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Lisa Biales: REVIEWS

Lisa Biales review "Singing In My Soul" April 21, 2013…


All great singers have that rare trait of putting their own imprint on the material they choose, giving it a unique feel and making it their own.  Lisa Biales is one such singer, with a rich, pure voice that fits any genre’ like a glove.  On her latest release, “Singing In My Soul,” she touches on jazz, ragtime, old-time blues, gospel, and even a touch of country over these nine covers and one original.

Lisa’s vocal prowess is such that she has previously released seven albums, and was tagged for the lead role in the Oxford, Ohio, Community Theater production of “Always Patsy Cline,” and the classic songs that went along with it.

On this set, Lisa is backed by Cincinnati-based pianist Ricky Nye, and the remaining members are the Paris Blues Band, who are indeed from Paris, France.  They are brilliant players within Lisa’s system of jazzy, minimalist arrangements, never getting in the way of her vocals.  Check out the leadoff “A Little Bird Told Me.” It is an old Blu Lu Barker pop standard, and the fellows get into a nice call-and-response sing-along with her, adding to the authenticity of the performance.  Lisa’s original “Magic Garden” also follows in this playful vein, done up in a Piedmont, fingerpicking style.

Her country experiences show up in her read of “Careless Love,” and her voice literally soars in her gospel renditions of Sister Rosetta Tharpe’s “Strange Things Happening Every Day,” and the set-closing title cut.

We had three favorites, too.  She breathes new life into a smoldering “I Only Have Eyes For You,” while Sippie Wallace’s “You Got To Know How” is full of sexy, flirtatious double-entendres’.  And, a cut Lisa discovered while researching Cline’s music, “Write Me In Care Of The Blues,” has that plaintive, sultry feel of Patsy herself, with Ricky’s piano and Andrew Stelmaszack’s guitar in perfect step.

Lisa Biales has garnered the nickname “The Belle Of The Blues,” and she’s spent her career making great music.  With “Singing In My Soul,” her incredible vocal skills are again on brilliant display!   Until next time…Sheryl and Don Crow.

SINGING IN MY SOUL Lisa Biales with Ricky Nye & The Paris Blues Band (Big Song Music) *****

I’ve just found my favorite blues album of the year- so far, at least!  I’m Singing In My Soul, following on the heels (more or less) of 2012’s terrific and freshly surprising Just Like Honey, is a gentle, vintage, jazzy breath of fresh air.

This disc is, in its own way, along the same lines as the terrific blues based releases Maria Muldaur has been releasing in recent years, particularly last year’s tribute to Memphis Minnie.  9 of these ten tracks are deft remakes of many long-forgotten classics, like Sister Rosetta Tharp’s Strange Things Happening Every Day, Mississippi John Hurt’s Let The Mermaids Flirt With Me and You Got To Know How from the pen of Sippie Wallace. Despite gathering songs from so many different artists, the whole set meshes together spectacularly well into a sublime, smoky backroom vibe that, frankly, is too delicious for words- even my thesaurus said “you’re on your own here, pal!”

Ricky Nye, a Cincinnati based piano player, also produced the record and plays on it too.  The band is actually from Paris; Thibaut Chopin on upright bass, Anthony Stelmaszack on guitar and Simon “Shuffle” Boyer on drums. There’s almost an old cabaret feel to this disc and while it’s not bluegrass, I get the feeling it would be quite comfy next to the O Brother Where Art Thou soundtrack in the CD changer.  As with music of this sort it’s very sparse and uncluttered- while enjoying the performances overall, I was particularly taken with the mellow, supple jazz runs of Stelmaszack’s guitar.

Though this is only my 2nd Lisa Biales disc, it is in fact her 7th or 8th album, so it looks like there’s some catching up to be done.  At 10 tracks and a playing time of just over 31 minutes, Lisa & The Paris Blues Band wisely heed the old showbiz axiom “always leave them wanting more”. Singing In My Soul is definitely on my ‘essential listening’ playlist. Chances are looking fairly decent that I’ll be able to score a phone interview with Lisa sometime in the next month for my radio show How Blue Can You Get, which airs and noon Alberta time on Sundays at  I’ll keep you posted.

COOL CUTS: Strange Things Happening Every Day, I only Have Eyes For You, Write Me In Care Of The Blues

"SINGING IN MY SOUL" - Lisa Biales

Ever since the Asylum Street Spankers broke up, I've been heartsick. That was one helluva group that never got the full respect and adulation it so richly deserved. Thus, I've been pining for more of the Spankers' eclectic style, and, yee-haw, along comes Lisa Biales to assuage my grief! Wellllll, actually, she'd started the process with her previous gem Just Like Honey (here), but too much is never enough, and so I was more than ready for Round Two. Like Christina Marrs, Biales has a spirit that's oft happy-go-lucky but blue when clouds gather, funky-shuffley as the urge strikes, even sly and satirical, as in her own Magic Garden (hmmmm, mushrooms? what on Earth could she be talking about?). Am I the only one who feels this way? Oh hell no! Harry Nilsson loves Biales as well (and loved the Spankers too). Okay, he's dead, but I've been channeling the guy for years—every time, in fact, I reach for a glass of bourbon. That Harry!, he sure loved a good tune, and he sure knew how to bend the elbow. No two ways about that. I think that's why I don't have to do a damn thing every time I put on a Biales disc: the bottle just floats over and pours itself.

