Without Slavery There Would Have Been No Rock and Roll

             Most any rational person in the modern world would concede that slavery is a bad thing.  Slavery has been in existence since the beginning of human history and may be the result of many different things.  For today's Debate Topic we will be looking only from the standpoint of slaves taken from Africa to the Western Hemisphere for the economic development of the "New World". The enslavement of no other cultures will be considered since the African slave trade is the one most often considered when discussing slavery in the Americas.

             We will also add greater specificity to the topic by limiting the discussion to Black slavery in the United States.  The Spanish colonists brought the first slaves to the area that is now the United States in 1581, where they were settled in Florida.  Slaves were later introduced to the English colonies in about 1620.  As time went on and the practice expanded, slavery became an integral part of the economic structure of colonial America and the later United States.  African cultures and European cultures began to mesh.  This brings us to the question for today:

If there had been no African slave trade to the Western Hemisphere, would there have been Rock and Roll?

          I would argue that there would have not been rock and roll if there had been no African slaves in the Americas.  Not only would there have not been rock and roll, there would also have been no jazz or any of the types of music related to these forms.  The topic is much too vast to be examined within the parameters of this blog article so I'll just make a very encapsulated version of the music history.

          The music of the slaves was influenced by the traditional European religious music and ballads and other traditional styles.  Slave music was expressed in the form of spirituals, work music, and story telling songs in an oral tradition.  The music was often infused with deep emotional expressions of sadness or joyfulness, and typically combined with syncopated and contrapuntal rhythms. 

          The white musicians and composers in those days would hear this Black music and begin to incorporate it into their own music.  Minstrel shows became a highly popular form of entertainment, with whites in black make-up performing black influenced music. Several black performers also became popular entertainers and composers in these minstrel shows.  The minstrel shows were often racially derogatory, but they served to popularize the black influenced music.  Songwriters like Stephen Foster began turning to the black styles and turned the music publishing industry into a huge business.  

            In later years, composers like Scott Joplin and artists like Al Jolson began shaping and popularizing the emerging sounds of jazz.  Popular music became dominated by various forms of the new jazz music and soon jazz influenced music was everywhere.  As the recording industry flourished new styles were continually sought out.  Various forms of blues, country and folk began to converge and merge into new styles that eventually culminated in Rock and Roll in the 50s.

            Thus we can see a direct descendancy from the early music of the slaves, to the popular music forms of the music industry, to ragtime and jazz, to rhythm and blues, and finally to Rock and Roll.  However, one might argue that if there had been no population of African descent in the Americas, then perhaps the rise of the Industrial Age and the Age of Machines might have birthed a music similar to Rock and Roll.  The sounds of industry and machines have a rhythm that can be suggestive of musical patterns and these sounds combined with the technology of sound amplification could have eventually inspired music similar to punk, metal, synth-pop, or other similar musical styles.  It's possible.

            Who really knows?  Do you think a style similar to Rock would have developed without the influence of black music--especially the plaintive music of those in bondage?   If there had been no European interference in the development of Africa, what do you think African musical styles would sound like today?  If Blacks had come to the New World through immigration like different European groups and not by force, how do you think they would have shaped the music of the United States?


A special note:   Next Monday May 24 I am going to be doing a jazz list called  "Nine Nice Jazz Favorites".  It's kind of short notice I know, but I also know there is probably limited interest in this list.  If you would like to join me in this one I will put a Linky list at the top of my page tomorrow so you can sign up.  For the next few Mondays I will be doing additional  lists on Classical, Country, Christian, Latin, and maybe more.   I'd love to have as many join me in these as can.  Watch this site for more information.


               

Gonna Go Back to the Sugar Shack

In today's post I have added links to youtube if you are interested in hearing some of the music that I am talking about.    

     In a post from last week I described how as I was growing up my musical taste was primarily developed according to what my parents had in their record collection.   I don't recall listening to the radio much, but I listened to my parents records on their hi-fi often.  There was always a wide variety of music to listen to so my musical taste became eclectic and I was pretty open-minded to hearing new music sounds.

       In elementary school I played in the school orchestra and took private violin lessons.  Also music appreciation periods in school introduced to classical and other forms of music.  I was becoming fairly well musically educated.  However, I was not really too aware of the rock and roll scene.  All of that changed in 1963 when I entered junior high school in San Diego.

       Almost a teenager entering a school mostly populated by those who were already teens was jolting.  Childhood was officially over.  I felt out of place.  Now the day consisted of several classrooms and several teachers instead of the security of one classroom with a teacher who knew you.  Now there was phys ed where we had to change into gym clothes and take communal showers, language class where I was going to learn Spanish, and school orchestra where I was no longer the best violinist in the lead chair.  It was like starting school all over again.

         One of the new experiences was a greater freedom at lunch.  There was a Snack Shack where we could buy tacos and hamburgers.  As we sat outside eating our lunches, music was being played over the loudspeakers.  Day after day I recall hearing one song, the big hit of the fall of 1963, and that song was      Sugar Shack by Jimmy Gilmer.  I don't remember hearing any other song.  For all I know "Sugar Shack" was the only song they ever played.  My musical sensibility was resisting the pop sounds I was hearing, but at the same time I couldn't help but kind of like it as well--just a little bit.  The teen chart hit sound was starting to worm its way inside of me.

