1 	Queen Bee 	4:09
2 	Chauffeur Blues 	2:49
3 	Cuban Gateway 	3:00
4 	Mean Old Lonesome Train 	3:20
5 	Gone Blind 	3:43
6 	Walkin Home 	3:13
7 	But I Forgive You 	2:42
8 	Off The Hook 	4:27
9 	Little Mixed Up 	2:23
10 	Hooked On Love 	2:50
11 	Time To Travel 	5:20

Sue Foley 	Composer, Guitar, Primary Artist, Vocals
Sarah Brown 	Bass
Denny Freeman 	Piano
Robert Grant 	Drums
Derek O'Brien 	Guitar (Rhythm), Mixing, Producer
Jon Pener 	Bass, Bass (Electric)
John Penner 	Bass (Acoustic), Bass (Electric)
George Rains 	Drums, Mixing, Percussion, Producer
Kim Wilson 	Harmonica
Reese Wynans 	Piano 

Sue Foley's debut album, Young Girl Blues, is an impressive effort. Not only is Foley a wild, adventurous guitarist, she can write songs that don't merely rehash standard blue clichés. Her songs have an intense passion that is heightened by her array of gutsy guitar textures, which are rooted in blues tradition but never tied down to it. ---Thom Owens, AllMusic Review

Sue Foley has great feel on guitar her style is strictly Blues no more no less nothing super fancy but what she does she does it well. She gets surprisingly warm tones from her maple neck 1968 paisley Fender Telecaster guitar and has good finger picking skills to boot. This is a good solid Blues album with no smoke nor mirrors just great wholesome playing with passion. Go get them Susie! ---John Negro, amazon.com

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1 	–Sue Foley Feat. Charlie Sexton - Come To Me 	3:52
2 	–Sue Foley - 81 	5:33
3 	–Sue Foley - Run 	4:02
4 	–Sue Foley - The Ice Queen 	6:22
5 	–Sue Foley Feat. Jimmie Vaughan - The Lucky Ones 	3:42
6 	–Sue Foley - Gaslight 	4:13
7 	–Sue Foley Feat. Billy F Gibbons - Fool's Gold 	4:38
8 	–Sue Foley - If I Have Forsaken You 	3:07
9 	–Sue Foley - Send Me To The 'Lectric Chair 	4:19
10 	–Sue Foley - Death Of A Dream 	4:40
11 	–Sue Foley - The Dance 	5:26
12 	–Sue Foley - Cannonball Blues 	3:23

Sue Foley - vocals, guitar
Jimmie Vaughan, Billy Gibbons, Derek O’Brien, Charlie Sexton - guitar
Chris Maresh, Johnny Bradley, Billy Horton - bass
JJ Johnson, George Rains, Chris Layton - drums
Kyle Thompson - percussion
Mike Flanigin - organ
Ephraim Owens  - trumpet
Elias Haslanger - saxophone
The Texas Horns: 
Mark Kazanoff - tenor saxophone
John Mills - baritone saxophone
Jimmy Shortell - trumpet
Randy Zimmerman - trombone

Canadian Sue Foley has been quiet of late. She has, of course, collaborated with Peter Karp on a couple of albums but it is a long time since we heard a solo effort (2006’s New Used Car) so it is good to welcome her back, particularly as she has returned to Austin, Texas, where she started her career.

It is no surprise that the overall feel of the album reflects the Texas blues talent on board and Charlie Sexton’s slide is at the heart of “Come To Me” which blends Little Feat funk to a Bo Diddley beat, a fine start to the album. The slower pace, churning twin guitar (Charlie again) and organ swirl of “81” suits Sue’s voice well, Johnny Bradley’s upright bass adds momentum to the frantic three piece rocker “Run” and Billy Horton does the upright honors on the title track, another stripped back trio performance with fine slow blues guitar and possibly autobiographical lyrics: “They call me the ice queen, I’m cool and detached, and all the men agree, I’m too slippery to catch”.

Jimmie Vaughan guests on two cuts, sharing vocals with Sue on “The Lucky Ones”, an attractive Texas shuffle with lyrics about the two protagonists’ careers, and handling the guitar duties while Sue concentrates on singing “If I Have Forsaken You”, a ballad with The Texas Horns in discreet support of Jimmie’s sterling guitar work. ZZ Top’s Billy Gibbons adds some harp and guitar to “Fool’s Gold” as Sue and Billy issue a warning about chasing illusions. “Gaslight” is the other track with horns and Elias’ wild sax solo elicits a storming response from Sue. An adaptation of George Brooks’ “Send Me To The ‘Lectric Chair” (originally sung by Bessie Smith) works splendidly with Sue and Derek O’Brien on guitar duties and Mike’s organ to the fore as the rhythm section of Johnny Bradley and George Rains kick up the dust.

The album winds down with three quieter tunes the first of which is a trio performance of “Death Of A Dream” which has a late-night jazz feel courtesy of Chris Maresh’s upright bass and JJ Johnson’s gentle cymbal work. The last two numbers are solo pieces of very different styles, both of which demonstrate Sue’s dexterity on the acoustic: the flamenco-flavored “The Dance” and a fine cover of The Carter Family’s “Cannonball Blues” which, ironically, is preceded by Sue’s studio chat which suggests that she had tried the song a few times without success, but this take is brilliant.

Overall this is a good album and a welcome return to the scene for Sue who shows that she can operate in a wide range of styles from Texas shuffles, slow blues, country blues and even touches of jazz. This is one of those albums that deserves repeat listening in order to best appreciate its qualities. ---bluesblastmagazine.com

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