If you like talented gals with guitars then read on, oh faithful ones! Kathryn Grimm has a new album out titled Blues Tools. But first, for those not up on all their indie acts, a bit o’ background on the artist in question:
Kathryn Grimm is a singer-songwriter/musician. She is presently based in Portland, Oregon. Her premiere platter, Kitchen Sink, dropped in 2002. Her signature sound is a basic blend of blues, electric blues, and rock.
On Blues Tools all but three tracks are original compositions. Here Grimm explores life in a compelling, comprehensive, and sometimes humorous fashion. Her songs sometimes are nothing less than subtle storytelling. The audio offering includes exceptional introspection in the form of several seemingly autobiographical cuts.
On this release, Grimm leads the way on vocals and guitar. She is ably assisted by other artists including Phil Klahn (keys and background vocals), Mark Frere (bassist and background vocals), Jeff Buckley (slide guitar, background vocals and adlibs), Sony Hess (guitar and background vocals), Johny Powel (flute and sax), Teri Untalan(background vocals), Aidean Abounasseri and Bill Heston (keys), Kelly Swift and Michael Sunday (bass), Fenix Sanders and Nono Kayzakian (sax), and Charlie Swift, Robin James, and Jimi Hardin (drums).
The 12-track album opens on “You Make Me So Happy I Can’t Sing The Blues.” No sarcasm here. This early fave of fans and critics alike surprisingly focuses on the issue of a blues musician who is too happy to write and perform the blues.
Not to be confused with the titular track from Kiss’ 1977 platinum platter, this upbeat, seductive “Love Gun” is one of Grimm’s own originals. It, too, is an early favorite.
“Gone” makes Grimm’s signature sound clear to even those who are only half-listening. It is, perhaps, overshadowed by the previous piece.
“C’Mon Home” is one of those betrays a flaw in her younger self. It speaks of her regret over mistreating someone. It’s a welcome and personal twist on an otherwise familiar subject of this genre.
“Talking to The Wind” has a tinge of world music to it. The sometimes-Santana-like Latin blues groove therein is indeed as infectious as reported. The cut concerns coping with those who are unable to listen.
“Best Of Me” might briefly seem like another expected “you-done-me-wrong” blues bits, it quickly becomes obvious it is far from that. It is Grimm’s slightly soulful blues anthem on domestic violence. She hopes that those guilty of the offense will pick up on the true message and inspire them to seek help. Surprisingly, even initially to Grimm, it also once spoke of her own life.
“Trouble Of This World” is a traditional gospel classic. Grimm grabs onto it and makes it her own. It leads nicely into the next number.
The next number is “God Is Testing Me.” It’s noticeably well-placed and was reportedly created shortly after she learned her van, complete with gear, had been stolen. She surprisingly manages to make something positive out of this upsetting event as well.
The title track, “Blues Tools”, another example of her ability to present a blues album that has little to do with the typical bad luck blues works. This one almost empowers the listener and hints at her fun side to boot.
“Miss Celie’s Blues” is Grimm’s cover of Quincy Jones’ 1986 “Miss Celie’s Blues (Sister)” from The Color Purple (Original Motion Picture Sound Track). She gives it an intangible “feel good” sense.
“Hot Date With Buzz” reveals more humor with Grimm’s performance of Frere’s song. It’s a cute, funny fable of a lady’s all too intimate relationship with her vibrator. It’s happily highlighted by a stripper-inspired groove and clever commentary by the band. (Your rockin’ reviewer saw it coming but you might not even after reading this.)
“Empty Space” is a comparatively quiet ballad. It is both chilling and poignant.
Overall, the disc is not what one would expect of a blues performer and that’s a good thing in this case. It offers honest insights into the artist’s personality in generally positive presentations. It also reveals a very welcoming and welcome sense of humor. So check out Kathryn Grimm’s Blues Tools because it just might fill an “Empty Space.”
(All media courtesy of original owners)
