James Brown's ‘Superbad’ and the double-voiced utterance

Abstract

JB was proof that black people were different. Rhythmically and tonally blacks had to be from somewhere else. Proof that Africa was really over there for those of us who had never seen it – it was in that voice. (Thulani Davis, quoted Guralnick 1986, pp. 242–3)If there is any black man who symbolizes the vast differences between black and white cultural and aesthetic values, Soul Brother No. 1 (along with Ray Charles) is that man. (David Levering Lewis, quoted Guralnick 1986, p. 240)Brown has never been a critics' favorite principally because of the apparent monotony of so many of his post-1965 recordings. But attacking him for being repetitive is like attacking Africans for being overly fond of drumming. Where the European listener may hear monotonous beating, the African distinguishes subtle polyrhythmic interplay, tonal distinctions among the various drums, the virtuosity of the master drummer, and so on. Similarly, Brown sounds to some European ears like so much harsh shrieking. (Robert Palmer 1980, p. 141)During the 1960s James Brown single handedly demonstrated the possibilities for artistic and economic freedom that black music could provide if one constantly struggled against its limitations … He was driven by an enormous ambition and unrelenting ego, making him a living symbol of black self-determination … Motown may have been the sound of young America, but Brown was clearly the king of black America. (Nelson George 1988, pp. 98–9)

The New Blue Music: Changes in Rhythm & Blues, 1950–1999. By Richard J. Ripani. Jackson: University Press of Mississippi, 2006. ISBN 1-57806-862-2 (pb)

“…While he sees a tendency in the 1970s and 1980s towards a 'sweeter' sound, indicated by an increase of chord types, he does not see other key traits of the blues system disappear. Although he finds such a 'sweetening' of the sound in crossover hits by superstars Michael Jackson and Prince -which would be in accordance with analyses by Brackett (2002) and Hawkins (2002) -he still sees a connection to the blues-system tradition in these songs. Indeed, Ripani's hypothesis is that instead of a further Westernisation, a re-Africanisation took place in the late twentieth century.…”

“…Based on his doctoral dissertation as well as his comprehensive knowledge of repertoire as a performer and music educator, this is an exceptional study, since in most writing on African-American music there is a striking absence of the sonic 'text', let alone an extensive analysis on this elementary level. There are rare exceptions such as Brackett's (2000) analysis of 'difference ' or Brommel's (2000) argument for musical form itself doing cultural work for the original blues audience as well as a new teenage audience -but neither of these represents such an extensive diachronical project, stretching over five decades. Thankfully, Ripani does not indulge in the discussion of 'lived experience' so common within blues discourse, which might serve to uphold notions of authenticity but not necessarily to gain a closer musical understanding -although some implicit assumptions about the naturalness and authenticity of black style are inevitably to be found throughout the book.…”

Out on the floor: the politics of dancing on the Northern Soul scene

“…138-41). As such, it is an example of what Brackett argues is the articulation of a new black 'soul' culture (Brackett 2000). While his vocals do not feature the high-key style which gives James Brown's singing its distinctive feel, he does use Sam Cooke's characteristic glissandi and the urgency of Jackie Wilson's blues gospel style with increasing prominence as the song progresses.…”

“Más Peruano Que El Macchu Picchu” Creating Afro-Peruvian Rap

“…The final element is rhythm. As “Black” and “White” English were compared by Brackett (1999), black and white music are compared by Rose to emphasize the differences between them. She states that harmony is to white Western classical music what rhythm is to black music, highlighting rhythmic and percussive density as another African‐derived practice that is continued in this contemporary genre (1994: 65).…”