Tag: etta james

BGS 5+5: Janiva Magness

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Artist: Janiva Magness
Hometown: Detroit, Michigan
Latest Album: Hard to Kill (Fathead Records)
Personal Nicknames: J

Which artist has influenced you the most … and how?

Truthfully, it is impossible to choose one because there have been so many over the course of my career. And I am a homework kind of person, so my habits are when I do find someone I am deeply moved by, I study them and THEIR influences. So I see it as generations of artists all kinda influencing each other. For example, Bonnie Raitt at certain point early on was a huge influence for me, not just in her music, but in the fact that she was a female bandleader who musically has ALWAYS done what she wanted and refused to be one-dimensional. I love that and it was super empowering for a young girl and young woman to see and hear. And her early blues influences and songwriter influences and friends are all very important for me — Sippie Wallace to Lightnin’ Hopkins to Son House to John Prine!

Otis Rush was another one, for his playing and singing and no-holds-barred approach to both. I was a 14-year-old kid the first time I saw him live. It was truly a spiritual experience for me. B.B. King similarly, who had heavy gospel influences in his singing, whom I saw the same year… what a great year! I was in my early 20s the first time I saw what we used to call a “Three-Way” — James Brown, Martha Reeves and Etta James. Etta’s greatest influence was Johnny “Guitar” Watson and gospel music! Etta was the opener on that show and her performance alone was like four years of college education in one show! She sang and held that stage as if her life depended on it — and I believed her! Another profound lesson in “this is how it’s done.” Priceless.

What has been the best advice you’ve received in your career so far?

I was advised pretty early on that I needed to have control of my own instrument. Especially if I wanted to make sure I could do my job to the best of my ability. That means taking care of my instrument so I can sing and carry the story of the song with ease, so I can connect with the audience. It also means not abusing my voice. Doing warm-ups and all the disciplines singers have to do to keep in good form. Secondarily, if I expected the other musicians to bring their best, I had better bring mine! All the great vocalists I admire have full command of their instruments and their bandstands. It is too difficult to get respect otherwise.

Also to keep my personal life off the bandstand (with the players). Super important for me. Now that doesn’t mean I can’t put whatever is happening with me personally INTO the music. I think that IS right to do, at least for me. But romance on the bandstand/within the band is trouble — it always has been for me so I had to quit that practice and it has served me well!

In terms of songwriting advice, the best advice I have gotten is to keep writing, writing, writing and then edit, edit, edit! Asking myself how can I say it truthfully with fewer words? That is easier said than done for me. Sometimes it’s real hard work but always worth it!

What rituals do you have, either in the studio or before a show?

I always do vocal warm-ups — 15 to 20 minutes with a recording of my vocal coach and steam for my voice. Super helpful. It allows me the flexibility I need with my instrument. I will eat high-protein food one to two hours before having to sing. It’s pretty much like a holy time for me. I just stop all the “outside world” distractions and B.S. and focus on the music. It’s wonderful and sets me up for the right kind of focus before singing. I also cut off the phone calls/texts/emails during that time for basically the same reason. “Don’t bother me, I’m singing!!”

What’s the toughest time you ever had writing a song?

I always struggle with songwriting. Maybe it’s part of the ritual for me. I don’t know… But when my first marriage ended, it was a pretty brutal time, understandably. Gary Nicholson, who is a good friend, told me, “You’re gonna get some good songs outta this…” “Ugh,” I thought, but he was right! Writing the songs for my 2014 release, Original, was hard, particularly the song “When You Were My King.” I was not yet divorced but in that purgatory state of separation-knowing-its-dead-but-not-done-yet. I suppose because the song articulates that very moment of the cut, when it is undeniably clear the marriage is over and time actually stands still. You see all of it. The love. The regrets. The wishes and the sorrow. You can’t take any of it back. That song is a Polaroid of that brutal, poignant moment. I am wildly grateful for my co-writers Andrew Lowden, Lauren Bliss and Dave Darling, for their delicate touch with me during such a difficult time — which allowed that time to also be wildly creative, and Original was born!

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

I don’t really see it as hiding. I think of it more as how to get the story across. I want to be sure to get the meat of the story across when writing — right? SO is that best articulated as ”you” or “me”…? That’s all. At the end of the day, it’s all me anyway if I am writing on it, or singing someone else’s songs trying to bring myself to the story. I do think of it as becoming the character in the song or the storyteller, if you will. But if I am covering someone else’s material, I am doing so because I deeply connect with the tale being told, I mean it’s personal to me. If it’s not, I don’t have the first desire to sing it because I think the real job is about connection. For that to happen, it has to be real or the audience can tell, that is my experience.

Photo Credit: Jay Gilbert

WATCH: Blues Traveler, “Ball and Chain” (Live Session)

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Artist: Blues Traveler
Hometown: Princeton, New Jersey
Album: Traveler’s Blues
Single: “Ball and Chain”
Release Date: July 30, 2021
Label: Round Hill Records

In Their Words: “I was terrified of this one, as it’s so closely associated with Janis Joplin and stands out as a pillar of the blues genre. Not quite ‘Sweet Home Chicago,’ but close!! We were wondering, ‘What the hell are we going to do with this to make it cool??!!!’ Answer was to go back to a couple of OGs — Big Mama Thornton and Etta James. Etta did her version minor, but the feel was killer. Big Mama had more major feel and felt straight Chicago. If it wasn’t pianist Otis Spann on the version we listened to, I need to know who it was!! Stronger Than Dirt!” – Ben Wilson, keys, Blues Traveler

Photo Credit: Graham Fielder

BGS 5+5: Brigitte DeMeyer

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Artist name: Brigitte DeMeyer
Hometown: San Francisco, California
Latest album: Seeker
Personal nicknames (or rejected band names): Well, my husband calls me Bubba. My friends sometimes call me B, or Brig. My nieces and nephews call me “Tante Brigie.”

