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Template:Infobox Music genre Soul music is a music genre originating in the United States combining elements of gospel music and rhythm and blues. According to the Rock and Roll Hall of Fame, soul is "music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying." Catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a call and response between the soloist and the chorus, and an especially tense vocal sound. The genre also occasionally uses improvisational additions, twirls and auxiliary sounds.
- 1 Origins
- 2 1970s
- 3 1980s and later
- 4 Subgenres
- 5 See also
- 6 References
- 7 Bibliography
- 8 External links
Template:Refimprove Soul music has its roots in gospel music and rhythm and blues. The hard gospel vocal quartets of the 1940s and 1950s were big influences on major soul singers of the 1960s. The term "soul music" itself, to describe gospel-style music with secular lyrics, is first attested in 1961.
Ray Charles is often cited as inventing the soul genre with his string of hits starting with 1954's "I Got a Woman". Charles was open in acknowledging the influence of Pilgrim Travelers vocalist Jesse Whitaker on his singing style. Another view has it that a decade would transpire until Solomon Burke's early recordings for Atlantic Records codified the soul style; his early 1960s songs "Cry to Me", "Just Out of Reach" and "Down in the Valley" are considered classics of the genre. Little Richard (who was the inspiration for Otis Redding), Fats Domino and James Brown originally called themselves rock and roll performers.Template:Citation needed However, as rock music moved away from its R&B roots in the 1960s, Brown claimed that he had always really been an R&B singer.Template:Citation needed Little Richard proclaimed himself the "king of rockin' and rollin', rhythm and blues soulin'", because his music embodied elements of all three, and because he inspired artists in all three genres.
Aretha Franklin's 1967 recordings, such as "I Never Loved a Man (The Way I Love You)", "Respect" (originally sung by Otis Redding), and "Do Right Woman-Do Right Man", are considered the apogee of the soul genre, and were among its most commercially successful productions.Template:Citation needed In the late 1960s, Stax artists such as Eddie Floyd and Johnnie Taylor made significant contributions to soul music.Template:Citation needed Howard Tate's recordings in the late 1960s for Verve Records, and later for Atlantic (produced by Jerry Ragovoy) are another notable body of work in the soul genre. By 1968, the soul music movement had begun to splinter, as artists such as James Brown and Sly & the Family Stone began to incorporate new styles into their music.Template:Citation needed
Template:Unreferenced section ManyTemplate:Who consider the birthplace of soul music to be northern United States inner cities, particularly Chicago. Other cities, such as New York, Detroit, Memphis and Florence, quickly followed, creating their own soul styles based on their regional gospel roots.
Florence, Alabama, was the home of FAME Studios. Jimmy Hughes, Percy Sledge and Arthur Alexander recorded at Fame, and Aretha Franklin recorded in the area later in the 1960s. Fame Studios (often referred to as Muscle Shoals after a nearby town) enjoyed a close relationship with the Memphis label Stax Records, and many of the musicians and producers who worked in Memphis contributed to recordings in Alabama. Another notable Memphis label was Goldwax Records, which signed O.V. Wright and James Carr. Carr's "The Dark End of the Street" (written by Chips Moman and Dan Penn) was recorded in 1967 at two other Memphis studios, Royal Recording and American Sound Studios. American Sound Studios owner Chips Moman produced "The Dark End of the Street", and the musicians were his house band of Reggie Young, Bobby Woods, Tommy Cogbill and Gene Chrisman. Carr also recorded songs at Fame Studio with musicians David Hood, Jimmy Johnson and Roger Hawkins.
The Detroit-based Motown Records also contributed to the soul canon in the 1960s, although at the time, the label described itself as a manufacturer of pop music. Music by Motown artists such as Stevie Wonder, Gladys Knight & the Pips, Marvin Gaye, the Temptations, and the Supremes did much to popularize what became known as the Motown sound.
In Chicago, Curtis Mayfield helped develop the sweet soul sound that later earned him a reputation as the Godfather of northern soul. As a member of The Impressions, Mayfield infused a call and response style of group singing that came out of gospel, and influenced many other groups of the era, notably fellow Chicago artists the Radiants.
