om,” is heard on the album’s concluding tracks. At the end of Edge’s spoken-word poem “The Word,” “Om” is chanted and begins Pinder’s song, also titled “Om.” In addition, the static sounding harmonic progression of “Legend of a Mind’s” refrain 1 (starting on the home key of A major, or I) moves briefly stepwise to G major, or bVII, on the word “outside,” then returns to the home key on “in.” This use of I-bVII-I (the G-sharp is altered to G-natural, the flat VII of A major) reinforces the home key along with a tonic pedal sustaining the home pitch, A. In contrast to “A Whiter Shade of Pale,” which takes its time returning to its home pitch, “Legend of a Mind” keeps close to it. Refrain 2 uses the home key of A minor, but also employs the same pattern (using i-bVII-I, returning to A major at the end with its mantra, “Timothy Leary”). In refrain 2, the strings are assignment mostly to the right speaker while the bass continues. The use of raga rock in “Legend of a Mind,” particularly in interlude  1, immediately sounds exotic, sinewy, and disorienting. Upon a closer listening, interlude 1 gives a sense of urgency. “Legend of a Mind” does not use baroque rock at all, unlike “A Whiter Shade of Pale,” but Westernized use of the raga sounds very much like Fortspinnung (spinning forward), a sound favored in the Late Baroque era when Bach lived. It is also very characteristic of the Late Baroque era to use rapid notes to fill in space. Another Westernized appropriation of Eastern music in “Legend of a Mind” is the two-minute interlude that features Thomas on flute. This interlude is a point of complete departure from the earlier music, as basically a different world is inserted in the middle of the song. Thomas’s flute solo (mostly right speaker) is accompanied by strings (initially both speakers, then on right speaker), as well as drums and cymbals (also right). The music here, particularly with Thomas’s breathy shakuhachi-sounding playing, evokes 1960s albums that were used for meditation (take for example, jazz clarinetist Tony Scott’s Music  for

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Zen Meditation, perhaps the first new-age album, released in 1964). The music slows down as flute plays (mostly right), accompanied by acoustic guitar (left) and strings as drones. Strings play, and the music slows down more, bridging back to the flute (mostly right) solo (a bit awkwardly panned later to left speaker), with strings and acoustic guitar accompaniment. Cymbals (right speaker) then play with flute (panning back and forth). The acoustic guitar and strings start interlude 3, which bridges this separate world by speeding up the tempo and arriving at refrain 3 and then the vocal outro (using the Timothy Leary mantra, a sequence while making some quick harmonic progressions that give the sense of flying around). Serving as contrast to the strings, full orchestral harmonies sing the lyrics found in verse 2. Unlike “A Whiter Shade of Pale,” which fades out in its conclusion, “A Legend of a Mind’s” outro grows increasingly louder with strings (both speakers), drums and bass (right), and Mellotron (right), then acoustic guitar (left). The final sounds are the bass and drum ticking down, the acoustic guitar breaking down, the bass walking to its own fade-out, and a roar effect that is reminiscent of a motor (panned from right to left). The last roaring sound resembles a plane—a musical joke on the earlier image of Leary’s flying his astral plane. The panned sound sounds like it is making a cycle or traveling around, which alludes to the lines used in refrain 2 and refrain 3 (a wordplay on “plane” and its trips around San Francisco bay). QUEEN It may have sounded too much like art school, disco, punk, or metal, but at its height in the 1970s, the English band Queen captivated rock arena crowds with upbeat songs and soaring melodies. At the center of its vision, expressiveness, and drama was lead singer Freddie Mercury, a low dramatic lyric tenor with a powerful falsetto, vocal projection, and range. When considering Queen, it is easy to give Mercury all the attention, especially when studying live performance, but on vinyl it is clear that Queen’s sound is the result of an ensemble of four exceptionally astute and ingenious musicians and songwriters: Mercury (Farrokh Bulsara, 1946–1991, who legally changed his name to Freddie Mercury in 1971) on lead vocals and keyboards; Brian May (1947–) on lead guitar and vocals; John Deacon (1951–) on bass guitar; and Roger Taylor (1949–) on drums and vocals. Queen’s prehistory is rooted in the London blues-rock, psychedelic rock, and prog-rock band Smile (1968–1970), in which May and Taylor

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were members, with bassist Tim Staffell. May was a mathematics and physics student, and Taylor studied dentistry at Imperial College; Staffell was at Ealing Art College where he met graphic art and design student Freddie Bulsara, who sang in a band called Wreckage (1969). In 1970, Staffell departed from Smile to join the folk-rock band Humpy Bong (1970), and Bulsara convinced May and Taylor to let him become their lead singer for their new band that he named Queen soon thereafter. By February 1971, Deacon auditioned and joined Queen. Bulsara led their songwriting efforts, though from its very beginning all band members contributed songs. Queen’s original sound focuses on glam rock, hard rock (sharing some aspects with heavy metal), and prog rock (including arena rock), but they soon incorporated other classic-rock styles such as art or experimental rock, pop-rock, and soft rock, as well as any other kinds of musical styles that interested them: disco, funk, new wave rock (including synthpop), opera, pop (including novelty song), techno, Dixieland, music-hall, rhythm and blues, and rock and roll. Queen’s live shows often placed flamboyantly dressed Mercury with his signature microphone, attached to a pulled-apart stand, front and center. May jammed on the home-built electric guitar that he made with his father in the early 1960s—nicknamed “The Red Special” for its color. On this instrument, he accomplished unique feedback and tremolo effects, but over the years, he has also played many replicas. May’s approach to playing electric guitar was stylistically diverse, whereas bassist Deacon focused specifically on fingerpicking and creating well-crafted melodic bass lines. A multi-instrumentalist, he played keyboards and guitar whenever needed, though contributed less to singing. He also had home-built equipment: he and May would plug their guitars into his Deacy Amp at concerts so that they could imitate symphonic orchestra instruments such as strings or woodwinds. Taylor, who had the band’s second strongest vocals, had a style that was influenced by the jazz-rock drumming of The Jimi Hendrix Experience’s Mitch Mitchell and the powerful and innovative drumming of The Who’s Keith Moon. By 1973, Queen signed with Trident/ EMI. Their studio recording output consists of 15 albums—all charted internationally, and many were No. 1 in the United Kingdom. They also concurrently released 10 live albums. Queen’s eponymous debut album (1973) became No. 24 on the U.K. Albums Chart, No. 83 on the Billboard 200 in the U.S., and attained gold certification in both countries. But its two singles, “Keep Yourself Alive” and “Liar,” failed to chart. Queen’s members have always been involved in producing their albums, along with John Anthony (1944–), who

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previously produced Van der Graaf Generator, Genesis, Roxy Music, and Al Stewart’s albums, and Roy Thomas Baker (1946–), who produced Free, Gasolin’, and Nazareth’s albums, coproduced Queen. Baker also coproduced the hard-rock and glam-rock Queen II (1974) with Robin Geoffrey Cable, who produced Chris de Burgh and Dana Gillespie. Queen II was No. 5 and 49, respectively, in the United Kingdom and the United States. “Seven Seas of Rhye” (1969), which had been polished during Mercury’s Wreckage days, was their first hit, reaching No. 10 on the U.K. Singles Chart. Queen hit its stride with the hard rock and glam rock Sheer Heart Attack (1974), which was No. 2 and 12, respectively, in the United Kingdom and the United States. Queen and Baker coproduced the album. Their glam-rock “Killer Queen” was No. 2 in the United Kingdom and crossed over to No. 12 on the Billboard Hot 100 in the United States. It also attained silver certification as a single in the United Kingdom. The album also includes the distorted thrash-metal and proto-punk “Stone Cold Crazy,” another song composed during Mercury’s Wreckage days. A Night at the Opera (1975), produced by Queen and Baker, was No. 1 and 4, respectively, in the United Kingdom and the United States. It consists of Queen’s most successful and best-known single, “Bohemian Rhapsody,” which was No. 1 and 9, respectively, in the United Kingdom and the United States, attaining quadruple-platinum and septuple-platinum status, respectively, in the United Kingdom and the United States. Their unusual soft pop-rock song, “You’re My Best Friend” followed at No. 7 and No. 16, attaining platinum status in the United States. For many classic-rock listeners, “Bohemian Rhapsody,” composed by Mercury, is a miniature prog-rock masterpiece. Most of the song is in quadruple meter (four beats per measure) with a few metrical shifts (briefly to quintuple or duple meter or from four beats to two beats per measure). Its large-scale structure is as follows: opera/oratorio-style chorus (introduction); soft rock ballad (section A); operatic passage (B); hard rock jam (C); soft rock ballad (A-related, segment); outro (A-related postlude plus introductory-related melodic segment). The introduction and section A are in B-flat major; section B, verse 1, is in A major, whereas verse 2 is in B-flat major and modulates to E-flat major (at the end of this section, Mercury’s highest note is accompanied by a B-flat chord, giving a large sense of the dominant or V); section C continues in E-flat major, which remains the home key. The opening a cappella chorus, led by Mercury and featuring himself, May, and Taylor, is reminiscent of a Greek-inspired chorus that sets up drama; it returns, commenting on the

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unfolding drama and giving verdicts from above (or below). During the soft ballad, Mercury’s protagonist addresses his mother, explains that he shot a man, and tells her to continue on if he fails to return. The operatic passage is full of fun sounding names such as Galileo (an Italian astronomer), Scaramouche (a fictional commedia dell’arte stock clown character), and Beelzebub (a name for Satan, based on the Hebrew name of a Philistine god), as well as phrases such as “mama mia” (literally, “my mother” in Italian, equivalent to “oh, my goodness”) and “Bismillah” (the first word in the Qur’an, which is Arabic for “in the name of God”). Here he meets his godlike judge and jury, pleads for mercy, and is sent to hell. May’s hard-rocking instrumental interlude takes place, followed by Mercury’s diatribe to a lover who has deserted him. But his pensive tone from the beginning returns with the soft-rock ballad. Despite all that has happened, he becomes nihilistic: “nothing really matters to me.” A somber acoustic piano postlude follows; then Mercury’s last words (and a return of introductory material) are followed by a gong. A more detailed structural analysis of the recorded song is as follows: vocal introduction (bifurcated); acoustic piano bridge 1 with vamp 1; verse 1 (A, bifurcated); piano bridge 1 with vamp 1; verse 2 (A’), carried through by electric guitar; piano vamp 2; verse 1 (B, trifurcated with subsections a, b, c, then a’); bridge 1’; verse 2 (B, with new subsections, now a’’, d, a’’’, then e); electric guitar bridge 1; verse (C, bifurcated); guitar bridge 2; piano bridge 2; vocal interlude; guitar bridge 3; segment (A-related); piano postlude with electric guitar (A-related); outro (introductory fragment, accompanied by piano bridge 1). Mercury uses a lot of wandering chromaticism, starting in the introduction but also notably in the operatic sections. Another highlight is on the word “magnifico,” a descending line (using the pitches B-flat, G-natural, E-flat, C-natural, and B-flat with singers alternating on left and right speakers) that takes verse 1 (section B) in A major to verse 2 (B’) in the unrelated key, B-flat major. A related-sounding chorus takes place a moment later (B, subsection d, also alternating between speakers). Mercury’s highest note also occurs in verse 2 (B, e). Under the working title, “Fred’s Thing,” “Bohemian Rhapsody’s” studio production techniques were tremendously complex. It took over three weeks to record, which was completed on August 24, 1975, at Rockfield Studio 1, in a village near Monmouth in Wales. Other studios used included Roundhouse, Sarm East Studios, Scorpio Sound, and Wessex Sound Studios. Using a 24-track analog recorder, legend has it that the band recycled tape at least eight times and made at least 180 overdubs (Wiffen 2002; Konow 2002, 71–72). Just a few highlights

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are shifting backing vocals between speakers, for example, harmonizing vocals appearing from right to left briefly in the second part of the introduction, quick panning of a bell tree (right to left) on verse 2 (A’), and quick exchanges of the backing vocals from left to right in verse 1 (B, subsection c) on “Galileo.” This very expensive recording also combines isolated one-track-at-a-time takes as well as Phil Spector’s Wall of Sound approach, getting the musicians to play together in a tight space and having some leakage between microphones. Unusual instruments included are May on koto, harp, and ukulele. Deacon also adds electric piano and double bass, and Taylor adds timpani and gong. A Day at the Races (1976) was Queen’s first self-produced album. Like A Night at the Opera, the title is based on Marx Brothers’ films. It was No. 1 and 5, respectively, in the United Kingdom and the United States. Its hit singles were “Somebody to Love” at No. 2 and 13, “Tie Your Mother Down” at No. 31 and 54, and “Good Old-Fashioned Lover Boy” at No. 17 in the United Kingdom. “Somebody to Love,” in A-flat minor, initially sounds distant from classic rock with its use of Mercury’s soulful voice and acoustic piano, a multitracked three-band member gospel choir, triple meter (the song was composed using three beats per measure, though its phrasing sounds like 6/8 meter, or six beats per measure). The Aretha Franklin-inspired ballad nevertheless incorporates harder-rocking (power pop) electric guitar (mostly center or right), bass (left), and drums (left). Mercury’s protagonist asks why it is so difficult to find someone to love. The recorded song’s structure is as follows: vocal introduction; instrumental introduction; verse 1 (A); refrain; bridge; verse 2 (A’); refrain; verse (B); instrumental verse; refrain (repeats); verse 3 (A’’); vocal interlude; refrain; outro. The introductions, verses (A section), refrains, bridge, and interludes are in A-flat major whereas the middle-eight (B section) is in D-flat major (sounding like a large subdominant or IV of A-flat major). Mercury, May, and Taylor’s gospel choir sings the vocal introduction, accompanied by Mercury on acoustic piano. The gospel choir returns a cappella in the vocal interlude, creating a break and change in instrumental texture. Bass voices sing the break’s first phrase, “Find me somebody to love”; octave higher voices sing the second phrase, accompanied by drums (right). Fill-in, soprano, and then falsetto vocals sing the subsequent phrases as the bass fades in and Mercury’s “ooh” and piano build up to the last refrain. Here, the tempo slows down to his brief vocal solo, which prompts the refrain-related outro. May’s electric guitar returns, followed by Mercury’s improvised vocals (panned falsetto, left to right), accompanied by the gospel choir. Mercury’s over-reaching, ascending piano and chord conclude the song.

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News of the World (1977) was coproduced by Queen and Mike Stone, who worked as an engineer under Baker. The album was No. 4 and 3, respectively, in the United Kingdom and the United States, attaining gold and quadruple-platinum certification, respectively, in the United Kingdom and the United States. The lyrical soft-rock “We Are the Champions” and its B-Side, the hard-rocking “We Will Rock You” with its canonic rhythmic ostinato (a persistent pattern throughout the song), were No. 2 and 4. Like “Somebody to Love,” Freddie Mercury’s “We Are the Champions” uses an unusual meter for classic-rock music. Most of the moderately slow song is in 6/8 meter (six beats per measure). The recorded song structure is as follows: verse 1; bridge; refrain; instrumental bridge; verse 2; refrain (repeats). Just some reasons why this song is considered a classic-rock anthem include its first-person perspective (using “I” and “we”), its victory-over-adversity lyrical content, its voice leading and buildups, its memorable main melody, and May and Deacon’s beautiful countermelodies. Like many other favorite Mercury compositions, the piece has symphonic rock ambitions and possesses a satisfying (yet expected) climax. Without introduction, Mercury’s verse 1 begins softly, accompanied by acoustic piano and bass. In the home key of C minor, the piano creates a jazzy pedal-point vamp accompaniment (C minorC7sus4). While this vamp is harmonically static, Mercury’s voice here also does not move much (it repeats scale steps 5-7-1, even in the next phrases that move into E-flat major, the relative major of C minor). All this stasis and melodic repetition sets up Mercury’s satisfying ascending scale to his vocal climax on “I’ve had my share of sand kicked in my face, but I’ve come through” (scale steps 1-2-3-4-5), which is accompanied by a pivot chord that moves to a huge dominant chord (F major-B-flat major, or E-flat major: V/V-V). With Mercury singing on that high note, the backing vocals provide a bridge to the refrain (first moving to C major, which is V of F major and also the parallel major of C minor) in F major. After the refrain’s first phrase, Mercury sings the second one in falsetto. Near the song’s conclusion, it seems that the refrain just repeats, moving toward F minor (the parallel minor of F major), but it unexpectedly concludes midway on a B-flat diminished7 chord (really just behaving like a IV chord). The abrupt conclusion belies the anthem’s suggestion of victory and leaves listeners wondering. Queen’s remaining albums continued to perform well on the U.K. Albums Chart. These included Jazz (1978), The Game (1980), Flash Gordon (1980), Hot Space (1982), The Works (1984), A Kind of Magic (1986), The Miracle (1989), Innuendo (1991), and Made in Heaven

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(1995). Associated hit singles included “Bicycle Race” and its B-Side, “Fat Bottomed Girls,” “Don’t Stop Me Now.” “Crazy Little Thing Called Love,” “Another One Bites the Dust.” Queen’s collaboration with David Bowie, “Under Pressure,” hit No. 1 in the United Kingdom, attaining double-platinum status in the United States. On November 24, 1991, Mercury died of bronchopneumonia, a complication from AIDS. Near the end of his life, he recorded vocal and piano tracks, leaving instructions to the band for completing the songs on Queen’s final studio album, Made in Heaven. In 2001, Queen was inducted into the Rock and Roll Hall of Fame. THE ROLLING STONES Shortly after the British Invasion and The Beatles’ first visit to the United States in 1964, The Rolling Stones (1962–) emerged as the next great classic-rock band. In 1950, Mick Jagger (1943–) and Keith Richards (1943–) were in the same grammar school class together in Dartford, Kent, England, which was less than 20 miles southeast of London. Richards soon afterward started studying guitar and listening to jazz with the encouragement of his grandfather. Richards’s family moved in 1954, but Jagger and Richards reunited in 1959. At this point, Jagger was a student at the London School of Economics, and Richards had just transferred to Sidcup Art College. At the time, Jagger was in a band called Little Boy Blue and the Blue Boys (a.k.a. Blues Boys); he invited Richards to join. Meanwhile, another guitarist with a strong interest in blues and rhythm and blues, Brian Jones, came to London and performed with singer-songwriter-guitarist Alexis Korner (Alexis Andrew Nicholas Koerner, 1928–1984), who formed Blues Incorporated (1961–1966) and, with blues harmonica player and vocalist Cyril Davies (1932– 1964), started a Rhythm-and-Blues Night at the Ealing Jazz Club. In 1962, the Blues Boys sent Korner a recording, and they visited the Ealing Jazz Club to see Blues Incorporated. Jones was playing in the band, as were keyboardist Ian Stewart (1938–1985) and drummer Charlie Watts (1941–). Jagger and Richards also started playing with Blues Incorporated on Rhythm and Blues Nights. Eventually, Jones with Stewart asked Jagger and Richards to create a band. After a couple of personnel adjustments, the original lineup of the band was formed, which included singer Jagger, guitarists Richards and Jones, keyboardist Stewart, bassist Dick Taylor (1943–), and drummer Tony Chapman. During the band’s formative years and into its earliest ones, Jones was its leader. While on the phone with Jazz News, a magazine geared toward

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professional musicians in London, he named the band on the spot, after Muddy Waters’ blues song, “Rollin’ Stone” (1950). Jones got the idea while looking at a Muddy Waters album on the phone. After their earliest engagements, they refined their name to The Rolling Stones. By July 1962, the band played at the Marquee Club in London, a key venue for British blues bands, and went on tour in the United Kingdom. Another couple of personnel changes evolved the band into its bestknown lineup, starting with bassist Bill Wyman (William George Perks Jr., 1936–) replacing Taylor, who formed the Pretty Things (1963–2018), an English garage rock and rhythm-and-blues band that later became known for psychedelic rock and pop. By January 1963, Watts, who was drumming for Blues Incorporated, joined the band. Five months later, Andrew Loog Oldham (1944–) became their manager. In 1963, The Rolling Stones signed with Decca Records (1929–), the label that rejected The Beatles. Though he was new to producing albums, Oldham produced their eponymous album (1964) with his business partner, booking agent Eric Easton. Meanwhile, The Animals (1963–1969, 1975–1976, 1992–) formed in Newcastle, England. Also rooted in rhythm and blues and playing blues-rock, The Animals relocated to London and were able to build success on the British Invasion. An advantageous part of The Rolling Stones’ Decca contract was that they were not limited to recording just at Decca Studios. In 1964, their cover of Buddy Holly’s “Not Fade Away” (1957) was No. 3 and 48, respectively, in the United Kingdom and the United States. It became their first crossover hit. Their first album was recorded between January 3 and February 25, 1964, at Regent Sound Studios in London. As it was primarily a small demo studio, the band could record for hours beyond the three-hour recording blocks they would have had to sign up for elsewhere. Though their sound bled through onto other microphones, recording there created a rough sound that fit their image; in addition, being able to stay there for hours enabled them to hone everyone’s studio recording skills. Their only original song on the album was “Tell Me (You’re Coming Back),” a pop-rock song with Richards playing 12-string acoustic lead guitar and Jones on electric rhythm guitar. All the other songs were covers of blues and rhythm-and-blues songs such as “Route 66” (1946, Bobby Troup), “I Just Want to Make Love to You” (1954, Willie Dixon), Bo Diddley’s “Mona (I Need You Baby)” (1957), and Chuck Berry’s “Carol” (1958). The album became No. 1 on the U.K. Albums Chart and No. 11 on the Billboard 200 in the United States. Meanwhile, The Animals signed a contract with EMI’s Columbia label and released its debut single, a hard rocking “Baby Let Me Take You

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Home” (1964, Bert Berns and Wes Farrell), arranged by keyboardist Alan Price (1942–) and based on another arrangement of the folk song “Baby, Let Me Follow You Down” (ca. 1950s) by blues guitarist Eric Von Schmidt. The Animals’ rendition was one of Bob Dylan’s inspirations to shift to folk rock. It was No. 21 on the U.K. Singles Chart, though bubbled under at No. 102 on the Billboard Hot 100 in the United States. The band’s second song, the blues-rock arrangement of the traditional song, “House of the Rising Sun” (1964, credited to keyboardist Price only), was No. 1 in the United Kingdom and the United States. But compared to The Rolling Stones, The Animals were short-lived and their U.K. studio-recording output consisted of just six albums: The Animals (1964); Animal Tracks (1965); Animalisms (1966); Winds of Change (1967); and The Twain Shall Meet and Love Is (both 1968). Like The Beatles, having separate U.K. and country-specific releases complicates The Rolling Stones’ studio album discography. A list of their U.K. studio albums gives the best sense of a chronological order of their albums. The Rolling Stones (1964), The Rolling Stones No. 2 (1965), Out of Our Heads (1965), Aftermath (1966), Between the Buttons and Their Satanic Majesties Request (both 1967), Beggars Banquet (1968), Let It Bleed (1969), Sticky Fingers (1971), Exile on Main St. (1972), Goats Head Soup (1973), It’s Only Rock ’n’ Roll (1974), Black and Blue (1976), Some Girls (1978), Emotional Rescue (1980), Tattoo You (1981), Undercover (1983), Dirty Work (1986), Steel Wheels (1989), Voodoo Lounge (1994), Bridges to Babylon (1997), A Bigger Bang (2005), and Blue & Lonesome (2016). In 1964 and 1965, The Rolling Stones had No. 1 singles in the United Kingdom with their blues-rock covers of The Valentinos’ “It’s All over Now” (Bobby and Shirley Womack) and Willie Dixon’s “Little Red Rooster.” Their blues-rock rendition of “Time Is on My Side” (1963, Norman Meade [a pseudonym for Jerry Ragovoy]) was No. 6 in the United States. The Rolling Stones No. 2 (1965) established that they were the band to compete with The Beatles. The No. 1 album in the United Kingdom marked the beginning of the Jagger-Richards songwriting partnership, though the album still consisted mostly of covers. Jagger-Richards originals on the album were “What a Shame,” “Grown Up Wrong,” and “Off the Hook.” The album included a different version of “Time Is on My Side.” They followed up this album with Out of Our Heads (1965), which was No. 2 and 1, respectively, in the United Kingdom and the United States, and Aftermath (1966), which was No. 1 and 2 in both countries. The U.S. version of Out of Our Heads included their No. 1 original hit in both countries, “(I Can’t Get No) Satisfaction.”

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Aftermath is the first album to consist entirely of Jagger-Richards songs such as “Mother’s Little Helper,” “Under My Thumb,” and “Out of Time.” The U.S. version of this album contained their No. 1 original hit in both countries, “Paint It Black” (1966). Though the band was at this point less under Jones’s leadership, he was responsible for many memorable aspects of these songs. On “Paint It Black,” he played sitar, making it an early example of raga rock, a kind of psychedelic rock. He also played marimba on “Under My Thumb.” The psychedelic baroque-pop fusion “Lady Jane” also features Jones on dulcimer. The Rolling Stones continued with more chart-topping and near-charttopping hit albums with their remaining studio output: Between the Buttons and Their Satanic Majesties Request (both 1967), Beggars Banquet (1968), Let It Bleed (1969), Sticky Fingers (1971), Exile on Main St. (1972), Goats Head Soup (1973), It’s Only Rock ’n’ Roll (1974), Black and Blue (1976), Some Girls (1978), Emotional Rescue (1980), Tattoo You (1981), Undercover (1983), Dirty Work (1986), Steel Wheels (1989), Voodoo Lounge (1994), Bridges to Babylon (1997), A Bigger Bang (2005), Blue & Lonesome (2016). The albums Between the Buttons and Their Satanic Majesties Request delved further into psychedelic rock for a while. The U.S. version of Between the Buttons consists of one of their softest songs, “Ruby Tuesday,” a psychedelic baroque pop-rock fusion. The song was No. 3 and 1, respectively, in the United Kingdom and the United States. “Jumpin’ Jack Flash” (1968) was No. 1 and 3, respectively, in the United Kingdom and the United States and “Honky Tonk Women” (1969) was No. 1 in both countries. “Sympathy for the Devil” (1968), which is the first track on Beggar’s Banquet and a return to blues-rock, charted only in France at No. 4. The song’s title was used for Jean-Luc Godard’s 1968 film drama, which featured the band recording at Olympic Sound Studios in London. In 1969, Jones departed from the band after increased drug and alcohol abuse and legal problems resulting from marijuana possession charges. The band asked for him to leave based on his erratic behavior. On July 3, 1969, Jones was found at the bottom of a swimming pool; his death was reported as due to “misadventure.” Rumors of murder had surfaced; however, Jones was known for his alcohol and drug abuse even though they were never directly connected to his death. Mick Taylor (1949–) replaced him until 1974, followed by Ronnie Wood (1947–). The Rolling Stones nevertheless continued on with highly successful albums and chart-topping or near chart-topping hit singles such as “Brown Sugar” (1971) on Sticky Fingers, “Angie” (1973) on Goats Head Soup, “Miss You” (1978) on Some Girls, the title track on Emotional Rescue (1980),

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and “Start Me Up” (1981) on Tattoo You. Between the 1970s and 1980s, The Rolling Stones developed a hard-rock sound. In 1969, Eric Burdon, the former lead singer of The Animals, relocated to California, where he formed the American funk-rock, psychedelic-rock, and jazz-rock fusion band Eric Burdon and War (1969–1970), which recorded a suite based on The Rolling Stones’s “Paint It Black” on their album The Black-Man’s Burdon (1970). In 1989, The Rolling Stones—including Jagger, Richards, Jones, Stewart, Taylor, Watts, Wood, and Wyman—were inducted into the Rock and Roll Hall of Fame. In 2012, Wood was inducted again with his former bands, The Small Faces and Faces; both were rivals of The Who. As of 2019, The Rolling Stones continues to perform concerts and record. SANTANA: ABRAXAS The title Abraxas suggests something potent. Abraxas is a Latin transliteration of “Abrasax.” An ancient Greek Gnostic word that may date from as early as the first century AD, Abraxas could be a god, spirit, or demon. Each letter of Abrasax represents one of classical antiquity’s seven planets. The image of Abraxas—usually as an Archon (the male ruler of 365 heavens) on amulets, gems, and metal—added power to these objects. The American Latin rock band Santana’s (1966–) Abraxas, a concept album, fuses Latin music (especially Afro-Cuban music), Chicano rock, blues-rock, jazz, funk, and psychedelic rock into an intoxicating sonic adventure full of solos performed mostly by Mexican American electric guitarist Carlos Santana (1947–) in addition to driving bass and Latin percussion grooves and addictive Hammond B3 organ melodies. Between April 17 and May 2, 1970, Abraxas was recorded at Wally Heider Studios in the band’s hometown, San Francisco. It was released on September 23, 1970, on the Columbia Records/CBS label. At the time, Santana consisted of cofounder, lead guitarist and producer Carlos Santana, keyboardist and lead vocalist Gregg Rolie (1947–), bassist David Brown (1947–2000), drummer Michael Shrieve (1949–), and percussionists Chepito (José Areas Dávila, 1946–) and Mike Carabello (1947–). Because of creative differences with Carlos Santana, Rolie departed from Santana and co-founded the American band Journey (1973–1987, 1995–) with Santana’s later addition, guitarist Neal Schon (1954–). Originally a jazz-rock fusion and prog-rock band, Journey transitioned to arena hard and soft rock. Abraxas was No. 1 on the Billboard 200 and topped charts internationally. As of 2019, it has been certified quintuple platinum. It was the band’s second most successful album,

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following Supernatural (1999), which attained diamond certification in the United States. Abraxas’s hits include “Black Magic Woman” and “Oye como va.” “Singing Winds, Crying Beasts,” an instrumental jazz-rock fusion song, sets the album’s atmosphere with its acoustic piano, chimes, cymbals. The singing winds quickly give way to a crying beast: Santana’s solo on his Gibson SG electric guitar. Two studio techniques that are present throughout the album are used from the very beginning of this song: assigning and reassigning instruments to specific speakers (for example, the cymbals start on the right and move over to the left) and psychedelic panning (for example, the electric guitar shifts from left to right, followed later by cymbals, which are panned the same way). While this first song may use too much panning, the spell to be cast is strong. Producer Fred Catero (1933–) used an egalitarian working process, coproducing songs with their songwriters (for example, he worked with Carabello on producing this song). Engineers John Fiore and David Brown, with mastering engineer Robert Honablue, were also involved in achieving the album’s painstakingly detailed studio techniques. A congas- and bass-driven hypnotic groove, with electric piano, provides a sense of movement as the chimes, panned cymbals, and, at times, electric guitar evoke the winds. “Singing Winds, Crying Beasts,” opens with the neighbor pitch C to emphasize the tonal center, D, and concludes in D minor, the following track’s opening home key. “Black Magic Woman/Gypsy Queen” consists of two electric guitar– focused songs. Rolie created an organ riff to “Black Magic Woman” when he introduced it to the band. Carlos Santana admired “Gypsy Queen,” which was composed by his friend, Hungarian jazz, folk, and pop guitarist Gábor Szabó (1936–82). The song appeared on Szabó’s debut album, Spellbinder (1966). While improvising, Carlos Santana channels pitch-bending blues guitarist Otis Rush, West Coast cool guitarist Wes Montgomery, and Miles Davis’s jazz-rock fusion guitarist John McLaughlin (particularly, on Davis’s 1969 album, In a Silent Way). Rolie’s riff on a Hammond B3 organ, Carabello’s tumbao (a conga-driven Afro-Cuban rhythm, assigned on the right), Chepito’s martillo (an Afro-Cuban bongo rhythm with a similar strike pattern to the tumbao), and Brown’s prominent walking bass pattern (assigned left), filled in by Shrieve on a drum set (usually assigned left) form the groove. The song also includes 3-2 son clave (a two-measure, quadruple meter, Afro-Cuban rhythmic pattern with three strikes in the first measure and two in the second) and other polyrhythms. In classic rock, this groove is also called The Bo Diddley beat. Despite the complexity of fusing these

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Afro-Cuban elements with blues-rock, psychedelic rock, and gypsy jazz, Santana’s recorded song structure is easy to follow: “Gypsy Queen” influences the very beginning and thus first part of the bifurcated introduction and returns as the band’s outro jam; the introduction’s second part features Carlos Santana’s electric guitar playing related material to “Black Magic Woman,” cuing in verse 1. This rendition uses the same key as Fleetwood Mac’s blues-rock original, but with more bluesy sounding seventh chords. Its four-line verses use a minor blues progression: D minor7 -A minor; D minor7-G minor7; D minor7; A minor7-D minor7 (D minor: i7-v7, i7-iv7, i7, v7-i7). Rolie’s smoky tenor lead vocals sing from the point of view of a man with a girlfriend who performs black magic (verse 1); he then realizes her power and threatens her (verse 2) and finally falls under her spell (verse 3). An instrumental interlude, inserted after verse 2, showcases Carlos Santana’s electric guitar, accompanied by Area’s timbales and cowbell. After verse 3, the spell continues into the outro, which starts with Carlos Santana’s introduction-related electric guitar, followed by bass (left), then the band’s reference, via electric guitar, bass, and Shrieve’s drums, to the most famous timpani part of the opening of Richard Strauss’s tone poem, Also sprach Zarathustra, Op. 30 (Thus Spoke Zarathustra, 1896), based on Friedrich Nietzsche’s novel of the same title (1883–1891). It is also alludes to Stanley Kubrick’s culturally significant film, 2001: A Space Odyssey (1968). All suggest the very beginning of a journey. Creating a symphonic gesture, Santana leads or trip-masters this odyssey with wandering raga-like electric guitar, faster percussions with congas (right), followed by a bluesy psychedelic-rock transformation, accompanied by electric piano (right). Carlos Santanas’s high register fingerpicking leads into the band’s turning their Zarathustra reference into an accompanying bass and drum figure near the song’s conclusion. A magical waft remains as the song’s last ringing pitch, on A, leads into “Oye como va,” in A minor. Like Tito Puente’s original, Santana’s rendition is an Afro-Cuban cha-cha that employs breaks. Rolie’s organ vamp with bass starts in the song’s foreground. Near the beginning of the bifurcated introduction, an unidentifiable voice rolls his tongue and toasts, “Salud!” (“To your health!”). Congas and drums (left) and bongos and güiro (right) enter in the introduction’s latter half. With its A minor7D major7 vamp and Latin percussions, this song is the most reminiscent sounding of “Evil Ways” on the album. The organ’s break cues in verse 1. Rolie, with the band and their friend, Rico Reyes, sing close harmonies in their hypnotic pentatonic chant (based on a collection of five pitches; specifically, these pitches are D, E, G, A, and C with the chant melody starting

