Jools Holland & His Rhythm & Blues Orchestra – Jools Holland & Friends (2011)

Julian Miles “Jools” Holland, OBE, DL (born 24 January 1958) is an English pianist, bandleader, singer, composer and television presenter. He was an original member of the band Squeeze and his work has involved him with many artists including Sting, Eric Clapton, Mark Knopfler, George Harrison, David Gilmour, Magazine, The The and Bono.

Since 1992, he has hosted Later… with Jools Holland, a music-based show aired on BBC2, on which his annual show Hootenanny is based.[1] Holland is a published author and appears on television shows besides his own and contributes to radio shows. In 2004, he collaborated with Tom Jones on an album of traditional R&B music.

Holland also regularly hosts the weekly programme Jools Holland on BBC Radio 2, which is a mix of live and recorded music and general chat and features studio guests, along with members of his orchestra.

Holland was educated at Shooters Hill Grammar School, a former state grammar school on Red Lion Lane in Shooter’s Hill (near Woolwich), in the Royal Borough of Greenwich in southeast London, from which he was expelled for damaging a teacher’s Triumph Herald.

Holland began his career as a session musician; his first studio session was with Wayne County & the Electric Chairs in 1976 on their track “Fuck Off”.

Holland was a founding member of the British pop band Squeeze, formed in March 1974, in which he played keyboards until 1981 and helped the band to achieve millions of record sales, before pursuing his solo career.

Holland began issuing solo records in 1978, his first EP being Boogie Woogie ’78. He continued his solo career through the early 1980s, releasing an album and several singles between 1981 and 1984. He branched out into TV, co-presenting the Newcastle-based TV music show The Tube with Paula Yates. Holland used the phrase, “be there, or be an ungroovey fucker” in one early evening TV trailer for the show, live across two channels, causing him to be suspended from the show for six weeks. He referred to this in his sitcom The Groovy Fellers with Rowland Rivron.[citation needed] Holland also appeared as a guest host on MTV.

In 1983 Holland played an extended piano solo on The The’s re-recording of “Uncertain Smile” for the album Soul Mining. In 1985, Squeeze (which had continued in Holland’s absence through to 1982) unexpectedly regrouped including Holland as their keyboard player. Holland remained in the band until 1990, at which point he again departed to resume his solo career as a musician and a TV host.

In 1987, Holland formed the Jools Holland Big Band, which consisted of himself and for the show Gilson Lavis from Squeeze. This gradually became the 18-piece Jools Holland’s Rhythm and Blues Orchestra. The Orchestra includes singers Louise Marshall and Ruby Turner and his younger brother, singer-songwriter and keyboard player, Christopher Holland.

Between 1988 and 1990 he performed and co-hosted along with David Sanborn during the two seasons of the music performance programme Sunday Night on NBC late-night television.[5] Since 1992 he has presented the music programme Later… with Jools Holland, plus an annual New Year’s Eve Hootenanny.

In 1996, Holland signed a recording contract with Warner Bros. Records,[3] and his records are now marketed through Rhino Records.

On 29 November 2002, Holland was in the ensemble of musicians who performed at the Concert for George, which celebrated the music of George Harrison. In January 2005 Holland and his band performed with Eric Clapton as the headline act of the Tsunami Relief Cardiff.

On 29 August 2005, Holland married Christabel McEwen, his girlfriend of 15 years and daughter of artist Rory McEwen. Holland lives in the Westcombe Park area of Blackheath in southeast London, where he had his studio, Helicon Mountain, built to his design and inspired by Portmeirion, the setting for the 1960s TV series The Prisoner.[6] He also owns a manor house near medieval Cooling Castle in Kent.[7][8]

He appeared on the cover of Railway Modeller magazine in January 2019. In the attic of his house, Holland has spent ten years building a 100-foot (30 m) model railway. It is full of miniature buildings and landscapes that stretch from Berlin to London. He started with photographs and paintings from early 1960s London. “In the evenings, he builds some trains and buildings before switching on some music, pouring a glass of wine and switching on the trains to watch them move around the room.”

