Time: 42:00
File: MP3 @ 320K/s
Released: 2020
Styles: Blues, Rock, Americana
Art: Front
01. Nobody's Victim (3:57)
02. Wise Old Owl (3:45)
03. Fightin' (3:22)
04. Shine (3:35)
05. Crackers In Bed (3:12)
06. Laughing All The Way To The Bank (2:35)
07. Miss Understood (3:47)
08. Coldest Lover (4:14)
09. Don't Get My Hopes Up (2:03)
10. You Don't Get My Love (4:08)
11. Under The Skin (2:32)
12. You're Nothing Til You're Everything (4:44)
With an impressive career spanning some 40 years, Lescom fronted several of her own bands before becoming a back up singer for Ronnie Hawkins and touring with Long John Baldry. Her career as a front-woman and bandleader truly began after receiving some advice from one of her idols.
“I met Ann Wilson when Heart played a bar in Kitchener and told Anne how much I wanted to front a band and sing”, says Lescom, “ She told me to stop smoking, stop slinging beer, start taking vocal lessons and "just do it", so I did just that”.
She has toured and performed with the likes of Jeff Healey, Matt Minglewood, Dutch Mason, Downchild, Jack de Keyzer, Del Shannon, David Wilcox, Mel Brown, Paul James, and The Detroit Women.
Well known throughout the blues and roots community as “one of the best and biggest voices in Canada”. Her soulful road weary, yet sweet and sophisticated vocals perfectly and convincingly deliver the emotion, rawness and double-entendre that blues and soul music fans enjoy.
Most of the songs on 1953 are co-written with Ray Walsh from her long time band the Tucson Choir Boys, who also share cobilling on the album with two songs, “Surrender” and “Places I’ve Been” written by singer-songwriter Lynn Jackson.
Lescom’s charming matter-of-fact attitude is expressed throughout all 11 tracks on the recording. “The songs were inspired by my 62 years on this planet. Men, women and life…in my opinion”, she says, “I’ve been at this a long time, but I'm not done yet. Don't write me off "cuz I'm old’.”
Much like a classic car or a fine wine, the women of the blues get better with age. From start to finish 1953 is an album that proves that Cheryl Lescom is as classic and classy as the blues women of the past and will further cement her reputation as a modern voice in the genre.
PS: The original digital copy of this album is full of jumps or whatever you call that cuts. Both copies posted in Basement have the same problem. I tried to fix it the best I could, but in some tracks, you still can notice a slightly cut.
“I met Ann Wilson when Heart played a bar in Kitchener and told Anne how much I wanted to front a band and sing”, says Lescom, “ She told me to stop smoking, stop slinging beer, start taking vocal lessons and "just do it", so I did just that”.
She has toured and performed with the likes of Jeff Healey, Matt Minglewood, Dutch Mason, Downchild, Jack de Keyzer, Del Shannon, David Wilcox, Mel Brown, Paul James, and The Detroit Women.
Well known throughout the blues and roots community as “one of the best and biggest voices in Canada”. Her soulful road weary, yet sweet and sophisticated vocals perfectly and convincingly deliver the emotion, rawness and double-entendre that blues and soul music fans enjoy.
Most of the songs on 1953 are co-written with Ray Walsh from her long time band the Tucson Choir Boys, who also share cobilling on the album with two songs, “Surrender” and “Places I’ve Been” written by singer-songwriter Lynn Jackson.
Lescom’s charming matter-of-fact attitude is expressed throughout all 11 tracks on the recording. “The songs were inspired by my 62 years on this planet. Men, women and life…in my opinion”, she says, “I’ve been at this a long time, but I'm not done yet. Don't write me off "cuz I'm old’.”
Much like a classic car or a fine wine, the women of the blues get better with age. From start to finish 1953 is an album that proves that Cheryl Lescom is as classic and classy as the blues women of the past and will further cement her reputation as a modern voice in the genre.
PS: The original digital copy of this album is full of jumps or whatever you call that cuts. Both copies posted in Basement have the same problem. I tried to fix it the best I could, but in some tracks, you still can notice a slightly cut.
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