Sue Foley is what
I like to affectionately call in the blues one of the "women with
guitars" who are slidin', pluckin' and wailin' those blues notes of
passion and pain. A native of
Canada, Sue has known she wanted to play the blues since childhood.
Many would not define her music as "traditional" blues, but
when you listen to her music, you cannot doubt the influences.
I had a chance to trade some dialogue with Sue, via her manager (I
would have preferred a direct interview), but she has a lot to share and I am
sure you will enjoy!
Where and when were you born?
I was born in Ottawa Canada...March 29 1968
You are still so young! Did you come from a
musical family? If so, did your
parents/siblings play instruments? Sing?
Yes, my father played guitar, as did my three older
brothers. I was raised with
traditional Celtic music, and of course 1970's rock n roll.
I have people in my musical life, who I listen to
almost daily. Who were/are your
major musical influences?
My main musical influences growing up were my
brothers and my father. I decided
at 13 years that I would be a professional lead guitar player.
I got into blues on my own around age 15 and decided that would be my
musical direction. My earliest
blues influences were Memphis Minnie, Muddy Waters... Anything on chess
records really, Freddie King, BB King, T-bone Walker and everything else I
could find. I spent my first two
years (age 15 - 17) playing traditional country blues... ala Robert Johnson,
etc.
Canada is a long way from the Southern United
States where the blues began. How
did you come to find and embrace the blues?
My first experience hearing the blues live was when
I was 15. It was in Ottawa and
the performer was James Cotton. He
was touring with a dynamite band and I was completely awestruck. I never had
experienced something so real and human. So down to earth... my entire soul
was lifted. It was one of the
epiphanies I have experienced and certainly one of the most profound. I realized that this was not a down, sad music but an
uplifting spiritual living thing.
Describe how you came to work with Clifford
Antone in Texas and what has that experience been like?
I met Clifford Antone at the 1989 [W.C.]Handy Awards.
I was playing in Memphis with harmonica player Mark Hummel (from
California). Clifford heard me
when I sat in with the Duke Robillard Band and came up to meet me.
He told me he'd heard about me from Angela Strehli and to send him some
demos. I did just that when I got
off the road and he called me back and invited me to Austin.
He was impressed with a lowdown thing I had recorded called “Gone
Blind.” He thought I sounded
like Lightnin’ Slim and was amazed I’d never even heard him.
I stayed with him in Austin for a year at his place and he gave me a
great education on lowdown blues, Louisiana swamp pop and early Texas R&B.
We were and are great friends to the point of almost being family.
I made my first four albums on his label Antone's Records, and lived in
Austin from 1990-98.
Have personal occurrences in your life affected your
music? Your writing? If so, how?
Everything I am, I do, I see... effect the way I play and
feel music. Blues is about life,
so all your experiences go into what you play.
That is why the sounds coming out of some of these older performers are
so full and awesome. I strive to
get better as I age and keep being able to put more and more into what I play.
You have a new CD.
Is this CD particularly special to you?
Who collaborated with you on the CD?
My sixth CD entitled “Love Comin' Down” [it was
]released on Shanachie Records May 9 of this year.
I was able to work with producer Colin Linden and am really happy with
the results. I've known Colin
since I was sixteen and playing Memphis Minnie songs in coffee houses in
Ottawa. He has a deep and
dedicated understanding of the blues and roots music in general.
It's been a great experience. Also
I got to write with a great musician out of Montreal named Ray Bonneville.
Together we wrote two of my favorite tracks… “Empty Cup” and “To Be
Next To You”. On “Empty
Cup” I got help with vocals from one of my favorite artists out there today,
Lucinda Williams. It was truly an
honor to have her on the album.
 |
|
Click on Sue's new CD to
purchase
it from AMAZON.COM |
In your opinion, has being a woman in the music
business been an asset or a liability?
Being a woman is what it is.
I consider myself a player, and generally shun gender questions. I think the music business is tough. It’s tough for men as
well as women, but if it's what you must do, down to the depths of your soul,
you will do it, no matter what.
What contemporary women performers do you now listen
to?
Helena Mereillas from Brazil.
I pop into the radio now and again but don't find much that blows my
skirt up. I am more of a
traditionalist and into roots. I
love Lucinda Williams, Lou Ann Barton, Angela Strehli, Toni Price, and all my
Texas pals. I like some pop of
Bonnie Raitt and Sheryl Crow. I
am into Flamenco too.
What do you find appealing in their music?
What I find appealing in music in general is passion, and
pure raw talent that's busting out.
Race seems to permeate so much of our daily existence. It is often an "issue" in the music industry also.
How have you dealt with being a white performer singing the blues?
I just play and don't think about it.
What is your advice for those young women who are
seeking a music career?
My advice is to learn to play... don't just stand up there
and fake it. I think it's a great
asset to any woman singer or otherwise to play an instrument.
It gives you a greater understanding of what's going on and more
control over the way the show goes. It also wins a lot of respect with the other musicians.
How do you want to be remembered?
Hmmm... Good question.
I want to be remembered as being great!
Naturally I want to be remembered as someone who made a life with music
and was always improving and learning. I
want to be the female Clarence “Gatemouth” Brown.
I want to be seventy-five and a wicked ass kickin’ guitarist, and
ornery as hell.
For more info visit www.suefoley.com
