Taylor Bradshaw: “The Man I’d Rather Be” (2023) CD Review

Taylor Bradshaw is a singer and songwriter based in New York. He released his first full-length album, Twine, in 2020. That album featured original material, which was mostly a good raw rock, with some softer songs with folk elements, specifically “Laura,” “Pull The Rug” and the title track (interestingly, the three shortest tracks on the disc). He has now followed that with an EP titled The Man I’d Rather Be, this one also containing original material. With this release, he has moved more decidedly into the folk realm than the previous release, the music here more in line with those three tracks I mentioned than the rest of that earlier album. Joining him on these tracks is Hamilton McKay on banjo and pedal steel. Taylor Bradshaw chose an unusual way to initially present these tracks online, introducing them over the course of five days, each day focusing on one song and giving the story behind its writing and recording. This release was produced by Julian Giaimo.

The disc opens with “Unkind.” The music in the opening section of the song is pretty and hopeful, with perhaps even a touch of the ethereal. Interestingly, when he begins to sing, the lyrics take us to a more serious place, dealing with a breakup. “I don’t know, let’s take it a step at a time/I think you want to see him again/Yes, in fact I know he’s always on your mind.” It is like he wants the music to take him to a more cheerful and wonderful place, for the music to guide him. Or perhaps the music itself wishes to accomplish that. And it does seem to work. Haven’t you found that music has helped in that regard, especially during these last several troubling years? I certainly have. And Taylor Bradshaw’s voice has a friendly, honest feel, a good companion on this strange road we’ve found ourselves on.

“Firefly” has a strong sense of rhythm. Here he sings, “You reach your hand above/And try to catch a firefly/But it’s gone, gone gone/Gone into the night.” An experience we can all relate to. The song then kicks in, taking on some rock elements. And the person he is speaking to becomes the firefly, or is likened to one, an interesting and effective comparison. And so he sings of her, “Now you’ve packed your bags and flown away/Left me with this broken dream/You’re gone, gone, gone.” This track features some cool work on pedal steel. Then “The Final Night” begins in a mellower place, and features a kind of sweet whistling part. “In another world where we both could hide/I’d stay with you all my life/I say, ‘Don’t be afraid,’ but my eyes betray/Tomorrow means goodbye.” The acoustic instrumentation gives the song a more immediate feel, which works with its theme and feel.

“Not Your Man” is about a connection between two people that is happening over the phone, but with the knowledge that one day they’ll be together again and that a line might be difficult to avoid crossing. “Start calling me when you’re sick of him/And I’ll understand/But you’re throwing me in the thick of it/And I’m not your man.” This track features some nice work on banjo. Then in the second half, the song takes a turn, taking on more power, a steady beat, a greater energy. It then returns to the softer place before the end. The EP concludes with its title track, “The Man I’d Rather Be.” It’s a compelling title, and when the phrase first shows up in the song, it is not in the way you might expect. Taylor Bradshaw sings, “Are you talking to me/Or straight through me/Or to someone else?/Your father/Or your mother/Or your boyfriend/Or the man I’d rather be?” It is interesting, for this man he’d rather be seems to be in relation to someone else’s perception, this idea of a man that he thinks this woman might be speaking to. Also compelling is the idea that when we are speaking to someone, we may in fact be speaking to a collection of people, people from our lives, trying to make some sense of unresolved trouble from our past. And then it changes, as he turns the question on himself. And, really, how often when we are speaking to another person are we really speaking to ourselves? “Strange how we say each other’s names/When we’re speaking to ourselves/Change is for the clinically insane.” This track features some beautiful vocal work.

CD Track List

1. Unkind
2. Firefly
3. The Final Night
4. Not Your Man
5. The Man I’d Rather Be

The Man I’d Rather Be was released on April 15, 2023.

Brief Notes On New Jazz Releases

Here are notes on a few new jazz releases you might want to check out.

