My Blue Heaven
Music By: Walter Donaldson
Lyrics: George A Whiting
Performed By: Gene Austin
Austin was one of the first "crooners"
- Singers who mastered the intimate style of singing made
possible with the electric microphone.
This recording was one of the bestselling records of the
Verse: two sections of equal length with nearly identical music
Refrain: four sections, AABA—the "A" sections all end with the
words "my blue heaven"
- The "B" section, or "bridge" or "release," provides variety.
song depicts the deepest aspirations
of the Tin Pan Alley listening public.
The lyrics poetically reinforce a familiar
and comfortable motif of the American
dream: home and family.
Gene Austin's performance reinforces the
sentiments expressed in the lyrics: quiet
intimacy and tranquility.
St. Louis Blue
By: W.C. Handy
Sung By: Bessie Smith
Accompaniment—reed organ and cornet
Louis Armstrong on cornet
Fred Longshaw on reed organ
Call and response between cornet and Smith
- Based on the AABA model commonly seen in Tin
Pan Alley songs
- The final section is really a "C," having a new
melody but relating to the earlier "A" section of
- The "A" and "C" sections represent the twelve-bar blues.
In the Mood
Performed by Glenn Miller and His Orchestra (1939)
Number One on the charts for twelve weeks
Best-known recording of the swing era
Tune based on a short riff featured in the saxophones
Twelve-bar blues with an eight-bar bridge
Famous improvised trumpet solo, later transcribed and
permanently written in the music
"Trick" ending, with the band getting quieter and quieter
and then exploding into a big finish
Based on: Ida Red
Chuck Berry: Blues and R&B Styles
Blue notes and slides in both voice and
Socking backbeat of the drum
Derived from twelve-bar blues structures
Verses build enormous tension, so that when the
choruses and chord changes return, there is a feeling of release and expansion.
Original version recorded in 1953 by Herman
("Little Junior") Parker (1927-71)
Singer, songwriter, and harmonica player
His R&B band, Little Junior's Blue Flames, recorded
"Mystery Train" for Sam Phillips's Sun label in
R&B instrument lineup typical of the era:
electric guitar, acoustic bass, piano, drums,
The "chugging" rhythm conveys a train's steady,
(Cover): Elvis Presley
The last record that Elvis made with Sam Phillips
before he signed with RCA Victor
More aggressive and "raw" than the original
The expression of a young white singer looking
with optimism toward an essentially unbounded
future, flush with new possibilities for stylistic
synthesis that would help ensure both intensely
satisfying personal expression and an
unprecedented degree of popular success
You Can't Hurry Love
Composed By: Holland-Dozier-Holland
Produced By: Brian Holland and Lamont Dozier
Performed by: The Supremes
Structured to be a non-racially biased pop song
Written and produced by Brian Wilson
Performed by the Beach Boys
Innovative hit single
Extremely costly recording to produce
Milestone in the developing history of rock
Papa's Got a Brand New Bag
Written/Recorded: James Brown
Brown's most successful pop record—Number
Nine on the pop charts
Established the mature "James Brown sound"
Riffs in brass
Percussive style of playing guitar, bass, and brass
Call and response
Twelve-bar blues form broken up with an eight-bar
Complex interlocking polyrhythms
Composed by Otis Redding
Cover of a 1965 hit by Otis Redding
Number One pop and Number One R&B
Each strophe builds effectively to the
crucial word "respect," at which point the
backing group joins in call and response
Like a Rolling Stone
Composed/Performed: Bob Dylan
- Two keyboard instruments, the piano and organ, dominate the
texture, rather than guitars, bass, and drums.
- Dylan's vocal cuts aggressively through this thick instrumental
texture like a knife.
It effectively put an end to previous restrictions on
length, subject matter, and poetic diction that had been
the controlling influence on pop records.
After the huge acceptance of this song, nothing was the
- Strophic verse-chorus pattern
- Strophes are extremely long, giving the song a sense
of great intensity and expansion.