Not to forget that the other five tracks are even blander. 1),” but the songs these ideas were paired with are so unoriginal sounding that it makes it difficult to care about them in the slightest. Sure some of the themes of the weaker tracks were interesting like ones of communism and how it affects children on “Indian Girl” or the idea of getting out and enjoying life in “Dance (Pt. Some of the album’s worst tracks fail to even deviate from The Rolling Stones’ typical rock and blues style and are equivalents to the worst moments on It’s Only Rock ‘n Roll. 1)” is actually one of the most memorable songs with its anthemy chorus “get up, get out, into something new” which is oddly ironic for reasons stated before. To make matters worse, lyrically, “Dance (Pt. 1)” is catchy and even memorable, but it’s so lyrically simplistic and shallow when compared to its far better Some Girls counterpart opener “Miss You.” This is even worse since the music is so uninteresting that it forces the attention on the vocals and lyrics, which luckily are delivered well by Mick Jagger. It’s not that Emotional Rescue is a hard listen, or even cringe worthy, it’s just a safe and uninspired replication of past ideas that show how strained The Rolling Stones’ creative process had become. This time around, the implementation of these themes was noticeably poor. The album was so successful and beloved that The Rolling Stones of course had to replicate the exact same ideas on their 1980 release Emotional Rescue. Despite these signs, 1978’s Some Girls turned this all around by incorporating catchy disco and punk elements to freshen their act. However, their subsequent releases of It's Only Rock 'n Roll (1974) and Black and Blue (1976) showed the band’s first signs of weakening in which even their biggest hits failed to truly be standouts. It’s no overstatement that every Rolling Stones studio album from their 1964 debut to 1973’s release of Goats Head Soup had impressed the public so much that they left behind a massive legacy which had at least two all time classic songs per album, if not more. Nevertheless there are some good moments to enjoy.Review Summary: “Get up, get out, into something new.” How ironic. In this case it sounds as if more needed to be done as the album is very short and a couple of tracks sound under-produced. When material remains unreleased one always wonders why. Kelly’s version probably channels Aretha Franklin’s version with its funky approach. Isaac Hayes’ “Do Your Thing” seems a little flat in comparison before this short album finishes with the classic “You Are My Sunshine”, a song that dates back to 1939 and is a state song of Louisiana because of its credited author Jimmie Davis, who served two terms as Governor.
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The soul ballad “He Called Me Baby” is best known from Candi Staton’s version and suits Kelly’s voice much better.
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The later “Trying To Find My Mind” works less well with some rather crude drums and Kelly’s voice stretched. This version has wonderful harmonies and Ike’s original rejoinders to Tina’s expectations are copied here by Perry Robertson. Kelly clearly admires Tina Turner as she reprises a pair of Ike and Tina songs next: “It’s Gonna Work Out Fine” was an early success for Ike and Tina and is a lovely tune, once covered as an instrumental by Ry Cooder (on Bop Till You Drop). “You Don’t Realise” is a Michael Bloomfield slow blues from The Electric Flag’s album A Long Time Comin’ and it’s well done, with the extra trumpet making the horns really stand out and Kelly sings it well, mainly in the lower register. Her voice seems less suited to “Baby It’s You” (Bacharach/David) though the horn arrangement is great the song was a 1961 hit for the Shirelles, later covered by The Beatles on their debut album Please Please Me.
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Kelly sounds convincing on James Brown’s “What Do I Have To Do” with plenty of funk from the band, blaring horns and solid backing vocals. Background vocals are provided by Teresa James, Shari Puorto and Lisa Orloff Staley. Roy Wiegand adds a second trumpet to one track, Barry Goldberg plays B3 on the same track and Chuck Kavooras adds slide, Perry Robertson and Jack Wargo guitar to a track each. Kelly handles the lead vocals with John Marx on guitar, Mo Beeks on keys, Rick Reed on bass, Bryan Head on drums and a horn section of Andy Najera on sax and Stan Martin on trumpet.
#Music rescue review full#
Clearly intended as a vehicle for Kelly’s vocals, the album contains eight covers of mostly soul and Rn’B songs with a full horn section added to the core band. When producer Chuck Kavooras and Kelly were discussing a future project they decided to pick up the tapes and issue the album. This particular album is an oddity as it was recorded in 2011 and then left on the shelf.
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Kelly Zirbes and her band Kelly’s Lot operate in the Los Angeles area and have recorded a number of albums since the mid-90’s.