Ian Matthews - Some Days You Eat The Bear (1974)

Ian Matthews is an English singer-songwriter.

Some Days You Eat The Bear (or to give its full title, Some Days You Eat The Bear And Some Days The Bear Eats You) was Ian Matthews second solo album on Elektra Records since moving to California. It was another excellent, solid country-rock offering. As usual he including some interesting cover songs, here featuring his own versions of Tom Waits' "Ol' 55", Danny Whitten's "I Don't Want To Talk About It", Gene Clark's "Tried So Hard" and Steely Dan's "Dirty Work", plus songs by Pete Dello and Jesse Winchester. It also featured some good originals - one of these, "Keep On Sailing", was actually a re-recording, as another version had already featured on his last album.
The album got a good critical reception, but saw no real commercial success, and so unfortunately he was subsequently dropped by Elektra.

Valley Hi (1973) <|> Go For Broke (1975)
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William Bell - Bound To Happen (1969)

William Bell is an American soul singer and songwriter. 

William Bell had been with Stax Records pretty much since the beginning, but for whatever reason he didn't actually start having hits until the late 60s. He was teamed up with other singers on the label for a number of singles, including Carla Thomas, Mavis Staples and Judy Clay. The most successful was with the otherwise little-known Judy Clay - "Private Number" charted at #17 R&B in 1968, and also managed to get into the Top 10 in the UK.
The same year he had a high-charting solo single - "I Forgot To Be Your Lover", co-written with Booker T Jones, got to #10 R&B. The next year a full album was released on the back of its success, produced and arranged by Jones and with backing from The MGs. It was actually only his second ever solo album, despite having recorded for Stax all the way through the 60s. It was a great record full of great songs and great arrangements. Being recorded at the end of the decade, it had a different, more smooth sound in comparison to recordings from the earlier, more recogniseable 'classic' Stax era. It featured "I Forgot To Be Your Lover" and a couple of other lesser singles, plus his own versions of songs that he had written for other artists - "Born Under A Bad Sign" (originally done by Albert King) and "I Got A Sure Thing" (originally by Ollie & The Nightingales). It also featured some surprise covers of Sly & The Family Stone's "Everyday People", Jerry Butler's "Hey, Western Union Man" and Jimmy Webb's "By The Time I Get To Phoenix".

The Soul Of A Bell (1967) <|> Wow... (1971)
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The Ovations - Hooked On A Feeling (1972)

The Ovations were an American R&B vocal group.

The Ovations had recorded for the Memphis-based Goldwax label in the 60s, and had reached the R&B singles chart with "It's Wonderful To Be In Love" and "Me And My Imagination". However the label had collapsed in 1969, leaving the group by themselves. In 1971 they were signed to the Sounds Of Memphis label with the help of producer Dan Greer. The next year they scored themselves a hit, their highest charting to date at the time - "Touching Me" got to #19 R&B. An album followed, produced by Greer and featuring the Hi Rhythm Section.
Compared to their earlier work with Goldwax, their new material was smoother and more polished, but that was to expected and just went to show how the sound of soul music was beginning to change as the 70s progressed. The defining characteristic of the group was still the Sam Cooke soundalike vocals of leader Louis Williams. Alongside the new hit, the album featured a cover of the B.J. Thomas hit "Hooked On A Feeling" as the title track, and a gospel medley featuring Sam Cooke's own "Touch The Hem Of His Garment" (originally recorded with The Soul Stirrers).

|> Having A Party (1973)
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Ry Cooder - Border Music (1981-1985)

Compilation
Ry Cooder is an American musician, best known for his skill as a slide guitarist and his interest in American roots music.

During the 1980s Ry Cooder was kept busy with a lot of film soundtrack work alongside his solo career, beginning with his brilliant music for Walter Hill's western The Long Riders in 1980. Many more followed, the most renowned being for Wim Wenders' 1984 film Paris, Texas. The beautifully recorded score was based on Blind Willie Johnson's "Dark Was The Night, Cold Was The Ground", and made for some truly splendid music perfectly suited to the vast, bleak desert landscapes featured in the film. The soundtrack has proved popular, but to be perfectly honest doesn't flow like a good album should as so much of it consists of variations of the same theme. Therefore I have put together this compilation which takes the highlights of the Paris, Texas soundtrack together with some other great, and lesser-known Cooder filmscore work from the same era, from the films The Border (1982) and Alamo Bay (1985).
The Border features one of Cooder's greatest songs, a rare original he co-wrote with Jim Dickinson and John Hiatt. "Across The Borderline" was sung by Freddy Fender, and the score also featured smaller pieces quoting the memorable melody. The soundtrack also featured a wonderful little-known Dan Penn song, "Building Fires", sung by Brenda Patterson (it had also been reorded by The Flying Burrito Brothers on their 1975 album Flying Again). The final two songs on the compilation are from Alamo Bay. There is a central theme here - all the films are set in southern Texas, and the music of all three soundtracks work well together, making for a great album of (mostly instrumental) music evocative of wide open spaces, the hot desert sun, and Mexican flavours from across the border. Powerful stuff!

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Taj Mahal - Taj Mahal (1968)

Taj Mahal is an American blues singer-songwriter and musician.

Henry Saint Clair Fredericks, Jr. was born in 1942 in New York, and grew up in Springfield, Massachusetts. He grew up in a musical family, his parenst having backgrounds in both gospel and jazz, and from an early age was also exposed to music from the Carribean and Africa. He learned many instruments, taking up the guitar aged thirteen, and later went to the University of Massachusetts - he almost pursued farming as a career instead of music. 
However in 1964 he made the move to California, having decided to be a full time musician, and took up the unlikely stage name Taj Mahal. He formed a group called The Rising Sons, a racially integrated blues / roots band, with Ry Cooder, Jesse Lee Kincaid, Gary Marker and Ed Cassidy. They had a record deal with Columbia Records but never released an album at the time, and broke up before long (an album of their recordings finally saw release in 1993). He did end up staying with Columbia though when they offered him a solo contract.
His debut album, Taj Mahal, was released in 1968. It was pure blues music, and mostly covers of well-known blues tunes at that, but it managed to come out fresh, lively and interesting, with a rootsy stripped-down style. Taj sang and played slide guitar and harmonica, and was helped out by Jesse Ed Davis on lead guitar and piano, his old bandmate Ry Cooder on guitar and mandolin, bassist James Thomas and drummer Chuck Blackwell.

|> The Natch'l Blues (1968)

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Booker T & The MGs - Green Onions (1962)

Booker T & The MGs were an American R&B instrumental group, best known for their work as the Stax Records house band during the 1960s.

The story of Booker T & The MGs can be traced back to the early, formative days of Stax Records, when the label and studio had yet to find its feet (it was then known as Satellite Records). Guitarist Steve Cropper was a member of The Mar-Keys, a Memphis high school band which came to record at Satellite in the early 60s (the group's sax player Packy Axton was the daughter of Estelle Axton and nephew of Jim Stewart, the brother-and-sister team who owned and ran the label), and gave them their first Top 10 hit with the instrumental single "Last Night" in 1961.
As the label and studio began to take off with the new Stax name and a distribution deal with the major Atlantic label, Steve Cropper became Jim Stewart's right hand man. A new, more professional studio group was put together from the ashes of The Mar-Keys, with drummer Al Jackson Jr., bassist Lewis Steinberg, and a young high school student by the name of Booker T. Jones. Jones was a talented multi-instrumentalist, but soon fell into the role of the group's keyboardist. Together they recorded the R&B instrumental "Green Onions", which became a surprise hit in 1962, charting at #1 R&B and #3 pop. A full album of instrumentals, featuring both originals and covers, was quickly recorded and put out under the Booker T & The MGs name. The album itself charted at #33.
Besides the giving the fledgling Stax label a massive cross-over hit, the band and the song were important for other reasons. They were a racially integrated group, the importance of which in the R&B world of the early 60s cannot be underestimated. As they went on to become the Stax house band and play on almost all of the label's recordings for the rest of the decade, 1962 can be seen as the year that they laid the foundations for the unmistakable sound of Stax Records, which became synonymous with the 'Memphis Sound'.

|> Soul Dressing (1965)

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James Govan - Wanted: The Fame Recordings (1969-1972)

Compilation
James Govan was an American soul singer.


James Govan was born in Mississippi in 1949, and grew up in Memphis, where as a teenager he sang in a group called The Vans. He was discovered by singer/songwriter/producer George Jackson in 1967, who took him to Rick Hall's Fame Studios in Muscle Shoals. He was signed to Fame Records, with hopes for him to fill the void recently left by the death of Otis Redding. Indeed the young James Govan certainly had a suitable voice. 
However for whatever reason his career at Fame never took off, and his first single didn't see release until 1969. "Wanted: Lover (No Experience Necessary)" was a brilliant slice of southern soul made the way the Fame crew new best, but unfortunately it didn't even chart. A soul-style arrangement of George Harrison's "Something" also failed to chart, and it seems his career just never happened. Many years later he did record one solo album, but that didn't see release until 1996. From 1993 until his death earlier this year he could be found performing at the Rum Boogie Café on Beale Street in Memphis.
James Govan is an example of a southern soul singer who has never really been given his due, but the UK-based Ace Records label has gone a long way to correct that, releasing this excellent compilation in 2013. It features sixteen songs Govan recorded at Fame, almost all of them until now unreleased. It demonstrates what a great singer he was, and how he certainly deserved to have scored a few hits in the late 60s. Like almost every other soul singer recording at Fame during the period, he tried his hands at a few Dan Penn songs, and it features his fine versions of "You Left The Water Running" and "Take Me Just As I Am". It also includes some very surprising choices of cover material, from outside the usual soul canon - as well as "Something", there are versions of Hank Williams' "Jambalaya", Arthur Crudup's "That's Alright Mama" and Bob Dylan's "Just Like A Woman" and "I Shall Be Released".

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Manfred Mann - The EP Tracks (And More) (1964-1966)

Compilation
Manfred Mann were a popular British rock group active in the 1960s.


Between 1963 and 1969 Manfred Mann released twenty-two singles and four albums. However that was not all, as they were also prolific on the EP market, releasing eight EPs in a two year period, most of them featuring songs which were not repeated on the albums and singles. The EPs featured some very interesting music. 1965's The One In The Middle featured their first Bob Dylan cover, a great arrangement of "With God On Our Side". Two of the EPs from 1966, Instrumental Asylum and Instrumental Assassination, featured some very good jazz instrumental versions of recent pop songs of the era (among them "Wild Thing", "Satisfaction" and "I Got You Babe"). The band handled jazz very well, with drummer Mike Hugg doubling on vibraphone. Instrumental Asylum also featured bassist Jack Bruce during his brief stint with the band (he also appeared on the hit single "Pretty Flamingo"), plus horn players Henry Lowther and Lyn Dobson.
This thirty-five song collection compiles all of these EP tracks, plus a few other loose ends, including b-sides which didn't appear on any of the albums, and a few songs which were only featured on the UK compilation albums Mann Made and Soul Of Mann. Together with the albums The Five Faces Of Manfred Mann, Mann Made, As Is and Mighty Garvey!, plus The Singles, this should give you the entirity of the band's released work.

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Kris Kristofferson - Border Lord (1972)

Kris Kristofferson is an American country music singer-songwriter.

In 1971 Kris Kristofferson made his acting debut in the film The Last Movie, and then starred in Cisco Pike in 1972. The same year he released his third album. Unlike his first two, which had both featured songs that had already been recorded by other artists (many of which had been hits), Border Lord featured entirely new songs. Also when compared to the first two (which featured strings and rather lush arrangements in places), the sound of the album was notably dry and gritty. Sales were slow overall, but the song "Josie" did break into the Top 100 when released as a single, charting #63. A modest position, but with his songwriting successes and new burgeoning acting career Kristofferson was doing fine.

The Silver Tongued Devil And I (1971) <|> Jesus Was A Capricorn (1972)
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Dion & The Belmonts - Presenting Dion & The Belmonts (1959)

Dion & The Belmonts were an American doo-wop group.

