Ray Charles - Ray Charles

Ray Charles
Ray Charles
Atlantic 8006
1957

When Atlantic Records put out their wonderful CD box set of Ray Charles recordings for the label, they called it "The Birth of Soul" which seems accurate to me.  If anyone invented soul music, it was Ray Charles.  However the music on this album is mostly rhythm and blues, although it is labeled rock and roll on the cover and the liner notes describe Charles as a blues singer.  This was Charles' first album on Atlantic although it is basically just a compilation of his past singles for the label.  The earliest track is the classic "Mess Around" which was recorded and released in 1953.  The song was written by Ahmet Ertegun under the pseudonym A. Nugetre.  Charles lights up this smoking boogie-woogie song with his ferocious piano playing and a red hot vocal.  It is one of the most exciting recordings that he ever made.  The b-side of the single was Charles' own "Funny (But I Still Love You)" which is a bluesy torch song.  Charles' singing and playing make it memorable and I like the romantic guitar solo as well.  Lowell Fulson's "Sinner's Prayer" was originally the b-side of the 1954 single "It Should've Been Me."  It was recorded at the same session that produced "Mess Around."  It is a blues song with an authoritative vocal from Charles backed up by his typically dynamic keyboard work.  The self-penned "Don't You Know" was also a 1954 single.  It is a slight song but Charles sings his heart out on it in addition to delivering an energetic piano solo.  The song was paired with Charles Calhoun's "Losing Hand" which is a slow blues propelled by Charles' piano runs.  Charles wrote "I Got a Woman" which was a big hit single in 1955.  It is arguably the definitive recording of Charles' rhythm and blues period, an absolutely perfect song that exemplifies all the best qualities of the genre.  Its flip side was "Come Back Baby" which was credited to Charles although it was actually written by Walter Davis who recorded it in 1940.  It also was a hit and deservedly so.  Charles' vocal is incredibly expressive, a landmark in the development of soul singing.  Charles' "A Fool For You" was a 1955 single.  It also has a stirring vocal that enables this otherwise pedestrian song to carry a lot of weight.  Charles wrote the b-side "This Little Girl of Mine" which is a jumping rhythm and blues cut.  Renald Richard's "Greenbacks" came out in 1955 as well.  It reminds me of the jazzy recordings Charles made prior to signing with Atlantic when he was aspiring to be the next Nat King Cole.  Henry Glover's "Drown In My Own Tears" was a hit single in 1956.  Charles' bluesy vocal is rich with feeling, truly stunning.  It gives me goosebumps.  The single was backed with Charles' "Mary Ann" which has a Latin sound to it which gives it extra swing.  Charles' magnificent "Hallelujah I Love Her So" also came out in 1956.  The song reveals Charles phenomenal growth as an artist, as he moved beyond a traditional rhythm and blues sound into his own unique style combining blues, jazz and gospel, the nascent sound of soul.  Charles' "Ain't That Love" was the most recent single on the album.  It was recorded in late 1956 and released early in 1957.  It is the song that most approaches soul particularly in the gospel inspired interaction between Charles and the background singers although the sax solo is still pure rhythm and blues.  This song foreshadows the sound that Charles would further develop on his later Atlantic recordings.  If you have any interest in the transition from rhythm and blues to soul, this is an essential record.  Half of it is sheer genius and the remainder is outstanding.  There has never been a better pop singer than Ray Charles.  This music is not only important and influential, it is also endlessly compelling and stimulating.  I've played it countless times and it never loses its appeal.  Recommended to fans of Aretha Franklin. 

