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首页 Katie Flannery Top Ten Songs Paper History of Ro…

Katie Flannery Top Ten Songs Paper History of Rock and Roll MondayWednesday 11am.doc.doc

Katie Flannery Top Ten Songs Pa…

烂_菜头
2019-01-09 0人阅读 举报 0 0 0 暂无简介

简介:本文档为《Katie Flannery Top Ten Songs Paper History of Rock and Roll MondayWednesday 11am.docdoc》,可适用于考试题库领域

KatieFlanneryTopTenSongsPaperHistoryofRockandRollMondayWednesdayamdocKatieFlanneryTopTenSongsPaperHistoryofRockandRollMondayWednesdayamIn,rockandrollwasabrandnewstyleofmusicjustbeginningtoemergefromitsprecursors:rhythmandbluesandcountrywesternMorethananyotherearlyrockandrollartist,ElvisPresleywouldcometosymbolizetherebelliousattitudeofthisnewmusic,particularlyinhishipshakingperformancesOneofthefirstrockandrollsongstoreceivenationalattentionwasElvisPresleys“HeartbreakHotel,”releasedinJanuary“HeartbreakHotel”wasthefirstsingleElvisrecordedforRCA,afterthelabelpurchasedElvisscontractfromMemphisbasedSunrecordsElvissrecordsforSun,suchas“ThatsAllRight”wereonlylocalhitsBycontrast,“HeartbreakHotel”wasanumberonehitontheBillboardHot,anditannouncedElvissascendancetonationalstardomIncontrasttoElvissother,laterRCAhits,themoodof“HeartbreakHotel,”isdarkandevendepressedInfactthesong,whichwascowrittenbyElvisspublicistMaeBorenAxton,wasinspiredbyasuicidenoteAsullenbasskeepstheslowtempoofthesongasElvissingsicianAlthough“RollOverBeethoven”peakedatonlynumberontheBillboardHot,reachingnumbersevenontheRBchart,BerrysimaginativelyricssecuredthesongslastingsignificanceAsbiographerBrucePeggnotes,“RollOverBeethoven”expressedrockmusics“explicitthreattohighbrowculture”BerryenunciatedthepreferenceofAmericasyouthfortheemergingaestheticofrockmusic,asopposedtoclassicalfaresuchasBeethovenandTchaikovskyManyofthesongslyricsaredirectlyconcernedwithdancing,reflectingtherealitythatdanceabilityratherthanmusicalcomplexitywasbecomingtheprinciplemeasureofqualityinpopmusicWhiletheeventsBerryisnarratingareostensiblytakingplaceonadancefloor,hislyricsalsocontainimplicitsuggestionsofsexualintercourse,aswhenhesings“gogetyourlover…thenreelandrockwithoneanother”AlthoughcertainlynotuniquetoBerry,thistypeofinnuendobecameastapleofhissongwriting,reflectinghis,andteenageAmericaslatentobsessionwithsex“RollOverBeethoven”then,isanexplicitchallengetotraditionalmusicalstylesandasubtleattackontraditionalmoralsBerrydrivesthepointhomebygoadingBeethovento“digtheserhythmandblues”Althoughnotassuccessfulcommerciallyashitslike“SweetLittleSixteen”and“JohnnyBGoode,”“RollOverBeethoven”distilledthespiritofearlyrockandrollunlikeanyotherChuckBerrysongIthasbeenoftencoveredsince,mostfamouslybytheBeatlesin,andnotablybyElectricLightOrchestrainWhileChuckBerryandElvisPresleybothincorporatedelementsofcountryandwesternintotheirmusic,neithersoundedascountryasBuddyHolly,anotherearlyrockandrollerwhosecareertookoffwiththehit“ThatllBetheDay”Hollysmusicisdrivenbytheelectricguitar,andparticularlybyhiscomplexleadguitarfiguresLikeChuckBerry,Hollywasoneofthegreatinnovatorsofearlyrock,andspecificallythesubgenreofrockabillyLikeBerry,HollyalsowrotehisownmaterialHeandhisbackingband,theCrickets,perhapsdisplayedtheirtalentsbestonhisnumberthreehit,“PeggySue”“PeggySue”wasHollysfirstsolosinglereleased,becauseofcontractualrestrictions,underhisnameonlyonCoralrecords,ratherthanunderthenameofBuddyHollyandtheCricketsontheirregularlabelBrunswickThesongwasnamedafterHollysdrummerJerryAllisonsgirlfriend,anditisAllisonwhoprovidesthesongssignaturerollingdrumpatternAccordingtoRollingStonemagazine,AllisonsdrummingwassoloudthatheandhiskithadtobemovedtothereceptionareaofthestudioinordertoavoiddrowningouttheotherinstrumentsTheresultisanintense,poundingrhythm,accentuatedbyJoeMaudlinssteadybassandNickiSullivansstrummedguitarThesongischaracterizedbyanatypicalchordprogressionunderHollystwangy,hiccuppingvocalsFinally,afterjustunderaminuteandahalfofverses,thetensionofAllisonsrelentlessrhythmgiveswaytoHollysrushingguitarsoloHollyplayswithspeedandprecision,buildingtoanotherclimaxbeforeconcludingthesongwithafinalverseAlthoughhediedattheageof,afterashortrunofhitsingles,BuddyHollywasoneofthemostinfluentialoftheearlyrockandrollersHisinfluenceontheBeatlesinparticularwasprofound,asevidencedbyGeorgeHarrisonsnotefornoteduplicationofHollysguitarpartontheBeatlesscoverof“WordsofLove”AlthoughtheBeatlesdidnotcover“PeggySue”asagroup,inJohnLennonrecordedaversionofthesongforhisRock„NRollalbumIntendedasatributetothemusicthatLennonlistenedtoasayoungrocker,thealbumtakesconsiderablelibertieswithmostofitssourcematerial,yetoffersa“PeggySue”whichisremarkablyfaithfultoHollysoriginal–evendowntothehiccupsAlongside“PeggySue,”Lennonalsocoveredalesswellrememberedrockandrollnumberfromthelates,BobbyFreeman’s“DoYouWanttoDance”StillinhighschoolinSanFranciscowhenhewroteandrecordedthisnumberfivehitin,FreemanbecametheBayAreasfirstrockstarFreemanhadbeenperformingasasingersincehewasfourteen,andwhenMortimerPalitz,anexecutivefromJubileerecordsheardBobbysing,heofferedhimacontractFreemanfollowed“DoYouWanttoDance”withastringofminorhits,butcouldnotrepeathisinitialsuccessHiscareerenjoyedabriefresurgenceinwiththehitsingle“CmonandSwim”onAutumnrecordsbeforeFreemanspopularityonceagainfadedWhileFreemanprobablyplayedpianoon“DoYouWanttoDance”himself,itisunclearwhatothermusiciansmayhavebeeninvolvedintherecordingMostlikely,studiomusiciansoverdubbedguitar,bass,andpercussionlaterHowever,thereisatraditionthatJerryGarciaoftheGratefulDeadplayedtheguitarsoloonFreemansrecordBothhisfirstwifeandhisearlybandmate,DavidNelson,claimthatGarciaplayedon“DoYouWanttoDance”whilelikeFreemanhewasstillinhighschoolInanycase,thesonghassinceenjoyedalifeofitsown,throughadiversegroupofcoversTheBeachBoysreleasedapopularversionin,characterizedbyreverberatingguitarsandthelushvocalharmoniesonewouldexpectfromtheBeachBoysAnothernotableversionistheMamasandthePapasstrippycover,whichfeaturesprominentacousticguitarandtambourinealongsideorchestralstringsTheRamonesalsocoveredthesonginTheirversionissimplifiedandamplified,asonewouldexpectfromtheRamonesThecongalikepercussionwhichfeaturesprominentlyinFreemansoriginalandinotherversionsisdropped,andloud,distortedelectricguitarsaresubstitutedforsofteraccompanimentForhispart,JohnLennonperformedhisversionatadistinctlyslowertempothantheoriginal,andalthoughtheotherinstrumentssoundmuddled,Lennonsvoiceshines,introducingapleadingqualitytoFreemanslyricsandprofoundlyalteringthemoodofthesongBobbyFreemanssuccesscameatthetailendofanera,asthefirstgenerationofrockandrollers,eachforonereasonoranother,leftthepubliceyeElvisPresleywasdraftedintothearmyinChuckBerrywasimprisonedfortransportingaprostituteacrossstatelinesinLittleRichardabandonedrockandrollfortheministryJerryLeeLewiswasembroiledincontroversyaftermarryinghisthirteenyearoldcousinBuddyHollywaskilledinaplanecrashItwasnotuntil,withtheBritishInvasion,