By Lyle Greenfield
Music lovers of a certain age, or devotees of a certain era, may find themselves occasionally longing for the soulful voices of the past. Voices you don’t hear on “The Voice”.
It’s generally held that soul music is rooted in the gospel and blues of the African-American experience. That its origins unofficially begin in the 50’s and 60’s, as those genres evolved, becoming secular, clawing their way into the popular culture, and onto the airwaves.
But let’s leave the details to the cultural historians. I’m thinking about an extraordinary master class of singers whose voices were characterized not only by their distinctive beauty, but by some intrinsic pain—some connection with despair. Touching deep emotions, whether the lyrical context was about struggle, money, love, sex or all of the above.
There are dozens of names and many sub-genres to refer to (Memphis Soul, Detroit Soul, Chicago Soul, Philadelphia Soul, Blue-Eyed Soul, Neo-Soul…) Shall we start with Otis Redding? Wilson Pickett? James Brown? Sam Cooke? Ray Charles? Jackie Wilson? Aretha? Etta James? Tina Turner? Gladys Knight? Those are just a few of the voices who decades ago changed what radio would sound like. (No I didn’t forget Al Green, Marvin Gaye, The Staple Singers…and even a few white folks like Joe Cocker, Van Morrison, Janis Joplin, “The Queen of Psychedelic Soul”).
Sam Cooke. How is it possible for someone with this pitch-perfection and vocal clarity to tear at your heart the way he does on “A Change Is Gonna Come”?
Born to the Rev. Charles Cook and wife Annie Mae, Sam joined the gospel group The Soul Stirrers in 1950 and sang “Jesus Gave Me Water”. A few years later he crossed the river of pop, never losing the roots of his sound.
Marvin Gaye, who started singing in church at the age of 4, took his “soulfulness” in a whole other direction, with a raw sensuality like nothing and no one ever heard before—or since. Gaye had plenty of hits prior to 1982’s “Sexual Healing,” but this was something special.
Something special? I admit I wasn’t fully prepared for the anticipated train wreck duet between James Brown and Luciano Pavarotti on “It’s A Man’s World." In fact, it’s one of the most committed and passionate performances I’ve ever heard. The lyrics? Perhaps not of the present day, shall we say.
Now we got ta, got ta talk about Gladys Knight for a moment (no disrespect to the Pips). The “Empress of Soul,” whose signature vibratto is a national treasure, had her biggest hits in the 60’s and 70’s but continued recording and touring into the new millennium.
The pearls from soul singing legends would form an endless string, but as The Temptations famously sang, Don’t look back, baby. ‘Cause there’s definitely some sweet soul being served up today—it’s just a little harder to find at a time when mainstream pop is a DJ dance mix battlefield. (Btw, did you know that Forbes’ 10 highest earning DJs of 2014 pulled in over $10 million each for the year, with #1 earning over 50 mil? But I digress.)
Of course, both Adele and Sam Smith—British, and young—are soulful singers who’ve made it to the pinnacle of the international charts, each winning multiple Grammys. Influences? Adele cites the Spice Girls as an early inspiration. No, really. And Smith studied under a jazz pianist prior to entering musical theatre. Hey, in the words of Pope Francis, “Who am I to judge?”
Maybe you’ve heard / seen Alabama Shakes and lead singer Brittany Howard. This young lady is a voice for the ages, and she and the band seem committed to an independent journey guided by their own compass. God bless.
I’m also drawn to the voice of Mr. Probz, aka Dennis Princewell Stehr, Dutch born singer, songwriter, rapper, producer. There’s something melancholy and true in the texture of his vocals that stays with me. The Robin Schulz remix of “Waves” helped take him to the next level of international airplay.
Another singer whose trajectory merits following is Aloe Blacc, aka Egbert Nathaniel Dawkins III. As lyricist and vocalist on Avicii’s enormous hit “Wake Me Up” (which reached #1 in 22 countries) the radio jocks seldom mentioned his name when the song played—maybe that will change when his next album drops.
You’ll find no massive electronic beats behind the music of Leon Bridges, whose song “Coming Home” studiously evokes an earlier analog era (and a black & white video to drive the point home).
Same goes for Scottish singer-songwriter Emeli Sandé, whose single “Next To Me” enjoyed chart success in Europe and the U.S.
Among the “newer voices” it’s too soon to know who might build a lasting legacy. (Let’s definitely check back here in 2045!). For now, some pretty good sounds to sooth your soul.
Lyle Greenfield is the founder of Bang Music and past president of the Association of Music Producers (AMP)
Review: Writer-Directors Scott Beck and Bryan Wood’s “Heretic”
"Heretic" opens with an unusual table setter: Two young missionaries from The Church of Jesus Christ of Latter-day Saints are discussing condoms and why some are labeled as large even though they're all pretty much a standard size. "What else do we believe because of marketing?" one asks the other.
That line will echo through the movie, a stimulating discussion of religion that emerges from a horror movie wrapper. Despite a second-half slide and feeling unbalanced, this is the rare movie that combines lots of squirting blood and elevated discussion of the ancient Egyptian god Horus.
Our two church members — played fiercely by Sophie Thatcher and Chloe East — are wandering around trying to covert souls when they knock on the door of a sweet-looking cottage. Its owner, Mr. Reed, offers a hearty "Good afternoon!" He welcomes them in, brings them drinks and promises a blueberry pie. He's also interested in learning more about the church. So far, so good.
Mr. Reed is, of course, if you've seen the poster, the baddie and he's played by Hugh Grant, who doesn't go the snarling, dead-eyed Hannibal Lecter route in "Heretic." Grant is the slightly bumbling, bashful and self-mocking character we fell in love with in "Four Weddings and a Funeral," but with a smear of menace. He gradually reveals that he actually knows quite a bit about the Mormon religion — and all religions.
"It's good to be religious," he says jauntily and promises his wife will join them soon, a requirement for the church. Homey touches in his home include a framed "Bless This Mess" needlepoint on a wall, but there are also oddities, like his lights are on a timer and there's metal in the walls and ceilings.
Writer-directors Scott Beck and Bryan Wood — who also... Read More