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A New Beginning For Jackie Ross
A2 Can This Be Love (J. VanLeer, M. Fein)
A3 The People Some People Choose To Love (J. Weatherly)
A4 The People (Vamp) (J. VanLeer)
B1 I Who Have Nothing (Lieber-Stroller)
B2 Will You Love Me Tomorrow
B3 You Got Your Hooks In Me (B. Sigler)
B4 Only Time Has Changed (A. Peyton)
B5 The World Needs More People Like You
Label: Golden Ear Records – GE-2282
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul
Style: Eighties Soul
A New Beginning For Jackie Ross is a modern soul and crossover R&B album that blends traditional soul with jazz, funk, and club influences. Produced by James Van Lear, it is known as a rare and sophisticated work in Ross's discography.
The album features a mature sound that some reviewers from Funk My Soul compare to Marlena Shaw in the late 1970s, with a clear influence from the Philly International sound of that era. It showcases Jackie Ross's depth of emotion and versatility with a mix of slow, stirring ballads and more upbeat, funky numbers.
The record was originally released on Golden Ear Records in 1980 and has since become a sought-after item for fans of both traditional soul and rare groove music. It has recently been reissued for the first time in analogue form by P-Vine Japan.
The album includes original tracks and covers of popular songs, expertly arranged by Ben Wright and Jimmy Van Leer.
ABC
Written-By – The Corporation™
2:42
A2 One More Chance
Written-By – The Corporation™
2:56
A3 ABC
Written-By – The Corporation™
2:38
A4 2-4-6-8
Written-By – L. Ware, P. Sawyer
2:48
A5 (Come Round Here) I'm The One You Need
Written-By – Holland/Dozier/Holland
2:40
A6 Don't Know Why I Love You
Written-By – D. Hunter, L. Hardaway, P. Riser, S. Wonder
3:15
B1 Never Had A Dream Come True
Written-By – H. Cosby, S. Wonder, S. Moy
2:52
B2 True Love Can Be Beautiful
Written-By – B. Taylor, J. Jackson
3:07
B3 La-La Means I Love You
Written-By – T. Bell, W. Hart
3:01
B4 I'll Bet You
Written-By – T. Clinton, S. Barnes, P. Lindsey
3:17
B5 I Found That Girl
Written-By – The Corporation™
2:42
B6 The Young Folks
Written-By – A. Story, H. Gordy 2:58
Label: Motown – MS-709
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Pop Soul, Motown
ABC is the second studio album by The Jackson 5, released by Motown on May 8, 1970. It is considered a definitive work of the group's early "bubblegum soul" sound and cemented their status as international superstars.
The album peaked at number 4 on the Billboard Pop Albums Chart and topped the Billboard Black Albums chart.
It features two of the group's signature songs and consecutive number one singles on the Billboard Hot 100: "ABC" and "The Love You Save". Both singles famously unseated The Beatles' "Let It Be" from the top spot.
The album perfectly captures the raw and fresh talent of the young group, especially the then 11-year-old lead vocalist Michael Jackson, whose charismatic and soulful performance belied his age.
Much of the album was produced by the Motown songwriting and production team known as "The Corporation" (Berry Gordy, Freddie Perren, Alphonzo Mizell, and Deke Richards), who crafted an infectious blend of funk, R&B, and pop.
ABC remains one of The Jackson 5's most popular and enduring efforts, highly regarded for its upbeat energy and timeless appeal. The title track was inducted into the Grammy Hall of Fame in 2016.
Reviewers at the BBC and Apple Music praise the album for its "beautiful bubblegum soul" and the "happy frenzy of handclaps, stride piano and popcorn rhythms" that showcase the group's vitality and Michael's burgeoning talent.
Born Again
A2 Time Is Love (D. Jordan, P. Adams 3:30)
A3 Good Men Don't Grown On Trees (D. Jordan, J. Barnes, J. Thorpe 3:20)
A4 You Are Just A Living Doll (D. Jordan, P. Adams 4:35)
A5 Wishful Thinking (D. Jordan, P. Adams 4:40)
B1 You Owe It To Yourself (Part I) (D. Jordan, P. Adams 5:25)
B2 You Owe It To Yourself (Part II 3:00)
B3 No If's, And's, Or But's (D. Jordan, P. Adams 3:40)
B4 I Just Make Believe (I'm Touching You) (D. Jordan, P. Adams 3:45)
Label: Perception Records – PLP-39
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
Soul singer J.J. Barnes' Born Again album marked a stylistic shift from his earlier Northern soul sound to a heavier, more righteous, and introspective soul and R&B style and is known for its deep, emotive performances that reflect the artist's experiences and characterized by slow, soulful tracks and emotionally honest lyrics.
The album is considered a "comeback" album, showcasing a more introspective side of the artist. The music is described as a testament to the enduring power of soul music and a story of personal transformation.
The album is noted for its mature and weighty sound, featuring deep soul tracks and strong, trademark vocals from Barnes. The arrangements were handled by notable figures including Patrick Adams, Eumir Deodato, and Tony Bell. Critics have described it as a "must own album for anybody that takes their R&B seriously".
Later reissues are sometimes titled Born Again, Again!
Coming Back
2 When A Woman's In Love 4:52
3 Sweet Ecstasy 3:38
4 Tell Me Why 4:38
5 Where Is Your Love 4:57
6 Getting On With My Own Life 5:37
7 You Threw Our Love Away 4:30
8 Somewhere Alone Tonight 4:05
9 Free 3:30
10 Merry Go Round 4:25
11 Could Have Been Right 4:56
12 All I Want 4:20
Label: ARP – ARPCD 02
Format: CD, Album
Country: UK
Released: 1992
Genre: R&B Soul, Funk
Style: Downtempo, Contemporary R&B
Coming Back is the fifth studio album by the American R&B vocal trio The Jones Girls, released in 1992. The album marked a reunion for the sisters (Shirley, Valorie, and Brenda) after the group had effectively disbanded in the mid-1980s when lead singer Shirley Jones pursued a solo career.
The album's creation was inspired by a successful live concert the group performed at the Dominion Theatre in London in 1992. This live event led them to collaborate with various musicians and producers involved in the burgeoning British R&B music scene at the time, including Jazzie B of Soul II Soul, Errol Henry, Steve Carmichael (The Affair), and Funhill.
