Bobby Charles – ‘Small Town Talk’ 1972 Self Titled Album

by | Oct 8, 2016 | 0 comments


 

Spinning in the ‘rock room’ today is the perfect album for the stunning
decay of an early Fall day. New Orleans native Bobby Charles, long a proponent
and disseminator of a genre of music lovingly referred to as swamp pop,
recorded his debut solo LP, not in the Bayou State wetlands but at Bearsville
studios in Woodstock, N.Y. Rick Danko and John Simon, famous for their
entrenchment in the Band, co-produced the album with Charles.

Charles had actually moved to Woodstock in the early 1970s, long after his
song ‘See You Later Alligator’ was a 1956 hit for Bill Haley and the Comets. He
set up shop at Bearsville with the help of famed manager Albert Grossman. The
result of this musical Louisiana boy woodshedding up north resulted in a
collection of funky country grooves, muddy rutted melodies and rustic
songwriting.

Sometimes referred to as the lost Band album because of their relationship
with the record, this obscure 1972 classic is brimming with guest stars; local and from out of town, names big and
small who contribute to produce unpretentious roots, rock and soul music. A glance at the
laundry list of supporting musicians illustrates the wealth of musical power
represented on the record.

Four out of the five members of the Band are credited on Bobby Charles,
and I am of the opinion that there are some moments where the guitar work
sounds suspiciously like the apparently missing Robbie Robertson. (He was,
after all, pictured at the sessions.) Also included are Amos Garrett, Ben
Keith, Bobby Neuwirth, Dr. John, David Sanborn, Geoff Muldaur, Ben Keith and
John Till among others.

The home-cooked and intimate production values offered up from Danko and
Simon then serve to stir the jambalaya pot. The only unfortunate factor remains
a lack of definitive song credits for who played on what tracks, even all these
years later. The credit note in the album reads: “All Musical Arrangements
Homemade,” which is fitting due to the records collaborative and rustic
elements.

Bobby Charles begins with the sideways strut of “Street People,” a slippery
analysis of the separation between the people of economy and proponents of the
road. A bopping country bump pushes the groove, underlined with shimmery
back-porch slide guitars.

 

 The second track, ‘Long Face,’ sounds as if it fell off of the second side
of a Band record. What is unmistakably Levon Helm’s woody thump on drums, Garth
Hudson’s swirling fingers on organ and Rick Danko moving air on bass equates to
a track that sounds as rich and practiced as its supporting instrumentalists.
Rumor is that Dr. John helps out on guitar and that John Simon tinkles on piano
respectively, though it could be Richard Manuel on keys, as well. The auditory elements
of the track remind me of the time when the key production values in a studio
were patience and warmth. The groove of the song is addictive, and its saloon
sensibilities illicit a local flavor.

‘I Must Be In A Good Place Now’ continues the pastoral attitude of the
record. Slow and easy, Charles’ encouraging and gentle vocals lounge on the
airy instrumentation. The backing group plays as one on this fantastic track,
with no single instrument discernible as they stitch themselves into a delicate,
lacy supporting sound.

‘Save Me Jesus’ follows with a sweet audio verite’ moment, with the listener
ushered into a take in progress. The soft soulful swing reeks of the moist moss
and hearty dark earth of Louisiana. The instrumental backing sounds like the
core studio group of Amos Garrett on guitar, Jim Colegrove on bass and N.D.
Smart on drums, with the band acting like a lonesome country tire swing pushed
by a Bearsville breeze. Lyrically, the song is a hopeful wish for help from
Jesus, as Charles has finally lost all hope in humanity. His deadpan delivery
is an additional highlight to this deep cut.

‘He’s Got All the Whiskey’ trickles down the rain spout, with horns and
acoustic guitars patiently coalescing together under Charles wordless moans. He
sets the beat with hand claps before the drums drop in and the song becomes a
display of down-and-dirty gut bucket soul. A collection of horns rise from the
horizon, an illuminated mist composed of Garth Hudson, David Sanborn and John
Simon interweaving and winding around one another in a stunning and breathy
series of blasts. Charles accompanying vocal melody verbalizes a mantra of
jealous statements all sung from a comfortable easy chair.

Side two begins with the Charles/Danko co-written ‘Small Town Talk,’ a track
which Danko would also record on his later solo debut. This idiosyncratic song
starts with a whistle and continues, supported by some spongy Dr. John keyboards
and the rock solid swinging Levon Helm groove. Charles’ matter-of-fact vocals
sit nicely inside the airy burlap arrangement.

A gentle country lilt follows, as ‘Let Yourself Go’ is highlighted by Ben
Keith’s weeping pedal steel work, absolutely breathtaking. This particular song
would slot into one of that era’s Poco or Flying Burrito Brothers albums
nicely.

“Grow Too Old” is a big song with an immense sound and substantial step. I
am going to take a chance and say that Richard Manuel plays piano, and possibly
sings harmony on this song; due to the fact he would later feature it in his
own solo concerts, and that it sounds quite like him at times. Regardless, the
song slams around joyously on trebled guitar, rock and roll piano and hot horn
playing, securing the vibe of the sessions in a perfect way. This performance
is one of the finest on Bobby Charles and one of Charles greatest songs.

Keeping the foot stomping going, ‘I’m That Way’ again features the multiple
talents of Ben Keith, this time on a slick Dobro. The song features a hillbilly
groove and an apathetic attitude, recalling a rollicking back road run through
the Catskill Mountains.

‘Tennessee Blues’ closes the Bobby Charles album with an epic and
emotive ballad that defies genre classifications. What I believe to be Amos
Garrett’s delicate gold-leaf guitar,  dresses the song in a geographical specific
country soul. When Garth Hudson’s accordion appears during the verse, the song
levitates through the trees and into the air, becoming a rare bird in flight.
Charles’ floral melody line, childlike in its gentle delivery, eases through
the leafy green chord changes. With the approaching instrumental segment the song
turns sepia, its corners worn smooth into timelessness.

Fast forward more than four decades, and Bobby Charles’ self-titled 1972
release has gained what notoriety it has today through its association with the
Band, and it’s various famous musical principals. What its legacy should be
based on in addition to this fact is its timeless and beautiful songs. Already recognized for his songwriting prowess prior to this, Charles
developed a period-piece gem containing music of multiple classifications built
around truthful and original themes. He had no issue collecting an impressive
arsenal of sympathetic musicians to express his composed ideas because of his
own notoriety and earned respect with the artists themselves. Rock aficionados
will appreciate the multiple representations of country rock, as well as the
roots aspect of the record, all of it so beautifully brought into focus through
honest musicianship and masterful songwriting.

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