Jeter Jones #8 The New Generation - New Album Alert!
Daddy B. Nice's #8 ranked Southern Soul Artist
Jeter Jones #8 The New Generation - New Album Alert!
June 1, 2021:
NEW ALBUM ALERT!:Buy Jeter Jones' new TRAILRIDE CERTIFIED (PART 2) at Apple.
TRAILRIDE CERTIFIED (PART 2) TRACK LIST:1. Holding These Gators Down
2. Plain Ole Country Boy
3. Dirt Road Loving
4. Back That Thang Up
5. Black Horse (Remix)
6. My House (feat. Volton Wright)
7. Breaktime: Country Gurl
8. Get My Shine On
9. Boots Knockin (feat. Urban Mystic)
10. Rain (Remix feat. Volton Wright, RnB Pooh, David Jones
11. Put It In My Face (feat. Terry Rogers)
12. I Shoulda Done Better
13. Hold It In The Road
14. Trailride Party (feat. Just-K)
15. On My Way Home
16. Lady In These Streets (feat Mizzbehave, KyaraBoo)
17. Trailride Blues
18. Somebody Won't Make It
19. What U See (feat. DeShay)
20. Old School Lovin' (feat. Monroe Brown)
TC2 (Outro feat. Julius Walton)
Daddy B. Nice notes:As most everyone conversant with southern soul music knows by now, Sir Charles Jones and Jeter Jones (no relation) got together in 2020 to produce The Jones Boyz: Two Kings". The collaborative album was successful, not to mention a validation for Jeter Jones, who had written and sung his way from obscurity to the top rank of southern soul artists, a moment further memorialized at the onset of the Sir Charles "Still In Love" video, when Charles welcomes an exhausted, road-tripping Jeter Jones into his studio with, "I know you're tired, man." The two performers brought out the best in one another, but who knew at the time that the partnership would also stimulate their future, individual work?
Only a week ago I was raving about the new Sir Charles Jones album, The Chosen One, with enough choice material to populate an entire Top 10 Singles. At the same time, I was leery of opening Jeter Jones' new album for some reason, TRAILRIDE CERTIFIED (PART 2) due to the pre-release hype and high expectations. Was Jeter due for a fall? I liked one of the pre-album-release singles, "Plain Ole Country Boy," but I did not like another, the "Black Horse (Remix)".
Jeter uses the instrumental hook from the Euro group Laid Back's "Ride The White Horse," a huge dance hit when I was clubbing in New York City in the 80's. ("Ride the white horse" was heroin and "Ride the white pony" cocaine; deejays also played with the alternate choruses "ride" and "don't ride") This Danish-written funk hook has been cropping up in more than a couple of recent southern soul tunes, most prominently Carolyn Staten's mesmerizing "Nukie Pie," which was your Daddy B Nice's Best Club song of 2020.
But Jeter mixing "White Horse" into "Black Horse" left me uncomfortable (I just don't think it works), as did the video to another of the tracks from the album. "Back That Thang Up," which begins with a segment in which Jeter unholsters a pistol and shoots a guy point-blank in the chest for pirating the Jeter Jones name. I'm a crime/action movie fan, but I found it shocking (even more so just having experienced a grocery-store massacre in my hometown) and went back and re-watched it (it happens pretty fast). To be fair, it's a video, it's a fantasy.
But that's the sum of my negatives. When I found the leisure to listen to all of TRAILRIDE CERTIFIED PART 2, one inspired song after another, I was thinking: "Oh, that wasn't hype. Jeter knew what he had." This prolific collection bears comparison to last year's P.O.T.Y. (Various Artists) by Beat Flippa, too immense and richly-textured to grasp in a few short outings. Songs will be mushrooming onto the charts for months.
For example, the video to "Back That Thang Up" (mentioned above), pivots from murder-mayhem to an extended, live-in-the-club, booty-shaking fun fest. Who would have thought anyone could come up with anything new---musically or lyrically---on this subject? "Back That Thang Up" also contains the most memorable couplet of the set:
"You ain't no pork chop,
Baby, you'se a steak."