          Less than two months after I started junior high my family moved to Indiana.  The transition was major, but occurring in the middle of the school year like it did it wasn't really that bad.  No more orchestra, but there was a sort of general music class that all 7th graders were required to be in.  But there was still the popular music that was starting to intrigue me.  And then came the British invasion.  I became hooked.

            I started buying 45 RPM records--those were smaller records with one song on each side.  They were less expensive than albums.  Then I started finding albums that were intriguing to a 13 year old male.  Early on I bought a knock off version of James Bond themes.  I also bought a series of novelty records by Frankie Stein  and his Ghouls.  It was instrumental beach dance music.  The one pictured here was Ghoul Music (1964) by Frankie Stein and his Ghouls.  Much of the music sounded alike and eventually I realized a lot of the songs were repeated from album to album and just had different names.  I still loved them at the time. 

Frankie Stein & his Ghouls Dreaming and Screaming

         In 1965 I graduated to a different type of more sophisticated instrumental music-- Herb Alpert and  the Tijuana Brass.   With an album cover that intrigued every adolescent boy, Whipped Cream provided hours of listening enjoyment for me.  I built a collection of Tijuana Brass.

Whipped Cream by Herb Alpert & the Tijuana Brass

       At this same time I was beginning to take note of my sister's Beatles records.  Those are the records she was collecting.  I had already began to appreciate some of the other English groups, but my sister owned the Beatles records.  Then I discovered one that I could appreciate.   The Chipmunks had been popular since the late 50s, and I had enjoyed their novelty songs.  Now as they performed the Beatles hits, the music of the Fab Four was mine too.  I could enjoy the harmonies Chipmunk style.

Alvin & the Chipmunks "All My Lovin'"

          From here something happens to my memory.  Music is everywhere and I am obsessed with it.  Are the dates on Google and other internet sources wrong?  I remember the time much differently than what the internet sources cite.  Here is what I remember.  I recall one very bizarre night in what I think is early 1966.  I am with my family traveling to Rochester, NY where we are to perform in the Shrine Circus.  It is the early hours of the morning and there is a great deal of snow.  My father has the radio tuned to a station that is playing some very interesting music.  First I hear "All My Loving" by the Chipmunks.  Then I hear a bright and peppy vocal quartet called The Sugar Shoppe singing a vaudeville sounding song called "Poor Poppa".   Then finally a hauntingly beautiful version of the Beatles song "A Hard Day's Night" performed by a sweet vocal duo call Tee and Cara.  I swear it was all there that early morning, lost and circling the snowed in city of Rochester, New York in the mid-winter of 1966. 

The Sugar Shoppe Poor Papa

There was so much music then.  Everywhere.  It was on the radio in the car, on the school bus, and at home.  My mind was filling up with great songs and new sounds.  I began reading about music and watching it on television.  It was a long time ago and I seem to remember it all so well, but then as I think about it I begin to wonder:  How well do I really remember it all?  I should have written it all down, but I never thought I'd be trying to remember it all later.  I'll have to ask my mother and see if she can remember.

 Tee & Cara Hard Day's Night

One thing I do remember for sure is that in December of 1965 everyone was waiting for the new Beatles album.  Rumors were going around that this would be a very different album.  I don't recall the exact date, but I remember hearing some songs, perhaps the entire album, debuted on WLS radio in Chicago.  Every night thereafter, when WLS would play the most requested song for the night, it would be "Michele".  I had to have this album.  I got it for Christmas.  From that point on my sister was not particularly interested in the Beatles, but I got every Beatles release after the release of Rubber Soul.  I began building a collection of records that was only limited by how much money I had to spend and how many albums I would get for Christmas or birthdays, which was limited.   In other words, the collection built slowly, but steadily.  I only showed symptoms when I was getting those early novelty albums and 45 RPM records.  With Rubber Soul I became fully infected with musical fever.

"I've Just Seen a Face" by the Beatles

Fifteen of the Ones I Left Behind

          How can I only pick fifteen albums?  For that matter, how can I pick 50 or 100?  In yesterday's post, FIFTEEN FANTASY ISLAND FAVORITES, I chose fifteen of the albums that I would want if they were the only ones I could ever listen to for the rest of my life.  It's an absurd premise as I would have to pick across genres and there are so many to choose from. 

              Continuing from the original plan where classical music is not being included, here are fifteen more in my original picks of albums.  These I decided to eliminate from my top thirty because my first fifteen just seemed more important to me.  But this list can change from week to week or even day to day.  Listening taste can be fickle and the more I think about the question the more the list gets changed.  For what it's worth, here are fifteen that are next in line for the time being:

Today! (1965) by the Beach Boys--- One side is a collection of those bright sounding beach music hits that kept the "Boys" on the charts so often in the 1960s.  The flip side of the record (of course it's all on one side of the CD) is the lush beautiful romantic ballads the Brian Wilson does so well--those are my favorites.  Harmony vocals that are some of the best to be found.  This album carried me through adolescence and sounds even better now.

