M1D2

ALEX MOSHER

Podcasts and Critics - What do they know?

The podcasts were very well organized and gave a good foundation for understanding
music in general, not just as applied to Rock and Roll. The information presented can
certainly add to the appreciation of rock music. The clear explanations of the various
meters were important things to me. I'm sure the overview of scales and chord
construction will be helpful to folks as well.

Episode 1: Rhythm & Meter https://youtu.be/Xv_m2toAAog

Episode 3: Harmony https://www.youtube.com/watch?

v=s3k0vyESBXA&feature=youtu.be

As to what to say to a critic claiming rock is "just noise", I would first have to ask what
actual musical knowledge his or her opinion was based on, and proceed to give examples of
the common elements of all music, no matter how loud or "noisy" it may be perceived to be.
Using the example of "The Wind Cries Mary", I would point out the quite sophisticated use
of non-diatonic harmony in a clearly major key song structure. I would tell the critic that
she or he is certainly entitled to not like a particular style of music, but that an opinion is
not a fact!

Furthermore, there have always been critics who think that something new in music is "just
noise”. Read what H.E. Krehbiel writing in the New York Tribune, February 5, 1923had to
say about Igor Stravinsky here:
http://www.wqxr.org/#!/story/104409-top-five-critiques-stravinsky/

******************

Sharon, I've always loved the "City Symphony" and the sweet story that is the movie "August Rush". I
hadn't thought about it in years until you mentioned it. That brought to mind another of my favorite
movies, "The Red Violin". It tells the story of a famous "red violin" in flashbacks from 17th century
Italy to a present day auction in Montreal. [1] One of my favorite parts of the movie shows the violin
in the hands of an orphan in 18th century Austria who is a musical prodigy. [2]

It is one of the great wonders of this world that prodigies exist, and I don't know anyone who is not
moved when they witness one. Most prodigies have gifts in sports, chess, math, or music, and of
course these are all amazing, but music speaks directly to our souls, even if we are capable of
intellectualizing it. Just watch Sarah Chang a 10 year old girl playing Paganini and wonder at the
miracle of it! [3]

[1] http://www.imdb.com/title/tt0120802/plotsummary?ref_=tt_stry_pl
[2] https://www.youtube.com/watch?v=YKce1fkBRrc

[3] https://www.youtube.com/watch?v=cHCApGu_ndM

M2D1 The Controversy of Cover Versions

The initial question asks whether I feel that cover versions were fundamentally racist, and I
believe that, while racial attitudes of target audiences often had a part to play in a decision to
cover a song originally recorded by a black artist, there were certainly other factors to consider
as well. Many times the primary reason for a cover's release was to capitalize on a catchy song
without the blatant sexual innuendo found in the original, and there were many covers that were
done for the reason of wanting to hear a particular singer's take on a song. (Covach, 2015) "The
Ballad of Davy Crockett" had three different versions of the song in the charts in 1955. (Covach,
2015)

As to whether making cover records was good business, or not, I believe the answer is yes, given
that we are still talking about them to this day. It is true that there were artists, both black and
white, who were taken advantage of by record companies, but in many cases "up-front" money
was all they knew or cared about. Marshall Chess, one of the principals of the legendary Chess
Records says, "We were dealing with blues artists … 80% of them were drinking. There was a lot
of yelling, a lot of calling people 'motherfucker', and fighting. Blues artists, often you could give
them $2,000 on Friday and they'd be broke by Monday. Then they'd come in and say, 'You
fucked me – where's my money?' You couldn't be an angel and run Chess records in the ghetto in
Chicago."2

In my opinion, cover versions are definitely understandable in the context of the music business,
not only in the time period under discussion, but continuing to the present day.

References

Florey, A. (2015). The First Rock And Rollers Cross Over. In J. Covach (Author), What's That
Sound? (4th ed., pp. 92-95). New York, NY: W.W. Norton & Company.

Wald, E. (2010, November 5). How the Blues Brothers Behind Chess Records Made All the
Right Moves. Retrieved October 28, 2015, from
http://www.theguardian.com/music/2010/nov/06/leonard-phil-marshall-chess-records
M2D2 The Variety of Rock Music

The two artists I've chosen to discuss are Fats Domino and Jerry Lee Lewis. I was lucky enough
to see them perform live in the '60s at The Reo Palm Isle Ballroom in Longview, Texas.
Originally called the Palm Isle Club, it opened on September 12, 1935. It was built by the Palm
Isle Amusement Corporation as the largest and finest dance club in Texas. (Moore, 2015) My
father, Jack Mosher owned the Reo, as everyone called it, from 1962 to 1966, and I quite often
accompanied him on Friday and Saturday nights, so that I could hear the artists that came
through and played the Reo. (Sterrett, 1971)

Fats and Jerry Lee both were great performers, but very different in style. Fats had a relatively
cool demeanor, while flashy in dress - especially jewelry -. although he says now, " I don't care
for jewelry like I used to, but I wear it because people are used to seeing me with it. I haven't
worn nothing new for years." (Gundersen, 2002) "Walkin' To New Orleans" is a great example of
that smooth, but flashy delivery. (YouTube, 2013)

Jerry Lee Lewis, on the other hand, was like a wild man. I'll never forget seeing him douse the
keys of the piano at the Reo with Ronsonol as he closed his show with "Great Balls of Fire".
(YouTube, 2009)

Fats and Jerry Lee, along with Little Richard, of course, were among the few early rock stars
who played piano and sang. They both pounded out the rhythm on the keys and it is that insistent
rhythm that is the defining element of rock and roll, no matter which instrument or instruments
do the pounding!

References

Sterrett. (1971, September 1). KEELING v. COMMISSIONER. Retrieved October 29, 2015,
from
http://www.leagle.com/decision/197198430hrtcm954_1759.xml/KEELING%20v.
%20COMMISSIONER#

Moore, S. (n.d.). The Reo Palm Isle. Retrieved October 29, 2015, from
http://scottymoore.net/longview.html

Gundersen, E. (2002, December 04). Fats Domino is 'Walking,' yes indeed, and talking.
Retrieved October 29, 2015, from http://usatoday30.usatoday.com/life/music/news/2002-
12-03-fats-domino_x.htm

Domino, A. (2013, October 29). I'm Walkin' To New Orleans - Fats Domino. Retrieved October
29, 2015, from https://www.youtube.com/watch?v=H6mv04fwT5k
Lewis, J. L. (2009, January 17). Jerry Lee Lewis -Great balls of Fire & Breathless (Live 1958).
Retrieved October 29, 2015, from https://www.youtube.com/watch?v=j4NquCaWIQI

M2D3 The Legend of Elvis

I first heard Elvis Presley when I was in the first grade. I remember hearing "It's Now or Never"
on the radio, but I didn't attach any great importance to that until, after succumbing to a chronic
case of Beatlemania at age nine that persists even now, I began wanting to know more about all
the music I heard. I had an uncle who insisted that The Beatles were "trying to look like girls",
and that led to family discussions in which my father pointed out the way that there were always
criticisms leveled at musical celebrities at the forefront of new styles, and used Elvis' gyrations
and the reaction to them as one example (Hanson, 2008). My mother also told me about being a
bobbysoxer as a teenager and about how all the girls then were as crazy about Frank Sinatra as
the girls in the '50s were about Elvis, and the girls in the '60s were about The Beatles.

