Bettye Swann: The Very Best Of Bettye Swann (CD)

Bettye Swann: The Very Best Of Bettye Swann

Bettye Swann

The Very Best Of Bettye Swann

CD (Compact Disc)

Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.

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EUR 15,99*

Versandkosten

Label:: Ace
Artikelnummer:: 8299418
UPC/EAN:: 0029667243827
Erscheinungstermin:: 9.10.2015

Product Information

- Bettye Swann had a good career but not a spectacular one. She had the one big hit ›Make Me Yours‹, another five respectable ones and four more that made the lower reaches of the charts. But the twenty-odd singles and three LPs issued were of such high quality that although her soul styles crossed from the Motown sound, to country and on to the Philly soul era, she is spoken of with much respect and some awe by all soul fans.

- Recording with Arthur Wright at Money, Wayne Shuler at Capitol, Rick Hall at Fame and Atlantic and later Tony Bell, Phil Hurtt and LeBaron Taylor at Atlantic gave her recordings the best credentials and in nearly all cases, sympathetic productions for Bettye's beautiful voice.

- She began her career as a shy teenager, with a handful of songs she wrote herself and recorded in Los Angeles with Arthur Wright. They were classic 60s soul from the upbeat ›I Think I'm Falling In Love‹ to the mid-tempo charm and magic of ›Make Me Yours‹. The move to Capitol in 1968 saw her singing country influenced soul songs, loved by southern soul fans and ballads such as ›My Heart Is Closed For The Season‹ and Chip Taylor's ›Angel Of The Morning‹. Fame recordings at Muscle Shoals cemented the southern link, continued at Atlantic with the George Jackson and Mickey Buckins song ›Victim Of A Foolish Heart‹. A change of tack saw her sent to Philadelphia for uptempo dance sides ›Kiss My Love Goodbye‹ and ›When The Game Is Played On You‹ but there was still room for gorgeous ballads such as ›Time To Say Goodbye‹. Despite the brilliance of her released sides, it could be argued that Atlantic left the best number in the can: ›Either You Love Me Or Leave Me‹. Also neglected was the superb mid-tempo beauty of ›I Want Sunday Back Again‹.