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Ace In The Hole
2 Three People Sleeping In My Bed
3 Hurt By Love
4 In Need Of A Good Woman
5 My Baby's Cheating On Me
6 Rocking Chair
7 Careless
8 Bartender Blues
9 I Love Stealing It
10 Happy
11 Running In Life
12 Stone Cold Lover
13 Equal Opportunity - Solo
Label: Ace Records (3) – ACE MUSIC 2066
Format: CD, Album
Country: US
Released: 1995
Genre: R&B Soul, Blues
Style: Southern Soul
Willie Clayton's 1996 album, Ace In The Hole, is considered a strong and commercially successful release in the Southern Soul/soul-blues genre, drawing praise for its authentic blues tracks and hit single "Equal Opportunity". The album largely reworks material from his earlier releases, combining proven hits with new collaborations.
The album is noted for consolidating successful songs from previous EPs and singles, ensuring a strong collection of material.
Ace In The Hole was a major seller for the Ace label, largely due to the success of the track "Equal Opportunity".
The album is characterized by Clayton's soulful and tasteful vocal performances, covering songs previously recorded by his fellow label artists like Ronnie Lovejoy and Robert "Duke" Tillman.
Reviewers highlight the album's authentic blues track "Bartender Blues," which is described as truly embodying the genre.
A key addition to this release is a duet version of "Three People (Sleeping in My Bed)" featuring vocals by Lynn White.
Overall, the album is appreciated by fans of deep soul and blues for its solid tracks and cohesive sound, despite the fact that many songs had appeared on earlier, less widely distributed recordings.
Be Thankful For What You Got
Bass – Hugh McDonald
Drums – Al Price
Engineer, Mixed By – Carl Paruolo
Guitar – Pal Rakes
Written-By – William DeVaughn 5:35
A2 We Are His Children
Bass – Hugh McDonald
Drums – Al Price
Engineer – Carl Paruolo
Guitar – Pal Rakes
Mixed By – Doug Fern
Written-By – William DeVaughn 5:14
A3 Blood Is Thicker Than Water
Bass – Hugh McDonald
Drums – Al Price
Engineer, Mixed By – Carl Paruolo
Guitar – Pal Rakes
Written-By – Pal Rakes, Russ Faith 7:19
A4 Kiss And Make Up
Bass – Hugh McDonald
Drums – Al Price
Engineer – Carl Paruolo
Guitar – Pal Rakes
Mixed By – Doug Fern
Written-By – William DeVaughn 2:48
B1 Be Thankful For What You Got
Arranged By [Arranging Assistance] – Allan Felder
Bass – Rusty Jackman
Drums – Earl Young
Engineer, Mixed By – Joe Tarsia
Guitar – Bobby Eli, Norman Harris
Written-By – William DeVaughn 7:12
B2 Sing A Love Song
Bass – Hugh McDonald
Drums – Al Price
Engineer, Mixed By – Carl Paruolo
Guitar – Pal Rakes
Written-By – Frank Fiorvanti, William DeVaughn 3:26
B3 You Can Do It
Bass – Hugh McDonald
Drums – Al Price
Engineer, Mixed By – Carl Paruolo
Guitar – Pal Rakes
Written-By – William DeVaughn 3:38
B4 Something's Being Done
Bass – Hugh McDonald
Drums – Al Price
Engineer – Carl Paruolo
Guitar – Pal Rakes
Mixed By – Doug Fern
Written-By – William DeVaughn 3:44
Label: Roxbury Records – RLX 100
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Philly
William DeVaughn's 1974 debut album, Be Thankful for What You Got, is widely considered a soul classic, though many critics and fans note the rest of the album struggles to match the iconic status and quality of its massive title track. The album is a quintessential piece of Philadelphia soul, featuring the legendary MFSB session musicians.
The song "Be Thankful for What You Got" is universally lauded as a sublime, enduring soul hit with an uplifting, socially conscious message, often compared to the work of Curtis Mayfield. Its lyrics ("Diamond in the back / sunroof top / diggi'n the scene with a gangsta lean") are among the most famous couplets in R&B history. The single was a huge commercial success, selling nearly two million copies and reaching number one on the US Billboard R&B chart.
Reviews of the full album are more mixed. Some consider the entire record to be a superb, laid-back listen that perfectly captures the "Philadelphia Soul signature" with rich arrangements and a great groove. However, a common criticism is that the other tracks are often "one-note" or feel like rewrites of the title track, lacking variation. The general consensus is that while the album is solid and well-produced, the monumental shadow of its hit single makes the rest of the content seem merely "okay" by comparison.
The album is praised for its production quality, recorded at Sigma Sound Studios with members of MFSB, providing a smooth and rich sonic experience. The long track lengths (many over five minutes) are noted for their deep grooves and intricate arrangements.