Creedence Clearwater Revival (1968) by Creedence Clearwater Revival.

It was the beginning of my senior year in high school in Maryville, TN. On a Sunday evening sometime in the Fall of 1968, I was listening to an FM station that was identified as coming from St. Louis. Fade in the incredible CCR version of "Suzy Q", one of the finest rock and roll recordings of all time, and I was blown away by eight and a half minutes of something quite different to the music I had been listening to previously. I soon owned this great album of roots rock psychedelic soul music. This album had a big influence on much of the music I would begin listening to.

Seals and Crofts (1970) by Seals and Crofts--This was their first album before they became slickly commercial.  Here they harken to traditional roots with some fun rock influence.  The songs are spiritual and mystical as they sing about their Bahai faith.  The vocals are absolutely beautiful and the instrumentation is fine.

Watertown (1970) by Frank Sinatra -- Not one of his better known albums, Watertown is a concept album--it could be the soundtrack for a movie.  The story is of a man whose wife leaves him and his children.  This is not the classic Sinatra with whom we are all familiar, but the songs are excellent and well sung.  I always enjoyed listening to this album when I was in my twenties and, though I do not have a copy at the present, I still recall the songs and long to hear them again.

Deja Vu (1970)  by Crosby, Stills, Nash, and Young  --- I really liked the first Crosby, Stills, and Nash album, but the addition of Neil Young gave the group a more varied sound.  There are such great songs on this album and the album captures my college years of the early 70s so well.   Young's "Country Girl" suite is some of his best work in my opinion.

Blind Faith (1969)   By Blind Faith --- I was already a Cream fan when this new "supergroup" began to get hyped.  They were a great group.  Classic rock and roll with the soulful Stevie Winwood on vocals.  Eric Clapton's guitar work weaves in and out of the music with the tribal drumstyle of Ginger Baker laying down the beat.  The songs are all classics with "Presence of the Lord" being my personal favorite.

                     Thank Christ for the Bomb (1970)  by the Groundhogs-- How do I describe this album?   Some articles say they are blues-rock and I guess they are kind of like Cream.  This album has an almost acoustic feel to much of it.  I might call it acoustic metal or progressive, but I'm not that good at labeling music either.  All I know is the songs are catchy, the vocals are very British accented, and the instrumental jams are quite good.  It's a good rock and roll album and that's enough said I guess.

       Autumn (1968)  by Don Ellis Orchestra-- This is highly arranged big band music filled with intricate rhythms and complex instrumentation.  However it all comes together flawlessly in very listenable musical pieces that range from classical sounding, smoky sultry film noir, rock, and even a tad of country.   Simply amazing when I first heard this album and it remains amazing.

  

  Time Circle(1968-1972) by Spirit---One of the best rock bands from the California psychedelic period, Spirit plays tightly arranged tiny musical epics.  They don't get into the long drawn out jams and I always wish the songs were longer.  They are sometimes jazzy and at times very commercial.  Well crafted songs that are performed by expert musicians in well-produced recordings.

   Eat a Peach (1972)  by the Allman Brothers-- The Allmans were definitely the main soundtrack of the early 70s in Tennessee.  Everybody was playing the albums and the local bands all played the music.  The Allmans play some nice country tinged rock songs and extended rock blues-rock jams with plenty of dual guitar action. 

   Future Games (1971)  Fleetwood Mac --- This is Mac before they became the commercial hit machine with Buckingham and Nicks.  This incarnation of Fleetwood Mac has Danny Kirwan and Bob Welch.  The songs are excellent and the sound of the band is often sad and ethereal, but extraordinarily beautiful.  I love this album.

     The Ultimate Prophecy (1970)  J.D. Blackfoot -- On the original vinyl, one side was a collection of well executed heavy rock songs.  The other side had the spiritual psychedelic tour de force called "The Ultimate Prophecy".  I guess you would call it a rock and roll song cycle in which each separate song blends into the other and the entire cycle tells a story.  It's a pretty cool rock and roll epic.

Crowded House (1986)  Crowded House--- Really good well crafted catchy rock songs is about all I can say.   "Don't Dream It's Over" is on of my favorite songs.

Time Out (1959)  Dave Brubeck Quartet--- I was familiar with the famous song "Take Five" for many years, but I did not really hear the album until the 90s.  Piano, sax, bass, and drums in classically cool jazz arrangements.  It's just totally cool and laid back.

Blinking Lights and other revelations (2005)  The Eels-- Terrific collection of highly listenable rock and pop sounds. There's like 33 songs on two discs.  They are short songs, but they are very good.  This is a very pleasing album.

       I could keep on going and naming many more albums, but that is enough for now.  However next Monday I will be naming Nine Nice Jazz Favorites.   If you'd like to join me let me know--I'll even start another Linky list if there is enough interest.

      And by the way, the participation in the FIFTEEN FANTASY ISLAND FAVORITES was fantastic.  Such an amazing diversity of musical selections in such fine presentation.  If you didn't check them all out, I encourage you to do so.  We had a really great time.  Thanks to all who joined us.