Back in 1986, there was something fresh and exciting about Millie Scott, a Georgia-born singer who broke into the lower reaches of the UK singles charts with the addictive dance floor grooves ‘Prisoner Of Love’ and ‘Automatic.’ Scott was originally a gospel-reared singer from Savannah, Georgia, who had served her musical apprenticeship in the ranks of local devotional groups The Pilgrim Gospel Singers and The Sermonettes. In the ’70s, Scott was a co-founder of Quiet Elegance, a classy female group signed to Memphis’ Hi Records, but by the middle of the following decade, she had relocated to Detroit, where she teamed up with the hot Motor Town production duo, Bruce Nazarian and Duane Bradley. Signing to Island Records’ trendy Fourth & Broadway imprint in 1986, Scott debuted with an album that had a markedly different sound from other soul albums of the era – sure, Nazarian and Bradley weren’t averse to using the ubiquitous electronic gadgetry that dominated the era (synthesisers, sequencers and drum machines) but somehow they managed to inject an attractive sense of soul and warmth into the grooves. That combined with decent material (some co-penned by Ronn ‘Love City’ Matlock) and Scott’s warm vocal tones resulted in a record to savour. Twenty one years down the line, most of ‘Love Me Right’ has not succumbed to the ravages of time – the album’s killer cut, the seductive, mid-tempo groove ballad, ‘Ev’ry Little Bit’ (featuring a blinding sax solo from the then relatively unknown Dave McMurray) sounds just as good as it did back in 1987 when it made #63 in the UK charts. But ‘Love Me Right’ was never a one-track album. ‘Automatic,’ with its hypnotic groove, catchy chorus and lush instrumentation, is another goodie, and could still probably pack a dance floor. Other gems include the slinky ‘Let’s Talk It Over,’ a duet with David Ball, and a gorgeous ballad, ‘Don’t Take Your Love,’ featuring Earl Klugh’s guitar and production input from Chapter 8 main man and Anita Baker producer, Michael J. Powell. The only track that has dated badly is ‘Can’t Stand The Heat,’ which was perceived as the set’s weakest cut back in the day. Remastered and sounding better than ever, this first-time reissue includes a trio of bonus cuts: original extended mixes of the album’s three 45s. It all adds up to a great package that should set the pulses racing of some ’80s soul collectors. For more info go to www.vinyl-masterpiece.com
