Clarence Carter - Patches
ORDER LIMITED TO ONE ITEM PER CUSTOMER
Clarence Carter (vocals & guitar), Ronnie Eades (baritone saxophone), Aaron Varnell, Harvey Thompson (tenor saxophones), Jack Peck, Harrison Calloway (trumpets), Albert Lowe Jr., Travis Wommack (guitars), Clayton Ivey (keyboards), Bob Wray, Jerry Masters (bass), Cornell McFadden, Fred Prouty (Drums), Charles Chalmers, Donna Rhodes, Sandy Rhodes (backing vocals).
Written by Tony Joe White (A1), Clarence Carter (A2, A5), George Jackson (A2, A3, A5, B3, B6), Eddie Harris (A3), John Lennon (A4), Paul McCartney (A4), O. B. McClinton (A6), Clyde Otis (B1), Dorian Burton (B1), N. Johnson (B2), R. Dunbar (B2), Raymond Moore (B3, B6), Sam Dees (B4), Clarence Carter (B5)
Arranged by Jimmy Haskell & Harrison Calloway
1 LP, standard sleeve
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33 RPM
Size : 12'’
Record Press : Unspecified
Label : Pure Pleasure Records
Original Label : Atlantic
Recorded at Fame Recording Studios,603 East Avalon, Muscle Shoals,Alabama
Recording engineers : Sonny Limbo & Rick Hall
Produced by Rick Hall
Originally released in 1970
Re-mastering by Ray Staff at Air Mastering
Reissued in May 2015
Side A :
Side B :
"While the track may familiar to those of the Northern Soul persuasion, the blind guitarist- 80 next year- is more than a one-hit wonder: he's revered by those who know him for his blues-ier output and his proximity to his gospel roots.
This is one of his more successful releases in a 50-year- plus career, but clearly the by-product of the title smash.
One of those sessions filled with wizard sideman-this crop includes Travis Wammack-it was recorded at the Fame Studios, so the sound is swampy Deep South.
The Surprise, though, is rarely remembered, yet utterly masterful reading of The Beatles' `Let It Be', which exploits its gospel intent." Ken Kessler hifi News January 2016
Clarence Carter's first major-hit album remains a must-own record, holding up extraordinarily well across four decades. Carter's singing possesses an immediacy and emotional impact that is as striking today as it was in 1970, and displays a vast range as well. The title track is the best-known song here, though "It's All in Your Mind" was also a hit later in the year, and "I Can't Leave Your Love Alone" and "Your Love Lifted Me" could easily have joined it and topped the pop charts as well.
"Carter even provides a bracing authentic gospel approach to the then-new Beatles song "Let It Be," taking the song back to the roots whence Paul McCartney drew his inspiration. He also assumes a more pop-oriented persona on "Till I Can't Take It Anymore," on which Carter starts to sound a bit like Elvis Presley, while on "It's All in Your Mind" he seems to invoke the ghost of Sam Cooke. On his own "C.C. Blues," Carter's bluesiest persona emerges, his crunchy guitar playing off beautifully against a soaring horn section and Clayton Ivey's piano, and he returns to a soul sound for the finale, the soaring "Getting the Bills (But No Merchandise)." Bruce Eder/AMG
Allmusic : 4.5 / 5 , Ken Kessler hifi News : Sound Quality 90/100