Hello, well todays artists' discography sees their compilation albums number at almost 9 to one as to their the original output, hence i decided to add the best compilation... ain't that wonderful.
Perhaps no act epitomized soul music as the secularization of gospel more than Sam & Dave. The original pairing of Sam Moore and Dave Prater met in Florida in 1961, and they recorded unsuccessfully for several years before being signed to Atlantic Records in 1965. Atlantic persuaded their Memphis affiliate Stax Records to produce them, and in December that year the writing and production team of Isaac Hayes and David Porter delivered the crisply soulful "You Don't Know Like I Know." Hayes and Porter became the éminence grises behind Sam & Dave, much as Holland-Dozier-Holland pulled the strings behind the Supremes. They wrote, they produced -- and the result was a string of hits, including "Soul Man," "Hold On! I'm Comin'," and "I Thank You," songs that survive as the very epitome of Southern soul. Certainly, Sam & Dave's hits are among the most soulful ever to crack the Hot 100. Their albums often bore the hallmarks of hasty execution, though. The dissolution of the partnership between Stax and Atlantic virtually sealed the fate of Sam & Dave; there were a few more hits (and, later, a revival of interest thanks to the Blues Brothers), but the glory days were over. ...N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Sam Moore and Dave Prater's early musical backgrounds involved listening to and singing gospel music in their homes and churches, and in Dave's case, also singing gospel in the choir in his church. Dave later sang with his older brother JT Prater in the gospel group The Sensational Hummingbirds, which recorded the record "Lord Teach Me" in the 1950s. Sam recorded "Nitey-Nite"/"Caveman Rock" in 1954 with the doo-wop group The Majestics, and later sang with the gospel groups The Gales and The Mellonaires. Moore and Prater listed Jackie Wilson and Sam Cooke as influences on their styles, and Moore was also influenced by Little Willie John, whom he and Dave opened for often in the early 1960s.
Sam & Dave met working the gospel music circuit, and later in small clubs in Miami during amateur nights in 1961 according to Dave. They sang together one night at the King of Hearts club, and started working together immediately thereafter, developing a live act featuring gospel-inspired call-and-response.
After two singles in early 1962 were released on the local Marlin label owned by Miami's Henry Stone, Stone helped sign them to Roulette Records in New York. They released six 45s from 1962–1964 (two were re-releases of Marlin recordings) with Roulette, and one single on Stone and Alaimo's Alston Label. A few of the singles received regional airplay, but did not achieve national chart success. In summer 1964, Stone introduced the duo to Atlantic Records' Jerry Wexler, who signed them to Atlantic. Wexler asked Memphis, Tennessee-based Stax Records, which Atlantic distributed nationally, to work with Sam & Dave. Wexler wanted the Southern roots and gospel style of their live performances, so the pair were loaned to Stax to record, although they remained Atlantic Records artists.
Working with Stax's house band and songwriters/producers Isaac Hayes and David Porter, Sam & Dave created a body of sweaty, gritty soul that ranks among the finest and most popular produced in the late '60s. Sam & Dave's Stax records also benefited from the musicians and engineering at Stax. The Stax house band, Booker T. & the M.G.'s, and the Stax horn section, the Mar-Keys, had world-class musicians who co-wrote (often without credit) and contributed to recordings—the same musicians who recorded with Otis Redding, Wilson Pickett, Carla Thomas and other soul artists. Sam & Dave's Stax recordings through 1967 were engineered by Stax founder Jim Stewart, who created the Memphis Sound by recording live in a single take. Stewart is credited for instrumental mixes that allowed for instrumental separation and the distinct contribution of each instrument to the overall feel of the song. Hayes and Porter are in the Songwriters Hall of Fame, The Mar-Keys are in the Musicians Hall of Fame, and Booker T. & the MG's, Jim Stewart, Isaac Hayes and Sam & Dave are all in the Rock & Roll Hall of Fame.
