"The Four Tops Greatest Hits" by The Four Tops (Jan., 1968)

Dad's Take:

The Four Tops managed to stay together without a single personnel change from 1953 until 1997, when Lawrence Payton died of cancer. To get their signature sound, songs were written just a bit high for lead singer Levi Stubbs, a baritone. As a result, he often sounded like he was reaching for an emotional high note.

It's hard to review a greatest hits album. What do you say? "This album contains all their greatest hits," at least those recorded through 1967. "Reach Out I'll Be There," "I Can't Help Myself," "Baby I Need Your Loving," "Shake Me Wake Me (When It's Over)," It's The Same Old Song"--all there, as well as several others you might not know by title, but you'll know it when you hear it.

This is a rock-solid record, a great listen all the way through. But what else would you expect from a greatest hits album by one of the great soul vocal groups?

Brad's Take:


Every song that I already knew by The Four Tops I had no idea was actually The Four Tops. I've heard of their group's name, but never really associated any songs with it until now. Not really sure why I slept on that because I should have gotten their entire discography a long time ago.

I love this kind of music. It just feels so happy and fun, despite what the lyrics talk about sometimes. This music just puts me in a good mood.

"I Can't Help Myself" and "Reach Out I'll Be There" are a couple of the songs on this collection that are immediately familiar to me. But there's some tracks on here that I haven't heard before that I love now, like "Seven Rooms of Gloom," "Loving You Is Sweeter Than Ever," and "You Keep Running Away," just to name a few.

After listening to this, I decided that I'm definitely going to have to dive into more of The Four Tops' discography. This is a great collection that really showcases their greatness. I really hope other songs off of their full albums are as good as their hits are. This is one of my favorite albums we've gotten to listen to, I think. So much fun!

"Greatest Hits" by Diana Ross & the Supremes (January 1968)

Dad's Take:

In the mid-sixties, the Supremes were up there with people like the Beatles and Beach Boys as a chart force, creating hit after hit and dominating the radio. This two-record set of twenty songs contains all the hits and several less-familiar B-sides from that period.

There's not much more to say. If you like the Supremes but aren't fanatical enough to want all of the original albums, everything you'd expect to hear is here. "Can't Hurry Love," "Stop in the Name of Love," "Where Did Our Love Go," "Baby Love," and even more songs with love in the title, "Come See About Me," "Back In My Arms Again," "I Hear A Symphony"--all bona fide classics and more familiar to many of us than the stuff at the back of the refrigerator. Throw in some lesser tunes like "Ask Any Girl" and "Whisper You Love Me Boy," that you might not know but that will sound familiar anyway, and you have a classic greatest hits comp.

There aren't any big surprises. It is, afterall, a greatest hits package. So kick back and enjoy some soulful Motown diva pop. It's a welcome antidote to the experimentation of 1967, straight up pop song, mostly about love. Nothing particularly groundbreaking about the songs, but the Motown productions are stellar and the performances by Diana Ross and her girls are, well, yeah, supreme.

Brad's Take:


Now this is more up my alley! Who could not love The Supremes. They are just a fun little Motown group that you can't help but dance along with. There isn't really much more to say about Diana Ross and The Supremes.

Some of my favorite tracks on here are "Baby Love," "Where Did Our Love Go?", "Stop! In The Name of Love," and "Come See About Me." There's a bunch more that I like just as much, but I don't want to copy and paste the entire track list. The only negative thing I'd have to say about this compilation though is that I enjoy the first disc more than the second.

Like my dad said, there's no real surprises here. The biggest surprises are the B-sides, and even those are just about as great as the hits.

"I Never Loved A Man The Way I Love You" by Aretha Franklin (March, 1967)

Dad's Take:

First of all, that's one long album title. It doesn't exactly roll off the tongue, does it? But this is Aretha, and she can call her album whatever she wants. I mean, this thing starts with her version of "Respect," after all. We've heard that one before on our list, but from the first word on, she owns this song and always will.

"Respect" is clearly the star here. But don't let that fool you. This is a solid collection. After the album rock of The Doors, this feels like an old-school record, a collection of songs not unlike other soul albums we've heard. Mixed among the great songs are some filler tunes, which are saved by Aretha's performance. The album provides two top ten hits, with "Respect" (of course) going to the top of the charts.

While I kind of agree with Rolling Stone's 1967 review, which said that the songs lacked versatility by the sidemen, the showcase here is Aretha's voice and the album has her name on it. On a few songs, like the jazzy "Good Times," the band starts to groove a bit more than on many of the songs. If this had been a 1964 album, I don't think I'd complain. But this is '67 and I want to hear the band show their chops a bit more.

One of the surprises on this album was "Do Right Woman - Do Right Man," which Aretha sings in a lower key. Although her higher, somewhat screechy voice is incomparable, I like hearing her occasionally down in the lower register of that song, with a more subtle delivery. But after a song like that one, which I thoroughly enjoyed, I'm ready for her to sock it to me sock it to me sock it to me again. And the next song, "Save Me," gave me what I was looking for, a classic Aretha delivery and head-bopping bass line, even if the song itself is a little weaker than some of the others. But I can't help moving.