Despite its uneven critical reception as an album, the impact of the title song has made the record an important artifact for soul music aficionados. The song has been extensively covered and sampled by artists across genres, including Massive Attack, N.W.A., and Arthur Lee & Love, cementing its lasting cultural relevance.
Overall, the album is a must-have for fans of 1970s soul and R&B, primarily for its brilliant title track and the strong Philly soul production throughout, showcasing DeVaughn as a unique voice in soul music with impeccable Philly Soul backing.
Bingo
Arranged By – Norman Harris
Producer – Baker, Harris, Young, Sigler
Written-By – Allan Felder, Bunny Sigler, Norman Harris 3:15
A2 Someone's Waiting
Arranged By – Norman Harris
Producer – Baker, Harris & Young Productions, Inc.
Written-By – Allan Felder, Bunny Sigler, Norman Harris 3:37
A3 Will You Be Mine
Arranged By – Ronald Baker
Producer – Baker, Harris & Young Productions, Inc.
Written-By – Norman Harris, Ronald Baker 3:37
A4 Little Red Riding Hood
Arranged By – Ronald Baker
Producer – Baker, Harris & Young Productions, Inc.
Written-By – Allan Felder, Bunny Sigler, James Sigler 3:40
A5 Bingo
Arranged By – Norman Harris
Producer – Baker, Harris & Young Productions, Inc.
Written-By – Allan Felder, Bunny Sigler, Norman Harris 5:19
B1 Once More With
Arranged By – Ronald Baker
Producer – Baker, Young & Harris Productions, Inc.
Written-By – Ronald Baker 3:22
B2 God Gave Me Everything
Arranged By – Norman Harris
Producer – Baker, Harris, Young, Bunny Sigler
Written-By – Allan Felder, Bunny Sigler, Norman Harris 3:56
B3 Where There Is Love
Arranged By – Bruce Hawes, Talmadge Conway
Producer – Bruce Hawes, Charles Simmons
Written-By – Bruce Hawes, Charles Simmons, Joseph B. Jefferson 3:53
B4 What More Can A Girl Ask For
Arranged By – Norman Harris
Producer – Baker, Harris & Young Productions, Inc.
Written-By – Allan Felder, Norman Harris 3:40
B5 Don't Take Your Love
Arranged By – Ron Kersey
Producer – Baker, Harris & Young Productions, Inc.
Written-By – Allan Felder, Bunny Sigler, Ron Kersey 3:00
B6 Broken Home
Arranged By – Vincent Montana
Producer – Baker, Harris & Young Productions, Inc.
Written-By – Allan Felder, Norman Harris 3:28
Label: Janus Records – JXS-7006
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Philly Soul
Bingo, the fourth album by The Whispers, is widely considered a "hidden gem" and arguably the best album of their early career. It is praised by critics and fans for its strong Philly Soul sound, lush arrangements, and the group's "peerless" vocal performances.
The album is lauded as a high point in the group's catalog that unfortunately suffered from a lack of promotion upon its initial release, preventing it from achieving the commercial success it deserved.
The move to Philadelphia for production resulted in a lush, string-drenched sound featuring the legendary M.F.S.B. house band (Baker, Harris, Young rhythm section, Vince Montana Jr. on vibes, etc.). This musical backdrop is described as "soulful and jazzy" and a "potent musical partnership" with The Whispers' vocals.
Reviewers highlight the group's "tight, tender and thankful harmonies" and the "power, passion and sincerity" of the lead vocals, noting a "vocal masterclass" on tracks like "God Gave Me Everything".
User reviews describe the album as a "well rounded release" for any 70s soul/funk fan, with "smooth and moody tunes" and a "big studio sound" that make it enjoyable and timeless.
Specific songs consistently receive praise, including "A Mother For My Children" (an "uptempo start" with "hurt and despair" in the vocal), the moving and dramatic "Someone's Waiting," and the joyful "Where There Is Love," an "infectiously catchy slice of Philly Soul".
Overall, Bingo is highly regarded as an album of immense quality and an essential listen for fans of The Whispers or 1970s R&B and Soul music.
Catch A Fire
A2 Slave Driver 2:53
A3 400 Years 2:45
A4 Stop That Train 3:55
A5 Baby We've Got A Date (Rock It Baby) 3:56
B1 Stir It Up 5:32
B2 Kinky Reggae 3:36
B3 No More Trouble 3:51
B4 Midnight Ravers 5:09
Written by Bob Marley (tracks: A1, A2, A5 to B4), Peter Tosh (tracks: A3, A4)
Label: Island Records – ILPS-9241
Format: Vinyl, LP, Album
Country: UK
Released: 1973
Genre: Reggae
Style: Roots Reggae
Catch A Fire, the 1973 major-label debut for The Wailers on Island Records, is widely considered a foundational classic and one of the greatest reggae albums of all time. Critics acclaim it for its cohesive sound, powerful political messages, and its crucial role in bringing reggae to an international audience.
