- 19/6/2025
Para muchos, el rock and roll nació en 1956, el año en que Elvis Presley hizo su debut. De hecho, su evolución comenzó en el sur profundo de Estados Unidos más de 50 años antes. Una película de archivo única de intérpretes legendarios rastrea el desarrollo y la fertilización cruzada de las cuatro formas musicales que produjeron el rock and roll: blues, country, gospel y jazz.
Walk on By cuenta la historia de muchos de los mayores talentos que esta música ha presenciado: compositores e intérpretes que han cambiado el curso de la historia con una canción. También aparecen los "chicos de la trastienda" - los arreglistas, pluggers, músicos de sesión, editores, ingenieros de grabación y productores - que hacen que la música sea tan especial.
Pero Walk on By presenta algo más que la música. A través de las historias de las canciones y sus creadores, narra la historia social del mundo de diversos músicos a ambos lados del Atlántico. A lo largo de las canciones más influyentes de los últimos 100 años, desde la edad de oro de la canción en las décadas de 1920 y 1930, hasta el blues y el jazz, los crooners, el rock and roll, la escucha fácil y mucho más.
Contada a través de innumerables clips de archivo, numerosas entrevistas a celebridades y un narrador, la serie de ocho episodios de la BBC cuenta la historia de cien años de canciones populares.
Comenzando con la tesis del desarrollo de la canción popular a través de la unión de las tradiciones musicales de los judíos europeos y los negros africanos en los Estados Unidos a principios del siglo 20, la serie continúa cubriendo los cantantes de la era del jazz, el nacimiento del rock'n'roll..
Nombre original:
Walk on By: The Story of Popular Song
Sigue mi pagina de Face: https://www.facebook.com/VicsionSpear/
#documentales
#españollatino
#historia
#relatos
Walk on By cuenta la historia de muchos de los mayores talentos que esta música ha presenciado: compositores e intérpretes que han cambiado el curso de la historia con una canción. También aparecen los "chicos de la trastienda" - los arreglistas, pluggers, músicos de sesión, editores, ingenieros de grabación y productores - que hacen que la música sea tan especial.
Pero Walk on By presenta algo más que la música. A través de las historias de las canciones y sus creadores, narra la historia social del mundo de diversos músicos a ambos lados del Atlántico. A lo largo de las canciones más influyentes de los últimos 100 años, desde la edad de oro de la canción en las décadas de 1920 y 1930, hasta el blues y el jazz, los crooners, el rock and roll, la escucha fácil y mucho más.
Contada a través de innumerables clips de archivo, numerosas entrevistas a celebridades y un narrador, la serie de ocho episodios de la BBC cuenta la historia de cien años de canciones populares.
Comenzando con la tesis del desarrollo de la canción popular a través de la unión de las tradiciones musicales de los judíos europeos y los negros africanos en los Estados Unidos a principios del siglo 20, la serie continúa cubriendo los cantantes de la era del jazz, el nacimiento del rock'n'roll..
Nombre original:
Walk on By: The Story of Popular Song
Sigue mi pagina de Face: https://www.facebook.com/VicsionSpear/
#documentales
#españollatino
#historia
#relatos
Categoría
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MúsicaTranscripción
00:00Música
00:30In January 1956, Elvis Presley appeared on national television for the very first time,
00:52and within a few months, America was obsessed with rock and roll.
00:55Teenagers were entranced, but their parents were appalled, not only by Presley's music,
01:04but also by his performance, which they saw as lewd and suggestive.
01:11He was asked by one of the interviewers,
01:13when are you going to get married and have kids settle down like Pat Boone?
01:17Because we were nip and tucking all the popularity polls then.
01:20And he sort of leered at the camera, he says,
01:22why should I buy a cow when I can get milk through the fence?
01:25Well, that's the shockwaves around the world.
01:29See, parents say, see, that's why you can't buy that boy's record.
01:36Most adults assume that Presley was a flash in the pan,
01:39but rock and roll really was here to stay.
01:42Elvis would go on to transform popular music,
01:45becoming one of the century's most celebrated pop icons.
01:48To me, Elvis changed the world
01:51because he came and on a silver salver
01:55gave the world the gift of black music.
01:59Presley's gift was in fact even greater.
02:01What he really offered was an intoxicating blend of two forms of music,
02:05one black but the other white,
02:07which had flourished for more than 50 years
02:08in the part of America dearest to his heart.
02:10Elvis Presley came from the south,
02:29that vast stretch of America
02:31which starts in the mountains of Kentucky and Virginia,
02:33embraces the southern states
02:36that line the banks of the mighty Mississippi River
02:39and ends more than a thousand miles away
02:43on the western border of Texas.
02:45The cross-pollination of black and white popular music
02:54took place throughout the United States,
02:56but nowhere was it more potent than in the south.