Coming Back is described as an underrated soul album of the 1990s, blending their classic Motown and Philly soul harmonies with contemporary R&B production.
The album represents The Jones Girls' engagement with the U.K.'s exploding R&B and electronic music scene at the time. The group worked with producers and musicians such as Jazzie B (Soul II Soul), Errol Henry, Steve Carmichael, and Funnell.
It is considered an overlooked gem of the 1990s soul music.
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Hell
A2 Hell (James Brown 5:03)
A3 My Thang (James Brown 4:20)
A4 Sayin' It And Doin' It (James Brown 3:05)
A5 Please, Please, Please (James Brown 4:07)
B1 When The Saints Go Marching In (Traditional 2:43)
B2 These Foolish Things Remind Me Of You (H. Link, H. Marvell, J. Strachey 3:14)
B3 Stormy Monday (Aaron Walker 3:15)
B4 A Man Has To Go Back To The Cross Road Before He Finds Himself (James Brown 2:52)
B5 Sometime (James Brown 4:15)
C1 I Can't Stand It "76" (James Brown 8:10)
C2 Lost Someone (Lloyd Stallworth, Bobby Byrd, James Brown 3:35)
C3 Don't Tell A Lie About Me And I Won't Tell The Truth On You James Brown 5:05)
D1 Papa Don't Take No Mess (Fred Wesley, James Brown, John Starks 13:51)
Label: Polydor – PD 2-9001
Format: 2 x Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Funk
Hell is a double album by James Brown that stands as one of his most diverse and audacious artistic statements, blending hard-edged funk with social commentary, soul ballads, and spirituals. It is known for its raw energy, innovative grooves, and experimental elements that marked a pivotal moment in his transition to a more expansive sound in the 1970s.
The album is a sprawling exploration of funk and soul, incorporating elements of jazz, gospel, and even salsa. It features the signature "Minister of New New Super Heavy Funk" sound, characterized by stripped-down, rhythmically driven tracks where instruments and vocals act as a percussive counterpoint.
The album's title and music reflect the social and political unrest of the mid-1970s United States. The title track, "Hell," offers empathy towards those born into poverty, "paying bills from the day you're born, little brother, 'til your body starts getting old". The album also includes defiant political commentary and protest anthems.
Brown is backed by his exceptional band, The J.B.'s, including Maceo Parker on saxophone, Fred Wesley on trombone/arrangements, and guitarist Jimmy Nolen. The album showcases their ferocious precision and ability to navigate the eclectic material with extended jam sessions and improvisation.
The cover artwork for the album was designed by Joe Belt and features Bosch-inspired visuals, matching the album's dark, aggressive energy and cinematic scope.
Hell is considered a masterpiece in James Brown's extensive catalog, building on the success of the previous year's The Payback while pushing the boundaries of his music into new, more experimental territory. It solidified his role as Soul Brother Number One and the Godfather of Soul, whose influence on funk and subsequent genres like hip-hop is immeasurable.
I Had To Fall In Love
A2 No One Like My Baby (Fred Bliffert 3:45)
A3 Rising Cost Of Love (Bobby Martin, Zane Grey, Len Ron Hanks 3:34)
A4 Change Up (Zane Grey, Len Ron Hanks 5:00)
B1 How Can You (Live Without Love) (Zane Grey, Len Ron Hanks 3:21)
B2 I Had To Fall In Love (Benny Gallagher, Graham Lyle 4:16)
B3 That's The Way Love Grows (Chris Rae, Frank McDonald, Gerry Shury 3:30)
B4 You've Been So Good For Me (Zane Grey, Len Ron Hanks 4:23)
B5 No Limit (Zane Grey, Len Ron Hanks 3:19)
Label: A&M Records – SP-4676
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco
I Had to Fall in Love was the sole solo album released by former Supremes lead singer Jean Terrell. Released in 1978 on the A&M label, the album features a blend of soul, R&B, jazz, and disco-inspired tunes that allowed Terrell to showcase vocal strengths and a range largely unseen during her time with the Supremes.
The Bobby Martin produced album is a collection of romantic love songs featuring good production quality and Terrell's "pure gold" vocals. It is noted for being musically different from the Motown sound she was known for, incorporating a jazzy and soulful feel. The production also features members of the A&M band L.T.D.
The album includes several standout tracks, such as the minor R&B hit "Don't Stop Reaching for the Top" (which peaked at #72 on the R&B charts), "How Can You Live without Love," "That's the Way Love Grows," and "No Limit", which is regarded a modern soul classic by many UK soul fans. The title track itself was a single release and is a melodic love song that establishes the album's theme.
Unfortunately, the album did not receive extensive promotion because Terrell decided to turn her back on secular music shortly after its release due to her religious beliefs as a Jehovah's Witness, which prevented her from promoting it in the standard way (e.g., extensive touring). This lack of promotion meant the album failed to make a significant impact on charts at the time, although it has since become a sought-after item for collectors and fans of classic 70s soul.
Jaisun
A2 You're All I Need To Get By (Nicholas Ashford, Valerie Simpson 2:59)
A3 No Other Arms (Patrick Mitchell 2:44)
A4 Reach For The Sky (Jaisún Johnson, William "Mickey" Stevenson 4:16)
B1 Keepin' It To Myself (Alan Gorrie 3:24)
B2 Closet Man (David Foster, Donny Gerrard, Eric Mercury 3:35)
B3 Shackin' Up (William "Mickey" Stevenson 4:13)
B4 Try And Understand (William "Mickey" Stevenson 4:54)
Label: Jett Sett – JS-1001
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Modern Soul
Jaisun Johnson's 1977 album Jaisun, released on the Jett Sett label, is a smooth modern soul record, known for its professional and sophisticated sound. It is generally characterized by mid-tempo grooves, avoiding the typical disco material of the era to focus on more developed settings that showcase the artist's vocal range.
Jaisun provides a warm, smoky, and professional vocal performance, which has been compared favorably to contemporaries like Marlena Shaw in particular, as well as Patti Austin, and Angela Bofill.
The album features arrangements by notable talents, including Mickey Stevenson, Greg Middleton, and David Foster.
