I Put a Spell on You (1965)
This is the perfect bridge from Simone’s hits to her deeper album work. While it contains the iconic, booming renditions of 'I Put a Spell on You' and 'Feeling Good,' the entire record is a masterclass in interpretation. It was one of her most pop-oriented
releases for the Philips label, complete with dramatic, swinging orchestration that gives it a cinematic feel. Yet, even in a pop setting, Simone’s power is untamable. She transforms Jacques Brel’s 'Ne Me Quitte Pas' into a heart-wrenching plea and then offers a witty, playful take on 'Marriage Is for Old Folks.' It’s an album that showcases her range and proves she could command any genre she touched.
Wild Is the Wind (1966)
Often hailed by critics as one of her absolute finest achievements, 'Wild Is the Wind' is where you go to experience the pure, unadulterated power of her voice. Interestingly, the album was compiled from leftover tracks from previous recording sessions, but it feels remarkably cohesive. The record is a showcase for Simone’s versatility, moving from the desperate romance of the title track (which inspired David Bowie's own cover) to the definitive, haunting rendition of 'Lilac Wine.' But the centerpiece is 'Four Women,' a stark, four-part story of Black womanhood in America that is as devastating as it is brilliant. It’s a work of profound artistry and emotional honesty.
Nina Simone Sings the Blues (1967)
For her first album with RCA Victor, Simone delivered exactly what the title promised: a raw, potent, and deeply personal exploration of the blues. Stripped of the lush orchestrations of her Philips years, the album’s lean, guitar-and-organ-driven sound puts her voice and piano front and center. From the sultry challenge of 'Do I Move You?' to the flirtatious, innuendo-laced 'I Want a Little Sugar in My Bowl,' Simone embodies the genre's spirit with an unmatched intensity. The record also features 'Backlash Blues,' with lyrics penned by her friend Langston Hughes, making it a powerful blend of personal and political pain.
'Nuff Said! (1968)
To understand Nina Simone the activist, you must hear this album. Recorded at the Westbury Music Fair just three days after the assassination of Dr. Martin Luther King Jr., the performance is crackling with raw emotion. The centerpiece is the staggering performance of 'Why? (The King of Love Is Dead),' a song written by her bassist Gene Taylor in the immediate aftermath of the tragedy. You can hear the grief and rage in her voice as she dedicates the show to King's memory. The album is a historical document, capturing an artist channeling the shock and sorrow of a nation into a moment of profound, painful art.
Black Gold (1970)
This live album, recorded at Philharmonic Hall in New York, captures Simone at the zenith of her influence as a voice of Black pride and power. 'Black Gold' is immortalized by its premiere recording of 'To Be Young, Gifted and Black.' Inspired by her late friend, playwright Lorraine Hansberry, the song quickly became an anthem for the Civil Rights Movement. Performed with a palpable warmth and sense of shared joy with the audience, the track is a powerful statement of hope and aspiration. The rest of the album is equally compelling, offering a snapshot of her passionate and collaborative live energy during a pivotal moment in American history.
Baltimore (1978)
A fascinating and often-overlooked entry in her discography, 'Baltimore' is for when you’re ready for a deeper cut. After a four-year break from recording, Simone returned with a sound that surprised many. Producer Creed Taylor infused the album with a contemporary, reggae-inflected groove, which Simone herself was reportedly skeptical of at first. Despite the tense sessions, the result is uniquely compelling. Her rendition of Randy Newman’s title track is a gritty, world-weary masterpiece, and her take on Hall & Oates’ 'Rich Girl' is unexpectedly infectious. Though she later distanced herself from it, the album is a testament to her enduring ability to defy expectations and find the soul in any song.
