View source for Soul music

{{short description|Genre of music}}

{{about|the genre of music|other uses|Soul music (disambiguation)}}
{{Use American English|date=February 2024}}
{{Use mdy dates|date=January 2020}}
{{Infobox music genre
| name              = Soul
| image             = Ray Charles (1967).png
| caption           = [[Ray Charles]], one of soul music's pioneers and most influential artists, in 1967.
| stylistic_origins = {{hlist|[[Rhythm and blues]]|[[Gospel music|gospel]]}}
| cultural_origins  = Late 1950s – early 1960s, U.S.
| derivatives       = {{hlist|[[Funk]]|[[contemporary R&B]]|[[disco]]|[[post-disco]]}}
| subgenres         = {{hlist|[[Cinematic soul]]|[[Latin soul]]|[[Motown (music style)|Motown sound]]|[[neo soul]]|[[retro-soul]]|[[quiet storm]]}}
| fusiongenres      = {{hlist|[[Hip-hop soul]]|[[nu jazz]]|[[pop soul]]|[[psychedelic soul]]|[[progressive soul]]|[[soul blues]]|[[soul jazz]]|[[smooth soul]]|[[swamp rock]]<ref>{{cite web |url=https://www.liveabout.com/what-is-swamp-rock-2522008 |title=What Is Swamp Rock? A look at this Southern mix of country, funk, and soul |last=Fontenot |first=Robert  |date=February 24, 2019 |publisher=Liveabout |access-date=November 9, 2022}}</ref>}}
| regional_scenes   = {{hlist|[[British soul|United Kingdom]]|[[United States]]}}
| local_scenes      = {{hlist|[[Chicago soul|Chicago]]|[[Music of Detroit#R&B/Soul|Detroit]]|[[Memphis soul|Memphis]]|[[New York soul|New York City]]|[[New Orleans soul|New Orleans]]|[[Northern soul|Northern England]]|[[Philadelphia soul|Philadelphia]]|[[Southern soul|Southern United States]]|[[Brown-eyed soul|West Coast]]}}
| other_topics      = * [[Blue-eyed soul]]
* [[brown-eyed soul]]
* [[Minneapolis sound]]
* [[new jack swing]]
* [[rare groove]]
* [[slow jam]]
* [[urban contemporary music]]
* [[List of soul musicians]]
* [[African-American music]]
}}
{{Gospel music articles}}
'''Soul music''' is a [[popular music]] genre that originated in [[African-American culture|African American]] [[African-American neighborhood|communities]] throughout the United States in the late 1950s and early 1960s.<ref>[https://www.encyclopedia.com/media/encyclopedias-almanacs-transcripts-and-maps/soul-music "Soul Music"] - Encyclopedia.com.</ref> Catchy rhythms, stressed by handclaps and extemporaneous body movements, are an important hallmark of soul. Other characteristics are a [[Call and response (music)|call and response]] between the lead and [[Backing vocalist|backing vocalists]],  an especially tense vocal sound, and occasional [[Musical improvisation|improvisational]] additions, twirls, and auxiliary sounds.<ref name="valter">{{Cite book |title=Popmuusikast |last=[[Valter Ojakäär]] |publisher=Eesti Raamat |year=1983}}</ref> Soul music is known for reflecting African American identity and stressing the importance of [[African-American culture|African American culture]].
  
Soul has its roots in African-American [[gospel music]] and [[rhythm and blues]],<ref>[https://www.britannica.com/art/soul-music "soul music"] - Encyclopædia Britannica.</ref> and primarily combines elements of gospel, [[R&B]] and [[jazz]].<ref>{{Cite web |last=Paese |first=Meagan |title=Soul Music {{!}} The History of Rock and Roll Radio Show |url=https://thehistoryofrockandroll.net/soul-music/ |access-date=2022-12-05 |language=en-US}}</ref>  The genre emerged from the power struggle to increase black Americans' awareness of their African ancestry, as a newfound consciousness led to the creation of music that boasted pride in being black.<ref>{{cite journal |last1=Maultsby |first1=Portia K. |date=September 1983 |title=Soul Music: Its Sociological and Political Significance in American Popular Culture |journal=The Journal of Popular Culture |volume=17 |issue=2 |pages=51–60 |doi=10.1111/j.0022-3840.1983.1702_51.x |id={{ProQuest|1297350556}}}}</ref><ref>{{Cite book |last=Szatmary |first=David P. |title=[[Rockin' in Time]] |publisher=Pearson |year=2014 |location=New Jersey |pages=176}}</ref> Soul music became popular for dancing and listening, and American record labels such as [[Motown]], [[Atlantic Records|Atlantic]] and [[Stax Records|Stax]] were influential in its  proliferation during the [[Civil Rights Movement|civil rights movement]]. Soul also became popular worldwide, directly influencing [[rock music]] and the [[music of Africa]].<ref name="Mojapelo2008">{{Cite book |url=https://books.google.com/books?id=x-KW9f02oNMC&pg=PA1 |title=Beyond Memory: Recording the History, Moments and Memories of South African Music |last=Max Mojapelo |publisher=African Minds |year=2008 |isbn=978-1-920299-28-6 |pages=1– |access-date=September 11, 2013}}</ref> It had a resurgence in the mid-to late 1990s with the subgenre [[neo soul]],<ref>{{Cite magazine |last1=Cochrane |first1=Naima |date=2020-03-26 |title=2000: A Soul Odyssey |url=https://www.billboard.com/music/rb-hip-hop/neo-soul-2000-dangelo-erykah-badu-9343438/ |access-date=2022-11-02 |magazine=Billboard |language=en-US}}</ref> which incorporated modern production elements and [[hip-hop]] influences.

Soul music dominated the U.S. [[Hot R&B/Hip-Hop Songs|R&B charts]] in the 1960s, and many recordings crossed over into the pop charts in the United States, United Kingdom, and elsewhere. Many prominent soul artists, including [[Ray Charles]], [[Sam Cooke]], [[Otis Redding]], [[James Brown]], [[Aretha Franklin]], and various acts under the Motown label, such as [[the Supremes]] and [[the Temptations]], were highly influential in the genre's development and all gained widespread popularity during this time.<ref>{{Cite web |title=Soul music {{!}} Definition, Songs, Artists, & Facts {{!}} Britannica |url=https://www.britannica.com/art/soul-music |access-date=2022-12-05 |website=www.britannica.com |language=en}}</ref> By 1968, the soul music genre had begun to splinter. Some soul artists moved to [[funk]] music, while other singers and groups developed slicker, more sophisticated, and in some cases more socially conscious varieties.<ref name="bbc" /> By the early 1970s, soul music had begun to absorb influences from [[psychedelic rock]] and [[progressive rock]], among other genres, leading to the creation of [[psychedelic soul]] and [[progressive soul]]. Prominent soul artists of this era include [[Marvin Gaye]], [[Jackson 5]], [[Stevie Wonder]], [[Curtis Mayfield]], [[Isaac Hayes]], [[Al Green]], and [[Bill Withers]]. [[Neo soul]], which adopted hip-hop influences, developed around 1994. 

