01	She Just Wants To Dance						04:52
	02	Need A Little Sugar In My Bowl						02:59
	03	You Don't Have To Take It (Like I Did)						02:17
	04	Big Ovaries, Baby						03:59
	05	Nothing's Changed						03:31
	06	You Really Got A Hold On Me						03:14
	07	The Dog Was Here First						03:42
	08	Front Door Blues						02:38
	09	Only One Truth						03:12
	10	Prove It On Me Blues						02:54
	11	Jail House Blues						04:50
	12	Images						02:27
	13	Nightmare						04:00
	14	Let, Let God						04:31

Date of Release Oct 12, 1999

AMG EXPERT REVIEW: With Bitter Sweet Blues, Gaye Adegbalola has produced an album that starts off where her work with Saffire the Uppity Blues Women left off, and jumps into a new, adventurous space. An expanded cast of musicians and more personal lyrics are some of the benefits to going solo, and Adegbalola makes use of both well. Each song has either humor or power, sometimes both. The only thing that seems incongruous is the mixture of songs with wildly varying moods and topics. While satirical woman-power songs like "Big Ovaries" are empowering and funny, when paired with "Nightmare" - a powerful, personal song about child molestation - the effect is somewhat gross. The feminist politics of both songs mesh rather well, but it is difficult for the listener to shift from laughing at bawdy sexuality to somber empathy in just a few tracks. Overall, though, this is a fine first solo effort that resonates with spirit and emotion. - Stacia Proefrock

1. She Just Wants to Dance (Graper/Moore) - 4:51
2. Need a Little Sugar in My Bowl (Brymn/Small/Williams) - 2:59
3. You Don't Have to Take It (Like I Did) (Adegbalola) - 2:17
4. Big Ovaries, Baby (Adegbalola) - 3:59
5. Nothing's Changed (Adegbalola/Block) - 3:31
6. You Really Got a Hold on Me (Robinson) - 3:14
7. The Dog Was Here First (Adegbalola) - 3:42
8. Front Door Blues (Adegbalola) - 2:38
9. Only One Truth (Adegbalola) - 3:12
10. Prove It on Me Blues (Rainey) - 2:54
11. Jail House Blues (Adegbalola/Smith/Williams) - 4:50
12. Images (Cuney/Simone) - 2:27
13. Nightmare (Adegbalola/Block) - 4:00
14. Let Go, Let God (Adegbalola) - 4:31

Rory Block - Guitar (Acoustic), Vocals (bckgr), Producer
Warren Bernhardt - Piano
Tom Principato - Guitar (Electric)
Ysaye Barnwell - Vocals (bckgr)
Carl Adami - Bass
Gaye Adegbalola - Guitar (Acoustic), Harmonica, Vocals, Vocals (bckgr), Liner Notes, Mastering
Mike DeMicco - Guitar (Electric)
Bruce Iglauer - Executive Producer, Mastering
Jerry Marotta - Percussion
Peter O'Brien - Drums
Jordan Block Valdina - Piano, Keyboards
Marc Norberg - Photography
David Forte - Design
Randy Mattson - Bass
Eric Lemley - Engineer, Mixing
Clyde Connor - Drums
Resa Gibbs - Vocals (bckgr)
Les Gruseck - Photography
Craig Hemp - Photography
Jeff Hillman - Mastering
Roman Klun - Engineer
Rob Macomber - Engineer, Mixing
Suzanne Moe - Photography
Juno Pitchford - Vocals (bckgr)

1999 Alligator 4870




Gaye Adegbalola
Born Mar 21, 1944 in Frederoclsburg, VA


Best known as a member of the acoustic blues trio Saffire-The Uppity Blues Women, singer/guitarist Gaye Adegbalola was born March 21, 1944 and raised in Virginia. She played flute during high school but initially pursued a career outside of the arts, following a stint as a biochemical researcher by teaching eighth-grade science and winning Virginia Teacher of the Year honors in 1982. With her friend and guitar teacher Ann Rabson, she formed Saffire. In 1984, the group issued its debut album on Alligator in 1990, with Adegbalola's composition "The Middle Age Boogie Blues" proceeding to win a W.C. Handy Award for Song of the Year. A series of acclaimed Saffire albums followed, and in 1999 Adegbalola made her solo debut with Bitter Sweet Blues. - Jason Ankeny



