Wednesday, 29 January 2020

The Average White Band

The albums covered here are:-

Show Your Hand (1973)
AWB (1974)
Cut The Cake (1975)
and Benny And Us (1977)

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1. The Jugglers
2. This World Has Music
3. Twilight Zone
4. Put It Where You Want It
5. Show Your Hand
6. Back In 67
7. Reach Out
8. TLC                                                                                               
This was The Average White Band’s debut album, and it was one that slipped under the radar somewhat, which was a bit of a shame as there was some quality material on there. I have mentioned this in more detail on the review of band’s next album, but even more so than in 1974, funk rock was hardly de rigeur in the UK music scene so the emergence of this band of Scottish funk rockers was surprising, to say the least. They broke big with the instrumental chart hit Pick Up The Pieces in the following year.

Anyway, on to this album. The Jugglers is a lively upbeat funk number to kick things off with. It uses the guitar and drum sound that the band would come to utilise so much over the next few years. A nice inventive saxophone solo is to be found in the middle too. This World Has Music is a catchy song with good soulful vocals from both lead vocalists, Alan Gorrie and Hamish Stuart, more fine saxophone and a sumptuous, melodic bass line. It sounds like it would have been a good single, and indeed it was, but you just can’t imagine it being a hit in amongst all that glam rock in 1973.

Twilight Zone is an impressive, laid-back soul number. A notable thing about this album is that most of its eight songs are around the five minute mark, quite long, something else that went against the contemporary grain. I have to say, though, that the quality of the musicianship is superb. Put It Where You Want It is six minutes plus of mature, impressive tuneful funk/pop. I can only reiterate that it is difficult to see how this fitted in to the zeitgeist of 1973. It would have been fine in the eighties, however, so maybe it was ten years ahead of its time. Once again, Roger Ball’s saxophone is excellent on this track.


Show Your Hand suffers from a bit of a muddy sound at the beginning, although otherwise it is a gentle offering of quiet but lively, poppy soul. Like the other tracks it is all most appealing. Back In 67 is a vaguely reggae-influenced number that talks of the band’s history on the road. Reach Out is a guitar and horns-driven piece of punchy, bluesy soul. TLC ends the album with over eight minutes of infectious, insistent funky soul, featuring some intoxicating drums and another killer bass line. There are hints of Traffic’s soul/rock workouts on this one.

This was a convincing first album, but, as I said earlier, it belonged a decade later, musically.

AWB (1974)

1. You Got It
2. Got The Love
3. Pick Up The Pieces
4. Person To Person
5. Work To Do
6. Nothin’ You Can Do
7. Just Want To Love You Tonight
8. Keepin’ It To Myself
9. I Just Can’t Give You Up
10. There’s Always Someone Waiting                     

1973-74 was a period of glam rock’s embers still glowing, prog rock noodling around strongly, the early strains of disco, and Philly soul. Hardly fertile ground for a Scottish soul band to emerge, one would have thought. This band were to prove otherwise, however.

The Average White Band were from Dundee. They were, as their name suggests, a white soul/funk band. However, they were a little bit more than just average. This was their second album, and most impressive it was too. It contained the hit single, the instrumental Pick Up The Pieces, but the rest of the album features vocals, and is jam packed full of laid back soul/funk of the highest quality. For an album from 1974, the sound quality is also exceptionally good. It was surprisingly that with so many strong, catchy soul songs on the album, many of which would have made fine singles, that they chose an instrumental. They obviously made the right choice, though, as it was a huge hit, rich with catchy, infectious hooks that made it an instrumental that one could sing along to.

The general sound of the album is that of gentle funky guitars, solid drumming, late night soulful vocals and a nice, punchy but melodic brass groove. The nearest comparison that can be made is possibly to the sound of multi-racial US funk/soul band Tower Of Power. You Got It and Got The Love are both tuneful, immaculate-sounding numbers the quality of which makes them sound ahead of their time, like something from the eighties rather than the mid-seventies. The vibe is that polished and slick.


Person To Person drips with funky guitar licks, fatback drums and a great vocal from Hamish Stuart (vocals were shared across the tracks with Alan Gorrie). Work To Do is a cover of an Isley Brothers’ song from their Brother, Brother, Brother early seventies album. AWB’s version is pretty faithful to the original, just as funky and brassy. Nothin’ You Can Do is a classic slice of bassy seventies soul. This description applies even more to the sumptuous Just Want To Love You Tonight. This time it is Gorrie on vocals and most striking they are too.

