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[3] Rolling Stone declared that "the only great new Al Green song here is 'Power', which builds on 'Jesus Is Waiting' and 'Have You Been Making Out O.K.' but claims its own space in the pantheon." [10] The Globe and Mail called He Is the Light "a gorgeous record: spare, crisp production, and tunes that haunt you." [11]
Al Green: Al Green chronology; Tokyo Live (1981) Higher Plane ... "His Name Is Jesus" (Burke, Burleson) - 5:26 "Battle Hymn of the Republic" - 2:32; Personnel.
Al Green: Al Green chronology; Truth N' Time (1978) The Lord Will Make a Way ... "In the Holy Name of Jesus" (Aaron Purdie) - 3:24 "I Have a Friend Above All Others ...
Before releasing his first album with Hi Records, Green removed the final "e" from his name. Subsequently, he released Green Is Blues (1969), which was a moderate success. His follow-up album, Al Green Gets Next to You (1971), featured the hit R&B cover of the Temptations' "I Can't Get Next to You", recorded in a slow blues-oriented style. [15]
Robert Christgau thought that "the Memphis groove of Al's first two Myrrh albums had somehow turned into rote tent-gospel timekeeping." [ 5 ] The New York Times wrote that "Green works audacious transformations on some of the most beloved gospel standards, turning them into bright, upbeat pop."
I'll Rise Again is a gospel album by Al Green, released in 1983. [3]The album peaked at No. 4 on the Billboard Top Gospel Albums chart. [5] During the 26th Annual Grammy Awards in 1984, Green won the Grammy Award for Best Soul Gospel Performance, Male, being the first recipient of the category.
The reunion between Green and Mitchell was highly anticipated and I Can't Stop was a commercial success, peaking at number 53 on the US Billboard 200 and number 9 on the Top R&B/Hip-Hop Albums charts. It was Green's highest placing on both charts since his 1975 album Al Green Is Love.
Stereo Review wrote that Love Is Reality "would have been a better album if the gospel flavor were stronger, but Green pulls it all off with his customary aplomb." [17] The Chicago Tribune thought that some songs "are nearly indistinguishable from standard urban contemporary fare, with slick arrangements and occasionally ambiguous lyrics that are a far cry from standard hymns."