During most of the '60s, I didn't care much at all for Elvis' music, until I heard "Suspicious
Minds" (Presley, 2007). By this time I had been exposed to a wider variety of music, including
country and western music, as well as rhythm and blues, and was beginning to take an interest in
artists who had not previously been on my youthful "radar". As I had just begun playing the
guitar a couple of years earlier, I think it was probably the guitar part played by James Burton
that drew me in initially (Wright, 2012). Since then I've gotten to know and love much of the
music of Elvis.

His music is undoubtedly more important than I originally believed. His earlier recordings for
Sun Records were truly groundbreaking in style and sound and became a template for many
rockabilly artists who followed, such as Carl Perkins and Johnny Cash (Florey, 2015).

References

Hanson, A. (2008, September). Elvis Brought Sex to the Minds of Teenage Girls. Retrieved
October 29, 2015, from http://www.elvis-history-blog.com/elvis-sex.html

Presley, E. A. (2007, August 14). Suspicious minds. Retrieved October 29, 2015, from
https://www.youtube.com/watch?v=SBmAPYkPeYU

Wright, J. (2012, July 19). James Burton: Working with Elvis taught me so much. Retrieved
October 29, 2015, from http://www.liverpoolecho.co.uk/whats-on/music/james-burton-working-
elvis-taught-3340253

Florey, A. (2015). Rockabilly in the wake of Presley. In J. Covach (Author), What's That Sound?
(4th ed., p. 101). New York, N.Y.: W.W. Norton & Company.

M2D4 This Week's Top 5

Maybelline - Chuck Berry 1955 https://www.youtube.com/watch?v=8RAfxiyMKAk

This song was Chuck Berry's first single and first hit and was adapted from the traditional
country song, "Ida Red" (Florey 88).

Memphis, Tennessee (Memphis) Chuck Berry B-side from1959

https://www.youtube.com/watch?v=w5ezeUM6c74

I dig the "jungle" drums on this. It's a story song with a twist (Florey 90).

Heartbreak Hotel - Elvis Presley 1956 https://www.youtube.com/watch?v=PotB76gi2_4

This was Elvis' first single for RCA(Florey 98). It was co-written by Mae Boren Axton, mother
of another notable songwriter, Hoyt Axton(Burke) ("Hoyt Axton - Oklahoma Music Hall of
Fame").

It's Now or Never - Elvis Presley 1960 https:/www.youtube.com/watch?v=QkMVscR5YOo

This was the first tune calculated to distance Elvis from his association with rock and roll, and to
maintain his popularity as a singer, should the popularity of rock and roll, which many viewed as
a fad, wane (Florey 100).

The Ballad of Davy Crockett - 1955 theme to Disney's television program, "Davy Crockett"
https://www.youtube.com/watch?v=txcRQedoEyY

The Wellingtons, a well-known Hollywood folk group sang the above version, as well as many
other television themes, including Gilligan's Island ("The Wellingtons"). This song has the 
distinction of having three different cover versions in the charts at the same time  (Florey 95).

References

Florey, Andrew. "The First Rock And Rollers Cross Over." What's That Sound? By John Covach.
4th ed. New York, NY: W.W. Norton &, 2015. 88-100. Print.

Bob Burke, "Axton, Mae Boren," Encyclopedia of Oklahoma History and Culture,
www.okhistory.org (accessed October 29, 2015).

"Hoyt Axton - Oklahoma Music Hall of Fame." Oklahoma Music Hall of Fame. N.p., n.d. Web.
29 Oct. 2015. <http://omhof.com/inductee/hoyt-axton/>.

M3D1 The Brill Building and Beyond

One of the main similarities I hear in the production styles of both Phil Spector, and Leiber and
Stoller, is the use of instruments that are not typically thought of as rock and roll instruments.
Castanets and other Latin percussion play a big part in many of the productions of both Spector,
and Leiber and Stoller, as do orchestral instruments, such as strings and tympani (Watkins,
2013). Leiber and Stoller were already using more complex arrangements and a wider variety of
instrumentation than the previous rock and roll norm when they took in Phil Spector as an
apprentice in New York (Moorefield 9-10).

Spector built on the idea of bigger instrumentation and created layers of instruments playing the
same parts that had not been done before, using multiple drum kits, multiple pianos, and more
(Moorefield 9-10). When he mixed it all through the echo chamber at Gold Star studios, he
created his “Wall of Sound” ("Inside the Wrecking Crew, Gold Star Studio- Co-founder David
Gold Tells It like It Was," n.d.).

It is at this point that I really hear the differences in the two production styles. Phil's use of echo
on everything and more layering of parts creates a wash, that while aurally exciting, makes it
sometimes difficult to distinguish individual parts. Leiber and Stoller's productions, while often
elaborate, had parts that were distinct. Their tighter, cleaner recordings with less reverberation
allow for the arrangements to shine. While I enjoy listening to all these records on many levels,
I've got to say I prefer Leiber and Stoller.

References

Watkins, Jack. "Ben E King and Mike Stoller: How We Made Stand By Me." N.p., 3 Sept. 2013.
Web. 5 Nov. 2015. <http://www.theguardian.com/music/2013/sep/03/how-we-made-stand-by-
me>.

Moorefield, Virgil. The Producer as Composer: Shaping the Sounds of Popular Music.
Cambridge, MA: MIT, 2005. 9-10. Print.

Inside the Wrecking Crew, Gold Star Studio- co-founder David Gold tells it like it was. (n.d.).
Retrieved November 3, 2015, from https://www.youtube.com/watch?v=wKHzh4F86iQ

Petersen, G. (2008, May 14). Larry Levine, 'Wall of Sound' engineer, 1928-2008. Retrieved
November 3, 2015, from http://www.mixonline.com/news/news-products/larry-levine-wall-
sound-engineer-1928-2008/383249

M3D2 Rock's Dark Age?

