Rock and roll
Rock and roll | |
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Stylistic origins | |
Cultural origins | Late 1940s – early 1950s, Southern United States |
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Rock and roll (often written as rock & roll, rock-n-roll, rock 'n' roll, rock n' roll or Rock n' Roll) is a
According to journalist Greg Kot, "rock and roll" refers to a style of popular music originating in the United States in the 1950s. By the mid-1960s, rock and roll had developed into "the more encompassing international style known as rock music, though the latter also continued to be known in many circles as rock and roll."[8] For the purpose of differentiation, this article deals with the first definition.
In the earliest rock and roll styles, either the
Rock and roll had a polarizing influence on lifestyles, fashion, attitudes, and language. It is often portrayed in movies, fan magazines, and on television. Some people believe that the music had a positive influence on the
Terminology
The term "rock and roll" is defined by
The phrase "rocking and rolling" originally described the movement of a ship on the ocean,[16] but by the early 20th century was used both to describe the spiritual fervor of black church rituals[17] and as a sexual analogy. A retired Welsh seaman named William Fender can be heard singing the phrase "rock and roll" when describing a sexual encounter in his performance of the traditional song "The Baffled Knight" to the folklorist James Madison Carpenter in the early 1930s, which he would have learned at sea in the 1800s; the recording can be heard on the Vaughan Williams Memorial Library website.[18]
Various gospel, blues and swing recordings used the phrase before it became widely popular. “Bosom of Abraham,” an African-American spiritual that was documented no later than 1867 (just after the Civil War), uses the phrase “rock my soul” frequently in a religious sense; this song was later recorded by musicians from various genres, including various gospel musicians and groups (including The Jordanaires), Louis Armstrong (jazz/swing), Lonnie Donegan (skiffle), and Elvis Presley (rock and roll/pop/country).[19] Blues singer Trixie Smith recorded "My [Man] Rocks Me with One Steady Roll"[20] in 1922. It was used in 1940s recordings and reviews of what became known as "rhythm and blues" music aimed at a black audience.[17] Huey "Piano" Smith credits Cha Cha Hogan, a jump-blues shouter and comic in New Orleans, with popularizing the term in his 1950 song "My Walking Baby".[21][22]
In 1934, the song "Rock and Roll" by the
Several sources suggest that Freed found the term, used as a synonym for sexual intercourse, on the record "Sixty Minute Man" by Billy Ward and his Dominoes.[28][29] The lyrics include the line, "I rock 'em, roll 'em all night long".[30] Freed did not acknowledge the suggestion about that source in interviews, and explained the term as follows: "Rock 'n roll is really swing with a modern name. It began on the levees and plantations, took in folk songs, and features blues and rhythm".[31]
In discussing Alan Freed's contribution to the genre, two significant sources emphasized the importance of African-American rhythm and blues. Greg Harris, then the executive director of the Rock n Roll Hall of Fame, offered this comment to CNN: "Freed's role in breaking down racial barriers in U.S. pop culture in the 1950s, by leading white and black kids to listen to the same music, put the radio personality 'at the vanguard' and made him 'a really important figure'".[32] After Freed was honored with a star on the Hollywood Walk of Fame, the organization's Web site offered this comment: "He became internationally known for promoting African-American rhythm and blues music on the radio in the United States and Europe under the name of rock and roll".[33]
Not often acknowledged in the history of rock and roll,
Early rock and roll
Origins
The origins of rock and roll have been fiercely debated by commentators and historians of music.
