Its only with Disc four that one sees the consequences of the late 50s - Ray Charles in his final days with the label, juxtaposed with the Drifters in their post-1958 incarnation and the start of the companys relationship with StaxVolt Records.ĭisc six (1965-67) is practically a mini-tribute to StaxVolt, filled with the best-known sides of Eddie Floyd, Otis Redding, Sam Dave, and Booker T. Surprisingly, the material on Disc three, covering 1955-57, isnt very different in content or character from Disc two, despite the fact that it covers the period when white teenagers were starting to listen to and buy these records in large numbers. Please enable JavaScript in your browser to use the site fully.Ītlantic Records was one of dozens of independent labels started up after the war by neophyte executives and producers, but it was different from most of the others in that the guys who ran it were honest and genuinely loved music.Ĭoupled with a lot of luck and some good judgment, the results trace a good chunk of the history of American music and popular culture.ĭisc one opens with cuts which slot in somewhere midway between jazz, bop, and race music (as the term was used then).ĭisc two is pure, distilled RB, the stuff filling the airwaves of black radio and the jukeboxes in the wrong parts of town in 1952-54.
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