tag:blogger.com,1999:blog-2956138709974797846.post4045879626084722925..comments2023-12-31T02:25:50.066-06:00Comments on 60x50: Friday, January 22, 1960: CookevilleSam Umlandhttp://www.blogger.com/profile/14327376115570876540noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-2956138709974797846.post-85935953413207220432008-03-04T12:54:00.000-06:002008-03-04T12:54:00.000-06:00Where do I begin? First of all, there's a TON of w...Where do I begin? First of all, there's a TON of wrong information on Sam's RRHOF page (e.g. Sam's RCA contract was signed January 6, 1960; his birthday is January 22). As his great-nephew, I wrote my book in order to clear up a lot of misinformation, and to educate those like yourself who are unfamiliar with his many musical contributions. I agree--his career has been poorly documented, and it is for that reason I chose to set the record straight.<BR/><BR/>"Cooke's Tour" has never been put on CD for an obvious reason--save for a couple of songs, the compilation sucked. RCA really didn't know how to pursue the crossover market with an artist of Sam's caliber and musical range, and experiments like this album, along with singles like "Teenage Sonata" and "You Understand Me" failed miserably in the marketplace. It wasn't until the Cooke-written release of "Wonderful World" by his previous label sold a million singles did RCA turn to Sam for works he had written himself. The result was the million-selling single "Chain Gang" you mentioned.<BR/><BR/>Sam mastered not only the gospel circuit, but had 34 Top 40 R&B singles, 25 of which he wrote himself. These included "You Send Me," "Twistin" the Night Away," "Cupid," "A Change is Gonna Come," "Another Saturday Night," "Having a Party," along with many others. His 1963 "Night Beat" album is an excellent example of his Blues side, and "Live at the Copa" previewed his plans to conquer the sophisticated supper-club audience. Besides being a prolific songwriter, he arranged and produced not only his own music, but for other artists as well.<BR/><BR/>Off stage, Sam was a relentless pioneer who rarely succumbed to a challenge. He was the first black artist to form a successful record label when others told him it couldn't be done, signing R&B greats Bobby Womack and Billy Preston as mere teenagers. He was the first black artist to refuse to sing to segregated audiences, risking life and limb to do so in the racially-charged South. He was one of the first black artists to consciously pursue a crossover market (a quick listen to "Live at the Harlem Square Club, 1963" will give you an sample of what he sounded like <I>outside</I> the mainstream). And by holding fast to his demand to retain his songwriter's royalties in negotiations with RCA, he empowered artists for generations to come. Remarkably, he accomplished all these things before his 34th birthday.<BR/><BR/>Other entertainers respected him for his independence as well as his ability to "get down" with the best of them. James Brown once said if he could sing like Sam, he wouldn't have to dance.<BR/><BR/>Finally, it's interesting to note that I have serious disagreements with how and why he died. From my own research, what's been whispered in my ear by valued sources, and what the family knew what was going on with Sam in his final years, my conclusion is that he was killed not in the silly scenario reported, but because to some parties he was worth more dead than alive. I've touched here on a few things in my book, but there's a lot more to the Sam Cooke saga both on and off stage which makes him the musical genius as deemed by many and the "prince of a man" to Aretha Franklin.<BR/><BR/>Respectfully submitted,<BR/><BR/><B>Erik Greene</B><BR/>Author, "<I>Our</I> Uncle Sam: The Sam Cooke Story From His Family's Perspective"<BR/><A>www.OurUncleSam.com</A>Anonymousnoreply@blogger.com