Sam Cooke

山姆·庫克早期接受的是宗教音樂訓(xùn)練，后來轉(zhuǎn)為世俗流行歌手。他短暫一生建樹的成就，影響了許多后繼者，當(dāng)然也包括白人在內(nèi)。
 
他1935年1月22日生于芝加哥。有2個(gè)姐妹，1個(gè)兄弟。9歲時(shí)就在教堂組織的“歌唱兒童”內(nèi)唱歌。在中學(xué)時(shí)他和他弟弟參加了一個(gè)宗教演唱團(tuán)體。他在成為領(lǐng)唱后已小有名氣。
 
1956年有人鼓動(dòng)他錄些流行歌曲，他本人也很感興趣。但他所在的團(tuán)體不原成員介入世俗音樂，因此他以假名Dale Cooke發(fā)行了一曲《可愛的-Lovable》。然而他那柔順的嗓音終究瞞不過世人，他的團(tuán)體把他開除了，唱片公司也不愿再發(fā)行他的唱片。不過有一家Keen 唱片公司還是接受了他。在這家公司旗下出的第三支單曲《你給我-You Send Me》成了他第一張上榜唱片，也是僅有的一支榜首曲。
 
1960年RCA唱片公司以十萬美元的代價(jià)招之旗下。庫克的嗓音影響了多位藝員。如Otis Redding, Rod Stewart, Marvin Gaye等，他的曲目在搖滾界更是被廣為翻唱。
 
庫克的一生悲劇頻繁。1958年11月10日出車禍?zhǔn)軅?，一年后他的第一任夫人又因車禍喪生?963年夏天，他的小兒子在家庭游泳池中溺水身亡。1964年12月10日，庫克在好萊塢飯店遇到一女子，并以她不自愿的方式將她帶入汽車旅館。當(dāng)她拿著庫克的衣服跑出房間時(shí)，庫克追了出來，以為她會(huì)躲在經(jīng)理辦公室里，便猛烈的敲門。接著便是混亂的扭打局面，女經(jīng)理在近距離對(duì)庫克開了三槍，又拿根棍子敲擊他。他當(dāng)場(chǎng)死亡。他的葬禮在洛山磯和芝加哥舉行時(shí)，有20萬他的歌迷，悲痛地去對(duì)他進(jìn)行最后的致敬。
 
by Bruce Eder
 
Sam Cooke was the most important soul singer in history — he was also the inventor of soul music, and its most popular and beloved performer in both the black and white communities. Equally important, he was among the first modern black performers and composers to attend to the business side of the music business, and founded both a record label and a publishing company as an extension of his careers as a singer and composer. Yet, those business interests didnt prevent him from being engaged in topical issues, including the struggle over civil rights, the pitch and intensity of which followed an arc that paralleled Cookes emergence as a star — his own career bridged gaps between black and white audiences that few had tried to surmount, much less succeeded at doing, and also between generations; where Chuck Berry or Little Richard brought black and white teenagers together, James Brown sold records to white teenagers and black listeners of all ages, and Muddy Waters got young white folkies and older black transplants from the South onto the same page, Cooke appealed to all of the above, and the parents of those white teenagers as well — yet he never lost his credibility with his core black audience.
 
In a sense, his appeal anticipated that of the Beatles, in breadth and depth. He was born Sam Cook in Clarksdale, MS, on January 22, 1931, one of eight children of a Baptist minister and his wife. Even as a young boy, he showed an extraordinary voice and frequently sang in the choir in his fathers church. During the middle of the decade, the Cook family moved to Chicagos South Side, where the Reverend Charles Cook quickly established himself as a major figure in the religious community. Sam and three of his siblings also formed a group of their own, the Singing Children, in the 1930s. Although his own singing was confined to gospel music, he was aware and appreciative of the popular music of the period, particularly the melodious, harmony-based sounds of the Ink Spots, whose influence could later be heard in songs such as You Send Me and For Sentimental Reasons. As a teenager, he was a member of the Teen Highway QCs, a gospel group that performed in churches and at religious gatherings. His membership in that group led to his introduction to the Soul Stirrers, one of the top gospel groups in the country, and in 1950 he joined them.
 
