Popular acceptance or rejection notwithstanding, much of the material is wonderful, or at least fascinating, even in instances where the saxophonist was understandably motivated more by a paycheck than by artistry. King's vocal, plus overdubs from Curtis and guitarist Cornell Dupree - are much closer to curiosities than they are classics. Many cuts deserved better, while others - like 1966's 'Spanish Harlem,' which is the 1960 recording minus Ben E. ('Soul Twist,' his lone number one R&B hit, is not included, as it launched the Enjoy label between the Atco stints.) Curtis' 45 peak with Atco came in 1967 with 'Memphis Soul Stew,' a funky and burning original he wrote, and a sweet version of 'Ode to Billie Joe,' both of which were featured on King Size Soul. Only 11 of the 32 A-sides here touched Billboard's pop chart, while seven registered on the R&B chart.

As a leader, Curtis Ousley achieved irregular commercial success with the singles format.

It includes all the A-sides and B-sides, along with the previously unreleased and decent two-part 'Ridin' Thumb,' which was intended to be the follow-up to the white-hot version of Buddy Miles' 'Them Changes,' retitled 'Changes' and excerpted from the dynamite Live at the Fillmore West. This three-disc, 66-track anthology, sharply assembled by the Real Gone label, collects the singles from the two periods. Stylistically flexible saxophonist, R&B instrumentalist supreme, and Rock & Roll Hall of Fame inductee King Curtis released recordings on Atlantic subsidiary Atco during 71.

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