Arthur Conely
Band members Related acts
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line up 1 (1964-2003) - Arthur Conley (aka Lee Roberts) (RIP 2003) -- vocals
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- Arthur and the Covets - The Evening Smiles - Harold Holt and His Band - Robert Lee and the Sweaters - The Soul Clan
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Genre: soul Rating: 3 stars *** Title: Sweet Soul Music Company: ATCO Catalog: 33-215 Country/State: McIntosh, Georgia Grade (cover/record): VG+/VG+ Comments: mono pressing; still in shrink wrap (opened) Available: 1 Catalog ID: -- Price: $50.00
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If you are only going to add a couple of '60s southern soul LPs, then 1967's "Sweet Soul Music" is one you'll want to consider for that collection. First off, how can you go wrong with an album that was produced by the late Otis Redding? Add to that the title track is a classic slice of mid-'60s soul (and was a big hit).
Conley's recording career traces back to the late-'50s when he fronted the Atlanta-based Arthur and the Covets. The early-'60s saw the group signed by Bill Lowery and Boots Woodall's Atlanta-based National Recording Corporation (NRC) where they recorded a series of three doowop-flavored singles before breaking-up.
- 1964's 'I Believe' b/w 'Miracles' (NRC catalog number No. 2781-222) - 1964's 'Aritha' b/w 'Flossie Mae' (NRC catalog number NRC 2781-34-1) - 1964's 'Poor Girl' b/w Darling I Love You' (NRC catalog number 203-A)
- 1965's 'I'm A Lonely Stranger' b/w 'Where You Lead Me' (Ru-Jac catalog number 45-0014).
Mitchell brought the single to Otis Redding's attention when he was in town for an appearance at the Baltimore Theater. Impressed by the song Redding decided to meet Conley and ended up signing him to his newly formed Jotis label where he recorded a pair of singles over the next year:
- 1965's 'I'm a Lonely Stranger' b/w 'Where You Lead Me' (Jotis catalog number 470) - 1965's 'Who's Fooling Who' b/w 'There's a Place for Us' (Jotis catalog number 472)
With
Redding continuing to serve as Conley's musical mentor, in 1966 he was
signed to Atlantic's ATCO subsidiary. In his role as Conley's
producer, Redding insisted Conley record his debut album at Rick Hall's Fame
Studios. Released in 1967, "Sweet Soul Music"
featured a stellar collection of Southern soul moves. Among the ten
tracks were three Conley originals, two Redding covers, and four
Redding-Conley collaborations. The top-ten title track sucked all the air
out of the room, but the rest of the album was equally impressive showing
Conley was more than a Redding puppet.
Up-tempo tracks like
'I Can't Stop (No, No, No)', 'Who's Foolin' Who' and 'Where You Lead
Me' may not h
Normally I wouldn't quote extensive liner notes, but for goodness sakes, these were written by Redding:
"I think Arthur Conley is one of the most fantastic young singers in the entertainment business today. Although he is only 21 years old, he sings with the assurance and maturity of many veteran performers. And he puts more "sweet soul music" into his songs than most other soul singers around today. As a performer his is one of the most exiting personalities I've ever seen. It this seems like too much for one blues singer to say about another I can only say that's the way it is. I flipped about Arthur the first time I ever heard him. That was back in 1965 in Baltimore when a friend played me a demo record Arthur had made. In fact I got so excited about that record that my friend decided I should meet him. I did, and after talking to him a while I became his record producer The Arthur Conley record I heard that day was called 'I'm a Lonely Stranger. With the help of Stax/Volt President Jon Stewart, I recorded Arthur Conley doing that song and issued it on my own Jotis label. It wasn't a big hit, but it started Arthur on his way. After that Jim and I recorded Arthur Doing 'Who's Foolin' a tune that Arthur wrote himself. It moved him another step forward in his career. The net two recorded by Arthur Conley were cut in Muscle Shoals, Alabama with the help of Rick Hall, the President of Fame Records. The songs were 'Take Me (Just as I Am)' and 'I Can't Stop (no, No, no)'. They gave Arthur even more exposure throughout the country. The first record I produced on my own was "Sweet Soul Music." That's the one that did it. Arthur's fabulous performance on the record turned it into a smash hit. It made Arthur Conley a big name on the soul scene. Arthur Conley is an original. Some people say he has a sound like Sam Cooke. That's partly true - but Arthur doesn't try to imitate anyone, he's his own man. He's dynamic and he's an incredible showman. That's why he's become so strong at the box-office in such a short period of time. Being an A&R man is still a new thing for me. Arthur makes the job exciting through his great artistry. I feel he's in the early stages of a sensational career as a recording artist and in-person performer. Listen to him on this new album and see if you don't agree with me. Sincerely Otis Redding.
"Sweet
Soul Music" track listing: 1.) Sweet Soul Music (Otis Redding - Arthur Conley) - 2:20 rating: ***** stars Lyrically 'Sweet Soul Music' was little more than a bouncy love letter to what were popular soul superstars. The lyrics included nods to James Brown, Lou Rawls, Wilson Picket, Sam & Dave and Redding ("Otis Redding got the feeling ..."). While that may not have been the most original concept you've come across, the track had a great melody and Conley's performance was hyper enthusiastic. It's hard to shake the song once you've hear it. Though he didn't get a writing credit for it, the late Sam Cooke deserves at least a nod given his tune 'Yeah Man' seems to have served as the inspiration for much of 'Sweet Soul Music.' Cooke's former business partner J.W. Alexander won a settlement when he sued Conley and Redding for stealing the underlying melody.
