Blues Alive 76
Interview with Roxy Perry
by Eric Van Royen
Lisez l'article en français

To start, I will thank Mister MySpace because without him, I would have surely passed by one of the most beautiful feminine voices of the contemporary blues world.
Roxy, I discovered you upon the release of your preceding CD, BACK IN BLUESVILLE and since I am an unconditional fan. To date you are my most beautiful Blues discovery I've met on MySpace.

In this album you tackled a standard song whose most known version is that of Eric Burdon and Animals, THE HOUSE OF THE RISING SUN. Many artists have done many versions of this song. How did you come to your beautiful arrangement of this song?

Roxy: I sang this song decades ago when it was first released by Eric Burden. A producer invited me and my long-time guitarist, Matt Baxter, to do our version of it on a compilation album of public domain songs, several years ago. We did a unique acoustic version of the song on the album entitled PUBLIC DOMAIN (Purchase Records). I then put it in my live show, and the song evolved further with my then guitarist, Tim DeHuff. Tim is a master of passing chords, which he used to make the song even more special, and most importantly, instilling the song with our own, unique sound. Our version of HOUSE OF THE RISING SUN was so well received by my live audience that when I started to record BACK IN BLUESVILLE, I knew I had to include it as the CD’s cover tune. I include a cover song on all my CDs. I believe the covers give listeners a reference point from which, by comparison with my original material, they can have a better understanding of my compositional ideas.

Eric: Personally, I find that BACK IN BLUESVILLE has similar continuity of NEW YORK BLUES QUEEN but IN MY SWEET TIME evolves/moves on to a new level. Was this your intention?

Roxy: BACK IN BLUESVILLE was an album that was a long time coming after NEW YORK BLUES QUEEN. After a rather lengthy gap of time between releases, I had to re-establish my point. I intended for the two albums to take the same path, almost identically. The songs are different, but the format is the same.
Each of my albums intentionally presents a broader scope of Blues styles and arrangements, musically. My motivation is to challenge the listener to journey with me down the many paths of traditional and classical Blues directions. Each album sequentially brings the listener to an extended journey from the previous release. IN MY SWEET TIME, unlike my prior three CDs, was self-produced and entirely my concept – from the music, to the arrangements, to the sound of the production. It clearly defines me as a writer, musician and producer, independently. This was my intention. I wanted my fans to be able to recognize my input as co-producer on the previous albums. I am known for taking chances. I do this for the sake of art on my recordings as well as in my live show. I took a big chance to go it alone on IN MY SWEET TIME. Happily, the CD has been fondly embraced; perhaps more so than my previous albums. I am very happy with the product and its reception.

Eric: What is your concept of traditional Blues vs. contemporary Blues? Do you label yourself as a traditionalist or a contemporary Blues artist?

Roxy: I label myself as a contemporary traditionalist. Let me try to explain.

As a genre, the Blues must evolve to honor the very definition and Tradition of Blues. The Blues is about an individual’s truth. For a song to be true with respect to the Tradition of Blues, the song’s subject and lyrics should reflect the artist’s life stories and time, as well as reflect the contemporary musical style of the time in which he or she lives.

My compositions are based on the foundation and pallet of original Blues music. I try to present the varied shades of Blues in my music, as well as utilize production sounds of both past and present. This is a broader approach than most contemporary Blues artists pursue. Naturally, having lived for over a half a century, and having performed and studied Blues as it evolved over these decades, I have planned each successive CD to travel further along the Blues journey than the album preceding it. I am a Blues singer, and by definition, every song I sing is instilled with my unique sense and spirit of the Blues – No matter what the genre originally, through my styling and execution, it becomes a Blues song.

My goal is to leave a worthy legacy of Blues recordings behind that will hopefully inspire another generation to continue in the Tradition of Blues and its evolution. Keeping in mind that recorded work lives on long after we are gone from this world, I execute every detail of my songs to reflect the best I have to offer, with the hope they will withstand the test of time.

Eric: You seem faithful to your musicians. One finds many of the same musicians on IN MY SWEET TIME as were on your previous releases. Can you tell us more about your choices of musicians on your recordings?

