The Temptations - 1990 - 1973 - Gordy

1990 was the last album which the Temptations liaised with the late, great Norman Whitfield. The single release, "Heavenly" deserved to be a huge smash for the guys but due to Berry Gordy not acknowledging the input of US DJ's in the support of Motown at the AMA's it was boycotted and the single stalled. One would have thought that by now the public would have known about the group and would listen for themselves...sadly this public malaise still operates today and ensures that the real talent which doesn't get promotion falls to the side and the latest TV talent show wailer gets top billing and top sales. Criminal. Still, we know wheat's what don't we and tracks such as "Heavenly" did not come under our radar screens. Whitfield, as we know, was soon to move onto a lucrative deal with Warner Brothers and his own Whitfield label, taking from Motown the Undisputed Truth and introducing us the huge Rose Royce. Incidentally, on this album the backing music comes from not only the Funk Brothers but also...Rose Royce!

I have 2 favourites on this album - the aforementioned "Heavenly" and the epic-length "Zoom". The single release, "Heavenly" is CLASSIC Temptations in a "Just My Imagination" kind of way, and on this song the lead on this item is Ex-Monitors vocalist Richard Street who gives a very competent and sweet 70s styled performance. An excellent singer, I would like to see something by way of a solo album from him. The squeezebox, strings and full orchestration combine with Richard to create a very special sound indeed. "Zoom", on the other hand is sheer magnificence! Fourteen minutes of psychedelic soul, a real piece of extravagant self-indulgence for Mr. Norman Whitfield, but so what?! I love his style and tracks like this are Epic even by today's standards. On the cut the theme are UFOs, a theme that Norman would return to a lot with the Undisputed Truth on their "Higher Than High" album. Not dissimilar in style from the classic sounds laid down on "Masterpiece" and "All Directions" this is a real treat. Bass vocalist Melvin Franklin counts down and allows Dennis Edwards to let his soulful vocal tear strips and the combined Temptations are heaven with their perfect harmonies. Add dramatic strings, wah-wah guitar, harp and funky bass line then the song is a real winner. I also like other funky efforts such as "Let Your Hair Down" and "You've Got My Soul On Fire". This is CLASSIC early 70s Temptations and thanks to Hip-O for releasing it on CD.

Barry Towler
The Vibe Scribe

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Johnny Mathis - I'm Coming Home - 1973 - Columbia

Johnny Mathis is not, perhaps, a name that immediately springs to mind when quality soul music is the topic of discussion. This artist is, whatever your musical persuasion, unquestionably one of the all-time greats and unarguably master of his field. His career spanning right back to the 1950s is one that 99.9% of singers could only dream about and what I find most enduring and appealing about the man is that he is what he is - an unashamed balladeer; a crooner who states himself on this great album that “I Just Wanted To Be Me”. He does not change his style to suit current trends - and he only does what he can do best - and that is to perform 100%. Now, by your reading this you possibly think that I own all that you can by the man. Wrong! I appreciate his other so-called ‘easy-listening’ material for what it is but I own but three albums, two of which produced by Thom Bell and Linda Creed, the other being “A Special Part Of Me”, Columbia, 1984 - see review). The reason that I own these albums is simply as they're soulful and darn essential. Thom Bell is, in my opinion, a GOD, a GENIUS and someone who I sorely wish would return to the recording studio. I know the great man is happy at home and keeping out of the recording studio but I long for the day that he makes a comeback. Recent rekindled interest in 2003 with Elton John’s superb “Are You Ready For Love” here in the UK sadly did not provide us with some reissues of Thom’s past glories, but I am so grateful to own a proper reissue of this album from 1973 (it was re-issued in the UK in 1989 on Pickwick with the title “I’m Stone In Love With You”). Not many soul lovers are aware of this album, nor perhaps would have bothered with it.

