Victor and drummer Billy Dean consider a take with their engineers (photo courtesy of Lisa Mac) Victor Wainwright is, above and beyond all, a bluesman. History now shows it; he’s twice been honored as the “Pinetop Perkins Piano Player of the Year” via the Blues Music Awards (the blues community equivalent to the Grammys and the highest honor that can be given to a keyboard player), and last year walked away with “B.B. King Entertainer of the Year” and “Band of the Year” honors, again from the Blues Foundation. He’s also doing his best to wrest the title of “hardest working man in show business” away from anyone; Wainwright has, for nearly a decade, averaged in excess of 200 lives shows per YEAR. Somehow, in the midst of all that, he also finds time to write and record new music… I sometimes wonder when the man schedules time for himself to sleep.
While live performances are what really bring the music to the people (perhaps especially in the case of blues), recording albums is where the legacy starts and where the foundation of a live show begins. In keeping with his love for the music in a variety of blues genres, Wainwright has alternately toured with The Victor Wainwright Band, The WildRoots and Southern Hospitality, a blues “supergroup” that also includes J.P. Soars and Damon Fowler. He recently went into Ardent Studios is Memphis, TN (Wainwright’s home-base city) to begin recording a new project, “Victor Wainwright and the Train.” Much to my pleasure and excitement, he invited me to join him in the studio for one of the last days recording the initial tracks for the album, tentatively due in late summer or early autumn of this year. As you can well imagine, I jumped at the chance to be among the first to get a taste of his newest music.
I’ve been a fan of Wainwright’s music for a long time - he was one of the first artists I more or less attached myself to when I moved to Memphis some nine years ago. Between those earlier days in his career when he played Beale Street as often as weekly to now where his concert tours are of international scope, I’m guessing I’ve seen him in concert a good thirty times, maybe more (and please believe me when I say I’ll continue to go to great effort to make any show I can - he’s just that good). A studio session, though, is a whole ‘nother animal; what you lose in the spontaneity and energy of a live crowd, you gain from the chance to lay something down and do it again if you feel like you have something a little better within. It’s a fascinating process to see… and, of course, to a fan, being able to watch the magic being created is a special experience. This is the first project recorded under “The Train” moniker; when I asked Wainwright why he chose to go with this instead of the WildRoots (a band he’s recorded and toured with for years), he replied, “It’s something a little different… plus, this is the first time I’ve entirely self-produced an album, and it just seemed appropriate to give it an identity of it’s own.” Fair enough. That new identity comes in the form of Wainwright on keyboards and lead vocals, Pat Harrington on guitar, Terrence Grayson on bass and Billy Dean on drums; the whole band chips in on background vocals. Grayson and Harrington are the newest elements of his touring troupe, Dean is a man he’s worked with for quite some time. The sessions at Ardent were overseen by Dave Gross as Lead Engineer, who was assisted by Mike Wilson.
While live performances are what really bring the music to the people (perhaps especially in the case of blues), recording albums is where the legacy starts and where the foundation of a live show begins. In keeping with his love for the music in a variety of blues genres, Wainwright has alternately toured with The Victor Wainwright Band, The WildRoots and Southern Hospitality, a blues “supergroup” that also includes J.P. Soars and Damon Fowler. He recently went into Ardent Studios is Memphis, TN (Wainwright’s home-base city) to begin recording a new project, “Victor Wainwright and the Train.” Much to my pleasure and excitement, he invited me to join him in the studio for one of the last days recording the initial tracks for the album, tentatively due in late summer or early autumn of this year. As you can well imagine, I jumped at the chance to be among the first to get a taste of his newest music.
I’ve been a fan of Wainwright’s music for a long time - he was one of the first artists I more or less attached myself to when I moved to Memphis some nine years ago. Between those earlier days in his career when he played Beale Street as often as weekly to now where his concert tours are of international scope, I’m guessing I’ve seen him in concert a good thirty times, maybe more (and please believe me when I say I’ll continue to go to great effort to make any show I can - he’s just that good). A studio session, though, is a whole ‘nother animal; what you lose in the spontaneity and energy of a live crowd, you gain from the chance to lay something down and do it again if you feel like you have something a little better within. It’s a fascinating process to see… and, of course, to a fan, being able to watch the magic being created is a special experience. This is the first project recorded under “The Train” moniker; when I asked Wainwright why he chose to go with this instead of the WildRoots (a band he’s recorded and toured with for years), he replied, “It’s something a little different… plus, this is the first time I’ve entirely self-produced an album, and it just seemed appropriate to give it an identity of it’s own.” Fair enough. That new identity comes in the form of Wainwright on keyboards and lead vocals, Pat Harrington on guitar, Terrence Grayson on bass and Billy Dean on drums; the whole band chips in on background vocals. Grayson and Harrington are the newest elements of his touring troupe, Dean is a man he’s worked with for quite some time. The sessions at Ardent were overseen by Dave Gross as Lead Engineer, who was assisted by Mike Wilson.