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on A), accompanied by Carlos Santana’s electric guitar, which takes over with chant-related material in a bifurcated semi-improvisational instrumental interlude that resembles an Afro-Cuban montuno. The interlude’s second part is more lyrical with a different texture that contains electric guitar fingerpicking. Rolie’s organ solo takes over, accompanied by Carlos Santana’s electric guitar chords (left). An organ break cues in verse 2, which sounds similar to verse 1. The same break cues the outro, which features electric guitar and concludes with the break, followed by a vocal “huh”—a gesture borrowed from the mambo kings. This song’s Spanish spoken words, organ vamp, and Latin percussions inspired Eric Burdon and War’s (1969–1970) hit, “Spill the Wine” (1970). Side One concludes with the fervent jazz-rock instrumental jam, “Incident at Neshabur.” It stands out for its psychedelic metrical shifts, accents or stresses that move to different beats, tempo changes, multiple sections, prominent vibraslap, and cocomposer Alberto Gianquinto’s acoustic piano. The spell is broken—at least momentarily—by starting on a different home key or pitch center from the previous track’s concluding one, though the introduction returns to fervent drums (left), timbales (mostly left), and congas (right), adding acoustic piano and vibraslap. Rolie’s Hammond B3 organ is heard toward the beginning, whereas Gianquinto’s acoustic piano becomes prominent toward the end, where he plays a solo (left). The conclusion also showcases Carlos Santana’s employing a variety of electric guitar playing techniques such as pitch bends, ringing (and pull-offs, in which he pulls an already ringing string to create trills—a fast, ornamental alternation of two pitches), hammer-ons (sounding a pitch not by strumming, but by hammering with one’s finger on a fret), and rolls (quick successions of hammer-ons and pull-offs). Side Two begins with “Se a cabo,” a Latin rock and jazz-rock fusion song composed by the band’s Nicaraguan percussionist and timbalero, Chepito. Rolie’s “Mother’s Daughter,” a song about a young girlfriend who plays games, employs the same funky organ as “Se a cabo,” fusing Latin rock, psychedelic rock, hard rock, pop, and funk. The organ opens the introduction, quickly accompanied by congas. Fervent, assertive bass-driven sections that feature organ with electric guitar alternate with comparatively lyrical sections, in which Rolie sings. The outro, featuring Carlos Santana’s electric guitar solo, takes place after verse 3, which adds a twist to the story: Rolie’s protagonist finds a woman who treats him better, and she happens to be his ex-girlfriend’s mother. “Samba pa ti” (“Samba for You”), Carlos Santana’s instrumental Latin rock and soft-rock ballad in G major, has a laid-back samba beat. “Hope

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You’re Feeling Better,” is a hard blues-rock song that uses few Latin elements. It also employs cowbell, handclaps, shakers, and a false conclusion, preceded by Rolie’s unusual scream. The album’s final song is its shortest one: Chepito’s “El Nicoya,” titled after the Costa Rican tourist destination. Mainly another vehicle for timbales, this song employs a repetitive Spanish text that simply urges “Vámonos” (“let’s go” or “let’s move on”) to Chepito. Instead of electric guitar, the song uses acoustic guitar strums. The intensity of the chanting and the drumming—a sound also used in “Oye como va” and “Se a cabo”—suggests a trance-enticing ceremony. “El Nicoya” fades out, suggesting that Abraxas’s powerful spell lingers. DEL SHANNON: “RUNAWAY” AND PETULA CLARK: “DOWNTOWN” Though “Runaway” (1961) and “Downtown” (1964) are not classicrock songs, they serve as precursors to the genre. Bandleader and singer-songwriter-guitarist Del Shannon (Charles Weedon Westover, 1934–1990) and keyboardist-composer Max Crook’s (a.k.a. Maximilian, 1936–) “Runaway” includes chord progressions and a saxophone accompaniment that sound typical of rock and roll, but it also introduces a new sound (the Musitron, a clavioline that Crook altered and renamed) and an unusual song structure that differs from rock and roll’s conventional verse-refrain repetition—this structural complexity is a major element of classic rock. “Runaway” was released as a seven-inch single in February 1961 on the BigTop label, owned by Hill & Range Music (not only a country music empire, but also Elvis Presley’s publisher). Released three years later in November 1964 in the United Kingdom, English pianist-songwriter and producer Tony Hatch’s (1939–) “Downtown” also aimed for a sound that was bigger than contemporary electric guitar-driven rock and roll. Featuring Petula Clark’s (Sally Olwen Clark, 1932–) bright lyric soprano voice, backed by a large ensemble of classical orchestra instruments, electric guitars, drums, and bass, “Downtown” often gets classified as pop or soul when it is really a chimera—a fusion of pop, rock and roll, soul, jazz, musical theatre, and classical music elements. Though “Downtown” does not immediately seem experimental, and its use of strings was certainly not new, its fusion, along with Clark’s mod appeal (she was known as the “First Lady of the British Invasion”), seems akin to songs composed by contemporaries like The Beatles, The Kinks, The Hollies, and Herman’s Hermits, who all went on to write classic-rock hits. Both ahead of their time,

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“Runaway” and “Downtown” became No. 1 hits on the Billboard Hot 100 in the United States. In 1959, Shannon added Crook to the Big Little Show Band. Previously, Crook had found a Gibson clavioline in Kalamazoo, Michigan, and altered the instrument, thus creating the Musitron (combining the words “music” and “electron”). Crook took a demo to Ann Arbor disco jockey Ollie McLaughlin, who brought it to producers Harry Balk and Irving Micahnik. By 1960, Balk and Micahnik signed the band to BigTop Records, a New York City label. “Runaway” was born after a failed recording session at Bell Sound Studios in New York City. Producer Balk (a.k.a. Tom King, 1925– 2016)—the same person who later became head of A&R at Motown and helped Marvin Gaye’s hit song “What’s Going On” (1971) see its release—suggested rewriting Shannon’s earlier song, “Little Runaway” (ca. 1960), to feature Crook’s Musitron. “Runaway” was recorded on January 21, 1961. The finished recordings in mono and stereo are in B-flat minor, though Shannon had originally written and recorded it in A minor. Balk and sound engineer Fred Weinberg sped up the recording, yet their reason for doing so has not been fully ascertained (possibilities include to make Shannon’s voice sound younger or to cover up his nervousness or small mistakes; what can be heard is that his voice at the beginning of verses slides up to the target note and he seems more confident and applies some rasp or vocal grinding in the song’s prechorus). At the session were Shannon (voice and electric guitar); Crook (Musitron); Moe Wechsler (piano); Al Caiola, Al Casamenti, and Bucky Pizzarelli (electric guitars); Milt Hinton (bass); Joe Marshall (drums); and session arranger Bill Ramall (baritone saxophone). The stereo version is more difficult to find than the mono one, but it better reveals production techniques. The introduction opens with electric guitar, followed by acoustic piano on the right speaker. The introduction establishes B-flat minor as the home key. Here the electric guitar provides bass for the piano’s arpeggiated figures (basically, broken B-flat minor chords) in its upper register (range). Drums also enter. Shannon’s voice enters with the first verse (section A), which provides a first-person narrative: the protagonist’s lover has run away and he does not understand what happened. The arpeggiated figures (right) continue as the baritone saxophone and bass’s accompanying chords (also right) move down from B-flat minor, A-flat major, G-flat minor, to F major (the dominant or V or B-flat minor). At the end of the verse, the saxophone plays a melodic tag that leads to the second one (also section A). As mentioned earlier in the background chapter, “Runaway’s” verses consist

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of a Flamenco chord progression called “money chords.” The typical descending Flamenco chord progression is i-VII-VI-V(7); here, a slight substitution takes place on the third chord: i-VII-vi-V (G-flat minor or vi is used instead of G-flat major or VI). The prechorus, starting with “I’m walking in the rain,” builds up to the refrain. It sounds brighter than the verse because it is in B-flat major (the parallel major of B-flat minor). The prechorus rocks between B-flat major and G minor (I to vi of B-flat major), sounding as if the music is starting a ’50s progression (also called a doo-wop or “Heart and Soul” progression), a common sound for rock and roll. The accompanying saxophones emphasize this gesture, but the progression stops after two chords when the refrain starts and the home key returns to B-flat minor. The refrain features Shannon’s falsetto (a way of singing above his usual tenor vocal range). During rock and roll, falsetto was often used to depict teenage angst and to add some spatial interest through use of a higher register (pitch range). The refrain begins by rocking between B-flat minor and G minor, accompanying Shannon’s falsetto. This time, the ’50s progression is completed (moving from B-flat minor, G minor, E-flat major, F major, and back to B-flat minor, which creates the full i-vi-IV-V-i pattern). Just when the falsetto seems like “Runaway’s” most interesting sound, the instrumental interlude features the Musitron solo on left speaker with a walking bass on the right. The Musitron plays the same arpeggiated figure heard at the beginning of the song by the acoustic piano and then descends from F to B-flat. The smooth, cosmic, and high-pitched Musitron sounds like a melodic wave that trills (alternating between two pitches) and zips or soars via glissandi (sliding up through numerous notes). It then moves again in the outro—this time by doubling the saxophones and bass and then playing a countermelody in the fade-out. With its home key in E major, “Downtown” does not seem to be in as dark a mood as “Runaway,” though it never promises blue skies. A second-person narrative is used to explain that downtown is the place to go if you are by yourself and feel lonely. Downtown’s neon signs, lights, city sounds, and engaging activities at least promise to make you forget your worries and you can be around other (lonely) people just like you. “Downtown” was recorded in three takes during one session on October 16, 1964, in Pye Studio 1 on London’s Marble Arch. The second take was used to make the finished recording. The song was produced by its songwriter Hatch and engineered by Ray Prickett. Hatch’s inspiration took place when visiting Times Square in New York City. Since 1963, Hatch had been Clark’s producer at Pye Records. Clark, England’s

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1940s version of Shirley Temple, had a successful music career singing in English and French; however, she needed a new hit, and Hatch had already scheduled a recording session for her. When she asked if he was composing a song, he played “Downtown” on piano. She liked the song so much that she encouraged him to finish it so that she could record it. The recording session took place with all musicians in the same large room. Microphones were therefore not isolated, and the lack of separation also contributed to the ensemble’s large sound. The backing vocal trio, The Breakaways, was provided by Hatch himself, who almost a half hour before recording was in the bathroom still writing lyrics. Session musicians also included electric guitarist Jimmy Page (later of The Yardbirds and Led Zeppelin), his former teacher, jazz-fusion, psychedelic-rock, and prog-rock guitarist John McLaughlin, as well as swing jazz drummer Ronnie Verrell. In November 1964, “Downtown” was released as a single. Pye and Warner Bros. later released her studio album Downtown (1965), in the United Kingdom and the United States, respectively. The album became No. 21 on the Billboard 200. “Downtown” begins with a four-measure R&B style introduction that establishes E major as the home key and a rock-and-roll chord progression (E major, A major, and B major or I-IV-V) that repeats. The piano continues in the first verse (a bifurcated section A), where the voice and brushed jazz drums begin. A xylophone dings (right) just before Clark and The Breakaways sing, “downtown” both times here. At “just listen to the music of the traffic in the city,” Clark sings a major seventh interval on the word “listen”—a really wide interval that stands out in the melody. Acoustic piano chords on the left speaker with strings, bass, and drums give this part of the verse a fuller sound than the first part, but all becomes quiet and sparse when the verse ends on a G-sharp minor seventh chord. The prechorus’s buildup to the refrain is not only due to addition of piano, drums, and other instruments and crescendo (gradually getting louder); it is also because of Clark’s theatrical talk-singing, accompanied by music that moves from the subdominant (IV) to a dominant seventh chord (V7). The last chord creates a huge gravitational pull back to the home key—the first “downtown” of the refrain, the loudest part of the song, where brass enter for the first time and the strings, drums, and backing vocals return. After the second verse (section A), prechorus, and refrain, Clark and The Breakaways sing a vocal bridge that modulates up a whole step to F major. A brass interlude using the verse music (section A) follows, accompanied by the entire ensemble and punctuated by voices singing “downtown.” To keep the energy going, the third verse follows, but

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this time it uses just the second part of the verse music (section A). The song concludes with the prechorus, and final refrain, then outro. Here a jazzy trumpet melody takes the song out, punctuated by voices singing “downtown” in the fade-out. Shannon and Clark’s signature songs offered many ideas to build upon for classic rock. “Runaway” is often thought of as a pre-electronica, whereas “Downtown” is an early example of combining classical orchestra instruments with instruments more associated with rock and jazz. Both rerecorded their songs several times. Notable recorded covers of “Runaway” include Elvis (1970), Charlie Kulis (1975), Bonnie Raitt (1977), the American rock band Renegade’s drummer Luis Cardenas (1986), and the Traveling Wilburys with ELO’s (Electric Light Orchestra) Jeff Lynne (2007); notable recorded covers of “Downtown” include Dolly Parton (1983), The B-52s (1978), and the English pop group Spice Girls’ Baby Spice, Emma Bunton (2006). Both careers continued after their biggest hits; however, Clark’s fared better with strong international chart-topping renditions of Hatch’s “I Know a Place” (1965) and “My Love” (1967), as well as silent film legend Charlie Chaplin’s “This Is My Song” (1967). Shannon’s “Hats Off to Larry” (1961), which also used the Musitron, was No. 5 on the Billboard Hot 100, followed by major hits in the United Kingdom and Australia with songs such as “The Swiss Maid” and “Little Town Flirt” (both 1962), as well as “Keep Searchin’ (We’ll Follow the Sun)” (1964). Shannon also had success as a songwriter: Peter and Gordon’s cover of “I Go to Pieces” (1965) was No. 9 on the Billboard Hot 100. But for a decade since 1963, Shannon struggled with a lawsuit against Balk and Micahnik’s Embee Productions over royalties and to reissue his songs. Their success as independent producers was due to retaining control over the masters (the original recording of songs from which later copies are made). For a while, other producers refused to work with Shannon, and his label, Berlee Records (1964), folded quickly after having distribution problems. Shannon nevertheless persevered by charting sporadically, recording critically successful albums, and performing, though another No. 1 hit eluded him. In 1990, he committed suicide. SIMON & GARFUNKEL: “AMERICA” AND MARVIN GAYE: “WHAT’S GOING ON” Released just a couple of years apart, Simon & Garfunkel’s ­“America” (1968) and Marvin Gaye’s “What’s Going On” (1971) are Vietnam War–era point-of-view protest songs in which the singer questions

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where America is headed. Written by Paul Simon (1941–) of the folk, folk-rock, and psychedelic-rock duo Simon & Garfunkel (1956–1970), “America” is a romanticized impression of the country, sung from the point of view of the male member of a heterosexual couple, while on a road trip. Motown singer-songwriter and producer Marvin Gaye (1939–1984) also expresses a state of wonderment in “What’s Going On,” which he wrote. He depicts mothers crying and sons dying as images for the outcomes of war and urban violence in his first verse; however, he protests more directly against war and xenophobia by the second verse, leaving listeners with a pro-love message that calls for working together. “America” easily falls under the classification of folk rock and its main musical style contrasts with that of “What’s Going On,” which is soul; however, both songs have psychedelic rock and limited jazz elements. “America” and “What’s Going On” also have in common metaphorical lyrics, often using metonymy (using objects to represent concepts and happenings) as well as synecdoche (using something to represent a whole) and metalepsis (using a word or phrase in a new context). In “America,” on-the-road observations lead to gazing as far as an open field to as close as the faces on a Greyhound bus. All the while, there is yearning for America. Place names are used as synecdoche—Pittsburgh for the dying American steel mill industry; Detroit for the struggling American automobile industry; Saginaw for the declining American lumber industry; and, by the end of the song, when he is astounded for reasons that he cannot explain, the New Jersey Turnpike (to New York City) for a bustling America. In “What’s Going On,” the word “father” is used literally and metaphorically (for the father-state, a government that spends more on defense than providing for its citizens). Gaye suggests that he is among the protesting, long-haired youth (using metalepsis) in the third verse; however, by the last verse, he directly protests against brutality and gives another call to action—specifically for listeners to heed his words and question “what’s going on.” “America” was inspired by a five-day car road trip of the United States that Simon took with his English girlfriend, Kathy Chitty (1947–), to escape responsibilities during the mixing of the duo’s debut album, Wednesday Morning, 3 A.M. (1964). Chitty appears on the cover of Simon’s debut solo studio album, The Paul Simon Songbook (1965), and is mentioned in “America” and “Homeward Bound.” The latter appeared on the U.K. issue of the duo’s second album, Sounds of Silence (1966). This album also includes “Kathy’s Song,” which appeared earlier as an acoustic version on The Paul Simon Songbook (Eliot 2010, 52–53). After

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Wednesday Morning, 3 A.M., Simon & Garfunkel’s subsequent studio album was Parsley, Sage, Rosemary and Thyme (1966). “America” was recorded on February 1, 1968, in Columbia Studio A in New York City. It features Simon’s lead vocals and acoustic guitar as well as Art Garfunkel’s (1941–) backing and harmonizing vocals. Simon is a second tenor, whereas Garfunkel is a first tenor. It was recorded toward the end of the Bookends sessions (1966–1968), which took place in September 1966, January and June 1967, and October 1967 to February 1968. Released on April 3, 1968, on the Columbia Records label, the album was produced by Simon & Garfunkel and engineer Roy Halee (1934–), whose engineering work can be heard on previous albums by The Dave Clark Five, The Yardbirds, The Byrds, and The Lovin’ Spoonful. He was also the overdub engineer on former Blood, Sweat & Tears founder and keyboardist Al Kooper’s (Alan Peter Kuperschmidt, 1944–) Super Session (1968), a project album on the Columbia label. Bookends stands out from Simon & Garfunkel’s previous studio albums for its use of art or experimental rock. Columbia producer John Simon (1941–, no relation to Paul Simon), had previously produced and arranged the folk-rock, pop-rock, and psychedelic-rock group The Cyrkle’s No. 2 Billboard Hot 100 hit of Simon’s “Red Rubber Ball” (1966, with Bruce Woodley). He invigorated the duo’s recording sessions by honoring Columbia’s contractual obligation to pay for string, brass, and percussion players. He excited the duo with his exploration of new sounds, and he joined in on their fun, contributing the bass line on “Save the Life of My Child” on Moog synthesizer with its creator, Robert Moog on hand for assistance (Eliot 2010, 95). Meanwhile, director Mike Nichols licensed the duo’s “Mrs. Robinson” for his American romantic comedy film The Graduate (1967). Bookends became the duo’s first No. 1 album on the Billboard 200, and the album’s version of “Mrs. Robinson” became No. 1 on the Billboard Hot 100. Earlier hits such as “A Hazy Shade of Winter” at No. 13 (1966) as well as “At the Zoo” at No. 16 and “Fakin’ It” at No. 23 (both 1967), appear on the album. Its not-so-linear concept focuses on experiences from childhood to elderly adulthood, with “America” as the third track; other tracks include “Bookends Theme,” which bookends Side One, “Voices of Old People,” and “Old Friends.” Originally not one of the album’s hits, “America” hit No. 97 on the Billboard Hot 100 in the United States and No. 25 on the U.K. Singles Chart in 1972 when Halee reissued it as a single to promote Simon and Garfunkel’s Greatest Hits. Bookends’s “Save the Life of My Child” concludes by crossfading into “America,” just as the mother’s high son on the ledge “flew away.” The

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recorded structure of “America” is as follows: introduction; verse 1 (section A); bridge 1; verse 2 (A’); verse (B); bridge 2; verse 3 (A’’); bridge 1; verse 4 (A’’’); vocal outro; instrumental outro. Its home key is D major; the B section briefly starts on a C major7 chord but gravitates back to the home key. “America’s” minimal jazz elements include Simon’s penchant for many seventh chords (heard often later; just one example is “So Long, Frank Lloyd Wright” on the duo’s fifth and final studio album, Bridge over Troubled Water, 1970) and an uncredited soprano saxophone solo, featured in section B. Though the duo sings on the same microphone, Halee recorded and mixed other tracks to make Garfunkel’s harmonies appear on a separate speaker (usually assigned right). In the introduction, lower (right) and higher (left) vocables are double-tracked, answered by a twangy acoustic guitar (left). In verse 1, Garfunkel’s high harmonies emerge (right). To create sonic depth, rhythmic acoustic guitar strums (left) appear with a melodic acoustic guitar (right). Verse 2’s pipe organ countermelody in a high register (left) builds up to a fuller, lower organ voice (using the Leslie switch); the latter accompanies Simon’s ascending line (using triplets) about hitchhiking from Saginaw. Here, the bass (right) has a countermelody as the music reaches a brief crescendo (becomes louder) on the phrase “to look for America.” In verse 4, the organ returns as it did in verse 2, but strings (right) enter and then double with the unison singing, accompanied by cymbal crashes (right). The vocal outro builds up to the loudest crescendo, accompanied by strings and featuring Garfunkel’s high, held-out harmonies and Simon’s lead vocals. Related to the introductory material, the instrumental outro concludes “America,” but here a melodic acoustic guitar (right) takes up the melody of the opening vocables. As the song fades out, the pipe organ’s high register melody and twangy acoustic guitar continue. At the time of Bookends, Gaye’s music sounded a world apart from folk rock. Like Simon, Gaye began songwriting at the end of the 1950s. Simon was one of the professional Brill Building songwriters in New York City (competing with other professional pop songwriters such as Carol King, Gerry Goffin, Neil Diamond, Barry Mann, and Cynthia Weil), whose success into the 1960s inspired Motown, which was modeled on the Brill Building. Along with Stevie Wonder, Gaye became one of Motown’s most successful singer-songwriters. His solo studio album, I Heard It through the Grapevine! (1968), was No. 63 on the Billboard 200 and No. 2 on Billboard’s Top R&B Albums. Its title track (1966), composed by Barrett Strong and Norman Whitfield, was a psychedelic-soul and rhythm-and-blues hit that crossed over as

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No. 1 on both the Billboard Hot R&B Singles and Billboard Hot 100. Female backing vocals were performed by the Motown sessions group, The Andantes’ (1958–1972, 1989–1992), and the backing band was The Funk Brothers (1959–1972). The psychedelic soul and rhythm and blues albums M.P.G. (1969) and That’s the Way Love Is (1970) followed. M.P.G. reached No. 1 on Billboard’s Top R&B Albums and No. 33 on the Billboard 200, whereas That’s the Way Love Is charted at No. 17 and 189, respectively, on both charts. The latter’s psychedelic soul title track (1967, Strong and Whitfield), a cover of The Isley Brothers’ song, peaked at No. 7 on the Billboard Hot 100. The album reveals Gaye’s branching into classic rock with his psychedelic-soul cover of The Beatles’ “Yesterday” (1965) and his downtempo cover of The Temptations’ psychedelic soul and psychedelic rock “Cloud Nine” (Strong-Whitfield). Gaye was devastated when his duet partner and best friend, Tammi Terrell (Thomasina Winifred Montgomery, 1945–1970), died from brain cancer. With Terrell, Gaye had recorded United (1967), You’re All I Need (1968), and Easy (1969). Their pop-sounding soul crossovers include “Your Precious Love” (1967, Nickolas Ashford and Valerie Simpson), “If I Could Build My Whole World around You” (1967, Harvey Fuqua, Johnny Bristol, Vernon Bullock), “Ain’t Nothing Like the Real Thing” (1968, Ashford & Simpson), and the more gospel-sounding “You’re All I Need to Get By” (1968, Ashford & Simpson). A couple of months afterward, Gaye became inspired to compose songs with serious subject matter. Motown singer-songwriter Al Cleveland (1930–1996) approached him with his untitled protest song, a response to his friend Obie Benson’s (Renaldo Benson, 1936–2005) description of police brutality against antiwar protestors at Berkeley’s People’s Park that occurred while he was on tour with his group, the Four Tops (1953–). Cleveland composed it for the doo-wop, rock-and-roll, pop, soul, and R&B vocal group, but they deemed the protest material unsuitable for their repertory. Gaye liked the song but composed a new melody and shared songwriting credit with Cleveland and Benson (as Renaldo Benson). Gaye recorded “What’s Going On” on June 1, July 6–7 and 10, and September 21, 1970, at Hitsville U.S.A.’s Studio A. Hitsville, located in Detroit, Motown’s first official headquarters. Gaye created a party atmosphere with marijuana and invited friends and sessions musicians there to record. Discovering that he liked the sound of the conversing voices, Gaye incorporated them into the song. Voices included are The Funk Brothers, Mel Farr and Lem Barney of the Detroit Lions football team, and Elgie Rousseau Stover (Gaye and his first wife Anna Gordy Gaye’s cowriter on “Flying High in the Friendly Sky” and “God Is Love,”

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which appear on the album). Gaye, Farr, and Barney also recorded the backing vocal tracks. “What’s Going On” is in E major. Like “America,” it consists of limited jazz elements such as seventh chords and a soprano saxophone solo. Gaye begins the song by singing on C, the sixth degree (scale step 6) above E, which contributes a jazzy or soulful sound. Like Simon & Garfunkel, Gaye embraces a symphonic rock ambition by using soaring strings, arranged by David Van De Pitte of the Detroit Symphony Orchestra. Unlike “America,” which uses a waltzlike triple meter (that is unusual for rock), this song uses a steady, moderate rock quadruple meter. The recorded song structure is as follows: introduction (bifurcated); verse 1 (A); refrain; verse 2 (A’); refrain; verse (B); vocal interlude; verse 3 (A’’); refrain; verse (B’); outro. The introduction’s first part includes spoken-word party conversations that appear on left speaker. Its second part uses both speakers, dropping an electric bass guitar (left) and congas (right), which accompany Eli Fontaine’s soprano saxophone (right). In verse 1, Jack Brokensha’s soft vibraphones enter in the background (left), emerging more into the foreground in the refrains. The first B section verse features finger snaps and backing vocals, which leads into the vocal interlude, accompanied by strings. Gaye scats, partly in falsetto, as the song modulates upward, followed by soprano saxophone (right). The outro also includes Gaye’s scatting and is related to this vocal interlude. The party voices return as the song fades out. After completing “What’s Going On” in September 1970, Motown’s founding executive Berry Gordy (1929–) disliked Gaye’s scatting and production values. He also believed that the song was too political to become a major hit. But Gaye, who was concurrently working on the soul and funk album Let’s Get It On (1973), went on strike until Gordy agreed to release “What’s Going On” as a single. An advocate for Gaye, Motown producer Harry Balk (a.k.a. Tom King, 1925–2016)—the very same producer of Del Shannon’s rock-and-roll hit, “Runaway” (1961, with Max Crook)—convinced Barney Ales to release the single, without Gordy’s permission, on January 17, 1971. The song became Motown’s quickest-selling single and was No. 1 on Billboard’s Hot R&B Singles Chart, No. 2 on the Billboard Hot 100, and charted internationally. The immediate success and sales of over 100,000 copies impelled Gordy to allow Gaye to complete his album and have control over its vision, recording, and production. In March 1970, Gaye returned to Hitsville and took 10 days to record the rest of the album’s rhythm tracks and sound overdubs. More vocals, backing vocals, strings, and horns were recorded and mixed at Golden World Records studios in Detroit, and by April 1971, final mixing was

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completed at United Sound Studios in Detroit and The Sound Factory in West Hollywood. Gaye’s 11th studio album, What’s Going On, was released on May 21, 1971, on Motown’s subsidiary label, Tamla Records. The eclectic album reached No. 1 on Billboard’s Top R&B Albums and No. 6 on the Billboard 200. Its other major hit was the psychedelic soul rock “Mercy Mercy Me (The Ecology),” which was No. 1 on Billboard’s R&B Singles and No. 4 on the Billboard Hot 100. This song reunites Gaye and The Funk Brothers with The Andantes. The album’s surprise crossover hit was Gaye and James Nyx Jr.’s “Inner City Blues (Make Me Wanna Holler),” which reached No. 1 on the Billboard Hot R&B Singles and No. 9 on the Billboard Hot 100. This soul and funk rock song, which concludes the album, protests against poor living conditions and police brutality in the American ghetto. Like “America,” several musicians covered “What’s Going On.” Souljazz and hard-bop organist Johnny “Hammond” Smith’s 9-minute, 45-second rendition appears on his album of the same title (1971) on the Prestige label. Cyndi Lauper’s pop-rock rendition appears on True Colors (1986) and was No. 12 on the Billboard Hot 100, charting internationally. Simon & Garfunkel’s original recording of “America” appears early on in the storyline, album montage, and soundtrack in Cameron Crowe’s autobiographically based American film drama, Almost Famous (2000), and—with permission from Simon & Garfunkel—was the soundtrack for a commercial for Bernie Saunders’ 2016 campaign for U.S. President. Bookends attained double-platinum status in the United States, whereas What’s Going On attained gold status; however, Gaye’s album also attained platinum certification in the United Kingdom. THE TEMPTATIONS AND SLY AND THE FAMILY STONE With their roots in doo-wop, The Temptations (1960–) became one of the earliest and most successful soul and R&B vocal groups at Motown, the Berry Gordy–owned label that was founded and located in their home city, Detroit. During their “Classic Five” era (1964–1967), just some of their significant hits were “The Way You Do the Things You Do” (1964, Smokey Robinson and Bobby Rogers), “My Girl” (1964, Robinson and Ronald White), “Beauty Is Only Skin Deep” (1964, Norman Whitfield and Edward Holland Jr.), “(I Know) I’m Losing You” (1966, Whitfield, Holland, and Cornelius Grant), “All I Need” (1967, Frank Wilson, Holland, and R. Dean Taylor), “You’re My Everything” (1967, Whitfield, Grant, and Rodger Penzabene), and “I Wish It Would Rain.” The Classic Five consisted of their leader, Otis Williams (Otis Miles Jr., 1941–), who

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A later inspiration of The Temptations, Sly and the Family Stone fused funk and soul with classic-rock subgenres such as psychedelic rock and poprock. Many shared responsibilities for vocals. Shown in the back row (left to right) are lead guitarist Freddie Stone, songwriter-keyboardist and leader Sly Stone, saxophonist Jerry Martini, female lead singer–keyboardist Rose Stone, and trumpeter Cynthia Robinson. In the front row are bassist Larry Graham and drummer Greg Errico. (Bettmann/Getty Images)

sang tenor and baritone parts, as well as their main lead singer, tenor David Ruffin (Davis Eli Ruffin, 1941–1991), baritone and group choreographer Paul Williams (1939–1973), high tenor and falsetto singer Eddie Kendricks (1939–1992), and bass Melvin Franklin (David Melvin English, 1942–1995). But on June 27, 1968, after demanding special treatment and extra pay, Ruffin—who also had a cocaine addiction—was fired and replaced by Dennis Edwards (1943–2018). Edwards had a

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more flexible range than his predecessor; he was capable of singing both tenor and baritone parts, yet louder and raspier due to his gospel singing background. Shortly afterward, the new lineup recorded and released Diana Ross & the Supremes Join The Temptations (1968). By the time of The Temptations’ first personnel change, Sly and the Family Stone (1966–1983) was established and had its first crossover hit with the band’s second single, “Dance to the Music” (1967), at No. 9 and 8, respectively, on Billboard’s Hot R&B Songs and Hot 100. The psychedelic-soul hit combined soul with funk and psychedelic rock. More significantly, “Everyday People” (1968) was No. 1 on both charts and became a certified gold single. Another psychedelic-soul hit, this single also fuses some pop-rock. Though the band’s debut album, A Whole New Thing (1967), was critically acclaimed, it failed to chart; the next two albums, Dance to the Music and Life (both 1968) charted weakly on the Billboard 200. Dance to the Music, however, was No. 11 on Billboard’s Top R&B Albums chart, and the Temptations were beginning a string of strongly performing singles on both charts. Singer-songwriter, multi-instrumentalist, and producer Sly Stone (Sylvester Stewart, 1943–) founded and became leader of a band called Sly & the Stoners. When Sly & the Stoners dissolved, he asked his younger brother if his concurrent soul band, Freddie & the Stone Souls (ca. 1964–1966), would like to merge with remaining members of his band—Sly and Freddie Stone and Cynthia Robinson (1944–2015). Upon Freddie Stone’s agreement, they recruited saxophonist Jerry Martini (1943–), bass guitarist Larry Graham (1946–), and drummer Greg Errico (1948–). Briefly, the band was Sly Brothers and Sisters, but the members immediately changed their name to Sly and the Family Stone. Meanwhile, Sly Stone recruited the band’s backing singers and renamed the gospel vocal group The Heavenly Tones as Little Sister. The trio was led by Sly Stone’s little sister, Vet Stone (Vaetta Stewart, 1950–), and consisted of Tiny Mouton (Elva Mouton) and Mary McCreary. Reflecting Sly Stone’s eclectic musical interests, this multiracial band, with male and female musicians, primarily fused soul, funk, psychedelic rock, and poprock with elements of gospel, doo-wop, rhythm and blues, jazz, and rock and roll, resulting in energetic, uplifting music that appealed to a broad listening audience. The band was quickly discovered while performing at the Winchester Cathedral nightclub in nearby Redwood City and signed onto Epic Records, whose parent company was CBS Records. The band’s debut album, A Whole New Thing (1967), consisted of lyrical content that was ahead of its time, protesting racism either directly or indirectly in songs such as “Run, Run, Run,” as well as topics to

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which everyone could relate, such as “Underdog.” A Whole New Thing was a soul and funk album with few psychedelic-rock and pop-rock elements. “Underdog,” in C-sharp minor, featured Robinson’s trumpet; Graham’s driving melodic, funky bass line; and Sly Stone’s lyrics, which protest how he has to be “twice as good” to move up in the world. CBS and Columbia Records President Clive Davis strongly suggested that the band’s next album must have more commercial appeal. Dance to the Music continues with soul and funk but adds considerably more psychedelic rock and pop-rock. Just before the title single was recorded, Rose Stone (Rosemary Stewart, 1945–), another sister, joined as the band’s female lead singer and keyboardist. As with their debut album, many of the band’s members share lead vocals. Sly and the Family Stone’s psychedelic-soul and funk-rock song “Dance to the Music” inspired The Temptations’ Otis Williams and the band’s producer and songwriter, Norman Whitfield (1940–2008), to record several psychedelic-soul albums of their own. Sly and the Family Stone’s “Dance to the Music” contained lighter lyrical content that was appropriate for a party atmosphere; the album, however, continued to protest against racism and advocate for peace. In G major, “Dance to the Music” is a metatextual song about Sly and the Family Stone setting up a dance song. The Sly Stone–produced song has an interesting structure: instrumental introduction; vocal bridge 1; refrain; main section; vocal bridge  2; refrain; instrumental outro. Horns and soprano saxophone appear (right), accompanied by electric guitar and tambourine, as Robinson encourages everyone to dance. The music shifts to an a cappella vocal bridge on the vocable “bom,” followed by drums. Together, everyone sings the short refrain, accompanied mainly by electric bass guitar. The main section is where the metatextual conversation starts as Freddie Stone, Errico, Graham, and Sly Stone break down each instrumental part, followed by a solo for that instrument. Psychedelic elements are subtle and include delay applied to lead electric guitar, echo applied to claps, modulation, and a sense of a party atmosphere. Robinson ends the main section by shouting, “All the squares, go home!” The Temptations’ ninth studio album, Cloud Nine (1969), was the group’s first album that included psychedelic-soul songs. The group’s driving title track earned Motown its first Grammy Award for Best Rhythm & Blues Group Performance, Vocal or Instrumental. Cloud Nine features lead vocals by Edwards for the first time, but exchanging this role with Edwards, Kendricks, and Paul Williams. They are backed by The Funk Brothers, Motown’s house band, featuring lead guitarist Dennis Coffey using a wah-wah pedal and drummers Spider

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Webb and Uriel Jones as well as Cuban percussionist Mongo Santamaria playing part of the song’s aggressive funk-driven groove on conga drums. With its lyrics protesting against poverty, “Cloud Nine” became No. 2 and 6, respectively, on Billboard’s Hot R&B Songs chart and Hot 100. In D minor, the song also possesses shifting instrumental textures throughout, featuring different lead vocalists, accompanied by backing vocalists (right) in the refrains. Cloud Nine also includes Whitfield’s psychedelic-soul arrangement of “I Heard It Through the Grapevine” and another psychedelic-soul hit, “Runaway Child, Running Wild,” at No. 1 and 6, respectively, on both charts. Meanwhile, after having a commercial failure with their album Life, which was nevertheless critically acclaimed, Sly and the Family Stone released Stand! (1969), which was No. 3 and 13, respectively, on Billboard’s Top R&B Albums and the Billboard 200, charting internationally and garnering strong critical acclaim. The album was recorded in 1968 and 1969 at Pacific High Recording Studios in San Francisco. Produced by Sly Stone and released on May 3, 1969, Stand! represents the band at its height. “Everyday People” was a No. 1 hit on both charts and attained gold certification. The song’s lyrical content celebrates diversity and promotes equality not only among different races but also various social groups—male, female, rich, poor. Side Two contains the lengthiest track, “Sex Machine,” at 13 minutes and 45 seconds, which is primarily an instrumental jam that features Sly Stone scatting through a vocoder. A month after this album’s release, Sly and the Family Stone made a highly successful appearance at Woodstock. With Diana Ross & the Supremes, The Temptations followed Cloud Nine with the less psychedelic-oriented Motown album, Together (1969). Consisting almost entirely of covers, they nevertheless include Sly and the Family Stone’s “Sing a Simple Song,” featuring Diana Ross sharing lead vocals with The Temptations. By the end of the year, The Temptations returned to its Cloud Nine sound with Puzzle People, released on the same day as Together. “I Can’t Get Next to You” was a fusion of psychedelic soul and funk. Psychedelic Shack was The Temptations’ most psychedelic album, which consists entirely of Strong-Whitfield originals. The album was recorded between November 1969 and February 1970 at Motown’s studio, Hitsville USA, and released on March 6, 1970. A sense of narrative is established with the opening title track, in which knocks on a door and footsteps lead to their “I Can’t Get Next to You” getting played on a phonograph. The title track begins immediately after Edwards tells everyone to listen. “Psychedelic Shack” was No. 2 and 7, respectively, on Billboard’s Hot R&B Songs and Hot 100.

