GARLAND JEFFREYS
''TRUTH SERUM''
SEPTEMBER 17 2013
40:06
1 /Truth Serum 4:12
2 /Any Rain 4:02
3 /It's What I Am 5:00
4 /Dragons to Slay 3:33
5 /Is This the Real World 3:41
6 /Ship of Fools 3:47
7 /Collide the Generations 5:13
8 /Far Far Away 4:18
9 /Colorblind Love 3:33
10 /Revolution of the Mind 2:47
All Tracks By Jeffries
Art Baron /Trombone
Larry Campbell /Guitar (Acoustic), Guitar (Electric)
Aaron Comess /Drums, Tambourine
Tom Curiano /Drums
Rich Hammond /Bass
Garland Jeffreys /Guitar (Acoustic)
Steve Jordan /Drums
Zev Katz /Bass
Duke Levine /Guitar (Electric), Slide Guitar
James Maddock /Banjo, Guitar (Acoustic), Guitar (Electric), Shaker, Vocals (Background)
Mike Merritt /Bass
Brian Mitchell /Accordion, Harmonica, Piano, Wurlitzer
Cindy Mizelle /Vocals (Background)
Oli Rockberger /Organ (Hammond), Piano
Brian Stanley /Bass
Andy Taub /Glockenspiel, Korg Synthesizer, Piano, Synthesizer
Review
by Mark Deming (AllMusic)
Considering Garland Jeffreys managed to release a mere three albums between 1992 and 2011, the arrival of Truth Serum in 2013, just two years after The King of In Between, suggests the gifted New York songwriter and vocalist is suddenly becoming recklessly prolific, at least by his own standards. While most of Jeffreys' albums are constructed around some grand central theme, Truth Serum is one of his more introspective efforts, focusing on life's internal and external struggles: the temptations of alcohol and self-delusion ("Truth Serum," "It's What I Am"), the challenges of relationships ("Ship of Fools," "Colorblind Love"), the emotional pull of the family ("Collide the Generations"), and the never-ending desire for a better life ("Is This the Real World," "Revolution of the Mind"). And given the eclectic, genre-bending approach of his best and best-known work, Truth Serum is an unusually straightforward and tightly focused set: "Dragons to Slay" finds Jeffreys once again dipping his toes into reggae (and showing he's one of the few Americans who sounds consistently comfortable and convincing embracing Jamaican sounds), and "Collide the Generation" is a lean, edgy rocker, but most of this music is rooted firmly in the blues, with the arrangements simple and the band performing with unobtrusive confidence, particularly drummer Steve Jordan and keyboard man Brian Mitchell (though Larry Campbell, who produced The King of In Between, does lay in some raw and fiery blues riffs on several tracks). In many respects, Truth Serum is a different sort of Garland Jeffreys album; instead of reaching for a Major Statement, this album feels like a set of journal entries, meant as much for himself as his audience, though Jeffreys' distinct lyrical voice shines bright even when he's chanting his thoughts like a mantra, and his voice is warm, passionate, and a joy to hear more than four decades after he cut his first album. Considering he's nearly 70 years of age, perhaps it's better if we get more simple albums from Jeffreys than fewer large-scale conceptual works; the man clearly still has the skill and the inclination to make worthwhile music, and Truth Serum suggests he's smart enough not to squander this gift while time is still on his side.
Biography
by Mark Deming (AllMusic)
A critically acclaimed singer, songwriter, and instrumentalist, Garland Jeffreys has earned a loyal international audience for his intelligent and passionate songs, informed by a variety of musical styles from rock and R&B to reggae and dance music, and dealing with topics both personal and political, often at the same time. While not especially prolific -- he released a mere five studio albums between 1981 and 2011 -- Jeffreys' work reveals a rock & roller's soul and a poetic sensibility that have earned him the respect of musical peers such as Lou Reed, Bruce Springsteen, David Johansen, and John Cale.
Jeffreys was born in the Sheepshead Bay section of Brooklyn, New York in 1944. Of African-American, Puerto Rican, and European heritage, he was raised in a multi-cultural household and a neighborhood that was not always accepting of his family's racial diversity. Jeffreys' parents enjoyed jazz vocalists such as Billie Holiday, Nat King Cole, and Dinah Washington, and as a teenager, he developed a taste for doo wop and rhythm & blues; as the '50s gave way to the '60s, he became a passionate fan of soul music and Bob Dylan's early work. After graduating from high school, Jeffreys studied art history at Syracuse University, where he struck up friendships with fellow students and music fans Lou Reed and Felix Cavaliere; Jeffreys also expanded his cultural boundaries by studying for several months in Italy. After completing his studies in 1966, he began appearing at folk and rock clubs in Manhattan, often performing material that dealt with racial issues and using props and make-up to emphasize his messages. In 1969, Jeffreys formed a band called Grinder's Switch with three musicians from Woodstock, New York -- Ernie Corallo on guitar, Stan Szelest on keyboards, and Sandy Konikoff on drums. John Cale recruited Grinder's Switch to form the core of the backing band (credited as Penguin) on his first solo album, 1969's Vintage Violence, and the album included one of Jeffreys' songs, "Fairweather Friend." (Jeffreys also wrote a poem about Cale for the liner notes.) Grinder's Switch were signed to Vanguard Records and cut an album that was released not long before the band split up in 1970.
