Funk my Soul

Mr.Moo kindly offers us another Stax classic.

The Staple Singers enjoyed a brief spell when their popularity reached beyond the Soul fraternity and into the Pop charts and thus they are well known for a few classic singles. One of those appears here, “If You’re Ready(Come and Go with Me)” and it gives you an idea of the quality contained in this album.

With a resolutely Southern Soul feel, this represents the best album the Staples ever recorded. While it seemed the rest of the Stax roster were busy extending the boundaries of Black music, the Staples kept faith with the elements of the music which had elevated the label to pre-eminance in the 60’s. So you won’t find overblown orchestration, or proto-disco here. What you will find are magnificent lead vocals (Mavis Staples has few equals), superb harmonies, and production which lets those voices take centre stage.

The Staples also kept faith with their Gospel roots, and there are a couple of tracks here that fit that profile - “If you’re Ready” is essentially Gospel and “Heaven” has an ambiguous lyric which could be secular, but which in Mavis’ hands must be a hymn to her God.

Stand out tracks are many, their version of Grandma’s Hands for example is excellent and “the aformentioned “Heaven” is exactly that. But I would recommend this in it’s entirety as an example of Soul at it’s 70’s best and as a musical counterpoint to the way some of their contemporaries were developing Black music.

This is a @320 vinyl rip (supplied by Mr.Moo) of the original Stax Records LP including covers

Tracks
A1 Be What You Are 5:03
A2 If You’re Ready (Come Go With Me) 4:29
A3 Love Comes in All Colors / Tellin’ Lies 8:51
A4 Touch a Hand (Make a Friend) 4:04
A5 Drown Yourself 4:38
B1 I Ain’t Raisin’ No Sand 6:33
B2 Grandma’s Hands 2:43
B3 Bridges Instead of Walls 4:04
B4 I’m on Your Side 4:00
B5 That’s What Friends Are For 4:16
B6 Heaven 3:36

By Soulmakossa

The smash succes of ‘Be Altitude: Respect Yourself‘ gave The Staple Singers a blueprint from which to work: Muscle Shoals groovin’, gospelfide harmonies and political lyrics.

The optimistic title-track “Be What You Are” picks up where “Respect Yourself” left off: an anthemic, self-empowering song about taking pride in who and what you are; the magazine advertisement for the single showed a black construction worker smiling, staring proudly into the camera. A superb, gospel rock ‘n’ roller with some very Duane Allman-ish guitar hooks.

Reprising their super hit “I’ll Take You There”, “If You’re Ready (Come Go With Me” is set to that same irresistible, lazy groove. What sets it apart from its predecessor is the use of folksy, acoustic guitars and simmering strings. A gem.

The scene gets a little more brooding with the 9-minute medley “Love Comes in All Colors/Tellin’ Lies“, a funky bit of testifyin’ wrapped in Alabama country soul. Great arrangements throughout that never get over the top.

Joyful sounds return with the sweet, uplifiting “Touch a Hand (Make a Friend)“, but that slightly menacing, hauntingly bluesy vibe reappears on the solid funker “Drown Yourself” and it reaches a climax on the super political “I Ain’t Raisin’ no Sand“, with its sober string arrangement and Pops’ understated lead vocal.

The overall message of the album remains strongly optimistic; the slightly Carribic “Bridges Instead of Walls” and the insanely funky “That’s What Friends Are For” (NOT the Dionne Warwick song!) are unabashed feel-good tunes.

‘Be What You Are’ is completed with some very touching, gentle, ballad-styled, folksy soul pieces: Bill Withers’ “Grandma’s Hands” fits the family like a glove; “I’m on Your Side” shows the most sensitive side of Mavis and the album’s grand finale, “Heaven“, is simply achingly beautiful, both in its vocal delivery as in its ethereal arrangements.
classic.

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Buy it from ebay or Amazon

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Sweet Salvation is another one of those rare albums from the early 1970s that has grown in popularity over the years.

Mr. Moo’s new contribution to FMS is another classic!!!

