Size: 83,6 MB
Time: 36:15
File: MP3 @ 320K/s
Released: 2025
Styles: Blues/Soul mix
Art: Front
1. Texas Blues (4:44)
2. That's How I Got To Memphis (4:07)
3. Light Your Fire (3:32)
4. Wake Up With You (4:20)
5. Mama Said (5:05)
6. Love Played A Game (3:18)
7. Doodle Loop (World Is A Little Bit Under The Weather) (3:23)
8. Same Old River (3:35)
9. Lessons (4:07)
Australian-born, Nashville-based Kara Grainger has been gracing the international blues and roots circuit for almost two decades. Originally hailed as a guitar slinger, for her adept picking and slide skills, Grainger has developed into a triple threat with formidable singer-songwriter skills. As the album title, “That’s How I Got to Memphis,” suggests, Grainger has fulfilled a lifelong dream by recording in Memphis. Not only that, she recorded this, her fifth album, at the iconic Royal Studios under the direction of the celebrated producer, Lawrence “Boo’ Mitchell, while in the company of the Hi Rhythm Section. Grainger points to Al Green and Ann Peebles as two of her all-time favorite artists, obviously honored to be indirectly associated with them on this project, as the Hi Rhythm Section played for both of those artists as well.
Grainger delivers six originals of the nine, with Tom T. Hall’s title track, a Memphis standard co-written by Peebles, and another from NOLA’s The Meters. It’s a short listen, running only for 36 minutes. The backing band has many familiar musicians who have appeared on Memphis albums through the years. Among them are the two Hi Rhythm Section stalwarts Reverend Charles Hodges on the B3 and Leroy Hodges on bass. The Norman sisters (Shontelle and Sharisse) contribute background vocals, along with the modern-day Memphis Horns – trumpeter Marc Franklin and saxophonist Kirk Smothers. All considered, it’s a large cast of 14 in the credits.
Recording under Boo Mitchell’s direction and with the vaunted Hi Rhythm Section makes for a “can’t miss” project. Grainger admirably states her case within these hallowed walls with mostly her own material and adherence to her own style. She rarely allows herself to fall into the trap of R&B cliches, which is tempting in this setting. In short, she does it her way, while honoring the legacy of the Memphis sound. /Jim Hynes, Rock & Blues Muse
Grainger delivers six originals of the nine, with Tom T. Hall’s title track, a Memphis standard co-written by Peebles, and another from NOLA’s The Meters. It’s a short listen, running only for 36 minutes. The backing band has many familiar musicians who have appeared on Memphis albums through the years. Among them are the two Hi Rhythm Section stalwarts Reverend Charles Hodges on the B3 and Leroy Hodges on bass. The Norman sisters (Shontelle and Sharisse) contribute background vocals, along with the modern-day Memphis Horns – trumpeter Marc Franklin and saxophonist Kirk Smothers. All considered, it’s a large cast of 14 in the credits.
Recording under Boo Mitchell’s direction and with the vaunted Hi Rhythm Section makes for a “can’t miss” project. Grainger admirably states her case within these hallowed walls with mostly her own material and adherence to her own style. She rarely allows herself to fall into the trap of R&B cliches, which is tempting in this setting. In short, she does it her way, while honoring the legacy of the Memphis sound. /Jim Hynes, Rock & Blues Muse
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