What was the first moment that you knew you wanted to be a musician?

I always knew I loved to sing, as far back as age 12 when I won the talent show at summer camp. I sang whenever I could, in church, in school musicals, in various bands, just for the fun of it. But, in my late 20s I was asked to jump in and sing at an informal party with a very talented friend who was playing acoustic guitar for folks. He played in such a way that a feeling came through me when I began singing, it was like I left the building and got lost in the song. I felt like notes were coming through me from somewhere else.

When I opened my eyes at the end of the song the room of people had gone quiet and all had gathered around me and erupted into a joyous cheer at the end of the song. It was the first time I remember getting naturally high from singing. I have spent my whole career chasing that feeling of connection to whatever came through me that day. It can come from anywhere. Collaborating with someone with the right chemistry, connecting with the audience, or just being by myself writing. They may not be the best performances of my life when that happens. But, it’s about the feeling I get, from connecting to something higher. It’s also really fun to play with friends. Energy exchanging and collaborating. Hope all that makes sense.

What’s the toughest time you ever had writing a song?

I guess I would say the toughest time trying to write a song is when I am super happy. You have to really dig in deep and create something out of nothing. “Cat Man Do” came out that way. It took me a year to write that song. You have to make up a character or situation from scratch. I have enough life experiences to draw from. And, inspiration can come from anywhere so I force myself to be open and pay attention. You mix a little fiction with imagination and add a bit of grease and salt, or sugar if that’s what the song calls for. Approaching a song like a poem or a story is something I enjoy as well, or using old language that isn’t vernacular is fun. It makes the song feel deeper and have more character I think. Though it has to make sense to the listener as well, so finding balance lyrically there is tricky at times.

What’s your favorite memory from being on stage?

I have so many. But one of them, was at Humphreys in San Diego in 2014, when I opened for Gregg Allman. He was in the wings watching and listening to me during my whole set. When I came off the stage, he approached and told me I had a beautiful voice. I told him he did. That was a great day. Another great memory was in Ullapool, Scotland, sitting in at the pub with those raucous Scots listening in. They are so appreciative and warm in the U.K. I love performing there.

Which elements of nature do you spend the most time with and how do those impact your work?

This is an easy one for me. I am an avid horse enthusiast. I am often out at the barn where I board my horse, which is surrounded with rolling hills and wildlife, like hawks, coyotes, goats, etc., and a neighboring cattle farm. Horses for me remind me nature is king, and give me that feeling of connection to something higher as well. I come home way happier every time I go and spend time with my horse. It is also a confidence builder.

If you had to write a mission statement for your career, what would it be?

I would say trust your gut, and just be yourself. Don’t try to sound like anyone else, or write like anyone else. And don’t let anyone tell you what is right for you. If you need to get your mix right, do it. Don’t settle. Also, I was told I was too old in my late 20s to begin my career. I did not listen. I forged my own path kind of organically. Oh yeah, and ALWAYS surround yourself with people who make you happy in your work. If the vibe is there, the music will follow. It shows in the music.

 

How Shemekia Copeland Found Fans Beyond the Blues (Part 2 of 2)

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Over the last 10 years, in a series of albums recorded with producers Oliver Wood and Will Kimbrough, Shemekia Copeland has progressed from a first-class blues belter into a wider-ranging, more nuanced artist whose music touches on Americana, rock, and country — and she’s still a first-class blues belter.

In addition to working with Kimbrough on her new album Uncivil War and 2018’s America’s Child, Copeland has recorded with artists like John Prine, Emmylou Harris, and ZZ Top’s Billy Gibbons. In part two of our interview with Copeland, whose father is the late Texas blues great, Johnny Clyde Copeland, we discuss her musical development and the lessons she learned while teaming with these and other unlikely collaborators.

Editor’s Note: Read the first part of our two-part interview with Shemekia Copeland.

BGS: Over your last four albums, you’ve worked with producers Oliver Wood and Will Kimbrough, mostly in Nashville, and really started to open up the instrumentation and type of songs you’ve recorded. So I have a chicken and the egg question: did you start working differently because you wanted to change, or did you change because you worked with different people in different places?

SC: It happened organically. The first record with Oliver was in Atlanta and then he moved to Nashville, because everybody moves to Nashville, because that’s where musicians and studios are, and it’s inexpensive to work there. Oliver had Will Kimbrough come in and play and I was a big fan of his. When he played on my record, it was love at first note, because he’s just a musical genius.

We did our last record America’s Child with him and he just knows everyone. Nashville is such a small town in that way. All the musicians know, respect, and love each other. Will would say, “So-and-so would sound good on this. Let’s call him,” and within a day they’d have these guys in the studio that you couldn’t imagine working with as a blues artist, because you don’t know them. The gates of Heaven opened up being in Nashville because that’s where everybody is.

How about Oliver Wood?

