One of the fundamental pillars of the passage of gospel, rhythm & blues, blues (in the case of Bland) and jazz to soul (they are still communicating vessels these styles, or if not, think of how many singers early in the gospel, even at the dilettante, it would uncover the soul) as it can be Ray Charles, this coming from the rhythm & blues or Sam Cooke (gospel). The three had match points, but were found in a common goal. Bland had been one of the monsters of Beale Street, coteneo BB King, Albert King, Rufus Thomas and Johnny Ace.
The album is very sophisticated, with a profusion of strings and brass arrangements, to anything like the gritty blues that we associate with names like Muddy Waters or Howlin 'Wolf (not to mention the early blues of Robert Johnson or Skip James) with similarities with the period "crossover" of a Ray Charles (his time at RCA), as criticized by aladides of purity and other Memec. These advocates of black for the mere fact of being something exotic and pure for them, they realize they fall into a very sui generis racism with the posttest thought enough to tell a black musician that music can touch and what not. I think integrals as the critical memos specializes in soul Luis Lapuente, which would serve to illustrate this trend.
opens with the song that gives title, a number of Southern soul but, as I said, more sophisticated than it may sound on a recording of the Stax (to quote the epitome of southern seals), but even so is far from eg the experiment UNUSUAL "Drowning In The Sea Of Love" (1972), Joe Simon, who is the improbable immersion of a raw vocal sound territories next to Philly (precursor of the disc) and Marvin Gaye and Leon Ware silkier. Below a classic "Cry Cry Cry" which shows Bobby's secret weapon, the black deep voice, manly and powerful, which is torn to, unusual permeate the song of the fragility of the rejected lover impotent. "Do not cry no more" is a catchy and rhythmic number that contrasts their greater optimism and cheerfulness with leading ringing. In the songs of this album can be seen from where I get part of their Van Morrison-style vocals. Which would become even more evident when we listened version of "Turn on Your Love Light" Bobby and compare them with the magnificent recreation of Van in front of Them. The strings and choirs argentiferous their way into "Lead me on" another classic, where the booming voice of Bobby implores his beloved to guide you. This is followed by a jack, "I pity the fool" with that great moment with his voice cracking between the lashes in staccato of metals.
The atmosphere is relaxed and becomes intimate to "I've just got to forget you" before another exhibition throat to the limit in "Little boy blue" . An excellent version of the classic "St. James Infirmary" leads to "I'll take care of you" and minimalist organ. Masters and type of similar feelings in her that dumps "Lead me on" . As a curiosity, given name and appeared versioned disk versions of Mark Lanegan. The festive "I do not want no woman" offers a respite to both drama and closing, another melancholy number of "I've been wrong so long" . In short, a superb album, ideal to combine with "At last!" (1961) by Etta James.
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