Sweet Salvation, a righteous little soul group with a hip early 70s crossover vibe! There’s a mix of gospel, soul, and funk going down here -  almost with a rootsy Swamp Dogg style at times, but a bit more put together too - yet thankfully not nearly as slick or polished as some other major label efforts of this nature from the time. We know very little about the group, but they’ve got a feel that would be right at home with the cultural mixing of the Bay Area scene of the early 70s.

This is a @320 vinyl rip (supplied by Mr.Moo) of the original Elektra LP including covers.

Tracks
A1 Do a Number 3:35
A2 Ain’t Nobody’s Fault But Your Own 4:18
A3 I Just Find Myself Falling 3:28
A4 Who’s a Blue 3:52
A5 Sail Away 5:31
B1 Carry Me Home 1:58
B2 Have You Ever Had the Blues 2:22
B3 Stick With Me 2:49
B4 Keep on Pushin’ 2:50
B5 Rock Steady 8:21

Led by long-established New Orleans musicians drummer “Big John” John Thomassie, keyboard player Wayne DeVillier and guitarist Don Normand, Sweet Salvation could have been one of the all-time great r&b/funk/rock/gospel bands. Unfortunately due to business mis-steps and bad timing it was not meant to be. Also featuring 2 great women singers, DeEtta Little and Fritz Basket, and Alex Smith on bass, Sweet Salvation covered ground that includes New Orleans second line, blues, r&b, rock and 70’s funk. They were very much connected to Allen Toussaint and the Meters, but maybe heavier in sound and style, closer to rock.
The album “Sweet Salvation” also features 2 great cover tracks, very elaborate and creative arrangements of Randy Newman’s “Sail Away” and Aretha Franklin’s “Rock Steady“. “Sweet Salvation” also delivers some first-rate original tunes in what could have led to a powerful and unique style. It’s great to hear rock-solid r & b and second line grooves combined with Devillier’s brilliant and virtuosic piano playing, which is beautifully recorded (loud and thick sounding, not too bright) and is the backbone of the band’s sound. I know this record from the original vinyl, and I am glad to see that it has finally came out on CD!

(Review by Adam Holzman from Amazon)

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There’s hardly any other concrete info about this group as such available, except for Dan Phillips’ excellent review of ‘I Just Find Myself Falling‘, through his “Home of the Groove” blog here

Buy the vinyl from Groove Collector and Discogs. Much to my surprise this album was reissued on CD last year on Wounded Bird label. You can easily get it from Amazon or MusicStack.

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Since there’s no video clip of the group available, your only chance to hear it, is to press one of the two buttons below! Don’t sleep!

Finally please don’t hesitate to say your opinion on the album or at least to thank Mr.Moo for another great contribution.

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Starfire are a self-contained group that released their first LP in 1976. This is their sophomore set, containing two tracks from the debut, and continuing to buck the gimmicky trend of disco with a very fine mixture of funk and ballads. They brought out another LP in the mid-eighties - comprising of tracks of their first two albums suggesting they became Red Dwarfs way before their time. An obscure outfit on an even more obscure label, we are pleased to put this very capable band in the spotlight.

This is a @320 vinyl rip of the original Dynamic Artists LP (supplied by Nikos) including covers.

Tracks
A1 Dancing and Singing 5:51
A2 Super Sensuous Woman 4:34
A3 Get Up Everybody 4:27
A4 If You Can’t Stand The Heat 3:15
B1 I Want To Sing This Song For You 4:11
B2 Loneliness Has Got Me Down 2:25
B3 Lovin’ You Lovin’ Me 3:56
B4 Love You One More Time 4:00
B4 Make The Most Of It 5:04