I believe that the previous discussion shows clearly that much creativity was occurring in rock
music before the arrival of The Beatles. The Beatles did not actually do anything radically
different from the established forms in vogue in their early years. Their vocal harmonies owed
much to the Everly Brothers. Paul McCartney said "When John and I first started to write songs,
I was Phil and he was Don (Greene, 2014). Just listen to their first hit, "Love Me Do", for an
example (Lennon & McCartney, n.d.).

While I too have an incurable case of Beatlemania, and believe that their later body of work, in
its full flowering, is magnificent, I see plenty of creativity evident in this so-called "dark age".
One of my favorite records, Ben E. King's "Spanish Harlem", a Leiber and Stoller production, is
a great example of this (Leiber & Spector, n.d.). The syncopated rhythmic phrasing of the lyrics
in each verse over the IV chord with the elongated five measure phrase is quite catchy to
musicians and non-musicians alike. I side with those who feel that this was a period of great
creativity.

References

Greene, B. (2014, January 12). Opinion: The Everly Brothers, two voices the Beatles envied -
CNN.com. Retrieved November 5, 2015, from http://www.cnn.com/2014/01/12/opinion/greene-
everly-brothers/

Lennon, J., & McCartney, P. (n.d.). The Beatles - Love Me Do [Lyrics]. Retrieved November 5,
2015, from https://www.youtube.com/watch?v=ZXDgn4OTnjU

Leiber, J., & Spector, P. (n.d.). Ben E King - Spanish Harlem. Retrieved November 5, 2015, from
https://www.youtube.com/watch?v=OGd6CdtOqEE

***Replies***

King Solomon's observation that "The thing that hath been, it is that which shall be; and that
which is done is that which shall be done: and there is no new thing under the sun" (Ecclesiastes
1:9), is nowhere more true than in the music business.
Your example of "Blurred Lines" actually has much in common with The Beatles'
"Obladi, Oblada"("The Beatles - Ob-La-Di-Ob-La-Da Lyrics"), which predates it by many years.

References

"The Beatles - Ob-La-Di-Ob-La-Da Lyrics." <i>YouTube</i>. YouTube, n.d. Web. 05 Nov.

2015. &lt;https://www.youtube.com/watch?v=EGxy8CDqIzs&gt;.

Spencer, your mention of the combination of strings with rock instruments reminded me of an
example from 1966 where the Beatles dispensed with other instruments entirely,
Eleanor Rigby" (Lennon & McCartney, n.d.), from their album, Revolver. George Martin,
their producer, wrote this arrangement for double string quartet. He was often referred to, as
"the fifth Beatle" (Dye, 2007).

References
Eleanor Rigby - The Beatles. (n.d.). Retrieved November 5, 2015, from
https://www.youtube.com/watch?v=NQj2wvSls7M

Dye, D. (2007, February 19). George Martin: 'The Fifth Beatle' Returns. Retrieved from
http://www.npr.org/templates/story/story.php?storyId=6665771

M3D3 This Week's Top 5

Dream Lover 1959 Bobby Darin started his career as a songwriter and transitioned into a singing
career as one of the new teen idols who sprung up as the music business sought to capitalize on
Elvis' success. He is one of the few who wrote their own songs -Neil Sedaka and Paul Anka were
others, and like many of the "teen idols" of this period, he presented a clean-cut "ideal boyfriend"
image (Covach 115).

The Twist 1960 Chubby Checker is lip-syncing this performance of his first hit record on the
show American Bandstand. Even though dancing had always gone along with rock music, this
was the beginning of the dance craze (Covach 116 -118). I know I'm showing my age here, but I
saw this when I was in the second grade.

Yakety Yak 1958 The Coasters and their producers Jerry Leiber and Mike Stoller (the first
independent record producers) were noted for their humorous story songs that were like short
Broadway "playlets" (Covach 116 -118). "Yakety Yak (don't talk back)", with its lighthearted
take on teenage issues with parents, was one of their most popular songs.

"Where Have All the Flowers Gone" 1962 The Kingston Trio had great success in bringing a
revival of folk music to a college age youth audience that was outgrowing first wave rock and
feeling a new sophistication (Covach 118). Folk seemed more "real" to this audience than the
commercial pop of the era, although, as a facet of the entertainment business, folk music artists
such as the Kingston Trio had crafted clean-cut images and pushed folk back into the mainstream
(Covach 119).

Blowin' in the Wind 1963 Bob Dylan, with his raw, unpolished instrumental and vocal delivery,
was at the forefront of "serious folk", along with artists like Joan Baez (Covach 116 -118).
Dylan eschewed pop conventions and so-called professional production styles, and at first, he
seemed too raw for commercial radio. Naturally, this became part of an image of authenticity
that was to soon become marketable, and still is today(Allen).

References
Allen, Jeremy. "The Commercial Crooner: Bob Dylan's Greatest Marketing Hits." N.p., 43 Feb.
2014. Web. <http://www.theguardian.com/music/musicblog/2014/feb/04/commercial-bob-dylan-
marketing-adverts-super-bowl>.

Covach, John. What's That Sound?: An Introduction to Rock and Its History - 4th Edition. New
York: W. W. Norton, 2015. Print.

M4D1 The Beatles - From Craftsmen to Artists

The two songs from the Beatles I've chosen are "I Want to Hold Your Hand" (from Meet the
Beatles 1964) and "Tomorrow Never Knows" (from Revolver 1966). I chose these two because I
believe they are at the extremes as examples of the Beatles' "craft" songs versus their "art" songs.

The lyrics to "I Want to Hold Your Hand" are simplistic expressions of juvenile love that are not
much different from songs going back to the doo-wop era. Those lyrics are a far cry from John
Lennon's adaptation of Timothy Leary's adaptation of The Tibetan Book of the Dead in
"Tomorrow Never Knows" (Covach,2015).

While an innocent teenager in love might take "I Want to Hold Your Hand" seriously, I'd have to
say that, from an adult perspective, the deeper spiritual issues with which "Tomorrow Never
Knows" are concerned mark it as the more serious song.

The instrumentation on "I Want to Hold Your Hand" is very simple, and indeed, with the
exception of the overdubbed hand claps, is essentially a live recording of the band, with vocals,
two guitars, bass and drums. "Tomorrow Never Knows" has an underlying bass and drum figure
continuing unchanged throughout along with a tambura drone, punctuated regularly by two organ
chords at the end of each lyric phrase. Added to this foundation are tape loops, and backwards
recorded guitar and additional tape loops, lending to the otherworldly vibe.

There are quite a few unusual sounds in "Tomorrow Never Knows", including the tape loops and
the backwards recorded guitar (MacDonald 152). The use of classical Indian instruments in rock
music was unusual at the time, as well. John' vocal being recorded through a Leslie speaker was
also unusual at the time.