Jeffreys began working as a solo act again, and was signed by Atlantic Records. His 1973 solo debut was a commercial disappointment, but that same year, he released a standalone single, "Wild in the Streets" b/w "35 Millimeter Dreams." The A-side, arranged by New Orleans keyboard legend Dr. John, became an underground hit, and when Jeffreys moved to A&M Records, the track was included on his first album for the label, 1977's Ghost Writer, which led to Jeffreys being named Best New Artist of the Year by Rolling Stone. Jeffreys' tenure with A&M would be the most prolific of his career; he released One Eyed Jack in 1978, and American Boy and Girl in 1979. The latter, though largely devoted to hard-edged narratives of street life, also featured a romantic number called "Matador," which became a major hit in the U.K. and several European markets, where he gained a large and lasting following.
In 1981, Jeffreys moved to Epic Records and finally enjoyed a commercial breakthrough in the United States with Escape Artist, an album that featured backing from members of Graham Parker's Rumour and Bruce Springsteen's E-Street Band, as well as guest appearances by Lou Reed, David Johansen, and Linton Kwesi Johnson; it included a cover of "96 Tears" that became a minor hit single and an MTV favorite. Later the same year, a live album was released from the tour supporting Escape Artist, Rock ‘N' Roll Adult, and in 1983, Jeffreys reappeared with Guts for Love, a polished set of songs about love and relationships. While a cover of "What Does It Take (To Win Your Love)" fared well on the charts, the album was a commercial and critical disappointment, and it was nine years before Jeffreys returned to the recording studio. 1992's Don't Call Me Buckwheat, his first album for RCA, was a collection of songs about the issues of race in America and a strong return to form, but it sold far better in Europe than the United States, and his next album, 1997's Wildlife Dictionary, wasn't released at all in America.
In the same year Wildlife Dictionary was released, Jeffreys and his wife welcomed the birth of their daughter Savannah, and he took time off from his recording career to be a full-time father. He staged occasional European tours and in 2006 released I'm Alive, a compilation spanning his solo career that also included three new songs, but it wasn't until 2011 that he returned with a full album of new material, The King of In Between.
OFFICIAL SITE
''TRUTH SERUM''
SEPTEMBER 17 2013
40:06
1 /Truth Serum 4:12
2 /Any Rain 4:02
3 /It's What I Am 5:00
4 /Dragons to Slay 3:33
5 /Is This the Real World 3:41
6 /Ship of Fools 3:47
7 /Collide the Generations 5:13
8 /Far Far Away 4:18
9 /Colorblind Love 3:33
10 /Revolution of the Mind 2:47
All Tracks By Jeffries
Art Baron /Trombone
Larry Campbell /Guitar (Acoustic), Guitar (Electric)
Aaron Comess /Drums, Tambourine
Tom Curiano /Drums
Rich Hammond /Bass
Garland Jeffreys /Guitar (Acoustic)
Steve Jordan /Drums
Zev Katz /Bass
Duke Levine /Guitar (Electric), Slide Guitar
James Maddock /Banjo, Guitar (Acoustic), Guitar (Electric), Shaker, Vocals (Background)
Mike Merritt /Bass
Brian Mitchell /Accordion, Harmonica, Piano, Wurlitzer
Cindy Mizelle /Vocals (Background)
Oli Rockberger /Organ (Hammond), Piano
Brian Stanley /Bass
Andy Taub /Glockenspiel, Korg Synthesizer, Piano, Synthesizer
Review
by Mark Deming (AllMusic)
Considering Garland Jeffreys managed to release a mere three albums between 1992 and 2011, the arrival of Truth Serum in 2013, just two years after The King of In Between, suggests the gifted New York songwriter and vocalist is suddenly becoming recklessly prolific, at least by his own standards. While most of Jeffreys' albums are constructed around some grand central theme, Truth Serum is one of his more introspective efforts, focusing on life's internal and external struggles: the temptations of alcohol and self-delusion ("Truth Serum," "It's What I Am"), the challenges of relationships ("Ship of Fools," "Colorblind Love"), the emotional pull of the family ("Collide the Generations"), and the never-ending desire for a better life ("Is This the Real World," "Revolution of the Mind"). And given the eclectic, genre-bending approach of his best and best-known work, Truth Serum is an unusually straightforward and tightly focused set: "Dragons to Slay" finds Jeffreys once again dipping his toes into reggae (and showing he's one of the few Americans who sounds consistently comfortable and convincing embracing Jamaican sounds), and "Collide the Generation" is a lean, edgy rocker, but most of this music is rooted firmly in the blues, with the arrangements simple and the band performing with unobtrusive confidence, particularly drummer Steve Jordan and keyboard man Brian Mitchell (though Larry Campbell, who produced The King of In Between, does lay in some raw and fiery blues riffs on several tracks). In many respects, Truth Serum is a different sort of Garland Jeffreys album; instead of reaching for a Major Statement, this album feels like a set of journal entries, meant as much for himself as his audience, though Jeffreys' distinct lyrical voice shines bright even when he's chanting his thoughts like a mantra, and his voice is warm, passionate, and a joy to hear more than four decades after he cut his first album. Considering he's nearly 70 years of age, perhaps it's better if we get more simple albums from Jeffreys than fewer large-scale conceptual works; the man clearly still has the skill and the inclination to make worthwhile music, and Truth Serum suggests he's smart enough not to squander this gift while time is still on his side.
