Looking much like a rockabilly performer, singer/songwriter Grady Crumpler with his band Shady Cats, delivers great alt pop/rock in his tightly constructed debut album, Love Callin’. The eleven songs here had been languishing in their original demo recordings until Crumpler brought in three producers who whipped these bar-friendly tunes into radio-friendly masterworks. Though it is common in hip-hop circles to use more than one producer, it is rare in rock or pop. But here, Crumpler showed genius in doing so.
John Custer produced the first three tracks, one somewhere in the middle, and the last cut. Dick Hodgin produced three songs that are sprinkled around the central song: “All the Way,” “Take Me,” and “You Got a Way.” John Plymale, who produced Squirrel Nut Zippers and Meat Puppets (some very different material from each other and Crumpler’s Shady Cats work), also does three: “Lines,” “Till the Rains Comes,” and “In the Moment.” Though shaped by three very different hands, the album has a cohesiveness that brings out the best in Crumpler’s songs and his vocals, as well as the skills of the Shady Cats musicians.
Long time bandmate, Bill Eagen offers support on drums on all cuts in the album. He and Crumpler are the two consistent threads here with a sprinkling of other musicians who lend support. Crumpler himself lays out guitar, sitar, synth, and even takes a stint behind a Hammond B-3 and a Fender Rhodes. There is a whole stable of bass players on this work and a number of other instrumentalists.
The title track, “Love Callin’,” is also the initial track, which breaks with standard album track placement. This is usually the track that will get the most airplay. The title cut is usually left for the third slot, which here is a rock love song, “She Kisses Me with Her Eyes,” where Crumpler adds a tasty bit of guitar blaze along with John Wade’s bass. “Love Callin’,” though, sets the tone of the album, generating a high energy rock ballad that is reminiscent of G B Leighton’s rendering of “Love For Sale”. It is supported by Derek Arnold on bass and producer John Custer himself, adding guitar synth to this mix.
Custer continues that on the second cut, “Lost Myself.” Here Crumpler backs himself on vocals with John Wade again on bass.
John Plymale’s first producer offering on Love Callin’ is “In the Moment,” which showcases guest Don Dixon on lead vocals. Dixon is a noted producer himself who spearheaded the jangle pop movement of the 1980s. His vocals add a raw edge to Crumpler’s more polished voice, even on background vocals. This cut also showcases Crumpler’s versatility with many instruments. Here he not only plays guitar but shows his chops on organ. Both add zest to Wade’s bass.
Another guest vocalist, Phil Spence, handles lead on “Take Me.” Rob Clay takes up bass duties here and is assisted by Chad Barger on the Hammond B-3 and Jason Schmidt on percussion. Again, Crumpler adds backup vocals and guitar.
Dick Hodgin’s production of “You Got Away” and “Take Me” have a more rocking drive than some of the other tracks. But his work with “All the Way” instills a classic Beatles meets island music rendering. Clay, Barger, and Schmidt once again return to support Crumpler here.
“Till the Rain Comes” once more showcases Crumpler on many instruments. Eagan and Clay back him up. Plymale, here, couches Crumpler’s vocals in a distorted verse, a la Beatles’ “I Am the Walrus”.
Stuck in the middle of all this is “Lines,” the only southern rock number of the lot. It’s a really different look at trucking. Mike Krause adds some sweet guitar work to Clay’s bass and Wes Lachot’s Hammond B-3.
The album ends with “Desperation,” a piano-driven vocal piece that is pure moody rock about infidelity from a woman’s point of view. Jon Heames adds bass to Darren Mitchell’s piano work and Crumpler’s guitar and Eagen’s drums. It’s sort of a downer to the rest of the work contained on the CD, but it is an exquisite song that reveals the depth of Crumpler’s ability to write a great song. This one and “Lines” are exceptional pieces of songwriting.
Love Callin’ shows listeners just the tip of what Crumpler’s songwriting and performing vision is. Hopefully, Grady Crumpler and Shady Cats will offer us much more in the future.
Review by Janie Franz