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The Temptations’ nonalbum single, the psychedelic soul “Ball of Confusion,” was recorded on April 12 and 14, 1970, at Hitsville USA. It was released on May 7, 1970, to help market The Temptations’ compilation album, Greatest Hits II (1970). The song was No. 2 and 3, respectively, on Billboard’s Hot R&B Songs and Hot 100. In C minor, “Ball of Confusion” starts with a count-in, followed by a bass groove. Psychedelic effects are mainly applied to the leading electric guitar (panning from left to right speaker) and using some echo in the introduction. From gospel and soul, tambourine accompanies the refrains. The prechorus stands outs with its horns and Hammond B3 organ accompaniment (left) on the words, “segregation, determination, demonstration, integration, aggravation, humiliation, obligation to our nation”—in one fell swoop, protesting against racism and violence and other critical topics of the time in the United States. The song’s other message is how not enough people are embracing love. Sly and the Family Stone was starting to dissolve in 1973. Errico’s final album with the band was There’s a Riot Goin’ On (1971), produced again by Sly Stone. The Temptations’ Solid Rock (1972) contained mostly psychedelic-soul songs; however, this time, Whitfield incorporated more funk. Creative differences between Whitfield’s insistence to continue on in the psychedelic vein and The Temptations’ desire to return to soul without psychedelic elements flared during this album’s recording. All Directions (1972) was The Temptations’ most successful album during their psychedelic soul era. It was No. 1 and 2 on Billboard’s Top R&B Albums and Hot 100. It contains “Papa Was a Rollin’ Stone” (1971), which was No. 1 on the Billboard Hot 100. “Papa Was a Rollin’ Stone” was the final Strong-Whitfield song. Prior to the Temptations’ release, Whitfield assembled The Undisputed Truth (1971–, now known as The Real Undisputed Truth) as a recording act, testing “Papa Was a Rollin’ Stone.” It became a minor hit for The Undisputed Truth over four months prior to The Temptations’ release. The song later appeared on The Undisputed Truth’s album, Law of the Land (1973). In 1972, Sly and the Family Stone’s bass guitarist Graham departed and formed the funk band Graham Central Station (1973–1979). Whitfield’s final album with The Temptations, 1990, marked the end of the band’s psychedelic-soul era, though the group endured, returning to non-psychedelic soul soon afterward. In 1975, Whitfield departed from Motown, taking The Undisputed Truth with him, to start his own label, Whitfield Records. In 1979, Sly Stone, with some contributions from original members, released Back on the Right Track under the band’s

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name, though it charted weakly. Ain’t But the One Way (1982) was first a collaboration between Sly Stone and George Clinton, leader of the funk bands Parliament and Funkadelic (P-Funk). In 1989, The Temptations—including Dennis Edwards, Melvin Franklin, Eddie Kendricks, David Ruffin, Otis Williams, Paul Williams—were inducted into the Rock and Roll Hall of Fame, followed by Sly and the Family Stone in 1993. TINA TURNER AND ARETHA FRANKLIN Before classic rock, two recording artists with distinctive, powerful voices—Tina Turner (Anna Mae Bullock, 1939–) and Aretha Franklin (1942–2018)—had already established themselves, respectively, in rhythm and blues and soul, two popular black music genres that have experienced crossover hits on the Billboard Hot 100 since the mid1950s. Both musical careers began alongside the American civil rights movement (1954–1968), and both musicians were from Tennessee, but they might as well have been from different planets: Tina Turner (the queen of rock and roll) was born and raised in rural Nutbush and Franklin (the queen of soul) in Memphis. Tina Turner’s career began under the mentorship of Ike Turner (Izear Luster Turner Jr., 1931–2007), a singer-songwriter, bandleader, arranger, and producer. In July 1960, Ike and Tina Turner’s first hit together was “A Fool in Love,” composed by Ike Turner, which was No. 2 on Billboard’s R&B chart and No. 27 on the Billboard Hot 100. “A Fool in Love” demonstrates the fine line between rock and roll and its ancestor, rhythm and blues. In 1962, Tina and Ike married, and under several stage names, they recorded rock and roll, R&B, blues, funk, soul, and pop. In December 1960, within months after Ike and Tina’s first hit, Franklin had her own with “Won’t Be Long” (composed by John Leslie McFarland), a soul crossover that was No. 7 on Billboard’s R&B chart and No. 76 on the Hot 100. Though her focus was soul, Franklin also recorded R&B, popular standards (traditional pop), musical numbers, jazz, blues, and pop (including Motown songs). Working with producer Jerry Wexler (1917– 2008), engineer Tommy Dowd (1926–2002), and arranger Arif Mardin (Mehmet Arif Mardin, 1932–2006), Franklin recorded her first covers of classic-rock songs on Aretha Arrives (between June 20 and 23, 1967, in New York City, released on August 4, 1967), which appeared on the Atlantic Records label (1947–). Her covers include The Rolling Stones’ “(I Can’t Get No) Satisfaction” (1965) and the Mysterians’ “96 Tears” (1966). Ike and Tina’s first covers of classic-rock songs came a couple of years later,

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as Ike and Tina Turner and the Ikettes on Come Together (recorded in early 1970 and released in May that year) on the Liberty Records label (1955–1971). Their covers included The Beatles’ “Come Together” (1969), The Rolling Stones’ “Honky Tonk Women” (1969), and Sly and the Family Stone’s “I Want to Take You Higher” (1969). The album also featured the blues-rock song “Evil Man” (ca. 1970, Larry Weiss, Dave Wanger, and Dick and Larry Wiegand), Ike Turner’s blues-rock song “Too Much Woman (For a Henpecked Man),” and his soul-infused country-rock Aretha Franklin, the queen of soul, recorded songs “Unlucky Creature” several classic-rock covers on her albums. and “Young and Dumb.” She is pictured here singing at the 1992 Throughout most of Democratic National Convention at Maditheir studio recording son Square Garden in New York City. (Joe years, Tina Turner and Sohm/­Dreamstime​.­com) Franklin recorded successful covers of classic-rock songs. Tina Turner relied upon many arrangers, whereas Franklin worked with Mardin into the 1970s. The two women used different stylistic approaches. With Ike Turner and in her solo recordings, Tina Turner’s renditions fuse elements of funk, soul, pop, and contemporary R&B but retain so many classic-rock elements that it is astonishing that her covers were not also categorized as classic rock. In contrast, Franklin’s covers transform classic-rock songs into Southern soul—gospel-drenched and groove-driven, this kind of soul music incorporates musical elements of African American churches found in the Southern states. Franklin’s “Satisfaction” was her first rendition of classic-rock song to chart, at No. 37 in the United Kingdom, though not in the United States. Just prior to this recording, she began her Atlantic era (1967–1979)

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with a string of 1967 chart-topping singles with “I Never Loved a Man (The Way I Love You)” (1966, Ronnie Shannon), “Do Right Woman, Do Right Man” (1967, Chips Moman and Dan Penn), “Respect” (1965, Otis Redding), “Baby I Love You” (1967, Shannon), “(You Make Me Feel Like) a Natural Woman” (1967, Gerry Goffin, Carole King, and Wexler), and “Chain of Fools” (ca. 1960s, Don Covay). Her first two hits with Atlantic Records, recorded with Wexler and Dowd at FAME Studios in Muscle Shoals, Alabama, employed the Muscle Shoals Horns and Muscle Shoals Rhythm Section (a.k.a. The Swampers, both ca. 1967–ca. 1985). The use of horns and organ on these albums established Franklin’s early sound with Atlantic and greatly influenced subsequent classic-rock recording artists such as The Rolling Stones, Janis Joplin, Canned Heat, Lynyrd Skynyrd, and U2. Franklin’s “Satisfaction” also demonstrates the Southern-soul sound: accompaniment that includes the Hammond B3 organ, horn section, electric bass guitar, and gospel tambourine; Franklin’s talk-singing, altering the lyrics’ rhythm (creating syncopation by stressing unexpected beats), and embellishing the original melody (not so much through melisma—adding notes to each syllable—but by sliding up or down pitches or substituting notes with harmonizing pitches and adding a gospel blues sound). Her opening refrain in “Satisfaction” is a good example of this last element, starting on D-flat in B-flat major (creating a pleasing yet assertive dissonance) rather than on Jagger’s pitch, A-flat in the original B minor (a more consonant-sounding major sixth above the root). Although she uses a major key and different instrumentation, Franklin keeps the original’s notable minor sounding three-note riff. “Satisfaction” exhibits the upper register of Franklin’s young mezzo-soprano voice. In the verses, her aggressive, wailing tone differs greatly from Jagger’s whispery vocals. Franklin’s highest charting rendition of a classic-rock song was in 1969 with The Beatles’ “Eleanor Rigby” (1966), a No. 17 hit on the Billboard Hot 100. Franklin self-identifies as Rigby in the song (here, she uses a first-person narrative), adding syncopation to the original melody. Also appearing on her album, This Girl’s in Love with You (recorded between January 8 and October 3, 1969, and released on January 15, 1970), was her rendition of The Beatles’ “Let It Be” (1968). Franklin predated The Beatles’ original release (March 6, 1970) by almost two months, though it failed to chart. Her album was nevertheless No. 17 on the Billboard 200. Both the original and Franklin’s rendition contain gospel elements; in addition, Franklin’s includes gospel singers as backing vocalists. She transposes the key up from C major to E major and includes new material such as Barry Beckett’s Hammond B3 organ solo

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(on right speaker) in the bifurcated introduction and King Curtis’s (Curtis Montgomery, a.k.a. Curtis Ousley, 1934–1971) tenor saxophone solo in the instrumental interlude. Curtis recorded with The Coasters and was the leader of Franklin’s backing band, The Kingpins (1967–1971). This rendition exhibits Franklin’s vocal flexibility—a strong upper register with a smoky, muted lower register—and acoustic piano playing. Meanwhile, Ike and Tina’s studio recording output included the R&B and pop album, River Deep—Mountain High (1966). Coproduced by Ike Turner and legendary producer Phil Spector (Harvey Phillip Spector, 1939–), the album was 102 on the Billboard 200 and 28 on Billboard’s Top R&B Albums chart. When its psychedelic and soul-pop title single (1966, Spector, Jeff Barry, and Ellie Greenwich) reached no higher than 88 on the Billboard Hot 100, a disappointed Spector, who believed it was the best single he ever recorded, retired. Between the late 1960s and 1970, Ike and Tina’s studio recording output was nevertheless prolific: Ike & Tina Turner and the Raelettes (1966); Outta Season and So Fine (1968); In Person, Fantastic, Get It Together, Her Man, His Woman, and The Hunter (all 1969); and “Come Together” (1970). Ike and Tina’s rendition (1970) of Creedence Clearwater Revival’s swamp rock hit “Proud Mary” (1969, composed in 1968 by John Fogerty) became one of the duo’s signature songs. Soko Richardson (Eulis Soko Richardson, 1939–2004) arranged the song, with input from Ike Turner. Richardson was a New Iberia, Louisiana-born rhythm-and-blues drummer who played with Ike Turner’s Kings of Rhythm (ca. 1948–) and the Ike & Tina Turner Revue (1960–1976). On January 11, 1971, the duo performed their rendition live on The Ed Sullivan Show. A couple of days later, they recorded it at their Bolic Sound Studios in Inglewood, California. Their rendition was released on January 30, 1971, as a single from their album Workin’ Together (recorded in 1970 and released on February 1, 1971). The album fused blues-rock, pop-rock, funk, R&B, and soul. In addition to originals credited to Ike Turner (sometimes as Eki Renurt, his name spelled backward), the album’s covers include The Beatles’ bluesrock “Get Back” (1969, Lennon-McCartney) and “Let It Be.” Ike Turner produced the album on Liberty Records and wrote these arrangements. Their engineer, Brent Maher (1942–), was previously an uncredited backing engineer on The 5th Dimension’s The Age of Aquarius (1969) and worked with Sly and the Family Stone; however, he became best known later, after relocating to Nashville, as the producer who discovered the mother-daughter country duo The Judds, and he wrote several of their hits. Ike and Tina’s “Proud Mary” features Tina Turner’s raspy, flexible lead vocals. Though her vocal range is contralto, her voice has the unusual

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timbre of sometimes sounding like a male tenor. Though it is in the same key as the original (D major), this lengthy rendition uses a far more complex structure created by overlapping sections, repetition, and inserted new material such as the band’s and Tina Turner and The Ikettes’ vocal interludes. Based on their live performance, the studio recording begins with Tina Turner’s spoken prologue, where she explains how they will take the song slow and easy and then rough, over a one-chord D major vamp that is first heard on the electric guitar (right). This introduction overlaps with Ike Turner’s singing the first verse (section A) and prechorus in the background with his soft and smooth bass-baritone voice. The prechorus builds up to the refrain by introducing the first chord progression or movement in the song: A major-B minor-G major (D major: V-vi-IV). Together, the duo sings the refrain, returning to the home key. Using the same slow tempo, Tina Turner sings lead vocals on the first (repeated) and second verses (A and A’), with Ike Turner alternating between doubling, repeating her lines, and harmonizing. Backing singers enter this second prechorus. By the third refrain, the song slows down completely to a false conclusion. The drum roll kicks off the fast tempo, and the vamp returns, played by a prominent horns section. Here, Tina Turner repeats the second verse (A’) twice, followed by prechorus and refrain. In this faster section, the vocal and instrumental interludes appear twice. The song accelerates, gets louder, and ends with the horns playing the vamp, leading into Tina Turner’s third verse (A’’), followed by prechorus, refrain, vocal and instrumental interludes, and a final refrain (in which Tina Turner shouts, “Give me one more time!”). Ike and Tina’s “Proud Mary” became No. 4 on the Billboard Hot 100, was a certified gold single, and won the 1972 Grammy Award for Best R&B Vocal Performance by a Group. That year, Franklin released two soul versions of classic-rock covers on her album Young, Gifted, and Black: The Beatles’ “The Long and Winding Road” (1969) and Elton John’s spiritual-inspired “Border Song (Holy Moses)” (1970, with Bernie Taupin). The latter was No. 37 on the Billboard Hot 100 and No. 5 on Billboard’s Hot R&B Songs. She followed these covers with her rendition of Leon Russell’s soft-rock ballad “A Song for You” (1970) on Let Me in Your Life (1974). Tina Turner’s concurrent solo recording career began with Tina Turns the Country On! (1974) and Acid Queen (1975). Her debut solo album includes a cover of Bob Dylan’s country-rock “Tonight I’ll Be Staying Here with You” (1969) and his blues-rock and folk-rock “He Belongs to Me” (1965), James Taylor’s country-rock and folk-rock “Don’t Talk Now” (1968), and hard-rock covers of The Rolling Stones’ “Under My

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Thumb” (1966) and “Let’s Spend the Night Together” (1966), The Who’s “I Can See for Miles” (1967), “The Acid Queen” (1969, from The Who’s rock opera, Tommy), and Led Zeppelin’s “Whole Lotta Love” (based on Muddy Waters’ 1962 recording of Willie Dixon’s blues song, “You Need Love”). The last was No. 61 on Billboard’s Hot R&B Songs chart. Acid Queen, featuring Ike Turner, Denny Diante, Jeffrey Marmelzat, Jimmie Haskell, and Spencer Proffer’s arrangements, was No. 115 on the Billboard 200 and No. 39 on Billboard’s Top R&B Albums. In 1976, Tina Turner divorced the abusive Ike Turner and had chart failures with her solo albums Rough (1978) and Love Explosion (1979); both were on the United Artists Records label (1957–1980). Rough contains her covers of Elton John’s “The Bitch Is Back” (1974, with Taupin) and Bob Seger’s “Fire Down Below” (1976). Franklin’s appearance in the American musical comedy The Blues Brothers (1980) sparked a resurgence of interest in her music and was accompanied by her move to the Arista Records label (1957–). Mardin continued arranging and producing her on Aretha (1980), which included her cover of the blue-eyed soul and soft-rock “What a Fool Believes” (1978), and Love All the Hurt Away (1981), which included The Rolling Stones’ “You Can’t Always Get What You Want” (1968). In 1982, Tina Turner collaborated with B.E.F. (a.k.a. British Electric Foundation, 1980–) on their pop-rock rendition of The Temptations’ “Ball of Confusion” (1970, Barrett Strong and Norman Whitfield). An English band and production company established by the synthpop group The Human League’s (1977–) Martyn Ware (1956–) and Ian Craig Marsh (1956–), B.E.F. also produced Tina Turner’s 1983 R&B, funk, synthpop, and soft-rock cover of Al Green’s soul hit “Let’s Stay Together” (1971, with Willie Mitchell and Al Jackson Jr.). The cover became No. 6 in the United Kingdom and led to a contract with Capitol Records. On May 29, 1984, Tina Turner’s most successful studio album, Private Dancer, was released and became No. 3 on the Billboard 200, No. 1 on Billboard’s Top R&B Albums, charted internationally, and was certified quintuple platinum in the United States and attained other platinum certifications worldwide. The album combines R&B, smooth jazz, soft rock, and synthpop. Her Billboard Hot 100 No. 1 hit, “What’s Love Got to Do with It” (Terry Britten and Graham Lyle), a fusion of R&B and poprock, won three Grammy Awards in 1985, including Best Female Pop Vocal Performance, Record of the Year, and Song of the Year. Another hit, “Better Be Good to Me” (1981, Nicky Chinn, Mike Chapman, and Holly Knight), won the Grammy Award for Best Female Rock Vocal Performance.

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Private Dancer uses several producers and songwriters; among them was Dire Straits’ (1977–1988, 1991–1995) lead singer-songwriterguitarist Mark Knopfler (1949–), who composed the title track. Listening beyond its 1980s production values and R&B and synthpop elements, Knopfler’s dark soft-rock song could have just as easily suited Dire Straits. In point of fact, many members of the band’s 1983 lineup appear in the song, which features solos by classic-rock guitarist Jeff Beck (Geoffrey Arnold Beck, 1944–) and King Crimson’s Mel Collins’ (1947–) on alto saxophone. The album also includes her cover of David Bowie’s funk-rock “1984” (1973). On her next album, Break Every Rule (1986), she covers Bowie’s pop-rock song “Girls” (cowritten with Erdal Kizilçay). U.K. pressings of Private Dancer include a cover of The Beatles’ “Help!” (1965). Knopfler reappears on the title track of Tina Turner’s Foreign Affair (1989), which included her harder-rock version of Bonnie Tyler’s “The Best” (1988, Chapman and Knight). Coproduced by Tina Turner and Dan Hartman, this version features classic-rock multi-instrumentalist Edgar Winter (1946–) on alto saxophone. It became No. 15 on the Billboard Hot 100. Franklin’s Who’s Zoomin’ Who? (1985) included collaborations with the new wave rock duo The Eurythmics (1980–1990, 1999–2005) on their soul and pop-rock “Sisters Are Doin’ It for Themselves” (1985, Annie Lennox and David A. Stewart), which was No. 9 on the Billboard Hot 100, and pop-rock singer George Michael on their R&B, pop, and dance-rock duet, “I Knew You Were Waiting (For Me)” (1987, Simon Climie and Dennis Morgan), which was No. 1 on the Billboard Hot 100 and won a 1988 Grammy Award for Best R&B Performance by a Duo or Group with Vocal. Franklin’s final classic-rock studio recording was The Rolling Stones’ “Jumpin’ Jack Flash” (1968), produced by The Rolling Stones’ songwriter-guitarist Keith Richards (1943–) and backed by Richards and bandmate Ronnie Wood (1947–) on guitars. Featured in Whoopi Goldberg’s film of the same title (1986), this rendition became No. 21 on the Billboard Hot 100 and, of all Franklin’s renditions of classic rock, is closest to the original. While Franklin’s career continued in an eclectic direction that included new jack swing and hip-hop, Tina Turner recorded pop and dance rock (pop-rock with a dance beat), including songs for films such as “We Don’t Need Another Hero (Thunderdome)” (Britten and Lyle) for Mad Max Beyond Thunderdome (1985) and “GoldenEye” for the James Bond film of the same title (1995, composed by U2’s Bono and the Edge). She also re-recorded “Proud Mary,” based on her live performance captured on Tina Live in Europe (1988), for her autobiographical film, What’s Love Got to Do with It (1993). Earlier, in 1987, Franklin was inducted into

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the Rock and Roll Hall of Fame. Meanwhile, Tina Turner appeared on recordings of Bowie’s “Tonight” (1984; composed in 1977 with Iggy Pop), Bryan Adams’ “It’s Only Love” (1984, with Jim Vallance), and Eric Clapton’s “Tearing Us Apart” (1987, with Greg Phillinganes). Though her live recordings continued to include renditions of classic-rock songs, her 1990s studio recordings focused more on dance rock, using psychedelic rock and hard rock (glam rock) with electronica, disco (Hi-NRG), and hip-hop beats. In 1991, Tina Turner was inducted with Ike Turner, but not yet as a solo act. She retired from recording after Twenty-Four Seven (1999). U2: THE JOSHUA TREE In the 1980s, alternative rock, including college rock, began reaching its height in popularity and entered the mainstream. Generally, it targeted many stereotypical classic-rock elements, generally aiming to eschew loud, belting vocals, emphasis on guitar virtuosity, and topics that seemed anti-intellectual; however, in practice, bands often allowed for and incorporated one or more of these classic-rock elements such as guitar virtuosity. Dublin’s U2 (1976–), which features a strong emphasis on experimental guitar interplay, took the Northern Ireland Conflict (a.k.a. The Troubles, ca. 1968–1998), and brought it to the world music stage. U2 was started in 1976 when 14-year-old drummer, Larry Mullen Jr. (1961–) posted a school notice that he was looking for musicians for a new band. Four members that became part of the original lineup of the band responded, including singer Bono (Paul Hewson, 1960–), guitarist the Edge (David Evans, 1961–), bassist Adam Clayton (1960–), and the Edge’s brother, Dik Evans (1957–). Soon, the band members named themselves Feedback and focused on covering punk-rock songs such as those by The Clash and Sex Pistols. After briefly becoming The Hype, they became U2 in 1978 and won an Evening Press competition in Limerick, which awarded it enough money to record a demo that would be considered by the record label CBS Ireland. The band did not succeed in attaining a contract at this time, and Dik Evans, who was in college, departed. Between being a focus in the Irish music and politics magazine Hot Press, developing an increased following through live concerts, and entering the studio to record demos, U2 got big enough to be briefly signed to CBS. Its first single was the original post-punk song, “Another Day” (1980). It failed to chart, though the band’s debut EP U2-3 sold 1000 copies and they played a concert to a crowd of 2000 at Dublin’s National Stadium. This led to their being signed to Island Records (1959–).

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U2 had strong success with its debut album, the post-punk Boy (1980), which reached No. 13 in Ireland and crossed over to No. 63 on the Billboard 200 in the United States. Though October (1981) performed not as well at No. 17 and 104, respectively, in Ireland and the U.S., it was a commercial success and attained platinum status in the United Kingdom and the United States. Other songs, “Fire” and “Gloria,” were No. 4 and 10, respectively, in Ireland, while minor hits internationally. U2 found greater success with subsequent albums War (1983) and The Unforgettable Fire (1984), which established their international popularity. The two attained quadruple- and triple-platinum status, respectively, in the United States. Though the songs “New Year’s Day” and “Two Hearts Beat as One” on War as well as “Pride (In the Name of Love)” and the title track on The Unforgettable Fire nearly topped or topped the Irish Singles Chart, these were minor hits in the United States. College audiences and younger listeners, however, began gravitating toward U2’s post-punk-tinged hard rock. To say The Joshua Tree (1987) catapulted the band’s career is an understatement. It topped nearly every album chart and ultimately attained diamond status in the United States. Its Billboard Hot 100 No. 1 hits were “With or Without You” and “I Still Haven’t Found What I’m Looking For,” followed by a major hit with “Where the Streets Have No Name” at No. 13 and a minor hit with “In God’s Country” at No. 44. The Joshua Tree was recorded between January 1986 and January 1987, mainly at Danesmoate House (a private Georgian-style historical house) in Dublin. Acoustics and comfort-level issues led U2 to finish recording elsewhere. Starting on August 1, 1986, the rest of the album was recorded at the Edge’s house, called Melbeach, in Monkstown on Dublin County’s coast, as well as at Windmill Lane Studios in Dublin. Meanwhile, some recording was done at STS Studios in Dublin. U2’s fifth studio album was released on March 9, 1987, on Island Records. The album, produced by Daniel Lanois (1951–) and Brian Eno (1948–), was well worth the trouble: it won a 1988 Grammy Award for Album of the Year. Named after a tree photographed close to Darwin, California, The Joshua Tree evokes a desert wilderness and surviving despite experiencing adversity. The album cover Side One of The Joshua Tree fades in with “Where the Streets Have No Name,” with music composed by U2 and lyrics by Bono—their usual songwriting arrangement. The recording of this song demonstrates some studio techniques used throughout the album as well as instrumental effects. The first part of the instrumental introduction begins in triple meter (three beats per measure). Eno’s

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synthesizer (using an organ voice) fades in (initially on the left and then on both speakers), as does the Edge’s arpeggiated (broken) chords (also mostly left), followed by bass and synthesized low strings. Some of the sustained electric guitar tracks are played on an Infinite Guitar prototype, an instrument designed to produce long-lasting (hence infinite) sustaining notes. The second part of the instrumental introduction shifts to quadruple meter (four beats per measure), emphasized by electric bass guitar and drums. The rest of the song is in quadruple meter. Verse 1 features Bono’s raspy low tenor vocals. Electric guitar tracks alternate on different speakers throughout the song. The first refrain is truncated. Electric guitar textures build up in verse 2, which includes a delayedlead electric guitar (left). The second refrain features an electric guitar countermelody (left), but the fullest-sounding refrain is the last one, just before the outro, which features the Edge’s lead guitar (initially, mostly left but then panned quickly to both speakers). “I Still Haven’t Found What I’m Looking For” continues the album’s misty atmospheric sound as well as sense of romantic longing. New guitar textures are added, such as percussive tapping (sounding pitches by tapping the fretboard) on acoustic guitar, heard left and then right. Acoustic guitar strums enter later in the song and can be heard particularly in the bridge before verse 3. Additional guitar effects include portamenti (sliding up, particularly in the outro). The soft-rock song includes tambourine, which plays throughout much of the song, and is often considered a gospel element. “With or Without You” employs more sliding on electric guitar in the introduction, with its high pitches being matched by synthesizer. High pitches sustained on the same Infinite Guitar prototype are used here, ringing and juxtaposed against a motorlike bass guitar. In D major, the song’s verse employs a retro rock-and-roll sound by using a displaced doo-wop or ’50s progression (I-vi-IV-V) with the chords D major-A major-B minor-G major and back to the home key (D major: I-V-vi-IV, back to I). Like “Where the Streets Have No Name,” the refrains in this song are initially truncated; lengthier or extended refrains take place later as the song builds up. “With or Without You” focuses more on a current relationship than longing, though it still contains romantic lyrical content. “Bullet the Blue Sky” is most reminiscent of the post-punk music of previous U2 albums. Bono’s lyrical content also comes closest to Bob Dylan here, with poetic imagery and a focus on political protest. Violent imagery of fighter planes hovering over “mud huts where the children sleep” could be initially taken for happening most anywhere—including Ireland. The end of the song mentions San Salvador, revealing that it is specifically about the Salvadoran Civil War (1979–1992). Disrupting

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the misty atmosphere sustained by the first three tracks, “Bullet the Blue Sky” features the Edge’s distorted lead electric guitar and dive-bombs à la Jimi Hendrix on the whammy bar as well as slides heard immediately in the introduction. Bono’s voice starts verse 1 with substantial vocal grinding (creating a raspy sound). A vocal bridge features Bono sounding a bit like Led Zeppelin’s lead singer, Robert Plant, in “Whole Lotta Love” (1969). The song also stands out for how it breaks down into spoken-word verses toward the end. In striking contrast to the loudest track on the album, “Running to Stand Still,” in D major, concludes Side One. The soft-rock and folkrock ballad with blues elements is about a couple that is addicted to heroin and living in the seedy Ballymun Flats in Dublin. The main blues element is a twangy country blues–sounding acoustic guitar heard in the introduction and in the outro. Harmonica is also placed in the foreground in the outro. More than any other song on the album, this one demonstrates U2’s interest in Americana and aligns their sound with Bruce Springsteen and John Mellencamp. Side Two begins with “Red Hill Mining Town,” which is about the National Union of Mineworkers’ 1984 strike in Great Britain. It incorporates more pop-rock than the previous tracks. The second track, “In God’s Country,” uses desert imagery toward the beginning to symbolize potential and hope and then moves toward romantic passion. The lyrical content is open to interpretation, but within the context of U.S. President Ronald Reagan’s administration (1981–1989) and its support of wars in South America, the desert may be understood as a metaphor for Reagan’s politics. The song features jangly acoustic and electric guitars as well as the Edge’s more high-pitched Infinite Guitar accompanying Bono’s lead vocals. “Trip through Your Wires” combines blues-rock with country rock and features Bono on harmonica. Electric guitar tracks extend the jangly sound employed on the previous track. This song is followed by “One Tree Hill,” which brings back some of the percussive effects on guitars heard in “I Still Haven’t Found What I’m Looking For.” The instrumental interlude includes strings, accompanied by percussive electric guitar (left) as well as drums and a light use of cowbell (center). Consisting of soft-rock and folk-rock elements, the song was inspired by Greg Carroll (ca. 1960–1986), an assistant of U2’s from New Zealand as well as a close friend of Bono’s, who died when a car struck him on a motorcycle that he borrowed from Bono. “Exit,” a song inspired by murderer Gary Gilmore (1940–1977) as interpreted in Norman Mailer’s novel The Executioner’s Song (Little,

