Soul and R & B of the 60's

[troggy]

Originally Posted by Lord Grendel I think Tina Turner hit her peak when she left her loser of a husband and went solo. I'm not sure if what she recorded on her own is "Soul" music but it puts anything her and Ike recorded in the shade as far as I'm concerned.

Her stuff with Ike is MUCH better than her 80's hits. In fact, it's not even close.

[Flower]

Irma Thomas is one of my all time favourite performers .. I can't count the number of times, I've seen her live.

[Foxhound]

James Brown is not only soul brother #1, he's the godfather of soul!

[Mr. Shadow]

[Foxhound]

Originally Posted by troggy Her stuff with Ike is MUCH better than her 80's hits. In fact, it's not even close.

I agree. Say what you will about Ike Turner otherwise, but he was a very well respected rhythm & blues artist by his peers long before he hooked up with Tina.

[Emrock]

I can't believe no one is talking about Motown where Soul was invented. Berry Gordy, Smoky, Holland, Dozier, Holland and the Funk Brothers providing words and music. For about ten years, the Motown Studio on Grand Boulevard turned out one hit after another. When Gordy moved Motown to LA the whole thing fell apart and he never regained his momnetum for a myriad of reasons.

Just a bit if trivia: Motown releases were mixed using a single speaker from an auotmobile dash. The music was mixed to sound best in mono, driving in your car.

Did the counter-culture die or was it murdered?
http://www.TheWoodstockConspiracy.com
http://www.ClassicRockEsoterica.com

[Flower]

The Clovers

[rtbuck]

The stuff I love:

"Showdown" by Archie Bell & the Drells

"Green Onions" by Booker T & the Mg's

"Seven Day Weekend" by Gary US Bonds

"Love Child" by the Supremes

"Hold On,I'm Coming" by Sam & Dave

"Midnight Hour" by Wilson Pickett

"Baby, Now That I've Found You" by the Foundations

"Groove Me" by King Floyd

[Mr. Shadow]

[Masherbrum]

Originally Posted by Emrock I can't believe no one is talking about Motown where Soul was invented. Berry Gordy, Smoky, Holland, Dozier, Holland and the Funk Brothers providing words and music. For about ten years, the Motown Studio on Grand Boulevard turned out one hit after another. When Gordy moved Motown to LA the whole thing fell apart and he never regained his momnetum for a myriad of reasons. Just a bit if trivia: Motown releases were mixed using a single speaker from an auotmobile dash. The music was mixed to sound best in mono, driving in your car.

Amen!

Get this: Amazon.com: Hitsville USA, Vol. 1: The Motown Singles Collection…

[Flower]

From Wikipedia ~

History

Precursors

The migration of African Americans to the urban industrial centers of Chicago, Detroit, New York, Los Angeles and elsewhere in the 1930s created a new market for jazz, blues, and related genres of music, often performed by full-time musicians, either working alone or in small groups. The precursors of rhythm and blues came from jazz and blues, which overlapped in the 1930s through musicians such as Leroy Carr, Cab Calloway, Count Basie, and T-Bone Walker. There was also increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone.

Late 1940s

In 1948, RCA Victor was marketing black music under the name "Blues and Rhythm". In that year, Louis Jordan dominated the top five listings of the R&B charts with three songs, and two of the top five songs were based on the boogie-woogie rhythms that had come to prominence during the 1940s. Jordan's band, the Tympany Five (formed in 1938), consisted of him on saxophone and vocals, along with musicians on trumpet, tenor saxophone, piano, bass and drums. Lawrence Cohn described the music as "grittier than his boogie-era jazz-tinged blues".

Robert Palmer described it as "urbane, rocking, jazz based music with a heavy, insistent beat". Jordan's cool music, along with that of Big Joe Turner, Roy Brown, Billy Wright, and Wynonie Harris, is now also referred to as jump blues. Also in 1948, Wynonie Harris' remake of Roy Brown's 1947 recording "Good Rockin' Tonight" hit the charts in the #2 spot, following band leader Sonny Thompson's "Long Gone" at #1.

