Ballads and rocking rhythm and blues recorded for King in 1960-61.
James Carr and The Ovations to the fore, with some great southern soul from Specer Wiggins, Percy Milem, Eddie Jefferson, George Jackson and Dan Greer, and Barbara Perry, and a splash of country, and garage too.
Some great sides here, cut for King between 1961 and 1963, on the cusp between rhythm and blues and soul (with country music oiling the wheels).
Lounge ballads and stright-up country, with a few new version of his own earlier efforts, like the cover of Randy Newman’s Let’s Burn Down The Cornfield, and the self-penned LA Woman and Come On Home To Me.
Sparky, attitudinous girl garage from Europe and the US.
Straight country and lounge gloop — including new versions of songs tried elsewhere, like Randy Newman’s Let’s Burn Down The Cornfield, and his own LA Lady and Come On Home To Me.
A mouthwatering series in prospect, full of discoveries, but also charting every turn in the careers of giants like James Carr at this great Memphis label, as rhythm and blues turned southern soul.
A testament to the impeccable taste of the greatest soul singer of all time — mostly big names and classics, rounded off by gospel giant Clara Ward, and the song Aretha sang at her funeral.
Coveted, cookin rhythm and blues from the house band at Leo Gooden’s happening St Louis night spot, late fifties and early sixties.
An amazing tribute, infatuated with this iconic Crystal, Blossom, Rebelette, Wildcat, Young Cougar, Pelican, Blue Jean and K-C-Ette — who sang Christmas (Baby, Please Come Home) for Phil Spector.
Hair-down rock and roll, artful blues balladry and deep soul, for labels like King and Checker, with musicians like Mickey Baker and Specs Powell in NYC, and Allen Toussaint and Lee Allen in New Orleans.
Hair-down rock and roll, artful blues balladry and deep soul, for labels like King and Checker, with musicians like Specs Powell and Mickey Baker in NYC, and Allen Toussaint and Lee Allen in New Orleans.
‘Every time I produce something, it’s as if I’m still trying to prove myself. Every note, every song, every project, whether an arrangement or whatever, all of it is a unique challenge.’