This time S.O.S. band’s third album is going to be reviewed, a slightly overlooked master achievement with an interesting line-up of producers and musicians and most of all some really great music. We all know this legendary band that after a successful start in the summer of 1980 scored several eternal hits. So I don’t think a background story is necessary here for such a well-known band. But so much can be said that the band was founded in Atlanta, GA in 1977 originally under the name “Santa Monica” before the changed it to The S.O.S. band in 1980. S.O.S., which stands for Sound Of Success, had a real dip with their second release in 1981 – that actually sold well - but regain confidence in 1982 with S.O.S. III. S.O.S. band had been on Tabu records since the start. But Clarence Avant, the CEO of Tabu records, desperately needed fresh ideas for a third release after the poor effort with “Too” in 1981. He turned some gifted folks that SOLAR had successfully worked with and found Ricky Sylvers and Gene Dozier. They became the producers of the set and Ricky’s mighty brother; one of the most brilliant songwriter/producer forces at time, Leon F. Sylvers III became the executive producer. Charmaine Sylvers, yet another sibling of the famous Sylvers family was also hired as songwriter. All of them had performed together with the best of what SOLAR had to offer so far like Shalamar and The Whispers. Leon Sylvers, founder and member of Dynasty and member of the successful family band The Sylvers among others, had played a tremendous role within SOLAR and is hardly someone that needs a closer presentation. In addition to that Avant added some extra frenzy by throwing in the hot and new writer/producer duo of James Harris III and Terry Lewis - soon more known as Jimmy Jam & Terry Lewis and later the producers several albums of the band - and S.O.S. III had a killer line-up! Surely such a line-up couldn’t fail, or could it?
The impressive line-up did of course not fail but managed instead to produce S.O.S. band’s perhaps most well balanced effort all time with just minor flaws. Even though no smash hit saw the day the over all standard was impressive and the album is easily one of the most attractive from the time with highly addictive, catchy and irresistible tunes. After listening through the album it leaves you high in spirit and with your inner soul battery filled. The album simply showers you with so much joy and happiness that it’s impossible to resist in any way!
The first track “Can’t get enough” set the standard right from the start with playful and quirky guitar and synthesizer patterns easily recognised from the SOLAR stable of artists. Add Mary Davis voice and its all there. Like almost all other tracks this one is heading for the dance floor with a refreshing up-tempo beat. The hypnotic guitar intro on track two is a classic, and what a fine track “High hopes” is! Penned by Jam & Lewis and the albums biggest hit this is one of their first common production and definitely one of their best all time. “High hopes” is complete with an addictive melody and a slick yet quirky R&B sound manifested on the entire album with Abdul Raoof’s sensitive and touching voice. Track number three calm things down, but just shortly, with the strong and tender ballad “Have it your way”. Side one ends with an up-tempo rock/pop flavoured song “Your love (it's the one for me)” showing a type of melody and song by Davis to be heard much more frequently on the following albums.
Side two start as side one with yet another quirky synth/guitar feast of “Good and plenty”. The similarities to the two first tracks on side one is striking but Jason Bryant’s song sounds somewhat strained here and have difficulties reaching the same standard as Davis and Raoof. Ever been looking for that someone special? Well “Looking for you” nourish that longing and really manage to set words and music to it! Mary Davis is just perfect here and it’s hard to not get caught by here interpretation. Mary returns on the following ballad “These are the things” that despite some qualities are a bit missed placed.
The final two tracks don’t let the guard down though and deliver strong goods. First of them are the funky floor filler “You shake me up” - with a slightly better song effort by Bryant this time (that also wrote the track) - and with a cool mini break released by a spacious flute solo by Willie Killebrew making this to a high point! But the final track isn’t shy either! Instrumental and a masterpiece “Groovin' (that's what were doin')” written by Charmaine Sylvers is bliss. A jazz flavoured dreamy sound, both spacious and groovy at the same time with an enchanting sax solo by Billy Ellis ends this album in the best of ways eve though its most likely you’ll play a few tracks all over again.
Patrik Andersson
Buy on AmazonBuy on Music Stack
