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CHAPTER 4 1964–1966, The Beatles and the
BritishInvasion
1964–1966, The Beatles and the BritishInvasion | 53
CHAPTER 4: The Beatles and the British Invasion
MULTIPLE CHOICE
1. In the late 1950s and early 1960s, the British music industry was dominated by
a. large companies and major labels. c. independent record labels.
b. independent radio stations. d. weekly radio shows.
2. “Rock Island Line” as recorded by “Lonnie” Donegan is an example of
a. New Orleans–style jazz. c. Mersey beat.
b. American blues. d. skiffle.
3. The Beatles were formed in which UK city?
a. Manchester c. Liverpool
b. London d. Newcastle
4. The original name for the Beatles when they started as a skiffle band was
a. the Silver Beetles. c. the Shadows.
b. Johnny and the Moondogs. d. the Quarry Men.
5. The Beatles were regular performers at which Liverpool venue?
a. the Star Club c. the Crawdaddy Club
b. the Cavern Club d. the Litherland Town Hall
6. Who was NEVER a member of the Beatles?
a. John Lennon c. Cliff Richard
b. George Harrison d. Ringo Starr
7. The Beatles’ first song released by Parlophone was
a. “Love Me Do.” c. “Please Please Me.”
b. “How Do You Do It?” d. “She Loves You.”
8. Which other Beatles-type Liverpool band was managed by Brian Epstein?
a. Freddy and the Dreamers c. Gerry and the Pacemakers
b. the Dave Clark Five d. Billy J. Kramer and the Dakotas
9. “Beatlemania” refers to the
a. influx of Beatles songs on UK charts.
b. numerous bands similar to the Beatles that followed their success.
c. frenzy created by fans at the Beatles’ live performances.
d. first film featuring the band.
10. The Beatles arrived in the United States in which year?
a. 1959 c. 1963
b. 1962 d. 1964
11. All of the following features classify “Tomorrow Never Knows” as a work of art EXCEPT
a. structural format found in American pop.
b. incorporation of drone-like sounds and limited harmonies.
c. lyrics based on the Tibetan Book of the Dead.
d. experimental tape-loop collages.
12. In the early years of the Rolling Stones, the group was led by
a. Mick Jagger. c. Keith Richards.
b. Brian Jones. d. Eric Clapton.
13. The Animals’ break in the music industry came after a UK tour with which musical act?
a. the Rolling Stones c. Lonnie Donegan
b. Little Richard d. Chuck Berry
14. The Animals were fronted by the powerful blues singing of
a. Mick Jagger. c. Eric Burdon.
b. Eric Clapton. d. Brian Jones.
15. The early songs in the Rolling Stones’ career were primarily
a. original compositions based on Chicago blues.
b. blues-inspired cover songs.
c. Mersey beat–style songs.
d. skiffle songs featuring a slide guitar.
16. The individual responsible for changing the image of the Rolling Stones was
a. Giorgio Gomelsky. c. Keith Richards.
b. Andrew Loog Oldham. d. Brian Epstein.
17. Which song solidified the Rolling Stones’ image as rock music’s bad boys?
a. “Time Is on My Side”
b. “Paint It Black”
c. “(I Can’t Get No) Satisfaction”
d. “As Tears Go By”
18. “Rave-ups” was/were
a. improvisatory passages performed by the Yardbirds.
b. a term used by the Who to describe their style of rhythm and blues.
c. gatherings of Mods at London-based clubs.
d. a term used to describe successful British bands in the United States.
19. All of the following were guitarists for the Yardbirds EXCEPT
a. Jimmy Page. c. John McLaughlin.
b. Jeff Beck. d. Eric Clapton.
20. Georgie Fame and the Blue Flames featured which future Jimi Hendrix drummer?
a. Ginger Baker c. Chas Chandler
b. Mitch Mitchell d. Eric Burdon
21. The Kinks featured the songwriting of
a. Dave Davies. c. Ray Davies.
b. Pete Townsend. d. Chas Chandler.
22. The Detours was the original name of which band?
a. Led Zeppelin c. the Kinks
b. the Who d. the Animals
23. All of the following are true regarding Mod culture EXCEPT that followers
a. attended select clubs in London.
b. were known for driving motor scooters.
c. wore leather jackets.
d. listened primarily to American rhythm and blues.
24. From the perspective of American youth, the British invasion was centered on
a. a wide range of musical styles found in British bands.
b. the combination of pop- and blues-oriented songwriting.
c. nonmusical matters such as a band’s image and its members’ accents.
d. American music being rewritten and repackaged for consumers.
25. The Beatles’ first original song from their initial 1958 recording was
a. “She Loves You.” c. “My Bonnie.”
b. “That’ll Be the Day.” d. “In Spite of All the Danger.”
26. The first Beatles song to break through to number one in the United States was
a. “Please Please Me.” c. “She Loves You.”
b. “I Want to Hold Your Hand.” d. “How Do You Do It.”
27. The subject matter of the Beatles’ “Eleanor Rigby” is
a. existential alienation.
b. a failed one-night stand.
c. advice to someone on her deathbed.
d. teenage love.
