The Albums of 1965: Otis Blue: Otis Redding Sings Soul

Release Date: September 15, 1965

Produced by Jim Stewart, Steve Cropper

Side One: Ole Man Trouble; Respect; Change Gonna Come; Down in the Valley; I've Been Loving You Too Long

Side Two: Shake; My Girl; Wonderful World; Rock Me Baby; Satisfaction; You Don't Miss Your Water

Otis Blue: Otis Redding Sings Soul has become recognized as one of the great soul albums of the 1960s. Backed by the Stax Records house band Booker T and the MG's, the album features outstanding covers, including songs by Sam Cooke, who was tragically killed the year before.

"Ole Man Trouble" opens the album with an invocation inner peace. Aretha Franklin made "Respect" an immortal classic, but Redding's version offers a more frenetic plea. "Change Gonna Come" was the first of the Cooke covers, mournful and gospel infused, uneasy and stirring in delivery. "Down in the Valley" is uplifting, about willing one self to survive. "I've Been Loving You Too Long" is a remarkable vocal by Redding to close side one.

"Shake"offers a more muscular sound, a cover "My Girl" by The Temptations has a more adventurous production. "Wonderful World" is a more intense version of the Cooke's classic hit, "Rock Me Baby" is a soulful rocker. "I Can't Get Satisfaction" builds brilliantly upon the Stones classic. The closer, "You Don't Miss Your Water" ends the album on an uneasy note.

A record that breathes life that will provide endless inspiration on repeated listens, Otis Blue is an immortal classic. 

The Albums of 1973: The Isley Brothers: 3+3

 

Release Date: August 7, 1973

Members: Ronald Isley (vocals); Ernie Isley (lead guitar); Marvin Isley (bass); O'Kelly Isley (vocals); Rudolph Isley (vocals); Chris Jasper (piano, synth)

Produced by Ronald Isley, Rudolph Isley, O'Kelly Isley

Side One: That Lady; Don't Let Me Be Lonely Tonight; If You Were There; You Walk Your Way; Listen to the Music

Side Two: What it Comes Down To; Sunshine (Go Away Today); Summer Breeze; The Highways of My Life

The Isley Brothers had a remarkable run of records during the 1970s - and 3+3 was one of their best. Consisting of originals and memorable covers of pop hits, 3+3 is a standout from the crowded year of 1973.

The record opened with "That Lady," an update of their 1964 hit reimagined as 1970s funk. Jimi Hendrix had toured with the Isleys in the mid-1960s, Ernie Isley's guitar on this track took inspiration from Hendrix, earning the group a Top Ten hit. James Taylor's "Don't Let Me Be Lonely Tonight" is performed wonderfully as a quiet soul song. "If You Were There" is upbeat and melodic, "Walk Your Way" is gospel inspired. The Isely's took the Doobie Brother's hit "Listen to the Young Music", maintaining its festive spirit while incorporating a synth sound that builds to a memorable fadeout.

"What it Comes Down To" was another hit single highlighted by Chris Jasper's synthesizer. "Sunshine (Go Away Today) was hit for singer-songwriter Jonathan Edwards, a post-60s lament, the Isley's expanded on the notion with their moodier version. The Isley's had covered Seals & Croft's "Love the One You're With" a few years before, here the they took on "Summer Breeze", expanding the song to an epic six minutes, adding a note of unease accentuated by distorted guitars. A lovely piano intro opens "The Highways of My Life," an introspective track to close the record.

In its nine tracks 3+3 incorporated a variety of emotion and styles, the production left behind a timeless sound.

The Albums of 1973: Bruce Springsteen: The Wild, the Innocent, & the E Street Shuffle

Release Date: November 5, 1973

Produced by Mike Appel and Jim Cretecos

Side One: The E Street Shuffle; 4th of July Ashbury Park (Sandy); Kitty's Back; Wild Billy's Circus Story

Side Two: Incident on 57th Street; Rosalita (Come Out Tonight); New York City Serenade

Bruce Springsteen's sophomore record The Wild, the Innocent, & the E Street Band built upon the homespun sound of his debut Greetings from Ashbury Park. 

