Like its earlier sister compilation of sorts (
For Dancers Only),
For Dancers Also is a grab bag of
soul tracks -- 16 in all -- originally issued on the
Kent/
Modern family of labels in the mid- to late '60s. (And, as with
For Dancers Only, no bonus tracks or additional historical liner notes were added when it was reissued on CD about 25 years after its original appearance in the early '80s.)
Kent/
Modern soul releases, with some exceptions, weren't too commercially successful when first issued, and the label didn't cultivate one of the stronger company identities or rosters among '60s
soul labels. Why, then, this devoted base of collectors, particularly in Britain, where the modern-day
Kent imprint (administered by
Ace Records) is based? In part it's because even the generic
Kent/
Modern soul sides were well suited for midtempo dancing, which is a big deal among the
Northern soul aficionados in the U.K. who collect this stuff. To be honest, though, much of
Kent/
Modern's
soul output was on the generic side, though at least
For Dancers Also isn't as heavy on the
Motown imitations/derivatives as
For Dancers Only. These tracks are pleasantly upbeat period
soul, though none of the songs are outstanding, and some are mediocre. In its favor, it has some cuts that have a bluesier edge than most '60s
soul, particularly
Lowell Fulsom's
"Talkin' Woman," the Johnny Otis Show's sly
"Country Girl," and
Jackie Day's convincingly pained
"What Kind of Man Are You?" The strain to emulate
Motown is in full force, however, on
Mary Love's
"Lay This Burden Down," which could almost pass for a
Martha & the Vandellas stormer with a different singer. If you want some heavily
Impressions-influenced stuff, there's
Z.Z. Hill's
"You Just Cheat and Lie" and
Danny Monday's
"Good Taste of Love." And was
Booker T. Averhart & the Mustangs'
"Take Your Shoes Off, Pt. 1" instrumental a deliberately tongue-in-cheek takeoff on
Booker T. & the MG's? ~ Richie Unterberger