Ted Hawkins had been accepted more warmly in England in the late '80s than he had been in his native America. To his countrymen, he was a has-been soul singer, ex-junkie, and ex-con who'd never made it and was now a busker on the Venice Beach boardwalk. What America wouldn't get until his major... [+] Expand

Ted Hawkins had been accepted more warmly in England in the late '80s than he had been in his native America. To his countrymen, he was a has-been soul singer, ex-junkie, and ex-con who'd never made it and was now a busker on the Venice Beach boardwalk. What America wouldn't get until his major label debut in 1994 was something the Brits seemed to grasp instinctively -- Ted Hawkins was one of the great soul singers, a very decent writer, but an interpreter of other peoples' material blessed with a perfect insight to bring things to life. And he proves that here, on what was meant to be just a soundboard cassette recording. From Sam Cooke to Brook Benton, even the maudlin "Please Come to Boston" takes on a magic and depth in his voice, while something as innocuous of "Zip Pe Dee Doo Dah" positively brims over with spirit. His guitar work was never more than rudimentary, strumming an open chord, his left hand gloved to protect it, but it did the perfect job of framing that magnificent voice, which, as this album shows, was best heard live, where he could open up and let his dramatic tendencies take over without ever going overboard. His own writing coexists well with the better-known work, "Bring It on Home Daddy" a good juxtaposition to "Your Cheating Heart." But genre never mattered -- it was about whether the song worked, be it something as wonderful as his take on Otis Redding's "Dock of the Bay" or John Denver's "Country Roads," his set closer. Saying it's all good can cheapen things. But in the case of Ted Hawkins, it really was all good. ~ Chris Nickson, All Music Guide [-] Collapse

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