Roadhouse Album Review: Vaneese Thomas sings her own soulful “Stories in Blue”

Vaneese Thomas — “Stories in Blue” — Overton Music

Vaneese Thomas is not only blessed with a deeply soulful singing style, she also has the unerring ability to turn her thoughts and feelings into emotional statements expressed in song – in this case, in her latest album, very appropriately titled “Stories In Blue.”

Thomas has created a musical odyssey on her tenth album that tracks the essence of her music. It’s also a tribute to her multi-talented approach: Thomas’s name is on every song, she co-produced the session, plays piano on the pensive “Wandering,” and, of course, graces us with her marvelous voice.

The seven-song set of original stories in blue is filled with powerful music and gorgeous vocals, all of which reflect a lyrical journey from the origins of the blues to the final bars of a joyful gospel song. The tracks also serve as a sampler of the multiple musical talents of Thomas – she’s very much at home working in styles from blues to R&B to jazz to gospel.

The opening track and first step in this journey asks the question: “Do Y’all (know where the blues comes from?)” It’s a funky history lesson on blues origins in the human spirit: “Do y’all know where the blues comes from do y’all / Well it comes from faces dark as night / Bodies worn from toil and strife.”

A pair of songs follows that illustrate traditional blues themes of lost love. “When You Were My Man” is a vocal treat, rhythmically at odds with its lonely message – “Every day I had peace of mind / But darkness did come, our love was undone.” That’s followed by the gorgeously sung ballad “Wandering,” an album centerpiece with its aching refrain: “Wandering on the street / Head in my hands / Shuffling my feet / What will I do without him / Ain’t nothing left for me.” A sensuous sax solo adds a melancholy refrain.

A rollicking stride piano with its foot-stomping tempo, Dixieland-flavored horns and Thomas scatting along, highlight the smartly sassy “1917.” The song was written by Vaneese as a joyous tribute to her multi-talented entertainer father, Rufus Thomas, the legendary patriarch of Memphis soul, who was born in 1917: “His colorful attire could take you higher / And leave you wanting more / His voice was a jewel and his blues gave you fuel / And shook you to the core.”

“The Last Thing on My Mind” is steady-rolling, hypnotic ode tuned to the troubles of a woman wronged on this journey: “But I found you done me wrong / To my surprise you up and gone / I had a love but now I moan / That was the last thing on my mind.” This blue story nears its end with the plaintive “Seven Miles From Home” – “Seven miles from home / No more to roam / Oh, my soul longs for home.”

The closer and blues stories’ end in spirit and fact is an uplifting a cappella gospel track, “End of the Road,” with only hand-claps for its rousing rhythms, and a solid chorus behind Thomas’s exuberant vocal statement: “I see the end of the road Lord, I’m on my way / On my way to Jordan’s shores maybe it’ll be today.”

Vaneese Thomas shines in her album debut on the brand-new, Memphis-based Overton label. This session is a tribute to her all-around skills as a marvelous story-telling songwriter and joyous, full-throated singer of those songs.

Thomas not only embraces her musical roots, she refreshes them with her passionate “Stories In Blue.”


Track list with comments from Vaneese Thomas:

01. Do Y’all-This song was written with my ancestors in mind. I was hearing and feeling the laments of enslaved Africans who gave the soul and sound to the Blues. Let’s not forget!

02. When You Were My Man-Al and I wrote this song about someone musing over their broken relationship. She’s thinking about the obvious differences in her life then and now. The man “didn’t play nice” and respect their relationship. Much too common!

03. Wandering-the lyrics to this song are reminiscent of the lyrics to “Have You Seen Her” by The Chi-Lites. This is a person feeling so low and feeling unrelenting pain. “Ain’t nothing left for me” could reflect any kind of loss.

04. 1917-This year in the history of the world was tumultuous. War World War 1 was raging, and jazz was being played in clubs and juke joints worldwide. Something else noteworthy happened that year; Rufus Thomas, Jr. was born in Cayce, MS to Rufus, Sr. and Rachel Thomas and was to become a symbol of that era and the future of Black music.

05. The Last Thing On My Mind-another sad story of love lost. This was a surprise to him/her so it’s even sadder. The lover says, “you broke my trust and shook my faith.” That’s some deep hurt!

06. 7 Miles From Home-this song was inspired by a poem written by my friend, Berneta Miles. Her parents’ home was 7 miles from downtown Humboldt, TN. So that phrase was something that her family quoted often. Also, you could say it’s about folks who’ve left home and later returned after times of uplift and defeat. The theme is being welcomed back where you came from.

