# CD review: Les Copeland – One More Foot in the Quicksand 2019: Video, CD cover

- Link: https://jazzblues.eu/2019/10/23/cd-review-les-copeland-one-more-foot-in-the-quicksand-2019-video-cd-cover/
- Published: 2019-10-23T16:26:41+01:00
- Author: https://JazzBlues.EU

**One of the most respected blues artists in Western Canada and based out of Vernon,
B.C., Les Copeland proves once again that he’s a skilled guitarist across multiple
platforms with this release, his third under the auspices of Chicago’s Earwig Music.**

A lifelong musician who cut his teeth on pre-War Piedmont blues as a child, his 
stylings on the six-string are deeply influenced by Mississippi John Hurt, Blind
Blake, Barbecue Bob and Furry Lewis. He also had a close relationship with the legendary
David “Honeyboy” Edwards, frequently serving as the first-generation acoustic blues
superstar’s opening act and later traveling across Europe in his trio, which also
included Michael Frank, Edwards’ longtime harmonica player and manager as well as
the founder of his current label.

Copeland’s also served as front man for pop, jazz and mainstream blues bands, too,
something that comes across loud and clear on this lengthy, diverse album. Les switches
off on electric, acoustic and slide guitars here, accompanied by Cameron Ward on
bass and Scott Grant on drums. Frank makes the only guest appearance, sitting in
on harp for a single cut.

A collection of seven originals and 10 covers, the disc opens with a funky, modern
uptempo take on Albert King’s “Change of Pace.” Copeland’s stylish single-note solos
breathe new life into it. His attack is solo and the six-string’s electric for a
powerful take on Big Bill Broonzy’s warhorse, “When I Been Drinking,” before exhibiting
his acoustic picking skills on Sleepy John Estes’ “Drop Down Mama,” reworking it
with a sprightly dance groove.

Copeland’s picking skills on Freddie King’s ‘70s powerhouse, “Woman Across the Water,”
are prodigious, but his vocals are somewhat wanting prior to a run of four originals,
which follow. “Gone” is a top-notch acoustic pleaser that’s a bittersweet announcement
that someone dear is departing, while the walking blues, “Perfect Man Like You,”
features Les solo on both electric and slide. “Uncle to Aunt,” an electrified instrumental
in trio format, is up next before “This Fool Will Never Know” is a sentimental, 
melodic ballad on which the guitarist trades licks with himself as he sings about
lost love.

A cover of Broonzy’s “Treat Everybody Right” provides some good advice before the
original, “Tiny People,” revisits the sound of Santo & Johnny, Brooklyn-born brothers
whose steel guitar instrumental, “Sleep Walk,” topped the charts in the late ‘50s.
Copeland’s joined by Frank for Shannon Lyons’ “Soggy Bottom Breakdown” next. A new
tune with a ’60s swamp-pop feel, it moves forward sensually before “Let’s Get Together
Again” delivers a message of friendship atop a medium-slow dance groove.

The pleasant, true blues shuffle, “Good Friends,” moves the message forward before
a take on Ray Charles’ “Hallelujah I Love Her So” and four more originals – the 
acoustic Piedmont styled “I’d Be Nothing,” “Lost Sheep Out in the Woods,” which 
has a ‘50s Chicago feel, and the funky “Just Another Foot in the Quicksand” and “
Gotta Get Up” – bring the action to a close.

Available through most major retailers, _One More Foot in the Quicksand_ will have
you tapping your toes throughout, and Copeland’s a great picker. He would have been
better served, however — and the album would have been much stronger with the omission
of a few weaker tunes from its 72-minute run.

![Image result for Les Copeland – One More Foot in the Quicksand](https://i0.wp.
com/images-na.ssl-images-amazon.com/images/I/71DLYKtN8vL._SL1500_.jpg?w=640&ssl=
1)

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