Holly Golightly has become one the most prolific artist to come out of the Billy Childish stable of talent - and since she's more likely then he to visit stateside to tour (she's done so at least 8 times) she may well become more well known than Billy.
As Holly will do in her concerts, just when you think she's going to give you what you want, she slows things down a little and lets things slow sizzle with a blues or a shuffle. Slowly But Surely is another great platter in her discography on Damaged Goods, but don't expect a rocking extravaganza. In fact, Slowly But Surely sounds like if Holly worked with members of Mazzy Star or Opal (and who Holly works with often defines how her albums sound). Liam Watson evokes the Toe Rag sound, while Holly and her band keep things to a minimal, blues based sound. But like the album cover shows a late night slowdancing Holly, Slowly But Surely has a lot of hidden gems, many of them from the pen of Holly Golightly herself.
Slowly But Surely mixes it up with Holly Golightly originals like On The Fire (relaxed album introduction to weed out the weaklings), The Luckiest Girl (fem-psychedelic with sweet organ licks), Keeping On (Patsy Cline sound), Always And Forever (Jimmy Reed style female shackled blues), Dear John (Opal/Mazzy style with slide guitar), In Your Head (the rocking-est tune here with psych organ and tense rhythms) Through Sun And Wine (island rhythms), and All Grown Up (Yardbirds styled blues).
The few covers this time around include Billy Myles' My Love Is (a finger snapping Fever sound-a-like), the title track Slowly But Surely (a slow blues with seething organ written by Ollie Jones & Randy Hobbs), and the set closing we-all-die-in-the-end Mother Earth (written by Peter Chatman & Louis Simpkins).