Evidence 26091· THE PAUL DELAY
BAND · Nice & Strong
Release date: February 3, 1998
Paul deLay doesn't sing "Sweet Home Chicago," nor is he the latest handsome young guy to arrive on the scene. He's conquering the blues world his own way, with a distinctive mixture of great singing, virtuoso harmonica playing and smart, humorous song writing forged by experience. Through his two previous releases for Evidence, Take It From The Turnaround... (ECD 26076) and Ocean of Tears (ECD 26079), his legend has continued to spread throughout the world and his music unanimously praised.
deLay as well as his record company, considers Nice & Strong to be the pinnacle of this success so far, not because of the musical complexities or hit potential of the music. That's because deLay and band have achieved their goal, in this case mightily: simple songs about life as deLay sees it, songs that you can dance to.
And when deLay sings about relationships and responsibility, his attitudes transcend any trends in political correctness, because his love and respect for women comes from his heart, inspired by his real-life wife Megan, who has seen him from the pit of addiction to the recapture of his personal equilibrium and the means to share his humor and insights with a world sorely in need of healing.
The barroom/club/dance sets that keep bodies moving and feet tapping at every venue where the deLay band appears can belie the tapping at every venue where the deLay band appears can belie the wisdom, strength and humor communicated by this great writer (deLay has written every tune but one on his last four recordings, by himself or with the help of other members of his band).
deLay was recently vilified on a national television program for his past addictions. The TV host had an agenda and chose to ignore the truth: the story or hook on deLay is not his past troubles, it's about a man now dealing with the same daily issues we all grapple with - everyday relationships, self-respect, life's challenges - and singing about them without false sentiment or clichés. and dealing with them well.
About the songs:
1. "Over and Done" - mustering the courage to leave a bad relationship.
2. "Fourteen Dollars In The Bank" - A blues anthem about being broke.
3. "Too Old To Scold" - A tough-love message to a kid gone bad. It takes one to know one.
4. "Love On A Roll" - A feel-good rollick about being in love and things going well.
5. "She Doesn't Work That Way" - deLay's proud announcement that his relationship has not reverted to that same old regret, and that relationships need not do so. His relationship with his woman is strong and mutual and cooperative and respectful.
6. "I'm gonna Miss Talkin' to You" - A ballad about missing the part of a relationship that's "between the ears," the emotional and intellectual part of a good relationship that has ended.
7. "Nice & Strong" - A heavy-metal harp dance-funk number rejoicing in the strength of his mate.
8. "What Do You Want In A Man?" - A warning not to fall for the smooth-talkers, a plea to look beyond appearances and perhaps to consider this non-macho alternative (done to a Stax-Volt melody).
9. "I Know You got Another Man" - A tongue-in-cheek composition by Paul that depicts a paranoid man who is only sensitive about relationship as they pertain to him (performed as a twisted shuffle that lampoons a couple of musical clichés in the process).
10. "Come On With It" - Make love, not war, with a passion!
11. "Punchy" - An instrumental in which Paul and the band - deLay, harmonica; Peter Dammann, lead guitar; Dan Fincher, tenor sax; Louis Pain, Hammond organ; John Mazzocco, bass; Mike Klobas, drums - collectively show off their chops.
Previously released on Evidence:
Take It From The Turnaround... (ECD 26076), a compilation of two previous recordings - The Other One, released in 1991, and Paulzilla, released in 1992 on the Criminal Records label; released by Evidence in April, 1996.
Ocean of Tears (ECD 26079), recording of new material, most of it written by deLay during his incarceration, released by Evidence in September, 1996.
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