Emma Wilson Memphis Calling self-released

For Memphis Calling, the second album from Emma Wilson, the British singer ventured to the Bluff City, where she joined forces with producer Scott Bomar. He gathered the cream of the crop as far as Memphis musicians are concerned, including Hi Rhythm Section icons Charles Hodges (organ), Archie “Hubbie” Turner (keyboards), and Leroy Hodges (bass), along with drummer Steve Potts and Bomar’s fellow Bo-Keys Joe Restivo (guitar), Kirk Smothers (saxes), and Marc Franklin (trumpet).

The self-released Memphis Calling was recorded in the Sam Phillips Recording Studio using the original STAX Records recording console. Wilson co-wrote four of the nine songs, two with Nashville Hall of Fame inductee Gary Burr, one with Bomar, and one with British songwriter Terry Reid. Three of the covers have roots in Memphis soul and the other two will be very familiar to blues fans.

The album opens with one of Wilson and Burr’s compositions, the upbeat soul burner “A Small Word,” which sounds like a long lost STAX tune. The horn section will give soul fans goose bumps and Wilson’s strong vocal is a sign of good things to come. She delivers a terrific, funky version of Steve Cropper and Eddie Floyd’s “Water,” this updated read adding horns for an extra kick.

“Watching You Leave” is the second Wilson/Burr collaboration. and her heartfelt, world-weary delivery is wonderful, plus I love the Charles Hodges B3 “whooosh” that introduces the song. She’s right at home on the Willie Mitchell composition “I Still Love You,” her version is reminiscent of Ann Peebles’ 1971 take.

“What Kind of Love” finds Wilson teaming up with Ms. Peebles’ husband, Don Bryant, their vocals meshing extremely well on this track (written by Bryant and Bomar for Bryant’s 2017 release, Don’t Give Up On Love), with a real Hi Records feel.

“I’ll See You In The Morning” was penned by Wilson and Reid and is a lovely blues and soul ballad, highlighted by Wilson’s sweet vocal and crisp guitar work from Restivo. Wilson and Bomar co-wrote “Drug,” a funky blues with a great horn chart and percolating keyboards complementing Wilson’s sassy singing.

The closing tunes are considered classics, the first being Wilson’s reworking of the Willie Dixon classic, “Hoochie Coochie Man,” retitled “Hoochie Coochie Mama,” where she shows that she certainly knows her way around the blues. The album wraps up with the R&B standard, “Since I Fell For You,” and Wilson really shows her vocal versatility with a marvelous read of the slow burning ballad.

I’m a sucker for any Memphis-related soul, blues, or R&B recording. and there have been some great ones over the past few years. Memphis Calling is one of the best, featuring an excellent mix of originals and covers performed by Emma Wilson, a singer who delivers the goods, backed by a group of Memphis’ finest musicians.

--- Graham Clarke