The immediate roots of rock and roll lay in the
Contradicting Larry Birnbaum, the author of Before Elvis: The Prehistory of Rock 'n' Roll, and notwithstanding early forms of white rock and roll then called "country boogie", musicologist and rock historian Bruno Blum argues that early, fully-formed rock and roll music really surged in America at least as early as 1945, but was segregated, thus making it unavailable to the general public and widely undocumented. According to Blum, true rock tracks from the 1940s included "Rock Woogie" by Jim Wynn's Bobalibans (1945), "Rockin' the House" by Memphis Slim and the House Rockers (1946), "Aladdin Boogie" by Amos Milburn (1947), "Rock and Rye" by Jimmy McCracklin (1947), "We're Gonna Rock" (1947) and "Rock and Roll" (1948) by Wild Bill Moore, and many others. His discussion of the topic is as follows:[46]
For most lovers of the genre, rock sprang up with Bill Haley and Elvis Presley in 1954–1956. But why would rock be called "rock" when played by Whites and "rhythm and blues" when it was played by Blacks? According to the usual clichés, rock's roots lie deep in a muddled amalgam where "blues" and "rhythm and blues" were necessarily mixed with "country music" in order to be dubbed "rock" and thereby gain entrance to history and legend — the official history, that is. Yet African-American rock anticipated Bill Haley's first isolated hit Rock The Joint (1952) by a long way, as shown by its rare original version (by Jimmy Preston in 1948) included here. This "black" rock would discreetly coexist with the first white rock hits. But there is still a clear tendency to relegate African-American rock to the genre's "Prehistory", which would be to say that it is NOT part of the genre. Consequently, and despite their landmark recordings, Tiny Bradshaw, Wynonie Harris, Roy Brown, Smiley Lewis and others have been literally erased from our memories, leaving the official title of "pioneers" to the subsequent generation—Eddie Cochran, Elvis and their like — even though they appeared only five or ten years later. Two black artists still appear amongst the official inventors of rock, however: the undisputed giants named
Jim Wynn in 1945). Like boogie, "shuffle" music had arrived as early as the late thirties ("Rock This Morning" by James Allen & James Gilchrist).), "big beat", "rock 'n' roll" or "race music", was the label used by the press and Billboard in particular.The music was also called "blues" (My Baby Left Me by Arthur Crudup), "rhythm music" ("Hambone" by Red Saunders), "rhythm and blues" ("Honey Hush" by Big Joe Turner), "R&B" (the abbreviation of "rhythm and blues" and the name given to "black" music styles in the charts of Billboard magazine post-summer 1949), "jump blues" ("Rock Around the Clock" by Hal Singer
In the 1930s,
Rock and roll arrived at a time of considerable technological change, soon after the development of the electric guitar,
"Rocket 88" by Jackie Brenston and his Delta Cats (Ike Turner and his band The Kings of Rhythm and sung by Brenston), was recorded by Sam Phillips in March 1951. This is often cited as the first rock n' roll record.[62][63] In an interview however, Ike Turner offered this comment: "I don't think that 'Rocket 88' is rock 'n' roll. I think that 'Rocket 88' is R&B, but I think 'Rocket 88' is the cause of rock and roll existing".[64] [65]
In terms of its wide cultural impact across society in the US and elsewhere,
Journalist Alexis Petridis argued that neither Haley's "Rock Around the Clock" nor Presley's version of "That's Alright Mama" heralded a new genre: "They were simply the first white artists' interpretations of a sound already well-established by black musicians almost a decade before. It was a raucous, driving, unnamed variant of rhythm and blues that came complete with lyrics that talked about rocking".[69]
Other artists with early rock and roll hits included
Rhythm and blues
Rock and roll was strongly influenced by R&B, according to many sources, including an article in The Wall Street Journal in 1985, titled, "Rock! It's Still Rhythm and Blues". In fact, the author stated that the "two terms were used interchangeably", until about 1957. The other sources quoted in the article said that rock and roll combined R&B with pop and country music.[79]
Less frequently cited as an influencer, LaVern Baker was inducted into the Rock and Roll Hall of Fame in 1991. The Hall remarked that her "fiery fusion of blues, jazz and R&B showcased her alluring vocals and set the stage for the rock and roll surge of the Fifties".[82]
Rockabilly
"Rockabilly" usually (but not exclusively) refers to the type of rock and roll music which was played and recorded in the mid-1950s primarily by white singers such as Elvis Presley, Carl Perkins, Johnny Cash, and Jerry Lee Lewis, who drew mainly on the country roots of the music.[83][84] Presley was greatly influenced by and incorporated his style of music with that of some of the greatest Black musicians like BB King, Arthur Crudup and Fats Domino. His style of music combined with black influences created controversy during a turbulent time in history.[84] Many other popular rock and roll singers of the time, such as Fats Domino and Little Richard,[85] came out of the black rhythm and blues tradition, making the music attractive to white audiences, and are not usually classed as "rockabilly".
Presley popularized rock and roll on a wider scale than any other single performer and by 1956, he had emerged as the singing sensation of the nation.[86]
Bill Flagg who is a Connecticut resident, began referring to his mix of hillbilly and rock 'n' roll music as rockabilly around 1953.[87]
In July 1954, Presley recorded the regional hit "That's All Right" at Sam Phillips' Sun Studio in Memphis.[88] Three months earlier, on April 12, 1954, Bill Haley & His Comets recorded "Rock Around the Clock". Although only a minor hit when first released, when used in the opening sequence of the movie Blackboard Jungle a year later, it set the rock and roll boom in motion.[66] The song became one of the biggest hits in history, and frenzied teens flocked to see Haley and the Comets perform it, causing riots in some cities. "Rock Around the Clock" was a breakthrough for both the group and for all of rock and roll music. If everything that came before laid the groundwork, "Rock Around the Clock" introduced the music to a global audience.[89]
In 1956, the arrival of rockabilly was underlined by the success of songs like "Folsom Prison Blues" by Johnny Cash, "Blue Suede Shoes" by Perkins, and the No. 1 hit "Heartbreak Hotel" by Presley.[84] For a few years it became the most commercially successful form of rock and roll. Later rockabilly acts, particularly performing songwriters like Buddy Holly, would be a major influence on British Invasion acts and particularly on the song writing of the Beatles and through them on the nature of later rock music.[90]
Doo wop
Doo-wop was one of the most popular forms of 1950s rhythm and blues, often compared with rock and roll, with an emphasis on multi-part vocal harmonies and meaningless backing lyrics (from which the genre later gained its name), which were usually supported with light instrumentation.
