01 Intro – Everybody
02 Tough enough
03 Super Hero
04 Red Blooded Woman
05 Bring Your Lovin Home
06 Whole lotta love
07 Must Be Love

Thornton, New Hampshire
Aug 12, 2009

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1	Won't Leave			
2	Bring Your Loving Home			
3	Heal My Blues			
4	Come Undone			
5	I Love You More Than I Hate Myself			
6	You Need a Great Big Woman			
7	My Country Man			
8	I'm Lucky			
9	Crazy Little Thing			
10	Toughest Girl Alive			
11	Bad Boy			
12	I Got To Know			
13	Fight			
14	Jesus Just Left Chicago			
15	Somethings Got a Hold on Me			
16	Whole lotta love			
17	Rocking On The Blues Caravan

Dani Wilde (vocals, guitar); 
Deborah Coleman (vocals, guitar); 
Candye Kane (vocals); 
Laura Chavez (guitar); 
Jan Schuurman (recorder); 
Govert Van Der Kolm (keyboards); 
Michael Griot (bass instrument); 
Denis Palatin (drum).

Europe's Ruf label has a history of packaging blues artists, especially women, together for tours, and this one, recorded live in Bonn, Germany in January, 2008, works especially well. Newcomer Dani Wilde joins veterans Candye Kane and Deborah Coleman (the latter had been part of the previous Ruf blues package) for a rousing performance of blues and soul that condenses and displays the finest attributes of each artist. The tour borrows its name from Kane's 2007 Guitar'd and Feathered album, but it's the U.K.'s Wilde who makes the strongest impression, perhaps because she's somewhat of an unknown entity (her debut was not available in America as of this album's appearance, yet had been released in Europe). As in the past, the performers open and close the concert together, then concentrate on individual sets with a terrific road band backing up each one. The proceedings kick off in strong form with the trio's cover of Ray Charles' defiant "Won't Leave," trading off lead vocals. That drives the raw, party groove for the remainder of the show. Wilde's opening four original songs feature her guitar, but it's her growling, insistent vocals, somewhat similar to those of Janis Joplin, that are such a revelation. She hisses, yowls, croons and snarls her way through a set that ends too soon with the nearly six-minute slow blues of "I Love You More Than I Hate Myself" an unanticipated highlight of the night. Following that would be a challenged for anyone, yet Kane tries her hardest, strutting her way through typically sassy, double entendre jump blues-influenced music that reprises three songs from her recent disc and closes with the appropriately titled "Toughest Girl Alive." Fun and frisky. Coleman appears next, churning out sharp guitar to Luther Allison's "Fight" and ZZ Top's "Jesus Just Left Chicago," some inspired, even unusual covers that she stamps with her unique voice and rugged solos. The trio returns for raucous versions of "Something's Got a Hold of Me" and a rollicking ten-minute "Whole Lotta Love" that starts as a shuffle then shifts to Led Zeppelin's well-known arrangement to help close this high energy gig on an appropriately rowdy note. ---Hal Horowitz, allmusic

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1. My Country Man - 2:50                  play
2. Back With My Old Friends - 2:52
3. When I Put The Blues On You - 2:24
4. I'm Not Gonna Cry Today - 2:48
5. I Done Got Over It - 4:15
6. Goodbye My Heart - 3:43
7. I'm My Own Worst Enemy - 2:58
8. Fine Brown Frame - 2:59
9. I'm Lucky - 3:53
10. Mohammed and Jesus - 3:13
11. Club of The Foolish Hearts - 2:37
12. We're Long Ago and Far Away - 2:30
13. Crazy Little Thing - 2:57             play

Personnel:
Candye Kane (vocals)
Heine Andersen (6-9,11), Jeff Ross (4), Junior Watson (1), Ana Popovic (9), 
Popa Chubby (13), Sue Foley (3,5) (guitar)
Bob Margolin (2-3,5,12-13) (acoustic slide guitar)
Dave Alvin (2), Bob Brozman (10) (National guitar)
Billy Watson (5) (harmonica)
Sue Palmer (6,8-9,11) (piano)
Tommy Yearsley II (6) (Hammond b-3 organ)
Bill Stuve (all except 4,10) (bass guitar)
Evan Caleb (all except 4,10) (drums)
Kim Fox (7) (background vocals)