Keepin’ To Yourself is so convincing in its Philly-ish sound it could almost be Harold Melvin & The Blue Notes, The O’Jays or Blue Magic. There are touches of The Detroit Spinners about it too. I Just Can’t Give You Up is also very O’ Jays in its rhythmic, funky feel. Check out that guitar solo half way through. The final track, There’s Always Someone Waiting is the deepest piece of funk on the album, featuring some excellent wah-wah guitar and mysterious-sounding percussion.

This was certainly a fine album. Unfortunately, drummer Robbie McIntosh died from a heroin overdose a few months after this album’s release. I vaguely remember reading about it at the time. I was fourteen/fifteen and while I liked the single, did not know too much else about the band.



1. Cut The Cake
2. School Boy Crush
3. It's A Mystery
4. Groovin' The Night Away
5. If I Ever Lose This Heaven
6. Why
7. High Flyin' Woman
8. Cloudy
9. How Sweet Can You Get?
10. When They Bring Down The Curtain                     
This follow up album to the successful AWB, in 1975, offered more of the same excellent white funk/soul. Beginning with the minor hit single of Cut The Cake, an impossibly funky, brass-driven groove with occasional, somewhat indistinct vocals, the track has a fabulous funky beat that is followed by an absolutely enticing rubbery bass line backing on School Boy Crush. Both of these are thoroughly captivating tracks, immaculately played music that was far more than simply chart fare.

This is addictive funk, and, if anything, this album is even more funky than its predecessor. These two opening tracks drip, sweat and smoulder with it. Can the vibe be continued? It sure can. It's A Mystery has another deep funky backing (just listen to that bass) - the stuff on here has an earthiness to it, despite the sweet soul feel of the laid-back vocals. A nice saxophone solo enhances the track too. Incidentally, Steve Ferrone was now on drums (he went on to later join Tom Petty & The Heartbreakers and play session drums on many other albums, including Chaka Khan, George Harrison and Eric Clapton).

Groovin' The Night Away is an upbeat piece of party funk. Disco was on the way, remember and the group were getting in on that particular act as well as funk. If I Ever Lose This Heaven, a Pam Sawyer song originally recorded in 1973 by Quincy Jones, is a solid chugger of a number. Once again the backing is warm and funky. The mood gets a little more romantic on the soothing saxophone-enhanced soul of Why, but it doesn't take long for some jazzy funk to return on the sublime High Flyin' Woman. The track features some killer wah-wah guitar licks.


Cloudy is a slow-paced serving of evening soul. How Sweet Can You Get? has a bit of a feel of Steely Dan about its brassy soul/rock ambience and indeed its vocal. When They Bring Down The Curtain is wonderfully soulful, it reminds me quite a lot of Ace, a vaguely similar rock/soul band from the same era. Disappointingly, the album didn't sell that well, not in the UK anyway, although it did very well in the USA, where they had a large African-American following. Once again, I have to say that the music on here was impressively mature and in so many ways ahead of its contemporaries.

Apparently there was a lot of tension within the band on the recording of this album, no doubt due to the recent passing of drummer Robbie McIntosh and also the dreaded "artistic and creative differences", but you would never have guessed it, listening to it - it is as smooth as silk, full of energy and seeming enthusiasm. They did well covering up any mournful moods. Legendary soul/funk producer Arif Mardin was about to pull the plug at once stage but, fortunately he persevered with the task. As I said, it came out sounding really polished. I also have to make the point that the sound quality on the album is absolutely top notch.


1. Get It Up For Love
2. Fool For You Anyway
3. A Star In The Ghetto
4. The Message Is Love
5. What Is Soul
6. Someday We'll All Be Free
7. Imagine
8. Keepin' It To Myself                                   

This was an excellent collaboration between the AWB and legendary Drifters vocalist Ben E. King. Although only eight tracks in length, it is a thoroughly worthwhile listen. It sort of slipped under many people's radar at the time, certainly in the UK, although it was successful in the USA, where the band had a much bigger fanbase. King's vocals are certainly not in the Drifters/Stand By Me style - he copes with several soul sub-genres admirably. It actually became his best-selling album.