Like the Spankers, like Nilsson, like Leon Redbone, like a whole lot of people who have omnivorously provincial tastes, Lisa Biales loves old-timey stuff and does the oeuvre proud, not only covering righteous standards-writers like Sippie Wallace, Mississippi John Hurt, W.C. Handy, and others but adding her own uptone spark to all the be-bopping, pub wailing, picket fence smiles, and hand-clapping happy times. Then there's her band, which accords itself like a decorous pub, barbershop, or whorehouse quartet. Through the CD, one can picture the gents decked out in striped shirts, handlebar moustaches, bowties, all the rigueur of the era. Not only the flouncy title cut but quite a few of the selections demonstrate this in spades. My favorite song? Biales' do-up of Harvey Brooks' snappy A Little Bird Told Me but that's a REALLY hard call to make 'cause every single track here sparkles, and if you don't find yourself caught up in the hip shakin', foot stompin', let yer hair down ambiance of it all, don't write me, I'm just a critic, call Forest Lawn instead. They'll know exactly what your problem is. Otherwise, join me 'n Harry, set a spell, grab yourself a beer and a sidecar, and make sure you keep that little hand towel close by 'cause yer a'gonna need it to wipe the grin off your face when we're done listening to Singing in my Soul.

Just Like Honey



Lisa Biales

Big Song Music


Lisa Biales has one of those great voices of our times. She conveys the blues with heartfelt passion, yet can be spry and lively on pieces that’ll make you smile. Working with her good friend, multi-Blues Music Award nominee E.G. Kight, who helped produce the new CD, Just Like Honey, who joins Lisa on a handful of numbers, it creates the same type of results you’d expect from one of Kights’ own outstanding recordings.

Material is well chosen for Biales’ presentation and vocal range. Three of the tracks she wrote herself. Opening Just Like Honey is a nice recreation of the Memphis Minnie number “Call The Fire Wagon.” Just about all female blues artists owe a debt to Minnie for paving the way and those with the right chops can pay respect to her properly when they cover her. Here Biales does so in spades. Other standout covers include Candye Kane’s “Gifted In The Ways Of Love,” Bonnie Raitts’ “Give It Up” and the Etta James’ classic “Damn Your Eyes.”

It is the slow, torchy blues pieces where Biales proves her merits best, though. Here she delivers on a pair of E.G. Kight’s originals, “When You Were Mine” and “Through The Eyes Of A Child.” Biales with the right song can melt your heart with her voice. These two numbers could easily be cross-over hits on any major easy-listening pop radio station today, as could the title track “Just Like Honey.”

Biales also provides a little frivolity with Kights’ music with the fun, bouncy song “Sugar,” where she sings the praises of her man and the nicknames he gives her in appreciation. Another exceptional track is Biales’ own “Peaches,” a mile inducing number with its double entendres not totally hidden.

All in all, Lisa Biales has created a winning disc and one that should sit on everybody’s playlist. She has the strength of well renowned female artists like Raitt and Kight, and if the world pays attention she should receive the same accolades herself. Outstanding!


Total Time: 46:50

Call The Fire Wagon / Just Like Honey / Sugar / Gifted In The Ways Of Love / When You Were Mine / Yonder Come The Blues / Gypsy Woman Blues / Damn Your Eyes / Come To Me / Peaches / Give It Up / Blues Stay Away From Me / Watch Out Baby Don’t Cry / Through The Eyes Of A Child


51a6LRUn2L._SL500_AA300_Maybe you've heard of Lisa Biales from Oxford, Ohio, but much to my chagrin, I had not.

At least not until I tried out her latest CD, which has been languishing in the CD pile. I've been missing a lot, and so have you if you haven't heard this jazzy, bluesy, enchanting songstress before.

Think old-timey blues and jazz. Think young Maria Muldaur or Bonnie Raitt. But most of all think of a unique approach to timeless music that includes re-creating it herself.

He recently released CD is "Just Like Honey" (Big Song Music) and that just might be a pretty good description of her voice, this music, and the album. Her voice is unique -- high and clear and a perfect fit for the covers and originals here. She reminds me a little of some '60 folkies, a little of a breathy jazz singer named Blossom Dearie, and even of Pittsburgh's Jennie Luvv, who sings classic stuff with the Burgh's Boilermake Jazz Band.

Anyway, that's just to give you an idea. She's her own artist, with her own style and on this set she carries it across bluesy and soulful material. When she kicks off the CD with "Call the Fire Wagon" from Memhis Minnie McCoy, it's in a great little rickey-tickey style -- acoustic guitar, clarinet, upright bass, fiddle and drums. It's simply delightful.

Follow that with the sultry and smoothly sensual "Just Like Honey," and you wonder how the album could possibly get any better. But it does. It's a fine combination of Biales' sweet voice and dead-on musical production by "Georgia Songbird" E.G. Kight.

Biales works all kind of musical magic with her voice. She flows easily from "Honey" and "Sugar" into a rollicking version of Candye Kane's hard-driving blues, "Gifted in the Ways of Love."

"When You Were Mine" is a sweet, sweet ballad, done intimately with piano, drums, bass and guitar. "Yonder Come the Blues" is straight-up and down-home blues that goes back to Ma Rainey. There's a lot more very tasty tracks, including Bonnie Raitt's "Give It Up" and Tommy Talton's Southern rocker "Watch Out Baby Don't Cry." "Blues Stay Away From Me" is a soulful duet with Kight that hits all the right notes.

