Social and Cultural Change in the 1960s

1. 1.Important issues that shaped the culture and the music of the 1960s:
   

1. a.Civil Rights
   

2. b.Sexual Freedom
   

3. c.Drugs
   

4. d.Vietnam War
   

5. e.The Counterculture
   

2. 2.The music of the 1960s reflected a decade of turmoil.
   

Rock: A Revolutionary Music

1. 1.The rock revolution affected every aspect of the music 
   

1. a.Influences: black influences in music by white bands and vice-versa.
   

2. b.Song ownership & creative process:
   

1. 1)A song is now the total sound as presented on a record;
   

2. 2)Multitrack recording allows experiments at every stage of the project.
   

3. c.Sounds and technology:
   

1. 1)The electric guitar had been a staple of the rock band since the 1950s, but now the electric bass gave rock bands the full bass power and balanced the sound;
   

2. 2)New technology made more amplification possible;
   

3. 3)The former “rhythm section” (guitar, bass, drums, keyboard) became the central element in the band, and horns, if they were used, were in the background.
   

4. d.Rock beat:
   

1. 1)Laying down the beat became a collective responsibility; all instruments participated;
   

2. 2)The bass played a more creative role, with interesting bass patterns;
   

3. 3)The end product depended on interaction among the various instruments, but also on their independence and creativity.
   

5. e.Sharing the melody:
   

1. 1)Melody was spread among the instruments, not confined to only one as before. An instrumental riff often identifies the song even before the singer enters, and a catchy melody, usually with lyrics in the vocals, “hooks” the listener;
   

2. 2)This resulted in a greater variety of texture.
   

6. f.Rock attitude and musical message: 1960s rock was
   

1. 1)Egalitarian: the group was more important than any individual in it.
   

2. 2)Eclectic: rock musicians borrowed from all musical styles and made something new from them.
   

3. 3)Real: musicians connected with their audiences more than ever before. Most songs had a message, such as Civil Rights, Vietnam War, equality of women, and environmental concerns.
   

2. 2.Rock in the 1960s was truly revolutionary in every way.
   

Bob Dylan Makes Rock that Matters

1. 1.Bob Dylan and the Beatles inspired each other, and even though there were many differences between them, there were also similarities:
   

1. a.Both came to rock from the outside: Dylan from folk music, the Beatles from England.
   

2. b.Both stretched rock to its limits.
   

2. 2.Bob Dylan and the folk revival
   

1. a.Recall that folk music was basically a rural music, but the folk revival of the 1940s and early 1950s (with the Weavers) brought it to the cities.
   

2. b.By the early 1960s, the folk revival was flourishing in urban centers, notably in New York City’s Greenwich Village, and its audience and musicians became increasingly more active in social causes.
   

3. c.Bob Dylan (b. 1941), who had been influenced by Woody Guthrie, was part of this scene. Dylan used an acoustic guitar, played harmonica, and almost spoke his lyrics.  The words were more important that the music, which was fairly simple.
   

4. *Listen to “Blowin’ in the Wind,” which exemplifies Dylan’s folk style: simple melody and harmonies, no electric instruments, meaningful lyrics.
   

3. 3.Bob Dylan’s rock style
   

1. a.By 1964, Dylan’s lyrics were more surreal, and he began to sing with a rock band. He eventually abandoned folk song, which angered many of his fans.
   

2. b.“Subterranean Homesick Blues” (1965)--from Dylan’s album, Bringing It All Back Home, which had acoustic songs on one side and electric songs on the other. (See album cover below.)
   

1. 1)Dense lyrics with social commentary and obscure references, delivered quickly by Dylan’s raspy voice.
   

2. 2)Full rhythm section and electric guitar, with Dylan on acoustic guitar and harmonica. Group interaction is reminiscent of electric blues.
   

3. 3)Honky-tonk 2-beat rhythm.
   

4. *Listen to “Subterranean Homesick Blues,” following the Listening Cue in the text.
   

