HISTORY OF POP AND ROCK MUSIC

HISTORY OF POP AND ROCK MUSIC

HISTORY OF POP AND ROCK MUSIC

                                          The Roots of Rock ‘n’ Roll:

Music can be divided into genres in many different ways but these classifications are often arbitrary and controversial, and closely related styles often overlap. Many do not believe that generic classification of musical styles is possible in any logically consistent way

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

 01. AFRICAN TRADITIONAL MUSIC   ( deep roots
         African music has been a major factor in the shaping of what we know today as blues and jazz. These styles have all borrowed from African rhythms and sounds, brought over the Atlantic ocean by slaves.
THE ABYSSINIANS   –  Satta Massa Gana
ANGELIQUE KIDJO – Zelie    (influenced by the trad. songs of Togo,W.Africa)
 ***********************************************************************************
 02. POPULAR MUSIC (1890-1920) AND RAGTIME
        Ragtime  is an original musical genre which enjoyed its peak popularity between 1897 and 1918. Its main characteristic trait is its syncopated, or “ragged,” rhythm. It began as dance music in the red-light districts of African American communities in St. Louis and New Orleans years before being published as popular sheet music for piano. The ragtime composer Scott Joplin became famous through the publication in 1899 of the “Maple Leaf Rag” and a string of ragtime hits that followed, although he was later forgotten by all but a small, dedicated community of ragtime aficionados until the major ragtime revival in the early 1970s.[ For at least 12 years after its publication, the “Maple Leaf Rag” heavily influenced subsequent ragtime composers with its melody lines, harmonic progressions or metric patterns. The most famous ragtime composer wasScott Joplin. Joseph Lamb and James Scott. Other leading ragtime composers include Jelly Roll Morton, Eubie Blake, Charles L. Johnson, Tom Turpin, May Aufderheide, Mike Bernard, George Botsford, Zez Confrey, Ben Harney, Luckey Roberts, James P.Johnson, Paul Sarebresole, and Wilbur Sweatman.
 03.   Early Rural and Popular American Music (1920 – 1935)  –  Skiffes and Jug Bands
          Skiffle is a type of popular music with jazz, blues, folk, roots and country influences, usually using homemade or improvised instruments. They used instruments such as the washboard, jugs, tea chest bass, cigar-box fiddle, musical saw, and comb-and-paper kazoos, as well as more conventional instruments such as acoustic guitar and banjo. The first use of the term on record was in 1925 in the name of Jimmy O’Bryant and his Chicago Skifflers. Most often it was used to describe country blues music records, which included the compilation “Hometown Sniffle” (1929), and “Skiffle Blues” (1946) by Dan Burley & His Skiffle Boys. It was used by Ma Rainey (1886–1939) to describe her repertoire to rural audiences. The term skiffle disappeared from American music in the 1940s.
           It became popular again in the UK in the 1950s, where it was mainly associated with musician Lonnie Donegan and played a major part in beginning the careers of later eminent jazz, pop, blues, folk and rock musicians.
          A Jug band is a band employing a jug player and a mix of traditional and home-made instruments. These home-made instruments are ordinary objects adapted to or modified for making of sound, like the washtub bass, washboard, spoons, stovepipe and comb & tissue paper (kazoo). The term jug band is loosely used in referring to ensembles that also incorporate home-made instruments but that are more accurately called skiffle bands, spasm bands or juke (or jook) bands (see juke joint) because they are missing the required jug player. Early jug bands were typically made up of African American vaudeville and medicine show musicians. Beginning in the urban south, they played a mixture of Memphis blues (even before it was formally called the blues), ragtime, and jazz music. The history of jug bands is related to the development of the blues. The informal and energetic music of the jug bands also contributed to the development of rock and roll.
 
 
UNCLE JOHN SCRUGGS  – Little Log Cabin Round the Lane  (1928)
WHISTLER & HIS JUG BAND  –  Foldin’ Bed   (1930)
MOUND CITY BLUE BLOWERS – St. Louis Blues  (1931)
WASHBOARD SERENADERS – unknow title  (1933)
 04.  BLUES  
         Important source of modern rock’n’roll, absolutely essential to the sound we think of as 60’s rock, was, first, the Blues. Blues has evolved from an unaccompanied vocal music and oral traditions of African-American slaves (imported from West Africa; principally present day Mali, Senegal, the Gambia and Ghana).
         Blues began as the music of black sharecroppers in the poor cotton-farming region of the Mississippi Delta, and traveled north to Chicago with the sharecroppers as thousands of them moved north in search of a better life. It was in Chicago that the blues went from acoustic solo guitar music to electric guitar-electric bass-drums combos.
         Blues can be subdivided into several subgenres ranging from country to urban blues that were more or less popular during different periods of the 20th century. Best known are the Delta, Piedmont, Jump and Chicago blues styles. In the 1960s and 1970s, a hybrid form called blues rock evolved.
03.01  DELTA BLUES  
             The Delta blues is one of the earliest styles of blues music. Guitar and harmonica are the dominant instruments used. “Delta blues” is a style as much as a geographical appellation: Skip James and Elmore James, who were not born in the Delta, were considered Delta blues musicians. Performers traveled throughout the Mississippi Delta, Arkansas, Louisiana, Texas, and Tennessee. Eventually, Delta blues spread out across the country, giving rise to a host of regional variations, including “Chicago blues” and “Detroit blues”. Muddy Waters, Little Milton, B.B. King, and Howlin’ Wolf were just a few of these important Chicago blues artists.
             List of Delta Blues artists : Ishman Bracey ,Willie Brown, Robert Johnson, Tommy Johnson, Blind Willie Johnson ,Paul Jones, Sam Chatmon ,Bob Cobb, James Cotton ,Mike Cross , Arthur Crudup, CeDell Davis, David Honeyboy Edwards , Earl Hooker , John Lee Hooker Son House , Mississippi John Hurt ,Skip James , Jimmie Rodgers , Charley Patton, Pinetop Perkins, Snooky Pryor, Johnny Shines, Sunnyland Slim, Henry Sloan, Willie “Big Eyes” Smith, Howlin’ Wolf ……..
CHARLIE PATTON  –  MOON GOING DOWN  (1926)
BLIND WILLIE JOHNSON  –  TROUBLE WILL SOON BE OVER   (1927)
LEAD BELLY –  LORD LORD LORD   (1929)
SKIP JAMES  –  HARD TIME KILLING FLOOR BLUES  (1931)
JAMES  (Iron Head)  BAKER  –  BLACK BETTY  (1933)
ROBERT JOHNSON  –  SWEET HOME CHICAGO   (1936)
ROBERT JOHNSON  –  LOVE IN VAIN    (1937)
ROBERT JOHNSON  –  CROSSROAD BLUES   (1937)
LEADBELLY  –  BLACK BETTY  (1939)
LEAD BELLY –  PICK A BALE OF COTTON
LEAD BELLY – TAKE THIS HAMMER
EDDIE JAMES SON HOUSE –  LEVEE CAMP BLUES
BIG JOE WILLIAMS – LOW DOWN DIRTY SHAME
BIG JOE WILLIAMS – BABY PLEASE DON’T GO  (1963)
JOHN LEE HOOKER  –  TUPELO, MISSISSIPPI
JOHN LEE HOOKER –  I’LL NEVER GET OUT OF THESE BLUES ALIVE
DAVID HONEYBOY EDWARDS – GAMBLIN’ MAN
 03.02.COUNTRY BLUES
 
       Country blues, which is also known as “folk blues,” is a primarily an acoustic guitar-oriented type of blues from which many other styles are derived. It often incorporated elements of gospel, ragtime, hillbilly, and Dixieland jazz. The popularity and hit records of original country blues artists like Mississippi’s Charley Patton, or Blind Lemon Jefferson from Texas would subsequently influence scores of musicians across the Southern United States.
In the Carolinas and Georgia, artists like Blind Boy Fuller and Brownie McGhee added a fingerpicking guitar technique to create the Piedmont blues style.
        The Memphis acoustic blues sound developed out of the city’s jugband and vaudeville traditions, and was defined by artists like Furry Lewis and Will Shade.
        Chicago was originally a hotbed of country blues, as first generation artists like Tampa Red, Big Bill Broonzy, and Memphis Minnie brought their acoustic style to the big city before the popularity of amplified instrumentation transformed the sound of the city into what today we consider the “classic” Chicago blues sound. Chicago‘s country blues relied heavily on what is called the “hokum” style, a lighthearted sound that often included double-entendre lyrics. Ragtime and Dixieland jazz also influenced the early Chicago blues sound.
        In Texas during the 1920s and ’30s, acoustic bluesmen were developing a style that offered rich, more complex guitar parts, the beginnings of a blues trend towards separating lead guitar from rhythm playing. Texas acoustic blues relied more on the use of slide, and artists like Lightnin’ Hopkins and Blind Willie Johnson are considered masters of slide guitar.
         Six Pioneering Country Blues Artists :  Bukka White, Furry Lewis, Mississippi Fred McDowell, Mississippi John Hurt, Sam Lightnin’ Hopkins and Skip James
BIG BILL BROONZY  –  Hey  Hey   (1957)
BIG BILL BROONZY  –  How  You Want  It Done  (1957)
BIG BILL BROONZY  –  Worried Man Blues   (1957)
LIGHTIN’ HOPKINS  –  Baby Please Don’t Go  (1960)
MISSISSIPPI JOHN HURT –  Candy Man   (1964)
WILLIE DIXON – Weak Brain and  Narrow  Mind  (1964)
MISSISSIPPI JOHN HURT –  Lonesome Valley   (1965)
MISSISSIPPI JOHN HURT – Spike Driver Blues  (1966)
SKIP JAMES  –  All night Long  (1966)
LIGHTIN’ HOPKINS  –  That Woman Named Mary (1967)
LIGHTIN’ HOPKINS  –  How Long Have It Been Since You Been Home (1967)
LIGHTIN’ HOPKINS  –  Mr Charlie  (1967)
LIGHTIN’ HOPKINS  –  Meet Me in the Bottom (1967)
LIGHTIN’ HOPKINS  –  Instrumental  (1967)
LIGHTIN’ HOPKINS  –  Couldn’t be Satisfied  (1970)
LIGHTIN’ HOPKINS  –  Ain’t It Crazy  (1970)
03.03.  PIEDMONT BLUES  (East Coast blues)
 
            Piedmont blues (also known as East Coast blues) refers primarily to a guitar style, the Piedmont fingerstyle, which is characterized by a fingerpicking approach in which a regular, alternating thumb bass string rhythmic pattern supports a syncopated melody using the treble strings generally picked with the fore-finger, occasionally others. The Piedmont style is differentiated from other styles, particularly the Mississippi Delta blues, by its ragtime-based rhythms. It was a nationally popular with the African-American audience for about twenty years from the mid-1920s through to the mid-1940s.
          List of Piedmont blues musiciansPink Anderson,Etta Baker,Barbecue Bob, Blind Blake, Cephas & Wiggins,Elizabeth Cotten, Floyd Council, Reverend Gary Davis, Blind Boy Fuller, Peg Leg Howell, Luke Jordan, Carl Martin, Brownie McGhee, Blind Willie McTell, William Moore, Buddy Moss,Lesley Riddle,Bumble Bee Slim, Baby Tate, Sonny Terry,Willie Walker, Curley Weaver,Josh White……..
 
REVEREND GARY DAVIS  –  DEATH DON’T HAVE NO MERCY
REVEREND GARY DAVIS  –  CHILDERN OF ZION
03.04.  North Mississippi hill country blues
 
            is a regional offshoot of country blues style characterized by few chord changes, unconventional song structures, and an emphasis on the “groove” or a steady, driving rhythm (sometimes referred to as a “drone” style).
            Mississippi Fred McDowell’s  performances would help define the hill country blues sound, strongly influencing later artists like R. L. Burnside and Junior Kimbrough. Burnside and Kimbrough would go on to popularize this sound through the Fat Possum Records label.
MISSISSIPPI FRED McDOWELL – Shake ‘em on Down
R.L. BURNSIDE  –  See My Jumper Hanging On the Line (1978)
R.L. BURNSIDE  –  See My Jumper Hanging On the Line (1992)
R.L. BURNSIDE  –  Long-Haired Doney (1992)
R.L. BURNSIDE  –  Rollin and Tumblin  (1998)
R.L. BURNSIDE  –  Alice Mae (1999)
 03.05.  CHICAGO, DETROIT and St. LOUIS  blues styles 
 
          After World War II and in the 1950s, new styles of electric blues music became popular in cities such as Chicago, Detroit and St. Louis. Electric blues used amplified electric guitars, electric bass, drums, and harmonica played through a microphone.
         Detroit blues is blues music played by musicians resident in Detroit, Michigan, particularly that played in the 1940s and 1950s. Detroit blues originated when Delta blues performers migrated north from the Mississippi Delta and Memphis, Tennessee to work in Detroit’s industrial plants in the 1920s and 1930s. Typical Detroit blues was very similar to Chicago blues in style. The sound was distinguished from Delta blues by its use of electric amplified instruments and a more eclectic assortment of instruments, including the bass guitar and piano. The only Detroit blues performer to achieve national fame is John Lee Hooker, as record companies and promoters have tended to ignore the Detroit scene in favor of the larger, more influential Chicago blues.
JOHN LEE HOOKER – I’M LEAVING  (1964)
DR. ISAIAH ROSS  –  Feel So Good   (1965)
          Chicago became a center for electric blues in the early 1950s. Chicago blues is influenced to a large extent by the Mississippi blues style, because many performers had migrated from the Mississippi region. Howlin’ Wolf, Muddy Waters, Willie Dixon, and Jimmy Reed were all born in Mississippi and moved to Chicago during the Great Migration. Talents like Tampa Red, Big Bill Broonzy, and Memphis Minnie were among the first generation of Chicago blues artists, and they paved the way (and often lent valuable support) for newcomers like Muddy Waters, Howlin’ Wolf, Little Walter, and Willie Dixon. During the decade of the 1950s, Chicago blues ruled the R&B charts, and the style has heavily influenced soul, rhythm & blues, and rock music to this day.
THE HOWLIN’ WOLF  –   SMOKESTACK LIGHTNIN’  (1956)
MUDDY WATERS –  YOU CAN’T LOSE WHAT YOU AIN’T NEVER HAD
MUDDY WATERS – GOT MY MOJO WORKING (1963)
THE HOWLIN’ WOLF  –   SHAKE IT FOR ME  (1964)
J..B.LENOIR –  I FEEL SO GOOD (1964)
J.B.LENOIR – SLOW DOWN  (1964)
THE HOWLIN’ WOLF  –   DUST MY BROOM  (1966)
THE HOWLIN’ WOLF  –   HOW MANY MORE YEARS   (1966)
BUDDY GUY – HOOCHIE COOCHIE MAN   (1969)
MUDDY WATERS  –  HOOCHIE COOCHIE MAN (1972)
 
03.06.  BRITISH BLUES  (1960 – 1970)
 
           The style of British blues developed in the UK, when bands such as Fleetwood Mac, John May all & the Blues breakers, The Rolling Stones, The Yard birds, and Cream performed classic blues songs from the Delta or Chicago blues traditions.
THE ROLLING STONES  –  Little Red Rooster   (1964)
THE YARDBIRDS  (with Eric Clapton)  –  I Wish You  Would  (1964)
FLEETWOOD MAC  –  My Heart Beat Like a Hammer   (1968)
LED ZEPPELIN  – Travelling Reverside Blues  (1969)
03.07.   Blues 1980s to the present 
 
THE ALLMAN BROTHERS BAND  –  HOOCHIE COOCHIE MAN  (1991)
ERIC CLAPTON  –  HEY HEY  (Big Bill Broonzy ) (1992)
ERIC CLAPTON  –  MOTHERLESS CHILD  (1994)
LUCINDA WILLIAMS – HARD TIME KILLING FLOOR BLUES (Skip James) (2003)
BONNIE RAITT  –  DEVIL GOT MY WOMAN (Skip James) (2003)
CASSANDRA WILSON  –  VIETNAM BLUES  (J.B.Lenoir)   (2003)
ODETTA  –  JIM CROW BLUES  – (originally performed by Lead Belly)
JAMES BLOOD ULMER & ALISON KRAUSS – SITTIN’ ON TOP OF THE WORLD
GARLAND JEFFREYS – WASHINGTON DC HOSPITAL CENTER BLUES (2003)
ALVIN YOUNGBLOOD HART –  ILLINOIS BLUES  (Skip James )
EAGLE EYE CHERRY & JB ULMER vs. J.B. LENOIR –  DOWN IN MISSISSIPPI  (2003)
ERIC CLAPTON – RAMBLIN’ ON MY MIND   (Robert Johnson)
ERIC CLAPTON – LOVE IN VAIN   (Robert Johnson)
ERIC CLAPTON  – MILK COW’S CALF BLUES  (2004)
B.B. KING  – THE THRILL IS GONE
ERIC CLAPTON – IF I HAD POSSESSION OVER JUDGEMENT DAY (R.Johnson)
RUTHIE FOSTER –  UP ABOVE MY HEAD (Sister Rosetta Tharpe) (2007)
03.08.  The classic female blues
 
          The classic female blues spanned from 1920 to 1929 with its peak from 1923 to 1925 ; most popular of these singers were Ma Rainey, Bessie Smith, Mamie Smith, Ethel Waters, Ida Cox, Victoria Spivey, Sippie Wallace, Alberta Hunter, Clara Smith, Edith Wilson, Trixie Smith, Lucille He gamin and Bertha “Chippie” Hill. Hundreds of others recorded including Lizzie Miles, Sara Martin, Rosa Henderson, Martha Copeland, Bessie Jackson (Lucille Began), Edith Johnson, Katherine Baker, Margaret Johnson, Hattie Burleson, Madelyn Davis, Ivy Smith, Alberta Brown, Gladys Bentley, Billie and Ida Goodson, Fannie May Goosy, Bernice Edwards and Florence Mills.
NATALIE COLE – Stylus BLUES – originally performed by W.C Handy (1914)
MARION HARRIS  –  Stylus BLUES  (1920)
BESSIE SMITH  –  St. LOUIS BLUES  (1925)
MAMIE SMITH  –  JAIL HOUSE BLUES  (1929)
ETHEL WATERS – DARKIES NEVER DREAM  (1934)
MAMIE SMITH  –  HARLEM BLUES  (1939)
MAMIE SMITH  – LORD! LORD! LORD!  (1939)
MAMIE SMITH  –  I’LL DO EVERYTHING FOR LOVE  (1940)
ETHEL WATERS  – TAKING A CHANCE ON LOVE   (1942)
ETHEL WATERS  –  A THING CALLED JOE  (1942)
ADA BROWN  & FATS WALLER –  That Isn’t Right  (1943)
ETHEL WATERS &  COUNT BASIE   –  QUICKSAND  (1943)
SISTER ROSETTA THARPE – UP ABOVE MY HEAD
BIG MAMA THORNTON  – HOUND DOG  (1952)
 **********************************************************************************************
05 . JAZZ  &  SWING 
 
          Dixieland music, sometimes referred to as Hot jazz, Early Jazz or New Orleans jazz, is   the earliest style of Jazz music  which developed in New Orleans at the start of the 20th century, and was spread to Chicago and New York City by New Orleans bands in the 1910s.
The style combined earlier brass band marches, French Quadrilles, ragtime and blues with collective, polyphonic improvisation. While instrumentation and size of bands can be very flexible, the “standard” band consists of a “front line” of trumpet (or cornet), trombone, and clarinet, with a “rhythm section” of at least two of the following instruments: guitar or banjo, string bass or tuba, piano, and drums.Well-known jazz standard songs from the Dixieland era, such as “Basin Street Blues” and “When the Saints Go Marching In”, are known even to non-jazz fans.
LOUIS ARMSTRONG –  When the Saints Go Marching In
 
          Harlem Stride Piano, Stride Piano, or just Stride, is a jazz piano style that was developed in the large cities of the East Coast, mainly in the New York, during 1920s and 1930s. The name “stride” comes from the left-hand movement “striding” up and down the keyboard. Pianist James P. Johnson, known as the “Father of Stride“, created this unique style of jazz along with fellow pianists, Willie “The Lion” Smith, Fats Waller, and Luckey Roberts.
Other notable stride pianists include Art Tatum, Thelonious Monk, Johnny Guarnieri, Don Ewell, Louis Mazetier, Donald Lambert, Cliff Jackson, Dick Wellstood, Butch Thompson, Pat Flowers, Bernd Lhotzky, Joe Turner, Claude Hopkins, Ralph Sutton, Hank Duncan, Dick Hyman, Mike Lipskin, Stephanie Trick, Morten Gunnar Larsen, William Turk, John Gill, Seth “Fingers Flynn” Barkan, and Mark Birnbaum
 
FATS WALLER  –  The Joint Is Jumpin’  (1937)
FATS WALLER  –  Isn’t Misbehavin’  (1943)
 
 
              A jazz band (or jazz ensemble) is a musical ensemble that plays jazz music usually without a conductor. Jazz bands usually consist of a rhythm section and a horn section. The rhythm section of a jazz band consists of the percussion, double bass or bass guitar, and usually at least one instrument capable of playing chords, such as a piano, guitar,The horn section consists of wind and brass instruments, which play the melody and main accompaniment. Typical horns found in a big jazz band include 4 to 5 trumpets, saxophones (2-3 altos, 2 tenors, and a baritone), 3-4 trombones, and a bass trombone.
LOUIS ARMSTRONG & HIS HOT FIVE  –  WEST END BLUES   (1928)
DUKE ELLINGTON  – BLACK & TAN FANTASY  (1929)
DUKE ELLINGTON ORCHESTRA   (1930)
LOUIS ARMSTRONG & HIS HOT FIVE  –  WEST END BLUES   (1928)
MILLS BROTHER   – TIGER RAG  (1932)
MILLS BROTHER  –  SWING IT, SISTER   (1934)
DJANGO REINHARDT – GYPSY JAZZ  (EARLY LIFE) (1935)
DJANGO REINHARDT – LIFE STORY
DJANGO REINHARDT & STEPHANE GRAPPELLI  –  MINOR SWING  (1939)
DJANGO REINHARDT  – SWING  (1939)

      With the end of prohibition in the United States, a more ‘danceable’ form of jazz music arose, giving birth to the ‘Swing Era’. Swing music, also known as swing jazz or simply swing, is a form of jazz music that developed in the early 1930s and had solidified as a distinctive style by 1935 in the United States. Swing uses a strong anchoring rhythm section which supports a lead section that can include brass instruments, including trumpets and trombones, woodwinds including saxophones and clarinets or stringed instruments including violin and guitar; medium to fast tempos; and a “lilting” swing time rhythm. Swing bands usually featured soloists who would improvise a new melody over the arrangement.   Glenn Miller, Benny Goodman, Count Basie, Tommy and Jimmy Dorsey, and Duke Ellington’s bands are some of the most famous. Except for Duke Ellington, all those bands were primarily dance bands, with big swinging backbeats.            Many of the great post war jazz singers sang with these bands in the infancy of their careers..

THE GLENN MILLER ORCHESTRA  – Chattanooga Coho Coho  (1941)
THE GLENN MILLER ORCHESTRA  – In the Mood  (1941)
LYNN BARI &  THE GLENN MILLER ORCHESTRA  – I Know Why (1941)
     03.02.  Vocal Jazz

         Voice has been a part of jazz since the beginning. Almost every instrumental jazz style has its vocal equivalent. Louis Armstrong revolutionized music with his horn and natural singing style. The entrance of Billie Holiday into the world of jazz singing in the early 1930s was a revelation. She approached the voice from a radical angle, explaining, in her own words. Lena Horne and Ethel Waters used standard songs as a means for personal expression and how they phrased their lines influenced others well past the Swing era. The lush voices of Billy Eckstine and his protege Sarah Vaughan worked in the Bop idiom that they helped create. While Ella Fitzgerald could front a full string orchestra with an amazingly pure voice, she could also scat (improvise wordlessly on a melody) better than even Mel Torme, who epitomized the 1950s Cool West Coast scene with his sophisticated, light swing. Betty Carter took singing further out by abandoning the narrative of lyrics and influencing arty Post-Boppers
       The birth of Rock & Roll as a distinct genre, and a new generation of teenagers having different tastes than their previous adult audience caused a significant decline in Jazz’s popularity. Many of the singers that had worked with the great big bands of the swing era were now solo artists, in the prime of their careers and many had achieved fame internationally. Sarah Vaughan, Mel Tormé, Lambert, Hendricks & Ross, Billy Eckstine, Joe Williams, Dinah Washington, Tony Bennett, Anita O’Day, Chris Connor, June Christy, Billie Holiday, Nina Simone, Dakota Staton, and Carmen McRae all greatly advanced vocal jazz at this period.
ANITA O’DAY   –  SWEET GEORGIA BROWN   (1958)
ANITA O’DAY   –  TEA FOR TWO  (1958)
NINA SIMONE  –  ERETS ZAVAT CHALAV   (1962)
NINA SIMONE  –  ZUNGO  (1962)
NINA SIMONE  –  I WANT A LITTLE SUGAR IN MY BOWL  (1967)
NINA SIMONE  –  Don’t Let Me Be Misunderstood  (1968)
NINA SIMONE  –  BACKLASH BLUES  (1976)
NINA SIMONE  –  I WISH I KNEW HOW IT WOULD FEEL TO BE FREE  (1976)
NINA SIMONE  –  WHAT YOU GONNA DO  (1982)
NINA SIMONE  –  MY BABY JUST CARES FOR ME   (1987)
NINA SIMONE  –  ROMEO AND JULIET  Fantasy Overture (Tchaikovsky)
06.  EARLY RECORDED POPULAR MUSIC 
04.01  The Roaring Twenties  – “The Jazz Age”.
 
          Roaring Twenties is a phrase used to describe the 1920s, principally in North America, that emphasizes the period’s social, artistic, and cultural dynamism.It was the age of prohibition, it was the age of prosperity, and it was the age of downfall. It was the decade of bath tub gin, the model T, the $5 work day, the first transatlantic flight, and the movie.  At the same time, amusement, fun and lightness were cultivated in jazz and dancing, in defiance of the horrors of World War I, which remained present in people’s minds. In music, the three sounds were jazz, jazz, and jazz. The period is also often called “The Jazz Age”.
SOPHIE TUCKER  –  SOME OF THESE DAYS   (1911)
MARION HARRIS  –  AFTER YOU’VE  GONE  (1918)
SOPHIE TUCKER  –  THE LAST OF THE RED HOT MAMAS  (1926)
MILTON AGER & JACK YALLEN –  AIN’T SHE SWEET  (1927)
EDYTHE FLYNN – IS SHE MY MY GIRL FRIEND (How de-ow-dow)  (1927)
MARION HARRIS   –  AFRAID OF YOU  (1929)
ANNETTE HANSHAW  –  FORGET ME NOT  (1929)
ANNETTE HANSHAW – DADDY WON’T YOU PLEASE COME HOME  (1929)
ANN PENNINGTON & JUNE CLYDE  –  Those Tanned  Legs  (1929)
SOPHIE TUCKER  –  ONLY THE RIGHT MAN CAN DO ME WRONG   (1930)
MARION HARRIS  –  I’M FUNNY THAT WAY  (1930)
RUTH ETTING & JAY VELIE  – ONE GOOD TURN  (1930)
RUTH ETTING  –  IF I COULD BE WITH YOU (1930)
RUTH ETTING  –  I’M FUNNY THAT WAY  (1931)
ANNETTE HANSHAW – WE JUST  COULDN’T SAY  GOODBYE  (1933)
 04.02  Music of the 1930’s and 40’s
 
        In the 1930’s and 40’s music and dancing was very popular. Music kept people’s spirits high and kept them smiling.First came Vaudeville and Burlesque, then the Broadway Musical. Music played a major part on the stage during this time.A favorite musical, Showboat , included Ol’ Man River sung by Paul Robeson. An early Gershwin musical, Porgy and Bess, was first performed in 1935 in the Alvin Theater in New York. Rudy Vallee was a singing star in early talkies, watch I’m just a vagabond lover. Big bands were HUGE ly popular from 1935 – 1947.Many singers (Doris Day, Peggy Lee, Rosemary Cloony) got their start singing with the big bands.
NICK LUCAS – TIP TOE THROUGH THE TULIPS (1929) – Gold Diggers of Broadway
THE BOSWELL SISTERS – HEEBIE JEEBIES  (1932)
THE BOSWELL SISTERS –  CRAZY PEOPLE  (1932)
JOSEPHINE BAKER – HAITI   (1934)
JEAN GABIN & JOSEPHINE BAKER – VIENS PHIPHINE  – Zouzou  (1934)
JOSEPHINE BAKER – SOUS LE CIEL d’AFRIQUE   (1935)
MAE WEST  –  I’M AN OCCIDENTAL WOMAN IN AN ORIENTAL MOOD (1936)
MAE WEST  –  MISTER DEEP BLUE SEA  (1936)
SHIRLEY LLOYD &  LOUIS PRIMA  –  I CAN’T GIVE YOU ANYTHING BUT LOVE (1938)
JUDY GARLAND  –  OVER THE RAINBOW  (1939)
CORA GREEN   –  Bei Mir Bistu Shein  (1938)
MARTHA RAYE  –  Mama, That Moon is Here Again  (1938)
MAE WEST  –  WILLIE OF THE VALLEY (1940)
LENA HORNE  –  UNLUCKY WOMAN  (Born on a Friday) ( 1941)
THE ANDREWS SISTERS   –  I’ll Be With You When It’s Apple Blossom  (1941)
THE ANDREWS SISTERS   –  Steppin’ Out Tonight (1941)
THE ANDREWS SISTERS   –  Hula-Ba-Luau  (1941)
THE ANDREWS SISTERS   –  Boogie Woogie Bugle Boy  (1941)
THE ANDREWS SISTERS   –  Bounce Me Brother with a Solid Four  (1941)
PEGGY LEE & BENNY GOODMAN  – WHY DON’T YOU DO RIGHT   (1942)
MILLS BROTHERS  –  CIELITO LINDO  (1943)
LENA HORNE –   STORMY WEATHER  (1943)
JEANNE CRAIN  –  IT MIGHT AS WELL BE SPRING  (1945)
LARRY PARKS (voc.AL JOLSON) – THE ANNIVERSARY SONG (1946)
RITA HAYWORTH  –  PUT THE BLAME ON MAME  (1946)
RITA HAYWORTH  –  PUT THE BLAME ON MAME   (acoustic version)  (1946)
RITA HAYWORTH  – AMADO MIO  (1946)
 
 
 
 
 
 
 
 
 
 07. COUNTRY MUSIC
            Country music (or country and western) is a blend of popular musical forms originally found in the Southern United States and the Appalachian Mountains (Tennessee, Virginia, West Wirginia, and Kentucky). It has roots in traditional folk music, Celtic music, gospel music, and old-time music and evolved rapidly in the 1920s. In the post-war period, country music was called “folk” in the trades, and “hillbilly” within the industry. In 1944, The Billboard replaced the term “hillbilly” with “folk songs and blues,” and switched to “country” or “country and Western” in 1949.
05.01. Early recorded country music
 
            The first commercial recording of what can be considered country music was “Sallie Gooden” by fiddlist A.C. Robertson in 1922. Jimmie Rodgers and the Carter Family are widely considered to be important early country musicians. Rodgers fused hillbilly country, gospel, jazz, blues, pop, cowboy, and folk; and many of his best songs were his compositions, including “Blue Yodel”, which sold over a million records and established Rodgers as the premier singer of early country music.
JIMMIE RODGERS   –   BLUE YODEL No. 1 (T For Texas)  (1928)
JIMMIE RODGERS   –   WAITING FOR A TRAIN   (1928)
05.02 Country music 1930s-1960s
 
            Many musicians performed and recorded songs in any number of styles. During the 1930s and 1940s, cowboy songs, or Western music, which had been recorded since the 1920s, were popularized by films made in Hollywood. Some of the popular singing cowboys from the era were Gene Autry, the Sons of the Pioneers and Roy Rogers .Country musicians began recording Boogie in 1939. During World WarII, honky tonk country was popularized by Ernest Tubb (“I’m Walking The Floor Over You”), who took the sound to Nashville, where he was the first musician to play electric guitar on Grand Ole Opry. In the 1950s, honky tonk entered its golden age, with the massive popularity of  Webb Pierce, Hank Locklin, Lefty Frizzell, George Jones, and Hank Williams.
           By the end of World War II, many musicians performed music known as bluegrass .In the post-war period, country music was called “folk” in the trades, and “hillbilly” within the industry.In 1944, Billboard replaced the term “hillbilly” with “folk songs and blues,” and switched to “country” or “country and western” in 1949 . Gospel music, too, remained a popular component of country music.
PATTI PAGE  –  TENNESSEE WALTZ  (1950)
HANK WILLIAMS Feat.ANITA CARTER  – I Can’t Help It ( If I’m Still In Love With You)  (1951)
MARILYN MONROE  –  RIVER OF NO RETURN  (1954)
HANK SNOW –  I DON’T HURT ANYMORE  (1956)
HANK SNOW  –  RUMBA BOOGIE   (1959)
JOHNNY CASH  – FIVE FEET HIGH AND RISIN  (1959)
CONNIE SMITH  – ONCE A DAY (1965)
TAMMY WYNETTE –  STAND BY YOUR MAN  (1968)
05.03  Country music 1970s – 1980s
 
         Country rock is a musical genre formed from the fusion of rock with country music, with its country origins being initially referenced to the rockabilly music of the 1950s.List of artists : The Dillards, The Byrds, Gene Clark, Gram Parsons, Neil Young, Michael Nesmith, Grateful Dead, The Band, Bob Dylan, Buffalo Springfield, Moby Grape Area Code 615 and the Ozark Mountain Daredevils, The Flying Burrito Brothers, First National Band, The Eagles, Little Feat, Linda Ronstadt, Poco, Pure Prairie League, The Doobie Brothers, The Marshall Tucker Band and Barefoot Jerry,
       Country pop, with roots in both the countrypolitan sound and in soft rock, is a subgenre of country music that first emerged in the 1970s. It started with pop music singers, like Glen Campbell, John Denver, Olivia Newton-John, Anne Murray, Kenny Rogers, Charlie Rich, Faron Young, Dolly Parton, and Dottie West began having hits on the country charts.
 
