Richard Baileys banjo plays funky, little Kentucky-goes-to-Memphis rolls. Tammy Rogers fiddle soars. Brent Truitts mandolin chops time, and Mike Flemings bass pounds the downbeat. And all that is righteous and right-on. Elevated, even. But Nicholshe lets loose something the opposite of righteousness. Its a howl, full of hurt and anger and life. Starts on the highest E note that 99.9% of male singers can hit, then ascends into a sweet falsetto, and then opens up like the gates of hell, into a reeling screech.
That made me dizzy for a second, Nichols says, remembering the moment he sang the line. Really, I almost passed out. There are certain lines in SteelDrivers songs that require a little bit of Wilson Pickett.
Nichols knows about Wilson Pickett, who recorded Mustang Sally at FAME studios in Muscle Shoals, Alabama, less than three miles from Jimmy Nutts NuttHouse, where the SteelDrivers recorded these Muscle Shoals Recordings. Nichols is from Muscle Shoals. He grew up as a guitar slinger and a soul shouter, which should not be any help in fronting one of bluegrass musics most engaging outfits. But part of the reason the SteelDrivers are such an engaging band is the seemingly incongruous blend of soul and slink, blues and country, mountain coal and red dirt.
I think thats what moves people when they come to see us: the realness and rawness and edge, says Rogers, who formed the SteelDrivers in 2005 with Bailey, Fleming, multi-instrumentalist Mike Henderson, and soulful singer (and now-acclaimed contemporary country artist) Chris Stapleton. That version of the SteelDrivers received three GRAMMY® nominations and won an audience that was surprised and initially saddened by the 2010 and 2011 departures of Stapleton and Henderson. But the entries of Nichols and virtuoso mandolin talent Truitt have created a SteelDrivers band that carries the gutbucket ethic of the original combo, but pleases in different ways.
Nichols, who initially felt an obligation to replicate Stapletons mighty vocal turns, emerged as a vocalist of distinction, as a monster acoustic guitarist and as a songwriting force who wrote or co-wrote five of Shoals Recordings 11 songs. Rogers stepped up her songwriting as well, and she has credits on all but one of the albums remaining songs. The one outlier on The Muscle Shoals Recordings is Drinkin Alone, a romp penned by Jay Knowles and former SteelDriver Stapleton. Wait, check that
Chris Stapleton and Mike Henderson will always be SteelDrivers, Rogers says. They arent in the band playing shows, but they are part of our sound, and part of our story.
Truitts fluid mandolin added another virtuoso element to a group that is undergirded by Flemings upright bass and baritone harmonies.
Mike is responsible for a lot of the emotion of the songs, Nichols says. He stands out more on this record vocally than he ever did before, and as a bass player hes a big part of our sound. We dont have a drummer, so he and I have to be the kick, snare, and high hat. Hes the backbone; Im the hips.
Thats not to say that this is all about swagger and sway. These Muscle Shoals Recordings hold much in the way of plaintive beauty. Here She Goes, written by Nichols and Dylan LeBlanc, is songwriting at its most honestno posturing and no fronts. Its a song about divorce, without blame: If I were honest, Id say she stayed too long, Nichols sings, to a soundtrack aided by Jason Isbell, Nichols childhood friend and musical partner, who co-produced the track (and Brother John).
In the studio, the band kept pushing the tempo, perhaps to assuage the sadness and, perhaps, because its sometimes easier for master musicians to play with reckless abandon than with somber certainty.
After we played it through, I spoke up and said, Maybe it needs to be a bit faster, Rogers says. Jason said, Well, maybe we can just try harder. He was right, and we tried harder.
Nichols and Isbell played together as teens when Nichols fronted Gulliver, a band that included bass man Jimbo Hart and drummer Ryan Tillery. When Nichols scored a major label deal with Mercury Records in 2006, he hit the road with Hart and Tillery. When Nichols exited Mercury, Hart and Tillery joined Isbells 400 Unit band.
Way back then, Gulliver worked with Jimmy Nutt, upon whose studio the SteelDrivers converged in late 2014 to make an uncommon and instantly identifiable album. Nutt cut his teeth at Rick Halls FAME studios, and Hall is the guy who produced You Better Move On, Fancy, Slip Away, and, come to think of it, Wilson Picketts Mustang Sally. All that stuff is supposed to be a world removed from Nashville, from bluegrass, from banjos and mandolins. But the SteelDrivers place it all in close proximity. They make music born of collisions of traditions, from meldings of things assumed un-meldable.
This stuff is all related, Nichols says. The note selection, the melodies, and the licks are the same. Its just a different accent.
Nichols and the SteelDrivers speak in their own accent, one that charms and sears and beguiles. This is a band like no other, by inclination but not by calculation. Nichols, Rogers, Bailey, Fleming, Truitt Those of us who have listened all know where their souls are bound. Bound to triumph. Bound to rise. Bound to matter. Bound to resound. Bound to impact. Bound to roar and shimmy, to howl and heal. A damn good band, this one. If you dont believe it, start around two minutes and ten seconds into Long Way Down. Thats the stuff, right there.
East Nashville, Tennessee
|Event Date||03-01-2018 8:00 pm|
|Location||Sheldon Concert Hall|