- 1967's 'Sweet Soul Music' b/w 'Let's Go Steady' (ATCO catalog number 45-6463) # 2 Billboard pop; #2 Billboard R&B YouTube has several clips of "live" performances of the track. Taken from a 1967 appearance on the German Beat Club television show, the best is a black and white concert clip. Backed by a stunning band the man had some amazing moves: Arthur Conley - Sweet Soul Music (1967) | LIVE (youtube.com) 2.) Take Me (Just As I Am) (Dan Penn - Linden Oldham) - 2:58 rating: *** stars Complete with church organ, Conley's arrangement wasn't a major departure from Solomon Burke's better known version. 3.) Who's Foolin' Who (Arthur Conley) - 2:28 rating: **** stars Previously released as a Jotis single, 'Who's Foolin' Who' sported an irresistible melody and a killer sax solo. Hard to believe this one wasn't released as an "A" side. 4.) There's A Place For Us (Arthur Conley) - 2:45 rating: **** stars The sweet, stark, reflective ballad 'There's A Place For Us' had previously been released as the "B" side to his 'Who's Foolin' Who' 45. Solomon Burke would have done well to cover it. Always wondered if this was meant as a nod to his secret life as a gay man in '60s America. 5.) I Can't Stop (No, No, No) (Dan Penn - Roger Hawkins) - 2:25 rating: **** stars Classic up-tempo dance number ... 'I Can't Stop (No, No, No)' had it all. Great melody; ear-candy refrain, pounding rhythm; awesome horn charts and a fantastic double tracked vocal. Should have been tapped as a single.
(side
2) Covering a Redding effort with the man producing you must have taken some courage, Accordingly who could blame Conley for pulling out his best Redding impression. To be honest the results weren't half bad with Conley adding a sly sense of humor to the mix. Ultimately his performance couldn't come close to the majesty of Redding's own version. For anyone curious, Redding's version can by found on the posthumous 1970 album "Tell the Truth." 2.) I'm A Lonely Stranger (Otis Redding - Arthur Conley) - 2:45 rating:**** stars Co-written by Conley and Redding, a slightly different version of 'I'm a Lonely Stranger' had previously seen daylight as one of Conley's first singles on Redding's Jotis label. Both versions offer a wonderful deep soul ballad; this version showcasing backing from the MGs.
- 1965's 'I'm a Lonely Stranger' b/w 'Where You Lead Me' (Jotis catalog number 470)
3.) I'm Gonna Forget About You (Arthur Conley) - 2:10 rating:**** stars My gosh I love the breezy 'I'm Gonna Forget About You', but Conley's vocal has always reminded me of a Sam Cooke. Part of that may have to do with the fact Cooke actually wrote the song which for some reason was mis-credited to Conley on the album. 4.) Let Nothing Separate Us (Otis Redding) - 3:04 rating:**** stars Supported by the cream of Stax studio musicians, Conley's cover of Redding's 'Let Nothing Separate Us' was nothing short of magnificent. It's one of those rarities where the cover may be as good, or better than the original. Almost Gospel in terms of its intensity, soul ballads just don't come much better. Redding's version was entitled 'I'll Let Nothing Separate Us' and finally appeared on the posthumous 1970 "Love Man" album. 5.) Where You Lead Me (Otis Redding - Arthur Conley) - 2:25 rating:**** stars 'Where You Lead Me' was another track previously released as a Jotis 45. An up-tempo, bouncy track it featured a Conley vocal that sounded like a mix of Cooke and Redding. Always loved this one for the awesome drums and the smirk you can hear in Conley's voice.
© 06/2024 Scott R. Blackerby
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Working
as a solo act, the 18 year old Conley was signed by Rufus Mitchell's Baltimore-based
Ru-Jac label. Conley recorded a couple of demos for the label and in
addition to writing the song, provided lead vocals on a single by sax player
Harold Holt & His Band:
ave
had the ear candy quality of the title track, but they were still darn
good. And as much as I love
those performances, Conely was even more impressive on the ballads.
Appropriating Solomon Burke's "churchy" sound, 'Take Me (Just As I
Am)' gave Burke a run for his money. 'I'm a Lonely Man' and a cover of
Redding's 'Wholesale Love' were awesome. There's clearly some truth in
the statement some of these performances recalled the likes of James Brown,
Sam Cooke and Redding himself, but Conley was way more than a mindless imitator.
As a writer and performer he had the goods. Identify
another 21 year old who sounded as polished and accomplished. Maybe
I'm reading too much into it, but the title track was so good it grabbed all
of the attention and served to establish a hopelessly high benchmark for
follow-ons. Redding's tragic December 1967 death certainly didn't help
Conley's career (Conley served as one of the pall bears at Redding's
funeral). And while I don't have a degree in sociology, cultural studies, or
anything similar, Conley's sexual orientation didn't help his career in an
era when being gay could get you fired, or even killed.
