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The World of SOUL PRICE: $1 25 BillboardTheSOUL WorldPRICE: of $1 25 Documenting the impact of Blues and R&Bupon ourmusical culture The Great Sound of Soul isonATLANTIC *Aretha Franklin *WilsonPickett Sledge *1°e16::::rifters* Percy *Young Rascals Estherc Phillipsi * Barbara.44Lewis Wi gal Sow B * rBotr ho*ethrserSE:t BUM S010111011 Henry(Dial) Clarence"Frogman" Sweet Inspirations * Benny Latimore (Dade) Ste tti L lBriglit *Pa JuniorWells he Bhiebelles aBel F M 1841 Broadway,ATLANTIC The Great Sound of Soul isonATCO Conley Arthur *KingCurtis * Jimmy Hughes (Fame) *BellE Mg DeOniaCkS" MaryWells capitols The pat FreemanlFamel DonVarner (SouthCamp) *Darrell Banks *Dee DeeSharp (SouthCamp) * AlJohnson * Percy Wiggins *-Clarence Carter(Fame) ATCONew York, N.Y. 10023 THE BLUES: A Document in Depth THIS,the first annual issue of The World of Soul, is the initial step by Billboard to document in depth the blues and its many derivatives. Blues, as a musical form, has had and continues to have a profound effect on the entire music industry, both in the United States and abroad. Blues constitute a rich cultural entity in its pure form; but its influence goes far beyond this-for itis the bedrock of jazz, the basis of much of folk and country music and it is closely akin to gospel. But finally and most importantly, blues and its derivatives- and the concept of soul-are major factors in today's pop music. In fact, it is no exaggeration to state flatly that blues, a truly American idiom, is the most pervasive element in American music COVER PHOTO today. Ray Charles symbolizes the World Therefore we have embarked on this study of blues. Of neces- of Soul. Much of his singing and recordingrepresentsafusionof sity,it must be a continuing study, for so vast a field cannot be blues and gospel influences; and he completed in one publication. But we have sketched -in the chief has gone far beyond these individual fields to bring his soulful interpreta- historical outlines and the current applications of blues; andwe will tions to the fields of pop, country probe further in additional issues. music and jazz. By Paul Ackerman WORLD OF SOUL The Blues: A Definition 6 Freed's. Contribution to R&B Growth 48 100 Years of the Blues 10 Wright Beat, Strong Storyline 50 Billy Holiday and the Blues 12 Whitey Makes the R&B Scene 52 The Best Ears in the Business 14 Blues Is High Class Now 54 Atlantic Helped Pave The Way 16 Nashville's R&B Sound 54 Dave Dexter Remembers When 18 Home of the Blues 54 Chess and the Blues: From the Streets to the Studios 20 Old Bluesmen Never Die-They Just Play Away 56 In the Words of Willie Dixon 21 Stormy Monday Man 58 The LC. Brought The Blues to Chicago 22 B/uesway Is Where It's At 60 America's Most Important Song Form 24 C/P Comes On Strong in R&B 60 It Takes More Than Just a Jug of Booze 26 No Credibility Gap 62 Young Pros Explore the Blues Path 28 Scepter in the R&B Groove 64 Jim Stewart: The Voice From Soulsville 30 Decca's R&B Resurgence 66 The Live R&B Scene 32 Gershwin, Arlen and the Blues 68 The Nightclub Scene 34 Soul From Cincy 70 Robey's Faith Pays Off 36 Luhinsky Treads the Gospel Path 70 R&B Popularity Hits New Peak 38 Mother Lode in the Archives 7/ Soul Searching in the South 40 The South, A Different Frame of Mind 72 Les Francais Aiment Le Blues 42 A Book Shelf of the Blues 72 Britons Dig the Blues 46 Ruth Bowen Reflects 73 Work Less, Enjoy More 46 Cream of the Blues Catalog .74 Schoefibaunt Views The Blues 48 R&B Discography 83 Subscription rates payable in advance. One year, $20 inU.S. A. Published by (except Alaska, Hawaii and PuertoRico) and Canada, or $45 The Billboard Publishing Company by airmail.Ratesinother foreigncountries on request.Sub- 2160 Patterson St., Cincinnati, 0. 45214 scribers when requesting change of address should give old as Billboard Tel.: Area Code 513, 3816450 well as new address. Published weekly. Second-class postage paid at New York, N. W., and at additional mailing offices.Copy- right1967 by The BillboardPublishing Company. Postmaster, PUBLISHER: Hal B. Cook, New York Office please send Form3579to Billboard,2160Patterson St., EDITORIAL OFFICE:165 W. 46thSt., New York,N.Y. 10036. Area Code 212,PL 7-2800 Cincinnati,Ohio 45214. Cable: BILLBOARD NEWYORK 46114° 19 EDITOR IN CHIEF:Lee Zhito wig Vol. 79 No. 23 EXECUTIVE EDITORS:PaulAckerman, Ray Brack, Aaron Sternfield 1,4'PA ABP 11" 4 Billboard World of Soul Ti( fikiewa ,rettied MOTOWN TAM LA GORDY SOUL VIP S., As Presented by America's Most Popular Recording and Performing Artists THE SUPREMES THE FOUR TOPS THE TEMPTATIONS MARTHA & THE VANDELIAS MARVIN GAYE SMOKEY ROBINSON & THE MIRACLES STEVIE WONDER JR. WALKER & THE ALL STARS THE MARVELETTES JIMMY RUFFIN BILLY ECKSFINE BARBARA McNAIR THE ISLEY