MARLENA SHAW-WHO IS THIS BITCH ANYWAY?

dereksmusicblog ♦ July 30, 2012 ♦ Leave a comment

MARLENA SHAW-WHO IS THIS BITCH ANYWAY?

When Marlena Shaw left Cadet Records after the release of her second album The Spice of Life, she became the first woman to sign to the prestigious Blue Note label. During the four years Marlena was signed to Blue Note, she released some of the best music of her career. Starting with 1972s, Marlena, Marlena Shaw went on to release four studio albums plus one live album. From the Depths of My Soul followed in 1973, the same year as Marlena Shaw Live At Montreux was released. Then came her best Blue Note album, 1975s Who Is This Bitch Anyway?, an innovative fusion of soul and jazz, where Marlena explores feminism, sexual politics and social issues. For many people, myself included, Who Is This Bitch Anyway?, which will be rereleased on SoulMusic Records on 27th August 2012, represents Marlena Shaw at the height of her creative powers. Who Is This Bitch Anyway? surpassed everything she’d previously released, or anything that she’d release after that. Before I tell you about the music on Who Is This Bitch Anyway?, I’ll tell you the background to the album.

1973 had been a big year for Marlena Shaw, releasing From the Depths of My Soul and Marlena Shaw Live At Montreux. Having signed from Cadet, Marlena worked with Dr. George Butler, who produced Marlena’s first two studio albums for Blue Note Marlena and From the Depths of My Soul, plus Marlena Shaw Live At Montreux. For Marlena’s third studio album for Blue Note, a new producer was brought in. Bernard Ighner who wrote the classic track Everything Must Change would also produce Marlena’s third studio album for Blue Note, Who Is This Bitch Anyway? Bernard would also write four of the ten tracks for Who Is This Bitch Anyway? and put together an all-star band containing some of the hottest musicians of the time.

For Who Is This Bitch Anyway? Marlena cowrote the opening track You, Me and Ethel/Street Walking Woman with Loonis McGlohon and Bryan Olson, who also wrote A Prelude For Rose Marie. Marlena only wrote two other tracks, The Lord Giveth and the Lord Taketh Away and Davy. On Who Is This Bitch Anyway?, Marlena decided to revisit a track she’d recorded before, Loving You Was Like A Party, giving the track a makeover for the seventies. With the ten tracks for Who Is This Bitch Anyway? chosen, recording would place in June and December 1974. 

Joining Marlena Shaw and producer Bernard Ighner on Who Is This Bitch Anyway? were some of the best session musicians of the time. This included a rhythm section of drummer Harvey Mason, bassist Chuck Rainey and guitarists Larry Carlton and David T. Walker. Producer Bernard Ighner played piano and fluglehorn, while Mike Lang and Larry Nash also played piano. The ten tracks on Who Is This Bitch Anyway! were recorded at the Record Plant in Los Angeles during sessions in June and December 1974. With the ten tracks recorded, Who Is This Bitch Anyway? would be released in 1975.

Although two singles were released from Who Is This Bitch Anyway?, neither You, nor Feel Like Makin’ Love charted. When Who Is This Bitch Anyway! was released, it fared better, reaching number 159 in the US Billboard 200, number forty-seven in the US R&B Charts and number eight in the US Jazz Charts. Who Is This Bitch Anyway? proved to be Marlena Shaw’s most successful album. However, why was this? That’s what I’ll tell you, once I’ve told you about the music on Who Is This Bitch Anyway?

Who Is This Bitch Anyway? is a bit like a soul and jazz opera, opening with a compelling and humorous track, You, Me and Ethel/Street Walking Woman. Here, Bryon Olson, plays the part of an awkward, clumsy married man meeting Marlena, who plays the part of someone working in “social services.” He’s trying to hire Marlena, but only has $25. She gives him short shrift, before launching into a powerful, sassy jazz tinged vamp about life as a “street woman.” The rhythm section drive the track along, while piano, guitar and Fender Rhodes provide a powerful backdrop for Marlena’s vocal. Her band tease and tantalize, dropping the tempo way down, before kicking loose, as Marlena struts her way through the rest of the track. Sassy and sad, compelling and funny, this track is all this and much more. 

You Taught Me How To Speak In Love is a much gentler track, where Marlena’s all-star band prove their worth. It’s just the piano, rhythm section, guitar and unmistakable sound of the Fender Rhodes that accompany Marlena. Her vocal is a mixture of emotions. One minute she sounds thankful and happy, the next, her vocal is tinged with sadness and regret. The longer the track progresses, the better the arrangement gets. It grows in power, with searing, chiming guitars accompanying Marlena’s emotive vocal and reflecting the drama in her voice. This results in a track that’s not just full of emotion, but quite beautiful and shows how Marlena could breath life and meaning into a track.

Davy was one of two tracks Marlena wrote. It shows just how a talented songwriter she is. The arrangement features just Marlena accompanied by the piano. Her voice is full of worry and sadness. Later, strings add to the sense of sadness and emotion, before the arrangement reveals its secrets. Celestial backing vocalists, rhythm section, guitars and flugelhorn join the piano, as Marlena voices her fears and concern for Davy. In doing so, her vocal is full of heartache and sadness at what’s happened to Davy, where he is and what he’s become. It’s touching, emotional and heartfelt.

