Dawn Sandells - Mama's Kitchen (2019)

'Simple truths & banging grooves!' A story book told through a mix bag of genres: reggae, pop rock, carnival, blues, with both belting and understated vocals from 'arguably one of Britain's best blues/soul/funk singers'. This is her debut self penned album; one that 'life had to happen for her to write it'. The album opens with 'Gettin' away with it', a rock steady feel with funky bass, dirty wurli, bitchy vocal, a BB King flavour guitar solo with a riff going through it like a nod to George Benson.

It talks of how a woman lures her man into thinking he's safe from being exposed in his extra marital shenanigans, but only while she takes it all in and prepares herself for the inevitable. Second, is the title track, 'Mama's Kitchen', is unusual but moreish - reggae that breaks in to a swing chorus with a gospel break down. This is the song of family - the sacrifices, the distance between them, but the need to return to our roots pulls strong. Each verse sheds lights on individual family members' struggles but is representative of many of our brothers and sisters, fathers, daughters, friends, and the chorus brings us back into the fold; to the matriarch or to a place of familiarity and certainty.

The third track 'Jezebel' is a strong blues rock warning to the woman who hopes her fella leaves his wife for her, for she is erotic and far more interesting…but he is not hers and never will be. The song opens and closes with a Wurlitzer riff reminiscent of Ray Charles; verses are cool and choruses are dark and guitar heavy. The vocal soars from soft to scream and is full of expression making the listener almost feel sorry for Jezebel. Track number four: 'Man in waiting': Fender Rhodes with what sounds like metallic rain in three verses that tell us about how a man has wormed his way romantically through the guise of friendship and irreparably fractures the friendship. The vocal shows us that she has clocked the intention yet forgiving in her tone; harnessing her power which makes us feel 'what a shame'. The song then has a mesmerising extended outro that introduces bass and guitar.​

​Track five - 'Stone' - simple chords and catchy melody laced with understated Stevie Ray Vaughan-esque guitar and dirty Rhodes which has a vitriolic yet sweet vocal tone. The fact it's in a major key gives the impression that however toxic the relationship was, it's okay now, because it's over. The chorus leaves us humming it in the shower three hours later. ​

'Fascination', track six, is a fully orchestrated rock pop anthem with a festival of guitar sounds, riffs, solos, and hammond bass pedal doubling the driving bassline and Rhodes tickling the off beats throughout. A tale of a man falling foul to his own desires and ego; at first, he fools himself into thinking he's thriving, but then 'wonders where the good girl's gone'. ​

Track seven, 'Song for Honor', is sung low with such brutal honesty regarding perceived failings as a mother that opens up in the block harmony chorus to assuring herself that judging from her daughter, she must have done something right. The guitar weeps for forgiveness in an emotional solo and the outro shows a mother singing as though her relationship with her young depended on it. Track eight 'Hairbrush & high heeled shoe' has the feel of Nottinghill Carnival with a funky break down chorus. This song tells us of the anxiety of being a single parent - how there is no 'man' of the house to see to the noises downstairs. Perhaps the samba rhythm is meant to represent chaos as opposed to carnival celebration; the overworking of a desperate mind under duress. It is visual and almost comical when the only available weapons to hand, should there be an intruder, are a hairbrush and a high heeled shoe.​

Track nine 'Red sky' is a socio-political darkness to light reggae with an African style call and answer chorus. It is a call to revolt against austerity and injustice by joining together under a red sky but has no hint of aggression. A wonderfully quiet guitar(s) solo almost harking to the calm before a storm or a period of reflection before taking action. The album closes with 'Let me breath': a double bass riff and an industrial chord lingering over the choruses and intro like stifling city humidity. The lyrics are self explanatory - a suffocating relationship and the plea to lessen the grip on air supply through omnipresence. A fitting close - someone who needs to be free to tell stories and sing them as though they are everyone's stories - because they are, at some point in our lives, or for someone we know. Stories aside, sometimes we just need to get into our groove!



Track List:
[05:07] 01. Gettin' Away with It
[04:39] 02. Mama's Kitchen
[04:32] 03. Jezebel
[03:52] 04. Man in Waiting
[03:47] 05. Stone
[05:04] 06. Fascination
[04:04] 07. Song for Honor
[02:59] 08. Hairbrush & High Heeled Shoe
[04:23] 09. Red Sky
[03:12] 10. Let Me Breath

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