Social Commentary in Rock: The Drifters' "Up on the Roof"

Introduction: Music as Social Reflection

Music is always a reflection of the society that produces it, and over the twentieth century, as technology made listening to popular music far more accessible on a much broader scale, this reflection often became more direct and explicit. Rock 'n' Roll seemed, right from its beginnings, to be largely given over to overt or thinly veiled commentary on the state of affairs in society — from the specific actions of world governments to larger trends in social awareness and thinking. Certain events, most memorably Woodstock, became major social movements in their own right, further cementing the connection between Rock 'n' Roll and social commentary. Such connections, however, were not limited to the acts that headlined events like Woodstock.

The Need for Remove

If there were only a handful of identifiable trends in the developed world during the twentieth century, the increasing pace of life would definitely be among them. Social issues, military conflicts, the demands of business, a continuation of the shift away from agriculture, growing urbanization, and the ever-present anxiety of the Cold War all created a sense of hurry, frenzy, and worry that seemed to permeate daily life (Lindinger, 2010). This did not go unnoticed by the musicians of the era, even those considered less overtly socially conscious.

The Drifters and Their Place in Rock 'n' Roll

The Drifters can be classified as both a Rock 'n' Roll and an R&B group, as they were among the first to bridge from the latter genre to the former and helped define early Rock 'n' Roll (Eder, 2011). The group's 1953 single "Money Honey" is considered by some to be among the first Rock 'n' Roll recordings ever made (Eder, 2011). Internal politics and infighting plagued The Drifters for some time after the departure of their founding member and front man in 1954. In many ways this limited the group both musically and in terms of focus — the vocal group had become a money-making vehicle for its owner, George Treadwell, with a "revolving door" of different faces and voices cycling through the lineup (Eder, 2011). Such groups are not typically the places one would look for social commentary, and yet in 1963 The Drifters released a single with a significant and relevant message.

"Up on the Roof," like much of the music recorded by The Drifters, sits on the border between R&B and Rock 'n' Roll. Quite distant from the sounds of Bob Dylan, Jimi Hendrix, and other artists firmly associated with Rock 'n' Roll of the era, there is nonetheless a certain rhythm and feel to this song that places it on the periphery of the genre, making it one of the more popular songs of its style and period (Eder, 2011). It is also somewhat unusual in its message — not simply because it reflects a laid-back and relaxed posture rather than addressing a specific event, emotion, or grievance, but because of the particular angle from which that posture is presented.

Conclusion

If music is reflective of the society that makes it, the music of a fragmented society must be somewhat fragmented itself. The Drifters' "Up on the Roof" exemplifies one aspect of fragmentation in mid-twentieth-century American society. The problems of density and information overload have only intensified since 1963, yet the peaceful rooftops that might offer escape seem, if anything, scarcer than ever.

References

Eder, B. (2011). The Drifters. Retrieved August 11, 2011, from http://www.allmusic.com/artist/the-drifters-p4136/biography

Goffin, G., & King, C. (1963). Up on the Roof. Retrieved August 11, 2011, from http://www.lyricsmode.com/lyrics/t/the_drifters/up_on_the_roof.html

Lindinger, M. (2010). American Society in the '50s and '60s. Retrieved August 11, 2011, from http://sites.google.com/site/mrslindinger/Home/american-studies-ii-2/unit-vii-the-50s-and-60s