01. Hold On
02. Wrong Woman
03. Betweeen Our Worlds
04. Comfort To The Soul
05. Hometown
06. Nothing Personal
07. Change My Mind
08. I Won't Let You Down
09. More Real
10. Downtown
11. Navajo Moon
12. Putting Out The Apb
13. Get Back Home To You
14. How Lonely Can A Woman Get
15. Night By Night
16. Bigtown Playboy
17. Still Making History
18. Ma Favorite Night
19. Part Of Me (Lullaby For Luuk)
20. Recall The Days
21. Mended
22. Minute 'till Dawn
23. Calendars
24. Bring Your Fine Self Home
25. Jaco
26. Need Your Love
27. Shadow After Dark
28. How The Mighty Have Fallen
29. Sexiest Man Alive
30. Game Of Love

If you're not a blues purist, you'll love the fiery, passionate playing and singing of Yugoslavian blues-rock guitarist, vocalist, and songwriter Ana Popovic. Thanks to her father, the Belgrade-raised Popovic was introduced to the blues at an early age, through his wide-ranging record collection and jam sessions hosted at the Popovic home. Born on May 13, 1976, Popovic took up guitar when she was a teenager and formed her first band, Hush, in 1995. Within a year, with the collapse of Communism in Eastern Europe, she was playing blues festivals in Greece and Hungary and working as an opening act for American blues masters, including Junior Wells.

Popovic recorded her debut album with Hush in 1999, when she also moved to the Netherlands to study jazz guitar and world and pop music at the Conservatory of Music. She had the chance to see blues guitarist Bernard Allison at a club in Germany. He asked her to come on-stage and jam at the end of the show. While Allison invited Popovic to join him on a tour, she had to get back to the Jazz Academy in Holland. Allison asked for a copy of Popovic's record with Hush, and he sent it on to executives at Ruf Records in Germany, who were impressed with Popovic's powerful guitar playing and singing. Ruf contacted her to be part of their Jimi Hendrix tribute compilation, and then signed her to a recording deal of her own.

Several months after this, she was on her way to Memphis to record Hush! The album was well received by blues radio programmers and the non-blues purist segments of the American, European, and Canadian blues festival circuits. In the spring of 2001, she performed at the Memphis in May Festival alongside Bob Dylan, the Black Crowes, and Ike Turner. Within five years of leaving Yugoslavia, Popovic, now in her late twenties, had the chance to perform at many of the major European blues festivals, including Peer, Bishopstock, and Notodden. Along the way she's sat in with the likes of Allison, Michael Hill, and Kenny Neal.

Popovic has two albums out on the New Jersey-based Ruf Records America label, Hush!, released in 2000, and Comfort to the Soul, her 2003 release. Jim Gaines and David Z., who have worked with other blues-rockers, including Stevie Ray Vaughan, Santana, and Jonny Lang, had roles in recording and mixing both albums. Five of Popovic's sparkling originals shine on Comfort to the Soul, including her homage to the tragic life of jazz bassist Jaco Pastorius, inspired by a book she read, as well as the album's opening track, "Don't Bear Down on Me (I'm Here to Steal the Show)." She also provides inspired, inventive covers of Howlin' Wolf's "Sitting on Top of the World" and Steely Dan's "Night by Night."

Popovic guests on Hill's 2003 two-disc Electric Storyland live album. In 2003, Popovic was nominated for a W.C. Handy Blues Award for Best New Artist of the Year and was the first European artist to perform at the Handy Awards. Two years later, Popovic released her first live effort, Ana! Live in Amsterdam. ---Richard Skelly, allmusic.com

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1 	Catfish Blues 	2:20
2 	I'm Loosing You 	4:38
3 	Evening Shadows 	4:00
4 	Grand Spivey 	3:00
5 	Somebody 	4:23
6 	Did Somebody Make A Fool Of You 	4:37
7 	We Used To Know 	3:34
8 	Rainy Night In Georgia 	4:45
9 	Red River Blues 	3:22
10 	Baby What's Wrong 	3:33
11 	Tupelo 	3:44

Acoustic Guitar – Ana Popović, Milton Popović
Backing Vocals – Deborah Winey (tracks: 2, 5), Susan Marshall
Bass – Dave Smith
Drums – Steve Potts (tracks: 1, 11)
Electric Guitar – Ana Popović, Milton Popović
Keyboards – Rick Steff (tracks: 3, 4, 7, 8, 9)
Rhythm Guitar – Ana Popović, Harold Smith, Milton Popović
Slide Guitar – Ana Popović
Strings – Donald Hayes
Vocals – Ana Popović, Milton Popović

What started as a father and daughter jam session/pet project, blossomed into a full-blown album; ‘Blue Room,’ from Anna and Milton Popovic, released May of 2015. This labor of love was spearheaded by Anna Popovic. Anna who had a reputation as a blues guitar powerhouse coaxed her father to join her in the studio after ten years to record their favorite tunes. Popovic enlisted producer Jim Gaines, bass player Dave Smith, and drummer Steve Potts from The Gregg Allman band. They kick off the eleven track album with a lively acoustic duet of “Catfish Blues” and when their voices mix you instantly hear where Anna got her blueprint for phrasing. Both father and daughter push hard to emulate a southern drawl out from under their heavy Serbian accent, not to mimic the style rather to honor its heritage. The pair trade barbs on a John Lennon fan favorite “I’m Losing You” and Van Morrison’s “Evening Shadows” building the tension into easy jamming. Swapping roles with Anna takes on the old timey rag “Grant Spivey” and Milton leads the straight ahead rocker “Somebody.”

The seductive blues “Did Somebody Make A Fool Out Of You,” sits at the albums center, showcasing fine vocal and guitar tradeoffs. Milton’s tender delivery on the classic “Rainy Night In Georgia” makes you wonder why he didn’t achieve the same musical success as his daughter. The jamming continues for two shout it out blues tracks, “Red River Blues” and Jimmy Reed’s “Baby What’s Wrong” before returning to the acoustic setting for Hooker’s delta blues “Tupelo” with Anna coloring her father’s evocative narrative with greasy slide guitar. ---Rick J Bowen, innocentwords.com

Minęło dziesięć lat od momentu kiedy Ana Popovic zaczęła przekonywać ojca Miltona, aby nagrali wspólny album. W końcu zaciągnęła go do studia używając argumentu, którego nie można odrzucić: „- Po prostu zrób to dla swoich wnuków „. Rezultatem jest nowy album córki i taty nazwany „Blue Room”.

Jest to powrót do dzieciństwa Any, do tak zwanego „niebieskiego pokoju”, niewielkiej części skromnego mieszkania na jedenastym piętrze w Belgradzie wypełnionego wzmacniaczami i gitarami. Powrót do wieczorów z przyjaciółmi, gdy ojciec grał na gitarze i śpiewał utwory na imprezach domowych. Powrót do czasów, kiedy Ana dowiedziała się o sekretach bluesa, soulu i rocka. --- biesczadblues.pl

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Vol. 1:
1. Love You Tonight
2. She Was a Doorman
3. Show You How Strong You Are
4. Fencewalk
5. Train (feat. Joe Bonamassa)
6. If Tomorrow Was Today
7. Long Road Down
8. Hook Me up (feat. Robert Randolph)
9. Too Late

Vol. 2:
1. You Got the Love
2. Johnnie Ray
3. Woman to Love
4. Let’s Do It Again
5. Who’s Yo' Mama?
6. Wasted
7. Crying for Me

Vol. 3:
1. New Coat of Paint
2. Waiting on You
3. In a Sentimental Mood
4. Old Country
5. Waiting on You (Double-Time Swing)
6. Heaven’s Crying Aka: Song for the Next Generation
7. You Don’t Know What Love Is

With Trilogy, Popovic has created her masterpiece, one that critics and fans will find powerful, entertaining, and inspiring. ---- AmericanBluesScene, anapopovic.com

