Brad Stivers - Took You Long Enough

2017 –VizzTone Label Group

By Phillip Smith; Sep 16, 2017

A finalist in the 2014 International Blues Challenge in Memphis and a staple in the Austin, Texas music scene, Brad Stivers’ debut album, “Took You Long Enough” is a wonderful blend of Sun Records, the Nashville Sound, and Southern R&B.  

The funky Jimmy Nolen-ish guitar riff draws me in to title track, “Took You Long Enough”.  Accented by Stivers’ smooth troubadour vocals, this is one killer track.  Stivers breaks out a tantalizing guitar solo on his mighty horn-infused cover of Ray Charles classic “You’re Just About to Lose Your Clown” which features outstanding performances by Mark Wilson on saxophone and Bukka Allen on B3.  Emily Gimble (ex-member of Asleep at the Wheel and granddaughter of Johnny Gimble from Bob Willis and His Texas Playboys) makes a guest appearance, lending her voice and piano mastery on a beautiful duet covering yet another amazing tune recorded by Ray Charles, “Here We Go Again”.

Being down and out never sounded so good as “Nickle and a Nail”, sung by the powerful and soulful voice of Malford Milligan. There’s a bit of a Robert Cray vibe which rings throughout this fabulous song.  A slow-burning ominous melody and Stivers’ delicious, twangy guitar delightfully provide the springboard for his heart-wrenching vocals in the brilliant original “Save Me”.  

I love his funky instrumental cover of James Brown’s “Cold Sweat”.  Bassist Bobby Perkins and drummer Nico Leophonte make for a tight-as-hell rhythm section while Stivers delivers a riveting performance to close out this spectacular recording.   

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For more information about Brad Stivers, visit his website ... www.bradstivers.com

The Shopkeeper – Film Review

Directed by Rain Perry

Release Date : Aug 21, 2017 – Shopkeeper, LLC

By Phillip Smith; July 2, 2017

The Shopkeeper, a warm and thoughtful documentary from folk rock singer/songwriter Rain Perry, sheds an eye-opening light on the current state of the music industry.  With a focal point of Mark Hallman’s Congress House Studio in Austin, Texas, the film takes a close look at the what it has taken over the past few decades to stay in the music game.

Delving into Hallman’s career as a musician, which spans nearly forty years, we get a glimpse of his earlier years as a member of the band Navarro, which happened to lead to simultaneously backing two legendary greats, Carole King and Dan Fogelberg. In the Eighties, after relocating to Texas, Hallman rented a house on two acres of land south of Austin to use for a pre-production studio, and he just never abandoned it. Over the years, The Congress House has become a haven for musicians from both near and far away.  Perry brilliantly relays the tale of the ever evolving business of music through the stories of Hallman and those who have worked with him, like Ani DiFranco, Tom Russell, Charlie Faye, Betty Soo, and Colin Gilmore.

In 1974, the music industry boasted $10.5 billion in sales, which grew to $19 billion in 1994.  With the introduction of the MP3 and file-sharing services of Napster, Pandora, and Spotify, record sales have plummeted. This not only affects the artists, it affects the studios as well.  Without the promise of record sales, the artists embrace newer technology which gives them the ability to inexpensively record at home, on devices which may be nothing more than an iPhone.  There is a price to pay for this.  The music itself takes a huge hit in quality, as it bypasses the step where those with extremely trained ears can take a really good song, and make it a great song.  Hallman, who is one of those extremely trained and talented figures, is noticing the changing trends every day.

I love the stories Perry draws from the musicians who all share a love for this sacred space and who might consider the studio a second home. The comradery surrounding those tales of overcoming whatever obstacles they had to overcome are truly the heart and soul of the film.   

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For more information regarding this film, visit these websites...
rainperry.com and shopkeepermovie.com

Charlie Faye & The Fayettes

2016 –  

By Phillip Smith; May 21, 2016

It’s about time someone took the bull by the horns to brush the dust off the classic girl group sound so embraced and adored in the Sixties.  Bringing that luscious sound to life again is Austin singer/songwriter Charlie Faye, who masterfully captures that carefree sound with eleven brand new original tracks.  Her backup singers, the Fayettes, BettySoo and Akina Adderley both have established and well-respected solo careers outside this charming trio.

Charlie Faye and the Fayettes start their debut album off with “Green Light”, a soulful and poppy feel-good treat about blossoming relationships. “Sweet Little Messages” walks the path between Motown and Memphis, dishing out beautiful harmonies peppered with Steve Cropper-like guitar licks.  There’s also a huge Stax sound on “Eastside” a lively dance-inducing track which draws attention to neighborhood gentrification.  This groovy track is definitely my favorite.

I love the combined sound of spaghetti-western surf guitar topped with the trippy psychedelic synth present on “Loving Names”.  It’s so hard to believe this is all brand new music.  When Faye sings “Coming Round the Bend” with her swirling and sugary sweet vocals, it sounds so good.  The song makes me feel nostalgic for the Phil Spector-produced Ronettes.    

It’s refreshing to hear a brand new take on a sound that’s been out of the spotlight for nearly forty years.  I would definitely like to see music of this style make a comeback.  It has been put away for far too long.