The 1950’s are represented by these two songs. Compare + Contrast these two songs in relation to their era!!!
...to bass line, which is a syncopated / swung, shuffle rhythm throughout, also played on the guitar and drums, which now give the band a louder sound than in the music styles before. The piano vamps a continuous triplet backing throughout the first two versus on the pedal points, using inversions of the 7th or 9th chord. The main emphasis in verse one is the vocal sung by “Howlin’ Wolf”, introducing the blues style melody. The lead guitar has short syncopated riffs, particularly in the vocal breaks, and use slides up in bars 9-10. Verse two introduces a second vocalist singing in parallel an octave lower. The bass and drum accompaniment is thinner; the verse is marked as a “stop chorus”, where the rhythm section marks only the start of each bar, and remains silent between the stop chords. The lead and rhythm guitars are more significant in bars 19-22. The lead playing a triplet pattern up an octave, above the double quaver, shuffle pattern of the rhythm guitar. Verse 3, also a “stop chorus”, is varied by a different pattern played on the piano, when only the first beat is emphasised for the first three bars, with the triplet pattern returning in bar 30, and in 31-32 a parallel octave descent down a chromatic scale. The solo / improvisational fourth verse features the lead guitar, which has a number of portamento slides up and down, and with Wolf vocalising and add libbing tremolo harmonica chords, producing a atypical “Wha Wha” effect. The drums, bass and rhythm guitars maintain a quiet and steady shuffle rhythm pattern. Verses 2 and 3 are repeated and are followed by a final 8-bar coda, introduced by a descending blues scale played by the lead guitar, and followed by a repeated sequence which has a shake (upper mordent) on G natural / sharp, and with the triplet pattern re-emerging in the piano and rhythm guitar. Wolf sings 3 variations of “I’m leavin’” before fading away. Soon enough, not long after this hit, another genre emerged and started to develop. Groups began to find a middle ground between R&B, country, and pop that became, what else, rock'n'roll! The most important reason for the ascendancy of rock ‘n’ roll over R & B was simply that it was performed by white musicians, giving it a veneer of acceptability in those often racially prejudices times. Two strains of rock'n'roll emerged: Rockabilly and "pure" Rock'n'Roll. The outlines for these strains are blurred. As a generality, those r'n'r works inspired by country are commonly dubbed Rockabilly, and those with their roots in R&B are generally pure Rock'n'Roll. “Honey Don’t” by Carl Perkins is a good example of a compromise, which drew the various features from country music and combined these with the R & B style. Carl Perkins, who like Howlin’ Wolf, also came from the southern states and is generally seen to be one of the founders of rock’n’roll. At the same time that Perkins was helping launch rock music from his country roots, Chuck Berry's machine-gun guitar licks were reinventing the Blues as rock and roll. Together the two are acknowledged as perhaps the key figures in the birth of rock music in the late 1950s. In comparison with “I’m leavin’ you”, which I examined above, Carl Perkins’s hit “Honey Don’t” differs in form. Similarly, the song begins with a 5 bar intro. However, Chester Burnett used the familiar 12–bar blues pattern, whereas Carl Perkins modifies this chord progression. Bars 6 – 17 create the following pattern: E E C C E E C C B B E E The unrelated chord of C major is unusual but gives the harmonies a taste of country music. The second set of the blues pattern are totally standard 12 bars. In the first instrumental at bars 30 – 49, the so far familiar 24-bar pattern is reduced to 20 bars and is cut down still further in the second at bars 74 – 83. Although the harmony is clearly based on two 12-bar patterns, the way the complete 24-bar unit is divided is much more European than blues...