Blues

Tracy Nelson - Move On (1996)

2019-11-03T16:06:36Z

Tracy Nelson - Move On (1996)


1 	Livin' On Love 	4:01
2 	Got Me Goin' 	4:08
3 	(I Was) Good To You Baby 	4:22
4 	Playing It Safe 	3:47
5 	Tonight I'll Dream 	4:24
6 	Drowning In Memories 	4:10
7 	Ladies' Man 	4:10
8 	Move On 	4:42
9 	You Never Broke My Heart 	4:10
10 	Somebody Loves You 	3:31
+
11 	Playing It Safe 	4:04

Vickie Carrico 	Choir/Chorus, Vocals (Background)
Larry Chaney 	Drums (Steel), Guitar 
John Gardner 	Drums 
Mike Henderson 	Guest Artist, Guitar
Byron House 	Bass
Wayne Jackson 	Horn
Darryl Jones 	Choir/Chorus, Vocals (Background)
Al Kooper 	Guest Artist, Guitar
Andrew Love 	Horn
Bob Mater 	Drums
Delbert McClinton 	Guest Artist, Vocals
Andrew McMahon 	Piano (Electric) 
Maria Muldaur 	Guest Artist, Vocal Harmony, Vocals
Tracy Nelson 	Choir/Chorus, Composer, Piano, Primary Artist, Vocals, Vocals (Background)
Alice Newman 	Choir/Chorus, Vocals, Vocals (Background)
Gary Nicholson 	Guitar (Rhythm)
Jimmy Pugh 	Organ, Piano
Bonnie Raitt 	Guest Artist, Vocal Harmony, Vocals
Michael Rhodes 	Bass 
Rebecca Russel 	Choir/Chorus, Vocal Harmony
Rebecca Evans Russell 	Choir/Chorus, Vocals, Vocals (Background)
Phoebe Snow 	Guest Artist, Vocal Harmony, Vocals
Reese Wynans 	Organ, Piano

The third album in Tracy Nelson's '90s comeback, Move On finds her sharing the microphone with the likes of Delbert McClinton, Phoebe Snow, Bonnie Raitt, and Maria Muldaur (the last three on "Ladies' Man"), singers with whom she shares a taste in bluesy rock with a country tinge. She is in typically fine voice on a set of songs more notable for the tasty playing on them than for their distinctiveness. The best among them is Nelson's own "Playin' It Safe" (one of her four compositions) which has a gospel feel to support the lyric's sage advice. Blues fans who caught up with Nelson on 1993's In the Here and Now or 1995's I Feel So Good may find this album, with its pop, rock, and R&B elements, a bit eclectic for their taste, but fans of Bonnie Raitt who long for her earlier, grittier music may find a new heroine. ---William Ruhlmann, AllMusic Review

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Tracy Nelson – Live From Cell Block D (2003)

2011-11-04T19:51:01Z

Tracy Nelson – Live From Cell Block D (2003)


1.I Need All The Hel I Can Get
2.Walkin After Midnight
3.God Will
4.Got A New Truck					play
5.Tennessee Blues
6.Send Me To The Lectric Chair
7.After The Fire Is Gfone			play
8.Mother Earth
9.Strongest Weakness
10.Down So Low
11.Feel So Good

Personnel: 
Tracy Nelson (vocals, piano); 
Shane Stafford (guitar); 
Jim Spake (clarinet, soprano saxophone, tenor saxophone, baritone saxophone); 
Scott Thompson (trumpet); 
Charlie Wood (piano, organ); 
Toni Sehulster (electric bass); 
Vickie Carrico (background vocals);
Brian Fullen (drums, background vocals).