03:01There, the great ethnic diversity ensured
03:03that the musical melting pot was especially rich.
03:09It was like in Kentucky,
03:11they have a wonderful type of food
03:14that they cook called burgoo.
03:16And burgoo is a great big stew
03:19in which you put in whatever you've got handy.
03:24The music in the south was a burgoo.
03:27It was a little of everything.
03:37One of the principal ingredients
03:39in the south's musical stew
03:40from which rock and roll would one day emerge
03:42was the down-home music-making practiced
03:45by the so-called hillbillies
03:46who lived in the rural areas
03:48of Kentucky, Virginia and Tennessee.
03:49For them, playing and singing was part of everyday life.
04:08There wasn't nothing that the mommy or daddy
04:14either one couldn't pick up and play, you know.
04:17They could play us all.
04:18They could play a washboard.
04:20I mean, they used a doggone tub as a drum.
04:23So there wasn't nothing they couldn't do,
04:25play like that.
04:27As well as fiddle tunes brought over
04:29from Britain and Ireland,
04:30the mountain folk had a rich legacy of songs to draw on.
04:33And if they couldn't think of an old song
04:35that said what they wanted to say,
04:37they'd make up a new one that did.
04:38In the hills, if anything happened,
04:44mommy would write a song about it.
04:46And then she would learn it to me
04:48and I'd sing it as I was rocking the babies to sleep.
04:52I'd get out on the front porch in the swing
04:54and I'd sing to the top of my voice
04:57and daddy would come out on the porch and say,
04:59Lordy, people all over this holler can hear you.
05:02And I'd say, daddy, there ain't that many people up here.
05:05So what difference does it make?
05:08There's a woman using my instrument to watch her.
05:12Well, can you imagine that?
05:14Well, what you gonna play?
05:16Tomorrow.
05:17Tomorrow.
05:29While white southerners like Loretta Lynn's family
05:32were refining their musical style,
05:34the rural black population of states like Georgia
05:36and Mississippi were doing the same.
05:38Music was one of the few diversions available
05:58to those working the cotton fields.
06:00Out of the plantations came the work song and field hollers
06:03and out of the European hymn evolved the spiritual.
06:11The religious and the secular gradually came together
06:14to form the type of music known today as the blues.
06:17You know, I ground up my suitcase
06:21Tuck out down the road
06:23When I got there
06:25She lay on the cooling board
06:28I ground up my suitcase
06:30I said I tuck out down the road
06:33I said when I got there
06:39She lay on the cooling board
06:42Before the 1960s when this performance was filmed
06:58songs like Death Letter Blues
07:00were rarely heard outside the Mississippi Delta
07:02where Sun House and many other bluesmen grew up
07:05Yet they would still manage to exert a strong influence
07:08on mainstream pop
07:09The interaction between blues and popular music
07:20began in the very early years of the century
07:23One summer day
07:25a classically trained band leader
07:27called W.C. Handy
07:28was waiting for a train
07:29in a small delta town
07:30and a man he later described
07:32as a lean, loose-jointed negro
07:34sat down beside him
07:36and started to play the blues
07:38I believe I'll buy me
07:41a dream yard of my own
07:43Handy thought it was the strangest music
07:47he had ever heard
07:48But then he heard it again
07:50a few months later
07:51in a dance hall
07:52where his band had been booked to appear
07:53This time he took more notice
07:56During an intermission
07:58the sponsor of the dance
08:00asked if Handy would mind
08:02if a local string trio
08:05of black musicians
08:06played a few numbers
08:09some of their native music
08:11as Handy described it
08:14and Handy said
08:15sure, we don't mind at all
08:17They played blues
08:24or something very much like it
08:26and the crowd went wild
08:28They showered this band
08:30with more money in tips
08:31than Handy's band
08:33of trained musicians
08:34were paid for the entire evening
08:36and Handy wrote in his autobiography
08:41many years later
08:42Right there I saw the beauty
08:44of primitive music
08:45Impressed by what he'd heard
08:54Handy decided to write
08:56and some blues material of his own
08:58His attempts at writing popular blues
09:03produced two important songs
09:04Memphis blues published in 1912
09:07and St. Louis blues
09:09which appeared two years later
09:10They were the first blues songs
09:14to achieve wide popularity
09:16St. Louis blues would become
09:20the most recorded song
09:21in American history
09:22and represents a clear turning point
09:24in the whole development
09:25of popular song
09:26That is the song that brought blues
09:52into the American lexicon
09:54There were other songs with blues
09:57in the title
09:58but that's the one people heard
09:59That was the hit