Get It Up For Love is a nice, deep funky opener, with a disco/funk vibe to it - lots of “chicka-chicka” guitars and a solid vocal from King and the band's members. It merges a catchiness with a gritty, cookin' funk. Fool For You Anyway slows down the pace on a classic piece of seventies soul with a real, polished Philly feel to it. King's vocal is effortlessly impeccable on this. A Star In The Ghetto, a Philip Mitchell song, is one of the album’s standout tracks - six and a half minutes of copper-bottomed soulful funk with a Blaxploitation-style string backing and a general Blax ambience overall. Quality stuff. Once again, King’s adapts his vocal to the song’s demands perfectly. There are elements of James Brown in his delivery at times on this one as he improvises. There is also that irresistible hookiness about it that makes it so attractive.


The Message Is Love sees a return to muscular funk, full of wah-wah guitars. Its bass line is beautifully deep and the rhythm intoxicating. Proper funk. What Is Soul kicks ass too, big time, with another James Brown-esque vocal over a punchy funk beat, once more it is strong, industrial funky fare. It is time for a change in pace now, for the George Benson/Luther Vandross style soul of Someday We’ll All Be Free. This was a cover of a Donny Hathaway song. It features a sublime saxophone solo too.

Covers of John Lennon's Imagine were, unfortunately ten-a-penny in 1977 (and probably ever since) and although this one is eminently soulful and full of great saxophone breaks, as you would expect, there was probably not much need for another soul artist/band covering the song. They'd all done it, hadn't they? Actually, though, I can't help but like it. The breezy, bright Keepin' It To Myself is a reliable slice of seventies soul to finish off with. It has a bit of Al Green about it.

This was a really good album, demonstrating a variety of funk/soul styles and deservedly was reasonably successful. The band would drop off the radar for a while after this, however, before experiencing something of a renaissance in the eighties.


Thursday, 23 January 2020

Pure Prairie League

The albums covered here are:-

Pure Prairie League (1972)
Bustin' Out (1972)
Two Lane Highway (1975)
and Dance (1976)

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1. Tears
2. Take It Before You Go
3. You're Between Me
4. Woman
5. Doc's Tune
6. Country Song
7. Harmony Song
8. It's All On Me                                                     
Pure Prairie League were a US country rock band that originated in the early 1970s. They were named after a fictional 19th century temperance society that featured in the 1939 Errol Flynn movie, Dodge City. This was their 1972 debut album. Their albums featured the same cartoon-ish cowboy character on the cover, making them somewhat difficult to differentiate from each other.

This album is a relaxing, breezy laid-back delight of warm country air. Very much in the early seventies country rock style it is a little known (certainly by me until recently) classic of its genre. The sound quality and musicianship is excellent and if you like easy country rock you will love this. Put this alongside CSNY, The Byrds, Dylan's Nashville SkylineThe Flying Burrito Brothers, America and Gram Parsons.

Tears is a jaunty, finger-pickin' piece of lively country rock, embellished by some excellent riffy electric guitar half way through along with the obligatory steel guitar. The Eagles were surely influenced by stiff like this. Take It Before You Go is also an upbeat number with a regimented but fast drum beat and some more killer pedal steel guitar, The vocals are laid-back and easy on the ear as too is the gently melodic bass. You're Between Me is a slower, more rock-ish but still melodic number with another lovely bass line, fine electric guitar solo and impressive vocal. Craig Fuller was the lead guitarist and vocalist. Gram Parsons must have liked this one, I am sure. The way PPL merge the pedal steel and electric guitars is of of the most striking aspects of their music.


Woman is an absolutely stonking slice of rousing country rock, packed full of wonderful guitar and superb, uplifting vocal harmonies and a solid round of drumming from Jim Caughlan. "Time's so short, please woman wear your hair down for me.." is a great seventies line too, isn't it?

Doc's Tune is a short, pleasant bit of finger pickin' while Country Song is a catchy, energetic with a Nashville Skyline feeling about it, but played much faster. Check out that guitar half way in. This track rocks, in a country way, from beginning to end. It is a lengthy one too - nearly eight minutes and involves some truly excellent musicianship over the final two or three of them as the band go through their paces. It becomes the album's tour de force.

