“I Should Be Blue” Reviewed in Sing Out! Magazine
Sing Out!
Winter 2011 issue
From his early days playing with bluesmen Mississippi Fred McDowell and Furry Lewis at Memphis’ fabled Bitter Lemon club to lifetime membership in his buddy Jim Dickinson’s famously transient Mudboy and the Neutrons outfit and on to his storied solo career with Enterprise, Nonesuch and Peabody Records, Selvidge has been one of the most individualistic voices in American roots music. His seamlessly fearless fusion of Hill Country blues guitar picking and stoically laid-back storytelling (gloriously evident here on originals like “Dimestore Angel” and the wistful “Fine Hotel”) has allowed him to carve out a niche not only as a traditional sounding yet somehow contemporary southern songwriter but also as an inventive interpreter.
It’s that latter aspect that’s to the fore on his latest Archer project, produced by the legendary Don Dixon and featuring his bass playing along with familiar Selvidge cohorts, such as his son, Steve, on acoustic and electric guitars, Paul Taylor on wash-tub bass and drums and fellow Archer artist Amy Lavere on upright bass, as Selvidge nods to favorites from the likes of Tim Hardin (with a pensive rendition of “Don’t Make Promises You Can’t Keep”), Fred Neil (likewise, a stunning version of “The Dolphins”), a near-solo recall of Tom T. Hall’s classic “That’s How I Got to Memphis” and Sam Weedman – Selvidge adds a calypso-like sheen to his lament about “A Blond Headed Girl in a Convertible Automobile.” Up-and-coming vocalist Amy Speace joins Selvidge on four tracks, particularly shining on her own composition “Two” and on an ardent redo of Townes Van Zandt’s “I’ll Be Here in the Morning.” Fans of Chris Smithers or Peter Case will enjoy this one.
— GvonT
Sid Selvidge In Vintage Guitar Magazine (December 2010)
With his soft, high voice, delicate touch on acoustic guitar, and a hint of funk, Selvidge resembles fellow Memphian Jesse Winchester. Producer Don Dixon (of R.E.M. fame) adds bass, keyboards, guitar, and baritone to Selvidge originals and covers of Tim Hardin, Townes Van Zandt, and Fred Neil. Amy Speace duets on Donovan’s “Catch The Wind”, featuring Steve Selvidge’s lead guitar. -DF
Sid Selvidge I Should Be Blue: 3 1/2 stars
from Downbeat Magazine: November 2010
by Mitch Myers
The late producer/musician Jim Dickinson used to talk about the atmosphere in Memphis, and how the air was thicker or heavier, and somehow this murky milieu actually seeped into the music recorded down there. Veteran singer/guitarist Sid Selvidge played alongside Dickinson in a group called Mudboy and the Neutrons, and I’m sure he’d agree.
Selvidge’s latest solo CD - produced by Don Dixon and recorded on magnetic tape - is a collection of deceptive depth. Selvidge is a Mississippi-born Memphis resident who has a fascinating singing voice that blends countrified folk, blues, and jazz. In timbre, it’s similar to that of Memphis songwriter Dan Penn, only more gentle and malleable, and a couple shades prettier. Opening with Tom T. Hall’s chestnut “That’s How I Got To Memphis,” Selvidge exudes a quiet confidence. As a performer, he mixes solid original material with gems written by soul-folk geniuses like Tim Hardin and Fred Neil.
Concentrating mostly on acoustic guitar, Selvidge cedes some electric guitar duties to his son, Steve - who is also a member of The Hold Steady. Dixon plays several instruments, especially the bass, and singer/songwriter Amy Speace appears on four tunes. Selvidge’s own vocal gifts are most apparent on two folk classics from yesteryear. his loping version of Donovan’s “Catch the Wind” (with Speace) is affecting, but his yearning rendition of Neil’s contemplative ode “The Dolphins” is most evocative. Closing coyly with Duke Ellington’s “Do Nothin’ Till You Hear From Me,” Selvidge’s quiet vocal power is even more apparent.
Four-Star review of Sid Selvidge’s I Should be Blue
from Maverick Magazine: September 2010
by JS
Superlative set of soft jazz/country blues from an outstanding song interpreter.
A perfect Sunday morning album, Sid Selvidge’s latest is a mix of covers and originals. Produced by Don Dixon of early REM fame, it also features Amy Speace duetting on several tracks. Selvidge’s music is part jazz, part blues (sometimes of the country variety) but all soul, and his vocals, which are often part spoken or fade away on the last syllable of a word, convey this to perfection.
On the covers side he takes on Donovan’s Catch The Wind and delivers a far better version than Mr. Leitch ever managed. It’s the first track Speace guests on and a masterpiece of lovelorn regret that restores its true beauty and reclaims it from hippy dippy hell. His son Steve, currently of the Hold Steady, plays some divine electric guitar on it, too. Anybody trying on Fred Neil’s Dolphins for size has to contend with the holy trinity of the original and Tim & Jeff Buckley’s impassioned versions and if Selvidge doesn’t quite challenge those he certainly acquits himself well. Elsewhere Speace’s Two, a heartfelt and delicate love song; and That’s How I Got To Memphis, where Selvidge’s voice floats over a solitary acoustic guitar are both resounding successes. Later on he has fun with Sam Weedman’s A Blonde Headed Girl (In A Convertible Automobile), a spit for Brown Eyed Handsome Man, here sprinkled with a hint of reggae, and turns Townes van Zandt’s I’ll Be Here In The Morning into a Southern soul piece, all smoke and sorrow.
His own material holds up well in this illustrious company and the soft jazz-tinged Fine Hotel and Lucky That Way fit his late night smoky bar style like a glove but it’s as an interpreter that Selvidge really stands out, as there are precious few good ones around and this album shows him to be one of the best.
Leicester Bangs September 2010 Review of I Should Be Blue
by Rob F.
I’m sure many of you will know Sid Selvidge from his appearance on the exceptional It Came From Memphis compilation, where he rubbed shoulders with the likes of Furry Lewis, Jessie Mae Hemphill and the ever popular, Big Ass Truck. Of course, I may be selling you short and you’re the proud owner of several Selvidge CDs, in which case, you’re in for a treat.
I Should Be Blue - his eighth solo album - is a delightful collection of originals and covers, all delivered with a combination of gentle soul and folk-blues. There’s no shortage of impressive performances. His versions of Fred Neil’s “The Dolphins” and Donovan’s “Catch The Wind” (With Amy Speace) both standout, though his own songs are equally engaging. With a band that includes his son Steve (currently playing with The Hold Steady) on guitar and Don Dixon on bass, you’re not going to go far wrong.
http://www.myspace.com/sidselvidge
Rob F.
JazzWax: A Daily blog on jazz legends and legendary jazz recordings
Sid Selvidge, I Should Be Blue
from http://www.jazzwax.com/2010/09/index.html: September 7, 2010
by Marc Myers
Sid Selvidge’s I Should Be Blue is a different type of album. It’s country-folk and offers many joys. Selvidge’s music reminds me of one of those back-porch sofas that swing back and forth. Songs like Catch the Wind, Dimestore Angel and I’ll Be Here in the Morning with Amy Speace as well as The Dolphins show off Selvidge’s Southern roots and interpretation. My favorite track is the country-soul Fine Hotel. Sample for yourself.
