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  1. Blue-eyed soul - Wikipedia

    en.wikipedia.org › wiki › Blue-eyed_soul

    Blue-eyed soul (also called white soul) is rhythm and blues and soul music performed by white artists.

    • 1960s

      Georgie Woods, a Philadelphia radio DJ, is thought to have...

    • 1970s

      Hamilton, Joe Frank & Reynolds and the Grass Roots both had...

    • 1980s

      Blue eyed soul music's chart success was at its highest when...

    • 2000s and 2010s

      Joss Stone received much acclaim soon after releasing her...

    • Criticism

      A backlash ensued in the late 1980s as some black people...

  2. Blue Eyed Soul (album) - Wikipedia

    en.wikipedia.org › wiki › Blue_Eyed_Soul_(album)

    Blue Eyed Soul (album) From Wikipedia, the free encyclopedia Blue Eyed Soul is the twelfth studio album by British pop group Simply Red. The album was released on 8 November 2019 by BMG.

  3. Blue-eyed soul - Simple English Wikipedia, the free encyclopedia

    simple.wikipedia.org › wiki › Blue-eyed_soul

    From Simple English Wikipedia, the free encyclopedia Blue Eyed Soul is a term used to describe Soul and R&B music sung by white people. The term was first used in the 1960s about white artists performing music which was similar to the music being performed by Motown artists. It is sometimes called white soul.

  4. List of blue-eyed soul artists - Wikipedia

    en.wikipedia.org › wiki › List_of_blue-eyed_soul_artists

    Blue-eyed soul (also known as white soul) is soul music or rhythm and blues performed by white artists.

  5. Blue-eyed soul — Wikipedia Republished // WIKI 2

    wiki2.org › en › Blue-eyed_soul
    • 1960s
    • 1970s
    • 1980s and Later
    • Criticism
    • See Also
    • External Links

    Georgie Woods, a Philadel­phia radio DJ, is thought to have coined the term "blue-eyed soul" in 1964, ini­tially to de­scribe The Right­eous Broth­ers, then white artists in gen­eral who re­ceived air­play on rhythm and blues radio stations. The Right­eous Broth­ers in turn named their 1964 LP Some Blue-Eyed Soul. Ac­cord­ing to Bill Med­ley of the Right­eous Broth­ers, R&B radio sta­tions who played their songs were sur­prised to find them to be white when they turned up for in­ter­views, and one DJ in Philadel­phia (un­named by Med­ley but prob­a­bly Georgie Woods) started say­ing "Here's my blue-eyed soul broth­ers", and it be­came a code to sig­nal to the au­di­ence that they were white singers. The pop­u­lar­ity of The Right­eous Broth­ers who had a hit with "You've Lost That Lovin' Feelin'" is thought to have started the trend of R&B radio sta­tions to play songs by white artists in the mid-1960s, a more in­te­gra­tive ap­proach that was then pop­u­lar with their audience. The...

    Hamil­ton, Joe Frank & Reynolds and the Grass Roots both had suc­cess­ful blue-eyed soul sin­gles; the for­mer with "Don't Pull Your Love" (1971) and the lat­ter with "Two Di­vided by Love" (1971) and "The Run­way" (1972). In 1973, the Amer­i­can band Sto­ries and the Cana­dian group Sky­lark had suc­cesses with their re­spec­tive blue-eyed soul sin­gles "Brother Louie" and "Wild­flower". In Feb­ru­ary 1975, Tower of Power be­came the first white/mixed act to ap­pear on Soul Train. Also in 1975, David Bowie, an­other early white artist to ap­pear on Soul Train, re­leased Young Amer­i­cans, a pop­u­lar blue-eyed soul album which Bowie him­self called "plas­tic soul". It fea­tured the funk-in­spired "Fame", which be­came Bowie's first num­ber-one hit in the US. Hall & Oates' 1975 Sil­ver Album (real title Daryl Hall & John Oates) in­cludes the bal­lad "Sara Smile", long con­sid­ered a blue-eyed soul stan­dard. "She's Gone", an­other soul­ful hit, was orig­i­nally re­leased in 1973 but...

