Memphis Circa 3AM
Studio album by John Paul Keith
Released 2013
Recorded 2013
Genre Rock
Length 34:16
Label Big Legal Mess
Producer Roland Janes
Memphis Circa 3AM is the third album by John Paul Keith.
Professional Ratings:
allmusic 4/5 stars
American Songwriter 4.5/5 stars
Memphis Flyer A-
Review by Steve Leggett of allmusic:
John Paul Keith's tuneful songwriting, a mix of power pop and rockabilly with a dose of country tossed in, makes him sound, at his best, like a blend of Marshall Crenshaw playing with Creedence Clearwater Revival, with maybe Rodney Crowell at his 1990s commercial peak sitting in, and it's a bright, uncluttered vision that may not actually get him time on the big radio stations, but it should, at least in a fair and equitable world. Memphis Circa 3AM is his third solo album, and it doesn't differ much in approach from his previous outings, which is far from a bad thing. Produced by Roland Janes and recorded to two-inch tape (with no computers in sight) at Sam Phillips Recording Service in Memphis, Keith's adopted home town, the album tosses off track after track of sharp pop melodies and crisp playing, all with a warm, joyous veneer that makes this outing Keith's best so far. Keith writes unassuming, uncluttered love songs with the best of them, and tracks like "We Got All Night" and "Everything's Different Now" seem like timeless, pure pop gems, while "True Hard Money" bounces along on a "Roll Over Beethoven" rhythm that would make Chuck Berry proud. The two-step country shuffle "There's a Heartache Going 'Round" recalls Buck Owens' country-pop Bakersfield sound, and probably should be immediately covered by Dwight Yoakam, while the set closer, "Baby We're a Bad Idea," bubbles along with an echoing surf guitar feel, so even though Keith's style is identifiable and consistent, there's a lot of variety within his songwriting and playing approach. Janes' production catches it all perfectly, and this is another fine outing from an artist who deserves a much wider audience.
Review by Hal Horowitz on American Songwriter:
It may have taken Elvis Presley to combine the various strains of sounds that encompass MemphisÕ vibrant music scene and unleash the result to an unsuspecting world, but people like John Paul Keith keep that spirit alive. As its title implies, this is very much a Memphis infused set. The dozen songs comprise KeithÕs third album, a continuation of sorts from the spirit of 2011Õs similarly themed The Man that Time Forgot.
There are musical parallels to everyone from the Beatles, to Nick Lowe, the Mavericks and Marshall Crenshaw in the sheer joyful melodic pop that Keith and his One Four Fives band deliver in these tightly knit, tautly constructed tunes. But a closer cousin to this confident confluence of country, rockabilly, R&B and pop is Arthur Alexander whose lovely, compactly crafted tales of lost and found love seem to be the blocks that support KeithÕs related approach.
Whether itÕs the bar room twang of Ò90 Proof KissÓ with wonderfully detailed lyrics such as Òno one ever looked finer/still wearing last nightÕs eyelinerÓ to the reflective soul/blues of ÒNew YearÕs Eve,Ó a somber look at the depressing qualities of its titular night (Òwhy canÕt those hands spin the other way around?Ó), Keith tells his stories with melodies that feel like instant, timeless classics.
Recorded live to two inch tape by noted Memphis producer and Sun guitarist Roland Janes, these tunes crackle with life, even in their most melancholy moments such as the reflective, lost love lament of ÒSheÕs Almost You.Ó The Chris Isaac feel of ÒBaby WeÕre a Bad IdeaÓ brings subtle surf and rollicking garage into the vibrant equation. KeithÕs energetic, boyish voice tops everything off with effortless, spontaneous sparks.
The discÕs 34 minutes fly by in what seems like half that, leaving the listener to hit play again while waiting another 18 months for the next dozen or so gems in John Paul KeithÕs musical catalog to take shape.
Review by Richard Rossi:
In this age when the American Idol formula translates to ÒhitsÓ, whatÕs left of the music industry sounds pretty much the same. Thank God for releases like John Paul KeithÕs Memphis Circa 3AM.
