Originally an obscure issue on the artist-owned Strata-East records, this album was planned and produced by Shirley Scott herself with assistance from Maxine Gordon (in the news lately for her biography of former husband Dexter). The original marketing schtick was that Scott had been shoehorned into playing music she did not want to, and being presented to her public in a manner she did not like.

But with the benefit of hindsight it's hard to see how this unexceptional album is anywhere near as good as her stellar discs for Prestige, Impulse and Atlantic. Harold Vick is a competent but dull player here, and Scott goes through the motions, although Billy Higgins' support is as professional as ever. There's some rather clumsy saxophone double tracking on ‘Keep on Movin' On’ which puts Vick in a bit of a straitjacket compared to his freer blowing on the opening ‘What Makes Harold Sing?’ Yet even there he lacks the inner drive, instinctive groove and rhythmic funkiness of Scott's former husband Stanley Turrentine that's on every track the pair recorded in the previous decade, such as ‘Stanley's Time’ from the Hip Soul album. The weakness of One For Me is demonstrated by the closing track ‘Don't Look Back’ which has an ambiguous time feel in the extended introductory section and then sounds tentative in the blowing part. Vick just sounds bored, with nothing original to say, and Scott's changes in organ registration do nothing to spur him on.