Country-gospel-blues singer Tracy Nelson takes a cue from Johnny Cash and B.B. King by heading to prison to record her first live album. Few singers belt out songs with as much husky power and gutsy intensity as Nelson, and the surroundings lend themselves to performances of Memphis Slim's "Mother Earth" and Big Bill Broonzy's "I Feel So Good" that rank with her most impassioned work. A full band, including horns and a female backing vocalist, churns up exciting arrangements, and everyone seems to have been inspired by the audiences at these shows. Recorded in front of two separate crowds divided by gender, the enthusiastic response pushes Nelson and her band to superb heights. Guitarist Sam Stafford is particularly fiery, especially playing slide on "I Feel So Good." Incendiary versions of Patsy Cline's "Walkin' After Midnight" and Bessie Smith's "Send Me to the 'Lectric Chair," the latter obviously custom-picked for this audience, elicit a rowdy response that is channeled back into Nelson's set. Even run-of-the-mill swamp rockers such as "Be Good to Me Baby," "Strongest Weakness," and "Got a New Truck" -- the latter co-written with Marcia Ball -- are elevated by Nelson's attack. The straight-ahead country of "After the Fire Is Gone" turns into a near gospel frenzy, as does a cover of Lyle Lovett's partly humorous "God Will." There are few singers with a voice as naturally passionate as Tracy Nelson's, and none who effortlessly combine genres with such skill. The album makes a case for more live shows to be recorded in prisons, and is a worthy successor to those that already have been. --- Hal Horowitz, Living Blues

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Tracy Nelson – Ebony And Irony (2001)

2011-10-27T18:27:01Z

Tracy Nelson – Ebony And Irony (2001)


01. You Will Find Me There
02. Strongest Weakness
03. Got A New Truck
04. If You Knew How Much					play
05. Last Chance
06. How Much Truth
07. Still Not Out Of The Woods
08. I Must Be Crazy
09. Even Now
10. Quicksand
11. Strongest Weakness (Alt. Take)
12. Silent Trail							play

Personnel:
Tracy Nelson - Vocals (Background)
Marcia Ball (Piano)
George Bradfute, Bob Britt, Mike Henderson (Guitar)
Steve Conn (Accordion)
Brian Fullen, John Gardner (Drums)
Terry Hanck (Saxophone)
Byron House, Michael Rhodes Bass
Darryl Jones, Steve Aaron, Vickie Carrico, John Cowan, Alice Newman, Richard Parks, Terry Tucker - Vocals (Background)
Andrew Love, Wayne Jackson (Horn)
Jim Pugh, Reese Wynans (Organ, Piano)
Andrea Zahn (Fiddle)

Tracy Nelson is the voice of experience, and quite a voice it is: her rich, throaty delivery rings the rafters without apparent effort, whether she's belting the gospel-flavored "You Will Find Me There" or growling the bitterly resigned Mose Allison tune "How Much Truth." Nelson's good in a way that's never ostentatious; she's capable of letting these songs speak for themselves, interpreting them in often surprising ways. This unassuming quality only contributes to Ebony & Irony's overall excellence, as Nelson plunges through the country-ish "Got a New Truck" (with a smashing piano part courtesy of Marcia Ball) and a stunning rendition of David Egan's "Even Now," before taking a sharp left turn into the rollicking "Quicksand." Nelson's detailed liner notes describe this, her 20th album, as the record she's been trying to make for the last 30 years. Though it's in the nature of the artist to never be satisfied, one could argue that she's succeeded with this release. Heartfelt, sincere, technically excellent, and brimming with honesty, Ebony & Irony is Nelson's finest effort yet. --Genevieve Williams ---Editorial Reviews

With over 30 years in the biz, and 20 albums to her credit, Tracy Nelson is one of those hard-workin’ mamas who won’t quit until the earth is shoveled up over her. Late of the group Mother Earth (which she founded) from the 60s, Tracy continues to blend soulful rocknroll with country riffs and blues sense into Bonnie Raitt-style vocals. Power and sensitivity, on equal ground. Difficult ground to make successful music on. But when you’ve been doing it steadily since 1966, you know how it’s done.

The 12 tracks and 44 minutes tend to collect up songs for their vocal value rather than any thematic association. She’ll go from the gospel-pop-ringing opener ‘You Will Find Me There’ to Helen Reddy’s horn an’ bass 70s reign that sparkles in ‘Strongest Weakness,’ the single (better be!), and the single best.

Tracy’s also of the old school as far as songwriting. She doesn’t Do it all herself. Instead, she writes and co-writes a total of 2 cuts. The rest of the time, she’s using the likes of Will Jennings (Titanic theme) and other songwriters; like Joe Cocker, not squeezing out songs just for self-expression. She’s using the tunes that sing to Her. For all songwriters out there everywhere, Tracy, thanks for doing that.

Then there’s Tracy Nelson, the ol’ jazz queen. With ‘How Much Truth’ she dips into that Lena Horne side of her, with that wavering voice. Black or white, it’s hard to tell. But the deep, colorful interpretation is right on. It was ‘a huge leap for me,’ she says. ‘I’ve always admired this song, and Mose Allison, who wrote it.’ Reese Wynans on piano and Byron House on bass sure help back up the little lady.

