Soul by Taichi Kozaki

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RAY CHARLES

JAMES BROWN

ETTA JAMES

OTIS REDDING

CURTIS MAYFIELD

ARETHA FRANKLIN

AMY WINEHOUSE

GLOSSARY

Ray Char

GEORGIA ON MY MIND September 1930–June 2004

Ray Charles was the musician most respon-

Deaf and the Blind. His parents had died by

sible for developing soul music. Singers like

his early teens, and he worked as a musician

Sam Cooke and Jackie Wilson also did a great

in Florida for a while before using his savings to

deal to pioneer the form, but Charles did even

move to Seattle in 1947. By the late ’40s, he was

more to devise a new form of black pop by

recording in a smooth pop/R&B style derivative

merging ’50s R&B with gospel-powered vocals,

of Nat “King” Cole and Charles Brown. He got

adding plenty of flavor from contemporary jazz,

his first Top Ten R&B hit with “Baby, Let Me

blues, and (in the ’60s) country. Then there

Hold Your Hand” in 1951. Charles’ first record-

was his singing; his style was among the most

ings came in for their fair share of criticism, as

emotional and easily identifiable of any 20th

they were much milder and less original than

century performer, up there with the likes of

the classics that would follow, although they’re

Elvis and Billie Holiday. He was also a superb

actually fairly enjoyable, showing strong hints

keyboard player, arranger, and bandleader.

of the skills that were to flower in a few years.

The brilliance of his 1950s and ’60s work, however, can’t obscure the fact that he made few

In the early ’50s, Charles’ sound started to

classic tracks after the mid-’60s, though he

toughen as he toured with Lowell Fulson, went

recorded often and performed until the year

to New Orleans to work with Guitar Slim (play-

before his death.

ing piano on and arranging Slim’s huge R&B hit, “The Things That I Used to Do”), and got a

Blind since the age of six (from glaucoma),

band together for R&B star Ruth Brown. It was

Charles studied composition and learned many

at Atlantic Records that Ray Charles truly found

instruments at the St. Augustine School for the

his voice, consolidating the gains of recent years

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RAY CHARLES

rles

and then some with “I Got a Woman,” a num-

charts with the “I Can’t Stop Loving You” sin-

ber-two R&B hit in 1955. This is the song most

gle, and making a hugely popular album (in an

frequently singled out as his pivotal perfor-

era in which R&B/soul LPs rarely scored high

mance, on which Charles first truly let go with

on the charts) with Modern Sounds in Country

his unmistakable gospel-ish moan, backed by

and Western Music. Perhaps it shouldn’t have

a tight, bouncy horn-driven arrangement.

been so surprising; Charles had always been eclectic, recording quite a bit of straight jazz at

Throughout the ’50s, Charles ran off a series

Atlantic, with noted jazz musicians like David

of R&B hits that, although they weren’t called

“Fathead” Newman and Milt Jackson.

RAY CHARLES

“soul” at the time, did a lot to pave the way for soul by presenting a form of R&B that was

Charles remained extremely popular through

sophisticated without sacrificing any emoti-

the mid-’60s, scoring big hits like “Busted,”

onal grit. “This Little Girl of Mine,” “Drown in

“You Are My Sunshine,” “Take These Chains

My Own Tears,” “Hallelujah I Love Her So,”

From My Heart,” and “Crying Time,” although

“Lonely Avenue,” and “The Right Time” were

his momentum was slowed by a 1965 bust for

all big hits. But Charles didn’t really capture

heroin. This led to a year-long absence from

the pop audience until “What’d I Say,” which

performing, but he picked up where he left off

caught the fervor of the church with its plead-

with “Let’s Go Get Stoned” in 1966. Yet by this

ing vocals, as well as the spirit of rock & roll

time Charles was focusing increasingly less on

with its classic electric piano line. It was his

rock and soul, in favor of pop tunes, often with

first Top Ten pop hit, and one of his final Atlantic

string arrangements, that seemed aimed more

singles, as he left the label at the end of the

at the easy listening audience than anyone else.

’50s for ABC.

Charles’ influence on the rock mainstream was as apparent as ever; Joe Cocker and Steve

One of the chief attractions of the ABC deal for

Winwood in particular owe a great deal of their

Charles was a much greater degree of artistic

style to him, and echoes of his phrasing can

control of his recordings. He put it to good use

be heard more subtly in the work of greats

on early-’60s hits like “Unchain My Heart” and

like Van Morrison.

“Hit the Road Jack,” which solidified his pop stardom with only a modicum of polish attached to the R&B he had perfected at Atlantic. In 1962, he surprised the pop world by turning his attention to country & western music, topping the

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Georgia on My Mind Georgia, Georgia, The whole day through Just an old sweet song Keeps Georgia on my mind Iâ&#x20AC;&#x2122;m say Georgia Georgia A song of you Comes as sweet and clear As moonlight through the pines Other arms reach out to me Still in peaceful dreams I see The road leads back to you I said Georgia, Ooh Georgia, no peace I find Just an old sweet song Keeps Georgia on my mind Other arms reach out to me Other eyes smile tenderly Still in peaceful dreams I see The road leads back to you Georgia, Georgia, No peace, no peace I find Just this old, sweet song Keeps Georgia on my mind I said just an old sweet song, Keeps Georgia on my mind

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RAY CHARLES

Other eyes smile tenderly

IT’S A MAN’S WORLD May 1933–December 2006

’60s and early ’70s. After the mid-’70s, he did

of Soul,” “the Hardest Working Man in Show

little more than tread water artistically; his

Business,” “Mr. Dynamite”—those are mighty

financial and drug problems eventually got him

titles, but no one can question that James

a controversial prison sentence. Yet in a sense,

Brown earned them more than any other

his music is now more influential than ever, as

performer. Other singers were more popular,

his voice and rhythms have been sampled on

others were equally skilled, but few other

innumerable hip-hop recordings, and critics

African-American musicians were so influen-

have belatedly hailed his innovations as among

tial over the course of popular music. And no

the most important in all of rock or soul.

other musician, pop or otherwise, put on a more exciting, exhilarating stage show: Brown’s

Brown’s rags-to-riches-to-rags story has heroic

performances were marvels of athletic stamina

and tragic dimensions of mythic resonance.

and split-second timing.

