JEFF The Brotherhood: Song By Song Review of Hypnotic Nights

07/16/2012 By

JEFF the Brotherhood is another example of a minor trend over the past dozen years or so: the emergence of kick-ass 2-piece bands.  Ghostland Observatory, Lightning Bolt, and Death from above 1979 are just a few of the long list of dynamite duos.  JEFF the Brotherhood has been one band that has come through and torn its own path. They’re a guitar/drum kit brother-band who know how to rock your face off, but neither of them carry the name Jeff.

Already 6 albums deep, the punk/pop/grunge/rock amalgamation throw out their latest effort with Hypnotic Nights.  The album marks the band’s first foray into big production having been produced by fellow 2-piece legend, The Black Keys‘ Dan Auerbach. With Auerbach at the board and brothers Jake and Jamin Orrall heading the charge, this heavy front of “rawk” songs shows off its stripes in short time. Here’s my Song by Song Review of the album.

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The Flaming Lips Get a Song by Song Review of Heady Fwends

06/26/2012 By

Although The Flaming Lips have been kicking up dust long before their commercial debut  with 1993′s Transmissions from the Satellite Heart, their sound didn’t fill their song-writing shoes until 1999′s The Soft Bulletin.  Since then, they’ve released a string of critically acclaimed albums, EPs, and digital releases.

Following their departure from Warner Bros. in January of 2012, The Flaming Lips vowed to deliver different music in a different manner than ever before.  This was quickly found to be an understatement when songs come packaged in gummy-brains and a song stretched to 24 hours in length.

Possibly the most far out move to be credited to The Flaming Lips is an album whose liner notes feature both the names “Yoko Ono” and “Ke$ha.”  Heady Fwends is a collection of thirteen tracks written over the course of the latter half of 2011 and early 2012 with various musicians from a diverse range of musical backgrounds, such as  Bon Iver, Neon Indian, Lightning Bolt, Prefuse 73, Eryka Badu, Coldplay’s Chris Martin and Yoko Ono. Wearing a heavy coat of satire, the album is a dense piece of work at heart offering a bevy of differing sounds and songs from a random assortment of musical talent.
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Song by Song Review: Amy Lavere’s Stranger Me

12/19/2011 By

I remember first seeing Amy Lavere busking on the sidewalk with The Gabe and Amy Show in downtown Memphis. I was immediately struck by such a petite and beautiful young lady slapping the shit out of the upright bass!

The next time I saw her was at a graduation party that both her band and my band were performing at for some wealthy young man. We talked over drinks during breaks about working together at some point. I was honored to work with her on her first two records on Archer Records and we developed a friendship throughout those times.

Her latest record, Stranger Me, is a high mark of her development as a recording artist and a work of sublime beauty. Produced and recorded by Craig Silvey, the mastermind behind Arcade Fire’s grammy winning album of the year, The Suburbs, the record features Amy on upright bass and vocals, Rick Steff on keyboards, David Cousar on guitars, and Paul Taylor on drums. Other contributors included Jonathan Kirkscey and Bobby Furgo (strings), Jim Spake (saxophone), John Stubblefield (bass), and Nahshon Benford (trumpet).

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Song By Song Review: Ryan Peel’s The New Memphis Sound

09/26/2011 By

When discussing Memphis music and the future of the Memphis sound, Ryan Peel has always been on my radar. He is a multi-talented individual whose roots are as diverse as the culture of this city. Memphis has always been a melting pot of people and ideas and that is exactly what Ryan brings to the table.

When Rachel sent me The New Memphis Sound for review, my first thought was that the title is such a bold claim. Redefining Memphis is something that has always been met with resistance, primarily because so many people are afraid to change. After listening through Ryan’s collection of songs, I can confidently say that it is a major factor in redefining Memphis music.

The six song collective is a fantastic batch of tunes that has a fresh overall sound, while still retaining a uniqueness from track to track.

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Song by Song Review: The Bo-Keys’ Got to Get Back

08/05/2011 By

Only in Memphis, TN can anyone, from Germany to Japan, come to get this stuff on them when they hear this sound. It’s the sound of the city. All races blind to skin color, conversing freely through the medium of the love of music. And The Bo-Keys have NAILED IT with Got to Get Back! ★★★★½

Available in vinyl and/or CD provides an assortment that I believe is becoming the norm.

1. “Hi Roller”
Coming out of the gate hard and heavy with a powerful horn section, composed (off and on) of Ben Cauley and Mark Franklin on trumpet, and Jim Spake, Floyd Newman, Kurt Smothers and Derek Williams on the “sax army,” each steeped in that Memphis Brew, and answered by the organ brings on a melody that is Music Classics 101. Mr. Skip Pitts’ guitar shining through right at the point where a listener wants something new shows you how much in tune with that listener the band really is. “Hi Roller” is BoKeys’ “Love at first listen.”