The album is monumental for popularizing reggae globally. Island Records founder Chris Blackwell added R&B and rock overdubs to the original Jamaican recordings to make the sound more accessible to American and English audiences, a decision that successfully transformed the genre's commercial prospects.
The record features a polished yet raw sound, blending the core Wailers' tight rhythm section (the Barrett brothers) and rich harmonies with progressive lead guitar work and keyboard embellishments from session musicians. The music is described as tough-minded and articulate, mixing anger and frustration with joy and hope.
The lyrics are a heartfelt mix of personal and political statements.
Political songs like "Slave Driver" (where the album title's phrase "Catch a Fire," meaning "burn in hell," originates) and Peter Tosh's "400 Years" and "Stop That Train" address themes of oppression, slavery, and social injustice.
Love songs such as the hit "Stir It Up" (written by Marley, but a hit for Johnny Nash first) and "Baby We've Got a Date" provide a more mellow, laid-back contrast.
While often associated primarily with Bob Marley, reviews highlight the significant contributions of all original members, especially Peter Tosh and Bunny Wailer (Livingston), who each take lead vocals on key tracks. It is the last album featuring the original Wailers trio before creative tensions led to Tosh and Livingston pursuing solo careers.
Catch A Fire is consistently ranked highly on "greatest albums of all time" lists, including Rolling Stone's 500 Greatest Albums of All Time. Its innovative production and potent songwriting are credited with creating a new market for reggae music.
The album has been reissued multiple times, with the Deluxe Edition (including a 2023 50th-anniversary version) being particularly praised for offering both the widely-released international mix and the less-produced, raw original Jamaican versions, providing different perspectives on the music's development.
The original 1973 pressing famously came in an iconic, expensive-to-produce cover shaped like a Zippo lighter, which has since become a collector's item.
Coming Back For More
Written-By – Paul Mitchell, William Bell 3:28
A2 If Sex Was All We Had
Written-By – Paul Mitchell, William Bell 6:19
A3 Relax
Written-By – James McDuffie, Paul Mitchell, William Bell 3:01
A4 You Don't Miss Your Water
Written-By – William Bell 5:03
A5 Malnutrition
Written-By – William Bell 3:06
B1 Coming Back For More
Written-By – Paul Mitchell, William Bell 3:15
B2 Just Another Way To Feel
Written-By – Paul Mitchell 6:05
B3 I Absotively, Posolutely Love You
Written-By – Paul Mitchell, William Bell 3:18
B4 I Wake Up Cryin'
Written-By – Burt Bacharach / Hal David 3:52
B5 You've Really Got A Hold On Me
Written-By – William "Smokey" Robinson 3:03
Label: Mercury – SRM-1-1146
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Southern Soul
Coming Back for More is a soul album by American singer William Bell, often noted as his commercial and artistic peak. It was released on the Mercury label and produced by Bell himself and Paul Mitchell.
Billed on its original release as Bell's comeback album, Coming Back for More showcases a distinct 1970s soul sound, moving away from his earlier Stax Records Memphis/Southern Soul style. The album is characterized by Bell's warm, soulful voice shining through tracks that mix traditional soul with funk influences and lush string arrangements.
The album's success was driven largely by its biggest single, "Tryin' to Love Two," which was his most commercially successful song and a Top 40 hit, reaching number 10 on the Billboard R&B chart. The album itself peaked at No. 63 on the Billboard 200 chart.
Most of the songs on the album were written by Bell and co-producer Paul Mitchell, and it also features remakes of his early Stax hit "You Don't Miss Your Water" and the Smokey Robinson classic "You've Really Got a Hold on Me".
Considered a strong entry in his catalog, a great representation of 70s soul, and a testament to Bell's lasting appeal as a soul singer, Coming Back for More is a beloved album for its blend of classic soul emotion with 70s production, solidifying William Bell's status as a timeless artist, especially for fans of melodic, heartfelt soul music.
Deliver The Word
A2 In Your Eyes 4:22
A3 Gypsy Man 11:35
B1 Me And Baby Brother 3:30
B2 Deliver The Word 7:48
B3 Southern Part Of Texas 6:22
B4 Blisters 2:21
Written-By – War [B3 Written-By Jerry Goldstein]
Label: United Artists Records – UA-LA128-F
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Jazz-Funk
Deliver the Word is a critically acclaimed 1973 album by War, praised for its seamless fusion of funk, soul, jazz, Latin, and rock. While some critics don't consider it their absolute best work (often ranking it below The World Is a Ghetto or All Day Music), it is a highly regarded, strong contender that solidified the band's commercial success.
The album is a prime example of War at their best, blending diverse musical styles into a cohesive, laid-back "low-rider" groove that is both experimental and highly effective.
