Anarchy 84/A change is gonna come - Revision history

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A change is gonna come | author = Charlie Gillett | section = | previous = ../Notes on..."

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{{header
| title = [[../|ANARCHY 84 (Vol 8 No 2) FEBRUARY 1968]]<br>A change is gonna come
| author = Charlie Gillett
| section =
| previous = [[../Notes on poverty 3: Kropotkin House, Duluth|Notes on poverty 3: Kropotkin House, Duluth]]
| next = [[../Further observations on students|Further observations on students]]
| notes =
}}

<div style="max-width:500px; margin:auto;">
{{p|53}}<font size="5">'''A change is gonna come'''</font>

<font size="4">'''[[Author:Charlie Gillett|CHARLIE GILLETT]]'''</font>

{| width="500"
|-
|  
| width="160" |''All I want<br>Is a little respect<br>when I come home.''
|}

<div style="text-align:justify;">{{sc|And what he got was respect}}, in the form of headlines in the evening papers{{dash}}{{sc|pop star dies in air crash}}. True, this recognition of importance was tempered by the anonymity of {{qq|pop star}} (although later editions did substitute {{qq|{{w|OTIS REDDING|Otis_Redding}} …}}), but even so it was interesting that the evening paper editors should have considered the singer{{s}} death worthy of front page attention.

{{tab}}By the next day, the event had been reduced to incident; neither {{w|''The Times''|The_Times}} nor the {{w|''Mirror''|Daily_Mirror}} mentioned the accident, and the {{w|''Guardian''|The_Guardian}} confined itself to a smug comment anticipating the commercial success of the ironically titled LP, {{qq|{{w|History of Otis Redding|The_History_of_Otis_Redding}}}}, 5,000 copies of which have been imported to Britain by {{w|Polydor|Polydor_Records}}. A few weeks {{p|54}}earlier, {{w|Ida Cox|Ida_Cox}}{{s}} death was observed in an obituary in ''The Times'', although she had been a much less creative and culturally significant singer in her time than Redding was in his. The difference, perhaps, was that Ida Cox was a {{w|blues|Blues}} singer, with strong connections to the {{w|jazz|Jazz}} tradition; whereas Otis Redding was a {{w|soul|Soul_music}} singer, with strong connections to {{w|pop music|Pop_music}} (which is not yet recognised as having a tradition).

{{tab}}As the ''Guardian''{{s}} Miscellany columnist predicted, Otis Redding{{s}} name will undoubtedly be added to the macabre Hall of Fame which lists these heroes of popular culture who died young. The implication always is that the artist died before he could realise his full potential; but the harsher truth is usually that the artist was already in decline at the time of his death. {{w|Bessie Smith|Bessie_Smith}}, {{w|Chuck Willis|Chuck_Willis}}, {{w|Buddy Holly|Buddy_Holly}}, {{w|Eddie Cochran|Eddie_Cochran}}, {{w|Jesse Belvin|Jesse_Belvin}}, and {{w|Nat {{qq|King}} Cole|Nat_King_Cole}} had all made much better records earlier in their careers than they made just before their deaths; and this was true for Otis Redding. Only {{w|Sam Cooke|Sam_Cooke}} can be said to have been singing more interesting songs late in his career: his best record, ''{{w|A Change is Gonna Come|A_Change_Is_Gonna_Come}}'', which became a kind of anthem for the {{w|civil rights movement|African-American_Civil_Rights_Movement_(1954–68)}} during the summer of 1965, was released posthumously.

{{tab}}Cooke was one of a number of Negro singers who abandoned the blues heritage which was the basis of Negro popular music for the first four decades of this century, and drew instead from the {{w|gospel music|Gospel_music}} of the {{w|South|Southern_United_States}}. From 1955 to 1965 the character of Negro popular music changed drastically, from the direct expressiveness of the {{w|rock and roll|Rock_and_roll}} singers, {{w|Chuck Berry|Chuck_Berry}}, {{w|Fats Domino|Fats_Domino}}, and {{w|Little Richard|Little_Richard}}, to the more sophisticated style of the soul singers, Otis Redding, {{w|Wilson Pickett|Wilson_Pickett}}, and {{w|Joe Tex|Joe_Tex}}. In between, the distinctive characteristics of the Negro cultural style were almost smothered by the attempts of record producers to assimilate Negro singers into the white culture. Full scale {{w|string|String_orchestra}} and {{w|woodwind|Woodwind_section}} orchestras, choirs, and {{w|Tin Pan Alley|Tin_Pan_Alley}} songs were used to smooth the styles of {{w|Lloyd Price|Lloyd_Price}}, {{w|Brook Benton|Brook_Benton}}, and Sam Cooke, or characterless dance songs and monotonous rhythms were provided for {{w|Chubby Chekcer|Chubby_Checker}} and {{w|Bobby Lewis|Bobby_Lewis}}.

