Ruth Brown Albums (13)
'Good Day for the Blues'
Release Date 3/2/1999
Tracks 12
Label Bullseye Blues
See Album Tracklist and Review
What The Critics Say
At age 70, Ruth Brown was still in full command of her powers when she cut this beaut of an album in 1998. Fueled by an all-star band featuring Duke Robillard on guitar and New Orleans session stalwarts like James Singleton on bass, keyboardist Davell Crawford, alto saxophonist Ray Moore, and a core group that also serves as her touring outfit, this record was cut live with all the musicians (including a full horn section) playing at once with no overdubs, a throwback to her recording modus operandi at Atlantic back in the 1950s. The songs are first-rate, featuring new compositions from soul tunesmith Dan Penn ("Can't Stand a Broke Man," "Be Good to Me Tonight"), torchy ballads ("Never Let Me Go," "A Lover Is Forever," "The Richest One," "I Believe I Can Fly," and "True"), riotous spoken word fables ("Cabbage Head" and "H.B.'s Funky Fable"), and solid rhythm numbers ("Hangin' by a Shoestring," "Ice Water in Your Veins"), all expertly played and sung. Far from being on the downhill side of things, Brown demonstrated that there was still plenty of gas left in the tank when she cut this one. ~ Cub Koda, All Music Guide
'R+B = Ruth Brown'
Release Date 8/19/1997
Tracks 13
Label Bullseye Blues
See Album Tracklist and Review
What The Critics Say
Ruth Brown's lengthy career has taken her from the Apollo Theater to Broadway. One of the original rhythm & blues superstars, she has emerged on the other side as one of the genre's most beloved singers. On this outing, producer Scott Billington returns Brown to her roots in the company of a superb New Orleans band, surrounds her with stellar arrangements of new and old songs, and just lets her rip. The kickoff track, "That Train Don't Stop Here," finds her in a bluesy groove with a lengthy rap at the end that extends the running time to almost seven minutes. Tunes like "In Another World," "Too Little Too Late," and "Break It to Me Gently" mine classic soul ballad territory, while Brown's jazzy side comes to the fore on "Sold My Heart to the Junkman" and "Love Letters." In the blues department, fine versions of Ivory Joe Hunter's "False Friend Blues" and Willie Mabon's "I Don't Know" strengthen the song selection, while Brown teams up with Bonnie Raitt on a conversational "Outskirts of Town." On the last tune, Sarah Brown's "Can't Get Excited," Ruth Brown starts out militant and winds up flirtatious, making a fitting closer for this great little album. Brown is in fine form here, and this is one terrific modern-day roots recording. ~ Cub Koda, All Music Guide
What The Critics Say
Ruth Brown sounds her age on this late-1994 recording, but still shows a lot of spirit. Although her voice might be a little past its prime, her interpretations of the lyrics of such songs as "I'm Just a Lucky So and So," "Good Morning Heartache," "Fine Brown Frame," and her old hit "5-10-15 Hours" communicate quite well both to the London audience and those who have this CD. Her backup band, a sextet with keyboardist Bobby Forrester, altoist C.I. Williams, and tenor saxophonist Robert Kenmotsu, is excellent, and the CD on a whole gives listeners a good opportunity to experience one of Brown's mid-'90s shows. ~ Scott Yanow, All Music Guide
What The Critics Say
Nice contemporary effort with a strongly swinging R&B flavor running throughout. Ruth Brown goes back to the '40s (Louis Jordan's "Knock Me a Kiss," Dinah Washington's "Salty Papa Blues") and '50s (Brook Benton's "It's Just a Matter of Time," Jackie Wilson's "I'll Be Satisfied," the Lula Reed/Ray Charles dirge "Drown in My Own Tears") for much of the disc, paying loving tribute to her main lady Billie Holiday with the tasty title cut and delivering a pair of Duke Ellington numbers along the way. ~ Bill Dahl, All Music Guide
What The Critics Say
Ruth Brown was starring on Broadway in Black and Blue when she recorded her second Fantasy set. The emphasis is on ancient standards (mostly from the 1920s) that predated Brown's rise as an R&B star in the '50s. Assisted by trumpeter Spanky Davis, tenorman Red Holloway, trombonist Britt Woodman, a rhythm section led by pianist/organist Bobby Forrester and (on three numbers) altoist Hank Crawford, Brown makes such songs as "Nobody Knows You When You're Down and Out," "If I Can't Sell It, I'll Keep Sittin' on It" and "Am I Blue" sound as if they were written for her. ~ Scott Yanow, All Music Guide
What The Critics Say
Ruth Brown, a top-selling artist in the 1950s, endured over two decades of relative obscurity before she began to be noticed again in 1988. Recorded live at the Cinegrill in Hollywood, Brown is assisted by a fine quintet (which includes tenor great Red Holloway, altoist Charles Williams and organist Bobby Forrester) for fresh remakes of some of her hits, along with some newer material. All of Brown's Fantasy CDs feature a mature singer still in her prime. Highlights of this particular release (her debut for the label) include "Gee Baby, Ain't I Good to You," "Teardrops From My Eyes," "When I Fall in Love" and "Mama He Treats Your Daughter Mean." ~ Scott Yanow, All Music Guide
What The Critics Say
Before Ruth Brown became an R&B and rock legend in the '50s, she was a jazz, blues, and gospel stylist. She shows that aspect of her talent on The Songs of My Life, a fine set produced by guitarist Rodney Jones, who also did the arrangements and conducted the backing band. While she displays her timing, interpretive skills, and still-impressive delivery and enunciation throughout, Brown also demonstrates on her rendition of Eric Clapton's "Tears In Heaven" that she retains an interest in and awareness of contemporary songs that fit her style. Ruth Brown proves that it's not the song or the lyric but the singer who makes a tune work. ~ Ron Wynn, All Music Guide
What The Critics Say
In the late '60s, veteran singer Ruth Brown recorded two albums with the Thad Jones/Mel Lewis Orchestra, but neither one was all that classic. She sounds fine, though the big band has little to do except be supportive. The opening "Yes Sir, That's My Baby" is pretty weak, and "Sonny Boy" certainly did not need to be revived. Much better are "Trouble in Mind," "Black Coffee" and "Fine Brown Frame," but Ruth Brown's earlier (and later) recordings are superior to this historical curiosity. ~ Scott Yanow, All Music Guide
'Black Is Brown and Brown Is Beautiful'
Release Date 1/1/1969
Tracks 8
Label DCC
See Album Tracklist and Review
What The Critics Say
Veteran R&B/jazz singer Ruth Brown is in strong voice for this audiophile CD reissue but she occasionally goes over the top. The Gary McFarland arrangements for an expanded rhythm section (with guitarist Eric Gale) and the Howard Roberts Chorale are quite predictable and the material has few surprises except for a soulful version of "Yesterday." Closer to soul than to jazz, the set is enjoyable enough but nothing happens to raise it above the average album of the period. Ruth Brown has recorded more significant music elsewhere. ~ Scott Yanow, All Music Guide
