Bettye LaVette's 'I've Got My Own Hell to Raise'

Bettye LaVette‘s ‘I’ve Got My Own Hell to Raise’ is an album (comprising covers of songs written by other female artists) released on September 27, 2005 by Anti.

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1 . I Do Not Want What I Haven’t Got (Madison Square Park, NYC, 8-8-12)

2 . I Do Not Want What I Haven’t Got (Highline Ballroom, NYC)

3 . Joy

4 . Little Sparrow

5 . How Am I Different (Bridgestone Music Festival, 2009)

6 . Sleep To Dream / I Do Not Want What I Haven’t Got

7 . Sleep To Dream (Bridgestone Music Festival, 2009)

8 . Sleep To Dream

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Track Listing : 1.I Do Not Want What I Haven’T Got (Sinéad O’Connor) – 02:11 . 2.Joy (Lucinda Williams) – 03:55 . 3.Down To Zero (Joan Armatrading) – 03:10 . 4.The High Road (Sharon Robinson) – 04:29 . 5.On The Surface (Rosanne Cash) – 03:26 . 6.Just Say So (Cathy Majeski/John Scott Sherrill) – 04:29 . 7.Little Sparrow (Dolly Parton) – 04:41 . 8.How Am I Different (Aimee Mann) – 04:28 . 9.Only Time Will Tell (Toni Brown) – 04:33 . 10.Sleep To Dream By (Fiona Apple) – 03:46

Musicians : Bettye Lavette – Vocals . Chris Bruce – Acoustic Guitar And Electric Guitar . Doyle Bramhall Ii – Electric Guitar . Lisa Coleman – Piano, Organand Wurlitzer Electric Piano . Paul Bryan – Electric Bass . Earl Harvin – Drums . David Piltch – Upright Bass . Niki Harris – Backing Vocals . Valerie Watson – Backing Vocals

Production : Produced By Joe Henry . S. Husky Höskulds – Engineer, Mixing . Gavin Lurssen – Mastering

Package : Rob Bowman – Liner Notes . Kevin Estrada – Photography

Recorded 2005.

Released On September 27, 2005 By Anti.

(Source Bettye LaVette – I’ve Got My Own Hell to Raise | Official Site)

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NPR
Bettye Lavette’s career has been a slow burn. It’s allowed her to fully develop her astonishing vocal gift and granted her artistic license to sing whatever she pleases, like the country, rock and folk songs on this disc. […]

The Guardian
[…]

allmusic
LaVette is fortunate to have found a producer with Henry’s guts, visionand sensitivity. He gets a lot of credit here, not only for presenting LaVette in a stripped down and directly emotive context, but also for his arrangements of these songs that feel almost like cinema in their dynamic and dramatic settings. […]

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