Customer Reviews

Rhythm Country & Blues

5 star:		(42)
4 star:		(8)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

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.

Mark Blackburn
Winnipeg

I never paid much attention to country music until I heard this collection of duets. The best voices of R&B with the best of country. What stands out? Conway Twitty and Sam (Sam and Dave) Moore doing "Rainy Night in Georgia," and Aaron Neville with Trisha Yearwood on "I Fall to Pieces." Many other fine collaborations, but these are memorable.

For anyone who loves country and r&b standards, who wants to hear talented voices in new territory, or who wants a well-rounded musical education, this MAY be the best album you can find.

Wonderful songs performed by artists from across racial and musical genre lines, reminds us how creativity can be enhanced when musicians make a conscious effort to break away from successful formulas and try something different. Lyle Lovett and Al Green's slow burn on "Funny How Time Slips Away" is the stand-out, but almost every track (exception -- Reba and Natalie Cole duet on "Since I Fell for You") is fun. Some, like Conway Twitty and Sam Moore's version of "Rainy Night in Georgia", underscore the common roots of country and r&b. This CD gets repeat listening at my house. n.b.--When this CD was released, the program director of Chicago's biggest country radio station was quoted in the Tribune as saying that he wouldn't give it airtime because too many people were trying to jump on the country bandwagon. This type of narrow thinking seems typical of the mainstream country music industry, and may explain why I've just about stopped listening to country radio.

... primarily about Don Was' project that came after this, but definitely sheds light on the attitude that produced it, particularly the artistic crisis he was going through. (No, I didn't have anything to do with the article.) Excerpt:

"Somehow, the thought of this dreadlocked, hippyesque man in a cowboy hat at a country concert is as bizarre a juxtaposition as the ones that are found in his music. And that is exactly the point. Exercising a limitless and all-encompassing musical taste, and combining many seemingly disparate and opposing musical elements is the essence of his approach. And he can therefore work with artists as diverse as George Clinton and Neil Diamond, or Maxi Priest and Paula Abdul, without batting an eyelid. This was exemplified in a project that laid some of the foundations for Forever's A Long, Long Time, namely the Rhythm, Country and Blues album (1995), on which he produced tracks that saw meetings between soul and country singers, like Al Green and Lyle Lovett. Was picked up the story: 'I've always felt that there was very little separation between R&B and country in terms of songwriting. These singers can perform each other's material without stretching at all. However, I do regret that I only started to be adventurous towards the end of recording that project, when we ran hip-hop beats underneath these country songs, messed with the chords a lot, and really re-invented the songs. Forever's A Long, Long Time is in a way an extension of that.'"

Obviously, some of the music profession still hasn't figured out what to do with music that truly crosses lines.

Country music and RnB have always been kissin' cousins, the kiss is called rock n' roll. But, by the 90's, music had become so compartmentalized that this CD of duets was both novel and needed. First the good news; by and large the pairings work out magnificently. Gladys Knight and Vince Gill are upbeat and seamless on the Marvin-Tammi hit "Ain't Nothin Like...", Al Green and Lyle Lovett are the essence of sinister cool on "Funny How...", and Conway and Sam have to be heard to be believed on the wonderful "Rainy Night In Georgia" (best track sez me). B.B and Ol' Possum George are so over the top on "Patches" that it works splendidly. Now where's that fifth star the project should have earned? Gone with the ... Chet Atkins-Allen Toussaint quiet storm version of "Southern Nights" and an unneccesary duet between Aaron Neville and any female country singer (been there already Aaron). But please don't let these quibbles deter you. Fans of country and soul need to own this CD as a reminder of just how thin the boundaries between musical expression are.

I've loved this CD from the first time i heard it in 1994 when i was working at a radio station until now when i recently purchased it (i wasn't even sure if it was still available). R&B artist like Little Richard is teamed up with country legend Tanya Tucker or Natalie Wood and Reba McEntire. The best song on the LP is The late Conway Twitty collaborating with Sam Moore (Sam & Dave) on a version of Brook Benton's, A Rainy Night in Georgia. That one song is worth the price of the Cd.

As I mentioned, get this one while it's still available.

When I first heard this excellent cd back in 94-95, I was stunned. I never thought the mixing of these genres would work. Boy, was I wrong !
And, I started to think lately about "When something is wrong with my baby", and figured, let me see if they have It...
THANK YOU, AMAZON!!!
I am ordering a few extra, for friedns. If you like raw, heart rendering music, Then this is the CD is for you...

THIS CD IS VERY GOOD LISTENING FOR ALL AGES, FEATURING THE MUSIC & VOICES OF MANY KNOWN ARTISTS.

A friend loaned me a copy of this CD last week and I've been frantically searching for the name of it ever since so that I could buy my own copy and one for my folks. I'm glad I finally located it.
I don't know how I missed this when it came out but I'm glad someone found it for me. I'll be recommending it to all of my musically inclined friends.
My favorite cut is Rainy Night in Georgia; it is pure pleasure to listen to my old favorite Sam Moore. I'd lost track of Conway after he deserted Rock and Roll for Country but this song reminds me why I loved him when he sang "Make Believe" so many years ago. Travis Tritt and Patti LaBelle were made for each other, as were Al Green and Lyle Lovett. Aaron Neville is always a pleasure and Tanya Tucker and Little Richard are pure fun. Mavis Staples is always great when she sings "The Weight" and this version with Marty Stuart is no exception. These are my favorites but there isn't a bad song on the CD.
This is a "must have" for anyone who loves all forms of music.

I recently rediscovered this musical gem (on CD), and now I know why I wore out two cassette versions in the 1990s. As someone who doesn't often listen to songs recorded after 1979, I've become addicted to new twists on old favorites. When these voices combine, the angels weep. RCB is among my top five faves of all time!