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.
No. 1 “Walking Papers”
If you can sit still during this introductory instrumental, you are truly either brain-dead or at least soul-dead. Booker makes the Hammond sing with as much authority as writers Isaac Hayes and David Porter had intended for The Commodores’ “Who’s Making Love” in ’67, all of whom get a hats off to from Booker. Though the melody is obvious, one who is not in the know must wonder if he didn’t write this as a demo for one of the Stax artists; based on the style and trimmings of most Stax hits. Albeit two grooves swinging back and forth, like a grandfather clock, each is as infectious as the common cold.
No. 2 “Crazy”
THIS is the stuff that brought about phrases such as “Pop Music 101.” Again, you can hear, if you listen close, someone distantly singing the melody of this minor-keyed, teary-eyed spirit. It is the sound and melody of a broken heart, of a girl moved away, of a dear friend meeting an early demise. The “singer” gets angry at times with his lot in life, and Booker will let the sun through. For single bars there are glimmers of hope. But only to be dashed on the rocks again on the rainy shore of reality. That is one BEAUTIFUL piece, Mr. Jones.
No. 3 “Progress (featuring Yim Yames)”
Sounding as much as ever like a ‘60s Stax mid-tempo ballad, there’s a message in this song: a little bit at a time and you will get there. Sung by Yim Yames, (Jim James’ Booker moniker …Yim is on the video of “Progress”) the voice, instruments and Booker’s keys weave in and out of each other … as the ROOTS’ production team supply the rhythm track. It’s only the third song, and my ears hear a third hit.
No. 4 “The Hive”
This composition comes from the more cerebral part of Booker’s musical psyche. Feeling proud, even triumphant at times, Booker is telling us through his art that we can hang with him and enjoy his metaphysical wanderings. And when we do, it will approach a spiritual experience. For those who “get it,” that is. Well Booker, I get it, got it, and want more of it. And when they are finally available to the public, they too will be embraced musically, spiritually, and SOULFULLY!
No. 5 “Down in Memphis (featuring Booker T. )”
Well now, who who is this singing? This voice sure cottons to the music. Wouldn’t you know it? It’s the man himself, Booker, singing. He has one of the funkiest voices in the world, singing one of the funkiest songs ever written! Of course he will groove with himself! This one just plain old gets down on it! It gives us pieces of Memphis history: music, places and most importantly, les gens de Memphis. Without the people, what would any city be? He mentions the greats from the past and the places that put the funky town on the map. Though the kids may not know what to think of this, if they have one musical bone out of 206, there’s no way they won’t listen. Bravo Zulu, Mr. Jones.
No.6 “Everything is Everything “
Named after the once Memphisly ubiquitous Stax motto, it’s easy to understand the why of the name “Everything is Everything.” Because it IS! It sounds like one of his early, almost psychedelic forays he gained praise for while there. There were the “Green Onions” vibes, and these vibes. Trying about anything to not be stuck with the prior for the remainder of his life, Booker took quite a few songs in a direction that at the time, you simply couldn’t bag. And they lift your heart and your soul toward the sky and make one feel so damned happy that he has music in his life. Back soon, I must play this one a few more times.
No.7 “Rent Party”
This thought-provoking keyboard connection is the 7th in a row of outstanding winners that seem to just keep appearing out of nowhere on the horizons. It conjures vivid visions of the problems of today’s world, from starvation to genocide to even our economic situation. But you can hear, as the song develops, that it does NOT make Booker T. Jones a happy man, as his organ gets angrier and more imposing as it goes along. I think Booker is saying if we get together under the protection of his musical vision, we can do anything: We can right ANY wrong and make peace with even the most formidable foe.
No.8 “Representing Memphis (featuring Matt Berringer and Sharon Jones)”
From the tom-tom intro, Sharon Jones takes control of this jewel, then behind her comes the edgy but funky-with-a-smile Matt Berringer from The National. But the winner is when they both sing together on the SO much fun chorus! Neither character blocks out the other, even as tight as the chorus vocal tongue-twists it’s way straight to a sentimental vision of downtown Memphis. I am absolutely sure that the folks of that river town will be honored to hear this tribute to their city, from their unique style of living to their Bible belted pride of the Almighty, and it’s a warning the listener not to dis the brothers’ and sisters’ way of life. Highly entertaining.
http://soundcloud.com/antirecords/booker-t-jones-representing
No.9 “The Vamp”
Funkiest YET!!! Booker can make a hard right in the middle of downtown NYC against a red light with 14 cops watching … and he will easily get away with it. This song, while acting a pendulum between funk and technique, allows Booker to “show off” a bit, as he demonstrates a very modest bit of keyboard pyrotechnics. It’s a journey for the funkster and the musician … but mostly for the listener who gets to ride on another spoke in the Booker-wheel, with Memphis in the hub and Anywhere Musical, USA, Earth, Milky-Way Galaxy at the end of any road … any road from Memphis, that is.
No.10 “Harlem House”
This is what Jones does best. Composes an entire entity based on a simple melody. He starts there, then adds a beam of wood off to the left, finally coming to rest as he rides down a welded rod of gold to the point he started. Each time around, he will keep the spotlight by adding a simple, new counter point to the existing structure. This time it may be a fountain of fire opposite the beam. It stays interesting, as Booker keeps a watchful eye on the flame. Making sure it never consumes that beam, lest the beautiful construct come down around him. It’s his confidence that re-assures all, as only he knows how thin the tightrope really is.
No. 11 “The Bronx (featuring Lou Reed)”
Aw heck. We CAN’T be here already! How sad. And the last offering begins that exact mood. A sad, lonely melody walks us to the sad guitar in the intro. THEN, of course, after the sad bass has us in our seats at last, the apex of sadness … Lou Reed, enters the room with his glazed, overcast vision of those high-rise projects that all look the same when you are coming in from LaGuardia. The glisten of Manhattan in the distance starts your heart racing, only to slow a few beats with the view of The Bronx. That view, the Emerald City seen through the haze of reality will make most wonder if the skyscrapers are but a mirage, while those red-brick nightmares, their balconies complete with laundry hanging over them, present themselves worn from trying to be proud but failing … just too many times. That’s a rough vision of what these unlikely musical pairing is trying to read in each other’s performance. Though there’s no doubt that Reed is performing from the heart, via experience, just the fact that Booker Jones, having been somewhere similar and is able to stretch that picture into this one before him, gives you the best glimpse yet into how mind-bogglingly precise his vision can be.
Booker sees all, hears more, and exhibits a talent far beyond that of mortal men. Up there, in the sky … it’s a bird! No, it’s a plane. Close! It’s Booker T. Jones and a handful of like friends. A strange visitor from another planet who can bend minds with his bare hands. Yet, unlike Clark Kent, he needs no disguise; no introduction. Because when The Book plays, people listen and then listen more…
—John Hampton
John Hampton is a Grammy winning producer/recording engineer whose experience includes working on albums with The Dead Weather, The Gin Blossoms, The White Stripes, The Replacements, The Cramps, Alex Chilton and John Kilzer.