I love him. He’s a very talented player and writer, and the best thing about him was that he really encouraged me to think about how I sing. I came from the blues shouter way of singing, and from him I learned that you don’t have to do that to move people. That was huge for me, to learn that you can capture people with subtlety just as much as you can capture them with the hugeness of your voice. We had that conversation and I took that away from working with him and have carried it on.

“Uncivil War” is a perfect example. I did not want to sing that song. I thought it was is a pretty song for somebody with a pretty voice to sing. I wanted the world to hear it and figured they would not if it was coming from me, because I don’t have a pretty voice. That’s when they all yelled at me and said I was being completely ridiculous and to just sing the damn song. But I still struggle with thinking that the subtleties of my voice work. I was just using the power of my voice more like a Koko Taylor, or Etta James.

Let’s talk about some of these people you’ve worked with. You did a duet with John Prine on his lesser-known blues song “Great Rain.” Tell me about that.

That happened completely organically, but here in Chicago, though he lived in Nashville. He’s originally from Illinois and we were both on a concert called Voices of Chicago. I was there to represent blues and John was there to represent the fact that he’s just frickin’ amazing. We were backstage and I’m standing there looking at John Prine thinking, “Oh my God, I’m standing here looking at John Prine.” And he looked down at my feet and said, “I love your shoes!” We started talking and I fell in love with his wife, Fiona. Amazing people. We got to talkin’, started working on projects together, and the rest is history. People like him know how to break the ice with people when they’re nervous around them.

How about Emmylou Harris?

That was just a Will Kimbrough connection. I met her a couple times, like in passing at festivals, but her being on “America’s Child” was Will. He plays with her. She heard the song, loved it, and wanted to sing on it, which was beautiful.

Steve Cropper, who produced The Soul Truth (2005), also plays on the new one.

Who doesn’t love Steve Cropper? He wrote all the hit songs that you can think of. I love working with him, loved his energy. We wanted to do something different after the Dr. John record [2002’s Talking to Strangers], so we thought, why not try to get a soulful record? And who better to make a soulful record than Steve Cropper? He also played on all the songs and Steve Cropper plays like Steve Cropper. He has a sound all his own. You know when you’re listening to him.

What about Billy Gibbons?

Billy was a big fan of Johnny Copeland; he went and saw my dad perform all the time when he was a kid. I was hanging out with him in India [at the 2017 Mahindra Blues Festival in Mumbai] and we were talking about all that. I wanted to do “Jesus Just Left Chicago” and John [Hahn, Copeland’s manager] had the bright idea to ask him. I never would have been ballsy enough to do that. Thank God for managers and producers.

I love Rhiannon Giddens on “Smoked Ham and Peaches.”

Yeah, and she sounded amazing on it. Oh, my gosh. I was a big fan of her and Dom Flemons and the Carolina Chocolate Drops! Just a group of interesting, amazing, talented people. But then I saw her perform as a headliner of the Chicago Blues Festival and she was just incredible. I really wanted to work on it and was so happy when she said she was aware of me, and would love to do it.

It’s probably the most acoustic, downhome song you’ve done and a good example of why some people started talking about you and Americana and not just blues.

I’ve always listened to country and bluegrass, even if I didn’t know who I was listening to. I just liked the instrumentation of it and the singers and lyrics. Americana was not on my radar, but I grew up listening to country music because my dad grew up in Texas and loved it. I’d walk around the house singing Patsy Cline and Hank Williams songs that my dad loved, but I hadn’t really even heard anything about the blend of country and roots music until a few years ago, so I think it’s kind of hilarious that people are saying I’m crossing over to Americana. But I welcome all listeners!

Has your audience changed over the course of these last few albums?

Yes, especially since America’s Child, but even going back to [2009’s] Never Going Back, I started getting people at my shows saying stuff like, “You know, I’m not really into blues, but I love what you do.” And I’m like, “Well, if you’re listening to me, then you could probably say you’re into blues. I think you’re more into the blues than you think you are!” I always hoped that I was getting fans that weren’t just blues fans, and I think the audience is growing a little bit for me — at least I hope so!

(Editor’s Note: Read the first part of our two-part interview with Shemekia Copeland.)

Photo credit: Mike White

Shaped by Blues and Country, Shemekia Copeland Launches ‘Uncivil War’ (Part 1 of 2)

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At just 41 years old, Shemekia Copeland is already an established multi-decade blues veteran. That’s what happens when you start performing as a pre-teen with your blues legend father Johnny Clyde Copeland and make your recorded debut at 18. As one of the primary hosts on SiriusXM’s BB King’s Bluesville channel, she’s also one of the genre’s highest-profile artists. A recent series of albums have both underlined Copeland as a star of the blues and pushed her beyond the walls of the genre, further into Americana and socially conscious commentary.

Her latest, Uncivil War, is another bold step forward. Recorded in Nashville with producer Will Kimbrough, the album features a wide range of guest performers, including Jason Isbell, Christone “Kingfish” Ingram, Steve Cropper, Duane Eddy, Webb Wilder and bluegrass legends Sam Bush and Jerry Douglas. She pushes boundaries not just with the instrumentation but the topics she covers, including “Clotilda’s on Fire,” which tells the story of the last slave ship to come to the U.S., and the title track, “Uncivil War,” is a plea for healing in our increasingly divided nation.

“Americana was not on my radar, but I grew up listening to country music because my dad grew up in Texas and loved it,” Copeland tells BGS. “I’d walk around the house singing Patsy Cline and Hank Williams songs that my dad loved, but I hadn’t really even heard anything about the blend of country and roots music until a few years ago, so I think it’s kind of hilarious that people are saying I’m crossing over to Americana. But I welcome all listeners!”

