1.
Solomon Burke
–
He had a string of hits including Cry to Me, If You Need Me, Got to Get You Off My Mind, Down in the Valley and Everybody Needs Somebody to Love. Burke was referred to as King Solomon, the King of Rock n Soul, Bishop of Soul, Atlantic Records executive Jerry Wexler referred to Burke as the greatest male soul singer of all time. He drew from his roots – gospel, jazz, country and blues – as well as developing his own style at a time when R&B, in 2001, Burke was inducted into the Rock and Roll Hall of Fame as a performer. His album Dont Give Up on Me won the Grammy Award for Best Contemporary Blues Album at the 45th Grammy Awards in 2003, by 2005 Burke was credited with selling 17 million albums. Rolling Stone ranked Burke as no.89 on its 2008 list of 100 Greatest Singers of All Time, Burke was born James Solomon McDonald on March 21,1940 in the upper floor of his grandmother Eleanor Moores home, a row house in West Philadelphia. Burke was the child of Josephine Moore and an absentee father and his mother Josephine was a nurse, schoolteacher, concert performer and pastor. When Burke was nine, his mother married rabbi and butcher Vincent Burke and had his name changed to Solomon Vincent McDonald Burke, Burkes friends and family called him Sol. Burke was the godson of Daddy Grace, Burke credited his grandmother as his main spiritual and musical influence. He learned how to sing all forms of music from his grandmothers coaching him to listen to music on the radio, Burke began preaching at the age of 7 at the Solomons Temple. He was described in his young preaching years as a frantic sermonizer and spellbinding in his delivery, and was soon nicknamed the Boy Wonder Preacher for his charismatic preaching in the pulpit. Burke became a pastor of the congregation at age 12, appeared on the radio station WDAS, on weekends he traveled with a truck and tent, to Maryland, Virginia, and the Carolinas to carry on the spiritual crusade of his church. Influenced by Superman, the first sign of a royal persona was evident in the cape that he wore only on Sundays, made from his blankie by his grandmother. Burke had six younger siblings – a sister, Laurena Burke-Corbin, and five brothers, Elec Edward Alec, Vladimir H. Laddie, Mario Chuck, Daniel S. Danny, from an early age Solomon Burke worked to supplement his familys income. He recalled, I used to deliver grocery orders in a little wagon I made out of fish boxes, when I was seven, I sold newspapers out of my own newsstand on the corner of 40th and Lancaster. I had the first 99-cent car wash, which was located at 40th and we had it there because he was the only one who would let us use his water. We could wash your car in 20 minutes, I had four or five guys, gave em each a nickel for each car. Another briefly held early job was as a hot dog seller at Eddies Meat Market, Burke eventually graduated from John Bartram High School. He first became a father at 14, during high school, Burke formed and fronted the quartet, the Gospel Cavaliers
Solomon Burke
–
Solomon Burke performing on April 19, 2008
Solomon Burke
–
Grave of Solomon Burke at Forest Lawn Hollywood Hills
2.
Rhythm and blues
–
Rhythm and blues, often abbreviated as R&B or RnB, is a genre of popular African-American music that originated in the 1940s. In the commercial rhythm and blues music typical of the 1950s through the 1970s, R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy. Lyrics focus heavily on the themes of triumphs and failures in terms of relationships, freedom, economics, aspirations, the term rhythm and blues has undergone a number of shifts in meaning. In the early 1950s it was applied to blues records. This tangent of RnB is now known as British rhythm and blues, by the 1970s, the term rhythm and blues changed again and was used as a blanket term for soul and funk. In the 1980s, a style of R&B developed, becoming known as Contemporary R&B. It combines elements of rhythm and blues, soul, funk, pop, hip hop, popular R&B vocalists at the end of the 20th century included Michael Jackson, R. Kelly, Stevie Wonder, Whitney Houston, and Mariah Carey. Although Jerry Wexler of Billboard magazine is credited with coining the term rhythm and blues as a term in the United States in 1948. It replaced the term race music, which came from within the black community. The term rhythm and blues was used by Billboard in its chart listings from June 1949 until August 1969, before the Rhythm and Blues name was instated, various record companies had already begun replacing the term race music with sepia series. In 2010 LaMont Robinson founded the Rhythm & Blues Hall of Fame Museum, writer and producer Robert Palmer defined rhythm & blues as a catchall term referring to any music that was made by and for black Americans. He has used the term R&B as a synonym for jump blues, however, AllMusic separates it from jump blues because of its stronger, gospel-esque backbeat. Lawrence Cohn, author of Nothing but the Blues, writes that rhythm, according to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts. Well into the 21st century, the term R&B continues in use to music made by black musicians. In the commercial rhythm and blues music typical of the 1950s through the 1970s, arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow, lilting, while singers are emotionally engaged with the lyrics, often intensely so, they remain cool, relaxed, and in control. The bands dressed in suits, and even uniforms, an associated with the modern popular music that rhythm. Lyrics often seemed fatalistic, and the music typically followed predictable patterns of chords, there was also increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone
Rhythm and blues
–
T-Bone Walker, American Folk Blues Festival 1972 (Heinrich Klaffs Collection 46)
Rhythm and blues
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Louis Jordan, New York, N.Y., ca. July 1946 (William P. Gottlieb 04721).
Rhythm and blues
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Big Joe Turner, Hamburg 1974 (Heinrich Klaffs Collection 86)
Rhythm and blues
–
The habanera rhythm shown as tresillo (lower notes) with the backbeat (upper note).
3.
Gospel music
–
Gospel music is a music genre in Christian music. The creation, performance, significance, and even the definition of music varies according to culture. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, Gospel music usually has dominant vocals with Christian lyrics. Gospel music can be traced to the early 17th century, with roots in the oral tradition. Hymns and sacred songs were repeated in a call and response fashion, most of the churches relied on hand clapping and foot stomping as rhythmic accompaniment. Most of the singing was done a cappella, the first published use of the term Gospel Song probably appeared in 1874. The original gospel songs were written and composed by such as George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane. The advent of radio in the 1920s greatly increased the audience for gospel music, following World War II, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate. Gospel blues is a form of gospel music. Southern gospel used all male, tenor-lead-baritone-bass quartet make-up, progressive Southern gospel is an American music genre that has grown out of Southern gospel over the past couple of decades. Christian country music, sometimes referred to as gospel music, is a subgenre of gospel music with a country flair. It peaked in popularity in the mid-1990s, bluegrass gospel music is rooted in American mountain music. Celtic gospel music infuses gospel music with a Celtic flair, and is popular in countries such as Ireland. British black gospel refers to Gospel music of the African diaspora, some proponents of standard hymns generally dislike gospel music of the late 19th and early 20th centuries. Today, with distance, there is a greater acceptance of such gospel songs into official denominational hymnals. Gospel music in general is characterized by dominant vocals referencing lyrics of a Christian nature, subgenres include contemporary gospel, urban contemporary gospel, Southern gospel, and modern gospel music. Several forms of gospel music utilize choirs, use piano or Hammond organ, tambourines, drums, bass guitar and, increasingly, electric guitar. In comparison with hymns, which are generally of a statelier measure, several attempts have been made to describe the style of late 19th and early 20th century gospel songs in general
Gospel music
–
Mahalia Jackson in the
Concertgebouw concert hall, The Netherlands
Gospel music
–
Exemplification of gospel music: an open Bible and a CD, which represent the gospel in written and musical forms
4.
Doo-wop
–
Built upon vocal harmony, doo-wop was one of the most mainstream, pop-oriented R&B styles of the time. Doo-wop features vocal harmony, nonsense syllables, a simple beat, sometimes little or no instrumentation. The first record to use the syllables doo-wop was the 1955 hit When You Dance by The Turbans, the term doo-wop first appeared in print in 1961. During the late 1950s many Italian-American groups contributed a significant part in the doo-wop scene, the peak of doo-wop was in 1961. Doo-wops influence continued in soul, pop, and rock groups of the 1960s, at various times in the 1970s, 1980s, and 1990s, the genre has seen revivals. Doo-wop was a precursor to many of the African-American musical styles seen today, an evolution of jazz and blues, doo-wop also influenced many of the major rock and roll groups that defined the later decades of the 20th century. Doo-wop is iconic for its beats and using the off-beat to keep time. Doo-wop laid the foundation for musical innovations, for example. These were generally slow songs in swing time with simple instrumentation, the subject of the lyrics was generally love and relationships. This characteristic harmonic layout was combined with the AABA chorus form typical for Tin Pan Alley pop, a second stream of doo-wop oriented itself to the harmonic, formal and melodic means of jump blues. From the outset, singers gathered on street corners, and in subways, for instance, Count Every Star by The Ravens, includes vocalizations imitating the doomph, doomph plucking of a double bass. This art dates to The Mills Brothers, who first came to fame in the 1930s with their mimicking of instrumental music, radio, gramophone, and cinema inspired imitation in many U. S. cities. The late 1940s and early 1950s brought the bird groups, The Swallows. A number of names are also drawn from cars. The Orioles helped develop the sound with their hits Its Too Soon to Know. The term doo-wop first appeared in print in 1961 in the Chicago Defender, the phrase was attributed to radio disc jockey Gus Gossert but Gossert suggested doo-wop was already in use to categorize the music in California. The first record to use the syllables doo-wop in the refrain was the 1955 hit When You Dance by The Turbans, previously, the scat backing vocal doo-wop is heard in The Clovers 1953 release Good Lovin and in the chorus of Carlyle Dundee & The Dundees 1954 song Never. After some time, the term doo-wop finally caught on as both a description and category for R&B vocal group harmony, the definition expanded backward to include rhythm and blues groups from the mid-1950s, then cascaded even further back to include groups from the 1940s
Doo-wop
–
Randy & The Rainbows at the Benedum Center, Pittsburgh
Doo-wop
–
The Cleftones during their participation in the doo-wop festival celebrated in May 2010 at the
Benedum Center.