Born into poverty in the South, he ran afoul of the law by the late ’40s on an armed robbery

Through the gospel-impassioned fury of his

conviction. With the help of singer Bobby

vocals and the complex polyrhythms of his

Byrd’s family, Brown gained parole and started

beats, Brown was a crucial midwife in not just

a gospel group with Byrd, changing their focus

one, but two revolutions in black American

to R&B as the rock revolution gained steam.

music. He was one of the figures most respon-

The Flames, as the Georgian group was known

sible for turning R&B into soul and he was,

in the mid-’50s, signed to Federal/King and

most would agree, the figure most responsible

had a huge R&B hit right off the bat with the

for turning soul music into the funk of the late

wrenching, churchy ballad “Please, Please,

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JAMES NAME BROWN NAME

“Soul Brother Number One,” “the Godfather

Please.” By that point, the Flames had become

at the Apollo in 1963. Capturing a James Brown

James Brown & the Famous Flames; the cha-

concert in all its whirling-dervish energy and cal-

risma, energy, and talent of Brown made him

culated spontaneity, the album reached number

the natural star attraction.

two on the album charts, an unprecedented feat for a hardcore R&B LP.

JAMES BROWN

All of Brown’s singles over the next two years flopped, as he sought to establish his own style,

Live at the Apollo was recorded and released

recording material that was obviously derivative

against the wishes of the King label. It was this

of heroes like Roy Brown, Hank Ballard, Little

kind of artistic standoff that led Brown to seek

Richard, and Ray Charles. In retrospect, it can

better opportunities elsewhere. In 1964, he igno-

be seen that Brown was in the same position as

red his King contract to record “Out of Sight” for

dozens of other R&B one-shot: talented sing-

Smash, igniting a lengthy legal battle that prev-

ers in need of better songs, or not fully on the

ented him from issuing vocal recordings for about

road to a truly original sound. What made Brown

a year. When he finally resumed recording for

succeed where hundreds of others failed was his

King in 1965, he had a new contract that granted

superhuman determination, working the chitlin

him far more artistic control over his releases.

circuit to death, sharpening his band, and keeping an eye on new trends. He was on the verge

Brown’s new era had truly begun, however, with

of being dropped from King in late 1958 when

“Out of Sight,” which topped the R&B charts and

his perseverance finally paid off, as “Try Me”

made the pop Top 40. For some time, Brown

became a number one R&B (and small pop)

had been moving toward more elemental lyrics

hit, and several follow-ups established him as

that threw in as many chants and screams as

a regular visitor to the R&B charts.

they did words, and more intricate beats and horn charts that took some of their cues from

Brown’s style of R&B got harder as the ’60s

the ensemble work of jazz outfits. “Out of Sight”

began; he added more complex, Latin- and

wasn’t called funk when it came out, but it had

jazz-influenced rhythms on hits like “Good Good

most of the essential ingredients. These were

Lovin’,” “I’ll Go Crazy,” “Think” and “Night

amplified and perfected on 1965’s “Papa’s Got

Train,” alternating these with torturous ballads

a Brand New Bag,” a monster that finally broke

that featured some of the most frayed screaming

Brown to the white audience, reaching the Top

to be heard outside of the church. Black audi-

Ten. The even more adventurous follow-up, “I

ences already knew that Brown had the most

Got You (I Feel Good),” did even better, making

exciting live act around, but he truly started to

number three.

become a phenomenon with the release of Live

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It’s A Man’s Man’s Man’s World This is a man’s world, this is a man’s world But it wouldn’t be nothing, nothing without a woman or a girl You see, man made the cars to take us over the road Man made the trains to carry heavy loads Man made the boat for the water, like Noah made the ark This is a man’s, a man’s, a man’s world But it wouldn’t be nothing, nothing without a woman or a girl Man thinks about a little baby girls and a baby boys Man makes then happy ’cause man makes them toys And after man has made everything, everything he can You know that man makes money to buy from other man This is a man’s world But it wouldn’t be nothing, nothing without a woman or a girl He’s lost in the wilderness He’s lost in bitterness

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JAMES BROWN

Man made electric light to take us out of the dark

AT LAST

January 1938–January 2012

Professor James Earle Hines. She moved to

on the monumental level that Etta James has

San Francisco in 1950, soon teaming with two

and remain on earth to talk about it. The lady’s

other girls to form a singing group. When she

no shrinking violet; her autobiography, Rage to

was 14, bandleader Johnny Otis gave the trio

Survive, describes her past (including numer-

an audition. He particularly dug their answer

ous drug addictions) in sordid detail.

song to Hank Ballard and the Midnighters’ “Work With Me Annie.”

But her personal problems have seldom affected her singing. James has hung in there from

Against her mother’s wishes, the young singer

the age of R&B and doo-wop in the mid-’50s

embarked for L.A. to record “Roll With Me

through soul’s late-’60s heyday and right up

Henry” with the Otis band and vocalist Richard

into the ’90s and 2000s (where her 1994 disc

Berry in 1954 for Modern Records. Otis inverted

Mystery Lady paid loving jazz-based tribute to

her first name to devise her stage-handle and

one of her idols, Billie Holiday). Etta James’

dubbed her vocal group the Peaches (also Etta’s

voice has deepened over the years, coarsened

nickname). “Roll With Me Henry,” renamed

more than a little, but still conveys remarkable

“The Wallflower” when some radio program-

passion and pain.

mers objected to the original title’s connotations, topped the R&B charts in 1955.

