4 comments about Shave 'Em Dry: The Best of Lucille Bogan.

1. Ever since I heard a scratchy, tinny "pirate" edition of Lucille Bogan's legendary "Shave 'em Dry" I knew I had to get a digitally remastered version. This is not smut for smut's sake, but the sincerely expressed
   celebration of sexuality. This is what elevates Lucille Bogan's spice above the smirking raunch of "dirty records". Her delivery is not only eloquently musical, but exuberantly refreshing. A few of the songs were completely new to me, which was a pleasant surprise. In my opinion she ranks right up there with Ma Rainey, Bessie Smith, et. al. Bogan doesn't try to titillate her audience with "dirty verses". She celebrates lust as she knew it with all its rough edges including prostitution, lesbianism, and men that coulnd't satisfy. Highly recommended for lovers of the down and dirty blues.



2. 
   She deserves better. Ms. Bogan doesn't seem to be as well known or respected as the likes of Bessie smith, "Ma" Rainey, or Ida Cox, but she is every bit as authentic a classic blues singer as any of them. I take it her musicianship was eclipsed by the bawdy themes her music explored, most notably rather explicit songs about prostitution ("barbecue Bess," "Stew Meat Blues," "Groceries on the Shelf"). She also sings- fairly explicitly even by today's standards- about adultery, lesbianism, alcoholism, coke-snorting ("Baking-Powder Blues)," and abusive men.
   
   Check out "B.D. Woman's Blues," you can figure out what B.D. refers to, which rather openly celebrates emotional freedom and sexual liberation:
   
   "Comin' a time, B.D. woman ain't goin' to need no men
   `Cause the way they treat us is a low down and dirty sin."
   
   We also get three different versions of "Shave `Em Dry," which is referred to as one of the most coarse blues songs every recorded, along with the braggadocios "Till the Cows Come Home." Of course the Blues are famous for songs that seemed to get away with sexual metaphors and oblique references that would be unacceptable in any other popular form. But even by blues standards, Ms. Bogan's music had a straightforward audacity that was a notch above the more pervasive veiled references of the time. But I'm not recommending this music purely for glimpses into the tough, libidinal world of the Birmingham black underworld of the Jim Crow era, although it certainly succeeds in that regard. There is also plenty of vulnerability and tenderness on display here as well, and plenty of good music. Good blues. From Lucille Bogan and from her accompanists.
   
   But do not miss out on these gems, classic 1920's blues, with a rowdy tone, beautiful phrasing with a truculent delivery, and all without sacrificing the down home style. [excuse me, I just checked the liner notes, seems these songs were all recorded in the 30's, but I'll stubbornly stand by the characterization of this as solid 20's blues]
   
   I know a lot of discriminatory music fans, guys who find themselves talking more about their speakers and equipment then the music, who avoid these older recordings, with their pops and crackles. It's their loss. You are supposed to listen to the music in between and underneath the snaps and pops. I'm sure there is some sort of unique pleasure that comes from obsessing about the technology, but you sure miss out on a lot of wonderful music if that's what you focus on.
   
   Buy this CD. Thank you for listening.



3. Of the 1920's to 1930's female blues singers, Lucille Bogan was one of the earthiest. Shave'em Dry takes the last set of recordings she did on Banner and ARC records, from 1933 to 1935, on ARC records. Accompanying her was pianist Walter Roland, also on that label. Her songs were groundbreaking in terms of explicitness, the use of double entendres, innuendos, and metaphors, and also of a woman in a man's world. She went under her Bessie Anderson persona, Bessie derived from her legendary contemporary, Bessie Smith.
   
   One of her better known songs is the somber "Drinking Blues" "The blues have got me drinking, trouble's got me thinking, and it's gonna carry me to my grave," she sings in the first verse, on the oft-told story of trying drink one's worries away.
   
