SoulElements from gospel music:- Freedom of performance (improvisation)- Gospel vocal inflections- melisma (elongated next to last syllable)- Religious fervor (feeling)- Call and response performanceElements from rhythm and blues:- Instrumentationo Drumso Basso Pianoo Hornso Backing vocalso Some guitar- Hard-driving rhythms- Fast tempos- Aggressive, electrifying performancesRay Charles (1930-2004)*represents transition from R&B to Soul*Influences:- Guitar Slim (c. 1953)- Hank Williams- Nat “King” ColeStyle Characteristics:- Gospel chord progressionso Tonic/subdominant chord relationso Minor 3rds, 7ths rather than blue 3rds, 7ths- Horn section resembles backing choir- Emotionally charged singing styleo Raspy, full throated vocalso Sudden swoops, falsetto shriekso Sense of wild abandonExamples:- I’ve Got a Woman (1955)o Contrafact: new words put to the same music Built his career by doing contrafacta of gospel songs Was an issue because secular was not supposed to be mixed with sacredo Was a gospel song, but made the lyrics more risqué- What’s I Say (1959)The Memphis Soul Sound- Stax/Volt Records (Memphis, TN)- Fame Records (Muscle Shoals, AL)- Atlantic Records (Atlanta, GA)Booker T. and the MGs- House band at Stax/Volt- Booker T. Jones- keyboardso “Soul of Stax Records”- Al Jackson- drums- Steve Cropper- guitar- Donald “Duck” Dunn- bass- The Markeys- backup singers- As their own group, their biggest hit was Green Onions (1962)Style Characteristics:- Heavy accent on the beat and rhythm- Prominent recording of drums- Staccato, percussive horn sound- Growly, rasping sound supports melody- Jazz-like organ sound- Trebly, tinny (rockabilly) guitar- Slight delay of backbeatMid-1960s Soul ArtistsMost songs recorded in Stax/Volt Records- Sam and Daveo Hold On (I’m Comin’) (1966)o Soul Man (1967)- Paercy Sledgeo When A Man Loves A Woman (1966)- Wilson Picketto In the Midnight Hour (1965)o Land of 1000 Dances (1966)- Otis Reddingo I’ve Been Loving You Too Long (1965)o (Sittin’ on the) Dock of the Bay (1967)James Brown (1933-2006)Swannees Gospel Group (1952)James Brown and the Famous Flames (1956)- Raspy, full throated vocals- Percussive backing band- Gospel oriented chord progressions- Triplet figure in background (New Orleans Rock ‘n’ Roll)- Gospel/Vocal Group Rock ‘n’ Roll backup singers- Strophic, repetitive- Intense, dramatic performancePlease, Please, Please (1956)Other characteristics:- Choked guitar- Bass staccato, punchy- Hard-hitting, punchy horn sound (percussive)- Vamps: repetitive riffs played by band over which a singer can improvise; stops forward motion of the music slightly until the band is cued to continue; used to keep timeSay It Loud (I’m Black and I’m Proud)Precursor to rap…Consistent, monochord riff acts as a vampAretha Franklin- “Lady of Soul”- Columbia Records, 1960- Respect (1967)The Sounds of PhiladelphiaPop SoulLong time center for rock ‘n’ roll- Vocal groups- Teen idols- American Bandstand with Dick ClarkPhiladelphia sound developed by producers- Kenny Gamble- Leon Huff- Thom Bell (producer, arranger)Philadelphia International (PI) record label is like Motown Records in DetroitStyle Characteristics:- Lyrical melodies over a driving rhythm- Punchy R&B blues horn section- Clean sounding guitars (plugged into the mixing boards)- Drums have full, clear sound quality- Simple, but sophisticated string arrangements- Band develops strong, dance-oriented rhythmic groove; later defines disco sound- House Band: MFSB (possibly Mothers Father Sisters Brothers or, underground, Mother Fuckers Sons of Bitches)- By the early 1970s, all instruments were plugged into the soundboard- More insistent dance groove, unlike Motown; led to the HustleThe OJays; Back Stabbers
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