• Guitar Player Magazine “ On Angels, the Kentucky native layers crunchy riffs, sassy wah lines, and fiery solos over tight, funky rhythm tracks played by elite Memphis studio cats. But it’s Richey’s fast powerful picking hand that sets her apart from typical blues-drenched rockers.”

—Andy Ellis

• Arkansas Night Flying “...The Kelly Richey Band’s reputation is built on its explosive live performances and seeing is believing...Not many women, or men, can rock the blues with Richey’s intensity and authority.”

• Elmore Magazine

“Kelly Richey is a fiercely gutsy and immensely talented female guitarist based in the Midwest....A purely instrumental album in the rock or blues genres, in my opinion, must try harder to gain and keep the listeners’ attention throughout. Speechless succeeds.”

—M.T.H. Weitzman

• Cincinnati, City Beat “...Imagine a cross between Ruth Brown and Bonnie Raitt and you’ve just begun to get the picture.”

• Top Twenty One “Kelly Richey is nothing short of an inspirational guitar player... I have never before heard a woman rip it out on a guitar like this. “

—John Shelton Ivany

• NoHo LA “I think Kelly Richey would have kicked the snot out of both Steve Vai and the “Karate Kid” if she could’ve stepped into the film Crossroads. Speechless (is) a fitting title for an instrumental stunner that hovers and dives under the blistering influence of Roy Buchanan, Joe Walsh and Warren Haynes.”

—John James

• Midwest Record KELLY RICHEY/Speechless: First, women are outnumbering men in college, now they are taking over all the slots as guitar slingers in the front line....She’s been honing her chops as she goes along until you get the feeling she could step into Stevie Ray Vaughn’s shoes at a moments notice if called to. Hot stuff guitar slinger fans are sure to love.

• LA Weekly “Such adventurous extrapolations are exactly what’s required if the blues genre is going to have anything new to say in the next century.”

• Blues Revue Magazine “Sending Me Angels should break this remarkably talented artist wide open. She’s overflowing with confidence and the kind of star power that can’t be faked.”

—Hal Horowitz

• Minneapolis, Blues On Stage “...( Kelly Richey ) is one remarkable blues guitar player. There are actually some very interesting similarities between Kelly Richey and Walter Trout - - both in style of playing, fretboard prowess, certain mannerisms and sheer intensity of emotion in their playing.”

• New Music Weekly “Just got a copy of Kelly Richey and “Sending Me Angels” and we’re certainly impressed. Produced by John Snyder on the Sweet Lucy Record label, this amazing vocalist/guitarist, displays the very best in blues/rock, perfect for our Album Mix format.”

• Album Network ...(Sending Me Angels) “Kelly Richey’s Raw gutsy performance on ‘Nothin’ To Do With Love’ is really accented by her amazing guitar work.”

• Midwest Record (April 26, 2008)“With chops and agility that just seem to scale new heights every time out, she’s actually more Albert King than Bonnie Raitt and knows full well how to burn the house down.”

• Music City Blues—Nashville (April 29, 2008)“Gritty, topical, socially-conscious lyrics are the standard on these eleven originals, all hammered home by her blistering fretwork and assertive, “take-no-prisoners” vocal delivery.” …” For an insightful look at a brilliant woman of the blues, enjoy “Carry The Light” today!!”

— Don Crow

• Modern Guitars (May 19, 2008)“Though Carry the Light encircles the blues more than enters it, a blues ambiance persists throughout, especially in her guitar playing approach. It blazes a scorching trail throughout most of the album.”

— Brian D. Holland

• Positively Yeah Yeah Yeah (June 2008) Spine-chilling, tasty blues magic from the Cincinnati-based singer/songwriter, channeling the voodoo of Jimi Hendrix and Stevie Ray Vaughan into her own deep, funky, mystic right.

— John James

• Phoenix Blues Society (June 2008) Carry The Light is a powerful and personal statement from Kelly Richey, one that sounds like it’s been tucked away for a long time and bursting to come out. This one is definitely worth your attention.

— Graham Clark

• Louisville Eccentric Observer (June 2008) The internationally celebrated Kelly Richey Band evokes the wandering spirits of Big Brother & the Holding Company, the Vaughn Brothers and Band of Gypsys.

• Blues Revue Magazine (June 2008) On previous albums, Richey’s terrific voice stole the spotlight from her sparkling playing. But with Speechless, an inspiring and extraordinarily controlled display of six-string talent, she lets her fingers do the talking.

