Dave Keller Every Soul’s a Star

Dave Keller
Every Soul’s a Star
Catfood Records

This writer has been a fan of the multi-talented Dave Keller since seeing him perform as well as back Johnny Rawls several years ago. This soul-blues singer, songwriter, and guitarist impressed and impressed me enough to support one of his recording projects. His new album is his first for the Catfood Records label, the label of his good friend Rawls, with Jim Gaines handling the production. he is backed by the label's studio band, The Rays, consisting legendary Motown guitarist Johnny McGee, along with Bob Trenchard – bass; Dan Ferguson - Hammond B3, Wurlitzer, keyboards; Richy Puga – drums; Mike Middleton – trumpet; and Nick Flood - tenor and baritone sax; plus backing vocals from Janelle Thompson and Shakara Weston; and percussion from Christopher Serrano.

With a voice that might suggest Delbert McClinton, gets right into a soulful groove with the opening "Don't Let Them Take Your Joy," adding a stinging solo to his stirring vocal, as he urges the listener to remember what makes one happy and fly, fly fly … ." It is a small gem of a performance in part due to the strong support provided by The Rays. The title track is a celebration of folks being who they are and then followed by the one cover, Ronnie Shannon's "Baby, I Love You." McGee takes the guitar lead with Keller's adding his phrasing, including a brief spoken rap, to a fresh interpretation of the Aretha Franklin's hit. Then there is a lovely heartfelt ballad "You Bring the Sunshine" that is so soulfully performed with the Rays coming off like the Swampers or Hi Rhythm Section (and Dan Ferguson shines on this).

Other highlights on a consistently superior recording include "It's All In Your Eyes," and "Kiss Me Like You Miss Me," both with McGee's concise solos. With strong original songs (one can easily imagine some of these being done by other performers), solid and empathic backing from The Rays, and Dave Keller's fervent performances, Keller again has produced another soul-blues gem.

I received my review copy from a publicist. This review originally appeared in the November-December 2018 Jazz & Blues Report (Issue 381).  Here is Dave Keller performing.

For folks in the DMV area, Dave Keller will be performing Fri Aug 2, St. Georges Country Store, St. Georges, DE, band, Sat Aug 3, Route 66 Club, Edgewood, MD, band and on Sun Aug 4, JV's, Falls Church, VA, band w/ Gabe Stillman, tent.

Johnny Rawls Waiting For The Rain

Johnny Rawls
Waiting For The Rain
Catfood Records

Another new Catfood release for the veteran soul-blues singer-songwriter-guitarist Johnny Rawls again backed by bassist Bob Trenchard and the Rays. This one is produced by Jim Gaines and is a mix of originals and interesting interpretations of some familiar songs sung with plenty of heart by Rawls set against the Rays' idiomatic backing that is rooted in the classic Memphis sound of Stax and Hi Records.

Rawls has a controlled style that is akin to the smoldering heat of a pit barbecue than steak over an open flame, though he can let loose when needed.. The title track is a strong original co-written with Trenchard and keyboardist Dan Ferguson as he sings about rain washing away guilt, sin and pain with a crisp guitar solo from Dennis McGhee set against punchy horns. It is followed by the Trenchard-James Armstrong penned "Las Vegas," is a wonderful performance with a backing horn riff reminiscent of "Turn On Your Love Light,"although I am not enamored the lyrics mixing playing games and religion. "Waiting For a Train" from Rawls and Trenchard is a nice low-key number with a jazzy tinge and followed by a wonderful rendition of Bobby Womack's celebratory "I'm in Love."

"Blackjack Was a Gambler" is a terrific easy rocking bit of storytelling about a back alley gambler and rambler while Rawls also ably puts his own stamp on Bob Dylan's "I Shall Be Released," and then does a nice cover of the Tyrone Davis hit "The Turning Point," and a driving rendition of Syl Johnson's "We Did It." The soulful ballad, "Stay With Me," provides a close to Rawls' latest soul-blues gem. Rawls may not break new ground on his latest release, and those familiar with Johnny Rawls will know what to expect on a predictably strong recording, while this serves as representative of his music for those new to his music.

I received my review copy from a publicist.  This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is Johnny Rawls from a 2017 Boise Blues Festival.

