01. Backstreet Baby 	04:00
02. Nobody's Fault But Mine		 03:34
03. Callin' Angels 		03:47
04. Sittin' On 		04:32
05. Love Lives On 		03:33
06. Sad Solution 	03:45
07. Faithful Sinner		 04:43
08. Sedative 	03:20
09. Ready To Rise 		04:25
10. Fight My Way 	03:22
11. Battle Lines	 03:38
12. Same Sunlight 	03:52
13. Ring Of Fire 	04:05 

Dana Fuchs - vocals
Rev. Charles Hodges - organ
Steve Potts - drums
Kirk Smothers - saxophone
Marc Franklin - trumpet
Jack Daley - bass
Glenn Patscha - piano, Wurlitzer

It’s tempting to think that the Internet destroyed the music business, but music has always been driven by economics, to a certain extent. When touring became too expensive, the big bands became smaller bands. It had less to do with choice than with salary. But there’s still a place for that large, lush sound. Even in this streaming age. Dana Fuchs shows that with Love Lives On.

Love Lives On has an old-fashioned sound. There are horns, there’s guitar, there are backup singers. And then there’s her voice–a voice that rumbles and growls while still managing to flash just the right amount of vulnerability–leading this huge swell of voices and instruments through each song. The result is an album that perfectly marries the rich production of 1960s soul music and the more natural sounds of the early 1970s.

“Backstreet Baby” the lead track, grooves, thanks to a simple rhythm guitar riff that supports the song as the horns, backup vocals, organ, and of course, Fuchs, mesh perfectly over it all. “Callin’ Angels” is like a lost Motown track, slowly building in intensity, as guitar and organ are eventually joined by those incredible horns and backup vocals. “Sittin’ On” is a funkier, bass-driven song, but with a wonderfully sad chorus melody.

The album isn’t just about soul, though. “Ready to Rise,” is a straight-up rock song, albeit one with some definite soul-inspired touches. But it’s as much power ballad as it is anything, as the horns and background singers take a rest. “Battle Line” has a Band vibe, with lush organ and guitar. “Fight My Way,” a country-folk number, is even more stripped down, with just Fuchs, guitars, and mandolin. Her cover of “Ring of Fire” is similarly stripped down, but with a sweetness and vulnerability that reimagines the song as a question, rather than Johnny Cash’s petulant statement.

Fuchs is at her best when she’s pushing her voice. She sounds great in the less densely produced songs, but when she’s in the thick of a wall of sound, she’s extraordinary. Not many contemporary artists have the voice to survive in this kind of rich, throwback production environment. Fuchs thrives in it. ---bluesrockreview.com

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01 – Almost Home (Feat. Jack O’Hara Jr.)
02 – The Lie (Feat. Pete Diamond)
03 – What Went Right (Feat. Pete Diamond)
04 – Climb Over (Feat. Pete Diamond)
05 – Ain’t No Love In The Heart Of The City (Feat. Michael Price)
06 – Baby Loves The Life (Feat. Jon Diamond)
07 – Moment Away (Feat. Jon Diamond)
08 – Wait Up (Feat. Ricky Ross)
09 – Kind Of Love (Feat. Ricky Ross)
10 – So Hard To Move (Feat. Jon Diamond)
11 – Say So Long (Feat. Jon Diamond)
12 – Keepsake (Feat. Jon Diamond)
13 – Misery (Feat. Jon Diamond)
14 – Sad Salvation (Feat. Jon Diamond)

Bass – Whynot Jaansveld
Drums – Dave Johnson
Guitar – Jon Diamond
Piano – Ben Stivers
Vocals – Dana Fuchs

Broken Down is an album that meant to be made, maybe through divine intervention. The new album by Dana Fuchs is her first acoustic record, a record that Fuchs' fans wanted for a very long time. The central theme of the album came up by pure accident during the recording session, simply by staring at photos of some of Fuchs' family members, sadly passed away prematurily.

The American Artist has always had a very close relationship with her family and such personal losses made a big effect on the New York based singer/songwriter's soul. Being on Tour has been a kind of antidote for Dana Fuchs in the last couple of years, able to discharge her sorrow night after night on stage, with her devoted fans and her band. Broken Down encapsules 14 stripped-to-the-bone songs, some of them brand new, other previously released on early albums plus the cover of Ain't No Love In The Heart Of The City.

The album, as mentioned by Fuchs on the sleeve notes, is a meditation in music on love and loss on a deep, personal level. Lyrically, Dana Fuchs explores the life journey she has been through in the last couple of years with the usual, unique intensity and honesty that have been some of the trademarks of her career, together with her powerful, beautiful voice. There are songs about holding memories of the past, although painful sometimes (Keepsake, What Went Right), which the American Artist knows to be the only recipe she knows to hold on to the meaning of life. Dana Fuchs sings with her heart and soul on each song, no matter whether it is about sufference and loss (Moment Away) or love (Kind Of Love).

Jon Diamond, Fuchs' Compadre of a lifetime, shows his craftmanship once again in co-producing the album (together with Fuchs), playing acoustic/electric guitars and harmonica beautifully. One of Diamond's big merit is to be able to read and feel Fuchs' inner feelings like no other and, as a consequence, to complete musically Fuchs' outstanding singing style on the album.

The closing tracks of the record are particularly moving. Misery, a demo that Fuchs made some time ago and never saw the light of the day until now, shows a woman that is trying hard to get back on her feet, still living the pain of her personal losses ("Are you just like me? Holding on to misery... You need someone to believe in).