If youÕre a fan of 50Õs Sun Records recordings or artists like Arthur Alexander, Dann Penn, or Roy Orbison then youÕre sure to like John Paul KeithÕs Memphis Circa 3AM. As soon as one hears the first few seconds of the rockabilly tinged ÒYou Outta Be With MeÓ, the listener knows he or she is in for a trip down memory lane circa Union Avenue, Memphis Tennessee.
Produced by former Sun Records house guitarist Roland Janes, the low-tech, organic production values place the emphasis where they belong, on the songwriterÕs first rate songs. ÒWe Got All NightÓ has a definite Chris Isaac feel to it and an incredibly soulful guitar solo within. ÒEverythingÕs
Different NowÓ is reminiscent of Peter Case and The Plimsouls of all people, and ÒBaby WeÕre a Bad IdeaÓ throws a surf element into the mix. ÒNinety Proof KissÓ or ÒTrue Hard MoneyÓ remind me of any number of Jerry Lee Lewis recordings IÕve heard. Fans of Arthur Alexander or Dan Penn have to hear New YearÕs Eve, perhaps my favorite track on the disc.
Lyrically, Memphis Circa 3AM sounds as honest and personal as any disc IÕve heard in quite a while. Like contemporary John Fullbright or perhaps Randy Weeks, KeithÕs roots-infused tales of longing, loss, and hard luck ring as authentic and genuine. And like Todd Herfinal, he can write a hook thatÕll knock the socks off of any self-respecting powerpop fan.
Review on amazon:
John Paul Keith first hit the scene in 2009 with Spills and Thrills. He established himself as a musician that doesn't quite fit any mold - he's too rockin' to be a country arist; too cowpoke to be a rocker; too poppy to be a blues guitarist. What he does well is straddle the line between these things and deliver catchy, accessible tunes. His latest album, Memphis Circa 3AM might be the most accessible thing he's done yet - it's whip-tight, and buzzing with upbeat energy, even when the subject material takes a turn for the dour.
Keith strikes a blend of power pop, country, and shit-kickin' rockabilly with Memphis Circa 3AM. The album does come close to evoking some real feelings ("Everything's Different Now", "She's Almost You"), but for the most part, Keith is so concerned with creating tightly-knit pop songs that there's not enough room left for emotions. Most of these songs are under three minutes long, and that's including a verse, chorus, verse, chorus, interlude, chorus, so there's not a lot of room for heartbreak here. And that's a shame too, because Keith is a good wordsmith. Most of the time he veers towards the witty ("Ninety Proof Kiss" is a good example), and his ironic, sardonic musings serve to distance himself from the emotional burden that some of these situations involve. Unfortunately, this distance also stands between Keith and the listener.
At his best, Keith is able to take a country ditty and make it crackle with energy. His music can be enjoyed by country and rock fans a like because Keith walks this line carefully. At his worst, Keith's songs are slightly disposable just because he doesn't give the listener enough time to establish himself with the listener. The melodies are catchy and make for a good listen, but they lack the perspective to make me want to get to know Keith as a person. A little breathing time here would go a long way. There's not one thing that John Paul Keith specializes in, Does this sound like Memphis at 3 in the morning? It's not quite as lonely, sleepy, or gloomy as you might expect, but if this record is any indication, it might make for a good time to grab a cold one.
Review by Mike Palmieri on In Your Speakers:
Boy, oh boy. We got some classic Rock 'n Roll here. Break out the hair grease and blue suede shoes for this record. Rockers turn up and tune inÑthis one is sure to get the blood moving. John Paul Keith's latest album, Memphis Circa 3AM (September 2013), is one to get listeners twisting and shouting.
Keith is a Knoxville native and has been part of the music scene since childhood. From singing in church Keith moved on to playing guitarÑhe later joined the Viceroys (an alternative country group) as a teenager. His stay with the group was short lived as he departed to pursue a solo career. He's produced a number of recordsÑunder his name and John Paul Keith & the One Four FivesÑsince 2009 and doesn't seem to be stopping anytime soon.
