In Blue

Editorial Reviews
Amazon.com
There's nothing like the sound of a singer coming into her own. Following up her first-rate, song-by-song traversal of John Coltrane's Ballads, on which she closely followed the original arrangements, Karrin Allyson here cuts consistently fresh paths through a choice set of blues and blues-inspired tunes. There is never a moment when she takes a tune for granted--or allows us to. Breathing a sultry intimacy into Bobby Timmons' jazz classic, "Moanin,'" she maximizes Jon Hendricks's lyrics with her rolling-and-tumbling phrasing. Toughening her voice, she could almost be mistaken for Bonnie Raitt on "Love Me Like a Man," one of the blues-rock queen's signature songs. Backed by her fine regular guitarist Danny Embrey and the superb rhythm section of Mulgrew Miller, Peter Washington, and Lewis Nash, she also brings distinction to offbeat selections such as Oscar Brown Jr.'s "Hum Drum Blues," Blossom Dearie's "Bye Bye Country Boy," and Joni Mitchell's "Blue Motel Room." That she knows "The Meaning of the Blues" (she covers that Bobby Troup standard, too) is no surprise. She is, after all, from Kansas City. But the variety of shades she exposes here is worth shouting about. --Lloyd Sachs

Tracks:

I've Got To Use My Imagination
Ain't No Sunshine
Midnight Train To Georgia
Baby Is A Butterfly
Breakfast In Bed
Cream Dream
Natural High
Heart Of Stone
Sara Smile
Eliminate The Night
Break Up To Make Up
I Know What's Goin' On
Alone With You
Kiss And Say Goodbye
Heat Wave
What Becomes Of The Brokenhearted

Amazon.com

On Breakfast in Bed, her first release on Time Life Records (yes, that Time Life) Joan Osborne tackles a crop of hand-picked soul and R&B favorites with equal parts sass and sensitivity. Long an underappreciated artist, Osborne is a performer with the wisdom to exercise vocal restraint for an effect that's more Dusty Springfield than Christina Aguilera. Her fine previous outing interpreting soul standards was aptly titled How Sweet It Is, and witness her contribution to the terrific 2002 film Standing in the Shadows of Motown, where Osborne's astute readings of "What Becomes of the Brokenhearted" and "Heatwave" outshone performers like Ben Harper and Gerald Levert (happily, both songs are included here). The title track and Hall and Oates' "Sara Smile" are both canny choices that play to her strengths in delivering credible blue-eyed soul, and six new Osborne-penned songs fit neatly into the record. If her compositions pale a bit next to the classics she covers (with the sultry and slithery exception of the excellent "Eliminate the Night"), give Osborne credit for bravely placing herself side-by-side with songwriting luminaries like Holland-Dozier-Holland and Bill Withers. Breakfast in Bed makes for a leisurely listen on a sunny Sunday morning, so put up your feet and stay awhile. --Ben Heege

Album Description

Joan Osbourne's recently recorded album pays homage to the great Soul and R&B songs of the late '60s and early '70s. The album features a unique combination of unforgettable interpretations of timeless R&B classics. Her first single to radio will be "I've Got to Use My Imagination."

Customer Reviews:

Fantastic voice and song list.......2007-07-12

Most know Joan for her 90's hit "If God Was One of Us." She is far from those days. Most would be astounded to hear what Joan;s voice is capable of, as that song only trapped her into a simple octave throughout its verses.

Here in "Breakfast In Bed", Joan takes the jazz practice of covering American classics and favorites in her dynamic, raspy alto voice. This is a great CD, my favorites include the live performances of "Heatwave" and "What Becomes of a Broken Hearted" with Motown's Funk Brothers; and classics "Natural High" and "Sara Smile."

Check the song list, if you find any of your old favorites the GET THIS CD, you will definately not be disappointed. However "What Becomes of a Broken Hearted" is worth the $13 alone.

easy, breezy...and sexy...me likes!.......2007-06-30

Okay, my thoughts! I dunno, it seems pretty clear Joan has been really enjoying herself lately. I'm all for that.

