AllMusic.com **** Review Sugaray Rayford’s Human Decency

Human Decency Review by Thom Jurek

Soul-blues singer Sugaray Rayford released 2019's Grammy-nominated Somebody Save Meas his debut for Eric Corne's Forty Below Records. His fifth album, it provided an international breakthrough for the singer with its excellent balance of soul, modern blues, and contemporary R&B. The edges got a bit harder on 2022's In Too Deep, saturated in gritty, funky R&B. Human Decency ties the disparate ends together, melding all styles inside Rayford's commanding, resonant instrument. Corne plays various instruments, produces, and wrote the music and all but two lyrics, while the singer co-wrote the other two and also plays various instruments. Furthermore, the pair employ most of the same musicians, including guitarists Rick Holmstrom and Eamon Ryland, drummer Matt Tecu, keyboardists Drake "Munkihaid" Shining and Sasha Smith; newcomer Saundra Williams appears on backing vocals and there's also a horn section.

Opener "Failing Upwards" is a roiling, funky soul-blues, based on the core riff from 10cc's "Wall Street Shuffle." Led by guitar, thudding kick drum, and a growling B-3, Rayford reveals the lyric's intent from the jump. His blues shout indicts the subject for having all the clothes, cash, looks, and connections, but lacking an inner life. Williams' backing vocals underscore the tune with heady gospel overtones. The title track single is a cut-time, deep soul groover, pushed by blaring horns, swirling B-3, and shuffling drums, while guitars and bass bring up the rear with a swirling flute adding a vintage pop touch. Rayford croons and then exhorts listeners to see the true extent of our commonalities as human beings, no matter which side of belief and principle we are on. The song is an inspiring finger-popper, perfect for the club floor. It's answered by the gritty, clavinet-drenched Southern funk of "Stuck Between." As Rayford and guest Sam Morrow trade verses with passion, the horns skitter, bump, and strut atop breakbeat snares and snarling keyboards. "Strawberry Hill," another horn-driven beauty, recalls the swing in Stax/Volt. Rayford's crystalline baritone is uniquely expressive in phrasing, sure, but also in how he reaches all the way inside a note to excavate hidden nuances from its marrow. Check for it on the cut-time soul-gospel sizzler "Run for Cover," with smoking horns and soaring support from Williams. "Dirty Rat" slithers in all steamy; it's a nighttime R&B club jam before changing shape and transforming into a socially conscious mid-tempo soul ballad. "Ain't That a Man" melds the horn-blasted pulse of Sam & Dave with Williams' testifying gospel-response vocal, over Holmstrom's ringing dirty electric slide guitar. Human Decency is Rayford's most consistent outing. His discipline as a singer is unimpeachable, and his willingness to take chances with phrasing and range are exhilarating. These songs, arrangements, and performances are excellent for him. The growth revealed here in Rayford's abilities elevates him from a very fine singer to perhaps becoming a great one.