Belgrade-born, Memphis-based guitarist Ana Popovic WOWs her fans with her most ambitious project yet. With ‘TRILOGY’ Ana releases three albums in one! Twenty-three blues, jazz & funk tunes produced by Grammy Award winner Warren Riker (Lauryn Hill, Carlos Santana), Grammy Award winner Tom Hambridge (Buddy Guyi) and Delfeayo Marsalis, one of the top trombonists, composers and producers in jazz today. Guest appearances include Joe Bonamassa, Robert Randolph, Bernard Purdie (The Purdie Shuffle), Cody Dickinson (North Mississippi Allstars), rapper Al Capone and many others.

The only female guitarist part of the ‘all-star’ Experience Hendrix ’14 and ’16 line-up about her upcoming record: “In an era where most are skeptical about the current state and future of the music industry, I wanted TRILOGY to tell a different story. The record biz might be broken and Spotify might rip us off, but that can’t keep an artist down. Creativity is very much alive, and music is the celebration of life.’

TRILOGY highlights in musicianship. Ana’s agile shredding and soulful voice, showing you don’t need Southern roots to create fiery blues, jazz or funk. --- anapopovic.com

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01. Wrong Woman
02. Is This Everything There Is
03. How'd You Learn to Shake It Like That
04. U Complete Me
05. Nothing Personal
06. Shadow After Dark
07. Lives That Don't Exist
08. Let Me Love You Babe
09. Doubt Everyone But Me
10. Blind For Love
11. Get Back Home to You
12. Recall the Days
13. Love Fever
14. Hold On
+
15. Blind For Love
16. Steal Me Away
17.Full interview

Ana Popovic - guitar, vocals
Ronald Jonker - bass
Michele Papadia - hammond, piano, keyboard, vocals
Andrew "Blaze" Thomas - drums
Cristiano Arcelli - saxo
Riccardo Giulietti - vocals
Sandra LaVille - vocals
Stephane Avellaneda – drums

A concert of the Ana Popovic Band during their 'Blind For Love' tour. Over 2 hours of music with an enthusiastic 5000+ audience, an eight-piece band and a top crew with six cameras to witness this unforgettable evening. The energetic Ana Popovic Band at it's best offering up a little something for everyone including blues, rock, jazz and funk. Also on this DVD an intimate interview as well as a couple of great acoustic bonus tracks shot at the enchanting 'Rocca Medievale', a medieval castle originally completed in 1247. The building with it's four impressive towers is one of the finest examples of medieval architecture in Umbria, providing a beautiful view over the lake of Trasimeno. ---Editorial Reviews, amazon.com

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01 – Can You Stand The Heat
02 – Can’t You See What You’re Doing To Me
03 – Mo’ Better Love
04 – Object Of Obsession
05 – Boys’ Night Out
06 – Hot Southern Night feat.Lucky Peterson
07 – Every Kind Of People
08 – Ana’s Shuffle
09 – Blues For Mrs. PaulineLeave My Boy Alone
10 – Leave Well Enough Alone AKA High Maintenance You
11 – Tribe
12 – Rain Fall Down
13 – Growing Up Too Soon (Bonus Track)
14 – Mo’ Better Love feat. Tommy Sims (Bonus Track)

Ana Popovic – guitar, vocals
John Williams – bass
Harold Smith – guitar
Tony Coleman – drums
The Bo-Keys - horns

Blues, powerful vocals, and a hint of jazz: Ana Popovic must be back. The three-time 2012 Blues Music Awards nominee returns this spring with Can You Stand the Heat, a project that signals Popovic’s search for an edgier sound with an instrumental range that went largely unexplored on previous records. Originally from Belgrade, Serbia, Popovic first dove into music with the band Hush in the 1990s before electing to work as a solo artist in 1999. In support of her latest release with ArtisteXclusive Records, Popovic is touring as Ana Popovic & Mo’ Better Love, a new collaboration that emanates the full sound achieved on the album.

