Freddy or Freddie (it is spelled both ways on the album covers)
Robinson's trek from Mississippi to Arkansas, Los Angeles, Chicago and Memphis before becoming a Muslim and changing his name to
Abu Talib is well documented. Though he did not entirely drop out of the music business, he did lapse into obscurity. Half of these sessions, originally from the LPs
At the Drive-In and
Off the Cuff for the
Stax affiliate
Enterprise label, were ostensibly his swan songs. They emphasize the burgeoning
soul-funk of the time that was bordering on
disco.
Robinson did indeed stray from his
blues roots for a more commercial sound, replete with strings, backup singers, and horns. Still, it's clear
Robinson was a very talented guitarist, harmonicist, and especially singer. The first three cuts, featuring
Jazz Crusaders pianist
Joe Sample and bassist
Wilton Felder show the most promise, during the talkin' low-down dirty autobiographical
"Bluesology," a
soul-blues winner
"I Found My Soul Last Night," and the straight 12-bar
blues "At the Drive-In." The next 11 selections veer into the more
contemporary R&B of the time, somewhat varying from the outstanding instrumental opening before the after-the-fact singing on
"Off the Cuff," the goofy
"Medicine Man," and hokey tunes like
"Try It One More Time" and
"I Remember." There's also a good 'n' slow typical
Chicago blues "Changing Dreams," a very good take of
Percy Mayfield's
"River's Invitation" with
Sample's outstanding piano playing, and some fine backup horn playing from trumpeter
Oscar Brashear and trombonist
George Bohannon. The remainder of the date features previously unissued material done in Memphis at the
Stax studios with the back-up band of
Isaac Hayes and
the Memphis Symphony in a string of forgettable, derivative
soul-pop tunes. You get a remake of
"The Creeper," a pure cop of
Jean Knight's
"Mr. Big Stuff" titled
"Sister Hot Pants," a
Wes Montgomery/
George Benson sound-alike
"Black Fox," and the
Ray Charles flavored
"Good Feeling." A fine interpretation of the standard
"After Hours," featuring
Robinson's tasty guitar, is the clear highlight of these generally overproduced, bland tunes. It is a shame that only a handful of these cuts will appeal to
blues fans who may have appreciated
Robinson, knowing his previous work with
Jimmy Dawkins,
Little Walter,
Howlin' Wolf, or
Charles. ~ Michael G. Nastos
![Greatest Hits [Curb]](http://prodimage.images-bn.com/pimages/0715187732124_p0_v1_s90x140.jpg "Greatest Hits [Curb]")
![Greatest Hits [Curb]](http://prodimage.images-bn.com/pimages/0715187741928_p0_v1_s90x140.jpg "Greatest Hits [Curb]")