Netrhythyms.com review of Sid Selvidge’s I Should Be Blue
from http://netrhythms.com/reviews.html#sid: August 2010
by David Kidman
I’ve had a real job finding out much about Greenville, Mississippi-born Sid, beyond the fact that he spent his early days in Memphis learning to play the blues from the likes of Furry Lewis, Fred Mc Dowell and the late Jim Dickinson, after which he’s toured the world, etc etc, and claims Dylan as an admirer. We’re also told that I Should Be Blue is his eighth album - so where the hell’s he been all these years that he’s never figured on NetRhythms radar until now?
Sid’s the real deal, a light-textured and supple vocalist with the strongest Memphis influences all brought to bear on his slowburning singing style:
soul, folk and pop are all seamlessly woven into a characteristic yet surprisingly unique personal statement. That amazing voice, so effortlessly idiomatic and brilliantly controlled, stops you dead from the opening cover of Tom T. Hall’s That’s How I Got To Memphis (shades of Eric Bibb here maybe), and keeps you hooked right on through personalised treatments of songs by Tim Hardin, Donovan, Townes Van Zandt and Fred Neil along with a small contingent of his own well-crafted compositions tucked into the centre of the record for good measure. His songwriting feels as fresh as his singing, although its lazy, laid-back mode on the likes of Dimestore Angel and Fine Hotel still references classic soul and Americana all down the line. As an interpreter, Sid convinces both on the thoughtful material (the majority of the cuts) and also on the falsetto moves required for the comic quirkiness of You’re Gonna Look Like A Monkey (When You Get Old). It’s hard to escape occasional reminiscences of Phil Ochs in his delivery too (no bad thing tho’), and his high-register shifts are coolly impressive too. What’s more, his voice blends really well with that of Amy Speace, whose own song Two provides a tender disc highlight towards the end of the set; in fact, Amy gets to join Sid on four out of the dozen tracks, and their duet on Donovan’s Catch The Wind is seriously good too.
Sid’s gathered round him a small but effective crew of support musicians that includes his son Steve on various electric guitars, Al Gamble on organ, Don Dixon on bass and Paul ““Snowflake” Taylor on drums; together this crew makes an ideal foil for the persuasive tones of Sid’s voice, moving with him from subtle chordings to languid, almost Latin-jazzy ambiance to soulful discretion. It’s all surprisingly easy listening, considering the intense delicacy and hinted-at depths within, and although there’s a slight tail-off towards the end of the album the whole set still manages to score highly on sheer entertainment value.
Properganda UK Review
from Properganda Magazine: August 2010
It doesn’t get much more authentic, blueswise, than having your birthplace as Greenville, MS. But Selvidge is not only Delta, he’s “pretty much everything musically in the whole Southeast” as the NY Times’ John Rockwell says. Country, rock-lite, jazzy/folk - all styles are served here and this 8th release showcases not only elegant covers of proven names - Fred Neil, Duke Ellington, and Donovan (in truth!) all crop up among the writing credits, but a sprinkling of Sid originals of which Fine Hotel is the world-weary gem here.
With a heart full of soul, and appealing feshness, the album’s mood is highly evocative and Selvidge’s high-register, slow-burning vocals conjure an air of hard-won resignation and sensibility with a hangover. The four duets with Amy Speace with whom he often tours, are classy affairs with just-right harmonies evincing an unforced empathy.
Here’s a very human album that for candor alone, takes some beating.
Americana UK Review
from http://www.americana-uk.com/auk/modules.php?op=modload&name=Reviews&file=index&req=showcontent&id=56: August 21, 2010
by Dan Wilkinson
6 out of 10
Return of the great artist that nobody could find
Sid Selvidge has spent the majority of his musical career skirting around the periphery of greatness. His career has seen him play with artists of the caliber of Furry Lewis, Mississippi Fred McDowell, and Jim Dickinson yet it has never quite happened for Selvidge himself.
‘I Should Be Blue’ is Selvidge’s eighth solo album and one on which Selvidge has assembled a decent band containing his son, Steve (The Hold Steady), Paul Taylor (Chuck Prophet), and Amy Speace. Musically, the album is best described as tasteful featuring a mix of covers and originals. Selvidge has a way of weaving soul and folk influences to create a sound that feels like an old pair of slippers.
It is a testament to Selvidge’s song writing that his tunes are capable of standing up to those by Townes Van Zandt and Fred Neill with little obvious dip in quality. Selvidge is also a skilled interpreter of other people’s songs. In particular, his versions of Van Zandt’s I’ll be Here in the Morning and Neill’s Dolphins deserve special mention.
Like many artists recording in the latter periods of their career, Selvidge sounds comfortable in his own skin. His sound is extremely assured without ever threatening to change the world, leaving the listener feeling musically satisfied but not overly challenged.
Sid Selvidge Review in Word Magazine UK
Sid Selvidge, I Should Be Blue
from Word Magazine: August 2010
Just recently, whenever I’ve got into the office early in the morning I’ve put this record on. Selvidge is a veteran of the Memphis music scene and just like that city he likes to mix it up. These songs, which range from Tim Hardin’s Don’t Make Promises (You Can’t Keep) to Duke Ellington’s Do Nothing Till You Hear From Me via his own compositions, have been chosen because they suit his urbane, confiding vocal style and the homespun nudging of his band. In the words of an old salesman acquaintance of mine, this could charm the knickers off the vicar’s wife.
New Sid Selvidge Album Set For June 8 National Release
Archer Records is excited to announce the upcoming release of Sid Selvidge’s 8th solo effort, and his 3rd for the Memphis label. The album, I Should Be Blue, will feature never-before-heard Sid originals, as well as a number of duets with rising Nashville-by-way-of-New York City vocalist and recording artist, Amy Speace (Killer In Me, Wildflower Records). I Should Be Blue will be distributed nationally by RED (Sony), and will be available June 8.
Recording took place at Archer’s Music + Arts Studio in late January with direction from acclaimed producer/musician/songwriter Don Dixon (Joe Cocker, REM, Counting Crows). In addition to Sid’s guitar work, other players featured on the album include Dixon, Amy LaVere, and Sam Shoup on basses, Sid’s son Steve (now with The Hold Steady) on guitars, and multi-instrumentalist Paul Taylor (now with Chuck Prophet) on drums and washtub bass. The record itself at once feels immediate and fresh, but incorporates sonic elements and recording techniques that will recall the sound of classic 70s pop albums.
Selvidge and guest vocalist Amy Speace will embark on a national tour June 7 in New York City, with a stop scheduled in Memphis for a local record release party at the Levitt Shell at Overton Park on Sunday, June 13. Leslie Rouffe (Songlines) will provide radio support for the album, while Michael Bloom (Michael Bloom Media Relations) will provide publicity along the way.
New tour dates are being added, so for those and more information check back here soon or visit SidSelvidge.com.
More about Amy Speace:
�Amy Speace is the perfect torchbearer for the unconscious cool of true Americana� (Houston Press). Just a moment’s exposure to Amy Speace’s intimate yet powerful voice and timeless arrangements, and her roster position on Judy Collins� Wildflower Records
“I Should Be Blue”
from FAME-Folk And Acoustice Music Exchange: June 17, 2010
by Mark S. Tucker
This is so redolent of the heart and soul of the 60’s and 70’s that it’s difficult to locate terms sufficient to the task of expressing just how unique, and yet how multi-genre perfect, I Should be Blue is. The reference to “hill country blues” fits Sid Selvidge like a second skin, and there’s a hell of a lot of Paul Simon in him, but he tends to often reside more in Phil Ochs / Harry Chapin territory, especially Och’s unnervingly deceptive breeziness, while maintaining a unique vocal presence. From early days playing with such giants as Furry Lewis and Mississippi Fred McDowell, Selvidge has absorbed much and made it his own.