Harmony Song is also a five minute plus number and is a very Eagles-like slow, sad country rock ballad. Again, though, it builds up into a glorious example of musical dexterity. Yes, these are regular country songs but they are enhanced by some genuinely high quality playing. It's All On Me is a plaintive bluesy country twanger brought to life by some punchy rock breaks. Then the album is over before you know it, but what a breath of fresh country air it has proved to be. Why it didn't get more credit beyond the cognoscenti is beyond me. I love it.

BUSTIN' OUT (1972)

1. Jazzman
2. Angel No. 9
3. Leave My Heart Alone
4. Early Morning Riser
5. Falling In And Out Of Love
6. Amie
7. Boulder Skies
8. Angel
9. Call Me, Tell Me                                                  
After an excellent debut album of musically inventive, clever country rock, Pure Prairie League were back, this time, perhaps surprisingly, teaming up with guitarist Mick Ronson, an RCA label-mate, right in the middle of his Spiders From Mars glam period. Ronson contributed guitar and was involved with the strings production. This was something totally different from David Bowie's Ziggy Stardust or Lou Reed's Transformer, his other two 1972 involvements. It was a good job nobody in the glam-obsessed UK knew much about this at the time as his working with a country rock band would have seriously damaged his glam credentials. His influence on here, though, made it a more rocking album than the first one, in places, certainly in the first three tracks. After that a more quite, beautifully string-powered groove takes over, however.

The tuneful, appealing Jazzman is sort of Eagles meets America with bits of Neil Young and early Bread floating around its enticing melody. As always, there is some great guitar and drums on here. Angel No. 9 begins with some instantly recognisable, searing Ronson guitar before the country-styled vocals kick in. It is very much a rock track though, full of riffy power. It is a really good track. It is by far the group's rockiest number thus far in their career. Leave My Heart Alone is equally powerful, featuring some delicious wah-wah style guitar enhancements. This was an example of country rock at its finest. The pedal steel/electric guitar battling that was begun on the previous album is taken to higher levels here as the guitars crash, slash and burn a lot more and the drums pound harder.


The appealing Early Morning Riser sees a return to breezy, freeway-drivin' Eagles-style light country rock fare. Dire Straits would use the type of guitar breaks that are used here many years later. The vocal harmonies are pleasant too as is the long-ish instrumental fade-out. Falling In And Out Of Love is a very CSN/CSNY influenced acoustic-driven quiet ballad. It segues neatly into the more upbeat, harmonious Amie. This was a very successful track in the USA (being eventually released as a single in 1975) but in the UK it didn't even raise a ripple of interest. It is full of lovely America-style vocal harmonies and that singalong country rock vibe. Continuing the laid-back feel is the entrancing, gentle Boulder Skies. The strings are lovely on this. Ronson did a good job. Who would have thought he had such musical romance in him?

Angel is beguiling, both musically and lyrically. It is another sensitive, mature composition. It stands out when listening to the album for its sheer quality. Call Me, Tell Me is another very CSNY-style song with some interesting string sweeps and an infectious percussion backing. Bruce Springsteen used soaring strings like this a lot on his 2019 Western Stars album. The last sonorous string bit sounds just like the end of David Bowie's Rock'n'Roll Suicide. Concidence? Maybe not.

The music here is intelligent, creative, often beautiful and artistic. It is more than just straightforward country. It is finely-crafted country rock of the highest order. I cannot recommend this enough. The album was, unfortunately, not a success and this line-up of the band split up soon after. What a pity.


1. Two Lane Highway
2. Kentucky Moonshine
3. Runner
4. Memories
5. Kansas City Southern
6. Harvest
7. Sister's Keeper
8. Just Can't Believe It
9. Give Us A Rise
10. I'll Change Your Flat Tyre, Merle
11. Pickin' To Beat The Devil                                    

Three years since their previous album, and a few line-up changes on, Pure Prairie League returned in 1975, with another serving of pleasant country rock. Singer, lead guitarist and main creative force Craig Fuller unfortunately had to serve six months in jail in 1973 for draft dodging. Fair play to him. He would rejoin the band in 1985. The music definitely suffered as a result and something of the innovative spark of those excellent first two albums was lost. This was a far more mainstream country rock album. It still features some quality material, however.

Two Lane Highway is a lively, Eagles-style piece of driving country radio-friendly rock. Ideal for car radio play and no doubt that is exactly what it got. It has an excellent guitar solo in it too. Kentucky Moonshine is a typical laid-back country song, tuneful and unthreatening. Runner is a gentle, very CSNY-influenced number, full of those breezy country sounds.


