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Chances are you have heard South Carolina-based Davis Coen but didn't know it.

Coen has spent most of his young career in the background of some impressive blues productions. He contributed instrumental tracks to PBS's landmark series The Blues and backed up the late, great Jess Mae Hemphill as well as opening for luminaries such as James Cotton, the North Mississippi All-Stars, Eddie Kirkland and others.

With his fifth solo release, Blues Lights For Yours and Mine, Coen shows that he has the chops and talent to break out as a solo act.

Coen's latest release opens the Basement With The Blue Light, a Hammond B-3-driven toe-tapping original that introduces the listener straight off to his worldly sounding voice and well-timed guitar work. Coen's voice is best served by his uptempo choices here from covers of Jack Of Diamonds to Don't Let Your Deal Go Down, and even his bouncy cover of Professor Longhair's Baby Let Me Hold Your Hand.

Blues Lights For Yours And Mine in the end is a pleasant mix of originals and covers, as Coen convincingly showcases a variety of styles, able to deliver nice acoustic turns as well as down and dirty blues- just check out the moody, attitude-driven original Accelerated Woman for further proof.

- Dave Ruthenberg

CD: Davis Coen, "Ill Disposition." (219 Records).

OK, sure, we're a little biased. Davis dropped by our "Delta Sounds" radio program a couple of months ago, and was easily prodded by co-hosts Terry Buckalew and Sonny Payne into playing a couple of stunners.

Excitement about the forthcoming release of "Ill Disposition" was high then, and rightfully so.

Coen's fourth album is a solid release from the hard-working and popular South Carolina-based bluesman, kicking off with the truly impressive self-penned lament of the street entertainer "Busker's Blues." It's an appropriate opener, establishing both his persona as a working musician, as well as showing off his talents on as close to a contemporary pop setting as he comes on the disc. In addition to a smooth baritone in some ways similar to South Carolina's late great Walter Hyatt (certainly of the busker tradition) and some grand picking that he makes sound easy, Coen's skills as a songwriter stand out; many veteran acts could do worse than swiping "Busker's Blues" from his notebook.

Not that his other numbers are too shabby either. "Good Conversation" delves further into the Americana traditions of old buskers from Steve Goodman to Dylan to Steve Forbert, and Coen can make himself right at home there. But Coen can also sit himself down and pen fiery Texas roadhouse blues ("Got to Hold Out," aided and abetted by Joe Izzo's rat-a-tat attack on drums) or above-par traditional blues ("Two-Timer's Blues.")

His taste in covers and the breadth and boldness of his choices reveal the road wisdom of a young artist who has already made a name for himself in Memphis, Clarksdale, festivals across America, Canada, Europe, Australia, and South America. The sway of "Lay Me a Pallet on Your Floor" and Elizabeth Cotten's "Freight Train" provide opportunities to display his superb finger-picking and the type of demanding but quiet delivery that acoustic artists like Cotten and Mississippi John Hurt made seem so easy. More intriguing is his decision to cover a Junior Kimbrough song, "I'm in Love With You," in a similar vein, rather than tackling one of the Mississippi juke joint legend's trance-inducing stomping blues. The numbers he chooses to pick up the pace are also engaging. His takes on Allen Toussaint's "Yes We Can Can" and John Lee Hooker's "Mambo Chillun" are notable. One will not mistake Coen's version of the former for Lee Dorsey nor his rendition of the latter for the brooding darkness or implied danger of Hooker, but he nonetheless knows how to work a groove and draw the dancers out onto the floor. Coen finds the funk inside himself and adds some tasty licks. - Thomas Jacques

Artist: Davis Coen

Title: ILL DISPOSITION

Label: 219 Records

Davis Coen's fourth album is nothing short of a well-crafted blues gem. With a deep, clear, hollow voice, Coen leads the listener down country roads and Chicago streets with tunes that showcase a refreshing blend of innovation and respect for tradition. This is not rock pretending to be blues, or gussied-up road house music with no place to go: this is the real deal, and it’s real nice to hear.Coen—who’s been touring since he was a teenager and has opened for such blues greats as Junior Wells, James Cotton and Koko Taylor---wrote five of the tracks on the album, and played guitar on every one, in a style ranging from Delta slide to Southside Chicago electric.Within the label of solid blues, Coen works a wide range of styles, encompassing the near-R&B Busker's Blues, the cool, black swamp-water groove of Something at My Feet, the traditional 12-bar Chicago Two Timer's Blues, and the laid-back honky-tonk Good Conversation. On top of that Davis does a throw-down cover of the classic Kansas City, with some mesmerizing Delta slide; adds a gritty, unadorned solid-driving blues edge to Chuck Berry's Let It Rock, and lends a sweet gumbo bop to John Lee Hooker's Mambo Chillun, where he also tears off some respectable riffs on the harp.

