One Way Ticket to One Way Ticket to MidnightMidnight::

Hard Rock & Heavy Hard Rock & Heavy MetalMetal

Hard Rock & Heavy MetalHard Rock & Heavy Metal

• More aggressive strains of blues rockMore aggressive strains of blues rock

• Drew inspiration from Rolling Stones, The Drew inspiration from Rolling Stones, The Who, Cream, and (especially) Jimi HendrixWho, Cream, and (especially) Jimi Hendrix– Reaction to the BeatlesReaction to the Beatles– And other British invasion pop bandsAnd other British invasion pop bands

Hard Rock & Heavy MetalHard Rock & Heavy Metal

• Combine characteristics of blues and acid Combine characteristics of blues and acid rockrock– Extended improvisations, including drum solosExtended improvisations, including drum solos– Use of distortion, feedback, other noise effectsUse of distortion, feedback, other noise effects– Powerful, LOUD, active drummingPowerful, LOUD, active drumming– Riff-basedRiff-based– Blues-influenced guitarBlues-influenced guitar– Modal harmoniesModal harmonies

Hard Rock & Heavy MetalHard Rock & Heavy Metal

– Guitar & bass frequently play same lineGuitar & bass frequently play same line– High, harsh, dramatic blues-edged vocalsHigh, harsh, dramatic blues-edged vocals– Highly engineered sound – reverb, echoHighly engineered sound – reverb, echo– Built from mostly power chordsBuilt from mostly power chords

Difference between Hard Difference between Hard Rock and Metal:Rock and Metal:

• Retains strong ties to the Retains strong ties to the blues = hard rockblues = hard rock

• More affiliation with acid rock, More affiliation with acid rock, dark imagery = heavy metaldark imagery = heavy metal

Early hard rock/proto metal bandsEarly hard rock/proto metal bands• CreamCream

• SteppenwolfSteppenwolf– Born To Be Wild uses phrase “heavy metal Born To Be Wild uses phrase “heavy metal

thunder”thunder”

• Vanilla FudgeVanilla Fudge

• Iron Butterfly – In-A-Gadda-Da-Vida (17 Iron Butterfly – In-A-Gadda-Da-Vida (17 minutes)minutes)

• Led Zeppelin Led Zeppelin

Black SabbathBlack Sabbath

• Aggressive reaction to psychedelic culture Aggressive reaction to psychedelic culture of San Francisco and Woodstockof San Francisco and Woodstock

• ““Doomy music”Doomy music”• Black Sabbath – ParanoidBlack Sabbath – Paranoid

– Hard-driving eight-beat rock rhythmHard-driving eight-beat rock rhythm– Power chords in bass & guitarPower chords in bass & guitar– High, aggressive vocalsHigh, aggressive vocals

Black Sabbath – ParanoidBlack Sabbath – Paranoid• Contains most of characteristics of heavy Contains most of characteristics of heavy

metalmetal– FastFast– LOUDLOUD– Dark subject matterDark subject matter– Riff-drivenRiff-driven– Modal guitar soloModal guitar solo

The Who The Who

• Physicality, stage behavior important Physicality, stage behavior important characteristic of bandcharacteristic of band– Windmill strumming of Townshend; leaps Windmill strumming of Townshend; leaps

and splitsand splits– Daltry strutting, mic twirlingDaltry strutting, mic twirling– Townshend calls “pop art”Townshend calls “pop art”

• Openly hostile on stage - early punk Openly hostile on stage - early punk aestheticaesthetic– ““Anti-anti Beatles”Anti-anti Beatles”

