Nina Simone Albums (37)
What The Critics Say
There's a lot more Broadway and a lot more ballads than blues on this, which ranks as one of her weaker mid-'60s albums. Almost half the record features Broadway tunes on the order of Cole Porter and Rodgers & Hammerstein; most of the rest was composed by Bennie Benjamin, author of her first-rate "Don't Let Me Be Misunderstood," which the Animals covered for a hit shortly afterwards (and which leads off this record). The other Benjamin tunes are modified uptown soul with string arrangements and backup vocals in the vein of "Don't Let Me Be Misunderstood," but aren't in the same league, although "How Can I?" is an engaging cha cha. Besides "Don't Let Me Be Misunderstood," the album is most notable for the great "SeeLine Woman," a percolating call-and-response number that ranks as one of her best tracks. The CD reissue includes the strange bonus cut "The Monster," an odd attempt at a soul novelty tune. ~ Richie Unterberger, All Music Guide
'My Baby Just Cares for Me'
Release Date 7/1/1999
Tracks 12
Label Charly UK
See Album Tracklist and Review
What The Critics Say
Valuable reissue, under new title, of her debut album on Bethlehem. Title cut was a hit in England five years ago. ~ Ron Wynn, All Music Guide
'At Newport, The Village Gate and Elsewhere'
Release Date 11/10/1998
Tracks 22
Label WestSide
See Album Tracklist and Review
'Ain't Got No-I Got Life: In Concert'
Release Date 9/17/1996
Tracks 16
Label Remember
See Album Tracklist and Review
What The Critics Say
After an uncharacteristic (for her) four-year hiatus from recording, Nina Simone returned to the fringes of the pop world with Baltimore, the only album she recorded for the CTI label. While it bears some of the musical stylings of the period -- light reggae inflections that hint of Steely Dan's "Haitian Divorce" -- the vocals are unmistakably Simone's. Like many of her albums, the content is wildly uneven; Simone simply covers too much ground and there's too little attention paid to how songs flow together. As a result, a robust torch piano ballad like "Music for Lovers" is followed immediately by one of Simone's more awkward moments, an attempt to keep up with a jaunty rhythm track on a cover of Hall & Oates' "Rich Girl." Still, one must give her credit for always being provocative in her cover song choices, as she clearly scores on the Randy Newman-penned title track and a dramatic reading of Judy Collins' "My Father." Her voice throughout is in fine form, even when she phones it in on the album-closing traditional gospel tunes, but arranger David Matthews is a mismatch for her: He blows the arrangements with excessive string overlays and needlessly blaring background vocals. Simone herself all but disavowed the album shortly after its release, testament to her eternally contrarian, iconic nature. Despite her misgivings, though, Baltimore is an occasionally spellbinding if erratic album, a challenging and worthwhile listen for people ready to dip into the lesser-known entries in Nina Simone's vast catalog. ~ Joseph McCombs, All Music Guide
What The Critics Say
This CD gives listeners a typical Nina Simone live performance from the mid-1980s. But what is typical for the singer/pianist/social commentator would be extraordinary for most other performers. Before an adoring audience, Simone (who is accompanied by drummer Paul Robinson) performs such numbers as "Be My Husband," "I Loves You Porgy," "The Other Woman," "Mississippi Goddam" and (as her encore) "My Baby Just Cares for Me." Even with songs she has performed countless times before, these renditions sound quite fresh and relevant. Nina Simone, because she is a unique performer, is an acquired taste; her fans will definitely want this set. ~ Scott Yanow, All Music Guide
'A Single Woman'
Release Date 1/1/1993
Tracks 10
Label Elektra/Asylum
See Album Tracklist and Review
What The Critics Say
Vocalist, composer and pianist Nina Simone returned from a lengthy self-imposed exile in 1993 with an autobiography and outstanding CD highlighting her still impressive singing and interpretative skills in an intriguing context, surrounded by strings and guitars. While the backdrops were lush and occasionally corny, Simone's deep, penetrating voice, careful pacing and dramatic delivery kept the songs from becoming sappy. While she's always been a great protest and political singer, Simone is also a superb romantic/love song stylist. Simone remains among America's premier performers, and this CD was a welcome addition to her sparkling legacy. ~ Ron Wynn, All Music Guide
'Nina Simone at the Village Gate'
Release Date 7/8/1991
Tracks 8
Label Roulette
See Album Tracklist and Review
What The Critics Say
Nina Simone has the rare ability of really being able to dig into material and bring out unexpected meaning in familiar lyrics. On "Just in Time" from this CD reissue, she gives one the impression that if she had not been found "Just in Time," she would have committed suicide. During "He Was Too Good to Me," Simone sounds absolutely stunned about the end of a love affair. "Brown Baby" is both hopeful and defiant in its call for freedom, while "Zungo" is an African work song. Also from her 1961 trio performance at the Village Gate, Simone performs the overly serious "If He Changed My Name," the good-time gospel piece "Children Go Where I Send You," a regretful rendition of "House of the Rising Sun," and an unpredictable instrumental version of "Bye Bye Blackbird." Nina Simone, who was always in a category by herself, is heard throughout in her early prime. ~ Scott Yanow, All Music Guide
