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Blue-eyed soul (also known as white soul) is a term sometimes used for rhythm and blues and soul music performed by white artists.〔(【引用サイトリンク】title=Blue-Eyed Soul )〕 The term was coined in the mid-1960s, to describe white artists who performed soul and R&B that was similar to the music of the Motown and Stax record labels. Though many rhythm and blues radio stations would only play music by black musicians, some began to play music by white acts considered to have "soul feeling", which came to be called "blue-eyed soul".〔 ==1960s== Georgie Woods, a Philadelphia radio DJ, is thought to have coined the term "blue-eyed soul" in 1964, initially to describe The Righteous Brothers, then white artists in general who received airplay on rhythm and blues radio stations.〔〔(【引用サイトリンク】title=Blue-eyed Soul: Colour Me Soul )〕〔(【引用サイトリンク】title= Georgie Woods )〕 The Righteous Brothers, who were then most associated with the term, named their 1964 LP ''Some Blue-Eyed Soul''.〔(【引用サイトリンク】title=Righteous Brothers, The – Some Blue-Eyed Soul at Discogs )〕 According to Bill Medley of the Righteous Brothers, R&B radio stations who played their songs were surprised to find them to be white when they turned up for interviews, and one DJ in Philadelphia (unnamed by Medley but probably Georgie Woods) started saying "Here's my blue-eyed soul brothers", and it became a code to signal to the audience that they were white singers. The popularity of The Righteous Brother who had a hit with "You've Lost That Lovin' Feelin'" is thought to have started the trend for a number of R&B radio stations to play songs by white artists with "soul feeling" (i.e. blue-eyed soul) in the mid-1960s, a more integrative approach that was then popular with their audience. Blue-eyed soul then became a loosely used term to describe many white artists, including Sonny & Cher, the Beatles, Tom Jones, Sam the Sham, Barry McGuire, and Roy Head. White musicians playing R&B music, however, began before the term blue-eyed soul was coined. For instance, in the early 1960s, one of the rare female blue-eyed soul singers was Timi Yuro, whose vocal delivery and repertoire were influenced by African American singers such as Dinah Washington.〔(Bob Dickinson, ''Timi Yuro: Feisty white singer with a black soul voice'', The Guardian, 10 April 2004 ). Retrieved 21 November 2015〕 Lonnie Mack's 1963 gospel-infused vocals earned him widespread critical acclaim as a blue-eyed soul singer.〔Alec Dubrow, Rolling Stone, November 23, 1968) Quote: "It is truly the voice of Lonnie Mack that sets him apart. He is primarily a gospel singer, and in a way not too different from, say, Elvis, whose gospel works are both great and largely unnoticed. Lonnie's songs have a sincerity and intensity that's hard to find anywhere." See also, Bill Millar (1983). "Blue-eyed Soul: Colour Me Soul". The History of Rock. Archived from the original on 2007-11-22. Retrieved 2007-11-14: "Lonnie Mack wailed a soul ballad as gutsily as any black gospel singer. The anguished inflections which stamped his best songs ("Why?", "She Don't Come Here Anymore" and "Where There's a Will") had a directness which would have been wholly embarrassing in the hands of almost any other white vocalist."〕 Groups such as The Rascals (originally The Young Rascals) had soul-tinged pop songs, but it was the soulful vocals of Felix Cavaliere that gave them the blue-eyed soul sound. By the mid-1960s, British singers Dusty Springfield, Eric Burdon and Tom Jones had become leading vocal stars of the emerging style.〔(【引用サイトリンク】title=Dusty Springfield Biography )〕 Other notable UK exponents of blue-eyed soul included The Spencer Davis Group (featuring singer-organist-guitarist Steve Winwood) and archetypal mod band The Small Faces, whose sound was heavily influenced by the Stax label's house band Booker T. & the M.G.'s. Blue-eyed soul singer, Chris Clark became the first white singer to have an R&B hit with Motown Records in 1966. Most of the leading UK pop groups of the period – including The Beatles, The Rolling Stones, The Kinks and The Who – regularly covered Stax and Motown tracks on record or in concert, and all of them have acknowledged the influence of Motown and Stax artists on their music. In 1967, Jerry Lee Lewis, whose latter days at Sun Records (1961–63) had been characterized by R&B covers, recorded an album for Smash entitled ''Soul My Way''. Delaney and Bonnie (Bramlett) produced the blue-eyed soul album ''Home'' on Stax in 1969.〔(【引用サイトリンク】title=The Righteous Brothers "Blue-Eyed Soul" )〕 Michael Sembello, who left home at age 17 to tour with Stevie Wonder, wrote and performed on numerous blue-eyed soul hits for Wonder, Brian McKnight, David Sanborn, Bill Champlin and Bobby Caldwell. Todd Rundgren began his career in Woody's Truck Stop, a group based on the model of the Paul Butterfield Blues Band. He left the band to form the garage rock band Nazz in 1967. Outside the Anglo-American scene, in Italy, Mina and Carmen Villani fused elements of soul music with the traditional Italian pop music.〔(Settimana 20 Dicembre 1968 ) Hitparadeitalia site. Retrieved 6 August 2007〕〔(Se stasera sono qui ) hitparadeitalia site. Retrieved 10 August 2007〕〔Loris Biazzetti 2005. The Platinum Collection. CD liner notes. EMI〕〔(Io e te da soli ) HitParadeItalia site. Retrieved 27 June 2007〕〔(【引用サイトリンク】title=Carmen Villani )〕 Carola and Doris were notable Scandinavian artists who were influenced by soul music.〔(Carola (FI): Chain of Fools (Song) ) (In German). swisscharts.com〕〔(Carolaa neljällä kielellä ) (Carola in four languages. In Finnish). YLE〕〔(【引用サイトリンク】publisher=Blaxploitation.com )〕〔(Doris: Did You Give The World Some Love Today, Baby? ) Other Music digital music store〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Blue-eyed soul」の詳細全文を読む スポンサード リンク
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