History of Rock Final
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Created by:
kiRichardson on December 12, 2010
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87 terms
Terms | Definitions |
|---|---|
 Timbaland | produced the song "Wake Up" recorded by Missy Elliott |
| Missy Elliott | sang the song "Wake Up" as produced by Timbaland |
| Dr. Dre | the producer that gave the rapper Marshall Mathers aka Eminem aka Slim Shady, his start in the rapping business when he was originally turned away for being white |
| Marshall Mathers (Eminem) | recorded many rap songs, is controversial because he is white, rapped the song "White America", the accepted version of the music video is censored |
| Nas | rapper who recorded the song "Life is **** then you Die" featured by Anthony Cruz |
| Will Smith (Fresh Prince) | rapped the song that earned the first Grammy Award "Parents Just Don't Understand", did not have the typical message of ghetto life, catered more to the upper middle class teenagers. featured DJ Jazzy Jeff. |
| Grandmaster Flash | rapped "The Message" (1982) was one of the first attempts at a rap song with more serious lyrical themes, was accompanied by the Furious Five. |
| James Brown | "Sex Machine," (1970). Little sense of melody, harmony, or verse/chorus form, uses bass, guitar, and drums to create a looped, polyrhythmic groove. He chants lyrics like a preacher. |
| Hip hop | an urban youth culture dating back to the 1970s, based around rapping, DJ turntable artists, breakdancing, and graffiti-is lived |
| Rap | a style of chanted, rhymed poetry given over musical accompaniment generated by a turntable (or later, a computer)-performed |
| Ray Charles | sang "Greenbacks" (1955). Spoken verse and sung chorus. Same slang for money found in gangsta rap lyrics: "Lincolns" ($5), "Jacksons" ($20). |
| Johnny Cash | sang "A Boy Named Sue" (1968). Nominally "country music," but with many of the lyrical themes of hip-hop: threatened masculinity, displays of violence, explicit lyrics |
| Kool and the Gang | "Jungle Boogie," (1972). hip hop in all but name. Song is constructed entirely from repeated, layered riffs. No chord changes whatsoever. Outro is a combination of rapping and scat singing. |
| DJ | in hip hop, the disk jockey does not just select records, but adds artistic flourishes such as scratching, fancy editing, etc. |
| MC (emcee) | the vocalist who delivers the rap vocal |
| Sampling | using a computer or other device to manipulate recorded sound taken from existing recordings |
| Sugarhill Gang | "Rapper's Delight" (1979) was a novelty hit, rapped over a sample from Chic's disco hit "Good Times." Some sources say that the background was actually a studio band imitating Chic's record. It's hard to tell for sure. This song brought the music developed by DJs in the Bronx to the airwaves. |
| old school rap | Most rap in the 1980s consisted of party songs with playful lyrics, sometimes nonsense, sometimes boastful and risqué. |
| Run D.M.C.'s remake of Aerosmith's "Walk This Way" | Rap entered the pop mainstream with a number of crossover hits employing the sounds of rock music. |
| Gangsta rap, | rap songs with violent imagery from ghetto life, became popular after N.W.A.'s 1988 album Straight Outta Compton. |
| underground rock | As rock became big business in the 1970s, both in Britain and in the US as a new genre. Also labeled as alternative rock |
| Punk bands | the reaction to rock as big business:Instead of slickly produced studio albums, the raw energy of a garage band in live performance. Instead of lengthy albums, 2-3 minute singles. Instead of the heroics of the extended guitar solo, simple guitar riffs.Instead of the sincerity and romanticism of rock lyrics, a cold, unfeeling aesthetic. In short: a rejection of most of the moves toward artistic seriousness that rock music had embraced in the mid-1960s. |
| The Sex Pistols | Punk rock is most associated with the breakout of this band and similar bands in England in 1976-77. "God Save the King/Queen" is the national anthem of Great Britain. The tune of the national anthem is the same as "My Country, 'Tis of Thee." This song was banned by almost all British radio stations and not stocked in many music stores. |
| New Wave | refers to the more pop-oriented side of punk rock: Talking Heads, the Police, U2, etc. Artsy rather than angry.This music sometimes has artistically serious aspirations, though not in the same way as 1960s-70s mainstream rock. Some of these artists had connections with avant-garde visual art or performance art. Like punk, it did not take itself as seriously as mainstream rock, and therefore stayed away from classical music as a source of artistic seriousness.In a word, it is less earnest than mainstream rock. |