Editor’s Note: Read the second half of our interview with Shemekia Copeland here.

BGS: Over the past few albums, you’ve really stretched out musically and part of that is working with a wide range of musicians, many from outside the blues world. Let’s talk about a few of them on the new record, starting with two bluegrass greats, Sam Bush and Jerry Douglas.

SC: Oh my gosh! They are just really talented guys who make anything better. I just love those guys! I think my favorite part about them is that they exemplify something I love about Nashville: nobody cares about genre. It’s all about just whether or not it’s a good song and whether they want to play on it. And that’s it.

You think that’s notably different than other places? Do you find that not to be the case in New York or Chicago, for instance?

I have to say yes to that. I think it’s different in Nashville. People just want to play music. Down there, nobody ever even asks, “How much does it pay?” They’re just like, “What time do I need to show up?” It’s really about the music and Will Kimbrough, who produced the last two records, knows everyone in town and has played with most of them.

Jason Isbell is another great guest on this album and plays a great solo on “Clotilda’s on Fire.”

Yes, that one was a little different. We did a show at the Grand Ole Opry together, so Jason knew who I was when Will called and asked him to play on this song, and he was ready to do it. “Clotilda’s on Fire” is about the slave ship that they found off the coast of Alabama, and he’s from Alabama and we wanted him to play lead guitar on it. It just felt natural. It’s amazing how organically these things happen.

That song is really powerful and it’s just one of several very topical tunes on this record. That’s something different that you’ve really established. The first four songs are not about personal things like heartbreak, but heavy topics addressed in interesting ways. You have “Clotilda’s on Fire,” about the last slave ship; “Walk Until I Ride,” a modern-day Civil Rights anthem; and “Uncivil War” and “Money Makes You Ugly,” whose titles speak for themselves. Did you make a very conscious decision to do this?

Absolutely! I’ve been doing it for several records now. And I think the more confident I get, the better I get at it, and the more comfortable I get with saying what’s on my mind. Like on America’s Child, I did “Would You Take My Blood?” which was the first time I ever tackled a song about racism. On previous records, I did songs about domestic violence, date rape, things like that. But it feels more imperative than ever with everything that’s going on in this country now — and this was before COVID-19. This record was finished when all of this crap happened.

I was struck by the story about the Clotilda ever since the ship was found off the coast of Alabama. My ancestors came over here on one of those ships. I did my DNA and I’m 87 percent African, so I was very interested in that story. I wanted people to know about it and, more importantly, to understand why it still matters so much. The line in that song that’s one of the most important to me is “We’re still living with her ghost.” I want people to know that it hasn’t ended, that we’re still going through the same stuff and it’s very, very saddening. Heartbreaking, really.

Have you had any backlash to being more outspoken?

Oh, of course.

Do you care?

Not at all. You can’t satisfy everyone. The one thing that I’ve learned in my career is you’re going to piss somebody off. Not everybody’s gonna be happy with you. It’s just that simple, and it’s okay. Nobody wants their difficult history dredged up and put out in front of their face, but I’m good as long as I can look at myself in the mirror every day and be happy with myself.

Amidst all the great new original songs is a cool cover of The Rolling Stones’ “Under My Thumb.” How did you choose that one?

Doing that song was, for me, turning the tables on men. In fact, I actually hate it as a Stones song. I don’t want a man talking about a woman in that way — but it’s a great song! I don’t want to think of a woman being under anyone’s thumb, so the tables were turned… but one critic listened to it and said, “She’s talking about Black women being oppressed in this country.” I thought, “They’re making me sound so smart!” Same thing with “No Heart at All,” which a lot of people have read a lot into and interpreted as being about the president. Okay, but that goes for anyone who doesn’t have one.

That’s interesting about “Under My Thumb.” There’s a power to a woman flipping a song as Aretha did with Otis Redding’s “Respect.” That’s a completely different song sung from a woman’s perspective.

Yeah, to me, a guy singing that is just not right. Doesn’t work. Like, I couldn’t do some standard songs, as much as I love them. I would never want to sing things like “I’d Rather Go Blind” because, shit, I don’t want to go blind. You want to go? Get to steppin’! I don’t need you here. You know what I mean? It’s like this great love song but it leaves me saying, screw that. Peace out.

And you’d never think of Etta James as a pushover in any way! You were close with Koko Taylor, who turned some songs around as well.

She did! “I’m a Woman” was her turning the tables on men. I was devastated when we lost her [in 2009] because she always checked on me. She was so worried about me being in this business because of what she went through with her musicians and managers. Meanwhile, I’m out on the road with all these square guys that only drink herbal tea and don’t even smoke cigarettes. This was not her experience at all! I don’t think that she realized that it was just a different time. She had managers stealing money and disappearing into crack dens. She went through some stuff and wanted to make sure that I could avoid them.

You have a very interesting relationship with your manager, John Hahn, who is also your primary songwriter. How did that develop?

I met John when I was 8 years old. When my friends came around, I’d say, “This is Mr. John Hahn and he’s my manager.” Really, he was working with my father and I was just a little kid talking shit. But when I was about 12, he wrote me a song called “Daddy’s Little Girl” for fun. I started to go sit in with my dad. Now fast forward 33 years or so, and John and I talk every day on the phone, about everything. Having someone who knows me so well write songs is like having a tailor make you a suit. These songs are tailor-made to me, and I’m very fortunate to have that.