10:01It was also the first instance
10:05of that standard blues
10:06where you see the repetition
10:08I hate to see the evening sun go down
10:10I hate to see the evening sun go down
10:11because then my man's done left his town
10:14The two repeated stanzas
10:16and then the third rhyming stanza
10:17that is the blues form
10:20as we know it in this country
10:21During the 1920s
10:26the blues crossed over
10:27into popular music
10:28The jazz-flavored singing
10:31that became known as classic blues
10:32was dominated by women performers
10:35usually from a vaudeville background
10:37The greatest of them all
10:39was Bessie Smith
10:41There's something about her
10:50that's completely magic
10:52She's called the empress of the blues
10:55for every good reason
10:56She was majestic
10:58She had an extraordinary innate ability
11:03to ornament
11:04to break notes into four bits
11:07if necessary
11:08At the same time
11:10she had tremendous taste
11:11when it came to leaving spaces
11:13or making a very simple statement
11:14In the South, of course
11:22they thought of her as one of them
11:23when she sang about
11:25the way men treated her
11:26women
11:27completely
11:28went with her
11:30she used to shout
11:31hallelujah
11:32and tell them like it is
11:33Oh, now they would not
11:38go so far from me
11:43As sales of the newly invented
11:57phonograph took off
11:59during the early 1920s
12:00Bessie Smith became
12:01an important recording artist
12:03Her 1923 recording
12:08downhearted blues
12:09sold a million copies
12:11Her success led record companies
12:19to scout for more talent
12:20The music they brought back
12:24from the South
12:24was much rower country blues
12:26Almost certainly
12:27the very same music
12:28which W.C. Handy
12:29had stumbled across
12:30years before
12:31Many record buyers
12:34were drawn to this
12:35from the late 20s onwards
12:36Among them
12:38a shy country boy
12:39who would one day
12:40be known as B.B. King
12:41My mother was very religious
12:43so she didn't have
12:44records in the house
12:45but I had a great aunt
12:47my mother's aunt
12:49that was sort of like
12:51teenagers all the day
12:52and she bought records
12:53and when I was a good boy
12:55she'd let me play
12:56a Victrola
12:57you'd wind it up
12:58and put one of those
12:59big thick
13:0078 records on it
13:02and play it
13:03and play it
13:03She had
13:05kind of a variety
13:07but the two
13:08that I picked
13:09mostly were
13:11Lonnie Johnson
13:12and Blind Lemon Jefferson
13:15A certain way that they sing
13:34and the way the sound
13:37of the guitars were
13:39it sounded like a sword
13:40that went straight through me
13:42You see
13:53it's just a matter
13:54of how you play it
13:55does it have the intensity
13:57does it
13:58make any sense
13:59to anybody else
14:00does it get to you
14:01The blues is a very
14:03very pointed
14:04very sharp stick
14:06you know
14:06in the eye
14:07I mean when you
14:09stop to think about
14:10the blues
14:10the blues ain't got
14:11the three chords
14:12you know what I mean
14:14the whole thing
14:15the whole song
14:16ain't got the three chords
14:17so
14:18simplicity is of course
14:20the key to most things
14:22you know
14:22you find some very simple
14:23you know
14:24people can identify
14:25with it
14:26they can appreciate it
14:27if you're a musician
14:28it's a fascinating form
14:30of music to play
14:31you're inside those
14:33parameters
14:34it's
14:35there's
14:35you realise
14:38you're still
14:39learning every day
14:40you know
14:40it's a beautifully
14:56flexible music
14:58for such a limited form
14:59yeah
15:01the most successful
15:07black performer
15:07to emerge from the south
15:08in the years
15:09between the wars
15:10was not strictly
15:11a blues singer
15:11but a self-styled
15:13songster from Louisiana
15:15whose real name
15:16was Huddy Ledbetter
15:17much better known
15:18as Ledbelly
15:19Ledbelly had a great
15:33influence on me
15:34I don't think
15:35he was a blues singer
15:36I think he was more
15:37of a folk singer
15:38and it was very
15:39you know
15:40it was broad
15:40ranging from blues
15:42jazz songs
15:43show tunes
15:45he had a very broad
15:47repertoire
15:48Ledbelly
15:49Good Night Irene
15:51Good Night Irene
15:56Good Night Irene
15:57which was Ledbelly's
15:58most famous song
15:59was actually written
16:01back in the 19th century
16:03by a black composer
16:06named Gussie Davis
16:07and published in sheet music
16:09Ledbelly didn't get it
16:11from the sheet music
16:12he learned it
16:13probably indirectly
16:14from one of the touring
16:16vaudeville groups
16:17that came through Texas
16:18but the point is
16:20he didn't really care
16:21about where the song
16:22came from
16:22it was a good song
16:24it was a good song
16:25Ledbelly made a name for himself
16:47as a concert performer
16:49in the late 1930s
16:50but neither he nor any other black southerner