Wayne Alpern: “Saxologoy” – Wayne Alpern is a composer and arranger who offers interesting, unusual and delicious takes on some well-known songs. On his new album, Saxology, the musicians performing the music are the New York Saxophone Quartet, made up of Steve Kenyon on soprano saxophone, Todd Groves on alto saxophone, Dave Noland on tenor saxophone, and John Winder on baritone saxophone. The album opens with “All The Things You Are,” which has a light and free feel, the instruments acting like characters who are just delighted to be going about the business of living and communicating. This is a short track, approximately a minute and a half. In fact, a lot of the tracks on this release are fairly short, the music always moving forward. “All The Things You Are” is followed by a good rendition of “Anthropology” that feels both gentle and lively. There is a joy to the delivery of “Do Re Mi,” a tune from The Sound Of Music (a movie that I still have not seen). This rendition is appropriately playful, but it is that more serious section toward the end that I appreciate the most, just before that final bit of silliness at the track’s conclusion. Also from that musical comes “The Lonely Goatherd,” this version delivered at a slower pace (and of course containing no yodeling). One of my personal favorite tracks is “Fascinating Rhythm.” As I’ve said on other occasions, you can never go wrong with Gershwin. And this is a completely wonderful rendition. It has a strong New York vibe about it. That’s followed by a pretty and contemplative take on The Beatles’ “You’ve Got To Hide Your Love Away” (here titled “Hide Your Love Away”), the first of two Beatles songs covered on this album. The second is “When I’m Sixty-Four,” which closes the album. I love this arrangement of the song, which starts off slower than usual, and then after a minute or so becomes rather playful. It, surprisingly, has a brief vocal section toward the end, and is another of my favorite tracks. Another highlight is “Lady Is A Tramp,” this version both popping and having warmth. That is followed by perhaps the most fun choice of covers on this disc, “Little Darlin’,” a 1950s song most famously done by The Diamonds. That in turn is followed by another of the disc’s highlights, a completely delightful rendition of “Moten Swing.” This disc also contains a moving and beautiful rendition of “Turn Out The Stars.” This album was released on March 31, 2023.  

Matt Barber: “The Song Is You” – On his new release, vocalist Matt Barber delivers excellent renditions of some of his favorite standards. Half of the tracks feature Bradley Young on piano, and the album is dedicated to him. Bradley Young died in October of 2021. Also joining Matt Barber on this release are Marc LeBrun on piano, Brian Ward on bass, David Enos on bass, and Greg Sadler on drums, along with some guests on various tracks. The album opens with “Oh! Look At Me Now,” a song that is still largely associated with Frank Sinatra. Matt Barber gives a strong vocal performance here, and this track features some a really good lead by Marc LeBrun on piano. Joakim Toftgaard plays trombone on this track. That’s followed by the album’s title track, “The Song Is You,” the first of the album’s tracks to feature Bradley Young, and his great touch on the keys is felt from the song’s opening moments. Matt Barber then changes gears with “East Of The Sun And West Of The Moon,” which features a string arrangement and guitar work by Stephan Oberhoff, and a wonderful lead on flugelhorn by Tony Guerrero. I love the energetic rendition of “Almost Like Being In Love,” which includes a horn section. Tony Guerrero is on trumpet, Mark Goldsbury is on saxophone, and Joakim Toftgaard is on trombone, and they all deliver some great stuff here. This track also features some delicious drumming and a joyful vocal performance. Another of the disc’s highlights is “You Make Me Feel So Young,” another song that is associated with Frank Sinatra. This one begins with bass and some finger snaps, establishing a cool atmosphere. I really like Brian Ward’s work here. A warm and cheerful vocal performance and more wonderful work by Bradley Young on piano also make this track stand out. And before the end there are short, delightful drum solos. This album also includes an interesting version of “All The Things You Are,” with Matt Barber’s vocals supported by just guitar and piccolo. Pablo Sune is on guitar, and Mack Goldsbury is on piccolo. Matt Barber also gives us a nice rendition of Billy Joel’s “Just The Way You Are” (which is the eighth track, not the ninth, as listed on the case). Dori Amarilio plays guitar on that track. A beautiful rendition of “Moon River” is another of the disc’s highlights, featuring Bradley Young on piano, and including a good lead on bass. The album concludes with “Moments In Time,” an original composition, with lyrics by Matt Barber and music by Day Kelly. This track features different musicians, with Day Kelly on piano and soprano saxophone, Barry Rigby on bass, Daniel Dennis on drums, and Madison Hardy on backing vocals. “We have today and then it’s over/Tomorrow comes we hope in peace/Days fade away, but you’ll still be there/Days fade away, you’ll still be there.” The album release party for this disc was held last November, but the album got a wider release on April 15, 2023.

