Tim hawkins ageing rockers

Rock: The Early Years

Music 9, UCI Amy Bauer, Spring 2018

TABLE OF CONTENTS

Before the Flood: Precursors of Rock and Roll

The 1950s: Rock’n’Roll Begins, Doo-Wop, & the Rock business

The 1950s: Rockabilly (Elvis and after)

The 1960s: Soul, Girl Groups, Motown, R&B

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The 1960s: Psychedelia & Anti-Psychedelia, Birth of Metal

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1970 & Beyond: Singer-songwriters, Prog & Glam Rock

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The 1960s: Surf & the British Invasion

The 1960s: Folk, Folk-Rock, The LA Scene

CHAPTER ONE

Before the Flood: Percursors of Rock’n’Roll

1. Robert Christgau, “B.E.: A Dozen Moments in the Prehistory of Rock and Roll,” Details, 1992, pp. 1–4

2. Kyle Crichton, “Thar’s Gold in Them Hillbillies,” Collier’s, Vol. 101, No. 18 (April 30,

1938), pp. 5–8

3. Sylvie Simmons, “THE CARTER FAMILY: INTO THE VALLEY,’ MOJO, November

2002, pp. 9–12

4. Fred Dellar, “HANK WILLIAMS,” MOJO, December 1998, pp. 13–20

5. Cliff White , “… Howlin’ for the Wolf,” New Musical Express, 24 January 1976, pp. 21–22

6. Peter Guralnick, “Blues in History: A Quick Sketch,” in Feel Like Going Home: Portraits in

Blues and Rock ‘N’ Roll (NY: Hachette, 2012; originally 1976), pp. 23–26

7. Cliff White, “Louis Jordan,” The History of Rock, 1982, pp. 27–30

8. Dave Headlam, “Appropriations of blues and gospel in popular music,” in The Cambridge

Companion to Blues and Gospel Music, ed. by Allan Moore ( Cambridge University Press,

2002), pp. 31–33

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Robert Christgau, “B.E.: A Dozen Moments in the Prehistory of Rock and Roll,” Details, 1992 1227: MOON-JUNE-SPOON MEETS DEATH-METAL Simply by inventing (or—here we go—cribbing from the Moors) not love but l'amour, love as a concept, the troubadours of Provence laid one of the foundations of rock and roll, which whatever its socially significant pretensions has always had a thing for male-and-female. They were neither effete aesthetes—this was a rough world were all men were warriors and rape was one of the commonplaces that the myth of courtly love glossed over—nor the lute-strumming adventurers you dimly imagine. The itinerant singer-songwriters of the Middle Ages were called jongleurs—all-round entertainers whose etymology honors another of their skills, juggling. Jongleurs played marketplaces, fairs, the hostelries that catered to pilgrims and such, and, when they could get in, castles. Troubadours lived in castles—court poets in an era when "lyric" poetry was still sung to musical accompaniment, they were the highbrows of the secular world, upwardly mobile if not nobility themselves. Considered blasphemous by the religiopolitical powers that were, troubadourism was pretty much wiped out in the Albigensian crusade of the 13th century. So as our symbolic rock and roller we'll select Guilhem Figueira, an embattled hero of the movement's decline who "was not the man to frequent barons and respectable folk, but he was much at home with ribalds, whores, and tavern-haunters"—or so says his vida, an unauthorized bio that was as accurate as a press release. Is "In the fires of hell, Rome, you've chosen to dwell" close enough to Metallica for you? 1623: THE DISCOVERY OF NATURAL RHYTHM "There is without doubt, no people on the earth more naturally affected to the sound of musicke than these people; which the principall persons do hold as an ornament of their state, so as when wee come to see them, their musicke will seldome be wanting," claimed Captain Richard Jobson, describing a visit he made to Gambia starting in 1620, the year after a Dutch man-of-war sold North America's first black slaves to British colonists in Jamestown. Africa's music had varied and evolved in uncounted strains and permutations for thousands of years, but this first published account in English is a benchmark, for what is rock and roll but African music as understood and controlled by white people? The intensity of African vocal technique, loud and harsh and keening by European standards, was frequently noted in the numerous reports to come, as was, needless to say, the "multitude of drums in various sizes." Less remarked were the underlying melodic similarities between African song and Scotch-Irish folk music, which would help Brits get into this exotic stuff. Soon Africans who could play an instrument fetched premium prices on the open market. By 1676, the governor of Cape Town owned his own slave orchestra. 1815: SEX AND BEER AND ONE-TWO-THREE The Viennese were dancing fools—during the city's three-day pre-Lenten Fasching celebration of 1832, when its population was 400,000, 772 balls attracted 200,000 citizens. After all, this was their heritage. Vienna had produced what remains to this day the greatest revolution in the history of social dancing—the waltz. Just like most of the court dances invented since the 15th century, the waltz was bred from peasant stock. But unlike any court dance, it required couples to embrace each other, and once they went that far, a lot of them went further. Already invading France and England by 1790, danced in seized monasteries by sans-culotte revolutionaries, the waltz was a scandal well before the European powers divvied up Napoleon's empire at the 1815 Congress of Vienna, where the Prince de Ligne went down in history by quipping: "Le Congrès ne marche pas—il danse." But after the Congress it became a full-fledged vogue. Once the assembled dignitaries had brought their good times home, both social dancing and popular music were permanently linked to a frankly carnal vision of courtship. 1843: STRAIGHT OUT DE LAND OB COTTON Musical miscegenation is an old story in America, where shocked reports of white teenagers dancing to black fiddlers go back to the 1690's. But though black musicians were common enough in a certain class of bar, even the

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freemen among them remained strictly local celebrities. Traveling white performers, on the other hand, found that to "imitate" blacks on stage guaranteed yucks. By 1832, when Thomas Dartmouth "Daddy" Rice went nationwide with "Jim Crow," a song-and-dance routine he claimed to have stolen from a crippled black stablehand, burnt cork was a staple of American showbiz. But it was not until 1843 that four musicians dubbing themselves the Virginia Minstrels formalized blackface into a full evening's diversion—minstrelsy. Playing banjo, tambourine, "bones" (castanets), and fiddle—the specialty of leader and chief composer Dan Emmett, whose "Dixie" was later appropriated as the unofficial Confederate national anthem—the Virginia Minstrels and their hordes of imitators probably sounded something like the earliest recorded "hillbilly" music of the 1920's, only longer on sentimental ballads and parlor polish. Rendered more genteel by the addition of small pit bands and more businesslike by a burgeoning songwriting industry, the minstrel show was America's dominant popular entertainment for most of the 19th century. Though eventually a few actual African-Americans got into the act, it remains a pungent reminder that black people and what white people make of them are two very different things. 1849: FROM JIM CROW TO TIN PAN ALLEY Stephen Collins Foster became the toast of his middle-class Pittsburgh neighborhood by performing "Jim Crow" and "Zip Coon" in amateur theatricals in 1835, when he was nine. The extent of his exposure to African-American culture is debatable, but minstrelsy he knew. A typical quasibohemian dreamer, he wasn't rebellious enough to turn minstrel himself. But as his tunes began to bring in some money, he saw a way out of his bookkeeping job. In 1849 he persuaded Firth, Pond & Co., a major New York music firm whose interests went far beyond minstrelsy, to pay him royalties at a time when songs were invariably sold outright for sums that didn't support the performers, conductors, music teachers, and dilettantes who wrote them. Thus he became America's first fulltime professional songwriter, and also the first master of its polyglot musical heritage—Irish ballads and Italian opera as well as African tinge. Foster was never altogether comfortable with his so-called "Ethiopian songs" ("Swanee River," "Camptown Races," "My Old Kentucky Home"), and after he moved to New York in 1853 he concentrated on parlor ballads—since they were more artistic, he figured they'd have a longer shelf life. But only "Jeanie With the Light Brown Hair" and "Old Dog Tray" were major successes, and before long the spendthrift songsmith was reduced to writing songs for hire like a common hack. As a nonperforming composer, Foster presaged the Tin Pan Alley rock and roll overthrew. He also presaged almost everything else in American pop. He died a Bowery alcoholic at 37. 1890: DAWN OF THE INDIES The phonograph that Thomas Edison invented in 1877 was conceived as a dictaphone and didn't work very well. Only after others developed the floating stylus and covered the cylinder Edison recorded on with wax instead of tinfoil did he merchandise his machine, with his chief target the U.S. Congress, where he believed it would soon render secretaries obsolete. Fortunately, the fate of the phonograph was in the hands of Edison's thirty regional franchisees, all of whom would have lost their shirts pursuing what Edison pumped as "the legitimate side of their business." And somewhere out there somebody came up with a money-making bastard—a coin-in-the-slot protojukebox into which rubes, children, and men about town would insert a nickel to hear tunes by Foster and John Philip Sousa. So before there was really a record business, freelance entrepreneurs with their ears in the air had given the record business a shot in the arm, which is also the story of rock and roll. And let us not forget another independent, rival inventor-entrepreneur Emile Berliner, who in 1887 patented a gramophone that recorded on discs instead of cylinders, an idea whose time soon came. Berliner always knew he was in the home entertainment business, and record collectors owe him their gratitude. Just exactly how would you store 500 long-playing cylinders in a studio apartment? 1913: SEX AND CHAMPAGNE AND FOUR-FOUR ANIMALS Vernon Castle was an English comedian with an engineering degree, Irene Foote the daughter of a physician and the granddaughter of P.T. Barnum's press agent. They married in 1911 and in 1912 lucked into a job dancing at a

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