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"Jackie Johnson, like Sharon Jones, is at the forefront of the "real" soul revival--a fact that is highlighted on her debut for Bob Trenchard's Catfood imprint. Jackie Johnson is a real talent with the ability to crossover into the soul mainstream without compromising her deep soul and gospel roots. Highly recommended." "Old school soul that has no dust on it. Johnson is a vocalist that is wowing them at home and taking that wow on the road. Sassy, snazzy and snappy throughout, this could have rolled right off the Stax assembly line without missing a beat. This is a real example of really hot stuff. Well done." |
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"Johnny Rawls, fresh from his 2010 Blues Music Award for Soul Blues Album of the Year, is back. Smooth is Rawls' calling card. His singing is wonderful, but lacks the hard, razor-thin edge that characterized his mentor, O.V. Wright's voice. Instead, Rawls has forged a personal style hinged on a balance of grit and honey. It's a cool approach that works perfectly. Musically, he splits the difference between vintage and contemprorary soul-blues. Strong melodies remain a constant in the genre and Rawls has got them, but while one can detect traces of the heavy dance beat that is today's currency, Rawls' grooves are subtler by far. Songwriting is at a premium here. If you're in the mood for well-crafted songs, complete with invigorating horns, and played by real humans, Johnny Rawls is your man." "One of Rawls' distinguishing modern-day characteristics is the way he melds his fatback musical background with pop-tinged breeziness. Here, though, apropos of the CD's stated theme, he sticks close to the sanctified grit on which he was nurtured. Out in front, Rawls' churchy vocals convey intense feeling that never crosses into bathos or overkill. Overall, this is an unabashedly roots-rich outing, featuring Rawls' voice at its meatiest and his guitar work at its most elegant and understated." "If you like good soul music--that sweet soul music--then turn the spotlight on the latest effort from Johnny Rawls. From the drum beat and horn section intro of the title track you may feel like you stumbled upon the Stax Records archives ...you get the flavor and feel of soul music at its zenith. This is a strong CD. Spotlight on Johnny Rawls, y'all. Oh yeah. Oh, oh yeah!" Blues Music Award winner Johnny Rawls new CD leaps out at you from the speakers right from the start. The title track certainly sets the pace with its searing brass arrangements, with beautiful vocals from Johnny. His rendition of O. V. Wright's Blind, Crippled and Crazy is right on the money. There are 10 original songs....every one is a winner. I would be surprised if this album does not pick up some awards in the near future. |
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"Rawls envelopes his wise blend of soul and blues in the aura of believable emotional intensity.” |
“Rawls deserves national soul stardom...his blues/soul synthesis is seamless.” |
"Johnny Rawls has the earthiness of B. B. King and the Memphis soul of Al Green." |
“Rawls has the earthiness of B. B. King and the Memphis soul of Al Green.” -The Times, London “Rawls envelopes his wise blend of soul and blues in the aura of believable emotional intensity.” -DownBeat “Rawls, Bob Trenchard, and their bandmates have accomplished their mission here [on the No Boundaries album] with rare eloquence.” -Living Blues Johnny Rawls is hailed throughout North America and Europe as one of the premier soul and blues artists active today. The skill set and high level of excitement he brings to performances –about 15 festivals and 125-150 club dates yearly--have won over promoters, booking agents, and the paying public. In a recording studio, Johnny is just as outstanding, earning rave reviews from critics and tremendous amounts of radio airplay for his albums. Johnny’s new release, Ace of Spades, released on September 1, 2009, is another winning hand. Here the 50-something singer and guitar man is joined by leading musicians from the West Texas and Helena, Montana roots-music scenes. It’s a safe bet that Johnny, with Ace of Spades, will soon be adding a prestigious Blues Music Award nomination to his resume; The Blues Foundation, in Memphis, has already nominated him four times in the past. (The award’s formerly known as the W. C. Handy.) Johnny is a proud exponent of soul-blues, that special subgenre that’s also the domain of notables Mighty Sam McClain, Little Milton, and Bobby Bland. “His gritty, seasoned vocals, “wrote Blues Revue, follow in the grand tradition of Southern soul giants such as Otis Redding, James Carr and Rawls’s former employer O. V. Wright.” True indeed, yet it is Johnny himself, in an early-1990s Living Blues cover story, who supplied the