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Brown, 1979), stands out for placing Bono’s voice more in the background. It starts out softly, but then moves toward hard rock by the middle of the song with its use of overdrive applied on bass (doubled with bass drones on synthesizer), juxtaposed against high-pitched electric guitar (right) and distorted lead guitar effects such as fuzz. Heavy drums prevail in the outro. For this song, the Edge plays some tracks on a Bond Electraglide guitar. Side Two concludes with “Mothers of the Disappeared,” another song inspired by El Salvador as well as Nicaragua. The soft-rock song, in A major, includes lyrics about children whose memories haunt their mothers with their heartbeat and laughter. Raindrops and tears are other images used to represent sadness. The song alludes to the Madres de Plaza de Mayo (Mothers of Plaza de Mayo) whose children disappeared under the authority of Chilean and Argentine dictatorships. Bono became aware of this group while U2 performed a 1986 Conspiracy of Hope tour to benefit Amnesty International. In 2005, U2 was inducted into the Rock and Roll Hall of Fame. Two years later, Island released a remastered edition of The Joshua Tree, under the Edge’s supervision. It contains 14 bonus tracks and commemorates the album’s 20th anniversary. In 2017, U2 went on a Joshua Tree concert tour in North America, Latin America, and Europe, which consists of concerts focused on their album’s songs. In the same year, Island has released a 30th anniversary reissue, this time including U2’s live September 28, 1987, concert at Madison Square Garden in New York City, new remixes of six of the album’s tracks, and B-sides and outtakes. THE VENTURES: WALK DON’T RUN AND THE VENTURES PLAY “TELSTAR” AND THE “LONELY BULL” The Ventures’ (1958–) most successful studio album, The Ventures Play “Telstar” and the “Lonely Bull,” showcases the instrumental surf-rock band’s fusion, guitar playing, and artistic ambition. All became an inspiration for classic-rock guitarists such as Carl Wilson, George Harrison, John Fogerty, Mark Knopfler, Joe Walsh, Jimmy Page, Tom Petty, and Stephen Stills, as well as drummers such as Dennis Wilson, Keith Moon, and Alan White. The Ventures’ surf-rock sound traces back to predecessors such as Duane Eddy (1938–), who used a twangy electric guitar with a lot of reverb in rockabilly hits such as “Rebel Rouser” (1958, Eddy and Lee Hazlewood) and “Peter Gunn” (1959, Henry Mancini) as well as exoticism in his 1961 cover of Duke Ellington and Juan Tizol’s swing jazz song “Caravan” (1936). Another influence, Dick Dale (Richard Anthony Mansour, 1937–), incorporated elements of Orientalism

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such as Middle Eastern and Eastern European sounds (e.g., respectively, scales and balalaika music). In 1958, The Ventures began as Versatones, a two-member instrumental rock band, in Tacoma, Washington. Lead guitarist Bob Bogle (Robert Lenard Bogle, 1934–2009) and rhythm guitarist Don Wilson (1933–) recruited Nokie Edwards (Nole Floyd Edwards, 1935–2018) on bass guitar and Skip Moore on drums. By 1959, they became The Ventures and auditioned for producer Bob Reisdorff (1922–2002) at Dolton Records (1959–1967) in Seattle. Although Reisdorff liked their sound, Dolton had already signed another instrumental rock band, The Frantics (a.k.a. The Four Frantics, ca. 1958–1960s). In response to The Ventures’ not being offered a recording contract, Don Wilson’s mother, Josie Wilson (1915–2007), began their independent label, Blue Horizon (1959–1962, 2009–). Del Halterman, in “Walk Don’t Run”: The Story of The Ventures (2009, self-published), based on research on production details and interviews with her, writes that Josie Wilson taught herself music production techniques while recording The Ventures on a twotrack Ampex tape recorder at Joe Boles Custom Recorders in Seattle. She then sent the recordings to local radio stations. Seattle’s KJR DJ Pat O’Day liked “Walk Don’t Run” (self-released in June 1962) so much that he played it before the news. “Walk Don’t Run” established The Ventures’ sound. Chet Atkins’ 1957 country and pop-sounding cover of cool jazz guitarist Johnny Smith’s 1954 song, titled after a New York City subway sign, inspired their earliest and biggest hit. Keeping Atkins’ transposition from D minor (the original key) to A minor, The Ventures’ guitarists play a descending progression called a Flamenco or money chord progression: A minor-G major-F major-E major (A minor: i-VII-VI-V), the same kind of progression used in the verses of Del Shannon’s hit, “Runaway” (1961). Rock and roll focused on the lead singer. At the time, instrumental rock was considered novelty music, but the heavy use of spring reverb, driving electric guitars, frenetic drums, and an ominous-yet-catchy melody appealed to listeners as well as to Reisdorff, who ultimately offered The Ventures a contract and reissued the single on Dolton. “Walk Don’t Run” reached No. 2 on the Billboard Hot 100, followed by “Walk Don’t Run ’64,” which hit No. 8. “Walk Don’t Run” launched Josie Wilson’s career as coproducer on six of The Ventures’ early albums, which feature more covers than originals: Walk Don’t Run (released on December 5, 1960), which was No. 11 on the Billboard 200 and gold-certified; The Ventures (1961); Another Smash!!! (1961); The Colorful Ventures (1961); Twist with The Ventures (1962); Twist Party: Volume 2 (1962);

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Mashed Potatoes and Gravy (1962); and Going to The Ventures Dance Party! (1962). The Ventures Play “Telstar” and the “Lonely Bull” was originally titled The Ventures Play Hits of the Sixties. A recording project envisioned by Reisdorff and Josie Wilson, it covers rock-and-roll, surf rock, easy-listening pop, and jazz hits while applying The Ventures’ own surf-rock flavor and with minimal structural divergence from the originals. The album prominently features The Ventures (including sparse vocals) with uncredited organist Leon Russell, mandolinist Hank Levine, trumpeters Al Porcino and Frank Huggins, and female backing singers. Though Edwards, Wilson, and Bogle are credited as lead guitarists, Edwards is also credited as “base guitarist”—not a misspelling for bass, but rather an indication that he plays the main melodies on guitar. For the first time, this album features drummer Mel Taylor (1933–1996). Taylor replaced Howie Johnson (1934–1988), who played with the band after a couple of personnel changes. Although Johnson broke his neck in a 1957 automobile accident, he continued drumming while wearing a neck brace. By 1962, Johnson quit the band to spend more time with his family. Taylor, one of the Crypt-Kickers on Boris Pickett’s “Monster Mash” (1962), had also been a session drummer for trumpeter, songwriter, and A&M Records executive Herb Alpert. He was the older brother of Larry Taylor (a.k.a. The Mole, Samuel Lawrence Taylor, 1942–), Canned Heat’s (1965–) bass guitarist and The Monkees’ (1966–1971) session bassist. Released on January 5, 1963, on Dolton, The Ventures Play “Telstar” and the “Lonely Bull” was The Ventures’ most successful studio album. It attained gold certification in the United States. “Telstar,” the opening track, was not originally part of the album. English sound engineer, independent producer, and songwriter Joe Meek (Robert George Meek, 1929–1967) composed the song for his London-based studio session rock-and-roll quintet, The Tornados (1960–1967). Meek was inspired by the July 10, 1962, launch of Telstar 1, the first communications satellite that provided a live transatlantic television feed, television and telegraph pictures, and telephone connection. Released on August 17, 1962, the song featured a cosmic sounding main melody that is played by a clavioline (an electronic keyboard precursor of the analog synthesizer). Don Wilson instantly wanted to cover “Telstar.” He and Josie Wilson convinced Reisdorff to include the song, which did become a hit. Soon afterward, “Telstar” topped charts internationally, becoming the first English pop-rock song to be No. 1 in the U.S. The Ventures’ album was recorded in the autumn of 1962 at Northwest Recorders in Seattle, an independent recording studio that was located in the same building and

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worked with Dolton. Wanting to ride on “Telstar’s” success, Reisdorff quickly produced the mono version, charging Josie Wilson (who was deaf in her left ear) to produce the stereo one (Halterman 2009, 87). The mono version became No. 13 on the Billboard 200, whereas the stereo version—the focus of this discussion—became No. 8. In contrast to the original, The Ventures’ rendition is slightly faster, uses more electric guitars, and replaces the clavioline with Russell’s Hammond B3 organ. Its bifurcated introduction opens with a rocket explosion—a sound effect created, after much trial and error, by adding spring reverb to Don Wilson’s shooting fire extinguisher foam (Halterman 2009, 87). The organ then enters, doubled by electric guitars (on the right speaker). All chromatically ascend (move up by half-step) to the home pitch of A major (the same key as the original), accompanied by a bebop-inspired, fervently played flat ride cymbal (left). The Ventures’ recording of “Telstar” uses the following song structure: introduction; section A; B (or middle-eight); A’; B; bridge (chromatic modulation that resembles the introduction); A’’; and outro (also bifurcated). In section A, the bass (right) and drums (left) accompany the organ, which has the main melody. Section B (also in A major) has a contrasting lyrical melody, played in the electric guitar’s upper register while accompanied by harp strums (both right), bass, and drums (including the ride cymbal). In addition to spring reverb, touches of surf rock that can be heard in The Ventures’ “Telstar” include the fast tempo, Taylor’s frenetic drumming, and Edwards’s twangy electric guitar timbre (though it eschews the sliding or portamento sound, its timbre is sweet like a Hawaiian steel guitar). Near the end, the bass signifies the outro by playing on the beat. The organ’s section A melody is doubled by a low tenor male voice (left), accompan­ ied by electric guitars. The organ sustains its last note as another blast-off is sounded, followed by computer sounds (high right field)—this studio sound effect is used again in other recordings such as the very end of David Bowie’s psychedelic-rock song “Space Oddity” (1969). The second track, “The Lonely Bull,” was a 1962 jazz-influenced pop standard that was originally titled “Twinkle Star” and composed by Sol Lake (1911–1991). That year, Lake’s friend, Herb Alpert (1935–), retitled it as “The Lonely Bull (El toro solitario),” and the Tijuana Brass (who were actually members of The Wrecking Crew, a West Los Angeles–based collective of session musicians at Conway Recorders in Hollywood that was active in the 1960s and 1970s), recorded a mariachi-inspired easy-listening rendition. Alpert’s No. 6 hit on the Billboard Hot 100 inspired The Ventures, who also include a mandolin playing high pitches with tremolo (a trembling effect created by

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alternating between neighboring pitches), twangy electric baritone guitar with reverb, and female backing singers. In contrast to Alpert’s version, Josie Wilson’s mix focuses more on strings and vocals than on trumpets. Alpert declined an invitation to play on the album because his production partner, Jerry Moss (1935–), would not approve of his appearance. The jangly acoustic sound of “Mexico,” used often in rockabilly and, later, in folk rock, sounds more like “Never on a Sunday,” later on the album, than “The Lonely Bull.” In 1961, Boudleaux Bryant (Diadorius Boudleaux Bryant, 1920–1987), who usually worked with his wife, Felice Bryant (Matilda Genevieve Scaduto, 1925–2003), composed the folk-inspired “Mexico.” This songwriting duo was best known for the Everly Brothers’ rockabilly hits: “Wake Up, Little Susie” and “Bye, Bye, Love” (both 1957); “All I Have to Do Is Dream” (1958); and “Love Hurts” (1960; also a 1975 hit for the Scottish hard-rock band, Nazareth). The acoustic guitars serve as contrast to the electric guitars found in “Telstar” and “The Lonely Bull.” Like “Mexico,” “Calcutta” (1958, Heino Gaze) includes an introduction, followed by the main melody and its varied repetitions. The upbeat, easy-listening pop song was a 1961 hit for Lawrence Welk and His Orchestra. High-pitched electric guitars and female backing singers take turns with the main melody, accompanied by drums, shakers (left), and, eventually, claps. Despite its sinewy melody, “Calcutta” has no Indian musical elements (though with the help of its title, one may imagine the crowded city’s hustle-and-bustle activity). In contrast, The Ventures evoke Native American—yet stereotypical—sounds in their rendition of “Apache” through devices such as drumming heartbeats in quadruple meter (suggesting Plains Indians’ frame drums); whooshing vocal effects (evoking the wind or whips); a high-pitched, twangy electric guitar’s introductory melody; and a lot of spring reverb. Apart from its later use of shakers, the song sounds nothing like Apache music. The song evokes a wide, open landscape and consists of a country-Western music influence that resembles “(Ghost) Riders in the Sky: A Cowboy Legend” (1948, Stan Jones). In 1960, British singer-songwriter Jerry Lordan (1934–1995) composed “Apache,” an instrumental rock-and-roll song titled after the Burt Lancaster American Western film drama (1954). In 1961, The Shadows (1958–1968, 1973–1990, 2004–2015), an English rival of The Tornados, and Danish rock and jazz guitarist Jørgen Ingmann (Jørgen Ingmann Pedersen, 1921–2015) created influential renditions. The Ventures use Lordan’s original key, A minor, and musical suggestions of Native Americans with the following structure: introduction (bifurcated); section

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A; B; C; B; A’; A’’; C; B’; outro (using introductory material). After the electric guitar’s main melody in the introduction, the baritone electric guitar plays a new main melody in section A. The electric guitar adds tags (left) using its upper register that are fragments of the introductory melody. Meanwhile, the electric bass guitar plays a countermelody (right), accompanied by drums and hi-hats (left). Section B (starting on F major or VI of A minor) uses a galloping horse rhythmic pattern (with 8th- and 16th-notes). Here, the electric baritone guitar plays the main melody and again in the more lyrical section C (starting on F major in the key of C major, which is the relative major of A minor). At this point, the electric guitar’s tags (left) repeat some of the electric baritone guitar’s melody. The pulsating, high-pitched electric guitar takes over the main melody (right) in section A’. This melodic variation tickles the ear and sounds proto-psychedelic. Stop-time takes place as rests punctuate the groove. The electric guitar and electric baritone guitar alternate, stoptime returns in section A’’, and the song concludes by adding shakers to introductory material used in the outro, which fades out. “Never on Sunday” (a.k.a. “Ta Pediá tou Pireà,” which is Greek for “The Children of Piraeus,” 1960, Manos Hatzidakis), the Academy Award–winning song from the popular film of the same title, concludes Side One. Levine’s opening and closing mandolin solos, with some acoustic guitar doubling, are employed in The Ventures’ rendition. Finger snaps (left), which eventually enter the foreground, help break up the repetition, as does the mandolin and acoustic guitar interlude, but the female backing voices (using ascending portamento effects) distract from this rendition’s charm. The outro fades out. Side Two opens with a cover of The Champs’s Latin-flavored rock classic, “Tequila” (1957), and Booker T. & the M.G.’s (1962–1971, 1973–1977, 1992–) soul-infused rock classic, “Green Onions” (1962). The Ventures’ “Tequila” combines the timbres of electric and acoustic guitars. Like “Apache,” the lower electric baritone guitar has most of the main melody and serves as contrast to the higher electric guitar, which adds tags and glissandi (here, sliding down on strings). In section B, the electric bass guitar (right) has a fun walking countermelody. The accompanying drumming, which features a ride cymbal, sometimes inserts a snare rim shot (both left). The fingerpicked electric guitars double an octave apart, followed by Edwards’s baritone guitar’s sliding countermelody. Like the original, the song is punctuated and completes the vamp-driven outro with a low voice saying, “Tequila.” The Ventures’ overmixed rendition of “Green Onions” roars with garage-rock overdrive, reverb, and thus blurring distortion. A drum roll

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leads into the vamp, played by electric guitars and followed quickly by an organ solo (right). The rhythm section and organ are assigned to the right speaker in the introduction, but afterward the rhythm section is moved over to the left. The organ (later on the left) usually has the main melody, but the solo electric guitar (mostly right) takes over the second time. The organ returns (again on the left) with the melody the final time and in the fade-out. In contrast to “Green Onions” garage rock sound, “Percolator” (ca. 1961, Ernie Freeman and Louis Bideau) demonstrates clean electric guitar fingerpicking. Surf music typically evoked natural sounds, especially ocean waves (by using tremolo, sometimes by using a whammy bar on an electric guitar to bend between notes, and lots of reverb), but also the surf or car ride (by changing the tempo or using frenetic drumming and/or guitar fingerpicking that leads into strumming); the percolator is similar to these later sounds. The solo electric guitar bubbles in the introduction, followed by its main melody in section A. To add listening interest, the main melody includes repetition and rests. In contrast, section B runs smoothly with its meandering high electric guitars and bass (right) doubling and adding surf-rock suspense. The two sections alternate a couple of times until the outro, in which the song slows down to the electric guitar’s final bubble. “Red River Rock” (ca. 1958, Fred Mendelshon, Ira Mack, and Tom King), a rendition of Johnny and the Hurricanes’ 1959 hit, fuses country with surf rock. The Ventures feature Hammond B3 organ’s main melody in section A and harmonizing electric guitars (both) with walking bass (right) in section B. Like “Percolator,” section B emphasizes the surf-rock flavor. “Let There Be Drums” (1961), an instrumental surf-rock hit that showcased its songwriters, drummer Sandy Nelson (Sander Nelson, 1938–), and guitarist Richie Podolor (1936–), who later produced Three Dog Night, was No. 7 on the Billboard Hot 100. The Ventures’ rendition showcases Taylor’s drumming, alternating with Edwards’s country-influenced electric baritone guitar (left). Edwards’s chromatic melody adds suspense between drum solos. Though shaker and hi-hat appear on the right speaker, no other separation is applied to the drums. The final track, “Last Night” (1961, Charles Axton, Jerry Lee Smith, Floyd Newman, Chips Moman, and Gilbert C. Caple), demonstrates a proto-classic-rock fusion of 12-bar blues with surf and garage rock. It was an early hit for The Mar-Keys (1958–ca. 1971), the first studio band for Stax Records in Memphis, Tennessee. A year later, Booker T. Jones joined them, and, as Booker T. & the M.G.’s, they recorded “Green Onions.” Like both originals, The Ventures’ rendition is organ-driven,

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with Hammond B3 organ playing the main melody. The main difference between The Mar-Keys and Booker T. & the M.G.’s was that the latter recorded without a horn section. The Ventures’ “Last Night” also includes a horn section. Until 1970, most of The Ventures’ studio albums charted on the Billboard 200. Josie Wilson’s last production was The Ventures Play the Country Classics (1963). She continued on as the band’s fan club president. Her and Reisdorff’s only non-Ventures album was country guitar virtuoso Roy Lanham’s The Most Exciting Guitar (1961). The Ventures in Space (1964), produced by Reisdorff, was a thematic follow-up to The Ventures Play “Telstar” and the “Lonely Bull” and peaked at No. 27 on the Billboard 200. Hawaii Five-O (1969), produced by Joe Saraceno (1937–2015), reached No. 11 and was The Venture’s third and final gold album. Its title track (1968, Morton Stevens) became the theme song for the television series Hawaii Five-O (1968–1980) and was No. 4 on the Billboard Pop Singles Chart. Saraceno became the band’s longtime producer and, though they had no charting album since Theme from “Shaft” and Joy: The Ventures Play the Classics (1972), The Ventures continued recording and touring (later with nonoriginal members) and enjoying further success, especially in Japan. THE WHO Colorful against a backdrop of 1960s London gray, The Who’s (1964– 1983, 1996–) sound was as provocative as their attire. They hailed from Acton, an area of London that could have easily locked them into deadend working-class lives, but singer Roger Daltrey (1944–) recruited his grammar-school friends, songwriter-guitarist Pete Townshend (1945–) and bassist John Entwistle (1944–2002), to form a band, The Detours (1959–1961). Under publicist and manager Peter Meaden (1941–1978), known as the Modfather, they changed their name to The Who and then to The High Numbers (1961–1964). Following his advice, they donned Royal Air Force roundels and the Union Jack sports jackets, T-shirts, and jumpsuits. Not really Mods themselves, they nevertheless shared a love of American rhythm and blues, a jaded attitude toward the English status quo and societal expectations, and a desire to spend every waking hour at a club. By 1964, the band performed hard-rocking rhythm and blues—self-billed as “maximum R&B”—in the heart of Mod territory, the Marquee Club in London. Despite the charting failure of The High Numbers’ first single, filmmakers Kit Lambert (Christopher Sebastian Lambert, 1935–1981) and

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After the Monterey Pop and Woodstock Festivals, The Who found success in both England and the United States. Pictured (from left to right) is the original lineup while at a press call in 1971 in Surrey, England: bassist and multi-instrumentalist John Entwistle, drummer Keith Moon, guitaristsongwriter Pete Townshend, and lead singer Roger Daltrey. (Michael Putland/ Getty Images)

Chris Stamp (1942–2012) were impressed with the band’s live show. They bought its contract and renamed the four as The Who. The band’s first U.K. hit (at No. 8) and Billboard Hot 100 crossover hit (at No. 93) in the United States was the power-pop (hard pop-rock) “I Can’t Explain” (1965), on the Brunswick label. Chicago-born, West Los Angeles–raised producer Shel Talmy (1937–) produced The Who’s earliest recordings. In E major, the song employs E major-D major-A major-E major in its verses and choruses, which contains the classic-rock progression (E major: I-bVII-IV). In retrospect, the backing vocals and lyrical content express a youthful aggravation that seems like a prelude to the angrier “My Generation” (1965). Talmy also produced The Who’s nonalbum power-pop single, “Anyway, Anyhow, Anywhere” (1965), which was No. 10 in the United Kingdom, and “My Generation,” which was No. 2 in the United Kingdom but reached its height at No. 74 in the United States. The Who’s 11-album studio output began with their Talmy-produced debut, My Generation (released in 1965 and 1966, respectively, in the

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United Kingdom and the United States). It was No. 5 on the U.K. Albums Chart and attained gold certification. The album’s other U.K. hits were “A Legal Matter” and another Mod favorite, “The Kids Are Alright.” A few other originals were “Out in the Street” and “La-La-La-Lies,” as well as “The Ox” (composed with keyboardist Nicky Hopkins). My Generation includes their hard-rocking cover of Bo Diddley’s rhythm and blues song, “I’m a Man” (1955). On April 25, 1966, Decca Records reissued the album as The Who Sings My Generation, which swaps out their Diddley cover with the power-pop “Circles (Instant Party),” featuring Entwistle on French horn, concluding the album. Stereo album formats bring depth to a recording that may otherwise seem flat; however, My Generation sounds better in mono. Its stereo mix thins out the sheer power of Moon’s drums and the garage-rock rumble of Enwistle’s bass that contribute to the rebellious anger of the title track. “My Generation’s” pro-youth message is clear: older folks need to make way for the new (and The Who) generation. If the song were not so melodious, it would be proto-punk. The structure of the recorded song is as follows: instrumental introduction; verse 1; refrain; verse 2; refrain; instrumental verse; vocal bridge; verse 3; refrain; vocal bridge; verse 4; refrain; outro. The stereo version is analyzed here for the purpose of discussing Talmy’s production techniques. In the home key of G major, the instrumental introduction features Townshend’s bluesy, distorted electric guitar riff (assigned left). His four-beat strums alternate between a measure of a G5 power chord (with no third or filling pitch) and a measure of F majorsus6 (G major: I5-bVIIsus6), accompanied by Entwistle’s rumbling bass (right), and Moon’s relentless eighth-to-triplet note strikes (on mostly the ride cymbal). Townshend and Entwistle’s ringing sound gives a sense of a tonic pedal point progression—sustaining the home key as chords change above it. It becomes a frequent sound in Townshend’s songs (for example, the E minor introduction of “I Can See for Miles,” 1967). Daltrey’s stuttering and syncopation not only vary his repetitive melody, which he delivers at times like a cheer; they also depict frustration. Short, bluesy “talkin’ ‘bout my generation” backing vocal refrains repeat (G major: I-IV6/4-bVII[6], or G major-C major-F major, a displacement of the classic-rock progression, I-bVII-IV). The instrumental verse features Entwistle’s bass (right), which then has an exchange with Townshend’s lead electric guitar (left). Each bridge modulates, moving from G to A major in the one before verse 3, then A to B-flat major in the second one before verse 4, and finally B-flat to C major before building up to the explosive outro. In their live performances, Townshend and Moon violently destroy their instruments at the end of the outro—an act of

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autodestructive art that signifies chaos and a rejects material objects or established systems. This behavior at Monterey Pop (1967) so disturbed sitarist Ravi Shankar that Woodstock promoters had to reassure him that they would not do it again. The recording represents this autodestruction through distorted electric guitar, beeps and feedback (left), and fervent drumming (right). A giant C major-F major-C major-F major gesture (C major, because of modulation: I-IV-I-IV), signifies the song’s end (or the chaos beginning). The Who’s second studio album, A Quick One (1966 in the United Kingdom), was No. 4 in the United Kingdom and the band’s first album to chart on the Billboard 200 (at No. 51). In 1967, Decca released the album with the title Happy Jack in the United States, after the title of a song that was No. 3 in the United Kingdom in 1966 and No. 24 on the Billboard Hot 100 in the United States. On the album’s American issue, the hit song replaces their hard-rock cover of Martha and the Vandellas’ Motown hit, “Heatwave” (1963, Brian Holland, Lamont Dozier, and Eddie Holland). The garage-rock “Happy Jack” features Daltrey’s lead vocals; however, Entwistle takes lead vocals on its first verse. A Quick One contains songs mostly composed by Townshend—but this time with solo songwriting contributions by each member. Most memorable is Entwistle’s fun psychedelic garage–shock rock novelty, “Boris the Spider.” His amusing lead vocals include soft baritone verses, basso profundo in a four-part vocal chorus in the refrains, and falsetto in the B section (middle-eight). The juxtaposition of high and low vocal registers is matched by his rumbling descending chromatic bass lines in the foreground. The album concludes with Townshend’s six-movement proto-prog rock “A Quick One, While He’s Away.” The first movement, “Her Man’s Been Gone,” begins with Daltrey, Townshend, and Entwistle’s a cappella singing, followed by Daltrey’s lead vocals in the second and third movements, “Crying Town” and “We Have a Remedy.” Entwistle’s lead vocals depict the fourth movement’s protagonist, “Ivor the Engine Driver,” followed by the a cappella fifth movement, “Soon Be Home.” Townshend sings lead vocals in the sixth movement, “You Are Forgiven.” Lambert encouraged Townshend to use classical music. Though “A Quick One, While He’s Away” was the band’s first recorded mini-opera, demonstrating prog-rock ambition, it is actually psychedelic rock. The Who Sell Out (1967) was the band’s first concert album and was meant to sound like a pirate radio broadcast with interspersed spoof jingles that advertised real and fictitious products in between songs (examples of real products were Entwistle’s “Heinz Baked Beans” and Townshend’s “Odorono,” an American deodorant for women). The

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imaginative album was No. 13 in the United Kingdom, attaining silver certification there, and No. 48 in the United States. Its only Billboard Hot 100 hit was the psychedelic-rock and raga-rock song “I Can See for Miles.” Its concluding song, “Rael,” is a proto-prog rock song that was originally a half-hour suite with motives and chord progressions that were recycled in The Who’s later rock opera, Tommy (1969). After recording it in July 1967, a custodial worker disposed of the master tapes at Talentmasters Studio in New York City; it was therefore re-recorded on October 20, 1967, at Pye Studios and then abridged to 5 minutes and 44 seconds. Another serious effort on The Who Sell Out, “I Can See for Miles,” has an upbeat, pop-sounding refrain that belies its menacing, paranoid verses sung from the perspective of a boyfriend who knows about his cheating girlfriend. The introduction rumbles in with a hard-rocking bass (mostly right) that is so loud that it echoes off Moon’s snare drum (left). Refrains feature a psychedelic, bouncing, sitarlike electric guitar (left). Tommy (1969), The Who’s best rock opera, was recorded as a double album and became No. 2 and 4, respectively, in the United Kingdom and the United States. Generally, most rock opera albums are too-farremoved concert souvenirs. Its loose narrative, just evoked in the lyrics heard on the album, focuses on a boy who shuts down and becomes deaf, dumb, and blind after witnessing his father murdering his mother’s lover. Using his sense of touch to relate to the outside world, he focuses on his imagination, as suggested in “Amazing Journey” (Side One). Their cover of Sonny Boy Williamson II’s blues song “The Hawker” (1951) accompanies the Hawker’s claim that his wife, the Acid Queen, can cure Tommy (also Side One). She gives him LSD (lysergic acid diethylamide), and he experiences a trip, represented by the instrumental “Underture” (Side Two). Tommy becomes a pinball championship winner, as described in The Who’s hit “Pinball Wizard” (Side Three). After a dominant pedal point introduction on F-sharp (V) in B minor, a vamp based on B major chords cues the verse, which is also in B minor, but substitutes the parallel major, B major (I) to create a descending sound that is called a Flamenco progression (outlining in B minor: I-bVII-bVI-V[-I] instead of i-VII-VI-V(7)[-I], the chord roots move down in diatonic whole steps: B major sus4-B major add4-A majorsus4-A major-G major sus4-G major-F-sharp majorsus4-F-sharp major7sus4-F-sharp major). Also called money chords, Flamenco progressions are in songs such as Del Shannon’s “Runaway” (1961) and the Eagles’ “Hotel California” (1977). The refrains are in E major, but by the final verse, the home key becomes D major (the relative major of B minor). After finding spiritual

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nirvana through pinball and becoming a guru, he suddenly regains his senses via his doctor and mother. In “I’m Free” (Side Four), he starts a religious cult, but his hippie-like followers reject him after he advises them to stop enjoying drugs and alcohol, shut down their senses, and play pinball. Their rejection shuts Tommy down again, represented by the final song, “We’re Not Gonna Take It,” which repeats the “Overture’s” “See Me, Feel Me” motive that is interwoven throughout the album. Tommy’s positive critical reception and hits brought rock opera mainstream success and encouraged prog-rock bands such as Genesis to produce rock opera albums. Rock operas soon appeared on Broadway, with the most notable example being Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar (1970). At this time, Townshend was planning Lifehouse—a rock opera, concept album, and music for a film created through collaboration between The Who and live audiences. As it was too complex to realize, The Who abandoned this project. Nearly all of Who’s Next (1971) includes songs recorded for Lifehouse. The album was, respectively, No. 1 and 4 in the United Kingdom and the United States. It attained triple-platinum status in the United States. Its hits include “Won’t Get Fooled Again” at No. 9 and 15, respectively, in the United Kingdom and the United States and “Behind Blue Eyes” at No. 34 in the United States. Another popular song was “Baba O’Riley,” which was titled after Townshend’s influences: spiritual mentor Meher Baba (Merwan Sheriar Irani, 1894–1969) and American minimalist Terry Riley (1935–), composer of the experimental electroacoustic music album A Rainbow in Curved Air (1969). Townshend’s oscillating synthesizer loops, created by a repeat switch on his home organ, a Lowrey Berkshire Deluxe TBO-1 set on marimba, are separated between left and right speakers in the bifurcated introduction, followed by acoustic piano and bass (both right) and then separated drums. The famous introductory loops return in the instrumental outro, giving way to a cello solo (left). Distorted electric guitar (left) is added as the tempo accelerates to the end. The song’s “it’s only teenage wasteland” is one of the album’s famous lines. Another concludes “Won’t Get Fooled Again”: “meet the new boss, same as the old boss.” Quadrophenia (1973), an homage to The Who’s Mod fans, was No. 2 in both countries. Its narrative-bound songs failed to stand alone like those in Tommy. Their “5.15” was the only hit in both the United Kingdom and the United States, at No. 20 and 45, respectively. Other U.K. hits were “Love, Reign O’er Me” and “The Real Me.” Quadrophenia is about Jimmy, a London youth with four multiple personalities—each

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representing a band member, underscored by “The Real Me” (Side One). After attending The Who’s concert in Brighton—the actual site of an infamous riot between Mods and rockers that took place on May 18 and 19, 1964—he becomes a fan and a Mod, underscored in “I’m One” (Side Two). In London, Jimmy uses amphetamines to work all day and stay at a club all night. His life spins out of control when he becomes frustrated with his dead-end job and his parents; he also loses his girlfriend to his best friend and his scooter in an accident—all underscored by “I’ve Had Enough” (Side Two). He heads back to Brighton to recall happier times in “5.15” (Side Three). When he is unable to find his hero, a Mod he calls Ace Face, he contemplates suicide in “Drowned.” Jimmy discovers that he is in a dead-end job in “Bellboy” (Side Three), but resolves not to commit suicide in “Love Reign o’er Me” (Side Four). Though The Who had issues with performing Quadrophenia live, Franc Roddam’s English film drama adaptation (1979) was successful and included the album’s songs and hits such as “My Generation” and “Anyway, Anyhow, Anywhere.” After Quadrophenia, The Who’s albums charted unevenly. They included The Who by Numbers (1975), Who Are You (1978), Face Dances (1981), and It’s Hard (1982). The Who by Numbers was almost entirely composed by an age-weary Townshend (with writer’s block), while other members experienced a general sense of ennui. Its only hit was their polka, country, and bluegrass novelty, “Squeeze Box,” at No. 16 on the Billboard Hot 100 in the United States. The harder rocking Who Are You was a response to England’s emerging punk rock and became the band’s second most successful album, with double-platinum certification in the United States. Its double A-side single “Who Are You”/“Had Enough” was No. 18 and 14, respectively, in the United Kingdom and the United States. Instead of using his guitar, Townshend composed the synthesizer-dominated “Who Are You” on keyboard. Nicknamed “Moon the Loon” for his partying and antics, Keith Moon died of a clomethiazole drug overdose three weeks after the album’s release. Townshend reacted to his grief by making the rest of the band tour extensively. In 1982, The Who broke up. In 1990, the same year as The Kinks, The Who was inducted into the Rock and Roll Hall of Fame. In 2007, The Zimmers (2007–), an elderly English rock band, appropriated “My Generation,” typically thought of as a youth anthem. One of its members was Joan Bonham, mother of Led Zeppelin’s drummer John Bonham, another classic-rock drummer who, like Moon, died prematurely. The Zimmers recorded their punky version at The Beatles’ Abbey Road Studio 2. It became No. 26 on the U.K. Singles Chart.