He received an OBE in 2003 in the Queen’s Birthday Honours list, for services to the British music industry as a television presenter and musician. In September 2006, Holland was appointed a Deputy Lieutenant for Kent. Holland was appointed an honorary fellow of Canterbury Christ Church University at a ceremony held at Canterbury Cathedral on 30 January 2009. On 1 February 2011 he was appointed honorary colonel of 101 (City of London) Engineer Regiment.

In June 2006 Holland performed in Southend for HIV/AIDS charity Mildmay, and in early 2007 he performed at Wells and Rochester Cathedrals to raise money for maintaining cathedral buildings. He is also patron of Drake Music.

A fan of the 1960s TV series The Prisoner, in 1987 Holland demonstrated his love of the series and starred in a spoof documentary, The Laughing Prisoner, with Stephen Fry, Terence Alexander and Hugh Laurie. Much of it was shot on location in Portmeirion, with archive footage of Patrick McGoohan, and featuring musical numbers from Siouxsie and the Banshees, Magnum and XTC. Holland performed a number towards the end of the programme.

Holland was an interviewer for The Beatles Anthology TV project, and appeared in the 1997 film Spiceworld as a musical director.

In 2008, Holland commissioned TV series Bangla Bangers (Chop Shop) to create a replica of the Rover JET1 for personal use. Holland is a greyhound racing supporter and has previously owned dogs. (by wikipedia)

And here´his first “Friends” album including a lot of great artists (see tracklist) … and you will her this great mixture between Big Bnd Jazz and Rhythm & Blues…

It´s hot, baby !!!

Personnel:
Mark Flanagan (guitar)
Roger Goslyn (trombone, accordion)
Lisa Graham (saxophone)
Christopher Holland (organ)
Jools Holland (piano)
Gilson Lavis (drums, percussion)
Nick Lunt (saxophone)
Jason McDermid (trumpet)
Derek Nash (saxophone)
Rico Rodriguez (trombone)
Winston Rollins (trombone)
Michael Bammi Rose (saxophone)
Jon Scott (trumpet)
Chris Storr (trumpet)
Dave Swift (bass)
Phil Veacock (saxophone)
Fayyaz Virji (trombone)
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background vocals:
Sam Brown – Ruby Turner
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a lot of guests (see tracklist)

Tracklist:
01. Horse To The Water (feat. George Harrison) (G.Harrison/D.Harrison) 4.57
02. Marie (feat. Herbert Grönemeyer) (Newman) 3.14
03. The Informer (feat. Ruby Turner) (Holland) 3.33
04. Wohin die Liebe fällt (Wheel Of Fortune) (feat. Valerie) (Holland/Bronner) 4.01
05. Seventh Son (feat. Sting) (Dixon) 3.04
06. Out Of This World (feat. Melanie C) (Holland/Brown/Hynde) 3.38
07. I Love Every Little Thing About You (feat. Roger Cicero) (Wonder) 5.17
08. Übers Meer (feat. Ina Müller) (Reiser) 4.17
09. Mabel (feat. Eric Clapton & Solomon Burke) (Burke/Clapton/Holland) 4.52
10. I Put A Spell On You (feat. David Gilmour & Mica Paris) (Hawkins) 4.08
11. Think (feat. Tom Jones) (Malone/Cracklin) 4.00
12. I Went By (feat. Louise Marshall) (Ash Howes Radio Mix) (Holland) 2.59
13. Ba-Ba Boo-Boo (Into Your Heart) (feat. The Baseballs) (Brans) 4.14
14. The Kiss Of Love (feat. Nick Cave & Sam Brown) (Holland/Brown) 4.23
15. Let The Boogie Woogie Roll (feat. Robert Plant) (Ertegun/Wexler) 2.37
16. Just To Be Home With You (feat. Herbert Grönemeyer) 2.29
17. Tuxedo Junction (Dash/Feyne/Hawkins/Johnson) 3.35
18. Miniatur Wunderland (feat. Axel & Torsten Zwingenberger) (Holland/ A.Zwingenberger)) 2.40
19. Say Hello, Wave Goodbye (feat. Marc Almond) (Almond/Ball) 4.33
20. If You Wear That Velvet Dress (feat. Bono) (Clayton/Evans/Mullen/Hewson) 6.15

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Various Artists – That´s Soul 1 (1967)

Soul music (often referred to simply as soul) is a popular music genre that originated in the African American community in the United States in the 1950s and early 1960s. It combines elements of African-American gospel music, rhythm and blues and jazz. Soul music became popular for dancing and listening in the United States, where record labels such as Motown, Atlantic and Stax were influential during the Civil Rights Movement. Soul also became popular around the world, directly influencing rock music and the music of Africa.

