Tag Archives: Soul

Tina Mason: Is Something Wonderful

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Little known Capitol vocalist’s 1967 LP

Tina Mason’s lone album for Capitol, recorded under the direction of David Axelrod and featuring arrangements by HB Barnum, was mostly overlooked at the time of its 1967 release. Mason started singing at Disneyland with Tina and the Mustangs, and had a regular gig on TV’s Where the Action Is. She fit into the groove cut by singers like Dusty Springfield, Jackie DeShannon, Nancy Wilson and Dionne Warwick, and the Axelrod/Barnum team created sophisticated pop-soul backings for her. Mason draws from a variety of sources, including the dramatic spoken delivery of the Shangri-Las’ Mary Weiss, breezy blue-eyed soul and stagey pop. She covers “Cry Me a River” with more attitude and less tears than Julie London’s earlier hit, with the band pushing the tempo and the background singers adding verbal accents. The rising arrangement of “You Can Have Him,” reworking Roy Hamilton’s “You Can Have Her,” yields a stirring climax, and the closing cover of Kathy Kirby’s “The Way of Love” adds a spark that Cher would remove in her 1971 hit. The album’s eleven tracks are fleshed out on this reissue with two pre-LP singles, including the Motown-styled “Smokey Joe’s” and a take on Chip Taylor’s “Any Way That You Want me” that’s similar to Evie Sands’ better known recording. Also included are a mono single mix of “Are You There” and a vintage interview segment. This isn’t quite a lost classic, but it’s a nice time capsule. [©2010 hyperbolium dot com]

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Merry Clayton: Merry Clayton

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Searing 1971 soul reissued

Merry Clayton’s most listened-to vocal performance remains her soul work with Mick Jagger on the Rolling Stones’ 1969 “Gimme Shelter.” The following year she recorded her first solo album, on Lou Adler’s Ode label, and in 1971 hit a high-point with this self-titled release. Recorded in Los Angeles with arrangements by Jerry Peters and others, the album opens with a searing take on Neil Young’s “Southern Man” before settling into lighter grooves of soul and balladry. The loving “After All This Time” cracked the Top 100, and Peters’ “Love or Let Me Be Lonely” (originally a hit for the Friends of Distinction) was turned into a fine down-tempo number. Clayton puts a soulful spin on Leon Russell (“A Song For You”), James Taylor (whose original of “Steamroller” was more folk-blues than Clayton’s soulful approach), Bill Withers (“Grandma’s Hands”), and the gospel “Sho’nuff” is a show-stopper. Three of Clayton’s Ode albums (Gimme Shelter, Merry Clayton and Keep Your Eye on the Sparrow) were reissued as expensive import CDs, and are now reissued as affordable digital downloads [1 2 3]. Of the three, this is the one to start with. [©2010 hyperbolium dot com]

Elvis Presley: On Stage (Legacy Edition)

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Elvis recorded live amid the blaze of his 1968-71 revival

After an eight-year layoff from concert performance, Elvis returned to the stage with a pair of runs at the International Hotel in Las Vegas. The first shows, in the summer of 1969, were first captured on Elvis in Person at the International Hotel, Las Vegas, Nevada, and featured samples of his seminal early hits and then-contemporary smashes. In early 1970 he returned for a second set of shows, documented on On Stage, and changed up the set list to highlight his restyling of others’ hits in his own image. RCA’s new two-disc Legacy Edition combines both albums and ten bonus tracks into a superbly detailed picture of Elvis’ return to the stage and the physical reconnection to his fans.

When originally released, the albums caught Elvis amid his biggest blaze of glory. His televised ’68 Comeback Special had proved him still vital, and the 1969 studio sessions that resulted in From Elvis in Memphis (and its own 2-CD Legacy reissue) had proved him still relevant. The live sets showed Elvis to be both a star of the brightest magnitude and an artist with something to say to contemporary audiences. With both an extensive legacy and new singles, Elvis had to find a way to satisfy crowds that came to hear both his rich back catalog and his hot new hits. In the ’69 shows, featured on disc two of this set, Elvis cherry-picked from his seminal rock ‘n’ roll sides (including blistering versions of “Mystery Train” and “Hound Dog”), his early’60s post-army comeback hits, and the contemporary tracks he’d recently laid down with Chips Moman at American Studios.

