Long lost soul classic digitally remastered with 14 bonus tracks.

'Despite his relative obscurity, LEE MOSES is a legendary, near-mythical name among Deep Soul collectors, his records commanding a king's ransom. Every known Lee Moses recording is featured on this compilation: his 1971 album Time And Place, plus the seven 45s he cut between the mid 60s and early 70s. This is a truly remarkable body of work, wholly deserving of its cult status.' -Liner Notes

'Lee Moses was a huge talent and if he’d had the big hit album he richly deserved, Time And Place would’ve been it. A self-taught multi-instrumentalist, Moses cut his teeth in the clubs of Atlanta, the ‘Motown of the South’, where he frequently performed alongside his contemporary Gladys Knight (who reportedly wanted him for the Pips, but couldn’t pin him down).

It was, however, in New York in the ‘60s that Moses made his greatest bid to find the solo fame he desired. Moses began working there as a session player, even playing frequently with a pre-fame Jimi Hendrix, but his close relationship with producer and Atlanta native Johnny Brantley eventually saw him getting his own break via a series of 45s in 1967 – most notably with covers of Joe Simon’s “My Adorable One”, The Four Tops’ “Reach Out, I’ll Be There” and The Beatles’ “Day Tripper”.

It was 1971 before Moses’ dream of being at stage front was realized, when he released his Brantley-produced LP Time And Place for Maple Records. Recorded with a band including members of The Ohio Players and Moses’ own backing group The Deciples, it was, nonetheless, Moses himself whose star quality shone through, via his scratchy guitar riffs, his throat-ripping vocals and the stirring mood that permeates the LP’s heady mix of funk, soul and R&B.

The LP did no business, and Moses’ dream quickly crumbled. Though details on his life are scarce, it’s believed he fled New York disenchanted with the music industry, feeling he’d been double-crossed by Brantley both in credit and remuneration for the countless records he’d played on. Back in Atlanta, Moses returned to playing the clubs, married twice, and fell into depression and drug dependency. He died in 1997 at the age of 56.

Time And Place soon became a much-sought-after item for collectors, and its cult has continued to grow over the years. Here, we re-present it on deluxe vinyl, with brand new liner notes from Sarah Sweeney including interviews with Moses’ sister and his closest collaborator, the singer and guitarist Hermon Hitson. Through them, Moses becomes a little – but just a little – less of an enigma.' -LITA

'Although many Deep Soul groove enthusiasts have been long hipped to the goodness of singer and multi-instrumentalist Lee Moses, the Atlanta native continues to be somewhat overlooked today. This makes the fresh reissue of his sole LP a very welcome occurrence; shorn of an earlier release’s addendum of Moses’ numerous singles, the trim package is fueled by Southern verve, a noteworthy range of influence and crack musicianship throughout, and its reputation as a cult classic is secure. Time and Place is out on vinyl, compact disc, and digital August 26 through the Light in the Attic subsidiary Future Days Recordings.

Had the breaks fallen his way, Lee Moses could’ve easily been a big commercial deal; listening to this LP and the handful of 45s that surrounded it reveal a major talent. By Time and Place’s 1971 release on the Maple imprint his artistic personality was well-acquainted with distinctiveness, and given time for further development he might’ve flourished.

Sure, the gist of the paragraph above lands suspiciously close to the breathless hyperbole employed by record dealers and writers dishing out the promo text for a ceaseless stream of reissues, but rest assured that Moses, who unfortunately passed in 1997 before the upsurge of collector interest in his work took hold, is the real deal.

A fair percentage of retroactive discoveries and repackaged obscurities spotlight musicians who either expanded upon or downright copied the success of their immediate predecessors (but please understand the artists being copied were certainly not above this sort of exchange themselves), and evidence of borrowing is easily found on Time and Place; the difference is in what Moses additionally brought to the turntable.

