Vikki Carr is one of the best-loved and most accomplished entertainers in the United States, Latin America and Europe. She is celebrating her fifth decade of a career in which she has won three Grammy Awards and has released over 60 best-selling recordings. Her concert tours of 2006/2007 sold-out shows in the U.S., Mexico and South America. She has performed for the Queen of England, five United States Presidents, wartime soldiers in Vietnam and sold-out audiences around the world. She has worked in radio, television, film and theater. Her music embraces two languages and she is among the first artists to bridge the cultures of the United States and Latin America, paving the way for many performers today. The diversity of her rich voice is impressive. She can belt out the blues or touch the heart with a soft romantic ballad.
Vikki’s 1990 album Set Me Free ranks as one of her most impressive musical achievements. Her singing has never sounded more radiant, assured, and vocally enticing. All of the songs were written by the talented songwriting team of Roberto Levi and Bebu Silvetti with half of them being performed in English translations. This particular selection, sung in the original Spanish, is one of several great cuts that demonstrate Vikki’s dominance as the indisputable queen of the romantic ballad.
Originally released on Columbia, these two Vikki Carr albums zero in on easy listening versions of popular love songs from the '60s and early '70s. The rather formulaic treatments work best on the well-known compositions of the period, especially "If You Could Read My Mind," "For All We Know," and "So Far Away."
This 1989 compilation was produced by the late Alan Dell a man of great taste in all things musical. He often played Vikki Carr on his BBC radio shows ad as part of his EMI compilation series focused on many top flight vocalists and this certainly applies to the legendary Miss Vikki Carr.
The 40 tracks compiled on this two-disc set represent the entire span of pianist and singer Leroy Carr's recording career that spanned a brief seven years, from 1928-1935. The material represented here – all but one of these tracks were recorded for the Vocalion label – features accompaniment by guitarist Scrapper Blackwell on all but one selection, and Josh White on a handful as well. Carr's material here ranges from the classic piano blues of the era that spawned Ma Rainey and Bessie Smith to vaudeville and hokum tunes made popular by artists like Tampa Red and Georgia Tom. Carr's voice is the haunting thing here; it's higher and very clear, sweet almost, as evidenced by most of these sides. But there was an edge, too; one that belied a kind of pathos underneath even the most cheery material – check "Mean Mistreater Blues" or "Bread Baker." But the darker material such as "Suicide Blues" (one of six previously unissued performances), "Straight Alky Blues," or "Shinin' Pistol," is strange and eerie given Carr's smooth approach. Carr may not be the most well-known bluesman of the era, but his contribution is profound and lasting. This collection puts to shame almost all others with the exception of the multi-volume complete recordings on Document.