Jamesetta Hawkins was a child gospel prodigy, singing in her Los Angeles Baptist

The Peaches dropped from the tree shortly

church choir (and over the radio) when she

thereafter, but Etta James kept on singing for

was only five years old under the tutelage of

Modern throughout much of the decade (often

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ETTA JAMES

Few R&B singers have endured tragic travails

under the supervision of saxist Maxwell Davis).

Leonard Chess, Etta James remained at the

“Good Rockin’ Daddy” also did quite well for

label into 1975, experimenting toward the end

her later in 1955, but deserving follow-ups such

with a more rock-based approach.

as “W-O-M-A-N” and “Tough Lover” (the latter a torrid rocker cut in New Orleans with Lee

There were some mighty lean years, both per-

Allen on sax) failed to catch on.

sonally and professionally, for Miss Peaches.

ETTA JAMES

But she got back on track recording-wise in James landed at Chicago’s Chess Records

1988 with a set for Island, Seven Year Itch, that

in 1960, signing with their Argo subsidiary.

reaffirmed her Southern soul mastery. Her fol-

Immediately, her recording career kicked into

lowing albums have been a varied lot—1990’s

high gear; not only did a pair of duets with her

Sticking to My Guns was contemporary in the

then-boyfriend (Moonglows lead singer Harvey

extreme; 1992’s Jerry Wexler-produced The

Fuqua) chart, her own sides (beginning with

Right Time, for Elektra, was slickly soulful, and

the tortured ballad “All I Could Do Was Cry”)

her most other ’90s outings have explored jazz

chased each other up the R&B lists as well.

directions. In 1998, she also issued a holiday

Leonard Chess viewed James as a classy bal

album, Etta James Christmas. She was induc-

lad singer with pop crossover potential, back-

ted into the Blues Hall of Fame in 2001, and

ing her with lush violin orchestrations for 1961’s

in 2003 received a Grammy Lifetime Achieve-

luscious “At Last” and “Trust in Me.” But James’

ment Award. That year also saw the release of

rougher side wasn’t forsaken—the gospel-

her Let’s Roll album, followed in 2004 by a CD

charged “Something’s Got a Hold on Me” in

of new blues performances, Blues to the Bone,

1962, a kinetic 1963 live LP (Etta James Rocks

both on RCA Records. James then shifted gears

the House) cut at Nashville’s New Era Club,

and released an album of pop standards, All

and a blues-soaked 1966 duet with childhood

the Way, on RCA in 2006.

pal Sugar Pie De Santo, “In the Basement,” ensured that.

In concert, Etta James is a sassy, no-holdsbarred performer whose suggestive stage

Although Chess hosted its own killer house

antics sometimes border on the obscene.

band, James traveled to Rick Hall’s Fame stu-

She’s paid her dues many times over as an

dios in Muscle Shoals in 1967 and emerged with

R&B and soul pioneer; long may she continue

one of her all-time classics. “Tell Mama” was a

to shock the uninitiated.

searing slice of upbeat Southern soul that contrasted markedly with another standout from the same sessions, the spine-chilling ballad “I’d Rather Go Blind.” Despite the death of

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At Last At last My love has come along My lonely days are over And life is like a song Oh yeah yeah

The skies above are blue My heart was wrapped up in clover The night I looked at you I found a dream, that I could speak to A dream that I can call my own I found a thrill to press my cheek to A thrill that I have never known Oh yeah yeah You smiled, you smiled Oh and then the spell was cast And here we are in heaven For you are mineâ&#x20AC;Ś At Last

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ETTA JAMES

At last

Otis Redding

I’VE BEEN LOVING YOU TOO LONG September 1941–December 1963

Richard-styled shouter. The Georgian was

the 1960s, Otis Redding exemplified to many

working in the band of guitarist Johnny Jenkins

listeners the power of Southern “deep soul”—

at the time, and in 1962 he took advantage

hoarse, gritty vocals, brassy arrangements, and

of an opportunity to record the ballad “These

an emotional way with both party tunes and

Arms of Mine” at a Jenkins session. When it

aching ballads. He was also the most consis-

became an R&B hit, Redding’s solo career was

tent exponent of the Stax sound, cutting his

truly on its way, though the hits didn’t really

records at the Memphis label/studios that

start to fly until 1965 and 1966, when “Mr.

did much to update R&B into modern soul.

Pitiful,” “I’ve Been Loving You Too Long,” “I

His death at the age of 26 was tragic not just

Can’t Turn You Loose,” a cover of the Rolling

because he seemed on the verge of breaking

Stones’ “Satisfaction,” and “Respect” (later

through to a wide pop audience (which he

turned into a huge pop smash by Aretha

would indeed do with his posthumous number

Franklin) were all big sellers.

one single “The Dock of the Bay”). It was also unfortunate because, as “Dock of the Bay”

Redding wrote much of his own material,

demonstrated, he was also at a point of artistic

sometimes with the assistance of Booker

breakthrough in terms of the expression and

T. & the MG’s guitarist Steve Cropper. Yet

sophistication of his songwriting and singing.

at the time, Redding’s success was primarily confined to the soul market; his singles

Although Redding at his peak was viewed as

charted only mildly on the pop listings. He was

a consummate, versatile showman, he began

nonetheless tremendously respected by many

his recording career in the early ’60s as a Little

white groups, particularly the Rolling Stones,

Hierarchy Decide what to emphasize. Which elements will receive the most emphasis? Which one or two messages do you want to get attention? Play up these elements. Everything else is secondary to those pieces of information. Use white space to bring the elements closer together or to isolate the elements and draw attention to them.

OTIS REDDING

One of the most influential soul singers of

OTIS REDDING

who covered Redding’s “That’s How Strong My Love Is” and “Pain in My Heart.” (He also returned the favor with “Satisfaction.”)

