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IN MY SWEET TIME

 

LA HORA DEL BLUES June 2009
In My Sweet Time BluePerry Hill
by Vincente Zumel
Perry is a really kind woman, gifted with a juicy sweet voice. Besides a not bad harmonica player, she is also a bright song writer, arranger and producer. The results can be appreciated on her new cd, recorded for her own record label Blue Perry Hill. Roxy has done an interesting well finished album, excellent in some aspects, as in such effective beautiful songs like “Bed Of Blues”, “Roadmaster” or “Blues Come To Call”, which are a good example of what you will find along the whole cd. Twelve suggestive swingin’ tracks, where you will find blues, jazz, country, rhythm & blues and rock. Musicians like Matt Baxter, Hiro Suzuki, Mike Ventimiglia, Bob Fusco or Linda Geiger perfectly control what they are doing and give the best of themselves, keeping a high climax along the cd. Well done Mrs. Roxy Perry, Queen of New York Blues! GREAT
www.lahoradelblues.com/criticas.htm


DOWNBEAT June 2009
In My Sweet Time BluePerry Hill
by Frank John Hadley
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.
www.downbeat.com

BLUES MATTERS!
In My Sweet Time BluePerry Hill
B y Andy Snipper
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.
www.bluesmatters.com


ROXY PERRY  In My Sweet Time
By Branimir Lokner
February 2009
The blues career of "New York Blues Queen," Roxy Perry, started in the second part of the 80's, and throughout the following period, she never dissapointed her followers and blues freaks. She is a singer/songwriter, also harpist, and at the same time producer and arranger of her albums.

"In My Sweet Time" is the current one, released in 2008, where we can find 12 tracks. Roxy and her band cover blues variants, also elements touching many other interesting fields as a rock, blues-rock, swing, jive, and even funk and groove. Her vocals are both narative and emotional. As a singer she also reflects a unconventional energy. Songs from "In My Sweet Time " are unexpectedly varied, bringing to mind different musical eras, the 50's, 70's or 80's, and yet her band has delivered a fresh and modern sound and message.

"In My Sweet Time" has many inspirational moments, and deserves repeated listenings.  And one song in my opinion deserves special attention, the album's 5th track "Blues Comes To Call".
BLOKNER REVIEWS
http://blokner-reviews.blogspot.com

DELTA FRANK, BLUES DEEJAY
WGLT FM
Roxy Perry is one of our national treasures. She is the blues.. a national treasure in the form of an uncompromising mature blues artist. Her playing is perfect, her singing otherworldly. She can hold her own with the legends who inspired her.

If you like music steeped in genuine feeling, this is your woman. If you don’t get any other CD this year…make sure you get this one. “In My Sweet Time” is truly full of blues and love, and feeling!
Delta Frank
WGLT FM, Normal, Illinois
Blues Blowtorch Website

BLUES REVUE MAGAZINE Issue No. 116 FEB/MAR 2009
In My Sweet Time – Roxy Perry
By Tom Hyslop

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.


BOBTJE'S BLUES PAGES / BELGIUM - EXPLORING PLANET BLUES
In My Sweet Time – Roxy Perry
By T-Bourbon - Posted on December 7th, 2008

It is very clear to me that Roxy Perry did not sit idly as a child. Roxy spent her formative years listening to swing records, which inspired her to begin her musical career at an early age. Her first appearance at age10 was at the famous Glen Island Casino in her home town, New Rochelle, New York. Soon after, her family moved to Los Angeles, California, where Roxy appeared at the Shrine Auditorium. Four years later, they moved back to New York. As a teen, Roxy was fronting a ten-piece Soul band six nights a week at the infamous Peppermint Lounge, Times Square, New York. It was there she was discovered, and was booked as a back-up vocalist for a four-year tour with the pop-Rock act, “Dawn.” In the eighties, Roxy was signed to Personal Records, who released an EP that ranked high on the Billboard charts. This began a new phase of Roxy's solo recording career, which led her to Blues.

Here in my CD player is her fourth Blues CD release, IN MY SWEET TIME. It is Roxy's third release on her label, BluePerry Hill Records.

IN MY SWEET TIME has twelve original songs and one cover, Hank Williams Senior’s I'M SO LONESOME I COULD CRY. We can report that she has brought new life to this song in her rendition. Her unforgettable Blues style brings the most perfect feeling possible to this country classic. We do not often see a female Blues harp player. Roxy's very adept harp playing brings merit to female harp players who are so rare. This is well exemplified in her harp solo in this Hank Williams Sr. classic.

BED OF BLUES begins the album with a piano intro (Mike Ventimiglia) and guitarist (Chris Vitarello). We can call it Urban or real City Blues, influenced by the New York City - Big Apple Jazz sound. What impresses me most is Roxy Perry's capability to mix so many Blues-related music styles into her songs. Blues, R&B, Jump, Swing, Country, Jazz, Latin, Delta… GOODBYE HONEY is an example of her Jazz style, including a flexible piano solo. and of course, Roxy's delicious voice. The acoustic number, LET ME HAVE MY REST, is yet another example of Roxy's diverse style. Matt Baxter (dobro and stomp box) and Roxy's sensitive vocal and harp solo compliment each other.

BLUES COMES TO CALL is a beautiful Funk groove – All horns expertly played by Frosty Lawson. The multi-talented Roxy Perry produced and did the musical arrangements for this CD as well!

We can conclude, by the merit of this CD, that Roxy will certainly do very well in Europe. The New York Blues Queen is ready to conquer Europe!
T-Bourbon
Bobtje's Blues Pages


IN MY SWEET TIME
ROOTSVILLE, BELGIUM
Review by MVS

IN MY SWEET TIME is the third release on Roxy's label, BluePerry Hill Records, following NY BLUES QUEEN and BACK IN BLUESVILLE. Her first Blues release, HI HEEL BLUES, was on Monad Records. All four are great offerings, but for me, IN MY SWEET TIME stands out as the best. It's a ''showstopper'' of a disc by a Blues woman who manages well all related genres and Blues styles as a vocalist, composer and producer. All the numbers are consistently well supported by her selection of highly competent musicians, some of which are credited as co-writers on six of the songs.

IN MY SWEET TIME is a Blues triumph from the Big Apple (NYC), which is not known for an abundance of Blues artist's offerings. But in fact, this CD is, without a doubt, a triumph coming from any city (and needs to be rewarded)!

From the first cut, this CD is a knockout! The splendid piano intro of Mike Ventimiglia on ''Bed of Blues'', sets the mood, reminiscent of the piano stylings that supported the vocals of classic female artists of bygone eras. This sound may be nostalgic, but it undoubtedly translates into the contemporary.

Not to be overlooked on this album, is the diversified performances of guitarist, Chris Vitarello. An example of his versatility is particularly reflected on the song ''Easy For You.'' It begins as a rhythm & blues number, but transforms into a Latin groove midway, where Vitarello (guitar) and Perry (harp) trade licks. It then returns to an R&B breakdown with the vocal take of an unwrapped soul.

Roxy's Blues harp and voice are a powerful combination throughout. Roxy’s adept use of varied styles, Blues, R&B, Jump, Swing, Country, Jazz, Funk, Latin, Delta, Rock and even Rockabilly, result in the highest level of music and add personality to her songs on this self-produced album. Roxy's production choices reflect this beautifully. In her jump /swing song, “Roadmaster,” she pays tribute to the Andrews Sisters’ harmonies on her background vocals .

Roxy interprets The Hank Williams Sr. classic, ''I'm. So Lonesome I Could Cry,'' with a lot of soul on top of a pure country approach to the song – And it works perfectly.
Guitarist, Matt Rae's Telecaster work so skillfully replicates the pedal steel sound that he just may stand up and be counted as the New Danny Gattin.