Template:Unreferenced section Later examples of soul music include recordings by The Staple Singers (such as I'll Take You There), and Al Green's 1970s recordings, done at Willie Mitchell's' Royal Recording in Memphis. Mitchell's Hi Records continued the Stax tradition in that decade, releasing many hits by Green, Ann Peebles, Otis Clay, O.V. Wright and Syl Johnson. Bobby Womack, who recorded with Chips Moman in the late 1960s, continued to produce soul recordings in the 1970s and 1980s.
In Detroit, producer Don Davis worked with Stax artists such as Johnnie Taylor and The Dramatics. Early 1970s recordings by The Detroit Emeralds, such as Do Me Right, are a link between soul and the later disco style. Motown Records artists such as Marvin Gaye, Michael Jackson, Stevie Wonder and Smokey Robinson contributed to the evolution of soul music, although their recordings were considered more in a pop music vein than those of Redding, Franklin and Carr. Although stylistically different from classic soul music, recordings by Chicago-based artists are often considered part of the genre.
By the early 1970s, soul music had been influenced by psychedelic rock and other genres. The social and political ferment of the times inspired artists like Gaye and Curtis Mayfield to release album-length statements with hard-hitting social commentary. Artists like James Brown led soul towards funk music, which became typified by 1970s bands like Parliament-Funkadelic and The Meters. More versatile groups like War, the Commodores and Earth, Wind and Fire became popular around this time. During the 1970s, some slick and commercial blue-eyed soul acts like Philadelphia's Hall & Oates and Oakland's Tower of Power achieved mainstream success, as did a new generation of street-corner harmony or city-soul groups like The Delfonics and Howard University's Unifics. By the end of the 1970s, disco and funk were dominating the charts. Philly soul and most other soul genres were dominated by disco-inflected tracks. During this period, groups like The O'Jays and The Spinners continued to turn out hits.
1980s and later
Template:Unreferenced section The emergence of hip hop culture in the 1970s greatly influenced the soul music that followed in the 1980s. Afrika Bambaata & The Soulsonic Force had hits with a new electronic sound, with songs such as "Planet Rock" and "Looking For The Perfect Beat". Soul music-makers realised they would have to make their beats bigger, and also find a way of fusing soul with drum machines and synthesizers. Production teams like "Jimmy Jam" and Terry Lewis (former members of The Time), L.A. Reid and Babyface created a harder but also lusher almost epic soul sound which had a greater focus on beat and rhythm over vocals, providing endless hits for Janet Jackson, TLC, Alexander O'Neal, The SOS Band and Bobby Brown. Still, many soul singers rose to prominence such as Michael Jackson, Whitney Houston, Anita Baker, and Sade.
Writer and producer Teddy Riley and others created new jack swing (also known as swingbeat), which fused soul and hip hop. Riley's sound consisted of hip hop beats, gospel and jazz melodies, and a raw and sparse sound.
After the decline of disco and funk in the early 1980s, soul music became influenced by electro music. It became less raw and more slickly produced, resulting in a style known as contemporary R&B, which sounded very different from the original rhythm and blues style.
In mid 1980s Chicago, house music was heavily influenced by soul, funk and disco. This was mainly made using synthesizers and other electronic equipment. House and techno rose to mainstream popularity in the late 1980s and remained popular in the 1990s and 2000s. Also starting in the 1980s, soul music from the United Kingdom become popular worldwide.
Detroit (Motown) soul
- Further information: Motown Records
Dominated by Berry Gordy's Motown Records empire, Detroit soul is strongly rhythmic and influenced by gospel music. The Motown sound often includes hand clapping, a powerful bass line, violins and bells. Motown Records' house band was The Funk Brothers.
