Product Description:
Personnel includes: Johnnie Taylor (vocals); Will McFarlane (guitar); Jim Horn (flute, saxophone); Steve Patrick (saxophone); Frederick Knight (keyboards, programming); David Hood (bass); Clayton Ivy (drums); Sonya Washington, Tonya Youngblood (background vocals).
Producers: Frederick Knight, Tommy Couch, Wolf Stephenson, Rich Cason.
Engineers include: Steve Melton, Charles Hart Jr., Kent Bruce.
GOTTA GET THE GROOVE BACK was nominated for the 2001 Grammy Award for Best Traditional R&B Vocal Album.
Personnel: Jimmy Lewis (whistling); Don Evans, Will McFarlane, Dino Zimmerman (guitar); Jim Horn (flute, saxophone); Harvey Thompson (saxophone, tenor saxophone, horns); Doug Moffet (saxophone); Gary Armstrong, Steve Patrick (trumpet); Vinnie Ciesielski, Charles Rose, Jim Williamson (horns); Frederick Knight, Richard Cason (keyboards, programming); Clayton Ivy, Carson Whitsett (keyboards); James Robertson, George Lawrence (drums); Sonya Washington, Angela Walls, Quanda Brooks, Latonya Garner, Freddie Young, LaTonya Youngblood, Jewel Bass (background vocals).
Audio Mixers: Jerry Master; Jerry Masters; Richard Cason.
Recording information: Muscle Ashoals Sound Studios, Sheffield Al.
Photographer: James Patterson.
The last scheduled release from Johnnie Taylor before his death in May 2000 is a mix of contemporary and old-school R&B. Though there are drum machines and synthesizers a-plenty, Taylor's matchless, hurting tenor brings an ageless feel to everything it touches. With GOTTA GET THE GROOVE BACK he transcends his influences, and his former incarnations as Sam Cooke's successor in the legendary Soul Stirrers, the '60s soul singer of "Who's Making Love," and the '70s disco star of "Disco Lady".
Frederick ("I've Been Lonely for So Long") Knight's "Big Head Hundreds" is given the full Taylor treatment; up against this recording, most contemporary R&B is reduced to candyfloss. Taylor's at his most effective when playing both funky and wounded--his voice evokes Otis Redding, or Wilson Pickett's guttural depths, but also carries a singular high lonesome sweetness. This is most evident on slower, more contemporary cuts, such as "Juke Joint," whose spare production gives this muscular singer room to express both the urgency and the despair in a search for after-hours gratification. His aside, "I feel lucky tonight," speaks volumes. The irony of the final track, "Soul Heaven," where Taylor dreams he's at a gig with the Bar-Kays, Otis Redding, Jimi Hendrix, Sam Cooke, et al, will escape no-one.
