Dalannah and Owen – Been Around a While | Album Review

Dalannah and Owen – Been Around a While | Album Review

Quest Records

www.dalannahandowen.com

www.questrecords.ca

11 tracks / 41:58

I have the privilege of listening to a lot of new albums every week, and most of them fit pretty well into various categories – blues rock, Delta blues, Chicago blues, jump blues, and the list could go on and on. Every once in a while, I get something completely different, and sometimes that something is really special. Dalannah and Owen’s new disc, Been Around a While, breaks the mold and is very different and very special. This duo from Vancouver, Canada has re-imagined the blues and if you are a fan of the genre you are going to like what they have done.

There is plenty of experience that brought this pair to this point in their lives. Dalannah Gail Brown has been on the Canadian music scene for almost 50 years, and her blues, gospel, and jazz chops are astounding. Owen Veber, or “Owen Owen Owen” as he is credited in the liner notes, has been playing bass professionally for over 40 years. These two have only been working together for a year, but they already earned a trip to the 2015 International Blues Challenge in Memphis, Tennessee.

The self-produced Been Around a While is Dalannah and Owen’s debut album, and it is amazingly unique. All you are going to hear for the 42-minute playtime is Dalanna’s voice and Owen’s bass as they cruise through eleven blues originals and covers. No guitars, drums, keyboards, harmonica, or horns. You may be thinking that forty minutes of some guy playing the bass while somebody else sings could be tedious. But with the way that Dalannah and Owen do it, the music is very listenable and not the least bit boring.

There are five originals, including the title track which kicks off the album. “Been Around a While” is a cool story of being at a place in life where you are comfortable with yourself. Dalannah’s voice is as clear as a bell, and Owen’s bass work is fairly astounding. He does not just hammer 1/8 notes on a P-bass. It sounds like he is using a six or seven-string bass, and there are plenty of high notes and guitar-like chords to be found throughout the album.

The half-dozen covers span from the early days of recorded blues up through around the time that Nixon was in office, and they cover a lot of ground. The closer on this album, Son House’s 1930 song, “Walkin’ Blues” was made famous by Robert Johnson in 1936, and Dalannah makes it her own here. By interspersing conversational lyrics that are sweet or howled with emotion she creates a sense of drama that I do not hear in the originals. Owen cranks out a righteous solo for good measure.

The other cover tunes include Robert Johnson’s “Come on in My Kitchen,” “Early in the Morning” from Louis Jordan and his Tympani 5, Billy Eckstine’s “Blues Mother of Sin,” B.B. King’s “Why I Sing the Blues,” and Marvin Gaye’s “Inner City Blues.” These were all great songs when they were originally done, and nothing was lost when this duo re-did them.

By tearing these songs down to the bare bones, the stories of the lyrics come to the forefront, and Dalannah and Owen are master storytellers. Their original songs are poignant, and their re-working of tunes from the masters of the blues was done with great care. When you combine this with excellent musical ability and good production values, this make Been Around a While is a must-buy if you are a blues fan of any type. Trust me!

Blues Blast Magazine Album Review: Debbie Bond and the TruDats – That Thing Called Love

Hello!

This CD review was originally published in the May 8, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Debbie Bond and the TruDats – That Thing Called Love |Album Review

Blues Root Productions

www.debbiebond.com

www.bluesroot.com

9 tracks / 39:33

Sometimes you get something great when it is least expected, which is the case with Debbie Bond and the TruDats’ new CD, That Thing Called Love. This material was originally recorded in a big army surplus tent out in the hills near West Nashville as a live performance for the WRFN Radio Free Nashville’s Mando Blues Show. When the smoke cleared, it turned out that the music and chemistry were so good that OmegaLab Studio’s Rob McClain was able to mix and master the recordings into something very special.

Debbie Bond has over 30 years of Alabama blues experience and has toured the US and Europe with legendary bluesmen, including Johnny Shines, Little Jimmy Reed, Willie King, Eddie Kirkland, and Jerry "Boogie" McCain. Since 1995 she has mostly run her own crew, and released her debut album in 1998. Debbie gives back to the blues community and is the founder of the non-profit Alabama Blues Project, which is dedicated to the promotion and preservation of blues from the Heart of Dixie.