The duo's 1966 debut, "You Don't' Know Like I Know," kicked off a series of Top Ten R&B hits. "Hold On, I'm Comin'" (R&B#1/Pop#21), released in March 1966, was a monster R&B hit for Sam & Dave, and also their first single to break into the Top 40 Pop charts. The song was named the #1 song of the year for 1966 by the Billboard R&B charts, and spent 20 weeks on the R&B charts in 1966, peaking at #1 in June. In 1988, Rolling Stone named it one of the best 100 songs of the past 25 years. "Hold On, I'm Comin'" received a belated RIAA gold record for one million sales in 1995, 29 years after its release. Sam & Dave's next huge R&B hit was "When Something is Wrong With My Baby", their only ballad single, which was released in January 1967. Stax author Rob Bowman called this "One of the most sublime records in soul music's history", and Mar-Keys trumpet player Wayne Jackson called it the greatest song he has ever heard. The duo's biggest hit and best remembered song, "Soul Man" (R&B #1/Pop #2),[7] was released in August 1967. It was the number #1 song in the US according to Cashbox magazine Pop charts in November 1967. Sam & Dave won the Grammy Award in 1967 for "Best Performance – Rhythm & Blues Group" for "Soul Man", their first gold record. The first single for Sam & Dave in 1968 was "I Thank You/Wrap it Up" (R&B #4/Pop #9). It is one of many gospel-inspired tunes and was a hit on both charts. Critics commented that the B side "Wrap it Up" could have been a separate successful single.
Sam & Dave's live act earned them the nickname "Double Dynamite." Phil Walden, Otis Redding's manager, said "I think Sam and Dave will probably stand the test of time as being the best live act that there ever was. Those guys were absolutely unbelievable. Every night they were awesome." An October 1968 Time article reads: "Of all the R & B cats, nobody steams up a place like Sam & Dave ... weaving and dancing (while singing!), they gyrate through enough acrobatics to wear out more than 100 costumes per year." Jerri Hershey described in Nowhere to Run: They carried red suits, white suits, three piece lime green suits, all with matching patent boots and coordinated silk hankies woefully inadequate to absorb a soul man's nightly outpourings. Both Sam & Dave talk a lot about sweat. To Dave, its proof that he's worked for his pay. For Sam its essential, almost mystical. He says he cannot work without it. "Unless my body reaches a certain temperature, starts to liquefy, I just don't feel right without it." Wayne Jackson said Sam & Dave left puddles of sweat onstage by the end of a performance.
However, the duo's career began to unravel in 1968, when Stax's distribution deal with Atlantic ended. Since Sam & Dave were signed with Atlantic, not Stax, they no longer had access to the production team of Hayes and Porter or the house band of Booker T. & the MG's, and their recorded work took a slight dip in quality. Though the switch of labels was unfortunate, what really caused the duo's demise was their volatile relationship. During the '70s, Sam & Dave reunited several times to little attention. At the end of the decade, John Belushi and Dan Aykroyd's Blues Brothers routine -- which borrowed heavily from Sam & Dave -- sparked a resurgence of interest in the duo, and the pair performed a number of concerts during 1980. However, their personal animosity had not faded, and they separated after a performance on New Year's Eve 1981. For the next few years, Prater toured as Sam & Dave with vocalist Sam Daniels. During the mid-'80s, Moore revealed the sources of the duo's tensions in a series of interviews. He disclosed that he had been addicted to drugs during the '70s. Prater was arrested in 1987 for selling crack to an undercover policeman. A year later, he died in a car accident. Moore continued to perform sporadically, most notably on Bruce Springsteen's 1992 album Human Touch album. Sam & Dave were inducted into the Rock & Roll Hall of Fame that same year.
