6 iconic R&B/Soul songs that shaped the sound of the 1970s

Rhythm and blues, a versatile label, encompasses a broad spectrum of American pop music that gained prominence post-WWII. It originated from diverse roots: the deep blues from the Southern delta, rural country music, spiritual gospel tunes, along with upbeat jump and swing styles that flourished in urban northern areas.

In various directions, the music genre expanded, led by rock ‘n’ roll and soul tunes that held sway throughout the 1960s. The record labels associated with these artists generally pursued mainstream popularity, softening the rawer, more authentic aspects, ensuring the love songs remained sugary-sweet and devoid of complexity, while keeping politics out of sight. However, by the close of the 1960s, this approach started to crumble under pressure.

In the realm of R&B/Soul, many songs continued to be popular cross-overs. However, the civil rights movement called for a new kind of music. Towards the end of the decade, James Brown’s emergence and the birth of funk marked a significant shift. By 1970, there was a musical revolution—though not on TV, it filled the airwaves loud and clear.

6 R&B/Soul songs that showed how much music was changing in the 1970s

These six tunes only begin to explore the abundance of creativity found in soul and funk music during that particular decade, particularly at its onset. However, they offer a sneak peek into the transformative shift that was happening. The sounds were fresh. The themes were novel.

Previously categorized as Black-American tunes, they were now asserting a fresh identity. These were undeniably American melodies, transcending racial and ethnic boundaries. Everyone was tuning in to these tracks with their ears.

“Family Affair” by Sly and the Family Stone (1971)

By the time of “Dance to the Music,” Sly had moved beyond the carefree funk sounds, and his music started carrying a more thoughtful social message in tracks from the 1969 album Stand!. However, listeners were taken aback by the raw intensity of There’s a Riot Goin’ On, which was released two years later.

The third and last number one hit in the USA by “Family Affair,” sung by Sly, was more than just a tune I listened to. It resonated deeply within me. There was something about that sound and his voice that seeped beyond your ears and straight into your very being. Sly was pushing the boundaries of what soul/funk music in modern times could achieve.

“Theme from Shaft” by Isaac Hayes (1971)

At the same time, Isaac Hayes was garnering recognition from mainstream circles. His funk creation, which served as the rhythmic core of Gordon Parks’ film, clinched the award for Best Original Song at the Oscars. Prior to this, less than ten African Americans had been nominated for an Oscar, and only a handful have actually won. Notably, these victories were primarily in acting categories.

Hayes played a significant role in popularizing funk among a larger group and laid the groundwork for future groundbreaking soundtracks in films, such as Curtis Mayfield’s “Superfly,” which followed shortly after.

“Let’s Stay Together” by Al Green (1972)

In some aspects, Al Green contrasted greatly with James Brown. While Brown radiated raw energy and intensity, Green exuded an elegance reminiscent of satin’s smoothness and the coolness of ice. However, in a crucial point, they shared similarities. They both sang with a fervor that would have left your parents astonished.

Initially, Green delved into gospel music – a style he revisited throughout his professional journey – before exploring soul and pop. His ethereal falsetto sometimes echoed that of Robert Johnson and Skip James. Notably, his musical partners Willie Mitchell and Al Jackson, Jr., were adept at composing the most irresistible love ballads.

For the majority of the decade, Green became a prominent figure in the pop music industry. His debut single, “Let’s Stay Together,” set the tone effectively. With a subtle vocal and instrumental style, he gradually escalated the intensity, creating an explosive finale.

“Papa Was a Rollin’ Stone” by The Temptations (1972)

As time passed, similar to numerous other groups, the Temptations transitioned from a youthful pop sound to more daring and complex expressions. This transformation was particularly noticeable in their groundbreaking chart-topping hit from 1972.

The original version, crafted by Motown icon and co-writer Norman Whitfield, takes you on a 12-minute musical expedition through the realms of funk. In its abridged radio edition, the tune remains one of the strongest pop chart-toppers ever created.

“I’ve Got to Use My Imagination” by Gladys Knight & the Pips (1973)

In the early ’70s, not every song by African American artists was characterized by the raw funk sound. The music of Al Green from Memphis, alongside the O’Jays from Philadelphia and the Spinners, who originated in Detroit but moved there, dominated the pop charts. These tracks were mainstream pop hits that delved into soul, with only a slight acknowledgment of funk.

In the same genre, Gladys Knight & the Pips were also churning out hit songs, with “Midnight Train to Georgia” reaching number one in ’73 as an example. However, the successor to “Midnight Train,” titled “I’ve Got to Use My Imagination,” showcases just how deeply the funk style that Sly Stone had been refining a few years prior had permeated their music.

The strong beat of the bass and the restless trumpets at the start of the performance served as an obvious sign of what was about to unfold.

“You Haven’t Done Nothin’” by Stevie Wonder (1974)

During the previous years, Elton John’s albums held a strong grip on the radio. However, in the middle part of the decade, Stevie Wonder started to take over. Although Stevie had been active for a long time, his new, mature compositions, particularly “Music of My Mind” and then “Talking Book,” both from 1972, significantly elevated the quality of work.

The “Talking Book” showcased one of the most memorable beats from the decade, specifically “Superstition.” I believe his talent only grew stronger by the time of “Fulfillingness’ First Finale”. The song “You Haven’t Done Nothin'” is brimming with funk and could sustain a dozen undernourished jams. Yet, it also resonates powerfully with the spirit and intensity of protest.

This particular mindset was set to revolutionize late-1970s music in a big way, especially punk and new wave. As for established R&B and soul genres, they took a detour through disco before merging the funk and dance pop elements into an iconic form, as exemplified by “Rapper’s Delight” by the Sugarhill Gang at the end of the decade.

2025-05-12 13:00