Sue Foley pretty much sticks to her guns on New Used Car – her tenth album and second for Germany's Ruf Records – resisting the urge to go pure pop and turning out instead another set of blues-inflected roots rock originals that prominently feature her laser-guided electric guitar leads. This is certainly good news, and things get off to a great start with the spunky opener and title tune "New Used Car," which cooks along on Foley's guitar and sharp lyrics that are fully aware that a car is just a metaphor for getting where you want to go and that the back seat is full of all the baggage a life brings.
The late singer and songwriter Blaze Foley is almost unheard of outside of the circles of music fans who follow that scene closely. For many Austin musicians, he was a crazy saint, an iconoclast who was banned from virtually every bar in town, but whose songs are deeply admired and whose persona was singular – he didn't give a good god damn what anybody thought of him. He has been immortalized in Lucinda Williams' beautiful "Drunken Angel" and songwriter-guitarist Gurf Morlix, who played with him, lovingly mastered a record they made together in the late '70s which was released in 2006 as Blaze Foley & the Beaver Valley Boys. Willie Nelson, Merle Haggard, Kings of Leon, Lyle Lovett, and John Prine, among others, have recorded his songs. He's been exploited on a few compilations that have come out over the years with awful post-production work that he would never have agreed to. Fat Possum deepens the legend further without soiling the artist in the process. The Dawg Years is a collection of 20 Foley songs, recorded when his moniker was Deputy Dawg.
The cover's cutout silhouette of these guitar-slinging soul/blues women is a succinct visual overview of the rather ambiguous contents within. Recorded in preparation for 2007's Blues Caravan tour featuring journeywomen singer/songwriters Sue Foley and Deborah Coleman along with the comparatively fresh-faced Roxanne Potvin (whose first widely distributed set was released earlier the same year), the disc seems more like a respectable concert souvenir than an actual collaborative affair. The 11 tracks break down into three solo cuts from each participant, one shared and joyous effort on the closing cover of a Chess oldie, "In the Basement," and a crackling instrumental dominated by Foley's always impressive guitar. There are many fine moments here, especially as Coleman lays into an easy funk groove on James Brown's "Talking Loud" and on Potvin's emotionally charged ballad "Strong Enough to Hold You".
Recorded live at the legendary Continental Club in Austin, Texas. This electrifying album captures all of the grit, sweat and devastating guitar playing that has propelled Sue Foley to the top of the Blues world in 2023. Here, Sue reaches back and delivers first-ever live recordings of some of her early hits, deep covers, and some surprises too! First arriving in Austin in 1991 at the urging of nightclub impresario Clifford Antone, it's in that era of Austin where she cut her teeth amongst infamous Texas guitar slingers like Albert Collins and The Vaughan Brothers. It's all come down to this one hot Friday night in Austin, playing to a packed club. It's real. And it's tough as nails. That's Sue at the top of her game. This past May, Foley was awarded the Blues Music Award for Traditional Blues Female Artist (Koko Taylor Award) in Memphis TN - an award she also won in 2022 and 2020.
Julia, qui dirige un magazine, et Will, une star de la téléréalité, s'apprêtent à se marier sur une île irlandaise. Malgré un réseau téléphonique défaillant et une mer agitée, tous les efforts ont été faits pour régler les détails de la cérémonie. Mais, l'alcool aidant, la fête dégénère et les ressentiments resurgissent entre les invités. Le lendemain, un cadavre est retrouvé. …