Ruthie Foster Leans Towards Old Vinyl Era On Raw & Soulful ‘Healing Time’ (ALBUM REVIEW)

Photo by Daniel Nguyen

Ruthie Foster’s title, Healing Time, seems more than apropos in terms of timing. The concept may have been originally meant for some kind of uplift after the pandemic, but the truth is, we need uplift in so many regards. Just hit play and let Ruthie Foster take it from there: she may well convince you that a higher power is present. This may well be her “kitchen sink” album, with two producers, two engineers, four different recording studios, writers such as Gary Nicholson, Grace Pettis, and every member of her band involved in the writing; and a host of both Austin and New Orleans musicians, let alone a few other high-profile guests such as Robert Randolph and Sonny Landreth. The album represents the most writing Foster has ever done for a record, as she aims for a live-sounding atmosphere that leans toward the vinyl era.  Her band is involved in the entire process, with results that amplify tenfold that old cliché about music being a healing force.

Two major threads, courtesy of the two producers, run through the album. Mark Howard (Willie Nelson, Lucinda Williams) brought new ideas and arrangements to sessions in three studios, Studio 71 West in Austin, Esplanade Studios in New Orleans, and Blue Rock Studios in Wimberley, TX.  Producer Dan Barrett returns form 2017’s Joy Comes Back and put the finishing touches at Black Pumas’ co-bandleader Adrian Quesada’s Electric Deluxe Studio in Austin. He brought in Black Pumas members and some of Austin’s finest session players. So, the result is a melding of Foster’s familiar Texas blues-Americana sound with strains of NOLA, Foster stating that somehow it came together rather easily and organically.

The album kicks off with the most infectious song of the dozen, “Soul Searching,” one that could just as easily fit in the golden age of Stax soul. It’s a co-write with Nicholson, that hits all those sweet spots we love about soul music. Chances are you’ll hit repeat often for this one. It may induce dancing within the first few bars. Grace Pettis is the co-writer on “Lie Your Way to the Truth,” a big sounding tune with keys and background vocalists as Foster sings about that epiphany moment when one discovers that what one wants to believe is indeed untrue. ‘What Kind of Fool Am I” is another engaging track, bluesy and forceful with terrific guitar from Johnny Moeller and vocally somewhere between the riveting wailing of Screamin’ Jay Hawkins and Amy Winehouse. Foster turns to her original gospel roots, soaring on “I Was Called,” with a co-ed choir of seven. “Paradise,” co-written with Kimmie Rhodes is a uplifting ode to love, also leaning more toward gospel than blues.

Foster again teams with Grace Pettis is writing the snappy, melodic, poppy “Don’t Want to Give Up on You,” with the accompaniment somewhat sparer, Foster delivers yet another commanding vocal. The title track, like several here draws on the contributions of bandmates, guitarist Hadden Sayers and keyboardist Scottie Miller. It’s a burst of get-on-your-feet and-sing-to-the-rafters anthem with Robert Randolph on sacred steel and the three female background singers serving as what sounds like a 20-person choir. “For You,” yet another with Pettis, is a soulful, touching love ballad. Bassist Larry Fulcher penned the rousing gospel anthem “Love is the Answer” while the distinctive slide guitar of Sonny Landreth colors the exuberant “Finish Line.” Keep in mind, that across the different producers and studios, most of the backing does not come from guests but from Foster’s excellent core band, certainly on the Texas recorded tracks – Brannen Temple (drums), Hadden Sayers (guitar), Frank Locastro and Scottie Miller (keys), and Larry Fulcher (bass) with background vocalists Sherie Smith, Angela Miller, and Tamara Mack.

“Feels Like Freedom” is the only one that does not bear Foster’s name as a writer, sung originally by Joanna Jones. It’s a preeminent track however, as strong an example of Foster’s powerhouse vocals as any track, leading a choir of nine background vocalists, just bursting out all over with the joy of being unleashed from the pandemic period. Foster chooses to close on a more intimate note with Duke Levine joining in the acoustic guitar picking for “4 AM,” painting the picture of a touring musician, alone in her room, in this case, Eastern Europe, unable to sleep, and like the rest of us, just trying to find our way. As expected, she doesn’t sink into melancholy but finds a grateful feeling in staying true to her purpose.

Foster’s spiritualty goes beyond infectious. There’s enough power in her voice alone to light up entire towns. 

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