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Memphis
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Memphis
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From the brand
Track Listings
1 | Gone Baby Gone |
2 | So Good to Be Here |
3 | Mixed Up, Shook Up Girl |
4 | Rainy Night in Georgia |
5 | Love on a Two Way Street |
6 | Pearl of the Quarter |
7 | Cadillac Walk |
8 | Corrina, Corrina |
9 | Can I Change My Mind |
10 | Dry Spell |
11 | You Got Me Cryin' |
12 | Sunny Gone |
Editorial Reviews
Grammy-Award winning rock legend Boz Scaggs showcases both original songs and choice covers in his new album, MEMPHIS out March 5, 2013 on 429 Records. Produced by Steve Jordan (John Mayer), Memphis was recorded at Willie Mitchell legendary Royal Studio in Memphis, where the late Mitchell recorded Al Green and other hit music artists. Joining Scaggs on MEMPHIS are Willie Weeks (bass), Ray Parker Jr.. (guitars), Spooner Oldham (keyboards), the Memphis Horns, Lester Snell (string arrangements) and Steve Jordan (drums).
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 5.08 x 5.47 x 0.28 inches; 1.9 ounces
- Manufacturer : Concord Music Group
- Item model number : 26256794
- Original Release Date : 2013
- Date First Available : January 9, 2013
- Label : Concord Music Group
- ASIN : B00AYR2FOI
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #44,124 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #25 in Memphis Blues
- #1,024 in Blues Rock (CDs & Vinyl)
- Customer Reviews:
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Recorded at the legendary Willie Mitchell's Royal Studios, located in Memphis and established in 1956 as the operating studio of Hi Records, Scaggs' Memphis captures the inimitable feeling and foundation of the Memphis sound. The carefully crafted song selections on this project fully avails itself to that well known vibe, history and character, and proves that the Memphis sound is just as exciting today as it was back then.
The producer, Steve Jordan, and recording engineers Niko Bolas with Boo Lawrence Mitchell, help belay this project by knowing the strengths and craftsmanship of that sound, as well as the countless talent and abilities of the musicians. In this project, I sense that Jordan appreciates the blues as a spiritual feeling and therefore encourages the musicians to stretch out and give into the intensity and feeling of the given mood. I also feel it's that special approach that masters the accuracy and authenticity in Memphis, while taking on a natural outflow and without being over done.
Song selections on Memphis feature a diverse repertoire from blues, R&B, and folk genres. "Mixed Up, Shook Up Girl" is upbeat with an energetic rhythm that favorably contrasts with the mysterious and dark spirit of the lyrics. Similarly, this energy is intensified in "Cadillac Walk", which will either make you pound your hands on the steering wheel along with the hammering percussion rhythms and Scaggs' powerful vocals, or it will have you dancing and playing air guitar (or an up-right bass) along with the bouncing rockabilly vibe. In "So Good to Be Here" Scaggs beautifully acknowledges Al Green's identifiable and influential feel, and he also incorporates the distinctive Memphis R&B horn sound, also legendary with Green's style, through The Royal Horns.
The R&B flavor of Memphis progresses with sweet and saucy vocals on "Love on a Two Way Street" paired with Charles Hodges silky finesse on the organ and Jim Cox on the piano. The Royal Strings, and the piano and organ arrangements on this project are expressive and unique, and also stand out in "Pearl of the Quarter". "You've Got Me Cryin'" features Scaggs' on guitar, and his complimentary bluesy voice, in a swirling tempo with Rick Vito also on guitar
The bluesy mood segues into a warm and cozy gem, "Rainy Night in Georgia", wherein Scaggs' soft and low voice wraps around the familiar lyrics, giving his version of the song a distinguishing and seductive depth. This breathtaking style carries over in the lush vocals on "Can I Change My Mind", which intermingles with the sultry spoken background voice of Monet Owens, and Scaggs' tenderness in "Corrina, Corrina" rocks the listener gently in this beloved song.
I found "Dry Spell" to be the heart beat of this project, with a pulse of unsurpassable intensity as Scaggs sensationally nails the vocals in his natural and comfortable blues element, which delivers equally with Charlie Musselwhite on harmonica and Keb' Mo on slide dobro.
