Swamp Dogg, alter-ego of classic soul singer Jerry Williams, Jr, needs a job... so he can buy more auto-tune!

It's not often that a singer releases something groundbreaking and eccentric out of their prime, let alone in their 70s. Swamp Dogg, however, is an exception to the rule, creating an album that takes soul tropes and revitalizes them with auto-tune. The result is "I Need a Job... So I Can Buy More Auto-Tune," an album that'll make a listener question the boundaries of soul music.

On title track “I Need a Job…,” Williams takes a traditional approach to songwriting insoul, penning tracks that cover common tropes in the genre—sex, adultery, love, and friendship. The eccentricities of Williams’ voice already make the album a unique ride. Williams' vocals on “Cheating in the Daylight” conjure up harrowing psychological imagery that sticks out as particularly special. He writes “You're watching your rearview mirror, checking left and right from both sides."

On the track “She Got That Fire,” Williams expresses an almost religious love for a woman. “You know she can walk on water,” he sings. “Ooh, she got that fire.” He later goes on to call her “an angel on Earth.” The sanctified imagery is dense here, as Williams uses heavily religious themes.

Another highlight on the record is “Darlin’ Darlin’ Darlin’,” a song about Williams shedding his adulterous ways and becoming a committed man to his one and only beau. It has a tongue-in-cheek style to it, further illustrating Williams’ playful approach to songwriting. The autotune is unrelenting in the mix. The song includes whimsical harmonicas, making it sound country-esque.

The autotune is even more intense in the following track, “Full-Time Woman.” Williams goes full-croon here, and evokes either deep pain or deep ecstasy. Either way, the vocals are intense, made only more potent by the digital wobble of the auto tune.

The album sometimes falls flat with its lack of consistency. The autotune gimmick, while sonically interesting, isn’t strong enough to carry the entire record on its back. The real strength is in the instrumental compositions, and when those break down, the songs do as well. Williams’ voice is full of character, but his lyricism on the album isn’t quite enough to leave the strongest impression. Ultimately, the album's biggest weakness is inconsistency.