Bitrate:320K/s
Year:2026
Time:32:36
Size:75,2 MB
Label:Overton Music
Styles:Blues/Soul
Art:Front
Year:2026
Time:32:36
Size:75,2 MB
Label:Overton Music
Styles:Blues/Soul
Art:Front
Tracks Listing:
1. I Still Got The Blues - 4:39
2. Every Moment Is A Lifetime - 4:36
3. I'm A Diamond - 3:59
4. Ain't Gonna Be No None's Fool - 3:42
5. Ain't No Reason (For A Man Like You) - 2:45
6. That's A Woman - 4:21
7. Save Me - 4:28
8. Livin' With A Lie - 4:04
1. I Still Got The Blues - 4:39
2. Every Moment Is A Lifetime - 4:36
3. I'm A Diamond - 3:59
4. Ain't Gonna Be No None's Fool - 3:42
5. Ain't No Reason (For A Man Like You) - 2:45
6. That's A Woman - 4:21
7. Save Me - 4:28
8. Livin' With A Lie - 4:04
Review: Vaneese Thomas ‘Window to My Soul’
By Jim Hynes
Multiple BMA nominee and daughter of the legendary Rufus Thomas, sister of Carla Thomas, Vaneese Thomas remains one of the more elegant, yet soulful representatives of soul-blues. Vaneese has branched out from her Memphis roots to deliver contemporary blues, gospel, R&B, and a thriving career as a background vocalist for the biggest rock and pop stars. She’s been at her craft for over four decades, working also as a writer, producer, and arranger. Thomas has never lost her Memphis roots although most of her recent recordings have originated in the New York area. That sense of earned wisdom, an inherent feel for the blues, and the ability to naturally, even effortlessly ride the grooves, comes through on Window to My Soul (Select-O-Hits/Orchard), one of her more intimate offerings.
The opening “I Stil Got the Blues” gives immediate assurance, that despite success both in the blues and on the arena stages as a background singer, that Thomas still adheres to her roots, proclaiming that “money didn’t change things.” The mood abruptly changes to R&B balladry on “Every Moment Is a Lifetime,” encouraging us to embrace life’s best moments rather than dwelling on past disappointments. Buoyed by rich horn arrangements and an uplifting sense of gratitude, there are echoes of that great Stax gospel-inflected sound. The soundscape then moves into a more acoustic realm on the female empowering “I’m a Diamond,” suggesting that those who possess strength often thrive under pressure.
Three songs in, we hear the diversity of this tight ensemble. Beyond the four-piece horn section and the four background vocalists who appear on select tracks, the core band is Thomas (keyboards), Dave Keyes (organ, piano on “I Still Got the Blues”), Paul Adamy (bass), Al Orlo (guitar), and Ross Pederson (drums). Thomas wrote or co-wrote all but “I’m a Diamond.”
A sense of edgy angst begins to seep into “Ain’t Gonna Be No One’s Fool” as Thomas declares no tolerance for unfaithfulness, demanding self-respect in the punchy, horn slathered tune. That edginess in her vocal reaches a higher level in “Ain’t No Reason (For a Man Like You), a stomping blues shuffle, again driven by the horns, as well as Rob Paparazzi’s blues harp. These two tracks, along with the smoldering slow blues closer, “Livin’ with a Lie,” remind us that Thomas has lost none of legendary vocal power.
Thomas has embraced the overriding themes of self-respect, and female independence. Picking up where “I’m A Diamond” left off, “That’s A Woman,” also a declarative ballad, celebrates resilience, dignity and the small victories. Guitarist Orlo speaks volumes in just a handful of notes. In yet another ballad, she reveals vulnerability in the gospel tinged “Save Me,” as Keyes’ church-like organ and the background vocalists cast the tune as a hymn, brought to an explosive finale. .
Every song that Vaneese Thomas touches rings with authenticity. Often it feels as if she has lived them.
By Jim Hynes
Multiple BMA nominee and daughter of the legendary Rufus Thomas, sister of Carla Thomas, Vaneese Thomas remains one of the more elegant, yet soulful representatives of soul-blues. Vaneese has branched out from her Memphis roots to deliver contemporary blues, gospel, R&B, and a thriving career as a background vocalist for the biggest rock and pop stars. She’s been at her craft for over four decades, working also as a writer, producer, and arranger. Thomas has never lost her Memphis roots although most of her recent recordings have originated in the New York area. That sense of earned wisdom, an inherent feel for the blues, and the ability to naturally, even effortlessly ride the grooves, comes through on Window to My Soul (Select-O-Hits/Orchard), one of her more intimate offerings.
The opening “I Stil Got the Blues” gives immediate assurance, that despite success both in the blues and on the arena stages as a background singer, that Thomas still adheres to her roots, proclaiming that “money didn’t change things.” The mood abruptly changes to R&B balladry on “Every Moment Is a Lifetime,” encouraging us to embrace life’s best moments rather than dwelling on past disappointments. Buoyed by rich horn arrangements and an uplifting sense of gratitude, there are echoes of that great Stax gospel-inflected sound. The soundscape then moves into a more acoustic realm on the female empowering “I’m a Diamond,” suggesting that those who possess strength often thrive under pressure.
Three songs in, we hear the diversity of this tight ensemble. Beyond the four-piece horn section and the four background vocalists who appear on select tracks, the core band is Thomas (keyboards), Dave Keyes (organ, piano on “I Still Got the Blues”), Paul Adamy (bass), Al Orlo (guitar), and Ross Pederson (drums). Thomas wrote or co-wrote all but “I’m a Diamond.”
A sense of edgy angst begins to seep into “Ain’t Gonna Be No One’s Fool” as Thomas declares no tolerance for unfaithfulness, demanding self-respect in the punchy, horn slathered tune. That edginess in her vocal reaches a higher level in “Ain’t No Reason (For a Man Like You), a stomping blues shuffle, again driven by the horns, as well as Rob Paparazzi’s blues harp. These two tracks, along with the smoldering slow blues closer, “Livin’ with a Lie,” remind us that Thomas has lost none of legendary vocal power.
Thomas has embraced the overriding themes of self-respect, and female independence. Picking up where “I’m A Diamond” left off, “That’s A Woman,” also a declarative ballad, celebrates resilience, dignity and the small victories. Guitarist Orlo speaks volumes in just a handful of notes. In yet another ballad, she reveals vulnerability in the gospel tinged “Save Me,” as Keyes’ church-like organ and the background vocalists cast the tune as a hymn, brought to an explosive finale. .
Every song that Vaneese Thomas touches rings with authenticity. Often it feels as if she has lived them.
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