Gary Clark Jr.
Ever since 2010, when Gary Clark Jr. wowed audiences with electrifying live sets everywhere from the Crossroads Festival to Hollywood’s historic Hotel Café, his modus operandi has remained crystal clear: “I listen to everything…so I want to play everything.” The revelation that is the Austin-born virtuoso guitarist, vocalist and songwriter finds him just as much an amalgamation of his myriad influences and inspirations. Anyone who gravitated towards Clark’s, 2011’s Bright Lights EP, heard both the evolution of rock and roll and a savior of blues. The following year’s full-length debut, Blak And Blu, illuminated Clark’s vast spectrum – “Please Come Home” is reminiscent of Smokey Robinson, while “Ain’t Messin’ Around” recalls Sly and the Family Stone. 2014’s double disc Gary Clark Jr–Live projected Clark into 3D by adding palpable dimension and transcendent power –– songs soared and drifted from the epic, psychedelic-blues of “When My Train Comes In” to his anthemic, hip-hop, rock-crunch calling card, “Bright Lights”, all the way down to the deep, dark, muddy water of “When The Sun Goes Down”.
There are a handful of folks who have informed for the mélange of genres and styles, which comprise the genius of Clark. One is Michael Jackson. It was on Denver stop of MJ’s Bad Tour where a four-year-old Gary’s life was altered after witnessing The King of Pop. By the sixth grade, Clark would own his first set of strings (Ibanez RX20).
As a teen, Clark began making a local name by jamming with adult musicians around nearby clubs. He struck a balance by singing in the church choir with his sisters. That gritty & sweet combination imbues the honey-thick soul that oozes from his vocals today. The eclectic Texas circuit, though, was Clark greatest university, where another culprit in the GCJ genesis lives: Clifford Antone, ambassador of the Austin music scene. Antone’s nightclub granted Clark the honor of sharing the stage with local blues heroes like Jimmie Vaughn, Hubert Sumlin Jr, and Pinetop Perkins. This on-the-job training, combined with studying licks by literal Kings like BB, Albert and Freddie, observing the mastery of Curtis Mayfield, Miles Davis, Hendrix, Marvin Gaye, Parliament-Funkadelic, and digesting the fresh edge of Tupac and Biggie, lifted the guitar prodigy up into a multi-instrumentalist, adept scribe, and undisputed music festival champ.
Now, after spending the last five years transforming audiences from the California desert to the London metropolis, acquiring fans like Barack Obama, Keith Richards, Alicia Keys and Beyoncé along the way, the 6’4 Texan needs to spread his musical wings and spectrum hues wider. This exhibition will be Clark’s second full-length worldwide album, The Story of Sonny Boy Slim due from Warner Bros. Records on September 11th. The title’s inspiration is one half Clark’s Southern roots––those singers and local musicians who saw the future in this young man ––and other half, his acting debut in John Sayles’ 2007 film Honeydripper. A 23-year-old Clark played the fictitious Sonny, (in fact, already his family-given nick-name), a young musician who transformed the blues and R&B into rock and roll. On his latest, Clark isn’t trying to reinvent any wheel. He’d rather deploy as many wheels as possible in order to lead music fans toward his favorite destinations.
“The Healing” mashes blues and hip-hop into the 21st century with a Marleyesque message of hope and faith. This journey of the soul hits Mississippi on the Delta jam of “Shake,” before pulling into the spiritual station of “Church,” serving gospel made with the purist folk elements: hypnotic strum, sweet harmonica, and aloud prayers as painful as they are beautiful (dare we say, Dylan-esque). “Grinder” makes musical graffiti out of fierce, freeform wah-wah screaming that spars with rap-tough urban tension. The code is completed once Clark’s chordophone wails a salute to all guitar gods.
“Our Love” could’ve easily been a standard in any decade past or present; “Down To Ride”, an avant-garde, soul love letter with its sensual falsetto, classic Casio synths, and outer-space guitar fade, fits into fresh unexplored sonic territories. The trippy flight “Wings” is Clark’s most modern flip as the Outkast fan is heard in his lyrical prime: “We got issues and people get misused/and girl I miss you/but I know that we’ll get through what we go through.”
Sterling songwriting is where Mr. Clark’s evolution is arrayed best. Never has his pen’s moonshine been so in tune with the times. The Lone Star diamond gleams brightest when he’s sketching then voicing his country’s current and evergreen socio-economic tensions simultaneously. When he’s progressing the art of blues by replacing hopeless conclusion with empathy and strength. When he’s reintroducing and redefining red, white, and blue music. “Hold On,” impressively captures the struggle of being African-American in any era by stirring a pungent punch of Curtis Mayfield, Gil Scott-Heron and Buddy Guy influence over some serious (and visual) commentary. “Seems like new news is the old news from a different angle/another mother on TV crying cause her boy didn’t make it/She said, What am I gon’ do? What I’m gon’ tell these babies?”
A 2015 reply is offered on the all-consuming space-age funk of “Star.” “I am devoted to seeing you shine on,” could be a message in falsetto from Clark to those babies, his country, his family, and his innermost self. With a musical palette as gracious and glorious as Gary Clark Jr’s, the target is most likely all of the above. As Clark put his mojo in full motion on the album’s opening track, “The Healing”, he eloquently states his subtle and underlying theme that “this music” is our hope, faith and ultimate healing.
Nathaniel Rateliff & The Night Sweats
”For a long time I always had to go off on my own,” says Nathaniel Rateliff of his creative process. “For the first Night Sweats record, I demo’ed everything up and created most of the parts. But for this new record, I felt like we’d all spent so much time on the road that we should all go off somewhere together. We should have that experience together. I wanted the guys to feel like they were giving something to the project beyond just playing.”
