This was, unfortunately, Bobbie Gentry’s last album and, in many ways, it was her most adventurous.
Populated with all Gentry original songs, it contained little of the Stax-y soul of her previous two albums, or much of the Mississippi blues of her first three outings. Many of the songs are separated by short instrumental interludes and there seems to be a loose concept, but, if I’m honest, I struggle to pick up on what it is. It is a quirky, Impossible to categorise piece of work, but it is appealing in a strange sort of way and its creativity-originality should be admired. In many places, a string autobiographical streak can detected and also a sad, seeming admittance of defeat along with the more familiar Gentry nostalgia. It was like she knew this was her last shot, which contributes to the general feeling of sadness.
Benjamin is a laid-back piece of singalong bluesy jazz while Marigolds And Tangerines is a low-key, acoustic and evocative number. Billy The Kid is a jaunty, cowboy song about the legendary outlaw. Beverley is sung in English and Spanish, and tells the tale of a girl who works on a production line and then we get the ragtime-ish, upbeat story of librarian Miss Clara. Once again the song is enlivened by Gentry’s wry, witty lyrics. It ends with some infectious jazzy drum and brass rhythms. It is all great fun, and you can sense Bobbie is really enjoying herself.
But I Can’t Get Back is a beautiful, moving ballad with a big chorus and a lovely warm bass line. Jeremiah is a big production, gospel-influenced and heavily-orchestrated number and Bobbie’s voice copes admirably with everything the backing demands of her, it truly soars.
Belinda is a catchy country-ish sing about a stripper, enhanced by some more fine lyrics. Bobbie sounds just like Karen Carpenter on this one. The blues finally arrives on the Delta blues of Mean Step Mama Blues which is set alight in the middle by some stonking horn breaks and lead guitar. Your Number One Fan is a catchy, jazzy piece of fun.
Somebody Like Me has a soulful, brassy groove and, as I listen to this, I am struck again by just how versatile Gentry’s voice is on this album. The plaintive strains of Lookin’ In end this most unusually appealing album on a poignant, reflective note - ‘I’m packing up and I’m checking out” sings Gentry, presciently.
There were many reviewers at the time who said that this was Gentry’s work of genius. Maybe they were right. It may not have the instant appeal of her other work, but it certainly has a bucketful of originality and display a huge talent. What a shame that this album bombed and Bobbie Gentry left music behind. For four years she really sparkled. Her songs will live on forever and that is something she should be most proud of. She could sing beautifully, play guitar and write wonderful songs and deserved far more success. Retrospectively, however, her reputation has grown and grown.