 
JOHNNY CASH – Wanted Man  (1969)
JONNY CASH & JUNE CARTER  – If I Were A Carpenter  (1970)
KENNY ROGERS  – Ruby Don’t Take Your.Love To Town (1972)
RICKY NELSON  – GARDEN PARTY   (1972)
DOLLY PARTON  –  JOLENE  (1974)
WILLIE NELSON  –  Blue Eyes Crying in the Rain (1975)
JOHNNY CASH  –  THE NIGHT THEY DROVE OLD DIXIE DOWN  (1976)
THE BELLAMY BROTHERS  – LET YOUR LOVE FLOW  (1976)
KENNY ROGERS  – The Gambler (1978)
KENNY ROGERS  – LADY  (1980)
WILLIE NELSON  – ALWAYS ON MY MIND  (1982)
THE NITTY GRITTY DIRT BAND – Modern Day Romance  (1985)
05.04    Country music 1990s
 
          In the 1990s, country music became a worldwide phenomenon thanks to Billy Ray Cyrus and Garth Brooks. The latter enjoyed one of the most successful careers in popular music history, breaking records for both sales and concert attendance throughout the decade. The RIAA has certified his recordings at a combined (128× platinum), denoting roughly 113 million U.S. shipments. Other artists that experienced success during this time included Clint Black, Sammy Kershaw, Aaron Tippin, Travis Tritt, Alan Jackson and the newly formed duo of Brooks & Dunn; George Strait, whose career began in the 1980s, also continued to have widespread success in this decade and beyond. Toby Keith began his career as a more pop-oriented country singer in the 1990s, evolving into an outlaw persona in the late 1990s with Pull My Chain and its follow-up, Unleashed. Female artist such as Reba McEntire, Faith Hill, Martina McBride, Deana Carter, LeAnn Rimes, Shania Twain, and Mary Chapin Carpenter all released platinum selling albums in the 90s.
ALISON KRAUSS & THE COX FAMILY – Walk over God’s Heaven  (1994)
JOHN DENVER – Country Roads   (1995)
WILLIE NELLSON Feat. EMMOYLOU HARRIS – I Never Cared For You (1998)
05.06.  Country music  2000s
 
           In 2005, country singer Carrie Underwood rose to fame as the winner of the fourth season of American Idol and became a multi-platinum selling recording artist and multiple Grammy Award winner.  American Idol launched the careers of Kellie Pickler, Josh Gracin, Bucky Covington, Kristy Lee Cook, and Danny Gokey (as well as that of occasional country singer Kelly Clarkson) in the decade, and would continue to launch country careers in the 2010s. The series Nashville Star, while not nearly as successful as Idol, did manage to bring Miranda Lambert and Chris Young to mainstream success, also launching careers of lower-profile musicians such as Buddy Jewell, Sean Patrick McGraw, and Canadian musician George Canyon. In 2008, Taylor Swift rose as a major country-pop artist. In the same year, Hootie & the Blowfish vocalist Darius Rucker released his second solo album and country music debut, In 2011, Toby Keith was named Artist of the Decade by the Academy of Country Music.
 
 
THE BELLAMY BROTHERS  – What ‘ll I Do (2001)
DOLLY PARTON & MELISSA ETHERIDGE  – Jolene  (2003)
MINDY SMITH – Jolene   (2003)
THE BE GOOD TANYAS  – It’s Not Happening  (2003)
 ****************************************************************************
 08.  THE FIFTIES  (the decade of 1950-1959)
           The 1950s offered a combination of sounds for everyone. Rock ‘n roll, rhythm and blues, love songs, jazz (first Newport Festival), calypso (Harry Belafonte), and musicals were all popular. Records rather than air play began to determine the popularity of a song.  Hit makers were Johnny Ray, Patti Page, Nat King Cole, Teresa Brewer,Tony Bennett, Perry Como,  Pat Boone, Doris Day, Eddie Fisher, Frankie Laine, Dean Martin , and Peggy Lee. Groups were popular, including the Platters, Les Paul and Mary Ford, Ames Brothers , Four Aces, Buddy Holly and many others made the huge number of decade hits.In 1956, Elvis became the first rock star. Black recording artists Chuck Berry and Fats Domino became rock ‘n roll stars. Color TV became a major influence, stereos were offered for sale, the first Grammy (1959) was given.
06.01. “FEEL GOOD” TUNES OF THE FIFTIES AND EARLY SIXTIES
 
        Light melodies, sweet lyrics, wholesome singers. Innocent and inoffensive songs. All of this can be said about the music of the Early Fifties. Most of the songs of the Early Fifties were “feel-good” tunes, which genuinely reflected the mood of post World War II America. Artists like Pat Boone, Rosemary Clooney, Dean Martin and Perry Como dominated pop charts.
PEGGY LEE & DAVE BARBOUR – I COVER THE WATERFRONT  (1950)
PATTI PAGE  –  TENNESSEE WALTZ  (1950)
GENE KELLY  –   SINGIN’ IN THE RAIN  (1952)
EDDIE FISHER  – DOWNHEARTED   (1952)
PERRY COMO & FONTANE SISTERS  – SILVER AND GOLD   (1952)
DEAN MARTIN – THAT’S AMORE   (1953)
ROSEMARY CLOONEY  – MAMBO ITALIANO  (1954)
PEGGY LEE  –  JOHNNY GUITAR  (1955)
DINAH SHORE  – HONEYSUCKLE  ROSE  (1956)
PATTI PAGE  – CHANGING PARTNERS   (1956)
DEAN MARTIN – MEMORIES ARE MADE OF THIS   (1956)
MARIO LANZA & LUISA DI MEO   –   ARRIVEDERCI ROMA  (1958)
LOUIS PRIMA  – BUONA SERA SIGNORINA   (1958)
DEAN MARTIN  –  MAMBO ITALIANO
DEAN MARTIN  –  Medley : VOLARE & EVENING IN ROMA
PEGGY LEE & FRANK SINATRA – NICE WORK IF YOU CAN GET IT   (1962)
DEAN MARTIN  –  EVERYBODY LOVES SOMEBODY  (1964)
 
06.02.  URBAN DANCEABLE RHYTHM AND BLUES  –  Early to mid 1950s
 
       The music and artists of Fifties rhythm and blues, that postwar style of hard urban danceable blues that bridged the gap between traditional blues and the rock and roll styles of the future.
         The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when “urbane, rocking, jazz based music with a heavy, insistent beat” was becoming more popular. Many  popular rock and roll singers of the time, such as Fats Domino, Chuck Berry and Little Richard, came out of the black rhythm and blues tradition.  List of artists : Hank Ballard and the Midnighters, Jackie Wilson, LaVern Baker, Louis Jordan, Ruth Brown, Screamin’ Jay Hawkins, Chuck Willis and others.
 
AMOS MILBURNE  –  Bad Bad Whiskey (1954)
LAVERN BAKER   –  Love Me Right In The Morning  (1954)
06.03. DOO-WOP
           Doo-wop is a style of vocal-based rhythm and blues music, which developed in African-American communities in the 1940s and which achieved mainstream popularity in the 1950s and 1960s With its smooth, consonant vocal harmonies, doo-wop was one of the most mainstream, pop-oriented R&B styles of the 1950s and 1960s.. There is confusion regarding which recording was the “first” to contain the phrase “doo-wop”. There is general acknowledgement that the first hit record to use the syllables “doo-wop” in the refrain was the 1955 hit, “When You Dance” by The Turbans, in which the chant “doo-wop” can clearly be heard . Important African American doo-wop groups included The Marcels, The Coasters, The Drifters, The Moonglows, Clovers,  ‘Little Anthony and the Imperials,The “5” Royales , The Flamingos , The Dells, The Cadillacs, The Midnighters and The Platters.
THE LARKS  –  The World is Waiting for Sunrise (1954)
THE PLATTERS   –  Only You  (1955)
THE PLATTERS  – The Great Pretender (1955)
THE FLAMINGOS  –  WOULD I BE CRYING  (1956)
THE MOONGLOVES  –  I KNEW FROM THE START  (1956)
BROOK BENTON  –  IF ONLY I HAD YOU   (1957)
CLYDE  McPHATTER  – YOU ‘LL BE THERE   (1957)
FRANKIE LYMON  & THE TEENAGERS  –  Love Put Me Out Of My Head (1957)
LEWIS LYMON  & THE  TEENCHORDS   – Your Last Chance  (1957)
THE PLATTERS   –  SMOKE GETS IN YOUR EYES  (1958)
GENE CHANDLER –  DUKE OF EARL
THE PLATTERS  – THE GREAT PRETENDER
 
 
06.04. SOUL MUSIC
         Soul music has its roots in gospel music and rhythm and blues. The hard gospel vocal quartets of the 1940s and 1950s were big influences on major soul singers of the 1960s. Many consider the birthplace of soul music to be northern United States inner cities, particularly Chicago. Other cities, such as New York, Detroit, Memphis and Florence, quickly followed, creating their own soul styles based on their regional gospel roots. Sam Cook, Ray Charles Solomon Burke, Little Richard, James Brown,Fats Domino and  Aretha Franklin  are considered to be one of the pioneers and founders of soul music.
SAM COOKE  –  YOU SEND ME  (1957)
JACKIE WILSON  – LONELY TEARDROPS   (1958)
JACKIE WILSON  – I’M COMIN’ ON BACK TO YOU  (1961)
 06.05.  ROCK AND ROLL & ROCKABILLY
 
           In Chicago, two brothers, Phil and Leonard Chess  took the best of the black bluesmen performing in their nightclub and began recording them on their Chess label. Chess Records, a storefront on Cottage Avenue in the “Little Mississippi” area of Chicago, was already home to the great Muddy Waters. About this time, a Cleveland DJ named Alan Freed  began playing Black R&B tunes. Freed moved his show to New York in 1954 and began including live performances, especially of the artists with the vocal harmonies he favored. His called this sound Rock and Roll. Fittingly, he is the first Rock DJ. And many consider his Moondog Coronation Ball, held March 21st, 1952 in Cleveland, to be the very birthdate of Rock and Roll.
          Rock and roll  is a genre of popular music that evolved in the United States in the late 1940s and early 1950s. Its roots lay mainly in blues, rhythm and blues, country, folk, gospel, and jazz. The style subsequently spread to the rest of the world and developed further, leading ultimately to modern rock music.
          Rockabilly is one of the earliest styles of rock and roll music, and emerged in the early 1950s. The term rockabilly is a portmanteau of rock and hillbilly, the latter a reference to the country music (often called hillbilly music in the 1940s and 1950s) that contributed strongly to the style’s development. Other important influences on rockabilly include western swing, boogie woogie, and rhythm and blues. Many  popular rock and roll singers of the time, such as Fats Domino, Chuck Berry and Little Richard, came out of the black rhythm and blues tradition, making the music attractive to white audiences, and are not usually classed as “rockabilly”.
Elvis Presley, Jerry Lee Lewis, Chuck Berry, Bo Diddley, Roy Orbison, Sam Cooke, The Coasters, Carl Perkins, Buddy Holly, Billy Haley & The Comets, The Everly Brothers, Rickie Nelson, Little Richard, LaVern Baker ………….
 
BILL HAYLEY & HIS COMETS  –  ROCK AROUND THE CLOCK  (1954)
CHUCK BERRY –  MAYBELLENE (1955)
BO DIDDLEY – BO DIDDLEY  (1955)
BILL HAYLEY & HIS COMETS  –  See You Later Alligator (1956)
BILL HAYLEY & HIS COMETS  –  Rock-a-Beatin’ Boogie  (1956)
BILL HAYLEY & HIS COMETS  –  Rock  (1956)
GENE VINCENT  –  BE-BOP-A-LULA  (1956)
LITTLE RICHARD  –  LONG TALL SALLY   (1956)
EDDIE COCHRAN  –  TWENTY FLIGHT ROCK  (1956)
CHARLIE GRACIE  – ‘Cool Baby  (1957)
JERRY LEE LEWIS TRIO  –  Great Balls of Fire  (1957)
JOHNNY CARROLL –   Crazy Crazy Lovin’  (1957)
LITTLE RICHARD – Tutti-Frutti  (1957)
FATS DOMINO – Wait & See  (1957)
BUDDY HOLLY & THE CRICKETS  –  PEGGY SUE  (1957)
CHUCK BERRY  –  OH BABY DOLL   (1957)
CHUCK BERRY  –  YOU CAN’T CATCH ME  (1957)
CHUCK BERRY  –  MEMPHIS , TENNESSEE  (1957)
LITTLE RICHARD  – LUCILLE   (1957)
GENE VINCENT  –  BE –BOP -A-LULA   (1958)
GENE VINCENT  – ROLL OVER BEETHOVEN   (1958)
EDDIE COCHRAN –  SUMMERTIME BLUES  (1958)
EDDIE COCHRAN – C’MON EVERYBODY   (1958)
JERRY LEE LEWIS  –  BREATHLESS  (1958)
CARL PERKINS  –  GLAD ALL OVER  (1958)
DANNY  & THE JUNIORS  – ROCK  & ROLL IS HERE TO STAY   (1958)
DUANNE EDDY –  REBEL ROUSER  (1958)
CHUCK BERRY  –  Johnny B.Goode   (1958)
CHUCK BERRY   – Little Queenie  (1959)
THE FLAMINGOS  –  Jump Children (1959)
CHUCK BERRY   – Little Queenie  (1959)

06.06.  THE ELVIS PRESLEY STORY

 
         Elvis Aaron Presley  (January 8, 1935 – August 16, 1977)  was one of the most popular American singers of the 20th century. A cultural icon, he is widely known by the single name Elvis. He is often referred to as the “King of Rock and Roll” or simply “the King”. He had a versatile voice and unusually wide success encompassing many genres, including country, pop ballads, gospel, and blues. He is the best-selling solo artist in the history of popular music. Nominated for 14 competitive Grammys, he won three, and received the Grammy Lifetime Achievement Award at age 36.  He has been inducted into four music halls of fame
 
 
ELVIS PRESLEY  –  Love Me  (1956)
ELVIS PRESLEY  –  Love Me Tender  (1956)
ELVIS PRESLEY  –  Don’t  Be  Cruel   (1956)
ELVIS PRESLEY  –  HEARTBREAK HOTEL (1956)
ELVIS PRESLEY  –  Hound Dog   (1956)
ELVIS PRESLEY & KITTY WHITE  – Crawfish (1957)
ELVIS PRESLEY  –  Jailhouse Rock (1957)
ELVIS PRESLEY  –  Treat Me Nice  (1957)
ELVIS PRESLEY  –  (You’re So Square) Baby I Don’t Care  (1957)
ELVIS PRESLEY  –  Lover Doll  (1957)
ELVIS PRESLEY  –  Young And Beautiful  (1957)
ELVIS PRESLEY  –  Don’t Ask Me Why (1957)
ELVIS PRESLEY  –  TOO MUCH  (1957)
ELVIS PRESLEY  –  TEDDY BEAR  (1957)
ELVIS PRESLEY  –  TROUBLE   (1958)
ELVIS PRESLEY  –  King Creole  (1958)
ELVIS PRESLEY  –  New Orleans  (1958)
ELVIS PRESLEY  –  Dixieland Rock (1958)
ELVIS PRESLEY  –  Young Dreams  (1958)
ELVIS PRESLEY  –  As Long As I Have You  (1958)
ELVIS PRESLEY  –  Wooden Heart  (1960)
ELVIS PRESLEY  –  SUSPICIOUS MINDS  (1970)
ELVIS PRESLEY  –  THE WONDER OF YOU   (1970)
ELVIS PRESLEY  –  In The Ghetto   (1970)
06.07   TEEN IDOLS  AND  “DARK AGE“ OF  ROCK’N’ROLL  (1957 – 1965)
          The years between 1957 and 1965 can be considered the “dark age” of rock’n’roll.
Many thought that rock’n’roll had simply died, an ephemeral, short-lived fad like many others. The wild, lascivious, insolent rocker was quickly replaced by a generation of polite, well-dressed, romantic “teen-idols” that ruled the airwaves till 1965.
         Paul Anka’s Diana (1957), Pat Boone’s Love Letters In The Sand (1957), Bobby Darin’s Dream Lover (1959), Frankie Avalon’s Why (1959), Fabian (Forte)’s I’m a Man (1959), Bobby Rydell’s Wild One (1960), Rick Nelson’s Hello Mary Lou (1961), Bobby Vee (Velline)’s Take Good Care Of My Baby (1961), and Neil Sedaka’s Breaking Up Is Hard To Do (1962), and, among the girls, Brenda “Lee” Tarpley’s I’m Sorry (1960), Connie “Francis” Franconero’s My Heart Has A Mind Of Its Own (1960) and Leslie Gore’s It’s My Party (1962), were emblematic.
 
           At best, rock’n’roll was fused with country music to yield a more “traditional” (and white) form of music for young people, as was the case with the Everly Brothers’  Bye Bye Love (1957) and All I Have To Do Is Dream (1958), written by Felice and Boudleaux Bryant.
 
         However, like all “dark ages“, the dark age of rock’n’roll hatched the embryos of the cultural revolution to come. For example, in 1957 Link Wray’s instrumental Rumble invented the “fuzz-tone” guitar sound (not to mention the whole concept of the “power chord”); and in 1958 Eddie Cochran overdubbed all instruments and vocals on Summertime Blues and C’mon Everybody. These were impressive and influential achievements.
TEDDY RANDAZZO  – THE THINGS YOUR HEART NEEDS  (1956)
TEDDY RANDAZZO  – THANKS TO YOU   (1956)
FREDA HOLLOWAY  –  SIEMPRE  (1957)  –  (voice of Connie Francis)
PAUL CARR & FREDA  HOLLOWAY – WHO ARE WE TO SAY  (1957)
JIMMY BOWEN  –  Cross Over  (1957)
RICKY NELSON  –  A TEENAGER’S  ROMANCE  (1957)
RICKY NELSON  – BYE BYE LOVE (1957)
PAUL ANKA  – DIANA   (1957)
RICKY NELSON  – I Got A Feeling  (1958)
RICKY NELSON  – LONESOME TOWN  (1958)
FRANKIE AVALON WITH  ROCCO & HIS SAINTS  – Teacher’s Pet  (1958)
JIMMY CLANTON & SANDY STEWART  – DON”T YOU KNOW  (1959)
CLIFF RICHARD & THE SHADOWS –  LIVING DOLL   (1959)
CLIFF RICHARD & THE SHADOWS –  TRAVELLIN’ LIGHT  (1959)
CLIFF RICHARD & THE  SHADOWS  – LOVE (1959)
EDDIE COCHRAN – TEENAGE HEAVEN  (1959)
PAUL ANKA  –  LONELY BOY  (1959)
THE FLEETWOODS  –  COME SOFTLY TO ME  (1959)
BOBBY DARIN  – DREAM LOVER   (1959)
         06.08  ROCKABILLY  REVIVAL
        Rockabilly Revival early 1970s  (return to the simple, loud, fast, emotionally-direct music of early rock and roll). Some musicians stripped their sound down to three chords, loud guitars, and shouted lyrics, creating early punk rock. Other musicians turned back to the original rock and roll music of the 1950s for inspiration, and in the late 1970s, an underground rockabilly revival began to emerge. 
BO DIDDLEY  –  HEY BO DIDDLEY   (1969)
THE HOUSESHAKERS  –  BE-BOP-A-LULA (1972)
HEINZ BURT  –  C’MON EVERYBODY  (1972)
BO DIDDLEY  –  ROAD RUNNER   (1972)
BILL HAYLEY & HIS COMETS  – ROCK AROUND THE CLOCK  (1972)
LITTLE RICHARD – LUCILLE  (1972)
BO DIDDLEY  –  BO DIDDLEY   (1985)
BO DIDDLEY  –  BO PUT THE ROCK IN ROCK & ROLL  (1985)
BO DIDDLEY  –  GUNSLINGER  (1985)
CHUCK BERRY  –  BIO  (1986)
CHUCK BERRY  –  CAROL  (1987)
CHUCK BERRY  –  ROLL OVER BEETHOVEN  (1987)

09. THE SIXTIES  (the decade of 1960-1969)

 
           The sixties were the decade of  Pop Music, Protest Songs, protesting the war, Rhythm and Blues, Motown, musicals, and the Beatles. In 1969, Woodstock was attended by 300,000.  A three day even for peace, love and rock took place. Performers included Janis Joplin, Sly and the Family Stone,  The Who , The Grateful Dead, Jefferson Airplane ……………
 
The 1960’s Begin: 
 
 
07.01.   BRITISH POP AND ROCK  IN THE EARLY 1960s  
 
          British rock describes a wide variety of forms of music made in the United Kingdom. Since around 1964, with the “British Invasion” of the United States spearheaded by The Beatles, British rock music has had a considerable impact on the development of American music and rock music across the world. British rock has produced many of the most significant groups and performers in rock music internationally, and has initiated or significantly developed many of the most influential sub-genres, including beat music, progressive rock, heavy metal music, punk, post punk, new romanticism, and indie rock.
 
 
CLIFF RICHARD & THE SHADOWS –  THE YOUNG ONES  (1960)
THE SHADOWS – FBI   (1961)
TONY SHERIDAN & THE BEATLES  –  HAMBURG / (ROLL OVER BEETHOVEN) (1961)
TONY SHERIDAN & THE BEATLES  –  AIN’T SHE SWEET  (1961)
TONY SHERIDAN & THE BEATLES  – MY BONNIE   (1961)
TONY SHERIDAN & THE BEATLES  –  KANSAS CITY   (1962)
TONY SHERIDAN & THE BEATLES  –  SWEET GEORGIA BROWN  (1962)
TONY SHERIDAN & THE BEATLES  – RUBY BABY  (1962)
 
07.02.  THE BEATLES’ STORY
      
       Beatlemania is a term that originated during the 1960s to describe the intense fan frenzy directed toward The Beatles during the early years of their success, particularly by teenage girls. The word is a portmanteau of “Beatles” and “mania“.  Andi Lothian, a former Scottish music promoter, claims that he coined the term while speaking to a reporter at the Caird Hall Beatles concert that took place as part of the Beatles Mini-Tour of Scotland, on 7 October 1963,
 