Blues-rock veteran Candye Kane returns with one of her stronger albums in recent memory. The basic premise of Guitar'd and Feathered is simple enough: each track pairs the randy blues diva with a different guitarist. Guests include Sue Foley, Junior Watson, Steady Rollin' Bob Margolin (who also produces), and others, but rather than bend Kane's outsized persona to fit each guitarist's style, Kane and Margolin keep her ragged-but-right vocals front and center throughout. Highlights include the rueful Boz Scaggs-like pop-soul of "I'm My Own Worst Enemy," the Wanda Jackson-inspired rockabilly howl of "Crazy Little Thing," and a surprisingly somber acoustic blues gospel protest tune called "Jesus and Mohammed" that's entirely unlike anything Kane has ever done before and on which she recalls Judy Henske's theatrical, almost cabaret-influenced style. Many of the lyrics touch on elements of Kane's own life (based on the liner notes, it seems "I'm My Own Worst Enemy" was inspired by an online flame war) and her sexually aggressive persona, but it seems to be an older, wiser Kane on display throughout Guitar'd and Feathered, with an element of lovesickness that suits her. ---Stewart Mason, allmusic.com

Candye has just been nominated for the Blues Hall of Fame. Her sultry voice and love for music comes through on every song. She loves to sing and is the hardest working female in the industry. Many people are not aware of the number of charities she donates her time to. When you listen to this C.D. you will want to dance and it will make you smile. ---C.T. Constance

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1. White Trash Girl
2. Estrogen Bomb
3. What Happened to the Girl
4. What a Day for a Daydream
5. Big Fat Mamas are Back in Style
6. Queen of the Wrecking Ball
7. Misunderstood
8. I Wanna do More            play
9. It Must be Love
10. Work What You Got
11. I Could Fall for You
12. Mistress Carmen
13. Masturbation Blues        play
14. Let There be Peace on Earth

Personnel: 
Candye Kane (vocals); 
Jeff Ross (acoustic guitar, electric guitar); 
Gary Primich (harmonica); 
Riley Osbourne (piano, Wurlitzer piano, organ); 
Preston Hubbard (double bass, bass guitar); 
Damien Llanes (drums).

Candye Kane has never shied away from her lusty, busty persona either on album or live, but that very honestly must have unfairly tainted her as an act needing a sexy visual hook to attract an audience. Certainly that's far from the truth, as all of her albums have proven Kane to be a strong, distinctive, and malleable song stylist, with a hurricane-styled approach to her rollicking R&B. Her seventh release doesn't push those established boundaries, but it's another terrific example of Kane's talents. Only five of these 14 songs are not written or co-penned by the singer, and all are potent examples of her wide range and excitement as a singer/bandleader. There is some Lou Ann Barton in her sassy delivery, especially when she sings a ballad such as "I Could Fall for You" or kicks into a snazzy bluesy shuffle as on the cool, rearranged version of the Lovin' Spoonful's classic "Daydream." As usual, she surrounds herself with top-notch musicians such as ex-Fabulous Thunderbirds/Roomful of Blues bassist Preston Hubbard, harmonica ace Gary Primich, and veteran producer Mark "Kaz" Kazanoff. Hence, the album's sound is tight, punchy, and rollicking. Kicking off with the title cut, featuring a riff that is little more than a reworking of John Lee Hooker's "Dimples," Kane and her band charge through the material with a visceral energy perfect for this upbeat bluesy material. Some of the lyrical juxtapositions are strange; the raunchy one-two punch of sexual domination described in "Mistress Carmen" and the self-explanatory "Masturbation Blues" segues into an album-closing gospel version of "Let There Be Peace on Earth," the latter sung only with acoustic piano accompaniment. But that just makes the album more fun. A bawdy cover of Bull Moose Jackson's "Big Fat Mamas Are Back in Style" fits with Kane's heavy-set, white-trash aesthetic and also roars out with enough jump-swing energy to get the party moving. The melodies are little more than standard blues and swing reworkings, but the execution is so consistently frisky, spirited, and entertaining that it's impossible not to be impressed by this lighthearted romp from one of the genre's most unfairly overlooked singers. ~ Hal Horowitz, allmusic.com

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1. 200 lbs of Fun                   play
2. I Don't Want Nobody (To Have My Love But You)
3. Just Because
4. Poetry Cocktail
5. Dream A Little Dream Of Me
6. Everybody Needs Love
7. Swango
8. Tryin' To Forget You
9. Candy
10. Forgive Me
11. Blind Love
12. Don't Cry Sister
13. I'll Make It Right
14. You've Been Good Ole Wagon      play

