Personnel: Freddy Robinson (vocals, guitar, harmonica); Clydie King (vocals); Al Vescovo (guitar); Red Holloway (tenor saxophone); Delbert Hill (baritone saxophone); Oscar Brashear (trumpet); George Bohanon (trombone); Joe Sample (piano, organ); Monk Higgins (electric piano, organ); Paul Humphrey (drums, percussion); Harold Mason, Willie Hall (drums); Darlene Love, Deborah Lindsey (background vocals).
Liner Note Author: Bill Dahl.
Arranger: Monk Higgins.
Freddy or Freddie (it is spelled both ways on the album covers) Robinson's trek from Mississippi to Arkansas, Los Angeles, Chicago and Memphis before becoming a Muslim and changing his name to Abu Talib is well documented. Though he did not entirely drop out of the music business, he did lapse into obscurity. Half of these sessions, originally from the LPs At the Drive-In and Off the Cuff for the Stax affiliate Enterprise label, were ostensibly his swan songs. They emphasize the burgeoning soul-funk of the time that was bordering on disco. Robinson did indeed stray from his blues roots for a more commercial sound, replete with strings, backup singers, and horns. Still, it's clear Robinson was a very talented guitarist, harmonicist, and especially singer. The first three cuts, featuring Jazz Crusaders pianist Joe Sample and bassist Wilton Felder show the most promise, during the talkin' low-down dirty autobiographical "Bluesology," a soul-blues winner "I Found My Soul Last Night," and the straight 12-bar blues "At the Drive-In." The next 11 selections veer into the more contemporary R&B of the time, somewhat varying from the outstanding instrumental opening before the after-the-fact singing on "Off the Cuff," the goofy "Medicine Man," and hokey tunes like "Try It One More Time" and "I Remember." There's also a good 'n' slow typical Chicago blues "Changing Dreams," a very good take of Percy Mayfield's "River's Invitation" with Sample's outstanding piano playing, and some fine backup horn playing from trumpeter Oscar Brashear and trombonist George Bohannon. The remainder of the date features previously unissued material done in Memphis at the Stax studios with the back-up band of Isaac Hayes and the Memphis Symphony in a string of forgettable, derivative soul-pop tunes. You get a remake of "The Creeper," a pure cop of Jean Knight's "Mr. Big Stuff" titled "Sister Hot Pants," a Wes Montgomery/George Benson sound-alike "Black Fox," and the Ray Charles flavored "Good Feeling." A fine interpretation of the standard "After Hours," featuring Robinson's tasty guitar, is the clear highlight of these generally overproduced, bland tunes. It is a shame that only a handful of these cuts will appeal to blues fans who may have appreciated Robinson, knowing his previous work with Jimmy Dawkins, Little Walter, Howlin' Wolf, or Charles. ~ Michael G. Nastos
