Roxy Perry

What do you want in a great contemporary Blues album? Perhaps you want moody harmonica; guitars - electric and resophonic Dobro guitar styles - slide; stinging lead; soaring, soulful, Blues-Rock; impressive female torch vocals; full-band arrangements replete with horns (sax, trombone, muted trumpet); clever turn-of-phrase lyrics; rippling or pounding piano; Booker T organ; a dollop of Dixieland Jazz; some fun big band-style Swing; and original songs. Well, that is a pretty tall order for one CD. Here is the good news: Roxy Perry's third self-released album, Back in Bluesville, has it all, and all done tastefully!

Hailing from the New York/New Jersey area, Perry has somehow acquired the title "New York Blues Queen." That sets the bar high, but this album will convince listeners that she rocks and reigns.

Appearing on Back In Bluesville, beside Roxy on vocals and harmonica, are adept locals Dave Fields (guitar, all keyboards, and full production), Tim DeHuff (guitar), Eric Merovitch (sax), Linda Geiger (drums), and her husband Bob Fusco (bass). Also appearing are guests Matt Baxter (Dobro) and Bill Holloman (horns).

The title song, Roxy Perry's big-bang first ballad, will make listeners clear a spot for it in their list of favorite songs for 2005! The style is full-ensemble Blues as opposed to only drums, vocals, and guitar. She's got those three in this song, plus piano and a hot horn section. Roxy employs a clever metaphor here that highlights the type of abuse the protagonist has endured: "Each white line on the road underscores the name of men I've known." "Back in Bluesville" packs a powerful punch. Listeners will go to that sensationally sad city with her for a four-minute vacation!

Best use of metaphor is found in the second song, "Whole Dog." Roxy has got the goods and is willing to share, but not until she gets full commitment. "I need a love that's gonna last," she sings. "I need the whole dog/I'm not gonna be satisfied with just a little piece of tail!"

During "Two Left Feet" Boogie purists will perk up when they hear this song, reminiscent of big-band Swing. It's great fun for those of us who embrace multiple styles of tempo in our definition of the Blues. "Two Left Feet" is about a dude who can't dance and doesn't know it. The best part of this song is when Roxy Perry and her backup-vocal boys try to guess what moves this "dancing fool" who "thinks he's cool" is doing. "Is it the Hustle?" Roxy asks. "No, no, no, no!" moan the males. "Is it the Swim?" "No, no, no, no!" Even if listeners happen to have
"Two Left Feet" themselves, they'll have to dance to this one!

"Crooked Path" will make Dobro fans rejoice as it provides some down-home Blues and one might imagine the Louisiana bayou on a warm summer night when listening to it. The not-so-straight-and-narrow road in the title did not lead Perry's narrator to a life of crime or eternal damnation, but back to her old flame. "So many times I've watched the sun go down, and then I wonder why I watch it all alone." She says to her former lover, "It's strange what we put ourselves through." One gets the sense that she regrets walking this "Crooked Path," but only halfway: "All the while I knew the truth!"

The liner notes reveal that, "this album was created with the intention of exploring both modern and traditional Blues styles to their limits." For example, how about a little Dixieland Jazz on "Nothing Like You." It starts out with jazzy piano then adds the brass horns backing Perry's soft vocals. By mid-song, hotly-picked guitar has you marching down Bourbon Street.

Eric Burdon and the Animals made the traditional song "House of the Rising Sun" famous, but Roxy's cover provides a pleasant re-introduction to it. The "House" (of the Rising Sun) is one of negotiable affections and as Roxy reveals in her version, it's "the ruin of many a poor girl, and, God, I know I'm one." Sung by a female, the lyrics provide an entirely different perspective on the song. "I've got to wear that ball and chain" might refer to working at the House, in her case, rather than being a client. You can hear the weary resignation in Roxy's voice and mournful harp. This is great music; allow Roxy to reign the Blues down on you.


