Liz Mandeville

So what is it with Chi-Town? It’s a known fact that the Delta musicians came there to escape the yoke of southern oppression, which lead way to the second city’s well earned reputation as the northern home for the blues. They had Muddy, The Wolf, Otis Spann, yeah we can recite their names almost like the rosary. But the past can only show the way for the future, and after seeing Chicagoan Liz Mandeville Wednesday night at the Dinosaur (where the music is always free) BBQ, the future is on a good and wide path.

Recently there has been a surge of Blueswomen coming to the forefront. Deanna Bogart, Ana Popovic, Ruthie Foster and Fiona Boyes, these are some of the newer ones. They set upon a solid foundation going back to Memphis Minnie, Ida Cox, and Victoria Spivey, who are foremothers of the genre. The gauntlet was later picked up by Bonnie Raitt, Debbie Davies, and Tracy Nelson amongst others.

Ms. Mandeville brings to the table a solid, well-honed expertise on the guitar. Not a flame-thrower, but one who knows her way around the neck and multiple positions that brings a fresh voice to the classics by Robert Johnson and Son House. Add to that fine lead work that understands the rules of spacing and quiet between notes, we get a person who can flat out play the guitar, acoustic or electric, equally adept at the varied styles that reside under the Blues tent. During the evening she sampled some T-Bone Walker and Freddy King within the framework of her own creations.

Given all this, her strongest asset is her soulful, strong, and expressive voice. This night she filled the room with several octaves (and styles) worth of well trained and compelling vocals. Ms. Mandeville drew the somewhat lethargic crowd out of their late winter doldrums, encouraging and daring them to participate in a call and response session on her first number. That takes a confident performer (and nerves of steel too). She succeeded in this and won the crowd over displaying a wicked sense of humour that was anything but politically correct – but not mean spirited.

One cannot mention her without giving props to her talent as a songwriter. Her mentioned sense of humour is obvious in many of her songs. But that in of itself is not her one trick pony. Auto-biographical, political, sensual and fun pretty much covers the range of her writing skills. As proof of this talent Ms. Mandeville won the 2005 USA songwriting contest for her song ‘He Left It in His Other Pants’.

If you get the opportunity to see this triple-threat live – do not miss this fiery package of red-headed dynamite. She will delight you, make you laugh, and show you that having the blues is a good thing.

- FreeTime Review - Jimi Panticola

Liz Mandeville recently released her fourth CD for Earwig, Red Top. Mandeville (who formerly performed as Liz Mandville Greeson) has put in two decades of touring in the U.S. and Canada, as well as branching out into the European countries in recent years, and has dazzled all comers with her sassy songwriting and smooth vocals. Red Top may be her best effort yet.
Recorded in two different sessions, Red Top features an impressive group of Chicago-area musicians, including keyboard player Allen Batts, drummer Twist Turner, and former Magic Slim guitarist Michael Dotson (who lays down some sinewy fretwork on “My Baby’s Her Baby Too”). Sax legend Eddie Shaw also drops by for a couple of tracks, including the rowdy “Guilty or Rockin’ All Night.” Mandeville also employs a full horn section on several tracks and even features a gospel choir (The Black Roses Gospel Choir) on one track.
Adept in blues and swing, Mandeville gracefully blends the two genres together. The swinging title track opens the disc and sets the bar pretty high. Fortunately, Mandeville reaches and exceeds it several times. “Corner Bar Blues” is a groovy Chicago shuffle, which is followed by “Dog No More,” which packs a powerful groove thanks to bass player Andre Howard, drummer Janet Cramer, and guitarist Luke Pytel.
“Scratch the Kitty” is the best of several salacious tracks and is one of three tracks where Mandeville plays lead guitar. “Bad Man Blues” is a swinging R&B track and features Mark Wydra on guitar, while “Hold Me,” the first track that features Shaw, is a deep soul ballad. The closer, the Chuck Berry-esque “Little Queen,” closes the disc on a high note.
Red Top is a great addition to Liz Mandeville’s catalog, with plenty to offer fans of high-energy blues and swing.

--- Graham Clarke
- Blues Bytes (http://www.bluenight.com/BluesBytes/wn0908.html)

On her fourth Earwig Records release, Red Top, Liz Mandeville has dropped her married name (Greeson), but has picked up a renewed, supercharged sense of sass and self. Not that one of the most assertive blueswomen who’s ever picked up a pen or a guitar might need an additional dose of confidence, far from it. I first experienced Liz Mandeville live on the Best Buy Stage at the 2005 Chicago Blues Festival and was immediately hooked! Whether she plays her blue acoustic guitar or plugged-in Strat, Liz’s live shows are a force of nature worthy of comparisons to blueswomen like Katrina or Rita of the hurricane variety.

Liz’ show on the Front Porch Stage at 2008’s Chicago Blues Festival was a bright spot of that event’s 25th Silver Anniversary, and she showcased many cuts from Red Top, including “Illinois National Guard Blues,” a song which anyone with loved ones in the military can relate to. My Red Top favorites include the sax-drenched “Guilty of Rockin’ All Night,” “Red Top” the opening title cut, and “Corner Bar Blues,” a paean to friends who might indulge a bit too much. I’m generally not a prude, but I could have done without “Spanky Butt;” still I’m sure that it’s a real late-night crowd pleaser at Liz’s live shows.

Liz has some world-class friends helping her out on Red Top. Eddie Shaw of the Wolf Gang sits in on sax as does Rodney Brown, Twist Turner takes a turn on the drum kit, and long-time Albert Collins’ sideman Allen Batts sits in on keyboards.