That Thing Called Love is Debbie Bond’s third release, and it was accomplished with the bare minimum of personnel. Debbie provided the vocals, rhythm guitar, and lead guitar, and she is joined by her husband Ric Asherson on keyboards, keyboard bass, harmonica and backing vocals. He also acted as producer for this project. Dave Crenshaw was the drummer for the majority of this record and guest saxophonist Tom Pallardy came on board to lend a helping hand. There are nine tracks, seven of which were written by Bond and Asherson, and three of them were previously unreleased.

The first track is a cover of Solomon Burke’s “You’re the Kind of Trouble;” you may have seen this Holmes Brothers song being performed on the Nashville musical drama tv series last year. There is almost too much to process while listening to this soulful pop-oriented blues tune: Debbie has a beautiful voice and can play a fine guitar, Asherson and Crenshaw are tight as brothers, and this is one of the best-mixed live albums you will ever find. It is hard to compare Bond’s voice to any contemporary artist, but in a nutshell her sound is equal parts throaty and melodic and she is spot-on with her intonation and phrasing -- there is nothing like decades of real-world experience to hone one’s craft.

The other cover is also from the Holmes Brothers and “Feed My Soul” is a soulful ballad that highlights Asherson’s bass keys and electric piano. Pallardy’s sax makes the mood on this track, and it is impressive how reserved and disciplined he is, playing only what is needed. Too often sax players get a little out of control in live situations and kill the vibe, but that does not happen here.

The logical assumption would be that “Steady Rolling Man” is an ode to Debbie’s husband, who she met when they were both touring with the late Willie King. It certainly is a good description of his playing style and Rick Asherson delivers the goods with his speakeasy piano in this New Orleans flavored song. Crenshaw lays back, grabs his brushes and mutes his drums to complete the picture. This is an ambitious tune as it is is a departure from the rest of the show and it is a vocally difficult song, but Debbie and the TruDats pull it off and it shines as the standout track of That Thing Called Love.

“Tarragona Blues” appears twice on the album, and the second version is sequenced as the final track in an extended re-mix that features Ray Robinson on drums (Crenshaw moved over to Latin percussion), and Jonathan Blakney on background vocals and additional percussion. The extra personnel is needed as this is a bossa nova tour de force. It ends up being a shout-out to Debbie’s Spanish fans who appreciate her jazzy blues stylings, and she treats them (and us) with hearty vocals that are specific to their land and she throws in a smooth Telecaster break for good measure.

Debbie Bond and the TruDat’s That Thing Called Love is a slickly-produced CD, but since it was recorded live it has a raw energy that is missing from most studio projects. It is a great example of Alabama blues and soul from the premier ambassador of the genre, and you should definitely make the time to give it a listen!

Mahalo!

Blues Blast Magazine Album Review: Charlie Owen – Worth the Wait

Good day!

This CD review was originally published in the May 8, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Charlie Owen – Worth the Wait

Self Release

15 tracks / 54:52

Vocalist Charlie Owen has experienced both coasts of the United, States, and apparently has decided that the eastern seaboard is home. Originally hailing from Birmingham, Alabama, he grew up in Washington D.C., where he started his music career. Charlie was a member of the house band at the Stardust Lounge in Maryland, which was a stopping place for many national acts during his tenure in the 1970s. In 1981 he headed off for the San Francisco area where he fronted the Dynatones and was the singer for the house band at Larry Blake’s Rathskeller in Berkeley.

Today he is living in Maryland again, but he brought a little of the city by the bay along with him this time. His new CD was recorded in San Jose, and Owen called on some of San Francisco’s finest sidemen in to the studio to join him. Charlie takes care of the vocals, and is joined by Todd Swenson on guitar, Steve Ehrmann on bass, Paul Ravelli behind the drum kit, Rob Sudduth and Johnny Bamont on saxophone, and Marvin McFadden on trumpet. Jim Pugh was the producer, and also handled the keyboard chores.

Worth the Wait celebrates the heyday of American rhythm and blues, and it includes 15 covers that are mostly from the 1960s and 1970s. The album starts off with Sam Cooke’s ”I Sowed Love and Reaped a Heartache.” The spirit of the 1968 version is maintained, and there is a lot going on in this song. There are horns, synthetic strings, a rolling bass line, and a pair of backing vocalists (Cary Sheldon and Kathy Kennedy). This all does a great job of supporting Owen’s vocals, and you will find that all those years of performing have not gone to waste. He has the perfect voice for vintage R&B – just a little rough on the edges and full of soul.

