Detroit Women
Sassitude
DWMC000161
Like your wild sisters and nutty aunts, Detroit Women are a bunch of down to earth gals. However, they are anything
but ordinary. This album’s format follows the format of the great revue shows of the ’60s, where each of the seven women
sings lead while the others provide back-up vocals. Sassitude features seven original songs among a total of 13. There is
no competition between this fun mix of vocalists, but listeners will notice some sing better than others. In my opinion, Rhonda
Bantsimba’s soulful and gospel vocals rein supreme and her calming ‘No Time For Singing The Blues’ is a highlight of the CD.
Like a smorgasbord, these complex ladies dish out a versatile repertoire that includes R&B, soul, rock, funk and blues.
With brass and class, Karen Vesprini commands the butt-kickin’, roadhouse boogie ‘Coffee’s On The Table’. This \song best
reflects the group’s bad ass sassitude. Cheery harp can be heard, but the credits don’t clarify whether Bobby Rush or Pete
Fetters performs on this track. These and other special guests are welcomed since there are a lot of voices and estrogen for
the four-member core group to support. Lady T’s raw and rough vocals reflect a prior pain that’s released on the funky dance
boogie ‘Side To Side’. The song contains southern soul sex-laden lyrics. Barrymore’s vocals are impressive and top-notch
on ‘Desire’. Her dynamic range is electrifying. It varies from delicately sweet to inelegantly bitter. The catchy guitar hook on
the burning rocker ‘Long Cold Lonely Night’ will blast you apart if you get too close. Here, Stacia Petrie’s attractive vocals are
contrastingly innocent, when compared to the song’s lyrics, and a cranking guitar solo adds testosterone. David Bowie’s ‘Panic
In Detroit’ is given an Americana arrangement. It is unique and enjoyable while Hart’s lead vocals are purposefully made punk-
like and whiny for a dramatic effect. On the beautiful country rock ballad ‘A Good Place To Start Again,’ Cheryl Lescom’s mature
and emotive vocals prove to be a welcome addition.
Throughout, the powerful backing vocals are thoroughly enjoyable, and Susie Woodman’s rockin’ piano and ’60s-like
organ is impressive. Best of all, the joyous and complementary backing vocals do not steal away from the lead vocals.
- Tim Holek -
Southwest Blues CD Review - October 2007
Current Reviews - 2007 Reviews - available at our store
