Booker T & The MG's - Definitive Soul Collection CD

Definitive Soul Collection CD music Includes both stereo and mono versions of the USA-only albums MEET THE BEATLES (1964), THE BEATLES' SECOND ALBUM (1964), SOMETHING NEW (1964), and BEATLES '65 (1964), and a 60 page booklet including rare photos and select quotes from John, Paul, George and Ringo. All tracks have been digitally mastered using 24-bit technology. Although America wasn't the first to catch on to the Beatles, it certainly gave the Fabs a worldwide stage from which to launch their pop music invasion. During the space of 12 months in 1964, Capitol released four Beatles LPs that reshuffled various British Parlophone LPs, EPs, and singles. The result of this rejiggering was four unique titles that, along with those famed Ed Sullivan performances, were the introduction to this global phenomenon for millions in the United States. For the 40th anniversary of these releases, this 2004 set represents the first time these titles were ever available on CD, and features both mono and stereo (or "duophonic") versions of all the songs. Because of the Beatles' enthusiasm, high standards, and synergy, these evergreen tracks crackle and burn, guaranteeing giddy, joyous memories for some, while also enlisting new fans. Among the many classics are the groundbreaking single, "I Want to Hold Your Hand," and other romantic rockers ("I Saw Her Standing There," "She Loves You," "All My Loving"), as well as cover tunes ("Long Tall Sally," "Roll Over Beethoven") and lesser-known songs ("Any Time at All," "I'll Follow the Sun"). The boys had been tirelessly working the nightclub trenches for a number of years prior to these albums, but, in truth, John, Paul, George, and Ringo were just getting started. 4cds-Meet The Beatles/Second Album/Something New/Beatles'65 The Beatles: John Lennon (guitar); Paul McCartney (bass guitar); Ringo Starr, George Harrison. Personnel: George Harrison (vocals, guitar); John Lennon (vocals, harmonica); Ringo Starr (vocals, drums); Paul McCartney (vocals). Audio Remasterer: Ted Jensen. Liner Note Author: Mark Lewisohn. Recording information: England. Authors: John Lennon; Paul McCartney; George Harrison; Ringo Starr; Brian Epstein . Photographers: Joe Covello; Black Star.

Definitive Soul Collection songs If all you know about Herman's Hermits is that they had a couple of semi-novelty hits during the British Invasion with "Mrs. Brown, You've Got a Lovely Daughter" and "I'm Henry the VIII, I Am," RETROSPECTIVE aims to set you straight. Part of ABKCO producers Teri Landi and Jody Klein's grand plan to redress the balance of historical perspective on 1960s pop, this collection is a perfect overview of the band initially regarded as a safer version of the Beatles. While amiable, sunny pop is the dominant strain here, there are many tracks that further flesh out the group's profile. A version of Sam Cooke's "(What a) Wonderful World" points up the Hermits' soul leanings. The downright nasty "A Must to Avoid" and the witty, rocking "Museum" would sound right at home on a contemporaneous Beatles album. The Hermits' version of the Kinks' "Dandy" displays hipper tastes than many give Peter Noone and company credit for, and RETROSPECTIVE itself calls out for a 21st-century reappraisal of the band's catalog. Liner Note Author: Jim Bessman. Recording information: De Lane Lea Music Recording Studios, London, England (??/??/1964-09/27/1969); Kingsway Recording Studio, London, England (??/??/1964-09/27/1969). Arranger: John Paul Jones . Herman's Hermits: Karl Green (bass instrument); Barry Whitwam, Keith Hopwood, Derek Leckenby, Peter Noone. Personnel: Keith Hopwood, Derek Leckenby (vocals, guitar); Karl Green, Peter Noone (vocals); Barry Whitwam (drums).

