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Cream of The Crate: Album # 173 - Stevie Wonder: Original Musiquarium

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  • Cream of The Crate: Album # 173 - Stevie Wonder: Original Musiquarium

    "Wonderworks of nearly two years preparation." (New Music Express 1982)
    "He makes your ears happy, again and again."(Rolling Stone July 1982)
    "What we have, is an album that has on it, some of the best tracks Stevie Wonder has recorded." (This review)


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    This is album review
    number one hundred and seventy three in the series of retro-reviews of both vinyl and CD albums from my collection.


    The series is called Cream of The Crate and each review represents an album that I believe represents significant musical value, either because of its rarity, because it represents the best of a style or styles of a music or because there is something unique about the music, the group or the particular production. The first fifty reviews were based on vinyl albums from my collection, with the following fifty on CD albums from my collection. Links to all these reviews can be found at the bottom of the page.

    One of the great artists of the seventies may have had his start in the 1960's, but he came into his own as the 70's opened up.

    I am talking about Stevie Wonder and the vinyl album I'm featuring is titled - Original Musiquarium. It was originally released on vinyl in 1982, on the Motown label it has the identifying code of 6002 TL2. It is a double album in a gatefold cover with 16 tracks. Twelve of these tracks were released across a range of seven albums and it also had four previously unreleased recordings.

    Released worldwide, it was first released in Australia.

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    Being a double album it has ab gatefold cover which features the seven albums that tracks on this compilation have been drawn from, and in addition it lists all the tracks on those various albums. It also includes the lyrics but no information on the musicians, which is a shame. The album really was crying out for some form of fold-out insert to give some idea of the artists, the recording credits and some words about Stevie Wonder. Definitely a missed opportunity although "marketing" did slip in a single sided sleeve advertising other Stevie Wonder "Classic" albums, for the then princely sum of $6.99 each.

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    Left and right hand inner cover plates

    One nice touch is that the bubbles coming from the fish on the cover are raised above the surface of the cover as if they were bubbles.

    The rear cover simply lists the tracks on the album.

    LP 1

    Side 1
    1. Superstition
    2. You Haven't Done Nothin'
    3. Living For The City
    4. Front Line *

    Side 2
    1. Superwoman (Where Were You When I Needed You)
    2. Send One Your Love
    3. You Are The Sunshine Of My Life
    4. Ribbon In The Sky *

    LP 2

    Side 1
    1. Higher Ground
    2. Sir Duke
    3. Master Blaster (Jammin')
    4. Boogie On Reggae Woman

    Side 2
    1. That Girl *
    2. I Wish
    3. Isn't She Lovely
    4. Do I Do *

    * Represent tracks previously unreleased.

    Stevie Wonder (originally known as "Little" Stevie Wonder) has a story as long as any great musical artist and like many, he started at a very young age. Stevie Wonder was born Steveland Hardaway Judkins on May 13, 1950, in Saginaw, Michigan. His blindness should never have happened as it resulted from receiving too much oxygen in the incubator as a premature baby. From a very early age he demonstrated a gift, a skill in fact, for music.

    It first manifested itself with his singing in a church choir in Detroit, Michigan, where he and his family had moved. He was only four years of age when he began singing and to the surprise of many around him he began to master many instruments including the harmonica, piano and drums. Self taught, he was proficient with all of them before he reached ten years of age.

    Wonder was just eleven years of age when he came to the attention of Ronnie White who was a member of the highly successful and respected Motown band, the Miracles. White arranged for an audition for Stevie with Motown founder Berry Gordy Jr., who on hearing and seeing the talent and the potential still to be realised, didn't hesitate to sign the young musician to a record deal.

    In 1962, the newly renamed Little Stevie Wonder released his debut album, The Jazz Soul Of Little Stevie and not "Little Stevie Wonder the 12 Year Old Genius" as is often cited. The album, which included the hit "Fingertips" was an immediate hit in itself reaching the number 1 position in the charts. Not prepared to rest on this success rest he set about studying classical piano and pushed himself to improve both his musicianship and songwriting capabilities.