Dana Fuchs has announced recently to the press that she will take some time off from touring, before the Winter Tour and given what she has been through, that is perfectly understandable. This beautiful acoustic album has allowed the singer/songwriter to express and let go, under the art form she likes the most, all the pain Fuchs has been through and still going. It is not a coincidence that in Sad Salvation, the song that closes the record, there are lyrics such as "She smiles at the children selling candy on the street, remembers the good old days, a life so bittersweet. Listens to the schoolgirls sing their songs a little louder and with the weight of the world she walks a little prouder".

Dana Fuchs has got all the right to feel that pride, especially on this record. With Broken Down, Fuchs has been able to frame a crucial, although sad part of her life on a special record like this and, at the same time, to gift her fans with a body of work of incredible intensity. Broken Down is food for soul and a beautiful portrait of true artistry and poetry. ---Giovanni "Gio" Pilato, bluebirdreviews.com

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01 – Love To Beg
02 – Nothing’s What I Cry For
03 – Golden Eyes
04 – Keepsake
05 – Set It On Fire
06 – Faster Then We Can
07 – Keep On Rollin’
08 – Drive
09 – Summersong
10 – Pretty Girl
11 – I’ve Been Loving You Too Long
12 – What You See
13 – Superman

Musicians:
Dana Fuchs - Composer, Producer, Vocals
Kenny Aaronson - Bass, Producer
Rick Crisca - Sax (Baritone)
Jon Diamond - Composer, Guitar, Harmonica, Horn Arrangements, Producer
Jenny Douglas - Vocals (Background)
Craig Dreyer - Horn Arrangements, Horn Engineer, Sax (Tenor)
Dana Fuchs - Composer, Producer, Vocals, Vocals (Background)
Clark Gayton - Trombone
WhyNot Jansveld - Bass
Carter McLean - Drums
Tim Ouimette - 	Flugelhorn, Trumpet
Glenn Patscha - Hammond B3, Keyboards, Piano, Wurlitzer
Vivian Sessoms 	- Vocal Arrangement, Vocals (Background)
Dan Yeager – Trumpet

Dana Fuchs is a throwback to another time: the late '60s and early '70s, when blues-based shouters like Janis Joplin and Robert Plant (in a somewhat different style) were capturing the attention of a generation. Her debt to Joplin is unapologetic -- she starred in the off-Broadway musical Love, Janis -- and at times maybe a bit too slavish. That's not to say that she brings no other elements to her interpretation of blues and soul-rock styles, only that there are moments on Love to Beg when one might be forgiven for wondering why one would listen to Fuchs when Joplin recordings are still so easily available. At other moments, clear answers to that question present themselves immediately: Fuchs and her band do freight-train blues-rock as well as just about anyone alive (note in particular the unstoppable "Nothing's What I Cry For," which lacks only a melody, and "Faster Than We Can"), and can even create passable and thoroughly enjoyable variants on gospel rock (the wonderful "Summersong") and tender-but-gritty waltzes ("Keepsake," "Keep on Rollin'"). When she covers Otis Redding ("I've Been Loving You Too Long") she does it convincingly; when she simply rocks out ("Drive") she does it more convincingly still. When she reaches for high notes she regularly falls just a bit short, which is too bad -- passion counts for a lot, but pitch matters too. Overall, though, this is an impressive effort. ---Rick Anderson , Rovi

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01 – Bliss Avenue
02 – How Did Things Get This Way
03 – Handful Too many
04 – Livin’ on Sunday
05 – So Hard to Move
06 – Daddy’s Little Girl
07 – Rodents in the Attic
08 – Baby loves the Life
09 – Nothin’ on My Mind
10 – Keep on Walkin’
11 – Vagabond Wind
12 – Long Long Game

Musicians:
Dana Fuchs (Vocals);
Jon Diamond (Guitar); 
Jack Daley (Bass); 
Shawn Pelton (Drums); 
Glenn Patascha (Keys).

Dana Fuchs is one of the great singers working in Blues, Rock or any other genre working with a controlled power and a broad dynamic range that brings to mind such ‘one name only needed’ vocalists such as Janis, Etta, Nico or Big Mama. (All right, so Big Mama is two names, but you understand the point.)

Ever since her star turn as Sexy Sadie in the film, Across the Universe, musically the songs that usually come to mind in Dana Fuchs’ repertoire have been covers. Besides The Beatles, she is also a nonpareil interpreter of Zeppelin, Etta James and the Janis Joplin canon. With Bliss Avenue, her first album in two years, now she and collaborator Jon Diamond have also joined the ranks of the top songwriting teams. The lyrics are mostly written by Fuchs, with Diamond supplying the music.

Just how good or great an album is Bliss Avenue? A suggestion: The mean and dirty streets of Manhattan have been the setting for many a great novel and movie, with Urban Cowboy perhaps the greatest of the latter. Yet New York’s nasty side it has been wickedly hard to capture in music. There are only two albums that have really nailed the strange oil and water mix of hope and desperation that marks the alleyways in the streets well off Broadway: Lou Reed’s classic New York; and now Bliss Avenue.

These are the songs of survivors who survive because, like Kris Kristofferson’s Bobby McGee, they’ve got nothing else to lose. Indeed, the unnamed woman who goes from party to party with ‘hairy eyes, last night’s make-up running down’ in “Baby Loves the Life” could be Kristofferson’s hitchhiker who finally wound up in New York to find, well to find not much at all. But on she goes, singing ‘lalalalalala’ at the song’s close, laughing her way to Babylon. ---Hubert O’Hearn, americanbluesscene.com

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