Propelled by the club video, the song is sure to be popular. And yet, everywhere you turn, there are potential hit singles. Intensive, small-club touring has made Jones an expert at what pleases the audience: mindless dance jams like "Back That Thang Up" but also haunting ballads like "My House" with Volton Wright, or the slow jam "Boots Knockin'" with Urban Mystic, which fuses an exquisite melody and estimable vocals with effective thematic links to Jeter's past work.
The album has a piquancy, like Dhis Him with an "edge," in some part attributable to the Ric Flair (of the WWE) intro (which will blow the cobwebs out of your brain) and interludes like "Country Girl". But it's also a byproduct of the dazzling variety of vocal phrasings, tones and styles Jeter brings to straightforward-sounding exercises like "Back That Thang Up" or "Get My Shine On". This collection is the best showcase to date of Jeter Jones, Singer.
It's also worth noting the surprising absence of "Slack" Jefferson in the production credits for this album, although he's in fine form on DeShay's "What You See (Is What You Get)". I'll get into why I think that's a positive thing and examine more of the many songs from TRAILRIDE CERTIFIED PART 2 in the upcoming CD review.
Listen to all the tracks from TRAILRIDE CERTIFIED PART 2 on YouTube.
Listen to Jeter Jones new TRAILRIDE CERTIFIED PART 2 album on Spotify.
Stream Jeter Jones' new TRAILRIDE CERTIFIED PART 2 on Tidal.
Buy Jeter Jones' new TRAILRIDE CERTIFIED (PART 2) at Apple.
See the chart.
Listen to Jeter Jones singing "Black Horse" on YouTube.
April 19, 2021: Daddy B. Nice's Profile
Jeter Jones is the best success story in contemporary southern soul music, and I hope saying so doesn't jinx him. Following Wendell B, another rags-to-riches entertainer who rose from #45 on Daddy B. Nice's last chart ten years ago to his current lofty position at #7, Jeter Jones makes the even mightier leap from #63 on the former chart to #8 of the New Generation. And that, southern soul fans, is how much times have changed. With the possible exceptions of Pokey Bear and Tucka, no contemporary southern soul artist has accomplished such a dramatic career trajectory, an arc that has only grown more pronounced in recent years as Jeter has showered the southern soul fan base with an unprecedented bounty of music---more than any indie label, not to mention any artist.
A sweet-as-cognac-voiced singer whose range shuttles effortlessly from tenor to baritone, Jeter Jones has ascended the chart by fusing his vocal gift with accessibility and heart. What has served him even more is his work ethic. During the "lost" year of the Covid pandemic, for example, when many artists shut down due to restrictions and a sense of general creative malaise, Jeter Jones not only continued recording at his usual, furious pace but beat the bushes of the obscure bayous and woods of Louisiana, performing at masked trail rides around bonfires, hay bales, ATV's and--last but not least--- horses, Jeter's unswerving brand and theme.
His beginnings were humble. He wasn't a typical, coddled, young "genius" when he started his musical career but a mid-aged, career military veteran (U.S. Army, U.S. Marine Corps, including tours in Iraq and Afghanistan), just another one of hundreds of aspiring southern soul wanna-be's. And yet, in less than a decade Jeter Jones has climbed from the fringes of the genre to its upper echelon.
Appearing on the scene a dozen years after Sir Charles Jones did with a couple of unschooled albums utilizing over-used rhythm tracks, Jeter has morphed into the most dominant southern-soul writer/performer/artist-enabler of the last three years. Local artists, young and old, flock to him for the opportunity to make southern soul recordings, and if they're deserving Jeter obliges, recommending his most consistent producer "Slack" and lending guidance and verses, and along with it invaluable name recognition.
The jacket of The Jones Boyz: 2 Kings, features both Jones boys, Sir Charles Jones and Jeter Jones (no relation: the former grew up in Birmingham, Alabama, the latter in Mansfield, Louisiana, near Shreveport), with World Wrestling Entertainment-style "belts" slung over their shoulders signifying their "royalty" and achievements, one the "king of southern soul," the other---Jeter---the "king" or "kang" (as the case may be) of "trailride blues". Charles has collaborated with hundreds of artists on singles over his many years, but it wasn't until Jeter came along that he joined up for an entire album.
