Didn't It Rain is the second studio album from comedian-turned-actor-turned-blues-maestro Hugh Laurie. Recorded in Ocean Way Studios in Los Angeles, the album contains several blues songs (like its predecessor). Unlike his previous album, however, Laurie also branches further into other Southern US and South American genres, including as Jazz, R&B, and Tango. Laurie once again plays piano and guitar and provides vocals, with the Copper Bottom Band playing additional instruments; similarly to Let Them Talk, a range of guest musicians also join Laurie on the album to provide vocals, with appearances including Gaby Moreno, Jean McClain, and Taj Mahal. This special edition bookpack includes bonus tracks.
This brilliant CD series entitled "Didn't It Blow Your Mind, Soul Hits Of The 70s" is a 20-volume anthology of excellent R&B music from the 1970s. Each CD features several artists of the R&B genre, performing songs that helped to shape their generation. This is like having your very own 70s Soul Music party. Great R&B classics don't get any better than this, and Rhino brings it to you in one amazing, top-knotch series.
The Staple Singers were an American gospel, soul and R&B singing group. Roebuck "Pops" Staples (1914–2000), the patriarch of the family, formed the group with his children Cleotha (1934–2013), Pervis (b. 1935), and Mavis (b. 1939). Yvonne (b. 1936) replaced her brother when he was drafted into the U.S. Army, and again in 1970. They are best known for their 1970s hits "Respect Yourself", "I'll Take You There", "If You're Ready (Come Go with Me)", and "Let's Do It Again", which with one exception ("I'll Take You There") peaked on the Hot 100 within a week from Christmas Day. While the family surname is "Staples", the group used the singular form for its name, "The Staple Singers".
General critical consensus holds Mahalia Jackson as the greatest gospel singer ever to live; a major crossover success whose popularity extended across racial divides, she was gospel's first superstar, and even decades after her death remains, for many listeners, a defining symbol of the music's transcendent power.