thatrockmusicwouldseeaperiodofexcitementandinnovationcomparabletowhathadoccurredinthemidsUntilthen,popularmusicwasincreasinglycharacterizedbyformulaiccorporatecontrol,bygirlgroups,andbyteenidolslikeFrankieAvalonandPaulAnkaTheBeatlesbrokeintotheAmericanmarketwith“IWanttoHoldYourHand”AlreadysuccessfulinGreatBritain,theBeatleswerepoisedtobecomeaninternationalsensationinthefallofTheironlyproblemwasthatCapitolrecordshaddeclinedtoreleasetheirfirstfoursinglesintheUnitedStatesCapitolhadscheduled“IWanttoHoldYourHand”forAmericanreleaseinJanuary,butwhenthesongbegantoreceiveairplayonaWashingtonDCradiostationinmidDecember,demandwassuchthatCapitolelectedtorushdistributionTherefore,“IWanttoHoldYourHand”wasthefirstBeatlesrecordtobewidelyheardintheUnitedStatesItsreleasewasfollowedshortlybytheBeatlessfirstvisittoAmerica,andbyApril,theUSwasengulfedinfullfledged“Beatlemania,”asthetopfivespotsontheBillboardHotwereoccupiedbyBeatlessongs“IWanttoHoldYourHand”itselfwenttonumberone,propelledbyJohnLennonandPaulMcCartneysharmonizedleadvocals,andbyRingoStarrsinsistentdrummingMcCartneyspulsingbass,andLennonandGeorgeHarrisonselectricguitarsprovideaccompaniment,whilehandclaps,arhythmicfeatureborroweddirectlyfromAmericangirlgroups,accentuatethebackbeatLennonandMcCartneystalentsassongwritersareevidentfromtheirvocalarrangementtheirvoicesareinunisonforthefirstbridge,whileforthesecond,theysingafulltwopartharmonytocreatesonicvarietyandanevenstrongerclimaxWhiletheBeatleswouldnevermatchthesheerexuberanceof“IWanttoHoldYourHand,”astheirrecordingcareerwenton,theywouldapplythecraftsmanshipandstudiopolishevidentonthistracktoaseriesofincreasinglymorecomplexandseriousworksAtthesametimethat“IWanttoHoldYourHand”marksthehighpointof“Beatlemania”andtheBeatlessbreakthroughinAmerica,italsohintsattheBeatlesspotentialasserioussongwritersThispotentialwouldbecomemoreevidentinthefuture,astheBeatles,andtheirproducerGeorgeMartin,turnedtheirattentionawayfromcraftingtheperfectpopsingleandtowardcreatingmorechallengingandintrospectiverecordingsInthemeantimehowever,theBeatleswerenotlongwithoutachallengetotheirdominanceofthepopchartsOneofthemostconsistenthitmakinggroupsofthes,theSupremes,wereabouttomaketheirfirstmarkonthechartsAttheheightof“Beatlemania,”inthesameyearthattheBeatlesplacedsixnumberonesinglesontheBillboardHot,theheretoforehitlessSupremesscoredthreenumberonesforDetroitbasedMotownrecordsBeginningwith“WhereDidOurLoveGo,”releasedinJune,theSupremesproducedfiveconsecutivenumberonehits,arecordsurpassedonlybytheBeatles“WhereDidOurLoveGo”wasoriginallywrittenbyMotownsinhousesongwritingteamofBrianHolland,LamontDozier,andEddieHolland,fortheMarvelettes,anothergirlgroupwhichhadproducedMotownsfirstnumberonehit,“PleaseMrPostman”inDecemberWhentheMarvelettesdeclined,Holland,Dozier,andHollandtookthesongtotheSupremes,whowerereluctanttorecorditandallegedlydispleasedwiththeoutcomeNevertheless,thesongturnedouttocontaintheformulafortheSupremesssuccessBackedbytheunequaledMotownrhythmsection,theFunkBrothers,leadsingerDianaRosspleads“dontyouwantmenomore,”“dontleaveme”,etcwhilebackupsingersMaryWilsonandFlorenceBallardanswer“baby,baby,wheredidourlovego”AlthoughtheFunkBrotherswereuncreditedonthisrecord,asonallMotownrecordings,bassistJamesJamerson,drummerBennyBenjamin,andbandleaderandpianistEarlVanDykewerecertainlypresentforthissession,lendingtothetracktheprecise,rocksolidbeatthatcharacterizestheunmistakable“Motownsound”LiketheSupremessubsequenthit“BabyLove,”“WhereDidOurLoveGo”isbuiltonarepetitive,simpleversestructureRatherthanbecomingdullwithrepetition,thesetrackssimplybuildrhythmictensionthroughtherelentlessnesspoundingofdrumsandhandclapsAsaxophonesoloprovidesabriefreprieve,andthentheversesreprise(inthecaseof“BabyLove,withakeychange),evenmoreandurgentbeseechingAstheSupremesenjoyedtheirstringofnumberonehitsintothesummerofwith“BackinMyArmsAgain,”anotherBritishgroup,theRollingStones,werepoisedtoreleasetheirfirstAmericannumberonesingleOfalltheBritishInvasionbandswhichfloodedtheUnitedStatesinthewakeoftheBeatlesstremendoussuccess,theRollingStoneswouldgoontoenjoythemostlongevityandcommercialsuccessTheirpopularityintheUnitedStatesbeganwiththereleaseof“(ICan’tGetNo)Satisfaction,”whichtoppedtheBillboardHotinJuly“Satisfaction”isindicativeofthewayrockmusicwaschanginginthemidsKeithRichardsiconicguitarriff,playedthroughaheavilydistortedamplifier,underpinsMickJaggersvoiceasJaggershoutsabouthismanyfrustrationsThesexuallysuggestivenatureofJaggerslyricssolidifiedtheRollingStonessimageasthebadboysofBritishrock,incontrasttotheBeatles,whodeliberatelycultivatedanimageofinnocenceWhileJaggerrants,BrianJonesprovidesrhythmguitar,bassistBillWymanplaysabasslinethatneatlycomplimentsRichardssguitarriff,anddrummerCharlieWattslaysdownanice,steadybeatLikethepreviousyearsKinkshit,“YouReallyGotMe,”theroughsoundof“Satisfaction”foreshadowedthearrivalofaheavierrocksound,laterexemplifiedbybandsliketheWhoandtheJimmyHendrixExperienceThecentralroleoftheelectricguitarriffin“Satisfaction”isatonceanodtotheRollingStonessheroes,theelectricbluesguitaristsofChessrecords,aswellanindicationofthemoreprominentrolethatguitarriffswouldcometoplayinrockmusicIronically,consideringhowmuch“Satisfaction”wasonthecuttingedgeofrockandroll,thetrackwasrecordedattheChessstudioinChicago,whereheroesoftheBritishbluesrockers,likeHowlinWolfandMuddyWaters,hadrecordedadecadeearliereatlesWhiletheRollingStonescontinuedtoexemplifythenaughtysideofrock,theBembarkedonaprogressivelyexperimentalseriesofstudioalbums,culminatinginthereleaseofSgtPeppersLonelyHeartsClubBandInspiredbytheirfriendlybutseriousrivalrywithBrianWilson,themusicalmastermindoftheBeachBoys,theBeatlesweredriventoexperimentwithtapeloops,exoticinstruments,andavarietyofstudioeffectsAtthesametime,JohnLennonandGeorgeHarrisonwereinfluenceddeeplybythesongwritingofBobDylanDylaneschewedtheformulaicpopsongwritingofartistslikeLennonandMcCartney,withitsfocusonteenageromanceInstead,hissongsfocusedonsocialissues,andonthemorecynicalsideofromanticentanglementsTheJohnLennonpenned“StrawberryFieldsForever,”whichtheBeatlesreleasedinFebruaryasadoubleAsidewithPaulMcCartneys“PennyLane,”exemplifiedtheBeatless,andparticularlyLennonsinterestinmorepersonal,introspective,lyrics,aswellasinpsychadelia,easternmusicalstyles,andstudioexperimentationInspiredbytheBeachBoyssextensiveuseofsessionmusiciansontheiralbum,PetSounds,theBeatlesemployedovermusiciansonSgtPeppersLonelyHeartsClubBandAlthough“StrawberryFieldsForever”wasnotincludedonthealbumbutinsteadreleasedasasingle,thesongwasrecordedduringthesamesessionsasSgtPeppers,andreflectsthesameinterestinmusicalexperimentationOn“StrawberryFieldsForever”hornandstringsections,arrangedbyGeorgeMartin,augmentthevariousinstrumentsthattheBeatlesplayedthemselvesAMellotron,setuptomimicafluteandplayedbyMcCartney,opensthetrackThenLennonsdreamyvoicebegins,“Letmetakeyoudown…”GeorgeHarrisonplaysslideguitarandanIndiansvarmandal(aharplikeinstrument,withmanystringsstrungoveralargesoundingbox)Backwardsrecordedcymbalscreateanotherworldlyswishingeffectthroughoutthetrack,whileRingoStarrplaysavarietyofdrumpatternsAtLennonsinsistence,thefinalversionofthetrackwasfamouslyeditedtogetherbytheBeatlessstudioengineerGeoffEmerickfromtwoseparatetakesIntotal,theBeatlesspentoverhoursrecording“StrawberryFieldsForever”which,althoughitisunusuallylongforasingle,stillrunsonlyjustoverfourminutesNevertheless,theireffortsyieldedthemostambitiousrecordtodateandanumbertwohitintheUnitedKingdomSgtPepperspermanentlyalteredthewaypopularmusicwasapproachedParticularlyinrockmusic,manymusicalgroupsbegantoplacegreateremphasisonalbumsasartisticworksratherthanmerecollectionsofsongsMusicalexperimentationbecamethenormratherthantheexceptionAsthesdawned,AlbumOrientedRockbecamemoreandmorepopular,aidedbytheriseofFMradio“Progressive”rockgroupsofthes,likeYes,andKingCrimson,incorporatedelementsofclassicalmusicintorockGradually,theattitudethatChuckBerryhadenunciatedwith“RollOverBeethoven,”thatrockandrollwasinfactbetterthanclassicalmusicanddidntneedtheapprovalofthemusicestablishment,gavewaytoanewattitudethatrockwasseriousmusicAlongwiththisnewaestheticcameagrowingconcernformusicalandlyricalcomplexityandinstrumentalvirtuosityAlso,bythelates,mainstreamrockhadbecomeincreasinglycorporatecontrolledNotuntilthelates,withtheriseofpunkrock,didthefocusofrockandrollshiftawayfrommusicalvirtuosityandthepursuitofmoresophisticatedrecordings,andbackontothespiritofrebellionPunkrockaroseasachallengetotheaestheticsofmainstreamrock,aswellastotheovercommercializationofrockInEngland,punkrockwasalsoaresponsetothesocialissuesofthedaywhich,whileGreatBritainwasexperiencinganeconomicrecession,includedthesevereplightofworkingclassyouthTheClashrepresentedperhapsthebestoftheBritishpunkbands,andoneofthemostcommerciallysuccessful(despitetheirdistinctlyanticommercialstance)InfluencedheavilybytheSexPistols,theClashadoptedthepunkaestheticofsimplemusicwithoutembellishmentNevertheless,theyweretalentedmusiciansandsongwritersAlthoughtheyachievedrapidsuccessinGreatBritainwiththeirfirsttwoalbums,theClashdidnotregisterwidelyintheUnitedStatesuntiltheirdoublealbumLondonCallingwasreleasedThetitletrackofthealbumshowcasestheharderedgeoftheClashPaulSimononsdrivingbasscomestothefore,aslyricistandleadsingerJoeStrummerrantsthatamongotherthings,“theiceageiscoming,”and“Londonisdrowning”MickJonessleadguitarisrecordedbackwardsonpartsofthetrack,revealingthatdespitetheirpunkaestheticsthebandwasnottotallydisinterestedinstudioeffectsTakenasawhole,LondonCallingdemonstratesamixofmusicalinfluencesrangingfromreggaeandearlyrockandroll,aswelladiversityoflyricalthemesincludingcars,relationships,suburbanalienation,andtheSpanishCivilWarInparticular,TopperHeadonsdrummingshowsadimensionoutsidetheusualenvelopeofpunkrockdrummersHeplaysespeciallycomplexfillsforinstanceon“RevolutionRock”Nonetheless,“LondonCalling”opensthealbumforareasonItisbothanexceptionaltrack,andatypicalClashsonginsofarasthereissuchathingAggressivevocalsandlyrics,coupledwithabrupt,bitingguitarchordsanddrivingdrumsandbass,createamasterworkofmusicalsimplicity,andaworthyintroductiontotheClashforAmericanlistenersMeanwhile,blackpopularmusicrananalternatecoursefromrockinthes,developingintofunkandlaterdiscoJustaspunkrockgrewoutoftherejectionofthehippieaestheticthattreatedrockasmusicforseriouslistening,discostoodinoppositiontothegrandiosityofmainstreamrockDiscowasaboutdancingandhavingfun,notaboutlisteningto“art”andanalyzingitEvenasdiscofaded,blackmusicinthesretainedaheavyemphasisondanceabilityManypopstarsofthes,particularlyMichaelJackson,basedtheirsongsarounddancebeatsFunkalsoremainedinfluentialonblackmusic,particularlyinthehandsofJacksonsprincipalpoprival,PrinceTheMinneapolisbasedsinger,songwriterandproducerlookedtofunkandrocktocreatedanceablegrooveswhileatthesametimereachingbeyondthenarrowthematicconfinesofdiscoHisstyleembodiedwhatRollingStoneMagazinecalls“ahybridofrock,pop,andfunk,withblatantlysexuallyrics”Princesbreakouthit,“”isagoodexampleofspopingeneral,aswellasaindicationthatblackmusicwastakingonasocialconscienceagainLyricslike“Imgonnalistentomybodytonight,”aresexuallycharged,asaremanyofPrinceslyricsHowever,asacloserlistenreveals“”wasconceivedasaprotestagainstnuclearweaponsandacallfordisarmament“”alsofeaturesthesoundsofheavilylayeredsynthesizers,anotherPrincetrademarkAlthoughPrinceiscreditedwithplayingalltheinstrumentson“”himself,thevocalsaresharedbetweenPrince,DezDickerson,LisaColeman,andJillJones,whotradeversesthroughoutthesongAlthoughPrincewassuccessfulintheearlysontheblackmusicchart,itwasnotuntilhereleasedthe“”singleandhisdoublealbumthatPrinceenjoyedcrossoversuccessonthepopcharts“”reachednumbertwelveontheBillboardpopchart,establishingPrinceasacommerciallysuccessfulandwidelyinfluentialartistNote:thispaperdoesnotincludeaconcludingparagraphYourpaper,however,WILLNotesRollingStone,ElvisPresley:Biography,RollingStone,HeartbreakHotel:ElvisPresley,FredBronson,TheBillboardBookofNumberOneHits(NewYork:BillboardPublications,),JohnCollis,ChuckBerry:TheBiography(London:AurumPress,),BrucePegg,BrownEyedHandsomeMan:TheLifeandHardTimesofChuckBerry(NewYork:Routledge,),NormNNite,RockOn:TheIllustratedEncyclopediaofRocknRoll(NewYork:ThomasYCrowell,Publishers,),RollingStone,PeggySue:BuddyHolly,Nite,RobertGreenfield,DarkStar:AnOralBiographyofJerryGarcia(NewYork:HarperCollins,),,Bronson,BobSpitz,TheBeatles:TheBiography(NewYork:BackBayBooks,),ndJohnCovach,WhatsThatSoundAnIntroductiontoRockandItsHistory,ed(NewYork:WWNortonCompany,),NelsonGeorge,WhereDidOurLoveGoTheRiseandFalloftheMotownSound(Chicago:UniversityofIllinoisPress,),Bronson,Bronson,Bronson,George,Bronson,IbidTheIndependent,“StrawberryFieldsForever”:Themakingofamasterpiece,makingofamasterphtmlhtmlSpitz,Covach,RollingStone,TheClash:Biography,Covach,RollingStone,Prince:Biography,RollingStone,„:Prince,BibliographyBronson,FredTheBillboardBookofNumberOneHitsNewYork:BillboardPublications,Collis,JohnChuckBerry:TheBiographyLondon:AurumPress,ndCovach,JohnWhatsThatSoundAnIntroductiontoRockandItsHistory,editionNewYork:WWNortonCompany,George,NelsonWhereDidOurLoveGoTheRiseandFalloftheMotownSoundChicago:UniversityofIllinoisPress,Greenfield,RobertDarkStar:AnOralBiographyofJerryGarciaNewYork:HarperCollins,TheIndependent“StrawberryFieldsForever”:ThemakingofamasterpieceforeverthemakingofamasterphtmlhtmlNormNRockOn:TheIllustratedEncyclopediaofRocknRollNewYork:ThomasYNite,Crowell,Publishers,Pegg,BruceBrownEyedHandsomeMan:TheLifeandHardTimesofChuckBerryNewYork:Routledge,RollingStone„:PrinceTheClash:BiographyElvisPresley:BiographyHeartbreakHotel:ElvisPresleyPeggySue:BuddyHollyPrince:BiographySpitz,BobTheBeatles:TheBiographyNewYork:BackBayBooks
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