Other subgenres of soul include the "[[Motown#Motown sound|Motown sound]]", a more rhythmic and [[pop music|pop]]-friendly style that originated from the eponymous label; [[Southern soul]], a driving, energetic variety combining R&B with southern gospel music influences;<ref>{{Cite web |date=2022-06-13 |title=Digging Into the Classic Soul of Stax Records |url=https://daily.bandcamp.com/lists/stax-records-bandcamp-guide |access-date=2024-05-06 |website=Bandcamp Daily}}</ref> [[Memphis soul]], a shimmering, sultry style; [[New Orleans soul]], which emerged from the rhythm and blues style; [[Chicago soul]], a lighter gospel-influenced sound; and [[Philadelphia soul]], a lush [[orchestral]] variety with [[doo-wop]]-inspired vocals.

== History ==
=== Origins ===
[[File:Ray_Charles_classic_piano_pose.jpg|thumb|left|upright|[[Ray Charles]] pioneered the soul music genre during the 1950s by combining blues, rhythm and blues, and gospel styles.]]

Soul music has its roots in [[Traditional black gospel|traditional African-American gospel music]] and [[rhythm and blues]] and as the hybridization of their respective religious and secular styles – in both lyrical content and instrumentation – that began in the 1950s. The term "soul" had been used among African-American musicians to emphasize the feeling of being an African-American in the United States.<ref>Szatmary, David P. (2014). Rockin' in Time. New Jersey: Pearson. p. 177.</ref>  According to musicologist [[Barry Hansen]],<ref name="hansen">Barry Hansen, ''Rhythm and Gospel'', in Jim Miller (ed.), ''The Rolling Stone Illustrated History of Rock & Roll'', 1976, pp. 15–18.</ref><blockquote>Though this hybrid produced a clutch of hits in the R&B market in the early 1950s, only the most adventurous white fans felt its impact at the time; the rest had to wait for the coming of soul music in the 1960s to feel the rush of [[rock and roll]] sung gospel-style.</blockquote>

[[File:JamesBrown.jpg|thumb|upright|[[James Brown]] was known as the "Godfather of Soul".<ref name="Maycock">{{Cite web |url=http://www.pbs.org/wnet/americanmasters/james-brown-soul-survivor/532/ |title=James Brown: Soul Survivor |last=Maycock |first=James |date=October 29, 2003 |publisher=PBS |access-date=April 1, 2014}}</ref>]]

According to [[AllMusic]], "Soul music was the result of the urbanization and commercialization of rhythm and blues in the '60s."<ref name="allmusic">[http://www.allmusic.com/subgenre/soul-ma0000002865 ''About Soul'', AllMusic]. Retrieved July 11, 2013</ref> The phrase "soul music" itself, referring to gospel-style music with secular lyrics, was first attested in 1961.<ref>{{Cite web |url=http://www.etymonline.com/index.php?term=soul |title=Online Etymology Dictionary |website=Etymonline.com}}</ref> The term "soul" in African-American parlance has connotations of African-American pride and culture. [[Gospel music|Gospel]] groups in the 1940s and '50s occasionally used the term as part of their names. The [[jazz]] style that originated from gospel became known as [[soul jazz]]. As singers and arrangers began using techniques from both gospel and soul jazz in African-American popular music during the 1960s, soul music gradually functioned as an umbrella term for African-American popular music at the time.<ref name="grove">{{Cite book |title=The New Grove Dictionary of Music and Musicians |year=2001 |volume=23 |location=London |chapter=Soul music}}</ref><ref>[http://www.allmusic.com/artist/little-richard-p4765 Richie Unterberger, "Little Richard – Artist Biography"], AllMusic</ref>

[[File:Sam_Cooke_1961.jpg|thumb|left|upright|[[Sam Cooke]] is regarded as one of soul music's "forefathers".]]

According to the Acoustic Music Organization, the "first clear evidence of soul music shows up with [[the "5" Royales]], an ex-gospel group that turned to R&B and in [[Faye Adams]], whose "Shake A Hand" becomes an R&B standard".<ref>{{Cite web|url=https://acousticmusic.org/research/history/timeline-of-musical-styles-guitar-history/|title=Timeline of Musical Styles & Guitar History|website=Acousticmusic.org|accessdate=February 25, 2021}}</ref>

Important innovators whose recordings in the 1950s contributed to the emergence of soul music included [[Clyde McPhatter]], [[Hank Ballard]], and [[Etta James]].<ref name=hansen/> [[Ray Charles]] is often cited as popularizing the soul music genre with his series of hits, starting with 1954's "[[I Got a Woman]]".<ref name="pc15">{{Pop Chronicles |15 || Ray Charles}}</ref> Singer [[Bobby Womack]] said, "Ray was the genius. He turned the world onto soul music."<ref name="bbc">[https://www.bbc.co.uk/music/static/p/episodes.pdf BBC Music, Episode guides to ''Soul Deep – The Story Of Black Popular Music'', 2007]. Retrieved July 12, 2013.</ref> Charles was open in acknowledging the influence of [[Pilgrim Travelers]] vocalist Jesse Whitaker on his singing style.

[[Little Richard]], who inspired [[Otis Redding]],<ref name="white">White, Charles. (2003), p. 229. ''The Life and Times of Little Richard: The Authorised Biography.'' Omnibus Press.</ref> and [[James Brown]] both were equally influential. Brown was nicknamed the "Godfather of Soul Music",<ref name="Maycock" /> and Richard proclaimed himself as the "King of Rockin' and Rollin', Rhythm and Blues Soulin{{'"}}, because his music embodied elements of all three, and since he inspired artists in all three genres.<ref>Frederick Douglass Opie, ''Hog and Hominy: Soul Food from Africa to America'' (Columbia University Press, 2008), chapter 7.</ref>

[[Sam Cooke]] and [[Jackie Wilson]] also are often acknowledged as soul forefathers.<ref name="bbc" /><ref name="pc17">{{Gilliland |show=17 |https://digital.library.unt.edu/ark:/67531/metadc19767/m1/ |Show 17 – The Soul Reformation: More on the evolution of rhythm and blues. [Part 3]}}</ref> Cooke became popular as the lead singer of the gospel group [[the Soul Stirrers]], before controversially moving into secular music. His recording of "[[You Send Me]]" in 1957 launched a successful [[pop music]] career. Furthermore, his 1962 recording of "[[Bring It On Home to Me]]" has been described as "perhaps the first record to define the soul experience".<ref>Joe McEwen, ''Sam Cooke'', in Jim Miller (ed.), ''The Rolling Stone Illustrated History of Rock & Roll'', 1976, pp. 113–116.</ref> Jackie Wilson, a contemporary of both Cooke and James Brown, also achieved [[crossover (music)|crossover]] success, especially with his 1957 hit "[[Reet Petite]]".<ref>{{Cite web |date=2023-08-09 |title=James Brown {{!}} Biography, Songs, Movies, & Facts {{!}} Britannica |url=https://www.britannica.com/biography/James-Brown-American-singer |access-date=2023-09-26 |website=www.britannica.com |language=en}}</ref> He even was particularly influential for his dramatic delivery and performances.<ref>Joe McEwen, ''Jackie Wilson'', in Jim Miller (ed.), ''The Rolling Stone Illustrated History of Rock & Roll'', 1976, pp. 117–119.</ref>

