James C. Hunter

The James Hunter Six are back with another sublime offering of no nonsense rhythm and blues. Recorded and produced by Bosco Mann, Nick of Time is a shining example of how a master song-smith can continually draw fresh water from a bottomless well. In addition to the uptempo, swinging R&B that has put JH6 on the map, Nick of Time explores so much more! The opening track and lead single, "I Can Change Your Mind", is a beautiful, mid-tempo rumba that tips the hat to the sound of many early King/Federal releases, but executed with a vibrancy that propels the tune into the 21st Century. The lush arrangements on "Till I Hear it from You" and " He's Your Could Have Been" sound like lost tracks from an early '60s Burt Bacharach session. The straight forward soul of "Brother or Other" (whose timely message is only tantamount to its groove), and the sparse "Paradise for One" (that finds James channeling his innermost Nat King Cole), enrich the album with sounds one may not readily associate with James and Co. - culminating in James' most exciting full-length release to date.

The James Hunter Six - Hold On! (2016) {Daptone Records DAP-040}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 126 Mb | MP3 @320 -> 74 Mb
Full Artwork @ 300 dpi (jpg) -> 17 Mb | 5% repair rar | Mono
© 2016 Daptone Records | DAP-040
Rhythm & Blues / Retro-Soul / Soul-Blues

Hold On! is the fourth album by the rocking soul man James Hunter and his stalwart sextet. Daptone's Gabriel Roth produced the excellent Minute by Minute in 2013, but this is the band's debut for the label. Hold On! was recorded live in the studio, but Roth and Hunter decided on mono to best capture the immediacy of the performances. The songwriter has recorded only original material since 2006, and these ten tracks are no exception. What separates this date from previous outings – excellent though they all were – isn't the mono production, but the diversity in songwriting, rhythmic invention, and arranging. "This Is Where We Came In" may contain a simmering organ, but doo wop-esque backing vocals from Gregory Lee, Alex Desert, and Malik Moore elevate it (and the two other cuts they appear on) beyond the early pop-soul framework that it comes adorned in. So do the cha-cha rhythms, rhumba fills, and comps from Andrew Kingslow's piano.