Музыка соул

Ну и, наконец, Робинсон разлива 87 года. Сразу оговорюсь, что я к этому персонажу очень неровно дышу, поэтому One Heartbeat слушался, скажем так, довольно предвзято :)) Что услышали? Смоки прекрасный мелодист, а мастерство не пропьешь; он всегда превосходно чувствовал требования к поп-музыке, поэтому альбом совершенно не звучит архаикой и посланием из прошлого; продюсирование отличное - в результате получается, что если абстрактный слушатель А не боится того, что звучало по радио в конце 80-х, One Heartbeat показан к ознакомлению. Аминь :-)

2Mary J Holly:

Большое Спа...Вы описАли очень осторожно... и очень здорово.
Я не большой поклонник позднего Смоуки, но, если "Однобиенье" окажется в руках - обязательно послушаю сладкоголосого соловушку.

Привет всем любителям музыки соул! Хотел бы попросить вас о помощи. Может, кто-нибудь сообщит мне данные о следующих соул-песнях:
The Drifters-Save The Last Dance For Me (1960)
Lorraine Ellison-Stay With Me (1966)
Otis Redding-(Sittin’ On) The Dock Of The Bay (1967)
Marvin Gaye-I Heard It Through The Grapeville (фев. 1968)
Sly & The Family Stone-Family Affair (1972)
Ann Peebles-I Can’t Stand The Rain (1972)

Меня интересуют: факты относительно того, как песни писались и записывались, любые интересные сведения, с ними связанные, позиции в хит-парадах, высказывания о них и т.д. Надеюсь, кто-то что-то знает (или знает, где искать информацию) и не станет скрывать! Заранее спасибо!

Я не понял: а где же все funk-soul-brothers?

2 Игорь Цалер: интернет большой, www.allmusic.com тоже ;-)
Скрывать информацию мы не хотим, но вы ж тоже хороши. Надо же самому что-то искать, тем более про песни, про которые так спрашивать - все равно что про Естердей...
Поэтому ограничусь IMHO: Docks Of The Bay изумительно делали Сэм и Дэйв в 89 году, Реддинг нервно курит в уголочке, а Heard It Through The GrapeWINE (а не ville) - Глэдис Найт со своими Пипами, причем забористо на диво, Марвин Гей все-таки романтик, а у Глэдис это - живая энергия...

Кстати - а что вы предлагаете из фанков?

2Игорь Цалер:
Чё-та я Вас совсем не понЯл, ув. журналист...У Вас с и-нетом проблеммы или просто лень тэн миниц потратить?!
Причём здеся братство и сестёрство? :(
Да, собственно, неужели так интересно знать шо-где-когда записывались те или иные песенки разных абсолют.стилей (судя по Вашей темке про "знатоков"), насколько бы они не были б привлекательными :(
Это, канешна, риторич. вопросы, можете не отвечать...
Но, ежели, орешек знаний тверд, и Вы привыкли отступать, то канешна пжалста :
(потрачено 10 минут времени, найдено с помощью "гугля")...

SITTIN' ON) THE DOCK OF THE BAY
- written by Otis Redding and Steve Cropper

- #1 for 4 weeks in 1968
---------------------------------------------
Listening to Otis Redding sing “(Sittin’ On) The Dock Of The Bay” can’t help but leave you with a sense of what might have been. Recorded just three days before his death in a plane crash in Dec 1968,
“Dock Of The Bay” was a giant leap forward for a man who was already a star in the soul world but was primed for a crossover to the mainstream. Redding’s state of mind at the time of the recording is evident in the calm,
languid feel of the song. He’d been a huge success as the only soul act to play the Monterey Pop festival and he and his guitarist Steve Cropper rewarded themselves with a holiday on a houseboat outside San Francisco.
Redding was a huge fan of The Beatles' Sgt Pepper's Lonely Hearts Club Band, and hoped that “Dock Of The Bay” would be seen as fitting in with the mood of that album. It certainly displays a maturity in his songwriting that
would no doubt have led to further mainstream success had he lived. But he didn’t, and Cropper was left to tidy up the recording, adding the seaside noises but leaving in the whistling, which Redding had hoped to replace with a further verse at some time.