Engineered by Chris Huston, the album is noted for its exceptional audio quality, featuring rich, punchy bass, clear instrumentation, and significant dynamic range. The musicianship of the integrated, multi-talented band is a consistent highlight.
Standout Tracks:
"Gypsy Man": An over 11-minute "sprawling epic" and fan favorite, it evolves from a simple beat into a relentless, conga-driven groove, showcasing Lee Oskar's harmonica and ensemble vocals. It's often cited as one of their best recordings.
"Me and Baby Brother": A classic, funky track and a studio recording of a live staple, praised for its rhythm and energy.
"Deliver the Word": The title track is a sublime, jazz-infused ballad that delivers social commentary along with a great tune.
The track "In Your Eyes" is occasionally mentioned as a weaker or "off-center" track due to a prominent synthesizer riff that some find annoying.
Deliver the Word successfully followed up the band's massive hit The World Is a Ghetto, becoming their third consecutive gold LP. It delivers a compelling vibe and a groove that is hard to resist, making it an essential listen for fans of funk and jazz-rock fusion. Many reviewers highly recommend the album for its immersive, rich sound experience, particularly on good quality vinyl pressings.
It’s Cool
2 Magic Man
3 If I Had My Way
4 Feelings
5 Tell Me When It Hurts
6 I Won't Remember Ever Loving You
7 Baby I Love Your Way
8 Someone Saved My Life Tonight
9 Got To Find Me An Angel
10 Come To Me
11 Open Up Your Heart
12 Unchained Melody
13 Love Woke Me Up This Morning
14 At Last
15 I Got It Bad Feelin' Good
16 Everything Must Change
17 If You Walked Away
18 Love Goes Out Of The Loving
Label: Charly Records – CHARLY 305
Format: CD, Compilation
Country: Europe
Released: 1992
Genre: R&B Soul
Style: Downtempo Soul
The 1992 album It's Cool by the late soul singer Walter Jackson is a compilation of previously recorded tracks rather than a new studio album. The available information indicates it is generally well-regarded by a small number of user ratings, with an average of approximately 4.7 out of 5 stars on platforms like Discogs.
Walter Jackson, a Chicago soul singer active primarily in the 1960s and 70s, died in 1983. The 1992 release on Charly Records is a post-mortem compilation featuring his characteristic soul ballads and smooth, powerful vocals. It includes a mix of his well-known songs and possibly some deeper cuts.
He is known as an "underrated artist" and a "Chicago soul singer with a sweet but powerful voice". Fans often praise his brilliant way with a song and his classic soul sound. The It's Cool compilation likely appeals to lovers of classic soul music who appreciate his signature ballad style and R&B chart hits from the 1960s and 1970s.
Overall, while not a new artistic statement from Jackson (due to his passing years earlier), the It's Cool compilation is valued by soul music enthusiasts as a quality collection of his work. On Discogs, the album holds a strong average rating, suggesting that fans of Jackson's work appreciate the collection.
It’s Too Late
A2 I'm Gonna Love You (R. Bateman 2:10)
A3 Baby Don't You Weep (F. Bridges, H. Smith 2:09)
A4 Peacebreaker (W. Pickett 2:37)
A5 I'm Down To My Last Heartbreak (D. Irwin, J. Willingham 2:49)
A6 R.B. Special (R. Bateman 2:26)
B1 I Can't Stop (W. Schofield 2:32)
B2 It'll Never Be The Same (Wallace 2:35)
B3 Baby Call On Me (D. Mancha 2:25)
B4 Give Your Lovin' Right Now (W. Witherspoon 2:25)
B5 It's Too Late (W. Pickett 3:03)
Label: Double-L Records – DL-2300
Format: Vinyl, LP, Album
Country: US
Released: 1963
Genre: R&B Soul
Style: Sixties Soul
It's Too Late is the debut solo album by American soul singer Wilson Pickett, released in 1963 on the Double L Records label. The album is a notable representation of Pickett's early work, showcasing his raw talent and powerful, gospel-influenced vocals before he achieved massive success with later hits like "In the Midnight Hour".
The album primarily features a mix of R&B and soul. The production is relatively simple and straightforward, with producers experimenting with different sounds, including a Motown feel on some tracks and a James Brown-like groove on the title track.
Pickett's emotive and powerful vocal delivery is the standout element, which foreshadowed his significant influence on countless artists in the soul and R&B genres.
It's Too Late captures Pickett's transition from the R&B group the Falcons to a solo career. While not as commercially successful as his later Atlantic Records releases, it is an influential album for fans and collectors of early soul music and paved the way for his future success.
The album opens with the smoldering ballad "If You Need Me", which became a moderate hit for Pickett and was also famously covered by Solomon Burke and the Rolling Stones. The title track, "It's Too Late," also became a significant R&B hit.
t's Too Late is seen as a testament to Pickett's early potential and a key album for fans of early R&B and soul. It helped pave the way for his subsequent signing with Atlantic Records and his rise to fame.
