A rare foray into CD reviews for Musings section of The Rag, largely prompted by a fortuitous, periodic repositioning and reordering of this author’s CD collection, as is his fastidious nature . I always feel a slight sense of unease when any reissue programme features previously unreleased or unavailable material. Too often the reason for the tracks failing to see the light of day is self evident, with either song or performance clearly sub-standard – in many cases you can’t help but agree with the label’s initial quality control assessment. Which is why these two releases were a worry; fortunately however, this hard to find material is the exception which proves the Shades rule – I guess the recording machine that was Atlantic in the 60s and early 70s genuinely did have more quality product than it saw fit to actively market.
These two anthologies are exceptional not just for the quality of the output (universally high) but also for the sometimes surprising personnel. Percy Wiggins, James Carr, R.B. Greaves and Otis Clay all found some kind of success on labels other than Atlantic, but all of them feature strongly on “Soul Brothers“. Wiggins’ ‘Book Of Memories‘, Carr’s ‘Hold On‘ and ‘Lovebones‘ by Mighty Sam are particularly strong, whilst R.B. Greaves’ unusual take on ‘Whiter Shade Of Pale‘ proves what a fine soul voice the man has in a way that ‘Take A Letter Maria’ could never do.
Of the artists that did find success within the Atlantic stable, Redding’s rendition of ‘I Love You More Than Words Can Say‘ is, as usual, comfortably outshone by the subtle performance of Percy Sledge on his version of Aretha’s ‘Baby, Baby, Baby‘. Other standouts include a version of ‘You Left The Water Running‘ by Sam And Dave (one of the few tracks here that was previously relatively easy to get hold of) and Wilson Pickett’s lilting version of ‘Can’t Stop A Man In Love‘ (a song co-written by the great and seriously undervalued George Soule)
At the risk of beginning a gender war, I would argue that the “Soul Sisters” set isn’t quite as strong. Nothing to do with the performances, more the choice and/or strength of material. The Shades site subscribes to the view that Aretha could sing the telephone directory and make it interesting but, no matter how soulful, the world simply does not need another version of ‘My Way‘. If this site awarded star ratings, I’d be tempted to dock it one star just for that! Margie Joseph is a great singer and her take on ‘It’s Growing‘ is more than adequate, but, again, who needs it when we’ve got the definitive Temptations version. Pleasant surprises include ‘Count The Tears‘ by Patti Labelle & The Blue Belles, which works very well and must be the exception to the admission by Jerry Wexler that Atlantic never found the right material for the group. Judy Clay proves what a fine, deeply soulful singer she was on ‘I Got To Love Somebody’s Baby‘ and it’s always good to hear rare material from the likes of Irma Thomas, Bettye Swan, Esther Phillips, the Sweet Inspirations and the criminally undervalued Baby Washington. So, on the whole, far from shoddy, just not as uniformly excellent as the blokes!
If you’re a fan of the heyday of the Atlantic sound and great soul music, then both CDs should be on your shopping list. For once, unreleased or obscure does not mean sub-standard. And because they’re that good, it begs the question just how many great recordings lie unissued in the Atlantic vaults (patently not the ocean, that would be stupid). Interestingly, when I was undertaking my nerd like CD repositioning, I noted that I acquired these CDs in 2006, but consider this review to be just as pertinent in late 2025 and good value for its placement in amongst the Musings’ ramblings (although it is equally at home in the R&B Primer, so resides in its Reviews section as well).
Good music doesn’t date I tell myself (frequently)! 🎸🎷🎤🎶