I Heard It Through The Grapevine
Marvin Gaye
-----------------------------
-----------------------------
He may not have been the first to take it into the charts, but there’s no doubt that it’s Marvin Gaye’s majestic version of “I Heard It Through The Grapevine” that will forever be remembered.

Written in 1967 by the Motown hit-making team of Norman Whitfield and Barrett Strong, the song had already been recorded by The Miracles, The Isley Brothers and Gaye himself before Gladys Knight
And The Pips first scored chart success with it. Spurred on by that success, Whitfield persuaded Motown’s boss, Berry Gordy, to give Gaye a second chance at recording it. And the rest, as they say, is history. The combination of Gaye’s wonderfully tortured delivery with Strong and Whitfield’s unsettling production and simple lyrics lends the song a striking realism it’s easy to believe in Gaye’s pain here. The public obviously agreed, as the single eventually sold more than two-and-a-half million copies, becoming Motown’s most successful hit and taking Gaye’s career to another level.
Marvin Gaye talks about Gladys Knight recording "I Heard It Through The Grapevine".
Marvin Gaye on artists' rights: "I don't know why Gladys is labouring under that misapprehension . . .
I love Gladys very much, she's great"
Мнение одного из поклонников:
"That opening 'bom-bo-bo-bom-bom' is enough to make the hairs stand up on my neck"
-----------------------------
LORRAINE ELLISON

Unless you're a hard-core soul fan, you probably read Lorraine Ellison's name and said, "Who?" Your loss. This lady waxed one of the most breathtaking and underrated ballads of the 1960s.

The Philadelphia-born Ellison began her career with a gospel group, the Ellison Singers, who recorded for the Sharp/Savoy label in 1962. A year later, she recorded with another gospel group, the Golden Chords, on CBS. Ellison went solo in 1964 and became a songwriter with Sam Cooke.

By 1966, she was on Warner Brothers, who for the past two years had been trying with little success to break into the R&B market. On the day Ellison recorded her collector's classic, Frank Sinatra was actually slated to do the session but opted out. With a 45-piece orchestra getting paid for not playing, Warners asked their main R&B producer, Jerry Ragovoy, to take over the session. Ragovoy then called Ellison into the studio to record his song "Stay With Me."

The result was astounding. Ellison's screaming, bone-marrow-raw performance with full orchestral backing has to be heard to be believed. Warner Brothers wasted no time in releasing the single.

Amazingly, it stiffed. "Stay With Me" climbed to #11 R&B but petered out at #64 pop. Its lack of success had a lot to do with Warner Brothers being a pop label that simply did not know how to market R&B. In fact, that's why Warners finally gave up on the black market and folded its unsuccessful R&B subsidiary, Loma, in 1968.

Ellison, meanwhile, made additional recordings for Warner/Loma. While they were less dramatic than "Stay With Me," they nonetheless stand out as fine examples of unjustly obscure soul. One such recording, "Try (Just A Little Bit Harder)," was introduced to rock fans when Janis Joplin covered it.

Lorraine Ellison died on August 17, 1985.

Ann Peebles-I Can’t Stand The Rain
It was raining cats and dogs and heavy winds were blowing that evening. A thunderstorm was raging over Memphis, Tennessee, as singer/songwriter and Hi recording artist Ann Peebles, her boyfriend Don Bryant (himself a Hi artist & prolific composer) and their mutual friend, local D.J. Bernard "Mister B" Miller, were getting ready to go to a concert in the city. But the weather was so bad that the trio decided to kill half an hour writing a new song, while waiting for the merciless rain to stop. Little did they know that they were about to make music history. Looking out the window, Ann moaned "I can't stand this rain!", which Don thought would make a great title. Ann, Don and Bernard never made it to the concert, instead they finished the track that same night and the very next day "I Can't Stand The Rain" was cut, in just one take. It would become one of the biggest hits of 1973, scoring a top position on both the Pop and R&B charts, not only in the U.S., but around the globe. It is arguably among the most well-known and best-loved Southern Deep Soul records ever made. Although it was not Ann's first hit on the legendary Hi record label, nor her last, it was the one that established her as an international star and which defined the Hi-sound world-wide.