I believe that the Beatles' great early financial success gave them the power to demand freedom
to experiment in the studio, and indulge their artistic impulses and that the dramatic differences
we hear in their early and later styles are the result of that freedom to experiment.

References
Covach, John Rudolph. What's That Sound?: An Introduction to Rock and Its History. New York:
W.W. Norton, 2006. 169. Print.

MacDonald, Ian. Revolution in the Head: The Beatles' Records and the Sixties. New York: H.
Holt, 1994. 152. Print.

M4D2 The British Invasion

I would like to compare and contrast the Beatles with the Beach Boys. Although their sounds
were different, they shared some similar influences, and as they developed they influenced each
other in a spirit of friendly competition (The Beatles, n.d., Video). Both bands early on wrote
songs that were more juvenile than their later work. With the Beatles, these mostly had to do
with teenage love ("The Beatles - Love Me Do [Lyrics]," n.d.). The Beach Boys’ songs were
mainly about surfing and Southern California car culture ("Beach Boys "Little Deuce Coupe","
n.d.).

As the Beatles matured, they began to explore more serious themes ("The Beatles - Eleanor
Rigby (Lyrics)," n.d.). Brian Wilson of the Beach Boys also began to write more serious songs
for the album Pet Sounds, but they were more often of an introspective nature ("The Beach Boys
- God Only Knows (Lyrics via Description) (HQ)," n.d.).

I find both bands interesting for their use of unorthodox instrumentation and recording
techniques in breaking new ground in rock music.

References

A&E Classroom: The Class of the 20th Century—1963-1968. [The Beatles]. (n.d.). Retrieved
from http://digital.films.com.vlib.excelsior.edu/PortalViewVideo.aspx?xtid=42348&loid=93217

The Beatles - Love Me Do [Lyrics]. (n.d.). Retrieved November 11, 2015, from
https://www.youtube.com/watch?v=ZXDgn4OTnjU

Beach Boys "Little Deuce Coupe" (n.d.). Retrieved November 11, 2015, from
https://www.youtube.com/watch?v=NwgGuadsqyo

The Beach Boys - God Only Knows (Lyrics via Description) (HQ). (n.d.). Retrieved November
11, 2015, from https://www.youtube.com/watch?v=EkPy18xW1j8

M4D3 This Week's Top 5

I’ve selected five songs from the Beatles this week to highlight their growing maturity as artists
after their early success as teen idols.
Norwegian Wood 1965 The Beatles’ folk influences are evident with the strongly featured
acoustic guitar and light percussion from Ringo in lieu of a full drum kit. In addition, George’s
fascination with Indian classical music and the sitarist Ravi Shankar, led him to take up playing
the instrument, which gives a new color to the acoustic sound of this production (Covach, 2006).
The contrasting bridge sections of the song in the parallel minor key (Em) are a refreshing twist.

You've Got to Hide your Love Away 1965 This was another strongly folk type tune done with a
very simple acoustic guitar accompaniment and percussion consisting of tambourine, maracas,
and snare drum played with brushes. Like “Norwegian Wood”, it is in compound meter. Written
by John Lennon in his “Dylan” period, it was according to Paul McCartney, "basically John
doing Dylan" (Dowlding, 1989).

Help! 1965 The Beatles’ arrangement on this is one I’ve always admired. A great rhythmic
foundation of strummed acoustic guitar and maracas with the bass and drum kit supports an
intricate vocal arrangement with the background vocals twining around the lead vocal,
elongating key words and phrases in John’s lead vocal. John Lennon’s introspective lyrics make
this one of his favorite Beatles songs ("Lennon Remembers, Part Two," 1971).

Eleanor Rigby 1966 This was the first song released by the Beatles on which none of them
played any instruments, opting instead to sing over George Martin’s arrangement for a double
string quartet. Paul McCartney’s lyrics dealing with loneliness and old age were very
uncharacteristic for rock music, and further established the group as serious artists (Unterberger,
n.d.).

Yellow Submarine 1966 The Beatles always had Ringo sing a song and his lead vocal was
perfect for this. Paul McCartney wrote this as a song for children, and its catchy sing-along
quality makes it a favorite Beatle song for many folks ("Song Review by Thomas Ward," n.d.).
The use of sound effects and the brass band’s sudden appearance are quite creative.

References

Covach, J. R. (2006). The Beatles and the British Invasion. In What's that sound?: An
introduction to rock and its history. New York: W.W. Norton &.

Dowling, William J. (1989). Beatlesongs. New York: Simon & Schuster Inc. p. 554.

Lennon remembers, part two. (1971, February 04). Retrieved November 12, 2015, from
http://www.rollingstone.com/music/news/lennon-remembers-part-two-19710204

Unterberger, R. (n.d.). Song review by Richie Unterberger. Retrieved November 12, 2015, from
http://www.allmusic.com/song/eleanor-rigby-mt0010100255

Song review by Thomas Ward. (n.d.). Retrieved November 12, 2015, from
http://www.allmusic.com/song/yellow-submarine-mt0010261586
M5D1 Dylan and the Folk Scene

Dylan's decision to use electric instruments on his recordings were made for reasons of his own
artistic expression. Whether or not that was pleasing to his earlier folk music fans or not, it was a
choice he made, and I quite admire him the more for it. "Positively 4th Street" , beginning with
the sneering lyric, "You've got a lot of nerve - to say that you're my friend.", blasts the folk
music establishment for its criticism of his songwriting and instrumentation choices with a
barrage of twelve verses (Covach, 2015).

The folk purists who were unwilling to go along with Bob Dylan's changes in style and content
are welcome to their opinions of his art, as is Bob Dylan welcome to his opinion of his critics. I
don't think that rises to the level of a betrayal on either side. As to the question of whether a folk
artist can be "electric", I maintain that an artist can do whatever he wants, and people can call it
whatever they want. Words used to describe styles of music are fluid things, after all.

References

Covach, J. (2015). Folk Rock. In What's that sound?: An introduction to rock and its history -
4th edition (p. 193). New York: W. W. Norton.

Hi Dr. May,

Well, I've searched and read now for over an hour, and even bought the Kindle version of Dave
Van Ronk's memoir, in which he says about Dylan's going electric, "Some of us liked what he
was doing and some of us didn’t, but our judgment was a musical judgment, not a political or a
sociological judgment. ... I did not care for all of his new stuff, by any means, but some of
it was excellent, and it was a reasonable extension of what he had done up to that point. And I
knew perfectly well that none of us was a true “folk” artist. We were professional performers,
and while we liked a lot of folk music, we all liked a lot of other things as well.... It was the same
with the fans who got bent out of shape about Bobby’s going electric. They were all very pure
and self-righteous, but forty years later Bobby is still out there making music, and they’re all
dentists (Ronk & Wald, 2006) ."