Biography
by Mark Deming (AllMusic)
A critically acclaimed singer, songwriter, and instrumentalist, Garland Jeffreys has earned a loyal international audience for his intelligent and passionate songs, informed by a variety of musical styles from rock and R&B to reggae and dance music, and dealing with topics both personal and political, often at the same time. While not especially prolific -- he released a mere five studio albums between 1981 and 2011 -- Jeffreys' work reveals a rock & roller's soul and a poetic sensibility that have earned him the respect of musical peers such as Lou Reed, Bruce Springsteen, David Johansen, and John Cale.
Jeffreys was born in the Sheepshead Bay section of Brooklyn, New York in 1944. Of African-American, Puerto Rican, and European heritage, he was raised in a multi-cultural household and a neighborhood that was not always accepting of his family's racial diversity. Jeffreys' parents enjoyed jazz vocalists such as Billie Holiday, Nat King Cole, and Dinah Washington, and as a teenager, he developed a taste for doo wop and rhythm & blues; as the '50s gave way to the '60s, he became a passionate fan of soul music and Bob Dylan's early work. After graduating from high school, Jeffreys studied art history at Syracuse University, where he struck up friendships with fellow students and music fans Lou Reed and Felix Cavaliere; Jeffreys also expanded his cultural boundaries by studying for several months in Italy. After completing his studies in 1966, he began appearing at folk and rock clubs in Manhattan, often performing material that dealt with racial issues and using props and make-up to emphasize his messages. In 1969, Jeffreys formed a band called Grinder's Switch with three musicians from Woodstock, New York -- Ernie Corallo on guitar, Stan Szelest on keyboards, and Sandy Konikoff on drums. John Cale recruited Grinder's Switch to form the core of the backing band (credited as Penguin) on his first solo album, 1969's Vintage Violence, and the album included one of Jeffreys' songs, "Fairweather Friend." (Jeffreys also wrote a poem about Cale for the liner notes.) Grinder's Switch were signed to Vanguard Records and cut an album that was released not long before the band split up in 1970.
Jeffreys began working as a solo act again, and was signed by Atlantic Records. His 1973 solo debut was a commercial disappointment, but that same year, he released a standalone single, "Wild in the Streets" b/w "35 Millimeter Dreams." The A-side, arranged by New Orleans keyboard legend Dr. John, became an underground hit, and when Jeffreys moved to A&M Records, the track was included on his first album for the label, 1977's Ghost Writer, which led to Jeffreys being named Best New Artist of the Year by Rolling Stone. Jeffreys' tenure with A&M would be the most prolific of his career; he released One Eyed Jack in 1978, and American Boy and Girl in 1979. The latter, though largely devoted to hard-edged narratives of street life, also featured a romantic number called "Matador," which became a major hit in the U.K. and several European markets, where he gained a large and lasting following.
In 1981, Jeffreys moved to Epic Records and finally enjoyed a commercial breakthrough in the United States with Escape Artist, an album that featured backing from members of Graham Parker's Rumour and Bruce Springsteen's E-Street Band, as well as guest appearances by Lou Reed, David Johansen, and Linton Kwesi Johnson; it included a cover of "96 Tears" that became a minor hit single and an MTV favorite. Later the same year, a live album was released from the tour supporting Escape Artist, Rock ‘N' Roll Adult, and in 1983, Jeffreys reappeared with Guts for Love, a polished set of songs about love and relationships. While a cover of "What Does It Take (To Win Your Love)" fared well on the charts, the album was a commercial and critical disappointment, and it was nine years before Jeffreys returned to the recording studio. 1992's Don't Call Me Buckwheat, his first album for RCA, was a collection of songs about the issues of race in America and a strong return to form, but it sold far better in Europe than the United States, and his next album, 1997's Wildlife Dictionary, wasn't released at all in America.
In the same year Wildlife Dictionary was released, Jeffreys and his wife welcomed the birth of their daughter Savannah, and he took time off from his recording career to be a full-time father. He staged occasional European tours and in 2006 released I'm Alive, a compilation spanning his solo career that also included three new songs, but it wasn't until 2011 that he returned with a full album of new material, The King of In Between.
OFFICIAL SITE
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Thanks Oldrocker
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