— Hal Horowitz

• Hittin’ The Note (June 2008) “Cincinnati’s Kelly Richey Band marshaled inspirations, passion, and huge talent in to one classy album called Speechless...Great stuff, still indelibly branded KRB.”

— Tom Clarke • Goldmine Magazine (June 2008)“Kelly Richey’s first new album in five years (Speechless) is an incendiary blast through her influences, an all-instrumental set that picks up where the likes of Jimi Hendrix, Roy Buchanan, Jeff Beck, Pat Metheny, and Al DiMeola left off (or were once spotted) and tears hell for leather through a series of stylings and storms that render you slack-jawed in amazement.”

— Dave Thompson

Reviews Blues Revue Magazine

—By Hal Horowitz

Anyone who has heard Mike Bloomfield, Jeff Beck, or Ronnie Earl peel off sweat-inducing licks on their instrumental compositions know you don’t need vocals to be a respected blues artist. In fact, it’s surprising that acts don’t go the “speechless” route more often, as Kelly Richey does on her first studio release in six years. The results are remarkable.

Richey can hold her own with almost anyone on the blues scene, and her guitar prowess brings soul to these nine tracks, none of which become repetitious. Her warm, meaty sound is indebted to Hendrix, Vaughan, and Beck as well as to less obvious influences like Joe Walsh (especially in his James Gang years), Roy Buchanan, Robin Trower, Warren Haynes and Gary Moore. Lonnie Mack, a guitarist known for his instrumentals, is another touchstone. Richey’s stripped-down three piece generates impressively consistent passion on an album recorded with minimal overdubs. Part of the credit goes to the strong, clean rhythm section of drummer David Clawson and bassist Jimmy V, who support Richey’s run with nearly as much receptiveness as Double Trouble gave their boss.

Riff-driven, but not slavishly so, Richey navigates the songs with dexterity, tearing into solos with surprising restraint and keeping most tracks under six minutes. Like most of the finest guitarists, she sings through her instrument, soloing with traces of gospel (“The Longest Road”) and hard rock (“Without a Trace”) and even contributes an acoustic track (the soaring “Only The Bird Knows”). She slides from tones enhanced by pedals to those that come straight from the amps.

On previous albums, Richey’s terrific voice stole the spotlight from her sparkling playing. But with Speechless, an inspiring and extraordinarily controlled display of six-string talent, she lets her fingers do the talking.

Goldmine Magazine —By Dave Thompson

An excellent album by an astonishing player, Kelly Richey’s Speechless will indeed leave you lost for words. Cincinnati-based blues guitarist Richey’s first new album in five years (and 11th overall) is an incendiary blast through her influences, an all-instrumental set that picks up where the likes of Jimi Hendrix, Roy Buchanan, Jeff Beck, Pat Metheny, and Al DiMeola left off (or were once spotted) and tears hell for leather through a series of stylings and storms that render you slack-jawed in amazement.

It’s not a tribute album — there are no covers and no copycatting. The similarities are in the tone and execution, tuning and essence. Richey is a solid original, fronting her hyper-effective three-piece (bassist Jimmy V and drummer David Clawson complete the lineup) with an electrifying energy that, more than anything she’s released in the past, captures the sheer effervescence of her live show.

There are occasional missteps — “Climb The Highest Mountain” is a little too conscious of its debt to Joe Walsh to truly shine. But “Is There Any Reason” is a spellbinding recapitulation of all that made Roy Buchanan stand out, particularly in his early years, while “Without Trace” is certainly the best thing Eric Clapton forgot to record with The Bluesbreakers. Neither does she spoil the fun by telling us who we might be listening to — there’s no cheat sheet with this album, so although “Only The Bird Knows” might remind one listener of a hyper-active José Feliciano, there’s another who could detect the deft drive of Dickey Betts. But the echo and phasing-drenched “The Longest Road” has to be Jeff Beck. Doesn’t it?

NoHo LA —By John James

Looking, instead, to bang your head to the electrified, knife-edged funk of get-down shredder Blues? Hands down, I think Kelly Richey would have kicked the snot out of both Steve Vai and the “Karate Kid” if she could’ve stepped into the film Crossroads. Next week brings the local guitarist’s new CD, Speechless, a fitting title for an instrumental stunner that hovers and dives under the blistering influence of Roy Buchanan, Joe Walsh and Warren Haynes. Taking a breather in the acoustic “Only the Bird Knows” and the British Invasion-tinged “Stand Alone,” this incense-and-black-light-basement smoker can be found on the Sweet Lucy Records imprint. ...

Studio City Sun —By Bill Bentley

There are very few blues-rock guitarists capable of creating an entire album of instrumentals that anyone who isn’t a full-time employee of Guitar Center would want to listen to. It’s a tough road to hoe, but Kelly Richey is actually able to pull it off. She has the fire of Stevie Ray Vaughan, a player who puts all inhibitions aside when she picks up her instrument, and instead is able to come up with new levels of expression from six strings, a piece of wood and some basic electronics. Richey can veer from flat-out sonic assaults to gracious beauty, using the guitar to do all her talking. And though you might not be exactly speechless after listening to this album, you’ll surely be wondering who Kelly Richey is, and how she’s been able to fly under the radar so long. Blast off.

Midwest Record —By Alex Henderson

KELLY RICHEY/Speechless: First, women are outnumbering men in college, now they are taking over all the slots as guitar slingers in the front line. Hot blues rocker Richey continues to fly under the radar, but she does it with real style. A pro since she was in her teens, she’s been honing her chops as she goes along until you get the feeling she could step into Stevie Ray Vaughn’s shoes at a moments notice if called to. Hot stuff guitar slinger fans are sure to love.

SW Blues Foundation —By Gary Weeks

Five years have passed since blues rock guitarist Kelly Richey has come out with new studio material. That interim was well spent releasing live dvd and cd selections that showcase Richey exercising finger acrobatics on her Strat that come from the Jimi Hendrix and Stevie Ray school of musical arts. There are very few women who can attack their instrument with the same intensity Kelly has. This isn’t some little angel looking for American Idol worship. This woman plays with a fury that would chase a hellhound back into the doghouse. Hard to conceive that a Susan Tedeschi much or less Anna Popovic would want to have the enviable task of following Richey at a blues festival. It would be minnows chasing Moby Dick.

Now the five year silence has been broken with the release of the all instrumental cd “Speechless.” Still operating with a three piece unit, Kelly salutes her heroes influential in her artistic development. The Strat sounds have that same vicious bite. Kelly takes a blender of blues and dips them into a rock ‘n’ roll frosting of ingredients that had their first taste test in the 60’s when Jimi Hendrix revolutionized the guitar and changed music forever.

That is not to say Richey is a retro rocker capitalizing on golden oldies. It’s just that when she sat in the classrooms taught by masters Jimi Hendrix, Lonnie Mack, Albert King and many other great professors, she took some notes to add another chapter to an ever growing novel. Now it’s Kelly’s turn to become the teacher. (Incidentally, Richey is a guitar instructor. Check out her website for the details and you’ll become a better pupil).

Nine studio tracks resonate with the soulful power Kelly is known for. It’s difficult to find a certain “standout track” as all nine of them amplify the blues in a natural live setting. The influences are obvious: Lonnie Mack, Jimi Hendrix, Stevie Ray, Albert King, Jeff Beck, etc. Opening track “One Day We’ll Feel The Sun” is the magnet that draws you to Richey’s blues rock flame engulfing moral fiber. Sometimes her playing can make her a second cousin to Robin Trower.

Speechless is a headphones cd aiming to capture an overall vibe of building a bridge from a Woodstock past that crosses over into a blues millennium that never forgets to honor its dead. On Speechless, Kelly dusts off the scrolls and adds ink to parchments having their place in a time capsule to be open by young blues prodigies who wish to keep the flame alit.

Bluesrag —By Dennis Rozanski

Despite being Speechless on her ninth disc, Kelly Richey still reveals a wealth of information. That’s because on a day in the studio when the Cincinnatian’s Janis Joplin growl remained perfectly silent, her flaming guitar more than compensated by boldly screaming out its personal identity and spilling little secrets along the way. Secrets like there’s an inner Roy Buchanan just itching to explode out of the expansive heaviness of “Is There Any Reason.” That the engineering principles behind the acoustic jet propulsion of “Only The Bird Knows” are of Michael Hedges’ fretful design. That “Stand Alone”’s persistent throb scratches a serious Lonnie Mack itch, Joe Walsh resides in the rugged riffage of “Climb The Highest Mountain” and it’s Hendrix, minus the purple

Guitar Player Magazine —By Andy Ellis

“This is the first time I’ve had the pleasure of working with a world class producer and my absolute pick of session players,” says blues-rocker Kelly Richey of her new album Sending Me Angels (Sweet Lucy Records). “If I could go back and cut this record again, I’d do it exactly the same way. I can’t say that about other things in my life.”