It is easy to tell from the playlist that Charlie has a few favorite artists. Sam Cooke must be on the list, because, besides the opener, you will also get to hear 1964’s “That’s Where It’s At.” This song features Curtis Salgado singing a heartfelt duet with Charlie, who also plays the trumpet on this one. Johnnie Taylor is also represented by the Sir Mack Rice penned “Cheaper to Keep Her” and “Hijacking Love,” which is pure super-sexy funk.

There are also a pair of Little Milton tracks: “So Mean to Me” and “We’re Gonna Make It,” which was Milton’s only top 40 hit back in 1965. The latter is an upbeat tune, and is the happiest thing you will find on Worth the Wait (there is a reason they call it rhythm and blues). This song is built around Swenson’s jaunty guitar work and Ehrmann’s round bass, and is supported by a much too short sax solo from the wonderful Frankie Ramos.

The standout track on the album is “No Pride at All,” a 1999 song by Jesse Winchester, a talented singer and songwriter who passed away this April. It has a conventional R&B format, but creatively uses electric piano, bells and Christoffer “Kid” Andersen’s electric sitar to set the mood. It might not seem like a good combination when you see it on paper, but it works well when it is coming out of your speakers.

The final track on the CD comes straight out of left field, as “Soft Place to Fall” is found on the soundtrack of Robert Redford’s 1998 film, The Horse Whisperer. Charlie rearranged Allison Moorer’s country version into a bluesy ballad, which works well with the bittersweet lyrics about hitting up an old friend while on the rebound. This was really the only place to put this song on the album, as it is completely different than the rest of the material, and it proves to be an interesting contrast and a good closer.

Charlie Owen has a sweet voice, good taste in music, and a group of fine friends that were willing accomplices for this project. If you are a fan of rhythm and blues, Worth the Wait will definitely be your cup of tea. Check it out if you get the chance!

Chicago Blues Guide Album Review: Joe Louis Walker – Hornet’s Nest

Hi! This review was originally published in Chicago Blues Guide on March 27, 2014. For all the latest Windy City blues info, be sure to check out their website at www.chicagobluesguide.com

Joe Louis Walker

Hornet’s Nest

Alligator Records

As they approach retirement age, many people start to slow down as they contemplate the end of their careers and the transition to doing anything other than the drudgery of work. But professional musicians actually love their jobs and often continue to ply their trade well into their golden years. Fortunately Blues Hall of Fame inductee Joe Louis Walker falls into the latter category! Though he will turn 65 this year, JLW shows no signs of slowing down, and this spring there are dozens of shows and festivals on his tour schedule, with stops everywhere between the west coast of the U.S. and Switzerland.

Walker has been a blues force since he was a 16-year-old kid playing guitar and backing the best of the best on the stages of his hometown, San Francisco. Since then he has played with a dizzying assortment of big names, having shared the spotlight with legends such as Albert King, Willie Dixon, John Lee Hooker, Muddy Waters and Jimi Hendrix. He is well-regarded by his fans and peers, and has picked up four Blues Music Awards as well as appearing on Grammy-winning projects from B.B. King and James Cotton. Blues fans can count themselves lucky that he has recorded 25 of his own albums, including Hornet’s Nest, his most recent release from Chicago’s storied Alligator Records.

JLW provides the vocals and guitars for Hornet’s Nest, which was produced, mixed, and mastered in Nashville by the album’s drummer, Tom Hambridge. Hambridge and Richard Fleming get writing credit for all nine of the new original songs for this project, with Walker co-writing three of them. Joining them in the studio were Reese Wynans on B-3 and piano, Rob McNelley on guitar, and Tommy MacDonald on bass. This is the same team that worked on his Hellfire album a few years ago, and they are a stellar group of musicians that know how to craft a top-shelf record.

The title track is first up on this CD, and “Hornet’s Nest” is a hard-core blues rocker that proves that Walker’s skills have not faded at all. His voice may be weathered but is as strong as ever, and his guitar leads burn as brightly as the sun. This would be a fine album if he recorded 11 more songs just like this one, but Walker and his team did not take the easy route as they explored many of the different genres that JLW has perfected over his career.

Next up is “All I Wanted to Do,” a pop-infused rhythm and blues song that takes advantage of the Muscle Shoals Horn Section (Charlie Rose, Jim Horn and Vinnie Ciesilski) to set the mood for his heartbroken lyrics. His guitar tells the same sad story on ”As the Sun Goes Down,” and his axe takes the spotlight of this more traditional blues tune.

