|

Click here to expand and collapse the player

Great American Soulbook

Rate It! Avg: 4.5 (8 ratings)
Retail
Member
Great American Soulbook album cover
01
You Met Your Match
4:39
$0.49
$0.99
02
I Thank You (featuring Tom Jones)
3:31
$0.49
$0.99
03
Loveland
3:25
$0.49
$0.99
04
It Takes Two (featuring Joss Stone)
4:36
$0.49
$0.99
05
Me & Mrs. Jones
5:37
$0.49
$0.99
06
Star Time (Tribute to James Brown)
6:43
$0.49
$0.99
07
Mr. Pitiful (featuring Sam Moore)
2:49
$0.49
$0.99
08
Heaven Must Be Missing An Angel
4:47
$0.49
$0.99
09
Since You've Been Gone (Baby, Baby, Sweet Baby)
4:12
$0.49
$0.99
10
(Heaven Must Have Sent) Your Precious Love (featuring Joss Stone)
3:41
$0.49
$0.99
11
634-5789 (featuring Huey Lewis)
4:01
$0.49
$0.99
12
Who Is He (And What Is He To You)?
5:21
$0.49
$0.99
Album Information

Total Tracks: 12   Total Length: 53:22

Find a problem with a track? Let us know.

Write a Review 1 Member Review

Please register before you review a release. Register

user avatar

Nostalgia

eskw0953

You know, you can be uber critical of the choices made here, but if you are of my age and if you grew up in Chicago, this is a great look back with some very respectable talent added in.

eMusic Features

0

Hidden Treasure: Chase

By Dan Epstein, Contributor

Of all the popular music styles and sub-genres of the late '60s and early '70s, "horn rock" is perhaps the only one that hasn't been revived and revered by subsequent generations. A perhaps inevitable offshoot of mid-'60s "blue eyed soul" acts like Tom Jones, The Righteous Brothers and Mitch Ryder & the Detroit Wheels, the "horn rock" movement began in earnest in 1967 when Chicago pop group The Buckinghams, under the direction of producer James William… more »

They Say All Music Guide

Tower of Power have openly admitted resistance toward covering any hit R&B classics, preferring to play their original brand of funky soul and dance music with a horn-fired edge over their four decades on the scene. But they have finally acquiesced, reluctantly but with growing confidence during this session, in producing a tribute to the many solid singers who appeared in the charts during the ’60s and ’70s with these renditions of tunes familiar to Top 40 AM radio listeners. Special guest singers range from Sam Moore of Sam & Dave fame to young pop songstress Joss Stone, the veteran British lounge crooner Tom Jones, and rocker Huey Lewis, not to mention TOP frontman Larry Braggs. Philly and Motown music, love songs, retro-soul, and a little disco are included in this collection that is, for the most part, faithfully reproduced. A Sam & Dave hit penned by Isaac Hayes, “I Thank You” is soulfully rendered by Jones, while Moore digs in on Otis Redding’s “Mr. Pitiful,” both the most authentic highlights of the album. Lewis is quite convincing in his blue-eyed soul role during Wilson Pickett’s shuffle swing “634-5789,” offering the premise that he could pull off a whole album of this stuff. Braggs cops Stevie Wonder’s style during “You Met Your Match,” while he and an overamped Stone combine on the more heavily funky and contemporized version of Marvin Gaye and Kim Weston’s “It Takes Two.” Aretha Franklin’s “Since You’ve Been Gone,” sporting the refrain “Why’d you have to do it” with a backup chorus, is as true to the original as any other version. A James Brown medley unfortunately does not come close to the Godfather of Soul, and there are some sappy renditions of such numbers as Billy Paul’s “Me & Mrs. Jones,” Charles Wright & the Watts 103rd Street Rhythm Band’s “Loveland,” and the Gaye/Tammi Terrell hit “Your Precious Love” with Braggs and Stone. “Heaven Must Be Missing an Angel,” originally done by Tavares, is simply soupy and far too slick, and the Bill Withers song “Who Is He (And What Is He to You)?” is a revisited disco throwaway. Missing from these songs are the extended, powerful horn charts that made Tower of Power famous, with only a modicum of interaction and with little punch to add to the flavor of these charts. Perhaps a second volume might yield better results than the overtly commercialized collection that is presented here. Not bad — just not great. – Michael G. Nastos

more »