rOck n' rOLL is my music.
I LikE rOck n' rOLL
I LovE rOck n'rOLL
keEp rOck n' rOLL
I LikE rOck n' rOLL
I LovE rOck n'rOLL
keEp rOck n' rOLL
FOr yOu....rock n' roll is the best for music.I wisp rOck n' rOLL will always successful.
rOck n' rOLL is a type of music. It shook things up in the 1950s and 1960s. Many musical styles from around the world contributed to this new sound. Along with the African American influence, rock 'n roll also drew on the lyrical melodies of recent European immigrants and the country and western music of Texans.
rOck n' rOLL is a type of music. It shook things up in the 1950s and 1960s. Many musical styles from around the world contributed to this new sound. Along with the African American influence, rock 'n roll also drew on the lyrical melodies of recent European immigrants and the country and western music of Texans.
First, the music became popular in small clubs and on the radio. Later, with the introduction of programs such as American Bandstand, teenagers could watch their favorite bands on television. Not everyone was excited about this music. Many parents didn't like the suggestive dancing, naughty lyrics, and loud, fast beat.
Harder rOck n' rOLL is a musical genre whose 'golden age' is usually recognized as the decades of the 1950's and 1960's. This musical form had its beginnings in the blues tunes, gospel music, and jazz-influenced vocal music that became popular among African-American audiences after World War II. A new kind of blues, it featured electrically amplified guitars, harmonicas, and drummers that emphasized afterbeats.
At the same time, black gospel music grew in popularity. These forms of black popular music were given the label rhythm and blues (R and B) and were played on big-city radio stations. Radio spread this music's appeal from black communities to towns throughout all of the United States. By the mid-1950's such performers as Little Richard, Joe Turner, and Chuck Berry were becoming popular with white audiences. Radio disc jockeys began calling their music rock n roll.
In 1956 Little Richard performed a lot of hits, all built on his principles of feverish and clownish aggressiveness: Long Tall Sally (The first of his heroines: "she`s built for speed/ she`s got anything uncle John needs"), a frenzy syncopated rhythm and blues in the limits of his vocal possibility, Bumps Blackwell's Rip It Up (the closest song to gospel, spelled by claps in a very speedy rhythm, with also guitar and winds) and the ironical The Girl Can’t Help It (soundtrack of his first movie).
The following year, his sound got even naughtier, and every songs entered the charts soft as hurricanes: Lucille, an anthropophagic boogie as well as one of his most epileptic performances; Jenny Jenny, hallucinated as well, with the best non-sense lyrics of the period, and Keep A Knocking (based on a LOuis Jordan hit that was based on an old hit of the 1920s), wherein his ferocious singing had apparently the same rhythm of percussions, winds and guitars (its drums introduction will soon become a rock standard).
Bumps Blackwell's Good Golly Miss Molly (1958) was his swan song, or rather shout. Here’s Little Richard (1957) was his first album, and included a lot of hits.
Harder rOck n' rOLL is a musical genre whose 'golden age' is usually recognized as the decades of the 1950's and 1960's. This musical form had its beginnings in the blues tunes, gospel music, and jazz-influenced vocal music that became popular among African-American audiences after World War II. A new kind of blues, it featured electrically amplified guitars, harmonicas, and drummers that emphasized afterbeats.
At the same time, black gospel music grew in popularity. These forms of black popular music were given the label rhythm and blues (R and B) and were played on big-city radio stations. Radio spread this music's appeal from black communities to towns throughout all of the United States. By the mid-1950's such performers as Little Richard, Joe Turner, and Chuck Berry were becoming popular with white audiences. Radio disc jockeys began calling their music rock n roll.
In 1956 Little Richard performed a lot of hits, all built on his principles of feverish and clownish aggressiveness: Long Tall Sally (The first of his heroines: "she`s built for speed/ she`s got anything uncle John needs"), a frenzy syncopated rhythm and blues in the limits of his vocal possibility, Bumps Blackwell's Rip It Up (the closest song to gospel, spelled by claps in a very speedy rhythm, with also guitar and winds) and the ironical The Girl Can’t Help It (soundtrack of his first movie).
The following year, his sound got even naughtier, and every songs entered the charts soft as hurricanes: Lucille, an anthropophagic boogie as well as one of his most epileptic performances; Jenny Jenny, hallucinated as well, with the best non-sense lyrics of the period, and Keep A Knocking (based on a LOuis Jordan hit that was based on an old hit of the 1920s), wherein his ferocious singing had apparently the same rhythm of percussions, winds and guitars (its drums introduction will soon become a rock standard).
Bumps Blackwell's Good Golly Miss Molly (1958) was his swan song, or rather shout. Here’s Little Richard (1957) was his first album, and included a lot of hits.
LovE rOck n' rOLL