16:53had the same level of success
16:54their white counterparts enjoyed
16:56around the same time
16:57Hillbilly
17:10as the music of all white southerners
17:12was originally known
17:13began to appear on record
17:14as early as 1923
17:16and by the end of the decade
17:19the genre had found
17:20its first true star
17:21a former railroad worker
17:23called Jimmy Rogers
17:25the first time I ever heard
17:48Jimmy Rogers
17:49I was probably four years old
17:51but I still remember that
17:54it was such a great thing
17:55he was the first one
17:57to sing country music
17:58so give him a hand
18:00Jimmy Rogers' music
18:12was hardly rock and roll
18:13but he resembled
18:14the 50s rockers
18:15in several important respects
18:17not least the scale
18:19of his success
18:19several of his records
18:21sold a million copies
18:23and that was in a time
18:25when it was just
18:25almost unheard of
18:26Al Jolson didn't sell
18:29that many copies
18:30of a single record
18:31in those days
18:32Bing Crosby didn't have
18:33a million seller
18:34until the late 1930s
18:35and he'd been recording
18:37actually began a year
18:38before Jimmy Rogers
18:39babies were named after him
18:42cigars were named after him
18:44he was bigger than Elvis Presley
18:46oh you want
18:53well what about
18:54my coffee back there
18:55I'll have it ready shortly
18:57Rogers' appeal
18:58came in part
18:59from his famous
19:00blue yodel
19:01yes that's it
19:02alright
19:02tea for Texas
19:10tea for Tennessee
19:13tea for Texas
19:17tea for Tennessee
19:19tea for Delma
19:23that gal that made a wreck
19:26out of me
19:27roger's yodel gave songs
19:42like tea for Texas
19:43a very distinctive sound
19:45but what makes them
19:46historically important
19:47is that they are an early
19:49form of white blues
19:50to me there was no difference
19:58there's white blues
20:01and there's black blues
20:02there's country boys
20:03there's damn good blues pickers
20:04too
20:05you know what I mean
20:06it's not relegated
20:08or particularly
20:09just to one segment
20:12of the population
20:13in America
20:14he knew black people
20:17from the time
20:17he was just
20:18you know
20:18a small child
20:19and he very much
20:20admired them
20:21and their music
20:22but he took it
20:23and became a kind
20:24of catalyst
20:24for something
20:25that was not quite
20:27the same
20:27as what he had heard
20:28it was
20:28he stamped it
20:29with his own
20:30unique mark
20:32somehow
20:32Jimmy Rogers
20:33was hugely
20:34affected by blues
20:35but music
20:37isn't the property
20:38of any one class
20:39or any one race
20:40or any one person
20:41and Jimmy Rogers
20:42absorbed so many
20:43different influences
20:45without affectation
20:46his music continues
20:48to have impact
20:49to this day
20:49Jimmy Rogers died
20:56in 1933
20:57but hillbilly
20:58or country music
20:59as it was now
21:00starting to be called
21:01continued to thrive
21:03thanks in part
21:04to the huge success
21:05of a certain radio show
21:07the only night
21:09I got to stay up
21:10past nine o'clock
21:11was Saturday night
21:12and my mom
21:13would always let me stay up
21:14because she knew
21:15I loved the Grand Ole Opry
21:16we've got about
21:204,000 of our friends
21:21out here
21:21in the Opry house
21:22tonight
21:23we hope we've got
21:24millions more
21:24listening in
21:25first broadcast
21:29in 1925
21:31the Grand Ole Opry
21:32was a southern institution
21:34long before it started
21:35going out live
21:36every Saturday night
21:37from the Ryman Auditorium
21:38in Nashville, Tennessee
21:39it's in the Ryman
21:42that the Opry
21:44won the reputation
21:45that it has today
21:46and so people today
21:48still rightfully
21:50look upon the Ryman
21:51as the mother church
21:52of country music
21:53when I walk
21:55on that stage there
21:56I feel
21:57that I'm where
21:58the old greats were
21:59and that's the ones
22:00that matters
22:00it's the ones you follow
22:02that matters
22:03it's not the ones
22:05that come after you
22:06it's the ones you follow
22:15taken up by radio stations
22:23all over America
22:24the Grand Ole Opry
22:25made stars of many
22:26southern performers
22:27like Roy Acuff
22:29from the great Atlantic ocean
22:31to the wide Pacific shore
22:34from the queen
22:35of flowing mountains
22:37to the south bell
22:38by the shore
22:39she's mighty tall
22:41and handsome
22:42and known well
22:44by all
22:45she's the combination
22:47on the Wabash Cannonball
22:50the Wabash Cannonball
22:54contrary to what
22:55a lot of people think
22:56was not written
22:57by Acuff
22:58nor was it
22:59an old folk song
23:00it was actually
23:01a piece of sheet music
23:02that was written
23:03about the turn
23:04of the century
23:05by a man named
23:06William Kent
23:07and it was about
23:08a train that in fact
23:09did run
23:10up in Indiana
23:11and like a lot
23:12of early country songs
23:15the sheet music
23:16somehow got loose
