12 Songs

EDITORS’ NOTES

Even though it's titled Blues Ballads, this album contains only three outright ballads. The rest of the tracks are variations on the type of organic rock ‘n’ roll and R&B that defined Baker’s early tenure at Atlantic. The three ballads that are included are magnificent. “I Cried a Tear,” “If You Love Me,” and “I Waited Too Long” are tugging, full-bodied slow dances that combine the majesty of orchestral recordings with the raw-edged intimacy of small-club combos. These recordings prove Baker was every bit Ray Charles’ equal. Charles’ “Hallelujah I Love Her” is often identified as a definitive blend of gospel and R&B, but Baker’s “So High, So Low” is cut from the same cloth and exudes an even more freewheeling energy. “It’s So Fine,” “Whipper Snapper,” and “Love Me Right” are more than sassy—they're angry. Crucially, they're also danceable, and would still sound fresh ten years later, when soul music had replaced Baker’s form of R&B. At the same time, “St. Louis Blues” aligns Baker with an earlier generation. Her rendition of the Prohibition-era anthem has a wit and venom that would make Ma Rainey grin.

EDITORS’ NOTES

Even though it's titled Blues Ballads, this album contains only three outright ballads. The rest of the tracks are variations on the type of organic rock ‘n’ roll and R&B that defined Baker’s early tenure at Atlantic. The three ballads that are included are magnificent. “I Cried a Tear,” “If You Love Me,” and “I Waited Too Long” are tugging, full-bodied slow dances that combine the majesty of orchestral recordings with the raw-edged intimacy of small-club combos. These recordings prove Baker was every bit Ray Charles’ equal. Charles’ “Hallelujah I Love Her” is often identified as a definitive blend of gospel and R&B, but Baker’s “So High, So Low” is cut from the same cloth and exudes an even more freewheeling energy. “It’s So Fine,” “Whipper Snapper,” and “Love Me Right” are more than sassy—they're angry. Crucially, they're also danceable, and would still sound fresh ten years later, when soul music had replaced Baker’s form of R&B. At the same time, “St. Louis Blues” aligns Baker with an earlier generation. Her rendition of the Prohibition-era anthem has a wit and venom that would make Ma Rainey grin.

TITLE TIME
2:35
2:41
2:17
1:54
1:52
2:06
2:32
2:28
2:36
2:22
2:12
2:25

About LaVern Baker

LaVern Baker was one of the sexiest divas gracing the mid-'50s rock & roll circuit, boasting a brashly seductive vocal delivery tailor-made for belting the catchy novelties "Tweedlee Dee," "Bop-Ting-a-Ling," and "Tra La La" for Atlantic Records during rock's first wave of prominence.

Born Delores Williams, she was singing at the Club DeLisa on Chicago's south side at age 17, decked out in raggedy attire and billed as "Little Miss Sharecropper" (the same handle that she made her recording debut under for RCA Victor with Eddie "Sugarman" Penigar's band in 1949). She changed her name briefly to Bea Baker when recording for OKeh in 1951 with Maurice King's Wolverines, then settled on the first name of LaVern when she joined Todd Rhodes' band as featured vocalist in 1952 (she fronted Rhodes' aggregation on the impassioned ballad "Trying" for Cincinnati's King Records).

LaVern signed with Atlantic as a solo in 1953, debuting with the incendiary "Soul on Fire." The coy, Latin-tempo "Tweedlee Dee" was a smash in 1955 on both the R&B and pop charts, although her impact on the latter was blunted when squeaky-clean Georgia Gibbs covered it for Mercury. An infuriated Baker filed suit over the whitewashing, but she lost. By that time, though, her star had ascended: Baker's "Bop-Ting-A-Ling," "Play It Fair," "Still," and the rocking "Jim Dandy" all vaulted into the R&B Top Ten over the next couple of years.

Baker's statuesque figure and charismatic persona made her a natural for TV and movies. She co-starred on the historic R&B revue segment on Ed Sullivan's TV program in November of 1955 and did memorable numbers in Alan Freed's rock movies Rock, Rock, Rock and Mr. Rock & Roll. Her Atlantic records remained popular throughout the decade: she hit big in 1958 with the ballad "I Cried a Tear," adopted a pseudo-sanctified bellow for the rousing Leiber & Stoller-penned gospel sendup "Saved" in 1960, and cut a Bessie Smith tribute album before leaving Atlantic in 1964. A brief stop at Brunswick Records (where she did a sassy duet with Jackie Wilson, "Think Twice") preceded a late-'60s jaunt to entertain the troops in Vietnam. She became seriously ill after the trip and was hospitalized, eventually settling far out of the limelight in the Philippines. She remained there for 22 years, running an NCO club on Subic Bay for the U.S. government.

Finally, in 1988, Baker returned stateside to star in Atlantic's 40th anniversary bash at New York's Madison Square Garden. That led to a soundtrack appearance in the film Dick Tracy, a starring role in the Broadway musical Black & Blue (replacing her ex-Atlantic labelmate Ruth Brown), a nice comeback disc for DRG (Woke Up This Mornin'), and a memorable appearance at the Chicago Blues Festival. Baker died on March 10, 1997. ~ Bill Dahl

  • ORIGIN
    Chicago, IL
  • GENRE
    R&B/Soul
  • BORN
    11 Nov 1929

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