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Quiet Fire
Roberta Flack
Soul - Released November 1, 1971 | Rhino Atlantic
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Quiet Fire proves to be an apt title, as Flack's MOR-informed jazz and gospel vocals simmer just below the surface on the eight sides here. Forgoing the full-throttled delivery of, say, Aretha Franklin, Flack translates the pathos of gospel expression into measured intensity and sighing, elongated phrases. There's even a bit of Carole King's ashen tone in Flack's voice, as manifested on songs like "Let Them Talk," Van McCoy's "Sweet Bitter Love," and a meditative reworking of King's "Will You Still Love Me Tomorrow." The album's other high-profile cover, "Bridge Over Troubled Waters," features the ideal setting for Flack's airy pipes with a tasteful backdrop of strings and a chorus featuring soul songstress Cissy Houston (Whitney's mom). Switching from this hushed sanctity, Flack digs into some groove-heavy southern soul on "Go Up Moses," "Sunday and Sister Jones," and an amazing version of the Bee Gees hit "To Love Somebody" (this perennial number has been done by everyone from Rita Marley to Hank Williams, Jr.). Flack finally completes the modern triumvirate of southern music, adding the country tones of Jimmy Webb's "See You Then" to the Quiet Fire's stock of gospel and soul. And thanks to top players like guitarist Hugh McCracken, organist Richard Tee, bassist Chuck Rainey, and drummer Bernard Purdie, the varied mix all comes off sounding seamless. One of Flack's best.© Stephen Cook /TiVo
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Punch The Clock
Elvis Costello
Rock - Released August 5, 1983 | UMe - Elvis Costello
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Perhaps frustrated by the lack of commercial success Imperial Bedroom encountered, Elvis Costello enlisted British hitmakers Clive Langer and Alan Winstanley to produce its follow-up, Punch the Clock. The difference between the two records is immediately noticeable. Punch the Clock has a slick, glossy surface, complete with layered synthesizers, horns, studio effects, and the backup vocals of Afrodiziak. The approach isn't necessarily a misguided one, since Costello is as much a pop musician as he is a singer/songwriter and many of the best moments on the record -- "Everyday I Write the Book," "Let Them All Talk" -- work well as shiny pop singles. However, the problem with Punch the Clock is that Costello is entering a fallow songwriting period; it is his least consistent set of original songs to date. The best moments, the antiwar ballad "Shipbuilding" and the eerie pseudo-rap "Pills and Soap," are as articulate and effective as any of his past work, but frequently Costello falls short of meeting his standards, particularly when he's trying to write a song in the style of his older songs. Nevertheless, the sheen of the Langer and Winstanley production makes Punch the Clock a pleasurable listen. Costello's uneven writing means that only portions of the album are memorable.© Stephen Thomas Erlewine /TiVo
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Sam Fribush Organ Trio, Vol. I: Riverboat
Sam Fribush
Jazz - Released March 5, 2021 | CHM
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Let Them Talk
Hugh Laurie
Blues - Released April 18, 2011 | WM UK
Music has been present in Hugh Laurie’s career in some form or another since the days of Fry & Laurie, even working its way into House, the American television series that turned him into an international star in the 2000s. Without House, Laurie would never have been granted the opportunity to record an album like 2011’s Let Them Talk, a full-blooded immersion into American blues via New Orleans, shepherded by acclaimed roots producer Joe Henry and featuring such Big Easy heavy-hitters as Allen Toussaint, Dr. John, and Irma Thomas. To his enormous credit, Laurie never sounds like a dilettante among this group; he holds his own, working his way into the marrow of the songs, playing credible piano throughout the record. Which isn’t to say that he quite makes this selection of standards his own, either. There are reworkings and reinterpretations, “Tipitina” in particular being turned on its head, but the problem with Let Them Talk isn’t the guts and blood of the music, or the slightly studious air Henry cultivates. No, the problem is how Laurie’s blues accent inevitably slides into affectations quite familiar from House. He can’t help it, that’s his American accent, but it’s disarming to have a number cooking along and all of a sudden Princeton Plainsboro’s favorite misanthrope has taken the lead.© Stephen Thomas Erlewine /TiVo
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Let Them Talk
Lezlie Harrison
Vocal Jazz - Released September 15, 2023 | Cellar Live
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Blues on the World
Christian Willisohn
Pop/Rock - Released October 9, 1995 | ENJA RECORDS Matthias Winckelmann
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Quiet Fire
Roberta Flack
Soul - Released November 1, 1971 | Rhino Atlantic
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Quiet Fire proves to be an apt title, as Flack's MOR-informed jazz and gospel vocals simmer just below the surface on the eight sides here. Forgoing the full-throttled delivery of, say, Aretha Franklin, Flack translates the pathos of gospel expression into measured intensity and sighing, elongated phrases. There's even a bit of Carole King's ashen tone in Flack's voice, as manifested on songs like "Let Them Talk," Van McCoy's "Sweet Bitter Love," and a meditative reworking of King's "Will You Still Love Me Tomorrow." The album's other high-profile cover, "Bridge Over Troubled Waters," features the ideal setting for Flack's airy pipes with a tasteful backdrop of strings and a chorus featuring soul songstress Cissy Houston (Whitney's mom). Switching from this hushed sanctity, Flack digs into some groove-heavy southern soul on "Go Up Moses," "Sunday and Sister Jones," and an amazing version of the Bee Gees hit "To Love Somebody" (this perennial number has been done by everyone from Rita Marley to Hank Williams, Jr.). Flack finally completes the modern triumvirate of southern music, adding the country tones of Jimmy Webb's "See You Then" to the Quiet Fire's stock of gospel and soul. And thanks to top players like guitarist Hugh McCracken, organist Richard Tee, bassist Chuck Rainey, and drummer Bernard Purdie, the varied mix all comes off sounding seamless. One of Flack's best.© Stephen Cook /TiVo