"The E Street Shuffle" is lyrically similar to the New Jersey scenes on the first record, a celebratory opener full of consequence. "4th of July Ashbury Park" paints a portrait of a specific moment in time of the Jersey shore, cinematic in its scope with its heightened reality, even sounding archaic with references to "greasers" and "factory girls". The song is addressed to Sandy to whom the singer is confessing a heartbreak, and expressing a sense of time passing that will never return, at least for him. "Kitty's Back" is a bittersweet farewell to another legendary figure who enraptured the imagination of many in an ambitious composition moving from folk, R&B, and gospel. "Wild Billy's Circus Story" eulogizes a traveling circus in a curious hybrid of Dylan and Bradbury. 

Side two featured three 7+ minute epics critics often cite as Springsteen emerging as one of the great American songwriters. "Incident on 57th Street" tells a sprawling tragic love story of "Spanish Johnny" and "Puerto Rican Jane." The theatricality of the song would continues through Springsteen's work during the 1970s. "Rosalita (Come Out Tonight) is similar in sentiment, with Bruce switching to the first-person perspective. A standout from his early live shows, certain to send the audience out on a high note. "New York City Serenade" is the most abstract lyrically, more kaleidoscopic, and musically the most adventurous. 

While the record sold moderately, critical notices were strong, and it got a lot airplay in the Northeast. It's easy to view Wild & Innocent as mere prelude to Born to Run, but the album stands on its own with its sprawling romanticism and swashbuckling theatrics, one's left with no doubt Bruce and the band left it all on the record. 

The Albums of 1973: The Allman Brothers Band: Brothers and Sisters

 

Release Date: August 1973

Members: Gregg Allman (vocals, guitar); Dickie Betts (guitars, vocals); Berry Oakley (bass); Jai Johnny Johanson (percussion); Butch Trucks (percussion); Chuck Leavall (pianos, vocals); Lamar Williams (bass)

Produced by Johnny Sandlin

Side One: Wasted Words; Ramblin' Man; Come and Go Blues; Jelly Jelly

Side Two: Southbound; Jessica; Pony Boy

The Allman Brothers Band were recovering from the loss of two founding members of the group, Duane Allman and bassist Berry Oakley had both died in motorcycle accidents within a year of each other. With some lineup changes and a determination to continue on they recorded Brothers and Sisters through the summer of 1972. It was released a year later to high acclaim. 

"Wasted Words" opens the album on a rollicking note with its blend of blues, rock, and soul that pack a punch and highlights all aspects of the band. "Ramblin' Man" was written by Dickie Betts and became a hit single for the band, even though they were initially reluctant to record it believing it was too much of a departure from their signature sound. The lyrics present a Southern sojourn from one who's been everywhere and seen it all. "Come and Go Blues" was a Gregg Allman composition and achieves a more epic effect in its appraisal of a relationship. "Jelly Jelly" is more in the traditional blues and soul style and breaks into a slightly extended jam. 

Side two opens with two iconic jams: "Southbound" and "Jessica." Both written by Betts, "Southbound" is fueled by an erratic energy and "Jessica" has no lyrics and it doesn't require them, the music is expressive enough. Another Betts composition, "Pony Boy" closes the record. Inspired by Robert Johnson, channels traditional blues and ends the record on a homespun note.

A chaotic tour in 1973 would follow and as the decade progressed the band's output fell off with internal group conflicts and members pursuing their own projects. Brothers and Sisters finds the Allmans at the peak of their powers. 

The Albums of 1973: The O'Jays: Ship Ahoy

 

Release Date: August 1, 1972

Members: Eddie Levert; Walter Williams; William Powell

Produced by Kenny Gamble & Leon Huff

Track List: Side One: Put Your Hands Together; Ship Ahoy; The Air I Breath; You Got Your Hooks in Me

Side Two: For the Love of Money; Now That We Found Love; Don't Call Me Brother; People Keep Tellin' Me

The O'Jays returned in 1973 with Ship Ahoy, a powerful follow-up to their classic recorded the year before, Backstabbers.

"Put Your Hands Together" opened the record with a call for unity, gospel infused with the bold horns, strings, and vocals.