Redding, however, had perished in a plane crash in Wisconsin on December 10, 1967, in an accident that also took the lives of four

One of Redding’s biggest hits was a duet

members from his backup band, the Bar-Kays.

with fellow Stax star Carla Thomas, “Tramp,”

A few other singles became posthumous hits,

in 1967. That was the same year he began

and a good amount of other un-released mate-

to show signs of making major inroads into

rial was issued in the wake of his death. These

the white audience, particularly with a well-

releases were not purely exploitative in nature,

received performance at the Monterey Pop

in fact containing some pretty interesting music,

Festival (also issued on record). Redding’s

and little that could be considered embarass-

biggest triumph, however, came just days

ing. What Redding might have achieved, or

before his death, when he recorded the wist-

what directions he might have explored, are

ful “(Sittin’ On) The Dock of the Bay,” which

among the countless tantalizing “what if” ques-

represented a significant leap as far as exami-

tions in rock & roll history. As it is, he did record

nation of more intensely personal emotions.

a considerable wealth of music at Stax, which is

Also highlighted by crisp Cropper guitar leads

now available on thoughtfully archived reissues.

and dignified horns, it rose to the top of the pop charts in early 1968.

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80%. This changes the stroke weight and feel of the font. Select a typeface with small caps as a family.

Bad example: ABCDEFG

I’ve Been Loving You Too Long I’ve been loving you too long to stop now There were time and you want to be free My love is growing stronger, as you become a habit to me Oh I’ve been loving you a little too long I don’t wanna stop now, oh With you my life, Has been so wonderful I can’t stop now

My love is growing stronger as our affair grows old I’ve been loving you a little too long, long, I don’t want to stop now oh, oh, oh I’ve been loving you a little bit too long I don’t wanna stop now No, no, no Don’t make me stop now No baby I’m down on my knees Please, don’t make me stop now I love you, I love you, I love you with all of my heart And I can’t stop now Don’t make me stop now Please, please don’t make me stop now Good god almighty I love you I love you, I love you, I love you I love you, I love you I love you in so many different ways… I love you in so many different ways…

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OTIS REDDING

There were times and your love is growing cold

PEOPLE GET READY June 1942–December 1999

of Chicago soul, penning material and working

pop audience as heavily as Motown’s stars, it

on sessions by notable Windy City soulsters

may be that the scope of Curtis Mayfield’s tal-

like Gene Chandler, Jerry Butler, Major Lance,

ents and contributions have yet to be fully rec-

and Billy Butler. In this sense, he can be com-

ognized. Judged merely by his records alone,

pared to Smokey Robinson, who also managed

the man’s legacy is enormous. As the leader

to find time to write and produce many classics

of the Impressions, he recorded some of the

for other soul stars. Mayfield was also an excel-

finest soul vocal group music of the 1960s. As

lent guitarist, and his rolling, Latin-influenced

a solo artist in the 1970s, he helped pioneer

lines were highlights of the Impressions’ record-

funk and helped introduce hard-hitting urban

ings in the ’60s. During the next decade, he

commentary into soul music. “Gypsy Woman,”

would toughen up his guitar work and produc-

“It’s All Right,” “People Get Ready,” “Freddie’s

tion, incorporating some of the best features of

Dead,” and “Superfly” are merely the most

psychedelic rock and funk.

famous of his many hit records. Mayfield began his career as an associate But Curtis Mayfield wasn’t just a singer. He

of Jerry Butler, with whom he formed the

wrote most of his material at a time when that

Impressions in the late ’50s. After they had a

was not the norm for soul performers. He was

big hit in 1958 with “For Your Precious Love,”

among the first—if not the very first—to speak

Butler, who had sung lead on the record, split

openly about African-American pride and com-

to start a solo career. Mayfield, while keeping

munity struggle in his compositions. As a song-

the Impressions together, continued to write for

writer and a producer, he was a key architect

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CURTIS MAYFIELD

Perhaps because he didn’t cross over to the

and tour with Butler before the Impressions got

described in penetrating detail. Yet Mayfield’s

their first Top 20 hit in 1961, “Gypsy Woman.”

irrepressible falsetto vocals, uplifting melodies, and fabulous funk pop arrangements gave the

Mayfield was heavily steeped in gospel music

oft-moralizing material a graceful strength that

before he entered the pop arena, and gospel,

few others could have achieved. For all the glory

as well as Doo-wop, influences would figure

of his past work, Superfly stands as his crown-

prominently in most of his ’60s work. Mayfield

ing achievement, not to mention a much-needed

wasn’t a staunch traditionalist, however. He and

counterpoint to the sensationalistic portrayals

the Impressions may have often worked the

of the film itself.

CURTIS MAYFIELD

call-and-response gospel style, but his songs (romantic and otherwise) were often veiled or

At this point Mayfield, along with Stevie Wonder

unveiled messages of black pride, reflecting the

and Marvin Gaye, was the foremost exponent

increased confidence and self-determination

of a new level of compelling auteurism in soul.

of the African-American community. Musically

His failure to maintain the standards of Superfly

he was an innovator as well, using arrange-

qualifies as one of the great disappointments

ments that employed the punchy, blaring horns

in the history of black popular music. Perhaps

and Latin-influenced rhythms that came to be

he had simply reached his peak after a long

trademark flourishes of Chicago soul. As the

climb, but the rest of his ’70s work did not match

staff producer for the OKeh label, Mayfield was

the musical brilliance and lyrical subtleties of

also instrumental in lending his talents to the

Superfly, although he had a few large R&B hits

work of other Chi-town soul singers who went

in a much more conventional vein, such as

on to national success. With Mayfield singing

“Kung Fu,” “So in Love,” and “Only You Babe.”

lead and playing guitar, the Impressions had 14 Top 40 hits in the 1960s (five made the Top 20

