Teeny Tucker - Put On Your Red Dress Baby Bitrate: 320K/s Year: 2018 Time: 49:01 Size: 112,6 MB Label: TeBo Records Styles: Blues Art: Full Tracks Listing:  1. Church House Prayer - 3:27  2. Love Don't Hurt - 2:33  3. Learn How To Love Me - 3:18  4. I Sing The Blues (Wooten/Bridgeman) - 3:27  5. Heart, Mind, and Soul - 2:53  6. One Kind Favor (Blind Lemon Jefferson) - 2:51  7. Put On Your Red Dress Baby (Tommy Tucker) - 4:10  8. Don’t Look Back (in the Rear View Mirror) - 2:42  9. Crack the Door - 3:20 10. From the Skies - 4:15 11. Jump Back - 2:58 12. I’d Rather Go Blind (Long Version) (Jordan/Foster/Etta James) - 8:11 13. I’d Rather Go Blind (Short Version) - 4:49 Musicians: Teeny Tucker - vocals; Robert Hughes - guitar; Linda Dachtyl - Hammond B3; Robert Blackburn - bass, backing vocals; Ryan Parkevich - drums; Cary Dachtyl- percussion; Mary Ashley, Paula Brown - backing vocals. The good news is that the daughter of renowned 60s R’n’B singer Robert Higginbotham has just released her 6th album. What? You’ve never heard of him or her? Well, Regina B Higginbotham is better known as Teeny Tucker, and her father was the redoubtable Tommy Tucker of Hi-Heel Sneakers fame. But then she hasn’t and certainly doesn’t need to ride on any coat-tails, Teeny is a blues singer of power and soul, and can put more emotion into a single note than some do in a lifetime. I won’t detail her history here as the wonderful Lori Graboyes (“One To One Blues Woman”) is interviewing her elsewhere on Bluesdoodles and does a much better job than I can here. This latest album, Put On Your Red Dress Baby; those words may sound familiar as they are taken from Tommy’s aforementioned hit. Her cover of that classic, in this new guise, is also the centrepiece of this album. It opens with Church House Prayer and introduces us to the excellent guitar playing of Robert Hughes as he cleverly builds to the riff. Teeny then begins to display why she deserves more recognition as she delivers a vocal of depth and a clear diction bereft of the histrionics beloved by some. A short harp and guitar solo add colour to a blues shuffle of quality. Love Don’t Hurt is a slightly faster shuffle with more masterful guitar and a strong vocal performance as Teeny incorporates references to the modern curse (social media) into the lyrics. Learn How To Love Me has a slow blues intro with such passion, helped by the gospel feel from the backing vocals. It develops into a faster R’nB style with more tasteful guitar and the B3 warming it all up and backed by a simply superb bass line. Up next is I Sing The Blues (probably best known from the Etta James version but also known as I’ll Sing The Blues For You which has been covered by many…my favourite is the Moody/Marsden version off Ozone Friendly). Here, it transforms into a grittier version with the riff taking due prominence and Teeny doing a fine job with power and grit to match the guitar. Heart, Mind And Soul is everything that is good with modern blues…a slow heart-wrenching vocal backed with intuitive guitar and bass with an untypical drum pattern completing the set. The guitar on this is stunning in its effortless reflection of the vocal and the emotion therein. Blind Lemon Jefferson gets the Tucker/Hughes treatment on One Kind Favour. Already a fabulous, atmospheric song (also recorded by many, sometimes as See That My Grave Is Kept Clean…in fact Glenn Hughes delivers his finest performance ever on a cover of this song from Stuart Smith’s solo album, Heaven and Earth), Teeny takes it to a different dimension with a positive sounding timbre and light guitar work from Hughes of the Robert variety…love it! Next up is the interpretation of her Dad’s big hit. Put On Your Red Dress Baby takes Hi-Heel Sneakers and updates it without taking an iota of the R’n’B energy and fun from it and Teeny cleverly adds to the lyrics to acknowledge the original’s inclusion into the Hall of Fame. The guitar helps with the empathetic tones and picking but is gloriously extended into a lovely solo.  Don’t Look Back (in the Rear View Mirror) has a rolling backing reminiscent of Baby Please Don’t Go, but the piano and guitar are so different and, after Teeny says “go Bobby” he most certainly does and again adds so much to the passion of the song. Crack The Door slows the pace with a soulful blues of guitar over B3 and the vocal powerful as ever. Best of the bunch for me is the guitar driven track, From The Skies, where Hughes seems to reference and pay tribute to BB King and Hendrix, particularly toward the end. The vocal is nicely restrained and full of feeling as the B3, bass and drums show suitable restraint. Jump Back is indeed a jumping blues number bringing the Stones to mind in its structure. It’s a fun three minutes but the weakest of the album. It all closes with two versions of the Etta James classic I’d Rather Go Blind. The short version is just an edited version of the long version that, at just over eight minutes might put off some radio stations. Anyone brave enough to take on such a seminal piece is valiant indeed and, in this case, hugely successful in at least equalling Etta’s original performance. It actually tips the scales for me due to the imaginative guitar backing and soloing. This album shows a vocalist who can display complete control of a voice that can go effortlessly from a whisper to an anguishing cry. She has ensured a band of quality is there to match the vocal input and together they have produced an excellent soulful blues album that will be getting repeated listens from me. Put On Your Red Dress Baby” - Ernny Staff Reviewer