definitive description of his musical wizardry: “My style is between gospel, blues, and good hard soul music.” Throughout Ace of Spades, singer and guitarist Johnny communicates with shadings of honest emotion. He delves into hurt and loss, joy and satisfaction, everything in between, with spirit and self-confidence. He has the rare ability to steer a clear narrative path over the rhythmic flow of his studio bands, and he never grandstands or plays it for easy applause, as so many others are prone to do. The longtime Milwaukee resident cuts to the heart of woman trouble performing “Gasoline on the Fire,” and he digs down to his true grit on “Wish It Would Rain,” a number he wrote with ace Montana-based drummer Dan Nichols. Displaying the qualities of a master storyteller, Johnny has his special way, too, with 10 more strong and sturdy songs, including the infectious, ideal-for-radio “Drive All Night” and the ultra-soulful lament “My Broken Heart.” “Gasoline,” “Drive,” and “Heart” come courtesy of album bassist Bob Trenchard. ”I do have Johnny in mind when writing sometimes,” Bob says, “and I do tend to write that style because I first played soul and r&b in integrated groups in the 1960s—and that has always been my favorite music.” “Rain” and five other originals that were penned by Johnny and Dan together are just as inviting. Johnny and the tunes benefit from the empathic soul-blues support of Bob, Dan, guitarist Johnny McGhee (a longtime member of the popular r&b outfit, LTD), King Curtis-inspired saxophonists Andy Roman (who’s responsible for the crisp, attractive arrangements for sax and trumpet) and Michael Kakuk, and, among other worthies, keyboardist-arranger Dan Ferguson.. With Bob and Dan N. in his corner, Johnny doesn’t have to go looking for outside material. But the title track, “Ace of Spades,” is a most special exception. Bob says, “I suggested the night before we started recording [in Texas] that Johnny ought to consider doing a cover. Johnny said he didn’t do covers. However, he said Bill Wax had suggested he do an album of O. V. Wright. So, after we talked about it for a while, he decided to do “Ace” as a tribute to O. V.” Bob continues, “The song was written by someone who sold it to [Houston r&b record label owner-publisher] Don Robey. It was a hit in 1970 for O. V. and played at every O. V. show.” Johnny, of course, sings the tune from the gut, almost trumping his late friend’s great talent. O. V. Wright was responsible, to some extent anyway, for drawing out Rawls’s natural soulfulness. But let’s backtrack briefly. Born in Mississippi, a grandson of blind guitarist John Paul Newson, Johnny was first instilled with a love of music by a high school teacher named Carl Gates. Playing guitar in Gates’s soul band, he had the rare privilege of backing up Deep South chitlin’ circuit stars like Wright, Joe Tex, and Z. Z. Hill. In the mid-‘70s, Johnny became O. V.’s guitarist and musical director; serving the hard-living singer until O. V. died, at Johnny’s side, in late 1979. Johnny and guitarist L. C. Luckett keep the band going for several more years. In 1985, Johnny decided to launch his successful solo career. The early-’90s had Johnny hooking up with harp player Willie Cobbs and participating in several recording sessions for the Rooster Blues label. For the JSP record company in England, between 1990 and 2001, he acquired international renown with five albums. But he really reached his peak of eloquence, many believe, after starting up his own Deep South Soul label and connecting with Texas music veteran Bob Trenchard for the No Boundaries album (2005). This release made an extra-huge impression on critics and listeners of blues radio—don’t bet against No Boundaries placing high in the upcoming Blues Revue survey on the “best” albums of the first decade of the 2000s. Johnny’s albums Lucky Man (2002), Live in Montana (2004), Heart & Soul (2006) and Red Cadillac (2008) also display his world-class talent. In fact, Living Blues’ writers designated Red Cadillac as this year’s “Best Southern Soul Album”. LB, Blues Revue, DownBeat, Roots Music Report, Blues Wax, Blues Matters (England), and Jazzreview.com are just some of the media outlets that have lavished high praise on Johnny’s recordings. Several of Johnny’s other albums have settled in for long stays on blues radio. Johnny Rawls is fortunate to sustain a working musical relationship with Bob Trenchard. Among many achievements down the years, Bob had been a driving force behind the soul- funk-blues band Kay Kay & the Rays. With ex-gospel singer Kay Kay Greenwade out front, the Rays recorded three well-received records during the band’s run from 1997 to 2004. In fact, Johnny produced their Texas Justice album (2001). Bob and several more of the Rays— Dan Ferguson, Andy Roman, drummer Richie Puga - appear on Ace of Spades. These recommended albums are all available from Bob’s Catfood Records label in El Paso, Texas. -Frank-John Hadley, Downbeat contributer / 2007 Blues Foundation Award for Journalism / Grove Press Author |
