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This great, very rare CD is brand new sealed! Same day shipping upon payment! This is a great CD. 7
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RHYTHM COUNTRY &
BLUES is a collection of duets between well-known country, R&B and
blues performers. This release includes a 25-page booklet with session
photographs and complete recording personnel listings.
Finally,
with the release of RHYTHM COUNTRY AND BLUES, someone has had the
courage, the vision and the commercial horse sense to acknowledge what
several generations of musicians have recognized without reservation:
That for all of their seeming differences in posture and attitude, the
enduring soul of R&B and country music remains one and the same.
Where so many duet projects seem like shotgun marriages, this one sounds like a labor of love, celebrating Southern music as a common denominator that transcends racial and categorical divides. Among the highlights, the pairing of Lyle Lovett and Al Green finds revelation within the funky groove of "Funny How Time Slips Away," while the album-closing "Patches"--with George Jones playing father to B.B. King's son--achieves a spine-tingling majesty. Though Natalie Cole and Reba McEntire misconnect on "Since I Fell for You," Sam Moore (of Sam & Dave) and the late Conway Twitty are at their soulful best on "Rainy Night in Georgia."
Rhythm Country and Blues (CD, 1994, MCA Records (USA))
Artist: Various Artists Release Date: Mar 1994 Format: CD Record Label: MCA Records (USA) Genre: R&B List Price: $16.98
Bol prijs: EUR 20,99
 | Track listing | 1. Ain't Nothing Like the Real Thing - Vince Gill/Gladys Knight
2. Funny How Time Slips Away - Al Green/Lyle Lovett
3. I Fall to Pieces - Aaron Neville/Trisha Yearwood
4. Somethin' Else - Little Richard/Tanya Tucker
5. When Something Is Wrong With My Baby - Patti LaBelle/Travis Tritt
6. Rainy Night in Georgia - Sam Moore/Conway Twitty
7. Chain of Fools - Clint Black/The Pointer Sisters
8. Since I Fell For You - Natalie Cole/Reba McEntire
9. Southern Nights - Chet Atkins/Allen Toussaint
10. Weight, The - Marty Stuart/The Staple Singers
11. Patches - George Jones/B.B. King
| | Details | | Playing time: | 48 min. | | Producer: | Don Was, Tony Brown | | Distributor: | Universal Distribution | | Recording type: | Studio | | Recording mode: | Stereo | | SPAR Code: | n/a |
| | Album notes | Engineers include: Rik Pekkonen, Don Smith, Ed Cherney.
Recorded
at Ocean Way Recording, Hollywood, California; Record One, Sherman
Oaks, California; Ultrasonic, New Orleans, Louisiana; Javelina West and
The Sound Emporium, Nashville, Tennessee. Includes liner notes by James
Hunter.
"Funny How Time Slips Away" won the 1995 Grammy
Award for Best Pop Vocal Collaboration, and "I Fall To Pieces" won the
Grammy for Best Country Vocal Collaboration. "Patches" was nominated
for Best Country Vocal Collaboration, and RHYTHM COUNTRY AND BLUES was
nominated for Best Engineered Album.
RHYTHM COUNTRY &
BLUES is a collection of duets between well-known country, R&B and
blues performers. This release includes a 25-page booklet with session
photographs and complete recording personnel listings.
Finally,
with the release of RHYTHM COUNTRY AND BLUES, someone has had the
courage, the vision and the commercial horse sense to acknowledge what
several generations of musicians have recognized without reservation:
That for all of their seeming differences in posture and attitude, the
enduring soul of R&B and country music remains one and the same.
For
those who came to music through the crucible of regional churches this
might seem second nature. But from Louis Armstrong's duets with Jimmie
Rodgers to the parallel paths of swing bands led by Count Basie and Bob
Wills; from the modern country sounds of Ray Charles to the righteous
funk groove of the Muscle Shoals Rhythm section, the rich Southern
roots of American popular music are both colorful and color-blind.
Thanks to the vision of producer Don Was and his star-studded cast of
song stylists, the remarkable musical collaborations that comprise
RHYTHM COUNTRY AND BLUES are never treated as an historical anomaly but
as the most natural thing in the world.
The resulting
music is never less than excellent, and in some cases, the emotional
chemistry is absolutely remarkable: The quavering falsetto of Aaron
Neville and the rich, mellow moan of Trisha Yearwood enliven Patsy
Cline's signature "I Fall To Pieces." Little Richard and Tanya Tucker
illustrate how R&B and country gave birth to rock 'n roll on a
raucous rendition of Eddie Cochran's "Somethin' Else." Chet Atkins and
Allen Toussaint evoke strains of Nashville, Memphis and New Orleans on
the elegant jazz-funk of the later's "Southern Nights," while both
Patti LaBelle with Travis Tritt and The Staple Singers with Marty
Stuart engage in a series of epic gospel exchanges on "When Something
Is Wrong With My Baby" and "The Weight."
RHYTHM COUNTRY
AND BLUES concludes with a felicitously earnest bit of corn called
"Patches," in which George Jones and B.B. King tell the heroic tale of
all those black sharecroppers and white tenant farmers who were so po'
they couldn't afford an -o or an -r, yet persevered in spite of it all.
