Toots Hibbert and Alton Ellis aside, Ken Boothe probably came closer than any other Jamaican singer of his generation to re-creating an island version of Memphis soul, and his gritty vocals on his frequent covers of American R&B hits often brought refreshing new dimensions to the songs. This two-disc, 49-track collection is a pretty good overview of Boothe's peak years, starting with a ska side he cut with Stranger Cole ("Uno Dos Tres") in 1963 and ending with a 1978 remake of his 1966 single "You're No Good." There's some ...
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Toots Hibbert and Alton Ellis aside, Ken Boothe probably came closer than any other Jamaican singer of his generation to re-creating an island version of Memphis soul, and his gritty vocals on his frequent covers of American R&B hits often brought refreshing new dimensions to the songs. This two-disc, 49-track collection is a pretty good overview of Boothe's peak years, starting with a ska side he cut with Stranger Cole ("Uno Dos Tres") in 1963 and ending with a 1978 remake of his 1966 single "You're No Good." There's some impressive stuff here, including "Freedom Street," "Is It Because I'm Black," "Crying Over You," and an interesting version of Marvin Gaye's "Let's Get It On," but unfortunately nothing from Boothe's mid-'60s work with Clement Dodd at Studio One, which means key Boothe tracks like the original "You're No Good," "The Train Is Coming" (which featured background harmonies by the Wailers) and his solid covers of "Puppet on a String" and "Mustang Sally" are missing here. It's still a solid set, and the most generous introduction to Boothe currently on the market, but the absence of the Studio One material is bothersome. ~ Steve Leggett, Rovi
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