Big Legal Mess

Näytetään kaikki 8 tulosta

  • Finley Robert - Age Don’t Mean A Thing (CD)

    18,00

    Major new soul voice Robert Finley makes his recorded debut at age of 62 on Fat Possum imprint Big Legal Mess. Already, the New York Times has called the 62 year old north Louisianan singer ”more than convincing… venerable but vigorous” and he has performed at NYC’s prestigious GlobalFest and at the King Biscuit Festival.

    Produced by Bruce Watson and Jimbo Mathus, the album traverses the classic Booker T & The MGs-esque Memphis groove of ’I Just Want To Tell You’, the tough soul blues of the title track, ’Snake In My Grass’ and ’Is It Possible To Love 2 People’, the romantic deep soul of ’Make It With You’, danceable funk on ’You Make Me Want To Dance’, the tremolo and organ-soaked heartache of ’It’s Too Late’. Finley proves himself a powerful songwriter, penning seven of the album’s nine tracks himself. Facing vision troubles after careers in the US Army and as a civilian carpenter, Finley decided to pursue music full-time with the assistance of the Music Maker Relief Foundation. Finley travelled north to Memphis to work with members of the Bo-Keys. Players include a who’s who of the Memphis soul scene, including drummer Howard Grimes (Al Green, Otis Clay, Syl Johnson, OV Wright), Marc Franklin (Bobby ’Blu’ Bland), Jimbo Mathus (Elvis Costello), Al Gamble (St. Paul & The Broken Bones, The Hold Steady, Alex Chilton), Kirk Smothers (Jim Lauderdale, Buddy Guy), Reba Russell (U2, BB King), Harold Thomas (James Carr), Daunielle Hill (Solomon Burke).

    Quick View
  • Finley Robert - Age Don’t Mean A Thing (LP)

    25,00

    Major new soul voice Robert Finley makes his recorded debut at age of 62 on Fat Possum imprint Big Legal Mess. Already, the New York Times has called the 62 year old north Louisianan singer ”more than convincing… venerable but vigorous” and he has performed at NYC’s prestigious GlobalFest and at the King Biscuit Festival.

    Produced by Bruce Watson and Jimbo Mathus, the album traverses the classic Booker T & The MGs-esque Memphis groove of ’I Just Want To Tell You’, the tough soul blues of the title track, ’Snake In My Grass’ and ’Is It Possible To Love 2 People’, the romantic deep soul of ’Make It With You’, danceable funk on ’You Make Me Want To Dance’, the tremolo and organ-soaked heartache of ’It’s Too Late’. Finley proves himself a powerful songwriter, penning seven of the album’s nine tracks himself. Facing vision troubles after careers in the US Army and as a civilian carpenter, Finley decided to pursue music full-time with the assistance of the Music Maker Relief Foundation. Finley travelled north to Memphis to work with members of the Bo-Keys. Players include a who’s who of the Memphis soul scene, including drummer Howard Grimes (Al Green, Otis Clay, Syl Johnson, OV Wright), Marc Franklin (Bobby ’Blu’ Bland), Jimbo Mathus (Elvis Costello), Al Gamble (St. Paul & The Broken Bones, The Hold Steady, Alex Chilton), Kirk Smothers (Jim Lauderdale, Buddy Guy), Reba Russell (U2, BB King), Harold Thomas (James Carr), Daunielle Hill (Solomon Burke).

    Quick View
  • Wilkes J.D. - Fire Dream (CD)

    18,00

    12/04/2017 Press release:

    MEMPHIS, Tenn. — A sense of place has long permeated the music of J.D. Wilkes. He’s a native of Paducah, Kentucky, a city located at the confluence of various rivers and cultures — an area where musical variety is in the air and in the blood memory of its people.

    “Of course, there’s bluegrass and hillbilly songs, but also blues, jazz, old time fiddle music, jug band music, even swamp rock,” says Wilkes. “It’s a great intersection there. I think I epitomize that in the way that I write and perform.”

    Wilkes’ solo debut, Fire Dream, represents the apotheoses of that vision: a hillbilly-gypsy epic, it’s an album of art damaged cabaret music, leavened by Latin rhythms and high lonesome hollers. Call it boho bluegrass — maybe what Tom Waits would sound like if he were a Kentucky Colonel (a title that Wilkes happens to hold).

    The album is due out on Big Legal Mess on (February TK), 2018.