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NEIL YOUNG: HARVEST AND LYNYRD SKYNYRD: SECOND HELPING Canadian folk-rock and country-rock singer-songwriter Neil Young’s (1945–) fourth studio album, Harvest, was released on February 1, 1972, on the Reprise Records label. The album was No. 1 on the Billboard 200 in the United States and topped the charts in Australia and the United Kingdom. It also attained quadruple-platinum status in the United States as well as platinum certifications internationally. The soft-folk and country-rock ballad “Heart of Gold,” which was No. 1 on the Billboard Hot 100 and Canada, was the album’s most successful hit; however, another song on the album, “Alabama,” inspired American Southern and blues-rock band Lynyrd Skynyrd (1964–1977) to write their answer song, the swamp-rock anthem “Sweet Home Alabama.” The song was the only hit on their second studio album, Second Helping. Released on April 15, 1974, on MCA Records’ imprint, Sounds of the South, Second Helping was No. 12 on the Billboard 200 and No. 9 in Canada. It ultimately attained double-platinum status. “Sweet Home Alabama” became Lynyrd Skynyrd’s biggest hit: it was No. 9 on the Billboard Hot 100 and No. 6 in Canada, charting internationally, and it became as well known as their signature song, “Freebird,” the hard-rock power ballad that was released on their debut album, (Pronounced ‘Le˘h-’nérd ‘Skin-’nérd) (1973). Young’s “Alabama” contains lyrics that attack the state’s racist stance during the American civil rights movement (1954–1968) and its history of slavery. Though Lynyrd Skynyrd’s lead singer Ronnie Van Zant (1948–1977), guitarist Gary Rossington (1951–), and guitarist and bass guitarist Ed King (1949–2018) were not from Alabama, they felt inspired to respond to Young’s “Alabama.” Told from the point-of-view of someone looking forward to returning to what he calls his “Alabammy” home, “Sweet Home Alabama” is a much lighter song, celebrating the state’s blue skies and the musical accomplishments of the Muscle Shoals Rhythm Section (a.k.a. The Swampers, both ca. 1967–ca. 1985). Its introductory electric guitar riff and verse, both in G major, use a displacement of the rock-and-roll progression (D major-C major-G major or G major: V-IV-I, instead of I-IV-V). The first verse alludes to Young’s “Alabama” and his criticism of the state. It attacks Young, who had used the Southern man as a metaphor for the racist white South in his country-rock protest song, “Southern Man,” which appeared on his third studio album, After the Gold Rush (1970). Although Lynyrd Skynyrd attacked Young, the musicians mutually respected each other and treated their songs as an artistic exchange that

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helped their success. Van Zant wore a Neil Young concert shirt at his band’s concerts and on their fifth studio album cover, Street Survivors (1977). Young later concluded that Second Helping was better than Harvest and that the weak, condescending lyrics deserved Lynyrd Skynyrd’s response (Young 2012, 417). In 1975, Young wrote “Powderfinger” for the band to record, sending them an acoustic recording from his Indigo Ranch Recording Studio in Malibu, California. But Lynyrd Skynyrd’s recording never took place due to the band’s busy touring schedule. Ultimately, Van Zant, along with guitarist-vocalist Steve Gaines and older sister, backing vocalist Cassie Gaines (who joined the band in between 1975 and 1976), died in a plane crash on October 20, 1977, in Gillsburg, Mississippi, that severely injured other band members. Young recorded an electric version of his song, which appeared on his album, Rust Never Sleeps (1979). Harvest was mostly recorded between February and April 1971 at Quadrafonic Sound Studios. Young, Elliot Mazer (1941–), Henry Lewy (Heinz Lewy, 1926–2006), and Jack Nitzsche (Bernard Alfred Nitzsche, 1937–2000) coproduced the album. Mazer, who worked with classic-rock musicians such as Big Brother and the Holding Company with Janis Joplin, Bob Dylan, and Richie Havens, produced Area Code 615’s (1969–1973) A Trip in the Country (1970), a country-rock album that impressed Young. Lewy worked with the American folk-rock, country-rock, and soft-rock group Crosby, Stills, Nash & Young (CSNY, 1969–1970, 1973–2015), who at the time had broken up to work on solo projects; Lewy was the sound engineer on several of Canadian folk and folk-rock singer-songwriter-guitarist Joni Mitchell’s (Roberta Joan Anderson, 1943–) albums. Previously legendary American producer Phil Spector’s (Harvey Phillip Spector, 1939–) first assistant, Nitzsche, who just started as a film and television composer and arranger, worked on Buffalo Springfield’s, Ike and Tina’s, and The Rolling Stones’ studio albums. He arranged and orchestrated Young’s symphonic soft-rock ballads “A Man Needs a Maid” and “There’s World,” backed by the London Symphony Orchestra and recorded in March 1971 at Barking Assembly Hall (credited on the album as Barking Town Hall, presently a theatre called Broadway in London), following Young’s BBC television and Royal Festival Hall concert appearances in London. Nitzsche also plays acoustic piano and lap steel guitar on the album. While in Nashville, pop, pop-rock, and country-rock singer-songwriter Linda Ronstadt (1946–) recorded backing vocals, and folk-rock, country-rock, and poprock singer-songwriter-guitarist James Taylor (1948–) recorded backing vocals and played Young’s 6-string banjo guitar on “Heart of Gold” and

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“Old Man.” In September 1971, while in New York City, David Crosby (1941–) contributed backing vocals on “Are You Ready for the Country?” and “Alabama”; Stephen Stills (1945–) did the same on “Alabama” and “Words (Between the Lines of Age)”; and Graham Nash (1942–) sang backing vocals on “Are You Ready for the Country?” and “Words.” The rest was recorded and mixed at Young’s Broken Arrow Ranch, inside a barn called Broken Arrow Studio No. 2, in Woodside, California. Harvest opens with “Out on the Weekend,” which features Young’s prominent country-rock and folk-rock sound: his high tenor and countertenor vocals, Martin D-45 acoustic guitar, and Hoehner Marine Band harmonica are placed in the foreground. The introspective song focuses on a protagonist in love, though in the refrain he admits that he is out of touch with the newfound joy of the relationship. It is followed by the title track, an episodic country-rock song that focuses on the relationship between a father (depicted by Young), daughter, and mother. The heaviest accent on beat three in quadruple meter and steel guitar contribute to the song’s country-rock sound. The soft-rock ballad “A Man Needs a Maid” stands out for its acoustic piano and orchestra (especially the strings, bells, flutes, and English horn). “Heart of Gold” returns to the acoustic folk-rock and countryrock sound of Harvest’s first two tracks. In E minor, the recorded song’s structure is as follows: instrumental introduction (bifurcated); A (verse 1, bifurcated); instrumental interlude 1; A’’ (verse 2, bifurcated); instrumental interlude 2; vocal and instrumental outro. By definition, a refrain always uses the same text and music. Though some variation exists, the second half (the last four lines) of each verse can nevertheless be heard as refrains. The introduction begins with Young’s acoustic guitar, accompanied by drums and bass. Young’s diatonic 10-key G Hoehner Marine Band harmonica then enters. The introductory material foreshadows music found in the verses and outro, including an acoustic guitar motive that uses the same rhythm as the words, “Keep me searching for a heart of gold.” The verses’ first four lines and the harmonica use a folk-sounding progression: E minor-C major-D major-G major (E minor: i-VI-VII-III, a displacement of i-VI-III-VII). With its heavily plodding-along with an emphasis on the downbeat—this catchy song’s protagonist is perpetually looking for a relationship with a truly good person. Rather than ending on the home key, the song ends on G major (E minor: III). Though a bright substitution for E minor, this chord underscores the notion that this kind of search really never ends. Side One concludes with “Are You Ready for the Country?,” a bluesinfluenced country-rock song consisting of Young’s acoustic piano false

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opening and features Ben Keith’s pedal steel guitar solo as well as Nitzsche’s slide guitar. Side Two opens with “Old Man,” which was No. 31 on the Billboard Hot 100. Taylor’s banjo contributes to the folk and country-rock song’s bluegrass sound. Young composed “Old Man” for Louis Avila, the previous owner of the Broken Arrow Ranch, depicting himself as the young man who has similarities to him. The opening, Young’s jangly acoustic guitar, and his mantra that he is a lot like the old man, is used to conclude this haunting song. Its catchy, repeated bass line and cyclical sound (use of a chord progression known as the circle of fifths) in the verses and instrumental sections underscores the lyrical connection between generations. “There’s a World” is a symphonic-rock song that at times sounds reminiscent of the English psychedelic and prog-rock band The Moody Blues. Like “A Man Needs a Maid,” it uses the London Symphony Orchestra, and it shares the same outlook: being lonely among others. Side Two also contains “Alabama” and “The Needle and the Damage Done.” Danny Whitten (1943–1972), a guitarist in Young’s backing band, Crazy Horse (1969–), inspired the latter song. Before he died, Young offered Whitten, who was recovering from heroin addiction, a chance to play rhythm guitar on Harvest, but he was unable to play well enough, and Young had to dismiss him. Second Helping also includes a song about the devastation of heroin addiction. Composed as a point-of-view song by Van Zant and guitarist Allen Collins (Larkin Allen Collins Jr., 1952–1990), “The Needle and the Spoon” employs a hard-rock sound, including a riff that is reminiscent of The Kinks’ proto-punk “All Day and All of the Night” (1964). In contrast to The Kinks’ G5-F5-B-flat5-G5 power chords, Lynyrd Skynyrd outlines D minor and employs guitar harmonics or overtones. Harvest concludes with the country-rock and pop-rock song “Words (Between the Lines of Age).” This song contains the most complex metrical shifts on the album, moving from quadruple or 4/4 meter (four beats per measure) in the verses to 11/8 meter (eleven beats per measure, counted as 6/8 plus 5/8 or six plus five beats) in the guitar interludes, contributing a psychedelic touch. In contrast to Harvest’s intimate, acoustic, singer-songwriter sound and its philosophical and open-for-interpretation lyrics, Second Helping’s sound includes Van Zant’s raspy tenor voice, Lynyrd Skynyrd’s three guitarists (Rossington, Collins, and King), and a honky-tonk acoustic piano (Billy Powell, 1952–2009), paired with straightforward, semiautobiographical lyrics that depict Van Zant (and the band) as part of the American working class. Second Helping was recorded between June 1973 and January 1974, starting with “Sweet Home Alabama” at Studio One in Doraville, Georgia (a northeast Atlanta suburb). The song was

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based on Rossington’s electric guitar riff, which was developed while he was waiting for others to show up at rehearsals. On the recording, King plays the lengthy solo on a vintage 1960s Fender Stratocaster. The rest of the album was recorded at the Los Angeles location of Record Plant Studios. Al Kooper (Alan Peter Kuperschmidt, 1944–), the same American producer, songwriter, and keyboardist who founded Blood, Sweat & Tears (1967–1981, 1984–), discovered Lynyrd Skynyrd and produced their first three albums. He plays acoustic piano and sings backing vocals on “Don’t Ask Me No Questions” and “The Ballad of Curtis Loew.” Bob Langford, a Studio One sound engineer, was mainly responsible for “Sweet Home Alabama,” and all worked in just one V-shaped room with the drum kit isolated in the room’s makeshift drum box. The second track, the country-rock and hard-rock ballad “I Need You,” with its A minor home key, 6/8 meter, and sessions drummer Mike Porter’s hi-hat-driven beat, sounds reminiscent of The Animals’ blues-rock rendition of the traditional folk song “House of the Rising Sun” (1964). “Don’t Ask Me No Questions” follows and returns to the swamp-rock sound of “Sweet Home Alabama.” Its blues-rock components include a central electric guitar riff, King’s bottleneck sounding slide guitar, and Powell’s bluesy acoustic piano. This song also features a horn section (consisting of Bobby Keys, Trevor Lawrence, and Steve Madiao). The lyrics of “Don’t Ask Me No Questions” weave in a metatextual thread as Van Zant mentions his (and the band’s) success but does not want to talk about his business—in other words, the music business. This metatextual thread continues into “Workin’ for MCA,” a Jimi Hendrix–inspired hard-rock song with a touch of psychedelic rock that concludes Side One. Side Two opens with the country-rock story song “The Ballad of Curtis Loew,” about the hard-drinking yet brilliant Loew, a 60-yearold black Dobro resonator guitarist who dies uneventfully with nothing more to his name than spending a lifetime “playin’ the black man’s blues.” “Swamp Music” and “The Needle and the Spoon,” returning to the band’s swamp rock sound, follow. Second Helping concludes with a raucous blues-rock rendition of J. J. Cale’s (John Weldon Cale, 1938– 2013) “Call Me the Breeze” (1972), with its horn section, showcasing in the outro the band’s boogie rock jamming. “Call Me the Breeze” is a metaphorical song about being able to move forward without being held back. It became the album’s second best–known song. American rock singer-songwriter, guitarist, vocalist, sound engineer, and producer J. J. Cale originally recorded “Call Me the Breeze” on his album, Naturally (1972), featuring an early use of a drum machine.

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Though neither album’s efforts have led to these artists’ being inducted into the Songwriters Hall of Fame, the Rock and Roll Hall of Fame recognized Young and Lynyrd Skynyrd’s contributions, inducting Young in 1995 as a solo artist, and again in 1997 as a member of the American folk-rock, psychedelic-rock, and country-rock band Buffalo Springfield (1966–1968, 2010–2012), and Lynyrd Skynyrd in 2006. THE ZOMBIES: “THE TIME OF THE SEASON” AND THE KINKS: “SUNNY AFTERNOON” Though they performed and recorded in classic-rock styles that can easily be classified, The Kinks (1964–1996, 2018–) sounded ahead of their time. Edgy and innovative, the band’s music can be perceived as foreshadowing aspects of new wave rock. In point of fact, The Kinks lasted long enough to have their own success in the 1980s with new wave rock listeners. The band hailed from Muswell Hill (a north London suburb) and was initially known for a harder garage-rock and pop (called power pop) sound before adding softer pop-rock, rhythm and blues, Merseybeat, rock and roll, and musical playfulness; it was able to capitalize on the British Invasion in the United States. The Zombies (1962–1967, 1990–1991, 2004–) included songwriter, keyboardist, and vocalist Rod Argent (1945–); singer-songwriter and guitarist Colin Blunstone (1945–); bass guitarist Paul Arnold; guitarist Paul Atkinson (1946–2004); and drummer Hugh Grundy (1945–). Singer-songwriter and bass guitarist Chris White (1943–) replaced Arnold. The band’s first single, “She’s Not There” (1964), perfectly timed to the British Invasion, reached No. 12 and 2, respectively, in the United Kingdom and the United States and attained gold certification in the United States. Its debut album, Begin Here (1965), issued in the United States as The Zombies, comprises about half original tracks, such as Argent’s “She’s Not There” and “Woman,” and half covers of other songs, such as Bo Diddley’s rhythm-and-blues and rock-and-roll song “Road Runner” (1960). The album was No. 39 on the Billboard 200. Odessey and Oracle (1968; spelled incorrectly by album cover artist Terry Quirk), went more in the direction of psychedelic rock as well as baroque pop-rock. The critically acclaimed album was No. 95 on the Billboard 200 and concludes with the band’s hit, Argent’s “Time of the Season,” which was No. 3 on the Billboard Hot 100 and charted internationally. The Zombies produced the album with sound engineers Geoff Emerick (1945–2018) and Peter Vince (1942–). Emerick worked on The Beatles’ Revolver (1966) and Sgt. Pepper’s Lonely Hearts Club Band (1967). He would later work on Abbey Road

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(1969) as well as America’s Holiday (1974). Vince also worked with The Beatles as well as The Hollies, The Seekers, and Cliff Richard and the Shadows. In E minor, “Time of the Season” features many psychedelic studio techniques and some highly innovative instrumental effects as well. The recorded song structure can be heard this way: instrumental introduction; verse 1; prechorus 1; refrain; instrumental bridge; verse 2; prechorus 2; refrain; instrumental interlude; instrumental bridge; verse 2; prechorus 2; refrain; instrumental outro. This song’s instrumental introduction features one of the most novel grooves in classic rock, requiring the stereo version to really be fully appreciated. The groove comprises bass drum (left) and then handclap (right, with a lot of reverb), followed by Blunstone’s vocal “ah” (also right with a lot of reverb). As this groove continues, Blunstone’s soft, muted, and high tenor lead vocals begin verse 1, punctuated by high-pitched xylophone-sounding notes on Argent’s Hammond L100 organ (left). The prechorus employs delay, which gives the impression of shakers, and the refrain features all the voices singing in close harmony, ending on E major (creating a Picardy third since the key of the song is still E minor; the chord gives the refrain a bright-sounding ending). This chord is followed by a false conclusion. The instrumental bridge brings back the groove (which dropped out in the prechorus and refrain) as a vamp cuing in verse 2. The instrumental interlude and outro both feature Argent on organ, with an addition organ overdubbing toward the end, accompanied by the groove as all fade out. Starting with their eponymous album (1964), The Kinks’ studiorecording career consists of 23 studio albums, achieving most of their success in the United Kingdom. The band included singer-songwriter-guitarist Ray Davies (1944–); his younger brother, guitarist and singer Dave Davies (1947–); bass guitarist Pete Quaife (Peter Alexander Greenlaw Kinnes, 1943–2010); and drummer John Start (ca. 1943–). When the band hired Mick Avory (1944–) in 1964, the classic Kinks lineup (then as The Ravens) was established. In July 1964, the band recorded a bluesrock version and a garage-rock version of “You Really Got Me.” This proto-punk song became No. 1 and 7, respectively, in the United Kingdom and the United States, charted internationally, and attained silver certification in the United Kingdom. The Kinks also had hits with “All Day and All of the Night” (1964) and “A Well Respected Man” (1965). Face to Face was recorded in between October 23, 1965, and June 21, 1966, at Pye Studios in London. It marked a stylistic shift away from hard rock, power pop, and blues-rock toward pop-rock and baroque

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pop. The first album to contain songs entirely composed by Ray Davies, it is often considered one of the earliest rock concept albums because the songs have in common character sketches of various kinds of people in society; there is also a satirical thread directed toward upper-class society in many of these songs. The album consists of the lilting, pop-oriented, and music-hall sounding “Sunny Afternoon,” which was No. 1 and 14, respectively, in the United Kingdom and the United States and certified silver in the United Kingdom. “Sunny Afternoon” is the final Kinks single to top the U.K. Singles Chart. The song pokes fun again at the concerns of the upper class. Like The Beatles’s “Taxman” (1966), Ray Davies also mentions what the taxman has taken away from his protagonist. “Sunny Afternoon” is in D minor. Its recorded song structure is as follows: introduction; verse 1; prechorus 1; refrain; verse 2; prechorus 2; refrain; prechorus 1; refrain (extended). The introduction features descending electric guitar, bass guitar, and harmonium (played by Nicky Hopkins). The same descending motion is also prominent in the verses. The prechoruses (“Save me, save” and “Help me, help me”) contrast with other sections of the song by being in D major, creating a bright, lyrical passage and cycling through related secondary dominant chords, D dominant7-G dominant7, followed by C dominant7-F major (a borrowed chord from D minor)-A dominant7 (D major: V7/IV-IV7 [IV7 is V7 of the following chord in the next line]; V7/bor III-bor III-V7, which returns to the refrain in D minor). The first prechorus features harmonium (left), and the final prechorus features acoustic piano (left, also Hopkins). Going full circle, the song ends with acoustic guitar. Prior to the release of Face to Face, The Pretty Things recorded “A House in the Country” (1966), and Herman’s Hermits had a significant hit with “Dandy,” which was No. 5 in the United States. Over the years, The Zombies experienced resurgences of interest and new consideration of their influence on their contemporaries, such as The Rolling Stones, and later classic-rock acts. In 1990, as The Zombies, Blunstone, White, and Grundy reunited to release The Return of the Zombies (1990) in the United Kingdom and New World (1991) in the United States, which includes some of the Return of the Zombies’s tracks as well as some new ones. Also in 1990, The Kinks were inducted into the Rock and Roll Hall of Fame, presented by The Hollies and Crosby, Stills & Nash’s Graham Nash. Meanwhile, The Zombies became a band again in 2004, with Argent reuniting with Blunstone, White, and briefly Atkinson. Argent’s cousin, Jim Rodford (1941–2018), also joined the

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band. Their albums include As Far as I Can See . . . (2004), Breathe Out, Breathe In (2011), and Still Got That Hunger (2015). The first album sounds like a continuation of their earlier sound, whereas Breathe Out, Breath In includes covers of Argent’s hard-rock songs “Christmas for the Free” (1973) and “Shine on Sunshine” (1975); their latest album focuses on blues-rock. In 2019, The Zombies were inducted into the Rock and Roll Hall of Fame.

CHAPTER 3

Impact on Popular Culture

A

s the heir of rock and roll, classic rock has since its inception influenced popular culture. Rock and roll succeeded by captivating a youth market of mostly teenagers. Classic rock’s impact, however, was felt by an age-diverse audience through its offering of a vast array of musical subgenres. By the early 1960s, the same teenagers who grew up obsessed with Elvis Presley were college-aged young adults; some stopped listening to rock and roll and focused their attention on the folk music revival, which addressed sociopolitical issues in its lyrical content, while others became interested in rhythm and blues. Although rhythm-and-blues crossovers such as Chuck Berry dealt with the same teenage-oriented lyrical content found in rock and roll, their blues and gospel roots as well as instrumental virtuosity fascinated a young adult audience that included Buddy Holly, John Lennon, Paul McCartney, Mick Jagger, and Keith Richards. An advantage that classic rock had over rock and roll was its staying power due to the continued development of its subgenres. By the late 1960s, various styles of music—art (experimental) rock, blues-rock, country rock, folk rock, hard rock, jazz-rock fusion, pop-rock, prog rock, psychedelic rock, and soft rock—had fallen under its umbrella. Classic rock’s earliest subgenres, blues-rock and folk rock, developed in the mid-1960s in the United States and the United Kingdom. As musical fusions, they appealed to younger listeners who still enjoyed rock and roll as well as pop hits, and they also appealed to older listeners who had splintered off from the youth market. Rock and roll’s electric instruments, drumbeats, and instrumental virtuosity were combined with blues and folk singing styles and vocal harmonies, adult-oriented lyrical content and narratives, and structural elements. Through musical

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fusion, classic rock was ultimately able to draw in listeners who enjoyed other popular music genres—namely, blues, bluegrass, country, and soul music. During the era of rock and roll, big recording-label executives dismissed these genres because they believed that their markets were too limited by region and/or race. By the late 1960s, jazz-rock fusion had expanded the classic-rock audience a bit further by attracting jazz aficionados and listeners. Soon after the emergence of jazz-rock fusion, DownBeat (1934–), a well-established Chicago-based national magazine geared toward music professionals and a jazz aficionado readership, covered the classic-rock subgenre through articles, interviews, and album reviews, as well as readers’ and critics’ poll rankings. Meanwhile, in the United Kingdom, prog rock helped to expand classic rock’s audience by appealing to listeners who preferred a complex rock sound through the use of classical music elements (symphonic instrumentation, multisectional structure, and harmonic progressions, to identify just a few) and experimentation (such as exploring synthesizers and other kinds of keyboards as well as unusual tunings, added chords, and chord progressions). Though its use of classical music elements was certainly not enough to convince most classical music listeners to explore prog rock, bands like Electric Light Orchestra, The Moody Blues, Pink Floyd, Jethro Tull, and Yes certainly inspired some classic-rock listeners to discover classical music. Some punk-rock and later classic-rock styles like glam, grunge, Heartland, heavy metal, Latin, and Southern rock helped extend classic rock’s stay on Top-40 charts worldwide well into the 2000s. These styles demonstrated to generations growing up in the 1970s, 1980s, and 1990s that classic rock was not just oldies-but-goodies music but was also still evolving and very much alive. Album sales are useful for examining how strong an impact classic rock has had on popular culture, especially as classic rock is usually album-oriented music. Despite the success of other popular music genres such as country, hip-hop, pop, and reggae, classic rock continues to dominate album sales. In the middle of 2018, according to Nielsen SoundScan and the Recording Industry Association of America, the Eagles’ compilation album, Their Greatest Hits (1971–1975), originally released in 1976 on the band’s label Asylum, surpassed Michael Jackson’s Thriller (1982) as the album with the most sales in the United States. Its current certification status is octotriguple (38-times) platinum. The band’s Hotel California, also released in 1976 on the same label, is in third place, behind Thriller. Led Zeppelin’s eponymous IV (1971), AC/DC’s Back in Black (1980), Fleetwood Mac’s Rumours (1977), and Guns N’

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Roses’ Appetite for Destruction (1987) are other top best sellers. Elton John’s Greatest Hits (1974), Boston’s eponymous album (1976), and Pink Floyd’s The Dark Side of the Moon follow. Globally, many of these albums have done well. In contrast, classic rock has not fared nearly as well in measurements of singles sales. One historical factor that affects this performance is that classic rock differentiated itself from rock, pop, and other kinds of popular music by having an album-oriented focus, and as the idea of the single predated that of the album (best-selling singles were tracked as early as the 1920s), they were hedging their bets on a newer phenomenon. Singles charts tracked success in a wider array of music genres than did albums charts. A further factor that has added a complexity to understanding singles sales is the timing of a sound recording’s release—timing adds another layer of complexity, as important events, holidays, and film releases are influential. Elton John’s “Candle in the Wind 1997”/“Something about the Way You Look Tonight” (1997, with Bernie Taupin), a double A-side single dedicated to the memory of Great Britain’s Diana, Princess of Wales, and released less than a month after her death in an automobile accident, ranks second in physical singles sales only to Bing Crosby’s rendition of “White Christmas” (1942, Irving Berlin). Competing with popular standards, country, and disco, among many other popular song genres, sales of classic-rock singles fail to measure up, but are nevertheless present. Top sales for classic-rock singles include The Monkees’ “I’m a Believer” (1966, Neil Diamond) and Procol Harum’s “A Whiter Shade of Pale” (1967) with sales in the 10 millions, followed by The Animals’ rendition of the traditional song “House of the Rising Sun” (1964), The Beatles’ “Hey Jude” (1968), and Shocking Blue’s “Venus” (1969). Resurgence of interest in the music itself as well as a renewed interest in collecting vinyl has helped classic-rock albums and vinyl singles become lasting pop-culture artifacts. In the meantime, classic rock has also had a continual role in pop culture’s more ephemeral objects, such as commercials, which have had a long history of using classic-rock songs (despite the criticism of “selling out”). Take, for example, The Rolling Stones, who were paid to record a jingle that was used in two 1964 Kellogg’s Rice Krispies commercials run in England (one was an animated advertisement titled “Juke Box” and another was titled simply “Stones”). Unlike The Rolling Stones, other British Invasion bands, and American contemporaries, The Beatles took no part in composing jingles for commercials. John Lennon and George Harrison appeared in a Marlboro

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advertisement in 1964, just after their band’s Ed Sullivan Show appearances, but their music was not sold for commercials until 1985 when Ford obtained the rights to use “Help!” (1965). Afterward, however, The Beatles’ own publishing company, Apple Records, did not give permission for the band’s music to appear in commercials. Just two years later, Nike Air’s (1987–1988) commercials used The Beatles’ “Revolution,” a song from the band’s eponymous album known as The White Album (1968). Nike’s use of “Revolution” made headlines when Apple attorneys on behalf of The Beatles filed a lawsuit against the company. Even though Nike had paid EMI-Capitol Records to license the song for the commercial, The Beatles had not given permission. The Beatles’ music was nevertheless used in subsequent commercials, yet often to members’ chagrin and at times resulting in more lawsuits. Commercials favor using later or post-1966 Beatles’ Lennon-McCartney songs over the earlier ones in a variety of products: “Getting Better” for Philips Electronics (1999–2000); “With a Little Help from My Friends” (the 1969 Joe Cocker cover) for Gateway Computers (2001); “Taxman” for H&R Block and “When I’m 64” (covered by Lennon’s son, Julian, for the commercial) for Allstate insurance (both 2002); “Come Together” for Nortel Networks, “Hello Goodbye” for Target retail stores, and “All You Need Is Love” (parodied as “All You Need Is Luvs”) for Luvs diapers (2007); “All Together Now” for Budweiser (2009) and for Sprint (2011); and “All You Need Is Love” (covered by guitarist and singer-songwriter St. Vincent) for Tiffany & Co. fragrance (2017). A very brief list of well-known commercials that used classic rock and aired in the United States suffices for this discussion’s point that classic rock has had a continued presence in pop culture: The Beach Boys’ “Good Vibrations” (1966) for Sunkist orange soda (1980); Cream’s “White Room” (1968) for Apple Computer’s white iMacs (2000); Led Zeppelin’s “Rock and Roll” (1972) for Cadillac’s “Break Through” campaign (2001–2006); The Rolling Stones’ “Start Me Up” (1981) for Microsoft Windows ’95 (1995); The Rolling Stones’ “(I Can’t Get No) Satisfaction” (1965) for the Snickers candy bars’ “Satisfaction” campaign (1990–92); Bob Seger and the Silver Bullet Band’s “Like a Rock” (1986) for Chevrolet Trucks (1991–2004); and Aerosmith’s “Dream On” (1973), for Skittles candies, which also features lead singer Steven Tyler in the campaign titled “The Portrait” (2016). Many full-length feature motion pictures have used classic rock as a backdrop or a primary focus of dramas and comedies. Both fictional films and biopics have become box-office successes, not only in the United States but also worldwide. Just a small sampling of film titles (with years,

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featured classic-rock subgenre, and countries of origin) demonstrates classic rock’s presence in filmmaking between the 20th and 21st centuries: Airheads (1994, heavy metal and hard rock, United States); Alice’s Restaurant (1969, folk and folk rock, United States); Almost Famous (2000, the whole palette of classic-rock subgenres that existed between the late 1960s and into the 1970s, United States); Bandits (1997, punk rock, Germany); Blinded by the Light (2019, rock and roll as well as Heartland-style country rock, United Kingdom); Bohemian Rhapsody (2018, art, glam, hard, pop, prog, and psychedelic rock, United Kingdom and United States); Breaking Glass (1980, art, hard, and punk rock, England); Cheech and Gong’s Up in Smoke (1978, blues, hard, and punk rock, United States); Eddie and the Cruisers and Eddie and the Cruisers II (1983 and 1989, rock and roll as well as psychedelic rock and Heartland-style country rock, United States and Canada); Head (1968, pop and psychedelic rock, United States); Hedwig and the Angry Inch (2001, pop and hard rock, United States); I’m Not There (2007, Bob Dylan’s varying styles, including blues, country, and folk-rock, United States and Germany); The Jazz Singer (1980, pop and soft rock, United States); Last Days (2005, grunge and hard rock, United States); Linda, Linda, Linda (2005, punk rock, Japan); Love and Mercy (2014, art, pop, psychedelic, and surf rock, United States); Magical Mystery Tour (1969, pop and psychedelic rock, England); My Dinner with Jimi (2003, art, blues, hard, and psychedelic rock, United States); Oliver Stone’s The Doors (1991, blues and psychedelic rock, United States), One Trick Pony (1980, folk and pop-rock, United States); Pink Floyd—The Wall (1982, art, hard, psychedelic, and prog rock, England); Purple Rain (1984, new wave rock and R&B, but also pop-rock, United States); Roadie (1980, new wave rock, but also country, hard, and pop-rock, United States); Rock Star (2001, hard rock, United States), The Rose (1979, blues, pop, and psychedelic rock, United States); The Runaways (2010, hard and punk rock, United States); School of Rock (2003, a variety of blues, folk, hard, pop, and punk rock, United States); Sgt. Pepper’s Lonely Hearts Club Band (1978, blues, psychedelic, pop-rock, United States); Times Square (1980, punk rock, United States); Velvet Goldmine (1998, art, glam, and hard rock, England); Yellow Submarine (1968, art, pop, and psychedelic rock, England); and Yesterday (2019, art rock, folk rock, hard rock, pop-rock, psychedelic rock, and soft rock, United Kingdom). In addition, classic-rock songs and soundtracks are frequently used in motion pictures that have little or nothing to do with the music. An early example is nearly the entire soundtrack for the cult classic motion picture drama Easy Rider (1969, blues, country, folk, hard, pop, and psychedelic

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rock, United States), which featured music recorded by The Byrds, The Electric Prunes, The Jimi Hendrix Experience, Roger McGuinn, Smith, and, most famously, the Canadian-American blues, hard, and psychedelic band Steppenwolf (1967–1976, 1980–). It is impossible to think of the film’s memorable opening title credits that feature actors Peter Fonda and Dennis Hopper riding on motorcycles with wind blowing through their hair without also aurally recalling Steppenwolf’s “Born to Be Wild” (1968). The song, composed by Mars Bonfire (Dennis Eugene McCrohan, 1943–), the Canadian guitarist-songwriter of The Sparrows (1964– 1967, which evolved into Steppenwolf without him), was originally part of a temporary score (called a “temp score”) for the film. Steppenwolf’s version transformed Mars Bonfire’s rock ballad into a hard-rock song that became called an anthem for motorcyclists. Twenty-five years after Easy Rider, the huge box office success and critically acclaimed Forrest Gump (1994, United States)—and also another iconic film in pop culture—used mostly classic-rock songs for its diverse soundtrack to create points of reference to the times in the life of the protagonist, including Buffalo Springfield’s “For What It’s Worth” (1966, fusing folk rock, country rock, and psychedelic rock, composed by Stephen Stills); The Byrds’ “Turn! Turn! Turn! (To Everything There Is a Season)” (1965, folk rock, originally composed by Pete Seeger); Canned Heat’s “Let’s Work Together” (1970, blues-rock and psychedelic rock, originally composed in 1962 and revised in 1969 as “Let’s Stick Together” by Wilbert Harrison); Creedence Clearwater Revival’s “Fortunate Son” (1969, country rock, hard rock, and swamp rock); Bob Dylan’s “Rainy Day Women #12 & 35” (1966, blues-rock); The Jimi Hendrix Experience’s cover of Dylan’s “All Along the Watchtower” (1968, hard rock and psychedelic rock); Fleetwood Mac’s “Go Your Own Way” (1976, pop-rock with elements of country rock and folk rock); Jefferson Airplane’s “Volunteers” (1969, folk rock and psychedelic rock); Lynyrd Skynyrd’s “Sweet Home Alabama” (1974, Southern rock); The Mamas and the Papas’ “California Dreamin’” (1965, folk rock and pop-rock); and The Youngblood’s “Get Together” (1967, reissued in 1969, folk rock and psychedelic rock). The film also included five songs by The Doors: “Break on Through (To the Other Side)” (1967, psychedelic rock), “Hello, I Love You” (1968, hard rock and psychedelic rock), “Love Her Madly” (1971, blues-rock and psychedelic rock), “People Are Strange” (1967, psychedelic rock), and “Soul Kitchen” (1967, blues-rock and psychedelic rock). By 2000, Forrest Gump’s motion picture soundtrack attained diamond certification in the United States.