Can You Stand the Heat kicks off with its title track, a five minute-long jazzy jaunt that taps into gospel-styled background vocals and scaling keys. On “Hot Southern Night” and the fast-paced “Boys Night Out,” Popovic shares the influence of her current Memphis base with American blues-styled licks and vibes. Popovic turns it up one notch further on “Hot Southern Night” as Grammy Awards nominee Lucky Peterson steps in to trade vocals with Popovic and lend his own six-string and organ-playing skills. Grammy winner Tommy Sims also makes a guest appearance to close the album with a remixed version of “Mo’ Better Love,” the original of which is included on the album as well.

For hardcore blues fans, the album’s reigning tracks will likely be “Tribe,” “Ana’s Shuffle” and “Blues for Mrs. Pauline.” The short guitar-lovers-only intro to “Tribe” recalls the mood felt on classic lead-ins like in Led Zeppelin’s “Nobody’s Fault But Mine,” while “Ana’s Shuffle” cuts vocals out of the equation entirely to focus on enthusiastic soloing and technical tenacity. “Blues for Mrs. Pauline” offers a nice contrast to the shuffle as it weaves a warning against cheating in relationships through the lyrics and around a supporting cast of rhythms and harmonies. Popovic’s voice, clear and forceful, gives the lyrics a charge that makes each story shared and each sentiment expressed feel honest and heartfelt.

Though Popovic’s take on the blues sounds similar to much of the jazz-influenced blues music of today and of decades past, it is Popovic’s voice that gives her work its strength. The new musical elements explored in Can You Stand the Heat (including the background singers and keyboard work, as well as the rhythm guitar and horn sections) give Popovic’s latest release a wider range of sounds to choose from. While Popovic’s sampling comes across well on the record, the live feel she strives for has a fair chance of sounding even better live. With her new project Ana Popovic & Mo’ Better Love already on the road, concert and festival attendees are likely discovering that Popovic’s songs reach new levels when performed onstage. --- bluesrockreview.com

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01 – Fearless Blues
02 – Count Me In
03 – Unconditional				play
04 – Reset Rewind
05 – Slideshow
06 – Business As Usual
07 – Your Love Ain’t Real
08 – Work Song
09 – Summer Rain
10 – Voodoo Woman				play
11 – One Room Country Shack
12 – Soulful Dress

Personnel: 
Ana Popovic - Guitars, Slide Guitar, Vocals 
Sonny Landreth - Slide Guitar 
Jason Ricci - Harmonica 
Jon Cleary - Keyboards 
David Torkanowski - Keyboards 
Calvin Turner - Bass 
Doug Belote - Drums 
Leon "Kid Chocolate" Brown - Trumpet 
Tom Fitzpatrick - Saxophone 
Jerome Alexander - Vocals (Background) 
Avist Martin Mycartery "Scooter" Groce - Vocals (Background)

There are a lot of guitar heroes in the blues world, but very few of them are women, and very few of them were born in Serbia. There is only one Serbian-born female guitar hero in the blues, and that is Ana Popovic. Over the last ten years, Popovic has released six albums and toured constantly, building up a reputation as one of the hottest axe young axe slingers in the game, and as a pretty decent songwriter to boot.

She is not a blues purist. Growing up with a father who played music and who introduced her to a wide variety of forms, Popovic took the blues as grounding for all the music she likes. Yes, there is rock, and soul, and jazz in her playing, but she feels it all as blues. As she says in the liner notes to her new album, “Blues is UNCONDITIONAL, maybe the most conservative style of all. If you alter it too much, it will no longer be blues.” Popovic has pushed the boundaries, to be sure, but she remains a blues artist even when her guitar is screaming and the band is sounding more like rock.

Which is not to say that her new album – easily her rootsiest endeavor to date – isn’t a welcome relief from some of the overdriven stuff that she’s done before; Popovic headed down to New Orleans and recorded with some very fine musicians, most notably the incredible pianist Jon Cleary. (You may have seen Cleary appear on episodes of HBO’s Treme series.) Bassist Calvin Turner and drummer Doug Belote can and occasionally do pump up the jams the way Popovic fans expect, but they also can do more with less, giving her the chance to expose some more nuanced approaches.

Eight of the twelve songs on Unconditional are Popovic originals, and they work better than at least three of the four covers. The album opens with “Fearless Blues,” a statement of purpose from Popovic which starts with a tough verse backed by acoustic guitar before the band kicks in and a gospel-inspired male backing chorus adds spirit to Popovic’s gutsy incantations. “I am fearless, fearless, fearless, I will reach reach reach the higher ground,” she cries, and you know she will get there, too.

“Count Me In” is an explosion of Popovic’s typical power, but with guest starring harmonica virtuoso Jason Ricci on board, the song burns with controlled passion. Popovic and Ricci are perfect foils for each other; they both play hard and aggressive, they both flirt with new ideas while staying true to blues roots, and they both love thick, juicy, overdriven tones on their instruments. Popovic sings this one with an abandon to match the instrumental parts, and the song is among the three or four best on the record. Another high point is “Slideshow,” in which Popovic teams with slide guitar genius Sonny Landreth, and matches him lick for lick. This instrumental, played at white heat intensity, is testament to Popovic’s skills as a mimic. It’s virtually impossible to tell which guitarist plays which, despite Landreth possessing one of the most instantly identifiable guitar tones in the world.

“Business As Usual,” a song Popovic co-wrote with her husband Mark van Meurs, is a beautiful, questioning piece about two lovers who have lost their passion for each other. Popovic takes a delicate approach to her vocal, making it clear the singer feels as much to blame as her lover, and then pulls back for a tender, very sexy guitar solo which builds to an explosive climax which implies it’s possible to regain that thrill. But when she sings the last verse, the problems remain. Masterful number. Popovic outdoes herself covering Mercy Dee Walton’s “One Room Country Shack.” This slow blues benefits from Cleary’s warm-toned organ setting the mood, and Popovic’s tightly clipped, stinging guitar adds to the oppressive feel. She sings with a true feeling of the loneliness and emptiness of that one room country shack. Her guitar turns to a more liquid approach in the second verse, more desperate, more full of desire. Cleary’s piano solo is devastating and desolate, and Popovic’s guitar solo after the third verse comes from the very depths of her soul, completely alone, longing for any kind of connection. Finally, the guitar and vocal on the last verse explode together in a blues catharsis which feels absolutely earned.

The other cover material doesn’t work quite as well. “Soulful Dress,” best known by Marcia Ball, is punchy and fun, but Nat Adderley’s “Work Song,” in the vocal version originated by Oscar Brown, Jr. feels perfunctory. Popovic studied jazz guitar, but she oversells it here. Much better is Cleary’s pleasant negotiation of the changes on his solo. Koko Taylor’s “Voodoo Woman” gets a strong Earl Palmer-style backbeat, and Popovic’s slide guitar work is stellar, but Demetria Taylor had way more fun with this song on Bad Girl. Popovic may not be comfortable enough with voodoo metaphors; her original material is always more directly expressive of what she means to say. ---- blues.about.com

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1. Love Fever - 4:29
2. Mended - 4:23
3. Hometown - 7:09
4. I Won't Let You Down - 4:22            play
5. The Hustle Is On - 2:43
6. Downtown - 4:24
7. How Lonely Can a Woman Get - 3:59
8. Walk Away - 3:22
9. Girl of Many Words - 3:54              play
10. Minute 'Till Dawn - 5:14
11. Bring Your Fine Self Home - 5:12
12. How The Mighty Have Fallen - 4:39

Personnel: 
Ana Popovic - Lead, Rhythm And Slide Guitars, Vocals
Dave Smith - Bass; S
teve Potts - Drums
Ernest Williamson - Piano, Organ
Jack Holder - Rhythm Guitar
William Lee Elis - Acoustic Guitar tr.12
Steve Morgen - Drums tr.3,9,10
Sam Shoup - Bass tr.10
Jim Spake - Saxophone; 
Scott Thompson - Trumpet
on tr.5,7,8 with:
Rob Geborest - Piano, Organ
Bart Kamp - Bass; 
Ronald Oor - Drums
and special guest:
Bernard Allison - Guitar, Vocal tr.11

