IN APPRECIATION OF...
SOUL
By Jeff Randall
It is sweat. It is sweetness. It is pain. It is joy.
Since its inception in the late 1950s and
early 1960s, soul music has been all of these
things. And even though the high levels of pop
ularity it enjoyed in the 1960s are long gone, its
influences remain highly visible on the surface
of pop music today.
Soul started when the genres of rhythm and
blues and gospel were blended by artists - most
notably Ray Charles and Sam Cooke - who
already were well-established in those individ
earned every bit ot its name.
In the South, soul built itself on
the “chitlin circuit,” an established
ritual for black artists of the day in
which they performed throughout
Southern states in small-town halls
and churches.
But by the mid-’60s, soul artists
were big enough to mingle with the
big names both on the charts and in
the venues.
Otis Redding, Smokey
Robinson, Aretha Franklin, Mary
Wells, Wilson Pickett and dozens
of others furthered the genre in
their own ways. In the 1970s, others followed.
Gamble and Huff created the Philadelphia
Sound, A1 Green continued the down-home tra
ditions of Memphis, Term., and Motown artists
such as Marvin Gaye and Stevie Wonder
expanded their lyrical and musical reaches.
James Brown injected the politics of black
pride, backing them with rhythmic innovations
that mesmerized listeners, even as they danced.
But like most good things, soul music didn’t
last. By the late ’70s, disco and arena rock had
knocked the gutbucket soulsters back to the
“chitlin circuit,” and one of pop music’s most
heartfelt and original genres had gone with
them.
Nowadays, the soul tradition is best seen in
artists such as Maxwell and Erykah Badu, some
of the few artists who continue to write and
record under the artistic wing of old-school soul
greats. Countless hip-hop artists pay tribute to
soul music’s influence with their samples, and
even the occasional cover is still heard on main
stream radio.
But for the most part, the only way to truly
appreciate soul music is to delve into the old
record racks and start skimming. And even if
STEVIE WONDER’S album “Talking Book,”
released in 1972, is considered by many crit
ics to be one of his greatest efforts.
you’ve never known the pain of a broken heart,
the struggle for equality or the joy of pure love,
soul music will do what it was always meant to
do: It will speak to you.
AL GREEN’S 1972 album “Call Me” contains classic
songs such as the title track, “Have You Been Making
Out OK” and “You Ought to Be With Me.”
THE ART I STS
The roll call of soul legends is long and unwieldy, but the
beginning collector can look to a few notables for a good
introduction to the genre.
The Godfather of Soul, the Hardest Working Man in
Show Business, Soul Brother No. 1, Mr. Dynamite. James
Brown has many monikers, but his music is instantly recog
nizable because of its hard-driving rhythms and improvisa
tional tendencies. In 1991, Polygram Records released “Star
Time,” a four-disc boxed set that provides everything you
need to know about soul music.
Sam Cooke is regarded by many as the inventor of soul
music. His move from gospel superstardom to pop music is
evident when listening to his church-like vocals and occasion
al Christian metaphors. “The Man and His Music,” an RCA
records compilation of songs that Cooke wrote and per
formed, is worth every penny. “Sam Cooke Live at the
Harlem Square Club, 1963” is another worthy
purchase.
The daughter of a preacher,
Aretha Franklin brings the best
of gospel to her soul repertoire. *
A%the Lawman inducted in the
Rock ’a’Roll Hall ofFame, she stands
as- a legend. Rhino Records’ “The Very
^estof Aretha Franklin” reveals this with every track.
At first, Marvin Gaye wanted to model his singing career
after those of Frank Sinatra and Nat King Cole. Luckily, he
didn’t, and his recordings for Motown stand among the best of
any genre. For the best exposure to Gaye’s work, look to the
four-CD box set “The Master (196t-i984)” from Motown
Records. For individual albums, “What’s Going On” is
unparalleled.
A1 Green’s recordings in the 1970s furthered the
Memphis sound that started with Stax Records, but also
brought new meaning to the word “smooth.” “Call Me,”
which was released in 1972, is considered by many critics
to be his greatest album, and I happen to agree. For good
measure, pick up “Let’s Stay Together,” too.
Isaac Hayes may be known nowadays as the
voice of “Chef ” on “South Park,” but in the late ; > -
’60s and ’70s his work as a producer, songwriter,
arranger and performer was groundbreaking. His
Grammy-winning soundtrack to “Shaft” is a
fine example of soul’s instrumental style. “Hot
Buttered Soul” and “To Be Continued”
contain equally strong examples of Hayes’
extended-jam take on songs.