Mayfield had a couple of hits in the early ’80s,

in 1964 alone), and released some above-aver-

but the decade generally found his commerc-

age albums during that period as well.

ial fortunes in a steady downward spiral, despite

Given Mayfield’s prodigious talents, it was per-

he became paralyzed from the neck down when

haps inevitable that he would eventually leave

a lighting rig fell on top of him at a concert in

the Impressions to begin a solo career, as he

Brooklyn, NY. In the mid-’90s, a couple of tri-

did in 1970. His first few singles boasted a

bute albums consisting of Mayfield covers app-

harder, more funk-driven sound; singles like

eared, with contributions by such superstars

“(Don’t Worry) If There’s a Hell Below, We’re

as Eric Clapton, Bruce Springsteen, and Gladys

All Gonna Go” found him con-fronting ghetto

Knight. Though no substitute for the man him-

life with a realism that had rarely been heard

self, these tributes served as an indication of

on record. He really didn’t hit his artistic or com-

the enormous regard in which Mayfield was

mercial stride as a solo artist, though, until

still held by his peers.

some intermittent albums. On August 14, 1990,

Superfly, his soundtrack to a 1972 blaxploitation film. Drug deals, ghetto shootings, the death of young black men before their time: all were

Rules of Hyphenation Do not rely on the software to judge where hyphens should be placed. At the end of lines, leave at least two characters behind and take at least three forward. Avoid leaving the stub end of a hyphenated word or any word shorter than four letters as the last line of a paragraph.

People Get Ready

People get ready There’s a train a comin’ You don’t need no baggage You just get on board All you need is faith To hear the diesels hummin’ You don’t need no ticket You just thank the lord So people get ready There’s a train to Jordan Picking up passengers Faith is the key Open the doors and board them There’s hope for all Among those loved the most There ain’t no room For the hopeless sinner Whom would hurt all mankind Just to save his own Have pity on those whose Chances grow thinner For there is no hiding place Against the kingdom’s throne People get ready There’s a train a comin’ You don’t need no baggage You just get on board All You need is faith To hear the diesels hummin’ You don’t need no ticket You just thank the lord

Word Spacing Should Be Fairly Close Text meant for extended reading, the amount of space between words in a paragraph, should be fairly close. To aid legibility, keep the spaces between words not only fairly thin, by also consistent and even.

CURTIS MAYFIELD

Coast to coast

Aretha Frankli

RESPECT March 1942–

the 1950s. In fact, she made her first record-

music, and indeed of American pop as a

ings as a gospel artist at the age of 14. It has

whole. More than any other performer, she

also been reported that Motown was interes-

epitomized soul at its most gospel-charged.

ted in signing Aretha back in the days when

Her astonishing run of late-’60s hits with

it was a tiny start-up. Ultimately, however,

Atlantic Records—“Respect,” “I Never Loved

Franklin ended up with Columbia, to which

a Man,” “Chain of Fools,” “Baby I Love You,”

she was signed by the renowned talent scout

“I Say a Little Prayer,” “Think,” “The House

John Hammond.

That Jack Built,” and several others—earned her the title “Lady Soul,” which she has worn

Franklin would record for Columbia constantly

uncontested ever since. Yet as much of an

throughout the first half of the ’60s, notching

international institution as she’s become,

occasional R&B hits (and one Top 40 single,

much of her work—outside of her recordings

“Rock-a-bye Your Baby With a Dixie Melody”)

for Atlantic in the late ’60s and early ’70s—is

but never truly breaking out as a star. The

erratic and only fitfully inspired, making discre-

Columbia period continues to generate consi-

tion a necessity when collecting her records.

derable controversy among critics, many of whom feel that Aretha’s true aspirations were

Franklin’s roots in gospel ran extremely deep.

being blunted by pop-oriented material and

With her sisters Carolyn and Erma (both of

production. In fact, there’s a reasonable amo-

whom would also have recording careers),

unt of fine items to be found on the Columbia

she sang at the Detroit church of her father,

sides, including the occasional song (“Lee

Reverend C.L. Franklin, while growing up in

Cross,” “Soulville”) where she belts out soul

Decrease Line Length and Increase Margins Line length is the measure of text on one line. Any measure between 45 and 75 characters is comfortable for single column widths. For multiple columns, a measure between 40 to 50 characters is ideal.

ARETHA FRANKLIN

Aretha Franklin is one of the giants of soul

with real gusto. It’s undeniably true, though,

confidence and pride of African-Americans in

that her work at Columbia was considerably

the decade of the civil rights movements and

tamer than what was to follow, and suffered in

other triumphs for the black community. The

general from a lack of direction and an appar-

chart statistics are impressive in and of them-

ent emphasis on trying to develop her as an

selves: ten Top Ten hits in a roughly 18-month

all-around entertainer, rather than as an R&B

span between early 1967 and late 1968, for

or soul singer.

instance, and a steady stream of solid mid- to

ARETHA FRANKLIN

large-size hits for the next five years after that. When Franklin left Columbia for Atlantic, pro-

Her Atlantic albums were also huge sellers, and

ducer Jerry Wexler was determined to bring

far more consistent artistically than those of

out her most soulful, fiery traits. As part of

most soul stars of the era. Franklin was able

that plan, he had her record her first single,

to maintain creative momentum, in part, bec-

“I Never Loved a Man (The Way I Love You),”

ause of her eclectic choice of material, which

at Muscle Shoals in Alabama with esteemed

encompassed first-class originals and gospel,

Southern R&B musicians. In fact, that was to

blues, pop, and rock covers, from the Beatles

be her only session actually at Muscle Shoals,

and Simon & Garfunkel to Sam Cooke and the

but much of the remainder of her ’60s work

Drifters. She was also a fine, forceful, and some-

would be recorded with the Muscle Shoals

what underrated keyboardist.

