Bobby Charles

BOBBY CHARLES
Last Train to Memphis: Part III: On His Own Terms

by Larry Benicewicz

Having bid good riddance to the major labels with whom he had been associated and which all, to some extent had taken advantage of him, Bobby in the late 70s returned home to his beloved Louisiana and settled in the woods near the tiny hamlet of Milton on the Vermilion Bayou. Often portrayed as a recluse or a hermit, far from the madding cry of civilization, Bobby did lead, as he still does now, a solitary, contemplative life, but he was far from cutting off all ties with humanity. In fact, he began actively engaging it by writing songs concerning the environment. “Larry, you know you can see for yourself the damage caused by the oil industry drilling in the swamp and destroying the landscape,” he said. And truly any visitor driving through Baton Rouge on Interstate 10 can attest to the myriad chemical plants and refineries straddling the Mississippi there belching clouds of acrid smoke into the air, seemingly indifferent to any kind of ecological statutes against such emissions (if indeed there are any). “But you have to educate kids about this serious issue early. It’s already too late in their teens when they have hard heads and hard ons,” he added.

So, Bobby worked tirelessly assembling a program for schools called the Solution to Pollution which featured, as part of the learning package, a song he wrote especially for the undertaking, a single, “Clean Water” on his own, newly inaugurated Rice N’ Gravy label. He promoted it heavily on public radio and he still crusades for its acceptance to this day despite the fact that he knows it’s an uphill battle fighting the politicians, lobbyists, and special interest groups in the aforementioned state capital. “It’s still number one on my agenda and I’m not ever going to let go of it,” he said emphatically.

In the mid to late 80s, Bobby’s writing career again had taken flight which resulted in several singles for his new logo, including the jaunty “Lil Cajun” and its flip, the achingly bittersweet ballad, “Secrets(RG-22139),” in which Tracy Nelson provided an understated and sensitive backing. Other memorable pieces from this period were the funky second line rhythms of “Party Town(22140)” and the plaintive “Lonesome Christmas(22139),” the latter which later was “dedicated to the men and women in Saudi Arabia, the Persian Gulf, their families, and their loved ones.” Most of these 80s vintage numbers appeared on the LP Rice N’ Gravy-Zensor LP ZS-35/CD ZS-42, released in Germany in 1987, an album which was also reissued in Japan with a bonus track, “You,” on the Village Green label, CD D22Y0345 in 1989. Another tune he penned from this period, “Groovin’ Out On Love,” found its way onto British reggae exemplars, UB-40’s Labour of Love: Part II and contributed mightily to its earning a multi-platinum status.

As his reputation as a writer grew, Bobby by the 90s, had formed strong bonds with other composers of his era including Willie Nelson, whom he introduced to the Neville Brothers during an unforgettable concert of Willie’s in New Orleans, and Neil Young (with Crazy Horse), with whom he had worked in the studio in the late 70s. Even Willie and Neil themselves shared a single in 1985, “Are There Any More Real Cowboys (Columbia 38-05566).” So, all were very familiar with each other. And Wish You Were Here Right Now (Rice N’ Gravy-Stony Plain SPCD 1203) is a result of that collaboration.

Wish You Were Here Right Now, released in 1995 on Stony Plain, an Edmonton, Alberta, Canada roots label, is significant in many regards in that it presents Bobby reprising his own classics for the first time, including “The Jealous Kind,” “Walking to New Orleans (with a cameo by Fats, himself),” and his signature “See You Later Alligator.” Moreover, he seems to have found his comfort zone toiling in as many as four separate recording facilities necessitated by this endeavor - Technosound in Baton Rouge, the cozy Dockside near his home in Maurice, Black Top records’ Ultrasonic in New Orleans, and the famous Pedernales Studio of Austin, Texas, the headquarters of Willie Nelson. As always, the sidemen are legends in themselves, including redoubtable horn man, Jon Smith of the heralded Boogie Kings, guitarist Bobby Broussard, everyone’s first choice in the realm of zydeco, guitarist Sonny Landreth of the renowned blues band, Bayou Rhythm (with Mel Melton on harp), the aforementioned Ben Keith on pedal steel, and, last but not least, Rufus Thibodeaux, perhaps the greatest Cajun fiddler of all time. In the 60s Rufus had replaced bassist Bobby McBride in J.D. Miller’s famed studio band and actually appeared on a 1978 Neil Young album, Comes a Time, on Reprise (MSK 2266), undoubtedly through the recommendation of Bobby Charles, who was well acquainted with this master of the violin, who was most closely associated during his long career with C&W great, Jimmy Newman.

