Ê


For America the early sixties was a time of relative calm before the storm. The country was still µthreatened¶ by
the possible repercussions of the Cold War. And, while it never happened, the threat of a nuclear confrontation
with Russia and their allies, in close to home Fidel Castro led Cuba, were clearly on everyone¶s mind in
America. The other conflict that was to draw America¶s attention was just getting in started in Vietnam.
However, these were possible problems rather than ones that were clearly manifested in the everyday lives of
the typical American.

To a large degree the prosperity that had started in the fifties continued in the beginning of the sixties. This
prosperity is also connected to the arrival of a new youth. The soldiers returning home from World War Two
created a baby boom. These babies were becoming teenagers in the sixties with disposable income due to a
strong economy. The youth had more money to spend on clothes,
 
, and other interests.

The sixties also witnessed other developments, including: the 


, the exploration

of the ocean, the identification of the greenhouse problem, the construction of the Berlin Wall, and the birth of
the internet. In addition, there was a contradiction in the establishment of the Peace Corps abroad while race
riots started heating up at home in America.

As the sixties began to unfold several issues were to change the mood and direction of the country and its youth.
These include: the
  

, the war in Vietnam, and feminism. One of the aspects that greatly
affected how America was to respond to these issues was the use of   . It is hard for us to imagine, as we
have so many channels from which to choose, but in the 1960s there were three main T.V. stations and
everything that happened in the world was covered on those stations. America was a captive audience. What
they watched was limited to what those stations broadcast. The presidency was more visually reinforced
(including the assassination), the brutality against blacks and students protesting was captured, and the Vietnam
conflict was brought into focus. And, America reacted to these and other contemporary issues strongly.

  ± although there is a more general application, in the U.S. civil rights refers to those rights of
minorities in general and blacks specifically. The search for equality led many musicians to write songs
calling for that equality or rebelling (often through metaphor) against the lack of equality.

The civil rights movement had been going on throughout the 1950s, but during the sixties it gained more support
from   
and a clear leader in Dr. Martin Luther King Jr. And, while the civil rights act was signed in
1964 it would take a long time before equality was to be enforced. During this time, Dr. King, who supported a
nonviolent resolution to the problem, was assassinated and the rise of a militant group called the  

  was to bring the black agenda to the streets. The effect of the civil rights movement was to have a
dramatic effect on the music and the other arts throughout the 1960s and continue on with various artists to the
present day.

  
  ± the Black Panthers was a group that supported (initially) resistance to the white
majority in the interest of accomplishing the needs of the Civil Rights movement more directly and quickly.

The war in Vietnam created a huge backlash in the colleges around the nation even prior to the draft being
invoked. What started out as a military conflict being supported by America, turned out to be a manifestation of
the Cold War, with U.S. led forces on one side and communist led forces on the other. In addition to many
Americans not agreeing with the reasons for being there in the first place, there were many upset with the use of
chemical agents in the war, and near the end of the sixties many were rebelling against µthe draft¶ which forced
many to enter military service against their will. The Vietnam War would produce fuel for writers in the music
industry well into the seventies.

c
The aspect of women¶s rights had been evolving throughout the first half of the 20th century. However, in 1963
it took a different direction with the publication of Betty Friedan¶s book The Mystique of Feminism and later
her leadership in developing The National Organization of Women (NOW). Women¶s liberation was defined in
many different ways, not all of which were unilaterally supported by all women. One of the significant results of
this movement was that women were exploring various freedoms, including sexual freedoms. This was further
supported by the legalization of birth control (µthe pill¶) and the ability to obtain a divorce easily. These
freedoms manifested themselves in miniskirts, loose or see-through blouses, and an overall change in attitude
that culminated in the famous phrase ³Make Love Not War´. Many of the rights that women sought were not
that different in nature than those within the civil rights movement.

Among the aspects that all of these issues had in common was rebellion against     
. This
rebellion began in a nonviolent manner and then escalated as the peaceful rebellions were aggressively dealt
with by police and National Guard units and as some started to believe that peaceful methods were not working.

    
 ± the Establishment refers to µthose that are in control¶. The term is used usually as a
pejorative by the counterculture within a society to criticize those that are making decisions that are seen as
not benefiting the society. Other similar names are ³The Man´ and ³Big Brother´ (from Orwell¶s 1984).

Among the early peaceful movements were the  
 

 of the early sixties. This movement began on
college campuses and then moved into the streets and ultimately paved the way for a
 
  that
produced the New Left, a focus on the Civil Rights Movement, and the hippies, the  and the  
  



.

 ± Youth International Party were nicknamed yippies and viewed by some as hippies with an
attitude. They used theater and other media to actively demonstrate against the Establishment.

 
The rock and roll of the fifties took the establishment by surprise. In an effort to clean it up several
factions of America, religious and secular leaders, the government, and the major recording labels offered up a
cleaned up version of rock that dominated the early sixties. For a brief time in the fifties the musicians and
independent labels were able to assert themselves, writing and recording original music and retaining basic
artistic control over their material. By the early sixties the heavy beat was gone and mostly white musicians
were singing     rather than the suggestive songs of the fifties. Control returned to the major labels. For
the most part, the format returned to song writers, performers and producers all being different people. Artistic
control had been resumed by the major labels.

