Progressive soul
Progressive soul is a type of African-American music that uses a progressive approach, particularly in the context of the soul and funk genres. It developed in the late 1960s and early 1970s through the recordings of innovative black musicians who pushed the structural and stylistic boundaries of those genres. Among their influences were musical forms that arose from rhythm and blues music's transformation into rock, such as Motown, progressive rock, psychedelic soul, and jazz fusion.
Progressive soul music can feature an eclectic range of influences, from both African and European sources. Musical characteristics commonly found in works of the genre are traditional R&B melodies, complex vocal patterns, rhythmically unified extended composition, ambitious rock guitar, and instrumental techniques borrowed from jazz. Prog-soul artists often write songs around album-oriented concepts and socially conscious topics based in the African-American experience, left-wing politics, and bohemianism, sometimes employing thematic devices from Afrofuturism and science fiction. Their lyrics, while challenging, can also be marked by irony and humor.
The original progressive soul movement peaked in the 1970s with the works of Stevie Wonder, Marvin Gaye, Curtis Mayfield, Sly and the Family Stone, Parliament-Funkadelic, and Earth, Wind & Fire, among others. Since the 1980s, both prominent American and British acts have recorded music in its tradition, including Prince, Peter Gabriel, Sade, Bilal, and Janelle Monáe. The neo soul wave of the late 1990s and early 2000s, featuring the Soulquarians collective, is considered a derivative development of the genre.
History
Origins in early R&B and rock
By the mid-1950s, rhythm and blues was transitioning from its blues and big band-based jazz origins toward the musical forms that would be known more broadly as rock music. This trend was expedited by the exposure of young white listeners and musicians to African-American music played by ambitious disc jockeys on radio stations in the Northern United States. However, partly in response to jealousy among veteran performers and prejudice in general, recording acts in the early rock era generally gravitated toward either one of the three stylistic influences from which the genre had primarily originated – R&B, country, and pop.File:Hitsville.jpg|thumb|upright=1.15|Hitsville U.S.A., Motown's former studio-headquarters and now museum, with photos of Marvin Gaye, The Supremes, and Stevie Wonder in the window display
In the mid-1960s, several new musical forms arose that diversified rock. Among them was the Motown sound of Detroit-based Motown Records, which released more refined and slick productions distinct from other R&B-leaning rock. The music academic Bill Martin traces the origins of progressive soul to Motown as well as Ray Charles and James Brown, whose recordings altogether span as early as the 1950s, while the jazz writer Rob Backus cites an early example in the Impressions' 1964 song "Keep On Pushing". Progressive rock, another emerging subgenre, utilized an eclectic range of elements such as exotic instrumentation from classical and folk, along with highly developed lyrical concepts composed across album-length works. This trend emphasized the album format over the single and reached mainstream culture with the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band. Concurrently, psychedelic rock utilized electronic innovations with a harder sound primarily intended to induce or enhance the listener's consciousness rather than for relaxation, dance, or analytical listening.
In the late 1960s, the structural and stylistic boundaries of African-American music were pushed further by the psychedelic experimentation of black rock acts like Jimi Hendrix, Arthur Lee's Love, and the Chambers Brothers. The jazz trumpeter-bandleader Miles Davis also made an impact with his wide-ranging fusion experiments, which incorporated elements from rock, electronic, avant-garde, and Eastern music. As with folk rock earlier in the decade, jazz fusion was another emerging subform to concede rock influences in a parent genre that had otherwise been exclusive to a cultural elite. These events inspired greater musical sophistication and diversity of influences, ambitious lyricism, and conceptual album-oriented approaches in black popular music, leading to the development of progressive soul.