In 1949, the term "Rhythm and Blues" replaced the Billboard category Harlem Hit Parade.[10] Also in that year, "The Huckle-Buck", recorded by band leader and saxophonist Paul Williams, was the #1 R&B tune, remaining on top of the charts for nearly the entire year. Written by musician and arranger Andy Gibson, the song was described as a "dirty boogie" because it was risque and raunchy. Paul Williams and His Hucklebuckers' concerts were sweaty riotous affairs that got shut down on more than one occasion. Their lyrics, by Roy Alfred (who later co-wrote the 1955 hit "(The) Rock and Roll Waltz"), were mildly sexually suggestive, and one teenager from Philadelphia said "That Hucklebuck was a very nasty dance".

Also in 1949, a new version of a 1920s blues song, "Ain't Nobody's Business" was a #4 hit for Jimmy Witherspoon, and Louis Jordan and the Tympany Five once again made the top 5 with "Saturday Night Fish Fry".[22] Many of these hit records were issued on new independent record labels, such as Savoy (founded 1942), King (founded 1943), Imperial (founded 1945), Specialty (founded 1946), Chess (founded 1947), and Atlantic (founded 1948).



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[Flower]

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Early to mid 1950s

Johnny Otis, who had signed with the Newark, New Jersey-based Savoy Records, produced many R&B hits in 1951, including: "Double Crossing Blues", "Mistrustin' Blues" and "Cupid's Boogie", all of which hit number one that year. Otis scored ten top ten hits that year. Other hits include: "Gee Baby", "Mambo Boogie" and "All Nite Long". The Clovers, a vocal trio who sang a distinctive sounding combination of blues and gospel, had the #5 hit of the year with "Don't You Know I Love You" on Atlantic Records.

Also in July 1951, Cleveland, Ohio DJ Alan Freed started a late-night radio show called "The Moondog Rock Roll House Party" on WJW-AM (850). Freed's show was sponsored by Fred Mintz, whose R&B record store had a primarily African American clientele. Freed began referring to the rhythm and blues music he played as "rock and roll".

In 1951, Little Richard Penniman began recording for RCA Records in the jump blues style of late 1940s Joe Brown and Billy Wright. However, it wasn't until he prepared a demo in 1954, that caught the attention of Specialty Records, that the world would start to hear his new, uptempo, funky rhythm and blues that would catapult him to fame in 1955 and help define the sound of rock 'n' roll. A rapid succession of rhythm and blues hits followed, beginning with "Tutti Frutti" and "Long Tall Sally", which would influence performers such as James Brown, Elvis Presley, and Otis Redding.

Ruth Brown on the Atlantic label, placed hits in the top 5 every year from 1951 through 1954: "Teardrops from My Eyes", "Five, Ten, Fifteen Hours", "(Mama) He Treats Your Daughter Mean" and "What a Dream". Faye Adams's "Shake a Hand" made it to #2 in 1952. In 1953, the R&B record-buying public made Willie Mae Thornton's original recording of Leiber and Stoller's Hound Dog the #3 hit that year.Ruth Brown was very prominent among female R&B stars. Ruth Brown’s popularity most likely derived because of “her deeply rooted vocal delivery in African American tradition” That same year The Orioles, a doo-wop group, had the #4 hit of the year with Crying in the Chapel.

Fats Domino made the top 30 of the pop charts in 1952 and 1953, then the top 10 with "Ain't That a Shame". Ray Charles came to national prominence in 1955 with "I Got a Woman". Big Bill Broonzy said of Charles' music: "He's mixing the blues with the spirituals... I know that's wrong."

In 1954 The Chords' "Sh-Boom" became the first hit to cross over from the R&B chart to hit the top 10 early in the year. Late in the year, and into 1955, "Hearts of Stone" by The Charms made the top 20.

At Chess Records in the spring of 1955, Bo Diddley's debut record "Bo Diddley"/"I'm A Man" climbed to #2 on the R&B charts and popularized Bo Diddley's own original rhythm and blues beat that would become a mainstay in rock and roll.

At the urging of Leonard Chess at Chess Records, Chuck Berry had reworked a country fiddle tune with a long history, entitled "Ida Red".

The resulting "Maybellene" was not only a #3 hit on the R&B charts in 1955, but also reached into the top 30 on the pop charts. Alan Freed, who had moved to the much larger market of New York City, helped the record become popular with white teenagers. Freed had been given part of the writers' credit by Chess in return for his promotional activities; a common practice at the time.