The gent’s cover of Donovan’s Catch the Wind is the best interpretation I’ve ever heard of that tune, faithful while spinning to American shores, beautifully complemented by Amy Speace’s duetting, matching tenor and sentiment perfectly. Then there’s his manneredly uproarious take on the trad You’re Gonna Look Like a Monkey (When You Get Old), a rock-jazzed cut percolating in funky folk topped by bird-on-the-wire falsetto. The closer, the famed Ellington / Russell Do Nothing ‘Til You Hear from Me has the quavery delta sensitivity of Jesse Winchester while seizing the tune over to a whole new territory. There, as elsewhere, brother Steve Selvidge inserts a down-home electric guitar that’s slyly jazzy while lyrical and understatedly finessed.
Don Dixon produced this one with consummate discretion. I’ve mentioned previously that I hadn’t in the past been all that captured by his solo work (Most of the Girls, Romeo at Julliard, etc.), but as a producer, he’s becoming impressive as hell. Here, he sits in throughout, and everything about I Should be Blue is an exercise in impeccability on both sides of the sound board. I think Selvidge may have found his perfect frame in Dixon, and, in Selvidge, Dixon may have encountered one of the most rivetingly eclectic down home aesthetes he’ll even encounter. The listener, then, can only earnestly hope for a lot more from both.
Sid Selvidge lives life one song at a time
” Blue is yet another remarkable entry in the Selvidge canon”
from The Commerical Appeal: June 11, 2010
by Bob Mehr
Good things come to those who wait, or so the old adage goes. For fans of musician Sid Selvidge, those are words to live by.
These days, Selvidge is probably best known as the executive producer of the internationally syndicated radio show “Beale Street Caravan.” But that’s just one of the many lives Selvidge has led, from his days as a teenage disc jockey in Mississippi, to a student and champion of the local folk-blues revival in 1960s, to record company owner in the ‘70s, to sometime-producer and consistent contributor to Memphis’ evolving musical history.
In between all that, the 66-year-old singer has created one of the more compelling catalogs in folk music, a fantastic — if sporadic — run of records dating back to the 1969 Stax/Enterprise release Portrait.
“Music has always been a part of the mix of what I’ve done,” says Selvidge. “But I guess I’m too much of an ADD guy to ever say all I’m gonna do is make music.”
Though his albums seem to come about as frequently as the census, Selvidge has just put out a new one, I Should Be Blue (Archer Records). He will mark the release with a free concert Sunday at the Levitt Shell.
Although Selvidge is modest about his work, Blue is yet another remarkable entry in the Selvidge canon, rightfully ranking alongside such lauded classics as 1976’s The Cold of the Morning and 1982’s Waiting For a Train. The 12-track disc offers a wide mix of styles and material, all of it unified by Selvidge’s crystalline howl.
“I very rarely get into the politics of a song, or how it fits into an album — I’m really a song-by-song man,” says Selvidge. “Otherwise my records would certainly be more coherent. It doesn’t make any difference to me if it’s got a country tinge to it, or if it’s an R&B thing. ... It’s got to be something I can play for myself and I like. The first person I try to entertain is myself.”
The material on Blue proves a potent mix: from a reworking of Fred Neil’s “The Dolphins” (a longtime family favorite suggested by Selvidge’s guitarist son Steve, who plays on the album), to a delicate reading of the Tom T. Hall classic “That’s How I Got to Memphis” to a jaunty cover of Duke Ellington’s “Do Nothin’ Till You Hear From Me.” The album even boasts a few rare Selvidge originals, including the Mickey “Guitar” Baker-inspired “Lucky That Way.”
The birthing of Blue came with the help of a pair midwives in producer Don Dixon (R.E.M., Marshall Crenshaw) and duet partner Amy Speace — a Baltimore-born roots songstress who graces several tracks and is currently touring with Selvidge.
For Selvidge, who normally collaborates with lifelong friends, the union with Speace was unusual. “I’d met and talked to her politely for maybe 15 to 20 minutes, before we decided it might be a good idea to work together. And we were right. I mean, I don’t think we’ll ever be Dolly and Porter,” says Selvidge, laughing, “but it’s worked so well and it’s still fun.”
If Blue proves anything, it’s that Selvidge’s remarkable gifts as an interpretive singer remain as powerful as ever, even if the tone and timbre of his voice have changed, becoming more airy and ethereal.
“Voices don’t last forever,” says Selvidge. “I used to have that big radio, chesty resonator voice. And I don’t quite have that anymore. When I’m old, I’m gonna wind up like Skip James and be all high notes. Well, I’m old now—when I’m ancient that’s how I’ll be.”
Aging and the thoughts that come with it have always been a part of Selvidge’s musical journey. As a young man, he sat at the feet of wizened blues masters like Furry Lewis, soaking up what he could. “Hell, I thought Furry Lewis was gonna die in 20 minutes, the day I met him. That’s why I followed him around learning all his stuff, thinking he was gonna fall over any minute. Looking back, he was the same age I am now,” says Selvidge, laughing.
More serious thoughts of mortality have been intense for Selvidge over the past year. He’s lost several close friends and collaborators in rapid succession, including his longtime foil and Mud Boy and the Neutrons bandmate Jim Dickinson, his old running buddy Alex Chilton and his fellow blues enthusiast, Dennis Brooks.
“What’s happened in the past year, I can’t relate it to my music necessarily, but I’m sure it’s there” says Selvidge. “It’s still pretty stunning, and I haven’t come to emotional grips with it at all. I keep thinking that I will. ... I’m trying to stay positive. This record reflects that attempt.”
“You know, when people die and you’re younger, it’s one emotional level because it’s more of a shock,” continues Selvidge. “As you get older, people are supposed to go whether you want them to or not. It’s a little bit different. It’s hard to explain. ‘Cause I have to think, even under the best of circumstances, I’m not gonna be around that much longer, maybe 20 years, max. And how much of that is gonna be productive?
“I just figure I’m lucky enough to have gotten this far,” he says, “and I’m gonna see how much farther I can go.”
“Near Perfect” Review - Village Records
“near perfect”
from Village Records- CD Hunting Guide: June 3, 2010
by Village Records
Selvidge has been at it for longer than most of us have been around. It hasn’t exactly been a front and center career, but for those of us who mine that area a few layers down we know him and his work well. This new recording finds him working with producer Don Dixon and the results are near perfect. Using a set list mostly of well chosen covers they have put together a seamless album that will have you reaching for the repeat button. Several of the tracks are duets with up and comer Amy Speace (Remember that name) who provides that something extra. Artists covered include Townes Van Zandt, Donovan, Tom T. Hall, Fred Neil and more. Perfect for a lazy afternoon.
