Shemekia Copeland – Blame It On Eve
12 tracks/47 minutes
The voice that emanates from Shemikia Copeland is unique, powerful, fierce, and gripping. As she sings the listener instantly knows who they are listening to. They are treated to the finest sounds emanating from anyone’s vocal chords in the blues world. She is a treasure.
Born in Harlem, NY, in 1979, she was weaned in her father’s Cotton Club beginning at the age of eight. Ten years later she recorded her first album for Alligator Records and the rest has been history. Copeland has been a dynamic force in the blues world since then, releasing fantastic albums and setting the standard with her work. Her work has received dozens and dozens of award nominations and she has also won a host of them; she is the most decorated artist in the blues.
This album is her fourth working with Will Kimbrough, featuring a dozen new tracks ranging from women’s reproductive rights dealing with life’s day to day issues. The songs are newly written except the final two; “Down On Bended Knee” is a Johnny Copeland cut and “Heaven Help Us” was made famous by the great Stevie Wonder. Copeland leads the vocal charge, Kimbrough is guitar and adds more instruments on 5 other tracks, Lex Price handles bass duties and Pete Abbott is on drums.
The album begins with the title track. Copeland tells us of the problems resulting from society’s perception of the original sin and how that has resulted in centuries of paternalistic indignities heaped on women. Shemekia sings with authority and feeling as she sings the sarcastic lyrics. Great slide work in this cut, too, and Jim Hoke os on sax. Next is “Tough Mother,” a song about how what life has dealt the women she sings of ]has created in her a toughness and resilience that should not be messed with. It’s a rocking and rollicking cut with heavy guitar riffs and a great groove. Luther Dickinson is on guitar for these first two tracks.
“Only Miss You All The Time” is a somber and touching ballad where Copeland sings of a past love that has eroded that she cannot get over. Beautiful stuff. “Broken High Heels follows, a rocking and rolling tune with more well-done guitar riffs. Copeland sings with passion as she about dancing in a graveyard in broken high heels. This song certainly rocks out in deliberate fashion!
“Wine O’Clock” is a humorous piece about how life’s daily problems push mothers to the elixir in a bottle of wine to restore their faith in life. She’s got the blues and wine is the answer to them. We get some more vibrant guitar work, here by Charlie Hinter, and a stinging solo to savor on this one, too. Copeland asks the question, “Is There Anybody Up There?” in a cut about the hate that’s out there and the hope that someone in heaven is listening. Alejandro Escovedo joins her on this duet that rocks out.
Jerry Douglas joins her on lap steel and Keing Gordon on guitar for “Cadillac Blue,” where she sings and lap steel blazes along with her. Her baby’s eyes are Cadillac blue and she sings about the man who caused that for her. It’s a great cut and the lap steel makes it even better. “Belle Sorciere” is a sad tale of love with a haunting melody and a chorus delivered in French. The song was written by Pacal Danae of the French group Delgres, a moving piece. Cara Fox adds her cello on this one.
“Tell The Devil” has DaShawn Hickman on Sacred Steel and it’s rousing good time. Copeland takes us to church as the guitar and organ (Kimbrough) aid mightily in the performance. It’s a great cut! Swe go down home with “Tee Tot Payne,” a true story of the man who taught Hank Williams how to play the blues. Douglas again plays lap steel, Kimbrough adds mandolin, and they and Copeland deliver another winner.
On her Dad’s cut, Copeland delivers a forceful performance. Strong guitar playing supports the vocals as Copeland give it her all. The guitar playing is stellar and so well done. She concludes with “Heaven Help Us All.” Slide guitar and organ support are solid as Shemekia gets great backing again from Lisa Oliver Gray and Odessa Settles on vocals; they also add their super vocal touches to “Tell The Devil.” All in all, a fine set of tunes that Copeland adds to her extensive songbook!
This is another award-worth effort by the woman who has been called queen and even the empress of the blues. They are all well-deserved titles. Her being dubbed blues royalty comes from her amazing talents, hard work and dedication to her craft. She is an amazing talent, and she delivers the goods every time she records or performs for an audience. This new album will surely garner many an award nomination!