On Angels, the Kentucky native layers crunchy riffs, sassy wah lines, and fiery solos over tight, funky rhythm tracks played by elite Memphis studio cats. But it’s Richey’s fast powerful picking hand that sets her apart from typical blues-drenched rockers.

“I played drums for a long time,” she explains, “so I tend to approach lead guitar rhythmically. When I’m soloing, I play against the groove and use a lot of syncopation. I’ve got my foor going, and every ounce of me is into what I play. I drill on it.”

For the album’s 11 tracks, Richey kept her setup simple. “I plugged my Strat into a Tube Screamer and a Fender Super Reverb-that was it, “she says. “I was a bit freaked out that I wouldn’t get enough tonal variety, but that wasn’t an issue, because my amp guru, Mike Stevens, put a knob on the Super that lets me control the amp’s negative feedback. For my lead tracks, I turned the knob wide open to eliminate the feedback and allow the amp to sing and breathe. For rhythm tracks, I closed it down to clean up the sound.”

To say that Richey has bonded with her guitar is an understatement. “I’ve had this Strat for more than 20 years,” she laughs. “It has been the one constant in my life, and it never leaves my side. It’s a magical instrument-my friends say I’ll be buried with it. It has a ‘65 neck and a ‘63 body, but there’s nothing original except the wood and the knobs. When I was young and stupid, I got rid of the pickups because I wanted the ones that didn’t buzz. I even cut a big hole in the body and installed a Kahler whamm!! Now I have a traditional trem pulled flush to the body with four springs, so I really have to push on the bar to make it work. The neck has big frets-which I love-and the pickguard is wired with Duncan Classic Stack pickups and new pots.

“I use S.I.T. Strings-gauged .010-.046- which I change every night because I play so hard. And, thanks to Joe Walsh, I use a .60mm nylon Dunlop pick. He showed me how to get more traction on each note by using the fat, textured end of these picks instead of their points. I’m not a strong fingerpicker, but I use my middle and ring fingers in conjunction with my pick all the time. When

the music gets quiet, and I want to pull more out of each note, I’ll put the pick between my middle and index fingers and play lead with my fingertips.”

Asked how she stays inspired, Richey replies, “My favorite guitar player is Roy Buchanan. I always feel in tune when I hear his instrumental album, You’re Not Alone. But studying yoga has helped my playing more than anything I’ve tried in years. You see, I used to have terrible pain in my left shoulder because I play several hundred shows a year, and I play very physically. I started working out because I thought strength training would help me. I did get stronger, but I felt the increased muscle mass made my playing stiffer. Yoga has given me more physical flexibility, which has helped me play smoother and more fluidly. It’s not a Zen thing-yoga has actually improved my technique!”

Midwest Record (April 26, 2008)

MARK PUCCI MEDIA—KELLY RICHEY/Carry the Light: Richey is a good reason why you should never pooh pooh local scenes out of hand. Ten albums into a career she’s based out of Cincinnati after taking a spin in the bigs, this former teen tyro pretty much hasn’t put her guitar down since she first picked it up a long time ago. With chops and agility that just seem to scale new heights every time out, she’s actually more Albert King than Bonnie Raitt and knows full well how to burn the house down. If you call yourself any kind of fan of our capable blues babes, be sure to give Richey a spin if you are still uninitiated. Well done.

Modern Guitars (May 19, 2008) —By Brian D. Holland

Carry the Light is the new release from Kentucky native Kelly Richey. Though a blues-rocker in essence, one who’s opened for Clarence “Gatemouth” Brown and shared the stage with Albert King, Kelly Richey’s style here is more contemporary rock than anything else. Though Carry the Light encircles the blues more than enters it, a blues ambiance persists throughout, especially in her guitar playing approach. It blazes a scorching trail throughout most of the album.The songs in Carry the Light are appealing, melodic, and wide-ranging from one to the next. Besides the blues influences that are regularly perceptible in her playing, her contemporary influences stand out profoundly, both musically and vocally. In the album’s opener, “Leave the Blues Behind,” she sings about the obstacles in life, saying, “Sometimes you gotta leave the blues behind.” Ironically enough, that lyrical sentiment can easily be linked to her approach

on this album. One noted similarity is the song’s Chrissie Hynde and the Pretenders funky flow.

