Girl Groups & Surf Music GIRL GROUPS

-- doo-wop-ul anilor '50 nate ca. 1960 o nou specie de vocal harmony: girl groups, sau grupurile de fete -- primul mare hit n acest nou stil: The Shirelles, "Will You Love Me Tomorrow" (1960); ntre 1962-65, girl groups domin toate topurile de Pop, cu sute de single-uri. Cteva nume importante de grupuri: The Supremes, Martha & The Vandellas, The Ronettes, The Marvelettes, The Shangri-Las (multe din aceste nume sunt grupuri de negrese, deja asociate cu Motown - vorbim mai trziu despre asta) -- girl groups = acelai element al adolescenilor prezent

n anii '50, dar fr ideea de rebeliune rock 'n' roll - n schimb, promovarea unui sound adesea copilresc, inocent, chiar prostesc pe alocuri, axat pe teme hedoniste i de dragoste: petreceri, biei, iubire nelat, etc. Altfel spus: o lume adolescentin diferit - liric i muzical - fa de "rebelii" anilor '50 -- stil: adesea pop sau "poppy", dulce, uor, accesibil, melodic, cu refrene memorabile i form de obicei de Tin Pan Alley (AABA); de multe ori aer sentimental, cteodar umor de gen novelty songs - dar gsim i adevrate bijuterii. Multe cntece implic vocal harmony i backing vocals (feminin, evident) - dar sunt alte cntece care nu au aceste lucruri. Ca n muzica pop n general, aranjamentele instrumentale sunt sofisticate i producia e i ea elaborat (Phil Spector avea un cuvnt greu de spus). -- girl groups nu erau cantautoare; tot repertoriul lor e bazat pe cntece scrise de echipa de songwriters de la Brill Building (vezi mai sus), printre care erau i multe femei (Cynthia Weill, Ellie Greenwich, Carole King) O extrem a stilului - cntece ce nu fac neaprat dreptate genului: Smitty Williams - "The Cure" (1962) Ginny Arnell - "Dumb Head" (1963) The Shirelles - "Will You Love Me Tomorrow" (1960) -- cntecul care a pornit ntregul "craze", dar de o factur total diferit fa de Smitty & Ginny: nu sun infantil sau prostesc deloc, ci mai adult i mai cizelat, cu aranjament elaborat de coarde n fundal, i versuri n care eroticul i romanticul devin una, astfel nct cntecul se adreseaz nu unui putan de 14 ani ci unui "adolescent major" cu responsabiliti -- scris de Carole King & Gerry Goffin, n form de Tin Pan Alley + vers de refren -- The Shireless = 4 negrese, i-au format grupul n liceu n '58 la vrsta de 16 ani; multe hituri n anii '60, dispar pe la sfrit de decad A Tonight you're mine, completely You give your love so sweetly Tonight the light of love is in your eyes But will you love me tomorrow?

A Is this a lasting treasure Or just a moment's pleasure Can I believe the magic of your sighs? And will you love me tomorrow? B Tonight with words unspoken You say that I'm the only one But will my heart be broken When the night meets the morning sun? A I'd like to know that your love Is a love I can be sure of So tell me now and I won't ask again Will you still love me tomorrow?

The Chiffons - "He's So Fine" (1962) -- alt grup de 4 negrese liceene, ncep s cnte n 1960 -- crossover hit: #1 n top R&B & top Pop! -- scris de Ronnie Mack, songwriter & productor profesionist; form de Tin Pan Alley -- clasic "doo-lang" la backup vocals (The Tokens, grup de doo-wop din New York) -- se pare c George Harrison a fcut un "cover" al cntecului (sau n orice caz s-ar fi inspirat din el) cu al su prim hit (i prim single solo) "My Sweet Lord" (1970) - spunnd ns c "a uitat" de acest lucru. Consecina: a fost dat n judecat i a trebuit s plteasc 700,000 $ n drepturi de autor (poveste f. stranie - exist ntr-adevr ceva asemnri melodico-armonice, dar cele 2 cntece mi sun f. diferit n urechi). The Chiffons, ntr-un act de rzbunare sarcastic, au fcut apoi propria lor versiune la "My Sweet Lord" (1975) -- alte hituri ale grupului: "Sweet Talkin' Guy" (Doug Morris & Eliot Greenberg, 1966) i coveruri dup "My Boyfriend's Back" i " It's My Party" (vezi mai jos) (Doo-lang, doo-lang, doo-lang . . .) A He's so fine, wish he were mine That handsome boy over there, the one with the wavy hair I don't know how I'm gonna do it, but I'm gonna make him mine He's the envy of all the girls, it's just a matter of time. A He's a soft spoken guy, also seems kind of shy Makes me wonder if I should even give him a try, But then again he can't shy, se can't shy away forever And I'm gonna make him mine if it takes me forever. B He's so fine (oh yeah), gotta be mine (oh yeah) Sooner or later (oh yeah), I hope it's not later (oh yeah) We gotta get together (oh yeah), he sooner the better (oh yeah) I just can't wait, I just can't wait, to be held in his arms.

