Year: 2012
Time: 51:29
Size: 117,9 MB
Label: Self Released
Styles: Blues/Electric Blues
Art: Front
Tracks Listing:
1. Trouble No More - 3:48
2. Hello Little Boy - 2:42
3. Ain't That Lovin' You? - 3:18
4. That's All Right - 3:45
5. Baby, Get Lost - 2:46
6. Rock This House - 2:41
7. One Good Man - 6:06
8. Momma, Talk to Your Daughter - 2:08
9. I'm a Man - 3:51
10. Who Do You Love? - 3:24
11. Sweet Blood Call - 4:10
12. Rollin' and Tumblin' - 3:41
13. You the Kind of Women - 4:51
14. Do Nothing Till You Hear from Me - 2:49
Cathy Jean demonstrates her unique vocal prowess and her love of, and feel for, the blues. She can rock out and be sweet and sensual. A promising debut.
Deep in the quagmire of mainstream pop culture, the blues continue to bubble, and it's purists such as vocalist Cathy Jean who keep the genre percolating. "Tear Me Apart" is a solid mixture of melancholy melodies, balls-to-the-walls blues rockers, and impassioned ballads. Recorded in what sounds like totally live-in-the-studio fashion (very few overdubs are detectable), Cathy Jean's debut twists and turns through a 14-song mountain of blues standards that would make the Swiss Alps envious. And yet, no matter who she borrows from, her voice is a beautiful instrument that serves her needs perfectly-- soulful and soaring, sultry and sexy, and subtly vulnerable at just the right moments. More importantly (and more thoroughly than anyone who comes immediately to mind), CJ inserts her persona and preoccupations into these cover versions; and her takes on classic tracks such as "I'm A Man" (re-written from a female slant) and "One Good Man" makes the former her own and gives new life to the tepid latter. She makes "Who Do You Love" a moving, varied song, as opposed to the schlock electric blues George Thorogood squeezed a hit from. From the spirited, up tempo romp of "Hello Little Boy" to the temperature-rising torch of "Sweet Blood Call," right on through the busy organ and big vocal pyrotechnics of "Rollin' &Tumblin'," "Tear Me Apart" does a marvelous job raising blood pressure. And on the swaying "Baby Get Lost," she piques the libido with, "I got so many men they're standing in line." Hmmmm... where do I take a number? On "Tear Me Apart," this lady doesn't just sing the blues, she feels 'em. And when that voice works each end of her angelic register (and every note in between), you can't help but feel 'em right along with her. That Cathy Jean has absorbed the obvious influences the blues has to offer while escaping their cliches already says a great deal about how tough this woman is. --MUSIC MONTHLY MAGAZINE, USA
Listening to the album "Tear Me Apart", you become aware of one thing: Cathy Jean is a most versatile and inventive artist for a woman still on the right side of thirty. On this debut set she covers a wide range of songs and sounds, which each test her abilities in various styles of blues, jazz, and jump. This whole album is interesting and entertaining, and doesn't lose anything by repeated playing. Cathy Jean knows how to pace herself, be it over a 2 1/2 minute rockin' number, or a 5 1/2 minute blues cut about needing "One Good Man". Of all the fine material contained on the set, perhaps it's "That's All Right", a bare bones acapella number which best indicates the cloth she is cut from.This gal isn't afraid to go out there and lay it all on the line, and let the listeners decide. Others have compared her to Janis Joplin. There is indeed a similarity, Joplinesque phrasing does creep in, but this is no copyist. Just as her cover of the Billie Holiday classic "Do Nothing 'Til You Hear From Me" is similar in approach to Lady Day's version, but by no means an impersonation. What we are hearing is the application of the best aspects of a past talent, put to good use by a new talent, and that's always been the case in most art forms. Cathy Jean is a real star in the waiting. Very deserving of recognition and success. Equally important on this album are the fine musicians in the backing band. There are some wonderful solos and nice touches from all involved, never overshadowing but certainly enhancing the vocals. Recordings made "live in the studio" appear to be in vogue at the
moment. This album is such a collection, cut over a three day period in '95, but it works. The band comes together with each
other and with Cathy Jean. Her comment, "that was fine", at the close of the first number, is a real understatement if ever there was one! Featuring little post-recording tampering, you get an amazingly fresh feel which draws you into it. You can't help but like this attractive blonde from Baltimore, who has and wears more rings than Ringo Starr!! --DENMARK BLUES MAGAZINE
Tear Me Apart
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