For me, all twelve songs compete with each other for the "best" position. If I had to pick one song to highlight above the rest it would be a difficult task. I would say they are all good, with a small preference for the traditional Blues numbers, like the title song, ''IN MY SWEET TIME'' (Hiro Suzuki /guitar), which pays tribute to the gospel style, and ''LET ME HAVE MY REST'' for its beautifully executed resophonic Dobro (Matt Baxter), and of course, Roxy's vocal and harp, present an authentic Delta sound.

The clincher, “NOT BAD ENOUGH,” puts both our feet back in the twenties era with it's totally nostalgic take. Roxy sang and produced it replicating the 78 sound with the crackling needle-on-disc effect. You can just envision the logo of the little dog listening at the big horn speaker to ''His Master's Voice'' on the old Victrola.

Nobody is going to be able to tear this CD from my hands.

MVS | Rootsville
Roxy Perry “in my sweet time”  | Blueberry Publishing 3868
BLUESSOURCE.COM

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


IN MY SWEET TIME
MAZZMUSIKAS FREE-ZINE

Roxy Perry, nicknamed the New York Blues Queen, has come home with her third CD. I find myself highly praising this newest CD, as I also did her previous CD Back in Bluesville. It is a lot like a good wine. It gets better with the years. Just like her earlier work, this CD’s sounds are very varied: Jazz, Blues, R& B, Funk, Soul, gospel, Jump-Swing, Country, ballads…

Roxy Perry has a splendid voice which effortlessly manages all these styles. Other than the one cover, a beautiful implementation of the classic Hank Williams Sr.’s I’m So Lonesome I Could Cry, it’s all songs of her own production. Those 11 songs are like a neatly swinging blade easily cutting through the woods. Roadmaster, You Cried for Me and Goodbye Honey are similar to the repertoire of Dana Gillespie or Marcia Ball. That Night in Memphis is straight ahead Memphis Soul Music with a bluesy rhythm that is ripe for the Stax catalogue.

Don't You Worry is rocklike R& B with good guitar work from co-writer Chris Vitarello. There are also beautiful blues songs: In My Sweet Time - where blues and gospel ensure the perfect teamwork; Let Me Have My Rest – pure water Country Blues; and Not Bad Enough – great retro Country Blues song, including the crackling of an old 78, true to the Bessie Smith, Memphis Minnie style. Isn’t it time for the New York Blues Queen to come over to our stage?
(BV)
MazzMusikas Free-zine, Belgium


ROXY PERRY - IN MY SWEET TIME
BAKER STREET / RADIO MENERGY 11/08

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
Roxy Perry - In My Sweet Time
Reviews 11/08 ROOTSTIME / Belgium

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.

Freddy Celis
ROOTSTIME / Belgium


In My Sweet Time - Roxy Perry   Blue Perry Hill Records 3868 2008
Mark Gresser ('Dr.Blues') | NYNJ BLUES COLLECTIVE

Ms. Roxy Perry knows how to give us some Blues. A long career in the once smoky boites de nuit of NYC’s once thriving blues scene, Roxy knows a thing or two about singing, writing blues, putting together a band and life itself. A simply swanky swinging band backs the verbal honey and phrasing the likes of Bessie Smith on, for example, “Not Bad Enough.” Roxy visits all the precincts of blue from acoustic country a la “Let Me Have My Rest” to sweet low and soul as Marcia Ball gravel rasps through. In My Sweet Time with its modern urban Blues, R&B and funky ‘tude shows Perry’s sure command of the genre and a virtuousic ability to bend your soul with her lush, smokily sensual pipes. This lady surely does the blues right and this disk is easily a “must have.” Quality, talent and chops-what else does a gal need?


"…In My Sweet Time. Strong horn lines, superlative lyrics, unexcelled vocals. Another unquestionable success for Roxy Perry and Blue Perry Hill Records."

Dave King
CROSS HARP CHRONICLES

 
BACK IN BLUESVILLE
 
House of Blues Radio Hour
Broadcast August 6 & 7, 2005
"Crooked Path" was chosen as their
"Blues Breaker" of the week.

Click to play clip
(Real Audio Player Required)

King Biscuit Time Radio
Broadcast May 26, 2005
KFFA 1360 AM with Sunshine Sonny Payne
out of Helena, Arkansas.

Click to play clip
(Real Audio Player required)
Blues Matters Magazine
April/May 2006
www.bluesmatters.com

Back In Bluesville
Blue Perry Hill

This album won an award in the USA for the best independently produced CD at International Blues Challenge and on listening they certainly made the right decision! This is a very polished CD and Roxy Perry has a blues voice made in heaven, besides this she also plays harmonica and has written or co-written all but one track here. There are some exceptional strong songs on this CD, the title track "Back in Bluesville" highlights Roxy's strong soulful voice, which commands attention, even though there is a full band sound behind her. A similar sound can be heard on "Midnight Train" although on this occasion the pace is slower and Roxy plays some sensitive blues harp. Roxy is also comfortable on the less powerful numbers, like the Country blues flavoured "Crooked Path" and brass backed "Nothing Like you" which has a nice 30's swing Chicago feel. The only cover on the album is the seminal "House of the Rising Son", which starts with a nice harmonica solo before the Roxy's vocal kicks in and drives the song forward, with some stinging solos from Dave Fields. Highly recommended!
Adrian Blacklee

New York Blues Queen Increases Reign
BluesWax - 01/11/06

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

ROXY PERRY
"BACK IN BLUESVILLE"
Blueperry Hill Records

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 attempts to carry the tradition of prewar torch singing into the modern age.  There might not be a lot of call for that in New York - or, sadly, anywhere else these days – but Back in Bluesville offers evidence that, whatever the scene is like, she's earned her crown.

ROBERT FONTENOT
Blues Revue Magazine
Issue No. 96 OCT/NOV 2005
www.bluesrevue.com
Roxy Perry
Back in Bluesville
By Dorothy L. Hill
Jazz Now Magazine
www.jazznow.com

Roxy Perry, vocals and harp; Dave Fields, guitar and keyboards; Tim DeHuff, guitar; Eric Merovitch, saxophone; Bob Fusco, bass; Linda Geiger, drums; Matt Baxter, dobro; Bill Holloman, horns.

Roxy Perry, widely heralded as the NY blues queen, has now completed her third CD. An accomplished composer, she wrote ten of the eleven tunes, and her lyrics speak to the constant search for meaning. The original tunes on this effort cover a diverse range of subjects and emotions.

The title cut of interprets the travails on the blues road, which always bring her back to Bluesville. Perry's satiny vocals caress the ballad "Midnight Train" with polished emotion on lyrics that relate to an abusive relationship. On "Crooked Path," Baxter's splendid slide guitar displays a Delta blues influence on this upbeat lament. "Nothing like You" has a Jazz-influenced Dixieland rhythm on Perry's sultry vocals. A humorous vocal take on "Two Left Feet" is delightful on this jump blues tune. "Stone in the Sea" is a light rock adventure with tasteful guitar support. "Forgive and Forget" is bluesy number with a vibrant vocal rendering. The cover of "House of the Rising Sun" features a soulful Perry on harmonica and smoldering vocals in a delightful arrangement of this traditional tune.