Setting the vocal level Hearing new music from an artist I so admire is a cause for great excitement in my life, and I wasn’t disappointed. Through the course of the five or so hours I spent with the band, I observed the recording of one track, overdubs on a second and heard a third all the way through when changes were being considered; the band collectively decided that what had already been laid down on that track was good enough, no changes made at this time. Having seen my share of artists in a studio before, I was suitably impressed with Wainwright’s work in that setting. Music is art, obviously, but there are also financial concerns; I don’t know the figures, but when you’re in a facility like Ardent, I’m sure the bill can run pretty high pretty quick, so it’s essential to get what you need as efficiently as possible while still maintaining the level of quality you’ve become known for. One of the ways you accomplish this sounds simple enough, but I’ve often seen it where it wasn’t the case - know the material before you set foot in the studio. The Train is in a good position to accomplish this since they play live so often; guitarist Harrington confirmed to me that they’ve been playing most of the new material on stage for a while now. “We felt confident coming in,” he said. “We had already done a lot of the work getting arrangements we were happy and comfortable with on a lot of stages and I feel like that has made this easy and fun.” That’s particularly important, as this is (to my knowledge) the first time both he and Grayson have been in the studio with Victor.
Another factor that plays into getting good work done is simply knowing how to work with your own people. Again, you’re in the studio and the money clock is ticking; it’s a very fine balance that has to be woven between being a taskmaster while keeping the mood conducive to creation. That didn’t seem to be a problem. For a start, Wainwright has a superb combination of experience and good old fashioned kindness and people skills that serve him well in the situation. There are no covers on the album (rare for a blues recording), and with assuming the production as well as composing chores, he obviously came in with a very good idea of what he wanted and seemed very able to get it. Victor is an amazingly kind and caring man; if you’re a friend, you get greeted with a bear hug and a smile that’s becoming as trademark as, say, the one Jerry Garcia was known for, and it’s all honest. He’s able to use that to get the very best out of his band, knowing when to take a break, to lighten the mood, and when/how to get back to work. The rapport between he, his band and his technical people was obvious (and unsurprising to anybody who knows him). I have to say I was almost as impressed with the efficiency displayed in the studio as I was with the talent.
Another factor that plays into getting good work done is simply knowing how to work with your own people. Again, you’re in the studio and the money clock is ticking; it’s a very fine balance that has to be woven between being a taskmaster while keeping the mood conducive to creation. That didn’t seem to be a problem. For a start, Wainwright has a superb combination of experience and good old fashioned kindness and people skills that serve him well in the situation. There are no covers on the album (rare for a blues recording), and with assuming the production as well as composing chores, he obviously came in with a very good idea of what he wanted and seemed very able to get it. Victor is an amazingly kind and caring man; if you’re a friend, you get greeted with a bear hug and a smile that’s becoming as trademark as, say, the one Jerry Garcia was known for, and it’s all honest. He’s able to use that to get the very best out of his band, knowing when to take a break, to lighten the mood, and when/how to get back to work. The rapport between he, his band and his technical people was obvious (and unsurprising to anybody who knows him). I have to say I was almost as impressed with the efficiency displayed in the studio as I was with the talent.
Getting the drums to sound just right And what talent!! The first track I heard was the afore-mentioned ballad, a beautiful piece entitled “That’s Love To Me.” While it’s difficult to compare the new work to what he’s already done, the deep, soulful feel of the emotion being expressed reminded me of a track called “Certified Lover,” probably my favorite from his only recording to date with Southern Hospitality. It’s not so much the song, but the feel (as is generally most important with the blues) - it’s a slow grinder that builds throughout and features some passionate interplay between keyboard and guitar. As is the norm, Wainwright’s vocal completely took the piece to another level… this despite the fact that it won’t in likelihood be the vocal we hear on the final product. Vocals are generally the last thing that get laid down on an album; the vocal track during the initial recordings are referred to as “scratch vocals,” there so the musicians know where they are in the song so they can play accordingly. Still, when listening back to the take, I couldn’t help but notice the smile that crept across Wainwright’s face, and as the track ended, he looked at me and winked, “Not bad for a scratch vocal!” Um… yeah, no kidding…
The second track I heard was a tribute to B.B. King, probably Wainwright’s personal favorite overall bluesman (he has a pet named Riley); he took a very interesting path in his tribute, choosing to sing his praises to Lucille, B.B.’s longtime legendary companion, his guitar. Entitled “Thank You Lucille,” it’s a slow-to-midtempo number that boils over with admiration for the music that inspired so many. My initial instinct tells me that both because of the subject matter and the sheer intensity of the performance, it may well be one of the tracks singled out for extensive radio play, and I have zero doubt it will remain a concert favorite for many years to come. Wainwright was experimenting with a piano overdub on the part; he had told me he specifically chose Ardent for the basic tracks because he wanted to explore the sonic qualities of the room (obviously super important to a good recording), and if there’s a piano present, Victor is going to bleed every ounce of sound he can get from it. Again not surprisingly, what he played was amazing; that’s no guarantee that it will wind up on the finished album, but it’s a fine indicator that if he feels he can top the performance I heard, I simply can’t wait.
