"What'd I Say (Part I)," Ray Charles (Atlantic 1959)

Chapter 9 Soul and Motown Overview: Soul Music: Its Definition & History (1) Soul does not have a clear definition, except that it came up from gospel & blues Better definition=combine characteristics of R & B and gospel, and then allow the performer to utilize these elements w/ enough freedom to express his or her innermost feelings Has roots in the South--Mississippi Delta One of biggest names in gospel=thomas Dorsey Black music spread to white areas like: Detroit, Cincinnati, Chicago, Cleveland, New York City Overview: Soul Music: Its Definition & History (2) 1959--the Drifters reorganized w/ Ben E. King Hits= There Goes My Baby, Stand by Me, etc. Sam Cooke became model for other gospel singers to cross over to the white market 1957-- You Send Me Ray Charles w/ Raelettes-- I Got a Woman Combination of earthiness, emotionalism, & spirituality=funk Apollo Theater in Harlem bore many careers Overview: Soul Music: Its Definition & History (3) Had bird, car, royalty, & romance groups 1960s--southern-rooted suffering & pain of blues joined with joyful & unrestrained celebration of gospel Atlantic Records and Ahmet Ertegun & Jerry Wexler=synonymous with soul music Soul Music Off-shoot of r&b, doo-wop, and gospel -- infused by 60s civil rights protest music, but with few overt protests. Like r&b and doo-wop, soul had a regional base -- the south; many soul singers roots were in the south even if they resided elsewhere. Most soul records were recorded in southern locations -- the Stax/Volt studios in Memphis and the Fame or Quinn Ivy studios near Muscle Shoals, AL -- or in northern

locations with large African-American communities -- such as with Motown in Detroit. "Soul," the term, also transcends its purely musical meaning, becoming a term to refer to notions of "blackness," and a source of cultural pride for African-Americans. Soul Singer Pioneers Three performers are linked with the development soul music: Ray Charles [Robinson] (b. 1930): "the genius of soul" Sam Cooke (1935-1964): gospel/soul crossover, sweet soul James Brown (b. 1928): "the godfather of soul" Charles and Brown first established themselves as r&b singers, each had numerous hits in the 1950s, and both continued to develop musically. Cooke, a member of a gospel supergroup, the Soul Stirrers, made a career in popular music. All become even more popular as soul singers and role models for younger African-American performers as they expanded the soul sound and its audiences. "Dancing in the Street," Martha & the Vandellas (Gordy/Motown 1964) Written by Mickey Stevenson, Marvin Gaye, & Ivy Hunter A pop anthem that reflects African-American sensibilities of expression, celebration, and community. How? Also an anthem of the volatile 1960s. Soul music plays a vital part in the Black Power and Black Pride movements of the 1960s. Some soul music was overtly concerned with these movements -- James Brown's "SayIt Loud, I'm Black and I'm Proud" (1968) -- most of it, however, like Martha Reeves song, worked to support African-American solidarity more subtly. "Try a Little Tenderness," Otis Redding (Stax

1966) How does Otis Redding's recording of the same song differ? doesn't sound like the same song -- it's got soul explodes the fixed form into an ever expanding sound "wedge" soft to loud, fewer instruments to more, less rhythmic activity to more syncopated, controlled to over-the-top -- finally to the "gotta gotta" riff that "never" ends gritty, gospel shouter voice -- highly emotional gospel "preaching" rocking band w/ horns (includes Isaac Hayes on organ) "What'd I Say (Part I)," Ray Charles (Atlantic 1959) Produced by by Jerry Wexler and Ahmet Ertegun Simple, powerful elements organize this song -- describe them? constructed around a (Latin-influenced) blues piano riff over which Charles gives "gospel" shouts of a decidedly secular text (a "sermon" on rhythm and sex that got it banned on many white stations) ends with a call and response between Charles and horn section "You Send Me," Sam Cooke (1957) Cooke was an early crossover from gospel-- the Soul Stirrers -- to the secular "sweet soul sound, then still labeled r&b and a kind of doo-wop for adults. Recognized for his vocal abilities --his smooth, clear, and agile voice --and charismatic good looks, he was also a model of African-American self-sufficiency. A mentor to later gospel-to-soul crossovers, his musical achievements were matched by his business ones. He smartly refused to sign away his publishing rights to his songs, and created his own publishing company that gave him financial independence. Soul Singers Typically are emotional singers who are influenced by or come out of gospel music. Thus, one common element of most soul singers' vocal style is that they give the impression of being controlled, or strongly effected, by their emotions. Most soul singers' songs also share the call and response form -- voice against backup vocalists and/or horns -- with accompaniments derived more from gospel music than blues, and with an emphasis on hard driving, syncopated rhythms. Stax, Atlantic, & Motown Stax, Atlantic, & Motown