This CD is resplendent with original material sensitively rendered with taste by the formidable band members. Roxy Perry has an alluring voice which she uses to great effect. This is a good one that goes beyond the blues!
ROXY PERRY
"BACK IN BLUESVILLE"
BY PETER "BLEWZZMAN" LAURO / COPYRIGHT JUNE 2005

So Roxy Perry, as her new CD states, is "BACK IN BLUESVILLE".  That's cool, but as far as I'm concerned she never left.  The blues live in Roxy and Roxy lives in Bluesville.  Although I live over fifteen hundred miles from the local joints that Roxy regularly rocks, I've had the pleasure of seeing her perform several times and this is the second of her CDs that I now find myself writing wonderful things about.  All of these events were nothing but downright blues experiences.
The players on "BACK IN BLUESVILLE" are ROXY PERRY, of course, on vocals, harmonica and magnetism; DAVE FIELDS, guitar and keyboards; TIM DEHUFF, guitar; ERIC MEROVITCH, sax; LINDA GEIGER, drums; And the love of ROXY'S life, her husband of 31 years, BOB FUSCO on bass.  Also appearing on some tracks as guests were MATT BAXTER, dobro and BILL HOLLOMAN, horns. 
    
Ten of the eleven tracks on "BACK IN BLUESVILLE"  are originals.  The solo cover being, with all due respect to Eric Burden & The Animals, one of the better versions of "HOUSE OF THE RISING SUN" that these ears have ever heard.  ROXY'S soulful vocals and sharp harp playing along with DAVE'S help on guitar make this one of the discs highlights.     
The title track, "BACK IN BLUESVILLE" is quintessential ROXY PERRY.  This one is full of her usual powerful and commanding vocals.  Obviously fiction, ROXY carries the torch of all her abusing ex-lovers on this blues scorcher.  DAVE adds to the heat with lots of burning blues licks on guitar.
   
"MIDNIGHT TRAIN" is a slow bluesy number about what those abusive ex-lovers led ROXY to - a midnight train to take her far away and outta the blues.  Her sultry singing and smooth harp playing with some very nicely done harmonious finger snapping highlight this one.   
 
If you like an occasional dose of Dixie Land Jazz, then you'll love "NOTHING LIKE YOU".  It starts out with lots of soft jazzy horns then switches over to some hot banjo sounding guitar picking.  The horns again kick in and before you know it you'll think your listening to the Preservation Hall Jazz Band.  As well as being different, this one was quite interesting.
 
    
"TWO LEFT FEET" is another hot one.  This one really jumps and swings.  It's about a dancing fool with absolutely no rhythm but lots of blues.  There's no question the band had a good time recording this one.  In addition to some great background vocals, ROXY and DAVE rip it up on harp and piano on this, which is absolutely impossible to sit still to.
 
    
ROXY explains "BACK IN BLUESVILLE" as a product that was "created with the intention of exploring both modern and traditional blues styles to their limits". My response to that is "mission accomplished".  Blues is done in many fashions on this project.  The versatility ranges from some standard ballads  to scorching burners, from a few rockers to rootsy acoustics and a dose of Dixie. 
 
Nice going ROX - the "New York Blues Queen" has struck again.

ROXY PERRY  -  Back in Bluesville
BluePerry Hill Records

CD Review by Bob Unger
May 1, 2005

The powerful horns on the opening track of this CD roll in like thunder and the rich guitar work generates an electricity that sets the listener up for an unforgettable trip. "Back in Bluesville" is a powerful blues allegory with Roxy’s rich vocals leading us down the road she's been on many, many times before - the road that always leads her back to Bluesville.

This is a superb opening for a long awaited CD, which takes us down many paths in various moods and styles. Roxy's a gutsy and powerful vocalist and her lyrics are as ear catching and clever as ever.

In the horn driven "Whole Dog" Roxy lays it on the line to her lover, proclaiming she's the real deal and he better not fail - She wants the Whole Dog, not just a piece of tail. Roxy's commanding vocals and Eric Merovitch's powerful horns are solid and tight and give this tune its punch.

The rock-oriented "Stone in the Sea" displays Dave Fields' masterful guitar work, as Roxy displays her vulnerable side singing about a Svengali-like relationship wherein she goes down like a Stone in the Sea at his every move and intention.

"Midnight Train" could be Roxy's darkest, yet most determined lyrics yet. The Midnight Train calls her to pack up and leave an abusive relationship. The soundtrack is not what you would expect in a song of this nature as it plays a slow, determined, yet almost upbeat verve. Roxy's voice is subtle when she sings "Tonight's the night my pain will end and you'll never raise a hand to me again," yet you feel the underlying strength and persistence in it.

Switching to an upbeat gear, everyone will know the guy Roxy is singing about in the jiving "Two Left Feet". Whether you play in a band or go out to hear one, there's always that guy out there on the dance floor, screaming for more and doing the absolute worst dance routine humanly possible. As Roxy states "He's gotta be my biggest fan. He's at every gig I land!"

The opening notes to "Get It" bring to mind the Mills Brothers classic "Opus One,"but then Roxy chimes in and brings this jumpy number around her way. It's a fun tune with Roxy cautioning, "You better get it while I still got it."

Against the backdrop of a Booker T-style riff, the keyboard driven "Forgive and Forget"tells of being "Lied to and cheated, Wronged and mistreated." Dave Fields' keyboard and Tim DeHuff's guitar work keep the tune flowing as Roxy laments how she can't just Forgive and Forget.

The lightly funky/rockish “Do It” has Roxy letting it all out by telling her long time admirer to stop playing around and just "Do It". A funky-choppy guitar underscores Roxy's frustration and her harp solo fits well into this lighter track.

Matt Baxter, Roxy's collaborator on her previous CD, "Roxy Perry - New York Blues Queen," makes a special appearance playing dobro on the one tune he and Roxy wrote together for the CD, "Crooked Path."  Baxter displays his superb slide-playing skills on this Delta-style burner with Roxy's harp and vocals lamenting "It's a wonder what life puts us through - and it's that crooked path that led me back to you."

Also featured on the CD is celebrated multi-musician Bill Holloman who is credited with "All Horns" on the one tune he plays on the big easy, jazzy New Orleans inflected swing number "Nothing Like You." Here Roxy boasts to her new lover's ex, "No headaches do I fake. We got hot loving every night – thanks to your mistakes."

The CD's only cover song is the traditional "House of the Rising Sun." This song previously appeared on the 2002 Grammynominated compilation CD "Public Domain" [Purchase Records] "It sounds nothing like anybody else's version. I can almost throw a copyright on it for the arrangement," Perry said. A haunting harp and guitar compliment the song behind Roxy's emotional parable.

This is Roxy Perry's third CD and all the players are here in full force. Bob Fusco on bass and Linda Geiger on drums lay down the backbone as the canvas for all the colors of this journey. Eric Merovitch's thundering horns open the CD and in particular are the driving force behind "Whole Dog," and he keeps it right and tight throughout the CD. Guitarist Tim DeHuff’s tasteful style appears on three tracks complimenting Roxy's colorful vocals. Dave Fields' guitar and keyboard work follow Roxy down every street of Bluesville.

Roxy Perry has a lot to say on Bluesville, covering the many moods of her personality; witty and jazzy to pensive and determined but always up front giving you the full strength of her enormous talent. While the CD's foundation is in the blues, the tracks touch on rock, jazz, and even a bit of country. According to the liner notes, Roxy proclaims, "This album was created with the intention of exploring both modern and traditional blues styles to their limits, as we do in our live show." They have succeeded in their intentions.

Back in Bluesville is currently available on CDBaby.com

ROXY PERRY -  Back in Bluesville
CD Review by Ray D'Ariano
www.areuonsomething.com
May, 2005

Twenty three past two on a rainy Saturday night/Sunday morning . . . I'm just back from an evening of Bensen-Scott Big Band jazz . . . a musical organization that gives relevance to that old "stone cold gas" chestnut. We're talkin' big, bold and sassy brass interpretations of Ellington, Jimmy Van Heusen . . . "Here's To That Rainy Day," Hoagy Charmichael and all that marvelous, sophisticated, and just plain cool jazz.