 
One of the T.V. shows that was to assist in this cleaner look and sound was American Bandstand, which
played after school during the week. Hosted by Dick Clark these show¶s songs and looks were created that, for a
time, were emulated by American youth. It was an example for them to follow as to what was µcool¶.

 
There was also a strong movement on the west coast of surf music. Among the popular of the surf groups
in the early sixties was the  
 

 
In addition to the male acts of the early sixties, several female performers became popular (Brenda Lee
"I¶m Sorry", Leslie Gore "It¶s My Party", Connie Francis "Everybody¶s Somebody¶s Fool"). But, it was the µgirl
groups¶ from the sixties that were really the dominant female representation (Crystals "Da Doo Ron Ron", The
Shirelles "Will You Still Love Me Tomorrow", The Shangrilas "Leader of the Pack", and many others)
However, many of these groups were only paid a set fee for their recordings and performances with the writers
and producers retaining most of the financial rewards.

 
Although not referred to as Tin Pan Alley any longer, the production at the Brill Building was a modern
day version of that formula. Among the writing teams that were dominant in the late 50¶s and early sixties were
Lieber/Stoller ("Hound Dog", "Yakety Yak", "Stand By Me"), Goffin/King ("Go Away Little Girl", "Loco-

r
motion"), Bacharach/David ("Raindrops Keep Fallin' on My Head", "I'll Never Fall in Love Again"), among
others.

 
Another strong influence of the early sixties musically was Phil Spector, songwriter and producer. His
! Ê. µWall of Sound¶.   " #$%% 

%
&'("
)* !+,-
 '  - 
'

    "! . /" 0/1  /"2 3 , Fabian, were all prominent in the early
sixties with a combined 39 top 40 hits between them. /  /4
  was the principal black
popular performer, with his dance crazes such as the µtwist¶. 
 "/5   3/ All of
these put forward a squeaky clean µacceptable¶ look and lyric.

 
 Like the Beatles the Beach Boys projected a youthful clean µacceptable¶ look and sound. Unlike the
Beatles, the Beach Boys retained this sense of innocence and acceptability even into their more experimental
songs. The Beach Boys continue the close harmony singing from the barbershop - gospel - Doo-wop tradition
with its most recent reflection in the music of the Four Freshman.

 
 Probably the biggest musical influence that the Beach Boys had was in the creation of the album
ë
. It is in this album that Brian Wilson allows his creative genius to really explore its depths. It takes
significant advantage of many technical advances in music including that of the
 "

 . This
allowed artists to record tracks separately and layer them  "
6, them as they went. The album is 


 
(one that many refer to as the first and most influential). The Beatles¶ 3
 was the inspiration of
the album and ë
, according to Paul McCartney, was not only his favorite album, but was also the
inspiration for 
ë 
  

 .1

# "

 ± multi-track recording allows the possibility of several tracks to be recorded either
simultaneously or at different times. Prior to this each recording needed to be made with all players playing
at the same time (often in the same room) with the µmix¶ being created by placement or by someone at a
mixing board mixing in real time (like mixing a live band at a concert). With multi-track recording the µmix¶
can be done at a later time and it can be µexperimented¶ with until the right mix is achieved. Click here to
see an example.

#6 ± the mix generally refers to how much of what is present will be heard by the listener. In the studio,
the mixing engineer controls the relative volume, placement, and effects of each instrument/voice that is
heard. In Rap this is more of a live mixing experience with much talent and creativity required to maintain
the mix. Another use of the term mix is the mixing of various tracks and styles to create an overall
experience (usually within a club, party, or other larger venue).


3 
± a concept album is a record that uses a central idea as part of the overall design. The
design may take many forms ± a story, songs that have similar themes, or some other overall plan.

5  3 


Title: 71 Artist:  
 Year ± 2004
Style: Surf Rock Psychedelic Rock
Instrumentation: Electric Guitar, Cello, Electric Bass, Organ, Tambourine, Drums Electric piano, Shaker,
Harmonica, Synthesizer, and Theremin
Form: clearly delineated sections but highly unusual
Texture: polyphonic with imitation Tonality: Major with key changes
Other notes:
¬‘ There is an extensive use of vocal harmonies one which suggests African influence
¬‘ Multi-track recording used extensively 17 recording sessions at 4 different studios using 90 hours of tape
¬‘ One of the most critically acclaimed song of all time.

‰
Phil Specter¶s Wall of Sound (Wikipedia) involves writing for a large number of instruments and then having
the ensemble all perform together at the same time. The sound was transferred to an echo chamber where it
reflected off of the walls and then was recorded onto tape. The result was a thick tapestry of sound that the
listener could immerse themselves within. This was particularly successful in the mono recording environment
that was still prevalent at the time.

