CLARENCE CARTER PatchesLP ATLANTIC 1970 US orig+stereo SD 8267 w/TRAVIS WAMMACK
€
25
$
29
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Description
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CLARENCE CARTER
with TRAVIS WAMMACK, HARVEY THOMPSON, CLAYTON IVEY,
CORNELL McFADDEN, JERRY MASTERS, HARRISON CALLOWAY, etc.
Impassioned gospel-inflected vocals and distinctive guitar playing mark this '60s soul singer's work.
Singer Clarence Carter exemplified the gritty, earthy sound of Muscle Shoals R&B,
fusing the devastating poignancy of the blues with a wicked, lascivious wit to create
deeply soulful music rooted in the American South of the past and the present...
"PATCHES"
1970 LP ATLANTIC RECORDS STEREO SD 8267
PRINTED IN USA ORIGINAL PRESSING
THICK CARDBOARD COVER (AMERICAN STYLE)
SINGLE SLEEVE + COMPANY INNER
This version: Columbia, Terre Haute pressing as denoted by CTH suffix on label matrices
Barcode and Other Identifiers
Barcode: none
LABEL: ATLANTIC - GREEN/WHITE/RED LABEL - BLACK TEXT
Catalog on cover: SD 8267
Catalog on labels: SD 8267 (ST-A-701985CTH) / SD 8267 (ST-A-701986CTH)
Matrix / Runout (Side A, Stamped): ST-A701985-1A CTH
Matrix / Runout (Side B, Stamped): ST-A-701986-1A CTH
Other / Runout (on both sides, Etched): l T
On labels: rim text reads "Mfg. By Atlantic Recording Corp., 1841 Broadway, New York, N.Y."
On back cover: Recorded at Fame Recording Studios, 603 East Avalon, Muscle Shoals, Alabama
Produced by Rick Hall
© 1970 Atlantic Recording Corporation Printed in U.S.A.
tracklistingSide A: WILLIE AND LAURA MAE JONES - SAY MAN
I'M JUST A PRISONER (OF YOUR GOOD LOVIN') - LET IT BE
I CAN'T LEAVE YOUR LOVE ALONE - YOUR LOVE LIFTED ME
Side B: TILL I CAN'T TAKE IT ANYMORE - PATCHES - IT'S ALL IN YOUR MIND
CHANGES - C.C. BLUES - GETTING THE BILLS 8BUT NO MERCHANDISE)
grading
RECORD EX but (please, read above description)
SLEEVE NEAR EX but (please, see pictures and read above description)
Clarence Carter's first major-hit album remains a must-own record, holding up
extraordinarily well across four decades. Carter's singing possesses an immediacy
and emotional impact that is as striking today as it was in 1970, and displays a vast range as well.
The title track is the best-known song here, though "It's All in Your Mind" was also a hit l
ater in the year, and "I Can't Leave Your Love Alone" and "Your Love Lifted Me"
could easily have joined it and topped the pop charts as well.
Carter even provides a bracing authentic gospel approach to the then-new Beatles
song "Let It Be," taking the song back to the roots whence Paul McCartney drew his inspiration.
He also assumes a more pop-oriented persona on "Till I Can't Take It Anymore,"
on which Carter starts to sound a bit like Elvis Presley, while on "It's All in Your Mind"
he seems to invoke the ghost of Sam Cooke. On his own "C.C. Blues," Carter's bluesiest
persona emerges, his crunchy guitar playing off beautifully against a soaring horn section
and Clayton Ivey's piano, and he returns to a soul sound for the finale,
the soaring "Getting the Bills (But No Merchandise)."...(AllMusic)
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