Ernny Blues - Teeny Tucker CD Review

  One to One Blueswoman talks to Teeny Tucker 20th November 2018 Lori Graboyes 0 Comments Blues Music, In Conversation with Bluesdoodles, Interview, One to One Blueswoman, Put On Your Red Dress Baby, TeBo Records, Teeny Tucker, Women Sing the Blues LG: Hi Teeny, it is indeed an honour, thanks for taking time out of your busy schedule to speak to me as part of Bluesdoodles Team!  You are the first in what we hope will be a series of interviews and album release combination under the banner of One To One Blueswoman Interviews. Let’s get right to it shall we? LG: What age were you when that first song tickled your ear and you knew you wanted to be a singer? TT: 8-10 years old in my church gospel choir. I recorded my first song on a gospel album at age 14 LG:  You were 12 years old, in your bedroom, singing into your hairbrush, who were you? TT: Singing was in my soul even before 12 years old. I never sing in the hairbrush because my mother would pay me a quarter or fifty cents to sing for family and friends. They were my audience LG:  What is your songwriting process? TT: most times I come up with a topic first. For example when I think of a woman whose been taken for granted or not heard. I wrote a song called “The Muddier Things Get The Clearer I See” I also write about personal experiences and experiences of others. Once I have a topic, I usually come up with a chorus, then write my versus around the chorus. it works for me most times but not always in that order. LG:  What inspires you? TT: On a life level I was mostly inspired by my mother and my father. I started singing in the gospel choir as a young girl. Some of my earlier influences were the earlier gospel singers like Mahalia Jackson, the Edwin Hawkins Singers, Aretha Franklin, Rance Allen, and the Caravans. Fast forward to when I got the Blues bug and I became influenced by the earlier classic blues ladies like Bessie Smith, Alberta Hunter, Ruth Brown, Nina Simone, Sis Rosetta Tharpe, Big Mama Thornton, KoKo Taylor, and Etta James. My most recent influences are Mavis Staple. Her love her vocal style and presence. I’m now most inspired by my 95-year-old grandfather who possesses extraordinary wisdom and knowledge about life and relationships LG:   What’s new in your life? TT: On the Board of Directors at the Blues Foundation in Memphis Tennessee. I also conduct a Women in Blues Workshop. Women In Blues Workshop was developed to bring awareness to the role women has contributed to Blues history, utilizing vocal demonstrations, film footage, and audience interaction. LG:  Who are some of the most interesting people you have played with? TT: This is a loaded question because I have been on the same festival or performance with some of the greatest artists in the blues such as BB King, Buddy Guy, Koko Taylor, James Cotton, Keb Mo, Mavis Staple, Big Jay McNeely, Joe Louis Walker, Robert Lockwood, JR, Holmes Brother and so many others. I’ve been blessed with so many wonderful and memorable blues musical experiences. LG:   Was there ever a moment that you thought of calling it quits? TT: Yes I Have. I learned that is a normal process for many artists. But as for me, I must feel that I am blessing someone through my singing and performance. I’m like the preacher that preaches the sermon and touches lives doing so. if I’m not serving my purpose for the reason I’ve been gifted then my talent would be in vain. Also being an artist is not made for the weak. It can be tough, unfair, and even lonely, so those moments you feel you can’t do it anymore does not outweigh your passion and love for your gift. LG:  What was the most moving moment on stage? TT: In Indiana playing at the slippery noodle. I looked out in the audience and I notice a young man holding onto the table dancing. I thought is he intoxicated and afraid he’ll fall.  He was not intoxicated at all. His mother and wife spoke to me after the show to let me know that he had bone cancer and was so moved by the band and I that he couldn’t sit still. He recently had a surgery and had become depressed, but his spirit was lifted that night through music. I’ve had several other musical/ magical moments like that, but that one was one of the most moving for me. LG:  What are a couple of your favourite gigs? TT: opening for BB King in Germany, 1998. My sun studio appearance that aired on PBS (Public Broadcasting Service) in 49 major markets. Also, I opened for Koko Taylor once in Dayton, Ohio where I was born. She called me on stage to sing a song with her. LG: Teeny, you have released this year your 6th  Studio album which is being reviewed by Bluesdoodles team. What was the inspiration for the title of the album? TT: The title of the CD “Put On Your Red Dress Baby” was inspired by my father’s 1964 hit song, “Hi Heel Sneakers” also inducted into the 2017 Blues Hall of Fame. Recorded from the mighty Chess Records (Checker subsidiary) and became number 1 in the Cash Box R&B charts, number 11 on the Billboard Hot 100. I found it only fitting and timely to continue the celebration and honour for a song that has been recorded by countless other artists including The Beatles, The Rolling Stones, Elvis Presley, Janis Joplin, and Stevie Wonder. So I thought ok, why not Teeny Tucker. LG:  What would people be most surprised to know about you as a person? TT: I love blues and its history but I also write and love poetry, I’ve done some acting, and I love being a grandmother. I’ve have the same 4 best friends since 3rd grade; that’s over 50 years.  I worked 30 plus years as a contracting officer for the federal government while building a music career so at one time for a period of 8 years I worked 7 days a week.   Thank you, Teeny Tucker, for your time the first of many interviews that will be part of One to One Blueswoman series of conversation. Check out Bluesdoodles review of Teeny Tucker’s “put on your red dress baby”” - Lori Graboyes

