Freddie Scott – 1967 – Are You Lonely For Me?
Read Reviews, Buy the Album or Download the Album for free
This is a masterpiece of Deep Soul.
Incredible voice. If you’re a 60’s R&B fan and by chance you’ve never heard “Are You Lonely For Me” you need to rectify that NOW. Freddie writes some good tunes, sings with utter authority and actually tops Solomon Burke on “Cry to Me.”
This is a @320 vinyl rip of my original Shout record with covers
A1. Are You lonely For Me? 3.07
A2. Let It Be Me 3.12
A3. Open Up The Door To Your Heart 2.33
A4. Where Were You 2.50
A5. Spanish Harlem 3.04
A6. Shake A Hand 4.55
B1. He Will Break Your Heart 3.26
B2. Who Could Ever Love You 3.25
B3. Cry To Me 3.15
B4. For Your Love 3.16
B5. The Love Of My Woman 3.14
B6. Bring It On Home To Me 3.15
Deep soul belter Freddie Scott, is best remembered for his 1966 R&B chart-topper “Are You Lonely for Me“. In 1961, he also resumed his recording career, cutting “Baby, You’re a Long Time Dead” for the Joy label. In 1962, fellow Aldon songwriters Gerry Goffin and Carole King approached him for assistance with “Hey Girl,” a new tune they hoped to pitch to soul singer Chuck Jackson. When Jackson proved unable to make the scheduled recording session, Scott cut the vocal instead, and when Colpix Records finally issued the ballad a year later, he entered the Top Ten on both the pop and R&B charts. A slow-burning rendition of Ray Charles’ R&B classic “I Got a Woman” followed, affirming Scott as a deep soul singer of uncommon depth.
In 1965, he even released Everything I Have Is Yours, a cabaret-inspired LP comprised largely of hit movie themes. The makeover fell flat, and Scott returned to a more traditional soul dynamic with the excellent Lonely Man. Record sales were virtually nonexistent, however, and after two last-gasp Columbia singles — including the poignant ballad “Don’t Let It End This Way” — the label let him go. Scott resurfaced in 1966 at Shout Records, the fledgling soul label founded by producer/songwriter Bert Berns — together they co-wrote “Are You Lonely for Me,” a simmering, bluesy knockout that reportedly required over 100 vocal takes prior to completion. Scott’s Herculean effort was rewarded with a record that topped the R&B charts for four weeks while rising to number 39 on the pop charts. The 1967 follow-up, “Cry to Me,” proved a commercial disappointment, but Scott’s impassioned, tender performance represents his creative apex. He returned to the R&B Top Ten with the funky “Am I Grooving You?,” and while “Just Like a Flower” missed the charts entirely, 1968’s “(You) Got What I Need” earned a spot in the R&B Top 40 as well as an eccentric cover by rapper Biz Markie some 20 years later.
But after Berns died, his wife proved unable to keep Shout Records afloat, and following one last Shout single, “No One Could Ever Love You,” Scott left the label, spending the next two years without a record deal. He finally landed with the short-lived Elephant V, issuing “Sugar on Sunday” in 1970. After cutting a follow-up, “I’ll Be Leaving Her Tomorrow,” he again packed his bags, moving to ABC’s Probe imprint for I Shall Be Released, scoring his final R&B Top 40 entry with the title cut, a powerful rendition of the Bob Dylan perennial.
When Probe folded, Scott was again seeking a place to record, signing to Vanguard for the one-off 1971 single “I Guess God Wants It That Way.” Pickwick International released 1972’s “The Great If,” and two years later Scott resurfaced on Mainstream with the ballad “You Are So Hard to Forget,” which proved his final single. By now he made his living primarily through writing advertising jingles with longtime composing partner Miller, and also turned to acting, appearing in the films Stiletto and No Way Out.