=== 1960s ===
[[File:Solomon Burke.jpg|thumb|[[Solomon Burke]] recorded for [[Atlantic Records]] in the 1960s.]]
Husband-wife duo [[Ike & Tina Turner]] emerged as "leading exponents" of soul music in the 1960s.<ref name=":0">{{Cite journal |date=February 25, 1961 |title=Album Reviews - Popular Picks of the Week |url=https://www.americanradiohistory.com/Archive-Cash-Box/60s/1961/CB-1961-02-25.pdf |journal=Cash Box}}</ref><ref>{{Cite news |last=Peacock |first=Tom |date=1963-02-25 |title=Ike and Tina to Give with 'Soul Music' |pages=2 |work=The Province |url=https://www.newspapers.com/article/the-province-ike-and-tina-turner-at-blue/129810034/ |access-date=2023-10-22}}</ref> Their debut single "[[A Fool in Love]]" crossed over to the pop charts in 1960. They earned a [[Grammy Awards|Grammy]] nomination for their song "[[It's Gonna Work Out Fine]]" in 1962.<ref>{{Cite web |title=Ike & Tina Turner {{!}} Artist {{!}} GRAMMY.com |url=https://www.grammy.com/artists/ike-tina-turner/13017 |access-date=2023-10-22 |website=www.grammy.com}}</ref> Along with the [[Kings of Rhythm]] and [[the Ikettes]], they toured the [[Chitlin' Circuit|Chitlin’ Circuit]] as the Ike & Tina Turner Revue.<ref>{{Cite news |last=Jeffries |first=Fran |title=Chitlin' Circuit: Black performers' soulful showcase during segregation |language=English |work=The Atlanta Journal-Constitution |url=https://www.ajc.com/news/national/chitlin-circuit-black-performers-soulful-showcase-during-segregation/srbp9fswLEa3tsiOe5Z54M/ |access-date=2023-10-22 |issn=1539-7459}}</ref>

Writer [[Peter Guralnick]] is among those to identify [[Solomon Burke]] as a key figure in the emergence of soul music, and [[Atlantic Records]] as the key [[record label]]. Burke's early 1960s songs, including "[[Cry to Me]]", "[[Just Out of Reach (of My Two Open Arms)]]" and "[[Down in the Valley (Solomon Burke song)|Down in the Valley]]" are considered classics of the genre. Guralnick wrote: <blockquote>Soul started, in a sense, with the 1961 success of Solomon Burke's "Just Out of Reach". Ray Charles, of course, had already enjoyed enormous success (also on Atlantic), as had James Brown and Sam Cooke — primarily in a pop vein.  Each of these singers, though, could be looked upon as an isolated phenomenon; it was only with the coming together of Burke and Atlantic Records that you could begin to see anything even resembling a movement.<ref name="Guralnick (soul)">Peter Guralnick, ''Soul'', in Jim Miller (ed.), ''The Rolling Stone Illustrated History of Rock & Roll'', 1976, pp. 206.</ref></blockquote>

[[File:Aretha Franklin on January 20, 2009.jpg|thumb|[[Aretha Franklin]] is widely known as the "[[Honorific nicknames in popular music|Queen of Soul]]".]]
[[Ben E. King]] also achieved success in 1961 with "[[Stand by Me (Ben E. King song)|Stand by Me]]", a song directly based on a gospel hymn.<ref name="bbc" /> By the mid-1960s, the initial successes of Burke, King, and others had been surpassed by new soul singers, including [[Stax Records|Stax]] artists such as [[Otis Redding]] and [[Wilson Pickett]], who mainly recorded in [[Memphis, Tennessee]], and [[Muscle Shoals, Alabama]].  According to [[Jon Landau]]:<blockquote>Between 1962 and 1964 Redding recorded a series of soul ballads characterized by unabashedly sentimental lyrics usually begging forgiveness or asking a girlfriend to come home... He soon became known as "Mr. Pitiful" and earned a reputation as the leading performer of soul ballads.<ref>Jon Landau, ''Otis Redding'', in Jim Miller (ed.), ''The Rolling Stone Illustrated History of Rock & Roll'', 1976, pp. 210–213.</ref></blockquote>

The most important female soul singer to emerge was [[Aretha Franklin]], originally a gospel singer who began to make secular recordings in 1960 but whose career was later revitalized by her recordings for Atlantic.  Her 1967 recordings, such as "[[I Never Loved a Man (The Way I Love You)]]", "[[Respect (song)|Respect]]" (written and originally recorded by Otis Redding), and "[[Do Right Woman, Do Right Man]]" (written by [[Chips Moman]] and [[Dan Penn]]), were significant and commercially successful recordings.<ref name="pc52">{{Gilliland|url=https://digital.library.unt.edu/ark:/67531/metadc19834/m1/|title=Show 52 – The Soul Reformation: Phase three, soul music at the summit. [Part 8]|show=52}}</ref><ref>{{Cite book |title=Top R&B/Hip-Hop Singles: 1942–2004 |last=Whitburn |first=Joel |publisher=Record Research |year=2004 |page=215 |author-link=Joel Whitburn}}</ref><ref>{{Cite book |title=I Never Loved a Man the Way I Loved You: Aretha Franklin, Respect, and the Making of a Soul Music Masterpiece |last=Dobkin |first=Matt |publisher=St. Martin's Press |year=2004 |isbn=0-312-31828-6 |location=New York |pages=[https://archive.org/details/ineverlovedmanwa0000dobk/page/7 7–8, 187–188] |url=https://archive.org/details/ineverlovedmanwa0000dobk/page/7 }}</ref>{{sfn|Rolling Stone 500 Songs|2010|p=112}}

Soul music dominated the U.S. African-American music charts in the 1960s, and many recordings crossed over into the pop charts in the U.S.  Otis Redding was a huge success at the [[Monterey International Pop Festival]] in 1967.<ref name="bbc" /> The genre also became highly popular in the UK, where many leading acts toured in the late 1960s. "Soul" became an umbrella term for an increasingly wide variety of R&B-based music styles – from the dance and pop-oriented acts at [[Motown Records]] in [[Detroit]], such as [[the Temptations]], [[Marvin Gaye]] and [[Stevie Wonder]], to "[[deep soul]]" performers such as [[Percy Sledge]] and [[James Carr (singer)|James Carr]].<ref name="Motown Museum">{{Cite web |url=https://www.motownmuseum.org/story/motown/ |title=Motown: The Sound that Changed America |website=Motown Museum |access-date=October 27, 2016}}</ref><ref name="Erlewine (Sledge)">{{Cite web |url=http://www.allmusic.com/artist/percy-sledge-mn0000838195/biography |title=Percy Sledge: Artist Biography |last=Erlewine |first=Stephen Thomas |website=AllMusic |access-date=October 27, 2016}}</ref><ref name="Huey (Carr)">{{Cite web |url=http://www.allmusic.com/artist/james-carr-mn0000107877/biography |title=James Carr: Artist Biography |last=Huey |first=Steve |website=AllMusic |access-date=October 27, 2016}}</ref> Different regions and cities within the U.S., including New York City, Detroit, Chicago, [[Memphis, Tennessee|Memphis]], [[New Orleans]], [[Philadelphia]], and Muscle Shoals, Alabama (the home of [[FAME Studios]] and [[Muscle Shoals Sound Studios]]) became noted for different subgenres of the music and recording styles.<ref name=allmusic/><ref name="Brown (Muscle Shoals)">{{Cite web |url=http://s.telegraph.co.uk/graphics/projects/muscle-shoals/index.html |title=Deep Soul |last=Brown |first=Mick |website=Telegraph |access-date=October 27, 2016}}</ref>