His current record seems to be a prime example of the thriving rock that is "John Paul Keith." Listeners be ready for this recordÑthis is strictly a rock and roll album. No Foo Fighters or Pearl Jam here. No Guns N' Roses or AC/DC. Keith has drawn comparisons of Booker T & the M.G.'s, Buddy Holly, and Creedence Clearwater Revival (check out "We Got All Night" off of Memphis Circa 3AM to get the full CCR feel from Keith). In all honesty, those comparisons aren't far off.
Keith pulls in the spirit of those aforementioned greats on Memphis Circa 3AM. His voice, the band, and production just reek of some good ol' fashion rock and roll. Is that a bad thing? Not necessarily. Listeners really need to be in the mood for this music (or be big fans of the genre) to really enjoy the totality of this album. The songs can get a bit tiresome for listeners who aren't fans of early RockÑagain, Keith sounds a lot like Buddy Holly, Elvis, and John Lennon. But Keith is going to make it hard for those worrisome listeners.
Songs like "You Really Oughta Be With Me," "We Got All Night," "Ninety Proof Kiss," "Last Night I Had A Dream About You," and "Baby We're A Bad Idea" are bound to stick in brains for a good week after listening to the album. Be it humming the tune or shuffling away in the kitchenÑKeith's songs will not go away when the speakers are turned off. Each track is bound to get the listeners smiling or awkwardly bouncing in their office chair, car, where ever. There is almost nothing negative to say about this album; the only thing to drag Memphis Circa 3AM down is the fact that it is a rock album. Ultimately, it may not be for everybody.
It's going to be a tough call. For fans of the genre: there will be much enjoyment listening to this album. For new-comers or wary listeners: give it a shotÑbut remember to check out the aforementioned artistic comparisons.
Whether listeners end up throwing this album aside or their money at Keith, it's hard to argue that Memphis Circa 3AM is anything but a solid rock album. Yet again, Keith delivers. Listeners tune in and turn upÑKeith's going to rock your socks off.
Review on BrooklynRocks:
After coming out of self-imposed musical exile in 2009, Memphis guitarist / singer John Paul Keith released his third disc, Memphis Circa 3AM, last week (Big Legal Mess/Fat Possum Records). This new release has its roots in the Sun RecordsÕ sound of the 50Õs but Keith expands upon this core with musical touch points that can be compared to John Lennon, The Plimsouls and Dave Edmunds / Rockpile. This is a warm and organic sounding disc that was produced by Roland Janes Ñ house guitarist for Sun Records in the 50s and longtime engineer and producer at Sam Phillips Recording Services. Cut live to two-inch tapeÑwith Janes providing direction from the booth and not a computer in sightÑthe album sounds deeply rooted and incredibly fresh at the same time.
The disc starts with the 50Õs sounding roots-rock rave up ÒYou Really Oughta Be With MeÓ, which features a blazing guitar solo and a call-and-response ÔchorusÕ between the guitar leads and bass. This is followed by the Byrdsian/Laurel Canyon sounding ÒWe Got All NightÓ which features echo-drenched guitar work along with a guitar solo that could rival Neil YoungÕs work on ÒMr. SoulÓ. Continuing to switch gears around the bandÕs core sound, Keith and his band, the One Four Fives, (named after a standard chord progression) slide into the power-pop gem ÒEverything is Different NowÓ.
Keith has a winsome voice (with shades of John Lennon and/or Peter Case) and the clarity of his delivery highlight his ability to turn a lyrical phrase. Most of the songs are tales of love and loss Ð from the bluesy waltz ÒNinety Proof KissÓ (ÒNo one ever looked finer still wearing last-nightÕs eyeliner / IÕm sure gonna miss that ninety-proof kiss / The only kind you ever laid on meÓ) to the rainy-day Lennonish number ÒSheÕs Almost YouÓ (ÒWhy should I pine for you every day, when she loves the words I used to say to you / theyÕre almost trueÓ). The disc ends with the upbeat garage rock number ÒBaby WeÕre A Bad IdeaÓ (ÒIÕm not the only one / I know IÕm not the only one / I donÕt care when IÕm tangled in your hair that IÕm not your only oneÓ). While other artists have used similar lyrical themes to explore Americana/New Depression tales of woe, KeithÕs upbeat and energetic delivery is a welcome change and the discÕs thirty-five minute running time warrants repeated plays.