Today's artists were also famous for having a very tumultuous partnership during most of their 21 years together. According to Moore, they did not speak to each other offstage for almost 13 years. During the 1970s, they broke up many times, and would typically show up separately for shows, require separate dressing rooms, not look at each other onstage, and communicate through intermediaries. They also had performances in the 1970s where only one of them would show up. Moore describes personal issues with Prater, drug use, touring fatigue, and a desire to do his own act with new material as contributing to their break-up. Dave Prater attributed their rift and break-ups to Moore's frustrations in wanting to do his own act and diversify from having to perform the Sam & Dave song catalogue over and over
xxxxx xxxxx xxxxx xxxxx xxxxx
When the Northern soulsters of Motown were employing strings and pop elements, Sam & Dave rejected pop wholesale and made sure they kept their Memphis soul simple and raw. Their albums never sounded heavily produced, and therein lies much of the appeal of Hold on, I'm Comin' (their first album for Atlantic). This duo didn't believe in hiding behind lavish productions. Like the blues and gospel artists who paved the way for soul music, Sam & Dave knew how to seize the moment. From such major hits as "You Don't Know Like I Know" and the title song to solid album tracks like the riveting "It's a Wonder" and the tough yet vulnerable ballad "Just Me," this album epitomizes Memphis soul in all its unpretentious, down-home glory. [A song-for-song reissue of the original LP, the CD version of Hold on, I'm Comin' that Atlantic put out in 1991 is rather skimpy by CD standards (as are the CD versions of Soul Men and I Thank You). Certainly, Atlantic could have provided some bonus tracks. In 2006, the Collectables label gave it a straight reissue again.]
Because R&B was such a singles-driven market in the 1960s, many albums released by Stax and Motown were big on filler. But that generally wasn't the case with Sam & Dave's albums, which boasted many gems that weren't released as singles and enjoyed little, if any, radio airplay. Listeners may be surprised to learn that as popular as this twosome was in 1967, Soul Men contains only one major single: the anthemic title song and its B-side, the charming "May I Baby." Among the first-class album tracks never released as singles were "Rich Kind of Poverty," the punchy "Hold It Baby," and the gospel-drenched ballads "Just Keep Holding On" and "I've Seen What Loneliness Can Do." As was customary, the team of Isaac Hayes and David Porter wrote the hits, and Hayes' production was so utterly sympathetic in capturing the tough, swaggering singing styles of both Sam Moore and David Prater that he surrounded them with punchy, driving arrangements by the Memphis Horns, Booker T. & the MG's, and the studio aces at Stax. Hayes pushed the level into the red on a number of these tunes, making for dynamite performances from the duo. This is one of these records that feels live because of its crackling energy. For those with more than a casual interest in Memphis soul, Soul Men is highly recommended. The Soul Men LP (October 1967) was Sam & Dave's third Stax LP, reaching #5 on the R&B charts and #68 Pop.[8] Musicologist Rob Bowman called Soul Men "One of the greatest soul music albums of all time."
Sam and Dave - Hold On, I'm Comin' / Soul Man (flac 349mb)
Hold On, I'm Comin'
01 Hold On, I'm Comin' 2:35
02 If You Got The Loving 2:35
03 I Take What I Want 2:35
04 Ease Me 2:26
05 I Got Everything I Need 2:59
06 Don't Make It So Hard On Me 2:51
07 It's A Wonder 2:55
08 Don't Help Me Out 3:09
09 Just Me 2:43
10 You Got It Made 2:36
11 You Don't Know Like I Know 2:42
12 Blame Me (Don't Blame My Heart) 2:20
01 Soul Man 2:36
02 May I Baby 2:38
03 Broke Down Piece Of Man 2:46
04 Let It Be Me 2:45
05 Hold It Baby 2:35
06 I'm With You 2:50
07 Don't Knock It 2:28
08 Just Keep Holding On 2:52
09 The Good Runs The Bad Way 2:15
10 Rich Kind Of Poverty 2:13
11 I've Seen What Loneliness Can Do 2:58
xxxxx xxxxx xxxxx xxxxx xxxxx
This was the second Sam & Dave album to enjoy significant crossover appeal. The 1967 record included such hits as "Said I Wasn't Gonna Tell Nobody," "Soothe Me," and "When Something Is Wrong with My Baby." Isaac Hayes and David Porter were now rolling as songwriters, and even though the record didn't attain big pop numbers, the singles clicked with both soul and pop audiences. More importantly, Sam & Dave's teamwork and vocal interaction were establishing them as major stars.
Sam and Dave - Double Dynamite (flac 297mb)
01 You Got Me Hummin' 2:46
02 Said I Wasn't Gonna Tell Nobody 2:36
03 That's The Way It's Gotta Be 2:34
04 When Something Is Wrong With My Baby 3:14
05 Soothe Me 2:30
06 Just Can't Get Enough 2:01
07 Sweet Pains 2:33
08 I'm Your Puppet 3:03
09 Sleep Good Tonight 2:40
10 I Don't Need Nobody (To Tell Me 'Bout My Baby) 2:55
11 Home At Last 3:03
12 Use Me 2:30
xxxxx xxxxx xxxxx xxxxx xxxxx
Sam Moore and Dave Prather were the ultimate soul duo; one a high-voiced wailer, the other a low-toned blaster. They came together in the mid-'60s to form a superb duo, singing tunes penned by soul's finest writing tandem, Isaac Hayes and David Porter. They made a host of great singles before ego battles broke them apart. This 50-cut, two-disc anthology not only has every song of significance, but plenty of obscure worthwhile items, like a "Stay in School" promo, some overlooked material done with the Dixie Flyers, and a couple of numbers cut by Moore as a solo act in the early '70s. The sound quality, annotation, and song sequencing are as outstanding as the songs themselves, in this case at least, more is more....
Dave and Sam - Sweat 'n' Soul: Anthology (1965-1971) (flac 593mb)
01 A Place Nobody Can Find 2:58
02 Goodnight Baby 2:47
03 I Take What I Want 2:34
04 You Don't Know Like I Know 2:41
05 Hold On! I'm A Comin' 2:38
06 I Get Everything I Need 2:58
07 Don't Make It So Hard On Me 2:47
08 Blame Me (Don't Blame My Heart) 2:25
09 You Got Me Hummin' 2:52
10 When Something Is Wrong With My Baby 3:19
11 Small Portion Of Your Love 2:40
12 I Don't Need Nobody (To Tell Me 'Bout My Baby) 2:58
13 That's The Way It's Gotta Be 2:40
14 Said I Wasn't Gonna Tell Nobody 2:39
15 Soothe Me (Live) 3:00
16 I Can't Stand Up For Falling Down 2:43
17 Toe Hold 3:00
18 Soul Man 2:41
19 May I Baby 2:42
20 Just Keep Holding On 3:04
21 The Good Runs The Bad Away 2:18
22 Rich Kind Of Poverty 2:16
23 I've Seen What Loneliness Can Do 2:56
24 My Reason For Living 2:40
25 Stay In School (Public Service Announcement) 1:13
xxxxx
201 I Thank You 2:47
202 Wrap It Up 2:33
203 Broke Down Piece Of Man 2:57
204 Hold It Baby 2:39
205 Come On In 2:55
206 This Is Your World 2:28
207 You Don't Know What You Mean To Me 2:12
208 Everybody Got To Believe In Somebody 3:16
209 Can't You Find Another Way (Of Doing It) 2:27
210 Ain't That A Lot Of Love 2:44
211 Don't Turn Your Heater On 2:19
212 Soul Sister, Brown Sugar 2:31
213 Born Again 2:40
214 You Left The Water Running 3:08
215 Holdin' On 2:39
216 I'm Not An Indian Giver 2:35
217 One Part Love -- Two Parts Pain 3:09
218 Baby -- Baby Don't Stop Now 2:31
219 Standing In The Safety Zone 3:16
220 Knock It Out The Park 2:34
221 Don't Pull Your Love 3:18
222 Jody Ryder Got Killed 2:42
223 Starting All Over Again 3:44
224 Stop (without Dave) 3:09
225 Shop Around (without Dave) 2:52
xxxxx xxxxx xxxxx xxxxx xxxxx
Perhaps no act epitomized soul music as the secularization of gospel more than Sam & Dave. The original pairing of Sam Moore and Dave Prater met in Florida in 1961, and they recorded unsuccessfully for several years before being signed to Atlantic Records in 1965. Atlantic persuaded their Memphis affiliate Stax Records to produce them, and in December that year the writing and production team of Isaac Hayes and David Porter delivered the crisply soulful "You Don't Know Like I Know." Hayes and Porter became the éminence grises behind Sam & Dave, much as Holland-Dozier-Holland pulled the strings behind the Supremes. They