Album review: Justin Townes Earle moves on with ‘Nothing’s Gonna Change the Way You Feel About Me Now’ (MP3 download)

Justin Townes Earle
Nothing’s Gonna Change the Way You Feel About Me Now
Bloodshot
 
That Justin Townes Earle would begin his career in the shadow of other great songwriters was unavoidable; after all, his father is Steve Earle, and he carries the name of late Texas songwriter Townes Van Zandt. 
 
Yet despite the long shadow those two songwriters cast, the younger Earle has always forged his own path musically, a path that has typically been much more country than that of either his father or his namesake. However, on his latest record, “Nothing’s Gonna Change the Way You Feel About Me Now,” he diverges from that country road and channels a Memphis soul sound.
 
Earle has spoken both of the similarities between chord progressions in soul and country music, and of the fact that both musical genres have roots in the church, in gospel and worship songs. So, the move from a Nashville to a Memphis sound was a logical one for him, and the record was even recorded in a converted church. Produced by Earle and “Harlem River Blues” co-producer Skylar Wilson, it was recorded live in the studio (no overdubs), over a four-day period in Asheville, N.C. Their intention was to create a collection of songs that were both timely and timeless.
 
Still, Earle seems burdened by his familial connections. The record opens with “Am I That Lonely Tonight?” as he sings the first line, “Hear my father on the radio, singing ‘Take me Home again.’” A subtle horn section swells behind the singer’s vocal, underscoring the forlorn feeling that pervades the song and the record overall. The horns serve that same purpose throughout, as on “Look the Other Way,” a sad, albeit more hopeful, tune about trying to get the attention of a woman. He could be a better man for her, but she always looks the other way.
 
There are some upbeat songs here too, such as “Baby’s Got a Bad Idea,” but many of the songs are slower numbers; quiet tunes and hushed confessionals that offer a glimpse into a conflicted and desolate world of heartache and loneliness. The record finds a groove, however, as on “Down On the Lower East Side” with its jazzy beat, brushed snare and muted trumpet. But in spite of arrangements and the Memphis soul spirit, it never really swings until nearly the end, with the rollicking “Memphis in the Rain,” one of the best songs on the album.
 
Earle brings a lot of emotional weight to his lyrics, and by the end of the record it seems he’s at least worked through some of his issues as he closes the album with “Movin’ On.” With a great walking bass line and simple supporting harmonica, Earle sings, “I’m trying to move on,” and the listener feels he really means it.

“Nothing’s Gonna Change the Way You Feel About Me Now,” is a solid effort from talented young singer-songwriter. If a record like this is the result of Earle “movin’ on” from his country and Americana roots, then it will be fascinating to see what musical direction he heads in next.

“Look the Other Way” – Justin Townes Earle

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Posted by | May 7, 2012 | Album Reviews | 1 Comment 

Concert review: The Gramophone doubles down on funk with T Bird and the Breaks and the Diplomats of Solid Sound, Sunday, April 15

facebook.com/DiplomatsOfSolidSound

As a heavy rain fell on St. Louis, two bands showered fans at the Gramophone with punchy, Memphis-style grooves at a KDHX-welcomed event.

T Bird and the Breaks, from Austin, opened the night, their first-ever appearance in the Gateway City. The stripped-down ensemble of guitar, bass, drums and sax backed up singer/front man Tim Crane, a.k.a. T Bird, who was in full persona with his fedora, aviator sunglasses and dance moves that ranged from a stationary strut to a sort of bob ‘n’ weave.

Unlike fellow Austin native Black Joe Lewis, who approaches soul music with a heavier blues edge, T Bird’s stage presence and vocal style lends more of an old-school hip-hop flair to the genre. For example, for an encore the band played “Dancehall Freakin,” the title track of its latest EP, which features call-and-response rapping over funky riffs that brings Beastie Boys to mind. The group had reinforced this association earlier in the set by launching into a convincing cover of “Root Down.”

T Bird and the Breaks does dabble in several different styles, proof of which was evident in Sunday night’s glittery interpretation of Howlin’ Wolf’s “Evil” and a much more literal cover of Aloe Blacc’s “I Need a Dollar.” And of course the originals including “Take Time” and “Stand Up” from the 2009 album “Learn About It” are prime examples of how soulful the group can get, even without the full horn section and female backup singers on the record.

However, the group’s recent touring partners, the Diplomats of Solid Sound, from Iowa City, lent their soulful singers Sarah Cram and Kathy Ruestow to back up T Bird during “The Clap Hands Song.” This was the experience fans of “Learn About It” expected to hear, and it was a high point in the set.

