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Arkansas Times interviews Rev. Greg Spradlin on Jim Dickinson, converting from ‘Southern Baptist to Southern Buddhist’, and his long-time-coming album ‘Hi-Watter’

rev greg spradlin and the band of imperials arkansas times hi-watter new album americana country

The theme of guitarist/songwriter Greg Spradlin’s life, he told Arkansas Times’ David Ramsey in 2012, is timing. “With my music, it’s always stuff like that. If I booked a gig tonight, it would come a hailstorm.” When legendary producer and pianist Jim Dickinson used to introduce Spradlin to his cohorts, he’d say, “This is my friend Greg, from Little Rock. He’s been through the L.A. grease.” 

Despite a history packed with thwarted record contracts and wrong legal turns, though, the Pangburn (White County) native ended up making his dream record, mastered by Grammy winner Tchad Blake and tracked by a roster of musicians that includes the likes of David Hidalgo (Los Lobos), a good chunk of Elvis Costello’s backing band and a legendary but elusive B3 player, the late Rudy Copeland. We talked to Spradlin about “Hi-Watter,” available now online (and, for Central Arkansans, curbside by appointment at Control in Hillcrest, and coming soon to Arkansas Record & CD Exchange), nearly a decade after its inception.

So, this record is a long time coming. Like, a LONG time. Why now? 

I was waiting on a global pandemic, and I thought it would never come. 

Right!?

No, seriously, the straight answer is: I wasn’t planning to make this record when I made it. And it was like a genie in a bottle washed up on the shore one day, and I had all the wishes to make any record I wanted to. It was this amazing thing that came true, and it happened so easily, and so fast. And then as soon as we were finished making it, we had a lot of life events, family events, things that happened that just derailed me personally for a while, and then it kind of became more important to take care of and focus on my family.

The other part of it was that I wasn’t ready to put it out. So it just kind of laid there for a long time, because I didn’t know what to do with it. I didn’t want to just throw it out. I felt like everybody who helped me out getting the record out, who put everything they put into it, I owed it to them to find the right time and the right way to put it out. And having finally found a label [Steve Howell’s Out of the Past Records] that wanted to see it born properly, that was what I’d been waiting for. 

So you had a relationship with the legendary Arkansas musician and producer Jim Dickinson. You delivered the eulogy at his funeral, even. What moments, if any on this record, are like specifically Jim Dickinson? Like, what wouldn’t exist if he hadn’t been in your musical sphere? 

The whole record wouldn’t exist. That’s the weird thing, and it’s kind of hard to explain. But basically, Jim and I, for years, played on each other’s projects. He played on my last record. I played on two of his records. He covered a couple of my songs. We’d known each other for a long time, and he really became my compass, my North Star, and was always there to encourage and help me navigate bullshit. And we talked about the kind of record I needed to make for years. Secretly, what I wanted, was to make a record with him and [sons] Luther and Cody [of North Mississippi Allstars fame]. …

What he’d always tell me is, “You need the right band. You need the right group of guys to play with you.” And then he died, and within a year of him dying, Jason Weinheimer and I were talking, and Jason was friends with Pete Thomas, from Elvis Costello’s band, and they’d worked on a Boondogs album together — coincidentally, a record Jim produced — and out of the blue he said, “What do you think about getting Pete to come to Little Rock and you do a day with him,” and Jason was doing a solo record with [his wife] Indy [Grotto], “and we’ll just make a week out of it.” … And I brought in about 3-4 songs, thinking we’d get through three or four songs, tops. And I think we got through with three or four songs before lunch. Because Pete is such a monster. He’s one of the best that there is. And he really got energized by it, and I just started digging, trying to come up with some more stuff, and we just ended up recording for about 13 or 14 hours straight, and did basically half the record in one day. READ MORE…

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Rev. Greg Spradlin And The Band Of Imperials’ New Single, “I Drew Six,” Added To Ditty TV’s Weekly Ditty Dozen Spotify Playlist

greg spradlin and the band of imperials ditty tv ditty dozen americana roots rock gospel katrina

“I Drew Six” is the latest single from Rev. Greg Spradlin and the Band of Imperials’ new album Hi-Watter. The Band of Imperials is Spradlin’s new project with Los Lobos guitarist David Hidalgo and Elvis Costello drummer Pete Thomas. “I Drew Six”—featuring Hidalgo on rhythm guitar & bass—is a blistering, frenetic gospel-rock rave up with its roots in Hurricane Katrina. 

An incredible guitar player, songwriter, singer and bandleader, Rev. Greg Spradlin has been flying under the radar for years—despite recording and performing with everyone from Lucinda Williams to Chuck Berry and John Lee Hooker. Along the way, Spradlin managed to assemble a supergroup with Hidalgo, Thomas, and now-deceased gospel-organ legend Rudy Copeland (Solomon Burke, Johnny Guitar Watson), and Rev. Greg Spradlin and the Band of Imperials was born. Back in 2010, they made an amazing Hurricane Katrina-inspired record called Hi-Watter, mixed by Tchad Blake (Tom Waits, Los Lobos, The Black Keys). But then, as if an act of God, an unexpected series of tragedies and major life events derailed the Reverend’s musical plans. Now—pandemic, and other acts of god be damned—this album will finally see the light of day. 

LISTEN HERE…

 

Lazerbeak

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Lazerbeak – Lava Bangers II

Ten years ago, Aaron Mader, AKA Lazerbeak, dropped Lava Bangers—a 20-track exhibition of underground hip-hop power and maximalism. Like Run the Jewels’ El-P, Lazerbeak landed devastating punches with his beats, creating bangers in the purest sense of the word and capturing the attention of superstar-in-the-making Lizzo. Since producing the “About Damn Time” star’s entire debut album, Lizzobangers, Lazerbeak has lent his high-energy excellence to Lin-Manuel Miranda’s The Hamilton Mixtape, Banks’ III, Trampled By Turtles’ Wild Animals Remixes, as well as a slew of collaborations with the Doomtree collective. 
 