      
THE BEATLES  –  SOME OTHER GUY  (1962)
THE BEATLES  –  LOVE ME DO  (1962)
THE BEATLES  –  PLEASE, PLEASE ME (1962)
THE BEATLES  –  SHE LOVES YOU (1963)
THE BEATLES  –  I WANNA BE YOUR MAN   (1963)
THE BEATLES  –  TILL THERE WAS YOU  (1963)
THE BEATLES  –  BABY IT’S YOU  (1963)
THE BEATLES  –  I SAW HER STANDING THERE (1963)
THE BEATLES  – TWIST AND SHOUT (1963)
THE BEATLES  –  FROM ME TO YOU  (1964)
THE BEATLES  –  LONG TALL  SALLY   (1964)
THE BEATLES  –  ROLL OVER BEETHOVEN   (1964)
THE BEATLES  –  ROCK AND ROLL  MUSIC   (1964)
THE BEATLES  –  KANSAS CITY  Hey! Hey! Hey  (1964)
THE BEATLES  –  LONG TALL SALLY   (1964)
THE BEATLES  –  I WANT TO HOLD YOUR HAND (1964)
THE BEATLES  –  AND I LOVE HER (1964)
THE BEATLES  –  I’M HAPPY JUST TO DANCE WITH YOU (1964)
THE BEATLES  – TWIST AND SHOUT  (1965) – Shea Stadium
THE BEATLES  –  I FILE FINE  (1965) – Shea Stadium
THE BEATLES  –  IN MY LIFE   (1965)
THE BEATLES  –  YESTERDAY  (1965)
THE BEATLES  –  Help  (1965)
THE BEATLES  –  Help  (1965)  (second version)
THE BEATLES  –  YOU’VE GOT TO HIDE YOUR LOVE AWAY (1965)
THE BEATLES  –  YOU’RE GONNA LOSE THAT GIRL  (1965)
THE BEATLES  –  I NEED YOU  (1965)
THE BEATLES  –  MICHELLE    (1965)
THE BEATLES  –  DIZZY MISS LIZZY  (1965)
THE BEATLES  –  PAPERBACK WRITER  (1966)
THE BEATLES  –  ELEANOR RIGBY  (1966)
THE BEATLES  –  HELLO GOODBYE  (1967)
THE BEATLES  –  ALL YOU NEED IS LOVE  (1967)
THE BEATLES  –  Fool  On The Hill  (1967)
THE BEATLES  –  Strawberry Fields Forever  (1967)
THE BEATLES  –  I Am The Walrus  (1967)
THE BEATLES  –  YOUR MOTHER SHOULD KNOW  (1967)
THE BEATLES  –  Day in the Life  (1967)
THE BEATLES  –  HEY JUDE  (1968)
THE BEATLES  –  REVOLUTION  (1968)
THE BEATLES  – LADY MADONNA  (1968)
THE BEATLES  – CRY  BABY CRY  ( 1968)
THE BEATLES  –  HAPPINESS IS A WARM GUN (1968)
THE BEATLES  –  Hey bulldog   (1969)
THE BEATLES  –  Across the Universe (1969)
THE BEATLES  –  Don’t Let Me Down   (1969)
THE BEATLES  –  For You Blue  (1969)
THE BEATLES  –  I Me Mine   (1969)
THE BEATLES  –  Dig It   (1969)
THE BEATLES  –  Get Back   (1969)  – Apple Studio
THE BEATLES  –  Get Back  (1969)  – Rooftop Performance
THE BEATLES  –  Let it be   (1970)
THE BEATLES  –  The Long and Winding Road  (1970)
THE BEATLES  –  Two of us   (1970)
THE BEATLES  –  Something  (1970)
THE BEATLES  –  The end  (1970)
THE POST – BEATLES ERA
1972
The Beatles win the National Academy of Recording Arts and Sciences Trustee Award.
1973
Rumors begin that the Beatles had reformed in secret under the name Klaatu.
April – the double LP compilations 1962-1966 and 1967-1970 are released, reaching US #1 &2 and UK #2 & 3.
1976
January 5 – former Beatles road manager/bodyguard Mal Evans is shot to death by Los Angeles police at the age of 40. After Evans locked himself in a room of their apartment with a loaded shotgun, his girlfriend frantically called the police. When they burst into his room he pointed the gun at them and was shot on site. Evans worked with the Beatles almost from the beginning and was one of the 5 magicians in the film “Magical Mystery Tour”.
January 26 – six years after the group has disbanded, their nine-year contract with EMI expires. EMI immediately begins to sort through the 400+ hours of recordings in the Abbey Road vaults for a compilation called Sessions which eventually becomes the Antholgy project. EMI also assigns a task force to repackage previously released material.
March – the single “Yesterday/I Should Have Known Better” is released in the UK, 11 years after the US release. It reaches #8; along with these re-releases: “Hey Jude” (#12), “Paperback Writer” (#23), “Get Back” (#28), “Strawberry Fields Forever” (#32), and “Help!” (#37).
April 24 – Lorne Michaels, producer of ‘Saturday Night Live’, makes an on-air offer of $3000 to the Beatles to reunite on the show (after getting no response, he offered $3200 on May 22). Paul later comments that he was with John at that time and they almost took a cab to the studio, but changed their minds at the last minute.
June – the double LP compilation Rock N’ Roll Music is released in the UK and US, reaching the top 20. The single “Got To Get You Into My Life” is issued in the US and hits #19.
August 23 – three years after rumors that the Beatles had secretly reunited as ‘Klaatu’, an album in a plain sleeve with a sun on the cover is released by a band of the same name. There are no credits or notes on the record. The music closely resembles music from the Sgt. Pepper era. People claim that more than 150 clues exist that it is in fact the Beatles – ranging from voice tests to obscure film references from the past. Ultimately, it is revealed that the album was made by 4 Canadian session players.
1977
May – Live at the Hollywood Bowl is released world-wide, reaching #1 in the US and UK. The tape of the 1965 concert was previously unreleased.
1978
February – in an interview with ‘Gig’ magazine, session drummer Bernard Purdie claims to have played on 21 tracks on the Beatles first three albums, adding that he was paid by Brian Epstein to keep his mouth shut in the amount of “five figures”. He also claims to have played on tracks by the Animals and the Monkees. Also, he claims that guitar overdubs were made on several additional tracks. It is believed that Purdie overdubbed drums on the Atco US Single “Ain’t She Sweet”, and that he may have performed overdubs on other Tony Sheridan recordings which did not feature the Beatles, and was confusing Tony Sheridan and The Beat Brothers with Tony Sheridan and another backing band.
1980
December 8 – John Lennon is shot and killed just outside of his apartment in New York by Mark David Chapman, just hours after signing an album for him.
JOHN LENNON –  Give Peace A Chance  (1969)
THE PLASTIC ONO BAND –  Dizzy Miss Lizzy  (1969)
RINGO STARR  –  Sentimental Journey (1970)
PAUL McCARTNEY  –  Junk  (1970)
JOHN LENNON  – Working Class Hero  (1970)
JOHN LENNON  – Mother  (1970)
JOHN LENNON – Jealous Guy  (1971)
JOHN LENNON – Oh My  Love  (1971)
JOHN LENNON  – Imagine   (1971)
RINGO STARR  –  It Don’t Come Easy (1971)
RINGO STARR  –  It Don’t Come Easy (1971) (second version)
GEORGE HARRISON – My Sweet Lord  (1971)
GEORGE HARRISON –  While My Guitar Gently  Weeps  (1971)
GEORGE HARISSON  –  Beware Of  Darkness  (1971)
GEORGE HARRISON  –  Here Comes The Sun   (1971)
RINGO STARR  –  It Don’t Come Easy – The Concert for Bangladesh  (1971)
PAUL McCARTNEY & WINGS  –   Uncle Albert ( Admiral Halsey) (1971)
PAUL & LINDA McCARTNEY –  Heart Of The Country  (1971)
PAUL McCARTNEY & WINGS  –   Mary Had A Little Lamb  (1972)
PAUL & LINDA McCARTNEY  –     Bluebird (1973)
PAUL McCARTNEY  & WINGS  –  My Love  (1973)
PAUL McCARTNEY  –  Blackbyrd  (1974)
PAUL McCARTNEY & WINGS  –   Band on the Run – promo (1974)
WINGS  –  Junior’s Farm  (1974)
RINGO STARR  –  Only You  (1974)
PAUL  McCARTNEY & WINGS  –   Band On The Run  (Seattle, WA – June 10th) (1976)
GEORGE HARRISON & PAUL SIMON  –  Here Comes The Sun  (1976)
WINGS  –  MULL OF KINTYRE  (1977)
WINGS  –  MULL OF KINTYRE  ( 2nd version )  (1977)
GEORGE HARRISON  –  BLOW AWAY  (1979)
PAUL McCARTNEY & WINGS  –   Band on the run (1989)
           07.03.  BRITISH BEAT BANDS, BEATLEMANIA AND THE “BRITISH INVASION”
 
       British beat is a rock music genre that developed in the United Kingdom in the early 1960s. Beat music is a fusion of rock and roll, doo wop, skiffle, R&B and soul. The beat movement provided most of the bands responsible for the British invasion of the American pop charts in the period after 1964, and provided the model for many important developments in pop and rock music.
        On 7 February 1964, the CBS Evening News with Walter Cronkite ran a story about The  Beatles’ United States arrival in which the correspondent said “The British Invasion this time      goes by the code name Beatlemania”. Other acts that were part of the “invasion” included
Peter and Gordon, The Animals, Manfred Mann, Petula Clark, Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman’s Hermits, The Rolling Stones, The Troggs,  Donovan ,The Who, The Kinks, and The Dave Clark Five;
 
THE ROLLING STONES  –  I WANNA BE YOUR MAN   (1963)
THE ROLLING STONES –  AROUND AND AROUND  (1964)
THE ROLLING STONES  –  TIME IS ON MY SIDE  (1964)
THE ROLLING STONES  –  YOU BETTER MOVE ON  (1964)
THE ANIMALS – I’M CRYING  (1964)
THE ANIMALS  – HOUSE OF THE RISING SUN (1964)
THE YARDBIRDS  (with Eric Clapton)  –  GOT TO HURRY   (1964)
         THE YARDBIRDS  (with Eric Clapton)  –  I’M A MAN  (1964)
         THE ROLLING STONES – AROUND  & AROUND  (1964)
         THE ROLLING STONES –  OFF THE HOOK   (1964)
         THE ROLLING STONES –  I’M  ALL RIGHT   (1964)
         GERRY & THE PACEMAKERS  –  FERRY CROSS THE MERSEY (1964)
         THE SWINGING BLUE JEANS  –  YOU’RE NO GOOD   (1964)
         PETER & GORDON   –   A WORLD WITHOUT LOVE  (1964)
         BILLY J.KRAMER & THE DAKOTAS –  LITTLE CHILDERN  (1964)
         DAVE CLARK FIVE  –  BITS AND PIECES (1964)
         THE SEARCHERS  –  NEEDLES AND PINS   (1964)
         THE SEARCHERS  –  LOVE POTION #9  (1964)
         THE HOLLIES – JUST ONE LOOK  (1964)
         THE REMO FOUR  –  PETER GUNN THEME (1965)
         THE ROLLING STONES –  OH BABY (We Got a Good Thing Goin’) (1965)
         THE ROLLING STONES  –  THE LAST TIME   (1965)
         THE ROLLING STONES  –  MERCY MERCY   (1965)
         THE ROLLING STONES  –  GOOD TIMES   (1965)
         THE ROLLING STONES  –  DOWN THE ROAD APIECE  (1965)
         THE ROLLING STONES –  EVERYBODY NEEDS SOMEBODY TO LOVE  (1965)
         HERMAN’S HERMITS –  JUST A LITTLE BIT BETTER (1965)
         THE KINKS  –  A WELL RESPECTED MAN  (1965)
         CANNIBAL & THE HEADHUNTERS  – LAND OF 1000 DANCES (1965)
         THE WHO –  MY GENERATION  (1965)
         DAVE DEE ,DOZY, BEAKY, MICK & TICH  –  HOLD TIGHT  (1965)
         THE ANIMALS – DON’T LET ME BE MISUNDERSTOOD (1965)
         THE YARDBIRDS  (with Jeff Beck )  –  FOR YOUR LOVE  (1965)
         THE YARDBIRDS  (with Jeff Beck )  –  I’M A MAN  (1965)
         SPENCER DAVIS GROUP – KEEP ON RUNNING  (1965)
         THE ROLLING STONES – LADY JANE  (1966)
         THE TROGGS  –  WITH A GIRL LIKE YOU  (1966)
         THE ANIMALS  – WE GOTTA GET OUT OF THIS PLACE (1966)
         THE YARDBIRDS  (with Jeff Beck )  –  TRAIN KEPT A ROLLIN’  (1966)
         THE ROLLING STONES – ( I CAN’T GET NO )  SATISFACTION  (1966)
         THE ROLLING STONES – PAINT IT BLACK  (1966)
         THE WHO – HAPPY JACK   (1966)
         DAVID GARRICK  –  DEAR MRS APPLEBEE  (1966)
         HERMAN’S HERMITS  –  JEZABEL   (1966)
         HERMAN’S HERMITS  –  NO MILK TODAY  (1966)
         THE WHO – SUBSTITUTE  (1966)
         THE KINKS  –  SUNNY AFTERNOON  (1966)
         THE SPENCER DAVIS GROUP  –  SOMEBODY HELP ME (1966)
         THE SPENCER DAVIS GROUP  –  KEEP ON RUNNING  (1966)
         THE SPENCER DAVIS GROUP  –  I’M A MAN  ( 1966)
         THE SPENCER DAVIS GROUP  –  GIMME SOME LOVIN’  (1966)
         THE SPENCER DAVIS GROUP  –  WHEN I COME HOME  (1966)
07.04.  BRITISH BLUES BOOM  ( late 1950s and early 1960s )
         In parallel with beat music, in the late 1950s and early 1960s a British blues scene was developing recreating the sounds of American R&B and later particularly the sounds of bluesmen Robert Johnson, Howlin’ Wolf and Muddy Waters. Initially led by purist blues followers such as Alexis Korner and Cyril Davies, it reached its height of mainstream popularity in the 1960s, when it developed a distinctive and influential style dominated by electric guitar and made international stars of several proponents of the genre including The Rolling Stones, The Yard birds, Eric Clapton, Fleetwood Mac and Led Zeppelin. A number of these moved through Blues-rock to different forms of rock music, with increasing emphasis on technical virtuosity and improvisational skills. As a result British blues helped to form many of the sub-genres of rock, including psychedelic rock and heavy metal music. Since then direct interest in the blues in Britain has declined, but many of the key performers have returned to it in recent years, new acts have emerged and there have been a renewed interest in the genre.
THE ROLLING STONES  –  LITTLE RED ROOSTER   (1964)
THE YARDBIRDS  (with Eric Clapton)  –  I WISH YOU WOULD (1964)
FLEETWOOD MAC  –  MY HEART BEAT LIKE A HAMMER  (1968)
 
 
07.05.    AMERICAN POP AND ROCK IN THE EARLY 1960s
 
          The British Invasion helped internationalize the production of rock and roll, opening the door for subsequent British (and Irish) performers to achieve international success.
           In America it arguably spelled the end of instrumental surf music, vocal girl groups and  the teen idols, that had dominated the American charts in the late 1950s and 60s. It dented the careers of established R&B acts like Fats Domino and Chubby Checker and even temporarily derailed the chart success of surviving rock and roll acts, including Elvis.
          The British Invasion also played a major part in the rise of a distinct genre of rock music, and cemented the primacy of the rock group, based on guitars and drums and producing their own material as singer-songwriters.
            During the 1960s, pychedelic rock dominated the later half of the decade with bands such as The Doors, Janis Joplin, Jefferson Airplane, and The Jimi Hendrix Experience obtaining success. Other artists to achieve success included folk rocker Bob Dylan, surf rock band The Beach Boys, and southern rock band Creedence Clearwater Revival.
 
 
ROY ORBISON  –  ONLY THE LONLEY  (1960)
ROY ORBISON  –  Running Scared    (1961)
RICKY NELSON  –  Hello, Mary Lou  (1961)
RICKY NELSON  –  Traveling Man   (1961)
ELVIS PRESLEY  – CAN’T HELP FALLING IN LOVE  (1961)
PAUL  &  PAULA  – HEY PAULA   (1962)
BRIAN HYLAND  – SEALED WITH A KISS   (1962)
RICKY NELSON  –  YOUNG WORLD  (1962)
RICKY NELSON  –  IT’S UP TO YOU  (1962)
RICKY NELSON  –  I WILL FOLLOW YOU  (1963)
TRINI LOPEZ  –  AMERICA  (1963)
ROY ORBISON  –  OH, PRETTY WOMAN (1964)
THE BARBARIANS  –  HEY LITTLE BIRD   (1964)
 
 
07.06.  SURF MUSIC
         Surf music is a genre of popular music associated with surf culture, particularly Orange County and other areas of Southern California. It was particularly popular between 1961 and 1965, has subsequently been revived and was highly influential on subsequent rock music. Although beginning as a purely instrumental form, surf music achieved its greatest commercial success as vocal music. Most associated with this movement were the Beach Boys. Other vocal surf acts followed, including one-hit wonders like Ronny & the Daytonas with “G. T. O.” (1964) and the Rip Chords with “Hey Little Cobra”, which both reached the top ten, but the only other act to achieve sustained success with the formula were Jan & Dean, who had a number 1 hit with “Surf City”.
THE BEACH BOYS  –  SURFIN’ SAFARI   (1962)
THE BEACH BOYS  –  WHEN I GROW UP  (To Be A Man) (1964)
THE BEACH BOYS  –  I GET AROUND  (1964)
THE BEACH BOYS –   I GET AROUND  (1964) ( 2nd version)
THE BEACH BOYS  –  SLOOP JOHN B. (1966)
THE BEACH BOYS  –  GOOD VIBRATIONS (1968)
THE BEACH BOYS  –  DO IT AGAIN  (1968)
THE BEACH BOYS  –  I CAN HEAR MUSIC  (1969)
07.07.  FOLK AND COUNTRY ROCK
 
         Folk rock is a musical genre combining elements of folk music and rock music. The genre was pioneered  by the Los Angeles band The Byrds, who began playing traditional folk music and Bob Dylan penned material with rock instrumentation, in a style heavily influenced by The Beatles and other British bands. The term “folk rock” was itself first used by the U.S. music press to describe The Byrds’ music in June 1965, the same month that the band’s debut album was issued. Inspired by British psychedelic folk and the North-American style of folk rock, Pentangle, Fairport, and other related bands began to incorporate elements of traditional British folk music into their repertoire.
BOB DYLAN  – WITH GOD ON OUR SIDE  (1964)
PETER ,PAUL & MARY –  IF I HAD A HAMMER  (1964)
BOB DYLAN –  SUBTERRANEAN HOMESICK BLUES  (1965)
BOB DYLAN –  IT’S ALL OVER NOW, BABY BLUE  (1965)
BOB DYLAN –  MAGGIE’S FARM  (1965)
THE BYRDS  –  MR. TAMBOURINE MAN (1965)
BOB DYLAN  –  Like a Rolling Stone  (1965)
BUFFALO SPRINGFIELD – FOR WHAT IT’S WORTH  (1967)

07.08.  
POP AND ROCK MUSIC AFTER  “BRITISH INVASION”  –  (1965 – 1969)
 
          Some well-established British bands, notably The Rolling Stones, The Who, and The Kinks,  developed their own particular styles and expanded their international fan base during that period.
         During the 1960s, pychedelic rock dominated the later half of the decade with bands such as The Doors, Janis Joplin, Jefferson Airplane, and The Jimi Hendrix Experience obtaining success. Other artists to achieve success included folk rocker Bob Dylan, surf rock band The Beach Boys, and southern rock band Creedence Clearwater Revival.
       
SONNY & CHER – I GOT YOU BABE   (1965)
THE RIGHTEOUS BROTHERS –  YOU`VE LOST THAT LOVING FEELING (1965)
DONNA LOREN  –  SHAKIN’ ALL  OVER   (1965)
THE MAMAS & THE PAPAS – CALIFORNIA DREAMIN’  (1966)
THE MAMAS & THE PAPAS – MONDAY,MONDAY  (1966)
THE MONKEES  –  Last Train To Clarksville  (1966)
THE MONKEES  –  I’m A Believer  (1966)
THE MONKEES  – Tomorrows Gonna Be Another Day  (1966)
SONNY & CHER  –  LITTLE MAN (1966)
THE BEE GEES  –  Spicks & Specks (1966)
TIM ROSE –  HEY JOE   (1966)
SIMON & GARFUNKEL –  FOR EMILY , WHENEVER I MAY FIND HER  (1966)
PETER ,PAUL & MARY  –  EARLY MORNING RAIN  (1966)
THE EASYBEATS  –  Friday On My Mind   (1966)
THE TROGGS  –  Wild Thing  (1966)
THE WHO – I’m a Boy  (1966)
THE YARDBIRDS  –  Happenings Ten Years Time Ago  (1966)
SIMON & GARFUNKEL – SOUND OF SILENCE  (1967)
SIMON & GARFUNKEL  – HOMEWARD BOUND (1967)
THE MAMAS & THE PAPAS  – CREEQUE ALLEY  (1967)
THE DOORS –  PEOPLE ARE STRANGE (1967)
SCOTT McKENZIE  –  SAN FRANCISCO  (1967)
THE BOX TOPS   –  THE LETTER   (1967)
THE TURTLES  –  HAPPY TOGETHER (1967)
THE MAMAS & THE PAPAS  – CREEQUE ALLEY  (1967)
LOVIN’ SPOONFUL – SUMMER IN THE CITY   (1966)
SMALL FACES  –  TIN SOLDIER  (1967)
CREAM  –  STRANGE BREW  (1967)
THE SPENCER DAVIS GROUP  –  THIS HAMMER   (1967)
THE SPENCER DAVIS GROUP  –  DUST MY BLUES  (1967)
ERIC BURDON & THE NEW ANIMALS  –  Tabacco Road (1967)
ERIC BURDON & THE NEW ANIMALS  –  Roadrunner (1967)
ERIC BURDON & THE NEW ANIMALS  –  C.C. Rider (1967)
THE SMOKE  –  My Friend Jack  (1967)
THE KINKS  –  WATERLOO SUNSET  (1967)
DAVE DAVIES  –  DEATH OF A CLOWN  ( 1967)
THE MONKEES  –  Sometime in the Morning (1967)
THE MONKEES  –  A Little Bit Me, a Little Bit You  (1967)
THE MONKEES  –  Daydream Believer (1967)
THE MONKEES  –  Pleasant Valley Sunday  (1967)
DAVID BOWIE  –  RUBBER BAND  (1967)
DAVID BOWIE  –  LET ME SLEEP BESIDE YOU  (1967)
DAVID BOWIE  –  WHEN I LIVE MY DREAM  (1967)
DAVID McWILLIAMS  –  THE DAYS OF PEARLY SPENCER (1967)
BEE GEES – HOLIDAY  (1967)
BEE GEES  – MASSACHUSETTS  (1967)
CAT STEVENS    –  Matthew & Son  (1967)
SIMON & GARFUNKEL  –  Overs (1967)
SIMON & GARFUNKEL  –  A Hazy Shade Of Winter  (1967)
THE BEE GEES  –  New York Mining Disaster 1941  (1967)
THE BEE GEES  –  Lonely Days  (1967)
THE TREMELOES  –  Silence Is Golden  (1967)
PROCOL HARUM – A WHITER SHADE OF PALE  (1967)
PROCOL HARUM – HOMBURG  (1967)
THE MOODY BLUES – NIGHTS IN WHITE SATIN  (1967)
THE ROLLING STONES – RUBY TUESDAY ( 1967)
ERIC BURDON & THE NEW ANIMALS  –  When I Was Young  (1967)
DUSTY SPRINGFIELD  –  TWO BROTHERS (1967)
DUSTY SPRINGFIELD –  IF YOU GO AWAY (1967)
LONG JOHN BALDRY –  LET THE HEARTACHE BEGIN  (1967)
GENE PITNEY  –  SOMETHING’S GOTTEN HOLD OF MY HEART (1967)
GENE PITNEY  –  SOMEWHERE IN THE COUNTRY  (1968)
MARY HOPKINS  – THOSE WERE THE DAYS  (1968)
APHRODITE’S CHILD  – RAIN AND TEARS   (1968)
TROGGS – LOVE IS ALL AROUND (1968)
SIMON & GARFUNKEL  –  Mrs.Robinson  (1968)
THE MARMELADE – OB-LA-DI  OB-LA-DA  (1968)
BEE GEES –  I’VE GOTTA GET A MESSAGE TO YOU  (1968)
BEE GEES  –  WORDS   (1968)
DONOVAN – THE LULLABY OF SPRING (1968)
THE MANFRED MANN –  HA! HA! SAID THE CLOWN  (1968)
THE KINKS  –  DAYS   (1968)
THE MONKEES  –  Valleri  (1968)
THE MANFRED MANN  –   MIGHTY QUINN  (1968)
THE ZOMBIES – Time Of The Season (1968)
THE HERD  –  PARADISE LOST  (1968)
THE HERD  –  I DON’T WANT OUR LOVING TO DIE (1968)
SMALL FACES  –  HAPPINESS STAN  (1968)
SMALL FACES  –  SONG OF A BAKER  (1968)
SMALL FACES  –  LAZY SUNDAY  (1968)
THE EQUALS – BABY COME BACK (1968)
DOORS  – Gloria (1968)
DEEP PURPLE – HUSH  (1968)
THE ROLLING STONES –  NO EXPECTATIONS  (1968)
THE ROLLING STONES – SYMPATHY FOR THE DEVIL  (1968)
JEFFERSON AIRPLANE –   MARTHA  (1968)
CHICAGO TRANSIT AUTHORITY – I’M A MAN (1968)
JOE COCKER  – WITH A LITTLE HELP FROM MY FRIENDS (1968)
DEEP PURPLE  –  HELP   (1968)
HUMBLE PIE –  NATURAL BORN BOOGIE  (1968)
JETHRO TULL  – SONG FOR JEFFREY (1968)
THE VENTURES –  Hawaii Five-O  (1969)
DONOVAN  –  ATLANTIS (1969)
THE BEE GEES  –  Tomorrow Tomorrow  (1969)
THE ROLLING STONES – UNDER MY THUMB  (1969) – Altamont
MURRAY HEAD  –  SUPERSTAR  (1969)
THREE DOG NIGHTS  –  EASY TO BE HARD (1969)
FLEETWOOD MAC – ALBATROSS  (1969)
FLEETWOOD MAC – MAN OF THE WORLD (1969)
THE ROLLING STONES – LOVE IN VAIN  (1969)
THE ROLLING STONES –  UNDER MY THUMB & I’M FREE (1969)  – Madison Sq.Garden
THE ROLLING STONES –  (I Can’t Get No) SATISFACTION (1969)  –  Madison Sq. Garden
THE ROLLING STONES  – GIMME SHELTER   (1969)
THE ROLLING STONES  – HONKY TONK WOMAN  (1969)
THE ROLLING STONES – LOVE IN VAIN  (1969) –  Hyde park
THE ROLLING STONES – SYMPATHY FOR THE DEVIL  (1969) – Hyde park
THE ROLLING STONES – JUMPIN’ JACK FLASH (1969)
THE ROLLING STONES  – SYMPATHY FOR THE DEVIL  (cover)  (1969)
TEN YEARS AFTER  –  Good Morning Little School Girl  (1969)
HUMBLE PIE  – ALABAMA  ’69  (1969)
DAVID BOWIE –  SPACE ODDITY   (1969)
DAVID BOWIE –  SPACE ODDITY  ( 2nd version)  (1969)
THE HOLLIES – HE AIN’T HEAVY HE’S MY BROTHER (1969)
IKE & TINA TURNER – I’VE BEEN LOVING YOU TOO LONG  (1969)
TOMMY JAMES & THE SHONDELLS – CRIMSON AND CLOVER  (1969)
LEONARD COHEN  – THE PARTISAN  (1969)
CREEDENCE CLEARWATER REVIVAL  –  PROUD MARY   (1969)
CREEDENCE CLEARWATER REVIVAL  –  COMMOTION  (1969)
CREEDENCE CLEARWATER REVIVAL  –  Bootleg  (1969)
CREEDENCE CLEARWATER REVIVAL  –  Green river   (1969)
CREEDENCE CLEARWATER REVIVAL  –  NIGHT TIME IS THE RIGHT TIME (1969)
CREEDENCE CLEARWATER REVIVAL –   DOWN ON THE CORNER  (1969)
 07.09.  BLUES ROCK AND HARD ROCK IN THE 1960s 
 
         Blues-rock is a hybrid musical genre combining bluesy improvisations over the 12-bar blues and extended boogie jams with rock and roll styles. The style began to develop in the mid-1960s in England and the United States, While the early blues-rock bands “attempted to play long, involved improvisations which were commonplace on jazz records”, by the 1970s, blues rock got heavier and more riff-based. By the “early ’70s, the lines between blues-rock and hard rock were barely visible”
 
LED ZEPPELIN  – Travelling Reverside Blues  (1969)
JEFFERSON AIRPLANE  –  Uncle Sam Blues  (1969)
PAUL BUTTERFIELD –  EVERYTHING’S GONNA BE ALRIGHT (1969)
 
 
 
         Hard rock (or heavy rock) is a loosely defined genre of rock music which has its earliest roots in mid-1960s garage, blues rock and psychedelic rock. It is typified by a heavy use of distorted electric guitars, bass guitar, drums, and sometimes pianos and keyboards. One of the major influences of hard rock is blues music. American and British rock bands began to modify rock and roll, adding to the standard genre harder sounds, heavier guitar riffs, bombastic drumming and louder vocals. This sound created the basis for hard rock. Hard rock emerged with groups of the late-1960s, such as The Who, Deep Purple, Iron Butterfly, Blue Cheer, Vanilla Fudge, and Led Zeppelin who mixed the music of early rock bands with a more hard-edged form of blues rock and acid rock.
        Later, Jimi Hendrix produced a form of blues-influenced psychedelic rock, which combined elements of jazz, blues and rock and roll. He was one of the first guitarists to experiment with new guitar effects like phasing, feedback and distortion, after guitarists such as Link Wray, Dave Davies of the Kinks, Pete Townshend of The Who, Eric Clapton of Cream and Jeff Beck of The Yard birds.
 
