Personnel: Sue Foley (vocals, acoustic, electric & nylon-string guitars); Colin Linden (acoustic, electric, baritone & high-string guitars, acoustic & electric dobros); Joe Cabral (saxophone); Mark Mullins (trumpet); Richard Bell (piano, organ); Ken Pearson (piano); Terry Wilkins (acoustic bass); Richard Price (bass); Bryan Owings (drums); Miche Pouliot (percussion); Lucinda Williams (background vocals); Ethan Allen.
Personnel: Sue Foley (vocals, acoustic guitar, electric guitar); Colin Linden (baritone guitar); Joe Cabral (saxophone); Mark Mullins (trombone); Richard Bell (organ); Michel Pouliot (drums, percussion).
Audio Mixer: Colin Linden.
Recording information: The Bathouse.
Sue Foley just keeps getting better. On her sixth album, the singer/songwriter and guitarist turns in a diverse set of blues (a slow and mournful version of Willie Dixon's "The Same Thing"); Stax-styled, horn-fueled R&B ("To Be Next to You"); New Orleans party rockin' (an obscure Freddie King cover of "You're Barkin' Up the Wrong Tree"); and even a spooky, flamenco-influenced spaghetti Western instrumental ("Mediterranean Breakfast") -- and it all surprisingly gels into a consistently satisfying album. Foley's distinctive voice -- part Bonnie Raitt, part Bessie Smith, part Memphis Minnie -- has evolved and matured, tearing and tugging at the edges, flawlessly complementing these lovelorn songs. There's an airy, effortless, and unhurried (but not laid-back) quality on Love Comin' Down, likely motivated by recording in the Tragically Hip's cushy home studio, and Foley's performances here take on a bluesy edginess, best exemplified by the acoustic tracks "Let My Tears Fall Down" and the album-closing "How Strong," where she sighs and cries with a unnerving poignancy. As producer, fellow Canadian blues-rocker Colin Linden leaves breathing room for Foley's biting, snakelike guitar and heartfelt vocals, while bolstering the tunes with subtle horns and swampy, understated drums. Lucinda Williams' dramatic vocals are impressive on "Empty Cup," but it's Linden's spine-chilling Dobro and Foley's menacing guitar that stand out. With a rugged and uncompromising style, and a smooth yet earthy and wholly assured approach, Sue Foley dexterously treads the line between commercial and rootsy, and in the process creates her most eclectic -- and best -- album. ~ Hal Horowitz
Professional Reviews
Down Beat (11/00, p.68) - 4 stars out of 5 - "...[She] finds all the right emotional shades in which to color her genuinely seductive voice, and she turns in one sterling performance after another on guitar..."
JazzTimes (11/00, p.69) - "...Unveils her considerable slide guitar chops....All the elements - songwriting, playing, soulful conviction - come together for [her] on this solid outing..."
Mojo (Publisher) (9/00, p.104) - "...[An] artfully lit album....[She] exchanges the uncompromising blues of her early albums for a larger wardrobe...skillfully dressing the sets to match her subtler ensembles..."