A If I were a queen, and he asked me to leave my throne I'll do anything that he asked, anything to make him my own For he's so fine (so fine), so fine (so fine), so fine . . . [fadeout] The Angels - "My Boyfriend's Back" (1963) -- 3 liceene (2 din ele surori) din New Jersey, albe de data asta; ncep s cnte n 1961 -- singurul lor hit (#1 n topul de Pop); scris de Robert Feldman, Gerald Goldstein, Richard Gotterer, n form de Tin Pan Alley -- sunet adolescentin (i alb), subire i direct, dar cu un element esenial de rutate, cruzime jucu, sarcasm tipic fetelor tinere - prezent n tonul vocal dar i n versuri He went away and you hung around, and bothered me every night And when I wouldn't go out with you, you said things that weren't very nice. A My boyfriend's back and you're gonna be in trouble (Hey-la-day-la my boyfriend's back) You see him comin' better cut out on the double (Hey-la-day-la my boyfriend's back) You've been spreading lies that I was untrue (Hey-la-day-la my boyfriend's back) So look out now 'cause he's comin' after you. (Hey-la-day-la my boyfriend's back) (Hey, he knows that you been tryin', and he knows that you been lyin'.) A He's been gone for such a long time Now he's back and things'll be fine You're gonna be sorry you were ever born 'Cause he's kinda big and he's awful strong. (Hey he knows I wasn't cheatin', now you're gonna get a beatin'.) B (What made you think he'd believe all your lies? wah-ooo, wah-ooo You're a big man now but he'll cut you down to size, wah-ooo, wait and see) A My boyfriend's back he's gonna save my reputation If I were you I'd take a permanent vacation. (Hey, I can see him comin' Now you better start a-runnin')

Leslie Gore - "It's My Party" (1963) -- descoperit din ntmplare la un party din liceu, Leslie a fost pus s lucreze cu Quincy Jones care i-a produs hit-ul de fa. Producia lui Jones e complex: double-tracked vocals (voce suprapus peste sine pt. a o face mai bogat i mai textural), backup vocals, acompaniament de swing pop big band cu percuie - un sound complex, cizelat i "adult" - nu tocmai adolescentin -- alternare vers/refren; versuri memorabile despre iubirea nelat, exprimate perfect printr-un ton vocal "plngre" dar plat It's my party, and I'll cry if I want to Cry if I want to, cry if I want to You would cry too if it happened to you. Nobody knows where my Johnny has gone but Judy left the same time Why was he holding her hand when he's supposed to be mine? Play all my records, keep dancin' all night but leave me alone for a while 'Til Johnny's dancing with me I've got no reason to smile. Judy and Johnny just walked through the door like a queen with her king Oh what a birthday surprise Judy's wearin' his ring. The Shangri-Las - "Leader of the Pack" (1964)

-- ncep s cnte n '63 (la vrsta de 15-16 ani), se destram n '68; promoveaz imaginea-stereotip a "adolescentei sexy", att de frecvent azi -- scris de George Morton, Jeff Barry, Ellie Greenwich, n form de Tin Pan Alley -- intro vorbit - un element de "realism", cu sunete de motociclet i dialog ntre fete -- alt hit al lor: "Past, Present and Future" (1966), cntec nostalgic bazat pe Sonata lunii

Is she really going out with him? Well, there she is. Let's ask her. Betty, is that Jimmy's ring you're wearing? Mm-hmm. Gee, it must be great riding with him. Is he picking you up after school today? Mm-mm. By the way, where'd you meet him? I met him at the candy store He turned around and smiled at me You get the picture? (yes, we see) That's when I fell for (the leader of the pack). A My folks were always putting him down (down, down) They said he came from the wrong side of town (whatcha mean when ya say that he came from the wrong side of town?) They told me he was bad But I knew he was sad That's why I fell for (the leader of the pack). A One day my dad said, find someone new I had to tell my Jimmy we're through (whatcha mean when ya say that ya better go find somebody new?) He stood there and asked me why But all I could do was cry

