The Second Coming

In the 1970s, could still bring a house down on-stage; his riveting performances were a staple on the touring packages. should be commended for allowing the opportunity to express his artistry through new music crafted with some old friends, including decent liner notes about what is truly an historic recording session. On , the man who "supervised all of the original legendary hits, , reunites many of the musicians used on the first recordings." It's a funkier, thick sound with less of the fury of the earlier masters, with a rearrangement of that's chock-full of saxes and groove. The liners claim that they used recording techniques from the '50s for songs and sounds of the 1970s, and the result is very slick for 1972. would have been great for radio of that time period, and ' could really have brightened up Top 40 radio with its innovation and suave musical movements. brings his baritone sax to the party alongside and 's tenor sax, and the album is rich with 's refined presentation. It's truly a team effort between ; they co-write five of the nine compositions, with both men credited as "producing and arranging" the affair on the label (the album cover credits only for production and arrangements). There's not a bad track here, though there also isn't any one number which stands out as a bona fide hit. Any of these titles would've made you crank the car AM up a notch or two, the craftsmanship coming through loud and clear. 's screams in provide subtle thunder, the abandon of his early sides replaced by a contained professional noise. But there's something eminently charming about it all, with advising to "keep on seeking and searching" in his wonderfully preachy The guitars wail underneath the bubbling rhythm; is a lot more serious than the very loud cover photo of the singer. dips back into the '50s and adds some fun to these precise recordings. All in all, a really special set of songs and performances that are ripe for rediscovery. ~ Joe Viglione