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Soul - Publicado el 30 de marzo de 2018 | Verve

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Una de las grandes vocalistas del soul, que ya ha entrado en el Great American Songbook con sus canciones socialmente comprometidas, vuelve a la carga. Y lo hace con un proyecto que parecería anclado en la década de los 60, pero que despierta incontestables ecos en la dividida y conmocionada Norteamérica de Trump… Consagrando este disco exclusivamente a versiones de Bob Dylan, Bettye LaVette desea hacer oír su voz tanto en sentido literal como metafórico. Things Have Changed, producido por Steve Jordan y en el que participan entre otros Keith Richards y Trombone Shorty, alterna el soul vintage y cálido con trallazos funky e, incluso, decididamente rock & roll. Por lo demás, la soul sister originaria de Michigan ratifica que, pasados los 72 años, está todavía muy lejos del retiro… Ya en 2005 LaVette había protagonizado un hermoso comeback con el álbum I’ve Got My Own Hell To Raise, constituido por impactantes relecturas de temas de Sinéad O'Connor, Lucinda Williams, Joan Armatrading, Rosanne Cash, Dolly Parton, Aimee Mann y Fiona Apple. Dos años más tarde, confirmaba su inmejorable estado de forma con The Scene Of The Crime, donde revisitaba piezas de Eddie Hinton, George Jones, Willie Nelson, Ray Charles, John Hiatt y Elton John. Y como no hay dos sin tres, Interpretations: The British Rock Songbook, editado en 2010, recogía incendiarias interpretaciones de los Beatles, Rolling Stones, Traffic, Animals, Led Zep, George Harrison, Pink Floyd, Ringo Starr, Paul McCartney, Moody Blues, Derek & The Dominos y los Who… En esta ocasión se sitúa por encima de muchos haciendo suyo el repertorio dylaniano con sobrecogedora honestidad. Esto es Arte, con mayúsculas. © Max Dembo/Qobuz
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Soul - Publicado el 28 de agosto de 2020 | Verve

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Bettye LaVette took a long time to achieve the success she deserved (and one could reasonably argue she still deserves to be much more famous than she is), in large part because she's hard to pin down stylistically. She's a performer in the tradition of the great Southern soul singers of the '60s, she sings with the fearless emotional depth of a blues artist, and she's willing to linger over a song, investigating its musical and lyrical peaks and valleys, with the thoughtful curiosity of a jazz artist. LaVette clearly doesn't worry about genre, as she's far more concerned with her music than where it's filed, and 2020's Blackbirds is another great example of what she does and how well she does it. Like most of LaVette's albums since her mid-2000s rediscovery, Blackbirds is a themed effort, mostly made up of songs previously recorded by African-American female artists (with the exception of her transformative cover of the Beatles' "Blackbird"), and the set list suggests her smarts in choosing her material is on a par with her skills in front of the microphone. LaVette is one of the finest interpretive singers of her generation, with remarkable instincts about where to take a song, and Blackbirds is absolutely up to her high standards. Producer Steve Jordan (who also plays drums) has given her a band that's supportive without stepping on her performances, and she tackles the songs with an assurance that comes with experience. Anyone who tries to sing "Strange Fruit" is either brave or foolish, given that Billie Holiday's 1939 recording remains the gold standard for that song; LaVette is no fool, and there's an undertow of bitter defiance boiling beneath the surface that not only gives it a fresh accent but emphasizes how unfortunately timely the lyrics are in 2020. On Blackbirds, she also honors Ruth Brown, Nina Simone, and Etta Jones, among others, not by following the lead of the previous recordings of these tunes, but by taking what she's learned from other gifted artists and investing it into her own interpretations that lend the music new life and energy. If you believed there was nothing much left to be discovered in covering the Beatles, listen to the take of "Blackbird" that closes this LP and be amazed at how LaVette turns it into a deeply individual message of strength and survival. The R&B and Top 40 charts weren't quite ready for Bettye LaVette in the '60s and '70s and probably still aren't. However, now that she's earned her reputation as a great American vocalist, Blackbirds is proof that she's not resting on her reputation, and hearing her explore the architecture of a great song is a rare treat to be valued. © Mark Deming /TiVo
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Pop - Publicado el 25 de mayo de 2010 | Anti - Epitaph

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Soul - Publicado el 25 de septiembre de 2012 | Anti - Epitaph

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Soul - Publicado el 12 de febrero de 2016 | Cherry Red Records

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CD20,49 €

Hip-Hop/Rap - Publicado el 25 de marzo de 2005 | Parlophone UK

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Soul - Publicado el 9 de febrero de 2006 | Rhino Atlantic

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Pop - Publicado el 27 de septiembre de 2005 | Anti - Epitaph

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Pop - Publicado el 25 de septiembre de 2007 | Anti - Epitaph

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Blues - Publicado el 1 de enero de 2006 | Blues Express, Inc.