Otis Clay and Johnny Rawls Are Soul Brothers

Otis Clay guested on Johnny Rawls’ last recording, the highly praised “Remembering OV.” Now the two have collaborated for a new Catfood Records release “Soul Brothers.” The veteran blues and soul singers are backed by bassist Bob Trenchard and The Rays on a program of classic soul covers and originals. The production and the backing throughout is first-rate.

Certainly a recording with plenty of charms, it is not consistently up to the level one might imagine from the pairing of the two. Clay does not sound quite as vigorous here as elsewhere. Perhaps the covers of Delaney & Bonnie’s “Only You Know and I Know” and the recently departed Jimmy Ruffins’ “What Becomes of the Broken Heart” don’t come up to the originals, although in fairness on the former number I expected more in the vein of Sam & Dave (“You Don’t Know Like I Know”), which as a duo they don’t equal. Better is the straight cover of Tyrone Davis’ smash, “Turn Back The Hands of Time.” I emphasize these are good performances, simply not extraordinary.

 Rawls (often with Trenchard) continues to be one of the more interesting songwriters today as the bluesy “Voodoo Queen” and the deep soul original “Living on Borrowed Time,” the latter number sounding like vintage OV Wright. “Road Dog” is a collaboration with Trenchard and Clay as he and Rawls sing (with ounchy backing) about playing in Memphis, getting a few hours of sleep and then on to New Orleans. Also included is Rawls gospel original “Hallelujah Lord.”

“Soul Brothers” is a solid collection of southern soul and blues performances even if it does not capture Otis Clay and Johnny Rawls at their very best.

I received my copy from a publicist. Here Otis Clay and Johnny Rawls are seen performing Tyrone Davis’ smash, “Turn Back The Hands of Time."

James Armstrong Guitar Angels

James Armstrong follows up his acclaimed Catfood Records recording Blues at the Border with a new release Guitar Angels. It was produced by his good friend and fellow guitarist Mike Ross (and co-produced by Jim Gaines) and recorded in NY at Kaleidoscope Sound with Ross, keyboardist Dan Ferguson, bassist Eric Tinsley and drummer Rick King on most selections.

Armstrong certainly seems to have overcome the nightmare of the home invasion in 1996 that affected his guitar playing. the title track is his thank you to those who helped him. He observes “I still am unable to bend the third finger on my left hand, or use my little finger, but I attribute some of the reason I’m actually able to play the guitar again to my ‘guitar angels:’ my father, James Armstrong Sr., Mike Ross, Coco Montoya and Joe Louis Walker.” Despite any physical limitations, his crisp and clean playing along with his soulful singing maintain considerable appeal.

Songs include the title track (heard in two versions with one for the radio); the reflective Healing Time, written after the recent passing of Mike Ross' brother; the humorous Grandma’s Got a New Friend that celebrates his Grandma and her new lover (and reportedly a favorite among his live shows); Moving to Nashville, a rocker about wanting to move south to get away from the cold New York winters with Armstrong playing  slide; and Saturday Night Woman, with a touch of funk as sings about these woman who look so sharp and second and don’t settle for seconds but take their pick (and he plays some some stinging guitar here on which some swampy organ from George Papageorge).

There are a couple of covers: an unusual blues shuffle reworking of The Eagles Take It To The Limit, with riffing horns: and Johnny Copeland’s Blues Ain’t Nothin’. The latter performance is nicely rendered if Armstrong’s performance does comes off  a bit cooler than Copeland’s original. Like the rest of Guitar Angels, this is cleanly and crisply recorded and performed. Armstrong perhaps breaks no new ground on this release, but that should not deter blues fans from the entertaining, soulful blues performances here.

I received my review copy from a publicist. Here is a chance to hear the title track.

Johnny Rawls Remembers O.V. Wright

It has been a number of years since the legendary O.V. Wright passed on. Johnny Rawls was Wright’s music director and guitarist in the 1970s and kept the band together after his mentor passed in 1980 for over a decade. Since establishing his own career as a performer and a producer, Rawls has emerged as one of the few acts able to bridge the southern soul blues and traditional blues worlds with his mix of soulful originals and has on occasion recorded some of Wight’s classic deep soul classics. 