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Let Me Ride
Arranged By – Tom Tom 84
Written-By – L. Honore, T. Washington 1:32
A2 (So You Think) Somethin's Missin'
Arranged By – Tom Tom 84
Written-By – R. Bennett 2:19
A3 Win Or Lose
Arranged By – James Mack
Written-By – S. Dees 3:06
A4 Gimme Some
Arranged By – James Mack
Written-By – R. Bennett 3:32
A5 Feeling Like I Don't Belong
Arranged By – Tom Tom 84
Written-By – D. Butler 3:22
A6 Let Me Ride
Arranged By – James Mack
Written-By – R. Bennett 3:55
B1 Learnin'
Arranged By – Tom Tom 84
Written-By – C. Winbush, D. Butler, M. Butler, R. Bennett, R. Butler, S. Beasley 3:18
B2 Good Guys Don't Always Win
Arranged By – James Mack
Written-By – S. Dees 3:28
B3 Fool Or Your Man
Arranged By – James Mack
Written-By – S. Dees 3:21
B4 I've Got Mine
Arranged By – Tom Tom 84
Written-By – D. Butler 3:30
B5 If By Chance
Arranged By – James Mack
Written-By – D. Butler 5:24
Label: Chi Sound Records – CH-LA691
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk
Windy City's 1977 album Let Me Ride is an underrated "hidden gem" of Chicago soul/funk, praised by critics and crate diggers for its blend of polished production and raw emotion. It is the group's only album and has gained a cult following since its initial release on the Chi-Sound label.
Reviews highlight the album as a masterpiece of tension, seamlessly mixing sophisticated arrangements with a raw, gritty edge that feels more like an East Coast indie project than a typical polished Chicago record.
Subtlety and Emotion of The tracks, particularly the title track "Let Me Ride," are not designed to dominate the charts but to connect with the listener on a deeper, more emotional level. The album is filled with strong songwriting, arrangements, and incredible vocals that convey a wide range of emotions.
The music is a definitive document of the "pre-Go-Go" Washington D.C. sound, blending deep soul, R&B, and funk elements. Unlike looser, jam-heavy funk, the album is built on a rigid, percussive structure, showcasing a disciplined yet soulful approach.
Produced by respected industry executives Carl Davis and Otis Leavill, the album manages to keep the band's edge while still having a smooth, professional quality.
The album is often described as a "Holy Grail" for collectors and a quiet favorite among soul purists who appreciate music that reveals its depth upon close listening. It is often cited as being better than many more commercially successful soul/funk albums of the era.
Notable Tracks:
"Let Me Ride" The title track is noted for its yearning quality and open-ended hope.
"Windy City Theme (Introduction)" A well-known track often associated with DJ Norman Jay.
"Good Guys Don't Always Win" Another frequently mentioned standout track.
"Win or Lose" Highlighted as a key track by fans.
Overall, the album is highly regarded by soul and funk aficionados for its unique sound and emotional depth, a record that "doesn't need to shout to prove its worth". It is available on various vinyl and digital reissues.
Love Wars
Electronic Drums [Linn Drum] – Art Wood 5:58
A2 Express Myself
Percussion – Paulinho Da Costa
Written-By – Friendly Womack II 4:52
A3 Baby I'm Scared Of You 5:38
Written-By – Cecil Womack and Linda Womack
A4 T.K.O.
Lead Vocals – Curtis Womack
Written-By – Eddie "Gip" Noble 4:14
B1 A.P.B.
Bass – Nathan East
Written-By – Friendly Womack, Sr. 5:31
B2 Catch And Don't Look Back
Keyboards – Denzil Miller
Written-By – Naomi Womack 5:26
B3 Woman
Percussion – Paulinho Da Costa 4:17
B4 Angie
Written-By – Keith Richards, Mick Jagger 2:55
B5 Good Times
Written-By – Bobby Womack 3:06
Label: Elektra – 9 60293-1
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul
Style: Eighties Soul, Funk
Love Wars (1983) is the iconic debut album from the husband-and-wife duo Womack & Womack, a warm, soulful R&B record blending deep soul with 80s textures, featuring the hit title track, the gritty "Baby I'm Scared of You," and their take on Cecil's "TKO," offering sophisticated, heartfelt songs often compared to Ashford & Simpson with a unique Womack family touch, hailed as a critical favorite and a classic.
A fusion of classic deep soul, contemporary R&B, with subtle 80s electronic elements, providing a rich, warm backdrop to their passionate vocals.
Explores love and relationships with depth, featuring soulful duets and personal storytelling, notes BBC.
Notable Tracks:
"Love Wars": The gospel-infused, synth-accented title track.
"Baby I'm Scared of You": A funky, dramatic duet.
