 Artist: Lawrence Shaul
Artist: Lawrence ShaulAlbum: Profiles of Love
Company: Lanark
Catalog: AW 14053
Released: 1977
Genre: pop
Grade: *** 3 stars
Condition: VG+ cover / VG+ LP
Comments: --
Quantity available: 1
Price: $60,00
So here's a tax 
    scam LP where you can actually document a bit of the associated 
    history.  Namesake Lawrence Shaul apparently started out in the late- 
    '50s playing rockabilly with a series of Alabama-based bands including 
    Laurence Shaul and the Aristocats.  After the Aristocats won a local 
    talent contest, the 13 year old Shaul made his recording debut with a 
    one-shot single for the small Birmingham-based Reed label:
  
- 
    1960's 'Hey:Little Mama' b/w 'Tutti Frutti' (Reed catalog RR-1049)
 
By 
    the mid-1960s Shaul was a member of the Birmingham, Alabama-based soul 
    outfit Hugh Rogers and The Mad Men.  In 1966 he was asked to join the 
    Birmingham-based K'Otics.  The job last two years.  In 1968 he 
    replaced Joe Wilson in The Classics IV, touring and recording with the band 
    through 1970..  At that point he and several other band members left to 
    join Mylon LeFevrve's touring band, that was followed by years of club work 
    and supporting tour packages.
 
This 
    is just speculation on my part, but 1977's "Profiles 
    of Love" sounded like it was pulled from a mid-1970s 
    demo collection Shaul and company might have recorded in an attempt to 
    interest local club owners and events planners in hiring them.  
    Produced by band drummer Glen Wood, the album featured ten cover tunes and 
    was quite diverse with the band touching on country, pop, rock, and 
    soul.  Kicked along by Shaul's country-tinged voice, nothing here 
    strayed too far from the original arrangements, though the band's overall 
    comfort zone seemed to be more country-oriented than anything.  That 
    was unfortunate since Shaul seemed to have a natural affinity for R&B 
    and soul - witness the three album highlights were their covers of Ike 
    Turner's 'If You Love Me Like You Say', 
    Darrell Bank's 'Open the Door To Your 
    Heart', and Allen Toussaint's 'Get Out of 
    My Life Woman'.  Those three songs simply shredded everything else on 
    the album, leaving you to wonder why they didn't play to their stengths.
  
    
"Profiles 
    In Love" track listing:
(side 1)
(side 1)
1.) I'll Have 
    To Say I Love You In a Song  (Jim Croce) - 3:10 
    
Complete with some cheesy synthesizer 
    washes, their cover of Jim Croce's ' I'll 
    Have To Say I Love You In a Song' subjected the song to a mild country 
    treatment.   Very wedding singer-ish performance.   rating: 
    ** stars
2.) Always  
    Something There To Remind Me   (Burt Bacharach - Hal David) - 3:20
Their standard Bacharach-David cover was actually a mild surprise.  
    Speeded up a tad, 'Always  Something 
    There To Remind Me' actually showed more enjoy than you would have 
    expected.  Part of the song's appeal came from the synthesizers, but 
    even better was Shaul's vocal, especially the end-of-song vamp.  Not 
    meant as a criticism, there was something cool in his 
    I've-got-a-fish-bone-stuck-in-my throat performance.   Yeah, 
    you'll just to have to check the tune out.   rating: 
    **** stars
3.) 
    If You Love Me Like You Say   (Ike Turner) - 2:21
Giving credit where due, the band's kenetic cover of Ike Turner's 'If 
    You Love Me Like You Say' was good.  No crap ...  really 
    good.  Anyone under the impression 
    these guys were lounge act hacks, needed to check this one out.   
    Wonder who played the nice harmonica solo.  Great tune with Shaul 
    simply killing this one.   rating: **** 
    stars
4.) 
    Share Your Love with Me   (Melene Braggs) - 3;31
'Share Your Love with Me' found the band 
    returning to forgettable country.  rating: 
    ** stars
5.) 
    Stormy   (Buddy Buie - J.R. Cobb) - 3:27
Having been a member of The Classics IV, I guess it shouldn't have come as a 
    surprise that Shaul's repertoire would include a cover of the band's 'Stormy'.   
    His rendition didn't sound all that different than The Classics IV 
    version.   rating: *** stars 
    
  
    
(side 
    2)
1.) Together (Owens) - 3:48
1.) Together (Owens) - 3:48
Another surprise, 'Together Again' was a country tune, but Shaul gave the 
    tune a deep, bluesy vibe that was quite impressive.  
    rating: *** stars
2.) 
    Open the Door To Your Heart   (Darrell Banks) - 3:20
The album's other highlight, their cover of Darrell Banks 'Open 
    the Door To Your Heart' was wonderful.  Showcasing Shaul's voice at its 
    best, the song displayed the kind of energy and enthusiasm missing on most 
    of these tunes.   You can only wonder what an album of blues and 
    soul covers could have done.  Geez, I would have paid to see them do 
    this one in a club.   rating: **** stars
3.) 
    We Don't Make Love Anymore   (Kenny Rogers - M. Gordon) - 3:31
Buried in an MOR arrangement, 'We Don't 
    Make Love Anymore' found the band back in lounge act mode.   rating: 
    ** stars
4.) 
    Get Out of My Life Woman  (Allen Toussaint) - 2:33
Every time I hear their blazing cover of Allen Toussaint's 'Get 
    Out of My Life Woman' I'm left scatching 
    my head trying to figure out how this can be the same band that recorded the 
    lame 'Share Your Love with Me'.  The whole band, including bass player 
    Tim Pierce and guitarist Glen Wood sounded inspired on this one.   
    rating: **** stars
5.) 
    The Hungry Years   (Neil Sedaka - Howard Greenfield) - 3:42
Having spent years trying to make it on the local club circuit, I'm guessing 
    Shaul identify with Neil Sedaka's comeback song 'The Hungry 
    Years'.   Nice that the song had a personal connection for him, 
    but the performance was pretty lame.   rating: 
    ** stars
 
Again, 
    you were left wondering what these guys could have done with a bit of time, 
    money, and direction 
    
 
Shaul 
    seemingly quit music in the early 1980s, starting a family; driving a truck 
    for awhile, then taking over the family business and limiting his musical 
    performances to occasional appearances at his local cowboy church.
 

 
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