07. End of the Road-This song wasn’t written with any particular idea of impending death but rather the joy of knowing I’ll someday be relieved of all the stress and pain of life here on Earth.

Roadhouse Album Review: Ronnie Baker Brooks shows his passion for the blues in “Blues In My DNA”

Ronnie Baker Brooks — “Blues In My DNA” — Alligator Records (Oct. 11 release)

I’ve seen Ronnie Baker Brooks many times. He’s a fixture on the Legendary Rhythm & Blues Cruise with his band, and in the Legendary late night jams, and I caught a land-locked club show years ago in Pittsburgh. Brooks never disappoints. In fact, he never fails to stimulate my own blue genes, so the blues in his DNA seem almost like a match for my own.

“Blues In My DNA” does not disappoint either. In fact, this is a gutsy, bluesy, smartly done session that highlights Brooks’ Chicago heritage with some nods to adjacent influences — Memphis soul, rock ‘n’ roll, funk, and deep Chicago blues. It’s also just plain great listening.

This is only Brooks’ fifth album, despite a performing career that stretches back to 1986, when he joined the band of his legendary bluesman father, Lonnie Brooks. That doesn’t mean that he hasn’t kept busy, writing songs, playing fierce guitar, touring and performing, and winning lots (I hate those technical terms) of critical acclaim. As a tribute to his father, this album cover has Brooks holding the same guitar his father held on the cover of “Bayou Lightning,” Lonnie’s 1979 Alligator debut. This also happens to be Ronnie’s Alligator debut, closing a musical circle with his dad. Musicians on this album of original songs include rhythm guitarist Will McFarlane, electric pianist Rick Steff, bassist Dave Smith, and drummer Steve Potts.

The album roars to life with the funky blues and tough guitar of “I’m Feeling You.” Then “Lonnie Brook’s Blessing” offers a brief recording of Lonnie Brooks’ exhorting Ronnie “to keep these blues alive.” That’s followed hard by the autobiographical title track, “Blues In My DNA,” the album’s focal point, and a song Brooks calls “a bridge between me and my audience.” Its fiery blues solos punctuate the song’s lyrical intensity in describing Brooks’ tale of overcoming racism and poverty: “I’m not complaining, I’m just explaining, I got the blues in my DNA.”

“My Love Will Make You Do Right” follows and adds Clayton Ivey on the Hammond B-3, whose riffs are always welcome in the blues. “Accept My Love” is a sweetly styled, soulful ballad and a tribute to Brooks’ mother, Jeannine Baker, who passed away in 2023. “All True Man” chugs right into the tasty shuffle of “Robbing Peter to Pay Paul,” followed by the hard licks of “Instant Gratification.”

“I Got to Make You Mine” features some inventive guitar work, and “Stuck On Stupid” revives an older original blues with a fierce guitar intro and solos in its eight powerful minutes. “I Found A Dollar Looking For a Dime” and “My Boo” round out the album without any drop-off in passion or power.

Brooks says of his music: “I grew up witnessing and learning from the legends of the blues. I’m excited to continue to create Chicago blues as part of my family legacy and our shared history. I’ll always carry on and represent the blues in everything I do. Dad started the fire, Albert Collins poured the gas on it, and Koko Taylor put the grill on.”

This is a powerful contemporary blues album. Ronnie Baker Brooks is not only keeping the blues alive, he’s pouring himself into his music so that we can share his passion.


Here’s the title track, “Blues in My DNA”

Tracklist & credits:

1. I’m Feelin’ You
2. Lonnie Brooks’ Blessing
3. Blues In My DNA
4. Make You Do Right
5. Accept My Love
6. All True Man
7. Robbing Peter To Pay Paul
8. Instant Gratification
9. I Gotta Make You Mine
10. Stuck On Stupid
11. Looking For A Dime
12. My Boo

All songs by Rodney Dion Baker (Ronnie Brooks Music, BMI) except “All True Man” by Rodney Dion Baker & Todd Park Mohr (Ronnie Brooks Music, BMI / Todd Park Mohr Publishing admin. by Bug Music, BMI)

Ronnie Baker Brooks Vocals and Electric Guitar
Will McFarlane Rhythm Guitar
Dave Smith Bass
Steve Potts Drums
with Lonnie Brooks Vocal (2)
Rick SteffElectric Piano (3,4,5,6,7,8,9,10,11,12)
Clayton Ivey Hammond B3 Organ (4,5,9,10)
Brad Quinn Tenor and Baritone Saxophone (5,8)
Drew White Trumpet (5,8)
Trenicia Hodges and Kimberlie Helton Background Vocals (9)

Roadhouse Album Review: Ladyva romps through “Steam Train Boogie”

Ladyva (Vanessa Gnagi) — “Steam Train Boogie” — Independent

I don’t know how I could have let this album slip by last December — maybe I was lost in a Christmas haze. I’ve posted a couple of times about Ladyva’s fine boogie-woogie piano music, the first time in June of 2021.