The covers they chose for Hornet’s Nest are diverse and unexpected, and include gems such as the 1967 Rolling Stones song, “Ride On, Baby” and Jesse Stone’s “Don’t Let Go.” Fortunately, Walker left off the harpsichord and marimbas on the Jagger/Richards classic and took it in a more contemporary direction -- it is now a fast-paced pop tune with vocal harmonies galore. “Don’t Let Go” retains the original’s rockabilly feel, but at a considerably slower pace than the Roy Hamilton or Jerry Lee Lewis versions. But it is JLW’s take on Kid Andersen’s “Soul City” that steals the show here. This is a gloriously funky blues explosion that shouts out to the influential music cities of this fine land.

The album comes to an end with “Keep the Faith,” a sweet gospel song that channels Walker’s early 1980s stint with the Spiritual Corinthians Gospel Quartet. This was an important part of his career that has influenced all of his recordings over the past 30 years, and eventually led to him embrace his blues roots once again. It is refreshing to see that he celebrates all parts of his career and is not afraid to use every tool available to him.

It might seem that this many genres would pull the CD in too many directions and make it lose its form, but this not true. Traveling to Nashville to cut this disc was worth the effort as Tom Hambridge has produced records for industry heavyweights such as George Thorogood, James Cotton, and Susan Tedeschi, not to mention two Grammy-award winning albums for Buddy Guy. He can sequence a record well and knows his way around the studio, and his work ensured that Hornet’s Nest would be cut from the same cloth as these other fine projects.

It is inspiring that after almost 50 years in the business, Joe Louis Walker is still writing, recording, and playing a grueling tour schedule. But it is even more impressive that he has not gotten into a rut and that his music is still innovative and pushing the limits of modern blues. Hornet’s Nest proves that he is still pulling all the stops out, and it would be well worth your time to check it out. Remember to peruse his webpage at www.joelouiswalker.com to find out when he will be playing near you, as his live show is something to behold!

Blues Blast Magazine Album Review: Innes Sibun – Lost in the Wilderness

Good day!

This CD review was originally published in the June 19, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Innes Sibun – Lost in the Wilderness

Blues Boulevard Records

www.innessibun.org.uk

www.blues-boulevard.net

12 tracks / 50:45

For a budding musician, it would be hard to find a better example than B.B. King, the man that inspired British guitarist Innes Sibun to play the blues when he was just 12. This was a great start, and from there Innes went on to play all types of music including punk, reggae, jazz and rock -- but the blues had a firm hold on his heart. His skills improved to the point where he was able to join Robert Plant’s band, and during his career he has had the opportunity to share the stage with luminaries such as Joe Louis Walker, Steve Cropper, Peter Green, and Johnny Winter. Besides recording two albums with Plant, he has also cut a half dozen of his own discs.

Sibun’s latest solo effort is Lost in the Wilderness, which he recorded in Holt, England with bassist Steve Hall, drummer Kevin O’Rourke, and keyboardist Jon Buckett. Innes took care of the vocals and all of the guitars, as well as taking the role of producer and assisting with the mixing and mastering. So, what we end up with is an album that was the creative vision of a guitarist, so it has an incredible sound with up-front guitars, thunderous drums and fat bass tracks.

Ten of the twelve tracks are originals, including the opener, “You Can’t Miss What You Never Had,” a vintage rock and roll tune that has the energy of an early Jerry Lee Lewis performance. Sibun drastically changes direction for the next cut, “Lost in the Wilderness.” This track has a slow-grinding British blues rock feel (think early Led Zeppelin), and true to its album-oriented rock format it clocks in at over six minutes thanks to an epic guitar solo. Sibun’s vocals are not highly-polished, but are growly and heartfelt and perfectly express the introspective lyrics while Jo Nye’s soulful backing vocals complete the rock anthem concept.

Innes stirs things up again with the first of two instrumentals, “Where are You?” This song is an acoustic interlude that provides a breather between the title track and the hard blues rock of “There Always Will Be.” The other instrumental is “G’zan Hoedown” which takes its name from the G’zan custom guitars that he favors. True to its title this tune starts out with an Albert Lee country feel but morphs into an all-out shred fest with hammering snare drum from O’Rourke and a neat walking bass line from Steve Hall. Sibun proves here that he is a technically talented guitarist with tremendous speed, but unlike some other high-zoot axemasters he never loses the feel and emotion of the music.