I was rather amused to hear a radio DJ getting very excited about “A Baby’s Born” when covered by James Ingram back in 1993. He did not know that it was a cover til alerted, and so this is why I make some noise about this CD today. If you love the lush, orchestrated Philly sound of Thom Bell and his work with The Stylistics, Dionne Warwick, The Spinners, New York City, Deniece Williams, Dee Dee Bridgewater and so on are to your liking then you will definitely want to own this CD. Johnny’s cool pitching and phrasing are perfectly symbiotic with Bell’s lush orchestration. They fit each other hand in glove, and Johnny’s takes on the Stylistic’s classics “I’m Stone In Love With You” and “Stop, Look, Listen (To Your Heart)” are just out of this world. There is not one track here that I cannot recommend with all my heart. Frankly, this is a special, special album to me and songs such as “I’d Rather Be Here With With You”, “And I Think That’s What I’ll Do”, “Life Is A Song Worth Singing” and “A Baby’s Born” are in my list of all-time favourites. The latter song is breathtakingly written. Its lyrics are not only though provoking but are, simply put, beautiful. James Ingram covered this song magnificently, too - again at the hands of Thom Bell, but it is this song that has to be my favourite. Bell’s classical instruction and sensibilities are strongly woven into the melody; Mathis’ vocals just add the icing to the cake.

“And I Think That’s What I’ll Do” is a teasing, clever, song about being torn between two loves - teasing in the way that Johnny muses his way through the song. By the end of the song we are left completely left in the dark to whom he chooses. This is a point to think about - the lyrics on not just this lovely CD, but the beautiful soul music from that era, left a lot to the imagination; nothing was sordid or blatant. Here, in this instance we are left feeling that we are having a privileged insight into the singer’s mind. Today, so-called R&B stars will simply swear, use bad language and innuendo and leave nothing to the imagination. I daren’t even want to think about the crass videos they make. Utter garbage. Gone is subtlety. Take the well-crafted subject of onanism in Smokey Robinson’s “I’ve Made Love To You A Thousand Times”, or love-making in “Cruisin’” and gone is such storytelling, as in this tale of a divided, torn heart. “Life Is A Song Worth Singing” is a dramatic number; the most uptempo selection on offer and Johnny performs like the professional that he is. This was, of course, later covered by Teddy Pendergrass, but it is this version that I always want to come home to: the original and the best. “I’m Coming Home”, if you love the Thom Bell / Philly sound as much as I, will leave you with moist eyes and a lump in the throat. Much simpler, cleaner and less complicated times for soul music. How I miss them.

Barry Towler
The Vibe Scribe

Leon Ware - The Education Of Sonny Carson OST - 1973 - United Artists

A much sought-after album, and one that EMI really should thing about adding to iTunes Plus. Fetching a tidy sum, this album is Leon Ware's second solo foray, and first and last soundtrack effort. Mostly known and loved for the beautiful "Girl, Girl, Girl" cut - of which a ropey version appeared on the recent Leon Ware and Friends compilation - it is important to know that there are many other worthwhile cuts on this album. The album consists of vocal cuts and fantastic cinematic instrumentals - better and more soulful than your parodaic run-of-the-mill blaxpoitation films of the period. I shall start of with "Where Do I Go From Here", a superb vocal track with Leon pitched against a lonesome piano at the offset, but soon matched with a phenomenal musical array that reminds me of Dexter Wansel and Todd Rundgren all in one go. This is a blinding track and one that should be equal with "Girl, Girl, Girl". That track, though with it's french horns and warm, summery bassline is simply a dream track and well worth a place on any compilation of the Great Man.

The interlude "The Robbery And The Chase" is not as hectic as you would imagine, and the percussion including some great bongo work reminds me so much of his work for Motown in the mid 70s. Brilliant. The swirling strings and funky wah-wah guitar give urgency and pace and it isn't til the horns punch in that the urgency is felt more keener. Here, tempo is used to great effect. The same can be said of "Exercise Run", an almost avant-garde jazz affair crammed with bursts of drama. "Daydreams" is a track to take you by surprise. It is a classic piece of music that could even be used for meditative purposes - check out the beautiful works of Llewellyn and this is not far removed. The flute and gentle piano is very soothing and dare I say it - almost New Age! The breathy "Please Be There" brings back Leon Ware to the forefront, and the gorgeous sax here is undeniably satisfying and sexy. A gorgeous track - with the most unlikely title - is "The Junkies". This string-laden beauty of a track allows the flute and percussion to gently cushion Leon's vocals dreamily. In reflection you can hear the roots of Marvin's "I Want You" set, and Leon's own "Musical Massage" set. And all this in 1973!

Barry Towler
The Vibe Scribe

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