Three labels -- two closely related -- define soul: Stax: Memphis studio located in the old Capitol Theatre, defined soul through its session musicians, especially its main studio band Booker T. and the M.G.s, an ethnically mixed group that includes guitarist Steve Cropper, bassist "Duck" Dunn, and keyboardist Booker T. Jones. Atlantic: New York company that, with producer Jerry Wexler, recorded in Memphis at Stax and later at studios near Muscle Shoals, AL. Wexler's take on soul grew out of his love of black music and experience as an r&b producer. Motown: the Detroit (motor-town) label that rewrote the book of soul. Thanks to Berry Gordy's business and music sense, Motown reformulated the soul sound for a mass audience and made us "one nation under a groove." This black-owned, family-based company took the selfsufficiency text of the Black Pride movement and made it work. Atlantic & Stax (1) 1956--17 of that year s 81 Top 10 hits from: Clyde McPhatter, Ray Charles, La Vern Baker 1962--Wilson Pickett R & B hit Land of 1,000 Dances -- recorded in the south w/ its influences 1959--Satellite Records--1961 changed it to Stax Formed partnership w/ Atlantic, artists like Otis Redding, Sam & Dave, and Isaac Hayes Redding admired Sam Cooke & only had mild success--died in an airplane crash--only #1 pop chart hit The Dock of the Bay, posthumously Atlantic & Stax (2) Sam Moore & Dave Prater recorded Soul Man 1968--they each had several problems & drifted apart Isaac Hayes represents Stax s final years of success-- Theme from Shaft --#1 in 1971--won an Oscar Repetitive & insistent dance beat evolved into disco & Hayes is sometimes called the father of disco 1975--Stax filed for bankruptcy

By mid- 70s, soul had run its course--most big soul stars had lost their status "In the Midnight Hour," Wilson Pickett (Atlantic 1965) Like many soul singers, Pickett began singing in church, in his case in Detroit, then moved to a local r&b group, the Falcons. Recorded with the help of Atlantic's Jerry Wexler and the Stax studios, Pickett's "Midnight Hour" is co-written with guitarist Steve Cropper, who plays here with the Stax band, Booker T. and the M.G.s. Stax's relationship with Atlantic gave Wexler access to the Stax studios and gave Stax's performers national distribution through Atlantic's larger connections. The music is built from a bass pattern, guitar back-beat chording, and horn punches,w/ Pickett's aggressive vocal. "Knock On Wood," Eddie Floyd (Stax 1966) Also co-written with Steve Cropper Floyd, a friend of Pickett, was also a member of the Detroit group, the Falcons. Besides his own recordings for Stax, he wrote for a number of other performers including Carla Thomas, Soloman Burke, and Wilson Pickett. There is something notable here about the M.G.s' use of meter/rhythm: An easy groove; classic example of the M.G.s' laid-back (rhythmically delayed) backbeat. Aretha Franklin (b. 1942) Both Diana Ross and Aretha Franklin were born in Detroit during the postwar boon years. Franklin was the favored daughter of Rev. C. L. Franklin, a nationally recognized preacher through his widely heard radio broadcasts and recordings -- "The man with the golden voice." Franklin was raised to be the next great carrier of the gospel traditional after Mahalia Jackson. Ross was everything the term "crossover" then meant for soul. Franklin crystallized a "purer" African-American aesthetic Date of Birth: March 24, 1942 Geographic Region Where Aretha Franklin Made Her Greatest Impact: Detroit, Michigan Aretha Franklin is a wonderful singer. Her voice has contributed to both the gospel 'world' and the contemporary. She started singing gospel at the age of ten and turned to contemporary, with the influence of Dinah Washington.