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    1962

    In the space of only two years - 1962 and 1963, he released a total of five albums and despite their quality, they largely failed to provide the hits singles which were considered as a must.

    In 1964 he released Stevie At The Beach, which was an abortive attempt to cash in on the "beach/surf" music craze, which itself was on its last legs. In fact it would be over 18 months before his next album was released, the 1966 Uptight album, which did contain the hit single by the same name. In a further attempt to make him more relevant to contemporary music and particularly the buying public, the "Little" had been dropped by him and he became simply Stevie Wonder.

    It was after dropping "Little" from his stage name in 1964, that he churned out the successful single "Uptight (Everything's Alright)". Albums continued to be produced and he received reviews that variously described the efforts as being good, through to lacklustre. However in 1968, at the age of eighteen, he released his ninth album - For Once In My Life which not only contained multiple successful tracks, but had a more sophisticated and relevant sound to what was happening around him. Further albums bought more success and his 1971 album, Where Am I Coming From was his first album where all the tracks were written by him.

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    In the studio - early '70s

    In 1972 and 1973 he released two albums that are generally considered as his best to that date, those being Talking Book and then Innervisions. It was three days after the commercial release of Innervisions, on August 6, 1973, that Stevie Wonder played a concert in Greenville, South Carolina. While on the way back, just outside Durham, North Carolina, he was asleep in the front seat of a car being driven by his friend, John Harris, when they were snaking along the road, behind a truck loaded high with logs. Suddenly the trucker jammed on his brakes, and the two vehicles collided. Logs went flying and one smashed through the wind shield, sailing squarely into Stevie Wonder's forehead. He was bloody and unconscious when he was pulled from the wrecked car. For four days he lay in a coma caused by severe brain contusion, causing media attention and the preoccupation of relatives, friends and fans. There was great concern as to whether he would ever play again, but he fully recovered.

    More albums followed and again largely failed to capture the greatness particularly of Innervisions, and in fact the 1979 Stevie Wonder's Journey Through "The Secret Life of Plants" - was generally panned. However he bounced back in 1980 with the album Hotter Than July, which went certified platinum and reached number three on the US Billboard chart. This was his most successful album in the UK, peaking at number two and producing four top ten singles.

    Subsequently, in regard to studio albums, he only produced another five albums in the following years with only the 1991 Jungle Fever not receiving acclaim.

    In 1980 we had the release of this album - Musiquarium I - which drew on tracks from:
    * Music On My Mind - 1972
    * Talking Book - 1972
    * Innervisions - 1973
    * Fulfillingness' First Finale - 1974
    * Songs In The Key Of Life - 1976
    * The Secret Life Of Plants - 1979, and
    * Hotter Than July - 1980
    Plus the four previously unreleased tracks.

    I have decided that are there so many great tracks on this album to chose one great track from each of the albums these tracks came from.

    Track one
    on side one of album one is Superstition taken from Talking Book. Along with You Are The Sunshine Of My Life it was the big hit and a regularly played track from the original album. It really is a fantastic track which won much acclaim and was ranked as number 74 in Rolling Stone's 500 Greatest Songs Of All Time. Unlike "Sunshine" which while I appreciate its quality, is just a bit "saccharine" for me, this is a powerful track!

    Now Stevie insisted on playing most of the instruments on most of his tracks, but with this track when he learned that Jeff Beck was interested in collaborating, he agreed and they worked on the track together. In fact it was Beck who came up with the pulse - the opening drum beat for Superstition. Stevie was also happy for Beck to record and release his version of this track before Talking Book was released. Yet fate has a way of intervening and due to some issues within Beck's then new trio, Beck, Bogert and Appice - and the fact that Berry Gordy Jnr wasn't happy with this arrangement as he knew they had a big hit on their hands if they got it out first, the Stevie Wonder/Jeff Beck version was released first.

