Nina Simone - Sings the Blues [24 bit FLAC] vinyl

  • 17.06.2016, 02:54,
  • Music
Nina Simone Sings the Blues, issued in 1967, was her RCA ticket introduction, and was a splendid departure from the tangible she had been recording for Phillips. Indeed, her closing album for that ticket, Exalted Priestess of Spirit, featured the songster, pianist, and songwriter fronting a essential orchestra. Here, Simone is backed by a matched set of guitarists (Eric Peal and Rudy Stevenson), bassist (Bob Bushnell), drummer (Bernard «Pretty» Purdie), organist (Ernie Hayes), and harmonica competitor who doubled on saxophone (Buddy Lucas). Simone handled the piano chores. The carrying out quotation is key here. Because for all intents and purposes this is perhaps the rawest memorandum Simone ever cut. It opens with the steaming, nocturnal, deliberate-fervent eccentric «Do I Hasten You,» which doesn«t beg the doubtful but demands an answerable for: «Do I hasten you?/Are you willin»?/Do I striation you?/Is it thrillin«?/Do I soothe you?/Tell the truly now?/Do I hasten you?/Are you disconnected now?/The answerable for better be yeah...It pleases me....» As the guitarists peccadillo and fall forget around her burly vocal, a harmonica wails in the margin between, and Simone»s piano is the hegemony, studiously and purposely deliberate. The other attune in that seam, «In the Vile,» is equally highly-strung and unnerving; the line sounds as if it«s thus sitting around as she plays and sings. There are a figure up of Simone signature tunes on this set, including «I Want a Little Sugar in My Roll,» «Backlash Blues,» and her eccentric, seal, exhaustive reading of «My Man»s Gone Now« from Porgy and Bess. Other matchless tracks are the ear-splitting, procreative roadhouse blues of »Buck,« written by Simone«s then repress Andy Stroud, and the downy fact blues of »Real Genuine,« with the Hammond B — 3 soaring around her vocal. The attire of Buddy Johnson»s »Since I Cut for You« thus drips with hunger and want. Simone also reprised her earlier carrying out of »House of the Rising Sun« (released on a 1962 Colpix persevere serving dish called At the Village Doorway). It has more hegemony in this mise en scene as a barrelhouse blues; it's dissolutely, sonorous, proud, and wailing with harmonica and B — 3 greatest the foray. The eccentric set closes with the deliberate yet sassy »Blues for Mama,» ending with the same striking swagger the album began with, giving it the want of a Möbius get naked. Nina Simone Sings the Blues is a seal recording that endures; it deserves to be called a prototype.

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