Jeter Jones #8 The New Generation - 5-Star CD Review!

Daddy B. Nice's #8 ranked Southern Soul Artist



Portrait of Jeter Jones #8 The New Generation - 5-Star CD Review! by Daddy B. Nice
 




"Black Horse"

Jeter Jones #8 The New Generation - 5-Star CD Review!

July 1, 2021: Re-posted from Daddy B. Nice's New CD Reviews

JETER JONES: Trailride Certified Part 2 (Jones Boys Ent.) Five Stars ***** Can't Miss. Pure Southern Soul Heaven.

Jeter Jones is in the midst of one of the most productive runs by a southern soul artist in recent memory. Consider that since last summer (the Covid summer of 2020) Jones has released the following albums of all-new material: The Jones Boyz: 2 Kings with Sir Charles Jones, the solo project Mufassa, a Jones-inspired and Jones-dominated, multi-artist compilation titled Fish Grease Friday and now Trailride Certified 2, a 21-track, various artists compilation featuring Jeter Jones on practically every track. The long and short of it is that it's hard to imagine the last year in southern soul music WITHOUT Jeter Jones.

I previewed the new album last month in a "New Album Alert," recounting the shock of watching Jeter sucker-punch-shoot a Jeter Jones imposter in the YouTube-video, outdoor-prelude to the otherwise carefree, booty-twerking club jam "Back That Thang Up". And for the same reason many years ago I was horrified by Bigg Robb's remix of Mel Waiters' "Hole In The Wall," I explained why I didn't like Jeter's remix of his signature song "Black Horse". In short, if you've discovered enough magic to hit the sweet spot of southern soul i.e. "Black Horse," don't funkadelic it up!

But after the better part of a month spent listening to the surprising outpouring of music in TRAILRIDE CERTIFIED 2, I don't have another reservation to dispense. This is a set of music you can live with. Of how many albums, seriously, can you say that?

There may not be a song on this album as blissfully buoyant as Jeter & JL's "Love You Down" from "Fish Grease Friday," nor a song as captivating and guitar-inspired as "Mind Playing Tricks On Me" from "Mufassa," but TRAILRIDE CERTIFIED dwarves them and the preceding albums. In fact, given the excessive amount of material to be covered in TRAILRIDE CERTIFIED 2, I think the best way to approach it is simply to bullet-comment (pun intended, of course) on the songs I've been listening to most frequently this month.

"Boots Knockin'"

"Slow-motion sensuality slathered over a bed of heavenly instrumental sweetness." From Top 10 Single charts May 2021 #2. Jeter's seems inspired and "stretches out" with an eye-opening vocal. Urban Mystic joins him.

"(Something About The) Rain (Remix)"

This soulful slow jam featuring Jeter, Volton Wright, R&B Pooh, and David Jones is reminiscent of Wendell B and the Soul Music Representative's "Still Learning 'Bout Love". In other words, a quartet of street-corner serenaders blowing your mind.

"Plain Ole Country Boy"

This was the first pre-release single from the album (charting at #4 in April), and it's held up well. With lyrics like, "I go to church on Sunday/Work on Monday," it portrays the kind of humble man just about any woman would find huggable.

"My House"

This emotive ballad features Volton Wright, whom I gave four stars for his distinguished southern soul debut (reviewed on this page). And I notice his presence, writing and/or singing, in other spots of Trailride Certified 2.

"On My Way Home"

I've actually been listening to this tune the most, and today (as I'm writing) is Father's Day, so I was delighted to hear my daughter, who is not a southern soul lover, and who deployed twice to Iraq, and to whom I'd sent the song, say, "I liked the song you sent me." That was a first.

"Trailride Party"

You'll remember this one as the guy who sounds like Cupid. A young guy named Just-K joins Jeter on a rousing melody.

"Lady In These Streets"

The lyrics are over the top, and I haven't even "caught" half of them yet, but the instrumental track pulls me in like an outgoing tide. The vocal tracks are enhanced by female rappers Mizzbehave and KyaraBoo.

"Dirt Road Loving"

This tune's getting the most YouTube views. People love the lyrics, which revisit the territory described so well by Mr. (Chris) Ivy in "Turn Road".

That's ten songs discussed, and only half the album covered. Other songs that have caught my attention are "What You See" feat. DeShay, "I Shoulda Done Better" (from a con's perspective), "Put It In My Face" feat. Terry Rogers, the chant-like "Get My Shine On" and "Somebody Won't Make It" (about Covid 19). You begin to see the scope of this project. This album takes up the better part of an hour, and you can listen to its endless variety as you would have listened to top-forty radio back in the day.

