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Created page with '{{Other uses}} {{Refimprove|date=February 2007}} {{Infobox Music genre |name=Soul |bgcolor=orange |color=black |stylistic_origins=Rhythm and blues - Gospel …'
{{Other uses}}
{{Refimprove|date=February 2007}}
{{Infobox Music genre
|name=Soul
|bgcolor=orange
|color=black
|stylistic_origins=[[Rhythm and blues]] - [[Gospel music|Gospel]] - [[Doo-wop]]
|cultural_origins=Late 1950s, [[United States]]
|instruments=[[Electric Guitar|Guitar]] - [[Bass guitar|Bass]] - [[Piano]] - [[organ (music)|Organ]] - [[Drum Kit|Drums]] - [[Horn section]] - [[Keyboard instrument|Keyboards]] - [[Singing|Vocals]]
|popularity=International, 1960s through early 1980s
|derivatives=[[Contemporary R&B]] - [[Disco]] - [[Funk]] - [[Quiet Storm]] - [[Brokenbeat]]
|subgenrelist=List of soul genres
|subgenres= [[Blue-eyed soul]] - [[Brown-eyed soul]] - [[Motown Records#The Motown Sound|Motown Sound]] - [[Psychedelic soul]] - [[Smooth soul]]
|fusiongenres=[[Neo soul]] - [[Soul blues]] - [[Soul jazz]] - [[Spoken word soul]] - [[Nu jazz]]
|regional_scenes=[[British soul]] - [[Chicago soul]] - [[Detroit soul]] - [[Memphis soul]] - [[New Orleans soul]] - [[Northern soul]] - [[Philly soul]] - [[Southern soul]]
|other_topics=[[List of soul musicians|Soul Musicians]]
}}
'''Soul music''' is a [[music genre]] originating in the [[United States]] combining elements of [[gospel music]] and [[rhythm and blues]].<ref name=valter>{{cite book|author=Valter Ojakäär|title=Popmuusikast|publisher=Eesti Raamat|year=1983}}</ref> According to the [[Rock and Roll Hall of Fame]], soul is "music that arose out of the [[African American culture|black experience in America]] through the transmutation of gospel and rhythm & blues into a form of [[funk]]y, [[Secularity|secular]] testifying."<ref>[http://www.rockhall.com/hof/inductee.asp?id=177 Otis Redding<!-- Bot generated title -->]</ref> Catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a [[Call and response (music)|call and response]] between the soloist and the chorus, and an especially tense vocal sound. The genre also occasionally uses [[Musical improvisation|improvisational]] additions, twirls and auxiliary sounds.<ref name=valter/>
== Origins ==
{{Refimprove|date=June 2010}}
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.<ref>[http://www.etymonline.com/index.php?term=soul "Soul" at Online Etymological Dictionary]</ref>
[[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]]),<ref name="white">White, Charles. (2003), p. 229. ''The Life and Times of Little Richard: The Authorised Biography.'' Omnibus Press.</ref> [[Fats Domino]] and [[James Brown]] originally called themselves [[rock and roll]] performers.{{Citation needed|date=September 2009}} 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.{{Citation needed|date=September 2009}} 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.<ref>Frederick Douglass Opie, Hog and Hominy: Soul Food from Africa to America, (Columbia University Press 2008), chapter 7</ref>
[[Aretha Franklin]]'s 1967 recordings, such as "I Never Loved a Man (The Way I Love You)", "[[Respect (song)|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.{{Citation needed|date=September 2009}} In the late 1960s, [[Stax]] artists such as [[Eddie Floyd]] and [[Johnnie Taylor]] made significant contributions to soul music.{{Citation needed|date=September 2009}} [[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.{{Citation needed|date=September 2009}}
=== Geographical origins ===
{{Unreferenced section|date=January 2009}}
Many{{Who|date=January 2009}} consider the birthplace of soul music to be northern [[United States]] inner cities, particularly [[Chicago]]. Other cities, such as [[New York City|New York]], [[Detroit]], [[Memphis, Tennessee|Memphis]] and [[Florence, Alabama|Florence]], quickly followed, creating their own soul styles based on their regional gospel roots.
