Tommy Talton

HIGHLY ANTICIPATED NEW RELEASE BY TOMMY TALTON
TOMMY TALTON IN EUROPE, SOMEONE ELSE’S SHOES
RELEASE DATE MAY 12, 2008
HITTIN’ THE NOTE RECORDS

ATLANTA, GA. Hittin’ the Note Records announces a May 12, 2008 release date for Tommy Talton in Europe, Someone Else’s Shoes, the highly anticipated new CD from Tommy Talton, founding member of legendary Capricorn Records group, Cowboy, and guitarist on the Gregg Allman Tour with Cowboy and Gregg Allman’s “Laid Back” album.

Tommy Talton has taken the southern music scene by storm in recent years with a new band, a new determination and exceptional new music. The work that Talton did with Scott Boyer and Cowboy, Gregg Allman, Johnny Sandlin and Bill Stewart, and the Capricorn Rhythm Section is well known and widely appreciated, but the music he has written in the past fifteen years has gone virtually unheard until now.

Tommy Talton in Europe, Someone Else’s Shows is a collection of music from the Rebelizers, a group Talton formed with members of Albert Lee’s band, during his stay in Europe in the nineties, as well as recordings with the new band he formed in 2006, the Tommy Talton Band. The album features 13 previously unreleased tracks, 8 of which were recorded in 1995 in the small village of Schifflange, in the south of Luxembourg during Tommy’s stint in Europe. All of the tracks were penned by Talton, with the exception of Talton’s blazing version of the Bobby Charles’ “How Come People Act Like That?”.

From the opening number, “Restless,” to the closer, “Broken Pieces,” (an acoustic masterpiece by Talton) the CD is chockfull of lyrics and melodies as only Talton can deliver. The title track, “Someone Else’s Shoes,” is a bluesy, jazzy tune reminiscent of the great music permeating from smoke-filled underground clubs of days gone by. While Talton’s years with Cowboy can be heard in R&B influenced “Baby I’m on Your Side” and “Wake Up Ready,” these songs show Talton’s growth and ever evolving musical journey. The CD showcases not only Talton’s classic slide and guitar work, but his distinctive vocals, and passionate songwriting. Talton’s music is timeless, as is evidenced by this new release and the wide age range of audiences at his live performances.

“Throughout this CD, Talton delivers a cool, genuine old school aura that is both natural and refreshing. Talton does his own thing in his own way and at his own pace; which has been this old Cowboy’s stock-and-trade all along." – Bill Thames, Hittin’ the Note Magazine

Details are forthcoming on an upcoming tour in support of the new release. Visit www.tommytaltonband.com for tour dates and info.

CD available at www.hittinthenote.com and coming soon to retail stores.

Booking:
Terry Reeves
Music Matters Entertainment
treeves@musicmattersentertainment.net
(678) 691-0724

- Press release

The Tommy Talton Band:
The Hat Trick
March, 2009

Live Notes from Athens – HTN Records – Bill Thames

The most difficult hat trick that a musician can pull off is to create three significant live recordings; two masterful live records are almost unheard of, and a trilogy is nothing short of amazing. Tommy Talton experienced his first major live recording in 1974 when his band, Cowboy, fronted the first Gregg Allman solo tour, and Allman’s subsequent live album for Capricorn Records. Two years ago came the landmark Capricorn Rhythm Section Alive release from Johnny Sandlin’s Rockin’ Camel Music, and now almost 34 years after The Gregg Allman Tour, Talton has rolled tape on another epic live recording, The Tommy Talton Band…Live Notes from Athens.
Live Notes from Athens will delight new music fans hungry for an extraordinary, original artist whose sound is like dynamite burning with a short fuse. Talton’s songs are cliché-free and burn with an undeniable sexual tension. The dreamy laid-back grooves, punchy guitar-driven jams and hook-laden melodies hint of 1970s-era Van Morrison, Allman Brothers and Little Feat, but are not throwbacks as much as they are powerful, intelligent, thought-provoking contemporary compositions.
Talton’s band plays with a subtlety that gets deep under your skin, but the music can still bring an audience to its feet. This white-hot band consists of Tony Giordano on keyboards and backing vocals, Brandon Peeples on bass and backing vocals and Chad Jackson on percussion. Talton steers the ship, handling lead vocals and alternating between acoustic, lead, and passionate, energetic slide guitar.
On the night of June 7, 2008 at the Melting Point in Athens, GA, Talton slipped the audience into his pocket, and it is all captured on Live Notes. The opener, “Deal with the Deal,” creates an edgy, black cat ambiance, as Talton launches into the song – a dangerous guitar-and-organ driven track, dripping with heartache and pain. “My Baby Don’t Shave,” Talton’s lone instrumental, rides an incredible wave of energy, cresting again and again, allowing Giordano, Peeples, and Jackson to showcase their seemingly inexhaustible talents. With a flurry of drums, Talton and the band slow-burn flawlessly into “Getaway Cars,” a song steeped in road-weary love, and wrought with human anguish. Like a superb bottle of 50-year-old Bordeaux, “Getaway Cars” is silky smooth, rich in emotional slide-driven passion.
The next two cuts shift from the up-tempo texture of the first tracks to a mellow, cinematic style. “Baby I’m On Your Side” is the story of life on the road, sleeping by yourself in a lonely motel room and dealing with multiple-time zone relationships. Every musician composes at least one truly beautiful ballad, delivered with honesty and sensitivity, and “Time Will Never Change” is Talton’s. Lyrically, musically and emotionally, this song covers all the bases, and Talton makes certain that the audience understands that this one is special.
Talton’s version of Allen Toussant’s “On Your Way Down” tempts the listener into back-alley darkness while eulogizing old friend Lowell George. Steeped in Creole moonlight, this track showcases Giordano’s electrifying keyboard work in support of Talton’s masterful slide guitar. Talton and Giordano take turns here slashing and stabbing musically at ghosts in the darkness.
“Things” and “We Were Flyin’” beckons one to a time when R&B was driven by solid fatback drums, hard-hitting bass lines, generous organ fills, funk driven piano and wonderful heartfelt lyrics. The transitions and choruses here hook the listener, compelling repeated pressings of the “replay” button.
“River to the Sea” and “Color My Sleep” stand out as great compositions on Live Notes from Athens. “Color My Sleep” soft-shoe shuffles through Talton’s blissful, imaginative dream world, while “River to the Sea” contains a melody and lyrics that are like a vaguely-familiar movie unfolding – the longer you listen, the more you identify with the music.
The 11th track, “For What it’s Worth,” kicks in with an upbeat, funky drum and rhythm section jump-and-jive. Brandon Peeples demonstrates here why musicians all over the South agree that he is one of the strongest bass players in the business. Jackson and Peeples lock into the groove, Giordano turns up the funk, Talton cracks the whip and the whole damn band spins on the head of a pin, with everyone delivering in spades. Special guest Caroline Aiken adds backing vocals, and pours her heart out on the last verse. The band, sensing Aiken’s energy, sprints aggressively to the finish line. Things close on a high note with “Time Will Take Us,” one of Tommy’s best compositions and a long-time fan favorite.
Buy Live Notes from Athens, invite your friends over, turn the big knob to the right, and prepare to be impressed.
(www.tommytaltonband.com)
- Hittin' the Note Magazine

Tommy Talton:
Back to a Time
Tommy Talton in Europe – Hittin’ the Note Records – Bill Thames
June 2008