An epic at nine minutes "Ship Ahoy" is a recounting of the Middle Passage, following a slave ship from Africa to the Americas. Originally intended for the soundtrack for the 1973 film Shaft in Africa, the track is a marvel of production, a haunting and essential meditation on the past and present. "This Air I Breath" is ecologically themed, a call for cleaner air. "You Got Your Hooks in Me" is a romantically themed pledge of devotion.

"For the Love of Money" gained a life of its own in many movies about greed (and a certain reality show). "Now That We Found Love" muses over the challenges of a relationship. "Don't Call Me Brother" is another nine-minute track, calling out phony friends, the takers of the world. 'People Keep Tellin' Me" ends the record on a note of faith and persistence in the face of turmoil. 

Ship Ahoy is an album of conflicting moods reflecting on the early 1970s, the current state of the world, and relationships, a classic of 70's Soul. 

The Albums of 1973: Al Green: Livin' for You

Release Date: December 6, 1973

Produced by Willie Mitchell

Side One: Livin' for You; Home Again; Free At Last; Let's Get Married; So Good To Be Here

Side Two: Sweet Sixteen; Unchained Melody; My God is Real; Beware

Livin' for You was Al Green's second LP released in 1973 after the masterful Call Me came out in April. Mellower and even experimental in terms of vocals and production, Livin' for You continued to push the boundaries of soul music.

The album opens with the title track is somewhat like "Let's Stay Together," the exquisite production sets the tone for the album. "Home Again" moves from melancholy to elation, while "Free At Last" stays in a steady mid-tempo. In "Let's Get Married" Green vocalizes as if improvising an inner monologue. The good vibes going on "So Good to Be Here" expressing elation at being in the right place. 

"Sweet Sixteen" is slightly menacing in its determination. A restrained version of "Unchained Melody" achieves a vivid effect overall, recorded with a steely confidence by Green and the session musicians. As the title expresses "My God is Real" expresses a fervent belief. At over eight minutes, the closing track "Beware" makes for a sweeping finish. Waves of uncertainty run through this track in a subtle emotional journey.

Livin' For You is timeless in more ways than one, everything from Green's gripping vocals to the production sound as vibrant as ever. The range of emotion and resonance on these songs demands repeated listening. 

The Albums of 1973: Al Green: Call Me

Release Date: April 1973

Produced by Willie Mitchell, Al Green

Side One: Call Me (Come Back Home); Have You Been Making Out Ok; Stand Up; I'm So Lonesome I Could Cry; Your Love is like the Morning Sun

Side Two: Here I Am (Come and Take Me); Funny How Time Slips Away; You Ought to Be with Me; Jesus is Waiting

Widely considered one of the best Soul albums of 1973 (if not for all time), Call Me yielded three hit singles. At 36 minutes each track is meticulously produced with grace alongside Green's stunning vocal performances.

"Call Me (Come Back Home)" declares devotion but not desperation, the organ, strings, and the steady drumbeat compliment Green's performance. Green's vocal is double tracked on "Have You Been Making Out Ok", a melancholy message to someone who's moved on. "Stand Up" is aimed at a friend undergoing hard times. A Hank Williams country classic, "I'm So Lonesome I could Cry" is reimagined as a soulful Gospel song. An expression of longing, "You Love is Like the Morning Sun", Green sang as if in prayer as the morning sun hits the windows.

"Here I Am (Come and Take Me)" employs a more rocking groove. "Funny How Time Slips Away" was written by Willie Nelson was a 1961 hit for Jimmy Elledge and covered by many others, Green's version became a hit, capturing all the melancholy and heartbreak. "You Oughta Be with Me" hit number one on the Soul singles chart. "Jesus is Waiting" is another gospel infused song, closing out the album with a sense of renewal. 

Call Me flies by at 36 minutes, each track blending into each other, yet each constructed like a sculpture of pure emotion. The steadiness of the production serves as a guiding light on a record suited for good and trying times. 

