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Customer reviews

4.6 out of 5 stars
4.6 out of 5 stars
My True Story
Format: Audio CD|Change
Price:£14.71+ Free shipping with Amazon Prime

on 1 February 2016
Good delivery and service love this cd fab
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on 22 September 2017
Great cd just what i was after
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on 18 September 2017
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TOP 500 REVIEWERon 21 January 2013
Aaron Neville has the voice of an angel and the body of a docker, an odd combination; this record his first for the Blue Note label was produced by Don Was and Keith Richards and sees him revisiting some classic doo-wop and rock and roll songs, including three Drifters songs "Money Honey," "Under the Boardwalk" and "This Magic Moment". I was hoping that these esteemed producers would bring a slightly off-the-wall twist to some of these songs but everything is delivered completely authentically. The band including top session players Greg Leisz on guitar, Benmont Tench on keyboards, George Receli on drums and Tony Scherr on bass also sound sound very authentic with no concessions to the present.

On first listen I must admit I was a bit disappointed as I was expecting a post modern twist to these often quite soppy songs and that wasn't there at all. However, Aaron has such a wonderful voice it is impossible not to be charmed by his vocals, his obvious love of the material and the period arrangements of these classic songs - an over-used phrase but in this case totally justified. I think other vocalists could have melted into the background but Aaron's voice is so distinctive that he stands out on every track, while keeping completely within the spirit of the original. It's impossible for me to pick a favourite, everything is of the same high standard, but if I had to I'd probably go for Thurston Harris's "Little bitty pretty one".
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VINE VOICEon 21 January 2013
For this magical album Aaron Neville has stepped up to the microphone and re-worked twelve classics from the doo wop era. It is difficult to imagine anyone bringing new life to these wonderful songs of yesterday but Neville has delivered an album that has achieved exactly that.

Produced by Don Was and Keith Richards (yes, that Keith Richards), this is spine tingling doo wop for the 21st century. Of course it helps that Aaron Neville has a voice like crushed velvet that, at times, recalls Sam Cooke - just catch the medley "This Magic Moment/True Love".

There is no filler on this album, just immaculate performances of some very special songs. "Tears On My Pillow", the Little Anthony and the Imperials hit, is given a reading of such aching emotion that it betters the original. Meanwhile who could imagine that The Drifters "Under The Boardwalk" could be equalled with such distinction.

Lovers of classic doo wop will be familiar with all of these songs and be delighted with the way in which new light has been made to shine through old windows. Aaron Neville's ethereal voice conveys the feelings of angst, heartache and pain to perfection. From the rock 'n' roll of "Money Honey" to the achingly beautiful interpretation of The Ronettes "Be My Baby" and on to the exquisite "Goodnight My Love" this album is a beautifully executed tribute to the art of the songwriter.
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on 25 February 2013
Aaron Neville has always had a tremendous voice,which has withstood the test of time.With an excellent choice of material,this is an excellent product.
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on 17 March 2013
I've been lucky enough to see Aaron live a number of times in and around New Orleans. If ever you get chance to see him go and you will find that his amazing voice control and accuracy is just as sharp live, solo or with his brothers and the extended family. The word icon is bandied about too easily these days but this man is truly an "ICON" of the deep south. Magic Aaron - thank you.
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on 21 January 2013
I bought this album as a surprise for my husband and surprised myself !! Its beautiful and takes me back to when music was emotionally written. All the tracks are so wonderfully sung and you just lose yourself in them. Sit back and relax and drift away .

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on 30 January 2013
Doo Wop is the rock'n'roll equivalent of the love poem: it is how do I love thee, let me count the ways. It doesn't have the aggressive attack of Little Richard, the lyricism of Chuck Berry, the lunacy of Screamin' Jay Hawkins, the self-referencing of Bo Diddley, or the rockabilly of Carl Perkins, Jerry Lee Lewis, or 1954 - 1956 Elvis Presley, or even the borderline folk sounds of Johnny Cash from 1955 - 1958. It's the sound of what was defined as the "Street Corner Symphony", and had its roots in the jump and jive blues/jazz of Louis Jordan.

The beauty of doo wop was that it was centred on vocal groups, and some amazing bands arose in the early/late 50s, with some excellent harmonies, e.g The Penguins, The Five Spaniels, The Platters, The Glades, The Drifters, Gene Chandler, The Chords, The Parris Sisters, The Crests. One of the easiest oxymorons in the world is the title of a Penguins song "Earth Angel".

Doo Wop's influence has been tremendous, what with as far back as 1958, Elvis approximating the Doo Wop sound on Leiber/Stoller's Don't. Elvis also, during the Million Dollar Quartet sessions, in December 1956, referred to Jackie Wilson & The Dominos covering his Don't Be Cruel. Buddy Holly took the lush strings and gorgeous vocal arrangements to create True Love Ways in 1959. Likewise, where would Dion DiMucci's career, with and without the Belmonts, be without Doo Wop, and in turn Paul Simon, and Lou Reed. After all, what is Halloween Parade on Lou's New York, but a 1989 Doo Wop song, or John Lennon's Just Like Starting Over as a 1980's Doo Wopper ? Lou also did a cover of This Magic Moment on a David Lynch soundtrack for Lost Highway. Jerry Lee Lewis also attempted Doo Wop on the Class of 55 album, what with 16 Candles.