This is an excellent album. It's full of exuberant life and fine music. You can only hope that since she works out of Ohio, she'll turn up in Western Pa. one day.



 Blues Blast Magazine – August 24, 2012


Lisa Biales – Just Like Honey

Big Song Music

Time: 46:50

E.G. Kight is known in the blues community as a singer, writer delivering quality music. Now you can add the role of producer for this release co-producing along with Paul Hornsby, Lisa Biales’ new album Just Like Honey.

Being it is my first exposure to her; I can’t think of anyone I can compare Lisa to vocally. I will say titling the CD Just Like Honey suits the music to a tee. It is warm, inviting and seductive. It draws the listener in and for the most part it is a laidback journey.

Not too many artists open their CD with Memphis Minnie’s “Call The Fire Wagon.” And you have to applaud Biales for making that decision. With clarinet playing by Monty Cole and fiddle playing by David Blackmon, the tune captures Minnie’s spirit as it recalls the era of swing. Relying on the foundation of guitarist Tommy Talton, drummer Bill Stewart and bassist Marshall Coats, Lisa creates a work of easy listening blues. There’s nothing aggressive. Musically it’s a relaxed affair.

If you are going to work with E.G. Kight, it doesn’t hurt to cover her songs and having her guest on vocals. Dubbing background vocals on Kight’s “Sugar” works out nicely and Pat Bergeson’s harp playing does sprinkle a little sugar on Kight’s happy-go-lucky composition.

Whereas the electric guitar is sometimes a dominant instrument on blues releases, it’s not the case here. Talton’s job is staying in the background as an acoustic guitarist only emerging now and then to cut loose with a little slide. That could also be said for Ken Wynn’s electric guitar playing. After-all they are there to support Biales and not over-step with anything wild.

For those familiar with singer Candye Kane, listeners will have cause to rejoice when they hear “Gifted In The Ways Of Love.” This is one of the few times Wynn can exercise his chops on guitar and Paul Hornsby can add electric piano playing that is like the guitar playing. Both coming out of the less-is-more school. Besides it enhances the song’s Chicago shuffle blues style.

Of course you have to have Paul Hornsby play on more than one track. On another Kight composition “When You Were Mine,” Hornsby’s piano and Hammond tones are just mint in presenting this tune in the after-hours jazz club glow.

Not only does Lisa have a strong grip on material by Minnie, she doesn’t cower from taking on numbers covered by Ma Rainey and Odetta. Taking on the J. Mayo Williams number “Yonder Come The Blues” proves Biales can handle old fashion blues with ease but moving it forward to this century. Bergeson’s harmonica playing once again adds that back-porch vibe along with Talton’s slide guitar.

Biales doesn’t team up with E.G. to write many songs for this release. It’s too bad because “Gypsy Woman Blues” packs enough of a punch with Talton’s bottleneck spraying fire over strings that sound like their being pulled taut over a metal garbage can.
Though Lisa doesn’t have many of her original songs on this CD, she can write a sweet soulful number like “Come To Me” with subtle band backing turning things into airy jazz.

Taking inspiration from Guy Davis, Biales writes a piece of old blues entitled “Peaches” with a strong nod to the past as she borrows lines from Trixie Smith and William Harris. And covering the vintage Bonnie Raitt number “Give It Up” has the Capricorn ensemble just having fun and rocking. Singing with Kight in “Blues Stay Away From Me” finds Biales happy in a comfort zone knowing strong support from the sidelines contributes to her musical experience she knows is worthwhile. She’s more than happy to sing a track Tommy Talton brought to the sessions entitled “Watch Out Baby Don’t Cry.” This just might be the rockingest song on the record with Hornsby’s hot Hammond playing and Talton’s slide work recalling Duane Allman’s session work.

Free from the over-driven blues-rock, this is an enjoyable listening experience.

Reviewer Gary Weeks is a contributing writer. He resides in Marietta, GA


Lisa Biales 
Just Like Honey 
Big Song Music 23Skdoo 
Just Like Honey was produced by EG Kight and Paul Hornsby who lent their considerable talents and musical expertise to the making of this album. Composed of original tunes by Biales, EG Kight and a number of well-chosen covers, this recording is one of those pieces you'd put on for that quiet evening at home or with a small gathering of close friends. Biales has a vocal quality that is timeless. Back that with a band well-versed in so many of the old blues styles and you have a recording in your hands that has that kind of staying quality that will still be selling fifty years down the road. No need for hardcore pyrotechnics here, Lisa and friends deliver the goods with power and authority. This is one solid piece if work. Lisa Biales would sound equally at home in the 20s or 30s as she does when this piece was recorded in 2012. Straight ahead blues with that little tinge of both country and jazz Just Like Honey has a little something for everyone, regardless of your favorite style. Sexy, saucy and flirtatious as a young barfly this woman has what it takes to make it in this business, no questions asked. She has a look that will keep the guys coming back and a voice to back it up. Add to that a band that is tight and plays exceptionally well, plus an assist from couple of friends and you have a winner on your hands. This one's a keeper. - Bill Wilson

Bill Wilson - Billtown Blues Association (Aug 21, 2012)

Lisa Biales,
Just Like Honey
(Big Song, 2012)

"The focus is in good part on old-school blues, much of it vaudeville-flavored, with occasional excursions into Memphis Minnie-style rural sounds as well as bluesy contemporary pop."

