SAM COOKE - HITS OF THE 50's (RCA VICTOR 1960) Jap Blu-Spec cd cardboard sleeve

Sam Cooke was the most important soul singer in history -- he was also the inventor of soul music, and its most popular and beloved performer in both the black and white communities. Equally important, he was among the first modern black performers and composers to attend to the business side of the music business, and founded both a record label and a publishing company as an extension of his careers as a singer and composer. Yet, those business interests didn't prevent him from being engaged in topical issues, including the struggle over civil rights, the pitch and intensity of which followed an arc that paralleled Cooke's emergence as a star -- his own career bridged gaps between black and white audiences that few had tried to surmount, much less succeeded at doing, and also between generations; where Chuck Berry or Little Richard brought black and white teenagers together, James Brown sold records to white teenagers and black listeners of all ages, and Muddy Waters got young white folkies and older black transplants from the South onto the same page, Cooke appealed to all of the above, and the parents of those white teenagers as well -- yet he never lost his credibility with his core black audience. In a sense, his appeal anticipated that of the Beatles, in breadth and depth.
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Sam Cooke's second RCA album is mostly a missed opportunity, in terms of representing much about Sam Cooke as an artist or singer -- having him cover pop hits of the previous decade wasn't a terrible idea on its face, but Cooke was still getting accustomed to working at RCA, and he wasn't inspired by the material or the way it was chosen, and the result is an album aimed at what the label thought the white teenage market was all about (and what the company thought the parents of those kids would be most comfortable with them buying from a black recording artist), that's a lot less interesting than some of the singles, including "Chain Gang" and "Wonderful World," that he was doing around the same time. His versions of hits associated with Nat "King" Cole, Johnnie Ray, and the Platters should have made for a more interesting record. Hits of the Fifties is still an improvement over its immediate predecessor, Cooke's Tour, but it's also one of the records that for many years -- in the absence of his best material being available -- blighted Cooke's reputation as a soul singer.[allmusic]
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SAM COOKE - THE BEST OF (RCA VICTOR 1962) Jap Blu-Spec cd cardboard sleeve

This original 1962 LP compilation is the perfect introduction to the soulful pop of Sam Cooke. It contains all of his best-loved songs in their original versions and represents the wide variety of moods the man conjured with his music. His unique vocal style combined the smooth, tasteful pop approach of Nat King Cole with a grittier, more emotive soul sound.
His compositions brought those two worlds together in a similar manner, the worksong providing fodder for the melodic pop of "Chain Gang," for example. "You Send Me" is the ultimate expression of romantic rapture, while "Sad Mood" is the most mournful of lost-love songs. Somehow, even when capturing a sense of celebration ("Having A Party," "Twistin' The Night Away") there's still a subtle twinge of sadness in Cooke's expressive voice, giving his performances an extra layer of depth.
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Originally released in August 1962 under the title The Best of Sam Cooke, Volume 1 [RCA 2625], this album was reissued in 1965 as The Best of Sam Cooke [RCA 3466, later RCA 3863]. An above-average greatest hits collection, although no sampler could fully convey Sam Cooke's genius. It has since been reissued on CD [RCA 3863], so at least it's still in print.
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DINAH SHORE - BOUQUET OF BLUES (RCA VICTOR 1956) JVC K2 mastering

One of America's most popular entertainers long after her mid-'40s commercial peak, Dinah Shore was the first major vocalist to break away from the big-band format and begin a solo-billed career. During the '40s, she recorded several of the decade's biggest singles -- "Buttons and Bows," "The Gypsy," and "I'll Walk Alone" -- all of which spent more than a month at number one on the Hit Parade. After launching a television variety series in 1951, Shore appeared on one program or another, with few gaps, into the 1980s.
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Born in rural Tennessee, Dinah Shore was performing on Nashville radio while still a teenager. Her professional career later took her to New York, where she sang with Xavier Cugat. After failing auditions with Benny Goodman and Tommy Dorsey however, she decided to simply become a solo singer. Shore signed to Bluebird, and recorded several hits during 1940-41, including "Yes, My Darling Daughter," "I Hear a Rhapsody" and "Jim." Her first million-seller came in 1942 with the prototypical blues crossover nugget, "Blues in the Night." Later that year, she moved to Victor and hit big with "You'd Be So Nice to Come Home To" and her first number one hit, 1944's "I'll Walk Alone." Shore also began appearing in films, including 1944's Up in Arms and 1946's Till the Clouds Roll By.
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The late '40s proved to be her most popular era for recording. Between 1946 and 1949, she hit big with several songs, including "The Gypsy," "I Love You for Sentimental Reasons," "Anniversary Song," "I Wish I Didn't Love You So," "Buttons and Bows" and "Dear Hearts and Gentle People." Though her records didn't chart as high during the '50s, Dinah Shore enjoyed even more exposure with her top-rated variety show, The Dinah Shore Chevy Show. For many, Shore's opening and closing every show with "See the USA in your Chevrolet, America's the greatest land of all" practically defined the '50s. Her Chevrolet sponsorship lasted until 1963, but she returned in the '70s with a new format, the daytime talk-show. During the 1980s, she began performing once again, but returned to television once more with a series that ran for two years. She died of cancer in 1994.[allmusic]
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LITTLE WALTER - THE BEST OF [His First Album] (CHESS 1957) Jap mastering cardboard sleeve + 3 bonus

