1964-1966
Wide variety of styles
A.
1.
2.
3.
4.
5.
6.
B.
C.
Teen idols love songs
Folk music
Girl-group music
Rockabilly
Surf music
Sweet soul
None of the artists of any of these styles
were considered to be the “Next Elvis.”
The music industry was desperately looking
among these styles to find a similar
phenomenon
On February 9,
1964, the Beatles
appeared on Ed
Sullivan’s Sunday
evening show
1.
a)
b)
c)
2.
Elvis had done the
same thing 8 years
earlier
73 million people
watched it
Even the crime rate
went down during the
time period of the
telecast
The Beatles and the
subsequent British
Invasion had a
major impact on
American pop music
The UK was mostly a consumer of
American-made music
A.
1.
2.
The same American artists’ records were
popular in both Britain and America
British artists achieved success at home rather
than in the states
In the years immediately after WWII Britain
was enamored with American popular
culture
B.
1.
Interest in American pop grew during this time
a)
b)
c)
d)
e)
Britain already appreciated and had learned to play
earlier styles of American music
Traditional jazz (nicknamed “trad”) was derived out
of New Orleans jazz styles of American music
American folk music from earlier in the 20th century
fascinated Brits
British interest in rock and roll seems to be a logical
continuation of that interest in U.S. culture
After WWII interest in traditional jazz and American
folk increased in Britain
2.
Parts of Britain that were destroyed by German
bombings were being rebuilt
3.
America had no home-front war damage and
was considered a model of strength and
affluence
Teen culture in America seemed exotic and
romantic
4.
a)
b)
c)
Teens in Britain were surrounded by the recovery
from war
American teens seemed free and unburdened
British youth embraced rock and roll with the same
enthusiasm as American teens did
The British record and radio industries
were not set up like their American
counterparts
C.
Four major labels that licensed music from
American labels to distribute in Britain
1.
a)
b)
c)
d)
EMI
Decca
Pye
Philips
Two Radio stations
2.
a)
b)
BBC
Radio Luxembourg
The British government owned the BBC
3.
a)
b)
Three channels
One of them played rock and roll
4.
Radio Luxembourg was a European commercial
station
5.
Britain had no independent radio or record
labels
a)
b)
The major labels financed radio shows that played
rock and roll on their own label
The government controlled the rest
Availability of American popular music
varied
D.
Rock and roll records found on pop charts were
available in retail stores
Rhythm and blues and country and western
were not—and they were hard to find
1.
2.
Sources began to appear that were devoted
to rhythm and blues, country and western,
and pop
E.
Melody Maker, New Musical Express, and
Record Mirror
British teens watched American rock and roll
movies to keep up on the rock and roll
developments
1.
2.
a)
b)
c)
Elvis films
Alan Freed movies
The Girl Can’t Help It
Some artists
toured England
and were very
enthusiastically
received
3.
a)
b)
c)
Bill Haley
Buddy Holly
Everly Brothers
British bandleaders played New Orleans
style jazz and eventually other styles as
well
A.
Ken Colyer, Kenny Ball, and Acker Bilk
Chris Barber
1.
2.
a)
b)
c)
Barber’s banjo player-vocalist Tony Donegan
recorded a hit song in this skiffle style
“Rock Island Line” credited to Lonnie Donegan and
his Skiffle Group
Barber on bass, Beryl Bryden on washboard, and
Donegan played guitar on the recording
 Skiffle-American
jazz or folk music
played entirely or in
part on nonstandard
instruments (as
jugs, washboards,
or Jew's harps); also
a derivative form of
music formerly
popular in Great
Britain featuring
vocals with a simple
instrumental
accompaniment
 “Rock
Island Line”
by Lonnie Donegan
and his Skiffle
group
“Rock Island Line” started a craze for skiffle
music
3.
a)
b)
c)
d)
Easy to play
Similar to the rise of folk music in the United States
shortly after that period
John Lennon was a teen fan of skiffle
So was Jimmy Page
4.
