01. Ain't Got Time For Hate
02. Americans
03. Would You Take My Blood?
04. Great Rain
05. Smoked Ham And Peaches
06. The Wrong Idea
07. Promised Myself
08. In The Blood Of The Blues
09. Such A Pretty Flame
10. One I Love
11. I'm Not Like Everybody Else
12. Go To Sleepy Little Baby

Shemekia Copeland - Vocals, Vocals (Background) 
Pete Abbott - Drums 
Steve Cropper - Guitar
Paul Franklin - Pedal Steel Guitar
Mary Gauthier - Vocals (Background)
Rhiannon Giddens - Banjo
Lisa Oliver Gray - Vocals (Background)
Emmylou Harris - Vocals (Background) 
Will Kimbrough - Guitar, National Steel Guitar, Organ, Vocals (Background) 
Al Perkins 	Guitar, Pedal Steel Guitar
Gretchen Peters - Vocals (Background)
Lex Price - Bass
John Prine - Vocals (Background)
Katie Pruitt - Vocals (Background)
Kenny Sears - Fiddle
Kristi Stassinopoulou - Vocals (Background) 
J.D. Wilkes - Harmonica
Tommy Womack - Vocals (Background) 

Titling an album America's Child in 2018 can't help but feel like a political move and, sure enough, Shemekia Copeland doesn't shy away from a statement on this, her eighth album. Copeland isn't interested in taking sides, per se. Instead, Copeland uses America's Child as a salute to how weird, wild, and wondrous America is at its best. Fittingly for an album whose aesthetic sees no borders, America's Child casts its net wide sonically, finding room for a number of rootsy sounds and a host of cameos. Working with producer Will Kimbrough, Copeland invites Rhiannon Giddens to play banjo on "Smoked Ham and Peaches," duets with John Prine on a new version of his old tune "Great Rain," sings harmony with Emmylou Harris, and is supported by a band that occasionally features guitarist Steve Cropper and members of the Time. Despite all of these stars, America's Child remains focused on Shemekia Copeland herself, who provides a powerful yet nuanced center for the album. It's not just that her singing is soulful and supple; it's how she views blues as a living, breathing art form, not a static sound. Chalk that up in part to the Americana twang that surfaces throughout the album, but America's Child also finds room for allusions to African music, swampy rock, the British Invasion, and sweaty soul. More importantly, Shemekia Copeland pushes empathy and understanding to the forefront of her record, all the while sounding defiant and strong. Consequently, America's Child doesn't simply address the tumult in 2018 America, it stands as a vital statement of purpose from a modern blues singer who is beginning to hit her stride. ---Stephen Thomas Erlewine, AllMusic Review

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01. Sounds Like The Devil 
02. Dirty Water 
03. Wild, Wild Woman 
04. Salt In My Wounds 
05. Born A Penny 
06. Never Going Back To Memphis 
07. talk 
08. Big Brand New Religion 
09. Circumstances 
10. talk 
11. Has Anybody Seen My Man 
12. talk 
13. Black Crow 
14. Rise Up 
15. talk 
16. Who Stole My Radio 
17. talk 
18. Broken World 
19. When A Woman's Had Enough 
20. talk 
21. Ghetto Child 
22. encore call 
23. It's 2 AM

Shemekia Copeland 
2009-05-15 
Iron Horse Music Hall 
Northampton, MA

Shemekia Copeland: vocals 
Arthur Neilson: guitar 
Jeremy Baum: keyboards 
Kevin Jenkins: bass 
Rod Gross: drums

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1. Announcer (0:43) 
2. Breakin' Out (4:14) 
3. Should Have Come Home (5:50) 
4. Living on Love (6:18) 
5. Turn the Heat Up (7:12) 
6. Beat Up Guitar (5:43) 
7. Wild Wild Woman (4:00) 
8. Who Stole My Radio? (4:30) 
9. All Wrapped in Love Again/Bit by Bit>(w/Susan Tedeschi & Ronnie Baker Brooks- guitar & vocals) (6:57) 
10. Tore Up/Make These Blues Survive (5:08) 
11. It's 2 A.M. (7:51)

Shemekia Copeland 
Buddy Guy's Legends 
Chicago, IL 
2005-09-17

Shemekia Copeland (voc) 
Arthur Neilson (gui) 
Jeremy Baum (key) 
Kevin Jenkins (bas) 
Damon Duewhite (dru)

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1. Wild Wild Woman 
2. Should Have Come Home 
3. Not Tonight 
4. Married To The Blues 
5. Livin' On Love 
6. Turn The Heat Up! 
7. I Don't Know Why 
8. Love Scene" 
9. When A Woman's Had Enough 
10.Ghetto Child 
11.It's 2AM

Shemekia Copeland 
Waterfront Blues Festival 
Tom McCall Waterfront Park 
Portland, OR. 
July 3, 2005

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1. It's 2 A.M.
2. Not Tonight
3. Love Scene
4. The Other Woman
5. Whole Lotta Water
6. Beat Up Guitar
7. Miss Hy Ciditty
8. Up on 1-2-5; Wild
9. Wild Woman
10. The Fool You're Looking For
11. If He Moves His Lips
12. Steamy Windows
13. It's My Own Tears

Personnel: 
Shemekia Copeland (vocals); 
Jimmy Vivino, Arthur Nielsen (guitars);
Brian Mitchell, Dona Oxford (keyboards); 
Michael Merritt, Eric King (bass); 
James Wormworth, Barry Harrison (drums); 
Ruth Brown (vocals on 1 track)
Uptown Horns.

