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The remarkable story behind one greatest and most successful soul albums of all time – Aretha Franklin's I Never Loved A Man The Way I Love You – the deepest account on the making of the album we've ever come across! Author Matt Doblin tells the story with loads of fresh interviews, including producer Jerry Wexler, some of the Muscle Shoals session players and others in Aretha's crew of musician, providing a rich backstory on a monumental moment in modern music. Paperback, 256 pages.

A real standout from Aretha Franklin's years on Arista – a set produced by Luther Vandross, with a soaring groove that really opens Aretha up nicely! Luther's more in the mode here of his 70s club productions than his 80s hits – that warm, midtempo vibe that's full of lush moments, but never in ways that are cloyingly commercial. Franklin's vocals light up the tunes in the way that Luther's own might do – really soaring out beautifully in this setting. Titles include "I Got Your Love", "Giving In", "Get It Right", "Pretender", "Every Girl", "I Wish It Would Rain", and "Better Friends Than Lovers". CD features bonus tracks "Get It Right (single)", "Get It Right (12" inst)", and "Every Girl Wants My Guy (single)".

A sweet overview of the early years of Aretha Franklin's career – her formative days at Columbia Records, when she was working in a variety of styles before heading over to bigger fame at Atlantic! Even at this early stage, Aretha's one hell of a singer – and, despite what folks who listen to Jerry Wexler might say, this early Columbia work is pretty darn amazing throughout – steeped in a number of different modes, with bits of jazz, R&B, and early soul sewn together beautifully throughout. The double-length set is filled with key early moments from Aretha – and titles include "Don't Cry Baby", "Lee Cross", "Skylark", "One Step Ahead", "Evil Gal Blues", "Take A Look", "Runnin Out Of Fools", "People", "Try A Little Tenderness", and "Take It Like You Give It".

A sweet overview of the early years of Aretha Franklin's career – her formative days at Columbia Records, when she was working in a variety of styles before heading over to bigger fame at Atlantic! Even at this early stage, Aretha's one hell of a singer – and, despite what folks who listen to Jerry Wexler might say, this early Columbia work is pretty darn amazing throughout – steeped in a number of different modes, with bits of jazz, R&B, and early soul sewn together beautifully throughout. The double-length set is filled with key early moments from Aretha – and titles include "Don't Cry Baby", "Lee Cross", "Skylark", "One Step Ahead", "Evil Gal Blues", "Take A Look", "Runnin Out Of Fools", "People", "Try A Little Tenderness", and "Take It Like You Give It".

Aretha's grooving sweetly on a record that's produced by Luther Vandross – and a damn strong one, too! Aretha wasn't the first, or the last classic soul singer to embrace the modern sounds of the early 80s, but relatively few outshined their younger peers as brilliantly as Aretha does here. She's great on this one! There's plenty of space in the arrangements for Aretha to do her thing – emoting naturally, improvising some of the vocals, and really just knocking it out of the park. Luther's production shows ample love and respect for the previous generation of soul, while still sounding right at home in '82 – with some timeless ballads along with contemporary chart-ready groovers. Titles include "Jump To It", "Love Me Right", "If She Don't Want Your Lovin'", "This Is For Real", "It's Just Your Love", "I Want To Make It Up To You" and "It's Just Your Thing". This 2012 CD version from Big Break has 5 bonus versions: single versions of "Jump To It", "Love Me Right" and "This is For Real", plus "Just My Daydream (12" Version)" and "Love Me Right (12" Dance Version)".

One of Aretha's undisputed classics – a seminal session that furthered her deep soul agenda with key backings from Arif Mardin and Tom Dowd! The Sweet Inspirations provide sublime backing vocals behind Franklin's maturing delivery of the lyrics – and the music is by an all-star group of players that includes Spooner Oldham, Bobby Womack, Jimmy Johnson, King Curtis, Tommy Cogbill, Roger Hawkins, and even Eric Clapton! Cuts include "You Make Me Feel Like A Natural Woman", "Chain Of Fools", "Money Won't Change You", "Come Back Baby", and "Ain't No Way". CD includes 4 bonus tracks "Chain of Fools (unedited version)", "(You Make Me Feel Like) A Natural Woman (mono single version)", "Since You've Never Been Gone (Sweet Sweet Baby) (mono single version)", and "Ain't No Way (mono single version)"!

Hey, we love this record! It's jazzy, and not at all like Aretha's soul sides for Atlantic – but Aretha's vocals sound wonderful on the record, in a completely different way than on later albums. Arrangements are by Robert Mersey, and they've got a feel that's similar to some of the classic Ray Charles large group recordings for ABC – with slightly churchy backings behind the lead vocals, which are right out front in the set, and almost warmer than on other albums. Aretha sings mellow versions of standards like "Skylark", "For All We Know", "Until The Real Thing Comes Along", and "Where Are You?" – plus the obscure "Mr Ugly".

Aretha Franklin and electric piano – a really great combination that makes for a whole new level of soulfulness in the 70s! The album's one of Franklin's greatest of the decade – a deepening of the sound she first brought to Atlantic in the 60s, and a maturation of that groove – in a way that pushes Aretha strongly past cliches, and into some really great new territory! Arrangements here are by Arif Mardin and William Eaton – and most numbers feature small combo instrumentation at the core, with electric piano played by Aretha, Richard Tee, and Donny Hathaway. Titles include "If You Don't Think", "Oh Baby", "With Pen In Hand", "Let Me In Your Life", "I'm In Love", and "Every Natural Thing".

An early 80s gem from Aretha Franklin – one of the best of her years at Arista Records, thanks to solid help in the studio from the mighty Arif Mardin! Mardin's in perfect form here – the same blend of older soul and jazzier, more sophisticated styles that he was also bringing to Chaka Khan at the time – although Franklin's arguably more deserving of his talents, given her long relationship with the producer! There's a full, mature feel here – one that really gets Aretha back in gear as a singer, and shows off her talents to a new generation in new ways – yet all without trying too hard for a crossover hit. Tunes include a few originals by Franklin, and titles include "Kind Of Man", "Whole Lot Of Me", "Love All The Hurt Away", "You Can't Always Get What You Want", "It's My Turn", "There's A Star For Everyone", and "Hold On I'm Coming".

