Pop Music In The 50's

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The concept of the synthesizer was conceived long before the 1960’s. Technological advancements were leading towards a commercially available, portable synthesizer from the early 1900’s. They didn’t however, begin their growth in popularity until the decades following the 1950’s, when they became more financially accessible and their designs allowed for greater portability and functionality. The tonal capabilities that these synthesizers were able to produce would inspire the music industry in a way that nothing else could, or arguably has, in the last 50 years. Engineering heavy weights of these groundbreaking instruments such as Bob Moog, Don Buchla, Tom Oberheim and Dave Smith were just a few of the dozens of pioneers helping to create these …show more content…
Arrangement focused crooners like Frank Sinatra were sliding out of favour and being replaced by the story telling and emotional emphasised pop artists like Patti Page and Johnnie Ray, who flooded the musical mainstream for the majority of the 1950’s. The Blues had a constant presence on mainstream popular music throughout the 50’s with artists like Bo Diddley, Fats Domino and Chuck Berry influencing Rock & Roll with their enthusiastic approach to the normal melancholy qualities of the blues. The birth of Rock & Roll in the late 1950’s was a crucial stepping-stone to the introduction of synthesisers in a band setting. As the genre evolved through the early 1960’s, artists were more inclined to step away from the mainstream sound and explore new tonal …show more content…
“Its fathers, Don Buchla and Bob Moog, were dreamers whose workbenches full of circuit boards turned the world music community on its collective ear and spawned a two-billion-dollar-a-year electronic music industry.” (Vail, p.25) Up to the mid 1970’s, there were only two synthesizer giants, Moog And ARP. Robert Moog’s invention of commercially available synthesizers, as Kettlewell (2002) explains, encouraged dramatic change in the world of music and redefined genres that existed prior to their inception. 1967 saw the first recordings of the Moog Synthesizer and, as noted on Moogfoundation.org, the majority had one person in common—musician Paul Beaver. “By late 1966, he and Bernie Krause had pooled their funds to buy a Moog Modular of their own. Beaver was designated as Moog’s West Coast Representative and together, he and Krause operated a company called Parasound that provided consulting, recording, and production services using the Moog Modular and other instruments.” (Moogfoundation, 2013). In April of 1967, he and Bernie were recruited to bring the Moog Synthesizer to a variety of recording sessions. Some of these sessions included bands and artists such as The Doors, The Electric Flag, The Monkees and Mort