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DISCID=6a064308
DTITLE=Al Green / Truth N' Time
DYEAR=1978
DGENRE=Rock
TTITLE0=Blow Me Down
TTITLE1=Lo And Behold
TTITLE2=Wait Here
TTITLE3=To Sir With Love
TTITLE4=Truth N' Time
TTITLE5=King Of All
TTITLE6=I Say A Little Prayer
TTITLE7=Happy Days
EXTD=Originally Released 1978\nCD Edition Released January 24, 2006\n\n
EXTD=AMG EXPERT REVIEW: Returning to the formula of his classic Hi alb
EXTD=ums, Al Green assembled a fine collection of originals and covers
EXTD= for Truth N' Time. Although Green is in good voice, and his vers
EXTD=ion of "Say a Little Prayer" is impressive, the album feels a bit
EXTD= like a holding pattern, simply repeating ideas that were more fr
EXTD=uitful the first time around. Given the generally listless nature
EXTD= of Truth N' Time, and the way Green sounds vaguely uninterested 
EXTD=in the material, it's not a surprise that it was his last secular
EXTD= record for a very long time.   -- Stephen Thomas Erlewine\n\nAMA
EXTD=ZON.COM CUSTOMER REVIEW\nAn evolutionary elbum, January 23, 2005\n
EXTD=Reviewer: Big Bear\nThis is a very good album by Al Green which i
EXTD=s a mixture of gospel and soul The songs are similar to the Belle
EXTD= album with more orchestration. If you are an Al Green fan , it s
EXTD=hould be added to your collection\n\n\nHalf.com Details \nProduce
EXTD=r: Al Green \n\nAlbum Notes\nPersonnel: Al Green (vocals, guitar)
EXTD=; James Bass, Bernard Staton (guitar); Buddy Jarrett (alto saxoph
EXTD=one, background vocals); Ron Echols (tenor & baritone saxophones)
EXTD=; Fred Jordan (trumpet, keyboards); Darryl Neely (trumpet); Jesse
EXTD= Butler, Johnny Brown, Charles Renard Webb, Leon Thomas, Gary Lax
EXTD= (keyboards); James Turner, Errol Thomas, Brian Batie (bass); Joh
EXTD=n Toney (drums, percussion); Linda Jones, Harvey Jones Jr. (backg
EXTD=round vocals).\n\nRecorded at American Music Recording Studios, M
EXTD=emphis, Tennessee. Includes original liner notes by Al Green and 
EXTD=reissue liner notes by Alan Robinson.\n\nPersonnel include: Al Gr
EXTD=een (vocals, guitar); Buddy Jarrett (alto saxophone); Fred Jordan
EXTD= (trumpet, keyboards); Johnny Brown (keyboards); James Turner (ba
EXTD=ss guitar); John Toney (drums, percussion).\n\nThe Reverend Al Gr
EXTD=een was the last star to emerge from the Southern Soul genre, the
EXTD= style of R&B that saw secular funk and fervent gospel moving tog
EXTD=ether. (The Talking Heads' first hit, "Take Me To The River" was 
EXTD=written by Green.) The rise of disco in the late 1970s meant the 
EXTD=decline of this style, and with turmoil in Green's personal life 
EXTD=followed by a religious conversion, TRUTH 'N' TIME (originally re
EXTD=leased in 1978) was a something of a swan-song.\nThis album conti
EXTD=nues in the loping, sophisticated funk vein of its predecessor TH
EXTD=E BELLE ALBUM, but with subtle strains of religion ("Lo And Behol
EXTD=d," "King Of All"), and disco-leaning funk ("Happy Days," the Isl
EXTD=ey Brothers-like title tune). There are a couple of unusual cover
EXTD=s: Lulu's '60s hit "To Sir With Love" and the Bacharach/David cla
EXTD=ssic "I Say A Little Prayer," both of which find Green sounding l
EXTD=ess than comfortable. Yet for loyal Green fans, and fans of pre-d
EXTD=isco dance-floor funk, there's enough of the Real Thing with whic
EXTD=h to shake your groove-thing.\n\n\nROLLING STONE REVIEW\nAl Green
EXTD= is so charismatic he could make you wonder about the taste of Gu
EXTD=yanese Fla--vor--aid. There's an element of danger about everythi
EXTD=ng he does, a sense that at any moment he could be revealed as a 
EXTD=complete charlatan--and that it wouldn't matter. If he hadn't bee
EXTD=n a great musician, he might have become a master street politici
EXTD=an or a preacher (he's dabbled with the latter anyway). What save
EXTD=d him was his vision.\n\nWhile Truth n' Time, Green's second self
EXTD=-produced and mostly self-written LP, lacks the monumental peaks 
EXTD=of last year's The Belle Album, it has much more focus. Al Green 
EXTD=is now involved in the full-scale exploration of black musical fo
EXTD=rms, and he takes on a wide variety here: gospel ("King of All"),
EXTD= disco ("Happy. Days," "Truth n' Time") and pop ("To Sir with Lov
EXTD=e," "Say a Little Prayer") are only the most obvious. These genre
EXTD=s shift and overlap, so that Green preaches during the most dance
EXTD=able cuts and dances through the most preachy. In "Wait Here," he
EXTD= even explores the blues. "Going down to Memphis/See what I can s
EXTD=ee," he sings in the second verse, echoing Ma Rainey's primordial
EXTD= "See See Rider," then later adds: "Gonna wait here till my rider
EXTD= comes." The surface of "Wait Here" is just modern dance music, b
EXTD=ut underneath it, there are about four hundred years of black cul
EXTD=tural history. The message is still inchoate: Is Green aiming to 
EXTD=make his listeners restive or disruptive?\n\nMaybe both. Al Green
EXTD= isn't only a visionary, he's something of a mystic, too. Truth n
EXTD=' Time views these two concepts as inseparable, and if Green is e
EXTD=nough of a rationalist to contend that all we need is time, he's 
EXTD=also sufficiently adept at metaphysics to view time as a very ela
EXTD=stic concept. He has to see it that way. Otherwise, how could he 
EXTD=control the tempos of his records so beautifully?\n\nThough disco
EXTD= was clearly a dominant commercial factor in Truth n' Time's conc
EXTD=eption, it'd be a grave error to attempt to pigeonhole this artis
EXTD=t. Green's music can no longer be contained by any one genre: lik
EXTD=e all great American pop, his work has ceased to be a matter of f
EXTD=ormulas and become an internal dialogue. While this may breed a c
EXTD=ertain degree of insularity, it also means that when Al Green tur
EXTD=ns the full power of his gaze upon his audience, the sensible lis
EXTD=tener covers his face in awe. (RS 287 - Mar 22, 1979)  -- DAVE MA
EXTD=RSH
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