In 1988 she was named the 'Queen of Soul'. Her father was a close friend of Reverand Martin Luther King Jr, a leader of the Civil Rights Movement. As a result Aretha,too, knew him well. She helped support the Civil Rights Movement through her album 'Respect'. Aretha has made many contributions through both her songs and activism. Aretha Franklin (1) Influenced by church music & Sam Cooke--spotted by John Hammond--Atlantic signed her & she went South--only #1 song= Respect Won many Grammy awards Had a gospel-soul sound that appealed to both blacks & whites Voice=incredible versatility & range from a sultry low contralto to a gospel-shouting soprano Adapted her abilities to variety of musical styles Aretha Franklin (2) When she sings a song, it becomes Aretha s Reveals not a lack of musical identity, but a forceful & secure one that can be applied to almost any song with no loss of individuality She left Atlantic & signed with Arista in 1979 She continued to be regarded as one of the most important artists on the music scene Aretha Franklin (2) When she sings a song, it becomes Aretha s Reveals not a lack of musical identity, but a forceful & secure one that can be applied to almost any song with no loss of individuality She left Atlantic & signed with Arista in 1979 She continued to be regarded as one of the most important artists on the music scene

"Respect," Aretha Franklin (Atlantic 1967) Franklin cover of an Otis Redding song produced by Wexler with an all-white band recruited from Muscle Shoals, is the reverse of the Motown sound. How? The original version, by Otis Redding, takes a key notion of the civil rights movement and moves it to a domestic level. What does the song mean as a women's medium? By comparison, Motown's sound seems "constructed," analogous the Supremes sequin dresses / Franklin's "Respect" sounds spontaneous -- a good r&b dance band in the groove, and a gospel singer who's got the spirit, righteous about sexual freedom, respect for women, and perhaps her own artistic freedom. James Brown Date of Birth: May 3, 1933 Place of Birth: Macon, GA, USA Sign: Sun in Taurus, Moon in Leo Education: Alto Reform School Relations: Wife: Adrienne Brown (deceased); companion: Rolonda Watts; kids: Deanna, Terry, Daryl, Venisha,Yamma James Brown is #2 of all time with hit records behind Elvis Presley. He is number 1 in R&B hits with over 116 charted hits during his career : James Brown has 96 top 100 hits, Aretha Franklin 86 James Brown has 116 R&B hits, Aretha Franklin 90+ Related topic : Hit list, Singles List James Brown (1) Called: Godfather of Soul, Hardest-Working Man in Show Business, Soul Brother #1, etc. Voice=raspy & strong, shouting a raw & basic vocal line-- flamboyant, egotistical, & aggressive His songs=simplest & most basic in all of pop music Style has been called southern soul Early 60s--toured w/ James Brown Revue 40 singers, dancers, & musicians--developed overpowering stage act Mid- 60s--change in style James Brown (2) 1967=height of his career--in his heyday, he owned 500 suits,

300 pairs of shoes, misc. diamonds & cars, personal jet, & a funky home Hits= Night Train, Out of Sight, Papa s Got a Brand New Bag, & I Got You (I Feel Good) Music=simple & repetitive as you can get--social experience, dancing & antics main points Black pride--constructive & positive attitude Mid- 70s=tough years--by 1978 had hit bottom "Please, Please, Please," James Brown with the Flames (1956) Thrills crowds with his flamboyant and acrobatic stage presence (Brown is often been introduced as "The hardest working man in show business"). His voice makes an effective addition to this presence. How? (Listen to what he does with words like "please" and "I.") Few words --lots of repetition -- plenty of emotion! (sexual passion meets religious ecstasy) Dramatic vocal elements -- shouts to whispers, grunts to screams to wails -- loud to soft phrases -- quick shifts in range "I Got You (I Feel Good)," James Brown with the JB Orchestra (1965) Brown's biggest pop hit (#3) With a performance/vocal style rooted in African-American traditions, Brown mostly had to be content with hits on the r&b charts -- "Soul Brother #1. Classic musical parts for the James Brown orchestra (bass, drums, guitar, horns)? syncopated bass riff against straight drum pattern with clipped rhythm guitar parts all broken or supported by horn punches and riffs "Say It Loud - I'm Black and I'm Proud" (Part 1), James Brown (1968) Now we demand a chance to do things for ourserlf We're tired of beatin' our head against the wall And workin' for someone else We're people, we're just like the birds and the bees We'd rather die on our feet Than be livin' on our knees Say it loud, I'm black and I'm proud [excerpt]

