Hot Soul: 1970s (Continued)
Labelle
Having discussed and presented examples of soul songs influenced by funk or disco, one may wonder what remains that is true soul. To answer this, we must again identify music characteristics and performance practices during the 1960s. Take a moment to review lesson 20 and then return to this lesson. Without a doubt, a focus on the voice is the most salient performance characteristic in 1960s soul music. In the previous table, the instrumental accompaniment plays a significant role in the song, including lengthy introductions, volume nearly the same as the singer, and various sounds and riffs that draw the listener to a distinct rhythmic groove. However, the songs below all fit more squarely in the 1960s soul style. This is because the lead singer and background singers are preeminent (in all listed songs); there exists some semblance of vocal improvisation and gospel vocal performance (as in "Lady Marmalade," "Let's Do It Again," "This Will Be-An Everlasting Love," and "Something He Can Feel"); and you can hear a more produced presentation (as in many Motown recordings).
- " Lady Marmalade" (1974) by LaBelle
- " Then Came You" (1974) by Dionne Warrick and The Spinners
- " Sideshow" (1974) by Blue Magic
- " This Will Be (An Everlasting Love)" (1975) by Natalie Cole
- " Let's Do It Again" (1975) by The Staple Singers
- " L-O-V-E (Love)" (1975) by Al Green
- " Love Won't Let Me Wait," (1975) by Major Harris
- " Something He Can Feel" (1976) by Aretha Franklin
- " You Don't Have To Be A Star (To Be in My Show)" (1976) by Marilyn McCoo and Billy Davis, Jr.
- " Kiss and Say Goodbye" (1976) by The Manhattans
- " Close the Door" (1978) by Teddy Pendergrass
- " Too Much, Too Little, Too Late" (1978) by Johnny Mathis and Deniece Williams
- " Reunited" (1979) by Peaches & Herb
While the aforementioned 1960s-influenced soul songs inherited the key characteristics of soul music, much of 1970s soul was evolving to something altogether different. First, instrumental accompaniments included a greater variety of sounds and effects than before, as exemplified in the introduction to "Wake Up Everybody" (feat. Teddy Pendergrass) (1976) by Harold Melvin & The Blue Notes, " I Want You " (1976) by Marvin Gaye, and "The Closer I Get To You" (1978) by Roberta Flack and Donny Hathaway. Second, the soloist and the background singers share the vocal presentation in a corroborative manner, such as in " Devotion " (1974) by Earth, Wind & Fire. Third, songs feature Latin rhythms, interesting chromatic background harmony as in Stevie Wonder's "Don't You Worry 'Bout A Thing " (1974). Fourth, songs use broader lyrical themes, fast tempos, and African-type grooves with powerful percussion instruments, such as in " The Bottle" (1977) by Gil Scott-Heron.