wrote, they produced -- and the result was a string of hits, including "Soul Man," "Hold On! I'm Comin'," and "I Thank You," songs that survive as the very epitome of Southern soul. Certainly, Sam & Dave's hits are among the most soulful ever to crack the Hot 100. Their albums often bore the hallmarks of hasty execution, though. The dissolution of the partnership between Stax and Atlantic virtually sealed the fate of Sam & Dave; there were a few more hits (and, later, a revival of interest thanks to the Blues Brothers), but the glory days were over. ...N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Sam Moore and Dave Prater's early musical backgrounds involved listening to and singing gospel music in their homes and churches, and in Dave's case, also singing gospel in the choir in his church. Dave later sang with his older brother JT Prater in the gospel group The Sensational Hummingbirds, which recorded the record "Lord Teach Me" in the 1950s. Sam recorded "Nitey-Nite"/"Caveman Rock" in 1954 with the doo-wop group The Majestics, and later sang with the gospel groups The Gales and The Mellonaires. Moore and Prater listed Jackie Wilson and Sam Cooke as influences on their styles, and Moore was also influenced by Little Willie John, whom he and Dave opened for often in the early 1960s.
Sam & Dave met working the gospel music circuit, and later in small clubs in Miami during amateur nights in 1961 according to Dave. They sang together one night at the King of Hearts club, and started working together immediately thereafter, developing a live act featuring gospel-inspired call-and-response.
After two singles in early 1962 were released on the local Marlin label owned by Miami's Henry Stone, Stone helped sign them to Roulette Records in New York. They released six 45s from 1962–1964 (two were re-releases of Marlin recordings) with Roulette, and one single on Stone and Alaimo's Alston Label. A few of the singles received regional airplay, but did not achieve national chart success. In summer 1964, Stone introduced the duo to Atlantic Records' Jerry Wexler, who signed them to Atlantic. Wexler asked Memphis, Tennessee-based Stax Records, which Atlantic distributed nationally, to work with Sam & Dave. Wexler wanted the Southern roots and gospel style of their live performances, so the pair were loaned to Stax to record, although they remained Atlantic Records artists.
Working with Stax's house band and songwriters/producers Isaac Hayes and David Porter, Sam & Dave created a body of sweaty, gritty soul that ranks among the finest and most popular produced in the late '60s. Sam & Dave's Stax records also benefited from the musicians and engineering at Stax. The Stax house band, Booker T. & the M.G.'s, and the Stax horn section, the Mar-Keys, had world-class musicians who co-wrote (often without credit) and contributed to recordings—the same musicians who recorded with Otis Redding, Wilson Pickett, Carla Thomas and other soul artists. Sam & Dave's Stax recordings through 1967 were engineered by Stax founder Jim Stewart, who created the Memphis Sound by recording live in a single take. Stewart is credited for instrumental mixes that allowed for instrumental separation and the distinct contribution of each instrument to the overall feel of the song. Hayes and Porter are in the Songwriters Hall of Fame, The Mar-Keys are in the Musicians Hall of Fame, and Booker T. & the MG's, Jim Stewart, Isaac Hayes and Sam & Dave are all in the Rock & Roll Hall of Fame.