Roots Singer/Guitarist Sid Selvdige Returns with “I Should Be Blue”
from The Grateful Web April 30, 2010
by Mike Moran
“A tender portrait of love and longing amidst loss, flowing with an effortless grace and natural beauty distinctly its own”
For decades, Sid Selvidge has been one of the most singular voices in American roots music. His unique and seamless fusion of hill country blues picking and languid folk-styled storytelling has allowed Selvidge to carve out a niche that has separated him from other traditional and contemporary southern songwriters. Now, five years after his acclaimed CD/DVD Live at Otherlands, Sid returns with the gracefully melodic I Should Be Blue. Available in stores and online June 8, Selvidge’s 8th solo album and 3rd from Memphis-based Archer Records sees him crafting material that recalls the warmth of sound and spirit present in classic 70s era folk-tinged pop LPs.
From his early days playing with Furry Lewis and Mississippi Fred McDowell at The Bitter Lemon Club in Memphis, to his and friend Jim Dickinson’s elusive Mudboy and the Neutrons (Bob Dylan dubbed them “the great band that nobody could find’), to his storied solo career with Enterprise (Stax), Nonesuch (Elektra), and his own Peabody label, Selvidge has always been able to stand alone in his ability to integrate classic methods into fresh vocal and strumming approaches. Former New York Times critic John Rockwell probably said it best: “Sid Selvidge, who comes from Mississippi by way of Memphis, is neither country nor rock. He’s pretty much everything musically in the whole Southeast.” David Fricke of Rolling Stone is also a known admirer, having declared emphatically, “Sid Selvidge is a precious treasure”, in his glowing review of Sid’s previous studio effort, A Little Bit of Rain (Archer Records, 2003).
While his past work has garnered him the praise of national critics, I Should Be Blue palpably displays his versatile appeal to fans as both an original artist as well as an interpreter. Selvidge adjusted his formula for I Should Be Blue, working for the first time with renowned producer/musician/songwriter Don Dixon (Joe Cocker, The Smithereens, REM, Counting Crows), as well as inviting up-and-coming vocalist Amy Speace to join him on several tracks. These duets including Sid’s sweet and dreamy “Dimestore Angel”, Speace’s original gem, “Two”, as well as warm, wistful nods to favorites like Townes Van Zandt’s “I’ll Be Here In The Morning” and Donovan’s “Catch The Wind”. Selvidge, along with the US and European press took quickly to Speace, with Paste Magazine calling her latest release, 2009’s “The Killer In Me”, a “resolutely hopeful take on heartache and loss…beautiful lyrics are spun with a soulful, husky voice that lilts like a country sweetheart but mourns like Leonard Cohen.”
In addition to combining new elements to Selvidge’s sound in Dixon’s production techniques and bass playing and Speace’s rich vocals, I Should Be Blue will also feature some more familiar players. Among them are Sid’s son, Steve (The Hold Steady) who plays acoustic and electric guitars, Paul Taylor (Chuck Prophet) on drums and washtub bass, and fellow Archer artist Amy LaVere on upright bass. The outcome is a tender portrait of love and longing amidst loss, flowing with an effortless grace and natural beauty distinctly its own.
I Should Be Blue will be available in stores June 8, to coincide with tour dates for a Sid Selvidge and Amy Speace joint U.S. tour. For more information, please visit http://www.Archer-Records.com or http://www.SidSelvidge.com.
Review: Sid Selvidge Live At Otherlands
Live At Otherlands
from Dirty Linen: April 1, 2006
Memphis-based folk-blues performer Sid Selvidge has had a long career as a solo performer, as well as with Mudboy and the Neutrons, but his recorded output has been relatively sparse. This live session is his second album within a few years, but what makes it especially worthwhile is the fact that it’s a dual release.
Live at Otherlands offers the consumer the choice of playing the 14 songs as a CD or of watching the concert performance of the same songs on the DVD. The DVD also includes a 26-minute segment featuring the artist discussing the songs and his musical roots, as well as mentors such as Sam Phillips and Furry Lewis. As for the material, Live…features Selvidge interpreting several songs by Little Brother Montgomery and Furry Lewis, as well as Fred Neil’s “A Little Bit of Rain” and Eddie Hinton’s “Come from the Heart.” Ledbetter’s “The Boll Weevil” is given an unusual a cappella treatment that turns out to be the high-light of a strong set.
“Live At Otherlands” CD + DVD
3 1/2 Stars out of 4
from The Commercial Appeal: September 2, 2005
by John Biefuss
As critic Robert Christgau has pointed out, Sid Selvidge’s bell-like voice is almost a curse: an instrument so pure and pristine that a generation raised on the signifying rasps of Dylan and Jagger may have trouble taking it seriously.
That’s the cynic’s loss, as longtime Memphis treasure Selvidge demonstrates on this solo collection of 14 showcases for voice and acoustic guitar, recorded live at Otherlands Cafe, including numbers by Furry Lewis, Eddie Hinton, a Selvidge original (“The Outlaw”) and a high-pitched a capella take on Leadbelly’s “The Boll Weevil” that could cause the infamous cotton borer to burst like that songbird in “Shrek.” The DVD replicates the CD’s content and adds 30 minutes of interviews in which Selvidge remembers Sam Phillips, Mud Boy & the Neutrons and his first guitar.
Sid Selvidge Performance included on “Forty Shades of Blue” Soundtrack
Dickinson, Bishop Add Drama To ‘Forty Shades’
from Rolling Stone: August 29, 2005
by Jordan Heller Weissmann, N.Y.
A mix of roots rock, R&B, blues and pop artists including Jim Dickinson, Jay Blackfoot and Tindersticks’ Dickon Hinchcliffe have contributed to the soundtrack for “Forty Shades of Blue,” due Sept. 20 via Memphis International.
The album will also feature performances from bluesmen Elvin Bishop, Sid Selvidge. and the late Albert Collins, R&B vocalist Reba Russell, Cajun swing band the Red Stick Ramblers, pop singer Sabina Scileba and funk artist Earl Thomas as it attempts recreate the breadth of genres presented in the film. Samples of the film score, composed by Hinchcliffe, will be included among the southern fare.
The 2005 Sundance Film Festival award winner for best dramatic feature, “Forty Shades of Blue” stars Rip Torn as a legendary Memphis producer living with his wife Laura, a Russian woman half his age. The couple is visited by Torn’s estranged son, whose surprise return sets in motion a process of personal revelation and turmoil. The film will debut nationally in October after a Sept. 28 premiere at New York’s Film Forum.
Here is the track list for “Forty Shades of Blue”:
“A Little Bit of Soap,” Reba Russell
“Jelly Roll Boogie,” Jim Dickinson
“Annie May,” Elvin Bishop and Smokey Smothers
“Quicksand,” Tracy Nelson
“The Dark End of The Street,” Jay Blackfoot
“Laura,” Dickon Hinchcliffe
“40 Shades of Blue,” Sabina Sciubba
“No Room for a Tramp,” Jim Dickinson and Sid Selvidge
“What Do I Do,” The Red Stick Ramblers
“The Proposal,” Dickon Hinchcliffe
“Snowed In,” Albert Collins
“I’m Broken Hearted,” Earl Thomas
Sid Selvidge “Live At Otherlands”
from Prime Time- Pennsylvania : August 2005
by Tom Wilk
From W.C. Handy to B.B. King and Beale Street, the musical foundation of Memphis is built on the blues. Sid Selvidge carries on the tradition with Live at Otherlands, a solo CD/DVD recorded in his hometown of Memphis.
A self-described musical archaeologist, Selvidge pays tribute to blues legends Furry Lewis (“Kassie Jones, Part 1”) and Leadbelly (a strong a cappella version of “The Boll Weevil”), while dipping into his own song book (“The Outlaw”).