In 1974 Tracy was nominated for a Grammy for her duet with Willie Nelson, ‘After the Fire Is Gone,’ which was a track from her album on Atlantic Records. ‘I didn’t record in the 80s because there was no place for me to go and when I started again in the 90s, all Rounder Records wanted was blues records.’ Well, she’s back now, combining as many styles as will fit on 1 cd.

Okay, it’s not for everyone. Even Tracy jokingly(?) opens up her cd booklet by stating, ‘For those over 35, we’ve put these on the website at TracyNelson.com with larger print and song lyrics.’ Now, this May be a cd for the older crowd who likes a comeback queen, but it’s also for new kids just discovering the Origin Decade that was the 1960s. If you think Beatles and Stones are it – TN is one stop you shouldn’t miss either. --- Ben Ohmart, musesmuse.com

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Tracy Nelson – Bayfront Blues Festival (2000)

2011-10-25T09:32:48Z

Tracy Nelson – Bayfront Blues Festival (2000)


1. I Want To Know 3:43
2. Living The Blues Tonight 4:56			
3. It Hurts Me Too 3:27						play
4. Dust My Broom 3:51
5. Whatever I Am You Made Me 4:06
6. You Are My strongest Weakness 3:03
7. I Feel So Good 3:50
8. Walk Away 4:30
9. When It All Comes Down 4:57
10. Every Night Of The Week 4:20
11. Miss You Like The Devil 3:36
12. I Need All The Help I Can Get 3:42
13. Love Somebody 3:08						play
14. Send Me To The Electric Hair 4:00
15. Down So Low 4:40
16. God Bless The Child 5:12

Line-Up:
Tracy Nelson – vocals, piano
Paul ‘Mayo’ Mayasich – guitar
Scott David Miller – keyboards
John Wright – bass
Jeff Rogers – drums

Duluth, August 12 2000.

Tracy Nelson doesn't compromise her blues. Her vocal power commands your undivided attention. Everyone was immediately captivated by her opening number, "I Want To Know." This is a blues woman that sings about being blue and lets you know just how she feels. "Living The Blues" exemplifies this with the line "I feel so bad, I don't want to feel better." The uncompromising lyrics set the tone for the show: deep down blues. "Dust My Broom" vocals were handled by the band backing Tracy: Blue Chamber, a Twin Cities based band. Then a Willie Dixon song "Whatever I Am (You Made Me") continued the downward spiral. Tracy introduced us to a new song in her repertoire "You Are My Strongest Weakness", written by Gary Nicholson, her writing partner, and Bekka Bramlett, Bonnie Bramlett's daughter. Most of the songs were hard luck songs except for "I Feel So Good" from her CD release by the same name. Tracy played the piano on this one. The crowd showed the most approval and loudest applause when she sang the slow deep blues tune "Walk Away." The set was rounded out with up tempo numbers. Tracy and Blue Chamber worked together well despite an unprepared feel between songs. --- Frankie Abts, mnblues.com

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Tracy Nelson – Mother Earth - The Best of (1996)

2011-10-23T12:35:36Z

Tracy Nelson – Mother Earth - The Best of (1996)


01. Down So Low
02. Cry On
03. Goodnight Nelda Greb (The Telephone Company Has Cut Us Off)
04. Mother Earth									play
05. Won't Be Long
06. Need Your Love So Bad
07. Soul of a Man
08. Satisfied
09. Ruler of My Heart
10. Temptation Took Control of Me (And I Fell)		play
11. Soul of Sadness
12. Tonight the Sky's About to Cry
13. I'll Be Long Gone
14. Seven Bridges Road
15. Tennessee Blues
16. Thinking of You
17. I Don't Do That Kind of Thing