Yeah, Gene Bensen, Regent Scott and the fourteen, fifteen, sixteen other cats just spent a few hours of their lifetime creating the sounds that had pretty women in their sexy summer dresses, and the dapper and lucky cats they were with, dancing through the moon lit rain. Just sensational! My suggestion is to log onto www.bsbb.us and place your order for their latest CD "Dreams Do Come True." You won't regret it.

So now its time to say goodnight, but I see there's this parcel that arrived in the post and it begs to be opened because the return address belongs to the one and only Ms. Roxy Perry. This can't wait till daybreak.

And so I open it to find a new CD and there she is, the beautiful brown-eyed girl Van Morrison still sings about on satellite radio.

What's one to do at twenty to three? Find the Discman, man! And so I do and remove the japa meditation disc and insert the new one. Headphones on and away we go: Instantly we're hit with the second big band sound of the evening, this time it's a wall of blues, a sound as thick as a teenagers belligerent head . . . and we learn that Roxy's been down this road many times in the past, well hey, you know, they say three times a charm and this is the lady's third solo CD, okay? You got a Memphis kind of organ thing riffing off the piano, guitar and Eric Merovitch's horns . . . and the queen informs us that she's "Back In Bluesville" stayin' down on the end of lonely street? Not sure of the exact location, but "you know the hotel there just keeps my room on hold," and that's where this CD is coming from. This opener ends with a Twilight Zone/Raymond Chandler mystery riff that warns . . . experienced blues travelers only . . . all others proceed at your own risk.

"Whole Dog," is next and you better you pay attention 'cause Roxy's running it down for you with vocals as smooth as a floor polished by the deaf dude who lives above you in 6M. We got some tasty sax riffs trading off with some smoldering vocals, and hey, hey, hey, this is some second helping, we still got nine more slices to go. Whose idea was it to order the extra jalapenos? Tasty, with a kick of Bob Fusco's bass, like the Times Square shuttle, sneakin' under the whole thing. I mean, you know it's there even when you don't know it's there, but he'll get you over to 42nd Street in time to catch Solomon Burke at BB Kings. Reliable, you can count on Bobby and the Queen, she knows all about that. Why do you think she's laughin' at the end of the cut?

And this "Midnight Train" through Bluesville doesn't just stop at BB's. Oh no, we can go back in time as well, and on cut three, I mean, it's 1950 and Peggy Lee is intoxicated down on Bourbon Street, you dig? Go on ask, what is this man saying now? But get that rock dream fixed in your head and please don't misunderstand, that's not Roxy, she's as together as she's ever been, but we got proof positive that Mr. Zimmerman and U2 don't own the Daniel Lanois sound. Oh mercy, he wasn't even in Bluesville on the nights all this went down. Yeah, there's the haunting sound of her harp and some underscored Spector-inspired multi-finger snapping over the light and tight honky tonk piano and guitar . . . both cutting through some thick swamp fog . . . all under and not fighting, at peace actually, with the Queen's laid back smooth and oozing vocals . . . proving less is more and that there ain't a style she can't sing. Last stop; please check the overhead rack for your personal belongings.

So after what was left of the moonshine and a few hours sleep on a sleepy dusty delta dawn we find ourselves on the front porch, and it's not even noon yet, and 96 humid degrees. So what's a poor girl to do 'cept walk down that "Crooked Path." I mean half the horn section went to town looking for what they need and the rest of the boys are out back drinkin' peach wine and eatin' tatar salad . . . hey, every young man needs some recreation, you dig? But the Queen's just hangin' with Matt Baxter and his Dobro, and letting you know, hey, you may have enjoyed the first three tunes, and don't get me wrong, I'm delighted you did, but I don't really need that big old thick wall of blues thing to put over what lies under my agenda. I can sit on an old country porch in the heat and blend in with the folks, but don't for a second forget that I am royalty, you know? So let's just sit a spell and pick a bit.

At this point, my friends I will say that "Crooked Path' is the cut.

You know every movie has that scene or that line, and the sign of a great CD is that cut. The one, you know, one could argue that it's all subjective, but that argument in itself is, you see? So to you, it's that one and to him it's the other, and that guy over there, the one with the two left feet, I mean that poor bastard isn't even listening to the same record. I mean, he's still back in the 70's figuring' how he's gonna beat Ticketmaster tomorrow morning at 9 and score some McCartney tickets, alright? Nothin' wrong with that, see? Even if he ends up buyin' 'em on eBay. Cool, get it done, right? But the thing is, what I really mean is reality is all there is, only our individual interpretations of it differs. That said, "Crooked Path" blows me away and is worth the price of admission, we're talking a small slice of 100% pure purity and we're here in 2005. It's worth a major celebration to learn it still exists. What a cut!

And there's a lot more! On "Nothing Like You" you got a woman talking truthful trash in the key of Dixieland on a riverboat with Pete Fountain when he was just a kid. Roxy nails the last line, the "I ain't nu uh thin like you." Made me smile.

Need a little boogie? There's "Two Left Feet," a little 1946 Louie Jordan -zoot suite jive. Why not? And if you've just come of age and are just havin' your first taste . . . welcome children, it's always new for someone and today's your lucky day.

Next she's goin' down, down, down like a "Stone In The Sea," and time is tight so you best get the hell out of her way because there's nothing more dangerous that a blues woman in lust. The guitar work shines on this one, but just like on every other cut, it's totally imaginative and smooth as the rough surface of a starfish - vocals that drip all over your headphones like hot fudge on cherry vanilla ice cream.

On "Get It" we've got some hot rod Lincoln guitar blazing under her breezy harp playing just seconds before she wails "tomorrow, tomorrow, tomorrow," who the hell knows about that, you understand? So the queen suggests, in no uncertain terms, that you get it before it goes." Who can argue?

"Forgive and Forget" is next and we welcome Booker T and The MG's, special mystery guest stars here for sure. Unless, Roxy's band . . . Dave Fields, Tim DeHuff, Eric Merovitch, Linda Geiger, and Bob Fusco duplicated The MG's patented sound. And hey, with no offense intended, that's an impossibility, right? So here's to the mystery guests who must be playing without credit due to some type of legal mumbo jumbo. It don't matter anyway because this tribute to the Stax Volt sound is just another way of underscoring and presenting the sugar in the tea vocal styling of the queen who swears she was good, and hey, that's all you need to know.

Next Ms. Perry demands that you "Do It." And if you can't understand what she's laying down here, well get up and just do it over there. I mean, if this song was a book it could be called "Blues For Dummies" because it's a straight out no holds bared invitation to just get on with it, you know, or else . . . later and enough . . . and it had to be said so that's it.

And somehow our trip through Bluesville ends up at "The House of the Rising Sun." Doesn't it always? I mean, come on, if we're really going to be honest and adults about all this you have to admit, that one way or another we always end up here even if it's just for a road runner. Dylan got here first on his debut LP, and, of course Eric Burdon brought the joint to the attention of the masses with the aid of some good old fashioned mid-60's payola and the then flourishing Top 40 format.

I remember one time when I was in New Orleans riding around in the back of a horse drawn carriage and the ebony dude who was showing us around took us to this place and explained that this was where fathers brought their sons to lose their virginity, and hence it was called The House of the Rising Son (Delta humor you see) and now it's like a few years later, and here's Roxy Perry doin' the tune. Could anything be more perfect? Only CD #4 as a collection of all authentic, public domain blues classics, but we're getting way ahead of ourselves here. Right now you have the opportunity to hear Roxy Perry singing "The House of the Rising Sun," a cut that on its own, makes 2005 a great year.

There's no more music, just another great photo of Ms. Perry on the back looking all pretty and peaceful and cool and so, you know, I got mine, and you all should get your own.

I gotta call this night a day, so see you in my dreams.


Back In Bluesville – Best Self-Produced Blues CD of the Year!
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.

