Keep Movin' On

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Editorial Reviews

Barnes & Noble - Dave Gil de Rubio
Sam Cooke's visionary take on pop and soul blazed a path for equally talented acolytes Otis Redding and Al Green. At the time of his violent death in 1964, Cooke was transitioning from a sophisticated pop crooner to a more socially conscious artist, using more complex arrangements and delving into deeper subject matter, such as the civil rights movement. Recorded at a point when the late vocalist had fought for and won total control over his artistic output, the 23-track Keep Movin' On consists of Cooke's last sessions, most of which are available on other collections, along with a pair of previously unreleased cuts. Much-loved classics such as the thumping "Shake"...
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Editorial Reviews

Barnes & Noble - Dave Gil de Rubio
Sam Cooke's visionary take on pop and soul blazed a path for equally talented acolytes Otis Redding and Al Green. At the time of his violent death in 1964, Cooke was transitioning from a sophisticated pop crooner to a more socially conscious artist, using more complex arrangements and delving into deeper subject matter, such as the civil rights movement. Recorded at a point when the late vocalist had fought for and won total control over his artistic output, the 23-track Keep Movin' On consists of Cooke's last sessions, most of which are available on other collections, along with a pair of previously unreleased cuts. Much-loved classics such as the thumping "Shake" and the sweet shuffle "Another Saturday Night" share space with more lighthearted fare like a chugging cover of Patti Page's "Tennessee Waltz" and the snappy, Dixieland-flavored "Cousin of Mine." While Cooke effortlessly churned out upbeat numbers, it's soul-stirring gospel songs like "That's Where It's At" and "Somebody Ease My Troublin' Mind" that reveal the depth and power of his voice. Glaringly absent from the otherwise stellar four-disc Cooke box set, The Man Who Invented Soul, but thankfully included on this collection is Cooke's greatest achievement and legacy -- the gorgeous "A Change Is Gonna Come," a lushly orchestrated civil rights anthem written in response to Bob Dylan's "Blowin' in the Wind." Rounding out the set, the previously unreleased and more pop-oriented title track and "I'm Just a Country Boy" hint at the great heights Sam Cooke might have achieved had fate not intervened.
All Music Guide - Bruce Eder
This 23-song rarities compilation stands in Sam Cooke's output roughly where the four posthumous LPs released by Otis Redding stand in his catalog, with the major difference that Cooke's work included far fewer leftovers and sides that were justified simply by being available -- he seemed to throw a special effort into almost everything that ever recorded, and that goes double for this disc's content, which encompasses the final year of his recording career. This was a period in which he explored several promising musical directions and broke through both to an extraordinarily sophisticated synthesis of his gospel roots with topical songwriting within a pop context. Listeners won't find his most popular songs -- "You Send Me," "Chain Gang," "Only Sixteen," etc. -- here, a result of the split control of his catalog between RCA and ABKCO, but they will find his most important and influential songs. Cooke was inactive in the studio for a significant chunk of 1963, following the drowning death of his infant son, and when he resumed work late in the year it was under a new contract that was to ultimately give control and ownership of his recordings to him (or, as events worked out, his manager, Allen Klein). Represented here is his foray into a New Orleans sound, on "Basin Street Blues" etc., which he'd never explored before (and which he shaped his own way) as well as his poignant recording of "The Riddle Song," which was a way of his coming to terms musically with the death of his son; and "Good Times," the somber-toned party song of Cooke's that the Rolling Stones chose to cover, and the equally pensive and compelling "Another Saturday Night," a relic of the first half of 1963 that fits equally well with this later material. On any other R&B collection, all of those tracks would be perceived as extraordinarily fine records, but Cooke himself raised the bar so high during the final months of his career, that they pale next to the most important of his songs: "Shake," which embodied a harder, more visceral soul sound than Cooke had ever embraced before; and "A Change Is Gonna Come." The latter, written by Cooke in the wake of his hearing Bob Dylan's "Blowin' in the Wind," seemed to tie up his origins as a gospel singer with all that he had learned and experienced in the ensuing decade and, channeled through the topical subject of civil rights, became his greatest musical achievement -- not his biggest hit, or his best known song even today, but his most accomplished piece of composition, singing, and recording. Cooke never had a chance to follow up either, and died before he could even assess the impact of either song -- ironically, it was Otis Redding (who died almost three years later to the day) that took them into his repertory most successfully; so this disc not only brings us to the final, magnificent phase of Cooke's career, but also shows the door that he opened for Otis Redding and others. Keep Movin' On should probably not be the only Sam Cooke compilation that a neophyte fan should buy, mostly because it covers only his late career and leaves out a lot of essential material, but it is an absolutely essential companion (along with the Harlem Square Club live set) to his finest compilation, Portrait of a Legend 1951-1964, or the box set Man Who Invented Soul, finishing the story that they start. Most of what's here had never been available digitally before, and even the tracks that had are improved so significantly in the quality of their transfer, that they're like new releases.
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Product Details