The duo's 1966 debut, "You Don't' Know Like I Know," kicked off a series of Top Ten R&B hits. "Hold On, I'm Comin'" (R&B#1/Pop#21), released in March 1966, was a monster R&B hit for Sam & Dave, and also their first single to break into the Top 40 Pop charts. The song was named the #1 song of the year for 1966 by the Billboard R&B charts, and spent 20 weeks on the R&B charts in 1966, peaking at #1 in June. In 1988, Rolling Stone named it one of the best 100 songs of the past 25 years. "Hold On, I'm Comin'" received a belated RIAA gold record for one million sales in 1995, 29 years after its release. Sam & Dave's next huge R&B hit was "When Something is Wrong With My Baby", their only ballad single, which was released in January 1967. Stax author Rob Bowman called this "One of the most sublime records in soul music's history", and Mar-Keys trumpet player Wayne Jackson called it the greatest song he has ever heard. The duo's biggest hit and best remembered song, "Soul Man" (R&B #1/Pop #2),[7] was released in August 1967. It was the number #1 song in the US according to Cashbox magazine Pop charts in November 1967. Sam & Dave won the Grammy Award in 1967 for "Best Performance – Rhythm & Blues Group" for "Soul Man", their first gold record. The first single for Sam & Dave in 1968 was "I Thank You/Wrap it Up" (R&B #4/Pop #9). It is one of many gospel-inspired tunes and was a hit on both charts. Critics commented that the B side "Wrap it Up" could have been a separate successful single.
Sam & Dave's live act earned them the nickname "Double Dynamite." Phil Walden, Otis Redding's manager, said "I think Sam and Dave will probably stand the test of time as being the best live act that there ever was. Those guys were absolutely unbelievable. Every night they were awesome." An October 1968 Time article reads: "Of all the R & B cats, nobody steams up a place like Sam & Dave ... weaving and dancing (while singing!), they gyrate through enough acrobatics to wear out more than 100 costumes per year." Jerri Hershey described in Nowhere to Run: They carried red suits, white suits, three piece lime green suits, all with matching patent boots and coordinated silk hankies woefully inadequate to absorb a soul man's nightly outpourings. Both Sam & Dave talk a lot about sweat. To Dave, its proof that he's worked for his pay. For Sam its essential, almost mystical. He says he cannot work without it. "Unless my body reaches a certain temperature, starts to liquefy, I just don't feel right without it." Wayne Jackson said Sam & Dave left puddles of sweat onstage by the end of a performance.
However, the duo's career began to unravel in 1968, when Stax's distribution deal with Atlantic ended. Since Sam & Dave were signed with Atlantic, not Stax, they no longer had access to the production team of Hayes and Porter or the house band of Booker T. & the MG's, and their recorded work took a slight dip in quality. Though the switch of labels was unfortunate, what really caused the duo's demise was their volatile relationship. During the '70s, Sam & Dave reunited several times to little attention. At the end of the decade, John Belushi and Dan Aykroyd's Blues Brothers routine -- which borrowed heavily from Sam & Dave -- sparked a resurgence of interest in the duo, and the pair performed a number of concerts during 1980. However, their personal animosity had not faded, and they separated after a performance on New Year's Eve 1981. For the next few years, Prater toured as Sam & Dave with vocalist Sam Daniels. During the mid-'80s, Moore revealed the sources of the duo's tensions in a series of interviews. He disclosed that he had been addicted to drugs during the '70s. Prater was arrested in 1987 for selling crack to an undercover policeman. A year later, he died in a car accident. Moore continued to perform sporadically, most notably on Bruce Springsteen's 1992 album Human Touch album. Sam & Dave were inducted into the Rock & Roll Hall of Fame that same year.
