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The 1960s began with soul music topping the charts, including pure soul divas and singers specializing in the new, rhythm and blues-gospel music fusion with a secular approach. Later specialties in soul cropped up, including girl groups, blue-eyed soul, brown-eyed soul, Memphis soul, Philly soul and, most popular, Motown.
Popular music, or "classic pop," dominated the charts for the first half of the 1950s.Vocal-driven classic pop replaced Big Band/Swing at the end of World War II, although it often used orchestras to back the vocalists. 1940s style Crooners vied with a new generation of big voiced singers, many drawing on Italian bel canto traditions.
In America it arguably spelled the end of instrumental surf music, vocal girl groups and (for a time) the teen idols, that had dominated the American charts in the late 1950s and 1960s. [22] It dented the careers of established R&B acts like Fats Domino and Chubby Checker and even temporarily derailed the chart success of surviving rock and ...
The 1950s music scene would challenge these simplistic categories by offering more so-called race music than ever before that appealed equally to Black and white listeners. The Evolution of ...
The birth of soul music occurred during the 1950s, and the genre would come to dominate the US R&B charts by the early 1960s. Soul artists of the 1950s include Sam Cooke and James Brown. [8] Jazz music was revolutionized during the 1950s with the rise of bebop, hard bop, modal jazz, and cool jazz.
A list of musical groups and artists who were active in the 1960s and associated with music in the decade This is a dynamic list and may never be able to satisfy particular standards for completeness.
Frankie Laine (at piano) and Patti Page, c. 1950 Harry Belafonte, 1954 This is a partial list of notable active and inactive bands and musicians of the 1950s . Musicians
Free jazz is an approach to jazz music that was first developed in the 1950s and 1960s. Although the music produced by free jazz composers varied widely, the common feature was a dissatisfaction with the limitations of bebop, hard bop, and modal jazz, which had developed in the 1940s and 1950s.