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────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | Tony Joe White
Title | Rain Crow
Genre | Country Format | Album
Source | CDDA Time | 44:51
Label | Swamp/Yep Roc Records Store | 2016
Catalog | YEP-2450 Rip | 2016
Bitrate | 223 kbps Size | 75.41 MB
Freq | 44.1 kHz Encoder | Lame 3.98.4
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
01. Hoochie Woman 4:01
02. The Bad Wind 4:53
03. Rain Crow 4:56
04. The Opening Of The Box 5:28
05. Right Back In The Fire 5:00
06. The Middle Of Nowhere 4:25
07. Conjure Child 5:32
08. Where Do They Go 4:33
09. Tell Me A Swamp Story 6:03
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
Tony Joe White has parlayed his songwriting talent into a modestly
successful country and rock career in Europe as well as America. Born July
23, 1943, in Goodwill, Louisiana, White was born into a part-Cherokee
family. He began working clubs in Texas during the mid-'60s and moved to
Nashville by 1968. White's 1969 debut album for Monument, Black and White,
featured his Top Ten pop hit "Polk Salad Annie" and another charting
single, "Roosevelt and Ira Lee (Night of the Moccasin)." That same year,
Dusty Springfield reached the charts with White's "Willie and Laura Mae
Jones." Brook Benton recorded a version of White's "Rainy Night in Georgia"
that hit number four early in 1970; the song has since become a
near-standard with more than 100 credits. White's own "Groupie Girl" began
his European success with a short stay on the British charts in 1970.
Tony Joe White is a genre unto himself. Sure, there are other artists who
can approximate White's rich gumbo of blues, rock, country, and bayou
atmosphere, but almost 50 years after "Polk Salad Annie" made his name, you
can still tell one of his records from its first few moments. 2016's "Rain
Crow" confirms White hasn't lost his step in the recording studio. Produced
by his son Jody White, "Rain Crow" is lean, dark, and tough; the bass and
drums (Steve Forrest and Bryan Owings) are implacable and just a bit
ominous, like the sound of horses galloping in the distance, while the
flinty report of White's guitar sketches out the framework of the melodies
and lets the listener's imagination do the rest.
White's best music has always had more than one foot in the blues, and
"Rain Crow" often recalls the hypnotic backwoods juke joint sounds of R.L.
Burnside and Junior Kimbrough, built on a groove that travels as far and as
deep as it needs to go. And White the storyteller is in great form on "Rain
Crow", from the tricky family tale of "The Middle Of Nowhere" and the
spooky happenings of "Conjure Child" to the "Hoochie Woman" celebration of
a woman who knows what to do with spice and shrimp. As for White's singing,
that's where evaluating "Rain Crow" gets a bit complicated.
These days, White's voice is a swampy croak that lacks the strength of his
signature recordings of the 60s and 70s, and occasionally he's just hard to
hear. But if White isn't much of a singer at the age of 72, his half-sung,
half-mumbled vocals work unexpectedly well in context, suggesting some
aging swampland griot, and they suit the late-night vibe of the material
better than a stronger performance might. "Rain Crow" doesn't blaze many
new trails for Tony Joe White, but it leaves no doubt that he's still the
king of his own swampy sound, and he's not getting older, he's getting
deeper.
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