Review by Trakbuv

Starfire - ‘the baddest 5 stars in the galaxy’ - complete with star signs. So boasts the back cover of this rather splendid LP - and you know you are in the starfighter/zodiac obsessed seventies. This self-contained band of celestial beings comprise of Rudy Leeper (lead vox, percussion), Antwan Garrison (lead, bass), Jay Pryor (guitar, background vox), Willie McWhite (keyboards, background) and Ronnie Cokes (drums, background) all originating from Richmond in the Virginia Constellation. Also, special mention to the Trussel horns - are these the same crew who gave us ‘Love injection’ ? This is actually their second LP, bursting in the galaxy with a solid ten tracker in the shape of “Get off with us”, two earth years earlier. “Dancing and Singing For You” continues to deliver an endearing spectrum of tempos all performed with confidence and style. Just to confuse our fellow stargazers, the LP was repackaged as “Starfire” in 1980 - with a silver cover and fresh tracklisting. The uptempo tracks were also recut/remixed to give a more contemporary disco feel. On the original interplanetary platter we have on display here, the nuggets have been carefully distributed on the two sides of the moon - the light side entitled “Dancing For You” composed of baadaas funk for shaking starbooty - the dark side entitled “Singing For You” composed of luscious delights for when the lights are low.

Appropriately, “Dancing and singing” leads the squadron of goodies, introducing the band as more concerned with having a good time than star system domination. And what could be better than a brickhouse AND a sensuous woman - why its “Super sensuous woman” of course - and with this insightful knowledge, the throttle is turned up a touch while steering an assured course of party action. It’s back to the meaningful lyrics with “Get up everybody” reminding us that our brains are but a mechanism for ensuring we don’t fall over on the dancefloor, and here we have the addition of some laser technology in the shape of synthesizer tricks from the 61st Century. “If you can’t stand the heat” gets a slight nudge on retroblasters with a down-dirty funkgrinder to close side A.

As we enter the twilight sky, side B gently introduces a floating stage of a carefully lit quintet, the lead beaming a strong performance ably assisted by gorgeous harmonies on “I Want To Sing”. Next up is one of the flagships, the big ballad “Loneliness has got me down” - big enough to fit a meteorite cluster and crush it with its tender melancholy. Lovely. “Love you one more time” is a wonderful swayer with both leads working off one another as a team to rival Luke Skywalker and Han Solo. Another of the flagships for me is the rare groover “Make the most it”, a track repeated from their debut - and it’s easy to see why. Wonderfully produced, ultraspacey and quite hypnotic - gorgeous. Joe Carter was responsible for producing the entire album and the tracks were written between him and the band members. And although operating from the small, obscure Dynamic Artists label, the cabin crew operate a very tight ship and deliver a thoroughly commendable job by all. I for one will be recommending they are duly rewarded with the highest honours by Starfleet command.

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You can buy this rare vinyl from Groove Collector for 54 Euro and from BackAtCha for £60. Try their CD with their best songs (1976-1980) from Amazon.

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As a soul legend, Candi Staton hardly needs an introduction by me. However I am heartened by the fact that her elusive FAME recordings are now so freely available and her earthy Southern roots have finally become recognised as essential part of her career. If you are not familiar with the more dynamic side of Candi Staton, grab a sturdy chair and give this, her third and final FAME recording, a listen. And grab her debut right here in the FMS back catalogue. Prepare to have your soul devastated.

This is a @320 vinyl rip of the original FAME LP (supplied by Raphy) including covers.

Tracks
A1 Do It In The Name Of Love 3:00
A2 Darling You’re All That I Need 3:23
A3 Blackmail 2:58
A4 In The Ghetto 2:52
A5 Wanted : Lover 2:43
B1 The Best Thing You Ever Had 2:25
B2 Lovin’ You Lovin’ Me 3:00
B3 I’ll Drop Everything And Come Running 2:48
B4 You Don’t Love Me No More 2:24
B5 The Thanks For Loving You 2:49

Review by Trakbuv

Canzetta Staton’s roots seed from the fertile farmland of Hanceville, Alabama circa 1943 where her extraordinary vocals were recognised as early as five years old in the church choir, later hooking up with her older sister, Maggie as part of the Four Golden Echoes. Due to her alcoholic gambling father, her mother decided to take control and move herself and 5 children to Cleveland, where her sixth child, and oldest son was already living. Candi and her sister continued to astound local church goers and were asked by a prestigious churchwoman, Bishop Jewel, to be part of a trio. As the Jewel Gospel Trio, Candi, Maggie and Naomi Harrison toured as far away as The Philippines and recorded several singles for Nashboro Records between ‘55 and ‘58. These included the righteous testifying of ‘Jesus is listening’, ‘Too late’ (with Candi belting out the lead on both) and the terrific, cutesy ‘Many angels in the band’. At seventeen, she left the band under a cloud of being taken advantage of to pursue marriage to Lou Rawls (then with the Pilgrim Travellers) that never materialised.