"T.K.O.": A powerful version of Cecil's hit originally for Teddy Pendergrass.
"Express Myself": Features a preacher-style intro and soulful delivery.
Produced by Stewart Levine with a talented lineup including Neil Larsen, James Gadson, and Nathan East, it's ranked highly by publications like NME, praised for its consistent quality across all tracks, and remains a beloved staple of soul music.
The album and its singles, especially 'Love Wars', were particularly popular and influential in the UK.
In essence, Love Wars is celebrated as a richly authentic, emotionally resonant soul masterpiece that uses contemporary production to serve timeless songwriting and performance, making it a must-listen for soul music fans.
Miz Lena’s Boy
Written-By – Shapiro, Pickett 2:52
A2 Memphis, Tennessee
Written-By – Berry 3:50
A3 Soft Soul Boogie Woogie
Written-By – Goodman, Seals, Jennings 2:37
A4 Help Me Make It Through The Night
Written-By – Kristofferson 3:00
A5 Never My Love
Written-By – D. Addrisi, D. Addrisi 4:26
B1 You Lay'd It On Me
Written-By – Shapiro, Covay, Pickett 3:16
B2 Is Your Love Life Better
Written-By – Raleigh, Fox 3:15
B3 Two Women And A Wife
Written-By – Shapiro, Pickett 2:45
B4 Why Don't You Make Up Your Mind
Written-By – Shapiro, Pickett 2:45
B5 Take The Pollution Out Your Throat
Written-By – Shapiro, Pickett 2:45
Label: RCA Victor – APL1-0312
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style:
Seventies Soul, Funk
Wilson Pickett's Miz Lena's Boy is a funky, gritty RCA album showcasing his return to raw soul, featuring hard-hitting tracks like "Iron It Out" and bluesy ballads like "I Was Too Nice," alongside interesting covers (a jazzy "Memphis, Tennessee") and passionate performances, solidifying his powerful, consistent delivery even in his 70s era.
It's considered one of his funkiest 70s albums, digging back into his powerful, raw soul style. Tracks like the brass-driven "Iron It Out" and the bassline-heavy "Take a Closer Look at the Woman You're With" highlight his energetic funk.
Pickett delivers deeply emotional blues ballads, with "I Was Too Nice" being a standout, featuring horns and organ, reminiscent of his earlier hits.
Co-arranged and co-produced by Brad Shapiro and Pickett in Nashville, the album has a raw, funky sound that one source vividly describes as everything Pickett sings sounding like it was "soaked in grits and bacon fat"
The album includes covers such as an edgy take on The Association's "Never My Love," a bizarre jazz-fusion "Memphis, Tennessee," and a fiery "Help Me Make It Through the Night".
Like many of his later works, it features strong musicianship, likely with Muscle Shoals session players, keeping pace with Pickett's intense delivery.
While maybe more a collection of great tunes than a concept album, it's praised for Pickett's usual high level of skill and passion.
Overall: Miz Lena's Boy is a strong entry in Pickett's discography, capturing his signature gruff voice and soulful power with plenty of funk and blues, making it a rewarding listen for fans.
Musical Massage
A2 Instant Love (Jackie Hilliard, Leon Ware 3:27)
A3 Body Heat (Bruce Fisher, Leon Ware, Quincy Jones, Stan Richardson 4:50)
A4 Share Your Love (T-Boy Ross, Leon Ware, Pam Sawyer 3:30)
A5 Holiday (Leon Ware 3:25)
B1 Phantom Lover Jackie Hilliard, Leon Ware 3:52)
B2 Journey Into You (Leon Ware, Terri McFaddin 4:04)
B3 Musical Massage (Leon Ware 3:47)
B4 French Waltz (Leon Ware 2:02)
B5 Turn Out The Light (Leon Ware, Minnie Riperton, Richard Rudolph 4:01)
Label: Gordy – G6-976S1
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Motown
Leon Ware's Musical Massage is a 1976 soul album praised as a sensual, sensual masterpiece and a cult classic that was overshadowed by Marvin Gaye's I Want You, for which Ware was a key songwriter. The album is noted for its smooth, lush orchestrations, Ware's velvety vocals, and a luxurious, funky sound that is often compared to Gaye's work, but with a distinct and equally compelling quality. Key tracks include "Body Heat," "Instant Love," and the title track, "Musical Massage".
The album is a prime example of 1970s soul, with a sensual, luxurious feel driven by plush string arrangements and a tight rhythm section featuring musicians like James Gadson and Chuck Rainey. It's often described as both seductive and funky.
Ware's vocals are smooth and captivating, often compared to Marvin Gaye's, though with his own distinct and mellifluous tone. He is also accompanied by a female choir and features duets with Minnie Riperton and Bobby Womack.