Deep soul and southern soul
The terms deep soul and southern soul generally refer to a driving, energetic soul style combining R&B's energy with pulsating southern United States gospel music sounds. Memphis, Tennessee label Stax Records nurtured a distinctive sound, which included putting vocals further back in the mix than most contemporary R&B records, using vibrant horn parts in place of background vocals, and a focus on the low end of the frequency spectrum. The vast majority of Stax releases were backed by house bands Booker T and the MGs (with Booker T. Jones, Steve Cropper, Duck Dunn, and Al Jackson) and the Memphis Horns (the splinter horn section of the March-Keys).
- Further information: Memphis soul
Memphis soul is a shimmering, sultry style of soul music produced in the 1960s and 1970s at Stax Records and Hi Records in Memphis, Tennessee. It featured melancholic and melodic horns, organ, bass, and drums, as heard in recordings by Hi's Al Green and Stax's Booker T. & the M.G.'s. The latter group also sometimes played in the harder-edged Southern soul style. The Hi Records house band (Hi Rhythm Section) and producer Willie Mitchell developed a surging soul style heard in the label's 1970s hit recordings. Some Stax recordings fit into this style, but had their own unique sound.
New Orleans soul
Template:Unreferenced section The New Orleans soul scene directly came out of the rhythm and blues era, when such artists as Little Richard, Fats Domino, and Huey Piano Smith made a huge impact on the pop and R&B charts and a huge directly influence for the birth of the Funk music . The principal architect of Crescent City’s soul was songwriter, arranger, and producer Allen Toussaint. He worked with such artists as Irma Thomas (“the Soul Queen of New Orleans”), Jessie Hill, Kris Kenner, Benny Spellman, and Ernie K. Doe on the Minit/Instant label complex to produced a distinctive New Orleans soul sound generating a passel of national hits. Other notable New Orleans hits came from Robert Parker, Betty Harris, and Aaron Neville. While record labels in New Orleans largely disappeared by the mid-1960s, producers in the city continued to record New Orleans soul artists for other mainly New York and Los Angeles record labels—notably Lee Dorsey for New York–based Amy Records and the Meters for New York–based Josie and then LA-based Reprise.
- Further information: Chicago soul
Chicago soul generally had a light gospel-influenced sound, but the large number of record labels based in the city tended to produce a more diverse sound than other cities. Vee Jay Records, which lasted until 1966, produced recordings by Jerry Butler, Betty Everett, Dee Clark, and Gene Chandler. Chess Records, mainly a blues and rock and roll label, produced a number of major soul artists. Mayfield not only scored many hits with his group, The Impressions, but wrote many hit songs for Chicago artists and produced hits on his own labels for The Fascinations and the Five Stairsteps.
- Further information: Philadelphia soul
Based primarily in the Philadelphia International record label, Philadelphia soul (AKA Philly Soul) had a lush orchestral sound and doo-wop-inspired vocals. Thom Bell, and Kenneth Gamble & Leon Huff are considered the founders of Philadelphia soul.
- Further information: Psychedelic soul
- Further information: Blue-eyed soul
Blue-eyed soul is a term used to describe R&B or soul music performed by white artists. The term doesn't refer to a distinct style of music, and the meaning of blue-eyed soul has evolved over decades. Originally the term was associated with mid-1960s white artists who performed soul and R&B that was similar to the music released by Motown Records and Stax Records. The term continued to be used in the 1970s and 1980s, particularly by the British media to describe a new generation of singers who adopted elements of the Stax and Motown sounds. To a lesser extent, the term has been applied to singers in other music genres that are influenced by soul music.
Soul has been a major influence on British popular music since the 1960s including bands of the British Invasion, most significantly The Beatles. There were a handful of significant British Blue-eyed soul acts, including Dusty Springfield and Tom Jones. American soul was extremely popular among some youth sub-cultures like the Northern soul and Modern soul movements, but a clear genre of British soul did not emerge until the 1980s when a number of artists including George Michael, Sade, Simply Red, Lisa Stansfield and Soul II Soul enjoyed commercial success. The popularity of British soul artists in the U.S., most notably Amy Winehouse, Estelle, Joss Stone and Leona Lewis led to talk of a third British Invasion or soul invasion in the 2000s.