In Just Like Honey the Ohio-based Biales performs in front of a superb, mostly unamplified band, beautifully produced by E.G. Kight and Paul Hornsby, and sings her way through 14 songs that range through the decades. The most antique is the folk-blues "Peaches," out of the admonition school that warns if you don't like peaches, then don't shake trees. Always good advice. Biales's brings an irresistably matter-of-fact, take-it-or-leave-it-though-I'd prefer-you-take-it erotic quality to this amiably sly-natured song.

One definition of a good singer is one who, though possessed of a powerful voice and deep lungs, doesn't feel the need to let you know it. Biales is a good singer because, though she could, she refuses to be an oversinging show-off. On occasion she exhales the lyrics but stops well short of the bombast that afflicts much cliched blues-mama delivery. That renders Candye Kane's hard R-rated "Gifted in the Ways of Love" genuinely fun as opposed to, say, painful (in the basic physiological sense) to listen to. Biales's vocals are intimately conversational, thus persuasive. She knows a lyric tells a story, and the songs of love, sex, loss and betrayal that she's chosen are of lives lived by fully grown adults. In both the writing and the singing there is no artifice. This enables her (in a duet with Kight) to make something even of the Delmore Brothers' tired and over-covered "Blues, Stay Away from Me."

Though most of Just Like Honey is rooted in popular styles of the 1920s and '30s, the production is more guitar- than piano-based, indicating that an updated country-blues sound is what Biales and band are striving for. Biales's voice certainly pleases the ear, but so does that wonderful band. Tommy Talton's acoustic and acoustic-slide guitars feel something like a natural wonder.

(Big Song Music)

 The Oxford, Ohio-based singer/songwriter Lisa Biales certainly understands the potential of the team approach to recording. For this, her seventh release, Biales enlisted the services of Hour Glass alumnus Paul Hornsby and blues veteran E.G. Kight as co-producers, plus Cowboy co-founder Tommy Talton as guitarist and fellow Capricorn Records mainstay Bill Stewart on drums, in addition to such familiar names as David Blackmon, Ken Wynn and Marshall Coats in their respective, familiar capacities.

However, the results are anything but a reflection of the so-called Southern rock that came to define the Capricorn label’s legacy. To the considerable credit of all involved, Just Like Honey is a meticulously created and well executed celebration of the blues, as well as Biales’ superb ability to execute it accordingly.

The ambitious opening cover of Lizzie “Memphis Minnie” Douglas’ February 1939 gem, Call The Fire Wagon (Vocalion 04858) sets the precedent for the remainder of the proceedings, which includes everything from a spirited interpretation of the Delmore Brothers’ August 1949 Wayne Raney co-authored monster classic, Blues Stay Away From Me (King 803) to a playful take on Candye Kane’s Gifted In The Ways Of Love (from Diva La Grande on Discovery 74710). Kight’s wry Sugar and When You Were Mine, in turn serve as a reminder of the singularity of purpose between producer and artist, while Biales’ own Peaches and Come To Me, as well as the aptly-named title track reiterate her formidable capabilities as a vocalist and composer.

Although the blues in general has endured somewhat of an aesthetic recession in recent years, Biales herein handily demonstrates that the genre is far from being a spent force. Her commitment to diversity within the idiom is refreshing, and her ability to execute with authority is inspiring. Biales has also made her motion picture debut in Francis Ford Coppola’s Edgar Allen Poe-inspired Twixt, which debuted in England in April.

Genre: Blues  -  Review Date: 6-26-12

 Artist:  Lisa Biales

Album:  Just Like Honey

Record Company:  Big Song Music

  Review:  You can find your favorite new thing in a lot of places. A newly bloomed flower, dish or car can pop into your head on a daily basis. Singers are a little harder to come by, as most hold on to their favorites for a while. One artist sure to win some fans and become a star is Lisa Biales, and “Just Like Honey” is so tasty you just gotta have some.

     Brought to us by the hitmakers at Big Song Music, “Just Like Honey” is a delight to the senses. Jam packed with tracks to brighten your day and relax your soul, it’s clear that Lisa Biales believes in the power of music to heal and loves what she dopes.

     The title track scores in a big way. It is equal parts Carole King & Erykah Badu. Be sure to let this track find a home on your iPod soon. “Make it last, make it slow, make it sweet, just like honey.”

     The blues gets a bad rap in some circles. True fans of the genre know that great blues can make you feel better than any old pop concoction, and Lisa Biales’ latest delivers in spades. Give “Just Like Honey” a ride today; you’ll be glad you did.


Author:  Christopher Llewellyn Adams



Lisa Biales’ latest release, Just Like Honey (Big Song Music), is an alluring collection of blues, Americana, and roots music all geared toward the sounds of vintage music from the ’20s and ’30s through the ’60s. Produced by E.G. Kight and featuring a lineup of musicians that includes Paul Hornsby, Tommy Talton, and Bill Stewart, the disc focuses squarely on the vocal charms of Ms. Biales with a choice set of tunes by Kight, Candye Kane, Ma Rainey, Memphis Minnie, Odetta, Etta James, Bonnie Raitt, and the Delmore Brothers.

