1-CD-Album DigiPac with 96-page booklet. 29 tracks, playing time: 79:48 minutes.
Here comes the eagerly anticipated sequel to our first five volumes of 'Sweet Soul Music,' as well as the highly acclaimed, award-winning R&B series 'Blowin' The Fuse.' This is ehe sound that influences musicians who weren't even born when it came out, like Amy Winehouse and Joss Stone! All the greatest and most influential soul hits of the 1960s, including some surprisingly hard-to-find selections! Every song is the original version. The ultimate soul collection spread across ten individual CDs! The soul-searing soundtrack to the 1960s! Massive, beautifully illustrated booklets with detailed notes, incredible vintage photos, and ephemera.
Over the course of ten spectacular years, R&B morphed into soul music with a side order of funk, and became the soundtrack to a social revolution. The riveting story of that incredible decade is told in full for the first time on Bear Family's 'Sweet Soul Music' series. Some record companies have compiled anthologies from their own vaults, but Bear Family has gone the extra mile... and then some, licensing classic recordings from virtually every record label at the epicenter of '60s soul to compile the greatest hits with the finest sound quality.
The second five volumes, available now, cover the years 1966-1970. Though gospel remained the bedrock of soul music, the sound was transforming fast, thanks to Motown, Stax, the regional innovations of Chicago, New Orleans, and Muscle Shoals, and the funk revolution, led by James Brown and Sly & The Family Stone. The civil rights and antiwar movements were now rolling full speed ahead, and the messages at the heart of the music were often as powerful and invigorating as the grooves themselves. The second half of this incredible story is just as fascinating as the first. Bill Dahl's track-by-track commentary provides extensive biographical info on every artist on every disc.
The prelude to this series, 'Blowin' The Fuse,' definitively covered the history of R&B from 1945- 1960, garnering awards and general acclaim. The first five volumes of 'Sweet Soul Music' earned the same enthusiastic response. Now here come the other five jam-packed volumes of 'Sweet Soul Music,' compiled with love by Dave 'Daddy Cool' Booth. -- Hits' Too many to mention! Consult the track listing!
Sweet Soul Music
29 Scorching Classics From 1968
Smokey Robinson & The Miracles - I Second That Emotion
Smokey Robinson had found himself a new songwriting partner. One of his first collaborations with Motown newcomer Al Cleveland (a former member of The Halos, a New York doo-wop group whose Nag was a '61 hit) was yet another smash for Smokey's Miracles, whose non-stop hit streak in 1966-67 had included Going To A Go-Go, (Come 'Round Here) I'm The One You Need, The Love I Saw In You Was Just A Mirage, and the impossibly tender More Love...
Wilson Pickett - I'm In Love
It didn't seem to matter where Wilson Pickett recorded. Everywhere he went, he made nothing but hits. The Wicked One's first solo seller in 1963 for Lloyd Price's Double-L logo, If You Need Me, was done in Detroit, where he was then based. After a New York session proved less than inspired, Atlantic sent Pickett down to Stax in Memphis, where he promptly blasted forth with In The Midnight Hour, Don't Fight It, and 634-5789 (Soulsville U.S.A.). Then it was on to Muscle Shoals, where Wilson screamed Land Of 1,000 Dances, Mustang Sally, and Funky Broadway...
Inez & Charlie Foxx - (1-2-3-4-5-6-7) Count The Days
Juggy Murray's New York-based labels seemed to have a thing for attractive duos where the lady did the sexy singing and the dude sported a high processed hairdo and wielded a mean guitar. In 1960, Ike & Tina Turner debuted with their grinding, gritty A Fool In Love, the first of their string of hits for Juggy's Sue logo. Then in 1963, Inez Foxx burst onto the scene, delivering the singsong novelty Mockingbird in tandem with her brother Charlie, and that was a smash too, this time for Symbol...
Otis Redding - (Sittin' On) The Dock Of The Bay
The biggest hit Otis Redding ever had came posthumously. The Dawson, Georgia-born singer and two-thirds of his young backing band, The Bar-Kays, perished when their plane plunged into Lake Monona outside of Madison, Wisconsin on December 10, 1967. Otis had crossed over to the pop field in a mammoth way in the last year, blowing the hippies gathered at the Monterey Pop Festival away with his volcanic energy and boundless charisma. "I think that was their first major awareness of Otis," says organist Booker T. Jones, whose MG's backed Redding at the festival...
The Impressions - We're A Winner
Socially conscious message songs were proliferating on the R&B front, few of them as unfailingly optimistic as We're A Winner. The Impressions had definitely been winners since paring down to a three-man lineup in 1963, which afforded them the luxury of switching leads at will without sacrificing their spotless harmonies. Of course, Curtis Mayfield's high tenor and singular guitar (he tuned it to F sharp, like the black keys on a piano) were by far the most crucial element of the group's innovative sound, but Fred Cash and Sam Gooden were integral as well, as were the arrangements of their ABC-Paramount producer, veteran jazz bassist Johnny Pate...