According to the Rock and Roll Hall of Fame, soul is “music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying”. Catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a call and response between the lead vocalist and the chorus and an especially tense vocal sound. The style also occasionally uses improvisational additions, twirls and auxiliary sounds. Soul music reflected the African-American identity and it stressed the importance of an African-American culture. The new-found African-American consciousness led to new styles of music, which boasted pride in being black.

Soul music dominated the U.S. R&B chart in the 1960s, and many recordings crossed over into the pop charts in the U.S., Britain and elsewhere. By 1968, the soul music genre had begun to splinter. Some soul artists developed funk music, while other singers and groups developed slicker, more sophisticated, and in some cases more politically conscious varieties. By the early 1970s, soul music had been influenced by psychedelic rock and other genres, leading to psychedelic soul. The United States saw the development of neo soul around 1994. There are also several other subgenres and offshoots of soul music.

The key subgenres of soul include the Detroit (Motown) style, a more pop-friendly and rhythmic style; deep soul and southern soul, driving, energetic soul styles combining R&B with southern gospel music sounds; Memphis soul, a shimmering, sultry style; New Orleans soul, which came out of the rhythm and blues style; Chicago soul, a lighter gospel-influenced sound; Philadelphia soul, a lush orchestral sound with doo-wop-inspired vocals; psychedelic soul, a blend of psychedelic rock and soul music; as well as categories such as blue-eyed soul, which is soul music performed by white artists; British soul; and Northern soul, rare soul music played by DJs at nightclubs in Northern England. …

but in the Sixties Soul was a very imporant part of the international music scene … it was the golden age of Soul !

Writer Peter Guralnick is among those to identify Solomon Burke as a key figure in the emergence of soul music, and Atlantic Records as the key record label. Burke’s early 1960s songs, including “Cry to Me”, “Just Out of Reach” and “Down in the Valley” are considered classics of the genre. Guralnick wrote:

“Soul started, in a sense, with the 1961 success of Solomon Burke’s “Just Out Of Reach”. Ray Charles, of course, had already enjoyed enormous success (also on Atlantic), as had James Brown and Sam Cooke — primarily in a pop vein. Each of these singers, though, could be looked upon as an isolated phenomenon; it was only with the coming together of Burke and Atlantic Records that you could begin to see anything even resembling a movement.”

Aretha Franklin is widely known as the “Queen of Soul”

Ben E. King also achieved success in 1961 with “Stand By Me”, a song directly based on a gospel hymn.[5] By the mid-1960s, the initial successes of Burke, King and others had been surpassed by new soul singers, including Stax artists such as Otis Redding and Wilson Pickett, who mainly recorded in Memphis, Tennessee, and Muscle Shoals, Alabama. According to Jon Landau:[20]

“Between 1962 and 1964 Redding recorded a series of soul ballads characterized by unabashedly sentimental lyrics usually begging forgiveness or asking a girlfriend to come home…. He soon became known as “Mr. Pitiful” and earned a reputation as the leading performer of soul ballads.”

The most important female soul singer to emerge was Aretha Franklin, originally a gospel singer who began to make secular recordings in 1960 but whose career was later revitalised by her recordings for Atlantic. Her 1967 recordings, such as “I Never Loved a Man (The Way I Love You)”, “Respect” (written and originally recorded by Otis Redding), and “Do Right Woman, Do Right Man” (written by Chips Moman and Dan Penn), were significant and commercially successful productions.

Soul music dominated the U.S. African-American music charts in the 1960s, and many recordings crossed over into the pop charts in the U.S. Otis Redding was a huge success at the Monterey Pop Festival in 1967. The genre also became highly popular in the UK, where many leading acts toured in the late 1960s. “Soul” became an umbrella term for an increasingly wide variety of R&B-based music styles – from the dance and pop-oriented acts at Motown Records in Detroit, such as The Temptations, Marvin Gaye and Stevie Wonder, to “deep soul” performers such as Percy Sledge and James Carr. Different regions and cities within the U.S., including New York City, Detroit, Chicago, Memphis, New Orleans, Philadelphia, and Muscle Shoals, Alabama (the home of FAME Studios and Muscle Shoals Sound Studios) became noted for different subgenres of the music and recording styles.