Review by John Hyland on When You Motor Away:
John Paul Keith is a Memphis-based singer-songwriter with a great musical grounding and the kind of pop sense you don't see often. His new album Memphis Circa 3AM features guitar jangle, rockabilly boogie and soul, all over a country rock/Americana base. Keith is a Knoxville native, former member of the V-Roys, a stalwart of the E-Squared alt/country scene in the 90's who released three strong albums before breaking up. Having formed a band in Nashville, tried the major label route and several other options, he eventually settled in Memphis and connected with veteran Memphis producer Roland Janes. Keith and his band The One Four Fives (drummer John Argroves, organist/pianist Al Gamble, and bassist Mark Edgar Stuart) are making a racket that calls to mind some of the best of that city's rock traditions. Opening track features a rhythm line that put me in mind of Elvis' "A Little Less Conversation", and the next track "We Got All Night" is the kind of California country once put forth by the legendary Wrecking Crew (including some reverb-heavy guitar work by Keith). Producer Janes once played guitar for Jerry Lee Lewis, and on "True Hard Money" here, Keith certainly calls to mind the Killer's reckless boogie-woogie, rockabilly style (including a pretty decent take on his vocal style).
Keith has an impressive ability to change his vocal style to suit the song, and an impressive ability to write in several different styles - aside from the aforementioned variety, check out the full-on country song "Ninety Proof Kiss", the folky "Walking Along the Lane", the Tennessee Three rhythm in "There's A Heartache Going 'Round" and the deep soul of "New Year's Eve" (featuring big-time keyboards from Gamble and even a couple of different guitar sounds from Keith). From Knoxville to Nashville to Memphis, it's clear his decade-long journey across the state and around the world has led him to the right place. This is a terrific, big-sounding, rollicking album that just keeps on delivering.
Review by Chris Herrington on Memphis Flyer:
I've never been sure what "Americana" means as a musical label. But if it's going to have any strictly musical relevance, it should be for an artist like Memphis' John Paul Keith, whose sixth-sense virtuosity with innumerable distinctly American musical styles lends his music a classic sound without a self-consciously retro feel.
On this third solo album since landing in Memphis Ñ produced live-to-tape by Roland Janes at Sam Phillips Recording Service and with ace accompaniment from Mark Edgar Stuart (bass), John Argroves (drums), and Al Gamble (keys) Ñ Keith sounds as in-the-pocket as ever.
Fitting the sound and production style, Memphis Circa 3AM is almost structured like a vinyl-era album. The first side is a testament to Keith's musical command: The bluesy opening gallop of "You Really Oughta Be With Me" giving way to the swamp-rock groove of "We Got All Night" and the soulful power pop of "Everything's Different Now" and the barroom country of "Ninety Proof Kiss" and the swooning roots rock of "Walking Along the Lane" and the piano-pounding rockabilly of "True Hard Money."
Mastery established, the second "side," starting with "New Year's Eve" and ending with "Baby We're a Bad Idea," blooms into a multi-song love-gone-wrong lament worthy of the dark romanticism of the album's title. In fact, the first three songs Ñ "New Year's Eve," "There's a Heartache Going Round," and "If You Catch Me Staring" Ñ might all be taking place at the same place on the same night, at that titular time.