By 1968, while at its peak of popularity, soul began to fragment into different subgenres.  Artists such as James Brown and [[Sly and the Family Stone]] evolved into [[funk]] music, while other singers such as Marvin Gaye, Stevie Wonder, [[Curtis Mayfield]] and [[Al Green]] developed slicker, more sophisticated and in some cases more politically conscious varieties of the genre.<ref name="bbc" /> However, soul music continued to evolve, informing most subsequent forms of R&B from the 1970s-onward, with pockets of musicians continuing to perform in traditional soul style.<ref name=allmusic/>

=== 1970s and 1980s ===
[[File:Marvin Gaye (1973).png|thumb|left|[[Marvin Gaye]] shifted to a socially conscious sound with his 1971 hit "[[What's Going On (Marvin Gaye song)|What's Going On]]".]]
Mitchell's [[Hi Records]] continued in the [[Stax Records|Stax]] tradition of the previous decade, releasing a string of hits by Green, [[Ann Peebles]], [[Otis Clay]], [[O.&nbsp;V. Wright]] and [[Syl Johnson]].<ref name="Lisle (Mithcell)">{{Cite web |url=http://www.waxpoetics.com/blog/features/articles/hi-records-producer-willie-mitchell-set-tone-polished-memphis-soul/ |title=Hi Records producer Willie Mitchell set the tone for polished Memphis soul |last=Lisle |first=Andria |date=June 25, 2014 |website=Wax Poetics |access-date=October 25, 2016 |archive-date=October 25, 2016 |archive-url=https://web.archive.org/web/20161025111428/http://www.waxpoetics.com/blog/features/articles/hi-records-producer-willie-mitchell-set-tone-polished-memphis-soul/ |url-status=dead }}</ref> [[Bobby Womack]], who recorded with Chips Moman in the late 1960s, continued to produce soul recordings in the 1970s and 1980s.<ref name="Hurt (Womak/Moman)">{{Cite news |url=http://www.nashvillescene.com/music/article/13044490/chips-moman-the-cream-interview |title=Chips Moman: The Cream Interview |last=Hurt |first=Edd |date=August 17, 2012 |website=Nashville Scene |access-date=October 25, 2016}}</ref><ref name="Graceland (Womak/Moman)">{{Cite web |url=https://www.graceland.com/news/details/remembering-chips-moman/8070/ |title=Remembering Chips Moman |date=June 14, 2016 |website=Graceland: The Home od Elvis Presley |access-date=October 25, 2016 |archive-date=October 25, 2016 |archive-url=https://web.archive.org/web/20161025113025/https://www.graceland.com/news/details/remembering-chips-moman/8070/ |url-status=dead }}</ref>

In [[Detroit]], producer [[Don Davis (producer)|Don Davis]] worked with [[Stax Records|Stax]] artists such as [[Johnnie Taylor]] and [[the Dramatics]].<ref name="Hogan (Davis/AllMusic)">{{Cite web |url=http://www.allmusic.com/artist/don-davis-mn0000145319/biography |title=Don Davis: Artist Biography |last=Hogan |first=Ed |website=AllMusic |access-date=October 25, 2016}}</ref> Early 1970s recordings by [[the Detroit Emeralds]], such as ''[[Do Me Right (album)|Do Me Right]]'', are a link between soul and the later [[disco]] style.<ref name="Wynn (Detroit Emeralds/AllMusic)">{{Cite web |url=http://www.allmusic.com/artist/the-detroit-emeralds-mn0000244650/biography |title=The Detroit Emeralds |last=Wynn |first=Ron |website=AllMusic |access-date=October 25, 2016}}</ref> [[Motown Records]] artists such as [[Marvin Gaye]], [[Michael Jackson]], [[Stevie Wonder]] and [[Smokey Robinson]] contributed to the evolution of soul music, although their recordings were considered more in a [[pop music]] vein than those of Redding, Franklin and Carr.<ref name="Motown Museum" /> Although stylistically different from classic soul music, recordings by [[Chicago]]-based artists are often considered part of the genre.<ref name="AllMusic (Chicago soul)">{{Cite web |url=http://www.allmusic.com/style/chicago-soul-ma0000002509 |title=Chicago Soul |website=AllMusic |access-date=October 25, 2016}}</ref>

By the early 1970s, soul music had been influenced by [[psychedelic rock]] and other genres.<ref name="AllMusic (Psych. Soul)">{{Cite web |url=http://www.allmusic.com/style/psychedelic-soul-ma0000005025 |title=Psychedelic Soul |website=AllMusic |access-date=October 26, 2016}}</ref> Artists like [[James Brown (musician)|James Brown]] led soul towards [[funk]] music, which became typified by 1970s bands like [[Parliament-Funkadelic]] and [[the Meters]].<ref name="Erlewine (Meters)">{{Cite web |url=http://www.allmusic.com/artist/the-meters-mn0000402872/biography |title=The Meters:Artist Biography |last=Stephen Thomas Erlewine |first=Stephen Thomas Erlewine |website=AllMusic |access-date=October 27, 2016}}</ref> More versatile groups such as [[War (U.S. band)|War]], [[the Commodores]], and [[Earth, Wind and Fire]] became popular around this time.<ref name="Huey (War)">{{Cite web |url=http://www.allmusic.com/artist/war-mn0000191947/biography |title=War: Artist Biography |last=Huey |first=Steve |website=AllMusic |access-date=October 27, 2016}}</ref> During the 1970s, some slick and commercial [[blue-eyed soul]] acts like Philadelphia's [[Hall & Oates]] and Oakland's [[Tower of Power]] achieved mainstream success, as did a new generation of street-corner harmony or "city-soul" groups such as [[the Delfonics]] and the historically black [[Howard University]]'s [[Unifics]].<ref name="Erlewine (Hall/Oats)">{{Cite web |url=http://www.allmusic.com/artist/daryl-hall-john-oates-mn0000674887/biography |title=Daryl Hall & John Oates: Artist Biography |last=Erlewine |first=Stephen Thomas |website=AllMusic |access-date=October 27, 2016}}</ref><ref name="Prato (Tower)">{{Cite web |url=http://www.allmusic.com/artist/tower-of-power-mn0000013393/biography |title=Tower of Power: Artist Biography |last=Prato |first=Greg |website=AllMusic |access-date=October 27, 2016}}</ref>

