Sam Cooke In a class titled History of Rock ‘n Roll, one would think that the course would cover almost every major artist who participated in or influenced the rise of the genre. However, due to time constraints and personal preferences, every artist cannot be given the credit they deserve in the proper way—at least not all in one semester! That is okay, though. In this paper I plan on introducing an artist whose career and influence on the creation of the rock n’ roll era both was tremendous in his own right. Sam Cooke was a revolutionary artist who in some instances set the precedent for many artists and movements that followed. His music, singing, and performance helped solidify Cooke as one of the all-time greats. As a Rock and Roll Hall of Fame charter member, the need for his presence on the syllabus and in this class is irrefutable. Born in Chicago, Illinois, on January 22, 1931, to the Reverend and Mrs. Charles Cook, Sr., Sam Cooke was one of eight Cook children. This son of a Baptist preacher and sibling to four brothers and three sisters was born into a lifestyle conducive to a musical career. The large family and church background provided for the perfect set-up for a gospel family group. That’s just what they did—together forming “The Singing Children”. (Wolff). Cooke’s musical talents and interests continued to thrive in the ensuing years as he moved from one musical group to another, working to make a name for himself and for the African-American community in music. His music often reflected the troubling times in our nation—and his words were often turned into action—as was evident by him eventually becoming the first-ever artist—black or white—to run his own record/production company. (Stambur) Sam Cooke had a very unique style of music for his time, and his road to fame was certainly an interesting one. With his father being a Baptist preacher, much of Cooke’s musical influence was derived from gospel/soul roots. He attempted to carry his gospel music from the church to the public’s mainstream of music. Although the Soul Stirrers were relatively well established already, the addition of Cooke’s silky vocals and smooth delivery brought the group a wider appeal—so much that Cooke soon became the group’s featured tenor. (Larkin, “Soul Stirrers”). He was able to bring a pop appeal to gospel due to his charisma, talent, and his good looks. He attracted young people and women in a way that no other gospel artist had ever done. He is widely considered to be gospel’s first sex symbol. Cooke had an uncanny ability to bring an entire crowd to a climax and then hold it there as long as he wished. (Larkin, “Sam Cooke”). The crowds were always in awe of the way he blended gospel and blues to create his own, very popular, style of rock ‘n roll.

One aspect of Sam Cooke’s career that obviously warrants his presence on the syllabus was his economic success. With his early experience deeply rooted in gospel music, Cooke ran into a personal dilemma when considering his musical future. If he wished to harness his incredible musical talent, Cooke likely needed to branch away from his usual gospel routine and shift to a more pop-centered career. This switch to mainstream pop would not take place lightly. Cooke was originally discouraged against cutting pop tracks for fear of audience disapproval of the secular songs. (Brenner, “Sam Cooke”). However, upon receiving his father’s blessing to pursue the career in pop, Cooke went for it. So to the discouragement of Specialty Records and its owner, Sam Cooke, along with producer Bumps Blackwell, left the label and signed with Keen Records. It was with Keen that Cooke would release his first single hits such as “You Send Me” and its B-side track “Summertime”. “You Send Me” went gold in 1958, selling over 2 million copies! Cooke’s early releases introduced the public to a “voice that was unlike any that they had ever heard, Cooke had a delicate but intense voice. His clear diction and timbre reminded some people of Nat King Cole, but Cooke had a depth of emotion below his polish which Cole could not touch.” (Brenner, “Sam Cooke”) (Author: Gene Busnar) The next phase of Sam Cooke’s economic success was a groundbreaking event. After enjoying much individual success as a member of the Keen Records label, Cooke decided that he wanted a stronger financial base, and he set out to do what no other rock ‘n roll artist had ever done—own his or her own record label. So in 1959, with business partner J. W. Alexander, Cooke founded SAR Records. (Roper). This milestone in rock ‘n roll history was also a huge moment for the African-American population when one considers the, then pending, civil rights movement. SAR was a direct outgrowth of Cooke’s gospel roots, and he continued to seek out talented gospel artists looking to get into pop—like himself at one point—for his label. It goes without saying that while Cooke’s original gospel work “heralded the sound of soul”, much of Cooke’s success can be attributed to his crossing over from gospel to mainstream pop. The establishment of SAR symbolized independence—more specifically, a black man ‘getting his’. The label became a training ground for new talent and the test site for new sounds. SAR released fifty-seven singles by fifteen different artists from 1959-1964. (Stambur)