Stereo was slowly being incorporated into more recordings throughout the 1960s. This was further fueled by FM
radio turning to broadcasts in stereo as well. In the late 60s FM would turn to 3. (Album Oriented Radio or
Album Oriented Rock) in an effort to address the restriction made by the FCC which did not allow stations to
program the same material on 2# as they did on 3#, FM stations started programming album cuts that were
not 'popular' enough to make it on AM. This created a whole new way for music to be developed and consumed.

3. ± album oriented rock (radio) was an FM radio format that predominantly played cuts from a Rock
album, as opposed to just the most popular songs.

2# ± frequency modulation is the later radio format. Initially this format broadcast in mono, but later
developments made it possible to broadcast in stereo as well. (also see AM)

3# ± amplitude modulation was the first type of radio that dominated the airwaves. However, while it has
the capabilities of stereo broadcasts, there are few stations that have adopted that format leaving it mostly to
the FM stations.



The space race heats up with Americans taking the lead by the end of the decade with a lunar
landing. For many within America this reinforces the sense of American dominance in the world. It also leads to
many musicians creating music with more futuristic themes, including Pink Floyd¶s d 
 

and David Bowies alter ego 




   Television was a very influential medium in the 1960¶s. Some of the shows took on aspects of social
issues in direct and indirect ways. For instance, Gene Roddenberry¶s Star Trek embraced a world of ethnic
equality and dealt with things like the futility of war, gender roles, racism, and social inequality. The first
interracial kiss was on an episode of Star Trek.

ñ
  There was a great amount of white support, particularly in the institutions of the time including:
The Student Nonviolent Coordinating Committee (founded at Raleigh¶s Shaw University in 1960) and Students
for a Democratic Society (founded in Ann Arbor in 1962)

 

 The voice of folk music in the sixties was Bob Dylan. In order to get a clearer understanding of
the folk music of the sixties it is beneficial to look at its immediate predecessors.

 

 The man that was to influence Dylan¶s exploration of folk music was !7 8 
5 59. Woody Guthrie was not a skilled musician, nor did he have a great voice. But he did live a
life that was true to his beliefs. He traveled throughout the country gathering ideas and singing simple songs that
reflected the lives and plights of the common working man. His fight against political and social injustice
influenced many that followed.

 

 Among those that were influenced was   Ê  8! Ê . 
9. Seeger traveled
and sang with Guthrie early in his career. Later he formed the Weavers. While Guthrie was not interested in the
commercial nature of what he was doing Seeger embraced commercialism and with The Weavers¶³7
:  ´ climbed to #1. The Weavers also sang international material which was viewed as subversive by the
House Un-American Activities Committee as being communist sympathizers. After McCarthyism, the Weavers
did make a comeback in the late 50¶s.

[

 

 Bob Dylan was born Robert Zimmerman changing his name to Bob Dylan (by some accounts
because he was inspired by Dylan Thomas¶ poetry). Dylan¶s earliest influences were from the early years of
rock: Bill Haley, Little Richard, Muddy Waters, Elvis, and Buddy Holly. In college he was inspired by Guthrie¶s
autobiography Bound for Glory which caused him to leave school to seek him out. Dylan found Guthrie in a
hospital in New Jersey. This led him out of Minnesota and into New York¶s Greenwich Village and the
bohemian influences dominant at that time.

 

 Although the 1st album was unsuccessful, his second was more insightful and sociopolitical and
included: Blowin in the Wind (first made popular by   0 #). ³Dylan uses the poetic devises of
allusion, symbol, metaphor, and imagery within an abstract framework of questions about issues of war and
peace, justice and injustice. The answers to these questions are µblowin in the wind¶.´ 1

; / : !/

Dylan¶s early 2 

 career was dominated by his civil rights and activist songs. He participated in activist
rallies with Joan Baez including the March on Washington, which is when Martin Luther King, Jr. gave his
famous speech "I have a dream". His fan base came to expect this from him and was shocked when he went


at the Newport Folk Festival in 1965. They felt he had sold out. However, many point to his early
interest in the rock and roll from the fifties, as well as his recent association with the Beatles as the inspiration.
His influence was more thought provoking lyrics and theirs was the energy of rock and roll. It has also been
suggested that at least through the 60¶s Dylan had a clear sense of the music market and made conscious
changes in his direction to adapt to it. In 1969 he turned to Country Rock with his album  
  again
some of his fans felt he had sold out, it was a commercial success and added country fans to his base.

2 
4 Folk Rock blends aspects of Folk music with the drive and energy of Rock In some cases it
remains fairly acoustic In others, it features a more electric approach.



7 - the first electric guitars were nothing more than acoustic guitars that were amplified by
placing pickups next to the strings. It was favored by Jazz and Blues players. The next development was the
solid body guitar favored by Rock guitar players. B.B. King & carlos santana and eric clapton crossroads
blues fest- jingo

The influence of Dylan is immense. He remains near the top of everyone¶s list as someone who was not only
influential in the sixties but that continued to be successful throughout the rest of the century and into the next.

Musically, his influence was most captured in the


  movement that combined with that of the rock
movement to produce Psychedelic Rock. But, another direction that was greatly influenced by those inspired by
Dylan was the development of 
 and Ê 
.

