Rock and roll

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This article is about the 1950s style of music. For the
general rock music genre, see rock music. For other uses,
see rock
and roll (disambiguation).

Rock and roll

Stylistic origins

Blues • gospel •
folk •
country •
electric
blues • jump
blues • Chicago
blues • swing •
boogie-woogie •
R&B •
traditional
pop

Cultural origins

1940s, United
States

Typical instruments

Electric
guitar, string bass or later
bass guitar, drums,
optional piano and saxophone(s), vocals

Mainstream popularity

One of the best selling music forms since the 1950s

Derivative forms

Rock • rockabilly •
pop

Other topics

Rock and
Roll Hall of Fame

Rock and roll (often written as rock & roll or rock 'n'
roll) is a genre of popular music that originated and evolved in the United
States during the late 1940s and early 1950s,[1][2]
primarily from a combination of the blues, country music, jazz[3]
and gospel music.[4]
Though elements of rock and roll can be heard in country records of the
1930s,[3]
and in blues records from the 1920s,[5]
rock and roll did not acquire its name until the 1950s.[6][7]
An early form of rock and roll was rockabilly,[8]
which combined country and jazz with influences from traditional Appalachian folk music
and gospel.[9]

The term "rock and roll" now has at least two different meanings, both in
common usage. The American
Heritage Dictionary[10]
and the Merriam-Webster
Dictionary[11]
both define rock and roll as synonymous with rock music. Encyclopaedia
Britannica, on the other hand, regards it as the music that originated
it in the mid-1950s and later evolved "into the more encompassing international
style known as rock music."[12]
For the purpose of differentiation, this article uses the latter definition,
while the broader musical genre is discussed in the rock music article.

In the earliest rock and roll styles of the late 1940s and early 1950s,
either the piano or saxophone was often the lead instrument, but these were
generally replaced or supplemented by guitar in the middle to late 1950s.[13]
The beat is essentially a boogie woogie blues rhythm
with an accentuated backbeat, the
latter almost always provided by a snare drum.[14]
Classic rock and roll is usually played with one or two electric guitars (one
lead, one rhythm), a string bass or (after the mid-1950s) an electric bass guitar, and a drum kit.[13]

Rock and roll began achieving wide popularity in the 1960s.[15]
The massive popularity and eventual worldwide view of rock and roll gave it a
widespread social impact. Bobby Gillespie writes
that "When Chuck Berry
sang 'Hail, hail, rock and roll, deliver me from the days of old,' that's
exactly what the music was doing. Chuck Berry started the global psychic
jailbreak that is rock'n'roll."[16]

Far beyond simply a musical style, rock and roll, as seen in movies and on
television, influenced lifestyles, fashion, attitudes, and language. It went on
to spawn various sub-genres, often without the initially characteristic
backbeat, that are now more commonly called simply "rock music" or "rock."

Contents

1 Origins of the
style

2 Early rock and
roll

2.1 Rockabilly

2.2 Doo wop

2.3 Cover
versions

3 Decline

4 British rock and
roll

5 Cultural impact

5.1 Race

5.2 Teen
culture

5.3 Dance
styles

6 See also

7 Notes

8 Further
reading

9 External
links

[edit]
Origins of the style

Main article: Origins of rock and
roll

The origins of rock and roll have been fiercely debated by commentators and
historians of music.[17]
There is general agreement that it arose in the southern United States of
America - the region which would produce most of the major early rock and roll
acts - through the meeting of the different musical traditions which had
developed from transatlantic African slavery and largely European immigration in
that region.[18]
The migration of many freed slaves and their descendants to major urban centers
like Memphis and north to New York City, Detroit, Chicago, Cleveland and Buffalo
meant that black and white residents were living in close proximity in larger
numbers than ever before, and as a result heard each other's music and even
began to emulate each other's fashions.[19][20]
Radio stations that made white and black forms of music available to both
groups, the development and spread of the gramophone record, and
musical styles such as jazz and
swing
which were taken up by both black and white musicians, aided this process of
"cultural collision."[21]