Our list of classic albums would be incomplete without Aretha Franklin, and this is the Aretha album you have to pick. I admit that, for the most part, this one doesn't blow me away the way, say, the Ike and Tina Turner album we reviewed a while back did, it's a solid listening experience and a true classic, and would be even if "Respect" was the only worthwhile song on the record. Your soul collection isn't complete without this record, and when it comes down to it, that's the true definition of a classic.

Brad's Take:


Aretha damn Franklin...

It took me a long time to think of what else to write after that. There really isn't much else to say. Aretha Franklin just rules. The passion in her voice is just amazing. Whether she's yelling it and making the microphone levels peak or singing quietly, she's just great!

She performs perfectly on this album. However, some of the song choices and arrangements don't really impress me much. The album is lacking in memorable songs. It's got a couple hits, for sure, but the majority of the record feels like an album from the 50s or very early 60s, where it's got 2 or 3 singles (1 really huge one), and then just a bunch of filler songs mixed in to make it long enough to call "an album." It's unfortunate though since Aretha is such a huge talent. You know there's talent here on every one of these recordings, the moment you hear her voice, but it's the actual song selection that makes this fall a little flat.

With some of our past reviews, there were albums that I just knew I was going to have to buy after listening to them, as if a Greatest Hits album for the artist wasn't even going to suffice since the album itself was just so perfect. For example, Sinatra's In The Wee Small Hours, Muddy Waters' Folk Singer, and Miles Davis' Kind of Blue. All serious classics, in my eyes (or ears...) but after listening to this album, I think a Greatest Hits compilation would probably be better when it comes to listening to Miss Franklin.

"Live at the Apollo" by James Brown (June, 1963)

Dad's Take:

There's just something about James Brown live. Whether it's the classic "T.A.M.I. Show performance or this record, put an audience in front of James Brown and this always energetic performer kicks it up to 11 and beyond.

I'm convinced that the Apollo didn't have to use any of it's own electricity. There's enough energy in this record to power a small city. In songs like "Think," He could provide energy to all of New York. Even when he slows it down, as in "I Don't Mind," he's a one-man generator.

One of several highlights here is "Lost Someone." At nearly eleven minutes long, it's a tour de force that shows Brown earning his "hardest working man in show business" moniker. I dare you to try to do something else while this song plays. It commands your attention, and gets it. He makes you believe that his pain is unbearable, and even on record you can see his performance. You hear his drop to his knees. You hear him drop away from the microphone, stepping and crying at a distance, only to return with a shout. The song blends seamlessly with a medley that includes songs like "Please, Please, Please," "You've Got the Power," and "I Found Someone," creating an eighteen-minute suite that moves from loss to hope. Then, without a break, he moves into the classic "Night Train."

"Live at the Apollo" is almost as exhausting to listen to as it must have been to perform. But that's a good thing. Most records, you listen, then stop, or you move on to the next record. When you've listened to this one, nothing can follow. You have to take a break. You know you've heard something special, and you have to breathe before you can move on. I can imagine what it was like to leave the theater that night, amazed and exhausted.

The CD version we found includes three bonus tracks, another version of the medley, as well as additional versions of "Lost Someone" and "I'll Go Crazy." These are great performances to have, but don't necessarily add anything new to the original recording, which already includes those songs. The medley contains some different bits, and the other performances are spectacular, so I'm glad the bonus tracks are there, but I feel like I could stop at the end of the original record without feeling any less satisfied.

This is James Brown at his peak. It's also one of those rare live records that captures something special. You hear his connection with the audience, whether they are reacting to him or he's goading them to scream. Live albums are often little more than another way to release a greatest hits compilation, but this one is really something special. It's no wonder Rolling Stone listed this at number 24 in its list of the 500 greatest albums. It could have been higher without any argument from me. The audience at the Apollo is as much a part of this record as James Brown is. Never has pain been so delightful. (Well, Ok, maybe that one time in ____, but that's a story for a different kind of blog.)

Brad's Take:


James Brown + live performance = Wow!

There isn't much else to say, really. James Brown kills it. This is an audio only concert experience, but you can close your eyes and see him dancing and sweating all over the stage. And you can see the crowd of girls swooning. I wish it had been more than 8 tracks. I think if James performed more than 8 songs at a time though, he probably would have exploded. He puts his all into each and every note.

The audio quality of the recording is near perfect. The performance is near perfect. The whole album is near perfect! This is definitely a classic performance, but I imagine all of his concerts were just as amazing. It was hard to not scream "Yeah!" or "Ow!" along with him when he makes the crowd do it.

 James Brown was a classic performer who inspired Michael Jackson and many, many others. He deserved all the praise he got. If you watch videos of him performing live, you will see how incredible the man was. He was out of control!