One final note. In my "Album Alert" I promised to speak to the issue of production. I noticed a lot of the tracks on Trailride Certified Part 2 had new and/or unknown producers, and I noticed the absence of Ronald "Slack" Jefferson. And I said that might be a "good thing".

Well, no worries. These guys, Jeter and Slack, had this thing well in hand the whole time. Ronald "Slack" Jefferson is the executive producer of this album. Like a Joycean hero, Slack is unseen and everywhere (with a couple of exceptions) while a raft of new and mostly unknown producers---Carl Sanders, Daejuan Braxton, Bishop Burrell, Brandon O. Williams, Christopher Washington, Marcus Bell, Kevin Nelson, Eric "Smidi" Smith, Ronald Johnson---take over on the front lines. The result is a refreshing diversity of producing approaches becoming such a massive project. From song to song you don't know what to expect, just as it was in the aforementioned heyday of radio, and maybe still is in a few choice locations, namely southern soul's Stations of the Deep South.

My lasting impression of Trailride Certified Part 2 will be of its remarkable many-sidedness. Yet despite its panoramic scope, this is Jeter Jones' most personal album. A touching sense of familial intimacy and easy-going vulnerability permeates every track.

Digital customers will see, in the album cover work of a storm-threatening, horse-filled, western scene, a second cowboy-hatted man standing behind Jeter. And on the hard copy of the jewel case and the artwork of the actual CD disc, the name Troy Ford is given equal billing with Jeter Jones. When I asked Jeter who Troy Ford is, and what he contributed to the album, he replied that Troy Ford is his older brother, a black cowboy who has been rodeoing (specialty: steer wrestling) for twenty-five years.

"He is the one that motivated me to go back to my roots of Trailride Certified. Most of the songs, like 'Hold It In The Road' and 'Dirt Road Loving,' talk about our adventures. His nick name is Crow. When I say (on the album), 'Crow said take her to the watering hole.' That’s him."

---Daddy B. Nice

Buy Trailride Certified Part 2 at Apple.

Listen to all the tracks from Jeter Jones' new Trailride Certified Part 2 on YouTube.

Scroll down to read more about this album in Daddy B. Nice's 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.

SouthernSoulRnB.com - Chitlin' Circuit Southern Soul Music Guide

Jeter Jones #8 The New Generation: 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. . .

-------APRIL 2018-------

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 - 5-Star CD Review!

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.

Since then Jeter Jones has submitted, and Daddy B. Nice has reviewed, each album Jeter Jones has recorded on his path to becoming the "King Of Trailride Blues". Below, in order of their publications, are those reviews, which provide a step-by-step---and at times amusing in retrospect---chronicle of Jeter Jones' meteoric rise to southern soul fame. (FYI, Many of the links have become outdated over time.)

March 23, 2014: RE-POSTED FROM DADDY B. NICE'S CD REVIEWS

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

SouthernSoulRnB.com - Chitlin' Circuit Southern Soul Music Guide

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

SouthernSoulRnB.com - Chitlin' Circuit Southern Soul Music Guide

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.

Postscript:

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

SouthernSoulRnB.com - Chitlin' Circuit Southern Soul Music Guide

October 1, 2018: Originally posted in Daddy B. Nice's New CD Reviews

September 3, 2018:

JETER JONES: Dhis Him (Ross Music Group)
Four Stars **** Distinguished effort. Should please old fans and gain new.

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.

My intention here is not to ask why someone is still recycling this old-ass music as if it were timely. It's to point out how little Jeter Jones knew about southern soul in 2013: specifically, buying instrumental tracks that had previously been used on Bobby Jones and Chuck Roberson singles.

Looking back, it's hard to believe someone as talented as Jeter Jones ever needed, or thought he needed, Smidi's instrumental tracks in the first place. What it signifies is not only how far Jeter Jones has come in half a decade (from the fringes of the genre to being a prime time player recording with the likes of Vick Allen, Big Pokey Bear and Omar Cunningham) but how compulsively driven he was to be a star, an ambition that over four albums--lo and behold--has become a reality.

Each of Jones' subsequent albums--Da GQ Country Boy (with "Cold Pepsi") and Trailride Certified (with "Single Footin'," "My Country Girl" and "She's Ratchet")--have taken quantum leaps forward in showcasing the Jeter Jones brand.

Then why is this new album, DHIS HIM, something of a disappointment? Is it the exceedingly high expectations raised by last year's five-star TRAILRIDE CERTIFIED album in particular, or--more recently--the 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? You'd think a perfect song would result in a perfect album.

Listen to Jeter Jones singing "Black Horse" on YouTube.