BluesDoodles

Current Issue of Living Blues The legacy of family bands and multi-generational musical lineage is a strong one in the history of the blues. Some of the best blues musicians performing today come out of this tradition. Lurrie Bell; Teeny Tucker; Cedric, Duwayne, Kent, and Garry Burnside; Kinney and David (Malone) Kimbrough; Sharde Thomas; Rev. John Wilkins; Eddie Jr., Larry, and Demetria Taylor; Chris Thomas, and this issue’s cover artist Kenny Neal are all sons, daughters, and even grandsons of earlier popular bluesmen. Kenny Neal’s family legacy is rich and deep. The son of Louisiana bluesman Raful Neal, Kenny (and most of his sisters and brothers) grew up playing music, eventually backing their father and, later, a who’s who of blues musicians as the house band at the Isabella Hotel in Toronto. At age 55 Kenny Neal is carrying on the legacy of his family name with a new major release planned for this fall and two children of his own (Kenny Jr. and Syretta) who perform with him. We continue our look at the Nashville blues scene with Tim Ghianni’s feature on James “Nick” Nixon. Nixon was the leader of one of the first racially mixed bands in Nashville in the 1960s and has been a central figure in the city’s R&B scene for over 50 years. This issue also features a story on guitarist Melvin Taylor and young blues phenom Selwyn Birchwood, who recently took top honors at the IBC awards in Memphis. We also have a wonderful photo essay by folklorist George Mitchell from his remarkable 1967 trip to the Mississippi hill country, where he first met Otha Turner, Jessie Mae Hemphill, R.L. Burnside, and Mississippi Fred McDowell, among others. This weekend marks a very special anniversary in the blues world. It was 60 years ago that Bob Koester recorded and released his first album, by a vintage jazz group from St. Louis called Sammy Gardner and the Fabulous Windy City Six. Thus began the amazing legacy of Delmark (then Delmar) Records. Junior Wells’ Hoodoo Man Blues, Magic Sam’s West Side Soul, Robert Jr. Lockwood’s Steady Rollin’ Man, J.B. Hutto’s Hawk Squat, Jimmy Dawkins’ Fastfingers, Otis Rush’s Cold Day In Hell, and Big Joe Williams’ Blues on Highway 49 all were recorded by Bob Koester. And this is just one part of his musical legacy. Koester has released over 500 records, over 300 of them jazz albums, owned the Jazz Record Mart in Chicago, employed and mentored a who’s who of future blues label owners and scholars (Jim O’Neal, Bruce Iglauer, Michael Frank, Peter Aschoff). He even gave the seed by Browse to Save" href="http://www.livingblues.com/#">money to start Living Blues magazine. At age 81 Koester is still going as strong as ever with new releases on Tail Dragger, Arthur Crudup, and Lurrie Bell out now. Hats off to you, Bob…and thanks! It’s time again to vote in the Living Blues Awards. We’ve got a knockout batch of nominees this year and an expanded field of choices. I’ve also added a Best Blues Book category, so turn to page 79 and check out the ballot, and then go to www.LivingBlues.com and vote digitally. It’s the fastest and easiest way to vote. Due to space constraints I have decided to move our written classified ads to our website. New ads will post and the list will be updated with the release of every new issue of the magazine. And don’t forget, the Living Blues Radio Charts are now posted monthly on our website as well. We lost one of the great Chicago bluesman and a great friend of Living Blues a few weeks ago. Jimmy Dawkins died on April 10 at his home in Chicago. Dawkins was a principled man whom you could count on and trust. He was a remarkable guitarist and songwriter as well as a label owner (Leric Records). He was politically and socially conscious and served as a mentor to numerous young musicians. Dawkins even wrote for LB for a time. A full obituary can be found on page 78. Brett J. Bonner Editor” - Bret Bonner

