Although this is ' third long-player, he had long been a staple of the Memphis scene -- primarily within the coterie -- where his multiple talents included instrumentalist, arranger, and composer of some of the most beloved music of the '60s. Along with his primary collaborator, , was responsible for well over 200 sides -- including the genre-defining and As a solo artist however, redefined the role of the long-player with his inimitably smooth narrative style of covering classic tracks, many of which would spiral well over ten minutes. (1970) includes four extended cuts from several seemingly disparate sources, stylistically ranging from 's to and even These early recordings brilliantly showcase his indomitable skills as an arranger -- as he places familiar themes into fresh contexts and perspectives. For example, his lengthy one-sided dialogue that prefaces is halting in its candor as depicts an aching soul who longs for his best friend's fiancee. Even the most hard-hearted can't help but have sympathy pains as he unravels his sordid emotional agony and anguish. ' lyrical orchestration totally reinvents the structure of -- which includes several extended instrumental sections -- incorporating equally expressive contributions from (violin). Both and the comparatively short (at under six minutes) are more traditionally arranged . again tastefully incorporates both string and horn sections to augment the languid rhythm, providing contrasting textures rather than gaudy adornment. These sides offer a difference between the proverbial "Black Moses of " persona that would be responsible for the aggressive no-nonsense of (1971) and (1974). ~ Lindsay Planer