Since then, I’ve been impressed by the fact that this post has received more page views here at the Roadhouse than anything I’ve ever published. Someone, or more than someone, visits it almost every day.

And I just happened to be poking around the interwebs recently and noticed that Ladyva (Vanessa Gnagi – (Very useful bio here) released a new album last December. It’s filled with her rollicking original keyboard stylings, and adds a couple of delicious classics, plus her vocals on three of the ten tracks. So it seems like it’s worth a visit.

She opens with her own sturdy piano/vocal version of the Muddy Waters classic, “Got My Mojo Working,” then chugs along the original “Steam Train” track. A “Lobster Groove 2.0” boogie follows, then she rolls through the Albert Ammons classic, “Boogie Woogie Stomp.” (Ammons was one of the founding fathers of that musical piano style, along with Meade Lux Lewis — Ammons’ long-time friend — and Pete Johnson in the mid-1930s. Ammonds’ “Boogie Woogie Stomp has been described as “the first 12-bar piano-based boogie-woogie, imitated by many jazz bands.)

“To Whom Do I Want to Lie” is a an elegant original, grammatically correct, slow and soulful ballad featuring Ladyva’s vocals again, then the original “Quarantine Boogie” stomps through with “Ladyva’s Stomp” rocking onward. “Return to the Blues” is a gorgeous, torchy slow blues.

“Jumpin’ the 88s,” which does just what it says, and “You’ve Got This,” a sly uptempo vocal, close out this session.

Ladyva is not a newcomer to her music. She’s been pounding the keys since she was 14, but does not seem well-known on this side of the pond. That’s a shame. Her piano work is impeccable, her boogie-woogie style is foot-tapping fun, and her vocals add another dimension to her craft. Listen and tap along.


Here’s a video of “Steam Train Boogie”

Track list & credits:
“Got My Mojo Working” (Muddy Waters)
“Steam Train Boogie” (Ladyva)
“Lobster Groove 2.0” (Ladyva / Silvan Zingg)
“Boogie Woogie Stomp” (Albert Ammons)
“To Whom Do I Want to Lie” (Ladyva)
“Quarantine Boogie” (Ladyva)
“Ladyva’s Stomp” (Ladyva)
“Return to Blues” (Ladyva)
“Jumpin’ the 88s” (Silvan Zingg)
“You’ve Got This” (Ladyva / Ryan Tubridy)


Roadhouse Blues News: Here are the winners in fan voting for the 2024 Blues Blast Music Awards

Here are the winners in the fan voting for the 2024 Blues Blast Music Awards. Here’s the list of nominees with the winners in bold.

Contemporary Blues Album
Shaun Murphy – I’m Coming Home
Chris O’Leary – The Hard Line
Anthony Geraci – Tears In My Eyes
Rick Vito – Cadillac Man
Rick Estrin & The Night Cats – The Hits Keep Coming
Selwyn Birchwood – Exorcist

Traditional Blues Album
Monster Mike Welch – Nothing But Time
he Dig 3 – Damn the Rent
Fiona Boyes – Ramblified
Johnny Burgin – Ramblin’ From Coast to Coast
Nick Moss Band – Get Your Back Into It
John Primer & Bob Corritore – Crawlin’ Kingsnake

Soul Blues Album
Blackburn Brothers – SoulFunkin’Blues
Dave Keller – It’s Time to Shine
Kevin Burt & Big Medicine – Thank You Brother Bill
Marcel Smith – From My Soul
Jeff Rogers – Dream Job
Eddie Cotton – The Mirror
Joakim Tinderholt – Deadlines

Rock Blues Album
The Wicked Lo-Down – Out Of Line
Mike Zito – Life is Hard
Coco Montoya – Writing on the Wall
JP Soars – Brick by Brick
Canned Heat – Finyl Vinyl
Bex Marshall – Fortuna

Acoustic Blues Album
EG Kight – Sticks & Stones
Sue Foley – One Guitar Woman
Arbuckle & Long – Gonna Be Justified
Tinsley Ellis – Naked Truth
Doug MacLeod – Raw Blues 2
Mick Kolassa – Wooden Music
Nic Clark – Everybody’s Buddy

Live Blues Album
Deb Ryder – Live & Havin’ Fun
Li’l Ronnie & the Grand Dukes – Got it Live from ‘05
Christone “Kingfish” Ingram – Live In London
Blood Brothers – Live in Canada 
Eric Bibb – Live at Scala Theatre
Sue Foley – Live In Austin Vol 1.