James Walker is a contributing editor at BluesWax

© 1999-2006 Visionation, Ltd, All rights reserved
- Blues Wax 01-11-06

ROXY PERRY’S BACK IN BLUESVILLE – BEST SELF-PRODUCED CD

January 2006
- Suzie O’Kane

It’s official – BACK IN BLUESVILLE was awarded Best Self-Produced CD at the International Blues Challenge in Memphis, Tennessee this past weekend. Since its release, BACK IN BLUESVILLE garnered exceptional attention and media support in both broadcast and press, but taking into account the strong competition, Roxy and her band remained cautiously optimistic until hearing the official word, which was announced at the New Daisy Theater on Beale Street following the band finals competition at about 1:00 a.m. on Saturday.

Along with BACK IN BLUESVILLE, finalists competing in the Best Self-Produced CD category were “STEAMY” – Heaven Davis (Atlanta Blues Society), “WET MY BEAK” – Alvin Jett and the Phat Noiz Blues Band (Missouri Blues Association), and “SONG INSIDE ME” – Michele Lundeen (Reno Blues Society). Evaluation was based upon four criteria – Musical Performance, Audio Quality of the Presentation, Cover Art & Design, and Credits & Liner Information.

Judges for the Final Round were RANDY CHORTKOFF (Delta Groove Productions), BRUCE IGLAUER (Alligator Records), FRED LITWIN (NorthernBlues Records), MICHAEL POWERS (Yellow Dog Records), and RICHARD ROSENBLATT (Tone Cool Records).

Accepting the award on behalf of her band, Roxy acknowledged the Jersey Shore Jazz & Blues Foundation for its nomination of BACK IN BLUESVILLE, and expressed her appreciation for the honor and recognition received from the Blues Foundation and the blues community at large. Special recognition was given by Roxy to the band’s guitarist and keyboard player Dave Fields, who produced the CD and co-wrote the songs with her.

As she left the New Daisy Theater Roxy declared, “I’m so happy that the talent, creativity, love and care that went into BACK IN BLUESVILLE have been recognized in this very special way by the Blues Foundation! It is truly rewarding to have our music heard and appreciated by the blues community, and it is our hope that our opportunity here in Memphis will expand our audience and get our music out to blues lovers everywhere!”
- BluePerry Hill Records Press

New York vocalist and songwriter Roxy Perry notches a strong new recording with In My Sweet Time (BluePerry Hill Records), an exercise in styles including swing (Roadmaster, with a great steel solo from Matt Rae), funky rock (Easy for You), cocktail jazz with a Van Morrison feel (Goodbye Honey), slinky soul (That Night in Memphis), Twenties blues (Not Bad Enough), and stone country (Hank Williams’ I’m So Lonesome I Could Cry). Perry and her solid band carry off this ambitious project, with the slow Bed of Blues, the title ballad, and the powerful R&B anthem Blues Comes to Call representing the strength of the playlist.

TOM HYSLOP
Blues Revue Magazine
Issue No. 116 FEB/MAR 2009
- BLUES REVUE

Perry is a veteran blues singer with a straightforward delivery and lots of sassiness. On her third outing, she broadens her horizons with enjoyable forays into uptown r&b, funk, rock, country, Latin music and finger-snapping jump-blues. Perry knows her business all right; she's a more than capable songwriter and harmonica player. "Not Bad Enough" sounds like a scratchy 78 from the time when blues queens ruled the land. - Frank John Hadley

