Gaye Adegbalola - Bitter Sweet Blues (1999)
BAND/ARTIST: Gaye Adegbalola
- Title: Bitter Sweet Blues
- Year Of Release: 1999
- Label: Alligator Records
- Genre: Blues
- Quality: flac lossless (tracks)
- Total Time: 00:49:11
- Total Size: 284 mb
- WebSite: Album Preview
Tracklist
01. She Just Wants To Dance
02. Need A Little Sugar In My Bowl
03. You Don't Have To Take It (Like I Did)
04. Big Ovaries, Baby
05. Nothing's Changed
06. You Really Got A Hold On Me
07. The Dog Was Here First
08. Front Door Blues
09. Only One Truth
10. Prove It On Me Blues
11. Jail House Blues
12. Images
13. Nightmare
14. Let Go, Let God
With Bitter Sweet Blues, Gaye Adegbalola has produced an album that starts off where her work with Saffire the Uppity Blues Women left off, and jumps into a new, adventurous space. An expanded cast of musicians and more personal lyrics are some of the benefits to going solo, and Adegbalola makes use of both well. Each song has either humor or power, sometimes both. The only thing that seems incongruous is the mixture of songs with wildly varying moods and topics. While satirical woman-power songs like "Big Ovaries" are empowering and funny, when paired with "Nightmare" -- a powerful, personal song about child molestation -- the effect is somewhat gross. The feminist politics of both songs mesh rather well, but it is difficult for the listener to shift from laughing at bawdy sexuality to somber empathy in just a few tracks. Overall, though, this is a fine first solo effort that resonates with spirit and emotion.
01. She Just Wants To Dance
02. Need A Little Sugar In My Bowl
03. You Don't Have To Take It (Like I Did)
04. Big Ovaries, Baby
05. Nothing's Changed
06. You Really Got A Hold On Me
07. The Dog Was Here First
08. Front Door Blues
09. Only One Truth
10. Prove It On Me Blues
11. Jail House Blues
12. Images
13. Nightmare
14. Let Go, Let God
With Bitter Sweet Blues, Gaye Adegbalola has produced an album that starts off where her work with Saffire the Uppity Blues Women left off, and jumps into a new, adventurous space. An expanded cast of musicians and more personal lyrics are some of the benefits to going solo, and Adegbalola makes use of both well. Each song has either humor or power, sometimes both. The only thing that seems incongruous is the mixture of songs with wildly varying moods and topics. While satirical woman-power songs like "Big Ovaries" are empowering and funny, when paired with "Nightmare" -- a powerful, personal song about child molestation -- the effect is somewhat gross. The feminist politics of both songs mesh rather well, but it is difficult for the listener to shift from laughing at bawdy sexuality to somber empathy in just a few tracks. Overall, though, this is a fine first solo effort that resonates with spirit and emotion.
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