Dave Bass: “The Trio Vol. 3” – Pianist and composer Dave Bass released The Trio Vol. 1 in 2021, and followed that the next year with The Trio Vol. 2. And now he is releasing The Trio Vol. 3. Featuring the same musicians as the previous volumes, Kerry Kashiwagi on double bass and Scott Gordon on drums, this new disc contains a mix of original material and covers. And it features guitarist Barry Finnerty joining the trio on a few tracks. The album opens with a beautiful and warm rendition of “As Long As There’s Music,” written by Jule Styne and Sammy Cahn. This version goes in some interesting, unexpected directions. And speaking of interesting directions, the trio then tackles Monk’s “Criss Cross,” which soon becomes a rather fun number, that rhythm keeping it moving while Dave Bass is free to cut loose. That’s followed by the album’s first original composition, “Endless Waltz,” a song that Dave Bass also included on NYC Sessions, where it features vocalist Karrin Allyson. This new version is an instrumental track, the music having a strong sense of memory, of returning to another time. And soon we are immersed in it, a wonderful feeling. “Agenbite Of Inwit” is another original composition, this track being one of those to feature guitar. And the guitar is present in its opening moments. There is a sense of urgency to this track as it begins, and then it takes off, featuring some particularly delicious work on piano before that lead on guitar. This is a piece that Dave Bass previous included on No Boundaries. That is followed by a cover of “With A Song In My Heart.” I love that moment when it begins to swing, and I dig that lead on bass. “Blood” is an interesting piece, written by Annette Peacock. It begins with some piano work that becomes intense just as the others join in. It is exciting and unsettling. The trio delivers a second Monk tune on this album, “Played Twice,” delivering a fun rendition. I particularly enjoy that work on drums toward the end. The disc’s final two tracks feature Barry Finnerty on guitar. The first, “Libertango,” is a delicious dance. “Another Ending” also feels like a wonderful dance with a touch of magic to it as it begins. This is an original composition. The guitar gets a chance to sing and soar toward the end. This album is scheduled to be released on May 12, 2023.

Chembo Corniel Quintet: “Artistas, Músicos Y Poetas” – The new album from percussionist and composer Wilson “Chembo” Corniel, Jr. opens with a track recorded back in 2014, “Volando Con Don Pancho Terry,” featuring Eliado Don Pancho Terry on vocals and shekere. Don Pancho Terry died a few years after this recording, and it is he who begins the track. And soon the others come in, and the rhythm of the piece lifts us and moves us. The quintet is made up of Chembo Corniel on tumbadoras, cajon, barril de bomba, bata drum, Quinto, shekere, gua-gua, clave, and guiro; Hery Paz on tenor saxophone and flute; Carlos Cuevas on piano and organ; Ian Stewart on electric bass; and Joel E. Mateo on drums, clave and cua. On this opening track, the musicians include Elio Villafranca on piano, Andrea Brachfeld on flute (Brachfeld also wrote this one), Vince Cherico on drums, Ruben Rodriguez on acoustic bass, and Ivan Renta on tenor saxophone. There is a good deal of excitement and joy in the playing, but there are also some mellower moments in the second half, where the piano becomes the focus. Then Ismael East Carlo joins the group on “P.R.I.D.E.,” delivering a spoken word part in this song of identity and empowerment. “We grow with our struggle and build with what we have.” I especially love that moment when this track begins to cook, the piano and drums driving things forward. And from there, the energy is tremendous, with some excellent work on saxophone and flute. “Child Of Wisdom” has an unusual tone as it starts, with something darker hinted at, drawing us in. This track features some good work by Agustin Someillan Garcia on trumpet. Then “Pa’La Ocha Tambo” is all about the rhythm, the work on drums wild and dynamic enough to get the dead back up on their feet. This track also features some exciting work on piano. That’s followed by “Lagrima De Monte,” one of the album’s most delightful numbers. It was composed by Joel E. Mateo, and has a catchy theme. And then I love that lead on saxophone in “Big City Gossip,” a piece that was written by Carlos Cuevas. This one has some interesting changes of moods, and the warm work on piano comes as a wonderful surprise. The album concludes with “Red Hook Rumba,” written by Chembo Corniel, and featuring spoken word by Felipe Luciano. This album was released on March 17, 2023.