Dion DiMucci, Fred Milano, Angelo D'Aleo and Carlo Mastrangelo all grew up in the Bronx, New York City, and sang together as teenagers in the 1950s. Milano, D'Aleo and Mastrangelo came together as a trio and named themselves The Belmonts, releasing a single on the newly formed Mohawk Records. DiMucci also recorded one single for the label as a solo act, so it wasn't long before they joined together, first as 'Dion with The Belmonts'. In 1958 they had moved to Laurie Records, and become Dion and The Belmonts.
Their first single with Laurie was an instant hit. "I Wonder Why" charted nationally at #22, and led to an appearance on American Bandstand. This was followed by "No One Knows", charting at #19, "Don't Pity Me" at #40, and their first national tour, as they were rocketed to stardom as one of the best white doo-wop groups.
1959 saw them release their most enduring song - "A Teenager In Love", written by Doc Pomus and Mort Shuman, charted at #5 and is generally considered today one of the greatest pop songs of the original rock & roll era. It also charted at #28 in the UK. It wasn't actually their highest charting single though, that honour going to "Where Or When" (a remake of an old show tune), which reached #3 later in the year.
Their debut album was released in 1959, featuring all of their hits. A brilliant collection of infectious doo-wop tunes, some of the best American pop music of the era.

|> Wish Upon A Star (1960)

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The Lovin' Spoonful - Hums Of The Lovin' Spoonful (1966)

The Lovin' Spoonful are an American rock band originally active in the 1960s.

1965 and 1966 had been very successful years for The Lovin' Spoonful - with four hit singles and two albums released, they also got the chance to record the soundtrack for a Woody Allen film (What's Up, Tiger Lily?). Before the year was out they would have three more hits. The first of these proved to be their biggest, as the hard-driving "Summer In The City" became their first #1 pop hit. It also charted at #8 in the UK. The follow-up singles "Rain On The Roof" and "Nashville Cats" got to #10 and #8 respectively.
All three singles were featured on their third album, Hums Of The Lovin' Spoonful, released late in 1966. It proved to be a much more diverse record than their first two, mixing various strains of folk, blues, country and jug-band music into a collection of upbeat good-time music. For the first time, all the songs were written (or at least co-written) by frontman John Sebastian. The album itself charted at #14.

Daydream (1965) <|> Everything Playing (1967)
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James & Bobby Purify - Shake A Tail Feather! (1966-1971)

Compilation
James & Bobby Purify were an American soul music duo.

James Lee Purify (b. 1944) and Robert Lee Dickey (b. 1939) came from Florida, and were not brothers but cousins. As a guitarist, Robert had been a member of R&B group The Dothan Sextet, where his cousin James also came to fill in as a singer. In 1966 they came to the attention of producer Papa Don Schroeder, who took them both to record at Fame Studios in Muscle Shoals. Here the idea of having them sing together as a duo was conceived, and they took the stage name James & Bobby Purify. They recorded the Dan Penn / Spooner Oldham song "I'm Your Puppet", which became an instant hit on Bell Records, getting not only to #5 on the R&B chart but #6 on the Billboard Hot 100 too.
Lesser hits followed in 1967, first with another Penn/Oldham song - "Wish You Didn't Have To Go" charted at #27 R&B. Production then moved from Muscle Shoals to Chips Moman's American Sound Studio in Memphis, where a marathon recording session produced a cover of "Shake A Tail Feather" (originally recorded by The Five Du-Tones in 1963), which charted at #25 pop and #15 R&B. "I Take What I Want" (a Sam & Dave cover) went to #23 R&B, and "Let Love Come Between Us" went to #18 R&B and #23 pop. Two albums were also released.
By 1968 their singles were not charting as high, but they were still touring extensively. The next year the hits had dried up and they parted ways with Bell Records. By 1971 Robert Lee Dickey retired for health reasons, and the Purify name slipped away unnoticed. That was until 1974 when Ben Moore was recruited as the 'new' Bobby Purify for another album.
This compilation covers most of the recorded output of the 'original' James & Bobby Purify, during their years with Bell. Along with "I'm Your Puppet" and the other hits are a good number of b-sides, album tracks and previously unreleased numbers. Some excellent soul music, with just the right balance of pop and gritty southern R&B vibes.

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Percy Mayfield - Percy Mayfield Sings Percy Mayfield (1970)

Percy Mayfield was an American R&B singer and songwriter.

After his one-album deal with Brunswick Records in the late 60s, Percy Mayfield found himself signed to RCA Victor in 1970. His first album on his new label, Percy Mayfield Sings Percy Mayfield, was an excellent release - effortlessly cool with its smoky, lazy blues vibes. The twelve original songs were as clever and insightful lyrically as his songwriting had always been, and they were strengthened by some splendid arrangements courtesy of Joe Jones. 
By now Mayfield was 50, and any hopes of having any hit singles were long gone, but on his albums he was sounding better than ever.

Walking On A Tightrope (1969) <|> Weakness Is A Thing Called Man (1970)
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The Box Tops - Non-Stop (1968)

The Box Tops were an American rock group active in the 1960s.

Non-Stop was the third album in two years to be released under the Box Tops name. Like its predecessors, it was in reality mostly a product of the staff at Chips Moman's American Sound Studio in Memphis, produced by Dan Penn and featuring the studio's experienced session musicians (mostly guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrisman and keyboard men Spooner Oldham and Bobby Emmons). Alex Chilton was the lead singer, but the rest of the band were practically nowhere to be found as they were busy touring.
Like the other Box Tops albums, it was a brilliant showcase of the sounds and songs of the American team, mixing rock, pop, blues, soul and country. It included covers of Hank Snow's "I'm Movin' On", BB King's "Rock Me" and Mac Gayden's "She Shot A Hole In My Soul", along with some good new originals. Two of the tracks became minor hits - "Choo Choo Train", by Donnie Fritts and Eddie Hinton, charted at #26 and "I Met Her In Church", from Penn and Oldham, reached #37.

Cry Like A Baby (1968) <|> Dimensions (1969)
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The Impressions - Keep On Pushing (1964)

The Impressions are an American R&B vocal group originally formed in 1958.