Several of the backing tracks on Jaisun's album were also used on Jaye P. Morgan's record from around the same time, with Jaisun's voice being the primary difference. One track, "Keepin' It To Myself," was also reworked by the Average White Band on their Benny & Us album.
The album's standout track is the superb, sultry ballad "Try and Understand" which is Jaisun's only charting single, reaching #42 on the R&B charts.
The album is quite rare now and is considered a quality find for collectors of smooth, professional 70s soul music. It can probably be found on Discogs, and you can search for it by clicking on the Discogs image below.
Janice
A2 Goody Two-Shoes (Janice Barnett, Reggie Saddler 6:11)
A3 I Told You So (Janice Barnett, Reggie Saddler 3:32)
A4 Take Me Away (Janice Barnett, Reggie Saddler 4:57)
A5 Him (Green, Sutton, Fuqua, Barnett 4:56)
B1 If I Had Known (I'd Be Gone) (Janice Barnett, Reggie Saddler 4:02)
B2 Love On The Line (Sutton, Fuqua 5:34)
B3 You're Letting Me Go (Janice Barnett, Reggie Saddler 3:46)
B4 I Should Have Left You (Sutton, Fuqua, Pollard, Mills 5:49)
Label: Fantasy – F-9492
Format: Vinyl, LP, Album
Country: US
Released: 1975
The 1975 album by Janice Barnett, simply titled Janice (sometimes referred to as Janice (The Group)), is a superior soul/funk record and a treasured collector's item among soul and beach music fanatics. Though it achieved no initial commercial success, it is now considered a prime example of mid-70s soul.
The album is a mix of funk and soul with uptempo, sometimes Salsoul-like, disco elements. It features lush harmonies and a tight sound, combining a catchy groove with Philly-style brass and strings arrangements. The overall sound has been described as a "total gem of a soul/disco record" with an "earthy brand of soul".
It was produced by the legendary ex-Motown writer and producer Harvey Fuqua for Fantasy Records. The rhythm arrangements were handled by Fuqua and Reggie Saddler, while strings and horns were arranged and conducted by Wade Marcus.
Janice Barnett, a former beauty queen and model, provides "torridly impassioned" lead vocals, with a raspy soul voice often compared to Gladys Knight.
Notable tracks include the northern soul/beach music club floor-fillers "I Told You So" and "If I Had Known (I'd Be Gone)", the sweet soul ballad "Goody Two Shoes", and the gospel-tinged "Him".
The album represents the complete recorded legacy of the group, which sadly lacked commercial breaks at the time of its release. Barnett later had a successful career as a gospel artist and an actress.
The main group members were:
Janice Barnett: Lead vocals, baritone vocals
Reggie Saddler: Lead guitar, baritone background vocals (and Janice's husband)
Freddie Morrison: Bass, second tenor vocals
Norman Ferrington: Drums, percussion
William Acosta: Keyboards, first tenor vocals, Spanish vocals
The album has been digitally remastered and reissued on CD by BGP Records, making it more accessible to modern soul aficionados. You can find more details and track listings on sites like Discogs.
Jaye P. Morgan
A2 Keepin' It To Myself (Alan Gorrie 3:27)
A3 Here Is Where Your Love Belongs (Bill Champlin 4:29)
A4 Closet Man Foster, (Gerard, Mercury 3:38)
A5 It's Been So Long (Stevie Wonder 5:36)
B1 Let's Get Together (Kerr, Gross, Barnes 3:50)
B2 Can't Hide Love (Skip Scarborough 4:52)
B3 You're All I Need To Get By (Ashford & Simpson 3:24)
B4 It All Goes Round (David Foster 6:14)
Label: Candor Records – C-1001
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre:
R&B Soul
Style:
Seventies Soul, Soul-Jazz
Jaye P. Morgan's 1976 self-titled album is a cult classic private press that serves as a "missing link" between classic soul and sophisticated funk/disco, featuring an extraordinary lineup of top Los Angeles studio musicians and early production work by the then-unknown David Foster.
Originally a popular music singer and actress known for her appearances on game shows like The Gong Show, Jaye P. Morgan made a bold move with this self-released album to reinvent herself as a soulful, mature funk artist.
The album is noted for the following features: It delivers "pure, undiluted funk music" with a breezy "California feel". The sound alternates between up-tempo funk tracks and soulful mid-tempo ballads, embodying a transition between 1970s soul and sophisticated disco. It has been described as a "perfect white soul album".
The album was the first full-blown production by David Foster, who would go on to become a superstar producer (co-writing Earth, Wind & Fire's mega-hit "After The Love Has Gone" two years later). The high production budget and use of legendary Sound City Studios made it one of the most expensive private presses of its era.
The album features an "elite group" of L.A. session musicians, often referred to as a "who's who" of the 70s Californian scene. Notable contributors include:
Guitars: Ray Parker Jr., Lee Ritenour, and Jay Graydon.
Drums: Harvey Mason, Jeff Porcaro, and Ed Greene.
Keyboards/Arrangements: David Foster.
Backing Vocals: Bill Champlin and Kenny Loggins.
Horns: Members of Tower of Power.
The album went largely unnoticed upon its initial limited release but has since become a "holy grail" for collectors and "groove diggers" due to its exceptional sound quality, lush ambiance, and the star power of its uncredited musicians at the time. It has been reissued by the label Wewantsounds on vinyl and CD.
Jimmy Ruffin
A2 You And Me Together (Roach)
A3 Boy From Mississippi (Ruffin)
A4 Family Affair (Stone, Stewart)
A5 Tears Of Joy (Ruffin)
A6 Walk Down The Road Of Life Together Ruffin
B1 What You See Ain't Always What You Get (Sigler, Bailey)
B2 Crying Laughing Loving Lying (Siffre)
B3 Thank You Girl (Ruffin)
B4 Super Brother (Ruffin)
B5 Mother's Love (Ruffin)
Label: Polydor – 2383-240
Format: Vinyl, LP
Country: UK
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
Jimmy Ruffin's self-titled 1973 album was his first post-Motown solo release and was issued exclusively in the UK and Japan on the Polydor label. The album features the singer's signature heartfelt soul style, recorded across sessions in Detroit and Philadelphia.
The album showcased Jimmy Ruffin's smooth, powerful vocal delivery in a sophisticated soul style. A notable track on the album is "Tears of Joy," which Ruffin co-wrote and produced with Jimmy Roach, also contributing guitar work to the recording.
