“THAT BAD EARTHA KITT” vocal jazz LP RCA mono DG ‘53 session NM

$

50

Artist:  EARTHA KITT                                 

Title:  “That Bad Eartha”

Label:   RCA ~ # LPM 1183.  Mono pressing on medium weight vinyl. Label is black with silver text, with deep groove.

Year:  1953.

Condition: 

DISC:  Vinyl is NM- with full original gloss.  Has been played a small number of times and handled with care.  There are a couple slight hairline paper scuffs but no serious or audible marks.  Plays beautifully with superb fidelity.  Labels are clean.  This hard-to-find LP is one that you will never need to upgrade.      

JACKET:   Jacket is EXCELLENT with nice bright artwork.   Seams, spine, and surfaces are excellent.  Reverse has pen writing at top right corner, and some faint spotting around the edges.  Overall a very fine jacket.                

Track Listing: 

Side One:

• I Want to Be Evil
• C’est Si Bon
• Angelitos Negros
• Aril Au Portugal
• Let’s Do It
• My Heart Belongs to Daddy

Side Two:

• Uska Dara
• African Lullaby
• Mountain High, Valley Low
• Lilac Wine
• Under the Bridges of Paris
• Smoke Gets in Your Eyes

Review:

“Like its predecessor, “RCA Victor Presents Eartha Kitt,” Eartha Kitt's second album, That Bad Eartha, also released in 1953, became a Top Five hit in a year when the curiosity about this exotic creature seemed to be limitless.  Although she was actually from South Carolina by way of Harlem, Kitt came across as an international chanteuse, which spending a few years in Paris, among other places, will do for you.  Her recording of "C'est Si Bon (It's So Good)," included here, had reached the Top Ten in August, preceded by a minor chart entry in "Uska Dara -- A Turkish Tale" and followed by another, "I Want to Be Evil."  Both were also included.  

In addition to French and Turkish, Kitt sang in Spanish and Swahili, which was more than enough to justify her image as a classy import.  Another part of that image was her somewhat predatory sex appeal, which was explored fully in "I Want to Be Evil" and two Cole Porter favorites, "Let's Do It" and "My Heart Belongs to Daddy."  Of course, there was sleight-of-hand going on there, too, but Kitt didn't suffer from having a wholly contrived persona, because she let her listeners in on the joke.  It wasn't accidental that the title of the album had quotes around it.  And in the same way, her relatively limited vocal range didn't matter because she acted her way through her performances as if they were short plays.  The only problem, in fact, was that Kitt defined herself so well she was ultimately one-dimensional.  It was not surprising when the hits dried up within a year, since she came across on records as a novelty act; but she had developed an act she could keep playing for the rest of her life.  And that's exactly what she did.”

(review courtesy of William Ruhlmann, allmusic.com) 

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