The syndicated music/dance variety television series ''[[Soul Train]]'', hosted by Chicago native [[Don Cornelius]], debuted in 1971.<ref name="Chideya (Cornelius)">{{Cite web |url=http://www.huffingtonpost.com/farai-chideya/soul-train-and-pain-new-b_b_4005370.html |title=Soul Train and Pain: New Book Explores The Legacy of Don Cornelius' Empire |last=Chideya |first=Farai |date=November 30, 2013 |website=The Huffington Post |access-date=October 29, 2016}}</ref> The show provided an outlet for soul music for several decades, also spawning a franchise that saw the creation of a record label ([[Soul Train Records]]) that distributed music by [[the Whispers]], [[Carrie Lucas]], and an up-and-coming group known as [[Shalamar]].<ref name="Soul Train (Record Label)">{{Cite web |url=http://soultraincruise.com/news/it-all-started-with-soul-train |title=It all Started with Soul Train |date=August 12, 2015 |website=Soul Train Cruise |access-date=October 29, 2016}}</ref> Numerous disputes led to Cornelius spinning off the record label to his talent booker, [[Dick Griffey]], who transformed the label into [[Solar Records]], itself a prominent soul music label throughout the 1980s.<ref name="Soul Train (Record Label)" /> The TV series continued to air until 2006, although other predominantly African-American music genres such as hip-hop began overshadowing soul on the show beginning in the 1980s.<ref>{{Cite news |url=https://www.reuters.com/article/us-cornelius-soultrain/soul-train-creator-don-cornelius-commits-suicide-idUSTRE8101HY20120202 |title="Soul Train" creator Don Cornelius commits suicide |date=February 2012 |work=Reuters |access-date=November 10, 2017}}</ref>

===Beyond===
As [[disco]] and funk musicians had hits in the late 1970s and early 1980s, soul went in the direction of [[quiet storm]]. With its relaxed tempos and soft melodies, quiet storm soul took influences from [[Jazz fusion|fusion]] and [[adult contemporary]]. Some funk bands, such as EW&F, the Commodores and [[Con Funk Shun]] would have a few quiet storm tracks on their albums. Among the most successful acts in this era include Smokey Robinson, Jeffry Osbourne, [[Peabo Bryson]], [[Chaka Khan]], and [[Larry Graham]].

After the decline of disco and funk in the early 1980s, soul music became influenced by [[electro music]]. It became less raw and more slickly produced, resulting in a style that is known as [[contemporary R&B]], which sounded very different from the original [[rhythm and blues]] style. The United States saw the development of [[neo-soul]] around 1994.

== Notable labels and producers ==
=== Motown Records ===
[[File:LeviStubbs.jpg|thumb|left|[[Levi Stubbs]] singing lead with the Four Tops in 1966.]]
{{more citations needed section|date=May 2014}}
{{Main|Motown Records}}
[[Berry Gordy]]'s successful Tamla/Motown group of labels was notable for being African-American owned, unlike most of the earlier independent R&B labels. Notable artists under this label were [[Gladys Knight & the Pips]], [[the Supremes]], [[the Temptations]], [[the Miracles]], the [[Four Tops]], [[the Marvelettes]], [[Mary Wells]], [[Junior Walker|Jr. Walker & the All-Stars]], [[Stevie Wonder]], [[Marvin Gaye]], [[Tammi Terrell]], [[Martha and the Vandellas]],<ref name="pc25">{{Pop Chronicles |25| |Motown artists}}</ref> and [[the Jackson Five|the Jackson 5]].

Hits were made using a quasi-industrial "[[assembly line]]" approach. The producers and songwriters brought artistic sensitivity to the three-minute tunes. [[Brian Holland]], [[Lamont Dozier]] and [[Eddie Holland]] were rarely out of the charts for their work as [[songwriter]]s and [[record producer]]s for [[the Supremes]], the [[Four Tops]] and [[Martha and the Vandellas]].<ref name=pc25/> They allowed important elements to shine through the dense musical texture. The rhythm was emphasized by handclaps or [[tambourine]]. [[Smokey Robinson]] was another writer and record producer who added lyrics to "[[The Tracks of My Tears]]" by his group [[the Miracles]], which was one of the most important songs of the decade.

=== Stax Records and Atlantic Records ===
{{Main|Stax Records|Atlantic Records}}
Stax Records and Atlantic Records were independent labels that produced high-quality dance records featuring many well-known singers of the day.<ref name=":1">{{Cite news |last=Booth |first=Stanley |date=February 8, 1969 |title=The rebirth of the blues: Soul |url=https://www.saturdayeveningpost.com/flipbooks/issues/19690208/ |work=The Saturday Evening Post |pages=26–31, 60–61}}</ref> They tended to have smaller ensembles marked by expressive gospel-tinged vocals. Brass and saxophones were also used extensively.<ref>{{Cite book| title=Pop Music: The Textbook |publisher=Peters Editions |date=November 1, 2013 |first1=Julia |last1=Winterson |first2=Peter |last2=Nickol |first3=Toby |last3=Bricheno |first4=Ben |last4=Kaye |first5=Jessica |last5=Winterson |isbn=978-1843670391}}</ref>{{Page needed|date=February 2020}}  [[Stax Records]], founded by siblings Estelle and James Stewart, was the second most successful record label behind [[Motown Records]]. They were responsible for releasing hits by [[Otis Redding]], [[Wilson Pickett]], [[the Staple Singers]], and many more.<ref>Pareles, Jon, ''Estelle Stewart Axton, 85, A Founder of Stax Records'' (New York Times) 2004.</ref> Ahmet Ertegun, who had anticipated being a diplomat until 1944 when his father died, founded [[Atlantic Records]] in 1947 with his friend [[Herb Abramson]]. Ertegun wrote many songs for [[Ray Charles]] and [[the Clovers]]. He even sang [[backup vocals]] for his artist [[Big Joe Turner]] on the song "[[Shake, Rattle and Roll]]".<ref>Adams, Michael, ''Review of: Atlantic Records: The House That Ahmet Built, by Susan Steinberg'' (Notes) 2008</ref>

== Subgenres ==
=== Detroit (Motown) ===
{{further|Motown}}
Dominated by [[Berry Gordy]]'s [[Motown|Motown Records]] empire, Detroit's soul is strongly rhythmic and influenced by gospel music. The Motown sound often includes hand [[clapping]], a powerful [[bassline]], [[string section|strings]], [[brass section|brass]] and [[vibraphone]]. Motown Records' house band was [[the Funk Brothers]]. [[AllMusic]] cites Motown as the pioneering label of pop-soul, a style of soul music with raw vocals, but polished production and toned-down subject matter intended for pop radio and [[crossover (music)|crossover]] success.<ref name="popsoul">{{Cite web |url=http://www.allmusic.com/style/pop-soul-ma0000011870 |title=Pop-Soul |publisher=[[AllMusic]]. [[Rovi Corporation]] |access-date=July 15, 2012}}</ref> Artists of this style included [[Diana Ross]], [[the Jackson 5]], [[Stevie Wonder]], and [[Billy Preston]].<ref name="popsoul" /> Popular during the 1960s, the style became glossier during the 1970s and led to [[disco]].<ref name="popsoul" /> In the late 2000s, the style was revisited by contemporary soul singers such as [[Amy Winehouse]],<ref name="Hermes">{{cite magazine |last=Hermes |first=Will |author-link=Will Hermes |url=http://www.rollingstone.com/artists/raphaelsaadiq/albums/album/22955163/review/23589128/the_way_i_see_it |title=Raphael Saadiq: The Way I See It |magazine=[[Rolling Stone]] |location=New York |date=October 30, 2008 |archive-url=https://web.archive.org/web/20090114090158/http://www.rollingstone.com/artists/raphaelsaadiq/albums/album/22955163/review/23589128/the_way_i_see_it |archive-date=January 14, 2009 |url-status=dead }}</ref> [[Raphael Saadiq]] (specifically his 2008 album ''[[The Way I See It]]'') and [[Solange Knowles]] (her 2008 album ''[[Sol-Angel and the Hadley St. Dreams]]'').<ref>{{cite book|editor-last=Weisbard|editor-first=Eric|last=Wang|first=Oliver|chapter=The Comfort Zone|title=Pop When the World Falls Apart: Music in the Shadow of Doubt|publisher=[[Duke University Press]]|year=2012|isbn=978-0822351085|page=221}}</ref>

