For years and years, I avoided Hall & Oates because I assumed they were yacht rock. I was only vaguely aware of their songs and sound – actually the only song of theirs I really knew was their cover of “Jingle Bell Rock.” I became vaguely interested in Daryl Hall once I knew about his …
Tag: Rhythm and Blues
The Exciting Wilson Pickett (1966)
I’m a hypocrite because I’ll rip into Motown for including old hits on new albums but I’m apparently completely fine with Stax (um, I mean Atlantic) putting “In the Midnight Hour” on this album. So much of that has to do with how much I prefer southern soul to Motown and a lot of it …
The Soul Album (1966) by Otis Redding
As the kids say, I’m an Otis stan. (Oh science, I almost wrote “stan” like an old person, with quotes.) So I’m pretty much going to like everything he did.
Rock Around the Clock (1955) by Bill Haley and His Comets
It’s really hard to know what to do with this record. It’s one of the earliest rock and roll records to chart and it contains many of Haley’s early rock and roll songs, so it gives you a pretty good idea of their sound. But it is a compilation. Worse, it’s a compilation which contains Shake, …
Van Morrison, His Band and the Street Choir (1970)
Imagine you were so talented you could come up with an album concept, have it fall apart completely, and then have your record company release some of the tapes against your will and you still end up with this great album. The more I get into Van Morrison the more I am just in awe …
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 …
Spirit in the Dark (1970) by Aretha Franklin
This is particularly bluesy Aretha record, at least based on my very slight knowledge of her catalogue. Though it produced two hits, it infamously did relatively poorly as an album and, listening to it, it’s fairly easy to see why.
In the City (1975) by Tavares
This is a pretty damn catchy smooth soul record. I don’t like this style of soul and I find myself almost overcome by the sheer catchiness of the material.
More hits by The Supremes (1965)
You know what tells your audience you value them? Leading off your latest album with the last song from your previous (non-tribute) LP. But when the inner voice of self-criticism tells you that maybe you shouldn’t to do that you say to yourself “But hey, this is a new mix that they don’t have yet!”
The “Angry” Young Them (1965)
When I was younger, I was really into British R&B. But the older I get the less essential it seems to me: it’s not the genuine article and so much of it sounds the same. 55-60 years later, do we really care about British interpretations of American music? I mean, it made sense at the …
Dance Party (1965) by Martha and the Vandellas
This album has the reputation as being the group’s best, but I have no idea if that’s true or not, as it’s my first experience of the group in LP form. (I know their hits from oldies radio.) This album contains three of the group’s biggest hits – at least one of which had been …
Here Are The Sonics!!! (1965)
If you know anything about this record you know the hagiography is really strong. It’s only through actually listening to the music of 1965 and before a lot (as I have and do) that you can maybe see through the canonization of this band as “punk before punk” and see the real band, a band …
The Great Otis Redding Sings Soul Ballads (1965)
Can I tell you how great it is to listen to a Stax record right after a Motown record? It’s pretty damn great. And I must admit that there is a nonzero chance that listening to The Temptations prior to listening to Otis made me like this record even more than I would have normally.
The Temptations Sing Smokey (1965)
The Temptations’ second album has a couple of really iconic songs and an overall quality of material that I feel like is relatively uncommon in Motown records. (That opinion isn’t the most informed, but I have listened to the odd Motown.) But there are some problems with the record, too.
Get Happy!! (1980) by Elvis Costello and the Attractions
I don’t know Costello’s career as well as perhaps I should, given his sheer volume and his reputation as perhaps (British) New Wave’s preeminent songwriter. But I feel like I know it well enough to mark this as the first record when he began his genre-driving. It’s not as drastic as a departure as some …
The First Minute of a New Day (1975) by Gil Scott-Heron, Brian Jackson and the Midnight Band
This is only my second experience of Scott-Heron, so I don’t know enough about the history, but it seems like this is (mostly) a somewhat radical departure from his earlier work. That’s in part because there is a large band here now, rather than just a trio (or nobody) backing Scott-Heron.
Moondance (1970) by Van Morrison
When I was young I associated Van Morrison only with “Brown Eyed Girl”. As my high school best friend might have put it, “Brown Eyed Girl” was a “12 year old girl song” and I basically ignored Van Morrison, despite liking some of his other songs I heard on classic rock radio, until I finally …
Caught Up (1974) by Millie Jackson
For the most part, R&B doesn’t do high concept. The only thing I can really think of from the ’70s which is an exception is Funkadelic (and Parliament, too, I guess), where there is a concept, only it’s extremely nutty and kind of impenetrable. (Well, I can think of other albums which are built around …
The Genius of Ray Charles (1959)
I genuinely love musical left turns, they are among my favourite experiences when handled well, especially when I’m around to experience them. (Obviously I was not around for this one.) But I am much more ambivalent about musical left turns towards the mainstream – it’s a lot harder to get excited by a drastic change …
Chuck Berry is On Top
This is one of those weird records from the 1950s where they hadn’t quite figured out how to sell music yet – it’s a compilation of previously released singles (released over the previous four years) now looked upon as a regular LP because these singles hadn’t been released on his earlier LPs. So, if you’re …
The Wild, the Innocent and the E Street Shuffle (1973) by Bruce Springsteen
I have never heard a Springsteen record like this one. Maybe that’s because I just haven’t heard that many Springsteen records but I suspect or at least wonder that it’s because, at some point later on, he figured out who he was, and this version wasn’t part of that (or wasn’t normally part of that).
Tell Mama (1968) by Etta James
Somehow this is the first time I’ve managed to give an Etta James album my requisite three listens. I definitely checked out at least one other, but for some reason dropped it from the podcast list.
Night Beat (1963) by Sam Cooke
The Sam Cooke I’m familiar with is a slick, polished soul singer, backed by lush, professional arrangements, singing catchy songs that blur the line between soul and pop. Not on this record. The story with this record seems to be that Cooke and his band recorded these songs over a few nights. I doubt they …
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.
Aretha Now (1968) by Aretha Franklin
Listening to this without thinking about context, I’m tempted to call it a near classic. But then I looked up my review of Lady Soul and remembered how great I thought that one was…
In the Right Place (1973) by Dr. John
Really listening to the (sort of) title track for the first time (instead of just being aware of it playing on the radio), it’s clear to me why it’s Dr. John’s biggest hit – the song has much more immediacy to it than anything else of his I’ve ever heard.
Bo Diddley (1958) [Compilation]
I don’t like reviewing compilations normally and I try to avoid them as much as possible. But this record is an exception because, prior to this record, Bo Diddley had never released an LP, just singles, for about 3 years.
Lady Soul (1968) by Aretha Franklin
Aretha Franklin’s fourteenth studio album could have almost tricked me into believing it was a Greatest Hits/Best Of album focused on a particular era of her career, except for the fact it is missing “Respect” and a few other songs.
Nina Simone Sings the Blues (1967)
Simone’s second of three albums in 1967 was her first for a new label and one wonders if that had a lot to do with the rather drastic left-turn on this record. As you can tell from the title, this is a blues record, where influence on her sound was rather muted on the previous …
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 …