Soultress Betty Fox Leads Her Band at FAME for Deep Blues and Soul on ‘Peace in Pieces’ (ALBUM REVIEW)

With their third studio release, Peace in Pieces, the Tampa Bay-based Betty Fox Band is set for a breakthrough. The album has a generous 14 tracks and over an hour of music, all laid down at the iconic FAME Recording Studios in Muscle Shoals. The legendary Spooner Oldham’s Wurlitzer electric piano is prominent throughout along with FAME mainstay Clayton Ivey’s organ and the FAME horn section. The spirits of Aretha and Etta just ooze through Fox’s impassioned vocals. Some have described her vocals as lying somewhere between Beth Hart and Etta with a touch of Marion James. Regardless of these reference points, her sound is raw, honest, and, at times, visceral. Not only that, but save one tune, Betty Fox wrote or co-wrote all the material.

Fox works her way seamlessly through blues, gospel, and deep Southern soul helped by her core band members and co-writers/co-producers Josh Nelms (guitar) and Barry Williams (bass). If you’re like this writer, your likely reaction is “where has this vocalist been hiding?”  Yes, she’s absorbed the deep grooves and emotive qualities of those she consciously emulates whether it be Al Green, Mavis, Aretha, Curtis Mayfield or others. She takes the term “blue-eyed soul” to the highest level.

Most of the tunes are in the radio-friendly three to four-minute range, except for the epic Americana “Fireflies,” demonstrating her extensive range both as a vocalist and songwriter. The album kicks off with the uplifting “Green Light” and plies a similar vibe on “Feels So Good” and “Rising Strong.” In between though, she delivers riveting slow-burners. She delves into more emotional fare on “Let Go or be Dragged” and “Shattered Dreams and Broken Toes” but reaches the pinnacle of smoldering, slow blues first in “Runnin’ Back to You” followed by her autobiographical “Sweet Goodnight.” Her sultry approach is best exemplified in “Magnificent Hallucination.” An album filled with such dripping emotion can only end one way, with a gospel hymn which she delivers as the one cover, “Til’ The Storm Passes By.”

Countless singers try to deliver this intoxicating mix of blues/soul/gospel, but most try too hard, resulting in overwrought takes and banal clichés. Credit Betty Fox and her band for hitting the sweet spot right on. Not only that, but rarely does an album of this length not have its share of fillers. This music is consistently emotive, inspiring, and played with equal doses of finesse and strength to frame Betty Fox’s dripping, searing, and soaring vocals. Anything less than a major breakthrough for this outstanding effort would be a grave injustice.

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