Create account Log in

From a Whisper to a Scream


Download links and information about From a Whisper to a Scream by Esther Phillips. This album was released in 1972 and it belongs to Hip Hop/R&B, Soul, Pop genres. It contains 13 tracks with total duration of 59:39 minutes.

Artist: Esther Phillips
Release date: 1972
Genre: Hip Hop/R&B, Soul, Pop
Tracks: 13
Duration: 59:39
Buy on iTunes $9.99
Buy on Amazon $9.99
Buy on Amazon $28.95
Buy on Amazon $20.13


No. Title Length
1. Home Is Where the Hatred Is 3:25
2. From a Whisper to a Scream 4:23
3. To Lay Down Beside You 5:00
4. That's All Right with Me 3:16
5. 'Til My Back Ain't Got No Bone 6:10
6. Sweet Touch of Love 3:34
7. Baby, I'm for Real 4:17
8. Your Love Is so Doggone Good 4:23
9. Scarred Knees 6:18
10. How Blue Can You Get? 5:08
11. Brother, Brother 2:54
12. Don't Run and Hide 5:58
13. A Beautiful Friendship 4:53



One of Esther Phillips finest '70s releases, From a Whisper to a Scream is the first of seven albums the singer recorded for CTI offshoot Kudu. Arranged and conducted by Pee Wee Ellis, the December 1971 session also involved principal players such as bassist Gordon Edwards, drummer Bernard Purdie, percussionist Airto, guitarists Cornell Dupree and Eric Gale, keyboardist Richard Tee, and saxophonists Hank Crawford and David Liebman. Setting the tone for Phillips' Kudu era, Whisper offers a series of spacious, yet fully arranged ballads of burning heartache, along with a handful of relatively funky numbers that do nothing to compromise her talent, dishing out loads of classy grit. It's a definite point of departure from the likes of Esther Phillips Sings and And I Love Him, her field of contemporaries closer to Al Green and Aretha Franklin than before. She grabs onto "Home Is Where the Hatred Is," Gil Scott-Heron's most harrowing rumination on drug dependency — which, at that point, wasn't even a year old — as if it were her very own, and it's all the more poignant given its parallels with her own life. (Its meaning was only compounded by her death in 1984.) Though there is absolutely nothing lacking in the album's more energetic moments, it's still the ballads that shine brightest, like the alternately fragile and explosive "From a Whisper to a Scream" (Allen Toussaint) and a staggering "Baby, I'm for Real" (Marvin and Anna Gordy, made popular by the Originals) so vulnerable yet commanding that it really should've closed the album. [Columbia's 1990 reissue adds several cuts from the session not present on the original LP.]