Nina Simone remains an icon, not just for her extraordinary musical talent but also for her unwavering voice in the fight for civil rights. Despite a complex relationship with the music industry, her discography is rich with powerful and moving songs that continue to resonate today. Born Eunice Kathleen Waymon, Simone’s journey from a child prodigy pianist to the “High Priestess of Soul” is as compelling as her music. This article delves into 10 essential Nina Simone Songs that showcase her unparalleled artistry and enduring legacy.
1. “I Loves You, Porgy”
Simone’s career trajectory took an unexpected turn after she was denied entry to the Curtis Institute of Music in 1951, an event she later attributed to racial prejudice. This rejection forced her to seek work, leading her to an Atlantic City bar where she began performing as “Nina Simone” to avoid upsetting her mother. Initially playing a mix of classical pieces and gospel, she was soon asked to sing as well. This pivotal moment led to a record deal with Bethlehem Records and the release of her debut album, Little Girl Blue. It was on this album that “I Loves You, Porgy,” a cover suggested by a friend familiar with Billie Holiday’s version, was recorded. Simone’s rendition, however, was uniquely her own. Released in 1959, it became her first US Top 20 hit, showcasing her tender vocal delivery and masterful piano skills. Despite the success, Simone disliked being compared to jazz singers like Holiday, asserting, “It was a racist thing: ‘If she’s black she must be a jazz singer.’ It diminished me.” She believed her musicianship was distinct and, in her words, “superior.”
2. “My Baby Just Cares for Me”
Simone’s early contract with Bethlehem Records was financially disadvantageous. For a mere $3,000, she signed away the rights to her initial recordings, a decision that would have significant repercussions later in her career. After moving to Colpix Records, Bethlehem released a second album by piecing together leftover tracks. However, the true financial impact of her Bethlehem recordings wasn’t felt until 1987. “My Baby Just Cares for Me,” originally recorded in 1958, became a massive hit in Europe after being featured in a perfume commercial. This unexpected resurgence introduced Nina Simone to a new generation of listeners and provided her with financial security, allowing her to work selectively until her death in 2003. The song’s enduring appeal is undeniable. It features a breathtaking piano solo that perfectly blends her classical training with jazz improvisation. Simone’s melancholic vocal tone, juxtaposed with the song’s upbeat tempo and lyrics of self-assured love, creates a captivating paradox, hinting at a possible delusion behind the confident declarations of affection.
3. “Mississippi Goddam”
While songs like “Work Song” in her repertoire hinted at her civil rights sympathies, it was “Mississippi Goddam” in 1964 that solidified Nina Simone as a prominent voice in the movement. Inspired by the assassination of civil rights activist Medgar Evers and the bombing of the 16th Street Baptist Church in Birmingham, Alabama, which killed four young girls, “Mississippi Goddam” is a raw and impassioned protest song. It’s a potent mix of frustration, defiance, and a plea for justice against racial inequality. While admiring Martin Luther King Jr., Simone’s approach was more confrontational than passive resistance. “Can’t you see it, can’t you feel it in the air?” she cries out, expressing the unbearable pressure of the time. The song’s title itself was controversial due to the curse word. Simone noted, “We released it as a single and it sold well, except in the south where we had trouble with distribution. The excuse was profanity – Goddam! – but the real reason was obvious enough.”
4. “Sinnerman”
The origins of “Sinnerman” are debated, with some tracing it back to a Scottish folk song evolving into an African-American spiritual. While Les Baxter’s 1956 version is the earliest recorded, Simone likely encountered it in church, where she played piano from a young age. Her rendition, recorded live in New York in the mid-1960s for her Pastel Blues album, is considered definitive. This dramatic, 11-minute epic has been featured in numerous films, including David Lynch’s Inland Empire, and remixed by artists like Felix da Housecat. Kanye West also sampled it, albeit controversially, using “Strange Fruit,” another Simone song, as a sample for a track about alimony. “Sinnerman” became a signature piece in her live performances, showcasing her dynamic range and improvisational genius, solidifying her “High Priestess of Soul” moniker. While she dreamt of playing classical music at Carnegie Hall, her 1963 debut there featured her unique blend of genres.
5. “I Put a Spell on You”
Nina Simone was renowned for her interpretation of other artists’ songs. Screamin’ Jay Hawkins’ “I Put a Spell on You,” written in 1956, is a prime example. Hawkins described his original version as raw and bluesy, focused on “destroying a song and screaming it to death.” His version is a theatrical, voodoo-inspired blues number. Simone’s interpretation, however, is strikingly different. She transforms the song into a sophisticated and sultry masterpiece. With swirling brass, her deep alto vocals, and signature piano glissandos, Simone’s “I Put a Spell on You” exudes a refined and irresistible charm, making it undeniably her own. It effortlessly draws listeners in, showcasing her ability to take a song and completely reinvent it.
6. “Feeling Good”
Though Simone resisted being labeled solely as a jazz musician, “Feeling Good” undeniably possesses a big-band jazz energy. Originally from the musical The Roar of the Greasepaint – The Smell of the Crowd, written by Anthony Newley and Leslie Bricusse, Simone, with producer Hal Mooney, reimagined the song. They stripped away the original’s lighter intro, building tension before unleashing Simone’s powerful voice backed by bombastic brass. The arrangement, with its staccato piano counterpoint, is irresistibly dynamic. Like “My Baby Just Cares for Me,” “Feeling Good” gained renewed popularity through a commercial in the 1980s, this time for fabric conditioner. It has since been sampled by numerous hip-hop artists, including Kanye West. Muse’s 2001 cover, closely following Simone’s arrangement, was even voted “best cover version of all time” by NME readers in 2010, a potentially ironic accolade for the rock band.
7. “Four Women”
Simone’s interpretations were so impactful that other artists often adopted her versions over the originals. David Bowie, for example, cited Simone’s influence for his version of “Wild Is the Wind.” Jeff Buckley’s “Lilac Wine” also echoes Simone’s phrasing. However, few dared to cover Simone’s original composition, “Four Women.” Set to a stark, mid-tempo groove, the song presents four distinct Black women: Aunt Sarah, Safronia, Sweet Thing, and Peaches. Each woman speaks in the first person, sharing their personal experiences of suffering and identity. Safronia’s lines, “My father was rich and white / he forced my mother late one night,” are particularly stark. Despite its powerful message and Simone’s activism, the song faced criticism for perceived racial stereotyping. Some critics pointed to Aunt Sarah’s description of her hair as “wooly” and the “Aunt Jemima” archetype. Simone defended the song, stating it aimed to highlight the externally imposed definitions of Black women and the need for self-definition.
8. “I Ain’t Got No / I’ve Got Life”
Nina Simone’s live albums are as crucial to her discography as her studio recordings. ‘Nuff Said!, recorded at the Westbury Music Fair just days after Martin Luther King Jr.’s assassination, is particularly poignant. It captures the raw emotions and collective grief of that time, featuring “Why? (The King of Love is Dead),” a tribute written by her bassist Gene Taylor. Another song from that era, “I Ain’t Got No / I’ve Got Life,” a medley from the musical Hair, also resonated deeply with the spirit of 1968. Originally a utopian anthem, Simone transformed it into a civil rights call for freedom. Robert Dimery in 1,001 Songs You Must Hear Before You Die noted the surprising inclusion of a Hair song on the serious-minded ‘Nuff Said!, but acknowledged that Simone imbued it with a “harder-edged civil rights tone” while retaining its uplifting spirit. It became a significant hit, reaching No. 2 in the UK charts.
9. “To Be Young, Gifted and Black”
Following “I Wish I Knew How it Would Feel to be Free,” which became an anthem for the civil rights movement through Simone’s rendition, she released another powerful and explicitly celebratory song in 1969: “To Be Young, Gifted and Black.” This original composition was inspired by her friend Lorraine Hansberry, the first Black woman to have a hit Broadway play, and named after Hansberry’s unfinished play. Simone credited Hansberry with inspiring her to take the Black movement more seriously. The lyrics are direct and empowering: “In the whole world you know / There are a billion boys and girls / Who are young, gifted and black / And that’s a fact!” This uplifting gospel-infused song resonated widely. However, Simone’s increasing disillusionment with the direction of the civil rights movement and the rise of disco led her to leave America in 1971, marking a decline in her recording output.
10. “Baltimore”
After a six-year gap, Simone returned with the album Baltimore. Despite universal critical acclaim, she disowned it due to limited creative control. Produced by Creed Taylor in Brussels, the album included tracks like the melancholic “Everything Must Change,” but also ventured into unexpected territories. Notably, it featured a cover of Hall and Oates’ “Rich Girl” and the reggae-influenced title track, “Baltimore,” written by Randy Newman. “Baltimore” showcases Simone’s willingness to explore diverse genres, even if she felt somewhat detached from the project. While her recording career slowed after Baltimore, her extensive catalog of powerful and genre-defying songs cemented her legacy as one of the most important musical voices of the 20th century. Nina Simone’s music continues to inspire and challenge, ensuring her place as a true icon.