Doo-wop
–
The Quotations live in concert at the
Benedum Center,
Pennsylvania
Doo-wop
–
Kathy Young with
The Earth Angels performing Kathy's hit A Thousand Stars during the festival of this genre celebrated at the
Benedum Center for the performing arts in
Pittsburgh,
Pennsylvania in May 2010
5.
Jazz
–
Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
Jazz
–
Louis Armstrong (1901–1971) is considered one of the pivotal musicians in jazz for his contributions as a trumpet player, composer and singer.
Jazz
–
Double bassist
Reggie Workman, saxophone player
Pharoah Sanders, and drummer
Idris Muhammad performing in 1978
Jazz
–
Albert Gleizes, 1915, Composition pour Jazz, gouache on cardboard, mounted on Masonite, 73 x 73 cm,
Solomon R. Guggenheim Museum, New York
Jazz
–
In the late 18th-century painting
The Old Plantation, African-Americans dance to banjo and percussion.
6.
Hammond organ
–
The Hammond organ is an electric organ, invented by Laurens Hammond and John M. Hanert and first manufactured in 1935. Various models have been produced, most of use sliding drawbars to create a variety of sounds. Around two million Hammond organs have been manufactured, the organ is commonly used with, and associated with, the Leslie speaker. The organ was originally marketed and sold by the Hammond Organ Company to churches as a lower-cost alternative to the pipe organ. It quickly became popular with jazz musicians in organ trios. Organ trios were hired by jazz club owners, who found that organ trios were a cheaper alternative to hiring a big band. The Hammond Organ Company struggled financially during the 1970s as they abandoned tonewheel organs and these instruments were not as popular with musicians as the tonewheels had been, and the company went out of business in 1985. The Hammond name was purchased by the Suzuki Musical Instrument Corporation and this culminated in the production of the New B-3 in 2002, which provided an accurate recreation of the original B-3 organ using modern digital technology. Hammond-Suzuki continues to manufacture a variety of organs for both players and churches. Other companies, such as Korg, Roland and Clavia, have achieved success in providing emulations of the original tonewheel organs. The sound of a tonewheel Hammond can also be emulated using software such as Native Instruments B4. A number of distinctive Hammond organ features are not usually found on other keyboards like the piano or synthesizer, Some are similar to a pipe organ, but others are unique to the instrument. Most Hammond organs have two 61-note keyboards called manuals, as with pipe organ keyboards, the two manuals are arrayed on two levels close to each other. There is no difference in volume regardless of how heavily or lightly the key is pressed, the keys on each manual have a lightweight action, which allows players to perform rapid passages more easily than on a piano. In contrast to piano and pipe organ keys, Hammond keys have a flat-front profile, Early Hammond console models had sharp edges, but starting with the B-2 these were rounded, as they were cheaper to manufacture. The M series of spinets also had waterfall keys, but later models had diving board style keys which resembled those found on a church organ. Modern Hammond-Suzuki models use waterfall keys, Hammond console organs come with a wooden pedalboard played with the feet, for bass notes. Most console Hammond pedalboards have 25 notes, with the note a low C
Hammond organ
–
A Hammond C-3 organ
Hammond organ
–
Unlike an
American Guild of Organists pedalboard, a console Hammond normally has 25 pedals
Hammond organ
–
Preset keys on a Hammond organ are reverse-colored and sit to the left of the
manuals
Hammond organ
–
The B-3 was the most popular Hammond organ, produced from 1954 to 1974
7.
Horn section
–
A horn section is a group of musicians playing horns. In an orchestra or concert band, it refers to the musicians who play the French horn, in many popular-music genres the term is applied loosely to any group of woodwind or brass instruments, or a combination of woodwinds and brass. In a symphony orchestra, the section is the group of symphonic musicians who play the French horn. These musicians are typically seated to the back of the ensemble, placing them to the left with their bells toward the audience increases the prominence of the section, whereas on the right, the sound reflects off the back of the stage. The order from the horn to the fourth horn is right to left from the directors view. The section is ordered in this way so the horn may be heard by all players, as the principal sets the timbre. The horn section usually has parts which are prepared by an arranger using orchestration to provide a harmonic and melodic accompaniment to a song or musical group. In some cases, the section may improvise a simple backing part using well-known stock lines. Horn sections are a part of musical genres such as jazz, R&B, blues, funk, calypso, ska, soul music. Most of these horn sections feature some combination of saxophones, trumpets, more rarely, other wind or brass instruments such as flute, clarinet or tuba may be added. Other popular musical genres, such as rock and pop, also use horn sections, horn sections in blues bands and funk groups may be composed of session musicians playing arranged parts, or they may be a consistent group of musicians. A small number of horn sections use a consistent group of musicians who become known as a unit. Grove Dictionary of Musical Instruments, Oxford Music Online
Horn section
–
Horn section of
Ojos de Brujo
8.
Clavinet
–
The Clavinet is an electrically amplified clavichord that was manufactured by the Hohner company of Trossingen, West Germany from 1964 to the early 1980s. Hohner produced seven models over the years, designated I, II, L, C, D6, E7 and its distinctive bright staccato sound has featured most prominently in funk, jazz-funk, rock, and soul songs. The clavinet is an instrument that requires a keyboard amplifier to produce a usable sound level. Most models have 60 keys and a range of F1 to E6. This five octave span covers the range of an electric guitar, the sound is produced by a harp of 60 tensioned steel strings oriented diagonally below the key surface. Each key of the keyboard action is a single lever element that pivots on a fulcrum point at the rear. A spring returns the key to the rest position, beneath each key, a metal holder grips a small rubber pad. Depressing a key makes the pad perform what is known in guitar technique as a hammer on, an electro-magnetic pickup turns the string vibration into an electric current. The unique playing feel of a comes from this abrupt impact of the pad striking its anvil point against the string. The end of each string farthest from the passes through a weave of yarn. When the key is released, the yarn damps the vibration of the string, each string is tuned by a machine-head positioned along the front of the harp. Most clavinets have two sets of pickups, positioned above and below the strings, the Clavinet has pickup selector switches, and a guitar-level output that connects to an amplifier. Early clavinet models featured single-coil pickups, the D6 introduced a six-core pickup design. Originally, Hohner intended the instrument for use and early European classical. The Clavinet L, introduced in 1968 was a model with a wood-veneered triangular body. It had reverse-colour keys and a glass music stand. The Clavinet Duo model combined a clavinet with the Hohner Pianet T in one compact instrument, after Hohner stopped producing the Clavinet E7 and Clavinet Duo, they used the brand name for electronic and digital keyboards with no electro-mechanical sound production features. In the late 1980s, they applied the Clavinet DP name to a range of Japanese-made digital pianos and these instruments were designed for the home market, and made no attempt to emulate the electro-mechanical Clavinet
Clavinet
–
Clavinet
Clavinet
–
The Clavinet C
Clavinet
–
The Clavinet D6, the most popular model, introduced in 1971.
9.
Funk
–
Funk is a music genre that originated in the mid- 1960s when African American musicians created a rhythmic, danceable new form of music through a mixture of soul music, jazz, and rhythm and blues. Like much of African-inspired music, funk typically consists of a groove with rhythm instruments playing interlocking grooves. Funk uses the same richly-colored extended chords found in jazz, such as minor chords with added sevenths and elevenths. Other musical groups, including Sly and the Family Stone and Parliament-Funkadelic, soon began to adopt, Funk samples have been used extensively in genres including hip hop, house music, and drum and bass. It is also the influence of go-go, a subgenre associated with funk. The word funk initially referred to a strong odor and it is originally derived from Latin fumigare via Old French fungiere and, in this sense, it was first documented in English in 1620. In 1784 funky meaning musty was first documented, which, in turn, in early jam sessions, musicians would encourage one another to get down by telling one another, Now, put some stank on it. At least as early as 1907, jazz songs carried titles such as Funky, as late as the 1950s and early 1960s, when funk and funky were used increasingly in the context of jazz music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans-born drummer Earl Palmer was the first to use the word funky to explain to other musicians that their music should be made more syncopated, the style later evolved into a rather hard-driving, insistent rhythm, implying a more carnal quality. This early form of the set the pattern for later musicians. The music was identified as slow, sexy, loose, riff-oriented, a great deal of funk is rhythmically based on a two-celled onbeat/offbeat structure, which originated in sub-Saharan African music traditions. New Orleans appropriated the bifurcated structure from the Afro-Cuban mambo and conga in the late 1940s, New Orleans funk, as it was called, gained international acclaim largely because James Browns rhythm section used it to great effect. Funk creates an intense groove by using strong guitar riffs and bass lines, like Motown recordings, funk songs used bass lines as the centerpiece of songs. Slap basss mixture of thumb-slapped low notes and finger popped high notes allowed the bass to have a rhythmic role. In funk bands, guitarists typically play in a style, often using the wah-wah sound effect. Guitarist Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic were notably influenced by Jimi Hendrixs improvised solos, Eddie Hazel, who worked with George Clinton, is one of the most notable guitar soloists in funk. Ernie Isley was tutored at an age by Jimi Hendrix himself. Jimmy Nolen and Phelps Collins are famous funk rhythm guitarists who both worked with James Brown, on Browns Give It Up or Turnit a Loose, Jimmy Nolens guitar part has a bare bones tonal structure
Funk
–
George Clinton and
Parliament Funkadelic in 2006
Funk
–
Simple kick and snare funk motif. The kick first sounds two onbeats, which are then answered by two offbeats. The snare sounds the backbeat.