Historical Or Vintage Recording
Bob Corritore – Phoenix Blues Rumble
James Harman – Didn’t We Have Some Fun Sometime
Paul Oscher – Live At The Tombs House Of Detention, NYC
Keef Hartley Band – Live at Essen
Magic Slim & John Primer feat. The Teardrops – Slow Blues
Omar & The Howlers – Magic Man Live In Bremen 1989

New Artist Debut Album
BLUES People – The Skin I’m In
Garnetta Cromwell – Time to Shine
DK Harrell – The Right Man
Joel Astley – Seattle to Greaseland
Mathias Lattin – Up Next
Nicholas Alexander – Lil Hoochie

Blues Band Of The Year
The Dig 3
Blackburn Brothers
Nick Moss Band Featuring Dennis Gruenling
Rick Estrin & The Nightcats
The Cash Box Kings
Southern Avenue

Male Blues Artist
John Primer
Mr. Sipp (Castro Coleman)
D.K. Harrell
Kevin Burt
Christone “Kingfish” Ingram
Bobby Rush

Female Blues Artist
Shaun Murphy
Sue Foley
Annika Chambers-DesLauriers
Danielle Nicole
Fiona Boyes
Ruthie Foster

Sean Costello Rising Star Award
Harrell “Young Rell” Davenport
Mathias Lattin
Joel Astley
Candice Ivory
Stephen Hull

Producer Of The Year
Bob Corritore
Kid Andersen
Joe Bonamassa & Josh Smith
Tony Braunagel
Tom Hambridge
Mike Zito

Electric Guitarist Of The Year
Monster Mike Welch
Nick Moss
Joanna Connor
Duke Robillard
Christone “Kingfish” Ingram
Laura Chavez

Acoustic Guitarist Of The Year
Kevin Burt
Doug MacLeod
Sue Foley
Eric Bibb
Tinsley Ellis
Catfish Keith

Slide Guitarist Of The Year
JP Soars
Joanna Connor
Fiona Boyes
Derek Trucks
Rick Vito
Sonny Landreth

Bass Guitarist Of The Year
Jerry Jemmot
Bob Stroger
Rodrigo Montovani
Danielle Nicole
Larry Fulcher
Michael “Mudcat” Ward

Keyboard Player Of The Year
Jim Pugh
Anthony Geraci
Ben Levin
Eden Brent
Kenny “Blues Boss” Wayne
Mitch Woods

Percussionist Of The Year
June Core
Derrick D’mar Martin
Kenny “Beedy Eyes” Smith
Tom Hambridge
Tony Braunagel
Tony Coleman

Harmonica Player Of The Year
Jason Ricci
Bob Corritore
Dennis Greunling
Charlie Musselwhite
Billy Branch
Kim Wilson

Horn Player Of The Year
Jimmy Carpenter
Vanessa Collier
Sax Gordon Beadle
Trombone Shorty
Eric Demmer
Deanna Bogart

Vocalist Of The Year
Ruthie Foster
Bobby Rush
John Németh
Marcel Smith
Billy Price
D.K. Harrell

Blues Video Of The Year
Lurrie Bell and Frank Catalano – Set Me Free https://www.youtube.com/watch?v=9Ca0gG4x1Ig
Buck69 – Peace Maker https://www.youtube.com/watch?v=5TRWlCA_q4g
Johnny Burgin – Ramblin’ From Coast to Coast https://youtu.be/437O5PJq750?si=BHmgbHiI84vEMBtc
Hughes Taylor- Ballad of Big Bill McGuire https://www.youtube.com/watch?v=eYuWjFGMMGc
John Clifton – Every Waking Hour https://www.youtube.com/watch?v=63MccGKlZgA
Omar and The Howlers – No Peace in the City https://www.youtube.com/watch?v=yTtbGTvoFoM