I can't find a documented instance (yet) of someone specifically saying, "At first I didn't like
Dylan's electric stuff, but now I do.", But I do know from personal experience and from similar
cases with other artists that with the passage of time, different tastes are acquired.
Pete Seeger certainly mellowed regarding Dylan's "betrayal" in his later years, at least
publicly ("Pete Seeger & His (re-)actions during Bob Dylan's Electrified Performance at
Newport 1965," 2013).

Pete Seeger & his (re-)actions during Bob Dylan's electrified performance at Newport 1965.
(2013, May 4). Retrieved November 20, 2015, from https://www.youtube.com/watch?
v=UXbf7o8HGv0

Ronk, D. V., & Wald, E. (2006). The Waning Days of Babylon. In The mayor of MacDougal
Street: A memoir of the '60s folk revival (pp. 214-216). Cambridge, MA: Da Capo.

M5D2 The Monkees

The Monkees were the most commercially successful of all the musical groups touted as
America's answer to the Beatles (Covach, 2015). At the height of their popularity, in 1967 the
Monkees sold more records than the Beatles and the Rolling Stones combined, so I would have
to count that as "... an effective response by the music industry to gain a piece of the pie..." ("The
Monkees - 1967 - The Top 25 Teen Idol Breakout Moments," n.d.).

"I'm a Believer", written by Neil Diamond, was the number 5 song for that year in Billboard's
Hot 100 ("The Hot 100 - 1967 Archive | Billboard Charts Archive," n.d.), and it shares many
production ideas with Beatles' songs, such as overdubbed hand-claps, tambourine, breaks with a
clean sounding Gretsch guitar arpeggio, and a repetitive chordal motif on the tonic chord
descending from the flat seventh ("The Monkees - I'm a Believer [official Music Video]," n.d.).
"Love Me Do" by the Beatles features a variation on this chordal motif, and just as in "I'm a
Believer", it is the instrumental "hook" ("The Beatles - Love Me Do ," n.d.). "Help!" features the
Gretsch guitar break idea. Obviously the Monkees were an attempt to capitalize on the Beatles'
success which, whether cynical or not, certainly succeeded.

References

Covach, J. (2015). TV Rock. In What's that sound?: An introduction to rock and its history - 4th
edition (p. 210). New York: W. W. Norton.

The Beatles - Love Me Do. (n.d.). Retrieved November 17, 2015, from
https://www.youtube.com/watch?v=ZXDgn4OTnjU

The Monkees - I'm a Believer [official music video]. (n.d.). Retrieved November 17, 2015, from
https://www.youtube.com/watch?v=XfuBREMXxts

The Monkees - 1967 - The Top 25 Teen Idol Breakout Moments. (n.d.). Retrieved November 17,
2015, from http://www.rollingstone.com/music/lists/the-top-25-teen-idol-breakout-moments-
20120511/the-monkees-1967-20120511

M5D3 This Week’s Top 5 Garage Bands

I want to focus my top 5 this week on garage bands. I have a fondness for these because I started
out playing in garage bands. My first guitar teacher was the leader of a very successful band
called Mouse and the Traps, whose first hit record, "A Public Execution" appeared on the
compilation album Nuggets, mentioned in our textbook (Deming, n.d.).
"Land Of 1000 Dances" 1965 Cannibal and the Headhunters actually covered this song, written
and first recorded by New Orleans R&B artist Chris Kenner (Dahl, n.d.). The trademark "Na na na 
nah's" first appeared on this version. It in turn was covered the next year by Wilson Pickett ("Land Of 
1000 Dances by Wilson Pickett with Lyrics," n.d.).

"Psychotic Reaction" 1965 The Count Five were one hit wonders from San Jose, California that,
chameleon-like, tried a number of stylistic changes, including surf music, and the British
invasion sound, before coming up with their rave-up proto-punk hit. Unfortunately, they never
were able to capture the raw fuzz-toned magic of "Psychotic Reaction" again (Eder, n.d.).

"Pushin' Too Hard" 1966 The Seeds were an L.A. garage band with a raw punk like energy and a
fondness for psychedelia. Although they came close with a couple of their other songs, they
never really had another hit like "Pushin' Too Hard"(Erlewine, n.d.). The insistent two chord
vamp with the galloping beat does in fact give the impression of pushing too hard.

"Dirty Water" 1966 The Standells' producer at Capitol records, wrote this hit song for the band
("Dirty Water by The Standells Songfacts," n.d.). With all its Boston references, it has become an
iconic song for Boston sports teams and is listed in the Rock and Roll Hall of Fame's "Songs
That Shaped Rock and Roll". Not everyone knows that Dick Dodd, the lead singer for the group,
was an original Mouseketeer on "The Mickey Mouse Club" TV show (Bailey, 2013). 

"Wooly Bully" 1965 Sam the Sham and the Pharaohs wore crazy pseudo-Egyptian garb and
mixed Mexican rhythms with crazy rock and roll beats in this party rock classic ("Wooly Bully by 
Sam the Sham & the Pharaohs Songfacts," n.d.). The group had five more hits after this, the
biggest of which was "Little Red Riding Hood" (Covach, 2015).

References

Bailey, M. J. (2013, December 2). Dick Dodd, 68; lead singer’s growl. Retrieved November 19,
2015, from https://www.bostonglobe.com/news/nation/2013/12/02/dick-dodd-lead-singer-growl-
turned-dirty-water-into-classic-song-for-boston-sports-
teams/Qk0vF5xR1nRtwuzb0Huo9L/story.html

Covach, J. (2015). Garage bands: No experience necessary. In What's that sound?: An

introduction to rock and its history - 4th edition (pp. 207-210). New York: W. W. Norton.