Whenever I pop a Johnny Rawls album in the player I know I'll be feelin' good from start to finish. I've heard B.B. King say that blues is a music that is meant to make you feel good, and Johnny Rawls' music does just that. Johnny Rawls is one of the most original songwriters out there. Of course he has plenty of songs about women, but he also takes on many other topics that keep his songs appealing. Song to song, there are no weak moments. Johnny always has a fresh take on his numbers. He is a classic lyricist. Johnny comes out of the B.B. King, Bobby Bland, Johnny Ace school of blues. There are not many horn players, but the horns leave their mark on every song showing the strength of the players. When Johnny lays his southern style back on the guitar, he lets the keys fill in the space. Each song is a filling piece of sweet pecan pie. This is a great, more traditional recording that I love hearing. It is very rooted in the music and lifestyle of the juke houses of the south. Rawls plays it smooth all the way through while pulling on life experience to pen some great blues songs. When I want to go out on a Saturday night and hear some good feelin' music, Johnny Rawls definitely ffits the bill. |
"Rawls shows his skills as a gravel-throated singer at the intersection of soul and blues. His glorious title song affirms the special moxie that has kept him the blues life for so long." |
"Going to Memphis in my Red Cadillac. Got the top let down, two Arkansas girls in the back." "Red Cadillac" is the title track from producer/singer/songwriter/guitarist Johnny Rawls sparkling new release on Catfood Records and it gets the CD off to a rollicking good start. Setting the tone for the entire album, it features a good driving beat, expressive lyrics and Johnnys masterful vocals. Just the type of song that you’ll want to hear again and again. Red Cadillac is simply another very fine recording from a veteran soulful blues singer who knows how to deliver the song like few can. His masterful vocal style throughout is a gourmet treat, indescribably good and, at times, reminiscent of Otis Redding. The entire set has a Memphis Stax Records or Muscle Shoals southern vibe, with the tight horn charts giving the project an impressive punch bringing to mind Allen Toussaint. The polished muscianship on this marvelous blend of soul/blues touched with a hint of jazz adds to the joyful ambiance. The music makes you feel good and gets your toes tapping. The electric guitar stylings throughout are well varied and tasteful. Johnny shows savory restraint, as opposed to some of the showy guitar slingers associated with the blues. Mike Killeen adds some lead guitar to the bluesy "Hard Times" and "Sure Miss Your Love," but the majority of the songs feature Johnny’s unobtrusive guitar playing. He gently pushes the songs along with rhythm licks which put the main emphasis on the lyrical content and the vocals. On occasion, the lyrics do tend to draw on well-established cliches ("Get It While You Can"). But, that doesn’t matter in the hands of a talented singer like Johnny Rawls. His heart and soul sincerity sells it and always delivers. Kudos should also go to bassist Bob Trenchard of the Texas band The Rays, who wrote six of the 14 all-original songs on Red Cadillac. Trenchard’s songs "Falling For You" and "Moment Of Weakness" are pure soul genius. At present, Rawls is an underrated musical genius who is well deserving of a much wider audience. If he continues to produce soul blues classics in the vein of Red Cadillac, the public will be forced to sit up and take notice. |
Johnny Rawls is back with Red Cadillac, a self-produced set of 14 originals (eight written by Rawls and six by bassist Bob Trenchard) that further solidifies his reputation as one of the reigning masters of soul-blues. The title track of this mostly midtempo set is an update of Muddy Waters’ “Young Fashioned Ways,” with Rawls’ custom ride serving as a dual metaphor for success and virility. On his trip from Mississippi to Memphis, he slyly boasts of the “two Arkansas girls in the back,” “a brand new suit and alligator shoes,” and the radio tuned to WDIA, “where Rufus Thomas used to play.” |
"Building on his impeccable background as a guitarist and bandleader of soul legends such as Little Johnny Taylor and O.V. Wright, Johnny Rawls has proven to be one of the most dependable artists on today's soul-blues scene. Over the years, Rawls has established himself as a master of the mid-tempo soul groove. If you've come to asociate the name of Johnny Rawls with quality soul-blues, you won't be disappointed with Red Cadillac. |
