It’s no secret how much I love hearing a woman’s voice singing. I think it is one of the special gifts that God has bestowed on the human race. They are so expressive, and they find ways of exploring themes that their masculine counterparts just won’t find. So, digging through more boxes, I came upon a recent release from Deb Callahan called Backbone. I remembered having an album a few years ago from her that I liked a lot, so I looked forward to sampling this one.

Callahan wrote or co-wrote ten of the twelve tracks on the album with the other two written by Percy Mayfield and Sean Costello. Already she’s put herself in rare company. Both Mayfield and Costello are two of my favorite artists, so my intrigue is just getting deeper. Musicians on the album are Allen James on electric guitar; Chris Arms on slide guitar; Alan Glass on acoustic guitar; Garry Lee and Dave Arms on bass; Tom Walling on drums; Danny Schogger on organ and piano; Jay Davidson and Ken Ulansey on saxophones; Steve Iankoweki on horn and trombone; and John Colgan Davis on harmonica. Backup vocals are provided by Callahan and Charlene Holloway.

The album starts out What I’m Workin’ With, a truly upbeat number. Callahan takes personal inventory or those things that make up her entire person. This is what she’s got and you have to take it or leave it alone. It’s a song of identity with a beat you can dance to. Nice opening.

Next up is Crazy Ride with its funky sound. The keyboards get a workout for this song and it makes an interesting transition from the opening number.

Callahan follows with Big Girl Pants, a song of strength. It drives and Callahan says she has to take care of business and walk out that door. Sometimes we all have to find the backbone to do the hard things and get on with our lives. This is the conversation we have with ourselves in order to do it.

The next track, Rogue, uses a slower tempo but deals with Callahan dealing with a person that treats her like “a plaything.” She is finding the courage to stand up for herself and to claim her own space. We’re a few of songs in and an overarching theme for the album is becoming evident.

A Few New Tricks uses an up tempo and Callahan’s voice takes on a slight edge. Her lyrics are clever in reminding the man that while knowing how to pleasure a woman is important it’s not the only way in which he is measured. Teaching an old dog a few new tricks can be done if you put your mind to it.

The next song, Danger Zone, was written by Percy Mayfield, the poet of the blues. It’s a slow, languid number that drips beautiful notes on the listener. This is one of my favorite songs on the album and will be giving it some airplay. Keep listening. The first couple of times I heard her rendition, I couldn’t even take any notes, I was too enchanted.

The battle for civil rights is still being fought and Callahan delivers her take on the situation with Still Fighting To Be Free. It’s a powerful song with a good mix of drums, guitar, and harp. She asks a lot of questions that need to be answered.

A song that takes its title from the famous Gadsden Flag, Don’t Tread On Me, is Callahan standing up for herself through tough times. It serves as her own personal Declaration of Independence and she is taking no grief from the people who have been trying to control her.

A poignant number, Cleaning House utilizes a very sparse musical approach. It focuses on the drums and guitar and lets Callahan’s vocals carry the power of the song. Cleaning house can have so many meanings and doing it “all day” suggests she is ridding herself of a lot of baggage as well. Very interesting choices.

Thought You Were My Girl follows and it’s the story of the end of a relationship in which “you never really listened.” She faces the end with her head held high. There are some great lyrics in the song, things that might have seemed cliched, but in Callahan’s deft hands – and vocal cords – the song is elevated several notches.

Next up is Just What The Doctor Ordered with a funky beat and some nice organ work. It’s up tempo and a light song among some of the heavier numbers on the album. Callahan never gets too bogged down with her songs, even with she’s dealing with some serious issues. This one’s just for fun.

The album closes with Sean Costello’s Anytime You Want, and it’s a strong choice. Callahan takes it out on a high note with her honeyed voice taking on a little more edge. Allen James has a nice guitar break that propels the song along.

Callahan has produced an album that is striking from the first note to the last. She has tackled several difficult themes and managed to do so with songs that are both beautiful and powerful. Before you dive in to listen to the album, take a few minutes to look at the artwork on the cover.

Callahan is standing in the center of the frame with her arms outstretched. She is observed through a hole in a wall emerging from one world and entering into the next. It heralds how she is moving from one place in her life to another and doing so with style and welcoming the changes.

Just like she does with her songs.

The Professor gives this one a solid A.