The big change for Shemekia Copeland in the last few years has been a move to Nashville, with her Chicago blues taking on a heavier sound with an occasional Americana mix. Produced by Will Kimbrough, who also plays guitar on every cut, Copeland's latest album on Alligator, Blame It On Eve, is the usual mix of socially-conscious songs, semi-autobiographical tunes, and straight-ahead blues.

In addition to Kimbrough, the core backing musicians include Lex Price (bass) and Pete Abbott (drums), plus various others who pop into the sessions at times. Executive producer John Hahn and Kimbrough had a hand in writing all but two of the dozen songs.

Opening is the title cut, "Blame It On Eve," more of a plea for women's rights, with a harder edge on guitar from guest Luther Dickinson and ska-type sax from Jim Hoke. Dickinson is back for more strong guitar parts on "Tough Mother," as a feisty Copeland sings about problems that mothers, including herself and her mom, faced in our society. She repeats the line that her mother lives on in every song she sings.

"Only Miss You All The Time" is a slow, sentimental blues about the man she lost and can't get over him as she needs to move on. The agony in her voice is readily apparent, and she turns to wine to help her get through the grief and loneliness. Kimbrough contributes some incredible guitar parts that capture the feeling of the song. One of the more intense numbers here is "Broken High Heels," an up-tempo rockin' blues on which she voices her concerns about the changing global environment and how little our politicians are doing about it, singing that they are just "...boozin' politicians don't believe it's real ...".

The slow blues shuffle, "Wine O'Clock," has Copeland singing about the regular release from a difficult life, singing, "... I think I'll have another glass, the world can kiss my ass ..." Kimbrough plays slide guitar and doubles on organ on the hard sound of "Is There Anybody Up There," a plea for sanity in this mixed-up world. Alejandro Escovedo joins in on vocals, asking to be saved from the 'righteous,' then shares the line, "...Is there anybody up there in heaven, Lord, hear my plea ..." Great bluesy guitar from Kimbrough later in the song as Copeland begs for a miracle to save this world from being a living hell.

Following up to the theme of "Fell In Love With A Honky" from her previous Done Come Too Far album, Copeland goes semi-autobiographical again with the mid-tempo "Cadillac Blue," referring to how she couldn't resist that man's blue eyes. Jerry Douglas provides a lap steel guitar intro, with Kevin Gordon sitting in on guitar. The advice she received when people questioned the relationship was "... Just look in his eyes and follow your heart ..."

The slow folk number "Belle Sorciere" is a tale about a Creole woman and a Cajun man who were very much in love, but didn't have the resources to get the man what he needed when he became sick. Instead, she could only sing her songs to him. This one will tug at the heart, with both English and French vocals, and Pascal Danae harmonizes on some of the Creole parts over very stirring cello accompaniment from Cara Fox. This song just has to win some awards at the end of the year.

"Tell The Devil" is an up-tempo gospel mover, as Copeland sings about her Christian faith that results in her telling the devil to go to hell since she made her deal with Jesus. Kind of a reverse of the typical meeting the devil down at the crossroads. Dashawn Hickman shows up with wonderful Sacred Steel Guitar, giving this song the right sound. "Tee Tot Payne" is a slow blues tribute to the real life street bluesman who influenced Hank Williams, with Douglas back on dobro while Kimbrough adds tasteful mandolin.

Copeland invariably includes a song from her father, Johnny Copeland, on many of her recent albums, and here we get a more rockin' version of "Down On Bended Knee." Closing the album is another cry to help mankind, both good band bad, on the mid-tempo blues "Heaven Help Us All." Kimbrough's guitar parts nicely frame each verse, making lines like "...Heaven help the boy who won't turn 21, heaven help the man who gave that boy a gun ..." even more effective. Lisa Oliver Gray and Odessa Settles contribute strong backing vocals.

Blame It On Eve is another winner for Shemekia Copeland. She's making some of the most important music in the blues world today, both entertaining the listener but also making everyone think about issues affecting the world. Is this the album of the year? It sure could be.

--- Bill Mitchell