Johnny Rawls: No Boundaries Johnny Rawls is one of the undeservingly kept back figure of the blues’ music. The singer, guitarist, song writer and producer was born in 1951 and Rawls had early acquired music literacy, with the help of his grandfather John Paul Newson, the blind guitarist. The young Johnny had started to learn to play the clarinet and saxophone, than during the secondary school he was a vocalist in the Joe Tex and Z. Z. Hill bands. During this period he had learned to play the guitar and he formed his own blues/soul band. From the middle of the 70s he was the leader of O. V. Wrights’ band, which he led until the death of Wright in 1980. After this he joined Little Johnny Taylor, he worked with him for a couple of years. From 1985 he was on tour as a solo musician. In 1994 the Rooster Blues record publisher had published his record with L. C. Luckett, with the title of Can’t Sleep At Night. At this time he was working at Rooster as studio musician, with such musicians as Lonnie Shields or Super Chikan. Two years later in attendance of the JSP Records his record, Here We Go is published. His records are published by the English publisher- where he also worked as a producer- until 2002, when he founded his own record publisher under the name of Deep South Soul. In this year two albums appear from him, the Lucky Man and the Live In Montana . The four times to W. C. Handy award nominated musician’s No Boundaries record appeared in 2005. From this CD, the Blues Revue, the Living Blues, the Downbeat and other music magazines have written appreciatively. The writer of all of the songs of the album is Bob Trenchard, the bass guitarist of the attendant band, The Rays. The songs are about desperation, hope and death (Bob had written the biggest part of the songs after the death of his wife). The rough and full of soul voice of Johnny Rawls reminds me sometimes of Robert Cray’s singing voice. In the biggest part of the tracks we can hear the two best vocalists of Memphis , Reba Russell and Jackie Johnson. The other members of the band perform on high level too; the record overflows with magnificent instrumental performance. And who are these musicians: Steve Lott- guitar, Dan Ferguson- keyboard instruments, Andy Roman- saxophone, J. T. Paz and Richie Puga- drum. All together genuine songs, excellent musicians, the album is one of the outstanding creation of the contemporary soul-blues. |
"No Boundaries is powerful and inspired, replete with top-notch instrumental and vocal performances and a superb, soulful batch of songs. ... for No Boundaries [Rawls] recruited The Rays, a smoking funk/jazz/soul/blues outfit... the outcome is stellar. What makes No Boundaries such a good album -- aside from spectacular production, musicianship, and vocals -- is the songwriting ... Rawls' calm, gentle Otis Redding/Al Green brand of vocal is the glue holding No Boundaries together. But -- and Rawls would probably be the first to pose the question -- with songs and players this good, how hard can that be? Kudos to Johnny Rawls for pulling it all together." |
“This disc evokes Rawls’ mentors in deep soul and soul/blues, Little Johnny Taylor, O. V. Wright, even as it departs freely from the structural, melodic, and thematic conventions usually associated with those genres and artists. The material is uniformly eloquent. The overall atmosphere here is meditational, even brooding. Rawls, Trenchard, and their bandmates have accomplished their mission here with rare eloquence. This is an uplifting, not sorrowful, set; as Percy Sledge has recently reminded us, music like this helps show us the way to sing and find light through the rain.” |
Some soul blues singers get saddled with self-aggrandizing producers, lame sidemen and clunky songs. But not Rawls, who's fortunate to have the sensible Texas band the Rays in his corner. Bass player Bob Trenchard feeds him consistently good material, joining guitarist Steve Lott in overseeing this memorable session. Rawls has an exquisitely gray and grainy voice, the sound of light sandpaper, and he tells his tales about clinging onto hopes and aspirations in dark times through the inspiring twist of his inflections and of his phrasing. |
This is one GREAT album - which has left me wanting to know more about Johnny Rawls. With a voice set somewhere between the sweet-soul of Robert Cray (and a guitar style to match) and the more guttural delivery of Bobby Bland, Johnny and his boys have delivered one helluva disc! All the songs are by bassist Bob Trenchard and were recorded in Texas - but this has SO much more to offer than the (often) bombastic Texas Blues with which we are all so familiar. This combines the best of urban blues (Magic Sam keeps coming to mind) with a sweet-soul vocal sensibility that tugs hard at the heart-strings. This is ABSOLUTELY great! If you ony EVER take a chance on one unknown album a year - make it this one! Forget the cover - it's the music that counts. And boy does this rack up the numbers! |