Now in his early 60s, Selvidge possesses a warm, intimate voice that is capable of putting across the romantic loss of Fred Neil’s “A Little Bit of Rain” or the rhythmic exuberance of soul man Eddie Hinton’s “Every Thing Natural.” He can shift from a croon to a Jimmie Rodgers’ yodel on “Hobo Bill.”
The CD comes with a DVD of the concert plus a 26-minute interview in which Selvidge discusses his songs and offers some revealing anecdotes on meeting Sun Records founder Sam Philips and performing with Furry Lewis.
Jerry Wexler weighs in on “Live At Otherlands” DVD/CD
Legendary producer tells it like it is….
August 4, 2005
by Jerry Wexler
“Sid Selvidge is a national treasure, an irreplaceable resource—a southern patrician who sings the rootest American music like a natural man. And bless the record people for giving him his propers: combining a live music CD with a DVD of the performance. He revives the obscure and the antiquarian with palpable affection—-but he himself is totally with out affectation; never mimetic, never condescending. There are no obeisances to the marketplace—and never the commercial compromise. I am proud to be a friend of Sid Selvidge.”
—Jerry Wexler
Review: Sid Selvidge Live At Otherlands
from No Depression Magazine: July 1, 2005
by Barry Mazor
One of the subtler and more expressive practitioners of acoustic soul is Memphis rock legend Sid Selvidge, who offers a varied and sweet set on Sid Selvidge Live At Otherlands (Archer Records), which combines a live CD with the DVD. Selvidge shows his usual finesse with laid-back country (“Hobo Bill”, “Long black Veil”), blues (tunes of Furry Lewis, especially), and songs of such direct blue-eyed soul predessors as Eddie Hinton and Fred Neil.
Listen to Mike Regenstreif’s interview with Sid Selvidge on Montreal’s CKUT-FM
March 1, 2005
Listen at: http://132.216.18.132/64/20050224.9.48-11.33.mp3
With the North American Folk Alliance Conference taking place in Montreal, this week’s edition of Folk Roots/Folk Branches will be devoted to live music and conversation with some of the superb artists who were in Montreal for the conference. Joining Mike in the CKUT studio will be: Full Frontal Folk, Andy Cohen, Natalia Zukerman, Sid Selvidge, The Kennedys, Cathy Fink & Marcy Marxer, Tracy Grammer, Michael Smith, and Anne Hills.
Gaslight Square performer pays a rare return here
from St. Louis Post-Dispatch: Thursday, Dec. 23 2004
by Terry Perkins
It’s been a long time between St. Louis appearances for Sid Selvidge - 37 years to be exact. Selvidge is part of the lineup for the second evening of the Buck Jump Blues Festival on Wednesday at B.B.‘s Jazz, Blues & Soups, and the gig will mark a long overdue homecoming of sorts for the Memphis, Tenn.-based singer-songwriter.
“When I was in graduate school at Washington University in the ‘60s, I used to play almost every night down in Gaslight Square,” Selvidge recalls during a recent telephone interview. “But the last time I played in St. Louis was 1967, before I went back to Memphis.”
Selvidge was born in Greenville, Miss., and attended college in Memphis, where he received a degree in anthropology from Rhodes College (formerly Southwestern). He then came to St. Louis to get his master’s degree in the subject.
Selvidge continued to pursue a career in anthropology after he returned to Memphis, enrolling in a doctoral program and teaching at a local college. But he became an archeologist in the area of music instead. Over the past four-plus decades, he has done more than his share of excavating obscure blues and folk songs and preserving them in concert performances and on his five albums.
While still in his teens, he was a disc jockey at a Greenville radio station and played guitar in a local band. In college in Memphis, Selvidge befriended aging blues legends such as Walter “Furry” Lewis, Bukka White, Fred McDowell, Mississippi John Hurt and others.
“There was a music scene in Memphis that grew up around a coffeehouse called the Bitter Lemon,” Selvidge says. “That’s where I ran into Furry and those other great country-blues players. And that’s where I started performing.”
Selvidge played music at local clubs while attending graduate school in St. Louis and kept up a regular performance schedule when he returned to Memphis. In 1969, he was signed to the famed Stax label, and his debut recording, “Portrait,” came out on the Enterprise label, a Stax subsidiary.
Selvidge’s next two recordings - 1976’s “The Cold of the Morning” and 1982’s “Waiting for a Train” - have been reissued by his current label, Archer Records. Like his 1993 recording, “Twice Told Tales” in the Elektra/Nonesuch American Explorer series, and his 2003 Archer release, “A Little Bit of Rain,” Selvidge’s early albums emphasize a mix of rarely heard blues compositions, traditional folk songs, obscure pop tunes - and a few originals.
As far as his relatively limited number of recordings - one in each of the past four decades - Selvidge points to a combination of financial and artistic factors.
“I’ve really never been someone who wants to get out on the road and hit it night after night on tour,” he says. “I do go out and perform regularly in certain pockets around the country. ... I’ve been lucky enough to be able to make a living here in Memphis.
“I’m the executive producer for ‘Beale Street Caravan,’ a weekly hour-long music show that’s nationally syndicated, and I play a lot of local clubs. But unless you go out and promote records, most labels aren’t interested in signing you. And when I do record an album, I want to make sure I really have something that’s worth hearing.”
Sid Selvidge - A Little Bit of Rain
from cdreviews.com: July 2004
by Joel Dunham
Sid Selvidge is not only true to the roots of American music; he is part of these roots. Born and raised in Greenville, Mississippi, he played his first guitar at age 13, listening to local musicians such as the seminal Mississippi Fred McDowell. Selvidge eventually became a professor of anthropology at Rhodes College but still interacted with the music world, releasing a solo album each decade since the 70’s. In the 70’s, Selvidge also produced “Like Flies on Sherbet” a record by the legendary Alex Chilton, and also played with Mudboy and the Neutrons, a band Bob Dylan called “the great band that nobody can find.”
Eleven years have passed since Selvidge’s last solo outing, but the down time has not hurt Selvidge any.
What is remarkable about this man is that he has retained the essence of the music of decades past without cheapening that essence as most blues, country, and folk artists have done. Selvidge does not fall into any of the aforementioned genres of music either; instead he proves to be the master of all the wide-ranging material found on this album. All of the carefully chosen tracks except one are covers, each taken from a lifelong study of and relationship with the true grit of American music. Although they are covers, Selvidge never fails to make them wholly his own, sometimes totally reinventing and reinterpreting the original. Throughout them all, Selvidge’s beautiful, ghostly tenor reigns over the album with stark, affected feeling.
Probably the strongest material on the record are those that are the most stripped-down. The title track is one of these. This rendition contains just Selvidge and his acoustic guitar, but the track is oh so full. His voice has a bass timbre in places, but it quickly resolves into falsetto elsewhere. We can tell that Selvidge not only understands but has lived the sentiment that is written into the lyrics: “If I look back/I will remember all the good times/Long days filled with sunshine/Just a little bit of rain, just a little bit of rain.” The painful memories may live on, but they have been strangely sweetened by the passage of time.
