The 1970’s developed into a
forever-changing era in both the culture of young adults, as well as with the
music. Our young adults during the 1970’s began to focus on materialistic and
conservative attitudes (Starr and Waterman, pg. 368). The need for more
mature music, due to culture and social changes, the musicians solution to this
problem was the creation of several sub-genres of both rock and popular music. Commercial
radio was highly influential on the dissemination of these new sub-genres,
including styles like pop rock, adult contemporary, singer-songwriters, soft
soul, country pop, bubblegum, and disco (pg. 371). Some of these genres,
like “soft soul,” were the result of the influence of previously popular genres
like Motown. Even with new genres dominating the radio, “oldies radio” were
introduced in the 1970’s, giving the music of “older artists” (Elvis Presley
and Chuck Berry) a fresh look with new audiences.
Several songs from this weeks
reading helped to bring about the changes as well as highlight man of the new
sub-genres These sub-genres include rock, disco, progressive country, reggae,
salsa and hip-hop. Looking at rock music first, while never really changing,
rock music increased in variety, as exemplified in the songs “Stairway To Heaven” and “Oye Como Va.” Led Zeppelin’s
“Stairway To Heaven” was never released as a single because in order to own the
song, the listener had to purchase the entire album (pg. 389). “Stairway
To Heaven” is a strong departure from the rock music of previous eras because the
band’s musical influence for this rock song includes urban blues of southern
California, elements of folk music, and psychedelia. The song is a
juxtaposition of hard rock and soft folk creating somewhat of a sacred
experience for its primarily young, male audience (pg. 391). Meanwhile,
Carlos Santana’s “Oye Como Va” exemplifies influence of previous
generations. Santana grew up with mostly latin influences and rock music,
but was able to incorporate other genres such as jazz into his music as shown
in “Oye Como Va.” He used his virtuosity of the guitar to lead his song
while incorporating Latin instruments like timbales, an agogo, congas, and
other Latin percussion (pg. 394). The lyrics of “Oye Como Va,” as well as
many of his early recordings are less important than the instrumental elements
to his song similar to artists of the earlier in the decade. The lyrics
are sung in short phrases, allowing the listener to be exposed to the
instrumental and emphasizing the “groove” of the song.
Disco was another sub-genre that
became quite popular during the 1970’s. The term “disco” comes from
“discotheque,” a term used for nightclubs that played pre-recorded music that
people would dance to. “Bad Girls”
by Donna Summer and “Good Times” by Chic are representative of the disco era.
Both contain an incessant beat, a steady, medium-fast tempo, a straightforward,
repetitive form, straightforward subject matter and lyrics, and limited
harmonic vocabulary (pg. 405). While these elements are certainly derived
from many other forms of music, they incorporated an amazing quality seen in
music history of “back to the basics” approach with a couple of new school
ideas. These new ideas included the use of new technologies like a guitar
wah-wah pedal, sultry and sexy vocals (often times by females), the use of
reverb, and the synthesizer (pg. 404).
Although the 1970’s served as a
period of stylistic conservatism and corporate consolidation in popular music,
a handful of 1970’s music did not fit neatly into the frameworks of Top 40
radio (pg. 408). New styles like progressive country music, reggae,
salsa, new wave, funk, punk, and hip-hop emerged, further contributing to the
idea that American vernacular music is an umbrella-like term, covering many genres
and sub-genres. Progressive country, artists like Willie Nelson and
Townes Van Zandt led this movement with an unpolished vocal style, and as
exemplified in “Poncho And Lefty,”
the typical European-derived ballad form studied in prior chapters (pg. 412).
Similar to the evolution of disco, Van Zandt puts new twists on the old form,
as he addresses a character within the lyrics using a second-person writing
style and later in the third-person, the more typical lyrical writing style of
ballads (pg. 412). In addition to contemporary country, reggae was
considered to be the first style of the rock era to originate in the third
world (pg. 413). Similar to Rhythm and Blues in America, the style is
highly syncopated, sometimes using elements like fast tempos, brass
instrumentation, and emphasis of the backbeat. “Rock steady” was a slower
style of reggae, combining elements of burru drumming (pg. 414).
When speaking of “reggae,” it has become automatic to associate Bob Marley (of
The Wailers) with this musical movement. Marley’s writing and performing
style is laudable, serving as reggae’s international ambassador (pg.
416). His songs are rooted in the Rastafarian belief system, referencing
determination, rebellion, and faith (pg. 416). Salsa music also gained
credibility in the 1970’s. Salsa music, still popular today, became a
craze because of its highly intense, passionate qualities allowed for the
accompaniment of dance. An important factor in the emergence of salsa
music was the rise of independent Latin-oriented record companies (pg.
419).
Rap and hip-hop music is unlike
every other genre covered within our readings, receiving much public scrutiny
(pg. 437). Songs like “The Message”
by Grandmaster Flash and the Furious Five reflect on African musical and verbal
traditions, with an emphasis on rhythmic momentum and creativity and complex
tone colors and dense textures (pg. 438). The emergence of hip-hop in the
1970’s ultimately led to the rap movement. New techniques like
“scratching” records and using digital samples became the norm for hip-hop
music while making it extremely popular with the youth and incorporated new
styles, dances, as well as audiences. “The Message” portrays all of the
aforementioned elements of a rap/hip-hop record, presenting a very real vision
of life in urban culture. These elements are still prevalent in rap and hip-hop
music today.
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