About as classic as you can get for Aretha Franklin – a wonderful package that features 5 full albums for Atlantic Records – each packaged in a tiny LP-styled sleeve that reproduces the original cover! The work here is the stuff of legend – that key point when Franklin really got her groove together, thanks to help from producers Jerry Wexler and Arif Mardin – who helped Aretha's amazing vocals find a place that not only transformed her career, but all of soul music as well! Every record in the set's a classic – and the package features I Never Loved A Man The Way I Love You, Lady Soul, Aretha Now, Spirit In The Dark, and Live At The Fillmore West – with tracks that include "Respect", "Do Right Woman", "Save Me", "Good Times", "Groovin", "Chain Of Fools", "Think", "I Say A Little Prayer", "I Take What I Want", "One Way Ticket", "Honest I Do", "Spirit In The Dark", and lots more!

A classic 70s soul soundtrack – and a dream of a combination! Curtis Mayfield wrote the soundtrack and produced the album – and the result is a killer batch of 70s soul tracks that matches Aretha's strong vocals with the hip Curtom sound of Chicago! Aretha was still doing pretty well at this point, but the album really gave her a push – and the super-hip setting let her record some of her best work of the 70s. If you own only one Aretha Franklin album from the 70s, it should probably be this one – as the mixture of soul, funk, and soundtrack grooves is great, and a refreshing change from some of the cliches that could show up on other records. Features the sublime "Something He Can Feel", plus "Loving You Baby", "Look Into Your Heart", "Sparkle", and Jump".

Mellow sexy Aretha – with warm arrangements by Arif Mardin, and plenty of nice electric piano by the great Richard Tee. Includes a great version of Stevie Wonder's "I Love Every Little Thing About You", plus the tracks "You Move Me", "You'll Never Get To Heaven", "Don't Go Breaking My Heart", "Without Love", and "All Of These Things".

A beautiful album that perfectly mixes both sides of Aretha – the earlier hard-hitting soulster, and the developing vocalist with a rich talent for more sophisticated material. The album features the anthemic title cut in Aretha's famous version – plus the sample favorite "Rock Steady", the mellow groover "Day Dreaming", the hit "Brand New Me", and the strangely compelling "First Snow In Kokomo".

A great record from Aretha! She performs with James Cleveland & The Southern California Community Choir for two LPs worth of some super gospel material. The tracks include "Mary, Don't You Weep", "How I Got Over", "Precious Memories", "Wholy Holy", "Never Grow Old", "Climbing Higher Mountains", and "You've Got A Friend".

An early 80s gem from Aretha Franklin – one of the best of her years at Arista Records, thanks to solid help in the studio from the mighty Arif Mardin! Mardin's in perfect form here – the same blend of older soul and jazzier, more sophisticated styles that he was also bringing to Chaka Khan at the time – although Franklin's arguably more deserving of his talents, given her long relationship with the producer! There's a full, mature feel here – one that really gets Aretha back in gear as a singer, and shows off her talents to a new generation in new ways – yet all without trying too hard for a crossover hit. Tunes include a few originals by Franklin, and titles include "Kind Of Man", "Whole Lot Of Me", "Love All The Hurt Away", "You Can't Always Get What You Want", "It's My Turn", "There's A Star For Everyone", and "Hold On I'm Coming". CD features bonus tracks – "Hold On I'm Comin (12" ext)", "Livin In The Streets (12" ext)", and "It's My Turn (single)".

Given that Atlantic's big claim to fame with Aretha was that they took her from being a supper club jazz singer and made her a hard soul act, we've always been a bit surprised at the way they chose to hook her up with some Bacharach tunes after her first few sides – giving her a classier uptown sound to mix with the deeper southern style that broke her out big. This album's a great example of how Aretha can mix the two styles – as it features the title rendition of "This Girl's In Love With You", and great versions of "Dark End Of The Street" and "Sit Down & Cry", and the sublime "Call Me", which is a perfect blend of the two styles in one song. And oddly, the "classier" material was recorded down in Miami, Atlantic's new home for soul in the south.

Aretha Arrives in great style – and a mixture between her earlier vocal jazz years at Columbia, and her later southern soul sides of the 60s! Arif Mardin is already arranging Aretha's work at this point, and the backing group includes southern soul studio giants like Spooner Oldham, Tommy Cogbill, and Roger Hawkins – but there's also a number of tracks that have mellow strings and horns by Ralph Burns, very much in the lush style of Burns' work for other vocalists – and a bit different than some of Franklin's other Atlantic work. The Sweet Inspirations back up Aretha on "Ain't Nobody (Gonna Turn Me Around)", and a few other tracks feature backings by sisters Erma and Carolyn – who are always a welcome addition! Titles include "Prove It", "Never Let Me Go", "I Wonder", "Going Down Slow", and "Night Life".

One of Aretha's sadly overlooked 70s gems – a great little session produced by Lamont Dozier, with a mix of smooth soul, driving rhythms, and just the right amount of rough edges to keep things real, very much in the tone of Lamont's own strong work for the ABC label at the same time. Lamont also wrote a fair number of the tunes – and titles include "Sunshine Will Never Be The Same", "Touch Me Up", "A Tender Touch", "No One Could Ever Love You More", and "When I Think About You".

One of Aretha's best! There's a massive old school break on the intro to "Rock Steady" – but even without that bit, the song's a real winner – ripping along with massive soulful grooves! "Don't Play that Song" is one of her better mellow tunes too!

Classy later soul from Aretha Franklin – a set that's free from some of the too-commercial modes of other 80s work, but which still pushes the envelope nicely from her years at Atlantic! Production is both by Arif Mardin and Chuck Jackson – the former one of Franklin's best collaborators in earlier years, the latter a great help here on songwriting as well! At its best, the record's got some of the smoother, jazzier inflections that Aretha was picking up at Atlantic in the 70s – and titles include "Come To Me", "Love Me Forever", "What A Fool Believes", "Can't Turn You Loose", "United Together", "Whatever It Is", "School Days", and "Together Again". 4 bonus tracks: "What A Fool Believes (12" Extended Version)", "Can't Turn You Loose (12" Extended Version)", "United Together (Single Version)" and "What A Fool Believes (Single Version)".