Jan Cronin: “I Thought About You” – Jan Cronin’s new album finds the vocalist delivering her own takes of some beloved standards. On this release she is backed by only Andy Reiss on guitar and Jim Ferguson on bass. You can never go wrong with Gershwin, and this album kicks off with “‘S Wonderful” (listed as “S’ Wonderful” on the CD case, a common mistake). There is a cheer to the approach, particularly in that bass line, which feels like it is dancing. And the guitar lead has a sprightly vibe. And Jan Cronin’s delivery carries with it a sense of experience, which makes the lyrics all the more endearing and meaningful. That’s followed by “The Shadow Of Your Smile,” her voice here having a sexy quality. Just listen to the way she sings the lines “Look into my eyes, my love, and see/All the lovely things you are to me.” I love the way she dips into her lower registers on “my love” and “you are.” She keeps that mellow and intimate sound going with her rendition of “The Night We Called It A Day,” which features a pretty lead on guitar. The title track, “I Thought About You,” has a cool vibe, and Jan Cronin’s vocal performance is honest, almost like a confession, one that has her surprised. Even cooler is “The Scent Of Breakfast And You,” an original song co-written by Jan Cronin. Here is a taste of the lyrics: “I open my eyes, the wave recedes/A wash of joy, the gift I receive.” I love the way this song struts about the place. Then “My Foolish Heart” has a deliciously intimate sound. Jan Cronin has fun with “Peel Me A Grape,” a song with an inherently playful aspect. “Best way to cheer me, cashmere me/I’m getting hungry/Peel me a grape.” That’s followed by a wonderful rendition of “Cry Me A River,” featuring a passionate vocal performance. The album opens with “Some Other Time,” its first lines speaking to those of us who notice the time racing on: “Where has the time all gone to/Haven’t done half the thing we want to.” The song has a late-night vibe, which is so effective, for it’s really about the time being late in the larger sense. “But let’s be glad for what we’ve had/And what’s to come.” This album is scheduled to be released on June 2, 2023.

Cinder Well: “Cadence” (2023) CD Review

Cinder Well is the project of Amelia Baker, a singer, songwriter, guitarist, pianist and fiddle player who is from California but spent a good deal of time in Ireland. That country clearly influenced the music on Baker’s 2020 release, No Summer, one of my favorite albums of that year. She has now returned to California, and has a new album, Cadence, which takes some of its inspiration from the central California coastline. And yet while there is a lot of natural imagery in these songs, there is also a sense of being between worlds, of being both of the earth and above it. The album features all original material. Joining Amelia Baker on this release are Phillip Rogers on drums, Neal Heppleston on bass, Jake Falby on viola, Cormac MacDiarmada on fiddle, and Nich Wilbur on organ.

The album opens with a gorgeous song titled “Two Heads, Grey Mare.” There is something haunted yet confident in her vocal delivery, and there is a darkness in the guitar work. It is song that comes from the night. Spirits seem to inhabit or possess the strings, their voices coming in waves through the instruments, growing stronger as the track progresses. And as you might expect from Cinder Well, this track features some intriguing lyrics, such as these lines: “We weathered the night in a drunken croon/Another trick in the tide and you’re gone too soon.” That is followed by “Overgrown.” The brief instrumental introduction is like a warm swell of morning magic, before the guitar and her vocals take over. The song’s first lines are captivating: “Starlings burst the bleeding sun/The stone underfoot comes undone/I do know more slowly we will ramble/Those strong bones of us more fickle.” There is something gentle and at ease in her approach to this one, which works to soothe us as well, and the strings here are sometimes like strong shafts of light coming down upon us, and passing.

There is a strong sense of rhythm to the guitar work at the beginning of “Returning,” like a slow walk, working so well with the song’s opening lines, “Leather boots, heavy armor/Like brambles, like dust.” And soon there is the sense of a time long ago, brought to the present for us by her voice. She delivers another beautiful performance. And check out these striking lyrics: “You may sense my lonesome shadow/Distance between us has carved a hollow/Winding stillness, echo chamber/Time has taken its toll on me.” Am I mad, or at one moment right before the end, does she call out “B”? Then as the album’s title track begins, it has a somber, spiritual vibe. A strong atmosphere is soon established, one that has us a bit on edge, in part because of the electric guitar, though that fiddle then works to soothe us, like a warmer wind across the landscape. Amelia Baker’s voice seems to be carried by a wind too, at moments, a voice originating in, and traveling from, a distant place and time, some eternal place. This track has a steady beat that knows no hurry, for spirits and the earth itself have no need for celerity or haste. “Your heart is breaking forth/And you know what pain is for.” The song ends as it began. That is followed by “Well On Fire,” her voice supported by strings. It is a short, but strong piece. “It won’t be long now/I am close to it now/I am closer somehow.”