- Further information: Neo soul
The term neo soul is a marketing phrase coined by producer and record label executive Kedar Massenburg to describe a musical blend of 1970s soul-style vocals and instrumentation with contemporary R&B sounds, hip hop beats and poetic interludes. The style was developed in the early to mid 1990s. A key element in neo soul is a heavy dose of Fender Rhodes or Wurlitzer electric piano pads over a mellow, grooving interplay between the drums (usually with a rim shot snare sound) and a muted, deep funky bass. The Fender Rhodes piano sound gives the music a warm, organic character.
Northern soul and modern soul
The phrase northern soul was coined by journalist Dave Godin and popularised in 1970 through his column in Blues and Soul magazine. The term refers to rare soul music that was played by DJs at nightclubs in northern England. The playlists originally consisted of obscure 1960s and early 1970s American soul recordings with an uptempo beat, such as those on Motown Records and more obscure labels such as Okeh Records. Modern soul developed when northern soul DJs began looking in record shops in the United States and United Kingdom for music that was more complex and contemporary. What emerged was a richer sound that was more advanced in terms of Hi-Fi and FM radio technology.
Nu-Jazz and soulful electronica
- ^ a b Template:Citation/core
- ^ Otis Redding
- ^ "Soul" at Online Etymological Dictionary
- ^ White, Charles. (2003), p. 229. The Life and Times of Little Richard: The Authorised Biography. Omnibus Press.
- ^ Frederick Douglass Opie, Hog and Hominy: Soul Food from Africa to America, (Columbia University Press 2008), chapter 7
- ^ P. Humphries, The Complete Guide to the Music of the Beatles (Music Sales Group, 1998), p. 83.
- ^ R. Gulla, Icons of R&B and soul: an encyclopedia of the artists who revolutionized rhythm (Greenwood Publishing Group, 2008), p. xxii.
- ^ G. Wald, "Soul's Revival: White Soul, Nostalgia and the Culturally Constructed Past, M. Guillory and R. C. Green, Soul: Black power, politics, and pleasure (New York University Press, 1997), pp. 139–58.
- ^ Selling their soul: women leading the way in R&B British invasion Canada.com June 9, 2008
- ^ The New British Invasion: Soul Divas 2008 The Daily Voice April 30, 2008
- ^ For Dancers Only by Chris Hunt, Mojo. 2002]
- Cummings, Tony (1975). The Sound of Philadelphia. London: Eyre Methuen.
- Escott, Colin. (1995). Liner notes for The Essential James Carr. Razor and Tie Records.
- Gillett, Charlie (1974). Making Tracks. New York: E. P. Dutton.
- Guralnick, Peter (1986). Sweet Soul Music. New York: Harper & Row.
- Hannusch, Jeff (1985). I Hear You Knockin': The Sound of New Orleans Rhythm and Blues. Ville Platte, LA: Swallow Publications. ISBN 0-9614245-0-8.
- Hoskyns, Barney (1987). Say it One More Time for the Broken Hearted. Glasgow: Fontana/Collins.
- Jackson, John A. (2004). A House on Fire: The Rise and Fall of Philadelphia Soul. New York: Oxford University Press. ISBN 0-195-14972-6.
- Miller, Jim (editor) (1976). The Rolling Stone Illustrated History of Rock & Roll. New York: Rolling Stone Press/Random House. ISBN 0-394-73238-3. (Chapter on "Soul," by Guralnick, Peter. pp. 194–197.
- Pruter, Robert (1991). Urbana, Illinois: University of Illinois Press. ISBN 0-252-01676-9.
- Pruter, Robert, editor (1993). Blackwell Guide to Soul Recordings. Oxford: Basil Blackwell Ltd. ISBN 0-631-18595-X
- Walker, Don (1985). The Motown Story. New York: Charles Scribner's Sons.
- Soul Bible - Looking back at some of the best soul tracks of the 1980s
- 100 Greatest 'Classic' R&B/Soul Songs - 50s-70s
- SoulBounce (Blogs, Podcast, Reviews)
- 100 Greatest R&B/Soul Ballads
- Getbluesinfo.com - Southern Soul/Blues Channel
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