Definitive Soul Collection album for sale Recorded between 1964 & 1981. Includes liner notes by Brian Chin. Though not as critically revered as label-mates Smokey Robinson and Stevie Wonder, the Supremes were the most popular Motown act of the 1960s. Not only did the group rack up a string of #1 singles, that, in terms of frequency and quality often rivaled that of the Beatles, they were one of the first black combos in America to truly achieve mainstream white acceptance. In many ways, the Supremes' music represented the Motown sound distilled to its essence; Hitsville USA's throbbing bass, relentlessly danceable drum beats, and ingenious arrangements were never so purely and perfectly geared for maximum pop appeal as on early hits such as "Where Did Our Love Go" and "Stop! In the Name of Love." On later, edgier tracks, like "You Keep Me Hangin' On" and "Love Child," the Supremes managed to adapt to the changing times without losing fans. Of course, even the Supremes' massive success couldn't match the superstar status garnered by their lead singer Diana Ross, with her definitive pop-soul classics such as "Ain't No Mountain High Enough" and "Endless Love." THE #1'S comes as advertised, collecting all of the Diana Ross and the Supremes chart-toppers and delivering them with excellent sound and eye-pleasing packaging. Diana Ross & The Supremes made history: an unprecedented five No. 1 hits in a row, 12 in total in the Sixties. In the Seventies, the group and Miss Ross went their separate ways. The Supremes, with Jean Terrell in the lead, hit No. 1 with Stoned Love. Diana Ross claimed the top spot as a solo artist on various charts nine more times on Motown. In fact, Miss Ross has sung lead on 18 No. 1 Pop hits, second only to The Beatles at 20. The Guinness Book of World Records has also recognized Diana as the most successful female artist of all time, with more than 70 hit singles to date. This new collection of No. 1's covers the full range of Motown excitement, 24 songs spotlighting two of the most influential stars of two decades: Diana Ross and The Supremes! `Diana Ross & The Supremes: The No. 1's' features newly mastered mixes of the classic Supremes hits, direct from the Motown session tapes, for the best fidelity in any Supremes and/or Diana Ross collection ever! Producers include: Brian Holland, Lamont Dozier, Frank Wilson, Nickolas Ashford, Valerie Simpson. Compilation producers: Harry Weinger, Andrew Skurow, Jeff Moskow. Personnel: Jean Terrell, Johnny Bristol (vocals). Audio Mixer: Suha Gur. Audio Remixer: Almighty Associates. Liner Note Author: Brian Chin . Recording information: Unit Four Productions, London, England. Editor: Suha Gur. Arrangers: David Blumberg; Gene Page; Clay Drayton; Lee Holdridge ; Michael Masser; Paul Riser; Tom Baird; Wade Marcus; David Van De Pitte. The Supremes: Diana Ross, Mary Wilson, Florence Ballard, Cindy Birdsong, Jean Terrell (vocals). Additional personnel: Lionel Richie, The Temptations (vocals); Nile Rodgers (guitar); Bernard Edwards (bass); Tony Thompson (drums); Johnny Bristol (background vocals).

Definitive Soul Collection buy CD music Ray Colcord (electric piano); Mike Mainieri (marimba, vibraphone); Robbie Rothstein (bass); Roy Markowitz (drums, percussion); Tom Flye (drums). Don McLean's second album, American Pie, which was his first to gain recognition after the negligible initial sales of 1970's Tapestry, is necessarily dominated by its title track, a lengthy, allegorical history of rock & roll, because it became an unlikely hit, topping the singles chart and putting the LP at number one as well. "American Pie" has remained as much a cultural touchstone as a song, sung by everyone from Garth Brooks to Madonna, its title borrowed for a pair of smutty teen comedies, while the record itself has earned a registered three-million plays on U.S. radio stations. There may not be much more to note about it, then, except perhaps that even without a crib sheet to identify who's who, the song can still be enjoyed for its engaging melody and singable chorus, which may have more to do with its success than anything else. Of course, the album also included "Vincent," McLean's paean to Van Gogh, which has been played two-million times. Nothing else on the album is as effective as the hits, but the other eight original songs range from sensitive fare like "Till Tomorrow" to the sarcastic, uptempo "Everybody Loves Me, Baby." American Pie -- the album -- is very much a record of its time; it is imbued with the vague depression of the early '70s that infected the population and found expression in the works of singer/songwriters. "American Pie" -- the song -- is really a criticism of what happened in popular music in the '60s, and "Vincent" sympathizes with Van Gogh's suicide as a sane comment on an insane world. "Crossroads" and "Empty Chairs" are personal reflections full of regret and despondency, with the love song "Winterwood" providing the only respite. In the album's second half, the songs get more portentous, tracing society's ills into war and spiritual troubles in "The Grave" and "Sister Fatima." The songs are made all the more poignant by the stately folk-pop arrangements and McLean's clear, direct tenor. It was that voice, equally effective on remakes of pop oldies, that was his salvation when he proved unable to match the songwriting standard set on Tapestry and this collection. But then, the album has an overall elegiac quality that makes it sound like a final statement. After all, if the music has died, what else is there to say? ~ William Ruhlmann Gene Orloff (conductor); David Spinoza (elctric guitar); Warren Bernhardt, Paul Griffin (piano); Ray Colcord (electric piano); Mike Mainieri (vibraphone, marimba); Robbie Rothstein (bass); Roy Markowitz (drums, percussion); Tom Flye (drums). W/ 2 Bonus Tracks. Recorded at the Record Plant, New York, New York in 1971. Originally released on United Artists (5535). Includes liner notes by Paul Grein, Don Mclean. Recorded at the Record Plant, New York, New York from May to June 1971. Includes liner notes by Bruce Eder. Personnel: Don McLean (guitar, banjo, vocals); Gene Orloff (conductor); David Spinoza (elctric guitar); Warren Bernhardt, Paul Griffin (piano); Personnel: Don McLean (vocals, guitar, banjo); David Spinozza (electric guitar); Warren Bernhardt, Paul Griffin (piano); Ray Colcord (electric piano); Mike Mainieri (vibraphone, marimba); Roy Markowitz (drums, percussion); Tom Flye (drums). Audio Mixer: Bill Smith . Audio Remasterer: Doug Schwartz. Liner Note Authors: Don McLean; Paul Grein. Recording information: The Record Plant, New York, NY (05/1971-06/1971). Photographer: Don McLean. Arrangers: Don McLean; Lee Hays. Personnel: Don McLean (vocals, guitar, banjo); Ed Freeman (arranger);

