On this set there
are as many as six previously unissued tracks and six that were released only
recently on other compilations, and still three edited versions of Eddie
Floyd’s, Millie Jackson’s and Eon’s mid-1970s dancers.
Indeed, most of the music derives from the 1970s with only three hops into the
1980s (Felecia Johnson & T.C.B. Inc., Karim & George Griffin and
the Moderations). Thorough notes are written by Ady Croasdell.
With four slow
and four mid-tempo numbers, the music leans heavily on busy, danceable rhythm.
On Leon Thomas’ modern stomper called L-O-V-E there are elements
from jazz, and in terms of diversity both funk (3 tracks) and disco (1 track)
are served. Another edited recording, Loleatta Holloway’s raw and
big-voiced rendition of the fierce Mrs So and So’s Daughter falls into a
category of its own.
Other personal
highlights include Mighty Whites’ uptempo Given My Life and John
Edwards’ probably original version of Phillip Mitchell’s How Can
I Go on without You (also cut by Corey Blake). Prince Phillip told
me a couple of years ago that “I never had the pleasure of meeting John
Edwards. However, I think he’s quite an amazing vocalist with all the
ingredients to be mentioned amongst the best.”
There are still
such goodies as Major Lance’s fast dancer titled That’s the Story of
My Life, produced by Don Davis, Ray Godfrey’s mid-tempo,
melodic and fully orchestrated Spring recording named I Ain’t Givin’ Up and
finally Freddie Scott’s pretty, saddish ballad called I Guess God
Wants It That Way (https://www.soulexpress.net/freddiescott_discography.htm). Other positive listening experiences
include the mid-tempo Your Momma Had a Baby, where Street People share
vocals like the Temptations used to do, the smooth Lucky Fellow by
the Independents and the slow and not so easily recognizable version of Hello
Stranger by Reggie Milner, released on Volt in 1970. (7).