=== Deep and Southern ===
[[File:Otis Redding.png|thumb|Soul singer [[Otis Redding]] was known to be an electrifying stage presence.]]
{{further|Southern soul}}
The terms "deep soul" and "Southern soul" generally refer to a driving, energetic soul style combining [[Rhythm and blues|R&B]]'s energy with pulsating southern United States [[gospel music]] sounds. [[Memphis, Tennessee]], label [[Stax Records]] nurtured a distinctive sound, which included putting vocals further back in the mix than most contemporary R&B records, using vibrant horn parts in place of background vocals, and a focus on the low end of the frequency spectrum. The vast majority of Stax releases were backed by house bands [[Booker T. & the M.G.'s]] (with [[Booker T. Jones]], [[Steve Cropper]], [[Duck Dunn]], and [[Al Jackson Jr.|Al Jackson]]) and [[the Memphis Horns]] (the splinter horn section of [[the Mar-Keys]], trumpeter [[Wayne Jackson (musician)|Wayne Jackson]] and saxophonist [[Andrew Love (musician)|Andrew Love]]).

=== Memphis ===
{{further|Memphis soul}}
Memphis soul is a shimmering, sultry style of soul music produced in the 1960s and 1970s at [[Stax Records]]<ref name=":1" /> and [[Hi Records]] in [[Memphis, Tennessee]]. It featured melancholic and melodic horns, [[Hammond organ]], bass, and drums, as heard in recordings by Hi's [[Al Green]] and Stax's [[Booker T. & the M.G.'s]]. The latter group also sometimes played in the harder-edged [[Southern soul]] style. The Hi Records house band ([[Hi Rhythm Section]]) and producer [[Willie Mitchell (musician)|Willie Mitchell]] developed a surging soul style heard in the label's 1970s hit recordings. Some Stax recordings fit into this style but had their own unique sound.

=== New Orleans ===
{{Unreferenced section|date=January 2009}}
{{further|New Orleans soul}}
The New Orleans soul scene directly came out of the rhythm and blues era, when such artists as [[Little Richard]], [[Fats Domino]], and [[Huey "Piano" Smith]] made a huge impact on the pop and R&B charts and a huge direct influence on the birth of [[funk]] music. The principal architect of Crescent City's soul was songwriter, arranger, and producer [[Allen Toussaint]].  He worked with such artists as [[Irma Thomas]] ("the Soul Queen of New Orleans"), Jessie Hill, [[Chris Kenner]], Benny Spellman, and [[Ernie K-Doe]] on the Minit/Instant label complex to produce a distinctive New Orleans soul sound that generated a passel of national hits. Other notable New Orleans hits came from Robert Parker, [[Betty Harris]], and [[Aaron Neville]]. While record labels in New Orleans largely disappeared by the mid-1960s, producers in the city continued to record New Orleans soul artists for other mainly New York City and Los Angeles–based record labels—notably [[Lee Dorsey]] for New York-based [[Amy Records]] and the Meters for New York–based [[Josie Records]] and then LA-based [[Reprise Records]].

=== Chicago ===
{{further|Chicago soul}}
Chicago soul generally had a light gospel-influenced sound, but the large number of record labels based in the city tended to produce a more diverse sound than other cities. [[Vee Jay Records]], which lasted until 1966, produced recordings by [[Jerry Butler (singer)|Jerry Butler]], [[Betty Everett]], [[Dee Clark]], and [[Gene Chandler]]. [[Chess Records]], mainly a blues and rock and roll label, produced several major soul artists, including [[the Dells]] and [[Billy Stewart]]. [[Curtis Mayfield]] not only scored many hits with his group, [[the Impressions]], but wrote many hit songs for Chicago artists and produced hits on his own labels for [[the Fascinations]], [[Major Lance]], and the [[Five Stairsteps]].

=== Philadelphia ===
{{further|Philadelphia soul}}
Based primarily in the [[Philadelphia International]] record label, Philadelphia soul (or Philly soul) had lush [[string section|string]] and [[horn section|horn]] arrangements and [[doo-wop]]-inspired vocals. [[Thom Bell]], and [[Kenneth Gamble & Leon Huff]] are considered the founders of Philadelphia soul, which produced hits for [[Patti LaBelle]], [[the O'Jays]], [[The Intruders (music group)|the Intruders]], [[the Three Degrees]], [[the Delfonics]], [[the Stylistics]], [[Harold Melvin & the Blue Notes]], and [[The Spinners (American group)|the Spinners]].