It was the urging of Bill Wax, then the blues program director at XM-Sirius Satellite Radio, that has led to a tribute album, Remembering O.V. on Catfood Records with his interpretations of some of the core of Wright’s recorded legacy. On this, Rawls is backed by The Rays, the Texas horn-filled R&B band led by Bob Trenchard that has been part of Rawls most recent recordings. As a bonus, three of these selections also have the presence of another Wright colleague and one of the great deep soul singers of the past couple decades, Otis Clay.

While heavily influenced by Wright, Rawls’ performances of these songs avoid being copies. Rawls and Clay both have similar church roots to Wright, but each has developed their own personal and identifiable approach. This is manifested in the passionate interpretations of Wright classics as Into Something (I Can't Shake Loose), Precious Precious, Blind, Crippled, Crazy, Nickel and A Nail, Eight Men, Four Women, and Ace of Spades. Rawls sings strongly and authority on these Wright classics. He exhibits perhaps a bit more heat in his vocals than he usually exhibits and the backing provided by The Rays is strong throughout. A backing vocal trio, The Iveys also is effectively employed. Clay makes his presence felt on the three songs he is heard on.

The album closes with a Rawls’ original Blaze of Glory in which Rawls and Clay both sing about Wright’s continuing influence and while he is gone they are going to continue in his path until they too are gone. Remembering O.V. is a first-rate salute to one of the great soul music icons that stands on its own. Incidentally, Poor Boy is the fourth track while Nickel and A Nail is the fifth track. The album cover transposes their order.

I received my review copy from the record company or a publicist. Here is a video of Johnny singing O.V. Wright's "You're Gonna Make Me Cry," which is not performed on this CD.

Barbara Carr Keeps the Fire Burning

The veteran soul-blues vocalist Barbara Carr has a new release on Catfood Records, Keep The Fire Burning. This was recorded in Texas and produced by Johnny Rawls and Bob Trenchard with backing by The Rays, Trenchard’s fine studio band. Carr has for the past 15 or so years been recording primarily for Echo whose recordings on occasion had a mechanical backing, although that did not dampen her strong singing.

This new album with backing by The Rays has a more spontaneous feel throughout, although there is a sameness to the backing compared to other recent Catfood releases indicating the label has a definite studio sound. The opening Hanging On a Thread, displays this and the song is one that could have easily be sung by Rawls. A similar flavor characterizes Come On Home, Barbara still does not believe her man has left and pleads for him to return home. The performance also suffers from the use of synthesized horns. I should emphasize that there is nothing wrong with these performances other than they sound like Rawls’ recent Catfood albums and her vocals are more understated here than on the Echo recordings I have heard.

Barbara Carr at 2010 Pocono Blues Festival. Photo © Ron Weinstock

I Got The Blues has Carr singing about her background and being raised in St. Louis where she heard Albert King and Little Milton growing up. Therefore, when she sings the blues, she knows what she is talking about. The title track is a nice southern soul advice that delivered in an easy, natural fashion. Moment of Weakness is a strong lyric by Trenchard about replacing the man she never should have left as she sings that in a moment of weakness she threw their love away. The mood contrasts with the tone of “Back Together Again,” which celebrates two lovers getting back together after many years.

Hold On To What You Got is a nice duet between Carr and Rawls having a message that a good woman/man is hard to find, so hold on to what you got. More synthesized horns are heard on Rawls southern soul original. You Give Me The Blues, as Barbara’s man gives her the ‘low down dirty blues.” Keep The Fire Burning contrasts with the more extroverted vocals that characterized her Echo recordings. Those recordings were also a bit bawdier as well. In any event, this new release by Barbara Carr is welcome and hopefully will expose a new audience to this singer who really should be better known.

I received my review copy from a publicist for the label. Here is Barbara doing one of her Echo recordings, Bone Me Like You Own Me.

Johnny Rawls is a Soul Survivor

Catfood Records/Deep South Soul has a new release by the veteran soul and blues performer, Johnny Rawls, Soul Survivor. The album is aptly titled given that Rawls has been laying down his own brand of blues and soul since his days backing the legendary O.V. Wright and later as part of Rawls and Luckett who issued a most memorable release fro Rooster Blues.

Rawls has recorded and produced for a variety of labels including JSP and most recently Catfood/Deep South Soul, of which Soul Survivor is his most recent effort. On this new recording he is again joined by co-producer Bob Trenchard and the solid Texas studio band with the exception of the last track which was recorded in Montana. Together with Trenchard, Rawls has come up with nine originals along with a cover of O.V. Wright’s Eight Men, Four Women.