If you're a blues fan, you'll want this CD. And if not, shame on you, and get back to school. 'Nuff said.

-Randy Walden

Billtown Blues Association

Davis Coen
Can't Get There From Here
219 Records 1006

A nice slice of Americana, Can't Get There From Here is nothing short of a beautiful piece of work. Singer, songwriter, great guitarist and extraordinary storyteller, Davis Coen manages to blow away the fog and tell it like it is. Folk, blues and country blend for a sound that is warm and comfortable as my old denim. Bottom line...Davis Coen is the real deal. Twenty-nine and based out of Charleston, South Carolina, Coen sings what he knows, directly from the heart. While better than half of the CD's tunes were written by Coen, he manages to take possession of the well-chosen covers, giving them his own twist, while showing the utmost respect for the original authors. Davis shows a deep love and knowledge of the Blues. This is much more than a musical style: it is the essence of life. Nothing profound here, just life on life's terms. This is real, real powerful and directly from the heart. It's also easy on the ears. Who could ask for more? Can't Get There From Here is about as good as it gets. If you're looking for the latest fad, pass this one by. Davis Coen is here to stay. - Bill Wilson

Living Blues

Davis Coen Blues From the Get-Go
(Soundview Production SP 1002)
With only his acoustic guitar, harmonica, and voice - and a bassist and
drummer on a couple of tracks - Davis Coen Strikes an old-fashioned note.
Harking back to the traditional folk blues, he has produced a refreshing
album, thanks in large to his witty, sometimes R-rated lyrics. - PJK

Blues Revue (November 1999)

Davis Coen writes deep-rooted American folk-blues, dropping hints of jug bands, Delta slide and good ol' porch guitar jams on Blues From the Get-Go (Soundview 1002). A dozen stripped-down originals center on Coen's fingerpicked guitar and low tenor. He's a storyteller with vibrant imagery and wit. Best cut: "D.E.A. Blues," with twisted slide riffs, tortured snare and bass, and demented vocals.