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.

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!”

Review in MazzMuzikaS Free-zine 17
Belgium

What a seriously wrong impression on my part! With a name like Roxy Perry, I thought I'd wind up on some questionable Internet site. The lady looks thus, yet nice, and then the impression was quickly made...  but what a pleasant surprise awaits when I play the CD for the first listen. She is called the New York Blues Queen.  Moreover, she plays harmonica. It arouses my curiosity. As from the first note, I know that it is on the mark. 

Title song, Back In Bluesville is a direct hit. Its a nice slow blues with Dave Fields, its guitarist, producer, arranger and sound engineer, in short indispensable on this disc. Then the voice... I think of Etta James. The funky Whole Dog has everything of a Bonnie Raitt song. Roxy Perry manages all styles, both vocally and instrumentally. Midnight Train is a late night slow tempo blues song in the style of Patsy Cline's Walking After Midnight. Its harmonica work is subtle and to the point. In Crooked Path Matt Baxter's dobro makes for a nice party slide blues. Nothing Like You breaks out from a smoky New Orleans jazz - or blues club. The ambiance for which Bill Holloman is responsible is that of a Billie Holliday... Tipitina's or the Preservation hall jazz club are not far away.  Roxy can also shake a strong boogie woogie - Two Left Feet is somewhat in the way of the repertoire of Candye Kane, Marcia Ball or Dana Gillespie. This song, concerning the inevitable dancer with two left feet that you see at many concerts  "He's got no rhythm but he sure got the blues."  We place Stone in The Sea and Do It under the Funky Blues Rock category. Get It is a strong boogie-rocker, again with Dave Fields on keyboards. He proves be a multi-purpose musician.  Forgive And Forget, in which the Memphis soul sound is obviously present, similar to the groove of Booker T's Green Onions, and the classic, House Of The Rising Sun.

I must say that I did not anticipate in the first place a cover played traditionally on this disc, but Roxy succeed to put down a true version. Again her harmonica work is on the mark, as is Dave’s musicianship. A beautiful clincher of very pleasant and varied blues-cdblues-cd blues-cd. Golden Rule of Ome Ben: You can't judge a book by it's cover..



ROXY PERRY - NEW YORK BLUES QUEEN

 

BLUES REVIEW MAGAZINE
Review by Tom Hyslop

Roxy Perry say's, "My gigs are not for wallflowers or the feint-hearted. We have huge fun". If you aren't planning to have a good time, you've got the wrong disc in hand. Roxy has refined her big-city brand of Blues to guarantee total abandon, and with NY BLUES QUEEN, she takes the party from the city to the nation.

Her supporting cast is a revelation. The rhythm section of Bob Fusco / bass, Stuart Stahr / drums and Bob Mayo's piano playing, rocks with a steady roll and swings hard. Matt Baxter balances the rarest of commodoties among guitarists- taste- with an uncanny knack for driving songs home. The smart charts of Roxy's horn section, Baron Raymonde, Dave Mullen and Paul Brandenberg, add a big , brassy, uptown party sound to the mix. As Ms. Perry puts it , " No ass draggers here."

Nothing tired about the setlist either; all the songs are fresh sounding originals. Roxy and her band make the most of the album's only shuffle, ''Hey Mr.'', mixing grease and honk in equal proportions. From there the horizons broaden. ''Do the Right Thing'' a Big Apple-centric, streetwise strut, finds Roxy issuing instructions on propper conduct and Baxter taking the jazzy route in his guitar break. Roxy invests ''Way Down'' a sophisticated eight bar blues. The rideout zig-zags into supercharged gospel testifying. ''Men Like You'', a case study in dynamics, shifts from simmering to speaker blowing. Second-line drumming and fine Dixieland horn work underpin the wistful verses and jubilant choruses of Roxy's New Orleans dream. ''shakin off the Blues''. ''Struck Down,'' takes maximum minor key advantage of the Perry band's big sound. Roxy closes with ''Tailgate Swing,'' a driving acoustic blues in the Muddy Waters style.

Roxy's the real deal. Her instincts are dead-on; she caresses introspective numbers like ''Woo-ooh'' and blows the lid off rockers like the explosive ''The Blues Don't Knock. So push the chairs aside, cause a set's worth of New York City blues, Roxy Perry style, is about to come to you. Roxy on the scene at Manny's Car Wash: ''We judge how well the night went by how much furniture is still standing, how many waitresses are passed out on the floor, and how deep the lake of beer is in front of the stage.'' All that good-time power comes across loud and clear on NYBQ. Curtsy, kneel or bow down. Roxy Perry IS New York's Blues Queen.


BLUES ACCESS MAGAZINE
"Roxy Perry NY Blues Queen"
cd review
WINTER '98 ISSUE
By BOB KISLIUK

Now Roxy Perry, she's a belter. With a big,sassy,brassy voice capable of directing the traffic made by a swift-moving, seven-piece band, she can also take a country stroll, as she does on her own acoustic slide Delta blues double entendre thing, the fine "Tailgate Swing." Other than that one low-down cut, Perry's CD is packed with polished, soulful urban blues. The stand-outs among the nine originals here are dangerous and funky, revolving around Perry's extremely healthy, streetwise and flexible voice. Sometimes horn-laden in the R & B tradition, sometimes lean and spare in the Chicago style and inclined occaissionally toward gospel, "New York Blues Queen" is a consistent, energetic piece of work from an heir to the blue-blood lines of Koko Taylor and other powerhouses.


LIVING BLUES MAGAZINE
"Roxy Perry NY Blues Queen"

Backed by a capable band, Roxy Perry belts out credible R&B. The traditional arrangements emphasize her vocals, which convey tales of woe that come with what she calls the "curse" of the blues- obviously a curse she appreciates. -PJK


CD Review
Roxy Perry
"New York Blues Queen"
Blueberry Hill Records
by Mia Jennings
Review date: June 2000
from Blues On Stage website.

Hail to the Queen! The New York Blues Queen that is. Roxy Perry's rich, sultry vocals wail with class in the royal court of Blues, and is crowned with unique style and vibrant talent. There are some blues musicians which I enjoy just kicking back and listening to and there are some blues artists which I enjoy feeling every provocative note. Roxy Perry's New York Blues Queen is definitely a CD which I felt with powerful emotion, song after song.

According to a recent interview I read on the Internet with Lea Gilmore, (http://www.p-dub.com/thang/) Roxy Perry was throned the New York Blues Queen while featured on the cover of the 1997 Tri-State Blues Magazine, in their "Women In Blues," edition. She's originally from New Richelle, New York, and has been refining her skills as a blues woman for 37 years. Perry's a well crafted, female blues artist who has definitely paid her dues over the years, and it's time she receives a large return for her investment.

Roxy Perry's first time on stage was at the age of five. She recalls being a natural and never really felt the fear of the public spotlight. Although, when she encountered her first gig at the age of ten, playing with a swing orchestra at Glen Island Casino, her heart skipped a few beats with hesitation before she shook her small amount of fear off. Afterwards, she received many return engagements. By the time she was 18, she was performing with her seven piece band on 45th St. at the Peppermint Lounge: six sets a night, six nights a week. In the 70's Perry played many gigs in Time Square and Greenwich Village, which she thought was pretty cool. Afterwards, she moved south for awhile before returning back to New York City in the late 80's. Perry has stated that the Blues have been good to her since the beginning, regardless of her rough times.

Roxy is the only one in her family who is gifted with musical talent. She never was one to play with toys as a child. Music has been her art as well as her emotional release, and has been as natural to her as water flows. When you listen to her belt out those smooth, rich notes, you can tell by her melodies that she sings with pure passion and not like a prefabricated blues artist. The notes she releases are real, straight from her soul and packed with a lot of heart filled attitude. She doesn't hold anything back.

