The follow-up to 1973's Unsung Heroes was the first of the group's Blue Thumb efforts to be distributed by ABC Records. The label switch also coincided with the inclusion of lyrical guitarist Larry Carlton as a full-fledged member. Although much of Southern Comfort puts a gloss on ideas made definitive on earlier efforts, the complaints are minimal and this remains the most appealing, multi-faceted incarnation of the band. The first track, "Stomp and Buck Dance," is an offhanded and skilled approach to the group's patently earthy style. The insistent "The Well's Gone Dry" has the edginess of some of the better tracks on Unsung Heroes, and has Carlton doing great work on the bridge. Not surprisingly, it is Carlton's presence here that adjusts the band chemistry and makes the best of Southern Comfort even more so. The best track here, the poignant "When There's Love Around," has Carlton's guitar attaining the perfect sense of longing that meshes well with Joe Sample's trademark Fender Rhodes tones. The last tracks here are also in a thoughtful ballad vein: "Lilies of the Nile" has great horn work from Wilton Felder and Wayne Henderson, and the last track, "A Ballad for Joe (Louis)," is a heartfelt rumination on the death of the famed boxer, featuring Sample's inherent sense of melody. A good representation of the Crusaders' tasteful and intelligent playing, Southern Comfort is more than recommended to their fans.
There's a terrific reason why the triple-CD Crusaders retrospective The Golden Years included six of Free as the Wind's eight tracks -- the material. Indeed, side one of the LP version may be the strongest single side of original tunes that the band ever put together. It opens with Joe Sample's driving, tense title cut, and flows flawlessly through Stix Hooper's subtly funky "I Felt the Love," Pops Popswell's infectiously finger-popping "The Way We Was" (a high point in the Crusaders' groove collection), and Larry Carlton's steamy vehicle for Wilton Felder, "Nite Crawler." Even the two tracks that the box set left out -- the galvanic "Feel It," driven by Sample's clavinet and Hooper's tom-toms, and "River Rat" -- are as funky as you can stand it. And from out of the blue, Sample concludes the album with a lovely, wistful tune that may have become a standard, "It Happens Everyday." When the material is this good, everything falls into place from there; the grooves are deeper, the soloing by all five Crusaders is more melodic and probing, and while Sample provides a few brass and string arrangements, this is just harmless decoration, neither a necessity nor a hindrance. This would be the Crusaders' high-water mark in the post-Wayne Henderson years, and it can stand tall with anything they've done.