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Many other full-length feature motion pictures contain iconic scenes that are inseparable from their classic-rock music accompaniment. Just a few examples are Apocalypse Now’s (1979, United States) use of The Doors’ “This Is the End” (1967, psychedelic rock), Boogie Nights’ (1997, United States) use of Night Ranger’s “Sister Christian” (1984, hard rock), Fight Club’s (1999, United States and Germany) use of The Pixies’ “Where Is My Mind?” (1988, psychedelic rock–inspired punk rock), Goodfellas’ (1990, United States) use of Derek and the Dominos’ “Layla (Piano Exit)” (1971, blues-rock instrumental), The Graduate’s (1967, United States) use of Simon & Garfunkel’s “Mrs. Robinson” and “The Sound of Silence” (1965, folk rock), Highlander’s (1986, United Kingdom and United States) use of Queen’s “Who Wants to Live Forever” (1986, prog-rock ballad), The Killing Field’s (1984, United Kingdom) use of John Lennon’s “Imagine” (1971, soft rock), The Magic Christian’s (1969, United Kingdom) use of Thunderclap Newman’s “Something in the Air” (1969, folk rock and psychedelic rock), Midnight Cowboy’s (1969, United States) use of Nilsson’s cover of Fred Neil’s “Everybody’s Talkin’” (1968, country rock, folk rock, and soft rock), Reservoir Dogs’ (1992, United States) use of Stealers Wheel’s “Stuck in the Middle with You” (1973, folk rock and soft rock), Risky Business’s (1983, United States) use of Bob Seger’s “Old Time Rock and Roll” (1978, blues-rock and Heartland rock), and Wayne’s World’s (1992, United States) use of Queen’s “Bohemian Rhapsody” (1975, hard rock and prog rock). Among many other kinds of popular music, Baz Luhrmann’s musical film, Moulin Rouge! (2001, Australia and United States) used many classic-rock songs; the most frequent ones were Elton John’s “Your Song” (1970, pop-rock and soft rock) and Wings’ “Silly Love Songs” (1976, poprock with disco and funk elements). Just a few other examples were The Beatles’ “All You Need Is Love” (1967, pop-rock and psychedelic pop), David Bowie’s “Diamond Dogs” (1974, blues-rock, hard rock, and glam rock) and “Heroes” (1977, art rock or prog rock), Kiss’ “I Was Made for Lovin’ You” (1979, hard rock and disco), Nirvana’s “Smells Like Teen Spirit” (1991, grunge and hard rock), Queen’s “The Show Must Go On” (1991, glam rock and hard rock), The Sweet’s “Love Is Like Oxygen” (1978, glam rock and pop-rock), and U2’s “Pride” (1984, hard rock). Several films used classic-rock songs as their temp scores, with some songs that made it into their soundtracks, such as Apocalypse Now’s use of The Doors’ music or Easy Rider’s use of Steppenwolf. Classic-rock songs have also been used for opening credits and have at times gained more attention than other kinds of popular songs or film score pieces.

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Take, for example, The Exorcist’s (1973) use of the first part of Mike Oldfield’s Tubular Bells (1973, prog rock). The film helped the album gain international attention, while at the same time most people thought of Oldfield’s music as the “Theme from The Exorcist.” After the film debuted, the album charted internationally and was No. 3 on the Billboard 200. Despite aiming to appeal to such a diverse listening audience, resulting in its huge commercial success, classic rock was not universally appreciated or accepted. This reception was based on perceptions of both its musical and extramusical aspects and was sometimes influenced by misunderstanding and political agenda. For example, some have concluded that classic rock’s roots in rock and roll (particularly its simple threechord trick or I-IV-V structure), as well as occasional pop-oriented or absurd lyrical content, simplified arrangements of or use of well-known classical music passages. Others have concluded that the rough-sounding vocals preclude it from being taken seriously. For some listeners who have a deeper understanding of classic rock’s harmonic complexities that go well beyond rock and roll’s three-chord trick, the direction of these progressions may seem bothersome or directionless. In addition to off-pitch singing, overdone vocal grinding, blues-inspired wailing, and outright screaming, some classic-rock vocalizations really can date the music if those vocalizations later come out of style (a good example can be found with classic rock from the late 1970s into the 1980s, with its “woo-hoos” and “yeahs,” found in songs by Midnight Oil, Bruce Springsteen, and The Waterboys). Likewise, keyboard and drumbeat sounds used in classic rock may also date these songs (take, for example, the synthesizer outro in Styx’s 1977 hit, “Come Sail Away”). To a much greater extent, classic rock’s extramusical aspects have been the subject of criticism and the center of attention for those who do not appreciate it. Owing to rock and roll, classic-rock audiences have embraced a rebelliousness in fashion, hairstyles, and behavior (of musicians themselves, fans, and associated countercultures). During the 1960s, fans inspired by the below-the-ears hairstyles of The Rolling Stones, and eventually The Beatles and The Doors, for example, encountered the “long hairs need not apply” announcement in classified ads and at businesses in both the United States and Europe. By the Monterey Pop Festival in 1967 and Woodstock in 1969, the hippie counterculture was associated with these events, and many classic-rock groups embraced its world outlook, aesthetic, and ways of life—including free love, drugs, meditation, protest (against the Vietnam War or “the establishment” or “the man”), and civil rights advocacy. During the summer of love of 1967

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into 1969, far-right movements in the South were leading bans against classic-rock album sales and songs on the radio, some going as far as holding public mass-destroying of these albums, and right-of-middleoriented populations, some calling themselves “the silent majority,” focused on classic-rock acts when expressing their disgust with music they deemed as “obscene.” After The Doors’ 1969 concert in Miami, in which lead singer Jim Morrison was later accused of exposing himself and charged with a felony and misdemeanor counts, a rally for decency was held in the city and gained nationwide attention. Celebrities like former Miss America Anita Bryant and comedian Jackie Gleason appeared at the event and made themselves vocal against classic-rock groups. In addition, between the 1960s and 1970s, classic-rock concert riots and the potential of riots were used as reasons to cancel previously booked performances as well as not to invite classic-rock acts to venues. Classic rock has also been subjected to accusations of backmasking, a recording technique that inserts messages in music that can be heard when albums are played backward. Though purposeful backmasking does exist, some accusations of backmasking are based on myth. For example, The Beatles, who had experimented with studio effects since Revolver (1966), such as incorporating recordings of instruments played backward, were rumored to have created a backmasked message that sounded a bit like “turn me on, dead man” in “Revolution 9” on the band’s eponymous album known as The White Album (1968). Some quickly interpreted the supposed message as support of an earlier conspiracy theory that Paul McCartney had died. There are many other popular examples of debunked backmasked messages: “Here’s to my sweet Satan,” on Led Zeppelin’s “Stairway to Heaven,” a song released on the band’s eponymous album IV (1971); a lengthy Satanic message that identifies Christ as being infernal on Electric Light Orchestra’s (ELO) title track of its album Eldorado (1974); another Satanic message, claiming that Satan hears the song and he has the narrator believing in him on the Eagles’ title track of Hotel California (1977); and “It’s fun to smoke marijuana” on Queen’s “Another One Bites the Dust,” from The Game (1980). Though religious groups attempting to censor classic rock (or at least convince people to stop listening to it) have used such examples, urban legends have certainly drawn attention to both classic rock and have impelled album collectors to take up careful, experimental listening of their albums. As a 45-rpm single, the B-side of Napoleon XIV’s (Jerry Samuels) psychedelic novelty “They’re Coming to Take Me Away, Ha-Haaa!” is the song backward, titled “!aaaH-aH ,yawA eM ekaT ot gnimoC er’yehT” (1966). This version pokes fun at the idea of

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backmasking, and listeners have found it interesting to hear how scary the comical song is when played backward. For an absurd purpose, Pink Floyd’s Syd Barrett included a backmasked poem in his song “Bike,” which appeared on the band’s debut album, The Piper at the Gates of Dawn (1967); and later, Roger Waters congratulates listeners for finding the backmasked message in “Empty Spaces,” track two on Side Two of The Wall (1979). Appreciated or unappreciated, in various ways, classic rock has remained a constant presence on television. In the United States, some early television shows that focused on bands that played classic rock were The Monkees (1966–1968), The Bugaloos (1970–1972, a Sid and Marty Krofft production), and The Partridge Family (1970–1974). In contrast, most animated television shows that focused on bands, such as The Archie Show (1968–1969) and Josie and the Pussycats (1970–1971, which turned into Josie and the Pussycats in Outer Space, 1972–1973), favored pop. An exception was The Beatles (1965–1969), the first animated television show based on real people. Though most of the show featured the pre-Sgt. Pepper’s Lonely Hearts Club Band Beatles (1967), the psychedelic Beatles emerged as the basis of the later shows. Over several decades, classic rock was featured prominently as a backdrop for television shows such as Gidget (1965–1966), The Mod Squad (1968– 1973), WKRP in Cincinnati (1978–1982), Tour of Duty (1987–1990), China Beach (1988–1991), The Wonder Years (1988–1993), That Seventies Show (1998–2006), and Russian Doll (2019–). Countless television shows have used classic rock in minor storylines or for memorable moments, often to evoke a particular time and place. Classic rock has been the focus of a few reality shows like Rockstar: INXS (2005) and Rockstar: Supernova (2006) as well as featured on countless reality, talk, and variety shows. Classic rock was prominently featured on The Midnight Special and Don Kirshner’s Rock Concert (both 1973–1981) or Midnight Special. Pop-oriented acts like Sonny and Cher and The Hudson Brothers hosted comedy variety shows that at times invited classic-rock musicians to perform. The Muppet Show (1976–1981), which originally aired not in the United States but in the United Kingdom, consisted of the rock house band, Dr. Teeth and The Electric Mahem. Though it played a variety of music, the band appeared to be a classic-rock act; some characters that loosely resembled real musicians are the band’s leader (Dr. John); drummer Animal (who resembles Ginger Baker, but was actually inspired by Billy Joel’s drummer Liberty DeVitto); guitarist Janice (Mary Travers of Peter, Paul and Mary, though named after Janis Joplin); and saxophonist

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Zoot (resembles Latin jazz tenor saxophonist Gato Barbieri, but is named after saxophonist Zoot Sims). In addition, bassist Floyd Pepper, who has a pink body, was named after Pink Floyd in addition to The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. For years, Henson’s Muppets have appeared with classic-rock musicians and used classic-rock covers and parodies on The Muppet Show, Sesame Street (1969–), and Muppets Tonight (1996), as well as in Muppet films, online media, and concerts. In 2004, the Jim Henson Company sold the rights to The Muppets to Disney, and more recent Muppets original online videos featuring classic rock have appeared. Some of these are Queen’s “Bohemian Rhapsody” in 2009, The Guess Who’s “American Woman” (1970) and Kansas’s “Dust in the Wind” (1978) in 2010, Queen and David Bowie’s “Under Pressure” (1981, with Bowie lip-syncing with the Muppets) in 2011, and Paul Simon’s “Kodachrome” (1973) in 2015. The Muppets (2015–2016) television series featured guest performances by Joan Jett and the more recent pop-rock band Imagine Dragons. In 2016, Dr. Teeth and The Electric Mahem performed its first live set at the Outside Lands Festival in San Francisco. Since its earliest episodes, another American comedy variety show, Saturday Night Live (1975–), included classic-rock artists and bands appear as musical guests. Just some of these earlier acts were Carly Simon, James Taylor, The Band, The Kinks, Santana, Jackson Browne, Taj Mahal, Paul Simon, Nitty Gritty Dirt Band, Eddie Money, Meat Loaf, Grateful Dead, The Doobie Brothers, Bob Dylan, Chicago, Tom Petty and the Heartbreakers, Bowie, Cheap Trick, The Allman Brothers Band, and Elton John. More recently, mostly hip-hop, pop, and indie-rock acts have been selected as musical guests, but classic-rock acts are still included. Some of these acts are U2, Tom Petty and the Heartbreakers, McCartney, Elton John, Paul Simon, Jagger, and Bruce Springsteen and The E Street Band—as well as a number of current classic rock–sounding acts like The Lumineers (a folk-rock band), Imagine Dragons, Foo Fighters, The National, and Sturgill Simpson. Perhaps the most popular comedy sketch using classic rock as a focus has been cast member and comedian Will Ferrell and playwright Donnell Campbell’s “More Cowbell” (2000), a comic imagining of Blue Öyster Cult’s “(Don’t Fear) The Reaper” (1976). In the 1980s and 1990s, music videos broadcast on television through MTV (1981–) and VH1 (1985–) have also kept classic rock’s presence in pop culture thriving. While later and long-lasting acts such as Aerosmith, Def Leppard, Dire Straits, Genesis, Guns N’ Roses, Elton John, Joan Jett & the Blackhearts, John Mellencamp, Midnight Oil, Pink Floyd,

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Queen, R.E.M., Springsteen, Tom Petty and the Heartbreakers, U2, Yes, and ZZ Top have frequently aired music videos, with some winning music video awards, earlier acts have enjoyed a resurgence of interest by being featured in documentary series like VH1’s Legends (1996–2002) and Behind the Music (1997–) as well as concert-focused shows such as Divas (1998–2004, 2009–). VH1 also produced several classic-rock biopics for its Movies That Rock series (1999–). Subjects have included Lennon and McCartney, Meat Loaf, The Monkees, Jim Morrison, and Sweetwater. The idea of a single or song-oriented music video seems to run counterintuitive to album-oriented rock, but music videos nevertheless added a visual aspect that radio versions simply could not offer, which appealed to classic-rock artists. Queen, for example, found a way around the album-oriented rock issue by using its more pop-oriented rock songs like “Radio Ga Ga” (1984) for its videos. Another glam rocker, David Bowie, did the same with his pop-oriented and new wave rock songs. Some classic-rock acts that had newfound success with their solo careers through using music video include Eric Clapton, Phil Collins, Peter Gabriel, George Harrison, Don Henley, Robert Palmer, David Lee Roth, Paul Simon, Tina Turner, and Steve Winwood. Since its inception, and much earlier than music videos, classic-rock artists’ fashion sense and style has strongly influenced public tastes. Musicians have represented their tastes in fashion, including clothing by designers, as much on high-fashion magazine covers such as Vogue and Glamour as on Cosmopolitan, Ebony, Esquire, Essence, Interview, Newsweek, People, Rolling Stone, Time, and Vanity Fair. Classic rock inherited the good or bad images and fashion of rock and roll and embraced some of these fashions, such as the black leather jacket, collar jewelry, and the dapper suit and tie as a retro part of artists’ looks. But with classic rock in the 1960s came a preference for long hair (for example, The Rolling Stones) and then long hair with beards (for example, The Beatles). The Bohemian aesthetic (later called boho style) prevailed in both women’s and men’s fashion in the classic rock of the 1960s and 1970s. Janis Joplin, Cass Elliot, and Stevie Nicks as well as Keith Richards, Donovan, Jimmy Page, Jimi Hendrix, Steven Tyler, and Elton John were all known for their consistent use of Bohemian fashion. The eclecticism of the Bohemian style as well as its use for genderbending translated well into glam-rock fashion. Generally, glam rockers aimed for theatrical flair and used fashion for a loud expression rather than a soft look. Eclecticism was important, but only if it included over-the-top visual expression, such as glitter and sequins, body-revealing leotards,

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diva-related accessories (e.g., large pieces of jewelry and crowns), giant sunglasses, sparkling makeup, bright hair colors, or period-related costumes. These adaptations to the Bohemian style influenced other kinds of rock acts such as country rock, prog rock, hard rock, and heavy metal. Several fashion designers worked specifically with classic-rock musicians as clients to create their looks. Just a couple include Ray Brown (Guns N’ Roses), Ossie Clark (The Rolling Stones), Bob Mackie (Elton John), Zandra Rhodes (Queen), and Ola Hudson (Bowie and Lennon). Hudson is Guns N’ Roses’ guitarist Slash’s mother. Many classic-rock acts have helped popularize numerous fashion trends. For example, it is impossible not to think about tie-dye when recalling the Grateful Dead. Another fashion trend worn by psychedelic-rock artists was the hip-length Nehru jacket of the late 1960s (for example, Procol Harum or The Beatles) that is often brocade with double-breasted buttons and a mandarin collar. In the 1970s and 1980s, long hair in rock bands was practically a given aspect of their visual appearance. Prog, glam, and hard rock contributed to the largest number of hair band acts—bands containing members who were known for having a lot of hair and styling it in ways that seemed as big as possible. Classic-rock hair bands include Bon Jovi, Cheap Trick, Def Leppard, Kiss, and Van Halen. The infamous mullet hairstyle was sported by members of these bands and made a comeback in the 1990s. Other artists who wore mullets include McCartney and Bowie. In contrast, the classic suit and tie remained consistent, though often not in the foreground of classic-rock fashion. A look that was once associated with The Ventures and rock-and-roll acts like The Beatles and Buddy Holly reentered classic rock in the 1980s. Bowie adapted the straightedge version of the look with a colorful tie (a bit more related to Chuck Berry or Little Richard’s earlier suits worn in their rock-and-roll days as compared to The Ventures), as did Joan Jett. ZZ Top wore suits and had long hair and beards in their music video “Sharp Dressed Man” and on their album, Eliminator (both 1983). Classic-rock fashion certainly enjoyed the juxtaposition of classic versus popular styles. But this is just one kind of interaction that existed between what were once relegated by many as high-brow (e.g., classical music and art) and low-brow tastes (e.g., any kind of rock music). By definition, prog rock uses classical music elements in many ways, from involving classical music instruments and symphonic orchestras to employing personae or a classical music structure. The notion of rock opera merges the two worlds as well. Though it happens much less often, successful classical musicians have performed classic rock. Just

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one example of a classical music artist who began singing classic rock was opera and avant-garde music singer Cathy Berberian (1925–1983). The dramatic lyric mezzo-soprano, accompanied by a string or wind quartet and harpsichord or organ, recorded Beatles Arias (1967), which included songs from Revolver such as “Eleanor Rigby,” “Yellow Submarine,” “Here, There and Everywhere,” as well as “Help!” and her most famous recording, “Ticket to Ride.” Though the album had mixed reception, it has nevertheless attained cult popularity. More recently, Renée Fleming (1959–), who is best known in opera as a dramatic soprano (she had previously worked as a jazz and cabaret singer as well), released Dark Hope (2010), which contains a few covers of folk-rock songs such as Jefferson Airplane’s “Today” from Surrealistic Pillow (1967) and Leonard Cohen’s “Hallelujah” from Various Positions (1984). Unlike Berberian, Fleming took a nonoperatic approach to these songs. Iconic musicians have also taken interest in classic rock and recorded. Some successful examples have been explored in this book. These acts include Marvin Gaye, who was best known for his work in Motown, R&B, soul, and pop; Turner (previously part of Ike and Tina Turner), who was known for R&B, rock and roll, and pop; and Aretha Franklin (nicknamed the Queen of Soul), who was also known for gospel, R&B, and pop. Another iconic musician, Marianne Faithfull, made a comeback by performing some classic-rock covers. Known best for her light soprano voice in folk-rock and pop-rock albums during the 1960s, Faithfull has made a comeback with a very different, weathered and raspy contralto voice that is more suitable for hard and indie rock. Her most recent notable live covers have included John Lennon’s “Working Class Hero” (1970), which she previously covered on her new wave rock album Broken English (1979). Her Negative Capability (2018) includes covers of her original hit “As Tears Go By” (1964, composed by Jagger, Richards, and Andrew Loog Oldham) and Bob Dylan’s “It’s All Over Now, Baby Blue” (1965). By the late 1960s, rock journalism was all about classic rock, and classic rock dominated the attention of writers until the 1980s, when hip-hop became a competing dominating popular music taste. Other kinds of music, such as disco and country, did become popular in the 1970s and 1980s; however, throughout these decades, it was easy to find journalism that focused on a classic-rock recording or act. Today, classic-rock anniversaries, comebacks, and reissues are still subject matter for reviews, articles, interviews, and tributes. Classic Rock (established in 1998), a magazine published in the United Kingdom focuses primarily on past acts as well as long-lasting ones. But some magazines

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that traditionally focused on classic rock, such as Crawdaddy! (1966– 1979), Circus (a.k.a. Hullabaloo, 1966–2006), Creem (1969–1989), and Phonograph Record (1970–1978), have ceased publication. Rolling Stone continues on as rock journalism’s most commercial venture, but since the 1980s, it has become more an entertainment magazine than a music one. Prior to this shift in focus, however, the magazine was always more interested in extramusical details and fandom than classic-rock music itself. Detailed articles on music and sound recording reviews—including pieces that aim to reach a wide audience that require little or no musical background—have been the exception, not the rule. Music magazines in English that are geared toward a music aficionado or professional readership have regularly featured articles and reviews of classic-rock music. Often also consisting of interviews of musicians and producers, these include BAM, Classic FM, DownBeat, Guitar Player, Guitar World, Guitarist, Pro Sound News, and Sound on Sound.

CHAPTER 4

Legacy

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ore than just enduring, classic rock has left a legacy for musicians and music fans who want to learn more about it. One part of this legacy is stimulating the interest of artists, bands, and music engineers in the studio recording process. As of 2019, the English and American film Bohemian Rhapsody (2018), about Freddie Mercury (1946–1991), the lead singer of the hard-rock and glam-rock band Queen (1970–), holds the record for the world’s top-grossing film biopic of all time. This popularity was the result not only of lifelong classic-rock fans’ getting a glimpse of a favorite band and performer, and youth discovering for the first time the appeal of classic rock as a musical style, but also of the film’s inclusion of material that went beyond biography and delved into the band’s creative and production processes. Bohemian Rhapsody takes its audience into the music studio in two memorable scenes: the band’s recording of “Seven Seas of Rhye” (1974) and its elaborate, multisectional “Bohemian Rhapsody” (1975). Both scenes show analog studio equipment, such as reel-to-reel tape and clunky push-button soundboards; makeshift dividers or separators; dated equipment such as a Vox amplifier swinging from microphone to microphone (a makeshift or mickey-mousing approach to achieve a unique panning effect), and the band’s 1970s musical instruments. The focus of both scenes is not only Mercury’s vision and perfectionism but also the band’s collaboration, innovation, incorporation of their musical mistakes, and sense of accomplishment as they went about producing their music. For viewers who already know the sound recording well, the finished “Bohemian Rhapsody” being played on a record player in the following scene is extremely satisfying, mirrored by the band members enjoying their song in EMI’s office. Young viewers interested in sound

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recording, who have grown up in a digital age that has taken out all the physicality of music production, get a sense of how the analog equipment worked and how modern digital equipment makes it easier to produce. In addition, this film exemplifies that classic rock offers a viable source for successful biopic subject matter. English director Dexter Fletcher, who replaced director Bryan Singer on Bohemian Rhapsody, has followed this film with the Elton John biopic, Rocketman (2019). Classic-rock studio recording production has laid the groundwork for sound recordings of related genres such as pop, country, and heavy metal. Although it cannot claim such studio techniques as panning, assigning instruments to specific speakers, or tape-flanging effects as its own specific innovations, classic rock’s use of these techniques became influential. At the center of this influence, of course, are The Beatles, especially their albums Revolver (1966) and Sgt. Pepper’s Lonely Hearts Club Band (1967), which were released during their psychedelic era. Not only are studio techniques used here to create psychedelic effects; they are also used as part of The Beatles’ approach to art rock. Some studio techniques were created during the classic-rock era. For example, tape-flanging effects were replaced by phaser effects, and these were used with both electric guitars and keyboards to create delay and sweeping sounds; this practice can be heard on the Small Faces’ “Itchycoo Park” (1967), and soon afterward, stereo phasing appeared on Jimi Hendrix’s “Bold as Love” on his album Axis: Bold as Love (1967). Related to this part of classic rock’s legacy is the large number of classic-rock musicians who experimented with instrumental effects (for example, using pedal and whammy bar on electric guitars), new instruments (for example, analog and digital synthesizers as well as modified electric pianos), and instrumental distortion (for example, destroying sound cones on amplifiers or using a fuzzbox). Related to production is the product itself. As classic rock prioritized recording and marketing vinyl albums, and aficionados bought, collected, and preserved them, many easily accessible and good-quality artifacts are still available. Although collectors and uninformed librarians believed that digital formats were the wave of the future and threw out or gave away their albums, vinyl—whether new or used—has returned as a preferable format for collecting recorded music. Along with classical music, jazz, and spoken word—all genres that strongly favored the 331/3 vinyl album format—many used classic-rock albums found their way to record stores, thrift shops, and online sellers. These sharable artifacts are capable of transcending listeners’ imaginations to the time when a concert was performed, when a song was most relevant, and

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when a genre or subgenre was hot. It is amusing to imagine that an Iron Butterfly album such as In-A-Gadda-Da-Vida (1968), frequently found in thrift stores, may have been someone’s vehicle for in-room contemplative listening or for getting stoned; this same album offers yet another trip—down memory lane—to be shared between two siblings or a parent who loves Iron Butterfly and a daughter or son who is being introduced to the music. In addition to bestowing a large number of albums as artifacts, these artifacts appear in a wonderful variety of versions: mono and stereo releases; studio, live, compilation, and reissues; and specific country issues. Within the past decade, recording labels have tapped into this market and have added new reissues of classic-rock albums that are remastered or released in higher definition than the originals. Sometimes these reissues are also on sturdier vinyl. Just one example is Apple Records’ 2012 remastered reissue of The Beatles’ Abbey Road on 180-gram vinyl. Classic rock’s legacy is also as a fusion genre consisting of a vast array of subgenres that can be combined. Subgenres have been discussed in this book’s Background and Impact on Popular Culture chapters; some examples include art rock, blues-rock, country rock, folk rock, hard rock, pop-rock, prog rock, psychedelic rock, and soft rock. And just when the limits of subgenres seem to be reached, more emerge. Some of these subgenres include funk rock, glam rock, baroque pop-rock, power pop (fusing hard rock with pop-rock), psychedelic soul, and space rock. Related styles also emerged from fusing certain subgenres, such as grunge rock and heavy metal, together. Alternative rock, college rock, and indie rock—all reaching their height in the 1980s and 1990s—are related styles that generally employ classic-rock subgenres but also react against classic rock by focusing on lyrical themes of interest to college students and intellectuals or to listeners who do not consider themselves part of the mainstream, downplaying vocals often associated with the sound of classic rock (such as vocal grinding rasp or powerful projection) and placing less emphasis on guitar virtuosity or opting for other kinds of instrumental virtuosity. By reacting against classic rock, these styles turn the genre into one of their influences. Many alternative-rock, college-rock, and indie-rock artists continue classic rock’s sound in several of their songs. Just some of these acts are 10,000 Maniacs, Amplifier, Arctic Monkeys, Barenaked Ladies, The Black Keys, Elvis Costello, Foo Fighters, Green Day, Kings of Leon, Midnight Oil, Muse, My Morning Jacket, Oasis, Queens of the Stone Age, Radiohead, R.E.M., Train, U2, the Vines, and The White Stripes. As of 2019, many bands that are not associated with alternative rock, college rock, or indie rock

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are identified as continuing on as heirs to the legacy of classic rock. Gov’t Mule (1994–), for example, is directly connected to the newest reformed lineup of The Allman Brothers Band (1969–1976, 1978–1982, 1989–2014). Initially a project put together by guitarist Warren Haynes (1960–) and bassist Allen Woody (Douglas Allen Wood, 2000–) while The Allman Brothers Band was working on new material, Gov’t Mule emerged as a new Southern-rock, blues-rock, and hard-rock band. Other examples include Foxy Shazam, Guns N’ Roses, Poison, The Mars Volta, Monsters of Folk, The Record Company, Rival Sons, Rose Hill Drive, The Sheepdogs, Sturgill Simpson, The Sword, and Wolfmother. Though other fusion genres exist, none prior to classic rock has been so diverse. A subsequent genre, hip-hop, takes after classic rock in this respect. Both include regionally and globally oriented subgenres as well. For example, regionally oriented subgenres of classic rock are Southern rock and swamp rock, and a globally oriented subgenre is Latin rock; two regionally oriented subgenres of hip-hop are Dirty South and Miami Bass, and globally oriented subgenres are reggaeton and bhangra beat. Over the years, hip-hop has mined classic-rock albums to cover and to obtain a variety of samples. Run-DMC’s (1981–2002) landmark 1986 cover of Aerosmith’s “Walk This Way” (1975) began when rappers Joseph Simmons and Darryl McDaniels decided to freestyle rap over the song (from the Aerosmith album Toys in the Attic, 1975). Producer Rick Rubin had to explain who Aerosmith was and suggested they cover the song. Jam Master Jay supported the idea, and lead singer Steven Tyler and lead guitarist Joe Perry were asked to appear on their rendition; Aerosmith also appeared in the  song’s popular video, historically bridging hip-hop with classic rock. The song appears on Run-DMC’s Raising Hell (1986), which contains other rap-rock songs such as “My Adidas.” Such fusion was not new to the trio, for by their second studio album, King of Rock (1985), Run-DMC was fusing rap with rock in originals such as “King of Rock” and “Can You Rock It Like This” (composed by LL Cool J [credited as J. T. Smith], Larry Smith, and Rick Rubin). In 1984, the Beastie Boys, Run-DMC’s contemporaries, sampled (without permission) AC/DC’s “Back in Black” (1980) in their rap rock song “Rock Hard” (Michael Diamond, Adam Horovitz, Adam Yauch, and Rick Rubin). The album had to be withdrawn, and because the band could not obtain AC/DC’s permission to use it later, the recording is now a collector’s item. Other examples of classic rock sampled in hip-hop include Ultramagnetic MCs’ “Traveling at the Speed of Thought” (1987), which samples The Rolling Stones’ “Honky Tonk Women” (1969) and

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The Kingsmen’s 1963 hit rendition of “Louie Louie” as well as EPMD’s “You’re a Customer” (1988), which samples The Steve Miller Band’s “Fly Like an Eagle” (1976) and ZZ Top’s “Cheap Sunglasses” (1979). This practice continued well into the 1990s and 2000s, with Ice-T’s “Midnight” (1991), which samples Led Zeppelin’s 1971 rendition of “When the Levee Breaks” (1929, Kansas Joe McCoy and Memphis Minnie) and Black Sabbath’s “Black Sabbath” (1970) as well as Jay-Z’s “Takeover” (2001), which samples The Doors’ “Five To One” (1968) and B.o.B.’s “Lonely People” (2009), which samples The Beatles’ “Eleanor Rigby” (1966). Eminem’s 2002 hit “Lose Yourself” (2002), which was used in the soundtrack of his biopic film vehicle, 8 Mile (2002), is rock rap that incorporates some hard rock. Some recent rap-rock acts include Linkin Park, P.O.D. (Payable on Death), Crazy Town, and twenty øne piløts. Collaborations between classic-rock and hip-hop musicians have also taken place. Examples include R.E.M.’s collaboration with KRS-One on R.E.M.’s “Radio Song” (1991), Elton John’s collaboration with Eminem on his 2001 Grammy Awards performance of “Stan” (2000, Marshall Mathers, Dido Armstrong, and Paul Herman), and Neil Young’s collaboration with D.R.A.M. on a live rendition (2016) of his “People Want to Hear about Love” (2015). Classic rock also has a global legacy that deserves its own book-length study. Emerging in the 1960s in the United States and the United Kingdom, classic rock quickly hit fertile ground in Germany (prior to 1990, West Germany), Austria, the Netherlands, Sweden, Denmark, Norway, France, Australia, New Zealand, and Canada. Though U.S. and British classic-rock bands recording in various subgenres dominated the charts, important bands emerged in other countries and had international breakthroughs. Germany alone by the mid-1960s was home to many kinds of classic-rock bands, and terms for German classic rock immediately developed, including the derogatory Krautrock (applied by English disc jockeys and writers) or the more widely accepted Deutsch-Rock, a term that emerged in the 1970s. German psychedelic-rock bands that became known worldwide were Agitation Free, Guru Guru, Mythos, Popol Vuh, and Tangerine Dream. Space rock, related to psychedelic rock and ambient music, became especially popular in Germany. Some German spacerock bands included Ash Ra Tempel, Cluster, Eloy, Harmonia (which collaborated with Brian Eno in the 1970s), and Nektar. Prog rock was another popular subgenre in Germany, with prominent bands such as Birth Control, Eloy, Embryo, Faust, Floh de Cologne (Flea of Cologne), Frumpy, Hoelderlin, Jane, King Ping Meh, Nektar, Novalis, and Wallenstein. Like prog rock, many German hard-rock and heavy-metal bands

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emerged, most notably Accept and Scorpions. Jazz-rock fusion bands have also flourished in Germany and included Embryo, Emergency, and Tortoise. Like many British and American bands, German classic-rock bands fused various subgenres; the psychedelic folk-rock and prog-rock band Gila, the jazz-rock and prog-rock bands Thirsty Moon and Xhol Caravan, and the prog-rock and medieval folk-rock band Ougenweide (Old Meadow) all became popular. The German band Grobschnitt (Roughly Cut, 1970–1989, 2007–) started out as a psychedelic band, moved onto prog rock, and then ultimately became a pop-rock band before temporarily disbanding, while Hoelderlin (1970–1980, 2005– 2009) started as a folk group, added jazz-rock fusion, and then became best known as a prog-rock band. Most of these bands have had to make the decision to perform classic rock in English or their own language—a decision that is not typical of classic rock alone. International rock-androll as well as hip-hop acts have also faced this issue. If English is used, the language makes the band more accessible outside of its country; if German is used, the language adds a layer of sound, culture, wordplay, and localized lyrical topics that make the music interesting as well as more their own. Other countries such as Italy, Japan, Mexico, and South Africa also saw the emergence of classic-rock bands. In Japan, for example, The Ventures created an impressive following and became the inspiration for instrumental rock-and-roll bands such as The Mops. By the mid1960s, Group Sounds (a.k.a. G-Sound), a Japanese rock music genre, combined rock and roll and Japanese pop music called Kayo¯kyoku (pop tune or standard Japanese pop, an ancestor of J-pop). By the late 1960s, G-Sound embraced garage rock, power pop, baroque pop-rock, bluesrock, folk-rock, hard rock, and psychedelic rock. Notable G-Sound bands included The Tigers (a.k.a. The Funnys), The Spiders, and The Golden Cups, followed later by Blues Creation (a.k.a. Creation), Flower Travellin’ Band, and Happy End. The Mops (1966–1974) transitioned from instrumental rock and roll to G-Sound and became possibly the earliest psychedelic-rock act in Japan. Like Pink Floyd, The Mops played to light shows. Their music often consisted of covers of psychedelic-rock hits such as Jefferson Airplane’s “Somebody to Love” and The Doors’ “Light My Fire” (both 1967) but also originals such as “Asamade Matenai” (“Can’t Wait,” 1968), which was No. 38 in Japan. American classic-rock acts such as Jimi Hendrix and Cream became major influences during this time. During the 1960s and 1970s, several Japanese bands created their own kind of folk rock by using Japanese folk songs and fusing them with rock elements. Shoukichi Kina & Champloose’s

