The typical deep soul song is achingly slow and impassioned, features an extreme amount of vocal ad-libbing over one compelling but repetitive set of chords, and is concerned primarily with love as slow, endless, unavoidable torture -- or, when happiness is called for, secular love as a rock from which to ride out life's storms. Unlike country-soul, to which it is often compared, deep soul rejects the acceptance of everyday pain -- the blues -- in favor of some sort of redemption to be gained through obsession.
Of course, there are exceptions to the rule. Arthur Conley's "Sweet Soul Music," for example, is uptempo and uplifting, lifting its gospel roots directly from Sam Cooke's "Yeah Man," itself a rewrite of some ancient ubiquitous call-and-response. As soul became poppier in the late Sixties, and black audiences moved on to funk grooves, deep soul more or less died out. However, it still thrives in certain Southern markets even today, and the style proved to be a tremendous influence on rock singers like Janis Joplin and Led Zeppelin's Robert Plant.
- "Cry Baby," Garnet Mimms
- "Kind Woman," Percy Sledge
- "I've Been Loving You Too Long (To Stop Now)," Otis Redding
- "I Never Loved A Man (The Way That I Love You)," Aretha Franklin
- "In The Midnight Hour," Wilson Pickett
- "Pouring Water On A Drowning Man," James Carr
- "Slip Away," Clarence Carter
- "Mercy, Mercy," Don Covay
- "Sweet Soul Music," Arthur Conley
- "When Something Is Wrong With My Baby," Sam and Dave


