The Music of James Ingram: Always You

Track List:

1. "Someone Like You"
2. "Let Me Love You This Way"
3. "Always You"
4. "Treat Her Right"
5. "A Baby's Born"
6. "This is the Night"
7. "You Never Know What You Got"
8. "Too Much for this Heart"
9. "Sing for the Children"
10. "Any Kind of Love"

I knew I would eventually get the nerve to review this very formative record. I didn't expect that Mr. Ingram would've passed as abruptly as he did, but thankfully the spirit of his music and the influence he cast over us all remains in our lives.

"Always You" is an album I encountered because my Dad would play it in the car's stereo as he drove us - my twin brother and I - to (primary) school. My introduction to Mr. Ingram's music actually came through my two eldest siblings. I remember my brother playing "Call on Me" a few times in the house from his "It's Real" album (1989 release). I can also recall my sister playing Quincy Jones' "Secret Garden", which also coincidentally came out in 1989. I must admit, when I was a youngster the "Sweet Seduction Suite" didn't mean much to me; however, when I grew up a bit and learned to appreciate grown folks' music, then I finally started to appreciate the massive collaboration that made the Secret Garden such a success.

Anyways, back to circa '93. The only single released off this album was track number 1, "Someone Like You". I recall being surprised to hear it blaring in a big chain supermarket down in Kisii during my internship (2014). I remember thinking to myself that something was right with the world if such a song was getting airplay. The song is classic James in its melody and structure; in it we find him crooning about yearning to possess the object of his affection.

It really is a shame that more of the album isn't more well known because it really is a total package. The songs are mostly ballads (7 out of 10), but then he slipped in 3 songs that are anthemic, odes to specific aspects of humanity ("A Baby's Born", "Sing for the Children", and "Any Kind of Love").

Things slow down a bit on Track 2 - "Let Me Love You This Way"; this fittingly feels like a sequel to "Someone Like You". Here he's a man in love who's trying to figure out how to express his love to his significant other. He dabbles with the idea of promising and achieving impossible or improbable things, but in the end he resolves that the simplistic act of being "by her side always" is what counts the most.

(The series of songs from Track 3 - 6 are what I consider the simply unskippable portion of the album)

"Always You" takes us on a different kind of musical journey - that of heartbreak. He calls back to yesterday, a time filled with shared dreams and nascent love; he contrasts that with the stark reality of today where he clings to the memory of his "love" despite things having come to an end. He still holds out hope that things can work out for the better and that he'd have a chance to reunite with his true love. This is a really melancholic song, and the chimes always makes it feel like he's reminiscing about this during the holiday season. Backed most prominently by an organ, he lays out his heart and longing in perhaps his most emotional song on this album. 


"Treat Her Right" finds him admonishing a 'brother' who is unable to appreciate a wonderful lady in his life. He extols all her virtue in detail, and contrasts it with the little that she needs from her man. Feels like he took it to church with this track.  

"A Baby's Born" is an ode to life. In it, he reflects on time, the changing of the seasons, life drifting forward, getting old and having old friends pass away; at the end of it all, this is contrasted with the gift that yet another baby will be born. This song really only consists of one poignant verse presented against operatic instrumentation. The latter part of the song is a real feast as we have James sound off his falsetto vocalization in turn with the chords of a guitarist's solo. Truly a feast.
*I hadn't known that this was a cover song until just recently. It was originally performed by Johnny Mathis in 1973. The  original instrumentation sounds quite "Bacharach-ian" with a hint of motown (perhaps more Bacharach inspired than Ingram's version). This version puts a new spin on things, but both versions are quite enjoyable.

"This is The Night" has always been my favourite song on the album. I literally didn't know that (the great) Burt Bacharach had a hand in crafting this gem until I checked the album's wiki page, and confirmed it in the liner notes. This ballad describes a man's transition from a forlorn soul to an actualized individual once he finds the love of his life. In my mind I always pictured this as the perfect wedding song (right up there with Patti Labelle's "If Only You Knew", Minnie Ripperton's "Loving You" and Julie Fowlis' "Tha Mo Ghaol Air Aird a' Chuan"). The tape version I initially heard, unfortunately, lacked the keyboard and strings intro, instead starting straight off with the harmonized humming, but I'm glad I got it on the CD version. The intro consists of two identical runs of booming organ notes that initially seem to hint at nothing in particular, then the strings join in to lay out the rhythm that characterizes the start of each verse; then that magical humming comes in and is accompanied by an aggressive electrical guitar riff. Set against a deep pulsing bass line, he proceeds to lay down 5:05 of perfection.   

"You Never Know What You Got" turns the spotlight on the lady (in the relationship) for a change. It reflects on the ups-and-downs of a relationship, with him emphasizing that she stay in the relationship lest she be left all alone sitting by the phone. Despite his already self-appreciated limitations, he promises to do the best he can by her; the flipside is for her to abandon the relationship, and risk not having something to return to.

"Too Much for this Heart". After the heartbreak comes the chance for yet another attempt at love. This song, however, addresses the doubt that someone feels at putting themselves out there again for a chance to find love. The trepidation is on full display here.

"Sing for the Children". Of the two Bacharach contributions, this is the more classic Bacharach outing - the orchestration at the start of the song is evidence of that (the horn arrangement). This ode to children calls for the preservation of their innocence, for their need to feel love. In the second verse, he focuses on the memory of his deceased father, a balancing influence that still gives his life purpose; this is the kind of influence he wants for all children, which would be a saving grace for both their dreams and humanity in general.

"Any Kind of Love" is is an ode to good old fashioned humanity, which plays out like a blast from the past. James and his crew are literally jamming for the whole first minute in a 6:55 song. It's not until we get to the 1:28 mark that he finally starts to lay down some vocals. The song is a heartfelt call for us to share some love for the sake of our fellow men. The breakdown at the end is more jamming magic clocking in at another minute.

I remember picking up my own CD copy of this album at a discount store in Capitola, CA, and it really is one that I treasure. Good wholesome music that's beautifully crafted and has aged very well. I've always been impressed by his signature hallmark - "Ingram howl" - that he belts out so effortlessly, and as always it'll appear on a couple of these songs. If you do have a chance to listen to this album (I believe all songs are available on Youtube), by all means do it. It is wonderful. 


Rest in Peace Mr. Ingram.

God Bless.