In 1964 The Impressions released the "Keep On Pushing" single, which hit #10 on the pop chart. This song was one of the first to reflect an increasing social and political awareness in Curtis Mayfield's writing, and came to be seen as something of a black pride anthem. The album of the same name, released the same year, was their most successful to date, itself charting in the Top 10 and featuring several other hits. Indeed 1964 was a good year for The Impressions, with four singles getting into the Top 20 on the pop chart.
On the Keep On Pushing album, "Talking About My Baby" had actually been a hit the year before (#12 pop). "Amen" was their second biggest to date - a traditional black spiritual set to a marching rhythm, it charted at #7 pop. "I've Been Trying" would chart at #35 R&B the next year. The two other pop hits of the year not included on the album were "I'm So Proud" (included on their previous album) and "You Must Believe Me" (on the next album). Many of these high-charting pop songs didn't actually have a position on the R&B chart - that is because the R&B chart was discontinued at the end of 1963, but returned in 1965.

The Never Ending Impressions (1964) <|> People Get Ready (1965)
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Carla Thomas - Gee Whiz (1961)

Carla Thomas in an American soul singer.

Carla Thomas was born in Memphis in 1942, the daughter of R&B singer Rufus Thomas. Growing up in a musical family, in 1952 she became an underaged member of the Teen Town Singers, a group of high school students sponsored by the local WDIA radio station, and she sang with them all through her high school years. Her break came with some help from her father in 1960, with whom she recorded the R&B duet "Cause I Love You", which was released on a new Memphis label named Satellite Records. The song became a regional hit, and got the attention of Jerry Wexler of Atlantic Records, who signed a deal with Satellite to have the single distributed through Atlantic. Before long Satellite had been renamed Stax.
Later the same year Carla recorded her first solo single, a teen-pop ditty she had written when she was 15. With Atlantic's assistance, "Gee Whiz (Look At His Eyes)" reached not only #5 on the national R&B chart but #10 on the Billboard Hot 100 in early 1961. It became Stax's first national hit, and launched Carla's recording career, putting her in the spotlight as she got to perform the song on American Bandstand.
An album's worth of material was quickly put together, all in the same string-laden pop style of the single. It was a far cry from the hard soul sound Stax would later be known for, and the sound of the album has not aged well, but this was just the beginning, for both Carla and Stax. The album did generate another hit, "A Love Of My Own" getting to #20 on the R&B chart.

|> Comfort Me (1966)

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The Amazing Rhythm Aces - How The Hell Do You Spell Rhythum? (1980)

The Amazing Rhythm Aces are an American country-rock band originally formed in the early 70s.

By 1980 The Amazing Rhythm Aces had finished their contract with ABC Records. They then found themselves with Warner Bros. for one more album, their second with lead guitarist Duncan Cameron (whose stunning solo on the opening track was particular notable). How The Hell Do You Spell Rhythum? saw them lean further towards R&B than their previous albums had done, though of course also featuring a few moments of pure country. It featured a higher proportion of covers than any of their previous albums, with only two originals from lead singer Russell Smith. The covers included Dan Penn's "You Left The Water Running", Van Morrison's "Wild Nights" and Taj Mahal's "Further On Down The Road".
It turned out to be the band's last album for a good few years, as they broke up shortly afterwards. Russell Smith turned to a full time solo career (having released his debut solo album in 1978), Duncan Cameron joined Sawyer Brown, and the other members went on to work with various other artists as band members and session musicians.

The Amazing Rhythm Aces (1979) <|> Full House: Aces High (1981)
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Pentangle - Basket Of Light (1969)

Pentangle are a British folk group originally active in the late 60s and early 70s.

The Pentangle's third album was without a doubt their best yet. Their inventive take on folk music reached its pinnacle with this collection of nine songs - four traditional numbers, four originals, and one surprise pop cover ("Sally Go 'Round The Roses", originally a hit for The Jaynetts in 1963). As before, it was the brilliant acoustic musicianship of Bert Jansch, John Renbourn, Danny Thompson and Terry Cox, along with the crystal clear vocals of Jacqui McShee, that gave the band it's distinctive sound. The band's basic format of two acoustic guitars, standup bass and drums was varied on several songs, with glockenspiel from Cox, banjo from Jansch and sitar from Renbourn (the latter two giving "The House Carpenter" an eerie psychedelic feel).
The album actually gave them two minor hit singles. "Light Flight" was used as the theme tune to a forgettable BBC TV drama called Take Three Girls, and subsequently charted at #43 and became their best-known song. "Once I Had A Sweetheart" also made it to #46. The album itself got to #5 on the UK charts. As the 60s drew to a close the band were at the peak of their popularity, touring both the UK and US, performing at the Isle Of Wight Festival, recording the soundtrack to the film Tam Lin and making several TV appearances. 

Sweet Child (1968) <|> Cruel Sister (1970)
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Eddie Floyd - I've Never Found A Girl (1968)

Eddie Floyd is an American soul singer and songwriter.

1966 had seen Eddie Floyd's solo career launched by the massive hit "Knock On Wood". His next few singles charted more modestly - "Raise Your Hand", "Love Is A Doggone Thing" and "On A Saturday Night" reached #16, #30 and #22 respectively on the R&B chart. His next big hit came in 1968 - "I've Never Found A Girl (To Love Me Like You Do)" was a #2 R&B hit, and was followed by a great cover of Sam Cooke's "Bring It On Home To Me" which was a #4 R&B but also got to #17 on the Billboard Hot 100 (his highest charting single on the pop chart).
His second solo album came out in 1968, featuring both "I've Never Found A Girl" and "Bring It On Home To Me", plus a cover of Clarence Carter's "Slip Away". Some excellent soul music typical of the Stax sound.

Knock On Wood (1967) <|> You've Got To Have Eddie (1969)
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B.J. Thomas - I'm So Lonesome I Could Cry (1966)

B.J. Thomas is an American singer best known for his hits of the 60s and 70s.

Billy Joe Thomas was born in Oklahoma in 1942, but grew up in Texas. As a teenager he joined a band called The Triumphs, and through his success with them manged to get his solo career started. In 1966 his soulful cover of Hank Williams' "I'm So Lonesome I Could Cry" became a hit on Scepter Records, getting to #8 on the Billboard Hot 100. A follow-up single, "Mama", charted at #22. His first solo album, featuring both hits, was released the same year, presenting a mix of pop, soul and country styles. It included covers of Tom Jones' "It's Not Unusual" and Wilson Pickett's "The Midnight Hour".

|> Tomorrow Never Comes (1966)

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Mickey Newbury - Live At Montezuma Hall (1973)

Mickey Newbury was a critically-acclaimed American singer-songwriter.

