Track listing
Show track credits
- 1 Plenty Good Lovin' 2:32
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composer
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- 2 Tennessee Waltz 3:18
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composer
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composer
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- 3 Shop Around 3:16
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composer
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composer
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- 4 If I Lose Your Love 4:34
- 5 Stop 3:09
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composer
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- 6 Get Out My Life Woman 2:44
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composer
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- 7 Heighty Hi 3:16
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composer
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- 8 Keep On Sockin' It to Me 2:52
- 9 Part Time Love 6:28
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composer
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- 10 I Can't Stand It 2:17
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composer
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- Total length: 34:26
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2 Issues
- Release view [combined information for all issues]
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Plenty Good Lovin': The Lost Solo Album [p] Archival2002 CD 8026 4 22003 2 5
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2002 CD swing café 001
2 Reviews
"This isn't the "new" Sam Moore album. It's not a reissue, either. It is, quite literally, the lost Sam Moore album."
So begin Dave Gorman's liners to what was - until 2006's Overnight Sensational - the only solo work in Moore's incredible career. If it had been released as planned in 1970, it would've marked Sam's effortless transition from Stax's loose soul to a more big-city approach. The intro and sax solo in "Shop Around" typify this kind of approach. Only Sam's fast-rap intro and unleashed vocals (as well as King Curtis' updated arrangement) keep the track from veering into G.E. Smith territory.
But in other places, the more modern production suits Moore well. The strings on the title track, say, and the string flourishes towards the end of "If I Lose Your Love". "Stop" could've been a classic, with its ridiculous bass-and-six-string interplay and filamented guitar stings.
But Sam is the star here. "Keep On Sockin' It to Me" is basically a list song a la James Carr's "A Man Needs a Woman," but Moore rides out the tight arrangement (with some nice ride hits from Bernard Purdie). "Part Time Woman," a slow-tempo blues, becomes a complex torcher. "People in the cemetery, they're not all alone/Some turn to dust/And some have no bones/I'd rather be dead/Six feet in my grave/Than learn to live lonely" Jeez. Elsewhere, he has his do-wrong woman address him as "Sam," a nice touch. The big-budget sax only adds to the drama. And he completely owns the troubled "Get Out My Life Woman," originally Lee Dorsey's baby. Of course Sam lost a dimension when he and Dave Prater split, but for soul fans, this is one hell of a consolation prize.
So begin Dave Gorman's liners to what was - until 2006's Overnight Sensational - the only solo work in Moore's incredible career. If it had been released as planned in 1970, it would've marked Sam's effortless transition from Stax's loose soul to a more big-city approach. The intro and sax solo in "Shop Around" typify this kind of approach. Only Sam's fast-rap intro and unleashed vocals (as well as King Curtis' updated arrangement) keep the track from veering into G.E. Smith territory.
But in other places, the more modern production suits Moore well. The strings on the title track, say, and the string flourishes towards the end of "If I Lose Your Love". "Stop" could've been a classic, with its ridiculous bass-and-six-string interplay and filamented guitar stings.
But Sam is the star here. "Keep On Sockin' It to Me" is basically a list song a la James Carr's "A Man Needs a Woman," but Moore rides out the tight arrangement (with some nice ride hits from Bernard Purdie). "Part Time Woman," a slow-tempo blues, becomes a complex torcher. "People in the cemetery, they're not all alone/Some turn to dust/And some have no bones/I'd rather be dead/Six feet in my grave/Than learn to live lonely" Jeez. Elsewhere, he has his do-wrong woman address him as "Sam," a nice touch. The big-budget sax only adds to the drama. And he completely owns the troubled "Get Out My Life Woman," originally Lee Dorsey's baby. Of course Sam lost a dimension when he and Dave Prater split, but for soul fans, this is one hell of a consolation prize.
Published
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Shelved by Atlantic before it's scheduled release in 1971 (partly because of executive changes at the label, partly because of the murder of producer King Curtis shortly after production was completed), "Plenty Good Lovin'" didn't see the light of day for over 30 years, which is a real shame, when you consider what this album might have meant professionally for Moore had it been released when new.
Freed from the musical and psychological shackles of Sam & Dave, Moore demonstrates the remarkable vocal skills that should have earned him a place among the soul elite. Although the song selection is skewed heavily to remakes, with only two self-written songs, Moore shows an easy ability to find something new and personal.
With top notch production, and backing musicians that include Aretha Franklin and Donny Hathaway, this album could have established Moore as a solo star of the first order. As it is, it's a great slice of early 70's soul excellence, and as fresh today as it was when it was recorded.
Freed from the musical and psychological shackles of Sam & Dave, Moore demonstrates the remarkable vocal skills that should have earned him a place among the soul elite. Although the song selection is skewed heavily to remakes, with only two self-written songs, Moore shows an easy ability to find something new and personal.
With top notch production, and backing musicians that include Aretha Franklin and Donny Hathaway, this album could have established Moore as a solo star of the first order. As it is, it's a great slice of early 70's soul excellence, and as fresh today as it was when it was recorded.
Published
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