Etta James Sings - Etta James

Etta James Sings
Etta James
United-Superior Records US 7712
1969

Here's my belated tribute to Etta James who died earlier this year.  I think most people feel that James recorded her best material for Chess Records, but I also like her early singles for Modern Records in the 1950s, which is the focus of this album.  I presume it was issued to capitalize on the resurgence of interest in her following the success of her hit 1967 single "Tell Mama."  This album is actually a re-issue of her 1963 album on Crown Records called "Etta James," you can still see the matrix number for that album on the trail-off vinyl of this record.  I imagine many collectors would prefer the original issue, but I'm happy with this one.  It has better cover art (the original has a cheesy looking painting) and it has sturdier cardboard construction.  I hate those cheap, flimsy Crown sleeves.  James' recordings for Modern were mostly straight forward 1950s-style rhythm and blues, with a steady propulsive beat and lots of honking sax.  There are none of the big pop ballads or sensuous soul tunes she recorded for Chess that allowed her to show-off her vocal prowess.  These songs are too tight and compact to allow her to stretch out as much as she did with Chess, but there is no denying that she delivers them with verve and power.  The most famous song on here is "Dance With Me Henry" which is also known as "The Wallflower" and "Roll With Me Henry."  It was a response to Hank Ballard's classic hit "Work With Me Annie" and the two tunes share the same melody.  It was conceived by Johnny Otis who discovered James and who by a curious coincidence died just three days prior to her death back in January.  This was her first hit in 1955.  It is a fun song, pretty racy for the time.  She sings it with Richard Berry and the Peaches, the girl group she was in when she signed with Modern.  She followed it up with a sequel "Hey Henry" which is a jumping tune that she delivers with typical zest.  Her only other big hit for Modern was "Good Rockin' Daddy" also from 1955.  It is a classic sounding rock and roll number punctuated by some sassy sax work.  It is easy to see why it was a hit and it is my favorite song on this album.  This album also contains "Crazy Feeling" (listed as "Do Something Crazy") which was the flip side of "Good Rockin' Daddy."  It is a doo-wop type song with a sultry sax solo.  "W-O-M-A-N" is a bluesy torch song that she released as a single in 1955.  It is similar enough to Leiber and Stoller's later song "I'm a Woman" that it makes me wonder if they might have been "inspired" by it.  From 1956 comes the swinging "Number One" (listed as "My One and Only" on the album).  "I Hope You're Satisfied" is a duet with Harvey Fuqua of the Moonglows.  He was her boyfriend and you can tell there was some chemistry between them in this smouldering song.  It was released on the Modern subsidiary Kent Records in 1959 under the name Betty & Dupree.  "Strange Things Happening Every Day" was adapted from the classic recording by Sister Rosetta Tharpe from 1944 that is often cited as being one of the earliest rock and roll recordings.  The lyrics have been changed from the original's spiritual theme to a song about a cheating lover, but the song retains its vibrant gospel feel and boasts a passionate vocal from James harkening back to her roots as a gospel singer in church.  It is another one of my favorites on the album.  "That's All" was the b-side of "W-O-M-A-N" but I prefer it to the a-side.  It is another rocking number with a nice guitar solo and more smoking sax action.  "I'm A Fool" (listed as "How Big A Fool") was the b-side to "Number One."  It is a not particularly memorable generic rhythm and blues song but it does get me bopping.  This album is pretty skimpy with just ten tracks, there would be plenty of room for some of the other Modern Records cuts she recorded if the owners of the record company weren't such cheapskates.  There is a terrific CD compilation on Ace Records that has all of her tracks for Modern plus alternate takes, which is a lot better option for Etta James fans than this, but if all you want is a taste, this is pretty tasty.  Recommended for people who prefer Ray Charles' music on Atlantic Records over his work for ABC-Paramount.