 
THE KINKS  –  YOU REALLY GOT ME  (1964)
CREAM  –  SUNSHINE OF YOUR LOVE (1967)
CREAM  –  WHITE ROOM   (1968)
STEPPENWOLF  – BORN TO BE WILD (1968)
VANILLA FUDGE  – YOU KEEP ME HANGIN’ ON  (1968)
BLIND FAITH – UNDER MY THUMB  (1969)
BLIND FAITH  –  DO WHAT YOU LIKE  (1969)
FLEETWOOD MAC – OH WELL  (1969)
THE  DOORS – WILD CHILD  (1969)
JANIS JOPLIN – SUMMERTIME (1969)
JANIS JOPLIN – SUMMERTIME (1969) – Stockholm
07.10.  FUSION OF DIFFERENT ROCK  STYLES  ( psychedelic rock, acid rock , blues, country-western, bluegrass, country- rock, and improvisational jazz )
 
 
           Psychedelic rock evolved in the 60s as an offshoot of the rock and roll movement combining elements of pop,rock, electronic music, eastern influences – particularly sitars, and other diverse elements. Inspired by the use of mind altering drugs like cannabis, mescaline, psilocybin, and especially LSD, psychedelic rock broke with traditional rock and laid the roots for Krautrock and experimental rock genres of the seventies and eighties.  Psychedelic rock bridged the transition from early blues- and folk music-based rock to progressive rock, glam rock, hard rock and as a result influenced the development of sub-genres such as heavy metal.
           Psychedelic pop is a musical style inspired by the harder, louder songs of psychedelic rock but applied more to a pop music setting.
          Psychedelic music could be interpreted as simply a “surreal and dreamy feeling” in a particular song, instead of a specific genre with rules to follow. In some cases, this simply requires writing one coherent song, then to experiment recording that song in the studio while under “psychedelic influence”, yielding very surreal musical results.
         During the 1960s, pychedelic rock dominated the later half of the decade with bands such as  Pink Floyd , Traffic ,The Doors, Janis Joplin, Jefferson Airplane, and The Jimi Hendrix Experience obtaining success. Since the late 1970s it has been revived in various forms of neo-psychedelia.. Particularly prominent products of the scene were The Grateful Dead, Country Joe and the Fish, The Great Society, Big Brother and the Holding Company, The Charlatans, Moby Grape, Quicksilver Messenger Service and  Jefferson Airplane.
          Acid rock is a form of psychedelic rock, which is characterized with long instrumental solos, few (if any) lyrics and musical improvisation. Tom Wolfe describes the LSD-influenced music of The Jimi Hendrix Experience, Pink Floyd, The Doors, Iron Butterfly, Big Brother & The Holding Company, Cream, The Velvet Underground, Jefferson Airplane, Ultimate Spinach, New Riders of the Purple Sage, Blue Cheer, Quicksilver Messenger Service, The Great Society, Stone Garden and the Grateful Dead as “acid rock” in his book about Ken Kesey and the Acid Tests, The Electric Kool-Aid Acid Test.
JEFFERSON AIRPLANE  –  It’s No Secret  (1966)
PINK FLOYD  –  Arnold Layne  (1967)
PINK FLOYD  –  The Scarecrow  (1967)
PINK FLOYD   –  See  Emily  Play   (1967)
THE TROGGS – Night of the long grass (1967)
EPISODE SIX  –  Morning Dew  (1967)
EPISODE SIX  –  I hear Trumpets Blow   (1967)
JEFFERSON AIRPLANE – White Rabbit   ( 1967)
JIMI HENDRIX  –   Are You  Experienced  (1967)
THE BEATLES  –  I AM THE WALRUS  (1967)
THE BEATLES  – BLUE JAY WAY  (1967)
TRAFFIC – HOLE IN MY SHOE   (1967)
THE ROLLING STONES – WE LOVE YOU  (1967)
THE ROLLING STONES –  2000 LIGHT YEARS FROM HOME  (1967)
PINK FLOYD   –  INTERSTELLAR OVERDRIVE  (1967)
THE DOORS – THE CRYSTAL SHIP   (1967)
TRAFFIC  –  PAPER SUN  (1967)
ERIC BURDON & THE NEW ANIMALS  –  Hey Gyp (Dig the Slowness) (1967)
ERIC BURDON & THE NEW ANIMALS  –  San Franciscan Nights  (1967)
JANIS JOPLIN  –  BALL AND CHAIN  (1967)
STATUS QUO  –  PICTURES OF MATCHSTICK MEN  (1968)
PINK FLOYD  –  SET THE CONTROLS FOR THE HEART OF THE SUN  (1968)
PINK FLOYD  –  CAREFUL WITH THAT AXE, EUGENE  (1968)
STEVE MILLER BAND  – Sittin’ In Circles  (1968)
STEVE MILLER BAND  – Roll With It  (1968)
JEFFERSON AIRPLANE  –  Lather  (1968)
QUICKSILVER MESSENGER SERVICE – Dino’s Song  (1968)
JEFFERSON AIRPLANE   –  Greasy Heart  (1968)
JEFFERSON AIRPLANE  –  Instrumental  (1968)
GREATFUL DEAD  –  New Potato Caboose  (1968)
JIMI HENDRIX  –  ARE YOU EXPERIENCED   (Promo)
JIMI HENDRIX  –  VOODOO CHILD  (Psychedelic Promo)
JEFFERSON AIRPLANE – CROWN OF CREATION (1968)
JEFFERSON AIRPLANE  –  Uncle Sam Blues  (1969)
QUIKSILVER MESSENGER SERVICE  – Baby Baby  (1969)
QUIKSILVER MESSENGER SERVICE  – Mona  (1969)
JEFFERSON AIRPLANE  – WE CAN BE TOGETHER (1969) – Altamont
JEFFERSON AIRPLANE  – THE OTHER SIDE OF THIS LIFE (1969) – Altamont
JIMI HENDRIX  –  Star Spangled Banner (1969)
THE GRATEFUL DEAD  –  HARD TO HANDLE  (1970)
THE GRATEFUL DEAD  –  CHINA CAT  SUNFLOWER  ( I Know You Rider) (1970)
JANIS JOPLIN  – MOVE OVER   (1970)
JANIS JOPLIN – Kosmic Blues  (1970)
HOT TUNA  –  UNCLE SAM BLUES  (1971)
QUICKSILVER MESSENGER SERVICE  –  FRESH AIR  (1971)
QUICKSILVER MESSENGER SERVICE  –  MOJO   (1971)
BOZ SCAGGS  – MAKE MY LIGHT SHINE  (1971)
THE GRATEFUL DEAD  –  HARD TO HANDLE  (1970) – Calgary
THE GRATEFUL DEAD  –  NEW SPEEDWAY BOOGIE (1970) – Calgary
THE GRATEFUL DEAD  –  ME AND BOBBY McGEE   (1972)
THE GRATEFUL DEAD  –  UNCLE JOHN’S BAND  (1977)
THE GRATEFUL DEAD  –  SUGAREE   (1977)
THE GRATEFUL DEAD  –  IT’S ALL OVER NOW  (1978)
 
07.11.  THE JIMI HENDRIX STORY
 
        Jimi Hendrix is often considered to be the greatest electric guitarist in the history of rock music. After initial success in Europe, he achieved fame in the United States following his 1967 performance at the Monterey Pop Festival. Later, Hendrix headlined the iconic 1969 Woodstock Festival and the 1970 Isle of Wight Festival. Hendrix often favored raw overdriven amplifiers with high gain and treble and helped develop the previously undesirable technique of guitar amplifier feedback. Hendrix was one of the musicians who popularized the wah-wah pedal in mainstream rock which he often used to deliver an exaggerated pitch in his solos, particularly with high bends and use of legato. He was influenced by blues artists such as B.B. King, Muddy Waters, Howlin’ Wolf, Albert King, and Elmore James, rhythm and blues and soul guitarists Curtis Mayfield, Steve Cropper, as well as by funk and some modern jazz.
       Hendrix synthesized many styles – hard rock, blues-rock, acid rock, psychedelic rock, funk rock and  blues, in creating his musical voice and his guitar style was unique.
       Hendrix won many of the most prestigious rock music awards in his lifetime, and has been posthumously awarded many more, including being inducted into the US Rock and Roll Hall of Fame in 1992 and the UK Music Hall of Fame in 2005. Hendrix was ranked number 3 on VH1’s 100 Greatest Artists of Hard Rock behind Black Sabbath and Led Zeppelin. Hendrix was ranked number 3 on VH1’s list of the 100 Greatest Artists of Rock N’ Roll, behind the Rolling Stones and the Beatles. He has been voted by Rolling Stone, Guitar World, and a number of other magazines and polls as the best electric guitarist of all time. Guitar World‘s readers voted six of Hendrix’s solos among the top “100 Greatest” of all time: “Purple Haze” , “The Star-Spangled Banner” , “Machine Gun” , “Little Wing”, “Voodoo Child (Slight Return)” and “All Along the Watchtower”.
 
 
JIMI HENDRIX  –  Are You  Experienced  (1967)
JIMI HENDRIX  –  Hey Joe   (1967) – Beat club
JMI HENDRIX   –  HEY JOE  (1967)  ( 2nd version )
JIMI HENDRIX  –  PURPLE HAZE   (1967) – Beat club
JIMI HENDRIX  –  JOHNNY B. GOODE  (1967)
JIMI HENDRIX  –  FOXY LADY  (1967)
JIMI HENDRIX  –  HEY JOE  (1967)  – Monterey ,California
JIMI HENDRIX  –  LIKE A ROLLING STONES (1967) – Monterey,California
JIMI HENDRIX   –  Wild Thing  (1968)  – Monterey,California
JIMI HENDRIX  –  HEAR MY TRAIN A  COMIN’ (1969)
JIMI HENDRIX  –  Little Wing   (1969)
JIMI HENDRIX  –  Sunshine of Your Love (1969)
JIMI HENDRIX  –  Voodoo Chile    (1969)
JIMI HENDRIX  –  Machine Gun  (1969)
JIMI HENDRIX  –  Crosstown Traffic  (1969)
JIMI HENDRIX  –  Star Spangled Banner (1969)
JIMI HENDRIX  –  All  Along The  Watchtower  (1970)  – Atlanta
JIMI HENDRIX  –  Dolly Dagger  (1971)
JIMI HENDRIX  –  Bleeding Heart  Valleys Of Neptune
 07.12.   WOODSTOCK  (August 15 to August 18, 1969)
            A three day of  peace, love and music. It is widely regarded as one of the greatest moments in popular music history and was listed on Rolling Stone’s 50 Moments That Changed the History of Rock and Roll.
 
CROSBY, STILLS, NASH & YOUNG  –  WOODSTOCK  (1969)
CROSBY, STILLS, NASH & YOUNG  –  WOODEN SHIPS (1969) – Woodstock
CROSBY, STILLS, NASH & YOUNG  –  4 + 20  (1969)
CANNED HEAT  –  GOING UP THE COUNTRY  (1969)
THUNDERCLAP NEWMAN  –  SOMETHING IN THE AIR  (1969)
ARLO GUTHRIE –  COMING INTO LOS ANGELES   (1969) – Woodstock
MELANIE  –  LAY DOWN  (Candles In The Rain)
EDWIN HAWKINS SINGERS  – OH  HAPPY DAY
TIM HARDIN  – SIMPLE SONG OF FREEDOM
CHICKEN SHACK   –  I’D RATHER GO BLIND
TIM HARDIN  –  If I Were A Carpenter (1969) –  Woodstock
RICHIE HAVENS  –  FREEDOM  / (MOTHERLESS CHILD)  (1969)
JOHN SEBASTIAN –  YOUNGER GENERATION  (1969) – Woodstock
CANNED HEAT  –  A CHANGE IS GONNA COME  (1969)
CANNED  HEAT  –  Leaving This Town  (1969) Woodstock
CREEDENCE CLEARWATER REVIVAL –  I PUT A SPELL ON YOU  (1969) – Woodstock
TEN YEARS AFTER  –  I`m Going Home  (1969)  Woodstock
MOUNTAIN  – SOUTHBOUND TRAIN  (1969)  –  Woodstock
JOHNNY WINTER  –  MEAN TOWN BLUES  (1969)  – Woodstock
JANIS JOPLIN  –  WORK ME LORD   (1969) –  Woodstock
THE WHO  –  PINBALL WIZARD  (1969)
THE WHO  –  SEE ME , FEEL ME  (1969)
PAUL BUTTERFIELD –  EVERYTHING’S GONNA BE ALRIGHT (1969)
SANTANA  –  EVIL WAYS  (1969)  – Woodstock
SANTANA  –  SOUL SACRIFICE  (1969)  – Woodstock
JEFFERSON AIRPLANE  –  WHITE RABBIT   (1969) – Woodstock
JOE COCKER – WITH A LITTLE HELP FROM MY FRIENDS (1969) – Woodstock
JIMI HENDRIX  – VOODOO CHILD  (Slight Return) Stepping Stone  (1969)
JIMI HENDRIX – HEY JOE  (1969)  – Woodstock
JONI MITCHELL  –  WOODSTOCK   (1970)

 

07.13.  BUBBLEGUM POP

 
          Bubblegum pop (also known as bubblegum rock  or simply bubblegum) is a genre of pop music.  Bubblegum’s classic period ran from 1967 to 1972. The second wave of bubblegum started two years later and ran until 1977 when disco took over and punk rock emerged. Among the best-known acts of bubblegum’s golden era are 1910 Fruitgum Company, The Ohio Express and The Archies, an animated group which had the most successful bubblegum song with Sugar, Sugar, Billboard Magazine’s #1 single for 1969. Singer Tommy Roe, arguably, had the most bubblegum hits of any artist during this period.
LEMON PIPERS –  Green Tambourine  (1967)
OHIO EXPRESS – Yummy Yummy Yummy  (1968)
ARCHIES – SUGAR ,SUGAR   (1969)
TOMMY ROE  – DIZZY  (1969)
 07.14.  MAINSTREAM AND GLOBAL SUCCESS IN THE 1960s
 
          Many acts becoming massively successful in the  UK ,United States and globally. Some of the most successful artists, such as  Peter Sarstedt, Tom Jones and  Engelbert Humperdink,  performed their own songs (and in some cases those written by others) in an eclectic variety of styles, in which the presentation of the performance itself became increasingly important.
TOM JONES  –  DELILAH   (1968)
TOM JONES  –  GREEN GREEN GRASS OF HOME
ENGELBERT HUMPERDINK  –  SPANISH EYES
ENGELBERT HUMPERDINK  –  LES  BICYCLETTES DE BELSIZE
ENGELBERT HUMPERDINK  –  PLEASE RELEASE ME
PETER SARSTEDT – WHERE DO YOU GO TO (My Lovely)   (1969)
JANE BIRKIN  & SERGE  GAINSBOURG  – JE T’AIME … moi non plus  (1969)
ELVIS PRESLEY  –  SUSPICIOUS MINDS  (1970)
ELVIS PRESLEY –  THE WONDER OF YOU   (1970)
ELVIS PRESLEY  – IN THE GHETTO  (1970)
 07.15.   CLASSIC SOUL MUSIC
          Soul music is a music genre originating in the United States combining elements of gospel music and rhythm and blues.The genre occasionally uses improvisational additions, twirls and auxiliary sounds. Catchy rhythms, stressed by handclaps and plastic body moves, are an important feature. Other characteristics are  “a call and response” between the soloist and the chorus, and an especially tense vocal sound.
          Subgenres of Soul music : Detroit soul,  Deep soul and southern soul, Memphis soul, New Orleans soul, Chicago soul, Philadelphia soul, Psychedelic soul, Country soul,  Blue-eyed soul and Brown-eyed soul
 07.15.01  DETROIT SOUL  (The Motown Sound)
             is a style of soul music with a distinct pop influence. Among the most important architects of The Motown Sound were the members of Motown’s in-house team of songwriters and record producers, including Motown founder Berry Gordy, William “Smokey” Robinson,Norman Whitfield & Barrett Strong, and the team of Brian Holland, Lamont Dozier and Edward Holland, Jr., collectively known as Holland-Dozier-Holland. Also instrumental to the sound was the work of Motown’s in-house band, The Funk Brothers, who performed the instrumentation on nearly every Motown hit from 1959 to 1971. From 1961 to 1971, Motown had 110 top 10 hits, and artists such as Stevie Wonder, Marvin Gaye,Chris Clark , Diana Ross & The Supremes, The Four Tops, The Temptations ,The Jackson 5, The Velvelettes, The Spinners , The Capitols ,The Foundations , Jr. Walker & the All Stars, Jimmy Ruffin ,The Miracles and Gladys Knight & the Pips.
 
BEN E.KING – STAND BY ME  (1961)
THE SUPREMES  –  WHERE DID OUR LOVE GO   (1964)
MARTHA AND THE VANDELLAS – DANCING IN THE STREET (1965)
THE SUPREMES  –  YOU CAN’T HURRY LOVE   (1966)
MARVIN GAYE  –  TAKE THIS HEART OF MINE  (1966)
THE FOUR TOPS  –  REACH OUT I’ll BE THERE  (1966)
THE FOUR TOPS  –  BABY I NEED YOUR LOVIN’  (1965)
PERCY SLEDGE  – WHEN A MAN LOVES A WOMAN   (1966)
THE TEMPTATION  –  MY GIRL  & (I KNOW ) I’M LOSING YOU   (1967)
THE TEMPTATION  & THE SUPREMES  – (I KNOW ) I’M LOSING YOU  (1967)
 
 07.15.02  SOUTHERN SOUL AND MEMPHIS SOUL
 
           Southern soul is a type of soul music that emerged from the Southern United States and originated from a combination of styles, including blues, country and western, early rock and roll, and a strong gospel influence. The focus of the music was not on its lyrics, but on the “feel” or the groove. This rhythmic force made it a strong influence in the rise of funk music. It has also been tagged deep soul or even country soul. Southern soul is often identified with artists like Professor Longhair, Allen Toussaint, Lee Dorsey, Wilson Pickett, Otis Redding, Aretha Franklin, Joe Tex, James Brown, Isaac Hayes, Carla Thomas, The Staple Singers, Sam and Dave and many others.
         Memphis soul is stylish, funky, uptown soul music that is not as hard edged as Southern soul. The Memphis soul sound was similar to the related Motown Sound from Detroit Michigan. After the rise of disco in the late 1970s, Memphis soul declined somewhat in popularity.
Stax Records, founded in 1957, was a major factor in the creation of the Southern soul and Memphis soul music styles.
JAMES BROWN  –  IT’S A MAN’S MAN’S WORLD (1966)
ISAAC HAYES  –  WALK ON BY   (1969)
SAM AND DAVE  –  I  THANK YOU  (1969)
THE EMOTIONS  –  PEACE BE STILL  (1970)
THE DRAMATICS  –  WHAT YOU SEE IS WHAT YOU GET  (1971)
THE STAPLE SINGERS  –  RESPECT YOURSELF  (1971)
RUFUS THOMAS  – THE BREAKDOWN  (1971)
THE STAPLE SINGERS  –  WE THE PEOPLE   (1971)
THE BAR KAYS   –  SON OF SHAFT   (1971)
JOHNNIE TAYLOR  –  JODY’S GOT YOUR GIRL AND GONE  (1972)
ISAAC HAYES  –  THEME FROM SHAFT  (1971)
STAPLE SINGERS  –  ARE YOU SURE  (1971)
WILSON PICKETT – IN THE MIDNIGHT HOUR   (1971)
WILSON PICKETT – LAND OF A THOUSAND DANCES  (1971)
LITTLE MILTON  –  Walking the Back Streets and Crying  (1972)
JAMES BROWN  –   PAYBACK  (1983)
JAMES BROWN  –  GEORGIA ON MY MIND   (1983)
JAMES BROWN  –  IT’S A MAN’S MAN’S WORLD (1983)

07.15.03  PSYHODELIC SOUL 
 
            is a concept used to categorize music that features elements of psychedelic rock and soul/funk music. This kind of music thrived during the late 1960s and early 1970s.
Psychedelic soul is often connected to artists such as Sly & the Family Stone and Funkadelic. Others, most notably The Temptations and their producer Norman Whitfield, War, The Undisputed Truth, and The 5th Dimension,followed the path laid out by the work of Sly Stone and his band. Psychedelic soul led the way for a harder, less subdued sound to permeate through black music, leading the way for the mainstream funk music of the early 1970s and later, disco.
THE 5th DIMENSION   –  AQUARIUS & LET THE SUN SHINE IN  (1969)
 
10. THE SEVENTIES  (the decade of 1970-1979)
             One of the first events of the 70s was the break up of the Beatles in 1970. However, the seventies were also when many legendary rock bands started, or hit their peak, including Queen, Led Zeppelin, Pink Floyd, Jethro Tull, Lynyrd Skynyrd, AC/DC, Fleetwood Mac, Status Quo, Free, Aerosmith, the Eagles, Black Sabbath, Kiss, Heart, The Who, The Doors, Uriah Heep, and Van Halen, to name a few. The first half of the 1970s saw many jazz musicians from the Miles Davis school achieve cross-over success through jazz-rock fusion. Art rock, progressive rock and  glam rock were also popular. One of the most successful European groups of the decade was the quartet ABBA. The Swedish group, first found fame when they won the 1974 Eurovision Song Contest. To many people, the Seventies will be most remembered for the rise in disco music.The mid-seventies saw the rise of punk music from its protopunk/garage band roots in the 1960s and early 1970s. Towards the end of the decade, Jamaican reggae music, already popular in the Caribbean and Africa since the early 1970s, became very popular in the U.S. and in Europe.
 
08.01  POP AND ROCK MUSIC  
 
            Rock music  or simply rock –  is a loosely defined genre of popular music that developed during and after the 1960s. It has its roots in 1940s and 1950s rock and roll and rockabilly, which themselves evolved from rhythm and blues, country music and other influences. In the late 1960s and early 1970s, rock music developed different subgenres  such as pop rock, soft rock, glam rock, hard rock, heavy metal, progressive rock, and punk rock. When it was blended with folk music it created folk rock, with blues to create blues-rock and with jazz, to create jazz-rock fusion. In the 1970s, rock incorporated influences from soul, funk, and latin music.
    
ELTON JOHN  –  Sixty Years On  (1970)
ELTON JOHN  –  Border Song  (1970)
THE MARMALADE – Reflections of My Life  (1970)
THE MARMALADE –  Rainbow  (1970)
THE DOORS – Albinoni’s Adagio In G Minor  (1970)
JAMES TAYLOR – FIRE AND RAIN   (1970)
CAT STEVENS  – WHERE DO THE CHILDERN PLAY  (1970)
CAT STEVENS  –  FATHER  & SON  (1970)
JIMMY CLIFF  –  Wild World  (1970)
THE CARPENTERS  – (THEY LONG TO BE ) CLOSE TO YOU (1970)
DANA  –  ALL KINDS OF EVERYTHING  (1970)
LYNN ANDERSON – ROSE GARDEN  (1970)
DOWN  – KNOCK THREE TIMES  (1970)
RARE BIRD  – SYMPATHY   (1970)
THE FAMILY DOGG –  SYMPATHY  (1970)
MELANIE – LAY DOWN  (1970)
SHOCKING BLUE – VENUS  (1970)
SHOCKING BLUE – VENUS  ( 2nd version )  (1970)
SHOCKING BLUE –  NEVER MARRY A RAILROAD MAN  (1970)
CREEDENCE CLEARWATER REVIVAL  – Have You Ever Seen The Rain (1970)
CHRISTIE – YELLOW RIVER  (1970)
MUNGO JERRY – IN THE SUMMERTIME  (1970)
CHRISTIE  – San Bernardino  (1970)
IKE & TINA TURNER  –  Honky Tonk Woman  (1970)
SANTANA – BLACK MAGIC WOMAN (1970}
SANTANA – JINGO-LO-BA  (1970)
SANTANA  –  INCIDENT AT       NESHABUR (1970)
SANTANA  –  SAMBA PA TI   1970)
JETHRO TULL  – WITH YOU THERE TO HELP ME   (1970)
HOTLEGS  –  NEANDERTHAL MAN  (1970)
FREE – ALL RIGHT NOW  (1970)
FREE – ALL RIGHT NOW  ( 2nd long version) (1970)
FREE –  MR. BIG  (1970)
FREE  – MR. BIG  (1970)  – ( second version)
FREE  – FIRE AND WATER   (1970)
THE EDGAR BROUGHTON BAND –  APACHE DROP OUT   (1970)
CREEDENCE CLEARWATER REVIVAL – I HEARD IT THROUGH THE GRAPEVINE (1970)
THE DOORS – ROADHOUSE BLUES  (1970)
FLEETWOOD MAC  –  THE GREEN MANALISHI  (1970)
THE WHO – SUMMERTIME BLUES  (1970)
JANIS JOPLIN – CRY BABY  (1970) – Toronto
JOE COCKER      –  THE LETTER   (1970)
JOE COCKER  – CRY ME A RIVER   (1970)
LEON RUSSELL  –  A SONG FOR YOU  (1970)
JONI MITCHELL –   BIG YELLOW TAXI   (1970)
JONI MITCHELL  –  WOODSTOCK   (1970)
THE MOODY BLUES  –  GYPSY   (1970)
KINKS – LOLA  (1970)
GOLDEN EARRING   – BACK HOME  (1970)
JIMI HENDRIX – DOLLY DAGGER   (1970)
EQUALS – BLACK SKINNED BLUE EYED BOY  (1970)
STATUS QUO  –  SPINNING WHEEL BLUES  (1970)
ALICE COOPER  –   I’M EIGHTEEN (1970)
THE GUESS WHO –  AMERICAN  WOMAN  (1970)
CREEDENCE CLEARWATER REVIVAL – LOOKIN’ OUT MY BACK DOOR (1970)
DELANEY & BONNY  feat. ERIC CLAPTON – POOR ELIJAH   (1970)
CREEDENCE CLEARWATER REVIVAL – PAGAN BABY  (1970)
THE BAND – I SHALL BE RELEASED  (1970)
TRAFFIC –  JOHN BARLEYCORN  (1970)
HUMBLE PIE –  FOR YOUR LOVE  (1970)
NEIL YOUNG – JOURNEY THROUGH THE PAST  (1971)
NEIL YOUNG  – A MAN NEEDS A MAID  ( Heart of gold )   (1971)
NEIL YOUNG  –  COWGIRL IN THE SAND  (1971)
NEIL YOUNG – HEART OF GOLD  (1971)
NEIL YOUNG – OLD MAN  (1971)
NEIL YOUNG  – OUT ON THE WEEKEND   (1971)
THE ROLLING STONES – WILD HORSES  (1971)
BOB DYLAN – BLOWIN’ IN THE WIND (1971) – Madison Square Garden NY
CAT STEVENS & ALUN DAVIES –   LADY D’ARBANVILLE  (1971)
CAT STEVENS – LADY D’ARBANVILLE   (1971)
CAT STEVENS – WILD WORLD  (1971)
BADFINGER – Day after day  (1971)
ROD STEWART  –  MAGGIE MAY   (1971)
PENTANGLE  – WILL THE CIRCLE BE UNBROKEN (1971)
MELANIE  –  WHAT HAVE THEY DONE TO MY SONG MA  (1971)
THE CARPENTERS  – (THEY LONG TO BE ) CLOSE TO YOU  (1971)
DR.HOOK  –  SYLVIA’S MOTHER  (1971)
NEIL YOUNG – TELL ME WHY  (1971)
THE MOVE  –  TONIGHT  (1971)
PAUL REVERE  & THE RAIDERS – Indian Reservation  (1971)
REDBONE  –  THE WITCH QUEEN OF NEW ORLEANS  (1971)
FLEETWOOD MAC – DRAGONFLY  (1971)
SANTANA  –  JUNGLE STRUT   (1971)
SANTANA  –  BLACK MAGIC WOMAN & GYPSY QUEEN  1971)
J.J.CALE  –  AFTER MIDNIGHT  (1971)
THE BYRDS  –  CHESTNUT MARE  (1971)
JAMES GANG  –  WALK AWAY  (1971)
CREEDENCE CLEARWATER REVIVAL  –  Sweet Hitch-Hiker  (1971)
PINK FLOYD  –  ONE OF THESE DAYS   (1971)
IRON BUTTERFLY  –  EASY RIDER  (1971)
THE ROLLING STONES  –  BROWN SUGAR  (1971)
THE FACES  –  STAY WITH ME  (1971)
THE DOORS – THE CHANGELING (1971)
JETHRO TULL – LOCOMOTIVE BREATH  (1971)
JETHRO TULL –  LOCOMOTIVE BREATH  ( 2nd version ) (1971)
RICHIE HAVENS  – HERE COMES THE SUN  (1971)
IKE & TINA TURNER  –  Get Back  (1971)
IKE & TINA TURNER – Come  Together  (1971)
IKE & TINA TURNER – PROUD MARY  (1971)
GEORGIE FAME & ALAN PRICE  –  ROSETTA   (1971)
THE OSMONDS    –  GO AWAY LITTLE GIRL   (1971)
DAVE EDMUNDS  –  I Hear You Knocking  (1971)
MIDDLE OF THE ROAD  –  CHIRPY CHIRPY CHEEP CHEEP  (1971)
MIDDLE OF THE ROAD  –  TWEEDLE DEE TWEEDLE DUM  (1971)
MIDDLE OF THE ROAD  –  SOLEY , SOLEY  (1971)
LOS  POP TOPS  –  MAMMY BLUE  (1971)
J.BASTOS  –  LOOP DI LOVE   (1971)
GEORGE BAKER SELECTION  –  NATHALIE   (1971)
THE FORTUNES  – Freedom Come Freedom Go  (1971)
THE TREMELOES  –  Hello Buddy  (1971)
GOLDEN EARRING  –  Buddy Joe  (1972)
CHRISTIE  – Iron Horse  (1972)
THE TREMELOES  –  Blue Suede Tie  (1972)
CHICORY TIP – Son Of My Father Video (1972)
GEORGE BAKER SELECTION  –  MARRIE JEANNE  (1972)
DELIRIUM  –  Jesahel  (1972) – Sanremo
MIDDLE OF THE ROAD  –  SACREMENTO  (1972)
MOUTH & MacNEAL  –  HOW DO YOU DO  (1972)
MOUTH & MacNEAL  –  HELLO-A   (1972)
ELTON JOHN  –  CROCODILE ROCK   (1972)
DAVID BOWIE  –  FIVE YEARS   (1972)
THE OSMONDS – YO YO   (1972)
DONNY OSMOND  –  PUPPY LOVE   (1972)
JIMMY OSMOND   –  LONG HAIRED LOVER FROM LIVERPOOL  (1972)
VICKY LEANDROS  –  Apres toi  (1972)
THE OSMONDS     –  CRAZY HORSES  (1972)
STEVIE WONDER – SUPERSTITION  (1972)
IKE & TINA TURNER  –  I Want to Take You Higher  (1972)
CHUCK BERRY –   MY DING -A-LING   (1972)
10cc  –  DONNA  (1972)
BOB DYLAN  – KNOCKIN’ ON HEAVEN’S DOOR  (1972)
STEALERS WHEEL  –  STUCK IN THE MIDDLE WITH YOU  (1972)
DON McLEAN  –  AMERICAN PIE  (1972)
DON McLEAN – VINCENT (1972)
CAT STEVENS  –  Morning Has Broken (1972)
BOLLAND & BOLLAND – Summer Of 71  (1972)
LOBO –  I’D LOVE YOU TO WANT ME  (1972)
ALBERT HAMMOND  –  IT NEVER RAINS IN SOUTHERN CALIFORNIA  (1972)
SHOCKING BLUE  –  NEVER RELEASE THE ONE YOU LOVE  (1972)
K.KRISTOFFERSON&R.COOLIDGE – HELP ME MAKE IT TROUGHT THE NIGHT (1972)
OLIVIA NEWTON – JOHN  – Banks Of the Ohio (1972)
THE EVERLY BROTHERS – ALL I HAVE TO DO IS DREAM  (1972)
WISHBONE ASH – LEAF AND STREAM  (1972)
JOHN LENNON  –  COLD TURKEY   (1972)
THE ROLLING STONES  – PLUNDERED MY SOUL   (1972)
STATUS QUO  –  ROADHOUSE BLUES (1972)
THIN LIZZY  – WHISKEY IN THE JAR   (1973)
ELECTRIC LIGHT ORCHESTRA  –  SHOW DOWN   (1973)
REDBONE  –  WE WERE ALL WOUNDED  AT WOUNDED KNEE  (1973)
GOLDEN EARRING – RADAR LOVE  (1973)
IKE & TINA TURNER  –  Nutbush City Limited (1973)
MUNGO JERRY – Alright Alright Alright  (1973)
STATUS QUO  –  PAPER PLANE (1973)
BOB MARLEY  –  I SHOT THE SHERIFF   (1973)
BOB MARLEY – STIR IT UP  (1973)
SHARIF DEAN  –  DO YOU LOVE ME   (1973)
DEMIS ROUSSOS  –  FOREVER AND EVER  (1973)
DEMIS ROUSSOS  –  GOODBYE MY LOVE GOODBYE (1973)
DEMIS ROUSSOS  –  MY FRIEND THE WIND  (1973)
DAWN  – TIE A YELLOW RIBBON  (1973)
KEVIN JOHNSON  –  Rock&Roll I Gave You The Best Years Of My life  (1973)
ALBERT HAMMOND  –  THE FREE ELECTRIC BAND   (1973)
THE OSMONDS     –  GOIN’ HOME  (1973)
ELTON JOHN  –  GOODBYE YELLOW BRICK ROAD  (1973)
STEALERS WHEEL  –   STAR   (1973)
THE ROLLING STONES  –  ANGIE  (1973)
JIM CROCE  –  TIME IN A BOTTLE  (1973)
COCNEY REBEL – SEBASTIAN  (1973)
DONNY OSMOND –  PUPPY LOVE  (1974)
MOUTH & MacNEAL  –  I SEE A STAR   (1974)
TERRY JACKS  –  SEASONS IN THE SUN  (1974)
JEANETTE  –  Porque te vas  (1974)
HOT CHOCOLATE – EMMA  (1974)
BILLY SWAN  –  I CAN HELP  (1974)
ELECTRIC LIGHT ORCHESTRA  – CAN’T GET IT OUT OF MY HEAD  (1974)
THREE DOG NIGHTS – THE SHOW MUST GO ON   (1974)
BAD COMPANY – BAD COMPANY (1974)
BAD COMPANY – SEAGULL  (1974)
BAD COMPANY – ROCK STADY  (1974)
CROSBY, STILLS, NASH & YOUNG – HELPLESS (1974)
ERIC CLAPTON – I SHOT THE SHERIFF  (1974)
JOHNNY WINTER – JUMPIN’ JACK FLASH  (1974)
STATUS QUO  –  DOWN DOWN  (1974)
IKE & TINA TURNER  –  Proud Mary  (1974)
IKE & TINA TURNER  –  Baby Get It On  (1975)
TINA TURNER  – THE ACID QUEEN (Underture)  (1975)
ELTON JOHN  –  PINBALL WIZARD  (1975)
ERIC CLAPTON   – EYESIGHT TO THE BLIND  (1975)
THE WHO  – SALLY SIMPSON  (1975)
THE WHO – SEE ME, FEEL ME  (1975)
COCNEY REBEL – MAKE ME SMILE  (1975)
COCNEY REBEL – MAKE ME SMILE ( 2nd version )  (1975)
ROXY MUSIC & BRYAN FERRY –  LOVE IS THE DRUG  (1975)
10cc  –  I’M NOT IN LOVE (1975)
ROD STEWART –  Sailing  (1975)
SMOKIE  –  Don’t Play Your Rock’n’Roll To Me (1975)
NAZARETH  –  LOVE HURTS  (1975)
THE CARPENTERS  –  PLEASE MR.POSTMAN  (1975)
GEORGE BAKER SELECTION  –  PALOMA BLANCA   (1975)
THE BAY CITY ROLLERS  – BYE, BYE, BABY (Baby Goodbye)  (1975)
SIMON  & GARFUNKEL  –  THE BOXER (1975)
BEE GEES –   NEW YORK MINING DISASTER  1941  (1975)
BEE GEES  –  LONLEY DAY  (1975)
ABBA  –  FERNANDO  (1975)
JULIE COVINGTON  –  Don’t Cry for Me Argentina  (1976)
BONNIE TYLER  –  Lost In France  (1976)
AL MARTINO    –  VOLARE   (1976)
SMOKIE – I’LL MEET YOU AT MIDNIGHT  (1976)
ELTON JOHN & KIKI DEE  –   DON’T GO BREAKING MY HEART  (1976)
ERIC CLAPTON – SIGN LANGUAGE  (1976)
ALICE COOPER  –   SCHOOL’S OUT  (1976)  (2nd version)
ALICE COOPER  –   BILLION DOLLAR BABIES  (1976)
CLIMAX BLUES BAND –   COULDN’T GET IT RIGHT   (1976)
WISHBONE ASH – THE KING WILL COME  (1976)
WISHBONE ASH –  PERSEPHONE  (1976)
PETER FRAMPTON  –  Show Me The Way   (1976)
PETER FRAMPTON  –  Show Me The Way   (1976)  2nd version
PAUL McCARTNEY  –  I’ve Just Seen A Face  (1976)
10 cc  –   I’M MANDY FLY ME   (1976)
ELECTRIC LIGHT ORCHESTRA  – TIGHTROPE (1976)
ELECTRIC LIGHT ORCHESTRA  – LIVIN‘ THING   (1976)
BOSTON  –  MORE THEN FEELING  (1976)
THE ROLLING STONES  –  Fool To Cry (1976)
PAUL SIMON  – Fifty ways to leave your lover  (1976)
BRYAN FERRY  –  LET’S STICK TOGETHER  (1976)
NEIL YOUNG & THE BAND – HELPLESS  (1976)
CARLY SIMON  –  YOU’RE SO VAIN  (1976)
HEART –  DREAMBOAT ANNIE  (1976)
OZO  – LISTEN TO THE BUDDHA  (1976)
ELTON JOHN –  SORRY SEEM TO BE THE HARDEST WORD  (1976)
ROD STEWART –  Tonight’s The Night  (1976)
THE ROLLING STONES – WILD HORSES  (1976)
CHICAGO  –  IF YOU LEAVE ME NOW   (1976)
SMOKIE  –  Wild Wild Angels  (1976)
LEO SAYER  –  Let It Be  (1976)
CARLOS SANTANA  –  EUROPA (1976)
BONEY M  –  STILL I’M SAD  (1977)
HOT CHOCOLATE –  PUT YOUR LOVE IN ME  (1977)
KANSAS – DUST IN THE WIND  (1977)
EMERSON LAKE & PALMER  –  LACKY MAN   (1977)
EMERSON LAKE & PALMER  –  C’EST LA VIE   (1977)
LEO SAYER   –  WHEN I NEED YOU     (1977)
SMOKIE  –  NEEDLES AND PINS   (1977)
10 cc  –   THE THINGS WE DO FOR LOVE  (1977)
MINK DEVILLE – SPANISH STROLL  (1977)
LINDA RONSTADT – IT’S SO EASY (1977)
BONNIE TYLER – IT’S A HEARTACHE  (1977)
LINDA RONSTADT – BLUE BAYOU  (1977)
SUPERTRAMP – GIVE A LITTLE BIT (1977)
STATUS QUO  –  ROCKIN ALL OVER THE WORLD (1977)
RAM JAM  –  BLACK BETTY  (1977)
ERIC CLAPTON  –  COCAINE   (1977)
DR. HOOK – WHEN YOU’RE IN LOVE WITH A BEAUTIFUL WOMAN  (1978)
SMOKIE – MEXICAN GIRL  (1978)
FRANKIE MILLER – DARLING  (1978)
SUZI QUATRO & CHRIS NORMAN – STUMBLIN’ IN  (1978)
SUZI  QUATRO  –  IF YOU CAN’T GIVE ME LOVE  (1978)
KATE BUSH  – WUTHERING HEIGHTS  (1978)
MARSHALL HAIN  –  DANCING IN THE CITY  (1978)
EXILE  –   KISS YOU ALL OVER  (1978)
10cc  –  DREADLOCK HOLIDAY   (1978)
10cc  –  DREADLOCK HOLIDAY   (1978)  (second version)
GERRY RAFFERTY – BAKER STREET  (1978)
J.J.CALE – SENSITIVE KIND (1978)
ERIC CLAPTON  –  KNOCKIN’ ON HEAVEN’S DOOR  (1978)
JETHRO TULL – AQUALUNG  (1978) – Madison Square Garden NY
SNIFF ‘N’ THE TEARS – DRIVER’S SEAT  (1978)
DIRE STRAITS – SULTANS OF SWING  (1978)
RAMONES  –  NEEDLES AND PINS  (1978)
ROXY MUSIC & BRYAN FERRY  –  ANGEL EYES  (1979)
ELECTRIC LIGHT ORCHESTRA  –   DON’T BRING ME DOWN  (1979)
STATUS QUO  –  LIVING ON AN ISLAND  (1979)
BARRY DE VORZON – THEME FROM THE WARRIORS  (1979)
GALT MacDERMOT – THE FLESH FAILURES  (Let the Sunshine In) (1979)
CHERYL BARNES  –  EASY TO BE HARD  (1979)  –  Hair (film)
GORDON LIGHTFOOT – If You Could Read My Mind  (1979)
STYX – BOAT ON THE RIVER   (1979)
ELECTRIC LIGHT ORCHESTRA  – LAST TRAIN TO LONDON   (1979)
J.J. CALE  –  DON’T CRY SISTER   (1979)
THE KINKS  –  CELLULOID HEROES  (1979)
BRYAN FERRY & ROXY MUSIC  – JEALOUS GAY   (1980)
KENNY ROGERS  – LADY  (1980)
BARCLAY JAMES HARVEST –  LIFE IS FOR LIVING  (1980)
 08.08. GLAM ROCK
        Glam rock (also known as glitter rock), is a sub-genre of rock music that developed in the UK in the post-hippie early 1970s which was “performed by singers and musicians wearing outrageous clothes, makeup, hairstyles, and platform-soled boots.” The most famous exponents of the movement were Marc Bolan and T.Rex, Gary Glitter, and Slade. Other influential performers include David Bowie, Alice Cooper, Sweet, Wizzard, Roxy Music, Mud, Mott the Hoople, Queen, The Glitter Band, The New York Dolls, The Tubes and Suzi Quatro.
T. REX  –  HOT LOVE  (1971)
T.REX   –  GET IT ON   (1971)
ALICE COOPER  –   SCHOOL’S OUT  (1972)
T. REX  –  TELEGRAM SAM  (1972)
T. REX –  METAL GURU   (1972)
SLADE  –  LOOK WOT YOU DUN  (1972)
THE SWEET – POPPA JOE  (1972)
DAVID BOWIE  – SUFFRAGETTE CITY  (1972)
DAVID BOWIE  –  THE JEAN GENIE   (1972)
WIZZARD  –  BALL PARK INCIDENT  (1972)
DAVID BOWIE  –  STARMAN  (1972)
DAVID BOWIE  –  ZIGGY STARDUST  (1973)
MOTT THE HOOPLE  –  ROLL AWAY THE STONE  (1973)
ALVIN STARDUST   –   MY COO CA CHOO (1973)
WIZZARD  –  SEE MY BABY JIVE  (1973)
WIZZARD  –  ANGEL FINGERS   (1973)
SLADE      –  CUM ON FEEL THE NOIZE   (1973)
THE SWEET  –  BLOCKBUSTER  (1973)
ALVIN STARDUST   –   JUST MY JEALOUS MIND (1974)
SPARKS  – THIS TOWN AIN’T BIG ENOUGH   (1974)
SUZI QUATTRO  –  DEVIL GATE DRIVE  (1974)
HELLO  –  NEW YORK GROOVE   (1975)
 
