Publisher's Synopsis
*Includes pictures *Includes the artists' quotes about their lives and careers *Includes online resources and a bibliography for further reading *Includes a table of contents If Sam Cooke, one of the greatest African-American soul singers in the genre's history, had been Irish, he might have kept company with the likes of the great balladeer and classical tenor John McCormack. If he had been born Italian, he might have starred in the refined, lyrical Mozart opera roles usually reserved for those with an extreme musical sensitivity. Such was the level of excellence in Cooke's inner understanding of his own voice, which was capable of exquisite classical precision and a finesse in phrasing that lay far beyond the norm. He could have prospered and attained greatness in any genre of his choice, but considering the timing of the American audience, and his African-American heritage, Sam Cooke instead pioneered a new genre and became its greatest practitioner by blending black musical traditions that incorporated all the refinement and beauty of European classical genres yet still spoke from the heart of his rural American roots. To some, the Stax Records model may have lagged behind Motown in terms of modernity, with its adherence to older musical and technological modes, but in actuality, Otis Redding and his musical circle represented a preservation movement of sorts, and "exemplified to many listeners the power of Southern 'deep soul' - hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads." Such was the perfect conduit for an artist like Otis Redding, who felt compelled by the lifelong urge to sing, years before his dreams of a professional life would ever be realized. And, as the edifice of soul broke further into sub-styles, Redding seemed able to succeed in every one of them. Among the many stars gathered by Berry Gordy's Motown Records during the latter half of the 20th century, one of the most famous and successful was Marvin Gaye, even though the rigidity of the studio's operating procedures constantly collided with his capacity for stubbornness and insistence that he be given the independence to pursue his own artistic vision. Of course, it's easy to see it from both sides; despite the ceaseless thread of masterpieces emerging from Motown studio artists (many of them performed and recorded by Gaye), it might also be said in his defense that as part of the record company's mission statement, Motown operated in a state of near artistic lockdown where creative input by the artist was concerned. A certain inevitability characterizes the rise to fame of Aretha Franklin. Indeed, while it is true that neither of her parents were pop singers, they were each talented vocalists-Aretha's father, C.L., was a particularly famous preacher, with a voice so melodic that his sermons effectively doubled as musical performances. Moreover, in an age in which economic opportunities were particularly limited for African-Americans, Aretha was fortunate enough to grow up in a household of relative comfort. Not only was she exposed to music on a daily basis in her household, but her father was a savvy enough businessman to orchestrate her career during its nascent stages, helping her navigate the challenges of entering the music industry. To be certain, in many respects, Aretha Franklin was from an early age the beneficiary of opportunities that are simply unavailable to most aspiring vocalists. Among the most innovative and independent artists to come out of Motown in the latter half of the 20th century, along with colleagues Marvin Gaye, Isaac Hayes, and Michael Jackson, Stevie Wonder was said by many to possess three distinct obstacles to fulfillment in the music industry. He was poor, and worse, he was black and blind. Wonder, however, refused to shrink from or acknowledge any of these realities as barriers, asserting that he had not been in any way disadvantaged.