Later, she fell pregnant to a local minister in Alabama whereupon marriage was obligatory. However, his jealousy meant that her career in music and the road was on hold as she settled down to motherhood for the next seven years with four children and, by all accounts, an abusive relationship. She did a couple of recordings during this period, one on Minaret (a duet with Billy Walker) and another on Unity entitled ‘Now you’ve got the upper hand’, a strangely subdued Candi on a Motownesque number. In 1968, her brother dared her to accompany him to an amateur contest in Birmingham, at the 27-28 Club, where she was prompted to take the stage. She did a rendition of Aretha’s ‘Do Right Woman’ that opened the door to a regular spot every week. One night, Clarence Carter strolled in the joint and knew a good thing when he heard it. Initially she turned down his offer of touring with his band due to domestic commitments. Soon thereafter, her husband became violent over a fictitious affair she was having, and enough was enough.

The opportunity to join Clarence proved to be a major turning point. Not only did they marry, but he provided the contact to introduce her to Rick Hall in Muscle Shoals, the then blossoming home for Southern Soul. His label FAME Records had had some critical and commercial success, and as a recording studio, the Muscle Shoals Sound housed some of the best songwriters and musicians around. And Rick’s reaction to first hearing Candi soar ? “It was a blues voice, a gospel voice, and a pop voice. I just rushed her in the studio. Real quick”. They cut four sides that same night and the fruits of those recordings can be heard on her debut LP ‘I’m Just a Prisoner’. Her debut single, ‘I’d Rather Be An Old Man’s Sweetheart’ made #9 R&B and Top 50 Pop - the first of 12 consecutive hits for the label, 16 in total !! Her first two albums were distributed by Capitol Records (her second being ‘Stand By Your Man’), but for the third eponymous LP, they switched to United Artists.

It was pretty much business as usual - why spoil a winning formula. But I think there is a sophistication here that replaces some of the more raw elements of the first two sets. More importantly, vocally she is still on top form - with those notorious breaking vocals that Rick Hall forced out of Candi by making her sing over and over to accentuate the rasp - that’s tortured soul for ya !! We sound off with the utterly scrumptious “Do it in the name of love”, an enthralling, sexy Candi pleading ‘Don’t you know we go together’ before getting down for the chorus. She reminds me a lot of Mavis Staples on this - and that’s meant as a compliment. Fantastic.  The beautifully arranged “Darling you’re all that I need” is another beauty, an urgent ballad with some tender vocal support. “Blackmail” ups the tempo with a well-constructed tuneful number, before the caressing sound of a lonely harmonica unveils “In the ghetto”. An inspired choice to follow up the earlier success of ‘Stand by your man’ and FAME’s strong links with Country Music. I’ve always liked the original version, but this takes it home where it belongs. Absolutely astounding, and no wonder Elvis sent her a letter expressing his love of her update.

“Best thing you ever had” gets down and brassy and the perfect meat for Candi to chew up in style. The more restrained and melodic “Lovin’ you lovin’ me” has Candi caressing the hairs on the back of my neck - I must say I have a soft spot for when she sings in her more natural tones. “I’ll drop everything” is a nod to the Staples ‘Come go with me’ and that ain’t a bad thing. My favourite comes up next, with that Tower Of Power horns-like intro grabbing my lungs on their first flare. “You don’t love me no more” feels like real tears being shed with real memories glistening in their fragile rolling structure. If anyone asks you what soul music means, just play them this and watch their breathing stop dead. We round off in fine fettle with the raspy, rhetorical “Is this the thanks I get” with excellent use of steel guitar.

This is probably my favourite of her FAME recordings, but they are all exceptional visions of trapping heartache, betrayal, love and bitterness down a studio microphone, with Candi easily rivalling all the soul greats. Believe the hype !!

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Check out her debut FAME LP here in our back pages.