08.07. HARD ROCK ( heavy rock )
 
           Hard Rock  is a sub-genre of rock music which has its earliest roots in mid-1960s garage and psychedelic rock. It is typified by a heavy use of distorted electric guitars, bass guitar, drums, pianos, and other keyboards. The terms “hard rock” and “heavy metal”  have often been used interchangeably, particularly in discussing bands of the 1970s, a period when the terms were largely synonymous. For example, the 1983 Rolling Stone Encyclopedia of Rock & Roll includes this passage: “known for its aggressive blues-based hard-rock style, Aerosmith was the top American heavy-metal band of the mid-Seventies.
           Hard rock emerged with groups of the late-1960s, such as The Who, Deep Purple, Black Sabbath, Iron Butterfly, Blue Cheer and Led Zeppelin who mixed the music of early rock bands with a more hard-edged form of blues rock and acid rock. During the 1970s, hard rock developed a variety of sub-genres. Aerosmith, Queen, Kiss, Thin Lizzy, Rush, Bad Company, Metallica, Guns N’ Roses, AC/DC and Mötley Crue were just a few of these important hard rock groups .
DEEP PURPLE  –  WRING THAT NECK  (1968)
DEEP PURPLE  –  MANDRAKE ROOT  (1968)
DEEP PURPLE  –  Hallelujah  (1969)
LED ZEPPELIN  – Travelling Reverside Blues  (1969)
STEPPENWOLF  –  SOOKIE SOOKIE    (1969)
LED ZEPPELIN  –  HOW MANY MORE TIMES (1969)
LED ZEPPELIN  –  COMMUNICATION BREAKDOWN  (1969)
GRAND FUNK RAILROAD – INSIDE LOOKING OUT (1969)  – PBS (WITF TV)
BLACK SABBATH  – PARANOID   (1970)
BLACK SABBATH  –  BLACK SABBATH  (1970)
DEEP PURPLE – CHILD IN TIME  (1970)
DEEP PURPLE – INTO THE FIRE   (1970)
GRAND FUNK RAILROAD – INSIDE LOOKING OUT (1970)  – Atlanta
LED ZEPPELIN  –   IMMIGRANT SONG  (1970)
LED ZEPPELIN  –  WHOLE LOTTA LOVE  (1970)
DEEP PURPLE  –  SPEED KING   (1970)
DEEP PURPLE  –  SPEED KING   (1970)  ( 2nd version )
DEEP PURPLE  –  BLACK NIGHT  (1970)
BLACK SABBATH –  N.I.B.  (1970)
GRAND FUNK RAILROAD  –  I’M YOUR CAPTAIN  (1971) – Shea stadium,NYC
DEEP PURPLE  –  FIREBALL   (1971)
DEEP PURPLE  –  DEMON’S EYES  (1971)
DEEP PURPLE  –  STRANGE KIND OF WOMAN  (1971)
DEEP PURPLE  – No No No  (1971)
LUCIFER’S FRIEND – RIDE THE SKY  (1971)
WARHORSE  –  RITUAL   (1971)
LED ZEPPELIN – STAIRWAY TO HEAVEN  (1971)
DEEP PURPLE – WHEN A BLIND MAN CRIES (1972)
DEEP PURPLE  – HIGHWAY STAR  (1972)
URIAH HEEP – BLIND EYE   (1972)
DEEP PURPLE  –  SMOKE ON THE WATER  (1973)
DEEP PURPLE  –  STRANGE KIND OF WOMAN  (1973)
URIAH HEEP – SUNRISE   (1973)
LED ZEPPELIN  – OVER THE HILLS AND FAR AWAY   (1973)
GRAND FUNK RAILROAD – LOCOMOTION  (1974)
BLACK SABBATH  –  CHILDREN OF THE GRAVE – California Jam (1974)
DEEP PURPLE  –  SMOKE ON THE WATER  – California Jam  (1974)
URIAH HEEP – EASY LIVIN’  (1974)
GRAND FUNK RAILROAD – INSIDE LOOKING OUT (1974)
GRAND FUNK RAILROAD  –  WE’RE AN  AMERICAN BAND   (1974)
THIN LIZZY – DON’T BELIVE A WORD  (1976)
URIAH HEEP  –  LADY IN BLACK   (1977)
KISS  –  I WAS MADE FOR LOVIN’ YOU   (1979)
PINK FLOYD  –  ANOTHER BRICK IN THE WALL   (1979)
PINK FLOYD  –  ANOTHER BRICK IN THE WALL   (1980) – concert version
08.03. PROGRESSIVE  ROCK
            Progressive rock is a subgenre of rock music that developed in the late 1960s and early 1970s as part of a “mostly British attempt to elevate rock music to new levels of artistic credibility”
Music critic Piero Scaruffi states that the “bands that nurtured prog-rock through its early stages were Traffic, Jeff Beck, Family, Jethro Tull, and Genesis; while King Crimson, Yes, and Van der Graaf Generator represent the genre at its apex”..Bands had formed by the end of the 1960s, including The Moody Blues (1964), Pink Floyd (1965), Soft Machine (1966), Barclay James Harvest (1966), Gong (1967), Genesis (1967), Jethro Tull (1967), The Nice (1967), Yes (1968), Caravan (1968), King Crimson (1969), Supertramp (1969) and Gentle Giant (1969). Although almost all of these bands were from the UK, the genre was growing popular elsewhere in continental Europe. Triumvirat led Germany’s significant progressive rock movement, while Tangerine Dream, Faust, Can and Neu! led the related Berlin School and Krautrock movementsFocus and Trace formed in the Netherlands, France produced Ange, Gong, and Magma. Spain produced numerous prog groups, including Canarios and Triana. Scandinavia was represented by: Norwegian band Popol Vuh, Swedish band Kaipa and Finnish band Wigwam. Progressive rock’s popularity peaked in the mid-1970s. By this time, several North American progressive rock bands had been formed. Kansas, which had actually existed in one form or another since 1971, became one of the most commercially successful of all progressive rock bands.
        Krautrock is a generic name for the experimental music scenes that appeared in Germany in the late 1960s and gained popularity throughout the 1970s, especially in Britain. Krautrock is an eclectic and often very original mix of post-psychedelic jamming and moody progressive rock mixed with ideas from contemporary experimental classical music. Typical bands dubbed “krautrock” in the 1970s included Tangerine Dream, Faust, Can, Amon Düül II, Ash Ra Tempel and others associated with the celebrated Cologne-based producers and engineers Dieter Dierks and Conny Plank, such as Neu!, Kraftwerk and Cluster. Other artists associated with the tag include, Birth Control, , Popol Vuh, and Klaus Schulze.
AMON DUUL II – Between The Eyes  (1970)
BEGGARS OPERA – Raymond’s road  (1971)
CAN  – Paperhouse  (1971)
IF – Forgotten roads  (1971)
FOCUS – Hocus Pocus  (1971)
FOCUS – Sylvia  (1972)
KING CRIMSON  –  Larks Tongues In Aspic   (1973)
EKSEPTION  –  Flight Of The Bumble – Bee  (1973)
KANZAS  –  The Pinnacle   (1975)
FOCUS – Hocus Pocus    (1975)
FOCUS – Sylvia  (1975)
 
 
 
08.04. BLUES ROCK AND SOUTHERN ROCK
 
          Blues-rock is a hybrid musical genre combining bluesy improvisations over the 12-bar blues and extended boogie jams with rock and roll styles. The style began to develop in the mid-1960s in England and the United States, as what Piero Scaruffi called, a “genre of rhythm’n’blues played by white European musicians”.
            American blues-rock had been pioneered in the early 1960s by guitarist Lonnie Mack, but the genre began to take off in the mid-60s as acts followed developed a sound similar to British blues musicians. Key acts included Paul Butterfield (whose band acted like Mayall’s Blues breakers in Britain as a starting point for many successful musicians), Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, The J. Geils Band and Jimi Hendrix with his power trios, The Jimi Hendrix Experience and Band of Gypsys, whose guitar virtuosity and showmanship would be among the most emulated of the decade.
JOHNNY WINTER  –  Mean Town Blues (1970)
JOHNNY WINTER  –  Rock and Roll Hootchie Koo  (1973)
         By the 1970s blues-rock had become heavier and more riff-based, exemplified by the work of Led Zeppelin and Deep Purple, and the lines between blues-rock and hard rock “were barely visible
 
ZZ TOP – LA GRANDE  (1973)
ZZ TOP – TUSH  (1975)
          Blues-rock bands like Allman Brothers Band, Lynyrd Skynyrd and eventually ZZ Top from the southern states, incorporated country elements into their style to produce distinctive Southern rock. Southern rock emphasized boogie rhythms and fast guitar leads more aligned with hard rock and heavy metal, Groups such as Ozark Mountain Daredevils, .38 Special, Confederate Railroad, Outlaws, Molly Hatchet, Blackfoot, Thunderhead, Point Blank, Black Oak Arkansas, Edgar Winter Group, and The Marshall Tucker Band also thrived in this genre.
LYNYRD  SKYNYRD  – FREE BIRD   (1975)
LYNYRD  SKYNYRD –  THAT SMELL  (1977)
LYNYRD SKYNYRD  –   T FOR TEXAS  (1977)
LYNYRD  SKYNYRD –  SATURDAY NIGHT SPECIAL   (1977)
ALLMAN BROTHERS BAND  –  JESSICA   (1977)
ALLMAN BROTHERS BAND  –  WHIPPING POST  (1977)
ALLMAN BROTHERS BAND  –  STATESBORO BLUES  –  cover versions
THE DOOBIE BROTHERS  –  LISTEN TO THE MUSIC    (1979)
THE DOOBIE BROTHERS  –  LONG TRAIN RUNNIN’  (1996)
LYNYRD  SKYNYRD  –  FREE BIRD
 
08.05. FOLK ROCK AND COUNTRY ROCK
       Folk rock is a musical genre combining elements of folk music and rock music. The term “folk rock” was itself first used by the U.S. music press to describe The Byrds’ music in June 1965, the same month that the band’s debut album was issued.  Dylan himself was also influential on the genre, particularly his recordings with an electric rock band on the Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde albums. Dylan’s July 25, 1965 appearance at the Newport Folk Festival with an electric backing band is also considered a pivotal moment in the development of folk rock
       Country rock is sub-genre of rock music , formed from the fusion of rock with country. The term is generally used to refer to the wave of rock musicians who began to record country-flavored records in the late 1960s and early 1970s, beginning with Bob Dylan,  Poco , New Riders of the Purple Sage,   Nitty Gritty Dirt Band ,Doobie Brothers and The Byrds ; reaching its greatest popularity in the 1970s with artists like Emmylou Harris and the Eagles;
 
 
CROSBY, STILLS, NASH & YOUNG  –  WOODSTOCK  (1970)
CROSBY, STILLS, NASH & YOUNG  – DOWN BY THE RIVER  (1970)
THE DOOBIE BROTHERS  –  LISTEN TO THE MUSIC   (1972)
THE EAGLES –  PEACEFUL EASY FEELING  (1972)
AMERICA  –  A HORSE WITH NO NAME  (1972)
AMERICA  –  DON’T CROSS THE RIVER  (1972)
THE EAGLES – WITCHY WOMAN  (1973)
J.D. SOUTHER  –  DOOLIN DALTON  (1973)
THE EAGLES  –  SATURDAY NIGHT  (1973)
GRAHAM NASH  –  ON THE LINE  (1974)
BOB DYLAN – HURRICANE  (1975)
AMERICA  – VENTURA HIGHWAY   (1975)
THE BAND – THEME FROM THE LAST WALTZ  (1976)
THE BAND  –  THE NIGHT THEY DROVE OLD DIXIE DOWN  (1976)
BOB DYLAN – I SHALL BE RELEASED  (1976)
BOB DYLAN – FOREVER YOUNG  (1976)
EMMYLOU HARRIS & THE BAND  –  EVANGELINE  (1976)
THE EAGLES  – HOTEL CALIFORNIA  ( 1977)
THE EAGLES  – TEQUILA SUNRISE  (1977)
 
08.02. ISLE OF WIGHT FESTIVAL 1970
 
         The Isle of Wight Festival is a music festival which takes place every year on the Isle of Wight in the UK . It was originally held from 1968 to 1970.
                The 1970 event was by far the largest and most famous of these early festivals; indeed it was said at the time to be one of the largest human gatherings in the world, with estimates of over 600,000, surpassing the attendance at Woodstock.  Included in the line-up of over fifty performers were The Who, Jimi Hendrix, Miles Davis, The Doors, Ten Years After, Emerson, Lake & Palmer, Joni Mitchell, The Moody Blues, Melanie, Donovan, Free, Chicago, Richie Havens, John Sebastian, Leonard Cohen, Jethro Tull, Taste and Tiny Tim. This event was held between 26 and 30 August 1970 at Afton Down ;
 
 
DONOVAN  –  JERSEY THURSDAY  (1970)
LEONARD COHEN – SUZANNE  (1970)
LEONARD COHEN – PARTISAN   (1970)
THE MOODY BLUES –  NIGHTS IN WHITE SATIN  (1970)
KRIS KRISTOFFERSON  – ME AND BOBBY McGEE   (1970)
FREE  –  ALL RIGHT NOW  (1970)
TEN YEARS AFTER  –  I CAN’T KEEP FROM CRYING (1970)
 
 
 
08.09. RHYTHAM AND BLUES –  Soul & Funk
 
          Rhythm and blues (also known as R&B, R’n’B or RnB) is the name given to a wide-ranging genre of popular music, originally created by African Americans in the late 1940s and early 1950s in the USA. It drew on swing and jazz rhythms and blues vocals, and was an important influence on rock and roll. It diversified into soul, funk, and other styles. By the early 1960s, the music industry category previously known as rhythm and blues was being called soul music, and similar music by white artists was labeled blue eyed soul. By the 1970s, the term rhythm and blues was being used as a blanket term to describe soul, funk, and disco.A blanket term is a word or phrase that is used to describe multiple groups of related things.
 08.09.01  SOUL
 
         By the early 1970s, soul music had been influenced by psychedelic rock and other genres. Early 1970s recordings by The Detroit Emeralds, such as Do Me Right, are a link between soul and the later disco style. Motown Records artists such as Marvin Gaye and Smokey Robinson contributed to the evolution of soul music, although their recordings were considered more in a pop music vein than those of Redding, Franklin and Carr. Artists like James Brown led soul towards funk music, which became typified by 1970s bands like Parliament-Funkadelic and The Meters.During the 1970s, some slick and commercial blue-eyed soul acts like Philadelphia’s Hall & Oates and Oakland’s Tower of Power achieved mainstream success, as did a new generation of street-corner harmony or city-soul groups like The Delfonics and Howard University’s Unifics. Philly soul and most other soul genres were dominated by disco-inflected tracks. During this period, groups like The O’Jays and The Spinners continued to turn out hits.
 
BROOK BENNTON  – Rainy Night In Georgia  (1970)
THE CHI-LITES  –  Have You Seen Her  (1971)
IKE & TINA TURNER  –  Soul To Soul  (1971)
BILLY PAUL  –  Me and Mrs. Jones  (1972)
HAROLD MELVIN & THE BLUE NOTES – If You Don’t Know Me by Now  (1972)
GLADYS KNIGHT –  HELP ME MAKE IT THROUGH THE NIGHT   (1972)
AL GREEN  –  For the Good Times  (1973)
ROBERTA FLACK  –  KILLING ME SOFTLY WITH THIS SONG   (1973)
MINNIE RIPERTON – LOVIN’ YOU  (1975)
THE FLOATERS   –  FLOAT ON   (1977)
THE COMMODORES  – Three Times a Lady  (1978)
ROSE ROYCE – LOVE DON’T LIVE HERE ANYMORE  (1978)
THE COMMODORES –   Three Times a Lady (1979)  ( second version)
THE COMMODORES  –  Sail On  (1979)
THE COMMODORES  –  Still  (1979)
POINTER SISTERS  –  FIRE  (1979)
 08.09.02  FUNK
           Funk is an American musical style that originated in the mid to late 1960s when African American musicians blended soul music, soul jazz and R&B into a rhythmic, danceable new form of music.Unlike R&B and Soul songs, which had many chord changes, funk songs are often based on an extended vamp on a single chord.Influential African American funk performers include James Brown, Sly and the Family Stone, George Clinton and Parliament-Funkadelic, Curtis Mayfield, The Meters, The Funk Brothers, Bootsy Collins, Rick James, and Prince. Notable 1970s funk bands included Rufus feat. Chaka Khan, Earth, Wind & Fire, Eric Burdon & War, Tower of Power, Average White Band, The Ohio Players, The Commodores, Kool & the Gang and Cameo, though many of these most famous bands in the genre also played disco and soul extensively. Funk music was a major influence on the development of 1970s disco music.
ERIC BURDON & WAR  –  SPILL THE WINE  (1970)
ERIC BURDON & WAR  – PAINT IT BLACK  (1970)
WAR –  Slippin’ into Darkness  (1971)
WAR – CISCO KID  (1971)
JAMES BROWN – Get Up (I Feel Like Being Like a) Sex Machine  (1973)
KOOL & THE GANG  –  Funky Stuff   (1974)
KOOL & THE GANG  –  Jungle Boogie  (1974)
B.T. EXPRESS  –  Do It (‘Til You’re Satisfied)  (1974)
WILD CHERRY  – Play That Funky Music  (1976)
SUPERMAX  –  BE WHAT YOU ARE  (1978)
SUPERMAX  –  WORLD OF TODAY   (1978)
SUPERMAX  –  LOVE MACHINE   (1978)
SUPERMAX –  BANGO BONGO   (1992)
        P-Funk is a shorthand term for the repertoire and performers associated with George Clinton and the Parliament-Funkadelic collective. Key P-Funk bands and musicians include: Parliament,Funkadelic ,Bootsy Collins/Bootsy’s Rubber Band,George Clinton,Bernie Worrell,Eddie Hazel,Garry Shider,Walter Morrison,The Brides of Funkenstein,Maceo Parker,Parlet,Fred Wesley,Michael “Clip” Payne and Zapp.
PARLIAMENT – COSMIC SLOP  (1976)
PARLIAMENT- FUNKADELIC   – COSMIC SLOP  (1979)
PARLIAMENT- FUNKADELIC  –  THE UNDISCO KIDD (The Girl Is Bad!) (1979)
PARLIAMENT- FUNKADELIC  –  INSTRUMENTAL  (1979)
08.10.  DISCO MUSIC
 
         Disco is a genre of dance-oriented music whose origins, like other genres of music, are hard to place at a single defining point. Most agree that the first disco songs were released in 1973, but some claim Manu Dibango’s 1972 Soul Makossa to be the first disco record. The first article about disco was written in September 1973 by Vince Aletti for Rolling Stone Magazine. In 1974 New York City’s WPIX-FM premiered the first disco radio show.Well-known  1970s disco performers included Evelyn “Champagne” King, Tavares, Chic, Bee Gees, Donna Summer, Grace Jones, Gloria Gaynor, Diana Ross, the Village People, Sylvester, The Jacksons and others …….
M.DIBANGO & Y.NOAH – SOUL MAKOSSA – origin.performed by M.Dibango (1972)
SHIRLEY AND COMPANY-  SHAME SHAME SHAME  (1974)
GEORGE McCRAE  –  Rock Your Baby  (1974)
LOVE UNLIMITED ORCHESTRA  –  Love’s Theme  (1975)
BARRY WHITE  –  Can’t Get Enough of Your Love, Babe  (1975)
BARRY WHITE  –  You’re the First, the Last, My Everything (1975)
BARRY WHITE  –  What Am I Gonna Do with You   (1975)
NATALIE COLE – THIS WILL BE (An Everlasting Love) (1975)
LABELLE  –  LADY MARMELADE  (1975)
MAXINE NIGHTINGALE  –  RIGHT BACK WHERE WE STARTED FROM  (1975)
HOT CHOCOLATE  – YOU SEXY THING  (1975)
KC & SUNSHINE BAND  –  THAT’S THE WAY ( I Like It )  (1975)
TAVARES  –  HEAVEN MUST BE MISSING AN ANGEL (1976)
JESSE GREEN   –   NICE ‘N’ SLOW  (1976)
KC & THE SUNSHINE BAND  – (SHAKE, SHAKE, SHAKE ) SHAKE YOUR BOOTY (1976)
KC & THE SUNSHINE BAND   –  I’M YOUR BOOGIE MAN  (1976)
BONEY M  –  DADDY COOL  (1976)
HOT CHOCOLATE  – HEAVEN IS IN THE BACK SEAT OF MY CADILLAC  (1976)
HOT CHOCOLATE  – SO YOU WIN AGAIN   (1977)
DONNA SUMMER  –  I Feel Love  (1977)
BONEY M  – Sunny  (1977)
BONEY M   –  Have You Ever Seen The Rain  (1977)
ERUPTION – I Can’t Stand the Rain   (1977)
AMII STEWART  –  KNOCK ON WOOD  (1978)
ERUPTION  –  I Can’t Stand the Rain  (1978)
BONEY M  –  Rasputin   (1978)
ERUPTION  –  One Way Ticket  (1978)
BONEY M  –  Gotta Go Home   (1979)
CHERRY LAINE  –  Catch the Cat  (1979)
EBONY – EVERYTHING WILL TURN OUT FINE  (1980)
SARAGOSSA BAND  – GINGER RED  (1980)
ERUPTION  –  RUNAWEY  (1982)
DONNA SUMMER  –  SHE WORKS HARD FOR THE MONEY  (1983)
DONNA SUMMER  –  I FEEL LOVE  (2005)
DONNA SUMMER  –   MacARTHUR  PARK  (2005)
 08.10.01  DISCO MUSIC – FUNK ORIENTED BACKGROUNDS
 
       Funk music was a major influence on the development of disco music. Funk musicians blended soul music, soul jazz and R&B into a rhythmic, danceable new form of music. Disco funk  typically consists of a complex groove with rhythm instruments such as electric guitar, electric bass, Hammond organ, and drums playing interlocking rhythms. Funk bands sometimes have a horn section of several saxophones, trumpets, and in some cases, a trombone, which plays rhythmic “hits”.
 