		Living Blues Magazine Review - October 2008 Chances are you have heard South Carolina-based Davis Coen but didn't know it. Coen has spent most of his young career in the background of some impressive blues productions. He contributed instrumental tracks to PBS's landmark series The Blues and backed up the late, great Jess Mae Hemphill as well as opening for luminaries such as James Cotton, the North Mississippi All-Stars, Eddie Kirkland and others. With his fifth solo release, *Blues Lights For Yours and Mine,* Coen shows that he has the chops and talent to break out as a solo act. Coen's latest release opens the Basement With The Blue Light, a Hammond B-3-driven toe-tapping original that introduces the listener straight off to his worldly sounding voice and well-timed guitar work. Coen's voice is best served by his uptempo choices here from covers of Jack Of Diamonds to Don't Let Your Deal Go Down, and even his bouncy cover of Professor Longhair's Baby Let Me Hold Your Hand. Blues Lights For Yours And Mine in the end is a pleasant mix of originals and covers, as Coen convincingly showcases a variety of styles, able to deliver nice acoustic turns as well as down and dirty blues- just check out the moody, attitude-driven original Accelerated Woman for further proof. - Dave Ruthenberg Delta Cultural Center Review - August 2007 Helena, Arkansas - Thomas Jacques CD: Davis Coen, "Ill Disposition." (219 Records). OK, sure, we're a little biased. Davis dropped by our "Delta Sounds" radio program a couple of months ago, and was easily prodded by co-hosts Terry Buckalew and Sonny Payne into playing a couple of stunners. Excitement about the forthcoming release of "Ill Disposition" was high then, and rightfully so. Coen's fourth album is a solid release from the hard-working and popular South Carolina-based bluesman, kicking off with the truly impressive self-penned lament of the street entertainer "Busker's Blues." It's an appropriate opener, establishing both his persona as a working musician, as well as showing off his talents on as close to a contemporary pop setting as he comes on the disc. In addition to a smooth baritone in some ways similar to South Carolina's late great Walter Hyatt (certainly of the busker tradition) and some grand picking that he makes sound easy, Coen's skills as a songwriter stand out; many veteran acts could do worse than swiping "Busker's Blues" from his notebook. Not that his other numbers are too shabby either. "Good Conversation" delves further into the Americana traditions of old buskers from Steve Goodman to Dylan to Steve Forbert, and Coen can make himself right at home there. But Coen can also sit himself down and pen fiery Texas roadhouse blues ("Got to Hold Out," aided and abetted by Joe Izzo's rat-a-tat attack on drums) or above-par traditional blues ("Two-Timer's Blues.") His taste in covers and the breadth and boldness of his choices reveal the road wisdom of a young artist who has already made a name for himself in Memphis, Clarksdale, festivals across America, Canada, Europe, Australia, and South America. The sway of "Lay Me a Pallet on Your Floor" and Elizabeth Cotten's "Freight Train" provide opportunities to display his superb finger-picking and the type of demanding but quiet delivery that acoustic artists like Cotten and Mississippi John Hurt made seem so easy. More intriguing is his decision to cover a Junior Kimbrough song, "I'm in Love With You," in a similar vein, rather than tackling one of the Mississippi juke joint legend's trance-inducing stomping blues. The numbers he chooses to pick up the pace are also engaging. His takes on Allen Toussaint's "Yes We Can Can" and John Lee Hooker's "Mambo Chillun" are notable. One will not mistake Coen's version of the former for Lee Dorsey nor his rendition of the latter for the brooding darkness or implied danger of Hooker, but he nonetheless knows how to work a groove and draw the dancers out onto the floor. Coen finds the funk inside himself and adds some tasty licks. - Thomas Jacques MUSIC-REVIEWER.COM , July 2007 Artist: Davis Coen Title: ILL DISPOSITION Label: 219 Records Davis Coen's fourth album is nothing short of a well-crafted blues gem. With a deep, clear, hollow voice, Coen leads the listener down country roads and Chicago streets with tunes that showcase a refreshing blend of innovation and respect for tradition. This is not rock pretending to be blues, or gussied-up road house music with no place to go: this is the real deal, and it’s real nice to hear.Coen—who’s been touring since he was a teenager and has opened for such blues greats as Junior Wells, James Cotton and Koko Taylor---wrote five of the tracks on the album, and played guitar on every one, in a style ranging from Delta slide to Southside Chicago electric.Within the label of solid blues, Coen works a wide range of styles, encompassing the near-R&B Busker's Blues, the cool, black swamp-water groove of Something at My Feet, the traditional 12-bar Chicago Two Timer's Blues, and the laid-back honky-tonk Good Conversation. On top of that Davis does a throw-down cover of the classic Kansas City, with some mesmerizing Delta slide; adds a gritty, unadorned solid-driving blues edge to Chuck Berry's Let It Rock, and lends a sweet gumbo bop to John Lee Hooker's Mambo Chillun, where he also tears off some respectable riffs on the harp. If you're a blues fan, you'll want this CD. And if not, shame on you, and get back to school. 'Nuff said. -Randy Walden Billtown Blues Association Davis Coen Can't Get There From Here 219 Records 1006 A nice slice of Americana, Can't Get There From Here is nothing short of a beautiful piece of work. Singer, songwriter, great guitarist and extraordinary storyteller, Davis Coen manages to blow away the fog and tell it like it is. Folk, blues and country blend for a sound that is warm and comfortable as my old denim. Bottom line...Davis Coen is the real deal. Twenty-nine and based out of Charleston, South Carolina, Coen sings what he knows, directly from the heart. While better than half of the CD's tunes were written by Coen, he manages to take possession of the well-chosen covers, giving them his own twist, while showing the utmost respect for the original authors. Davis shows a deep love and knowledge of the Blues. This is much more than a musical style: it is the essence of life. Nothing profound here, just life on life's terms. This is real, real powerful and directly from the heart. It's also easy on the ears. Who could ask for more? Can't Get There From Here is about as good as it gets. If you're looking for the latest fad, pass this one by. Davis Coen is here to stay. - Bill Wilson Living Blues Davis Coen Blues From the Get-Go (Soundview Production SP 1002) With only his acoustic guitar, harmonica, and voice - and a bassist and drummer on a couple of tracks - Davis Coen Strikes an old-fashioned note. Harking back to the traditional folk blues, he has produced a refreshing album, thanks in large to his witty, sometimes R-rated lyrics. - PJK Blues Revue (November 1999) Davis Coen writes deep-rooted American folk-blues, dropping hints of jug bands, Delta slide and good ol' porch guitar jams on Blues From the Get-Go (Soundview 1002). A dozen stripped-down originals center on Coen's fingerpicked guitar and low tenor. He's a storyteller with vibrant imagery and wit. Best cut: "D.E.A. Blues," with twisted slide riffs, tortured snare and bass, and demented vocals.