搖滾樂(Rock and Roll )
艾維斯的形像在1956年透過他的唱片《獵狗》和隨後的電視表演而在大眾的意識中得到加強。這首歌的複雜的歷史是有啟發性的,因為它對一首有改編意義的歌曲會變成怎樣告訴了我們很多東西。曲作者是紐約的傑瑞·利博爾和麥克·斯托勒,第一次錄音是由索恩頓在1952年進行的。索恩頓的版本明顯地傾向於節奏與布魯斯的風格。三年後,弗雷迪,貝爾和來自費城的當地小組“鐘聲男孩”錄製了這首歌的翻唱版,充分地改動了利博爾的歌詞來原樣地演唱它們。 它沒有把一隻「狗」當作一種堅持的、但不忠實的男性求婚者的隱喻,這首歌曲現在似乎是關於一隻犬類動物的,只是輕微地涉及浪漫的興趣。節奏與布魯斯的粗俗的歌詞都被整理乾淨了!1955年首次發行時,貝爾的唱片在費城地區只得到了有限的銷售。普雷斯利在拉斯維加斯聽到了鐘聲男孩的現場表演,從貝爾那裡獲得允許改編和錄製這首歌曲。在普雷斯利的獨一無二的解釋中,《獵狗》繼 續得到了輝煌的銷售,使普雷斯利名利雙收。
但是普雷斯利是怎樣改變原來的歌曲的?主要靠把索恩頓和貝爾版本的精緻的特點結合起來。在AAB的歌詞形式中他增加了一些“uh”音響,一種聲門發出的音,並混入“well”和“yeah”的叫聲,由此把節奏攪亂。他取消了銅管樂器,讓樂隊離開了以前的跳躍的音響,明顯地把它推入搖滾樂的類型中。不過,比普雷斯利的音樂更激進的是他的表演方式。在電視實況轉播中主要是為白人和老人的觀眾演出,普雷斯利的動作是公然的令人反感的。普雷斯利用他顫抖的雙手,滑動的雙腳,雙膝兩邊來回扭動,還有很著名的旋轉臀部,引起了觀眾的尖叫及大笑。 搖滾樂的成熟風格,透過普雷斯利個性化的音樂和表演,是黑人的節奏與布魯斯與一種廣闊的城市和鄉村音樂的影響的混合物,有一些是美國黑人的,也有 一些是白人的。雖然我們可能認為,是藝術家本人寫了搖滾歌曲,但其實,其曲調常常是音樂產業鏈中的專業作曲家創作的。一位直接和間接地影響了後來幾代音樂人的作曲家兼表演者是巴迪·霍利(和蟋蟀樂隊)。霍利的獨特的演唱風格和他的偶像外表為原創性定下了標準。像《佩吉·蘇》(1957)這樣的歌曲沒有表現出它的美國黑人的根源。基本上是一首十二小節藍調,旋律利用了大三和弦和沒有藍調音的大調音階。這與帶有鼻音的芬德爾吉他聲和沒有響弦的、火車 機車式的鼓聲一起,奏出了無人能識別的音樂語言。然而,很多在這個第一時期 出現的其他演藝者缺少霍利的原創性。這些藝術家,例如帕特·布恩,透過溫和的,但在商業上吸引人的真正歌曲的各種版本,由像“胖子”多米諾和“小理查德” 潘尼曼這樣的很有靈感的音樂家創作並首次錄音,擴大了搖滾樂的名組。
更成熟的搖滾樂:Rock
隨著披頭四從英國來到美國,以及他們在1964年2月9日在“埃德。薩利文表演會”的出現,“青少年音樂”的全部潛力都實現了。約翰·藍儂(1940- 、保羅·麥卡尼(1942-)、喬治,哈里森(1943-2001)和林戈·斯塔爾(1940-)對世界的音樂與文化產生了深刻的影響。它參照巴迪,霍利的「蟋蜂」樂團來起名(披頭四的意譯是「甲殼蟲」———————譯者註)並受到美國的搖滾樂和節奏與布魯斯的影響,披頭士以演唱和錄製翻唱曲起家,對其他人已經錄製好的歌曲進行再演繹。他們風格上的祖先的印記。
起初,他們受到民謠復興和內省而有政治意識的鮑勃迪倫的影響,然後,又受到大麻和LSD(致幻劑)的影響,麥卡特尼和列儂的歌曲創作離開了早期的男女相愛的主題和吉他、貝斯、鼓的音響,走向成熟,變得更有深度,音樂上更豐富, 歌詞上也有更複雜的詩意的表現。到了1966年,經過幾年實況表演之後,他們 歌曲的逐漸增長的複雜性迫使他們撤回錄音室中,使他們既不受表演空間的限制, 也不受現場演出的情緒起伏的影響。在這裡,披頭四可以親自利用充分的音響和 電子錄音技術,包括對錄音帶的電子處理。他們也開始試驗為個別的歌曲製作宣 傳短片。他們製作的專輯立即被視為傑作, 排斥了以前主導唱片工業的三分鐘歌曲和兩 面都有的單曲。
RIUMPH OR BEATLES
例如,在1967年,披頭四錄製了一首引起幻覺的歌曲《永遠的草莓地》,令額地加入了創新的配器和後現代的“具體音樂”(見第三十二章,“電子音樂”)。他 們也為這部作品發行了一部超現實的電影, 被認為是第一部現代的音樂電視錄像。在同 年匯集的專輯《胡椒中士的孤單之心俱樂部 樂隊》中,披頭士帶來了主題統一的「概念 專輯」的成果。歌詞被認為是嚴肅的詩,
Rock and Roll
The rhythm and blues style that emerged in the early 1950s was named "rock and roll" by pioneering radio DJ Alan Freed (1921-1965), who partially freed it from its previous association with black Americans. Freed spread the music through radio broadcasts, first in Cleveland and later in New York, promoting racial equality through concerts and dances. The demand for rock and roll was unprecedented, and its records became the rebellion songs of the baby boomers as other stations added the music to their programs. Moreover, Freed's broadcasts were also transferred to Europe, expanding the popularity of rock and roll in Britain and other countries.