5  3 


Title:  
 3 " Artist: ;  Year: 1964
Style: Folk Rock Instrumentation: Acoustic Guitar and Harmonica
Form: irregular meter in a verse based form Texture: Homophonic
Tonality: Major
Other notes: Like most of Dylan¶s songs the music is support for the lyrics which are the substance.

 

 The most direct influence of Dylan would be that of the Byrds, a group that took the look and sound
of the Beatles and combined it with the social consciousness of Dylan to produce the beginnings of Psychedelic
Rock and later Country Rock. One of their first hits was "Mr. Tambourine Man", a song penned by Bob Dylan.
If "Mr. Tambourine Man" was to suggest the psychedelic movement, "Eight Miles High" would go on to
confirm it. *;Ê/
 /

5  3 


Ñ
Title: 5 3 Ê Artist: ;  Year: 1967
Style: Folk Rock
Instrumentation: Electric Guitars, Bass, Organ, Tambourine, Piano, Drums and Harmonica
Form: simple verse chorus structure with an even simpler harmonic progression
Texture: mostly homophonic with moments of polyphony
Tonality: Major blues
Other notes:
¬‘ Everything reinforces the lyrics through being less important. The harmonic progression, roles of each
instrument and even the melody all take a back seat.
¬‘ According to Billboard Magazine this is the most important song of Rock music.

5  3 

Title$# * Artist:   Year: 1966
Style: Psychedelic Folk Rock
Instrumentation: Drums, Electric Guitars, and Electric Bass
Form: simple harmonic progression, but not typical which adds to its psychedelic quality
Texture: mostly homophonic Tonality: minor with hints of major
¬‘ Other notes: The group maintains that it is about a plane trip to England and not a reference to
getting high
¬‘ Although the Byrds were clearly influenced by Bob Dylan, there are clear nods to the Beatles in the vocal
harmony and its importance as a trademark of the song.


 as it suggests is a merging of Country and Rock & Roll. From the developments of the Byrds
after their Folk Rock and Psychedelic Rock years, many others joined this more earthy version of Rock & Roll,
including: The Band 8 " < ; . ;6 ;81  99, Creedance
Clearwater Revival 8


 90 and later The Eagles  "/ : 5
", and The
Marshall Tucker Band /2 . #/ and others1


 ± Country Rock takes aspects of Country and Folk music and melds them with that of Rock.
(also see Southern Rock)

5  3 


Title: #  Artist:   
    Year: 1969
Style: Folk Rock
Instrumentation: Drums, Electric Guitar, Acoustic Guitar, and Electric Bass
Form: harmonic progression is fairly simple ± the majority of the song is based on three chords I, IV, and V
reinforced by the country influenced bass line
Texture: polyphony is created by the Bluegrass inspired riffs that compete nicely with the vocal to give it
interest
Tonality: Major (almost blues)
Other notes:
¬‘ One of Creedence Clearwater¶s signatures is the dominant slap-back echo on the vocal.
¬‘ The song has been covered by other artists and used in films and T.V. shows including an episode of the
Simpsons - Marge asks Homer to do CPR (CCR)

5  3 


Title: *   Artist:   Year ± 1977 Style: Country Rock (AOR)
Instrumentation: Multiple guitars (one of which is a twelve string guitar), Bass, Drums Varying styles of guitar
playing as well as aspects of tone color that make each distinctive and therefore easily discernible
Form: The form has a fairly simple progression, but the innovations within the sections make it stand out
Texture: Mostly polyphonic Tonality: Mostly minor with touches of major in the chorus
Other notes:

m
 ¬‘ There are several guitar solos and even an excellent example of a guitar duet at the end of the song
¬‘ Several riffs are used as answer to vocal lines
¬‘ Interesting thoughts about the lyrics
http://en.wikipedia.org/wiki/Hotel_California_%28song%29#Lyrics_Interpretation
http://www.snopes.com/music/songs/hotel.asp

Some do not make distinctions between Country Rock and Ê 
. One offered distinction is simply
that Southern Rock is Country Rock played by southerners. If this is the case, then all Southern Rock would be
Country Rock as well. Some artists and groups are identified as both. Allman Brothers 38 special (=(Ê
 "
* .5 $5 1  ), Lynyrd Skynyrd 5Ê"/Ê *
3 
/0 and others.1

Ê 
 - for some Southern Rock and Country Rock are interchangeable. However, the distinction
made by some is that while Country Rock is not relegated to the South, Southern Rock is. Southern Rock is
clearly strongly influenced by its Country roots and so may be considered a sub-genre of Country Rock.
Lynyrd Skynyrd - 2 (SUBERB VIDEO)

5  3 


Title$ ;  ! ;7  Artist:   ;  Year: 1979
Style: Southern Rock
Instrumentation: Drums, Electric Guitars, Electric Bass, and two fiddles
Form: The sections are fairly clearly defined. There is a blues influence but it is not dominant.
Texture: There is a strong Bluegrass influence which drives the polyphony
Tonality: mostly in minor except during the ³Johnny´ chorus which turns to major
Other notes:
¬‘ Note the harmony in the vocal
¬‘ Note the electrified dueling fiddles as they create the dissonant section that represents the devil

A
 
  is one that is in opposition to that of the mainstream or established society. A good example
of this is the bohemian lifestyles of 19th century Europe. Greenwich Village in New York is a place that
resonates with that bohemian lifestyle. It is from this environment that Bob Dylan was to begin his career.

 
  ± a counterculture is any subculture that is in stark contrast to the dominant culture within
which it resides. The best example that relates to Rock is that of the 1960s counterculture found in
Greenwich Village and San Francisco. (also see Beat Generation)

During the sixties there were three aspects to the counterculture:  < 5 , The Civil Rights Movement,
and   .

The < 5  was mostly an outgrowth of the students in colleges in the sixties, although there were supporters
that also were outside of the college environment as well. These activists were interested in addressing social
issues as injustices. One of the main proponents of The New Left was Students for a Democratic Society. The
Port Huron Statement was one that suggested nonviolent civil disobedience in order to bring attention to issues
that were seen to be problems within society. Although SDS embraced issues of civil rights and freedom of
speech, the anti-war demonstrations became the most focused aspect of their agenda.

 < 5 4 The New Left focused more on the broader social issues as opposed to just those of labor.
In the 1960s the main impetus of this movement was from the college campuses.

 

 On the west coast the counterculture evolved from the 1950s beatniks and bohemian lifestyles to the
1960s hippies fueled by the proliferation of drugs, open sexuality and the desire to resist the dominant culture.
The dominant culture was represented by phrases like "The Man", "The Establishment" and "Big Brother". The
last being a reference to George Orwell¶s novel 1984 that suggested that in the near future the government
would be watching every move you make.
U
There desire was to peacefully drop out of society taking to heart Timothy Leary¶s (Harvard professor who was
fired from Harvard for his nonconformist views on society and drugs) "Turn on, tune in and drop out". The idea
to turn on (usually through the use of 5Ê;) to a heightened sense of awareness, tune in to those around you, and
drop out of a conformist attitude and seek your own path. This phrase by the general culture was thought to
mean get high, experience the moment and drop out of society.

Several aspects of the  movement are characterized in "The Human Be-in", "happenings" and the
"Summer of Love". All of these were meant to be peaceful examples of a new society, one based on love,
humanity and the search for something better (in non-materialistic way). Some hippies went into more
communal living, in some cases on farms, living from the land. The idea was that everyone would benefit from
the efforts of the group.

* ± primarily associated with San Francisco and the Haight-Ashbury area, hippies were the physical
manifestation of the 1960s counterculture Peace, Love, and a focus away from materialism were parts of
their credo.

The "Summer of Love" is a term used to describe the summer of 1967. It was the beginning of a movement that
would begin in 1967 end in 1969. The bookends were The Monterey Pop Festival and Woodstock. The
Monterey Pop Festival was held in Monterey, California on June 16-18 and featured The Who, Jimmi Hendrix,
Janis Joplin >? ? "
.#* 8  7 
@9A0Jefferson Airplane 8?   
3  "Ê
  90The Grateful Dead and many others1 all who played for free (with the exception
of Indian sitar performer Ravi Shankar) with all proceeds going to charity. Wood stock was held in Bethel, New
York August 15-17 and featured Santana, Joan Baez, Sly& The Family Stone >Ê5-*23#:5Ê.<
48B@C)9A0 Crosby, Still, Nash and Young, and many others.2 Among other social activist songs
were ones directed at the Vietnam War including Richie Havens "Handsome Johnny" and Country Joe and the
Fish "I-Feel-Like-I'm-Fixin'-To-Die Rag" >? #
; ":2 5 8! 
B@@9A, and Jimi
Hendrix "Star Spangled Banner" 8?
* 6"ÊÊ  "! 
@9 The event was
planned for 200,000. 500,000 showed, many who did not pay to get in. Three deaths were reported and two
births. In interviews within Time Life¶s History of Rock N¶ Roll Series Crosby stated that "we got Civil Rights,
love better than hate, peace better than war right. We were wrong about drugs" and Joni Mitchell said, "we were
wrong about free sex".3Jeffrey Peisch, The History of Rock N¶ Roll. Burbank, CA, Time-Life Video &
Television / Warner Brothers Entertainment 2004, c1995

Some mark the end of an era with the deaths of Janis Joplin (1970), Jimmi Hendrix (1970), Jim Morrison
(1971), and Brian Jones (1969) all from drug related incidents.

5  3 


Title: :2 :D
26;  Artist: ?  2  Year: 1967
Style: Folk Rock
Instrumentation: Electric Guitar, Bass, Organ, Drums and Kazoo
Form: a simple verse chorus structure Texture: mostly homophonic
Tonality: Major
Other notes:
¬‘ The meaning is very obvious
¬‘ Note the use of war sounds at the end
¬‘ The beginning of the song was a little different in the Woodstock version

5  3 

Title: * 
? Artist: 
 *   Year ± 1965 Style: Folk
Instrumentation: Acoustic Guitar Form: simple verse chorus structure
Texture: homophony Tonality: Minor
Other notes:
¬‘ The song has influence from country ± particularly the bass line (played on guitar)
A
¬‘ A retrospect of soldiers in different wars. What is he trying to say about them? What do you think about his
references to the other wars?

5  3 


Title: ÊÊ   Artist: ?
* 6 Year: 1969 (live recording from Woodstock)
Style: Psychedelic Rock
Instrumentation: Electric Guitar, Drums
Form: open ended but roughly follows the correct melody
Texture: in some respects polyphonic Tonality: Major
Other notes:
¬‘ Jimi Hendrix uses a lot of playing techniques and audio effects to create this tour de force including wah-
wah, distortion, and feedback
¬‘ Note the use of sounds that represent the war, ambulance, bombs dropping, machine gun fire and even a
quote of the bugle song taps
¬‘ Why do you think he represented it in this manner?

X

An outgrowth of the hippie movement was the  movement. The Youth International Party took the
ideals of the hippie movement to the streets in theatrical demonstrations, the most famous of which was at the
1968 Democratic National Convention, where the main proponents were arrested for inciting a riot.

 
   The psychedelic movement was also unintentionally fueled by the government. The CIA
had been experimenting with many drugs in the hopes of finding a truth serum. They were also concerned that
others (such as the Soviet Union) might use them in warfare. So they began experimenting with subjects (both
wittingly and unwittingly) in a project called MKULTRA. It was during these tests that Ken Kesey while a
student at Stanford began further exploring 5Ê; and conducting his own µacid tests¶. These evolved into what
would become the psychedelic scene in San Francisco.

The psychedelic movement was inspired by replicating the effects of mind-altering drugs within the music. This
took several directions depending on the area of influence. The most dominant was that of the counterculture in
Ê2

, but others were represented by the Doors "Light My Fire" 8 ; "!  # 
 
. 9, The Beach Boys "Good Vibrations", and British bands: The Beatles "Day Tripper", "Paperback Writer",
and all of Sgt. Pepper¶s Lonely Heart Club Band, The Rolling Stones "In another Land", and the Jimmy Hendrix
Experience all of which utilized psychedelic musical effects and subject matter within their songs. The influence
of Indian music specifically the  was also popular with many psychedelic bands, The Beatles "Within You,
Without You", The Rolling Stones "Paint It Black".

Ê - the sitar is an Indian stringed instrument. Its popularity in Rock music is associated with the 1960s
psychedelic movement.
Raga Charukeshi, Gaurav Mazumdar, sitar, Broto Roy, tabla

5  3 

Title: 5#2  Artist:  ; Year: 1967 Style: Psychedelic Rock
Instrumentation: Electric Guitar, Bass, Organ, and Drums
Form: Very simple harmonic progression mostly revolving around two chords. This creates an almost hypnotic
or trance like effect
Texture: mostly homophonic except during the organ and guitar solo interplay
Tonality: minor
Other notes:
¬‘ the extended solos foreshadow jazz rock and contribute to the psychedelic nature of the song

Ê
  For many the psychedelic movement is best represented by the counterculture scene in San
Francisco during the 1960s. The Bands that are most closely identified with the  
  

 of San


Francisco are The Grateful Dead, Big Brother & the Holding Company "Piece of my Heart", and Jefferson
Airplane "White Rabbit", "Somebody to Love".

 
  

 - Psychedelic Rock is a genre that musically attempts to emulate a drug induced
experience. This may or may not involve lyrics that reinforce this subject matter. Jimi Hendrix - Purple
Haze

While The Grateful Dead did not have a successful recording career, they did build an incredible cult following,
often referred to as Deadheads. The Dead were closely associated with the acid tests of Ken Kesey¶s Merry
Pranksters. Their performances featured light shows and songs that were long and often highly improvisational
played to audiences in the thousands within huge halls or outdoors (a precursor in some respects to arena rock).
This was designed to reinforce the effects of the acid trip; hence the Dead¶s music came to be referred to as Acid
Rock. One of the goals was to make those listening to the music feel as though they are part of the whole
experience and not separate from those playing the music. This is a theme that will reoccur in many later styles.

8/
7 /"7  ; 9

The songs had many influences (blues, bluegrass, jazz, and rock and roll). But, regardless of what subgenre the
music reflected, they all had the effect of reinforcing or suggesting a psychedelic experience. The psychedelic
movement was associated with the *"3  area of San Francisco.

5  3 


Title: !  Artist: ?   3  Year: 1967 Style: Psychedelic Rock
Instrumentation: Acoustic Guitar, Electric Guitar, Bass, and Drums
Form: subtle verse chorus building as it goes
Texture: Homophonic Tonality: minor
Other notes:
¬‘ The Middle Eastern and Spanish influence can be heard in the drums and the harmonic progression
¬‘ The hypnotic repetition reinforces the psychedelic nature of the song
¬‘ References characters within Lewis Carroll¶s ³Alice in Wonderland´
http://en.wikipedia.org/wiki/White_Rabbit_%28song%29

5  3 


Title: 
7  Artist:  7  ;  Year: 1987 Style: Rock
Instrumentation: Acoustic Guitar, Electric Piano, Electric Guitar, Bass, Drums, Glockenspiel (orchestra bells),
Auxillary Percussion, Organ
Form: Typical verse chorus structure
Texture: mostly homophonic with riffs between vocals
Tonality: Major
Other notes:
¬‘ Bluegrass influence particularly in the vocal

5  3 


Title: # #
7 Artist: ? ?  Year: 1971 Style: Folk Rock
Instrumentation: Acoustic Guitar, Electric Guitar, Bass, Drums, Organ and Piano
Form: simple verse chorus structure Texture: Homophonic with moments of polyphony
Tonality: Major blues
Other notes:
¬‘ This song had been recorded before but it is Janice Joplin¶s amazing hard-edged vocal that made this
version the definitive one.


   "Hordes of vaguely disenchanted, vaguely antiwar and antiestablishment sixties people were
encouraged by these acid tests to drop out and embark on the great grope towards a mental condition they called
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expanded consciousness. By early 1966, the center of the hippie universe was between 1400 and 1800 Haight
Street (in the Haight-Ashbury neighborhood) where most of San Francisco¶s acidheads were encamped - and
hundreds more were arriving every week from around the nation. They slept on the sidewalks or in the
doorways. They sat together playing guitars, tambourines, and flutes. They sold beads and buttons and
panhandled spare change and copped and sold marijuana joints and acid tabs. Hell¶s Angels hung out in front of
Tracy¶s Doughnut Shop; acidheads made love at the back of the Psychedelic Shop. . . ."1 Jane and Michael
Stern, Sixties People. NewYork: Alfred Knopf, 1990, pp. 148-9 By June of 1966 there were approximately
15,000 hippies in the Haight-Asbury area.

cc
 Seminar 6 E-Listening List

71 3:39   
 The Beach Boys Classics $0.99 Pop
Title: 71 Artist:  
 Year ± 2004
Style: Surf Rock Psychedelic Rock
Instrumentation: Electric Guitar, Cello, Electric Bass, Organ, Tambourine, Drums Electric piano, Shaker,
Harmonica, Synthesizer, and Theremin
Form: clearly delineated sections but highly unusual Texture: polyphonic with imitation
Tonality: Major with key changes
Other notes:
¬‘ There is an extensive use of vocal harmonies one which suggests African influence
¬‘ Multi-track recording used extensively 17 recording sessions at 4 different studios using 90 hours of tape
¬‘ One of the most critically acclaimed song of all time.

5  Ê 6:09 ;  Highway 61 Revisited (Remastered) $0.99 Rock
Title: 5 3 Ê Artist: ;  Year: 1967
Style: Folk Rock
Instrumentation: Electric Guitars, Bass, Organ, Tambourine, Piano, Drums and Harmonica
Form: simple verse chorus structure with an even simpler harmonic progression
Texture: mostly homophonic with moments of polyphony
Tonality: Major blues
Other notes:
¬‘ Everything reinforces the lyrics through being less important. The harmonic progression, roles of each
instrument and even the melody all take a back seat.
¬‘ According to Billboard Magazine this is the most important song of Rock music.

 
 3 3" 3:13 ;  The Essential Bob Dylan $0.99 Rock
Title:  
 3 " Artist: ;  Year: 1964
Style: Folk Rock Instrumentation: Acoustic Guitar and Harmonica
Form: irregular meter in a verse based form Texture: Homophonic
Tonality: Major
Other notes: Like most of Dylan¶s songs the music is support for the lyrics which are the substance.

# * 3:37   Greatest Hits $0.99 Pop

Title$# * Artist:   Year: 1966
Style: Psychedelic Folk Rock
Instrumentation: Drums, Electric Guitars, and Electric Bass
Form: simple harmonic progression, but not typical which adds to its psychedelic quality
Texture: mostly homophonic Tonality: minor with hints of major
¬‘ Other notes: The group maintains that it is about a plane trip to England and not a reference to
getting high
¬‘ Although the Byrds were clearly influenced by Bob Dylan, there are clear nods to the Beatles in the vocal
harmony and its importance as a trademark of the song.

#  2:19   

     Chronicle: 20 Greatest Hits (24-
Title: #  Artist:   
    Year: 1969
Style: Folk Rock
Instrumentation: Drums, Electric Guitar, Acoustic Guitar, and Electric Bass
Form: harmonic progression is fairly simple ± the majority of the song is based on three chords I, IV, and V
reinforced by the country influenced bass line
Texture: polyphony is created by the Bluegrass inspired riffs that compete nicely with the vocal to give it
interest
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Tonality: Major (almost blues)
Other notes:

 ;  ! ;7  3:34   ; Charlie Daniels: Super Hits $0.99 Country
Title:  ;  ! ;7  Artist:   ;  Year: 1979
Style: Southern Rock
Instrumentation: Drums, Electric Guitars, Electric Bass, and two fiddles
Form: The sections are fairly clearly defined. There is a blues influence but it is not dominant.
Texture: There is a strong Bluegrass influence which drives the polyphony
Tonality: mostly in minor except during the ³Johnny´ chorus which turns to major
Other notes:
¬‘ Note the harmony in the vocal
¬‘ Note the electrified dueling fiddles as they create the dissonant section that represents the devil

