50s

Post-WWII Economic Boom 

Following World War II, the American economy and the rest of Western nations witnessed economic growth. A prosperity period developed into an expansion in the middle class, better disposable incomes, and more time to relax. The Post-WWII economic boom, or the "Golden Age of Capitalism", was a period of unprecedented economic growth that began in the late 1940s and continued well into the 1960s, mostly in the United States and the majority of Western countries. This economic growth was spurred by a succession of factors that transformed the world economy and had far-reaching effects on social and cultural life, particularly in the United States.   the American economy and the rest of Western nations witnessed economic growth. A prosperity period developed into an expansion in the middle class, better disposable incomes, and more time to relax

 The Birth of Rock and Roll (Mid-1950s)

The blending of rhythm and blues, country, and pop resulted in rock and roll being born during the 1950s, with Chuck Berry, Little Richard, Jerry Lee Lewis, and Elvis Presley at the forefront. .   

The Cold War and the Red Scare (1950s)

the Cold War also created a climate of fear around communism, one that spilled into the arts and music. Artists suspected of communism were blacklisted by the government, and musicians were put under scrutiny.

Impact on Popular Culture:

• The youth-led consumer boom and the introduction of television made popular culture more accessible and influential. Music emerged as a vehicle that could be used to convey social problems and personal identity.

• Rock 'n' Roll and Teen Idols: The teenage market became more focused on the music scene, as seen with the emergence of rock 'n' roll. Artists like Elvis Presley, Chuck Berry, and Buddy Holly were idolized, and their songs became at the forefront of the teenage existence.

• Publics listened to music mainly via radio (with rock and pop stations) and television (like "American Bandstand"), as well as in concert halls and dance halls.

The Development of Musical Styles

Predominant Musical Genres/Styles:

• Rock 'n' Roll: This genre emerged as a fusion of rhythm and blues, country, gospel, and pop. With it came the backbeat, driving rhythm, and catchy melodies.

• R&B (Rhythm and Blues): This genre was significant in the emergence of rock 'n' roll and was dominated by African-American artists. It was pivotal in shaping the sound of the decade.

• Jazz: While jazz was increasingly an older generation's music, in the 1950s, bebop continued to be a prominent style, evolving into more complex and abstract forms, and influencing many musicians.

• Country: Country music continued to be a big part of mainstream musical culture, influencing rock 'n' roll and vice versa.

Where, When, How and Why New Styles Emerged:

Rock 'n' Roll emerged primarily in the early 1950s, driven by the cultural shift towards youth-based identity. The development of the electric guitar, the crossing of genres, and technological advancements in recording were all pivotal. The 1950s also saw the development of Doowop, Motown, and Chicago Blues, wherein African-American performers increasingly became the dominant influences on popular music.

Stylistic changes: One genre or musical form took from another—rock 'n' roll borrowed liberally from blues, gospel, and country, and jazz contributed its influence to the more experimental, improvisational forms that were emerging.

Compositional Strategies

Chords and Chord Progressions:

• Catchy Simple Progressions: In the 1950s, there were very simple but popular chord progressions. The most commonly used progressions in rock 'n' roll were I-IV-V (e.g., C-F-G) and doo-wop progressions (e.g., I-VI-IV-V).

• Simplification and Complexity: While the initial rock 'n' roll and pop music was simple and uncomplicated, the jazz musicians were exploring more and more complex chord progressions, modal harmonies, and prolonged improvisation. Rock 'n' roll and pop later grew more complex as they incorporated the techniques of jazz.

• Song Structures: Songs took the verse-chorus structures, especially in rock 'n' roll and pop, and that established the common pop song structure. Some rock songs attempted more intricate structures, however.

Instruments / Texture / Arrangement

Instruments:

• The electric guitar then became the identifying instrument of rock 'n' roll, and Chuck Berry and Elvis Presley's guitarist Scotty Moore broke new ground in playing styles.

• Piano (typically honky-tonk) and saxophones were the foundation of rhythm and texture for rock and R&B.

• The driving rhythm came from drums, bass, and vocals, specifically the backbeat, which formed the core of rock 'n' roll and R&B.

• Technological innovations: The creation of solid-body electric guitars (e.g., Fender Stratocaster) and multi-track recording made it possible for artists to work with layers of sound, which led to more sophisticated productions.

Technology Available:

Vinyl Records emerged as the major source of music listening, and the 45 RPM single and 33 1/3 RPM album formats set the music industry. Radio and television were primary channels by which the audience was exposed to music. The invention of jukeboxes in public made music even more accessible.

• Recording Techniques: Multitrack recording, which began to emerge towards the late 1950s, made more complicated recordings possible, like the duplication of vocals or instrumentation in a way that had become problematic before.

• Music Producers: People like Sam Phillips (who signed Elvis Presley) and Phil Spector (who went on to develop the "Wall of Sound" technique) were hugely influential in the music's sound in the 1950s.

Original Version: "Hound Dog" by Big Mama Thornton (1952)

Style/Genre:

Genre: Rhythm and Blues (R&B), Blues.

Instrumentation: Big Mama Thornton's version features a simple yet effective R&B band arrangement. The prominent instruments include electric guitar, bass, drums, and piano, with the bass and drums creating a persistent groove that supports the vocal performance.

Tone: The tone is soulful, defiant, and bluesy. There's a raw, powerful energy in Thornton's voice, an energy that's full of attitude and emotion. She sings with a raspy, gravelly tone, echoing the pain and strength of the lyrics.

