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J.j. Barnes & Steve Mancha

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Rare Stamps

                 



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Format: LP     Want this on CD also?

Condition: VG+ COVER / VG+ LP (cover/media)    More Info
Label: Volt VIS 6001
Country: Us
Released: 1969
Genre: soul
Num In Set: 1
Quantity: 1 in stock
Seller Ref:   3342

I found a copy of this album at a Northern Virginia yard sale and spent months trying to find   an in-depth review of it prior to giving it a spin.   No luck.   It's also one of those rare compilation albums that I feel deserves high praise.   It's deeply flawed - both Barnes and Mancha deserved to have album's of their own, but then you've got to start somewhere !!!
From what I've been able to pull together, "Rare Stamps" was part of a 1969 Stax effort to churn out a massive amount of new product to spur sales.   It was one of three in a series of "Rare Stamps" compilations released by the company.   The other two albums featured vintage material from Eddie Floyd and Johnnie Taylor. Split across the two artists, the Barnes / Mancha album featured   material producer Don Davis had recorded during the 1966-68 timeframe for his Detroit-based Groovesville and Groove City labels.
As much as I love every one of the five J.J. Barnes songs on side one, I can't help but feel a bit of sadness every time I listen to this album.   Again, it had nothing to do with the material, rather was a reflection on the tracks that were missing.   By my count, during his recording career stretching from 1960 to the mid-'70s, Barnes recorded material for fifteen US labels.   By the same count, he released at least 24 singles.   As such, these tunes reflect just a sliver of his recording catalog.   And though it just reflected mid-'60s tunes recorded for Don Davis' Groovesville and Groove City imprints, what a sliver it was. Still, given the amount of Barnes material available, you had to wonder why Stax didn't release a full album of Barnes tracks.   Shame ...
"Rare Stamps" track listing:
(side 1)
1.) Baby, Please Come Home   (Don Davis - J.J. Barnes) - 2:52   rating: **** stars
'Baby, Please Come Back Home' had previously seen daylight as a single on Davis' Groovesville label.   Perhaps nothing more than urban legend, but Stevie Wonder supposedly had a hand in writing the song, but "gave" it to Barnes when he left Motown.   With Barnes turning in a heart searing vocal that sounded a bit like a cross between Marvin Gaye and David Ruffin with a head cold it was simply a killer tune, dripping with Motown influences.
- 1967's 'Baby, Come Back Home' b/w 'Chains of Love' (Groovesville catalog GV 1006) # 9 R&B
2.) Chains of Love    (Melvin Davis - Don Davis) - 2:27   rating: **** stars
The "B" side to "Baby, Come Back Home", 'Chains of Love' retained a distinctive Motown flavor, but had a far tougher, less commercial soul feel.   That's not to diminish the tune in anyway.   Barnes again turned in a killer performance on this one.
3.) Now That I Got You Back    (Don David - K. Barker - F. Bridges - J.J. Barnes) - 2:31   rating: **** stars
'Now That I Got You Back' found producer Don Davis out-doing Motown at their own game.   With Barnes turning in his best Marvin Gaye impression, this one had everything that you looked for in a good Motown song - fantastic melody, killer vocal, and a hook that would not let go of your ears.   It had also previously been released as a single:
1967's 'Now That I Got You Back' b/w 'Forgive Me' (Groovesville catalog number GV-1008)
4.) Easy Living    (J. Ashford - B. Croft) - 2:54      rating: **** stars
'Easy Living' was originally recorded by the Detroit-based The Hollidays (you'll also seem them listed as The Holidays).   Both Barnes and Steve Mancha were members of the group.   Thesong was originally released as a 1967 single on Groove City.   To my ears, the Hollidays version sounded like it featured Mancha on lead vocals, but I wouldn't swear to it.   Regardless, the Barnes solo rendition speeded the song up a tad and gave it a more Motown-ish feel.    The result was a stunning ballad that showcased Barnes true voice.   Berry Gordy Jr. would have killed to have a Motown songwriter come up with a hook as devastating as this one.   For the UK market, Stax tapped the song as t

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