    Proving a compelling firebrand of American roots music during his two decades leading experimental rockabilly group Legendary Shack Shakers, Wilkes has a resume and passions that extend far and wide. A visual artist, filmmaker and author, he’s served as a session player for Merle Haggard, helped soundtrack HBO’s True Blood, penned a pair of books (The Vine That Ate the South and Barn Dances and Jamborees Across Kentucky) and worked as an ethnomusicologist without portfolio, documenting the dying hillbilly culture of Kentucky.

    Wilkes’ creative approach is defined by his home region’s rich history as a musical nexus. “Western Kentucky is unique in that a lot of that mountain music, which is otherwise stuck in Appalachia, trickled down and permeated our conscience,” he says. “But if you look at it topographically we’re a flat delta lowland region, a flood zone … so we have a lot in common with the Mississippi Delta and Memphis and we got all that jazz and blues that came up the river as well.”

    That keen understanding of history is partly what drew the interest of Fat Possum’s Big Legal Mess imprint, which signed Wilkes in 2017. “They saw me as a kindred spirit,” he says, “in my efforts to archive and field-record and report upon some form of folk music that’s in danger of being forgotten.”

    For his solo debut, however, Wilkes has something more outré in mind than a mere musical lesson or genre exercise. Recorded at Delta-Sonic Sound in Memphis with producer Bruce Watson and Jimbo Mathus, the album finds Wilkes creating a complex tapestry of styles and sounds, playing banjo, harmonica, and piano, adding percussion, and even winding up an old hurdy-gurdy. Aiding him in that effort are a couple kindred musical spirits in guitarist Mathus and multi-instrumentalist Dr. Sick from the ever-eclectic Squirrel Nut Zippers.

    “They were the perfect people to bring in. They could play any kind of style,” says Wilkes. “Jimbo has such an intuitive feel for blues and Dr. Sick, man, he’s the most amazing musician I’ve ever had the privilege of playing with. I don’t even know what his real name is, but that guy is awesome.” Rounding out the recording are contributions from Drive-By Truckers bassist Matt Patton, up-and-coming soul chanteuse Liz Brasher on backing vocals, and the horn section from Bluff City R&B band, The Bo-Keys.

    The album’s opening and title track “Fire Dream” establishes the tone with a cinematic setup. “It sounds as if a gypsy carnival blew in on a tornado and landed in a hillbilly junkyard,” says Wilkes of the tune. “I tried to pay attention to the texture of the songs, both what was in them and how they connected to each other, and the record as a whole.”

    Within its ten tracks Fire Dream contains multitudes: from galloping string rambles (“Wild Bill Jones”) to slow burning laments (“Walk Between the Raindrops”), hardscrabble narratives (“Hoboes Are My Heroes”) exotic nocturnes (“Moonbottle”), and hellfire comedy (“Bible, Candle and a Skull”).

    The sprite, horn-heavy “Down in the Hidey Hole,” meanwhile, is something Wilkes describes as “apocalyptic ska.” “Basically, it’s about hunkering down in a bomb shelter with your lady to ride out the end of the world,” he says. “It’s happy, upbeat music … but with an ominous edge. That’s what I love about people like Hank Williams; they had great danceable tunes with a dark story at their core.”

    Wilkes’ acid wit shines through on Fire Dream, with his lyrics coming across as both highly crafted and deeply intuitive. “A song is like a puzzle, you have to feel around and figure out how the words fit,” he says. “It doesn’t matter if it’s Hank, Bob Dylan, Tom Waits or Nick Cave, they all have a knack for knowing the most artful way the words can collide with one another, or flow together.”

    Wilkes notes that there’s underlying emotional edge to record, much of that coming from the fallout of a recent divorce. While he dealt with the end of his marriage more directly on the Shack Shakers last LP — the howling After You’ve Gone — Fire Dream finds light among the shade. “I’m getting back to playing around with things again, musically and lyrically,” he says, “though an element of that darkness still lingers.”

    Though hailed for his acrobatic, incendiary live performances with the Shack Shakers, Wilkes says it will be a different kind of roadshow when he begins playing in support of Fire Dream in the spring.

    “I plan on approaching the songs more artfully live. I might be sitting on a chair playing banjo instead of jumping in the crowd like I do with the band,” says Wilkes, who plans on touring with an acoustic combo, his 64-key Tom Thumb piano and his usual on stage intensity.

    “I’ll still want to entertain, it might just be more with my eyes and voice than my body,” he says. “There’s a lot of stories and a lot of mysteries being revealed in these songs, and that provides its own kind of animation. That’s what I love about this record and this music … it moves.

