Johnnie Taylor - Wanted: One Soul Singer - 1967

Review:
Johnnie Taylor set the tone for his recording career at Stax with Wanted: One Soul Singer, a consistently gritty collection of blues and raw, hard-hitting Memphis soul. In addition to his appealing medium-sized hits "Just The One I've Been Lookin' For" and "I Had A Dream," Wanted (reissued on CD in 1991) boasts pleasant surprises ranging from the addictive "Toe-Hold" to gutsy versions of Merle Travis' "Sixteen Tons" and the standard "Blues In The Night." Adding lyrics to Herbie Hancock's "Watermelon Man," Taylor removes the song's jazz elements and turns it into pure Southern R&B. When Wanted was released, Taylor (who has occasionally been confused with bluesman Little Johnny Taylor) had yet to become the soul-radio fixture that "Who's Making Love" would make him, but these solid performances show that he was definitely on the right track.

Find this album's tracklist here:
http://www.allmusic.com/album/wanted-one-soul-singer-mw0000674917

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Johnnie Taylor - Raw Blues - 1969

Review:
While the "Raw" part of the title may be overstating the case just a bit, "Blues" describes this disc pretty well, thank you -- on his fourth album, Johnnie Taylor shifts his focus away from Stax's trademark Southern soul stylings towards leaner and grittier blues-based performances, a style he'd already shown a knack for on his earlier sets. Raw Blues still walks a line between soul and blues, with the sweet-and-sour tone of The Memphis Horns sometimes stacking the deck in favor of the former, but "Part Time Love", "Hello Sundown" and "You Can't Keep A Good Man Down" generate a potent late-night mood vibe which match the downcast authority of Taylor's voice. And if the always air-tight performances of the Stax studio crew (including Steve Cropper and Isaac Hayes) pack enough heat to turn "You Can't Win With A Losing Hand" and "That Bone" into potent dance floor material, Taylor's rough but passionate delivery never lets this get too close to the Land of the Slick. A strong and heartfelt set that serves as an important precursor to Taylor's later blues-oriented sets for Malaco.

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