Trudy Lynn – Turning the Same Ole Corners
Jus’ Blues Records – 2026
12 tracks; 59 minutes
On Turning the Same Ole Corners, newly available in digital form, Trudy Lynn proves that time hasn’t dulled a single edge of her voice. It’s a voice that doesn’t just sing the blues — it testifies, soaring above Lucky Peterson’s stinging guitar runs, the sanctified swell of B-3 organ, and a horn section that punches and sways with greasy, late-night authority. When the band leans into electric blues and funk, the album crackles with life and muscle. Not every R&B-leaning detour lands with the same conviction, but at its best, this record is a showcase for a Houston powerhouse whose delivery can turn even familiar corners into something fierce and alive.
The LP, originally released in 2002, is composed of 6 originals from Lynn and 6 covers, all grounded in blues and R&B. Lynn began her career as an R&B singer in Houston, opening for acts like Ike & Tina Turner, and in Turning the Same Ole Corners Lynn’s voice shines throughout, demonstrating a singular talent. Lynn is equally steeped in Delta Blues, and produced several albums in the 1980s for the Ichiban label. The best tracks on this album showcase Lynn belting the blues.
A strong horn section – Sam Anderson on saxophone, Russell Gunn on trumpet and Little Joe Burton on trombone – add layers to the snappy, high energy track, “Can’t Even Get the Blues No More.” Lynn’s deep soulful voice dominates as she croons “I try to worry like I did before. But nothing happens when I walk the floor.” A raw, electric, spicy guitar solo features prominently in the middle of the song.
In “Do Ya”, Lynn delivers tender but fierce vocals telling the story of a woman questioning if love has faded. The track carries a jubilant energy, despite the uncertain lyrics, and tight rounds of horns ring out. Lynn sings “do you still get a thrill when you see me coming up the hill? Do ya?”, in an unhurried triumph of emotion.
The titular track, “Turning the Same Ole Corners” features funky layers of guitar, B-3 Organ (Lucky Peterson), and drums (Greg C. Mullin), in a smooth, polished and soulful tune. Lynn provides stellar vocals, with a burning, deep voice calling out, “when will you open your eyes? You’re looking for something daddy, that you’ve already got.” Versai Sain and Charlie Brown offer good, soulful harmony with a catchy background chorus.
“Helping Hand Blues” is classic upbeat electric blues. In her original composition, Lynn warns “Hey miss lady, you better strop bragging about your man. Cause there’s a whole lot of women that will give you a helping hand.” The band produces some infectious grooves with the interplay between guitar, drums, and keys (Haran Griffin and Lynell Boone). The vocal delivery is spicy and vigorous, propelling the track forward.
Funky guitar strumming kicks off “Snatching it Back”, which highlights Lynn’s soft, but powerful voice amongst perfectly placed B-3 organ. The energetic, R&B-influenced song has once again another remarkable guitar solo, careening the length of the neck of the guitar.
Snappy, catchy horns kick off “No Deposit No Return”, followed by an organ-driven groove, while Lynn sings “I finally caught on baby… if you ain’t got nothing to give, how do you expect to get something.” Lynn’s performance evokes the natural vocal command of Nina Simone. Instrumentally, this is one of the grooviest tracks on the album, with clear prowess displayed in a dazzling organ solo from Peterson. The backup vocals are strong, and with the instruments help form a soulful tapestry.
“C.O.D.” employs an Albert King style blues intro with hot guitar licks and solid percussion. Lynn’s voice rings out, “Come in to you daddy, come into your COD (cash on delivery).” The guitar wails and moans in an impressive solo as the organ adds subtle depth and soul.
The album’s softer R&B stretch — including “If My Pillow Could Talk,” “Precious Moments,” “Reneged on Me,” “Memories of You,” and “I Know Why” — leans heavily into smooth, sentimental arrangements that trade grit for gloss. Though Lynn’s voice remains expressive throughout, these slower, polished tracks drift toward subdued, contemporary soul and away from the raw blues power that defines the record’s strongest moments. The production is lush and reflective, but the lack of edge and instrumental bite leaves this portion of the album feeling stylistically muted compared to its funkier, organ-driven highlights.
As a collection, Turning the Same Ole Corners is a strong set of tracks, driven by Lynn’s powerful voice and an impressive roster of studio musicians. In this new digital release, her voice lands as an earth-shaking force, cutting deepest when the band settles into gritty blues grooves. It’s a performance that deserves to be heard by a wider audience.