The life and music of Sam Cooke impacted many, many later artists and movements in the industry. This influence alone is enough to argue for his inclusion on the syllabus. To name a few of the artists whom Cooke notably influenced: Johnnie Taylor, Valentino’s Bobby Womack, Otis Redding, Aretha Frankln, Smokey Robinson, and many others. (Larkin, “Sam Cooke”). Later artists actually reinterpreted many of Cooke’s songs. Sam Cooke also heavily influenced the development of gospel, R&B, and rock as musical genres. His story of gradually switching over from the gospel roots he inherited from his family ties to the mainstream music industry helped guide many similar artists, namely Aretha Franklin. In regards to R&B, Sam Cooke’s eventual rise to success in this area paved the way for countless young African-American R&B artists to make their way to the top if the industry, too. Another way Cooke influenced the culture surrounding music was by introducing ‘black phrases and techniques.’ An example of black phrases being introduced can be found in songs like “Bring It Home To Me”. One black technique introduced by Cooke was called call & response—a technique later used by notable artists Lou Rawls, Ray Charles, and the King of Soul himself—Otis Redding. (Brenner, “Sam Cooke”)

While it was not so much a ‘black technique’, another revolutionary concept introduced by Mr. Cooke had to do with the layout of group members during performances. By adding one more member to the group during his stint with the Soul Stirrers, Cooke’s group allowed for the lead singer on a particular song to step out in front of the group while the other members continued their chosen performance style. This was quite a switch-up from the traditional quartet form groups usually used by such groups. (Brenner, “Soul Stirrers”)

Though it is not explicitly stated anywhere on either party’s account, the writer believes this revamping of the way groups were put together may have had a slight, even indirect influence on later groups such as the Beatles. This thought comes from the idea that many later groups, like the Beatles, allowed for different band members to ‘take center stage’ on songs they created or on which they were best suited to lead. The connection could be made that by Sam Cooke’s ingenious approach to group presentation, he allowed other members to grab the reins if they so chose—influencing later groups to do the same, or perhaps to even recruit members for their respective bands basing more emphasis on overall talent than on just any one specific instrumental gift. As stated before, Sam Cooke often used lyrics which reflected the troubling times in which he was singing. He lived at the center of a cultural change, and his music, voice, and sound helped spread the message of hope, change, and rebellion to the mainstream. One hit Cooke put out that was certainly attributed to the events of its time was “A Change is Gonna Come”. This song was basically the musical equivalent of Dr. Martin Luther King, Jr.’s philosophy dealing with the civil rights movement. (Brenner, “Soul Stirrers”). The song was an attempt to unite audiences by blending gospel, ballad, blues, and protest song formats. The song was a response to a track called “Blowin’ In the Wind” written by Bob Dylan. In this title, Dylan expressed great unrest and frustration for the struggles being faced by the African-American population in the U.S. at that time. Cooke was so deeply moved by his white counterpart’s passion for the civil rights of his people that he began to perform the Dylan song at live shows, before later recording his response. “A Change is Gonna Come” was recorded under the RCA Victor label in 1963 as part of the 1964 Ain’t That Good News album. The social overtones presented in this track did not immediately garner public pandemonium, as its introduction on The Tonight Show was blanketed by the Beatles’ appearance on the Ed Sullivan Show days later. However, in an effort to get the track more airplay on American radio airwaves, Cooke eventually agreed to cut the song length down by thirty seconds. “A Change Is Gonna Come” is arguably the only song that matched Sam Cooke’s artistic fervor of his gospel days. (Brenner, “Soul Stirrers”)