Today's artists were also famous for having a very tumultuous partnership during most of their 21 years together. According to Moore, they did not speak to each other offstage for almost 13 years. During the 1970s, they broke up many times, and would typically show up separately for shows, require separate dressing rooms, not look at each other onstage, and communicate through intermediaries. They also had performances in the 1970s where only one of them would show up. Moore describes personal issues with Prater, drug use, touring fatigue, and a desire to do his own act with new material as contributing to their break-up. Dave Prater attributed their rift and break-ups to Moore's frustrations in wanting to do his own act and diversify from having to perform the Sam & Dave song catalogue over and over
xxxxx xxxxx xxxxx xxxxx xxxxx
When the Northern soulsters of Motown were employing strings and pop elements, Sam & Dave rejected pop wholesale and made sure they kept their Memphis soul simple and raw. Their albums never sounded heavily produced, and therein lies much of the appeal of Hold on, I'm Comin' (their first album for Atlantic). This duo didn't believe in hiding behind lavish productions. Like the blues and gospel artists who paved the way for soul music, Sam & Dave knew how to seize the moment. From such major hits as "You Don't Know Like I Know" and the title song to solid album tracks like the riveting "It's a Wonder" and the tough yet vulnerable ballad "Just Me," this album epitomizes Memphis soul in all its unpretentious, down-home glory. [A song-for-song reissue of the original LP, the CD version of Hold on, I'm Comin' that Atlantic put out in 1991 is rather skimpy by CD standards (as are the CD versions of Soul Men and I Thank You). Certainly, Atlantic could have provided some bonus tracks. In 2006, the Collectables label gave it a straight reissue again.]
Because R&B was such a singles-driven market in the 1960s, many albums released by Stax and Motown were big on filler. But that generally wasn't the case with Sam & Dave's albums, which boasted many gems that weren't released as singles and enjoyed little, if any, radio airplay. Listeners may be surprised to learn that as popular as this twosome was in 1967, Soul Men contains only one major single: the anthemic title song and its B-side, the charming "May I Baby." Among the first-class album tracks never released as singles were "Rich Kind of Poverty," the punchy "Hold It Baby," and the gospel-drenched ballads "Just Keep Holding On" and "I've Seen What Loneliness Can Do." As was customary, the team of Isaac Hayes and David Porter wrote the hits, and Hayes' production was so utterly sympathetic in capturing the tough, swaggering singing styles of both Sam Moore and David Prater that he surrounded them with punchy, driving arrangements by the Memphis Horns, Booker T. & the MG's, and the studio aces at Stax. Hayes pushed the level into the red on a number of these tunes, making for dynamite performances from the duo. This is one of these records that feels live because of its crackling energy. For those with more than a casual interest in Memphis soul, Soul Men is highly recommended. The Soul Men LP (October 1967) was Sam & Dave's third Stax LP, reaching #5 on the R&B charts and #68 Pop.[8] Musicologist Rob Bowman called Soul Men "One of the greatest soul music albums of all time."
Sam and Dave - Hold On, I'm Comin' / Soul Man (flac 349mb)
Hold On, I'm Comin'
01 Hold On, I'm Comin' 2:35
02 If You Got The Loving 2:35
03 I Take What I Want 2:35
04 Ease Me 2:26
05 I Got Everything I Need 2:59
06 Don't Make It So Hard On Me 2:51
07 It's A Wonder 2:55
08 Don't Help Me Out 3:09
09 Just Me 2:43
10 You Got It Made 2:36
11 You Don't Know Like I Know 2:42
12 Blame Me (Don't Blame My Heart) 2:20
01 Soul Man 2:36
02 May I Baby 2:38
03 Broke Down Piece Of Man 2:46
04 Let It Be Me 2:45
05 Hold It Baby 2:35
06 I'm With You 2:50
07 Don't Knock It 2:28
08 Just Keep Holding On 2:52
09 The Good Runs The Bad Way 2:15
10 Rich Kind Of Poverty 2:13
11 I've Seen What Loneliness Can Do 2:58
xxxxx xxxxx xxxxx xxxxx xxxxx
This was the second Sam & Dave album to enjoy significant crossover appeal. The 1967 record included such hits as "Said I Wasn't Gonna Tell Nobody," "Soothe Me," and "When Something Is Wrong with My Baby." Isaac Hayes and David Porter were now rolling as songwriters, and even though the record didn't attain big pop numbers, the singles clicked with both soul and pop audiences. More importantly, Sam & Dave's teamwork and vocal interaction were establishing them as major stars.