Dahl, B. (n.d.). Chris Kenner Biography. Retrieved November 19, 2015, from
http://www.allmusic.com/artist/chris-kenner-mn0000774956/songs

Deming, M. (n.d.). AllMusic Review. Retrieved November 18, 2015, from

http://www.allmusic.com/album/nuggets-original-artyfacts-from-the-first-psychedelic-era-1965-
1968-mw0000599845
Dirty Water by The Standells Songfacts. (n.d.). Retrieved November 19, 2015, from
http://www.songfacts.com/detail.php?id=18345

Eder, B. (n.d.). Artist Biography. Retrieved November 19, 2015, from

http://www.allmusic.com/artist/the-count-five-mn0000126998/biography

Erlewine, S. T. (n.d.). Artist Biography. Retrieved November 19, 2015, from

http://www.allmusic.com/artist/the-seeds-mn0000500664/biography

Land Of 1000 Dances by Wilson Pickett with Lyrics. (n.d.). Retrieved from
https://www.youtube.com/watch?v=7fa4BfPQiKs

Wooly Bully by Sam the Sham & the Pharaohs Songfacts. (n.d.). Retrieved November 19, 2015,
from http://www.songfacts.com/detail.php?id=4366

***REPLIES***

Kimberly, I see you mentioned "Louie Louie".  I well remember the controversy over this song's
suspected "foul language", due to its barely intelligible mangling of the lyrics (Covach, 2015). I
got a chuckle out of hearing it again today, because I thought I could still hear some of the dirty
stuff that my young pals and I had thought we heard when this was a current hit. What the singer
is trying to express is much more innocent than we thought in the '60s ("The True Lyrics to Louie
Louie," n.d.).

References

Covach, J. (2015). Garage bands: No experience necessary. In What's that sound?: An

introduction to rock and its history - 4th edition (pp. 207-210). New York: W. W. Norton.

The True Lyrics to Louie Louie. (n.d.). Retrieved November 18, 2015, from
https://www.youtube.com/watch?v=wx-8_GI4d2c

Sharon, I always enjoy reading your posts. You really do some digging, and I see you mentioned
the Turtles. Did you know that the Turtles (Mark Volman and Howard Kaylan), later known as
Flo & Eddie, joined Frank Zappa's band, the Mothers of Invention, and that later on they also
worked on music for the children's TV shows Strawberry Shortcake and the Care Bears
(Proefrock, n.d.).

References

Proefrock, S. (n.d.). Retrieved November 19, 2015, from http://www.allmusic.com/artist/flo-

eddie-mn0000155801/biography
M6D1 Motown vs. Southern Soul

I think there's little doubt that the Motown acts were more polished than their Stax
contemporaries. It's also important to note here that Aretha was not a Stax artist, but during the
period referenced here, had recently moved to Atlantic records. Her Atlantic records were
produced by Jerry Wexler at FAME studios in Muscle Shoals, Alabama ("Aretha Franklin -
Meeting Jerry Wexler," n.d.). There is still more commonality between the Stax sound and the
Muscle Shoals sound than either of them share with the Motown sound.
The Southern Soul arrangements are simpler with less ornamentation than the Motown
arrangements. It is to be expected that with more instrumentation comes the need for a more
structured arrangement.
As part of Berry Gordy's master plan, the Motown artists had a more "upscale" look and
presentation, with tuxedos and evening gowns the norm, as compared with the Southern Soul
dress, which, while still slick, was a bit more sporty or casual (Covach, 2015).
Motown arrangements almost always had more dense instrumentation. Most had multiple
guitars, multiple keyboards, vibes, drums, percussion (almost always a tambourine), background
vocals, horns, and strings ("I Hear A Symphony - Diana Ross and The Supremes," n.d.). Stax and
Muscle Shoals records usually only had one guitar part and seldom had strings, while horns were
integral to almost all '60s soul music ("Sam and Dave - Hold on I'm Coming," n.d.).
As to singing styles, Southern Soul had much more "church" and live performances
particularly highlighted that aspect of the music ("Aretha Franklin - Dr Feelgood
(Concertgebouw, Amsterdam 1968)," n.d.).
References

Aretha Franklin - Dr Feelgood (Concertgebouw, Amsterdam 1968). (n.d.). Retrieved November

25, 2015, from https://www.youtube.com/watch?v=JF9MC2V4CrM

B. (n.d.). Aretha Franklin - Meeting Jerry Wexler. Retrieved November 25, 2015, from
http://www.biography.com/people/aretha-franklin-9301157/videos/aretha-franklin-
meeting-jerry-wexler-14854723866

Covach, J. (2015). Motown Pop and Southern Soul. In What's that sound?: An introduction to
rock and its history - 4th edition (pp. 218-244). New York: W. W. Norton.
I Hear A Symphony - Diana Ross and The Supremes. (n.d.). Retrieved November 25, 2015, from
https://www.youtube.com/watch?v=u6UX1tCYVFo

Sam and Dave - Hold on I'm coming. (n.d.). Retrieved November 25, 2015, from
https://www.youtube.com/watch?v=AREppyQf5uw

M6D2 Black or White

"Selling out" is a term that is bandied about in the music business far too much, in my
opinion. It often has an air of sour grapes and speaks more to jealousy and envy of others'
financial success than to honest criticism. Certainly there were financial motives at work with
Berry Gordy's plans for Motown artists to reach across racial and class lines, but who is to say
that he (and the artists) did not take pride in their work and its presentation and perception?
While the Southern Soul sound exemplified by the Stax and Atlantic records is definitely
rootsier sounding than Motown productions, the players in both cases were both black and white
(Goodman, 2002) (Bowman, 1997). The singers in the south still showed more of their gospel and
blues roots, so in that respect Southern Soul was probably truer to black culture ("Aretha
Franklin - People Get Ready," n.d.).
Ultimately, I'd say the two styles under discussion are more alike than they are different.
It's all soul under the hood.
References
Aretha Franklin - People Get Ready. (n.d.). Retrieved November 25, 2015, from
https://www.youtube.com/watch?v=mvp_398-7Zw
Bowman, R. M. (1997). Soulsville, U.S.A.: The story of Stax Records. New York: Schirmer
Books.
Goodman, F. (2002, November 09). Music; The Players Behind The Motown Sound, Recognized
at Last. Retrieved from http://www.nytimes.com/2002/11/10/movies/music-the-players-
behind-the-motown-sound-recognized-at-last.html?pagewanted=all

***REPLIES***

Berry Gordy was able to see what it took to make records that appealed to millions of people -
black or white. You mentioned Berry Gordy being tired of seeing white artists cover black artists
and outselling them, but did you realize that he actually signed an all white band from Detroit
called Rare Earth and that their two biggest hits were covers of the Temptations' "I Know I'm
Losing You" and "Get Ready " (Hill, n.d.).

References
Hill, G. (n.d.). Artist biography. Retrieved November 25, 2015, from
http://www.allmusic.com/artist/rare-earth-mn0000339490/biography

Here's the Temptations' original version of "I Know I'm Losing You"
https://www.youtube.com/watch?v=LWr_F4Gg8sY
Here's the unedited Rare Earth version with all its psychedelic freak out jams intact.
https://www.youtube.com/watch?v=F28X8--2dFU
M6D3 This Week's Top 5

My Girl
The Temptations 1965 The iconic guitar riff that sets up this tune was played by Robert White.
He played with his thumbnail, creating a very distinctive tone. The other musicians at Motown
said of Robert that he was “the glue that held everything together” ("Standing in the Shadows of
Motown -- The Funk Brothers," n.d.). The Temptations were one of Motown’s most successful
groups and this is their first number one hit as well as one of their most enduring songs as
(Hogan, n.d.).

