Deep Soul Top 25

A couple of months or so ago, this mailing list I subscribe to about Southern Soul challenged the members to come up with a top 25 Deep Soul cuts. It started out with a call for the one song that might define Deep Soul, and my first thought was (Little) Johnny Truitt's "Your Love Is Worth the Pain." A truly amazing performance that really just has to be heard to believe.

I should say that any discussion of Deep Soul begins with all the great work done by John Ridley, aka Sir Shambling, whose Deep Soul Heaven website is a mammoth and largely altruistic effort to share great rare 45s with the rest of the world. I personally owe hit a big thank you and haven't even gotten through even half the tunes on the site.

Without further ado, the radio show was the top 25, only in the order of what sounded natural.

Little Johnny Truitt; Your Love Is Worth the Pain; A-bet 9433

Kip Anderson; I Went Off and Cried; Excello 2303

Jimmy Braswell; I Can't Give You My Heart; King 6374

Doris Allen; A Shell of a Woman; Minaret 149

Arthur Conley; In the Same Old Way; Fame 1007

Carl Marshall; I Can't Live Without You; Double Hit 801

Thomas Bailey; Wish I Was Back; Federal 12567

Z. Z. Hill; (Home Just Ain't Home at) Suppertime; Atlantic 2659

James Carr; That's the Way Love Turned Out For Me; Goldwax 338

Ruby Johnson; Come to Me My Darling; Volt 140

Otis Redding; I Love You More Than Words Can Say; Volt 146

Otis Clay; Is It Over; Cotillion 44104
O. V. Wright; This Hurt Is Real; Backbeat 604

Bobby Boseman; Cheaters Never Win; Eve Jim 1941

Irma Thomas; Your Until Tomorrow; unissued (Down at Muscle Shoals; Chess)

Tony Ashley; We Must Have Love; Decca 32342

Candi Staton; Another Man's Woman, Another Woman's Man; I'm Just a Prisoner; Fame

Johnny Copeland; Let Me Cry; unissued? (At His Best)

Herman Hitson; You Are Too Much For the Human Heart (unsweetened version); Soul-Tay-Shus

Rudolph Taylor; Doorsteps to Sorrow; Roman 311

Touissant McCall; Nothing Takes the Place of You; Ronn 3

Joe Simon; Looking Back; Sound Stage 7 2622

Don Bryant; Is That Asking Too Much; Hi 2131

Laura Lee; Hang It Up; Chess 2062

Margie Hendrix; Do Right Baby; unissued (Southern Soul Sisters; SS7/Charley)

Department of Discography: I limited myself to one tune per artist, so it was difficult to chose just one song from the following artists. So if I were going to start anywhere with Deep Soul, I would choose these reissues:

O. V. Wright; The Soul of O. V. Wright; Fontana

James Carr; The Complete Goldwax Singles; Kent

Otis Clay; Hi Records; Hi

Irma Thomas; Down At Muscle Shoals; Chess/Charley

And of course, any Otis Redding compilation

Speaking of compilations, two of these songs (Jimmy Braswell and Thomas Bailey) come off a great Deep Soul compilation that tends towards the more obscure 45s: King's Serious Soul: Too Much Pain,

put together by John Ridley with the good folks at Kent. The tracks on the CD were not done (for the most part) in house at the label's home in Cincinnati, but rather leased from all over the great Southland. Furthermore, both the Johnny Truitt and Kip Anderson tunes are on the first volume of Excello soul cuts, entitled

The Heart of Southern Soul: From Nashville to Memphis and Muscle Shoals.

A few songs that I think of in the same breath that I left off the list since they are more precursors than fitting exactly into the genre:

Bobby "Blue" Bland; I'll Take Care of You; Two Steps from the Blues; Duke (that haunting organ!)

Sam Cooke; I Lost Everything; Night Beat; RCA

Percy Mayfield; Memory Pain; Tangerine 935

Earl King; Those Lonely, Lonely Nights; Ace

And there are omissions that I can't justify: Bettye LaVette ("Let Me Down Easy" or "Your Turn to Cry"), the late Earl Gaines ("Hymn #5"), Johnny Adams ("Sometimes a Man Will Shed a Few Tears Too"), Ella Washington (so many), Dan Penn (any version of "It Tears Me Up"), Willie Hightower ("You Used Me"), The Dells' "Stay in My Corner," and others. And the best thing about any list like this is that it's a moment in time. There's always more songs to discover (I just bought the Ollie Nightingale Memphis 45 with the very O. V. Wright-ish "Standing On Your Promise" that could've made the list).