In fact, most recently in listening to Big "Ro" Williams on WJLD, I was reminded of another "perfect" single that inflated sky-high expectations--O.B. Buchana's "Why Can't I Be Your Lover". When it was folded into a subsequent album, SWING ON WITH O.B., it garnered only two stars. How can an album highlighted by a "perfect" record result in anything less than a five-star effort?

Here are two albums for reference taken from the pop catalog. If Jeter Jones were The Rolling Stones, this would be his "Exile on Main Street". If Jeter Jones were the Beatles, this would be his "White" album. That's not only because Dhis Him contains a double-album's worth of material, nearly twenty tracks.

It's also because, like EXILE ON MAIN STREET (confession: my least favorite Stones album), Dhis Him throws a little of everything against the wall and monitors what sticks.

It's all about being comfortable, meaning comfortable with a wide range of musical styles, and Jeter is comfortable on this album--a good thing, I admit. And, like The Beatles' "White" album, there are too many stand-outs here to complain. But there's also a fair share of dreck, and the sheer variety of the styles destroys any possibility of a common theme, motif or tempo.

I would rate the four albums...

1. Trailride Certified

2. Dhis Him

3. Da GQ Country Boy

4. Sweet Jones Live@ Leroy's Chicken Shack.

...with the caveat that, given Jeter's current status as a burgeoning headliner on the chitlin' circuit, Dhis Him may well become his most popular album. Here are the highlights and low-lights.

"She's Gone With Jody" (w/ Omar Cunningham)

Strong melody and strong tenors mesh well.

"Juke Joint"

Fellow Louisianan P2K wrote this rocker. His debut CD--also containing the track--is just out: See P2K Dadiddy: New Album Alert!

"Duck Tales"

I guess it's all about the lyrics. Musically, it sounds like a TV commercial.

"Somebody Get This Fool"

Daddy B. Nice's Top 10 "BREAKING" Southern Soul Singles Preview For. . .

-------FEBRUARY 2018-------

....6. "Somebody Get This Fool (Remix)"-----Jeter Jones featuring Vick Allen

Vick Allen sounds like "a million" on this remake of Jeter Jones' "Roommate (Somebody Get This Fool)". The song sounds more "mainstream," and the switch in title helps. For the first time I really understand the lyrics. The song poses the question, "Do we men of principle love "My Sidepiece" because it represents reality or because it's a preposterous fantasy that makes us laugh?"


"What's Happening Now?

Among other artistic and personal inspirations, Jeter's take on Marvin Gaye's "What's Going On?"

"Dance With You"(w/ Big "Ro" Williams)

Daddy B. Nice's Top 10 "BREAKING" Southern Soul Singles Preview For. . .

-------JULY 2018-------

....8. "Dance With You"--------Jeter Jones featuring Big "Ro" Williams

Jeter Jones stretches his musical wings, leaving his pop and zydeco influences for a jazzier, horn-laden take on southern soul. Unusual, but the rhythm section keeps it rooted. Strong vocals all around.


"She Loves My Boots"

Mis-titled. Should be "She Loves My Blues".

"Phone Bill"

Beat-Flippa-I-Got-The-Blues type of tune, with plenty of deep-quivering Beat Flippa organ to drive home the headache and heartache.

"You Deserve Better"

Passionate ballad, but it's one-hook-repeated-over-and-over, the kind of ballad Pokey Bear would sing.

"Watch My Boots, Pt. 2" (w/ Deacon Dukes, Pokey Bear, Miss Portia & Big Lee)

Daddy B. Nice's Top 10 "BREAKING" Southern Soul Singles Preview For. . .

-------DECEMBER 2017-------

...2. "Watch My Boots, Pt. 2"------Deacon Dukes, Jeter Jones, Big Lee, Pokey Bear & Miss Portia

Even better than the slower-tempo-ed "Watch My Boots" original by Jeter Jones. If you like to dance, this is your jam. Deacon Dukes has a magical, musical touch, and I now sit up and take notice whenever I see his name associated with a tune.


"Get My Groove On"

The keyboards put down a jazzy riff, and Jeter puts on a tux.

"I Need's A Drank"

Light-hearted, uptempo, with a bluesy refrain.

"I Ain't Gone Cheat No More"

Daddy B. Nice's Top 10 "BREAKING" Southern Soul Singles Preview For. . .

-------AUGUST 2018-------

...4. "I Ain't Gone Cheat No More"------Jeter Jones

Not about to put this on a pedestal alongside Ronnie Lovejoy's "Sho' Wasn't Me" or anything, but it chugs away in a juke-joint way with a modesty and urgency that wins me over, and with my love and prejudice for dance jams, I almost put it and the next one (Ms. Jody's "That's Where The Party's At") number one and two, over the ballads (sorry, Sir Charles). If you listen closely, you'll hear Sweet Nay contributing to the raucous texture.