There are a couple of tracks that display Selvidge’s superior ability to yodel. (It kind of makes sense, since we already know that he can switch from vox to falsetto so naturally.) A laid-back guitar melody buoys the bittersweet tale of Hobo Bill, a man who dies smiling, not knowing that he is dreamily succumbing to the cold. Selvidge does even more entertaining yodelling on “Pickin’ Petals”, a little number that was actually written by the guy in the Box Tops who Alex Chilton replaced.
Some of the tracks do carry a full band, an environment in which Selvidge is equally comfortable. Amidst a complex drum rhythm, a wispy, fluttering electric guitar, and producer and Mudboy and the Neutrons bandmate James Dickinson’s fittingly bar-band electric piano, Selvidge sends up more excellent, shifting vocals. When he tells us his Long Tall Mama (title of the track) “ain’t as half as sweet as she could be” we know exactly what he means. On the honky-tonk, bang-your-beer-mug-to-the-counter side of things, Selvidge offers “Every Natural Thing”, delivered in old-school rock’n'roll, complete with crusty saxophones, double-rhymes in the words, as Selvidge deftly chatters through the lyrics. On the slower, more poignant side of the full-band tracks (which we ought to know by now is Selvidge’s specialty), Selvidge sings quaveringly in words that drip with longing on “Do I Ever Cross Your Mind?”, co-written by Mike Smotherman, a one-time Captain Beefheart cohort. There’s also John Hiatt’s “The River”, which washes over you just as a river would as the female back-up singers croon under Selvidge: “The River knows your name/The river hears your cry like the lightning cracks the open sky/As your mama sings a lullaby/The river she knows why.”
The closer, “Arkansas Girl,” is the only track written by Selvidge. He remarks in the liner notes that he began writing it on September 11th, taking a walk and seeing the grounded planes queue up at the airport. When Selvidge pledges his love to his wife here, I can only concur with him that his sentiment of commitment here has a certain feeling of “the credits rolling”, as he says in the liner notes. “I love you each hour/My pretty sunflower/My beautiful Arkansas girl.” Peaceful yodelling may not be the first response that comes to mind when we think of the remains of the World Trade Center, but it somehow fits. It’s also a perfect climax for this altogether wonderful album. Sid Selvidge’s remarkable presence is simply haunting and astonishing on this classic record.
Indie Jones
Noteworthy Independent Label Releases
from Guitar World Acoustic: by Isaiah Trost
It’s always an occasion when the great but under-appreciated Memphis guitarist, vocalist and walking encyclopedia of traditional American song makes one of his infrequent recordings.
As a teen, Selvidge knew and closely observed such blues giants as Furry Lewis, Bukka White and Mississippi Fred McDowell, and it’s reflected in his tasteful fingerpicking and powerful singing on blues, country, folk and soul tunes. A great record.
Sid Selvidge CD Review: A Little Bit of Rain
A little Bit of Rain
from CD Reviews: June 2004
by Tommy Burton
Sid Selvidge is one of the finest singers making music today. His warm voice can tame even the most savage of beasts. He’s known in and around Memphis as a folky blues stylist who records too little. This is why a new album is always long overdue.
Produced by another Memphis giant, James Luther Dickinson (who collaborates on several of the tunes), this marks only the fifth album recorded by Selvidge. The songs here represent one of the finest singer/interpreters of today. They ease together in a seamless display of folk and blues and great playing to be heard on record this year. This record is all about class and will mark an overlooked, but brilliant, career. Grade: B+
Misc.
“A marvelous piece of work”
—Chris Darling, WMPG -FM Portland, Maine
“Among the most tasteful records I’ve heard in ages.”
—Ann Sternberg, Rock ‘n’ Roots Radio
“We Freakin’; it’s !%&*# great!
—Jerry Gerard, WRVG FM, Kentucky
“A great record”
—Isaiah Trost, Acoustic Guitar World
“A classy record from a class act that just keeps getting better…”
—Chris Davis, The Memphis Flyer
“I love this thing!”
—Rik James, KGLT-FM Montana
“Not since the early days of Ry Cooder’s earliest solo work have I heard an artist whose songs are so true to pure American music.”
—Norman Beeberman, Guitar Nation
“Four Stars.…a seamless blend of blues, traditional country, folk music, rhythm and blues and rock ‘n’ roll”
—Mike Regenstreif, Montreal Gazette
“—one of the most affecting, beautifully rendered and delivered, funky sweet bits of singing on record in the last couple of years.”
—No Depression Magazine
Sid Selvidge: A Little Bit of Rain (Archer)
from Rambles.net, a cultural arts magazine: May 2004
by C. Nathan Coyle
Sid Selvidge released his first album more than three decades ago. Hi years of experience are obvious in his voice and guitar, both of which demonstrate musical maturity. This maturity adds credence to the predominantly somber tone of A Little Bit of Rain. Many of the songs were written by others, but Selvidge somehow conveys his own life through their words.
Sid Selvidge released his first album more than three decades ago. Hi years of experience are obvious in his voice and guitar, both of which demonstrate musical maturity. This maturity adds credence to the predominantly somber tone of A Little Bit of Rain. Many of the songs were written by others, but Selvidge somehow conveys his own life through their words.
For instance, the CD jacket has a brief commentary by Selvidge and producer James Luther Dickinson. In the description for the morose Long Black Veil, Selvidge notes that forty years ago he “did allot of songs about the hard parts of life.” Well, when you hear that voice, you won’t doubt that the man behind that voice has experienced nearly everything that life has to offer.
The title track is an odd way to start out the album as it is a song about endings. It’s a great rendition that sets a somber tone for most of the album. It’s immediately followed by Hobo Bill, in which the cowboy yodels can’t cover for the sad topic of a dead hobo.
Just as depression is about to sink in, Selvidge uplifts the ears and does an excellent job on acoustic guitar in Mama You Don’t Mean Me No Good. In the CD jacket, he notes that this song is more complex than his typical fare. I’m glad he ventured out on this one-it’s a success. Sam Shoup provides interesting dips in the background with a really nice upright bass.
There’s a seldom-bordering-on-sad tone present in most songs with an occasional break. The down-and-a-little-bit-up pattern is continued throughout the album. The so-so Every Natural Thing unquestionably has energy, but is the only song on the album with a weak vocal performance by Selvidge. On the other hand, the pop-blues Real Thing opens up the gates with a dynamic beat, excellent accompaniment and gregariously gruff vocals by Selvidge.
If you enjoy work by an artist in his prime, then you need to turn your ears towards Sid Selvidge. Usually the combination of somber and maturity would result in a lackluster snoozefest, but not in this case. A Little Bit of Rain is a serious yet enjoyable demonstration of experience, talent and storytelling.
Selvidge’s ‘Rain’ is Best of Top Vocals
from The Commercial Appeal: December 27, 2003
by Bill Ellis
Always a difficult but enjoyable prospect, a Best Records of the Year list gives this writer a chance to look back over music that made the deepest impression. As is often the case, especially in looking at local records, much of it wasn’t commercial (fortunately there’s more to a great album than how many copies it sells).
Always a difficult but enjoyable prospect, a Best Records of the Year list gives this writer a chance to look back over music that made the deepest impression. As is often the case, especially in looking at local records, much of it wasn’t commercial (fortunately there’s more to a great album than how many copies it sells).
Such a list also allows me to reassess records I might have overlooked, forgotten about or simply misjudged. My opinions tend to slide around throughout the year, and whereas I might have felt one way (good or bad) about a certain album months ago, time has a way of altering things (the North Mississippi Allstars’ Polaris, for example, has only grown on me since I first heard it). Should you ask in another few months, I’m sure this list will change even more.
