Ever since my earliest days of listening to music more seriously? I developed a strong interest in 70’s Motown. This was a record label with a musical sound so distinctive? An entire sub-genre of pop/soul was named after the label itself-the first time I’ve ever heard of such a thing. One of the most fascinating bridges between the sunny melodies of Motown’s classic sound and the funk/psychedelic soul excursions to come was the burgeoning solo career of former Temptation David Ruffin.
For his part? Ruffin never got the chance to be the lead singer on Temptations’ game changers such as “Cloud Nine”,”Ball of Confusion” or “Psychedelic Shack”. But in the (at the time) long gap between his second solo album and his third? Ruffin had to be noticing the changes in music heavily-because he turned to Philadelphia soul producer Bobby Miller to helm his self titled 1972 comeback album. His new sound was typified wonderfully with the song “Blood Donors Needed (Give What You Can)”.
Opening with a dim wah wah and percussive intro,the rhythm guitar kicks into gear with a high pitched bluesy intonation. The bass also kicks with right in along with it-a higher bass line extremely reminiscent of the one on Aretha’s “Rock Steady” from the same year. The main drum beat of the song has a strident march while,on the ultra bluesy choruses,a melodic organ solo kicks into gear before Ruffin’s distinctive powerful,gravelly pipes are echo plexed. The song ends segues into the sound of an out of tune music box before returning to a melodic trumpet call to end out the song.
Instrumentally this is a wonderfully thick funk/blues/soul jam with a very unusual quality of sound about it. Everything on this song sounds extremely tinny and metallic . The wah wah in particular sounds recorded far away from the microphone. And the general production sounds purposefully sent through a hollow metal tube.With the mixture of modern stylistic signatures high on the funk? The stark,unpolished sound holds up just right with the harrowing lyrics about urban decay,violence and the need for medical assistance in the lower class communities. It’s a bit more overt and earnest than the Tempts more abstract takes on serious topics. But it’s a high water mark (if unsung) for David Ruffin’s 70’s era solo career.