Lost in the Wilderness has a tremendous variety of genres, and a great deal of care was put into the placement of the songs so that they all fit together into a cohesive whole. An example of this is backing up the raucous vocals of the punk-fueled blues rocker “Let’s Call it a Night” with the mandolin of the sweet ballad “When Love Breaks Down.” This is a delicate balancing act, but Innes pulls it off.

The sole cover on Lost in the Wilderness is Otis Rush’s 1958 single “Double Trouble.” This 12 bar blues classic maintains the dramatic feel of the original, and though it would be a temptation to overplay on a slow song like this, Sibun is disciplined and maintains space between riffs. Jon Buckett’s organ is spot on and sets a strong foundation.

The album finishes with Innes’ funk-fueled modern take on the traditional spiritual, “Going Home.” This turns out to be a fun song that makes use of different guitar techniques and effects, and is a fresh reminder of the constant evolution of the blues.

Innes Sibun put his heart and soul into Lost in the Wilderness, and it is a showcase of his love for the diverse genres of blues-based music. His band will be touring Europe for the rest of the year, including stops in the UK, Belgium, Poland, France, Italy, Germany, Russia, and Spain. We can only hope that he makes the time to bring his tour to the states – from the energy and skill he exhibited on this album his live show must be fantastic!

Mahalo!

Chicago Blues Guide Album Review: Damon Fowler – Sounds of Home

Hi! This review was originally published in Chicago Blues Guide on January 8, 2014. For all the latest Windy City blues info, be sure to check out their website at www.chicagobluesguide.com

Damon Fowler

Sounds of Home

Blind Pig Records

The American South is the source of countless talented guitar-slingers, but not many get the chance to hit the big time. But, through hard work, endless touring, and incredible talent, Damon Fowler is all set to make the jump. This Florida native has been working his solo act for years, and is also a member of the southern roots rock group, SoHo, alongside JP Soars and Victor Wainwright. Their work is highly-regarded, and it shows that Damon has the versatility to perform equally well as a solo artist or with a group.

Sounds of Home is Fowler’s third solo release on Blind Pig Records and he pulled out all the stops to make sure it was a success. His best decision was to bring Louisiana legend Tab Benoit onboard as producer. This album was recorded and mixed by Benoit at his own Whiskey Bayou Studios, and he also contributed his songwriting skills and a bit of his wonderful guitar prowess. It contains 11 tracks, with seven originals that were penned by Damon and his seasoned writing partner, Ed Wright, along with a little help from Tab. The guitars and vocals were handled by Fowler, with Chuck Riley on bass and James McKnight on drums.

The first track up is ”Thought I Had It All” and the listener gets a strong dose of heavy southern rock. Damon Fowler delivers the vocals with a bit of a southern accent and his voice is strong so he does not need to strain to get his point across. Up next is the title track, “Sounds of Home,” which is a slick piece of blues rock, with a rhythm section that could have been lifted straight out of a 1970s Robin Trower album. It should be noted that the vocals on this track were shared by perennial Mardi Grad favorite Big Chief Monk Boudreaux, which makes for a neat addition to what was already a cool song.

Damon also includes a few country-inspired songs on this album. “Old Fools, Bar Stools and Me” takes on the classic theme of drinking away heartache, but uses a hard punch of heavily processed guitars to get the message across. “Where I Belong” is a catchy tune with fancy fingerpicking and slide that does a good job of evoking images of home. “Do It For The Love” is the standout track on Sounds of Home, as this ballad has sublime lyrics that are interwoven with wonderful interplay between Fowler’s guitar and Benoit’s slide work.

The two covers are not the usual suspects, and they include an unexpectedly faithful rendition of Elvis Costello’s “Alison” and a hard hitting version of Johnny Winter’s “TV Mama.” Fowler electrifies Winter’s 1977 song with well-placed lead and slide guitar licks, which are more than fitting for the slew of double entendres of the original version. This track highlights his backline, which features Riley’s chugging bass line and McKnight’s drums, which are heavy and perfectly recorded and mixed.

The album ends up with “I Shall Not Be Moved,” a traditional spiritual, which seems right at home amongst the southern-fried rock and blues that make up the rest of Sounds of Home. It starts out with Damon singing along with a fun fingerpicked riff, and then he is joined by the bass and drums and some perfectly sweet vocal harmonies courtesy of Tab Benoit. It was clever to put this song at the end, as it is different enough from the rest of the material that it provides a clearly defined finish.