All you can ask of a practitioner of any art form is that he or she keeps getting better: honing craft, living in a way that facilitates inspiration, surrounding oneself with the best professional fellowship, forging ahead through adversity and disappointments.
Jeter Jones' debut album, Sweet Jones Live @ Leroy's Chicken Shack, with its impressive debut single "Da Boot Scoot," was nevertheless flawed by its author's unfamiliarity with the southern soul canon. Jeter's second album, Da GQ Country Boy, with its equally deserving single, "Cold Pepsi And A Hot Man," steered clear of such outside influences, posing a handful of new singles tied together with voice-over interludes by a gritty-voiced "master of ceremonies" named Da Big Dawg.
But the album that indicated Jeter Jones was a candidate for posterity was 2016's Trailride Certified. Songs---fourteen original tracks in all, most in the three-minute range---rolled out of the speakers in an unfurling carpet of tempo and melody. Southern soul blended with zydeco and dashes of rock, country, funk and New Orleans swing in a sound as sophisticated and unique as that of far-more-acclaimed, fellow Gulf-Coast performers Pokey Bear and Tucka.
The song that really turned heads was “Single Footin’” featuring DJ Big Tony. Actually more of a chant utilizing only two or three chords repeated over six minutes, "Single Footin'" had the force of a hurricane. The song broke all the rules. It was too long. It lacked melody. It took a lot of guts to record, and yet, as Jeter must have known, it was too rousing to deny.
Powered by the incredible MC-ing of Big Tony and the marvelous zydeco-accordion fills of Lil' Jabb, the percussive "Single Footin'" basically roll-called all the horse clubs at a horse event. Few people had any idea what "single-footin' stallion" and "single-footin' mare" meant, but the subliminal message was clear. Jeter Jones was unafraid of putting out something that completely surprised you, something you had to play loud.
And another song from the album, the ballad "My Country Girl," sealed the deal. "Country Girl" was as simple, traditional and modest as "Single Footin'" was hyperbolic, and yet it was the equal of "Single Footin' in emotional power: an anthem to love and domesticity sung with fervor.
Of course, the culmination of all that promise soon came in 2018, and its name was "Black Horse".
Listen to Jeter Jones singing "Black Horse" on YouTube.
Here's the initial write-up from Daddy B. Nice's Corner, when "Black Horse" was still so fresh its only link was to SoundCloud:
Daddy B. Nice's Top 10 "BREAKING" Southern Soul Singles Preview For. . .
1. "Black Horse"------Jeter Jones
From the minute I received this single, there was never any doubt it would be #1. "Black Horse" is one of those rare songs that arrives perfect in every way, like a text from God. Beat Flippa mans the smoky and subtle keyboard hook driving "Black Horse's" instrumental track. From Jeter Jones upcoming CD Dhis Him.
And later (September 2018) in my review of Dhis Him, I referred to it as...
"that astonishing single, "Black Horse," a meshing of a subtle Beat Flippa keyboard hook and an incredible Jeter Jones vocal, a song as perfect and natural as a cage-free egg".
The lyrics are well-known to the southern soul faithful:
"One day at the trailride,
You know how we do...
This lady approached me.
I said, 'How do you do?'
She was looking for a cowboy.
I said, 'Well come on through.'
She had them nags for quite awhile,
She'd been riding them nags,
But that just ain't her style.
She want a stallion,
One with a pretty good stride.
I said 'Saddle up,
And let me take you for a ride.'
She want to ride,
She want to ride that black horse.
She want to ride,
She want to ride that black horse..."
"Black Horse" sounds as good today as it sounded the first time. Great tempo, mid-tempo, the "sweet spot of southern soul". Beat Flippa's organ riff on the instrumenal track is so original because it recalls the low tones of vintage daytime soap operas your granny used to listen to, and because that sound is so rare nowadays, it sounds unique and even more beguiling.