For his 1970 return to Las Vegas, featured on disc one, Elvis leaned away from the rocked-up performances of 1969 and more heavily on his then-current penchant for covers. Beyond his Top 10 cover of Ray Peterson’s “The Wonder of You,” the selections forsook the golden oldies in favor of recent hits by Engelbert Humperdinck (“Release Me”), Neil Diamond (“Sweet Caroline”), Tony Joe White (“Polk Salad Annie”), the Beatles (“Yesterday,” recorded at the 1969 shows), Creedence Clearwater Revival (“Proud Mary”), and Joe South (“Walk a Mile in My Shoes”). It’s a mark of Elvis’ force and singularity as a performer that the original singers often disappeared in his wake, and a few of these songs (particularly “Walk a Mile in My Shoes”) became as closely associated with the King as with their originators.

Elvis sounds loose, comfortable and artistically commanding on stage, a surprise given his eight-year hiatus from live performance. No doubt his A-list TCB Band (which included James Burton, Jerry Scheff, Glen D. Hardin and the Sweet Inspirations) helped him regain his crown, but the essential flame that sparked in 1954 was clearly still burning within sixteen years later. A hint of his humble uncertainty is shown as he introduces “Kentucky Rain” with “I have out a new record, just came out in the past week or so, I hope you like it,” but his fans never had a doubt. As with his Memphis sessions of 1969, the liberty to engage his musical muse spurred Elvis to great artistic heights. Freed from the musical dross that filled many of his film soundtracks, standing in front of an audience he’d not seen face-to-face in nearly a decade, Elvis dug deep into the music he loved.

As with much of Elvis’ catalog, these tracks have been issued, reissued and scattered among previous collections. The original 10-track On Stage was reissued on CD in 1999 with six bonus tracks, and all of the extras collected here (four for On Stage, six for Elvis in Person) have seen previous release on reissues, greatest hits collections and collector’s discs from Follow That Dream. But gathered together into a single volume they paint a compelling picture of Elvis’ live show: the seminal early hits, post-army comebacks, contemporary breakthroughs, and refashioned covers, and amid it all the revival of a legendary musical talent mid-stride between the triumphs of the late ‘60s and the forthcoming early-70s successes (e.g., Elvis Country) that would cap his incredible comeback. [©2010 hyperbolium dot com]

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Christine Ohlman & Rebel Montez: The Deep End

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SNL singer serves up rock ‘n’ roll with a side of Stax

Rock ‘n’ roll women have always been a sparser commodity than their male counterparts. Even the adjective that describes a forceful rock ‘n’ roll performance discriminates with its anatomical reference. Rock’s had a few chart-topping female stars, including Wanda Jackson, Janis Joplin, Ann Wilson, Joan Jett and Pat Benatar, but the bulk of female rockers labor in day jobs that overshadow their solo output, or work in local obscurity. Patty Scialfa’s better known for her marriage and membership in the E Street Band than for her three releases, Karla DeVito is remembered more for the video she made with Meat Loaf (on which she lip-synched Ellen Foley’s vocal) than her solo album or subsequent song writing, and Ronnie Spector took decades to emerge from the shadow of her former husband and producer.

Christine Ohlman, whose twenty-year gig with the Saturday Night Live Band has put her voice in the ears of millions of listeners, has released six albums and contributed vocals to dozens of projects, yet remains more of a cult favorite than a name star. She sings in a gutsy rock ‘n’ roll voice edged in soul and blues, part Bonnie Raitt and part Genya Raven, with an element of Van Morrison’s early wildness. Her throwback sound combines the romanticism of Brill Building pop and horn-fed Stax muscle (courtesy of the Asbury Jukes’ Chris Anderson and Neal Pawley) into a potent rock ‘n’ roll stew. Her music reaches back to a time when guitars were front and center and bass lines propelled dancers to the floor.