Funk
–
James Brown, one of the founding fathers of funk
Funk
–
George Clinton and P-Funk All Stars, Long Beach 2009
10.
Disco
–
Disco is a genre of dance music containing elements of funk, soul, pop, and salsa. It achieved popularity during the mid-1970s to the early 1980s, Disco can be seen as a reaction against both the domination of rock music and the stigmatization of dance music by the counterculture during this period. It was popular with men and women, from many different backgrounds. The disco sound often has several components, a beat, an eighth note or 16th note hi-hat pattern with an open hi-hat on the off-beat. In most disco tracks, string sections, horns, electric piano, Orchestral instruments such as the flute are often used for solo melodies, and lead guitar is less frequently used in disco than in rock. Many disco songs use electronic synthesizers, particularly in the late 1970s, well-known 1970s disco performers included Donna Summer, the Bee Gees, Boney M. KC and the Sunshine Band, The Trammps, Sylvester, Village People, Gloria Gaynor and Chic. While performers and singers garnered much attention, record producers working behind the scenes played an important role in developing the disco sound. Many non-disco artists recorded songs at the height of discos popularity. Disco was the last mass popular movement that was driven by the baby boom generation. Disco was a phenomenon, but its popularity drastically declined in the United States in 1980. Disco Demolition Night, an anti-disco protest held in Chicago on 12 July 1979, is thought of as a factor in discos fast. By the late 1970s most major U. S. cities had thriving disco club scenes, Studio 54, a venue popular amongst celebrities, is a well-known example of a disco club. Popular dances included the Hustle, a suggestive dance. Discotheque-goers often wore expensive, extravagant and sexy fashions, Disco clubs were also associated with promiscuity. Disco was a key influence on the 1980s electronic dance style called house. The term is derived from discothèque, by the early 1940s, the terms disc jockey and DJ were in use to describe radio presenters. During WWII, because of restrictions set in place by the Nazi occupiers, eventually more than one of these jazz venues had the proper name discothèque. By 1959, the term was used in Paris to describe any of these type of nightclubs and that year a young reporter named Klaus Quirini started to select and introduce records at the Scotch-Club in Aachen, West Germany
Disco
–
A
disco ball
Disco
–
Major disco clubs had lighted dance floors, with the light flashing according to the beat.
Disco
–
Man wearing Disco Sucks T-shirt.
Disco
–
Students from
Monterrey Institute of Technology and Higher Education, Mexico City performing disco during a cultural event on campus
11.
Blue-eyed soul
–
Blue-eyed soul is rhythm and blues and soul music performed by white artists. The term was coined in the mid-1960s, to describe artists who performed soul and R&B that was similar to the music of the Motown. Though many rhythm and blues radio stations would play music by black musicians. The Righteous Brothers named their 1964 LP Some Blue-Eyed Soul, Blue-eyed soul was applied to such artists as Sonny & Cher, the Beatles, Tom Jones, Barry McGuire, and Roy Head. White musicians playing R&B music, however, began before the term blue-eyed soul was coined, lonnie Macks 1963 gospel-infused vocals earned him widespread critical acclaim as a blue-eyed soul singer. Groups such as The Rascals had soul-tinged pop songs, but it was the vocals of Felix Cavaliere that gave them the blue-eyed soul sound. By the mid-1960s, British singers Dusty Springfield, Eric Burdon, Blue-eyed soul singer, Chris Clark became the first white singer to have an R&B hit with Motown Records in 1966. In 1967, Jerry Lee Lewis, whose latter days at Sun Records had been characterized by R&B covers, delaney and Bonnie produced the blue-eyed soul album Home on Stax in 1969. Michael Sembello, who left home at age 17 to tour with Stevie Wonder, wrote and performed on numerous blue-eyed soul hits for Wonder, Brian McKnight, David Sanborn, Bill Champlin and Bobby Caldwell. Todd Rundgren began his career in Woodys Truck Stop, a based on the model of the Paul Butterfield Blues Band. He left the band to form the rock band Nazz in 1967. Outside the Anglo-American scene, in Italy, Mina and Carmen Villani fused elements of music with the traditional Italian pop music. Carola and Doris were notable Scandinavian artists who were influenced by soul music, in February 1975, Tower of Power became the first white/mixed act to appear on Soul Train. Also in 1975, David Bowie, another early white artist to appear on Soul Train, released Young Americans and it featured the funk-inspired Fame, which became Bowies first number-one hit in the US. Hall & Oates 1975 Silver Album includes the ballad Sara Smile, shes Gone, another soulful hit, was originally released in 1973 but did better as a re-release after Sara Smile. Boz Scaggs 1976 Lowdown, which featured Scaggs laid-back vocals and a funky groove. In April 1976, The Faragher Brothers became the first all-white ensemble to make an appearance on Soul Train. In September that year, white funk band Wild Cherry released the Billboard Hot 100 chart topping funk/rock single Play That Funky Music, the single would eventually sell 2.5 million copies
Blue-eyed soul
–
The Righteous Brothers, one of the early artists most closely associated with blue-eyed soul
Blue-eyed soul
–
Steve Winwood performing with
Traffic, 1969
Blue-eyed soul
–
Duffy, Welsh soul artist
12.
Motown Records
–
Motown is an American record company. The record company was founded by Berry Gordy, Jr. as Tamla Records on January 12,1958, the name, a portmanteau of motor and town, has also become a nickname for Detroit. Motown played an important role in the integration of popular music as an African American-owned record label that achieved significant crossover success. In the 1960s, Motown and its subsidiary labels were the most successful proponents of what came to be known as the Motown Sound, a style of soul music with a distinct pop influence. During the 1960s, Motown achieved spectacular success for a record company,79 records in the Top Ten of the Billboard Hot 100 record chart between 1960 and 1969. The company was sold to MCA Inc. Motown was later sold to PolyGram in 1994, before being sold again to MCA Records successor, Universal Music Group, Motown spent much of the 2000s as a part of the Universal Music subsidiaries Universal Motown and Universal Motown Republic Group, and headquartered in New York City. From 2011 to 2014, Motown was a part of The Island Def Jam Music Group division of Universal Music. On April 1,2014, Universal Music Group announced the dissolution of Island Def Jam and it now operates out of the landmark Capitol Tower. For many decades, Motown was the highest-earning African American business in the United States, Berry Gordy got his start as a songwriter for local Detroit acts such as Jackie Wilson and the Matadors. Wilsons single Lonely Teardrops, written by Gordy, became a huge success and he realized that the more lucrative end of the business was in producing records and owning the publishing. In 1959, Billy Davis and Berry Gordys sisters Gwen and Anna started Anna Records, Davis and Gwen Gordy wanted Berry to be the company president, but Berry wanted to strike out on his own. On January 12,1959, he started Tamla Records, with a loan from his family. Gordy originally wanted to name the label Tammy Records, after the hit song popularized by Debbie Reynolds from the 1957 film Tammy, when he found the name was already in use, Berry decided on Tamla instead. Tamlas first release, in the Detroit area, was Marv Johnsons Come to Me in 1959 and its first hit was Barrett Strongs Money, which made it to number 2 on the Billboard R&B charts. Gordys first signed act was the Matadors, who changed their name to the Miracles. Their first release, Got a Job, was a record to the Silhouettes Get a Job. The Miracles first, minor hit was their single, 1959s Bad Girl, released in Detroit as the debut record on the Motown imprint
Motown Records
–
The
Hitsville U.S.A. Motown building at 2648 West Grand Boulevard in Detroit served as Motown's headquarters from 1959 until 1968, and became the Motown Historical Museum in 1985.
Motown Records
–
Motown
Motown Records
–
Berry Gordy House, known as Motown Mansion in
Detroit 's
Boston-Edison Historic District
13.
Neo soul
–
Neo soul is a genre of popular music. The term was coined by music industry entrepreneur Kedar Massenburg during the late 1990s to market and describe a style of music emerged from soul. It has been noted by writers for its traditional R&B influences, conscious-driven lyrics. Neo soul developed during the 1980s and early 1990s, in the United States and United Kingdom and it earned mainstream success during the 1990s, with the commercial and critical breakthroughs of several artists, including DAngelo, Erykah Badu, Lauryn Hill, and Maxwell. Their music was marketed as an alternative to the producer-driven, digitally approached R&B of the time and its mainstream presence declined during the 2000s, although newer artists emerged through more independent means of marketing their music. According to music journalist Mark Anthony Neal, neo-soul and its various incarnations has helped to redefine the boundaries, the success of DAngelos 1995 debut album Brown Sugar has been regarded by several writers and music critics as inspiration behind the terms origin. In a 2002 interview for Billboard, Massenburg said that genre classifications are often unpopular because they may be suggestive of a short-lived trend. However, although he said neo soul is still essentially soul music, neo-soul artists tried to look both backward and forward, acting in the belief that a continuum might exist. Despite some ambivalence from artists, the term received widespread use by music critics and writers who wrote about artists, African American studies professor Mark Anthony Neal has described neo soul as everything from avant-garde R&B to organic soul. A product of trying to something outside of the norm in R&B. They also infuse jazz, funk, and African musical elements into R&B, noting that most of the genres artists are singer-songwriters, writers have viewed their lyrical content as more conscious-driven and having a broader range than most other R&B artists. AllMusic calls it roughly analogous to contemporary R&B, dimitri Ehrlich of Vibe said that they emphasize a mix of elegant, jazz-tinged R&B and subdued hip hop, with a highly idiosyncratic, deeply personal approach to love and politics. Music writers have noted that neo soul artists are predominantly female, jason Anderson of CBC News called neo soul a sinuous, sly yet unabashedly earnest alternative and kind of haven for listeners turned off by the hedonism of mainstream hip-hop and club jams. Neo soul artists are associated with alternative lifestyles and fashions, including organic food, incense. In a 1998 article on neo soul, Time journalist Christopher John Farley wrote that such as Hill, DAngelo. Neo soul artists during the 1990s were heavily inspired by the sound and mellow instrumentation of Gil Scott-Herons. All About Jazz cited Jackson as one of the architects of the sound. Neo soul originated in the 1980s and early 1990s, with the work of acts such as Prince
Neo soul
–
Although she disputes the term, Erykah Badu has been dubbed "the first lady of neo soul" and "the queen of neo-soul".
Neo soul
–
Raheem DeVaughn performs socially conscious and love-themed songs, and has been compared to
Donny Hathaway and
Marvin Gaye.
14.
Hip hop soul
–
Hip hop soul is a subgenre of contemporary R&B music, most popular during the early and mid 1990s, which fuses rhythm and blues/gospel singing with hip hop musical production. The subgenre had evolved from a previous R&B subgenre, new jack swing, by contrast, hip hop soul is, as described in The Encyclopedia of African American Music, quite literally soul singing over hip hop grooves. The genre was most popular during the mid 1990s with artists such as Mary J. Blige, Mariah Carey, Jodeci, TLC, R. Kelly, and Montell Jordan. By the late 1990s, hip hop soul would lead to the creation of neo soul, which retained the hip-hop and R&B/gospel influences while also adding elements of classic 1970s soul music. Hip hop soul evolved directly from new jack swing, a form of contemporary R&B popularized by artists and producers such as Teddy Riley and his group Guy, Keith Sweat, and Bobby Brown. New jack swing had incorporated elements of hip-hop music—primarily hip-hop-inspired drum tracks, hip hop soul took the hip-hop/R&B synthesis further by having R&B singers sing directly over the types of sample-heavy backing tracks typically found in contemporary hip-hop recordings. The creation and evolution of hip hop led to an increasingly symbiotic relationship between its parent genres. It also increased the popularity of music and culture with older audiences. However, the creation of hip hop soul has been argued by music journalists, the term hip hop soul is attributed to record producer and later rapper Sean Puffy Combs, who came up with the term during the promotion of Whats the 411. The 1992 debut album of Uptown Records artist Mary J. Blige, Blige was promoted by the company as the Queen of Hip-Hop Soul, and her debut album, primarily produced by Combs, was filled with mid-tempo R&B ballads sung over hip-hop beats and samples. A large number of acts, both solo performers and groups, followed or competed with Jodeci, among them R. Kelly,112. Toné. and Blackstreet, a group formed by Teddy Riley. Ill Be There For You/Youre All I Need to Get By won the 1996 Grammy Award for Grammy Award for Best Rap Performance by a Duo or Group. The female vocal group TLC, made up of two singers and a rapper, had, like Jodeci, had their start in new jack swing with their debut album, Ooooooohhh. Their second album, Crazysexycool, to which Puffy Combs was a significant contributor, similar female acts of the time included SWV, Adina Howard, Faith Evans, and Total, the latter two acts signed to Puffy Combs own label, Bad Boy Entertainment. Examples of neo soul artists include Tony, dAngelo, Erykah Badu, and Lauryn Hill. Several newer artists continued to perform in the hip hop soul subgenre in its form from the 2000s forward, among them John Legend, Anthony Hamilton, K. Michelle
Hip hop soul
–
R&B singer
Mary J. Blige is known as the "
queen of hip hop soul " due to her frequent collaborations with rappers and hip hop producers.
15.
Psychedelic soul
–
It came to prominence in the late 1960s and continued into the 1970s, playing a major role in the development of funk and disco. Pioneering acts included Sly and the Family Stone, Jimi Hendrix, mainstream acts that developed a psychedelic sound included the Supremes and Stevie Wonder. Acts that achieved notability with the sound included the Chambers Brothers, the 5th Dimension, Edwin Starr, and George Clintons Funkadelic and Parliament ensembles. Following the lead of Jimi Hendrix in psychedelic rock, in the late 1960s psychedelia began to have a impact on African American musicians. Influenced by the civil movement, it had a darker. Other Motown acts soon followed into psychedelic territory, including established performers like the Supremes with Reflections, Love Child, psychedelic influences could also be heard in the work of Stevie Wonder and in Marvin Gayes socially conscious work from Whats Going On. George Clintons interdependent Funkadelic and Parliament ensembles and their various spin-offs, took the genre to its most extreme lengths, making funk almost a religion in the 1970s. And Your Ass Will Follow, and Maggot Brain, and Parliament album Osmium, producing over forty singles, including three in the US top ten, and three platinum albums. Acts like Earth, Wind & Fire, Kool & the Gang, and Ohio Players, who began as psychedelic soul artists, incorporated its sounds into funk music and eventually the disco which partly replaced it
Psychedelic soul
–
The Chambers Brothers shown in 1970
Psychedelic soul
–
Earth, Wind, and Fire 's
Maurice White and
Philip Bailey performing in 1982
Psychedelic soul
–
George Clinton and
Parliament-Funkadelic performing in 2006
16.
Soul jazz
–
Soul jazz is a development of jazz incorporating strong influences from blues, soul, gospel and rhythm and blues in music for small groups, often an organ trio featuring a Hammond organ. Soul jazz is often associated with hard bop, “Hard bop was an “opening out” in many directions. Gridley, writing for the All Music Guide to Jazz, explains that soul jazz more specifically refers to music with an earthy, bluesy melodic concept and repetitive, dance-like rhythms. Note that some listeners make no distinction between soul-jazz and funky hard bop, and many dont consider soul-jazz to be continuous with hard bop. Roy Carr describes soul jazz as an outgrowth of hard bop, and soul appearing in a jazz context as early as the mid-1950s to describe gospel-informed, down-home, call-and-response blues. Carr also notes the influence of Ray Charles small group recordings with Horace Silver, Art Blakey, Cannonball Adderley and Milt Jackson. ”“F. Scott Fitzgerald famously dubbed the 1920’s the Jazz Age. ”Soul jazz developed in the late 1950s. Cannonball Adderley noted, We were pressured quite heavily by Riverside Records when they discovered there was a word called soul and we became, from an image point of view, soul jazz artists. They kept promoting us that way and I kept deliberately fighting it, while soul jazz was most popular during the mid-to-late 1960s, many soul jazz performers, and elements of the music, remain popular. The Jazz Crusaders, for example, evolved from jazz to soul music. Carr places David Sanborn and Maceo Parker in a line of alto saxophonists that includes Earl Bostic and Tab Smith, with Adderley, followed by Lou Donaldson, as the strongest links in the chain. Les McCann and Eddie Harriss album Swiss Movement was a hit record, as was the accompanying single Compared to What, list of soul-jazz musicians Category, Soul-jazz musicians Soul jazz at AllMusic Soul-Jazz, Where Jazz, Blues And Gospel Meet at NPR Music
Soul jazz
–
Jimmy Smith on the Hammond organ
17.
British soul
–
British soul, Brit soul, or the British soul invasion, is soul music performed by British artists. In the 1970s, soul gained more popularity in the UK during the disco era. British soul artists began gaining popularity in the United States in the late 2000s, leading to talk of another British Invasion, widespread British interest in soul music developed after the advent of rock and roll from the mid-1950s and the subsequent interest in American music. Most of these were popular with members of the Mod subculture, out of which grew the northern soul movement, britain produced a handful of soul acts in the 1960s, most significantly the blue-eyed soul singers Tom Jones and Dusty Springfield. Dusty in Memphis is one of the few albums by a British performer considered among the great soul recordings, in 1964 Springfield became the first non Beatles act of the British Invasion to chart well in the US. A string of US and British hits followed, in 1965 Springfield hosted a television show The Sound of Motown which has been widely credited with introducing what was called The Sound of Young America to British audiences. A handful of British artists continued to perform soul-inspired music in the 1970s and these included David Bowie, whose Plastic soul on his Young Americans album, helped keep the sound in the British mainstream. Kung Fu Fighting in particular sold eleven million records worldwide, other British soul acts working with Biddu at the time included The Outriders and Jimmy James. Maxine Nightingale had a smash in late 1975 and early 1976 with Right Back Where We Started From. In the 1980s, the situation began to change radically, with a wave of nostalgia for 1960s soul music, britains post-disco sound contributed some new black artists to the emerging Contemporary R&B sound, originating in the U. S. For the first time since the 1960s, there were also notable acts who specialised in soul and these included George Michael, who reinvented himself a white soul singer with the multi-platinum album Faith. Also significant were Sade, Simply Red, Loose Ends, and toward the end of the decade, Lisa Stansfield, and Soul II Soul. The latters breakthrough hits Keep on Movin and Back to Life in 1989 have been seen as opening the door to the mainstream for black British soul, in the 1990s, the British soul-influenced acts included Omar and acid jazz bands Incognito and Brand New Heavies. Particularly noticeable was the proliferation of British female black singers, many, like American artists of the 1950s and 1960s and these included Mica Paris, Caron Wheeler, Gabrielle, Desree, Beverley Knight and Heather Small. Other British artists who gained success during the 1990s include Eternal, Damage, MN8, Mark Morrison, Shola Ama, Honeyz and Another Level. In the early 2000s, a number of British Asian Underground artists began creating music that combines contemporary R&B with Indian music, particularly Punjabi bhangra. British soul in the 2000s has been dominated by singers, most notably Amy Winehouse, Estelle, Joss Stone, Duffy, Paloma Faith, Florence Welch, Adele. They have enjoyed success on the American charts, leading to talk of another British Invasion, in 2008, Amy Winehouse won 5 Grammy Awards, then more than any British female artist had won in one night
British soul
–
Amy Winehouse at the
Eurockéennes festival in 2007
British soul
–
Tom Jones singing with
Janis Joplin in 1969
British soul
–
Bowie as the
Thin White Duke performing in Toronto, 1976, during his plastic soul phase
British soul
–
Heather Small performing in Southport, Merseyside, England in 2008
18.
Detroit soul
–
Motown is an American record company. The record company was founded by Berry Gordy, Jr. as Tamla Records on January 12,1958, the name, a portmanteau of motor and town, has also become a nickname for Detroit. Motown played an important role in the integration of popular music as an African American-owned record label that achieved significant crossover success. In the 1960s, Motown and its subsidiary labels were the most successful proponents of what came to be known as the Motown Sound, a style of soul music with a distinct pop influence. During the 1960s, Motown achieved spectacular success for a record company,79 records in the Top Ten of the Billboard Hot 100 record chart between 1960 and 1969. The company was sold to MCA Inc. Motown was later sold to PolyGram in 1994, before being sold again to MCA Records successor, Universal Music Group, Motown spent much of the 2000s as a part of the Universal Music subsidiaries Universal Motown and Universal Motown Republic Group, and headquartered in New York City. From 2011 to 2014, Motown was a part of The Island Def Jam Music Group division of Universal Music. On April 1,2014, Universal Music Group announced the dissolution of Island Def Jam and it now operates out of the landmark Capitol Tower. For many decades, Motown was the highest-earning African American business in the United States, Berry Gordy got his start as a songwriter for local Detroit acts such as Jackie Wilson and the Matadors. Wilsons single Lonely Teardrops, written by Gordy, became a huge success and he realized that the more lucrative end of the business was in producing records and owning the publishing. In 1959, Billy Davis and Berry Gordys sisters Gwen and Anna started Anna Records, Davis and Gwen Gordy wanted Berry to be the company president, but Berry wanted to strike out on his own. On January 12,1959, he started Tamla Records, with a loan from his family. Gordy originally wanted to name the label Tammy Records, after the hit song popularized by Debbie Reynolds from the 1957 film Tammy, when he found the name was already in use, Berry decided on Tamla instead. Tamlas first release, in the Detroit area, was Marv Johnsons Come to Me in 1959 and its first hit was Barrett Strongs Money, which made it to number 2 on the Billboard R&B charts. Gordys first signed act was the Matadors, who changed their name to the Miracles. Their first release, Got a Job, was a record to the Silhouettes Get a Job. The Miracles first, minor hit was their single, 1959s Bad Girl, released in Detroit as the debut record on the Motown imprint
Detroit soul
–
The
Hitsville U.S.A. Motown building at 2648 West Grand Boulevard in Detroit served as Motown's headquarters from 1959 until 1968, and became the Motown Historical Museum in 1985.
Detroit soul
–
Motown
Detroit soul
–
Berry Gordy House, known as Motown Mansion in
Detroit 's
Boston-Edison Historic District
19.
Northern soul
–
The northern soul movement, however, generally eschews Motown or Motown-influenced music that has had significant mainstream commercial success. Northern soul is associated with dance styles and fashions that grew out of the underground rhythm & soul scene of the late 1960s at venues such as the Twisted Wheel in Manchester. As the favoured beat became more uptempo and frantic, by the early 1970s, northern soul dancing became more athletic, somewhat resembling the later styles of disco. In the late 1960s and early 1970s, popular northern soul records generally dated from the mid-1960s and this meant that the movement was sustained by prominent DJs discovering rare and previously overlooked records. Later on, certain clubs and DJs began to move away from the 1960s Motown sound, the phrase Northern soul emanated from the record shop Soul City in Covent Garden, London, which was run by journalist Dave Godin. It was first publicly used in Godins weekly column in Blues & Soul magazine in June 1970, I devised the name as a shorthand sales term. It was just to say if youve got customers from the north, dont waste time playing them records currently in the U. S. black chart, the venue most commonly associated with the early development of the northern soul scene was the Twisted Wheel in Manchester. The club began in the early 1950s as a coffee bar called the Right Wing, but in early 1963. Initially, the Twisted Wheel mainly hosted live music on the weekends, starting in September 1963, the Abadi brothers promoted all-night parties at the venue on Saturday nights, with a mixture of live and recorded music. However, other towns and cities across Britain had similar enthusiasts around this time who would tune into radio broadcasts. Dismayed at the change in policy and the frequent drug raids by the police. Until his departure in 1968, resident All Niter DJ Bob Dee compiled and supervised the playlist, rarer, more up-tempo records were added to the playlist in 1969 by the new younger DJs up until the clubs eventual closure in 1971. The venue’s owners had filled the vacancy left by Eagle with a growing roster of specialist soul DJs. The Twisted Wheel gained a reputation as a haven, and under pressure from the police and other authorities. These included the King Mojo in Sheffield, the Catacombs in Wolverhampton, Room at the Top in Wigan, Northern soul reached the peak of its popularity in the mid to late 1970s. At this time, there were clubs in virtually every major town in the Midlands. The three venues regarded as the most important in this decade were the Golden Torch in Tunstall, Stoke-on-Trent, Blackpool Mecca and Wigan Casino. Chris Burton, the owner, stated that by 1972, the club had a membership of 12,500, Wigan Casino began its weekly soul all-nighters in September 1973
Northern soul
–
Photograph of the original release (left) and a re-issue copy (right) of
Gloria Jones '
Tainted Love
Northern soul
–
Commemorative sew-on patch similar to those worn by Twisted Wheel members.
20.
Philadelphia soul
–
The Philadelphia Soul are a professional arena football team based in Philadelphia, Pennsylvania. They compete in the Arena Football League, the Soul have made four ArenaBowl appearances, winning their first appearance and losing their next two appearances. The Soul won their fourth appearance, against the Arizona Rattlers in 2016, the club was established in 2004 when a group, led by Jon Bon Jovi, secured the rights to an AFL franchise in Philadelphia. The AFL folded before the proposed 2009 season was to begin, after two seasons of inactivity in 2009 and 2010, the Soul returned in 2011 headed by Ron Jaworski. The team was owned by co-majority owners Jon Bon Jovi and Craig Spencer along with minority owners Richie Sambora, Ron Jaws Jaworski and Leo Carlin, Jr. The Soul began play in February 2004, and played its games at the Wells Fargo Center, home of the Philadelphia Flyers of the NHL. The Soul played in the Eastern Division of the National Conference of the AFL, the name Soul referred to the Philadelphia soul music genre, a play on Bon Jovis career as a musician. The official mascot of the Soul was the Blues Brother-like Soul Man, in 2005, the Soul began the season by beating the Austin Wranglers 66–35. However, after five games, the Soul had two wins and three losses, which led to the firing of head coach Michael Trigg, critics say that the Soul erred that off-season when they made Tony Graziani the highest-paid player in Arena League history. The move left them with little money under the cap to improve their defense. The elimination came even after NBC scheduled 14 games of the Soul to be shown on national or regional television, in 2006, the Soul began 2–0. They went 2–0 against division rival Dallas Desperados, and finished the season at 9–7, in their wild card playoff game, the Soul defeated the Austin Wranglers in Austin, 52–35. The score was 21–21 at halftime, but the #5 seed Soul outscored the #4 Wranglers 21–7 in the third quarter, the Soul started 4–0 in 2007 before losing to the Georgia Force, 57–49. Afterwards, they lost on a Monday night contest to their division rival, in the game, Tony Graziani left the game early with a separated left shoulder from a sack by OL/DL Rickie Simpkins. He would miss the four weeks, all losses, dropping the team to 4–6. Graziani returned in week 12 against the New Orleans VooDoo and led the team to its highest scoring output in its franchise history. In the playoffs, they defeated the Orlando Predators 41–26, then traveled to Atlanta to take on the Georgia Force in the Divisional Round, in 2008, the Soul signed WR Chris Jackson in the off-season. He was united with a teammate in Tony Graziani
Philadelphia soul
–
One of the Philadelphia Soul's endzones.
Philadelphia soul
Philadelphia soul
–
Baseball
Philadelphia soul
21.
African-American culture
–
The distinct identity of African-American culture is rooted in the historical experience of the African-American people, including the Middle Passage. The culture is distinct and enormously influential on American culture as a whole. African-American culture is rooted in West and Central Africa, understanding its identity within the culture of the United States it is, in the anthropological sense, conscious of its origins as largely a blend of West and Central African cultures. Elaborate rituals and ceremonies were a significant part of African Americans ancestral culture, many West African societies traditionally believed that spirits dwelled in their surrounding nature. From this disposition, they treated their environment with mindful care and they also generally believed that a spiritual life source existed after death, and that ancestors in this spiritual realm could then mediate between the supreme creator and the living. Honor and prayer was displayed to these ancient ones, the spirit of those past, West Africans also believed in spiritual possession. In the beginning of the eighteenth century Christianity began to spread across North Africa, the enslaved Africans brought this complex religious dynamic within their culture to America. This fusion of traditional African beliefs with Christianity provided a place for those practicing religion in Africa and America. After emancipation, unique African-American traditions continued to flourish, as distinctive traditions or radical innovations in music, art, literature, religion, cuisine, 20th-century sociologists, such as Gunnar Myrdal, believed that African Americans had lost most cultural ties with Africa. But, anthropological research by Melville Herskovits and others demonstrated that there has been a continuum of African traditions among Africans of the Diaspora. The greatest influence of African cultural practices on European culture is found below the Mason-Dixon line in the American South, Today, African-American culture has become a significant part of American culture and yet, at the same time, remains a distinct cultural body. From the earliest days of American slavery in the 17th century, African cultures, slavery, slave rebellions, and the civil rights movement have shaped African-American religious, familial, political, and economic behaviors. The imprint of Africa is evident in a myriad of ways, in politics, economics, language, music, hairstyles, fashion, dance, religion, cuisine, in turn, African-American culture has had a pervasive, transformative impact on many elements of mainstream American culture. This process of mutual creative exchange is called creolization, over time, the culture of African slaves and their descendants has been ubiquitous in its impact on not only the dominant American culture, but on world culture as well. Slaveholders limited or prohibited education of enslaved African Americans because they feared it might empower their chattel, in the United States, the legislation that denied slaves formal education likely contributed to their maintaining a strong oral tradition, a common feature of indigenous African cultures. African-based oral traditions became the means of preserving history, mores. This was consistent with the practices of oral history in many African. Many of these elements have been passed from generation to generation through storytelling
African-American culture
–
An African-American man gives a piano lesson to a young Caucasian woman, in 1899 or 1900, in
Georgia, USA. Photograph from a collection of
W. E. B. Du Bois.
African-American culture
–
Zora Neale Hurston was a prominent literary figure during the
Harlem Renaissance
African-American culture
–
Thelonious Monk in 1947.
African-American culture
–
Composer
Duke Ellington, pictured receiving the
Presidential Medal of Freedom from
Richard Nixon, is often held to be one of the most influential musical figures of the 20th century.
22.
Motown
–
Motown is an American record company. The record company was founded by Berry Gordy, Jr. as Tamla Records on January 12,1958, the name, a portmanteau of motor and town, has also become a nickname for Detroit. Motown played an important role in the integration of popular music as an African American-owned record label that achieved significant crossover success. In the 1960s, Motown and its subsidiary labels were the most successful proponents of what came to be known as the Motown Sound, a style of soul music with a distinct pop influence. During the 1960s, Motown achieved spectacular success for a record company,79 records in the Top Ten of the Billboard Hot 100 record chart between 1960 and 1969. The company was sold to MCA Inc. Motown was later sold to PolyGram in 1994, before being sold again to MCA Records successor, Universal Music Group, Motown spent much of the 2000s as a part of the Universal Music subsidiaries Universal Motown and Universal Motown Republic Group, and headquartered in New York City. From 2011 to 2014, Motown was a part of The Island Def Jam Music Group division of Universal Music. On April 1,2014, Universal Music Group announced the dissolution of Island Def Jam and it now operates out of the landmark Capitol Tower. For many decades, Motown was the highest-earning African American business in the United States, Berry Gordy got his start as a songwriter for local Detroit acts such as Jackie Wilson and the Matadors. Wilsons single Lonely Teardrops, written by Gordy, became a huge success and he realized that the more lucrative end of the business was in producing records and owning the publishing. In 1959, Billy Davis and Berry Gordys sisters Gwen and Anna started Anna Records, Davis and Gwen Gordy wanted Berry to be the company president, but Berry wanted to strike out on his own. On January 12,1959, he started Tamla Records, with a loan from his family. Gordy originally wanted to name the label Tammy Records, after the hit song popularized by Debbie Reynolds from the 1957 film Tammy, when he found the name was already in use, Berry decided on Tamla instead. Tamlas first release, in the Detroit area, was Marv Johnsons Come to Me in 1959 and its first hit was Barrett Strongs Money, which made it to number 2 on the Billboard R&B charts. Gordys first signed act was the Matadors, who changed their name to the Miracles. Their first release, Got a Job, was a record to the Silhouettes Get a Job. The Miracles first, minor hit was their single, 1959s Bad Girl, released in Detroit as the debut record on the Motown imprint
Motown
–
The
Hitsville U.S.A. Motown building at 2648 West Grand Boulevard in Detroit served as Motown's headquarters from 1959 until 1968, and became the Motown Historical Museum in 1985.
Motown
–
Motown
Motown
–
Berry Gordy House, known as Motown Mansion in
Detroit 's
Boston-Edison Historic District
23.
Atlantic Records
–
Atlantic Recording Corporation is an American major record label founded in October 1947 by Ahmet Ertegün and Herb Abramson. In 2004, Atlantic Records and its sister label Elektra Records merged into Atlantic Records Group, craig Kallman is currently the chairman of Atlantic Records. Ahmet Ertegün served as founding chairman until his death on December 14,2006, the brothers had become ardent fans of jazz and rhythm & blues music, amassing a collection of over 15,00078 RPM records. He convinced the family dentist, Dr Vahdi Sabit, to invest $10,000 and recruited Herb Abramson, Abramson had worked as a part-time A&R manager/producer for the jazz label National Records, signing Big Joe Turner and Billy Eckstine. He founded Jubilee Records in 1946, but had no interest in its most successful artists, so, in September 1947, he sold his share in Jubilee to his partner, Jerry Blaine, and invested $2500 in the new Atlantic label. When interviewed in 2009 she attributed her reputation to the companys chronic cash-flow shortage, most of the problems we had with artists were that they wanted advances, and that was very difficult for us. We were undercapitalized for a long time, the labels original office in the Ritz Hotel, Manhattan proved too expensive so they relocated to an $85 per month room in the Hotel Jefferson. In its early years Atlantic focused principally on modern jazz although it released some country and western and spoken word recordings. The union action forced Atlantic to use almost all its capital to cut and stockpile enough recordings to last through the ban, Ertegun and Abramson spent much of the late 1940s and early 1950s scouring nightclubs in search of talent. Ertegun composed many songs under the alias A, in early 1949 a New Orleans distributor phoned Ertegun trying to obtain Stick McGhees Drinking Wine, Spo-Dee-O-Dee, which was unavailable due to the closure of McGhees previous label. Ertegun knew Sticks younger brother Brownie McGhee, with whom Stick happened to be staying, so he contacted the McGhee brothers, Ertegun asked about artists royalties, which he paid, which surprised Columbia executives, who did not, which scuttled the deal. On the recommendation of broadcaster Willis Conover, Ertegun and Abramson went to see Ruth Brown at the Crystal Caverns club in Washington and she was badly injured in a car accident en route to New York but Atlantic supported her for nine months and then signed her. Her first release for the label So Long, cut at her second Atlantic session on May 25,1949 with the Eddie Condon band, was a major hit, reaching #6 on the R&B chart. Brown went on to more than eighty songs for the label, becoming the most prolific. So significant was Browns success to Atlantics fortunes that the label became known colloquially as The House That Ruth Built. The Clovers Dont You Know I Love You became the labels first R&B #1 in September 1951 and she hit #1 again in March–April 1952 with 5-10-15 Hours. After she left the label in 1961 Browns fortunes declined rapidly - within a few years was reduced to working as a cleaner and bus-driver to support her children. Brown eventually received a payment of $20,000 and founded a charity
Atlantic Records
–
"Weird Al" Yankovic edits the Atlantic Records' Wikipedia page to read "YOU SUCK!" in the music video for the song "
White & Nerdy "
Atlantic Records
–
Atlantic Records logo as of 2015.
24.
Stax Records
–
Stax Records is an American record label, originally based in Memphis, Tennessee. Founded in 1957 as Satellite Records, the changed its name to Stax Records in 1961. It was a factor in the creation of Southern soul. Stax also released gospel, funk, jazz, and blues recordings, while renowned for its output of African-American music, the label was founded by two white siblings and business partners, Jim Stewart and his sister Estelle Axton. It featured several popular ethnically integrated bands and an integrated team of staff and artists unprecedented in that time of racial strife and tension in Memphis. Over the next five years, Bell expanded the labels operations significantly, in order to compete with Staxs main rival, Motown Records in Detroit. During the mid-1970s, a number of factors, including a distribution deal with CBS Records, caused the label to slide into insolvency. In 1977, Fantasy Records acquired the post-1968 Stax catalogue and selected pre-1968 recordings, beginning in 1978, Stax began signing new acts and issuing new material, as well as reissuing previously recorded Stax material. However, by the early 1980s no new material was being issued on the label, after Concord Records acquired Fantasy in 2004, the Stax label was reactivated, and is today used to issue both the 1968–1975 catalog material and new recordings by current R&B and soul performers. Atlantic Records continues to hold the rights to the vast majority of the 1959–1968 Stax material, Stax Records, originally named Satellite Records, was founded in Memphis in 1957 by Jim Stewart, initially operating in a garage. Satellites early releases were country music, rockabilly records or straight pop numbers, in 1958, Stewarts sister Estelle Axton began her financial interest in the company. Taking a considerable risk, she mortgaged her family home to invest $2500 in the company. The company set up a recording studio in Brunswick, Tennessee. Around this time, Stewart was introduced to rhythm and blues music by staff producer Chips Moman. In the summer of year, Satellite released its first record by a rhythm and blues act, Fool in Love, by the Veltones. However, Satellite remained primarily a country and pop label for the year or so. While promoting Fool in Love, Stewart met with Memphis disc jockey and R&B singer Rufus Thomas and it went on to sell between thirty and forty thousand copies, becoming Satellites biggest hit to that time. With the success of Cause I Love You, Stewart made a deal giving Atlantic first choice on releasing Satellite recordings
Stax Records
–
Stax Records
Stax Records
–
Hip Hug-Her by Booker T. & the MG's (1967), showing the two different Atlantic era Stax logos
Stax Records
–
The
Stax Museum on McLemore Avenue in Memphis, founded in 2003, is a replica of the Stax studio, built on the same site where many of the historic Stax recording sessions took place. The original Stax studio was demolished in 1989.
25.
Civil Rights Movement
–
This article covers the phase of the movement between 1954 and 1968, particularly in the South. The movement was characterized by major campaigns of civil resistance, between 1955 and 1968, acts of nonviolent protest and civil disobedience produced crisis situations and productive dialogues between activists and government authorities. Federal, state, and local governments, businesses, and communities often had to immediately to these situations. The 1950s and 1960s Civil Rights Movement witnessed the passage of several pieces of federal legislation. The Voting Rights Act of 1965 restored and protected voting rights for minorities, the Immigration and Nationality Services Act of 1965 removed racial and national barriers and opened the way for non-white immigrants. The Fair Housing Act of 1968 banned discrimination in the sale or rental of housing, African Americans re-entered politics in the South, and across the country young people were inspired to take action. A wave of inner city riots in black communities from 1964 through 1970 undercut support from the white community. Many popular representations of the movement are centered on the leadership and philosophy of Martin Luther King, but, some scholars note that the movement was too diverse to be credited to one person, organization, or strategy. Before the American Civil War, almost four million blacks were enslaved in the South, only men of property could vote. From 1865 to 1877, the United States underwent a turbulent Reconstruction Era trying to free labor. Many whites resisted the changes, leading to insurgent movements such as the Ku Klux Klan, whose members attacked black. In 1871, President Ulysses S. Grant, the U. S. Army, however, if the states failed to implement the acts, the laws allowed the Federal Government to get involved. Many Republican governors were afraid of sending black militia troops to fight the clan in fear of war, for more than 60 years, blacks in the South were not able to elect anyone to represent their interests in Congress or local government. Since they could not vote, they could not serve on local juries, during this period, the white-dominated Democratic Party maintained political control of the South. With whites controlling all the seats representing the population of the South. The Republican Party—the party of Lincoln—which had been the party that most blacks belonged to, until 1965, the solid South was a one-party system under the Democrats. Outside a few areas, the Democratic Party nomination was tantamount to election for state, in 1901, President Theodore Roosevelt invited Booker T. Washington to dine at the White House, making him the first African American to attend an official dinner there. The invitation was roundly criticized by politicians and newspapers
Civil Rights Movement
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Four leaders of the Civil Rights Movement. From left:
Bayard Rustin,
Andrew Young, (N.Y. Cong.
William Ryan),
James Farmer, and
John Lewis in 1965.
Civil Rights Movement
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The mob-style
lynching of Will James, Cairo, Illinois, 1909.
Civil Rights Movement
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School integration, Barnard School, Washington, D.C., 1955
Civil Rights Movement
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Troops from the
327th Regiment, 101st Airborne escorting the
Little Rock Nine African-American students up the steps of Central High.
26.
Music of Africa
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The traditional music of Africa, given the vastness of the continent, is historically ancient, rich and diverse, with different regions and nations of Africa having many distinct musical traditions. Traditional music in most of the continent is passed down orally and is not written, the music and dance of the African diaspora, formed to varying degrees on African musical traditions, include American music and many Caribbean genres, such as soca, calypso and zouk. Latin American music genres such as the rumba, conga, bomba, cumbia and samba were also founded on the music of enslaved Africans, and have in turn influenced African popular music. North Africa is the seat of ancient Egypt and Carthage, civilizations with strong ties to the ancient Near East, eventually, Egypt fell under Persian rule followed by Greek and Roman rule, while Carthage was later ruled by Romans and Vandals. North Africa was later conquered by the Arabs, who established the region as the Maghreb of the Arab world, like the musical genres of the Nile Valley and the Horn of Africa, its music has close ties with Middle Eastern music and utilizes similar melodic modes. North African music has a range, from the music of ancient Egypt to the Berber. The regions art music has for centuries followed the outline of Arabic and Andalusian classical music, with these may be grouped the music of Sudan and of the Horn of Africa, including the music of Eritrea, Ethiopia, Djibouti and Somalia. Somali music is pentatonic, using five pitches per octave in contrast to a heptatonic scale such as the major scale. The music of the Ethiopian highlands uses a fundamental modal system called qenet, of which there are four modes, tezeta, bati, ambassel. Three additional modes are variations on the above, tezeta minor, bati major, some songs take the name of their qenet, such as tizita, a song of reminiscence. The ethnomusicological pioneer Arthur Morris Jones observed that the shared rhythmic principles of Sub-Saharan African music traditions constitute one main system, similarly, master drummer and scholar C. K. Ladzekpo affirms the profound homogeneity of sub-Saharan African rhythmic principles. African traditional music is frequently functional in nature, performances may be long and often involve the participation of the audience. None of this is performed outside its intended context and much of it is associated with a particular dance. Some of it, performed by musicians, is sacral music or ceremonial. The southern region includes the music of South Africa, Lesotho, Swaziland, Botswana, Namibia, the central region includes the music of Chad, the Central African Republic, the Democratic Republic of the Congo and Zambia, including Pygmy music. Southern, Central and West Africa are similarly in the broad Sub-Saharan musical tradition, besides vocalisation, which uses various techniques such as complex hard melisma and yodel, a wide array of musical instruments are used. Additionally, string instruments are used, with the lute-like oud. Other percussion instruments include many rattles and shakers, such as the kosika, rain stick, bells, also, Africa has lots of other types of drums, and lots of flutes, and lots of stringed and wind instruments
Music of Africa
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Classical
Egyptian vocalist
Um Kulthum
Music of Africa
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Aar Maanta performing with his band at Pier Scheveningen Strandweg in
The Hague,
Netherlands.
Music of Africa
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Geo-political map of Africa divided for ethnomusicological purposes, after
Alan P. Merriam, 1959.
Music of Africa
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Algerian musician
Abderrahmane Abdelli playing the
oud.
27.
Rock and Roll Hall of Fame
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The Rock and Roll Hall of Fame and Museum is a hall of fame and museum located on the shore of Lake Erie in downtown Cleveland, Ohio, United States. In 1986, Cleveland was chosen as the hall of fames permanent home.8 billion, the Foundation began inducting artists in 1986, but the Hall of Fame still had no home. The search committee considered several cities, including Philadelphia, Memphis, Detroit, Cincinnati, New York City, Cleveland was also one of the premier tour stops for most rock bands. Civic leaders in Cleveland pledged $65 million in money to fund the construction. A petition drive was signed by 600,000 fans favoring Cleveland over Memphis, on May 5,1986, the Hall of Fame Foundation chose Cleveland as the permanent home of the Rock and Roll Hall of Fame and Museum. Sam Phillips of Sun Studios fame and many others were stunned and disappointed that it ended up in Cleveland, the hall of fame shouldve been in Memphis, certainly, wrote Peter Guralnick, author of an acclaimed two-volume Elvis Presley biography. Cleveland may also have chosen as the organizations site because the city offered the best financial package. As The Plain Dealer music critic Michael Norman noted, It was $65 million, Cleveland wanted it here and put up the money. During early discussions on where to build the Hall of Fame and Museum, ultimately, the chosen location was along East Ninth Street in downtown Cleveland by Lake Erie, east of Cleveland Stadium. Initial CEO Dr. Larry R. Thompson facilitated I. M. Pei in designs for the site, Pei came up with the idea of a tower with a glass pyramid protruding from it. The museum tower was planned to stand 200 ft high. The buildings base is approximately 150,000 square feet, the groundbreaking ceremony took place on June 7,1993. Pete Townshend, Chuck Berry, Billy Joel, Sam Phillips, Ruth Brown, Sam Moore of Sam and Dave, Carl Gardner of the Coasters and Dave Pirner of Soul Asylum all appeared at the groundbreaking. The museum was dedicated on September 1,1995, with the ribbon being cut by an ensemble that included Yoko Ono and Little Richard, among others, the following night an all-star concert was held at the stadium. It featured Chuck Berry, Bob Dylan, Al Green, Jerry Lee Lewis, Aretha Franklin, Bruce Springsteen, Iggy Pop, John Fogerty, John Mellencamp, and many others. In addition to the Hall of Fame inductees, the documents the entire history of rock and roll. Hall of Fame inductees are honored in an exhibit located in a wing that juts out over Lake Erie. Since 1986, the Rock and Roll Hall of Fame has selected new inductees, the formal induction ceremony has been held in New York City 25 times, twice in Los Angeles, and four times in the Hall of Fames home in Cleveland
Rock and Roll Hall of Fame
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Rock and Roll Hall of Fame and Museum
Rock and Roll Hall of Fame
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The former Annex in Soho in New York City (now closed)
Rock and Roll Hall of Fame
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The Rock and Roll Hall of Fame (left) sits on the
Lake Erie shore next to the
Great Lakes Science Center (right) in Cleveland's
North Coast Harbor.
