The Isley Brothers. Get Ready. Mustang Sally. Sweet Soul Music. Arthur Conley. Living For The City. Stevie Wonder. James Brown. The Stax band is anemic and thin, rendering their sound almost worthless. The vocals of Sam and Dave have no real presence-except in the higher end of things.
Everything is separated pretty much into either the right or left channel, and is fairly unpleasing to the ear. As I said about the first set, this in some ways reminds me of that "electronically re-processed for stereo" junk from years ago.
It's not as bad as that, but to my ears it comes close. But I do it through slightly gritted teeth. Bottom line-you might want to look elsewhere for Sam and Dave's early work-and don't waste your money on this edition. Try listening to this set with headphones and you'll hear what I mean. And hearing this set through speakers is almost as bad. Like I said about the first set, maybe I'm looking for a clean, even mono sound. But the 19 page booklet is very well done.
Absolute Tops! They don't make music like this anymore Wish that Sam Moore would record more! One of the best there is! Good God Almighty! This 2nd reissue gives us their 3rd and 4th albums on Stax and Atlantic and is just as stunning in every way - sound, presentation and despite it being a 2CD set value-for-money price. Here are the finite details Being 60's Soul and recorded with indecent haste in less than audiophile conditions - there's hiss on occasion and some muddiness to the bass every now and then - but mostly this remaster sounds 'so' clear to me - the brass, drum whacks and guitar - much better than the early Nineties Rhino discs I've had for years now.
And as a sucker for those 45's and their double-shots of brilliance - I also love the fact that this release allows me to line up those songs for play - and in top sound quality too. Rounce has had a long-time association with both Edsel and Ace Records of the UK and their Philadelphia and Chess CD reissues - and his work here is typically indepth, knowledgeable and enthusiastic in a way that only British Soul nuts can be.
Pages 12 and 16 have gorgeous full colour plates of each album sleeve and the rest of the text is peppered with insert photos of the Florida Sam and Georgia Dave boys in various live shows. There's a track-by-track Discography at the rear and it even reproduces the original liner notes that graced the back of each American LP sleeve. Rounce's liner notes also extend to their later years aged 76, Sam Moore is still with us and singing.
In other words Edsel could have taken the easy way out and put in a foldout 3-page filler that would have sufficed - but they haven't - and they're to be praised for this. To the music - the album "Soul Men" is considered by most to be their best album and it's easy to hear why. I was drinking and said, 'Well… the lead singer doesn't usually do the moves,' so I did a few steps and left it to the Attractions to do it all.
The idea behind those early videos was to make comical little films. Our promo man, Spanner, gently persuaded me to don a pantomime harness so I could be hoisted up on a wire and down again, right on cue with the title line from the chorus. Two things stood in the way. One was the holes the hooks of the harness would have to punch in my favorite thrift-store trousers, and the other was my fear of heights.
A trip to the BBC club took care of the latter: by the time I returned to perform, I wouldn't have cared if I'd been asked to wear harem pants or Bermuda shorts. I was a rubber man, so when the harness returned me to earth, my legs buckled under me.
The Stax house band, Booker T. Stewart is credited for instrumental mixes that allowed for instrumental separation and the distinct contribution of each instrument to the overall feel of the song. In , Rolling Stone named it one of the best songs of the past 25 years. The duo used this format singing dual leads on most of their songs. The song was created when Hayes called to Porter, who was in the bathroom.
Porter supposedly said "Hold on, man. I'm comin'," and Hayes and Porter wrote the song within 10 minutes. This resulted in a name change by Stewart and quick re-recording and re-release, and nearly all the original U. Stax author Rob Bowman called this "One of the most sublime records in soul music's history," and Mar-Keys trumpet player Wayne Jackson called it the greatest song he has ever heard.
The song helped name the emerging music genre as "Soul Music". According to co-writer Isaac Hayes, the title was inspired by news reports of soul pride that emerged after the race riots, where stores that painting the word "soul" on your door was a message for looters to bypass your house.
Hayes-Porter extrapolated that to "I'm a soul brother, I'm a soul man. Songs of the Century. In , "Soul Man" was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant".
Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental.I Can't Stand Up For Falling Down Lyrics: I'm the living result / Of a man, ooh that's been hurt a little too much / And I've tasted, uh huh, the bitterness of my own tears / Sadness, listen to.