Sound Rhythm Section, although the sessions would actually take place in New York City. The

Franklin’s commercial and artistic success was

combination was one of those magic instances

unabated in the early ’70s, during which she

of musical alchemy in pop: the backup musici-

landed more huge hits with “Spanish Harlem,”

ans provided a much grittier, soulful, and R&B-

“Bridge Over Troubled Water,” and “Day Dream-

based accompaniment for Aretha’s voice, which

ing.” She also produced two of her most res-

soared with a passion and intensity suggesting

pected, and earthiest, album releases with Live

a spirit that had been allowed to fly loose for

at Fillmore West and Amazing Grace. The latter,

the first time.

a 1972 double LP, was a reinvestigation of her gospel roots, recorded with James Cleveland

In the late ’60s, Franklin became one of the

and the Southern California Community Choir.

biggest international recording stars in all of

Remarkably, it made the Top Ten, counting

pop. Many also saw Franklin as a symbol of

as one of the greatest gospel-pop crossover

black America itself, reflecting the increased

smashes of all time.

Increase Line Spacing to Improve Readability in Body Text Line spacing or leading refers to the space between lines of text. It is important for the purpose of readability and appearance. As a rule of thumb, allow leading that equals 120% of point size. For sans serif you may need 135%.

Respect What you want. Baby, I got. What you need. Do you know I’ve got it. All I’m askin’ is for a little respect when you come home Hey baby when you get home, mister I ain’t gonna do you wrong while you’re gone Ain’t gonna do you wrong ‘cause I don’t want to All I’m askin’ is for a little respect when you come home Baby when you get home I’m about to give you all of my money And all I’m askin’ in return, honey is to give me my profits When you get home Yeah baby

And guess what so is my money All I want you to do for me Is give it to me when you get home, Yeah baby Whip it to me when you get home, now R-E-S-P-E-C-T Find out what it means to me R-E-S-P-E-C-T Take care, TCB Oh A little respect Whoa, babe A little respect I get tired Keep on tryin’ You’re runnin’ out of foolin’ And I ain’t lyin’ (Re, re, re, re) ’spect When you come home Or you might walk in and find out I’m gone I got to have a little respect

Legibility of Fonts Sans serif typefaces are often less legible than serif fonts. In the western world, we learn to recognize shapes as opposed to words and the serifs help link the shapes making it easier to read. Sans serif typefaces work well for headlines and to set text that is aligned to vertical/horizontal lines.

ARETHA FRANKLIN

Ooh, your kisses sweeter than honey

TEARS DRY ON THEIR OWN September 1983–July 2011

surrounded by jazz. Many of the uncles on her

one of the U.K.’s flagship vocalists during the

mother’s side were professional jazz musicians,

2000s. The British press and tabloids seemed

and even her paternal grandmother was roman-

to focus on her rowdy behavior and heavy con-

tically involved with British jazz legend Ronnie

sumption of alcohol, but fans and critics alike

Scott at one time. While at home, she listened

embraced her rugged charm, brash sense of

to and absorbed her parents’ selection of greats:

humor, and distinctively soulful and jazzy vocals.

Dinah Washington, Ella Fitzgerald, and Frank

Her platinum-selling breakthrough album, Frank

Sinatra among others. However, in her teens,

(2003), elicited comparisons ranging from Billie

she was drawn to the rebellious spirit of TLC,

Holiday and Sarah Vaughan to Macy Gray and

Salt-N-Pepa, and other American R&B and

Lauryn Hill. Interestingly enough, despite her

hip-hop acts of the time.

strong cockney accent and vernacular, one can often hear aspects of each of those singers’

At the age of 16, after she had been expelled

vocal repertoire in Winehouse’s own voice.

from London’s Sylvia Young Theatre School,

Nonetheless, her allure has been her song-

she caught her first break when pop singer

writing—almost always deeply personal, but

Tyler James, a schoolmate and close friend,

best known for its profanity and brutal candor.

passed on her demo tape to his A&R, who was searching for a jazz vocalist. That oppor-

Born to a taxi-driving father and pharmacist

tunity led to her recording contract with Island

mother, Winehouse grew up in the Southgate

Records. By the end of 2003, when she was

area of northern London. Her upbringing was

20 years old, Island had released her debut

Use Old Style Figures When Appropriate Old Style Figures can be found in various fonts. If non-lining numerals are not available use a slightly smaller point size for the lining numbers. Think of lining numbers as uppercase numbers and non-lining numbers as lowercase numbers.

AMY WINEHOUSE

Much can be said about Amy Winehouse,

album, “Frank.” With contributions from

of various songs—not to mention covers by

hip-hop producer/keyboardist Salaam Remi,

Prince and the Arctic Monkeys.

AMY WINEHOUSE

Winehouse’s amalgam of jazz, pop, soul, and hip-hop received rave reviews. The album was

One month after Winehouse won Best Female

nominated for the 2004 Mercury Music Prize

Artist at the Brit Awards in February 2007,

as well as two Brit awards, and its lead single,

Universal released Back to Black in the U.S.

“Stronger Than Me,” won an Ivor Novello

The LP charted higher than any other American

Award for Best Contemporary Song.

debut by a British female recording artist before it, and it remained in the Top Ten for several

Following Winehouse’s debut, the accolades

months, selling a million copies by the end of

and inquiring interviews appeared concurrently

that summer. Just as in the U.K., she became

in the press with her tempestuous public life.

the talk of the town, landing on the covers of

Several times she showed up to her club or TV

Rolling Stone and Spin magazines. Not long

performances too drunk to sing a whole set. In

afterward, though, Winehouse canceled her

2006, her management company finally sug-

North American tour. Early reports revealed

gested that she enter rehab for alcohol abuse,

that she was entering rehab for alcohol and

but instead, she dumped the company and

drug addiction, but her new management

transcribed the ordeal into the U.K. Top Ten

denied the claims, stating it was due to severe

hit “Rehab,” the lead single for her second,

exhaustion. Her erratic behavior kept her and

critically acclaimed album, “Back to Black.”