Harold Melvin and the Blue Notes,
supported by the powerful lead singing
of Teddy Pendergrass, are one of soul’s
greatest vocal groups. Legacy’s
“Rhythm and Soul” series released ,
“The Best of Harold Melvin and .
the Blue Notes” in 1995, and
nobody has topped it yet.
The O’Jays typified Kenny ,
Gamble and Leon Huff’s A
“Philadelphia Sound” in the a
1970s. CBS Records’ 1989 ■
release of “The O’Jays ■
Greatest Hits” typifies the ■
O’Jays’ sound.
Otis Redding died before he V
reached the age of 30, but he
had already changed
the face of soul
music with
his gritty ?
vocal
style, ^
h i s
charis
matic
ual styles.
Soul’s elaboration on rhythm and blues
involved increasingly intricate melodies and
vocal harmonies that were rooted in both gospel
and doo-wop sounds. The lyrics usually focused
on romance, but were more emotionally naked
and raw than their mainstream pop counterparts.
When pop music crooned, soul music
screamed. When pop music held out its hand
and smiled, soul music got on its knees and
begged. When it was at its best, soul music
Photo courtesy of Polygram Records
IAMES BROWN, seen here in a publicity
ehoto from the late 1950s, is consid
ered by many to be one of soul music’s
ireat innovators and showmen.
stage presence and his deceivingly complex arrangements.
Well worth the investment, Rhino Records’ “Otis! The
Definitive Otis Redding” is four discs of masterful work.
Diana Ross and the Supremes were one of Motown’s
flagship groups, and they remained a steady fixture ofTop 20
charts between 1964 and 1972. Motown’s 1995 two-disc
compilation, “The Best of Diana Ross and the Supremes”
is the best single purchase for this group.
Sam and Dave are best known for their hit
“Soul Man,” but this duo recorded many
equally powerful songs, most of which were
written by Isaac Hayes and David Porter,
Stax’s legendary songwriting team. Rhino
Records’ “The Very Best of Sam and
Dave” is a suitable introduction to the
group.
The Temptations remain as one of
pop music’s most consistently popular
groups, still touring today. But their
work for Motown in the 1960s and ’70s
is by far the best of their work. Gordy
Records’ 1985 release, “Compact
Command Performance” contains 17
of the Temptations’ greatest hits from
this period.
: Stevie Wonder has been one of
Motown’s most consistent artists in both popu
larity and quality, but he hit his best stride in the early
’70s, when he recorded both “Innerversions” and
“Talking Book,” two albums that arguably set the standard
for Motown artists for the remainder of that decade.
HUNTING & COLLECTING
Soul music’s waning popularity after the 1970s can make
'inding original recordings of older artists a harrowing task,
)ut several record stores in the area make the job easier.
In Lincoln, places such as Recycled Sounds, 12110 St.,
uid Backtrack Records, 3833 S. 48th St., buy and sell older
ilbums, including many hard-to-fmd gems that aren’t avail
ible on compact disc reissues.
In Omaha, Dirt Cheap Records, 1026 Jackson St., and
Barry O’s Groovie Records, 6208 Maple St., are equally
vorthy of a look. Leola’s Records and Tapes ,5625 Ames St.,
rpecializes in soul, rap and r&b music.
Just a bit farther down the road, Council Bluffs’
Janesville Kollectables, 530 S. Fourth St., is a dream come
rue for record collectors, with literally thousands of dust-cov
:red treasures (usually available for $2-$6 each) and clerks
vho know the answer to just about every question you could
?ver ask.
PRINTED MATTER
Although nothing compares to a live recording, one
:an gather plenty of information on soul music from the
;helves of a local library.
The definitive historical account of soul is Peter
juralnick’s “Sweet Soul Music,” an outstanding book
hat links the evolution and rise of soul music to the civil
ights movement of the 1960s.
“Where Did Our Loye Go? The Rise and Fall of the
VIotown Sound” by Nelson George is another excellent
iource of historical perspectives on the genre. Also worth
nentioning is Gerry Hirshey’s “Nowhere to Run: The
Story of Soul Music.” ~
For biographical accounts, none can top “You Send
Vie: The Life and Times of Sam Cooke” by Daniel
kVolff. This book’s details on the “chitlin circuit,” the
gospel vs. secular music debate and Cooke’s own strug
gles in both make for a great read.
