One part rock, one part blues, a dash of country, two or three guitarists and a bottle of whiskey. Southern Rock exploded on the scene in the 70’s and is still going strong today. Will Sophie’s 50 Southern Rock Licks You MUST Know captures the very essence of this Americana phenomena. You’ll also have a blast in the shed with Will’s curriculum — especially working out all of the two-guitar harmonized parts that he’s very appropriately included.
Like everything on Memphis Slim's album Goin' Back to Tennessee or Alvin Youngblood Hart's "Tallacatcha" (a Western swing performance worthy of Bob Wills), Clarence "Gatemouth" Brown's 1975 Barclay album Down South in the Bayou Country completely transcends any and all attempts to confine this diverse artist within the artificial parameters of blues or any other preordained category. Consisting mostly of songs written by Hoyt Garrick, Jr., Charles Gressett, and David Craig with additional tunes by J. Loyd and Joe Stampley, this pretty parfait of country & western, Southern rock, cowboy hoedown, and electric Cajun soul music was recorded during February and March 1974 in Bogalusa, LA. Gatemouth, fresh from his tenure as Deputy Sheriff of San Juan County, NM, sounds particularly pleased to be active at the center of a project so completely infused with authentic Southern sensibilities. Perhaps the most satisfying track off of the original album is "Loup Garou." This hoodoo funk ritual with background vocals by Geraldine "Sister Gerry" Richard sounds as if it might have been influenced by Dr. John's "Loop Garoo," which had appeared on that artist's Atco album Remedies in 1970.
A double-disc entry into SPV's mammoth exhumation of the Rockpalast vaults, representing the greatest performances from Germany's premier live concert TV show, 30 Years of Southern Rock serves up two seething shows from Dickey Betts – the first from 1978, shortly after the collapse of the Allman Brothers, the second from 2008…
It may open up with Aaron Neville's 1993 rendition of George Jones' classic "The Grand Tour," but Ace's 2012 compilation Behind Closed Doors: Where Country Meets Soul focuses on the golden age of country soul – the late '60s and early '70s, the age when the borders between these two strands of southern American music became decidedly blurring. And many of the 23 cuts on Behind Closed Doors are firmly within the Southern soul tradition – slow, smoky, gritty, and soulful, anchored by languid stride piano and buttressed by muscular horns.
Sweet Dreams: Where Country Meets Soul, Ace's second dip into the country-soul well, is every bit as good as its 2012 predecessor. Basically, it's cut from the same cloth as the first volume, concentrating on recordings from the late '60s but stretching deep into the '70s (Millie Jackson's "Sweet Music Man" dates from 1977), with Ted Taylor's 1962 "I'll Release You" and Orquestra Was' 1996 "Forever's a Long, Long Time Ago" functioning as de facto ringers. "Forever's a Long, Long Time Ago" may fit aesthetically but certainly not sonically, as it's a crisp digital blast on a collection devoted to warm, lush, analog soul.
If the release of Cold Cold Heart proves anything, it's that Where Country Meets Soul is one of Ace Records' most popular series of the 2010s. If this third volume proves anything else, it's that the well of country-soul has hardly been tapped dry by compiler Tony Rounce and the label. Apart from a handful of tracks cut in the early '60s right in the wake of Ray Charles' groundbreaking Modern Sounds in Country & Western Music plus a few sides cut in the disco era or later, Cold Cold Heart is firmly grounded in the late-'60s heyday of soul music.