Feel Like Makin’ Love is one of Marlena’s best known and most loved songs. Made famous by Roberta Flack and written by Eugene McDaniels, Marlena’s interpretation is peerless. She brings new meaning to the track, her vocal impassioned, and sassy, and delivered with a jazzy swing. The Marlena here, is a confident, modern woman, not afraid to sexually enlightened. She’s accompanied by the rhythm section, Fender Rhodes and the dual guitars of Larry Carlton and Dennis Budimer. However, it’s a peerless vocal from Marlena, accompanied by subtle, sweeping and soulful backing vocalists that makes this such a great track, one that in my opinion, can’t be bettered.

The Lord Giveth And The Lord Taketh Away sees Marlena deliver a vocal that’s straight out of church. She’s accompanied only by a piano that she plays. Listening to the track, you could imagine Marlena singing gospel, just as easily as soul or jazz. Her vocal is tinged with irony and more than a little sass, as she delivers her vocal in a gospel style. This shows a very different side to the Marlena Shaw, one I’d like to hear much more of.

You Been Away Too Long was the track that opened Side Two of Who Is This Bitch, Anyway! It features a vocal from Marlena that’s full of sadness and longing. Like the arrangement, her vocal grows in power and drama. From the opening bars, her vocal is impassioned and needy. Here, her band prove their worth. They combine percussion, Fender Rhodes, rhythm section and guitars, building the arrangement up gradually. Strings, horns and backing vocalists are added, each at just the right time, ensuring maximum effect. By the time the track’s at its midpoint, Marlena has you spellbound by her passion, power and emotion. So good is this track, it’s one of the highlights of the album.

You was the second track Marlena wrote, and features one of the most understated arrangements on the album. Marlena’s vocal takes centre-stage, with just while lush strings, rhythm section, jazzy guitars and Fender Rhodes combining. The band play round Marlena’s heartfelt, thankful vocal. It’s that vocal that’s key to the track’s sound and success. Not only is it heartfelt and impassioned, but very beautiful and laden with emotion.

Loving You Was Like A Party is another of Marlena’s best know tracks. Her vocal starts off tender and sassy, but full of sadness and regret. Soon, it grows in power, as she sings about her relationship having ended. As this happens, Marlena lets go, releasing the hurt, frustration and anger. As this happens, the band let Marlena’s vocal take centre-stage. They’re content to play a supporting role, with the rhythm section, guitars, Fender Rhodes and percussion combining. In doing so kick loose and create one of the best arrangements on the album and provide the perfect backdrop for Marlena’s best vocal on Who Is This Bitch Anyway? This track also shows that using top class musicians pays of. 

A Prelude For Rose Marie is a short instrumental track, just two-minutes in length. Waves break on a deserted beach, while seagulls fly overhead. Then  flourishes of harp, sad sounding strings and emotive horns combine. They create an arrangement full of sadness, one that’s pensive, thoughtful and melancholy. This is the perfect Amuse Bouche for the track that closes the album.

Closing Who Is This Bitch Anyway? is Rose Marie (Mon Cherie). Straight away, the track has a lovely vintage jazz sound. Marlena’s vocal is perfect for the track, joyous, impassioned and full of hope. Lush strings, rhythm section, piano and bursts of rasping horns accompany Marlena. Jim Gordon’s drumming and Dennis Budimer guitar solo are at the heart of the track’s vintage sound. Marlena’s vocal has a similar sound and style. It’s like a trip back in time and demonstrates just how versatile a singer Marlena Shaw is. Whether vintage jazz, soul, funk or jazz, Marlena and her band, were just as comfortable and proficient.

Who Is This Bitch Anyway? represents Marlena Shaw at her creative peak. This wasn’t just her best album for Blue Note, but her best album ever. Nothing else came close. Earlier, I said Who Is This Bitch Anyway? is a bit like an opera. This is the case, one where the issues addressed are feminism, sexual politics plus social and political issues. On Who Is This Bitch Anyway? Marlena was at her very best, fusing jazz, soul, gospel and a real vintage jazz sound. Her voice goes from sassy and confident, to emotive, impassioned and tinged with sadness, hurt and regret. It’s no coincidence that a change of producer to Bernard Ighner, lead to the best album of Marlena’s career. Their symbiotic relationship were a perfect musical fit, like a musical ying and yang. Bernard brought out the best in Marlena Shaw, along with some of the best session musicians of the time. Harvey Mason, Larry Carlton, David T. Walker and Larry Nash all played their part in the success of Who Is This Bitch Anyway? Unlike most albums, there isn’t a bad track on Who Is This Bitch Anyway? However, it’s two of Marlena’s best known tracks that are among the highlights of the album. Feel Like Makin’ Love and Loving You Was Like A Party are two classic tracks from Marlena, while You Taught Me How To Speak In Love, Davy and You are beautiful, heartfelt tracks. Thankfully, after far too long unavailable, Who Is This Bitch Anyway? will be rereleased by SoulMusic Records on 27th August 2012. Who Is This Bitch Anyway? is a very welcome reissue of the best album of Marlena Shaw, the First Lady of Blue Note’s career. Standout Tracks: You Taught Me How To Speak In Love, Davy, Feel Like Makin’ Love and Loving You Was Like A Party.

MARLENA SHAW-WHO IS THIS BITCH ANYWAY?