1    Footprints On The Ceiling (4:21)
2    The Man Knows How To Love (4:29)
3    Hoochie Dance (4:58)
4    Let A Real Woman Try (4:55)
5    Juke Joint Jumpin (4:31)
6    We're Gonna Boogie (4:02)
7    If You Can't Cut The Mustard (4:57)
8    Right Kind Of Love (4:28)
9    As Long As You Were Cheatin (3:34)
10    Stroke It (3:47)
11    I'm Just A Lucky Girl (4:02)
12    I've Been Partying At The Hole In The Wall (4:08)

Barbara Carr was born Barbara Crosby on January 9, 1941. She sang gospel in a family group called the Crosby Sisters while growing up in St. Louis, then began singing R&B in St. Louis-area groups (most notably saxophonist Oliver Sain's band) as Barbara Carr, adopting her husband's name.

Eventually, Carr was signed to Chess Records, where she recorded a series of singles in the sixties without much success. She continued to work with Sain's band and other St. Louis groups through the seventies, and in the eighties Carr and her husband formed their own label and produced more singles, most recorded in Muscle Shoals, Alabama.

The years of material became the basis of Carr's first LP's, issued on Barr-Carr and other small labels from 1989 to the mid-nineties. Finally, in 1997, Barbara Carr hit the chitlin' circuit big time with Footprints On The Ceiling (Ecko). 1998's Bone Me Like You Own Me solidified her reputation as one of the premier blues belters in Southern Soul. More CD's and two Ecko compilations have appeared with admirable regularity since.

In the new millennium Carr has continued to refine and broaden her oeuvre, releasing a steady stream of new material, most notably: "I've Got A Love Jones (For You Baby)," "Make Me Feel It Like You Feel It Too," and "Hootchie Dance." Carr moved from Ecko Records to Mardi Gras Records for her 2003 release, Talk To Me. ---southernsoulrnb.com

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1.Talk to Me	4:25
2.Front, Back & Side to Side	3:43
3.Drop It Like It's Hot	3:41
4.Your Love	5:07
5.What Goes Around, Comes Around	4:02
6.Love Me With a Feeling	4:03
7.Forever & Always	5:47
8.Getting My Groove On	4:22
9.I've Got a Love Jones (For You Baby)	4:42
10.Drop It Like It's Hot	7:03
11.Back Side to Side	3:42

After decades of toiling in obscurity (including a low-profile stint on Chess), Barbara Carr finally began to make a name for herself in the late '90s as a brassy, often X-rated belter in the Southern soul-blues vein. A native of St. Louis, Carr was born Barbara Crosby on January 9, 1941, and began singing in church as a choir girl, eventually forming a family gospel group called the Crosby Sisters. She joined a singing/dancing troupe in grade school and went on to sing in the high school choir, around which time she also helped start a singing group called the Comets Combo that played popular material at local clubs. In 1963, she joined a locally popular group called the Petites, which opened for Smokey Robinson & the Miracles. She met St. Louis-based saxophonist/bandleader Oliver Sain through her brother-in-law (she adopted her husband's last name, Carr) and successfully auditioned to join Sain's band.

Helped by her connection with Sain, Carr signed a solo contract with Chess in 1966 and recorded soulful singles like "Don't Knock Love," "I Can't Stop Now," and "Think About It Baby" over the next few years. Initially excited just to have a record deal, Carr grew frustrated with Chess' seeming lack of interest in promoting her; she stopped recording for a period in the late '60s to raise her children, and then returned to Chess circa 1970, albeit still without much recognition. She left Sain's band in 1972, and sang with a number of other, mostly short-lived groups around the St. Louis area. Carr recorded another single for Gateway in the late '70s, "Physical Love Affair," but again found little promotional support. She and her husband eventually formed their own label, Bar-Car, in 1982, and Carr issued a number of singles over the next few years, many recorded at the legendary Muscle Shoals studios in Alabama. This material helped form the basis for Carr's first full-length album, 1989's Good Woman Go Bad, which was later reissued on the Shreveport-based Paula label in 1994. A second collection, Street Woman, was released on Bar-Car on cassette in 1992, then upgraded to CD in 1994.

Word of Carr's recordings began to spread, and she wound up signing with the Ecko label in 1996, releasing her label debut, Footprints on the Ceiling, in 1997. The follow-up firmly established Carr's new tough, bawdy blues-mama persona; issued in 1998, both the title and the lyrics of Bone Me Like You Own Me left little to the imagination. Carr was becoming popular on blues and retro-soul radio stations around the South, positioning herself as something of a female counterpart to Marvin Sease; her success finally enabled her to quit the day job she'd held for over 20 years at an electronics company. Having hit upon a winning formula, Carr stuck to it for a succession of follow-ups, which included 1999's What a Woman Wants, 2000's Stroke It, 2001's The Best Woman, 2002's On My Own, 2003's Talk to Me, and 2006's Down Low Brother. --- Steve Huey, Rovi

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1. Hanging By a Thread
2. Come On Home
3. We Have the Key
4. I Got the Blues
5. Keep the Fire Burning
6. Moment of Weakness
7. Back Together Again
8. Hold On to What You Got (feat. Johnny Rawls)
9. You Give Me the Blues
10. What You Gonna Do
11. Sweet Talking Snake

Barbara Carr - Vocals
Robert Claiborne - Trombone
Dan Ferguson - Keyboards
Monica Gutierrez - Vocals (Background)
Arlen Ivey - Vocals (Background)
Jessica Ivey - Vocals (Background)
Jillian Ivey - Vocals (Background)
Johnny McGhee - Guitar
Mike Middleton - Horn Arrangements, Trumpet
Richy Puga - Congas, Drums
Johnny Rawls - Vocals
Candice Reyes - Vocals (Background)
Andy Roman - Horn Arrangements, Saxophone
Bob Trenchard 	- Bass

Now, consider the life and career of southern soul and blues singer Barbara Carr, who just released her latest record Keep the Fire Burning. The husky voiced Carr signed her first contract with Chess records in 1966. She released several singles for that label, but felt she never received promotional support from Chess. Carr actually stopped recording to devote time to being a mother. During this time, she performed primarily in her hometown area of St. Louis. She signed with another label in the late 1970s, but again grew frustrated with the lack of support that she received.

Anyone who watches the television series Unsung knows that this is where the story takes on a familiar pattern, as the singer spirals into despair and further away from the spotlight. Carr, however, did not go that route. She and her husband started their own label in 1982, and released a series of southern soul singles. She cut her first full-length album, Good Woman Go Bad, in 1989. Carr built a following with her brand of adult oriented southern soul that allowed her to walk away from her day job at an electronics company and immerse herself full-time into a career as a highly decorated vocalist.

Southern soul music, like its big brother the blues, is “grown folks” music. That is not always the best way to get radio play in this youth oriented market. But it is an ideal genre for performers like Carr, who have the life experience to believably sing about cheating, torch holding, comeuppance and enduring love. Carr is an able storyteller on tracks such as “Come on Home,” “Sweet Talking Snake,” “Moment of Weakness” and “You Give Me the Blues.”

“Sweet Talking Snake” finds Carr giving her returning playboy lover his comeuppance. The tune is the bluesy version of Gloria Gaynor’s disco classic “I Will Survive.” The lyrics show that Carr knows what she’s up against. This guy is smooth! He knows how to use that southern drawl to break down a woman’s resistance and he’s not bad to look at. However, Carr understands that she has to prevent the man from entering the house and she stands her ground. “You’re seductive as the snake in original sin/ You look so sweet/but you can’t come in.”

Carr can play the role as the wrong doer as easily as the aggrieved party, and she begs with the best of them on “Come on Home,” while “Moment of Weakness” finds the vocalist explaining and begging. Meanwhile, “You Give Me the Blues” might be the anthem for hard working women stuck with shiftless men. Carr tells the story of a coach potato mate who drinks, argues and still wants his wife to do her wifely duties in the bedroom.

Carr is a music industry veteran who knows how to play the hand she’s been dealt. For much of her career that hand was pretty bad. Carr’s luck has changed over the past two decades, the result of good fortunes in the finest tradition of southern soul musicians: Her voice is distinct and strong, the lyrics of her songs can withstand the most discriminating scrutiny and the musicianship is first rate. Southern soul fans appreciate those qualities. Guess you can say that the harder Carr works, the luckier she gets. Highly Recommended.--- Howard Dukes, soultracks.com

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