Speaking for myself, more times than not, Joan selects covers that are mostly new to me - on this disc, besides the 2 live tracks, I was only familiar with Midnight Train. So, generally, all the songs are new to me. Then again, I like covers and I like how Joan mixes in her own songs. She is a singer, after all! I don't think a true singer should be afraid of (or criticized for) covering songs... Admittedly, if I really had my way with Joan, I'd get her to release all those original songs that have gone unreleased over the years, but this album satisfies just as well. Simply put, it's great.

Honestly, when I first listened to the sound samples online, I wasn't quite sure what to think, but since listening to the full album, I've come to really enjoy it. I think it's an accessible album that everyone can enjoy. Joan's voice sounds unbelievably sexy and gorgeous! I don't dislike the first 2 tracks, but I could do without them at the same time. My favorites from this disc are Baby Is A Butterfly & Heart Of Stone (two originals), and Kiss And Say Goodbye (so good!). I'm not one to hum, but I've found myself randomly humming these songs (like while shopping or lounging in bed).

In any case, all the songs work and sound well alongside each other and I'm glad Joan's being more prolific and enjoying herself.

expected it to be better.......2007-06-30

Her "How Sweet It Is" CD is one of my favorites. On that release, she's in great voice, she covers great material and I think it was very bold to do a CD of all cover tunes. I was excited to find that Joan did a new 70's style CD, but I found that this disk to be just pleasant. It is also somewhat dull... no sparkle, no WOW, no "hey you gotta hear this!". I ain't bad, but if you're tempted, start with the "Sweet" CD.

What To Do About Joan Osborne........2007-06-30

Osborne's career has to be one of the most wasteful careers of all time. This is her sixth studio album, and it is her third in a row consisting MOSTLY of cover songs and NOT original material. Is her hand broken? Can she not write 10 original songs for one new cd? I WANT "RELISH" OR "RIGHTEOUS LOVE". At least the songs not written by her were new songs.

That said, I think Osborne is an excellent vocalist, but her vocals have been squandered by re-doing classic r&b, blues and soul songs. I have to admit that some of her successful covers on "Breakfast In Bed" came in unexpected places. When I looked over the titles I thought, "There's no way she's going to pull off Gladys Knight & The Pips's "I've Got To Use My Imagination", but there she was giving it a fresh coat of new paint. This didn't carry over to the other Gladys Knight & The Pips hit "Midnight Train To Georgia". To me, it was a lifeless interpretation of the original. Likewise, Bill Withers's "Ain't No Sunshine" was a rather bland interpretation. "Natural High" by Bloodstone was unfamiliar to me, so I couldn't compare the original with what Joan had done, but the song was okay, not great. "Breakfast In Bed" is eluding me. I'm not sure if it is a cover song because I've never heard it before. Hall & Oates's "Sara Smile" was treading on dangerous ground for me since I am a huge fan of theirs. I was not amused by the original take of a song about a woman being sung by a woman. Again, Osborne didn't bring anything new to the table. "Break Up To Make Up" by The Stylistics was okay. I wasn't too familiar with that song, so again, I couldn't compare. Manhattan's "Kiss And Say Goodbye" is an often covered song, and Osborne did a decent job of it. Strangely, the two songs not designed for this cd, but included as extras, tended to be some of the strongest material. Joan does a decent cover of Martha & The Vandellas' "Heat Wave" and Jimmy Ruffin's "What Becomes Of The Broken Hearted" to finish off the disc.

This leaves six originals penned by Joan. I give her credit for making six songs that do sound like the genre she was going for. However, I found only two of the songs to really stand out in my mind: "Baby Is A Butterfly" and "Cream Dream". "Heart Of Stone", "Eliminate The Night", "I Know What's Going On" and "Alone With You" are all unremarkable.