The third track I heard (the one the band chose to leave as is for now) is a powerful piece Wainwright has been performing for years, entitled “Righteous.” I’m personally thrilled that this is finally making it’s way to an album; I’ve heard the piece performed quite a few times and I’ve indicated more than once that it’s among my favorites of all of his work. “Explosive” hardly explains how strong the song is; a rollicking piano foundation is augmented by a thunderous rhythm section and demands an impassioned lead guitar; the musicians came through in kind. Here more than on any of the other work I heard, The Train is an incredibly proper designation. I’ve strongly recommended to Victor for a long time that he record the piece and use it as a gateway to college and alternative radio; we’ll see what happens.
The second track I heard was a tribute to B.B. King, probably Wainwright’s personal favorite overall bluesman (he has a pet named Riley); he took a very interesting path in his tribute, choosing to sing his praises to Lucille, B.B.’s longtime legendary companion, his guitar. Entitled “Thank You Lucille,” it’s a slow-to-midtempo number that boils over with admiration for the music that inspired so many. My initial instinct tells me that both because of the subject matter and the sheer intensity of the performance, it may well be one of the tracks singled out for extensive radio play, and I have zero doubt it will remain a concert favorite for many years to come. Wainwright was experimenting with a piano overdub on the part; he had told me he specifically chose Ardent for the basic tracks because he wanted to explore the sonic qualities of the room (obviously super important to a good recording), and if there’s a piano present, Victor is going to bleed every ounce of sound he can get from it. Again not surprisingly, what he played was amazing; that’s no guarantee that it will wind up on the finished album, but it’s a fine indicator that if he feels he can top the performance I heard, I simply can’t wait.
The third track I heard (the one the band chose to leave as is for now) is a powerful piece Wainwright has been performing for years, entitled “Righteous.” I’m personally thrilled that this is finally making it’s way to an album; I’ve heard the piece performed quite a few times and I’ve indicated more than once that it’s among my favorites of all of his work. “Explosive” hardly explains how strong the song is; a rollicking piano foundation is augmented by a thunderous rhythm section and demands an impassioned lead guitar; the musicians came through in kind. Here more than on any of the other work I heard, The Train is an incredibly proper designation. I’ve strongly recommended to Victor for a long time that he record the piece and use it as a gateway to college and alternative radio; we’ll see what happens.
A "light" moment during a break (photo courtesy of Lisa Mac) It should be noted that what I heard in the studio did not yet have the benefit of flourishes that will be added; horn parts are still to come and, of course, Wainwright will eventually add the final vocals that will, no doubt, blow me away again (I won’t be completely happy until he finally gets to add “Vocalist of the Year” to his ever growing list of well-deserved accolades). No doubt there will also be little tweaks and changes made; Wainwright is well aware that albums are part of his legacy and nothing will get released until it is the best he feels he and his band can do. After the day in the studio, reflecting on what I had the honor of seeing, it struck me that none of the songs were what I’d call “traditional blues.” It sounds and feels like, as befitting a true artist, the envelope is being pushed. I kept thinking about Victor’s statement ("It’s something a little different…”). I’m a journalist, so I contacted Victor and expressed that sentiment to him and outright asked him if that was a fair assessment. I love the reply I got. “After being blessed and handed the awards we were presented with last year from the Blues Foundation, I felt an immediate responsibility to continue taking the role of inviting in the millions of listeners out there that may not be familiar or hip to ‘the blues’ but who are very willing to enjoy roots music in its many many forms. So, with our feet planted solidly within the blues community, I think it's extremely important to not only honor the tradition but also continue to push the envelope, and with open arms, invite as many listeners as we can into the fold of our community. That is how we will ‘keep it alive’ in my opinion. What we are recording and performing nightly is a nod and deep understanding of traditional blues with an exceptionally contemporary feel and careful abandonment or escape of any walls or box that tends to trap many artists from creating something truly their own.”
I couldn’t be more thrilled… and I’ll go on record right now as saying I plan to someday pirate the phrase “careful abandonment” for my own purposes. As excited as I always am for a new Victor Wainwright recording, this one will be even more special to me. I already know the material is good and well-performed, and of course I’ll be excited to see how what I heard gets massaged into the final release. Wainwright is a musician of vision and commitment and honor… and yeah, above all, he is a bluesman.
I couldn’t be more thrilled… and I’ll go on record right now as saying I plan to someday pirate the phrase “careful abandonment” for my own purposes. As excited as I always am for a new Victor Wainwright recording, this one will be even more special to me. I already know the material is good and well-performed, and of course I’ll be excited to see how what I heard gets massaged into the final release. Wainwright is a musician of vision and commitment and honor… and yeah, above all, he is a bluesman.
Lagniappe
My sincere thanks to Lisa Mac, the official photographer for these sessions, for allowing me to use a couple of her photographs for this article. She's a very talented and very sweet lady; you can see more of her work here. The uncredited photos used were my own. It's always worth checking Victor's website for tour dates, significant announcements and samples of his work.
My sincere thanks to Lisa Mac, the official photographer for these sessions, for allowing me to use a couple of her photographs for this article. She's a very talented and very sweet lady; you can see more of her work here. The uncredited photos used were my own. It's always worth checking Victor's website for tour dates, significant announcements and samples of his work.
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