Lou Rawls - The Legendary Lou Rawls (1991)@flac

LINER NOTES As a recording artist, Lou Rawls is a breath of fresh air these days. In recent years, music performers have been encouraged, either by their record companies, eager for a source of material, or the performer's own greed, to write their own tunes. This, as often as not, has led to albums containing one or two good songs and filled out by...well.. filler. Lou's approach harkens back to a time when singers were singers and songwriters were songwriters.. .which brings to mind a line once uttered by the legendary song man and record producer, Jerry Wexler: "I'd cut a song by the devil himself if I thought it was a hit." And Jerry cut more than his share of hits, more than one written or published, I know, by mortal enemies. The difference in Lou's approach and that of many current performer/songwriters is one of emphasis. To the latter, song and record are one and the same: the bass line, drum programs, fills, samples, lyrics and melody all have equal value. Eliminate any one element and you have no "song". To a Lou Rawls, the song is a starting point, a vehicle, a means of self-expression. Lou Rawls is an interpreter, one who possesses one of the richest, most recognizable voices in pop history. He also has a knack for picking material which suits his style, and that material ranges from previously unrecorded songs like his #1 "Love Is A Hurtin' Thing" to little-known gems such as "Your Good Thing (Is About To End)" which, prior to Lou's recording, was a semi-obscure Issac Hayes - David Porter tune cut by Mable John. Such is the force of Lou's personality that even a stint with disco meisters Gamble &c Huff in the '70s resulted in "You'll Never Find Another Love Like Mine" emerging as a Lou Rawls record, rather than just another trendy disco track. You wanna talk about trends? Lou's patented monologues a la "Dead End Street", predate not only the current rap craze, but inspired Issac Hayes' and Barry White's uses of the device as well. Steeped in the demanding traditions of Gospel, blues and jazz, Lou Rawls has developed an artistry that equals his extraordinary voice. His range, which has grown to encompass standards and pop songs as well, is well chronicled in this collection, highlighting his 30 years as a recording artist. REVIEW Besides "smooth" and "expressive," the qualifier "consistent" must be added to any list describing the Lou Rawls sound. This anthology of previously released material includes tracks recorded as early as 1962 and as recently as 1990, and while the arrangements and surrounding styles vary with the era, the warmth, purity, and sincerity of the singing is unvarying. It is particularly interesting to hear material recorded live in 1966: the songs are introduced with stories relating to the black experience in America, told with the same engagement with which Rawls sings, and the rapport with the audience is apparent even on disc. This CD in combination with its follow-up of newly recorded material, Portrait of the Blues, comprise a full education on get-dressed-up urban(e) blues. (AMG) http://img828.imageshack.us/img828/5968/fronts.jpg 01. I'd Rather Drink Muddy Water [Live] 02. World Of Trouble [Live] 03. Tobacco Road [Live] 04. Wiilow Weep For Me 05. (They Call It) Stormy Monday 06. God Bless The Child 07. For You My Love 08. Dead End Street 09. Your Good Thing (Is About To End) 10. Love Is A Hurtin' Thing 11. You Can't Go Home No More 12. At Last [With Dianne Reeves] 13. Fine Brown Frame [With Dianne Reeves] 14. Room With A View 15. Don't Let Me Be Misunderstood 16. All Around The World 17. Good Morning Blues Label: Capitol Released: 1991 Catalogue: CDP 79 8306 2 Codec: Flac Compression Level: 5 Quality: High CD-rip by alekow (EAC and Flac) Covers Included (400dpi) Enjoy, Seed and Share

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