5. *Then watch the music video, one of the earliest music videos.
   

6. 
   

3. c.“Mr. Tambourine Man” (1965), on the acoustic side of Bringing It All Back Home.
   

1. 1)Composed by Dylan in a folk style and performed by him with acoustic instruments.
   

2. 2)Long song that tells a story, sung by Dylan in a down-home, edgy style.
   

3. *Listen to Bob Dylan’s “Mr. Tambourine Man.”
   

3. 3)The song was covered by The Byrds the same year, and it topped the charts:
   

1. a)The Byrds shortened Dylan’s song considerably, but sang it at a slower tempo.
   

2. b)They expanded the instrumentation, so that the music is more important than the words. In Dylan’s version, the words were more important than the music.
   

3. c)Uses rhythm section, electric guitar and bass, and the distinctive new sound of the 12-string electric guitar, which has a famous opening riff.
   

4. d)Rich texture, especially in the chorus.
   

5. “Listen to the Byrds’ version of “Mr. Tambourine Man,” and notice the 12-string guitar riff in the introduction.
   

4. d.Dylan continued to explore his electric side in his next album and then went towards country music, using Nashville session musicians. He strengthened the bond between country and rock, just as earlier he had shown how folk and rock could connect.
   

5. e.Dylan raised the bar in popular music, but at the same time his music is never pretentious. He gave rock music credibility and influenced others by showing what rock music could say and mean.
   

The Beatles

1. 1.The British Invasion
   

1. a.British bands exerted a profound influence on American popular music. Their sounds were rooted in American styles, but they interpreted them in a new way. Very quickly, the music of British bands became mainstream.
   

2. b.The first wave came in 1964, with the Beatles, the Rolling Stones, and the Dave Clark Five. Later in the decade many more British bands followed, such as Cream (see photo at right).
   

3. c.After the British Invasion, American popular musicians would not necessarily be come from America.
   

2. 2.The Beatles--see photos at right
   

1. a.The major phase of the Beatles’ career lasted only 8 years, yet their music is still important and tells us a great deal about the rock revolution of the 1960s.
   

2. b.Like Bob Dylan, the Beatles expanded the sound world of rock music and drew upon many musical styles.  The Beatles also drew upon exotic styles, such as classical music and Indian music.
   

3. c.Reasons for the importance and appeal of the Beatles. The Beatles had:
   

1. 1)Knowledge of many different musical styles;
   

2. 2)Skill in writing memorable melodies;
   

3. 3)Close relationship between words and music;
   

4. 4)Imaginative use of multitrack recording and of using unusual instrumental combinations.
   

4. d.In 1964 the Beatles starred in a quasi-autobiographical film about a day in their hectic lives; A Hard Day’s Night (1964) was shot like a documentary film and captured the personalities and humor of the group. (See poster at right.)
   

5. e.“A Hard Day’s Night” (1964), the title track from the film, is a mixture of old and new features:
   

1. 1)Old features:
   

1. a)Simple, innocent lyrics, which are presented in a mostly friendly way;
   

2. b)Pop-style form and melody.
   

2. 2)Innovations:
   

1. a)Edgy sound, more than any other rock band of the day. Unusual opening chord;
   

2. b)Rock band instrumentation with 12-string guitar and bongos;
   

3. c)Aggressive rock rhythm, but performed double-time;
   

4. d)Modal harmonies, which expanded the harmonic language of popular music.
   

5. *Listen to “A Hard Day’s Night,” and follow the Listening Cue in the text.
   

6. 
   

6. f.“A Day in the Life” (1967)
   

1. 1)From Sgt. Pepper’s Lonely Hearts Club Band (see album cover at right), this song illustrates the Beatles’ mature sound and style.
   

2. 2)Paints 4 scenes, which contrast everyday life with an acid trip. Musical contrasts dramatically emphasize the differences between the narrative and the instrumental sections.
   

