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New Album - Nina Simone - Let It All Out - Selected Singles 1961-1978

New Album - Nina Simone - Let It All Out - Selected Singles 1961-1978

A new album release from Ace Records,

'Two decades of the high priestess of soul's career on singles, with the emphasis on 'soul'.'

Nina Simone - Let It All Out - Selected Singles 1961-1978 - XXQLP2 163 / CDTOP 1673

Available now via cd and double lp format, tracks and more below

Release Notes

‘Icon’ is an overused word when it comes to describing singers and musicians, but when it comes to Nina Simone there are few artists that the word describes more accurately. The ‘High Priestess Of Soul’ is surely one of the most iconic singers of the 20th century, and one whose fame and acclaim stretches far beyond conventional black American music circles.

Nina Simone has featured on Ace and Kent CDs before but this is the first time she’s had one all to herself. “Let It All Out” is the first and only Nina Simone collection to draw repertoire from every label she recorded for between the late 1950s to the late 1970s.

Full details via

Cd
https://www.acerecords.co.uk/let-it-all-out-selected-singles-1961-1978

Lp
https://www.acerecords.co.uk/let-it-all-out-selected-singles-1961-1978-1

Track Listing

SIDE ONE

1. WORK SONG 2.33 Produced by Cal Lampley. Colpix CP 197 (1961)

2. GIN HOUSE BLUES 3.00 Produced by Cal Lampley. Colpix CP 608 (1961)

3. COME ON BACK, JACK 2.14 Produced by Stu Phillips. Colpix CL 614 (1961)

4. MY BABY JUST CARES FOR ME 3.38 Bethlehem 45-3031 (1962)

5. I PUT A SPELL ON YOU 2.33 Arranged and produced by Hal Mooney. Philips 40286 (1965)

6. DON'T LET ME BE MISUNDERSTOOD 2.43 Produced by Hal Mooney. Arranged and conducted by Horace Ott. Philips 40232 (1964)

SIDE TWO

1. EITHER WAY I LOSE 2.44 Produced by Hal Mooney. Arranged and conducted by Horace Ott. Philips 40337 (1965)

2. BREAK DOWN AND LET IT ALL OUT 2.37 Produced by Hal Money. Arranged and conducted by Horace Ott. Philips 40337 (1965)

3. DON'T YOU PAY THEM NO MIND 3.02 Arranged and produced by Hal Mooney. Philips 40418 (1966)

4. DO I MOVE YOU 2.43 Produced by Danny Davis. RCA Victor 47-9120 (1967)

5. IT BE'S THAT WAY SOMETIME 2.54 Produced by Danny Davis. Arranged and conducted by Sammy Lowe. RCA Victor 47-9286 (1967)

6. TO LOVE SOMEBODY 2.37 Produced by Danny Davis. Arranged by Jimmy Wisner. RCA Victor 47-9447 (1968)

SIDE THREE

1. WHY? (THE KING OF LOVE IS DEAD) 5.31 Produced by Joe Rene. Arranged by Nina Simone. RCA Victor 47-9532 (1968)

2. DO WHAT YOU GOTTA DO 3.34 Produced by Joe Rene for Stroud Productions and Enterprises Inc. Arranged and Conducted by Horace Ott. RCA Victor 47-9602 (1968)

3. AIN'T GOT NO; I GOT LIFE (US SINGLE VERSION) 2.51 Produced by Stroud Productions and Enterprises Inc. Arranged and conducted by Horace Ott. RCA Victor 47-9686 (1968)

4. REAL REAL 2.18 Produced by Danny Davis. RCA Victor 47-9686 (1967)

5. SUZANNE 4,17 Produced by Stroud Productions and Enterprises Inc. Arranged by Nina Simone. RCA Victor 47-9749 (1969)

6. REVOLUTION (PART 1) 2.49 Produced by Stroud Productions and Enterprises Inc. Arranged and conducted by Nina Simone. RCA Victor 47-9730 (1969)

SIDE FOUR

1. TO BE YOUNG, GIFTED AND BLACK 2.46 Produced by Stroud Productions and Enterprises Inc. Arranged by Nina Simone, RCA Victor 74-0269 (1969)

2. SAVE ME 3.22 Produced by Stroud Productions and Enterprises Inc. Arranged and conducted by Nina Simone and Weldon Irvine. RCA Victor 74-0269 (1969)

3. WHATEVER I AM (YOU MADE ME) 3.02 Produced by Stroud Productions and Enterprises Inc. Arranged and conducted by Weldon Irvine. RCA Victor 74-0346 (1970)