Roxy: My choice of musicians is based primarily upon their distinctive sound and skill. I select musicians the way a painter selects colors. In other words, I pick key players whose colors match the songs.

When I write a song, I hear the sounds and arrangements in my head. I try to match my concepts to the right players as best I can. My bass player, Bob Fusco, has been on all of my recent albums. He can anticipate the bass sounds I have in mind better than anyone I know. We have worked together for over 35 years. (He is also my husband, which undoubtedly assists his strong sensibility in this respect.)

Matt Baxter, who played guitar and dobro, co-wrote, co-produced NEW YORK BLUES QUEEN in it's entirety with me and appeared on the Delta tracks on my two following CDs, BACK IN BLUESVILLE and IN MY SWEET TIME, has been with me for two decades.

On my remaining CDs, I employed the talents of various drummers, keyboard players and guitarists, all of whom I selected according to the demands of the songs. IN MY SWEET TIME, for instance, has four different guitarists and two different drummers. Matt Rae is actually a contemporary Country guitarist of note, and I could not have chosen a better back-up or lead player for the tracks, ROADMASTER and I’M SO LONESOME I COULD CRY. Matt is beyond perfect! Guitarist, Hiro Suzuki, also sets the perfect groove and feel on the title song, IN MY SWEET TIME, and on BLUES COMES TO CALL. While guitarist, Chris Vitarello’s style leans towards jazz, he also possesses great versatility, which he demonstrates on several of the tracks on this album. In short, all the players are well suited for each position.

Eric: Is the band on your latest CD the band you perform live with?

Roxy: Some musicians who appear on the CD also appear with me on stage. Generally, my live show personnel are drawn from the same pool of top pros who can capture the intent and sound of my full repertoire, from original material to original renditions of classic cover songs. My live band and show maintains the tradition and stellar reputation it has had for decades. Because of the diverse and unique nature of my material, I always have available an array of the very best players, all of whom possess the high level of skill, talent and familiarity with my book to present the show as I intend it. The audience is always given something very special to watch and listen to, whether on the concert stage or in a club.

Eric: Recently, your song THAT NIGHT IN MEMPHIS from your CD, IN MY SWEET TIME tied with Gang for first place for KILLER SINGLE OF 09 (a contest organized by the radio program of Xavier Boulanger, Baker Street). I suppose those results pleased you?

Roxy: Yes, I was pleased just to be nominated! The first place tie certainly pleased thousands of my fans and supporters worldwide who voted for me!

Eric: In 2007 you performed at the MONTREUX JAZZ FESTIVAL in Montreux, Switzerland. What memories can you share with us about this experience at the legendary festival?

Roxy: It certainly was a memorable experience and we were honored to be invited to perform at such a prestigious and renowned event. We headlined the Blues Cruise on the beautiful Lake Geneva, having the same position that BB KING had the year before. The ship was packed with an audience from all over the world. It was heartwarming and inspiring to realize how many people knew of Roxy Perry and her music! During the concert, many were singing along with me to my original songs. They even corrected me when I made a little mistake singing my own lyrics! I was flooded with requests for CDs, and I was happy to autograph them for all of the great fans. I was thrilled to meet people from so many different countries. It was truly a fantastic experience that I, along with all the band, treasure in our memories. Europe clearly embraced us there.

Eric: You performed at MONTREUX JAZZ FEST two years ago, and have still not been booked to appear in France. I assure you it is not our lack of desire to see you perform here. We don't want people to think that Swiss ears are better than the French. I believe you are seeking an agent to book you in France....finally?

Roxy: We have been in pursuit of an agent to book us in France and the rest of Europe for several years. We have also had DJs and fans trying, on our behalf, to bring us to the attention of European booking agents and festival promoters. I think that the agent that finally books us will be seen as a Blues Hero for presenting us to the French and European blues scene. I receive a great many letters from fans wanting to see us there. We are all ready and most certainly willing and I am trying my best to make it happen!

Eric: Do your New York friends, Popa Chubby, Big Ed Sullivan, Arthur Neilson, Mason Casey come regularly on our premises, they do not have the possibility of discreetly taking you along in their bags??? (Laughter)

Roxy: (Laughs) Popa Chubby is an old friend of mine, but I don't believe he could carry me in his luggage!