=== Progressive ===
[[File:BLACK SOUL SINGER ISAAC HAYES PERFORMS AT THE INTERNATIONAL AMPHITHEATER IN CHICAGO AS PART OF THE ANNUAL PUSH 'BLACK... - NARA - 556307.jpg|thumb|[[Isaac Hayes]] performing in 1973]]
{{Main|Progressive soul}}
By the 1970s, African-American popular musicians had drawn from the conceptual album-oriented approach of the then-burgeoning [[progressive rock]] development. This progressive-soul development inspired a newfound sophisticated musicality and ambitious lyricism in black pop.<ref>{{harvnb|Martin|1998|p=41}}; {{harvnb|Hoard|Brackett|2004|p=524}}.</ref> Among these musicians were [[Sly Stone]], [[Stevie Wonder]], [[Marvin Gaye]], [[Curtis Mayfield]], and [[George Clinton (funk musician)|George Clinton]].{{sfn|Hoard|Brackett|2004|p=524}} In discussing the progressive soul of the 1970s, Martin cites this period's albums from Wonder (''[[Talking Book]]'', ''[[Innervisions]]'', ''[[Songs in the Key of Life]]''), [[War (band)|War]] (''[[All Day Music]]'', ''[[The World Is a Ghetto]]'', ''[[War Live (album)|War Live]]''), and [[the Isley Brothers]] (''[[3 + 3]]'').{{sfn|Martin|1998|pp=41, 205, 216, 244}} [[Isaac Hayes]]'s 1969 recording of "[[Walk On By]]" is considered a "classic" of prog-soul, according to ''[[City Pages]]'' journalist Jay Boller.<ref>{{cite web|url=http://www.citypages.com/music/the-weeks-29-best-concerts-nov-30-dec-6/403632456|last=Boller|first=Jay|date=November 30, 2016|title=The week's 29 best concerts: Nov. 30-Dec. 6|website=[[City Pages]]|archiveurl=https://web.archive.org/web/20161130213824/http://www.citypages.com/music/the-weeks-29-best-concerts-nov-30-dec-6/403632456|archivedate=November 30, 2016|url-status=dead}}</ref> Later prog-soul music includes recordings by [[Prince (musician)|Prince]],<ref name="Himes">{{cite news|last=Himes|first=Geoffrey|authorlink=Geoffrey Himes|url=https://www.washingtonpost.com/archive/lifestyle/2001/10/12/bilal-1st-born-second-moyoi/c2bb93f3-390d-499a-9c29-1aa90fa18a3f/|date=October 12, 2011|title=Bilal '1st Born Second'|newspaper=[[The Washington Post]]|accessdate=January 23, 2021}}</ref> [[Peter Gabriel]],<ref>{{cite book|last=Easlea|first=Daryl|title=Without Frontiers: The Life & Music of Peter Gabriel|year=2018|publisher=Omnibus Press|edition=Revised and Updated|isbn=978-1-787-59082-3|chapter=18: The Tremble in the Hips: ''So''}}</ref> [[Meshell Ndegeocello]], [[Joi (singer)|Joi]],<ref>{{cite magazine|last=Green|first=Tony|date=March 2002|magazine=[[Spin (magazine)|Spin]]|page=129|title=Joi: Star Kity's Revenge (Universal)|url=https://books.google.com/books?id=w8s9P_S6njMC&pg=PA129|accessdate=January 23, 2021|via=[[Google Books]]}}</ref> [[Bilal (American singer)|Bilal]], [[Dwele]], [[Anthony David (singer)|Anthony David]],<ref>{{cite news|last=Lindsey|first=Craig D.|date=February 25, 2013|url=https://www.villagevoice.com/2013/02/25/bilals-new-a-love-surreal-was-inspired-by-salvador-dali/|archive-url=https://web.archive.org/web/20200720153147/https://www.villagevoice.com/2013/02/25/bilals-new-a-love-surreal-was-inspired-by-salvador-dali/|url-status=dead|archive-date=July 20, 2020|title=Bilal's New A Love Surreal Was Inspired by Salvador Dali|newspaper=[[The Village Voice]]|accessdate=January 23, 2021}}</ref> [[Janelle Monáe]],<ref>{{cite news|last=Kot|first=Greg|authorlink=Greg Kot|date=April 27, 2018|url=https://www.chicagotribune.com/entertainment/music/sc-ent-janelle-monae-album-review-0427-story.html|title=Janelle Monae comes back down to earth on 'Dirty Computer'|newspaper=[[Chicago Tribune]]|accessdate=January 23, 2021}}</ref> and the [[Soulquarians]], an experimental black-music collective active during the late 1990s and early 2000s.<ref>{{cite magazine|last=Cochrane|first=Naima|date=March 26, 2020|url=https://www.billboard.com/music/rb-hip-hop/neo-soul-2000-dangelo-erykah-badu-9343438/|title=2000: A Soul Odyssey|magazine=[[Billboard (magazine)|Billboard]]|access-date=January 23, 2021}}</ref>

=== Psychedelic ===
{{Main|Psychedelic soul}}
Psychedelic soul, sometimes known as "black rock", was a blend of [[psychedelic rock]] and soul music in the late 1960s, which paved the way for the mainstream emergence of [[funk]] music a few years later.<ref name="Harrington2002">J. S. Harrington, ''Sonic Cool: the Life & Death of Rock 'n' Roll'' (Milwaukee, WI: Hal Leonard Corporation, 2002), {{ISBN|0-634-02861-8}}, pp. 249–50.</ref> Early pioneers of this subgenre of soul music include [[Jimi Hendrix]], [[Sly and the Family Stone]], [[Norman Whitfield]], and [[Isaac Hayes]].<ref>{{Cite web |url=http://psychedmaster.org/Psychedelic%20Soul.html |title=Psychedelic Soul |access-date=November 26, 2018 |archive-date=September 3, 2018 |archive-url=https://web.archive.org/web/20180903033337/http://psychedmaster.org/Psychedelic%20Soul.html |url-status=dead }}</ref> While psychedelic rock began its decline, the influence of psychedelic soul continued on and remained prevalent through the 1970s.<ref name="Hollingshaus">{{Cite journal |last=Hollingshaus |first=Wade |date=Winter 2008 |title=''Performing Glam Rock: Gender and Theatricality in Popular Music'' (review) |url=http://muse.jhu.edu/journals/tdr/summary/v052/52.4.hollingshaus.html |journal=[[TDR: The Drama Review]] |publisher=MIT Press |volume=52 |issue=4 |pages=201–202 |doi=10.1162/dram.2008.52.4.201 |s2cid=191109052 |url-access=subscription |access-date=February 16, 2016 |via=[[Project MUSE]]}}</ref>{{failed verification|date=February 2016}}

=== British ===
[[File:Adele 'Adele Live 2016' - Nashville DSC04671 (30410853565).jpg|alt=|thumb|Adele performing in 2016]]
{{Main|British soul}}
In the early 1960s, small soul scenes began popping up around the UK. Liverpool in particular had an established [[Black British|black]] community from which artists such as Chants and Steve Aldo emerged and go on to record within the [[British music]] industry. As a result, many recordings were commercially released by British soul acts during the 1960s which were unable to connect with the mainstream market.<ref>{{Cite book |title=Britfunk: Black British Popular Music, Identity and the Recording Industry in the Early 1980s |last=Strachan |first=Robert |date=2014 |publisher=Aldershot: Ashgate |page=69}}</ref> Nevertheless, soul has been a major influence on British popular music since the 1960s including bands of the [[British Invasion]], most significantly [[the Beatles]].<ref>P. Humphries, ''The Complete Guide to the Music of the Beatles'' (Music Sales Group, 1998), p. 83.</ref> There were a handful of significant British [[blue-eyed soul]] acts, including [[Dusty Springfield]] and [[Tom Jones (singer)|Tom Jones]].<ref>R. Gulla, ''Icons of R&B and soul: an encyclopedia of the artists who revolutionized rhythm'' (Greenwood Publishing Group, 2008), p. xxii.</ref> In the 1970s [[Carl Douglas]], [[The Real Thing (British band)|the Real Thing]] and [[Delegation (band)|Delegation]]<ref>{{Cite web |url=http://www.discosavvy.com/delegation.html |title=Disco Savvy: The Complete Disco Guide to Delegation - disco and funk |website=Discosavvy.com |access-date=September 29, 2018}}</ref> had hits in the UK. American soul was extremely popular among some youth sub-cultures like the [[Mod (subculture)|mod]], [[Northern soul]] and modern soul movements, but a clear genre of British soul did not emerge until the 1980s when several artists including [[George Michael]], [[Sade (band)|Sade]], [[Simply Red]], [[Lisa Stansfield]] and [[Soul II Soul]] enjoyed commercial success.<ref name="Wald1997">G. Wald, "Soul's Revival: White Soul, Nostalgia and the Culturally Constructed Past", M. Guillory and R. C. Green, ''Soul: Black power, politics, and pleasure'' (New York University Press, 1997), pp. 139–58.</ref> The popularity of British soul artists in the U.S., most notably [[Amy Winehouse]], [[Adele]], [[Estelle (musician)|Estelle]], [[Duffy (singer)|Duffy]], [[Joss Stone]] and [[Leona Lewis]], led to talk of a "[[Third British Invasion]]" or "British Soul Invasion" in the 2000s and 2010s.<ref>[http://www.canada.com/topics/entertainment/story.html?id=eae2e9c5-d992-4afc-ab23-0bb8046b1bcb Selling their soul: women leading the way in R&B British invasion] {{webarchive|url=https://web.archive.org/web/20120118051701/http://www.canada.com/topics/entertainment/story.html?id=eae2e9c5-d992-4afc-ab23-0bb8046b1bcb |date=January 18, 2012 }} Canada.com June 9, 2008</ref><ref>[http://thedailyvoice.com/voice/2008/04/the-new-british-invasion-soul-000485.php The New British Invasion: Soul Divas 2008] {{webarchive|url=https://web.archive.org/web/20090527025804/http://thedailyvoice.com/voice/2008/04/the-new-british-invasion-soul-000485.php |date=May 27, 2009 }} ''[[The Daily Voice (African American news website)|The Daily Voice]]'', April 30, 2008.</ref>