    Blue eyed soul music's chart suc­cess was at its high­est when Hall and Oates' sin­gles got heavy air­play on urban con­tem­po­rary radio, as was the case with "I Can't Go for That (No Can Do)", "Kiss on My List", "One on One", "Say It Isn't So", "Adult Ed­u­ca­tion", "Out of Touch", "Method of Mod­ern Love" and "Every­time You Go Away". Most of those sin­gles charted on the R&B and dance charts, in­clud­ing some num­ber-one hits. In 1985, Sim­ply Red re­leased "Hold­ing Back the Years", one of the most suc­cess­ful blue-eyed soul bal­lads; "Money's Too Tight" and other sin­gles by the group also per­formed well. Other suc­cess­ful blue-eyed soul songs of the 1980s in­clude Phil Collins' cover of "You Can't Hurry Love" (1982); Cul­ture Club's "Do You Re­ally Want to Hurt Me" (1982), "Time (Clock of the Heart)" (1982) and "Church of the Poi­son Mind" (1983); Dexys Mid­night Run­ners' "Come On Eileen" (1983); the Style Coun­cil's "Shout to the Top" (1984); Teena Marie's "Lover­girl"(1...

    A back­lash en­sued in the late 1980s as some black peo­ple felt that white peo­ple were cash­ing in on the pop­u­lar­ity of their music. How­ever, the ex­tent of the back­lash was not uni­ver­sally agreed upon. In 1989, Ebony Mag­a­zine pub­lished an ar­ti­cle ex­plor­ing whether white peo­ple were "tak­ing over" R&B. The ar­ti­cle fea­tured var­i­ous mem­bers of the music in­dus­try, both black and white, who be­lieved col­lab­o­ra­tion was a uni­fy­ing force, and there was agree­ment that the fu­ture of R&B was not com­pro­mised by the con­tem­po­rary urban sound. A sim­i­lar ar­ti­cle in Ebony, writ­ten in 1999 high­lighted con­flict­ing opin­ions about the "blue-eyed" in­flu­ence; how­ever, the source of con­tention was not about the artis­tic merit of blue-eyed soul, but rather the eco­nomic in­equal­ity that per­sisted in Amer­i­can life and within the music industry. Ac­cord­ing to scholar Joanna Teresa De­mers, the "suc­ces­sors [of Pres­ley] in blue-eyed soul and white fun...

  6. Category:Blue-eyed soul songs - Wikipedia

    en.wikipedia.org › wiki › Category:Blue-eyed_soul_songs

    Pages in category "Blue-eyed soul songs" The following 14 pages are in this category, out of 14 total. This list may not reflect recent changes ().

  7. Category:Blue-eyed soul albums - Wikipedia

    en.wikipedia.org › wiki › Category:Blue-eyed_soul_albums

    About Wikipedia; Disclaimers; Search. Category:Blue-eyed soul albums. Language; Watch; Edit; Subcategories. This category has the following 49 subcategories, out of ...

  8. Blue-eyed soul — Wikipédia

    fr.wikipedia.org › wiki › Blue-eyed_soul
    • Terminologie
    • Histoire
    • Controverses
    • Bibliographie

    Le terme « blue-eyed soul » est employé pour la première fois vers le milieu des années 1960[2]. L'expression, qui est attribuée à Georgie Woods, un disc jockey basé à Philadelphie, sert alors à désigner la musique du groupe The Righteous Brothers[3],[4]. D'un point de vue musical, il n'y a pas de réelles différences stylistiques entre la blue-eyed soul et la soul interprétée par des Afro-Américains[1]. La mélodie, les parties vocales, les rythmes et les thèmes abordés (comme l'amour, la romance, la douleur et le chagrin) restent similaires dans les deux cas[1],[5]. La seule véritable différence réside dans la couleur de peau des artistes concernés[1].

    Les origines de la blue-eyed soul remontent vraisemblablement à Elvis Presley et à ses singles enregistrés pour Sun Records, qui sont pour la plupart des reprises de standards du blues et du rhythm and blues[6]. Elles peuvent aussi remonter aux nombreux chanteurs italo-américains de la fin du l'ère doo-wop, ainsi qu'à des artistes du début des années 1960 fortement influencés par le rhythm and blues, en particulier au niveau du phrasé et des harmonies, comme c'est pour Dion ou The Four Seasons[6]. The Righteous Brothers et The Rascals figurent parmi les premiers artistes représentatifs de la blue-eyed soul[7]. Le duo The Righteous Brothers, composé de Bill Medley et de Bobby Hatfield, se fait connaître avec les chansons You've Lost That Lovin' Feelin' (1964) et Unchained Melody (1965)[7]. À la fin des années 1960, la blue-eyed soul gagne en popularité à travers les tubes d'artistes comme The Rascals, The Box Tops, Mitch Ryder et Tony Joe White[2]. Durant cette période, Dusty Springf...

    Le terme « blue-eyed soul » est considéré comme offensif[16], voire raciste, en partie à cause de son synonyme « white soul »[17]. Le duo Hall and Oates a systématiquement rejeté l'appellation[3] et dans une interview accordée à VH1, Daryl Hall a déclaré détester ce « terme raciste »[18]. Pour Mick Hucknall de Simply Red, l'expression est à la fois ambigue et raciste[3]. La blue-eyed soul est aussi perçue comme une forme d'appropriation culturelle[4],[19],[20].

    (en) B. Lee Cooper et Wayne S. Haney, Rock Music in American Popular Culture II: More Rock 'n' Roll Resources, Routledge, 2013 (1re éd. 1997) (ISBN 1-56023-877-1 et 978-1-56023-877-5, lire en ligne...
    (en) Joanna Demers (préf. Rosemary Coombe), Steal This Music: How Intellectual Property Law Affects Musical Creativity, University of Georgia Press, 2006 (ISBN 978-0-8203-2710-5 et 0-8203-2710-7, l...
  9. ブルー・アイド・ソウル - Wikipedia

    ja.wikipedia.org › wiki › ブルー・アイド
    • 概要
    • 歴史:1960年、1970年代
    • 主な作曲家・プロデューサー
    • 参考:関連人物・グループ
    • 出典
    • 関連項目

    黒人の演奏に憧れて白人がソウルミュージックをやることに、最初は黒人の間にも白人の間にも抵抗感があった。ブルー・アイド・ソウルというジャンルに対しては、本物のソウル、R&Bと比較して軽視する意見も見られた。だが、今日このジャンルに分類されるアーティストの一部は、音楽評論家や音楽ファンから正当に評価されるようになった。60年代の前半にライチャス・ブラザーズに対して「ブルー・アイド・ソウル」という音楽用語が使用され、その後ラジオでオンエアされる白人リズム&ブルースミュージシャンに対しても、この用語が使われるようになった。

    1960年代に、アメリカにライチャス・ブラザーズ、ヤング・ラスカルズ、イギリスにスペンサー・デイヴィス・グループ、ヴァン・モリソンとゼムらが登場し、彼らの音楽はブルー・アイド・ソウルと呼ばれるようになった。1970年代前半には、ストーリーズ「ブラザー・ルイ」、スカイラーク「ワイルド・フラワー」、レッドボーン「カム・アンド・ゲット・ユア・ラブ」など、ブルーアイド・ソウルの名曲、佳曲が生まれた。さらに1970年代後半には、ホール&オーツ、ボズ・スキャッグスらが、ブルーアイド・ソウルのヒットを放った。また1980年代には、カルチャー・クラブ、ディキシーズ・ミッドナイト・ランナーズら第2次ブリティッシュ・インヴェイジョンの一部にブルー・アイド・ソウルのミュージシャンが存在した。

  10. How I Learned to Hate the Phrase 'Blue Eyed Soul'

    www.digitalmusicnews.com › 2016/07/08 › blue-eyed

    Jul 09, 2016 · The Truth Behind “Blue Eyed” Soul. “Blue eyed” soul is a stupid phrase from the 60s that described white artists with a soulful sound. However, the term evolved to become much more. It ...

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