Jim MarshallJim Marshall

• Electronic technician Electronic technician in Londonin London– Speakers and amp in Speakers and amp in

separate cabinetsseparate cabinets– Can then add more Can then add more

speakers if desiredspeakers if desired

• Stacks of Marshall Stacks of Marshall amps = louder amps = louder volumevolume

• Becomes known as a Becomes known as a Marshall stackMarshall stack

The Who - stylistic influencesThe Who - stylistic influences

• Early rock and roll, especially Chuck BerryEarly rock and roll, especially Chuck Berry• Beatles and Rolling StonesBeatles and Rolling Stones• Trad JazzTrad Jazz• R&B, Motown and soulR&B, Motown and soul• The Who - laterThe Who - later• In late 60s, albums start to incorporate In late 60s, albums start to incorporate

more experimental techniques, more experimental techniques, sophisticated musical ideassophisticated musical ideas

SynthesizersSynthesizers

• Produce artificially generated sound through Produce artificially generated sound through manipulation of electrical currentsmanipulation of electrical currents– Create entirely new soundsCreate entirely new sounds– Or replicate sound of any instrumentOr replicate sound of any instrument

• Oscillator creates sound wave Oscillator creates sound wave • Filters modify tone color by subtle alterations to wave Filters modify tone color by subtle alterations to wave

formform• Other oscillators or generators manipulate vibrato, Other oscillators or generators manipulate vibrato,

attack, sustain, and decayattack, sustain, and decay

SynthesizersSynthesizers

• Invented in 50s, but expensiveInvented in 50s, but expensive– Could only create/play one sound at a timeCould only create/play one sound at a time

• Four and eight voice polyphonic synthesizers Four and eight voice polyphonic synthesizers introduced in early 1980sintroduced in early 1980s

• MIDI (Musical Instrument Digital Interface) MIDI (Musical Instrument Digital Interface) invented 1983invented 1983– Makes synthesizers easy for novice to useMakes synthesizers easy for novice to use– Quickly become pop rock standardQuickly become pop rock standard

• Drum machinesDrum machines• Fill in for strings, hornsFill in for strings, horns• Creation of new, electronic soundsCreation of new, electronic sounds

Won’t Get Fooled AgainWon’t Get Fooled Again

• Intro – synthesizerIntro – synthesizer– Provides alternative tone colorProvides alternative tone color– Functions as rhythm guitar – lays out 8 beat Functions as rhythm guitar – lays out 8 beat

rock rhythmrock rhythm

• Active, melodic bass lineActive, melodic bass line

• Irregular drumming by Keith MoonIrregular drumming by Keith Moon

•

Led ZeppelinLed Zeppelin

• Often called first heavy metal bandOften called first heavy metal band

• Most important band re: development Most important band re: development of hard rock of hard rock

• Influence on almost every metal or hard Influence on almost every metal or hard rock band of the 1970s and 80srock band of the 1970s and 80s

• Impact on business of rockImpact on business of rock

Jimmy Page (1944- )Jimmy Page (1944- )• One of the most popular studio musicians in UK One of the most popular studio musicians in UK

– Plays on Plays on • The Kinks, You Really Got Me (contested)The Kinks, You Really Got Me (contested)• The Who, I Can’t ExplainThe Who, I Can’t Explain

• Joins Yardbirds 1966Joins Yardbirds 1966– Retains name, roster of tour dates when band Retains name, roster of tour dates when band

breaks up in 1968breaks up in 1968

Led ZeppelinLed Zeppelin

• PagePage

• John Paul Jones [John Baldwin] John Paul Jones [John Baldwin] (1946 - )(1946 - )

• Robert Plant (1948- )Robert Plant (1948- )

• John Bonham (1948-1980)John Bonham (1948-1980)

Led Zeppelin - StyleLed Zeppelin - Style

• Hard-edged rock sound steeped in the Hard-edged rock sound steeped in the blues and the psychedelic rock of late ‘60sblues and the psychedelic rock of late ‘60s

• Multitude of other influences Multitude of other influences – Indian and Arabic musicIndian and Arabic music– Celtic, English folk musicCeltic, English folk music– ReggaeReggae– Country music and bluegrassCountry music and bluegrass

Vocal style - Robert PlantVocal style - Robert Plant

• Influenced by blues shoutersInfluenced by blues shouters

• Extremely high voice for rock singerExtremely high voice for rock singer

• Changes tone color and texture like Changes tone color and texture like guitaristguitarist