By 1968, while at its peak of popularity, soul began to fragment into disparate subgenres. Artists such as James Brown and Sly and the Family Stone evolved into funk music, while other singers such as Marvin Gaye, Stevie Wonder, Curtis Mayfield and Al Green developed slicker, more sophisticated and in some cases more politically conscious varieties of the genre. However, soul music continued to evolve, informing most subsequent forms of R&B from the 1970s-onward, with pockets of musicians continuing to perform in traditional soul style. (by wikipedia)

And here´s is he legendary Soul samper “That´s Soul 1” from 1967 … released by Atalntic Records, many tracks on this album are from the legendary Stax label:

Stax Records is an American record label, originally based in Memphis, Tennessee. Founded in 1957 as Satellite Records, the label changed its name to Stax Records in 1961 and shared its operations with Volt Records, a sister label created to avoid the impression of favoritism among radio stations playing their records.

Stax was influential in the creation of Southern soul and Memphis soul music. Stax also released gospel, funk, and blues recordings. Renowned for its output of blues music, the label was founded by two siblings and business partners, Jim Stewart and his sister Estelle Axton (STewart/AXton = Stax).

It featured several popular ethnically integrated bands (including the label’s house band, Booker T. & the M.G.’s) and a racially integrated team of staff and artists unprecedented in that time of racial strife and tension in Memphis and the South. According to ethnomusicologist Rob Bowman, the label’s use of “one studio, one equipment set-up, the same set of musicians and a small group of songwriters led to a readily identifiable sound. It was a sound based in black gospel, blues, country, and earlier forms of rhythm and blues. It became known as southern soul music.”

Following the death of Stax’s biggest star, Otis Redding, in 1967, and the severance of the label’s distribution deal with Atlantic Records in 1968, Stax continued primarily under the supervision of a new co-owner, Al Bell. Over the next five years, Bell expanded the label’s operations significantly, in order to compete with Stax’s main rival, Motown Records in Detroit. During the mid-1970s, a number of factors, including a problematic distribution deal with CBS Records, caused the label to slide into insolvency, resulting in its forced closure in late 1975.

In 1977, Fantasy Records acquired the post-1968 Stax catalogue and selected pre-1968 recordings. Beginning in 1978, Stax (now owned by Fantasy) began signing new acts and issuing new material, as well as reissuing previously recorded Stax material. However, by the early 1980s, no new material was being issued on the label, and for the next two decades, Stax was strictly a reissue label.

After Concord Records acquired Fantasy in 2004, the Stax label was reactivated, and is today used to issue both the 1968–1975 catalog material and new recordings by current R&B and soul performers. Atlantic Records continues to hold the rights to the vast majority of the 1959–1968 Stax material. (by wikipedia)

Yes … a legendary sampler … and if you would like to know, what´s soul all about … listen to this record !

Back cover (2nd pressing)

Tracklist:
01. Wilson Pickett: Mustang Sally (Rice) 3.08
02. Carla Thomas: B-a-b-y (Hayes/Porter) 2.56
03. Arthur Conley: Sweet Soul Music (Redding/Conley) 2.22
04. Percy Sledge: When A Man Loves A Woman (Lewis/Wright) 2.56
05. Sam & Dave: I Got Everything I Need (Cropper/Floyd/Isbell) 3.00
06. Ben E. King: What Is Soul (Gallo/King) 2.22
07. Aretha Franklin: I Never Loved A Man The Way I Love You (Shannon) 2.50
06. Otis Redding: Fa-Fa-Fa-Fa-Fa (Sad Song) (Redding/Cropper) 2.44
07. Eddie Floyd: Knock On Wood (Cropper/Floyd) 3.07
08. Solomon Burke: Keep Looking (Burke) 2.41
09. Wilson Pickett: Land Of 1000 Dances (Kenner) 2.28
10. Joe Tex: Papa Was Too (Tex) 2.44
11. Percy Sledge: Warm And Tender Love (Robinson) 3.23
12. The Drifters: Baby What I Mean (Hamilton/Sheldon) 2.36

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Original back cover (1st pressing)

 

I got this item from Mr. Sleeve … what a great gift … thanky you very much !!!!