So, what's it going to be? Give Joan five stars because you like her and she's a talented singer/songwriter, or give her three stars because she's not giving fans what they really want (all new material)? For me, it's the latter. I can't stress enough that after 7 years it's high time for Osborne to walk the walk and give us a full album of new material.

Dissapointing Effort from a Great Singer.......2007-06-27

I've been a Joan Osborne fan for years and think she usually brings new life to covers. But this disc falls flat. As soulful as her voice is, she adds nothing new (or that interesting) to most of these Motown (and pseudo-Motown) tunes. I still thnk she's great, but would have expected more from this disc. If you haven't heard much of her, go with "Pretty Little Strangers."

Average customer rating:

Pleasant Surprise!
A really great blues CD
He used to be a Brooklyn Dodger
Dion- "Bronx In Blue"
wow

Bronx in Blue
Dion
Manufacturer: Razor & Tie
ProductGroup: Music
Binding: Audio CD

General | Blues | Styles | Music

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New Masters
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ASIN: B000ENC75O
Release Date: 2006-03-21

Tracks:

Walkin' Blues
You're The One
I Let My Baby Do That
Who Do You Love
Built For Comfort
Crossroads
Travelin' Riverside Blues
You Better Watch Yourself
How Many More Years
Terraplane Blues
Honky Tonk Blues
Baby What You Want Me To Do
Statesboro Blues
If You Wanna Rock & Roll

Amazon.com

As the voice behind such frothy oldies as "Runaround Sue," "The Wanderer," and "Ruby Baby," Dion doesn't spring to mind when one thinks of great blues interpreters. But this stripped-down session--the singer accompanies himself on acoustic guitar with just a hint of percussion--shows the former teen idol to be a convincing and affecting folk-bluesman. While nobody will confuse Bronx in Blue with Son House, Dion is in exceptional form, as he interprets about a dozen classics and contributes a newly written song. Even attempting to cover such crusty, trusty warhorses as "Crossroads" (one of four Robert Johnson tracks here), Howlin' Wolf's "How Many More Years?," and Jimmy Reed's "Baby What You Want Me to Do" is a daring move, but Dion succeeds due to his sense of integrity, obvious love for the genre, and an enthusiasm that leaps from the speakers.

His voice is clear and emotional, his guitar playing frisky yet surprisingly accomplished--and the sheer joy Dion conveys on tracks like Hank Williams Sr.'s "Honky Tonk Blues" is contagious. The exceptional recording quality brings an immediacy and intensity to the performance, making Bronx in Blue a revelation for both oldies lovers and roots blues fans. --Hal Horowitz

Album Description

Bronx In Blue is an all-acoustic blues outing highlighting the music that first inspired Dion as a child growing up in the Bronx. With songs by Robert Johnson, Willie Dixon, Jimmy Rogers, Hank Williams, Lightnin' Hopkins and Jimmy Reed, the collection is a soulful tour de force for Dion, not only in his familiar role as a magnificently interpretive vocalist but, also, as a brilliantly innovative guitarist.

Dion notes, "When I was a kid, there was no Rock & Roll. In the early 50's - late at night, I'd tune into Wheeling, West Virginia (WWVA), listening to the Blues - Howlin' Wolf's `How Many More Years,' Jimmy Reed's `Bright Lights, Big City.' After school, I'd run home to catch the last half hour of the `Don Larkin Country Show' coming out of Newark. I was a Hank Williams junkie; for me, putting country and blues together - that's what I call Rock & Roll."

Previewing the album in MOJO, Paul Déchamé writes, "Recalling the back-to-basics approach of Cash's American recordings - muted drums, acoustic guitars - it's a little like having Dion in your front room strumming his favourite blues songs." Don McCleese, in No Depression, sums up Bronx In Blue thusly: "It all sounds like Dion. It all sounds great."