Musical Massage was recorded shortly after Ware helped shape Marvin Gaye's I Want You, and the two albums share a similar vibe, with many songs from Musical Massage originally intended for the Gaye project. Ware's album was released to little fanfare, possibly due to its similarity to Gaye's more commercially successful album.
Despite its initial lack of commercial success, Musical Massage has gained a dedicated following over time and is now recognized as a cult classic and a watermark for both Ware and Motown.
Phases Of Reality
A2 True Love Don't Come Easy (Harold Beane, William Bell 2:49)
A3 Fifty Dollar Habit (Horace Shipp, Jr., William Bell 3:33)
A4 What I Don't Know Won't Hurt Me (George Soule, Steve Wiggins 3:44)
B1 Phases Of Reality (William Bell 3:09)
B2 If You Really Love Him (George Soule, Terry Woodford 3:57)
B3 Lonely For Your Love (William Bell 2:45)
B4 The Man In The Street (Horace Shipp, Jr., William Bell 2:56)
Label: Stax – STS-3005
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Southern Soul
William Bell's 1972 album, Phases of Reality, is a Southern Soul masterpiece, noted for its thoughtful themes and Bell's understated yet powerful vocal delivery.
While not as widely remembered as it should be, the album is lauded for its perfect execution of great songs that tackle social consciousness alongside themes of love and pain, though its quirky, sci-fi-influenced cover was unusual for its time.
The Stax Records release is considered one of Bell's finest, characterized by a sound that sometimes leans towards the smoother style of Al Green and Hi Records.
The album explores life, love, pain, and the state of African-Americans in the early 1970s. Some songs have a specific social consciousness focus.
Critics praise Bell's ability to deliver subtle, thoughtful songs with emotional tenderness and "fire," despite being a less assertive vocalist than some of his peers.
The sound is rooted in Southern Soul, but with stylistic comparisons to Al Green and Hi Records due to its production and arrangements, notes Funk My Soul.
It was recorded in Muscle Shoals and features the Sweet Inspirations on the track "True Love Don't Come Easy," a notable mix of country and soul.
Despite its quality, the album is often underappreciated. It was Bell's final Stax album before the label closed.
Speak Her Name
A2 Tear For Tear 2:30
A3 Not You 3:40
A4 After You There Can Be Nothing 2:45
A5 They Don't Give Medals (To Yesterday's Heroes) 2:41
B1 A Corner In The Sun 2:30
B2 My One Chance To Make It 2:43
B3 She's A Woman 2:27
B4 I'll Keep On Trying 2:20
B5 It's An Uphill Climb To The Bottom 2:49
Label: Okeh – OKS 14120
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul
Walter Jackson's Speak Her Name (the 1967 OKeh album, part of Ace/Kent's reissue trilogy) is hailed as a peak for the smooth, opulent soul baritone, blending sophisticated uptown soul with poignant Tin Pan Alley covers like "It's An Uphill Climb To The Bottom" and "A Corner In The Sun," showcasing his luxurious voice, powerful emotion, and rich arrangements, making it essential for soul fans despite its original album status being overshadowed by his hit singles.
Jackson's voice is described as a "luxuriously opulent and caressingly smooth" baritone, perfect for deep, emotional soul. The album features his signature smooth soul alongside covers of pop standards, adding depth with songs like "They Don't Give Medals To Yesterday's Heroes".
This album captures the finest of his OKeh recordings, considered by many to be his most significant work, compiled brilliantly by Tony Rounce.
The compilation Speak Her Name: The OKeh Recordings Vol 3 is praised for unearthing these gems and adding previously unissued tracks, solidifying Jackson's legacy as a great soul vocalist.
Speak Her Name is considered a masterpiece of soulful vocal performance, proving Walter Jackson was one of soul's most gifted singers, delivering poignant, beautiful music that stands the test of time.
The Bottom Line
A2 I Don't Do Windows 2:21
A3 That's The Way I Feel About Cha 4:24
A4 Your Good Thing Is About To End 4:56
A5 Let's Straighten It Out 3:47
B1 I Don't Know Why 3:19
B2 No Easy Way To Say Goodbye 4:00
B3 A Little More Time 5:22
B4 Since You Left These Arms Of Mine 3:41
B5 A Long Road 2:31
Label: Hi Records – HLP 6008
Format: Vinyl, LP
Country: US
Released: 1978
Genre: R&B Soul
Style: Southern Soul
The album generally receives positive reviews for its authentic soul sound, especially for a late-1970s release when disco was prevalent.
Critics consistently highlight Wright's exceptional vocal performances, noting his gospel roots, emotional delivery, and confidence that makes each song feel deeply personal.
Willie Mitchell's production work at the Hi Records studio is considered masterful, creating a "timeless quality" with a full band, seven-person horn section, and a string section, while still maintaining minimalism that keeps the focus on Wright's voice.
