I am perhaps softening in my old age, because this is a slicker soul record than the kind I like, though only a little bit slicker. Basically I used to not really tolerate soul with strings but apparently I can now. So that’s a weird way to start this.
Tag: Country Soul
Country Music (2019)
This is an engrossing, thorough, occasionally moving and, for its first six episodes, authoritative history of country music. It follows the usual rhythms of a Ken Burns’ documentary, which is something I thoroughly enjoy, and has the usual strengths and weaknesses of his approach to storytelling.
Otis Blue: Otis Redding Sings Soul (1965)
If the previous album lacked for name material, Otis certainly fixed that problem on this record: he covers some really big tracks including two big Sam Cooke hits (and another Cooke song), “My Girl” and “Satisfaction”. And to it, he adds his growing ability as a songwriter, particularly with the original (and inferior) version of …
Ingredients in a Recipe for Soul (1963) by Ray Charles
This record was a big success but, despite some positive reviews, doesn’t have the greatest reputation. (Example: the Allmusic review is 4 stars but really feels like a 3 star review.) The idea is that its source material is [i]too[/i] diverse. I call bullshit.
You Got My Mind Messed Up (1967) by James Carr
There’s this idea that James Carr’s LP debut (I think it’s his debut) is one of the great underrated soul records of the 1960s, or of any era. I guess that depends upon what you value in your soul.
High Priestess of Soul (1967) by Nina Simone
Aside from her voice and her piano playing, the thing that stands out most about Nina Simone among her fellow soul singers of this era is her variety and versatility: listen to most other 1967 soul albums and you will hear one thing, soul. Yes, there will be slow soul songs and their will be …
Modern Sounds in Country and Wester Music, Volume Two (1962) by Ray Charles
Ray Charles’ radical reinterpretations of country standards sound so dated now it’s really hard to appreciate them both for their radical boundary-breaking (black performers didn’t perform white music much at all at the time) and for the way in which Charles reinvigorated soul music with a new source of inspiration and a new avenue down …