| Talking Heads | Formed by visual art students at Rhode Island School of Design, including David Byrne (singer). Brian Eno was producer for their early work and is a famous musician in his own right. |
| David Byrne | The singer of the Talking Heads, a New Wave bands |
| Brian Eno | was producer of the Talking Heads for their early work and is a famous musician in his own right. |
| MTV | The cable channel launched in 1981, and almost overnight music video defined how pop singers presented themselves to the public. While the visual element is never absent from musical performance, music video greatly increased the importance of costumes and choreography for pop singers |
| VH1 | cable music channel that launched in 1985 |
| Americana | In 1980s rock music, a common subject exploring the national identity of Americans. ex. Bruce Springsteen's "Born in the USA" and John Cougar Mellencamp's "Pink Houses" |
| Bruce Springsteen | authentic social commentary, the inheritor of the tradition of Woody Guthrie and Bob Dylan |
| John Mellencamp | jingoistic patriotism, uncritical celebration of the rural heartland |
| Michael Jackson | In childhood, the youngest member of the Jackson 5, hit vocal group for Motown. He emerged as a major solo artist with Off the Wall (1979). Almost singelhandedly revived the music industry after it suffered a slump with the 1981-82 recession and the post-disco crash with Thriller signed to Columbia Records (Sony). It is still the 1st or 2nd best selling album of all time. He is also credited with making black artists visible on MTV. |
| Quincy Jones | Producer of Thriller and was also known as jazz musician |
| Funk | emerges in the late 1960s in the work of James Brown and Sly and the Family Stone. Not as gospel-influenced as soul, more oriented toward dance. Melody and harmony take a back seat to intricately layered riffs in the rhythm section. Example: "Thank You (falettinme be mice elf again)," Sly and the Family Stone (1970). A song with only one chord! |
| Blaxploitation (black exploitation) | a genre of low-budget films, made by black directors with black casts, with the crime and decay of black neighborhoods as subject matter. Several such films were venues for soul and funk music: Isaac Hayes's music for Shaft Curtis Mayfield's music for Superfly |
| Philadelphia International Records (PIR) | Independent record company distributed by Columbia, which had lost touch with black music in the 1960s. As at Motown and Stax, producers and studio musicians developed a house sound. Kenny Gamble and Leon Huff, their production team, are better known today than many of their recording artists. |
| Gamble and Huff | PIR production team, are better known today than many of their recording artists. |
| MFSB | House band at PIR, which made instrumental records under its own name. (Like Booker T. and the MGs at Stax.) Biggest hit: "T.S.O.P. (The Sound of Philadelphia)" (1974). Lush, orchestral sound: strings, horns, Hammond organ, wah-wah guitar, tambourine, Latin percussion |
| George Clinton | Parliament and Funkadelic were two overlapping bands headed by this man. |
| Disco | a simplified version of funk and soul in which only the dance element is retained.The basic sound is found in many PIR records of the early-mid 1970s, such as "TSOP" (1974). Its dance clubs were a popular craze in the late 1970s: endless records spun by DJs, hedonistic sex, cocaine Saturday Night Fever (1976) popularized this craze. |
| The Village People | Group of six men dressed as macho male stereotypes "Village" refers to historically gay Greenwich Village in New York. |
| Disco Demolition Night in Chicago | Disco engendered a strong backlash by rock fans, most notoriously here in 1979 |
| Progressive (prog) rock | long, complex compositions drawing on modern jazz, classical music, science fiction, etc, is a mostly European trend. Most famous groups in this style: Yes Emerson, Lake, and Palmer Pink Floyd |
| Hard rock/heavy metal | songs based on loud repeated guitar riffs (Led Zeppelin, Black Sabbath, Heart's "Barracuda") |
| Singer-songwriters | folk-rock songs with personal, confessional lyrics and a country-derived sound (Jackson Browne, James Taylor) |
| Soft rock | in the late 1970s, with a slump in the record industry, many artists turned toward a more middle-of-the-road, more commercially accessible style (Chicago) |
| Terry Kath | guitar for Chicago |
| Peter Cetera | bass player for Chicago |
| Robert Lamm | piano/organ player for Chicago |
| Avant-garde | deliberately experimental art that overturns the basic assumptions of existing masterpieces |
| Edgard Varese | Ionisation (1931). The "mad scientist" of classical composition, here writing for percussion ensemble and two sirens |
| Sun Ra | "Outer Nothingness" (1965). Abandons usual concepts of melody, harmony, etc. Just abstract sound |