Perry's strong; sultry voice isn't her only talent. She also writes most of her own music, oversees many of the business aspects for her band, and plays with sweet emotion and raw soul upon her harp. And when she's not dealing with the musical aspects of her life, she is a house wife and gardener. This New York Blues Queen's crown is jeweled with seven talented musicians as well. Her husband Bob Fusco has been supporting Perry's musical career for 24 years, and accompanies her talent with his bass guitar. In addition to Roxy and Bob on this CD, there is Matt Baxter (Skilled guitarist, co-writer & producer), Stuart Stahr ("Cool groovin' drummer"), Bob Mayo ("Brilliant Keyboard"), Baron Raymonde ("Torrid Sax"), Dave Mullen and Paul Brandenburg ("Da Brooklyn Bums Horns"). Together these seven fine musicians jam with diabolic precision.

Her first solo CD was her own produced, "HI HEEL BLUES." Eight of her original melodies were released by Monad Records in 1996. Due to the recording company dissolving, this CD was not promoted real well. However, through word of mouth, from disc jockey to disc jockey, she received a lot of air play all over the world. Roxy Perry is not an unfamiliar name to blues fans nationwide. She has been featured on Blues Radio shows steadily since June of 1998. All nine cuts in her newest CD, "New York Blues Queen," have been aired, and featured on many of the top twenty-five play lists for several consecutive months throughout the nation. Her well known voice has also been traveling the frequencies of satellite radio and Direct T.V., as well as the air waves in Europe. Roxy Perry will also be appearing at the Montreux Jazz & Blues Festival in Switzerland, July 2000.

I had a difficult time narrowing down my favorite cuts. I fell in love with all of the songs. After listening to this CD many times for several weeks, I finally narrowed it down to, "Woo - Ooh." This song hit me deep in the soul. I also enjoyed the Delta Blues mix in, "Tailgate Swing." I loved the sound of the slide. And cut number three, "Men Like You," because when I heard her sing this song, I felt her pain and emotions with impact. Those were my top three favorites, though I enjoyed every cut and thought each was original and straight from her heart and soul.

If you want to pick up this CD, it's now available on EZCD.COM and MP3.COM. Or if you're in New York City or ever get there, stop in to listen to Roxy Perry at Manny's Garage.

This review is copyright © 2000 by Mia Jennings, and Blues On Stage, all rights reserved. Copy, duplication or download prohibited without written permission. For permission to use this review please send an E-mail to Ray Stiles.


SOUNDWAVES MAGAZINE
cover story by Deb Crossings
Roxy Perry / NY Blues Queen

Often in today's musical world you you hear and see pre-pacaged acts that cover many genres of music and you have to ask yourself, ''Style or substance?'' Do these pre-packaged acts have any substance on a musical level. or are they just pretty packages for the masses?
Roxy Perry has both style and substance. She is a charismatic, sassy performer with great stage presence and a vocalist who really knows how to work a song. She has the uncanny ability to bring new life and enthusiasm to standards that we have all heard before. Her shows are full of excitement and humor and her mass appeal is due to an abundance of substance and style. Roxy has often said .''When I perform I want the audience to have a good time.'' This comes across, and her audiences do have a good time. She sings with that New York attitude which has made her one of the top performers in this city.

Roxy is a singer , songwriter and harp player whose talents are obvious once you have listened to her CD or have seen her perform live. She has performed at many of the best clubs in the Tri-state area and in a region that is known for it's competitiveness. Roxy has risen to the top. She is a veteran of the New York scene going way back to days of Dan Lynch's on Second Ave, where she used to run the jam sessions. In addition, she was also a regular at the now defunct Manny's Car Wash, one of the premier Blues clubs in the city.

Roxy grew up in a house filled with music, hearing the likes of Ella Fitzgerald, Peggy Lee, Big Mama Tornton, and Ray Charles and as Roxy likes to say ''the three Louies'' Jordan, Prima and Armstrong. These were just a few of the performers she grew up listening to as Roxy has been known to say,''Ididn't play dolls, I played records.'' I would say that all that listening has reaped rewards and has transformed Roxy into the extraordinary singer and entertainer she is today.

Roxy has been performing since she was a child and was the featured vocalist in a swing orchestra at the age of 9. That was the start of her musical career, which ran the gamut of Jazz, Pop, Rock and Blues. By the age of 18 she was fronting a 10 piece Soul band called Ivory and Ebony that played 6 nights a week at the famous Peppermint Lounge on 45th St. in Time Square district of NYC. She soon landed a job as back up singer with Dawn. They toured for three years promoting their hits all over the world sharing the concert stage with Kenny Rogers, Rare Earth, The Carpenters, Iron Butterfly and many other headliners of that era. Roxy was later in a number of noted Rock bands that toured around the country before turning to Blues. People find Blues through various ways as some artists are just passing through Roxy is here to stay.

Roxy's shows are full of excitement as she knows how to work the band and the audience to a fever pitch. She always surrounds herself with great musicians in order to achieve the sound she requires. As with many band leaders who know what they want, Roxy is known to be demanding. She hears music in her head and expects the band to play accordingly. Her seven piece kick ass band can blow you away.These guys come to play! Roxy's CDs are equally impressive due to the musicians she chooses to surround herself with.

In 1996 Roxy signed with Monad Records and High Heel Blues was released to great praise from the critics and fans alike. She wrote most of the material as well as produced it.But the label soon folded.

In 1999 Roxy released Roxy Perry / NY Blues Queen on her own label where she co-wrote and produced the CD with guitarist Matt Baxter. This CD also recieved great reviews from the critics. The CD contains 9 original tunes that highlight Roxy's versitility as a vocalist. Drom up-tempo shuffles with an edge to torrid, sweet ballads. Roxy sings with great ease and style. She is truely a gifted singer who writes with intelligence and humor. Her lyrics speak of the life that we all experience but few of us know how to put it into song.

The rhythm section on the disc consists of Matt Baxter / guitar, Bob Fusco / bass, Stuart Stahr / drums, Bob Mayo/ keryboards with the horn section featuring Baron Raymonde / sax, Dave Mullen/ sax and Paul Brandenberg/ trumpet. This group of musicians are perfect in achieving that drive and energy that propels this CD .

This summer has been particularly busy for Roxy and the band, keeping up with their hecktic club schedule and a number of festivals. The most recent festival being The NY State Blues Festival in Syracuse NY. This November Roxy will be performing a concert for the Sacramento Blues Society along with a few club performances in the San Francisco, California area.

In this business that can break your heart time upon time you really have to love what you do to continue and Roxy is in for the long haul. She does love to perform as audiences can attest. You should see her in action. The next time she is in a club near you be sure to check her out. You won't be disappointed.


SITTING & THINKING:
Roxy Perry - New York Blues Queen
Blueperry Hill Records
by TOBY LEVI
NY CD Blues

This is an exceptionally fine independent album, with production values as strong as any commercial release and music that provides a multitude of joys. Roxy Perry is a native New Yorker, and the tough, can-do big city attitude permeates the entire album. As a native of the Big Apple myself, I always found it curious that after the blues expanded from the central American axis that runs from the Mississippi Delta to Chicago, more blues didn't take root in New York. As with Chicago, some first and second generation blues folk moved to New York to live and work, but it never really produced a New York sound or style of blues. The greatest value of Roxy Perry's album is that finally we hear blues with a clear New York sensibility. Roxy not only has a wonderful voice, but she writes clever lyrics and clearly has a lot of fun with the blues. She gets a big sound out of her seven piece band. Over the course of the album they all get to strut their stuff and there isn't a misstep to be found. Roxy and her band are direct descendents of the great late 60s band Ten Wheel Drive fronted by Genya Ravan.