Posthumous success of this track was tremendous. After being shot and killed in a rather sketchy situation in the Hacienda Motel in Los Angeles, on December 11, 1964, many considered “A Change Is Gonna Come” to be a sort of anthem for the civil rights movement. (Wolff). Thousands of distraught fans presented themselves at Cooke’s funeral to show their support for their activist idol. This support was shown by not only the black community, but the white audience grieved for and supported their lost artist, too. This is a testament to the realization that Sam Cooke’s works were popular with all races—a phenomenal feat in that day in time. Lou Adler, who organized the Monterey International Pop Festival, said this of Cooke: “Sam showed the way. He broke the barriers down as far as how the young white audience could—not worship—but be fans of a black artist.” The MIPV was a seminal moment in rock history, as it broke through segregated genres with artists such as Jimi Hendrix, Janis Joplin, Otis Redding, and others performing. It marked the moment when Cooke perhaps became the era’s “invisible mentor”. Cooke’s former producer Bumps Blackwell recounts sums it up this way: “Sam was one of those original, creative persons who left a whole legacy of stuff for singers to use. They can just take a little piece of what he had and make a career out of it.” Another example of Cooke’s ability to address current events issues through his music was his first big hit with RCA Victor—“Chain Gang”. This song depicted the suffering and mistreatment of convicts through labor. It again showed Cooke’s ability to remain in touch with the struggles of the people—namely the African-American community. Cooke also enjoyed other commercial success; his “Wonderful World” track was used in Levi 501 Jeans commercials. (Jaguardog). He also was able to capitalize on the dance crazes taking place due to Chubby Checker’s “The Twist” by coming out with “Twistin’ The Night Away”. All in all, Sam Cooke’s music, lyrics, and style introduced whites to a new side of soft rock—affording the future African-American acts the chances many of his predecessors and peers were never given. (Stuessy). He broke down barriers set forth by the society of his time , crossed over musical genres, and set the precedent for rock ‘n roll artists by taking a more administrative role in his career. Cooke was inducted into the Rock ‘n Roll Hall of Fame in 1986 alongside artists like Elvis Presley, Little Richard, Chuck Berry, and Fats Domino. (Brenner, “Soul Stirrers”). His success, while sometimes drowned out by artists such as Elvis, The Beatles, and the Rolling Stones of more recent years, cannot be over-emphasized. The impact he had on the entire rock ‘n roll genre as it began to develop is immeasurable. For these reasons mentioned and many others, it’s hard to believe that more time and effort would not be taken to discuss Sam Cooke’s involvement in rock ‘n roll. His absence from the syllabus is truly a disservice to all the students who wished to receive a comprehensive history of rock ‘n roll.

Works Cited
Brenner, Luann, ed. "Sam Cooke." Contemporary Musicians : Profiles of the People in Music. Ed. Angela M. Pilchak. Vol. 1. Detroit: Gale, 2005. 58-59.

Brenner, Luann, ed. "Soul Stirrers." Contemporary Musicians : Profiles of the People in Music. Ed. Angela M. Pilchak. Vol. 1. Detroit: Gale, 2005. 215-37.
Jaguardog. "CHAIN GANG, CUPID, WONDERFUL WORLD, YOU SEND ME & OTHERS – SAM COOKE." EPinions.com. 11 Mar. 2004. Shopping.com. 8 Oct. 2008 .

Roper, Sean. "The Simms Twins, Sam Cooke and SAR." SeanRoper.com. 19 Jan. 2008. 8 Oct. 2008 .

"Sam Cooke." The Encyclopedia of Popular Music. Ed. Colin Larkin. Vol. 2. New York: Omnibus P, 2007. 1221.

"Soul Stirrers." The Encyclopedia of Popular Music. Ed. Colin Larkin. Vol. 2. New York: Omnibus P, 2007. 5044.

Stambur, Irwin. "Sam Cooke." Encyclopedia of Pop, Rock, and Soul. New York, NY: St. Martin's P, 1974. 123.

Stuessy, Joe, and Scott Lipscomb. Rock and Roll : Its History and Stylistic Development. 5th ed. Upper Saddle River: Prentice Hall Higher Education, 2008.

Wolff, Daniel, S. R. Crain, and Cliff White. You Send Me : The Life and Times of Sam Cooke. New York: Virgin Books Limited, 1997.