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.
“Jumpercable Blues” is a rambling tune that could have been plucked from the set list of a country jug band playing on a patio near Mobile. It’s a fun tune that doesn’t take it self too seriously. With lyrics like “HEY HEY, well well well, all ya’ll can go straight to hell”, “Jumpercable Blues” is about the feel of the track and the groove of the people playing it. It was probably written with the explicit intent of putting a smile on Jim’s face.
“The Meeting” is a percussive song that breaks things down a bit. With Mavis Staples filling in on the background vocals, there is a wagonload of soul and vibe present here that is missing from most modern day recordings.
“How I Wish My Train Would Come” slows the energy and the rhythmic elements down in exchange for a more thoughtful, melodic sensibility. A song about feeling just a bit out of place, “How I Wish My Train Would Come” is about getting back to that somewhere that just feels of ‘home’.
“Hear The Hills” is another slower paced song that begins with the very fitting first line “The sun is sinking low.” The lyrics tread on darker territory in a way that is very thought provoking. I can’t help but think of the few times I was privileged enough to meet, and even work with, Jim on a sessions around Ardent. Lyrics like “Rest easy partner, your troubles shall now cease” say more than I ever could here.
“Stuck Inside Of Mobile With the Memphis Blues Again” is a fitting Bob Dylan song to place on this album. The Deep South to Memphis connection is quite a fitting element that encompasses both the Allstars and Jim Dickinson alike. This rendition is very true to the Allstars musical style and feel, which helps to separate it from the various versions that this song has gone through over the years.
“Let It Roll” is where the NMA really hit their stride on this record. This song feels far older than the copyright date you see on the back of the CD. The vocals are rich and all the performances passionate. Dressed up in the format of a traditional blues song, the NMA’s “Let It Roll” manages to feel current and relevant in so many other ways.
“Ain’t No Grave” drags itself onto the record with a very lethargic dirgy vibe. A simple tune is made complex by giving the lyrics an uplifting point of view that shows a hint of reflection and retrospective thought. This positive outlook brings back some of the hope about life, love and fatherly adoration.
“Ol’ Cannonball” follows up “Ain’t No Grave” in good form with a more upbeat version of a similar instrumentation. If Keys to the Kingdom were a movie soundtrack, this is the part where they would all be walking down the old, no longer used, railroad tracks. The vocals are gritty and real with vibe and character that oozes throughout this track as the harmonica, performed by Alvin Young Blood Hart, ties the whole song together.
The words ‘aged’ and ‘rustic’ are foremost on the mind from the moment “New Orleans Walkin’ Dead” comes on. Simple instrumentation and rhythms meet an overdriven color swatch that makes the whole track feel like it is being broadcast straight from an AM radio.
“Ain’t None O’ Mine” gets back to the driving, edgy NMA’s songwriting that I have always been a fan of. Possibly my personal favorite track, “Ain’t None O’ Mine” is a captivating tune that perfectly blends their traditional blues roots with their unique forceful drive. The guitar lead/solo work is captivating and interesting. I find something exciting and new drawing my ear each time I listen to this song.
“Jellyrollin’ All Over Heaven” is an appropriate change of pace to wrap up this album. The fun, upbeat, moving elements help to bring Keys to the Kingdom to a resounding close. For the people that knew Jim closely, I would think that this song would bring back nothing but great memories of a good friend and influential soul. Just as it sets the scene for more of the heart felt music that Jim loved to take place in the future.
Jason Gillespie is an up and coming producer/engineer whose work includes critically acclaimed albums and soundtracks including Ruthie Foster’s Grammy nominated album “The Truth According to Ruthie Foster”, Puscifer’s “V is for Vagina”, Wax Fang’s “La La Land” and the Great Debaters soundtrack.