At year's end, "Black Horse" won Daddy B. Nice's most prestigious category, BEST MID-TEMPO SONG, in the 2018 (12th Annual) Southern Soul Music Awards. Since then Jeter Jones has been riding a wave of creativity that is the envy of his southern soul peers. The albums---Dhis Him, Mufassa, The Jones Boys: 2 Kings, Fish Grease Friday---certify Jeter Jones' entance into the top rank of performers, and each CD milestone has been chronicled here, along with dozens of collaborative projects. (Scroll down this page.)
To automatically link to Jeter Jones' charted radio singles, awards, CD's and other citations on the website, go to "Jeter Jones" in Daddy B. Nice's Comprehensive Index.
Note: Jeter Jones also appears on Daddy B. Nice's Top 100 21st Century Southern Soul (2000-2020).
--Daddy B. Nice
About Jeter Jones #8 The New Generation - New Album Alert!
Gary C. Jones, aka Jeter Jones, aka the "King Of Trailride Blues," was born in Mansfield, Louisiana. Although no one in his family sang professionally, his father and uncles sang in gospel quartets. Jones went into the military and became a "lifer," including stints overseas in Afghanistan and Iraq, logging twenty years in the Army and later the Marine Corps. In later years, he dabbled in R&B and writing and producing records, and in 2013, with his twenty years "in," he retired and turned to the full-time pursuit of music, publishing two albums. Jones did not promote the first, R.E.A.L (Raw Encouraging Amazing Love), in the southern soul market, and it was soon forgotten, but in 2014 Jones sent the second, more southern-soul-oriented collection, "Sweet Jones Live @ Leroy's Chicken Shack" (Billionaire) to Daddy B. Nice at Southern Soul RnB, who introduced him to the southern soul audience in a review of the CD in March of that year.
JETER JONES: Sweet Jones Live @ Leroy's Chicken Shack (Billionaire) Four Stars **** Distinguished Effort
Warning: This CD review will forever be altered by the first impression given this reviewer by its obvious similarity to Chuck Roberson's The Devil Made Me Do It CD, the disc many of us called Roberson's best, the CD that contained the inimitable (we thought) "Chuck Strut."
So maybe I don't see so well any more, but given the microscopic credits on the jacket of Jeter Jones's new Southern Soul debut, Sweet Jones Live @ Leroy's Chicken Shack, and given the recent prevalence for rip-offs (see Daddy B. Nice's Corner: "Mr. Sexy Man's Clone"), the CD had your Daddy B. Nice digging through old Chuck Roberson discs and researching the principals.
Listen to Chuck Roberson singing "Chuck Strut" on YouTube.
Listen to a sample of Jeter Jones singing "Thicker Than Gravy."
Through executive producer Pete Peterson of Desert Sounds Records, who's currently embroiled in a falling-out with Peggy Scott-Adams over her BACK TO THE ROOTS CD, your Daddy B. Nice discovered that it was in fact Eric "Smidi" Smith, the talented producer behind those records--Peggy's as well as Chuck's--who has since left Desert Sounds to produce the Jeter Jones CD as well.
This isn't the first time a southern soul producer has "beamed over" material from one artist's CD to another, entirely different artist's CD. However it does call into question the definition of infringement. Is "Smidi"--even though it's essentially his work--nevertheless infringing on Chuck Roberson by taking the exact rhythm track, melodic riff, tempo and tone right down to the very key from Chuck Roberson's "Chuck Strut" and transferring it to Jeter Jones' "Thicker Than Gravy"?
Who knows? Only the lawyers.
(Jeter Jones, by the way, said "Thicker Than Gravy" was his favorite song on the album, which brought a smile.)
From a larger perspective, the incident demonstrates the power of the producer, the invisible man behind the records you love. The creamy peanut-butter grooves and horn charts of Jones' "Da Boot Scoot" and "Thicker Than Gravy" come from Chuck's (or should we say "Smidi's") "Chuck Strut" and Bobby Jones' "Ain't Got No Proof." Similarly, Jeter Jones' "Crazy Love" is a perfect redo of Chuck Roberson's (or should we say "Smidi's") "It's Not Over."
