Send "Shirley Brown " Ringtones to your Cell 
| Popmatters |
 This album, one of the last Stax releases to make any impact before the venerable label went belly up a short time later, produced a No. 1 hit (“Woman to Woman”, two weeks at the top of the Billboard R&B charts) but otherwise failed to register much on the radar. This is a shame, since it was (and remains) a top shelf soul record from one of the most astonishingly consistent labels in the history of commercial music. Though perhaps too much of an Aretha Franklin sound-alike to have ever properly emerged as an icon (and, to be honest, I find it a bit distracting, especially since she even covers two of Aretha’s greatest numbers in “Respect” and “Rock Steady”, included here as bonus tracks, but wisely left off the original print of the record), Shirley Brown’s voice is booming and powerful, and her presence is utterly commanding. Especially in the tracks in which she starts chatting to the listener (“Woman to Woman”, “It Ain’t No Fun”), Brown is able to convey that rare thing: the intimacy of a friend, insisting that you hear what she has to tell you. You don’t want to miss a word, not because what she’s saying is so clever or compelling (necessarily), but because you feel like it’d be rude to ignore her. I mean, she’s talking right to you, after all. It’s ineffable, and simply an amazing feat. Brown was discovered by none other than Albert King, Stax star and undeniable luminary in the field of blues-based rock ’n’ roll, and she went on to sing and tour with his band for almost a decade. In 1972, after some prodding by King, she finally released some of her own material with a small label (from which little of significance has emerged). But, King’s tutelage continued to open doors for her, and she was invited to record for Stax in 1974. Putting together a crack studio band – has Stax ever fielded a weak side, even once? – Brown’s proper debut is packed with intensity, stellar grooves, and redoubtable playing. Featuring Al Jackson on the drums (only months before his untimely death), the great Donald ‘Duck’ Dunn on the bass, (Rufus’s son) Marvell Thomas on pianos, guitarist Bobby Manuel (then an MG subbing for Steve Cropper), and with Lester Snell on organs and the Memphis Horns adding their depth, this is one hell of a storied band. And it shows: there isn’t a note out of place on the record. ...full text |
| Blogcritics |
| "Phenomenon means having your first single record...'Woman To Woman'...sell a million in eight weeks," reads the opening liner notes of Shirley Brown's 1974 debut album, Woman To Woman. The song finds Brown confronting "the other woman" over the telephone, and is surprisingly direct. Over a seductively sweet blend of soul instrumentation, Shirley lays down the law to a lady named Barbara: "It's only fair that I let you know, that the man you're in love with...he's mine. From the top of his head to the bottom of his feet, the bed he sleeps in and every piece of food he eats." The opening monologue (or rap) was a technique made famous by Isaac Hayes with his classic version of "By The Time I Get To Phoenix" in 1969. Barry White had borrowed it for most of his early seventies hits, but Shirley Brown was the first female vocalist to top the charts with this approach. She had already paid plenty of dues by the time of her "overnight" success. Shirley had caught the ear of Albert King in 1961, when he heard her perform at the Harlem Club in Brooklyn, Illinois. She was just 14 years old. King recruited her to open for him, and she spent the next 13 years touring the so-called "chitlin' circuit" with the bluesman. "It Ain't No Fun" was the follow-up single to "Woman To Woman," and went to number 32. It is a bluesy, late-night ballad, with her lamenting, "It ain't no fun being in love all by yourself." Midway through we find Shirley delivering a monologue to her girlfriends about her good-for-nothing man. "I've Got To Go On Without You" was originally intended as the A-side of the single, but radio chose "It Ain't No Fun" instead. It is a shame too, because "I've Got To Go On Without You" is a terrific song. Shirley's singing on many of the album's tracks point to a gospel background, very much like her contemporaries the Staple Singers. I mention this because "I've Got To Go On Without You" sounds very much like the music the Staple Singers were making at the time....full text |
| Blogcritics |
| The Concord Music Group has been reissuing original albums from the legendary Stax catalogue. The idea to reissue these rather than compilation albums is sound, as it gives the listener a look into the mind and music of the individual artists at a certain point in time, rather than just an overview of their careers. Shirley Brown’s classic album Woman To Woman is one of the latest releases in the ongoing series. Brown was discovered at the age of 14 by blues legend Albert King. She would go on to tour with his band for nine years. After beginning her recording career with the small Abet label during 1972, upon King’s recommendation, she was signed to the Stax label during 1974. The Stax label of 1974 was on the verge of bankruptcy, and it would shortly be gone. Brown’s single, “Woman To Woman” was the last big hit for the label, or to be more correct, for their subsidiary Truth label as it reached the top of the Billboard Magazine Rhythm & Blues Chart and number 22 on their Pop Charts. It sold over one million copies during the first eight weeks of its release. Woman To Woman was an emotional experience from the first to last track. The title song (and single) remains the centerpiece of the album. There is a spoken word introduction that immediately demands your attention. The song is a conversation from one woman to another about infidelity. It included a sparse rhythm track that kept the focus squarely on the vocal....full text |
Shirley Brown lyrics
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