|Other names||White soul|
|Cultural origins||1960s, United States|
Blue-eyed soul (also known as white soul)is rhythm and blues and soul music performed by white artists. The term was coined in the mid-1960s, to describe white artists who performed soul and R&B that was similar to the music of the Motown and Stax record labels. Though many rhythm and blues radio stations in the United States in that period would only play music by black musicians, some began to play music by white acts considered to have "soul feeling" and their music was then described as "blue-eyed soul".
Georgie Woods, a Philadelphia radio DJ, is thought to have coined the term "blue-eyed soul" in 1964, initially to describe The Righteous Brothers, then white artists in general who received airplay on rhythm and blues radio stations.The Righteous Brothers in turn named their 1964 LP Some Blue-Eyed Soul. According to Bill Medley of the Righteous Brothers, R&B radio stations who played their songs were surprised to find them to be white when they turned up for interviews, and one DJ in Philadelphia (unnamed by Medley but probably Georgie Woods) started saying "Here's my blue-eyed soul brothers", and it became a code to signal to the audience that they were white singers. The popularity of The Righteous Brothers who had a hit with "You've Lost That Lovin' Feelin'" is thought to have started the trend of R&B radio stations to play songs by white artists in the mid-1960s, a more integrative approach that was then popular with their audience. The term blue-eyed soul was then 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. For instance, in the early 1960s, one of the rare female blue-eyed soul singers was Timi Yuro, whose vocal delivery and repertoire were influenced by African American singers such as Dinah Washington.
Lonnie Mack's 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 soulful vocals of Felix Cavaliere that gave them the blue-eyed soul sound. By the mid-1960s, British singers Dusty Springfield, Eric Burdon, and Tom Jones had become leading vocal stars of the emerging style. Other notable UK exponents of blue-eyed soul included The Spencer Davis Group (featuring Steve Winwood), Van Morrison, and archetypal mod band The Small Faces, whose sound was heavily influenced by the Stax label's house band Booker T. & the M.G.'s. Blonde, blue-eyed soul singer Chris Clark became the first white singer to have an R&B hit with "Love's Gone Bad" with Motown Records in 1966. In 1969, Kiki Dee became the first British artist to sign and record with Motown. Some British rock groups of the 1960s—such as the Spencer Davis Group, the Animals, the Rolling Stones ("My Girl"), and the Who ("Heat Wave") —covered Motown and rhythm and blues tracks. In 1967, Jerry Lee Lewis, whose latter days at Sun Records (1961–63) had been characterized by R&B covers, recorded an album for Smash entitled Soul My Way. Delaney and Bonnie (Bramlett) 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 Woody's Truck Stop, a group based on the model of the Paul Butterfield Blues Band.
After splitting from Big Brother and the Holding Company, Janis Joplin formed a new backup group, the Kozmic Blues Band, composed of session musicians like keyboardist Stephen Ryder and saxophonist Cornelius "Snooky" Flowers, as well as former Big Brother and the Holding Company guitarist Sam Andrew and future Full Tilt Boogie Band bassist Brad Campbell. The band was influenced by the Stax-Volt rhythm and blues (R&B) and soul bands of the 1960s, as exemplified by Otis Redding and the Bar-Kays. [ citation needed ]The Stax-Volt R&B sound was typified by the use of horns and had a funky, pop-oriented sound, in contrast to many of the psychedelic and hard rock bands of the period.
Hamilton, Joe Frank & Reynolds and the Grass Roots both had successful blue-eyed soul singles; the former with "Don't Pull Your Love" (1971) and the latter with "Two Divided by Love" (1971) and "The Runway" (1972). In 1973, the American band Stories and the Canadian group Skylark had successes with their respective blue-eyed soul singles "Brother Louie" and "Wildflower". 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 , a popular blue-eyed soul album which Bowie himself called "plastic soul". It featured the funk-inspired "Fame", which became Bowie's first number-one hit in the US. Hall & Oates' 1975 Silver Album (real title Daryl Hall & John Oates) includes the ballad "Sara Smile", long considered a blue-eyed soul standard. "She's Gone", another soulful hit, was originally released in 1973 but did better as a re-release after "Sara Smile". Average White Band is a Scottish funk and R&B band who had a series of soul and disco hits between 1974 and 1980, their biggest two being "Pick Up the Pieces" from their 1974 best-selling album AWB , and "Cut the Cake" from their 1975 album of the same name. Boz Scaggs' 1976 "Lowdown", which featured Scaggs' laid-back vocals and a smooth funky groove, peaked at No. 3 on the Billboard Pop Singles chart (and reaching Top 5 on the R&B chart).
In 1978, Yvonne Elliman's "If I Can't Have You" and a cover of "Hello Stranger" both charted on the R & B charts, as did Linda Ronstadt's cover of "Ooh Baby, Baby".
Other successful blue-eyed soul songs of the decade include Ace's "How Long" (1975), Ambrosia's "Holdin' on to Yesterday" (1975) and "How Much I Feel" (1978), Frankie Valli's "Grease", and Bobby Caldwell's soul standard "What You Won't Do for Love (1979)".
Blue eyed soul music's chart success was at its highest when Hall and Oates' singles got heavy airplay on urban contemporary radio, as was the case with "I Can't Go for That (No Can Do)", "Kiss on My List", "One on One", "Say It Isn't So", "Adult Education", "Out of Touch", "Method of Modern Love" and "Everytime You Go Away". Most of those singles charted on the R&B and dance charts, including some number-one hits. In 1985, Simply Red released "Holding Back the Years", one of the most successful blue-eyed soul ballads; "Money's Too Tight" and other singles by the group also performed well.
Other successful blue-eyed soul songs of the 1980s include Phil Collins' cover of "You Can't Hurry Love" (1982); Culture Club's "Do You Really Want to Hurt Me" (1982), "Time (Clock of the Heart)" (1982) and "Church of the Poison Mind" (1983); Dexys Midnight Runners' "Come On Eileen" (1983); the Style Council's "Shout to the Top" (1984); Teena Marie's "Lovergirl"(1985); Eurythmics' "Missionary Man" (1986) and Steve Winwood's "Roll with It" (1988). As the decade drew to a close, British artist Lisa Stansfield had considerable success on R&B radio, scoring three number-one R&B hits, the most popular being "All Around the World".
In the mid-1980s, George Michael found some success in the US Hot R&B/Hip-Hop Songs with hit singles such as "Careless Whisper" and "Everything She Wants"but it was not until he reinvented himself as a white soul singer with the release of his multi-platinum album Faith (1987). The album was notable for entering the Top R&B/Hip-Hop Albums chart at number one, making it the first album by a white artist to hit the top spot on that chart, mainly due to the gospel-influenced singles that were released from the album, most notably "Father Figure" and "One More Try". In 1989, he racked up three wins in the American Music Awards including Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album for Faith.
A backlash ensued in the late 1980s as some black people felt that white people were cashing in on the popularity of their music. However, the extent of the backlash was not universally agreed upon. In 1989, Ebony Magazine published an article exploring whether white people were "taking over" R&B. The article featured various members of the music industry, both black and white, who believed collaboration was a unifying force, and there was agreement that the future of R&B was not compromised by the contemporary urban sound. A similar article in Ebony, written in 1999 highlighted conflicting opinions about the "blue-eyed" influence; however, the source of contention was not about the artistic merit of blue-eyed soul, but rather the economic inequality that persisted in American life and within the music industry.
Daryl Hall has described the term "blue-eyed soul" as racist, saying "it assumes I’m coming from the outside. There’s always been that thing in America, where if you’re a white guy and you’re singing or playing in a black idiom, it’s like: ‘Why is he doing that? Is he from the outside, looking in? Is he copying? What’s the point of it?’ C’mon, it’s music! It’s music."
Scottish musician Paolo Nutini is a blue-eyed soul artist whose first two albums are certified quintuple platinum by the British Phonographic Industry.
Rhythm and blues, abbreviated as R&B, is a genre of popular music that originated in African American communities in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, rocking, jazz based music with a heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of relationships, economics, and aspirations.
Soul music is a popular music genre that originated in the African American community throughout the United States in the 1950s and early 1960s. It combines elements of African-American gospel music, rhythm and blues and jazz. Soul music became popular for dancing and listening in the United States, where record labels such as Motown, Atlantic and Stax were influential during the Civil Rights Movement. Soul also became popular around the world, directly influencing rock music and the music of Africa.
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The Staple Singers were an American gospel, soul and R&B singing group. Roebuck "Pops" Staples, the patriarch of the family, formed the group with his children Cleotha, Pervis, and Mavis. Yvonne replaced her brother when he was drafted into the U.S. Army, and again in 1970. They are best known for their 1970s hits "Respect Yourself", "I'll Take You There", "If You're Ready ", and "Let's Do It Again". While the family name is Staples, the group used "Staple" commercially.
Sam & Dave were an American soul and R&B duo who performed together from 1961 until 1981. The tenor (higher) voice was Sam Moore and the baritone/tenor (lower) voice was Dave Prater (1937–1988).
Edwin Starr was an American singer and songwriter. Starr was famous for his Norman Whitfield-produced Motown singles of the 1970s, most notably the number-one hit "War".
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Stax Records is an American record label, originally based in Memphis, Tennessee. Founded in 1957 as Satellite Records, the label changed its name to Stax Records in 1961 and shared its operations with Volt Records, a sister label created to avoid the impression of favoritism among radio stations playing their records.
Southern soul is a type of soul music that emerged from the Southern United States. The music originated from a combination of styles, including blues, country, early rock and roll, and a strong gospel influence that emanated from the sounds of Southern black churches. Bass guitar, drums, horn section, and gospel roots vocal are important to soul groove. This rhythmic force made it a strong influence in the rise of funk music. The terms "Deep soul", "Country soul", "Downhome soul" and "Hard soul" have been used synonymously with "Southern soul"p. 18
Carson Whitsett was an American keyboardist, songwriter, and record producer.
Bonny "Mack" Rice, sometimes credited as Sir Mack Rice, was an American songwriter and singer. His best-known composition and biggest hit as a solo performer was "Mustang Sally." He also wrote "Respect Yourself" with Luther Ingram.
Kim Weston is an American soul singer, and Motown alumna. In the 1960s, Weston scored hits with the songs "Love Me All the Way" and "Take Me in Your Arms ", and with her duet with Marvin Gaye, "It Takes Two".
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Donald James Randolph, better known by the stage name Don Covay, was an American R&B, rock and roll and soul singer and songwriter most active from the 1950s to the 1970s.
The Wham of That Memphis Man is a 1964 album by Lonnie Mack.
William Bell is an American soul singer and songwriter. As a performer, he is probably best known for his debut single, 1961's "You Don't Miss Your Water"; 1968's top 10 hit in the UK "Private Number", a duet with Judy Clay; and his only US top 40 hit, 1976's "Tryin' to Love Two", which also hit No. 1 on the R&B chart. Upon the death of Otis Redding, Bell released the well-received memorial song "A Tribute to a King".
Malaco Records is an American independent record label based in Jackson, Mississippi, United States, that has been the home of various major blues and gospel acts, such as Johnnie Taylor, Bobby Bland, Z. Z. Hill, Denise LaSalle, Latimore, Dorothy Moore, Little Milton, Shirley Brown, Tyrone Davis, Marvin Sease, and the Mississippi Mass Choir. It has received an historic marker issued by the Mississippi Blues Commission to commemorate its important place on the Mississippi Blues Trail.
"Turn On Your Love Light" is a rhythm and blues song recorded by Bobby Bland in 1961. It was both an important R&B and pop chart hit for Bland and has become one of his most identifiable songs. A variety of artists have recorded it, including the Grateful Dead, who made it part of their concert repertoire.
British soul, Brit soul, or the British soul invasion, is soul music performed by British artists. Soul has been a major influence on British popular music since the 1960s, and American soul was extremely popular among some youth subcultures, such as mods, skinheads, and the northern soul movement. In the 1970s, soul gained more mainstream popularity in the UK during the disco era.