FEATURE:
Second Spin
Beverley Knight - Music City Soul
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HERE is an album…
that was received quite well by critics when it came out but, to me, is still undervalued and definitely underplayed. Beverley Knight is one of our greatest artists and finest voices. She has had a long and illustrious career where she has established herself as one of our true treasures. Her fifth studio album, Music City Soul, was largely recorded very quickly. As the title suggests, it was recorded in Nashville. Most of it was recorded and produced over the course of five days, it seems like a live album. The performances are very organic, soulful and memorable. Using an array of different musicians across the album, each song has a different vibe and personality. I think Knight wanted to nod to her heroes and heroines of Soul through the album. One can hear the influence of Al Green, Aretha Franklin, Sam Cooke and others. Whilst Music City Soul did get some positive reviews, a few were a little mixed. The songwriting from Knight and co-writers like Martin Brammer is amazing! My personal favourite songs from the album are Every Time You See Me Smile and No Man’s Land. Alongside originals, Knight adds her own stamp to songs like Rock Steady (Aretha Franklin). I think that Music City Soul is one of the best of 2007. It is quite hard to find a vinyl copy of the album anywhere. As it turns fifteen next year, it would be great to have it reissued and widely available.
Maybe this is a reason one does not hear many of the songs played. Few articles are dedicated to a fascinating and hugely impressive album. I want to bring in a couple of three-star reviews. They praise Knight’s undeniable talent and commitment. That said, there is a slight undertone of disappointment in some reviews. This is what AllMusic said in their review:
“Recorded in just five days in the deep south of Nashville, Tennessee, Music City Soul sees one of Britain's most accomplished urban talents, Beverley Knight, return to her roots following the underperformance of 2004's highly commercial Affirmation. Despite its recording location, the Wolverhampton diva's fifth studio album hasn't gone all country, but instead focuses on the Southern soul sounds of the '60s that influenced her early career. Whether it's a knee-jerk response to the disappointing sales of her "all-bases-covered" predecessor, or a genuine affectionate homage to the likes of Al Green, Sam Cooke, and Aretha Franklin, its 15 tracks are undeniably and authentically old-school, thanks to Mark Nevers' organic production, Knight's full-throttled soulful vocals, and an inspired choice of collaborators and song choices. The Rolling Stones' Ronnie Wood lends his guitar skills to three tracks, including the bluesy feel-good opener "Every Time You See My Smile," and an impassioned gospel take on his own band's 1964 hit "Time on My Side”…
Robbie Williams' former songwriting partner Guy Chambers offers his trademark melodic sensibilities to both "Black Butta," a rip-roaring slice of rock & roll which owes more than a nod to Ike & Tina Turner's "Nutbush City Limits", and the Aerosmith-goes-funk of "Saviour," while the achingly gorgeous "No Man's Land," a languid but luscious ballad which showcases a rarely seen fragile side to Knight's usual blistering vocal presence, is the album's stand-out track, co-written with Adele and Joss Stone cohort Eg White. But suffering the same fate as many of her releases, Music City Soul can't sustain the same standard throughout, as she fails to make her mark on pedestrian cover versions of Homer Banks' "Ain't That a Lot of Love" and Aretha Franklin's "Rock Steady," while the likes of "Tell Me I'm Wrong" and "Trade It Up" seem more concerned with replicating the period's vintage sound than providing any memorable hooks or melodies. Music City Soul may be one of the more credible Southern soul pastiches, but by looking to the past instead of focusing on the future, Knight is now in danger of surrendering her Queen of U.K. soul crown”.
I feel Beverley Knight is an artist who has never quite got the kudos and respect that her work deserves. Normally reserved to a certain radio audience, her music can (and should) be enjoyed by everyone. Before I wrap up, there is another review that had some positives to offer. This is The Guardian’s take on Music City Soul:
“One of the true stalwarts of British pop, Beverley Knight has plugged away gamely for over a decade, producing a steady, solid stream of minor R&B hits. Her fifth album finds her delving into the genre's soul and gospel roots. Music City Soul was recorded in Nashville with a live band, and is impeccably produced: every bass lick and rhythmic detail sounds exquisite. The songs, though, are mixed. The faithful replication of a 40-year-old sound can seem dull and dusty in places. As with most revivalism, there are too many polished signifiers of an idea of "authentic soul" rather than tunes to back them up; consequently, the album is at times little more than a retro exercise. However, there are enough moments when Knight shakes off the inertia to make this a worthwhile project, letting her hair down in spectacular fashion. Black Butta and Saviour are two of the best songs of Knight's career, full-throated funk with thunderous rhythm sections that find her in lascivious mood, while on Queen of Starting Over and Tell Me I'm Wrong, the delectable arrangements come into their own behind luscious, heartbroken ballads”.
If you have not experienced the multiple joys of Beverley Knight’s Music City Soul, go and give the album a spin. It has some fabulous songs on it. As you’d expect, Knight’s voice is on peak form throughout! She does justice to her Soul idols throughout a rich and amazing album. That is why I was eager to salute it…
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