A casual, gentle, unhurried rhythm is established at the beginning of “Crow,” fitting lines like “Take your time to let them in/Hold your breath when the wall gets thin.” And I love the work on fiddle in the middle of the track. This song tells of a natural world, yet gives us a sense of the extraordinary within the seemingly ordinary, and there is a tension within some of the music, particularly in that instrumental section as the song approaches its conclusion. That’s followed by “Gone The Holding,” which features a beautiful vocal performance. “Gone the holding we were in/From the cold Atlantic wind/Ferry port, metal wing/To other shores us they bring.” There is a timeless magic in the music. Then the first stanza of “A Scorched Lament” is delivered a cappella, and so an intimacy is created between her and us as the track begins. The guitar comes in for the second stanza, and the piece grows from there. “Blackbird, blackbird will you call/Blackbird, blackbird will you come/Sing us over with your scorched lament.” There is some beautiful work on strings at the end. The album then concludes with “I Will Close In The Moonlight,” here her vocals supported by piano. It is interesting how several of these tracks contain images of birds and flying, from the starlings of “Overgrown” to “Crow,” from the “metal wing” and blackbirds of “Gone The Holding” to the blackbird and wings of “A Scorched Lament” and the nightingale and planes of this song. “We are childless and wandering/But the nightingale comes back to sing/And I hope to see you again.”

CD Track List

1. Two Heads, Grey Mare
2. Overgrown
3. Returning
4. Cadence
5. Well On Fire
6. Crow
7. Gone The Holding
8. A Scorched Lament
9. I Will Close In The Moonlight

Cadence is scheduled to be released on April 21, 2023 on Free Dirt Records.

Victoria Hallman: “From Birmingham To Bakersfield” (2023) CD Review

Victoria Hallman found herself in the music industry at the young age of six, when she recorded a single of “Merry Christmas Time” backed by “Send My Daddy Home.” She joined the cast of Hee Haw in 1980, and a couple of years later recorded an album at the Buck Owens Recording Studio in Bakersfield. And the band backing her? You guessed it: The Buckaroos. And Buck Owens produced it. Yet even with all that talent, the album was left unreleased. Crazy, right? Well, it is now at last getting a release. And it is going to be available on vinyl as well as CD, the vinyl release being part of Record Store Day. From Birmingham To Bakersfield includes the tracks recorded in 1982, along with three bonus tracks recorded in 1980 with different musicians. The tracks were restored and mastered by Michael Graves at Osiris Studios. This release includes liner notes written by Randy Poe and featuring bits of an interview with Victoria Hallman, telling the story of how this album came to be.

The disc opens with “You’re My Favorite Song,” an incredibly cheerful song. “You’re my favorite song/Every day and night long/I play you over and over again.” Sure, it’s a bit corny, but that is part of its charm. The track includes strings, which, as Victoria Hallman tells us in the liner notes, were added later, after the original tracks by the Buckaroos. “And my favorite song/That keeps me spinning around/Is you saying you want me again.” That’s followed by “Bottle Up My Tears,”a lively number with a tremendous energy and a strong vocal performance. It opens with these lines: “Bottle up my tears/Send a six pack to my baby.” This country number features horns, which like the strings were added after the initial tracks were recorded, and contribute to the overall joy of the sound. This is a fun number containing some good guitar work, and is one of my favorites.

Victoria Hallman then she slows things down with “Lay Your Heart On Mine,” featuring a moving vocal performance. The song takes on more energy for its chorus. “I know it hurts so bad sometimes/When the pain of love comes pouring through/And you need someone to hold onto/Lay your heart on mine.” This is a sweet tune. It also features strings. That’s followed by another sweet song, “How’s Everything,” with a sincere and strong vocal performance. “Rich or poor, it doesn’t matter/‘Cause he’s mine for all of time/When people ask, ‘How’s everything’/I just say, ‘He’s fine’/He’s everything I dreamed I’d find/And every day I thank the lord he’s mine.” When things aren’t going well in certain areas, it’s good to remember that all of that is insignificant compared to the love of your life. The pandemic certainly helped people take a fresh look at their priorities, and, as far as I’ve heard, love came out on top every time. What else is there?