The immediate roots of rock and roll lay in the so-called "race music" and hillbilly
music (later called rhythm and blues and country
and western) of the 1940s and 1950s.[17]
Particularly significant influences were jazz, blues, boogie woogie, country, folk and
gospel music.[17]
Commentators differ in their views of which of these forms were most important
and the degree to which the new music was a re-branding of African American rhythm
and blues for a white market, or a new hybrid of black and white forms.[22][23][24]

In the 1930s jazz, and
particularly swing, both in urban based
dance bands and blues-influenced country swing, was among the first music to
present African American sounds for a predominately white audience.[23][25]
The 1940s saw the increased use of blaring horns (including saxophones), shouted
lyrics and boogie woogie beats in jazz based music. During and immediately after
World War II, with
shortages of fuel and limitations on audiences and available personnel, large jazz bands
were less economical and tended to be replaced by smaller combos, using guitars,
bass and drums.[17][26]
In the same period, particularly on the West
Coast and in the Midwest, the
development of jump blues,
with its guitar riffs, prominent beats and shouted lyrics, prefigured many later
developments.[17]
Similarly, country boogie and
Chicago electric blues
supplied many of the elements that would be seen as characteristic of rock and
roll.[17]

Rock and roll arrived at a time of considerable technological change, soon
after the development of the electric guitar, amplifier and microphone, and the 45 rpm record.[17]
There were also changes in the record industry, with the rise of independent
labels like Atlantic, Sun and
Chess servicing niche
audiences and a similar rise of radio stations that played their music.[17]
It was the realization that relatively affluent white teenagers were listening
to this music that led to the development of what was to be defined as rock and
roll as a distinct genre.[17]

The phrase "rocking and rolling" originally described the movement of a ship
on the ocean, but was used by the early twentieth century, both to describe a
spiritual fervor and as a sexual analogy. Various gospel, blues and swing
recordings used the phrase before it became used more frequently - but still
intermittently - in the mid to late 1940s, on recordings and in reviews of what
became known as "rhythm and blues" music aimed at a black audience.[27]
In 1951, Cleveland, Ohio, disc jockey Alan Freed began playing this
style of music for his mainly white radio audience, and popularised the term
"rock and roll" to describe it.

Because the development of rock and roll was an evolutionary process, no
single record can be identified as unambiguously "the first" rock and roll
record.[28]
In terms of its wide cultural impact across society in the US and elsewhere, Bill Haley's "Rock Around the
Clock", recorded in April 1954 but not a commercial success until the
following year, is generally recognised as an important milestone, but it was
preceded by recordings from earlier decades in which elements of rock and roll
can be clearly discerned.[29][30][28]

[edit]
Early rock and roll

[edit]
Rockabilly

Main article: Rockabilly

"Rockabilly" usually (but not exclusively) refers to the type of rock and
roll music which was played and recorded in the mid 1950s by white singers such
as Elvis Presley, Carl Perkins and Jerry Lee Lewis, who
drew mainly on the country roots of the music.[31]
Many other popular rock and roll singers of the time, such as Fats Domino and
Little Richard, came out of the black rhythm and blues tradition, making the
music attractive to white audiences, and are not usually classed as
"rockabilly".

In July 1954, Elvis Presley recorded the regional hit "That's All Right
(Mama)" at Sam Phillips' Sun
Studio in Memphis.[32]
Three months earlier, on April 12, 1954, Bill Haley &
His Comets recorded "Rock Around the Clock". Although only a minor hit when
first released, when used in the opening sequence of the movie Blackboard Jungle,
a year later, it really set the rock and roll boom in motion. The song became
one of the biggest hits in history, and frenzied teens flocked to see Haley and
the Comets perform it, causing riots in some cities. "Rock Around the Clock" was
a breakthrough for both the group and for all of rock and roll music. If
everything that came before laid the groundwork, "Rock Around the Clock"
introduced the music to a global audience.[32]

In 1956 the arrival of rockabilly was underlined by the success of songs like
"Folsom Prison
Blues" by Johnny
Cash, "Blue Suede
Shoes" by Perkins and "Heartbreak Hotel" by
Presley.[33]
For a few years it became the most commercially successful form of rock and
roll. Later rockabilly acts, particularly performing songwriters like Buddy Holly, would be a
major influence on British Invasion acts and particularly on the song writing of
The Beatles and through
them on the nature of later rock music.[34]