"Say It Loud - I'm Black and I'm Proud" (Part 1), James Brown (1968) Brown recorded a number of Black Power/Black Pride numbers -- including "Don't Be a Dropout" (1966) and "Get Up, Get Into It and Get Involved" (1970). Following the Detroit and Newark riots in 1967, Brown recorded this song, his most direct anthem to Black Power/Black Pride. lyrics such as "I say we won't quit movin' 'til we get what we deserve" and "brother we can't quit 'til we get our share." call and response with children's refrain, "I am black and I'm proud." primacy of rhythm -- its deep groove -- as a marker for the movement Soul Summary Jackie Wilson w/ Dominoes--recorded Reet Petite & Lonely Teardrops The Impressions--hits= For Your Precious Love, It s All Right, Amen Ike Turner & Kings of Rhythm hit= Rocket 88 Married Annie Mae Bullock & hit A Fool in Love Blatantly sexually suggestive stage act & restricted to black audiences and R & B stations and charts First Top 5 hit= Proud Mary --divorced & Tina became successful w/ What s Love Got to Do with It? Motown Berry Gordon, Jr.--native-born black American--started Tammie (later Tamla) Records Recorded Shop Around by Miracles, led by Smokey Robinson--went #2 Became a major label (Motown) in just 7 years Now Detroit had a studio so blacks didn t have to go to Chicago, Philadelphia, or New York to record Intention was to bring a style of black music to prominence in both black & white markets Smokey Robinson Talented songwriter who started the Miracles Got a Job (1958)=#1 hit Last Top 40 hit= Love Machine (Part I) made after Smokey left

Strong falsetto voice w/ a smoothness & expressiveness reminiscent of Sam Cooke Wrote 3 Top 10 songs for 19 year old Mary Wells, Motown s first female star, including My Guy Wrote major hits for Temptations & Marvin Gaye Female Groups Marvelettes hits= Please Mr. Postman, Playboy, & Don t Mess with Bill Martha & the Vandellas songs= Come and Get These Memories & Heat Wave Biggest hit= Dancing in the Street (1964) after numerous personnel changes Martha began to question exact distribution of money from the company to the performers Gordy perceived it as disloyalty & she fell out of favor She left Motown in 1972 w/ no real success afterward Marvin Gaye Played organ & sang in his father s Washington D.C. church before taking up piano & drums Hit= I Heard It through the Grapevine 1970s=troubled times w/ divorce, IRS, drugs, & bankruptcy action 1983--Top 5 hit= Sexual Healing 1984--shot & killed by his father at age of 44 What s Going On?=album about ecology, etc. Let s Get It On=most sexually oriented album H-D-H & the Formula for Success (1) 1963-67 Holland, Dozier, & Holland provided songs & production for majority of Motown Lawsuits ensued w/ royalties & then an out-of-court settlement Morale & sales dropped for Motown in 1968 Gordy established a strict, controlling pattern This was threatened when H-D-H left Cholly Atkins=choreographer w/ emphasis on synchronized precision-- routine was never varied Liked businesslike concept of quality control