Skiffle was replaced by trad in the UK by the
late 1950s
5.
Trad bands had hits in the late 1950s in the UK
and the states
British artists had difficulty getting hits in
the UK
B.
1.
American artists dominated the charts
2.
There were only a few British artists who
succeeded in getting hits in England
3.
They were patterned after American hit artists
a)
b)
c)
4.
The first was Decca’s Tommy Steele, “Rock with the
Caveman”
Steele also had a hit in 1956 with “Singin’ the Blues”
Steele had 16 more hits through 1961
The most successful British rocker was EMI’s
Cliff Richard and his backup band, the Shadows
 “Rock
with the
Caveman” by
Tommy Steele
 Genre: British
Rock
In 1957 a Liverpool teen named John
Lennon formed a skiffle group called the
Quarrymen
A.
1.
Played skiffle patterned after Lonnie Donegan
in and around the local Liverpool area
2.
Switched to rock and roll when the skiffle craze
wound down
3.
John Lennon was 15 years old and Paul
McCartney was 13 years old when rock and roll
arrived
They were part of the first generation of the
new rock and roll youth culture
4.
a)
b)
c)
d)
e)
f)
5.
This generation learned rock and roll by imitating
the first wave of rockers
The first recording of the Quarrymen (including 15
year old George Harrison) was in 1958
They recorded Buddy Holly’s “That’ll Be the Day,”
closely imitating the original
They recorded an original song on the other side of
that acetate home recording
Holly wrote all his own songs, so they did too: “In
Spite of All the Danger”
Written by Paul McCartney and George Harrison
They changed their name briefly to Johnny and
the Moondogs (which was inspired by Alan
Freed who called himself Moondog on the air)
Personnel changes and name changes
occurred up through 1960
B.
1.
2.
3.
4.
John Lennon’s friend Stu Sutcliffe was added
on bass guitar
They changed the band’s name to the Silver
Beetles (which was further acknowledgement
of Holly’s influence; his band’s name was the
Crickets)
The band toured Scotland in 1960 backing
singer Johnny Gentle
They added drummer Pete Best in the summer
of 1960
The band changed their name one more
time to the Beatles
A.
They were offered a job in the nightclub in
Hamburg, Germany
1.
a)
b)
The Indra Club was in Hamburg’s red light district
They moved to a larger club called the Kaiserkeller
Other British bands were starting to play in
Hamburg as well: Derry and the Seniors, Tony
Sheridan and the Jets, and Rory Storm and the
Hurricanes-featuring drummer Ringo Starr
They made a total of five trips to Hamburg
from 1960-1962
2.
3.
a)
b)
These performances were under more of a concert
setting
They opened for Little Richard and Gene Vincent
The Hamburg experience provided the
opportunity to develop their musical skills
B.
The performance routine was a grueling one
1.
a)
b)
c)
They played from 7pm-2am with 15 min. breaks
They were under pressure to make a show for the German
patrons
They had to learn as many songs as they could as fast as
they could
The result of this kind of pressure on musicians is to
either get great or get washed out
The Beatles returned to Liverpool as professional
musicians
Their performance at a dance gig at Litherland
Town Hall was a sensational success
2.
3.
4.
a)
b)
Great audience reaction foreshadowed the type of
atmosphere they would soon be generating
They had refined their performance techniques such that
they were now the best band in the area
The musical influences on the Beatles as
they develop their musicianship and
creative talents
C.
1.
2.
3.
Lennon and McCartney studied and imitated
many successful writers’ styles and performers’
styles
These influences and fascination with American
rock and roll are apparent in their early
original work
Tapes of performances at Hamburg’s Star Club
and early BBC radio performances show their
tastes: Elvis Presley’s version of “That’s Alright
(Mama)”, Chuck Berry’s “Memphis”, Little
Richard, Carl Perkins, Leiber and Stoller’s
Coasters records, Phil Spector’s “To Know Him
is to Love Him”, and Ray Charles’ “Hallelujah I
Love Her So”
They eventually
covered several
styles of songs on
their first, second,
and fourth albums
4.
a)
b)
c)
Girl-group numbers
“Chains” and “Baby
It’s You”
Motown songs: “You
Really Got a Hold on
Me,” “Please Mr.