    It has to be one of the funkiest openings to any track and so represents the wonderful voice of Stevie Wonder who just makes vocal delivery sound so damn easy. It also has one of the most infectious repetitive lines of any track from that decade.


    Superstition


    I have gone no further than track 2 - which is You Haven't Done Nothin' , which was on the 1974 Fulfillingness First Finale album. A quick word about the album, my opinion is that it is an album of two parts - there are tracks in one part that are quite sombre and then there are some very powerful arranged pieces, and this track sits nicely in that second category.

    Like much of his work from 1972 onward, the track has its fair share of early technology, with early synthesisers, and a very early drum machine featuring heavily - but I think the drum machine almost spoils the track - crude and basic with a rather 'tinny" sound - but the instrumentation and playing in the rest of the piece soon makes up for this.

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    You Haven't Done Nothin'


    The track was released as a single and reached the #1 position on the charts. It starts in a way that is kind of reminiscent of Superstition but quickly establishes itself in its own right. The track was a direct political statement by Stevie Wonder - the young "Little" Stevie really had grown up and faced with the disturbing events surrounding the Nixon years - Stevie Wonder directs the track directly at the then discredited President Nixon. It's a really punchy piece and the punch of the instrumentation supports the punch of Wonder's lyrics.

    We are amazed but not amused
    By all the things you say that you'll do
    Though much concerned but not involved
    With decisions that are made by you

    But we are sick and tired of hearing your song
    Telling how you are gonna change right from wrong
    'Cause if you really want to hear our views
    "You haven't done nothing"!

    It's not too cool to be ridiculed
    But you brought this upon yourself
    The world is tired of pacifiers
    We want the truth and nothing else

    And we are sick and tired of hearing your song
    Telling how you are gonna change right from wrong
    'Cause if you really want to hear our views
    "You haven't done nothing"!

    Jackson 5 join along with me say
    Doo doo wop - hey hey hey
    Doo doo wop - wow wow wow
    Doo doo wop - co co co
    Doo doo wop - naw naw naw
    Doo doo wop - bum bum bum
    Doo doo wop

    We would not care to wake up to the nightmare
    That's becoming real life
    But when mislead who knows a person's mind
    Can turn as cold as ice un hum

    Why do you keep on making us hear your song
    Telling us how you are changing right from wrong
    'Cause if you really want to hear our views
    "You haven't done nothing"!
    Yeah

    Jackson 5 sing along again say
    Doo doo wop
    Doo doo wop - oh
    Doo doo wop - co co co
    Doo doo wop - sing it baby
    Doo doo wop - bum bum bum
    Doo doo wop - um
    Sing it loud for your people say
    Doo doo wop - um um um

    Doo doo wop - stand up be counted, say
    Doo doo wop - co co co
    Doo doo wop - ow
    Doo doo wop - bum bum bum
    Doo doo wop - ah hum

    And, Yes! It is the Jackson 5 supporting Stevie in the chorus. Coincidence? Nixon resigned two days after the track was released.


    You Haven't Done Nothin'


    Track 3 on side one of album one is from the Innervisions album (incidentally one of his best albums) and is Living In The City. The track was one of Innervisions central pieces and remains one of the only moments in Wonder’s career as a politically-minded pop star where he allows himself to come face to face with utter pessimism, or is it realism? He seems to give into it totally including what has been described as giving in and caves in to it wholesale underpinning frustration with the track ending with Noooo!

    It kicks of with a gently panned and rather bouncy bassline underpinning a simple but effective piano line. One of his longest pieces at over seven minutes it is an eyes wide open description of what is must have been like in the black areas of America at that time (in fact has it really changed that much?). Once again his delivery is impeccable but I must say to my ears, that while he was using some cutting edge instruments at the time they now sound a bit corny, if not empty - but that is the trouble with technology, it dates very quickly. This doesn't take away from the fact that it still is a genuinely great track.