For starters, in a milieu dominated by singers and backing bands he was a highly adept vocalist-guitarist. According to Sarah Sweeney’s liner notes for this release, Gladys Knight wanted him as the guitarist for the Pips, an offer Moses declined as he desired greater prominence. However, he did turn in a fair amount of session work after hooking up with Atlanta record man Johnny Brantley.

Both Moses and fellow Atlanta-based singer-guitarist Hermon Hitson entered the producer’s sphere, with Hitson introducing Moses and the relentless and frankly suspect mover-and-shaker Brantley (he was involved with the notorious payola DJ Alan “Moondog” Freed) to a pre-stardom Jimi Hendrix. In tandem with Brantley, Moses established the Lee John label and served up his initial version of Joe Simon’s “My Adorable One.”

Alternating between Atlanta and New York, Moses also cut sides for Musicor and its sub-label Dynamo on the way to waxing the Brantley-produced Time and Place for the Maple label, though its title track first appeared on a ’70 single through the small NYC enterprise Front Page; upbeat and spiked with Southern-styled horn charts, it opens the album with Moses in grittily warm voice.

“Time and Place” should easily satisfy fans of Stax and Hi, but the use of hand percussion helps transcend mere imitative status. It’s followed by “Got That Will,” a self-affirmation number which in namechecking a bunch of soul-infused musicians as models for personal success roughly follows the template laid down by Arthur Conley’s smash “Sweet Soul Music.” But Moses has a broader rollcall; mingled with Aretha Franklin, Dionne Warwick, and Hendrix are B.B. King, Sly & the Family Stone, the Allman Brothers, and uh, Blood Sweat & Tears.

The music matches the stylistic breath without going overboard (or sounding anything like Blood Sweat & Tears, thankfully), the main ingredient being a bit of judiciously applied wah pedal. So far, so south of the Mason-Dixon, but “What You Don’t Want Me to Be” adds femme backing vox, a bit of vibes, and a general air of sophistication as Moses belts it out with fervor.

This leads to the first of the disc’s notable covers, “California Dreamin’” arguably the best of the bunch as Moses’ rough but loving treatment of the Mamas & the Papas chestnut gets the edge on Bobby Womack’s 1968 version of the tune and Baby Huey’s ’71 instrumental reading, mainly due to raw intensity as his vocals are preferable to the flute in Huey’s take.

Moses was highly adept at covers, with his ’67 single pairing the Four Tops’ “Reach Out (I’ll Be There) and the Beatles’ “Day Tripper” a highlight of a sadly truncated career (after Brantley’s shadiness became apparent he returned home and never got so close to stardom again). Likewise, Time and Place’s extended excursion into “Hey Joe” dices up substantial mustard; although the song didn’t originate with Hendrix, that’s the version Moses uses as an incessantly rhythmic platform for a bout of impressive guitar wrangling.

Between “California Dreamin’” and “Hey Joe” sits “Every Boy and Girl,” its churchy ardor achieved through sheer emotionalism and the savvy use of organ. It contrasts pretty sharply with the urbane framework of “Free at Last,” its horns and the tempo almost Philly-like; it’s those tough rhythms that provide the LP with consistent focus.

The brightly-hued “Would You Give Up Everything” opens with sweet funky guitar pedal as Moses does an effective job of swinging between new developments and classic moves, closing with a second run-through of “My Adorable One.” As it unwinds, one can easily grasp why Time and Place is so esteemed by heavy-duty Soul fans. Some might quibble over the missing singles, but shouldn’t; they’re not hard to hear and would make a swell vinyl companion to Future Days’ very worthy repress.' -Joseph Neff

'Lee Moses is less of a singer than a howler who happens to howl on pitch most of the time. He sings like a man whose foot is caught in a bear trap and I mean that in the best, most complimentary way possible. While there are many southern soul singers whose voices are able to convey intense longing and passion – Otis Redding, James Carr, and Percy Sledge, among innumerable others – none, in my mind, is able to go quite as deep down as Moses. There are times where the man abandons any pretense of singing conventionally and simply starts yelling until his voice reaches a higher register and cracks under the pressure he is placing upon it. On “What You Don’t Want Me To Be,” Moses screams “Why don’t you love me?” several times over the song’s few minutes with the sense of intensity and desperation rising with each repetition. It shouldn’t work, but it does because no listener could fail to believe the sincerity of his yearning.