Listen to Jeter Jones singing "Da Boot Scoot" on YouTube.
Jeter Jones--from Mansfield, Louisiana--actually has a substantial list of independent CD's to his credit (see Jeter Jones at CD Baby), all in the many-nuanced R&B genre. He has much in common with (or has learned much from) fellow Louisianans Cupid (who did a remix of "Da Boot Scoot" with Jones) and Tucka, with both of whom he shares exceptionally sonorous vocal chops and an intuitive grasp of what's charismatic.
Anyway, once you get past the first time you hear the record and scream, "Yeowww! That's Chuck Strut!", the Jeter Jones songs work their way into your system on their own terms and are very close to being addictive. Among the best: "Body's Beat Up," "Da Boot Scoot," "Cowboy Up," "Thicker Than Gravy" and "Somebody Wanna Party."
This may be one of those albums and singers (think of Lebrado) whose work only gets better in retrospect, after day-to-day distractions have dissolved. This "chicken shack" music is hard to sit down on. And Sweet Jones Live@ Leroy's Chicken Shack, with Eric "Smidi" Smith showing the way, gives Jeter Jones instant entry into the Southern Soul world.
--Daddy B. Nice
Sample/Buy "Da Boot Scoot Remix" (featuring Cupid) mp3.
Sample/Buy Jeter Jones' SWEET JONES LIVE @ LEROY'S CHICKEN SHACK CD.
ERIC "SMIDI" SMITH RESPONDS TO DADDY B NICE'S JETER JONES CD REVIEW: SEE DADDY B. NICE'S MAILBAG
October 8, 2015:
JETER JONES: Da GQ Country Boy (Jones Boys Ent.) Four Stars **** Distinguished effort. Should please old fans and gain new.Jeter Jones' southern soul debut, Sweet Jones Live @ Leroy's Chicken Shack, received prominent mention in Daddy B. Nice's 2014: THE YEAR IN SOUTHERN SOUL, albeit for reasons more dubious than dazzling:
A young recording artist (Jeter Jones) trying to break into the southern soul market released an album whose instrumental tracks Daddy B. Nice--in a CD review--recognized as identical to certain Bobby Jones and Chuck Roberson songs of the recent past, setting off a firestorm of litigation between Desert Sounds CEO Charles Peterson and his former producer, Eric "Smidi" Smith.
Jones, who hails from Shreveport, Louisiana, returns apparently unscathed and just as ambitious with Da GQ Country Boy, assisted once again by Eric "Smidi" Smith on instrumental tracks. The GQ Country Boy offers no apologies in reprising both "Cowboy Up" and the "Chuck Strut"-like "Boot-Up" from LEROY'S CHICKEN SHACK in three of the new CD's thirteen tracks, as if to say, "Hey, this is my music, and I'm proud of it."
Watch the official video of Jeter Jones' "Cowboy Up" on YouTube.
But what really impresses on Da GQ Country Boy is the new work, specifically a handful of new singles tied together with voice-over interludes by a gritty-voiced "master of ceremonies"-type named Da Big Dawg, who goads Jones into doing short and effective (apparently impromptu) acapella stints. Such distractions often sabotage a long-playing record, but the interplay avoids excess and seems to energize and loosen up Jeter Jones.
Jones is a fantastic vocalist. He has a nasal tone that doesn't sound like anyone you've ever heard, and as if to prove his vocal acumen he brings in talented singers like L.J. Echols ("Lovin' Me On Borrowed Time") and J'Wonn ("Cold Bed Blues"), with whom he more than carries his own.
"Lovin' Me On Borrowed Time" has a catchy brass-section riff that I couldn't place even though I've heard it before. (The bass line comes from Marvin Sease's "Do You Qualify," and maybe that is the antecedent.)