024 Blues Blast Music Award Winners

Contemporary Blues Album

Rick Estrin & The Night Cats – The Hits Keep Coming

Traditional Blues Album

John Primer & Bob Corritore – Crawlin’ Kingsnake

Soul Blues Album

Blackburn Brothers – SoulFunkin’Blues

Rock Blues Album

Mike Zito – Life is Hard

Acoustic Blues Album

Sue Foley – One Guitar Woman

Live Blues Album

Christone “Kingfish” Ingram – Live In London

Historical Or Vintage Recording

Magic Slim & John Primer feat. The Teardrops – Slow Blues

New Artist Debut Album

DK Harrell – The Right Man

Blues Band Of The Year

Rick Estrin & The Nightcats

Male Blues Artist

Christone “Kingfish” Ingram

Female Blues Artist

Sue Foley

Sean Costello Rising Star Award

Candice Ivory

Producer Of The Year

Joe Bonamassa & Josh Smith

Electric Guitarist Of The Year

Christone “Kingfish” Ingram

Acoustic Guitarist Of The Year

Sue Foley

Slide Guitarist Of The Year

Derek Trucks

Bass Guitarist Of The Year

Danielle Nicole

Keyboard Player Of The Year

Kenny “Blues Boss” Wayne

Percussionist Of The Year

Kenny “Beedy Eyes” Smith

Harmonica Player Of The Year

Charlie Musselwhite

Horn Player Of The Year

Trombone Shorty

Vocalist Of The Year

Ruthie Foster

Blues Video Of The Year

Omar and The Howlers – No Peace in the City

Roadhouse Album Review: “Blame It On Eve” is compelling music from Shemekia Copeland

Shemekia Copeland — “Blame It On Eve” — Alligator Records

Shemekia Copeland needs no introduction. She’s the multi-award-wining, powerhouse blues singer who’s taken her music in new directions while she has climbed effortlessly to the top of her game — all by the tender age of 45.

She is the daughter of the great Texas bluesman Johnny Copeland, toured with him as an opening act, and released her debut album, “Turn the Heat Up!” in 1998, at the age of 18. And that’s just a bare outline of the beginnings of her musical career, filled with ten albums that have established her as simply one of the best blues singers on the planet.

That brings us to her latest album, “Blame It On Eve,” a departure in content and style from her last three albums, themselves a departure from much of her earlier work. Those albums — “America’s Child,” “Uncivil War” and “Done Come Too Far” — all carried strong political and social themes, with Copeland tackling sensitive contemporary issues with her blues sensibilities.

While “Eve” doesn’t take a step back, it at least shuffles sideways without losing any of Copeland’s power and passion. “My last three records have dealt with breaking news,” she says. “This record is for people like me who want a break from the news.”

While Copeland may be taking a break from the news, she’s definitely not taking a break from the blues. The dozen songs here, chosen from a variety of sources, still hit hard, whether she’s deep in the blues, or sharing thoughts on contemporary issues, or both. Producer Will Kimbrough and executive producer John Hahn are responsible for much of the smartly conceived original content.

This doesn’t mean that Copeland has suddenly given up her social conscious. “There’s serious business on the new album,” Copeland says, “but there are a lot of smiles here too, a lot of joyous moments. It’s my blues for sure but it’s the brighter side. Issues are always important to me, but so is rocking, dancing and just having fun. And that’s something we all can all agree on.”

And “Eve” is certainly filled with great music from a cast of fine musicians, including Luther Dickinson and Kevin Gordon on guitar, jazz guitarist Charlie Hunter, Jerry Douglas on guitar and dobro, DaShawn Hickman on pedal steel, guest vocalist Alejandro Escovedo, all produced by Kimbrough in his fourth repeat performance.

The session opener is the title track, as it should be, with a tough musical vibe and a thematic wink and a nod protesting a historical tendency to blame the woman: “Since the Garden of Eden they have you believin’ / When somethin’ goes wrong / You can blame it on Eve.” That sly sharpness expands into a biting contemporary conclusion: “Wanna know how it feels to have the blues / just try losing your right to choose.”

“Tough Mother” follows, with a Mississippi hill country twang behind a sharply autobiographical story, “Only Miss You All the Time” is a powerfully sung emotional ballad’ followed by the rousing climate-change anthem “Broken High Heels,” stomping out another powerful message with a dance-floor beat.

“Wine O’Clock” is a tough, slow-drag-blues tribute to Copeland’s version of mother’s little helper. Escovedo shares the vocals on “Is There Anybody Up There?” a fervent plea for heavenly intervention in worldly problems. “Cadillac Blue” is color of Copeland’s true love’s eyes, a tale of interracial romance told to a slinky lap-steel background.

