Artist: Doris Troy Album: Doris Troy

Year: 1970
Duration: 0:0-1

A Critical Review of Doris Troy's Self-Titled Album

Have you ever heard of Doris Troy? She was an American soul singer who gained popularity in the 1960s, particularly with her hit song, Just One Look. But did you know that she also had a self-titled album, released in 1970? In this blog post, we'll be taking a critical review of her Doris Troy album, exploring the history of the artist, the music genre of the album, the best songs from the album, the most innovative parts, and our overall critique.

To begin with, let's dive into a brief history of Doris Troy. She was born as Doris Higgensen in 1937 in New York City and began singing in her local Baptist church. She later moved to Harlem and started singing in nightclubs, eventually catching the attention of James Brown, who signed her to his label and released her hit song, Just One Look, in 1963. She then went on tour with The Beatles and became friends with members of the British music scene, including George Harrison. It was through his encouragement that she began to work on her self-titled album.

Moving onto the music genre of the album, it can be described as a mix of soul and rock, with a touch of gospel. It was produced by George Harrison, who also played guitar and provided backing vocals. This was a departure from Doris Troy's previous work, as it showcased a more eclectic sound. Some of the standout tracks from the album include Get Back, Ain't That Cute, and I've Got to Be Stronger. These songs showcase the range of Troy's vocal abilities, from her powerhouse soulful belting to her softer, more intimate moments.

One of the most innovative parts of the album is the way it blends genres, which was unusual for the time. The use of gospel-inspired harmonies in tracks like Hurry On Down to Love and Ain't That Cute showcases Troy's range and versatility. The album also features a cover of The Beatles' hit song, Get Back, which is given a fresh sound with Troy's powerhouse vocals and the addition of horns and backing vocals. Overall, the album is a testament to Doris Troy's ability to infuse soulful energy into music that crosses genres.

Now, onto our critique of the album. While it showcases Troy's vocal abilities, it does have some weaknesses. The production can feel a bit dated at times, particularly in the use of certain sound effects or instrumental choices. Additionally, some of the songs feel a bit repetitive or lack the same energy as the standout tracks. However, these flaws do not detract from the overall quality of the album.

In conclusion, Doris Troy's self-titled album is a shining example of her talents as a singer, producer, and collaborator. It showcases a range of musical styles and energy, while also pushing boundaries and innovating in its blending of genres. While it may have some weaknesses in terms of production or songwriting, it is still a strong album that deserves to be listened to and appreciated. If you're a fan of soulful music or interested in exploring the history of American music, then this album is definitely worth a listen.