H-D-H & the Formula for Success (2) Standards became more rigid--used same backup band, the Funk Brothers w/ hundreds of recording--all emphasized baritone sax, vibes, organ, & hand claps Lyrics avoided controversy until after 1968 w/ Love Child, War, Ball of Confusion, etc. Gordy was very strict & controlling Artist Development Dept. w/ an etiquette coach & vocal coach Rules of conduct while on tour, individual finances, no fraternizing w/ fans, etc. One big family--married, played, sang, & wrote for each other The Four Tops & the Temptations Songs= Baby I Need Your Loving, I Can t Help Myself, & When She Was My Girl Lead vocalist Levi Stubbs=distinctive& polished Most popular Motown male group=temptations Sang well, dressed well, & danced Kendricks=strong falsetto & Ruffin=smooth baritone Hits= The Way You Do the Thing You Do & My Girl Ruffin & then Kendricks left the group Continued success in new style=psychedelic soul "The Way You Do the Things You Do," The Temptations (Gordy/Motown 1964) Probably the most successful soul group of all time with 42 top-10 hits. It didn't hurt that the Temptations had the help of Motown pros like Smokey Robinson (also with the Miracles). Robinson is such a wordsmith that Dylan called him "one of America's greatest poets." Good example of the early Motown sound -- r&b band with horns -- that emphasizes some sounds over others. Which ones? Vocals, back-beat snare drum (with clap), and syncopated bass (although less so here than in other Motown hits). "The Way You Do the Things You Do" You've got a smile so bright / You know you could've been a candle / I'm holding you so tight / You know you could've been a handle / The way you swept me off my feet / You know you could've been a broom / The way you smell so sweet / You know you could've been some perfume. Well, you could've been anything / The way you do the things you do (The way you do the things you do) / Oh, baby (The way you do the things you do). [excerpt]

Stevie Wonder Steveland Morris--played piano, organ, drums First hit= Fingertips divided into 2 parts at age 12 Sang, played harmonica & generated real excitement 4th in the history of rock (Elvis, Beatles, Elton John) 1st album=signed, Sealed, & Delivered At age 21, he demanded royalties & set up his own 40-track studio Had full artistic control w/ deal from Motown Talking Book=smash-hit album w/ hits Superstition & You Are the Sunshine of My Life Diana Ross & the Supremes (1) 1964-69--12 #1 hits, plus 11 Top 40 hits Only American group to have 5 consecutive #1 singles, later had 4 consecutive #1s Ross asked to join sister group to Primes Hits= Where Did Our Love Go, Baby Love, Come See About Me, etc. Motown s biggest act by mid-60s--graceful & precisely synchronized hand movements Someday We ll Be Together =Diana s last recording w/ the Supremes Diana Ross & the Supremes (2) Mary Wilson=only constant member of the Supremes from the beginning to the end in 70s Mary sued Motown in 1977 for money she felt was owned from the early days got 50% usage & interest in the name Supremes Lives in L.A. & has biography of her life w/ Motown Diana became successful star on TV & films--reunited w/ Supremes for Motown s 25th anniv. Beat=strong w/ heavy backbeat & handclaps Modulates frequently w/ no improv, etc. Diana Ross (b. 1944)

Both Diana Ross and Aretha Franklin were born in Detroit during the postwar boon years. Ross lived the life of the "projects" -- a member of the working poor, she grew-up reading fashion magazines and working as a teen at a large Detroit department store. Ross's street-corner group, The Primettes, became, thanks to Berry Gordy, The Supremes.. "You Can't Hurry Love," The Supremes, with Diana Ross (Motown 1966) Written/produced by Brian Holland, Lamont Dozier, and Eddie Holland After 1964, the Supremes were Motown's primary female group, replacing Martha and the Vandellas -- groomed for success in the Motown "finishing school." Working primarily with Motown's songwriting and production team known as HDH, the Supremes began a string #1 hits in 1963, totaling ten by 1968. The Motown assembly line -- Eddie: the wordsmith and singing coach; Brian: melodies; Lamont w/ Brian: studio production. Musical features: tightly structured snare/guitar backbeats, powerful bass lines, and"up-front" vocals. And the lyrics? adolescent philosophy, calculated romance. Soul Summary Gordy s control led to both success & problems Stars who left Motown family =H-D-H, the Miracles, the Contours, the Spinners, Diana Ross, the Isley Bros., Martha Reeves, Gladys Knight & the Pips, and the Four Tops Some names were owned by Motown, so they retained the name when the personnel changed Little or no improvisation--slick, professional, polished, & precisely coordinated, not real soul June 1988--purchased by MCA Records & ended distinction of the largest black-owned & operated company in America