Robin Rogers has done some living. You can feel her wear and tear fairly well and, most importantly, her joys and triumphs when she sings the blues. Her North Carolina base may offer further insight as to why she sounds so Southern-authentic, but, in all probability, this gal’s considerable gifts are embedded in her DNA.

This is a reissue of Rogers’ second album, fleshed out with three new tracks. Named 2005’s “Best Self-Produced CD” by the Blues Foundation, Crazy Cryin’ Blues is jam-packed with interpretations that stir up striking images of long-gone performers, as well as the fields, shacks and nightclubs where they kicked it up and bared their souls.

On “It’s a Blessing”, Robin’s animated testifying superimposes a Technicolor image of a cotton picker right before your eyes. The field-holler pulse, the fluttering mandolin and Rogers’ husband Tony picking at his Resonator all help turn the song into a spectacular highlight. “Come on in This House” is an electrifying, stompin’ blues, with Robin’s harp wailing like a tempest in between powerful, pleading verses. Mark Stallings’ glittering piano graces every track, with his barrelhouse especially lively on Tommy Johnson’s “Travelin’ Blues”. Of the new recordings, the late-night jazz of “He May Be Your Man” stands out – it vividly recalls the 1920’s era Vaudeville from whence it originated.

Blues music is gripping because it’s simple sentiment born of heart and soul. Robin Rogers and her band exemplify that on Crazy Cryin’ Blues and top it off with incredible artistry.

Tom Clarke  Hittin’ The Note

Robin Rogers    Crazy Cryin’ Blues liner notes, March 2006 

Listening to a lady sing the blues can be a spellbinding experience, particularly if she’s a natural.  The intrinsic allure and soul-baring timbre in certain female voices lends extra zeal to these age-old ruminations. Robin Rogers is a full-scale natural.  She lays bare gut-level emotions with ease, her sweet and sassy pipes investing the songs with a knowing authenticity. The songs on Crazy Cryin’ Blues, Robin’s second album, are an extraordinary lot, carefully chosen from the annals by Robin and her husband, guitarist and fellow blues explorer, Tony Rogers.  The band—well, the band kicks ass.  The traditional “It’s a Blessing,” for instance, stands out as a driven-down field holler lit up brightly by Tony’s Resonator guitar, Max Drake’s fluttering mandolin, and Jim Brock’s whip-crack percussion.  It’s like the sun shooting beams high over a cotton field and on down through a chapel’s stained glass. Sway to Kerry Brooks’ heartbeat in “Conjur Man” as Max Stallings and Tony Rogers strike at and pick out icy blue notes and Robin pours pure anguish and release from her voice and harp. This, as you are in the process of discovering, is one heaven and hell of a blues album.  The Blues Foundation thought so, too, awarding it “Best Self-Produced CD” in 2005. Robin Rogers is an artist who will make many more journeys through the blues before arriving at her destination.  Be there to drink in her experiences and talents along the way.