Leveraging his BMA nominations for Soul Blues Artist of the Year and Soul Blues Album of the Year, veteran Philly soul man Frank Bey proves that he is certifiably “back in business” with All My Dues Are Paid, a vastly different but every bit as strong an album as its predecessor, Back in Business. Across the two albums, Bey has worked with the two premier blues producers, first with Tom Hambridge, and now with Kid Andersen at Kid’s highly in-demand Greaseland Studios. West Coasters Rick Estrin co-producers and Andersen’s usual cohorts Jim Pugh (keys), Jerry Jemmot (bass) and others provide the backing. Bey returns to do what he does best: sing. Bey is a multiple BMA nominee who cut his teeth in Otis Redding’s band, been acclaimed by many as one of the best soul-blues singers of our time, but due to failing kidneys and unkind circumstances, he’s been on the brink of poverty too. But his resurgence is a blessing for all of us.
This is a far more ranging and daring album than its predecessor; eclectically challenging but somehow cohesive. Bey begins with a funked-up cover of Eddie Palmieri and Harlem River Drive’s “Idle Hands,” a Latin Soul fusion piece that points out the lessons of civil rights. Bey’s Georgia roots come to the fore on “One of These Days,” as Andersen’s wife, Lisa Leuschner Andersen, adds harmonies. The chorus of “you’re gonna miss me” plays into another Bey project which you’ll learn about later. “Calling All Fools” is a Nightcats tune, contributed by its leader, Rick Estrin, replete with horns, including a tenor solo from Nancy Wright.
Bey covers two of “Mighty” Mike Schermer’s tunes – “It’s a Pleasure” and “One Thing Every Day,” both expressing his beliefs of how important it is to care for one another, especially in these times. The vocal trio, The Sons of The Soul Revivers, join him on the first one. Bey collaborated with Andersen, Estrin and Texas troubadour Kathy Murray, to write the autobiographical title track, delivered in greasy Memphis soul style, expressing his resilience with “there ain’t no way to stop Frank Bey, it’s my time to shine.”
He then takes on one of the biggest challenges any singer could face, covering what is considered the greatest country song of all time, “He Stopped Loving Her Today,” inextricably associated with George Jones. Bey is smart enough to realize it wouldn’t be wise to mimic Jones, and instead puts his own unique spin on the song. Nancy Wright takes another sax solo on another of Estrin’s Nightcat tunes, “”I’ll Bet I Never Cross Your Mind,” hearkening back to the early R&B style of Louis Jordan. He then pays homage to Percy Mayfield with the boisterous jump blues of “Never No More” and later in an obscure one that Mayfield wrote for Ray Charles, “Ha Ha in the Daytime.”
Bey nods to much-overlooked country-soul pioneer Arthur Alexander in the love song “If It’s Really Got To Be This Way” and surprisingly transforms Lou Reed’s avant-garde piano ballad “Perfect Day” into a gospel-fueled hymn. The full depth and breadth of Bey’s talent is on display for what is generally his set closer, John Lennon’s “Imagine,” by now a signature tune for Bey like “Hey Jude” was for Wilson Pickett. Check this out on YouTube as his arrangement has a glorious finale that is chill-inducing. We are only two weeks into the new year but this album is strong enough to earn Bey wins rather than just nominations this time around.
The words of Tom Dwyer, Executive Producer of Frank Bey’s documentary (see below) provide a great summary. “As you listen to this recording, look for the moments of Otis Redding, James Brown, Solomon Burke, Ray Charles, Percy Mayfield, and many others with whom Frank sang, learned from, or observed and admired, an artist that somehow continue to live and breathe in Frank’s gorgeous baritone vocals….During the years that we have followed, filmed, and gotten to know Frank, Marie and I have grown to see him as an American institution who is loved for the music that he makes, the singing that he performs, and the truth that he lives by.” This writer has been privileged to see Frank Bey perform in two intimate venues over the past year and he stands with a precious few performers as one of the best I’ve ever seen and heard; not bad for a guy who is mostly sitting down when he sings.
Note: On this site you may have seen mention of a film documentary on Frank’s life, now titled Frank Bey: You’re Going to Miss Me. It is now in post-production, but additional funding is needed. For additional information, visit www.frankbeyfilm.