Are you getting the idea?

This album is endless. You can listen to Dhis Him a half-dozen times and still overlook a handful of tracks, as I have in passing over "Still In Love," "Get Outa These Streets" and "I Drank Too Much". There may be three or four more tunes lurking in the corners. When you line up the sheer amount of material, it's impressive, but not quite as impressive as serving up the ten--or maybe even eight--best cuts in one, gleaming, "Black Horse"-level, five-star set.

--Daddy B. Nice

Buy Jeter Jones' new DHIS HIM album at Amazon.

Buy Jeter Jones' new DHIS HIM album at Apple.

Read Daddy B. Nice's Artist Guide to Jeter Jones.

SouthernSoulRnB.com - Chitlin' Circuit Southern Soul Music Guide

July 20, 2020:

JETER JONES: Mufassa (Music Access) Five Stars ***** Can't Miss. Pure Southern Soul Heaven.

It's easy to forget, but one of the defining characteristics of southern soul music is its modesty. This goes all the way back to Johnnie Taylor and Tyrone Davis, whose hits didn't bowl anyone over technically. (Taylor's "Good Love" is an exception and also borderline southern soul, although nowadays, the way the music has changed, "Good Love" would be considered mainstream southern soul.)

Today's audiences are so used to show-boating, be it by the vocalist or the producer, that they often are bewildered by the casualness, the ordinariness, of southern soul. Southern soul may sound gentle, for lack of a better term. Often, a song or two doesn't do the job.

Accustomed to the hyperbole and technical wizardry of contemporary hiphop and urban R&B, strangers to southern soul expect to be "blown away" by spectacular productions and over-wrought (listen-to-me-I'm-technically-the-best) vocals. What these tentative newcomers to the genre often fail to understand is the volume---the sheer numbers---of southern soul songs, which as a totality reflect and refract off one another like a school of myriad fish in the ocean. So what the newcomer assumes are isolated instances (as they might be in the North) are actually songs throbbing with meaning from within a multitude of musical kin.

And in this southern soul perfectly mirrors the rock and roll and Motown-through-Stax, rhythm and blues classics of the sixties and early seventies (and also early rap and hiphop of the late eighties and nineties, which sampled those tunes). Take any two or three songs from today's Top 10 Southern Soul and they have more in common with a typical line-up from those earlier genres than they do with contemporary hiphop/R&B. So---for example---Little Eva's "Locomotion," The Teddy Bears' (Phil Spector's first group) "To Know Him Is To Love Him", and Puff Daddy's & Faith Evans' "I'll Be Missing You"---all from diverse genres and time frames---are the kinds of songs southern soul emulates: the "golden mean," or what your Daddy B Nice often calls "the sweet spot of southern soul".

Jeter Jones understands all this well. Like his predecessors in southern soul, he doesn't sing to draw attention to himself but to get the song across. His new album Mufassa is a smorgasbord of low-key and self-contained tunes with no other object than to fascinate and pleasure, and in this he succeeds. Great cover art, by the way---Jones in a gold-plated, chain-link, Game of Thrones-style helmet.

"Mufassa" is very like Jeter's last album, "Dhis Him," in that there's a lot of variety. That, by the way, is a by-product of Jeter's blossoming, mid-life career. He has no fear of going anywhere musically (thus the variety), even as he remains "Jeter," i.e. accessible, hook-driven and radio-friendly. And although "Dhis Him" remains the permanent showcase for "Black Horse," a song as primal as Sir Charles Jones' "It's Friday," Mufassa as a whole may actually be better.

Many of the tracks on this album are familiar to fans who've witnessed them charting over the past year in Daddy B Nice's Top 10 Singles: "Mind Playing Tricks On Me" being only the latest at #2 in June.

"Everybody should give "Mind Playing Tricks On Me" to their rap and hiphop-loving friends," said the capsule review. "It'll blow their minds while giving them an instant vision of what southern soul is."

Based on the Geto Boy's classic of the same name, this song is fascinating on a number of counts. It's very like--and to some extent an extension of--a track from Dhis Him with similar tempo, chord changes and vocal: "Ain't Gone Cheat No More."

"Mind Playing Tricks On Me" also marks the debut of a new producer on a Jeter Jones project, Chris “Bubba” Washington, although Ronald "Slack" Jefferson gets credit for most of the songs on the set. The leader of The Perfect Blend Band, Jeter's back-up band, does a magnificent job, referring back to the rap original's melodic hook but softening it with an entirely different---almost bluegrassy---acoustic arrangement.