If there's a blues harmonica player alive today who doesn't have a copy of this landmark album in their collection, they're either lying or had their copy of it stolen by another harmonica player. This 12-song collection is the one that every harmonica player across the board cut their teeth on. All the hits are here: "My Babe," "Blues with a Feeling," "You Better Watch Yourself," "Off the Wall," "Mean Old World" and the instrumental that catapulted him from the sideman chair in Muddy Waters' band to the top of the R&B charts in 1952, "Juke." Walter's influence to this very day is so pervasive over the landscape of the instrument that this collection of singles is truly: 1) one of the all-time greatest blues harmonica albums, 2) one of the all-time greatest Chicago blues albums, and 3) one of the first ten albums you should purchase if you're building your blues collection from the ground floor up.[allmusic]
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LEE DORSEY - YA! YA! (FURY 1962) Jap mastering cardboard sleeve + 4 bonus

Lee Dorsey epitomized the loose, easygoing charm of New Orleans R&B perhaps more than any other artist of the '60s. Working with legendary Crescent City producer/writer Allen Toussaint, Dorsey typically offered good-time party tunes with a playful sense of humor and a loping, funky backbeat. Even if he's remembered chiefly for the signature hit "Working in a Coalmine," it was a remarkably consistent and winning combination for the vast majority of his recording career.
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Lee Dorsey, the world's funkiest auto mechanic, topped the R&B charts in 1961 with "Ya Ya," a bit of bubblegum soul arranged by Allen Toussaint that exemplifies the sound of his early-'60s Fury recordings. Dorsey was an important and commercially successful product of the New Orleans R&B scene with a sound as distinctive as Fats Domino, and one look at the track list of this 16-track anthology tells you everything you need to know: "Eenie Meenie Mini Mo," "Ixie Dixie Pixie Pie," "Chin Chin," "Yum Yum" (et cetera). Uncluttered grooves, economical horn riffs, playground rhymes and Dorsey's unmistakable voice add up to an appealingly simple formula that yielded one of the most enduring oldies of its era and its similar but lower-charting follow-up, "Do Re Mi." Only "Give Me Your Love," a ballad that uses the ubiquitous R&B triplets Kay Starr disparagingly termed "the claw," breaks the pattern.Ya Ya was digitally mastered from the original tapes and features some first-time stereo...[allmusic]
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THE IMPRESSIONS - THE IMPRESSIONS (ABC-PARAMOUNT 1963) Jap mastering cardboard sleeve + 1 bonus

The first Impressions LP was one of the finest debuts of any '60s soul act, though it excelled in part because it featured a backlog of chart singles (five had charted previously, and "It's All Right" became the sixth after it was quickly added to the original program). Curtis Mayfield wrote all but two of the songs, stretching back to 1961's "Gypsy Woman" (which he'd actually written at the age of 14) but mostly including strong 1962-1963 material like the hit "Little Young Lover," "Grow Closer Together," "I'm the One Who Loves You," and "Minstrel and Queen." "It's All Right" was easily the best song here, accented by the group's sublime harmonies, arranger Johnny Pate's swinging horn section, and Mayfield's precise guitar work. The group also showed an unsurprising reverence for classic doo wop, beautifully remaking "Never Let Me Go," a Top Ten R&B hit for Johnny Ace in 1954. Even the closer, a tossed-off novelty called "Twist and Limbo," is an excellent performance and a genuinely fun song. Mayfield's disarmingly brilliant songs were really the only necessary element toward making The Impressions a strong LP, but the mesmerizing vocals and sympathetic arrangements made for a classic work of Chicago soul.[allmusic]
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THE IMPRESSIONS - RIDIN' HIGH (ABC-PARAMOUNT 1966) Jap mastering cardboard sleeve