Aretha Franklin's last 2 Columbia albums – back to back on a single CD! Soul Sister is a later date for Columbia Records that hints a bit at the sounds to come on Atlantic! Backings are by Robert Mersey and Belford Hendricks – both of whom use some relatively full orchestrations and occasional backing vocals – in ways that almost translate a 60s country soul aesthetic to a leaner, cleaner sound for Aretha's strong vocals. Franklin, as always, is great – the kind of singer that really illuminates any tune she gets – even familiar numbers that seem to take on new life in her hands. The material is a bit deeper-digging than before on Columbia – less covers, and more tunes that are well-suited to Aretha's sensibilities – including a few penned by Van McCoy or Hendricks. Titles include "Until You Were Gone", "Follow Your Heart", "A Mother's Love", "I'm Losing You", "Take A Look", and "Can't You See Me". On Take It Like You Give It, Franklin steps out with even more of a hard soul style than before – in a record that's a great close to her early years on Columbia Records! Arrangements are by Belford Hendricks and Clyde Otis – the latter of whom is clearly responsible for the deepening sound of Franklin's music here – although Hendricks' work also sounds pretty great too, with a leaner feel than before. Franklin's vocals really sparkle nicely on the set – sometimes supported with backing singers, sometimes all out on their own – always in that iconic style that inspired whole generation of female soul singers. Titles include "A Little Bit Of Soul", "Only The One You Love", "Deeper", "Remember Me", "Land Of Dreams", "Lee Cross", "I May Never Get To Heaven", and "Take It Like You Give It".

Modern live soul from Cooper – Live at Portland's Star Theater. Includes a cover of Aretha Franklin's "Baby I Love You".

Damn soulful work from Erma Franklin – the lesser-known sister of Aretha and Carolyn Franklin, working here on 60s sides cut for the Epic and Shout labels! Most of the material here was only issued as singles back in the day – so the set's an essential full-length overview of Franklin's great work during this time – a few well-known singles, such as the original version of "Piece Of My Heart", mixed with lots of lesser-known gems – making for a deep soul extravaganza all the way through! There's more cuts here than on other sets on Erma from the past – a total of 26 tracks in all – supported by notes and label scans too – and titles that include "Big Boss Man", "Piece Of My Heart", "Don't Wait Too Long", "Never Again", "Detour Ahead", "Pledging My Love", "Don't Blame Me", "Hello Again", "I'm Just Not Ready For Love", "Don't Catch The Dog's Bone", "Open Up Your Soul", "I'm Just Not Ready For Love", "Have You Ever Had The Blues", "Love Is Blind", "Abracadabra", "Never Let Me Go", "Dear Momma", and "Each Night I Cry".

Lost funky work from one of the soulful sisters of Aretha Franklin! Erma's got a hard-hitting style that's right up there with Aretha's best for Atlantic – and on this album, she's working in Chicago with Johnny Pate, Sonny Sanders, and Willie Henderson – for a harder-hitting sound than her famous sis, really in the groove with the best of Brunswick from the late 60s! Erma's vocals are incredible – equally at home with the original tracks on the record, as well as some late 60s hits that are nicely soulized by the boys in the band! Titles include "Hold On I'm Coming", "Baby I Love You", "Light My Fire", "You've Been Cancelled", "Can't See My Way", and "Gotta Find Me A Lover".

Two great slices of work from vocalist Thelma Jones – her late 60s singles for the indie Barry label, and her tighter work for Columbia recorded nearly a full decade later! The first half of the set has Jones hitting hard in a tight Northern Soul mode – a socking 60s approach to the groove that's got echoes of deep soul on the vocals, but which also often bumps along with a tight sense of rhythm on the bottom – sometimes even a bit of funk as well! Titles from these years include Jones' excellent original take on "House That Jack Built" – a tight funky version that's way better than Aretha Franklin's – plus the cuts "Stronger", "Never Leave Me", "Gotta Find A Way", "I Won't Give Up My Man", "Mr Fix It", and "Give It To Me Straight". The second half of the set features material from Jones self-titled 1978 album for Columbia – a sweet blend of southern and modern soul, with some fantastic arrangements by Bert DeCoteaux, who also produced the set in a wonderful way that lets Jones retain the deeper qualities of her vocals, but also glide nicely on some warmer modern touches. There's a really unified feel to the whole record, and tracks are a range of work by 70s songwriting greats that include Sam Dees, Leon Ware, Grey & Hanks, and Gamble & Huff. Features the excellent single "How Long", plus "I Can Dream", "Salty Tears", "Stay Awhile With Me", "I'd Rather Leave While I'm In Love", and "Now That We Found Love". 22 tracks in all – and a long-overdue collection!

The third album in Margie Joseph's early 70s run for Atlantic Records – and like the rest, a batch of super-tight tunes arranged and produced by Arif Mardin – done with the same sense of sophisticated soul he was bringing to the work of Aretha Franklin at the time! Margie's nicely a bit more laidback than Aretha, though – not nearly as cliched at times, and capable of hanging onto her southern roots, even in a fuller setting. Many numbers feature backing vocals – by singers who include Donny Hathaway, Cissy Houston, and Tasha Thomas – but Joseph is right out front on all numbers, singing strongly in the lead, yet without any too-diva sort of tendencies! Titles include a nice version of Bill Withers' "The Same Love That Made Me Laugh", plus "Stay Still", "Just As Soon As The Feeling's Over", "Sign Of the Times", and "Promise Me Your Love".

The third album in Margie Joseph's early 70s run for Atlantic Records – and like the rest, a batch of super-tight tunes arranged and produced by Arif Mardin – done with the same sense of sophisticated soul he was bringing to the work of Aretha Franklin at the time! Margie's nicely a bit more laidback than Aretha, though – not nearly as cliched at times, and capable of hanging onto her southern roots, even in a fuller setting. Many numbers feature backing vocals – by singers who include Donny Hathaway, Cissy Houston, and Tasha Thomas – but Joseph is right out front on all numbers, singing strongly in the lead, yet without any too-diva sort of tendencies! Titles include a nice version of Bill Withers' "The Same Love That Made Me Laugh", plus "Stay Still", "Just As Soon As The Feeling's Over", "Sign Of the Times", and "Promise Me Your Love".

Classic soul from Bettye Lavette – with some her best recordings ever – a batch of tunes cut in Memphis with Lelan Rogers for the Silver Fox label in '69 & '70! The Betty heard here is a lot harder than on her earlier soul sides – recorded with a raw power that could easily blow away Aretha Franklin or any of her hard soul sisters – and done with a unique crossing of southern, funky, and country soul modes! Amazing! Titles include "My Train's A Coming", "Do Your Duty", "Love Made A Fool Of Me", "At The Mercy Of A Man", "Piece Of My Heart", "Easier To Say Than Do", "He Made A Woman Out Of Me", "We Got To Slip Around", "I'm In Love", and "Games People Play".

