Jackie Moore – 1973 – Sweet Charlie Babe
A classic set of 70s crossover deep soul recorded in the mode of similar work by Betty Wright or Laura Lee, and done with a similar mix of raw southern vocals and tighter production! About half the work was handled by the team of Dave Crawford and Brad Shapiro working in the Criteria Studios in Miami to give Jackie a sound that’s similar to Shapiro’s work with Millie Jackson. The other half was produced in Philly, by the Young Professionals team of LeBaron Taylor, Tony Bell, and Phil Hurt who give Jackie a warm, gliding, sweet 70s Philly groove! And although you might think that this Philly/Miami split would make for a mixed bag of tunes, the album’s surprisingly unified and in a way, does plenty to link together the growing dance floor scenes in both cities.
This is a @320 vinyl rip of the original Atlantic record including covers.
A1 Sweet Charlie Baby 2:38
A2 Clean Up Your Own Yard 4:10
A3 If 3:30
A4 Darling Baby 2:42
A5 Cover Me 2:44
B1 Both Ends Against The Middle 2:25
B2 Time 3:27
B3 Precious, Precious 3:25
B4 Willpower 2:54
B5 Something In A Look 3:10
Sweet Charlie Babe contains ten powerhouse tracks by Jacksonville, FL native Jackie Moore. A good mixture of Southern and urban R&B soul from the saucy, sweet soul diva. The slinky “Precious, Precious” zoomed up the charts and became her biggest hit; it employs a similar groove that made hits out of “Trapped by a Thing Called Love” by Denise LaSalle and “Make Me Yours” by Bettye Swann. “If” is lyrically infectious; Joe Simon also recorded the Bunny Sigler and Phil Hurtt tune. The floating “Both Ends Against the Middle” delights every time it spins. Moore does justice to the Elgins’ “Darling Baby,” the rolling ballad is one of Holland-Dozier-Holland’s most charming songs. Moore shows no shame singing about her man Charlie, on “Sweet Charlie Babe,” an upbeat testimonial, with a message similar to the Marvelettes’ “Don’t Mess with Bill.” She dispenses wise advice on “Clean Up Your Own Yard.” “Time” is an exquisite ballad eloquently done by Moore; however, beat ballads and deep soul sagas like “Cover Me” and “Willpower” defined Moore’s style. If you can’t find this slab of vinyl, these songs and more are available on the CD Precious, Precious: The Best of Jackie Moore.
One of the relatively few artists who emerged in the early ’70s to enjoy a run of success with a Southern soul-based sound, this Florida singer recorded her best material for Atlantic in Miami with noted session players like the Memphis Horns and the Dixie Flyers. Putting her earthy pop-soul to ballads and mid-tempo material, much of it written and crafted by producer Dave Crawford, Moore had a half-dozen R&B hits for the label; the biggest, “Precious, Precious” (1970) and “Sweet Charlie Babe” (1973), were also small pop hits. In 1972 and 1973, she cut some tunes in Philadelphia’s Sigma Sound Studios with a slicker feel, with generally successful results. There was nothing especially earth-shaking about Moore’s style or material, but it was solid stuff with a grittier feel than much of the soul music in vogue at the time. After leaving Atlantic, she had one more sizable R&B hit, “Make Me Feel Like a Woman” (1975).
Groovy Emmanuel(Guest Contributor and Soul Funk Expert) Strikes Again with his comment : A fine opportunity at last to underline the importance of recording studios in participating big to the wonderful sounds of the 70’s. Three different studios were used in the making of this record, Philly’s Sigma Sound (the TSOP… 4 tracks), Miami’s Criteria (I Feel Good… 5 tracks) and Jackson’s Miss. Malaco Sound (Groove Me Baby… 1 track). All these great session men used to set the standards so high, that the singers would have got plenty of guts to just make the right adjustement, to just follow (and vice versa of course…looking for the right fusion). And Jackie seems to easily have the guts to just slide on the ice! Big ups to Jackie herself and all the unsung heroes of these soulful 70’s sounds.