Vaneese Thomas

Window To My Soul

Overton Music

Vaneese Thomas grew up surrounded by music; she is as close to blues royalty as you can get. Vaneese grew up in Memphis, the daughter of Rufus Thomas, a rhythm and blues singer whose career spanned a half century. Rufus recorded for both Sun Records and Stax Records, and his 1963 hit “Walking the Dog” is still aired on radio stations everywhere. Vaneese’s elder sister, Carla Thomas, is also a Stax recording artist and the “Queen of Memphis Soul.” In 1969, Carla recorded “When Something Is Wrong with My Baby” with Otis Redding. Her late brother Marvell Thomas was a keyboardist and producer who also did work for Stax Records. Vaneese began by singing backup on several Stax sessions.

After college, Vaneese moved to New York City. She has since sung with Luciano Pavarotti, Aretha Franklin, Sting, Stevie Wonder, Michael Jackson, Celine Dion, and Eric Clapton, among others. She is also a gifted songwriter, having written songs for Patti Austin, Melba Moore, and Diana Ross. As a voice-over actress, she has worked on both film and television soundtracks. Vaneese released her debut album, Vaneese, in 1987; included was the R&B single “Let’s Talk It Over.” More recent recordings include 2009’s Soul Sister, Vol. 1: A Tribute to the Women of Soul, where she pays tribute to those singers she admires; 2011’s Prelude to Legacy; 2014’s Blues for My Father; 2016’s The Long Journey Home; and 2019’s Down Yonder, all of these on Segue Records; 2022’s Fight the Good Fight on Blue Heart Records; and 2024’s Stories in Blue on Overton Music.

Window to My Soul was co-produced by Vaneese and Wayne Warnecke. Vaneese, on keyboards and vocals, is accompanied by organist Dave Keyes, who also plays piano on the opening track, “I Still Got the Blues,” which debunks the myth that success brings fulfillment. Written by B. Farmer, Vaneese, and Warnecke, the track features guitarist Al Orlo; bassist Paul Adamy; drummer Ross Pederson; and the four-piece horn section of Tim Ouimette, trumpet; Cliff Lyons, tenor sax; John Isley, baritone sax; and Andy Drelles, clarinet. Rob Paparozzi plays harmonica, with backup singers Kati Mac, Angela Clemmons, Jason L. Terry, and Emily Bendiger, as Vaneese sings, “I still got the blues, I stil got the blues, I still got the blues, money didn’t change things I still got the blues…how long, how long without love, money didn’t change things, I still got the blues.”

On “Every Moment Is a Lifetime,” written by Vaneese and C. Mitchell, the mood shifts to one of perseverance and optimism. Vaneese encourages listeners to embrace life’s fleeting blessings rather than dwell on yesterday’s disappointments, as she chimes, “the sweetest moments are waiting for you, the sweetest love is just passing thru…every moment is a lifetime.” The rich horn arrangements and energetic rhythm section give the recording an uplifting sense of momentum.

“I’m a Diamond,” written by M. Horwitz, is an empowering reminder that life’s greatest pressures often produce its greatest strengths, as Vaneese chants, “I’m a diamond…created from the greatest pressures, you can’t compete…I’m a diamond.”

On “Ain’t Gonna Be No One’s Fool,” written by Vaneese, she examines a broken relationship through the lens of self-respect rather than bitterness, as she moans, “they say you been sleeping around…I ain’t gonna be no one’s fool…I won’t go along, you got me all wrong, ain’t gonna be no one’s fool.”

“Ain’t No Reason (For a Man Like You)” is a shuffle written by Orlo, Vaneese, and Warnecke. Vaneese unapologetically confronts manipulation and emotional dishonesty head-on, declaring there ain’t no reason to tolerate someone who continually spreads heartache. The song’s punchy horn section, with Paparozzi’s harmonica, helps provide one of Vaneese’s most commanding vocal performances, as she wails, “I say ain’t no reason for a man like you, everyday your on your throne, ain’t no reason for a man like you.”

On “That’s a Woman,” written by Vaneese, she celebrates resilience, dignity, and everyday heroism as she groans, “she’s not gonna shed a tear, she gives what she’s got, that’s a woman, she’s got a lot to give, that’s a woman, for all the world to see, that’s a woman,” with some great organ from Keyes.

“Save Me,” written by Vaneese, features her as she reveals her vulnerability, as she wails, “Evertime it happens…somebody save me…the touch of his hand, the touch of his soul, somebody save me,” with more organ from Keyes.

On the closer, “Livin’ with a Lie,” another written solely by Vaneese, she once again tackles broken relationships through self-respect, as she croons, “I told you, that I love you, that I’m as high as the sky…I told you and you believed, our love would never die, but I’ve been livin’ with a lie, livin with a lie,” with a big band sound of clarinet, trumpet, and saxophones.

Vaneese surrounds herself with an exceptional ensemble that serves her songs. Window to My Soul demonstrates why Vaneese Thomas continues to be one of soul music’s most authentic voices. These songs speak to universal experiences — love gained, love lost, personal growth, perseverance, and the search for peace — with honesty that can only come from an artist who has lived every word she sings.

Richard Ludmerer

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