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Quiet Fire
Roberta Flack
Pop - Released November 1, 1971 | Atlantic Records
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The Qobuz Ideal Discography
Quiet Fire proves to be an apt title, as Flack's MOR-informed jazz and gospel vocals simmer just below the surface on the eight sides here. Forgoing the full-throttled delivery of, say, Aretha Franklin, Flack translates the pathos of gospel expression into measured intensity and sighing, elongated phrases. There's even a bit of Carole King's ashen tone in Flack's voice, as manifested on songs like "Let Them Talk," Van McCoy's "Sweet Bitter Love," and a meditative reworking of King's "Will You Still Love Me Tomorrow." The album's other high-profile cover, "Bridge Over Troubled Waters," features the ideal setting for Flack's airy pipes with a tasteful backdrop of strings and a chorus featuring soul songstress Cissy Houston (Whitney's mom). Switching from this hushed sanctity, Flack digs into some groove-heavy southern soul on "Go Up Moses," "Sunday and Sister Jones," and an amazing version of the Bee Gees hit "To Love Somebody" (this perennial number has been done by everyone from Rita Marley to Hank Williams, Jr.). Flack finally completes the modern triumvirate of southern music, adding the country tones of Jimmy Webb's "See You Then" to the Quiet Fire's stock of gospel and soul. And thanks to top players like guitarist Hugh McCracken, organist Richard Tee, bassist Chuck Rainey, and drummer Bernard Purdie, the varied mix all comes off sounding seamless. One of Flack's best.© Stephen Cook /TiVo
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Say It Loud - I'm Black And I'm Proud
James Brown
R&B - Released March 1, 1969 | Universal Records
Although historical evaluations of James Brown's work during the last half of the '60s tend to focus on the innovative funk of his biggest hit singles, his repertoire -- both live and on record -- in fact remained pretty versatile. Like his other '60s studio albums, Say It Loud - I'm Black and I'm Proud is more R&B/pop-conscious than a lot of listeners would expect, mixing the funky monsters "Say It Loud (I'm Black and I'm Proud)" and "Licking Stick" with soul ballads. It's a notch above similar albums from earlier in the decade, however, in that the slow numbers are usually gritty slow-burns that eschew syrupy orchestration.© Richie Unterberger /TiVo
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Let Them Talk
Trippynova
Electronic - Released July 22, 2022 | Music Brokers
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Mr. Jukebox
Joshua Hedley
Country - Released April 19, 2018 | Third Man Records LLC
The very title Mr. Jukebox signals that Joshua Hedley's 2018 debut album is a throwback to an older time -- one when jukeboxes were a common sight in the corner bar. Roughly, that would be the '60s, and from its honeyed production to its dollar-bin cover art, that's precisely the era Hedley evokes on this swift 30-minute album. Hedley's fantasia of '60s country is constructed in equal parts from Nashville and Texas: he can kick up some dust on a hardwood honky tonk floor, but the music is given a warm, shiny polish and tight arrangements that recall the heyday of the Music City. If Hedley is sometimes a bit too tidy a singer, that suits the precision tuning of his music. This isn't a casual reconstruction of a bygone era; it's a careful reconstruction of all the attributes of '60s mainstream country. It's pretty irresistible as a sheer time capsule, but Hedley isn't relying just on sonics; he constructs ten sturdy songs that give Mr. Jukebox the foundation to be something more than nostalgia. By exceeding so well in his craft, Hedley makes the old sounds feel new again.© Stephen Thomas Erlewine /TiVo
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Let Them All Talk (Original Motion Picture Soundtrack)
Thomas Newman
Film Soundtracks - Released December 18, 2020 | WaterTower Music
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Let's Give Them Pumpkin To Talk About
Puddles Pity Party
Rock - Released October 28, 2022 | 3674857 Records DK2
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Let Them Talk
Lillian Boutté
Jazz - Released October 25, 1986 | Storyville Records
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Let Them Talk
Davell Crawford
Jazz - Released July 5, 1995 | Rounder
Although hard bop/soul-jazz was the main focus of Davell Crawford's sophomore effort, The B-3 and Me, it would be a mistake to think that he plays jazz exclusively. In fact, gospel and classic New Orleans R&B were the main focus of his enjoyable debut album, Let Them Talk, which was recorded when Crawford was only 19. While Crawford was heard mainly as a Jimmy Smith-type jazz organist on The B-3 and Me, his piano and vocals are much more prominent on this likable CD. As an acoustic pianist, Crawford draws heavily on Professor Longhair and James Booker, and his passionate, full-bodied R&B singing on "You Game Me Love," "Something You Got" and "Still In Love" are influenced by the great recordings that Fats Domino and Longhair made in the 1950s. Considering that most of Crawford's peers in the Black community were mainly into rap and urban contemporary in the mid-1990s, it's hard not to be impressed by his command of older African-American styles.© Alex Henderson /TiVo
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Let Them Talk
The Blue Butter Pot
Blues - Released May 24, 2019 | Les facéties de Lulusam
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