A standout set from the great Laura Lee – a deep soul singer with power to rival the greatness of Aretha Franklin, but one who's also got a funkier punch to her music too! The album's a great blend of late 60s female southern and tight 70s bad sister funk – a style that's a bit like that of Gwen McCrae at her early best, but handled here with a fuller vibe that's right in keeping with the best modes of the Invictus/Hot Wax scene from the Holland Dozier Holland team! Vocals are wonderful throughout – and the album features the breakbeat classic "Crumbs Off The Table" – plus "Guess Who I Saw Today", "If I'm Good Enough To Love (I'm Good Enough To Marry)", "Rip Off", "You've Got To Save Me", and "Workin & Lovin Together". CD features bonus tracks – "Crumbs Off The Table (single re-edit)", "I'll Catch You When You Fall", and "I Can't Hold Out Much Longer".

An excellent batch of hard soul grooves from the great Laura Lee! This one was her first for the Hot Wax label – and it's got the raw quality of her earlier singles for labels like Chess, with a hard vocal style that's very much in the Aretha Franklin/Fontella Bass camp – plus some arrangements that have that bouncing soulful quality that the Staple Singers were using on Stax at the time! There's lots of horns in the mix, and some congas as well, which gives the album a bit of a different twist – kind of an earthy undercurrent that works great with the vocals. Includes the great title cut "Women's Love Rights" – plus "I Don't Want Nothin' Old (But Money)", "Wedlock Is a Padlock", "Her Picture Matches Mine", and "Two Lovely Pillows". CD features a bonus track – "Since I Fell For You (mono commercial single edit)".

A wonderful little package – way more than just a collection of soundtrack work by Italian maestro Riz Ortolani – and instead, a fully-fleshed look at his long career – with vocal, instrumental, and even some jazz titles too! The 4CD set comes in a book-styled package – with some great images from Ortolani's career in the middle, and notes in Italian – and the CDs break things up beautifully, to offer a rich look at the music in ways we hardly would have expected – showing lots of aspects of Riz's career we've never heard on CD! CD 1 features famous film themes – including "Sweet Dreams", "Africa Addion", "Yellow Rolls Royce", "The Great Dreamer", and many others. CD 2 features vocal and instrumental interpretations of Ortolani's compositions – with tracks by Jack Jones, Dizzy Gillespie, Fabio Boltro, Aretha Franklin, Shirley Bassey, Erroll Garner, Johnny Mathis, Julie London, Matt Monro, and others. CD 3 is titled Unforgettable Love – and features loads of sweet 60s instrumentals, all with a soundtracky sort of feel – including "Magic Man", "Una Casa A Roma", "Lui Lui Lui", "My Blue", "Un Amore Cosi Tenero", "Easy Life", "Til Love Touches Your Life", and "True Confession". And CD 4 is the most striking of all – some rare jazz tracks swung strongly by Ortolani, most of them larger ensemble numbers – with titles that include "The Cold Nose", "St Francisco Railways", "Miami Beach", "Free Dixie", "Please Another Ball", "The Day Of Anger", and "Unna Sull'Altra".

A breakout record that forever put Wilson Pickett at the top of the heap for mainstream 60s soul – thanks to the oft-covered, endlessly played "Mustang Sally" single that leads off the set! And although the groove established by that track helped Pickett establish an audience on both sides of the fence, the full album itself is much deeper stuff – a searing album of southern-styled soul recorded with some great Muscle Shoals production – Rick Hall and Tom Dowd at the helm – and key session players who include Charlie Chalmers, Chips Moman, Tommy Cogbill, Spooner Oldham, and Roger Hawkins – all of whom help give the record the intimate, earthy feeling that helped Pickett step out with a stronger sound than earlier recordings. (And in fact, this album's perhaps a key pre-Aretha Franklin example of the way that Atlantic's vision could majestically change the sound of an already-known soul artist – bringing them far deeper than ever before.) Titles include "Mustang Sally", "Everybody Needs Somebody To Love", "Nothing You Can Do", "Three Time Loser", "Sunny", "She Ain't Gonna Do Right", "Knock On Wood", "Time Is On My Side", and "You Left The Water Running".

A pair of classic early 80s soul albums from ex-Dramatics singer LJ Reynolds! The self-titled '81 set is killer material in a modern Detroit mode all the way through – with top-shelf production by Reynolds, Don Davis, and Ronnie McNeir/ Ronnie, who'd been lost to the industry for a few years, also re-emerges as a writer on the songs "Southern Pearl", "Lonely Superstar", and "Ain't No Woman Like My Baby". The real standout, though, is the amazing cut "Key To The World", a killer steppers track that has a hook that won't quit, and this wonderful brassy finish that gives the track a really triumphant sound that works perfectly with the righteous lyric. LJ Reynolds' sounds great on '82's Travelin', too – stepping even more strongly away from his work with The Dramatics, and emerging as one of the best male soul acts of the early 80s! The production on this one is split between Reynolds and Don Davis, in a mode that's contemporary, but which allows LJ plenty of space for old school vocal expression – that far-reaching style of singing that always made him stand out strongly from the pack! There's a sublime mellow version of Aretha Franklin's "Call Me" on the set – and other tracks include "Words", "Trust In Me", "Say You Will", "You & Me", "Let Me Satisfy You", and "Fast Action"…

LJ Reynolds' sounding great on his own here – stepping strongly away from his work with The Dramatics, and emerging as one of the best male soul acts of the early 80s! The groove here is a nice extension of his earlier group work – still produced by Don Davis in a mode that's contemporary, but which allows LJ plenty of space for old school vocal expression – that far-reaching style of singing that always made him stand out strongly from the pack! There's a sublime mellow version of Aretha Franklin's "Call Me" on the set – and other tracks include "Words", "Trust In Me", "Say You Will", "You & Me", "Let Me Satisfy You", and "Fast Action". CD also includes the bonus track "Look What Your Love Has Done For Me".

