Cathy Jean looks good naked on the cover of her new CD In The Remains. She also did a fine job serving up 14 tracks of original music that combines elements of blues, rock, and R&B. This lady had a suppleness in her voice that stretches out nicely, in different ways, for each song. She also has an uncanny sense of dynamics, fitting in seamlessly among seasoned, top notch players at unexpected moments.
“CBD” opens the album with a solid rock and roll beat and fun party vibe. Cathy Jean has a funky, hipster styles at the microphone while her band swirls quirky melodies over the snappy backbeat. “Done Sayeth” offers a touch of R&B and gospel in the vibe even though it’s a rocker. This singer, who also wrote all of these songs, must have been a seamstress in a previous life. She ties all of these elements together well, even though they are huge in and of themselves. “Done Sayeth” is wholly original, taking the wronged woman theme and welding it to a line of pure gospel melody while also keeping the hard-charging delivery. The depth of despair in this song would also make someone scream for spiritual salvation.
The harmonica and guitar driven number “The Dark Ages” finds Cathy Jean whispery as a ghost over the music. She is in control despite her subtle approach, opening up the space for her guitarist to unfold his mean, slow boil, and for her harp man to blow a sweet chirpy line, both instruments contrasting in a funky way. “Tankin’ The Day’ rocks right out with an extra heaping of funky jazz from organist Jon Carroll sprinkled over the top. Cathy Jean dominates, though, with her swanky charm spicing up the vocal texture.
Title track In The Remains, ushered in with wide sweeping string section and synthesized melody, finds Cathy Jean putting her rasp to good use. This tale of regret over ending a good relationship balances tensions to maintain a buzzing, humming slam. It focuses on isolation and how it drives the singer crazy as she contrasts images of solitude with images of companionship. Cathy Jean nails the mournful sense of loss with her slow, contemplative reveries and the joyful hope near the end.
“3 Bears” has a Peggy Lee “Fever” type of finger snapping melodrama while Cathy Jean’s voice is silky smooth, sensuously unfolding her list of grievances. When it’s time for the band to rock, Cathy Jean goes from zero to 60 in heated intensity until she slows it back down when she’s damn good and ready. “For More Years” is another slow burner with Cathy Jeans’s voice snaking around the groove and melody.
The pushy, mid-tempo “Dracula” is barn-burner rock and roll at it’s finest. Driving and determined, Cathy Jean struts her ability to control colors and tones. Her tough girl rasp and forever sustain are prominent here. She paints a picture with words and backs it up with her powerhouse voice. “King Civillian” give Cathy Jean’s band a chance to show off a little during her easy going delivery. When the band pokes its head, the keys are engaging, the strings catchy. “You Shuffle” likewise, gives more opportunity for harmonica, keys, and guitars to do cartwheels around each other. The organ offers up sprightly jazz sounds and the guitar rips it up.
“Rolling In Hope” shows more of an influence from early 20th century jazz chanteuse Billie Holiday or Etta James. Trumpeter Mike Crotty must be credited for blowing a lovely yet lonely, forlorn line over Jim Robert’s fulsome upright thumping bass notes. “Stickin’ To My Feet” features a fantastic horn section and engaging rhythm section. Cathy Jean rides out this final song like a queen of soul while so many fine players play their hearts out underneath her strident vocal. The final track “Asylum” has portions of a 911 call Cathy Jean made at one time in her life and it is supported by sophisticated instrumental music.
Words usually cannot capture fully what an artist’s music truly sounds like. This is especially so in the case of Cathy Jean. She most definitely has a sound all her own, as a singer and a songwriter. You’ll have to buy this disc if you’re tired of the same old blues rock that’s been going around for the last decade or so.
Hi Bill,
Thanks for the nice comments. I just wanted to let you know there were no synthesizers used anywhere on the record, all the music is real instruments, played by real [great] players.
Bob