Doug Sahm once sang, "You just can't live in Texas if you don't have a lot of soul," and, as a proud son of the Lone Star state, he seemed bent on proving that every time he stepped in front of a microphone. Whether he was playing roots rock, garage punk, blues, country, norteño, or (as was often the case) something that mixed up several of the above-mentioned ingredients, Doug Sahm always sounded like Doug Sahm – a little wild, a little loose, but always good company, and a guy with a whole lot of soul who knew a lot of musicians upon whom the same praise could be bestowed. Pulling together a single disc compilation that would make sense of the length and breadth of the artist's recording career (which spanned five decades) would be just about impossible (the licensing hassles involved with the many labels involved would probably scotch such a project anyway), but this disc, which boasts 22 songs recorded over the course of eight years, is a pretty good starter for anyone wanting to get to know Sahm's music.
All eight of the albums Wes Montgomery issued on Verve in the mid-'60s (including the two he did with organist Jimmy Smith) are on this limited-edition, five-CD box set. With the addition of 20 bonus tracks (none previously unreleased, some of them alternate takes or overdubbed versions) and a 76-page booklet that includes readable reproductions of the original LP sleeves, it's the definitive compilation of his work for the label. By its very size, of course, its appeal might be limited to completists and serious collectors.
9CD reconfiguration of original Atlantic box set, featuring every A-side the label released during those nine years, as well as several B-sides. The set is a definitive portrait of gritty, deep Southern soul. For any serious soul or rock collector, it's an essential set, since Stax-Volt was not only a musically revolutionary label, its roster was deep with talent, which means much of the music on this collection is first-rate. 11 of these singles charted on Billboard.
Another fundamental brick in the prog-rock music wall.
This band started its career by doing artistic cover versions from tunes composed by other people, and this third album presents their own matured composing skills. Earlier "The Beat Goes On" was more like an abstract artsy tryout when compared to this masterpiece in my opinion. The most dominant elements are still the strong organ chord layers, powerful vocal harmonies and very strong emotional load, resembling a state of religious pathos.
The Comic Strip compilation may be an ideal overview to Gainsbourg's pop oeuvre, but for those sick puppies interested in exploring his entire catalog, this collaboration with then-lover Brigitte Bardot is a good place to start. Many of his most infamous songs ("Bonnie and Clyde," "Comic Strip,") are here, and the lesser-known numbers achieve the same giddy decadence. Yes, the subject matter is transgressive, the performances often silly, but long after the initial shock wears off, Gainsbourg's work continues to surprise and delight.