MUS 354 History of Rock Chapter 9

MUS 354 History of Rock Chapter 9 - From Blues to Rock:...

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1. From Blues to Rock: o Alexis Korners London based blues and Barrelhouse Club - spearheaded the blues revival Korner was a trad and skiffle musician during 50's (pg 200) Hendrix: born and raised in Seattle. Transformed blues in America o Deep Blues and Rock: This rock was second child of the blues. Took attitude and posturing of the bluesmen, lyrics that told stories in plain direct language , a rough declamatory vocal style; heavy guitar riffs and string-bending blues scale guitar solos; a strong beat and think riff laden texture - hard rock (heavy metal, southern rock) or sometimes simply rock. 2. Hard Rock in the Mid-Sixties: o The Kinks: Family affair - two brother, Ray and Dave Davies formed the band in 63. "You Really Got Me" 1964: guitar/bass riff is most prominent: runs continuously and is louder than any other instrument. Key Features: 203 o The Rolling Stones: "I Can't Get No Satisfaction" - 1965: tribute to Muddy Waters (both bands name and this song go back to two songs). Mick Jagger met Keith Richards in train station. Band came together in 1962 when they added a bassist. First UK hit in 1963 and reached top of American charts for the first time in 1965. Song was a musical and commercial milestone. Richards uses fuzztone to make is sound menacing and memorable, situates the riff in the lowest register and places a strong syncopated accent on the highest and longest note of the riff. Riff functions an an introduction and a refrain. 3. Power Trios: Rock as a Soloist's Music: o Blues Guitar and Rock: Eric Clapton and Cream: Developed into rocks premier guitar virtuoso Cream was first of power trios - psychedelic rock. "Strange Brew" - 1967: blues influence runs deep in form, underlying harmony (12 bar blues), lyric and melodic form use the verse chorus blues form, and Claptons guitar playing. Guitar playing fills three roles: sharp chords that come on alternate back beats, rapidly rising riff that runds throughout the song, and the solo episodes: during the introduction, answering the vocal, and the brief solo in the middle of the song. Deep blues most evident in solos: fast vibrato, bend
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This note was uploaded on 04/29/2009 for the course MUS MUS 354 taught by Professor Shellans during the Spring '09 term at ASU.

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MUS 354 History of Rock Chapter 9 - From Blues to Rock:...

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