Roberta Flack’s Atlantic Records Closure
The material stemmed from poets such as Leonard Cohen, Gene McDaniels and Manuel Alvarez Maciste plus two for good measure by her Howard University brother Donny Hathaway who was coming up alongside her as the sun rose on the `70s.
BUY ROBERTA FLACK MUSIC ON AMAZON
It wouldn’t be until three years later in 1972 when actor Clint Eastwood, making his directorial debut with “Play Misty For Me,” reached back to utilize the entirety of Roberta’s aching Ewan McColl ballad “The First Time Ever I Saw Your Face” for a romantic oasis within the thriller that her Afro-crowned head peaked above the Black Pool of Genius underground.
This was followed by the radio evergreens “Killing Me Softly With His Song,” “Feel Like Makin’’ Love” and a breezy duet with Hathaway entitled “Where is the Love” which neither singer cared for initially but learned to like when producers Arif Mardin and Joel Dorn insisted it be included on their joint album as a lighthearted break. Radio took it to the top of Billboard’s R&B chart.
Simply put: a lil’ lightness went a long way in the canon of this woman who leaned so vehemently on songs of depth that often descended into recurring themes of longing, heartbreak and crosses to bear.For a while there were Grammys and coveted concerts as the name Roberta Flack became synonymous with soul stirring vocal excellence beyond category.
Though a consistent balance could never be reached as far as hitmaking, BUY ROBERTA FLACK MUSIC ON AMAZON
As the `80s segued into the `90s, Roberta’s career continued to rollercoaster. In `88, there was her phenomenal first solo album in six years, Oasis, speckled with loving contributions from the likes of Ashford & Simpson and Brenda Russell, the cherry on top being the chart-topping title track penned by Marcus Miller and featuring David Sanborn on alto sax.
However, it was followed in 1991 by the problematic Set the Night to Music for which the title track (a duet with Pop-Reggae sex symbol Maxi Priest penned by the usually can’t-miss Diane Warren) stalled at #45 while a hip skip thru Thom Bell & Linda Creed’s Stylistics hit “You Make Me Feel Brand New” only got to #50 – with no Pop showing for either.Her next album, simply self-titled Roberta, would be her last at Atlantic.
Executive produced by Atlantic Records co-founder Ahmet Ertegun himself, the project completely dispensed with Roberta Flack chasing perceived competitor “acts” up the charts, returning her to her rarified distinction of album-oriented artist. As such, there would be no singles released.
The focus was a blissfully luxuriant listen culled from crumbly BUY ROBERTA FLACK MUSIC ON AMAZON
To go from being produced by Eumir Deodato to producing Roberta Flack was quite a leap for The Barnes’ but one they proved primed to handle.
When they broke Sister Ro’ off with a hip flip of “It Might Be You” (the Alan & Marilyn Bergman and Dave Grusin-penned song originally sung by soft rock singer Stephen Bishop for the gender-bender comedy, “Tootsie”), her version was so smooth it was used in the otherwise all-Babyface score for “Waiting to Exhale.” Roberta wanted more of that feel and The Barnes’ masterfully obliged.
Each song told a different story musically – some synth and drum machine oriented, others live musician-oriented.“Roberta was very particular,” Katreese Barnes reflects in 2017. “You never knew what you were going to get. She’d be completely satisfied one day then not liking any of her vocals the next. She was always perfecting things.” Two months of scheduled recording stretched into eight.
Yet there were no tears in the end…for a masterpiece of tradition and forward-thinking music craft had been sculpted.After the aforementioned “Let’s Stay Together” there was “It Might Be You” which sank into a soulful vamp over which Sister Ro’ broke the lyric down with a spoken rap like the glory days of Isaac Hayes or Millie Jackson, speaking directly to her man in the song to get come clarity about their love situation as a male backing vocalist moans a wordless all-knowing blues. Speaking of Blues, B.B. King’s “The Thrill is Gone” is turned into a funky kiss-off feature for Bernard Wright turning in blistering solos on both piano and synthesizer.
BUY ROBERTA FLACK MUSIC ON AMAZON
And The 20’s vintage “Sweet Georgia Brown” (known to many as the whistled theme of The Harlem Globetrotters showtime basketball team) was also given a neck-snapping Funk treatment featuring Jerry Barnes on bass (though you’d swear it was Marcus Miller) and Steve Jordan on drums bustin’ a slowed-down version of the novel rim shot beat he cut two years before for David Sanborn on “Snakes” (penned and produced by Miller). Astute listeners detected a whiff of brother nod homage here.
Within the first four songs, Roberta diva-handled four stainless steel Black cultural classics across genre lines. And BUY ROBERTA FLACK MUSIC ON AMAZON
Next was a dreamy arrangement of Duke Ellington’s “In a Sentimental Mood” on which Roberta floats over a backing vocal track reminiscent of the elongated harmony work of Take 6. It was followed by a smoothed out Go-Go take of Stevie Wonder’s “Looking For Another Pure Love” fortified by the drum programming of William “JuJu” House and the acoustic percussion shaman-ism of Steve Kroon.
It is followed by the updated, sexy, late night snuggle of the girl group gem “I Don’t Care Who Knows (Baby I’m Yours).”At this midway point, Roberta detours into pure jazz expression via an interlude segue that finds co-producer Barry Miles turning in a haunting arrangement of Ellington’s “Prelude to a Kiss” done completely with synthesizers, keyboards and rhythm programming. Here, Roberta does another rap – this time a Hip-Hop Rap – paying respects to “Sir Duke” in her own sweet way.
Then the acoustic jazz set begins as the stellar quartet of the great pianist Kenny Barron (also arranger here), drumming legend Ben Riley, bassist Ray Drummond and percussionist Steve Thornton provide quintessential backing to Roberta on a haunting “Angel Eyes,” a soothing “Tenderly” and “Isn’t it Romantic.”
Criminally underrated saxophonist Roger Byam matches his ever-empathetic tenor to Katreese’s synthesizers in ‘Wonder’-land on “Cottage For Sale.” And Barry Miles returns with Anthony Jackson on bass for a stark take on Rodgers & Hart’s “My Romance.”
Ms. Flack could have very poignantly ended her eleventh and final Atlantic solo album in 25 years right here – a 360-degree trip back to her beginning in night owl haunts before SEE MORE OF A. SCOTT GALLOWAY’S REVIEWS HERE
If you’re kicking yourself wondering why you have never heard this CD, you’re not alone. Roberta Flack’s Roberta is an unsung gem. If this writer has done his pen justice, all the deep discounted discs sitting in virtual internet warehouses will fly off the
