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Prinnie Stevens Honors Her Musical Influences with Reverence and Grace on ‘Lady Sings the Blues Vol. 1’ | Album Review

June 30, 2021 Matthew Hocter
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Prinnie Stevens
Lady Sings The Blues Vol. 1
Prinnie Productions
Listen Below

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Back in March of this year, an unknown show debuted at the Adelaide Fringe for three nights. Surprising many and for others, continuing the love affair that many already had for the show’s star, Prinnie Stevens, Lady Sings the Blues paid homage to the music of everyone from “Billie (Holiday) to Beyoncé.”

Not being one for covers, my cringe factor was instinctively lurking in the background, but it was immediately dispelled in all of 10 seconds as Stevens took to the stage. As the show opened and Stevens’ vocals engulfed the Queens Theatre, a cross between feeling gobsmacked and humbled completely paralyzed me. The show was that good that the review needed, no deserved, to be done over two of the three nights.

Fast forward three months later and Stevens is back with volume one of the recordings from her smash show. This album solidifies everything I had been telling anyone and everyone who would listen to me, as I extolled her greatness. Not merely a covers album, Lady Sings the Blues takes Stevens on a journey across the women of color whose music has helped shape and guide her, both professionally and personally.

The album opens with Etta James’ “At Last,” which Stevens gives appropriate depth and power, resulting in musical euphony. Moving into the album’s second track, Billie Holiday’s “God Bless The Child,” Stevens brings it full circle to her gospel/church roots. Jazz is a genre that requires a sensitivity and knowledge that many fail to embrace. They either refuse or simply can’t see the nuances that exist and therefore do the music no justice. Not Stevens. She embraces these qualities and delves into them without fear, and the result is sublime.

With only seven songs on Vol. 1, Stevens manages to cover an eclectic array of artists like Whitney Houston, Ella Fitzgerald, Quincy Jones (“Miss Celie’s Blues,” sung by Tata Vega in The Color Purple), Toni Braxton and Mahalia Jackson. With every song performed with respect to its forbearer, it is hard to fault this album at all. In fact, there are so many beautiful standout moments, but none more so than the album’s closer, “His Eye Is On The Sparrow.” Growing up with a Grandfather who played Gospel legend Mahalia Jackson’s version every Sunday after church, Stevens brings the soul and humility of an incredibly beautiful and powerful song in equal doses, not to mention tears to my eyes.

Whilst there is no original music from Stevens on this album, the originality lies in her ability to inject a little of herself into some of music’s most beloved and treasured songs. Stevens clearly isn’t out to show off. Rather, she pays homage and captures the power of her influences perfectly.

Notable Tracks: “At Last” | “God Bless The Child” | “His Eye Is On The Sparrow” | “Miss Celie’s Blues (Sister)”

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In REVIEW Tags Prinnie Stevens
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