So herewith is a very subjective pecking order (this week is local recordings, next week will be national) of albums that made me smile, made me sing and made me move. It was a good year, it turns out, especially for Memphians tapping into their art - it didn’t get much better than booming the Three 6 Mafia hit “Ridin Spinners” from a car stereo. From folk to rap to jazz to rock, there was plenty to savor at home beyond the meteoric rise of an ‘N Sync-less Justin Timberlake.
It was tough scaling back the list to 10, which is why a second list of 25 exists, as does a short list of the best reissues and vintage recordings.
1) Sid Selvidge, A Little Bit of Rain (Archer Records): All it took was a simple acoustic guitar and lone voice to craft the year’s best album. But veteran singer-songwriter Sid Selvidge did it. Produced by Mud Boy & the Neutrons compadre Jim Dickinson, the 12 tracks on this stunningly intimate record not only rivaled anything in Selvidge’s back catalog, it loomed well above any of the so-called “Americana” competition nationally. When people outside of Memphis finally discover this one, Selvidge’s chapter may just have to be re-written.
2) G-Style, Ghetto Prophecy (G-Style Entertainment/Chilmark Music): Why this didn’t come out on Puff Daddy’s label, Bad Boy, the way it was originally intended only the main players know, but with more madly crafted hip-hop hooks and deftly delivered raps than you could shake a tail feather at, it should have. Enter the G.
3) Kavious, Empty Shelves (Nuclear Records): The year’s biggest surprise was this local rapper who will have none of the stereotypical gangsta scene. Instead, Kavious eschewed trends to make a record that felt deliriously unique. It may not have sold a lot, but where else could you find a cameo by OutKast associate Killer Mike aside a sample of world music great Manu Chao?
4) Candice Ivory, Path - Undefined (self-released): The year’s second-biggest surprise, jazz/neo-soul artist Ivory did it all here - sing, compose, play, arrange - and made the results get so under your skin they’re likely to resonate forever.
5) Various artists, Makeshift #3 (Makeshift Music): Other than Archer, no local label this year had as consistently good a slate of releases as did Makeshift, which also gave us excellent records by the Glass, Blair Combest and label front person Brad Postlethwaite. This compilation said it all, however, a sterling summation of the current, highly diverse Memphis underground music scene.
6) Yo Gotti, Life (TVT Records): What up, gangsta? Yes, rapper Yo Gotti bling blings his way through moves you’ve heard before. Chances are, however, you’ve rarely heard them this good. A major star in the making.
7) The Gamble Brothers Band, Back to the Bottom (Archer Records): The second winner from upstart label Archer, this platter of funky jazz-rock couldn’t be beat note for note in the chops department. When the songs matched, it couldn’t be beat, period.
8) Skillet, Collide (Ardent Records): Hopefully by the spring we’ll be talking about this album again as it takes its bow in the major label arena. Certainly, nothing regionally (not even by Evanescence) had such sonic fury and soul-saving intent. A good four hit singles are in the wings waiting.
9) The North Mississippi Allstars, Polaris (Tone-Cool Records) and Tate County Hill Country Blues (Delta Experimental Projects): Prismatic bookends of where the Allstars have been and where they’re headed, these two albums dive into the blues from different directions and come out the same place: that liberating 61 Highway of rock.
10) The Porch Ghouls, Bluff City Ruckus (Roman/Columbia): I give them credit just for pulling off an opening slot on the Kiss/Aerosmith tour. I give them even more credit for this slab of gutbucket punk-blues, one of the few “garage rock” records that didn’t smack of a trendy gimmick.
25 more: The Glass, Concorde (Makeshift Music); Toshia Shaw, Open Book (One Truth Music); Vending Machine, 5 Piece Kit (self-released); Easy Way, Easy Way (Clivus Records); The Jazz Orchestra of the Delta, Big Band Reflections of Cole Porter (Summit Records); Brandon McGovern, Pala-Dora (self-released); Voodoo Village, Funk Soup (40 West Records); Lucero, That Much Further West (Tiger Style Records); Kelley Hurt, Raindance (Archer Records); Blair Combest, Prettier Than Ugly (Makeshift Music); Three 6 Mafia, Da Unbreakables (Columbia); the Bo-Keys, The Royal Sessions (Yellow Dog Records); the New Olivet Sanctuary Choir, 4 God 2 God: 2nd Chances (Olive Record Co.); Kenny Brown, Stingray (Fat Possum); the X-Camp, Generation X: Level One (XVI/16 Levels Records); Poizon, Holding On (Strict 9 Records); Brad Postlethwaite, Welcome to the Occupation (Makeshift Music); Todd Agnew, Grace Like Rain (Ardent Records); Rev. T. L. James, My Living Testimony (Victorian Records); Andy Grooms, Grateful to Burn (self-released); Nancy Apple, Shoulda Lied About That (Ringo Records); the Tennessee Boltsmokers, Songs From The Floor (MADJACK Records); Billy Lee Riley, Hillbilly Rockin’ Man (Reba Records); Mercy’s Web, Callasa (Callasa Music); Lil Wyte, Doubt Me Now (Hypnotize Minds).
Six reissues, compilations and/or vintage recordings:
1) Rock City, Rock City (Lucky Seven Records): Finally available through musician/studio pro Terry Manning on his own label, these revealing tracks by Big Star band precursor Rock City are the glam pop-rock blueprint that Alex Chilton and Co. would build on, though this earlier incarnation feels darn near perfect as it is. Classic, classic stuff.
2) Isaac Hayes, Isaac Hayes at Wattstax (Stax/Fantasy): The Stax star celebrated his 30th birthday the same day he took the stage at Wattstax in 1972, and nothing could have been more empowering, sexy or downright Shaft cool.
3) Joe Callicott, Ain’t a Gonna Lie To You (Fat Possum): Out of all of folklorist George Mitchell’s seminal field recordings from the 1960s, these final sessions on under-recognized Nesbit country blues great Joe Callicott just may be the best and most important.
3) Howlin’ Wolf, Moanin’ At Midnight: The Memphis Recordings (Fuel 2000): The other side of the Wolf’s legacy while recording in the Bluff City, these non-Sam Phillips tunes for Modern/RPM are equally raw and potent.
4) Rufus Thomas, Funkiest Man Alive: The Stax Funk Sessions 1967-1975 (Stax/Fantasy): Funk is right, and no one did it with a more playful, gambol-loving style than the World’s Oldest Teenager in his prime. So good, it rivals at times his definitive Rhino collection, The Best of Rufus Thomas: Do the Funky Somethin’.
6) Various artists, A History of Memphis Garage Rock: The ‘90s (Shangri-la Projects): On which the Oblivians and Monsieur Jeffrey Evans get their rightful place in local and national punk/garage rock history.
Review: A Little Bit of Rain
A Little Bit of Rain
from Dirty Linen: Oct/Nov 2003
In about as compact a package as possible—12 songs, 37 minutes—guitarist and singer Sid Selvidge, from Memphis, has put together a dynamite recording covering many genres of American roots music.
Accompanied by only by his acoustic guitar, Selvidge opens with a sparse, spooky, pensive rendition of folkie Fred Neil’s “A Little Bit of Rain.” That’s followed up with a yodelized version of folk/old-time standard “Hobo Bill,” with North Mississippi AllStar Luther Dickinson joining in on Dobro. Blues is next, with a guitar-bass-washboard cover of a Little Brother Montgomery number. Selvidge ensures a little bit o’ soul is added to the proceedings in the middle of the disc with an Eddie Hinton composition, “Every Natural Thing,” done in a jumpin’, R&B style featuring son Steve Selvidge on electric guitar and Jim Spake on sax. An emotion-filled, slow-dance-with-your-lover rendering of John Hiatt’s “The River"sports subtle, atmospheric background ooh-ing from a trio of female vocalists. Then comes the smart, snappy blues rocker “Real Thing” with the chorus ladies and a small horn section wailing away. As the CD winds down, Selvidge does also, as he turns to guitar/vocal solo efforts on Bascom Lamar Lunsford’s “Swannanoa Tunnel” and the country classic “Long Black Veil.” The lone Selvidge original, a simple, sweet testimonial of love titled “Arkansas Girl,” is a beautiful waltz written for his wife, and serves as a stunning album closer. Legendary producer Jim Dickinson and Selvidge work together to mold everything into a relaxed, cohesive, well segued, and full-bodied project, one of my favorite CDs of 2003.
Short Cut
Sid Selvidge: A Little Bit of Rain
from Studio City Sun: September 2003
by Bill Bentley
Years ago there was a Memphis band so underground they had, as Bo Diddley once sang, “to pipe in air.” Seriously, this group made albums sold only in France on vinyl, did world tours consisting entirely of one city, and most of the time denied they even existed. They were called Mudboy & the Neutrons, and included singer-guitarist Sid Selvidge.
In the years since their devastating demise, Selvidge has fashioned a solo career of sorts, including a stint as host of a public radio blues program. That said, he is also one of the most moving singers performing today, not unlike a more laidback Ry Cooder, but marinated in moonshine and molasses. This new album, produced by fellow Neutron jim Dickinson, is a gear-stripper from start to finish. How can it not be? Selvidge starts with the Fred Neil title song, winds through treacherous tunes by blue-eyed brothers Eddie Hinton, Jerry Williams, John Hiatt and even a selection by the one and only Bascom Lunsford—whoever that may be, but what a name! There isn’t a false note or rushed beat anywhere on the set and with some of Bluff City’s finest backing him up, Sid Selvidge achieves immortality, once again, through his absolutely timeless music. It’s funky in all the right spots, but filled with king-sized tears and that indefinable quality simply called “soul” It’s so good, in fact, it ought to lead friskier listeners on the trail of the two treasured Mudboy albums: Known Felon in Drag and Negro Streets at Dawn. Both are keepers of the highest order, and will cure spiritual and audio ills in humans and animals alike, just like this new one does. Guaranteed.
Rolling Stone Review: Sid Selvidge - A Little Bit of Rain
Archer Records
from Rolling Stone: September 2003
by David Fricke
Memphis institution Sid Selvidge was a rarity in the later 1960’: a white folk singer signed to the house of soul, Stax Records. (Selvidge’s ‘69 debut, Portrait, was released on the Stax subsidiary Enterprise.) He is still a precious treasure, with a tremulous voice that carries big hope as well as deep wounds in its bluesy shiver. On his first album in a decade, Selvidge also parades his excellent taste in the poetry and party of hurt, covering Fred Neil and John Hiatt next to Big Bill Broonzy and Eddie Hinton in perfect cocktails of jump and sorrow produced by Jim Dickinson with his usual barnyard grace.
Sid Selvidge: A Little Bit of Rain
from No Depression: August 2003
by Barry Mazor
A Little Bit of Rain is one of the most affecting, beautifully rendered and delivered, funky sweet bits of singing on record in the last couple of years. Mississippi raised, in hard blues country, and since then a longtime Memphis fixture, Sid Selvidge is utterly, and equally, at home with quiet, masterfully simple renditions of songs with a country base (Jimmie Rodgers’ “Hobo Bill”, and “Long Black Veil” a la Lefty) as he is with deep blues (Little Brother Montgomery’s “Mama You Don’t Mean Me No Good”).
Selvidge comes up with tunes of his own that are richly informed by these sources, and uncovers obscure gems from the great, too-overlooked blue-eyed soul man Eddie Hinton (with jumping rhythm and sax that could have been born in New Orleans) and an old timey narrative ballad from Bascom Lamar Lunsford delivered with understated drama.
Selvidge’s clean tenor is so pure that it almost approaches the precious, never crosses over, because this guy couldn’t help putting a bit of soulful grease in there if his life depended on it. It doesn’t; he’s a full-time anthro professor who’s managed to get out exactly one album per decade since the ‘70s. This one was produced by the vet Jim Dickinson, and if that starts to ring a bell, it should. The two of them were in the semi-legendary avant garde blues band Mudboy & the Newtrons, and this is the same Sid Selvidge who produced Alex Chilton’s much -admired Like Flies on Sherbert.
This very fresh Little Bit of Rain will be as welcome late, late at night as early, early in the morning. It deserves a lot of play.
A Review of Sid Selvidge: A Little Bit of Rain
A Little Bit of Rain
from Sing Out!: Fall 2003
by Mike Regenstreif
A decade ago, Sing Out! asked me to review Twice Told Tales by Sid Selvidge, a Memphis-based artist who I was not previously familiar with. It was a great album, one that I’ve returned to often over the years.
Finally, ten years later, Selvidge, now the executive producer of the syndicated Beale Street Caravan radio program has done a follow-up. Beginning with a sweet version of Fred Neil’s title song, and ending with “Arkansas Girl,” a lovely country waltz and the only Selvidge original, the CD is a seamless blend of blues, traditional country, folk music, r&b and rock ‘n’roll in settings that range from solo voice and guitar to a cooking full band with horn section and backup vocalists. There are few performers with the musical vocabulary to so convincingly sound like he’s at home with all of these different styles.
One of my favorite tracks is “Swannanoa Tunnel,” a haunting Appalachian song associated with traditional artists Roscoe Holcomb and Bascom Lamar Lunsford that Selvidge performs solo with just his guitar. Interestingly, he points out that Lunsford is the great uncle of his daughter-in-law. He also does a nice version of “Hobo Bill,” a song recorded more than 70 years ago by Jimmie Rodgers. Selvidge is particularly adept at the blues and offers a fine arrangement of “Mama You Don’t Mean Me No Good,” that’s halfway between urban sophisticate and down home jug band. His version of “Long Tall Mama” recalls Big Bill Broonzy’s early Chicago period. Let’s hope that Selvidge’s next record won’t take another decade.
SID SELVIDGE A Little Bit of Rain - Four Stars
Archer Records
from The Montreal Gazette: May 8, 2003
by Mike Regenstreif
You can’t accuse Memphis veteran Sid Selvidge of over exposure. This is just his fourth album since his 1976 debut, and his first since the masterful Twice Told Tales, a decade ago. Beginning with Fred Neil’s title song and ending with Arkansas Girl, a lovely country waltz and the only Selvidge original, the CD is a seamless blend of blues, traditional country, folk music, rhythm and blues and rock ‘n’ roll in settings that range from solo voice and guitar to a cooking full band with horn section and backup vocalists. Quiet, solo numbers like A Little Bit of Rain and the eerie Swannanoa Tunnel are as powerful, in their own way, as the rocking Real Thing.