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Best-known for producing some of the greatest southern soul
from their Muscle Shoals, Alabama studios, FAME was
successful at any type of music they turned their hands to. The
young writers and musicians were as keen to replicate the
sound of Motown as they were to follow the innovative sounds
of Stax.
This CD spotlights uptempo southern grit with club classics
like Clarence Carter's 'Looking For A Fox' and Arthur Conley's
'I Can't Stop; No, No, No', but the label was also capable of
chasing on-the-fours dance appeal, with James Barnett's 'Keep
On Talking' and Linda Carr's 'Everytime'. They could also ape
the big city soul sounds of New York and LA with tracks such
as Jimmy Hughes' 'I'm Getting Better' and June Conquest's
'Almost Persuaded'. When the more produced sounds of the
70s arrived, they were more than adept as with George Soule's
'Midnight Affair' (issued at the time by Sandra Wright) and their
whole string of hits for Candi Staton.
Speaking of Candi, Ace's access to the FAME vaults unearthed
some amazing music and her 'One More Hurt' and Spencer
Wiggins' 'I'm At The Breaking Point' proved to be massive
dancefloor hits when finally unleashed to eager fans at the
start of this decade. Those were the stand-out discoveries but
we have released around 300 previously unheard FAME tracks
and there is dancefloor gold among the 25 or so compilations
we have produced over the last eight years.
Highlights include the pumping rhythms of the fictitious Billy &
Clyde (aka unknown artists) on 'A World Of My Own', Ben &
Spence's moody and atmospheric 'Stone Loser' and 'It's Not
Safe To Mess Over Me' - the pick of over 120 George Jackson
tracks. Bobby Moore & the Rhythm Aces' 'Come Back Baby' is
a superb mid-60s vocal group groove, while the largely
unknown Marjorie Ingram's 'In The Heat Of Love' will appeal to
sister soul fans.
Jimmy Hughes' 'It Ain't What You Got' could have been a Sam
& Dave smash - his star was somewhat waning by 1968, but
perhaps Art Freeman's 'Slipping Around With You' was always
destined to languish in discount record racks, until fresh-faced
Brits liberated it and took it back to become the talk of
provincial towns where Northern Soul was the byword.