Stan Mosley

Soul singer extraordinaire Stan Mosley is a contender for the Soul-Blues throne vacated by Johnnie Taylor. After releasing three knockout discs on Malaco Records, and one for Mardi Gras, Mosley is set to make his mark with a new album called "Steppin' Out", which was produced by Earl Powell of Entune Recording.

Mosley began singing in 1969 and joined the Sharpees in 1974. The band ended up backing the diva Shirley Brown and Stan sometimes sang backup. From there he began gigging around Chicago off and on for years but had yet to be signed let alone release a record. "At some point in time," Mosley recalls, "I have either opened for or performed in the same venue as just about every major soul or blues act in the business." His acclaim grew and, for two years running, he captured the important Chicago Music Award (in 1982 and 1983) for Best Male R & B Vocalist.

By 1986 Mosley was fed up with the music business and joined a music ministry known as 'The Company' in Chicago. But he came back in 1992 and returned to East St. Louis to team up with Gus Thornton to write several songs, which were released on his own Stand Up label as the LP "Standing Tall". "They're very good songs, but unfortunately I had no distribution," he said. Butler Records re-released his album in 1995. He was also touring as the opening act for Cicero Blake, while also serving as Blake's driver and valet. In 1997, he found Malaco Records. Composer William Payton, who had co-penned Tyrone Davis' 1997 hit single "Freak" on Malaco, introduced him to Tommy Couch Sr. for a fifteen minute meeting. Tommy agreed to hear Stan's demo tape "and fifteen minutes ended up being hours-and Mr. Couch signed me to his label!". Ace producers like Charles "Rich" Cason, Couch, Floyd Hamberlin & Wolf Stephenson helped craft three strong albums for the label that should've catapulted Stan to Soul Brother #1 in the Southern Soul/Soul Blues world. The records did well but Mosley left the label disenchanted.

Mosley headed to Mardis Gras Records for a one-off project before finding himself on the independent level. In late 2005 he sent out promos for his "upcoming" CD "Steppin' Out" and response was enthusiastic.

*** 1/2 Auspicious debut by sandpaper-voiced soulman. Southern Soul/Modern Soul/Soul/Blues/Retro-Soul or whatever you want to call it these days. Hitmen Rich Cason, Floyd Hamberlin, Sam Mosley (no relation) and Bob Johnson contribute the best songs on this terrific long player. Vocally Mosley reminds me of Wilson Pickett and his take on "Don't Knock My Love" is, well, a knockout! The soulful headbobber "Rock Me" was his first hit and the heart-tugging "Why Can't You Love Me" is simply gorgeous. It's simply one of the best slow soul songs of the decade thus far. There's also some pumpin' dancers like "Don't Make Me Creep" and "Hit It & Quit It". Stan Mosley is a contender for the throne vacated by Johnnie Taylor at his death.

**** Second Malaco outing by Mosley is even funkier. Once again he is served with strong material written by Rich Cason, Floyd Hamberlin and Frederick Knight. (Yes the same Frederick Knight who hit with "I've Been Lonely So Long" in 1975). Mr. Knight contributed "Anybody Seen My Boo?" in which Stan says he's gotta find her "before Jody do!". Knight also provided the excellent ballad "I'm Not The Man I Used To Be" and "I Just Want To Thank You", another mover. Tonya Younblood joins Mosley for the regret-filled funker "Payback Is A Mutha" (written by Cason). Meanwhile, Hamberlin has a knack for producing simple, yet highly addictive rhythm tracks that force you to move somethin'. The delicious "Ain't No Woman" (also done by Lee "Shot" Williams), "Tasty Love" and thumping "Wiggle It" are his contributions. He also co-wrote two cuts with Mosley: "U Can't Keep Throwing Our Love Away" and "Don't Walk Out". With "Souled Out" you get 13 songs of sweaty modern soul n' funk that's a cut above the competition.

*** 1/2 After two fantastic albums Mosley has positioned himself as a top contender for "King of Modern Soul" (artistically). Unfortunately his commercial profile isn't as high as it should be. Perhaps because Mosley's throaty vocals are closer to the deep-in-the-gut soul that flourished in the 60s and 70s. Wilson Pickett, Otis Redding, James Brown. Gritty singers and Stan is in this elite group. Today a smooth tenor like Sir Charles Jones seems to get more attention. Hey, nothing against Sir Charles but Stan's bringing the real deal to the table. As it is, Mosley is once again set up with terrific material and crisp, full production. It's a combination of organic (live musicians) and synthetic (programming) that has become the standard for Malaco's Southern Soul/funk stars. This time Larry Addison is responsible for the very best cuts- the soulful, horn-soaked "No Mistake" and the hit single "Kiss And Tell". The prolific Rich Cason comes up with the goods again on the Southern Soul "Your Wife Is My Woman" (which is lyrically objectionable I must mention) and the dancer "You Bring Out The Dog In Me". This track is so dang funky my nose crinkled up for days! It should've been "Hole In The Wall" big! I was surprised to hear Mosley do a cover like Aretha Franklin's "Do Right Woman, Do Right Man". Although nobody can touch the Queen, this performance is a winner. One final accolade must be given to genius songwriter of Memphis soul, George Jackson, who's "Perfect Timing" is another feather in his cap.

** Mardi Gras Records out of New Orleans is a hit machine and despite the monotonous programming have scored another hit or three with this new Stan Mosley project. That ubiquitous midtempo rhythm track with candied keyboards benefits from Mosley's grit on charmers like "Til The Cops Come Knockin'", "Juke Joint" and the title cut. One of the best songs, however, is the knight in shining armor sentiments of "Beat Down" where Stan vows to protect a battered woman by becoming her man. All tracks were written by Floyd Hamberlin and produced by Senator Jones, whose unimaginative production lessens the impact. A singer of Mosley's talent deserves better than this half-baked effort.

**** I've said repeatedly that Stan Mosley is one of the artists to watch in the new era of Southern Soul & Blues. Now that legends like Tyrone Davis, Johnnie Taylor & Little Milton have left us the genre needs some artists to grab the baton and run. Since Bobby Womack seems content to make sporadic appearances and collect fat checks, I'm starting to believe we may not need him. Why? Because we got Stan Mosley. Blessed with a gritty soul voice reminiscent of Wilson Pickett and Mr. Womack himself, Mosley has already released some of the finest soul sides of the last decade with Malaco Records ("Why Can't You Love Me", "Anybody Seen My Boo", "Kiss And Tell"), but various circumstances not to be discussed here have stunted the growth of his career. Well, phase two has begun and Mosley is poised to lead the pack. The 10-track opus "Steppin' Out" is a befitting showcase for his skills. Earl Powell (Public Announcement) is on board to produce 7 tracks like the sublime "Let's Fall In Love", featuring a laidback flow as smooth as fifty year-old scotch. To Stan's credit, he doesn't overpower the melody despite his potent tone. Instead he shows tasteful restraint that guarantees radio play in various formats. Meanwhile, the brooding " I Want You" is gracing radio with it's insidious creepin' groove and Stan's rasping roar. Powell's arrangement is immaculate. Piano, organ, percussion and sharp backing vocals (Theresa Davis & Diane Madison). A masterpiece. Powell is also responsible for the sexy "This Love Has Power" (definitely make-out music), the lovely "Can We Work It Out", plus two dancers, "Dance Floor" and Floyd Hamberlin's "You Gonna Make Me Cheat". The latter features Hamberlin's unmistakable programming. Mosley, who co-wrote 7 cuts on "Steppin' Out", is also credited with turning the knobs on three tracks. Most notable is the contemporary R & B "Together 4 Ever" featuring a terrific sax solo by Jerry Winston. This track, along with "Give me A Chance" and "Thank U" date back to Mosley's first album, the obscure "Standing Tall". After 9 tracks of silky soul serenades I'm already satisfied. But then comes the stunning gospel-inflected "God Is Alive". Stan is a Soul Man, folks.

**** They do make them like they used to when we're talking "true Soul voices". Stan Mosley, he sing not Pretty, but Gritty. Actually he can sing quite lovely too like on the knockout slow numbers "Mr. DJ" (a real summer slow jam for sure) and "Bitter With The Sweet". Hitmaker Floyd Hamberlin Jr. produced and wrote the 10 songs (plus two alternate versions) and his string of hits should continue (think Tyrone Davis' "Sugar Daddy" & "Bangin' The Headboard", Denise LaSalle's "Mississippi Woman" for example).

The appropriately titled "Man Up" is one hundred percent "Southern Soul" or "Party Blues". A large percentage of potential hits here. Along with the already mentioned "Mr. DJ" I found my head bobbing to the midtempo "Backbone" which may just be the closing chapter of that long running Clarence Carter Strokin'/Theodis Ealey "Stand Up In It" string thread. Mosley breaks it down simple. He ain't no Theodis. No Marvin Sease. No Love Doctor but says "I'm gonna just do my same own move...I'm just gonna do what I do...put my backbone in it!". Stan is manning up indeed. For the club I can hear the exciting "I Came To Party", thumping "Man Up" and "Barstool Woman" but to me the tops goes to "Startin' 2 Stop". Just a terrific shuffle bumper with a sugary guitar lead line and some great harmony vocals. Oh and Stan's singing is fine too!

	Stan Mosley