Bring It On Home (Remastered) Joan Osborne
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- 1I Don't Need No Doctor 03:20
- 2Bring It On Home04:06
- 3Roll Like a Big Wheel02:50
- 4Game of Love03:16
- 5Broken Wings04:38
- 6Shoorah! Shoorah!02:52
- 7I Want to Be Loved03:35
- 8The Same Love That Made Me Laugh04:25
- 9Shake Your Hips03:29
- 10I'm Qualified03:15
- 11Champagne and Wine03:41
- 13I Feel So Good (Bonus Track)02:34
- 14Boys, You're Welcome (Bonus Track)03:08
Info for Bring It On Home (Remastered)
"Bring It On Home" is Osborne's first album of hand-picked vintage blues and soul songs, a collection that fans have long been asking for and Osborne herself delighted in making.
The recording sessions were electrifying, as the singer/songwriter tapped into her lifelong love of blues and R&B and unleashed her impassioned vocals.
Drawing from a voice the New York Times called "angelic ecstasy" and "sexual abandon," Joan Osborne created a special collection of some of her favorite classics, a personal tribute to the music she has long loved and drew inspiration from. With vocals that growl and soar, Osborne alternately cries out with heart-wrenching soul and foot-stomping grooves.
She personally selected the obscure gem "Roll Like A Big Wheel" from her own record collection and added rock n roll-fueled urgency to it. She also dug deep into John Mayall's work and came back with "Broken Wings," where her vocal performance draws both goose bumps and tears. The often overlooked Ike Turner-penned "Game of Love" was another treasure Osborne chose to record, and during the sessions an impromptu rendition of "Shake Your Hips" made its way onto the album.
"Bring It On Home" also includes tracks originally made famous by American blues masters such as Sonny Boy Williamson ("Bring it on Home"), Muddy Waters ("I Want to Be Loved"), as well as recordings originally released by some of the greatest R&B singers ever including Ray Charles ("I Don t Need No Doctor"), Al Green ("Rhymes") and Otis Redding ("Champagne and Wine").
"Singer and songwriter Joan Osborne is no stranger to covering vintage soul, R&B, and blues. She did so on 2002's How Sweet It Is and 2007's Breakfast in Bed, and in the documentary film Standing in the Shadows of Motown. Osborne has also flexed her muscles as a producer for the Holmes Brothers, capturing their live vibe better than anyone else. For Bring It on Home, Osborne -- with co-producer Jack Petruzzelli, her road band, a horn section, and the Holmes Brothers on backing vocals -- turns in the rawest, most kinetic moment in her recording career, digging into the very wellspring of soul, blues, and R&B. The material is stellar, beginning with Ashford & Simpson's Ray Charles' vehicle, "I Don't Need No Doctor." She grinds deeply into its grain, with drummer Aaron Comess' popping breaks. Jimmy Vivino's horn chart is clean but aggressive. The title track, defined by Sonny Boy Williamson, is given a sultry reading. Osborne's restraint is airy but defined; the listener can feel tension smoldering underneath. Barbecue Bob Pomeroy's harmonica is a brilliant counterpart, releasing steam from what's roiling underneath her voice. The choice of the obscure "Roll Like a Big Wheel," by Olive Brown is a burning R&B shouter, with smokin' harmonica and horns; Osborne's voice rises above the fray and locks the groove down tight. Ike Turner's "Game of Love" -- written specifically for Tina -- is a grimy, funky, nasty, strutting feminist anthem in Osborne's version; its meaning (and irony) never more clear. Her raucous transformation of John Mayall's "Broken Wing" is a revelation. Allen Toussaint's '70s-era funky reggae "Shoorah! Shoorah!" is a delightful curveball here, and features the author on piano. Osborne's read of Slim Harpo's "Shake Your Hips" comes right from the blues; it's righteous. She burns on Muddy Waters' "I Want to Be Loved," which, in her voice, is more demand than request. The nakedness in her vocal in Bill Withers' "Same Love That Made Me Laugh" reveals the layers in its meaning. Her understated take on Otis Redding's "Champagne and Wine" is gorgeous, with a distorted slide guitar bearing witness to the subtle nuances in Osborne's employs that make plain the desire in the lyric. Ultimately, there isn't a performance here that isn't drenched with passion and a stylist's invention. This isn't a reverential recording; it's authoritative; she makes these songs her own. Bring It on Home carries Osborne's mature voice in way that's never been heard from her before. Her abilities as an interpretive singer prove her an extension of these traditions, not merely a torch bearer for them." (Thom Jurek, AMG)