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(ca. 1970s–1980s) folk-rock used Okinawan traditional songs as their basis. This practice has resurfaced with the Wagakki Band (2013–), which used traditional Japanese musical instruments such as shakuhachi (a bamboo flute) and koto (a zither) to perform and record folk-rock and folk metal. Since the 1970s, numerous prog-rock, hard-rock, and heavy-metal bands followed. Popular Japanese prog-rock bands include The Alfee, Ars Nova, Bi Kyo Ran, Flower Travellin’ Band, Outer Limits, and Shingetsu (New Moon); some examples of Japanese hard-rock and heavy-metal bands are Anthem, B’z, Bow Wow, and X Japan. In the 2010s, a large number of all-female hard-rock and heavy-metal bands have formed in Japan. Aldious, Babymetal, Band-Maid, and Cyntia are just a few. Jazz in Japan has become one of the most successful American genres that the Japanese have adopted and made into their own. In the 1970s jazz-rock fusion bands such as Casiopea, Yuji Ohno, Hiromasa Suzuki, and Unicorn began to emerge. Mexico’s Los Hitters (1964–1970) covered The Kinks’ songs and a variety of rock-and-roll songs, but they also became popular with their own garage-rock songs—all in Spanish. La Revolución de Emiliano Zapata (Emiliano Zapata’s Revolution, 1969–) started out as a psychedelic-rock band before moving on to soft rock and pop. Mexico had its own version of Woodstock—including rain and traffic getting there—with the Festival Rock y Ruedas de Avándaro (Avándaro Rock and Wheels, named after the racetracks there, the main attraction in Avándaro), held on September 11 and 12, 1971, at Lake Avándaro, near its golf club. It is amazing that this festival was able to take place, as the conservative Mexican government had previously banned performances of the rock musical Hair (1967) after a performance took place in 1969 in Acapulco. Near the end of the festival, President Luis Echeverria sent 300 buses to drive attendees home. The event had some classic-rock prefestival acts, such as students from the National Autonomous University of Mexico performing songs from The Who’s rock opera, Tommy (1969), backed by a live band, and sets by bands such as the blues-rock and hard-rock band La Fachada de Piedra (The Stone Facade, 1968–) and the pop-rock band La Sociedad Anonima (ca. 1970–). The festival itself featured sets by The Beatles–influenced Los Dug Dug’s (a.k.a. Xippos Rock, 1964–); the psychedelic-rock and hard-rock band División del Norte (ca. 1967–1971); and the psychedelic-rock, hard-rock (acid rock), and blues-rock band Three Souls in My Mind (1968–1985). Most of these acts were in English. Like Woodstock, a crew recorded the event, eventually resulting in the live album Avándaro, por fin  .  .  . 32 años después (Avándaro, At Last  .  .  . 32 Years Later, 2003), produced by

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Javier Tena on the Ludell Records/Bakita Records labels. Several documentary short films were also shot there, such as Alfredo Gurrola’s short film Avándaro for Cablevision and Humberto Rubalcaba’s Tinta Blanca en Avándaro (both 1972). Other documentaries on Avándaro have been made since, including Lance Miccio’s American film, Rock ’n’ Roll Made in Mexico: From Evolution to Revolution (2007), which was produced by Canned Heat’s drummer and Woodstock performer Fito de la Parra (Adolfo de la Parra, 1946–), who is from Mexico City. Other aspects of classic rock’s enduring legacy can be found in lyrical content and theatricality. It is easy to forget when listening to The Doors’ “The End” (1967) that it was a shocking song in its time. Listeners were not only new to epic songs and psychedelic rock, but also, simply put, nobody had ever sung from the point of view of a murderer with an Oedipus complex, singing that he wanted to have intercourse with his mother. Classic-rock musicians took language and topics into more explicitly daring territory than rock-and-roll and pop musicians did. Radio-friendly classic-rock songs not only had their instrumental interludes or solos cut; they also had their language cleaned up. Owning the classic-rock album therefore meant that one could hear the unedited version of a song and have something special that was not accessible to everyone. Though punk musicians have criticized classic rock for its commercialism and tendency to “sell out” to attain mass production and distribution of recordings through the music industry, and for its use of too many studio effects, they had to acknowledge that classic-rock musicians paved the way and weathered the consequences for using language and lyrical content that was, on one hand, judged by some as vulgar, indecent, arousing, or unacceptable and, on the other hand, as necessary and genuine. Though rappers may still find ways to shock their audiences with their words, classic rock helped make it harder for audiences to flinch. Continuing folk music’s use of lyrical content as protest through folk rock, classic-rock musicians further opened doors for rap acts. Though theatricality in classic rock is another extension of rock and roll (an outstanding example of rock-and-roll theatricality is Screamin’ Jay Hawkins’s 1956 shock-rock hit, “I Put a Spell on You”), classic-rock acts took theatricality a lot further with Peter Gabriel of Genesis, who acted not only during the band’s lengthy prog-rock songs but also during multiple-song works, such as the rock opera The Lamb Lies Down on Broadway (1974). Such desire for spectacle is very nineteenth century–inspired and could be observed in classic-rock operas and arena-rock concerts that became extraordinarily expensive as well as

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exhausting to produce. With some of the members of their original lineups, classic-rock acts continue performing arena-rock concerts today. These include Aerosmith, Heart, Pink Floyd, Queen (with various lead singers), and The Rolling Stones, to name a few. A large number of classic-rock songs have been covered by more recent acts, with varying success. Some of these covers are performed by postpunk and indie-rock acts—both of which are genres that resist commercial influences and sounds, yet nevertheless hope to make classic-rock songs their own. These covers not only spark interest and appreciation of the artists performing or recording their renditions; they also draw attention to the original classic-rock songs. Just a few examples of The Beatles’ covers include The Feelies’ “Everybody’s Got Something to Hide (Except Me and My Monkey)” (1968) on Crazy Rhythms (1980), The Breeders’ “Happiness Is a Warm Gun” (1968) on Pod (1990), and The Black Keys’ “She Said She Said” (1966) on The Big Come Up (2002). Several covers of Elton John’s “Rocket Man” (1972, with Bernie Taupin) include Kate Bush’s on Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin (1991), My Morning Jacket’s on Early Recordings: Chapter 1: The Sandworm Cometh (2004), and David Fonseca’s on Dreams in Colour (2007). Other examples of classic-rock covers are Wyclef Jean’s rendition of Pink Floyd’s “Wish You Were Here” (1975) on The Ecleftic: 2 Sides II a Book (2001), The Black Keys’ cover of The Kinks’ “Act Nice and Gentle” (1967) on Rubber Factory (2004), The Kills’ version of Fleetwood Mac’s “Dreams” (1977) on Just Tell Me That You Want Me: A Tribute to Fleetwood Mac (2012), and Disturbed’s interpretation of Simon & Garfunkel’s “The Sound of Silence” (1966) on Immortalized (2015). Classic rock’s legacy is rich and continues to grow in both expected and unexpected ways. Close listening to its studio recording output provides many avenues to understanding this legacy as much as it leads to appreciating this multifaceted, rarely tidy music genre that is full of permeable boundaries. Though some classic-rock elements and conventions have failed to endure over time, the songs and albums help keep classic rock’s legacy intact, inspiring new interest as well as revitalizing musical creativity.

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Index

Abbey Road, 25, 29, 31, 33, 90, 182, 252, 275 Abraxas, 111, 202–206 AC/DC, 1, 5, 17–21, 27, 258, 276 Acid. See LSD Adler, Lou, 140, 143, 149, 152 Aerial Ballet, 22 Aerosmith, 5, 17, 22–27 Aerosmith, 22, 23, 260, 267, 276, 281 Africa, 60 After School Session, 45, 47 After the Gold Rush, 86, 247 Aftermath, 200, 201 “The Afternoon” (The Moody Blues Suite), 174 “Forever Afternoon (Tuesday?).” See “Tuesday Afternoon” “The Air That I Breathe,” 126–127 “Alabama,” 247, 249, 250 “All Along the Watchtower” (Bob Dylan), 103–104, 122 “All Along the Watchtower” (The Jimi Hendrix Experience), 122, 262 “All Is Loneliness,” 137 “All the Young Girls Love Alice,” 135 All Things Must Pass, 90, 132

The Allman Brothers Band, 5, 23, 267, 276 Almost Famous (film), 216, 261 America, 8, 84–91 America, 87–88, 89, 253 “America,” 210–216 American Fool, 154–155 Amy, Curtis, 94, 141 “And When I Die” (Blood, Sweat & Tears), 48, 52 “And Your Bird Can Sing,” 38, 41–42 Anderson, Signe, 64 Andrew, Sam, 137, 138 The Animals, 4, 6, 19, 58, 59, 61, 120, 144, 173, 199–200, 202, 251, 259 “Anyway, Anyhow, Anywhere,” 241, 246 “Apache” (The Ventures), 237–238 Apple Records, 85, 174, 260, 275 “Arctic World,” 159–160 Are You Experienced, 122 “Are You Ready for the Country,” 249–250 Aretha, 227 Aretha Arrives, 222–223 Argent, Rod, 252, 253, 254–255 Arrows, 127 Asian Music Circle, 40

296 Index

“Auntie Grizelda,” 166 Autodestructive art, 242–243 Avándaro Rock and Wheels, 279–280 Axis: Bold as Love, 274 B-Bender, 106 “Baba O’Riley,” 12, 245 Bach, Johann Sebastian, 83, 118, 138, 187–189, 191 Back in Black, 20–21, 258 “Back in Black” (Beastie Boys sample), 276 Backmasking, 265–266 “Bad, Bad Leroy Brown,” 81, 82, 84 “Bad Moon Rising,” 78 Bad Reputation, 127. See also Joan Jett Baez, Joan, 6, 7, 101, 170, 171 Bailey, Philip, 67, 70, 71 Baker, Ginger, 72, 73, 74, 75, 266 Baker, Roy Thomas, 194, 197 Balin, Marty, 64, 65 Balk, Harry, 207, 210, 215 “Ball and Chain” (Big Brother and the Holding Company featuring Janis Joplin), 137, 138 “Ball of Confusion” (The Temptations), 221 “Ball of Confusion” (Tina Turner and B.E.F.), 227 “The Ballad of Curtis Loew,” 251 “The Ballad of Danny Bailey (1909– 1934),” 132, 135 Ballbreaker, 20, 21 The Band, 10, 100, 104, 170, 171, 267 Banks, Tony, 116, 117, 118, 119, 120 Barber, Adrian, 23, 24 “Barracuda,” 1, 148–149 Barrett, Syd, 181–182, 185, 186, 266 Bayou Country, 78 “Be Straight,” 130 The Beach Boys, 3, 8, 9, 11, 22, 33, 40, 41, 46, 94, 96, 260

Beastie Boys, 62, 276 The Beatles, 3, 6–7, 8, 9, 10, 11, 24, 25, 27–43, 46, 54–55, 56–57, 85, 90, 118, 123, 124, 126, 143, 147, 164, 166, 167, 170, 171, 172, 174, 182, 186, 189, 198, 199, 200, 206, 214, 223, 224, 225, 226, 228, 246, 252, 253, 254, 259–260, 263, 264, 265, 266, 267, 268, 269, 270, 274, 275, 277, 279, 281 The Beatles. See The White Album Beatles Arias (Cathy Berberian album), 270 Beck, Jeff, 5, 228 Beckley, Gerry, 87, 88, 90 “Beds Are Burning,” 157, 158 Begin Here, 252 “Bennie and the Jets,” 131, 133 Berry, Chuck, 3, 43–47, 81–82, 83, 101, 199, 257, 269 Best, Pete, 6, 29–30 Between the Buttons, 200, 201 Big Brother and the Holding Company, 5, 135, 136–137, 143, 248 Big Brother and the Holding Company, 136–137 “Big Yellow Taxi” (Joni Mitchell), 161–162, 163, 164 The Birds, The Bees & The Monkees, 167 Bitches Brew, 9, 10, 72 “Bits and Pieces” (Joan Jett), 130 Black Ice, 20, 21 “Black Magic Woman,” 111 “Black Magic Woman/Gypsy Queen,” 203–204 The Black-Man’s Burdon, 60–61, 202 Blair, Ronnie, 176, 178–179 Blonde on Blonde, 103 Blood, Sweat & Tears, 10, 48–54, 59, 68, 84–85, 171, 212, 251 Blood, Sweat & Tears, 48–54, 68 “Blowin’ in the Wind” (Bob Dylan), 100

Index  297

“Blowin’ in the Wind” (The Hollies), 126 The Blue Velvets, 75–76. See also Creedence Clearwater Revival Blues Boys, 198. See also The Rolling Stones Blues Incorporated, 4, 198, 199 “Blues—Part II,” 51, 54 Blunstone, Colin, 252, 253, 254–255 Bo Diddley beat. See 3-2 son clave Bogle, Bob, 234, 235 “Bohemian Rhapsody,” 13, 194–196, 263, 267, 273 Bohemian Rhapsody (film), 261, 273–274 “Bold as Love,” 274 Bonham, John, 145, 147, 246 Bono, 228, 229, 230, 231, 232–233 Bookends, 212, 213, 216 Booker T. and the M.G.’s, 238, 239, 240 “Border Song (Holy Moses)” (Aretha Franklin), 226 “Boris the Spider,” 243 “Born on the Bayou,” 78 “Born to Be Wild” (Steppenwolf), 262 Botnick, Bruce, 92, 95, 96, 97 Bowie, David, 54–58, 132, 198, 228, 229, 236, 263, 267, 268, 269 Boyce, Tommy, 164. See also Boyce and Hart Boyce and Hart, 164, 165, 166, 167 “Brain Damage,” 183, 185 “Break on Through (To the Other Side),” 60, 92, 93, 94, 262 “Breathe,” 183, 184 Brill Building songwriters, 165, 213 Bringing It All Back Home, 7, 100, 101, 102 The British Invasion, 5, 19, 28, 46, 76, 123, 124, 125, 164, 165, 173, 198, 199, 206, 252, 259 “Bron-Y-Aur Stomp,” 147 Brooker, Gary, 187, 188

Brown, David, 202, 203 Brown, Harold Ray, 58 Brown, Pete, 72, 74, 170 Browne, Jackson, 90, 105, 267 Browne, Tara, 35 Bruce, Jack, 72, 73, 74, 75, 170 Bryant, Boudleaux, 237 BS&T. See Blood, Sweat & Tears Buckingham, Lindsey, 111, 112–113, 114, 115 Buckingham Nicks, 111 Buffalo Springfield, 6, 7, 10, 65, 84, 85, 248, 252, 262 “Bullet the Blue Sky,” 231–232 Bunnell, Dewey, 87, 88, 89, 90 Burdon, Eric, 2, 58–61, 62, 173, 202, 205 “Bus Stop,” 124–125 But Seriously Folks…, 109 Butterfly, 126 “Bye, Bye Baby,” 137 The Byrds, 6, 7, 10, 22, 62–66, 84, 87, 101, 106, 128, 179, 180, 212, 261–262 Caillat, Ken, 111–112, 114 “Calcutta” (The Ventures), 237 Cale, J. J., 1, 12, 251 “California Dreamin’” (America), 91 “California Dreamin’” (Barry McGuire), 150 “California Dreamin’” (The Mamas and the Papas), 91, 150–151, 262 “Call Me the Breeze” (J. J. Cale), 251 “Call Me the Breeze” (Lynyrd Skynyrd), 251 Campbell, Mike, 175, 176, 177, 179–180, 181 “Candle in the Wind,” 131, 132–133, 135 “Candle in the Wind 1997,” 131, 259 Canned Heat, 5, 169, 170, 224, 235, 262, 280 Carabello, Mike, 202, 203

298 Index

“Carrie Anne,” 126 Carroll, Greg, 232 Casady, Jack, 64, 65, 66 Cashman, Terry, 82 “Cast Your Fate to the Wind” (Vince Guaraldi), 75–76 Catero, Fred, 138, 203 CCR. See Creedence Clearwater Revival “Celebration of the Lizard,” 94 Cetera, Peter, 67, 69–70, 71 “The Chain,” 112, 113 Chandler, Chas, 120–121 Chapin, Harry, 13, 54–58 “Chauffer Blues” (Jefferson Airplane), 64 Cheap Thrills, 136, 137–138 “Check Me Out,” 47 Chepito, 202, 203, 205, 206 Chess, Leonard, 44–45, 70 Chestnut Street Incident, 153 Chicago (band), 10, 49, 66–72, 114, 138, 267 Chicago, 68 Chicago II, 68, 69 Chicago V, 69 Chicago VII, 69 Chicago X, 69–70 Chicago XI, 71 Chicago 16, 71 Chicago Transit Authority, 68 The Chicago Transit Authority. See Chicago Chitty, Kathy, 211–212 Chuck, 46 Clapton, Eric, 1, 12, 71, 72, 73, 74, 75, 132, 229, 268 Clark, Gene, 62, 63, 66 Clark, Petula, 206–207, 208–210 Clarke, Allan, 123, 124, 125, 126 Clayton-Thomas, David, 48, 50–51, 52, 53 Cleveland, Al, 214 Clifford, Cosmo, 75, 76, 79, 80

Cloud Nine, 219–220 “Cloud Nine” (Marvin Gaye), 214 “Cloud Nine” (The Temptations), 220 Collins, Phil, 8, 117, 119, 120, 268 “Come Sail Away,” 1, 264 Come Together (Ike and Tina Turner and the Ikettes album), 223, 225 “Come Together” (Aerosmith), 25 “Come Together” (The Beatles), 31–32, 260 Cook, Billy, 96, 97 Cook, Stu, 75, 76, 80 Cordell, Denny, 173, 175–176, 187 Cordell, Ritchie, 128, 131 Cosmo’s Factory, 79, 80 Cosmo’s Factory. See Creedence Clearwater Revisited Cougar, John. See Mellencamp, John Crazy Horse, 85, 250 “Crazy on You,” 12, 148 Cream, 4, 23, 51, 59, 72–75, 157, 260, 278 Creedence Clearwater Revisited, 80. See also Creedence Clearwater Revival Creedence Clearwater Revival, 3, 5, 10, 75–80, 126, 157, 225, 262 Creedence Clearwater Revival, 76–78 “Crimson and Clover” (Joan Jett & the Blackhearts), 130 Croce, Jim, 7, 80–84 “Crocodile Rock,” 13, 134 Crook, Max, 13, 31, 206, 207, 215 Crosby, David, 62, 84, 85, 86, 87, 161, 163–164, 249 Crosby, Stills & Nash, 12, 84–91, 126, 127, 163, 170, 254 Crosby, Stills & Nash, 84, 85 Crosby, Stills, Nash & Young, 84–91, 163–164, 165, 170, 248 Crosby and Nash, 87 Crumb, R., 138

Index  299

CSN. See Crosby, Stills & Nash CSNY. See Crosby, Stills, Nash & Young Curtis, King, 225 Curtis Knight and the Squires, 120, 123 Cuttin’ Heads, 156 Dale, Dick, 233–234 Daltrey, Roger, 240, 241, 242, 243 Damn the Torpedoes, 177, 180 “Dance to the Music,” 218, 219 “Dancing in the Street” (The Mamas and the Papas), 152 Dark Hope, 270 Dark Side of the Moon, 181–186, 259 David Bowie, 55, 132 Davies, Ray, 253, 254 Davis, Miles, 9–10, 72, 203 A Day at the Races, 196 “A Day in the Life,” 28, 33–37, 42, 43, 56–57, 167 “Daydream,” 41 Days of Future Passed, 173–174 “D.C.B.A.-25,” 65–66 Deacon, John, 192, 193, 196, 197 “The Dead Heart,” 157–158, 160 “Dear Eloise,” 126 Déjà Vu, 86 Densmore, John, 92, 96 Desperado, 106–107 The Detours. See The Who Deutsch-Rock, 277–278 Dexter, Jeff, 87, 88, 90 Dickson, Jim, 62, 101 Diddley, Bo, 46, 65, 199, 203, 242, 252 Diesel and Dust, 157–160 Dire Straits, 228, 267 Dirty Deeds Done Dirt Cheap, 18–19 Disraeli Gears, 51, 73 Distant Light, 126

Dixon, Willie, 4, 51, 93, 199, 200, 227 “Doctor Robert,” 38, 42, 166 “Does Anybody Really Know What Time It Is,” 68–69 Dog and Butterfly, 148–149 Doherty, Denny, 149, 150, 151, 152, 153 Dolenz, Micky, 165, 166, 167, 168 Donovan, 7, 40, 102, 111, 156, 268 “Don’t Ask Me No Questions,” 251 “Don’t Come around Here No More,” 179 “Don’t Stop,” 1, 12, 112, 113, 198 The Doors, 5, 10, 11, 14, 59, 60, 91–100, 141, 153, 189, 261, 262, 263, 264, 265, 277, 278, 280 The Doors (album), 92–93 The Doors (film), 96, 261 “Down on Me” (Big Brother and the Holding Company featuring Janis Joplin), 136, 137 “Down on the Corner,” 79 “Downtown,” 206–210 “Dr. Feel Good,” 42 Dr. Teeth and The Electric Mahem, 266–267. See also The Muppet Show Dream a Little Dream, 152, 153 “Dream On,” 23, 23, 24, 25, 260 Dreamboat Annie, 147–148 “Dreams,” 112, 114, 281 “Dreamworld,” 159 Duckwalk, 44 Dudgeon, Gus, 55, 132, 133 Dylan, Bob, 6, 7, 10, 47, 63, 66, 86, 100–104, 122, 123, 126, 156, 180, 200, 226, 231, 248, 261, 262, 267, 270 Eagles, 1, 10, 12, 13, 90, 95–96, 98–100, 104–110, 175, 244, 258, 265

300 Index

Eagles, 105–106 Eagles Live, 109–110 Earth, Wind & Fire, 66–72 Earth, Wind & Fire, 70 Easy Rider (film), 261–262, 263 “Eclipse,” 183, 185–186 the Edge, 228, 229, 230, 231, 232, 233 Eddy, Duane, 233 Edge, Graeme, 172, 190, 191 Edwards, Dennis, 217–218, 219, 220, 222 Edwards, Nokie, 234, 235, 236, 238, 239 “Eight Miles High,” 63–64 Eight Nighty-Eight. See Hard Promises Eki Renurt. See Turner, Ike “Eldorado,” 265 “Eleanor Rigby” (Aretha Franklin), 224 “Eleanor Rigby” (The Beatles), 38, 39, 90, 277 Electric Ladyland, 108, 122 Electric Light Orchestra, 1, 11, 180, 210, 258, 265 Elliot, Cass, 85, 150, 152, 153, 268 ELO. See Electric Light Orchestra “Embryonic Journey,” 66 Emerick, Geoff, 34, 90, 252–253 “Empty Spaces,” 266 “The End,” 93, 263, 280 Eno, Brian, 119, 230–231, 277 Entwistle, John, 240, 241, 242, 243 Epstein, Brian, 30 Epstein, Howie, 179 Eric Burdon and War, 2, 58–62, 202, 205 Eric Burdon Declares “War,” 59, 60 Errico, Greg, 217, 218, 219, 221 Evans, Dave, 17, 18 Evans, Mal, 35, 37 Evans, Mark, 18, 19 “Everyday People,” 218, 220

Evolution, 124, 126 EWF. See Earth, Wind & Fire Face to Face, 253–254 Faces, 202 Facets, 81 Faithfull, Marianne, 126, 270 Fashion, 127, 264, 268–269 Felder, Don, 98, 99, 107, 108, 109, 175 Festival Rock y Ruedas de Avándaro. See Avándaro Rock and Wheels Fifth Dimension, 62–64 “Fire and Rain,” 140 The First Real Poetry Band, 72 Fisher, Matthew, 187, 188 “5D (Fifth Dimension),” 63 Fleetwood, Mick, 111, 112, 113, 115, 116 Fleetwood Mac, 1, 2, 5, 8, 12, 110–116, 204, 258, 262, 281 Fleming, Renée, 270 Fogerty, John, 75–76, 77, 78, 79, 80, 126, 225, 233 Fogerty, Tom, 75, 76, 80 “A Fool in Love,” 222 For Certain Because, 124, 125, 126 “For No One,” 42 “For What It’s Worth,” 65, 262 Forrest Gump (film soundtrack), 262 “Fortunate Son,” 79, 262 Foster, David, 66–67, 71 Foxtrot, 118 “Foxy Lady,” 122 Franklin, Aretha, 139, 196, 222–229, 270 “Freebird,” 247 “Freedom,” 170 The Freewheelin’ Bob Dylan, 7, 100 Fresh Cream, 51, 72–73 Frey, Glenn, 90, 98, 105, 106, 107, 108, 109, 110 From Genesis to Revelation, 116–117

Index  301

Full Circle, 95 Full Moon Fever, 180 “Funeral for a Friend,” 132 The Funk Brothers, 214, 216, 219 G-Sound, 278 Gabriel, Peter, 116, 117, 118–119, 120, 268, 280 The Game, 197, 265 Garcia, Jerry, 65 Garfunkel, Art, 212, 213 Garrett, Peter, 157, 158, 159, 160 Gary, Russ, 78 Gaye, Marvin, 2, 9, 152, 207, 210–211, 213–216, 270 Geffen, David, 105, 163 Gehman, Don, 154, 155 Genesis, 8, 11, 114, 116–120, 132, 194, 245, 267, 280 Geordie, 19 Georgie Fame and the Blue Flames, 4, 42 Get a Grip, 27 Getz, David, 137, 138 “(Ghost) Riders in the Sky: A Cowboy Legend,” 96, 237 Gianquinto, Alberto, 205 Gilmour, David, 181, 182, 183, 184, 185, 186 “Go Now” (The Moody Blues), 172–173 “Go Where You Wanna Go,” 150 “Go Your Own Way,” 12, 112, 113, 262 Goats Head Soup, 131, 200, 201 “God Bless the Child” (Blood, Sweat & Tears), 52 Goffin, Gerry, 84, 139, 165, 168, 213, 224 Goffin-King, 139–140, 167, 168 “Going up the Country,” 170 “Gold Dust Woman,” 113 Golliwogs, 76. See also Creedence Clearwater Revival

“Good Day Sunshine,” 41, 42 “Good Golly, Miss Molly” (Little Richard), 3 “Good Vibrations,” 96, 260 Goodbye, 23, 75 Goodbye Yellow Brick Road, 131–135 “Goodbye Yellow Brick Road,” 131, 132, 133–134 Gordy, Berry, 52, 215, 216 “Got to Get You into My Life,” 42–43 Gov’t Mule, 276 The Graduate (film), 212, 263 Graham, Larry, 217, 218, 219, 221 Grateful Dead, 9, 10, 62, 64, 65, 169, 267, 269 “The Great Gig in the Sky,” 183, 184 Green, George Michael, 153, 154, 155 Green, Peter, 5, 111 “Green Onions” (Booker T. and the M.G.’s), 238, 239 “Green Onions” (The Ventures), 238–240 Green River, 78–79, 80 Greenspoon, Jimmy, 143, 144 “Grey Seal,” 134 Guercio, Jim, 49, 54, 68, 69 Guns N’ Roses, 6, 27, 258–259, 267, 269, 276 Gurley, James, 137, 138 Guthrie, Arlo, 170, 171 Gymnopédies, 49–50 “Gypsy Queen,” 203, 204 Hackett, Steve, 117, 118, 119, 120 Hair (album), 49 Hair (musical), 279 Hair band, 27, 145, 269 Hairstyle, 211, 264, 268, 269 Halee, Roy, 212, 213 Halligan, Dick, 49, 50 Hamilton, Tom, 22, 25 Happy Jack, 243

302 Index

Harbor, 90, 91 “Hard as a Rock,” 21 A Hard Day’s Night (film), 7, 35, 164 A Hard Day’s Night (The Beatles album), 7, 29, 31 “A Hard Day’s Night,” 31 Hard Promises, 178 “A Hard Rain’s a-Gonna Fall,” 100 “Hard to Say I’m Sorry,” 67, 71 Harmony (Three Dog Night album), 142–143 “Harmony’ (Elton John), 135 Harrison, George, 6, 7, 28, 29, 31, 32, 33, 37, 38–39, 40, 41–42, 43, 90, 132, 171, 180, 233, 259–260, 268 Harrisongs Ltd, 29 Hart, Bobby, 164. See also Boyce and Hart Harvest, 86, 167, 247–250 Haskell, Jimmie, 70, 227 Hat Trick, 89 Hatch, Tony, 206, 208–209, 210 “Have You Ever Seen the Rain,” 79 Havens, Richie, 170, 171, 248 “Hawaii Five-O,” 240 Hawkins, Screamin’ Jay, 76, 280 Hayward, Justin, 172, 173, 189 “He Ain’t Heavy, He’s My Brother” (The Hollies), 126 Head (album), 167–168 Head (film), 139, 167, 168, 261 Headquarters, 166–167 Heads and Tales, 55 Heart, 1, 12, 145, 147–149, 281 “Heart of Gold,” 88, 247, 248–249 “Heartache Tonight,” 1, 109 “Heartbreaker,” 147 Hearts, 90 Hell Freezes Over, 110 “Hello, I Love You,” 14–15, 94, 262 “Hello Goodbye,” 31, 260 “Hello Little Girl,” 29 “Hells Bells,” 20

Help! (The Beatles album), 10, 29, 31, 33, 38 Help! (The Beatles film), 164 “Help!” (The Beatles), 260 Hendrix, Jimi, 2, 10, 59, 71, 72, 73, 96, 108, 120–123, 128, 133, 169, 170, 171, 172, 232, 251, 268, 274, 278 Hendrix Chord, 71, 122 Henley, Don, 98, 99, 105, 106–107, 108, 110, 268 Hentschel, Dave, 117, 119, 132 “Here, There, and Everywhere,” 40, 270 Herman’s Hermits, 123, 125, 139, 206, 254 “Hey Joe (Where You Gonna Go!)” (The Byrds), 63, 64 “Hey Joe (Where You Gonna Go!)” (The Jimi Hendrix Experience), 121 Hicks, Tony, 123, 124, 125, 126 Hideaway, 90–91 The High Numbers. See The Who Highway 61 Revisited, 102, 103 Highway to Hell, 18, 19, 20 “Highway to Hell,” 1, 19 Hikmet, Nâzim, 63 Hillman, Chris, 62, 84 Hindustani classical music, 25, 39–40, 171, 179, 190, 191 Holiday, 90, 252–253 Holland, Milt, 162 The Hollies, 8, 84, 85, 123–127, 206, 253, 254 Hollies, 124, 126–127 Hollies Sing Dylan, 126 Hollies Sing Hollies, 126 Holly, Buddy, 29, 123, 199, 257, 269 Holzman, Jac, 55, 57 Homecoming, 89 “Hope You’re Feeling Better,” 205–206 “Horizons,” 118

Index  303

“Horse Latitudes,” 93 “A Horse with No Name,” 87, 88, 89 Hot Tuna, 66 “Hotel California,” 1, 13, 95–100, 108, 244, 265 Hotel California, 98, 108, 258, 265 “House of the Rising Sun” (The Animals), 6, 200, 251, 259 “How Do You Feel” (Jefferson Airplane), 66 Huston, Chris, 59, 60–61 Hutton, Danny, 143, 144, 165 “I Can See for Miles,” 227, 242, 244 “(I Can’t Get No) Satisfaction” (Aretha Franklin), 222, 223–224 “(I Can’t Get No) Satisfaction” (The Rolling Stones), 200–201, 224, 260 “I Come and Stand at Every Door,” 63 “I Feel the Earth Move,” 140–141, 142 I Got a Name, 81, 82 I Got Dem Ol’ Kozmic Blues Again, Mama, 136, 138–139 “I Had a Dream,” 170 I Heard It through the Grapevine! (Marvin Gaye album), 213 “I Heard It through the Grapevine” (The Temptations), 220 I Love Rock ’n’ Roll, 127–131 “I Love Rock ’n’ Roll” (Arrows), 127 “I Love Rock ’n’ Roll” (Joan Jett & the Blackhearts), 127, 128–129, 131 “I Need You” (America), 87–88 “I Need You” (Lynyrd Skynyrd), 251 “I Put a Spell on You” (Creedence Clearwater Revival), 76, 77 “I Put a Spell on You” (Screamin’ Jay Hawkins), 77, 280 “I Should Have Known Better,” 7

“I Still Haven’t Found What I’m Looking For,” 230, 231, 232 If You Can Believe Your Eyes and Ears, 149, 150 “If You Leave Me Now,” 69–70, 71 Ike and Tina, 78, 222–223, 225–226, 248 Ike Turner’s Kings of Rhythm, 2, 225 “I’m a Believer” (The Monkees), 166, 259 “(I’m Gonna) Run Away,” 129, 130 “I’m Only Sleeping,” 38, 39, 40, 43 “In God’s Country,” 230, 232 In Search of the Lost Chord, 174, 191 “In Spite of All the Danger,” 29 In the Hollies Style, 124 “Incident at Neshabur,” 205 Indie rock, 267, 270, 275–276, 281 Iovine, Jimmy, 177 “Itchycoo Park,” 274 “It’s Only Rock ’n’ Roll (But I Like It),” 127 “It’s Too Late,” 139, 140, 141–142 “I’ve Seen That Movie, Too,” 132, 134–135 Jackie Brenston and his Delta Cats, 2 Jackson, Michael, 110, 258 Jagger, Mick, 23, 60, 198, 200–201, 202, 224, 257, 267, 270 Jagger-Richards, 200–201 “Jamaica Jerk-Off,” 134 “Janie’s Got a Gun,” 26, 27 Jefferson Airplane, 7, 8, 9, 10, 62, 64–66, 85, 87, 169, 170, 171, 262, 270, 278 Jefferson Starship, 8, 66 Jesus Christ Superstar, 245 Jethro Tull, 5, 99, 157, 258 Jett, Joan, 127–131, 267, 269 The Jimi Hendrix Experience, 5, 10, 67, 120–123, 169, 193, 262 Joan Jett, 127

