Άκουγα αυτήν την κομματάρα που παίζει κατά καιρούς σε επιλεγμένα ραδιόφωνα και επιτέλους αναρωτήθηκα τι είναι.
Και έτσι ανακάλυψα αυτόν το δίσκο-διαμάντι της Marie Queenie Lyons.
Όπως ωραία περιγράφει ο συνάδελφος από τη Village Voice,
Released in 1970 on James Brown's King label, it was her first and last effort—according to the liner notes, she disappeared shortly after its release. That's unfortunate, because Lyons had an exceptional voice, able to instantly shift from a sultry croon on "Daddy's House" to the gospel shout of "I'll Drown in My Own Tears." Another strength is her unbridled fury, which keys ribald tracks like "Your Key Don't Fit It No More" and "I Don't Want Nobody to Have It but You." Plus, her take on the Godfather's "Try Me" aches to the bone. These days, such truthful artistry is long gone: 38 years later, Soul Fever's cover—a beautiful black face, surrounded by encroaching darkness, struggling to be seen—has become a sadly apt metaphor for modern-day soul.
Για το αρχείο σου βέβαια, σε ενημερώνω ότι υπάρχει και αυτή η εκτέλεση.
Και έτσι ανακάλυψα αυτόν το δίσκο-διαμάντι της Marie Queenie Lyons.
Όπως ωραία περιγράφει ο συνάδελφος από τη Village Voice,
Released in 1970 on James Brown's King label, it was her first and last effort—according to the liner notes, she disappeared shortly after its release. That's unfortunate, because Lyons had an exceptional voice, able to instantly shift from a sultry croon on "Daddy's House" to the gospel shout of "I'll Drown in My Own Tears." Another strength is her unbridled fury, which keys ribald tracks like "Your Key Don't Fit It No More" and "I Don't Want Nobody to Have It but You." Plus, her take on the Godfather's "Try Me" aches to the bone. These days, such truthful artistry is long gone: 38 years later, Soul Fever's cover—a beautiful black face, surrounded by encroaching darkness, struggling to be seen—has become a sadly apt metaphor for modern-day soul.
Για το αρχείο σου βέβαια, σε ενημερώνω ότι υπάρχει και αυτή η εκτέλεση.
