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Various artists — Never Give Up: Celebrating 10 Years of The Postal Service

Few indie bands have had the impact on current music that The Postal Service has. Even fewer have done so with only one album.
05/15/2013 | Comments 0

Big Worm — Bench All-Stars

Fans of the comedy classic Friday may recognize the name Big Worm, but the Big Worm behind Bench All-Stars is rooted not in South Central L.A., but on the streets of Oklahoma City.
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Code 22 — Going Soft: The Acoustic Album!

The guys of Oklahoma City’s Code 22 seem like a likable group of fellas. Their latest release, Going Soft: The Acoustic Album!, is likable enough as well — so likable that on first listen, I took its clean, acoustic sound and clear, unstressed vocals as an alternative praise-and-worship band.
05/08/2013 | Comments 0

Eureeka — Polysynthetic Fields

It’s always refreshing to hear music that embraces its own eccentricity, yet presents it in an accessible and meek fashion. Eureeka — the Norman-based duo of Jordan Vargas and Devin Wahl — has tapped into this rarified air on its self-released EP, Polysynthetic Fields.
05/08/2013 | Comments 0

Tom Skinner — Tom Skinner

Sincerity is nearly dead in songwriting. The image of the earnest singer with eyes tightly shut and a crack in his voice as he plunges to emotional depths has become a joke.
05/08/2013 | Comments 0
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Music

Beneath the Keith


Even if audiences didn’t love John Paul Keith’s music, he’d still love playing it. But they do.

Joshua Boydston April 4th, 2012  

John Paul Keith with The Copperheads and Black Canyon
8:30 p.m. Friday
VZD’s Restaurant & Club
4200 N. Western
vzds.com
524-4203
$8

Memphis blues and soul man John Paul Keith is wiser than most about the music industry. Clocking years in playing affords him a certain perspective.

“We were coming back home from Baton Rouge on a Sunday afternoon. I was driving the van, and you think, ‘God, this is a long drive,’” he said. “It occurred to me, ‘I love this.’ You have to love it. Some people love playing, some people love recording, but you’ve got to love every minute. You have to.”

There for a while, however, he didn’t. Keith had spent a decade in Nashville; he signed a record deal at the age of 21. Efforts to push his rootsy sound to something more commercial burnt him out.

“Even if you tell yourself you aren’t going to be one of those guys, when everyone you know is a part of that culture, you start to, whether you mean to or not,” he said. “That’s what I did, and I was not very good at it.”

Disillusioned, he moved to Memphis with the intention of leaving it all behind. But the sound of the blues filling the streets rekindled the romance, and he soon found players and audiences who approved of his vintage sensibilities and God-given guitar talents.

“What became apparent was this was the most open-minded place I’d ever lived, as far as music goes. Everybody was cool with whatever you did, as long as you meant it,” Keith said. “Nobody cares if it’s hip or not. It does not matter. It couldn’t matter less. You’re free to do what you love.”

His music is an even blend of all things old and classic, where garage rock and rockabilly find as much footing as ’60s pop and blues. His latest album, The Man That Time Forgot, has been praised for how honest and true it sounds to the ’50s and ’60s.

“We live in an age of robotic rhythm,” Keith said. “We try real hard to make our songs swing, to make them boogie. You can’t do that with a machine.”

So far, it’s worked exceedingly well, and he’s happier than ever.

“We opened up for Chuck Berry in St. Louis recently. He’s 84 and still gigging,” he said. “He doesn’t need the money; he just loves doing it. I hope that’ll be me someday.”


 
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