[edit]
Doo wop

Main article: Doo wop

Doo wop was one of the most popular forms of 1950s rock and roll, with an
emphasis on multi-part vocal harmonies and meaningless backing lyrics (from
which the genre later gained its name), which were usually supported with light
instrumentation.[35]
Its origins were in African American vocal groups of the 1930s and 40s, like the
Inkspots and the Mills Brothers, who had
enjoyed considerable commercial success with arrangements based on close
harmonies.[36]
They were followed by 1940s R&B vocal acts like The Orioles, The Ravens and The Clovers, who injected a
strong element of traditional gospel and, increasingly, the energy of Jump blues.[36]
By 1954, as rock and roll was beginning to emerge, a number of similar acts
began to cross over from the R&B charts to mainstream success, often with
added honking brass and saxophone, with The Crows, The Penguins, The El Dorados and The Turbans all scoring
major hits.[36]
Despite the subsequent explosion in records from doo wop acts in the later 50s,
many failed to chart or were one-hit wonders. Exceptions included The Platters, with songs
including "The Great
Pretender" (1955) and The Coasters with humorous
songs like "Yakety Yak"
(1958), both of which ranked among the most successful rock and roll acts of the
era.[36]
Towards the end of the decade there were increasing numbers of white,
particularly Italian American, singers taking up Doo Wop, creating all-white
groups like The Mystics
and Dion and the
Belmonts and racially integrated groups like The Dell Vikings and The Impalas.[36]
Doo wop would be a major influence on vocal surf music, soul and early
Merseybeat, including The Beatles.[36]

[edit]
Cover versions

Main article: Cover version

Many of the earliest white rock and roll hits were covers or partial
re-writes of earlier rhythm and blues or blues songs. Through the late 1940s and
early 1950s, R&B music had been gaining a
stronger beat and a wilder style, with artists such as Fats Domino and Johnny Otis speeding up the
tempos and increasing the backbeat to great
popularity on the juke
joint circuit.[37]
Before the efforts of Freed and others, black music was taboo on many
white-owned radio outlets, but artists and producers quickly recognized the
potential of rock and roll.[38]
Most of Presley's early hits were covers, like "That's All Right" (a
countrified arrangement of a blues number), its flip side "Blue Moon of
Kentucky", "Baby, Let's Play
House", "Lawdy Miss Clawdy" and
"Hound Dog".[39]

Rock'n'roller Little Richard performing
in 2007

Covers were customary in the music industry at the time; it was made
particularly easy by the compulsory license
provision of United States
copyright law (still in effect).[40]
One of the first successful rock and roll covers was Wynonie Harris's
transformation of Roy Brown's "Good Rocking Tonight" from a jump blues to a
showy rocker[41]
and the Louis Prima rocker "Oh Babe" in 1950, as well as Amos Milburn's cover of
what may have been the first white rock and roll record, Hardrock Gunter's
"Birmingham Bounce" in 1949.[42]
The most notable trend, however, was white pop covers of black R&B numbers.
The more familiar sound of these covers may have been more palatable to white
audiences, there may have been an element of prejudice, but labels aimed at the
white market also had much better distribution networks and were generally much
more profitable.[43]
Famously, Pat Boone
recorded sanitized versions of Little Richard songs. Later, as those songs
became popular, the original artists' recordings received radio play as
well.[44]

The cover versions were not necessarily straightforward imitations. For
example, Bill Haley's incompletely bowdlerized cover of "Shake, Rattle and Roll"
transformed Big Joe Turner's humorous and racy tale of adult love into an
energetic teen dance number,[45]
while Georgia Gibbs replaced Etta James's tough, sarcastic
vocal in "Roll With Me, Henry" (covered as "Dance With Me, Henry") with a
perkier vocal more appropriate for an audience unfamiliar with the song to which
James's song was an answer, Hank Ballard's "Work With
Me, Annie".[46]
Elvis' rock and roll version of "Hound Dog" was very different from the blues
shouter that Big Mama
Thornton had recorded.[47]