    Quick View
  • Wilkes J.D. - Fire Dream (LP)

    25,00

    12/04/2017 Press release:

    MEMPHIS, Tenn. — A sense of place has long permeated the music of J.D. Wilkes. He’s a native of Paducah, Kentucky, a city located at the confluence of various rivers and cultures — an area where musical variety is in the air and in the blood memory of its people.

    “Of course, there’s bluegrass and hillbilly songs, but also blues, jazz, old time fiddle music, jug band music, even swamp rock,” says Wilkes. “It’s a great intersection there. I think I epitomize that in the way that I write and perform.”

    Wilkes’ solo debut, Fire Dream, represents the apotheoses of that vision: a hillbilly-gypsy epic, it’s an album of art damaged cabaret music, leavened by Latin rhythms and high lonesome hollers. Call it boho bluegrass — maybe what Tom Waits would sound like if he were a Kentucky Colonel (a title that Wilkes happens to hold).

    The album is due out on Big Legal Mess on (February TK), 2018.

    Proving a compelling firebrand of American roots music during his two decades leading experimental rockabilly group Legendary Shack Shakers, Wilkes has a resume and passions that extend far and wide. A visual artist, filmmaker and author, he’s served as a session player for Merle Haggard, helped soundtrack HBO’s True Blood, penned a pair of books (The Vine That Ate the South and Barn Dances and Jamborees Across Kentucky) and worked as an ethnomusicologist without portfolio, documenting the dying hillbilly culture of Kentucky.

    Wilkes’ creative approach is defined by his home region’s rich history as a musical nexus. “Western Kentucky is unique in that a lot of that mountain music, which is otherwise stuck in Appalachia, trickled down and permeated our conscience,” he says. “But if you look at it topographically we’re a flat delta lowland region, a flood zone … so we have a lot in common with the Mississippi Delta and Memphis and we got all that jazz and blues that came up the river as well.”

    That keen understanding of history is partly what drew the interest of Fat Possum’s Big Legal Mess imprint, which signed Wilkes in 2017. “They saw me as a kindred spirit,” he says, “in my efforts to archive and field-record and report upon some form of folk music that’s in danger of being forgotten.”

    For his solo debut, however, Wilkes has something more outré in mind than a mere musical lesson or genre exercise. Recorded at Delta-Sonic Sound in Memphis with producer Bruce Watson and Jimbo Mathus, the album finds Wilkes creating a complex tapestry of styles and sounds, playing banjo, harmonica, and piano, adding percussion, and even winding up an old hurdy-gurdy. Aiding him in that effort are a couple kindred musical spirits in guitarist Mathus and multi-instrumentalist Dr. Sick from the ever-eclectic Squirrel Nut Zippers.

    “They were the perfect people to bring in. They could play any kind of style,” says Wilkes. “Jimbo has such an intuitive feel for blues and Dr. Sick, man, he’s the most amazing musician I’ve ever had the privilege of playing with. I don’t even know what his real name is, but that guy is awesome.” Rounding out the recording are contributions from Drive-By Truckers bassist Matt Patton, up-and-coming soul chanteuse Liz Brasher on backing vocals, and the horn section from Bluff City R&B band, The Bo-Keys.

    The album’s opening and title track “Fire Dream” establishes the tone with a cinematic setup. “It sounds as if a gypsy carnival blew in on a tornado and landed in a hillbilly junkyard,” says Wilkes of the tune. “I tried to pay attention to the texture of the songs, both what was in them and how they connected to each other, and the record as a whole.”

    Within its ten tracks Fire Dream contains multitudes: from galloping string rambles (“Wild Bill Jones”) to slow burning laments (“Walk Between the Raindrops”), hardscrabble narratives (“Hoboes Are My Heroes”) exotic nocturnes (“Moonbottle”), and hellfire comedy (“Bible, Candle and a Skull”).

    The sprite, horn-heavy “Down in the Hidey Hole,” meanwhile, is something Wilkes describes as “apocalyptic ska.” “Basically, it’s about hunkering down in a bomb shelter with your lady to ride out the end of the world,” he says. “It’s happy, upbeat music … but with an ominous edge. That’s what I love about people like Hank Williams; they had great danceable tunes with a dark story at their core.”

    Wilkes’ acid wit shines through on Fire Dream, with his lyrics coming across as both highly crafted and deeply intuitive. “A song is like a puzzle, you have to feel around and figure out how the words fit,” he says. “It doesn’t matter if it’s Hank, Bob Dylan, Tom Waits or Nick Cave, they all have a knack for knowing the most artful way the words can collide with one another, or flow together.”