The low point of the night had nothing to do with the music. The weather kept the turnout small, and it seemed like there were more hecklers in the audience than fans. Nonetheless, the band played its collective heart out, and hopefully it will meet a more deserving reception the next time around.

The Diplomats of Solid Sound, while also playing to a sparse crowd, did not hold back on the energy either. This is a well-seasoned group that has recorded for more than a decade and has played in St. Louis several times before. Members quickly took the stage and set up their instruments including a big, boxy Hammond B-3 organ that lends the throwback sound reminiscent of the MGs. Also present was a baritone sax, guitar, drums and, at center, Cram and Ruestow on vocals.

The leading ladies, known as the Diplomettes, ascended onto the stage as the band played a song from their extensive catalog, “Intercontinental Git.” Their voices were consistently clear in each song, including during the spelled-out lyrics of “B-O-O-G-A-L-O-O” and the back-and-forth opening dialogue leading into “Fascination,” the first of two encores. The harmonies and showmanship (finger snaps, glamour poses, lovely outfits) the singers brought evoked comparisons with the Supremes and the Ikettes. The surprisingly full sound of the band’s select instruments (no bass, only one horn) filled the venue with upbeat and entrancing riffs.

The night in all was a satisfying combination of T Bird and the Breaks’ young and edgy interpretation of funk and soul with the more classic style of the Diplomats of Solid Sound. Nothing could have provided a more stark contrast with the chilly, gloomy weather outside than the scorching sounds and vibrant presence that each band offered. I recommend keeping an eye on the radar for the next time either of these bands storm through St. Louis.

Posted by | April 16, 2012 | Concerts | Comment 

Album review: Lucero gets deep into Memphis soul with ‘Women & Work’

Lucero
“Women & Work”
ATO

With their latest studio record, “Women & Work,” the alt-country rockers known as Lucero have managed to harness fully the music of their hometown to make their most Memphis-sounding record yet.

The album, their second consecutive project recorded at Ardent Studios with producer Ted Hutt, presents the musicians at their polished best. In an interview last fall singer Ben Nichols told me that the group had “stumbled” into their last record “1372 Overton Park.” Here, the prior experience the band received recording at the historic studio completes the transition from a country band with punk roots to a rock outfit brimming with soul.

The title track begins with Rick Steff (piano/organ) providing rock ‘n’ roll boogie-woogie piano and some Chuck Berry-style guitar that harkens back to all those songs recorded across town at Sun Studios more than a half century ago. Yet, Nichols’ lyrics bring the song back to a modern punk-rock reality with the line, “The women and the work and the booze in between. Got ya puking in the aisles and smashing TVs.”

Newer styles, not previously found in Lucero’s repertoire, further enhance the quality of these songs. Though filled with elaborate instrumentation and warmth, the band still retains a raw feel. For example, “Juniper” is a bluesy stomp whereas the band goes full-on soul for “Who You Waiting On?” complete with a Booker T.-esque B-3 organ from Steff. Not just content to add horns to the sound with Memphis professionals Jim Spake and Scott Thompson, the outstanding background vocals from “the Ho-Moans” — aka Susan Marshall and Reba Russell — offer further proof that Lucero is comfortable with the Memphis sound.

Nichols’ songwriting continues a theme to incorporate chasing love, pining for lost loves and the ever present references to having some cocktails. Not until the album closer, “Go Easy,” do the lyrics feature a protagonist that has the girl, but even then it’s tenuous as the opening line indicates, “Hold on, darling hold on. A storm is coming on. I’ll keep you safe.” With the background vocals, mournful horns and piano included, this track takes on a deep spiritual quality.

Lucero manages to slip back into their old sound for “I Can’t Stand To Leave You” and “When I Was Young,” songs with picked guitar chords and pedal-steel flourishes that could easily find a home on the band’s previous albums “That Much Farther West” or “Nobody’s Darlings.”

Steff’s boogie-woogie piano returns for “Like Lightning,” the most upbeat track on the album — a sure barn-burner in a live setting. Nichols belts his signature raspy vocals as he sings about chasing after the girl he’s head-over-heels for: “She’s got a kiss like a thunderbolt. Electric lips that shock me to the bone.”

Die hard fans of “1372 Overton Park” may lament the ratio of rockers to weepers, but what the band gave up in fury only earned them depth with a sound that suits their experience level. Like a new tattoo, they now wear the sound of their hometown proudly.