This talented singer/songwriter has spent many a Blue Monday as an artist-in-residence at Kingston Mines with Earwig label-mate John Primer, and together, they’ve put on some of the best blues parties of the year at this venerable Chicago blues venue.

I’m going to host a blues house party at my home in Edmonds, Washington (18 miles north of Seattle) next month for members of the Washington Blues Society. Red Top will be one of the CDs on my playlist, along with another exceptional CD from Liz, Ready to Cheat. I can’t give higher praise to any blues artist than to introduce my friends to Liz’s music, which will be a privilege and a pleasure.
- Chicago Blues Guide

On her long delayed fourth release, Liz Mandeville
not only displays her new found guitar chops but rolls
out fifteen self-penned tracks that showcase her versatility
as both a vocalist and a songwriter. Joined by an allstar
cast of Chicago musicians including Eddy Shaw on saxophone and Allen Batts on keyboards, Mandeville is
by turns a tough, no-nonsense former victim who declares
her independence, Dog No More and Bad Man Blues, a
woman who isn’t afraid to lay down the rules, So Smart
Baby, a sexy blues mama who makes her desires well
known, Spanky Butt, Rub My Belly, Scratch the Kitty,
Little Queen and Home Cookin’ (all ‘PG-13” to “R” rated)
and a mistress with eyes on a married man who’s not
going to leave his family, My Baby’s Her Baby Too.
A listen to these cuts leaves no mistake regarding
her strong sense of self assurance. It’s a surprise, then,
when she gives us a peek behind the strong front on Hold
Me where her desperate plea for comfort against a painful
world is heightened by Eddy Shaw’s wailing tenor sax.
While the joy, pain and lust tied up in relationships fuel
many of her songs, she also chronicles the perils of over
consumption that lead to missing moments and a night compliments of the county jail, Corner Bar Blues, the joy
of escaping a close call, Whoa, Whoa, Whoa and the pain
of choosing between unemployment and benefits that
could get you killed, Illinois National Guard Blues.
Throughout, Mandville displays a voice that is sexy, sly,
powerful and laden with honest emotion.
For the most part, this is an upbeat, rocking effort
with horns and a gospel choir adding ample doses of sanctified
soul sweetener that will surely have even the most
leaden foot tapping along.
Guilty of Rockin’ All Night ups the party ante even
further with scorching solos from Shaw that serve as the
perfect fuel for Mandeville’s tale of over the top fun. Miss
this party at your own risk.

-- Mark Smith
- Mark Smith

Liz is a singer first and foremost, she displayed a strong, soulful voice that can climb several octaves. she is also a multi-talented entertainer. Liz is a solid player on acoustic and electric guitar. More recently she added the rub board to her talents. All of Liz's songs seem to connect to real people, their loves, losses, joys and sorrows. If California could hook up to Liz, there wouldn't be any power shortage! Liz's music transmits a positive, emotional power that leaves pumped-up and read to take life head-on. - Blues OnStage - Richard Benson

Her fourth outing for the label is simply a party on a platter. A dandy example of the blues, chasing the blues away from start to finish. - Chris Spector, Midwest Record

While Liz is a great guitarist (all tracks), what really stands out is her unique voice. In one song you might hear a hint of Sippie Wallace, or a hint of a Lou Ann Barton-like rasp, but in the end, the voice is hers alone, and she makes it a perfect fit for every style of blues to which she pays tribute. "Red Top" is a great album, no matter what your favorite style of blues. Put it at the top of your list. - Pat Jennings, Wichita Blues Society

Chicago guitarist and redhead (they call her "Red Top") Mandeville continues to show a knack for clever, often cheeky lyrics with her brand of windy city blues. Tongue in cheek takes it to the extreme. - Bluescritic.com

I first experienced Liz Mandeville live on the Best Buy Stage at the 2005 Chicago Blues Festival and was immediately hooked! Whether she plays her blue acoustic guitar or plugged-in Strat, Liz's live shows are a force of nature worthy of comparisons to blueswomen like Katrina or Rita of the hurricane variety. Liz's show on the Front Porch Stage at 2008's Chicago Blues Festival was a bright spot of that event's 25th Silver Anniversary. - Eric Steiner, President of the Washington Blues Society

LOOK AT ME-

"She delivers... with unimpeachable enthusiasm and lusty gusto. Look at her indeed."
-Living Blues

"A tireless bandleader on the tough Chicago club circuit, Liz describes her blues as "about an indomitable fighting spirit that makes people keep facing adversity... in my show and on this CD I'm telling people, "You're not by yourself... Get out there and do what you have to do because somebody understands."
-Real Blues

READY TO CHEAT-

"Her record shows charisma, vocal superiority and some clever, sexy lyrics, done up well with fine arrangements and backing band."
-Grapevine Press

"...entertaining... plays up her lusty, no nonsense way with lyrics. She takes on a growing urgency when riding the crests of Chicago/Texas blues and Memphis style soul music."
-Down Beat Magazine

BACK IN LOVE AGAIN-

"Now this really hits the mark. Ms Mandville sings straight from the heart. You nust don't get this kind of honesty too often. Don't worry guys; you won't be buying a feminist rant. There is humor in the lyrics and the musicians are first class."
-Blues Bunny Independent Music Reviews

"...a quantum leap forward for an obviously talented singer and songwriter. Her songs show an increased ability to be sharp, clear and build sensitive snapshots that related to the universality common in the human condition. It also reflects her as the prolific writer she obviously is. Her singing also demonstrates the ability to project the emotions she writes about. And finally, she proves capable of motivating fellow musicians and taking them where she wants to go."
-Brian Augustine, Sierra Blues Society Review - Various