Roberta Flack - Quiet Fire (1971) Atlantic, Specialty Records Corporation pressing

 

I am a late convert to the genius of Roberta Flack. Like many of my generation, I grew up hearing her hits played on AM radio, but my tastes as an adolescent male leaned more to heavier rock sounds and catchy pop hooks, so I was unable to appreciate her nuanced interpretations and pure, flawless delivery of both her own work and particularly that of other composers. But after recently finally having the light go on when I heard "Killing Me Softly" as if for the first time, I have begun seeking out her early work, first adding the LP named after that hit, followed by the 50th anniversary edition of First Take, then closing out her first quartet of LPs by acquiring this release and Chapter Two, which I will cover in a future post. Quiet Fire, her third release, consists mainly of covers, though a Roberta Flack cover is unlike any other. She so thoroughly embeds herself inside the lyrics and tweaks or entirely reworks the arrangement so that the end result is honestly a completely new work. Most of the covers here are slow-tempo, ballad-like revelations, but the LP starts off with a righteous Black power anthem that struts with a funky flavor not heard elsewhere on the album. Flack co-wrote the song with Joel Dorn and apparently Jesse Jackson. Titled "Go Up Moses," it turns the traditional spiritual "Go Down Moses" on its head, advocating for walking away from Pharoah, not asking to be set free, because you don't need Pharoah, but he certainly needs you. From this very socially focused message for Black America, Flack then shifts to an intensely personal rendition of Paul Simon's "Bridge Over Troubled Water," a song that has been butchered by every vocal hack seeking to stay relevant in the early 1970s, but in Flack's capable hands it is as poignant as Carole King's own version of "You've Got a Friend." Speaking of King, Flack covers one of her earlier Brill Building Gerry Goffin co-compositions, "Will You Still Love Me Tomorrow" to open Side 2, then delivers an unrecognizable reinterpretation of the Bee Gees' "To Love Somebody." The closer, Van McCoy's "Sweet Bitter Love," is just as heart-rending. Allmusic.com gives it 4½ stars, the same as for Killing Me Softly and just a notch below First Take. That sounds about right, though I wouldn't argue with all three LPs getting 5 stars.

This pressing, from 1971, is the one pressed by Specialty Records Corporation, designated by an "SP" at the end of the label code on both the Side 1 and Side 2 labels. I haven't found a lot of information about how this plant compares to others from the era, such as the highly sought after Monarch pressings, but it's worth noting that there are currently no copies of this version for sale on Discogs.com, and apparently only 8 Discogs users own it, while 47 want it, seeming to suggest it is an in-demand item. My listening found that the audio quality of this pressing is generally good but not in the same league as an equivalent Columbia 360 Stereo pressing from the same timeframe. There is noticeable wow and flutter on Flack's piano at the end of Side 2, which may be a flaw in the original master tape, but I don't have other versions for comparison. Even these shortcomings don't take away from an exceptional listening experience, however.

Incidentally, this LP is due to be the VinylMePlease Classics selection this coming December, which hopefully means it will get a Ryan K. Smith remaster and pressing at QRP. I am no longer a member of VMP, which is an entire essay in itself, so I am curious to hear what current members will have to say about this release when it comes out. As big a fan as I now am of this record, I can't see ponying up for a new subscription just to get their version, considering all the other issues I have with them. But maybe rave reviews will change my mind. I always like to keep my future options open.

Do I Really Need This record?  Having never owned this record before and now having a new reverence for any and all early Roberta Flack, of course this is an essential addition to the collection. And thankfully, I was able to just squeeze it into the 1970s section shelving without having to part with anything else. The next addition, however, may require some sacrifice.