{{tab}}The re-<wbr>emergence of a Negro cultural style after these years testifies to the strength of the American Negro culture, which is too often characterised as {{qq|delinquent}}, {{qq|pathological}}, and {{qq|self-<wbr>destructive}}. The singer most responsible for ensuring the continued existence of a Negro style was {{w|Ray Charles|Ray_Charles}}, whose first records show him to have been a blues singer (1949), but who anticipated the shift away from the blues as early as 1954, when he recorded ''{{w|I Got a Woman|I_Got_a_Woman}}'' in a gospel style. Although he later suffered accompaniments by the slushiest orchestras and soupiest choirs that the {{w|ABC-Paramount|ABC_Records#ABC-Paramount_Records}} studios could muster, Ray Charles always managed to project an integrity which became the main inspiration of the soul singers who followed him.

{{tab}}Charles (born in {{w|Georgia|Georgia_(U.S._state)}}), Little Richard (also born in Georgia), {{w|James Brown|James_Brown}} and {{w|Bobby Bland|Bobby_Bland}} (born in {{w|Tennessee|Tennessee}}), and Sam Cooke (born in {{w|Chicago|Chicago}}) became the major models for imitation during the period 1958-63 when recording supervisors generally showed little {{p|55}}concern for the way singers preferred to sing. All except Cooke came from the South, where they had learned to sing in churches which gave them experience of singing in front of audiences, and with accompaniment from instruments and other singers. Their success at transposing the style learned in churches to recording studios, theatres and television broadcasts inspired many younger Southern Negroes to seek a career in popular music.

{{tab}}Little Richard, whose ''{{w|Tutti Frutti|Tutti_Frutti_(song)}}'' was one of the first Negro rock and roll records in 1955, was a major inspiration to several singers, including Joe Tex and Otis Redding, whose first records are open attempts at reproducing Little Richard{{s}} style. Tex later developed a style which used not only the vocal techniques of gospel singers, but the mode and form of their material, with a number of records which counselled lovers on how to treat each other, and even included breaks for {{qq|preaching}}{{dash}}spoken verses.

{{tab}}Otis Redding did not stay so close to the church tradition, but developed an intense, harsh singing style, using both material specially written for him and songs made famous by other people. Perhaps his outstanding recorded performance is his version of Sam Cooke{{s}} ''A Change is Gonna Come'', available only on the LP, ''{{w|Otis Blue|Otis_Blue/Otis_Redding_Sings_Soul}}''. Taken at a slow, almost lazy, tempo, the song{{s}} mood is established from the moment Redding begins to sing, as he almost cries, {{qq|Well I was born by a river …}}. All the emphasis is on {{qq|born}} as he begins the word on one note, moves easily up to another, holds that, and then goes on to the rest of the phrase. Throughout the performance, Redding displays his instinct for pausing and surprising yet appropriate places, and thereby altering the emphasis and meaning of a phrase. His ability to do this is revealed on several of the songs on the ''History of Otis Redding'' LP, which is a collection of his most popular records.

