Album Review: Peter Terry & The City Profits ‘I AM JACKSON.’
Last week, Indianapolis native and new Nashville resident Peter Terry released his debut full-length album I AM JACKSON. The album is more radio-friendly than many of the artists we feature on Thought on Tracks. However, its accessibility has nothing to do with an overproduced sound or stale, flavorless songwriting. Quite the opposite, this album gains its mass appeal by addressing those universal emotions and experiences that appear in almost every walk of life: the regrets of a drunken night out with the boys, the first breaths of a new relationship, boyhood crushes and a dance with the devil.
The other element driving the band’s pop appeal is Terry’s singing. These are not the smoke-worn crackles of a road weary blues man, nor are they the off-pitch screams that currently dominate certain segments of the indie scene. Terry’s voice is trained, soaring to heights only reached after years spent honing an incredible natural ability. If this is a crime, it is certainly a crime worth committing.
I AM JACKSON. begins with the steady thump of the bass drum and a filthy, foreboding riff on the double bass. Clashing stabs on the acoustic cut through the bass line as “Stripper Song” builds into the chorus. As the song’s title suggests, the lyrics meditate on the beauty of a talented dancer observed through drunken eyes. The song closes in a whirlwind, with the cello and bass trading textures as effectively as harmonies. Listen:
For me, the album hits its stride on “Piece of Art.” The song starts with a bouncy, walking bass line and simple snare pattern. Terry’s vocals float above the rhythm, lamenting on the frustrations of long distance love. A descending piano line signals the bridge as a raucous horn section fills out the remainder of the song. Female background vocalists serve as the icing on this auditory cake, adding a call and response that combines to create one helluva guilty pleasure.
“Godmother” is another track that has the potential to dominate the playlist of every college co-ed within earshot. The song features some of Stephen Juergensen’s best riffs on cello. Terry’s chorus is one that engrains itself in the listener’s mind, resurfacing in subconscious mutterings throughout the day. He shouts proudly, “My baby don’t take shit from no man / And if you trust it gives you the back hand / Said my baby don’t take shit from no man / If trouble comes, she keep left, she keep heart, she keep it on movin’”
With each successive spin of I AM JACKSON., the more convinced I become that Nashville is the perfect stage for Terry & The Profits to call home. Though country would hardly be described as a major influence, the prevalence of strings make the album immediately relatable to that audience. With country fans accounting for an increasingly larger portion of CD sales, Nashville maintains deep ties with the radio industry. And this album deserves radio play.
Pick up a copy of I Am Jackson. on iTunes or stream it via Spotify. Buy it for your girlfriend and watch her heart melt. Buy it for your mother and wait for her to inevitably say, “I didn’t realize they still made albums like this.” Buy it for yourself and discover what five talented musicians and an astounding voice sound like when they’re making the music that they love.
Written by Rob Peoni
Video: The Civil Wars Visit LUNA Music
On Friday, Nashville transplant The Civil Wars gave LUNA Music patrons plenty of reasons to go weak in the knees. Fortunately, our friends from The In Store were on hand to document. Their visit to the 52nd and College landmark was the only in-store performance on the duo’s tour.
Fans stood starry eyed, as Joy Williams and John Paul White showcased their pitch-perfect harmonies and breathtaking good looks. Williams is a bonafide 10 and White is a dead ringer for Johnny Depp circa Pirates of the Caribbean. They ran through a handful of songs from their February release Barton Hollow before closing the set with their take on Michael Jackson’s “Billie Jean.” Watch “20 Years” and listen to “Billie Jean” below.
Written by Rob Peoni
Thought on Tracks 
Fresh Track: Guided By Voices “The Unsinkable Fats Domino”
I currently have 1.2 days worth of Guided By Voices (GBV) content in my iTunes. The collection consists of full-lengths, EPs, live performances, and demo sessions. As time passes, my fondness for the group of lo-fi drinking buddies from Dayton grows. Most of their songs are brief snippets from the mind of front man Robert Pollard. GBV has spanned multiple decades while hosting a roulette of lineups. Somehow with all of their moving pieces, GBV has been oddly consistent. Throughout this constant transformation, Pollard has never let go of the core values of their band. GBV has always been loyal to their attitude and sound. Partying in basements until the crack of dawn while banging on electric guitars might seem juvenile, but the results have remained brilliant over the years. It is this loyalty to youthful behavior that has been embraced by their followers. Their “last” tour was suppose to occur in 2004 and many host cities, including Bloomington, Indiana dedicated their final tour stop as “Guided By Voices Day.” This is the type of influence that could make Pollard the easy vote for mayor in many progressive cities throughout the country, or at least everyone’s favorite bartender.
Pollard has always managed to maintain GBV’s authenticity while creatiting some of the best titles for songs that I have ever come across. “Gold Star for Robot Boy”, “My Valuable Hunting Knife”, “Zoo Pie”, and “Deathtrot And Warlock Riding A Rooster” are just a few of my favorite titles that come to mind. Please visit Jeff Warren’s Guided By Voices Database to gain a sense of the staggering size of the band’s catalog. The site also showcases the rabid dedication of GBV’s fan base. This database currently lists 1739 GBV songs in existence, most of which will grab your attention just by reading their titles. Their latest song “The Unsinkable Fats Domino” not only holds a spot for possible favorite title, but also gives GBV nation a special gift. “The Unsinkable Fats Domino” release displays the first new song by the original lineup since their last release in 1996 “Under the Bushes.” This brilliant, witty track is the lead single from their upcoming release Let’s Go Eat the Factory. While the title of the track is appealing, its story is even better.
Pollard and the gang decided to do what they do best and use current events to tell an amazing story. Legendary musician, Fats Domino was born, raised, and has called New Orleans home since 1928. A dedicated man not only to his music, but also his home, Fats was one of the many Crescent City residents who refused to evacuate during Hurricane Katrina. Because Fats’ home was completely flooded in one of the worst areas hit many dedicated fans thought Fats had been taken by the storm.
Initial reports indicated that Fats Domino had died. CNN quickly straightened things out with a story that brought relief to masses of music fans around the globe. Contrary to previous reports, Fats had been rescued by the Coast Guard along with the members of his family. A brilliantly buoyant story told to us by GBV.
I think this story is absolutely amazing and I honestly never heard about it until GBV chose to document it. Fats persistence and loyalty made him unsinkable despite one of the most awesome hurricanes this country has ever seen. GBV gives us an unbelievable story with an amazing name. This song is an anthem. This is an ode to the fight and desire of a living legend. While Pollard might not be held in the same breath as Fats Domino by most, I recognize him as such. After countless beers, thousands of cigarettes, and dozens of releases, I hope someone writes a song about him. “The Unsinkable Robert Pollard.”
Written by Brett McGrath