As I compile more volumes of “Punks Got Soul”, I continue to ponder the value of assembling what are (in many cases) inferior versions of classic original songs. There are some worthwhile reinterpretations of soul music here: from the odd (Talking Heads’ take on “Take Me To The River”, or “Money” by the Flying Lizards) to the pulse-quickening punk covers (I still get a thrill from “Slow Down” by the Cannibals and “Heat Wave” by the Jam) and the genuine love, enthusiasm, and musical quality of some of the more faithful covers by folks like Graham Parker, Chris Bailey, and Elvis Costello. There are plenty of “classic soul” compilations out there if you want to hear the brilliance and passion of the originals.
But it’s troubling when you consider the history of the music industry (segregating Black artists, cheating them of songwriting royalties, and literally stealing songs). Most of the musical innovations of the 20th century (blues, jazz, gospel, R&B, rock, reggae, hip hop and electronic music) are Black creations that have been co-opted by white performers who achieved more success and acclaim than the originators who inspired them. And it’s not because the white performers "improved" upon the originals. The music was just made more palatable to white listeners. Consider the whole Super Bowl halftime show fiasco. The acceptable alternative to a massively popular Puerto Rican performer was a washed up white rapper?
Punks Got Soul vol. 8: https://pixeldrain.com/u/8VPXR199
ReplyDeletePunks Got Soul vol. 9: https://pixeldrain.com/u/k6hG61TV
Sorry for the half-baked ramblings -- enjoy your weekend!
Thanks Jonder for these 2 excellent collections + some intriguing 'ramblings', the history of the music industry is murky to say the least and like in most cases can't be easily divided in black & white... Sir Shambling's article is definitely worth reading and as another example just look at Jamaica's local music scene at the beginning, copying songs was standard, royalties were seldom paid, most producers ripped off their artists, etc.
ReplyDeleteAgreed, there are a lot of grey areas. One day I will write my blog post on the history of "You Don't Love Me" (which was stolen from Bo Diddley by Willie Cobbs), and which was brought to Jamaica and remade as "No, No, No". Both are great songs, and there are a lot of "clever thieves" in all of the arts -- inspiration rarely comes out of thin air. But the financial exploitation of artists and performers crosses a line and is inexcusable.
DeleteKeep 'em coming!
ReplyDeleteTip of the hat to Stinky (for Robert Gordon), Koen (for Howard Werth), and Richard (for Johnny G)
DeleteThank you Jonder. As always there is a difference: Style, as in the way you categorize items, is useless. Unless you are commercial. Style, as in class, as in You Look Great, is something else. Every genre comes up, claims to be new, names itself anew and 5 seconds later it gets watered down. I don't mind. There are few afro country singers. When we look back now, it seems that the punks thrived upon the soul artists on the other hand they helped to get the music back in. Soft Cell Tainted Love. I do not know the royalties story behind it, but would we have to wait till the Northern Soul revival of the 90s or is that revival also due to Soft Cell? (just picking one of the many examples) I don't think most punk/wave bands did a bad job in incorporating soul. The bad job was done in the whole of the 20th century, where the rights were stolen, and the performing credits went to the white cover artists.
ReplyDeleteAnyway. Dusty Springfield equals Aretha and Dionne
Dusty Springfield is an excellent answer. "Tainted Love" royalties probably go to Ed Cobb (who also wrote "Dirty Water" and "Sometimes Good Guys Don't Wear White")
DeleteCool. Thanks
ReplyDeleteI think comparing black and white singers can get complicated, due to different styles and contexts (I love Karen Carpenter's singing, but she barely had anything to do with black music). That being said, I think Bing Crosby (when he sang blues or jazz), Conee Boswell (a major inspiration for Ella Fitzgerald), Frank Sinatra, June Christy, Anita O'Day, Van Morrison, and even Daryl Hall are as good as it gets.
ReplyDeleteDraw up plans to have me assassinated, if you must, but... I kind of like Talking Heads version of "Take Me to the River" even more than Al Green's, and I love Al Green (who mopped up The Beatles with his version of "I Wanna Hold Your Hand"). But the Heads were a rare group from the CBGB's scene that took inspiration from (then) contemporary black music, even hiring Bernie Worrell, Nona Hendryx and Busta Jones for their touring line-up.
Frug - I forgot Elvis, too! Controversial, but he was one of the greats, for me (Presley, I mean - I like Costello, too, but his ties to black music are considerably smaller).
ReplyDeleteIt's complicated for sure, and I appreciate you sharing your thoughts. The early Elvis singles are undeniably exciting, but they are also examples of a white performer remaking "race records" in order to be palatable to white audiences and playable on segregated radio stations.
DeleteTalking Heads' version of "Take Me to the River" is a great record, no doubt. Punks Got Soul vol. 8 includes The Gizmos' take on of "Take Me to the River"!
I agree with you on Van Morrison and Karen Carpenter. Extraordinary voices. I love Anita O'Day, but her vocal style is deeply indebted to Billie Holiday. My favorite white male jazz singer is Mel Torme.
James
ReplyDeleteFollowing - up - I really like the article you posted, and it is illuminating. But... describing The Beatles' "Twist and Shout" as "atrocious" is... well, that's a choice. I love that one, and if John singing his heart out with the rest of the band barely keeping up (they cut the record at the end of long, grueling, all-day recording session) isn't primal rock'n'roll on the same level as "Louie, Louie," then I don't know what is.
ReplyDelete(I like the Moody Blues' version of "Go, Now," too, to be honest)
I wouldn't agree with "atrocious" either. Paul was (is) a great raw-voiced shouter when he really gets into it. A lot of the artists from the 50's and 60's became working musicians in an era when you HAD to perform songs that people knew. If a customer in a bar requested "Long Tall Sally" you needed to be able to play it. And I think there is a sincere appreciation in cover versions like the Moody Blues' "Go Now," or Jackson Browne singing Maurice & The Zodiacs. Someone like Frank Zappa or Roy Wood doing doo-wop; Daryl Hall or Todd Rundgren doing Philly soul -- it's a sincere homage. Someone like Pat Boone, on the other hand...
DeleteMy granny was called Bernadine, so no foul words about Pat Boone. The b-side of that 7" is a song I liked very much as a kid: Love Letters (Indecent)
Deletewe like your ramblin's, however baked, broiled, or friend--keep'em cookin'!
ReplyDeleteThank you, Eric! I'm no expert on soul music. Sir Shambling's article ends with a list of talented "blue-eyed soul" singers, and another writer posted an article in response called "Brown-Eyed Soul". There are also articles on Latin and Caribbean soul. Toots Hibbert is probably one of the most soulful singers who I've ever seen perform.
Deletehttps://www.sirshambling.com/articles/brown_eyed_soul/index.php