"To Lefty From Willie" is an affectionate and thoroughly enjoyable salute to Lefty Frizzell, featuring stellar versions of a number of Lefty's best-known songs – including "Always Late (With Your Kisses)," "She's Gone, Gone, Gone," "I Never Go Around Mirrors," and "That's the Way Love Goes" – plus revealing takes on a number of obscurities from the influential vocalist's catalog. Nelson is respectful without being overly reverential, giving his own spin to each song without abandoning their honky tonk roots.( Stephen Thomas Erlewine - AllMusic Guide )
‘Sharon…’ is an eclectic soundtrack for the early ‘80s covering post punk, mod revival, ‘60s revival, independent scene, rockabilly/cowpunk, garage, London soul/funk, reggae dub and commercial pop, pre C86 with its looking back and looking forward, and what it isn’t, the extremes of the SAW production line of the late ‘80s and another era entirely.
Originally released in 1964, Golden Boy features drummer Art Blakey and his Jazz Messengers performing songs from the Lee Adams and Charles Strouse Broadway musical for which the album is titled. Based off the play, written by Clifford Odets and William Gibson, Golden Boy was a socially conscious musical about a Harlem prize-fighter trying to escape his working class roots. A somewhat obscure Blakey release, Golden Boy nonetheless features plenty of improvisatory, hard bop firepower.
Never Say You Can't Survive was the last Curtis Mayfield album done in a pure soul vein for the next three years – its style and sound place it in a direct continuity with the rest of his output right back to 1958. The singing on love songs such as "Show Me Love," "Just Want to Be With You," and "When We're Alone" is among the most achingly lyrical and passionate of his career. The title track boasts ravishing backup singing by Kitty & the Haywoods (who also perform outstandingly on "I'm Gonna Win Your Love") and a beautiful arrangement by James Mack.
When Lefty Frizzell launched his recording career in 1950 he struck a rich vein of success, scoring hit after hit with his unique vowel-bending phrasing. His influence, though not immediately apparent, was a major factor in the development of Texan honky-tonk country music. That influence permeated to a host of subsequent artists ranging from Merle Haggard and Willie Nelson, through Buddy Holly and Roy Orbison, to George Strait and Randy Travis.