Rock and roll is not a new term. The word appeared in popular songs as early as the 1920s. Its roots are even older. Rock and roll are two old nautical terms referring to the movement of ships. It was used in black English to describe the twitching of the body, not only experienced in religious ecstasy, but also in dance (of course, with sexual connotations).
The first major exponent of rock and roll was Elvis Presley (1935-1977). He began his musical career singing "hillbilly music", but he also sang gospel songs in his Pentecostal church and listened to blues and jazz in the black section of Memphis. Elvis truly combined native African American genres with urban white music in his sound. This is evidenced by his first record from July 1954. On one side of the record was a cover of a traditional bluegrass song, "Blue Moon of Kentucky", but on the other side was the explosive "That's All Right", written by Arthur "Big Boy" Cladap, a blues singer and guitarist from the Mississippi Delta. Elvis topped the Billboard Hot 100 chart a total of 149 times. He achieved worldwide idol status not only for his unique, rich baritone voice, but also for his dancing, gyrating style, numerous television broadcasts and more than thirty films. John Lennon's oft-quoted statement, "Before Elvis, there was nothing of value," was a deliberate exaggeration, but it was also true of the explosive impact that Elvis and rock and roll had on the world.
Elvis' image was reinforced in the popular consciousness in 1956 with his recording of "Hound Dog" and subsequent television performance. The song's complex history is instructive, for it tells us a great deal about how a song with a twist can become. The songwriters were New Yorkers Jerry Lieber and Mike Stoller, and the first recording was made by Thornton in 1952. Thornton's version leaned decidedly toward the rhythm and blues style. Three years later, Freddie, Bell and a local group from Philadelphia, the Bell Boys, recorded a cover of the song, altering Lieber's lyrics enough to sing them as is. Instead of using a "dog" as a metaphor for a persistent, but unfaithful male suitor, the song now seemed to be about a canine animal with only a slight romantic interest. Rhythm and blues' vulgar lyrics were cleaned up! When first released in 1955, Bell's record received only limited sales in the Philadelphia area. Presley heard the Bell Boys perform live in Las Vegas and obtained permission from Bell to adapt and record the song. In Presley's unique interpretation, "Hound Dog" went on to be a brilliant sales success, bringing Presley fame and fortune.
