Shemekia Copeland: Outskirts Of Love

Shemekia Copeland
Outskirts of Love
(Alligator)
Rating: 4 out of 5 stars

As the daughter, and later bandmate, of legendary Texas bluesman/guitarist Johnny Copeland, Shemekia knows the blues. And, on her earliest albums she sung them with a hurricane power often compared to greats of the genre. But somewhere on the road to being the next Koko Taylor, Copeland released 2009’s prophetically titled Never Going Back where she altered course, swerving into more eclectic, singer/songwriter territory.

Blues and soul remained the driving force, yet her song choices widened substantially to accept selections from Buddy and Julie Miller and Joni Mitchell along with co-writes from long time manager John Hahn often in association with Woods Brothers’ frontman guitarist Oliver Woods. Along with expanding her musical approach, Copeland started grappling with socio-political issues, choosing material that made larger statements about the personal and economic world issues.  The same basic formula was utilized on 2012’s follow-up and remains for this 2015 release.

It’s a smart move. Copeland’s voice and style remain instantly recognizable, and the music now allows her to use dynamics and subtleties to better express feelings that the lyrics describe.  This album’s intentions are implied in its title. Copeland sings about those on the outskirts of society, specifically the homeless (“Cardboard Box,” a wonderful duet with Alvin Youngblood Hart), date rape and domestic violence victims who murderously turn the tables on their situations (“Crossbone Beach” and “Drivin’ Out of Nashville) and those who manage to find a light at the end of the tunnel (a killer cover of John Fogerty’s “Long as I Can See the Light”).

As usual, she grabs one of her dad’s songs providing another winner in the driving “Devil’s Hand,” delivered with a backwoods Mississippi Delta edge. She also tackles tracks from Albert King (Wrapped Up in Love Again,” perhaps the disc’s most soulful moment) and even the great Jesse Winchester (“Isn’t that So”). Copeland runs ZZ Top’s “Jesus Just Left Chicago” through her meaty vocal chops in an arrangement that adds her religion soaked power while sticking so closely to the original that Top’s Billy Gibbons even guests on guitar. She goes to church on a terrific reading of “I Feel a Sin Coming On,” a song associated with the great Solomon Burke.

The closing stripped down swamp gospel pushed by stand-up bass and forlorn harmonica of Jesse Mae Hemphill’s “Lord, Help the Poor” puts the wraps on another unique and classy project from Copeland, a singer whose stunning, powerful vocals perfectly mesh with provocative music aimed equally at the head, heart and ultimately the dancing feet.