| | Night Is Blue CD - Import
Night Is Blue Music | List Price | $11.99 (You save $1.50) | | Category | Rock/Pop Albums, Rock CDs, Blues | | Label | Camden | | Orig Year | 1999 | | CD Universe Part number | 1399964 | | Catalog number | 1105950 | | Discs | 1 | | Release Date | Jan 01, 2008 | | Mono/Stereo | Stereo | | Additional Info | Sweden |
Night Is Blue Review
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Purchase Night Is Blue CD To buy, Click on price to add to cart | Eric Clapton Live From Madison Square Garden CDs (2009)
Night Is Blue album
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$19.59 This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
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$6.09 In an age of wretched excess, listening to DO RIGHT MAN is like receiving a postcard from a long lost friend. A legendary figure from the golden age of soul who first emerged in the late '50s, Dan Penn is best known as a songwriter, having penned such classics as "Cry Like A Baby," "I'm Your Puppet" and "Do Right Woman, Do Right Man." Here, on ten superb arrangements, Dan Penn demonstrates that there's a world of difference between celebrating sensuality and writing something truly sexy, between dropping beats and laying down a collective groove, between screaming histrionics and subtle, soulful expression.
Penn's voice is a gruff malleable instrument, capable of tremendous emotional twists and turns, but it's the depth of his sincerity that stands out on confessional tunes such as "Cry Like A Man," "It Tears Me Up" and "You Left The Water Running." And on his touching rendition of "Do Right Woman, Do Right Man," Penn achieves a dark, poignant intensity of expression that can even hold its own--thank you very much--with the classic Aretha Franklin ...
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Night Is Blue album
$10.79 Lou Ann Barton didn't have the best of luck in her early career. Incongruously signed to a major label for 1982's Old Enough, she delivered a fine debut that was utterly out of step with the times. Shunted to a tiny indie in her adopted hometown of Austin, she recorded 1986's oddly poppy Forbidden Tones, an album of John Hiatt and Beatles covers that recalled Marti Jones' albums from the same period; it was a fine record, but it was a complete stylistic aberration. Barton returned to her blues-rock roots for 1989's Read My Lips. Cutting out the synthesizers and pop gloss of Forbidden Tones for a more traditional sound and recording with longtime friends like the Fabulous Thunderbirds' Kim Wilson and Jimmie Vaughan, Barton delivers her strongest set of tunes. As always, the song selection is heavy on the covers, including a new, heart-wrenching version of Irma Thomas' "It's Raining" that beats the pants off the too-slick version she recorded on Old Enough. Barton also ...
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| | Esther Phillips Home Is Where The Hatred Is: The Kudu Years 1971-1977 CD (2004)
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$17.75 The Rhino double-CD The Best of Esther Phillips (1962-1970) covered the period that most would agree was the singer's most artistically successful. As an 18-song disc that covers the period immediately following what was documented on the Rhino collection, Home Is Where the Hatred Is: The Kudu Years 1971-1977 is a valuable supplement for those who want more. However, as was the case with another idiosyncratic soul-pop singer who moved to CTI in the 1970s (Nina Simone), Phillips' '70s output was decidedly inferior to her '60s work, even if her vocal skills remained intact. It's respectable enough 1970s soul, with a slicker and funkier feel than her earlier sides, in keeping with the trends sweeping the world of R&B during the decade, getting into disco on her 1975 hit "What a Diff'rence a Day Makes." But while several major writers are covered on the songs selected for this anthology -- Marvin Gaye, Allen Toussaint, Bill Withers, Joe Cocker, Jackie DeShannon, Gil Scott-Heron, and Gene McDaniels -- not many of the selections are above average, leaving the most distinctive thing about them Phillips' odd if appealing pinched, slinky vocal tone. Songs really are necessary to raise singers who rely on cover material to a higher level, and the shortage of ace numbers is what separates Phillips' '70s records from those of someone like, say, Gladys Knight. The record's only disappointing, however, in that it doesn't show Phillips at the point where she was getting the most out of her abilities in the studio. It's mildly likable period '70s soul for the most part, if dull in places. ~ Richie Unterberger
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