Scaggs' talent as a vocalist resonates further, felt in a certain and yet sorrowful mood that's elemental to the blues, in his original tracks "Gone Baby Gone" and "Sunny Gone", whereby he elegantly whispers raw sentiment into the lyrics "Snow bound by a lovely face, the quiet grace soothed me."
Simply put, from the ideal song selections, to the faultless musicianship, and even the sophisticated cover art, everything just falls together and fits the bill in "Memphis". After listening to this CD many times, not only does it get better and better, but I walk away with the impression that this music fits Scaggs like a tailored suit. His distinctive style, his insatiable energy, his skillful ability to learn and grow with new ideas of using his voice, and his passion for quality and perfectionism, means there's no denying that Boz Scaggs is a serious, respectable and highly professional musician who is fully engaged in his music.
Memphis just reinforces Boz Scaggs' musical mastery and reiterates his individual gift of flair; it's definitely one of his most intuitive projects, and it's unmistakably him.
If what you think of when you hear the name, Boz Scaggs is `Lowdown,' `Lido Shuffle,' and `We're All Alone,' then you've really been missing out on what Scaggs has been putting out since then. This is especially true of late, such that his newer songs don't sound like those at all. Thus, if you're looking to pick up where you left off with Silk Degrees by purchasing Memphis, you'll be disappointed.
If, on the other hand, you've followed Scaggs' career through the years, you will find that this album brings us full circle--albeit with a more mature and solid voice--back to how he was performing in the pre-Silk Degrees days. Here, we have flavors of `Moments,' `My Time,' and `Boz and Band.' You will also hear a lot more `Come on Home' sounds than those of `Silk Degrees' or the albums that immediately followed. This is especially true with the song `So Good to be Here,' a number previously recorded by Al Green.
In a variety of ways, the spirit of Al Green (yes, I know he's still alive) influences this whole album. I believe it was even recorded in a studio used by Green years ago. This influence and relationship is a long one, as both Boz and Al recorded `Old Time Lovin' long before `Silk Degrees' hit the market. In fact, while you're buying this CD, make sure you download Scaggs' version of that song (oh, ok, get Green's too).
This current album has 12 tracks, only a few of which were familiar to me. Scaggs offers a mellow, smooth rendition of `Corrina, Corrina'--in contrast to how it was performed by Dylan, BB King, and others. His version of `Rainy Night in Georgia' is ok, but it's been recorded by so many people, I wish he would have found something else to slip into that slot. Just hearing Scaggs sing `Love on a Two Way Street' is worth the purchase of the CD.
Consistent with some of the sounds from the `Coming Home' album--or more recently, what we heard from Scaggs on the Chris Gaffney Tribute CD--this album fits into the `smooth, mellow jazz' classification. In many ways, however, it's really hard to classify, as you will hear blues, R&B, jazz, and Boz--a unique combination that defies description. `Mixed Up/Shook up Girl' and `Cadillac Walk' are two of the peppier songs on this album, but if you're looking for spice, don't expect `What Can I Say' or `Breakdown Dead Ahead.'
Overall, it's great to have something new from Boz to listen to. I don't foresee these songs dominating the airwaves the way some of his earlier work did, but it's still a great album, with good flow, clean sound, and Scaggs' voice throughout. It's a nice CD to listen to while driving or to have in the background while at home. I can't imagine that anyone will be disappointed with the purchase of this CD and it's one you'll likely play on a regular basis.
A highlight for me is "Gone Baby Gone," an Al Green-style tune written by Scaggs that establishes just the right tone for this collection of songs ("album," for those too young to remember or care). I'm a big fan of Willy DeVille, and Scaggs' engaging version of "Mixed Up, Shook Up Girl" casts some deserving light on the work of the late performer and song writer. And while I happen to like DeVille's menacing interpretation of "Cadillac Walk" more, Scaggs' more rollicking take of the Moon Martin song is another highlight here. The gentle take on "Corrina, Corrina" is a change of pace that might quietly insinuate itself into your brain and/or heart.
Think of the title "Memphis" as a signpost that this is more Royal Studios in Memphis than "Silk Degrees" in the 1970s ... although fans of that album and "70s Boz" can like this a lot if they're willing to give Scaggs and his team a chance. New fans are welcome, as well, and should find a lot to like here.
This is music of and for the long haul. "Memphis" will grow on you, if you let it.
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Et à l’image du groupe the Eagles il sait se renouveler et ne ressasse pas toujours les mêmes morceaux !
It really is!