Mickey Newbury's first live album saw release in 1973, an unedited recording of a solo concert performance at Montezuma Hall at San Diego State Universty from the same year. It was a powerful, intimate performace, mostly of songs from his past three albums (his famous trilogy of masterpieces), plus one which had yet to be released, a couple of obscurities exclusive to this concert, and a surprise cover of Percy Mayfield's "Please Send Me Someone To Love".
The history behind the album's release is quite interesting. Of his recent trilogy (Looks Like Rain, Frisco Mabel Joy and Heaven Help The Child), the first had been released on Mercury Records, whilst for the other two he had moved to Elektra. He took the rights for Looks Like Rain with him to Elektra, and so it was re-issued on his new label combined with Live At Montezuma Hall as a double LP. For many years this was the only place Montezuma Hall could be found, until it was included on the eight-disc The Mickey Newbury Collection in 1998. The album has therefore never been released by itself.

Heaven Help The Child (1973) <|> I Came To Hear The Music (1974)
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Various Artists - Rare Gems From Fame Studios (1962-1973)

Compilation

FAME (Florence Alabama Music Enterprises) first came into being in the late 50s as a music publishing company founded by Rick Hall, Billy Sherrill and Tom Stafford, its first location being a tiny studio above a drug store owned by Stafford's family in Florence, Alabama. In this obscure corner of Alabama, local musicians and songwriters were used to put together demos for songs which ended up being recorded by established artists in Nashville. In the early 60s a split occured, and Rick Hall was left with the name, with which he founded a new studio in the nearby city of Muscle Shoals.
In 1962 a recording was made which laid the foundation (both stylistically and financially) for the Fame recording empire. Hall recorded R&B artist Arthur Alexander singing his own composition "You Better Move On", and when released on Dot Records it became a national pop hit. The financial rewards allowed Hall to build a new, better studio, where he gathered together the musicians from the Florence days and began recorded local acts. It wasn't long before artists were being brought in from further afield to record at Fame, as its reputation grew. Fame's real breakthrough was in 1964 with Jimmy Hughes' "Steal Away", a Southern soul classic which charted as a #17 national pop hit. Fame became known for its high quality R&B output, and produced hits for Joe Simon, Joe Tex, Wilson Pickett, James & Bobby Purify, Arthur Conley, Clarence Carter, Laura Lee, Aretha Franklin and Etta James. Most recordings from this period featured the house rhythm section of keyboardist Spooner Oldham, guitarist Jimmy Johnson, bassist Junior Lowe and drummer Roger Hawkins. A vast proportion of the songs recorded there were written by in-house songwriters, the most prolific of them being Dan Penn.
Penn and then Spooner Oldham both left Fame for Memphis in '66 and '67 respectively to work at Chips Moman's American Sound studio. In 1969 the whole rhythm section (then featuring keyboardist Barry Beckett and bassist David Hood) left to form a rival studio which they named Muscle Shoals Sound. As the 70s dawned Rick Hall began branching out into more pop and country directions, and though he saw much success in subsequent decades, the studio will always be most closely associated with the R&B and soul music of the 60s.

Many of the hits that came out of Muscle Shoals remain today well-known soul classics, such as Aretha Franklin's "I Never Loved A Man (The Way I Love You)" and Wilson Pickett's "Land Of 1,000 Dances". However between these massive hits there were many now-forgotten minor hits, and a myriad of recordings that never made it. Many of these were released as singles and sunk without a trace, but the back catalogue of demos and recordings that never saw release is staggering considering their quality. In recent years more and more of these songs have been resurfacing on CD compilations, most notably on the Kent and Ace re-issue labels.
What I have for you here is a compilation of rare gems from the Fame studios. All of these tracks come from the Kent and Ace CDs. I have hand picked twenty-six tracks which you will struggle to find elsewhere. Some of these artists apparently only ever released or even recorded a few songs, and so will only ever be found on various artists compilations, and in some cases information about them is scarce to non-exsistant. Some are better known, but the songs included are ones that have not been put out on any of their own albums or compilations.
I have included more detailed notes on the songs as part of the album.

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Maria Muldaur - Waitress In A Donut Shop (1974)

Maria Muldaur is an American singer.

Maria Muldaur's debut album hade given her a hit single with "Midnight At The Oasis" in 1973. Her second album was released the next year, and saw her present another delightful collection of rootsy American music, full of lots of bluesy and jazzy flavours. The songs she chose to cover included numbers by Henry Glover, Skip James, Clarence Ashley, Fats Waller and Allen Toussaint. Musicians appearing on the album included  guitarists Amos Garrett, Elvin Bishop, David Lindley and Lowell George, drummer Jim Gordon, bassist John Kahn, keyboardists Dr John, James Booker, Paul Harris and Spooner Oldham, harmonica man Paul Butterfield and mandolin virtuoso David Grisman (plus many others).
The album gave her another hit, as her cover of Jerry Leiber and Mike Stoller's "I'm A Woman" (originally a hit for Peggy Lee in 1962) got to #12 on the singles chart. This was actually the second time she had recorded this song, as she sang it whilst with Jim Kweskin's Jug Band back in the 60s.

Maria Muldaur (1973) <|> Sweet Harmony (1976)
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John Mayall - The Turning Point (1969)

John Mayall is a British blues singer and multi-instrumentalist who was a major figure in the 60s British blues scene.

At the 60s drew to a close, John Mayall's contract with Decca Records was up. He signed with Polydor, put together a new band and moved to California. With his new band he took a different direction, planning to play low volume music with no drums. The lineup was very interesting - John Almond on flute and saxes, Jon Mark on acoustic fingerstyle guitar and Stephen Thompson on electric bass guitar. Mayall himself sang and played harmonica and electric guitar. There was no drummer or percussionist. The new group debuted their new sound at the 1969 Newport Jazz Festival, and released their first album shortly afterwards.
The Turning Point was recorded live at the Fillmore East, and was indeed quite a change for Mayall. It was still blues of course, but a new low-key, rootsy style of blues, with lots of room for jazzy improvisation. This was no doubt very welcome, as the template of loud electric guitar-driven blues was perhaps getting a bit stale after nearly ten years. The album was a definite success artistically, and helped make Mayall very popular in the US as he began to call California home.

Looking Back (1969) <|> Empty Rooms (1970)
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Sam & Dave - Hold On, I'm Comin' (1966)

Sam & Dave were an American soul duo, best known for their string of hits in the 1960s.

Sam Moore and Dave Prater both had backgrounds in gospel music, and this proved to be a vital ingredient of their vocal delivery when they began singing secular R&B. By the 60s they were both working the R&B circuit individually, and their paths crossed in Miami in 1961. They quickly formed a duo, and were signed to Marlin Records. Between 1962 and 1964 they released a number of singles on not just Marlin but the Roulette and Alston labels as well, and though they managed to get some regional airplay they achieved no national success.
All this changed in 1964 when they were signed by Jerry Wexler to Atlantic Records. Wexler recognised the gospel roots which drove their energetic live shows, and hoping to capture this on record he sent them to Memphis to record at the Stax studios. With the Stax staff they succeeded in capturing this energy, backed by Booker T & The MGs and recording the songs of the songwriting team of Isaaz Hayes & David Porter. Their first two singles with Stax didn't chart, but they finally scored a hit with "You Don't Know Like I Know", which got to #7 on the R&B chart in 1965. An even bigger hit followed when "Hold On, I'm Comin'" topped the R&B chart and also broke through to the pop chart at #21. This proved to be the huge breakthrough everyone had been waiting for, not only for Sam & Dave but Hayes and Porter and everyone else at Stax. With equally successful hits from Otis Redding and Wilson Pickett, 1965 and 1966 were the years that saw Stax first take the down-home sound of Memphis Soul into the pop charts.
An album was quickly put together to capitalize on the single's success, a great collection of raw, gritty Southern soul numbers, mostly written by Hayes and Porter (with a few from other members of the Stax staff such as Eddie Floyd). The album is also notable for having what is surely one of the worst covers of all time!

|> Double Dynamite (1966)

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John Fahey - Death Chants, Breakdowns & Military Waltzes (1963)

John Fahey was an influential American acoustic guitarist.

John Fahey had recorded and self-released his debut album Blind Joe Death in 1959. It had been put out under his own Takoma Records label, and in the early 60s Takoma became an actual formal business when Fahey tracked down blues singer Bukka White, and with friend Ed Denson produced White's first new recordings in over 23 years. The Bukka White album became the first non-Fahey release on the Takoma label.
Fahey released his own second album in 1963, and unlike with his debut he managed to get it distributed nationally. As a result he sold many more copies and it reached a much wider audience. It actually outsold the Bukka White album. It continued what his first album had started, further refining his unique style of acoustic guitar playing with a collection of twelve mostly solo compositions (one track featured flute played by Nancy McLean).
Like with his first album, Fahey ended up re-recording much of Death Chants in 1967 (all but two of the songs on the 1967 edition were re-recordings). I have got both versions here for you.

Blind Joe Death (1959) <|> The Dance Of Death & Other Plantation Favorites (1964)
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Brian Auger & The Trinity - Definitely What! (1968)

The Trinity was band active in the 60s, led by keyboardist Brian Auger and usually featuring singer Julie Driscoll.

In 1968 Brian Auger & The Trinity scored a #5 hit in the UK with their psychedelic cover of Bob Dylan's "This Wheel's On Fire", featuring Julie Driscoll on vocals. Subsequently their debut album sold much better. The group's next album actually did not feature Driscoll, so was far removed from the sound of their one and only hit. Definitely What!, released the same year, was an almost entirely instrumental album, the band now featuring the trio lineup of Brian Auger (keyboards/vocals), Dave Ambrose (bass) and Clive Thacker (drums). Its sound was that of a jazz/R&B fusion, with occasional psychedelic overtones and Auger's jazzy organ playing as the main focus. The trio were augmented on much of the album by a large horn section.
Much of the album consisted of Auger originals, though there was also an ambitious arrangement of The Beatles' "A Day In The Life", and covers of songs by both Mose Allison and Booker T. & The MGs.

Open (1967) <|> Streetnoise (1969)
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Jim Dickinson - Dixie Fried (1972)

Jim Dickinson is an American record producer, pianist and singer.

Jim Dickinson was born in Little Rock, Arkansas in 1941, but grew up in Memphis, where he learned piano as a teenager. During the 60s he was part of the Memphis and Muscle Shoals music scenes, mostly working as a session pianist. One of his best-known sessions came in 1969, when he suggested to The Rolling Stones that they record at the Muscle Shoals Sound Studio whilst they were on tour - he subsequently got to play the memorable piano part on "Wild Horses". In the late 60s he formed a studio group with guitarist Charlie Freeman, keyboardist Mike Utley, bassist Tommy McClure and drummer Sammy Creason. As The Dixie Flyers, they became the house band for Atlantic Records in 1970, recording at their Miami-based studio and backing a myriad of different R&B artists on the Atlantic label.
However in 1971 Dickinson tired of Miami, and returned home to Memphis as the Dixie Flyers began to fall apart. He started to focus on production work, producing and appearing on Ry Cooder's acclaimed Into The Purple Valley and Boomer's Story albums. Atlantic offered him a chance to record a solo album, and his debut Dixie Fried came out in 1972. It gave him the chance to present his own unique and off-beat take on southern roots music, resulting in a delightfully rough-hewn mix of R&B and country. Included covers of the title track by Carl Perkins, Paul Siebel's "Louise", and an obscure early Bob Dylan number "John Brown".

|> A Thousand Footprints In The Sand (1994)

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Al Kooper - Act Like Nothing's Wrong (1976)

Al Kooper is an American singer-songwriter, producer and musician.

In 1972 Al Kooper had set up his own record label based in Atlanta, Georgia - Sounds Of The South. For the next few years his solo recording career was set aside as he focused on his big discovery, southern rock band Lynyrd Skynyrd. He produced their first three studio albums, and with the Top 10 hit "Sweet Home Alabama" they were propelled to stardom. He parted ways with them in 1976 after their third album. 
Kooper then released another solo album on United Artists Records. Act Like Nothing's Wrong was recorded in Nashville, Florida and Atlanta, and co-produced by John Simon. Despite the awful choice of cover art, it turned out to be one of his finest albums, with his usual mix of rock, pop and R&B. Three definite standout tracks were the Dan Penn / Spooner Oldham composition "Out Of Left Field" (originally a hit for Percy Sledge), a reworking of his own "This Diamond Ring" (which had been his first songwriting success back in 1965 when it was recorded by Gary Lewis & The Playboys), and the epic closing track "Hollywood Vampire", which featured Joe Walsh on slide guitar.

Naked Songs (1973) <|> Championship Wrestling (1982)
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George Soulé - Let Me Be A Man (1969-1972)

Compilation 
George Soulé is an American singer, songwriter and musician.

George Soulé was born in Meridian, Mississippi in 1945. In the early 60s he worked as a radio DJ whilst performing in R&B bands and developing as a songwriter, and by 1966 had signed a publishing contract with Acuff-Rose Music in Nashville. He released a few singles as a solo artist on the La Louisanne and Tamm labels, and even made a TV appearence performing on Shindig, but his recording career never took off. By the late 60s he had settled into a behind-the-scenes career, finding work as a songwriter, producer, backing singer, demo singer and drummer, working at both Rick Hall's Fame Studios and the neighboring Muscle Shoals Sound Studio.
He had another shot at a solo career in the early 70s, first with his own brilliant "So Glad You Happened To Me", which came out in 1972 on Bell Records but went nowhere. He then had a surprise Top 40 R&B hit with his version of George Jackson's "Get Involved" in 1973 - the recording was originally just a demo intended for another artist, but Rick Hall liked it so much he saw that it was released with Soulé's vocals. With its lyrical message and Soulé's delivery, no doubt most listeners assumed the singer was black, so it caused something of a sensation when he was asked to appear on the Soul Train TV show and turned out to be white.
Despite this his solo career still didn't take off, and by the late 70s he had left music as a full time occupation behind. This compilation was released in 2011 on Soulscape Records (after he had finally released a solo album in 2006). It consists of twenty-six recordings from his time at Muscle Shoals Sound Studio, so presumeably all from the early 70s. Most of them are demos, though it does also feature his own single "So Glad You Happened To Me". They are all great songs, and his voice is truly fantastic, making this an excellent album of laid-back blue-eyed soul. Many of these demos were recorded by other singers in the 70s, including Delaney Bramlett, Mavis Staples, Dee Dee Warwick, Brook Benton and Esther Phillips. The most-covered song here is "You Can't Stop A Man In Love", which was done by Bobby Womack, Carl Carlton, Reuben Howell, Jimmy Elledge, The Supremes, The Temptations and Dobie Gray. Note - this compilation does not include "Get Involved" (go find it on youtube if you haven't heard it!).

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Neil Young - Re-ac-tor (1981)

Neil Young is a prolific Canadian singer-songwriter who has been releasing records since the 60s.

At the dawn of the 1980s Neil Young could look back on a successful solo career and a brilliant series of albums released throughout the past decade. What would the new decade have in store for him? After the low-key Hawks & Doves, his next album reunited him with backing band Crazy Horse. Re-ac-tor was a rough, loose affair, with plenty of electric guitar crunch but nothing in the way of truly great tunes. It was perhaps not the most inspiring collection of songs, but the truth was that Young had other domestic priorities in his life to see to, having two sons diagnosed with cerebral palsy. He did not tour at all during these years, actually only performing one show between the end of his 1978 tour and 1982. Seen in context, it's lucky he actually found time to record an album at all, and Re-ac-tor would be far from the strangest album he would put out in the 80s...

Hawks & Doves (1980) <|> Trans (1982)
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Solomon Burke - If You Need Me (1963)

Solomon Burke was a highly influential and successful American soul singer.

Solomon Burke's first recorded work had been on the Apollo label in the late 50s, but he had seen little success at first and subsequently left the music business to start a family. However he was enticed back in 1960 and signed to Atlantic Records, who had an impressive track record as an R&B label, and were looking for a new star after parting ways with Ray Charles.
It was with Atlantic that Solomon Burke scored his first hits - "Just Out Of Reach (Of My Two Open Arms)" was a #7 R&B hit in 1961, and also crossed over onto the pop chart at #24. The composition dated back to 1953, when it had orginally been a country hit for Faron Young (adapting country songs into soul songs became something of a habit for Burke). 1962 saw an even bigger success with "Cry To Me" (#5 R&B). "I'm Hanging Up My Heart For You" got to #15, and it's b-side "Down In The Valley" also charted at #20. These early hits saw him developing into one of the finest soul singers of the era under Atlantic's supervision.
In 1963 he had his biggest hit to date, the ballad "If You Need Me" charting as a #2 R&B hit. The song was written by one Wilson Pickett, and eclipsed the author's own version (though Pickett soon signed with Atlantic himself and came to see the same level of success as Burke). His first album for Atlantic came out the same year, focused around "If You Need Me". Most of the rest of the album consisted of singles which hadn't charted, and it didn't actually feature any of the '61-'62 hits. The album showed him to be an excellent soul singer with a wide range of R&B styles under his command, from raw gospel shouters to tender country-soul ballads.

Solomon Burke (1962) <|> Rock 'n' Soul (1964)
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Poco - Deliverin' (1971)

Poco is an American country-rock band originally formed in 1968.

Poco's third album was a live one, recorded in the September of 1970. It featured a good number of new songs alongside some originally  from their first two studio albums (including their best-known numbers "Pickin' Up The Pieces" and "You Better Think Twice"), resulting in an album full of upbeat energy. It also featured two older Richie Furay songs that he had orginally recorded whilst with Buffalo Springfield - "A Child's Claim To Fame" and "Kind Woman" had been released on Buffalo Springfield albums but had in truth been proto-Poco solo numbers. Indeed the original recording of the latter had featured both Jim Messina and Rusty Young. Their inclusion here upgraded them to part of the official Poco repertoire.
However the lineup of Furay, Messina, Young, Schmidt and Grantham wasn't to last long. Jim Messina left the band in late 1970, and so by the time Deliverin' was released in 1971 he had been replaced by Paul Cotton.
The album actually produced a minor hit, as Furay's "C'mon" got to #69 on the pop singles chart. The album itself got to #26, their first to reach the Top 40.

Poco (1970) <|> From The Inside (1971)
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Percy Sledge - When A Man Loves A Woman (1966)

Percy Sledge is an American soul singer.

Percy Sledge was born in 1941 in Leighton, Alabama. During the 60s he sang in an R&B group called the Esquires at the weekends, whilst working as a hosptial orderly through the week. After many years of struggling to get himself a recording deal, he was finally discovered by DJ-turned-producer Quin Ivy. Ivy had recently set up Norala, a small recording studio and record label modelled after the success of Rick Hall's Fame Studios (and apparently all done with the blessing and encouragement of Hall himself, who was happy to send the work overflow at the busy Fame Studios in Ivy's direction).
At Norala, Ivy began working with Sledge on the song that has first captured his attention, and over several weeks they developed it into a finished product. The band featured on the record consisted of organist Spooner Oldham, bassist Junior Lowe and drummer Roger Hawkins, all on loan from Fame, plus guitarist Marlin Greene (who had originally been at Fame but had moved to Norala to act as Ivy's right hand man, and was a co-owner of the label). With the overdubbing of some backing vocals and horns, the song was finished, and with Rick Hall's help was leased to Atlantic Records for national distribution in 1966.
"When A Man Loves A Woman" became a huge surprise hit, even more impressive considering it was Percy Sledge's first release. It got to #1 not only on the R&B singles chart but also on the Billboard Hot 100, making it a true cross-over success. It also charted at #4 in the UK. Percy Sledge's career was launched, and he was quickly signed to Atlantic. A follow-up album was quickly put together to capitalize on the single's success, featuring a fine selection of southern soul numbers with which Sledge was able to introduce himself.

|> Warm & Tender Soul (1966)

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Crosby, Stills & Nash - CSN (1977)

Crosby, Stills & Nash are a folk-rock 'supergroup', made up of David Crosby, Stephen Stills and Graham Nash. They are sometimes joined by occasional fourth member Neil Young.

Crosby, Stills, Nash & Young had been massively successful in the late 60s as one of rock's first supergroups, being musical figureheads of sort for the hippie movement. However they had only ever actually released two studio albums, and had broken up in 1971. All four of them had gone on to various levels of solo success in the 1970s. Neil Young had been the most successful, managing to follow his own path with no need for the others. Stephen Stills had released some good solo albums, and also for a while led the excellent band Manassas. David Crosby and Graham Nash had both released solo albums, but had seen more success working together as a duo. There was always hope that the four of them would reunite to record another album, and it was attempted in 1973 but the sessions got nowhere as personality conflicts got in the way. They did mange to get back together in 1974 for a reunion tour, but again there was no recorded output. As the 1970s progressed a new CSNY album seemed more and more unlikely.
Eventually the original three of them did get back together. Neil Young was busy with his own exciting solo career, but in 1976 Crosby, Stills & Nash reformed and started recording new material. The long awaited album came out in 1977. However by this time the musical climate around them had drastically changed, and the 60s hippie dream had become a distant memory. How would they fit in with the sounds of 1977? CSN was indeed very different to their original records, with a modern sheen to the production which let it fit in with the soft-rock aesthetics of the day. Though it was different, the songs were still excellent, and the vocal harmonies were as glorious as they had ever been.
It did turn out to be very commercial successful. It reached #2 on the album chart, and Nash's "Just A Song Before I Go" got to #7 when released as a single, actually being their highest charting single ever. It proved that they could still produce worthwhile music beyond the 60s when they did actually succeed in getting together and recording.

Deja Vu (1970) <|> Daylight Again (1982) 
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Joan Baez - Blessed Are (1971)

Joan Baez is an American folk singer who was an important part of the early 60s folk music revival.

In 1971 Joan Baez parted ways with Vanguard Records, the label she had been signed with since the beginning of her career. Her last release with them was a sprawling double album, Blessed Are. It was produced in Nashville by Norbert Putman, and like her last couple had very strong country leanings. It was notable for featuring a high number of original songs, as she was beginning to develop as a songwriter and no longer rely on the work of others. Nevertheless it still had a large number of cover songs, numbers by Mickey Newbury, Kris Kristofferson, Roger Miller, Jesse Winchester, The Band and both The Beatles and The Rolling Stones.
It turned out to be a very successful album, as it generated a surprise hit single - her cover of The Band's "The Night They Drove Old Dixie Down" went all the way to #3 on the singles chart. Subsequently the album went Gold.

One Day At A Time (1970) <|> Come From The Shadows (1972)
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Clarence Carter - This Is Clarence Carter (1968)

Clarence Carter is an American soul singer, songwrtier and guitarist.

Clarence Carter was born in Montgomery, Alabama in 1936. He was blind from birth, and grew up listening to blues records, teaching himself guitar along the way. In 1960 he graduated from Alabama State University, majoring in music. He formed a duo with another blind classmate, Calvin Scott, and as Clarence & Calvin they recorded a number of R&B singles in the early 60s, released on a variety labels, but none of them charted. By 1966 they were performing live in Birmingham, but after Scott was injured in an auto accident they went their seperate ways.
Carter's solo career began with him recording at Rick Hall's Fame Studios in Muscle Shoals, Alabama. His own song "Tell Daddy" was released on the Fame label, and became a #35 R&B hit. It was covered the same year by Etta James, who took it even higher up the charts as "Tell Mama". Carter's next single, "Thread The Needle", got to #38. He then signed with Atlantic Records, and "Looking For A Fox" got to #20. His real breakthrough hit came in 1968 - the brilliant "Slip Away" got to #2 on the R&B chart but crossed over to #6 on the pop chart. His debut album came out the same year, an excellent collection of gritty southern soul numbers, highlighted by Carter's distinctive baritone and the great instrumentation from the Muscle Shoals musicians backing him. It featured all his recent hits with the exception of "Tell Daddy", plus some more good originals, a couple from the partnership of Dann Penn and Spooner Oldham, and a fine country-soul fusion with Curly Putman's "Set Me Free".

|> The Dynamic Clarence Carter (1969)

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