         THE COMMODORES  –   BRICK HOUSE  (1977)
         BROTHERS JONHSON  –  STRAWBERRY LETTER  23  (1977)
         RICK JAMES  –  Mary Jane  (1978)
         RICK JAMES  –  You And I   (1978)
         A TASTE OF HONEY –  Boogie Oogie   (1978)
         CHIC – LE FREAK  (1978)
         EARTH,WIND & FIRE  –  FANTASY  (1978)
         THE BROTHERS JOHNSON  –  STOMP  (1979)
         KOOL AND THE GANG  –  LADIES NIGHT   (1979)
         THE JACKSONS  –  BLAME IT ON THE BOOGIE  (1979)
         MICHAEL JACKSON  –  DON’T STOP ‘TIL YOU GET ENOUGH (1979)
         THE REAL THING   –  CAN YOU FEEL THE FORCE  (1979)
         THE SUGARHILL GANG  – RAPPER’S DELIGHT   (1979)
         THE GAP BAND – BURN RUBBER ON ME (Why You Wanna Hurt Me)  (1980)
         KOOL & THE GANG – CELEBRATION   (1980)
         ODISSEY – USE IT UP AND WEAR IT OUT   (1980)
         ODISSEY –  GOING BACK TO MY ROOTS  (1981)
         KOOL & THE GANG – Get Down On It   (1981)
         RICK JAMES  – Superfreak  (1981)
         RICK JAMES  –  Give It To Me Baby ( 1981)
         RICK JAMES  –  Super Freak (1981)  (long version)
         YARBROUGH & PEOPLES  –  DON’T STOP THE MUSIC  (1981)
         GIBSON BROTHERS – QUE SERA MI VIDA  (1981)
         EARTH,WIND & FIRE  –  FALL IN LOVE WITH ME   (1982)
         EARTH,WIND & FIRE  – LET’S GROOVE  (1982)
         OSIBISA  – SUNSHINE DAY   (1983)
         BILLY OCEAN  – WHEN THE GOING GETS TOUGH, THE TOUGH GET GOING (1985)
         CHIC  –  Chic Mystique  (1992)
         CHIC  –  Good Times  (remix)
         CHIC   – Le Freak  (remix)
    08.10.02.  EURODISCO  
 
         The term Euro-Disco was first used during the mid 1970s to describe the non-UK based disco productions and artists such as Swedish group ABBA, the German group Boney M, the French Cerrone, Ottawan (together with other acts produced by Vangarde and Kluger) and Amanda Lear, the Germans Dschinghis Khan and Silver Convention, and the Dutch Snoopy and Eurovision song contest winners Teach-In.
           SILVER CONVENTION  –  FLY ROBIN FLY  (1975)
           PENNY McLEAN  –  LADY BUMP  (1975)
           5000 VOLTS  –  I’M ON FIRE  (1975)
        .  TINA CHARLES  –  Dance Little Lady Dance  (1976)
           TINA CHARLES  –   I love to love  (1976)
           TINA CHARLES  –  You Set My Heart On Fire  (1976)
           PUSSYCAT  – Missisippi  (1976)
           BACCARA  –  Yes Sir I Can Boogie  (1977)
           BACCARA  –  Sorry I’m a Lady (1977)
           LA BELLE EPOQUE  –  BLACK IS BLACK  (1977)
           SANTA ESMERALDA  –   DON’T LET ME BE MISUNDERSTOOD  (1977)
           BACCARA – The Devil Send You To Lorado   (1978)
           PUSSYCAT – My Broken Souvenirs  (1978)
           LUV – Trojan Horse (1978)
           GREASE  –  MEGA – MIX    (1978)
           OLIVIA NEWTON & JOHN TRAVOLTA – YOU”RE  THE ONE THAT I WANT  (1978)
08.10.03   SPACE DISCO
 
       Space disco is a term used to describe the fusion of disco music with futuristic themes, sounds and visuals, which was popular in the late 1970s. It was a short-lived subgenre of eurodisco music that first became prominent in the European disco scene around 1976–77.
Key Space Disco  bands and musicians include:  Cerrone, Space, Sarah Brightman (during her days with Hot Gossip), Sheila B. Devotion (Spacer),  Dee D. Jackson (Automatic Lover), Ganymed and Zodiac
 
 
SPACE  –  Magic Fly  (1977)
CERRONE  – Supernature  (1977)
ROCKETS  –  Space Rock (1977)
DEE D. JACKSON  –  Automatic Lover  (1978)
 
 08.10.04  THE BEST OF ITALO POP AND DISCO  70’s and 80’s    
 
         Italo Pop and Disco  refers to a style of pop and disco  music that developed in in Italy , throughout the late 1970s. In central Europe Italo disco and  Euro house  are the predominant attempts by young musicians to have a hit record in and beyond the borders of their own country.
 
 
           DRUPI –  PICCOLA E FRAGILE   (1974)
           ROCCO GRANATA  –  Marina (1974)
           AL BANO & ROMINA POWER  –  SHARAZAN  (1978)
           AL BANO & ROMINA POWER  –  CHE ANGELO SEI   (1978)
           AL BANO & ROMINA POWER  –  FELICITA  (1979)
           LORETTA GOGGI   – Maledetta primavera (1981)
           ALICE  –  Una notte speciale  (1982)
           RICCHI E POVERI  – M’innamoro di te (1982)
           TOTO CUTUGNO  –  L’Italiano (1983)
           ANNA RUSTICANO  –  Strano (1984)
           AL BANO & ROMINA POWER  –  CI SARA’ (1984)
           AL BANO & ROMINA POWER  –  SEMPRE SEMPRE   (1986)
 
 
                           
 
08.11.   SKA, ROCKSTADY AND REGGAE
      
         Ska arose in the studios of Jamaica around 1959; it developed from the earlier mento genre. Ska is characterized by a walking bass line, accentuated guitar or piano rhythms on the offbeat, and sometimes jazz-like horn riffs.
 
         Rocksteady is a music genre that originated in Jamaica around 1966. A successor to ska, and a precursor to reggae, rocksteady was performed by Jamaican vocal harmony groups such as The Gaylads, The Maytals and The Paragons.
Rocksteady uses some of the sound elements of rhythm and blues and ska but it  is slower and more relaxed than ska. Rocksteady arose at a time when young people from the Jamaican countryside were flooding into the urban ghettos of Kingston — in neighborhoods such as Riverton City, Greenwich Town and Trenchtown. Many of them became delinquents who exuded a certain coolness and style. These unruly youths became known as rude boys.
         Reggae as a musical term first appeared in print with the 1968 rocksteady hitDo the Reggay” by The Maytals, but it was already being used in Kingston, Jamaica as the name of a slower dance and style of rocksteady.  By the late 1960s, the Rastafari movement became more popular in Jamaica and rocksteady became less popular.
The Wailers, a band started by Bob Marley, Peter Tosh and Bunny Wailer  are perhaps the most recognised band that made the transition through all three stages of early Jamaican popular music: ska, rocksteady and reggae. Other significant reggae pioneers include Prince Buster, Desmond Dekker and Jackie Mittoo.
         Roots reggae is a subgenre of reggae that deals with the everyday lives and aspirations of the artists concerned, including the spiritual side of Rastafari and with the honoring of their God, Jah.  It also is identified with the life of the ghetto sufferer, and the rural poor. Lyrical themes include spirituality and religion, poverty, Black pride, social issues, resistance to government and racial oppression, and repatriation to Africa. The heyday of roots reggae is usually considered the latter half of the 1970s – with singers such as Johnny Clarke, Cornell Campbell, Bob Marley, Peter Tosh, Burning Spear, Max Romeo, Horace Andy, Hugh Mundell, and Lincoln Thompson, and groups like Black Uhuru, Steel Pulse, Israel Vibration, The Gladiators and Culture
       
 
          BOB MARLEY – Concrete Jungle  (1973)
          BOB MARLEY  –  Lively Up Yourself   (1975)
          THE ABYSSINIANS   –  Declaration of Rights (1975)
          BURNING SPEAR –   Man In The Hills    (1976)
          BOB MARLEY  – Three Little Birds (1977)
          BOB MARLEY  – Keep On Movin (1977)
          PETER TOSH  –  Legalise  It   (1977)
          PETER TOSH  –  Get  Up Stend Up    (1977)
          ALTHEA & DONNA  –  Uptown Top Rankin’  (1977)
          HORACE ANDY  – Do You Love My Music  (1977)
          BOB MARLEY  – Easy Skanking  (1978)
          THIRD WORLD –  Now That We Found Love  (1978)
          JUDY MOWAT  – Black Woman   (1980)
          BOB MARLEY  –  Buffalo Soldier (1980)
         PETER TOSH  – Johnny.B.Goode  (1983)
          CORNELL CAMPBELL –  Money  (1983)
          PETER TOSH   –  JOHNNY B. GOODE   (1989)
          DAMIAN Jr. Gong MARLEY feat. CAPLETON  – It was written  (2001)
    Eric Clapton’s 1974 cover of the Bob Marley song “I Shot the Sheriff” helped bring reggae into the mainstream. By the mid 1970s, reggae was getting radio play in the UK on John Peel’s radio show, and Peel continued to play reggae on his show throughout his career. Reggae began to enjoy a revival in the UK that continued into the 1980s, exemplified by groups like Steel Pulse, Aswad, UB40, and Musical Youth. Other reggae artists who enjoyed international appeal in the early 1980s include Third World, Black Uhuru and Sugar Minott.
 
 
ERIC CLAPTON  –  I Shot the Sheriff   (1974)
UB 40 – One In Ten  (1981)
ASWAD  –  Dont Turn Around  (1988)
ASWAD  –  Best of My Love  (1990)
ASWAD  –  Smile  (1990)
ASWAD  –  Shine  (1994)
ASWAD  –  What Is Love  (2009)
08.12.  2 TONE ( TWO TONE )
              2 Tone (or Two Tone) is a music genre created in England in the late 1970s by fusing elements of ska, punk rock, rocksteady, reggae and New Wave. Within the history of ska, 2 Tone is classified as its second wave, and is the precursor of the third wave ska scene of the 1980s and 1990s. Bands considered part of the genre include: The Specials, The Selecter, The Beat, Madness, Bad Manners, and The Bodysnatchers
 11.  REVIVAL  60’s AND 70’s   (covers the great songs from the 60s and 70s).
          Wildman Tim says: ” The music of the 50’s, 60’s and 70’s holds a special memory for those of us who grew up with it. It was music you could sing along with, music you could dance to, music you fell in love with. Now, there’s a special place for all of us who treasure – Oldies Music!”
SIMON & GARFUNKEL – SOUND OF SILENCE (1981) – Central Park NY
SIMON  & GARFUNKEL- BRIDGE OVER TROUBLED WATER (1981) – Central Park NY
J.GILES BAND  –  LAND OF 1000 DANCES  (1983)
ERIC CLAPTON –  LAYLA  (1983)
THE GUESS WHO  – SHAKIN’ ALL OVER   (1983)
TEN YEARS AFTER  –  Love Like a Man (1983)
TEN YEARS AFTER  – Good Morning Little School Girl  (1983)
BOB DYLAN  –  ALL ALONG THE WATCHTOWER
URIAH HEEP – GYPSY  (1985)  –  vocal Peter Goalby
URIAH HEEP – LOOK AT YOURSELF   (1985) –  vocal Peter Goalby
ROD STEWART  –  SAILING  (1986)
STEVIE RAY VAUGHAN –  Superstition (1986)
ERIC CLAPTON  & MARK KNOPFLER  –  CROSSROADS  (1988)
KEITH RICHARDS  –  LOCKED AWAY  (1988)
PAUL McCARTNEY  & WINGS – ELEANOR RIGBY  (1989)
WINGS  –  I SAW HER STANDING THERE  (1989)
NINA SIMONE  –  SINGLE WOMAN  (1990)
ERIC CLAPTON  –  WONDERFUL TONIGHT  (1991)
SEAL  –  HEY JOE   (1991)
STEVIE RAY VAUGHAN  –  LITTLE WING  (1992)
STATUS QUO  –  IN THE ARMY NOW  (1992)
JOE COCKER – THE LETTER   (1992)
JOE COCKER – UNCHAIN MY HEART  (1992)
LEMONHEADS   –  Mrs.Robinson  (1992)
DIRE STRAITS – BROTHERS IN ARMS  (1993)
CARLOS SANTANA  – SAMBA PA TI     (1993)
ROXY MUSIC & BRYAN FERRY  –  MAMOUNA  (1994)
DEEP PURPLE –  SMOKE ON THE WATER   (1996)
JOHN DENVER  – ANNIE’S SONG  (1995)
PAUL MAURIAT – LOVE IS BLUE  (L’amour est bleu)  (1998)
JOHN FOGERTY  –   GREEN RIVER  (1998)
JOHN FOGERTY  –   I PUT A SPELL ON YOU (1998)
JOHN FOGERTY  –  Susie Q  (1998)
JOHN FOGERTY  –  The Old Man Down the Road (1998)
OMEGA  –  THE GIRL WITH PEARL HAIR  (2001)
BILLY PRESTON  – MY SWEET LORD   (2002)
PAUL McCARTNEY – ALL THINGS MUST PASS   (2002)
JOE BROWN  –  I’LL SEE YOU IN MY DREAMS  (2002)
IAN ASTBURY & THE DOORS –  RIDERS ON THE STORM  (2002)
SIMON & GARFUNKEL  –  El Condor Pasa (2004)
BOBBY DARIN  – If I Were A Carpenter
ROBERT PLANT – If I Were A Carpenter
STYX – BOAT ON THE RIVER   (2004)
RARE EARTH – GET READY   (2004)
ROD STEWART &  AMY BELLE –  I DON’T WANT TO TALK ABOUT IT  (2004)
JOHN FOGERTY  –   HAVE YOU EVER SEEN THE RAIN  (2005)
JOHN FOGERTY  –   WHO ‘LL STOP THE RAIN  (2005)
JOHN FORGETY –  BLUE MOON NIGHTS  (2005)
STEVE WINWOOD & SLASH  –  HEY JOE  (2005)
PINK FLOYD  – Comfortably Numb  (2005)
KORN  –  ANOTHER BRICK IN THE WALL   (2005)
STATUS QUO  –  GERDUNDULA  (2006)
ABSOLUTE  – Sebastian  (2007)
ZZ TOP –  BLUE JEAN BLUES  (2007)
WHITESNAKE (David Coverdale)   –  Soldier Of Fortune  (unplugged)
ZZ TOP  – HEY JOE  (2008)
SHARON ROBINSON  –  BOOGIE STREET  (2009)
DELIRIUM  –  Jesahel  (2010)
 
12. THE  EIGHTIES  (the decade of 1980-1989)
                The decade began with an anti-disco backlash in the US, and  80s music would be characterized by the widespread use of synthesizers and keyboards. In the United States, MTV was launched and music videos began to have a huge effect on the record industry. Pop artists such as Duran Duran, Madonna, Queen, and Michael Jackson mastered the format and helped turned this new product into a profitable business. Hard rock, heavy metal, big hair bands, and glam metal, experienced extreme popularity, becoming one of the most dominating music genres of the 1980s. New wave and synthpop, techno and house music became popular phenomena throughout the decade, especially in the early and mid eighties. The hip hop scene continued to evolve ..
10.01.  POP AND ROCK MUSIC 
          The music of the 1980s continued the trends of the 1970s pop culture. The decade of 1980’s saw the reinvention of Michael Jackson and the emergence of Madonna,which arguably were the most powerful musicians during the time.Their videos became a permanent fixture on MTV  and gained a worldwide mass audience.
BOLLAND & BOLLAND  –  In The Army Now  ( 1981)
PHIL COLLINS  –  In The Air Tonight  (1981)
ELECTRIC LIGHT ORCHESTRA  – Ticket To The Moon   (1981)
MEN AT WORK  –  Down Under   (1981)
BILLY IDOL  –  Dancing With Myself  (1981)
BILL WYMAN   – A New Fashion  (1982)
BILLY IDOL  –  Hot In The City (1982)
BILLY IDOL  –  White Wedding  (1982)
LAID BACK – Sunshine Reggae  (1982)
SHAUN BAKER –  Bakerman (feat. Laid Back)
CHRIS REA  –  I can hear your heartbeat  (1983)
BONNIE TYLER  –   Have You Ever Seen The Rain  (1983)
BILLY IDOL  –  Eyes Without A Face  (1983)
GREG KIHN BAND  – Jeopardy   (1983)
JOHN WAITE  –  Missing You  (1984)
BILLY IDOL  –  Rebel Yell  (1984)
JENNIFER RUSH – The Power of Love   (1985)
JIMMY NAIL   –  Love Don’t Live Here Anymore   (1985)
OPUS  –  Live is Life  (1985)
ERIC CLAPTON  – Forever Man  (1985)
EDDY GRANT  –  Baby, Come Back  (1985)
FALCO  –  Jeanny  (Part One)  (1986)
FALCO  –  Coming Home (Jeanny Part 2) (1986)
CUTTING CREW  – (I Just) Died in Your Arms  (1986)
CHRIS REA  –  On The Beach  (1986)
FINE YOUNG CANNIBALS  – Suspicious Minds   (1986)
BILLY IDOL  –  To Be A Lover  (1986)
BILLY IDOL  –  Don’t Need A Gun (1986)
STEVIE RAY VAUGHAN –  Superstition (1986)
BILLY IDOL  –  Sweet sixteen  (1986)
STATUS QUO  – In the Army Now  (1986)
THE HOOTERS  –  Johnny B  (1987)
BILLY IDOL  –  Mony Mony – live version (1987)
CHRIS REA  –  Let’s dance  (1987)
THE BANGLES  –   Hazy Shade Of Winter (1987)
ROGER WATERS  –  Radio Waves  (1987)
ROGER WATERS  –  Sunset Strip  (1987)
ROGER WATERS  –  Four Minutes  (1987)
ROGER WATERS  –  Tide is turning  (1987)
ERIC CLAPTON  & TINA TURNER – Tearing Us Apart  (1987)
TRAVELING WILBURYS  –  Handle With Care  (1988)
TRAVELING WILBURYS  –  End Of The Line  (1988)
ROBERT PLANT  –  Ship of Fools (1988)
MICK JAGGER  – Party Doll  (1988)
BLACK  – Wonderful Life   (1988)
TANITA TIKARAM – Twist In My Sobriety  (1988)
PHIL COLLINS  –  In The Air Tonight  (1988)   Madison Square Garden NYC
38 SPECIAL  – Second Chance (1989)
PHIL COLLINS   –  Another Day In Paradise   (1989)
CHRIS ISAAK  –   WICKED GAME  (1989)
ALANNAH MILES   –  BLACK VELVET    (1989)
SAM BROWN  – STOP  (1989)
JASON DONOVAN  –  SEALED WITH A KISS  (1989)
CANDY DULFER & DAVE STEWART – LILY WAS HERE  (1989)
FINE YOUNG CANNIBALS  – SHE DRIVES ME CRAZY  (1989)
FINE YOUNG CANNIBALS  – GOOD THINGS   (1989)
FINE YOUNG CANNIBALS  – DON’T LOOK BACK  (1989)
FINE YOUNG CANNIBALS  – I’M NOT THE MAN I USED TO BE  (1989)
LENNY KRAVITZ  –  LET LOVE RULE  (1989)
CHRIS REA  –  The Road to Hell  (1989)
ERIC CLAPTON – Bad Love  (1989)
10.03  NEW WAWE –  SYNTHOPOP AND NEW ROMANTICISM
 
           New Wave is a genre of rock and pop music that emerged in in the middle to late 1970s alongside punk rock. The term at first generally was synonymous with punk rock before being considered a genre in its own right that incorporated aspects of electronic and experimental music, mod subculture, and disco and 1960’s pop music. For most of the remainder of the 1980s the term “New Wave” was used in America to describe nearly every new pop or pop rock artist that largely used synthesizers. The period saw a number of one hit wonders.
           Synthpop is a subgenre of pop and electronic music in which the synthesizer is the dominant musical instrument. It originated during the New Wave era of the late 1970s and to mid-1980s, and it has continued to exist and develop ever since.
           New Romanticism was a music and fashion movement that peaked in the United Kingdom during the early 1980s. The movement was associated with bands such as Visage, Adam and the Ants, Ultravox, Spandau Ballet, Brian Eno and Roxy Music.Other key artists from the early-mid 1980s include Eurythmics, Talk Talk, A Flock of Seagulls, Tears for Fears, Pet Shop Boys, Devo, OMD, Japan, Thomas Dolby, Alphaville, Thompson Twins, Bronski Beat, Heaven 17, Howard Jones, Blancmange,Paul Haig, Norman Iceberg, Animotion, Propaganda, Modern Talking, Missing Persons, Real Life and The System. Duran Duran, and Culture Club also became associated with the New Romantic period.
KIM WILDE  –  CAMBODIA  (1981)
ULTRAVOX  –  VIENNA  (1981)
TRIO  – Da Da Da (1982)
OMD  –  MAID OF ORLEANS  (The Waltz Joan of Arc) (1982)
BRYAN FERRY & ROXY MUSIC  – IS YOUR LOVE STRONG ENOUGH  (1985)
BRYAN FERRY & ROXY MUSIC  – DON’T STOP THE DANCE (1985)
10.04.  POST- DISCO &  HI-NRG  ( HIGH- ENERGY DISCO MUSIC )
 
         As the term “disco” started to go out of fashion by the late-1970s to early-1980s, other terms were commonly used to describe disco-based music, such as “post-disco”, “club”, “dance” or “dance-pop” music. These genres were, in essence, a more modern variant of disco music known as post-disco, which tended to be more experimental, electronic and producer/  DJ-driven, often using sequencers and synthesizers.
       During this era, post-disco had been dissolved in various music fields and scenes, including : a dance-oriented pop music known as dance-pop and  techno and house music.
       Dance-pop is dance-oriented pop music that originated in the early 1980s. Developing from post-disco, it is generally up-tempo music intended for clubs with the intention of being danceable or merely dancy. Dance-pop music is generally characterised by strong beats with easy, uncomplicated song structures  which are generally more similar to pop music than the more free-form dance genre, with an emphasis on melody as well as catchy tunes
       Dance-pop is a popular style and there are several artists and groups who perform in the genre. Prominent dance-pop artists and groups of the 80s included Madonna, the Pet Shop Boys, Whitney Houston, Paula Abdul, Mel and Kim, Janet Jackson and Michael Jackson.
The most significant post-disco album is Michael Jackson’s  “Thriller” , which also became the most best-selling album of all time.
 
             FALCO –  Der  Kommissar   (1981)
             AFTER THE FIRE  –   Der  Kommissar   (1982)
             POINTER SISTERS  –  I’m So Excited (1982)
             POINTER SISTERS  –  Jump  (1983)
             POINTER SISTERS  –  Automatic  (1983)
             MURRAY HEAD – ONE NIGHT IN BANKOK   (1984)
             POINTER SISTERS  –  Neutron Dance  (1984)
             POINTER SISTERS  –  Baby Come and Get It (1984)
             FALCO  –  Rock Me Amadeus  (1986)
             FALCO  –  Vienna Calling  (1986)
             BANANARAMA  –  Venus (1986)
             THE BANGLES  –   Walk Like An Egyptian (1986)
             POINTER SISTERS  –  He Turned Me Out  (1988)
             THE KLF – Justified And Ancient (Feat Tammy Wynette)  (1991)
 
        . Hi-NRG (short for High-Energy) describes a form of high-tempo disco music as well as a genre of electronic dance music originating in the United States during the late 1970s.. Examples of hi-energy disco acts include Claudja Barry, Miquel Brown, Amanda Lear, France Joli, Sylvester, Divine, and The Weather Girls.
 10.04.   MINNEAPOLIS SOUND
 
       The Minneapolis sound is a hybrid mixture of funk, rock, pop, R&B and New Wave that was pioneered by Prince in the late 1970s. Its popularity was given a boost throughout the 1980s, thanks to his musical adherents, including The Time, Jimmy Jam and Terry Lewis, Morris Day, Vanity 6, Apollonia 6, Ta Mara & the Seen, Sheila E., Jesse Johnson, Brownmark, Mazarati, and The Family. Some artists who came from Minnesota were influenced by Prince’s work and some came from other parts of the U.S. or world, such as Scottish star Sheena Easton, Flint, Michigan’s Ready for the World, Augusta, Georgia’s Le Klass and Los Angeles, California’s Cherrelle. The music is also known as a form of funk-rock.
 
 
              PRINCE  – When Doves Cry  (1984)
              ALEXANDER O’NEAL  –  Fake  (1987)
              SHEILA E  –  Sex Cymbal (1991)
              PRINCE  – 7  (1992)
 
 
10.05.   NEW JACK SWING AND ELECTRO HOP
 
           New jack swing or swingbeat is a fusion genre  which became extremely popular from the late-1980s into the mid-1990s. The term “new jack swing” describes the sound produced and engineered by R&B/Hip hop artist and producer Teddy RileyThe new jack swing style developed as many previous music styles did, by combining elements of older styles with newer sensibilities. It used R&B style vocals sung over hip hop and dance-pop style influenced instrumentation. The sound of new jack swing comes from the hip hop “swing” beats created by drum machine, and hardware samplers, which was popular during the golden age of hip hop, with contemporary R&B style singing.
               BOBBY BROWN – Don’t Be Crual  (1988)
               JOHNNY KEMP  – Just Got Paid  (1988)
               BABYFACE  – It’s No.Crime (1989)
               KEITH SWEAT  – Make You Sweat  (1990)
               PRINCE AND THE NEW POWER GENERATION – Gwtt Off  (1991)
           Electro hop (sometimes called electronic hip hop, electro rap, electronic rap or robot hip hop) is the fusion of electro, electroclash, electropop, electronica, or electronic dance music with hip hop. The electro hop movement began and remained prominent during the 1980s. It slowly faded from mainstream throughout the 1990s.
 
 10.06.   GOLDEN AGE HIP HOP 
 
        Hip hop’sgolden age” is a name given to a period in mainstream hip hop, usually cited as being a period varying in time frames during the 1980s and 1990s said to be characterized by its diversity, quality, innovation and influence. The artists most often associated with the phrase are Run–D.M.C., Public Enemy, Boogie Down Productions, Eric B. & Rakim, Big Daddy Kane, De La Soul, EPMD, A Tribe Called Quest, Gang Starr and the Jungle Brothers. Releases by these acts co-existed in this period with, and were as commercially viable as, those of early gangsta rap artists such as N.W.A, the sex raps of 2 Live Crew, and party-oriented music by acts such as Kid ‘n Play and DJ Jazzy Jeff & The Fresh Prince.
 
 
HEAVY D. AND THE BOYZ  –  Now That We Found Love  (1991)
 
 10.05.   R&B AND SOUL MUSIC
 
         As the disco era came to a close, a new generation of producers began adding synthesizers and slick drum machine beats to African-American music. In its early years, mainstream R&B was very pop-oriented. Notable 1980s R&B musicians include Luther Vandross, the SOS Band, Mtume, Freddie Jackson, DeBarge, Loose Ends, and Stephanie Mills.
        As disco and funk were dominating the charts in the late 1970s and early 1980s, soul went in the direction of quiet storm. With its relaxed tempos and soft melodies, quiet storm soul took influences from soft rock and adult contemporary. Many funk bands, such as Con Funk Shun, Cameo, and Lakeside would have a few quiet storm tracks on their albums. Among the most successful acts in this era include Smokey Robinson, Teddy Pendergrass, Peabo Bryson, Atlantic Starr, and Larry Graham.
             LIONEL RICHIE  –  All Night  Long   (1983)
             LIONEL RICHIE  –  Hello    (1984)
             THE COMMODORES    –  NIightshift   (1985)
             THE NEVILLE BROTHERS  –  Yellow Moon  (1989)
 10.06.   FUSION OF JAZZ  & BLUES-ROCK 
 
JAMES BLOOD ULMER  –  Are You Glad To Be In America (1980)
13.  THE NINETIES  (the decade of 1990-1999)
 
       By the early 1990s, rock was dominated by commercialized and highly produced pop, rock, and “hair metal” artists, while MTV had arrived and promoted a focus on image and style.   This decade saw the continuation of  teen pop of the 1980s and the emergence of grunge music and alternative rock in pop culture replacing glam metal by 1992 and the beginning of hip hop. It also featured the rise of contemporary country music music as a major genre.
11.01.   POP MUSIC  (1990 – 1999)
      
         Ballad songs  was popular during this decade; popular artist included Michael Bolton, George Michael, Kenny G, Robert Palmer, Celine Dion, Sade, Mariah Carey, Whitney Houston, Bryan Adams, Lisa Stansfield, Roxette, Gloria Estefan, Vanessa L. Williams, Shania Twain, LeAnn Rimes and Jennifer Paige.Important singer-songwriters artists include Alanis Morissette, Tori Amos, Edwin McCain, Jewel, Natalie Merchant and Sheryl Crow.
        