    Living In The City


    Turning the album over to track 2, I have looked at track 1 - Superwoman (Where Were You When I Needed You). If I wasn't going to play one track from each album that contributed to this particular album, i would leave the track alone. It comes from the 1972 album Music Of My Mind, and while the album did kind of represent the move into a more "adult" form. I find that most of the tracks are either too "gimmicky" with the use of the then embryonic synths and effects, and frankly while a couple of tracks were released as singles, namely Keep On Running, and this track, Superwoman, the album left me a bit cold.

    Superwoman is an eight and a bit minute track. I am somewhat bemused by the fact that it actually reached #33 on the Top 100 in 1972, the year it was released. Variously termed soul and alien, the track and indeed the album, was a reflection of the fact that at last Wonder was given total control over his music, and set about playing everything himself and I think he failed to have anyone around to use as a sounding board. Sometimes being given 'your g=head", is not a good thing.

    Whilst writing, playing and producing everything is an achievement in itself, there is "magic" that forms when musicians play together and find a groove, a synergy. That just doesn't happen when a muso plays everything himself. Part of the reason such a long and unnecessarily so track gained favour may have been that it was a single, and at this time Stevie Wonder could almost do no wrong.

    Mind you, once you get past the "techno" elements - which rather bizarrely became the mainstream of production in decades to come - there is one very strong element in this track - It does have a mighty strong and mutating melody that strongly reflects not only Wonder's love of jazz and his ability to slip it into the "popular" form of the day. No wonder (if you forgive the pun) that so very skilled jazz musos, like Ramsey Lewis, went on to cover the track and add their own feel. It also has an old music "trick" in its form, where Wonder both sings the story of Mary (the "star" of the track), while also playing the part of a narrator.

    So if you have forgotten the track, or maybe never heard it, then check it out and see what response it invokes in you.


    Superwoman (Where Were You When I Needed You.


    Track 2 - Send One Your Love is yet another track I would not normally consider as featuring when talking or writing about Stevie Wonder, but as i have said earlier, I'll pick a track from every album represented and, this is the only track from the 1979 - Journey Through The Secret Life Of Plants. It would be easy to be critical of this album, it was experimental in many ways in fact it was a very early experiment in pure digital recording and is believed to be the first "popular" digitally recorded album. Once again Wonder used whatever cutting edge techno instruments he could get his hands on, such as the digital sampling synth - the Melodian.

    However it is rarely, if ever, that an album becomes popular based upon the instruments used. In fact this is probably the least popular of any Stevie Wonder album produced, because the listeners just didn't get it!

    Rolling Stone said of this album, "
    Stevie Wonder presumes nature to exist in a state of pure innocence. Thus, the presexual condition of children is equated with green, tender sprouts — a neat, bold leap. Less neat and bold is the sad fact that, probably for the same reason, Wonder's longtime musical representation of sensual awareness — tough, terse R&B and rock & roll — never penetrates Journey through the Secret Life of Plants."

    The problem is, that there are little gems of beauty hidden throughout the album, but brother, you have to have some serious "stickability" to sit through some pretty tedious moments to come across those gems. It seemed as though Stevie was totally enamoured with the concept of having the book by the same name read to him, while he then scored and played around with the ideas that came to him. The music was then used to support the film by the same name - but really, it was a brave and sometimes interesting experiment - but it plain and simply failed to work.

    So what of the track Send One Your Love? Well, released as a single it actually reached the #4 position in the charts. It does little for me, how does it affect you?


    Send One Your Love


    We jump to album 2, side one track 2 - Sir Duke, which was on the 1976 Songs From The Key Of Life Album. This track is a very upbeat and happy track and Wonder wrote it as a tribute to a man who had considerable influence on him - Duke Ellington who died around 2 years previously. The lyrics share his joy for the music of the jazz greats led by Ellington, but as the lyrics reveal, he also paid homage to Louis Armstrong, Glenn Miller, Count Basie, and Ella Fitzgerald.