Biales’ voice is a wonderful instrument. Her lithe and seductive performance of the title track is outstanding. Her reading of Etta James’ “Damn Your Eyes,” is tough, but a bit wistful at the same time. Other standouts include the sweet “Come To Me” (penned by Biales), the free-wheeling “Peaches,” the classic “Yonder Comes the Blues,” and a lovely version of Kight’s “Through the Eyes of a Child.” She also does a great job on the opening romp, Memphis Minnie’s “Call the Fire Wagon.” She’s also comfortable on the rock side of blues, handling Candye Kane’s bold “Gifted in the Ways of Love.”

Kight does a great job as producer, plus she contributes three songs and makes some sweet harmony with Biales on the Delmore Brothers’ “Blues Stay Away From Me.” The band does a fantastic job with this wide variety of tunes. Actually, Biales does an excellent job, too, covering a wide range of styles with charm and confidence. Just Like Honey is a very enjoyable release that will appeal to music fans in general.

Lisa Biales is a featured Artist of the Week at Alternate Root Magazine. Check it out and download "Peaches" from her new cd "Just Like Honey"

Just Like Honey. It is very possible that the album title is a Lisa Biales answer for the question, “says Lisa, what does your voice sound like”. The consistency of her delivery is similar to the bee’s bread and butter running down the side of a jar. Her words drip over the songs, flowing into every opening and forming a bond with the music. Musically, Just Like Honey arrives with a blues/jazz stamp for the tracks included, Lisa covering songs by Memphis Minnie, Ma Rainey, Odetta, EG Kight, The Delmore Brothers, Etta James, Candye Kane, and Bonnie Raitt.

The strength in Lisa Biales voice is obvious. Where the lady separates from contenders is the approach she takes to the notes. Lisa can stretch out a note to the kind of length that makes you forget you are holding your breath. “Gifted in the Ways of Love” is an open letter from Lisa’s mama that is given a hefty beat that lets’ Ms. Biales the junior shout the words of her mother to the world. They worked for her, come on down and share! “Peaches” is an open air swing through the morning, “Gypsy Woman Blues” fire dances and steps lightly on a percussive bottom beat, “Sugar” finger snaps a laundry list of appropriate nicknames in which all apply and struts right on down to Dixie riding on the coattails of Ms. Raitt’s “Give It Up”.

There is still a great deal of musical magic taking place in Macon, Georgia. This album is proof of that. A native of Ohio, Lisa Biales sings. And croons. And seducts. And does whatever she damn well pleases. This is one of those albums that will impress you, and maybe even turn you on in the same breath.

The woman is simply put, a singer. I don’t know that you could put her in any genre or musical styling. Off the bat, you’re in her corner with the old-school sounding “Call The Fire Wagon,” which you might want to do soon – because the title cut is next. And, man oh man, does it deliver. Sweat beads might actually appear on your forehead, as her performance is that sensual. And, it’s not in an overt way. She’s just being natural, which makes it all the more effective. That same vocal stamp is all over cuts like “Damn Your Eyes,” where she also mixes in a little bit of angst into her role as an interpreter.

Other standouts include the playful “Peaches,” the jazzy “Through The Eyes Of A Child” and the achingly beautiful “When You Were Mine,” which reminds me of what Patsy Cline might have cut were she still alive. And, I mean that as the highest compliment. Lisa Biales is truly one of a kind!

Lisa Biales Brings Originality To Her Blues


Lisa Biales – Just Like Honey
*** (out of 4 stars)
Label: Big Song Music

You get the feeling that Lisa Biales knows just what she does really well. What she does really well is turn even the bluesiest of songs into a tune that seems could only come from her lips. Instead of inhabiting a song (like some overly dramatic performers can), Lisa grooves in familiar and very pleasing territory. Her tunes, her sound and her point of view all blend to offer a unique and crystal clear listening experience. Just Like Honey is her latest album. It’s a great introduction to a singer who seems to be having the time of her life making music. It may be the blues, but when she sings it, she adds just a few of her own colors to the mix.

Lisa Biales must put on one heck of a live concert. Her stylistic versatility, even just on this album, is vast. She delivers songs that satisfy your craving for blues, roots, Americana, jazz and even a little soul. She knows how to keep the entertainment bar high while she takes the time to sing as much for herself.. and that’s a good thing — what’s more appealing than a performer who truly loves what they do? On the album, Biales is supported by lively musicians and strong production values. Produced by EG Kight, the album was recorded, mixed and co-produced by Paul Hornsby in his Macon, Ga., studio. Featured players include guitarist Tommy Talton, drummer Bill Stewart, fiddler/mandolinist David Blackmon, singer EG Kight, Paul Hornsby on keys and others.

Just Like Honey is a collection of eleven variations on blues tunes. It includes one track co-written by Biales and two originals. In the vocal department, she has a powerful voice that displays a sizable range and uncanny pitch that speaks directly to your heart. These are simple songs that are effectively uncluttered in every way. The trick with a performer like Biales is to not fall for the idea that any of it is as simple as she makes it sound. She is a performer’s performer in that sense.

After listening to Lisa sing “Watch Out Baby Don’t Cry” a few times, I couldn’t help but think about how liberating the descending chord progression going into the hook and ending with a repeated “all right, all right…” was. It brought back memories of hearing a Linda Ronstadt (in the early years) rockin’ “Heatwave” with all the feeling she’d kept previously bottled up. I suspect that Biales has the same gift for making a song reach a wide variety of listeners with her own easy, true vocals.

On the album cover, Lisa Biales may appear to be a girl playing dress-up… and her songs certainly convey the fun of trying on different hats… or the thrill of giving yourself over to a song… but in the end, those different guises are all just aspects of herself. Like her music, she is not just one thing. Unless, by “one thing,” you mean that she is an original.

To preview or purchase this album on iTunes, click here.

Essential Downloads: “Sugar,” “Watch Out Baby Don’t Cry.”

Gary Eckhart - Blue Monday Monthly (Jun 14, 2012)

Blues Underground Network

Lisa Biales "Just Like Honey" (USA)
 Growing up in a musical family pretty well guarantees that you will also develop a talent for it. Such is the case of Ohio born Songstress and Guitar player Lisa Biales, whoms mother taught her how to sing and interpret songs and brother which taught her how to play Guitar, by the age of 11. By the age of only 13, Lisa had already started a career as a performing Songwriter and has since released numerous albums with her most recent being here 7th album, "Just Like Honey".
"Just Like Honey" was produced by none other then Blues Guitarist, Singer, and Songwriter EG Kight, whom in addition to producing "Just Like Honey", also performed on and co-wrote a number of the songs. Paul Hornsby, who has also collaborated with EG Kight as Co-Producer on some of her projects, not only Mastered, Mixed, & Recorded "Just Like Honey", but he also performed on various Tracks via Piano & Hammond B3 Organ, as well as helping out with Background Vocals. Other Guest Musicians included Tommy Talton (Guitar), Bill Stewart (Drums), and David Blackmon (Fiddle/Mandolin).
EG Kight’s vision for this project was to put together original songs with some of my early musical influences,” says Lisa Biales about the sessions. “In the studio, we figured out each song in the control room gathered around Paul’s mixing board. When we’d all get into the feeling of the song, someone would say, ‘That’s It!,’ and we’d all rush with excitement into the recording room and cut the tune.” This raw excitement comes through on each and every Track as "Just Like Honey" weaves through an enticing mix of Americana, Blues, Folk, and yes even a little bit of, as Lisa says, "old-timey music".
"Just Like Honey" starts off with Memphis Minnie's "Call The Fire Wagon".
I was talking to the people that lives in town
Y'ever had the shack and your clothes burn down?
So call the fire wagon, call the fire wagon
Call the fire wagon, ain't no fire wagon in town
This version was done with a little more lively tempo then the original, and had a real nice Clarinet throughout courtesy of Monty Cole and as the name of the album implies, Lisa's voice does indeed come across "Just Like Honey".
Track 2, "Just Like Honey" was one of my early favorites, with the chorus lines sealing the deal for me. Nice Mandolin work supplied by David Blackmon and super Background Vocals courtesy of EG Kight and Paul Hornsby. While we are talking about Background Vocals, for which are featured by various artists on the majority of the first half of "Just Like Honey", one of the nicest examples for me was the Background Vocals of EG Kight and Lisa Biales on Track 3, "Sugar" a EG Kight song. That one took me back a few years to some great female Duet singers of the 50's. Good Good Stuff...
The 2nd half of "Just Like Honey" also has an interesting mix of songs, which included Track 9, Lisa Biales's, "Come To Me" a raw and intimate Acoustic Blues number, Track 11, Bonnie Raitt's "Give It Up", a great up tempo number that gives Lisa's Vocals a great workout, and Track 13, Tommy Talton's "Watch Out Baby Don't Cry", a great Country Rock tune with again great Background Vocals from EG Kight and Lisa Biales. Paul Hornsby grinds out some nice Hammond B3 work while Tommy Talton lays down some fine Slide Guitar work about half way through the Track.
The slowed down, yet potent closing Track, EG Kight's/Tom Horner's "Through The Eyes Of A Child", leaves us with not only a sense of hope, but also a sense of awe for Lisa's Vocals. A great closer indeed, that should leave you as satisfied as a fine dinner.
From the opening Track to the Closing Track, "Just Like Honey" will leave you with absolutely no doubt about Lisa Biales's amazing Vocal talent.

A really great introduction to a really great singer and highly recommended for those that enjoy listening to listening to female Vocalists at the top of their game.

Review by John Vermilyea (Blues Underground Network)

LISA BIALES - Just Like Honey

If you dig Maria Muldaur, Dan Hicks, the Andrews Sisters, Mama Cass, Asleep at the Wheel, the Asylum Street Spankers, Leon Redbone, and that ilk, then you're gonna really like this songbird too. Lisa Biales has a crystal clear tone and smoothly confident delivery, so much so that she's not only been chosen to contribute music to films and TV but is also an actress in an upcoming Francis Ford Coppola flick starring Val Kilmer, with Don Novello (whoa!, Father Guido Sarducci!) as her husband in a mysterious interlude. Meanwhile, this is the 7th disc on her own label, Big Song Music, and it appears to me Ms. Biales is tilted for ever larger successes in the coming years.

Lotsa recognizable players too—Tommy Talton, Paul Hornsby, Bill Stewart, and others—but the feather boa Biales smiles behind on the cover is our visual cue, Just Like Honey being old timey music from the 20s up to the 60s. This means there's a lot of bounce and swing, but pay attention as she encants the slo-burn Damn your Eyes. Without going over the top, Biales bores the song straight through her unfaithful lover's heart, and just as unerringly out of her own, purging man and mind simultaneously…with just a tang of regret nonetheless.

