Paul Taylor, Steve Selvidge, Luther Dickinson • Mem_Mods Vol.1
Son of late folk-blues musician and singer Sid Selvidge, whose Peabody Records label released Alex Chilton’s shipwreck of an album Like Flies On Sherbet in 1979, Steve Selvidge continues the Memphis music tradition with this, his debut album on Peabody’s revived 40-year-old label. Mem_Mods Vol. 1 leads off with “Capricorn Catastrophe,” an ethereal funk-groove tune (how do those work together?) that could have fit into any Angelo Badalamenti soundtrack. It is followed with “Three On The Tree,” with a smooth, romantic, late-night, smoky groove -- a love song for robots. “Feathers On A House Cat” is next, showcasing rowdy drums and electric bass set in a lazy groove. This is twisted, exciting music. “Congressional Tadpole” is for agile dancers only -- its groove is strong and angular. A dub study follows, entitled “Harmolodica.” It reaches the outer limits of its genre and seems to be dance music for beings calling a distant planet home. It is a fantasy soundscape. “Knotty Pine Kitchen” wraps up the side as if lovers unite in 1960s soul distilled into a broth laced with 21st-century electronics and sensibilities. Side two begins with “Midtown Miscommunication,” another ethereal, otherworldly sound explosion layered between hard dub and psychedelia. “Sonoma Smashup” returns to a more mainstream sound full of pulsating, energetic romps through various electronic effects. Intriguing! “Sparkle Skate“ is hard funk -- electronics in the service of an irresistible dance groove. It’s skillfully done with everyone obviously having fun, yet it sounds more like a backing track for a vocal. “Cootie Party” (love the title) follows, it lazy groove seeming to be searching for a vocal. “Perseveration Blues“ features an interesting musical mix and is one of the few cuts that sounds like a bona-fide “tune.” It’s mysterious and nice. Closing the album is “Horn Lake Hookup.” Leave your inhibitions aside, ladies and gentlemen, because it’s an unhinged aural assault with a kitchen sink full of effects and irresistible dance grooves. It's short but sweet. The LP is a sturdy, flat and quiet 180-gram slab of black
vinyl sporting an exceptionally attractive vintage-style label. The recording suits the
music but will win no applause from audiophiles. Each side, though, is packed with
exciting, high-energy instrumental jams performed by a handful of skilled musicians who
appear to be having a great deal of fun. You will, too, as you listen. |
rolling for new
music on vinyl can often yield unexpected results. Such was the case with this album.
Truth be told, I initially didn’t know quite what to make of it. Only after repeated
listens was I able to get into the groove of the music and develop appreciation of it.
This intriguing music was born and nurtured in the studio, and was propelled from the
speakers with an absolutely infectious groove and barefaced presence. It is chock-full of
effects and soul and blues influences, all courtesy of session guitarist and multi
instrumentalist Steve Selvidge (of the group The Hold Steady). His partners on this
recording include Luther Dickinson on keyboards and Paul Taylor on drums and percussion.
The addition of horns on a few tracks increases the Memphis-sound vibe.