The album opens with Ohlman growling her lovesickness against a twangy variation of the riff from Barrett Strong’s “Money.” She’s drawn to the wrong man, but loyal to a fault, recounting the reasons to break away but lamenting what she’s missing, proclaiming everlasting love and, in the tradition of the Crystals, opening her arms without worry of what others will think. She slings it out with the ease and familiarity of a club singer, working the crowd and drawing listeners close. Ohlman’s band is similarly road-tested (Michael Colbath’s bass playing is particularly notable), and her guests include Ian Hunter, Al Anderson, Eric Ambel, Levon Helm, Dion, and Marshall Crenshaw. Her dozen originals are complemented by covers of Van & Titus’ deep soul “Cry Baby Cry,” Marvin Gaye and Mary Wells’ “What the Matter With You Baby,” and Link Wray’s “Walkin’ Down the Street Called Love.”

Once upon a time, when rock ‘n’ roll thrived on the radio, this album would have spun off several hit singles. But in today’s fragmented music market, and with little room for raw, gutsy guitar-based music, you’ll more likely hear this in the background of a Fox TV show whose music coordinator is tasked with setting a rebellious mood, or perhaps on a celebrity musician’s weekly satellite radio program. Of course, you can also hear Ohlman in her weekly gig on SNL, and perhaps the show’s producers will be so kind as to offer her a spotlight to sing her original songs – songs that stand tall alongside the covers she curates for the band. [©2010 hyperbolium dot com]

MP3 | The Deep End
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Joshua Panda: What We Have Sewn

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Broad range of folk, blues, and adult-alternative pop and soul

Who is Joshua Panda? A North Carolinian old-timey songster, a folkie troubadour or a suspender-wearing vaudevillian who brings to mind Leon Redbone, John Sebastian, Donovan and Paul McCartney? Yes. Perhaps he’s an adult-alternative pop-soul singer in the vein of John Meyer, John Legend, Van Morrison and Dave Matthews? Well, yes again. Panda sings acoustic folk songs with a piercing vocal purity that recalls Phil Ochs, but also arranges himself amid fully contemporary productions. His debut album of eleven originals is a one-man shuffle through an eclectic collection of music hall ditties, soulful slow-jams, acoustic ballads, bouncy blues, thick modern rock, and chamber pop. He sings sunny day reveries, forlorn country farewells and smooth love songs, often leaning on a contemporary blend of pop, blues and soul. The split between roots and smooth soul is a bit disconcerting, but roots listeners will really enjoy the old-timey “Balloon Song,” the acoustic “Vineyard Love Song” and “Over My Head,” the pedal steel laced “Crazy ‘Bout Rue,” and the bluesy “Buttermilk Hollar.” [©2010 hyperbolium dot com]

MP3 | If I Had a Balloon
MP3 | Vineyard Love Song
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Josh Turner: Haywire

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Cautious fourth album from talented, deep-voiced country singer

Turner broke out in 2003 with the throwback single “Long Black Train” and a bass voice that stopped listeners in their tracks. His bottomless notes and Southern accent seemed so innately country as to be resistant to Nashville’s crossover practices. His debut was filled with slip-note piano, shuffle beats, mandolin and fiddle, and even on smoother ballads like “She’ll Go On You” and “The Difference Between a Woman and a Man,” there was an ache in Turner’s voice that remained apiece with Travis, Cash and Haggard. His next two albums, 2005’s Your Man and 2007’s Everything is Fine followed similar templates, decorating his vocals with banjo, blue twang and steel, and mixing up honky-tonkers, ballads and redneck rockers.