I'm sorry I hurt you (the leader of the pack). B He sort of smiled and kissed me goodbye The tears were beginning to show As he drove away on that rainy night I begged him to go slow But whether he heard, I'll never know. Look out! Look out! Look out! Look out! A I felt so helpless, what could I do? Remembering all the things we'd been through. In school they all stop and stare I can't hide the tears, but I don't care I'll never forget him (the leader of the pack). (Woo-oooh. The leader of the pack -- now he's gone.) Y-Y: Girl groups n Frana

-- girl groups apar i n alte locuri n anii '60, nu doar n SUA: Frana, Italia, Spania, Canada francez (Quebec) -- n Frana, tradiia de girl groups = Y-Y girls (prescurtarea de la "Yeah-Yeah Girls") - muzic adesea senzual, inocent sau "drgu" ce anticip explorrile sono-erotice ale lui Serge Gainsbourg & Jane Birkin de la final de ani '60. Cteva nume importante: Sylvie Vartan, Franoise Hardy, Jacqueline Taeb. Louise Cordet - "I'm Just A Baby" (1962) -- nscut n Anglia, dar a devenit un model de "French girl" n tot ce a fcut (muzic & film); cel mai mare hit al su Marie Lafort - "Les Vendanges de l'amour" (1963) -- ca multe Y-Y, Marie era i actri; primul ei hit Natacha Snitkine - "Jeu du Telephone (Music to Watch Girls By)" (1967) -- muzic "uoar" tipic francez i tipic de ani '60 Christie Laume - "L'adorable Femme des Neiges" (1967) -- rud a lui Edith Piaf

Chantal Goya - "Pense Pas Trop" (1967) -- cariera de baz a lui Chantal era n film - a jucat n cteva din filmele franceze ale epocii (aa-numitul "nou val francez") - dar mai i cnta ocazional Chorus Reverendus - "Ne poussez pas meme dans les orties" (1967) -- combin pop Y-Y cu elemente psihedelice (intro-ul cu ecou i backward tape) i chiar elemente de prog rock (natura contrapunctic a vocilor de backup n refren are ceva baroc); produs de Germinal Tenas, productor francez important din epoc Messieurs Richard de Bordeaux et Daniel Beretta - "La Drogue" (1968) -- Y-Y boys :-) 1968 = psihedelia e la apogeu & funk-ul abia ncepe Mareva Galanter - "Les cornichons" (2006) -- o alt actri francez (de origine polinezian) care scoate n 2006 un album de muzic neo-Y-Y i recreaz pe deplin sound-ul i spiritul acestei epoci pierdute

SURF MUSIC

-- n anumite privine, surf music este opusul girl groups-urilor; n alte privine, cele 2 genuri sunt perfect asemntoare diferene: - ideea de surf implic o latur mai activ dpdv fizic i poate mai rebel - nu doar

surfing, dar petreci vremea cu ali tipi, faci prostii i dai de probleme

- instrumentele sunt eseniale - adesea surf music e pur instrumental, cu accent pe tobe & chitri; rdcinile genului se afl deci n rock 'n' roll & rockabilly, mai degrab dect n pop

- cntecele de surf sunt adesea mai simple dect cele ale fetelor i sunt create chiar de ctre cei care fac muzica, nu de songwriters profesioniti

asemnri: - surf music = "bonding music", muzic de legat prietenii, dar pt. biei

- o parte din tematica versurilor n surf music e despre "agat" i despre relaii cu fete

- o parte din surf music conine vocal harmony - n special Beach Boys -- ca tematic cultural i ca practic, surfing-ul se dezvolt n anii '50 (ideea de surfing i are probabil originile n Hawaii, multe secole n urm; n orice caz, muzica hawaiian nu are o influen mare n surfing music). Craze-ul pt. surfing apare n sudul Californiei n anii ' 50 - placa de surf din fibr de sticl se dezvolt la sfrit de ani '50. Esenial deci pt. nelegerea muzicii de surf e nsi climatul i stilul de via californian: clim mediteranean, plaje vaste, stil de via relaxat cu elemente de sport, bikini, petreceri - cu alte cuvinte, o tendin accentuat ctre hedonism (cultul plcerii, cutare a plcerii cu orice pre). Stil i influene -- se dezvolt din popular music a sfritului de ani '50, prin: - influen de rock 'n' roll, dar subire - cteodat element bluesy (dei majoritatea formaiilor de surf music au un sunet