Florence, Alabama, was the home of [[FAME Studios]]. [[Jimmy Hughes (singer)|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 (musician)|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 (musician)|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.
== 1970s ==
{{Unreferenced section|date=January 2009}}
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 (music)|Willie Mitchell's]]' Royal Recording in Memphis. Mitchell's [[Hi Records]] continued the [[Stax Records|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 Records|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 (musician)|James Brown]] led soul towards [[funk]] music, which became typified by 1970s bands like [[Parliament-Funkadelic]] and [[The Meters]]. More versatile groups like [[War (band)|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 (soul music)|The Spinners]] continued to turn out hits.
== 1980s and later ==
{{Unreferenced section|date=January 2009}}
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 [[Jimmy Jam and Terry Lewis|Terry Lewis]] (former members of [[The Time]]), [[L.A. Reid]] and [[Kenneth "Babyface" Edmonds|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 (band)|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 (band)|Sade]].
Writer and producer [[Teddy Riley (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.
The United States saw the development of [[neo-soul]] around 1994. Mainstream [[record label]] marketing support for soul genres cooled in the 2000s due to the industry's re-focus on hip hop.
In the fifth season of Fox's [[American Idol]], [[Taylor Hicks]] won the show and has a fan club called the [[Taylor Hicks#Soul Patrol|Soul Patrol]] which is a reflection of the genre he prefers to sing.
== Subgenres ==
=== Detroit (Motown) soul ===
{{Further|[[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, [[violin]]s and [[Bell (instrument)|bells]]. Motown Records' house band was [[The Funk Brothers]].
=== Deep soul and southern soul ===
{{Further|[[Deep soul]] and [[Southern soul]]}}
The terms ''deep soul'' and ''southern soul'' generally refer to a driving, energetic soul style combining [[Rhythm & Blues|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]]).
=== Memphis soul ===
{{Further|[[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 (musician)|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 ===
{{Unreferenced section|date=January 2009}}
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.
=== Chicago soul ===
{{Further|[[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 (singer)|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]].
=== Philadelphia soul ===
{{Further|[[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.
=== Psychedelic soul ===
{{Further|[[Psychedelic soul]]}}
Psychedelic soul was a blend of [[psychedelic rock]] and soul music in the late 1960s, which paved the way for the mainstream emergence of [[funk]] music a few years later.
=== Blue-eyed soul ===
{{Further|[[Blue-eyed soul]]}}
Blue-eyed soul is a term used to describe [[Rhythm and Blues|R&B]] or soul music performed by [[White (people)|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 [[United Kingdom|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 genre]]s that are influenced by soul music.