Producer Frank Rogers (who’s also worked with Brad Paisley, Daryl Worley and Trace Adkins) crafted a sound for Turner that was radio-ready without severing the singer’s ties to tradition. Turner showed himself acutely aware of his special vocal charms, introducing songs like “Everything is Fine” with low notes that instantly grab your attention. On this fourth album Turner and Rogers follow the same pattern, and become a bit formulaic in the process. Turner remains a hugely engaging singer, but his songs feel more calculated to satisfy his audience than say something that’s burning deep in his heart or mind. The productions are smart and Nashville tight, but don’t often match the earthiness and singularity of Turner’s voice.

The album’s lead-off track, “Why Don’t We Just Dance,” was pre-released as a single and topped the country chart. Hearing Turner climb up from his low register, you get a palpable sense of how great it feels to sing such deep, chest-rattling notes. Turner sings with an ease that’s quite charming, and the band feels rougher and looser here than elsewhere on the album. His seductiveness is more direct on the ballad “I Wouldn’t Be a Man,” approaching the song similarly to Don Williams’ 1987 hit single. Turner extols his mate on “Your Smile,” but the tranquility and contentedness with which he sings seems at odds with the enthusiasm of the song’s lyrical platitudes.

Turner’s originals include the funky title track in which the singer is discombobulated by a member of the opposite sex, and his existing trio of everyman rockers (“Backwoods Boy, “Trailerhood” and “White Noise”) is extended to a quartet with “Friday Paycheck.” Blowing it out on the weekend is a time-honored topic, but Turner hasn’t anything new to say about the joys one can find in a paycheck-to-paycheck life. Listeners celebrating the end of their own work week probably care, as the song rocks a shuffle beat and has a catchy hook. The New Orleans styled funk of “All Over Me” provides a brief respite from the album’s contemporary Nashville rhythms, though the session players don’t quite hit the second line beat convincingly.

The album’s real highlight is the country soul slow-jam “Lovin’ You on My Mind.” Turner sings with strings and a backing chorus and the production artfully weaves together steel and Wurlitzer. Haywire is offered as 11-track regular and a 15-track deluxe edition. The latter adds two good studio tracks (“This Kind of Love” and “Let’s Find a Church”) and two live cuts (“Long Black Train” and “Your Man”), which are worth the extra couple of dollars. Turner remains a vocalist of distinction, but the head-turning edginess of “Long Black Train” has given way to cautious repetition. This is a good album by a gifted artist who should be releasing great albums full of memorable music that pushes the artistic ball further forward. [©2010 hyperbolium dot com]

Listen to “Why Don’t We Just Dance”
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B.J. Thomas: Most of All / Billy Joe Thomas

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Thomas parts ways with Chips Moman and Memphis

B.J. Thomas is often remembered for his biggest pop hits, “I’m So Lonesome I Could Cry,” “Hooked on a Feeling,” “Raindrops Keep Falling on My Head” and “(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song.” But like many artists whose careers were longer than their pop chart success, there’s a lot more to Thomas’ catalog than these four songs. In addition to 1980s success on the country charts, Thomas recorded albums throughout the mid-60s and 70s that turned up lower-charting hit singles and terrific album sides. Collectors’ Choice has gathered Thomas’ first eight solo albums for Scepter as a series of four two-fers, starting with his 1966 label debut, I’m So Lonesome I Could Cry, and concluding with 1971’s Billy Joe Thomas.

After out-of-the-gate success with Huey Meaux in Texas, four albums and a hit singles with Chips Moman in Memphis, and a Los Angeles-based chart-topper with Burt Bacharach and Hal David, by the start of the 1970s B.J. Thomas was once again on the move. His 1970 release Most of All includes a few finished tracks recorded with Moman at American Studios, but also includes a stop in Atlanta and finally settles in at Doraville, Alabama’s Studio One. Here Thomas connected with producer Buddy Buie and the studio players who would form the Atlanta Rhythm Section. This new setting produced two hits, “Most of All” and “No Love at All,” both Top 40 pop and Top 5 adult contemporary. The former was written by Buie, the latter reunited Thomas with songwriter Wayne Carson, suggesting the track might have been started in Memphis.

Buie’s instrumentation wasn’t terrifically different than Moman’s, featuring guitars, bass and drums augmented by strings and horns. But Buie’s productions are smoother and not as deep in the soul-funk pocket as had been laid down in Memphis. Thomas responded by modulating his vocals with longer notes that edge into crooning. The material follows the familiar course of a few originals and cover songs that fit Thomas snugly enough to leave little leaving room for musical reinvention; James Taylor’s early “Rainy Day Man,” The Carpenters’ “Close to You,” and Brook Benton’s “Rainy Night in Georgia,” don’t add much to the originals. Neither does a cover of Mann & Weil’s controversial song of interracial romance, “Brown Eyed Woman,” which had scored on the coasts for Bill Medley.

The following year Thomas made another leap, recording in New York City, Los Angeles and Nashville, with Steve Tyrell and Al Gorgoni producing Billy Joe Thomas. Thomas continued to chart higher on the adult contemporary chart than the pop list, topping the former with the gorgeous “Rock ‘n’ Roll Lullaby.” The single’s Beach Boys-styled backing vocals lift Thomas as he stretches into falsetto and adds a new style to his catalog. Paul Williams’ “That’s What Friends Are For” (not to be confused with Burt Bacharach’s similarly titled song that was a hit for Dionne Warwick) revisits the Billy Joel inflections Thomas brought to 1968’s “Mr. Businessman,” and “Happier Than the Morning Sun” is given a sunnier, lighter arrangement than Stevie Wonder’s later recording.

For this last album on Scepter, Tyrell engaged the songs’ writers to perform, a plan that paralleled the emergence of singer-songwriters as a marketable quantity. Stevie Wonder, Carole King, Jimmy Webb and Paul Williams played and sang on their tunes, and guests included Duane Eddy, Darlene Love and Dave Somerville of ‘50s vocal group, The Diamonds. Tyrell and Gorgoni created the most consistent album to that point in Thomas’ career, seamlessly knitting together pop, blues and soul, while picking up songs from favorite sources Wayne Carson and Mark James alongside the famous singer-songwriters. Thomas shows himself ready for serious lyrics, including the terrific call-to-action “We Have Got to Get Our Ship Together” and John Sebastian’s “The Stories We Can Tell.” Pete Drake’s pedal steel on the latter all but pointed the way to Thomas’ future on the country charts.

Collectors’ Choice adds three bonus tracks to the original albums: a single and two B-sides of which the gospel “Mighty Clouds of Joy” makes the most lasting impression. All tracks are stereo, and the set’s 8-page booklet includes liner notes by Mike Ragogna and full-panel reproductions of the album covers. These albums find Thomas searching for direction after leaving Memphis and finding new confidence in New York City. He’d hook up with Paramount the following year, score an across-the-board success with “(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song” with ABC in 1975, and top the country charts in the mid-80s, leaving Billy Joe Thomas to stand as a fitting end to his run with Sceptor. [©2010 hyperbolium dot com]

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B.J. Thomas: Raindrops Keep Fallin’ on My Head / Everybody’s Out of Town

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Thomas tops the charts with Bacharach and David

B.J. Thomas is often remembered for his biggest pop hits, “I’m So Lonesome I Could Cry,” “Hooked on a Feeling,” “Raindrops Keep Falling on My Head” and “(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song.” But like many artists whose careers were longer than their pop chart success, there’s a lot more to Thomas’ catalog than these four songs. In addition to 1980s success on the country charts, Thomas recorded albums throughout the mid-60s and 70s that turned up lower-charting hit singles and terrific album sides. Collectors’ Choice has gathered Thomas’ first eight solo albums for Scepter as a series of four two-fers, starting with his 1966 label debut, I’m So Lonesome I Could Cry, and concluding with 1971’s Billy Joe Thomas.

By the time Raindrops Keep Fallin’ on My Head was released in 1969 Thomas had already recorded two Top-10 hits (“I’m So Lonesome I Could Cry” and “Hooked on a Feeling”) and a handful of lower-charting sides. But one hit was a Hank Williams cover and the other subsequently rehomed as a #1 hit for Blue Swede, it was this album’s Bacharach-David title tune that became Thomas’ long-term calling card. The Bacharach-David produced “Raindrops” is a departure in sound from the records Thomas had been making with Chips Moman in Memphis. The ukulele that opens the arrangement immediately announces something different, and Thomas’ delivery is softened along with horns that are Los Angeles smooth rather than Memphis punchy. Two other Bacharach-David productions, “Little Green Apples” and “This Guy’s in Love With You” feature similarly sophisticated pop arrangements.

The album has three tracks produced by Chips Moman, including a cover of Mark James’ “Suspicious Minds.” Moman reused Elvis’ backing track, but remixed in a way that turns the King into a ghost; the arrangement’s extended vocal coda is a great addition. Also good is a soulful take on Jimmy Webb’s “Do What You Gotta Do,” and the Mark James original “Mr. Mailman.” Four tracks produced by Stan Green and Scepter’s A&R head Steve Tyrell fill out the song list, highlighted by a take on “The Greatest Love” that’s musical but too brash to capture the vulnerability of Joe South’s original or Aaron Neville’s cover. The patchwork of three production teams makes this album feel more constructed than Thomas’ two previous outings. There are terrific individual tracks here, but the different album sections feel stitched together and leave Thomas searching for a signature identity.

Following a greatest hits album in early 1970, Thomas returned with Everybody’s Out of Town. The commercial success of “Raindrops Keep Falling on My Head” carried over, as he launched two more singles onto the Top 40 and found great success on the adult contemporary chart, topping it with “I Just Can’t Help Believing.” Bacharach and David returned to produce a pair of tracks, but their strings, horns and old-timey piano stick out like sore thumbs in sequence with Chip Moman’s Memphis sound. Mark James and Wayne Carson once again contributed songs, and Thomas picked covers that fit well, even if he didn’t find anything revelatory to say with “Everybody’s Talkin’” or “What Does it Take.” Paul Simon’s “Bridge Over Troubled Water” was a great pick for the American Studios sound and Thomas sings it with soul.

Collectors’ Choice adds five bonus tracks: two singles, a greatest hits album track and two previously unreleased sides. Best among these is the previously unissued country arrangement of Barry Mann and Cynthia Weil’s “There’s No Holding You” and a horn- and organ-filled take on Little Richard’s “The Girl Can’t Help It.” This album is a more consistent effort than the previous Raindrops Keep Fallin’ on My Head, but Thomas no longer seemed to be progressing under Moman’s direction. Like the preceding album the cover songs and some of the originals feel like album filler. All tracks are stereo, and the set’s 8-page booklet includes liner notes by Mike Ragogna and full-panel reproductions of the album covers. These first-time-on-CD albums offer some of Thomas’ biggest hits, supplemented by fine album tracks and filler. [©2010 hyperbolium dot com]

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B.J. Thomas: On My Way / Young and in Love

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Texas pop hit-maker finds his soul in Memphis

B.J. Thomas is often remembered for his biggest pop hits, “I’m So Lonesome I Could Cry,” “Hooked on a Feeling,” “Raindrops Keep Falling on My Head” and “(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song.” But like many artists whose careers were longer than their pop chart success, there’s a lot more to Thomas’ catalog than these four songs. In addition to 1980s success on the country charts, Thomas recorded albums throughout the mid-60s and 70s that turned up lower-charting hit singles and terrific album sides. Collectors’ Choice has gathered Thomas’ first eight solo albums for Scepter as a series of four two-fers, starting with his 1966 label debut, I’m So Lonesome I Could Cry, and concluding with 1971’s Billy Joe Thomas.

