“Shelley King's delivery of the title tune from her new album, "Building A Fire", shows that she can give a sultry, sexy vocal that should help her career along.”
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"The slow, almost aching traditional 'I Know I've Been Changed,' delivered in King's strong, sultry killer of a voice over full-but-never-overdone music and backing vocals, defines 'Building a Fire.'"
"Miranda Lambert only wishes she had material this catchy."
“With her smoky, sultry vocals and smart, soulful songs, King is easily one of the finest singer/songwriters on the Austin music scene. She is a powerful, formidable presence on stage and her live performances are legendary among local music fans.”
“When Shelley King sings, her large almond-shaped eyes seem to look directly at members of her audience; she directs words that feel personal. She creates a spiritual-like connection that speaks volumes about the ways in which people live, love and relate to their environments.”
“Filled with sinewy soul and King’s trademark brand of torrid Texas gospel and blues, it’s her most confident work yet. One where the songs, band, and singer sound comfortable together, each filled with the kind of grace that’s scarce and delivering salvation.”
“beloved Texas singer-songwriter Shelley King, who is opening for Delbert McClinton at a sold-out show at Gruene Hall on Saturday (Sept. 27). It’s a perfect match. King, who lives in Austin, is promoting her latest album, “Building a Fire.” The swaggering title track, a King original, could actually be a McClinton number.”
“Building a Fire assembles an audio dictionary of Texan roots music. King's powerful, twanged alto takes care of the rest, the singer's no-holds-barred vocal mastery front and center.”
“The woman’s voice is as natural a wonder as you’re likely to hear today, coming from that place where feelings run deep and without affectation. She obviously has some kind of direct line to greatness”
“Shelley King's SLOW-BURNING, sensual soul and gospel CD Welcome Home with three members of the Subdudes appeals to the flesh as much as to the spirit. The sound comes as much from the 1950s as it does the pew, and it's a fun, sometimes moving listen.”
“Shelley King’s powerhouse voice — alternately capable of soothing, growling and languidly coasting on command — with the jangly groove of New Orleans vets the Subdudes is an idea that sounds good on paper. On record, it’s the best Texas/ Louisiana collaboration since crawfish enchiladas.”
“King shows the flexibility of her talent in this album. Going beyond the fact that she was the first woman selected for the post of Official State Musician of Texas, in Welcome Home, King shows that she is a master song craftsman; perfect instrumentation for the mood of her songs, supported by a fantastic cast of musicians.”
"...back-to-back killer tracks start to finish, with songsmith King's full-custom gospel voice matched... with righteous force and, here, spare instrumentation that only enhances the music
“Onstage, she leads her band through tangents of electric Southern blues and acoustic folk, revved-up Cajun country and rock and roll with a charismatic ease that evidences the resilience of a lifelong performer.”
“King's songwriting talent became firmly established, earning her several Austin Music Awards. With the release of her second album, King displays her prowess with the pen as well as her pipes.”
"Framing Austin-based songwriter Shelley King’s powerhouse voice — alternately capable of soothing, growling and languidly coasting on command"
"She's the player who can hit all the balls, from bluesy balladry and gospel to zydeco and country swamp pop with righteous force."
"Austin artiste Shelley King is the real deal. Roustabout, N'awlins-style arrangements back up her rich, burnished, lived-in voice to truly goosebumpworthy effect."
"She obviously has some kind of direct line to greatness, because on songs like "Summer Wine," "Asking Too Much" and "Grain of Sand," there is a wisdom that cannot be learned; rather it must be lived from birth. "