1. a)Narrative sections (everyday life):
   

1. i.Tuneful melody with short phrases and echoes;
   

2. ii.Simple harmonies;
   

3. iii.Thin texture: rock band instrumentation with strings;
   

4. iv.Rock beat, but in a slow tempo.
   

2. b)Instrumental sections--no words (acid trip):
   

1. i.”Dissonant blob of sound”;
   

2. ii.Irregular rhythm (indistinct beat).
   

3. 3)Very close music-word relationships, for example:
   

1. a) The trill on “laugh,” “photograph,” and then on “turn you on” leads to the orchestral section (the acid trip).
   

2. b)The final chord is consonant (not dissonant like many of the harmonies heard earlier in the song) and is held for 30 seconds--perhaps to symbolize the clarity of mind after an acid trip?
   

4. 4)This is a totally new type of song, with pop roots but with infinitely more innovation.
   

5. *Listen to “A Day in the Life,” and follow the Listening Cue in the text.
   

6. 
   

7. g.The Beatles forever changed the concept of rock music and had an important influence on Western culture as a whole.
   

Motown

1. 1.Berry Gordy (b. 1929)--see photo at right-- set out to create a black pop sound that would crossover completely to white audiences.
   

2. 2.He controlled every aspect of the organization, which was a pyramid with 1) Gordy at the top, then 2) the songwriters, 3) the house musicians, and at the bottom were the singers and groups themselves:
   

1. a.Songwriters/producers: the songs tell about love in everyday language; the melodies are memorable; the chorus usually has the hook.
   

2. b.House musicians: essential in the process, even though they worked behind the scenes. (See photo of the Funk Brothers at right.)
   

3. c.Singers: in the spotlight, but very much controlled in their musical style and appearance by Gordy.
   

3. 3.The Motown sound
   

1. a.Melodic saturation:
   

1. 1)The melody with a good hook;
   

2. 2)Melody is everywhere: not only in the lead vocal part, but also in the backup singers and in the instrumental lines.
   

2. b.Prominent backbeat, but other rhythms are more subdued, so the vocals stand out.
   

3. c.A broad sound spectrum:
   

1. 1)Rich musical textures with many and various instruments, from large rhythm sections to orchestral strings;
   

2. 2)Vocals and instrumentals designed to please a wide audience.
   

4. d.A predictable form:
   

1. 1)Layered introduction, followed by verse, bridge, then chorus with hook;
   

2. 2)Hooks usually have the words of the title phrase (for example, “I heard it through the grapevine”).
   

5. e.Although there was a Motown formula, each song used the formula in a different and distinctive way, as the next 3 songs show.
   

4. 4.The Supremes--see photo at right
   

1. a.With their sophisticated girl-group sound, the Supremes were the most popular female vocal group of the 1960s.
   

2. b.Diana Ross was the best singer, and by 1967 the group was called “Diana Ross and the Supremes.”
   

3. c.Embodied Motown principles.
   

4. d.“Come See About Me” (1964)
   

1. 1)Large instrumental group with vibraphone and horns; also hand claps.
   

2. 2)Light marking of the rock rhythm, with voices in the forefront.
   

3. 3)Exchanges between Ross and the Supremes.
   

4. 4) Form:
   

1. a)Instrumental introduction with catchy sound (drums) and riff;
   

2. b)Verse over static harmony;
   

3. c)Bridge to the hook;
   

4. d)Melodic hook (“Come see about me”) repeated several times with instrumental interlude.
   

5. 5)Gradual fadeout over hook.
   

6. *Listen to “Come See About Me,” and follow the Listening Cue in the text.
   

5. 5.Smokey Robinson and the Miracles--see photos at right
   

1. a.Robinson (b. 1940) was not only a singer, but also a composer and producer for Motown.
   

2. b.His gospel roots are evident: falsetto, melismas, call and response, and emotional lyrics with melodramatic imagery (“tracks of my tears”).
   

3. c.“Tracks of My Tears” (1965)
   

1. 1)Full, rich texture; falsetto singing; call and response.
   

