No one sounds like Al Green.  In fact, there are a few easily identifiable things that set Green apart from other soul/R&B artists of his era.  First . . . the Al Green organ.  No other soul/R&B musician has ever had an organ sound like that (best tracks to hear it:  “Love and Happiness,” “I’m Glad You’re Mine”).  Second, the drums.  Al Green’s drummers sounded like no other soul/R&B drummers because of the tone of the snare, often hit simultaneously with the hi tom, and also because they generally played very straight 4/4 beats.  For a counterpoint, listen to any James Brown song, which will generally be far more syncopated.  Third are the horns and strings.  The horns are used as more of an accent instead of a lead instrument (as they are in many Otis Redding songs, for example).  And, the strings are used as more of a melodic counterpoint instead of a textural flourish (as in many Curtis Mayfield songs).  Fourth, and most important, is Green’s voice.  Smoky, smooth, capable of a falsetto whisper, a wild scream, and a smooth baritone in the same song.

And, from 1969 to 1975, these elements seemed to combine effortlessly on his genre-defining albums.  During that period, Green could do no wrong, racking up six straight Number 1 albums on the R&B charts, and earning one platinum record and four gold records.  Here is a rundown of his essential albums, in chronological order.

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Green Is Blues – 1969
This is Green’s first proper album (he released Back Up Train in 1968 under his given name, Al Greene).  It is uneven, but shows the promise that would make him one of the great soul singers of his generation.  It is also the beginning of his long collaboration with late producer, Willie Mitchell.  Green recorded two Beatles songs for the album.  One, “Get Back,” made the cut.  But the other, “I Want To Hold Your Hand,” didn’t.  It was released on the fortieth anniversary edition, however, and it is a phenomenal example of how Green, Mitchell at the Hi Rhythm Section could re-imagine a song.  Another notable track is Green’s cover of “I Stand Accused,” written by Curtis Mayfield.

Al Green Gets Next To You – 1971
This is Green’s funkiest, rawest album.  Classics like “I Can’t Get Next To You,” and “Tired of Being Alone” shine, but the real soul of the record is in the deep cuts – tracks like “I’m a Ram,” which has one of the nastiest guitar licks you’ll ever hear.  And, songs like “You Say It,” and “Driving Wheel” are gritty soul at its finest.  While other Al Green albums are sensual, the one is sexual.  Full of energetic, dirty, sweaty, head-bobbing grooves from start to finish.

Let’s Stay Together - 1972
Green was building up steam by this point, and his followup to Al Green Gets Next To You contained his most popular, enduring hit single.  The title track is Green’s only Number 1 pop hit, but again, the deep cuts provide the real soul of the record.  ”Old Time Lovin’” is one of Green’s best ballads, “I’ve Never Found a Girl (Who Loves Me Like You Do)” is a funky gem, and what he does with the Bee Gee’s “How Can You Mend a Broken Heart?” puts all other versions to shame.

I’m Still In Love With You - 1972
1972 was a big year for Green.  He released two of the greatest soul albums ever made, and although we give the edge to this one, it’s really a toss up.  The title track is undeniable, as are well-known hits like “Love and Happiness,” and “Look What You Done For Me.”  But, as usual, the deep cuts do not disappoint.  In fact, it is inconceivable why “I’m Glad You’re Mine” didn’t become a huge hit in its own right.  Also, “What a Wonderful Thing Love Is” is just as sweet and good as the title suggests.  And, once again, Green offers some impressive covers, putting his spin on Roy Orbison’s “Oh, Pretty Woman,” and Kris Kristofferson’s “For the Good Times.”  Not a bad cut from start to finish.

Call Me – 1973
This is considered by many to be Green’s magnum opus, although for our money, we’d take I’m Still In Love With You.  But, Call Me lives up to the hype.  In addition to the title track, the album has the devastatingly sexy “Have You Been Making Out O.K.” as well as the radio-friendly, “Here I Am (Come and Take Me).”  But, the true heart of the album is spread across two songs.  ”I’m So Lonesome I Could Cry,” is arguably one of the greatest soul ballads ever recorded, and it isn’t even a soul song.  It was written by Hank Williams.  ”Funny How Time Slips Away” fits in the same category, except it was written by Willie Nelson.  The two songs together show Green as a peerless interpreter.

Livin’ For You – 1973
As if 1972 wasn’t a big enough year for Green, he came back in ‘73 with two more gems, and although this one is definitely not as good as Call Me, it is still excellent in its own ways.  The biggest song from the album is “Let’s Get Married,” but the other tracks also shine.  The drums on “Sweet Sixteen” are a prime example of the classic Al Green drum sound, and “Home Again” is sultry as all Hell.

Al Green Explores Your Mind - 1974
Not only is this a classic Al Green album, it might be his greatest album title.  The best-known cut off this album is the song “Take Me To The River,” which was famously covered by Talking Heads.  But, the album also has the hauntingly beautiful pseudo-gospel hymn, “God Blessed Our Love,” as well as the classic, “Sha-La-La (Make Me Happy).”  Another particularly interesting track is “One Nite Stand.”  That song has traces of the coming disco craze that would ruin just about every soul artist, but it is still too funky to be disco.  It’s like listening to the two genres punching it out, and thankfully, the funky, stanky soul wins.  Also, “Stay With Me Forever,” and “The City” both feature an odd swing-soul shuffling beat, which doesn’t quite work, but is interesting to listen to because of its rarity in the genre.

Al Green Is Love - 1975
As the title suggests, this is Green’s most sensual album.  Full of sweet slow jams, and the occasional uptempo hit, like “L-O-V-E (Love),” this is one of the ultimate love-making albums ever recorded.  One particularly interesting part of the album is the use of odd percussion, especially in “The Love Sermon,” and “I Didn’t Know.”  Even “Rhymes,” which is actually a funky little tune, is played with restraint.  The funk is held back to make room for the love.

Lay It Down - 2008
You could be forgiven for not paying attention to Lay It Down.  The unfortunate problem with musicians from a previous era – especially soul singers – is that their current recordings are generally so clean and modern that they lose the edge, the grit.  But, from the opening title track, it is clear that this isn’t some weak latter-day offering.  Produced by ?uestlove and James Poyseur (Erykah Badu, Lauryn Hill, etc), the album can stand next to any of Green’s ’70s classics.  The low end has that muffled, pulsating thump he’s been missing, and the rest just falls into place. It is his best work in thirty years, sounding both modern and straight outta 1973.  Key Tracks:  ”Lay It Down,” “You’ve Got The Love I Need,” “What More Do You Want From Me,” “No One Like You,” “Take Your Time.”

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