Slide guitarist and songwriter Roy Rogers has played with some of the biggest names in country and rock and roll in a career that spans forty years, from John Lee Hooker to Bonnie Raitt. Still, the accomplished musician has largely eschewed the big label approach to making his own music by self-releasing his albums on his independent label, Chops Not Chaps Records. With his long-time trio the Delta Rhythm Kings, Rogers again offers up a foot-stompin’ assortment of blues-tinged jams with his latest album, Into the Wild Blue.
Made up of eleven tracks, the album kicks off with the dance hall rocker “Last Go-Round,” showing off a sizzling electric riff over a two-step beat. Rogers follows that up with the upbeat jam session of “Don’t You Let Them Win.” Rogers’ effortless slide guitar is in full effect on the record, and the Delta Rhythm kings keep a steady southern influence over the beat, like a hoedown happening in the bayou heat.
Recorded with long time bassist Steve Ehrmann, drummer Kevin Hayes, keyboardist Jim Pugh, and violinist Carlos Reyes; Rogers feels right at home throughout the record, laid back and carefree in his songwriting. Into the Wild Blue is available now, Roy Rogers and the Delta Rhythm Kings will be in the North Bay on Wednesday, August 5, performing at the Sonoma County Fair in Santa Rosa.
Check out the funky track “She’s a Real Jaguar” below:
Last December, in an article rounding up last year’s pop-music’s trend towards minimalist production, I mentioned that Terius Nash, a.k.a. The Dream, a producer behind many of last year’s hits, was releasing an album that could not help but make more of a splash than his overlooked debut. I bought the album a couple days ago, and I’m not alone—Love vs. Money debuted at No. 1 on the Billboard R&B / Hip Hop charts and No. 2 on the Billboard 200, selling 151,000 copies in the first week. That’s not just a splash, it’s a cannonball.
Nash is the songwriter and producer with a hand in Rihanna’s “Umbrella,” Mariah Carey’s “Touch My Body” and Beyonce’s “Single Ladies”—all huge hits that used razor-thin, super-sparse production to great effect. Though few guessed his album would be such a huge commercial hit, everyone agreed it could serve as a harbinger of pop-music production to come. Instead, it disappointingly looks backward and bigger instead of forward and flimsier, and it’s irrevocably marred by an overabundance of Atlanta party-style “Aaaayyy!” and “Oooohhh!” exhortations; it would be forgivable if this was a record made by a producer in 2006. As such, it is 2009, and “Aaaayyy!”s are dated as shit.
Love vs. Money has its moments, though, and they’re amazing. “Kelly’s 12 Play” tips the hat to an obvious influence, while “Sweat it Out” has the man ruminating on his girl’s appearance, advising her to book an appointment with her beautician in order to fix what’s about to get fucked up between the sheets. “Take U Home 2 My Mama” is a proper segue (all the songs overlap and blend hooks) into the album’s finest moment, “Love vs. Money,” layered with thick intermittent bursts of orchestration which sound like spools of magnetic tape pulled through Ampex heads at varying speeds. The sonic texture is as deep as his agony; it’s the antithesis of the razor-pop thinness that The Dream is known for, and it’s undeniable even if you don’t care about the ex-wife, Nivea, and the multi-millionaire rapper, Lil’ Wayne, who inspired it.