| | Abbey Lincoln You Gotta Pay The Band CD Abbey Lincoln Discography of CDs
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This 1991 release followed Abbey Lincoln's THE WORLD IS FALLING DOWN and is a marvelous set of music that marked the beginning of a deserved upswing in Lincoln's popularity. This set features Stan Getz, who provides a wonderful foil for Lincoln's voice. Sadly, Getz died a few months after these sessions, the only collaboration between the two. Lincoln's own songs represent the majority of material on the album; standouts include "Bird Alone" and "When I'm Called Home." A deep sense of spirituality empowers much of this work, one the arises from the way in which Lincoln melds the emotional bearing of blues with the more cerebral forays of jazz. She's backed by a superlative trio of Hank Jones on piano, Charlie Haden on bass, and Mark Johnson on drums. This is an essential title for anyone interested in either Abbey Lincoln or Stan Getz.
Personnel includes: Abbey Lincoln (vocals); Stan Getz (tenor saxophone); Maxine Roach (viola); Hank Jones (piano); Charlie Haden (bass); Mark Johnson (drums).
Down Beat (12/91) - 5 Stars - Excellent - "..the triumph of great art... Lincoln's voice has a thousand shades...[Getz] cools us with the truth that the best jazz is instinctive.."
Musician (2/92, p.94) - "one of the more perfect jazz recordings of 1991."
New York Times (Publisher) (1/1/92) - "..Ms. Lincoln has emerged late in her career as an interpreter approaching the power of Billie Holiday.." You Gotta Pay The Band Music Abbey Lincoln You Gotta Pay The Band Songs You Gotta Pay The Band Review
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One track "Ode To Tipper Gore" has been deleted from this edited version.
Warrant became the stars they so desperately wanted to be with their 1989 debut, Dirty Rotten Filthy Stinking Rich. Perhaps not the biggest stars, since Guns n' Roses still ruled the roost in 1989, but Warrant nearly reached number one with "Heaven" and went platinum, which gave them the spoils of a rock star, from groupies and model girlfriends to being given the freedom to try anything they wanted on their second record. So, working once again with producer Beau Hill -- who helped define the L.A. hair metal sound with his work with Ratt -- the group opted for a bigger, bolder, more diverse production for 1990's Cherry Pie. At times, it even seems like they're trying to get a little more serious, not in hopes of gaining critical respect -- face it, there's no way the critics were going to flip for Warrant, no matter what they did -- but to prove that there's a little bit more to them than the success-n-sex-obsessed party boys of their debut. Not too much more, though -- after all this is a record that explicitly explains the euphemism of its title track through its album cover. Nevertheless, there is a concentrated effort to stretch a little bit, whether it's covering Blackfoot's bluesy "Train, Train" or the attempt at spooky storytelling on "Uncle Tom's Cabin" or even the elaborate arrangement on "I Saw Red," this album's attempt at a big power ballad hit. Throughout the album there are hints that the band is trying do more musically -- more room given to guitar solos, along with flashing acoustic picking, bassist Jerry Dixon pops his strings to get himself noticed, there are more keyboards, ...
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