| Pop art | is a major visual art style of the 1960s, epitomized by the work of Andy Warhol. Embraces popular culture rather than holding itself aloof. Embraces commercial image-making processes (such as silk screening), rather than solitary craftsmanship. |
| Andy Warhol | a pop art artist, who also managed the Velvet Underground and made their cover art |
| The Velvet Underground | Band managed by Andy Warhol, who did the artwork for their first album. Singer Lou Reed was a poet in a free-form style Violist John Cale had worked with avant-garde classical composer LaMonte Young |
| Lou Reed | Singer of the Velvet Underground, was a poet in a free-form style |
| John Cale | Violist for the Velvet Underground, had worked with avant-garde classical composer LaMonte Young |
| Frank Zappa | As a young man, admired Edgard Varèse and R&B equally. Most of his music is satirical. "What's the Ugliest Part of Your Body?" "Who Needs the Peace Corps?" |
| King Crimson | An influential prog rock group, but more of a cult favorite than a hit performer. Only constant member: guitarist Robert Fripp , who modifies his guitar sound with many electronic devices. The band usually has a contrasting solo instrument (sax, violin, or 2nd guitar). Rhythm section players often have a jazz background |
| Robert Fripp | Only constant member of King Crimson: guitarist, who modifies his guitar sound with many electronic devices. |
| Ian MacDonald | Alongside Fripp is saxophonist of King Crimson. Later he founds a much more commercial band, Foreigner. |
| The Big Four | Song-BMG(Japan/Germany), Universal (France), EMI(UK), and Warner (US) |
| Publishing royalties | money made when the song is printed in written form |
| Mechanical royalties | money made when the song is recorded |
| Performance rights | money made each time the song is performed in public (concerts, radio stations, restaurants, ringtones, etc.) |
| ASCAP (American Society of Composers, Authors, Publishers) BMI (Broadcast Music International) | performing rights organizations in the US: |
| blanket license | Anyone profiting from musical compositions (radio stations, restaurants, concert venues, etc.) pays for a _____ that allows them to use all ASCAP or BMI content. |
| performance rights | ASCAP and BMI monitor how much each song is used and pay each member (songwriters and publishers) their share of the proceeds as this |
| mechanical license | In the infancy of the recording industry, songwriters received nothing when their compositions were recorded. The copyright law was revised to provide for a ______ to be paid to songwriters by record companies |
| compulsory license | once a song has been recorded once, anyone else can also record it as long as the standard license rate is paid. |
| "Synch" rights | the publisher of a song is compensated each time a song is used in a soundtrack with images: Films and TV Commercials Video games and software Unlike with mechanical royalties, the owners of a song can refuse permission for the requested use. |
| Master use rights | the owner of a musical recording (usually the record label) is compensated if that recording is reproduced in another context (including sampling). As with synch rights, these use rights must be individually cleared and are not automatically granted. |
| Nico | a foreign model who sang with the Velvet Underground on their first album, she did not contribute anything but her voice and a supper model face |
| Jackson Browne | An important singer-songwriter of the 1970s. sang "The Pretender" |
| Stevie Nicks | the female lead singer for the band Fleetwood Mac |
| Album Oriented Rock | While some rock music is played on AM radio's Top 40 format, the more adventurous, longer compositions are found largely on FM radio |
| Curtis Mayfield | funk artist who wrote the theme dong for the blacksploitatioin film Superfly, sang "Freddie's Dead" |
| Johnny Rotten | the lead singer for the Sex Pistols |
| Peter Gabriel | a commercially successful 'rock star' made the very expensive music video for "Sledgehammer" |
| Sting | The lead singer of The Police, wrote "Don't Stand So Close to Me" |
| Malcolm McLaren | created the Sex Pistols, and was a radical and entrepreneur |
| Jacques Morali | A French producer who lived in NYC who went to find people to put in the Village People, wrote YMCA |
| George Clinton | was the mastermind behind Parliament and eventually Funkadelic, wrote "Tear the Roof off the Sucker" |
| Stevie Wonder | sang and wrote "I Wish", Motown's most powerful and original talent, was the antithesis of the Motown image and sound |
| Ann and Nancy Wilson | One was the singer while the other played the guitar in the band Heart |
| Peter Townshend | the guitar player and song writer for the Who, wrote "Won't Get Fooled Again" |
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