James Carr – The Essential James Carr – Razor & Tie RE 2060 

The 20 songs on this stirring collection, originally released on the Goldwax Records label, represents Carr’s pinnacle output dating from 1964-1969, and individually and in totality, represents the astounding yield of a soul singer who fans of blues and related genres of music are regrettably most likely unaware of.  Carr was a painfully shy person, a man who struggled with mental illness throughout his life, someone who suffered in being rather out-of-touch with reality.  But his ability to produce touching soul music of this caliber is to be celebrated.

Carr possessed a deep baritone voice; deeper than most in the soul arena.  He certainly didn’t have the stage flashiness of fellow soul artists such as Sam & Dave or Otis Redding.  Rather, Carr concentrated his energies upon his voice totally.  His early tenure in gospel outfits shows through via the powerful feelings each of his soul cuts exhibit.  And there is so much here to relish.

Carr contributed a soul music stamp of enormous eminence; his are lasting epitomes of soul music.  In my estimation, there are none finer to be found.

Without question, Carr’s 1967 reading of the Dan Penn and Chip Moman penned “Dark End Of The Street” is his most widely recognized soul classic, and rightfully so.  The song oozes melancholy, regret, and frustration, and as Carr’s astounding voice rises in moments of pain, the listener fully understands the great cries of anguish are authentic and come from a place way deep inside. 

1966’s “You’ve Got My Mind Messed Up” finds Carr both euphoric about his newfound love, yet trapped within his own good fortune.  It is a metaphor, perhaps, for Carr’s life in general.

1967’s “I’m A Fool For You” is something of a duet presentation with an unnamed woman, whereby Carr professes his desire to do whatever it takes to keep his love by his side, no matter the requirement.  Carr convinces with his firm commitment to the union at-hand.

1966’s “You Didn’t Know It But You Had Me” discovers Carr spelling-out to his past love the degree to which he was devoted to her.  It is an affirming, upbeat romp with Carr’s confident singing nonetheless stating the split now in his heart.  But, he tells her that she is at a loss without him in her life. 

1966’s “Pouring Water On A Drowning Man” is an ode to a bad doing woman who let Carr down, his soaring vocalizations emptying the remnants of his tormented soul for all to witness.

1967’s “These Ain’t Raindrops” finds Carr at the peak of yearning for his woman’s complete love.  The listener partners with him as he unquestionably and thoroughly conveys his sorrow.  One can imagine Carr on his knees testifying to the pain he is feeling.

And, 1967’s “Lovable Girl” was the B-side with “Dark End Of The Street”, and how a listener could remain dry-eyed after playing that pairing is a mystery.  Here, Carr attests to his absolute dedication to his woman, his heart laid bare for all to see.

The musicians backing Carr across this collection represent some of the finest of the era, including Reggie Young and Jimmy Johnson on guitar, Bobby Woods and Spooner Oldham on keyboards, Tommy Cogbill and David Hood on bass, Bobby Emmons on organ, Gene Chrisman and Roger Hawkins on drums, and The Memphis Horns creating moving emotional frameworks. 

Directly below is a YouTube link to a 1992 James Carr performance of “Lovable Girl.”  Once Carr gets in full voice, and feels the positive feedback from the crowd, he delivers an astonishing performance.  His joy at the realization of his acceptance is so heartening.

James Carr live in Porretta “Lovable Girl” really rare footage – YouTube

This James Carr collection was a favorite of my audience when I had my late-night blues radio show on WSND FM-88.9.  I think you too will discover many profound soul tunes here.  Highly recommended to the fullest degree possible!