Funky grooves from Jiro Inagaki and his Soul Media combo – and some cool vocals from 70s Japanese singer Sammy – a pretty enigmatic talent who really makes her mark with this record! The album's less island-styled than you might guess from the title or cover – and instead, it mixes these spacious vocal passages with more forceful backings from Soul Media – a groove that's got the same blend of female lead and funkier elements that you might find in a Serge Gainsbourg/Jane Birkin project – although the lyrics here are mostly in Japanese! The set features a killer version of Aretha Franklin's "Rock Steady", with really wild vocals and drums – plus the cuts "Memories Of That Guy", "So High", "Wanderer's Lullaby", "The In & Outer Stomp & Shouter", "Nobody Loves Me", and "My Sweet Dolls".

Wonderful soul by one of the best female groups of the 60s! The Sweet Inspirations work here in a southern-tinged style similar to their classic backing work for Aretha Franklin – a sound that was already great behind Aretha, but which is even better here on its own – warm, spiritual, and brimming with soul – at a level that few other girl groups could ever take this deep! Arif Mardin did the arrangements, and brings in just the sort of warm, mature touches to push the music into the sublime – territory that had hardly been explored in this way before – at least not in the secular world – but which would go onto influence a generation. Backing is by a small group with Eddie Hinton on guitar, Barry Beckett on organ, and Roger Hawkins on drums – and titles include "But You Know I Love You", "Don't Go", "Always David", "Every Day Will Be Like a Holiday", "Chained", and "Crying in the Rain".

Heavenly soul from the lovely Sweet Inspirations! The record was the group's first secular album for Atlantic – after recording one gospel album, and doing the backings on a number of fine Aretha Franklin sessions – and it's a gem of a female soul record, with the same classic sound you'd hear on Aretha's Atlantic late 60s LPs, but a different twist because of the girls' amazing talent for harmony vocals. Tom Dowd produced the record with a sweet southern-ish sound, and Arif Mardin provides some lofty string arrangements that take the girls' voices to the heavens! Includes some fine numbers written by Cissy Drinkhard Houston – like "I Could Leave You Alone", "You Really Didn't Mean It", and "Where Did It Go" – plus pop numbers like "Alfie", "What The World Needs Now Is Love", and "To Love Somebody", all completely transformed by the group's style!

Killer soul from Doris Troy – a wonderful selection of classic singles from a variety of different labels – mostly smoking selections from the 60s, but a few rare gems from later years too! Doris is one of those singers who never hit the chart heights of some of her contemporaries, but always managed to do impeccable work – as you'll hear here on a range of singles for labels like Calla, Cameo, Capitol, Atlantic, and Apple! Troy's got this amazingly rich voice – one we'd rank right up there with Aretha Franklin at her best – supported here by a range of backings that run from deep soul to uptown soul to some warmer 70s modes. Titles include "Face Up To The Truth", "Just One Look", "What A Night Night Night", "Don't Tell Your Mama", "You Tore Me Up Inside", "Heartaches", "He's Qualified", "I'll Do Anything", "Hear Me Calling", "Can't Hold On", "Tomorrow Is Another Day", and "What A Wonderful Lover".

One of the greatest moments ever from Dee Dee Warwick – and a set that definitely shows her to be one of the more soulful members of her famous family! The set's got a much deeper soul sound than some of Dee Dee's other material – as Atlantic has Warwick working down at Criteria Studios, with production by Dave Crawford – in a mode that's steeped in previous southern soul styles from Memphis and Muscle Shoals! In a way, Atlantic was probably hoping to do to Dee Dee what they did to Aretha Franklin – take an already competent, sophisticated soul singer, and give her a deep soul sound that really pushes the boundaries. And in this case, the session actually works, and works great – thanks in part to The Sweet Inspirations, who back up Dee Dee in the same way they backed up Aretha – supporting her strong lead with some wonderful harmonies. Titles include "I Ain't Got To Love Nobody Else", "If This Was The Last Song", "I'm Glad I'm A Woman", "Who Will The Next Fool Be", and a great southern soul version of "More Today Than Yesterday".

Culled from the rich history of the Atlantic records label, and lovingly put together with great notes and everything! 25 tracks in all, including "Knock On Wood" by Eddie Floyd, "Try A Little Tenderness" by Otis Redding, "Mustang Sally" and"Funky Broadway" by Wilson Pickett, "When Something Is Wrong With My Baby" and "Soul Man" by Sam & Dave, "Sweet Soul Music" by Arthur Conley, "I've Never Loved A Man The Way I Love You", "Do Right Woman – Do Right Man",'Respect", "Baby I Love You", "Natural Woman" and "Think" by Aretha Franklin, "Show Me" and "Skinny Legs & All" by Joe Tex, "Memphis Soul Stew" by King Curtis and "Tighten Up" by Archie Bell & The Drells.

A far-reaching look at soul, R&B, funk and proto rock legends covering the Lennon-McCartney songbook – as diverse and impressively put together as Ace's great previous entry in the Black America Sings series that covered Dylan! Come Together comes together terrifically – with early rock & soul stars like Chubby Checker, Fats Domino & Little Richard, stellar groups like The Vibrations, Main Ingredient & New Birth, the great ladies of the era including Aretha Franklin, Maxine Brown and Linda Jones and many more! None simply record Beatles' songs from a more soul-based perspective, there's real heart and unique touches across the board here. Great Stuff! "Back In The USSR" by Chubby Checker, "Ticket To Ride" by Wee Wee Walker, "Let It Be" by Aretha, "Lady Madonna" by Junior Parker, "Get Back" by Main Ingredient, "The Long And Winding Road" by New Birth, "Yesterday" by Linda Jones, "Day Tripper" by Otis Redding and more.

Sublime soul all the way through – really tremendous little tracks that are just waiting to be discovered – and none of them the kind of mainstream grooves you might expect from the "crossover" in the title! Instead, these tracks have a power that really helps shift perception of a genre – almost a bridge between upbeat 60s Northern Soul and smoother 70s modern – with a warmth that's undeniable, and a groove that never lets up! The vocals are sublime, and the production is perfect – totally tight, but never slick at all – just perfect for the arrangements that really help these tunes soar! The set features a whopping two dozen tracks in all – and in addition to some real gems by lesser-knowns, there's also some great overlooked tracks by bigger names too – titles that include "I'm Not Ready" by Ujima, "The Common Broken Heart" by Lou Courtney, "Let's Try It Over Again" by Willie Hutch, "Midnight Sunshine" by The Soul Children, "It's Gonna Be Alright" by Maxine Brown, "One Step Ahead" by Aretha Franklin, "Fool's Hall Of Fame" by Ike Lovely, "Wait Till I Give The Signal" by The Shirelles, "Sweeping Your Dirt Under My Rug" by Ann Bailey, "Main Squeeze" by Syl Johnson, "Satisfactorise Your Mind" by Africano, "Trapped In A Love" by Barrino Brothers, and "I Gotta Keep My Bluff In" by Freddie Hughes.

