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The kick-off track, “So Tired,” is a moving piece of finger-popping melancholy, with the singer’s breathy resignation carrying her over an arrangement grounded somewhere between Dionne Warwick and The Isley Brothers. It’s that too-rare mixture of identifiably “retro” sonic gestures with an artistic impulse that feels new and fresh, a combination largely due to the strength and flexibility of Britti’s vocal and melodic approaches. A new signee to Dan Auerbach’s Easy Eye Sound, the Louisiana-based singer-songwriter Britti just released an excellent debut collection of songs that trace connections between pop, R&B, and country from across eras. Here’s another throwback that you won’t want to throw back. CHīritti – “So Tired” (from Hello, I’m Britti, 2024) (There’s a reason why Penn released it on his own Junkyard Junky album two years later.) It’s an intimate showstopper and a rare treat.
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Best of all is the piano-driven, Charlie Rich-recalling ballad “Forever Changed.” Penn – who co-wrote it with fellow luminaries Carson Whitsett (who provides keyboards) and Bucky Lindsey – delivers the devotional with hushed tenderness and glowing warmth. ” Penn’s songwriter demos were legendary for their quality, and he adds a chapter to that story with the release of the demos from the Purify project.
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As songwriter, producer, and performer, Penn was a key creator of the musical hybrids in what I’ve called “ the country-soul triangle. Most significant was Dan Penn, who produced it, co-wrote its songs, and whose “I’m Your Puppet” was the Purifys’ big hit.
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Ben Moore) released a wonderful solo album, Better To Have It, that reunited him with some great Memphis and Muscle Shoals players. In 2005, sixties soul star Bobby Purify (a.k.a. –DCĭan Penn – “Forever Changed” (from The Inside Track on Bobby Purify, 2024) Not sure why… further study required… but I think I know why. As it turned out, Jordan would have the #1 “Folk Record” a second time later that summer, this time for five weeks, with his immortal “Is You Is or Is You Ain’t (My Baby)”-and that immediately following the King Cole Trio’s also chart-topping “Straighten Up and Fly Right.” At that point, Billboard ’s integrated “Folk Records” chart became suddenly segregated. “Poh-oh-oh-or me,” Jordan cries, both poking fun at and feeling sorry for his life during wartime. “Ration Blues” and the rest of his hits proved an important antecedent to rhythm & blues and rock and roll-and his melodies and grown-ass themes are close kin to swingy, blues-based hits favored by so many mid-century “country” stars. Jump-blues saxman Jordan was a key figure in popular music’s shift from big bands to combos, and “Ration Blues,” a protest about government-imposed sacrifices on the WWII home front, epitomizes his brassy, good-humored style. This was, at the time, the magazine’s only tally of “hillbilly” recordings, and, as you can see in the image below, “Folk” here was a broad and, for the moment, integrated category that mixed “Hillbilly” music with “Cowboy songs,” so-called “Race” records and spirituals-plus Bing Crosby whose mainstream pop superstardom synthesized all of that and more. Perhaps you wondered, “woman” and “debut” aside, who was the first black act ever to top a Billboard country countdown? That achievement belongs to… Louis Jordan and His Tympany Five, who-sixty years ago, just last week as it happens-topped what Billboard called its “Most Played Juke Box Folk Records” chart. Last month, Beyonce became the first black woman ever to debut at #1 on Billboard ’s Hot Country Songs chart. Louis Jordan – “Ration Blues” ( single, 1944)