=== Neo ===
{{further|Neo soul}}
Neo soul is a blend of 1970s soul-style vocals and instrumentation with [[contemporary R&B]] sounds, [[hip-hop]] beats, and poetic interludes. The style was developed in the early to mid-1990s, and the term was coined in the early 1990s by producer and [[record label]] executive [[Kedar Massenburg]]. A key element in neo-soul is a heavy dose of [[Fender Rhodes]] or [[Wurlitzer electronic piano]] "pads" over a mellow, grooving interplay between the drums (usually with a rim shot snare sound) and a muted, deep funky bass. The Fender Rhodes piano sound gives the music a warm, organic character. 

Notable artists include [[Jill Scott (singer)|Jill Scott]], [[Lauryn Hill]], [[Aloe Blacc]] and [[Erykah Badu]]. Newer artists like [[H.E.R.]] and [[SZA]] are also influenced by neo soul.

=== Northern ===
{{further|Northern soul}}
Northern soul is a music and dance movement that emerged in the late 1960s out of the British [[mod subculture]] in [[Northern England]] and the [[Midlands|English Midlands]], based on a particular style of soul music with a heavy beat and fast tempo. The phrase ''northern soul'' was coined by a journalist [[Dave Godin]] and popularised through his column in ''Blues and Soul'' magazine.<ref>{{Cite web |url=http://www.chrishunt.biz/features05.html |title=Chris Hunt - Wigan Casino |website=Chrishunt.biz |access-date=September 29, 2018}}</ref>   The rare soul records were played by DJs at [[nightclub]]s, and included obscure 1960s and early 1970s American recordings with an [[uptempo]] beat, such as those on [[Motown]] and smaller labels, not necessarily from the [[Northern United States]].

=== Nu jazz and other influenced electronica ===
{{further|Nu jazz|Electronica}}
Many artists in various genres of [[electronic music]] (such as [[House music|house]], [[drum and bass]], [[UK garage]], and [[downtempo]]) are heavily influenced by soul, and have produced many soul-inspired compositions.

== See also ==
{{Portal|United States|R&B and Soul Music}}
* [[Neo soul]]
* [[List of soul musicians]]
* [[Funk]]
* [[Disco]]
* [[African-American music]]
* [[Music of the United States]]
{{Clear}}

== References ==
{{Reflist}}

== Bibliography ==
* Adams, Michael (2008). Review of ''Atlantic Records: The House That Ahmet Built'', by Susan Steinberg. ''Notes'' 65 (1), pgs. 157-158.
* Cummings, Tony (1975). ''The Sound of Philadelphia.'' London: Eyre Methuen.
* [[Colin Escott|Escott, Colin]]. (1995). Liner notes for ''The Essential James Carr''.  Razor and Tie Records.
* [[Charlie Gillett|Gillett, Charlie]] (1974). ''Making Tracks.'' New York: E. P. Dutton.
* [[Peter Guralnick|Guralnick, Peter]] (1986). ''Sweet Soul Music.'' New York: Harper & Row.
* Hannusch, Jeff (1985). ''I Hear You Knockin': The Sound of New Orleans Rhythm and Blues.'' Ville Platte, LA: Swallow Publications.  {{ISBN|0-9614245-0-8}}.
* {{cite book|editor1-last=Hoard|editor1-first=Christian|editor2-last=Brackett|editor2-first=Nathan|year=2004|title=[[The New Rolling Stone Album Guide]]|publisher=[[Simon & Schuster]]|isbn=9780743201698}}
* Hoskyns, Barney (1987). ''Say it One More Time for the Broken Hearted.'' Glasgow: Fontana/Collins.
* Jackson, John A. (2004). ''A House on Fire: The Rise and Fall of Philadelphia Soul.'' New York: Oxford University Press. {{ISBN|0-19-514972-6}}.
* {{Citation |last=Martin |first=Bill |title=Listening to the Future: The Time of Progressive Rock |year=1998 |place=Chicago |publisher=Open Court |isbn=0-8126-9368-X |author-link=Bill Martin (philosophy)}}
* Miller, Jim (editor) (1976). ''The Rolling Stone Illustrated History of Rock & Roll''.  New York:  Rolling Stone Press/Random House.  {{ISBN|0-394-73238-3}}. Chapter on "Soul," by Guralnick, Peter, pp.&nbsp;194–197.
* Pareles, Jon. 2004. Estelle Stewart Axton, 85, A Founder of Stax Records. ''New York Times''. February 27, 2004, Section A, Page 25.
* Pruter, Robert (1991). ''Chicago Soul: Making Black Music Chicago-Style''. Urbana, Illinois: University of Illinois Press. {{ISBN|0-252-01676-9}}.
* Pruter, Robert, editor (1993). ''Blackwell Guide to Soul Recordings.'' Oxford: Basil Blackwell Ltd. {{ISBN|0-631-18595-X}}.
* {{cite book |title=Rolling Stone 500 Greatest Songs of All Time |date=June 19, 2008 |publisher=Alfred Music |isbn=978-0739075784 |ref={{sfnref|Rolling Stone 500 Songs|2010}}}}
* Walker, Don (1985). ''The Motown Story.'' New York: Charles Scribner's Sons.
* Winterson, Julia, Nickol, Peter, Bricheno, Toby (2003). ''Pop Music: The Text Book'', Edition Peters. {{ISBN|1-84367-007-0}}.

== Further reading ==
{{sister project links|d=no|wikt=no|b=no|v=no|voy=no|species=no|n=no|s=no}}
* Garland, Phyl (1969). ''The Sound of Soul: the History of Black Music''. New York: Pocket Books, 1971, cop. 1969. xii, 212 p.&nbsp;300 p. + [32] p. of b & w photos.
* Cole, Laurence (2010). ''Deep Soul Ballads: From Sam Cooke to Stevie Wonder.'' Libri Publishing. {{ISBN|9781907471087}}

{{Soulmusic}}
{{BlackMusicHistory}}
{{Rhythm and blues}}

{{Authority control}}

{{DEFAULTSORT:Soul Music}}
[[Category:Soul music| ]]
[[Category:African-American cultural history]]
[[Category:African-American music]]
[[Category:American styles of music]]
[[Category:Culture of the Southern United States]]
[[Category:Musical improvisation]]
[[Category:Popular music]]
[[Category:Radio formats]]
[[Category:Rhythm and blues genres]]