Music Producer Mark Trombino Opts for ‘Completely New’ Career, Opens Doughnut Shop
Magnolia Pictures Reggae singer Jimmy Cliff recorded his album Another Cycle at Muscle Shoals Sound Studios. Magnolia Pictures He started producing records with local musicians, including singers Percy Sledge and Arthur Alexander. His first crew of studio musicians left after a few years to become Nashville’s top session players. Hall replaced them with another gang eventually known as the Swampers. The first two groups had something startling in common: They were all white. But Hall had won the respect of Atlantic executive Jerry Wexler, and that label started sending the likes of Wilson Pickett and Aretha Franklin to Muscle Shoals. After Franklin stiffed at Columbia with a series of prissy pop records, Hall and his players crafted the sound a Aretha calls it “greasy” a that made her a star. Soon enough, though, Hall and Wexler were feuding, and the Swampers were summoned to New York to record such sides as “R-E-S-P-E-C-T.” (Wexler appears in the movie, but he doesn’t talk about the quarrel.) If Hall was sure he knew how to make hits, the Swampers were humbler. They played “head sessions” without written charts, and so didn’t consider themselves pros. To this day less cocky than his old boss, Swamper Roger Hawkins recalls that Wexler told him he was a great drummer, “so I became one.” In 1969, Hawkins and three of his Swamper cohorts also abandoned Hall, starting their own studio. Paul Simon came there, looking for the black players who’d propelled the Staples Singers’ “I’ll Take You There.” (Actually, that was another Swampers session.) Jimmy Cliff, Traffic and the Rolling Stones also visited, and all reminisce here. “Brown Sugar” was cut in Alabama, and Keith Richards says the Stones would have returned for Exile on Main Street, “but I wasn’t allowed in the country at the time.” Meanwhile Hall assembled a new, interracial band to record songs that were commercially potent and yet a as the movie declines to mention a blander than what came before. FAME’s 1970s clients included Tom Jones, Candi Staton, Clarence Carter, the Osmonds and more.
We started riffing and coming up with all these stupid names, and it stuck. I was nervous about it at first but I think it actually turned out to be a really cool thing. PHOTOS: Nancy Silverton’s New Food Adventure [Jimmy Eat World] knows about it and theyve actually submitted an idea for their doughnut because I dont actually have it on the menu yet, he adds. Im implementing it now. Rocket From the Crypt knows I have a doughnut named after them [called Chocolate From the Crypt], and I think even someone told Ian MacKaye about the Fudgegazi doughnut. I dont know what his reaction was. He was probably not stoked. But Ill give Ian MacKaye a free doughnut if he comes in here. Donut Friend isnt just a side project to Trombinos musical career, however. The shop actually marks a complete career reversal. I dont want to admit it yet, Trombino says when asked whether hes completely done with music. But probably. I can still work at home. I have a little setup at home where I can mix or whatever. I knew this would be different than working in music, and thats why I did it.
On Stage: ‘The Lion King’ comes to Fair Park Music Hall
Sept. 28 at 7 p.m. at the Eisemann Center, 2351 Performance Drive, Richardson. $20. 972-744-4650. eisemanncenter.com. DARK CIRCLES CONTEMPORARY DANCE Since returning from South Korea two years ago, Joshua L. Peugh has been busy charming Dallas audiences with slyly poignant commentaries on the human comedy in choreographies for his alma mater, Southern Methodist University, and the Bruce Wood Dance Project, where he served as associate choreographer and danced. This month, his Korean companys American branch makes its North Texas debut with a program that includes premieres of Jjigae and company member Dong Hyoung Kims Fighting Game. Through Sept. 28 at Sanders Theatre, 1300 Gendy St., Fort Worth. $12-$20. darkcirclescontemporarydance.com. MULTIGENRE & OTHER PERFORMANCES FREE JAZZ AND PROSE SALUTE TO SOUTH DALLAS Director Akin Babatunde and company will celebrate the diverse cultural contributions of South Dallas in a show at South Side on Lamars Underground space.
Music Review: Willie Nelson – ‘To All the Girls’
The combination of Nelson and Mavis Staples on the previously mentioned “Grandma’s Hands” is probably the highlight of the disc. These are two of the great voices of popular music and to hear them together is to hear the form elevated to art. Neither of them have an insincere bone in their bodies and it comes through with every note and word they sing. The contrast between his mellow baritone and her throaty growl is amazing. They turn this very simple song into a testimony on the power of a grandmother’s love to inspire somebody for a lifetime. Like all the best gospel music it will move you and make you feel better about yourself after listening to it whether you believe in the message or not. Loretta Lynn and Dolly Parton probably aren’t to everyone’s taste. Both still carry the twang of their Tennessee backwoods upbringing in their voices like a flag proclaiming their heritage. However, unlike those who might try and affect this accent and end up being annoying, in the mouths of these two grand old ladies of country music, it’s the sound of authenticity making their words ring true. Listening to them partnered with Nelson and the mix of their respective voices is like hearing the roots of popular music come alive in song. There’s a power in each of their respective voices which is capable of sending a shiver up your spine. Hearing them together is as fine a treat as you could ask for. I only recently discovered Shelby Lynne and was impressed with her the first time I listened to her.