James Hunter - People Gonna Talk (2006)

James Hunter is one of the best (and one of the few) British
blue-eyed soul singers to emerge in the late 20th century. Hunter
began his roots music career in the '80s under the name Howlin'
Wilf. His solo recordings feature rhythm & blues in the style of the
'50s, pitched between R&B, early rock & roll, and early soul. His
1994 solo debut, "Believe What I Say", had guest appearances by
Doris Troy and Van Morrison, and Hunter appeared on a couple of
Morrison's mid-'90s albums, as well as performing as part of
Morrison's Rhythm & Blues Revue.

Truly a man, and an album, out of time, Hunter travels back to the
'60s for this slinky shot of retro soul-blues. The
singer/guitarist/cartoonist's (he draws the comical caricatures of
the band in the liner notes) third album for his third label, isn't
a departure from previous releases, but it summarizes what he does
best. Kicking off with the Caribbean breeze of the title track,
things quickly shift to the funky Austin Powers soul of "No Smoke
Without Fire." Hunter's combo of twin saxes, bass, drums, and his
own tasty guitar makes for unique jazz/blues/pop that has its roots
in Ray Charles' small combo, King Curtis, and Van Morrison's
early-'70s work, in particular His Band and the Street Choir.

Vocally, Hunter's croon falls on the smooth Sam Cooke side of Boz
Scaggs. The album seems like it was made in the late '50s, and the
clean sound along with Liam Watson's spacious production is the only
giveaway that it was recorded in 2005. None of this would amount to
much though if the songs didn't connect, and these do. Perfectly
written and arranged, these are each polished gems with instantly
memorable choruses and lyrics that although heavy on
moon-June-spoon, never sound forced or uncomfortably contrived.
Hunter is a punchy, pithy guitarist, cranking out taut solos with
the economy of Steve Cropper.

Some tunes such as "Talkin' Bout My Love" with its jaunty horns and
twistable beat seem like they were grabbed from, or written for, a
'60s beach flick. At 14 tracks running 40 minutes, it's over before
you want it to be, always the sign of a quality album. An anomaly in
2006 with its mini sax section and sparse, danceable songs, the
album nonetheless shimmers with hip-shaking grooves. Although the
disc is decidedly retro, it exudes classy, cool fun that feels
timeless. An instant party starter, it'll make you want to do the
Twist, the Jerk, the Shimmy, and the Mashed Potato, or at least
learn how.