Gaye Adegbalola
BITTER SWEET BLUES



"A powerhouse of emotion." -- Blues Revue


Produced by Rory Block

Gaye Adegbalola: Vocals, Acoustic Guitar, Harmonica and Background Vocals
Rory Block: Acoustic Guitar and Background Vocals
Mike DeMicco: Electric Guitar
Tom Principato: Electric Guitar
Warren Bernhardt: Piano
Jordan Valdina: Piano and Keyboards
Carl Adami or Randy Mattson: Bass
Peter O'Brien or Clyde Connor: Drums
Jerry Marotta: Percussion
Resa Gibbs, Ysaye Barnwell, Juno Pitchford: Background Vocals

Gaye's thank yous:
I'm forever indebted to Rory for taking me to new heights and to Bruce for allowing her to do so. Marc, your reflections have allowed me to see my/self differently; thank you. I could never thank Suzanne enough, from helping me to choose just the right word to salvaging Woodstock to sharing her soul. I am ever thankful to God.

Additional thanks to my Saffire family (Ann and George, Andra and Chris, Steve, Bonnie and her posse), to my other family of musicians,The SisterHood (Jackie, Colleen, Sarah, Resa and Kramer) and BluesWorks (Judy and Paul), to my Fredericksburg family, and friends and fans everywhere. I hope I "do you proud." Special thanks to Tootsie for being companion and protector and inspiration for The Dog Was Here First. To my son, Juno, thanks for all the times you've said "Go for it, Ma!" Your support in life means the world to me. To my Mom, thanks for grounding me and giving me wings. Thank you for your unconditional love.

Rory's thank yous:
Heartfelt thanks to Gaye and Bruce for allowing me to produce this album. It has been a great honor for me to participate. Also, major thanks to the folks at Omega: Dave Durr, Eric Lemley and Rob Macomber for old fashioned hospitality and professional excellence. Rob is one of the few Pro Tools engineers on earth willing to keep up with my madness without complaint.

Produced by Rory Block for Aurora Productions
Executive Producer: Bruce Iglauer
Recorded by Roman Klun, April, 1999 at Jersville Studio, Woodstock, NY
Additional recording and mixing by Eric Lemley and Rob Macomber, July, 1999 at Omega Recording Studios, Rockville, MD
Mastered by Jeff Hillman, Bruce Iglauer and Gaye Adegbalola, August, 1999 at Monster Disc, Chicago, IL
Color photos by Marc Norberg
Design by David Forte

Gaye Adegbalola's personal management
is by Hot Toddy Music, Box 7142, Fredericksburg, VA 22404

Gaye also appears on the following Saffire-The Uppity Blues Women releases on Alligator Records:
--The Uppity Blues Women
--Hot Flash
--Broadcasting
--Old, New, Borrowed & Blue
--Cleaning House
--Live & Uppity


TRACKS
--------------------------------------------------------------------------------

1.) She Just Wants To Dance (G. Graper & K. Moore, Playin' Possum Music/Keb' Mo' Music, BMI) (4:51)
2.) Need A Little Sugar In My Bowl (C. Williams, T. Brynn & D. Small, MCA Music, ASCAP) (2:59)
3.) You Don't Have To Take It (Like I Did) (G. Adegbalola, Hot Toddy Music, ASCAP) (2:17)
4.) Big Ovaries, Baby (G. Adegbalola, Hot Toddy Music, ASCAP) (3:59)
5.) Nothing's Changed (G. Adegbalola & R. Block, Hot Toddy Music, ASCAP) (3:31)
6.) You Really Got A Hold On Me (W. Robinson, Jobete Music, ASCAP) (3:14)
7.) The Dog Was Here First (G. Adegbalola, Hot Toddy Music, ASCAP) (3:42)
8.) Front Door Blues (G. Adegbalola, Hot Toddy Music, ASCAP) (2:38)
9.) Only One Truth (G. Adegbalola, Hot Toddy Music, ASCAP) (3:12)
10.) Prove It On Me Blues (G. Rainey, publisher unknown) (2:54)
11.) Jail House Blues (B. Smith & C. Williams, Frank Music Co. c/o MPL/Great Standards Music, ASCAP; add'l lyrics by G. Adegbalola, Hot Toddy Music, ASCAP) (4:50)
12.) Images (N. Simone & W. Cuney, Sam Fox Publ. Co., Inc., ASCAP) (2:27)
13.) Nightmare (G. Adegbalola & R. Block, Hot Toddy Music, ASCAP) (4:00)
14.) Let Go, Let God (G. Adegbalola, Hot Toddy Music, ASCAP) (4:31)


