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That Woman Is Poison!

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Crítica do álbum

A masterful comeback album from a blues and soul veteran who was assumed to be ready for the retirement home. Rufus Thomas went back to the comic blues that had been his forte in the 1950s, and the edge in his voice and defiance in his tone proclaimed that he wasn't finished yet. After years of taking heat from purists for not issuing enough "real" blues albums, Alligator didn't get nearly enough credit for being the only label to give Rufus Thomas a fair shot in the 1980s.


Nascimento: Março/03/1917 em Cayce, MS

Género: R&B/Soul

Anos em actividade: '30s, '40s, '50s, '60s, '70s, '80s, '90s, '00s

Few of rock & roll's founding figures are as likable as Rufus Thomas. From the 1940s onward, he has personified Memphis music; his small but witty cameo role in Jim Jarmusch's Mystery Train, a film which satirizes and enshrines the city's role in popular culture, was entirely appropriate. As a recording artist, he wasn't a major innovator, but he could always be depended upon for some good, silly, and/or outrageous fun with his soul dance tunes. He was one of the few rock or soul stars to reach...
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That Woman Is Poison!, Rufus Thomas
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