Rock and Roll Hall of Fame
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The Rock and Roll Hall of Fame, showing
Lake Erie in the foreground
28.
African American culture
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The distinct identity of African-American culture is rooted in the historical experience of the African-American people, including the Middle Passage. The culture is distinct and enormously influential on American culture as a whole. African-American culture is rooted in West and Central Africa, understanding its identity within the culture of the United States it is, in the anthropological sense, conscious of its origins as largely a blend of West and Central African cultures. Elaborate rituals and ceremonies were a significant part of African Americans ancestral culture, many West African societies traditionally believed that spirits dwelled in their surrounding nature. From this disposition, they treated their environment with mindful care and they also generally believed that a spiritual life source existed after death, and that ancestors in this spiritual realm could then mediate between the supreme creator and the living. Honor and prayer was displayed to these ancient ones, the spirit of those past, West Africans also believed in spiritual possession. In the beginning of the eighteenth century Christianity began to spread across North Africa, the enslaved Africans brought this complex religious dynamic within their culture to America. This fusion of traditional African beliefs with Christianity provided a place for those practicing religion in Africa and America. After emancipation, unique African-American traditions continued to flourish, as distinctive traditions or radical innovations in music, art, literature, religion, cuisine, 20th-century sociologists, such as Gunnar Myrdal, believed that African Americans had lost most cultural ties with Africa. But, anthropological research by Melville Herskovits and others demonstrated that there has been a continuum of African traditions among Africans of the Diaspora. The greatest influence of African cultural practices on European culture is found below the Mason-Dixon line in the American South, Today, African-American culture has become a significant part of American culture and yet, at the same time, remains a distinct cultural body. From the earliest days of American slavery in the 17th century, African cultures, slavery, slave rebellions, and the civil rights movement have shaped African-American religious, familial, political, and economic behaviors. The imprint of Africa is evident in a myriad of ways, in politics, economics, language, music, hairstyles, fashion, dance, religion, cuisine, in turn, African-American culture has had a pervasive, transformative impact on many elements of mainstream American culture. This process of mutual creative exchange is called creolization, over time, the culture of African slaves and their descendants has been ubiquitous in its impact on not only the dominant American culture, but on world culture as well. Slaveholders limited or prohibited education of enslaved African Americans because they feared it might empower their chattel, in the United States, the legislation that denied slaves formal education likely contributed to their maintaining a strong oral tradition, a common feature of indigenous African cultures. African-based oral traditions became the means of preserving history, mores. This was consistent with the practices of oral history in many African. Many of these elements have been passed from generation to generation through storytelling
African American culture
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An African-American man gives a piano lesson to a young Caucasian woman, in 1899 or 1900, in
Georgia, USA. Photograph from a collection of
W. E. B. Du Bois.
African American culture
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Zora Neale Hurston was a prominent literary figure during the
Harlem Renaissance
African American culture
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Thelonious Monk in 1947.
African American culture
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Composer
Duke Ellington, pictured receiving the
Presidential Medal of Freedom from
Richard Nixon, is often held to be one of the most influential musical figures of the 20th century.
29.
Secularity
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Secularity is the state of being separate from religion, or of not being exclusively allied with or against any particular religion. Historically, the secular was not related or linked to religion. The idea of a dichotomy between religion and the secular originated in the 18th century European Enlightenment, one can regard eating and bathing as examples of secular activities, because there may not be anything inherently religious about them. Nevertheless, some religious traditions see both eating and bathing as sacraments, therefore making them religious activities within those world views, saying a prayer derived from religious text or doctrine, worshipping through the context of a religion, and attending a religious school are examples of religious activities. The secular is experienced in diverse ways ranging from separation of religion and state to being anti-religion or even pro-religion, a related term, secularism, involves the principle that government institutions and their representatives should remain separate from religious institutions, their beliefs, and their dignitaries. Many businesses and corporations, and some operate on secular lines. This stands in contrast to theocracy, government with deity as its highest authority, Secular and secularity derive from the Latin word saeculum which meant of a generation, belonging to an age or denoted a period of about one hundred years. In the ancient world, saeculum was not defined in contrast to any sacred concerns and had a usage in Latin. It was in Christian Latin of medieval times, that saeculum was used for distinguishing this temporal age of the world from the realm of God. The Christian doctrine that God exists outside time led medieval Western culture to use secular to indicate separation from specifically religious affairs and involvement in temporal ones. This does not necessarily imply hostility to God or religion, though some use the term this way, routinization — institutionalizing through integration into the society. Differentiation — a redefined place such as when accepting its status as one religion in a plural religious field or morphing into a more generic, disengagement — the detachment of certain facets of social life from religion. Transformation — gradual change over time in a sense that Protestantism became for Christianity. Generalization — a particular kind of change in which it becomes less specific, more abstract, has moderation of controversial and divisive claims. Desacralization — culture and rationality guide people while leaving out religious beings, segmentation — the development of specialized religious institutions, which take their place beside other specialized social institutions. Secularism — the only form that leads to rejection of religion. Examples of secular used in this way include, Secular authority, which involves legal, police, and military authority, as distinct from clerical authority, or matters under church control. Secular clergy in the Roman Catholic Church, who, traditionally, do not live the lives of the regular clergy and are therefore, in a sense
Secularity
–
A
Laïcité parade in
Beirut Central District,
Lebanon. See
Secularism in Lebanon.
30.
Call and response (music)
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In music, a call and response is a succession of two distinct phrases usually played by different musicians, where the second phrase is heard as a direct commentary on or response to the first. It corresponds to the pattern in human communication and is found as a basic element of musical form, such as verse-chorus form. Call and response patterns between two musicians are common in Indian Classical Music, particularly in the style of Jugalbandi, Call and response is likewise widely present in parts of the Americas touched by the trans-Atlantic slave trade. It is extensively used in Cuban music, both in the rumba and in the African religious ceremonies. In 1644, lining out – where one person sang a solo and it has influenced popular music singing styles. Scottish Gaelic psalm-singing by precenting the line was the earliest form of congregational singing adopted by Africans in America and it is common in folk traditions of choral singing of many people, especially in African musical cultures. In Cuban music and other Latin music genres such as salsa, call, the form is found in the military cadence or Jody which is used as an a cappella work song or to keep time when marching or running in formation. In Western classical music, call and response is known as antiphony, the phenomenon of call and response is pervasive in modern Western popular music, as well, largely because Western music has been so heavily shaped by African contributions. Cross-over rhythm and blues, rock n roll and rock music exhibit call-and-response characteristics, three examples are The Whos song My Generation, Black Dog by Led Zeppelin, and The Pogues Fairytale of New York. In Indian Film music, Ilaiyaraajas songs largely exhibit call-and-response pattern, but, each A and B part may itself consist of a short call and a short response, and those 2-bar calls and response may also be divided into 1-bar-each call-response pairs. To make an attempt at diagramming it, Twelve bars, A, 4-bar CALL A, 4-bar CALL B, a single leader makes a musical statement, and then the chorus responds together. American bluesman Muddy Waters utilizes call and response in one of his songs, Mannish Boy which is almost entirely leader/chorus call. CALL, Waters vocal, Now when I was a young boy RESPONSE, CALL, Waters, At the age of 5 RESPONSE, CALL, Drop the coin right into the slot. RESPONSE, CALL, You gotta get something thats really hot, RESPONSE, A contemporary example is from Carly Rae Jepsens Call Me Maybe. CALL, Hey I just met you RESPONSE, CALL, And this is crazy RESPONSE, while mostly in the chorus, it can also be heard in the breakdown between the vocals and distorted guitar. Part of the band poses a question, or a phrase that feels unfinished. In the blues, the B section often has a question-and-answer pattern, an example of this is the Christmas song Must Be Santa, CALL, Who laughs this way, ho ho ho. RESPONSE, Santa laughs this way, ho ho ho, a similar question-and-answer exchange occurs in the movie Casablanca between Sam and the band in the song Knock On Wood, CALL, Whos got trouble
Call and response (music)
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"My Generation" vocal melody with response. Play (
help ·
info)
2017 in soul music
Media from Commons
Quotations from Wikiquote
