![loleatta holloway cry to me key loleatta holloway cry to me key](https://1.bp.blogspot.com/-pqciwIi5lsE/XTT1vgiYNLI/AAAAAAAAfT0/h8Y5wlz5ZAcXf8O5pYT2Y3fRp04KnVN5gCLcBGAs/s1600/contraportada.jpg)
This cookie is set by GDPR Cookie Consent plugin.
![loleatta holloway cry to me key loleatta holloway cry to me key](https://img.yumpu.com/8285717/1/500x640/catalogo-audio-sede-di-arezzo-sing-sing.jpg)
![loleatta holloway cry to me key loleatta holloway cry to me key](https://soundsoftheuniverse.com/img/QUxEUUNFUnIrckZKOXVETUlYWW5xUT09/cry-to-me-so-can-i-loleatta-holloway.jpg)
showing relevant, targeted ads on and off our web propertiesĭetailed information can be found on our Privacy Policy page. personalized search, content, and recommendations remembering privacy and security settings remembering account, browser, and regional preferences The Vinyl Factory Group, trading as: The Vinyl Factory, Vinyl Factory Manufacturing, Phonica Records, FACT Magazine, FACT TV, Spaces Magazine, Vinyl Space, and The Store X, uses cookies and similar technologies to give you a better experience, enabling things like: Head here to pre-order a copy in advance of Cry To Me’s 26th June release, and check out the tracklist below. Tidal Waves’ release of Cry To Me marks the album’s first official vinyl reissue. Produced by Smith, Cry To Me features tracks written by Curtis Mayfield, Sam Dees and Jo Armstead. Holloway recorded her self-titled debut album Loleatta in 1973, followed by Cry to Me in 1975. Read more: Loleatta Holloway, Sylvester and our favourite disco 12″sĪfter starting her career as a gospel singer, Holloway met her future producer and manager Floyd Smith during the early ’70s, signing to Atlanta-based soul label Aware shortly afterward. Loleatta Holloway’s 1975 album Cry To Me is being reissued on vinyl for the first time, via Tidal Waves Music this June. As her voice surges onto and fills the dancefloor, it really does feel like we're all getting stronger.Featuring songs written by Curtis Mayfield, Jo Armstead and Sam Dees – with “chiming guitars, swirling strings, and gospel-tinged backing vocals.” She takes the utopian ideals of clubland – sex, community, abandon – and massively amplifies them back at the dancers, singing to each one of them and the club as a whole. Holloway is a different proposition: a collective experience, of mutual understanding and shared joy. The pleasure of listening to divas like Whitney or Rihanna is that it's an aspirational experience – women want to be them, men want to be with them.
Loleatta holloway cry to me key full#
Holloway's voice, however, full of strident indignation and volcanic sexuality, is always the dominant force in her songs, going toe to toe with even the most pounding pianos and lushest orchestras.īut the key to her appeal is that she doesn't push herself too far to the front. It's a trend that has continued right the way through UKG, trance and many other dance forms. Paradoxically, considering their vocal might, house and disco divas were often ciphers, mere tits-and-ass content delivery systems for the male production community. Like Candi Staton, she started out with funk-filled tales of cheatin' men, such as Only a Fool and when Whitney Houston needed a diamond-tough statement after her 'lost' years, she effectively covered Holloway's We're Getting Stronger with Million Dollar Bill. Delivered as if receiving some unexpectedly awesome oral sex, she sings: "you get down, you get down to the real nitty gritty".Įlsewhere in her back catalogue, her late-90s take on Shout to the Top with Fire Island is ludicrously empowering. While Rihanna bluntly announces: "chains and whips excite me", Holloway is far wittier. Grace Dent recently noted in The Guardian how the winking sauciness of Blind Date has morphed into the straight-talking grot of Take Me Out, and a similar thing has occurred in divadom. Compare her to, say, Fergie, submerged under digital trickery or colourlessly emoting when not Holloway is a woman whom you suspect would never meet you halfway on anything. Holloway sounds on the brink of madness, romping over a demented melodic topography and constantly unleashing her secret weapon, an almost polyphonic yell that acts as a war cry for love's constant battle. Listening to Love Sensation today, or its excellent Shep Pettibone re-edit, the level of emotion is still shocking. She smiled more favourably on Mark Wahlberg, reusing its vocal hook when appearing with him on Good Vibrations, and making his Marky Mark take on jacking house surprisingly credible. Her most famous track is Love Sensation, whose vocal line and jazz-inflected pianos were sheared off and airlifted into Black Box's Ride on Time Holloway successfully sued them for their shameless unauthorised sampling. The sheer power of the notes her lungs expelled turned mere singing into an emotional tempest, huffing and puffing until she blew the house down. Loleatta Holloway, who has died aged 64, leaves behind a legacy as the finest diva in dance music history.