   Her use of food as a metaphor for prostitution and the "dirty deed" is abundant here. On "Barbecue Bess," she invites men to her place to sample her goods, if one knows what I mean: "I'm selling it cheap cause I got good stuff and if you try one time you can't get enough" and "If you want my meat, you can come to my house at twelve." But "55 cents and you can get some twice?" Now that IS cheap! Another is "Groceries On The Shelf" where Piggly Wiggly, the name of a grocery chain down South, is analogically a whorehouse. "Stew Meat Blues" revolves around a man who's going up the river, and wants to be credited for some of her stew. Well, stew means, yes, just that.
   
   "Hungry Man's Shuffle" is a skit by the Jolly Jivers, which is Bogan, Roland, and singer Sonny Scott, who portrays a man who dances to keep from starving. Roland's uptempo piano and the shuffling sounds of Scott's dancing gives this is a cheery atmosphere, as well as Bogan's generosity in offering Scott some chili. The same trio return for "Watcha Gonna Do," on the problems ones face on the aftermaths of mistreating one's mate.
   
   "Boogan Ways Blues" is another "mean mistreater" type song, while "Reckless Woman" is on a love gone cold, with a man whom she lets run around. The cruelty and harshness of the world has turned the protagonist in "Pig Iron Sally" into someone who doesn't even trust a squirrel.
   
   "Shave'em Dry" refers to shaving one's skin without soap so that it itches, making it a sort of payback for being wronged. However, it takes on a more explicit meaning in the X-rated version of that song, which is the one briefly played in Martin Scorcese's Blues series, the Warming By The Devil's Fire movie. These recordings were unheard until the days of the LP. Anatomical descriptions, "grind me until I cry," and references to arousing a dead man, are present, and she really gets into strong language until she cracks up laughing before regaining her composure. Ditto for "I'm Gonna Shave You Dry" sung by Roland, with speaking accompaniment by Bogan. And "Till The Cows Come Home" refers to how long one wants to be satisfied. However, she does some gender-swapping in terms of her anatomy. And this sixty years before P.J. Harvey sang "Bend over Casanova" in "50 Ft Queenie"!
   
   A copy of an account entry for her services lists the songs she performed, the date and amount paid, and it's criminal how little she was paid for her hard work. Add to this, like many other blues singers those days, royalties was not included in their contract.
   
   As many other people, I'd never heard of Bogan until the Scorcese series, and hopefully she'll get some sort of recognition, given a strong vocal delivery that put her alongside Bessie Smith. Oh, and thanks to my Amazon Friend Eric Andrews for getting this for my birthday.



4. Lucille Bogan! She is a national hero! Give Bessie and Billie a rest and spend some time with this unregenerate reprobate. I kind of love her earlier records a bit more (see my review of the Yazoo compilation) but these are great too. And you can't live without Shave 'Em Dry. All three versions lovingly reissued on a major label! Is this a great world or what?

5 comments about Bessie Smith: The Complete Recordings, Vol. 1.

1. BESSIE SMITH WAS, AND ALWAYS WILL BE, THE QUEEN OF THE BLUES. THESE ARE HER EARLIEST RECORDINGS, THE FIRST TWO CD'S IN A SET OF FIVE TWO CD SETS. THESE RECORDINGS WERE MADE IN 1923-24, AND EVEN THO' THEY ARE RAW, AND DON'T HAVE GREAT BACKUP, THE POWER OF HER VOICE CAN'T BE DENIED.



2. This is the first recording of Bessie Smith that I've owned and I'm not at all disappointed. On the contrary I'm so moved by her deep rhythms and the commanding presence of her voice. This collection is more mellow than I originally thought but, I think that is the beauty of the blues that Bessie sings. She truly is one unique woman. I play these cd's almost every evening and they really help me unwind. I would recommend this music, this remarkable woman.