    It's a bloody infectious track and was a great (still is) a great track to dance to.

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    1976

    The track was very popular reaching #1 in both the R&B and the Top 100 Charts and reached #2 in England.

    Music is a world within itself
    With a language we all understand
    With an equal opportunity
    For all to sing, dance and clap their hands
    But just because a record has a groove
    Don't make it in the groove
    But you can tell right away at letter A
    When the people start to move

    They can feel it all over
    They can feel it all over people
    They can feel it all over
    They can feel it all over people

    Music knows it is and always will
    Be one of the things that life just won't quit
    But here are some of music's pioneers
    That time will not allow us to forget
    For there's Basie, Miller, Satchmo
    And the king of all Sir Duke
    And with a voice like Ella's ringing out
    There's no way the band can lose

    You can feel it all over
    You can feel it all over people
    You can feel it all over
    You can feel it all over people

    You can feel it all over
    You can feel it all over people
    You can feel it all over
    You can feel it all over people

    You can feel it all over
    You can feel it all over people
    You can feel it all over
    You can feel it all over people

    You can feel it all over
    You can feel it all over people
    You can feel it all over
    I can feel it all over-all over now people

    Can't you feel it all over
    Come on let's feel it all over people
    You can feel it all over
    Everybody-all over people


    Sir Duke


    The following track on this album, track 3, was from the 1980 Hotter Than July album and is Master Blaster [sub-titled "Jammin']. Ok this is one "mother" of a hot track. A damn fine reggae track. Stevie Wonder tracks are always top productions but to my ears this one stands out as one of his best ever ! It's so full of energy it is one of those rare tracks where if your feet aren't moving, then either they are nailed to the floor or, you are just plain dead!

    You would not need to be a Rhodes Scholar in music to not work out that it could only be an ode to one man - the great Bob Marley - who also had a track Jammin' and there is absolutely no point even considering which is the better - they are different songs, by two top black artists and a just both out of this world! For me, revisiting this track after a lengthy absence from playing it was the highlight of this whole album.


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    1980

    This is a great uplifting track to go out on.


    Master Blaster


    So what we have, is an album that has on it, some some of the best tracks Stevie Wonder has recorded which reminds us that not only was he, and indeed is he, extremely talented, but that he had an amazing knack for engaging his listeners and transferring his energy and love through his music. But every coin has two sides, and the other side is that there are also tracks that remind us that even a musical genius will "bomb out" sometimes.

    Overall Original Musiquarium I is a most excellent album indeed and if tracks whet your appetite then you go and buy the particular album that track or tracks came from, but you might consider buying this one as it stands on its own and as a very good example of the amazing music of Stevie Wonder.

    There are any number of copies of the re-released Cd available and even cassette copies (like who still has a working cassette player?), but the vinyl version is a bit harder to find. If you do find a vinyl copy you could expect to pay up to Au$50.00 dependent upon condition.

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    VIDEOS - Here are a selection of live performances of tracks on this album by Stevie, as located on Youtube.


    You Are The Sunshine Of My Life - 1974


    Higher ground - 1974


    Boogie On Reggae Woman - 2011


    Isn't She Lovely - 1990


    Master Blaster - 1980


    If you are interested in checking out the first fifty vinyl albums reviewed, just click here

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    If you are interested in checking out the first fifty (50) CD's reviewed, just click here

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    If you are interested in checking out reviews 101 to 150 (Vinyl & CD), just click here

    ​​​
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    ​​​
    Past album Reviews - Numbers 151 onward:

    Number 151 - The Shaggs: Philosophy Of The World
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    Number 153 - Omar Khorshid: Live in Australia 1981
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    Number 154 - Alan Parsons Project: Tales of Mystery and Imagination (Edgar Allan Poe)
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    Number 155 - Billy Thorpe: Tangier
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    Number 156 - Aretha Franklin: The Best Of
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    Number 157 - Big Bill Broonzy: Big Bill Blues [His 23 Greatest Songs]
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    Number 158 - The Supremes: Where Did Our Love Go
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    Number 159 - The Band: Stage Fright
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    Number 160 - Ray Brown & The Whispers: Hits and More 1965 - 1968
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    Number 161 - Guitar Junior: The Crawl
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    Number 162 - Jimi Hendrix: Radio One
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    Number 163 - Memphis Minnie: Queen Of The Blues
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    Number 164 - Eno: Taking Tiger Mountain (By Strategy)
    tooraktimes.com.au/content.php/5583-Cream-of-The-Crate-Album-164-Eno-Taking-Tiger-Mountain-(by-Strategy)

    Number 165 - The Loved Ones: Magic Box
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    Number 166 - Various Artists: On The Road Again [An Anthology Of Chicago Blues 1947 - 1954]
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    Number 167 - Janis Joplin: Greatest Hits
    tooraktimes.com.au/content.php/5629-Cream-of-The-Crate-Album-167-Janis-Joplin-Greatest-Hits

    Number 168 - David Bowie: Ziggy Stardust
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    Number 171 - Bob Marley and The Wailers - Legend
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    Number 172 - Coco Taylor: What It takes

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      "These are not necessarily the best known Lightnin' Hopkins tracks, but in many ways that makes this CD even more valuable."
      (This review)



      This is album review number One Hundred and Ninety Nine in the series of retro-reviews of both vinyl and CD albums from my collection.
      ...
      19 August 2016, 10:24 AM
    • Cream of The Crate: Album # 198 - John Lennon: Plastic Ono Band
      by Rob Greaves
      "The reality of Plastic Ono Band is that it contains eleven of Lennon’s most accessible and gorgeous melodies and riffs." (Gerry Mullholand - BBC review 2010)
      "An album that will be as much analysed as Sgt. Pepper over the years." (Billboard - 1971)
      "
      It remains one of the most audacious, iconoclastic albums in all of rock and roll." (Guitar World 2016)
      "
      The album certainly shows that he had yet to work through many unresolved matters, and that he still had much anger in him. However he was a brilliant man and knew how to channel these elements in such a way to create some brilliant, memorable and haunting tracks." (This review)


      ...
      11 August 2016, 12:14 PM
    • Cream of The Crate: Album # 197 - Sam and Dave: The Best Of
      by Rob Greaves
      "Sam Moore and Dave Prater's string of soul and pop hits made them the '60s' most successful black vocal duo." (The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001)
      "Sam & Dave created some of their century's most enduring music in the pop form." (Stylus Magazine January 2007)
      "
      There can be no argument that as a duo, Sam and Dave introduced the previously successful sound of the black church music, so successfully to pop music." (This review)



      This is album review number One Hundred and Ninety Seven in the series of retro-reviews of both vinyl and CD albums from my collection.
      ...
      5 August 2016, 08:52 AM
    • Cream of The Crate: Album # 196 - Ma Rainey: Ma Rainey
      by Rob Greaves
      "Her deep, almost-vibratoless contralto sounded rough and unsophisticated compared to other commercial blueswomen but she projected a great depth of feeling and was adored by audiences." (US Library of Congress
      "Ma Rainey was one of the first singers to popularize the style (the blues)." (Joe McGasko - Bio May 2015)
      "
      When we listen to Ma Rainey, the recordings are very crude, but even so the power and mesmerism of her voice shows that pure talent and commitment to an audience makes Ma Rainey stand out even more today.
      " (This review)



      This is album review number One Hundred and Ninety Six in the series of retro-reviews of both vinyl and CD albums from my collection.
      ...
      29 July 2016, 10:18 AM
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