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Chaka Khan performing with Rufus at a record launch party in London, February 1975.

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Chaka Khan - Castles Made Of Sand

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Of all the musical genres, rock ‘n’ roll has remained the most defiant and experimental. 

Infused with blues, gospel, jazz, and country, at the very root of its inception is the sound and rhythms of the black female voice. With an impact not recognized by history, black women’s spines hold stories books have never had the strength to carry. And within the pages of these encyclopedias is a narrative that pays homage to the foundational legacy of the black women who crafted the rock 'n’ roll force.

The legacy of black women in rock when dutifully researched and studied is omnipresent. Their names, however, are erased from the forefront because sexism and anti-black racism would have you believe that rock 'n’ roll was created by a down on his luck, raspy-voiced white man. Elvis is largely regarded as the “King of Rock 'n’ Roll,” Eric Clapton has been inducted into the rock 'n’ roll hall of fame three times and Queen’s Freddie Mercury is the name many throw into the ring when discussing unparalleled vocal pitch, control, and skill, paired with an unmatched stage presence. 

Yet before these men, at least two decades earlier, there was Big Mama Thornton, Sister Rosetta Tharpe jamming on the electric, and Bessie Smith channeling the Blues that would become one of the pillars of rock. These black women were making waves when the world would have rather seen them drown.

As the love child of an innovative mix of African-American musical styles, rock 'n’ roll is made up of many genres. Jackie Brenston’s “Rocket 88” is widely considered to be the “first” rock 'n’ roll record, but it wasn’t until Sister Rosetta Tharpe began playing gospel on an electric guitar that people were both scandalized and excited at the same damn time. 

She left the American population wholly unprepared to handle a creation whose reach would have a seismic impact on racial, gender, religious and cultural norms. The powerful, vibrating strokes of her electric guitar were a sinful hedonism, seen as a vulgar addition to the somber organ and the mellow piano notes of respectable Christian worship. Pre-civil rights America was also deeply entrenched in respectability politics which African-Americans consciously and unconsciously imposed upon themselves as evidence of their humanness. 

In the 50s being an educated negro wasn’t enough to give your humanity value. One had to have a strong morality, bordering on pious. A suit and tie for the men and knee lengths dresses, gloves and hats for the ladies. You had to have a political awareness that embraced the fallacy of the American dream and a patriotism that forgot the settler crimes of native genocide and slavery. To be an American negro you had to be the perfect negro, just to attain a fraction of the respect promised in an imperfect constitution.

Rock 'n’ roll was the oil to the suffocating waters of that respectability. It was a startling and unwanted contrast to the blues notes and the gospel verses drenched in perpetual martyrdom and despair. It was a political statement that relied on dissonance to create conversations on the politics of space. Specifically, which and how much space can be claimed by African-Americans and through this a revolution was spearheaded by black women. 

Through rock 'n’ roll the world heard echoes of negro spirituals taking you back to the antebellum south as a reminder of the pain and strife black women had lived. When black women sang they became the guardians of their own autonomy and threw respectability to the wind, refusing to have their bodies and voices censored in any manner. [Read More]

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Chaka Khan & The Roots - Egyptian Song

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Bing: Daughters Of Soul trailer - YouTube

*Daughters Of Soul trailer - YouTube

https://m.youtube.com/watch?v=efwgvpr3Y78#dialog/ //™

*#IndiraKhan♥™

*#DaughtersOfSoul♥™

*#LoveUnderNewManagement☎™

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Indira Khan & Mark Stevens - Do You Love What You Feel

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Dave VJ doesn't feel for it...

Veteran DJ Dave VJ talks Chaka, Indira, beautiful voices and a hateful song

“Although i have world of music at my finger tips from the day i bought Yvette Marie Stevens aka Chaka Khans 1981 album "What you gonna do for me” album,i have listened to more than any other in my whole life. The only other album that comes a close 2nd to it is Jay Zs “Reasonable Doubt” (i go through spates of playing this non stop at least once a year)

Chaka has a quality the provokes a warm feeling in my stomach at any time because its not just about her voice but its her sense of melody and and delivery. Aretha and Patti are unbelievable singers but Chaka delivers even when i think the song melodically is pants. “I Feel For You” is the song her biggest pop record and it is the only song that she has made that will instantly make me change stations if it comes on the radio because its like fake Hip Hop and my singer dissing my religion fills me with dread lol. I am pleased to say when i interviewed her she told me she hated the song when she 1st recorded it and it had to grown on her.

Chakas voice has also made me have an appreciation for other singers who model themselves on her vocally, 2 who come to mind in a big way are Sharon Bryant who was one of the many singers to lead the super group of soul ballads Atlantic Starr and the other is Toni Smith who sang on Trumpet player Tom Browns very popular and very over played Funking for Jamaica. When you are copied that many times at some point someone will get it completely right. That person is Chakas daughter who as a child was featured on the cover of her album Naughty. Her daughter Indira has an incredible voice and sings exactly like her mum. If u get a chance check Indira on you tube and see for yourself.“

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Joyce Kennedy, Nona Hendryx & The Daughters Of Soul - Lady Marmalade

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