3. The blues is not just a musical genre,some of the artists who have made this particular kind of music are without a doubt some of the most gifted performers of all time.Bessie Smith is such an individual and she was not without peer but certainly she was one of the best voices this genre(or any genre really)had to offer.These sides sound great and the transfers are of the highest quality allowing the listener to hear the emotion she sang with.
   This first set is the cream of the recordings she made...just voice and piano.I still think that when you want to showcase the peformer that this is how you do it....no tricks.Her phrasing and delivery are what sets her apart from the rest.If you have this already,then buy it for somebody you know that loves the blues.If you don`t own it,take a chance and you to will be amazed by this singular talent - Bessie Smith is where all roads lead to.



4. Listening to this CD set is like sitting in one of those smoke filled blues bars on in an old, old movie. I first heard Bessie Smith on a small town blues radio program - you know, one of those stations that gave an hour or two to different kinds of music, so the jockeys for the particular genre really know their stuff. Her voice really stood out from all the rest. It is smooth like Ella Fitzgerald but sorrowful and knowing. I am an Ella fan too, but Bessie has more IN her voice. I would love to have heard her sing some gospel because you can hear the pure power in her voice without her every really using it. It is like a deep river running slowly.

   The sound quality of the recording is ... well, have you ever listened to vinyl? It is like that, sort of. You can tell it is old. For me, though, that just adds to its charm. The accompanyment(sp?) is piano - no blaring horns or anything like that. This is slow, classic blues.




5. In my opinion Bessie Smith was not only one of the first, but the
   best. Bessie Smith blazed the trail which was followed by all of
   the great female blues singers.

   This complete set illustrates that ALL of her recordings became
   part of the foundation upon which the genre was built.

   I only have one regret. I bought the set on cassettes before I
   had a CD player! A problem that I plan to resolve in the very
   near future.

3 comments about Am I Blue?.

1. Ethel Waters was the first true jazz singer, and arguably the most influential vocalist in the history of popular American music. Her only real rival for this latter title is Louis Armstrong, and it can be argued that while Armstrong was the greater musician, Waters melding of black and white singing styles was actually the more influential contribution to American jazz and popular singing. The advent of CD's has brought a very welcome re-release of some hitherto very hard to find Waters material. There are now several compilation CD's of Waters classic jazz/blues/popular music cuts available. Of these, "Am I Blue?" may be the best single compilation of the Waters oeuvre. The only real rival is the "Ethel Waters: 1925-1940" disc, and this disc presents a greater or at least more representative variety than that disc, though both are worth owning. The sides on this disc were recorded between 1925 and 1939. I am not sure how they were chosen, but they represent a nice cross-section of Waters up-tempo numbers and ballads, her hits and more obscure songs and her work with a number of different bands, including those of the Dorsey Brothers, Benny Goodman and Duke Ellington, as well as a couple of choice cuts with her long-time pianist Pearl Wright. The sound quality is good, and the hits are certainly present in abundance. Those unfamiliar with Waters' singing career may be surprised to learn that she introduced (and recorded what are still the finest versions of) "Dinah", "Sweet Georgia Brown", "Am I Blue?", "Stormy Weather", "Miss Otis Regrets", "Moonglow", "Don't Blame Me", "A Hundred Years From Today" and "Heatwave". Although all of these are marvelous, the incredible sophistication of "Miss Otis Regrets" (Waters must be the only singer who can capture the Cole Porter wit of this song and still make it sound affecting), the incredible emotion (compressed and never overstated) in "Stormy Weather" and the inventive little touches she adds to "swing" "Heatwave" are the highlights of these classics. There are also the delightful surprises - Waters' inimitable characterization of men talking about "True Blue Lou", her playful "You Can't Stop Me From Loving You", the moving "Trav'lin All Alone", the take command, bawdy "Long, Lean, Lanky Mama", the comedy of "Birmingham Bertha", and the touching confidence of "At the End of the Road". In all of the songs on this CD, it pays to listen carefully and hear how Waters plays with both the melody and rhythm of the song to sing a song "her way". When she started doing this in 1917, and on her first recordings in 1921, she was the only singer doing so, and in doing so, she changed the course of popular music in America. There are shortcomings to any single disc, of course. Among the many standards Waters introduced that are not included on this CD: "St. Louis Blues", "Taking A Chance On Love", "Happiness is a Thing Called Joe", "Cabin in the Sky", "There'll Be Some Changes Made", "Memories of You", "Sugar", "Hottentot Potentate", "Harlem on My Mind", and "Supper Time". Also missing are certain classic renditions of songs she didn't introduce, in particular her killer version of "I Got Rhythm" from 1934, a virtuoso example of early jazz singing, and some of her great blues sides, like "West End Blues". And like most compilation discs, this disc ignores all of her recordings done after 1940. There are still no CD's of her classic live performances in the 1950's (captured on the Monmouth-Evergreen album, "Miss Ethel Waters"), of her 40's, 50's and 60's recordings for small labels, of her television performances from the 50's, or of her three recordings of spirituals and hymns for Word records in the 50's, 60's and 70's. By the 50's, age had taken a great toll on her voice, but she nonetheless managed to find the heart of any song she sang and still make it very much hers. What is needed more than anything is a comprehensive box set (at least 4 CD's) that spans her entire glorious career. Until we get such a set, there are at least single disc compilations such as this one to serve as an introduction and the Classics series, which covers all her sides from 1921-1940, for which to be grateful.



