Thursday, 21 November 2019

Eddie Kendricks

All By Myself (1971)

Let's Get Back To Day One/This Used To Be The Home Of Johnnie Mae/I Did It All For You/It's So Hard For Me To Say Goodbye/something's Burning/Can I/Didn't We

This was Eddie Kendricks' first solo album away from The Temptations and, in 1971, social awareness and a black consciousness that manifested itself through music was the order of the day. Here, Kendricks mixes such contemporary concerns with solid funk, slick soul and, notably, proto-disco. Dance rhythms and having a carefree, escapist good-time was becoming as important as caring about crumbling inner-cities. It was a fine album and it has remained considerably underrated ever since, which is a shame, as it is a good one.

The album kicks off with one hell of a cookin' brassy beauty in Let's Go Back To Day One, which features some rhythmic percussion and some searing, fuzzy guitar of the type used in much of The Temptations' late sixties/early seventies output. It was written by Gloria Jones and Patrice Holloway

Next up is the extremely moving This Used To Be The Home Of Johnnie Mae, which has Kendricks recounting the sad, backwoods tale of a poor but hard-working woman's demise (oddly called 'Johnnie'). It contains some emotive lyrics and an uplifting melody to match, with Eddie's vocal soaring skywards throughout. we also are treated to a wonderful guitar solo in the style of that played on The Carpenters' Goodbye To Love. The bass is sublime too - it is probably James Jamerson, although I have been unable to verify that.

I Did It All For You is an example of classic Kendricks smooth soul - slow in pace and backed by a thudding, resonant but tuneful bass and sweeping strings that enhance his beautiful voice as he gives it his all. The sound quality on this album is superb too, I have to say at this point. 

It's So Hard For Me To Say Goodbye is a lovely Frank Wilson/Pam Sawyer serving of Stax-y chunky soul while Something's Burning is a superb, brooding slow burner driven along by more marvellous bass, enhanced by some classic period Motown percussion similar to that used so well on Diana Ross & The Supremes' Reflections. The punchy horns are great too and the song is very reminiscent in places of The Temptations' (I Know) I'm Losing You

Can I is a lengthy, sweetly orchestrated soul ballad with a very mid-seventies feel, although it surprisingly breaks out into some kicking, bouncy jazz after three and a half minutes before reverting back to the previous late-night groove. It is a bit incongruous but none the less still very enjoyable. once again, that bass is truly Heaven-sent. What was a pretty short album ends with the relaxing, slick soul of Didn't We. Overall, it is a quality offering from beginning to end, but it could have easily handled a couple more tracks.

People...Hold On (1972)

If You Let Me/Let Me Run Into Your Lonely Heart/Day By Day/Girl You Need A Change Of Mind/Someday We'll Have A Better World/My People...Hold On/Date With The Rain/Eddie's Love/I'm On The Sideline/Just Memories

This album, from 1972, continued very much in the same vein as the previous year's solo debut - again produced by Frank Wilson, it was three tracks and ten minutes or so longer and was a similar mix of socially aware material, funk, disco and finely-produced/delivered soul. It an album that showcases Kendricks' ability to deliver several styles of music within the general soul genre most impressively.

If You Let Me is a deeper than deep bass and brass opener, with a sumptuous cymbal sound and Eddie's voice gruffer in tone in places than usual. It is an impressive, lively beginning to the album. 

Let Me Run Into Your Lonely Heart is superbly funky, full of fatback drums, fine horns and guitar. Kendricks' vocal again proves his versatility. 

Day By Day also sees a change in style, being a solid, slow soulful ballad. Once more, unsurprisingly, it is the bass and brass that catch the ear.

The next track, Girl You Need A Change Of Mind, is a standout - seven minutes plus of early disco (it was still only 1972, remember) that laid down foundations for bass grooves all the way into the eighties. It goes without saying that the bass cooks all the way through, but so do the horns, the drums and the high-pitched guitar breaks (like the ones used in Rose Royce's Car Wash in 1977). Eddie deals with the song's changes of pace and punch admirably and I have to say that this is a fair way removed from anything he did with The Temptations. This was a great example of early disco, several years in advance of all those glitter balls. Check out the bass, drums and guitar interplay part at four minutes in. 

Someday We'll Have A Better World is an uplifting song quite typical of Motown in the early seventies, delivering its optimistic message over an attractive backing. The world will be better for me and you and we'll put out some great music while we wait and hope. It has a nice little funky break near the end too. 

