ANNIE LENNOX
(Nostalgia)
Blue Note
Annie Lennox is of course renowned for her full-on delivery and strong clear vocal delivery – here she is tackling a set of standards. And so we know exactly what we are going to get.
Facts first and overview later – so here goes……
Opener ‘Memphis In June’ starts with an antiquated orchestral sound, as if a crackle-free 78 rpm record is being played and this dissolves into a clear, piano-led pastoral reading of the age-old ballad. Like fellow songstress Barb Jungr, Annie has exquisite enunciation. There is such power in that voice and the set starts therefore with a joyous sound, ‘glad to be alive’ in essence.
Brother Ray Charles’ haunting ‘Georgia On My Mind’ has some phased electric piano ( a la Richard Tee of Stuff on some of Paul Simon’s gems ) and Hammond – again such a clear delivery, you can hear Annie revelling into her cruise into the bridge, ecstatic poignancy and a rich string arrangement and in all a highlight of this collection. There’s a lotta chords in this one! as any guitarist depping with a function band will attest…
Sounds like a midnight flugelhorn on the next song ‘I Cover The Waterfront’, breathy singing on this edgy tale and I swear a pale mist started seeping from my stereo speakers….the soft vibraphone, brush drumming and stand-up bass all adding to the brew. The song we all remember from ‘Porgy & Bess’ is performed next – yes, ‘Summertime’, Lennox holds the long notes, never tempted into the M Carey ‘Twist ‘em every which way’ area. It’s easy to imagine a troubled purple Southern States sky whilst listening to this somewhat icy potion.
By far my favourite song in this album and over too soon. It’s a spooky vocal again and over staccato piano for ‘I Put A Spell On You’ and brush drumming adds to the airy ambience. An electric guitar with a snipey tone rings through a solo. Lennox lets go on this song and the background Hammond is well judged. It’s not that long since Joss Stone and Jeff Beck did this number, with a leaning towards meanness, of course. ‘Strange Fruit’ is a song I cannot stand EVEN by Beth Hart and Joe Bonamassa who recently made it sound disturbing. The Billie Holiday tale of KKK Lynching’s is a grim tale indeed. The warm Hammond chords bringing in ‘God Bless The Child ‘ are pretty welcome and the singing adds to the churchy feel, probably it’s Lennox’ most spirited performance on the set and her love of the song comes through. ‘September In The Rain’ somehow avoids being the relaxed love song it ought to be and sounds more hymnal. ‘You Belong To Me’ is put over as an instruction rather than a loving plea – however the lovely string arrangement win the listener over. ‘I Can Dream, Can’t I?’ follows with its folksy accordion and acoustic piano. It’s a comfortable key for Lennox and another 30’s melody. The listener is just not used to hearing this era of music delivered so cleanly and it takes some adjusting. Annie manifestly wants to put the songs and lyrics over as lucidly as she can. In truth, this selection would have made a great duet. A Latinish rhythm materialises, plus wordless background soprano, probably the lass herself? Best described as emotive but not melodramatic. ‘The Nearness of You’ has schoolteacher piano, relaxed but forceful and another vintage melody, taken in C I think and with a stately violin passage at the end. ‘Mood Indigo’ – Blimey we are digging them up here ! – being of course a Duke Ellington / Barney Bigard piece though the lyrics were by Irving Mills…the original was cut in October 1930. Here Lennox goes for a less pristine take on the number, guitars appear and the singing is almost accusatory. The backing chordal stabbing is a tad unsettling and kills the swing until some gorgeous vocal double-tracking arrives and some gritty trombone and muted trumpet dispel the chill. End result – a Humph Lyttleton style workout and some instrumental interplay, all very welcome.
This is fine music well sung, arranged and played BUT for the older listener the selections have been done to death and are over-familiar. At times the bend of Ms Lennox’ straight-ahead though impassioned vocal set against cold acoustic piano makes a lot of work for the other players to take the chill off proceedings. Get a Fender Rhodes in!
For younger listeners, however this is a thrilling visit to the classic songs of yesteryear by someone who holds them dear.
Pete Sargeant