Moviegoers may recall hearing it in "The Commitments" and over the twenty-five years that has passed since it first came out, "I Can't Stand The Rain" has been covered numerous times, and by many fine artists too. But even so, no one has been able to even come close to the quality, passion, emotion, power, well, that thing called Soul, which Ann's original oozes of. Not even Tina Turner, who, after having cut Ann's Hi-labelmate Al Green's "Let's Stay Together" to great success, looked to "I Can't Stand The Rain" in 1984. Six years before that, in 1978, U.K. band Eruption with Miss Precious Wilson on lead vocals, enjoyed a massive hit with their discofied version.

Whether it was their intention or not, Eruption introduced the song to a whole new generation of record buyers who probably had never heard of Ann Peebles before. Innovative R&B/Rap artist Missy "Misdemeanor" Elliott did the same thing in 1997. With her Platinum-selling single "The Rain (Supa Dupa Fly)", Elliott offered young Hip-Hop heads a taste of what true Soul is all about. Unlike the majority of today's Hip-Hop and R&B producers, who base their music on samples from classic Funk and Soul recordings, sometimes without properly acknowledging the original artist, Missy Elliott didn't just sample Ann's voice in order to enhance her own record. It soon became clear that Missy had respect and genuine love for Ann Peebles, proven by her request that Ann would sing on Missy's "Late Show with David Letterman" appearance.

"So many people have done 'I Can't Stand The Rain' and it really makes me proud whoever does anything of mine", Ann said in a warm and friendly southern accent, when I called her up in her Memphis home. "This is the 25th year of 'I Can't Stand The Rain' and it never stops, somebody does that song every other year or every three years! It helps me to know that, hey, somebody's listening, somebody loved what I did enough to take it and do it their way. I knew Missy was gonna do it, but I didn't know how. I first heard it when I saw the video. I thought it was clever, the way the song was put with a rap. I really liked it and I saw how fast it was moving. I knew it was gonna be Platinum and that thrilled me too, to watch somebody as young as Missy Elliott pick up a song that I've written and recorded, and many others have recorded too. Missy told me that she kinda grew up on my music, that her aunt was really in love with everything I did and that's what made Missy listen to it."

Why I made these Web Pages...

Missy Elliott and I apparently have something in common. In my view, Ann Peebles is one of the most underrated female Soul singers of our time. She is also one of the few from the "old school" that is still active today, both as a recording artist and live performer. Interviewing this petite and rather shy Southern belle is something I've been hoping to get the chance to do for quite some time. Not only because she is a great vocalist (and songwriter), but because she has a very special place in my heart. Along with Gwen MCrae, Benny Latimore, Millie Jackson and Betty Wright, Ann was one of the very first Soul artists I ever heard and she was most likely the one who first opened my eyes to bluesy, traditionally stooped R&B music.

My first encounter with Ann Peebles came around 1980. In a sales binge at the supermarket, I spotted her timeless 1975 LP "Tellin' It", not knowing what it was, just that she looked cool, and that I could afford it. It cost only ten kronors (about a dollar), so I took my chances and bought it. Needless to say, I've never regretted it. I loved the cover and everything else about that LP, and I still do. Considering how many times its rotated on my parents' old, worn-down 60's gramophone, it is amazing that the LP is still playable.

The producer and engineer was Willie Mitchell, a man who I would come to admire greatly, as I discovered that he was the brain behind so many other fine Soul recordings too. And the musicians that backed Ann up were something else. They were an ultra-baad bunch of cats, simply known as Hi Rhythm. Their tight, sparse and slightly bluesy sound appealed to me instantaneously, but what made me play that LP (and every other LP by Ann I could get my hands on) over and over and over again, was ultimately Ann's voice. It's that amazing Voice and what she can do with it which never ceases to astonish me. Like few others, Ann can switch from silky smooth to gritty tough with ease and she'll make you believe she's lived every word she sings. "As long as I can remember I've sung that way, even when I was just singing in church", Ann explained when I asked her how, when, and where she developed such an incredible voice and range. "But I was never one to step out and lead too many songs. I was always background or second lead or something. But you know, I asked my dad that one day; 'how did I ever get this feeling?'. When I sing, it's all of me. I leave nothing behind because I can feel whatever I sing. My father said; 'Ever since you could open your mouth you've been singing that way'. So, I guess I would say it's a gift."