{{tab}}''{{w|These Arms of Mine|These_Arms_of_Mine_(Otis_Redding_song)}}'', ''{{w|Pain in My Heart|Pain_in_My_Heart}}'', and ''{{w|I{{ve}} Been Loving You Too Long|I've_Been_Loving_You_Too_Long}}'' are all slow ballads, love songs which could easily become sentimental if performed by a singer who allowed the words to determine how he should sing them. But Redding brought himself to the material, and used the songs as a means of communicating deeply felt emotions to a particular person. Even on the fast songs, which most singers take simply as dance songs whose words are of secondary importance to the rhythm, Otis Redding still emphasised the emotional expression, as in ''{{w|Respect|Respect_(song)}}'', ''{{w|I Can{{t}} Turn You Loose|I_Can't_Turn_You_Loose}}'', and ''{{w|Mr. Pitiful|Mr._Pitiful}}''. The speed at which the song is taken becomes an extra device to build up the intensity of feeling; the strident riffs played by the saxophonists and trumpeters emphasise the urgency of the singer{{s}} message, while the bass line which runs throughout all these up-<wbr>tempo soul records helps to give the song a coherent form. A common failing of the records produced in {{w|Memphis|Memphis,_Tennessee}} and neighbouring Southern cities is a lack of resolution in the construction of the songs, which tend to begin with the mood which is sustained throughout the performance and forces the unsatisfactory {{qq|fade-<wbr>out}} ending. This style has become the content; if we have one record by Otis Redding at a fast tempo, and one at a slow tempo, these two in a sense constitute the {{qq|history of {{p|56}}Otis Redding}}.

{{tab}}Although he made his best records during the first four years he was with the Memphis company, {{w|Stax|Stax_Records}} (1962-65), Redding did not achieve the ultimate in pop music respectability until 1967, when his duet with {{w|Carla Thomas|Carla_Thomas}}, ''{{w|Tramp|Tramp_(Lowell_Fulson_song)}}'', sold over a million copies. A hastily released live-<wbr>recording of ''{{w|Shake|Shake_(Sam_Cooke_song)}}'' (recorded at the {{w|Finsbury Park|Finsbury_Park,_London}} Astoria, of all places) was also very popular, and Redding seemed poised for the breakthrough into the mass market. It is conceivable that this breakthrough will come anyway, through {{w|re-<wbr>release|The_Dock_of_the_Bay_(album)}} of his earlier records; if that happens, the public will get better records than anything Redding could have recorded specifically for the mass market. His premature death, at the age of 26, will undoubtedly ensure his reputation as the greatest soul singer; but this was Otis Redding{{s}} due anyway.
</div></div>

{{DEFAULTSORT:Change is gonna come , a}}
[[Category:Music]]
[[Category:Articles]]
[[Category:Obituaries]]

