Wayne Davis - 1973 - A View From Another Place

Wayne Davis 

1973

A View From Another Place

01. Sweet Bird Of Youth 5:32

02. Mixed Up Guy 5:40

03. How's Mama's Baby 7:57

04. I Like The Things About Me That I Once Despised 4:46

05. Somebody's Watching You 4:26

06. I Love You So 6:05

07. Joel 2-28 11:04

Bass – Jerry Jemmott

Drums – Bernard Purdie

Piano, Vocals – Wayne Davis

Vocals - Eugene McDaniels

Vocals - Rpberta Flack

Producer – Roberta Flack

An overlooked gem from early 70s Atlantic Records – a set from singer/pianist Wayne Davis – who was brought to the label by Roberta Flack, who also handled most of the arrangements! Davis is a lot like Flack at this early point in her career – a unique talent with a style that's all his own – somewhere in a space between soul and jazz, but deeply personal, and never content to just try to hang on anyone else's expectations! That individuality is what really makes the record great – and which also, since Davis never got the hit status as Flack, has also made it a bit hard to peg by the larger music market – who've maybe helped keep the set buried a bit over the course of time. Many of the tunes have this sort of gentle flow that's a bit like Robert's first two Atlantic albums – but a few more have some of the quirkier approach to arrangements that you'll find in Eugene McDaniel's work for the label – no surprise, maybe, as McDaniels helps out on one track. Flack also sings and plays a bit of keyboards

A View From Another Place thrives on Davis’s individuality. His voice—soulful yet distinctive—carries a gospel authenticity that grounds even the album’s weirder moments. Flack’s production and arrangements bring a cohesive warmth, balancing Davis’s quirks with accessibility. Tracks like “How’s Mama’s Baby” and “Joel 2:28” showcase a fearless range, from quiet vulnerability to ecstatic experimentation, while the band’s pedigree ensures every note hits hard. Yet the album falters in consistency. “Somebody’s Watching You” feels like a safe detour, and “I Love You So” teeters on overly sentimental. The production, while clean, lacks the punch of contemporaries like Stevie Wonder’s Innervisions (also 1973)—the bass can feel muted, and the mix doesn’t always pop on modern systems. Its eclecticism might’ve also confused 1970s audiences expecting straight soul or jazz, contributing to its commercial flop.

Post-Atlantic, Davis landed at Black Fire Records, releasing his self-titled 1976 album—a funkier, gospel-soul affair reissued by Strut in 2022. But A View From Another Place remains his most personal statement. It’s a cult favorite among soul and jazz aficionados, praised by outlets like Dusty Groove for its “deeply personal” vibe and “quirky” charm. Its scarcity—original vinyl fetches high prices—adds to its allure, though digital availability has broadened its reach.

The album’s influence is subtle but real. You can hear echoes of its introspective soul in later artists like D’Angelo or Maxwell, and its spiritual bent aligns with the Black Fire ethos Davis later embraced. Flack’s involvement ties it to her early-’70s peak, a bridge between her Atlantic work and the broader soul-jazz movement.

Final Verdict

A View From Another Place is a beautiful oddity—a soul album that’s too quirky to be mainstream, too heartfelt to be ignored. Davis’s voice and vision, paired with Flack’s nuanced touch, make it a rewarding listen for those willing to dig beneath the surface. It’s not a perfect record, but its highs—“How’s Mama’s Baby,” “Joel 2:28”—are transcendent, and its lows are still intriguing. For fans of early-’70s soul, jazz crossovers, or Flack’s orbit, it’s a must-hear!