It's easy to take Robert Cray for granted, for the singer-guitarist has altered his approach so little since he first burst on the scene. Nonetheless, the changes from his early albums to Some Rainy Morning are no less real for having been subtle. Cray is still combining urban-blues guitar and Southern-soul vocals on stories of romantic treachery and working-class frustration, but he has distilled that strategy until nothing superfluous remains. "Some Rainy Morning," recorded with his stripped-down road quartet, is full of breathing room so Cray's singing and playing are set off more dramatically than ever. In addition to the eight originals by Cray and his bandmates, the album includes remakes of Wilson Pickett's "Jealous Love" and Syl Johnson's "Steppin' Out," and Cray does a great job of matching Pickett's raucous shouts and Johnson's silky crooning. On his own songs, Cray sounds better than ever when he's holding out notes for effect or communicating paradoxical emotions.
From the dawn of doo-wop to the death of disco, the Notations saw—and sang—it all. Persisting through changing trends and technologies, on major labels and minor ones, produced by both Syl Johnson and Curtis Mayfield, nothing could stop the Notations from representing Chicago’s Southside for decades. The first overview of their indie label golden age, Still Here 1967–1973 finds the Notations at a musical crossroads, turning from simmering R&B ballads to socially-conscious soul. Offering up a platter of golden-dipped harmonies, inventive arrangements, and super-powered soul, the Notations survived as unheralded legends in their own time.
Vince has been hard at work since March of 2010 putting together what promises to be his best work yet. This 12-song extravaganza of all originals includes a who's who lineup of Chi-Town talent and includes guest appearances from Sugar Blue, Larry McCray and Bill "The Buddha" Dickens.