2. Everyone should experience the voice and style that belonged to Ethel Waters. Most people remember her in movies but not everyone realizes she was a successful songstress before that. To hear her sing Dinah or Sweet Georgia Brown will send shivers of pleasure through your body. Her sense of timing and her style of blues were unique. Listen and enjoy to one of the great treasures that was Ethel Waters.



3. This song has a great beat you just want to dance to. I would love to sing with this song if I could just figure out what she was singing. So instead, I just get down and party hardy! I strongly suggest playing this song at a dance or group party at high volume and a strobe light or other party style fixtures.

5 comments about Glamoured.

1. Applies her now distinctive fusion-Delta steel, jazz, deep funkiness, and the voice-to a wide range of songs, making them all her own. Many reveal the originals only with close attention. Most coherent collection of her settings that I can recall-all as quiet but insistent and vital as the sound of your blood passing in your veins. The jazz-funk-country blues captures the calm of night in a swamp, but also the vague foreboding of a primordial presence there. Lyrics of tr 1 by Sting capture the mood of the cd as a whole: "Like rain from the stars, how fragile we are." That said, I repeatedly hear her voice as another instrument in the mix before I hear any words. [53:29]



2. I have asked, as I'm sure many others, that amazon just tell us in the product write-up if a CD is "copy protected" - i.e. cannot be added to a legitimate digital music collection. In the case of this CD I was deeply dissapointed to not be able to play it anywhere I use my iPod. As for Cassandra, yes characterful and typical - maybe a bit predictable and "cookie cutter" by now? I don't know - but she has sooo many similar sounding albums out now that I'm wondering if there's a big machine where you feed in tunes & it then "Cassandrafies" it automatically....