23:18in the countryside
23:19somebody learned it
23:21from sheet music
23:22and then they taught it
23:23orally to somebody else
23:24and orally to somebody else
23:26and pretty soon
23:27what was once
23:28a piece of
23:29Tin Pan Alley
23:30fodder
23:31became a folk song
23:33you're traveling
23:34through the jungles
23:36on the Wabash Cannonball
23:39Roy Acuff's
23:47folksy style
23:48was so popular
23:49during the Second World War
23:50that he beat
23:51Frank Sinatra
23:52and Bing Crosby
23:53in a popularity poll
23:54among American GIs
23:55but after the war
23:57country music
23:59underwent a radical change
24:00the down on the farm
24:05sound of Acuff
24:06gave way to a much
24:07tougher style
24:22generally referred to
24:23as honky-tonk music
24:24this new brand
24:25of country featured
24:26electric guitars
24:27a heavy backbeat
24:28and lyrics
24:29that were notable
24:29for their cynical tone
24:31the country music audience
24:39was no longer
24:41the audience
24:41of mom and pop
24:43and kids
24:43sitting on the farm
24:44sucking on straw
24:45and eating apples
24:46they were now working
24:47in the cities
24:48they were living
24:50in trailer parks
24:51they were dealing
24:52with divorce
24:53they were dealing
24:53with alcoholism
24:54and as a result
24:56you get
24:58the honky-tonk sound
24:59of songs like
25:02Driving Nails in My Coffin
25:04headed down the wrong highway
25:05it wasn't God
25:07who made honky-tonk angels
25:09these songs were
25:10songs that dealt
25:11with real problems
25:13and so by the time
25:14Elvis Presley
25:15comes on the scene
25:17in 1956
25:18some of the subjects
25:20that he's talking about
25:21weren't all that revolutionary
25:23the country audience
25:24had been there already
25:25honky-tonk dominated
25:37country music
25:38throughout the 40s
25:39and 50s
25:40and is still popular today
25:41its biggest star
25:43and the man
25:44who would take country
25:44to a wider audience
25:45was Hank Williams
25:47I try so hard
25:52my dear
25:54to show
25:54that you're my
25:57every dream
25:58yet you're afraid
26:02each thing I do
26:05it's just some evil skin
26:08a memory
26:12from your lonesome past
26:15keeps us so far
26:18apart
26:19why can't I
26:25free yours out
26:27to my
26:28and melt your
26:29cold
26:30cold
26:31heart
26:32Hank Williams
26:37lived the rock and roll
26:38lifestyle before the world
26:39had even heard of rock and roll
26:40today he's widely regarded
26:43as one of the greatest songwriters
26:44popular music has ever produced
26:46and so my heart is
26:49he had an emotion in his voice
26:51that sold whatever he was singing
26:53whatever he was doing
26:54that people could connect with
26:57he could do
26:59you're cheating hard
26:59I'm so lonesome
27:00I could cry
27:01he could do
27:02my bucket's got a hole in it
27:03and whatever mood
27:04or emotion
27:05he was conveying
27:07he could hear it in his voice
27:08someone who spotted his ability
27:12very early on
27:12was steel guitarist
27:14Don Helms
27:14a key member of
27:16Williams' backing band
27:17the Drifting Cowboys
27:18Helms was convinced
27:27that Williams was going to be
27:28a big big star
27:29from the moment he started
27:30playing with him
27:30in 1945
27:31I played a lot of honky-tonks
27:37but I noticed that when we
27:39when we'd play him with Hank
27:41people
27:42a lot of people wouldn't dance
27:44they'd come up and stand
27:45in front of the stage
27:45and watch him
27:46there was just something about him
27:49that fascinated people
27:52and I observed that
27:53I said
27:54I don't know what we're going to do
27:56but we're on the way
27:57Williams' breakthrough record
28:06was lovesick blues
28:07the audience made him sing it
28:10no fewer than seven times
28:11when he first made his appearance
28:12on the Grand Ole Opry in 1949
28:14it had been written
28:16almost 30 years earlier
28:17by two Tin Pan Alley songwriters
28:19but most of his later hits
28:21were self-penned
28:23and it's as a writer
28:24that he would make
28:24his greatest contribution
28:26to the development
28:26of country music
28:27he was writing his own stuff
28:29and he was writing
28:30everyday living
28:31and I think
28:33I think that's
28:34probably
28:35what made him
28:36such a great
28:37great artist
28:38hey good looking
28:40what you got cooking
28:43I was about cooking
28:45something up to me
28:47he wrote
28:48hey good looking
28:49on a Sunday morning
28:50we were on our way
28:51from Nashville
28:52to Birmingham
28:52to play a matinee
28:53and he wrote that
28:56in the backseat
28:56of the car
28:57just on a napkin
28:59or something
29:00I was about to get
29:02something up to me
29:04he was very clever
29:05at knowing what people
29:06like to hear
29:07and he was equally clever
29:10and putting it on paper
29:11he started writing songs
29:14about the guy
29:15that worked at the mill
29:16all day
29:18and he'd get off
29:19from work
