JAMES LUTHER DICKINSON
''FREE BEER TOMORROW''
2002
37:49
**********
1 - JC's New York City Blues/3:01
2 - Bound To Lose/3:22
3 - Hungry Town/4:27
4 - It's Rainin'/2:47
5 - sshl/1:46
6 - Last Night I Gave Up Smoking/2:05
7 - If I Could Only Fly/4:37
8 - Ballad Of Billy And Oscar/8:46
9 - Well Of Love/3:19
10 - Home Sweet Home/3:34
**********
James Luther Dickinson/Piano, Doceola, B-3, Pump Organ, Vibes
Luther Dickinson/Guitar Mandolin, Shepherd Harp
Cody Dickinson/Drums
Paul Taylor/Bass
John C. Stubblefield/Bowed Bass
Tony Thomas/Accordian
''T-Bone'' Tommy Burroughs/Violin
Jim Sparks/Baritone Saxophone
Tower Of Sour:
Kevin Houston/Tenor Saxophone
Pete Matthews/Trumpet
Jimbo Mathus/Trombone
Jim Lancaster/Tuba
Background Vocals:
William ''the Fox'' Brown
Bertram Brown
Susan Jerome Taylor
**********
REVIEW/AMG
Matt Fink
Free Beer Tomorrow is Jim Dickinson's first solo release in 30 years, a period during which he contributed his talents to various hallmark rock moments, whether playing on Bob Dylan's Time Out of Mind, winning the Producer of the Year Grammy seven times, or fathering two sons that would form the North Mississippi Allstars. So it's obvious that Dickinson isn't guilty of sitting on his hands artistically since the release of 1972's Dixie Fried. And all things considered, one could be excused for not knowing exactly what to expect from Free Beer Tomorrow; Dickinson delivers an entirely appropriate return, steeped in the mixing pot of blues, soul, and country that he's been playing his entire life. With his weathered warble, a fitting complement to his alternately punchy and swampy arrangements, Dickinson proves himself to still have a fine grasp of the dynamics essential to those foundational forms. Just as comfortable with the country-soul balladry of the classy "It's Rainin'" as he is with the spiteful swipe at a former lover in the darkly swinging "Asshole," the album reveals an impressive study in contrasts that serves as a testament to his prodigious talents. Similarly, the loose junkyard funk of "Well of Love" is one of several tracks where Dickinson sounds a little reminiscent of Tom Waits, although he just as often evokes the understated poignancy of Merle Haggard on Blaze Foley's "If I Could Only Fly" he covers) in his phrasing and delivery. All in all, it's an impressive return to form for someone so long removed from the solo spotlight and an undeniable confirmation of his status as one of the true venerable statesmen of the genre.
**********
BIOGRAPHY/AMG
Craig Harris
The name James Luther Dickinson may not be well-known but the sound of his piano and organ certainly are. Together with his group the Dixie Flyers, house band at the Atlantic-owned Criteria Recording Studios in Miami, FL, Dickinson accompanied such stellar artists as Aretha Franklin, Carmen McRae, Delaney & Bonnie, Dee Dee Warwick, Jerry Jeff Walker, Ronnie Hawkins, Sam & Dave, Sam the Sham, Brook Benton, Lulu, and (Little) Esther Phillips. His piano playing was also heard on recordings by the Flaming Groovies, Albert King, Ronnie Milsap, Eric Quincy Tate, Petula Clark, Maria Muldaur, and Duane Allman.
Dickinson has been equally effective as a producer. Since making his production debut with Dan Penn's Emmet the Singing Ranger Live in the Woods, he's gone on to oversee recordings by Ry Cooder, Alex Chilton, Jason & the Scorchers, Green on Red, the Replacements, Primal Scream, Mudhoney, and Rocket from the Crypt.
Dixie Fried
Dickinson has maintained a much lower profile as a recording artist. His debut solo album, Dixie Fried, which featured Dr. John on piano and an uncredited Eric Clapton on guitar, was released in 1972. Although he and Dixie Fried guitarist/vocalist Charlie Freeman formed a new group, Mud Boys & the Neutrons in the early '80s, they were unsatisfied with their intended debut album and refused to have it released. They didn't release their first album, Known Felons in Drag, until 1986. While they quickly followed it with their second release, They Walk Among Us, the next year, it took another seven years before their third album, Negro Street at Dawn, was released in 1993.
...Continued
A native of Memphis, TN, Dickinson launched his career as a session player in the city's recording studios. Working with producer Sam Phillips, he played on Tony Joe White's Continued and Betty LaVette's He Made a Woman Out of Me. Asked by Atlantic to form a resident band for its newly acquired Criteria Recording Studios. Dickinson recruited keyboardist Mike Utley, bassist Tommy McClure, drummer Sammy Creason, and ex-Mar-Keys guitarist, Charlie Freeman. Although they performed on a lengthy list of recordings, they fell victim to the move toward self-contained bands. Leaving the studio in late 1970, they toured as backup band for Rita Coolidge and Kris Kristofferson until disbanding in the mid-'70. Their farewell concert, on October 1, 1978, at Memphis' Orpheum Theater, was recorded and released as Beale Street Saturday Night. Recording his debut solo album shortly before the Dixie Flyers left Critera, Dickinson continued his relationship with Atlantic. Serving as an assistant to Atlantic producer Jerry Wexler, he eventually rose to the position of vice-president.