Ah, but she's sinuous and slinky, too, buttery and sweet Just Like Honey, in a sonorous ode to love in a shady arbor, inviting and seductive until Yonder Come the Blues, and we're back in lamentation upon the eternal frustrations of the genders, Tommy Talton's slide stretching out the heartstrings as Vic Dunston's tuba chugs up the firmament. The close-out, though, is a mellow folky ramp-down with a gentle almost samba beat in Bill Stewart's brushes, a wistful desire for a return to innocence amid the current hurly-burly, and, man o man, wouldn't that be nice? Yep, this is a CD for walking backwards into an era that finds itself increasingly resorted to as a remedy against the technocratic ills of our own era. I say put on your spats and cravat and enjoy.

Big Song Music Artist: Lisa Biales - Just Like Honey - New Release Review

I have been listening to the new recording, Just Like Honey, by Lisa Biales which will be released by Big Song Music on June 5, 2012. Biales has a great voice for the style of music she sings. She was made for this music. This 14 track release covers such artists as Memphis Minnie, Candye Kane, Ma Rainey and Bonnie Raitt as well as a number of original tracks. Here music is strongly pop oriented with an overlay of blues and instrumentally tight featuring such musical greats as Tommy Talton, Bill Stewart, Marshall Coats,Dave Blackmon, EG Knight and Bruce Hornsby. The recording is very relaxing and is certain to do well across several genres of music listeners. I think that Biales own Gypsy Woman Blues is the stand out blues influenced track with some cool slide work from Talton.
- Bman's Blues Report (May 17, 2012)

Step in and join the fun as Lisa Biales tackles rootsy musical influences in supreme fashion, making »Just Like Honey« no ordinary mashup of originals and long ago expired blues standards, but a excitement filled package of neatyl executed numbers, proving her as a formidable song stylist and performer.

She is resourceful, there’s no denying that. To be absolutely fair, a large part for making this such a unique sounding record has to be credited to the band performance, which is flawless throughout the whole set. The combination of the two, the voice and the music, works miracles, feeding of each other in a creative musical symbiosis. No prisoners are taken as Lisa pulls some truly cheeky and daring moves, without having to the deal with the devastating consequences that normally follow most such manoeuvres. Her crystal pure voice copes brilliantly with the cover Memphis Minnie’s “Call The Fire Wagon”, dusting off this long forgotten blues gem with a country motivated approach. Mark that spontaneous clarinet solo giving the song that extra feathery fell.  Lisa is keen on unravelling her musical influences. Neatly queued up are inspired takes on the captivating "Through the Eyes of a Child”, “Yonder Come The Blues”, Candye Kane’s “Gifted In The Ways Of Love” and the brilliant cover of soul filled Etta James’ number “Damn Your Eyes”. Still, Bonnie Raitt’s “Give It Up” is perhaps most efficient in locating the spot where Lisa’s motivation for developing her musical talent came from.  

The original also make room for of exciting musical display. “Gypsy Woman Blues”, perhaps a somewhat common blues workout, eventually starts its bid in this lust spitting contest when Tommy Talton’s picks up his slide guitar to do a solo. Lisa’s rousing voice connects instantly with Tommy’s acoustic thrills on “Come To Me”. Nothing fancy here, this is 100 per cent organic, passion filled musicianship perfectly corresponding to Lisa’s vocal works. “Peaches” exploits this stimulating relationship on a jumpy country blues plain, while extra pace put through ”Watch Out Baby Don’t Cry” proves that Lisa has an abundance of aces dangling from her sleeves no matter where she turns.

Lisa Biales: vocal
Tommy Talton: guitar, acoustic and slide guitar
Ken Wynn: electric guitar
Paul Hornsby: piano, hammond organ
Marshall Coats: bass
Bill Stewart: drums
Gary Porter: percussion
Pat Bergeson: harmonica

1. Call the Fire Wagon
2. Just Like Honey
3. Sugar
4. Gifted in the Ways Of Love
5. When You Were Mine
6. Yonder Come the Blues
7. Gypsy Woman Blues
8. Damn Your Eyes
9. Come To Me
10. Peaches
11. Give It Up
12. Blues Stay Away From Me
13. Watch Out Baby Don't Cry
14. Through the Eyes Of a Child



Lisa Biales has been making music most all her life.  She possesses one of those pure, crystal-clear voices that comes at you, well, “Just Like Honey,’ which just happens to be the title of her latest CD!  This set finds her exploring both contemporary and traditional, old-time blues, interpreting songs written and inspired by the likes of Memphis Minnie, Guy Davis, Bonnie Raitt, and E. G. Kight, as well as her own dazzling originals.

Producer E. G. Kight wanted Lisa to get out of her native Ohio for this project, settling on the Muscadine Studio down in Macon, GA.  Her backing band is a veritable “who’s who” of the Capricorn Records heyday, including Tommy Talton, Bill Stewart, Marshall Coats, and Paul Hornsby.

The set kicks off with a Western-swingin’ version of Memphis Minnie’s “Call The Fire Wagon,” complete with a jazzy clarinet and fiddle solo.  Ken Wynn’s dobro and Pat Bergeson’s harp add just the right touch to the sly-and-sexy “Sugar,” while Tommy Talton’s acoustic slide work brings a touch of the Delta to the double-entendre’-filled “Peaches.”  E. G. duets with Lisa on the Delmore Brothers’  “Blues Stay away From Me,” punctuated by Paul Hornsby’s piano.

