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Frank Bey & The Anthony Paule Band | Soul for Your Blues

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Blues: Soul-Blues Blues: Rhythm & Blues Moods: Solo Male Artist
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Soul for Your Blues

by Frank Bey & The Anthony Paule Band

Second release from this group featuring 8 originals and 5 choice covers. If you're a fan of Otis Redding, B.B. King, and old school soul, blues and R&B, then this recording is a must have.
Genre: Blues: Soul-Blues
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  Song Share Time Download
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1. I Don't Know Why
Frank Bey & The Anthony Paule Band
3:38 $0.99
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2. I'm Leavin' You
Frank Bey & The Anthony Paule Band
4:29 $0.99
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3. I Just Can't Go On
Frank Bey & The Anthony Paule Band
4:17 $0.99
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4. Don't Mess With the Monkey
Frank Bey & The Anthony Paule Band
4:30 $0.99
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5. Buzzard Luck
Frank Bey & The Anthony Paule Band
3:25 $0.99
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6. You're Somebody Else's Baby Too
Frank Bey & The Anthony Paule Band
5:41 $0.99
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7. I Want to Change Your Mind
Frank Bey & The Anthony Paule Band
5:17 $0.99
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8. Smokehouse
Frank Bey & The Anthony Paule Band
3:27 $0.99
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9. Nothing Stays the Same Forever
Frank Bey & The Anthony Paule Band
5:13 $0.99
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10. It's Good to Have Your Company
Frank Bey & The Anthony Paule Band
4:31 $0.99
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11. Hello in There
Frank Bey & The Anthony Paule Band
7:12 $0.99
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12. Bed for My Soul
Frank Bey & The Anthony Paule Band
3:37 $0.99
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13. I Left My Heart in San Francisco
Frank Bey & The Anthony Paule Band
2:16 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
“Frank Bey had been standing in the shadows of stardom far too
long. He has finally stepped out of the shadows.”
– Lee Hildebrand, Living Blues Magazine
“In a time when American Idol-type vocal gymnastics too often pass for soul, Frank Bey is a perfect reminder of what soul singing is really all about: Communication, warmth, and emotional sincerity.”
– Rick Estrin, Rick Estrin and the Nightcats
“Frank Bey is a name to watch, an act to catch…”
– Norman Darwen, Blues & Rhythm Magazine, England

Frank Bey had been standing in the shadows of stardom far too long. As a kid, he shared bills with the Soul Stirrers featuring Sam Cooke, the Five Blind Boys of Alabama, Sister Rosetta Tharpe, and other greats when singing gospel music with his mother. As a teenager, he opened shows for his friend Otis Redding. Years later, after he’d fully committed himself to singing the blues and began making CDs of his own, his career progress was undercut by a failing kidney. Yet, even during nearly five years of dialysis, he never stopped singing. It was a God-given gift, and he felt compelled to continue down the path providence had dictated.
“Music is a vehicle for me to try to share love, to uplift people, to inspire people, to let them know that whatever your situation is, it’s not the end,” the Philadelphia-based singer explains. “That’s what I learned during my illness. A lot of people thought I would never make it through, but I never accepted that it was the end. There was always something that was leading me upwards, something that was giving me a challenge to try to do better. Music was the thing that brought joy.”
In 2006, less than two years after receiving a kidney transplant, Bey made the first of what would become twice-annual appearances with guitarist Anthony Paule’s band at Biscuits & Blues, San Francisco’s premiere blues club. Paule, whose extensive resume includes work with Johnny Adams, Earl King, Brownie McGhee, Maria Muldaur, Charlie Musselwhite, and Boz Scaggs, initially put a basic rhythm section behind the singer, but he gradually added saxophone, trumpet, and trombone to create the powerhouse ensemble that is heard on You Don’t Know Nothing, a live album released in February 2013. It met with enthusiastic response from blues radio programmers throughout the U.S. and Canada. Critics in the U.S. and UK raved. One magazine even nominated the CD as the best “new artist” debut of the year. Frank Bey had finally stepped out of the shadows.
Bey has called the empathy between himself and Paule’s band “magical,” and that magic is in further evidence on their new studio collaboration, Blues for Your Soul. “When he sings a lyric,” Paule says of his friend, “he means it from every fiber of his being.”
– Lee Hildebrand