The Impressions were certainly dominating the charts and making wonderful albums in the '60s, and this one didn't break the string. They would depart from ABC in two years, but at this point there were no concerns, even though they didn't match the previous years' glittering array of hits. But their singing was no less emphatic or compelling, nor had Mayfield's writing, productions, or arrangements slipped.
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A sudden jump to the mainstream of mid-60s soul, with far more prominent drumming ("Right On Time"), more piano, swinging horn fills, vibes, and upbeat, enthusiastic tunes. The rousing "Gotta Get Away," for example, recalls Stax artists like Sam & Dave. But there's still plenty of the super-smooth vocalizing their fans expected - "I Need You" is perhaps the best example - and Mayfield gets in a guitar solo on "Too Slow." A lot of the song material is routine, though: "I Need To Belong To Someone" is nearly a note-for-note copy of "People Get Ready." There's only one non-Mayfield tune: the horrific standard "Let It Be Me." Again, produced by Pate.

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THE IMPRESSIONS - WE 'RE A WINNER (ABC 1968) Jap mastering cardboard sleeve + 2 bonus

While the title track was one of Mayfield's classic civil rights-conscious anthems, most of this album was actually dedicated to standard romantic themes. This wasn't necessarily a drawback; almost every cut was a quality Mayfield original, and the harmonies and vocal interplay among the group were outstanding. "Nothing Can Stop Me," awhich had been a hit in 1965 for Gene Chandler, was an uptempo highlight, and "Little Brown Boy" showed more of the African-American pride that had been explored in "We're a Winner," albeit in a more tender ballad mode. The closing cover of "Up Up and Away" is misplaced, but overall this is one of the better Impressions albums to pick up if you want more than what's found on the greatest-hits collections, with excellent production and Johnny Pate arrangements throughout.[allmusic]
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BILLY PRESTON - THE MOST EXCITING ORGAN EVER (VEE JAY 1964) Jap mastering cardboard sleeve

It's advantageous to get an early start on your chosen career, but Billy Preston took the concept to extremes. By age ten he was playing keyboards with gospel diva Mahalia Jackson, and two years later, in 1958, he was featured in Hollywood's film bio of W.C. Handy, St. Louis Blues, as young Handy himself. Preston was a prodigy on organ and piano, recording during the early '60s for Vee-Jay and touring with Little Richard. He was a loose-limbed regular on the mid-'60s ABC TV series Shindig, proving his talent as both vocalist and pianist, and he built an enviable reputation as a session musician, even backing the Beatles on their Let It Be album.
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As the late John Holmes would tell you, it's damn near impossible to live up to a title as lofty as The Most Exciting Organ Ever, but Billy Preston does his best -- the raw physical power of Preston's performances are matched only by the imagination and virtuosity of his phrasing. The music bridges the sacred and the profane, fusing the deep, bold sound of the church with the razzle-dazzle of R&B. While Preston's innovative use of bass pedals lends the music its pendulous bottom, his melodies defy gravity, soaring and dive bombing like birds of prey in flight.[allmusic]
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A REALLY GREAT ALBUM!! DON'T MISS IT!
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BILLY PRESTON - EARLY HITS OF 1965 (VEE-JAY 1965) Jap mastering cardboard sleeve

10 year old Billy Preston began playing keyboards for gospel big names like Mahalia Jackson, Andrae Crouch and James Cleveland. Two years later, he made his feature film acting debut in the W.C. Handy biographical movie “St. Louis Blues” (1958). Regarded a bit as a child genius on piano and organ, he toured with Little Richard and Ray Charles in the 1960s and appeared regularly on the ABC TV musical variety series “Shindig,” where as part of the show's house band he demonstrated his talent as a pianist and singer in the mid 1960s. He also played organ on Sam Cooke's album “Night Beat” (1963).
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Preston eventually signed with Vee-Jay Records and released his first album, “The Most Exciting Organ Ever,” on August 20, 1965, weeks before his 19th birthday. The fully instrumental album was produced by Steve Douglas. Later that same year, he launched a compilation album titled “Early Hits of '65.” His sophomore album, “The Wildest Organ in Town,” followed in March 1966 and was his first record with Capitol Records. It was arranged by Sly Stone and again produced by Steve Douglas. Preston took on co-producing duties for his subsequent album, “Club Meeting,” which was released on March 30, 1967, before he left Capitol and joined Apple Records in the late 1960s.
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Early Hits of'65 released in 1965 & recompiled singles and hits from this year to play with soul arrangements. The album was recorded in the same sessions of The Most Exciting Organ Ever [allmusic]
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