Personnel: 
Tracy Nelson (vocals, piano, background vocals); 
Bob Cardwell (guitar, acoustic guitar, electric guitar, background vocals); 
John Andrews (guitar, acoustic guitar, electric guitar); 
Michael Bloomfield (guitar); 
Jack Lee (acoustic guitar, electric guitar, background vocals); 
Ben Keith (dobro); 
Sammy Dodge, Johnny Gimble (fiddle); 
Martin Fierro (alto saxophone, tenor saxophone); 
Link Davis Jr. (alto saxophone); 
Joe Arnold, Aaron Varnell, Frank Morin (tenor saxophone); 
Gene "Bowlegs" Miller (trumpet); 
Gerald Richardson (trombone); 
Andy McMahon (piano, organ, keyboards, background vocals); 
Clay Cotton, Mark Naftalin (piano, organ); 
Barry Goldberg , Hargus "Pig" Robbins (organ); 
George Rains, Karl Himmel, Lonnie Castille (drums); 
Farrell Morris (percussion); 
Losella Funque, Joyce Dunn, Dave Zettner, Richard Kraus , Irma Routen, Sylvia Caldwell, Sadie Cantrell, Shalimar Samuelson, Lady Corder, Dianne Davidson, The Honeycombs (background vocals).

Janis Joplin may have gotten all of the fame and glory, but she was far from the only white female blues shouter to emerge from the San Francisco music scene of the mid-'60s; The Best of Tracy Nelson & Mother Earth is proof positive of that, providing an excellent introduction to one of the more sadly overlooked talents of her time and place. Despite any number of passing similarities to Joplin, Nelson sings with greater finesse; her style is more adaptable as well, capable of fitting comfortably into R&B, psychedelia, and pop ballads, all the while remaining grounded in classic roots music traditions. Highlighted by her perennial "Down So Low" -- subsequently recorded by everyone from Linda Ronstadt to Etta James -- this 17-track compilation also spotlights performances spanning from a wrenching cover of Little Willie John's "Need Your Love So Bad" to contemporary material like Steve Young's "Seven Bridges Road" and John Hiatt's "Thinking of You," offering a comprehensive overview of her earliest and most enduring work. ---Jason Ankeny, AMG

Life is full of mysteries. Janis Joplin becomes a musical icon. Tracy Nelson has always been something of an unknown. Yet Tracy possessed a far warmer, flexible, and expressive voice than Janis, which, as good as it was, always did pretty much the same thing.

Tracy Nelson fans are often jealous of Janis Joplin's legend. On numerous occasions I have put "Down So Low" on to play to unsuspecting and unitiated friends. I refuse to tell them who it is, and invariably they will ask by the end of the song, "Is that Janis Joplin?"

This album is marvelous testimony to just how good Tracy Nelson is. I do have a slight bone to pick with it. The title is a bit misleading: Mother Earth had many very, very good songs that featured other people singing lead than Tracy Nelson, and all of those songs were omitted.

I think there are several reasons one can point to for Tracy Nelson's failure to become as large a legend as Janis Joplin. One is pointed to by Al Kooper in the liner notes accompanying the CD: she isn't easy to categorize. Is she rock? Folk? Blues? Country? I bought my copy at Tower Records, and they keep the album in Folk. I would have put it in Rock, but anyone will have to acknowledge that she defies categories.

Another reason that Tracy Nelson has never been as widely acknowledged as she deserves is ironically because she did one song that was so stunning, so overwhelming, that all her other excellent work suffers by comparison. The song is, of course, "Down So Low." In my estimation, this song and Tracy's performance of it is one of the staggering achievements of the rock era. Greil Marcus once wrote that in this song Tracy Nelson goes to places that Janis Joplin only dreamed about. The song is so extraordinary that the album cover reads "The Best of Tracy Nelson/Mother Earth" followed by the words "Featuring Down So Low." And the entire text on the back of the CD does nothing but talk abou the song. In a way, this song destroyed her career, because it is such an amazing song and performance, that everything else in anyone's career is going to be a disappointment.

Let me try to get at the point another way. Aretha Franklin, John Lennon, Jagger/Richards, Bob Dylan. These folks belong to the highest pinnacle of rock and roll success. They produced an enormous amount of work that is the standard by which everything else in rock is measured. Other performers can be often excellent, but they really don't come up to that standard. Sheryl Crow is great, but she isn't Bob Dylan. Ever. But in "Down So Low," Tracy Nelson did a song that was so great that only occasionally have the greatest figures in the history of rock and roll done as well. Yet her other work is not up to the level of that song.

So, there are two reasons to get this album. One is to get familiar with one of the very greatest singers our country has produced in the last forty years. The other is to get your very own copy of one of the truly transcendant moments in the history of rock: "Down So Low." --- Robert Moore (Chicago, IL USA)

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