Old-School Soul Is Still in Session: thewarandtreaty, Billy Valentine and William Bell (WBellMusic) have all recently released albums that not only draw from the soul-music tradition but also add something valuable to it.
Old-school soul music—much like swing, reggae, British Invasion rock or countless other once-popular genres—may have lost its market share, but it has not lost its musical value. Soul has entered that cultural twilight zone, where it is neither a major force nor mostly forgotten.
African-American religious music had evolved from “spirituals” to “gospel” in the 1930s by incorporating a heavy dose of the blues. The pivotal figure Thomas Dorsey had recognized that the bawdy excitement of the blues could be translated into exultant worship music. Charles merely revealed that the door could swing both ways.
The War and Treaty, the Nashville duo of Michael and Tanya Trotter, straddles the border between gospel and soul on their new, fourth album,. Five of the 10 songs are plainly secular love songs and three are explicitly religious. The other two are intriguingly ambiguous—as if to show how interchangeable the sentiments are.
“Blank Page,” for example, begins with a low-key, vocal-and-piano opening, builds to a peak, subsides to a churchy piano interlude before rebuilding to a big crescendo. “The Best That I Have” celebrates chilling at home with a lover with a silky understatement right out of the Smokey Robinson Quiet Storm playbook.
Bell mocks his own age with the album opener, “I Still Go to Parties.” Over a slinky Southern soul groove, accented by a clipped guitar and baritone-sax honks, he confesses, “I still go to parties, but I don’t dance as much, and I just don’t stay as long.” The Bo-Keys’ Scott Bomar, who helped Bryant’s revival, co-wrote the album closer, “Georgia Peach,” with Bell and plays guitar behind the singer’s giddy delivery over funny lines such as “I got the fuzz all over me.
This was obvious when Martin Luther King, an Atlanta pastor, made his “I Have a Dream” speech in 1963. And it was unmistakable when Sam Cooke turned those sentiments into a song, “A Change Is Gonna Come,” the following year. By the late ’60s and early ’70s, artists such as Sly Stone, Curtis Mayfield, Stevie Wonder, Marvin Gaye, Donny Hathaway, the Staples, Parliament-Funkadelic, the Temptations and War were transforming gospel materials into soul protest on a regular basis.
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