Powerful stuff, but then, that's what RHYTHM COUNTRY AND BLUES is all
about--eleven hit singles waiting to explode all over America.
| | Editorial reviews | ...On
paper this marriage between country and R&B seems merely a good
idea, but on album, it comes across as genius....you may end up
thinking of country and R&B as two sides of the same coin....
Musician (05/01/1994)
...most
singers on this project are matched to partners with whom they can
connect in a manner that transcends color, class, and musical
category....the album's hits are more frequent, and more profound, than
its misses....
Vibe (04/01/1994)
Sound: B+ /
Performance: A- - ...Performances throughout are delightful and
ingenuous, and ringing with mutual respect. That many of the songs have
been hits in both genres only adds resonance ....Thankfully nothing's
too deep here except the roots....
Audio Magazine (03/01/1994)
...cuts
through the differences in the cultures of blacks and whites to find
the core of shared experience. Soul, it seems, whether black or white,
urban or rural, knows no true domain but the heart....
Stereo Review (04/01/1994)
...cuts
through the differences in the cultures of blacks and whites to find
the core of shared experience. Soul, it seems, whether black or white,
urban or rural, knows no true domain but the heart....
Stereo Review (04/01/1994)
Sound:
B+ / Performance: A- - ...Performances throughout are delightful and
ingenuous, and ringing with mutual respect. That many of the songs have
been hits in both genres only adds resonance ....Thankfully nothing's
too deep here except the |
(MANY TREASURES AWAIT YOU BEHIND THIS DOOR! )
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ROLLING STONE BIO
Where so many duet projects seem like shotgun marriages, this one sounds like a labor of love, celebrating Southern music as a common denominator that transcends racial and categorical divides. Among the highlights, the pairing of Lyle Lovett and Al Green finds revelation within the funky groove of "Funny How Time Slips Away," while the album-closing "Patches"--with George Jones playing father to B.B. King's son--achieves a spine-tingling majesty. Though Natalie Cole and Reba McEntire misconnect on "Since I Fell for You," Sam Moore (of Sam & Dave) and the late Conway Twitty are at their soulful best on "Rainy Night in Georgia."
GREAT REVIEW, GREAT CD!
Overlooked Gem
Did you ever read a book -- then read it again ten years later, and
make the pleasant discovery that the parts you'd mentally underlined or
highlighted years earlier, are NOT the same ones that `reach' you
today? Witness, if you will, this amazing concept album, you may have
forgotten (I had, almost.)
If you are like me, you may have almost forgotten this gem. If
you're like my sister Andrea (who has the most amazing singing voice
I've ever heard) you've NEVER tasted of its amazing grace.
'Sis,' who has refined musical tastes, last night dignified my
latest review (for a Tom T. Hall compilation) by sniffing: "YOU'RE
listening to country music now?? Ouch!!!" I resisted the urge to remind
`Anra' about Ray Charles' classic country music album of 40 years ago
(with the definitive version of Eddy Arnold's "You Don't Know Me").
Her comment made me go and rummage out this CD. Sure enough, there
there it was: something I'd vaguely recalled from the superb liner
notes, by James Hunter. A short quotation of the album's co-producer
Tony Brown, from the days when he first worked with Gospel singer
Shirley Caesar: "She had ALWAYS loved country music!"
----
Back in late 1994 when this album was released, it was Chet Atkins'
duet with Alain Toussaint (on the latter's best selling composition,
"Southern Nights") that prompted me to track down this disc in the
first place. I'm pleasantly surprised to find this very day that, some
tracks I didn't give a second listen to, back then, are now at center
stage in my heart: As with good spiritual reading, when the light goes
on, I am `lifted up.'
First things first: Amazingly, most of the singers featured here
had never met before they got together in the studio with co-producer
Don Was. The producer(s) had to guess at which artists might have
`chemistry' at their first time meeting.
In this firmament there are stars in ascension -- Trisha Yearwood
& Aaron Neville singing "I Fall to Pieces." And others, perhaps in
decline but still able to shine brightly as they `rise to the occasion'
-- Sam Moore & Conway Twitty, in harmony and `sync' - for a "Rainy
Night in Georgia."
Some pairings are timeless and shine as brightly as ever - Natalie
Cole & Reba McEntire caressing Buddy Johnson's (blues band)
beautiful chestnut from 1948, "Since I Fell for You." And Gladys Knight
and Vince Gill agreeing that "There Ain't Nothin' Like the Real Thing."
Only one track here might underline (for someone like my sister)
the difference between talent and kitsch; and it's literally "Something
Else" by Little Richard & Tanya Tucker. But, hey --- ten out of
eleven ain't bad!
Ten years on . . . and what's my new favorite? A four-leaf clover I
managed to overlook before. Then-rising-star Marty Stuart conjures up
magic with the heart of a Soul/Gospel band who hadn't had a hit in
years - the Staple Singers, Mavis and `Pops'. Marty (a superb
instrumentalist in his own right) elevates the introduction to Robbie
Robertson's "The Weight" . . . . "I pulled into Nazareth, was feelin'
`bout half past dead' . . . and soon enough, Pops & Mavis seize
control of the narrative, and the whole group (as James Hunter puts it,
"rejoices throughout the chorus. These people are like pilgrims on the
road . . . turning plain plights and shifting responsibilities into
Gospel Good News."
`Anra,' my dear sister, you may never know what you missed.
(MANY TREASURES AWAIT YOU BEHIND THIS DOOR! )
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