Soul Man
Sam and Dave 1967 Another great iconic guitar riff kicks off this number, this one played by
Steve Cropper, one of the mainstays of the Muscle Shoals rhythm section. The song was written
by Isaac Hayes and Dave Porter and it spent seven weeks at number one on the R&B chart in the
fall of 1967. The rhythm section’s variation on the Bo Diddley beat was Isaac Hayes’ idea
(Hogan, n.d.).

Respect
Aretha Franklin 1967 Here’s a cover of one black artist by another black artist, with the
difference being the gender of the singer. Another signature guitar riff from Steve Cropper starts
this one as well. Otis Redding released this on the Volt label in 1965. His version has a much less
funky beat, more of a straight eighth note rock feel ("Otis Redding - Respect 1965," n.d.).
Aretha Franklin scored a major hit with her version in 1967, spending eight weeks at number one
on the R&B charts (Hogan, n.d.).

I Got You (I Feel Good) James Brown 1965

Hot on the heels of “Papa’s Got a Brand New Bag” came “I Got You (I Feel Good)”, James
Brown’s greatest pop hit (Ruhlmann, n.d.). The brass arrangement features parts very similar to
“Papa’s Got a Brand New Bag”, and is part of the James Brown signature style. James Brown
was one of the most exciting live performers in soul and funk music, and was known as “the
hardest working man in show business” (Unterberger, n.d.).

Dancing in the Street 1964 Martha and the Vandellas

Motown songwriters Marvin Gaye, Ivy Jo Hunter, and William "Mickey" Stevenson penned this
dance classic. Marvin Gaye was one of Motown’s biggest stars and Ivy Jo Hunter was an
excellent musician who wrote his first song at age fifteen. (Hamilton, n.d.).Producer Mickey
Stevenson had first hired Martha Reeves, not as a singer, but as his secretary (Covach, 2015).

References

Covach, J. (2015). Motown Pop and Southern Soul. In What's that sound?: An introduction to
rock and its history - 4th edition (p. 223). New York: W. W. Norton.
Hamilton, A. (n.d.). Artist Biography. Retrieved November 26, 2015, from
http://www.allmusic.com/artist/ivy-jo-hunter-mn0000085425
Hogan, E. (n.d.). Song Review. Retrieved November 26, 2015, from
http://www.allmusic.com/song/my-girl-mt0035007524
Hogan, E. (n.d.). Song Review. Retrieved November 26, 2015, from
http://www.allmusic.com/song/respect-mt0004303910
Hogan, E. (n.d.). Song Review. Retrieved November 26, 2015, from
http://www.allmusic.com/song/soul-man-mt0006739298
Otis Redding - Respect 1965. (n.d.). Retrieved November 26, 2015, from
https://www.youtube.com/watch?v=fvlrLYumeSY
Ruhlmann, W. (n.d.). AllMusic Review. Retrieved November 26, 2015, from
http://www.allmusic.com/album/the-i-got-you-i-feel-good-mw0000740503
Standing in the Shadows of Motown -- The Funk Brothers. (n.d.). Retrieved November 26, 2015,
from http://www.standingintheshadowsofmotown.com/funksbio.htm
Unterberger, R. (n.d.). Artist Biography. Retrieved November 26, 2015, from
http://www.allmusic.com/artist/james-brown-mn0000128099/biography

M7D1 Psychedelic Flowerings

The biggest changes in rock music during this time all had freedom and experimentation at their
core. The time limitations that were physically imposed by the 45RPM phonograph record began
to be ignored in favor of extended jams both in live performances and captured on LP record
albums. Now eschewing time limitations on songs, artists began to experiment with changing
tempi and feels within a single piece. "If 6 was 9" by Jimi Hendrix is a great example of this.

Many groups began to use non-traditional sounds, such as tape loops, feedback and backwards
recording. Lyrics ranged further and further afield into veiled allusions to drugs and mystical
themes, as opposes to "June, moon, spoon" rhymes and themes of young love. Many new
sounds were explored, including lots more distorted electric guitar - often with lots of echo,
backwards recording, extreme panning , and other effects (Covach, 2015). Jimi Hendrix was the
foremost exponent of these tectonic shifts in the sounds produce by the electric guitar. Have a
listen to "Are You experienced" 

References

Covach, J. (2015). Chapter 7: Psychedelia. In What's that sound?: An introduction to rock and its
history - 4th edition (pp. 263-277). New York: W. W. Norton.

M7D2 This Week’s Top 5 - Psychedelia

“Strawberry Fields Forever” 1967 The Beatles - The flute sound on the introduction was played
on a Mellotron, which was a predecessor to a modern digital sampling instruments - a kind of
analog sampler if you will. Each key engaged a separate tape loop of a flute (in this case - other
instruments could be loaded) playing the particular note assigned to that key. John Lennon liked
the first part of one version the Beatles had recorded in the key of A major, and he liked the
second part of a different version done in B flat major. He left it to producer George Martin to
edit them together. Martin made a mix of the first section and gradually sped up the tape until it
was almost a half step higher in pitch and spliced it to a mix of the second half of the second
version which had been slowed down to approximately the same pitch - so there is a sort of
continuous modulation taking place, ending somewhere "north" of B flat ("Strawberry Fields
Forever," n.d.)!
“Are You Experienced” 1967 Jimi Hendrix - Many have interpreted this song as referring to drug
use - particularly LSD - but Hendrix says it was "not necessarily about drugs, but about being at
peace with yourself ("Are You Experienced?" n.d.). The backwards sounds are produced by
reversing the reels of tape on the multitrack machine and recording sounds, so that when the tape
playback is returned to normal the sounds are heard in reverse. Drums and some guitar and bass
parts, including the solo, were done this way, and then vocals and other guitars recorded
normally, as can be heard when listening to the final mix played backward ("Jimi Hendrix: Are
You Experienced? - BACKWARDS," n.d.).

“If 6 Was 9” 1967 Jimi Hendrix - This concluded side one of Hendrix’ second album Axis: Bold
as Love. The extended jam in the middle and at the end features random wailing on a soprano
recorder as well as guitar feedback effects. The contrasting verses of the song proper are
presented as rock poetry with a jazzy hi-hat figure played by drummer Mitch Mitchell.

