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Eli 'Paperboy' Reed & the True Loves

Roll with You (2008)
Q Division

Reviewer Rating:

Contributed by: Bipedcasserole
(others by this writer | submit your own)

Published on October 24th 2008

If you know anything about rock and roll, then you know the story of how it was stolen. Exploding out of the multi-faceted blues movement, its incarnation was as a catharsis for impoverished, disenfranchised blacks, just as the blues, gospel, jazz and hip-hop once were. And just like these other genres, whites quickly hijacked it. They took this "race music" and repackaged it, vomiting up their own white singers who tried to recreate that black sound, but just ended up making goddamn fools of themselves. Don't believe me? Look up videos of Pat Boone singing whitewashed versions of Little Richard's signature tunes and tell me that guy doesn't look like an unsalvageable sucker.

We could keep going, but the history of rock and roll is too fascinating and ridiculous to summarize here. Suffice to say that since whites stole rock and roll and were caught red-handed, they owed the originators of R&B a huge debt. That debt has been repaid in full by Eli "Paperboy" Reed & the True Loves' Roll with You.

Reed and his multi-ethnic band pick up right where Otis Redding left off and right where Chuck Berry should have ended up. Not so much interested in reinventing the soulful sound of early R&B, Reed has made a record that sounds right at home next to Sam Cooke recordings and Little Richard records, all soulful shouting and mellifluous horns. In fact, it's suspicious just how natural and antiquated everything sounds. From the exuberant opener ("Stake Your Claim") to sizzling ballads like the title track and "She Walks," nothing sounds forced or faked, especially Reed's gleefully abandoned howling. A lesser band might not be able to pull it off, but the True Loves have got chops like Wall Street's got troubles.

While the slow jams on Roll with You are stellar beyond a doubt, capturing all the melancholy and melody of a lovelorn child of the `60s, it's the rousing, energetic tunes that stand out. "Take My Love with You" is easily the album's apex, a galloping, cheerful sing-along with one of the best intros ever recorded. Reed wails and pleads with his lover like James Brown on a Ben Folds binge while the sax and drums make it physically impossible not to do the mashed potato. Even vengeful fantasies like the ones in "I'm Gonna Getcha Back" sound like solid gold, with Reed singing, "I'm gonna getcha back / Gonna go out on the town / I'm gonna getcha back / With every little girl around / Two can play your cheating game / And now I'm on the attack / 'Cuz you done laid your cards down, baby and now I'm gonna getcha back."

Live, the group is as tight as Reed is charismatic. You should see them as soon as possible, since they can't remain a secret for much longer. Just like the Black Keys, who simply stuck to the basics of the blues and infused them with such soul and melody, Reed and his posse are poised for popularity.

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Slacker (October 29, 2008)

Great album.

There is a great good quality concert of Eli Reed streaming on this site:
http://www.fabchannel.com

/eli_paperboy_reed_and_the_tr ue_loves_concert/

Bipedcasserole (October 27, 2008)

I hadn't planned on defending my review, but rock 'n' roll was most definitely hi-jacked by white record labels and artists.

Yes, there were some great white singers present somewhat after the advent of the genre, and yes, it was originally an amalgamation of many different sounds, but those sounds were all patently black: gospel, blues, even country had some roots in black history, although country was equally spawned out of Appalachian-European traditions.

Since it was taboo to have blacks anywhere near mainstream America, and since rock 'n' roll was undeniably popular, white record execs tried their damndest to co-opt it and make it safe for white America. Hence the record race wars of the '50s and the perverse asshole we know today as Elvis Presley.

This is fun to write about, even if we're arguing over it. Punk's roots are just as interesting, especially in England, where reggae was initially the sound of rebellious Brits.

Jesse (October 27, 2008)

Actually, the blues came from African ryhthms and instruments.

And Eli Reed can wail. Just like most soul albums from the 60s, about 3-4 throwaway tracks, 4-5 great ones, and two solid gold stunnas.

skinheadisland (October 27, 2008)

Despite the reviewer apparently knowing nothing about the roots of rock and roll, Eli Reed is really fun live.

HOISTDATRAG (October 26, 2008)

oh, and a good review also.

HOISTDATRAG (October 26, 2008)

great great album. This guy's got it down.

racketmagazine (October 26, 2008)

This album is fucking amazing, and for some reason, Eli Reed opened for Say Anything. As I wanted to leave on a high note, I bounced before Say Anything came on.

wearestillalive (October 26, 2008)

I saw this band at about 1AM at a festival whilst drunk in a tiny, packed, dark and sweaty tent, and it was one of the best dance parties i've ever been in.

DreeeamWeaver (October 25, 2008)

great album. it's like if jamie lidell would have made an entire album on the premise of "multiply" rather than experimenting with so many sounds. love it.

quantumslacks (October 25, 2008)

I don't think the reviewer knows an awful lot about the history of rock n' roll. It wasn't "stolen" by anybody. Like all forms of American music is has significant multi-ethnic roots in the same way that much of the basis of blues music is European in orgin.

On another note, while Pat Boone was completely awful, Bobby Darin, Gene Pitney, Connie Francis and Peggy Lee all made excellent watered down/white washed rock.

punknewscommenter (October 25, 2008)

First listen, not so bad. But after a bit it just didnt do it for me. Something about it lacked soul. Still pretty talented stuff Ill admit.

Id prefer Sharon Jones and The Dap Kings over this. Now that is some genuine stuff.