And here are the lyrics of “Sweet Soul Music”:

Do you like good music?
Huh, that sweet soul music
Just as long as it’s swinging
Oh, yeah

Way out here on the floor, ya’ll
Ah, going to a go-go
Dancing with the music
Oh, yeah

Spotlight on Lou Rawls, ya’ll
Ah, don’t he look boss, ya’ll
Singing ‘Love’s a Hurtin Thing’, yall
Oh, yeah

Spotlight on Sam and Dave, ya’ll
Oh, don’t they look great y’all?
Singing, ‘Hold On I’m Coming’
Oh, yeah

Spotlight on Wilson Pickett, now
That wicked Wilson Pickett
Singing, ‘Mustang Sally’
Oh, yeah

Spotlight on Otis Redding, now
Singing ‘Fa-Fa-Fa-Fa-Fa’
‘Fa-Fa-Fa-Fa-Fa’
Oh, yeah
Get it Otis

Spotlight on James Brown, ya’ll
He’s the king of them all, ya’ll
He’s the king of them all, ya’ll
Oh, yeah

Do ya like good music?
That sweet soul music
Just long as it’s swinging
Oh, yeah

I got to get the feeling
I got to get the feeling
Do ya like good music?
That sweet soul music
Help me get the feeling
I want to get the feeling
Otis Redding’s got the feeling

James Brown he got the feeling
Oh, I love good music

Various Artists – Soul Christmas (1968)

Originally issued as an Atlantic compilation back in 1968, Soul Christmas is just what is says: a collection of songs featuring R&B legends such as Otis Redding, Carla Thomas, Solomon Burke, Joe Tex, Clarence Carter, William Bell, King Curtis, and Booker T. & the MG’s. But if you’re looking for a compilation of mostly traditional Christmas tunes, this is not the record to buy. Apart from nods to time-honored classics like “White Christmas” (gloriously reinterpreted by Redding), Booker T.’s perky “Jingle Bells,” and the R&B favorite “What Are You Doing New Year’s Eve” (featuring sax man King Curtis at his bluesy best, along with a guitar solo by Duane Allman), the songs are all tailor-made originals that fit the style of the respective artists. Thus, Carter’s “Back Door Santa” is a hilariously salacious cut; Tex gives us a preacherlike “I’ll Make Everyday Christmas (For My Woman)”; and Thomas is at her most cute and innocent with “Gee Whiz, It’s Christmas.” Redding’s version of “Merry Christmas Baby” (a hit for Johnny Moore’s Three Blazers) is an obvious standout, while Bell’s “Everyday Will Be Like a Holiday” is the only bona fide charted single (albeit back in January 1968). For added value, Rhino has included three bonus tracks, including a 1978 recording by Ray Charles of “Christmas Time.” (by David Nathan)

Tracklist:
01. Clarence Carter: Back Door Santa (Carter) 2.10
02. King Curtis: The Christmas Song (feat. Duane Allman) (Tormé/Wells) 3.11
03. Otis Redding: White Christmas (feat. Booker T & The MG´s + The Memphis Horns) (Berlin) 3.09
04. Joe Tex: I’ll Make Every Day Christmas (For My Woman) (Tex) 3.32
05. Booker T. & The MG’s: Silver Bells (Evans/Livingstone) 2.33
06. Carla Thomas: Gee Whiz, It’s Christmas (Cropper) 2.47
07. Otis Redding: Merry Christmas Baby (feat. Booker T & The MG´s + The Memphis Horns) (Traditional) 2.34
08. Solomon Burke: Presents For Christmas )D.Burke/S.Burke) 3.13
09. Booker T. & The MG’s: Jingle Bells (Traditional) 2.238
10. William Bell: Every Day Will Be Like A Holiday (Bell) 2.40
11. King Curtis: What Are You Doing New Year’s Eve (feat. Duane Allman) (Loesser) 3.45
12. Carla Thomas: All I Want For Christmas Is You (Williams) 1.45
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13. Ray Charles: Christmas Time (Shepard) 4.31
14. Booker T. & The MG’s: Santa Claus Is Coming To Town (Gillespie/Coots) 2.35

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Alternate frontcover