Memories is a mid-pace, melodic steel guitar and piano-driven country ballad. Perfect for a hot afternoon in a country bar. It is time to rock again on the riffy beauty of Kansas City Southern, get out of the bar and back on the freeway again. There is some addictive cymbal work halfway through this, together with solid drums and guitar. Riffage continues on the chunky Eagles-like rock grind of Harvest. You can't go far wrong with stuff like this. Once more, the guitar is impressive.

Sister's Keeper is a delightful, subtly bassy slow number. Somehow I feel Elvis Costello would have loved this one. The same could also be applied to the country standard mournful vibe of Just Can't Believe It. Costello's Almost Blue album was packed full of lachrymose ballads like this one. Give Us A Rise is a lively, bass, drums and steel guitar singalong number, with a catchy la-da-da hook. I'll Change Your Flat Tyre, Merle is a jaunty, amusing country romp in tribute to legendary country singer Merle Haggard with early Dylanesque echoes on the verses. Pickin' To Beat The Devil is, unsurprisingly, full of finger pickin' guitar and lyrics about Kentucky women and Tennessee whiskey. It is an energetic and fun way to finish this enjoyable album. As I said at the beginning, though, the first two albums just had that extra je ne sais quoi. Actually, I do know what it was, it was musical inventiveness and a certain unique quality to the sound.

DANCE (1976)

1. Dance
2. In The Morning
3. All The Way
4. Livin' Each Day At A Time
5. Fade Away
6. Tornado Warning
7. Catfishin'
8. Help Yourself
9. San Antonio
10. All The Lonesome Cowboys                     

Unfortunately, Pure Prairie League's best days were behind them by now. This album was released in 1976 and the late sixties/early seventies country rock boom was very much yesterday's thing. Groups like The Eagles were veering more towards mainstream rock and punk/new wave was about to explode. An album of standard country rock was never going to be too successful and it wasn't. It is enjoyable enough, taken in isolation, however. The group America went the same way over the same period.

Dance is a pleasant enough brassy barroom rocker enlivened by some lively saxophone. In The Morning is a gentle, America-style melodious number that features some fetching country fiddle. All The Way is a steel guitar-powered country tearjerker. Livin' Each Day At A Time is a catchy, appealing song about taking it easy and calming things down, man. Fade Away has a gentle attractiveness too, but it sounds so very 1972.


Tornado Warning rocks nicely, a solid piece of riffy country rock. The jaunty Catfishin' evokes that old summery, bluesy, folky atmosphere. All very nostalgic but pretty irrelevant in 1976. Help Yourself has more of a contemporary rock feel about it. San Antonio is just a nice, melodic country song. All The Lonesome Cowboys is a fine rocker to finish on. As I said, a totally unthreatening, enjoyable album, but culturally out of time in 1976.


Monday, 20 January 2020

Lou Rawls


1. Dead End Street
2. Love Is A Hurtin' Thing
3. Trouble Down Here Below
4. A Natural Man
5. Your Good Thing (Is About To End)
6. Street Corner Hustler Blues/World Of Trouble
7. I Can't Make It Alone
8. You Can Bring Me All Your Heartaches
9. You've Made Me So Very Happy
10. On Broadway
11. Righteous Woman /I Wanna Little Girl
12. Breaking My Back (Instead Of Using My Mind)
13. The Shadow Of Your Smile
14. Bring It On Home
15. Show Business
16. Down Here On The Ground
17. Lady Love
18. See You When I Git There
19. Groovy People
20. Let Me Be Good To You
21. You'll Never Find Another Love Like Mine                                                 

Lou Rawls was from Chicago and had a background, as many soul singers did, in the gospel tradition of his church. He also served in the US Army as a paratrooper and later suffered a car crash in which he was pronounced dead but recovered, amazingly. He had a strong, soulful, expressive voice and is a most underrated when the great male soul vocalists are talked about. This is a fine collection of impressive soul that surprises by its sheer quality, both in the music and also in the sound quality. I really enjoyed it , not being initially familiar with all the material on here. I have to say I was mightily impressed. Sometimes you find yourself listening to an album and thinking "bloody hell, this is great". This is most definitely one of those. I looked on my purchase history. I had bought it three years ago and took me this long to play it. That's the way it sometimes is when you're buying music all the time, but it is nice when you get a pleasant surprise like this, out of the blue. That's the beauty of it.