Finally, "Mind Playing Tricks On Me" fares far better than "Candy," another cover of a vintage classic that Jeter sings with Sir Charles Jones on yet another summer-of-2020 Jones release, "The Jones Boyz: 2 Kings."

"(Can You) Back It Up," the duet with Best Male Vocalist of 2019 winner R.T. Taylor, sounds even better than it did when it charted. The track seemed a little thin then, and that went for Taylor's vocal too, unfamiliar as he was at the time. But but after listening to R.T.'s great new full-length album "The Mule Man" for a couple of months, Taylor's vocal also sounds fuller. Tasha Mac contributes.

"We Come To Party," with a just-published YouTube video, sounds like a venerable classic, its come-hither, low-key vocal and gut-bucket percussion made more irresistible encased in an album format (not to mention a great video). Jones' voice-over patter, delivered in a low whisper, adds zest. A wonderfully-realistic stream-of-consciousness takes effect.

Listen to Jeter Jones singing "We Come To Party" on YouTube.

Jeter also provides scintillating reworkings of Sir Charles Jones' exceptional single "Soul Brothers Moonshine" and Itz Karma's "I Like Da Way," originally written for her by Jeter. "Soul Brothers Moonshine," in which Charles assists, is one of the finest cuts on the album. The mysterious third voice on the track is R&B Pooh, a recent Jeter Jones discovery.

And these songs only touch the surface. "Mufassa" includes three other tunes that have already charted here and gained notice across the country: ."Clockwise," with Gary Jenkins, "Package" and "Old Back Road," with Addison Jones & Chalie Boy (and also a great video) all of which sound far better than they did on their original releases months ago.

Of a handful of new, never-before-heard tracks, I recommend "You Know I Miss You," a Peter Gabriel-like ballad although I hesitate to compare it to Gabriel or "Solsbury Hill" (even though it's an accurate description) because the tune owes even more to Jeter's humble (here's that modesty again) but powerful "Country Girl," a breakthrough single from the "Trail Ride Certified" album.

--Daddy B. Nice

Buy Jeter Jones' Mufassa album (mp3 or audio) at Amazon.

Listen to all the tracks from Jeter Jones' new MUFASSA album on YouTube.

Buy Jeter Jone's new MUFASSA album at Apple.

Find Jeter Jones' charted singles in Daddy B Nice's Comprehensive Index.

SouthernSoulRnB.com - Chitlin' Circuit Southern Soul Music Guide

September 1, 2020: Originally posted in Daddy B. Nice's CD Reviews.

August 10, 2020:

The Jones Boyz: 2 Kings. Four Stars **** Distinguished effort. Should please old fans and gain new.

To state the obvious for the majority of fans reading this review: The Jones Boys are not related. Sir Charles Jones ("The King of Southern Soul") is from Birmingham, Alabama. Rejected by Malaco Records, the renowned, old-school label of southern soul's past greats like Johnny Taylor, Bobby "Blue" Bland and Little Milton, Charles (aided by Jackson, Mississippi's Senator Jones, no relation) more or less kicked off the contemporary southern soul era with the publication of his first two albums.

Jeter Jones ("The Kang of Trailride Blues") is from the Shreveport, Louisiana area. Appearing on the scene a dozen years after Sir Charles with a couple of unschooled albums utilizing over-used rhythm tracks, Jeter has morphed into one of the most creative, innovative and prolific artists of the last decade, and arguably the most dominant southern-soul writer/performer/artist-enabler of the last three years.

The jacket of the new CD features both Jones boys, Charles and Jeter, with World Wrestling Entertainment-style "belts" slung over their shoulders signifying their "royalty" and achievements.

I was mistrustful of this album at first. I knew a number of the tracks were not only "reruns" of past singles but duplicates (or near-duplicates) of songs simultaneously released by Jeter Jones on his new solo album Mufassa. (See Daddy B. Nice's five-star review elsewhere on this page.) So my initial reaction was: What's the point? But as I actually started listening to 2 Kings, my skepticism turned to appreciation and, gradually, pleasure and delight.

The set kicks off with a cover of the eighties' classic, Cameo's "Candy". In my review of "Mufassa" I compare it unfavorably to "Mind Playing Tricks On Me," the Jeter Jones' cover of the old hiphop standard included in "Mufassa". In the latter Jeter re-imagines the Geto Boys' rap as an almost bluegrassy (although not "acoustic," as I mistakenly described in my review) southern soul vehicle, while in "Candy" The Jones Boyz simply present a glorified, cover-band treatment of the original, epitomized at the moment Jeter sings (Cameo-style), "You give me a heart attack," at which point your head snaps back like you're traveling through a time machine.

Listen to Jeter and Sir Charles singing "Candy" on YouTube.

