It’s this nightcrawling version of Jack Hammer’s Plain Gold Ring that explains why Nick Cave later covered it, while Don’t Smoke in Bed is so stark that you can hear audience members shifting in their seats. Everything is expressed through that incredible voice, which could be acidic and cutting just as easily as it could be soothing. Javascript is required to view shouts on this page. Her most intimate and auteurish album (she handled the occasional embellishments and overdubs as well) weaves diverse material into a coherent suite of songs haunted by loneliness, depression and mortality. The classy 'Plain Gold Ring'. 'Go Limp' one of the funniest live takes I've heard. Some user-contributed text on this page is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. The track is great in itself and makes you smile. Creative Commons Attribution-ShareAlike License. Around this time, Maya Angelou called Simone “an extremist, extremely realised”. Barely more than a sly, taunting vocal and feverish percussion, it signposts a road not taken. Part of the genius of the song is the way it wrong-foots the listener into thinking it’s a jaunty show tune, cleverly alluding to the tradition of nineteenth-century minstrel theatre where white performers would ‘black-face’ and perform gentrified versions of African-American songs. Complete your Nina Simone collection. Recorded at Carnegie Hall, NYC, on March 21, 1964. A new version of Last.fm is available, to keep everything running smoothly, please reload the site. All rights reserved. This is by far one of my favorite LP releases by any female jazz vocalist. Many of the songs that precede it on the album are similarly politically charged, with a genuinely creepy version of Brecht and Weill’s Pirate Jenny from The Threepenny Opera, the choice of which draws inevitable parallels between thirties Europe and sixties America (there’s no ignoring the hostility with which she hisses the line ‘And as they pile up the bodies I say – that’ll learn ya’). Her version of the Pirate Jenny soliloque from the Three Penny Opera is chilling. Her music spanned a broad range of musical styles including classical, jazz, blues, folk, R&B, gospel, and pop. Nina Simone in Concert (1964) Nina Simone is in the unusual position of being a towering genius who never recorded an undeniable, canonical masterpiece. Nina Simone in Concert (1964)Nina Simone is in the unusual position of being a towering genius who never recorded an undeniable, canonical masterpiece. 'Go Limp' one of the funniest live takes I've heard. Born Eunice Kathleen Waymon in Tryon, North Carolina on February 21, 1933, to Mary Kate Waymon, a Methodist minister, and John Divine Waymon, a handyman who was also a part-time preacher, Simone was demonstrating her precocious musical ability as young as three years of age, when she would pick out tunes on the family’s piano, an instrument she would soon be playing in Sunday church services. 'Dont Smoke In Bed' is a great track with some funny lyrics. She makes Randy Newman’s I Think It’s Going to Rain Today bleaker still (“I hope it’s gonna rain today”), delivers Jacques Brel’s The Desperate Ones in a fraught whisper, rewrites the blues standard Nobody’s Fault But Mine and even renders Jonathan King’s mawkish Everyone’s Gone to the Moon unnervingly strange. Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), known professionally as Nina Simone, was an American singer, songwriter, musician, arranger, and civil rights activist. The laughter carries into her own Mississippi Goddam – written in a frenzy hours after the 1963 Alabama church bombing – until the show-tune irony is burned away by a mounting rage that consumes the hall and you can hear in real time the realisation that they are listening to a protest song like none they’ve ever heard, owing more to cabaret than folk, and more to Malcolm X than Martin Luther King. Here we have the very professional and experianced Nina actually forgeting lines and laughing with the crowd. She performs three songs from her jazzy 1959 debut Little Girl Blue with a newfound depth, drawn from painful personal experience and her recent political awakening at the hands of new friends in the civil rights movement, notably Lorraine Hansberry and James Baldwin. Here we have the very professional and experianced Nina actually forgeting lines and laughing with the crowd. One year before, she had already recorded a performance on the very same legendary stage. 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