@@ Line 36: / Line 36: @@
 {{tab}}Little Richard, whose ''{{w|Tutti Frutti|Tutti_Frutti_(song)}}'' was one of the first Negro rock and roll records in 1955, was a major inspi&shy;ra&shy;tion to several singers, including Joe Tex and Otis Redding, whose first records are open at&shy;tempts at repro&shy;du&shy;cing Little Richard{{s}} style. Tex later deve&shy;loped a style which used not only the vocal tech&shy;niques of gospel singers, but the mode and form of their mate&shy;rial, with a number of records which coun&shy;selled lovers on how to treat each other, and even inclu&shy;ded breaks for {{qq|preach&shy;ing}}{{dash}}spoken verses.
-{{tab}}Otis Redding did not stay so close to the church tradi&shy;tion, but deve&shy;loped an intense, harsh singing style, using both mate&shy;rial spe&shy;cial&shy;ly written for him and songs made famous by other people. Perhaps his out&shy;stan&shy;ding recor&shy;ded per&shy;for&shy;mance is his version of Sam Cooke{{s}} ''A Change is Gonna Come'', avail&shy;able only on the LP, ''{{w|Otis Blue<!-- 'Blues' in original -->|Otis_Blue/Otis_Redding_Sings_Soul}}''. Taken at a slow, almost lazy, tempo, the song{{s}} mood is estab&shy;lished from the moment Redding begins to sing, as he almost cries, {{qq|Well I was born by a river &hellip;}}. All the empha&shy;sis is on {{qq|born}} as he begins the word on one note, moves easily up to another, holds that, and then goes on to the rest of the phrase. Through&shy;out the per&shy;for&shy;mance, Redding dis&shy;plays his in&shy;stinct for pausing in sur&shy;pri&shy;sing yet appro&shy;pri&shy;ate places, and thereby alter&shy;ing the empha&shy;sis and mean&shy;ing of a phrase. His ability to do this is revealed on several of the songs on the ''History of Otis Redding'' LP, which is a col&shy;lec&shy;tion of his most popular records.
+{{tab}}Otis Redding did not stay so close to the church tradi&shy;tion, but deve&shy;loped an intense, harsh singing style, using both mate&shy;rial spe&shy;cial&shy;ly written for him and songs made famous by other people. Perhaps his out&shy;stan&shy;ding recor&shy;ded per&shy;for&shy;mance is his version of Sam Cooke{{s}} ''A Change is Gonna Come'', avail&shy;able only on the LP, ''{{w|Otis Blue<!-- 'Blues' in original -->|Otis_Blue/Otis_Redding_Sings_Soul}}''. Taken at a slow, almost lazy, tempo, the song{{s}} mood is estab&shy;lished from the moment Redding begins to sing, as he almost cries, {{qq|Well I was born by a river &hellip;}}. All the empha&shy;sis is on {{qq|born}} as he begins the word on one note, moves easily up to another, holds that, and then goes on to the rest of the {{w|phrase|Phrase_(music)}}. Through&shy;out the per&shy;for&shy;mance, Redding dis&shy;plays his in&shy;stinct for pausing at sur&shy;pri&shy;sing yet appro&shy;pri&shy;ate places, and thereby alter&shy;ing the empha&shy;sis and mean&shy;ing of a phrase. His ability to do this is revealed on several of the songs on the ''History of Otis Redding'' LP, which is a col&shy;lec&shy;tion of his most popular records.
-{{tab}}''{{w|These Arms of Mine|These_Arms_of_Mine_(Otis_Redding_song)}}'', ''{{w|Pain in My Heart|Pain_in_My_Heart}}'', and ''{{w|I{{ve}} Been Loving You Too Long|I've_Been_Loving_You_Too_Long}}'' are all slow ballads, love songs which could easily become senti&shy;mental if per&shy;formed by a singer who allowed the words to deter&shy;mine how he should sing them. But Redding brought himself to the mate&shy;rial, and used the songs as a means of commu&shy;nica&shy;ting deeply felt emo&shy;tions to a parti&shy;cular person. Even on the fast songs, which most singers take simply as dance songs whose words are of secon&shy;dary impor&shy;tance to the rhythm, Otis Redding still empha&shy;sised the emo&shy;tion&shy;al expres&shy;sion, as in ''{{w|Respect|Respect_(song)}}'', ''{{w|I Can{{t}} Turn You Loose|I_Can't_Turn_You_Loose}}'', and ''{{w|Mr. Pitiful|Mr._Pitiful}}''. The speed at which the song is taken becomes an extra device to build up the inten&shy;sity of fee&shy;ling; the strident riffs played by the saxo&shy;pho&shy;nists and trum&shy;pe&shy;ters empha&shy;sise the urgency of the singer{{s}} message, while the bass line which runs through&shy;out all these up-<wbr>tempo soul records helps to give the song a co&shy;her&shy;ent form. A common failing of the records pro&shy;duced in {{w|Memphis|Memphis,_Tennessee}} and neigh&shy;bour&shy;ing Southern cities is a lack of reso&shy;lu&shy;tion in the con&shy;struc&shy;tion of the songs, which tend to begin with the mood which is sus&shy;tained through&shy;out the per&shy;for&shy;mance and forces the un&shy;satis&shy;fac&shy;tory {{qq|fade-<wbr>out}} ending. This style has become the content; if we have one record by Otis Redding at a fast tempo, and one at a slow tempo, these two in a sense con&shy;sti&shy;tute the {{qq|history of {{p|56}}Otis Redding}}.
+{{tab}}''{{w|These Arms of Mine|These_Arms_of_Mine_(Otis_Redding_song)}}'', ''{{w|Pain in My Heart|Pain_in_My_Heart}}'', and ''{{w|I{{ve}} Been Loving You Too Long|I've_Been_Loving_You_Too_Long}}'' are all slow ballads, love songs which could easily become senti&shy;mental if per&shy;formed by a singer who allowed the words to deter&shy;mine how he should sing them. But Redding brought himself to the mate&shy;rial, and used the songs as a means of commu&shy;nica&shy;ting deeply felt emo&shy;tions to a parti&shy;cular person. Even on the fast songs, which most singers take simply as dance songs whose words are of secon&shy;dary impor&shy;tance to the rhythm, Otis Redding still empha&shy;sised the emo&shy;tion&shy;al expres&shy;sion, as in ''{{w|Respect|Respect_(song)}}'', ''{{w|I Can{{t}} Turn You Loose|I_Can't_Turn_You_Loose}}'', and ''{{w|Mr. Pitiful|Mr._Pitiful}}''. The speed at which the song is taken becomes an extra device to build up the inten&shy;sity of fee&shy;ling; the strident riffs played by the {{w|saxo&shy;pho&shy;nists|The_Mar-Keys}} and {{w|trum&shy;pe&shy;ters|The_Bar-Kays}} empha&shy;sise the urgency of the singer{{s}} message, while the {{w|bass|Booker_T._%26_the_M.G.'s}} line which runs through&shy;out all these up-<wbr>tempo soul records helps to give the song a co&shy;her&shy;ent form. A common failing of the records pro&shy;duced in {{w|Memphis|Memphis,_Tennessee}} and neigh&shy;bour&shy;ing Southern cities is a lack of reso&shy;lu&shy;tion in the con&shy;struc&shy;tion of the songs, which tend to begin with the mood which is sus&shy;tained through&shy;out the per&shy;for&shy;mance and forces the un&shy;satis&shy;fac&shy;tory {{qq|fade-<wbr>out}} ending. The style has become the content; if we have one record by Otis Redding at a fast tempo, and one at a slow tempo, these two in a sense con&shy;sti&shy;tute the {{qq|history of {{p|56}}Otis Redding}}.
-{{tab}}Al&shy;though he made his best records during the first four years he was with the Mem&shy;phis company, {{w|Stax|Stax_Records}} (1962-65), Redding did not achieve the ulti&shy;mate in pop music respec&shy;tabi&shy;lity until 1967, when his duet with {{w|Carla Thomas|Carla_Thomas}}, ''{{w|Tramp|Tramp_(Lowell_Fulson_song)}}'', sold over a mil&shy;lion copies. A hastily re&shy;leased live-<wbr>recor&shy;ding of ''{{w|Shake|Shake_(Sam_Cooke_song)}}'' (recorded at the {{w|Finsbury Park|Finsbury_Park,_London}} Astoria, of all places) was also very popular, and Redding seemed poised for the break&shy;through into the mass market. It is con&shy;cei&shy;vable that this break&shy;through will come anyway, through {{w|re-<wbr>release|The_Dock_of_the_Bay_(album)}} of his earlier records; if that happens, the public will get better records than any&shy;thing Redding could have recor&shy;ded speci&shy;fi&shy;cally for the mass market. His prema&shy;ture death, at the age of 26, will un&shy;doubt&shy;edly ensure his repu&shy;ta&shy;tion as the great&shy;est soul singer; but this was Otis Redding{{s}} due anyway.
+{{tab}}Al&shy;though he made his best records during the first four years he was with the Mem&shy;phis company, {{w|Stax|Stax_Records}} (1962-65), Redding did not achieve the ulti&shy;mate in pop music respec&shy;tabi&shy;lity until 1967, when his duet with {{w|Carla Thomas|Carla_Thomas}}, ''{{w|Tramp|Tramp_(Lowell_Fulson_song)}}'', sold over a mil&shy;lion copies. A hastily re&shy;leased live-<wbr>recor&shy;ding of ''{{w|Shake|Shake_(Sam_Cooke_song)}}'' (recorded at the {{w|Finsbury Park|Finsbury_Park,_London}} {{w|Astoria|Astoria_Theatre,_Brighton#1933.E2.80.931977:_Cinema}}, of all places) was also very popular, and Redding seemed poised for the break&shy;through into the mass market. It is con&shy;cei&shy;vable that this {{w|break&shy;through|(Sittin'_On)_The_Dock_of_the_Bay}} will come anyway, through {{w|re-<wbr>release|The_Dock_of_the_Bay_(album)}} of his earlier records; if that happens, the public will get better records than any&shy;thing Redding could have recor&shy;ded speci&shy;fi&shy;cally for the mass market. His prema&shy;ture death, at the age of 26, will un&shy;doubt&shy;edly ensure his repu&shy;ta&shy;tion as the great&shy;est soul singer; but this was Otis Redding{{s}} due anyway.
 </div></div>

@@ Line 28: / Line 28: @@
 {{tab}}As the ''Guardian''{{s}} Mis&shy;cel&shy;lany colum&shy;nist pre&shy;dic&shy;ted, Otis Redding{{s}} name will un&shy;doubt&shy;edly be added to the macabre Hall of Fame which lists these heroes of popular culture who died young. The impli&shy;ca&shy;tion always is that the artist died before he could realise his full poten&shy;tial; but the harsher truth is usually that the artist was already in decline at the time of his death. {{w|Bessie Smith|Bessie_Smith}}, {{w|Chuck Willis|Chuck_Willis}}, {{w|Buddy Holly|Buddy_Holly}}, {{w|Eddie Cochran|Eddie_Cochran}}, {{w|Jesse Belvin|Jesse_Belvin}}, and {{w|Nat {{qq|King}} Cole|Nat_King_Cole}} had all made much better records earlier in their careers than they made just before their deaths; and this was true for Otis Redding. Only {{w|Sam Cooke|Sam_Cooke}} can be said to have been singing more inter&shy;es&shy;ting songs late in his career: his best record, ''{{w|A Change is Gonna Come|A_Change_Is_Gonna_Come}}'', which became a kind of anthem for the {{w|civil rights move&shy;ment|African-American_Civil_Rights_Movement_(1954–68)}} during the summer of 1965, was re&shy;leased post&shy;hu&shy;mous&shy;ly.
-{{tab}}Cooke was one of a number of Negro singers who aban&shy;doned the blues heri&shy;tage which was the basis of Negro popular music for the first four decades of this century, and drew instead from the {{w|gospel music|Gospel_music}} of the {{w|South|Southern_United_States}}. From 1955 to 1965 the char&shy;acter of Negro popular music changed dras&shy;tic&shy;ally, from the direct ex&shy;pres&shy;sive&shy;ness of the {{w|rock and roll|Rock_and_roll}} singers, {{w|Chuck Berry|Chuck_Berry}}, {{w|Fats Domino|Fats_Domino}}, and {{w|Little Richard|Little_Richard}}, to the more sophis&shy;ti&shy;cated style of the soul singers, Otis Redding, {{w|Wilson Pickett|Wilson_Pickett}}, and {{w|Joe Tex|Joe_Tex}}. In be&shy;tween, the dis&shy;tinc&shy;tive charac&shy;ter&shy;is&shy;tics of the Negro cultural style were almost smo&shy;thered by the at&shy;tempts of record pro&shy;du&shy;cers to as&shy;simi&shy;late<!-- 'assimilaate' in original --> Negro singers into the white culture. Full scale {{w|string|String_orchestra}} and {{w|wood&shy;wind|Woodwind_section}} orchestras, choirs, and {{w|Tin Pan Alley|Tin_Pan_Alley}} songs were used to smooth the styles of {{w|Lloyd Price|Lloyd_Price}}, {{w|Brook Benton|Brook_Benton}}, and Sam Cooke, or char&shy;acter&shy;less dance songs and mono&shy;to&shy;nous rhythms were pro&shy;vi&shy;ded for {{w|Chubby Chekcer|Chubby_Checker}} and {{w|Bobby Lewis|Bobby_Lewis}}.
+{{tab}}Cooke was one of a number of Negro singers who aban&shy;doned the blues heri&shy;tage which was the basis of Negro popular music for the first four decades of this century, and drew instead from the {{w|gospel music|Gospel_music}} of the {{w|South|Southern_United_States}}. From 1955 to 1965 the char&shy;acter of Negro popular music changed dras&shy;tic&shy;ally, from the direct ex&shy;pres&shy;sive&shy;ness of the {{w|rock and roll|Rock_and_roll}} singers, {{w|Chuck Berry|Chuck_Berry}}, {{w|Fats Domino|Fats_Domino}}, and {{w|Little Richard|Little_Richard}}, to the more sophis&shy;ti&shy;cated style of the soul singers, Otis Redding, {{w|Wilson Pickett|Wilson_Pickett}}, and {{w|Joe Tex|Joe_Tex}}. In be&shy;tween, the dis&shy;tinc&shy;tive charac&shy;ter&shy;is&shy;tics of the Negro cultural style were almost smo&shy;thered by the at&shy;tempts of record pro&shy;du&shy;cers to as&shy;simi&shy;late<!-- 'assimilaate' in original --> Negro singers into the white culture. Full scale {{w|string|String_orchestra}} and {{w|wood&shy;wind|Woodwind_section}} orchestras, choirs, and {{w|Tin Pan Alley|Tin_Pan_Alley}} songs were used to smooth the styles of {{w|Lloyd Price|Lloyd_Price}}, {{w|Brook Benton|Brook_Benton}}, and Sam Cooke, or char&shy;acter&shy;less dance songs and mono&shy;to&shy;nous rhythms were pro&shy;vi&shy;ded for {{w|Chubby Checker|Chubby_Checker}} and {{w|Bobby Lewis|Bobby_Lewis}}.
 {{tab}}The re-<wbr>emer&shy;gence of a Negro cultural style after these years testi&shy;fies to the strength of the American Negro culture, which is too often char&shy;acter&shy;ised as {{qq|delin&shy;quent}}, {{qq|patho&shy;lo&shy;gical}}, and {{qq|self-<wbr>destruc&shy;tive}}. The singer most res&shy;pon&shy;sible for en&shy;sur&shy;ing the con&shy;tinued exis&shy;tence of a Negro style was {{w|Ray Charles|Ray_Charles}}, whose first records show him to have been a blues singer (1949), but who anti&shy;cipa&shy;ted the shift away from the blues as early as 1954, when he recor&shy;ded ''{{w|I Got a Woman|I_Got_a_Woman}}'' in a gospel style. Al&shy;though he later suf&shy;fered accom&shy;pani&shy;ments by the slushi&shy;est or&shy;ches&shy;tras and soupi&shy;est choirs that the {{w|ABC-Paramount|ABC_Records#ABC-Paramount_Records}} studios could muster, Ray Charles always managed to project an integ&shy;rity which became the main inspi&shy;ration of the soul singers who fol&shy;lowed him.
@@ Line 36: / Line 36: @@
 {{tab}}Little Richard, whose ''{{w|Tutti Frutti|Tutti_Frutti_(song)}}'' was one of the first Negro rock and roll records in 1955, was a major inspi&shy;ra&shy;tion to several singers, including Joe Tex and Otis Redding, whose first records are open at&shy;tempts at repro&shy;du&shy;cing Little Richard{{s}} style. Tex later deve&shy;loped a style which used not only the vocal tech&shy;niques of gospel singers, but the mode and form of their mate&shy;rial, with a number of records which coun&shy;selled lovers on how to treat each other, and even inclu&shy;ded breaks for {{qq|preach&shy;ing}}{{dash}}spoken verses.
-{{tab}}Otis Redding did not stay so close to the church tradi&shy;tion, but deve&shy;loped an intense, harsh singing style, using both mate&shy;rial spe&shy;cial&shy;ly written for him and songs made famous by other people. Perhaps his out&shy;stan&shy;ding recor&shy;ded per&shy;for&shy;mance is his version of Sam Cooke{{s}} ''A Change is Gonna Come'', avail&shy;able only on the LP, ''{{w|Otis Blue<!-- 'Blues' in original -->|Otis_Blue/Otis_Redding_Sings_Soul}}''. Taken at a slow, almost lazy, tempo, the song{{s}} mood is estab&shy;lished from the moment Redding begins to sing, as he almost cries, {{qq|Well I was born by a river &hellip;}}. All the empha&shy;sis is on {{qq|born}} as he begins the word on one note, moves easily up to another, holds that, and then goes on to the rest of the phrase. Through&shy;out the per&shy;for&shy;mance, Redding dis&shy;plays his in&shy;stinct for pausing and sur&shy;pri&shy;sing yet appro&shy;pri&shy;ate places, and thereby alter&shy;ing the empha&shy;sis and mean&shy;ing of a phrase. His ability to do this is revealed on several of the songs on the ''History of Otis Redding'' LP, which is a col&shy;lec&shy;tion of his most popular records.
+{{tab}}Otis Redding did not stay so close to the church tradi&shy;tion, but deve&shy;loped an intense, harsh singing style, using both mate&shy;rial spe&shy;cial&shy;ly written for him and songs made famous by other people. Perhaps his out&shy;stan&shy;ding recor&shy;ded per&shy;for&shy;mance is his version of Sam Cooke{{s}} ''A Change is Gonna Come'', avail&shy;able only on the LP, ''{{w|Otis Blue<!-- 'Blues' in original -->|Otis_Blue/Otis_Redding_Sings_Soul}}''. Taken at a slow, almost lazy, tempo, the song{{s}} mood is estab&shy;lished from the moment Redding begins to sing, as he almost cries, {{qq|Well I was born by a river &hellip;}}. All the empha&shy;sis is on {{qq|born}} as he begins the word on one note, moves easily up to another, holds that, and then goes on to the rest of the phrase. Through&shy;out the per&shy;for&shy;mance, Redding dis&shy;plays his in&shy;stinct for pausing in sur&shy;pri&shy;sing yet appro&shy;pri&shy;ate places, and thereby alter&shy;ing the empha&shy;sis and mean&shy;ing of a phrase. His ability to do this is revealed on several of the songs on the ''History of Otis Redding'' LP, which is a col&shy;lec&shy;tion of his most popular records.
 {{tab}}''{{w|These Arms of Mine|These_Arms_of_Mine_(Otis_Redding_song)}}'', ''{{w|Pain in My Heart|Pain_in_My_Heart}}'', and ''{{w|I{{ve}} Been Loving You Too Long|I've_Been_Loving_You_Too_Long}}'' are all slow ballads, love songs which could easily become senti&shy;mental if per&shy;formed by a singer who allowed the words to deter&shy;mine how he should sing them. But Redding brought himself to the mate&shy;rial, and used the songs as a means of commu&shy;nica&shy;ting deeply felt emo&shy;tions to a parti&shy;cular person. Even on the fast songs, which most singers take simply as dance songs whose words are of secon&shy;dary impor&shy;tance to the rhythm, Otis Redding still empha&shy;sised the emo&shy;tion&shy;al expres&shy;sion, as in ''{{w|Respect|Respect_(song)}}'', ''{{w|I Can{{t}} Turn You Loose|I_Can't_Turn_You_Loose}}'', and ''{{w|Mr. Pitiful|Mr._Pitiful}}''. The speed at which the song is taken becomes an extra device to build up the inten&shy;sity of fee&shy;ling; the strident riffs played by the saxo&shy;pho&shy;nists and trum&shy;pe&shy;ters empha&shy;sise the urgency of the singer{{s}} message, while the bass line which runs through&shy;out all these up-<wbr>tempo soul records helps to give the song a co&shy;her&shy;ent form. A common failing of the records pro&shy;duced in {{w|Memphis|Memphis,_Tennessee}} and neigh&shy;bour&shy;ing Southern cities is a lack of reso&shy;lu&shy;tion in the con&shy;struc&shy;tion of the songs, which tend to begin with the mood which is sus&shy;tained through&shy;out the per&shy;for&shy;mance and forces the un&shy;satis&shy;fac&shy;tory {{qq|fade-<wbr>out}} ending. This style has become the content; if we have one record by Otis Redding at a fast tempo, and one at a slow tempo, these two in a sense con&shy;sti&shy;tute the {{qq|history of {{p|56}}Otis Redding}}.

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   | author     = Charlie Gillett
   | section    =
-  | previous   = [[../Notes on poverty 3: Kropotkin House, Duluth|Notes on poverty 3: Kropotkin House, Duluth]]
+  | previous   = [[../Notes on poverty 3: Kropotkin House, Duluth|Notes on poverty 3: Kropotkin House]]
   | next       = [[../Further observations on students|Further observations on students]]
   | notes      =

Anarchy 84/A change is gonna come - Revision history

imported>Ivanhoe at 19:40, 29 September 2016

imported>Ivanhoe at 17:26, 29 September 2016

69.50.181.155 at 08:25, 29 September 2016

69.50.181.155: Created page with "{{header | title = ANARCHY 84 (Vol 8 No 2) FEBRUARY 1968A change is gonna come | author = Charlie Gillett | section = | previous = ../Notes on..."

69.50.181.155: Created page with "{{header | title = ANARCHY 84 (Vol 8 No 2) FEBRUARY 1968
A change is gonna come | author = Charlie Gillett | section = | previous = ../Notes on..."