=== British Soul ===
{{Main|British soul}}
Soul has been a major influence on British popular music since the 1960s including bands of the [[British Invasion]], most significantly [[The Beatles]].<ref>P. Humphries, ''The Complete Guide to the Music of the Beatles'' (Music Sales Group, 1998), p. 83.</ref> There were a handful of significant British [[Blue-eyed soul]] acts, including [[Dusty Springfield]] and [[Tom Jones (singer)|Tom Jones]].<ref>R. Gulla, ''Icons of R&B and soul: an encyclopedia of the artists who revolutionized rhythm'' (Greenwood Publishing Group, 2008), p. xxii.</ref> 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 (band)|Sade]], [[Simply Red]], [[Lisa Stansfield]] and [[Soul II Soul]] enjoyed commercial success.<ref name=Wald1997>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.</ref> The popularity of British soul artists in the U.S., most notably [[Amy Winehouse]], [[Estelle (musician)|Estelle]], [[Joss Stone]] and [[Leona Lewis]] led to talk of a third British Invasion or soul invasion in the 2000s.<ref>[http://www.canada.com/topics/entertainment/story.html?id=eae2e9c5-d992-4afc-ab23-0bb8046b1bcb Selling their soul: women leading the way in R&B British invasion] Canada.com June 9, 2008</ref><ref>[http://thedailyvoice.com/voice/2008/04/the-new-british-invasion-soul-000485.php The New British Invasion: Soul Divas 2008] The Daily Voice April 30, 2008</ref>
=== Neo soul ===
{{Further|[[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 ===
{{Further|[[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.<ref>[http://www.chrishunt.biz/features05.html''For Dancers Only''] by [[Chris Hunt]], ''Mojo''. 2002]</ref> The term refers to rare soul music that was played by DJs at [[nightclub]]s in [[northern England]]. The playlists originally consisted of obscure 1960s and early 1970s [[United States|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 ===
{{Further|[[Nu jazz]] and [[Electronica]]}}
Many artists in various genres of [[electronic music]] (such as [[House music|house]], [[drum n bass]], [[UK garage]], and [[downtempo]]) are heavily influenced by soul, and have produced many soul-inspired compositions.
== See also ==
{{Portal box|African American|R&B and Soul Music}}
* [[Easy listening]]
* [[List of soul musicians]]
* [[Spoken word soul]]
== References ==
{{Reflist}}
== Bibliography ==
* 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.
== External links ==
* [http://www.soulbible.blogspot.com Soul Bible] - Looking back at some of the best soul tracks of the 1980s
* [http://www.digitaldreamdoor.com/pages/best_rb-songs.html 100 Greatest 'Classic' R&B/Soul Songs - 50s-70s]
* [http://www.soulbounce.com SoulBounce (Blogs, Podcast, Reviews)]
* [http://www.digitaldreamdoor.com/pages/best_rb-ballads.html 100 Greatest R&B/Soul Ballads]
* [http://www.getbluesinfo.com Getbluesinfo.com] - Southern Soul/Blues Channel
{{Soulmusic}}
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[[Category:African American music]]
[[Category:Culture of the Southern United States]]
[[Category:Soul music]]
[[Category:Radio formats]]
[[Category:Rhythm and blues music genres]]
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{{Refimprove|date=February 2007}}
{{Infobox Music genre
|name=Soul
|bgcolor=orange
|color=black
|stylistic_origins=[[Rhythm and blues]] - [[Gospel music|Gospel]] - [[Doo-wop]]
|cultural_origins=Late 1950s, [[United States]]
|instruments=[[Electric Guitar|Guitar]] - [[Bass guitar|Bass]] - [[Piano]] - [[organ (music)|Organ]] - [[Drum Kit|Drums]] - [[Horn section]] - [[Keyboard instrument|Keyboards]] - [[Singing|Vocals]]
|popularity=International, 1960s through early 1980s
|derivatives=[[Contemporary R&B]] - [[Disco]] - [[Funk]] - [[Quiet Storm]] - [[Brokenbeat]]
|subgenrelist=List of soul genres
|subgenres= [[Blue-eyed soul]] - [[Brown-eyed soul]] - [[Motown Records#The Motown Sound|Motown Sound]] - [[Psychedelic soul]] - [[Smooth soul]]
|fusiongenres=[[Neo soul]] - [[Soul blues]] - [[Soul jazz]] - [[Spoken word soul]] - [[Nu jazz]]
|regional_scenes=[[British soul]] - [[Chicago soul]] - [[Detroit soul]] - [[Memphis soul]] - [[New Orleans soul]] - [[Northern soul]] - [[Philly soul]] - [[Southern soul]]
|other_topics=[[List of soul musicians|Soul Musicians]]
}}