Posted by | March 20, 2012 | Album Reviews | 1 Comment 

‘Maybe Ike Turner came down inside of the record’ An interview with Black Joe Lewis

Nate Burrell

Black Joe Lewis & the Honeybears play upbeat blues injected with influences that include soul, punk and rock ‘n’ roll. Hailing from Austin (though now living in Montreal), Joe Lewis’ dynamic vocals and heavy guitar licks provide the lead for a turbo-charged ensemble of horns and percussion.

The group’s 2011 release, “Scandalous” (produced by Spoon drummer Jim Eno), is a fast ride down a dusty road with some surprises along the way. The track “Mustang Ranch,” for example, tells a true story of the band’s encounter with a seedy pit stop en route from Salt Lake City to San Francisco. The groove will get you on your feet, and the lyrics will forever change the way you think of a “glazed ham.”

Ahead of the band’s upcoming, KDHX-welcomed concert at Off Broadway on February 15, I chatted with Lewis about the Austin music scene, Ike Turner’s ghost and an upcoming tour with Flogging Molly.

Francisco Fisher: You received a lot of attention from your [2009] performance at South By Southwest. What other opportunities did you encounter as a musician from Austin?

Black Joe Lewis: Just getting to rub shoulders with a lot of good musicians and awesome bands. I’ve got good friends in Austin. It’s my hometown.

Is it convenient to be from a place with such a vibrant music scene?

Oh yeah, it is. But it’s a town where you have to really try and do something to get noticed, because there’s so much other good stuff going on every night. So you have to try to be original.

You’ve rejected the label of “soul revival.” Many musicians share your influences, but what really sets you apart from artists like Sharon Jones?

They play soul better than us. You’ll just have to listen to the records back-to-back and see what you can hear for yourself. It’s just a matter of opinion.

You’ve got an upcoming show in St. Louis. Do you have any influences that came out of St. Louis?

To tell the truth, I don’t know. Who’s all from St. Louis? There’s a lot of cool stuff going on and I like the city in general. It’s got an old vibe and I like all the old buildings.

Chuck Berry’s from here. Ike and Tina Turner met in St. Louis.

Yeah, all those acts. Ike Turner died when we went in to the studio to record our first album. As we were in the studio, we learned that he passed away. We thought it was a sign or something.

A sign of what?

Maybe Ike Turner came down inside of the record or something like that.

How much of the newest album “Scandalous” are you going to incorporate into the show?

We do a different set list every night, so it just depends how we’re feeling that night. We might play some songs off the new record, an old one, some covers and new stuff we’ve been working on. Just to have something different to play, something new. We get tired of playing the same stuff every night, so we like to mix it up. Some bands like to use the same set list for an entire tour. I wouldn’t be able to do that. It would drive me nuts.

After St. Louis, you’re going to tour with Flogging Molly. How did your two groups get together? Is it going to be a cohesive pairing?

It’ll be interesting. We played with them in Chicago two or three years ago; we opened up for them. It should be pretty rowdy when people get down on it. Either way, it won’t be a boring tour.

KDHX welcomes Black Joe Lewis & the Honeybears to Off Broadway on February 15.

Posted by | February 13, 2012 | Interviews, Music | Comment 

Pop! The Beat Bubble Burst expands its Black History Month celebration

The Beatles and Little Richard, 1962. Photo by Les Chadwick for Mersey Beat.

Pop! The Beat Bubble Burst covers many genres and sub-genres — British Invasion, Mersey beat, folk rock, garage rock, power pop, jangle pop, pub jock — but without the influence of African Americans it’s doubtful that many of those genres would exist, and if they did they would most likely not merit our attention.

It is because of this that I will be recognizing and celebrating those contributions by setting aside the four February shows (February 2, 9, 16 and 23) on P!TBBB.

This year I’ll be expanding said celebration. During the show’s first three years, the month featured three weeks of the bands that appear regularly on P!TBBB covering blues, soul R&B and other material either written by or performed by African Americans. The last show of the month has featured selections from the first three shows performed by the songs’ originators.

This year valis from Trip Inside This House will be joining me and providing the music for the February 2 show. Trip Inside This House is valis’ weekly exploration of the last 40 plus years of psychedelia; he will be bringing that expertise to P!TBBB. The show will feature two hours of music by the likes of Jimi Hendrix, Sly Stone, Muddy Waters and the Temptations, which will showcase the  contributions African Americans have made to psychedelia.

