A repackaged reissue that includes five of Flack's first seven albums released on the Atlantic label, 1969-1977. The two albums not included in this set are Chapter Two (1970) and Roberta Flack & Donny Hathaway (1972). Despite those omissions, getting five great albums for $18.87 makes for a fantastic deal and at least one happy customer. Probably more than one, actually - these albums were at home on the R&B, pop, and jazz charts. Beautiful music from a beautiful soul.
The box set takes the listener through the evolution of Flack's sound during the decade. Headphones recommended. Also recommended, the episode of American Masters dedicated to Flack's career.
FIRST TAKE (1969)
8 tracks, 46 minutes
8 tracks, 46 minutes
A wonderful introduction to a wonderful talent. The album is a compilation of slow-burning tracks - most are about 6 minutes in length. The music is intentionally sparse and unrushed. There's space to hear all the notes. Lots of perfectly arranged ballads performed by Flack alongside names like Ron Carter on bass and John Pizzarelli on guitar.
Liner notes by Les McCann.
Press of the time:
- Record World: "a new great taking her bittersweet time"
- High Fidelity: "For lonely winter's eves"
- Billboard: "Her soft, sustained vocal style gently skirts the lyrics and hypnotizes with its creamy evenness."
- Rolling Stone: "You feel the world differently after listening to it"
- Stereo Review: "Run to your nearest record outlet and buy not one, but two, maybe three"
Album chart peaks:
- US Billboard Top 200: #1
- Billboard R&B: #1
- Billboard Jazz: #3
- CashBox: #1
- Record World Jazz: #15
In 2017, it was ranked at #148 on Pitchfork's list of the 200 Best Albums of the 1960s.
Tracks: The First Time Ever I Saw Your Face was a massive hit in 1972 once Clint Eastwood used it in his movie Play Misty For Me. That spurred the single to Grammy Awards for Record of the Year as well as Song of the Year. Billboard ranked it as the number one Hot 100 single of the year for 1972. To be honest, I didn't think much of it when I was a tot - too boring! I wanna dance! - but I started warming up to it in the '80s when I bought Volume 6 of the Atlantic Rhythm and Blues 1947-1974 set. Now I'm all in. It's the best tune on the album, followed closely by the other 7 tracks.
The single released in 1969 was the album opener, an upbeat take on Compared To What, which, oddly, is unlike any other track on the album (but I still dig!). As far as the other tracks, I'm hard-pressed to decide which is the most powerful: Angelitos Negros, I Told Jesus, Tryin' Times (that acoustic bass line!), or Ballad Of The Sad Young Men.
QUIET FIRE (1971)
8 tracks, 42 minutes
8 tracks, 42 minutes
More of the same. And that's a good thing. Mostly carefully selected covers plus one Flack original, all performed by a great supporting cast (full playing and writing credits here).
Press of the time:
- Billboard: "The title spells out the flavor and feel of this easy and yet sometimes penetrating commercial package."
- Record World: "ever-quiet, ever-exciting"
- Rolling Stone: "an exercise in lifeless sophistication and dramatic understatement carried to its unfortunate extreme: emptiness"
- Stereo Review: "Roberta Flack is a special kind of multi-talented musician, but her appeal is wide"
Album chart peaks:
- US Billboard Top 200: #18
- Billboard R&B: #4
- Billboard Jazz: #5
- CashBox: #20
- Record World Jazz: #1
Tracks: The single released from this album was a cover of Will You Love Me Tomorrow which only managed to peak at #76 pop and #38 R&B. As one might expect, the tempo is slowed considerably and is performed by only Flack on piano and Ron Carter on bass floating above the occasional string arrangement. The better pieces to my ear are the original Go Up Moses and Flack's take on Bridge Over Troubled Water.
KILLING ME SOFTLY (1973)
8 tracks, 41 minutes
8 tracks, 41 minutes
In which Roberta Flack becomes a full-fledged soft rock icon. Heck, with this release, CashBox magazine declared Flack "THE top female artist of the decade." And this album certainly helps that argument. For the most part, Flack's arrangements are slightly more uptempo and fuller than the earlier two albums in this set.
The album's title track won three 1974 Grammy Awards: Record of the Year, Song of the Year, and Best Pop Vocal Performance, Female. The album itself was nominated for the Album of the Year award, losing to Innervisions.
Press of the time:
- CashBox: "a total masterpiece"
- Record World: "Ms. Flack's finest recording to date."
- Billboard: "delicate, introspective work."
- Rolling Stone: "It's too calculated, too restrained for my taste...but god knows it has its appeal."
- High Fidelity: "my favorite Roberta Flack so far."
- Stereo Review: "the Ella Fitzgerald of the Seventies."
Album chart peaks:
- US Billboard Top 200: #3
- Billboard R&B: #2
- CashBox: #1
- Record World Jazz: #1
Tracks: While the title cut is an undeniable classic, my favorite tunes here are the upbeat No Tears (In The End) and gospelish track, River. Leonard Cohen's Suzanne is mesmerizing with an almost sadistic, driving high-hat figure. The cover of Janis Ian's Jesse (#30 pop, #19 R&B) is quite tasteful.
FEEL LIKE MAKIN' LOVE (1975)
9 tracks, 47 minutes
9 tracks, 47 minutes
Flack starts producing her own records and things just get better and better. I'll simply say this is my favorite album included in this box set.
Press of the time:
- CashBox: "No doubt that this is top 10 material"
- Record World: "The Flack feel flows as it mellows the soul through her flawless synthesis of sounds."
- Rolling Stone: "Flack's least satisfactory album to date"
- Billboard: "this set should mark her as one of the landmark performers of the '70s"
- Stereo Review: "the combined effect of her lustrous technique and superior material is downright stunning"
Album chart peaks:
- US Billboard Top 200: #24
- Billboard R&B: #5
- Billboard Jazz: #11
- CashBox: #17
Tracks: I can't decide if the title track is my all-time Flack cut (the only other single in the running is Where Is The Love with Donny Hathaway), but needles to say, it's the best thing on this album. Also good is the lead track, Feelin' That Glow (#76 pop, #25 R&B). In fact, there's not a stinker to be found and that includes a Stevie Wonder tune which morphs into fusionish instrumental piece, I Can See The Sun In Late September.
BLUE LIGHTS IN THE BASEMENT (1977)
10 tracks, 41 minutes
10 tracks, 41 minutes
By 1977, Flack's sound had changed quite about since her 1969 debut and the style that once got her attention from the jazz crowd had developed into 3 or 4 minute pop stylings aimed at the adult contemporary folks. As someone who considers himself a member of both populations, that sort of movement is fine with me. The problem here isn't Flack or the other performers, it's a lack of quality material, which is often uninteresting or oddly arranged. I like it fine; it just doesn't hold up to its predecessor.
Press of the time:
- Stereo Review: "very disappointing"
- CashBox: "Flack is in her element here and sounds as good as ever."
- Billboard: "lacking the drama of her previous hits"
- Record World: "she has lost none of her vocal magic"
- Rolling Stone: "contains no surprises, but it's a very satisfying record."
Album chart peaks:
- US Billboard Top 200: #8
- Billboard R&B: #5
- CashBox: #11
Tracks: The lead track, Why Don't You Move In With Me, is a straight-up disco tune and a dang catchy one, at that. But then comes the hit duet with Donny Hathaway, The Closer I Get To You (#1 R&B, #2 pop, #3 AC) and I'm immediately swept back to 6th grade trying to come to terms with suddenly wanting to be around girls. That song is the best cut on this album, but I also dig This Time I'll Be Sweeter, 25th of Last December, and After You, presented as a well-sequenced three-fer in the middle of the disc.
Personal Memory Associated with these CDs: None apart from hearing the singles on the radio during my youth.
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