>>61571492 I disagree. Is a Real Boy is fantastic but I think they have at least a few great songs on every album and In Defense of the Genre pretty good the whole way through. Also all of their EPs are god tier.
>>61571630 There are a few decent tracks on In Defense but everything else is irredeemable garbage. They stopped making good music and started trying to appeal to 16 year old girls with incredibly trite and sappy music. Sure, they have at least one good track per album, but that doesn't excuse the rest of it being shit.
>>61571690 Elvis was rock-and-roll's first sex symbol, it's first bad boy. Most of the early rock-and-rollers were black and most also had a campy side to their music, be it Chuck Berry's duckwalk, Little Richard's clown makeup, Fats Domino's basketball shoes, or Screamin' Jay Hawkins's B-movie horror schtick.
Elvis was different; he wore leather, tight pants, and wiggled his hips to the delight of screaming teenage girls and the disgust of their parents. And he was white; the 50s had few other white rock-and-rollers except Jerry Lee Lewis who was more comparable with the black guys in terms of cheese factor.
He proved a bundle of contradictions; a symbol of rebellion who dutifully did his time in the Army, a guy who scandalized Middle America with his sexually provocative dancing and then could make the most soulful gospel music, one of the founding fathers of rock who disowned the genre and disparaged the Beatles, who were awed by and considered him a mythical figure, a guy who made the bandstand sound of Frank Sinatra seem antiquated (and who was cursed by Old Blue Eyes) that admired him immensely and wanted to be Sinatra.
Elvis's legacy is mixed; the image of his later career as an overweight Vegas act/white trash icon became burned into America's brains as did his untimely death at 42. Some say he was just in the right place at the right time, that if he hadn't done it, someone else would have become rock's first sex symbol. Others say he merely lunched off a genre of music created by black artists who never enjoyed his wealth or fame due to racial discrimination. Some also point out that Chuck Berry was the real father of rock and more of a folk hero and to that extent, Elvis did bear more stylistic resemblance to Sinatra or Tom Jones than Chuck Berry or Bruce Springsteen.
>>61572046 It has been widely stated that "popular music began in 1955". First there was nothing, then God said "Let there be rock."
The 50s certainly brought about a sea change in the musical landscape; the age of Tin Pan Alley, big bands, and Irving Berlin ended abruptly, so much that music historians are tempted to write that nothing happened pre-Rock Around The Clock and after that was all VH1 countdowns and bad music documentaries. Yet rock-and-roll was short-lived and faded from relevance by 1959, returning the American music landscape for the next few years to a mass of forgettable one-hit wonders and novelty/pop songs before the lads from Liverpool reached this side of the Atlantic.
In that sense, it may seem that the music of the 50s, which still lacked a number of key ingredients found in modern music, will eventually fade from our collective consciousness with the birth of music being seen instead as 1965. Certainly one can argue that Gen Xers and Millenials relate more to Jimi Hendrix than they do The Coasters or The Crew Cuts.
>>61572810 Elvis Presley was the first great swindle of rock'n'roll, and the prototype for the ones that would follow. Equipped him with a masterful rhythm section (Bill Black on bass and Scotty Moore on guitar), he was marketed as the juvenile delinquent that he was not. In segregated America, Presley became the ultimate white robber of black hits: Arthur Crudup's That's All Right Mama (1954), Roy Brown's Good Rockin' Tonight (1955), Junior Parker's Mystery Train (1955). He began to move towards "whiter" material with Carl Perkins' Blue Suede Shoes (1956), with Shorty Long on piano, Mae Axton's Heartbreak Hotel (1956), perhaps his vocal masterpiece, Leiber & Stoller's Hound Dog (1956), but his black soul still emerged in Otis Blackwell's diptych Don't Be Cruel (1956), his greatest hit, and All Shook Up (1957). Leiber & Stoller's Jailhouse Rock (1958), finally an irreverent boogie, was his swan song. Presley the rocker died there: he went on to croon and shout operatic melodies such as old Italian songs, and to specialize in seduction numbers such as Love Me Tender (1956, stolen from the soundtrack of "Rancho Notorious"), and Hugo (Peretti) & Luigi (Creatore)'s Can't Help Falling In Love (1961, a rewrite of Giovanni Martini's Plaisir d'Amour).
Chuck Berry, widely dubbed the father of rock-and-roll, did so by blending a curious mix of influences - electric blues, the crazy beat-driven sounds of black R&B, and a number of guitar tricks originated decades before by black musicians in the cotton fields of the Deep South and co-opted by white country and folk artists, including guitar bends and runs. Berry's vocals were also unique; an even baritone that sounded recognizably black, yet eliminated the phrasing and colorful vocal effects found in blues.
In 1955, Berry and pianist/co-writer Johnny Johnson recorded two songs, In The Wee Hours and Ida Red, a slightly modified country standard and offered them to Chess Records. Chess founder Leonard Chess fell in love with Ida Red, but insisted on renaming it to Maybellene, after a hair cream. However, Berry and Johnson were more interested in promoting ITWH, a blues number, fearing that their version of Ida Red was just too oddball to be a marketable song. Without knowing it, the pair had singlehandedly invented rock guitar. In retrospect it seems silly that Berry and Johnson thought the unremarkable ITWH would be their go-to song, although as the latter would argue "In The Wee Hours was our work, not a cover like Ida Red."
Berry had only three top 10 hits during his '50s heyday, but as is the case with many artists, his best and most engaging songwriting came on those tunes that didn't find much mainstream appeal. It is also a strange and almost eyebrow-raising notion that a 30 year old black man became the voice to a generation of white American teenagers but such as it was.
"Ah, poor Elvis. He would never have been anything if it weren't for Lieber and Stoller, or for that matter the black musicians who's music he stole. Consider that his biggest-ever hit was a cover of a Big Mama Thornton song. I know because I had the 45 from Peacock Records long before Presley came out with his version. When I was in high school, everyone was in love with the guy but I never could stand him. And then he became a fat, bloated drug addict and died on the toilet. How pitiful. How sad."
>>61574718 Future, Young Thug, Rae Sremmurd, Fetty Wap.
A lot of racist cunts think that just because it's trap music, they're "dumb niggers". You don't listen to trap music for the lyrics, you listen for the production and the rapping, and the 4 listed above are geniuses when it comes to trap.
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