Earl Thomas
Earl Thomas had never picked up a microphone in his life until he was nearly killed after losing his footing at the edge of a 50-foot ravine and slid all the way down, landing unconscious on a pile of broken glass and debris. Luckily, the then 22-year-old dental student was only bruised, but not knowing the extent of the damage upon regaining consciousness, he reflected on his disappointment at not having pursued his dream of becoming a singer, and resolved to do just that if he survived. Nine years later, he recorded 1991’s Blue…Not Blues, a record strongly influenced by his parents’ love of blues and gospel music and his own affinity for ‘60s and ‘70s soul music. His “I Sing the Blues” became a hit for Etta James, and he played European music festivals with such artists as Elvis Costello and B.B. King. His second album, Extra Soul, was released in 1994 followed by Soul’d! in 2002 and then Intersection on Memphis International in 2005.
Earl Thomas’ debut album Blue…Not Blues blended the sensuality of Stax soul with the grittiness of modern electric blues. The real indication of his talent is the power of his voice and the way his best songs, such as “Nothing Left to Lose” and “The Way She Shakes That Thang,” show that he has a knack for crafting memorable contemporary blues songs. That is what made Blue…Not Blues like it’s follow up Extra Soul successful debuts.
Recorded in Denmark and California his third cd Soul’d! seems like it emerged out of a mid- to late-’60s Muscle Shoals session. Jerry Wexler, producer of R&B legends like Etta James, Aretha Franklin, Wilson Pickett, and Solomon Burke, is a fan and supporter. Jerry contributes liner notes comparing Thomas to some of the greats, reinforcing the connection. But after one spin, anyone who loves great soul music will instantly appreciate this terrific album.
Earl Thomas has tapped into the spirit that created the classic R&B/soul sound. Not only is the production free of almost all contemporary flourishes (a synthesizer sneaks in unobtrusively on a few cuts), but the songwriting and playing—especially the horn section—is so authentic you’ll be checking the credits for the recording date. Thomas wrote or co-wrote six of the ten songs, and they are as good as the recognizable covers of “I’d Rather Go Blind,” Ragovoy/Shuman’s “Look at Granny Run Run,” and Tony Johnson’s “Midnight in Memphis.” The singer’s voice—smooth but gutsy—nails these tracks, but he never hogs the show or the arrangements, which are crisp and tight. Guitars and horns solo, then retreat to make room for Thomas’ emotive vocals.
A gospel-infused chorus helps bring religion to “I Won’t Be Around,” adding even more authenticity to the sound. “Stronger Than My Flame” fuses organ, snappy drums, punchy horns, and a searing performance from Thomas to make the tune fire on all cylinders. Those who have lost faith in the ability of contemporary soul music (circa 2003) to capture the warmth, inspiration, and intensity of the ‘60s need to add this, as well as the previous two Earl Thomas albums, to their collections.
Intersection, his fourth cd (second on the Memphis International label) was recorded at Ardent Studios in Memphis. Intersection mixes soul with rock and funk (and even some light Europop elements), Retro it is, full of Stax-like horns and the kind of Hammond B3 organ sound that Hi Records specialized in, and Thomas holds his own here, finding interesting new corners in versions of Ike Turner’s “Workin’ Together” and a funked-up “Bang a Gong” (yep, the T. Rex song).
The clear highlight on Intersection, though, is the final cut, a churning version of the Rolling Stones’ “Brown Sugar” that brings out more of the story and history inherent in the song, mostly because Thomas clearly enunciates the lyrics. We really haven’t seen all that Thomas is capable of yet, and while Intersection is a solid album, even more than that, in spots it still feels transitional, and one gets the feeling that it might be the next one he records that will really put it all together.