"Modern Sounds in Country and Western Music" by Ray Charles (April 1962)

Dad's Take:

Country music has never had this much soul. As much as I like Ray Charles, I've never given this album its due because Ray is at his best when singing gospel-tinged soul. Well, the laugh was on me. These might be country songs, but Ray still delivers his trademark sound.

You know the title of the album is a little misleading as soon as you hear the opening notes of Ray's take on the Everly's classic "Bye, Bye Love." The highlight for me is the final track, where Ray takes that old standard, "That Lucky Old Sun," and lifts it up among the best of Negro spirituals. Good luck finding a more moving version of that song.

Nobody sings like Ray Charles, and these soulful, brassy, bluesy renditions of country songs are about as soulful as music gets. This is a great album, despite a kind of lame title and less-than-exciting cover.

How can you not share the pain of "I Love You So Much It Hurts"? And who doesn't get a thrill when listening to the classic "I Can't Stop Loving You" and the almost-identical "You Win Again"? This record moves country music out of the honky tonks and into the smoky bars of the "colored" neighborhoods, improving the songs in the process. Even Hank Williams's "Hey, Good Lookin'" becomes a soul classic. As the civil rights movement heated up, I'm sure the rednecks were thrilled to see their music taken over by the guys at the back of the bus. This is a ballsy record, and it works amazingly well. Maybe Ray couldn't eat at the same restaurants, attend the same schools, or drink from the same water fountains, but he could take the most white music of all and give it gospel-tinged soul. And guess what? The whites ate it up. This record was number one for 14 weeks and remained on the chart for almost two years, falling only three weeks short of that mark.

I'm pretty sure this is the only Ray Charles album on our list, and it deserves to be there. This record contains everything good and soulful about Mr. Charles's music, no matter what the title might lead you to believe.

Brad's Take:


When I saw that this was next on our list, I got really excited. I've never listened to a full Ray Charles album before, but I've always wanted to. I didn't know where to begin so I guess this is a good place to start, with a "classic."

The first song, "Bye, Bye Love", kicks the album off with a bang. It's a fast rockin' 2 minute song, made popular by the Everly Brothers. That song leads right into the slower "You Don't Know Me" and this song really shows what this album's all about. It's a mid-tempo song with more soul than a pair of shoes.

Reading about the recording process, it's interesting how Ray picked the songs to do. Apparently, he was given about 250 songs from popular country artists from the time, and then Ray listened to each one to decide which ones he wanted to remake, giving it that Ray Charles flavor.

I never realized how great Ray Charles actually was. I've always known him as a classic artist, but I've never given him a real chance myself. I love his voice on this album. He sounds young and full of raw emotion and soul. Some songs are better than others, but overall this is a solid 3 and a half stars from me.

"The Soul of Ike & Tina Turner," by Ike & Tina Turner (October, 1961)

Dad's Take

This is Ike & Tina before Phil Spector's pop stylings. This album highlights the soul sound that brought them to fame. Ike had been around since before rock and roll had a name, with such early songs as "Rocket 88," but the smartest move he ever made was teaming up with Tina.

Musically, this album is a lot like Ike's early R&B music, with its roots firmly in the fifties. But it's Tina's vocal power and soul that makes this record a classic. Song after song, whether rocker or ballad, Tina sings, growls, and screams her way into the listener's soul. How can you not believe her sincerity, her feelings, and her pain, when she puts so much into her performances? Even the largely spoken (and less exciting) "Letter From Tina" had me saying, "Yeah, Tina, you're right. I'm sorry. Whatever you say."

Sonically, these aren't the clearest recordings ever. They sound like they're from an older studio. But it really doesn't matter. The somewhat muddy sound of some tracks adds to the grit of Tina's voice. It just wouldn't sound right with pristine digital clarity.

When you listen to this record (and if you haven't, you really should), there is no doubt that Tina is here to stay, that she's a force who will either self-destruct or be around for decades. As it turns out, Ike and Tina's relationship nearly destroyed them both, but Tina survived it and increased her status as a legend.

This early Ike & Tina record shows that Ike's R&B formula still worked, and that Tina is incomparable, in a tiny class with other legendary soul singers like James Brown and very few others.

Turn it up and marvel.

Brad's Take:


Now we're talking! After reviewing a couple albums that I didn't love, this is a breath of fresh air. I'm loving this album.

The opening song "I'm Jealous" is the perfect one to kick off an album like. It introduces you to Tina Turner's incredibly powerful voice right from the beginning. I couldn't help but get a huge smile on my face when she does her loud scratchy screams. It's great!

I love the overall vibe of this album. It's got soul, R&B, and early pop all mixed together to form one fun album from front to back. Ike and Tina really compliment each others styles.

Tina's vocals are my favorite thing about this album though. She has so much emotion and power in her voice that you feel intimidated by her. I'd never want to make her upset. You can tell that she doesn't need anyone else in order for her to shine.