The professional relationship between
George Faith and producer
Lee "Scratch" Perry extended over a decade, when
Perry -- who was running a retail record shop at the time -- was impressed with
Faith's platters "Green Hills" and "Gonna Give Her All the Love I've Got." It was also
Perry who christened the then-named
Earl George as
George Faith. As
Perry biographer
David Katz notes -- in contrast to the overt political nature infused into the majority of the legendary producer's clientele --
Faith's incipient collection is threaded by a sense of romanticism rather than angst. While the album contains a mixture of
Faith-penned originals, the lion's share of the effort consists of an admittedly odd assortment of early American pop/rock numbers -- suggested by
Perry -- such as the medley of
Wilson Pickett's "Midnight Hour" with the Creole soul and infectious groove on
Lee Dorsey's "Ya Ya." Thanks to
Perry's thickly doctored production style, the coupling offers a hypnotic vibe weaving through and supporting
Faith's easy skankin' and congenial delivery. "Opportunity" smolders hazily beneath the driving beat with
Faith ably maneuvering his ethereal vocals atop of the incessant rhythm. Although the artist is credited as composer on "So Fine," it is actually a remake of the
Johnny Otis R&B hit. The trippy rendition adopts a languid tempo with the heavily echoplexed lead supported by the mighty
Meditations. The pace increases the essential overhaul of
the O'Jays' "I've Got the Groove," which proved to one of
Faith's best-received sides . Of all the tunes chosen to redo, it is
Paul Anka's "Diana" that stands most prominently, thanks to its unique instrumental phasing that swirls around
Faith's innocent and childlike singing. Equally worthy is the take of "Turn Back the Hands of Time" -- a significant entry for
Tyrone Davis. Keen-eared listeners are encouraged to pick out the sonically shrouded nod to
Tina Turner's update of "Proud Mary." ~ Lindsay Planer