The Animals On Tour - The Animals

The Animals On Tour
The Animals
MGM  SE-4281
1965

This was my first Animals album which I bought in San Francisco in 1979.  I had a summer job in the City and in the course of my lunchtime explorations, I stumbled upon a fantastic used record store on the seedy outskirts of downtown.  It was run by this hippie-ish guy and was full of old Fillmore posters and a tasty selection of 60s era vinyl.  It was pretty pricey and I was pretty broke so I didn't buy a lot, but I learned a lot from browsing and talking to the proprietor.  He was kind of gruff but there weren't a lot of customers, usually just me and since I was pretty green he seemed to like teaching me stuff and showing me interesting records.  I wish I had taken a greater interest in the posters, he had a great selection and even some of the original litho plates to print them.  I thought they were too expensive, but of course compared to prices nowadays they were a bargain.  I did pick up some important records in the course of the summer and the place gave me a hunger for quality used record stores that remains with me to this day.  Unfortunately when my job ended and I went back to school, I didn't get over to SF and by the time I finally returned to the store, it was gone.  At least I have a few records to remind me of it.  This is a pretty good one.  It was the Animals' second American album.  Despite the title it is not a live record, but instead consists of songs taken from the Animals' first two English albums and some singles.  Among the groups associated with the British Invasion, I rank the Animals in the second tier.  They had a high quality instrumentalist in keyboardist Alan Price and with Eric Burdon they had the best British Invasion vocalist not in a group named the Beatles.  Burdon excelled at rhythm and blues vocals although you could probably make a case that he was too slavishly imitative of them in contrast to someone like Mick Jagger who adapted them for his own style.  The Animals biggest problem was that they did not produce many original songs.  Their early repertoire consisted largely of covers of well-known American songs and their approach to them was derivative.  They were like a more talented version of the Downliners Sect.  Unlike the Yardbirds or Rolling Stones, who used the rhythm and blues songs as frameworks for their own interpretations, the Animals seemed determined to ape John Lee Hooker or Ray Charles as authentically as possible.  Sometimes I wonder why am I listening to this when I could be listening to John Lee Hooker himself.  I think the answer to that question is that Burdon brings a lot of enthusiasm to his vocals and the band has a pop sensibility that smooths out the music without losing the energy.  The two singles are my favorite songs on this record.  "Boom Boom" is a high energy cover of John Lee Hooker's song and it is my favorite version of this song.  There is a nice organ solo from Price, but Hilton Valentine's guitar solo has been edited out.  It is not a particularly great solo but I don't see why it couldn't have been restored for an album that is already pretty skimpy.   Burdon and Price's "I'm Crying" is the only original song on the album and it is a good one with a steady propulsive beat, a hard-driving organ line and a powerful vocal.  It was deservedly a top 20 hit and I think it is among the best songs in their catalogue.  I really like the cover of Jimmy Reed's "Bright Lights, Big City" which features another exciting solo from Price, a catchy riff and a strong Burdon vocal.  They return to John Lee Hooker for a cover of "Dimples."  The song swings but it is not as memorable as "Boom Boom."  Unlike most of their tunes, the song is driven by the guitar rather than the keyboards.  The group's cover of Chuck Berry's "How You've Changed" is better than the original largely because Burdon delivers a superior vocal.  There are three Ray Charles' covers on the album, the best of which is the jumping "Mess Around" with its blazing piano solo and pulsing bass lines.  Burdon is a terrific singer, but he can't out-sing Ray Charles and for that reason "I Believe to My Soul" and "Hallelujah, I Love Her So" are a waste of time although Burdon's smoldering vocal on the former is very soulful and I like Price's solo on the latter.  Charles is also one of the many people who have covered "Worried Life Blues" which is the bluesiest number on this record.  The Animals' version is impressive with a typically impassioned vocal from Burdon, a tasteful guitar solo from Valentine and majestic organ work from Price, but it is also the number that seems most blatantly imitative to me.  I prefer the Stones' cover of "Let the Good Times Roll" and the Yardbirds' version of "I Ain't Got You" both of which are more kinetic and imaginative then the comparatively tame versions offered here.  I also give the Stones the edge for "She Said Yeah" but the Animal's version is exciting in its own right and it gets me bopping.  I don't think any of the original Animals albums are essential, unless you are a big fan, a good comp will probably suffice for all your Animals needs.  I do play mine sometimes though and I'm happy I have them.  Recommended for people who prefer the Rolling Stones over the Beatles. 

Gloria - The Shadows of Knight

Gloria
The Shadows of Knight
Dunwich 666
1966

The Shadows of Knight were a Chicago group that specialized in covers of Chicago-style blues and rhythm and blues.  That makes sense right?  Unlike their fellow Chicagoans, the Paul Butterfield Blues Band, who derived their style from the likes of Muddy Waters, Howling Wolf and Little Walter, the Shadows of Knight derived their style by imitating the Yardbirds, the Animals and the Rolling Stones, that is British groups imitating Muddy Waters, Howling Wolf and Little Walter.  I understand that, I listen to my Yardbirds records more than my Muddy Waters records, but it still seems a little ridiculous to me.  The Shadows of Knight are much revered in garage band circles but I think they are too derivative to be ranked in the top tier of garage bands with groups like the Standells and the Chocolate Watch Band.  They also don't compare well with the British Invasion bands they were imitating.  They lacked a high quality guitarist and lead vocalist Jim Sohns was competent but could hardly compare with the likes of Eric Burdon, Van Morrison or Mick Jagger.  All they really had going for them was good taste in material and their raw energy and enthusiasm.  Consider their version of "Gloria" which was their biggest hit.  It is hopelessly inferior to Them's ferocious original.  Sohns sounds like a kid next to Van Morrison and the band lacks the drive and frenetic energy of the manic performance on Them's version.  I could go through most of the covers on this record and pick superior versions by other bands from that era but I'll spare you that tedium.  As for the three originals on the album, "Light Bulb Blues" is basically Muddy Waters' "Rollin' and Tumblin'" with crummy new lyrics.  "Dark Side" is considerably better with a pleasing folk-rock element to it and "It Always Happens That Way" has a nice fuzz guitar riff and sounds a bit like Paul Revere and the Raiders.  They are both very promising songs although the lyrics are pretty dreadful even by garage band standards.  My favorite song on the record is the cover of Bo Diddley's "Oh Yea" (listed as "Oh Yeah" on this performance) which also appeared on the "Nuggets" compilation album.  It is lots of fun and has a powerful Yardbirds-style arrangement.  The Yardbirds also come to mind on my other favorite song on this album, the cover of Willie Dixon's "I Just Want To Make Love To You."  The song begins in the conventional manner but then breaks into a great surging rave-up.  It builds and builds and then just when it needs a great stinging guitar solo to cap it off, it delivers an utterly anti-climatic and pedestrian one, so disappointing.  It still rocks though, as does their driving version of Chuck Berry's "Let It Rock" which is one of the most exciting performances on the album.  Despite all its flaws this is a really worthwhile record, I just wish it were better.  Recommended for fans of the Downliners Sect and the Wailers.

The Rock Sect's In - Downliners Sect

The Rock Sect's In
Downliners Sect
Charly CR 30140
1966
 
Back in the dark ages before CDs or MP3s or the internet even, you had to really work to get the music you wanted sometimes.  American record companies were pretty ruthless about cutting stuff that wasn't selling out of their catalogs, even recordings we now regard as classics.  Good luck finding the Velvet Underground albums on Verve or the second MC5 album.  Fortunately their European distributors weren't so crass, you could find some of this stuff in the import bin.  The import bin, if you were lucky enough to have a record store that had one, was where you could find the treasures that could only otherwise be found in a used record store.  I always went to the import bin first in any new record store, I judged the store by the amount of imports they carried.  I still have a warm spot for that ubiquitous "Imported by Jem" sticker on the shrinkwrap of many of the imports.  I have an even warmer spot for the Charly records label, the pride of English re-issues and any decent record store kept its import bin well-stocked with Charly products.  If I saw the Charly label, I knew the record had to be good, they had impeccable rock and roll taste.  This is a reissue of the original album on Columbia (E.M.I.) Records in the U. K..  These guys have a big following among collectors for some reason that I don't really get.  I think they are not far removed from a garage band, the British equivalent of the Shadows of Knight, except that the latter is a better group.  They mostly did straight forward covers and their few originals are uninspired to say the least.  They did have pretty good taste, mostly favoring a r&b style with occasional forays into country.  The lack of an inventive approach to the music and the pedestrian musicianship really limited this band.  This record might have sounded okay in 1964, but when you consider where their peers were in 1966, the Yardbirds, the Rolling Stones or the Pretty Things, this record sounds like a dinosaur.  If I wanted to hear something like this, I'd put on a Jimmy Reed or John Lee Hooker record, at least I'd get better singing.  My favorite song on here is the early Lou Reed/John Cale song "Why Don't You Smile Now" which leads off side 2.  It is worth checking out this album for that alone.  I also like their cover of "Fortune Teller," the Chuck Berry version of "Don't Lie to Me" [sic] and "Brand New Cadillac."  It is a generally enjoyable record, it rocks pretty hard most of the time and the boys play with enthusiasm, it is just seems kind of useless to me.  Recommended for people who think the Yardbirds were better with Eric Clapton instead of Jeff Beck.

Chuck Berry's Golden Decade - Chuck Berry

Chuck Berry's Golden Decade
Chuck Berry
Chess 2CH-1514
1967

Unless you are a big fan, "The Great Twenty-Eight" is probably the only Chuck Berry album you need to own.  It is the definitive vinyl comp for Berry although there are several CD comps that have a lot more songs on them, most of which are far from essential.  I consider Berry a genius, but his albums are pretty spotty.  Prior to the release of "The Great Twenty-Eight" this was the best Berry compilation.  It has fake electronically altered stereo which I know bothers some purists, but I'm generally okay with that although I do prefer mono.  I rescued this album from a thrift store.  It was in the bin with the usual thrift store vinyl dreck and although the cover was a little beat up, I took pity on it and decided to give it a good home even though I really didn't need it.  It was the first and best of the three "Golden Decade" comps, all of which are 24 track double record sets.  The majority of his most famous songs are on here but it is missing a few essential classics like "Carol" and "Little Queenie" (both on the second set.)  Unless you are a casual fan you'd have to buy both of the first and second "Golden Decade" sets to get all the Berry you need to have.  This is lots of fun, one great song after another although there are few duds.  "Deep Feeling" and "Wee Wee Hours" are reminders that it was a good thing Berry invented rock and roll because he never would have made it as a bluesman.  I don't care much for "Anthony Boy" or "Havana Moon" and I could easily think of a dozen other Berry songs that are better, but this is a minor quibble since there are so many classic songs on here besides the 4 misses, it is still an impressive collection.  Recommended to people who can't find "The Great Twenty-Eight" - everyone who likes rock should own these songs in one form or another.