FFWDWeekly.com - July 13, 2006

· Golden Age Soul divas take it back to the really old school – the one gramps walked uphill both ways, there and back, in 16 feet of snow while barefoot with an onion tied to his belt (which was the style at the time).

Whether it’s taking a stab at restoring respectability, a return to their roots or an attempt to reconnect with an aging demographic, it seems the current fad among fading funk and soul singers is the route of releasing straight-out gospel, blues or big-band jazz discs. Recently, three sextagenarian superstars of soul’s golden age have done just that with mixed results.

Recently returning to view this millennium with a few outstanding gospel offerings, Candi Staton exercises her formidable demons in a more secular environment with His Hands. From the country blues kick-off, Merle Haggard’s "You Don't Have Far To Go," her smoky voice belies the scarred soul of one who’s seen more than her share of hurt and hardship. What follows is a heart-rending collection, mostly blues and country covers, delivered with world-weary wisdom and accompanied by sublimely subtle horn arrangements and vocal harmonies. The sound evokes Stax and Muscle Shoals, likely due to both MS organist Barry Beckett’s involvement and the loving production of Lambchop’s Mark Nevers, and sounds exactly as you might imagine a recording from either band would sound if they were still around today.

Gladys Knight’s latest, on the other hand, is stripped of the grit and edge that made hers one of the finest voices to be recorded since Edison invented the wax cylinder. Unfortunately, the production on Before Me is so antiseptically clean you can smell Lysol wafting from your speakers while playing this assortment of uber-standards. Even the sheer power of her pipes, free as usual of gimmicky vocal tricks, can’t propel her full personality enough to get past the whole thing sounding pedestrian. This one is only for Gladys fanatics, although jazz purists with a penchant for pristine production will be ecstatic about it.

Ironically, the best of the bunch isn’t a return to form, it’s a return to perhaps the most coveted musical vault – Motown’s. This followup to Lady Sings The Blues was shelved due to Berry Gordie’s pursuit of more commercially viable material for the supreme Supreme – Diana Ross, and has lain neglected for over 30 years. Thankfully, someone finally dusted off these tapes, because if anything, they actually surpass that milestone recording. This array of standards wasn’t interpreted as a homage to Ms. Holiday and allows Ms. Ross’s recognizably-unique voice to come to the forefront. Funnily enough, although it’s unmistakably her, in this context it’s uncanny to hear not only Billie’s timbre (especially on "But Beautiful") but also Ella’s clarity and tone throughout the session as well. Breathtaking.

CANDI STATON 3/5

GLADYS KNIGHT 2/5

DIANA ROSS 4/5

RED EYE