When the soul era of the mid-'60s was in full bloom, for a period of three years James Carr was the maker of some of its mightiest music. His warm, soulful voice could make the reading of virtually anything he touched (even his version here of the Bee Gees' "To Love Somebody") a transcendent event. He is also the mystery man of the genre, unlettered and imbued with an almost childlike innocence, disappearing for a decade after these recordings were made with charges of mental instability cropping up whenever his name is ...
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When the soul era of the mid-'60s was in full bloom, for a period of three years James Carr was the maker of some of its mightiest music. His warm, soulful voice could make the reading of virtually anything he touched (even his version here of the Bee Gees' "To Love Somebody") a transcendent event. He is also the mystery man of the genre, unlettered and imbued with an almost childlike innocence, disappearing for a decade after these recordings were made with charges of mental instability cropping up whenever his name is mentioned. But music this special doesn't come without a price and certainly Carr paid that price, not unlike the gospel singers who influenced him who sometimes sang themselves to death right on stage. But the music will always win out, because personal problems aside, the music James Carr made is as deep as Southern soul music gets, on an equal par with the best of a Sam Cooke or an Otis Redding. Tracks like "You've Got My Mind Messed Up," "Pouring Water on a Drowning Man" and his masterpiece, "The Dark End of the Street" are all justifiable classics of the genre, and this 20-track collection is where you go to get the big picture on an artist who deserves a much wider hearing. ~ Cub Koda, Rovi
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