In the past two years, Tommy Talton has stunned the Southern music scene with a new band, a new determination and a steamer trunk full of exceptional new music. Some of the new music was brought back from Europe, where Talton had lived for some time.
The work that Talton did in the 1970s with collaborator Scott Boyer and Cowboy, Gregg Allman, Sandlin and Stewart and other artists signed to Capricorn Records, and Talton’s recent work with Capricorn Rhythm Section, are appreciated widely by music aficionados, but the songs Tommy wrote over the last 15 years have gone virtually unheard – until now. Tommy Talton in Europe showcases cherry-picked recordings by the two bands that Talton has led most recently.
The 13 tracks assembled for this CD offer an insightful strut through material as complicated and sundry as Talton himself, culminating near the dusty intersection of soul, blues and Southern-tinged roots rock. From the very start, Tommy Talton in Europe ushers the listener back to a time when most believed there was a great recording for every mood and there was a mood for each recording.
The first eight tracks of Tommy Talton in Europe were recorded in 1995 in the small village of Schifflange, in the south of Luxembourg. These tunes were recorded while Talton was working with members of Albert Lee’s backing band, a band Tommy dubbed the Rebelizers. A successful group of stellar musicians, the Rebelizers worked extensively in Luxembourg, Germany, Belgium and France. They included Talton (all guitars/lead vocals), Peter Baron (drums/percussion/harmony vocals), Chris Janssen (fretless bass guitar) and Mike Bell (all keyboards/string arrangements).
The final five “bonus tracks” were recorded in drummer David Keith’s Gintown Studios in Graysville, AL with the Tommy Talton Band in 2006 and 2007. The musicians on the “bonus tracks” are Tommy Talton (all guitars/lead vocals), David Keith (drums/percussion/harmony vocals), Brandon Peeples (bass and harmony vocals), and Tony Giordano (keyboards and harmony vocals).
Tommy Talton in Europe bolts out of the chute with “Restless,” an in-your-face, relationship romp. Talton wears his attitude and feelings way out on his sleeve, and somehow balances soul, rhythm and raunchiness, while “In the Middle of the Night” brings Talton’s tenacious R&B texture bubbling to the surface.
“Time Will Never Change,” another R&B masterpiece, begins with an inspirational piano and fretless bass intro, pushing the melody forward and beckoning the rest of the song to follow. The entire band eventually falls in with Talton, laying lyrics and stunning guitar notes over a featherbed of rhythmic comfort. Finally, like a soft summer breeze, tasteful strings gather Talton’s final notes and steal them away. “Tired of Living” is an exquisite, breezy dobro and piano-driven melody that is destined to play over and over in the listener’s subconscious. Talton draws heartfelt sympathy from his guitar, and leads Bell’s piano deeper into a one-way melody that refuses to finish until it balances on the head of a pin.
It is hard to imagine a group of European musicians putting together a funky, barrelhouse cavort like “The Got Song” or a rollicking, slide-driven blues like “How Come People Act Like That,” but the players from Luxembourg are the real deal, and they have the chops to follow Talton wherever his musical muse leads him.
“God Save Everyone” is a song thick with emotion and passion that has the feel and drive of a live, orchestra-driven rock anthem. “Someone Else’s Shoes” is crafted passionately and crooned with a smoky, mid-tempo, road-weary steadiness that turns richer and more resonant every time it’s played.
From this point on, the musicians change, but the complexity of the music does not. Like many of the other tracks here, “Baby I’m On Your Side” and “Wake Up Ready” are vaguely reminiscent of seminal Cowboy recordings, but the similarity ends as the songs become ultimately more complex musically and lyrically. “Things” and “Sit Here In the Sun” offer Talton’s lyrical aptitude and tasteful guitar licks on a fresh new platform, driven by his seemingly unending R&B sensibility. “Broken Pieces” stands as the perfect punctuation, adding a touch of refinement and sophistication to an already incredible recording.
Throughout Tommy Talton in Europe, Talton delivers a cool, genuine old school aura that is both natural and refreshing. It is nice to hear Tommy’s music once again, for it is like revisiting an old friend. Talton does his own thing in his own way and at his own pace, which has been this old Cowboy’s stock-and-trade all along.
- Hittin' the Note Magazine

The Musical Communion of Tommy Talton

by Bill Thames


Rhythm & blues is not a complex musical style, and nobody understands this better than vocalist and guitar master Tommy Talton. Like other veteran R & B musicians, Talton does not care how fast he can play. He does not care how many chord changes he can fit into a measure, or how many tempo changes he can build into one song.