clar) - elemente de pop adolescentin: crooning, doo-wop (vocal harmony) - teme abordate: surfing, automobile, "puicue", party-uri; mesajul nu este rebeliune,

ci unul prin excelen hedonistic (cultura californian a plcerii) - surf music poate fi uneori considerat ca un tip de garage music - cu excepia

calitilor de mai sus: e adesea mai clar - mai puin murdar sau haotic - dect muzica de garaj; n orice caz, ca i garage rock-ul, formaiile de surf explodeaz n anii '60, inclusiv n locuri ce nu au nimic de-a face cu surf-ul (Minnesota sau Denver). Moda dispare pe la sfrit de ani '60

- cntecele instrumentale sunt f. importante, ilustrnd faptul c e vorba, n definitiv, de muzic fcut de tipi - tipi pricepui la chitri i tobe. Tobele sunt adesea puternice, grele sau n stil de mar; stilul chitrii are elemente de blues dar i de ... flamenco (ciudat!)

Ex. de surf music instrumental: Dick Dale and His Del-Tones - "Misirlou" (1962) -- Dick Dale, pionier californian al stilului, supranumit "The King of the Surf Guitar" -- cel mai cunoscut cntec al su - exemplu f. bun pt. sound-ul specific numit "surf guitar" - un ton fuzzy (de la "fuzz" - oarecum sinonim cu "distorsiune") i f. reverberat -- unul din cele mai "covered" cntece din istorie - dar originile sale sunt obscure - probabil un cntec folk din sec. 19 din Grecia sau Turcia (versiunea lui Dale o auzii n Pulp Fiction din 1994, ca i ntr-o mulime de soundtrack-uri de jocuri video; Esquivel a fcut i el o versiune, n 1959, ntr-un aranjament complex, tipic pt. Esquivel)

The Ventures - "Walk, Don't Run" (1960; versiunea #2: 1964) -- formaie din Seattle; form AABA; sunet caracteristic de "surf guitar"; element subtil de flamenco n melodia minor -- o a 2-a versiune, n '64, cu un soi de sunet de org; care versiune e mai reuit? The Chantays - "Pipeline" (1963) -- din California (Santa Ana); un "pipeline" = expresie pt. un val de ocean f. lung -- din nou melodie minor, din nou "surf guitar", din nou ecouri de flamenco; riff de chitar obsesiv (sugernd dram, pericol?); pian electric cu efect de tremolo; form: A-A'-A The Surfaris - "Wipeout" (1963) -- din California (Glendora); form: 12-bar blues; btaie de tobe de rock viral, care a fcut furori printre tinerii vremii; milioane de puti au imitat stilul de drumming al acestui cntec, cauznd cumprarea a milioane de seturi de tobe de ctre prini nu foarte entuziasmai The Trashmen - "Surfin' Bird" (1963) -- din Minnesota; nu tocmai un "instrumental", dar vocea sun incredibil de primar - aproape ca vorbirea. Tobe proeminente & strumming. Surf music ntlnete garage music i novelty song = proto-punk (influen uria asupra muzicii punk de la sf. de ani '70) Laika and The Cosmonauts - "C'mon Do the Laika!" (1988) -- formaie de neo-surf din ... Finlanda! Toate caracteristicile de surf music sunt aici: nuane de flamenco, drumming proeminent (identic cu stilul din "Walk, Don't Run") i "surf guitar" The Beach Boys

-- cea mai cunoscut formaie de surf music; rspunsul californian la Beatles -- se formeaz n 1961 n sudul Californiei (Hawthorne, o suburbie a Los Angeles-ului) de ctre 3 frai n vrst de max. 20 ani: Brian, Carl & Dennis Wilson, cu Brian Wilson ca leader, songwriter i productor de excepie. Influene formative: - componenta de vocal harmony/doo-wop din anii '50, combinat cu armonie sofisticat (amintii-v de Four Freshmen & Hi-Lo's) - componenta de rock 'n' roll orientat pe chitar - un fel de Chuck Berry vzut

prin lentilele muzicii de surf

- influena variabil a blues-ului e important pt. stilul timpuriu al formaiei, dar o influen moderat ce se deprteaz de blues-ul din Chicago sau din Sud - componenta de "surfing", deja discutat mai sus - ncepnd cu 1965, elemente de psihedelia (ntr-o evoluie paralel cu cea a Beatleilor, de la pop la psychedelia!) Primele lor hituri arat evident influene din diverse pri, dar i elemente ale unui sound specific Beach Boys. De la bun nceput, au scos albumuri LP complete, nu single-uri (aa cum fceau girl groups-urile). The Beach Boys - "Surfin' Safari" (1962, din albumul Surfin' Safari) -- sunet extrem de curat; exact opusul muzicii de garaj -- stilul vocal nu e definitivat, dar sunetul tipic Beach Boys e deja prezent (surf + vocal harmony + chitar de rock 'n' roll) -- form: alternare vers/refren n 12-bar blues Lets go surfin now everybodys learning how come on and safari with me (come on and safari with...) Early in the morning we'll be startin' out some honeys will be coming along We're loading up our woody with our boards inside and headin' out singin' our song Come on (surfer) baby wait and see (surfin safari) Yes Im gonna (surfer) take you surfin (surfin safari) with me Come on along (surfer) baby wait and see (surfin safari) Yes Im gonna (surfer) take you surfin (surfin safari) with me At Huntington and Malibu they're shootin' the pier at Rincon they're walkin' the nose Were goin' on safari to the islands this year so if you're comin' get ready to go They're anglin' in Laguna and Cerro Azul theyre kicking out in Doheny too I tell you surfin's mighty wild it's getting bigger every day from Hawaii to the shores of Peru Ali muzicieni de surf sun destul de similar: Jan & Dean - "Surf City" (1963) (scris chiar de Brian Wilson) The Surfaris - "Hot Rod High" (1964) - exploreaz o alt tem fierbinte a culturii californiene: automobilul, oseaua i mania vitezei The Beach Boys - "Surfin' U.S.A." (1963, din Surfin' USA) -- de la Safari la SUA... -- remake not cu not a cntecului lui Chuck Berry, "Sweet Little Sixteen" (1958) -- acelai stil cu "Surfin' Safari", dar mult mai cizelat, plus introducerea unui adevrat hook - adic un crlig, un scurt dar extrem de pregnant i de "catchy"/atrgtor motiv melodic ce subliniaz o linie de text sau un refren i te "aga" de la prima audiie (n cazul de fa, "everybody's goin' surfin', surfin' USA") -- form: un simplu A, cu terminaie de refren

-- blues-ul nu-i prea mai are locul aici: fr 12-bar blues, fr tere "blue" (septime, da). De ce? Poate pt. c muzica se axeaz f. puternic pe vocal harmony -- refren n falset - o semntur a stilului Beach Boys -- cuvinte ce proiecteaz ideea de surfing n mintea oricrui adolescent, celebrnd n particular sudul Californiei If everybody had an ocean, across the USA Then everybody'd be surfin', like Californ-I-A You'd see 'em wearing their baggies, huarachi sandals too A bushy bushy blonde hairdo, surfin' USA. You'd catch 'em surfin' at Del Mar, Ventura county line Santa Cruz and Trestle, Australia's Narabine All over Manhattan, and down Doheny way Everybody's gone surfin', surfin' USA. We'll all be planning out a route, we're gonna take real soon We're waxing down our surfboards, we can't wait for June We'll all be gone for the summer, we're on safari to stay Tell the teacher we're surfin', surfin' USA. Haggerties and swamies, Pacific Palisades San Onofre and Sunset, Redondo Beach LA All over La Jolla, at Waimea Bay. Everybody's gone surfin', surfin' USA. The Beach Boys - "Let's Go Trippin'" (1963, din Surfin' USA) -- cover dup un cntec al lui Dick Dale (1963) -- un "instrumental" n 12-bar blues, cu reverb i nite improvizaie pe chitar; dar muzica sun n continuare f. curat, fr distorsiune grea, fr slbticie The Beach Boys - "I Get Around" (1963, din al 4-lea album, Little Deuce Coupe) -- mici fraze instrumentale adugate la sfritul versurilor pt. culoare & varietate -- progresie armonic mai obscur i mai complicat dect n majoritatea muzicii de garaj sau de surf, plus modulaii! -- form: alternare vers/refren (Round round get around, I get around, yeah Get around round round I get around) I get around (get around round round I get around) From town to town (get around round round I get around) I'm a real cool head (get around round round I get around) I'm makin' real good bread (get around round round I get around) Im gettin' bugged drivin' up and down the same old strip I gotta finda new place where the kids are hip. My buddies and me are gettin' real well known Yeah, the bad guys know us and they leave us alone. (I get around, round, get around round round ) (Ooooh, wah wa oooh, wah wa oooh, wah wa oooh) We always take my car 'cause it's never been beat And we've never missed yet with the girls we meet. None of the guys go steady 'cause it wouldn't be right To leave their best girl home now on saturday night. The Beach Boys - "California Girls" (1965, din al 9-lea album, The Beach Boys Today!) -- albumul reprezint unul din punctele culminante ale BB i a rmas n topurile de pop timp de 50 sptmni

-- influena lui Phil Spector asupra lui Brian Wilson e puternic: o tapiserie complex a sunetului cu introducere atent a reverbului; efectul e oarecum de "sunet rece": timbre i texturi clare nvluite n reverb ngheat -- din nou armonie complicat; din nou modulaii -- cuvinte de geniu ce celebreaz fetele din toate prile Americii, invitndu-le astfel pe toate la party-ul californian -- elemente psihedelice pronunate ncep a-i face apariia; n 1965, LSD-ul, mescalina i alte halucinogene ncep s-i exercite influena asupra culturii generaiei tinere - i desigur Beach Boys, ca i Beatles i un miliard de alte formaii erau chiar n mijlocul acestei culturi i deci erau deschii la experimentri. Valul de psihedelia (sau psychedelia) se simte n acest cntec n primul rnd prin tempo-ul moderat, "dreamy", nici rapid nici lent; apoi utilizarea sunetului subire i baroc al unui soi de clavecin - un efect destul de "trippy"; sunetul straniu, imponderabil, ecstatic la introducerii; orga electric i alte sunete acute; chiar i Spector-ianul "wall of sound" -- toate acestea dau senzaia de straniu, de lume paralel; dar armonia vocal rmne tipic Beach Boys. Well east coast girls are hip, I really dig those styles they wear And the southern girls with the way they talk, they knock me out when Im down there The mid-west farmers daughters really make you feel alright And the northern girls with the way they kiss, they keep their boyfriends warm at night. I wish they all could be California girls Wish they all could be California I wish they all could be California girls. The west coast has the sunshine, and the girls all get so tanned I dig a French bikini on Hawai'ian island girls, by a palm tree in the sand I been all around this great big world, and I seen all kinds of girls Yeah, but I couldnt wait to get back in the states, back to the cutest girls in the world. I wish they all could be california girls (girls, girls, girls yeah I dig the) [fadeout] The Beach Boys - "Good Vibrations" (1966) -- efectul psihedelic continu s creasc n muzica BB, culminnd cu cel mai glorios cntec al lor, "Good Vibrations" - scos ca single n '66 i n album n '67 (pe al 13-lea album, Smiley Smile) -- o "cltorie muzical" cu o serie de episoade ce alterneaz ntre oniric sau imponderabil i energetic sau "grooving" -- hook melodic "spaial" (auzit clar la 0:25 i apoi la 3:27) pe teremin (vezi "Moon Moods" al lui Les Baxter de mai sus pt. un alt ex. timpuriu de utilizare a teremin-ului) -- versurile, la suprafa de dragoste, se centreaz pe ideea psihedelic a "bunelor vibraii" - care poate nsemna aproape orice, i sunt aproape halucinatorii n sublieniera senzualitii non-erotice (culori, sunete, arome), a imaginilor mentale ("close my eyes", "somehow closer", "blossom world") i a senzaiei de ecstaz ("what an elation, what a sensation") -- cteva momente pe "harta" cntecului: 1:40 = interludiu straniu cu clavecin i reverb greu

2:14 = fraz repetat las locul unui riff singuratic de muzicu 2:54 = "a-a-ah!" n grup 2:57 = reapare refrenul 3:13 = ncepe un alt episod aerat 3:27 = refren instrumental (teremin), pt. ultima dat -- form: stranie, adic (multi-)segmental (dar cu ntoarcerea frecvent a seciunii B): A B A B C D B E B (acest tip de form secional va deveni la mod n prog rock) -- moment crucial n istoria produciei de muzic rock: nregistrarea cntecului s-a fcut n 17 sesiuni timp de 3 luni la 5 studiouri diferite, iar costul final a fost 90 de ore de band audio i enorma sum de 75,000 $ (pt. un singur cntec de 3:45 minute!!!). Totul e multi-tracked, overd-dubbed, n multiple straturi de sunete i voci. Cntecul i datoreaz geniul, noutatea, dificultatea i costul, ambiiei muzicale a lui Brian Wilson, care la acea vreme ns ncepuse s sufere de o boal mental aparent indus de consumul serios de droguri. n orice caz, n aspectele sale psihedelice, "Good Vibrations" poate fi n mod convingtor comparat cu "Lucy in the Sky with Diamonds" a Beatleilor, din 1967. Brian i rezum inteniile privitoare la cntec dup cum urmeaz:

"...the summation of my musical vision, a harmonic convergence of imagination and talent, production values and craft, songwriting and spirituality. I'd written it five months earlier and imagined the grand, Spector-like production while on the LSD trip I'd described so enthusiastically for Al. Instinctively, I knew it was the right song at the right time".

A I, I love the colorful clothes she wears and the way the sunlight plays upon her hair I hear the sound of a gentle word on the wind that lifts her perfume through the air. B I'm pickin' up good vibrations, she's giving me the excitations [x4] (Oom bop bop good vibrations, bop bop excitations) [x3] (Good good good good vibrations) [x2] A Close my eyes, shes somehow closer now softly smile, I know she must be kind When I look in her eyes she goes with me to a blossom world B I'm pickin' up good vibrations, she's giving me the excitations [x4] (Oom bop bop good vibrations, bop bop excitations) [x3] (Good good good good vibrations) [x2] C (Ahhhhhhh) (Ah my my what elation) I dont know where but she sends me there (Ah my my what a sensation) D Gotta keep those lovin' good vibrations a-happenin' with her (Gotta keep those lovin' good vibrations a-happenin' with her) [x1.5] (Ahhhhhhhh) B (Na na na na na) (Do do do do do) E (Na na na na na) (Do do do do do) B (tereminul, nainte de "fade out")

The Beach Boys - "Caroline No" (1966, din Pet Sounds) -- cntec ce pare a se mica n direcia unui "popular song" mai tradiional, n form de Tin Pan Alley i cu melodie i armonie sofisticat, dar pstrnd elementele psihedelice de ecou, clavecin, tempo oniric i alte efecte (sfritul cu soundscape-ul de sunete de tren & cini) -- ne putem ntreba dac versurile nu sunt, ntr-un sens, chiar despre Brian nsui - ca i Syd Barrett de la Pink Floyd, Brian Wilson, geniu muzical, avea totodat i mari probleme psihologice - iar consumul de droguri nu fcea dect s nruteasc situaia. n '67 sufer o cdere psihic definitiv, dup care nu a mai fost n stare s garanteze un produs muzical finalizat. Din acest punct, participarea sa n formaie a fost sporadic i ali membrii i-au luat locul. Beach Boiii i-au continuat cariera cu noi albume i concerte retrospective. La final de ani '90, Brian Wilson i-a recptat bunstarea mental, i-a reluat colaborrile muzicale i este acum un senior respectat al lumii muzicii rock. A Where did your long hair go Where is the girl I used to know How could you lose that happy glow Oh, Caroline no A Who took that look away I remember how you used to say Youd never change, but thats not true Oh, Caroline you B Break my heart I want to go and cry Its so sad to watch a sweet thing die Oh, Caroline why A Could I ever find in you again Things that made me love you so much then Could we ever bring em back once they have gone Oh, Caroline no.

Folk Revival: folk urban & cntece de protest Folk = "roots", rdcini. Dar n anii '60, folk nseamn un tip diferit de rdcini: mai degrab dect muzic rural transformat n mainstream pop, muzica folk a anilor '60 este n mare parte muzic urban, i parte a contra-culturii; o muzic deci ce este strns legat de protestul social. Interludiu: despre contracultur i generaia beat -- micarea beat (the "beat movement") n America anilor '50 i a nceputului de ani '60 = curent cultural centrat n jurul unor scriitori i poei (the "beat generation": Jack Kerouac i Allen Ginsberg, printre alii), i prima mare contracultur n America (termenul de "counterculture" se pare de fapt c provine chiar de la aceast micare), model pt. celelalte curente contraculturale -- ce este o contracultur? O cultur a protestului, o micare social de mare anvergur - implicnd politic, dar i stil de via, mod, i muzic - ce opune rezisten fa de mainstream, att la nivel intuitiv ct i contient-programatic (pt. noiunile cheie de contracultur i mainstream vezi i notele de la prima noast ntlnire din semestrul trecut).

