Eli ‘Paperboy’ Reed | Come and Get It | TheUrbanMusicScene.com

Eli ‘Paperboy’ Reed – Come and Get It

(Advance Review – CD to be released Aug. 10th, 2010)

As part of the retro soul mass invasion during the past decade including Sharon Jones & the Dap Kings, James Hunter and several artists from the Soul Unsigned compilations the man called ‘Paperboy’ can now be added to that list. Eli Reid was blessed with the opportunity to study and embrace artists like Ray Charles and Tyrone Davis – two of the singer/songwriter’s many musical heroes. Reed’s initiation to soul music was a Charles box set from his father. But before receiving the treasured gift that etched his professional future, Reid listened to anything at his immediate disposal from rock and roll (Chuck Berry) to country (Marty Stuart). Reid showed a lot of promise as a performer by the time he reached high school, but his overall skills were met with mixed results. While wowing the audiences with his expressive voice,his musicianship as a guitarist and saxophonist was not quite on par with his fellow peers.

After graduating from high school, Reid took a DJ gig at a blues station in Clarksdale, Mississippi (the place where the ‘Paperboy’ nickname was birthed because of an old newsboy hat worn by Reid from his grandfather). His curiosity and adoration of the blues grew while playing in various clubs throughout Mississippi, the true school of hard knocks for the young, inexperienced vocalist. Through much rejection by musicians and the audiences, he learned his craft the hard way. Yet those brutal experiences never dampened the fire and desire for his affection of classic urban music. His next stop was a blues and music hotbed period – the windy city. While enrolled at the University of Chicago, Reid hosted a highly regarded Southern soul radio program. Living in a city loaded with history from jazz to house music, he naturally invested more time scavenging around record stores in adding to his record collection.

From the familiar:Otis (Redding) and O.V. Wright; to the obscure: Boston soul singer Frank Lynch (who passed get rest) and Chess Records’ Mitty Collier, (the latter whom he befriended and played with during church services in Chicago), Reid increased his understanding of classic urban history. After further education of playing throughout Mississippi and Chicago and studying their musical culture in a less than two-year intensive journey, Reid returned to his birthplace of Boston to form his current back-up group, The True Loves. Their first release – Sings Walkin’ & Talkin’ & Other Smash Hits! was recorded in one day and in mono; an anomaly in the modern high-tech recording era. The follow-up, Roll With It on Boston independent label Q-Division, had more sophisticated production yet still kept the integrity of that fiery classic blues and soul flavor that leans on precision horn sections and moving vocals.

With two successful and regionally hyped projects behind them, current New York resident Reid and The True Loves now join the major label ranks. Their Capitol Records debut, Come & Get It,continues celebrating the spirit of sixties and seventies urban stylists through mostly original material and Reed’s widespread inspiration from his record collection. In a daring move, he sought producer Mike Elizondo – more recognized as a hip-hop and pop producer -who sprinkles his subtle touches into Reed’s retro soul mix. This choice of producer could have caused an over slicked mess, but Elizondo’s musicality is perfectly suited to Reed’s effervescent, roots soul style and deep respect for infectious pop melodies.

Come & Get It begins with the only cover tune, “Young Girl,” recalling the R&B/pop smash hit “Can I Change My Mind” by Tyrone Davis, and is dedicated to Lynch, the songs’ original performer. “Name Calling” soaked in the post-Motown era of songwriters Holland, Dozier & Holland, delivers deliciously soulful vocals while revealing Reed’s wittier side: “You went from name calling to calling my name.” Reid covers the wide scope of emotions on “Just Like Me” – growls, falsetto and the vocal slides in between. “Pick a Number” takes it back to Philly with lush strings and funky drum riffs that climax the final chorus. For a slight change of pace, “You Can Run On” marries Carl Perkins type rockabilly, the country/rock of Creedence Clearwater Revival and a foot-stomping gospel quartet. To close Come & Get It down, “Explosion” breezes along like an accelerated James Brown funk breakdown.

With his short body of work, including Come & Get It,there is no doubt Reid affectionately shares his passion for the music he has pursued and grown up. And to some degree, the well-studied Reid has another step on some of his contemporaries in the retro soul movement.

Tracks:

Young Girl

Name Calling

Help Me

Just Like Me

Come and Get It

Pick a Number

I Found You Out

Tell Me What I Wanna Hear

Time Will Tell

You Can Run On

Pick Your Battles