Mood: The mood of the song is one of empowerment and rejection. Thornton's vocal delivery conveys a sense of personal empowerment and frustration aimed at the subject she is singing about, telling them that they are "nothing but a hound dog."

Song Structure:

Form: The song follows the form of a 12-bar blues, which was a common form for blues and R&B songs. Each verse is kept to a I-IV-V chord progression that is straightforward.

Chords: The song is a simple I-IV-V progression, typical of blues songs. The chords are straightforward, with a repeated rhythm that supports the vocal lines.

In the key of C:

Verse: C (I) – F (IV) – G (V)

Lyric and Melodic Writing:

Lyrics: The lyrics are defiant and humorous, detailing someone who has been betrayed or ill-treated. The line "You ain't nothin' but a hound dog" became iconic, expressing contempt in a humorous but forceful manner.

Melody: The melody is simple but effective, following mostly a blues scale with melismatic ornamentation. Thornton's performance includes blue notes and slides on many occasions, which provide expressive intensity to the melody. Her voice is foregrounded on the recording, and the band provides a backing role.

Cover Version: "Hound Dog" by Elvis Presley (1956)

Style/Genre:

Genre: Rock and Roll, Rhythm and Blues (R&B).

Instrumentation: Elvis Presley's cover is much more developed in production terms. The instrumentation includes electric guitars, bass, drums, and a horn section (particularly noticeable in the bridge), sounding more driving and energetic than the original.

Tone: The tone is cleaner, more refined, and smoother than the raw tone of Big Mama Thornton's rendition. While it captures the playfulness and defiance, it is packaged differently in a more commercial and radio-friendly manner.

Mood: Presley's recording is more cheerful and innocent in mood, emphasizing the beat and tempo of rock and roll and less on emotional intensity of the blues. Elvis delivers his vocal lines with swagger and confidence, injecting a lighter and more affable mood into the lyrics.

Song Structure:

Structure: Presley's rendition maintains the 12-bar blues structure but introduces more variation in the organization. The chorus is more powerful, and the tempo is faster, contributing to the song's greater energy.

Chords: The chord progression in Presley's rendition is very similar to Thornton's, in a pattern of I-IV-V, but with a greater rhythmic impetus through the use of a rhythm section and horn bites.

In the key of C:

Verse: C (I) – F (IV) – G (V)

The addition of horns and the use of a faster tempo create a more syncopated and upbeat sound than the original.

Lyric and Melodic Writing

Lyrics: Presley's lyrics are very similar to Thornton's but not quite so raw and unpolished in their delivery. The wonderful line "You ain't nothin' but a hound dog" remains, but with slightly more pop sense to it. His phrasing is a tad more dynamic, used with his trademark Elvis swagger.

Melody: Presley's melody is more smooth and catchy, with more vocal harmony focus. He simplifies some of the original's melismatic ornamentations, and his own vocal runs are less gritty and more crooned. His recording is closer to a rock and roll feel with a cleaner, radio-sounding quality.

Comparative Demonstration:

Vocal Style

Thornton: Big Mama Thornton's voice is rooted in the blues tradition, with a raspy, growling quality. Her phrasing is more raw, and her phrasing is elastic, tending to stretch out notes for emotional effect. She is heavy on the blues scale, using blue notes and sliding between pitches to convey the passion of the words.

Presley: Elvis, on the other hand, goes with a neater, more polished version, smoother and more melodically put together vocally. While as soulful as Thornton's, Elvis's is not so gritty, and he makes swagger, charm, and pop vocal delivery the top priorities. His phrasing is lighter and does not get to enjoy the same note-bending and ornamentation excesses.

Instrumentation:

Thornton: The minimal instrumentation accomplishes its purpose of adding support to Thornton's singing. The arrangement emphasizes the bluesy guitar phrasing and rhythmic impetus, opening room for Thornton's powerful vocals to shine.

Presley: Elvis's is more textured and richer. The rhythm section is better defined, and the horns provide a degree of excitement that makes the song feel more like a high-energy rock and roll anthem. There is more syncopation and percussive drive, which is an indication of the rock and roll influence.

Conclusion: Evaluation of the Cover Version

Both versions of "Hound Dog" are classics of their sort but represent two very different musical styles. Big Mama Thornton's "Hound Dog" is blues- and R&B-infused and is raw emotional energy. Her vocals are powerful, and the sparse instrumental accompaniment is minimal so that she can establish herself as a vocalist. The song has a sense of individual power and defiance that feels very real and honest.

Elvis's version, however, turns the song into a rock and roll anthem. It's cleaner, more commercial and energetic, and emphasizes more on rhythm and catchy hooks. Elvis's vocals, while as assured as ever, are not as raw as Thornton's original but possess an appeal that has a global touch and resonated more with the masses.

Both versions succeed on their own terms. Big Mama Thornton's version is a masterclass in blues vocalism, and it sounds rich with emotion and genuine. Elvis's cover, on the other hand, is a perfect case of rock and roll creativity, reworking the song to make it mass-market-appropriate, and giving it a high-energy, commercial gloss that helped it become a hit.

Ultimately, while Elvis's version is arguably the better one in terms of popularity and pop culture influence, Thornton's original is the less refined and more passionately charged of the two, the truer representation of the song's defiance and heartbreak. Both versions are significant in and of themselves, each adding a unique voice to the classic "Hound Dog."