Yvonne Fair: The Bitch Is Black - 1975

After knocking around at Motown for over six years - see the sleeve notes on the rear cover at the bottom of the review - Yvonne Fair finally got her first album release in 1975, almost long after the horse had bolted, it seemed. She did, however, get her only big hit single out of it. The material was recorded between 1970 and 1975.

The title, of course, was deliberately confrontational and one wonders how the traditionally non-aggressive and at times prudish Motown label allowed it to stand. Yvonne posed with a whip on the cover too, most provocatively. 

Anyway, to the music, and a mighty fine album it is too. Make no mistake, either, it is, save for a couple of notable ballads, funky as fuck, as they say (or may not say).  

Funky Music Sho' 'Nuff Turns Me on had previously been covered by Edwin Starr and The Temptations, but there is an argument in favour of Yvonne's 1974 version being the best of all. Her voice is gritty, gruff and wonderfully built for funk. The track kicks funky ass right from the outset. It is a marvellous hidden gem and one of Motown's best ever funkers, sho' 'nuff it is, y'all.

Now for the big one. It was Gladys Knight & The Pips who first recorded this song back in 1967-68 I believe. While their version was as soulful as you would expect Gladys to be there was something about this home-made sounding number that has given it lasting appeal - check out the early rhythm box, programmed backing. Yvonne's vocal is so goddamn powerful and you really believe you are right there in that church as she bellows out her affronted protest. Somebody call the po-lice! Lordy. It was a huge UK hit in the late winter/early spring of 1976.

Stay A Little Longer dated from 1970 and it was a conga-backed and mightily powerful ballad that showed off Yvonne's super-strong voice perfectly. It was released as a single in 1970 but didn't make it, unfortunately. It's Bad For Me To See You was a Gloria Jones/Pam Sawyer song. It is sumptuous in both its string backing and subtle bassline and it goes without saying that Yvonne's vocal does the business. It's a classic after the break-up ballad.

Time for some funk? Sure thing. Tell Me Something Good is a cookin' Stevie Wonder song that was a hit for Chaka Khan and Rufus in 1974. Yvonne's version is similarly powerful and full of funk. I wonder why Stevie gave this one away? An embarrassment of riches, I guess. Incidentally, Yvonne ad libs into a bit of Gladys Knight/The Temptations' You Need Love Like I Do at one point. 

Let Your Hair Down is a psychedelic soul number from the pen of Norman Whitfield that sounds like a live cut with its crowd noises but in those days you could never be sure as crowd noise was often grafted onto studio recordings to add atmosphere. Either way, live or not, it is fatback funk of the highest quality. Yvonne tells us to "go all the way down" in true Millie Jackson style.

Love Ain't No Toy is another Whitfield number, full of characteristic buzzy, fuzzy guitar. It is an upbeat funky tale of wronged female angst à la Shirley Brown, Laura Lee, Ann Peebles et al. Lyrically, it's packed with "can you dig it" exhortations. Very early seventies funk in its feel. 

I Know (You Don't Love Me More) is a big brassy serving of lively soulful fun, albeit with a contrastingly sad lyrical edge to it. The sound quality on it is superb - full, warm and pounding. Walk Out Of the Door If You Wanna, a Whitfield song, is similar in its vibrancy and this time its sentiments are telling it as is, taking no shit - you wanna leave? You know where the door is, sucker. This is an album by a strong woman, as many soul albums were at this time. The times were certainly a-changing.

This excellent album of soulful funk ends with another candidate on the list of best Motown funkers in You Can't Judge A Book By Its Cover. As with the album's opener it totally cooks from the very first notes. 

A recommended Motown rarity here.