Steve Jordan - Drums, Horn Arrangements, Percussion, String Arrangements, Background Vocals Lester Snell - Wurlitzer Piano, Horn Arrangements, String Arrangements Spooner Oldham - Organ, Piano, Wurlitzer Piano Jim Cox - Fender Rhodes, Organ, Piano, Wurlitzer Piano Listen to Boz’s wonderful “Fade Into Light” album ġ Mixed Up, Shook Up Girl - Willy DeVille 3:44ģ So Good To Be Here - Michael Allen / Al Green 3:15ĥ Rainy Night In Georgia - Tony Joe White 4:34Ħ Love On a Two Way Street - BB Keyes / Sylvia Robinson 3:36ħ Pearl of the Quarter - Walter Becker / Donald Fagen 3:28ĩ Can I Change My Mind - Barry Despenza / Carl Wolfolk 4:19ġ0 Dry Spell - Jack "Applejack" Walroth 3:24ġ1 You Got Me Cryin - Ewart Abner / Jimmy Reed 4:55īoz Scaggs - Electric & Acoustic Guitars, Vocals, Background Vocals
There is not a dud track on this album which is VHR by A.O.O.F.C. Only two of the twelve tracks are Boz Scaggs originals, but his covers of tracks like Willy DeVille’s “Mixed Up, Shook Up Girl”, Al Green’s “So Good To Be Here”, Tony Joe White’s “Rainy Night In Georgia”, and Donald Fagen and Walter Becker’s “Pearl of the Quarter” are beautiful and inspirational.
“Memphis” is a really great soul album with funk, R&B, jazz and New Orleans influences and is as good as anything Boz has ever recorded. Many people only associate Boz Scaggs with his famous mid '70's disco soul funk classic album, "Silk Degrees" and his hits "Lowdown", "Lido Shuffle", and "What Can I Say", but the man has been around since the mid sixties, and recorded many great albums which always seem to be overshadowed by "Silk Degrees". © Thom Jurek ©2013 Rovi Corp | All Rights Reserved
#Pat travers just a touch rar full
Scaggs is in full possession of that iconic voice he delivers songs with an endemic empathy and intimacy that make them sound like living, breathing stories. His lower register is drenched in a meld of R&B, jazz, and his own classic pop balladry - à la "Harbor Lights" - carry his delivery which sends Memphis whispering off with a touch of melancholy elegance. They buoy Scaggs, whose trademark phrasing and emotional honesty offer immediacy and closeness. In a real twist, Steely Dan's "Pearl of the Quarter" proves a real set highlight, as early rock & roll, doo wop, Memphis soul, New Orleans R&B, and jazz all come flowing through the band's presentation and Lester Snell's string arrangement. Motown gets the Royal Studios treatment in the glorious reading of Sylvia Robinson's "Love on a Two-Way Street," which features Funk Brother Jack Ashford on vibes. In Scaggs' smooth voice, the passage of time blurs it stretches and ultimately ceases to matter. Blues are reconstructed in the gorgeous version of "Corrina Corrina." While it is recorded somewhat nearer to its traditional folk origins, Spooner Oldham's Wurlitzer ghosts in from the margins and ushers it in from history to the present era. The latter features a scorching electric dobro solo by Keb' Mo'. The nasty readings of Jimmy Reed's "You Got Me Cryin'" and the Meters' "Dry Spell" attest to that. Scaggs has always loved the seam where roadhouse blues and R&B meet. These songs draw attention to an under-celebrated singer, songwriter, and performer.
Scaggs lets raucous, electric roadhouse blues hold sway. He furthers that notion in covering Moon Martin's "Cadillac Walk," a tune that was a minor hit for DeVille. His take on Willy DeVille's "Mixed Up Shook Up Girl" reveals just how deep the late New York rocker's R&B roots really ran as a songwriter. Then Scaggs begins to move the recording off the ledge a bit. In his cover of Green's "So Good to Be Here," Scaggs references him but digs deeper into his own trick bag with more rounded, earthier highlights. If there were doubts about the quality of his voice at this juncture, they're immediately dispelled when his sweet falsetto emerges. Green's influence is celebrated in the opener, Scaggs' "Gone Baby Gone." Its wafting B-3, Rhodes, fluid electric guitars, and a tight backbeat underscore his baritone croon to excellent effect. on guitars, and bassist Willie Weeks, augmented by the Royal Horns & Strings, a small backing chorus, sidemen, and guests. Produced by drummer Steve Jordan, the core band includes the singer and Ray Parker, Jr. On Memphis, Boz Scaggs pays tribute to the city's magnificent soul tradition, Al Green, and producer Willie Mitchell and his Royal Recordings studio, whose location and personnel were used to cut it in three days. Boz Scaggs - Memphis - 2013 - 429 Records
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