29:20and stop at the bar
29:21and however cool
29:22went on the way home
29:23and getting in trouble
29:24with his wife
29:24she'd make him sleep
29:25in the doghouse
29:26and people related to that
29:28I mean he was singing
29:30their song
29:31if southern whites
29:46like Hank Williams
29:46helped lay the foundations
29:48for rock and roll
29:49so too did southern blacks
29:51black servicemen
29:58returning from the war
29:59were less prepared
30:00to put up with the ways
30:01of the old south
30:02attitudes and music
30:05were on the move
30:06they had seen
30:08something of the world
30:09they had risked
30:10their lives
30:11for America
30:12and they were not content
30:13to go back
30:14to the plantations
30:16and be called boy
30:17and be discriminated against
30:20many of them
30:22after a year or two
30:23packed up
30:25and headed for the cities
30:27and that changed
30:28the sound of the blues
30:30like jazz musicians
30:3420 years earlier
30:35bluesmen made a beeline
30:37for Chicago
30:37and once they got there
30:39the music they had brought
30:40with them
30:40from the cotton fields
30:41assumed a very different form
30:43it acquired a more
30:50in-your-face quality
30:51it was more aggressive
30:52and I think it spoke
30:54to the greater confidence
30:57in the black community
30:58the sense of progress
31:00and forward movement
31:03it was a former cotton picker
31:06McKinley Morganfield
31:08better known as Muddy Waters
31:09who led the way
31:10in developing
31:11the gutsy Chicago sound
31:13well I'm gonna wait
31:16till they
31:17won't be back
31:19no more
31:19going back
31:21down south
31:22child
31:22don't you
31:23well when I'm
31:25trouble
31:25I'd be all
31:28good
31:28and I just
31:34can't be satisfied
31:35and I just
31:36can't be
31:37fun
31:38listen to a song
31:40like I Can't Be Satisfied
31:41or Rolling Stone
31:43which is basically
31:44just Muddy alone
31:45doing the kind of music
31:47with which he had grown up
31:48in Mississippi
31:48but with an amplified guitar
31:52rather than an acoustic one
31:54and I think those are performances
31:57just of astonishing power
31:58what Muddy did
32:01what Muddy did was crucial
32:02in those early recordings
32:03finding out
32:05how to do it
32:06how the rhythm should play
32:08do you need a backup guitar
32:09the early ones
32:10are just
32:11as you know
32:11just piano bass guitar
32:13and add the instruments
32:14one by one
32:15does the sax fit in
32:16where does the harmonica fit in
32:18it always takes
32:21the one creative individual
32:23who has to do it
32:24and Chicago
32:25has Muddy Waters
32:26what really I guess
32:35impressed me
32:36is the blues
32:37the electric blues bands
32:38of the 50s
32:40the Chicago blues bands
32:41the way that they
32:42welded it all together
32:45took it out of the country
32:46brought it to the city
32:48and then sent it
32:49back out again
32:50Muddy Waters' electric blues
33:08wasn't the only form
33:09of post-war black music
33:11that fed into rock and roll
33:12just as influential
33:18as the Chicago sound
33:19was the much smoother style
33:20of another southern musician
33:22Louis Jordan
33:23who blended blues
33:24with swing
33:24hey boy
33:28hey boy
33:28hey what you doing man
33:29what you gonna do
33:31that ain't the piece
33:31we supposed to play
33:32come on
33:33well I guess
33:34I better get on in here with it
33:35walkin' with my baby
33:51she got great big feet
33:52she's long, lean, and lanky
33:53and they had nothin' to eat
33:54but she's my baby
33:55and I love her just the same
33:58crazy about that woman
34:01cause Caldonia is her name
34:03Louis Jordan
34:06came out of
34:06a great big
34:08a fabulous swing band
34:09Chick Webb swing band
34:11and he diverged
34:13from what Chick Webb was doing
34:15and started doing
34:17these good time shuffles
34:19with a lot of humor in them
34:20and a lot of drive
34:21and a lot of backbeat
34:22and what it really was
34:24was a good time
34:25Saturday night
34:27partying music
34:28Caldonia
34:29Caldonia
34:31what make your big head
34:33so hot
34:34ma
34:34I love you
34:35love you just the same
34:38oh god
34:39how we love Louis Jordan
34:40the music
34:42was so good
34:44he had a wonderful sense
34:46of what there was to find
34:49within
34:49the whole world
34:51of black music
34:51he was always looking more
34:52and he respected
34:54his audience
34:55he respected the music
34:56he was playing
34:57and
34:58he was wonderful
35:00who's the greatest man around
35:06makes the cats jump up and down
35:08who's the talk of rhythm town
35:10five guys named Mo
35:11when they start to beat it out
35:13everybody jump and shout
35:15tell me who do the critics rave about
35:17five guys named Mo
35:18Louis Jordan's records
35:20were brought in large numbers
35:21by whites as well as blacks
35:22giving him what was known as crossover success
35:25and where he led
35:27others followed