Living Blues Magazine

Teeny Tucker Keep the Blues Alive TeBo Records   By John Heidt | Published: July 20, 2011   The daughter of Tommy Tucker (of “Hi-Heel Sneakers” fame) has been playing the blues circuit for years. As a vocalist, she has made a name for herself with her brassy delivery and original lyrics. All of that is featured on her latest release, with cuts like “Ain’t That the Blues” and its tale of woe. “Keep the Blues Alive” and “Respect Me and the Blues” talk about the history of the blues and what it means, as does the brilliant “John Cephas.” Tucker’s cohort is guitarist Robert Hughes, who is skilled in all aspects of the blues. When a song needs slinky fills or big solos, he supplies them. When a gospel-tinged song calls for a melodic solo with a tough sound, he’s there. Shuffles with jazz turnarounds are no problem. A funky, almost disco-tinged tune gives Hughes the chance to play a pinched note solo that fits the music perfectly. On at least two cuts, he supplies perfect acoustic country-blues accompaniment for Tucker’s soulful vocals. And while his solos are always on the money, his support of the vocals with fills is uncanny. While Tucker’s songs at times plead for the blues to live on, that shouldn’t be a problem with singers like her and players like Hughes, who so fully understand the music.    ” - John Heidt

— Vintage Guitar Magazine

Teeny’s Huge Voice Darling of the blues scene joins Waterfront Blues Festival this weekend   By Errol Nazareth ,QMI Agency First posted: Thursday, June 02, 2011 03:33 PM EDT Teeny Tucker   TORONTO - When I saw a video on YouTube of Teeny Tucker singing Keep the Blues Alive, I was blown away. I’d never heard of her before, and became an instant fan. Here’s why: I love blues and gospel, and I’ve always liked singers like Etta James and Koko Taylor who had big, brassy voices. Teeny Tucker is a blues belter of the highest order and she deserves all the props she’s getting from fans and critics in the blues world. Speaking of James, check YouTube for a video of Tucker singing James’ signature song, At Last. She’ll give you chills. Tucker is at Woodbine Park Sunday at 4:30 p.m. as part of the seventh annual Waterfront Blues Festival and you don’t want to miss her. Tucker, who’s been nominated for a 2011 Blues Music Award for best traditional female blues artist, was born in Columbus, Ohio, and her dad, Tommy Tucker, had a hit in 1964 with a song called Hi-Heel Sneakers. She was born that year, but only began singing professionally 10 years back. Tucker has released three albums so far and has become the darling of the blues world. Her latest is Keep the Blues Alive.” - Errol Nazareth- Toronto Sun News

