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Track List
01) Put Your Arms Around Me, Honey
02) Heaven Will Protect the Working Girl
03) What You Gonna Do When The Rent Comes 'Round
04) A Bird In A Gilded Cage
05) Teasing
06) Itialian Street Song
07) Honey Boy
08) Waiting For The Robert E. Lee
09) Strike Up The Band
10) Oceana Roll
11) Don't Go In The Lions Cage Tonight
12) The Nightingale
13) Smarty
14) I Don't Care
15) My Mother Was A Lady
16) Waiting At The Church
01) Put Your Arms Around Me, Honey
02) Heaven Will Protect the Working Girl
03) What You Gonna Do When The Rent Comes 'Round
04) A Bird In A Gilded Cage
05) Teasing
06) Itialian Street Song
07) Honey Boy
08) Waiting For The Robert E. Lee
09) Strike Up The Band
10) Oceana Roll
11) Don't Go In The Lions Cage Tonight
12) The Nightingale
13) Smarty
14) I Don't Care
15) My Mother Was A Lady
16) Waiting At The Church
2:40
3:02
2:45
3:12
2:36
2:50
2:35
2:23
2:27
2:38
2:50
2:55
2:41
2:45
3:07
2:40
Data Complete 70%
Total Rating
Total Rating
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2011
Pop
Good Natured
Novelty
---
Medium
Album
0 copies
Album Description
Available in:
After the bout of laryngitis that left her with a slight rasp in her voice and derailed her career as a "serious" musician, Beatrice Kay turned to musical comedy. The Naughty Nineties shows that while she may not have been able to reach the notes required for Broadway shows of the time, she more than makes up for any vocal deficiency by the character and phrasing she brings to her interpretations of popular music of the 1890s. This is especially helpful for someone who is new to this material, given the changes in society in the hundred years prior to this album's release. Some of the songs that were shockingly salacious when they were written sound amusingly naïve to a modern audience, and without Ms. Kay's vocal cues listeners might not realize the double meanings and saucy undertones. The choice of material here is solid, and the orchestra, under the direction of Ray Bloch, gives energetic support without being intrusive. Beatrice Kay sounds confident, sassy, and playful throughout the recording; when she sings, "My voice may sound funny/But it's making me good money," in "I Don't Care," it's easy to believe she meant every word of it.
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After the bout of laryngitis that left her with a slight rasp in her voice and derailed her career as a "serious" musician, Beatrice Kay turned to musical comedy. The Naughty Nineties shows that while she may not have been able to reach the notes required for Broadway shows of the time, she more than makes up for any vocal deficiency by the character and phrasing she brings to her interpretations of popular music of the 1890s. This is especially helpful for someone who is new to this material, given the changes in society in the hundred years prior to this album's release. Some of the songs that were shockingly salacious when they were written sound amusingly naïve to a modern audience, and without Ms. Kay's vocal cues listeners might not realize the double meanings and saucy undertones. The choice of material here is solid, and the orchestra, under the direction of Ray Bloch, gives energetic support without being intrusive. Beatrice Kay sounds confident, sassy, and playful throughout the recording; when she sings, "My voice may sound funny/But it's making me good money," in "I Don't Care," it's easy to believe she meant every word of it.
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