Copeland shifts into a tender moment with the haunting “Belle Sorciere,” a sad lover’s tale with the haunting melody composed by Pascal Danae of the Paris-based band Delgres. “Tell the Devil (To Go to Hell)” is glorious foot-stomping gospel. “Tee Tot Payne” gets a old-timey country blues feel from Douglas on dobro in a lightly swinging ode to black street musician Rufus “Tee-tot” Payne. He was a bluesman who became a mentor to an itinerant white youngster named Hiram Williams, a would-be singer shining shoes and selling peanuts in a railroad station. Lessons learned, Hiram went on to become country superstar Hank Williams.

Copeland always includes a song from her father on every album; here it’s a scorching version of the deep blue “Down On Bended Knee,” a fierce musical highlight. The closer is the soulful “Heaven Help Us All,” a thoughtful early Stevie Wonder song with Copeland’s voice soaring over the not-so-optimistic message.

“Blame It On Eve” is another impressive outing for Shemekia Copeland. She matches her powerful vocals, rich with stylish vibrato, to the needs of each song. Whether her music is sly, sensuous or soulful, she’s always deeply serious, with meaningful emotional content. This compelling collection helps cement her lofty position atop the world of blues singers. And best of all, it’s a pleasure to hear!


“Tough Mother” from the album:

Tracks and credits:

1.   Blame It On Eve (J. Hahn & W. Kimbrough, Avarice and Greed Publ./ Will Kimbrough Music, BMI)
2.   Tough Mother (J. Hahn & W. Kimbrough, Avarice and Greed Publ./ Will Kimbrough Music, BMI)
3.   Only Miss You All The Time (J. Hahn & W. Kimbrough, Avarice and Greed Publ./ Will Kimbrough Music, BMI)
4.   Broken High Heels (J. Hahn & W. Kimbrough, Avarice and Greed Publ./ Will Kimbrough Music, BMI)
5.   Wine O’clock (J. Hahn, Susan Werner, & W. Kimbrough, Avarice and Greed Publ., BMI / Frank Chance Music, ASCAP /Will Kimbrough Music, BMI)
6.   Is There Anybody Up There? (J. Hahn & W. Kimbrough, Avarice and Greed Publ./ Will Kimbrough Music, BMI)
7.   Cadillac Blue (J. Hahn & K.Gordon, Avarice and Greed Publ., BMI/ Little Rain Music, BMI admin. by BMG)
8.   Belle Sorciere (J. Hahn & P. Danae , Avarice and Greed Publ., BMI/ Pascal Danae Publ., SACEM)
9.   Tell The Devil (J. Hahn & W. Kimbrough, Avarice and Greed Publ./ Will Kimbrough Music, BMI)
10. Tee Tot Payne (J. Hahn & W. Kimbrough, Avarice and Greed      Publ./ Will Kimbrough Music, BMI)
11. Down On Bended Knee (Johnny Copeland, Jo’Clyde Music, BMI)
12. Heaven Help Us All (Ronald N. Miller, Sony/ATV Music Publishing LLC)

Shemekia Copeland: Vocals
Will Kimbrough: Guitar; Organ on Is There Anybody Up There?Tell The Devil and Heaven Help Us All; Percussion on Tell The Devil; Mandolin on Tee Tot Payne and Down On Bended Knee
Lex Price: Bass
Pete Abbott: Drums

Pascal Danae: Vocals on Belle Sorciere
Luther Dickinson: Guitar on Blame It On Eve and Tough Mother
Jerry Douglas: Lap Steel Guitar on Cadillac Blue; Dobro on Tee Tot Payne
Alejandro Escovedo: Vocals on Is There Anybody Up There?
Cara Fox: Cello on Belle Sorciere
Kevin Gordon: Guitar on Cadillac Blue
Dashawn Hickman: Sacred Steel Guitar on Tell The Devil
Jim Hoke: Saxophone on Blame It On Eve
Charlie Hunter: Guitar on Wine O’Clock
Lisa Oliver Gray and Odessa Settles: Background Vocals on Heaven Help Us All; Background Vocals, Percussion on Tell The Devil
Lucinda Spence and John Hahn: Percussion on Tell The Devil

Producer: Will Kimbrough
Executive Producer: John Hahn
Recorded and mixed by Dylan Alldredge at Skinny Elephant.
Additional recording engineered by Benj Johnson at Earthtones Recording, Greensboro, NC.
Mastered by Alex McCollough at True East Mastering, Nashville.