Late 1950s

In 1956, an R&B "Top Stars of '56" tour took place, with headliners Al Hibbler, Frankie Lymon and the Teenagers, and Carl Perkins, whose "Blue Suede Shoes" was very popular with R&B music buyers. Some of the performers completing the bill were Chuck Berry, Cathy Carr, Shirley & Lee, Della Reese, the Cleftones, and the Spaniels with Illinois Jacquet's Big Rockin' Rhythm Band. Cities visited by the tour included Columbia, SC, Annapolis, MD, Pittsburgh, PA, Syracuse, Rochester and Buffalo, NY, into Canada, and through the mid Western US ending in Texas. In Columbia the concert ended with a near riot as Perkins began his first song as the closing act. Perkins is quoted as saying, "It was dangerous. Lot of kids got hurt. There was a lot of rioting going on, just crazy, man! The music drove 'em insane." In Annapolis 70,000 to 50,000 people tried to attend a sold out performance with 8,000 seats. Roads were clogged for seven hours.

Film makers took advantage of the popularity of "rhythm and blues" musicians as "rock n roll" musicians beginning in 1956. Little Richard, Chuck Berry, Fats Domino, Big Joe Turner, The Treniers, The Platters, The Flamingos, all made it onto the big screen

Two Elvis Presley records made the R&B top five in 1957: "Jailhouse Rock"/"Treat Me Nice" at #1, and "All Shook Up" at #5, an unprecedented acceptance of a non-African American artist into a music category known for being created by blacks.[39] Nat King Cole, a former jazz pianist who had had #1 and #2 hits on the pop charts in the early 1950s ("Mona Lisa" at #2 in 1950 and "Too Young" at #1 in 1951), had a record in the top 5 in the R&B charts in 1958, "Looking Back"/"Do I Like It".

In 1959, two black-owned record labels, one of which would become hugely successful, made their debut: Sam Cooke's Sar, and Berry Gordy's Motown Records.[40] Brook Benton was at the top of the R&B charts in 1959 and 1960 with one #1 and two #2 hits. Benton had a certain warmth in his voice that attracted a wide variety of listeners, and his ballads led to comparisons with performers such as Cole, Sinatra and Tony Bennett.[41] Lloyd Price, who in 1952 had a #1 hit with "Lawdy Miss Clawdy" regained predominance with a version of "Stagger Lee" at #1 and "Personality" at #5 for in 1959.

The white bandleader of the Bill Black Combo, Bill Black, who had helped start Elvis Presley's career, was popular with black listeners. Ninety percent of his record sales were from black people, and his "Smokey, Part 2" (1959) rose to the #1 position on black music charts. He was once told that "a lot of those stations still think you're a black group because the sound feels funky and black." Hi Records did not feature pictures of the Combo on early records.

1960s and later

Sam Cooke's #5 hit "Chain Gang" is indicative of R&B in 1960, as is Chubby Checker's #5 hit "The Twist". By the early 1960s, the music industry category previously known as rhythm and blues was being called soul music, and similar music by white artists was labeled blue eyed soul.

Motown Records had its first million-selling single in 1960 with The Miracles' "Shop Around", and in 1961, Stax Records had its first hit with Carla Thomas' "Gee Whiz! (Look at His Eyes)". Stax's next major hit, the Mar-Keys' instrumental "Last Night" (also released in 1961) introduced the rawer Memphis soul sound that Stax became known for. Also in the 1960s, R&B and soul influenced British blues, mod and beat music bands such as The Animals, The Yardbirds, The Rolling Stones, The Who, The Kinks and The Beatles. It was also a foundation for garage rock and freakbeat. In Jamaica, R&B influenced the development of ska.

By the 1970s, the term rhythm and blues was being used as a blanket term for soul, funk, and disco. Around the same time, earlier R&B was an influence on British pub rock and later, the mod revival. Now the term R&B is almost always used instead of the full rhythm and blues, and mainstream use of the term usually refers to contemporary R&B, which is a newer version of soul and funk-influenced pop music that originated as disco faded from popularity.

[Flower]

Baby Washington & The Hearts

[FretBuzz]

The original Harlem Shuffle, by Bob & Earl



The original Just One Look, by Doris Troy



Shotgun Wedding by Roy C

[Hepcat]

Here's a great soul instrumental: