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Love Comin' Down

Editorial Reviews

Barnes & Noble - Roberta Penn
Ironically, guitarist, singer and songwriter Sue Foley, who rose out of the Austin, Texas, blues rock scene of the early '90s, sounds more at home with the blues now that she has returned to her native Canada. The title cut on Love Coming Down still rocks but Foley's guitar solo goes for guts rather than show. And her distinctive voice sounds as lonesome as an abandoned baby doll throughout the set, recalling another Texas singer Lou Ann Barton. For the mesmerizing "Two Trains" Foley's licks are as svelte as a streamliner, while Willie Dixon's sexually-charged "Same Thing" becomes a showcase for her singing. Folk and blues rocker Colin Linden produced the set and his ...
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Editorial Reviews

Barnes & Noble - Roberta Penn
Ironically, guitarist, singer and songwriter Sue Foley, who rose out of the Austin, Texas, blues rock scene of the early '90s, sounds more at home with the blues now that she has returned to her native Canada. The title cut on Love Coming Down still rocks but Foley's guitar solo goes for guts rather than show. And her distinctive voice sounds as lonesome as an abandoned baby doll throughout the set, recalling another Texas singer Lou Ann Barton. For the mesmerizing "Two Trains" Foley's licks are as svelte as a streamliner, while Willie Dixon's sexually-charged "Same Thing" becomes a showcase for her singing. Folk and blues rocker Colin Linden produced the set and his presence behind the console and on dobro on "Empty Cup" which features Lucinda Williams singing harmony and "Let My Tears Fall Down" take Foley back to the times when rural music encompassed the best of both folk and blues. It's this emphasis on acoustic music that makes this Foley's best set to date: She isn't trying to scream over a rock band, and her guitar playing doesn't bear the weight of Stevie Ray Vaughan's legacy. Love Coming Down is Foley coming through an honored Canadian tradition that manifested itself in the folk blues strains of Ian and Sylvia in the '60s.
All Music Guide - Hal Horowitz
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.
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Product Details

  • Release Date: 5/9/2000
  • Label: Shanachie
  • UPC: 016351803627
  • Catalog Number: 8036
  • Sales rank: 405,495

Album Credits

Performance Credits
Sue Foley Primary Artist, Primary Artist, Acoustic Guitar, Electric Guitar, Vocals
Lucinda Williams Harmony
Richard Bell Organ
Joe Cabral Saxophone
Colin Linden Guitar (Baritone)
Michel Pouliot Percussion, Drums
Terry Wilkins String Bass
Mark Mullins Trombone
Richard Price Bass
Technical Credits
Sue Foley Composer
Ken Friesen Engineer
Colin Linden Producer, Engineer
Mike Poole Engineer
John Whynot Mastering
James Cohen Engineer
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