— Teeny's Huge Voice

Teeny Tucker "Keep The Blues Alive" TaBo 2010. Singer of an enormous expressiveness and strength, Teeny Tucker has got the blues and all the music she plays, not only in her genes, but also in her soul, her heart and especially in her blood. Miss Tucker deals with an unbelievable charisma and dramatic passion all Afro american music, especially blues and rhythm and blues, styles she has a magnificent control, thanks to her excellent vocal resources. Teeny has tone, attack, wide vocal range and feeling. a lot of feeling. Eight of the eleven tracks included in this new work are her own songs, seven of them written in collaboration with the band guitar player Robert Hughes, who is responsible of the music too. The other songs included are "Make Room For Teeny" written by Pam & Lee Durley, "Heartbreak" and "Got My Mojo Working". Besides Teeny on vocals and Robert on guitar, you will also find David Gustel on harmonica and piano, Scott Keeler on bass, Darrell Jumper on drums and Linda Dachtyl on Hammond B3. An exciting album, full of strength, magic and delicious flavor, with Teeny Tucker’s priceless distinctive voice majestically excelling the party. While I am writing these lines I have learned our lady has been nominated for The Blues Foundation Awards as Best Traditional Blues Female. Good luck, Teeny!! GREAT” - Vicente Zumel's CD Review- Spain

— CD Review- Spain

Teeny Tucker   Keep The Blues Alive TeBo Records BLUES Reviewed 06-01-10 Teeny Tucker Keep The Blues Alive The blues has been here for us since long before any of us were walking the Earth. Great blues transcends eras, and is just as easy to understand now as it was in the genre's infancy. One of the modern blues greats on the rise is Teeny Tucker, and her latest album, "Keep The Blues Alive", will likely do just that. A next generation blues star with music in her genes, Teeny Tucker is ready to take her place among the greats of modern blues. Her guitar playing is second to none, and her vast life experience, playing both for and with the legends of music, has paid off well for her. "Keep The Blues Alive" is the result of a student schooled to the game by legends, doing her best to earn her spot. Of all the songs on this collection, "I Wish We Could Go Back" stands out as the best. It offers genuine feelings that are easily understood and relatable. I can see this track, along with a few others, challenging the current Top Ten in the blues charts very soon. From top to bottom, "Keep The Blues Alive" is a great album, worthy of mass success and critical praise. It is always a good thing when a modern blues record puts a smile on your face. Let Teeny Tucker brighten your day with her love of the blues. Christopher Llewellyn Adams       ” - Christopher Llewellyn Adams