"Rawls collaboration with The Rays on No Boundaries is ... a risky but successful stylistic departure. The aptly titled No Boundaries is a diverse soundscape featuring soul, blues, gospel, funk and roots rock. Without a doubt, Rawls has bashed through musical and racial boundaries to enlist some of the best sounding musicians of his career. ...No Boundaries erupts from your speakers like a crackling fireball... It's all here, folks, and the water's fine! Long-time Rawls and Rays fans will cherish this collaboration and many new fans are sure to be made." |
Johnny Rawls has had quite a career and is still going strong. He was born in the early 1950s and started playing in his teens behind such legends as ZZ Hill, Little Johnny Taylor, and Joe Tex. After backing these musicians he became the bandleader for one of his idols, O. V. Wright. He held that position until Wright passed away in 1980. His next gig was a bandleader for Little Johnny Taylor. Eventually he set out on his own and has recorded with many great musicians, such as Roy Roberts, L. C. Luckett, Super Chikan, Lonnie Shields, Chick Willis, Blues Boy Willie, and Willie Cobb. He was also a producer for JSP Records, as well as a recording artist. This is his first release with TopCat Records out of Dallas, producing it himself along with guitarist Steve Lott. Johnny has plenty of experience behind the board and makes this album a smooth ride. All of the songs were written by Bob Trenchard, who also played bass, with contributions on two from Steve Lott. This is a very interesting album with more Gospel-laced inspirational lyrics and Blues music. One question for the ages: What separates Blues from Gospel music? No Boundaries makes a point for both. This album is not strictly religious fare, it just carries a positive message throughout. The music is flowing and soulful with some Texas grit coming into play on occasion. There are some slow, mellow pieces that utilize the acoustic guitar to drive the song. It gives these songs almost a Folk feel at first listen. Again this album crosses categorization. The nine songs cross borders from the South to the West Coast, tell stories, motivate, and create a full album in a short time frame. The opening song, “Show Me The Way,” reminds me of the earlier recordings of Robert Cray. It mixes some Latin-based rhythms, whirling organ, and clean guitar work for Rawls to plead, “Yes, I’m ready Lord/Show me the way.” “Train Keep Rolling” is a shuffle beat, hoppin freight around the country, with the wind blowin’ the saxophone around the states. Steve Lott adds some clean guitar lines that take their time and don’t rush nothin’ along. “Keep the Faith” uses two of Memphis’ best vocalists, Reba Russell and Jackie Johnson, to help Johnny spread the word. This song is also one that begins with the soft acoustic guitar before opening up into a piano/organ showpiece. One excellent part of this album is that there is never a moment of loud, screaming guitar. Steve Lott does a wonderful job, never overstepping his boundaries. Rawls heads again into Cray territory or even a Joe Louis Walker zone on “Never Found a Smokin’ Gun.” Sax-filled, with plenty of the ingredients that make this album work... clean tasty guitar, smoky organ, spicy background vocals, and of course plenty of room for Rawls to sing. To follow “Gun” is “Fallen Bird,” a throwback to the Soul days in which Rawls grew up, a slow cry to “Fly Far Away.” Honky-tonk piano opens up “Long Black Car” while the band drives through the Texas tumbleweeds, and the sax sends you over the long roads of the Texas plains. The album wraps up with a song that must be for Barbara, to whom it is in memory of. Johnny brings back memories, feelings and visits her as the song title states, “Even Though You’re in Heaven.” This is a well-written tribute to a lifetime companion. As always the band steps up to the plate to set the tone low for Johnny to sing the message of the song. Johnny Rawls is a veteran who knows how to utilize the musicians and get the result he wants. Each musician on this album works on the team to create a solid sound to back up the featured vocalist. Johnny’s vocals are smooth, full, and filled with feeling. The blending of Johnny and the Rays make a tight unit telling a refreshingly positive message. If you got the Blues, leave ‘em at the door as you begin on this journey of healing. |
