Bill Withers

Just As I am/Still Bill (Sussex '71, '72, Raven '03) Rating: A
A former milkman, Naval officer, and factory worker who didn't record his first album until the ripe old age of 32, Bill Withers was an unlikely success story. Yet success was immediate when Just As I am was released on the small Sussex label in 1971, in large part due to the Grammy winning single "Ain't No Sunshine" and a uniquely minimalist acoustic soul sound. That sound was expanded somewhat on Still Bill, which arrived in 1972 and was an even bigger hit, spurred on by Withers' signature song, "Lean On Me." However, these two albums, both of which I consider to be minor classics, have been in and out of print during the intervening years, making this generous Raven 2-for-1 reissue (which also includes two additional, highly worthwhile bonus tracks) indispensable.

Sympathetically produced by the legendary Booker T. Jones, Just As I am had far more than just "Ain't No Sunshine" (a stark, groovy blues classic) going for it. There's the gritty urban drama, "Harlem," for instance, and the nostalgic "Grandma's Hands," both of which showcase Withers' highly visual, story-based lyrics and his urbane yet earthy, lightly funky soul sound. Less important yet still classy songs include the simple, sweetly melodic "Sweet Wanomi," his lively updates of Fred Neil's "Everybody's Talkin'" and The Beatles' "Let It Be," and spare, bluesy folk ballads such as "In My Heart" and "Moanin' and Groanin'."

The rest of the songs on the album are outstanding, including "Do It Good." I love the story behind this one; the wet-behind-the-ears Withers needed a confidence boost, so Booker T. reassured him to just "do what you do, but do it good." That's exactly what he does on this funky, rhythmic song, while "I'm Her Daddy" is a weightier track that tells about a father who was cheated out of a relationship with the 6 year old daughter he never knew about. Withers' vocal is suitably intense, giving the song a stunning emotional impact. "Better Off Dead" is likewise hard to shake, what with lyrics like "she couldn't stand me any more, so she just took the kids and went" and "she's better off without me, and I'm better off dead now that she's gone." Heady stuff, but as far as I'm concerned this song and every other song here pales compared to "Hope She'll Be Happier," which is simply one of the best soul ballads I've ever heard. A gorgeous keyboard melody and tear inducing lyrics like "I never really thought that she would leave me but she's gone" and the more resigned "I hope she'll be happier with him" are devastating enough, but above all else it is Withers' great vocal that makes this song such a forgotten classic. Possessor of a warmly inviting, smoothly soulful voice, Withers' lays it all on the line on what is probably a very personal track, resulting in a masterpiece that rivals Al Green or Stevie Wonder at their best.

On a side note, the impressive personnel helping out Withers on Just As I am included MG's Al Jackson (drums) and Donald "Duck" Dunn (bass), at least on the early sessions. Session aces Jim Keltner (drums) and ex-Flying Burrito Brother Chris Etheridge (bass) replaced that duo when record company complications arose, while Stephen Stills added guitar as well. Unfortunately, politics prevented Booker T. from producing Withers' second album, but Bill rebounded nicely by simply using his touring band (who he had recorded his demos with and who also were members of the Watts 103rd Street Rhythm Band), who co-produced and collaborated with Withers on the album that came to be called Still Bill.

If anything Withers actually upped the ante on this consistently stellar set, which captures him at a confident peak. Although Withers hasn't abandoned his uniquely laid-back brand of folksy soul, most of the album has a fuller sound and more of a funky rock edge to it than Just As I am. Granted, the gorgeously pleading ballad "Let Me In Your Life" is as intimate as anything he ever did, and "I don't Know" is another modest album track that exudes warmth and class. However, songs such as "Use Me" and "Kissin' My Love" are more upbeat and uptempo, as Withers and his backing band bring the funk big time, all while expanding their sonic palette by adding tasteful synthesizers and string embellishments. The band's rhythmic capabilities are also showcased on "Lonely Town, Lonely Street" and "Who Is He (And What Is He To You)," while "Another Day To Run," "I Don't Want You On My Mind," and "Take It All In And Check It All Out" comprise the ultra-intense threesome that concludes the album. Of course, the song that most people remember Withers for today is the classic "Lean On Me," an uplifting anthem about friendship on which his gospel roots comes to the fore. There's a funky sing along bridge as well, and once again it's apparent what a passionate, gifted singer Withers was. Perhaps the lyrics veer a little on the corny side, but only the coldest heart could fail to be moved by such a distinguished performance.

Adding further value to this excellent package are Terry Reilly's informative liner notes, a digitally remastered sound sure to please any audiophiles, and two enjoyable bonus tracks. These encompass a moody, evocative soundtrack song, "Better Days," which picks up a head of steam for a jam ending, and an admirably rough hewn and energetic duet with Bobbly Womack on Womack's classic rocker "It's All Over Now." Really, few better albums came out in 1971/1972 than these two, and given that Withers has become somewhat overlooked and under appreciated over the years (in part because he stopped recording almost 20 years ago and keeps a low profile, letting his music speak for itself), this reissue provides a perfect opportunity to remember a unique talent.

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