3. A jazz singer with the heart of a folk singer and the soul of a blues singer, Wilson also has exceptional taste in song, along with original arranging skills. Wilson also seemingly has no musical prejudices. She is equally at home interpreting the music of the Beatle-mimic Monkees ("Last Train to Clarksville", New Moon Daughter) as that of blues pioneer Robert Johnson ("Come on in My Kitchen," Blue Light `Til Dawn). Likewise, she is equally comfortable recording a song by country icon Willie Nelson ("Crazy," Glamoured) as one by outspoken jazz purist Abby Lincoln ("Throw it Away," Glamoured). And she is as comfortable with folk rock songwriter Bob Dylan ("Lay Lady Lay," Glamoured) as jazz composer Miles Davis ("Seven Steps to Heaven," Traveling Miles). Moreover, she can make the most banal seeming material sound profound (as in her haunting, bluesy take on "Last Train to Clarksville"). Wilson can make you appreciate songs and songwriters that you might otherwise not give a second thought, such as when she recorded "Witchita Lineman " (Belly of the Sun) by the underrated `60s and `70s songwriter Jimmy Webb, composer, for better or worse, of the song "McArthur Park, " ("someone left the cake out in the rain . . . "). Part of Wilson's unprejudicial outlook on music can be explained by her southern upbringing, and on her latest CD, Glamoured, Wilson returned to her Mississippi roots both figuratively and literally, as she recorded many of the tracks in Jackson, including the Muddy Waters song "Honey Bee." After the completion of the Mississippi sessions, Wilson returned to New York, where she enlisted the help of Italian guitarist, composer, and producer Fabrizio Sotti for the remainder of the tracts, including the Sting song "Fragile."



4. Cassandra Wilson is an original. After years of swinging with a trio, she switched gears and turned to a less traditional sound: lots of guitar and percussion. The result is an earthy fusion of jazz, folk, pop, blues and R&B. When you hear the soul in this woman's husky voice and the way she wraps her style around a lyric, you'll understand why Time Magazine declared her "America's Best Singer." On this CD,
   Wilson applies her golden touch to Dylan's "Lay Lady Lay," Sting's "Fragile" and even the untouchable "Crazy."



5. Cassandra Wilson is one of those artists whose style is understated almost to the point of laziness. It takes more than one listen to appreciate the vocal nunances that make her great but, I now dig what she's doing. I absolutely enjoyed Glamoured for the sheer vocal magic of Wilson's smokey vocals. She particularly shines on I Want More, Lay Lady Lay, If Loving You Is Wrong, Crazy, and Honey Bee. Cassandra has been doing her thing for some time ....I'm happy I finally caught up.

5 comments about Blue Gardenia.

1. This disc gives us a mature, world-weary Etta, who sings her heart out in this fabulous jazz album, mostly about the slings and arrows of love, obsession, and in "He's Funny That Way", a recognition of one's own character failures. One of the main strengths of the CD is the choice of material, which consists of some of the best melodies and strongest lyrics ever written, and Etta wrings every ounce of soul out of them.
   Outstanding are "Love Letters", "Cry Me a River", and the one that sticks with me long after the CD is over is "My Man".
   
   This is music that will be appreciated by those who have been through the mill and come out a little bruised; those unscathed by life and love might not appreciate this recording, which may be one of Etta's finest, in the same way.
   The musicians are superb, and echo the vocals in feeling. Cedar Walton on piano, Ronnie Buttacavoli on trumpet, Josh Sklair on guitar, and Red Holloway on tenor sax are stellar, as well as Tony Dumas, bass / Ralph Pendland, drums / George Bohannon, trumpet, and on "Love Letters", Rick Baptist, flugelhorn and Ron Powell on percussion.
   The final track is sung by Etta's mother, Dorothy Leatherwood, and she'll bring a tear to your eye with her rendition of "Blue Gardenia".
   
   Recorded between November of 2000 and March of 2001, the sound is terrific, and has a very intimate sound, as if one were front row and center in a small club.
   The fold-out insert has a song list, recording info and liner notes: no lyrics, but one of the beauties of Etta's singing is her diction, and she makes every word understandable; there are no "misheard lyrics" on this CD.
   Total playing time is 61'20.



2. Etta James is not dead! Perhaps you are thinking of Etta Jones?



3. All I know about EJ is what's on this recording. I wish I had listened to her long before. But she has the right combination of tenderness and sweaty hot sexy soul and it just suits me fine. I don't think the album will ever get tired.

   Favorite tracks: "In My Solitude" and "Cry Me a River" but all the rest are close behind. There is a great intimate sax solo on "...Solitude."

   I don't see how I could go wrong in buying more music from the superb Etta James.




