It’s been six years since we last heard from the Ottawa, Ontario, Canada, native and long-time Austin, Texas, resident Sue Foley.  This pink paisley Telecaster slinging red head has a brand new 2018 release The Ice Queen. Foley has finally put out an album worth of material that rivals her 1992 debut outing on Antone’s Records, Young Girl Blues.

The difference this time is that Foley fans are treated to a mature woman’s blues and, in its way, it is a very satisfying exploration through some interesting themes and textures. It is an album of mostly original material which takes listeners on a circuitous ride that runs right through some blues inspired tunes. There are even touches of real authentic down-home blues which hit on a variety of blues dialects.  

Even though the guest list on this outing is bound to garner much of the attention from scribes like me, it is Foley herself who I find most intriguing.

While Foley’s voice may be an acquired taste, I happen to appreciate her instrument. It is distinctive, honest and real. She never resorts to the clichés that are as unnecessary as a Ferrari on South Congress Avenue on a Saturday night. In other words, most of these singers don’t move me or get me where I want to go any faster. They are just loud and annoying. On the other hand, Foley is a good communicator and gets her missives across with just the right amount of emotional horsepower.

Her guitar playing is used to great effect here. Her ability on the instrument is likely what got her onto the Ruff label for a few misguided releases put out by that cheesecake factory. It was then onto the Blind Pig label where she was paired with Nashville based singer/songwriter Peter Karp.

Sue Foley’s Stony Plain Records debut is a true return to form, and the album fans of this very talented musician have been longing to hear for some time.

The album opens with a couple of blues-rock numbers designed to capture the attention of blues D.J.’s who are notorious for listening to and playing only the first two tracks on any album and seem to have an affection for this type of material. These tracks have Double Trouble deity Chris Layton on drums and his bandmate in the ARC Angels, Charlie Sexton, sharing guitar and vocal duties with Foley.

Now for those patient listeners comes your reward as Foley gets down to business. George Rains steps into the driver’s seat for the next three numbers and demonstrates why many refer to him as the best living blues drummer.

On the tune Run, Foley uses a stripped-down trio which also includes bassist Johnny Bradley. This rocker is followed by the title track, a true slow blues tune where Foley declares that they call her the Ice Queen because she is cool and detached. The imagery along with her John Lee Hooker like attack on the guitar makes this song one of the many highlights of this CD.

Up next Foley trades vocals and guitar riffs with Jimmie Vaughan in a fun original entitled The Lucky Ones. The tune has Jimmie’s patented Tilt-A-Whirl Sound with Billy Horton remaining in the bass slot and the album’s producer Mike Flanigin returning to the mix on organ.

By now Foley is off and running for her life and throwing off her demons with whatever she has in her repertoire. Billy Gibbons is featured on a song co-written by Mike Flanigin entitled Fool’s Gold, where it is Gibbons' turn to trade vocal and guitar licks with Foley.

On the tune I Have Forsaken You she forsakes her guitar and hands that job over to Jimmie Vaughan. In the familiar company of Rains and Flanigin, Vaughan and a four-piece horn section, with an arrangement written by baritone sax man John Mills, this tune takes two steps into Bobby Bland early 60’s Duke-Peacock territory. While this tune was destined to be my favorite on the album, Foley’s vocals come up just a little short of hitting the high bar that material of this nature evokes.

After the dark and defiant blues of Send Me to The 'Lectric Chair made famous in the 1920’s by Bessie Smith, Foley closes the album out with a contemplative number entitled Death of a Dream followed by two tracks where she really shines in a solo setting.

The first of these being a flamenco influenced number, The Dance, where Foley demonstrates her prowess and feel on an acoustic guitar. It is a great choice, as is the album’s closer an old Carter Family standard Cannonball Blues.

The Ice Queen proves it’s not how you start out, but how you finish. Sue Foley finishes very strong leaving listeners stunned by the stark and intense beauty of the blues.

The Ice Queen is a wonderful twelve song look into the heart of an extremely gifted individual who, for the first time in a long time, harnesses that talent in a very compelling way.  

Congratulations go out to Holger Petersen of Stony Plain Music, producer Mike Flanigin and of course to the Ice Queen herself, the incomparable Sue Foley. Welcome back.

-  David Mac



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