The album also featured the track "Tell Me What You Want," which was a hit single in the UK, reaching #39 on the Pop charts, and #5 in the USA dance chart. The record is considered a lesser-known but stellar work from this era of his career.
John Gary Williams
A2 I'm So Glad Fools Can Fall In Love 4:13
A3 Honey 6:37
A4 Loving You (It Ain't Easy) 2:44
B1 Ask The Lonely 3:31
B2 How Could I Let You Get Away 4:00
B3 Open Your Heart (And Let Love Come In) 3:12
B4 The Whole Damn World Is Going Crazy 3:10
Producers – John Gary Williams, Willie Hall
Label: Stax – STS-5503
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Sweet Soul
The 1973 self-titled album by John Gary Williams is widely considered an "overlooked gem" of early 1970s soul music, praised for its lush, orchestral arrangements, Williams' smooth vocals, and a poignant blend of romantic and socio-political themes. The record has gained a cult following since its initial failure to sell due to Stax Records' distribution problems at the time of its release.
Reviews highlight the album's sophisticated production, which incorporated sweeping strings, soaring brass parts, and funky bass lines, drawing comparisons to contemporaries like Marvin Gaye, Curtis Mayfield, and Isaac Hayes.
Williams' voice is often described as effortless and committed, fitting somewhere between Eddie Kendricks and Curtis Mayfield. He handles both smooth ballads and up-tempo funk tracks with ease.
The album is noted for its "lush strings" and "innovative guitar flourishes," creating an opulent yet understated sound that epitomizes the late-period Stax style. The use of the Memphis Symphony Orchestra added a rich, cinematic quality.
Before recording a 1973 solo album for Stax, John Gary Williams had been a member of the Mad Lads, who recorded singles for the label starting in the mid-'60s. The Mad Lads had a more traditional black vocal group sound than most of the other acts on Stax's roster, and had only limited success, though "Don't Have to Shop Around" was a pretty big R&B hit, stopping just shy of the Top Ten. Williams had to leave the group to serve in the military from 1966 to 1968, rejoining the Mad Lads upon his return from Vietnam and remaining in the act until they split in 1972.
Shortly afterward, Williams began a solo career, producing most of his self-titled 1973 album himself, as well as writing about half the material. An average sweet soul effort paced by his high vocals, it made no commercial impact, perhaps due at least in part to Stax's own faltering fortunes at the time. Williams did manage a 1975 single on Stax's Truth subsidiary before its parent label closed down soon after its release.
Though not a major effort in the scheme of either early-'70s soul or the Stax catalog, it's a pleasant assortment of sweet soul tracks, with a slightly earthier edge than many recordings in the genre boasted. Most of the songs are upbeat romantic numbers highlighting Williams' smooth, high vocals, inserting covers of songs by the Four Tops, the Spinners, and (more unexpectedly) Bobby Goldsboro.
The most impressive cuts, by a long shot, are the ones that steer away from the usual romantic themes to make general social observations. The opener "I See Hope" is a lively, dramatic expression of optimism; the closing "The Whole Damn World Is Going Crazy," in contrast, reflects the pessimism infiltrating much early-'70s soul, the gently percolating grooves and soaring strings offsetting lyrics of confusion at the backstabbing state of the modern world.
The 2010 CD reissue on BGP adds historical liner notes and both sides of the subsequent single "Come What May"/"Just Ain't No Love Without You Here," two midtempo tunes with a similar vibe to those on the album.
Keepin’ Up With The Joneses
A2 Fire 2:50
A3 Our Love Song 7:25
A4 Hey Babe (Is The Gettin' Still Good?) Part 1 3:32
A5 Hey Babe (Is The Gettin' Still Good?) Part 2 2:05
B1 Sugar Pie Guy (Part 1) 3:40
B2 Sugar Pie Guy (Part 2) 3:45
B3 I Promise You 4:47
B4 Baby Don't Do It 2:58
B5 Please Let Me Stay 4:15
(Written by Glenn Dorsey and Wendell Noble)
Label: Mercury – SRM-1-1021
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre:
R&B Soul
Style: Seventies Soul, Disco
The 1974 debut album by The Joneses, Keepin' Up With The Joneses, is a highly regarded Philly soul record, praised for its blend of deep vocals, disco, funk, and sweet soul, featuring strong slow jams and charting singles.
The album is characterized as classic Philly soul, with lush arrangements and an unrelenting backbeat that shifts between disco and funk. It blends touches of doo-wop and sweet soul, showcasing the versatility of the Baltimore studio musicians who played on it.
Key Tracks:
"Sugar Pie Guy" (Parts 1 & 2): This uptempo number is the group's most remembered recording and a major club hit, praised for its catchy, "sugary" blend of disco and funk. Reviewers note that the 45 rpm version has an even harder bass and drum sound compared to the album versions.
"Please Let Me Stay": Highlighted as a standout slow jam on the LP, this track is a "sweet song" with changing vocal deliveries. It is described as a "sleeper joint" on an album full of charting singles.
"Hey Babe (Is The Gettin' Still Good?)": Another club hit that contributed to the album's success.
The album is considered excellent by some sources and has a high average user rating on platforms like Discogs, with ratings around 4.3 to 4.6 out of 5 stars across various releases. It's seen as a reflection of a band successfully keeping up with the changing musical styles of the mid-70s.
Love Lessons
Written-By – G. Worthy, L. Wedgeworth 5:54
A2 Make Love
Written-By – Hal S. Batt, HotSauce, Isaac Gilyard 4:35
A3 Good Thing Goin On
Featuring – Billy Paul
Written-By – Jeff McDuffy, Linwood Ross, Terry Price Grant 4:35
A4 So I Can Love You
Written-By – Sheila Hutchinson 4:15
A5 Have I Told You That I Love You
Written-By – Ezara Sanders, Hal S. Batt 4:48
B1 No One Does It Better
Written-By – K. Harris, L. Robinson, T. Haynes 4:17
B2 Fallin' For You
Written-By – Ezara Sanders 4:37
B3 It's Not For Me To Say / Chances Are
Written-By – A. Stillman, R. Allen 4:39
B4 Misty
Written-By – Erroll Garner, Johnny Burke 5:35
B5 Someone To Watch Over Me
Written-By – George and Ira Gershwin 4:35
Label: Moja Entertainment Group – MEG25719032
Format: CD, Album
Country: US
Released: 1995
Genre: R&B Soul, Jazz
Style: Smooth Jazz, Soul, Funk
Jean Carne's Love Lessons is praised as a strong return to her soulful roots, showcasing her rich voice with romantic ballads, classic Philly Soul influences, and surprising jazz standards, delighting longtime fans with its blend of contemporary grooves and timeless vocal artistry, solidifying her status as a versatile R&B/Soul icon. Critics highlight her powerful vocals, deft handling of both uptempo numbers and slow jams, and inclusion of jazz standards like "Misty," proving her versatility.
