Is the Current Onslaught of ‘Blue-Eyed Soul' Performers Overshadowing Black Music Culture?

Date: Thursday, June 21, 2007
By: Danielle Kwateng, Howard University News Service

Listening to "Lost Without You" makes fans of Robin Thicke want to sail away to a romantic island. The eclectic sounds of Joss Stone remind many of smoky blues clubs. And when Justin Timberlake fans hear "My Love," they're instantly infatuated with the passion in his voice.

So what do these three sultry-voiced musicians have in common? They're part of the new generation of "blue-eyed soul" artists.

"Their sound is different — like Justin Timberlake's album is more upbeat than most black R&B artists," 20-year-old Howard University student Brianna Hurt told BlackAmericaWeb.com. "I just like their sound, plus I don't really like hip-hop anymore. It all sounds the same. Yes, [Robin Thicke] sounds like Marvin Gaye, but I don't compare him to anyone. I listen to them because they're good, and there's no profanity." 

The new generation of R&B lovers seems to embrace the music of today's blue-eyed soul artists, but their sound may also largely have something to do with the production teams behind them.

"Interestingly enough, today's biggest white soul singers have had strong support from black producer/mentors," acclaimed filmmaker and author  Nelson George told BlackAmericaWeb.com.

"Joss Stone has worked with the Roots and Raphael Saadiq, Justin Timberlake has been supported by Timbaland, and Robin Thicke was originally signed by Andre Harrell," George said.

"What many people don't know is that white musicians have been singing R&B since its beginnings," he added. "Although the roots of rhythm and blues come from the African-American culture of the South, many whites enjoyed and replicated the music as well."

The term "blue-eyed soul" originated in the 1960's with the emergence of white artists who sang songs written and produced by black musicians, because blacks couldn't get radio play. Elvis Presley, for example, sang songs written by black artists when the those acts were not allowed on the radio.

Over the years, the term revolutionized itself to describe white artists who, for lack of better words, "got soul." A lot of the original blue-eyed soul artists came from a jazz, blues, or country background, musical forms that were all fundamentally created by African-Americans.

Groups like The Righteous Brothers, The Young Rascals and The Box Tops were the pioneers for more mainstream artist of the 80's and today. Many of us are familiar with artists like Hall & Oates, Teena Marie, Michael McDonald and George Michael, artists who made it commonplace to hear white singers on urban contemporary radio stations.

"There have been blue-eyed soul singers for as long as there's been soul," says George. Back in the '60s, Dusty Springfield and the Righteous Brothers were played on black radio."

Charles Young, a professor of jazz at Howard University in Washington, D.C., and former member of the Duke Ellington Orchestra, agrees, but thinks there is a slight difference in jazz.

"The level of proficiency in white [jazz] players isn't as high," Young told BlackAmericaWeb.com. "They were spurred on by the love of black musicians."

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Some African-Americans worry that the culture behind historically black music is being lost behind the shadow of new white talent. But many music scholars believe its the black community itself that needs to do more to preserve the vitality and character of its music culture.

Young says he's concerned with the lack of enthusiasm young African-American students have towards their own music and the history of their culture.

"I'm saddened," Young said. "that African-American culture has become so hooked on pop culture that we don't know our history, let alone give a damn about it. I'm concerned that in another 50 years, if we're not careful, John Coltrane will be white."

George, however, doesn't see these new white artists as a threat.

"I don't see how owning the Robin Thicke's CD affects the health of black culture," George said. "Owning George Michael's "Careless Whisper" in the '80s didn't stop Michael Jackson or Luther Vandross. Whites have been inspired by — or stolen from — black music since slavery days."

"It's doubtful that any of the current stars will undermine the vitality of black culture," he added. "The only thing that can do that is black people themselves."

I have the "get over the shit already" attitude!

 

Damn!