1. Should I Stay Or Should I Go?
2. Perridon Two Step
3. I'm Not A Bubble Gum Pop Princess
4. Long Gone Lonesome Blues
5. Who Stole The Hot Sauce?
6. Dark Desires
7. Adieu Rosa
8. Lover's Waltz
9. I Wanna Be Your Girlfriend
10. Sassy Miss Talullah
11. Ugly Day Stomp

Amanda Shaw (vocals, fiddle)
Scott Thomas (guitar)
Jonno Frishberg (fiddle, accordion)
Rockin' Dopsie, Jr. (rubboard)
Joe Krown (piano)
Ronnie Falgout (bass)
Mike Barras, Kevin Aucoin (drums).

Bubble Gum Princess is an uneven mix of blues, pop, jazz and cajun/zydeco. Amanda Shaw's vocals are used unevenly but the guitar and fiddle work are consistently strong throughout. The highlights are a cover of the Hank Williams tune 'Long Gone Lonesome Blues', 'Sassy Miss Talullah', 'Ugly Day Stomp' and another great cover of The Ramones tune 'I Wanna Be Your Girlfriend'. Track list with comments follows: 1. Should I Stay or Should I Go? - Weird and jarring. Amanda's voice sounds forced and almost exaggerates how young she is. Just because you can remake a song in a unusual genre doesn't mean that you should. Might've been better if it wasn't the first song on the CD and the other tunes could've built up to it. 2. Perridon Two Step - [instrumental] A fast-paced, traditional zydeco tune. 3. I'm Not a Bubble Gum Pop Princess - This one is a pop tune with a cajun backbeat. The Britney Spears crowd may enjoy it but for me it was only so so. However, I have to admit that even though I didn't care for the song that much I caught myself humming it at one point. Definitely on track for some widespread airplay. 4. Long Gone Lonesome Blues - This one is a great, bluesy remake of the original Hank Williams tune. It makes much better use of Amanda's voice than other tracks (eg. 'Should I Stay or Should I Go?' and 'Dark Desires') and the cajun fiddle gives it a great twist. 5. Who Stole the Hot Sauce - Blues-rock fusion. Okay, but it's a somewhat ill-suited match between the music and Amanda's voice, with the instruments providing the strongest element. 6. Dark Desires - A slower bluesy tune that's not on the same level as 'Long Gone Lonesome Blues'. Amanda feels like she's straining in parts of it. 7. Adieu Rosa - Fastpaced cajun stomp that's decent but Amanda's voice is straining again. There's an odd, 'bratty kid' sound to her voice that creeps in as she sings "Adieu RoZAAAAAAA". It's almost like she's singing it against her will. 8. Lover's Waltz - [instrumental] Another traditional cajun waltz. 9. I Wanna Be Your Girlfriend - This one's an entertaining cajun/pop take on the Ramone's original. The vocals and music blend much more smoothely than some of the other songs on the album. Definitely a keeper. 10. Sassy Miss Talullah - Blues piano and blues-rock guitar, great vocals from Amanda and fine cajun fiddling. Another keeper. 11. Ugly Day Stomp - [instrumental] Medium-paced cajun tune that is heavy on the fiddle to good effect. ---Stefan Leigland, amazon.com

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1. Interlude
2. Johnny Can't Dance
3. Meek Maids Reel
4. Mississippi Kid
5. One Night Stand
6. Sweet Honey
7. That's It I Quit
8. What Time
9. Yes Yes Girl
10. Blues De La Frontier
11. Creole Piece
12. Cruise
13. Git Fiddle
14. Good Southern Girl

Mike Barras - Drums
Ronnie Falgout - Bass
Christian Grizzard - Bass
Ronald Markham - Bass, Fender Rhodes, Hammond B3
Shannon McNally - Vocals (Background)
Tim Robertson 	-A rranger, Guitar, Guitar (Acoustic), Guitar (Electric)
Amanda Shaw - Fiddle, Pizzicato, Vocals
Trina Shoemaker - Loop, Mixing, Percussion, Programming, Vocals (Background)
John Warren - Vocals (Background)

At only 19 years of age, New Orleans singer/fiddler/songwriter Amanda Shaw is already on her fourth album with Good Southern Girl, which might go some way toward explaining how an artist so young seems to have already developed such a deep sense of musical history. Produced by Trina Shoemaker, who is best known for her work with Sheryl Crow, the album glides seamlessly through a number of rootsy styles while still maintaining a touch of the Crescent City throughout. In addition to her precocious fiddling skills, Shaw shows herself to be an accomplished composer, alternating between her own tunes and material from a broad spectrum of other sources. The self-penned title track kicks things off with a feel-good vibe and lyrics full of local color, as Shaw sings of "magnolia nights" and heading "towards the parish line." She dips into the Lynyrd Skynyrd catalog for "Mississippi Kid," giving the blues-rocking stomp a particularly swampy touch. Zydeco king Clifton Chenier gets a nod as Shaw tackles his "Johnny Can't Dance," with her fiddle standing in for the accordion. She lends a Southern rock feel to the funk-rock-Cajun blend of "Git Fiddler," a nugget from Jefferson Starship's Papa John Creach era, and digs deep into New Orleans soil with the traditional Cajun instrumental "Blues de la Frontier." Shaw even gets Celtic for a moment, on "The Meek Maids Reel." The only real misstep on Good Southern Girl is appropriately shunted to the album's final slot, as Shaw delivers a semi-rap over the contemporary R&B groove of the ill-fitting "Yes Yes Girl." Beyond that, growing up in public seems to be suiting Shaw just fine. ---James Allen, Rovi