The Albums of 1972: The O'Jays: Backstabbers

Release Date: August 1, 1972

Band Members: Eddie Levert; Walter Williams; William Powell

Produced by Gambie & Huff, Bunny Sigler

Track List: Side One: When the World's At Peace; Back Stabbers; Who Am I; (They Call Me) Mr. Lucky; Time to Get Down

Side Two: 992 Arguments; Listen to the Clock on the Wall; Shiftless, Shady, Jealous Kind of People; Sunshine; Love Train

The O'Jays got their start in Canton, Ohio, performing and recording steadily through the 1960s. By the early '70s only three of the core members remained and were considering disbanding. In 1972 Philadelphia International signed them and they recorded what would become their most successful record Backstabbers, producing two massive hits in "Backstabbers" and "Love Train."

The O'Jays years with Philadelphia International Records produced some of their greatest hits, exemplars of the "Philly Soul" sound. The lavish production style incorporated horns and strings, influenced by funk and Motown. 

Side One opens with the forward looking "When the World's at Peace." A plea for love and peace, the staccato horns and overlapping vocals (which hauntingly fade to echo by the end) in the production make for a powerful start to the record. Rife with paranoia and distrust, "Backstabbers" sounds as fresh and relevant as ever 50 years later, an empowering song with a message.

"Who Am I" slows the pace of the album, a mournful love ballad. "(They Call Me) Mr. Lucky" features more harmony, a jaunty track with a catchy chorus. "Time to Get Down" ends the first side on a positive note.

"992 Arguments" is about a stormy relationship, once again the vocals, piano, strings, and horns make for a magnificent production. "Listen to the Clock on the Wall" deals with an affair, both suspenseful and quietly suggesting emotional turmoil. "Shiftless, Shady, Kind of People" could be a sequel to "Backstabbers", another warning about people waiting to take advantage. "Sunshine" is a quiet, tender ballad.

"Love Train" hit number one on the R&B and Billboard Top 100 charts. Its call for universal tranquility and peace will put good vibes into any room then or now. It's been used in many commercials and films, notably as the credits played on the 1998 film The Last Days of Disco, evoking the hopes and dreams of an era.

One of the best albums of 1972, Backstabber holds up to repeated plays at any time of the year. Do yourself a favor and give it a spin.  

The Albums of 1972: Al Green: Let's Stay Together

Release Date: January 31, 1972

Produced by Willie Mitchell

Side One: Let's Stay Together; La-la For You; So You're Leaving; What is This Feeling; Old Time Lovin'

Side Two: I've Never Found a Girl (who loves me like you do); How Can You Mend a Broken Heart; Judy; It Ain't No Fun To Me

The Reverend Al Green's fourth LP Let's Stay Together produced one of the biggest soul hits of the 1970s "Let's Stay Together", a number one single on the America charts, a standard in the purest sense. The additional eight tracks on the album are textured with Green's crystalized vocals and a sturdy horn section.

"Let's Stay Together" is the timeless recording that opens the record, a song of devotion and perseverance. "La-la For You" power lies in its understatement in the vocal and the production, precision piano chords and a subtle percussion defying gravity. "So You're Leaving" brings unease and moodiness in contrast to the previous two tracks. The intense, but spare, production is especially prevalent on "What is this feeling?" The intense but steady groove on "Old Time Lovin' brings side one to a close. 

Side two opens with the upbeat "I've Never Found a Girl." The longest track at over six minutes is a meditative version the Bee Gees hit "How Can You Mend a Broken Heart." Green's quiet vocal is resilient, the narrative evolves in Green's vocals that tell their own story. "Judy" celebrates a new love, while "It Ain't No Fun to Me" is a breakup song ending the record on an uneasy note.

An album for all seasons and moods due to the depth of human emotion it draws upon, Let's Stay Together has aged with grace.

The Albums of 1971: O.V. Wright: A Nickel and a Nail and Ace of Spades

Release Date: 1971

Produced by Willie Mitchell

Track Listing: Don't Let My Baby Ride; Born All Over; Ace of Spades; Eight Men, Four Women; He Made Woman for Man; I Can't Take It; Afflicted; When You Took Your Love From Me; A Nickel and a Nail; Don't Take it Away

In a year of superb soul albums, O.V. Wright's 1971 LP  A Nickel and a Nail and Ace of Spades was among the best.  With The Memphis Horns and the Hi Rhythm Section supporting Wright's passionate vocals, the record is stellar from the opening to closing track. O.V. Wright (1939-1980) was known as one of the great gospel singers who like Sam Cooke transitioned into secular music, building a lasting reputation as one of the great soul performers of the era.