If Cooke had never recorded a note of music on his own, he would still be remembered today in gospel circles for his work with the Soul Stirrers. Over the next six years, his role within the group and his prominence within the black community rose to the point where he was already a star, with his own fiercely admiring and devoted audience, through his performances on songs like Touch the Hem of His Garment, Nearer to Thee, and Thats Heaven to Me. The group was one of the top acts on Art Rupes Specialty Records label, and he might have gone on for years as their most popular singer, but Cookes goal was to reach audiences beyond the religious community, and beyond the black population, with his voice. This was a tall order at the time, as the mere act of recording a popular song could alienate the gospel listenership in an instant; singing for God was regarded in those circles as a gift and a responsibility, and popular music, rock & roll, and R&B were to be abhorred, at least coming from the mouth of a gospel singer; the gap was so great that when a blues singer such as Blind Gary Davis became sanctified (that is, found religion) as the Rev. Gary Davis, he could still sing and play his old blues melodies, but had to devise new words, and he never sang the blues words again.
 
He tested the waters of popular music in 1956 with the single Lovable, produced by Bumps Blackwell and credited under the name Dale Cooke so as not to attract too much attention from his existing audience. It was enough, however, to get Cooke dropped by the Soul Stirrers and their record label, but that freed him to record under his real name. The result was one of the biggest selling singles of the 1950s, a Cooke original entitled You Send Me, which sold over two million copies on the tiny Keen Records label and hit number one on both the pop and R&B charts. Although it seems like a tame record today, You Send Me was a pioneering soul record in its time, melding elements of R&B, gospel, and pop into a sound that was new and still coalescing at the time.
 
Cooke was with Keen for the next two years, a period in which he delivered up some of the prettiest romantic ballads and teen pop singles of the era, including For Sentimental Reasons, Everybody Loves to Cha Cha Cha, Only Sixteen, and (What A) Wonderful World. These were extraordinarily beautiful records, and in between the singles came some early album efforts, most notably Tribute to the Lady, his album of songs associated with Billie Holiday. He was unhappy, however, with both the business arrangement that he had with Keen and the limitations inherent with recording for a small label — equally to the point, major labels were knocking on Cookes door, including Atlantic and RCA Records; Atlantic, which was not yet the international conglomerate that it later became, was the top R&B-oriented label in the country and Cooke almost certainly would have signed there and found a happy home with the company, except that they wanted his publishing, and Cooke had seen the sales figures on his songs, as well as their popularity in cover versions by other artists, and was well aware of the importance of owning his copyrights.
 
Thus, he signed with RCA Records, then one of the three biggest labels in the world (the others being Columbia and Decca), even as he organized his own publishing company, Kags Music, and a record label, SAR, through which he would produce other artists records — among those signed to SAR were the Soul Stirrers, Bobby Womack (late of the Valentinos, who were also signed to the label), former Soul Stirrers member Johnny Taylor, Billy Preston, Johnnie Morisette, and the Simms Twins.
 
Cookes RCA sides were a strangely schizophrenic body of work, at least for the first two years. He broke new ground in pop and soul with the single Chain Gang, a strange mix of sweet melodies and gritty, sweaty sensibilities that also introduced something of a social conscience to his work — a number two hit on both the pop and R&B charts, it was his biggest hit since You Send Me and heralded a bolder phase in his career. Singles like bluesy, romantic Sad Mood, the idyllic romantic soul of Cupid, and the straight-ahead dance tune Twistin the Night Away (a pop Top Ten and a number one R&B hit), and Bring It on Home to Me all lived up to this promise, and also sold in huge numbers. But the first two albums that RCA had him do, Hits of the Fifties and Cookes Tour, were among the lamest LPs ever recorded by any soul or R&B singer, comprised of washed-out pop tunes in arrangements that showed almost none of Cookes gifts to their advantage.
 
In 1962, Cooke issued Twistin the Night Away, a somewhat belated twist album that became one of his biggest-selling LPs. He didnt really hit his stride as an LP artist, however, until 1963 with the release of Night Beat, a beautifully self-contained, dark, moody assembly of blues-oriented songs that were among the best and most challenging numbers that Cooke had recorded up to that time. By the time of its release, he was mostly identified through his singles, which were among the best work of their era, and had developed two separate audiences, among white teen and post-teen listeners and black audiences of all ages. It was Cookes hope to cross over to the white audience more thoroughly, and open up doors for black performers that, up to that time, had mostly been closed — he had tried playing the Copa in New York as early as 1957 and failed at the time, mostly owing to his inexperience, but in 1964 he returned to the club in triumph, an event that also yielded one of the most finely recorded live performances of its period. The problem with the Copa performance was that it didnt really represent what Sam Cooke was about in full — it was Cooke at his most genial and non-confrontational, doing his safest repertory for a largely middle-aged, middle-class white audience; they responded enthusiastically, to be sure, but only to Cookes tamest persona.
 