While the U.S., Britain, and to a lesser extent Canada don't have a stranglehold on the blues, these countries account for the majority of music being produced in that genre. Therefore, when someone from a different nationality releases a strong album in the States, it usually makes news, at least in the rarefied blues universe. Born and raised in Yugoslavia, Ana Popovic would seem to have been brought up in an unusual area to soak in the deep soul, robust swamp rock, and husky R&B she reveals on her first album. But music is a universal language, and Popovic, along with noted blues-rock producer Jim Gaines, has delivered a rugged, confident, and eclectic debut that showcases the artist's many strengths (especially on slide guitar) in songs that shift from jazz ('I Won't Let You Down,' 'Minute 'Til Dawn') to deep funk (an innovative cover of Tom Waits' 'Downtown') and soulful pop ('How Lonely Can a Woman Get?'). With a husky, sensuous voice similar to the Pretenders' Chrissie Hynde, she digs into these tunes with authority, even if English isn't her first language.

A duet (guitar and vocal) with Bernard Allison on Johnny Copeland's 'Bring Your Fine Self Home' is both sexy and gritty, as the two trade verses and riffs with obvious excitement and mutual respect. A raging version of Buddy Guy's 'A Man of Many Words' (here titled 'Girl of Many Words') rescues that song from obscurity as Popovic whips out a slimy version with rollicking horns that updates the tune while making it her own. Her originals don't push the limits of the genre, yet they are compressed slices of blues-rock that are excellent showcases for Popovic's tough vocals, wiry, Hendrix-styled leads, and robust stance. The self-penned 'Hometown,' a greasy, slinky trip down to New Orleans with hypnotic tribal drums, is but one of the album's gripping centerpieces. Recorded in Memphis and sounding like it, Popovic has captured the city's evocative, unvarnished R&B charm on this polished but far-from-slick album. A welcome shot of sex and showmanship in the blues world, Ana Popovic's American debut is a tour de force for this newcomer brimming with sass, brains, and talent.~~ by Hal Horowitz.

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1. Blues For M
2. How The Mighty Have Fallen
3. How’d You Learn To Shake It Like That
4. I’m About To Leave You
5. Fool Proof
6. That’s Why I Cry              play
7. Steal Me Away
8. You Don’t Move Me
9. The Hustle Is On
10. Girls Of Many Words          play
11. Walk Away
12. New York City
13. Sittin On Top Of The World
14. Get Back Home To You
15. Nothing Personal
16. Learn To Treat Me Right
17. Neighbour Neighbour
18. Statesboro Blues

Ana Popović was born in Belgrade, Serbia in 1976. Her father first introduced her to the blues, through an extensive record collection and sessions hosted at the family home. Ana founded her first serious band at age nineteen. Within a year, she was playing outside of Yugoslavia and opening shows for American blues icons like Junior Wells. By 1998, her band was doing 100 shows annually and appearing regularly on Yugoslavian television. Her debut CD, Hometown, provided a first glimpse of her talents as a singer and guitarist.

In 1999, Ana relocated to the Netherlands to study jazz guitar. She quickly became a fixture on the Dutch blues scene and soon ventured into neighboring Germany. With Comfort to the Soul (2003), Popović took her burgeoning career to the next level, she delivered another diverse package of blues, rock, soul and jazz. The album makes one thing clear: Ana Popović is not about recycling worn-out clichés. Her blues are fresh, positive and genre-expanding. Ana Popović is a veritable anomaly in the blues scene. --- wayango.com

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01. Love Fever 04:34
02. Game Of Love 04:23
03. Comfort To The Soul 03:30
04. Downtown 04:28
05. Neighbour, Neighbour 05:14
06. Mended 04:27
07. Sittin' On Top Of The World 03:50
08. Girl Of Many Words 03:57
09. The Hustle Is On 02:47
10. Don't Bear Down On Me (I'm Here To Steal The Show) 03:57
11. Walk Away 03:27
12. Recall The Days 03:47
13. New-York City 04:36
14. How Lonely Can A Woman Get 04:03
15. Love Me Again 05:12
16. Statesboro Blues 03:52
17. Change My Mind 04:30

If you're not a blues purist, you'll love the fiery, passionate playing and singing of Yugoslavian blues-rock guitarist, vocalist, and songwriter Ana Popovic. Thanks to her father, the Belgrade-raised Popovic was introduced to the blues at an early age, through his wide-ranging record collection and jam sessions hosted at the Popovic home. Born on May 13, 1976, Popovic took up guitar when she was a teenager and formed her first band, Hush, in 1995. Within a year, with the collapse of Communism in Eastern Europe, she was playing blues festivals in Greece and Hungary and working as an opening act for American blues masters, including Junior Wells.

Popovic recorded her debut album with Hush in 1999, when she also moved to the Netherlands to study jazz guitar and world and pop music at the Conservatory of Music. She had the chance to see blues guitarist Bernard Allison at a club in Germany. He asked her to come on-stage and jam at the end of the show. While Allison invited Popovic to join him on a tour, she had to get back to the Jazz Academy in Holland. Allison asked for a copy of Popovic's record with Hush, and he sent it on to executives at Ruf Records in Germany, who were impressed with Popovic's powerful guitar playing and singing. Ruf contacted her to be part of their Jimi Hendrix tribute compilation, and then signed her to a recording deal of her own.

Several months after this, she was on her way to Memphis to record Hush! The album was well received by blues radio programmers and the non-blues purist segments of the American, European, and Canadian blues festival circuits. In the spring of 2001, she performed at the Memphis in May Festival alongside Bob Dylan, the Black Crowes, and Ike Turner. Within five years of leaving Yugoslavia, Popovic, now in her late twenties, had the chance to perform at many of the major European blues festivals, including Peer, Bishopstock, and Notodden. Along the way she's sat in with the likes of Allison, Michael Hill, and Kenny Neal. --- Richard Skelly, allmusic.com

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01 U Complete Me
02 Hold On
03 Between Our Worlds
04 Is This Everything There Is?
05 Hungry
06 Doubt Everyone But Me
07 You Dopn't Move Me
08 Still Making History
09 My Favorite Night
10 How'd You Learn To Shake It Like That?
11 Shadow After Dark
12 Calendars
13 Sexiest Man Alive
14 U Complete me (Blues Version)

Personnel: 
Ana Popovic (vocals, guitar, slide guitar); 
Jon Cleary (vocals, piano, Clavinet, Wurlitzer organ); 
Tony Braunagel (vocals, drums); 
Terry Wilson (vocals);
Jim Spake (saxophone); 
Darrell Leonard (trumpet, trombone); 
Steve Potts (drums); 
Lenny Castro (congas, tambourine, percussion); 
Cynthia Manley, Portia Griffin, Jacqueline Johnson (background vocals).

Ana Popovic emerges as one of the most intriguing musical artists in recent history. Her roots in war-torn Serbia fill her with a deep sense of purpose. Although she experienced living in a culture of fear and oppression, her music produces a personal message of freedom and inclusiveness, lending urgency to her artistic vision. Her unique musical imagination, influenced from a multitude of musical traditions from around the world, means that she composes songs of stunning originality and depth. And her awe-inspiring guitar expertise leaves even the most critical musicologist open-mouthed with admiration. Ana sings such a wide variety of music, she can t easily be placed in a particular genre. Perhaps a sultry, late night blues siren? A rock goddess? Maybe a tender and thoughtful singer/songwriter with a message? One thing is for sure: Ana is an attractive and charismatic guitar virtuoso, who puts her emotions behind the strums. After a decade of packing clubs and touring across Europe and the U.S., Ana delivers her debut CD release and embarks on a U.S. tour beginning with a showcase at the Sundance Film Festival. Don't miss out on one of the most appealing new artists of the year: Ana Popovic. ---Editorial Reviews

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