Soul music is a popular music genre that originated in the African American community in the United States in the 1950s and early 1960s. It combines elements of African-American gospel music and blues and jazz. Soul music became popular for dancing and listening in the United States, where record labels such as Motown and Stax were influential during the Civil Rights Movement. Soul became popular around the world, directly influencing rock music and the music of Africa. According to the Rock and Roll Hall of Fame, soul is "music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying". Catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a call and response between the lead vocalist and the chorus and an tense vocal sound; the style occasionally uses improvisational additions and auxiliary sounds. Soul music reflected the African-American identity and it stressed the importance of an African-American culture.
The new-found African-American consciousness led to new styles of music, which boasted pride in being black. Soul music dominated the U. S. R&B chart in the 1960s, many recordings crossed over into the pop charts in the U. S. Britain and elsewhere. By 1968, the soul music genre had begun to splinter; some soul artists developed funk music, while other singers and groups developed slicker, more sophisticated, in some cases more politically conscious varieties. By the early 1970s, soul music had been influenced by psychedelic rock and other genres, leading to psychedelic soul; the United States saw the development of neo soul around 1994. There are several other subgenres and offshoots of soul music; the key subgenres of soul include a rhythmic music influenced by gospel. Soul music has its roots in traditional African-American gospel music and rhythm and blues and as the hybridization of their respective religious and secular styles – in both lyrical content and instrumentation – that began in the 1950s.
The term "soul" had been used among African-American musicians to emphasize the feeling of being an African-American in the United States. According to musicologist Barry Hansen,Though this hybrid produced a clutch of hits in the R&B market in the early 1950s, only the most adventurous white fans felt its impact at the time. According to AllMusic, "oul music was the result of the urbanization and commercialization of rhythm and blues in the'60s." The phrase "soul music" itself, referring to gospel-style music with secular lyrics, was first attested in 1961. The term "soul" in African-American parlance has connotations of African-American culture. Gospel groups in the 1940s and'50s used the term as part of their names; the jazz style that originated from gospel became known as soul jazz. As singers and arrangers began using techniques from both gospel and soul jazz in African-American popular music during the 1960s, soul music functioned as an umbrella term for the African-American popular music at the time.
Important innovators whose recordings in the 1950s contributed to the emergence of soul music included Clyde McPhatter, Hank Ballard, Etta James. Ray Charles is cited as popularizing the soul music genre with his series of hits, starting with 1954's "I Got a Woman". Singer Bobby Womack said, "Ray was the genius, he turned the world onto soul music." Charles was open in acknowledging the influence of Pilgrim Travelers vocalist Jesse Whitaker on his singing style. Little Richard, who inspired Otis Redding, James Brown both were influential. Brown was nicknamed the "Godfather of Soul Music", Richard proclaimed himself as the "King of Rockin' and Rollin', Rhythm and Blues Soulin'", because his music embodied elements of all three, since he inspired artists in all three genres. Sam Cooke and Jackie Wilson are acknowledged as soul forefathers. Cooke became popular as the lead singer of the gospel group The Soul Stirrers, before controversially moving into secular music, his recording of "You Send Me" in 1957 launched a successful pop music career.
Furthermore, his 1962 recording of "Bring It On Home To Me" has been described as "perhaps the first record to define the soul experience". Jackie Wilson, a contemporary of both Cooke and James Brown achieved crossover success with his 1957 hit "Reet Petite", he was influential for his dramatic delivery and performances. Writer Peter Guralnick is among those to identify Solomon Burke as a key figure in the emergence of soul music, Atlantic Records as the key record label. Burke's early 1960s songs, including "Cry to Me", "Just Out of Reach" and "Down in the Valley" are considered classics of the genre. Guralnick wrote: "Soul started, in a sense, with the 1961 success of Solomon Burke's "Just Out Of Reach". Ray Charles, of course, had enjoyed enormous success, as had James Brown and Sam Cooke — in a pop vein. E
Simon & Schuster
Simon & Schuster, Inc. a subsidiary of CBS Corporation, is an American publishing company founded in New York City in 1924 by Richard Simon and Max Schuster. As of 2016, Simon & Schuster was publishing 2,000 titles annually under 35 different imprints. In 1924, Richard Simon's aunt, a crossword puzzle enthusiast, asked whether there was a book of New York World crossword puzzles, which were popular at the time. After discovering that none had been published and Max Schuster decided to launch a company to exploit the opportunity. At the time, Simon was a piano salesman and Schuster was editor of an automotive trade magazine, they pooled US$8,000, equivalent to $117 thousand today, to start a company that published crossword puzzles. The new publishing house used "fad" publishing to publish books that exploited current fads and trends. Simon called this "planned publishing". Instead of signing authors with a planned manuscript, they came up with their own ideas, hired writers to carry them out. In the 1930s, the publisher moved to what has been referred to as "Publisher's Row" on Park Avenue in Manhattan, New York.
In 1939, Simon & Schuster financially backed Robert Fair de Graff to found Pocket Books, America's first paperback publisher. In 1942, Simon & Schuster and Western Printing launched the Little Golden Books series in cooperation with the Artists and Writers Guild. In 1944, Marshall Field III, owner of the Chicago Sun, purchased Pocket Books; the company was sold back to Schuster following his death. In the 1950s and 1960s, many publishers including Simon & Schuster turned toward educational publishing due to the baby boom market. Pocket Books focused on paperbacks for the educational market instead of textbooks and started the Washington Square Press imprint in 1959. By 1964 it had published over 200 titles and was expected to put out another 400 by the end of that year. Books published under the imprint included classic reprints such as Lorna Doone, Tom Sawyer, Huckleberry Finn, Robinson Crusoe. In 1966, Max Schuster sold his half of Simon & Schuster to Leon Shimkin. Shimkin merged Simon & Schuster with Pocket Books under the name of Simon & Schuster.
In 1968, editor-in-chief Robert Gottlieb, who worked at Simon & Schuster since 1955 and edited several bestsellers including Joseph Heller's Catch-22, left abruptly to work at competitor Knopf, taking other influential S&S employees, Nina Bourne, Tony Schulte. In 1979, Richard Snyder was named CEO of the company. Over the next several years he would help grow the company substantially. After the 1983 death of Charles Bluhdorn, head of Gulf+Western who acquired Simon in Schuster in 1976, the company made the decision to diversify. Bluhdorn's successor Martin Davis told The New York Times, "Society was undergoing dramatic changes, so that there was a greater need for textbooks and educational information. We saw the opportunity to diversify into those areas, which are more stable and more profitable than trade publishing."In 1984, Simon & Schuster with CEO Richard E. Snyder acquired Esquire Corporation, buying everything but the magazine for $180 million. Prentice Hall was brought into the company fold in 1985 for over $700 million and was viewed by some executives to be a catalyst for change for the company as a whole.
This acquisition was followed by Silver Burdett in 1986, mapmaker Gousha in 1987 and Charles E. Simon in 1988. Part of the acquisition included educational publisher Allyn & Bacon which, according to editor and chief Michael Korda, became the "nucleus of S&S's educational and informational business." Three California educational companies were purchased between 1988 and 1990—Quercus, Fearon Education and Janus Book Publishers. In all, Simon & Schuster spent more than $1 billion in acquisitions between 1983 and 1991. In the 1980s, Snyder made an unsuccessful bid toward video publishing, believed to have led to the company's success in the audio book business. Snyder was dismayed to realize that Simon & Schuster did not own the video rights to Jane Fonda's Workout Book, a huge bestseller at the time, that the video company producing the VHS was making more money on the video; this prompted Snyder to ask editors to obtain video rights for every new book. Agents were reluctant to give these up—which meant the S&S Video division never took off.
According to Korda, the audio rights expanded into the audio division which by the 1990s would be a major business for Simon & Schuster. In 1989, Gulf and Western Inc. owner of Simon & Schuster, changed its name to Paramount Communications Inc. In 1990, The New York Times described Simon & Schuster as the largest book publisher in the United States with sales of $1.3 billion the previous year. That same year, Schuster acquired the children's publisher Green Tiger Press. In 1994, was fired from S&S and was replaced by the company's president and chief operating officer Jonathan Newcomb; that year, Paramount was sold to Viacom. In 1998, Viacom sold Simon & Schuster's educational operations, including Prentice Hall and Macmillan, to Pearson PLC, the global publisher and owner of Penguin and the Financial Times; the professional and reference operations were sold to Hicks Muse Furst. In 2002, Simon & Schuster acquired its Canadian distributor Distican. Simon & Schuster began publishing in Canada in 2013.
At the end of 2005, Viacom split into two companies: CBS Corporation, the other retaining the Viacom name. In 2005, Simon & Schuster acquired Strebor Books International, founded in 1999 by author Kristina Laferne Roberts, who has written under the pseudonym "Zane." A year in 2006, Simon & Schuster launched the conservative imprint Threshold Editions. In 2009, Simon & Schuster
Richard Edward "Eddy" Arnold was an American country music singer who performed for six decades. He was a Nashville sound innovator of the late 1950s, scored 147 songs on the Billboard country music charts, second only to George Jones, he sold more than 85 million records. A member of the Grand Ole Opry and the Country Music Hall of Fame, Arnold ranked 22nd on Country Music Television's 2003 list of "The 40 Greatest Men of Country Music." Arnold was born on May 1918, on a farm near Henderson, Tennessee. His father, a sharecropper, played the fiddle. Arnold's father died when he was just 11, forcing him to leave school and begin helping on the family farm; this led to him gaining his nickname—the Tennessee Plowboy. Arnold attended Pinson High School in Pinson, where he played guitar for school functions and events, he quit before graduation to help with the farm work, but continued performing arriving on a mule with his guitar hung on his back. Arnold worked part-time as an assistant at a mortuary.
In 1934, at age 16, Arnold made his debut on WTJS-AM in Tennessee. He began performing at local nightclubs and was hired permanently by WTJS in 1937. In 1938, he was hired by WMPS-AM in Memphis, where he was one of its most popular performers, he soon left WMPS for KWK-AM in St. Louis, followed by a spot at WHAS-AM in Louisville, Kentucky, he performed for WSM on the Grand Ole Opry during 1943 as a solo artist. In 1944, Arnold signed a contract with RCA Victor, with manager Colonel Tom Parker, who would manage Elvis Presley. Arnold's first single was little noticed, but the next, "Each Minute Seems a Million Years", scored number five on the country charts in 1945, its success began a decade of unprecedented chart performance. In 1946, Arnold scored his first major success with "That's How Much I Love You". In 1948, he had five successful songs on the charts simultaneously; that year, he had nine songs in the top 10. With Parker's management, Arnold continued to dominate, with 13 of the 20 best-scoring country music songs of 1947–1948.
He became the host of Mutual Radio's Purina-sponsored segment of the Opry and of Mutual's Checkerboard Jamboree, a midday program shared with Ernest Tubb, broadcast from a Nashville theater. Recorded radio programs increased Arnold's popularity, as did the CBS Radio series Hometown Reunion with the Duke of Paducah. Arnold quit the Opry during 1948, his Hometown Reunion broadcast in competition with the Opry on Saturday nights. In 1949 and 1950, he performed in Hoedown. Arnold began hosting The Eddy Arnold Show; the summer program was broadcast successively by all three television networks, replacing the Perry Como and Dinah Shore programs. He performed as a guest and a guest host on the ABC-TV show Ozark Jubilee from 1955–60. Arnold featured in the syndicated Eddy Arnold Time from 1955 to 1957. From 1960 to 1961, he hosted NBC-TV's Today on the Farm. With the rise of rock and roll in the mid 1950s, Arnold's record sales began to decline, though fellow RCA Victor country recording artist Jim Reeves found a greater audience with popular-sounding string-laced arrangements.
Arnold annoyed many in the country music establishment by recording with Hugo Winterhalter and his Orchestra at the RCA Victor studios in New York. Winterhalter's pop-oriented arrangements of "The Cattle Call" and "The Richest Man", helped to expand Arnold's appeal beyond its country music base; this style, pioneered by Reeves and Arnold, became known as the "Nashville Sound". During 1953, Arnold and Tom Parker had a dispute, Arnold dismissed him. From 1954 to 1963, Arnold's performances were managed by Joe Csida. Arnold embarked on a second career. In the summer of 1965, he had his first number-one country song in 10 years, "What's He Doing in My World" and struck gold again six months with the song that became his most well-known, "Make the World Go Away", accompanied by pianist Floyd Cramer on piano and featuring the Anita Kerr Singers; as a result, Arnold's rendition became an international success. "Make The World Go Away" became his only top ten pop hit. Bill Walker's orchestra arrangements provided the lush background for 16 continuous successes sung by Arnold in the late 1960s.
Arnold performed with symphony orchestras in New York City, Las Vegas, Hollywood. He performed in Carnegie Hall for two concerts, in the Coconut Grove in Las Vegas. In 1966, Arnold was inducted into the Country Music Hall of Fame, the youngest performer to receive the honor; the following year, Arnold was voted the first-ever awarded Country Music Association's Entertainer of the Year. Two years he released an autobiography named It's A Long Way From Chester County. Having been with RCA Victor since 1944, Arnold left the label in 1973 for MGM Records, where he recorded four albums, which included several top-40 successes, he returned to RCA in 1976. In the same years, he was initiated to the Masonic Lodge of East Nashville No. 560. During the 1980s, Arnold declared himself semiretired. In 1984, the Academy of Country Music awarded Arnold its Pioneer Award, his next album, You Don't Miss A Thing, was not released until 1991. Arnold performed road tours for several more years. By 1992, he had sold nearly 85 million records, had a total of 145 weeks of number-one songs, mor
Cranford Hamilton Nix Jr. known as Crannie or Little Man, was an American guitarist and songwriter. He was the lead guitarist of punk band The Malakas. Nix was born on January 1969 in Detroit, his father, Cranford Nix Sr. was a one-time professional banjo player who played with Lester Flatt and Earl Scruggs. He played banjo on The Supremes' album The Supremes Sing Country and Pop. Nix had been sent to rehab four times, he stayed and completed it the fourth time. His time in rehab inspired him to write his song "Cigarettes and Heroin". Nix was a member of the punk rock garage band The Malakas, in which he was the vocalist and guitarist. Alongside him were the bassist, DJ Holman, the drummer, Greg Crampton, they were signed with I-94 Recordings. Nix had two children, he married Natatia Nix in the 2000s. Nix was found dead of a heroin overdose by his father on March 12, 2002
A Bit of Liverpool
A Bit of Liverpool is the third studio album by The Supremes, released in the fall of 1964 on the Motown label. It was produced by Berry Gordy with Marc Gordon doing the mixing; as an indication of how hot they were at the time, the album just missed the Top 20 in the U. S. peaking at No. 21. While not quite as prolific as their pop counterparts at that time, The Beatles, The Supremes enjoyed three albums charting in 1964–65. In an odd promotion strategy, they performed The Beatles' "Eight Days a Week" on several television shows including Shindig and Hullabaloo, though the song did not make the album. According to Motown data, the album sold over 850,000 copies. For its release in the UK, the album was titled With Love. Side One "How Do You Do It?" "A World Without Love" "The House of the Rising Sun" "A Hard Day's Night" "Because" "You've Really Got a Hold on Me" Side Two "You Can't Do That" "Do You Love Me" "Can't Buy Me Love" "I Want to Hold Your Hand" "Bits and Pieces" Unreleased recordings from the A Bit of Liverpool sessions: "I Saw Him Standing There" - featuring Florence Ballard on lead vocals "Not Fade Away" - featuring Diana Ross, Florence Ballard and Mary Wilson on lead vocals Diana Ross, Florence Ballard and Mary Wilson - lead and backing vocals Berry Gordy, Hal Davis and Marc Gordon - producers
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro