Arthur Conley – Sweet Soul Music (Mono, Clear vinyl)
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ORDER LIMITED TO ONE ITEM PER CUSTOMER
Part of Atlantic Records' 75th Anniversary Vinyl Collection
Arthur Conley - vocals
Written by Arthur Conley (A1, A3-4, B2-3, B5), Otis Redding (A1, B1-2, B4-5), Dan Penn (A2, A5), Linden Oldham (A2), Roger Hawkins (A5)
1 LP, standard sleeve
Limited edition one-time pressing
Original analog Master tape : YES
Heavy Press : 180g
Record color : crystal clear
Speed : 33 RPM
Size : 12'’
Mono
Studio
Record Press : Optimal Media GmbH
Label : Atlantic
Original Label : Atlantic
Recorded at FAME Studios, Muscle Shoals, Alabama in January 1967
Produced by Otis Redding
Lacquer cut by Kevin Gray at Cohearent Audio
Liner Notes by Otis Redding
Photography by George Rosenblatt (cover), James J. Kriegsmann (backliner)
Originally released in 1967
Reissued in February 2023
Tracks :
Side A:
- Sweet Soul Music
- Take Me (Just As I Am)
- Who's Foolin' Who
- There's a Place for Us
- I Can't Stop (No, No, No,)
Side B:
- Wholesale Love
- I'm a Lonely Stranger
- I'm Gonna Forget About You
- Let Nothing Separate Us
- Where You Lead Me
Reviews :
“"Sweet Soul Music" is one of the all-time great '60s soul hits, and one of the soul hits that was actually as popular as it was critically acclaimed, reaching #2 in 1967. "Sweet Soul Music" delivers a clever double-twist: it's not only a classic uptempo soul song on its own pure musical terms, but it also celebrates soul music itself. It thus couldn't help but become an anthem of sorts for all of soul music, even getting appropriated for the title of Peter Guralnick's book on '60s Southern soul, Sweet Soul Music. The record itself begins with an ascending horse-racing-type fanfare, inspired by Elmer Bernstein's television theme for The Magnificent Seven. The verses are largely a celebration of soul, with the by-now familiar rhetorical question "do you like good music" (if you didn't like good music, what would you be doing listening to something like this in the first place?), and an actual roll call of top soul singers, including Sam & Dave, Otis Redding, James Brown, Wilson Pickett, and Lou Rawls. What really kicks the song along are the call-response between Conley's semi-shouted vocal and the backup singers, who keep answering "yeah yeah" to the lead singer's exhortations. The record reaches goes into a different catchy chord sequence and series of climactic "yeah yeah"s at the end of the verse, which must have helped a lot in getting airplay on pop radio. Those dramatic western/horse-racing horns come in to add more anthemic grandeur during the instrumental break, after which it's back to more party-celebratory vocals from Conley and his backing crew. Though "Sweet Soul Music" sounded like a spontaneous creation of instant classicism, actually its composition was a much more complicated affair than many would have guessed. The song originated when Conley wanted to cover Sam Cooke's similar "Yeah Man." Otis Redding, who'd recently taken Conley on as a protege of sorts, changed the song into "Sweet Soul Music." But the remaining similarities were still strong enough that the late Cooke's manager got Cooke's name added to the songwriting credits. "Sweet Soul Music"'s original recording is indelible enough that not too many artists have tried to cover it, but versions have been recorded by Rod Stewart, Jose Feliciano, and Sam & Dave, while Tom Jones and Bruce Springsteen would perform it live.” AllMusic Review by Richie Unterberger
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