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In Al Green's early- Seventies heyday, he, producer Willie Mitchell and the Hi Records rhythm section would cut records as fast as they could write them, creating masterpieces in mere minutes. But for Green's new disc, Lay It Down, it took more than two years to find what he calls the "harmony" of the album. The wait was worth it: Co-produced by Roots drummer Ahmir "?uestlove" Thompson, Lay It Down is a throwback to Green's classic sound, but features contemporary artists such as John Legend, Corinne Bailey Rae and Anthony Hamilton. Green is effusive about the new album: "It's magnifical! Even better than magnificent!"
How was your experience working with
?uestlove?
I think ?uest is a great drummer and a visionary. But there's only
so much you can play on drums, right? There were so many other
people with so much expression. James Poyser on the organ, and the
guitar man, Spanky Alford. Spanky was playing chords that I could
never dream of! I wish he could have heard the whole album [Alford
passed away in March].
There are a handful of great duets on the new album, but
Corinne Bailey Rae's song really stands out.
I think she's incredible. She's an itty-bitty little thing. I gave
her a hug, and I had to readjust my arms! She just went out there
and sat down and started playing the song "Take Your Time," and I'm
going, "What's that?"
Did you ever duet with Marvin Gaye?
I would like to say yes, but that never happened. In those days,
people didn't sing together like they do now. I met Marvin once in
New Jersey. I went to his hotel, and he was chillin' in bed. He was
like, "'Let's Stay Together' is kicking butt out there," and I
said, "Well, 'Let's Get It On' ain't bad!"
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So there wasn't a rivalry between Hi Records and Motown and, say, Stax?
I wasn't tryin' to outdo Motown, and Motown ain't tryin' to outdo Stax. We just happened to be out at the same time, when everybody was offering a different type of music — different colors of the rainbow.
You and Willie Mitchell wrote a lot on the fly. Which
songs on your new album were conceived in the
studio?
"You've Got the Love I Need" was written just like that. Anthony
Hamilton just came in the studio, and we did it. I also did that
with "Let's Stay Together" and "Tired of Being Alone." They were
just written like a painter would take a brush to the canvas and
try to express himself in a two-minute span. Those are the
songs!
Some of your biggest hits.
Oh, yeah. There were lots of kids being born around then!
[Laughs]
In your autobiography, you write that you're inspired by
the sound of birds singing. Which ones sing the
best?
Robins. They were around our house a lot when I was growing up. And
other little brown birds, singing in the trees. I don't know the
names of them — I'm not a veterinarian [laughs]. But
I'd always listen to them because they sounded so beautiful. I
thank God that he made me so that I could listen to the beautiful
things in life.
What are your favorite more obscure Al Green
songs?
My version of "Pretty Woman" is one. Willie wanted me to do it but
wouldn't let me listen to the Roy Orbison, he said, "sing it the
way you sing it."
Is there a reason for the white suit and all-white
background for the cover of your 1972 LP I'm Still in Love With
You?
That cover, to me, symbolized that we had made it through all these
growing pains in civil rights — and in 1972, we were finding
our footing again.
How do you respond when people say you're the greatest
singer ever?
I'm just humbled. Willie Mitchell said to me the other day, "You
don't know how your music has touched people." I said, "What are
you talkin' about?" And he just laughed and shook his head.
[From Issue 1054 — June 12, 2008]