“Please Please Me” is another of the disc’s highlights (and no, it’s not a cover of The Beatles song). Here is a taste of the lyrics: “I love the way you love me when you have to go/You kiss me tenderly but very soon I know/Only moments will remain/Before my pleasure turns to pain/You must say goodbye and leave me once again/Please please me, won’t you stay a little longer.” This one has a joyful pop vibe, with a wonderful rhythm. I particularly dig that bass line. It would be difficult to dislike this track. That’s followed by “Just A Breath Away,” a pretty song in which she sings, “Well, it’s lonely here/Though you’re lying just a breath away/And as I hold you near/I long to hear the things you used to say/But they’re gone forever.” I love Victoria Hallman’s passionate vocal performance on this track. Then “Rainy Day Games” has a pleasant vibe. “Who needs blue skies and sunshine/Then we’d have to go outside.” “His Way Alone” is the only track that I don’t care for. It has a religious theme and includes that feeble “self”/“shelf” rhyme.

Then “24 Hour Woman” is a delightful tune. It is so cheerful, so fun, with a catchy rhythm and horns. “I’m his 24-hour woman/He’s my once-in-a-lifetime man/Now we don’t own a great big home/We ain’t got a penny to spare/But we got more worth living for/Than any old millionaire.” Oh yes! I can just imagine her dancing down a street, singing this song, getting everyone to sing along, turning the world into a musical, where before long everyone is dancing and smiling. Why can’t that happen? The final of the tracks recorded in 1982 is “Sexy Movies,” a kind of odd, yet delightful tune. “Bigger than real life, this man and this lady/Kissing, hugging right there on the screen/Mmm, it started to feel nice, and I looked at my baby/Pretty soon we were covering all the windows with steam.” Yet the track has an innocent vibe to it, particularly as she sings, “Home at eleven, feel so excited/Things we saw in the picture made us hurry back home/I’m halfway to heaven, and more, I can’t hide it.” Yeah, this song is about a married couple. There is a bit of a Neil Diamond vibe to this track at times.

Bonus Tracks

The disc contains three bonus tracks. These were recorded in 1980, with a different band backing her, a band that includes the great Hal Blaine on drums and Emory Gordy Jr. on bass. The first of these tracks is a cover of Buck Owens’ “Under The Influence Of Love.” It is interesting that the bonus material has more of a traditional country sound than the main tracks of this release, the ones featuring the Buckaroos. I love that pedal steel work by Jay Dee Maness. This fun track also features some nice work by Glen D. Hardin on keyboards and by James Burton on guitar. Victoria Hallman then slows things down again with “Close Enough For Me,” in which she sings, “Before I had the chance to say I love you/You stopped me with a kiss and said goodbye,” good opening lines. Here she delivers another passionate vocal performance. “Why do people fall in love with someone they can’t have/How can something feel so good and still hurt me so bad/You can’t give me what I want/So you give me what I need/It’s a long way from perfect/But it’s close enough for me.” The disc concludes with a wonderful rendition of Merle Haggard’s “Mama Tried,” one of many songs that I first heard done by the Grateful Dead. I love Victoria Hallman’s approach to this song, and this version features some excellent work by Richard Greene on fiddle.

CD Track List

1. You’re My Favorite Song
2. Bottle Up My Tears
3. Lay Your Heart On Mine
4. How’s Everything
5. Please Please Me
6. Just A Breath Away
7. Rainy Day Games
8. His Way Alone
9. 24 Hour Woman
10. Sexy Movies
11. Under The Influence Of Love
12. Close Enough For Me
13. Mama Tried

From Birmingham To Bakersfield is scheduled to be released on CD on April 28, 2023. The vinyl edition will be for sale on Record Store Day, April 22, 2023. By the way, the bonus tracks are included on the vinyl edition as well as the CD.