The full scope of the mighty songwriting talents of Carole King and Gerry Goffin – a much-chronicled 60s team who had plenty of troubles of their own, but who brought some really amazing music to the world at the time! The package features songs in a variety of genres – soul, pop, rock, country, and more – including some appearing here on CD for the first time ever, and plenty more that aren't just the obvious Goffin/King hits! The CD features a huge booklet – nearly 25 pages in all – with track-by-track notes on the tunes, as well as on the songwriting team – and as with some of Ace's other explorations into 60s pop powerhouses, the single disc package is almost more informative and thorough than some bigger box sets. Titles include "He's In Town" by The Tokens, "Don't Ever Change" by The Crickets, "The First & The Last" by The Chiffons, "Brand New Man" by Richard Popcorn Wylie, "Let Me Get Close To You" by Skeeter Davis, "The Idol" by Bobby Vee, "I Can't Make It Alone" by PJ Proby, "Just A Little Girl" by Donna Loren, "I Can't Hear You" by Betty Everett, "I Just Can't Say Goodbye" by Bobby Rydell, "I Didn't Have Any Summer Romance" by The Satisfactions, "Yours Until Tomorrow" by Dee Dee Warwick, "So Much Love" by Ben E King, and "A Natural Woman" by Aretha Franklin.

Features Kool & The Gang, BT Express, Aretha Franklin, WAR, James Brown & others.

Mindblowing music from the trio of Nick Ashford, Valerie Simpson, and Jo Armstead – most of it composed and recorded in New York during the mid 60s – before Armstead left for the Chicago scene, and Ashford & Simpson went to work for Motown in Detroit! The three writers have a really beautiful way of putting over a tune – fresh lyrics that are perfect for the budding soul generation of the 60s – and which often get some production work from the members of the trio too, especially on some of the tracks here that were issued by Wand Records. The package does a perfect job of unearthing these early years – pulling together compositions by the three (and occasionally just by Ashford & Simpson) – and illuminating this period with notes that are as thorough as the selection of tracks on the set. Titles include "Dance Children Dance" by Mary Love, "The Shoe Won't Fit" by Betty Everett, "Look Away" by The Shirelles, "Are You Trying To Get Rid Of Me Baby" by The Crystals, "I Don't Need No Doctor" by Sandy Nelson, "Please Little Angel" by Doris Troy, "The Real Thing" by The Chiffons, "Smokie Joe's" by The Jewels, "Say It Again" by Marie Knight, "Looky Looky" by Candy & The Kisses, "Mr Creator" by The Apollas, "You're Absolutely Right" by Tina Britt, "I'm Satisfied" by Chuck Jackson & Maxine Brown, "Cry Like A Baby" by Aretha Franklin, "Same Old Feeling" by Jo Ann & Troy, "Only Your Love Can Save Me" by Betty LaVette, and "Love Ain't What It Used To Be" by The Diplomats.

A real landmark of bad-walking soul – one of 2 rare albums cut by vocalist Esther Marrow, easily one of the hardest singing sisters of her generation! Esther's got roots in gospel, but she's singing here in a righteous mode that features plenty of funky undercurrents in the backings – a style that hits harder than work by Aretha Franklin or any of the better-known female singers of the time – and which holds up beautifully over the years! Many tracks here are obscure ones, arranged tightly by Artie Butler and Gene Page, both of whom do a great job of blending fuller orchestrations with tighter drums on the bottom – giving the record a good kick on most tracks, but still shading in the tunes with enough sophistication to match Esther's interpretation of the work. As hard-hitting as Marlena Shaw during her best years at Cadet – with titles that include "No Answer Came", "Money Honey", "Walk Tall", "Peaceful Man", "Hello Brother", "Chains Of Love", "It's A Long Night", and "He Don't Appreciate It".

Dionne's working with Memphis producer Chips Moman, in a mode that's clearly designed to give her more credibility with the hipper soul scene at the end of the 60s! Burt Bacharach's still in the shadows, but Moman's the real genius on this set – working with Dionne to create a style that's got some of the same touches as Aretha Franklin's work on Atlantic, but a bit smoother overall – in keeping with the Warwick vocal mode. Dionne opens up amazingly in the set – hitting notes never heard on the Bacharach sides, and going for an almost gospel-inspired approach on a few numbers.

Dionne's certainly winning the "soulful" tag on this albums – working with Memphis producer Chips Moman, in a mode that's clearly designed to give her more credibility with the hipper soul scene at the end of the 60s! Burt Bacharach's still in the shadows, but Moman's the real genius on this set – working with Dionne to create a style that's got some of the same touches as Aretha Franklin's work on Atlantic, but a bit smoother overall – in keeping with the Warwick vocal mode. Dionne opens up amazingly in the set – hitting notes never heard on the Bacharach sides, and going for an almost gospel-inspired approach on a few numbers. Tracks includes "I'm Your Puppet", "You've Lost That Loving Feeling", "You're All I Need To Get By", "Do Right Woman", "People Get Ready", "We Can Work It Out", and "People Got To Be Free".

An overlooked treasure from the Atlantic vaults – the first album by The Dynamics, and arguably a much greater record than the group's better-known set from the 70s! The Dynamics were a Detroit group from the late 60s, with that heavy harmony sound that was becoming a standard for the city's soul scene – and they were managed by Aretha Franklin's husband Ted White, who was probably responsible for getting them to record at Atlantic. Oddly, this session was recorded in Memphis, not Detroit – with production by Tommy Cogbill and Chips Moman – who give the group a deep soul bottom that adds a lot to their still-rough vocal style. There's a great mix of deep and smooth going on here – a style that reminds us a bit of the few great Memphis vocal groups of the period, but which also has a Detroit tightness at times too. The tracks are a great mix of originals by Don Mancha, Fred Baker, Ronnie Shannon, and others – and titles include "Ain't No Love At All", "I Don't Want Nobody To Lead Me On", "What Would I Do", "Fair Love", and "Murder In the First Degree". A killer, and the kind of record you started collecting soul for!