    Wilkes notes that there’s underlying emotional edge to record, much of that coming from the fallout of a recent divorce. While he dealt with the end of his marriage more directly on the Shack Shakers last LP — the howling After You’ve Gone — Fire Dream finds light among the shade. “I’m getting back to playing around with things again, musically and lyrically,” he says, “though an element of that darkness still lingers.”

    Though hailed for his acrobatic, incendiary live performances with the Shack Shakers, Wilkes says it will be a different kind of roadshow when he begins playing in support of Fire Dream in the spring.

    “I plan on approaching the songs more artfully live. I might be sitting on a chair playing banjo instead of jumping in the crowd like I do with the band,” says Wilkes, who plans on touring with an acoustic combo, his 64-key Tom Thumb piano and his usual on stage intensity.

    “I’ll still want to entertain, it might just be more with my eyes and voice than my body,” he says. “There’s a lot of stories and a lot of mysteries being revealed in these songs, and that provides its own kind of animation. That’s what I love about this record and this music … it moves.

    Quick View
  • Harris Jimmy Lee - I Wanna Ramble (LP)

    27,00

    At age 9, Jimmy Lee Harris learned to play his first instrument, which he called the ’mouthbow’. Born March 1, 1935, in Seal, Alabama, Harris spent his childhood working in the fields around Phoenix City and assisting his father making moonshine. At 17 Harris left home to ramble, working a range of jobs across the country: he roofed in Tampa; drove railroad spikes in Sacramento; shrimped in Key West; served as a maintenance man at Dodge in Detroit; he laboured at pulpwood mills in Florida and Alabama and as a cement block worker in Georgia. For all his traveling Harris frequently drifted back to Phoenix City, where Mitchell found him in 1981. With his older brother Eddie, Jimmy Lee played local rent parties, where the host served liquor and food to pay the rent. Much of the duo’s repertoire, including ’Sitting Here Looking A 1000 Miles Away’, was traditional to the Lower Chattahoochee Valley region. The brothers claim the biggest influence on their style was a local women in her 40s named Seesa Vaughn, who was also from a musical family. Harris died from a heart attack in the early 1980s, not long after Mitchell recorded him.

    Quick View
  • Stackhouse Houston - And Friends (LP)

    23,00

    Born in Wesson, MS, in 1918, Houston Stackhouse’s first instrument was the harmonica. Throughout the 1930s Stackhouse played around Mississippi with the Mississippi Sheiks and Robert Johnson. Stackhouse taught the slide guitar to his cousin Robert Nighthawk and the two would play together on Mother’s Best Flower Hour and the King Biscuit Time show, both broadcast on KFFA in Helena, AR. Playing on KFFA, Stackhouse was brought into contact with James Elmore, Muddy Waters, Little Walter, Jimmy Rogers, Roosevelt Sykes and Earl Hooker. Electric guitar became Stackhouse’s full-time instrument. Recorded by famed field recording historian George Mitchell. Part of Fat Possum’s 25th Anniversary First Time On Vinyl series.

    Quick View
  • Lewis Furry - Good Morning Judge – Recorded 1962 (LP)

    23,00

    Limited vinyl LP pressing. An American country blues guitarist and songwriter from Memphis, Tennessee. Furry Lewis was one of the first of the old-time blues musicians of the 1920s to be brought out of retirement, and given a new lease of recording life, by the folk blues revival of the 1960s. Lewis opened twice for The Rolling Stones, played on The Tonight Show Starring Johnny Carson, had a part in a Burt Reynolds movie, W.W. and the Dixie Dancekings (1975), and had a profile in Playboy magazine. Includes ’Worried Blues’, ’Roll And Tumble Blues’, ’Farewell I’m Getting Old’, ’Old Hobo’ and more.

    Quick View
  • Langhorn Sam - The Gospel According to Sam (10``LP)

    13,00

    Sam Langhorn (1933-2007) was known among locals as the best blues guitarist to come out of Oxford, Mississippi, but he somehow eluded the blues mafia who scoured the state looking for talent. The recordings here are the first ever issued by Langhorn, who demonstrates his skills performing traditional gospel in a style remarkably similar to Mississippi John Hurt. He learned guitar from his mother Camilla, who played at sanctified church services, but eventually chose the blues lifestyle.

    The recordings were made around 1963 by two former Ole Miss football stars who befriended Langhorn and simply made the recordings for fun before putting them aside for half a century. Jimmy Hall went on to pursue a career of acting in New York City and L.A., and Robert Khayat a Pro Bowl career with the Washington Redskins then later returning  to the University of Mississippi, where he became a celebrated Chancellor.

    Quick View
fi
X