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There’s a long tradition in the blues of taking familiar songs and reshaping them until they speak directly to the present moment. With “Ain’t No Grave,” The Curse of K.K. Hammond does exactly that—reaching deep into the well of American spiritual music and pulling up something that feels weathered, urgent, and very much alive. Her version doesn’t aim for reverence alone; it aims for truth, and it gets there by embracing the grit and gravity at the heart of the blues.

Originally associated with Brother Claude Ely’s early recordings in the 1930s, “Ain’t No Grave” has always carried a defiant streak. Hammond’s approach leans into that defiance, slowing the song down just enough to let the weight of every word settle in. From the opening moments, the track announces its intentions: this is not a polite revival, but a lived-in performance shaped by mud, sweat, and memory.

Hammond’s vocal delivery is central to the song’s power. Her voice is rough-edged and unforced, conveying resolve without slipping into theatrics. There’s a conversational quality to her phrasing that makes the song feel personal, as though she’s addressing the listener directly rather than preaching from a distance. When the chorus arrives, it lands with quiet authority—less a shout of triumph than a steady refusal to be overcome.

The collaboration with David & the Devil adds depth rather than distraction. His vocal presence complements Hammond’s, bringing a darker timbre that reinforces the song’s sense of struggle and perseverance. Their voices don’t compete; they coexist, reflecting the communal spirit that has always been central to blues and spiritual music alike.

Musically, the arrangement stays grounded in traditional textures. Slide guitars carry the melody with a raw, earthy tone, while the rhythm maintains a steady, almost ritualistic pulse. The production favors atmosphere over polish, allowing small imperfections to remain intact. That choice gives the recording a sense of place; you can almost imagine it being played on a wooden porch late at night, the sound drifting out into the dark.

The accompanying video mirrors this approach, favoring mood and symbolism over narrative clarity. Shot in low light with a restrained visual palette, it reinforces the song’s themes of endurance and resurrection without spelling them out. Like the music itself, it trusts the audience to lean in and draw their own meaning.

What makes this release stand out is Hammond’s understanding of the blues as a living tradition. She doesn’t treat “Ain’t No Grave” as a historical artifact, nor does she attempt to modernize it beyond recognition. Instead, she places herself inside the song, allowing her own voice and experience to guide the interpretation.

In doing so, The Curse of K.K. Hammond delivers a version of “Ain’t No Grave” that feels rooted and relevant…an honest conversation with the past that speaks clearly to the present. It’s a reminder that the blues, at its best, doesn’t just preserve history. It carries it forward.

–Lovey Williams

 

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Michael Stover
A music industry veteran of over 30 years, Michael Stover is a graduate of the Art Institute of Pittsburgh, with a degree specializing in the Music and Video business. Michael has used that education to gain a wealth of experience within the industry: from retail music manager and DJ, to two-time Billboard Magazine Contest winning songwriter, performer and chart-topping producer, and finally, award-winning artist manager, publicist, promoter and label president. In just 10 years, MTS Records has released 40+ Top 40 New Music Weekly country chart singles, including FIFTEEN #1s and 8 Top 85 Music Row chart singles. MTS has also promoted 60+ Top 40 itunes chart singles, including 60+ Top 5s and 40+ #1s, AND a Top 5 Billboard Magazine chart hit! Michael has written columns featured in Hypebot, Music Think Tank, and Fair Play Country Music, among others. Michael is a 2020 Hermes Creative Awards Winner and a 2020 dotComm Awards Winner for marketing and communication. Michael has managed and/or promoted artists and events from the United States, UK, Canada, Denmark, Finland, Italy, Australia and Sweden, making MTS a truly international company.