I can't give enough credit though: if I was starting anywhere for obscure Deep Soul cuts, I would go to Sir Shambling's Deep Soul Heaven.

Sorry it's taken so long to update, but I've got some archived radio shows including tributes to the late greats Willie Mitchell and Bobby Charles, as well as a tribute to Eddie Hinton that coincided with the reissue of "Very Extremely Dangerous."

Little Bob and the Lollipop's "Nobody But You" b/w "I Got Loaded"

While I put together the forever promised Spooner show, I figured I'd take a week and focus on one of those great two siders from Southwest Louisiana: Little Bob and the Lollipops with the sweet R&B ballad, "Nobody But You" b/w their hit stomper "I Got Loaded."



Little Bob, born Camille Bob in Arnaudville in 1937, was (and still is) one of the great R&B and Swamp Pop singers of Southwest Louisiana. As quoted by Herman Fuselier, Lafayette music journalist, Little Bob came to our ears the honest way after trading a horse for his first set of drums: "My thing was to make a dollar. Help my mother and father get off that farm, man. When you're a sharecropper, you don't make no money, working on half. About the time the crop come in, the white man had it all. I was tired of going in that field. Dew on your hands in the morning, bending your back digging potatoes and breaking corn, running from snakes. It was a lot easier playing music. In '55, I was making $85 a week playing music. That was big bucks back then."

After some time backing Good Rockin' Bob on drums, Little Bob decided to break out on his own. He wanted to name the band Lil' Bob and the Tigers, but on the advise of a club owner and tapping into the popularity of Cookie & the Cupcakes, he wanted something with a little more girl appeal: and Lil' Bob & the Lollipops was born. I wish bands could still have names like that today. The band got quite a following playing the fraternity and dancehall circuits in the gulf area.

In 1964, Little Bob & the Lollipops recorded for Carol Ranchou's La Louisianne label in Lafayette, pumping out 5 stellar tracks in July, including today's song: "Nobody But You" along with its B-Side, "I Got Loaded." "Nobody But You" was a minor hit (Top 40) nationally in 1959 for Chicago R&B singer Dee Clark. Although somewhat forgotten to history, Clark had a number of smaller hits in the hey day of R&B, culminating in 1961 No. 2 hit, "Raindrops." Clark's version of the song is very urbane R&B (you can listen to it here) complete with extraneous production (including a flute and almost constant backing singers) and his super smooth tenor with the occasional falsetto. There's no doubt it's a sweet, sweet song.

Little Bob & the Lollipops do a bit more with the tune, by doing less. The band is the straight R &B line-up, guitar, bass, drums, and horns--recorded with nothing else (most likely 'cause they couldn't afford any more). The interesting thing about this recording to me is that Little Bob's vocals sit right on the crossroad of the influences on Southern Soul: the material being the urban R&B with a hint of those doowop harmonies in the falsettos, mixed with a little Sam Cooke climbing those notes and a little Bobby "Blue" Bland in the phrasing.

It's also got a couple of the elements of Swamp Pop that I love. Little Bob starts with the money making falsetto hum, achieving that instant recoginition of a song that is so important to the great Swamp Pop tunes. And, although this is more of an accident than an intention, the sound of the singer going into the red on the modulator in those early recordings is endearing to me--there's that piece of compression when Little Bob gets loud that (for no good reason) I find compelling. And then there's the B-Side.

"I Got Loaded" is a great Southwest Louisiana party tune: relentlessly upbeat, repetitive enough in its structure to keep the dance going strong, and anthemic for that sing-a-long. Fellow blogger, Funky 16 Corners, captures that feeling by admitting how he can't help but sing in the car at the top of his lungs everytime this track hits him. I also like the bravado and simplicity of the tune: there's no narrative, no reason, no sad tales--it's just what happened and will happen. Dance to it or not. Don't think about it.

The tender, slow dance ballad on Side A, the stomper on Side B. Now that's what a 45 should be.

There's a bunch more to the story: Little Bob endured some very tough times being a black performer in the early 60s in the South, which is well told by Shane Bernard in his excellent book, Swamp Pop: Cajun and Creole Rhythm and Blues, and by Fuselier in the liner notes to the La Lousianne cd. But this story has a good ending, Little Bob still plays to this day and the La Louisanne record label still exists to this day.



Department of Discography:

That same label, La Louisanne has a great cd of 26 tracks recorded by Little Bob and the Lollipops recorded between 1963 and 1969. Check out their website here. The label seems to be run still in the family, as David Rachou is listed as the re-masterer of the tracks. It's got all those great Swamp Pop songs: blues, New Orleans soul (including one by Eddie Bo, who I just learned yesterday, sadly passed away), some originals that sound like crosses of Sam Cooke and Art Neville, and mid 60s soul cuts.

Lil' Bob also recorded for Goldband, Whit, Jin and others. Sir Shambling has posted some of those tracks here.

The great Southern Soul singer, Willie Hightower, who Barney Hoskyns described as "Sam Cooke after a night on the tiles," also recorded a stellar version of "Nobody But You" in 1968 for Capitol, which has been reissued by the London record store Honest Jon's in collaboration with Astralwerks on a self-titled cd.

"I Got Loaded" has been kicking around for a while in other forms, on a New Orleans (sic) party mix cd from Rhino, covered by Los Lobos (whose version was in Bull Durham), Elivis Costello and others.

Thanks for listening and reading. The set list:

Roy Hamilton; From the Dark End of the Street; Tore Up: The AGP Recordings (Shout!)

Little Bob & the Lollipops; Nobody But You; I Got Loaded (La Louisianne)
Arthur Alexander; Anna (Go To Him); Ultimate (Razor & Tie)
The Masqueradors; I Got It; Bell 733
Kelly Brothers; You're That Great Big Feelin'; Sims 265 (Heart of Southern Soul; Excello)
Little Willie John; Let's Rock While the Rockings Good; King 5142

Irv Le June, Jr.; One Scotch, One Bourbon, One Beer; The Greatest of the Greats; Goldband
Cleveland Crochet; Sugar Bee;
Ted Taylor; Don't Lie; Okeh 7154 (Shout!)
Bobby Powell; Who's Your Lover; Whit
Sleepy LaBeef; You're Humbuggin' Me; Electricity; Rounder

Joe Tex; Don't Let Your Right Hand Know; Dial 4006
Buddy & Julie Miller; The River's Gonna Run; Best of the High Tone Years
Carla Thomas; Baby I Like What You're Doing To Me; Stax 0024
Doug Sahm; She Put the Hurt on Me; Juke Box Music; Antone's
Doris Duke; Feet Start Walking; I'm a Loser; Canyon (Kent)

Johnnie Allan; Your Picture; Promised Land (Ace)
Mighty Sam McClain; Talk To Me; Amy 984 (Sundazed)
Bobby "Blue" Bland; You Got Me (Where You Want Me); I Pity the Fool; (Duke/MCA)
Barbara Lynn; There's Something on Your Mind; You'll Lose . . . Jamey Recordings

Arthur Conley; I'm Gonna Forget About You; Sweet Soul Music; Atco
Earl Gaines; Have Faith (In Me); I Pity the Fool;
The Raelettes; I'm Getting Along Allright; Tangerine
Larry Coney; More Time (To Explain); (Down & Out; Trikont)
Tommy McClain; I Can't Take It No More; Essential (Jin)
Johnny Cash; I Couldn't Keep From Crying; Now There Was a Song; Columbia

James Carr; Love Attack; Goldwax (Kent)
Bettye LaVette; What Condition My Condition Is In; (Dirty Laundry; Trikont)
Wilson Pickett; Stagger Lee; I'm In Love; Atlantic
Bobby Womack; Arkansas State Prison; My Prescription; Minit

Bobby Womack: "I'm Gonna Forget About You"

A couple of weeks ago, The Rock and Roll Hall of Fame announced it's 2009 Inductees, and lo and behold, 3 Dark End of the Street Favorites are on the list: Bobby Womack, Wanda Jackson (as early influence), and Spooner Oldham (as sideman). So this week, we did a set of Womack songs, to be followed in the coming weeks by ones on the other two. The song that starts this week's show is Bobby's version of an unreleased (at the time) song by his mentor Sam Cooke, recorded at American Studios for his second solo record, My Prescription.


Over at his excellent B-Side blog, Red Kelly did a two part post of the early career of Bobby Womack, from his time singing gospel with his brothers as the Womack Brothers, to his early secular forays under the tutelage of Sam Cooke as the Valentinos, through his time as a studio musician in Memphis and association with Wilson Pickett, up to his first couple of records. Matter of fact, Red posted the B-Side (aptly enough) of this week's song, the similarly incredible, "Don't Look Back" (which to Red's discerning ear, may be the best track of all the great ones he's put up on the site). There's no need to rehash all that information here, just click on over to Red and get back to me.

First of all, the song: Mr. Cooke recorded it in late August, 1962 at the same time as "Nothing Can Change This Love," at RCA studio with Rene Hall coordinating the arrangements. As far as I can tell, it was never released in his lifetime (it doesn't even get mention in Peter Guralnick's extensive biography, "Dream Boogie: The Triumph of Sam Cooke" which I heartily recommend). Coming on the heels of some time in Chicago with family and a 2 week tour of the West Indies, this studio session to record the follow up to the incredible gospel flavored reworking of Charles Brown's blue number "I Want to Come Home" as "Bring It On Home" b/w the stomper "Having a Party." It was a double sided hit and Mr. Cooke wanted to rush into the studio for "Nothing Can Change This Love," which I must admit, is the flowing pop standard side of his repertoire that I don't find as compelling as his other work (as a brief aside the song itself doesn't have to fit that mold, as evidenced by the live recording on "Live at the Harlem Sqaure Club"). Depite the lush orchestration and the sugar Romantic lines, Mr. Guralnick does well to describe the other side of the coin in the "sorrowful deliberation" of the ending: "It ends with as straight forward an admission of the lover's plight as you're ever likely to get from Sam."

I can't recall where I read this (might have been in Womack's autobiography), but apparently Bobby was playing guitar at this session. And, well, I'm not sure if that makes chronological sense, but the opening guitar line sound like vintage Womack: that elegant mix of a hard plucked line with the simplicity of a vocal melody. It really just sets the tone for the number perfectly: both looming and instantly recognizable. The organ (the brooding seems so unlike the recordings of the time, and is enthralling) and and rhythm section fill out behind the introduction and Sam just sings it with all the multifarious sentiment that made Sam such an incredible singer: each line starts with a new emotion. Most if it, Sam brings such a strained sense to the difficultly of the song's narrative.

Lyrically, it also has that very Sam Cooke sense of the universal scene, such common lines as taking her picture off the wall, the same old line, and fishes in the sea take on such an internal feel with Sam that emanates to all his listeners. (Aside: the lack of detail in Cooke's songwriting is probably more a product of his time and background music than a lack of creativity--I occasionally make the unsubstantiated claim that the era of specificity in songwriting begins with Chuck Berry, but that's probably another post).

Sam had recognized early the talent that Bobby had, as quoted by Guralnick in conversation with his brother, L. C. Cooke, after just signing the Womack brothers to SAR, "Now let me show you something about Bobby. It's different when you close your eyes and listen to him. When Bobby sings, he demands attention -- whether you like him or not, you're going to listen to him." In such a short statement, that really sums up Bobby Womack best for me: he demands attention. Bobby was no innovator in soul or rock music, but the size of his talent is immense. To borrow a metaphor from baseball, he's the rare 5 tool player: singer, songwriter, musician, arranger and showman. His guitar playing, beginning with the work with Sam, through his time as session musician in what I would argue is the greatest production/backing group ever at American studios under Chips Moman, to his own solo work was always so distinctive--simple, hard hitting and unforgetable and the same time. His singing always demanded an extra listen.

The way he reworks "I'm Gonna Forget About You" is a showcase for all that talent. He keeps the guitar introduction, but moves the backing vocals echoing the line with the chorus before the vocal lead, a trick that Dan Penn had learned earlier (and this may be part of what made this an "American Group Production"), about putting the hook of the title right up front for instant recognizability. The horns swell and punch then the genius of those backing vocals (echoing the horns) to counterpoint the attention grabbing gutteral vocal sound. And that's where Bobby can hiy hard everytime, it's not the deep growl of a Bobby Bland or his deep soul followers, it's something else entirely: it's stuck in his throat while being secondary to the catch of the melody, "If you stay, I'm gonnnna move" and especially the "Don't try to tell me that you're sor-ry / Whoooa don't give me the same old line" where the organ gives way to the drums coming up in the mix and really push his register up by the time the horns come back. And then to top it all off, he just smoothly eases into the chorus again. Wow. In one word: resilent.