— Cashbox Magazine, Inc- "Keep The Blues Alive"- CD Revierw

Blues Music Review: Teeny Tucker - Keep The Blues Alive - TeBo Records 2010 Teeny Tucker, like so many children of Blues performers, could likely perform the songbook of her famous father, and get gigs pretty regularly; but Teeny has gone against the grain in that regard to forge her own career in the music industry through hard work and raw talent. The Dayton, Ohio native grew up singing in the church and listening to her father, Tommy Tucker (who's hit song "Hi-Heel Sneakers" has been covered by more than 200 artists and bands.) Teeny didn't decide to pursue a career in music until late 1996, and since she made up her mind, she's been building a head of steam ever since. Now she's poised to break through on a larger scale. Teeny Tucker's previous album, 2008's Two Big M's, was selected as one of six finalists for "Best Self-Produced CD of the Year" by the Blues Foundation at the following year's I.B.C. That momentum caused an upswing in gigs and festival bookings, as well as a creative swell that carried into her latest album, Keep The Blues Alive. The album kicks off with the socially conscious "Ain't That the Blues," a tune that profiles the heartbreaking situations of it's subject, a young female who lost her mother and goes to live with her father, who lives in his vehicle. It's the first of eight songs on the album featuring lyrics either written or co-written by Teeny Tucker. It's heavy stuff, no doubt, but performed with conviction in an arrangement that really hits an infectious groove. You're instantly wanting to hear more from this album to see if they can keep up the great work here. Make Room for Teeny" is a cool, biographical tune that was actually written by Pam and Lee Durley, not Teeny herself. Tucker belts lines like "Don't mean to cause alarm, and sure don't mean no harm. But, Teeny's in the house to raise the roof." This is a party song with some standout work by drummer Darrell Jumper and pianist David Gastel. "Daughter To the Blues" is another biographical song, this one written by Teeny herslef, and with a slower tempo. The songs are two sides of a figurative coin, possessing the same subject with a different approach on each. Gastel switches to harmonica here, and does equally as well, especially growling his way through a solo about halfway through the track. Guitarist and executive producer Robert Hughes' playing is some of the best, here, as well. I saw in a video interview that "Old Man Magnet" was inspired by a conversation that Teeny had with some of her backup singers, talking about a certain type of fan that approaches the ladies often out at festival gigs. It's another fun track that actually is has that "girl power" vibe, because most of the vocals deal with a woman taking care of herself and keeping a wonderful, classy appearance that attracts a more mature type of man. Cool stuff.   I Wish We Could Go Back," clocking in near the seven-minute mark, is the longest song on the album, a slow burner that features some terrific Hammond organ from Linda Dachtyl (who also plays on the opener, as well as "Heartbreak"). Hughes remarked in the liner notes, "This is Teeny at her best!" She certainly pours her soul into the song, and there's a lot going on here vocally, as Teeny really shines on the microphone. The songwriting is excellent, as well. The title track has one of the strongest Gospel influences on this record, in my opinion, taking on the feel of an old spiritual as Teeny and her singers belt the introduction a'capella. That vibe doesn't stop there, either. It carries on once the musicians kick in, and you find yourself grinning and clapping as the tune really gets going. This is one of my favorite songs on the album! That's followed by "I Live Alone," a tune co-written by Teeny and Eric Blume. Hughes is responsible for all of the arrangements on the album, save for "I Live Alone," although he plays on the track, and very well, I might add. John Cephas" is a gorgeous acoustic track that salutes the life of the great musician, and one of the best ambassadors that this music has ever known. In the album's liner notes, you get a sense that Robert Hughes took the passing of John Cephas very hard, and he notes that this song was born of Teeny's efforts to help the cathartic efforts to relieve the heartache. Many of the greats of the genre, friends of Cephas, are also mentioned in the song, and the arrangement of simply guitar, harp, and vocals suits it perfectly. Heartbreak" is one of only two covers on the album, which appear back-to-back. The other cover is the classic "I Got My Mojo Workin'." Back to "Heartbreak," though; the song was co-written and performed by Jon Thomas in 1960. "I Got My Mojo Workin'" is obviously the classic song most famously performed by Muddy Waters, but originally written in 1956 by actor Preston Foster. The arrangement here sticks rather close to Muddy's take, although the lyrics are performed the way they were originally written by Foster. (Click Here For the Song's Wikipedia Entry, Which Features A Great Lyrical Comparison In the Different Versions of the Song.) Respect Me and the Blues" wraps up this 11-song set of tunes from teeny Tucker and company. It's yet another great example of Tucker's songwriting pulling from real life. This time, Tucker lays it all out for those who would have her sing another style of music. Tucker wonderfully tells 'em how it is, and leaves it up to all of us to "Respect" it or not. The song is a great closer for this album, and the arrangement is cool, here, as well; with Tucker's vocal over Hughes' electric picking. Standout Tracks: The title track, "John Cephas," "I Got My Mojo Workin'" and "Respect Me and the Blues”