Soul For Your Blues is very near and dear to my heart. Getting to know Frank Bey over the last seven years and assembling this band to back him has been an extraordinary experience. Our live CD, You Don’t Know Nothing, met with overwhelming positive response and we knew right away we’d have to do a follow-up studio recording. I also knew the recording would need to be predominantly original material. Starting in the summer of 2012, my wife Christine Vitale and I got to work writing new material and making plans for this project. Once the original songs were written, the cover songs chosen, the studio and the musicians booked, I was still not prepared for what took place while recording on the 9th and 10th of December, 2012.
Dealing with all the logistics had left me somewhat frazzled, but once we got the eight-piece band playing live in the studio, a sort of divine magic took over. The recording immediately took on a life of its own as the tracks were laid down with uncanny ease. It was all as it was meant to be: The right songs with the right singer with the right musicians in the right studio with the right engineer at the right time. The universe was working for us and through us to create beautiful and meaningful music. Although I had laid the ground work by arranging the sessions, I was overwhelmed with the sense that I was simply a conduit for the universe to express this music. There were many synchronistic things that happened around the recording of this CD: From a friend coming forward with a much needed loan at the last minute, to waking up on two separate mornings with original songs in my head that I put on paper as fast as I could write, to a baritone saxophone which just happened to be lying around the studio when we needed one.
There are other examples, but perhaps the most remarkable of these seemingly serendipitous events involves “I Just Can’t Go On”, which is written as an Otis Redding-style soul ballad. Just days before the recording session, Christine Vitale who wrote the song, had returned from Madison, WI where Otis’ plane went down in 1967. After the session was over, we came to the realization that we had recorded the song 45 years to the day after that fateful plane crash. As a teenager Frank spent a number of years traveling with Redding, occasionally opening the show for him. There is a lot more I could write, but I’ll close by saying a lot of heart and soul from all the people involved went into these 13 tracks, and I hope you will hear and feel some part of it.
– Anthony Paule

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Reviews


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Martin Paule

Old-school soul and blues from a powerful vocalist and crack Bay-Area band desrv
[In the interests of full disclosure, I'm the brother of the bandleader/guitarist on this CD. That said, being as objective as possible, this album is as satisfying as anything I've heard over the past two decades.]

Frank Bey is a veteran Philly soul and blues singer, and judging by the conviction of his vocals, he's seen his share of heartbreak, trouble, and redemption. Guitarist Anthony Paule has been a luminary on the San Francisco music scene for decades. Supported by a deeply grooving rhythm section and ultra-tight horns, this pair has come up with an immensely soulful and satisfying set with their new CD, Soul for Your Blues.

The disc kicks off with a stirring cover of Willie Mitchell's "I Don't Know Why," evoking that '70s Hi Records sound with sinuous organ, spare rhythm guitar lines, and sharp horn interjections creating a bed for Bey's fiercely committed baritone that pleads and growls.

Bey gives his lover the kiss-off on the mid-tempo Paule composition "I'm Leaving You" that offers the guitarist/bandleader oom to stretch out. A smoking horn chart adds fat to the fire.

Paule's writing partner Christine Vitale's "I Just Can't Go On," a soul-searing ballad that recalls vintage Stax sounds in general and The Big O in particular, is an album standout. Suffused with regret and resolve, Bey bids his lover adieu while the Booker T/Memphis Horns-like arrangement gives the number a retro glow that'll thrill old-school soul fans.

A pair of cookers follow in the form of the Vitale/Paule number "Don't Mess with the Monkey" with Rick Estrin contributing a cutting harp commentary, and the late-career Wynonie Harris wry rocker, "Buzzard Luck."

Getting deep in the alley, the band next steams through the slow blues "You're Somebody Else's Baby Too" with rueful lyrics, stinging guitar, and a razor-sharp horn chart.

The grease factor mounts with "I Want to Change Your Mind," another flashback to deep Southern soul that comes across like a lost treasure from the Hi catalog. Churning and funky accompaniment gives Bey's gritty vocal big-time propulsion.

While Bey takes a breather, the band launches into the funk-infused instrumental "Smokehouse." Written by Paule, it supplies the setting for his grooving chicken-pickin' licks as well as a wonderfully smeary trombone solo by Mike Rinta who collaborated with Paule on the beautifully conceived horn parts throughout the CD.

Percy Mayfield's philosophical "Nothing Stays the Same" gets an unusual and tasty reading that enters and exits on drum rolls and tuba. The middle section reveals the rock-solid pulse of drummer Paul Revelli and Paul Olguin on bass that provides the consistently driving force with which Soul for Your Blues is blessed.

Bey celebrates a relationship that really works with "It's Good to Have Your Company" featuring a spotlighted tenor solo by Nancy Wright--one third of the stellar horn section.

On John Prine's wistful "Hello in There," Bey shows off his facility for digging into a lyric and making it his own. Aching with regret, he marks the passage of time experienced by a long-married couple whose family has split off in different directions leaving contrails of despair in its wake. Bey urges us to break down the spaces that create isolation in our lives in a rendition that should earn accolades from Prine fans.

"Bed for My Soul" offers another satisfying shift in mood with it country-blues feel. Bouncing along on Estrin's harmonica and a jew's harp accompaniment, the song speaks to our need for both physical and spiritual shelter.

The closer, a big-band instrumental take on the chestnut "I Left My Heart in San Francisco," shows off the entire band's chops with a lush arrangement that offers a thrilling wrap to an altogether remarkable effort.
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