Reviewed by Tony Cummings

One of the clichés of record reviews, "this song alone is worth the price of the album" comes vividly to mind once the opening track "Sometimes I Feel Like A Motherless Child" by Clarence Smith completes its five minutes, 14 seconds journey from the dust of obscurity to the spotlight of undiscovered classic. For here indeed is a '70s soul gospel masterpiece - an unknown singer with a sublime Memphis rhythm section taking a timeless slavery-days spiritual and, with a bass line to kill for, transforming it into an insidious piece of unrelenting funk. With such an opening delight, anything else seems like a bonus so it's pleasing to note there are some good cuts here - Marion Williams sure and soulful reading of Bob Dylan's "I Shall Be Released", the obscure Sons Of Truth (with hilarious sleeve photo and, like Clarence Smith, taken from the vaults of Stax Records' Truth gospel subsidiary), Esther Marrow (today a singer with the Harlem Gospel Choir), the Voices Of East Harlem and Jessy Dixon (cut during the era when he was recording with the Earth, Wind & Fire horn section and long before he opted for the southern gospel corn of the Gaithers). But there are also tracks here - Dorothy Morrison and Jo Armstead for instance - which are here more in respect to their soul collector's rarity than their inherent musical quality. Also, the album concept is somewhat confused, with tracks ranging from straight ahead gospel to gospel-influenced soul and with a bit of freedom folk (Odetta) thrown in as well. But with such a generous selection of tracks, fine packaging (well done Soul Jazz Records) and that sublime opener, this is still an essential purchase for those seeking to grasp the complex interaction between black church and the rhythm and blues industry.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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