4. O-O-H CHILD 3.14 AC.F.N.S Production. Arranged by Nina Simone and Harold Wheeler, RCA Victor 74-0471 (1971)

5. BALTIMORE 4.36 Produced by Creed Taylor. Arranged by David Matthews. CTI OJ-44 (1978)

6. AIN'T GO NO; I GOT LIFE (UK SINGLE VERSION) 2.05 Produced by Joe Rene for Stroud Productions and Enterprises Inc. RCA Victor RCA 1743 (1968)

Stereo except "Mono

Compiled by Tony Rounce Liner notes by Tony Rounce

Mastered by Nick Robbins at Sound Mastering Cover photo courtesy of David Redfern/Redferns/Getty Images Package Designed by Jaffa @ the Unknown

Images

nina-simone-ace-album-2.webp

nina-simone-ace-album-1.webp




Author Profile: Mike

Mike Hughes | Mike

Mike Hughes is the owner and admin of Soul Source which he started up back in 1997. His soul journey started in the mid 1970s via the usual venues and has continued to the present day, along the way enjoying all eras and aspects of soul, events, dj-ing, promoting, writing and looking after Soul Source. Nowadays though his main thrust is simply enjoying the music and life with his wife and family. 'No one ever said it was going to be easy...,'

Explore more of their work on their author profile page.

Social Media Link

Article Comments

Recommended Comments

Johndelve

Members

My vinyl copy arrived today. Highly recommended and very well done to Kent. Great packaging, astutely chosen tracks, top class sleeve notes by Mr. Rounce and sparkling sound quality. Thank you.

Thinksmart

Members

Enjoyed it today on CD

Roburt

Members

Nina had a steady US audience during the mid 60's, however she managed to 'break out' here in the UK & in Europe. She toured here (& Europe) all the time during the mid to late 60's -- she went from being a singer who all the trend setters spoke of to being a big UK chart hit act. Her concerts over here progressed from small jazz clubs to the biggest music venues in the country.

Her home life was complicated & she hooked up with men who abused / controlled her. In her time with Phillips, she started that rise via 45's / LP's such as "I Put A Spell On You". This commercial hit was followed during her RCA period with 3 x UK top 10 hit 45's, while the 45 of "Spell On You" was reissued & got even higher in the charts here. She was now on TV and almost a household name.

The rise in her stature in the UK enabled her to get booked into the most prestigious of venues. One such being the London Palladium (back then featured every weekend as the home of the top British variety TV show). Her husband ran the couples US record label - Ninandy and this was distributed / taken on by RCA. Nina would sign acts to the label she was connected with (Sam Waymon) or who she saw performing & took a liking to (Montego Joe, the Swordsmen). She'd come across the Swordsmen while doing a gig in Cleveland and added the duo to her entourage. Her UK / European successes led to her getting more attention back in the US too. She'd play gigs in & around the New York area & would have one of the Ninandy acts on to open the show for her.

In 1967, after a set of concerts in Las Vegas she returned to do shows at the Village Gate (NY) with Montego Joe opening for her. By 1968, she also had the Swordsmen opening for her. Black acts / blues men were now getting more attention in certain US circles & in December 1969 Nina played the Fillmore East along with Richie Havens & Isaac Hayes. But just ahead of that, she was touring the UK, where in November she played the London Palladium. As was her norm at that time, she brought over a Ninandy act to open the show for her -- the Swordsmen.

The group had a very small following of their own over here at the time (just a hand full of Brit soulies I'd guess) so were completely unknown to the type of audience that frequented the Palladium. Nina's fans turned up for the show en masse, along with others who knew Nina's hit singles or had seen her on UK TV shows. A top magazine writer was also sent along to review the show. Now, the type of track the Swordsmen made (typical male duo soul) & Nina's stuff were really 'chalk & cheese' when it came to musical styles. Nina always put on a great individually styled performance mixing jazz, blues, soul & pop -- quite unique & a whole lot different from that of a normal soul act. Nina also had her moods & her quirks -- if it was an off-night for her, she'd get upset by something & refuse to go on stage.

That night at the Palladium was such a night. She decided not to start her part of the show on time, which meant the short opening stint by the Swordsmen had to be extended. As Nina toured with her own band & they had been used to backing up the Swordsmen on shows over in the US, the group & her musicians were more than capable of extending their planned 2 / 3 song act to a full 8 / 9 / 10 song performance. And that is what they had to do. HOWEVER, the audience & the reviewer had no idea who these two guys were & had come to see Nina do her stuff. So the review of that night wasn't kind to the pair.

The show that could have heralded an awakening for them with British audiences turned out to be a millstone around their necks -- they'd had to do their full repertoire of songs for completely the wrong audience. If only someone had shipped in the regulars from the Marquee or Flamingo that night, history might have been totally different for the Cleveland based guys. But that didn't happen.

NYshowNinaSim.jpg

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