Sam and Dave - Double Dynamite (flac 297mb)
01 You Got Me Hummin' 2:46
02 Said I Wasn't Gonna Tell Nobody 2:36
03 That's The Way It's Gotta Be 2:34
04 When Something Is Wrong With My Baby 3:14
05 Soothe Me 2:30
06 Just Can't Get Enough 2:01
07 Sweet Pains 2:33
08 I'm Your Puppet 3:03
09 Sleep Good Tonight 2:40
10 I Don't Need Nobody (To Tell Me 'Bout My Baby) 2:55
11 Home At Last 3:03
12 Use Me 2:30
xxxxx xxxxx xxxxx xxxxx xxxxx
Sam Moore and Dave Prather were the ultimate soul duo; one a high-voiced wailer, the other a low-toned blaster. They came together in the mid-'60s to form a superb duo, singing tunes penned by soul's finest writing tandem, Isaac Hayes and David Porter. They made a host of great singles before ego battles broke them apart. This 50-cut, two-disc anthology not only has every song of significance, but plenty of obscure worthwhile items, like a "Stay in School" promo, some overlooked material done with the Dixie Flyers, and a couple of numbers cut by Moore as a solo act in the early '70s. The sound quality, annotation, and song sequencing are as outstanding as the songs themselves, in this case at least, more is more....
Dave and Sam - Sweat 'n' Soul: Anthology (1965-1971) (flac 593mb)
01 A Place Nobody Can Find 2:58
02 Goodnight Baby 2:47
03 I Take What I Want 2:34
04 You Don't Know Like I Know 2:41
05 Hold On! I'm A Comin' 2:38
06 I Get Everything I Need 2:58
07 Don't Make It So Hard On Me 2:47
08 Blame Me (Don't Blame My Heart) 2:25
09 You Got Me Hummin' 2:52
10 When Something Is Wrong With My Baby 3:19
11 Small Portion Of Your Love 2:40
12 I Don't Need Nobody (To Tell Me 'Bout My Baby) 2:58
13 That's The Way It's Gotta Be 2:40
14 Said I Wasn't Gonna Tell Nobody 2:39
15 Soothe Me (Live) 3:00
16 I Can't Stand Up For Falling Down 2:43
17 Toe Hold 3:00
18 Soul Man 2:41
19 May I Baby 2:42
20 Just Keep Holding On 3:04
21 The Good Runs The Bad Away 2:18
22 Rich Kind Of Poverty 2:16
23 I've Seen What Loneliness Can Do 2:56
24 My Reason For Living 2:40
25 Stay In School (Public Service Announcement) 1:13
xxxxx
201 I Thank You 2:47
202 Wrap It Up 2:33
203 Broke Down Piece Of Man 2:57
204 Hold It Baby 2:39
205 Come On In 2:55
206 This Is Your World 2:28
207 You Don't Know What You Mean To Me 2:12
208 Everybody Got To Believe In Somebody 3:16
209 Can't You Find Another Way (Of Doing It) 2:27
210 Ain't That A Lot Of Love 2:44
211 Don't Turn Your Heater On 2:19
212 Soul Sister, Brown Sugar 2:31
213 Born Again 2:40
214 You Left The Water Running 3:08
215 Holdin' On 2:39
216 I'm Not An Indian Giver 2:35
217 One Part Love -- Two Parts Pain 3:09
218 Baby -- Baby Don't Stop Now 2:31
219 Standing In The Safety Zone 3:16
220 Knock It Out The Park 2:34
221 Don't Pull Your Love 3:18
222 Jody Ryder Got Killed 2:42
223 Starting All Over Again 3:44
224 Stop (without Dave) 3:09
225 Shop Around (without Dave) 2:52
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Thanks, these guys are legends. I'm trying to find as much as the Sam Moore unreleased album as I can find from 1970-71, any info/ files would be appreciated by any and all. btw having trouble with the Double Dynamite link. Cheers.
ReplyDeleteHello, if you could kindly re-up these Sam & Dave albums, I'd be very grateful! Thanks!
ReplyDeleteI second the thank yous for reupping this.
ReplyDelete