her new husband, Blake Fielder-Civil, cons-

Containing evocative productions from Salaam

tantly in the tabloids and on and off stages

Remi and British DJ/multi-instrumentalist Mark

on both sides of the Atlantic, but in late 2007

Ronson, the album somewhat abandoned jazz,

American fans were finally given a chance to

delving into the sounds of ’50s/’60s-era girl

hear Winehouse’s early work, with a slightly

group harmonies, rock & roll, and soul. The

abbreviated (two songs removed and one

fanfare over the release was so great that it

added) version of Frank.

started to spill over onto U.S. shores; several rappers and DJs made their own remixes

Ideal Column Width For single-column pages, 4.25 inches is ideal. For two column width, columns can be as narrow as 2 inches. Turning on the hyphenation feature can improve word spacing. Indents In continuous text, mark all paragraphs after the first with an indent of at least one “em” (3 spaces.) In this case Paragraphs are indicated by extra line space.

Tears Dry on Their Own All I can ever be to you

I shouldn’t play myself again

Is a darkness that we knew

I should just be my own best friend

And this regret I’ve got accustomed to

Not fuck myself in the head with stupid men

Once it was so right He walks away

Waiting for you in the hotel at night

The sun goes down

I knew I hadn’t met my match

He takes the day but I’m grown

But every moment we could snatch

And in your way, in this blue shade

I don’t know why I got so attached

My tears dry on their own

It’s my responsibility And you don’t owe nothing to me

So we are history

But to walk away I have no capacity

Your shadow covers me The sky above ablaze

He walks away The sun goes down

I wish I could say no regrets

He takes the day but I’m grown

And no emotional debts

And in your way, in this blue shade

Cause as we kiss goodbye the sun sets

My tears dry on their own

So we are history The shadow covers me

I don’t understand

The sky above ablaze that lonely lovers see

Why do I stress A man When there’s so many bigger things at hand

He walks away

We could a never had it all

The sun goes down

We had to hit a wall

He takes the day but I’m grown

So this is inevitable withdrawal

And in your way

Even if I stop wanting you

In this deep shade

A Perspective pushes true

My tears dry

I’ll be some next man’s other woman soon

Use Bold Text Properly Use bold text sparingly. Bold text stands out in body text, it is better used in headlines, captions, logos, drop caps, or other special type treatments.

AMY WINEHOUSE

When we were at our high

GLOSSARY Insert Only a Single Space

Add Letterspacing to Capitalized

Use Copyright, Register and

After All Punctuation

Text and Small Caps

Trademark Marks Properly

Inserting two spaces after a period was com-

Letterspacing is the amount of space between

mon when typing on a typewriter. Monospace

characters in the word. Some software pro-

(™) characters need to be reduced to work

typefaces were designed to occupy the same

grams call letterspacing tracking. Use positive

with body text. At times, depending on the

amount of space no matter the width of the

number values to open up the letterspacing for

typeface, you may need to reduce the mark

character. Therefore, two spaces were needed

capitalized text and small caps to about 2 or 3.

between 50% and 70%. The goal is to try to

to identify the end of the sentence and the

beginning of another sentence. With the intro-

Use Old Style Figures When Appropriate

70% of the surrounding text. Again, trying

duction of the Mac and digital type, characters

Old Style Figures, also known as non-lining

to set the size of the symbol remain on the

are designed proportionally which allows for

figures, do not line up on the baseline as do

baseline . ™ and ® are normally set higher

the correct practice of using one space after

regular or lining numerals. Old Style Figures

than other marks. If you choose to superscript

all punctuation.

can be found in various fonts. If the body text

®, If you choose the superscript ®, reduce it to

has a significant amount of numbers, research

60% of the size.

Use Proper “Em” Dashes,

a font family where they are included for

“En” Dashes and Hyphens

easier reading. If non-lining numerals are not

Option + G = ©

An “em” is a unit of measure equal to the

available use a slightly smaller point size for

Option + 2 = ™

point size that you are using. An “em” dash is

the lining numbers. Think of lining numbers as

Option + R = ®

a type of punctuation used to offset clauses

uppercase numbers and non-lining numbers

in a sentence or to indicate an abrupt change

as lowercase numbers.

GLOSSARY

in thought. An “en” dash is equal to half the

Avoid Underlined Text Back in the typewriter days, underlining was the

length of an “em” dash. “en” dashes are used

Use Caps Properly

only way to draw attention to the text. Now, with

to denote duration. You may kern small spaces

Very rarely use all capital letters. With the

digital type and their larger families, you have

before and after “en” and “em” dashes if you

options given by type families such as bold,

the options of using bolds, italics, or obliques.

feel it is too tight.

larger point sizes, etc.; you will seldom need to use all caps to draw attention to your text.

Increase Line Spacing to Improve

Shift+Option+Hyphen = — (em)

When type is set in all caps, readers have to

Readability in Body Text

Option + Hyphen = – (en)

read each individual letter rather than recogniz-

Line spacing or leading refers to the space

ing groups of letters. This slows the reader and

between lines of text. It is important for the

Use Proper Quote and Apostrophe Marks

the amount of information they are retrieving.

purpose of readability and appearance.