'''Soul music''' is a [[music genre]] originating in the [[United States]] combining elements of [[gospel music]] and [[rhythm and blues]].<ref name=valter>{{cite book|author=Valter Ojakäär|title=Popmuusikast|publisher=Eesti Raamat|year=1983}}</ref> According to the [[Rock and Roll Hall of Fame]], soul is "music that arose out of the [[African American culture|black experience in America]] through the transmutation of gospel and rhythm & blues into a form of [[funk]]y, [[Secularity|secular]] testifying."<ref>[http://www.rockhall.com/hof/inductee.asp?id=177 Otis Redding<!-- Bot generated title -->]</ref> Catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a [[Call and response (music)|call and response]] between the soloist and the chorus, and an especially tense vocal sound. The genre also occasionally uses [[Musical improvisation|improvisational]] additions, twirls and auxiliary sounds.<ref name=valter/>
== Origins ==
{{Refimprove|date=June 2010}}
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.<ref>[http://www.etymonline.com/index.php?term=soul "Soul" at Online Etymological Dictionary]</ref>
[[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]]),<ref name="white">White, Charles. (2003), p. 229. ''The Life and Times of Little Richard: The Authorised Biography.'' Omnibus Press.</ref> [[Fats Domino]] and [[James Brown]] originally called themselves [[rock and roll]] performers.{{Citation needed|date=September 2009}} 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.{{Citation needed|date=September 2009}} 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.<ref>Frederick Douglass Opie, Hog and Hominy: Soul Food from Africa to America, (Columbia University Press 2008), chapter 7</ref>
[[Aretha Franklin]]'s 1967 recordings, such as "I Never Loved a Man (The Way I Love You)", "[[Respect (song)|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.{{Citation needed|date=September 2009}} In the late 1960s, [[Stax]] artists such as [[Eddie Floyd]] and [[Johnnie Taylor]] made significant contributions to soul music.{{Citation needed|date=September 2009}} [[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.{{Citation needed|date=September 2009}}
=== Geographical origins ===
{{Unreferenced section|date=January 2009}}
Many{{Who|date=January 2009}} consider the birthplace of soul music to be northern [[United States]] inner cities, particularly [[Chicago]]. Other cities, such as [[New York City|New York]], [[Detroit]], [[Memphis, Tennessee|Memphis]] and [[Florence, Alabama|Florence]], quickly followed, creating their own soul styles based on their regional gospel roots.
Florence, Alabama, was the home of [[FAME Studios]]. [[Jimmy Hughes (singer)|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 (musician)|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 (musician)|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.
== 1970s ==
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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 (music)|Willie Mitchell's]]' Royal Recording in Memphis. Mitchell's [[Hi Records]] continued the [[Stax Records|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 Records|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 (musician)|James Brown]] led soul towards [[funk]] music, which became typified by 1970s bands like [[Parliament-Funkadelic]] and [[The Meters]]. More versatile groups like [[War (band)|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 (soul music)|The Spinners]] continued to turn out hits.
== 1980s and later ==
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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 [[Jimmy Jam and Terry Lewis|Terry Lewis]] (former members of [[The Time]]), [[L.A. Reid]] and [[Kenneth "Babyface" Edmonds|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 (band)|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 (band)|Sade]].
Writer and producer [[Teddy Riley (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.
The United States saw the development of [[neo-soul]] around 1994. Mainstream [[record label]] marketing support for soul genres cooled in the 2000s due to the industry's re-focus on hip hop.
In the fifth season of Fox's [[American Idol]], [[Taylor Hicks]] won the show and has a fan club called the [[Taylor Hicks#Soul Patrol|Soul Patrol]] which is a reflection of the genre he prefers to sing.
== Subgenres ==
=== Detroit (Motown) soul ===
{{Further|[[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, [[violin]]s and [[Bell (instrument)|bells]]. Motown Records' house band was [[The Funk Brothers]].
=== Deep soul and southern soul ===
{{Further|[[Deep soul]] and [[Southern soul]]}}
The terms ''deep soul'' and ''southern soul'' generally refer to a driving, energetic soul style combining [[Rhythm & Blues|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]]).
