{"product_id":"various-classic-rock-on-the-soul-side-cd-comp-m-m","title":"Various \/ Classic Rock - On The Soul Side - CD, Comp (M\/M)","description":"\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e1.  Otis Redding - Fa-Fa-Fa-Fa-Fa (Sad Song) 2:42\u003cbr\u003e2.  James Carr - Pouring Water On A Drowning Man 2:40\u003cbr\u003e3.  Carla Thomas - B-A-B-Y 2:50\u003cbr\u003e4.  James \u0026amp; Bobby Purify - Let Love Come Between Us 2:26\u003cbr\u003e5.  Erma Franklin - Piece Of My Heart 2:35\u003cbr\u003e6.  Sam \u0026amp; Dave - When Something Is Wrong With My Baby 3:16\u003cbr\u003e7.  Wilson Pickett - Mustang Sally 3:06\u003cbr\u003e8.  Billy Stewart - I Do Love You 3:02\u003cbr\u003e9.  Jackie Ross - Selfish One 3:19\u003cbr\u003e10.  The Impressions - You Must Believe Me 2:30\u003cbr\u003e11.  Toussaint McCall - Nothing Takes The Place Of You 3:25\u003cbr\u003e12.  Archie Bell \u0026amp; The Drells - (There's Gonna Be A) Showdown 2:39\u003cbr\u003e13.  The Tams - Hey Girl, Don't Bother Me 2:25\u003cbr\u003e14.  The Marvelows - I Do 2:28\u003cbr\u003e15.  The Originals - Baby, I'm For Real 3:17\u003cbr\u003e16.  Gladys Knight And The Pips - Giving Up 3:04\u003cbr\u003e17.  O.V. Wright - Eight Men, Four Women 2:54\u003cbr\u003e18.  Etta James - Security 2:48\u003cbr\u003e19.  Solomon Burke - If You Need Me 2:33\u003cbr\u003e20.  Little Milton - We're Gonna Make It 2:39\u003cbr\u003e21.  Aretha Franklin - Do Right Woman, Do Right Man 3:17\u003cbr\u003e22.  Johnny Adams - Reconsider Me 3:45\u003cbr\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eMedia Condition:\u003c\/strong\u003e Mint (M)\u003cbr\u003e\r\n\u003cstrong\u003eSleeve Condition:\u003c\/strong\u003e Mint (M)\u003c\/p\u003e\r\n\r\n\u003cp\u003eCat # : 2CLR-25, OPCD-2619\u003c\/p\u003e\r\n\r\n\u003cp\u003eBarcode : \u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003eFunk \/ Soul, Pop \/ Rhythm \u0026amp; Blues, Soul\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eNotes:\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003c\/p\u003e\u003cpre style=\"white-space: pre-wrap; text-align: justify;font-family: unset;\"\u003eVolume 25 of a 30 volume set.\n\nTrack durations obtained from software.\n\nComplete liner notes:\n\nIt's no coincidence that the rise of soul music paralleled that of the civil rights movement, for both had their roots in black spiritual pursuits and both ultimately promised transcendence. Soul music secularized many of the ideas and sounds of the black religious community. Naturally, many of its greatest proponents began in the church. \n\nNot all came from conventional church backgrounds, however. Take Solomon Burke, whose 1961 Just Out of Reach established him as one of the founders of the form. Twelve years before his birth in Philadelphia, he appeared to his grandmother in a dream, after which she founded Solomon's Temple, the House of God for All People, to prepare for his arrival. The Boy Wonder Preacher, as he became known, gave his first sermon at age seven, began singing publicly as a teenager, and entered the music business with a series of secular records with spiritual themes. By the early '60s, he was Atlantic Records' top artist. \n\nAtlantic's head Jerry Wexler gave Burke If You Need Me after hearing Wilson Pickett's demo of the song. Convinced it was a hit, Wexler spent $1,000 on the publishing rights but forgot to buy the demo itself. When Burke's version started charting, another label released Pickett's sketchy recording. Wexler had not been directly involved with record promotion for years, but, sensing that Pickett had the better single, he personally worked Burke's version, making it the bigger hit. Pickett didn't harbor any grudges and soon came to Atlantic to say that all was forgiven. Wexler promptly signed him. His hit Mustang Sally, which took its title from the sporty Ford automobile, was written by Mack Rice (though it was credited to his wife), Pickett's old partner in the Detroit group the Falcons. \n\nOtis Redding was considered the personification of soul music. His Fa-Fa-Fa-Fa-Fa (Sad Song) had its beginning in a horn line he scatted to producer Wexler during the recording sessions for his epochal Dictionary of Soul album. Redding and his frequent collaborator, guitarist Steve Cropper, turned the scat line into a song. \"The songs that we wrote together, I used to write about him,\" Cropper later recalled. \"To this day I don't think he knew I was really writing about him. That's how Mr. Pitiful and Fa-Fa-Fa-Fa-Fa came about.\" \n\nO.V. Wright and James Carr were two lesser-known Memphis artists influenced by Redding's style. Their patron was Roosevelt Jamison, a certified medical technologist at the City of Memphis Hospital who also ran the University of Tennessee's Interstate Blood Bank. Jamison managed several gospel groups on the side, among which were the Harmony Echoes, who included Carr and Wright and rehearsed at the blood bank. \n\nJamison placed them both with Goldwax, a new Memphis soul label patterned after Stax that had pharmacist Doc Russell handling finances and rockabilly-country producer Quinton Claunch taking care of the music. Wright had one hit for Goldwax, the seminal That's How Strong My Love ls, which would soon be covered by both Redding and the Rolling Stones. But Don Robey of Houston, owner of the Peacock and Duke labels, angrily pointed out that he had Wright under contract as part of the gospel group the Sunset Travelers. Robey oversaw Wright's career, leading to such classics as Eight Men, Four Women, in which a jury of love contemplates the crime of adultery. Jamison claims that he and co-writer Melvin Carter composed this and many more Wright hits and sold the rights to Robey, who claimed authorship under the pen name Deadric Malone. James Carr's raw, explosive approach to grit such as Pouring Water on a Drowning Man led to a short string of minor hits on Goldwax before the singer sank into an inexplicable slate of depression that virtually froze him both onstage and in the studio. \n\nAretha Franklin, a daughter of the famous Detroit preacher the Reverend C.L. Franklin, found her style in Muscle Shoals, Alabama, after years of directionless struggle. Franklin proved to be the most potent link between northern and southern soul. Her Do Right Woman, Do Right Man grew from the historic sessions that yielded I Never Loved a Man (The Way I Love You). Muscle Shoals mainstays Chips Moman and Dan Penn came up with the tune before the sessions and finished it while on break. As producer Wexler noted, \"It was still in the typewriter when we were ready to cut it.\" \n\nBut Wexler and company didn't complete the track that day. Fueled by a long bout of drinking in the studio, Franklin's husband and manager Ted White was picking arguments with the Muscle Shoals band; Wexler was doing the same with Fame studio owner Rick Hall; and a trumpet player was coming on to the singer herself. The sessions deteriorated so quickly that Wexler left Alabama with a very rough demo featuring just two instruments and Penn's scratchy vocal. Wexler later talked Hall into sending the sidemen to New York to do a King Curtis album, and he kept them there long enough to cut this and other tracks for Franklin's breakthrough album, I Never Loved a Man (The Way I Love You). \n\nThe Deep South was a hotbed of soulful activity. Sam and Dave's When Something Is Wrong with My Baby was a rare ballad by the Isaac Hayes-David Porter team that wrote and produced all Sam and Dave's rave-ups. B-A-B-Y, another Hayes-Porter triumph, was Carla Thomas' ingenuous bridge from the girl-group sound to soul. The versatile New Orleans singer Johnny Adams scored with Reconsider Me, a country song written by two of his labelmates and recorded in Nashville. \n\nChicago was becoming an important soul center, thanks largely to writer-producer Curtis Mayfield, leader of the Impressions. They started as a doo-wop group, made the transition to soul, and by the time of You Must Believe Me had entered a phase of \"secular hymns,\" as Mayfield called them. These songs of faith and inspiration, such as Keep on Pushing, People Get Ready, and We're a Winner, echoed the messages of Dr. Martin Luther King. The Impressions worked regularly with arranger Johnny Pate, who also cut the Marvelows on I Do, a song built around the \"do-do-do\" phrase the group doo-wopped while warming up to sing in the park each day. It was Pate's idea to record the group a cappella and then embellish the record with instruments. \n\nChess Records' Billy Stewart was known both as \"Motormouth\" for his aggressive, stuttering vocal attack and as \"Fat Boy\" for his girth. When he died in a car wreck in 1970, I Do Love You was the Stewart composition played at his funeral. Jackie Ross of St. Louis was 17 when she cut Selfish One, her only hit, for Chess. Little Milton, a Chess bluesman with a distinct country flavor, managed to hit the soul charts regularly with material like We're Gonna Make It. And Etta James was the label's premier soul shouter in the early '60s. After a long heroin-induced drought, she went to Muscle Shoals, cut a version of Otis Redding's Security, and shot right back onto the charts. It was one of the last hits cut at Fame studios. \n\nIn New York, producer Bert Berns used a standard Latin chord progression as the starting point for Piece of My Heart by Aretha's sister Erma Franklin; the song soon became Janis Joplin's calling card. In Detroit, the Originals were Motown's top backup vocal group from 1965 to 1969. Marvin Gaye reached back to his own doo-wop days when he penned Baby, I'm for Real for the group. Archie Bell of Houston, Texas, was actually in Vietnam when his group's breakthrough came with Tighten Up. Wounded soon thereafter, Bell was transferred to a West German hospital from which he eventually wrangled a series of 15-day passes to return to the States and cut (There's Gonna Be a) Showdown with the fledgling writer-producer team of Kenny Gamble and Leon Huff. The Philadelphia pair would eventually mold Archie Bell and the Drells into one of the leading exponents of the Philly International sound. \n\n- John Morthland\u003c\/pre\u003e\u003ca href=\"https:\/\/www.discogs.com\/sell\/item\/4352806572\" target=\"_blank\"\u003eData provided by Discogs\u003c\/a\u003e","brand":"IDshop","offers":[{"title":"Default Title","offer_id":49582668841219,"sku":"2CLR-25, OPCD-2619","price":15.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0030\/9765\/7390\/files\/581798-0800125464c452e220d5364c452e220d55169058787464c452e220d5a.jpg?v=1788835130","url":"https:\/\/idshop.ca\/products\/various-classic-rock-on-the-soul-side-cd-comp-m-m","provider":"ID Shop.ca","version":"1.0","type":"link"}