:: Buy Now: $19.95
:: Details
Nashville's country successes gave the town the name, Music City USA, but there were always plenty of African-American artists making a living in and around the city. The Jefferson Street commercial corridor was home to clubs, small record labels, and musicians until the adjoining neighborhood was bulldozed to put in Interstate 40 in the late 1960s. In the early 60s Nashville even hosted Night Train, an all-black TV show that gave this compilation its name. Like Volume 1, this 39-track collection has contributions from the unjustly obscure, the famous, and the soon-to-be legendary performers that lived, worked, or passed through Nashville on their musical journeys.
Gay Crosse & The Good Humor Six cut the jump blues "No Better for You" in 1952. It's notable because the band's tenor sax man was John Coltrane, who accents the track with a short R&B-flavored solo. Doctor Feelgood (aka Piano Red) and The Interns cut their signature tune, "Doctor Feel-Good," in 1962. Its rhythm directly influenced the Mersybeat bands, including the Beatles, who cut this single's B-side, "Mister Moonlight," two years later. Christine Kittrell cut the first version of Leiber/Stoller's "I'm A Woman" for Vee Jay in 1962. The screaming sax soloist and country guitar picker here aren't credited, but they add plenty of soul to Kittrell's gritty vocals. "Little" Ester Phillips shows the connection between country and R&B on her soul-stirring version of "Release Me." There's a swooning string section and pop background vocals by the Anita Kerr singers, but it's Phillips' testifying that makes the song snap. Freddie North's twangy "OK, So What" is another prime example of early country-infused soul—part pop, part country, part rock, and totally gone, man, gone! Barrelhouse pianist Bernard Hardison wrote "Too Much" and cut it for Republic in 1955 two years before Elvis took it to the pop charts with a smoother arrangement. The Gladiolas original version of "Little Darlin'" (a pop hit for The Diamonds) was written by the group's tenor, Maurice Williams, who later wrote and recorded "Stay." Charles Walker & The Daffodils make "No Fool No More" one of the most frenetic doo wop sides ever. One hit wonder Little Ike's "She Can Rock" is a scorching Little Richard knock off.
There are also solid tracks by Ivory Joe Hunter, Clyde McPhatter, Arthur Alexander, Joe Simon, and dozens of other known and unknown singers and sidemen. There's not a weak track on either CD. Even after all these years they jump out of the speakers with their blazing energy and soul intact.
Subscribe to Feed
