Lee Fields stands amongst the titans of contempo classic-styled soul sounds, so it makes total sense that his work with the Expressions comprises Big Crown Vaults Vol. 1. It’s the first in a series of records finding Big Crown founders Leon Michels and Danny Akalepse tidying up their audio closet for the betterment of humankind. This album, availably now on vinyl (limited translucent purple ripple or reliable black), compact disc and digital, features six Fields-sung tracks followed by six instrumentals, five of them versions, effectively illuminating the Expressions’ skills and Michels’ production savvy. Altogether, for lovers of old-school soul, this set is a total keeper.
As a survivor on the scene, Lee Fields’ soul prowess is far from a secret. Having debuted on record via 45 rpm single in 1969, Fields cut a bunch more through the next decade and capped the initial stretch of his long career with his first LP, Let’s Talk It Over in 1980 for the Angie 3 label. As the warmth, grit and energy of classic soul ebbed in the years thereafter, Fields’s momentum was slowed until the early ’90s, when he recorded a few full-length discs for Ace, but the set that firmly established his presence was Let’s Get a Groove On in 1998 for Desco, which was recently reissued for Record Store Day.
It was Desco that helped pave the way for Daptone, so if Fields is a new name, that association might clue you in, as he appears on a pair of albums by Sharon Jones & the Dap Kings. He also cut a few singles for Daptone, plus the LP Problems for Soul Fire (the other label spawned by Desco’s demise) before hooking up with Truth & Soul for three records, My World in 2009, Faithful Man in ’12, and Emma Jean in ’14.
After Truth & Souls’ folding and as part of Big Crown’s flowering (events directly related through Michels as co-owner-operator of both), Fields recorded Special Night for his current imprint in 2016 followed by It Rains Love last year. That brings us to Big Crown Vaults Vol. 1, which rounds up songs from the sessions for those two LPs, starting out with a version of “Two Timer” by Little Carl Carlton (perhaps best known to non-soul aficionados for his smash reading of “Everlasting Love” from ’74) that’s faithful to the 1970 original while deepening the groove considerably, as is Michels’ and Big Crown’s way.
This is the template for the record going forward, though rewarding stylistic range is also on display, as “Regenerate” heads into what the label describes as “country-soul” territory. Fields’ singing does bring ’60s Southern soul to my mind, so that’s an affirmative assessment, but with the backing vocals of Michels, Paul Schalda, and William Schalda lending a youthful aura to the proceedings; I also dig the false ending, with the instrumental finale nodding to the extended Expressions spotlight to come.
“Do You Know?” pulls off a series of slick tricks at once, diving into topical soul that blends the Motown template (notably, a lack of horns) with James Brown-style grit, with Fields singing crucial to this comparison, plus ample fuzz guitar solidifying the track as part of Big Crown’s overall scheme. From there, the opening organ in “Time” briefly had me thinking of Iron Butterfly, but thankfully that’s a fake out. The hardcore reality is that Thomas Brenneck plays guitar like Albert King just rolled up in the joint, as Dave Guy’s trumpet nearly steals the show.
I said nearly, as Fields is in prime form, hitting a sweet spot between James and Al Green. Next, the up-tempo “Thinking of You” mingles a vaguely Green-like positivity with an early ’70s soul buoyancy (shades of Philly, maybe) but with drum thump that’s Big Crown all the way. After that, the final vocal number “Don’t Give Up” might just be the gem of the album.
It’s a difficult decision, but the song drives home Fields’ as a belter of unusual communicative range and control, enhanced by more backup vocal sweetness as the rhythm section of bassist Nick Movshon and Homer Steinweiss is a lithe beast. The strings of Garo Yellin (cello) and Hirko Naguchi (violin) soar, but they also deliver a touch of ache. Which is integral to the soul recipe.
The first of the instrumental cuts, “Out to Get You,” which opens side two, showcases the horns as it lays the foundation for a Stax-tinged pop-soul nugget, at least until late in the track, when it shifts into a funkier gear. As said, the rest of the instrumentals are versions of the prior vocal cuts (every track except “Time”) and they cohere into a swank magnification of the Expressions’ collective artistry in combo with Michels’ objective of rhythm thickness that really moves.
A la the early ‘70s J.B.’s, sans singing, these selections take on a distinct flavor that’s imminently worthy. That’s not to suggest Fields’ presence isn’t missed. But to hear him again, one just needs to flip the record over, reinforcing Big Crown Vaults Vol. 1 as a win-win situation.
GRADED ON A CURVE:
A-
