Paul Simon expands his catalog of jazz-, soul- and gospel-inflected pop
After a lengthy world tour and live album (Live Rhymin’), Paul Simon returned in 1975 with his third post-Simon & Garfunkel studio album. Simon’s comfort with his solo stardom is signaled in part by the return of Art Garfunkel for the album’s top-ten “My Little Town.†He also shares the microphone with Phoebe Snow and the Jessy Dixon Singers (the latter of whom had toured with Simon in ’73 and ‘74) on “Gone at Last.†On the other hand, the cover photo of a mustachioed and behatted Simon suggests some lingering insecurity, if only with his long-thinning pate; perhaps it was the final dissolution of his marriage (which was grist for several songs on 1972’s Paul Simon) that instigated the physical changes.
With Paul Simon having licensed his early solo catalog to Sony, the Legacy branch has taken the opportunity to reissue four key titles on their original Columbia label. Of the four (which also includes Paul Simon, There Goes Rhymin’ Simon and Still Crazy After All These Years), this 1974 live album is the only one to get a fresh remastering (by Dan Hersch at D2 Mastering) and the addition of two previously unreleased bonus tracks. Given that this is the least consequential of the four albums, it’s a good marketing move to make it the sole title to be updated. Coming off two commercially and artistically successful solo albums, Simon hit the road for a series of solo shows that included the Brazillian group Urubamba and the gospel Jessy Dixon Singers.
The Staple Singers make their biggest hits and best album
The Staple Singers had been a together for nearly two decades when they landed at Stax in 1968. They’d recorded old-school spirituals for Vee Jay and folk-influenced sides for Riverside before finding a new direction with the Memphis soul powerhouse; not only did the Staples adapt to the soul and funk energy of Stax, but they evolved their material from the pointed social topics of the folk era to less specific, but highly empowering “message music.†Their first two Stax albums, 1968’s Soul Folk in Action and 1970’s We’ll Get Over, featured backing from the label’s house band, Booker T. & the M.G.’s, and mixed terrific material from Stax songwriters with Staples’ originals. Despite the quality of each release, nothing clicked on the charts, and the group’s third long-player, 1971’s Staple Swingers, found Stax executive Al Bell taking over production chores from M.G.’s guitarist Steve Cropper.
Even more importantly, Bell began recording the Staples’ backing sessions in Alabama with the Muscle Shoals Rhythm Section: Eddie Hinton (lead guitar), Jimmy Johnson (rhythm guitar), David Hood (bass), Barry Beckett (keyboards) and Roger Hawkins (drums). Hood’s deep bass lines and Hawkins’ rhythm touch anchor this album, solidified by Johnson’s chords, Beckett’s vamping and Hinton’s inventive fills; the Memphis horns add texture and accents without ever needing to step out front to announce themselves. Produced at a time that Stax was evolving from its soul glories of the ‘60s to its funkier output of the early ‘70s, the Staples hit a third gear as they built the album’s tracks, particularly the hit singles “I’ll Take You There†and “Respect Yourself,†from perfectly intertwined strands of soul, funk, and gospel. Also blended in to “I’ll Take You There,†as Rob Bowman astutely observes in the liner notes, is the reggae of the Harry J All-Stars’ instrumental “The Liquidator.â€
Country, folk, bluegrass and blues from talented Texas songsmith
Owen Temple’s last album, Dollars and Dimes, took its concept from the socio-political ideas of Joel Garreau’s The Nine Nations of North America. Temple wrote songs that explored the regional ties of work and cultural belief that often transcend physical geography, zeroing in on the life issues that bind people together. With his newest songs, he’s still thinking about people, but individuals this time, catching them as a sociologist would in situations that frame their identity in snapshots of hope, fear, prejudice, heroism, and the shadows of bad behavior and disaster. As on his previous album, his songs are rooted in actual places – isolated communities that harbor dark secrets and suffocating intimacy, a deserted oil town lamented as a lost lover, a legendary red-light district, and the Texas troubadours in whose footsteps he follows. The album’s lone cover, Leon Russell’s “Prince of Peace,†is offered in tribute to a primary influence.
A ferocious rock ‘n’ soul ‘n’ blues guitar classic from 1963
This reissue of The Wham of That Memphis Man is the way that many listeners first met the savagely powerful guitar playing of Lonnie Mack. Originally released in 1963 on the Fraternity label, the album was re-sequenced and reissued with two extra tracks by Elektra in 1970. It’s since been reissue on CD, both in this stereo lineup, and in the original mono. The latter is more brutally powerful for its center-channel punch, but either configuration will astound you with Mack’s breathtaking, reverb-powered, tremelo-bar bent guitar playing. The album opens with Mack’s original “Wham!,†quickly gaining momentum until the song becomes an unstoppable locomotive. Mack picks wildly as the bass and drums stoke the beat and the rest of the band hangs on for dear life. Mack’s take on Dale Hawkins’ “Susie-Q†is just as deft, as he alternates between rhythm and lead, masterfully picking long twangy phrases that circle back to the root riff.
Reissue of Clark’s 1981 album of gospel and country faith
Roy Clark’s worn a number of hats during his career. He’s been an ace guitar and banjo picker, a national television star (both on Hee-Haw and as a guest host for Johnny Carson), a country and pop hit maker, a pioneer in the Branson theater scene, and a member of both the Grand Ole Opry and the Country Music Hall of Fame. Lesser known is his work in singing gospel and songs of faith. His 1971 release The Magnificent Sanctuary Band cracked the Top 40, and though he dropped the occasional album track like “Life’s Railway to Heaven†and “Dear God,†it was ten more years before he released a second new album of praise, 1981’s The Last Word in Jesus is Us.
Varese new CD collects all ten tracks of the 1981 album and adds three from the 1971 release. The song list combines traditional hymns (“Just a Closer Walk with Thee,†“Onward Christian Soldiers†and a wonderfully blue reading of “Peace in the Valleyâ€) with contemporary tunes by Nashville songwriters. The sentiments include traditional bible stories, testimonies of faith, and contemplations of Jesus’ place in contemporary society. Bobby Braddock’s “Would They Love Him Down in Shreveport†highlights the un-Christian nature of prejudice and Bobby Goldsboro’s “Come Back Home†anticipates the savior’s deliverance from hate.
Nashville super-picker dazzles on his solo debut