Great biography available here and a nice interview here.

You should buy a fantastic CD compilation here,  with 26 songs that bring together her long unavailable and legendary Muscle Shoals sides recorded for Fame Records.

Candi had a new cd release in 2009, buy it here and listen up her amazing performance on “You don’t love me no more” .

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“Without disrespecting ‘The Mighty Three’ from Philadelphia Records - whose emblem was three elephants if I recall correctly - this is a post by Nikos, Raphy and Trakbuv . PS. First 10 people to recall the names of the original Mighty Three win a trip to Soul Heaven.  Next shuttle leaving 2064.”

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This is one of the rarer releases on the Hot Wax label helmed by Brian and Eddie Holland and Lamont Dozier. Satisfaction Unlimited’s solitary album is yet another signature in the book of lost opportunities. But if I could only be remembered for one LP, I would definitely hope it was something nearly this good. Still with the one foot in the golden era of Motown, this has its good foot firmly planted in the 70s with a treasure trove of tuneful delights. Bypass at your peril, me hearties !!

This is a @320 vinyl rip of the original Hot Wax LP. A low quality rip was send a few months ago by a follower of the blog. But i never lost faith I could find a better one. So here it is.

Tracks
A1 Bright City Lights 3:43
A2 I Know It’s Love 2:35
A3  Spread Your Love Around 2:59
A4  Let’s Change The Subject 3:59
A5  Think Of The Children 4:03
B1  Time For Us 3:22
B2  Somebody Else’s Woman 2:23
B3  Why 3:21
B4  Seeing You Through The Eyes Of A Blind Man 2:37
B5  Don’t Call Me, I’ll Call You 2:59
B6  Come on Back 2:19

Review by Trakbuv

This release by the obscure combo, Satisfaction Unlimited, has the unfortunate accolade of being the final long player release on the Hot Wax Records imprint. Formed originally by the legendary Holland-Dozier-Holland team in 1969, Hot Wax ran into financial difficulties in 1973 whereupon they concentrated their efforts on the Invictus outlet. However, the roots of the band actually pre-date the H-D-H collaboration (H-D-H’s first Motown release being ‘Dearest one’ in 1962). As The Marvels, they originated in the backstreets of Washington DC, comprising of Sam Gilbert (lead), James “Junior” Isom (second tenor), Ronald Boyd (baritone), and James Mitchell (bass). In 1958, they ventured to New York to record the skip-a-long pleaser, ‘I Shed So Many Tears’ with James Isom on lead. The ensuing rush of tumbleweed meant the band didn’t venture back to the studio for another 3 years, with the tuneful doo-wop ballad, ‘For Sentimental Reasons’, and the similarly slanted ‘Wedding Bells’ a year later, this time under the name of The Senators (just check out that crazy lazy piano playing!).

Several personnel changes later, they returned as The Satisfactions around ‘66 with a string of 45s on the Smash and Lionel labels. Some mighty fine and feisty tracks were included among these sides, including the urgent ‘Use me’ (love this!) and ‘Take it or leave it’. They finally hit paydirt with ‘This Bitter Earth’ in 1970, reaching #36 on the R&B Charts. This was consolidated by the radiant, midtempo ‘One light, two lights’, peaking at #21 a few months later. A gorgeous track, by the way. They changed their name to Satisfaction Unlimited a year later, the personnel now standing at Lorenzo Hines (lead tenor), James Isom (second tenor), Earl Jones (baritone), and Fletcher Lee (bass), linking up with Hot Wax in ‘72.

The years spent fortifying their sound certainly paid dividends. Just give the opening track and lead single release, “Bright City Lights”, a listen. A gentle, summery track that reminds me a little of The Rascals ‘Groovin”, it’s the effortless confidence that is so remarkable with a sound more reminiscent of a band with a score of hit singles behind them. You know you’re in for a treat y’all !! “I Know It’s Love” keeps up the calibre, with the same fabulous lead (Lorenzo Hines ably assisted by James Isom) giving David Ruffin & The Temptations a run for their money. Then it’s one the highlights for me, the thunderously mature “Spread Your Love Around” - surely the perfect 45. With some glorious piano-tinselled highlights, the ballad with an insistent beat “Let’s Change The Subject” has a mesmerising message - absolutely top drawer, and probably my favourite track. The title track and its organ-ground melody is a definite wink at their doo-wop roots, and again it’s the natural feel of the lead vocal and harmonies that carry its success so effortlessly.

