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A gripping narrative that captures the tumult and liberating energy of a nation in transition, Sweet Soul Music is an intimate portrait of the legendary performers--Sam Cooke, Ray Charles, James Brown, Solomon Burke, Aretha Franklin, Otis Redding, and Al Green among them--who merged gospel and rhythm and blues to create Southern soul music. Through rare interviews and with unique insight, Peter Guralnick tells the definitive story of the songs that inspired a generation and forever changed the sound of American music.
- Sales Rank: #101097 in Books
- Published on: 1999-07-01
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 1.25" w x 6.00" l, 1.25 pounds
- Binding: Paperback
- 384 pages
From Library Journal
"A definitive chronicle of one of the great creative periods in American pop history," said LJ's reviewer of this 1986 volume, which tracks the rise and fall of a collaboration of white and black musicians, songwriters, and singers from the 1950s to its peak and disintegration a decade later.
Copyright 1999 Reed Business Information, Inc.
About the Author
Peter Guralnick has written extensively on American music and musicians. His books include: the prize-winning two-volume Elvis Presley biography Last Train to Memphis and Careless Love; the acclaimed trilogy on American roots music, Sweet Soul Music, Lost Highway, and Feel Like Going Home; the biographical inquiry Searching for Robert Johnson; and the novel Nighthawk Blues.
Most helpful customer reviews
32 of 32 people found the following review helpful.
Labor of Love
By Tyler Smith
Like Robert Palmer's superb "Deep Blues," Guralnick's extensive look back at the roots of R&B and soul music combines criticism, biographical profiles and social history into one rich, printed tapestry. Meticulously researched, the book shows its author's deep love of the music without sacrificing objectivity.
Guralnick provides plenty of background on the "race music" that spawned R&B and the great soul music of the sixties and early seventies, on which much of the book concentrates. Like most, if not all, of the great blues musicians, the early pioneers of soul came from humble, mostly southern beginnings, and made little or no money from their work, which was liberally sampled by white musicians.
A good portion of the narrative revolves around the fascinating rise and fall of Stax Records, the tiny Memphis-based label that brought together white executive leadership and musicians with raw black talent from the South. Despite initially primitive recording conditions, Stax developed into a powerhouse that was home to some of the greatest musicians in soul music, from Otis Redding to William Bell to Carla Thomas to Sam and Dave to Johnny Taylor. The label became representative of the growing sense of black pride that defined the era, one in which civil rights, of course, moved to the forefront of America's consciousness.
All of these musicians and many more, including Aretha Franklin, Wilson Pickett and James Brown, to name a few, are given finely drawn profiles by Guralnick, and he treats their contributions to American music with the respect that they deserve. Throughout, he is intent on letting the artists tell their stories in their own words, and remains content to use his own fine writing to direct and bind together the narrative.
Another great accomplishment of the book, for me, was Guralnick's successful effort to illuminate the ties between white and black musicians during this period. Yes, many of the most successful producers, notably Atlantic's Jerry Wexler, were white, but so were many of the musicians. Most had grown up in the south around blacks and were intimately familiar with African-American music. The Stax house band, which included Steve Cropper and Donald Dunn, was white, and they performed on many songs penned by great black songwriters such as David Porter and Isaac Hayes. Think of the great, ominous organ introduction to Aretha Franklin's "I Ain't Never Loved a Man." The white player is Spooner Oldham. This musical cross-fertilization is a notable point, one not often brought into considerations of the era.
As a young kid coming up in the mid-60s, I loved the music that Guralnick writes about here, and I could tell -- even if he hadn't said so -- that he did too. He goes beyond that love to really dig into its roots and understand it, and succeeds admirably.
9 of 9 people found the following review helpful.
Almost as good as Guralnick's Elvis book.
By Could Be
And that's about as good as books on music get. The stories of minor and supporting character's are given air in Mr. Guralnick's books and that is what sets them apart. As a fairly serious follower of American music it is a treat to have a writer who obviously loves his subject (and has similar tastes to me) choose to write at some length about people like Dan Penn, Solomon Burke and James Carr. That he does so in such a poignant yet unforced way is just icing on the cake. This is more than a history of Southern soul music. It's an exciting and surprising story of real people who created some real extraordinary music.
14 of 17 people found the following review helpful.
The Primer For Soul Music
By David W. Coleman
If you want a starting place in your search to find REAL Soul music, look no further than this book. Guralnick points you in the right direction. It is very clear that he loves the subject matter. He investigated the legends, and reports as much truth as will come to light, about performers like Otis Redding, Solomon Burke, James Brown, Sam Cooke, Arthur Alexander, Aretha Franklin, James Carr, O.V. Wright, Al Green, Wilson Pickett, and many others. There is also a history of Stax Records that Rob Bowman used as a reference for his epic history of the label. And there's a comprehensive discography, which has been updated for the CD era. Guralnick let the story take him wherever it led, even if he didn't always like the conclusions. It is an honest book and a good read. I write a lot of reviews on Soul music. Much of what I know about the roots of Soul, I learned from this book!
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