The remaining three shows will revert to the format from the last three years of Februaries. Those shows have not been finalized yet, but will no doubt mine selections from the following: Georgie Fame and the Blue Flames, Cliff Bennett & the Rebel Rousers, the Kinks, the Searchers, the Rolling Stones, the Beatles, Tony Jackson, Manfred Mann and many more. You can expect to hear original versions by bands and performers like: Brenda Holloway, the Supremes, Little Richard, Chuck Berry and Otis Redding to name several.

So, please join me (and valis) and celebrate Black History Month as we pay tribute to and celebrate the unique, dynamic and undeniable contributions made by African Americans to the music of Pop! The Beat Bubble Burst (and beyond).

Pop! The Beat Bubble Burst airs Thursday mornings, 5-7 a.m. Central on 88.1 KDHX.

Posted by | January 30, 2012 | Culture, KDHX, Music | Comment 

Remembering and listening to Etta James

Etta James in concert 1990

commons.wikimedia.org / Roland Godefroy

In the world of American music (and especially rhythm & blues and soul) who, I would ask, could ever presume to test Etta James?

Now she has died, and no doubt the world shall speak well of her, but for all the recognition and notoriety, it never seemed that recognition equaled the talents and creative projection of one of the very greatest female singers in the history of recorded music, a woman who seemed to be capable of literally melting any microphone which carried her commanding and peerless voice.

Etta James had a sound with as identifiable a signature as her fellow Chess label-mate, Howling Wolf: It was immense and unique, and rightly called “a force of nature.” It could phrase the most delicate of lyrics from a ballad or shake the rafters of a concert hall. Compared to James, noted female singers of the ’60s (such as Janis Joplin) seemed derivative and one-dimensional or, in the case of the more polished Diana Ross, thin and diminished gruel.

You either were totally entranced by this vocal persona, or it was simply too overwhelming for your palate.

She was the greatest of talents in her generation when heard on record and stage, and for those who had experienced her voice and passion, there was always the question as to why Etta James was able to achieve considerable recognition and success, but not super-stardom.

The explanations given were often based in her well-known bouts of drug addiction. But if ever there was an example of a performer whose greatest strengths and virtues were also a limitation to greater popularity, there is no greater example than James. Quite simply, Etta was such a strong presence one can imagine producers trying to figure how to take that cauldron of emotion and towering, gritty, larynx-splitting ability and perhaps vainly hope to dilute it for the purposes of pop palatability. That soulful blowtorch of a vocal was larger than the needs of pop music, relegating her to the realm of legend, if not multi-platinum sales.

So, if the top of the pop charts was not her normal place in this world, she nonetheless made of her career an inimitable one that stretched from the mid-1950s (when the also-recently departed Johnny Otis — he died three days before her, at the age of 90 — brought her to Modern Records in Los Angeles, and to his road show R&B revue) into the 21st century.

James may not have had the commercial cachet of a Celine Dion, but then again, it is questionable any American president and wife will be seen taking to the floor to a Ms. Dion recording as we did when the Mr. and Mrs. Obama glided to “At Last” in 2009.

There were always labels and producers eager to work with this moody, gifted diva of blues, and like Nina Simone, Ray Charles, James Brown, Muddy Waters and Solomon Burke, Etta James was so obviously a class of one in her art, it would be foolish to claim otherwise.

I’ll remember those take-no-prisoner shows of her (I was lucky enough in the early ’90s to have emceed one of them, here in St. Louis): I remember how she wowed the crowd at the Fox Theatre when a filmmaker decided to capture Chuck Berry in concert. And of course the many, many four-star records she recorded for labels such as Chess, Island, Sony and others are such irrefutable proof of what I’ve just written, it’s pointless to say any more but this:

Listen to Etta James, whenever you wish to hear the real deal. She’ll be waiting.

Papa Ray is host of Soul Selector, every Monday 4-7 p.m. Central, on 88.1 KDHX.

Posted by | January 23, 2012 | Music | Comment 

Concert review: JJ Grey & Mofro (with JC Brooks) fill the Pageant with warm southern soul and blues, Friday, January 13

mofrofans.com / You Can Call Me Clay

The temps may have been well below freezing outside, but things were hot inside the Pageant last night as Jacksonville, Fla. native JJ Grey and his band Mofro infused the packed venue with their special brand of swampy, southern blues rock.

