Marlena Shaw - Go Away Little Boy, The Columbia Anthology (2018)

As part of its well-received and critically acclaimed anthology series, SoulMusic Records is excited to present “Go Away Little Boy – The Columbia Anthology”, a musically rich retrospective of soul/jazz legend Marlena’s work for Columbia, cut between 1977-1980.

Initially established in the pantheon of contemporary music in the mid-‘60s after signing with Cadet Records, an imprint of renowned Chess Records in Chicago, New York state-born Marlena gained initial popularity with her vocal readings of ‘Wade In The Water’ and ‘Mercy, Mercy, Mercy’.

Touring with The Count Basie Band for a number of years and developing her own club performances that combined her natural sense of wit and humour with a gift for musical storytelling, Marlena moved to Blue Note Records in 1972 recording five albums (three of which, “From The Depths Of My Soul,” “Who Is This Bitch, Anyway” and “Just A Matter Of Time”, have been reissued by SoulMusic Records).

In 1977, Marlena signed with Columbia, working with renowned producer/arranger Bert DeCoteaux. Marlena’s debut LP, “Sweet Beginnings” spawned the now-famous ‘Yu-Ma/Go Away Little Boy’, with her wry, truth-tellin’ spoken rap and a new version of the Goffin & King song she had cut in 1966. The track became Marlena’s biggest hit and established her as a popular entertainer with R&B audiences worldwide.

1978’s “Acting Up” included the theme from the hit movie of the day, ‘Looking For Mr. Goodbar’; while Marlena’s third album for Columbia, “Take A Bite” (reissued as an expanded edition by SoulMusic Records) created a new following among dance music lovers thanks to its ‘A’ side (tagged ‘Suite Seventeen’ and including a reworking of Diana Ross’s ‘Touch Me In The Morning’ and the original ‘Love Dancin’’).

Included in this sumptuous anthology – with liner notes by SoulMusic Records’ David Nathan (featuring an extensive interview with Marlena), remastering by Nick Robbins and artwork by Roger Williams – is the global CD debut of ‘The Best Days Of My Life’, from her final Columbia session with famed producer Jack Gold.