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1 	Johnny Can't Dance 	2:50
2 	Bosco Stomp 	2:59
3 	Little Black Dog 	4:10
4 	Ouvre La Porte (Open The Door) 	2:44
5 	Barres D' La Prison (Bars Of The Prison) 	1:59
6 	Jambalaya 	4:33
7 	Blue Runner 	3:52
8 	Corrina, Corrina 	3:35
9 	Laissez Les Bon Temps Rouler 	3:35
10 	Iko, Iko 	2:11
11 	Walking To New Orleans 	4:23
12 	Zydeco Gris Gris 	4:06
13 	Dans A Carre 	2:25

When New Orleans-based singer, songwriter, bandleader, and fiddle player Amanda Shaw and the Cute Guys take the stage, it's an incongruous sight. Shaw turned 16 in 2007, but the boys in the band -- drummer Mike Barras, guitarist Brint Anderson, and bassist Ronnie Falgout -- are long-time vets. The youngest Cute Guy is 45, and they've been playing with Shaw since she was a ten-year-old prodigy. Shaw's a classically trained violinist who decided to play traditional Cajun dance music shortly after her debut performance with the Baton Rouge Symphony Orchestra. In the years since she started playing with the Cute Guys she's become a fixture at the New Orleans Jazz and Heritage Festival. Her third CD, I'm Not a Bubblegum Pop Princess, has sold enough copies to remain on the Festival's Top Ten list since 2003. Her eclectic taste -- the band plays traditional Cajun dance music, rock, country, and funk-flavored R&B -- has made her a favorite in her hometown and won her guest spots on The Rosie O'Donnell Show, Emeril Live, and Univision's Sabado Gigante. She's also made three films, the most notable being the IMAX documentary Hurricane on the Bayou, a portrait of four New Orleans musicians (Tab Benoit, Allen Toussaint, and Chubby Carrier are the others) before and after Katrina. With her amazing chops, good looks, and surprisingly mature vocal style, Shaw was on the brink of a brilliant career at an age when most girls are only interested in cute guys of another kind.

Amanda Shaw was born in Boston in 1991, but the family moved to New Orleans, where her father grew up while she was still a child. When she was three years old she saw a symphony orchestra on television and fell in love with the violin. She showed an immediate affinity for the instrument and had her concert debut with the Baton Rouge Symphony Orchestra when she was seven, the youngest soloist to ever play with the orchestra. The Rosie O'Donnell Show contacted her parents shortly thereafter and she made two appearances on the show in 1999 and 2001. Living in New Orleans, Shaw was exposed to a wide variety of music. Her parents took her to see funk, soul, jazz, blues, zydeco, and Cajun music. By the time Shaw was nine she was ready to ditch her classical training and try fiddling. She began sitting in with jazz, blues, and Cajun bands and learned how to play by ear. By the time she was ten, Shaw was fronting her own band, later to be named the Cute Guys, as well as playing various solo and duo gigs.

Her first album, Little Black Dog, consisted of traditional Cajun dance tunes played with fire and verve by the Cute Guys and Shaw. By the time Shaw cut I'm Not a Bubblegum Pop Princess in 2003, she was adding rock and country to her sound. The album was produced by the Cute Guys and featured covers of "Should I Stay or Should I Go?" by the Clash and the Ramones' (slightly rewritten) "I Wanna Be Your Girlfriend." It was the success of Bubblegum that led to her deal with Rounder Records. Producer Scott Billington worked with Shaw and the Cute Guys for almost four years on Pretty Runs Out, her Rounder debut, honing her sound, selecting material, and setting up co-writing sessions with Jim McCormick, Shannon McNally, and Anders Osborne. In early 2007, to capitalize on her popularity at the Jazz and Heritage Festival, Rounder put out a limited-edition five-song EP and DVD, Home Again, which contained three tracks from Pretty Runs Out and two non-album tunes, "Who Do You Think You Are?" and "Perrodin Two Step." Pretty Runs Out hit the streets in early January 2008, a solid 13-track set that shows off Shaw's fiddling chops as well as her winning way with country, pop, and roots rock material. ---Rovi

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