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CD5,99 €

Alternativa & Indie - Publicado el 1 de enero de 2000 | Munich Records

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CD10,99 €

Soul - Publicado el 26 de enero de 2015 | Cherry Red Records

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Soul - Publicado el 28 de agosto de 2020 | Verve

Bettye LaVette took a long time to achieve the success she deserved (and one could reasonably argue she still deserves to be much more famous than she is), in large part because she's hard to pin down stylistically. She's a performer in the tradition of the great Southern soul singers of the '60s, she sings with the fearless emotional depth of a blues artist, and she's willing to linger over a song, investigating its musical and lyrical peaks and valleys, with the thoughtful curiosity of a jazz artist. LaVette clearly doesn't worry about genre, as she's far more concerned with her music than where it's filed, and 2020's Blackbirds is another great example of what she does and how well she does it. Like most of LaVette's albums since her mid-2000s rediscovery, Blackbirds is a themed effort, mostly made up of songs previously recorded by African-American female artists (with the exception of her transformative cover of the Beatles' "Blackbird"), and the set list suggests her smarts in choosing her material is on a par with her skills in front of the microphone. LaVette is one of the finest interpretive singers of her generation, with remarkable instincts about where to take a song, and Blackbirds is absolutely up to her high standards. Producer Steve Jordan (who also plays drums) has given her a band that's supportive without stepping on her performances, and she tackles the songs with an assurance that comes with experience. Anyone who tries to sing "Strange Fruit" is either brave or foolish, given that Billie Holiday's 1939 recording remains the gold standard for that song; LaVette is no fool, and there's an undertow of bitter defiance boiling beneath the surface that not only gives it a fresh accent but emphasizes how unfortunately timely the lyrics are in 2020. On Blackbirds, she also honors Ruth Brown, Nina Simone, and Etta Jones, among others, not by following the lead of the previous recordings of these tunes, but by taking what she's learned from other gifted artists and investing it into her own interpretations that lend the music new life and energy. If you believed there was nothing much left to be discovered in covering the Beatles, listen to the take of "Blackbird" that closes this LP and be amazed at how LaVette turns it into a deeply individual message of strength and survival. The R&B and Top 40 charts weren't quite ready for Bettye LaVette in the '60s and '70s and probably still aren't. However, now that she's earned her reputation as a great American vocalist, Blackbirds is proof that she's not resting on her reputation, and hearing her explore the architecture of a great song is a rare treat to be valued. © Mark Deming /TiVo
A partir de:
CD13,99 €

Soul - Publicado el 30 de marzo de 2018 | Verve

Una de las grandes vocalistas del soul, que ya ha entrado en el Great American Songbook con sus canciones socialmente comprometidas, vuelve a la carga. Y lo hace con un proyecto que parecería anclado en la década de los 60, pero que despierta incontestables ecos en la dividida y conmocionada Norteamérica de Trump… Consagrando este disco exclusivamente a versiones de Bob Dylan, Bettye LaVette desea hacer oír su voz tanto en sentido literal como metafórico. Things Have Changed, producido por Steve Jordan y en el que participan entre otros Keith Richards y Trombone Shorty, alterna el soul vintage y cálido con trallazos funky e, incluso, decididamente rock & roll. Por lo demás, la soul sister originaria de Michigan ratifica que, pasados los 72 años, está todavía muy lejos del retiro… Ya en 2005 LaVette había protagonizado un hermoso comeback con el álbum I’ve Got My Own Hell To Raise, constituido por impactantes relecturas de temas de Sinéad O'Connor, Lucinda Williams, Joan Armatrading, Rosanne Cash, Dolly Parton, Aimee Mann y Fiona Apple. Dos años más tarde, confirmaba su inmejorable estado de forma con The Scene Of The Crime, donde revisitaba piezas de Eddie Hinton, George Jones, Willie Nelson, Ray Charles, John Hiatt y Elton John. Y como no hay dos sin tres, Interpretations: The British Rock Songbook, editado en 2010, recogía incendiarias interpretaciones de los Beatles, Rolling Stones, Traffic, Animals, Led Zep, George Harrison, Pink Floyd, Ringo Starr, Paul McCartney, Moody Blues, Derek & The Dominos y los Who… En esta ocasión se sitúa por encima de muchos haciendo suyo el repertorio dylaniano con sobrecogedora honestidad. Esto es Arte, con mayúsculas. © Max Dembo/Qobuz
A partir de:
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Soul - Publicado el 10 de diciembre de 2012 | Charly

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R&B - Publicado el 12 de junio de 2006 | Charly Records

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CD3,99 €

Soul - Publicado el 16 de junio de 2009 | Anti - Epitaph

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CD12,49 €

R&B - Publicado el 1 de enero de 2008 | UNI - MOTOWN

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CD1,99 €

Soul - Publicado el 23 de noviembre de 2012 | Anti - Epitaph

Blues - Publicado el 26 de enero de 2018 | Verve

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