Time for a change of sound now with the African tribal drum sounds of My People...Hold On, complete with vocal invocations to Africa and a Curtis Mayfield-style "people!!" address from Kendricks as he delivers a sermon of warning. The song's whole feeling, the rumbling congas and the vocals are very Mayfield-esque. 

Date With The Rain changes styles again on a lively piece of funk/pop while some fuzzy guitar enhances the catchy funk of Eddie's Love, which has hints of Peter Gabriel's Sledgehammer about it, for me. The track cooks from beginning to end. Do I need to say that the bass is top-notch? No. I'm doing it in every paragraph. 

I'm On The Sideline is a robust brasser and Just Memories is a sort of Blood, Sweat & Tears-ish experimental closer that enjoys some intoxicating cymbal work and a towering Delfonics-style vocal. I love the piano, bass, spacey keyboards and guitar instrumental break at around five minutes in. As I said, this was a refreshingly varied and pleasing album. as with all Kendricks' solo work, however, it slipped under the radar somewhat. 

Eddie Kendricks (1973)

Only Room For Two/Darling Come Back Home/Each Day I Cry A Little/Can't Help What I Am/Keep On Truckin'/Any Day Now/Not On The Outside/Where Do You Go (Baby)

In 1973, Eddie Kendricks diversified ever so slightly from social message funky soul to go a bit lush and Philly style for this album. That said, though, it still contains one superb piece of funk and several other subtle funky enhancements despite the overall ambience being one of string-backed slick soul. Compared to the two previous albums it lacks a little of their vibrancy and variety, but it was the most successful of the three, so there you go. 

The album begins with the soft, Philly-ish, orchestrated soul number Only Room For Two, setting a clear Philadelphia soul influence that would pervade much of the album. 

Darling Come Back Home is a really good, muscular Philly-ish hooky number, featuring some steel band percussion while Each Day I Cry A Little is a spoken-intro soft ballad featuring some gentle funky guitar in its backing. Its strings are beautiful too, in a Temptations slow number style. Eddie's voice absolutely nails it on here - check out the quiet bit near the end where it is him and the cymbals briefly - this is seventies soul of the highest quality. Both these two latter tracks are excellent.

Can't Help What I Am is a delicious and once more very Philly-ish number, enhanced by those distinctive horns and more intoxicating cymbals. Building on the proto-disco vibe started on the previous album with Girl You Need A Change Of Mind came Kendricks' biggest hit - the invigorating and catchy Keep On Truckin', presented here in its full, unadulterated glory. Now, while I am confirmed fan of full-length versions, I actually feel that the single version served the song better, the longer version being ever so slightly incohesive. Maybe I am just used to the single version from the seventies. Either way, the song is great, packed with hooks, stonking wah-wah and clavinet, great funky percussion and a killer vocal. The "on the red-ball express" funky bit at the end is peerless.

The sublime smooth soul of Any Day Now has a string backing that reminds me of Smokey Robinson's Just My Soul Responding

Not On The Outside is in the smoochy, romantic soul vein as indeed is the closer, Where Do You Go (Baby). While this album is very easy on the ear, I find its two predecessors to have a bit more verve and vitality about them.

Boogie Down! (1974)

The Thin Man/Tell Her Love Has Felt The Need/Son Of Sagittarius/Boogie Down/Hooked On Your Love/Honey Brown/You Are The Melody Of My Life/Trust Your Heart/Girl Of My Dreams/Loving You The Second Time

From 1974, this is arguably Eddie Kendricks’ finest solo album. It is a mixture of energetic funky soul and quality, laid-back ballads. The album is funkier in its first half than its second, but it is all fine fare.

The Thin Man is a fine piece of groovy funk, with Eddie’s trademark falsetto vocal to the fore, along with some fine clavinet-drum interplay. It is up there as one of his best solo funky numbers.

Tell Her Love Has Felt The Need is a lovely, warm, bassy love ballad to provide an instant contrast. A brooding, rumbling funk is back, however, on the cookin’ vibe of Son Of Sagittarius, featuring more of that typically mid-seventies keyboard-powered funky backing. Check out that deep drum sound too. I love that full sound - and the brass as well. Very seventies. As indeed is the album’s hit single - the Keep On Truckin’ sound-alike, Boogie Down. Like its predecessor, this track positively bubbles with funk. It is performed here in its full, seven minute plus extended version - lots of bongoes, sweeping and horns in the instrumental section. I can't get enough of these lengthy funk-soul numbers that Kendricks specialised in during this fertile period.