2. 2)Verse/chorus form, with the hook (“So take a good look . . .”) coming in the chorus, and with the emotional weight of the song at the end:
   

1. a)Each of the 1st two verses begins quietly as a solo, but in the chorus there is an increase in intensity (with call and response);
   

2. b)The last verse (“Masquerading . . .”) does not begin quietly but continues the emotional intensity into the final chorus;
   

3. c)Fadeout at end.
   

4. *Watch the video of Smokey Robinson and the Miracles performing “Tracks of My Tears.”
   

4. 4.Marvin Gaye (1939-1984)--see photo at right
   

1. a.One of Motown’s most successful artists, known for his emotional singing and also for his turbulent life.
   

2. b.“I Heard It Through the Grapevine” (1968)
   

1. 1)This song had been covered by other artists, notably by Gladys Knight and the Pips the previous year, but Gaye’s version remains the darkest and the most intensely emotional.
   

2. 2)Opening keyboard riff establishes a dark mood.
   

3. 3)Other instruments enter gradually (fade-in) including a French horn right before the entrance of the voice.
   

4. 4)Layered texture with bass and percussion low, voices and keyboards in middle, and strings in high register.
   

5. 5)Verse/chorus form. Each statement contains 4 sections--3 in the verse and 1 in the chorus:
   

1. a)1st and 2nd are blues-like, in the narrow range and go mostly down;
   

2. b)The 3rd has a surprising chord and a sudden leap up in the voice, which paints vividly the word “surprise” in the lyrics;
   

3. c)This 3rd section builds to the final (4th) section--the chorus (“I heard it through the grapevine”).
   

6. 6)Fade-out with voices muttering, confirming the despair of the song.
   

7. *Listen to “I Heard It Through the Grapevine,” and follow the Listening Cue in the text.
   

8. 
   

3. c.In 1971 Gaye convinced Gordy to give him more artistic control over his recordings. The result was the album, What’s Going On?, whose strong percussive beat and sensuous, often edgy, vocals marked a departure from the usual Motown style.
   

1. 1)The songs addressed issues that were new to the label:
   

1. a)“What’s Going On?” criticized the Vietnam War;
   

2. b)“Mercy, Mercy Me” confronted environmental problems;
   

3. c)“Inner City Blues (Make Me Want to Holler)” addressed civil rights, drugs, poverty, and the breakup of the family.
   

2. 2)“What’s Going On?” (1971)
   

3. *Watch Gaye perform “What’s Going On” in 1972.
   

Rock

1. 1.With bands like the Rolling Stones and Cream, rock became a timeless style.
   

2. 2.The core rock style is present: the band, the heavy riffs over a rock beat, and loud volume. But there was also variation within rock bands:
   

1. a.Solo vs. group-oriented music;
   

2. b.Rhythmic variation in the beat vs. straightforward rock beat;
   

3. c.Different ways of incorporation blues influences;
   

4. d.Differences in texture and instrumental effects.
   

3. 3.The Rolling Stones--see photos at right
   

1. a.Came together as a band in 1962 and called themselves the “world’s greatest rock and roll band” in 1964: Mick Jagger (b. 1943), Keith Richards (b. 1943), Brian Jones (1942-1969), Charlie Watts (b. 1941), and Bill Wyman (b. 1936).
   

2. b.Influenced by the blues: sexual, gritty, and real. The band’s name came from a Muddy Waters’ song, as did the title of their first hit, “Satisfaction,” in 1965.
   

3. c.Built a new sound from rock and roll, blues, and their own inspiration.
   

4. d.“(I Can’t Get No) Satisfaction,“ from Out of Our Heads (1965)--see album cover below right.
   

1. 1)Rhythmic groove:
   

1. a)Begins with a syncopated riff in the guitar; the drummer enters after the song is underway. This riff never changers throughout the song;
   

2. b)Interplay between the basic rock beat and the layers of syncopated riffs and lines.
   