The more and more I listen to these recordings from My Presciption, I'm just in awe of how tight the group is, how complex the layering of the arrangements are, and how well Bobby just brings it all together with the vocals. The American Group Production at its height and Bobby at his best. I just can't say enough about his talent (mostly cause I just don't have the words). This talent did him well for the rest of his career, scoring hits throughout the decades. A Hall of Famer indeed.

Department of discography: The Bobby Womack version on My Prescription is available (cheaply too in most cases) on a Charley double cd called Bobby Womack in Memphis which includes that record along with Fly Me to the Moon. It's absolutely essential Southern Soul. And for my money, My Prescription is the best solo record--great originals, stunning preformance and production that highlights both of those.

Also essential for the Womack Brothers/Valentinos and how unique Bobby's talent was even then is the double cd set Sam Cooke's SAR Story, which includes the first big commercial splash (although for some other band supposedlty), "It's All Over Now."

For his songwriting skills, the Wilson Pickett Atlanitc records from the late 60s are peppered with Womack songs--my personal favorites are The Sound of and I'm In Love, which each have 3 great Womack songs. As for his guitar playing at American Studios in the mid 60's, that's a whole nother post (or website for that matter).

If you want a whole overview of Bobby's solo career, the 2cd set, Midnight Mover: The Bobby Womack Collection has all the hits and more (including some just flat out incredible songs like the country soul "Arkansas State Prison" and the lightning in a bottle "What Is This" as well as the best of his later recordings).

The Sam Cooke version of the song appears on the even more essential 4cd set, The Man Who Invented Soul, which is really for my money the best place to start for those interested in Sam (although Live at the Harlem Square Club is a cheaper alternative if you're more into the gritty Cooke). Actually, the one problem (licensing) with that set is that it doesn't include the excellent recording done at the end of Sam's career for Abcko, so I would say buy the above mentioned 2, as well as the compilation Just Moving On, and really who at this point in our history can live without "A Change Is Gonna Come." Someone out there has put up a easy to navigate discography of Sam Cooke's recordings here.

Arthur Conley also recorded a version of "I'm Gonna Forget About You" on Sweet Soul Music, which has its own merits, and sounds worlds away from Bobby's version--more resigned than rebellious.

And check out the entertaining (although not that informative) autobiography of Bobby Womack: Midnight Mover: The True Story of the World's Greatest Soul Singer (modesty is apparently not a requirement for the HoF). If you want to learn about his recordings at American, you wouldn't find much, but if you want to hear funny stories about his experiences with prostitutes or his coke dealer, you'll be well rewarded.

Thanks for reading and listening, and I promise a Spooner Oldham show soon. Here's the set list:

James Carr; Dark End of the Street; Goldwax 317

Bobby Womack; I'm Gonna Forget About You; My Prescription; Minit
Wilson Pickett; I Found the One; The Sound of; Atlantic
Ella Washington; I Can't Afford To Lose Him; Sound Stage 7 2597
Gene Taylor; Don't Go Away; Minit 32073
Percy Sledge; Baby, Help Me; Atlantic 2383
The Valentinos; I Can Understand It, Part 1; Clean 60005

Aretha Franklin; That's the Way I Feel About 'Cha; Rare & Unreleased (Atlantic/Rhino)
Don Covay & the Goodtimers; Can't Stay Away; Rosemart 801
Geater Davis; I'm Gonna Change; Lost Soul Man (AIM)
Johnny Copeland; Dedicated to the Greatest; Wand 1114

Arthur Conley; Funky Street; Soul Directions; Atco
O.V. Wright; Into Something (Can't Shake It Loose); epon; Hi
Little Johnny Taylor; Zig Zag Lightning;
Peggy Scott & JoJo Benson; Love Will Come Sneaking Up On You; Soul Shake; SSS
Z. Z. Hill; Think People; Hill 222

Jimmy Hughes; Time Will Bring You Back; Fame 1015
The Wallace Brothers; You're Mine; Simms 174
Chris Kenner; What's Wrong With Life; The Name of the Place (Bandy)
Spenser Wiggins; Sweet Sixteen; Goldwax Years (Kent)
Otis Clay; Love Don't Love Nobody; Live in Japan; Rooster

Eddie Hinton; Cover Me; The Songwriting Sessions
Eldridge Holmes; Love Affair; Caroline Soul Survey (grapevine)
Joe Medwick; Secretly; Crazy Cajun Recordings (Edsel)

The Valentinos; I've Got a Girl (with chatter); Sam Cooke's SAR Records Story; ABKCO