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TO THE TOP
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''FREE BEER TOMORROW''
2002
37:49
**********
1 - JC's New York City Blues/3:01
2 - Bound To Lose/3:22
3 - Hungry Town/4:27
4 - It's Rainin'/2:47
5 - sshl/1:46
6 - Last Night I Gave Up Smoking/2:05
7 - If I Could Only Fly/4:37
8 - Ballad Of Billy And Oscar/8:46
9 - Well Of Love/3:19
10 - Home Sweet Home/3:34
**********
James Luther Dickinson/Piano, Doceola, B-3, Pump Organ, Vibes
Luther Dickinson/Guitar Mandolin, Shepherd Harp
Cody Dickinson/Drums
Paul Taylor/Bass
John C. Stubblefield/Bowed Bass
Tony Thomas/Accordian
''T-Bone'' Tommy Burroughs/Violin
Jim Sparks/Baritone Saxophone
Tower Of Sour:
Kevin Houston/Tenor Saxophone
Pete Matthews/Trumpet
Jimbo Mathus/Trombone
Jim Lancaster/Tuba
Background Vocals:
William ''the Fox'' Brown
Bertram Brown
Susan Jerome Taylor
**********
REVIEW/AMG
Matt Fink
Free Beer Tomorrow is Jim Dickinson's first solo release in 30 years, a period during which he contributed his talents to various hallmark rock moments, whether playing on Bob Dylan's Time Out of Mind, winning the Producer of the Year Grammy seven times, or fathering two sons that would form the North Mississippi Allstars. So it's obvious that Dickinson isn't guilty of sitting on his hands artistically since the release of 1972's Dixie Fried. And all things considered, one could be excused for not knowing exactly what to expect from Free Beer Tomorrow; Dickinson delivers an entirely appropriate return, steeped in the mixing pot of blues, soul, and country that he's been playing his entire life. With his weathered warble, a fitting complement to his alternately punchy and swampy arrangements, Dickinson proves himself to still have a fine grasp of the dynamics essential to those foundational forms. Just as comfortable with the country-soul balladry of the classy "It's Rainin'" as he is with the spiteful swipe at a former lover in the darkly swinging "Asshole," the album reveals an impressive study in contrasts that serves as a testament to his prodigious talents. Similarly, the loose junkyard funk of "Well of Love" is one of several tracks where Dickinson sounds a little reminiscent of Tom Waits, although he just as often evokes the understated poignancy of Merle Haggard on Blaze Foley's "If I Could Only Fly" he covers) in his phrasing and delivery. All in all, it's an impressive return to form for someone so long removed from the solo spotlight and an undeniable confirmation of his status as one of the true venerable statesmen of the genre.
**********
BIOGRAPHY/AMG
Craig Harris
The name James Luther Dickinson may not be well-known but the sound of his piano and organ certainly are. Together with his group the Dixie Flyers, house band at the Atlantic-owned Criteria Recording Studios in Miami, FL, Dickinson accompanied such stellar artists as Aretha Franklin, Carmen McRae, Delaney & Bonnie, Dee Dee Warwick, Jerry Jeff Walker, Ronnie Hawkins, Sam & Dave, Sam the Sham, Brook Benton, Lulu, and (Little) Esther Phillips. His piano playing was also heard on recordings by the Flaming Groovies, Albert King, Ronnie Milsap, Eric Quincy Tate, Petula Clark, Maria Muldaur, and Duane Allman.
Dickinson has been equally effective as a producer. Since making his production debut with Dan Penn's Emmet the Singing Ranger Live in the Woods, he's gone on to oversee recordings by Ry Cooder, Alex Chilton, Jason & the Scorchers, Green on Red, the Replacements, Primal Scream, Mudhoney, and Rocket from the Crypt.
Dixie Fried
Dickinson has maintained a much lower profile as a recording artist. His debut solo album, Dixie Fried, which featured Dr. John on piano and an uncredited Eric Clapton on guitar, was released in 1972. Although he and Dixie Fried guitarist/vocalist Charlie Freeman formed a new group, Mud Boys & the Neutrons in the early '80s, they were unsatisfied with their intended debut album and refused to have it released. They didn't release their first album, Known Felons in Drag, until 1986. While they quickly followed it with their second release, They Walk Among Us, the next year, it took another seven years before their third album, Negro Street at Dawn, was released in 1993.
...Continued
A native of Memphis, TN, Dickinson launched his career as a session player in the city's recording studios. Working with producer Sam Phillips, he played on Tony Joe White's Continued and Betty LaVette's He Made a Woman Out of Me. Asked by Atlantic to form a resident band for its newly acquired Criteria Recording Studios. Dickinson recruited keyboardist Mike Utley, bassist Tommy McClure, drummer Sammy Creason, and ex-Mar-Keys guitarist, Charlie Freeman. Although they performed on a lengthy list of recordings, they fell victim to the move toward self-contained bands. Leaving the studio in late 1970, they toured as backup band for Rita Coolidge and Kris Kristofferson until disbanding in the mid-'70. Their farewell concert, on October 1, 1978, at Memphis' Orpheum Theater, was recorded and released as Beale Street Saturday Night. Recording his debut solo album shortly before the Dixie Flyers left Critera, Dickinson continued his relationship with Atlantic. Serving as an assistant to Atlantic producer Jerry Wexler, he eventually rose to the position of vice-president.
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TO THE TOP
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