The opening title track, penned by Trenchard and keyboardist player Dan Furguson, has a nice lyric of Rawls traveling the highways playing his old school blues and soul with his crack band. He is the last of his breed to set one free on his one night stand singing about O. V. Wright and Johnny Taylor may be gone but he is going to keep their flame alive.

Hands Me Downs is a nice medium grooving about singing about tired about getting all these hand me downs whether his first guitar, used shoes, or his first wife, and he contributes a nicely shaped guitar break. He does a solid job of covering Eight Men, Four Women, even if he can’t quite vocally match Wright (I mean, who can). King of Hearts picks up the tempo with a driving groove and brassy horns, while Long Way From Home is a soulful ballad where Johnny sings about missing his woman and can’t wait until he is home with her.

Other songs include Drowning, a heartfelt lament about searching for his baby and drowning in a river of tears. Don’t Need a Gun To Steal, is a bit of cynical social commentary about politicians being paid off and there is a crook in every town. J.R.’s Groove is a funky instrumental that allows everyone the stretch out. The closing Yes has a touch of country flavor in the accompaniment (in part provided by Michael Kakuk’s dobro and lonesome sounding harmonica) behind Rawls’ strong singing.

Anyone familiar with Rawls recent recordings will know what to expect with the clean and crisp backing, idiomatic horn playing and Rawls committed vocals. Soul Survivor is another substantial recording by Rawls on Catfood/Deep South Soul.

I received my review copy from a publicist for the release which is scheduled to be issued on June 19. Here is a clip of Johnny Rawls in performance.

Sandy Carroll's Asks To Be Taken "Just As I Am"

Memphis based pianist, singer and songwriter Sandy Carroll has a new Catfood Records CD, Just As I Am, that is an intelligently produced album that blends soul, rock and blues for a nice musical stew that ranges from ballads, blues/rock and gospel, to New Orleans styles and country.  She says, “Just As I Am is a project Jim and I have been working on for a few years.  It came together when Bob Trenchard got involved and we decided to finish it and release it on Catfood Records.”

The Jim, Carroll refers to, is celebrated producer Jim Gaines, who is her husband. Gaines produced, engineered and mixed this disc. The studio band is pretty strong with guitarist Evan Leake and keyboardist Rick Steff being the only persons playing on all or almost all the selections. Sandy Carroll had a hand in all of the songs here which go to celebrating one’s fellow persons on the opening, uplifting, Blessed Be, asking for blessings for the children who hold the light, the warriors that let us sleep at night, the healers, the lame, and “blessed be the glory blessed by thy name,” to her amusing lyrics about trying to improve on her natural self in Helping Mother Nature, where she looks in the mirror and gets the botox blues as she sings “nip, tuck fill it in.”

She sings about love, yearning and whether the man she loves is her Heart Fixin’ Man, as well as the tragic young love in Romeo & Juliet, whose lyrics Bob Trenchard (who plays bass on the track) brought to her. There is more of spiritual message on Runnin’ Out of Grace, while she gives advise to men that if they want to treat their woman right, “they need to lean how to give Slow Kisses, set to a boogie piano based accompaniment. The album closes with the title track that she co-wrote with James Sjoberg and the late Luther Allison and which Allison recorded on his Reckless album for Alligator. It has been years since I last listened to Allison doing this, but I can’t imagine him crafting a blue ballad performance in his own style as she does with her vocal asking “Will you love me just as I am.”

The songs resonate with both the crisp production and lyrics matched by Carroll’s wonderful vocals that bring a strong country-soul flavor with nice elements such as Steff’s use of accordion on Romeo & Juliet to lend it a Tex-Mex flavor and Leake’s guitar (except on the title track) provides atmosphere without overshadowing her natural, understated singing. While some of the publicity for this characterizes this as a blues recording, there is little actual blues on this (one blues is the somber Waiting For the Storm with a strong guitar solo). Regardless of how one classifies this recording, it is a recording that should appeal to a wide range of listeners with Carroll’s natural, heartfelt singing and the strong backing provided her.

I received a review copy from a publicist for this release.