What Talton does care about is texture, restraint, touch, and feel. He cares most about those notes that remain unplayed. Tommy Talton has spent his entire career searching out just the essential notes. Never showboating or grandstanding, he lays back, letting his refined flair for lyrical melodies and his velvety-guitar hooks speak for themselves.

It was his laid back technique that catapulted Talton from Macon, GA to sold-out dates at Carnegie Hall with the Gregg Allman Band, ultimately out-drawing ex-Beatle George Harrison at the Fillmore West. Listening to Talton turn a finely crafted song is like watching a lathe-smith turn a fine piece of wood. Talton's extraordinary songwriting ability delivers material with a texture and theme that resonates freshness no matter where or when his music is played. You would never expect this magnitude of talent coming from a musician that grew up, not in New York City, LA, or Chicago, but in uncontrived, pre-Walt Disney World central Florida.

Talton's earliest musical influences came from the family radio, while listening at age four with his mother to sing-along favorites like Patti Page's 1953 hit "How Much is That Doggie in the Window?" By 1956 Talton recalls listening to vinyl with his older sister as Elvis sang "Hound Dog," and then rifling her record collection for other gems.

At age eight, before he ever picked up a guitar, Talton would sneak a transistor radio under his pillow at night, and stay awake for hours, listening to local Orlando radio stations WDBO, WHOO, or WLOF. Tommy began developing an early ear for musical nuances - he noticed how the guitar and drummer played against each other, or how the keyboard worked together with the drummer and the vocalist. Talton paid particular attention to flawless harmonies, listening to vocal groups like the Everly Brothers sing classics such as "Lucille" or "Cathy's Clown." While most boys his age were still mastering the bottom row of the big crayon box, Talton had taught himself the primary musical shades, hues, and tones of an art that would become his life's passion.

Talton's early musical influences seemed as endless as the Central Florida orange groves that spread in every direction from early-1960s Orlando. If doomed to hear only one record on a deserted island for the rest of his life, however, Talton said it would be "You Send Me" by Sam Cooke. "Everything is perfect about that song - his vocal, the lyrics, the approach, the feeling that he conveys, and the texture of the recording. That song is the perfect vehicle for recording a musical feeling and emotion - it covers it all."

Tommy Talton began playing guitar and writing music in the early '60s. He soon landed a job in a central Florida group called the Nonchalants that morphed into the Offbeets, that eventually became We the People. We the People garnered local attention, challenging the likes of the Night Crawlers and the Allman Joys for stage time. Talton and We the People played throughout Florida and as far north as Kentucky, chasing that elusive hit record. Appearing at a variety of teen clubs, nightclubs and armories, We the People eventually settled into the beer-infused Southern fraternity circuit, playing primarily at FSU and the University of Florida. It was during late-night drives back home from fraternity gigs at Florida colleges when Talton discovered a radio station from Nashville, TN that turned his musical world on its ear.

Talton and other central-Florida teens who were in the know discovered one of the closely-guarded secrets of that era. On clear nights, after 10 PM when atmospheric conditions were just right, they could tune their AM radios to 1510, and something extraordinary would happen. The music that crackled forth from those tiny AM radio speakers was as opposite from his mother's Perry Como records as it could possibly be. Like musical manna falling from the night sky, WLAC would offer a magical cornucopia of innovative, dangerous, and often scandalous music from the likes of Chuck Berry, Jimmy Reed, Lowell Fulson, Lightnin' Hopkins, Muddy Waters, Little Junior Parker, the Spaniels, Sonny Boy Williamson, Howlin' Wolf and Etta James, to name a few. It was on these late-night sojourns across the Florida darkness that John R, WLAC's after-hours disc jockey, offered up the musical communion that would ultimately influence Talton the most as a songwriter - rhythm and blues.

After several years of wading through a sea of stale beer cups on fraternity house stages with We the People, and garnering only moderate rec - Hittin' the Note Magazine