"Can't Get Enough" is the third studio album by American R&B/disco singer Barry White, released on August 6, 1974 by the 20th Century label. In 2003, the album was ranked #281 on Rolling Stone Magazine's list of the 500 greatest albums of all time. The album topped the R&B albums chart, his third album to do so. It also topped the Billboard 200 and peaked at #4 on the UK Albums Chart. The album included two Billboard R&B number-one singles, "Can't Get Enough of Your Love, Babe" and "You're the First, the Last, My Everything". Both were also successful on the Billboard Hot 100, peaking at #1 and #2 respectively. Both singles were also hits on the UK Singles Chart, peaking at #8 and #1 respectively. The album was digitally remastered and reissued on CD on March 19, 1996 by Island/Mercury Records.
Were it not for Junior Wells's superlative harmonica playing and expressive voice, You're Tuff Enough might have been a muddle of drums and horns. Wells, however, was a strong enough musician that it's he, not his backing band, that stands out most strongly on this recording. This recording illustrates Wells's prescience in incorporating elements of funk and rock into his music. Check out the James-Brown- inflected "Up in Heah," or the rock-out feel of the title track, which appeared on national R&B charts in 1968. One hears echoes of Brown on "You Ought to Quit That" as well. But Wells could sing the blues straight up as well, as he shows with a sweet rendition of "You're the One." While not quite the classic that 1965's Hoodoo Man Blues (which featured Buddy Guy on guitar) was, You're Tuff Enough is an excellent collection, one whose reissue on CD is long overdue.–Genevieve Williams
Reissue with the latest 24bit/192kHz remastering. Features original cover artwork. Comes with a descripton in Japanese. Great work from John Lee and Gerry Brown – a pair of fusion stalwarts who added key help to a number of classic 70s sessions for other artists – and got to make a rare few albums like this on their own! Lee's on bass and Brown's on drums, and the pair are in perfect time throughout – working with Skip Drinkwater production, which helps them find even more focus than before, and shake off some of the more jamming aspects of their rock-fusion performances with others – a move that helps them come up with a wonderfully soulful sound in the process – very much in the best Drinkwater soul jazz style of the time!