Roxy Perry NY BLUES QUEEN by Roxy Perry

On every occasion whether live or recorded her performances have brought rave reviews from audiences and critics alike. Roxy's powerful and expressive voice, harp playing, quick wit and performance skills have brought her to be labeled "the real deal" by Blues audiences everywhere.

At an early age she studied the music of classic Blues and Jazz artists who collectively influenced what became Roxy's original vocal style and harp playing.

Her back up band is always comprised of the most talented and well noted musicians to be found. Many members of her rhythm section have worked with Roxy for a number of years delivering exciting and crowd pleasing performances.

Review by Tom Hyslop /Blues Review Magazine

Roxy Perry say's, "My gigs are not for wllflowers or the feint-hearted." " We have huge fun". If you aren't planning to have a good time, you've got the wrong disc in hand. Roxy has refined her big-city brand of Blues to guarantee total abandon, and with NY BLUES QUEEN, she takes the party from the city to the nation.

Her supporting cast is a revelation. The rhythm section of Bob Fusco / bass, Stuar Stahr / drums and Bob Mayo's piano playing, rocks with a steady roll and swings hard. Matt Baxter balances the rarest of commodoties among guitarists- taste- with an uncanny knack for driving songs home. The smart charts of Roxy's horn section, Baron Raymonde, Dave Mullen and Paul Brandenberg, add a big , brassy, uptown party sound to the mix. As Ms. Perry puts it , " No ass draggers here."

Nothing tired about the setlist either; all the songs are fresh sounding originals. Roxy and her band make the most of the album's only shuffle, ''Hey Mr.'', mixing grease and honk in equal proportions. From there the horizons broaden. ''Do the Right Thing'' a Big Apple-centric, streetwise strut, finds Roxy issuing instructions on propper conduct and Baxter taking the jazzy route in his guitar break. Roxy invests ''Way Down'' a sophisticated eight bar blues. The rideout zig-zags into supercharged gospel testifying. ''Men Like You'', a case study in dynamics, shifts from simmering to speaker blowing. Second-line drumming and fine Dixieland horn work underpin the wistful verses and jubilant choruses of Roxy's New Orleans dream. ''shakin off the Blues''. ''Struck Down,'' takes maximum minor key advantage of the Perry band's big sound. Roxy closes with ''Tailgate Swing,'' a driving acoustic blues in the Muddy Waters style.

Roxy's the real deal. Her instincts are dead-on; she caresses introspective numbers like ''Woo-ooh'' and blows the lid off rockers like the explosive ''The Blues Don't Knock. So push the chairs aside, cause a set's worth of New York City blues, Roxy Perry style, is about to come to you. Roxy on the scene at Manny's Car Wash: ''We judge how well the night went by how much furniture is still standing, how many waitresses are passed out on the floor, and how deep the lake of beer is

in front of the stage.'' All that good-time power comes across loud and clear on NYBQ. Curtsy, kneel or bow down. Roxy Perry IS New York's Blues Queen.

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