28. Peter Noone was the lead singer of which of the following British bands?
a. the Kinks c. Herman’s Hermits
b. Gerry and the Pacemakers d. the Animals
29. The Rolling Stones were regulars at which of the following clubs?
a. the Crawdaddy Club c. the Litherland Town Hall
b. the Cavern Club d. the Star Club
30. Who was responsible for songwriting for the Who?
a. Roger Daltrey c. Pete Townshend
b. Keith Moon d. Ray Davies
31. Who was the host of a U.S. variety show on which the Beatles first appeared in 1964?
a. Milton Berle c. Steve Allen
b. Dick Clark d. Ed Sullivan
32. The subject matter of the Beatles’ “Norwegian Wood” is
a. teenage love. c. a failed one-night stand.
b. existential alienation. d. their days growing up in Liverpool.
33. Graham Nash was a lead vocalist for which of the following groups?
a. the Hollies c. Herman’s Hermits
b. the Who d. the Animals
58 | Chapter 4
SHORT ANSWER
1. The ________ style of music was made popular by Lonnie Donegan.
2. The song “Living Doll” was the only British record by ________ to cross over the Atlantic prior to
1964.
3. How did the Beatles hone their craft as performing musicians?
4. Ringo Starr replaced ________ as the Beatles’ drummer.
5. The music of folk musician ________ significantly influenced the lyrics written by the Beatles.
6. List two Manchester bands that were part of the British invasion.
7. “Slowhand” was the nickname given to guitarist ________.
8. Jimmy Page’s new band, ________, performed the remaining dates booked by the Yardbirds after the
group disbanded.
9. The ________ and the ________ were two British youth cultures of the 1960s that differed in lifestyle
and appearance.
10. In the United States, why was the British invasion believed to be a fad?
11. The name of the label that initially passed on the Beatles in 1962 was ________.
12. Explain two reasons why the Beatles decided to stop playing in public in 1966.
13. When the Rolling Stones stopped playing regularly at the Crawdaddy Club in 1963, which group took
their place?
14. List three of the major record labels that were in Britain.
15. Why did it take the Rolling Stones longer to catch on in the United States?
MATCHING
Match the item to the description below.
a. “The Last Time”
b. London
c. BBC
d. Star Club
e. “I’m a Man”
f. Eric Burdon
g. Jeff Beck
h. George Martin
i. AABA
j.
A Hard Day’s Night
1. a British government-owned radio station
2. a venue in Hamburg, Germany, where the Beatles performed
3. a producer who worked with the Beatles
4. the first film featuring the Beatles
5. a musical structure employed by the Beatles in songwriting
6. the lead vocalist for the Animals
7. the center of the UK blues revival
8. an early hit written by Mick Jagger and Keith Richards
9. the guitarist who replaced Eric Clapton in the Yardbirds
10. Bo Diddley song covered by the Yardbirds
TOP: The Music Business in the UK
9
ESSAY
1. Compare and contrast the careers of the Beatles and the Rolling Stones in the 1960s. How were their
careers similar, and how did they differ? Consider musical influences, songwriting development,
image, and success in the United States.
ANS:
answers vary
PTS: 1 DIF: Difficult
2. Discuss the impact of the British invasion on both the UK and U.S. music industries. What effect did
the popularity of British acts have in the United Kingdom after these groups became successful in the
United States?
ANS:
answers vary
PTS: 1 DIF: Difficult
3. How was the cyclical nature of American popular music affected by the musical styles developed in
the United Kingdom during the 1950s and 1960s? Include in your discussion skiffle, the British
invasion, and the British blues revival.
ANS:
answers vary
PTS: 1 DIF: Difficult
4. Discuss the rise of specific bands from the United Kingdom that were involved in the blues tradition
and blues revival. What were their influences? How successful were they compared to other popular
bands from the UK during the 1960s?
ANS:
answers vary
PTS: 1 DIF: Difficult
5. Compare and contrast the British invasion with rock’s first wave from 1955 to 1960. In what ways
was the music similar, and in what ways was it different? Consider musical developments, the bands,
and individual musicians involved and note the ways in which audiences in both the United States and
the UK reacted to each wave of rock.
ANS:
answers vary
PTS: 1 DIF: Moderate
TRUE/FALSE
1. “Please Please Me” was the song that finally broke the Beatles into the American pop market in late
1963.
2. Initially, the Rolling Stones did NOT write their own music and preferred covering songs.
3. The Rolling Stones typically avoided AABA song forms that the Beatles frequently used.
4. The first Beatles hits in the United States were released on independent record labels.
5. Beatles-type bands included the Animals and the Yardbirds.
6. The Beatles played their last public concert at Yankee Stadium in 1966.
7. Both the Kinks and the Who represent bands that defy Stones-type and Beatles-type categorizations.
8. The Animals found popularity in the United States with the “Manchester sound.”
9. The music from rock’s first wave from the United States in the 1950s had only a small impact on
British rock in the 1960s.
10. Even though British bands flooded the pop charts in the United States in the mid-1960s, American
groups continued to have chart success after the British arrived.
11. The British had a long-standing infatuation with American folk and jazz that dated back to pre–World
War II.
12. The group that was referred to as the anti-Beatles was the Yardbirds.