14 Songs, 53 Minutes

EDITORS’ NOTES

Every album by The Holmes Brothers is a gift—and now more than ever, as these gents ease their way down the road with a mix of various blues styles, R&B, pop, and gospel. With everyone singing, Sherman (bass), Wendell (guitar), and Popsy Dixon (drums) have refined their sound since making their debut in 1990. They're joined here by savvy studio veterans like Glenn Patscha (organ/producer), Chris Bruce (guitar/producer), vocalist Catherine Russell, and others, but the trio and those amazing vocals remains front and center. The album includes another strong batch of originals, with the cautionary but playful “Stayed at the Party” kicking things off on a high note. Nearly as strong are the soulful midtempo track “Lickety Split,” the country-gospel of “Loving You from Afar,” and the classic jump blues of “My Word Is My Bond.” The album is rounded out by “Amazing Grace” and a few well-chosen covers (“Soldier of Love,” “My Kind of Girl,” and Ike Turner’s “You’ve Got to Lose”); they're all remade by the band’s singular sound.

EDITORS’ NOTES

Every album by The Holmes Brothers is a gift—and now more than ever, as these gents ease their way down the road with a mix of various blues styles, R&B, pop, and gospel. With everyone singing, Sherman (bass), Wendell (guitar), and Popsy Dixon (drums) have refined their sound since making their debut in 1990. They're joined here by savvy studio veterans like Glenn Patscha (organ/producer), Chris Bruce (guitar/producer), vocalist Catherine Russell, and others, but the trio and those amazing vocals remains front and center. The album includes another strong batch of originals, with the cautionary but playful “Stayed at the Party” kicking things off on a high note. Nearly as strong are the soulful midtempo track “Lickety Split,” the country-gospel of “Loving You from Afar,” and the classic jump blues of “My Word Is My Bond.” The album is rounded out by “Amazing Grace” and a few well-chosen covers (“Soldier of Love,” “My Kind of Girl,” and Ike Turner’s “You’ve Got to Lose”); they're all remade by the band’s singular sound.

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