Soul and R&B (BACK-IN-THE-DAY)

 (The following is based upon my personal knowledge, personal research, and personal experiences)

I will preference my comments by stating that I have been in and around music for the past forty years and I am also a musician. I enjoy listening to all types of music, but I will readily admit that the fire in my musical heart is fueled by, what I call, “the real Soul and R&B” from back-in-the-day.  I witnessed its evolution and “almost demise” and I now sense the resurgence of this great art form.

Soul and R&B 

In the mid-1950s the term rhythm and blues, R&B, was adopted by the music industry for music intended for the African American audience; with the gradual disappearance of racial barriers, the Chicago blues style began to seem less a vital form than a folk tradition, while the gospel style was transformed into the soul music of vast appeal.  Soul music is a combination of R&B and gospel, and began in the late 1950s in the United States. Soul differentiates from R&B because of Soul's use of gospel-music devices, its greater emphasis on vocalists and its merging of religious and secular themes. Soul traces its roots to four different sources: racial, geographical, historical and economical factors. Generally speaking, Soul comes from a mixture of the sacred (i.e. gospel) and the profane (blues). Blues mainly praised fleshly desires, whereas gospel was more oriented toward spiritual inspiration. Soul music exploded in the 1960s and ruled the black music charts throughout the decade, and inspired many other music styles. Although Soul's popularity has declined over the years, its impact and influence still lives on.

 The 60’s - Radio Stations 

Back in the 60’s, in Boston, the social climate was tense, at best, due to the atmosphere of segregation, prejudice, integration, etc.  The call from many corners was for us, as a people, to “reclaim our true heritage” and our rights; socially and politically.  However, there were also small sections who were calling for the right to showcase the musical talents of many of the groups from that period.  Music, Soul and R&B in particular, was utilized as “an escape” from the negativity of the time.  This “atmosphere” was carried over to the radio stations as well and, from what I personally recall, there was only one radio station here in Boston that even played or featured Soul or R&B. The station was only licensed to broadcast until 6:00 p.m. or “from sun up to sunset”. That was 1090AM WILD radio. As a teenager I recall the DJ at the time, Wildman Steve (Steve Gallon) doing his thing and I remember hearing those melodies, harmonies, and lyrics. I also remember a “feeling” and being able to relate to it all in one way or another (at least until sundown). Of course the “mainstream” artist’s records were played most of the time but every now and then you would hear a song that immediately grabbed your attention. For example; although they were originally ‘connected’ with Motown, a group named The Monitors (aka “The Majestics”) recorded a song entitled “Say You”, between 1962 and 1964, which was later ‘given’ to the Temptations (around 1965). Then there was a slow song that was played at every house party; where the inside was dark, the light bulbs were red, and you knew who you were talking only because you recognized the voice; “Sad Girl” originally recorded by The Midnighters(Hank Ballard was a member) and by a few other groups during the late 60’s and early 70’s.

Of course the artists from Motown were always heard but other artist like The Impressions, Ruby & The Romantics, The Miracles, Barbara Lewis, Fontella Bass, The Four Tops, Hank Ballard, The Marvelettes, and others were also played and left a lasting impression (no pun intended).  The music reflected every emotion experienced during that time, from “sadness to gladness”.  A close friend of mine and I were recently discussing this topic and we both agree that, although some of today’s music is not bad; the majority of these songs today are not defining nor romantic.  And they seem to deny us the message of beauty, tenderness, respect and warmth.

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Part 2…….

I can recall sitting in my room on a hot summer day and listening to the music on the radio. I can still here the intro’s, the arrangements, and probably the best ‘musical sound’ in the universe; the Hammond B3 and Leslie speaker combo. Now don’t get me wrong, I loved all of the instrumentation but there was just something special about that sound; it was haunting, alluring, mystical, and magical. A couple of songs where the B3 and Leslie stood out. One was Barbara Lewis’ “Hello Stranger”. The instant it started your ears perked up and you knew. 

And then there was the Ruby & The Romantics classic hit “Our Day Will Come”. The melodic and haunting background riffs and chords from the B3 blended perfectly with the rhythms. Ahhh…such fond memories of things past.

Then there were also some songs that, when you heard the intro or melody, you could easily attribute them to the wrong artist. For example, when I first heard the intro to The Royalettes’ “It’s Gonna Take A Miracle” I thought it was Little Anthony & The Imperials. And when I first heard the music to The Shirelles “Baby It’s You”, I thought it was The Miracles. No matter what, they all accomplished creating two major things; feelings and emotions.

As mentioned in the first article there were many “established” (heard regularly) artists who had the hits, the air-time, and the club tours. However, there were also several artists whose songs, I refer to as hidden gems, never got the push I personally feel they deserved. Once again I was sitting in my room on a hot summer day (no air conditioning at the time), a small fan circulating the heated air around; listening to the radio and waiting, for what seemed an eternity, for the DJ to mention the name of the artist whose song he had just played. The station would run a commercial and when it was over the DJ was about to announce the name(s) of the song(s) and artist(s) that’s when my Mom would knock on my door and needed me to go to the store. What was I going to say? NO?

I must have broken speed records because I rushed there and back in no time and then had to wait for my sister or brother to be off of the telephone (no we didn’t have cell phones, internet, texting, etc. We had ONE telephone; with a dial. I hurried to call the radio station and after several “busy signals” I finally got through.

“Good afternoon W*** radio, may I help you”?

“Yes, I’d like to know the names of the songs and artists that you played before the last commercial”.

“Sure, but you’ll have to wait until he’s off the mike…..during the next commercial”.

That’s how it would normally happen; but persistence paid off.

The artists names in bold print are a few of those the station played but who never got the “respect” they deserved.

Carol Hughes – “Let’s Get Together Again” – Corby Records

Ruby & The Romantics – “Our Day Will Come” – Kapp

Fontella Bass – “Rescue Me” – Checker

The Marvelettes – “When You’re Young And In Love” – Tamla

The Lovelites – “How Can I Tell My Mom & Dad?” – Uni

The Monitors – “Say You” – V.I.P.

Maxine Brown – “Oh No, Not My Baby – Wand

Brenda & The Tabulations – “Dry Your Eyes” – Dionn

The Rolitas – “Mythical Lover – (Unknown label)

Candy & The Kisses (formerly The Symphonettes) – “After I Cry” – R&L Records

The Elgins – “Darling Baby” – VIP

The Formations – “At The Top Of The Stairs” – Mojo

Carla Thomas “ Baby” – Atco

The Precisions – “Why Girl” – Drew

Positive Change – “Blind Over You” – Fortress

These and many other songs could solicit an assortment of feelings, emotions, thoughts, and ideas through the music and lyrics. All during a time of growing social concerns and mistrust; especially during the middle to late 60’s. “This music was a way for us to escape….”.

Continued here

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