Development and characteristics
By the 1970s, many African-American recording artists primarily working in the soul and funk genres were creating music in a manner influenced by progressive rock. According to music critic Geoffrey Himes, this "progressive-soul movement flourished" from 1968 to 1973 and demonstrated "adventurous rock guitar, socially conscious lyrics and classic R&B melody", while AllMusic says the genre was "flowering" in 1971. Among the musicians at its forefront were Sly Stone, Stevie Wonder, Marvin Gaye, Curtis Mayfield, and George Clinton. Under Berry Gordy's leadership at Motown, Gaye and Wonder were reluctantly given artistic control to approach their albums more seriously in what had generally been a single-focused soul genre, leading to a series of innovative records from the two during the 1970s. Similar to white prog musicians, black artists of this movement directed their creative control toward ideals of "individualism, artistic progression and writing for posterity", along with concerns related to the African-American experience, according to ethnomusicologist and University of Colorado Boulder music professor Jay Keister. However, he notes that the pursuit of individuality sometimes challenged the collective political values of the Black Arts Movement. Himes categorizes the progressive soul movement as "left-wing" and "bohemian" in the sense of "any culture with a middle class to produce young people who are more interested in the unfettered exploration of intellectual, artistic, sexual and political possibilities than in the mainstream goals of wealth, power and conformity"; he adds that this subculture among African Americans grew in proportion to their emerging middle class.Among the prog-rock characteristics shared in black progressive music of this period were extended composition, diverse musical appropriation, and making music for the purpose of concentrated listening as opposed to dancing. Progressive soul vocalists incorporated complex patterns in their singing, while instrumentalists used techniques learned from jazz. Unlike the European art music resources used by progressive white artists, who tended to distinguish their extended compositions with song-based suites, African-American counterparts favored musical idioms from both African-American and African sources, including the use of an underlying rhythmic groove to unify an extended recording. Altering instrumental textures were also used instead as a way of signifying a change in the section of an extended track. Applications of these elements featured in songs such as Funkadelic's "Wars of Armageddon" and Sun Ra's "Space Is the Place". The contemporaneous album-length works of Isaac Hayes were often extended and elaborately composed R&B jams characterized by leitmotifs and his spoken interludes.
Progressive soul musicians also used a variety of non-traditional influences, much like the Beatles had in the 1960s. Clinton's Parliament-Funkadelic collective prominently used influences from psychedelia alongside those from Brown and the Motown sound. Both Clinton's collective and Sun Ra applied thematic concepts associated with Afrofuturism and outer space mythology. Some artists borrowed elements from European-American traditions to augment a song's lyrical idea. For example, Wonder added pleasant-sounding instrumental textures from a string ensemble to "Village Ghetto Land", lending a sense of irony to the song's otherwise bleak critique of social ills in urban ghettos. Mayfield's socially- and politically charged 1970 album Curtis featured both the extended prog-soul song "Move on Up" and orchestral-laden works like "Wild and Free", which employed harps to produce distinctive timbres. Gaye's 1971 album What's Going On was composed as a social-protest song cycle unified by both rhythmic and melodic motifs. Clinton also explored the African-American experience and drew on "Black Power" literature as well as the music of Bob Dylan and the Beatles, pointing specifically to the latter's element of nonsense on songs like "I Am the Walrus". However, Clinton's themes were more party-centric, influenced by contemporary street culture, and often incorporated lowbrow elements of absurdity and toilet humor similar to the experimental rock musician Frank Zappa's recordings with The Mothers of Invention.
The San Francisco music scene of the late 1960s and early 1970s was "a workshop for progressive soul", according to cultural anthropologist Micaela di Leonardo, who credits the radio station KDIA with showcasing the music of local acts like Sly and the Family Stone and Tower of Power. Popular with the hippie audience, Stone's songs appealed to tolerance, peace, and integration along racial and social lines, while his leadership of the Family Stone made them among the first racially- and gender-integrated popular acts. The Philadelphia station WDAS-FM, which had been progressive rock-oriented in the late 1960s, changed to a progressive soul format in 1971 and over time developed into an important media source for the African-American community. Progressive soul stations played extended soul recordings past the typical single length, as was the case with the nine-and-a-half-minute-long Temptations single "Runaway Child, Running Wild". Hayes' 1969 recording of "Walk on By" is considered a classic prog-soul single.
In discussing the exemplary prog-soul albums of this period, Himes names Hendrix's Electric Ladyland, the Temptations' Cloud Nine, Sly and the Family Stone's Stand!, Gaye's What's Going On, Funkadelic's Maggot Brain, Mayfield's Super Fly, War's The World Is a Ghetto, Earth Wind & Fire's Head to the Sky, and Wonder's Innervisions. Martin also cites albums from Wonder and War, as well as the Isley Brothers. The 1975 albums That's the Way of the World and Mothership Connection are other notable releases, with the latter a concept album culminating Clinton's Afrofuturist musical aspirations. Wonder's mid 1970s albums are also highlighted by The Times writer Dominic Maxwell as "prog soul of the highest order, pushing the form yet always heartfelt, ambitious and listenable", with Songs in the Key of Life regarded as a peak for its endless musical ideas and lavish yet energetic style. Backus notes among the genre's many politically charged works to include the Temptations song "War", the LPs of Gil Scott-Heron, and the O'Jays' "Rich Get Richer".