  • Release Date: 6/17/2003
  • Label: Abkco
  • UPC: 018771956327
  • Catalog Number: 95632
  • Sales rank: 27,237

Album Credits

Performance Credits
Sam Cooke Primary Artist
Glen Campbell Guitar
Lincoln Mayorga Piano, Celeste
Bobby Womack Guitar
Frank Capp Percussion
Plas Johnson Saxophone
Barney Kessel Guitar
Harold Land Saxophone
Gerald Wilson Trumpet
Lou Blackburn Trombone
Buddy Clark Bass
Israel Baker Violin
Hal Blaine Drums
Robert Barene Violin
Harold Battiste Jr. Guitar, Piano, Keyboards, Saxophone
Arnold Belnick Violin
Milt Bernhart Trombone
Harry Betts Trombone
Louise Blackburn Trombone
James E. Bond Bass, Upright Bass
John Boudreaux Percussion, Drums
Robert Bryant Trumpet, Drums
Harper Cosby Bass, Upright Bass
Leroy Crume Guitar
Frank DeVito Percussion, Drums
John DeVoogdt Strings, Violin
James A. Decker French Horn
Jesse Ehrlich Cello
Sticks Evans Percussion, Bongos
June Gardner Drums
Jewell L. Grant Saxophone
William Green Clarinet, Flute, Saxophone
Rene Hall Organ, Guitar, Piano, Conductor, Leader
Jimmie Haskell Conductor, Leader
Howard Roberts Guitar
Harry Hyams Viola
Raymond Johnson Piano
William Kurash Violin
Melvin Lastie Piano, Trombone, Trumpet, Saxophone
Arthur Maebe French Horn
Leonard Malarsky Violin
Vito Mangano Trumpet
Alexander Neiman Strings, Viola
Earl Palmer Drums
Jack Pepper Violin
John Pisano Guitar
Ray Pohlman Bass, Piano
Emil Radocchia Percussion, Marimbas, Timpani
Allan Reuss Guitar
John Rotella Saxophone, Musician
Emmet Sargeant Violin, Cello
Ralph Schaeffer Strings, Violin
Darrel Terwilliger Violin
Alvin "Red" Tyler Saxophone
Dave Wells Trombone
Clifton White Guitar, Strings, Conductor, Leader
Cecil Womack Guitar
Tibor Zelig Strings, Violin
William Hinshaw Horn, French Horn
Anthony Terran Trumpet
Joseph R. Gibbons Trombone
Irving Lipschultz Violin
James M. McGee French Horn
David Pell Saxophone
Johnny Halliburton Trombone
Joe Hooven Leader
Ambrose Russo Violin, Musician
Red Tyler Saxophone
John Anderson Trumpet
Sidney Sharp Violin
Jake "Vernon" Porter Trombone
Chuck Badie Bass
Howard Roberts Guitar
Eddie Hall Drums
Peter Badie Jr. Bass
Albert Gardner Drums
John Ewing Trombone
Russell Bridges Piano
Clifford Hils Bass
Norman Bartold Guitar
Linwood Mitchell Percussion
Jack Preisner Trumpet
Edgar Redmond Saxophone
Eddie Tilman Bass
Ernie Tack Trombone, Musician
Technical Credits
Sam Cooke Arranger, Producer, Original Album Producer
Richard Rodgers Composer
Noble Sissle Composer
Luigi Creatore Producer, Original Album Producer
Rick Essig Mastering
Peter Guralnick Essay
Ray Hall Engineer
Rene Hall Arranger
Jimmie Haskell Arranger
David Hassinger Engineer
Bones Howe Engineer
Iris Keitel Art Direction
Bob Ludwig Mastering
Hugo Peretti Producer, Original Album Producer
Al Schmitt Producer, Original Album Producer
Clifton White Arranger
James Alexander Composer
Joe Hooven Arranger
Jody Klein Producer
Gus Skinas Engineer
Alisa Ritz Art Direction
Lenne Allik Executive Producer
Larraine Walton Audio Production Director
Angelo Tillery Cover Illustration
Dick Bogart Engineer
Traditional Composer
Teri Landi Producer
Robinson Composer
Marshall Barer Composer
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