=== Memphis soul ===
{{Further|[[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 (musician)|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 ===
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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.
=== Chicago soul ===
{{Further|[[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 (singer)|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]].
=== Philadelphia soul ===
{{Further|[[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.
=== Psychedelic soul ===
{{Further|[[Psychedelic soul]]}}
Psychedelic soul was a blend of [[psychedelic rock]] and soul music in the late 1960s, which paved the way for the mainstream emergence of [[funk]] music a few years later.
=== Blue-eyed soul ===
{{Further|[[Blue-eyed soul]]}}
Blue-eyed soul is a term used to describe [[Rhythm and Blues|R&B]] or soul music performed by [[White (people)|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 [[United Kingdom|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 genre]]s that are influenced by soul music.
=== British Soul ===
{{Main|British soul}}
Soul has been a major influence on British popular music since the 1960s including bands of the [[British Invasion]], most significantly [[The Beatles]].<ref>P. Humphries, ''The Complete Guide to the Music of the Beatles'' (Music Sales Group, 1998), p. 83.</ref> There were a handful of significant British [[Blue-eyed soul]] acts, including [[Dusty Springfield]] and [[Tom Jones (singer)|Tom Jones]].<ref>R. Gulla, ''Icons of R&B and soul: an encyclopedia of the artists who revolutionized rhythm'' (Greenwood Publishing Group, 2008), p. xxii.</ref> 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 (band)|Sade]], [[Simply Red]], [[Lisa Stansfield]] and [[Soul II Soul]] enjoyed commercial success.<ref name=Wald1997>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.</ref> The popularity of British soul artists in the U.S., most notably [[Amy Winehouse]], [[Estelle (musician)|Estelle]], [[Joss Stone]] and [[Leona Lewis]] led to talk of a third British Invasion or soul invasion in the 2000s.<ref>[http://www.canada.com/topics/entertainment/story.html?id=eae2e9c5-d992-4afc-ab23-0bb8046b1bcb Selling their soul: women leading the way in R&B British invasion] Canada.com June 9, 2008</ref><ref>[http://thedailyvoice.com/voice/2008/04/the-new-british-invasion-soul-000485.php The New British Invasion: Soul Divas 2008] The Daily Voice April 30, 2008</ref>
=== Neo soul ===
{{Further|[[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 ===
{{Further|[[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.<ref>[http://www.chrishunt.biz/features05.html''For Dancers Only''] by [[Chris Hunt]], ''Mojo''. 2002]</ref> The term refers to rare soul music that was played by DJs at [[nightclub]]s in [[northern England]]. The playlists originally consisted of obscure 1960s and early 1970s [[United States|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 ===
{{Further|[[Nu jazz]] and [[Electronica]]}}
Many artists in various genres of [[electronic music]] (such as [[House music|house]], [[drum n bass]], [[UK garage]], and [[downtempo]]) are heavily influenced by soul, and have produced many soul-inspired compositions.
== See also ==
{{Portal box|African American|R&B and Soul Music}}
* [[Easy listening]]
* [[List of soul musicians]]
* [[Spoken word soul]]
== References ==
{{Reflist}}
== Bibliography ==
* 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.
== External links ==
* [http://www.soulbible.blogspot.com Soul Bible] - Looking back at some of the best soul tracks of the 1980s
* [http://www.digitaldreamdoor.com/pages/best_rb-songs.html 100 Greatest 'Classic' R&B/Soul Songs - 50s-70s]
* [http://www.soulbounce.com SoulBounce (Blogs, Podcast, Reviews)]
* [http://www.digitaldreamdoor.com/pages/best_rb-ballads.html 100 Greatest R&B/Soul Ballads]
* [http://www.getbluesinfo.com Getbluesinfo.com] - Southern Soul/Blues Channel
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