Touch 'Em With Love

About four years ago I was with my sister in the used record shop in Barry when she asked me who it was sang 'Ode to Billy Joe', was it Billie...? she couldn't recall. I felt fairly sure it wasn't sung by a Billie but nor could I bring the name Bobbie to mind. In due course it came back to me, and, that Christmas, I bought her a Very Best Of Bobbie Gentry LP. Not long after that I also found a copy of Way Down South, the budget UK re-issue of Gentry's second album The Delta Sweete, and gave that to my sister too.

Before passing it on I play-tested it, and was surprised and delighted by how much I enjoyed it. As luck would have it, I found another copy of Way Down South not long afterwards, picking that one up for myself. In January this year, while perusing the records at St. Mary's St. Collectables in Chepstow, I found a copy of Touch 'Em With Love, and thought I'd try that for size too. It's another very good album, an harmonious blend of country, easy listening & soul flavours.

The highlights for me include 'Where's the Playground, Johnny', 'I'll Never Fall in Love Again', and Gentry's own composition 'Seasons Come, Seasons Go'. There's also a version of 'Son of a Preacher Man' which is good too, if not quite up there with Dusty Springfield's. Speaking of Springfield, the album as a whole covers similar ground to 'Dusty in Memphis', albeit in a breezier, less highly-polished style. The cover image is another good choice, with Gentry captured barefoot & mid-twirl in a fringe-trim buckskin suit.

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All Wrapped Up

Here's another of the compilation cassettes I bought this summer, having taken home a Denon twin-deck hi-fi cassette player from the local charity shop. All Wrapped Up is a 1983 compilation of singles by The Undertones, with Side One filled with A-sides, and B-sides on Side Two. A cassette must be the least desirable medium for such an arrangement, with a long rewind required if one just wants to hear the hits repeatedly. The Undertones were unapologetically provincial and anti-fashionable, with their songs sharply-written slices of life that pointedly avoided any mention of politics, or of the then-continuing violence in their native Derry. My favourite tracks are the obvious choices: 'Teenage Kicks', 'Jimmy Jimmy', 'Here Comes the Summer', 'My Perfect Cousin' & 'Wednesday Week'. Their later singles showed increased sophistication but lack the some of the straightforward charm of their earlier work. The B-sides, not unexpectedly, are mo

In Heat

Having acquired the soubriquet "the walrus of love", Barry White thereafter became something of a figure of fun, something that misled me (and presumably others) into disregarding his music. Only within the last few years have I begun to pay it more attention. After picking up a copy of his '74 album Can't Get Enough last summer, which I loved, I sought out some of the music by his protegés Love Unlimited. From a Discogs seller I ordered well-used copies of Under the Influence of... ('73) and In Heat ('74) for only £6.25. The only unappealing thing about In Heat is its awful title. The songs and the singing are strong; the arrangements rich & warmly enveloping. As one would expect from White, the thematic focus is firmly fixed on amatory matters. The opening number 'Move Me No Mountain' (the only one on the record not written by White) offers a refreshing rebuttal to the kind of lyrical hyperbole in songs like 'Ain't No Mountain High E

Bananas Are Not Created Equal

I knew Jay Berliner's name from his contributions to Van Morrison's Astral Weeks and Charles Mingus' The Black Saint and the Sinner Lady , so when I saw this curiously-titled LP at the local charity shop I was intrigued, and bought it even though I had no idea what kind of music it might contain. This was after the days when one could still buy records there for a pound apiece, but I don't think I paid more than a fiver for it. The music turned out to be an all-instrumental blend of funk, soul & jazz. Berliner's virtuoso lead guitar is only one of many attractions here. The band of first-rate session musicians behind him are all uniformly excellent too, and, crucially, sound like they're having a blast. Cornell Dupree's supporting guitar work, while less showy than Berliner's, is beautifully-judged, and the rhythm section is terrific. Arranger/conductor Wade Marcus was no slouch either, judging from the way everything comes together. Two of the funk

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