“Another unique
and classy project”

Along with expanding her musical approach, Copeland started grappling with socio-political issues, choosing material that made larger statements about the personal and economic world issues.  […]

It’s a smart move. Copeland’s voice and style remain instantly recognizable, and the music now allows her to use dynamics and subtleties to better express feelings that the lyrics describe.  This album’s intentions are implied in its title. Copeland sings about those on the outskirts of society, specifically the homeless (Cardboard Box, a wonderful duet with Alvin Youngblood Hart), date rape and domestic violence victims who murderously turn the tables on their situations (Crossbone Beach and Drivin’ Out of Nashville) and those who manage to find a light at the end of the tunnel (a killer cover of John Fogerty’s Long as I Can See the Light). As usual, she grabs one of her dad’s songs providing another winner in the driving Devil’s Hand, delivered with a backwoods Mississippi Delta edge. […]

The closing stripped down swamp gospel pushed by stand-up bass and forlorn harmonica of Jesse Mae Hemphill’s Lord, Help the Poor puts the wraps on another unique and classy project from Copeland, a singer whose stunning, powerful vocals perfectly mesh with provocative music aimed equally at the head, heart and ultimately the dancing feet.

The rewiew is by Hal Horowitz for American Songwriter magazine, who gives the album 4 stars.

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