Fingerprints Music

Al Green - Everything's OK


Format: CD
Label: Blue Note
Catalog: 74584
Rel. Date: 03/15/2005
UPC: 724387458420

Everything's OK
Artist: Al Green
Format: CD
New: In Stock and available for pick up Used: In Stock and available for pick up

Formats and Editions


''Everything's OK'' is a 2005 album by American R&B singer Al Green (credited on the cover art and track credits of this album as "The Reverend Al Green"), produced by Willie Mitchell and Green, and released on the Blue Note label. The album peaked at #19 on the R&B chart and #50 on the pop chart, Green's first album to place in the pop top 50 since 1975. - Wikipedia

Now that Al Green's gotten his "comeback" out of the way, he can really get down to business. The comeback was 2003's I Can't Stop, his first secular album since 1976 with producer Willie Mitchell, whose work with Green propelled the singer to stardom in the early '70s. Mitchell hadn't worked with Green since the 1986 gospel album, He Is the Light, and while Stop had plenty going for it, it often felt like an enjoyable, if slight, recapitulation of earlier glories; its groove lightly updated the lithe bump that propelled Green's success during his heyday, and its arrangements did something similar.From the title on down, Everything's OK seems even slighter on the surface, but that's why it works. It's looser and more offhanded, as if Green and Mitchell, having re-established their groove, can explore it further. It's also rougher. Green's top range isn't what it used to be.But though the greatest falsetto in soul history is finally showing some serious cracks, that doesn't mean he can't bowl you over with it--especially on the disc's killer, a slow, simple, brilliant cover of Joe Cocker's "You Are So Beautiful," a song so tailor-made for Green that you can't help but wonder why it took so long for him (or Mitchell) (or whoever) to think of it.If I Can't Stop hearkens back to earlier glories, Everything's OK is more like Mitchell and Green picking up where they left off whenthey were flirting with disco on albums like Full of Fire. The more forcefully dancey rhythms and busier arrangements (particularly the strings, less romantically airy than Mitchell's usual and more louche-and-lusty) give Green more to glide alongside and tense against. They push, he pushes back, and both are invigorated in the process.
back to top