Just three years later in 1998, Bobby had a fistful of material that warranted a second release on Stony Plain, Secrets of the Heart (SPCD-1240), which not only included the aforementioned singles, “Secrets” and “Party Town,” but also ten new tracks. Staying with the same winning formula as its predecessor, Bobby, too, does a version of his blockbuster, “But I Do,” and the bluesy, “Why Are People Like That,” a composition which was first covered by none other than Muddy Waters (his MCA/Chess Woodstock Album in 1975). Recorded variously at Dockside, Ultrasonic, and Magic Tracks in Hermitage, TN, Secrets of the Heart demonstrated the true versatility of Bobby, from the elegant French cabaret song, “Champs Elysee (worthy of an interpretation by a Maurice Chevalier or Charles Aznavour)” to the mariachi flavored “Angel Eyes,” and to the C&W styling of “I Don’t Want To Know.” Among the newcomers as guest artists (joining “regulars” Jon Smith, Sonny Landreth, and Ben Keith) on this venture are the up-and-coming bluesman, Derek Trucks, guitarist son of Allman Brothers’ drummer, Butch Trucks, noted English export (now of New Orleans) Jon Cleary on piano, and rhythm guitar wizard, Sam Broussard.

Added to this mix is the towering personage of Wardell Quezergue, longtime producer/arranger for engineer Cosimo Matassa of New Orleans. Wardell established himself early on as a figure to be reckoned with, overseeing his tour de force of Professor Longhair in 1964, “Big Chief (Watch 45-1900),” which included nearly two dozen sidemen, including Earl King and Dr. John. A talented man very much in demand, Wardell currently does all the charts for yet another Crescent City musical ambassador, Frankie “Sea Cruise” Ford.

Bobby Charles’s latest release, and by far his most ambitious effort to date is Last Train To Memphis (Bogalusa 350) which also has been issued abroad by the UK concern, Proper records (PRPCD016). And what a handsome collection it is. The cover which depicts a deserted train depot opens to reveal a triptych format with a CD in each wing and a pamphlet (complete, thorough discography) tucked into the pocket of the middle frame. Within is a gallery of photos of all the artists who generously gave of their time to be a part of this special tribute to one of America’s great songwriters.

And talk about a lot of bang for the buck. No one should grumble about the length of this album, an all too common complaint today. Not only is there a bonus CD of 19 cuts which represents the best of songs culled from his three former albums, including “Wish You Were Here Right Now,” “Secrets,” and “Why Are People Like That,” but also there are 15 totally new tracks comprising the other, for a total of 34 selections in all. Undoubtedly this extra CD was inserted in order to finally make such former (import) Bobby Charles nuggets more readily accessible for the domestic market.

But, perhaps it is a misnomer to call Bobby’s recent CD, also recorded variously at Dockside, Pedernales, and LSI in Nashville, a compilation of brand-new items. In reality, some of them were first recorded or conceived of in the 70s and finally have seen the light of day after some modifications over the years. But generally speaking the bulk of the tunes were taped in the late 90s, just after Secrets of the Heart.

The title track, “Last Train To Memphis,” certainly merits a soundtrack and Delbert McClinton furnishes a rollicking, whooping, Sonny Terry-like harmonica accompaniment just like in the good ole days when he backed Bruce Channel on his smash, “Hey Baby,” by the way, on Smash records in 1962. The rhythm is infectious and the listener almost feels himself on board being carried down the line.

The second track, “The Legend of Jolie Blonde,” is a totally different departure as Bobby pays homage to his Cajun heritage in the form of a French waltz with the exceptional backing by Geoff Muldaur on guitar, Rufus Thibodeaux on fiddle, and Pat Breaux of Beausoleil on the one-note accordion. And you couldn’t ask for a collection of individuals better suited for capturing the tender sentiments and melancholy of this folk music indigenous to Louisiana.

“I Spent All My Money Loving You,” the third track, is one of the best of the batch and finds Bobby in a catchy, bluesy, second-line New Orleans groove with a devastating slide accorded by Sonny Landreth and punctuated by the punchy, full throated horn of the great Jon Smith. And had I not known that George Bitzer was on keyboards, I could have sworn that it was Dr. John, himself, supplying the crisp piano solo.

The fourth cut, “String of Hearts,” had been in the can a long time, in fact, a couple of decades, since Bobby first played it for me and asked my appraisal. I had urged him then and many times thereafter to release it and I thought he never would. But, here it is, finally, all dressed up as a waltz, with a spiraling, swirling tempo suggestive of falling leaves. And it doesn’t hurt to have the input of the grand aforementioned New Orleans arranger, Wardell Quezergue, who has left his stamp on the recording. “String of Hearts” is indeed something extraordinary.