The distinctiveness of Moses’ approach to southern soul music can perhaps best be appreciated by noting the two covers that appear on his lone LP, Time & Place. The first is a cover of the Mama and the Papas’ “California Dreamin.'” The original song is a jaunty number highlighted by a flamenco-esque acoustic guitar part and persistent harmony vocals in the background. This song speaks of how bleak life is in the winter, but it’s a happy song, full of hope. The dream of California seems tangible and reachable and the singer sounds as if they won’t have to wait much longer to escape the brown leaves and grey sky. When they sing that they’d be safe and warm if they were in sunny Los Angeles, they sound convinced that this is actually the case. The version by Lee Moses is less about the dream of California and more about the nightmare of his current existence. The grey skies he sings of do not merely describe the weather where he is, but of a darker, more all encompassing hopelessness that is pervasive. When Moses sings about the potential safety and warmth in LA, he sounds as if he is trying to unsuccessfully convince himself that there could actually be a place where he could be happy and content. At the end of one stanza, emits a wordless plea that rises in pitch, but lowers in volume, and it is inexpressibly heartbreaking. It literally stops me from doing whatever else I may be doing every time I hear it. The whole song is a stunning, albeit desolate, performance.

The second cover on Time & Place is of “Hey Joe,” the best known version being by the Jimi Hendrix Experience. Hendrix’s performance is a pretty straight forward blues with the occasional instrumental extrapolation. It’s more about content and form than emotion, something Moses hones in on, but while actually expanding on the instrumentation more than Hendrix, turning in a more subtly impressive guitar showcase while never lapsing into self-indulgence. The whole song is underpinned by a groove, unintentionally presaging the rise of funk, while Moses picks away at his guitar, capturing the drifting nature of the titular Joe. And it is Moses’ guitar playing that is the backbone of this entire album. While his vocals are what are most immediately grabbing, repeated listens lure the listener into the unique soundscape created by Moses and his backing band. Since Moses did not have the luxury of having the Funk Brothers or Booker T. and the MG’s backing him, the sound is more sparse than on many more well known soul records, but that lack of bombast plays to his advantage as it allows his voice to soar throughout, remaining the centerpiece that it should be.

The album’s other tracks are also uniformly excellent. The previously mentioned “What You Don’t Want Me To Be” is bone-chilling, as his performance seems to summon every ounce of sadness and pain that had accumulated up to that point in his life, unleashing all of it upon the listener in a concentrated two minute, fifty-two second burst. As he asks, over and over again, why this woman won’t love him, he knows he won’t receive an answer, but the urgency of receiving an answer to this unanswerable question weighs on him, forcing him to continue asking, singing into the void, with no hope for a response.

The closest things to joy to be found on this album are on the title track and on “Free At Last,” which both are about illicit affairs. The first details his willingness to meet his paramour at any time and place she is available, with a vocal delivery that is enthusiastic. “Free At Last” functions as a sequel of sorts to “Time and Place,” as he and his lover are now free to make their affair public. They can now “shout it out to everyone,” no longer caring who knows or having to hide anymore. This song is less enthusiastic, rather, it is filled more with contentment and a sense of a burden being lifted than anything else.  Neither of these tracks are album standouts in my mind, but both are nice, and necessary, reprieves from the album’s sense of desolation.

While the original nine-track LP is phenomenal, belonging in the pantheon of all time great soul records, the rest of his recordings, included on a relatively recent CD reissue of Time & Place, are worth seeking out as well. His two part single, “Bad Girl,” as well as another single, “If Loving You Is A Crime (I’ll Always Be Guilty)” are definite contenders for the best thing Moses ever recorded. Tragically, the twenty-three tracks collected on the CD reissue of Time & Place are the only recordings of Moses that listeners have as he essentially vanished after all his singles and his LP garnered little critical or commercial attention at the time of their release. He died in Atlanta in 1997, having not recorded anything in over twenty years. However, despite the paucity of recordings by Moses, and the lack of well-deserved attention in his lifetime, there should be no question that he deserves to be mentioned alongside the other titans of soul music. On “Got That Will,” Moses sings of his ambition to succeed in the music industry and “get on top,” namedropping other musicians who have made it such as Jimi Hendrix, Dionne Warwick, and Aretha Franklin, among others. It is an absolute shame that Moses’ name is not mentioned alongside theirs when recounting the great musicians of the late 60s and early 70s. Not even the most minimal soul music collection is complete without this tremendous, sadly forgotten album.' -Micah Wimmer

Time And Place (2007):
1. My Adorable One 2:55
2. Diana (From N.Y.C.) 2:22
3. Reach Out I'll Be There 2:46
4. Day Tripper 2:02
5. Bad Girl (Part 1) 2:27
6. Bad Girl (Part 2) 2:20
7. I'm Sad About It 2:47
8. How Much Longer (Must I Wait?) 2:39
9. If Loving You Is A Crime (I'll Always Be Guilty) 2:36
10. Never In My Life 2:42
11. Time And Place (Single Version) 3:05
12. I Can't Take No Chances 2:48
13. Time And Place (Album Version) 2:58
14. Got That Will 3:01
15. What You Don't Want Me To Be 2:51
16. California Dreaming 4:24
17. Every Boy And Girl 2:42
18. Hey Joe 6:11
19. Free At Last 3:49
20. Would You Give Up Everything 3:23
21. Adorable One 3:48
22. The Dark End Of The Street3:23
23. She's A Bad Girl 2:59

Includes 3 Previously Unreleased Songs + Both Versions Of Southern Soul Classic "Bad Girl"!

After reissuing his much sought-after Time and Place LP, many questions still remained (Lee was a mysterious man!) – but the one asked most was, "where's 'Bad Girl'?!" Not included on his lone LP, "Bad Girl" is an undisputed Southern soul classic – arguably the song Lee Moses' legacy rests on. While we may never know all we wish we knew about the man behind the music, we can finally complete the picture of his work. You know – the tunes! And what tunes they are.

How Much Longer Must I Wait? Singles & Rarities 1965-1972 collects all of Lee Moses' non-album singles and B-sides, plus three never-released tracks together for the first time ever. Most of the material here pre-dates 1971's Time and Place, reflecting his initial bid for stardom via a series of now-legendary 45s recorded with Atlanta producer Johnny Brantley. As for the unreleased recordings – much like the man himself, little is known about them. What remains is an oeuvre that has become synonymous with raw and emotionally charged Southern soul. Essential listening for anyone with a heart.

How Much Longer Must I Wait? Singles & Rarities 1965-1972:
1. My Adorable One 2:57
2. Diana (From N.Y.C.) 2:24
3. Reach Out I’ll Be There 2:55
4. Day Tripper 2:08
5. Bad Girl Pt 1 2:30
6. Bad Girl Pt 2 2:23
7. I’m Sad About It 2:48
8. How Much Longer (Must I Wait?) 2:39
9. You Are Too Much For The Human Heart 2:56
10. If Loving You Is A Crime (I’ll Always Be Guilty) 2:38
11. Never In My Life 2:43
12. I Can’t Take No Chances 2:50
13. Dark End Of The Street 3:25
14. She’s A Bad Girl 3:03
15. Pouring Water On A Drowning Man 3:07
16. What Do You Do 4:18