Full-Time Blues Radio- Blues Music Review

  BLUES BLAST MAGAZINE Teeny Tucker - Keep the Blues Alive Tebo Records 11 tracks; 47:29 minutes; Suggested Styles: Electric Blues, Soul/ Gospel   The easiest thing I ever had to do was fulfill her request and “make room for Teeny.” The bouncy, second track on her fourth CD implores, “Make Room for Teeny,” and right from the first notes in the first song I was clearing her path – no elbow to the ribs or kicks to the shin needed! Teeny (born Regina Westbrook, only daughter of Tommy “Hi-Heel Sneakers” Tucker) had already got her proverbial foot in the door when I caught her appearance at the 2008 Nothin’ But the Blues Festival in Bloomington IL. The time I spent with her then revealed a sincere and warm personality beyond her incredible singing voice and stage show. Following her 2008 critically acclaimed CD, “Two Big M’s,” Teeny Tucker and her band lay down one of the best CDs of the year! “Keep The Blues Alive” features eleven entertaining and enjoyable tracks of music, and shows off another of Teeny's many talents, that of songwriter. She co-wrote eight of the eleven songs, usually with musical partner and guitar player extraordinaire Robert Hughes. With only two cover songs, the album’s originality is spread across many topics and styles reflecting her many influences. Listeners’ tastes are as varied as the listeners themselves, but the mid-tempo track one, “Ain’t That the Blues” is as good as it gets for me. Telling the story of a blind twelve year old girl whose mother died of aids, Teeny’s somber yet soaring vocals paint a rich, poignant picture. The background vocalists (Mary Lusco-Ashley, Paula Brown, Jackie Tate) add emotionally to the texture while Hughes’ guitar equally sets the mood. This is not a happy ending story, it is unbearable – thus the title. Another song that just instantly begged radio play (and got it first on our Friends of the Blues Radio Show) is Teeny’s (and Eric Blume’s) up tempo original “I Live Alone.” This is a dance inducing, romping shuffle that features Scott Keeler’s popping bass line and David Gastel on harp in sync with Hughes’ guitar – then each taking a killer solo. Darrell Jumper keeps everyone in time on drums. What is better to an older man than chatting up (hitting on?) a younger woman? “Old Man Magnet” provides humor (?) as Teeny relates some past encounters: “I’m an old man magnet, and they stick to me like glue!” Of the  two covers, “Heartbreak” by Joe “Cornbread” Thomas and C. Hoyle is a strong re-work featuring exquisite Hammond B3 organ by Linda Dachtyl. The keys fill the bottom while guitar and harp pump up the rhythm. Teeny’s vocals showcase her four-octave range on both sides of a tasty organ solo. I plan to air this song this week! The other cover is “I Got My Mojo Workin,’” and it is a natural for a “Keep the Blues Alive” album. Teeny’s version is great, but honestly, isn’t this song about to join “Mustang Sally” and “Sweet Home Chicago” on the most over-played list? Acoustic guitar fans will enjoy the heartfelt tribute to the late Piedmont Bluesman John Cephas (titled “John Cephas”). The set closer, “Respect Me and The Blues” finds Robert Hughes as the lone accompaniment to Teeny's simple spoken/sung messages and experiences about giving her respect and her choice to sing Blues (not R&B). Join me and “Make Room for Teeny” in your listening rotation. Once you hear her mature and sophisticated appeal, you’ll find it easy to let her in and impossible to let her go. Reviewer James "Skyy Dobro" Walker is a noted Blues writer, DJ, Master of Ceremonies, and longtime Blues Blast Magazine contributor. His weekly radio show "Friends of the Blues" can be heard Saturdays 8 pm - Midnight on WKCC 91.1 FM and at www.wkccradio.org in Kankakee, IL.    ” - James "Skyy Dobro" Walker

— Blues Blast Magazine (Chicago Il)

Teeny Tucker: a tiny, but tremendous blues force By Linda Yohn   Credit teenytucker.com Teeny Tucker at the Blues Blast Awards This Tuesday was a perfect blues day on WEMU.  The cold and the clouds called for down-home story-filled music.  Our playlist this morning included local blues luminaries Johnnie Bassett and George Bedard along with Columbus Ohio’s blues emissary, Teeny Tucker. Teeny Tucker comes honestly to the blues.  Her father Tommy Tucker was the first to have a hit with “Hi-Heel Sneakers”.  Her earliest musical experiences were in church in Dayton, Ohio but in her teens, Teeny discovered her true calling: deep, down-home blues.  Since then she has paid her dues and gained national recognition as an independent recording artist, singer and songwriter.  “Voodoo To Do You” is her fourth disc on TeBo Records.  The fourth time may be the “charm” to catapult Ms. Tucker to worldwide fame.  She tells great stories, struts her tough stuff, rocks with her band, delivers fresh covers of classics such as “I’m A Woman”, laughs at herself and croons tender blues ballads such as “Death Don’t Have No Mercy”.    Many of the songs revolve around the by Browse to Save" href="http://wemu.org/post/teeny-tucker-tiny-tremendous-blues-force">mystique of “voodoo” from working it on a miscreant lover to the spells cast by a new love interest.  Many CDs today are not worthy of listening from start to finish, but “Voodoo To Do You” by Teeny Tucker is one terrific tune after another ” - Linda Yohn (WEMU 89.1) Jazz ,News ,Blues