Your father was a great songwriter who wrote simple but profound lyrics that really resonated with me. Obviously you agree because almost every album you do one of his tunes, this time “Love Song.”

Yes, thank you! People have suggested I could do a whole record of my daddy’s songs, but this is my subtle way of doing it. I’ve already done ten of them. And, I got to tell you, I do believe that my little boy Johnny is my father reincarnated. He acts just like him. He’s three-and-a-half years old, and is so damn sure of himself. This kid knows who he is. He is arrogant in his confidence, and I always felt my father to be that way. Kind and sweet, but definitely sure of himself. You couldn’t tell him who he was, because he knew. And this little boy is all that and a bag of chips. By the way, my dad knew that I was going to be a singer the second that I came out of the womb.

That’s amazing. How?

I don’t know, but he told my mother when she was holding me in her arms, “She’s going to be a singer.”

And you always feel that way?

No! I did not have the confidence to be a singer. I never wanted to be in front of people. Audiences scared me. I’d always ask my dad how he could get up there in front of all those people and perform. That was always a problem for me.

But you did it from such a young age. I saw you when you were about 12!

I did, but I never was comfortable with it. And it’s now my favorite part. The music business sucks, but performing in front of people is the most amazing feeling in the world. That didn’t come to me until I got older, and became more confident in myself. I had to grow up. Eventually I realized this is who I am.

When was that? You put out your first record at 19.

It’s gotten better over the years. You’re always a work in progress. I started out as a child, and a certain confidence comes in when you’ve been doing it a couple of decades! You never ever stop paying your dues, but I’ve now accepted me wholeheartedly.

(Editor’s Note: Read the second half of our interview with Shemekia Copeland here.)

Photo credit: Mike White

Susan Tedeschi on Evolving, Encouragement, and Electric Guitar (Part 2 of 2)

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Susan Tedeschi may stand in the center of the Tedeschi Trucks Band but she is quick to give ample credit to her fellow bandmates for setting the right tone on the bus and on the road. With a new album, Signs, she certainly shines as a vocalist and an instrumentalist — and that confidence comes through in conversation, too. Engaged with the world around her, she’s quick to talk about the need to evolve, the encouragement she gives and receives in the music, and the common thread that runs through all 12 members of the Grammy-winning ensemble.

Editor’s Note: Read the first part of our Artist of the Month interview with Derek Trucks. Both interviews were conducted before the death of band keyboardist Kofi Burbridge in February.

BGS: Listening to this record, it was like a reminder of why the word “band” is an important part of this project. On that first track, everybody has a moment – all the vocalists and the musicians. Why did “Signs, Hard Times” seem like the right song to lead this album?

Tedeschi: Basically for exactly what you just said. It’s letting everybody hear a little bit about who the band is. Also, there’s a lot going on right now. And also, there are a lot of obvious signs, whether it’s political or environmental, or just living. So it seemed to fit.

Do you all get into heavy conversations on the bus? There are some topical songs on this record. Does that carry over on the road?

Oh yeah, a lot. This is such an interesting time for me. I was born in 1970 so I’ve seen a lot of different presidents come and go, and a lot of different mindsets and people who think a certain way. And I just can’t believe that this is going on now, in 2019, almost 2020. I feel like, “Come on, people, we can do better than this. We can evolve.” I just feel like we need to evolve as a species. I feel like we’re not keeping up with technology, we’re not keeping up with science and facts. It’s people and their egos that are in power, that are running things and not using common sense. It just doesn’t make sense.

This album has some heavy songs, but there are also messages of encouragement. I’m thinking of songs like “Still Your Mind.” Even as you’re presenting that message to your audience, does it resonate with you as well? Kind of telling yourself to hang in there?

Yeah, that’s a song that Derek wrote. He’s a very Zen character in real life, so it makes sense that he would write that. He’s very good at steering the ship and being a great captain to all of us, and keeping us eyes-forward and moving ahead, and being positive and learning to breathe and take your time. The lyrics of that are really encouraging and positive.

And it started instrumentally. I think Kofi was playing some of the piano stuff at soundcheck and then Derek started playing some of that stuff and it formed organically. Derek started to write words to it and would bring pieces to me and ask, ‘What do you think of this?’ I would say, ‘Oh, that’s great!’ or ‘Maybe move these words around….’ But I tried not to do much because I wanted him to have that tune.

We try to do that a lot with each other. Derek, Mike Mattison and I write most of the songs, but Mike wrote a lot for this record. I mean, he is our scholar so we put him to work. He’s got ideas for days, and it’s amazing because it shows the range of his writing. He’s got a song like “Hard Case,” which is really light and fun, and then you have a song like “Strengthen What Remains,” which is really melancholy and sad, but at the same time, real hopeful. He also write “They Don’t Shine,” which sounds like a pop hit. He has a lot of a different angles in his writing.

I read that you started playing electric guitar in your 20s. Were you playing acoustic before that?

Yeah, I played acoustic growing up, starting at 14 or 15. My dad gave me one of his old Martins when I was about 15 for Christmas one year and I cried because I was so excited. I wrote a bunch of songs on that, and that’s when I first started songwriting. I didn’t play electric guitar until I was about 22 or 23. I had graduated college at 20, so I was out of college for a couple of years before I ever picked up a guitar, other than acoustic. I was playing acoustic at shows but it was more folky and songwriter-y kind of stuff.

