Miss Bix

Ain't No Such Thing

Ain't No Such Thing (feat. Ralph Carter)

Bring It

Keeshea Pratt

Red Walls (feat. Keeshea Pratt)

Leslie Letven

Bittersweet: An Adult Contemporary Fix

The concept of this collection of songs is inspired by the home of the blues, the Crossroads in Clarksdale, Mississippi.  Leslie Bixler (aka Miss Bix) spent several months there soaking in the culture and learning the blues from the founders themselves.  The songs reflect the culture that permeates the south, “Voodoo Man”, “Black Widow”, “Slave To The Grave”, and “Crazy Bout You” all have the smoky sensuous sound of the bluesy south.  At the same time, Bixler creates a sound and voice that is all her own, and each song tells a different story.  The Hendrix inspired “You’re A Child” harkens back to the excitement of early rock days, and features the amazing RHCP drummer, Chad Smith, with whom Leslie has worked before on a children’s album, “Rhythm Train”.  The opening track “Follow Me Down” draws the listener in with a trance-like psychedelic groove and from there the excitement continues to build.  Along with Leslie Bixler and co- producer Ralph Carter,( previously with Eddie Money and Sugaray Rayford) who brings bass, percussion, guitar and keys to many of the songs, the rest of the players are top notch, including John ‘JT’’ Thomas (keyboardist with Hornsby), Gary Mallaber (drummer previously with Van Morrison, Steve Miller and more), blues guitarist extraordinaire Franck Goldwasser (aka Paris Slim), Sax man Bill Bixler, and harp player RJ Mischo.  There are no mercenary performances on this album.  You can feel the passion and commitment in every musician’s contribution, as well as in Bixler’s soulful and intimate vocal delivery.  This is a rare find, 12 songs that pack a punch, in a conceptual flow, reminiscent of days past, when albums told a story.
Artistic influences like Sheryl Crow, Bonnie Raitt, Peter Gabriel, Sting, John Mayer, and many others weave together in this altogether new package.  Hints of motown are perceptible in the R&B feel of “Baby Come Back”, and the ending cut is a sensitive homage to the muse herself, that never ends, in “All The Time”.  The title cut “We Don’t Own The Blues” is a playful look at the nature of love and heartbreak, and is destined to become a blues classic, as is the romping “If You’re Doing What I’m Thinking”.  The vocal stylings of the heartbreaking ballad “It Wasn’t Me’ are beautifully framed with the gorgeous keyboard virtuosity of John JT Thomas.

We Don't Own the Blues

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Ain't No Such Thing

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