Can't Keep It to Myself
From Wikipedia, the free encyclopedia
| Can't Keep It to Myself | |
|---|---|
 | |
| Studio album by | |
| Released | 1993 |
| Genre | Gospel, blues |
| Label | Shanachie[1] |
| Producer | Anthony Heilbut |
Can't Keep It to Myself is an album by the American gospel singer Marion Williams, released in 1993.[2][3] It was Williams's last album.[4] A few months prior to the release of the album, Williams had become the first singer to win a MacArthur Award.[5]
The album was produced by Anthony Heilbut.[6] It contains a remake of one of Williams's earliest hit recordings, "Live the Life I Sing About in My Song".[4]
Critical reception
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [7] |
| New York Daily News |  [8] |
| Pittsburgh Post-Gazette | [9] |
Ebony wrote that Williams's "spirited voice still gracefully skips down melodic mountains one soulful note at a time."[10] Rolling Stone thought that "the hymns' structural solidity allows Williams to take flight: While she demonstrates throughout the clarity and discipline of a classical singer, she slurs and bends notes with the command of a soul performer."[11] The Philadelphia Inquirer opined that the album "illustrates her ability to turn crawling, down-tempo gospel blues into a holy offering."[12]
The Philadelphia Daily News concluded that, "without question Williams is the most rhythmic and bluesiest of all the old-school gospel divas—close your eyes and it's not much of a stretch to envision her in Bessie Smith's place, vampin' 'Gimme a Pigfoot' speak-easy style—which is why part of the joy of the album is in the mix."[13] The Pittsburgh Post-Gazette called Can't Keep It to Myself "an excellent primer on Williams' art, and one of the single best albums of the year."[9] The San Diego Union-Tribune wrote that Williams "unleashes that voice with sustained passion and pinpoint control, swooping and soaring with the fervor of a blues queen and the fluidity of a jazz diva."[14]
AllMusic deemed the album "awesome performances recorded with minimal, sympathetic accompaniment and little production support; just mostly Williams' smashing, note-bending, soaring vocals."[7]