TRAVELING WILBURYS   – She’s My Baby  (1990)
TRAVELING WILBURYS   –  Inside Out  (1990)
DEL AMITRI  –  NOTHING EVER HAPPENS  (1990)
VAYA CON DIOS –  WHAT’S A WOMAN (1990)
RICHARD MARX –  Hazard  (1991)
BILLY FALCON  – Heaven’s Highest Hill  (1991)
CHRIS REA  –  Auberge (1991)
ALDO NOVA  –  Someday  (1991)
K.D. LANG  –  Constant Craving  (1992)
LOS LOBOS  –  Kiko and the Lavender Moon  (1992)
UGLY KID JOE  –  Cat’s in the Cradle  (1992)
RICHIE SAMBORA  – One Light Burning  (1992)
KEITH RICHARDS  – Wicked as It Seems  (1992)
ISRAEL KAMAKAWIWO  –  Over The Rainbow  (1993)
CELINE DION   –  POWER OF LOVE  (1993)
4 NON BLONDES  – WHAT’S UP  (1993)
SOUL ASYLUM –  RUNAWAY TRAIN   (1993)
MARIAH CAREY  – WITHOUT YOU   (1994)
OMEGA  –  GYONGYHAJU LANY  (The Girl With Pearl Hair)  (1994)
PAUL WELLER   –  YOU DO SOMETHING TO ME   (1995)
BRYAN ADAMS  – HAVE YOU REALLY  EVER LOVED A WOMAN  (1995)
JOAN OSBORNE  –  One of Us  (1995)
MADONNA  –   Love Don’t Live Here Anymore  (1996)
MADONNA  –  Don’t Cry for Me Argentina  (1996)
TANITA TIKARAM – Twist In My  Sobriety  (1996)  – remix
THE CORRS  –  Only When I Sleep   (1997)
AALIYAH  – Journey to the Past  (1997)
ROBBIE WILLIAMS  –   Angels  (1997)
JESSICA SIMPSON  –  Angels  (1997)
FALCO  –  Out Of The Dark   (1998)
DES’REE  –  Life    (1998)
JESSICA SIMPSON  – I Wanna Love You Forever  (1999)
11.03.   TEEN POP
 
         Teen pop – Teen pop is a subgenre of pop music that is created, marketed and oriented toward young teenagers and preadolescents. Teen pop is often identified with artists like Hanson,The backstreet boys,’N Sync,All Saints, Spice girls and many others. In 1999, the success of teenaged pop-singers Britney Spears, Mandy Moore, Christina Aguilera and Jessica Simpson, marked the development of what Allmusic refers to as the “pop Lolita” trend, comparing them to Madonna. Teen pop covers genres and styles such as pop, dance, R&B, hip-hop and rock.
              NO MERCY  –  PLEASE DON’T GO   (1995)
              NO MERCY  –  WHEN I DIE   (1995)
              BACKSTREET BOYS  –   QUIT PLAYING GAMES (With my Heart) (1995)
              BRITNEY SPEARS  – Baby One More Time  (1998)
              BACKSTREET BOYS  –   I Want It That Way  (1999)
              JENNIFER PAIGE  –  CRUSH  (1999)11.02.   FUSION OF POP AND DANCE MUSIC 

 
            By the 1990s, dance-pop music had become a major genre in popular music. Several dance-pop groups and artists emerged during the decade, such as the Spice Girls, Britney Spears and Christina Aguilera. By the late-1990s, electronic influences became evident in dance-pop music; Madonna’s critically acclaimed and commercially successful Ray of Light (1998) album incorporated techno, trance and other forms of electronic dance music, bringing electronica into mainstream dance-pop. Additionally, also in 1998, Cher released a dance-pop song called “Believe” which made usage of a technological innovation of the time, Auto-Tune. An audio processor and a form of pitch modification software, it became commonly used as a way to correct pitch, as well as to create a special effect. Ever since the 1990s, Auto-Tune became a common feature of dance-pop music.
JIMMY NAIL  – Isn’t no doubt  (1992)
GLORIA ESTEFAN  –  Turn the Beat Around  (1994)
11.04.   ROCK MUSIC  (1990 – 1999)
 
          Musically, the 1990s saw the rock genres of the 1980s grow apart rather than fuse. Each of those genres (lo-fi pop, industrial, gothic, roots-rock, noise-rock, indie-pop, techno, ambient, etc) multiplied and evolved in a fashion largely independent of the others.
 
 
JOAN JETT  & THE BLACKHEARTS  –  Have You Ever Seen The Rain  (1990)
LENNY KRAVITZ  –  MR. CAB DRIVER   (1990)
LENNY KRAVITZ  –  ALWAYS ON THE RUN  (1991)
LEMONHEADS   –  Mrs.Robinson (1992)
GUNS N’ ROSES  – Don’t Cry (1991)
SLASH  – Godfather theme  (1992)
U2  –  One   (1992)
LENNY KRAVITZ  –  ARE YOU GONNA GO MY WAY  (1993)
BILLY IDOL  –  Speed  (1994)
SCORPIONS  –  WHITE DOVE  (1995)
LENNY KRAVITZ  –  ROCK AND ROLL IS DEAD  (1995)
SALMA HAYEK and TITO & TARANTULA  –  After Dark  (1996)
THE ROLLING STONES  – Anybody Seen My Baby? (1997)
JOHN FOGERTY – Walking In A Hurricane  (1998)
LENNY KRAVITZ  –  FLY AWAY  (1998)
LENNY KRAVITZ  –  AMERICAN WOMAN  (1999)
11.05.   BRITPOP
          Britpop was a genre of alternative rock music from mid-1990s United Kingdom. Britpop became the next major wave in the UK, eclipsing the style similar to how grunge did in North America. Notable British bands and artists with an identifiably “Britpop” sound who were active during the “first wave” of 1993-1997are: Ash, Black Grape, The Bluetones, Blur,The Boo Radleys, Cast, Comedy, Dodgy, Echobelly, lastica,Gene,Heavy Stereo,Menswear,Northern Uproar,Oasis, Ocean Colour, Powder, Pulp, Salad ,Sleeper,Suede,Supergrass,
Marion and These Animal Men.
 
BLACK GRAPE  –  REVEREND BLACK GRAPE (1995)
BLACK GRAPE  –  IN THE NAME OF THE FATHER   (1995)
THE BLUETONES  –  IF…   (1998)
 11.06.  ALTERNATIVE ROCK, GRUNGE AND PUNK POP
 
          The 1990s saw the rise of alternative rock, including groups such as Red Hot Chili Peppers, R.E.M., Live, Counting Crows, Goo Goo Dolls and Our Lady Peace.
          Grunge was popular from 1991 to 1994. Nirvana are considered to have brought both grunge and alternative rock, which dominates both the 1990s and 2000s rock scenes, along with Pearl Jam, The Smashing Pumpkins, Marilyn Manson, Soundgarden, Garbage and Alice in Chains.
        Pop-punk broke into the mainstream by 1994 with the success of Green Day, The Offspring, Weezer, Blink-182 and Third Eye Blind. This genre remained popular in America throuh the rest of the 1990s and the entire 2000s.
            R.E.M. – The One I Love  (1987)
            REM – Losing My Religion  (1991)
            NIRVANA  – Smells Like Teen Spirit   (1991)
            THE SMASHING PUMPKINS  – I  Am One   (1991)
            THE SMASHING PUMPKINS  –  Siva    (1991)
            WORLD PARTY – Is It Like Today  (1993)
            COUNTING CROWS  – Mr. Jones  (1993)
            COLLECTIVE SOUL  – Shine  (1993)
            PJ HARVEY  –  50ft. Queenie (1993)
            THE CRANBERRIES  –  Zombie   (1994)
            GARBAGE  – Queer  (1995)
            PJ HARVEY  –  Down By The Water (1995)
            THE SMASHING PUMPKINS  –  Bullet  With Butterfly Wings  (1995)
            COLLECTIVE SOUL  – December  (1995)
            GARBAGE   – I’m Only Happy When It Rains  (1995)
            GOO GOO DOLLS   –  Name  (1995)
            GARBAGE  –  Stupid Girl   (1996)
            BLUR  –  Song  2  (1996)
            COUNTING CROWS  – A Long December  (1996)
            PJ HARVEY  –  Is That All There Is (1996)
            PJ HARVEY & NICK CAVE  – Henry Lee (1996)
            PJ HARVEY & JOHN PARISH  – That Was My Veil  (1996)
            SKUNK ANANSIE –  Hedonism (Just Because You Feel Good) (1997)
            CARDIGANS –  My  Favorite Game  (1998)
             HOLE  – Malibu  (1998)
            THE CRANBERRIES  –  Promises  (1999)
            TRAVIS  – Baby One More Time  (1999)
11.07.   NEO- PSYCHODELIA  
 
         Neo-psychedelia is music that emulates or is heavily influenced by the psychedelic music of the 1960s.  In the 1990s the Elephant 6 collective, including acts like The Apples in Stereo, The Olivia Tremor Control, Neutral Milk Hotel, Elf Power and of Montreal, produced eclectic psychedelic rock and folk. Other alternative acts to pursue psychedelia from the 1990s included The Brian Jonestown Massacre, Porno For Pyros and Super Furry Animals. In the UK the Madchester scene influenced the early sound of 1990s Britpop bands like Blur,  and Oasis who drew on 1960s psychedelic pop and rock, particularly on the album Standing on the Shoulder of Giants (2000)  In the immediate post-Britpop era Kula Shaker incorporated swirling, guitar-heavy sounds of late-’60s psychedelia and with Indian mysticism and spirituality . In the new millennium neo-psychedelia was continued by bands directly emulating the sounds of the 60s like Tame Impala and The Essex Green .
KULA SHAKER  –  Tattva  (1996)
KULA SHAKER  –  Hey Dude  (1996)
KULA SHAKER  –  Hush  (1996)
 
11.08.    HARD ROCK 
 
        Hard rock entered the 1990s as one of the dominant forms of commercial music. In the new commercial climate many glam metal bands like Europe, Ratt, White Lion and Cinderella broke up.  Many of these bands would re-unite again in the late 1990s or early 2000s, but  they never reached the commercial success they saw in the 1980s or early 1990s. Other bands such as Mötley Crüe and Poison saw personnel changes which impacted those bands’ commercial viability during the decade. Some established acts continued to enjoy commercial success, such as Aerosmit.
 11.09. CONTEMPORARY R&B , SOUL &  NEO-SOUL  MUSIC
 
          As disco and funk were dominating the charts in the late 1970s and early 1980s, soul went in the direction of quiet storm. With its relaxed tempos and soft melodies, quiet storm soul took influences from soft rock and adult contemporary. Many funk bands, such as Con Funk Shun, Cameo, and Lakeside would have a few quiet storm tracks on their albums. Among the most successful acts in this era include Smokey Robinson, Teddy Pendergrass, Peabo Bryson, Atlantic Starr, and Larry Graham.
               THE NEVILLE BROTHERS  –  Bird on a Wire  (1990)
               AARON NEVILLE & L. RONSTAD – When Something Is Wrong with My Baby (1990)
               BARRY WHITE  –  When Will I See You Again  (1990)
               BARRY WHITE  –  Put Me In Your Mix  (1991)
               THE NEVILLE BROTHERS  –  Tell It Like It Is (1992)
               BARRY WHITE  –  Practice What You Preach  (1994)
               PERCY SLEDGE  –  When a Man Loves A Woman  (1994)
               BARRY WHITE  –  Come On   (1995 )
               AARON NEVILLE  –  For The Good Times  (1995)
 
       Contemporary R&B (also known as simply R&B) is a music genre that combines elements of hip hop, soul, R&B and funk.  Contemporary R&B and urban pop began between 1991 to 1998.   It became less raw and more slickly produced, resulting in a style known as contemporary R&B, which sounded very different from the original rhythm and blues style.
Popular artists include Salt-n-Pepa, Groove Theory, Diana King, 3T, Brownstone, Shanice, Paula Abdul, Usher, Aaliyah, Keith Sweat, R. Kelly, TLC, Seal, Brandy, Monica, Tevin Campbell, Maxi Priest, Shaggy and Toni Braxton.
       The United States saw the development of neo-soul around 1994.  Neo soul is a term coined by music industry entrepreneur Kedar Massenburg during the late 1990s to market and describe a style of music that emerged from soul and contemporary R&B.  Heavily based in soul music, neo soul is distinguished by a less conventional sound than its contemporary R&B counterpart, with incorporated elements ranging from jazz, funk, and hip hop to pop fusion  and African music. It has been noted by music writers for its classicist influences, conscious-driven lyrics, and strong female presence.
CHARLES & EDDIE  –  Would I Lie to You (1992)
GROOVE THEORY  –  Tell Me  (1995)
MAXWELL   –  Ascension (Don’t Ever Wonder) (1996)
FUGEES  –  KILLING ME SOFTLY  (1996)
PATTI LABELLE  – When You Talk About Love (1997)
MACY GRAY  –  Why Didn’t You Call Me  (1999)
MARY MARY  – (Shackles)  Praise You (1999)
LAURYN HILL  –  Everything Is Everything   (1999)
11.11.   EURODANCE  AND HIP HOUSE  (house rap)
 
           Euro dance (also know as Hands Up) is a genre of electronic dance music that originated in the late 1980s primarily in Europe. Original Euro dance is a fusion of several styles of dance music, primarily house and rap with the Hi-NRG variant of disco music.,   especially Italo-Disco  Some examples of “original” Euro dance acts are Vengaboys, Alcazar, Infernal, Alexia, 2 Unlimited, Bad Boys Blue, Cappella, Captain Hollywood Project, Centory, Corona, Culture Beat, DJ Bobo, Dr. Alban, E-Type, Fun Factory, Ice MC, Imperio, Indra, La Bouche, 2 Brothers On The 4th Floor, Le Click, Maxx, Playahitty, Real McCoy, Whigfield, Darude and First Base.
         Euro dance has served to popularize rap music in Europe. While rap had been made in Europe at least as far back as Falco’s Einzelhaft album (1982), the American variety only gained a more widespread acceptance when Technotronic landed their hit “Pump Up the Jam”, followed by Snap’s “The Power”. The combination of house music with rap vocals in general came to be referred to as Hip house or “house rap”.
 
TECHNOTRONIC –   PUMP UP THE JAM  (1989)
TECHNOTRONIC  – THIS BEAT IS TECHNOTRONIC  (1989)
TECHNOTRONIC  –  MOVE THIS   (1989)
SNAP  – THE POWER  (1990)
SNAP  – THE POWER  ’96   (1996) –  (remix version)
SNAP  – COLOUR OF LOVE  (1992)
 
11.13.  TRIP HOP & POST TRIP HOP MUSIC
         Trip hop  is a music genre consisting of downtempo electronic music which originated in the early 1990s in the UK, especially Bristol. Deriving from “post”-acid house, the term was first used by the British music media and press as a way to describe the more experimental variant of breakbeat which contained influences of soul, funk and jazz.  Musically, trip hop contains a slow tempo and a hypnotic sound created by an electronic background and prominent string instrumentation. Several trip hop artists and bands, such as Massive Attack, Tricky, Portishead and Morcheeba have received attention and/or chart success, both on mainstream national charts and on the more dance and indie-based ones.
        After the success of Massive Attack, Portishead and Tricky albums in 1994 and 1995, a new generation of trip hop artists emerged with a more standardized sound. Notable “post-trip-hop” artists include Morcheeba, Sneaker Pimps, Alpha, Jaianto, Mudville and Cibo Matto. They integrated trip hop with other genres – including ambient, R&B/soul, IDM, experimental industrial, atmospheric drum n bass/jungle, liquid dubstep, breakbeat, drum ‘n’ bass, acid jazz, and new age.
 
            
MASSIVE ATTACK  –  Be Thankful for What You’ve Got (1991)
SADE  –  Feel No Pain  (1992)
MADONNA  & MASSIVE ATTACK  – Want You  (1995)
MASSIVE ATTACK  – Inertia Creeps  (1998)
TRICKY  –  Evolution Revolution Love  (2001)
MORCHEEBA Feat..Big Daddy Kane  – What’s Your Name  (2003)
MORCHEEBA  –  Wonders never cease  (2005)
MASSIVE ATTACK  –  Live With Me (Performance Version) (2006)
MASSIVE ATTACK  –  Live With Me  (second version)  (2006)
MASSIVE ATTACK  –  Safe From Harm ( 2006)
GNARLS BARKLEY  –  Who’s Gonna Save My Soul   (2008)
PORTISHEAD  – The Rip  (2008)
PORTISHEAD  – Magic Doors  (2008)
GRACE JONES  –  Corporate Cannibal  (2008)
 11.14.   LATIN POP MUSIC
 
           Latin pop  generally refers to pop music that has what may be perceived a Latin American influence. Geographically, it could refer to pop music from Latin America or sung by Latin Americans, generally regarded as Hispanics in the United States. There are two main variants. The first one is regular pop performed in the Spanish, Spanglish, Portuguese or English for international audiences. The second one mixes pop with a wide variety of Latin American or Iberian rhythms such as salsa, samba, norteña, merengue, banda, tex-mex, flamenco, tango, reggaeton, vallenato, and reggae. Some of the most successful artists are Selena, Enrique Iglesias, Gloria Estefan, Ricky Martin, Jennifer Lopez, Shakira, Carlos Santana, La India, Marc Anthony, Juanes and Miami Sound Machine. Julio Iglesias is regarded to date as the world’s best selling Latin artists selling 100 million albums worldwide
            Latin pop music sung in English
              MARC ANTHONY  – I Need To Know  (1999)
              SHAKIRA  – Whenever, Wherever  (2001)
              SHAKIRA  – Whenever, Wherever  (Tracy Young’s Spin Cycle.Mix) (2001)
              SHAKIRA  – Underneath Your Clothes (Thunderpuss Club Edit ) (2001)
              MARC ANTHONY –  Tragedy (2002)
              GLORIA ESTEFAN  –   Wraped  (2003)
              THALIA   –   Baby I’m In Love  (2003)
            Latin pop music sung in Spanish or other Romance languages
 
          Mexican pop music
 
         The type of Pop music produced in Mexico is called Mexican pop. Mexican pop was limited to Latin America until the mid-1990s, when an interest towards this type of music increased after Luis Miguel’s, Selena’s Gloria Trevi’s Thalía’s and Paulina Rubio’s debuts before the mainstream USA audience. The most successful singer to combine ranchera, mariachi and pop music was Alejandro Fernández.
            LUIS MIGUEL  –  Ayer  (1993)
            LUIS MIGUEL  –  La Media Vuelta  (1994)
            LUIS MIGUEL  –  Por Debajo De La Mesa (1997)
            THALIA  –  Amor a la Mexicana  (1997)
            ALEJANDRO FERNANDEZ  –  Loco  (1999)
14. 2000s IN MUSIC  (the decade of 2000-2009)
 
         In North America and  Europe  pop and dance music subgenres, such as dance-pop, teen pop and bubblegum pop, have remained popular throughout or in parts of the decade. Similarly to the 1990s, hip hop and contemporary R&B also remained highly popular genres throughout the decade. Despite the hip hop dominance which lasted for the decade, rock music was still popular, notably alternative rock, and especially genres such as Post-grunge, Nu metal, pop punk, emo,
       Despite a slight slip of popularity in the early part of the decade, adult contemporary and country music were still able to find success throughout the 2000s. Electronic music was also highly popular throughout the decade; at the beginning of the 2000s, genres such as trance, chillout, house, indietronica and Eurodance (in Europe) were popular, yet, by the latter end of the decade, dance-oriented forms of electronic music, such as synthpop, electropop, Nu-disco and electro house had become popular. By the end of the decade, a fusion between hip hop and electronic dance which had originated in the 80s, known as electro hop, also became highly popular.
      In Latin America, Latin pop music remained popular throughout the decade. Reggaeton became a definitive genre in 2000s Latin music, as well as salsa and merengue. Subgenres fusing Latin music such as merengue and reggaeton with hip hop and rap music became popular from the mid-part of the decade onwards.
     Unlike many past decades, the 2000s did not see the creation of as many new genres, with the exception of a few indie-related genres such as emo rock and post-indie
12.01   POP MUSIC  (2000 – 2009)
            ROBBIE WILLIAMS  – The Road To Mandalay (2001)
            DELTA GOODREM  –  Born To Try  (2003)
            DELTA GOODREM  –  Lost Without You  (2003)
            DELTA GOODREM  –  Not Me Not I  (2003)
            DELTA GOODREM  –  A Year Ago Today  (2003)
            SHANIA TWAIN  –  Don’t!  (2004)
            ROD STEWART  –  Have You Ever Seen The Rain   (2006)
            ROD STEWART  –  Fooled Around And Fell In Love (2006)
            PINK  –  Sober  ( 2008)
            LENE MARLIN   –  Here We Are  (2009)
 
12.02   ROCK MUSIC   (2000 – 2009)
 
        Billboard magazine considers the pop rock performers or groups from this era to include singers such as Maroon 5, Metro Station, Jonas Brothers, Mika, Tokio Hotel, 3OH!3, Forever The Sickest Kids, All Time Low, The Maine , A Rocket To The Moon, SR-71, Something Corporate, Cute Is What We Aim For, Avril Lavigne, The Feeling, Demi Lovato, McFLY, We The Kings, Nicolas, Paramore, Pink, Mêlée, Stellar Kart, The Veronicas, Weezer, Yellowcard, Every Avenue, and Boys Like Girls.
LENNY KRAVITZ  –  AGAIN  (2000)
LENNY KRAVITZ  –  DIG IN   (2001)
LENNY KRAVITZ  –  LADY  (2004)
TITO  & TARANTULA   –  Strange Face of Love  (2009)
TITO  & TARANTULA   –  After Dark (2009)
12.03.   ALTERNATIVE ROCK  &  INDIE ROCK
 
          During the late 1990s and early 2000s, several alternative rock bands emerged, including The Strokes, Franz Ferdinand, Interpol, and The Rapture that drew primary inspiration from post-punk and New Wave, establishing the post-punk revival movement. Preceded by the success of The Strokes and The White Stripes earlier in the decade, an influx of new alternative rock bands, including several post-punk revival artists and others such as Modest Mouse, The Killers, and Yeah Yeah Yeahs, found commercial success in the early 2000s. Owing to the success of these bands, Entertainment Weekly declared in 2004, “After almost a decade of domination by rap-rock and nu-metal bands, mainstream alt-rock is finally good again
SHIVAREE  – Goodnight Moon  (2000)
COLLECTIVE SOUL  – Why Part two  (2000)
RED HOT CHILI PEPPERS  – Californication (2000)
OUR LADY PEACE – Somewhere Out There  (2002)
THE WHITE STRIPES  –  Joline   (2004)
PJ HARVEY  –  The Desperate Kingdom Of Love (2004)
PJ HARVEY  –  Shame  (2004)
PJ HARVEY  –  You Come Through  (2004)
RED HOT CHILI PEPPERS  –  Desecration Smile (2006)
ABSOLUTE  – Sebastian  (2007)
HOLE   –  Letter To God  (2010)
         During the 2000s in the United States the term alternative rock fell out of common usage and was replaced by indie rock, a term that had previously limited usage there. Allmusic identifies indie rock as including a number of styles that are: “too sensitive and melancholy; too soft and delicate; too dreamy and hypnotic; too personal and intimately revealing in its lyrics; too low-fidelity and low-budget in its production; too angular in its melodies and riffs; too raw, skronky and abrasive, wrapped in too many sheets of Sonic Youth/Dinosaur Jr./Pixies/Jesus & Mary Chain-style guitar noise; too oblique and fractured in its song structures; too influenced by experimental or otherwise unpopular musical styles.”
TRAVIS  – Why Does It Always Rain on Me? (1999)
TRAVIS  – Sing  (2001)
TRAVIS  – Sing   (Top Of The Pops)  (2001)
TRAVIS  – Side  (2001)
12.03.   FUSION OF POP AND DANCE MUSIC 
 
            Dance-pop is a style of electronic dance music and a subgenre of pop music that evolved from post-disco era,that combines dance beats with a pop and/or R&B song structure. List of artists : Kylie Minogue, Lady Gaga, Paula Abdul, Mariah Carey, Britney Spears ,Cher, Duran Duran, Whitney Houston, The Human League, Dannii Minogue,Thalía, Janet Jackson,Michael Jackson,Madonna, George Michael, Justin Timberlake ,Pet Shop Boys, Prince, Spice Girls,Ace of Base, All Saints,Backstreet Boys, Bananarama, NSYNC ,Rihanna Billy Ocean Gloria Estefan,Hilary Duff ,Tina Cousins,Taylor Dayne ………
ANASTACIA –  I’m Outta Love  (2000)
VANESSA BROWN –  Shark In The Water   ( 2009)
12.04.  FUSION OF POP & R&B
BEYONCE  –  BROKEN HEARTED GIRL   (2009)
12.08.  NU DISCO
 
       Nu-disco is a 21st century dance music genre associated with a renewed interest in 1970s and early 1980s disco, mid-1980s Italo disco, and the synthesizer-heavy Eurodisco aesthetics. Nu-disco is most popular in Europe and Australia. Bands such as Miami Horror, Cut//Copy, Cadillac and Bag Raiders epitomize the Australian nu-disco sound. The French disco-revival sound can be seen in big acts such as Daft Punk, Breakbot, Anoraak, and even Justice. Examples of artists playing Nu-Disco include Aeroplane, Cadillac (Melbourne), The Magician, Lindstrom, Tensnake, Televisor, Todd Terje and Prins Thomas. The most recognized artists of this genre are Zulmira, Astronomica, Neighbour, Classixx, Ilija Rudman, Crazy P, 6th Borough Project and many others.
 
THE SCISSOR SISTERS  – Comfortably Numb  (2004)
12.05.   CONTEMPORARY R&B (2000 – 2009)
 
          By the 2000s, the cross-pollination between R&B and hip hop had increased to the point where, in most cases, the only prominent difference between a record being a hip hop record or an R&B record is whether its vocals are rapped or sung. Mainstream modern R&B has a sound more based on rhythm than hip hop soul had, and lacks the hardcore and soulful urban “grinding” feel on which hip-hop soul relied. That rhythmic element descends from new jack swing. R&B began to focus more on solo artists rather than groups as the 2000s progressed. As of 2005, the most prominent R&B artists include Usher, Beyoncé  and Mariah Carey whose music often blurs the line between contemporary R&B and pop.
 
LUCY PEARL  – DON’T MESS WITH MY MAN   (2000)
WYCLEF JEAN & MARY J.BLINGE –  911  (2000)
TONI BRAXTON  –  HE WASN’T MAN ENOUGH   (2000)
NELLY  –  PIMP JUICE  (2002)
WYCLEF JEAN & CLAUDETTE ORTIZ  –  TWO WRONGS   (2002)
R.KELLY – SLOW WIND   (2005)
T-PAIN  feat. LIL’ WAYNE  –  CAN’T BELIVE IT   ( 2008)
JAZMINE SULLIVAN  –  Bust Your Windows (2008)
JAZMINE SULLIVAN – Dream Big  (2009)
12.06.    SOUL, NEO-SOUL &  HIP- HOP SOUL    
 
        Most people like and appreciate at least a little classic Soul: artists like James Brown, Aretha Franklin, Otis Redding, Marvin Gaye and Ray Charles all have enduring legacies that have lasted for decades. Even today, all around the world, classic Soul is as popular now as it was during its early days back in the 1960s. But although there are plenty of Soul legends, there are also plenty of contemporary artists keeping the legacy of the art form alive. Anthony Hamilton, Mary J. Blige and others are among the deep, gritty soul artists who are among today’s best.
 
ROBERTA FLACK  – KILLING ME SOFTLY WITH THIS SONG  (2000)
SOLOMON BURKE – DON’T GIVE UP ON ME   (2003)
LIONEL RICHIE  –  SAY YOU , SAY ME   (2007)
THE 5th DIMENSION   – AQUARIUS & LET THE SUN SHINE IN (2007}
           Neo soul is a term coined by music industry entrepreneur Kedar Massenburg during the late 1990s.  According to music journalist Greg Kot, musical collective Soulquarians with members from Philadelphia, New York, Detroit, Richmond, Brooklyn, Chicago, Dallas, and Oakland., contributed significantly to the neo soul movement during the late 1990s to the early 2000s. The founding members of the collective are Ahmir Thompson a.k.a. Questlove from The Roots, D’Angelo, James Poyser, and J Dilla. Being a collective, they included a rotating list of members, including Common, Mos Def, Talib Kweli, Q-Tip, Erykah Badu, Bilal  and Raphael Saadiq.
         During the early to mid 1990s, the neo soul movement continued to grow with releases by Zhané, Groove Theory, Joi, Tony Rich, and Me’Shell NdegéOcello.  Other  neo soul artists broke through with their debut albums, including Macy Gray, Angie Stone, Lauryn Hill and Jill Scott.  The 1997 film Love Jones capitalized on neo soul’s success at the time with its soundtrack album, which impacted the Billboard charts and featured artists such as Hill, Maxwell, The Brand New Heavies, Me’Shell NdegéOcello, Groove Theory, and Dionne Farris. 
 
ANGIE STONE   –  Wish I Didn’t Miss You (2001)
GNARLS BARKLEY  –  Crazy  (2006)
GNARLS BARKLEY  Vs..RAZE – Crazy.4.Love  (Pomatic.Mashup.Mix.)
GNARLS BARKLEY  –  Who’s Gonna Save My Soul   (2008)
 
           Hip hop soul is sub-genre of contemporary R&B which fuses R&B, neo soul and dance elements with hip hop. The term did not originate until the promotion for Mary J. Blige’s debut album “What’s the 411?”  in 1992 when Uptown Records proclaimed her to be the “Queen of Hip Hop Soul” and generally describes a style of music that blends soulful R&B singing and raw hip hop production. The genre served as a middle point between two other hip hop/R&B blends, new jack swing and neo soul, and while it was most popular during the mid-1990s with the “Queen of Hip Hop Soul” Mary J. Blige, Jodeci, and Aaliyah, it still finds popularity with newcomers such as Ashanti, Beyoncé, Aaliyah, Alicia Keys, Keyshia Cole and Amerie.
 