The band was recently nominated for Canada’s top blues award — the B.B. King International Artist of the Year Award. The winner will be announced on Monday at the 15th Annual Maple Blues Awards in Toronto. They also recently released their first live CD/DVD set, “Brighter Days,” available on their website.

The party atmosphere kicked into gear as the opener, Chicago soul outfit J.C. Brooks and the Uptown Sound, took to the stage, fresh off the air from an in-studio performance on KDHX show Gold Soundz. The leader of this throwback band, Brooks, strode out looking like a cross between James Brown and Little Richard in a black suit and white shirt with a red kerchief and a piled high Jheri curl. With elements of classic ’60s soul and ’70s disco with a post-punk sensibility, the band manages to bring a fresh, new sound while paying homage to its roots. They performed a number of originals as well as some cool covers, including “Tainted Love” and an up-tempo, funky version of Wilco’s “I Am Trying to Break Your Heart.” Throughout their set, Brooks delighted the crowd with his smooth dance moves, gliding and shaking across the stage.

The floor was filled with fans eager to dance as JJ Grey & Mofro began their set, Grey smiling broadly and growling — in his signature, soul-filled voice — the lyrics to “War,” as organist Anthony Farrell’s fingers tore across the keys like a hurricane. Mofro is one tight band, including the amazing Andrew Trube on electric and lap steel guitar, bassist Todd Smallie (a St. Louis native), drummer Anthony Cole and two-piece horn section featuring trumpeter Dennis Marion and saxophonist Art Edmaiston.

The audience sang along with the chorus to the groovy “Air,” from the band’s first album “Blackwater” (when they were known simply as Mofro). Introducing fan favorite “Brighter Days,” Grey took a moment to reflect, talking about how he wrote the song when things didn’t seem so bright and explaining how songs change their meanings through the years. Now in a happier place, he uses it as a reminder of when they weren’t.

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Posted by | January 14, 2012 | Concerts | Comment 

Memphis to Manchester’s top 15 reissues of 2011

Listed below are 15 of my favorite compilations and/or reissues from 2011. So much to choose from. I believe any of the following will provide hours of rewarding listening.

1. Ray Charles – “Singular Genius – The Complete ABC Singles” (Concord)

Every a & b side from his singles recorded with ABC-Paramount. This reasonably priced 5-CD set includes 106 tracks and comes with a 48-page liner notes booklet. Singular genius, indeed.

2. Various Artists  – “The Fame Studios Story: 1961-1973″ (Kent)

This 3-CD set features recordings from various artists recorded at Muscle Shoals from 1961-1973. Absolutely no filler on this collection of not often heard singles, hits & deeper tracks. Packaged with a beautifully put-together hardback book.

3. Various Artists – “This May Be My Last Time Singing: Raw African-American Gospel on 45RPM 1957-1982″ (Tompkins Square)

Flat-out terrific 3-CD compilation featuring 72 rare independent gospel 45 tracks. The intensity of some of these performances will blow you away.

4. Mickey Newbury  – “An American Trilogy” (Saint Cecilia Knows)

This collection consists of his trilogy of albums  from 1969-1973 – Looks Like Rain, Frisco Mabel Joy & Heaven Help The Child – plus an extra disc of demos, rarities & unreleased tracks.

5. Various Artists - “Sweet Inspiration: The Songs of Dan Penn & Spooner” Oldham (Ace)

Featuring songs written by Dan Penn & Spooner Oldham recorded by artists such as Charlie Rich, Etta James, Sandy Posey, The Box Tops, James Carr, Dionne Warwick & Barbara Lynn. This is just a single-disc compilation so it only contains a fraction of the songs written by one of the finest pair of soul music songwriters ever but these soul, country and pop versions of their songs serve as a really satisfying introduction.

6. Willie Wright  – “Telling the Truth” (The Numero Group)

Willie Wright was from Bayland, MS & later moved to Massachusetts. In 1977, he recorded this release & 1,000 copies were pressed. This soul-folk masterpiece remained buried in obscurity until unearthed by The Numero Group. One of the musical surprises  for me in 2011. Reminds me, somewhat, of Van Morrison’s ‘Astral Weeks’ album.

7. Charlie Rich  – “It Ain’t Gonna Be That Way: The Complete Smash Sessions” (Ace)

29-track, single-disc compilation of all the tracks he recorded for the Smash label in the 60s. Soul, country, rock & pop and it’s pretty great. Even includes an excellent rockin’ Christmas song as an added bonus.

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Posted by | January 2, 2012 | Music | Comment 

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