Standout tracks often mentioned include the title track, the upbeat "I Don't Do Windows," the powerful cover of "Let's Straighten It Out," and the emotional "No Easy Way To Say Goodbye".
Reviews often break down key songs:
"The Bottom Line" (title track): A strong, slow opening track with a classic Hi Records sound, showcasing Wright's powerful voice.
"I Don't Do Windows": The album's main up-tempo number, described as a "smart and sassy riot" and one of the best-known songs on the album.
The album features several covers:
"That's the Way I Feel About Cha" (Bobby Womack cover): Generally viewed as a commendable version, though some find Womack's original slightly better suited to his voice.
"Your Good Thing Is About To End" (Isaac Hayes/David Porter cover): An interesting, emotion-packed version with strong backing vocals.
"Let's Straighten It Out" (Benny Latimore cover): Often cited as the best of the covers, where Wright "really lets loose" and delivers a song with "deep blues foundation and a dark gospel urgency".
"A Little More Time": A poignant track that pays tribute to late musicians like Sam Cooke, Otis Redding, and Elvis Presley. The lyrics have been noted as slightly weaker than other songs, but the emotional build-up is powerful, especially given Wright's own death shortly after the album's release.
Overall, The Bottom Line is considered a must-have for fans of southern soul and deep R&B. It is an album that expertly balances ballads and up-tempo tracks, highlighting O.V. Wright's raw, passionate voice and Willie Mitchell's refined production skills. Despite never achieving massive commercial success at the time, it has developed a strong reputation and is praised as one of the best records of Wright's career, particularly his work with Hi Records.
Tomorrow
A 2 Tomorrow 4:12
A 3 You Just Don't Wanna Be Loved 4:20
A 4 Uphold Me 4:05
A 5 Everything You Touch Is A Song 5:20
B 1 Love Is A Spirit 4:40
B 2 Bring Back The Days Of Yea And Nay 4:45
B 3 Lord I Believe 3:53
B 4 Trust In God 4:15
B 5 Golden Opportunity 4:19
(All tracks were written by Marvin Winans.)
Label: Light Records – LS 5853
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Gospel
Style: Soul, Gospel
Tomorrow, released in 1984 on Light Records, is the debut album by the American contemporary gospel quartet The Winans. It is considered a groundbreaking album in the gospel genre for its upbeat and contemporary R&B sound, earning The Winans the description of "Gospel Music's first 'boy band'".
The album was commercially and critically successful, with the title track winning a Grammy Award for Best Soul Gospel Performance by a Duo, Group, Choir or Chorus in 1985.
The album blends traditional gospel messages with a modern, urban sound, which helped it crossover into mainstream music charts. The lyrics, particularly on the title track, convey powerful messages about the urgency of accepting faith and making positive life choices today, as "tomorrow is not promised". Other songs address themes of God's grace, personal restoration, and the simplicity of faith.
Wade Flemons
Written-By – Grant, Oliver 2:18
A2 Easy Lovin'
Written-By – J. Stone 2:16
A3 Too Long Will Be Too Late 2:09
Written-By – O. Blackwell
A4 It's So Much Fun
Written-By – Benton, Otis 1:57
A5 Slow Motion
Written-By – O. Blackwell 2:04
A6 Goodnite It's Time To Go
Written-By – C. Carter, J. Hudson 2:03
B1 Here I Stand
Written-By – W. Flemons 2:20
B2 Don't Be Too Careless 2:12
Written-By – Staples
B3 What's Happening 2:19
Written-By – W. Bisson
B4 Purposely
Written-By – B. Williams, J. Lee 2:14
B5 The Angels Will Tell You
Written-By – B. Middleton, J. Lee 1:47
B6 The Baby Likes To Rock 2:28
Written-By – W. Flemons
Label: Vee Jay Records – LP 1011
Format: Vinyl, LP, Album, Mono
Country: US
Released: 1959
Genre: R&B Soul, Blues
Style: Soul, Rhythm & Blues
Wade Flemons' 1959 self-titled debut album is a seminal work of early R&B and Chicago soul, released by the legendary Vee-Jay Records.
The album captures Flemons' unique, "soothing" vocal style, which was noted for its warmth and emotional depth. The music is a blend of R&B, soul, and gospel influences, typical of the late 1950s Chicago scene.
The recordings featured his backing band, The Newcomers. Notably, a young Curtis Mayfield provided guitar work on specific tracks (such as "Goodnight, It's Time to Go").
The album includes his breakthrough single "Here I Stand," which reached No. 19 on the Billboard Hot Soul Songs chart. Another significant track is "Easy Lovin'," which became a Top Ten R&B hit.
While Flemons is often remembered for being a founding member and original lead singer of Earth, Wind & Fire in the early 1970s, this 1959 album established him as a significant solo artist in the late 1950s. Collectors value original pressings, often identifiable by the maroon Vee-Jay label.