The next two numbers, “I Wonder” and “Everyday,” are similar in nature - medium tempo C&W tinted melodies with origins in the 70s, evocative of Bobby’s Woodstock days, when he composed the wistful “Tennessee Blues.” The latter song, “Everyday,” is particularly noteworthy in that Bobby is backed by both Ben Keith on pedal steel and the late Eddie Hinton on electric guitar. This is the same Eddie Hinton who so expertly played behind so many soul stars of the late 60s and 70s at the celebrated Muscle Shoals studio of Alabama and also later supervised a session with Mark Wenner’s Nighthawks of Washington, D.C.

In “Don’t Make A Fool of Yourself,” Bobby again returns to another strong suit, the funky, parade march rhythm of the Big Easy. This time it’s Joe Krown on the keyboards doing his best Dr. John imitation. And no self-respecting Crescent City denizen could resist pulling out a handkerchief and umbrella and getting behind this number.

“Homesick Blues” is not your standard 12-bar blues. But it’s blues nonetheless and speaks to everyone who’s ever been down and out and spurned by a woman. The all star supporting cast on this gem includes Maria Muldaur on vocals, Rufus Thibodeaux on fiddle, and Mickey Raphael furnishing the mournful harmonica obbligato. And Willie Nelson’s rapid fire, staccato-like, cascade of individual notes on his trusty acoustic nylon string guitar is suggestive of other long gone Texas bluesmen, like T-Bone Walker, Lightin’ Hopkins, and Lowell Fulson. Willie’s certainly done his blues homework, as well as paid his dues, and here in Pedernales, it amply shows.

The next two tracks, “Forever And Always,” and “The Sky Isn’t Blue Anymore,” could actually pass for pop songs; in fact the latter gets the full treatment with a string section (led by Wardell Quezergue) which includes viola, cello, and, of course, violins. George Bitzer here switches to the electric piano. The two songs demonstrate the chameleon nature of Bobby who is completely at ease in authoring a variety of musical styles.

“Full Moon on the Bayou,” as the title implies, is a Cajun-influenced two-step like “Jambalaya,” which really moves along, especially when propelled by the piano of Clarence “Frogman” Henry. But everyone here gets into the act as well, including Willie Nelson, Neil Young, Rufus Thibodeaux, Mickey Raphael, and Maria Muldaur. If this rocker won’t get them out on the dance floor, nothing will.

The next cut, “What Are We Doing,” is another bluesy composition underscored by the sympathetic electric slide guitar of Sonny Landreth, and like many of Bobby’s songs, it is reflective and keenly introspective. He’s a man, like all of us, with many regrets.

The song “Sing” is difficult to categorize but carries the message that music has the power to bring us together. In fact, it’s like an anthem to this notion. It may be simplistic, but Bobby’s an eternal optimist, even after all he’s been through. Originally recorded in 1980 in Nashville, “Sing” features a children’s chorus and a handful of musical luminaries, including longtime Decca studio stalwart, Grady Martin on guitar, ex-Flying Burrito Brother, Chris Ethridge on bass, and writers Dan Penn (“At the Dark End of the Street”) on acoustic guitar and Spooner Oldham (“Cry Like A Baby”) on organ. The latter two were also producers for the Box Tops (“The Letter”) with vocals by Alex Chilton.

In the next to the last track, “Goin’ Fishing,” Bobby, as unpredictable as always, reverts to the traditional, straight-ahead blues; in fact, the Delta slide species ably reproduced by Sonny Landreth on his Silvertone guitar, who is joined only by a second, that of Sam Broussard. It’s blues stripped to its bare essentials. When the world is too much to take, it’s time to go down to the local watering hole and sort things out. Not a bad philosophy no matter what type of watering hole it might be.

The grand finale of Last Train To Memphis is Bobby’s big band version of his first mega hit, “See You Later Alligator,” which is perhaps fitting as a testament to his half-century in music. Aside from old standby Sonny Landreth, Bobby has added several sidemen too beef up the sound, including ex-Bayou Rhythm electric bassist, Dave Ranson, horn man Jon Smith, and Phil Chandler on the Hammond B3 organ. And here, as always, it’s a bona fide crowd pleaser.

I asked Bobby recently if he had anything more up his sleeve, if there was to be anything forthcoming of this magnitude in the near future.

“I’d like to say yes. But first things are first and that means getting out of Holly Beach A.S.A.P. I’ve dodged [hurricane] Ivan twice in one week and that’s enough,” said Bobby.

“Where are you going to move to now?” I asked.

“I’m only sure about one thing. Wherever it is, it’s going to be way inland,” he responded with a hearty laugh. Larry Benicewicz

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