4. If you're thinking about Diana Krall - stop. Let Etta James show you how Jazz should REALLY be done. Don't hesitate - click "BUY NOW". Great stuff!



5. I thought this CD would contain her classic performances -- instead I learn it was recorded last year and in early 2001. Ms. James is long past her prime. Her voice now calls for orchestral support, warmth. Instead, we get Cedar Walton's notion -- rhythm section with brass dominated by fluegel horn(!). Almost unlistenable. Everything mixed at same level, no layering, no subltely. I blame Walton's arrangements -- boring, stilted, unimaginative, lazy. Poor Etta.

No comments about Dirty Blues.

5 comments about The Chess Box.

1. and good but brief notes. The 3 cd set and booklet is in a classy hardback book form with nice matt buff-colored paper, the cds set into the insides of the front and back covers. Thankfully session musicians as well as the producers are credited where possible.
   
   The sound is good: I think you'd be proud to have this in your recorded music collection.



2. A woman renamed Etta James hit the R&B charts at age 16, when she forged her mother's signature (who was in jail at the time) to allow her to tour and made a living performing where ever she could when soul fell from mass favor. The key to her endurance, as she is still singing, is her versatility and ability to hit home runs with great songs and work around the less than stellar songs.

   On early Chess singles the ballad "My Dearest Darling" and the more raunchy "I Just Want to Make Love to You," James coos and growls like a tigress. There is the inside glance at her personal life on duets with a man she had a huge crush on, Harvey Fuqua. Though the young love was apparently unrequited, there is an intimacy inherent in their version of "If I Can't Have You," while a smoldering sexuality pervades "Spoonful." The first CD also has a song that introduced me to James a few years back. You have heard of a little tune called "At Last." I am obviously kidding about "little tune" as that song is on fire.

   The second CD introduced me to a mostly unknown (at least to me) R&B singer Sugar Pie DeSanto who duets with James on the screaming party tune "In the Basement" and the sweet and soulful "Do I Make Myself Clear." These women should have recorded together more often as they make a raging fire. Ett a also tackles country with her signature approach and the result may have to get a new name. I suggest "Soultry"."I Prefer You" and "Tell Mama" are scorching.

   James began covering rock songs in the late '60s, and both the successful and the not-so-great are included in the third CD of this box set. Although this is the least potent CD of the 3, it has some surprises including the fire-causing "Let's Burn Down The Cornfield," which has to be one of the sexiest songs ever.

   The insert is informative as it tells you about Etta's life and has some great pictures. It nothing out of this world, so buy this for the music and although its pricey, I think that it's worth every dime and then some.

   The 72 songs on this box set are placed chronologically, and it's rather astonishing how strong all these recordings are, from her terrific vocals to the songs themselves. Her producers weren't sure what to do with the big, bold voice of a woman-child, but she did her thing while they tried to figure out what to do with her. I for one I am glad that they never quite figured it out as it makes for a great victory for song interpretation.

   This is a must have release and it easily earns the highest rating possible, independently that some of the songs are not as good as the singer. This set can at times give you a window to the history of rock/soul. May Etta sing until her last breath. I feel very fortunate to have discovered this woman. By the way, my "discovery" only occurred due to the good people at Amazon.com who take the time to rate everything from their favorites and those almost universally panned. This forum is great because it is truly democratic and by being able to read why people give the ratings that they do, I can learn a lot about potential purchases. Thank you guys and enjoy Etta!




3. One of the most satisfactory CD-Boxes I ever stumbled upon,this 3 Cd collection folows Etta James rise from her early 1960's violin-backed ballads to her glorious Memphis days and funk in 1970's.Of course,she recorded prior to "Chess" and afterwards,but these were her golden years and this carefully compiled Box shows what amazing singer she was in her prime.Those unfamiliar with her start (or with a music climate in early 1960's) would be surprised with some choices,but for me having Etta ballad/jazz/pop/country/soul/funk/philly-sound/blues songs all at one place means hours of pleasure without being bored with just one music style.What all these songs have in common is her big,powerful voice and whatever she sings,she is 100% into it - check her "St.Louis Blues" or previously unreleased (!)"You've Lost That Loving Feeling".Althought is hard to select favourite disc (and chart-wise,disc 1. was her best-selling period),last disc which follows her less commercial early 1970's period is absolute brilliant.The Box closes with breathtaking "Loving Arms" which moves me to tears,often sung country ballad that James sings while falling to pieces.



4. You'll be more than pleased with this 3 CD set in The Chess Box! Let the voice of Etta James capture your soul with 72 spectacular songs! Fantastic! I've gotten nothing but pure heart touching pleasure from listening to them all!



5. The "Chess Box" Set is a three C.D. set containing Etta James' Chess recordings from 1960-74. She has always been one of my favorite female singers and to the Etta James purist (which I don't consider myself to be), this would be an invaluable addition to your collection. I found most of the songs on the C.D.s to be somewhat dated (which they are). I am more of an Etta James 1974-2000 fan so this set of C.D.s was not inline with what I was used to but it is of historical value. Many songs use strings and being a fan not familiar with Etta and strings, I was thrown a curve when I heard the Nashville sound behind her. I will always be a fan of Etta's but still prefer her last two and one-half decades rather than her Chess decade and a half.

2 comments about Lover Man.

1. Everything Billie Holiday did is worth owning, but the sound on this CD is the worst I've ever heard, and I listen to a lot of jazz from the 20's, and this material is from the 50's. Still Billie buffs will want it all.



2. Everything Billie Holiday did is worth owning, but the sound on this CD is the worst I've ever heard, and I listen to a lot of jazz from the 20's, and this material is from the 50's. Still Billie buffs will want it all.

5 comments about Burnin' Down the House: Live at the House of Blues.

1. RECORDED AT L.A.'S HOUSE OF BLUES IN 2001, THIS IS A GREAT LIVE ETTA JAMES CD. SHE IS AT THE TOP OF HER GAME ON THIS ONE, AND WHEN SHE'S ON, NOBODY CAN TOUCH HER. HER BACKUP BAND, "THE ROOTS BAND", KICKS SOME SERIOUS YOU KNOW WHAT AS WELL, AND FEATURES A VERY, VERY FAT HORN SECTION. ETTA JAMES' SINGING REALLY TURNED BACK THE CLOCK ON THIS RECORDING. I LOVE THE SECOND CUT, "I JUST WANT TO MAKE LOVE TO YOU" WHICH THEN SEGUES INTO "BORN TO BE WILD" (THE OLD STEPPENWOLF SONG). HER VERSION OF "ALL THE WAY DOWN" ON THIS CD HAS A "CURTIS MAYFIELD-SUPERFLY" KIND OF A SOUND TO IT, VERY FUNKY. AND HER RENDITION OF "AT LAST" COULD VERY EASILY BECOME MY ALLTIME FAVORITE SLOW DANCING SONG OF ALL TIME. "YOUR GOOD THING IS ABOUT TO END" IS A GREAT TORCH SONG BY ISAAC HAYES AND DAVID PORTER (THE DEFINITIVE VERSION OF THIS SONG IS SUNG BY O.V. WRIGHT). THE ETTA JAMES CD "LIVE IN SAN FRANCISCO" IS ANOTHER ONE WORTH PICKING UP AS WELL.



2. Etta James Rocks on this cd! The Roots Band are in great shape and Etta's powerful voice is in great form for this 2001 concert, this is a Blues\R&B\Soul jam session! This is what a like about this Live cd is that Etta gets right to the songs not alot of talking between songs, this is another Live gem from Etta, add this to your collection.