In mid-1963, however, Cooke had done a show at the Harlem Square Club in Miami that had been recorded. Working in front of a black audience and doing his real show, he delivered a sweaty, spellbinding performance built on the same elements found in his singles and his best album tracks, combining achingly beautiful melodies and gritty soul sensibilities. The two live albums sum up the split in Cookes career and the sheer range of his talent, the rewards of which hed finally begun to realize more fully in 1963 and 1964.
 
The drowning death of his infant son in mid-1963 had made it impossible for Cooke to work in the studio until the end of that year. During that time, however, with Allen Klein now managing his business affairs, Cooke did achieve the financial and creative independence that hed wanted, including more money than any black performer had ever been advanced before, and the eventual ownership of his recordings beginning in November of 1963 — he had achieved creative control of his recordings as well, and seemed poised for a breakthrough. It came when he resumed making records, amid the musical ferment of the early 60s. Cooke was keenly aware of the music around him, and was particularly entranced by Bob Dylans song Blowin in the Wind, its treatment of the plight of black Americans and other politically oppressed minorities, and its success in the hands of Peter, Paul & Mary — all of these factors convinced him that the time was right for songs that dealt with more than twisting the night away.
 
The result was A Change Is Gonna Come, perhaps the greatest song to come out of the civil rights struggle, and one that seemed to close and seal the gap between the two directions of Cookes career, from gospel to pop. Arguably his greatest and his most important song, it was an artistic apotheosis for Cooke. During this same period, he had also devised a newer, more advanced dance-oriented soul sound in the form of the song Shake. These two recordings heralded a new era for Cooke and a new phase of his career, with seemingly the whole world open to him.
 
None of it was to be. Early in the day on December 11, 1964, while in Los Angeles, Cooke became involved in an altercation at a seedy motel, with a woman guest and the night manager, and was shot to death while allegedly trying to attack the manager. The case is still shrouded in doubt and mystery, and was never investigated the way the murder of a star of his stature would be today. Cookes death shocked the black community and reverberated far beyond — his single Shake was a posthumous Top Ten hit, as were A Change Is Gonna Come and the At the Copa album, released in 1965. Otis Redding, Al Green, and Solomon Burke, among others, picked up key parts of Cookes repertory, as did white performers, including the Animals and the Rolling Stones. Even the Supremes recorded a memorial album of his songs, which is now one of the most sought-after of their original recordings, in either LP or CD form.
 
His reputation survived, at least among those who were smart enough to look behind the songs — to hear Reddings performance of Shake at the Monterey Pop Festival, for example, and see where it came from. Cookes own records were a little tougher to appreciate, however. Listeners who heard those first two, rather poor RCA albums, Hits of the Fifties and Cookes Tour, could only wonder what the big deal was about, and several of the albums that followed were uneven enough to give potential fans pause. Meanwhile, the contractual situation surrounding Cookes recordings greatly complicated the reissue of his work — Cookes business manager, Allen Klein, exerted a good deal of control, especially over the songs cut during that last year of the singers life. By the 1970s, there were some fairly poor, mostly budget-priced compilations available, consisting of the hits up through early 1963, and for a time there was even a television compilation out there, but that was it. The movie National Lampoons Animal House made use of a pair of Cooke songs, (What A) Wonderful World and Twistin the Night Away, which greatly raised his profile among college students and younger baby-boomers, and Southside Johnny & the Asbury Jukes made almost a mini-career out of reviving Cookes songs (most notably Having a Party, and even part of A Change Is Gonna Come) in concert. In 1986, The Man and His Music went some way to correcting the absence of all but the early hits in a career-spanning compilation, but since the mid-90s, Cookes final years worth of releases have been separated from the earlier RCA and Keen material, and is in the hands of Kleins ABKCO label. Finally, in the late 90s and beyond, RCA, ABKCO, and even Specialty (which still owns Cookes gospel sides with the Soul Stirrers) each issued comprehensive collections of their portions of Cookes catalog.