Artist: Billie Holiday
Album: 30 Essentials of Billie Holiday
Genre: Jazz
Release Date: 2014
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:34:29
Total Tracks: 30
Total Size: 838 MB

Tracklist:

1. Billie Holiday – Strange Fruit (03:06)
2. Billie Holiday – Blue Moon (03:33)
3. Billie Holiday – I’m a Fool to Want You (03:25)
4. Billie Holiday – Ain’t Nobody’s Business If I Do (03:20)
5. Billie Holiday – Body and Soul (03:05)
6. Billie Holiday – For All We Know (02:55)
7. Billie Holiday – Solitude (03:30)
8. Billie Holiday – God Bless the Child (03:09)
9. Billie Holiday – No More (02:49)
10. Billie Holiday – Them There Eyes (02:25)
11. Billie Holiday – Crazy He Calls Me (03:04)
12. Billie Holiday – Baby Get Lost (03:21)
13. Billie Holiday – For Heaven’s Sake (03:28)
14. Billie Holiday – I Can’t Get Started (02:53)
15. Billie Holiday – These foolish things (03:21)
16. Billie Holiday – Yesterdays (03:24)
17. Billie Holiday – Don’t Explain (03:25)
18. Billie Holiday – That Old Devil Called Love (02:58)
19. Billie Holiday – Some other spring (03:03)
20. Billie Holiday – Love for Sale (03:00)
21. Billie Holiday – You Better Go Now (02:44)
22. Billie Holiday – Lover man (03:07)
23. Billie Holiday – My Man (03:00)
24. Billie Holiday – Porgy (02:56)
25. Billie Holiday – Good Morning Heartache (03:08)
26. Billie Holiday – Sometimes I’m Happy (02:47)
27. Billie Holiday – Tenderly (03:24)
28. Billie Holiday – What Is This Thing Called Love? (03:12)
29. Billie Holiday – Guilty (03:17)
30. Billie Holiday – You’re My Thrill (03:23)

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The first popular jazz singer to move audiences with the intense, personal feeling of classic blues, Billie Holiday changed the art of American pop vocals forever. More than a half-century after her death, it’s difficult to believe that prior to her emergence, jazz and pop singers were tied to the Tin Pan Alley tradition and rarely personalized their songs; only blues singers like Bessie Smith and Ma Rainey actually gave the impression they had lived through what they were singing. Billie Holiday’s highly stylized reading of this blues tradition revolutionized traditional pop, ripping the decades-long tradition of song plugging in two by refusing to compromise her artistry for either the song or the band. She made clear her debts to Bessie Smith and Louis Armstrong (in her autobiography she admitted, “I always wanted Bessie’s big sound and Pops’ feeling”), but in truth her style was virtually her own, quite a shock in an age of interchangeable crooners and band singers.