Dead End Street is an evocative number about Rawls' upbringing in Chicago, the "Windy City". It is   semi-spoken at the beginning as the brass and drums build up the atmosphere before Lou's full-on soul vocal kicks in over a kicking backbeat and jazzy piano. Great stuff. Rawls' signature tune, Love Is A Hurtin' Thing was referenced in Arthur Conley's Sweet Soul Music  - "....spotlight on Lou Rawls, y'all, singing' "Love Is A Hurtin' Thing" y'alll". It is a dramatic, soulful brassy number with a fine, dominating vocal from Rawls. Trouble Down Here Below is a lovely number that sees Rawls using his vocal skills honed in the gospel church choirs of his youth. It has a great rhythm to it and some kick-ass drums too. The vocal is effortless, riding and soaring above the infectious beat.


A Natural Man starts with a beautiful, deep bass line and Lou gives us a preacher's spoken intro before launching into another wonderful vocal over a fine drum, bass and piano beat, enhanced by some nice female backing vocals. Your Good Thing (Is About To End) is a dignified slow, Stax-style brassy ballad. Street Corner Hustler Blues/World Of Trouble is a live cut, the first half being a spoken autobiographical story that seems to amuse Rawls' audience but probably goes on a bit too long, for my liking anyway - just get on with the song, man! The second half is much better when the song breaks out. I Can't Make It Alone is a magnificent piece of uplifting soul that will be recognised by Dusty Springfield fans, as she covered it on Dusty In MemphisYou Can Bring Me All Your Heartaches is a mid-pace number driven on by some impressive brass breaks and, despite its slightly less pacy beat than a Northern Soul number usually has, has a real Northern feel about it.

You've Made Me So Very Happy dates from 1970 and is a cover of the Brenda Holloway/Blood, Sweat & Tears song. Rawls does it a suitably brassy, soulful justice, no need to worry about that. On Broadway is a lively, jazzy cover of The Drifters' number. Righteous Woman /I Wanna Little Girl is another double song that begins with a spoken "rap" over a sumptuous stand up bass and ends in some fine bluesy soul vocals over the same bass, together with some excellent brass. Rawls wants his girl to cook some "good soul food" and "she don't have to wear no wigs..". Sounds good to me. The catchy rhythm of Breaking My Back (Instead Of Using My Mind) is seriously toe-tapping. Check out that bass/drum/brass interplay near the end. The Shadow Of Your Smile is another live recording  and is a late-night smoky jazz-club ballad. It is from a film called The Sandpiper, Rawls tells us. I was not familiar with it. It is a 1965 Richard Burton/Elizabeth Taylor film.


Bring It On Home is a slowed-down and funky over of the Sam Cooke classic. Rawls gives it a Stax-y Memphis-style groove. It cooks to boiling point, giving the song a completely different veneer. Show Business once more kicks ass, big time with some killer bluesy piano and punchy brass backing a great vocal. Down Here On The Ground is a dramatic, cinematic sort of song with a late sixties feel to it. It is a little bit orchestral and overblown for my liking - to many strings and not enough bass and brass.

Lady Love is a number that dates from 1977, and you can tell. Its production is more polished and slick, with some lovely percussion. It is an attractive, Philly/Harold Melvin-Sounding slice of seventies soul. Quality stuff. This vibe is continued on the equally Melvin-esque, conga-driven groove of See You When I Git There. Beautiful seventies soul, yes sir. Incidentally, although the title says "git", Rawls actually sings "get". Groovy People is also in the same vein, but faster and more urgent. Rawls likes to hang out with "groovy people who ain't on no ego trip". Fair enough. Let Me Be Good To You is a superb, atmospheric piece of classy disco soul from 1979, written by Kenny Gamble and Leon Huff, with a simply delicious throbbing bass line and some intoxicating, rhythmic percussion. Rawls' vocal has a feel of Luther Vandross about it. It also has a Barry White spoken bit near the end when Lou offers to rub his lover's feet after her long day. Mmmm, that's right just relax now.... This admirable collection ends with another Harold Melvin-influenced number In Rawl's second most famous number in the vibrant You'll Never Find Another Love Like Mine. It is number full of Philly-style soul. As I have said throughout this review I cannot praise this album highly enough.