Eric: From New York, what is your impression of Blues in France??? Difficult question.

Roxy: It isn't so difficult. You have to understand that I hear Blues from all over the world, in many forms, new and old… and I enjoy it all. If the songs are sung from the heart and reflect the artist’s truth, then I am able to appreciate them. Incidentally, Edith Piaf is my coup de cour; to my ears, her singing reflects deep Blues from the soul! While she may be remembered as a popular singer, a song of any genre can become the Blues, as long as it is sung with truth and from the heart.

Eric: Is it easy to find places to perform in NY or is the economic crisis making things alarming???

Roxy: I am afraid that this has been a very bad season for musicians everywhere. However, I have great hope that our new President will restore our economy – and the world's view of America, as well.

Work for Blues musicians is currently very difficult in New York. There are very few, if any, venues devoted to presenting live Blues performances. There are countless national and international Blues bands soliciting and willing to play for little or nothing in the very few venues that feature Blues music.

Many Blues players I have met from abroad or even elsewhere in the States believe that New York City promises abundant opportunities to perform. This quite simply, is not true. I would say that HipHop, Rap, Dance, Electronica and World music fill the majority of clubs. There are some few still devoted primarily to Jazz. Blues might sometimes even be presented along with Folk or Roots music. Sad to say, one can very rarely stroll by the clubs of Manhattan and hear Blues music from inside. Generally, there is a lot more Blues offered in the suburban clubs, but again, competition for the gigs is high, with hundreds of bands soliciting to a relatively small number of venues.

Eric: To conclude, I wish you to take part as soon as possible in good festivals in France. I am certain that the public will accommodate you cordially.

Thank you Roxy for your kindness and your availability.

Roxy: Thank you for your good wishes, and the interview! I truly appreciate your interest in my music and your support. I look forward to the day when I can perform for you and all my fans in France. I sincerely hope this opportunity will come soon!

In My Sweet Time BluePerry Hill
September 2009 - Blues Women Issue
by Dale Clark
One can easily see that Roxy Perry’s 2009 release In My Sweet Time, will become a good friend to many listeners, never far from the top of the CD stack. Perry has maturity and is the soul of musical confidence. As with many blues albums these days, this is a bit of a contemporary blues revue; a little jazzier and more swinging than some, it makes a tour of different blues styles nonetheless. If that is too eclectic for some tastes, it works for Perry, because at the center is her voice and command.

When I try to put my finger on what makes this work special, I think of “release.” Perry and her players are so absolutely sure of themselves and each other, they have mastered the micro-stops, and almost imperceptible note elongations, that go past craft to art. They make the sound, hold it, and then release it when it says what they want it to say, and more than you thought it was going to say. The imagination floods.

Except for Hank William’s “I’m So Lonesome I Could Cry,” Perry (with a hand from her mates Mike Ventimiglia, Chris Vitarello, and Mat Baxter) did all the writing on In My Sweet Time. For good humored, pissed off women songs her “Goodbye Honey” is great (her relationship diagnosis being, “He did the waltz, I did the tango . . .”). But as much as the opening jazz piano strains of the first song “Bed of Blues” brings you in, this album won me at the end with “Not Bad Enough,” a 1920s Bessie Smith type of piano blues with “authentic” record player “scratch” sounds. The song goes that she died and went to heaven but they didn’t want her there, so she went to hell and the devil told her, “You were bad, but you weren’t bad enough. You were bad, but your strong suit wasn’t sin. You were bad, but you can’t come in.” I would love to hear blues bands across the world trying their hand at this. It is a gracious note, to a fine album. Jurors will surely take Perry seriously when it is time to make 2009 blues award nominations.

As painfully trite as it is to say it, pay attention to our blues women. They may be our last refuge against cookie cutter guitar players.

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

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.

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.

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".


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

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.

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!
Bobtje's Blues Pages

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

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


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?
MazzMusikas Free-zine, Belgium


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

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

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


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

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

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Blues Matters Magazine
April/May 2006


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

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.

Blues Revue Magazine

Issue No. 96 OCT/NOV 2005

Roxy Perry
Back in Bluesville
By Dorothy L. Hill
Jazz Now Magazine


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!


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

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

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..