[edit]
Decline

Commentators have traditionally perceived a decline of rock and roll in the
late 1950s and early 1960s.[48][49]
By 1959, the death of Buddy
Holly, The Big
Bopper and Ritchie
Valens in a plane crash, the departure of Elvis for the army, the retirement
of Little Richard to become a preacher, prosecutions of Jerry Lee Lewis and Chuck Berry, and the
breaking of the payola scandal
(which implicated major figures, including Alan Freed, in bribery and corruption
in promoting individual acts or songs), gave a sense that the initial rock and
roll era had come to an end.[50]
There was also a process that has been described as the "feminisation" of rock
and roll, with the charts beginning to be dominated by love ballads, often aimed
at a female audience, and the rise of girl groups like The Shirelles and The Crystals.[51]
Some historians of music have pointed to important and innovative developments
that built on rock and roll in this period, including multitrack
recording, developed by Les
Paul, the electronic treatment of sound by such innovators as Joe Meek, and the Wall of Sound productions
of Phil Spector,
continued desegregation of the charts, the rise of surf music, garage rock and the Twist dance craze.[23]

[edit]
British rock and
roll

Main article: British rock and
roll

In the 1950s, Britain was well placed to receive American rock and roll music
and culture.[52]
It shared a common language, had been exposed to American culture through the
stationing of troops in the country, and shared many social developments,
including the emergence of distinct youth sub-cultures, which in Britain
included the Teddy Boys.[53]
Trad Jazz became popular, and
many of its musicians were influenced by related American styles, including
boogie woogie and the blues.[54]
The skiffle craze, led by Lonnie Donegan, utilised
amateurish versions of American folk songs and encouraged many of the subsequent
generation of rock and roll, folk, R&B and beat musicians to start
performing.[55]
At the same time British audiences were beginning to encounter American rock and
roll, initially through films including Blackboard Jungle
(1955) and Rock Around the
Clock (1955).[56]
Both films contained the Bill Haley &
His Comets hit "Rock Around the
Clock", which first entered the British charts in early 1955 - four months
before it reached the US pop charts - topped
the British charts later that year and again in 1956, and helped identify rock
and roll with teenage delinquency.[57]
American rock and roll acts such as Elvis Presley, Little Richard and Buddy Holly thereafter
became major forces in the British charts.

The initial response of the British music industry was to attempt to produce
copies of American records, recorded with session musicians and often fronted by
teen idols.[52]
More grassroots British rock and rollers soon began to appear, including Wee Willie Harris and
Tommy Steele.[52]
During this period American Rock and Roll remained dominant, however, in 1958
Britain produced its first "authentic" rock and roll song and star, when Cliff Richard reached
number 2 in the charts with "Move
It".[58]
At the same time, TV shows such as Six-Five Special
and Oh Boy! promoted
the careers of British rock and rollers like Marty Wilde and Adam Faith.[52]
Cliff Richard and his backing band The Shadows, were the most
successful home grown rock and roll based acts of the era.[59]
Other leading acts included Billy Fury, Joe Brown, and Johnny Kidd
& The Pirates, whose 1960 hit song "Shakin' All Over"
became a rock and roll standard.[52]

As interest in rock and roll was beginning to subside in America in the late
1950s and early 1960s, it was taken up by groups in major British urban centres
like Liverpool, Manchester, Birmingham, and London.[60]
About the same time, a British blues scene
developed, initially led by purist blues followers such as Alexis Korner and Cyril Davies who were
directly inspired by American musicians such as Robert
Johnson, Muddy
Waters and Howlin'
Wolf.[61]
Many groups moved towards the beat music of rock and roll
and rhythm and blues from skiffle, like the Quarrymen who became The
Beatles, producing a form of rock and roll revivalism that carried them and many
other groups to national success from about 1963 and to international success
from 1964, known in America as the British Invasion.[62]
Groups that followed The Beatles included the beat-influenced Freddie and the
Dreamers, Wayne
Fontana and the Mindbenders, Herman's Hermits and
the Dave Clark Five, and the
more blues-influenced The
Animals, The Kinks, The Rolling Stones,
The Who and The Yardbirds.[63]
As the blues became an increasingly significant influence, leading to the
creation of the blues-rock of groups like The Moody Blues, Small Faces, The Move, Traffic and Cream,
and developing into rock
music, the influence of early rock and roll began to subside.[62]

[edit]
Cultural impact

Main article: Social
effects of rock and roll

Far beyond simply a musical style, rock and roll influenced lifestyles,
fashion, attitudes, and language.[64]
In addition, rock and roll may have helped the cause of the civil rights
movement because both African American teens and white American teens enjoyed
the music.[65]
It also gave rise to many other styles, including psychedelic rock, progressive rock, glam rock, alternative rock, punk and heavy metal.

Many early rock and roll songs all dealt with issues of cars, school, dating,
and clothing. The rock and roll songs described events and conflicts that most
listeners could relate to from some point in their lives. Topics that had never
been covered in music, such as sex, began to be introduced in rock and roll
music. This new music tried to break boundaries and express the real emotions
that people were feeling, but didn’t talk about. An awakening in the young
American culture began to take place.[15]

[edit]
Race

Rock and roll appeared at a time when racial tensions in the United States
were entering a new phase, with the beginnings of the civil
rights movement for desegregation,
leading to the Supreme Court ruling that
abolished the policy of "separate but equal"
in 1954, but leaving a policy which would be extremely difficult to enforce in
parts of the United States.[66]
The combination of elements of white and black music in
rock and roll, inevitably provoked strong reactions within the US, with many
condemning its breaking down of barriers based on color.[65]

On the other side of the argument, rock and roll has been seen as both white
performers appropriating African American music, and as black performers
reaching a white audience.[67]
Many observers saw rock and roll as heralding the way for desegregation, in
creating a new form of music that encouraged racial cooperation and shared
experience.[68]

[edit]
Teen culture

Main article: Youth subculture

Rock and roll is often identified with the emergence of teen culture among
the first baby boomer
generation, who had both greater relative affluence, leisure and who adopted
rock and roll as part of a distinct sub-culture.[69]
This involved not just music, absorbed via radio, record buying, jukeboxes and
T.V. programmes like American
Bandstand, but it also extended to film, clothes, hair, cars and
motorbikes, and distinctive language. The contrast between parental and youth
culture exemplified by rock and roll was a recurring source of concern for older
generations, who worried about juvenile delinquency and social rebellion,
particularly as to a large extent rock and roll culture was shared by different
racial and social groups.[69]
In America, that concern was conveyed even in youth cultural artifacts like comic books. In "There's
No Love in Rock and Roll" from True Life Romance (1956), a defiant
teen dates a rock and roll-loving boy but drops him for one who likes
traditional adult music—to her parents' relief.[70]
In Britain, where post-war prosperity was more limited, rock and roll culture
became attached pre-existing to the Teddy Boy movement, largely
working class in origins, and eventually to the longer lasting rockers.[53]
Rock and roll has been seen as reorientating popular music towards a teen
market, often celebrating teen fashions, as in Carl Perkins' "Blue Suede Shoes"
(1956), or Dion and
the Belmonts "Teenager in Love"
(1960).[71]

[edit]
Dance styles

From its early-1950s inception through the early 1960s, rock and roll music
spawned new dance crazes.[72]
Teenagers found the irregular rhythm of the backbeat especially suited to
reviving the jitterbug
dancing of the big-band era. "Sock hops," gym dances, and
home basement dance parties became the rage, and American teens watched Dick Clark's American
Bandstand to keep up on the latest dance and fashion styles.[73]
From the mid-1960s on, as "rock and roll" yielded gradually to "rock," later
dance genres followed, starting with the twist, and leading up to
funk, disco, house and techno.

[edit]
See also

Rock and roll
portal

20th century
music

List of rock
genres

List
of rock and roll albums

List of
deaths in rock and roll

Music

Rockabilly
Hall of Fame

The Rock
and Roll Hall of Fame

[edit]
Notes

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^ "The
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^ Dawson,
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^ Eric
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^ P.
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^ a
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^ Gillespie, Bobby (January 24, 2010). "Chuck Berry: hail. hail, rock'n'roll". The Guardian
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^ a
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^
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^
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^ a
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^
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^
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^
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^ a
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^ Ennis,
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^ C.
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^ R.
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^ G. C.
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^ R.
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^ D.
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consumption (Wiley-Blackwell, 2001), p. 162.

^ D.
Hatch and S. Millward, From blues to rock: an analytical history of pop
music (Manchester: Manchester University Press ND, 1987), p. 110.

^ M.
Campbell, Popular Music in America: And the Beat Goes on: Popular Music in
America (Publisher Cengage Learning, 3rd edn., 2008), p. 172.

^
M. Campbell, ed., Popular Music in America: And the Beat Goes on
(Cengage Learning, 3rd edn., 2008), p. 99.

^
R.Dale, Education and the State: Politics, patriarchy and practice
(Taylor & Francis, 1981), p. 106.

^ a
b
c
d
e
R. Unterberger, "British Rock & Roll Before the Beatles", All Music
Guides, http://www.allmusic.com/explore/essay/ retrieved
24/06/09.

^ a
b
D. O'Sullivan, The Youth Culture London: Taylor & Francis, 1974),
pp. 38-9.

^ J. R.
Covach and G. MacDonald Boone, Understanding Rock: Essays in Musical
Analysis (Oxford: Oxford University Press, 1997), p. 60.

^
M. Brocken, The British folk revival, 1944-2002 (Aldershot: Ashgate,
2003), pp. 69-80.

^ V.
Porter, British Cinema of the 1950s: The Decline of Deference (Oxford:
Oxford University Press, 2007), p. 192.

^ T.
Gracyk, I Wanna Be Me: Rock Music and the Politics of Identity (Temple
University Press, 2001), pp. 117-18.

^ D.
Hatch, S. Millward, From Blues to Rock: an Analytical History of Pop
Music (Manchester: Manchester University Press, 1987), p. 78.

^ A. J.
Millard, The electric guitar: a history of an American icon (JHU Press,
2004), p. 150.

^
Mersey Beat - the founders' story.

^
V. Bogdanov, C. Woodstra, S. T. Erlewine, eds, All Music Guide to the
Blues: The Definitive Guide to the Blues (Backbeat, 3rd edn., 2003), p.
700.

^ a
b
"British Invasion", All music guides, http://www.allmusic.com/explore/style/d379 retrieved
10/08/09.

^
Encyclopedia Britannica Article

^ G. C.
Altschuler, All shook up: how rock 'n' roll changed America (Oxford:
Oxford University Press US, 2003), p. 121.

^ a
b
G. C. Altschuler, All shook up: how rock 'n' roll changed America
(Oxford: Oxford University Press US, 2003), p. 35.

^ H.
Zinn, A people's history of the United States: 1492-present (Pearson
Education, 3rd edn., 2003), p. 450.

^ M.
Fisher, Something in the air: radio, rock, and the revolution that shaped a
generation (Marc Fisher, 2007), p. 53.

^ M. T.
Bertrand, Race, rock, and Elvis (University of Illinois Press, 2000),
pp. 95-6.

^ a
b
M. Coleman, L. H. Ganong, K. Warzinik, Family life in twentieth-century
America (Greenwood, 2007), pp. 216-17.

^ Nolan,
Michelle. Love on the Racks (McFarland, 2008) p.150

^ Lisa
A. Lewis, The Adoring audience: fan culture and popular media
(Routledge, 1992), p. 98.

^ sixtiescity.com-Sixties Dance and Dance Crazes

^ R.
Aquila, That old-time rock & roll: a chronicle of an era, 1954-1963
(University of Illinois Press, 2000), p. 10.

[edit]
Further reading

The Fifties by David Halberstam (1996), Random House (ISBN
0-517-15607-5)

The Rolling Stone Illustrated History of Rock and Roll : The
Definitive History of the Most Important Artists and Their Music by
editors James Henke, Holly George-Warren, Anthony Decurtis, Jim Miller (1992),
Random House (ISBN
0-679-73728-6)

The Rolling Stone Encyclopedia of Rock & Roll by Holly
George-Warren, Patricia Romanowski, Jon Pareles (2001), Fireside Press (ISBN
0-7432-0120-5)

Rock and Roll: A Social History, by Paul Friedlander (1996),
Westview Press (ISBN
0-8133-2725-3)

The Sound of the City: the Rise of Rock and Roll, by Charlie
Gillett (1970), E.P. Dutton

"The Rock Window: A Way of Understanding Rock Music" by Paul Friedlander,
in Tracking: Popular Music Studies, Volume I, number 1,
Spring, 1988

[edit]
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