The overall funky ambience of this fine album continues on the uptempo but sexy Hooked On Your Love. A late-night romantic ambience arrives on the smooth soul of Honey Brown and You Are The Melody Of My Life combines a smoochy vibe with a bit of upbeat jazziness.

Trust Your Heart is a warm, attractive mid-pace serving of sublimely delivered soul. It is one of the album’s best cuts. Girl Of My Dreams is a soft, sumptuous ballad while Loving You The Second Time combines balladry with a slightly funkier edge, more brass than funk to be honest. 

As I said, possibly his best solo album.

I also own these two subsequent releases from Eddie Kendricks:-

For You (1974)
The Hit Man (1975) 

The later album is the better of the two. 

For You (1974) 

From December 1974, this has some fine tracks in the sweet soul of Please Don't Go Away and Deep And Quiet Love, the appealing Shoeshine Boy and the solid funk of One Tear and Let Yourself Go but it is blighted somewhat by incongruous and ill-suited easy listening covers of David Gates' If and Jim Croce's Time In A Bottle - good songs but which simply don't work for Kendricks. The gospelly If You Think (You Can) is a good, uplifting number however. 

The Hit Man (1975) 

From 1975, this is far more robust and funky, returning to the style of the Boogie Down! album. Its stand-out tracks are If Anyone Can, the infectious Happy and Fortune Teller, the mega-funky, extended Body Talk and. the equally hot Get The Cream Off The Top. All these tracks are top notch.

Skippin' Work Today and you Loved Me Then are soulful ballads, and the album ends with the seven minute-plus conscious soul of I've Got To Be, which has an extended spoken intro before it breaks out into a punchy, brassy workout.

Both the albums have their good points, but I will plump for the 1975 one as being slightly the superior.

I Couldn't Believe It/Ordinary Girl/One More For The Lonely Hearts Club/Whatever You Got/Don't Know Why (You're Dreaming)/Family Affair/One Last Kiss/You Only Get What You Put Out/Goodnight Pillow  

Daryl Hall & John Oates managed to get these two ex-Temptations together to record this little-known comeback album in 1987, long after they had left The Temptations. They also used the two of them to join in parts of their stage show on a Motown nostalgia slot. I used to own a long-deleted live album of that show and it was really good. (Actually it still exists, I'll get round to reviewing it - it's called Live At The Apollo).

Eddie Kendricks revered to his birth surname of Kendrick, without the 's' for this album and throughout the 1980s.

Anyway, this album is a long-forgotten soul rarity with some good stuff on it and it is great to hear them singing together again. Tragically, within five years, both of them would have passed away.
I Couldn't Believe It is a marvellous Motown-style stomper, led by Ruffin's mellifluous voice, backed up by Kendrick's falsetto. Both of them are sounding understandably older, but man, they've still got it, haven't they? The song has a killer saxophone solo too. The backing is slightly more eighties than sixties, but you can't help but bop along. It has a bit of feel of those "modern Northern Soul" records, recorded in the eighties to sound "Northern". 

Ordinary Girl has a very Hall & Oates-style backing that sounds like that they used on Maneater. It is not a Hall & Oates song but it sure sounds like it, with that frisky, fast bass beat. Kendrick leads on the syrupy ballad One More For The Lonely Hearts Club. Ruffin's backing vocal is sumptuous.

Whatever You Got is a solid slice of eighties soul funk, led by Ruffin, featuring some nice jazzy saxophone.The synthy backing is very eighties, though. 

Don't Know Why (You're Dreaming) has a summery, vaguely reggae-ish beat. The pair's cover of Sly & The Family Stone's Family Affair is handled competently enough but doesn't really find me wanting to listen to it in preference to the original. Its eighties backing takes some of the appeal of the original seventies funk away from it.

One Last Kiss is a delicious slice of sweet, harmonious soul. You Only Get What You Put Out is a cookin' pot full of funk with the two voices interacting perfectly. Once more I have to say that it is very eighties. Goodnight Pillow is a late night slushy number as you might expect.

Overall, this is a pleasant, quality soul album. It is nothing outstanding, though and is rendered a little important by its very synthesised eighties backing, but there is no denying the timbre of the voices. It is eminently listenable but certainly not essential.


Regarding "best of" compilations, a great way of accessing all of Eddie Kendricks' solo studio albums on the Motown labels is via these two excellent box sets:-


  1. There's an even longer mix of Keep On Truckin on an album called A Tom Moulton Mix. It's a bit different than the album version. But basically I agree with you that the single version is quite long enough.

  2. I have a few other Tom Moulton mixes (The O'Jays, Harold Melvin) but not that one.