2. “Got To Get Back (To My Baby)” Featuring Otis Clay
If you have never had the spine-tingling experience of hearing Mr. Otis Clay sing, AND you like music, you simply have not lived. Your eyes will be opened and your senses filled with the life of a true soul/bluesman. And in this setting, it is a culmination of heart-felt vision, The BoKeys go together with this man like mud and dirt. That gnarly Skip Pitts’guitar just adds that much more of the “thang.” Yet it all comes together with the glue from the gods to make this a hit if I’ve ever heard one. Super tight horns, that funk on the rhythm, and Otis can still make a hit record.

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Song By Song Review: Booker T. Jones’ The Road from Memphis

07/21/2011 By

A totally refreshing ear-fest from the god-head of the Hammond organ. ★★★★★

One of the original designers of funk-soul-Rhythm & Blues, Booker T. Jones (yep …as in Booker T and the MGs) proves to 2011 that he is very much alive and has lost NONE of his gift of musical prowess or creativity.

He is still a valid visionary among who there are very, very few. A vibrant soul, hopelessly kind, musically warm, Booker has a thing or three for anyone who will … rather everyone who should … listen.

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Song by Song Review: Cameron McGill & What Army’s Is a Beast

04/27/2011 By

When the CM&WA album, Is a Beast, came to me for review, I wasn’t sure what to make of it at first glance. The artwork is compelling and thoughtful, all while keeping a minimalist approach to its delivery. What I would come to realize, after listening to the art on the inside, is that this message of a visual nature was a blatant reflection of the audio sound-scape embedded on the disc.

“Houdini” starts off the album with a very ambient and suspenseful build that drew me in and had me hooked from the first pounding of the toms. This gradual, purposeful crescendo helps give the vocal more weight and makes the explosion of sound (that comes later on) have even more impact. A stellar opening track, I had to listen to this one twice before moving on to the rest of the album.

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Song By Song Review: Jookabox’s Eyes of the Fly

04/20/2011 By

“Jookabox is a bit paranoid”, they say it makes…others paranoid (look behind you). They seem to dance around a fire pit, maybe there’s something on a stick being worshiped or sacrificed. You peek at jumping shadows and hope no one picks you out. Jookabox spreads melodic dissidents through synthesized sawtooth waves usually over dribbling toms, percussive and sometimes tribal.

But 16 bars later they set you in a rich synth patch with delayed guitars and a rock back beat. These are spaced out recordings that speak to you like a jump rope rhyme. Layer after layer of vocals and harmony sound soooo serious while clapping their hands. Seems to be a lot of ironic contrast.

“Man-tra” – Starts off spooky, but then over this dance beat comes taunting and sarcastic vocals and chants. Oh, and a very creepy pitched shift pitched section. They manage to throw a little surf rock in the mix.

“Drops” – Less spastic than “Man-tra.” Lots of great drums over reverbed out guitars. Nice and full of space. “I can’t concentrate to save my life!”

Jookabox – The Eyes of the Sky – “Drops” by TVD-Downloads

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Song by Song Review: Jonny’s S/T Debut

04/13/2011 By

Now THIS record is sideways. On this first and self titled record, Jonny comes across as everything – from over the top, commercial sounding “music they play for kitchen product ads on TV”, to true heartfelt songs and alluring, dreamy harmonies – only a tree would have a hard time singing along with most of Jonny. If you think about it, that’s a pretty wide river, but Jonny does make it across. Follow along with this:

1) ”Wich is Wich” Over the top or what? If you have ever heard The Monkees, here they almost are! It’s so full of hooky, simple melodies that you are left thinking “Which witch IS which?” Its plain old simple fun.

2) “Candyfloss“ Now they have made a left turn in the same neighborhood, but they’ve aged a bit. Not quite as simple fun, Jonny hangs on to the hooky melody concept. AND …  they’ve discovered that a song can be longer than two minutes. “Candyfloss” would have been in the top 50 right beside The Cars and early Todd Rundgren. An alternate title could be “Jonny finds a girl he really likes a lot and could be having his first crush!”

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Song by Song Review: North Mississippi Allstars’ Keys to the Kingdom

04/06/2011 By

The North Mississippi Allstars are known for their down-home, southern musical palate, but Keys to the Kingdom has a dedication behind it that adds further weight to the story. The album is listed as being produced “for Jim Dickinson” and there is a fantastic quote straight from Jim on the inside of the artwork.

“The past is ever with us,
Every was is still,
pushing us on-the future
before us pulling.
Too briefly trapped in the moment,
we struggle to understand.
In faith, we sing…..”

It goes on to describe the magic behind music and how it is a deep-seated need inside every musician to reach out beyond the darker side of life to fight to play our songs forever. Make no mistake; 3 dedicated sons of music and passion, Dickinson’s sons Luther and Cody, and bandmate Chris Chew, who learned all they know from one of the masters, made this album for Jim Dickinson, and him alone.

“This A’Way” opens the album with a guitar riff that harkens to rock ‘n roll classics of old. With a croony vocal and a rolling rhythm, this stylish opening track takes off running from the start. Slide guitar is featured throughout, showcasing some of the great guitar work that is prevalent on the entire album.

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