"Cold Bed Blues" featuring J'Wonn has a Righteous Brothers' "Unchained Melody" ambience. It's also reminiscent of the slow and stately "True Love" on J'Wonn's CD from last year, I GOT THIS RECORD.
"Cold Pepsi And A Hot Man," the first single from the album, is an impressive, mid-tempo cut with a novel story line that has already made a significant impact on southern soul radio.
And just when you think the CD couldn't contain much more charisma, Jones teams up with zydeco musician Lil' Jabb on the toast-to-life, Pied-Piper-like "Zydeco With Me."
Easily overlooked in the company of the rich material above are "Roommate"--a significant song in its own right--and "Looking For Lovin'," a well-constructed duet with Crystal. I haven't figured out the lyrics to "Roommate," but it doesn't really matter. The song is musical enough to stand on its own--as, to its credit, is the entire CD.
--Daddy B. Nice
Sample/Buy Jeter Jones' Da GQ County Boy CD at CD Baby.
Jeter Jones on iTunes
March 29, 2017:
New CD Review!Re-Posted from Daddy B. Nice's New CD Reviews:
March 19, 2017:
JETER JONES & THE PERFECT BLEND: Trailride Certified (Jones Boyz Ent.) Five Stars ***** Can't Miss. Pure Southern Soul Heaven.All you can ask of a practitioner of any art form is that he or she keeps getting better: honing craft, living in a way that facilitates inspiration, surrounding oneself with the best professional fellowship, forging ahead through adversity and disappointments. Jeter Jones' debut album, Sweet Jones Live @ Leroy's Chicken Shack, with its impressive debut single "Da Boot Scoot," was nevertheless flawed by its author's unfamiliarity with the southern soul canon, specifically the confusion resulting from some of its instrumental tracks by collaborator Eric "Smidi" Smith being previously used on songs by Chuck Roberson and Bobby Jones.
Jeter's second album, Da GQ Country Boy, with its equally deserving single, "Cold Pepsi And A Hot Man," steered clear of such outside influences, posing a handful of new singles tied together with voice-over interludes by a gritty-voiced "master of ceremonies" named Da Big Dawg, who goaded Jones into doing short, impromptu, acapella stints.
Such distractions often sabotage a long-playing record, and while the interplay avoided excess and seemed to energize and loosen up Jeter Jones, it did add a note of hubris that detracted at times from the music. There’s none of that emcee posturing on Jones' new CD, TRAILRIDE CERTIFIED. Songs--most in the three-minute range--roll out of the speakers in an unfurling carpet of sound, and just when you think the end is near, the carpet of tunes continues to unroll: fourteen original tracks in all, double the music of the average album.
You don’t go through TRAILRIDE CERTIFIED thinking every song is a hit single, although a surprising number of the tracks qualify. But you do go from song to song thinking, “This is from the heart," or, "This is yet another piece of Jeter’s heart.”
TRAILRIDE CERTIFIED displays a compulsion to sing, a compulsion to tell stories. Jones is all "in," without pretense or artifice, without self-doubt or self-congratulation.
Combining refreshing songwriting with top-notch, live-instrument execution (contributors include Pokey Bear, Beat Flippa, Crystal Thomas, David Jones, Damon J. Scruggs, Antonio Smith, Lil' Jabb, Tomi Gran, Tommy Granville, Jr. and Gifted Sounds), the set grabs your interest and covers a plethora of musical territory without cliché or repetition.
Nor is this music with a lot of specific, obvious musical antecedents. Southern soul and zydeco blend with dashes of hiphop, rock, country, funk, and New Orleans swing in a sound as sophisticated and unique as far-more-acclaimed, fellow Gulf-Coast performers like Pokey Bear and Tucka.
Take “Single Footin’,” featuring DJ Big Tony, an instant dance jam classic. You want to hug the percussionist, then do the same to the button accordionist. The piano line at the heart of the song--two long single notes with no frills on what sounds like an old-fashioned, stand-up piano--is so daring, so right. Never been done in southern soul.