3. She does what she says on this CD- burn down the house. You would never know this is a woman in her sixties here. Her vocals are strong and they are front and center and she's got good backup here. Fans of Etta James will love this and it will earn her many new fans if they are exposed to this.



4. Since my youth I have had an ear for roots music, whether I was conscious of that fact or not. The original of that interest first centered on the blues, then early rock and roll and later, with the folk revival of the early 1960's, folk music. I have often wondered about the source of this interest. I am, and have always been a city boy, and an Eastern city boy at that. Nevertheless, over time I have come to appreciate many more forms of roots music than in my youth. The subject of the following review is an example.
   
   In my youth I gave Etta James' music short shrift because, to be honest, I did not like the so-called 'bubble gum' music genre that I believed she represented. In retrospect I do not think I was wrong to reject her early offerings, having replayed her early work recently. What got me interested in Etta was hearing her do The Jealous Kind and I'd Rather Be Blind at the Newport Folk Festival years ago. These songs reflect a more bluesy, gospelly tradition that my tastes can appreciate. The selections here are exactly in that same vain, especially Tell Mama and Sugar on the Floor. These are tastefully done and reflect both her powerful voice and range of interests. You may not like all the selections but there are more than enough to keep you interested. Rock on.



5. Etta James style has evolved greatly over the decades-----it is merely a matter of personal preference as to which period of her career is her best-----i love her recent work equally as much as her earliest work--she is an artist who continually grows,stretches,& shares her immense talents & life experience w/ her audience. In her most recent years her style has expanded towards jazz---(although she mixes many styles now)--& this recorded live performance is STUNNING!!!!!This performance leans heavily towards "jazzy blues"--I reccomend it highly,JUST BEAUTIFUL. It is as real as it gets---i love this cd,TY ETTA,from the bottom of my heart!

5 comments about Blues Everywhere I Go.

1. The years have not diminished the powerful voice of the Great Odetta. I am often suprised how many people haven't even heard of her! She an American Treasure! This album features her with a superb back-up band and Odetta is as great singing the Blues as she is singing Folk. I have some of Odetta's live albums and I absolutely love how she can merge several songs into a "Suite" rather than a show biz medley. This is a different Odetta for me to hear and I am extremely pleased with this album. Whether she is recorded live or in the studio and whether she is singing folk or blues, Odetta is a truly great artist. I do recommend this album highly! One feels as if they are there in person. There is an intimate feeling to this Blues album which only adds to how fine it is. It got me snapping my fingers and moving to the music. Oh, Odetta is such a fine singer,so, so fine. ***** Five Stars for "Blues Everywhere I Go"!



2. This Grammy nominated cd is amazing. Odetta's voice is still as powerful and unique as it ever was. Odetta is downright incredible on Dink's Blues and Blues Everywhere I Go. And evokes raw emotion on WPA Blues and You Aughta Know. I am very happy to see Odetta back with new material. She is one of best vocalists of all time and seems to carry her legendary status into the new millenium.



3. I won't try to add to the superlatives that the other reviewers have written. This has rapidly become one of my favorite albums. I do have to say that I think the author of the liner notes missed the joke on "Can't Afford To Leave My Man."



4. I had the distinct pleasure of hearing Odetta perform at my school. She has a warm and beautiful presence, and it comes through entirely in her wonderful voice. I don't love blues music, but I love Odetta! I very highly recommend this most recent collection of her songs.



5. I was browsing the culture section of the Utne Reader when I ran across a review of Odetta's newest in years--the review was entitled "15 More Minutes" and it raved about "Blues Everywhere I Go", so I went out and got it. Guess what? It's every bit deserving of Utne's rave review, Amazon.com's double 5-star rating, and my humble "It will blow you away". Odetta's is in fine, though at times, weary voice, but that suits certain tunes well--just how long and in how many voices can the call to better mankind be, without showing some weariness, I ask you? Poignant, indeed, are the cuts, "TB Blues" and "Oh Papa". Welcome back, Odetta.