I Can't Help Myself (Sugar Pie, Honey Bunch) - Max Merritt, Dozier, Lamont
I Want So Much to Know You - Max Merritt, Merritt, Max
Respect - Max Merritt, Redding, Otis
Louisianna Anna - Max Merritt, Tarleton, Karl
Good Feelin' - Max Merritt, Merritt, Max
I've Been Away Too Long - Max Merritt, Merritt, Max
Home Is Where the Heart Is - Max Merritt, Merritt, Max
Western Union Man - Max Merritt, Butler, J.
Live Levis - Max Merritt, Aulton, Pat
Hello L.A., Bye Bye Birmingham - Max Merritt, Bramlett, Delaney
Let It Slide - Max Merritt, Merritt, Max
To Be a Lover - Max Merritt, Tarleton, Karl
Try a Little Tenderness - Max Merritt, Campbell, Jimmy [Vo
Slipping Away - Max Merritt, Merritt, Max
A Little Easier - Max Merritt, Merritt, Max
Whisper in My Ear - Max Merritt, Lewis, Rich
Midnight Man - Max Merritt, Merritt, Max
Ain't You Glad You Came? [Live] - Max Merritt, Merritt, Max
A Lover's Question - Max Merritt, Benton, Brook
Dirty Work - Max Merritt, Becker, Walter [1]
Prove It - Max Merritt, Merritt, Max
Gravel-voiced soul king Max Merritt was one of the few true enigmas of Australasian music. From the time he arrived in Sydney (from Auckland) with one of his many versions of The Meteors in 1965, he was unchallenged as Oz... more » Rock's premier live act. More interested in white hot performances in smoky clubs than the often soul destroying process of making records to please narrow radio formats, Max & the Meteors spent very little time in the studio. This factor, combined with Max's tendency to move from one record company to another (four in NZ alone), long made any sort of reasonable anthology of his music difficult to compile. Raven broached that problem some years ago by successfully negotiating to release the album 17 Trax Of Max, a 'best of' set covering his work from 1965 to 1979 but omitting his hit Arista recordings from the mid-1970s. With the transfer of that powerful collection of soul, R&B, funk &« less
Gravel-voiced soul king Max Merritt was one of the few true enigmas of Australasian music. From the time he arrived in Sydney (from Auckland) with one of his many versions of The Meteors in 1965, he was unchallenged as Oz Rock's premier live act. More interested in white hot performances in smoky clubs than the often soul destroying process of making records to please narrow radio formats, Max & the Meteors spent very little time in the studio. This factor, combined with Max's tendency to move from one record company to another (four in NZ alone), long made any sort of reasonable anthology of his music difficult to compile. Raven broached that problem some years ago by successfully negotiating to release the album 17 Trax Of Max, a 'best of' set covering his work from 1965 to 1979 but omitting his hit Arista recordings from the mid-1970s. With the transfer of that powerful collection of soul, R&B, funk &