Side B leads with another big highlight, the ultra-smooth “Time For Us”, with exceptional use of blubby horns, I’m cast adrift on a boat just big enough for me, the one I love and a picnic for two, with a dangling bottle of wine being cooled by the still, sun-sprinkled water. We’re back on tried and tested H-D-H territory with the bold and striking “Somebody’s Else’s Woman” conveying its lyrics with the snarl of a banshee. The more pop-flavoured “Why” is actually a really nice change of pace (reminds me a little of Lamont Dozier’s own ‘Why’ from ‘Working On You’), with a terrific crescendo on the outro and a track that grows and grows. Then it’s another track that gets way way under my skin, the awkwardly hypnotic “Seeing You Through The Eyes Of A Blind Man” - nothing ordinary about this gem ! “Don’t Call Me” is a thoroughly intriguing inclusion with a fresh lead and rock slant, it definitely defies all that has come before - and I love it.

The exceptional quality of the tracks appears to be largely indebted to the incredible writing skills of Mr A. Rackey, Mr G. Taylor and Mr W. Terry. I have no idea who produced this album, but the calibre and musicianship is outta sight. I would go so far as to say that this is possibly the most satisfying of the LPs that I am familiar with on the Hot Wax label, which includes such luminaries as 100 Proof, Honey Cone, Flaming Ember, The Politicians and Laura Lee. Wow, some amazing LPs right there !! Perhaps as the final LP of the label, it demonstrated (together with The Politicians LP) that the Motown legacy had finally morphed into the more sophisticated sound that was the early 70s. Whatever, this really is another essential addition to your admirable, growing soul collection.

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Check out here for more info on The Marvels.

One of the hardest to find LP’s, the only available copy for sale (69,50 Euro) is on Groove Collector.

A digital copy (Japan import) can be found on Amazon from 43,78 $.

Download link

I would like once again to thank Trakbuv for his incredible contribution to FMS. He’s been involved in difficult tasks and managed to do it great. Bless you brother!

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Strutt is a group of musicians all hailing from New Jersey. It numbers eight elements (six musicians and two vocalists) and was formed in 1973 by Carmen Cosentino who plays the guitar. As the note on the cover says: “Strutt was organized to present to the world a new creative individual sound - The New Jersey Sound”

This is a tight, competent set of funk from Strutt, the band seemed to vanish without a blip after this album’s title track, “Time Moves On,” went all the way to number one on the disco chart in 1976. Also includes “Said you didn’t love him” a wicked 70’s crossover monster with killer bridge in the middle, “Funky baby feet” and instrumentals full of organ swipes and horn blasts.

This is a @320 vinyl rip of the original Brunswick LP including covers

Tracks
A1 Time Moves On 6:01
A2 Said You Didn’t Love Him 3:15
A3 Front Row Romeo 4:21
A4 We’ve Come a Long Way Baby 4:22
A5 Funky Sign 3:50
B1 Front Row Romeo 4:21
B2 If Wishing Made It So 4:36
B3 Funky Baby Feet 3:44
B4 Said You Didn’t Love Her [instrumental] 3:15

This band was not the same as every other band out during this time period…it was better. But it was another of those bands that didn’t get the recognition it deserved.
It is getting a lot of play overseas now, because it is worth listening to.
Even if you don’t enjoy every song, I promise you will find at least one that you will continue to play over and over and over again.
When disco was booming in the mid 70s there was a transition between european disco and funky soul. This is undisputibly the latter category. If you like B. T. Express, Ohio Players, Cold Blood, Tower Of Power, and the like, you will probably like this group for what it is.
“Time Moves On” I heard in Los Angeles during the time, and it was a hit.
Extremely brass and funky, with versatile break.