Then I fell in love with blues. I had some friends who used to play at Johnny D’s in Somerville, Massachusetts, every Sunday for the blues jam. They needed singers so they asked me to come down, and then I realized, “Well, shoot, this would be a great place to try out playing the guitar.” There weren’t a lot of people there and it was pretty chill, so that’s what I did. I would go down and sing a few tunes, then I’d start playing rhythm. I never really soloed for the first couple of years on electric. I just wanted to learn to learn how to play rhythm and play along with stuff so I could try to accompany myself while singing.

I played along with a lot of Freddie King and Johnny Guitar Watson and Otis Rush and Magic Sam – and I fell in love with blues. I wore out Big Mama Thornton’s Hound Dog record and Koko Taylor and all sorts of stuff. I fell in love with it and I realized, “This is what I want to do. I want to be Freddie King and Johnny Guitar Watson!” It’s funny because I did a tour with Etta James and she asked me, “Who are your influences? Who do you want to be?” I said, “I want to be Johnny Guitar Watson.” And she said, “Ah! That’s who I want to be!” [Laughs]

For guitarists who look up to you, can you give advice on how to play tastefully?

Yeah! Well, for one, don’t play real loud unless you know what you’re doing. A lot of people plow through as loud as they can. It’s like, “What are you doing? That’s not music. You’ve got to blend with the people you’re playing with.” Another thing is to actually play along with records. I did that a lot and it was very beneficial. I can’t get over how much you can learn by playing along with records and listening, so that’s some pretty good advice.

Another thing is, try not to just play riffs. If you’re trying to solo, don’t be like, ‘Oh, I love this riff and I’m going to fit it in here.’ Work on stuff and practice stuff, and then have it be in your arsenal. But think about singing a melody, like you’re trying to tell a story, if you’re going to solo. I mean, I’m still learning how to do all this stuff. I am by no means a badass guitar player. I always have so much to learn, and it’s amazing being able to be in a band with Derek because he’s one of the best.

I just feel like there’s so much to learn on guitar. You can never learn it all. Don’t think you know it all because you don’t. And listen to people like Ralph Towner. They’ll blow your mind, like, “What the heck? That’s one guy playing all those parts?” So, I enjoy it but I know my limits and my strengths on guitar. But I feel like I can sing anything. I’ve been able to sing a lot of different styles of music. I feel very blessed that way. So I’m just learning to get proficient on guitar like I am vocally.

I like the fact that this band has black musicians and white musicians, older musicians and younger musicians, men and women – it looks like the world we live in, you know?

It is, absolutely.

You have 12 people working together every night. Is there a common thread that runs through all of you?

Yeah. We love each other. [Laughs] Everybody’s a good person and communicates well and cares about each other and has respect for each other. Musically we come from a bunch of different backgrounds but we all love blues and gospel and soul music. Some people love jazz, some people love country or bluegrass. There are a lot of different places that people are pulling from. Everybody’s educating everybody all the time in different areas, which is really cool.

And we just like hanging out. We like to go eat together, do laundry together. We’re on the road like a married couple – and we’re actually a married couple and they put up with us, so that’s pretty rad. It’s a really special band, and you know, there is something to that – where people come and see our band and see the variety up there and how we live together and travel the world together. People see us coming!

Photo credit: Shervin Laivez
Illustration: Zachary Johnson

3×3: Jenn Rawling on Climate Change, Rainy Days, and Etta James

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Artist: Jenn Rawling
Hometown: Sheboygan WI
Latest Album: Golden Colors
Personal Nicknames: Chooch

Blue cosmic hand. #workingartist #paintthestuff

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If you could go back (or forward) to live in any decade, when would you choose?

Because of climate change, I’m actually terrified to go too far into the future, so let’s go back about 200,000 years. I’ve always been curious about Neanderthals.

Who would be your dream co-writer?

Old-school, non-sold-out REM — Michael Stipe.

If a song started playing every time you entered the room, what would you want it to be?

“At Last” by Etta James

What was your favorite grade in school?

Fifth

What are you most afraid of?

Blood draws … so gross.

Who is your celebrity crush?

I have equal parts crush on Jon Snow & Ygritte, but she died so quickly, no real bond developed.

💙 Horse Gulch. #durango #horsegulch #meadowwalker

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Pickles or olives?

Pickles

Plane, train, or automobile?

Bike. Foot.

Which is worse — rainy days or Mondays?

Rainy days. I just moved from Portland after 20 years. Can’t take it anymore.

MIXTAPE: Bette Smith’s Soul Salvation

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Who doesn’t like soul music? Come on! My big brother Junior absolutely loved it, too. Also, he was my protector throughout my rough and tumble childhood growing up in gang-infested Bedford Stuyvesant, Brooklyn. I stood there, as he lay dying from kidney failure, under that heartless hospital sign that read, “Do Not Resuscitate.” I sang to him at his bedside at Kings County Hospital, trying to maintain my composure. At the time, I was completing my bachelor’s of science degree with an emphasis in creative arts therapy. Overcome with emotion, I sang to him our favorites songs. — Bette Smith

Donny Hathaway — “He Ain’t Heavy, He’s My Brother”

Sometimes this soul/gospel powerhouse moves me to tears, especially when Hathaway utters the title lines “He ain’t heavy, he’s my brother …” It only adds to the impact when I look at the profile of Hathaway and see the striking resemblance to my dear brother Junior. It’s like wow, wow, wow!