Postman,” and
“Money”
Even a movie theme
“A Taste of Honey”
The Beatles began performing regularly at
the Cavern Club in Liverpool
A.
Their musicianship was in top form and they
quickly established a reputation as a great
band
They had almost 300 performances at the
Cavern through 1962
They developed a huge following there
1.
2.
3.
a)
b)
Many performances were lunch shows
There was a general atmosphere of fun, casual
attitudes, and sometimes silliness
During a return trip to Hamburg in early
1961, they recorded a single with Tony
Sheridan
B.
They were backing musicians for Sheridan on
his version of “My Bonnie Lies over the Ocean”
1.
a)
b)
The record became a hit in Germany; It also was
being requested in record stores in England
Record store manager Brian Epstein became curious
and went to see them at the Cavern Club
Epstein offered to manage them in November
of 1961
2.
a)
b)
c)
Cleaned up their appearance
Had them wear tailored matching suits
He worked at finding them better places to play for
more money
Epstein arranged a recording audition with
Decca in their London studios on January 1,
1962
3.
a)
b)
Decca executive Dock Rowe passed on signing them,
but they were allowed to keep the demo tape
Epstein took that tape to other labels to try to
secure a recording contract
In June of 1962 an audition was arranged with
George Martin at EMI’s Parlophone records
Martin agreed to sign the band and set the first
recording session for September on one
condition
4.
5.
a)
b)
Martin didn’t like Pete Best’s playing and told them
they needed a better drummer
Ringo Starr was invited to join the band and he
accepted in August
The first record released was an original song
by Lennon and McCartney
6.
a)
b)
“Love Me Do” rose to #17 of UK charts in 1962
The Beatles were the first Liverpool band to get a
major record deal and have a chart hit
Other northern groups began to go to London to
seek record deals
7.
a)
b)
c)
d)
e)
Bands from Liverpool, Manchester, and Birmingham
were called “Mersey Beat” groups
Martin had the Beatles record Mitch Murray’s song
“How Do You Do It” for the single release
Lennon and McCartney wanted only their own
originals released as singles
Epstein was managing another Liverpool group, and
they released it
The Gerry and the Pacemakers version of “How Do
You Do It” hit #1 in the UK in 1963
Prior to the Beatles’ success, northern groups
had had no success breaking into the British
record business
8.
a)
b)
c)
d)
They were too far from London where all the record
companies were
The irony is that those groups had better access to
American records coming into the seaports there
Rhythm and blues records and country and western
were easier to find in the northern seaports
This is a possible reason northern groups had more
of a conglomerated style than London groups
The British press coined the term to describe
the excitement generated by the band’s live
performances in 1963
A.
Beatles records were consistently topping the
British charts
1.
a)
b)
“Please Please Me”, “From Me to You”, “She Loves You”
Their first album: Please Please Me; second album:
With the Beatles (both in 1963)
The big break was performing on the Sunday Night
at the London Palladium TV show
2.
a)
b)
The top rated TV show in England—British version to
America’s Ed Sullivan Show
Millions of British viewers saw it.
In early November
they appeared on the
Royal Variety
Performance TV show
attended by British
royalty
Their 5th single, “I
Want to Hold Your
Hand” was released a
week after their 2nd
album in November
1963 and was #1 by
December
3.
4.
a)
b)
This was definitely their
3rd consecutive #1
record
This is the song that
would finally break
them into the American
pop market
No Beatlemania had occurred in America
during 1963
B.
Capitol records in the United States had become a
subsidiary of EMI
They refused to release any of the first Beatles
recordings
1.
2.
a)
b)
They assumed that the U.S. market wouldn’t buy Beatles
records
The reason was that no other British artist had been
successful in the United States
George Martin licensed the first four singles and
first album to American independent labels
Beatlemania arrived in America in the beginning of
1964
3.