-- modelele generaiei beat erau nu tocmai lumea adolescentin a rock 'n' roll-ul anilor '50 -- asta pt. c cei ce fceau parte din aceast generaie nu erau adolesceni, ci tineri aduli interesai mai mult n muzica de jazz, Franz Kafka i arta expresionismului abstract mai degrab dect n Elvis i doo-wop -- cteva elemente eseniale ale modei beat: - ideea de "hipster" - att de vehiculat azi - vine direct din aceast micare beat; alt

termen consacrat ce denot apartenena cuiva la micarea beat este cel de "beatnik" (sufixul "nik" a fost de atunci aplicat la tot felul de alte cuvinte pt. a sublinia natura marginal a unor subculturi i a aduga adesea o nuan peiorativ - de ex. "peacenik" = un "hipster pacifist" :-))

- dependentul de heroin - barba ras n stil "cioc" ("goatee") - ochelari negri - mbrcminte neagr - sesiuni publice de recitri de poezie (adesea n cafenele i cluburi de noapte) - cafea tare i igri franuzeti - termenul de "chicks" - film noir - ciorapi "plas" - ntreaga idee de a fi "cool" Cu alte cuvinte: generaia beat celebra tot ceea ce era de temut pt. mainstream. Dar mantra acestei culturi era "Sex, Drugs, and Jazz". Termenul de "beat" vine de la Jack Kerouac, i nseamn n limba englez multe lucruri: btut, oprimat, obosit, suferind de realitile dure ale vieii - dar totodat supravieuind i nvnd din ele. "Beat" = frumos sau "sfnt"; "Having a beat" = s ai puls, ritm, un sens a ceea ce n jurul tu; n esen, nseamn "s pricepi", s te prinzi (adic "getting it"). Ascultai definiia intuitiv a "beat"-ului i a culturii respective, ntr-o lectur de ctre Kerouac a The San Francisco Scene (The Beat Generation), un eseu-poem al su, ca. 1960. Kerouac a spus c scopul su cnd scrie este s creeze o "prozodie bop spontan" ("spontaneous bop prosody") - adic un stil de scris care era simultan expresiv i perfect, improvizat, neateptat - sincopat i bluesy -, virtuoz, n tempo rapid i perfect contient de ce se ntmpl n jur - exact ca i n muzica de bebop jazz. nceputul din lungul poem Howl al lui Allen Ginsberg (1956) d o senzaie asemntoare (Ginsberg de fapt admira stilul lui Kerouac i a spus c Howl e un exemplu de ceea ce Kerouac numea "prozodie bop spontan"). Fr rime, fr metru poetic, Howl urmeaz stilul lui Walt Whitman, cu versuri lungi i imagini surprinztoare, ca un fel de improvizaie de jazz frumoas dar f. sofisticat. Ginsberg i arat dorinele i spaimele ntr-un mod extrem de direct, iar imaginile descrie de poem sunt deschise multor interpretri; l pricepei? V prindei? Do you get it? Exact aceeai curgere spontan de cuvinte i imagini poetice neateptate le vom ntlni n cntecele lui Bob Dylan i Jim Morrison (de la The Doors)

[atenie: micarea "beat" nu are legtur direct cu Beatles sau cu ceea ce n Anglia se numete n anii '60 "beat music"] Howl [doar nceputul] Allen Ginsberg, 1956 I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz, who bared their brains to Heaven under the El and saw Mohammedan angels staggering on tenement roofs illuminated, who passed through universities with radiant cool eyes hallucinating Arkansas and Blake-light tragedy among the scholars of war, who were expelled from the academies for crazy & publishing obscene odes on the windows of the skull, who cowered in unshaven rooms in underwear, burning their money in wastebaskets and listening to the Terror through the wall, . . . Att Kerouac ct i Ginsberg pun accent pe elementul urban, mai degrab dect pe rural. Fenomenul beat a atras oameni din toate colurile Americii, dar era n bun parte nordic, nu sudic; capitalele sale erau Greenwich Village (n Manhattan, New York City) i zona numit North Beach (sau Tenderloin) a San Fancisco-ului - deci, centre urbane. Prin '58, contracultura "beat" devine un cuvnt cheie, iar poeii si i "happening-urile" sale prind faim.