ORIGINAL LINER NOTES
1. She Just Wants To Dance 4:51
(G. Graper & K. Moore, Playin' Possum Music/Keb' Mo' Music, BMI)
Gaye, vocals; Rory, acoustic slide guitar; Mike, electric guitar; Jordan, piano; Carl, bass;
Peter, drums; Rory and Gaye, background vocals

2. Need A Little Sugar In My Bowl 2:59
(C. Williams, T. Brymn & D. Small, MCA Music, ASCAP)
Gaye, vocals; Warren, piano

3. You Don't Have To Take It (Like I Did) 2:17
(G. Adegbalola, Hot Toddy Music, ASCAP)
Gaye, vocals; Rory, background vocals

4. Big Ovaries, Baby 3:59
(G. Adegbalola, Hot Toddy Music, ASCAP)
Gaye, vocals and harmonica; Mike, electric guitar; Jordan, piano;
Randy, bass; Clyde, drums; Rory and Gaye, background vocals

5. Nothing's Changed 3:31
(G. Adegbalola & R. Block, Hot Toddy Music, ASCAP)
Gaye, vocals; Rory, acoustic slide guitar; Jerry, percussion

6. You Really Got A Hold On Me 3:14
(W. Robinson, Jobete Music, ASCAP)
Gaye, vocals; Mike, electric guitar; Jordan, piano; Carl, bass; Peter, drums;
Rory and Resa, background vocals

7. The Dog Was Here First 3:42
(G. Adegbalola, Hot Toddy Music, ASCAP)
Gaye, vocals; Mike, electric guitar; Jordan, piano; Carl, bass; Peter, drums

8. Front Door Blues 2:38
(G. Adegbalola, Hot Toddy Music, ASCAP)
Gaye, vocals and rhythm acoustic guitar; Rory, lead acoustic guitar

9. Only One Truth 3:12
(G. Adegbalola, Hot Toddy Music, ASCAP)
Gaye, vocals; Tom and Mike, electric guitars (Tom solo & fills; Mike intro);
Jordan, keyboards; Carl, bass; Peter, drums; Gaye, background vocals

10. Prove It On Me Blues 2:54
(G. Rainey, publisher unknown)
Gaye, vocals; Warren, piano

11. Jail House Blues 4:50
(B. Smith & C. Williams, Frank Music Co. c/o MPL/Great Standards Music, ASCAP;
additional lyrics by G. Adegbalola, Hot Toddy Music, ASCAP)
Gaye, vocals; Jerry, percussion; Rory, additional drum programming;
Resa, Ysaye, Rory and Gaye, background vocals

12. Images 2:27
(N. Simone & W. Cuney, Sam Fox Publ. Co., Inc., ASCAP)
Gaye, vocals

13. Nightmare 4:00
(G. Adegbalola & R. Block, Hot Toddy Music, ASCAP)
Gaye, vocals; Rory, acoustic slide guitar; Jerry, percussion;
Rory and Gaye, background vocals; vocal arrangement by Rory

14. Let Go, Let God 4:31
(G. Adegbalola, Hot Toddy Music, ASCAP)
Gaye, vocals and fingerpicking acoustic guitar;
Rory, slide and fingerpicking acoustic guitar;
Resa, Ysaye, Juno and Rory, background vocals

She Just Wants To Dance
Keb' Mo' is one of my favorite contemporary writers. I think he and Georgina
Graper wrote this song just for me. I love to dance!

Need A Little Sugar In My Bowl
During the piano intro of Nina Simone's version of this song, Nina whispers
"Bessie Smith, y'all." It was that one phrase that led me to Bessie in the late '60s.
I discovered a new world. Bessie's version is the one recorded here.