In other words, the Missouri-bred, Denver-based frontman wanted to make the band disappear along with him—out in the middle of the desert at first, and then deep in the woods. The result is the aptly titled Tearing at the Seams, a vivacious and inventive full-band record, with significant contributions from all eight members of The Night Sweats. These songs are grounded in old-school soul and r&b but are far too urgent for the retro or revivalist tag. There are familiar elements of soul and garage rock, but also jazz and folk and even country: the crackling energy on opener “Shoe Boot,” the cathartic sing-along of “Coolin’ Out,” the melancholy folk of the closing title track. “The future of this band is to take everything we’ve ever done in the past and just do it with our own little twist,” says Rateliff. “I hear that in my favorite bands. They just sucked everything up.”
Like his heroes, Rateliff has always been an omnivorous listener and player. Growing up in Hermann, Missouri, a small town with a booming tourism industry as well as a rampant meth epidemic, he started his music career playing in his family’s band at church, but that came to a tragic end when his father was killed in a car accident. Music became an obsession for him and his friends. “We would walk around these deserted country roads and talk about music all the time, how it can change the world and how it could change our world,” recalls Night Sweats bassist Joseph Pope III. “Music was what we thought would save us.”
In 1998 Pope and Rateliff moved to Denver where they worked nightshifts at a bottle factory and a trucking company while testing out their songs at open-mic nights. Their first band, Born in the Flood, attracted some major-label interest, but the pair had moved on by then, gravitating from heavy rock toward a folksier sound. Rateliff released an album on Rounder Records with a backing band called The Wheel, but despite the critical success of that and subsequent albums, he was still trying to find the right sound, the right outlet for what he needed to say.
A set of rough demos recorded in the early 2010s and based on old Stax and Motown records pointed Rateliff in a new direction. “That old soul stuff meant a lot to him when we were young,” says Pope. “Of all the projects we had done and all the different genres we had played, this was the most natural thing I’d heard him do. It sounded like it came from a really deep place in him, but it took this really meandering path to come through.”
Those demos eventually developed into the band’s 2015 self-titled debut, which became a massive hit and pushed them out on the road for two long years. Nathaniel Rateliff & The Night Sweats blasted their way through hundreds of shows in North America, England, Ireland, and Australia, and they played Coachella, Farm Aid, Newport Folk Festival, and the Monterey Pop Festival’s 50th Anniversary. The crowds grew larger with every show and The Night Sweats grew tighter and more vigorous.
In May 2017, they brought that same boundless energy to the opens plains and prickly cacti of Rodeo, New Mexico, where the entire band disappeared for a week to write songs for their follow-up. “We just did what we like to do best,” says Rateliff, “which is hang out and be a family.” They recorded a number of demos, some complete songs and others fragments or just ideas, but all were anchored by the preternaturally tight rhythm section of Pope and drummer Patrick Meese, then buoyed by the rambunctious keyboard runs from Mark Shusterman and the textural guitar riffs of Luke Mossman.
It was a sunny setting for emotionally overcast music. Together, The Night Sweats created a set of songs that comprise both an r&b party record and deeply personal confessional from Rateliff, who penned all the lyrics. The album recounts moments in the last few years of his life, some good and others not so much. “I remember finishing one song and just losing my shit and breaking down. These songs are so personal, but not everyone will get that. I get to leave little secrets in there for myself, so that everybody else gets to have their own individual interpretations of the songs.”
From New Mexico, The Night Sweats headed north to rural Oregon, specifically to the home studio of producer Richard Swift, who has helmed records for The Shins and Foxygen in addition to The Night Sweats’ debut. “He’s like a brother to me,” says Rateliff. “We hit it off during the last record. I feel like I get what Richard’s trying to do and he gets me. And his studio doesn’t really feel like a studio. It’s in this little building behind his house. That’s why I like it so much.”
In that tiny space The Night Sweats jammed hard, building off the demos they’d recorded in Rodeo. Often Swift would get dynamic takes without the band realizing he was even recording, which creates a loose, live sound on Tearing at the Seams. “Sometimes it just takes time for songs to reveal themselves to you,” says Rateliff. “You try not to get in the way of the songs and just let them be what they need to be or what everybody understands them to be.”
That’s how “Hey Mama” evolved from an acoustic guitar riff Rateliff devised in one of hundreds of green rooms the band has occupied pre-show into one of the catchiest songs on the album. He admits he wasn’t satisfied with his first stab at lyrics and melody, but “everybody in the band would walk around singing that melody and I’m like, Goddammit! I have to write a new melody! But if everybody’s singing it, it must be okay.”
The band took several cracks at “Intro,” a showstopper that opens the second side with a pretzel horn riff courtesy of tenor saxophonist Andreas Wild and trumpeter Scott Frock. A few measures later, Jeff Dazey unfurls a blazing alto sax solo. “We played that song live for a while,” says Rateliff. “It was a jam we came up with before we were really a band. We tried to record it so many different times in so many different places, but it never turned out the way we wanted it to sound. Finally, we just put it together at Richard’s one night. It was a drunken mess, but we got it.”
The album shows The Night Sweats tearing at their own seams, at their own sturdy sound, at their long-held definitions of friend and family and band. It’s an album that builds on the sound of their debut but dramatically redefines what they can do and where they can go next. Says Rateliff, “I want—and I need—everybody to feel like they’re a part of this band. I want them to feel like they’re contributing artistically and emotionally to the experience of writing and creating this music. We’ve all had to make sacrifices to be in The Night Sweats, and I want them all to know that it’s worth something.”