One of the few albums ever cut as a lead act by Sandra Feva – a wonderful singer who worked behind Aretha Franklin for years, but who's a hell of a standout talent on her own! The set was arranged and produced by Tony Camillo, but it's got a much more laidback feel than some of Tony's other work – less of the club elements, and more of the deeper soul that you'd expect from Sandra's resume – a perfect setting for her to spin out in some southern-styled vocals, but with the maturing quality that was coming into that scene at the end of the 70s. The balance is great, and really makes the album a fresh one – hardly the usual soul set from the time, and a record that really holds up over the years! Titles include "Tell Em That I Heard It", "Leaving This Time", "Just To Be Close To You", "Betcha", "Here Now", "Who's Making Love", and "Let The Roses Die".

Massive work from Aretha Franklin's ultra-hip sister – singer Carolyn Franklin, a soul artist that we'd gladly trade for Aretha any time! Carolyn got her start in deep soul modes that were somewhat similar to Aretha's work on Atlantic – but she also worked with production that was a bit looser, freer, and more open to righteous influences than some of her sister's hit-bound sessions – and over the course of 4 albums for RCA she recorded some tremendously hip and funky tunes! This package is one of the first times that Carolyn's material has ever officially made it into the reissue years – and it brings together some of the best cuts from her RCA albums, including work arranged by Horace Ott, Wade Marcus, Bert De Coteaux, and other soul legends. There's a good deal of funk in the mix here – heavy bottoms on the tunes that really make them snap alongside the righteous vocals – and the package is easily one of the hardest-hitting sets of female soul you could ever hope to buy! 22 tracks in all – including "If You Want Me", "There I Go", "Ain't That Groovy", "Boxer", "Reality", "Chain Reaction", "Don't Wake Me Up In The Morning Michael", "Not On The Outside", "Boy I Love You", "You Are Everything", "Shattered Pride", "I Can't Help My Feeling So Blue", "As Long As You Are There", and "You Can Have My Soul".

The first Atlantic album from Margie Joseph – a great second generation southern soul singer who really helped the label find a new sound in the 70s! Margie got her start on Stax, but she sounds even better here – a bit more mature, slightly more urban, and backed with a bad-walking set of arrangements by Arif Mardin that help pull her out of the country into a wider 70s soul mainstream. There's still plenty of rootsy touches on the set, and the blend is one that's similar to that of Aretha Franklin's work of the time – one that echoes older southern styles, but brings them up to date nicely with some more sophisticated touches. Titles include "Make Me Believe You'll Stay", "Turn Around & Love You", "Let's Go Somewhere & Love", "You Better Know It", "I'll Take Care Of You", and "I'm So Glad I'm Your Woman".

The classic! This beautiful album showed that Chaka could stand very well on her own two feet without the help of Rufus, thank you. Of course, she's got some fantastic help from Arif Mardin, who works as much magic with Chaka here as he'd worked with Aretha Franklin a decade before. Includes the original version of "I'm Every Woman", which still sounds great today, despite the way that Whitney butchered it a few years ago – plus "Love Has Fallen On Me", "We Got The Love", "Life Is A Dance", and "Sleep On It".

A wicked little solo set from one of Atlantic Records' hippest talents in the 70s! Arif Mardin's best known for his work supporting some of Atlantic's best soul starts – Aretha Franklin most famously, and a host of others – but here, he steps out as a maestro on his own – working in a great space that's somewhere between blacksploitation funk and electric jazz – all with a groove that's totally great! Mardin's wonderful sense of space and timing come even more to the forefront here than on his records with singers – and he does an amazing job of bringing the players together with the tightness of a soul session, but the freedom of expression of a jazz date. Musicians include Joe Farrell on soprano sax, Seldon Powell on tenor, Richard Tee and Pat Rebillot on electric piano, Gary Burton on vibes, and Hubert Laws on flute. Urszula Dudziak makes a few appearances on voice – dropping in some wordless elements to the tunes – and drums are heavy throughout, played by either Steve Gadd, Bernard Purdie, or Grady Tate. Titles include "Dark Alleys", "Love On A Rainy Afternoon", "A Sunday Afternoon Feeling", "Strollin", "Journey", "Flight", and "Forms".

A pair of overlooked gems from Nancy Wilson – on CD for the first time ever! The Sound Of Nancy Wilson is mighty darn groovy – a wonderful blend of upbeat late 60s modes, and some of the more compressed class of her earlier years! Arrangements are by Jimmy Jones, who finds just the right balance of jazz and soul to work perfectly with Wilson – so that when things are bouncy and swinging, she's got the punch to beat all the younger soul singers who were copping her game at the time – and when they're mellow, she shows that she can still blow anyone else out of the water on a sad-tinged ballad! Familiar tunes are reworked wonderfully by Jones – who definitely gives them all the sound of Nancy here – and titles include the righteous "Black Is Beautiful", plus "Below Above", "The Rules Of The Road", "Peace Of Mind", "The Other Side Of The Tracks", "It Only Takes A Moment", "Alone With My Thoughts Of You", and "This Bitter Earth". Nancy is a self-titled set from Nancy Wilson – and a record that definitely lives up to everything the Nancy name meant at the end of the 60s! The album's got a depth that can take on comers from all corners – enough class and sophistication to match the modes of Marlena Shaw or Dionne Warwick, but also enough punch to tackle the heavier soul styles of singers like Aretha Franklin or Fontella Bass – thanks to some heavier groovers on the package! There's loads of fresh numbers on the record – many given a great blast of jazz and soul by arranger Jimmy Jones – and titles include "Prisoner Of My Eyes", "Looking Back", "You'd Better Go", "What Do You See In Her", "We Could Learn Together", and "Player Play On".

Features Mary J Blige, Usher, Aretha Franklin, Donna Summer, John Legend & Angie Stone.

The first Atlantic album from Margie Joseph – a great second generation southern soul singer who really helped the label find a new sound in the 70s! Margie got her start on Stax, but she sounds even better here – a bit more mature, slightly more urban, and backed with a bad-walking set of arrangements by Arif Mardin that help pull her out of the country into a wider 70s soul mainstream. There's still plenty of rootsy touches on the set, and the blend is one that's similar to that of Aretha Franklin's work of the time – one that echoes older southern styles, but brings them up to date nicely with some more sophisticated touches. Titles include "Make Me Believe You'll Stay", "Turn Around & Love You", "Let's Go Somewhere & Love", "You Better Know It", "I'll Take Care Of You", and "I'm So Glad I'm Your Woman".

Margie Joseph gets a hipper treatment than on earlier records – a mix of east coast styles that adds in some Philly and early modern mellow arrangements, both of which provide a great contrast to Margie's southern-tinged vocals! The approach here is great – a fulling up and fleshing out of Joseph's initial promise – with strong arrangements from Arif Mardin, focused around smaller combo backing by players who include Bernard Purdie on drums, Richard Tee on keyboards, and Norman Harris on guitars. The groove is nice and lean on the bottom, but Margie's vocals are augmented by a brace of backing singers – Judy Clay, Cissy Houston, and others – all of whom create a sense of interplay that's similar to Aretha Franklin with The Sweet Inspirations on earlier records. But Margie's also upfront in the mix on most numbers – singing personally, and somewhat intimately with an easygoing sense of soul. Titles include Margie's own "Ridin' High", Paul Kelly's "Come Lay Some Lovin On Me" and "Come With Me", Norman Harris' "(Strange) I Still Love You", and a great version of Stevie Wonder's "To Know You Is To Love You".

Incredible work from a singer we'd never heard before – but who should have been huge, given the quality of these tunes! Pearl's got an amazing sound that's right out of the "birth of soul" era in which she recorded – a hard soul approach that's steeped in influences from earlier R&B years, but which comes across with a straightforward power that echoes later classics by 60s divas like Aretha Franklin or Fontella Bass. The set's one of the best we've ever seen from the Tuff City soul archives – wonderfully annotated, in a way that tells the full story of Pearl's lost years – and which really gets at the strength and quality of this amazingly soulful work. The set features 19 tracks in all – and titles include "Be My Baby", "My Love Is Your Love", "Sippin Sorrow", "I'll Be A Crybaby From Now On", "Sloppin", "One More Time", "Don't Tell It All", "Stickum Up Baby", "Fool Like Me", and "The Last Mile".

Culled from the rich history of the Atlantic records label, and lovingly put together with great notes and everything! 28 tracks in all, including "Knock On Wood" by Eddie Floyd, "Try A Little Tenderness" by Otis Redding, "Mustang Sally" and"Funky Broadway" by Wilson Pickett, "When Something Is Wrong With My Baby" and "Soul Man" by Sam & Dave, "Sweet Soul Music" by Arthur Conley, "I've Never Loved A Man The Way I Love You", "Do Right Woman – Do Right Man",'Respect", "Baby I Love You", "Natural Woman" and "Think" by Aretha Franklin, "Show Me" and "Skinny Legs & All" by Joe Tex, "Tramp" by Otis & Carla, "Soul Finger" by the Bar Kays, "Memphis Soul Stew" by King Curtis and "Tighten Up" by Archie Bell & The Drells.

A nice compilation on the Cotillion subsidiary of Atlantic collecting spiritual soul tracks and gospel numbers performed by R&B artists from the late 60s. 11 numbers in all: "Let It Be" by Aretha Franklin, "Steal Away" and "Lord Pity Us All" by Wilson Pickett, "I Wish I Knew (How It Would Feel To Be Free)" by Solomon Burke, "I Told Jesus" by Roberta Flack, "Down By The River Side" and "Without A Doubt" by the Sweet Inspirations, "Heaven Help Us All" by Brook Benton, "God Gave Me A Song" by Myrna Summers & The Interdenominational Singers, and "Milky White Way" and "People Got To Be Free" by Marion Williams.

20 heavy tracks of soul from Atlantic's early 70s roster: King Floyd "Groove Me" and "Baby Let Me Kiss You", Brook Benton "Shoes", Little Sister "Somebody's Watching You", Jackie Moore "Precious Precious", Wilson Pickett "Don't Let The Green Grass Fool You" and "Don't Knock My Love - Part 1", Garland Green "Plain & Simple Girl", Tyrone Davis "Could I Forget You", Aretha Franklin "Bridge Over Troubled Water" and "Spanish Harlem", The Beginning Of The End "Funky Nassau - Part 1", Dede Warwicke "Suspicious Minds", Roberta Flack & Donny Hathaway "You've Got a Friend", Barabra Lynn "(Until Then) I'll Suffer", the Persuaders "Thin Line Between Love & Hate", Clarence Carter "Slipped, Tripped & Fell In Love", King Curtis "Changes - Part 2", Sam & Dave "Don't Pull Your Love" and Betty Wright "Clean Up Woman".

A well-done look at the legendary Ahmet Ertegun – founder of the equally legendary Atlantic Records, and a key force in popular music during the 20th Century! The DVD features rare clips, classic performances, and other great visuals – with appearances from Solomon Burke, Ray Charles, Eric Clapton, Aretha Franklin, David Geffen, Robert Plant, Leiber & Stoller, Chris Blackwell, Jerry Wexler, and Ertegun himself. Narration is by Bette Midler – but hey, what are you gonna do?

A wonderful testament to songwriting mastery of Don Covay – one of greatest singing and songwriting double threats ever – and if you didn't already know that, this excellent compilation will set you straight! No tribute to Covay the songwriter would be complete without Aretha Franklin's "Chain Of Fools" – but the set actually goes a lot deeper, with straight-up classic soul treasures, raucous R&B, stirring vocal tunes, some funk and funky rock. The reach is impressive, with the aforementioned Aretha hit, plus songs recorded by Wilson Pickett, Etta James, Joe Tex, The Staple Singers, Wanda Jackson, The Wailers, Little Richard, Gene Vincent, Dee Clark, Connie Francis and more! 26 tracks in all, completed by a great set of notes: with "Three Time Loser" by Wilson Pickett, "You’re Good For Me" by Lena Horne, "Don't Drive Me Away" by Ben E King, the funky gem "Sookie Sookie" by Tina Britt, "She Said Yeah" by Joe Tex, "Watch The One Who Brings You The News" by Millie Jackson, "Long Tall Shorty" by The Graham Bond Originization, "Mon Cherie Au Revoir" by Arlene Smith and more.