10 Years Later: Boz Scaggs Revisits His Soulful Roots On Fervent ‘Memphis’

Boz Scaggs made a household name for himself with the ultra-slick Silk Degrees in 1976, but by that time he had already established a viable (if unspectacular) solo career in the wake of his departure from The Steve Miller Band in 1968. The ten-year anniversary of the release of Memphis (released 3/5/13) is yet another notable milestone in the creative path that further reaffirms the selective approach the vocalist, guitarist, and songwriter has usually brought to his work.

It is also a crucial reminder that the pinnacles of his discography invariably carry earthy qualities underneath any attendant layers of polish. Such is the tone begun with his very first record on his own, the eponymous release on Atlantic Records produced by Rolling Stone Magazine co-founder Jann Wenner: distinguished by its famous Duane Allman guitar solo on “Loan Me A Dime,” this 1969 issue actually foreshadows the horn-laden Boz Scaggs & Band of two years later. 

Recorded on the hallowed ground of Hi Studio’s site of Al Green’s seminal recordings, Scaggs collaborates closely with the drummer and co-producer Steve Jordan on the 2013 effort on the 429 label. For a mix of original material and R&B chestnuts that mirror the grit in the musicianship, the man who helped make Keith Richards’ X- Pensive Winos the most credible of The Rolling Stones’ solo projects insures the very audio depth of the recording reflects the deep passion of the performances, even when orchestration decorates the basic tracks, as on “Rainy Night in Georgia.” 

Keyboardist Spooner Oldham’s piano accompaniment on a track like “Love on a Two-Way Street” defines tastefulness, too. Meanwhile, in “Love on a Two Way Street,” the similarly pithy contributions of keyboardists Jim Cox and Charles Hodges indicate how thoroughly sympathetic the playing here. Covers such as “Mixed Up Shook Up Girl” don’t immediately sound familiar, but that’s all to the good: Boz imbues such material with his own suave personality, much as he did on the lush likes of his work with Johnny Bristol on 1974’s Slow Dancer. 

Scaggs also extends that approach to deceptively unusual choices such as Steely Dan’s “Pearl of the Quarter.” Its selection is actually an outgrowth of the collaborative project that is ‘The Dukes of September’–Scaggs in alignment with Doobie Brothers singer/pianist Michael McDonald and the tune’s co-author (with the late Walter Becker), singer/keyboardist Donald Fagen, An emotional heat radiates from this interpretation that markedly contrasts the cool detachment of The Dan’s.

The bluesy latter third of Memphis supplies an emotional expanse, plus a broad demographic appeal, the LP would otherwise lack.  On the rocking of “Cadillac Walk,” Boz’ shouts sound as natural as his crooning on “Corinna Corinna” while his sly vocal delivery, alternating with the raw electric dobro of Keb Mo’ of “Dry Spell,” suggests what a skilled singer is a man born William Royce Scaggs.

Along those same lines, when the frontman goes on to wail in an understated fashion on “You Got Me Cryin,” his falsetto dramatically sets the stage for harpist Charlie Musselwhite. The juxtaposition of these cuts with the closing “Sunny Gone” complements rather than contradicts the hearty romanticism that is the essence of Boz’ persona.

Two years later, Scaggs released A Fool To Care, the second in a three-album ode to roots that culminated, at least for the time being, with 2018’s Out of the Blues. Effectively bookending the solo career of an Ohio native who’s generally thrived more on the soul of the American South than on the trappings of Las Vegas, Boz never displays his loyalty any more fervently than he does on the decade-old Memphis.