Young blues belter Shemekia Copeland is often compared to Koko Taylor, Etta James and Aretha Franklin. With only two albums in her discography, Copeland has a long row to hoe before she belongs on the same high pedestal as those three legends. Still, the 21-year-old daughter of Johnny Copeland is a fine blues shouter who can also deliver a soul ballad or an R&B rave-up with precocious skill.

Wicked is a good (not great) showcase for Copeland's powerful pipes. Though the album is party-hearty enough to please most blues fans, it contains some mediocre songs. Fortunately Copeland is talented enough to make even second-rate material sound good. And when a superior tune is occasionally tossed her way (such as the soul ballad "The Fool You're Looking For" or her father's slow-blues tune "It's My Own Tears"), Copeland knocks it right out of the park.

Like her widely praised debut Turn the Heat Up, Copeland's sophomore effort is dominated by high-octane, guitar-fueled blues and horn-drenched Memphis soul. (The Uptown Horns play on three tracks.) Copeland also extends her reach to rowdy blues-rock ("It's 2 A.M."), acoustic blues ("Beat Up Guitar"), gospel ("Whole Lotta Water") and swamp blues ("Miss Hy Ciditty").

Shemekia Copeland is one of the most promising blues singers to emerge in years, but she has yet to establish a distinct musical personality. That fact is most evident on the comical tune "If He Move His Lips," sung with one of the strongest blues personalities of all time, Ms. Ruth Brown. Still, Copeland sounds remarkably soulful for such a young singer, and the sky's definitely the limit for the New York native. It's too early to call Shemekia Copeland the new Queen of the Blues, but with that voice she's clearly a contender. ---Ed Kopp. allaboutjazz.com

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01 - Sounds Like The Devil
02 - Dirty Water
03 - Broken World
04 - Never Going Back To Memphis
05 - The Truth Is The Light
06 - Black Crow
07 - Born A Penny
08 - Limousine
09 - River's Invitation
10 - Rise Up
11 - Big Brand New Religion
12 – Circumstances

Personnel:
Shemekia Copeland - Composer, Vocals, Vocals (Background)
Kofi Burbridge - Vocals (Background), Wurlitzer, Wurlitzer Piano
Tyler Greenwell  - Drums, Percussion
Marcus Henderson - Composer, Tambourine, Vocals (Background)
Mike Mattison 	- Vocals (Background)
Chonda McKnight - Vocals (Background)
John Medeski - 	Hammond B3, Organ (Hammond)
Arthur Neilson - Guitar, Slide Guitar
Ted Pecchio - Bass, Guitar (Bass), Vocals (Background)
Marc Ribot - Guitar
Ike Stubblefield - Hammond B3, Organ (Hammond)
Chris Wood - Bass, Composer, Guitar (Bass)
Oliver Wood - Composer, Guitar, Guitar (Baritone), Slide Guitar, Vocals (Background)

Shemekia Copeland has moved her recorded product to the TelArc label, has a new producer in Oliver Wood (who doubles on guitar), and pursues a style that seems more refined and less raucous or bawdy than on her previous recordings. The rough edges are shaved, maturity is settling in, and Copeland seems intent on doing things in a more traditional fashion rather than the stomping, tear-the-house-down approach she built her reputation on. She's using members of Col. Bruce Hampton's band in bassist Ted Pecchio and drummer Tyler Greenwell, occasionally bassist Chris Wood and keyboardist John Medeski from Medeski, Martin & Wood, guitarist Marc Ribot, and on loan from the Derek Trucks Band, keyboardist Kofi Burbridge for three tracks. These musicians liven up the proceedings considerably, and the production values of this effort are leaner and cleaner than her other discs. Copeland herself sounds incredibly focused and basic, far from slick but not dirty or messy on any level, and her themes reflect a current-life viewpoint that is part optimist and part cynic, with a big parcel of pragmatic realist. Her poignant castigation of God-driven politicians and jive preachers on "Sounds Like the Devil" is spot-on in a slow-plod beat, "Broken World" is an end-all cautionary tale, and "Big Brand New Religion" brings the sentiment full circle as an antithesis in a New Orleans shuffle. Her songs of hope stem from a young mother's bad-luck struggle in a hard rock two-step during "Rise Up" and the funk-rock "Born a Penny" (featuring Burbridge), which anyone struggling with being born into poverty can relate to. "Never Going Back to Memphis" and Joni Mitchell's "Black Crow" feature Chris Wood, Medeski, and Ribot, the former a voodoo-type sly and slinky number, the latter a decent light funk revision of the tune. At her most innocent though atypical, Copeland overdubs her singing on "The Truth Is the Light," only slightly preachy and balanced by some nasty slide guitar work. Another cover, this time of Percy Mayfield's "River's Invitation," seems biographical, as she's looking for her baby, and it's a song that suits her toned-town approach. There are harder-edged songs like the bompity-bop New Orleans-flavored "Limousine" and her well-sung, spirited take on dad Johnny Copeland's "Circumstances," which is more acoustic and down-home, but essentially it's all good. There's little to fault in terms of the diversity she seeks, and there's no concession to commercialized blues here. All in all, Copeland has delivered a solid set of music, easily recommended, that should please her fans and translate to some dynamic performances on tour. ---Michael G. Nastos

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