DO THE RIGHT THING / WAY DOWN / MEN LIKE YOU / WOO-OOH / THE BLUES DON'T KNOCK / SHAKIN' OFF THE BLUES / STRUCK DOWN / HEY MISTER / TAILGATE SWING

DO THE RIGHT THING: A mid tempo shuffle gets the album off to a rolling start with Roxy singing in a gritty voice of the importance of correct conduct in all aspects of life. With the horn section pumping out the rhythm, Matt Baxter on guitar and Bob Mayo on Keyboard lay down stirring solos. At the end of the song Roxy says "It's a beautiful thing, you hear me?" and a sassy chorus of band members call back "Yeah, we hear you."

WAY DOWN: Roxy pours on the honey with this soulful ballad. The flexibility of Roxy's voice is highly evident here as she sings of her faith that the one she loves still desires her despite his surface indifference. Three of the band members provide a backup vocal group that is very effective. Roxy and the band kick out the final minute of the song with a wailing uptempo Gospel finish.

MEN LIKE YOU: Roxy is everywoman in this slow blues that explains the many ways that men give women the blues. "Go ahead and go," Roxy growls at the beginning of the song, "Come on now, let me help you to the door. Don't forget your clothes. They're right there where you left them on the floor." This cut contains some moving guitar work by Matt Baxter. Roxy takes a blues harp solo on this tune. At the end of the song Roxy emits a short giggle of satisfaction that indicates just how glad she was to get all that frustration off her chest.

WOO-OOH: There's never been a female counterpart to the late great Howling Wolf, but Roxy gives us in this song a taste of what that female wolf would be like. The horn section sits out as the rest of the band plays a very modern urban blues in a spooky minor key as Roxy moans in the moonlight. The very clever lyrics tell the tale of a person cursed from birth. "Well, life is rough and I'll be tough, but sometimes I just wail." Roxy and Matt both take spooky solos that extend the mood.

THE BLUES DON'T KNOCK: The horns return in force in this roaring, rollicking blues that is crammed with funny lyrics. Roxy belts out the hard truth that there is no hiding from the blues, they arrive unannounced and stick around just as long as they feel like. The blues will "order stuff on TV then they send the bill to you!" Matt plays a really sweet slide guitar here.

SHAKIN' OFF THE BLUES: This is an absolute killer track. It is my favorite tune, one that gets ever better with repeated listenings. Roxy's voice is at it's pinnacle, coming at you from behind a smokey veil of despair. Not a blues song, it varies between a jazz tempo and New Orleans funk as Roxy makes her several attempts to shake off her depression. The transitions that the band makes between the tempos are truly magical. Three more horns are added to this track, and Jim McElwaine's clarinet is absolutely perfect.

STRUCK DOWN: Back to a more traditional, big band kind of blues. Matt Baxter's guitar wails as Roxy sings desperate lines like "Can't you see my heart is just laying on the ground, and I'm so sorry to say there ain't a thing you can do to bring it round." A very intense song.

HEY MISTER: The band strips down to the bare essentials as they launch into a rocking blues that Roxy handles with rough and tumble conviction. Roxy is looking for a place where nobody knows her so that she can act like a crazy dancing fool.

TAILGATE SWING: Matt plays a dobro and Roxy sings a delta blues that sounds like it comes straight out of the Memphis Minnie stylebook. Roxy sings of both the pleasures and difficulties involved in having a provocative walk. Once again the lyrics are absolutely delightful.

Reviewed by Toby Levy
Copyright NY CD Blues - 1998


Mention the name Roxy Perry and you'll hear great reviews. Named N.Y.'s Blues Queen by Tri-State Blues magazine, Roxy has delivered great shows wherever she goes.

If you stand outside of Manny's Car Wash , NYC during one of her shows, you'll hear the whole house laughing, singing along and cheering.."There's definitely something going on in there." Roxy's powerful, rich and expressive voice reflects the maturity and knowledge she gathered over years of listening to the greats and singing what she learned. Never forced or strained her voice carries you through every shade of Blue in her own unique style smoothly and naturally. Her songs can bring tears to you eyes in both laughter and sorrow. Roxy's stage persona is unique too. She'll stop a tune to comment on "that guy in the audience" that's having just too good a time. "Hey buddy, put your pajamas on and go to bed". She'll say as the place roars with laughter and then continues the song, right on key like she never stopped.

Roxy's background and interests have all been music. She's often quoted by interviewers as saying,"I didn't play dolls.""I played records." Ella, Louies....all three....Armstrong, Jordan and Prima. Peggy Lee, Big Mama Thornton, Ray Charles..just to name a few of what she calls her childhood friends.

At age eight she was featured in local swing orchestras. By eleven she was jamming in smokey beatnik bars and recording jazz demos. As a young teen she strayed into rock and roll like every other kid did then. By age 18 she was fronting a ten piece soul band called Ivory and Ebony who played six nights a week at the famous Peppermint Lounge , 45th St. , in the heart of Time Square area Manhattan. This exposure led to recording and touring situations throughout the seventies. The most noteworthy was her 3 year tour as a backup vocalist for Dawn . During the Knock Three Times and Candida era, prior to Tony Orlando's take over. During this time they performed with Kenny Rogers, The Carpenters, Rare Earth , Iron Butterfly and many other popular groups of the time. In the 80's she had an ep release on Personal Records titled Gimme Good Lovin. It rose to # 27 on Billboard Magazines dance charts. There were rock bands, metal bands, tribute bands and more all throughout the 70's and 80's. It all came together in 1990 when Roxy hit the NY scene with her Blues band at long last. She took the area by storm and continues winning over cities across the USA and foreign countries, to this day.

Her studio work added new credits to the long list. Her commercial work included theme songs for World Wrestling Federation. Loads of back up vocal credits on too many albums to list. Her first solo CD was titled HI HEEL BLUES released on Monad Records in 1996. The cd had eight of Roxy's original tunes on it which she produced as well. The company became insolvent and the cd was not promoted or distributed well. However it got glowing reviews from the critics and tons of airplay all over the world just from one disc jockey recommending it to the other.

Her latest cd titled ROXY PERRY NY BLUES QUEEN, was released May 23, 1998 on BLUEPERRY HILL RECORDS which is Roxy's label. All the tunes on the cd were written and produced by Roxy Perry and Matt Baxter. The cd has been listed as the top 15 albums on WSFM/ NC, top 20 on WFCS /CT, top 25 on KKUP/ CA. for the months of Sept. Oct. and Nov. 1998. Her cd was also acclaimed to be one of the top two indie cds for 98 by reviewer Stephan Mc Clanning. Roxy's cd has also been featured on syndicated shows such as PORTRAITS IN BLUE and mant netcasts.

As they say in NY" For a good time call Roxy". Once you've seen and heard Roxy Perry you will never forget her.

Lucia Kim
Public relations


BLUE NOTES
Sacramento Blues Society
Vol 18 Oct .1998
By Robin Vernon

ROXY PERRY NY BLUES QUEEN
Blueperry Hill Records

These days there are a lot of CDs out by female vocalists. Roxy Perry New York Blues Queen CD certainly rates among the best in my opinion. Roxy is a NY gal who brings the Big Apple attitude to you with style and conviction.

Her astonishing voice delivers an entire pallet of color and emotion throughout the album. Rough, tough, sweet and sultry, clear and honest vocal renderings are all put in the right places. She's got a NY style of humor.made me laugh out loud. While her ballads walk you straight into her heart of sincerity.

Roxy plays harp as well as she sings, and her seven piece band supports her every move flawlessly. Matt Baxter, co-writer, co-producer is an astounding guitarist. His colorful style and burning leads truly put the cream on the cake. He even plays dobro like he was born on the Delta. Bob Fusco, bass and Stuart Stahr, drums complete this rhythm section to perfection.