After his 1966 breakthrough with a slow, pop-soul cover of Hank Williams’ “I’m So Lonesome I Could Cry,” Thomas’ subsequent singles charted lower and lower, dropping him out of the Top 40 for the latter half of 1966 and all of 1967. He returned in 1968 with On My Way and climbed back to #28 with the mid-tempo love song “The Eyes of a New York Woman.” Thomas was singing in a lower register, sounding remarkably like the Box Tops’ Alex Chilton; the single’s electric sitar even recalls the Box Tops’ “Cry Like a Baby.” That same sitar shines even more brightly opening the album’s breakout hit, “Hooked on a Feeling.” This Mark James penned number subsequently scored a European hit for Jonathan King and a U.S. #1 in 1974 for Blue Swede. King added (and Blue Swede copied) an “ooga chaka” chant and reggae rhythm that give the song a harder edge than Thomas original.

By the time Thomas recorded this pair of albums he’d relocated from Texas to Memphis where he landed at Chips Moman’s American Studio, meeting up with the studuio’s crack band and realizing crisper recordings and more commercially refined arrangements. More importantly, his previous source of original songs, Mark Charron, was replaced by a range of writers that included Ray Stevens, Wayne Carson (who wrote “Soul Deep” and “The Letter” for the Box Tops), Spooner Oldham, Ashford & Simpson, and Mark James (who wrote both singles, and would later write “Suspicious Minds” for Elvis to cut in the very same Memphis studio). Thomas continued to tread a line between pop, country, blues and soul, but the first and last resonated most deeply in his new Memphis setting.

As on his previous albums, Thomas turned a country classic to soul, this time with Ferlin Husky’s mid-50s hit, “Gone.” Since the original was already a ballad, Thomas and crew could only slow it so much and instead focused on a then-contemporary arrangement of reverb and fuzz guitar, strings, deep bass and soulful organ; it all ends up sounding a bit funereal. Better are horn-and-string covers of Jim Reeves’ “Four Walls” and the Platters’ “Smoke Gets in Your Eyes,” each giving Thomas a chance to really emote. Thomas’ material was notably more mature than his earlier work and reaches to social commentary (and Billy Joel-like stridency) with “Mr. Businessman” and philosophical introspection on “I’ve Been Down This Road Before.” The singer, songs, studio and musicians really fit together nicely for these sessions, but the dependency on covers that fail to expand on the originals keeps this album from being a deeper artistic statement.

1969’s Young and in Love followed the template of its predecessor, combining tunes from Mark James with selections from songwriting legends (Paul Williams, Jimmy Webb, Neil Diamond), and a country hit turned to soul with a cover of Henson Cargill’s “Skip a Rope.” Unlike Thomas’ previous (and next) album, the original material here was good, but failed to burn up the charts: the pop-soul “Pass the Apple Eve” barely made the Top 100, and the ballad “It’s Only Love” only cracked the adult contemporary Top 40. The covers are professional, but again not always artistically definitive; the Carpenters wrenched much more out of “Hurting Each Other” a few years later, and “Solitary Man” didn’t improve on Neil Diamond’s original. Thomas’ connection with the Box Tops is renewed through a cover of Spooner Oldham & Dan Penn’s “I Pray for Rain,” which Chilton and company had recorded a few years earlier.

Chips Moman’s studio and players continue to provide superb accompaniment, furthering Thomas development as a soul singer. The electric sitar wears thin by album’s end, but for the arrangements mostly have a timeless Memphis sound. Collectors’ Choice adds six bonus tracks: a single, three B-sides and two previously unreleased sides. Top of the heap is a cover of Conway Twitty’s (and Wanda Jackson’s) “I May Never Get to Heaven” featuring superb guitar from Reggie Young. Also tasty is a cover of Luther Dixon’s blue “Human” and the airy Mark James waltz “Distant Carolina.” Creepiest is “You Don’t Love Me Anymore,” ending with a frenetic vocal and a railroad train (complete with sound effects) bearing down on the dreaming protagonist. All tracks are stereo except 22, and “I Saw Pity in the Face of a Friend” features some odd panning and phasing. The set’s 8-page booklet includes liner notes by Mike Ragogna and full-panel reproductions of the album covers. These first-time-on-CD albums offer a great picture of Thomas’ emergence as a soul singer. [©2010 hyperbolium dot com]