4.
a)
b)
In November of 1963 Brian Epstein booked the band on
the Ed Sullivan show for February
Capitol agreed to release “I Want to Hold Your Hand” in
the United States
There were a number of entertainment
business aspects that combined to help
trigger Beatlemania in America
A.
1.
2.
3.
4.
5.
Capitol Records release of “I Want to Hold Your
Hand” hit #1 in January
The band appeared on the Ed Sullivan Show
immediately after that
Their U.S. debut album Meet the Beatles went
#1 one week later and stayed there for three
months
The U.S. release The Beatles’ Second album
replaced Meet the Beatles as #1
The July 1964 release of their full-length
feature movie A Hard Day’s Night
There was a flood of Beatles singles that
were hits from that point forward
B.
Thirty in the U.S. top 40
Twelve of those went to #1 including: “Can’t
Buy Me Love” (1964), “A Hard Day’s Night”
(1964), “Ticket to Ride” (1965), “Help!”
(1965), and “Paperback Writer” (1966)
All subsequent Beatles albums would go to #1
1.
2.
3.
a)
b)
4.
Capitol released albums that contained different
songs than the original UK releases
The Capitol releases also had different album titles
Fearing they would be a passing fad, the
Beatles worked furiously to accomplish as much
as possible by touring, recording, not allowing
a break in the momentum, which resulted in
the most hits ever recorded by a popular music
artist or group
They had become
“The Next Elvis”
5.
a)
b)
o
Interesting to note
that nobody now is
looking for “The
Next Elvis”
Rather, there is
always the question
of who will be “The
Next Beatles”
“Can’t Buy Me
Love” and “A
Hard Day’s
Night”- British
pop
There was a negative swing in 1966
C.
John Lennon remarked in a UK interview that religion
was in a state of decline
1.
a)
b)
c)
d)
He said this was evident when a Beatles concert could
outdraw a church service
American journalists took his comments out of context by
accusing Lennon of saying that the Beatles were bigger than
Jesus
This triggered uproar in the south involving bonfires of
Beatles products
The Beatles were threatened by the Ku Klux Klan
The 1966 world tour was such a negative experience
that the band decided to stop touring
2.
a)
b)
c)
They were exhausted from the relentless pace they’d been
on
The U.S. controversy was the last straw
They performed their last official concert to a ticketed
audience on August 29, 1966 at San Francisco’s Candlestick
Park
They began by imitating American artists
A.
They combined some stylistic elements of
1950s and early 1960s American pop
1.
a)
b)
c)
d)
e)
Chuck Berry-like chords in the low register
Hand claps from girl-group tunes of the early 1960s
Everly Brothers duet singing in the song’s bridge
Little Richard’s “oooh’s” are frequently quoted in
their songs
They use a common American pop song form-AABA
They used the Brill Building and Tin Pan
Alley “formula” approach to create their
early songs
B.
Preexisting formula is applied to the process of
assembling a song
This is an example of how craftsmanship is used
in the creative process
1.
2.
a)
b)
Creative problems are solved by applying a proven
solution to get the desired result. While
considerably less creative, this method generates
greater numbers of product
The Beatles were under pressure to produce product
quickly and efficiently in the beginning. Their
inexperience forced them to use this approach in
case their popularity faded quickly
As they grew into more accomplished
musicians and songwriters they began using
other techniques
C.
1.
2.
3.
4.
Classical music composers never solve the same
problem twice the same way
They continually explore new options that
haven’t been tried so as to push the art form
forward
The Beatles evolved toward this approach as
they became more comfortable in the studio
In early 1966 they began bold new experiments
in the production of Revolver: Use of studio
effects, stylistic juxtapositions, new timbral
elements, structural elements
This approach is
exemplified in “Tomorrow
Never Knows”
5.
a)
b)
c)
d)
e)
f)
Simple verse form
Lyrics are from the Tibetan
Book of the Dead—spiritual
advice to those facing death
The adaptation of the text was
from Timothy Leary’s book The
Psychedelic Experience
Accompanying music is a static
single harmonic drone
Additional sounds in the
recording are made from tape
loops
The song was mixed in real
time, rendering a repeat of
the mix impossible (also an art
approach)
The band’s lyrics also indicate a move toward
creating art rather than crafting a product
D.
Early song lyrics are driven by Brill Building and Tin
Pan Alley emphasis on innocent romantic themes
In 1965 lyrics move into new unexplored territory
involving previously unexplored topics
1.
2.
a)
b)
c)
d)
e)
Lennon’s “Help!” discusses loss of self-confidence that
had accompanied youthful naivete
His “Norwegian Wood” discusses sexual frustration after a
one-night stand
McCartney’s “Eleanor Rigby” focuses on existential
alienation; a similar theme is present in his “She’s
Leaving Home” on Sgt. Pepper’s Lonely Hearts Club Band
A profound influence on their lyrics is American folk music
The leader in that movement at the time was Bob Dylan,
whom they’d met in 1964
The Sgt. Pepper album cover features printed
lyrics to the songs
3.
a)
b)
A first for commercial music
This idea became very common after Sgt. Pepper
The development of greater stylistic range
E.
1.
2.
3.
Dylan’s influence is apparent on Lennon’s
“You’ve Got to Hide Your Love Away” from
Help!
On the same album, a classical-style string
quartet accompaniment is used on McCartney’s
“Yesterday”
Harrison uses a sitar on Rubber Soul’s
“Norwegian Wood”
Revolver covers a wide range of styles
4.
a)
b)
c)
“Tomorrow Never Knows” demonstrates startling
technological techniques with profound lyrics
“Yellow Submarine” has the character of a children’s
song
“Got to Get You Into My Life” introduces horn
arrangments
These trends indicate the gradual approach to
the highly eclectic concepts on Sgt. Pepper
The Beatles made use of their creative freedom
in the studio to become the model for others to
follow
5.
6.
a)
b)
They moved from being craftsmen to artists
Instilled a sense of seriousness and selfconsciousness into rock musicians who followed their
lead
The Beatles opened the door for other
British Invasion bands to follow them on to
the U.S. charts
A.
1.
2.
3.
4.
These bands had a few things in common that
create the British Invasion term: Long hair,
British accents, and band members sang and
accompanied themselves on guitars and
occasional keyboards
British Invasion bands were at first perceived to
be an extension of recent teen idols—only
foreign
Their impact was assumed to be short-lived
There was little concern over their stylistic
derivation
The bands that arrived from England were
met with great enthusiasm in America
B.
The Rolling Stones were the next most
significant British Invasion band
Presented the opposite image of the Beatles:
Sensual, dangerous, and rude. They were the
anti-Beatles
British Invasion bands ended up being
categorized with respect to these two models
1.
2.
3.
a)
b)
Beatles-type
Stones-type
Beatles-type bands were noticeably more in
the pop style
4.
a)
b)
Gerry and the Pacemakers
Dave Clark Five
Stones-type bands were more blues-oriented
5.
a)
b)
Yardbirds
Animals
Some bands defied categorization
6.
a)
b)
The Who
The Kinks
Beatle-type band characteristics
C.
Several bands employed similar music concepts in
their sound
1.
a)
b)
c)
d)
e)
Gerry and the Pacemakers had multiple hits in England,
starting with “How Do You Do It”
Their one top 10 hit in America: “Don’t Let the Sun Catch
You Crying”
London’s Dave Clark Five had 9 top 40 American hits in
1964
Liverpool’s Billy J. Kramer and the Dakotas had 4 singles
in the top 40 in 1964
The Searchers had 5 Top 40 American hits in 1964
In 1965 a second wave of British Invasion Beatletype bands arrived from Manchester
One of the most successful of these was Herman’s
Hermits with 14 Top 40 hits through 1968
including: :I’m Into Something Good”, “Mrs.
Brown You’ve Got a Lovely Daughter”, “I’m Henry
the VIII, I Am”, “Listen People”, and “There’s a
Kind of Hush.”
Freddy and the Dreamers used humor in their act
by demonstrating a silly dance: “the Freddy”
The Hollies enjoyed a good deal of chart success
2.
3.
4.
5.
a)
b)
c)
One member, Graham Nash, would later unite with
future partners Steven Stills and David Crosby
Known for tight vocal harmony arrangements and
precise playing
One of their biggest hits was “Bus Stop”
 Herman’s
Hermits,
“I’m Into
Something Good”
 Genre:
British Pop
The beginning of the blues side of the British
Invasion were a type of undergound movement
A.
1.
2.
3.
4.
5.
6.
Interest in blues was instigated by guitarist Alexis
Korner and harmonica player Cyril Davies
Played blues between sets at performances of
Chris Barber’s trad band
Barber owned a nightclub called the Marquee Club
Korner and Davies began hosting blues nights for
other blues enthusiasts
Blues recordings were scarce in London and blues
fans were careful to recreate the style faithfully
Several early blues revival musicians later rose to
great prominence in rock and roll history: John
Mayall, Stevie Winwood, Eric Clapton, Jack Bruce,
and John McLaughlin
The Rolling Stones (early years)
B.
The original membership: Mick Jagger, vocals;
Keith Richards, guitar; Brian Jones, guitar; Bill
Wyman, bass; Charlie Watts, drums; Ian
Stewart, piano (though he didn’t stay with the
group for very long)
They conveyed a more radical side of the
British Invasion concept (Brash, Nonconformist,
and rebellious)
Not influenced by softer American pop music
styles as were the Beatles and other Beatletype bands
1.
2.
3.
a)
b)
The Rolling Stones drew from the 1950s Chicago
electric blues tradition
Blues that featured slide guitar, harmonica, and
vocal delivery styles similar to Muddy Waters
They were involved in the blues revival that
was taking place in London in the early 1960s
Jones was originally the leader, forming the
Stones in 1962 to cover American blues songs
Patterned after Korner and Davies’ group Blues
Incorporated
They got a regular gig at the Crawdaddy Club in
Richmond
4.
5.
6.
7.
a)
b)
c)
C.
Club manager, Giorgio Gomelsky, took up managing
the Stones and helped build their following
After the group left for bigger things, they were
succeeded by the Yardbirds
Gomelsky also managed them
The Rolling Stones were signed to Decca
records at George Harrison’s suggestion
Andrew Loog Oldham and Eric Easton began
managing the band in 1963
1.
a)
b)
c)
d)
Oldham and Easton set up a lucrative deal that was
inspired by Phil Spector
Decca had exclusive rights to Rolling Stones recordings,
but the band retained ownership of the recordings
Oldham took on the role of producer, though he had no
studio experience
He’d worked for Brian Epstein promoting other bands
Epstein managed
In the beginning the Stones didn’t write their own
material
2.
a)
b)
c)
d)
They covered American rhythm and blues and rock and
roll songs
They debuted with a cover version of Chuck Berry’s
“Come On”
The next single: “I Wanna Be Your Man” by good friends
Lennon and McCartney
Their third was a cover of Buddy Holly’s “Not Fade Away”
Oldham ordered Jagger and Richards to start
writing their own songs like the Beatles were
doing
3.
a)
b)
c)
d)
Their first original to be a hit in the UK was “The
Last Time”
Original material appeared gradually during the first
few years
Their covers reveal their dedication to American
rhythm and blues and country and western styles
One of their songs was a hit for Marianne Faithful:
“As Tears Go By”
The Stones took longer to catch on in the
United States
D.
Their rebellious image wasn’t as well received
as the cleaner image projected by the Beatlestype groups
Eventually their “trouble-maker” image began
to be better received by teens in the U.S.
Their first #1 hit was “(I Can’t Get No)
Satisfaction” in the summer of 1965
1.
2.
3.
a)
b)
c)
d)
This reinforced their bad boy image with lyrics that
seemed controversial
General topic is about disillusionment over the
superficiality of daily life
Some claim the last verse refers to sexual
frustration and masturbation
The song features a particularly “dirty” guitar sound
produced by Richard on a fuzz tone device
A string of hits followed: “Get Off My Cloud” ,
“As Tears Go By”, “19th Nervous Breakdown”,
and “Paint It, Black”
Rolling Stones stylistic derivations and
influences
4.
5.
a)
b)
c)
d)
They were capable of genuine dedication to blues
when they covered those songs
They tended to avoid strict 12-bar blues approaches
to their own material
They would use the same overall form as found in
1950s writers’ styles like Berry and Holly
They avoided Brill Building AABA forms that the
Beatles did frequently use
 “(I
Can’t Get No)
Satisfaction” by
The Rolling Stones
 Genre: British
Blues
 “Paint
It, Black”
by The Rolling
Stones
 Genre: British
Blues
The Yardbirds
A.
Replaced the Rolling Stones at the Crawdaddy
Club when they left
Even more dedicated to the blues than the
Stones: Keith Relf on vocals, Paul SamwellSmith on bass, Jim McCarty on drums, Chris
Dreja and Tony Topham on guitar
1.
2.
a)
b)
3.
Topham was replaced by lead guitarist Eric Clapton
Clapton was replaced by Jeff Beck, who was
subsequently replaced by Jimmy Page
They developed long, improvisatory sections at
the end of songs displaying members’
virtuousity
These can be seen as a model for styles that
appear later that focus on improvisation
Exemplified by their recording of Howlin’
Wolf’s “Smokestack Lightening” in 1964
Little chart success until they recorded Graham
Gouldman’s “For Your Love”
4.
5.
6.
a)
b)
c)
d)
e)
Studion musicians were used on the verses, as was a
common practice on pop records
The entire band only played in the middle bridge
section
Clapton disapproved of this pop music approach and
quit the band
He was replaced by Jeff Beck
Manager Gomelsky was producing their recordings at
this time
 “For
Your Love” by the Yardbirds
 Genre:
British Blues
Beck’s more experimental style contributed to
the success of “Heart Full of Soul”
The band recorded two songs at Chicago’s
Chess Records in 1966
7.
8.
a)
b)
Their first original single, “Shapes of Things”
A cover of Bo Diddley’s “I’m a Man”
The band’s last hit single was “Over, Under,
Sideways, Down”
9.
a)
b)
c)
d)
e)
Produced by Simon Napier-Bell and bassist SamwellSmith
Samwell-Smith left to work on producing bands
He was replaced by Jimmy Page on bass
For a short while, both Page and Beck were in the
band at the same time
Page and guitarist Dreja switched roles and Page
became the other guitarist with Beck in 1966
10.
a)
b)
Beck quit and Page continued on with the band
until they disbanded in 1968
Page formed a new band, the New Yardbirds, to
finish out the Yardbirds’ commitments
He changed the name of this new group to Led
Zeppelin
The Animals came from Newcastle in North
England
B.
Their early background
1.
a)
b)
c)
d)
Preceded the Rolling Stones and Yardbirds with hits
in the UK and United States
Lead singer Eric Burton and known for their wild
stage presence
Played in Hamburg’s Star Club
Moved to London in 1964
Important break came with a chance to play on
a Chuck Berry tour in the UK
2.
a)
b)
c)
3.
4.
They played “House of the Rising Sun,” a slow folkblues number
It was a contrast to all the other rock and roll songs
on the tour
They recorded the song and it was a hit in the UK
and the United States
They had a string of hits produced by Herman’s
Hermits producer Mickey Most: “Don’t Let Me
Be Misunderstood”, “We’ve Gotta Get Out of
This Place”, “It’s My Life”
They had more hits with new producer Tom
Wilson: “Inside Looking Out”, “Don’t Bring Me
Down”
 “House
of the Rising Sun” by The Animals
 Genre:
British Blues
5.
