Country/Blues
CDアルバム

Bitter Sweet Blues

0.0

販売価格

¥
3,390
税込
ポイント15%還元

廃盤

在庫状況 について

フォーマット CDアルバム
発売日 1999年10月12日
国内/輸入 輸入
レーベルAlligator Records
構成数 1
パッケージ仕様 -
規格品番 ALCD4870
SKU 014551487029

構成数 : 1枚
合計収録時間 : 00:49:05
Personnel: Gaye Adegbalola (vocals, acoustic guitar, harmonica); Mike DeMicco, Tom Principato (guitar); Jordan Valdina (piano, keyboards); Warren Bernhardt (piano); Carl Adami, Randy Mattson (bass); Peter O'Brien, Clyde Connor (drums); Jerry Marotta (percussion); Resa Gibbs, Ysaye Barnivell, Juno Pitchford (background vocals); Rory Block. Recorded at Jerrsville Studio, Woodstock, New York in April 1999 and at Omega Studios, Rockville, Maryland in July 1999. Includes liner notes by Gaye Adegbalola. Personnel: Gaye Adegbalola (vocals, acoustic guitar, harmonica, background vocals); Rory Block (acoustic guitar, background vocals); Mike DeMicco, Tom Principato (electric guitar); Jordan Block Valdina (piano, keyboards); Warren Bernhardt (piano); Clyde Connor, Peter O'Brien (drums); Jerry Marotta (percussion); Resa Gibbs, Juno Pitchford, Ysaye M. Barnwell (background vocals). Audio Mixers: Eric Lemley; Rob Macomber. Liner Note Author: Gaye Adegbalola. Recording information: Jersville Studio, Woodstock, NY (04/1999/07/1999); Omega Recording Studios, Rockvi (04/1999/07/1999). Photographers: Les Gruseck; Suzanne Moe; Marc Norberg; Craig Hemp. With Bitter Sweet Blues, Gaye Adegbalola has produced an album that starts off where her work with Saffire the Uppity Blues Women left off, and jumps into a new, adventurous space. An expanded cast of musicians and more personal lyrics are some of the benefits to going solo, and Adegbalola makes use of both well. Each song has either humor or power, sometimes both. The only thing that seems incongruous is the mixture of songs with wildly varying moods and topics. While satirical woman-power songs like "Big Ovaries" are empowering and funny, when paired with "Nightmare" -- a powerful, personal song about child molestation -- the effect is somewhat gross. The feminist politics of both songs mesh rather well, but it is difficult for the listener to shift from laughing at bawdy sexuality to somber empathy in just a few tracks. Overall, though, this is a fine first solo effort that resonates with spirit and emotion. ~ Stacia Proefrock
録音 : ステレオ (Studio)

  1. 1.[CDアルバム]
    1. 1.
      She Just Wants to Dance

      アーティスト: Gaye Adegbalola

    2. 2.
      Need a Little Sugar in My Bowl

      アーティスト: Gaye Adegbalola

    3. 3.
      You Don't Have to Take It (Like I Did)

      アーティスト: Gaye Adegbalola

    4. 4.
      Big Ovaries, Baby

      アーティスト: Gaye Adegbalola

    5. 5.
      Nothing's Changed

      アーティスト: Gaye Adegbalola

    6. 6.
      You Really Got a Hold on Me

      アーティスト: Gaye Adegbalola

    7. 7.
      The Dog Was Here First

      アーティスト: Gaye Adegbalola

    8. 8.
      Front Door Blues

      アーティスト: Gaye Adegbalola

    9. 9.
      Only One Truth

      アーティスト: Gaye Adegbalola

    10. 10.
      Prove It on Me Blues

      アーティスト: Gaye Adegbalola

    11. 11.
      Jail House Blues

      アーティスト: Gaye Adegbalola

    12. 12.
      Images

      アーティスト: Gaye Adegbalola

    13. 13.
      Nightmare

      アーティスト: Gaye Adegbalola

    14. 14.
      Let Go, Let God

      アーティスト: Gaye Adegbalola

作品の情報

メイン
アーティスト: Gaye Adegbalola

その他
プロデューサー: Rory Block
アーティスト: Rory Block; Warren Bernhardt

商品の紹介

Living Blues (1-2/00, p.63) - "...combines an impish sense of humor with hard-nosed feminist mettle....an impressive...debut solo-outing..."
Rovi

With Bitter Sweet Blues, Gaye Adegbalola has produced an album that starts off where her work with Saffire the Uppity Blues Women left off, and jumps into a new, adventurous space. An expanded cast of musicians and more personal lyrics are some of the benefits to going solo, and Adegbalola makes use of both well. Each song has either humor or power, sometimes both. The only thing that seems incongruous is the mixture of songs with wildly varying moods and topics. While satirical woman-power songs like "Big Ovaries" are empowering and funny, when paired with "Nightmare" -- a powerful, personal song about child molestation -- the effect is somewhat gross. The feminist politics of both songs mesh rather well, but it is difficult for the listener to shift from laughing at bawdy sexuality to somber empathy in just a few tracks. Overall, though, this is a fine first solo effort that resonates with spirit and emotion. ~ Stacia Proefrock
Rovi

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