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B.J. Thomas: I’m So Lonesome I Could Cry / Tomorrow Never Comes

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Future chart-topper warms up with country, soul and blues

B.J. Thomas is often remembered for his biggest pop hits, “I’m So Lonesome I Could Cry,” “Hooked on a Feeling,” “Raindrops Keep Falling on My Head” and “(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song.” But like many artists whose careers were longer than their pop chart success, there’s a lot more to Thomas’ catalog than these four songs. In addition to 1980s success on the country charts, Thomas recorded albums throughout the mid-60s and 70s that turned up lower-charting hit singles and terrific album sides. Collectors’ Choice has gathered Thomas’ first eight solo albums for Scepter as a series of four two-fers, starting with his 1966 label debut, I’m So Lonesome I Could Cry, and concluding with 1971’s Billy Joe Thomas.

1966’s I’m So Lonesome I Could Cry reprised the title song with which Thomas reached #8 on the charts as the lead singer of the Houston-based Triumphs. Thomas re-imagines Hank Williams’ country classic as pop-soul with slow, measured vocals underlined by a mournful organ, low bass and drums lightly counting out the waltz time. A falling horn line at the end of each verse adds some Stax flavor, and the song’s heartbreak is brought to a head in the anguished wails with which Thomas takes the song out. He takes Williams’ “There’ll Be No Teardrops Tonight” similarly down-tempo, with a harpsichord in place of organ, a guitar carrying the blues and Jordanaires-styled backing vocals adding their moan.

Thomas proved himself a fetching blue-soul singer on the jukebox themed “The Titles Tell” and adds punch to a cover of “Midnight Hour” with horns, handclaps and female backing singers. The album spun off a minor hit in Mark Charron’s sentimental original “Mama,” and his other titles, though a bit maudlin in tearjerkers like “I Wonder” and “Bring Back the Time,” are good vehicles for Thomas. There’s frat-rock energy in “Wendy,” a pre-Beatles boy-singer pop melody in “Terri,” and a Texicali-tinge to “Maria.” Thomas also sang covers of Tom Jones’ “It’s Not Unusual” and Freddie Scott’s “Hey Girl,” mostly following the originals but adding a distinctive touch with his vocal tone.

Thomas followed up the same year with the album Tomorrow Never Comes. The track list once again includes a slow, soulful pass at a country legend’s song, this time building Ernest Tubb’s “Tomorrow Never Comes” to a show-stopping crescendo. Mark Charron once again supplies most of the originals, this time writing about the supercharged emotions of teenagers and young adults. The little known “Plain Jain” is the story of a lonely girl who kills herself after falling for a prank prom invitation; though only charting to #129, it’s a worthy entry in the death-song genre. Charron captures the end-of-the-world melodrama of found love, broken hearts, friendlessness, failure and occasional moments of self realization, youthful optimism and redemption.

Thomas’ style was all over the map at these early points in his career, crooning, rocking and emoting atop pop, soul, blues and country arrangements of guitar, bass, drums, strings and horns. Those horns come to the fore on a rousing cover of Timmy Shaw’s “Gonna Send You Back to Georgia,” and the album closes with the fine, bluesy frat-rocker, “Candy Baby.” Collectors’ Choice adds two bonus B-sides, the countrypolitan kiss-off “Your Tears Leave Me Cold” and a torchy cover of Robert Thibodeux’s “I’m Not a Fool Anymore.” All tracks are stereo except 1, 2, 8, 21 and 24, and the set’s 8-page booklet includes liner notes by Mike Ragogna and full-panel reproductions of the album covers. Making their first appearances on CD, these are two great places to start an appreciation of Thomas that extends deeper than his well-known hits. [©2010 hyperbolium dot com]

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