Sly & The Family Stone-Family Affair
------------------------------------
The second disc is like the night to the first disc's day. It starts off with "Family Affair", which frankly isn't the most uplifting song. The driving drums of the first side are replaced with plodding
electronic drums. And there's only one backup singer. Sly's vocals sound like they've been sung on a beautifully over-driven microphone, as if he's whispering into a megaphone right behing the speaker.
It's a creepy sound, but very cool. Every time I hear this song, I envision Sly sitting in the studio with all the curtains drawn, binging on whatever he's been binging on. Nobody can be around him.
But he still has it together enough to come up with a cool groove. He lays down all the tracks by himself and calls in the backup to record the refrain in a one hour session. I also like to imagine that
Sly is referring to himself in the lyrics when he sings about the two children: the one child who loves to learn, and the other you would just love to burn--like the two sides of Sly Stone himself.
(Mike Waugh)

"Save the Last Dance for Me"
----------------------------

This actually was written by Doc Pomus - a white blues singer, rare at that time,
turned song writer- together with pianist Mort Shuman.
This duo has written many hit songs for Elvis Presley including "Viva Las Vegas".
In the US, The Drifters sang "Save The Last Dance For Me" that was a big hit.
Dean Martin, Frank Sinatra, and many chorus groups have also sang this song.
-----------
Interview: Ben E. King

WALTER WADE INTERVIEWS BEN E. KING

The soulful vocals of Ben E. King symbolize R&B of the mid-20th Century.
As lead singer for the second Drifters, King crooned the smashes "There Goes My Baby,"
and "Save the Last Dance for Me," before heading out on his own in 1960s and recording the perennial
anthem "Stand By Me." King has a new release out. He recently stopped by WBGO's Fillet of Soul to talk
with host Walter Wade about his rich and soulful career.

WW: You are from Henderson, North Carolina. You lived there until about the age of 10, then you moved to New York.

BK: My dad brought us to New York to go into the restaurant business. [His restaurant] was [on] 119th Street and Eighth Avenue. Chicken's Restaurant.

WW: Your dad thought you were going to learn the restaurant business, but you became a singing waiter?

BK: Right across the street from me was a guy by the name of [Lover] Patterson, and he's the one that came into the restaurant one day looking for a singer.

WW: He was the manager of the R&B group Five Crowns?

BK: That's it exactly.

WW: What did he say to you?

BK: He said he was looking for a baritone to join the Five Crowns. He figured I might know somebody that would sing. And I put him off. He came in for like a fourth or fifth time, and I said, "Look, I can sing baritone." When the place was quiet, I went across the street, he brought the Crowns in, and we harmonized real quick, and I fit into the group, and that was it.

WW: Did you have any aspirations to sing?

BK: No, not really. Most of the things that have happened have been more or less accidental, and so I never really took it very serious.

WW: Not long after you joined the Five Crowns, you played at the Apollo. The Drifters had a contract to play the Apollo a certain number of months a year. How many times did you play with the Drifters [on the same bill]?

BK: That was my first time ever playing onstage with them.

WW: You do the Five Crown thing, and the Drifters come up and they do their thing, and after the show you're approached by George Treadwell, the Drifters' manager.

BK: He came up to the group and said, "I've been watching you guys for the week and…I think that the group that I have, we're going to disburse, and we want to discuss with you guys taking over the name Drifters." So we said, "You'll have to talk it over with our manager." He did so, and it left our hands after that. At the end of the week, man, we were all packed up, ready to go downtown to sign papers and discuss becoming the new set of Drifters. I'm thinking, "He's out of his mind. Nobody can fire a whole set of guys."

WW: The Drifters were a group built around Clyde McPhatter, and all of the guys were on salary. The managers actually owned the band?

BK: That's basically what it boiled down to. From what I was told by Treadwell and the office, the guys were drinking, and they were missing gigs and whatever. When those things start happening, you know it's time to make changes.

WW: So you're now part of the Drifters.

BK: [This is] about '58.

WW: A whole new direction is being plotted for the group.

BK: Even Atlantic Records did not have any idea of what was going to happen, 'cause here you have four or five young guys who have not the experience nor the vocal talent to match the Drifters. So Ahmet and Jerry Wexler went out and found [songwriters] Jerry Leiber and Mike Stoller to do the next project. The fortunate thing is that they found [people] like that because the R&B part of what the original Drifters were we could not match in a thousand years. They changed the entire thing.

WW: They came in with new ideas and new songs. One of those songs is "There Goes My Baby." That was No. 1 on the R&B charts, No. 2 on the pop charts. That was a strange session, wasn't it, because there was all sorts of strings and all sorts of weird timpani drums and things like that.

BK: And because I'd never been into a studio as such. When I went to Atlantic with this Drifters package, I didn't know that this was not the norm for recording. I didn't know that history was being made and guys were stepping into areas that had never been. We just stepped back and started watching everybody make their moves and trying to fit ourselves in without being embarrassed.

WW: What are you thinking when you listen to those songs?

BK: The thing that I think most about is that time period—how the voice has changed and how the faces have changed. When I was doing "There Goes My Baby," it was my very first time doing a lead. The original lead singer that was supposed to have taken the high tenor part was Charlie Thomas. He could not get the lyrics right on "There Goes My Baby." Jerry Wexler was yelling in the control room: "What's the problem with this song? Why is it taking so long to record?" [Someone told him I] wrote the song. He said, "Well, let him sing it." Simple as that. No rehearsal, nothing, just went for it.

WW: What was everyone in the Drifters feeling at this point?

BK: I think we were all in awe because we didn't know that we were going to be successful. We didn't know that the company would keep us as a group. When we became the new set of Drifters, we had to go on the road as the Drifters. We got booed off the stage for a year almost before getting into the studio to record! Whatever they were promoting, they would put the original Drifters faces up. It was madness!

WW: Leiber and Stoller were very quirky writers, very imaginative and very creative. They had a thing for Latin rhythms. Then you had another great song writing team, Doc Palmer and Mort Shuman. They wrote a couple of beauties for you, "This Magic Moment" and "Save the Last Dance for Me." Do you have any memories on these two particular songs?

BK: I'm beginning to see that we clicked, and the company believed in us, and they were finding great writers. Not only did we have great writers, we had a direction. I felt that Atlantic Records was ready to protect us as the new set of Drifters.

Make Do With What You Got
Solomon Burke (р)2005
Получил я таки эту штучку.
Что сказать? Диск классный, но , мне показалось, несколько проигрывает предыдущему "каверному". И песни известные, и спето безукоризненно, но какое-то полотно целостности, что было в "Don't Give Up On Me", пропало. Всё-таки материал показался несколько эклектичным. Всё спродюсировал Дон Уоз, отсюда "плотно сбитый и тщательно просчитанный звук", много духовых, которые как-то гладко вставлены в мозайку...без пупырышек :) "Хэммонд бэ три" тоже где-то сидит справа в панораме без "хамского" напора, как в 2002-ом... :)
Но, всё-таки , достоинств больше, чем имхошных недоразумений. Ведь, черт побери, это же новый диск Мастера Соула -- Сола ! :))
Просто, уж, очень он высоко планку задрал предыдушей работой.

2 john lee hooker: зря потакаете. Журналисты должны учицца сами инфу копать :)))
Лучше бы имху по сабжевым песням написали, чем буквари перепечатывать ;-)
А тема про знатоков и правда, гениальная - снимаю шляпу. Удивительно, что Естурдея там не значится)))))

2Mary J Holly:


>Лучше бы имху по сабжевым песням написали, чем
>буквари перепечатывать ;-)
Полностью согласная :)
А имха и так понятная объективностью имха моя не страдает --фсе песенки "мои", фсё родное, родом из дэтства, ну, и как можно "взгляд со стороны" о любимом мишке без лапы "всёравно его не брошу..." :)
Ну, разве, что "Ай кент стенд зе рейн" врезается в память не в представленном виде, а в исполнении Тины или , прости господи, Эрапшн (айкенайкенайкен-стенд...ин зе рейн....бррр).
Ну, а с фатально-прекрасной "Ситтин он..." Отиса, ваще, такие класно-интимные знойные воспоминания, што на людЯх как-то совестно говорить, да ышо когда весна вся простуженная, а вместо неё обещалась сразу осень :)))

Спасибо, конечно, но я не заставляю никого специально искать! Я думал, что кто-то знает так просто, как я, например, знаю о многих песнях и без интернета, а по книжкам и по памяти. То есть я думал, что кто-то может рассказать мне что-нибудь так, без всяких специальных поисков. Спасибо за ссылку www.allmusic.com: ничего не знал об этом сайте.
И вообще: при чем тут журналистика? И что значит "Кстати - а что вы предлагаете из фанков?"

2Mary J Holly:
>Heard It Through The GrapeWINE (а
>не ville)...

Если уж на то пошло, тогда GrapeVINE :ь

2john lee hooker:
Слюной истек, читая про Берка. В общем, я с тобой вожусь!

Может быть, вы сочтете меня еретиком, но я думаю, что английская группа Jamiroquai - это передний край современного соула, перемешанного с диско и фанком, старые традиции в новом звучании. Я, конечно, осознаю, что настоящий соул могут делать только чернокожие и только в Америке, но все же... Песня "Space Cowboy" - это лучшая соул-песня 90-х. Великолепные, абсолютно нетривиальные гармонии, красивые образы в лирике, качающий бит в сочетании с супер-гибкой басовой линией Стюарта Зендера (гений баса) и джазовый дух импровизации - и все же это поп-песня. Идеальное сочетание. Ни на что не похоже, и в то же время в русле старинной соул-традиции.

2 Игорь Цалер:
>>Может быть, вы сочтете меня еретиком, но я думаю, что английская группа Jamiroquai - это передний край современного соула, перемешанного с диско и фанком, старые традиции в новом звучании.
мне это начинает напоминать тему про соул с musicforums.... :-\
журналистика - при роде занятий, прописанном в вашем профайле :-\
>>Я думал, что кто-то знает так просто, как я
ах, так это был тест, оказывается! Господа, нас проверяли! А мы-то, глупые, без интернета ничего рассказать не можем... ;) И вообще мы серые и убогие, непонятно, что тут с умным видом делаем в теме про соул, действительно... :)))

2 Primal Scream:
>>Если уж на то пошло, тогда GrapeVINE :ь
я сонная была!!!)))))))))))) Но уж всяко не "вилль")))

Блин, да чего так кипятиться-то? Я не хотел никого обидеть, я просто хотел что-то узнать... Никого я не считаю ни сирым, ни убогим: вы интерпретируете мои нейтральные слова, как вам хочется - в худших традициях журналистики, кстати.
Извините, если кого-то обидел, но я ДЕЙСТВИТЕЛЬНО хотел просто кое-что выяснить о песнях. Наверное, мне, сирому и убогому, не следовало отвлекать мэтров. Уж простите! Я пишу, что мне нужна информация. Вы пишете, что я - лентяй, не могу сам в Интернете поискать. Я пишу, что не надо искать, может, кто-то просто так знает и по доброте душевной расскажет, не тратя понапрасну свое время. Вы пишете, что я считаю всех убогими и ничего не знающими, что я всех тут проверял "на вшивость"...
А про Jamiroquai я так и не понял. При чем тут журналистика? Я ведь музыку люблю как человек, а не как журналист.

Игорь Цалер
А узнать об интересующих Вас песнях очень просто.

Набираете в адресной строке что-нить вроде www.google.ru

А потом, скажем, Drifters + "Save The Last Dance For Me"

Вы просто глазам не поверите, как много узнаете.