But how did Presley change the original song? Mainly by combining the refined features of Thornton and Bell's versions. He added some "uh" sounds, a glottal sound, to the AAB lyrics, and mixed in "well" and "yeah" calls, thereby disrupting the rhythm. He eliminated the brass instruments, moving the band away from its previous bouncing sound, and clearly pushing it into the rock and roll genre. More radical than Presley's music, however, was his performance. Performing to a primarily white and elderly audience on live television, Presley's movements were openly offensive. Presley elicited screams and laughter from the audience with his shaking hands, sliding feet, wiggling his knees from side to side, and famously gyrating his hips. The mature style of rock and roll, as personified by Presley's music and performance, was a mixture of black rhythm and blues with a broad range of urban and country music influences, some African American, some white. Although we may think of rock and roll songs as being written by the artists themselves, the tunes were often written by professional composers in the music industry. One composer-performer who influenced subsequent generations of musicians, both directly and indirectly, was Buddy Holly (with the Crickets). Holly's unique singing style and his iconic appearance set the standard for originality. A song like "Peggy Sue" (1957) shows no trace of its African American roots. Essentially a twelve-bar blues, the melody uses major triads and a major scale without blues notes. This, combined with the nasal Fender guitar and snareless, locomotive-like drums, produced a musical language that no one could recognize. However, many other entertainers who emerged during this first period lacked Holly's originality. These artists, such as Pat Boone, expanded the rock and roll genre through mild, but commercially appealing versions of real songs written and first recorded by inspired musicians like "Fats" Domino and "Little Richard" Penniman.
More Mature Rock and Roll: Rock
With the arrival of the Beatles from England to the United States and their appearance on "The Ed Sullivan Show" on February 9, 1964, the full potential of "teen music" was realized. John Lennon (1940-), Paul McCartney (1942-), George Harrison (1943-2001) and Ringo Starr (1940-) had a profound impact on the world's music and culture. Named after Buddy Holly's "The Bees" band and influenced by American rock and roll and rhythm and blues, the Beatles began by singing and recording covers, reinterpreting songs that others had already recorded. However, they developed an unprecedented ability to create original, fresh sounds that, like their creative early works, clearly bear the marks of their stylistic ancestors. Soon, however, the four musicians, driven by their classically trained producer George Martin, conducted radical experiments in both songwriting and recording.
Initially, they were influenced by the folk revival and the introspective and politically conscious Bob Dylan, and then Under the influence of marijuana and LSD, McCartney and Lennon's songwriting matured away from the early themes of love and the guitar, bass, and drums sound, becoming deeper, richer musically, and more poetically complex. By 1966, after several years of live performances, the growing complexity of their songs forced them to retreat to the studio, free from the constraints of performance space and the emotional ups and downs of live performance. Here, the Beatles could make full use of the full range of sound and electronic recording technology, including electronic processing of tapes. They also began to experiment with making promotional videos for individual songs. The albums they produced were immediately regarded as masterpieces, rejecting the three-minute songs and two-sided singles that had previously dominated the record industry.
RIUMPH OR BEATLES
For example, in 1967, the Beatles recorded the hallucinogenic song "Strawberry Fields Forever", which surprisingly incorporated innovative orchestrations and postmodern "music concrete" (see Chapter 32, "Electronic Music"). They They also released a surreal film for this work, which is considered the first modern music video. In the same year, the album "Sgt. Pepper's Lonely Hearts Club Band" was released, and the Beatles brought the results of a "concept album" with a unified theme. The lyrics are considered serious poetry,