Reviewers consistently marvel at Carne's exquisite, five-octave voice, noting its beauty and ability to convey deep emotion.
The album delivers strong soul tracks, both fast and slow, staying true to the Philly Soul sound that defined her early career.
The inclusion of standards like "Misty" and "Someone to Watch Over Me" showcases her versatility and jazz roots, drawing comparisons to vocalists like Phyllis Hyman and Nancy Wilson.
The production, while modern for its time, still carries echoes of her work with Gamble & Huff's team and collaborator Dexter Wansel, especially in its lush arrangements.
A notable feature is the duet with Billy Paul on "Good Thing Goin' On," a perfect match for both singers.
Listeners found it a worthy purchase, a satisfying listen that recaptured the magic of her earlier work while introducing new material, making it a great choice for both longtime fans and new listeners.
In essence, Love Lessons is seen as a triumphant album that lets Jean Carne shine, blending modern R&B with classic soul and jazz, affirming her place as a significant voice in American music.
Peace and Understanding Is Hard To Find
Arranged By – James Carmichael
Producer – Gloria Jones, Pam Sawyer
Written-By – Gloria Jones, Pam Sawyer 3:35
A2 I Don't Need No Reason
Arranged By – James Carmichael
Producer – Hal Davis
Written-By – Leon Ware, Pam Sawyer 2:44
A3 It's Alright, Do What You Gotta Do
Producer – Willie Hutch
Written-By, Arranged By – Willie Hutch 3:29
A4 It's Too Late
Arranged By – Gene Page
Producer – Hal Davis
Written-By – Carole King, Toni Stern 2:54
A5 Soul Clappin'
Written-By – Autry DeWalt, Jerome Teasley, Victor Thomas 4:25
B1 I Can See Clearly Now
Written-By – Johnny Nash 3:18
B2 Gimme That Beat (Part 1)
Written-By – Arnold Langley, Autry DeWalt, Ronald Harville 3:27
B3 Gimme That Beat (Part 2)
Written-By – Arnold Langley, Autry DeWalt, Ronald Harville 2:48
B4 Country Boy
Written-By – Arnold Langley, Autry DeWalt, Victor Thomas 2:59
B5 Peace And Understanding (Is Hard To Find)
Written-By – Autry DeWalt, Jerome Teasley, Ronald Harville 3:05
Label: Soul – Tamla Motown – STML 11234
Format: Vinyl, LP, Album
Country: UK
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Motown
The 1973 album Peace & Understanding Is Hard to Find by Jr. Walker & The All Stars is a solid R&B/Soul record, though considered a minor commercial release at the time. It showcases Walker's consistent saxophone talent and features some strong tracks, but it lacked the unified style and hit potential of his earlier work.
The album is often praised by fans for maintaining the high standard of music expected from Jr. Walker, avoiding the "supper club" arrangements that sometimes affected other Motown artists' later work. His distinctive, blues-based saxophone riffs and raspy vocals are prominently featured.
The album did not have a single producer, which resulted in a less unified sound compared to previous efforts. Production credits include Hal Davis and Willie Hutch, among others. This stylistic variety means some tracks have a smooth, jazzy feel ("I Don't Need No Reason"), while others are more spirited funk tunes ("Soul Clappin'").
Despite its lack of massive commercial success, many consider the album an underrated record, praising its deeply jazzy undertones in even the smoothest songs and outstanding recorded sound quality.
The album was one of Jr. Walker's poorest selling LPs. The single "Gimme That Beat (Part 1)" only reached #101 on the Pop charts and #50 on the R&B charts. The title track and "I Don't Need No Reason" failed to chart as singles.
The album features credible cover versions that demonstrate Walker's ability to put his own stamp on popular material:
Overall, Peace & Understanding Is Hard to Find is a worthwhile listen for existing fans of Jr. Walker & The All Stars or Motown Soul, offering high-quality music and a range of styles, even if it lacks a massive hit single.
Powerhouse
Written-By – Jeff Floyd 7:33
2 Funny Love
Written-By – Jeff Floyd 4:16
3 You're My Magic Girl
Written-By – Jeff Floyd, William Bell 3:37
4 Let's Git It On
Written-By – Jeff Floyd, William Bell 5:40
5 I'm Giving You My Private Number
Written-By – Jeff Floyd, William Bell 5:04
6 I'm Giving Up (All The Other Girls)
Written-By – Jeff Floyd, William Bell 4:55
7 Nobody Wants You
Written-By – Jeff Floyd 3:57
8 Try A Little Tenderness
Written-By – Harry Woods, Jimmy Campbell, Reginald Connelly 4:45
9 Face Down
Written-By – Jeff Floyd 3:59
10 All I Need
Written-By – Jeff Floyd, Phil Robinson 5:34
11 Party All Night
Written-By – Jeff Floyd 3:37
Label: Wilbe Records Inc. – Wil2002-2
Format: CD, Album
Country: US
Released: 2001
Genre: R&B Soul
Style: Southern Soul
Jeff Floyd's 2000 album, Power House, is a well-regarded Southern Soul/R&B record, highly popular for its blend of old-school soul vocals with a contemporary sound. It was produced and co-written by legendary Stax soul singer William Bell.
Reviews from listeners and music enthusiasts generally praise the album for its authentic, heartfelt delivery and strong songwriting:
The album's lead track "I Found Love (On a Lonely Highway)" became a significant regional "chitlin' circuit" hit and is frequently played on Southern Soul radio stations, achieving the status of a classic in the genre.
Floyd's voice is often compared to classic soul singers like Bobby Womack or David Ruffin of The Temptations. Fans appreciate his honest, enjoyable voice and the use of "funky live instrumentals".
William Bell's production is credited with effectively combining traditional R&B elements with a modern feel. Some reviewers note it has a low-budget, straight-from-the-heart feel, which is seen as a positive, authentic quality.
Many fans report the album has no "filler" tracks and is highly danceable and enjoyable for repeated listening. The album is described as "really good R&B for the 2000's".
The album is considered Jeff Floyd's breakthrough disc. For purchasing options, it is available on platforms like Amazon and Discogs.
Reflections
Written-By – Davis 3:31
A2 Stop Half Lovin' These Women
Written-By – Lewis 3:50
A3 I Worry About You
Written-By – Mapp 4:55
A4 Wanting What You Can't Have (Having What You Don't Want)
Written-By – Williams, Johnson 3:11
B1 Heaven Bless This Home
Written-By – Wilson 4:02
B2 If You Really Love Your Girl (Show It)
Written-By – D. Bridges, F. Bridges, Benson, Thomas 6:35
B3 Never My Love
Written-By – Dick Addrisi, Don Addrisi 4:01
B4 Forgive And Forget
Written-By – Davis, Ross, Mack 4:21
Label: RCA Victor – APL1-2527
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Southern Soul
Johnnie Taylor's 1977 album Reflections is considered a strong, yet somewhat overlooked, chapter in his career, blending soulful roots with polished production by the legendary Don Davis, offering rich vocals on rootsier tracks than his later hits, and is noted for its quality despite not charting as high as some other releases like Eargasm or Rated Extraordinaire, with fans praising his timeless voice.
Don Davis's production provides a polished feel, bridging his Stax bluesier era and his Columbia smoother hits, making it a rootsier but still slick soul record.
Taylor's signature smooth, expressive voice shines, adding depth and sparkle to the material. It sits in an interesting spot in his discography, between major chart-toppers, making it a deeper cut for fans.
While not a huge chart success (peaking at #45 on R&B charts), it's highly regarded by those who discover it, often recommended for its quality.
In essence, Reflections is a solid, high-quality soul album showcasing Johnnie Taylor's enduring vocal talent with tasteful production from Don Davis, making it a rewarding listen for soul enthusiasts.
Simon Sings
Written-By – Reed
A2 Misty Blue
Written-By – Montgomery
A3 It's Too Late, Baby (Too Late)
Written By – Brown, Johnson
A4 Standing In The Safety Zone
Written-By – Robinson
A5 In Reach Of Your Arms
Written-By – Chapel
A6 Lonely Man
Written-By – Donnell
B1 I'm Going Home
Written-By – Morrison
B2 Twinkle
Written-By – Lee
B3 Dreamin'
Written-By – DeVorzon, Ellis
B4 Looking Back
Written-By – Hendricks, Benton, Otis
B5 Funny How Time Slips Away
Written-By – Nelson
B6 She Went A Little Bit Farther
Written-By – Vickery, Kilgore
Label: Monument – SMO 5026
Format: Vinyl, LP, Album
Country: UK
Released: 1969
Genre: R&B Soul
Style: Southern Soul
Simon Sings is a soul and R&B album by American singer Joe Simon, released in 1969. The album, like others Simon recorded for the Nashville-based Sound Stage 7 label, was produced by John Richbourg for J.R. Enterprises Inc. and features a mix of deep, Southern-style ballads and uptempo tracks.
The album primarily features a blend of soul, R&B, and funk music. Simon's style is characterized by a "deep soul" sound with a "languid, velvet-smooth" baritone voice that effectively conveys a range of emotions, from introspective ballads to more uptempo dance numbers.
The recordings were made in Nashville and often feature arrangements by Bergen White and the session musicians known as The Music City Four/Five. This Nashville production often incorporated country influences into the soul sound, which was a signature of the Sound Stage 7 label under Richbourg.
Simon Sings was Joe Simon's third album for the Sound Stage 7 label, following Pure Soul (1967) and No Sad Songs (1968). Simon had a string of chart hits with the label during this period, including the Grammy-winning "The Chokin' Kind".
It captures Joe Simon at his soulful peak on Sound Stage 7, offering a definitive look at his versatile talent in the heart of Southern Soul music.
Sit On It!
Alto Saxophone – Fred Jackson
Arranged By [Horns] – Jerry Peters
Solo Vocal – Vennette Gloud
Tenor Saxophone – Ernie Watts
Trombone – George Bohanon
Trumpet – Nolan Smith 8:17
A2 Can't Hide Love
Solo Vocal – Afreeka Trees 5:07
A3 Cherrystones
Alto Saxophone – Kim Hutchcroft
Arranged By [Horns] – Alan Silvestri
Trumpet – Jerry Hey
Trumpet [First] – Chuck Findley 6:12
B1 My Place In Space 7:34
B2 Born To Groove/From You To Me To You
Solo Vocal – Afreeka Trees 6:45
B3 Slippery Hips 4:49
Arranged By – Alan Silvestri, Eugene McDaniels
Arranged By [Backround Vocals] – Carmen Twillie
Art Direction – Mike Doud
Backing Vocals – William Champlin, Carmen Twillie, Vennette Gloud
Bass – Abraham Laboriel
Drums – Lenny White
Engineer – Doug Rider
Engineer [Assistant] – Mike Beiriger, Robert Davenport, Steve Smith
Guitar – Alan Silvestri
Harmonica – Stanley Behrens
Organ, Synthesizer – Jimmy Smith
Percussion – Steve Forman
Photography By – Antonin Kratochvil
Piano – Herbie Hancock
Producer – Eugene McDaniels
Label: Mercury – SRM-1-1127
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: Jazz, Funk, Soul
Style: Jazz-Funk
Jimmy Smith's Sit On It! is a funky, Jazz-Funk Fusion album, showcasing his signature organ grooves alongside stellar session players like Herbie Hancock, Lenny White, and Abraham Laboriel, delivering danceable grooves like a sped-up "Can't Hide Love" and deep funk on tracks like "Slippery Hips," marking a more modern, fusion-oriented side compared to his earlier jazz, appealing to funk fans and jazz enthusiasts seeking '70s grooves.