Cover versions
Many of the earliest white rock and roll hits were
Covers were customary in the music industry at the time; it was made particularly easy by the
The cover versions were not necessarily straightforward imitations. For example, Bill Haley's incompletely bowdlerized cover of "Shake, Rattle and Roll" transformed Big Joe Turner's humorous and racy tale of adult love into an energetic teen dance number,[95][104] while Georgia Gibbs replaced Etta James's tough, sarcastic vocal in "Roll With Me, Henry" (covered as "Dance With Me, Henry") with a perkier vocal more appropriate for an audience unfamiliar with the song to which James's song was an answer, Hank Ballard's "Work With Me, Annie".[105] Presley's rock and roll version of "Hound Dog", taken mainly from a version recorded by the pop band Freddie Bell and the Bellboys, was very different from the blues shouter that Big Mama Thornton had recorded four years earlier.[106][107] Other white artists who recorded cover versions of rhythm and blues songs included Gale Storm (Smiley Lewis' "I Hear You Knockin'"), the Diamonds (The Gladiolas' "Little Darlin'" and Frankie Lymon & the Teenagers' "Why Do Fools Fall in Love?"), the Crew Cuts (the Chords' "Sh-Boom" and Nappy Brown's "Don't Be Angry"), the Fountain Sisters (The Jewels' "Hearts of Stone") and the Maguire Sisters (The Moonglows' "Sincerely").
Decline and later developments
Some commentators have suggested a decline of rock and roll in the late 1950s and early 1960s.
During the late 1950s and early 1960s, the rawer sounds of Presley,
Some music historians have also pointed to important and innovative developments that built on rock and roll in this period, including multitrack recording, developed by Les Paul, the electronic treatment of sound by such innovators as Joe Meek, and the "Wall of Sound" productions of Phil Spector,[112] continued desegregation of the charts, the rise of surf music, garage rock and the Twist dance craze.[44] Surf rock in particular, noted for the use of reverb-drenched guitars, became one of the most popular forms of American rock of the 1960s.[113]
While the sounds of the British Invasion would become the superseding forms of rock music during the mid-1960s, a few American artists were nonetheless able to achieve chart successes with rock and roll recordings during this time. The most notable of these was Johnny Rivers, who with hits such as "Memphis" (1964), popularized a "Go-go" style of club-oriented, danceable rock and roll that enjoyed significant success in spite of the ongoing British Invasion.[114][115] Another example was Bobby Fuller and his group The Bobby Fuller Four, who were especially inspired by Buddy Holly and stuck with a rock and roll style, scoring their most notable hit with "I Fought the Law" (1965).[116][117][118]
British rock and roll
In the 1950s, Britain was well placed to receive American rock and roll music and culture.
The initial response of the British music industry was to attempt to produce copies of American records, recorded with session musicians and often fronted by teen idols. More grass roots British rock and rollers soon began to appear, including
As interest in rock and roll was beginning to subside in America in the late 1950s and early 1960s, it was taken up by groups in British cities like
Cultural influence
Rock and roll influenced lifestyles, fashion, attitudes, and language.[132] In addition, rock and roll may have contributed to the civil rights movement because both African-American and European-American teens enjoyed the music.[12]
Many early rock and roll songs dealt with issues of cars, school, dating, and clothing. The lyrics of rock and roll songs described events and conflicts to which most listeners could relate through personal experience. Topics such as sex that had generally been considered taboo began to appear in rock and roll lyrics. This new music tried to break boundaries and express emotions that people were actually feeling but had not discussed openly. An awakening began to take place in American youth culture.[133]
Race
In the crossover of African-American "race music" to a growing white youth audience, the popularization of rock and roll involved both black performers reaching a white audience and white musicians performing African-American music.
Teen culture
Several rock historians have claimed that rock and roll was one of the first music genres to define an
In America, that concern was conveyed even in youth cultural artifacts such as
Dance styles
From its early 1950s beginnings through the early 1960s, rock and roll spawned new
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One American artist after another faded into rock & roll purgatory, victims of Her Majesty's transatlantic onslaught. Among the few Yanks who survived the British Invasion, [was]... Johnny Rivers... A cover of Chuck Berry's "Memphis"... reached number 2 in the midst of Beatlemania, sending a message that American artists weren't ready to concede their turf to the Brits just yet.
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... there were other artists playing this kind of basic, danceable rock & roll, mostly in club settings... In early 1964, however, none of those acts had broken nationally or even locally. Rivers got there first...
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