With his solo work, Lazerbeak has recently adopted a more minimalist approach. The joys of becoming a father of three combined with the hardships of the COVID-19 pandemic and the rest of the world’s chaos necessitated a curiosity toward mindfulness for the producer, leading to a trio of albums named after his children. These seven-track records lean more on ambience than ambition, peace than punch, space than speed. Instead of throwing in “everything and the kitchen sink” on these projects, Lazerbeak exhibits maturity and restraint by stripping it all away to focus on the barest of essentials.
 
Now ten years removed from his first beat tape and having scratched the ambient itch, Lazerbeak is ready to return to the anthemic instrumentals he first became known for. His newest project, Lava Bangers II (out this November from Doomtree Records), is a 20-track victory lap of sorts showcasing Beak’s myriad talents behind the boards. “It sums up the artist I am right now,” the producer says. “It’s everything from dance music, house, electronic. Of course, there’s still some hardcore hip-hop and nods to the ‘80s and ‘90s R&B that I love.” It would be reductive to call Lava Bangers II a return to form. Instead, it’s a marriage of all the producer’s lessons learned, a culmination of a musical journey marked by curiosity, joy, and passion.
 
Opening track “Inner Winner” recalls the buzzing ‘80s synths of The Human League but a few notches funkier. Meanwhile, “Hardwood Classic” is an unmistakable nod to ‘90s freestyle complete with orchestra hits that conjure images of Shaquille O’Neal bringing down the backboard. Whereas 2012’s Lava Bangers is unrelenting with its hard-hitting hooks, the sequel takes a broader definition of banger, leaving room for mindfulness and meditation to coexist with movement and expression. “Rain Delay” exemplifies this well, as the frantic rhythms of everyday life are in perfect harmony with the penetrating calm of warm horn samples and tearful synthesizers. While it’s easy to turn on a beat tape like this and zone into your workout or morning drive, the layers and textures of Lava Bangers II are a delight for the engaged listener. “I think there’s so much in here,” Lazerbeak says. “So many change-ups, so many ideas—you could really tap into it and ride the roller coaster.”
 
For all the ear candy and excellence in production Lazerbeak exemplifies on this project, his greatest strength is his passion and belief that music is essential in times of struggle. “I think the thing I learned the most during the pandemic is when all the show money went away, my need to make music never wavered. I needed to do this more than ever because this is what fills me up.” 
 
That need to create music for creation’s sake shines through on every one of these 20 tracks. From the heavenly gospel-inspired “On the Sparrow” to the pop-funk glory of “Decades” (someone get Lizzo back on the phone), every rhythm, groove, and harmony is held with care. In a time when the cracks of our world are, “Showing everywhere,” as Beak puts it, Lava Bangers II is an energizing invitation to be present and dance, recapturing the joy of yesterday and holding onto the hope of a healthier future.
“7.2…Fine-hewn production provides a compelling pop thrill.” – Pitchfork
 
“Great shit…Sometimes it’s got a Flying Lotus edge to it, sometimes a sensible Jay-Z via Kanye West-produced soul sample…solid stuff.” – Consequence of Sound
 
“Lazerbeak is a great producer with a developed sonic palette and deft skills in assembling songs from multiple samples and beats.” – PopMatters 

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Cowboys & Indians Magazine debuts the lead single from E.Z. Shakes, “Making Mistakes”

The latest single from E.Z. Shakes just sounds big. It wrestles with major spiritual issues with a stomping, twangy, richly reverb-soaked musical backdrop that could double as the soundtrack to a psychedelic spaghetti western filmed under an endless desert sky.

That’s rather fitting because the momentum behind singer-songwriter Zach Seibert’s project shows no sign of slowing — and the band itself has grown as well, adding guitarist John Furr, drummer Stan Gardner, and bassist Jim Taylor to the original lineup of Seibert and pedal steel wiz Todd T. Hicks.

READ MORE

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Listen: Captain Americana Spotify playlist for 7/27/20

Captain Americana Spotify playlist weekly baby robot media brm folk roots blues soul country alt-country bluegrass

Listen to this week’s Captain Americana Spotify playlist featuring:

Radiator King – Madame Marie
Lydia Luce – Early Morning Rain
Rev. Greg Spradlin – Hell or Hi Water
The War and Treaty – FIve More Minutes
GypsyOutfit – Tennessee St Party
Gillian Welch – Strange Isabella
Michelle Billingsley Music – Then I Remember
David Burchfield & the Fire Guild – Midnight on the Water
Wayne Graham, The Green Apple Sea – Dark Kid (Ep. 1) 
Low Tide – The Alchemist
Lyman Ellerman Music – 2020 Vision
M. Lockwood Porter – What We’ve Lost 
Mad Crush – Trouble’s Coming
Joshua Ray Walker – Voices 
Madeline Kenney – Double Hearted
This Is the Kit – Bullet Proof
Mike Polizze – Cheewawa
Little Kid – Losing
Clem Snide – Roger Ebert
Nadia Reid – Heart to Ride
Whitney Rose – We Still Go To Rodeos
Tara Dente – Truth in the Mud
S.G. Goodman – The Way I Talk
Ocie Elliott – Tracks
Victoria Bailey Music – Skid Row
Darlingside – Ocean Bed
Daniel Donato – Justice
Ruston Kelly – Rubber
Anthony da Costa – Feet On The Dashboard
Logan Ledger – Starlight

Or check out the YouTube Playlist: