Nearly forgotten by all but serious soul fans, Back Up Train is Al Green's debut. Released in 1967, when he was still billed as "Al Greene" and before he worked with producer Willie Mitchell, the record is a perfectly serviceable slice of slightly sweet period soul - perhaps a little generic, but never less than pleasant. Much of the record was either written or co-written by the album's producers, Palmer E. James and Curtis Rodgers, who were not just part of Hot Line Records, but in the Creations, Green's previous backing band. Though they're fine as producers, they didn't have strong material as songwriters, never producing something as limber and memorable as Green's lone songwriting credit, "Stop and Check Myself." Musically, this number, along with a few other cuts, suggest the tight, sexy sound of his seminal Hi albums, but they're nowhere near as seductive as those slow grooves, nor are they as effortless…

The soundtrack to the Hughes Brothers' tribute to early-'70s blaxploitation gets the sound of the era right, featuring hits by the O'Jays, the Spinners, Isaac Hayes, Al Green, and Harold Melvin & the Blue Notes, among others. The inclusion of Danny Elfman's instrumental theme interrupts the flow of the album, but for the most part, Dead Presidents is a first-rate collection of prime soul.

Produced by Darren Tate and mixed by Boo Mitchell (Willie Mitchell's son) and Clay Jones, Give Me More Love: The Orchestral Greatest Hits was mixed at Royal Studios in Memphis - where it all began. For this recording, the innovative and award-winning FAME’s Macedonian Symphony Orchestra went into a studio to record orchestral arrangements to some of Al Green’s most cherished hits while retaining the 70s soulful essence and feel of the original recordings.

The first album linking the soul-singing greatness of Al Green with the production brilliance and expertise of Willie Mitchell. The results were mutually beneficial; Green got the great production, arrangements, and backing from the Hi Rhythm section that often turned good songs into classics, and he sang with the conviction and talent that provided the final component in an artistically and commercially satisfying union.

Trust In God (1984). Released in 1984, Trust in God finds Green distracted throughout. Around the same time of this, a brilliant documentary, The Gospel According to Al Green, was being worked on. The film's subtext of Green shunning yet still loving R&B worked its way into the studio, too. This is gospel all right, but often of the perfunctory, barely awake variant. As pure gospel was causing Green's mind to wander, he attempted to solve the problem by covering early-'70s pop songs. Joe South's "Don't It Make You Wanta Go Home" gets a great and involved vocal from Green. The best song, the Jean Terrell-era Supremes "Up the Ladder to the Roof," turns into a prime Al Green song, with its sly drums and all of Green's attention…

Al Green's second record for Blue Note reunites the same cast of characters who made his comeback disc, 2003's I Can't Stop, such a success. Willie Mitchell is behind the boards, the cream of old-school Hi musicians is here, and Green hasn't lost a step vocally. In fact, it sounds like he has gained a step somehow; his crazed screams, hollered interjections, and whoops of joy seem more assured and his falsetto is clear and strong. The songs are here, too, with a good mix of uptempo movers (the rollicking "Build Me Up," the high-energy title track, and "Nobody But You") and sweet, string-laden ballads ("Perfect to Me," "Real Love," and "All the Time"). Green sounds on fire most of the time, really letting loose on "Everything's OK," testifying on "Be My Baby," and ripping it up like a kid everywhere else…

Al Green suffered a slight lull in his gospel career with 1984's Trust in God. As a response, he reunited with producer Willie Mitchell, who admittedly preferred the secular to the gospel. At this point, Green was unwavering in his faith and presents a challenge for He Is the Light. "Going Away" and "True Love" are great updates of the classic 1971-1976 sound with Green's dulcet, anxious vocals above an updated version of the sound that made him famous. The cover of "Be With Me Jesus" has Green in a playful mood despite the dire lyrics, and shows how Mitchell could coax vocals from Green no one else could. To Mitchell's credit, this album not only embraced Green's pop/gospel but also the newer sounds and styles Green had been working on in the '80s…

This is a two-album-on-one-CD release from the U.K.'s branch of Hi Records. Out of the two albums here, Precious Lord is the more staid and religious. Recorded in Nashville and engineered by country producer Billy Sherrill, it's Green's most traditional gospel statement. Standards are abound, with the title track, "How Great Thou Art," "Rock of Ages," and a warm "In the Garden." Although the performances are felt, the country-style production and lack of veering from the script made the effort come off not as moving as one might think. The contemporary original "Morningstar" displayed more of what Green is capable of doing. The blend of Al Green's style and his inherent charm seemed to inform the majority of I'll Rise Again…

The Lord Will Make A Way (1980). This 1980 album was released after Green received a wake-up call by way of tumble off a stage in Cincinnati. No doubt Green planned a straight-laced, devotional work with The Lord Will Make a Way, but his charisma and sex appeal was also part of the package. The title track is powerful, reverent, and sensual, with Green's voice possessing the intensity and tone of his earlier secular tracks. Like many of his best albums, this one has an immediacy that makes it a joy to listen to. Although Green's clear switch in his lyrical manner – changing she/her for love of the Lord, Jesus, and God - should be striking, the transition is seamless. The gospel standard "Pass Me Not" gets the Al Green treatment with his acoustic-guitar strums and strong call-and-response vocals…

After years of refusing to sing anything but gospel, Green decided the time had finally come to fuse the godly and the secular elements of his soul. Love Is Reality made an overt play for the mainstream R&B market. Unfortunately, Christian dance-pop producer Tim Miner works from formulas, while Green runs on inspiration. Green sounded great, but the final result paled in comparison to the rest of his catalog.