From the late '60s to the early '70s, music made in the South achieved a convergence that put pop, rock, blues, soul, country and gospel all on the same page. As the key areas of Memphis, Muscle Shoals, Macon and Nashville moved in a unified groove; listeners could clearly hear a common thread linking Waylon's country, the Allmans' Southern-fried licks, and the soulful, countrypolitan sounds of Charlie Rich and Billy Sherrill. New reissues from that time serve nicely to bracket that heady period.
The Box Tops' catalog represents a fascinating combination of talents. This short-lived group (1967-68) was led by teenager Alex Chilton, produced by soul songster Dan Penn, and recorded at Chips Moman's famed American Studios in Memphis. Because Chilton rebelled against Penn's control while Penn grew tired of Moman's constant supervision, this group's legacy has been dismissed by all three for any work beyond their cadre of radio hits ("The Letter," "Cry Like A Baby" and "Soul Deep").
On these reissues, which include a generous amount of bonus cuts, one can hear how the Box Tops represented a significant step forward in Southern music. Challenged to supply most of the material, Penn showed great versatility as both a writer and a producer. Moman's house band shaped a sound that would reach greater heights with Elvis and Dusty Springfield. Most of all, listeners get to hear Chilton as he absorbs Penn's tutelage, soon revealing the writing prowess that would flourish with Big Star. Covers of Mickey Newbury, Randy Newman, John D. Loudermilk and B.B. King further demonstrate how the Box Tops harvested a variety of Southern roots.
As Southern music of the mid-'70s started to tumble toward Urban Cowboy banality, one of the last rays of light came from the Amazing Rhythm Aces. This Memphis combo understood tradition. They could thump soulfully like the Hi Rhythm Section, bring a tear with a George Jones-styled weeper, boogie with equal parts rock and blues, and pick some old-time bluegrass -- all with a sense of authority.
After years lost in a dispute over the ownership of the masters, the Aces' first four albums are now available package on a pair of "two-fer" sets. Their best-known songs, "Third Rate Romance" and "The End Is Not In Sight", are both on the first disc although tasty morsels abound on both.
While the Aces can veer dangerously close to Jimmy Buffett insipidness, things are kept in check with fine performances such as "Life's Railway To Heaven". Their studio precision and insightful writing made them almost a Southern Steely Dan, more soulful or less clever depending on your tastes.
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