Otis Redding — “The Happy Song”

Yes, everyone knows Pharrell Williams’ recent hit with the similar title, but check out Otis’s brilliant soul ditty. Simply put, this song makes me feel happy whenever I’m down! Like Bounty, it’s the “quicker picker-upper!”

Bill Withers — “Ain’t No Sunshine”

I will never forget the “Do Not Resuscitate” request, which broke my heart on account of my big bother passing away just a week afterward. Now, every time I sing this song, I remember him on his deathbed, saying to me “Keep singing no matter what.” And especially this song. Now, wherever I travel for gigs, I hear that same old song playing on the radio, or by a live band at Louis Armstrong Airport in New Orleans, or pumping through the speakers at the Memphis airport, or the t-shirt store in Hawaii, or at the bar at La Guardia. I am grateful that he’s letting me know that he’s still with me. And Junior continues to make his presence known — loud and clear.

Esther Philips — “Try Me” 

I loved Esther Philips as soon as I heard her sassy and soulful voice. The way she enunciates her words is just so classy. I very much relate to her cheeky and heartfelt style — often delivering it at the same time! See also “Just Like a Fish.”

Otis Redding — “Try a Little Tenderness”

Although I recall hearing this song in classic movies like The Crying Game, it wasn’t until earlier this year I discovered, on YouTube, Otis Redding’s live in London version. Mr. Redding does like a gazillion encores and really brings the house down. What an inspiring performance! It’s really influenced the way I delivered my songs from that point on. Otis encourages me to “break down the wall” that separates the singer from the audience.

Sugar Pie DeSanto / Etta James — “In The Basement”

This is one of the ultimate “get-down” songs. But, what else could I expect from collaboration between two soul goddesses — Etta James and Sugar Pie DeSanto?

Nina Simone — “Ain’t Got No — I Got Life” 

What can I say about this inspirational song that hasn’t already been said by the original High Priestess of Soul? It’s one of those songs that gets you up and off to work on a rainy Monday morning, when you’d rather call in sick and stay in bed all day. (Or why not just stay in bed all day and listen to it?) Either way, it makes you feel grateful just to be alive.

Charles Bradley — “Changes”

This tune was written by heavy metal legends Black Sabbath, but Bradley transforms it into an iconic soulful vibe with his poignant voice. It makes me experience the emotion of regret for every experience of deep friendship that I somehow let slip away because of my inherent shyness. Ugh!

Wilson Pickett — “Mama Told Me”

This song has a fiery, up-beat tempo complete with Wilson’s smooth timeless lyrical interpretation, which I enjoy so much.

Nina Simone — “I Put a Spell on You”

This hauntingly “gutsy” song makes me feel empowered and vulnerable — simultaneously.

Etta James — “I’d Rather Go Blind”

A lawyer who moonlights as my stand-by drummer once said to me, “I never really understood the meaning of that song, until I heard you sing it.” What a compliment! This tune, which I was once hesitant to perform because it’s emotionally demanding, really gets to me. Now I love performing it, as well as listening to it. It’s the ultimate “break up” song.

Danny White — “Kiss Tomorrow Goodbye” 

Songs like this remind me of when my Muhammad Ali-looking big brother tapped his size 15 foot along the cold, hard, aluminum hospital bed frame in time to my singing classic soul tunes. And, like the proverbial “Little Drummer Boy,” I sang my best for him. But he winced with pain soon as I came to the end of my chanting. Then I sung one last verse before saying goodbye for what I didn’t know would turn out to be the last time.

Photo credit: Shervin Lainez

3×3: J.E. Sunde on Sad Songs, Greedy Bastards, and Unsurprising Surprises

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Artist: J.E. Sunde
Hometown: Minneapolis, MN
Latest Album: Now I Feel Adored
Personal Nicknames: Jon

 

Hey Madison! Playing at @crescendomdsn tonight! Kalispell goes on at 7pm

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If you had to live the life of a character in a song, which song would you choose?

Ha! That’s hard. I tend to like the sad songs, and it tends to be that the folks in those songs are rather sad themselves. How about Etta James’s song “At Last”? I wouldn’t mind a bit more of that sense of relief and surprise when it comes to love.

Where would you most like to live or visit that you haven’t yet?

I am really drawn to Reykjavik, Iceland.

What was the last thing that made you really mad?

After watching Inside Job and learning more about how people and organizations driven by greed, entitlement, and no sense of responsibility preyed on folks during the housing crisis and recession. And then that none of the responsible parties and organizations were punished for this. That made me pretty furious.

Which Judd is your favorite — Naomi, Wynonna, Ashley, Apatow, or Hirsch?

Judd Apatow

Whose career do you admire the most?

Tom Waits. The man is incredible and has crafted a beautifully individual career.

What are you reading right now?

I’m currently reading Silence by Shusaku Endo.

Whiskey, water, or wine?

Whiskey

Facebook or Twitter?

Facebook, I guess, though both exhaust me.

Grammys or Oscars?

Oscars. There’s a bit more romance to that one. Also, it seems like the same six folks get Grammys every year and, inevitably, Paul McCartney will be the “surprise” guest performer.

