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Black Music in the ’70s:

Black Music in the ’70s:. SOUL. Last Days of Motown. Motown dominance of charts wanes after 1971 More diverse musical tastes? Other options in black music? Less control of artistic product? No single “Motown sound” Biggest hit makers those who defy or expand “sound of young America”.

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Black Music in the ’70s:

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  1. Black Music in the ’70s: SOUL

  2. Last Days of Motown • Motown dominance of charts wanes after 1971 • More diverse musical tastes? • Other options in black music? • Less control of artistic product? • No single “Motown sound” • Biggest hit makers those who defy or expand “sound of young America”

  3. Jackson 5 • Started as Motown artists in early ’70s • Early hits adhere to the “formula” • Ex. ABC • Theme: school and pre-pubescent love • Infectious hook • Simple bass riff • Light Latin flavor

  4. Jackson 5 - ABC • Contrary to “formula” • Aggressive rock style beat • Active, highly syncopated 16-beat rhythmic layer • Gospel and soul influence on vocal style • Tendency to accent all four beats evenly

  5. Stevie Wonder (1950- ) • Began performing professionally at age 10 • Signed by Berry Gordy at age 12; billed as “Little Stevie Wonder” • Rebels against Motown formula when contract re-negotiated in 1971 • Gains control over own musical style

  6. Stevie Wonder - Style • Great melodic writer • Thick, polyrhythmic textures • On early albums, Wonder plays all instruments • Overdubbing creates master recording • Extensive use of synthesizer • Long, syncopated riffs as foundation • Latin, reggae, and jazz rhythms prominent

  7. Superstition • Demonstrates new style evident on 1972 album Talking Book • Wicked groove • Sixteen-beat rhythms • Strongly accented backbeats

  8. Superstition • Each 16-bar verse divided into 2 parts • First half: Drums, bass, guitar, synthesizer • Second half: Horn line added; jazz flavor • Locally end-weighted • Verses harmonically static – built on pentatonic scale • Bridge harmonically active • Leads to hook (acting as refrain)

  9. Gospel/Soul • Fusion of soul, gospel, and pop • Personified in Al Green • “Voice of soul in the ‘70s • Started as gospel singer • Retains gospel traits in secular, romantic songs

  10. Al Green - Style • Vocal style from gospel • Melismas • Falsetto shouts, moans, stutters - variety of vocal techniques • Huge range of tone colors • Wide range • Vocal virtuosity replaces rhythmic drive, lyric message

  11. Tired of Being Alone • Affinity with Motown sound • Ties to Stax Soul? • New influences?

  12. Tired of Being Alone • Affinity with Motown sound • Ties to Stax Soul • Horn punctuation • Accent on backbeat • New influences • Four part backing harmonies • Almost no studio production

  13. Philadelphia Sound • Regional style of soul • Philadelphia International Records (PIR) founded in early ‘70s by Kenny Gamble and Leon Huff • Closely associated with Philadelphia dance scene

  14. Philadelphia Sound • Highly produced – thick textures with extensive overdubbing • Strings • Vibraphone • Horns • Latin percussion • BUT lighter sound than the “Wall” • Guitars, synths fed directly into board • Relatively little reverb or echo

  15. PIR • Tight studio band - MFSB • Mother, Father, Sister, Brother • Generally maintain riffs • Riff-driven • Hard, rock-style timekeeping

  16. O’Jays • Temptations-like sound • More jazz influenced rhythms • Stylistically influenced by Stax soul • Dense textures • Gospel influence evident • Ex. Back Stabbers (1972)

  17. Parliament and Funkadelic • Premiere funk bands of 70s, led by George Clinton • Funk characteristics, ala Sly and the Family Stone • Hendrix-like guitar distortion • Conversational lyrics indirectly addressing political and social themes • Often with satire, parody • Similar to Frank Zappa • Outer space characters, songs (Parliament) or horror movie themes (Funkadelic)

  18. Parliament and Funkadelic - Stylistic influences • Fusion of hard rock, R&B songwriting and harmonies, James Brown • Motown roots evident • Glimpses of doo-wop, Brill Building sounds • Also influence from art rock • Mixed meters • Sophisticated jazz rhythms • Shifting patterns of accents

  19. Parliament and Funkadelic - Style • Wider palate of tone colors than Sly and the Family Stone • Denser textures • Preference for rock style beat • Ex. Up for the Down Stroke

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