304 Index

Joan Jett & the Blackhearts, 127–131, 267 John, Elton, 13, 126, 131–135, 226, 227, 259, 263, 267, 268, 269, 274, 277, 281 John Cougar, 153 John Mayall & the Bluesbreakers, 4, 132, 177 John Mellencamp, 156 John Wesley Harding, 103–104 “Johnny B. Goode,” 45, 47, 83 Johns, Glyn, 105, 106, 107, 145 Johnson, Brian, 19–21 Johnstone, Davey, 132, 135 Jones, Brian, 122, 148, 198–199, 201, 202 Jones, Davy, 165, 166 Jones, John Paul, 145, 147 Joplin, Janis, 2, 5, 67, 95, 96, 128, 135–139, 170, 171, 224, 248, 266, 268 Jordan, Lonnie, 58, 59–60 The Joshua Tree, 229–233 Journey, 202 Just an Old Fashioned Love Song, 142 “(Just an) Old Fashioned Love Song” (Paul Williams), 142, 143 “(Just an) Old Fashioned Love Song” (Three Dog Night), 142–144 Kantner, Paul, 64, 65–66, 85 Kath, Terry, 67, 68, 69, 71 Katz, Steve, 51 Kaukonen, Jorma, 64, 65, 66 Keller, Jack, 165, 166 Kendricks, Eddie, 217, 219, 222 Kent State shootings, 86 King, Carole, 7, 84, 139–142, 144, 165, 167, 168, 213, 224 King, Ed, 247, 250, 251 The Kinks, 1, 12, 14, 206, 246, 250, 252–254, 267, 279, 281 Kinks, 253

Kirshner, Don, 164, 165, 166, 266 Knopfler, Mark, 228, 233 Kooper, Al, 48, 51, 84–85, 103, 212, 251 Korner, Alexis, 4, 198 Kramer, Joey, 22 Krautrock. See Deutsch-Rock Krieger, Robby, 92, 93, 94, 95, 96, 97 L. Ransford (Allan Clarke, Tony Hicks, Graham Nash), 124. See also The Hollies L.A. Woman, 92, 95, 96 “L.A. Woman,” 95 Ladies of the Canyon, 86, 161 Laguna, Kenny, 127, 128, 129, 130, 131 Laine, Denny, 172, 173 The Lamb Lies Down on Broadway, 118, 120, 280 “The Lamb Lies Down on Broadway,” 118–119 Lambert, Kit, 240–241, 243 Lamm, Robert, 67, 68–69, 70, 71 Landau, Jon, 74–75 Lange, Mutt, 20 “Last Night” (The Mar-Keys), 239 “Last Night” (The Ventures), 239–240 “Last Train to Clarksville,” 165–66 Leadon, Bernie, 105, 106, 107, 108, 175 Leadon, Tom, 175 Leary, Timothy, 32, 43, 189, 190, 191, 192 Led Zeppelin, 5, 11, 19, 27, 59, 69, 144–148, 149, 157, 209, 227, 232, 246, 258, 260, 265, 277 Led Zeppelin, 145 Led Zeppelin II, 146–147 Led Zeppelin III, 147 Led Zeppelin IV, 147, 258, 265 “The Ledge,” 114, 115

Index  305

“Legend of a Mind,” 174, 186, 189–192 Lennon, John, 6, 7, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 39, 40, 41, 42, 43, 167, 178, 225, 257, 259, 263, 268, 269, 270 Lennon-McCartney, 29, 260 Let It Be, 29, 31, 182 “Let It Be” (Aretha Franklin), 224 “Let It Be” (Ike and Tina Turner), 225 “Let It Be” (The Beatles), 31 Let Me Up (I’ve Had Enough), 178, 179–180 “Let There Be Drums” (The Ventures), 239 Let There Be Rock, 18, 19 Lewis, Jerry Lee, 3, 131, 135 Life, 218, 220 Life, Death, Love and Freedom, 156–157 Life and Times, 81, 82 “Life in the Fast Lane,” 108 Lifehouse, 245 “Light Is Faster Than Sound,” 137 “Light My Fire,” 93, 278 “Like a Rollin’ Stone,” 102, 103 Lipsius, Fred, 50, 53, 54 “A Little Bit Me, A Little Bit You” (The Monkees), 166 Little Boy Blue and the Blue Boys, 198. See also The Rolling Stones “Little Drummer Boy” (Joan Jett & the Blackhearts), 130–131 Little Queen, 148 Little Richard, 3, 19–20, 120, 269 Little Sister, 218. See also Sly and the Family Stone Lodge, John, 172, 173, 189 “The Lonely Bull (El toro solitario),” 236 “The Lonely Bull” (The Ventures), 236–237 “Lonely People,” 90

The Lonesome Jubilee, 155, 156 “Long Cool Woman in a Black Dress,” 126 The Long Run, 108–109 Los Hitters, 279 “Love Her Madly,” 95, 96, 262 “Love Is Pain,” 130 “Love Lies Bleeding,” 132 “Love Me Do,” 30, 124 “Love You To,” 39–40, 43 The Lovin’ Spoonful, 7, 41, 153, 164, 212 LSD, 9, 35, 40, 42, 43, 66, 111, 181, 189, 244 Lynne, Jeff, 180, 181, 210 Lynyrd Skynyrd, 1, 5, 224, 247–248, 250–252, 262 lysergic acid diethylamide. See LSD Made in Heaven, 197–198 Magazine, 148 The Magnificent Moodies, 173, 187 Mama Cass. See Elliot, Cass The Mamas and the Papas, 6, 7, 9, 85, 91, 137, 149–153, 262 The Mamas and the Papas, 149, 152 “A Man Needs a Maid,” 248, 249, 250 Man of Words/Man of Music, 55 Manchester Sound, 123, 125 Manzarek, Ray, 60, 91–92, 93, 95, 96 The Mar-Keys, 239–240 Mardi Gras, 80 Mardin, Arif, 222, 223, 227 Martin, George, 24, 30, 31, 32, 34, 36, 37, 38, 39, 41, 42, 54, 90, 91, 124 Mason, Nick, 181, 183, 184, 185, 186 Maximilian. See Crook, Max May, Brian, 192–193, 194–195, 196, 197 “Maybelline,” 3, 45, 46, 47

306 Index

McCartney, Paul, 6, 28–29, 31, 32, 33, 34, 35, 36, 37, 39, 40, 41–42, 173, 225, 257, 260, 265, 267, 268, 269 McGuinn, Roger, 62, 63, 65–66, 84, 179, 262 McGuire, Barry, 150 McKenzie, Scott, 152, 169 McVie, Christine, 111, 112, 113, 115 McVie, John, 111 “Me and My Bobby McGee” (Janis Joplin), 138 Meddle, 182 Meisner, Randy, 98, 105, 106, 107, 108 Melcher, Terry, 62 Mellencamp, John, 135, 153–157, 232, 267 Mellotron, 55, 56–57, 117, 118, 134, 143, 144, 173, 174, 190, 192 “Memphis, Tennessee,” 47 “Mercedes Benz,” 138–139 Mercury, Freddie, 192, 193, 194, 195, 196, 197, 198, 273 Merseybeat, 30, 123, 173, 252 “Mexico” (The Ventures), 237 Midnight Oil, 157–160, 264, 267, 275 Mitchell, Joni, 80, 86, 140, 160–164, 248 Mitchell, Mitch, 121, 123, 193 “Monday, Monday,” 151–152 “Money,” 183, 184–185, 186 The Monkees, 8, 10, 109, 139, 142, 164–168, 235, 259, 268 The Monkees (album), 166 The Monkees (television series), 142, 164, 165, 167, 266 “The Monkees (Theme Song),” 166 Monterey Pop, 8, 84, 137, 152, 169, 171–172, 241, 243, 264 Monterey Pop (film), 169 The Moody Blues, 11, 60, 172–175, 186, 187, 189–192, 250, 258

Moon, Keith, 171, 193, 233, 241, 242–243, 244, 246 “Moonlight Drive,” 91, 93 The Mops, 278 “More and More,” 52 More of The Monkees, 166 Morrison, Jim, 91–92, 93–94, 95, 96, 97, 98, 265, 268 Morrison Hotel, 92, 94, 95 “Mother’s Daughter,” 205 “Mothers of the Disappeared,” 233 Moulin Rouge! (2001 film), 263 “Mr. Spaceman” (The Byrds), 63 Mr. Tambourine Man, 7, 62, 179 “Mr. Tambourine Man” (Bob Dylan), 100, 101 “Mr. Tambourine Man” (The Byrds), 7, 101 “Mrs. Robinson,” 212, 263 MTV, 26, 127, 179, 267 Mudcrutch, 175, 176. See also Tom Petty and the Heartbreakers Muehleisen, Maury, 83 Mullen, Larry, Jr., 229 The Muppet Show (television series), 144, 266, 267 The Muppets, 267 Music from “Lil Brown,” 60 Music industry, 14, 15, 154, 156, 180, 280 Musique concrète, 182, 183, 184 Musitron, 206, 207, 208, 210 “My Best Friend” (Jefferson Airplane), 64, 65 My Bonnie, 6, 30 My Generation, 241–242 “My Generation” (The Who), 171, 241, 242–243, 246 “My Generation” (The Zimmers), 246 “My Sweet Lord,” 90 “Nag” (Joan Jett & the Blackhearts), 130 Napoleon XIV, 265–266

Index  307

Nash, Graham, 85, 86, 123, 124, 125, 126, 127, 163, 164, 249 “The Needle and the Damage Done,” 250 “The Needle and the Spoon,” 250, 251 Nesmith, Michael, 109, 165, 166, 167 “Never Go Back Again,” 112–113 “Never on a Sunday” (The Ventures), 237 New World, 254. See also The Return of the Zombies Nichols, Roger, 142 Nicks, Stevie, 111, 112, 113, 115, 116, 268 “El Nicoya,” 206 A Night at the Opera, 194, 196 “The Night” (The Moody Blues Suite), 174 “Nights in White Satin,” 174 Night in the Ruts, 24, 25 “Nights in White Satin” (Eric Burdon and War suite), 60, 61 Nightshift, 58–59. See also Eric Burdon and War Nilsson, Harry, 22, 165, 167, 177, 263 Nitzsche, Jack, 167, 248, 249–250 Northern Songs, 29. See also Lennon-McCartney “Norwegian Wood (This Bird Has Flown),” 33, 39–40 “Not to Touch the Earth,” 93, 94, 97. See also “Celebration of the Lizard” Nursery Cryme, 117, 118, 132 Odessey and Oracle, 252 “Oh Daddy,” 113 “Oh Woe Is Me,” 130–131 “Ohio,” 86 “Old-Fashioned Love Song.” See “(Just an) Old Fashioned Love Song”

“Old Man,” 248–249, 250 On the Border, 98, 107 “On the Run,” 183–184 On the Threshold of a Dream, 174 “One of These Days,” 182 One of These Nights, 107, 108 “One Tree Hill,” 232 “Opening Ceremony,” 167–168. See also Head (album) Oskar, Lee, 58, 59, 61 Out of Our Heads, 200–201 “Out on the Weekend,” 249 “Over and Over,” 114 “Oye como va” (Santana), 203, 204–205, 206 “Oye como va” (Tito Puente), 204 Page, Jimmy, 145, 146–147, 149, 209, 233, 268 “Paint It Black” (Africa), 60 “Paint It Black (Medley)” (Eric Burdon and War suite), 60–61, 202 “Black Bird,” 61 “Black on Black in Black,” 60 “Laurel and Hardy,” 60–61 “Paint It Black I,” 60 “Paint It Black III,” 61 “P.C. 3,” 61 “Pintelo Negro II,” 61 “Paint It Black” (The Rolling Stones), 60, 201 “Papa Was a Rollin’ Stone” (The Temptations), 221 “Papa Was a Rollin’ Stone” (The Undisputed Truth), 221 The Papas & The Mamas, 149, 152 “Paperback Writer,” 33, 165 Parsons, Alan, 182, 184 Paul Butterfield Blues Band, 5, 102, 170, 171 Payne, Walt, 76–77 “Peaceful Easy Feeling,” 105–106 Pearl, 95, 136, 138–139 Peek, Dan, 87, 88, 89, 90, 91

308 Index

Pendulum, 79, 80 “People Are Strange,” 93–94, 262 “Percolator” (The Ventures), 239 Permanent Vacation, 26 Perry, Joe, 22, 23, 25–26, 276 Peter Green’s Fleetwood Mac, 5, 111. See also Fleetwood Mac Petty, Tom, 107, 175, 176, 177, 178, 179–181, 233 Phillips, John, 149, 150, 152, 153, 169 Phillips, Michelle, 149–150, 152 “Piece of My Heart,” 136, 137, 138 “Pinball Wizard,” 172, 244. See also Tommy (album); Tommy (live performances) Pinder, Mike, 172, 173, 174, 189–190, 191 Pink Floyd, 2, 5, 9, 11, 87, 177, 181–186, 258, 259, 261, 266, 267, 278, 281 Pink Floyd—The Wall (film), 261 “Pink Houses,” 154, 155 The Piper at the Gates of Dawn, 181, 266 Pisces, Aquarius, Capricorn & Jones Ltd., 167 Plant, Robert, 145, 146–147, 232 “Plastic Fantastic Lover,” 66 Plath, Sylvia, 57 Please Please Me, 29, 30, 33 “Please Please Me,” 30, 33 Poco, 108 Podolor, Richie, 143, 239 “Porpoise Song (Theme from Head),” 139, 167–168 “Positively 4th Street,” 102–103 “Powderfinger,” 248 Presley, Elvis, 3, 48, 96, 206, 210, 257, 275 Private Dancer, 227, 228 Procol Harum, 11, 83, 173, 175–176, 186–189, 259, 269

“Proud Mary” (Creedence Clearwater Revival), 78 “Proud Mary” (Ike and Tina), 78, 225–226 “Proud Mary” (Tina Turner), 229 Psychedelic Shack, 220 Pump, 26, 27 “Purple Haze,” 121, 122 “Put Down That Weapon,” 158–159 Quadrophenia (album), 245, 246 Quadrophenia (film), 246 The Quarrymen, 29. See also The Beatles Queen, 1, 13, 192–198, 263, 265, 267, 268, 269, 273, 275, 281 Queen, 193–194 Queen II, 194 A Quick One, 243 “Radio Ga Ga,” 268 “Rael,” 119, 244 Rafelson, Bob, 164, 165, 166, 168 Raga rock, 8, 25, 62, 63, 124, 125, 156, 166, 179, 191, 201, 244 “Rain on the Scarecrow,” 155–156 Raising Hell, 26, 276 Ran, Nâzim Hikmet. See Hikmet, Nâzim Rap rock, 23, 276–277 “Rapid Roy (The Stock Car Boy),” 81–82, 83 Raybert Productions, 164, 168 The Razors Edge, 20, 21 “Red Hill Mining Town,” 232 “Red River Rock” (The Ventures), 239 Redding, Noel, 120–121, 123 “Reflections,” 9 “Refugee,” 155, 177–178 Reisdorff, Bob, 234, 235, 236, 240 The Return of the Zombies, 254 “Revolution,” 260 “Revolution 9,” 56–57, 170, 265

Index  309

Revolver, 10, 28, 29, 37–43, 90, 166, 252, 265, 270, 274 Richards, Keith, 23, 148, 198, 199, 200–201, 202, 228, 257, 268, 270 Richards, Ron, 123, 124, 126 Richardson, Soko, 78, 225 “Riders on the Storm,” 95–97 “River Deep—Mountain High,” 25 Robinson, Cynthia, 217, 218, 219 “Rock and Roll” (Led Zeppelin), 11, 147, 260 “Rock Awhile,” 2, 3 Rock journalism, 270–271 Rock opera, 2, 117, 144, 181, 227, 244, 245, 259, 279, 280–281 Rock or Bust, 20, 21 “Rocket ’88,” 2, 3 “Rocket Man,” 132, 281 Rocks, 24, 25 Rolie, Gregg, 202, 203, 204, 205, 206 “Rollin’ Stone,” 199 Rolling Stone (magazine), 74, 268, 271 The Rolling Stones, 4, 9, 12, 22–23, 27, 45–46, 59, 60, 64, 94–95, 122, 127, 131, 144, 148–149, 198–202, 222, 223, 224, 226–227, 228, 248, 254, 259, 260, 264, 268, 269, 276, 281 The Rolling Stones, 199, 200 The Rolling Stones No. 2, 200 Ronstadt, Linda, 105, 248–249 Rory Storm and the Hurricanes, 30, 42 Rose, Axl, 21, 135 Rossington, Gary, 247, 250, 251 Rothchild, Paul A., 92, 94, 95 Rough Harvest, 156 “Roy Rogers,” 135 Rubber Soul, 10, 29, 30, 32, 33, 38, 39, 40, 42 Rubin, Rick, 21, 180, 276

“Ruby Tuesday,” 201 Rudd, Phil, 18, 21 “Rude Awakening #2,” 79 Ruffin, David, 217, 222 Rumours, 111, 111–114, 116, 258 “Run, Run, Run,” 218–219 Run-DMC, 26, 276 “Run through the Jungle,” 79 “Runaway,” 13, 31, 206–208, 210, 215, 234, 244 “Running to Stand Still,” 232 Russell, Leon, 168, 175–176, 226, 235, 236 Rust Never Sleeps, 248 Rutherford, Mike, 116, 117, 118, 120 “Samba pa ti,” 205 Samuels, Jerry. See Napoleon XIV Samwell, Ian, 87, 88, 90 “San Francisco (Be Sure to Wear Some Flowers in Your Hair),” 152, 169 “Sandman,” 88–89 Santana, 2, 10, 59, 111, 170, 171, 202–206, 267 Santana, Carlos, 128, 202, 203, 204–205 “Sara,” 114 Saraceno, Joe, 240 Satie, Erik, 49–50, 54 “Saturday in the Park,” 69 Saturday Night Live, 267 “Saturday Night’s Alright for Fighting,” 131–132, 135 “Save the Life of My Child,” 212 Scarecrow, 154–155 Scat singing, 60, 82, 112, 139, 185, 215, 220 Schmit, Timothy B., 108–109, 110 Schneider, Bert, 164–165, 166 “School Day (Ring! Ring! Goes the Bell),” 3, 45, 47 Scott, Bon, 18, 19–20

310 Index

“Se a cabo,” 205, 206 Sebastian, John, 41, 153, 170, 171 “Second Hand News,” 112, 113 Second Helping, 247–248, 250–251 Seger, Bob, 109, 153, 175, 227, 260, 263 Selling England by the Pound, 118 “September,” 71 “Sequel,” 55 “Seven Bridges Road” (Eagles), 109–110 “Seven Bridges Road” (Iain Matthews), 109 “Seven Bridges Road” (Steve Young), 109 “Seven Seas of Rhye,” 194, 273 Sgt. Pepper’s Lonely Hearts Club Band (film), 25, 261 Sgt. Pepper’s Lonely Hearts Club Band (The Beatles album), 10, 25, 28, 29, 31, 33, 42, 43, 90, 126, 252, 266, 267, 274 Sgt. Pepper’s Lonely Hearts Club Band Soundtrack, 25 Shank, Bud, 150, 151 Shankar, Ravi, 171, 243 Shannon, Del, 13, 31, 206–208, 210, 215, 234, 244 “She Has Funny Cars,” 64–65 “She Said She Said,” 40, 281 “She’s Not There,” 132, 252 Sheer Heart Attack, 194 Sheridan, Tony, 6, 30 “Shining Star,” 70–71 Shrieve, Michael, 202, 203, 204 Silent Letter, 91 Simon, Paul, 211, 211–212, 213, 267, 268 Simon & Garfunkel, 7, 10, 210–213, 215, 216, 263, 281 “Singing Winds, Crying Beasts,” 203 “Sinister Purpose,” 79 “Sister Golden Hair,” 90 “Sisters of the Moon,” 114, 115

Sitar, 25, 39–40, 60, 113, 118, 125, 171, 179, 201, 243, 244 Skiffle, 29, 30, 147 Slick, Grace, 62, 64, 65, 66 Sly and the Family Stone, 2, 9, 10, 59, 170, 171, 217, 218–219, 220, 221–222, 223, 225 Small Faces, 202, 274 “Small Town,” 155 “Smiling Phases” (Blood, Sweat & Tears), 50–51, 52 “Smoke on the Water,” 51 The Soft Parade, 92, 94, 95 Solid Gold (television series), 110–111 “Somebody to Love” (Jefferson Airplane), 64, 65, 278 “Somebody to Love” (Queen), 196–197 “Sometimes in Winter,” 51–52 Southern Accents, 178, 179–180 “Southern Man,” 247 “Space Oddity,” 54–57, 58, 132, 236 “Speak to Me,” 182, 183, 186 Spector, Phil, 41, 139, 167, 196, 225, 248 “Spill the Wine,” 59–60, 205 “Spinning Wheel,” 48, 51, 53, 54 “Spoonful” (Cream), 51 “Spoonful” (Willie Dixon), 51. See also “Blues—Part II” Springsteen, Bruce, 10, 11, 47, 153, 154, 175, 177, 232, 264, 267, 268 “Squeeze Box,” 246 “Squonk,” 119 “Stairway to Heaven,” 147, 265 Stand, 220 Starr, Ringo, 28, 29, 30, 31, 32, 33, 37, 40, 42 Stax Records, 188, 239 Stax-Volt Records, 42, 138, 188 Stay with The Hollies, 123–124 Stepney, Charles, 70, 71

Index  311

Steppenwolf, 5, 262, 263 Stern, Toni, 139, 140, 142 Stewart, Dave, 179, 228 Stills, Stephen, 84–85, 86–87, 164, 165, 233, 249, 262 Stolen Generations, 157–158 Stone, Freddie, 217, 218, 219 Stone, Rose, 217, 219 Stone, Sly, 136, 217, 218, 219, 220, 221–222 Stone, Vet, 218 “Stop Stop Stop,” 125, 126 Stop! Stop! Stop, 125 “Storms,” 115 Strange Days, 92, 93, 94 Strange Times, 175 “Strawberry Fields Forever,” 31, 34 Street Survivors, 248 Strong, Barrett, 213, 214, 220, 221, 227 Stylophone, 54, 55, 56 “Subterranean Homesick Blues,” 100, 101–102 “Summertime” (Big Brother and the Holding Company, featuring Janis Joplin), 137–138 “Sunny Afternoon,” 254 “Sunshine of Your Love,” 51, 73, 74 Super Session, 84–85, 212 “Supper’s Ready,” 118 “Surfin’ U.S.A.,” 46 Surrealistic Pillow, 62, 64–66, 270 “Susie Q (Part One)” (Creedence Clearwater Revival), 76, 77–78 Sutcliffe, Stuart, 6, 29 “Sweet Emotion,” 24–25 “Sweet Home Alabama,” 247, 250–251, 262 “Sweet Little Sixteen,” 45, 46 “Sweet Painted Lady,” 135 Sweetheart of the Rodeo, 10, 66 Szabó, Gábor, 203 Szymczyk, Bill, 98, 99, 107, 108, 109, 110

Tabla, 40, 162, 190 “Take It Easy” (Eagles), 12, 90, 105 “Take It to the Limit,” 107 Talkbox, 25 Talmy, Shel, 241, 242 Tambura, 40, 43, 171, 179 Tape delay, 34, 125 Tapestry, 140 Taupin, Bernie, 131, 134, 149, 226, 227, 259, 281 “Taxi,” 54, 55, 57–58 “Taxman,” 39, 254, 260 Taylor, Dick, 198, 199 Taylor, James, 6, 7, 80–81, 139, 140, 161, 226, 248–249, 250, 267 Taylor, Mel, 235, 236, 299 Taylor, Roger, 192–193, 194, 196 “Tell All the People,” 94 “Telstar” (The Tornados), 235, 236 “Telstar” (The Ventures), 235–236, 237 The Temptations, 2, 9, 70, 214, 216–218, 219–221, 222, 227 “Classic Five,” 216–217 “Tequila” (The Ventures), 238 That’s the Way of the World, 70 Theatricality, 11, 19–20, 119, 280 Their Greatest Hits (1971–1975) (Eagles album), 110, 258 Their Satanic Majesties Request, 200, 201 “Theme from The Exorcist.” See Tubular Bells “There’s a World,” 250 “They’re Coming to Take Me Away, Ha-Haaa,” 265–266 This Girl’s in Love with You, 224–225 This Precious Time, 150 “This Song Has No Title,” 134 Thomas, Ray, 172, 175, 189, 191–192 Three Dog Night, 142–144, 165, 177, 239

312 Index

“3/5 of a Mile in 10 Seconds,” 65 3-2 son clave, 64–65, 203 Threshold Records, 174 Thriller, 110, 258 “Ticket to Ride,” 33, 186, 270 “Time” (Pink Floyd), 183, 184 “Time in a Bottle,” 81, 82, 83 “The Time of the Season,” 252–253 “Tin Man,” 90 Tina Turns the Country On, 226–227 “Today” (Jefferson Airplane), 65, 270 Together, 220 Tom Petty and the Heartbreakers, 1, 154, 155, 175–181, 267, 268 Tom Petty and the Heartbreakers, 176 Tommy (album), 2, 244–245 “The Acid Queen,” 227 “Amazing Journey,” 244 “The Hawker,” 244 “I’m Free,” 245 “Overture,” 245 “Pinball Wizard,” 244–245 “See Me, Feel Me,” 245 “Underture,” 244 “We’re Not Gonna Take It,” 245 Tommy (live performances), 171–172, 279 “Tomorrow Never Knows,” 32, 38, 43 Tork, Peter, 165, 166, 167 Torry, Clare, 183, 184 “Touch Me,” 94, 141 Townshend, Pete, 119, 171, 240, 241, 242–243, 245, 246 Toys in the Attic, 24, 276 Traffic, 50, 122 Transcendental meditation, 189, 190–191 Traveling Wilburys, 180, 210 Trespass, 117 A Trick of the Tail, 119 “Trip through Your Wires,” 232 Tubular Bells, 264

“Tuesday Afternoon,” 174 Turn! Turn! Turn, 62, 179 “Turn! Turn! Turn! (To Everything There Is a Season)” (The Byrds), 262 Turner, Ike, 2, 222–223, 225–226, 227, 229, 270 Turner, Tina, 2, 222–223, 225–229, 268, 270 The Turtles, 137, 166 Tusk, 110–111, 114–116 “Tusk,” 115–116 12-bar blues, 13, 32, 46, 47, 73, 97, 108, 239 “25 or 6 to 4,” 69 “2-4-2 Fox Trot (The Lear Jet Song),” 64 Tyler, Steven, 22–23, 24, 25, 26, 135, 260, 268, 276 Uh-Huh, 154, 155 Ummagumma, 182 “Underdog,” 219 The Undisputed Truth, 221 University of Southern California (USC) Trojan Marching Band, 111, 115–116 “Us and Them,” 185, 186 U2, 224, 228, 229–233, 263, 267, 268, 275 Van Halen, 27, 269 Van Zant, Ronnie, 247, 248, 250, 251 Vanda, Harry, 18, 21 “Variations on a Theme by Erik Satie (1st and 2nd Movements),” 49, 50 “Variations on a Theme by Erik Satie (1st Movement),” 49, 54 “Ventura Highway,” 89 The Ventures, 233–240, 269, 278 The Ventures Play “Telstar” and the “Lonely Bull,” 233–240

Index  313

VH1, 267, 268 Vietnam War, 48, 58, 76, 79, 88, 94, 102, 168, 210–211, 264 Vince, Peter, 252, 253 Visconti, Tony, 54–55 Vocal grinding, 76, 77, 95, 128–129, 136, 138, 139, 141, 207, 232, 264, 275 Voormann, Klaus, 38 Wah-wah, 25, 69, 74, 122, 172, 219 Waiting for the Sun, 14, 92, 93, 94, 97 Walk Don’t Run, 233–240 “Walk Don’t Run” (The Ventures), 234 “Walk This Way” (Aerosmith), 25 “Walk This Way” (Run-DMC), 23, 26, 276 The Wall (album), 2, 177, 181, 186, 266 The Wall (film). See Pink Floyd— The Wall (film) Wall of Sound, 196 Wallace, John, 57 Walsh, Joe, 98, 99, 108, 109, 110, 233 War, 59, 60, 61–62 “Warakurna,” 159–160 Waters, Roger, 181, 182, 183, 185, 186, 266 Watts, Charlie, 198, 199, 202 Watts, Peter, 182, 183, 184 “We Are the Champions,” 1, 197 “We Used to Know,” 99 “A Well Respected Man,” 253–254 West, Tommy, 82, 83 Whammy bar, 146, 232, 239, 274 What’s Going On (Marvin Gaye album), 9, 214–216 “What’s Going On” (Marvin Gaye), 207, 210–211, 214–216 Wheels of Fire, 73–74 “When I’m Sixty-Four,” 34, 260

“Where the Streets Have No Name,” 230–231 White, Maurice, 67–68, 70, 71 White, Verdine, 67, 68, 71 The White Album, 29, 31, 33, 43, 260, 265 “White Christmas” (Bing Crosby), 259 “White Rabbit,” 9, 64, 66 “White Room,” 73–74, 260 “A Whiter Shade of Pale,” 83, 186–189, 191–192, 259 Whitfield, Norman, 213, 214, 216, 219, 220, 221, 227 The Who, 2, 5, 11, 12, 14, 59, 87, 119, 169, 170, 171–172, 193, 202, 227, 240–246, 279 Who Are You, 246 The Who by Numbers, 246 The Who Sell Out, 119, 243–244 Who’s Next, 245 “Whole Lotta Love” (Led Zeppelin), 19, 146–147, 148, 232 “Whole Lotta Rosie,” 19 A Whole New Thing, 218–219 “Wild Mountain Thyme” (The Byrds), 63 Wilhelmj, August, 187–188 Williams, Otis, 216, 219, 222 Williams, Paul, 7, 135, 142–144, 165 Williams, Paul (The Temptations), 217, 219, 222 Willy and the Poor Boys, 79 Wilson, Ann, 147, 148, 149 Wilson, Brian, 41 Wilson, Dennis, 41, 233 Wilson, Don, 234, 235, 236 Wilson, Josie, 234–235, 236, 237, 240 Wilson, Nancy, 147, 148, 149 “Witchy Woman,” 105 “With or Without You,” 230, 231 “Women Is Losers,” 137 Wonder, Stevie, 42, 213

314 Index

Wood, Ronnie, 201, 202, 228 Woodstock, 8, 79, 81, 85, 160, 163, 169–172, 220, 241, 243, 264, 279, 280 Woodstock (film), 85, 169, 170 “Woodstock” (Crosby, Stills, Nash & Young), 86, 163–164 “Woodstock” (Joni Mitchell), 86, 161, 162–163, 164 “Woodstock” (Matthews Southern Comfort), 164 Woodstock: Music from the Original Soundtrack and More, 85, 169–170 Woodstock 2 (album), 85, 169–171 “The Word,” 191 Wordplay, 47, 82, 192, 278 “Words (Between the Lines of Age),” 249, 250 “Words of Love,” 152 Workin’ Together, 225 “The Working Man,” 76, 77 The Wrecking Crew, 150, 165, 236 Wright, Richard, 181, 183, 184, 185, 186 Writer, 139–140, 141 The Yardbirds, 4, 22, 27, 75, 145, 149, 209, 212

“Yellow Submarine,” 38, 40, 270 You Don’t Mess around with Jim, 81–82 “You Don’t Mess around with Jim,” 82, 83 “You Got Lucky,” 178–179 “You Shook Me All Night Long,” 20 Young, Angus, 17, 18, 19, 21 Young, George, 18, 21 Young, Gifted, and Black, 226 Young, Malcolm, 17, 18, 19, 21 Young, Neil, 65, 84–88, 163–164, 165, 167, 170, 247–250, 252, 277 Young, Stevie, 21 You’re Gonna Get It, 176–177 “You’ve Got a Friend” (Carole King), 140 “You’ve Made Me So Very Happy,” 48, 52, 54 Zaentz, Saul, 76, 80 The Zimmers, 246 The Zombies, 11, 132, 252–255 The Zombies, 252. See also Begin Here ZZ Top, 5, 268, 269, 277

About the Author MELISSA URSULA DAWN GOLDSMITH attended Louisiana State University in Baton Rouge and earned a PhD in musicology and master’s degrees in library and information science, and liberal arts. Currently she is a lecturer in the Department of Music and a visiting associate professor in the College of Graduate and Continuing Education at Westfield State University in Massachusetts. She has taught music appreciation and world music at Westfield; rock-and-roll history and literature at Elms College; and music appreciation, music history, film music, and music criticism at Nicholls State University in Thibodaux, Louisiana, and Louisiana State University. At Nicholls, she was director of a grant-funded music learning center and early music ensemble (Collegium musicum). Goldsmith specializes in American vernacular music, film music, and twentieth-century music aesthetics and criticism. Her books on music include Hip Hop around the World: An Encyclopedia (ABC-CLIO, 2019), coauthored and edited with Anthony J. Fonseca, and The Encyclopedia of Musicians and Bands on Film (2016), coauthored with Paige A. Willson and Anthony J. Fonseca. Goldsmith’s articles and reviews have appeared in American Music, Choice, Fontes artis musicae, The Journal of Film Music, The Journal for the Society of American Music, Music Theory Online, Naturlaut, Notes, portal, and Screening the Past. Beyond scholarship, Goldsmith has also been active in the music industry. As a composer, songwriter, music engineer, and multi-instrumentalist of her company—Dapper Kitty Music in Northampton, Massachusetts— she produces indie, progressive, psychedelic, and hard rock; electronica; jazz; traditional; incidental music; spoken word; and poetry with music sound recordings. Her recordings have received international airplay and distribution. She has also written By the Pacific: Poems (2017).