"Don't Let My Baby Ride" is the classic Memphis sound personified with vocals and instrumentation wonderfully playing off each other. "Born All Over" recalls Wright's beginnings in Gospel.  On "Ace of Spades" Wright sings "I ain't no fool/I'm Memphis Cool" in a swaggering soul song. "Eight Men And Four Women" refers to a jury, creating vivid imagery and muses on the lengths one will go for love. "He Made Woman For Man" is a tender hymn of devotion. 

The bluesy "I Can't Take It"  is a lament of loss, "Afflicted" a haunting expression of devotion that turns into obsession. On "When You Took Your Love From Me" Wright intones "I'm a prisoner of your love baby" in another ballad of emotional wreckage. With the horns playing minor chords on "A Nickel and a Nail" reflects on (almost) losing everything and coming out stronger on the other side. "Don't Take it Away" ends the record with a plea for reconciliation. 

The upbeat first side is countered by the more brooding second side emphasizing loss and loneliness, bordering on gothic. Despite legal and personal issues, Wright continued recording throughout the 1970s, passing away from a heart attack at age 41 in 1980. Wright's impressive body of work continues to influence a new generation of soul singers. 

The Albums of 1971: The Isley Brothers: Givin' It Back

Release Date: September 25, 1971

Members: Ronald Isley (vocals); Ernie Isley (lead guitar); Marvin Isley (bass); O'Kelly Isley (vocals); Rudolph Isley (vocals); Chris Jasper (piano); Chester Woodard (guitar)

Produced by Ronald Isley, Rudolph Isley

Track List: Ohio/Machine Gun; Fire and Rain; Lay Lady Lay; Spill the Wine; Nothing to Do But Today; Cold Bologna; Love the One You're With

The Isley Brothers began their career in 1954 as teenagers when rock and roll was still in its infancy and continue performing and recording seven decades later. Their astoundingly long and varied career is a history of modern popular music itself. Yet there's no book length study of The Isley Brothers, at least nothing like the tomes written on so many other artists from the era. Hopefully that will change with a documentary in the works.

The Isley Brothers hailed from Cincinnati. They started out as a gospel group and recorded many crossover hits in the early 1960s including "Twist and Shout" and "Shout" and many other charting singles with various labels. Motown was their home base from 1966-69 where they continued recording hit singles, but they were just getting started. With younger brothers Ernie and Marvin joining the group in 1970, their sound continued to evolve with each record - ranging from rock, folk, and funk. 

Givin' It Back is an album of covers by mostly white artists, returning the favor since so many white bands had covered them, the freaking Beatles chose "Twist and Shout" as the grand finale on their debut LP!

The album opens with "Ohio/Machine Gun", a hypnotic mash up of Neil Young and Jimi Hendrix (a former guitarist for the Isley Brothers). The original CSN&Y recording featured an onslaught of sonic infused anger, the Isleys incorporated gospel, doo-wop, while retaining the rock roots of the song, creating a complex emotional journey on the ramifications of  the Kent St. massacre. "Fire and Rain" by James Taylor begins as a soulful lament and settles into an impassioned acoustic number. Bob Dylan's "Lay Lady Lay" is reimagined as a ten minute long reggae/country western foot stomper. 

A rendition of War's "Spill the Wine" never strays too far from the original source (even includes the flute). "Nothing to do Today" by Stephen Stills is performed as easy going soul in the polished Motown style. "Cold Bologna" written by Bill Withers is a reflective acoustic track recalling childhood in Harlem. Another Stephen Stills cover, "Love the One You're With," ends the record on a festive note. 

Givin' It Back features the versatility of The Isley Brothers at the start of a revolutionary decade in their epic career - highly recommended!