Definitive Soul Collection songs Recorded between 1964 & 1988. Includes liner notes by Stu Hackel. Not to be confused with the Four Tops compilation simply entitled Anthology (which only covers their Motown recordings), 50th Anniversary Anthology is a double-CD set spanning their first Motown hit in 1964 to the late '80s. Does it include all of the popular numbers that most fans want from a greatest-hits collection? Definitely. Is it as good as Anthology, or slimmer compilations that focus exclusively on their Motown hits from the 1960s and early '70s? No, because there's way too much dispensable post-mid-'70s stuff on disc two. Still, for those who want an anthology that includes non-Motown hits (particularly their early-'70s Dunhill singles) and are reluctant to splash out for the four-CD Fourever box set, this is the best available alternative. And unquestionably, the first two-thirds or so of this collection is excellent, including all the big Motown hits; plenty of good, less celebrated lower-charting Motown singles, like "I'll Turn to Stone" (the B-side of "7-Rooms of Gloom"); and their early Dunhill hits, in which they capably imitated Philly soul stars the O'Jays and the Spinners. But the group floundered as the '70s waned, and by the time of the ribald 1976 disco hit "Catfish," they were on the verge of not only losing their personality, but of embarrassing themselves. The proceedings don't stop there, unfortunately, tacking on a bunch of other small post-1976 hits ("When She Was My Girl" was the only big one), culminating in Levi Stubbs' gruesome contribution to the Little Shop of Horrors, "Mean Green Mother From Outer Space." It was a long way from "Baby I Need Your Loving," though luckily it's the classic stuff that dominates the program. ~ Richie Unterberger Producers include: Brian Holland, Lamont Dozier, William Stevenson, Ivy Jo Hunter, R. Dean Taylor. Compilation producer: Harry Weinger. The Four Tops: Renaldo "Obie" Benson, Abdul "Duke" Fakir, Lawrence Payton, Levi Stubbs (vocals). Additional personnel: The Supremes, The Funk Brothers.

Definitive Soul Collection album for sale Equipped with a voice as suitable for the roadhouse as is for the lord's house, Wilson Pickett was of the finest performers in the history of soul music. The legendary singer has been the focus of many a hits comp through the years, but Rhino's 2006 double-disc DEFINITIVE COLLECTION, released shortly after the singer's death that same year, is perhaps the finest sampler around. Arranged chronologically, the set begins with the Wicked Pickett's early work with the Falcons ("I Found A Love") and continues up through his prime period on Atlantic (which produced undisputed classic like "Mustang Sally," "Ninety-Nine And A Half (Won't Do)," and "Midnight Hour," all included here) into his psyche/funk phase (check out his searing take on "Hey Jude" featuring Duane Allman on guitar), expertly showcasing the full breadth of Pickett's artistry. And one listen to his whimsical 1971 hit with Philadelphia International's Gamble & Huff, "Don't Let the Green Grass Fool You," brings a tear to the eye at the loss of this amazing soul shouter. While the single-disc VERY BEST OF remains an excellent purchase, DEFINITIVE COLLECTION is everything the title claims and a fitting tribute to one of the great ones. Audio Remasterers: Dan Hersch; Bill Inglot. Liner Note Author: Bill Dahl. Recording information: American Studio, Memphis; Criteria Studio, Miami, FL; Detroit, MI; Fame Studio; King Studio, Cincinnati, OH; Muscle Shoals; Muscle Shoals Sound Studio; Sigma Sound Studio, Philadelphia, PA; Stax Studio, Memphis. Author: George Jackson.