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She speaks softly, not unlike the way she sings --soft, soulful passages, almost like secrets to the closest of friends --punctuated by bursts of exaltation. It's much like the span of emotion in her work, and in her new record, Balm in Gilead, which veers from the pure, naked heartbreak of "Bonfires" to the elation of "Old Enough," to the beautiful "Wild Girl," which celebrates the 21st birthday of her daughter, while simultaneously reflecting on the unchained fervor of her own wild days.
BEHIND THE SONG: "The Dark End of the Street"
One test of a great song is that it can be sung by almost anyone. “The Man I Love,” “Embraceable You,” and other classics of Tin Pan Alley have retained their quintessence despite countless spins and interpretations—always, something truthful in the lyrics and melody has shone through. In a similar way, “The Dark End of the Street”—one of the most recorded soul ballads of all time, and one of the greatest—possesses an almost magical ability to hold itself together, to deliver a fresh impact with each new listen.
In 1962, a wide-bodied sedan pulled up along McLemore and College Avenue under the low, hot Memphis sunshine...