You Don't Know Your Mind

( 1 )

Editorial Reviews

All Music Guide - William Ruhlmann
It isn't really surprising that as a songwriter David Egan has had cuts on albums by the likes of such blues and blues-rock singers as Joe Cocker, Solomon Burke, Percy Sledge, and Etta James, since he writes songs in what comes across as an authentic blues style, songs that sound like they could have been written in the 1940s and '50s instead of the '90s and '00s. As a performer on his second solo album, You Don't Know Your Mind, Egan provides another batch of songs that would be worthy covers for some of the same performers. (Actually, "Sing It" has already appeared as the title song of an album by Marcia Ball, Irma Thomas, and Tracy Nelson.) The only downside of his ...
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Editorial Reviews

All Music Guide - William Ruhlmann
It isn't really surprising that as a songwriter David Egan has had cuts on albums by the likes of such blues and blues-rock singers as Joe Cocker, Solomon Burke, Percy Sledge, and Etta James, since he writes songs in what comes across as an authentic blues style, songs that sound like they could have been written in the 1940s and '50s instead of the '90s and '00s. As a performer on his second solo album, You Don't Know Your Mind, Egan provides another batch of songs that would be worthy covers for some of the same performers. (Actually, "Sing It" has already appeared as the title song of an album by Marcia Ball, Irma Thomas, and Tracy Nelson.) The only downside of his ability to write material so steeped in tradition is that they can sound a little too familiar, even on first hearing. The title song and the closing song, "Smile," are both barrelhouse piano numbers that could have come from the repertoire of Professor Longhair. "If It Is What It Is (It's Love)," a duet with Jennifer Niceley, might have been written and performed by Fats Waller in the '30s. "Money's Farm" and "Sing It" are both set to New Orleans second-line rhythms and might as well be by Dr. John or the Neville Brothers. And while one is tempted to sing along to the feisty, allegorical "Proud Dog," it wouldn't be hard to drift over to such dangerously similar tunes as Hank Williams' "My Bucket's Got a Hole in It" and Joe South's "Games People Play." Egan's renditions of his songs are a cut above merely being good publishing demos. He is also steeped in the Louisiana style as a performer, playing excellent keyboards (for which he is not credited on the album, though that must be him) and singing in a thin but soulful tenor. Still, more distinctive stylists in the blues and soul vein will want to pick up this disc for possible cover material.
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Product Details

  • Release Date: 10/21/2008
  • Label: Out Of The Past Llc
  • UPC: 687066525328
  • Catalog Number: 4
  • Sales rank: 178,940

Album Credits

Performance Credits
David Egan Primary Artist, Piano, Keyboards, Vocals
Roddie Romero Vocals
Chris Belleau Harmonica, Trombone
Mike Dillon Percussion, Conga, Vibes
Ron Eoff Bass, Vocals
Joe McMahan Guitar, Percussion
David Ranson Bass
Buddy Flett Guitar
Bryan Owings Percussion
Steve Poulton Vocals
Kevin Gordon Guitar
Charlene Howard Vocals
Deanna Varagona Vocals
Charles "Wigg" Walker Vocals
Rex Moroux Vocals
Jennifer Niceley Vocals, Guest Appearance
Technical Credits
Jim DeMain Mastering
Joe McMahan Producer, Engineer
David Rachou Engineer
David Egan Composer, Producer
Buddy Flett Composer
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Great Songwriting / Great Record

    Don't pay any attention to the AllMusic Guide review posted here. Anyone knowledgeable about Mr. Ruhlmann's writing will know that his effete attitude toward music is insufferable. Other reviewers feel much different from him regarding this release. For example -<BR/><BR/>Louis Armstrong claimed with vested authority that the blues was born in New Orleans. Clearly, the Crescent City and the state of Louisiana are primary sources and the bayou country has in particular produced exceptional piano players from Professor Longhair to Fats Domino and Dr. John. The latter is noteworthy as he contributed to the recordings of fellow artists while nurturing a solo career. Singer/songwriter/piano man/ producer David Egan wrote for others for years, including ¿First You Cry¿ for Percy Sledge, ¿Even Now¿ for Johnny Adams and the breakthrough ¿Please No More¿ for Joe Cocker. All the while he was pumping the 88s for A-Train, Lil¿ Band o¿ Gold, File and Jo-El Sonnier and living the life. <BR/>The 11-song set is a simmering bouillabaisse of originals that serves the full range of Egan¿s musical flavors spiked with his knowing, whisky-cured vocals, while reuniting him with long time songwriting partner, guitarist Buddy Flett. The low down minor key title track has understated, swampy guitar solos from Louisiana legend Lil¿ Buck Senegal and recalls the ¿good doctor,¿ while ¿You¿re Lyin¿ Again¿ rocks with the brio of the ¿Fat Man.¿ ¿Bourbon in My Cup¿ is a 100 proof, late night ballad that would have made Charles Brown smile. With Senegal adding tart licks Egan displays his unique way with a lyric in ¿Love, Honor and Obey¿ as he addresses the age old issue of heartbreak. Likewise, in ¿Small Fry,¿ a tender paean to his young son with sympathetic dobro from Joe McMahan. <BR/> In the rhumboogie of the semi-autobiographical ¿Money¿s Farm¿ Egan recalls youthful trespasses ¿over the levee,¿ where Shreveport lads found a world apart from their suburban life. ¿Best of Love Turned Blue¿ turns the usually exuberant zydeco rhythm on its head with an atypically slow, twisting groove and ¿Sing It¿ gives a sly nod to `Fess with perhaps the funkiest second line rhythm ever committed to disk. The ribald and Big Easy tempo of ¿Proud Dog¿ gives a nod to Huey ¿Piano¿ Smith as Egan offers encouragement to those like himself who have weathered their share of life¿s vicissitudes and serves as a prelude to the butt-slapping boogie of ¿Smile.¿ A heartfelt sermon to the choir ¿¿to keep smilin¿ though it all,¿ it is as good as self help advice gets in the blues and only adds to the value of David Egan¿s art.

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