11 Songs, 40 Minutes

EDITORS’ NOTES

Charles Bradley was an unlikely character: A throwback so spot-on he often seemed realer than the original article. Led by an unlikely—but perfectly fitting—cover of Black Sabbath’s “Changes” and the gutbucket anguish of “Ain’t Gonna Give It Up,” Bradley’s third album is a sweaty, trenchant distillation of Stax-style showmanship that found the singer partnering with the same Daptone Records braintrust that turned artists like Sharon Jones into cottage industries.

EDITORS’ NOTES

Charles Bradley was an unlikely character: A throwback so spot-on he often seemed realer than the original article. Led by an unlikely—but perfectly fitting—cover of Black Sabbath’s “Changes” and the gutbucket anguish of “Ain’t Gonna Give It Up,” Bradley’s third album is a sweaty, trenchant distillation of Stax-style showmanship that found the singer partnering with the same Daptone Records braintrust that turned artists like Sharon Jones into cottage industries.

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