Week 6 - Listening Journal

This week, we cover chapters 11 and 12 of the Starr and Waterman textbook, American Vernacular Music, which covers the 1970s and the numerous subgenres that were popular during the period. During this period, music becomes even more diverse, narrowing into even more identifiable cultures. It is during this period that the music of the 1960s is taken with the youth of the period, while the newer subgenres develop their own following. The 1970s jukebox was far more diverse in nature than decades prior, and is a sign of the prominent role that music begins to play in shaping culture, in the dance clubs, on the radio, as a counterculture, and as a new political voice.

It is interesting to note that even in the 1970’s, the sense of longing for the 1950’s and the innocence that was felt by those who were now the music makers was very evident. Listening to “Crocodile Rock” by Elton John reveals a chord progression that is ripped straight from the 50’s, with riffs that sound like they could have been played by Sha Na Na. Elton provides an homage to those earlier years and the innocence of the time - “I remember when rock was young.”

The R&B and soul scenes were continuing tremendous crossover growth, evidenced by a recording of Stevie Wonder in 1972 on the Talking Book album, “Superstition.”  This tune also speaks to the development of fusion into mainstream popular music. During this live performance, it is interesting to note the use of Stevie’s Clavinova and the abundance of the Orange amp, synonomous with the sound of the late 1960’s psychedelic movement. Wonder seems to be making a political point, hidden in the discussion about “superstition.” His lyrics, "When you believe in things that you don't understand / Then you suffer / Superstition ain’t the way” seems to call into question government policy choices, and also those who blindly are questioning those policy choices.

The folk and country music scenes also became quite popular during the 1970s, made popular by television variety shows such as Hee Waw. John Denver was an incredibly popular artist in the late 60’s and early 70’s, thanks in part to his folk sensibility and songs that were quite positive, especially when compared to other offerings by artists at the time. Listening to “Thank God I’m a Country Boy” is a window into a fusion of folk and country, using folk, country, and bluegrass elements with a very upbeat and catchy melodic treatment of an outdoor centered set of lyrics. While watching this 1974 performance of the tune, I found myself imagining that artists like Jimmy Buffett and Jerry Jeff Walker, both contemporaries of Denver, share the same clothing, sound, and love of the outdoors, which appeals to a wide variety of audiences. “Pancho and Lefty” by Townes Van Zandt is a great example of the continuation of country music development. The simple arpeggiated guitar and fiddle are understated, keeping the focus on the iconic story telling.

In the world of rock, the epic storytelling concept was also developing a set of iconic rock anthems that paved the way for the corporate rock in the 70s. Led Zeppelin released in 1971 the epic “Stairway to Heaven.” The prolific thematic development as the piece progresses enhances the drama of the text, and acts as a blueprint for any hard rock band that has followed. The footage from the concert film, “The Song Remains the Same,” visually documents the over-the-top performance style of the band, and seems to provide a roadmap for groups that follow, such as the antics of David Bowie and Genesis.