Photo credit: Joshua Ford

The Sound of the Shoals

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Attempts to codify the “Muscle Shoals sound,” which fueled a plethora of rhythm and blues hits in the ‘60s and ‘70s, often result in anthropomorphizing. Musicians, producers, and fans alike refer to its heart, its pulse, its gut, and, above all, its soul. Originating in the Shoals — a group of small towns located along the Tennessee River in northwest Alabama — it drew musical heavyweights like Aretha Franklin, Etta James, the Rolling Stones, and Bob Dylan. Now, the public can experience a slice of that musical history. The success of filmmaker Greg Camalier’s 2013 documentary, Muscle Shoals, prompted Beats Electronics and Google to put up nearly $1 million for the restoration of Muscle Shoals Sound Studios, the site of some of the region’s most legendary recordings. While the studio just reopened for tours on January 9, the Alabama Tourism Department has already named it the state’s top attraction for 2017.

Located at 3614 Jackson Highway in Sheffield, Alabama, the studio dates back to 1969, when the session musicians at a neighboring musical hallmark, FAME Studios, decided to open their own facility. Affectionately known as the Swampers, the Muscle Shoals rhythm section consisted of Jimmy Johnson on guitar, David Hood on bass, Barry Beckett on keyboards, and Roger Hawkins on drums. During their time at FAME Studios working with founder Rick Hall, they played on classic records ranging from Wilson Pickett’s popular cover of “Mustang Sally,” to Aretha Franklin’s “I Never Loved a Man (the Way I Love You),” and Etta James’s rendition of “Come to Mama.” Their approach wasn’t anything like the arranged compositions played in the studios in New York. Instead, their process was reminiscent of a jam session: Once in the studio, they would noodle around on their instruments together and come up with an arrangement to go with the vocal. While Nashville had country music and Memphis had the blues, Muscle Shoals sat between the two, becoming a melting pot of Southern rock, R&B, and soul. And the Swampers, with their bass-heavy funk, helped catapult that sound. The result was a musical renaissance that crossed racial boundaries. During a time of extreme racial tension, some of the most iconic Black artists in music history would travel to the South to record with a white producer and a white band.

Four towns make up what is considered the Shoals: Florence, Sheffield, Tuscumbia, and Muscle Shoals, itself. With a combined population of around 71,000 according to the most recent census reports, this small, rural region was an unassuming hotbed for musical innovation. “It always seems to come out of the river, you know, even in Liverpool, you know, the Mersey sound and, of course, the Mississippi,” U2 frontman Bono says in the Muscle Shoals documentary. “And here you have the Tennessee River. It’s like the songs come out of the mud.”

The Shoals’ rich musical roots can be traced back to the water. The Yuchi Native American tribe first made note of the Tennessee River’s musical power, naming it “The River That Sings.” It was their belief that a woman in the river sang songs to protect them. Years later, the town of Florence became the birthplace of both WC Handy, known as the “Father of the Blues,” and Sam Phillips, the “Father of Rock ‘n’ Roll.” Phillips went on to become the owner of Sun Studios and Sun Records, putting Elvis Presley, Johnny Cash, and Jerry Lee Lewis on the map. Through Rick Hall’s production at FAME Studios, Muscle Shoals became the “Hit Recording Capital of the World,” with Jerry Wexler of Atlantic Records sending his artists to the Shoals to record.

Once the Swampers struck out on their own with the help of a loan from Wexler, Muscle Shoals Sound Studio was a haven for popular artists who flocked from recording hubs like New York City and Los Angeles in search of the “Muscle Shoals sound.” Cher became the first artist to record at Muscle Shoals Sound Studio, followed by the Rolling Stones, who recorded both “Wild Horses” and “Brown Sugar” from their 1971 album Sticky Fingers. Before long, the Swampers were cutting around 50 albums per year, with countless legendary artists. The shortlist includes Paul Simon, Boz Scaggs, Levon Helm, John Prine, Joan Baez, Cat Stevens, the Staple Singers, Willie Nelson, Santana, Leon Russell, Bob Dylan, and Bob Seger. (Yes, that’s the shortlist.)

Measuring about 75 feet by 25 feet, Muscle Shoals Sound Studio is located across from a cemetery and had once been a storage unit for headstones, grave slabs, and coffins. There’s something poetic about the fact that the very room that housed markers of death ended up becoming a space of remarkable rebirth. The Swampers closed the location in 1979, moving to 1000 Alabama Avenue. It was listed on the National Register of Historic Places and was sold to the Muscle Shoals Music Foundation in 2013.

Judy Hood, the wife of Swampers bassist David Hood, is the chair of the Muscle Shoals Music Foundation, which still owns and operates the studio. The facility’s recent renovations aim to bring an authentic Muscle Shoals recording experience to tourists. Replete with vintage recording equipment in the production booth, original guitars, basses, organs, pianos, amps, and retro chairs and paint colors, the atmosphere stays true to how the studio looked in the early ‘70s. Studio tours start in the basement, also known as the “den of debauchery,” where musicians hung out during breaks from recording. Visitors will also be able to visit the bathroom where Keith Richards wrote “Wild Horses,” the couch where Steve Winwood took a nap, and the “listening porch” where the Rolling Stones took smoke breaks. But most importantly, visitors will have access to archives of music, bringing the “Muscle Shoals sound” front and center. More than anything, the “Muscle Shoals sound” is a feeling, and visitors can now walk on hallowed ground and experience that Muscle Shoals soul firsthand.

“What music built there is not something that you can see with your eye,” Bono explains at the end of the Muscle Shoals documentary. “In fact, if you look at the recording studios, they were humble shells. But what they contained was an empire that crossed race and creed and ethnicity. It was revolutionary.”

Photos courtesy of Music Shoals Music Foundation