Use true quotation marks apostrophes instead

Also, not all typefaces are readable when set

Leading is measured from baseline to baseline.

of using inch marks and feet marks (“”‘’are cor-

in all caps. This is especially true about script

As a rule of thumb, allow leading that equals

rect. "' are incorrect.) Place all punctuations,

typefaces and the decorative typefaces. Short

120% of point size. For sans serif you may

except colons and semi-colons, inside the

headlines may be one exception to this rule.

need 135%. Leading should be increased

quotation marks. To access quotation marks

proportionally as line length increases. When

on the Mac, hold down the option key + [ for

Use Bold Text Properly

setting headlines, negative or solid leading may

the opening quote and shift + option + [ for the

Use bold text sparingly. Bold text stands out in

be appropriate. Solid leading means that the

closing quotation mark. To access the apos-

body text, Bold text is better used in headlines,

leading equals the point size.

trophe/single opening quote (‘), type option + ]

captions, logos, drop caps, or other special type

and to access the reversed apostrophe/single

treatments. Usually italics or obliques are a more

Ideal Column Width

closing quote (’), type shift + option + ].

subtle way to separate text from the rest of the

For single-column pages, 4.25 inches is ideal.

body without drawing too much attention.

For two column width, columns can be as nar-

Use True Small Caps

row as 2 inches. Turning on the hyphenation

When setting text that contains acronyms,

Ellipsis Character

select a typeface with small caps as a family.

Use the ellipsis character and not the three

Selecting small caps for the style menus is a

periods. You can access the ellipsis charac-

Kerning in Headlines

poor choice because the computer reduces

ter by typing option + : (colon.) Allow a small

Adjust the space between two particular letters

the overall size of the type by 80%. This

amount of space before and after. If the ellipsis

to allow for more consistent negative space.

changes the stroke weight and feel of the font.

character doesn’t seem to be crowding the

Expert sets in the Adobe type Library have

text, leave no space at all.

small caps options.

feature can improve word spacing.

Body Text Size

Word Spacing Should Be Fairly Close

Rules of Hyphenation

You can probably set body text to a point size

Text meant for extended reading, the amount

Do not rely on the software to judge where

smaller than your original choice. Body text is

of space between words in a paragraph, should

hyphens should be placed. At the end of

usually set from 9 –11 points, depending upon

be fairly close—about the width of a lowercase

lines, leave at least two characters behind

x-height. When you print text, it is usually larger

“i.” If the word spacing is too close, it appears

and take at least three forward. For example,

than what it looked like on the screen. So, print

as one giant word and legibility is hampered.

“ele-gantly” is acceptable, but “elegant-ly” is

out your text before finalizing your layout. Type

To aid legibility, keep the spaces between words

not because it takes too little of the word to

studies will help you determine the proper size

not only fairly thin, by also consistent and even.

the next line. Avoid leaving the stub end of a

before you proceed with your layout.

hyphenated word or any word shorter than four letters as the last line of a paragraph. Avoid

Altering Fonts

Justification can be appropriate in certain

more than three consecutive hyphenated lines.

Don’t alter the widths, weight, or shapes of the

places. However, justification can create cer-

Avoid hyphenating or breaking proper names

characters. Type design is an art. Each char-

tain problems such as rivers and word spacing.

and titles. Creating a non-breaking space (shift

acter has been carefully designed taking into

Some solutions may work but, they need to fit

+ return) before and after the name will ensure

consideration the width, weight, and the shape

into whatever guidelines the design of the page

that the name will not break.

of each character (stress, stroke and serif.)

is requiring. Adjusting the size of your margins,

Graphic software allows us to destroy/alter the

decreasing the size of your text, turning on

Always, Always Spell Check

original design. Inexperienced designers use

auto-hyphenate and manually hyphenating the

Once the design is complete, spell check all of

this option to “force” type to fit. Select type-

text are all examples of solutions. Again, if the

the text. This is done two ways and both must

faces with large families if you need to flexibility

guidelines of the design requires 2 margins and

be used. First, in most software programs,

in widths and weights.

none of the other solutions work, then change

there is spell check available. Use it. Second,

the text into a different alignment.

print the document and read through the text.

Legibility of Fonts

The monitor and design of the document will

Sans serif typefaces are often less legible

Choose the Alignment That

make text look perfect when in actuality, it may

than serif fonts. In the western world, we learn

Best Suits the Text

not be. Even if it is text given to you by a client,

to recognize shapes as opposed to words

Make sure that the alignment chosen for all

spell heck it. Never assume that it is correct.

and the serifs help link the shapes making it

areas of text is easier to read and easier to set.

Keep a dictionary nearby and use it.

easier to read. Sans serif typefaces work well

Justified text is more difficult to set without

for headlines and to set text that is aligned

the inevitable word spacing problems. Right-

Avoid Widows and Orphans

to vertical/horizontal lines. Certain sans serif

aligned and centered are generally not used for

Widows are either single words alone on a

typefaces which are not very geometrical work

body text due to hampered legibility.

line or single sentences alone on a new page.

well for body text such as Gill Sans, Optima and Goudy Sans.

Orphans are single lines of copy alone at the Avoid Beginning Three Consecutive Lines

end of a page.

With the Same Word Decrease Line Length and Increase Margins

Since software programs deal with line breaks

Line length is the measure of text on one line.

automatically based upon a number of vari-

Items in a series do not use a comma before

Any measure between 45 and 75 characters

ables, it is possible to have paragraphs with

the word “and.”

is comfortable for single column widths.

consecutive lines beginning with the same

The ideal measure for body text length is 66

word. When this happens simply adjust the text

Indents

characters (counting both letters, punctuation

to avoid the problem.

In continuous text, mark all paragraphs

and spaces.) For multiple columns, a measure between 40 to 50 characters is ideal.

after the first with an indent of at least one Hierarchy Decide what to emphasize. Which elements will

Avoid Letterspacing Lowercase Body Text

receive the most emphasis? Which one or two

As a rule, don’t add letterspacing in body

messages do you want to get attention? Play up

text. It hampers legibility. These formatting

these elements. Everything else is secondary to

instances should only be applied when work-

those pieces of information. Use white space to

ing with all caps, small caps, numbers and

bring the elements closer together or to isolate

display text where looser type spacing may

the elements and draw attention to them.

increase legibility.

Items in a Series

“em” (3 spaces.)

GLOSSARY

Justification of Text