*   6:30  Eagles Greatest Hits, Vol. 2 $0.99 Rock
Title: *   Artist:   Year ± 1977 Style: Country Rock (AOR)
Instrumentation: Multiple guitars (one of which is a twelve string guitar), Bass, Drums Varying styles of guitar
playing as well as aspects of tone color that make each distinctive and therefore easily discernible
Form: The form has a fairly simple progression, but the innovations within the sections make it stand out
Texture: Mostly polyphonic Tonality: Mostly minor with touches of major in the chorus
Other notes:
¬‘ There are several guitar solos and even an excellent example of a guitar duet at the end of the song
¬‘ Several riffs are used as answer to vocal lines
¬‘ Interesting thoughts about the lyrics
http://en.wikipedia.org/wiki/Hotel_California_%28song%29#Lyrics_Interpretation
http://www.snopes.com/music/songs/hotel.asp

:2 5 :
26; Rag 3:44 ? - 2  I Feel Like I'm Fixin' to Die $0.99 Rock
Title: :2 :D
26;  Artist: ?  2  Year: 1967
Style: Folk Rock
Instrumentation: Electric Guitar, Bass, Organ, Drums and Kazoo
Form: a simple verse chorus structure Texture: mostly homophonic
Tonality: Major
Other notes:
¬‘ The meaning is very obvious
¬‘ Note the use of war sounds at the end
¬‘ The beginning of the song was a little different in the Woodstock version

* 
? 3:56 

 *  20th Century Masters - The Millennium Collection: The Best of Richie
Havens $0.99 Folk
Title: * 
? Artist: 
 *  Year ± 1965 Style: Folk
Instrumentation: Acoustic Guitar Form: simple verse chorus structure
Texture: homophony Tonality: Minor
Other notes:
¬‘ The song has influence from country ± particularly the bass line (played on guitar)
¬‘ A retrospect of soldiers in different wars. What is he trying to say about them? What do you think about his
references to the other wars?


7  5:49 7  ;  In the Dark $0.99 Rock
Title: 
7  Artist:  7  ;  Year: 1987 Style: Rock

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Instrumentation: Acoustic Guitar, Electric Piano, Electric Guitar, Bass, Drums, Glockenspiel (orchestra bells),
Auxillary Percussion, Organ
Form: Typical verse chorus structure
Texture: mostly homophonic with riffs between vocals
Tonality: Major
Other notes:
¬‘ Bluegrass influence particularly in the vocal

!  2:30 ?   3  Surrealistic Pillow (Remastered) $0.99 Rock

Title: !  Artist: ?   3  Year: 1967 Style: Psychedelic Rock
Instrumentation: Acoustic Guitar, Electric Guitar, Bass, and Drums
Form: subtle verse chorus building as it goes
Texture: Homophonic Tonality: minor
Other notes:
¬‘ The Middle Eastern and Spanish influence can be heard in the drums and the harmonic progression
¬‘ The hypnotic repetition reinforces the psychedelic nature of the song
¬‘ References characters within Lewis Carroll¶s ³Alice in Wonderland´
http://en.wikipedia.org/wiki/White_Rabbit_%28song%29

# #
7 4:31 ? ?  Janis Joplin's Greatest Hits (Remastered) Rock
Title: # #
7 Artist: ? ?  Year: 1971 Style: Folk Rock
Instrumentation: Acoustic Guitar, Electric Guitar, Bass, Drums, Organ and Piano
Form: simple verse chorus structure Texture: Homophonic with moments of polyphony
Tonality: Major blues
Other notes:
¬‘ This song had been recorded before but it is Janice Joplin¶s amazing hard-edged vocal that made this
version the definitive one.

5# 2 7:08  ; The Best of the Doors $0.99 Rock
Title: 5#2  Artist:  ; Year: 1967 Style: Psychedelic Rock
Instrumentation: Electric Guitar, Bass, Organ, and Drums
Form: Very simple harmonic progression mostly revolving around two chords. This creates an almost hypnotic
or trance like effect
Texture: mostly homophonic except during the organ and guitar solo interplay
Tonality: minor
Other notes:
¬‘ the extended solos foreshadow jazz rock and contribute to the psychedelic nature of the song

ÊÊ   (Live At Woodstock) 3:46 ?
* 6 Experience Hendrix - The Best of Jimi
Hendrix $0.99 Rock
Title: ÊÊ   Artist: ?
* 6 Year: 1969 (live recording from Woodstock)
Style: Psychedelic Rock
Instrumentation: Electric Guitar, Drums
Form: open ended but roughly follows the correct melody
Texture: in some respects polyphonic Tonality: Major
Other notes:
¬‘ Jimi Hendrix uses a lot of playing techniques and audio effects to create this tour de force including wah-
wah, distortion, and feedback
¬‘ Note the use of sounds that represent the war, ambulance, bombs dropping, machine gun fire and even a
quote of the bugle song taps
¬‘ Why do you think he represented it in this manner?

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 # 3:09    Murray the K's Holiday Revue $0.99 Rock

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