You make me want to shout,

Zip my pants up, shout!

Throw my hands back, shout!

Kick my heels up, shout!

In addition to its thematic depth and brilliance "Shout" reveals technical mastery. With all the craft and subtlety of Eliot employing allusions to the Blood of Isaiah, the Isley Brothers artfully weave passages from Jackie Wilson's "Lonley Teardrops" and Ray Charles' "What'd I Say" into the song deepening its meaning without harming its organic unity.

But "Shout" is by no means the only great song in the album. The two next best are "That Lucky Old Sun," which presents a Spenserian contrast between the ideal pastoral world and the world of brutal reality and "Respectable," which examines the clash of antipodal ethical systems within a society. The latter skillfully employs a catechismic device, reminiscent of Joyce, with the series of queries:

Didja love her?

NO! NO! NO! NO!

Didja hug her?

NO! NO! NO! NO! NO! NO!

Didja squeeze her?

NO! NO! NO! NO! NO!

What kinds girl is this?

While the album Shout is great, many people consider Twist and Shout even better. In the Isley Brothers' early songs they improve upon--but nonetheless remain somewhat shackled by--the classical Bo Diddley syndrome, which needs no explanation here. Twist and Shout transcends. To risk oversimplification, one could say that the Isley Brothers began with the Twist and ascended to the U.T.

The title song of this album has justifiably risen to the stature of One of The All-Time Greats. But the song, like many others on the album, though it has a great emotional intensity, lacks the depth of its predecessors. T.S. Eliot has been sacrificed on the altar of Dylan Thomas. Consider the relative intellectual shallowness of