![]() ![]() ![]() Jarvis and Justis changed Domino’s sound somewhat – it’s a little shinier, doo-wop and even poppy, with a countrypolitan-style backing chorus in most of his new recordings, but the soulful vocal shines through. Why the collaboration came to an end is lost to the sands of time, but the new label, ABC, allegedly dictated that Domino record in Nashville rather than New Orleans, where he was assigned a new producer (Felton Jarvis) plus a new arranger (Bill Justis). Originally released in 1963, re-issued in 1975 and not since – and never on heavyweight violet-coloured vinyl with individual hand-numbering – Here Comes…Fats Domino was the first studio album Domino recorded away from the Imperial label in over 13 years, thus ending his long-standing relationship with producer/arranger/frequent co-writer Dave Bartholomew. Essential and inspiring listening for fans of Mitchell's work. ![]() In the style of the recent The Beatles: Get Back documentary, Blue Highlights reveals Mitchell’s process of writing and re-writing, illuminating listeners with unfinished but revelatory versions of some of her most iconic songs, including the original, staccato demo of canonical break-up ballad Case of You followed by a more caustic rendition with James Taylor while the two were in the first throws of romance. Keen to dispel the myth of creative divinity, Blue Highlights is the ninth issue from an ambitious project by Mitchell to make available previously unreleased material from across her vast archive. Unfortunately, too much filler has relegated the album to a modest place in Charles' jewel-filled discography.Fifty years from its initial release, Joni Mitchell’s Blue has achieved the kind of exalted adulation that can seem to weigh heavily on a record, especially one that brims with candid transparency and seemingly effortless poise. In the end, Genius Loves Company has done its job by placing Charles back into the public consciousness while rescuing him from his recent musical missteps. ![]() Morrison is up to the challenge and he also spurs on Charles, his primary influence, with his own vocal prowess. On the soulful "Crazy Love," Charles goes right after Morrison, who also wrote the song. Billy Preston adds color to the tune by adlibbing on the Hammond B3. "Sinner's Prayer" features great vocal chemistry between Charles and King and a joyous instrumental joust between their respective piano and guitar. King and Van Morrison, the results are spectacular. Willie Nelson's storytelling doubles with the emoting Charles to effectively paint the epic "It Was A Good Year." The exacting restraint shown by Johnny Mathis on a lushly orchestrated "Over the Rainbow" meshes well with Charles' customary grittiness. Gladys Knight on the gospel style "Heaven Help Us All" is scorching. The album starts to shine whenever Charles has a partner who can keep up with his unpredictable musicality. Natalie Cole, Norah Jones, and Bonnie Raitt also provide solid, if unspectacular, turns. The duet with Diana Krall on "You Don't Know Me" is fine, although it doesn't live up to the superior version on Modern Sounds in Country and Western Music that was a hit for Charles. The majority of the album, however, ranges from pleasant to very good. If their respective performances on "Sorry Seems to be the Hardest Word" and "Hey Girl" got poked with a fork, molten cheese would ooze out. But that's better than Elton John and Michael McDonald. If Charles is the pie in the big band arrangement of James Taylor's "Sweet Potato Pie," then a befuddled Taylor must be a regular potato, because he's straight and bland. It's a fine swan song that is occasionally marred by its conceit.ĭuets comprise the album. The Concord Records release returns Charles to his musical roots of gospel, soul, blues and jazz while stripping away the calculated modern R&B veneer of his last few records. The Genius, as Charles was sometimes known, recorded his last album, Genius Loves Company, before succumbing to acute liver disease. Yellows, pinks, and oranges combined with the encroaching black of night to form a cool reminder of Ray Charles' smoldering day. ![]()
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