Ruth Brown Takin' Care Of Business (LP)

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catalog number: RJ202
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-Takin' Care Of Business (1980 Live in Sweden) Stockholm more

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Ruth Brown: Takin' Care Of Business (LP)

-Takin' Care Of Business (1980 Live in Sweden) Stockholm

Article properties: Ruth Brown: Takin' Care Of Business (LP)

Interpret: Ruth Brown
Album titlle: Takin' Care Of Business (LP)
Genre R&B, Soul
Geschwindigkeit 33 U/min
Vinyl record size LP (12 Inch)
Record Grading Mint (M)
Sleeve Grading Mint (M)
Label STOCKHOLM
Artikelart LP
Preiscode YYY
EAN: 4000127716323
weight in Kg 0.21

Brown, Ruth - Takin' Care Of Business (LP) LP 1
01	Takin' Care Of Business	Ruth Brown
02	Oh, What A Dream	Ruth Brown
03	5-10-15 Hours	Ruth Brown
04	Teardrops From My Eyes	Ruth Brown
05	I Can See Everybody's Baby	Ruth Brown
06	So Long	Ruth Brown
07	On My Way	Ruth Brown
08	Seven Days	Ruth Brown
09	God Holds The Power	Ruth Brown

Ruth Brown This Little Girl's Gone Rockin' Ruth Brown This Little Girl's Gone... more

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"Ruth Brown"

Ruth Brown

This Little Girl's Gone Rockin'

Ruth Brown

This Little Girl's Gone Rockin'

Ruth Brown acutely felt the changing times at Atlantic Records. She had been there since the label’s inauspicious launch, but saw that her champion, Herb Abramson, was sidelined and would soon be bought out. She didn’t get along as well with his replacement, Jerry Wexler, and felt that the label’s co-founder, Ahmet Ertegun, was becoming remote. One of the artists assigned to Herb Abramson was Bobby Darin, and it took some time for Abramson or anyone at Atlantic to know what to do with him. For Ruth, it was unusual enough just seeing a white performer on the label.

"I often came across him in the studio, trying out little things,” she wrote in her autobiography. “’I hear you’re a songwriter,’ I jived him one day. ‘Why don’t you write me a song?’ He did. It was ‘This Little Girl’s Gone Rockin’,’ and it was produced by two other ex-Brillers, Jerry Leiber and Mike Stoller.” Most sources credit Wexler and Ertegun as A&R men on the session, but Ruth clearly remembers it differently.

A straightforward boogie woogie underpinned by Stoller on piano, it was highlighted by Everett Barksdale on guitar and the always distinctive King Curtis on tenor sax. Ruth damns it with faint praise in her autobiography, but it became her last major pop hit and one of her last R&B hits. Darin’s co-writer, incidentally, was Emanuel Kurtz aka Mann Curtis, who had begun cranking out songs in the early 1940s, and wrote the English words to Let It Be Me. Ruth’s long chart career was winding down, although she performs to this day. Darin’s other contribution to Ruth’s tenure at Atlantic was to advise her to audit the label for unpaid royalties.

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