 12.07. SMOOTH JAZZ  –   FUSION OF SOUL, R&B, JAZZ and SOFT ROCK   
 
          Smooth jazz is a genre of music that grew out of jazz fusion and is influenced by R&B, funk, rock, and pop music styles (separately, or, in any combination). In general, a smooth jazz track is downtempo, layering a lead, melody-playing instrument (saxophones – especially soprano and tenor – are the most popular, with guitars a close second) over a backdrop that typically consists of programmed rhythms and various pads and/or samples
      .  Smooth jazz groups or recording artists tend to play their instruments in a melodic fashion such that they are recognizable within just a few measures; this category includes names such as saxophonists Kenny G, David Sanborn, the late George Howard, Najee and Art Porter, Jr.; guitarists George Benson, Marc Antoine, Peter White, Johnathan Butler, Ray Parker, Jr, Norman Brown, Ronny Jordan, and Yves Vincent; pianists Joe Sample, David Benoit, and Bradley Joseph. Some performers, such as Dave Koz, Bob James, and Nathan East are notable for their numerous collaborations with many of the genre’s big names. Groups include Fourplay, Pieces of a Dream, Acoustic Alchemy, Airborne and The Rippingtons. Female performers include Keiko Matsui, Joyce Cooling, Mindi Abair, Candy Dulfer, Sade, Brenda Russell, Pamela Williams, Regina Belle, and Anita Baker.
 
         
 
 SADE  –  KING OF SORROW  (2000)
 SADE  –  KING OF SORROW  (2002)  – concert version
 SADE  –  PARADISE   (2002) – concert version
 12.09. TRANCE  & HOUSE  MUSIC  (2000 – 2009)
           Trance is a style of electronic dance music that developed in the 1990s. Trance can be understood as a combination of many forms of electronic music such as industrial, techno, and house. As this music is frequently played in nightclubs, vacation spots and inner cities, trance can be understood as a type of club music. Trance music is broken into a large number of genres. Chronologically, the major genres are  Classic trance, Acid trance, Uplifting Trance, Epic trance, Progressive  trance ,Stadium trance or Euphoric trance. Several subgenres are crossovers with other major genres of electronic music. For instance, tech trance is a mixture of trance and techno.
SONIQUE – IT FEELS SO GOOD  (2000)
SONIQUE  –  SKY  (2000)
SONIQUE  –  ALIVE  (2003)
SONIQUE  –  WORLD OF CHANGE  (2010)
12.10.   REGGAETON ,ROMANTIQUEO, KUDURO & ETHNIC MUSIC 
            Reggaeton is a form of urban music that became popular with Latin American youth in the early 1990s. After its mainstream exposure in 2004, it spread to North American, European and Asian audiences. Originating in Panama, reggaeton blends West-Indian music influences of reggae and dancehall with those of Latin America, such as bomba, plena, salsa, merengue, latin pop, cumbia and bachata as well as that of hip hop, contemporary R&B, and electronica.
           Ethnic music, especially in near tropical locations is mainstream for most of the mid to late ’00s, especially with hits by Shakira and M.I.A. and the rise of  Reggae/Pop/Dance artists like Sean Paul, Sean Kingston and Rihanna early in the mid to late 2000s.
          Romantiqueo is a sub-genre of Reggaeton. It is a fusion of Pop, R&B, and Reggaeton. The name Romantiqueo comes from the words “romantic” and “mixeo” (Puerto Rican slang for mix).  Zion y Lennox are considered to be the pioneers of Romantiqueo. Magnate y Valentino, Tito “El Bambino”, De La Ghetto, Randy, Don Omar, Divino, RKM & Ken-Y, Cruzito and Baby Rasta are among those who have made a name in the genre.
         Kuduro (or kuduru) is a type of music originally born in Angola in the 1980s. Reinvented in Portugal, the genre gained international popularity. It is characterized as uptempo, energetic, and danceable.
DON OMAR  –  Angelito  (2006)
DON OMAR  –  Canción De Amor (2007)
ZION  feat. AKON  –  THE WAY SHE MOVES   (2007)
DADDY YANKEE –  QUE TENGO QUE HACER   (2009)
DON OMAR  –  Sexy Robotica (2009)
DON OMAR  –  Hasta Abajo  (2009)
DON OMAR  –  Taboo  (2011)
11.15.    AMERICANA  –  ALTERNATIVE COUNTRY MUSIC
      
            In the 1990s the term alternative country ( or americana)  paralleling alternative rock, began to be used to describe a diverse group of musicians and singers operating outside the traditions and industry of mainstream country music. It has been used to describe country music bands and artists that have incorporated influences ranging from roots rock, bluegrass, rockabilly, honky-tonk, alternative rock, folk rock, and particularly punk. It is generally agreed that alternative country drew on traditional American country music, the music of working people, preserved and celebrated by practitioners such as Woody Guthrie, Hank Williams, and The Carter Family, often cited as major influences.   Another major influence was country rock, the result of fusing country music with a rock & roll sound. Some of the significant artists in the genre are: Dave Alvin, Neko Case,  Justin Townes Earle, Alison Krauss amd  Gillian Welch .
 
 
           
 CALEXICO  –  Ballad Of Cable Hogue  (2000)
 THE BE GOOD TANYAS  – It’s Not Happening  (2003)
 CALEXICO  –  Ballad Of Cable Hogue  (2004)
 CALEXICO  –  Quattro (World Drifts In )  (2004)
 CALEXICO  –  Sunken Waltz  (2004)
 CALEXICO  –  El Picador  (2004)
 CALEXICO  –  Crystal Frontier  (2006)
 CALEXICO  –  Alone Again Or  (2006)
 CALEXICO  –  El Gatillo  (2008)
 CALEXICO  –  Cruel  (2008)
 
12.12. TEJANO MUSIC
          Tejano music or Tex-Mex music (Texan-Mexican music) is the name given to various forms of folk and popular music originating among the Mexican-American populations of Central and Southern Texas. In recent years, artists such as Selena, often referred to as “The Queen of Tejano”, Alicia Villarreal, Elsa Garcia, Laura Canales, La Mafia, Jay Perez, Mazz, and Jennifer Peña have transformed Tejano music from primarily Tejano, ethnic form of music to a genre with wide appeal in people who like Tejano.
 15. PRESENT DAY  (2010 – 2012)
 13.01.  POP AND ROCK MUSIC
        
SLASH ft. ANDREW STOCKDALE  –  By The Sword  (2010)
SANTANA & INDIA ARIE  –  While My Guitar Gently Weeps   (2010)
SUPERHEAVY – Miracle Worker  (2011)
 13.02.  ALTERNATIVE ROCK
THE PRETTY RECKLESS  –  Make Me Wanna Die (2010)
THE PRETTY RECKLESS  –  Miss Nothing  (2010)
THE PRETTY RECKLESS  –  Just Tonight (2010)
THE PRETTY RECKLESS  –  You  (2010)
THE PRETTY RECKLESS  –  My Medicine (2012)
LANA DEL REY  –  Blue Jeans  (Official Video)  (2012)
13.03.  ELECTRONIC ROCK  
        Electronic rock, also commonly referred to as synthrock, electrorock or digital rock, is rock music generated with electronic instruments. It has been highly dependent on technological developments, particularly the invention and refinement of the synthesizer, the development of the MIDI digital format and computer technology.
MARINA AND THE DIAMONDS – Primadonna (2012)
MARINA AND THE DIAMONDS – Primadonna (2012)   (Acoustic version)
16.     HEAVY  METAL 
 
       Heavy metal  is a genre of rock music   that developed in the late 1960s and early 1970s, largely in the Midlands of the United Kingdom and the United States.With roots in blues rock and psychedelic rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness.
12.01  TRADITIONAL HEAVY METAL  ( HARD ROCK )
 
            Traditional heavy metal, also known as classic metal  or simply heavy metal, is the seminal genre of heavy metal music before the genre “evolved and splintered into many different styles and subgenres.  Key figures and important bands of the genre are: Accept, Armored Saint,  Black Sabbath,  Diamond Head, Dio,  Deep Purple, Iron Maiden, Judas Priest,  King Diamond, Led Zeppelin, Manowar,  Motörhead, Ozzy Osbourne, Queensrÿche, Raven, Saxon, Scorpions, Tank, U.D.O. ,Warlock, W.A.S.P.  The following bands are often classified as hard rock or glam metal, but sometimes authors classify them as traditional heavy metal. AC/DC, Alice Cooper, Blue Cheer, Blue Öyster Cult, Budgie, Def Leppard, Quiet Riot, Kiss, Skid Row, Trust and Van Halen.
 
 
DEEP PURPLE  –  WRING THAT NECK  (1968)
DEEP PURPLE  –  MANDRAKE ROOT  (1968)
DEEP PURPLE  –  Hallelujah  (1969)
LED ZEPPELIN  – Travelling Reverside Blues  (1969)
STEPPENWOLF  –  SOOKIE SOOKIE    (1969)
LED ZEPPELIN  –  HOW MANY MORE TIMES (1969)
LED ZEPPELIN  –  COMMUNICATION BREAKDOWN  (1969)
GRAND FUNK RAILROAD – INSIDE LOOKING OUT (1969)  – PBS (WITF TV)
BLACK SABBATH  – PARANOID   (1970)
BLACK SABBATH  –  BLACK SABBATH  (1970)
DEEP PURPLE – CHILD IN TIME  (1970)
DEEP PURPLE – INTO THE FIRE   (1970)
GRAND FUNK RAILROAD – INSIDE LOOKING OUT (1970)  – Atlanta
LED ZEPPELIN  –   IMMIGRANT SONG  (1970)
LED ZEPPELIN  –  WHOLE LOTTA LOVE  (1970)
DEEP PURPLE  –  SPEED KING   (1970)
DEEP PURPLE  –  SPEED KING   (1970)  ( 2nd version )
DEEP PURPLE  –  BLACK NIGHT  (1970)
BLACK SABBATH –  N.I.B.  (1970)
GRAND FUNK RAILROAD  –  I’M YOUR CAPTAIN  (1971) – Shea stadium,NYC
DEEP PURPLE  –  FIREBALL   (1971)
DEEP PURPLE  –  DEMON’S EYES  (1971)
DEEP PURPLE  –  STRANGE KIND OF WOMAN  (1971)
DEEP PURPLE  – No No No  (1971)
LUCIFER’S FRIEND – RIDE THE SKY  (1971)
WARHORSE  –  RITUAL   (1971)
LED ZEPPELIN – STAIRWAY TO HEAVEN  (1971)
DEEP PURPLE – WHEN A BLIND MAN CRIES (1972)
DEEP PURPLE  – HIGHWAY STAR  (1972)
URIAH HEEP – BLIND EYE   (1972)
DEEP PURPLE  –  SMOKE ON THE WATER  (1973)
DEEP PURPLE  –  STRANGE KIND OF WOMAN  (1973)
URIAH HEEP – SUNRISE   (1973)
LED ZEPPELIN  – OVER THE HILLS AND FAR AWAY   (1973)
GRAND FUNK RAILROAD – LOCOMOTION  (1974)
BLACK SABBATH  –  CHILDREN OF THE GRAVE – California Jam (1974)
DEEP PURPLE  –  SMOKE ON THE WATER  – California Jam  (1974)
URIAH HEEP – EASY LIVIN’  (1974)
GRAND FUNK RAILROAD – INSIDE LOOKING OUT (1974)
GRAND FUNK RAILROAD  –  WE’RE AN  AMERICAN BAND   (1974)
THIN LIZZY – DON’T BELIVE A WORD  (1976)
URIAH HEEP  –  LADY IN BLACK   (1977)
KISS  –  I WAS MADE FOR LOVIN’ YOU   (1979)
PINK FLOYD  –  ANOTHER BRICK IN THE WALL   (1979)
PINK FLOYD  –  ANOTHER BRICK IN THE WALL   (1980) – concert version
SAM KINISON  –  Wild Thing  (1988)
X  – Wild Thing  (1989)
 10.04   NEW WAVE OF BRITISH HEAVY METAL, AMERICAN HEAVY METAL AND  
GLAM METAL ( HAIR METAL)
 
         The New Wave of British Heavy Metal  is a heavy metal movement that started in the late 1970s, in Britain, and achieved international attention by the early 1980s.The early movement was associated with acts such as :  Iron Maiden, Saxon, Motörhead, Def Leppard, Angel Witch, Tygers of Pan Tang, Blitzkrieg, Avenger, Sweet Savage, Girlschool, Jaguar, Demon, Diamond Head, Samson and Tank, among others. The image of bands such as Saxon (long hair, denim jackets, leather and chains) would later become synonymous with heavy metal as a whole during the 1980s.
         Glam metal (also known as hair metal) is a term used to describe the visual style or fashion of certain heavy metal music bands that arose in the late 1970s and early 1980s in the United States. Glam metal bands included Quiet Riot, Mötley Crüe, Dokken, Ratt , Stryper,
Poison, Europe, Faster Pussycat, L.A. Guns, Roxx Gang  and Dangerous Toys.
KISS   –  I LOVE IT LOUD  (1982)
DEF LEPPARD  –  ROCK OF AGES  (1983)
CINDERELLA  –  SHAKE ME   (1986)
WHITESNAKE   –  STILL OF THE NIGHT   (1987)
ZODIAC MINDWARP  –  PRIME MOVER   (1987)
GREAT WHITE  – Save your love  (1987)
UNDERGROUND METAL 
 
            Many subgenres of heavy metal developed outside of the commercial mainstream during the 1980s. Sharpe-Young’s multivolume metal encyclopedia separates the underground into five major categories:    thrash metal,  death metal,  black metal,  power metal  and the related subgenres of doom and gothic metal.
 
 
10.06.01  THRASH METAL
 
           Thrash metal is a subgenre of heavy metal that is characterized by its fast tempo and aggression. The “Big Four” bands of thrash metal are Anthrax, Megadeth, Metallica and Slayer, who simultaneously created and popularized the genre in the early 1980s.
MEGADETH  – PEACE SELLS   (1986)
         In the 1990s, many veteran thrash metal bands began changing to more accessible, radio-friendly styles. Metallica were a notable example of this shift, particularly with their mid to late 90’s albums Load (1996), and ReLoad (1997), which both displayed minor blues and pop rock influences, and were seen as a major departure from the band’s earlier sound. Megadeth took a more accessible route with their 1992 album Countdown to Extinction, and Testament released the mainstream and melodic The Ritual in 1992. A number of more typical thrash albums were released in the 1990s and all of those albums were commercial high points.
SLAYER    –  SEASONS IN THE ABYSS  (1990)
ANTHRAX  –  GOT THE TIME  (1990)
TESTAMENT  – SOULS OF BLACK   (1990)
MEGADETH  – SYMPHONY OF DESTRUCTION  (1992)
SLAYER  –  BLOODLINE   (2001)
SLAYER  –  ANGEL OF DEATH  (2002)
SLAYER  –  EYES OF THE INSANE  (2006)
HATEBREED  –  GHOSTS OF WAR   (2009)
11.11.   GROOVE  METAL  (or POST THRASH METAL )
 
       Groove metal is a subgenre of heavy metal. It was often used to describe Pantera and Exhorder. Tommy Victor of Prong claims that the attitude of groove metal came from Bad Brains. List of notable groove metal bands is DevilDriver, Droid, Fear Factory, Hellyeah, Machine Head, Living Sacrifice, Lamb of God, Gojira, White Zombie, Sepultura, Throwdown, Scum of the Earth, Pantera, Soulfly and Sinai Beach.      
PANTERA  –  COWBOYS FROM HELL   (1990)
PANTERA  –  PSYCHO  HOLIDAY   (1990)
WHITE ZOMBIE  –  WELCOME TO PLANET MOTHERFUKKER  (1992)
WHITE ZOMBIE  –  THUNDER KISS  ’65   (1992)
PANTERA  –   5 MINUTES ALONE   (1994)
WHITE ZOMBIE  –  ELECTRIC HEAD, Pt. 2 (The Ecstasy)  (1995)
WHITE ZOMBIE  –  SUPERCHARGER HEAVEN  (1995)
WHITE ZOMBIE  –  THE ONE  (1996)
WHITE ZOMBIE  –  I’M YOUR BOOGIEMAN  (1996)
SEPULTURA    –   BULLET BLUE SKY   (2003)
SEPULTURA    –   MINDWAR   (2003)
MACHINE HEAD  –  DESCEND THE SHADES OF NIGHT   (2003)
DEVILDRIVER  –   NOT ALL WHO WANDER ARE LOST   (2007)
SEPULTURA    –   OSTIA   (2008)
LAMB OF GOD  – SET TO FAIL   (2009)
10.06.02   DEATH  METAL  
 
        Death metal is an extreme subgenre of heavy metal. It typically employs heavily distorted guitars, deep growling vocals, blast beat drumming, and complex song structures with multiple tempo changes. Building from the musical structure of thrash metal, death metal emerged during the mid 1980s. It was mainly inspired by thrash metal acts like Slayer, Kreator and Celtic Frost.
AMORPHIS  –  SILVER BRIDE  (2009)
SCAR SYMMETRY  –  ASCENSION CHAMBER  (2009)
 
 
 
10.06.03  BLACK METAL  –  first wave
 
           Black metal is an extreme subgenre of heavy metal. It often employs fast tempos, shrieked vocals, highly distorted guitars played with tremolo picking, double-kick drumming, and unconventional song structure. During the 1980s, certain thrash metal bands established a prototype for black metal. This so-called “first wave” included bands such as Venom, Bathory, Hellhammer and Celtic Frost. Other artists usually considered part of this movement include Sodom and Destruction (from Germany), Bulldozer and Death SS (from Italy), Tormentor (from Hungary), Root (from Czech Republic) , Mercyful Fate (from Denmark), Sarcófago (from Brazil) and Blasphemy (from Canada).
 
 11.14.  BLACK METAL  –  second wave  
 
          The Second Wave of black metal emerged in the early 1990s and was largely centred on the Norwegian black metal scene. During 1990–1994 a number of Norwegian artists began performing and releasing black metal music; this included Mayhem, Burzum, Immortal, Darkthrone, Satyricon, Enslaved, Emperor, Thorns, Ildjarn, Gorgoroth, Ulver and Carpathian Forest.  A few bands in Sweden adopted a similar sound, usually with inspiration from the Norwegian scene. This included Marduk, Dissection, Lord Belial, Dark Funeral, Arckanum, Nifelheim and Abruptum.  Bands such as Von, Judas Iscariot, Demoncy and Profanatica emerged during this time in the United States
SATYRICON   –  MOTHER NORTH   ( uncensored )  (1996)
ROTTING CHRIST –   AFTER DARK  I FEEL  (1999)
12.10.03. BLACK  METAL  (2000 – 2009)
 
            Musically, black metal artists developed the style of their 1980s precursors as a distinct genre that was separate from thrash metal. Philosophically, an aggressive anti-Christian sentiment became a must for any artists to be finalized as “black metal”. Ihsahn of Emperor believes that this trend may have developed simply from “an opposition to society, a confrontation to all the normal stuff.” A dark, misanthropic mentality was complemented visually with the use of corpsepaint, which was also most prevalent during this period as a statement to separate black metal artists from other rock bands of the era.
SATYRICON  –   FUEL FOR HATRED  (2002)
SATYRICON  –   K.I.N.G.  (2006)
SATYRICON  –   BLACK CROW ON A TOMBSTONE  (2008)
          Symphonic black metal is a style of black metal that uses symphonic and orchestral elements. This may include the usage of instruments found in symphony orchestras (piano, violin, cello, flute and keyboards), ‘clean’ or operatic vocals and guitars with less distortion. Symphonic black metal is often confused with melodic black metal and gothic metal, as the styles overlap. List of notable symphonic black metal bands is: Anorexia Nervosa, Bal-Sagoth, Carpathian Forest, Cradle of Filth, Dimmu Borgir, Emperor, Hecate Enthroned, Shade Empire, Tiamat, Twilight Ophera and Vaakevandring.
DIMMU BORGIR  –  SPELLBOUND  (by the devil)  (2007)
DIMMU BORGIR  –  THE CHOSEN LEGACY   (2007)
        Folk black metal and Viking metal is a subgenre of heavy metal music characterised by its galloping pace, keyboard-rich anthemic sound, bleakness and dramatic emphasis on Norse mythology, Norse paganism, and the Viking Age. List of Viking metal bands: Amon Amarth, Asmegin, Bathory, Borknagar, Elexorien, Enslaved, Equilibrium, Falkenbach, Forefather,Holy Blood, Mithotyn, Thyrfing, Unleashed, Vanaheim and  Windir.
 
ENSLAVED  –  ISA  (2004)
 
        Melodic black metal. is a subgenre of black metal, which blends the powerful, guitar-driven sound of metal with the complex compositional structures, melodic guitar riffs and melodic solos.
WINTERSUN  –  BEYOND THE DARK SUN  (2004)
WINTERSUN  –  DEATH AND THE HEALING  (2004)

Fusion of black metal and trash metal 

VREID  –  PITCH BLACK BRIGADE  (2006)
10.06.03   POWER METAL AND DOOM
 
 10.06.04   GOTHIC  METAL
 ALTERNATIVE METAL
           Alternative metal is a genre of heavy metal that gained popularity in the early 1990s. Most notably, alternative metal bands are characterized by heavy guitar riffs. Like it’s relative, alternative rock, alternative metal also has a dilute, softer sound to it. As the 90s progressed, alternative metal’s sound became more standardized as newer bands drew inspiration for the same collective set of influences that included Rage Against the Machine, Linkin Park, Korn, Deftones, HIM, Fear Factory, Nine Inch Nails, Marilyn Manson, Slipknot, Primus and HelmetKorn, in particular, with its downtuned riffs and aggressive dissonance, created the sonic template for a new movement, which became known as nu metal. Many post-grunge bands like Alter Bridge, Hurt, 30 Seconds to Mars, Papa Roach, Hoobastank and Breaking Benjamin are also either influenced by or can be considered alternative metal.
ALICE IN CHAINS  –  Rooster  (1993)
DEFTONS  –  Bored  (1995)
HIM –  Wicked  Game  (1998)
DEFTONES  – Change  (2000)
HIM  –  Pretending    (2001)
HIM  –  Buried Alive By Love   (2003)
HIM  –  Wings Of Butterfly   (2005)
ALICE IN CHAINS  – Check My Brain (2009)
ALICE IN CHAINS  –  Your Decision  (2009)
DEFTONES  – Rocket Skates (2010)
 
NU-METAL
         Nu metal is a genre of music that blends heavy metal elements with other styles, such as hip hop and grunge. Nu-metal became popular with the success of Korn and Limp Bizkit. List of nu metal bands: Limp Bizkit, Will Haven, The Union, Underground, Vanilla Ice, Papa Roach, Evanescence, Linkin Park, Amen, Crazy Town, Deftones, Demon Hunter, Flaw, Godsmack, Incubus, Korn,  Powerman 5000, Puddle of Mudd,  Kid Rock and Cold.
 
KORN  –  BLIND  (1995)
KORN  –  SHOOTS AND LADDERS   (1995)
KORN  –  CLOWN   (1996)
KORN  –  FALLING AWAY FROM ME  (1999)
LIMP BIZKIT –  NOOKIE  (1999)
LIMP BIZKIT – ROLLIN ‘ (Air Raid Vehicle) (2000)
KORN  –   DID MY TIME   (2003)
KORN  –  Y’ALL  WANT A SINGLE   (2004)
KORN  –  HAZE   (2008)
 HEAVY METAL BALLADS  (1980 – 2010 )
 
GREAT WHITE  – Save your love  (1987)
THUNDER  –  Love walked in  (1990)
DEEP PURPLE  – Love Conquers All  (1990)
METALLICA  –  Nothing Else Matters  (1992)
ANNIHILATOR  – Only Be Lonely  (1994)
APOCALYPTICA – Nothing Else Matters  (1998)
 17. HIP HOP AND RAP MUSIC
 
15.01.   GOLDEN AGE HIP HOP 
 
        Hip hop’sgolden age” is a name given to a period in mainstream hip hop, usually cited as being a period varying in time frames during the 1980s and 1990s said to be characterized by its diversity, quality, innovation and influence. The artists most often associated with the phrase are Run–D.M.C., Public Enemy, Boogie Down Productions, Eric B. & Rakim, Big Daddy Kane, De La Soul, EPMD, A Tribe Called Quest, Gang Starr and the Jungle Brothers. Releases by these acts co-existed in this period with, and were as commercially viable as, those of early gangsta rap artists such as N.W.A, the sex raps of 2 Live Crew, and party-oriented music by acts such as Kid ‘n Play and DJ Jazzy Jeff & The Fresh Prince.
 
        
 HEAVY D. AND THE BOYZ  –  Now That We Found Love  (1991)
 
 
15. 02.   HIP- HOP (1990 – 1999)
 
          At the beginning of the 1990s, Bobby Brown, MC Hammer, Vanilla Ice, Kris Kross and LL Cool J made hip hop popular to the pop audience and marked the beginning of hip hop. By 1995 to 1996 hip hop starts to rival rock music with artists like Coolio, Puff Daddy, Dr. Dre, Snoop Dogg, 2Pac, the Notorious B.I.G., Warren G, Nate Dogg, Will Smith and Mark Morrison made hip hop popular on pop radio.
 
 
          East Coast Hip hop  A form of hip hop music that combines the elements of Jamaican dancehall toasting with the rhythms of R&B, disco and funk along with soul and Jazz. East Coast hip hop has been noted as the first and original form of hip hop. According to Allmusic, “At the dawn of the hip-hop era, all rap was East Coast rap.
 
           West Coast Hip hop  is a hip hop music subgenre that encompasses any artists or music which originates in the westernmost region of the United States.
         The gangsta rap subgenre of West Coast hip hop began to dominate from a radio play and sales standpoint during the early 90s. Gangsta rap reflects the violent lifestyles of some inner-city youths. After the national attention that Ice-T and N.W.A created in the late 1980s and early 1990s, gangsta rap became the most commercially lucrative subgenre of hip hop. By the end of the 90s decade, hip hop’s focus began to shift back towards the East Coast and also to a fastly emerging Southern hip hop scene.
COOLIO   –  FANTASTIC VOYAGE  (1994)
COOLIO   –  GANGSTA’S  PARADISE  (1995)
2 PAC & Dr. DRE  –  CALIFORNIA LOVE  (1995)
      Southern Hip hop  is a form of American hip hop music that emerged from a late-1990s club-oriented vibe in southern U.S. cities, including Houston, Dallas, San Antonio, Nashville, Atlanta, Memphis, New Orleans and Baton Rouge. The music was a reaction to the 1980s flow of hip hop culture from New York City and California, and can be considered a third major American hip hop genre, after East Coast hip hop and West Coast hip hop
 
 
OUTKAST  –  PLAYER’S BALL   (1993)
OUTKAST  –  ELEVATORS  (Me & You) (1996)
OUTKAST  –  ATLIENS  (1996)
OUTKAST  –  DA ART OF STORY TELLIN’  (1999)
           Midwest Hip hop
 15.02.  HIP- HOP (2000 – 2011)
             Hip-hop becomes the choice of music for urban youth, at times being more popular than pop and rock. In fact, in the year 2004 alone, every single to reach number one on the Billboard Hot 100 Chart was by a R&B, hip-hop, or reggae artist. Artists such as T.I., Kanye West, Ja Rule, The Game, 50 Cent, Nas, Jay-Z, DMX, Missy Elliott, Lil Wayne, Young Jeezy, Ludacris, Rick Ross, Snoop Dogg, and Eminem were the dominant hip hop artists that have represented the hip hop genre in this decade thus far.
           East Coast Hip hop is a form of hip hop music that originated and developed in New York City, during the 1970s and early 1980s. East Coast hip hop has been noted as the first and original form of hip hop.  Early artists of the form, including DJ Kool Herc, Grandmaster Flash, Afrika Bambaataa, the Sugarhill Gang, Kurtis Blow, Jam Master Jay, and Run-D.M.C., pioneered East Coast hip hop during hip hop’s development
             DE LA SOUL & CHAKA KHAN –  All Good  ( 2000)
             LIL KIM  ft. PHIL COLLINS  –  In the air tonight (2001)
           West Coast Hip hop  is a style of hip hop music that originated in California in the early 1980s. It has since grown into a major force in hip hop and has developed several creative centers.
             COOLIO  –  GHETTO SQUARE DANCE  (2002)
             GLASSES MALONE  feat. AKON   –  CERTIFIED  (2008)
         Southern Hip hop – Important hip hop artists and groups from the southern United States included :  Alfamega, Twisted Black, Missy Elliott, Roy Jones, Jr., L.E.G.A.C.Y., OutKast ,Ghetto Twiinz, T.I., Lil Weavah, Young Buck, Yung L.A., Rich Boy  2 Live Crew, Arrested Development, Dem Franchize Boyz,Field Mob,GS Boyz, The Knux, Society of Soul, Sons of Funk, Trillville and Ying Yang Twins.
              OUTKAST  –  Ms. JACKSON   (2000)
              OUTKAST   – HEY YA   (2003)
              OUTKAST  –  THE WAY YOU MOVE   (2003)
              OUTKAST  –  ROSES  (2004)
 
 
15.03.  ALTERNATIVE HIP HOP (alternative rap)
            Alternative hip hop is a sub-genre of hip hop music. Alternative Rap refers to Hip-Hop groups that refuse to conform to any of the traditional stereotypes of rap, such as gangsta, bass, hardcore, and party rap. Instead, they blur genres – drawing equally from funk and rock, as well as jazz, soul, reggae, and even folk. The alternative hip hop movement is not limited solely to the United States, as genre-defying rappers such as Somali-Canadian poet K’naan, Japanese rapper Shing02, and especially English artist M.I.A. have achieved considerable worldwide recognition. Important Alternative hip hop artists and groups included : Kid Cudi, Wale, Asher Roth, Lupe Fiasco, Trip Lee, The Cool Kids, Chiddy Bang, Charles Hamilton, B.o.B, and The Knux.
           

Facebook Login

You must be logged in to post a comment Login