6.
The original band disbanded and Burton
continued as Eric Burton and the Animals
Bassist Chas Chandler discovered and managed
Jimi Hendrix
Other musicians in the blues scene
eventually rose to great notoriety
C.
1.
2.
3.
4.
Georgie Fame and the Blue Flames
The Graham Bond Organization
Police guitarist Andy Summers was a member
of Zoot Money’s Big Roll Band
Singer-organist Stevie Winwood (Spencer Davis
Group) was known as the best British blues
vocalist: “Keep On Runnin’”, was a hit in the
UK, “Somebody Help Me”, also a UK hit,
“Gimme Some Lovin’”, and “I’m a Man”
The Kinks and the Who had ties to both general
categories
D.
Like the Beatles, both groups had strong songwriting
members
1.
a)
b)
2.
3.
4.
The Kinks had Ray Davies
The Who had Pete Townsend
Like the Stones, both groups used raw power and
rhythmic drive
The Kinks were formed in 1963: Brothers Ray and
Dave Davies on guitar and vocal, Peter Quaife on
bass, Mick Avory on drums
The band had a string of hits from 1964-1966: “You
Really Got Me” was covered by Van Halen in 1978,
“All Day and All of the Night”, “Tired of Waiting for
You”, “Till the End of the Day”, “A Well-Respected
Man” focused on clever social critique in step with
the Beatles trends, and “Dedicated Follower of
Fashion” also clever lyrics with social critique
 “You
Really
Got Me” by
The Kinks
 Genre:
British Rock
The Who
E.
Formed in 1962, they didn’t rise into
prominence until the late 1960s
1.
a)
b)
c)
d)
e)
2.
They built their act around captivating stage
performance
Songs were written by Townshend
Singer Roger Daltry fronted the band
John Entwistle provided ambitious bass lines
Drummer Keith Moon was known for his wild
drumming style
They had several UK hits during the early 1960s
before breaking through in the United States:
“I Can’t Explain”, “Anyway, Anyhow,
Anywhere”, “My Generation” with famous
stuttering “G-Generation” in the lyric,
“Substitute”, “I’m a Boy”
In 1967 they had their first substantial U.S. hit
with “I Can See for Miles”, charting at #9
The Who focused attention on two London
youth culture factions: the Mods and the
Rockers
The Mod subculture
3.
4.
5.
a)
b)
c)
d)
6.
Mods dressed meticulously and listened to rhythm
and blues and Motown music
Rode Vespa motor scooters often embellished with
too many rear-view mirrors
Used amphetamines to stay out all night partying
and dancing
Frequented clubs where the Who played regularly
The Rockers emulated Marlon Brando’s
motorcycle gang leader character in The Wild
One film
a)
b)
c)
The Who released a
concept album in 1973
about the riots that
broke out in Brighton
Beach in 1964
7.
a)
b)


Wore leather clothes
Rode motorcycles
Often engaged in brawls
with the Mods
The album was titled
Quadrophenia
In 1979 they produced a
film version of the
album’s story line
“My Generation” by
The Who
Genre: British Rock
The Beatles ushered in a new era in the UK
focused on British musicians and songwriters
British youth had only been interested in
American music and performance stylists during
the 1950s
The Beatles’ success in America allowed British
bands to gain acceptance and credibility there
A.
B.
C.
1.
2.
Initial focus in America was on superficial elements
of appearance and culture
The fact that two distinct styles arrived
concurrently generated a broader audience
The American music industry was
unexpectedly shaken out of its control of
the music business
D.
Phil Spector learned his craft from Leiber and
Stoller
The “Wall of Sound” concept was already
developed and in use for earlier songs
1.
2.
a)
b)
There was a clear incentive to regain the record
sales lost to English record labels
American musicians drew inspiration from British
Invasion bands and began forming their own styles