This lady has a big voice, strong presentation, real presence and a sense that she has lived the Blues. Roxy’s music incorporates swing, jazz, Blues and big-balled ballads, and all of the tracks on this, her fourth album demonstrate that she both enjoys what she does and knows the history of the music she is making. ‘Roadmaster’ is a case in point: a big swing number with horns tootling away, piano tinkling and her voice strident and leading. When she sings softly on a ballad like Hank Williams (Snr) ‘I’m So Lonesome I Could Cry’, with a simple piano and picked guitar backing, she has a soft vibrato in her voice but none of the Mariah Carey warble. She can funk it up, jazz it softly and play soul, and she demonstrates - song after song - what a confident and fulsome singer can do with a good number. Standout ‘That Night In Memphis’ has a funky Blues groove with the potential of being a blockbuster live number - Perry plays her own harp and she is excellent – but if you favour soul/gospel with a smouldering tone then the title track is the one to listen out for. Thankfully, there are still ladies out there who know how to put a number over and the likes of Adele and Duffy could do a lot worse than listen and learn.
- Andy Snipper

ROBERT FONTENOT
Blues Revue Magazine
Issue No. 96 OCT/NOV 2005

Being the "New York Blues Queen" – a title Roxy Perry either adopted or accepted on her 1998 album of the same name – might not be the hardest distinction to claim. But this leather-clad vocalist has the kind of voice and delivery that could save her throne if Gotham did suddenly get flooded with distaff blues singers; her sound is full, smoky, dark, wise, worldly, and genuine. Most modern "blues queens" are cartoonish parodies of the big blooze mama archetype, but listen to "Midnight Train," which shares more than a word of its title with Patsy Clines's "Walking After Midnight" – like Cline, Perry sounds simultaneously resigned and determined, as if sultry laments were at once a vindication of her struggle and her sexuality. Listen with the corner of your ear, and it sounds as if she's packing up and leaving town; listen with your own pain, and it sounds like a suicide note. How many female blues singers still know how to do that?

The brand of blues Perry works on her third album is mostly urban, moody, and polished (It's filled with sax and piano). But she covers a lot of ground inside those parameters, going for big-band on the title track, boogieing on "Two Left Feet," tightening up the funk-rock genre on "Stone in the Sea," and incorporating Booker T.'s "Green Onions" into "Forgive and Forget." Backup comes from a crack band of locals, with Dave Fields and Tim DeHuff's guitar matching her anguish note-for-note.

She has a way with a phrase, too, taking what could be ordinary stories of love among the barflies and selling them with a clever and utterly honest turn of phrase: She's looking for the "Whole Dog," you understand, "not just a piece of tail." Seldom has the cherished female trophy of commitment sounded so sexy. Perry's voice is just that impressive; it's a rough yet feminine wonder that carries the tradition of prewar torch singing into the modern age.
- Blues Revue Magazine

Roxy Perry has been dubbed as the New York Queen of the Blues but her vision is wide-ranging on this new CD as she works through twelve cuts of blues, jazz, R&B, country and rock overtones as she notes on the back cover. Overall, Perry’s vocals are blues-infused despite the genre description.

The first cut of “Bed Of Blues” has pianist Mike Ventimiglia nicely introducing the sultry melody as Perry’s supple vocal phrasing pleads for reconciliation. She then launches into R&B influenced tunes, “Easy For You” with scorching vocals enhanced by a lavish harmonica exercise and “Roadmaster” with its jump melody and big band groove.

The only cover on the CD is “I’m So Lonesome I Could Cry” (Hank Williams, Sr.) and Perry’s aching vocals are sumptuous while the cry in her harmonica resonates with anguish.

“Blues Comes To Call” is a swinging bluesy lament augmented by guitarist Hiro Suzuki’s arresting solo. On “Goodbye Honey” Perry’s rich vocals display an exquisite sense of timing. “Don’t You Worry” is funky and the band’s layers of sound propel Perry’s repetitive exclamation “this ain’t the worst day of my life.” Perry’s commanding harmonica playing enhances “That Night In Memphis.”