The horn section with Dave Mullen, tenor sax, Paul Brandenberg, trumpet and the torrid Baron Raymonde, alto sax punctuate every point with their phenominal energy. Bob Mayo, keyboardist, rolls those keys like there's no tomorrow.

This is a great independent CD. Its content and production are of major label quality. While reading the liner notes I was further impressed by the fact that Roxy wrote and produced this CD as well as designed the cover. The cover shows Roxy sleeping on the equipment after the gig.well nobody was sleeping on this album. For sure!

If anyone would like to purchase this album you can do so by contacting Roxy at her e-mail addr...roxyperry1@aol.com. $16. S&H included. You won't be disappointed.


SOUTHLAND BLUES MAGAZINE
By Maria Bainer © December 1998

ROXY PERRY NY BLUES QUEEN
BLUEPERRY HILL RECORDS.

Roxy Perry has been playing music for thirty-four years and is reguarded as NY's Blues Queen. She sings strong , clear vocals which border on the shouter kind. She blows a sweet. Expressive harmonica. She wrote all the lyrics to all nine tracks on the cd.

Her band has seven members who play guitar, bass, drums , keyboards, saxes and trumpet. There is a guest clarinet player and trombone on one track . The band gives a solid dimention to the songs. In the liner notes Roxy gives credit to each band member and comments that if she is NY's Blues Queen, the players are the jewels in her crown.

Her songs are mainly R&B ones and some have a bluesy sound to them. Her longest track on the album is a blues song ''Men Like You''. Her vocals and harp playing give a refreshing sound to her song ''Tailgate Swing'' which has a n accoustic dobro guitar accompaniment. Her arrangements, rhythm patterns and lyrics, mainly about relationships, are imaginative, varied and hold one's interest. She brings in a gospel base when she increases the tempo in ''Way Down'', and a bit of New Orleans second line rhythm in ''Shakin' Off The Blues''. ''The Blues Don't Knock'' is a catchy, upbeat tune.

This CD OF Roxy Perry's shows off her creative talents of singing, harp playing, and song writing. It is a well done album with everyone working together to present an exellent, varied CD. The only regret is that Roxy only plays harp in a few tunes. I t would be good to hear more of her harp blowing in future albums, since not many woman play harmonica.


BLUES CONNECTION - ISSUE 10
BLUESPOWER SOCIETY / EAST ORANGE , NJ
REVIEW by; RED DOG

ROXY PERRY NY BLUES QUEEN CD
BLUEPERRY HILL RECORDS

Roxy will appeal to all those people who got caught in the wake of Michelle Wilson of late. Roxygets a darker blue on ''Way Down'' with the help of Baron Raymonde on torrid sax. then kicks out the jams with a killer creciendo. Matt Baxter steps up to the plate on ''Men Like You'' with razor sharp guitar work and together with Ms. Perry take this one home. She is equally at ease belting out the blues or teasing and toying with you as she does on the catchy ''Blues Dont Knock''. ''Shakin off the Blues'' is the most interesting song , with change up bayou rhythms and upbeat motif.

Throughout the disc the horns punctuate and push the band thanks to the genius of Raymonde, Dave Mullen and Paul Brandenberg. Check them out on ''Struck Down'' and ''Do the Right Thing'' or any of the tracks for that matter. The CD ends with the rural ''Tailgate Swing'' which leaves you hoping the second set is just as rewarding. For those with internet access go to http://www.cuttingweb.com/bluemonday to hear cuts from Roxy's new release


ROXY PERRY - NY BLUES QUEEN CD - BLUEPERRY HILL RECORDS
John Muller - Blues Power Blues Society

Roxy Perry is an underrated singer, songwriter and harp player who combines the soulfulness of Billie Holiday with the full blown blues delivery of Bessie Smith. She can tease you with a soft vocal caress or she can belt out the blues with wild abandonment. Roxy Perry is her own woman, a uniquely gifted talent who clearly loves the blues.

The band is a roster of sharp talent that can't be ignored. Matt Baxter's guitar work is killer throughout the cd. Baron Rymonde (baritone and alto sax), Dave Mullen (tenor), and Paul Brandenberg (trumpet), create a horn driven blues push that smokes throughout. Bob Fusco (bass and back up vocals) and Stuart Stahr (drums) provide the perfect rhythms for the blues. Frank London (trumpet) ,Jim McElwaine (clarinet) and Brian Bonzisutto (trombone) blow wild on Shakin off the blues.

This is an infectious groove fest of unbridled energies that ooze excitement. Embrace the " ROXY PERRY BLUES BAND" WITH WIDE OPEN EARS. See them perform live at a venue near you. ROXY PERRY NEW YORK BLUES QUEEN is one cd that definitely lives up to it's title. A sure fire winner.
J. Muller


RADIO REVIEWS

This cd is well worth listening to, and one that will get some airplay from me. Roxy's got a big voice, a good band, and some good songs.
Phil Casden / WFWB, Camden, NJ

Roxy, I love your cd- it just got put into regular rotation today. I played 4 cuts . There are lots of good tracks on the cd . We are getting the most comments on "Tailgate Swing". Your album is in our "emphasis " section in the on air studio. It will get lots of airplay here.
GURU DAVE / WSIA 88.9, Staten Island, NY

Just wanted to let you know that I have been playing your cd. I have been mostly playing Way Down and The Blues Don't Knock.
Jim McGrath / WXXI
Rochester, NY

Just a note to let you know that we love the cd and have these songs on regular rotation. Do the Right Thing, Way Down, Men like You, The Blues Don't Knock, Struck Down, Shakin Off the Blues, Hey Mr. And Tailgate. TOP 25 CDS FOR AUG. SEPT. OCT. NOV.98
Dave Grogan, Program dir. WFDU
Teaneck, NJ

Your cd is GREAT! You are the real thing girl. Your voice and tunes area awesome. Your harp playing is very expressive. The band is "killer". I am playing your whole cd regularly. Anxious to see you live out here in California.
TOP 25 CDS FOR AUG.SEPT.OCT. 98
Tony Gomez / KDYS 91.5 Sacramento ,Ca

Just wanted you to know that I think you have a fine product here and we are putting it on regular rotation.
Richard Skelley / WSRU Spotswood, NJ

Having a ball with your latest cd..A real hell of a good time cd blast!!!
PS; Other stations are calling for it!
Bill Nolan / WPKN Bridgeport, Ct

I played your cd and will play it again and again ..
TOP 15 CDS FOR SEPT.OCT.98
Doug Carlisle /WSFM Wilmington, NC

Good cd..we'll give it lots of play
N.P. Thompson Jr. WLOQ , Maitland FL.

Exellent Album
David Shear / WSIA Staten Island NY

Fine vocals.will continue to play
Ed Davis / WUSB, L.I., N.Y.

Roxy is way cool.
TOP 25 CDS FOR AUG 98
Stan Ruffo, KIOO 99.7FM, Visalia, Ca.

THANKS FOR THE CD!. Have played several cuts already. Feel guilty for not paying for such a fine cd.
Galen Hanes , Blue Wave Radio WECG

Solo Albums
BACK IN BLUESVILLE / Blueperry Hill Records
ROXY PERRY NEW YORK BLUES QUEEN / Blueperry Hill Records
HI HEEL BLUES / Monad Records


Compilation Albums
HOBO JUNGLE / Silk City Records
BIG APPLE BLUES / Taxim Records
PUBLIC DOMAIN / Purchase Records (Grammy nominated album - Roxy's
contribution "House Of The Rising Sun")

Appearances On Other Albums
SKILLIT
FRANKIE PARIS AND COLD SWEAT
RHETT TYLER - "Live At Manny's CarWash"
ROSCOE GORDON

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