Bill Cosby's vocal albums are an eccentric and self-indulgent lot at best, more notable for the efforts of the Watts 103rd Street Rhythm Band than Cos' tongue-in-cheek attempts at singing. Silver Throat is a particularly strange entry, eschewing the funk sensibilities of other Cosby records in favor of a gritty, blues-inspired approach that doesn't really work with the comedian's limited range. Songs like Willie Dixon's "Big Boss Man" and Ray Charles' "I Got a Woman" are presented in fairly straightforward renditions, but ...
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Bill Cosby's vocal albums are an eccentric and self-indulgent lot at best, more notable for the efforts of the Watts 103rd Street Rhythm Band than Cos' tongue-in-cheek attempts at singing. Silver Throat is a particularly strange entry, eschewing the funk sensibilities of other Cosby records in favor of a gritty, blues-inspired approach that doesn't really work with the comedian's limited range. Songs like Willie Dixon's "Big Boss Man" and Ray Charles' "I Got a Woman" are presented in fairly straightforward renditions, but Cosby deliberately mucks with the lyrics to varying degrees of comedic success -- most impressive is "Lil Ole Man," a wry narrative recited over a backing track that essentially recapitulates Stevie Wonder's classic "Uptight (Everything Is Alright)." ~ Jason Ankeny, Rovi
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