You Don't Have To Take It (Like I Did)
For members of my generation and those before me, there were few resources
for escaping an abusive relationship. Times have changed.

Big Ovaries, Baby
What does it take to stand up and speak up? Courage?
Confidence? Or just some innate hormone deep down inside?

Nothing's Changed
I grew up in apartheid. Though many scars are indelible, many wounds have healed.
However, when we witness continued hate crimes and senseless acts of discrimination,
the need for deeper change still exists...one person at a time.


You Really Got A Hold On Me
Had to have one doo-wop for old times' sake...blue lights in the basement, sweating
out my hair. Didn't get no better than Smokey and the Miracles!

The Dog Was Here First
Sometimes the otherwise perfect relationship is challenged by obstacles perhaps none
more difficult than "Fido."

Front Door Blues
It is scary getting stuff out of the closet. Baggage comes in many forms, not just
gay/lesbian baggage, but also mental illness, STDs, prison records, drug addiction,
alcoholism, etc. This gay little ditty is an ode to courage.

Only One Truth
For sure there's more than one, but, to me, this is clearly the greatest truth. I used to
chase many dreams money, career, even music when the ultimate goal is love. This
song was inspired by the artist formerly known as Prince.

Prove It On Me Blues
Ma Rainey, Mother of the Blues, wrote this public declaration of illicit love in 1928.
Ma is one of my "sheroes."

Jail House Blues
Bessie Smith wrote this song about a raid on a rent party. It triggered some other
images after visiting a women's prison. I attempt to restate Bessie's "commanding plea"
in a contemporary setting.

Images
Nina Simone has been my mentor and my #1 influence. She has given me knowledge
of self spiritually and musically.

Nightmare
The most closeted baggage in my life was the incest saga. The moment I wrote this song,
I felt a surge of relief. I hope it will do that for other survivors. Rory's music and interpretation,
for me, heightened the power.

Let Go, Let God
Sometimes the weight is too heavy. When I allow myself to give up control and put my faith
in a higher power, I can revel in the triumph instead of wallowing in the tribulation. The
bitterness is vanquished. How sweet it is to "be here now." May we all continue to find
PEACE through music.
Gaye Adegbalola, 1999 P.S. It's Ah-Deg-Ba-Lo-La







CD Review
Gaye Adegbalola
"Bitter Sweet Blues"
Alligator Records
by Lisa Gault
Review date: December 1999
1999 KBA Award Winner
Achievement for Blues on the Internet
Presented by the Blues Foundation



Gaye Adegbalola (Ah-Deg-Ba-Lo-La) of the group Saffire-The Uppity Blues Women, has released a new solo album, "Bitter Sweet Blues." This album is filled with emotion! Adegbalola takes the listener through a musical journey from sadness and pain to a lighter, brighter world with tenderness, laughter and hope. Adegbalola has appeared on six other recordings with the contemporary post-feminist blues trio, Saffire-The Uppity Blues Women. Adegbalola received the W.C. Handy Award for Song of the Year in 1990 with, "The Middle Age Boogie Blues."
The album, "Bitter Sweet Blues" opens with a swingin' Keb' Mo'-Georgina Graper tune, "She Just Wants To Dance." Pianist Warren Bernhardt then slides into a Bessie Smith classic, "Need A Little Sugar In My Bowl" (C. Williams, T. Brymn & D. Small.) This delightful, easy-listening melody compliments the light-hearted lyrics, filled with sexual innuendo. Adegbalola also shines with her own fun, upbeat tune, "Big Ovaries, Baby!" She belts out the words: "I got big ovaries, baby....big enough to speak my mind... I'll fight for my rights, cuz, bitch is my middle name!"

Adegbalola uses humor in some of her lyrics and stunning raw truth in others. Her song, "You Don't Have To Take It (Like I Did)" and "Nothing's Changed" (Adegbalola & R. Block) both have serious messages. She sings with power and passion, stirring up a less-than-comfortable awareness. Adegbalola pushes boundaries with her music. Her collaboration with Rory Block produced a stunning piece of music, entitled "Nightmare," which deals with the subject of incest. Some listeners are bound to feel uncomfortable with such revealing lyrics--others will find the song sad, but moving. Bessie Smith's, "Jail House Blues" is such a powerful rendition, Adegbalola's pleading vocals, combined with the haunting percussion arrangement, strike a disturbing chord. Again...it's powerful, commanding music.

This album concludes with a memorable, "Let Go, Let God" (Adegbalola.) The great finger-pickin' acoustic guitar compliments the lyrics:

"I am listenin', but I cannot hear
I am hurtin', but I can't shed a tear
Oh, I am numb, I'm numb and cold
please take it off me--save my soul.
I need to let go, I need to let God...
make me whole again."

Gaye Adegbalola's new CD, "Bitter Sweet Blues" is a powerful collection of music. Her songs provoke emotion and are delivered with some great tongue-in-cheek humor! There's also a great re-make of Smokey Robinson's, "You Really Got A Hold On Me!" Whether she's belting out Bessie Smith tunes, rocking out like Tina Turner, or singing smooth, sultry vocals, Adegbalola delivers a strong, memorable set of blues with the album, "Bitter Sweet Blues."

Web Site: http://www.adegbalola.com
Saffire: http://www.uppityblueswomen.com
Alligator Records: www.alligator.com
(800) 344-5609
Box 60234 Chicago, IL 60660
Produced by Rory Block


This review is copyright c 1999 by Lisa Gault, and Blues On Stage, all rights reserved.





Blues
Gaye old time
The snags of aging aside, Gaye Adegbalola is happier than ever singing the blues. Why? She's finally out
By Etelka Lehoczky

Blues singer Gaye Adegbalola faced an unexpected hurdle about ten years ago when she began her career: menopause. She and the two other members of Saffire: the Uppity Blues Women had anticipated difficulties as a newly formed all-female band, but the one thing they hadn't counted on was the stress three 40-something women can generate on the road.

"All of us were 44, 45, and we were like three bitches getting ready to kill each other-all of us just premenopausal, riding in a rickety van, fighting about the heat control," Adegbalola says. "We went to counseling, and the counselor told us to get three separate rooms on the road. Once we did that, it was a whole lot better."

This minor adjustment to the travel arrangements proved to be the key to the group's success-to date they've recorded six CDs. Now Adegbalola is releasing a solo album, Bitter Sweet Blues, that's full of originals reflecting her durable outlook on life-and, for the first time, her love of women.

Adegbalola's philosophy is summed up on Bitter Sweet Blues by two seemingly contradictory songs. "Big Ovaries, Baby," a brawny declaration of female power, reveals the grit of a woman whose adopted last name means "I'm reclaiming my royalty" in Nigerian. But the hymn "Let Go, Let God" expresses the adaptive spirit that's guided Adegbalola down her diverse paths. In her 55 years Adegbalola has been a street-corner civil rights activist, the director of a small theater, a biochemical researcher, a mother, the state of Virginia's Teacher of the Year, and now a blueswoman.

One of her favorite phrases when recounting her life story is "Push came to shove." That's how she explains her decision to go from New York City's Harlem, where she knew Audre Lorde and fought for civil rights, back to her hometown of Fredericksburg, Va., where she supported her small son by teaching. And it's how she ended up a professional musician.

"I had always played in my bedroom late at night after my son went to sleep," she says. "Then push came to shove. He had a lot of eye surgery and I needed a second job, and it was either flinging burgers or playing music. I played three nights a week in a local bar for 25 bucks a night, and that's what started the ball rolling."

By 1988 Adegbalola had turned that $25-a-night gig into a full-time job. Then came another curveball in 1992: She developed cancer. Unable to tour heavily, she was resigned to scaling back her career when she received an unexpected boost from her idol, veteran guitarist Rory Block. With Block to produce, Adegbalola had no trouble convincing her record company to get behind a solo album.

The new album has let Adegbalola express her homosexuality and feelings about coming out, themes she's kept muted until now. "Recently a lesbian who's seen a lot of our shows came running up to me and was just thrilled that now I was hers-that I was standing up and sticking out," she says. "I just figured it was about time."

Lehoczky writes regularly for the Chicago Tribune.

Order the gay and lesbian titles reviewed here online directly through Amazon.com at a discount price.






Gaye Adegbalola
Bitter Sweet Blues
(Alligator)

Don't be fooled by the pair of honky-tonk blues numbers that open Gaye Adegbalola's debut solo album, Bitter Sweet Blues. The 55-year-old singer, songwriter, guitarist, activist, and member of the acclaimed female blues troupe Saffire: the Uppity Blues Women, has not ditched politics for partying.

Kicking off with a juke-joint version of Keb Mo's "She Just Wants to Dance" and then moving to a stripped-down vocal-and-piano version of the Bessie Smith lusting standard "Need a Little Sugar in My Bowl," Adegbalola first addresses sweeter times before she adds a bitter twist.

For soon she delves into her own post-'60s sexual and racial revolution-influenced compositions, addressing less easy emotions. Here, Adegbalola talks clearly and inventively about domestic violence ("You Don't Have to Take It (Like I Did)") and incest ("Nightmare") -- while more humorous but no less assertive numbers such as "Big Ovaries, Baby" and "The Dog Was Here First" reveal this Virginia native's lust for life, but on her own terms.

Bitter Sweet Blues' producer Rory Block adds guitar, as well as gorgeous, sweet backing vocals on various songs, and drum programming on the resounding, tribal treatment of another Smith song, "Jail House Blues." Yet Adegbalola's solo vocal rendition of Nina Simone's "Images" shows her a formidable voice even standing alone.

Another uppity blues woman figures in Adegbalola's scheme of things, as she saunters through Ma Rainey's racy, bisexual-themed, 1928 blues rag "Prove It on Me." Adegbalola dares to revive and renew the groundbreaking artistic steps taken by some notable female predecessors and bravely adds her own story and wealth of bitter and sweetened emotions to the musical melting pot.

Linda Laban







Print Reviews

--------------------------------------------------------------------------------

"Adegbalola possesses a classic blues singer's talent to breathe life into mere words. It's the combination of prodigious singing, timely material and exquisite production (courtesy of Block) that raises this effort above any mere "women's blues" label. . . Her identification with humanity's daily struggles--and her ability to articulate them--secure Adegbalola's place within the tradition."
Blues Revue

"Adegbalola combines an impish sense of humor with hard-nosed feminist mettle; her effervescent theatricality allows her to infuse even her most politically righteous statements with life-affirming zest."
Living Blues

"Adegbalola is so supremely connected to her music that one feels the joy, beauty, and pain as if it were one's own."
The Washington Blade

"Outspoken, yet introspective, Adegbalola's blues are essential listening material! It's enlightening, entertaining and effectively effervescent!"
Blues Connection

"Like a love potion, there's something special, unnamed about the voice of this woman that makes you want to listen to her again. Sure, there are plenty of fine singers out there, powerful, technically deft, but few I've heard lately sound as joyously elated singing the wa·y Adegbalola does. She doesn't simply deliver a good line--she sings her heart out, letting herself go with the flow of a phrase. . . This is no Evita on a balcony, this is the March on Washington!"
fab! (magazine)

"By far the most challenging songs of the evening, demanded plenty of grit and guts from a vocalist, qualities that Gaye Adegbalola consistently mustered, sometimes almost effortlessly...some of the frankest and funniest songs in their repertory are Adegbalola originals, songs in which a liberated woman looks on love with the rueful eye of experience and the saving grace of good humor."
The Washington Post

"Gaye Adegbalola -- A gifted writer, vocalist and performer, her lyrics speak of the human condition with as much eloquence (earthy street talk, of course, qualifying) as one could want. "Learn To Settle For Less" may be one of the poignant and honest self-assessments of one's life ever recorded. .....this song is probably as close to someone else's soul as we will ever get. (She tells it like it is.......Adegbalola is one of the most electrifying blues performers around....."
The Sacramento Blues Society

" a vocal range that varies from the lubriciousness of Sarah Vaughn to the crisp sonority of Nina Simone."
The Boston Phoenix

"Adegbalola just keeps getting better and better as a songwriter...the songs can't be pigeon-holed as women's songs -- they're people songs."
The Buffalo News