Time: 39:25
Size: 90.3 MB
Styles: Contemporary blues vocals
Year: 2014
Art: Front
[3:09] 1. Belle Of The Blues (Feat. Pat Bergeson)
[4:27] 2. Sad Sad Sunday (Feat. Tommy Talton & Randall Bramblett)
[4:00] 3. Bad Things (Feat. Randall Bramblett, Ken Wynn, Eg Kight & Tommy Talton)
[3:08] 4. Mask (Feat. Tommy Talton, Paul Hornsby & Randall Bramblett)
[4:09] 5. Graveyard Dead Blues (Feat. Tommy Talton, Paul Hornsby & Bill Stewart)
[3:06] 6. Baby Won't You Please Come Home (Feat. Paul Hornsby)
[3:51] 7. In My Girlish Days (Feat. Eg Kight & Tommy Talton)
[2:58] 8. Peach Pickin' Mama (Feat. Tommy Talton & Pat Bergeson)
[3:25] 9. Black & White Blues (Feat. Tommy Talton & Paul Hornsby)
[3:18] 10. Trouble (Feat. Eg Kight, Ken Wynn & Paul Hornsby)
[3:50] 11. Bad Girl (Feat. Randall Bramblett & Ken Wynn)
When Jimmy Page or Jeff Beck play guitar, the line between man and instrument is blurred. When John Popper blows harp, the hair standing up on my arm tells me that I’m witnessing someone doing what they were put on this earth to do. With Lisa Biales, her purpose is to sing the blues. It was something I sensed immediately on Just Like Honey then Singing In my Soul, both of which lead up to her choice new album Belle Of The Blues.
As a singer Biales comes across as equal parts good-natured speakeasy vixen and soulful southern torch balladeer. Produced by EG Kight and engineered by Paul Hornsby, this album compares to Maria Muldaur’s Memphis Minnie tribute from a year or two back. Performances from the musicians are joyous lessons in how to groove, not unlike Biales herself. Featured guests are the amazing Tommy Talton on guitar (Gregg Allman, Dickey Betts), Randall Bramblett on Hammond B-3 (Sea Level, Steve Winwood, Widespread Panic) and Bill Stewart on drums (Gregg Allman, Bonnie Bramlett), and they play like they’ve been doing it together for years- on that gut-level instinctual plane.
“I love singing sad songs” Lisa confesses. “The strong array of emotions that bubble up, and the connections I feel to people while singing them makes me realize my worth”, referring directly to Mask and Sad, Sad Sunday. She considers Bessie Smith an influence, and it shows. She calls Smith “One of the greatest classic blues singers of the 1920’s, and someone I have grown to admire. It’s only fitting to have her presence on this recording with two songs; Black & White Blues and Baby Won’t You Please Come Home.”
As a singer Biales comes across as equal parts good-natured speakeasy vixen and soulful southern torch balladeer. Produced by EG Kight and engineered by Paul Hornsby, this album compares to Maria Muldaur’s Memphis Minnie tribute from a year or two back. Performances from the musicians are joyous lessons in how to groove, not unlike Biales herself. Featured guests are the amazing Tommy Talton on guitar (Gregg Allman, Dickey Betts), Randall Bramblett on Hammond B-3 (Sea Level, Steve Winwood, Widespread Panic) and Bill Stewart on drums (Gregg Allman, Bonnie Bramlett), and they play like they’ve been doing it together for years- on that gut-level instinctual plane.
“I love singing sad songs” Lisa confesses. “The strong array of emotions that bubble up, and the connections I feel to people while singing them makes me realize my worth”, referring directly to Mask and Sad, Sad Sunday. She considers Bessie Smith an influence, and it shows. She calls Smith “One of the greatest classic blues singers of the 1920’s, and someone I have grown to admire. It’s only fitting to have her presence on this recording with two songs; Black & White Blues and Baby Won’t You Please Come Home.”
Belle Of The Blues