An appealing guitar riff solidifies the drive in “I Want You”. Both the bridge solo and the crunchy bottom evoke a style reminiscent of the Wilson sisters and Heart. The double-tracked vocal throughout adds nicely to the all-around effect. Speaking of the Wilson sisters, “What In The World” evokes a Heart-like ballad essence as well, and it’s a very beguiling and pleasant-sounding song. The album’s title song, “Carry the Light,” is a blatant rocker from the onset, as it begins with a steamy lead-guitar riff that continues throughout. Solid riffs are an aspect of many of the songs on the album, rock ballads as well. “Time For A Change” highlights everything about the band: a solid rhythm section behind a dazzling guitarist with versatile vocal aptitude. The guitar playing is extremely bluesy in this one.

A melding of classic rock, funk, and blues-rock styles, the songs on Carry the Light are diverse in melody and extremely appealing, making for a solid effort from the Kelly Richey trio.

Music City Blues—Nashville (April 29, 2008) —By Don Crow

Lexington, KY, native Kelly Richey has been playing the guitar professionally since her teens. She’s jammed onstage with the likes of Albert King and Lonnie Mack, and has several critically acclaimed albums to her credit. Her latest, “Carry The Light,” on her own Sweet Lucy label is another dose of hard-edged blues-rock that she’s been noted for over the last fifteen years or so.

There are several comparisons that have been used to describe Kelly and her music, and we’d like to add ours. She’s a cross between both the Wilson sisters of Heart fame (she can sing AND wails a helluva Strat!) with that Joan Jett attitude. There’s plenty of fire to go with her flash, too. Gritty, topical, socially-conscious lyrics are the standard on these eleven originals, all hammered home by her blistering fretwork and assertive, “take-no-prisoners” vocal delivery.

Check out “Leave The Blues Behind,” kickin’ things off with a killer riff that sets the tone for the rest of the set. “Angela’s Song” reminds us that “we all gotta have a dream” to keep us sane. “No More Lies” can be directed at the leaders of today’s society, screaming out for their accountability. We had two favorites, too. The title cut is another gem with a catchy chorus and

a positive message aimed to “let the music set you free” and “carry the light.” “What In The World (Were We Thinking) is a poignant look at the world today and the crossroads faced by society as a whole. Kelly urges everyone to remain hopeful, and pull together as one instead of off in several different directions.

Kelly Richey has all the tools for a breakout year on the contemporary blues scene. For an insightful look at a brilliant woman of the blues, enjoy “Carry The Light” today!!

Gary Weeks Kelly Richey’s latest release Carry The Light finds the artist addressing sociological world issues that in turn become strong lyrical statements. As a live performer, Richey goes all out. Tearing and slashing at the guitar, the music is always a full out assault without too much time to catch your breath. The stage is a liberation zone in which Kelly embraces it wholeheartedly. Carry The Light divides itself with ballads, moderate paced numbers and smoking rockers. Title track “Carry The Light” drives along the message of love and music underscored by scalding guitar lines. A slow paced “What In The World” finds a human race reflecting on their inner strengths and looking to rebuild a faith once lost. Working with other writers seems to have motivated Kelly in creating songs not reliant on guitar showmanship but in evolving artistic abilities. It doesn’t mean Richey is abandoning the rockier side of things. Opening track “Leave The Blues Behind” is a fast gallop into a guitar sweaty “I Want You.” A catchy riff makes the tune “No More Lies” a candidate for a Govt Mule record with Kelly’s fretwork being front and center. A dark force pervades “When All Is Said And Done” into positive waters with a glimmering solo. The lyrical nature of “Time For A Change” makes this ballad a focused effort on achieving world unity. A unity counteracted by losing one’s way on the gentle “Jericho Road.” While some of these numbers may be an excuse for Kelly to get on her soap-box, they are just reminders that we live in a grim world. But corrupted as the human race is, Kelly knows the healing power of music. And of musicians deserving to carry the light, she has our many blessings.

1999 The Kelly Richey Band Live

1998 Dig A Little Deeper

1997 Eyes Of A Woman

1996 Live At Tommy’s On Main

1995 The Blues Don’t Lie

1994 Sister’s Gotta Problem

2008 Kelly Richey -

Carry The Light

2007 The Kelly Richey Band -

Live At The Thirsty Ear

2006 Speechless

2004 Kelly Richey LIVE - DVD

2003 Kelly Richey Live

As It Should Be

2001 Sending Me Angels

Discography: