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Slap bass executions on the backbeat are found in styles of country western music of the 1930s, and the late 1940s early 1950s music of Hank Williams reflected a return to strong backbeat accentuation as part of the honky tonk style of country. [19]
"Flip, Flop and Fly" has an arrangement similar to Big Joe Turner's 1954 number 1 R&B chart hit "Shake, Rattle and Roll". [2]Music critic Cub Koda suggests that "leftover verses [from the 'Shake, Rattle and Roll' recording session] were then recycled into Turner's follow-up hit, 'Flip, Flop and Fly. ' " [3] Both are up-tempo twelve-bar blues with a strong backbeat.
The name given to the renewed interest in swing music from the 1930s and 40s. Many neo-swing bands practiced contemporary fusions of swing, jazz, and jump blues with rock, punk rock, ska, and ska punk music or had roots in punk, ska, ska punk, and alternative rock music. 1990s -> Jazz noir [4] A form of slow or erratic contemporary jazz.
Elvis made dozens of classic songs in his career, but when it comes to pure catchy hook heaven, the repeated line "You ain't nothin' but a hound dog, cryin' all the time" is inescapable.
Beat music, British beat, or Merseybeat is a British popular music genre and developed around Liverpool in the late 1950s and early 1960s. The genre melded influences from British and American rock and roll , rhythm and blues , skiffle , traditional pop and music hall .
A "double" bass line, when the guitar and bass play in unison, was combined with a strong backbeat to make the music easy to dance to. [2] It is also common to hear the influence of Caribbean rhythms such as the mambo, rhumba, and the calypso. [4] In addition, the usage of blue notes is characteristic. Like most blues, New Orleans R&B typically ...
Brown often cued his band with the command "On the one!," changing the percussion emphasis/accent from the one-two-three-four backbeat of traditional soul music to the one-two-three-four downbeat – but with an even-note syncopated guitar rhythm (on quarter notes two and four) featuring a hard-driving, repetitive brassy swing.
[23] [b] The song begins with a four-bar instrumental opening, [10] then settles into the main rhythm, which music educator William Echard describes as "distorted punctuating chords, a repeated descending chromatic line, and drums with strong accents on every beat", along with electric bass. [25]