James Armstrong Finds Blues At The Border

A new album by singer-guitarist James Armstrong, Blues at the Border (Catfood Records) is a cause of celebration for blues lovers. This is only the fourth album by Armstrong who debuted over a decade ago on Hightone with Sleeping With a Stranger. After a home invasion attack stabbing left him with permanent nerve damage in his left hand, he rebuilt his guitar style and resumed touring and musical career as his brings a lean and deft, razor-like guitar style together with a soulful vocal attack. Comparisons will obviously be made to Robert Cray which may both reflect artists who bring a strong soul base to their blues and both generally employing an unstated approach to their songs.

Recorded in New York City and Texas, the set was produced by Michael Ross, Bob Trenchard and Armstrong himself. Armstrong’s bands bring lean, yet crisp backing to the mostly original material that displays Armstrong’s ability at crafting songs dealing with everyday life with judicious use of wit and irony. Armstrong’s wit is obvious on the opening Everything Good To Ya (Ain’t Always Good For Ya), with his choral refrain noting his father’s advice that candy tastes good but causes tooth decay and eating an apple a day may be good but too many apples gives one a tummy ache. Somebody’s Got To Pay is a soulful number by Trenchard and Sandy Carroll about one giving too much and the other taking too much in their relationship as he pleads with his women to stop believing outsiders.

The title song, co-written with Madonna Hamel, is a humorous complaint about being an international traveler having to deal with getting back to the United States in these post-911 days and how the world has changed with some slide guitar providing mood to his vocal before a concise slide guitar break. More of his controlled, clean slide playing is heard on Devil’s Candy, with an emphatic rhythm in the backing. The lyric is about a lady with an intoxicating effect that left obsessed with her. He gave her his heart, but she wanted his soul. It's an impressive performance that exhibits that even though he shows considerable restraint, Armstrong generates smoldering intensity in his performances.

Dave Steen penned “High Maintenance Woman” on which Madonna Hamel adds a guest rap-vocal playing the high maintenance woman in Armstrong’s life who keeps him on the run. Still, despite her high costs to maintain, she keeps him warm. Young Man With the Blues is a moving tribute to his father, a jazz musician who raised James as a single father. Its a song about James’ mother walking out, making Armstrong’s dad a young man with the blues. Brand New Man is a shuffle where he sings about how his love made him a brand new man and he doesn’t want to lose her. The album closes with Trenchard’s Long Black Car, in which one won’t get to heaven in unless one slows down and turns one’s life around.

Armstrong’s nuanced performances reward careful and repeated listening. Blues at the Border is a most notable new blues recording.

A publicist provided my review copy. Here is James at the 2011 North Atlantic Blues Festival.

Kay Kay and The Rays Produced Strong and Timely Blues

Catfood Records has just issued The Best of Kay Kay and the Rays, a compilation of the three albums the label issued from the big-voiced and big hearted Kay Kay Greenwade and The Rays. Health issues have shortened the career of this powerful vocalist while The Rays can be heard on recent Catfood Recordings by Johnny Rawls with whom they sometimes perform live.

The Rays formed in Odessa Texas and their material was a funky mix of soul and blues with original songs marked by social commentary (as well as commentary on the relations between the sexes). The exhibit strong playing with Kay Kay belting out the vocals. Long Star Justice is an indictment of that state’s judicial and penal system which as Johnny Rawls notes in his spoken intro has more folks in prison than anywhere in the world and where so many are executed, all being poor. as Kay Kay shouts out justice is the best money can buy and where they spend more money on prisons than on social purposes. More topicality is heard in Enron Field where she tells us about going to see a game but not forgetting to talk about the country club justice afforded to white collar criminals like those involved with Enron. Then there’s Texas Justice - Billy’s Story, of a young man who is convicted of murder even though he acted in self-defense, only afforded a legal aid attorney fresh out of Law School.

There are her songs about relationships including not wanting No Mama’s Boys and Hey Big Boy, about one whose tales and approaches she ain’t buying. As she sings, don’t trust no man who has taken his wedding ring off. Of course she can give the others side of relationships as on Big, Bad Girl, a gold digger she warns men to stay away from. Then there is a change in mood with a lovely soul ballad, Don’t Have To Tell Me, and a terrific duet with Johnny Rawls on Rawls’ Hold On To What You Got.

