Mary Coughlan - Red Blues -2002- | 2024 |

The album's title, "Red Blues," refers to the dual nature of human emotions, oscillating between the fiery passion of red and the melancholic introspection of blues. This dichotomy is reflected in Coughlan's lyrics, which explore themes of love, loss, and self-discovery.

: Originally by 1940s jump blues pioneer Louis Jordan.

Taking on Etta James’ "I'd Rather Go Blind" and Peggy Lee's "Black Coffee" , Coughlan strips away any glitz, relying instead on a slow-motion, world-weary delivery that makes the songs feel written specifically about her own life.

Coughlan subverts Randy Newman’s famous track—long associated with Joe Cocker's bombastic arrangement—by dragging it into a smoky, intimate space. Her delivery is slower, more sinister, and distinctly commanding. Mary Coughlan - Red Blues -2002-

Throughout "Red Blues", Coughlan draws inspiration from a diverse range of musical traditions. The album's title track, "Red Blues", is a prime example of this eclecticism, featuring a blues-inflected groove that underscores Coughlan's emotive vocals. Her interpretation of the song's themes of heartache and melancholy is both deeply personal and universally relatable.

Mary Coughlan is a highly acclaimed Irish jazz singer known for her expressive, emotive voice and distinctive interpretive abilities. "Red Blues" is her fifth studio album, released on the Irish label, Green Flag Records, in 2002.

This public link is valid for 7 days and shares a thread, including any personal information you added. This link or copies made by others cannot be deleted. If you share with third parties, their policies apply. Can’t copy the link right now. Try again later. The Whole Affair – The Very Best of Mary Coughlan The album's title, "Red Blues," refers to the

To build the album's sonic foundation, Coughlan collaborated with an exceptional lineup of top-tier international bluesmen and session players: (Drums) Bill Rich (Bass) Peter O'Brien (Keyboards) Frank Mead (Saxophone/Harmonica) Bill Bourne, Lester Quitzau, and Madagascar Slim (Guitars)

: A surprising bluesy take on the Grace Jones club hit.

At its core, "Red Blues" is an exploration of love, loss, and longing. Coughlan's lyrics are unflinchingly honest, revealing the complexities of the human experience with a poet's precision and a storyteller's flair. From the opening tracks, it's clear that Coughlan is on a mission to excavate the deepest recesses of her own heart, laying bare her emotions for all to see. Taking on Etta James’ "I'd Rather Go Blind"

In "The Long Road," for example, Coughlan reflects on a past relationship, her lyrics imbued with a sense of longing and nostalgia: "I've been walking this road for a long, long time / Trying to find my way, trying to make it right." The song's sparse arrangement, featuring a simple piano accompaniment, allows Coughlan's voice to take center stage, conveying the emotional vulnerability of the lyrics.

Ultimately, Red Blues stands as a high-water mark in Mary Coughlan's later career. It captured an artist reborn, free from the substance abuse that had plagued her early years, and fully in command of her remarkable talents. The album exists as a vital document from an artist who, as one contemporary journalist elegantly put it, "may have tamed her wilfulness... [but has only seen] her artistry reign". For anyone seeking to discover the profound emotional depth and genre-defying power of Irish music, Mary Coughlan's Red Blues remains an essential, deeply rewarding listen.

In the grander scope of Mary Coughlan's discography, Red Blues holds a special position. Preceded by her 2001 album Long Honeymoon and following her highly-regarded 2000 tribute album Mary Coughlan Sings Billie Holiday , Red Blues found her continuing a productive and artistically confident period at the start of the new millennium. It remains a fan favorite and a testament to the power of creative spontaneity. The album’s energy—from the smoky depths of “Blue Light Boogie” to the quiet rebellion of “You Can Leave Your Hat On”—is a testament to the artists involved, a lasting document of a moment when a world-class vocalist and a group of highly skilled musicians came together in a German studio for a few days to simply play.

A playful nod to Louis Jordan’s 1940s jump blues classic. Coughlan updates the rhythm with modern swagger, showing off her characteristic dark humor and impeccable timing.

(a personal favorite of Coughlan's, which she associates with powerful childhood memories) Black Coffee Pull Up to the Bumper She's Got a Way With Men One for My Baby Strange Fruit Music Republic Magazine Key Personnel & Credits The album was produced by Petra Hanisch and recorded/mixed by Rolf Kirschbaum . Notable musicians on the record include: Peter O'Brien Saxophone: Frank Mead (Alto, Tenor, and Soprano)