A mix of organ-driven funk, soulful grooves, and fusion elements, often compared to Herbie Hancock's work of the era, and featuring Herbie Hancock (piano), Lenny White (drums), and Abraham Laboriel (bass).
It was Smith's third album for Mercury and showcased a different, funkier musical personality than his more traditional jazz works like Unfinished Business.
Fans and critics appreciate its funky energy and high-quality musicianship. It's seen as a solid entry in the jazz-funk genre, offering danceable tracks and classic Smith organ work.
Often bundled with Unfinished Business for reissues, allowing listeners to experience two distinct sides of his music.
Soul Galore
A2 3 Days 1 Hour 30 Minutes (Alonzo Tucker, Edgar Campbell, Jackie Wilson 2:)
A3 I've Got To Get Back (Alonzo Tucker, Johnny Roberts, Nat Tarnopol 2:59)
A4 So You Say You Wanna Dance (Eddie Singleton, Jackie Wilson 2:23)
A5 Stop Lying (Russ Vincent 2:13)
A6 Let Me Build (G. Carroll, H. Walquer 2:45)
B1 Brand New Thing - Part 2 (Alonzo Tucker, Eddie O'Jay, Jackie Wilson, Johnny Michaels 2:40)
B2 Soul Galore (Eugene Hamilton 2:47)
B3 What's Done In The Dark (Will One Day Come To Light) (Alonzo Tucker, Eddie Singleton 3:00)
B4 I Got My Mind Made Up (Alonzo Tucker, Jackie Wilson 2:02)
B5 Everything's Gonna Be Fine (Alonzo Tucker, Jackie Wilson 2:36)
B6 Your Loss, My Gain (Eddie Singleton 2:40)
Label: Brunswick – BL 54120
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Soul
Style: Sixties Soul
Jackie Wilson's 1966 album Soul Galore is a highly regarded collection of "Big City Soul" and classic Northern Soul tracks, praised by users and critics alike for its high energy and the artist's dynamic vocal performance. It is considered an essential listen within the Northern Soul genre.
The album is consistently described as a collection of up-tempo songs that are perfect for dancing, a key characteristic of Northern Soul music. One user noted that it "gives you a lift and makes you want to dance".
Critics and music descriptions refer to the tracks as "Big City Soul masterpieces" featuring classic "mod dancers". Reviewers acknowledge that while Wilson's ballads might showcase his technical range more fully, the raw, funky cuts on Soul Galore allow him to "belt it out" with immense energy, highlighting his one-of-a-kind ability.
The album (particularly reissues with bonus tracks) is valued for including rare and lesser-known LP tracks and single B-sides alongside well-known favorites, making it appealing to serious collectors and casual fans. Remastered versions of the album are praised for their superb sound quality.
Overall, Soul Galore is an energetic, highly-rated album that is a favorite among Northern Soul and R&B enthusiasts. It captures a specific, dynamic phase of Jackie Wilson's career and is celebrated for its consistently good tracks and dance appeal.
The Jackson Southernaires
A2 Do Unto Others 3:10
A3 Waiting On The Lord 4:12
A4 Too Late (Part One) 6:35
A5 Too Late (Part Two) 4:57
B1 Sweet Hour Of Prayer 4:10
B2 Fill Me Jesus 4:15
B3 Keep On Praying 6:05
B4 Just Can't Make It By Myself 6:56
Label: Malaco Records – 4357
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Gospel
The Jackson Southernaires' 1978 self-titled album is celebrated for its blend of traditional black gospel with contemporary sounds, featuring popular tracks that became radio favorites . The album highlights the group's ability to connect with listeners through heartfelt "story songs" and showcases the soulful vocals of lead singer Huey Williams.
The album, released on the Malaco label, is particularly noted for the inclusion of the track "Just Can't Make It By Myself," which was a significant radio hit. The album also includes other notable songs such as "He Never Left Me Alone," "Do Unto Others," and the two-part "Too Late".
"Just Can't Make It By Myself": This track is a classic example of the group's ability to create an exciting and impactful performance, especially noted for the dynamic vocal entries. "Too Late": This heartwarming "story song" resonated deeply with their audience, a style the Southernaires were well-known for mastering.
While formal critical reviews from the time period are scarce in general knowledge databases, the album's success is evident in its enduring popularity and the group's overall impact on the gospel genre. At a time when gospel choirs were dominating, the Southernaires maintained their immense popularity with their unique quartet style.
The Soul Sessions
Acoustic Guitar – Angelo Morris
Written-By – Harlan Howard 3:35
2 Super Duper Love (Are You Diggin' On Me?) Pt. 1
Guitar – Angelo Morris
Percussion – Ignacio Nunez
Tambourine – Mike Mangini
Written-By – Willie Garner 4:20
3 Fell In Love With A Boy
Backing Vocals – Angie Stone
Bass – Adam Blackstone
Guitar – Kirk Douglas
Keyboards – James Poyser, Kamal
Producer, Drums – Ahmir '?uestlove' Thompson
Written-By – Jack White 3:38
4 Victim Of A Foolish Heart
Guitar – Angelo Morris
Written-By – Charles Buckins, George Jackson 5:31
5 Dirty Man
Acoustic Guitar – Jimmy Farkus
Guitar – Angelo Morris
Written-By – Bobby Miller 2:59
6 Some Kind Of Wonderful
Organ – Angelo Morris
Written-By – John Ellison 3:56
7 I've Fallen In Love With You
Arranged By [Strings] – John Angier
Backing Vocals – Deanna Carroll, Taneka Duggan
Bass – Steve Greenwell
Cello – Alan Stepansky, Leanne LeBlanc, Jenny Turner, Sarah Seiver
Drums – Ahmir '?uestlove' Thompson
Guitar – Mark Ciprit
Keyboards – Danny Pierre
Saxophone – Sam Furnace
Viola – Dawn Hannay, Karen Dreyfus, Robert Rinehart, Tom Rosenfeld
Violin – Liz Lim, Fiona Simon, Jenny Strenger, Jung Sun Yoo, Laura Seaton, Lisa Kim, Myung Hi Kim, Rob Shaw, Sandra Park, Sarah Kim, Sharon Yamada, Soo Hyun Kwon
Written-By – Carla Thomas 4:29
8 I Had A Dream
Written-By – Jon B. Sebastian 3:01
9 All The King's Horses
Organ – Angelo Morris
Written-By – Aretha Franklin 3:03
10 For The Love Of You (Pts. 1 & 2)
Keyboards – Angelo Morris
Written-By – Christopher Jasper, Ernest Isley, Marvin Isley, Kelly Isley, Ronald Isley, Rudolph Isley 7:33
Label: S-Curve Records – SC 42234
Format: CD, Album
Country: US
Released: 2003
Genre: R&B Soul, Funk
Style: Soul-Jazz, Contemporary R&B
Joss Stone's debut album, The Soul Sessions, is widely regarded as an impressive and surprising debut, showcasing a then 16-year-old British singer with a remarkably mature, rich, and gritty soul voice that belies her age. The album, a collection of classic 1960s and 70s soul covers, generally received positive reviews, though some critics found it lacked the "bite" of original material.
The consensus among reviewers is that Stone possesses a stunning and powerful voice with a natural soul inflection, often compared favorably to established soul divas. Her delivery is praised for being convincing, sincere, and smooth.
Produced by veteran Miami soul musicians like Betty Wright and Timmy Thomas, the album is a meticulous re-creation of the classic 70s soul sound. This authentic production was a major selling point, distinguishing her from contemporary pop acts of the time.
The album features covers of obscure and well-known soul tracks, including Harlan Howard's "The Chokin' Kind" and a re-imagined version of The White Stripes' "Fell in Love with a Girl" (retitled "Fell in Love with a Boy"). The latter track was often highlighted as a fresh and successful juxtaposition that blended well into the album's sound.
Critics lauded the album as an accomplished achievement, a pleasant journey back in time, and an excellent showcase for her raw talent. It was a commercial success, peaking high on both UK and US charts.
Some reviewers noted that, as a covers album, it felt a bit like an "artistic compromise" or a "covers band" performance lacking the personal touch of self-penned songs. A few felt her youth meant she couldn't fully inhabit the deep emotional experiences of some songs compared to seasoned veterans.
Ultimately, The Soul Sessions succeeded in establishing Joss Stone as a major new vocal talent and a force in the neo-soul genre, a success that her subsequent albums have often been measured against.
The Soul Sessions is considered a significant debut that established Joss Stone as a notable talent in soul and R&B music.
Totally Involved
A2 There Ain't No Man That Can't Be Caught 3:16
A3 Is That Any Way To Treat A Lady 4:05
A4 How Long Is A Heartache Suppose To Last 3:48
B1 Thank You 3:54
B2 Go On Live Your Life 3:42
B3 That Won't Stop Me From Loving You 4:29
B4 Help Me Understand You 4:02
Produced, written and arranged by Jimmy Lewis
Label: Hotlanta – HA50000
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Southern Soul
Jimmy Lewis's 1974 album Totally Involved is a highly acclaimed Southern soul masterpiece, celebrated for its raw emotion, gritty vocals, and philosophical lyrics delivered with a "dyed in the red Georgia soil grit and passion". It is considered one of the greatest Southern soul albums of the 1970s.
Critics praise the album as a "veritable collage of sounds" that encapsulates a decade of Southern soul music.
Lewis is known for his "raspy-voiced monologue[s]" and "gritty, no-nonsense adlibs". His voice is described as "cracklin', gruffy, lowdown pipes" that deliver powerful, testifying vocals full of raw emotion.
The album blends various soul, R&B, and blues styles, ranging from lazy, bluesy beats with gospel influences to mid-tempo groovers with horns and xylophone. One track has a slight Philly Soul groove, but Lewis's vocals ensure it remains distinctly Southern.
Lewis is noted for his "philosophical musings" and "sermons" on life and relationships. He often overdubbed his own voice for a second vocal, adding punchy ad-libs that enhance the narrative.
The arrangements are described as rich and effective, featuring purring organs, sweet female backing vocals, jaunty guitars, incisive bass, and well-arranged strings.
Overall, Totally Involved is considered a landmark recording in Southern soul music, highly regarded by collectors and critics alike.
You and Me Together Forever
Written-By – Dan Penn, Roger Hawkins 2:39
A2 All The Love I Got
Written-By – B. Gordy, B. Holland, J. Bradford 2:53
A3 A Man Can't Be A Man Without A Woman
Written-By – George Soule, Tommy Brasfield 2:45
A4 You Talk Too Much
Written-By – Jones, Hall 2:24
A5 Do Your Thing
Written-By – I. Hayes 2:15
B1 Silly Little Girl
Written-By – Joe South 2:27
B2 I Need Love
Written-By – Dave Prater, Sam Moore 3:10
B3 Still Thinking 'Bout You
Written-By – Bobby Woods, Johnny Christopher 2:28
B4 Why Love
Written-By – B. Emmons 2:34
B5 You And Me Together Forever
Written-By – J. Roach 2:28
Label:
Casablanca – NBLP 7011
Format:
Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Southern Soul, Disco
The 1975 album You & Me Together Forever features the second iteration of the soul duo, with singer Ben Moore (the new "Bobby Purify") joining James Purify. The album showcases a blend of funk and soul and is generally considered a solid, if not critically heavily reviewed, collection of tracks.
The music style leans toward classic Southern Soul, with Moore's "world weary, old school voice" providing an evocative vessel for stories about love and relationships. While some later recordings by the duo occasionally suffered from more "middle of the road" arrangements, the album is generally appreciated by fans of the genre.
The album includes a number of original songs and covers that highlight the duo's strong harmonies and production style.
"You And Me Together Forever": The title track, also released as a single in 1975, is a key song that captures the classic soul sound of the era.
"I Can't Stop," "All The Love I Got," and "A Man Can't Be A Man Without A Woman": These tracks contribute to the album's cohesive soul feel, celebrating themes of love and connection.
"Do Your Thing": This song was previously released as a single in 1974 and was a charting R&B hit, which speaks to the album's quality material.
The album is highly regarded by soul enthusiasts for its authentic sound, particularly the Ben Moore-era vocals and instrumentation that evokes late 1960s Muscle Shoals soul when "everything comes together".
It is considered a worthwhile record for collectors and fans of the funk/soul genre, often praised in seller descriptions and user forums for its quality.