Sly & The Family Stone - Dance To The Music
Here's where rock and soul and funk and psychedelia all fused together in one cataclysmic explosion, inexorably altering the future of R&B in the process...
Gladys Knight & The Pips - The End Of Our Road
The whole reason Gladys Knight & The Pips signed with Motown in 1966 was to nail the kind of blockbuster smashes that had proven elusive after their first two major sellers in 1961, Every Beat Of My Heart and Letter Full Of Tears. The Atlanta-born group had some promising releases in between, especially Giving Up for future Motown promo man Larry Maxwell's Maxx label in 1964. "Larry Maxwell got Van McCoy to write and produce on us," says The Pips' Merald 'Bubba' Knight. "That just solidified the whole relationship." But Maxx didn't last long enough to build up much in the way of momentum. Being on mighty Motown would be a very different experience...
The Intruders - Cowboys To Girls
Samuel 'Little Sonny' Brown of The Intruders wasn't your prototypical lead singer. His pipes were gritty and his pitch sometimes a mite tenuous. That only served to give the Philadelphia quartet an edgy, instantly recognizable and highly soulful sound that Kenny Gamble and Leon Huff selected as one of their early production projects...
Sam & Dave - I Thank You
Under the savvy compositional and production guidance of Isaac Hayes and David Porter, Stax's dynamic Double Dynamite duo, Sam & Dave, had become Stax's premier hitmakers following the tragic loss of Otis Redding on December 10, 1967...
Archie Bell & The Drells - Tighten Up Part 1
Not only did Archie Bell & The Drells succinctly introduce themselves on the front end of their smash Tighten Up, they claimed that "We don't only sing, but we dance just as good as we want!" And they backed up that brash boast over one of the most thoroughly infectious grooves ever to emerge from Houston, Texas...
Percy Sledge - Take Time To Know Her
When A Man Loves A Woman would prove impossible for Percy Sledge to top. His seminal 1966 debut single for Atlantic will forever reign as his calling card, a chart-topper across the board. But the Leighton, Alabama-born Sledge and producers Quin Ivy and Marlin Greene continued to make heartwrenching deep soul hits, beginning with a cover of Joe Haywood's Warm And Tender Love cut at Ivy's Norala Studios...
Marvin Gaye & Tammi Terrell - Ain't Nothing Like The Real Thing
Motown created a star-crossed duo when it paired veteran hitmaker Marvin Gaye and beautiful young Tammi Terrell. Their uplifting 1967 duet Ain't No Mountain High Enough, penned by Motown newcomers Nick Ashford and Valerie Simpson and produced by Johnny Bristol and Harvey Fuqua, was a smash. Ditto their encore, Your Precious Love, another luxurious Ashford/Simpson copyright...
Peggy Scott & Jo Jo Benson - Lover's Holiday
Just like Marvin and Tammi, Peggy Scott & Jo Jo Benson sounded like devoted lovers on wax but weren't—a good thing, since Benson was older and married...
Aretha Franklin - (Sweet Sweet Baby) Since You've Been Gone
1968 was the year that Aretha Franklin completed her ascension to the throne of Queen of Soul. So mammoth was her ongoing impact that she was pictured that June on the cover of 'Time' magazine (the article's superfluous mention of a physical altercation between Aretha and hubby Ted White at an Atlanta hotel so traumatized her that she's avoided interviews as much as possible ever since)...
Arthur Conley - Funky Street
Without his late mentor Otis Redding to guide him to glory, Arthur Conley was making do as best he could--and making more hits in the process...
The Dells - Stay In My Corner (single edit)
Only The Four Tops could rival The Dells for longevity. Since 1954, when they debuted as The El Rays, they've only undergone one major personnel change, ex-Flamingo Johnny Carter replacing lead tenor Johnny Funches in 1960. Formed in Harvey, Illinois (a southern suburb of Chicago) in 1953, they consisted of Funches, tenor Verne Allison, baritone Mickey McGill, baritone lead Marvin Junior, and bass Chuck Barksdale. Mickey's brother Lucius was an El Ray when they made their '54 Checker single Darling I Know but dropped out. They changed their handle to The Dells, and with The Moonglows' tutoring sharpened their blend dramatically...
Eddie Floyd - I've Never Found A Girl (To Love Me Like You Do)
After launching his recording career in Detroit as a founding member of The Falcons in 1955 (he was on their '59 proto-soul hit You're So Fine and the Wilson Pickett-led '62 testifier I Found A Love) and spending time in Washington, D.C. as a solo artist, Eddie Floyd had settled in at Stax Records in Memphis as both singer and songwriter...
Hugh Masekela - Grazing In the Grass
You wouldn't expect to find South African jazz trumpeter Hugh Masekela perched atop the American R&B and pop listings, but his Grazing In The Grass was such a joyous, infectious instrumental that idiomatic boundaries fell by the wayside...
Clarence Carter - Slip Away
If a winking leer could be transmitted on record, Clarence Carter was the man to do it. Backed by the cream of Muscle Shoals sessioneers, he sang often of slipping away to fool around at the dark end of the street—pretty steamy stuff for the late 1960s...
Barbara Acklin - Love Makes A Woman
Chicago producer Carl Davis had abundant singing and songwriting talent at his Brunswick Records office on South Michigan Avenue—even at the receptionist's desk...
James Brown - Say It Loud – I'm Black & I'm Proud (Part 1)
How influential of a musical icon was James Brown by 1968? When Dr. Martin Luther King was assassinated that April and other U.S. cities were going up in flames, Soul Brother Number One simulcast his Boston Garden concert on local television to keep angry inner city youth from going on a destructive rampage. Beantown remained calm...
Betty Wright - Girls Can't Do What The Guys Do
So young when she had her first hit that she should have had a babysitter in the studio, Betty Wright nevertheless had experience behind a mic even then...
The O'Kaysions - Girl Watcher
Beach music's timeless allure is irresistibly defined by The O'Kaysions' Girl Watcher, the blue-eyed soul sextet's first recording (under that name, anyway)...
Al Wilson - The Snake
On the periphery for a long time awaiting his career breakthrough song, Al Wilson finally found it in 1973 with the smooth-surging Show And Tell. The slyly allegorical The Snake might have done the trick for the suave baritone five years earlier, but it stalled at #27 pop and #32 R&B despite Wilson's vivid reading...
Jerry Butler - Hey, Western Union Man
With a decade's worth of hits behind him, Jerry Butler epitomized cool...
Young-Holt Unlimited - Soulful Strut
Neither bassist Eldee Young nor drummer Isaac 'Red' Holt were anywhere near the recording studio that Soulful Strut was recorded at. It was actually the backing track to Chicago soulstress Barbara Acklin's Am I The Same Girl. But Brunswick Records producer Carl Davis wasn't altogether satisfied with Barbara's performance and wiped her off it. He instructed studio pianist Floyd Morris to play its melody over the track (bassist Bernard Reed and drummer Quinton Joseph were probably the actual rhythm section on the song)...
Johnnie Taylor - Who's Making Love
Standing at the crossroads of his career in St. Louis, Johnnie Taylor flipped a dime. Heads, he'd travel north and try to hook on with Motown. Tails, he'd go to Memphis and visit Stax. Tails won. So did lovers of emotionally charged Southern soul. ..
The Temptations - Cloud Nine
It was unthinkable to steer The Temptations away from their sumptuous vocal harmony blend, an essential ingredient in their Motown smashes The Way You Do The Things You Do, My Girl, and I Wish It Would Rain. Then again, the Tempts and producer Norman Whitfield always tried to stay one step ahead of the competition...
Marvin Gaye - I Heard It Through The Grapevine
Even before he produced Gladys Knight & The Pips' uplifting rendition of I Heard It Through The Grapevine, Norman Whitfield had helmed a bone-chilling treatment by Marvin Gaye in early 1967. But Berry Gordy had given it a personal thumbs-down at one of Motown's weekly Quality Control meetings. The discussion got heated but Berry wouldn't budge, opting to release the Holland-Dozier-Holland-generated Your Unchanging Love as Gaye's next single instead. It proved only a moderate seller (contrary to the way it sometimes seems, Gordy wasn't infallible)...
|29 Scorching Classics From 1968 (CD) 1|
|1:||I Second That Emotion||Smokey Robinson & The Miracle|
|2:||I'm In Love||Wilson Pickett|
|3:||(1-2-3-4-5-6-7) Count The Days||Inez & Charlie Foxx|
|4:||(Sittin' On) The Dock Of The Bay||Otis Redding|
|5:||We're A Winner||THE Impressions|
|6:||Dance To The Music||Sly & The Family Stone|
|7:||The End Of Our Road||Gladys Knight & The Pips|
|8:||Cowboys To Girls||The Intruders|
|9:||I Thank You||Sam & Dave|
|10:||Tighten Up Part 1||Archie Bell & The Drells|
|11:||Take Time To Know Her||Percy Sledge|
|12:||Ain't Nothing Like The Real Thing||Marvin Gaye & Tammi Terrell|
|13:||Lover's Holiday||Peggy Scott & Jo Jo Benson|
|14:||(Sweet Sweet Baby) Since You've Been Gone||Aretha Franklin|
|15:||Funky Street||Arthur Conley|
|16:||Stay In My Corner (single edit)||The Dells|
|17:||I've Never Found A Girl (To Love Me Like You||Eddie Floyd|
|18:||Grazing In the Grass||HUGH, Masekela,|
|19:||Slip Away||Clarence Carter|
|20:||Love Makes A Woman||Barbara Acklin|
|21:||Say It Loud ? I'm Black & I'm Proud (Part 1)||James Brown|
|22:||Girls Can't Do What The Guys Do||Betty Wright|
|23:||Girl Watcher||The O'Kaysions|
|24:||The Snake||Al Wilson|
|25:||Hey, Western Union Man||Jerry Butler|
|26:||Soulful Strut||Young-Holt Unlimited|
|27:||Who's Making Love||Johnnie Taylor|
|28:||Cloud Nine||The Temptations|
|29:||I Heard It Through The Grapevine||Marvin Gaye|