BROTHERS CHRIS CLERK BRENDA HOLLOWAY THE COUNTOURS THE SPINPERS GLADYS KNIGHT & THE ri:S EARL VAN DYKE TAMMI TERRELL THE MONITORS THE ELMS THE VELVELETTES ItvilOTOWNI RECORD CORPORATION THE BLUES:A Definition By Arnold Shaw Sometime during 1917-1918, the late Frank Walker, Despite the contrasting and even conflicting opinions a pioneer of blues and hillbilly recording, heard Bessie there are large areas of agreement,if not as to essence, Smith in a Selma, Ala., honky-tonk. "She was just a kid atleast as to substance. No one questions that jazz is of 17. maybe 18," Walker laterrecalled. "ButInever an offspring of the blues and thereis no disagreement heard anything like the torture and torment she put into aboutthestructure,thetonality,and theracialand the music of her people. It was the blues and she meant musical sources of what Richard Wright has descrihed as it." Walker added: "It was all a matter of feeling with "a form of exuberantly melancholy folk song." But be- her.It was inside. Not that there was any repression. It cause there is an unclear view of the sociology, resuiting all came out in her singing." from an inadequately defined historical perspective, the SinceWalker'soverpoweringencounterwiththe aesthetics of the blues are sometimes misunderstood. Empress of the Blues, hundreds of scholars, critics and By 1900, the blues had developed into a definitely blues people themselves have sought todefine thees- stylized form. Although there are traditional blues that sence of the blues. Most go with Walker in emphasizing are not in the 12 -bar form, T -Bone Walker's emphasis is the extreme emotionalism. "When we singblues,"singer - accepted view ofstructure. The Tin Pan Alley song writer Alberta Hunter has said,"we're singin' out our traditionally is a 32 -bar form, structured into four 8 -bar hearts, we're singin' out our feelings." But Miss Hunter, units whose set-upis AABA. Show songs tend to add who wrote the words of one of the great blues standards, many variants but especially one that may be described "Down Hearted Blues," strikes an additional note: "To as an ABAB structure, in which the units may he viewed me, the blues are-well, almost religious. They're like a as 16 -bar units. The 12 -bar form of the blues is divided chant. The blues are like spirituals, almost sacred." intothree units of four bars each and a chord line, To the Father of the Blues, W. C. Handy, the blues following the three basic chords of the diatonic system are the music of deprivation as well as a race. "Like the (I, IV. V), is strictly adhered to (see illustration, next page) spirituals," he has said, "the blues began with the Negro. Over thissimple chordline,to which instrumentalists itinvolves our history, where we came from and what have intime added 9th's,11 th's andI 3th's. thousands we experienced. The blues came from the man farthest of blues melodies have been evolved. The characteristic down. The blues came from nothingness, from want, soundofthebluesis,ofcourse,theresultofthe from desire." flatting of two notes (the 3d and the 7th) of the major Combining the views of Hunter and Handy, T -Bone scale.Itis believed that Negroes added the flatted notes Walker, a Texas singer popular in the late '40's, stresses because the scales they brought with them from Africa the importance of form: "You've got to live the blues, werepentatonicratherthanseven -notedandbecause and with us that's natural-it's born in us tolive the theflatted notes achieved atonalitythat brought the blues. It takes a bluesy feeling and the old 12 bars." European tempered scaleclosertothe African.Since Displeased with Dan Grissom's rendering of "I'm Gonna flatted melody notes are played against the non -flatted Move on the Outskirts of Town," T -Bone observes: "Gris- note in the bass or chord (E flat sounding discordantly som sings sweet but the blues aren't sweet." Expressing against E), a large degree of tensionisinherentinthe adiametricallyopposite view, Frank Walkersaidof music. Bessie Smith's later days: "There was bitternessin her The three units into which the 12 bars are arranged and, you know, the blues aren't bitter." form an A/A/B structure. This description applies to the "The blues is more than a form of folk song." Paul lyrics even more than to the rhyme scheme. In tradi- Oliver writes in his book "The Meaning of the Blues." tional blues, the initial line or statement (A) is repeated "Though the blues may frequently be associated with a (A) and explained, resolved, or commented upon in B: state of depression, of lethargy or despair, it is not solely a physical or a mental state.Itisnot solely the en- durance of suffering or a declaration of hopelessness; nor is it solely a means of ridding oneself of a mood.
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