JJ Cale –
Naturally (Shelter Records) It’s the 2016 vintage issue of Bounder, so we’re going
back into the archives for a beloved favourite. Naturally is JJ Cale’s first album of many he recorded over a forty-year career. Certainly one of, if not, his best and undoubtedly his most familiar. The cover art by Rabon, with a decked out raccoon in red waistcoat, top hat on his knee and walking stick in hands standing over a sleeping hound dog, is immediately recognizable. Cale died several years ago – aged 74 – so this is a bit
of a belated homage perhaps. The man influenced a lot of guitarists over the course of his lifetime – notably Mark Knopfler, Eric Clapton, John Mayer, Neil Young and hordes more - and regularly released albums that were simple, basic and heartfelt. A virtuoso of the guitar, he forged a sound that was instantly identifiable: lean, wispy licks accompanied by his feathery, whispery voice with that hint of Oklahoma twang. Minimal accompaniment usually, but what there was fit the mood he created impeccably, always. Clapton calls him “my hero”; Neil Young equals him with Hendrix as the best guitarist ever. At a time when Blue Oyster Cult, Deep Purple, Uriah
Heep, Black Sabbath and others were churning out the heavy metal riffs, this album strangely found its way
into record collections comprised of pretty much nothing but heavy/hard metal rock n’ roll. It is that listenable – laid back and easygoing, the songs flowing effortlessly one into the other. Sure, there was After Midnight on it, but most assumed Cale had covered Clapton’s song, not vice-versa as happened. Starting off with the clump of
bass and snare (a primitive drum machine, too) and Cale’s shambling introduction: “Here we are one of the old rock n’roll favourites, really, shuffle on down to Broadway… one, two, one, two three…”, Call Me The Breeze lopes down its intended path with tasty guitar flourishes and that effortless fluidity Cale captures so readily. The expressive pain and darkness of Call the Doctor follows on its heels – one so sunny and upbeat, the other full of sorrow and woe. Don’t Go to Strangers is smooth
and easy. Cale picks out the melody, his voice sure and strong. This track, and After Midnight, were recorded nearly a year after the others with different session men, meaning the
www.bounder.ca BOUNDER MAGAZINE 13 BILL MACPHERSON
album didn’t see the light of day until 1972. Woman I Love is jaunty and punchy with what sounds
like horns kicking things up a notch. No mention of them in the liner notes, but I’m pretty sure that is what gives the song extra pizazz. The beautiful Magnolia follows, melodious harmonica from Ed Colis complementing the plaintive, lovelorn lyrics and minimal instrumentation. The first side ends with the engaging Clyde. It perfectly captures the down home feel of Naturally – recorded in Nashville and at Bradley’s Barn in Mt. Juliet, Tennessee. Dobro by Walter Haynes, a little tambourine and harmonica and the reeling fiddles of Buddy Spiker and
continued on page 47
MUSIC REVIEW
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