Smith Perkins Smith rare '72 LP on Island EX+ FOLK ROCK KILLER prog country

Sold Date: March 20, 2015
Start Date: February 3, 2013
Final Price: £19.99 (GBP)
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Band/Record: Smith Perkins Smith - Smith-Perkins-Smith

Label/Matrix: NL 1972 Island 9198 ILPS

Condition Record/Sleeve: EX+/VG+ (record immaculate, (a few very light hairlines only),DREAM audio. Cover clean and unwritten, with corners tiny "eaten", light wear on edges)

Extra Info: Fantastic Album !! Original Dutch 1st press LP on Island  ...WOW .. EX+ dream audio..VERY RARE ALBUM !!

~~Here's a folk rock classic with a country flavour from the 1972 album by American brothers Steve and Tim Smith, joined by Wayne Perkins. It's perhaps not the genre you'd have expected given their backgrounds. Steve Smith had played on some of the classic southern soul tracks recorded by the likes of Sam & Dave, the Staples Singers and Wilson Pickett at the Muscle Shoals Sound Studio in Birmingham, Alabama. Arthur Alexander and Ben Atkins (the first white singer signed to Stax) had recorded songs written by the Smith brothers. Local boy Wayne Perkins had started work as a session guitarist at the same studios at 18, working with Leon Russell, Joe Cocker, Steve Winwood, Jim Capaldi and David Porter.

So you might have expected white soul with some hot guitar licks. Instead the album is singer-songwriter sensitive, late night smoky and tinged with a country feel. Almost enough to have Bob Harris whispering "nice". The quality, though, tells in the writing, playing and singing by all three – and the production by bass player David Hood, a Muscle Shoals regular, who slotted this into the same year he worked on Jimmy Cliff's Sitting in Limbo and the Staples Singers' Respect Yourself.

Hood wasn't the only one of the famed studio band on the record. Roger Hawkins manned the drums and Barry Beckett played keyboards, and the house band's lead guitarist, Eddie Hinton, contributed a song, Mighty Good Time, to confirm that they can rock out if required.

But I prefer Say No More, with soaring vocal harmonies that tug at your heart-strings as the song builds from a deceptively simple acoustic guitar intro. There's a spirituality to this and other songs on the album that are soulful without sounding derivative.

You wonder why they only made one album. They did start a second in Basing Street studios in London but Island supremo Chris Blackwell asked Wayne Perkins to add rock guitar to a reggae band he was trying to break. His solos on Concrete Jungle and Stir It Up helped Catch a Fire do just that for Bob Marley.

For Perkins, there followed more stellar sessions and stints with Leon Russell's Shelter People and the Gap Band. And then came a brush with superstardom, when he was considered to replace Mick Taylor in the Rolling Stones. He didn't but he does play on Black and Blue and Tattoo You.

Steve Smith, meanwhile, was asked to produce Robert Palmer's solo debut. They'd met at Leicester University when Smith Perkins Smith supported Vinegar Joe – in which Palmer shared vocals with Elkie Brooks – but the production offer came out of the blue. His masterstroke of matching Palmer with Lowell George and the Meters for Sneakin' Sally Through the Alley, the album that out-funked Little Feat, confirmed his talents behind the mixing desk.

Tim Smith too went into production and arranging, working with Lynyrd Skynyrd among others.

But somewhere in a dusty vault, perhaps, are the tapes of the work begun on that second album. Perhaps they'd consider completing it.

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