Believe me when I say, Mississippi artist Johnny Rawls is one of the finest Soulful Blues singers around these days! So how do I know this? First, I caught his live show at the Silver Dollar Room in Toronto late last year and more recently by giving his new release “No Boundaries” a spin. Johnny’s appearance at the Dollar had the large crowd groovin’ to his powerful vocals and stingin’ guitar solos as he delivered charted Soul hits, but this album presents a different dance floor. On “No Boundaries”, Steve Lott, who also co-produced the record with Johnny and co-authored a few songs with main penman and bassist Bob Trenchard, handles the guitar chores nicely. Also on the recording session are Dan Ferguson; keyboards, Andy Roman; saxophones and drummers J.T. Paz and Ritchie Puga. Add to the band some beautiful background vocals by Reba Russell and Jackie Johnson and I’m ready for another listen. “Show Me The Way” starts off the album and it demonstrates Johnny’s raspy voice and has a cutting sax solo from Andy. I really like Bob’s lyrics on the up-tempo “Train Keep Rolling”, a Blues tune that features Steve’s guitar. The mood slows down a bit on the eaningful “Keep The Faith”. Johnny sings up a strong message of a life that isn’t fair in “I Won’t Give Up”. Another great Blues song is now hittin’ me and I can understand why I “Never Found A Smoking Gun”. In the ballad “Fallen Bird’ Johnny tells a sad story. In the next track you may be fast, you may be rich, but you won’t get to heaven in a “Long Black Car”. More truth is pointed out in “Nothing Lasts Forever”. The broken heart sorrow can be felt in the final song, “Even Though You’re In Heaven”. Original songs, excellent musicians, the Blues, a lot of Soul, mix them together with “No Boundaries” and the result is a record for any fan of good music. Now one final thought from me, “Hear Johnny Rawls once; you’ll never forget what you heard!” More about Johnny Rawls and his recordings can be found at his website: www.johnnyrawls.net. 5 Bottles. |
"Original songs, excellent musicians, the blues, a lot of soul, mix them together with "No Boundaries" and the result is a record for any fan of good music." |
"This is a wonderful album. Rawls' soul based songs include strong melody lines that you can 'take with you.' While the 'sound' of the album is pure electric blues, Rawls' arrangements are intricate as well as delicate. Each soloist, including the talented saxophonist Andy Roman, is given the space to contribute to the forward motion and texture of the song and each song has a lilting swing that propels the usually uptempo tunes. Packed with the background vocals of Reba Russell and Jackie Johnson, 'No Boundaries' captures the full spectrum of sound and textures without being overbearing or crowded. There are no two-by-fours smackin' you in the head with over played licks like so many contemporary acts being passed off as 'blues'. No, it's not 'da blues' but, yes, it is quite good. While it's Rawls band, all the songs are written in whole or in part by bass player Bob Trenchard. If your musical tastes range from Ray Charles to that of Life Time Grammy Award winner David Bowie's 'Young Americans', this album is right up your alley; tasty, spacious, tuneful, fresh." |
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“Every year at Easter there is a huge influx of people into Byron Bay. ...the best of the Fest was a photo finish between Dr. John and Kay Kay and The Rays and Solomon Burke. ...Kay Kay can sing in the true tradition of black female vocalists and is a cross between Ko Ko and Aretha. The Rays were wild and smokin’ and included a dynamo sax player.” Review of 2004 East Coast Blues & Roots Music Festival, Byron Bay, Australia |
“A hauntingly groovin’ bass lick, along with some passionate, excellent sax blowing by Andy Roman, launches the protest song ‘Lone Star Justice.’ This song opens this killer CD, Texas Justice... Texas aside, if there is any justice in any state (or anywhere else for that matter) you will definitely go and grab this glorious album of phenomenal textures, colors, playing, and vocals the minute you finish reading this review.” reviewing “Texas Justice” |
“Kay Kay Greenwade’s discerning way with West Texas blues sensibilities makes her singing throughout her second studio collaboration with the five-piece Rays band thrilling.” October 2004 reviewing “Big Bad Girl” |
“Thoughtful words, brawny horns, searing guitar leads... With her emotional range, lyric eloquence and vocal dexterity, buttressed by the wide-ranging musical expressiveness of her band, Kay Kay Greenwade has established herself as a leading light of contemporary blues.” |
“A seamless blend of blues, soul and funk... One of the most auspicious debuts of the year.” reviewing “Texas Justice” |
“Kay Kay and The Rays have an approach of their own, a singer worth hearing, and a message; Big Bad Girl is funk, jazz, soul and blues for the thinking person... The show-stopping closer ‘South Side of the Tracks’ indicates The Rays would be a potent live act.” reviewing “Big Bad Girl” |
“A fantastic groove on these cuts. This album is as good as it gets. Kay Kay and The Rays are remarkable.” Five Star Rating |