35:28hey here's some goodies
35:31put them on bud
35:32alright
35:32as the 40s turned into the 50s
35:38many black artists found themselves appealing to young whites
35:41thanks partly to a communications revolution
35:44following the war
35:47following the war
35:48you had an explosion of independent record companies
35:50and you also had an explosion of little radio stations paralleling that
35:54all throughout the country
35:57in Memphis you could listen to WDIA
36:01the mother station of the negros
36:03which is the first all black station in the country
36:05and you'd hear all kinds of music
36:06and it didn't matter what your color was
36:09nobody except
36:10you know
36:11the people in your own household
36:13knew what you were listening to
36:14so it was a kind of subversive opportunity
36:17suddenly kids are hearing a new kind of music
36:25and this was in such contrast
36:28to Patty Page and Perry Como
36:30it was like switching from the diet of chocolate fudge sundaes
36:36to chili dogs and hamburgers
36:39there was relish
36:42there was a savor
36:44and it just turned them on
36:46and of course not only the sound of the music
36:50or the lyrics
36:51but also the propulsive dance beat
36:53and in that dance beat was a sexual energy
36:56sometimes reinforced by ambiguous and suggestive lyrics
36:59you women have heard of your life
37:01if you heard the noise they make
37:03but let me reintroduce my new Rocket 88
37:06a guy was singing a song
37:08let me play with your poodle
37:09let me play with your poodle
37:11your little poodle dog
37:12but you know he was not talking about a poodle
37:15you understand what I mean?
37:16see it had two me
37:18it give you the idea you know
37:21I want to be your chauffeur
37:23I want to drive you down
37:25so you know all these songs
37:27they said it
37:28but it said it nice
37:30that you didn't you know
37:31it was nothing to irritate you
37:33you knew what it meant
37:35if your mind went there
37:36but if it didn't go there
37:37it could go to the version
37:39that what the song was actually saying
37:41and it still worked
37:42as black record sales began to take off
37:46the music industry decided to change the classification
37:49which up to then had been race music
37:52I've always thought it was the most honorable designation
37:57because I can remember back in the 30s
38:01when one black person would save another one
38:04he's a race man to the bricks
38:07meaning from the top of his head to the ground
38:09he's a promulgator
38:11a proud promulgator of negritude
38:13but somehow down the line
38:17race seemed to imply separation
38:22inferiority
38:24and so we just changed it to rhythm and blues
38:28somebody wait
38:30somebody wait
38:33called it
38:34rhythm and blues
38:36which was just a faster tempo
38:39of the slowest blues
38:42like what they're playing now
38:46you got slow blues
38:48slow blues
38:56now that's blues
38:57now you wouldn't call that rhythm and blues
39:00and then you say
39:01rhythm and blues
39:08rhythm and blues
39:08hey joe
39:11hey big joe turner
39:15come on in
39:17nobody sang rhythm and blues better than big joe turner
39:25a great blues shouter
39:26who'd spent 20 years singing with jazz bands
39:28let them rock wild
39:29breathe
39:30get out of that kitchen baby
39:34wash your face in hand
39:36get out of that kitchen baby
39:39wash your face in hand
39:41where you fix my supper
39:44cause I'm such a hungry mess
39:46where you wear your hair
39:50baby look so mellow and fine
39:52joe turner had the most unusual voice
39:55of any blues singer
39:56that I can think of
39:58a beautiful
39:59baritone
40:01rolling out like an opera singer
40:02it was coming from his belly
40:03so it was just natural
40:05came from that
40:07huge belly and diaphragm
40:09jerry wexler's company atlantic records scored several hits with big joe turner
40:30but like all labels that specialized in black performers they were badly hit by what was then
40:35a common music industry practice
40:37what would happen in those days not just with joe turner but with many of our artists
40:43just as laverne baker ruth brown
40:46the big pop record companies would take our records and white bread them vanilla them and to make them palatable for the white audiences
41:00because nobody expected an original r&b record to get played on pop radio
41:05because it was too uh it was too unfinished sounding you couldn't understand the words
41:11it was uh it was just alien to our ears but you could do a pop version of that song and perhaps have a hit
41:18it was on decka and decka didn't feature themselves promoting songs of lines like
41:25it was on decka and decka didn't feature themselves promoting songs of lines like
41:33when you wear those dresses and the sun comes shining through i can't believe my eyes all that mess belongs to you
41:40which were the honest blues lines and they cleaned it up for bill haley who of course