Formed in New Jersey, Strutt was a disco-funk band signed briefly to the Brunswick label. Their lineup included guitarist Carmen Cosentino, keyboardist Frank Portolano, woodwind player Jim Mecke, trombonist Joe Escobar, bassist Edward Walker, and drummer Roger Zumbo. With pianist/producer Benny Clark at the helm, Strutt recorded a full-length LP, Time Moves On, in 1975. “Funky Sign” garnered some airplay in dance clubs, as did the title track and its B-side “Front Row Romeo.” However, nothing further was heard from the group.

This album is one of these little masterpieces out on the fabulous Brunswick Record label.

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Buy the CD (import Japan issue) for 39,98 $ from Amazon and the vinyl for  25 to 50$ from Groove Collector.

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Sidney Joe Qualls was a southern-born soul singer who was heavily influenced by Al Green. Although his sound did capitalise on the success of the Reverend, he did have a quality that was all of his own. He released a couple of LP’s that are heavily sought after gems, one released at the back end of the 70s on 20th Century featuring ‘I don’t do this’. This is his debut on Dakar Records which bathes unashamedly in all that is so rich about the early 70s sound. A classic.

This is a @320 vinyl rip of the original Dakar LP including covers

Tracks
A1 I Enjoy Loving You 6:04
A2 Shut Your Mouth 3:15
A3 I’m Being Held Hostage 4:05
A4 Where The Lilies Grow 3:53
A5 Can’t Get Enough Of Your Love 3:30
B1 Run To Me 3:12
B2 If You Don’t Know Me By Now 3:28
B3 Please Help Me 3:20
B4 The Next Time I Fall In Love 4:00
B5 How Can You Say Goodbye 2:40

Review by Trakbuv

Research indicates that Mr Sidney Joe Qualls (often spelt Sydney) was raised in the small town of Jacknash in Arkansas where he turned professional after leaving high school with a voice enriched by the joys of testifying to the Lord. In itself, this would appear to be a relatively traditional education for most soul greats. But it is the small town of Jacknash that is so curious. For this has been cited as the birthplace of the Reverend Al Green, although most biographies reference Forrest City. I have been unable to confirm if Jacknash is a small satellite town of Forrest City, but if Misters Qualls and Green did grow up within throwing distance of one another, that would be quite significant. For Sidney’s primary influence is undeniably the great Al Green. Indeed, after his meeting with Otis Leavil prior to moving to Chicago and signing for Dakar Records, Otis believed he had welcomed the ‘new Al Green’ to the fold.

Originally set up by Carl Davis while still under contract to Brunswick Records, Dakar was coming to the end of its near decade of soul decadence. However, Carl still had a lot of spirit left in him which he duly graced this record with. Several singles were released from this delicious morsel : the tremendous “How can you say goodbye” – an awesome reminder of how Al Green could tear up those midtempo ditties with the utmost ease; the beautifully arranged, tunefully complex “Where the lilies grow”; and the vibrant “Run to me” – a thumping goodie from one of my favourites, Sam Dees. Interestingly, there is a heavy influence of Sam Dees in his singing approach, especially if you are familiar with Sam’s version. The influence is even more apparent on my favourite track of the platter, the crippling “I’m being held hostage”. One listen to this and you’ll willingly sell your house to fund the ransom. And again the Sam Dees are subtly present on my other favourite, “The next time I fall in love” - a huge hit with the rare groove circuit for all the reasons that make this genre those addictive. Magical.

His most powerful ‘Al Green’ performance is probably the sublime “Can’t get enough of your love”, complete with those bumping Hi Records skins and a creative girl chorus. There are a couple of tasty bluesy funk numbers in the title track and “Shut you mouth”, a very nice, light pop number in the shape of “Please help me”, and the sole ballad, a cover of “If you don’t know me by now” - which I feel only serves to highlight his weaknesses, and none of his strengths. As an album, this is an exceptionally fine tenderiser for the soul with too many high points to fit these pages. As an artist, I feel he had more to offer than being another Al Green clone that, when he hints at those Sam Dees inflections (also check out his glorious ‘I Don’t do this’ favourite), really captures a unique timbre that is something special indeed.

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