— WEMU 89.1 Jazz, News, Blues

Review of Teeny Tucker - Voodoo to Do You by James "Skyy Dobro" Walker & Rainey Wetnight of Blues Blast Magazine by Friends Of The Blues on Friday, February 15, 2013 at 12:02pm · As published in this week's Blues Blast Magazine www.thebluesblast.com Teeny Tucker - Voodoo to Do You TeBo Records http://www.teenytucker.com 13 songs; 39:11 minutes; library Quality Styles: Traditional Blues, Modern Electric Blues Being a Blues CD reviewer and Blues radio show co-host, I encounter hundreds of albums per year. Imagine the range that appears, from sadly amateurish to inspiringly great. In almost every case, what separates the exciting album from the mundane is the quality of the vocals. And, honestly, how many truly exceptional, contemporary vocalists are there? My radio partner and I have not found many! Dayton, Ohio’s Teeny Tucker is the best female Blues vocalist on the scene today! Her singing has a tone that is just instantly pleasing, no matter what the subject matter of the song. Her voice has superior qualities in passion, timbre, pitch, range and volume that define modern Blues. Now, add to that Teeny’s songwriting, backup singers, loyal touring and studio band-mates, and musical director, co-writer, and guitarist Robert Hughes, and you have a stellar combination showcased wonderfully and most recently in Teeny’s third CD, “Voodoo to Do You.” Besides Hughes, complementing Tucker are David Gastel on harmonica and keyboards, Robert Blackburn on bass, Darrell Jumper on drums, Mary Lusco-Ashley and Paula Brown – background vocals, and Linda Dachtyl adds Hammond B3 and piano to four tracks. Across the set, Teeny Tucker, daughter of Tommy “Hi Heel Sneakers” Tucker, knows just the right notes to cast a spell on listeners. Since the beginning of her professional singing career in 1996, Teeny has mesmerized genre aficionados with releases such as 2008’s award-nominated “Two Big M’s” and 2010’s “Keep the Blues Alive.” Each of the thirteen selections on “Voodoo…” (five originals and eight covers, including a stunning, masterpiece version of Reverend Gary Davis’ “Death Don‘t Have No Mercy”) centers on the tantalizing titular subject. All of them showcase Teeny’s vocals magnificently, especially the three original compositions featured below. Track 03: “Love Spell”--Some blues melodies spontaneously combust into high-octane lyrics and roaring instrumental riffs, but “Love Spell” is a slow burner. As Teeny yearns for the delightful early days of a fizzled romance, Robert Hughes’ mid-song guitar solo and Linda Dachtyl’s Hammond B3 organ turn up the heat. “I wish things were the way they used to be,” our lovelorn narrator laments, followed by her demand: “Hey, I need you to reach inside and cast a love spell on me!” Perhaps more than any other track on this album, “Love Spell” captures the essence of Teeny’s potent musical voodoo. Track 07: “Shoes”--This laugh-out-loud-funny song is an ode to fashionable footwear of all kinds, to which many female blues fans can relate! “I’ve got shoes in my closet, lined across the wall, strapped ones, flat ones, ones that make you tall. I got a pair that look nice, a pair that look cool, a pair when I want to cast a spell on you...” Mary Lusco-Ashley and Paula Brown join Tucker (harmonizing with herself) on saucy background vocals, as she sings: “I’m like the woman with so many children that she didn’t know what to do!” Track 13: “Sun Room”--This previously-unissued track has a unique history. Says Teeny: “...We recorded [it] live at the world-renowned Sun Studio in Memphis, Tennessee. We wrote it a few hours before recording the PBS series [“Sun Sessions”]. Listening to Robert [Hughes’] knowledge of the Sun history shaped the song’s lyrics for me. I was thrilled to have the Teeny Tucker Sun Sessions episode shown on PBS TV in every major market in the USA.” The song itself is a swinging celebration of this legendary studio, complete with guest background vocalist Jackie Tate and bassist Scott Keeler. Blues fans: enjoy this vocalist and entertainer extraordinaire in her prime. Teeny has never been better, and the band is squeaky tight. And, if you are weary of cold weather and slate-colored skies, Teeny has some “Voodoo to Do You” and banish the winter blahs! Reviewed by James "Skyy Dobro" Walker and Rainey Wetnight.   ”

— Blues Blast Magazine Review of "Voodoo To Do You"