The Rays match her intensity with solid support, although the arrangements at times sound generic. The playing on the duet with Rawls is exceptional. Saxophonist Andy Roman is exceptional on several songs and Johnny Rawls and Junior Jones add guitar on several selections. This writer remembers how impressed was when he purchased “Texas Justice” one of the three albums anthologized here and certainly this collection shows how formidable Kay Kay and the Rays were. Recommended.

I received my review copy from a publicist. Here is some Kay Kay & The Rays from you tube. 

Jackie Johnson Is A Memphis Jewel

An old school rhythm and blue vocalist that has long been regarded as a local treasure in Memphis, Jackie Johnson may be little known in North America but has established herself in Europe on visits there. She sings on Huey Lewis' recent Soulsville and toured with him. Years ago backed up Shirley Brown and Barbara Carr. Church rooted, she has a new recording Memphis Jewel on Catfood Record that is produced by Jim Gaines with a band that includes Catfish Records owner, Bob Trenchard on bass and other members of The Rays.

Included are covers of songs such as the Gladys Knight classic, It Should Have Been Me, and Smokey Robinson's classic The Tears of a Clown that shows how expressive a vocalist she is. Her sound suggests New Orleans Queen Irma Thomas, and she is a similarly able to lay into a lyric as well as subtly deliver it. The band gets into a hot second line groove on Abner Burnett's Brightside, with hot Lance Keltner slide guitar that suggests Little Feat. Here, her vocal that soars over the backing with lively piano, and the afore-mentioned slide guitar.

Will You Be Mine, penned with her husband is a lovely soulful ballad and is followed by a solid cover of Betty Wrights big hit Clean Up Woman. It is another high point along with Love You Still, a bluesy duet with Johnny Rawls. Trenchard's Wash Your Hands, provides a contrasting mood to the duet with Rawls, as she sings about whether she can redeem herself from an affair she had. Wonderfully sung, with full backing and a marvelous arrangement, this track is typical of this release with solid material, strong backing and a singer who is thoughtful yet so soulful. Jackie Johnson is indeed a Memphis Jewel.


I received my review copy from a publicist for the release.

Johnny Rawls Still Has the Soul and Blues

Johnny Rawls initially emerged as part of Rawls & Luckett who first had an album over a quarter-century ago for Rooster blues. A Mississippi native, Rawls previously had been O.V. Wight’s band director and the band backed other soul and blues acts like Little Johnny Taylor after the legendary Wright passed away. Subsequently Rawls emerged as a solo act with several albums on JSP (as well as produced several albums for that label) before hooking up with Catfood Records.

Rawls has a new release on Catfood, Memphis Still Got Soul, that should continue to embellish his reputation as a strong soul and blues performer. Included are eleven songs, ten of which are originals from Rawls and/or co-producer Bob Trenchard and from two sessions. One session of from Texas and other from Montana (on which Johnny plays guitar), but both with live musicians. Trenchard and Rawls contributed the title track with its echoes of Elvis leaving the building, but Beale Street is still happening even if we lost some of the great ones and Memphis still has soul. The band captures the right groove, Andy Roman takes a strong tenor sax solo and Rawls nails the vocal.

The title track is followed up by a cover of the O.V. Wright classic Blind, Crippled and Crazy, whose lyric Rawls tears into with solid backing on a solid cover. Get What You Need, is a groover that should get folk on the dance floor while Take You For a Ride, is a driving piece of stone southern soul as Johnny tells his lady they will dance slow in the dark. Stop the Rain is a soulful lament as he pleads to stop the rain that is falling from his eyes, while Johnny McGhee’s guitar helps propel the funky Burning Bridges, about a gentleman one can’t trust and Mr. Guitar, where Johnny talks about not being a big superstar who has never won a Handy or a Grammy but all he needs is his guitar, with which he adds the fills here and takes the track out with a fade. Blues Woman, has a medium tempo rock-steady rhythm where Johnny strongly sings about wanting a woman he can relate to, not one that is into fancy champagne.

Those familiar with Rawls will not be disappointed. There are strong soulful songs that are terrifically played. The emphasis is on Rawls vocals, so those expecting lots of lengthy guitar solos will be disappointed. This is a solid follow-up to his other recent recordings and I would expect it to be as warmly received on the Southern soul circuit as well as blues fans who enjoy strong contemporary soul recordings.


I received a review copy from a publicist handling this release.