Can’t make out the lyrics. I’m hearing, “Single-footing stallion / A single-footin’ mare.” But don't quote me. “Single Footin’”clocks in at six minutes. In this set of otherwise thankfully-short songs, it's an astonishing length of time for a chant on the order of Lil’ Jimmie’s “She Was Twerkin’,” yet every minute is a delight.
But every song on this album has exceptional merits--that's what's so surprising. The ballad "My Country Girl" is a veritable anthem, perfectly sung and produced, letting the message shine through:
"I got a country girl.
I don't need no sidepiece."
And it's the best "Sidepiece" response song from the "fidelity side" yet. Every detail Jones sings about comes off as stone-cold, truthful observation. Meanwhile, the song's melody pulls at you like a full moon on the beach.
Unlike "Single Footin'" and "My Country Girl," “She's Ratchet,” the opening track, is taciturn in mood, with a minor chord-like feel, and one of at least two Beat Flippa contributions to the set (the other being the Jeter/Crystal Thomas collaboration “Them Country Girls”). Sounding more Argentinean than Cajun, Flippa’s moody organ dominates, and since the tango isn’t a staple of the South, my guess is the ambience defaults to hiphop. This is also the track featuring Big Pokey Bear.
Even a “minefield” of a theme for southern soul singers like “haters” is given a tender, almost affectionate spin. "Haters Gone Hate" has some of the best detail on the album to go with its lilting, pleasant melody, although I admit to thinking, every time Jones sings, "I just want to go / Where the rain don't fall," that he's going to say, "I just want to go / Where the sun don't shine."
"Haters Gone Hate" actually segues into another song about rain, namely "Something About The Rain," featuring David Jones. If you moved and presently live in a dry climate, this song will remind you of what it's like to be intimate on rainy days.
The successful sound that runs through all the songs on the set (one review can't do them all justice) does make occasional genre digressions: the pure zydeco of the title tune, "Trailride Certified," with Crystal rapping, the funk of "Cat Killa" and the hypnotic "Watch My Boots," and--most markedly--the classic R&B and hiphop of "Ghetto Woman," another strong candidate for hit single.
Even songs that seem light or transitional on the first or second listens reveal uncommon depth the more you hear them, for example the winsome "Thank You," with another spate of authentic, personally-detailed lyrics to its credit. Then there's the New Orleans street jazz of "Come Out Of Them Bushes," whose lyrics bring Jeter around to the same home-sweet-home he described in "My Country Girl," this time with a different agenda, rousting a neighborhood "Jody".
I said it at the outset and I'll say it again. This album is original. From the heart. And fun to listen to. This is Jeter Jones’ RUBBER SOUL (Beatles), his OFF THE WALL (Michael Jackson), or closer to home, his MISSISSIPPI MOTOWN (LaMorris Williams). TRAILRIDE CERTIFIED is one of those rare albums that's all of a piece: a perfect portrait of a rising star at the moment when it all comes together. My estimation of Jeter Jones’ talent-—his “gift”-—just shot through the ceiling.
My only picky issue with this CD is I can't credit the wonderful musicians that actually make up the Perfect Blend, who to Jones' credit he bills equally in the album title. But I'll get that worked out with Jeter and add a postscript.
--Daddy B. Nice
Sample/Buy Jeter Jones' TRAILRIDE CERTIFIED CD at CD Baby.
P.S. "My band members (are) Julius Walton, Brandon Campbell, Ricco Atkins, & Davante Youngblood. (Thanks) for all their hard work playing real music for the project." --Jeter Jones
October 1, 2018: Originally posted in Daddy B. Nice's New CD Reviews
September 3, 2018:
JETER JONES: Dhis Him (Ross Music Group)
By eerie coincidence, a singles submission appeared in my e-mail inbox just as I was about to begin this review of the new Jeter Jones album, Dhis Him. The submission was "You Ain't Got No Proof" by Bobby Jones, which contains the same Eric "Smidi" Smith instrumental track that Jeter Jones paid Smidi to use in his first hit single, "Boot Scoot," on his first bonafide southern soul album, Sweet Jones Live @ Leroy's Chicken Shack.
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