• Adds shrieks, moans, vocalizationsAdds shrieks, moans, vocalizations

Jimmy Page - guitar styleJimmy Page - guitar style

• Along with Jimi Hendrix, founder of metal Along with Jimi Hendrix, founder of metal guitar styleguitar style

• Avoids clean soundAvoids clean sound

• Prefers distortion, thick texturePrefers distortion, thick texture

• Frequently employs pedal effects, Frequently employs pedal effects, feedbackfeedback

• Sound more important than notesSound more important than notes

CharacteristicsCharacteristics

• Riff-based styleRiff-based style– Often in bassOften in bass– Frequently changes or shifts over duration of Frequently changes or shifts over duration of

songsong• Engineered with reverb, echo, distortion, and Engineered with reverb, echo, distortion, and

other sound effectsother sound effects• Unbridled emotionalismUnbridled emotionalism

CharacteristicsCharacteristics

• Loud, active drummingLoud, active drumming

• Mixed or additive meters, or irregular Mixed or additive meters, or irregular accent patterns, commonaccent patterns, common

• Sonically vastSonically vast

• Wide range of texturesWide range of textures

Stairway to HeavenStairway to Heaven

• Sectional form: A A’ B CSectional form: A A’ B C– Sections defined by changes of instrumentation, Sections defined by changes of instrumentation,

texturetexture

• Essentially strophic within sections Essentially strophic within sections – Each 3-line phrase to same melodyEach 3-line phrase to same melody– New melodic idea (or variant) introduced in each New melodic idea (or variant) introduced in each

sectionsection

• Folk-music influenced melody, and folk-like Folk-music influenced melody, and folk-like deliverydelivery

• End-weighted – texture and tension gradually End-weighted – texture and tension gradually build to last sectionbuild to last section

STAIRWAY TO HEAVEN

Form: AA’BC; strophic within sectionsPerforming resources: vocals, guitar (electric, acoustic, 6 string and 12 string), bass, recorders (synthesizer), drums

0:00 Introduction: 6 string acoustic guitar solo; arpeggios on chord changes guitar plays bass line as well (4 measures)

0:13 Recorder sounds (synthesized/sampled?) enter with countermelody; pair playing in counterpoint to each other in spots (4 measures )

0:27 Continues, recorder melody more developed (8 measures)

Form of vocal line Section A

0:53 There's a lady who's sure aAll that glitters is gold Accompaniment: same asAnd she's buying a stairway to heaven. intro - guitar, recorder

When she gets there she knows aIf the stores are all closedWith a word she can get what she came for.

Ooh~ooh~ooh Ooh~ooh~ooh~ooh~ooh. vocal improvisation And she's buying a stairway to heaven. (same as last 2 lines of a)

1:33 There's a sign on the wall a But she wants to be sure

'Cause you know sometimes words have two meanings.In a tree by the brook aThere's a songbird who singsSometimes all of our thoughts are misgiven.

2:01 Bridge: Guitar and flute as in intro (4 bars)2:14 Section A’ - guitar chords strummed, more

animated; bass enters, takes over bass line (8 bars)

Oooh it makes me wonder. (improvised overOooh it makes me wonder. instrumentals)

2:40 There's a feelin' I get a guitar returns toWhen I look to the west arpeggiosAnd my spirit is crying for leaving.In my thoughts I have seen a

Rings of smoke through the treesAnd the voices of those who stand looking.

Bridge, as aboveOooh it makes me wonder. vocal improvisationOooh it really makes me wonder.

3:30 And it's whispered that soon aIf we all call the tuneThen the piper will lead us to reason.And a new day will dawn aFor those who stand longAnd the forests will echo with laughter.

3:53 Section B: Bridge, as above (4 measures ), more animated bass line; electric guitarOh~ooh whoah~ooh whoah~ooh whoah~ooh vocal improvisationWhoah~hooh~oh~ohh.

4:18 Drums enter

If there's a bustle in your hedgerow bDon't be alarmed nowIt's just a spring clean for the May Queen.Yes, there are two paths you can go by, bBut in the long runThere's still time to change the road you're on.

4:45 Bridge; guitar more syncopated, strummed (8 bars)And it makes me wonder. vocal improvisationAhhh~ah-oh~hoh.

5:08 Your head is hummin' and it won't go bIn case you don’t knowThe piper's callin' you to join him,Dear lady, can you hear the wind blow bAnd did you knowYour stairway lies on the whispering wind?

5:33 Meter suspended - essentially stops (stop time)Section C: “Fanfare” - 12 string electric;additive meters: 2+2+3 3+3+3 2+2+3

4 4 4Guitar solo (20 bars; in duple time)

6:45 And as we wind on down the road cOur shadow's taller than our soul. cThere walks a lady we all know c’Who shines white light and wants to show c’How everything still turns to gold cAnd if you listen very hard cThe tune will come to you at last. cWhen all are one and one is all-yeah c’’To be a rock and not to roll. c

7:28 Guitar solo (7 bars, then meter suspended)7:46 And she's buying a stairway to heaven last line of a

Stairway - InfluenceStairway - Influence

• After Stairway, record companies more After Stairway, record companies more willing to allow longer album tracks willing to allow longer album tracks – Even though 8 minutes long, AOR stations Even though 8 minutes long, AOR stations

played played – Fans bought the album as if it Fans bought the album as if it werewere a single a single– Finally abolishes 3-4 minute frame for rock Finally abolishes 3-4 minute frame for rock

songssongs

Zeppelin – performance styleZeppelin – performance style

• Like Stones, front man and guitar godLike Stones, front man and guitar god– Focus actually Page, not PlantFocus actually Page, not Plant

• Drummer given feature in every concertDrummer given feature in every concert– Drum solo becomes new rock standardDrum solo becomes new rock standard

• Focus on improvisationFocus on improvisation– Long keyboard, guitar solosLong keyboard, guitar solos– Free jamsFree jams– Frequent exchanges of ideas between Plant, Frequent exchanges of ideas between Plant,

PagePage

Dazed and ConfusedDazed and Confused

• Cover of song by American folk singer Cover of song by American folk singer Jake HolmesJake Holmes

• Intro: descending chromatic scale in bassIntro: descending chromatic scale in bass– Ostinato – repeats over and overOstinato – repeats over and over– Distorted guitar line sketched aboveDistorted guitar line sketched above

• First verseFirst verse• Break - riff doubled by guitar an 8ve Break - riff doubled by guitar an 8ve

higher, and 8ve above that by secondhigher, and 8ve above that by second

Dazed and ConfusedDazed and Confused

• Break Break – triplet feel in basstriplet feel in bass– Followed by riff doubled by guitarFollowed by riff doubled by guitar

• Third verse Third verse • Break becomes extended improvisationBreak becomes extended improvisation

– Call and responseCall and response– Triple time section leads toTriple time section leads to

• Final verseFinal verse• OutroOutro

Dazed and ConfusedDazed and Confused

• On album, 6 minutes 20 secondsOn album, 6 minutes 20 seconds

• In concert, often 20In concert, often 20– More extended improvs.More extended improvs.– Violin bow solo, to emulate distortion and Violin bow solo, to emulate distortion and

effects added in studioeffects added in studio

Zeppelin - InfluenceZeppelin - Influence

• Hard rock vocal and guitar stylesHard rock vocal and guitar styles• Shatter 4 minute barrier for songsShatter 4 minute barrier for songs• Fix importance of AOR radioFix importance of AOR radio• Establish new expectations for concert Establish new expectations for concert

performanceperformance– DurationDuration– Increase band’s % of profits from ticketsIncrease band’s % of profits from tickets

• Change in concert circuit, and way business was Change in concert circuit, and way business was done in re: toursdone in re: tours

• Establish importance of the album as primary Establish importance of the album as primary revenue generatorrevenue generator