Side A: Kokomo: Eric Bibb vocal & guitar(Little Stella), Bjorn Gideonsson one take drums & percussion, Dave Bronze tic-tac bass, Janne Petersson accordion/ Delia’s Gone: Eric Bibb vocal & acoustic guitar/ Hope In A Hopeless World: Eric Bibb vocal, Dave Bronze bass & programming, Rafael Sida percussion, Janne Petersson Hammond c-3, fender Rhodes, Chuck Anthony guitar, Linda Tillery & The Cultural Heritage Choir heavenly backing vocals & handclaps/ I Heard The Angels Singing: Eric Bibb vocal & acoustic guitar, Janne Petersson piano, Dave Bronze bass guitar, Henry Spinetti drums
Side B: Five Miles Above: Eric Bibb vocal, Dave Bronze bass guitar & backing vocals, Richard Studholme additional guitars, Robbie McIntosh electric slide guitar, Janne Petersson piano & Hammond c-3, Henry Spinetti drums / Angel: Eric Bibb vocal, Janne Petersson piano/ Got To Do Better: Eric Bibb vocal & coustic guitar, Chuck Anthony guitars, Janne Petersson Hammond c-3 & fender Rhodes, Dave Bronze bass guitar, Henry Spinetti drums, Linda Tillery & Emma Jean Foster sanctified backing vocals
Side C: Walkin’ Home: Eric Bibb vocal & acoustic guitar, Janne Petersson piano & accordion, Dave Bronze bass guitar, Christer Lyssarides dobro slide guitar, Henry Spinetti drums/ Paintin’ Signs: Eric Bibb vocal & acoustic guitar, Janne Petersson strange strings / To Know You: Eric Bibb vocal & acoustic guitar, Janne Petersson accordion, Dave Bronze fretboard kick, Steve Simpson mandolin, Henry Spinetti drums
Side D: Time To Move On/ Honest I Do: Eric Bibb vocal & electric guitar, Richard Studholme electric guitar, Janne Petersson accordion, Dave Bronze bass guitar, Henry Spinetti drums/ The Light Was Worth The Candle: Eric Bibb vocal & electric guitar, Janne Petersson Hammond c-3, piano, Dave Bronze bass guitar, Henry Spinetti drums / Don’t Ever Let Nobody Drag Your Spirit Down (recorded live at Edmonton Folk Festival, Canada): Wilson Pickett lead vocal, Eric Bibb vocal & acoustic guitar, Cultural Heritage Choir vocals, Colin Linden coustic guitar, Hans Theesink mandolin, Jon Saas tuba, David Rokeach drums
Recorded and mixed at Tone Studios, Kent, England. Engineer: Richard Studholme – mixed by Gareth Icke. Additional recording: Skyline Studios, Oakland, California, engineer: Benji Farquhar. Ljudhavet Studios, Stockholm, Sweden, engineer: Frank Sanderson. Max & Micke’s Studio, Stockholm, Sweden, engineer: Max Linder. MOH Production, Stockholm, Sweden, engineer: Mohammd Danebi. Leon C. Studios, Southend, England, engineer: Dave Bronze. Room With A View Studios, Ringwood, England, engineer: Stephen Darrell-Smith.
Produced by Dave Bronze. Executive producer: Alan Robinson.
Painting Signs stands up as a complete work from beginning to end. Eric Bibb makes a fine case for blues as a music of introspection, warmth, and supreme nuance. Easily his most mature album to date, Painting Signs continues Bibb's formula of socially aware songs performed from an acutely personal point-of-view; standout tracks "Don't Ever Let Nobody Drag Your Spirit Down" and a cover of "Hope in a Hopeless World" hammer home his message of individual freedom and the responsibilities that accompany it. (It's no coincidence that Pops Staples, to whom Bibb dedicates this album, once recorded the latter song.) That's not to say Painting Signs is overly didactic or, indeed, "heavy" in any way; even the most serious songs here, like the plea for peace and unity "Got To Do Better," are leavened by a musical backdrop that's soulful and immediately accessible. Gospel-leaning backing vocals by Linda Tillery and her C ultural Heritage Choir help flesh out several cuts, and robust accordion fills by Bibb's longtime accompanist Janne Petersson add a subtle Louisiana flavor to the rolling, propulsive "Kokomo" and, to surprisingly good effect, the deep-grooved version of Jimmy Reed's "Honest I Do." Elsewhere, he keeps a minimalist tone dominated by acoustic guitar, an arrangement that's particularly mesmerizing on the chilling title track. With its emphasis on sophisticated songcraft and its gentle blend of folk, gospel, and country influences, Painting Signs presents Bibb as an artist intent on blurring the line between blues and "roots music" in general.