2. 2)Dark, nasty sound:
   

1. a)Mick Jagger’s rough, edgy vocals are more like speaking than singing;
   

2. b)Dark texture of the lower register of the guitar, the bass, and the bass drum; lots of aggressive activity in the lower registers, with only Jagger’s voice in a mid register (and nothing high).
   

3. 3)Lyrics:
   

1. a)Sexual frustration; very different from earlier themes in rock and roll;
   

2. b)Mirrored by the dark, aggressive sound of the song.
   

4. 4)Form:
   

1. a)Inversion of the usual verse/chorus form. The chorus comes first here, perhaps reinforcing the lack of “satisfaction”;
   

2. b)Ends with the chorus, then fadeout and drum break.
   

3. *Listen to “Satisfaction,” and follow the Listening Cue in the text.
   

4. 4.Guitarists
   

1. a.Some bands, such as Cream and Jimi Hendrix Experience, had only a few members and showcased the virtuosity of the lead guitarist.
   

2. b.With Eric Clapton of Cream (see photo at right) and Jimi Hendrix, the guitar became a significant and expressive voice, just as it was for electric bluesmen.
   

3. c.Solid-body electric guitar
   

1. 1)Dates back to the 1930s but advances were made in the 1940s  and 50s by Leo Fender.
   

2. 2)Increase in amplification in the 1960s made this instrument more powerful; sound modifiers were added, such as the wah-wah pedal.
   

4. d.Blues guitar
   

1. 1)Bluesmen, such as Blind Lemon Jefferson, would often answer vocal phrases with guitar lines that imitated the voice.
   

2. 2)Electric bluesmen experimented with distortion and other effects on the guitar, which paralleled their rough, gritty singing style.
   

3. 3)Both Clapton and Hendrix were influenced by these bluesmen.
   

5. e.Eric Clapton and Cream--see photo at right
   

1. 1)Born in England, Clapton (b. 1945) did not grow up with blues, but he felt a strong connection to the style.
   

2. 2)Clapton formed Cream in 1966 with Jack Bruce (bass) and Ginger Baker (drums). This “power trio” had no keyboard, and live performances focused on Clapton’s virtuosity.
   

3. 3)In the studio, however, they often used overdubbing to deepen the texture.
   

4. 4)“Strange Brew” (1967)
   

1. a)Verse/chorus blues form with 12-bar blues harmony.
   

2. b)Clapton’s guitar style:
   

1. i.Fast vibrato, bent notes, free rhythms, pentatonic scale, and heavy inflection of individual notes: from electric blues style.
   

2. ii.Sharp chords on alternate backbeats; a double-time riff that is heard throughout the song; and virtuosic solos.
   

3. iii.The guitar is an extension of Clapton himself, who makes it sound like a voice.
   

3. c)Loosening of rock rhythm:
   

1. i.Clapton’s double-time riff is more like one from an electric blues song;
   

2. ii.No strong marking of the rock beat, although there is a heavy backbeat;
   

3. iii.Freer bass lines.
   

4. d)Widely-spaced sound: high vocals, middle guitar, low bass; drums in background.
   

5. *Watch the video of Cream in a live performance 1967 of “Strange Brew.”
   

6. 
   

5. 5)Cream loosened up rock rhythm, with double-time patterns (twice as fast as the rock beat), not only in the guitar, but sometimes in the drums. This led to greater rhythmic complexity.
   

6. f.Jimi Hendrix (1942-1970)
   

1. 1)Hendrix grew up with the blues, but he greatly expanded the bluesmen’s vocabulary of guitar riffs, scales, and bent notes.
   

2. 2)He was able to play with extraordinary speed; he expanded the sound spectrum of the guitar by incorporating electronics as part of his style.
   

4. 4)“Purple Haze” (1967)
   

1. a)Guitar riff, dissonant chords;
   

2. b)Virtuosic improvisation;
   

3. c)Distortion, reverberation, and feedback;
   

4. d)Indistinct vocals at times;
   

5. e)Fadeout.
   

6. *Listen to “Purple Haze.”
   

7. *Then watch the video of Hendrix performing “The Star Spangled Banner” at Woodstock in August, 1969.
   

8. *Click here for an interview with Dick Cavett, in which Jimi comments on the performance.  It is worth watching!
   

7. g.Legacy of Clapton and Hendrix
   

1. 1)Unlike the Rollings Stones, whose music features an interplay of various lines, Clapton and Hendrix showcased guitar virtuosity and the expressive power of the soloist.
   

2. 2)They redefined the role and the possibilities of improvisation in rock music.
   

Soul

1. 1.In the late 1960s there was a new sense of black consciousness: a positive sense of racial identity, which went hand in hand with the Civil Rights Act of 1964 and the Voting Rights Act of 1965.
   

2. 2.Black music took a different path from rock in the 1960s. There were three main reasons for this:
   

1. a.Strong gospel tradition: most of the important black artists had grown up singing in the church;
   

2. b.The growing division between rock and R & B: for example, in R & B, the bass was in the foreground with the guitar in the background, and horns sections were used);
   

3. c.The various black styles were controlled by a few producers, such as Berry Gordy (Motown) and Jerry Wexler (Atlantic Records)
   

3. 3.“Soul” refers to the intensely emotional music of the 1960s that relied heavily on blues and gospel:
   

1. a.Slow or fast tempo, with relentless rhythms;
   

2. b.Rough voices;
   

3. c.Updated jump bands, with heavy, syncopated bass, and horn parts;
   

4. d.Some songs dealt with social and racial issues (such as those on Gaye’s album What’s Going On?), but most often they were about love won and lost.
   

4. 4.James Brown (1933-2006)--see photos at right
   

1. a.Called himself the “Godfather of Soul.”
   

2. b.Brown’s music featured a new rhythmic approach, which can be heard in “Papa’s Got a Brand New Bag” (1967):
   

1. 1)More instruments doing less; except for the bass, the instruments have a reduced role, and they are often used percussively.
   

2. 2)Brown’s percussive voice instrument, with little activity in the vocals.
   

3. 3)Not much melodic or harmonic interest, but intricate, complex rhythms. Interaction among the instruments creates a complex rhythmic texture that is close to that in West African music.
   

4. *Listen to “Papa’s Got A Brand New Bag,” and follow the Listening Cue in the text.
   

5. 
   

3. c.Brown’s style was one of the most influential of the 1960s, and his emphasis on rhythm led directly to funk and rap.
   

5. 5.Aretha Franklin (b. 1942)--see photo at right
   

1. a.“Queen of Soul”: signed by Jerry Wexler to Atlantic Records. Grew up singing in her father’s church in Detroit.
   

2. b.“Respect” (1967)
   

1. 1)Lyrics demand respect for women, which Aretha emphasizes near the end in the stop-time section, where she emphatically spells the word.
   

2. 2)Interlocked rhythm section, with horns playing riffs or sustained chords: typical for soul.
   

3. 3)Unique are Aretha’s expressive, emotional voice and the backup vocals, which come from directly from gospel, but with blues influences as well.
   

4. 4)Thick texture.
   

5. 5)Verse/chorus form.
   

6. *Listen to “Respect,” and follow the Listening Cue in the text.
   

7. 
   

3. c.Franklin also explored other musical styles, from pop ballads to jazz-inspired blues. She is a versatile artist, who was able to blend personal emotional expression with powerful rhythmic drive better than any artist of the 1960s.
   

6. 6.The Decline and Legacy of Soul
   

1. a.Soul music declined in the late 1960s and early 70s, although Brown and Franklin continued to be successful.
   

2. b.Although it was on the charts for less than a decade, soul returned the strong emotions of blues to black music.
   

San Francisco and the Diversity of Rock

1. 1.Background
   

1. a.In the late 1960s, rock was the dominant musical style, but it was going in different directions geographically: for example, surf music from California, Motown from Detroit. There was also the international flavor provided by the British bands.
   

2. b.During this time, another region came into the musical mix: the San Francisco Bay area.
   

2. 2.The Counterculture
   

1. a.All over America, young people were rebelling against their parents’ values--what they viewed as the “establishment.”
   

2. b.Four main areas concerned them: minority rights, sexual freedom, drug use, and war. This concern engendered a “revolution,” which eventually led to reforms that were unthinkable at mid-century.
   

3. c.The center of this revolutionary movement was the San Francisco Bay area, specifically the Haight Ashbury section, and those who abandoned the traditional values of their parent were called “hippies.”
   

3. 3.Acid Rock: Jefferson Airplane
   

1. a.The music associated with the counterculture was acid rock (or psychedelic rock), because its intention was to evoke or enhance a drug (especially LSD) experience.
   

2. b.It has no set of musical features, and the songs are diverse, depending on the intention. The Beatles’ “A Day in the Life” depicted a drug experience; other songs enhanced it, while still others were written while under the influence of drugs.
   

3. c.Jefferson Airplane with vocalist Grace Slick (b. 1939)--see photo at right--was the most important acid rock band in the San Francisco area.
   

1. 1)“White Rabbit” (1967)
   

1. a)The lyrics and Slick’s vocals are the most important part of the song; the words refer to the white rabbit in Alice in Wonderland, who leads Alice into a fantasy world--an allusion to the drug experience.
   

2. b)Extended introduction, with instruments entering one by one: bass, drums, then lead and rhythm guitars, with a gradual increase in volume (crescendo). The rhythm and chords suggest Spanish march music.
   

3. c)Slick enters quietly, and the music gets louder as the song progresses. Just before the climax on “Feed your head,” there is a shift to a regular rock rhythm.
   

4. *Listen to “White Rabbit,” and follow the Listening Cue in the text.
   

5. 
   

2. 2)The band became Jefferson Starship in the 1970s, but was less radical and enjoyed commercial success through the 1980s.
   

4. d.Acid rock as a genre lost importance after 1970 because it didn’t have a musical identity. The bands and artists that were only marginally involved in the movement, many of which were rooted in blues, such as the Grateful Dead, Eric Clapton, and Janis Joplin, remained musically viable. 
   

4. 4.Janis Joplin (1943-1970)--see photo at right
   

1. a.Janis Joplin migrated from Texas to San Francisco in the mid 1960s and became part of the counterculture scene. She began singing with Big Brother and the Holding Company, but she eventually became a solo act.
   

2. b.Her blues-inspired rock style is legendary:
   

1. 1)Raw vocal power and virtuosity;
   

2. 2)Exuberant, uninhibited performing style.
   

3. c.“Piece of My Heart” (1968)
   

1. 1)Recorded while Joplin was still with her band, which uses blues-tinged rock style: standard instrumentation of a rock band, with some distortion in the lead guitar; also not bass heavy as in R&B.
   

2. 2)Tells the story of a troubled relationship from a woman’s point of view, and Joplin’s voice gets the point across.
   

3. 3)Contrasts in volume, mood, and vocal quality--from screams to whispers, from loud to soft--all in the interest of emotional honesty.
   

4. *Listen to “Piece of My Heart,” and follow the Listening Cue in the text.
   

5. 
   

4. d.Joplin redefined the role of women in rock, paving the way for later artists.
   

5. 5.The Diversity of Rock in the 1960s
   

1. a.The Bay area music scene featured much more than acid rock and pointed to the diversity of rock styles.
   

2. b.Bands like the Grateful Dead, Carlos Santana, and Sly and the Family Stone were forging styles that would become even more important in the next decade and beyond.
   

Looking Back, Looking Ahead

1. 1.Music was transformed in every way during the 1960s. Rock was now a mainstream family of styles, which was open to diverse musical influences. The Beatles had been an important force in establishing rock as artistic, as well as commercial, music.
   

2. 2.Although the Beatles were soon to disband and several other important artists died tragically near the end of the decade (such as Brian Jones, Jimi Hendrix, and Janis Joplin), rock would become even more important in the following decade.