Review on Innocent Words:
Written over the past 18 months, Memphis Circa 3AM has a late-night feel that truly embodies the spirit and soul of its namesake city. With the legendary Roland Janes (guitarist for Jerry Lee Lewis; Sun Studios house guitarist; producer of artists from Bob Dylan to Three 6 Mafia) behind the board at MemphisÕ Sam Phillips Recording Services and nary a computer in sight, the album was tracked live to two-inch tape by Keith and his band the One Four Fives (drummer John Argroves, organist/pianist Al Gamble, and bassist Mark Edgar Stuart) in late 2012 and early 2013. The songs on Memphis Circa 3AM have a classic yet timeless, fresh sound, ranging from the rollicking opener ÒYou Really Oughta Be With MeÓ to the lithe classic pop of ÒEverythingÕs Different Now,Ó from the bluesy barroom waltz of ÒNinety Proof KissÓ to the soaring, wistful swing of ÒNew YearÕs Eve,Ó and from the languid swagger of ÒWe Got All NightÓ to the sultry rumble of closer ÒBaby WeÕre A Bad Idea.Ó The album chronicles affairs of the heart (both heartbroken and happy) and the sense of time slipping away (feeling at once optimistic and fearful), with KeithÕs balmy vocals and blazing guitar weaving universally relatable yet distinctive tales.
Keith was born and raised in Knoxville, TN by parents who sang in church, surrounded by classic country music and influenced by everything from Americana to soul to rockabilly to the Sun Records catalog. After picking up the guitar at age 10, he has been a working musician since his teenage years. He was saddled early on by a couple of false starts: at 19, Keith left his band The Viceroys due to creative differences before signing a label deal; his Nashville band the Nevers signed to a major label and recorded an unreleased album left in limbo for years. After playing with Ryan Adams in Nashville in the early 2000s, he moved to New York and then Birmingham, with nothing ever truly clicking. Discouraged, he arrived in Memphis in 2005 with no intention of continuing to play, but after living in the vibrant, storied music city and meeting his eventual One Four Fives bandmates, he began writing and performing again. KeithÕs first record, Spills and Thrills, was released in 2009 and praised by The Line of Best Fit and Twangville, among others; his second, The Man That Time Forgot, followed in 2011 with accolades from press including All Music Guide, Blurt, and Popmatters. Both also landed on the Memphis Commercial Appeal and Memphis FlyerÕs year-end best-of lists.
Review on shakefire:
John Paul KeithÕs latest offering, Memphis Circa 3AM feels like a blast from the past of sorts. Elvis, Roy Orbison, Buddy Holly, and so many more came to mind when I spun the album as I cruised to and from work, put on after work to relax too, and even played just for fun. Circa is reminiscent yet accessible as a current album taking a bit of the old and improving on it, with respect.
The album opens with the high tempo Rockabilly number You Really Ought To Be With Me that provides the album with an enthusiastic intro featuring itÕs retro quality sound and really introduces John Paul KeithÕs vocal style to the uninitiated. In this track itÕs wild like Jerry Lee Lewis as it explodes into the air and then picks up halfway in the middle. Later we hear all those other inspirations from above tossed into some country circa the 1960Õs and some pop country stuff as well.
What I enjoyed most about Circa 3AM is that, regardless of how close the album came to being radio friendly, it always felt like a passion project from a songwriter who not only enjoys music, but whose purpose for making it doesnÕt seem to be tied in with anything else other then releasing their creativity into something they would enjoy themselves. ItÕs homage, yet something that sounds so complex in its architecture that it canÕt be anything less then music from an individuals heart and soul. Well worth checking out.
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LP track listing
All songs written by John Paul Keith except as noted.
Side One
1. "You Really Oughta Be With Me" - 2:36
2. "We Got All Night" - 3:49
3. "Everything's Different Now" - 2:35
4. "Ninety Proof Kiss" - 2:14
5. "Walking Along the Lane" - 2:46
6. "True Hard Money" - 2:39
Side Two
7. "New Year's Eve" - 3:20
8. "There's a Heartache Going 'Round" - 2:40
9. "If You Catch Me Staring" - 2:49
10. "Last Night I Had a Dream About You" - 2:25
11. "She's Almost You" (John Paul Keith, Mark Edgar Stuart) - 2:34
12. "Baby We're a Bad Idea" - 3:49
Personnel:
* John Paul Keith - guitar, vocals
* John Argroves - drums, vocals
* Al Gamble - organ, piano, vocals
* Mark Edgar Stuart - bass, vocals
* Joshua Cosby - vocal harmony
* James Godwin - bass
* Geoff Smith - vocal harmony
* John Whittemore - pedal steel guitar