What surprises me is Keith Richards, however, as co-producer, but scratch beneath the surface, and you'll find an artist more than familiar with Doo Wop. In 1964, Keith' s main project, the Rolling Stones covered, albeit badly, Under The Boardwalk, after hearing The Drifters' version. Likewise, in the early 00s, Keith worked on a Ronnie Spector solo album, covering Ike & Tina's I Can't Believe What You Say as a duet with Ronnie. So Keith would be familiar with The Ronettes, who originally sang Be My Baby. Phil Spector, with Gene Pitney, also had a hand in unofficially producing the England's Newest Hitmakers, 1964, Rolling Stones album.

Aaron Neville has covered some great tunes in his time, whether it be, with the Neville Brothers, Ten Commandments of Love, or solo, Please Stay, which the Drifters did initially, Save The Last Dance for Me on a Doc Pomus tribute album, Pledging My Love. He also, with Show Me The Way, being one of his first records from 1961/62, would have toured with some Doo Wop acts.

Moving on, the album opens with a rocking, but mellow, cover of Clyde Macphatter & The Drifter's Atlantic classic, Money Honey. Money Honey was written by one of the great unsung heroes of rock 'n' roll, Jesse Stone; Jesse also wrote, inter alia, Don't Let Go, which was subsequently covered twice by Jerry Lee Lewis, and by Jeff Lynne on Armchair Theatre. Money Honey was covered with aplomb by Elvis in 1956, and by Ry Cooder in the 1970s. However, Aaron would have known his way around the Drifters version, and the guitar work from keith and Greg Leisz is a joy. Throw in Dylan's drummer, also from New Orleans, George Reeceli, and Heartbreaker, Benmont Tench, and the sound is excellently understated.

Ruby Baby, another Drifters number, covered by Dion, The Beach Boys, and later Donald Fagan on the Nightfly album, is given some excellent uptempo treatment too. However, the slow Spanish-tinged Gypsy Woman shows just how much Doo Wop was going to mutate into soul. Gypsy Woman was an early Impressions number, composed at about the same time as Mistress & Queen and People Get Ready. It predates the 1968-70 Young Mod's Forgotten Story and Choice of Colours. Prior to Gypsy Woman, the Impressions, with Jerry Butler in place, did the excellent VeeJay label tune, For Your Precious Love: another tune that shows the metamorphosis of Doo Wop into soul. Another little known fact is that The Rolling Stones did a version of For Your Precious Love, in 1989, as a Steel Wheels outtake, and like That's How Strong My Love Is, it's an amazing Stones soul cover. Aaron Neville also covered For Your Precious Love, so both Keith and Aaron are familiar with early Impressions recordings.

Be My Baby is enjoyable different: it's no longer the Ronettes with a huge Wall of Sound, but a nicely stripped down version of a classic. Brian Wilson covered Be My Baby on a live album, but it was just identical to the Spectorized version. Under The Boardwalk, however, erases the memories that Keith may have of the awful cover version that the Stones did on 12 x 5. It's nice to hear an excellent version of a much covered track, that Bruce Willis also destroyed too.

Work With Me Annie is a marvellous uptempo cover of the Hank Ballard tune. Hank was the original author of The Twist, covered by Chubby Checker, and James Brown, in the late 60s, tried to rehabilitate his fading career, in addition to helping the organist Bill Doggett out. Work With Me Annie also caused an excellent response-song, predating her Chess recordings, Roll With Me Henry by Etta James for Modern Records.

I also happen to enjoy the excellent Ting A Ling, a tune written by "Nugetre", Ahmet Ertegun's nom de plume. Nugetre also wrote Ray Charles' first big hit for Atlantic, Mess Around. Likewise, This Magic Moment, from Pomus and Shuman, is excellent, and an excellent Drifters cover. What this album is also doing is tipping the hat to Rudy Lewis, the man vocalist of the Drifters after Ben E King, with Under The Boardwalk. King actually sang on This Magic Moment, prior to going solo with Young Man Blues and Stand By Me. Rudy Baby was a Rudy Lewis effort, too.

Keith Richards would have also known Tears On My Pillow, via his buddy, Tom Waits, who referred to Little Anthony & The Imperials, on Christmas Card from a Hooker, on Blue Valentine, as well as hearing the original. However, the entire album isn't a post-modernist take on these 50s and 60s songs of young love, but a glorious return to a genre that very few, alas, listen to. Buy this album, and you'll discover the love and the flip side to Whole Lotta Shakin' Goin On, School Days, Hound Dog, and Jenny Jenny.

Then, consider the source, and locate some excellent Rhino and Bear Family boxed sets.
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on 28 January 2013
I acknowledge that as I was downloading this album, I began to have second thoughts. But I must state that my concerns were unfounded. This is an excellent album and easy to listen to. There are opportunities to sing along, but like me you may regard that it is best to let Aaron sing alone!
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