We had two favorites, too.  Lisa was introduced to blues music thru a Bonnie Raitt album, and offers up a rockin’ version of “Give It Up” in tribute.  And, Lisa’s vocal is simply stunning on her read of the E. G. Kight/Tom Hamer tale of how the world would change if everyone saw everything “Through The Eyes Of A Child.”

Lisa Biales has had her songs featured on TV and movie scores, and with a set as strong as “Just Like Honey,” she’s poised for a major breakout!   Until next time…Sheryl and Don Crow.

Sheryl and Don Crow - Nashville Blues Society (May 15, 2012)

Lisa Biales sings Just Like Honey on new CD

"Lisa plays a mighty fine guitar but her most notable instrument is her voice; whether the song is slow or fast she has warmth, purity and strength. There’s a wide range of material here, all sung and played with a sense of fun and enjoyment. In many ways the selection reminds me of a favorite Maria Muldaur album from the 70s, just chock full of songs that seem to have been around forever, even the new ones."

John Davy - Flyin Shoes Roots Music Webzine (May 2, 2012)

"Your voice is like a comfortable pair of flannel jammies on a cold winter night. Warm, cozy. Simply beautiful."

Rick Jones, Fitton Center for Creative Arts (May 15, 2012)

zaterdag 2 juni 2012

Lisa Biales - Just Like Honey

Op zaterdag besteed ik inmiddels al enkele weken aandacht aan veelbelovende Amerikaanse rootsmuzikanten die de oversteek naar de Nederlandse podia wagen of een cd hebben gemaakt die ook in Nederland aandacht verdient (de combinatie mag uiteraard ook en verdient zelfs de voorkeur). Lisa Biales is de komende maanden alleen in haar thuisstaat Ohio op het podium te bewonderen, maar haar nieuwe plaat Just Like Honey moet wat mij betreft ook Nederland gaan veroveren. Biales timmert in de Verenigde Staten al een tijdje aan de weg als muzikante en sinds kort ook als actrice (ze heeft een rol in de nieuwe film van Francis Ford Coppola, Twixt), maar de platen die ze voor Just Like Honey heeft gemaakt (bij tel ik er een stuk of zes) zijn mij in ieder geval ontgaan. Als ze net zo goed zijn als Just Like Honey heb ik wat gemist, want de nieuwe plaat van Lisa Biales is een hele aangename en overtuigende plaat. De singer-songwriter uit Ohio heeft een voorliefde voor oude blues en maakt daar op Just Like Honey geen geheim van. Veel songs lijken zo weggelopen uit de donkere jaren 20 en 30, herinneren aan zangeressen als Ma Rainey en Odetta en laten horen dat Lisa Biales als blueszangeres kan concurreren met de grote namen in het genre, onder wie uiteraard tijdgenoot Bonnie Raitt (wiens Give It Up op bijzonder fraaie wijze wordt gecoverd op Just Like Honey). Just Like Honey, dat overigens voornamelijk covers bevat, is een ontspannen klinkende plaat waarop vrij losjes wordt gemusiceerd. Dat laatste is in het geval van Lisa Biales geen kritiek, maar juist een aanbeveling. Het geluid dat haar vooral uit het zuiden van de Verenigde Staten afkomstige muzikanten (deels met een goed CV binnen de 70s Southern Rock) neerzetten, klinkt losjes en ontspannen, maar ondertussen is wel iedere noot raak. Dat laatste geldt eigenlijk ook voor de zang van Lisa Biales. Biales heeft een warme en soepele stem die ook de wat donkerdere bluessongs met een glimlach vertolkt, maar bijna achteloos zet ze wel iedere keer het kippenvel op je armen. Door de aangename klanken en de relaxte sfeer is Just Like Honey een plaat die je makkelijk weet te overtuigen, waarna je vanzelf ontdekt hoe goed de muziek van Lisa Biales en haar gelegenheidsband eigenlijk is. Het aanbod binnen de Amerikaanse rootsmuziek is nog altijd zo groot dat het ondoenlijk is om alles te horen dat voorbij komt, maar dit obscure pareltje had ik toch niet graag gemist. Verplichte kost voor liefhebbers van 30s blues, maar ook liefhebbers van Amerikaanse rootsmuziek in de ruimste zin van het woord zijn bij Lisa Biales en het uitstekende Just Like Honey aan het juiste adres. Erwin Zijleman

Just Like Honey ligt nog niet in Nederland in de winkel, maar is verkrijgbaar via

Lisa is a vocalist extraordinaire at ease on every kind of style, there is such an intensity in her singing!...musically, and instrumentally this Cd is a real pleasure.

Mike (The DJ) Pennard - Email from a DJ (May 4, 2012)

LISA BIALES/Just Like Honey: With her cutie pie voice and old timey attitude, Biales takes her place in the lineage that goes from Memphis Minnie to Candye Kane and serves up a dandy as candy entertainment. Produced by EG Kight without the Bonnie Raitt tough broad stance, this stuff has been turning up on tv and in soundtracks by virtue of it being familiar yet different with a sound that you get distracted trying to place. With everything comfortably in a pocket of her own creating, moldy figs might write it off as blues lite, but everyone else can sit back and enjoy the proceedings. Well done.

Chris Spector - Midwest Record, Chicago IL (May 14, 2012)
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