Joan Osborne, vocals, background vocals
Kris Jensen, tenor saxophone
Aaron Comess, drums, percussion
Andrew Carillo, guitar
Bob "Barbecue" Pomeroy, harmonica
Chris Karlic, baritone saxophone
Jack Petruzzelli, guitar, vibraphone, percussion
Keith Cotton, keyboards
Reggie Pittman, trumpet
The Holmes Brothers
Vaneese Thomas, background vocals
Produced by Jack Petruzzelli, Joan Osborne
was born on July 8, 1962, in the town of Anchorage, Kentucky, but it wasn't until relocating to New York City in the early '90s (to study at NYU's film school) that she began to take a singing career seriously after performing Billie Holiday's classic 'God Bless the Child' at a local bar's open-mike night. In addition to Holiday, Osborne looked to such legendary vocalists as Etta James and Ray Charles as role models, as the up-and-coming singer decided not to cater to major record companies and formed her own label, Womanly Hips, which resulted in such releases as 1992's in-concert Soul Show, among others. But eventually Osborne decided to sign on with a major label, Mercury, which in turn issued the singer's next release, Relish, in March 1995. The album proved to have a long life, as almost a year after its initial release the track 'One of Us' became a massive MTV and radio smash, camping out at the number one spot on the U.S. singles chart for two weeks, and Relish eventually racked up sales of three-million copies. Further tracks ('Right Hand Man' and 'St. Teresa') failed to match the success of Osborne's first hit, but the singer still managed to connect with a large and appreciative audience, especially after touring as part of the 1997 edition of Sarah McLachlan's Lilith Fair tour. Osborne also received numerous Grammy nominations in both 1996 and 1997. Producing a worthy follow-up to Relish proved to be a time-consuming challenge for Osborne. Mercury tried to buy some time by issuing a compilation release, Early Recordings (which collected the early releases Live at Delta '88 and Blue Million Miles). In the meantime, Osborne focused on supporting a few groups/causes she felt strongly about, such as Rock the Vote and Planned Parenthood (eventually being named an honorary member of Planned Parenthood's board of advocates), in addition to covering 'I'm Just a Bill' as a duet with Isaac Hayes on the 1998 Schoolhouse Rocks the Vote! benefit album. She also studied briefly with late Qawwali master Nusrat Fateh Ali Khan and performed alongside such notables as Stevie Wonder, Melissa Etheridge, Taj Mahal, Luciano Pavarotti, Spearhead, Bob Dylan, and the Chieftains. September 2000 finally saw the release of Osborne's next all-new studio album, titled Righteous Love, which failed to match its predecessor's commercial success and sank from sight shortly after release. She bounced back in 2002 with How Sweet It Is, a collection of covers that leaned heavily on classic soul and R&B tunes from the '60s and '70s. A career retrospective, One of Us, followed in 2005. Vanguard picked her up shortly after this, and Osborne released her first full-length on that label, a country-tinged effort called Pretty Little Stranger, in 2006. It was followed in 2007 by Breakfast in Bed and in 2008 by Little Wild One. After a break of three years, Osborne re-entered a recording studio with her road band and co-producer Jack Petruzzelli. They emerged with a raw, wooly collection of classic blues and R&B covers entitled Bring It on Home; it was released in the spring of 2012. She took more direct control over her next release, Love & Hate. Osborne and Petruzzelli re-teamed for co-production duties, but this time she but wrote or co-wrote every song. The album was released in the spring of 2014. (Greg Prato)
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