搖滾樂(Rock and Roll ) from its origins in rhythm and blues to Elvis's rock and roll adaptation.
- 這首歌複雜的歷史，從它的節奏和藍調起源到 Elvis 的搖滾樂改編。
- Elvis 的表演，包括他引起爭議的臀部搖擺，如何幫助普及搖滾樂。
- 專業歌曲作者如 Jerry Lieber 和 Mike Stoller 在創作熱門歌曲中的重要性。
- Buddy Holly 對後代音樂家的影響。
- 結合各種音樂影響，包括節奏和藍調、鄉村和非洲裔美國音樂。
- Pat Boone 等藝術家通過翻唱 Fats Domino 和 Little Richard 等先驅的真實歌曲，將搖滾樂商業化。
- The song's complex history, from its origins in rhythm and blues to Elvis's rock and roll adaptation.
- How Presley's performance, including his controversial hip gyrations, helped popularize rock and roll.
- The importance of professional songwriters like Jerry Lieber and Mike Stoller in creating hit songs.
- The influence of artists like Buddy Holly on subsequent generations of musicians.
- The incorporation of various musical influences, including rhythm and blues, country, and African American music.
- The commercialization of rock and roll through artists like Pat Boone who covered songs by pioneers like Fats Domino and Little Richard.
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。
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.