41:46had enormous success with the cover
42:04haley's record was one of the first to be labeled rock and roll but a more unlikely figurehead for a musical revolution would have been very hard to find
42:11bill was attempting to be a country western band it was called the saddle tramps and he didn't do very well with that so he decided that he would try to do the blues but in a saddle tramp style so that's how bill created rock and roll
42:34bill had touched something that he didn't quite understand and he didn't really ever know quite what to do about it but as he said no matter what happened he always knew at the end of the show he'd seen rock around the clock and everyone would love it
43:03and he'd feel real good
43:05while bill haley was still reeling from his first taste of fame the man who would soon replace him as the king of rock and roll released his debut single
43:15like all of elvis's early records that's all right was produced by sam phillips
43:31at the legendary sun studios in memphis
43:33if you go to memphis one of the things that's amazing about going to the sun studios is the room is a shoebox it's so tiny and yet when you hear those sun recordings they have this acoustic space that's all right
43:38that's all right
43:40like all of elvis's early records that's all right was produced by sam phillips at the legendary sun studios in memphis
43:45if you go to memphis one of the things that's amazing about going to the sun studios is the room is a shoebox it's so tiny and yet when you hear those sun recordings they have this acoustic space that seems like the grand canyon it seems huge
44:00sam phillips saw what he could do with slapback bass and echo that he could create this sense of space and dimension to sound which was not something that could be done live
44:16phillips had set up sun studios to record local blues artists which had done with some success but he knew that if the music was to reach a wider audience he would have to find in his words a white man who had the negro sound and more importantly the negro feel
44:33when presley and his backing musicians bill black and scotty moore started playing an obscure blues called that's all right towards the end of their very first session phillips ears immediately pricked up
44:45elvis started fooling around with his blues sam phillips was not even aware that he even knew a song like this and at that moment it snapped into place for sam phillips that's it that's what we want
45:02sam uh had no idea what he was looking for but damn i'm sure glad he knew when he found it
45:09he played it back to us he said man that's great you know so yeah sounds good what is it you know because it's just the stuff we just made up on the spot the rhythm and style and everything
45:24that's great
45:31played to death by memphis radio stations that's all right became a local hit aided by a b-side of equal quality
45:39i said blue moon
45:42that's all right was a countrified blues but blue moon of kentucky was a bluesy version of a famous country song
45:51and it's this effortless fusion of the two great southern music forms that gives presley's early records
45:56that claim to greatness
46:03what's so extraordinary about elvis's music is the way in which he's able to incorporate
46:16different elements of different uh traditions in totally unselfconscious way and give back something
46:23that's original that's fresh that has a kind of resonance that uh is unlike anything that's gone before
46:38everyone knows the jumpsuit elvis and las vegas elvis
46:41surprisingly not all that many people have heard the earl or the elvis stuff
46:45and when you play that for someone who's never heard it and it's like who is that
46:48you know you tell them who it is and they're amazed there's such power in those records
46:58within a few years of those memphis recordings
47:00Elvis had gone from being an obscure hillbilly singer
47:03to the most famous performer in the world
47:06his rise was a clear sign that popular music had taken a decisive turn
47:10and entered a major new phase
47:13back in the big band days when you had people like being crosby
47:17and frank sinatra they were singing up there
47:19they were cardboard cutouts you know right in front of the microphone
47:22this body of mine lets to have that girl
47:25but elvis presley is a supreme showman
47:28he is very much like hank williams
47:31or lead belly performers who move around
47:34and really sell the song
47:37and that's one of the great changes that occurred
47:41between formal popular music the european tradition
47:44and the new tradition of the american south
47:47the american south
47:50hey hey hey
47:54oh
47:56oh
47:57oh
47:59oh
48:01oh
48:02oh
48:04oh
48:06oh
48:08oh
48:10oh
48:12oh
48:14oh
48:16oh
48:31oh
48:33oh
48:36oh
48:48oh
48:49oh
48:50oh
48:52oh
48:54oh
48:55oh
48:56oh
48:59oh
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