Returning to the blues, Perry is in her element on the last three tracks and leaves one wishing she had concentrated on more of this content. “Let Me Rest” features Matt Baxter on dobro and stomp box with Perry on vocals and harmonica—her enchanting vocals sizzle with emotion. The title cut “In My Sweet Time” has an alluring gospel-like melody and Perry’s ethereal vocals meander from sweet to saucy. “Not Bad Enough” is reminiscent of Ma Rainey and is a duo with Perry on vocals and Ventimiglia on piano--Perry’s burnished tone is outstanding on this classic blues sound.

A formidable band and a singer who possesses a remarkable voice combine to make this a marvelous effort. Perry hit a home run on this one even though she took her sweet time and it was worth the wait.

(C) 2008, Dorothy L. Hill
BluesSource.com
- BluesSource.com - Dorothy Hill

Roxy Perry a/k/a NY BLUES QUEEN has just released her fourth album titled ''IN MY SWEET TIME.' It is a different and more intimate album than her three previous productions. ''IN MY SWEET TIME'' oscillates between Funk, Jazz, Blues, Country and Rockabilly and merits more than one overall description. On one hand, she has managed to surround herself with the finest NY musicians. On the other, this album reveals, in 12 titles, all facets of her talents.

It is anything but an ordinary Blues album. It is, in fact, an extraordinary reflection of Roxy's diverse musical roots. The singer / harp player does honorable tribute to Blues singers of the past and brings a fresh approach to Country Music's forefather, Hank Williams' ''IM SO LONESOME I COULD CRY," the only cover on the album.

In 11 original compositions, Roxy immerses us into a musical universe without faults or lack of taste. Thanks to ''IN MY SWEET TIME'' we can say loud and clear that her title of ''NY BLUES QUEEN'' is intact.

Xavier Boulanger
Baker Street / Radio Menergy France
- Baker Street / Radio Menergy / Xav Boulanger

This is Roxy Perry's fourth release. I still have Roxy's previous BACK IN BLUESVILLE, which was one of the first strong blues CDs I discussed here at Rootstime. IN MY SWEET TIME is also a self-produced album. As on the prior releases, she plays considerable blues harp on this disc. The title ‘New York Blues Queen’ that she has carried since her debut is sustained. Roxy has what the big blues mamas from the thirties to the fifties own; the power and authenticity of ladies such as Memphis Minnie, Victoria Spivey, Big Mama Thornton. She may not have had the ‘blues life’ of those ladies, but you see a bit of it in her songs. She even succeeds in the classic ‘I'm So Lonesome I Could Cry’ by country music legend Hank Williams. She injects a perfect serving of blues to the song with so much conviction, that it immediately becomes one of the peaks of the CD…

Undoubtedly, by far, the most beautiful song on this CD is ‘Let Me Have My Rest’, with only the dobro accompaniment of Matt Baxter. Roxy's powerful voice and harmonica bring pure blues of absolute top quality. The title song that immediately follows is a slow blues with high gospel quality which lets you hear that Roxy is at home in all markets. No matter if its jazzy ballads, slow blues, rock & roll, swinging or funky blues songs, sensitive harmonica solos, dobro, slide or Memphis style grooves… she has them all to offer. And what's more, everything is top notch. Also very valid is the genuine sound of ‘Not Bad Enough’ that transports (the listener) through effects, such as a crackling 78-monophonic (record track) and old microphone quality, letting you hear that the titles of ‘Blues Mama’ and ‘New York Blues Queen’ are entirely deserved – You imagine yourself back 65 years in time, where you listen to your old trunk record player with discs of the best of the ladies.

Have a "Sweet Time" listening to this one.

Ron – ROOTSTIME / Belgium
- Rootstime Belgium - (Ron)

Perry hits pay dirt on her third album, building dramatic tension with a big, dark singing voice that shows her control over contemporary and traditional blues styles dating back to the 1920s. This longtime campaigner on the New York-Connecticut-New Jersey front is savvy about the importance of intonation and delivery to her craft.”
FRANK-JOHN HADLEY – DOWNBEAT
- DOWNBEAT MAGAZINE