A funny thing happened, though, as I listened to the album as a whole. The tunes held up so well that I actually enjoyed "Candy" a little more each time I heard it. Jeter's winsome, unforgettable tenor. The novelty of hearing Sir Charles singing background. Even the snappy, throw-back rap by Storm.

"Candy" segues into a batch of songs far more varied and realized (including anger and hurt, but more about that later) than anything on Charles' own simultaneously-released album, Intimacy.

See Daddy B. Nice's "New Album Alert: Intimacy."

True, some of the tracks are versions of tunes also heard on "Mufassa". Trail Ride Version 2.0 duplicates "Old Back Road" from "Mufassa". Prior to that, the Jones Boyz (although not yet known by that name) put out a single and "official video". The title was "Trail Ride," incidentally the very collaboration that first signaled Charles' and Jeter's mutual simpatico.

The Slack-produced "Soul Brothers Moonshine" was first published in P2K's 2018 debut album, "Welcome To The Boom Boom Room," featuring Sir Charles Jones. Sir Charles even sang the first verse (typically the host artist does). "Soul Brothers Moonshine" was also released on "Mufassa," with Jeter taking P2K's place.

"Moonshine," as it's called in this iteration, has become so ubiquitous on YouTube and internet radio that it almost rivals "Friday" as Sir Charles' current signature tune. Now, with this third official publication, "Soul Brothers Moonshine" becomes a top-shelf, southern soul standard and one to be permanently associated with Sir Charles Jones. (R&B Pooh, another Jeter Jones discovery, contributes a verse.)

However, it's the new tunes---at first so easy to overlook---that really "seal the deal". Dedicated to zydeco star Brian Jack, the effervescent "Zydeco With Me" percolates on the froth of its cajun button-accordion accompaniment, with Charles engaging the uptempo vocal with enthusiasm.

"Like Voodoo," with a soothing refrain---"This southern soul / Will take control of you"--- marks a dazzling collaborative effort. Both Jones boys (aided by guest artist King South) give superb vocals, spiced with lyrics marking each singer's coming-of-age moments, and once again, Sir Charles is turned-on.

Not that Jeter Jones is in any way unequal to the task. The set's finale, "Can't Do It No More" is a solemn ballad sung from Jeter's heart, and the evocative ballad "Can I Get Some" is a stellar solo outing, meshing perfectly with the quality of the set as a whole. Jeter more than holds his own as a vocalist of the first order and an "equal" of Sir Charles. And, to look at the reverse side, Sir Charles seems to be in his true element around Jeter. He's seldom appeared as relaxed and in tune with his unique mojo.

There are only ten tunes on The Jones Boyz: 2 Kings---nine if you don't count the thirty-second intro---and little filler. To be picky, there's not much of interest in recycling Parliament-Funkadelic in "Party, which simply reminds me of coke-crystal-meth zombies clubbing to George Clinton at hours when working people are just getting up to go to work. (Mr. Smoke, Daddy B. Nice's "Best Debut Artist" of 2019, guests a verse on this one.)

But I have saved the best, including the aforementioned anger and hurt, for the last. It is sheer ecstasy to report I was knocked over like a Mack truck by the spectacular ballad, "I Don't Understand".

Listen to Sir Charles Jones singing "I Don't Understand" on YouTube.

Here Sir Charles gives us his all. Emotions---very real, very frightening emotions---pulse like strobes in Charles' vocal, and Charles' amazing vocal enhancements take the aural beauty to a celestial level. The production is off the charts in the way only a super-producer like Sir Charles can manage. All of the trademark techniques are there---only totally, brilliantly fresh.

This, for me, is the true Sir Charles Jones. The emotional tone is perfect. Why? Because love---I'm talking about real love--shines through the hurt propelling the tune's vehement power. And all the while the instrumental wealth just keeps raining down like coin poured from giant kettles. This is a song comparable to "Is Anybody Lonely?" and "The Letter". It's the kind of song we've waited years to hear from the King.

The Jones Boyz should make this a series.

--Daddy B. Nice

Listen to all the tracks from The Jones Boyz: 2 Kings album on YouTube.

Buy The Jones Boyz: 2 Kings album at Apple.

Buy the Jones Boyz: 2 Kings album at Amazon.

Read Daddy B. Nice's Artist Guide to Sir Charles Jones.

Read Daddy B. Nice's Artist Guide to Jeter Jones.

SouthernSoulRnB.com - Chitlin' Circuit Southern Soul Music Guide

February 1, 2021:

Jeter Jones & Various Artists: Da Fish Grease Friday (Music Matters Entertainment / SRG/ILS Group): Four Stars **** Distinguished effort. Should please old fans and gain new.

I grew up in an overwhelmingly Catholic parish where we ate fish sticks or tomato soup on Fridays. One Friday noon hour one of the strongest boys in the class ran into school from the playground and pushed his hand right through the glass of a swinging door, cutting his main artery. Blood geysered up, hitting the ceiling of the corridor outside the lunch room and bathing the floor tiles in red. We didn't have fish that day; we had tomato soup.

I don't know what Jeter Jones' "fish grease" story is, and his new sampler, FISH GREASE FRIDAY doesn't offer any hints, although the flex pipe pouring fish oil into a big vat on the CD cover promises something really "greasy," which could mean funky or trashy, although the album is anything but.

Originally scheduled for a 2020 publication in a crowded release calendar along with Jeter Jones' new solo album MUFASSA and Jeter's collaboration with Sir Charles Jones, JONEZ BOYS: TWO KINGS, Jeter subsequently held back FISH GREASE FRIDAY to kick off 2021.

The set is a sampler of all new material showcasing Jeter and the group of young performers---King South, R&B Pooh and Volton Wright primarily---whom he and producer Ronald "Slack" Jefferson have mentored since the appearance of SLACK: MY MUSIC, MY FRIENDS in 2019. (Many other producers and writers contributed to the project, a fact I learned more from YouTube than my hard copy, and that may have also caused delay.)

Joining them is an eclectic mix of guest artists including Karen Wolfe, Crystal Thomas, JD (not to be confused with new artist JL), Dawg, DJ Big Tony, DeShay, Jack Gaspard, Rhomey Rhone, Stan Butler, Mr. Smoke, Nadia Price and H-Town alumnus Billy Cook. None of them are household names in southern souldom outside of Karen Wolfe and Crystal Thomas, but that's the way Jeter (thankfully) thinks. He's after talent and new sounds, not hype.

The lead-off track "It's About To Go Down," a Jeter Jones duet featuring Billy Cook, is one of the best songs on the set. Jones lays down a superb vocal reminiscent of the mellow yet swinging mid-tempo atmosphere of "Black Horse".

"Love You Down," a duet with new artist JD, is another surefire winner, combining an irresistable melody with an uptempo
pace and an arrangement (by Ronald "Slack" Jefferson) that combines modesty and enchantment.

In fact, the set as a whole is an exercise in enchantment. Previously-released tunes like the beguililng "Southern Soul Garden" and the lively "Southern Soul Cowboy" are tailored for tender sensibilities and listening. Like the Platters from the early days of rock and roll, or the Stylistics from the early seventies, the voices-in-unison approach (Jones, RnB Pooh, Volton Wright and JD on "Cowboy," King South and Jones on "Garden") produces a chorale-like serenity, a good-vibes feeling that weaves its way through many of the CD's songs.

The gentle harmonies give FISH GREASE FRIDAY a throwback feel. Sometimes it's obvious, as in Volton Wright's nostalgic "My Baby". At other times it's overpowering, as in "Jood Wood," where Jeter, Rhomey, Stan Butler, Mr. Smoke and King South take turns on verses while even more background vocalists (including female) croon together on a vintage-styled chorus.

"Hot Body" (which seems inappropriate on this otherwise un-rowdy set), "It's Time To Leave" (which seems a little "down" on this otherwise airy set) and "Trust Issues" disappoint, whether because they clash with the aforementioned theme or are simply lower-caliber songs, but overall FISH GREASE FRIDAY maintains Jeter Jones' amazing run of recording excellence.

By the way, I don't follow mainstream R&B closely, but isn't DeShay in the DeShay/Volton Wright duet, "Lay With Me Tonight," Beyonce reincarnated?

--Daddy B. Nice

Buy Jeter Jones' new DA FISH GREASE FRIDAY album at Apple.

Listen to all the tracks from Jeter Jones' new DA FISH GREASE FRIDAY album on YouTube.

Listen to Jeter Jones' new DA FISH GREASE FRIDAY album on Spotify.

SouthernSoulRnB.com - Chitlin' Circuit Southern Soul Music Guide



Tidbits

1. Jeter Jones on YouTube



Listen to Jeter Jones singing "Mind Playing Tricks On Me" on YouTube.

Listen to Jeter Jone singing "Watch My Boots" on YouTube.

Listen to R.T. Taylor, Tasha Mac & Jeter Jones singing "Back It Up" on YouTube.

Listen to Tasha Mac & Jeter Jones singing "Get It My Way" on YouTube.

Listen to Arthur Young & Jeter Jones singing "Flashlight" on YouTube.

Listen to Jeter Jones, Sir Charles Jones & RnB Pooh singing "Moonshine" on YouTube.

Listen to Volton Wright & Jeter Jones singing "Circles" on YouTube.