The Albums of 1971: Wilson Pickett: Don't Knock My Love

Produced by Brad Shapiro and Dave Crawford (Atlantic Records)

Track Listing: Fire and Water; (Your Love Has Brought Me) A Mighty Long Way; Covering the Same Old Ground; Don't Knock My Love Part I; Don't Knock My Love Part II; Call My Name, I'll Be There; Hot Love; Not Enough Love to Satisfy; You Can't Judge a Book by Its Cover; Women Let Me Down Home

Wilson Pickett recorded some of the most iconic hits of the 1960s for Stax and Atlantic records including "The Midnight Hour", "634-5789", and "Mustang Sally." With Atlantic Records from 1969-70 he recorded the highly regarded albums Hey Jude, Right On, and In Philadelphia. Pickett also appeared on the live album Soul to Soul recorded in Ghana to celebrate the African nation's 14th year of independence. 

Don't Knock My Love would be the final LP Pickett recorded with Atlantic before moving on to RCA. Pickett's last No. 1 single "Don't Knock My Love Part I" appeared on the record, a throwback to 60s soul with some elements of funk. "Don't Knock My Part II" was an instrumental featuring horns and strings with some psychedelic guitar added into the mix. "Call My Name, I'll Be There" was a top ten hit on the R&B charts offers straight up positive vibes. "Fire and Water" also charted, a version of a rock song originally recorded by the British band Free. A version of Randy Newman's "Mama Told Me Not to Come" (also a big hit for Three Dog Night) also charted the following year in 1972 highlighted by Pickett's distinct vocal style.

"A Mighty Long Way" is another highlight, a bluesy pledge of devotion. "Covering the Same Old Ground" is a plea for reconciliation, while "Hot Love" offers unquestioned devotion. "Not Enough Love to Satisfy", "You Can't Judge A Book By Its Cover", and "Pledging My Love" are all in the classic soul style. "Women Let Be Down Home" closes the record on a defiant note. 

The year 1971 captured so many artists at the peak of their powers. Don't Knock My Love is a solid album featuring Wilson Pickett's immortal blend of  soul, blues, and R&B.

 

The Albums of 1971: Lee Moses: Time and Place

Track Listing:

1) Time and Place 2) Got That Will 3) What You Don't Want Me to Be 4) California Dreaming 5) Every Boy and Girl 6) Hey Joe 7) Free At Last 8) Would You Give Up Everything 9) Adorable One

Now considered one of the finest soul LP's of the 1970s, Time and Place would be the only album Lee Moses (1941-1998) ever recorded. A fixture of the Atlantic music scene and later a session musician in New York City during the mid 1960s, Moses was a peer of Jimi Hendrix and many noted similarities in their guitar playing styles. Moses also had a distinct vocal style comparable Otis Redding and Wilson Pickett that's also on display throughout Time and Place. 

The record gets off to a fantastic start with "Time and Place" featuring a melodic bass line and horns. Pioneering funk band The Ohio Players from Dayton appear on many of the tracks with Moses's own band The Disciples. "Got That Will" name drops many of the famous soul bands of the day from Sly and the Family Stone to The Allman Brothers, with Moses promising to join their ranks. "What You Don't Want Me to Be" is soulful and psychedelic with Moses delivering an impassioned performance. Next is a version of "California Dreaming" by The Mamas and the Papas, slowed down into a wearier and haunting interpretation. "Every Boy and Girl" is a quiet ballad of loss. 

A cover of Hendrix's "Hey Joe" slows the heavy rock of the original version into a groove that gradually builds. "Free at Last" pays homage to Martin Luther King and reflects on the Civil Rights Movement with a subtle mournful tone. "Would You Give Up Everything" and "Adorable One" both address love and sacrifice, the closing track is especially poignant with an epic vibe of longing and things coming to an end. 

Despite its high quality Time and Place failed to gain traction. By the mid-1970s Moses had left the music business, although it was believed he would sometimes make appearances at clubs around Atlanta. Information remains scant on Moses's later life, but the common word most attributed to his music and life is enigmatic. Time and Place become a highly sought after cult album for collectors, but was finally reissued in 2016, while in 2019 a more fuller collection of his recordings, mostly consisting of singles and B-sides, was released appropriately titled How Long Must I Wait.