Damon Fowler should be proud of the work he put into Sounds of Home. All eleven tracks are solid, and it is obvious that he has mastered the art of blues and swamp rock performance and writing. Check out this album for 50 minutes of top-shelf entertainment, and be sure to hit his website at www.damonfowler.com for tour dates, as he will be making his way around the country this winter and spring.

Blues Blast Magazine Album Review: Annika Chambers & The Houston All-Stars – Making My Mark

This CD review was originally published in the April 24, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Annika Chambers & The Houston All-Stars – Making My Mark | Album Review

Montrose Records

www.annikachambers.com

www.montroserecords.net

12 tracks / 54:56

Houston native Annika Chambers did not take the usual journey to arrive at her music career. After singing in church as a youth, her interest in the blues truly blossomed after performing in a talent show in Kosovo during her enlistment in the army. Despite the allure of exotic locales such as Iraq, she mustered out after eight years and returned to her home in Texas where she worked with two producers, Montrose Records’ Richard Cagle (a Houston voodoo blues god) and Grammy Award winner Larry Fulcher, to make her dreams a reality.

Making My Mark is Annika Chambers & The Houston All-Stars’ debut album from Houston’s Montrose Records. “All-Stars” may seem like hyperbole, but this is not just a clever name, as she is backed up on this project by some of the best in the business. Besides Fulcher on bass, other Grammy winners and nominees include Samantha Banks and Tony Braunagel on drums, Skip Nalia and David Delagarza on keys, and Darrell Leonard on trumpet. Besides the folks, there are more talented locals that helped out, such as Barry Seelen and Randy Wall on keyboards, Brad Absher, David Carter and Corey Stoot on guitar, Anthony Terry on sax, and Nicoya Polar and Sheree Howard on backing vocals.

This album was engineered by Cagle and mixed by six-time Grammy winner Joe McGrath. Seven of the twelve tracks on Making My Mark are originals, and the first track, “Move” is one of these, with writing credit going to Chambers, Larry Fulcher and Dominique Fulcher (his daughter). This slow and funky soul song kicks off Annika’s debut album with a light version of her biography that is accompanied by fat bass, a healthy dose of smoking guitars from Stoot and three different sets of keyboards. The overall sound is huge and is an appropriate foundation for Chambers’ strong vocals.

Annika is not afraid to get down and dirty, as proven by the lyrics from “Barnyard Blues and “Lick ‘er,” which have more euphemisms and double entendres than you can shake a stick at. “Barnyard Blues” is a fun shuffle with a walking bass line and tight horns from Leonard and Terry. “Lick ‘er” takes the usual blues drinking song a little further than usual as Chambers lets her man know that what she has does not come from a bottle. Braunagle hammers the funk beat down on the skins while Seelen and Delagarza set the mood on the Hammond and clavinet.

Annika goes off the well-traveled blues and funk path with “That Feel Good,” which was also written by Dominque Fulcher. It starts out as a more conventional funky soul song with Annika digging down deep, but it is flavored with hip-hop as Fulcher adds a light rap vocal that is punctuated by Terry’s sax and a distorted guitar solo from Stoot. It might seem strange when reading this description, but the proof is in the pudding and this track clicks when all of these pieces come together.

Variety is the spice of life, and the covers that were chosen for this album reflect this philosophy. These are a well-rounded group that includes Bobby Charles’ “Jealous Kind,” Average White Band's “Put It Where You Want It,” Steve Cropper’s “Love’s Sweet Sensation”, Faye Adams’ “It Hurts Me to My Heart” and B.B. King’s “Let’s Get Down to Business.” Of these, “It Hurts Me to My Heart” is the standout piece, and Annika puts a ton of soul into Adams’ 1954 single. She shows an admirable vocal range as well genuine emotion as Carter tinkles the ivories and Carter tears off yet another ultra-clean guitar solo in this New Orleans-flavored song. The end result is a respectfully modern update to a classic tune.

Making My Mark is a strong debut for Annika Chambers & The Houston All-Stars, and her supporting cast has not only proven that not only that they are musicians, but that they are also able to nurture and bring out the best of new talent such as Annika. She has indeed made her mark, and with her talent and positive attitude, the world is hers for the taking!