Candye Kane (vocals); 
Jeff Ross (vocals, guitar, acoustic guitar); 
Steve Wilcox (vocals, guitar); 
Jonny Viau (vocals, tenor saxophone); 
Andy Paley (vocals, background vocals); 
Thomas Yearsley (vocals); 
Jay Mason, Troy Jennings (baritone saxophone); 
Darrel Gardner (trumpet); 
Charlie Morillas, April West (trombone); 
Sue Palmer (piano); 
Bobby Lloyd Hicks (drums, tambourine); 
Steve Geller (drums, percussion); 
Gordon Peeke (drums); 
Mike Vernon (tambourine, background vocals).

Candye Kane is a publicist's dream. A self-proclaimed "fat, bisexual, ex-porn-star blues singer," Kane is as colorful as a peacock in a paint plant. Indeed, her more flamboyant qualities (we're talking 52-inch bust here!) have earned her a considerable club-circuit following. Swango proves she can also hold her own in the recording studio. Here is ample evidence that Kane is something more than a bawdy chick with a few lewd tricks. What's striking is how comfortable she is as a vocalist, whether she's essaying Big Maybelle's "Candy" or Mama Cass's "Dream a Little Dream." (Kane has a conspicuous affection for weighty women.) Blues, swing, pop, cabaret... Kane is on top of 'em all. And one can imagine each genre letting out a satisfied sigh.

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01. Superhero
02. Hey! Toughen Up!
03. I Put A Hex On You        play
04. I'm A Bad, Bad Girl
05. Ik Hou Van Je ( I Love You)
06. Who's Been Sleeping In My Bed?
07. Don't Cry For Me New Jersey
08. You Need Love
09. I Like 'Em Stacked Like That
10. Till You Go Too Far
11. Picture Of You
12. You Can't Stop Me From Loving You
13. I Didn't Listen To My Heart  play
14. Throw It in The Trash Can Love
15. I'm Gonna Be Just Fine

Candye Kane (vocals); 
Laura Chavez (vocals, guitar, acoustic guitar, baritone guitar); 
Mitch Kashmar (vocals, harmonica); 
Kid Ramos (guitar); 
Dave Gonzales (baritone guitar); 
Jonny Viau (saxophone); 
Greg Rutledge (piano); 
Paul Loranger (bass instrument); 
Stephen Hodges (drums, percussion); 
Evan Caleb, Evan Caleb (drums).

Any time a musician survives a life-altering change, you can be sure that will be reflected in the music that follows. Often a breakup/divorce, new love/marriage, drug rehabilitation/habit or religious transformation has been responsible for some of pop's most memorable music. So it's no surprise that after Candye Kane was clear of the pancreatic cancer that could easily have been her death sentence, she would reference that experience on the album immediately following the harrowing situation. Kane doesn't waste any time doing that as the opening title track to her first post-cancer effort kicks off with the brassy singer bellowing the lyrics "I've always been a fighter" followed in the chorus by "there's no way I'm laying down and dying." Based on the aural evidence here, she has bounced back in a big way, ripping into her usual potpourri of jump blues ("Who's Been Sleeping in My Bed?"), surfy rockabilly ("Throw It in the Trash Can Love" with ex-Paladin Dave Gonzales on guitar), straight-ahead Chuck Berry rocking ("You Can't Stop Me from Loving You"), and blues-based retro Americana classic pop ("Picture of You"). As usual , there are plenty of double entendres flying, especially on the jazzy "I Like 'Em Stacked Like That" where Kane goes toe to toe with Mitch Kashmar, who drops his harp to spar with Kane on vocals only to pick it up on the following tough shuffle, "Till You Go Too Far." The sassy singer writes ten of the 15 tracks, all of them sharp, peppy, and perfectly suited to her roots/blues sensibilities. She's in terrific voice throughout, sexy when needed but also vulnerable on the Leslie Gore-styled swinging twist of "I Didn't Listen to My Heart." Kane co-produced with right-hand guitarist Laura Chavez, and the duo finds the sweet spot in every tune, keeping the spotlight on the vocalist where it belongs, yet giving the songs room to breathe. Kane's previous albums are typically spirited affairs, but here she sings with the passion, vitality, and sheer joy of someone who has been given a new lease on life and is determined to make the most of it. ---Hal Horowitz, allmusic.com

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