“Sunshine Superman” 1966 Donovan - This was Donovan’s first number one American hit. The
harpsichord riff is an unusual touch on a tune that follows a twelve-bar blues form (doubled).
The recurring electric guitar figure and the bluesy licks in the middle are played by none other
than Jimmy Page, a session musician at the time, who played with the Yardbirds and later went
on to form Led Zeppelin (Unterberger, n.d.).

“She’s a Rainbow” The Beatles album Sgt. Pepper’s Lonely Hearts Club Band undeniably
influenced the Rolling Stones in the making of their album Their Satanic Majesties Request and
the orchestral instruments and pseudo- classical piano motif in this song show that clearly
(Covach, 2015). The string arrangement on this was written by session musician John Paul Jones,
who later formed Led Zeppelin with Jimmy Page ("She's a Rainbow," n.d.).

References

Are you experienced? (n.d.). Retrieved December 3, 2015, from

http://www.songfacts.com/detail.php?id=3019

Covach, J. (2015). Chapter 7: Psychedelia. In What's that sound?: An introduction to rock and its
history - 4th edition (pp. 263-277). New York: W. W. Norton.

If 6 Was 9. (n.d.). Retrieved December 2, 2015, from https://www.youtube.com/watch?

v=gvty_g275eQ

Jimi Hendrix: Are You Experienced? - BACKWARDS. (n.d.). Retrieved December 3, 2015, from
https://www.youtube.com/watch?v=cDB3S8MQo-k

She's a Rainbow. (n.d.). Retrieved December 2, 2015, from

http://timeisonourside.com/SOShesARain.html
Strawberry fields forever. (n.d.). Retrieved December 3, 2015, from
http://www.songfacts.com/detail.php?id=116

Unterberger, R. (n.d.). Song review by Richie Unterberger. Retrieved December 2, 2015, from
http://www.allmusic.com/song/sunshine-superman-mt0034670784

M8D1 The Hippie Aesthetic

Even groups as seemingly disparate as the Eagles, Yes, Kansas, Jethro Tull, and Led Zeppelin
share some important common elements -- what Covach calls "the hippie aesthetic" (Covach,
2015). One aspect of this common thread is the idea that the rock musician is a serious artist,
producing serious music meant for repeated listening. Virtuosity in instrumental performance
skills took on great importance, as is evident in Frank Zappa's "Apostrophe", with its extended
jam with Frank's guitar and Jack Bruce's bass ("Apostrophe'," n.d.).

This common thread has its roots in psychedelia, particularly the extended pieces with sections
in different feels and dynamics, such as Deep Purple's "Child in Time" ("Deep Purple - Child in
Time ," n.d.), and Jethro Tull's "Locomotive Breath" ("Jethro Tull - Locomotive Breath (Lyrics),"
n.d.). Dramatic, even pompous, performance styles were the norm for many acts.

Lyrics were meant to be taken seriously, as was the extended virtuosic instrumental playing -
nothing like the three minute pop tunes of the earlier '60s artists.

References

Apostrophe' (n.d.). Retrieved December 6, 2015, from https://www.youtube.com/watch?

v=3DhWa1YyL5A&list=PL8WvZFiJpAr29HFJkRcE4NvWCeYy3ytte&index=7

Covach, J. (2015). The growing rock monster. In What's that sound?: An introduction to rock
and its history - 4th edition (pp. 294-303). New York: W. W. Norton.

Deep Purple - Child in time. (n.d.). Retrieved December 6, 2015, from

http://youtu.be/OorZcOzNcgE

Jethro Tull - Locomotive Breath (Lyrics). (n.d.). Retrieved December 6, 2015, from
https://www.youtube.com/watch?v=bNCT6pA5I9A&feature=youtu.be

M8D2 This Week's Top 5

Stairway to Heaven 1971 Led Zeppelin

“Stairway to Heaven” has the distinction of being one of the most-played songs on American
FM radio – and has also sold more than a million copies of sheet music. At just over eight
minutes long it was perfect for FM radio’s emerging “Album Oriented Rock”, or AOR format.
There have been quite a few covers of this song, including one by Dolly Parton, of which Robert
Plant is quite fond ("Stairway to Heaven," n.d.).

Kashmir 1975 Led Zeppelin

This song is the centerpiece of the double album Physical Grafitti. An ascending chromatic line
with four measures of three beats over a D pedal tone plays against an insistent drum beat of
three measures of four beats for the foundation of the tune. The middle eastern influence is quite
apparent in the orchestration (Janovitz, n.d.).

Too High 1973 Stevie Wonder

“Too High”, like all of the rest of Stevie’s “Innervisions” album, was written, arranged and
performed entirely by Stevie Wonder. The track has a jazz fusion vibe, with Rhodes electric
piano and harmonized “scat singing” background vocals embellishing a lyric about drug abuse.
Stevie seldom wrote songs with this subject matter ("Too High by Stevie Wonder Songfacts,"
n.d.).

Iron Man 1972 Black Sabbath

Contrary to popular belief, the song was not written about the Marvel Comics character, although
it has become associated with it in years since (David, n.d.). The heavy unison guitar and bass
riffs are the very essence of early heavy metal. “Iron Man” won a Grammy for Best Metal
Performance in 2000 -- more than 25 years after its initial release. ("Song Review by Joe
Viglione," n.d.)

Free Bird 1973 Lynyrd Skynyrd

"Free Bird" was written as a tribute to Duane Allman of the Allman Brothers Band, who had died
in a motorcycle crash in 1971. It has become Lynyrd Skynyrd's most well-known song, much as
"Stairway to Heaven" has for Led Zeppelin. After a plane crash killed three of Lynyrd Skynyrd's
original band members in 1977, the opening lyrics, "If I should leave here tomorrow, will you
still remember me," took on added significance (Sullivan, n.d.)

References

David, P. (n.d.). Iron Man (novelization). Retrieved December 9, 2015, from http://marvel-
movies.wikia.com/wiki/Iron_Man_(novelization)

Janovitz, B. (n.d.). Song review by Bill Janovitz. Retrieved December 8, 2015, from
http://www.allmusic.com/song/kashmir-mt0036388973

Song Review by Joe Viglione. (n.d.). Retrieved December 8, 2015, from

http://www.allmusic.com/song/iron-man-mt0031818456
Stairway to heaven. (n.d.). Retrieved December 8, 2015, from
http://www.songfacts.com/detail.php?id=328

Sullivan, D. (n.d.). Song review. Retrieved December 9, 2015, from

http://www.allmusic.com/song/free-bird-mt0004640041

Too High by Stevie Wonder Songfacts. (n.d.). Retrieved December 8, 2015, from
http://www.songfacts.com/detail.php?id=20156