Sam & Dave: “Soul Man Explosion: The Nashville Sessions” (2023) CD Review

In the late 1970s and early 1980s, the soul duo Sam & Dave re-recorded many of their hits as well as some covers, those tracks then released on Soul Study Vol. 1, Soul Study Vol. 2, The Original Soul Man, and The Nashville Soul Sessions. Now we are getting a new look at some of this material with the release of Soul Man Explosion: The Nashville Sessions, an album that features new mixes by Jürgen Engler as well as new backing tracks to the original vocal recordings of Sam Moore and Dave Prater. Steve Cropper (whom you hear addressed in the original version of “Soul Man” – “Play it, Steve”) plays a new guitar part on this album’s version of that big hit. And in fact, there are two versions of the song on this album. This album also features The Courettes on “Hold On, I’m Comin’.”

The album opens with the duo’s biggest hit, “Soul Man,” featuring Steve Cropper on guitar. The song begins just the way you expect it to. It is after that first chorus that we hear a difference, and it is in that vocal line, which isn’t quite as strong as the original. But basically, this rendition is what you remember. And it such a great song. Then The Courettes back Sam & Dave on this recording of “Hold On, I’m Comin’.” Flavia Couri plays guitar, bass, 12-string guitar, and piano, and adds some backing vocals; Martin Couri plays drums, tambourine, shakers, timpani and bells. Soren Christensen adds work on organ. This is fairly loud, full version, coming on strong, which of course works well with the title line. “Hold on,” indeed, because this track rocks. The added backing vocal work is perhaps the most interesting aspect of this version, as they echo some of the lyrics, such as “when times are bad.”

Brian Auger adds some very cool work on organ to this album’s version of “I Thank You,” a song that was another big hit for the duo. I really like this version. I liked it on The Nashville Soul Sessions, and the addition of that organ works quite well, fitting in perfectly. This is a fun track, a lively rendition with a delicious energy. Then we get the album’s first cover, “Gimme Some Lovin’,” a song originally done by The Spencer Davis Group, and one that the Grateful Dead played the first time I saw them in concert. Sam & Dave do a good job with it. This version is a second or two shorter than the version on The Nashville Soul Sessions, fading out just a moment earlier. That’s followed by “You Don’t Know Like I Know,” a song written by Isaac Hayes and David Porter, one that Sam & Dave included on their Hold On, I’m Comin’ album. “And everything is all right,” they sing, and I believe them.

They also give us a cover of Sam Cooke’s “Wonderful World,” here titled “(What A) Wonderful World.” It’s an interesting rendition. Each line begins with a strong vocal performance and ends more softly. This recording is markedly different from that on The Nashville Soul Sessions. That vocal intro is cut, and it has a sound much more like that on the original Sam Cooke version. It has a rather sudden ending. We then get a second version of “Hold On, I’m Comin’,” this version without The Courettes. So if, for whatever reason, you don’t like what they added to the song, you can enjoy this version. That’s followed by a version of “Soul Sister, Brown Sugar” that has a delicious energy, and then by another Sam Cooke song, “Another Saturday Night.” This is a song that was also a hit for Cat Stevens. Sam & Dave offer a fun rendition.

“Said I Wasn’t Gonna Tell Nobody” is a song Sam & Duo released as a single in 1966, and revisited on The Nashville Soul Sessions. This track has a great energy, and is one of my favorites. The closing section is a bit shorter here than that on The Nashville Soul Sessions. “Can’t You Find Another Way (Of Doing It)” was also released as a single by Sam & Dave in the 1960s, and is another fun track. This album’s version of “Summertime” has a different introduction than the version on The Nashville Soul Sessions, and I prefer this new rendition. It has a darker vibe, which is wonderful. This is a really good rendition, Sam & Dave proving again that you can never go wrong with Gershwin. It is another of the disc’s best tracks. This disc concludes where it began, with the duo’s biggest hit, “Soul Man.” This second version is an instrumental track, featuring Steve Cropper’s guitar work.

CD Track List

1. Soul Man
2. Hold On, I’m Comin’
3. I Thank You
4. Gimme Some Lovin’
5. You Don’t Know Like I Know
6. (What A) Wonderful World
7. Hold On, I’m Comin’
8. Soul Sister, Brown Sugar
9. Another Saturday Night
10. Said I Wasn’t Gonna Tell Nobody
11. Can’t You Find Another Way (Of Doing It)
12. Summertime
13. Soul Man (instrumental)

Soul Man Explosion: The Nashville Sessions is scheduled to be released on April 28, 2023 on Goldenlane Records.