Singer Lisa
Biales Is the Belle of the Blues on New CD from Big Song Music Due March
4
Latest Album
Produced by EG Kight and Paul Hornsby Features Tommy Talton, Randall Bramblett
and Bill Stewart with a Special Duet from Lisa and EG
OXFORD, OH – Singer Lisa Biales (pronounced “Bee-Alice”)
announces a March 4 release date for her latest album, Belle of the
Blues, on the Big Song Music label, with production by multi-Blues Music
Award nominee EG Kight and legendary Southern Rock producer Paul Hornsby. The CD
was recorded at Hornsby’s Muscadine Studio in Macon, Georgia, and features
special guests Tommy Talton on guitar (Cowboy, Gregg Allman, Dickey Betts)
Randall Bramblett on Hammond B3 organ (Sea Level, Steve Winwood, Widespread
Panic) and Bill Stewart on drums (Cowboy, Gregg Allman, Bonnie Bramlett).
Talton’s contributions on the new album especially stand out, with his work on
acoustic/electric guitar, electric/acoustic slide guitar and
dobro.
EG Kight also produced Lisa’s acclaimed Just Like Honey
album in 2012 and duets with Biales on one of the many musical
highlights of the new disc, a cookin’ take on Memphis Minnie’s “In My Girlish
Days.” EG also adds acoustic guitar and harmony vocals on a few other tracks and
co-wrote several songs on Belle of the Blues. Co-producer Paul
Hornsby provides his signature piano work throughout the new album.
“Recording with EG Kight and Paul
Hornsby was more enjoyable the second time around,” recalls Biales about the
sessions. “We’d been through the arduous task once before and became friends.
However, recording is not all gravy. I got anxious about one song and
struggled with it for a while in the studio. Paul and EG suggested a break. When
I returned, the lights were turned down, a single candle was lit, and a glass of
wine was filled. No longer feeling apprehensive, I sang ‘. . . and I wonder
if I’m under some spell that you bring, when you make me, when you make me do .
. . . ‘Bad Things.’”
Biales, who
is known for her clear-as-a-bell singing voice, has been dubbed, fittingly,
“Belle of the Blues.” The 11 songs on Belle of the Blues showcase
a diverse set of material that feels right at home with Lisa’s passionate
in-the-pocket vocals, which have a slant of southern sass to
them.
“I have a secret wish to be the
most desired back-up singer on the planet,” Biales admits. “Even though I know
there are a few who already hold that title: Darlene Love, Merry Clayton, Judith
Hill and Lisa Fisher to name a few. I loved singing back-up with EG on her
songs, ‘Bad Girl,’ ‘Trouble with a Capital T’ and ‘Belle of the Blues.’ Working
out the parts and hearing our voices resonate together was thrilling. So, it was
an extra treat to have EG Kight join me on the Memphis Minnie duet, ‘In My
Girlish Days’ where we trade verses and sing in harmony.”
Lisa has a special recollection
about the recording of “Peach Pickin’ Mama,” too. “EG wanted me to play it for
the band so they could get a feeling for the song,” she remembers. “We all sat
around with guitars, and the jam that happened in the office with Tommy Talton,
EG Kight, Tommy Vickery (bass), and Paul Hornsby playing his childhood guitar
was priceless and is forever engrained in my memory as a precious moment in
time.”
While Belle of the Blues
has many kickin’, up-tempo songs, it has its share of ballads, as well.
“I love singing sad songs,” Biales confesses. “The strong array of emotions that
bubble up, and the connections I feel to people while singing them makes me
realize my worth. I looked into the EG Kight songbook and found two songs that
wrap around my soul like a big warm blanket, ‘Mask’ and ‘Sad Sad
Sunday.’”
Another influence on Lisa Biales
is Bessie Smith, who she calls “one of the greatest classic blues singers of the
1920s and someone I have grown to admire. It’s only fitting to have her presence
on this recording with two songs: ‘Black and
White Blues’ (a song written by blues historian Dalton Roberts as a tribute to
Smith) and ‘Baby Won’t You Please Come Home." ‘The Empress of the Blues’
meets ‘The Belle of the Blues.’’’
Over the past
several years, Lisa Biales has been busy recording and singing the blues. Iconic
movie director Francis Ford Coppola enjoyed one of her performances so much that
he cast her in his film, “Twixt,” where Biales portrays a waitress named Ruth
(and as a bonus, picks up a guitar and sings, too).
In 2013,
Biales backed by Ricky Nye and The Paris Blues Band recorded Singing in My
Soul, an up-beat early jazz and blues album. Radio and critics loved
Lisa’s music and the album won the Cincinnati Blues Society’s Best Self-Produced
CD, also garnering her a spot at the upcoming August 2014 Cincinnati Blues Fest.
I just received the newest release, The Bright Spots, by Randall Bramblett and it shows Brambletts talents as a singer, songwriter, band leader and instrumentalist. Opening with Roll, a springy pop track, Bramblett puts forward a real catchy radio track. 'Til The Party's All Gone is a snappy, jazz rock track that also has a catchy hook and great instrumentation. My Darling One is a special track and one of my favorites on the release. Bramblett hits his stride vocally and the track is very strongly written, reminding me of one of my favorite Mike D 'Abo tracks, Handbags and Gladrags, (better known by Rod Stewart and Chris Farlow). This song has real sensitivity that I rarely see in music. Whatever That Is, a bluesy track finds a nice groove and also allows Tom Bukovac space to lay down a hot guitar solo. John The Baptist is a mix of numerous world components but has a strong gospel influence which is very cool. Michael Steele, Betsy Franck, Adam McKnight and Tom Ryan provide strong vocal backing on this track. Trying to Steal A Minute has a real solid bottom by Michael Rhodes, Gerry Hansen and Dylan Hansen. A really cool (in a cool way) track with a laid back attack, is a sneaky strong entry on this album. Again, Bramblett's vocals on this track are really super. Bukovac plays an unconventional but tasty guitar solo and Bramblett hits the horn for a quick dose as well. You Bring Me Down shows strong gospel and soul influences and both horn and vocal compliments are really spot on. Bramblett really brings on the sax to punctuate a strong moving entry. Rumbling Bridge, the closing number, has a jazz rock "Steely Dan" feel and I think it will also be a strong entry for radio play. It's good to hear Bramblett back on tape and doing well