Listen to Jeter Jones singing "Plain Ole Country Boy" on YouTube.

Listen to Sir Charles Jones & Jeter Jones singing "Trail Ride" on YouTube.

Listen to JD & Jeter Jones singing "Love You Down" on YouTube.

Listen to Jeter Jones & L.J. Echols singing "Lovin' Me On Borrowed Time" on YouTube.

Listen to Jeter Jones singing "Dat Country Boy Loving" on YouTube.

Listen to Jeter Jones singing "Zydeco With Me" on YouTube.

Listen to Jeter Jones singing "Somebody Get This Fool" on YouTube.

Listen to Jeter Jones singing "We Come To Party" on YouTube.

Listen to Jeter Jones & Friends live onstage in Dallas singing "It's About To Go Down" on YouTube.

Listen to Jeter Jones singing "Cowboy Up" on YouTube.

Listen to Jeter Jones singing "Don't Leave" on YouTube.

Listen to Jeter Jones singing "Thank You" (the Official Video) on YouTube.

Listen to Jeter Jones singing "Roommate" on YouTube.

Listen to Jeter Jones singing "My Country Girl" on YouTube.

Listen to Jeter Jones singing "Cowboy Slide" while the family does the line dance on YouTube.

Listen to Jeter Jones singing "She's Ratchet" on YouTube.

Listen to Jeter Jones singing "Boot Scoot" on YouTube.


Honorary "B" Side

"My Country Girl"



5 Stars 5 Stars 5 Stars 5 Stars 5 Stars 
Sample or Buy Black Horse by Jeter Jones #8 The New Generation - 5-Star CD Review!
Black Horse


CD: Dhis Him
Label: Music Access

Sample or Buy
Dhis Him


5 Stars 5 Stars 5 Stars 5 Stars 5 Stars 
Sample or Buy My Country Girl by Jeter Jones #8 The New Generation - 5-Star CD Review!
My Country Girl


CD: Trailride Certified
Label: Jones Boys Ent.

Sample or Buy
Trailride Certified


5 Stars 5 Stars 5 Stars 5 Stars 5 Stars 
Sample or Buy Lovin' Me On Borrowed Time (feat. L.J. Echols) by Jeter Jones #8 The New Generation - 5-Star CD Review!
Lovin' Me On Borrowed Time (feat. L.J. Echols)


CD: Da GQ Country Boy
Label: Jones Boys Ent.

Sample or Buy
Da GQ Country Boy


5 Stars 5 Stars 5 Stars 5 Stars 5 Stars 
Sample or Buy Moonshine (feat. Sir Charles Jones & RnB Pooh) by Jeter Jones #8 The New Generation - 5-Star CD Review!
Moonshine (feat. Sir Charles Jones & RnB Pooh)


CD: Mufassa
Label: Music Access

Sample or Buy
Mufassa


5 Stars 5 Stars 5 Stars 5 Stars 5 Stars 
Sample or Buy My Mind Playing Tricks On Me by Jeter Jones #8 The New Generation - 5-Star CD Review!
My Mind Playing Tricks On Me


CD: Mufassa
Label: Music Access

Sample or Buy
Mufassa


5 Stars 5 Stars 5 Stars 5 Stars 5 Stars 
Sample or Buy Single Footin' by Jeter Jones #8 The New Generation - 5-Star CD Review!
Single Footin'


CD: Trailride Certified
Label: Jones Boys

Sample or Buy
Trailride Certified


5 Stars 5 Stars 5 Stars 5 Stars 5 Stars 
Sample or Buy Somebody Get This Fool (feat. Vick Allen) by Jeter Jones #8 The New Generation - 5-Star CD Review!
Somebody Get This Fool (feat. Vick Allen)


CD: Dhis Him
Label: Music Access

Sample or Buy
Dhis Him


5 Stars 5 Stars 5 Stars 5 Stars 5 Stars 
Sample or Buy Zydeco With Me by Jeter Jones #8 The New Generation - 5-Star CD Review!
Zydeco With Me


CD: Da GQ Country Boy
Label: Jones Boys Ent.

Sample or Buy
Da GQ Country Boy


Browse Through
Daddy B. Nice's
'Bargain CD' Store


©2005-2021 SouthernSoulRnB.com

All material--written or visual--on this website is copyrighted and the exclusive property of SouthernSoulRnB.com, LLC. Any use or reproduction of the material outside the website is strictly forbidden, unless expressly authorized by SouthernSoulRnB.com. (Material up to 300 words may be quoted without permission if "Daddy B. Nice's Southern Soul RnB.com" is listed as the source and a link to http://www.southernsoulrnb.com/ is provided.)