Tommy Talton Seven Levels (Strolling Bones Records)
For those of us enamoured of the Capricorn Records era and the artists they signed, chances are good you’ll be familiar with the band Cowboy. No less that Duane Allman – who’s first release with the Brothers was in ’69 – brought Cowboy to label co-founder/tastemaker Phil Walden’s attention and, based on Duane’s recommendations, Cowboy were signed to Capricorn instantly. Now, while Capricorn and the Allmans are renowned for having given birth to the fertile ground we know as ‘Southern Rock’, Cowboy was slightly different.
Cowboy was Tommy Talton and Scott Boyer – who formed their group in ’69 out of Jacksonville, Florida. Their first release, thanks to Duane, was Reach For The Sky in ’71. Employing more of an acoustic-driven, country-rock approach, the quality of Boyer & Talton’s songwriting and superb musicianship teemed with Southern charm. With Bill Pillmore (piano/guitar/fiddle/vocals), Tomm Wynn (drums), George Clark (bass) and Pete Kowalke (guitars/vocals/drums), Boyer (guitars/violin/vocals) and Talton (guitars/vocals), Cowboy’s inaugural recording brought with it a more rural-sounding, southern-flavored sound bordering on the pastoral with, perhaps, a hint of back-porch bluegrass. Despite the quality of their playing, the magnificence of their harmonies and the timelessness of their songwriting, they never quite made it into the mainstream, being somewhat under the shadow of the Allman’s phenomenal success as the world caught up with the sounds of the south. In fact, as the original band had splintered by ’72, both Boyer and Talton did session work and played regularly with a host of Capricorn artists. That’s Boyer and Talton behind Gregg Allman’s first solo album, Laid Back, and the subsequent live Tour release. Rubbing shoulders with the Capricorn ‘Brotherhood’ (as it was known), Cowboy reformed to release the better-selling 5’ll Getcha Ten. Eric Clapton covered their song, ”Please Be With Me” on his 461 Ocean Boulevard release, upon hearing the original (which included Duane on dobro). By ’75, the team of Boyer and Talton released the practically perfect Boyer and Talton, enlisting other members of the Capricorn stable – Bill Stewart, Chuck Leavell, Jaimoe, Johnny Sandlin, Randall Bramblett, David Brown and Toy Caldwell. You owe it to yourself to find this record and drink it all in. Given their multiple side projects, the self-titled Cowboy was released in ’77 and the band splintered beyond that – releasing solo projects while supporting everyone from the Allmans to Bonnie Bramblett, Livingston and Alex Taylor, Sea Level, Martin Mull, Dickey Betts and Levon Helm. They were everywhere.
While Boyer and Talton remained friends, it seemed the end of an era, despite reuniting in ’07 for an unreleased album. Sadly, Scott Boyer died in February of 2018 and we just lost Tommy two days before Christmas in 2023.
This degree of background is required to fully appreciate Talton’s final, posthumous release. Rather than roll over to a cancer diagnosis, Talton soldiered on, writing new songs and making this final statement to his family, friends and fans.
Seven Levels is seven songs yet, at only 39 minutes’ worth of music, it’s a lovely tribute to this largely under-appreciated master songwriter, singer and guitarist. It stands as a eulogy to a well-respected artist but certainly not the last statement of somebody performing in any sort of diminished state. These songs are, for the most part, exceptional examples of Talton’s ability to pen a lyric, arrange an appropriate melody to fit the mood and then play the ass out of it – surrounded by equally talented friends and fellow musicians, each bound together by the passion and love of each other in the name of their ‘brotherhood’.
Given this context, this new material was recorded in April of ’22 at Capricorn Sound Studios (Macon, Ga), surrounded by crack session musicians – each of whom had all played with Cowboy at one time or other. No less than Rick Hirsch (exceptional guitarist, Wet Willie) co-produced with Talton, Hirsch finishing the recording with overdubs, mixing and mastering over time. The recording itself, however, is a celebration of not only Talton’s talents – but of deep-rooted and time-honored friendship. Known for his finicky love of detail, if not perfection, each composition comes together with the very best musicianship one could ever hope for – certainly on Talton’s terms. This important document had to be done just right.
Beginning with “Time Will Take Us”, an excellent example of that Southern sound inherent to those within the brotherhood, Talton is in fine voice, playing his patented, tone-perfect electric guitar together with Hirsch on his. Mix in the great Chuck Leavell on electric piano and the equally brilliant Randall Bramblett on B3 and, with a tight rhythm section comprised of Owen Finley (bass) and Jack Jones (drums), prepare to be seduced. Don’t be fooled by the slow intro – the full band is quickly in the pocket as it ramps up with a slight hint of funk. It’s a near-jamlike, upbeat track which deals with the toll time takes on all of us – and couldn’t be more appropriate.
The song “Ramblin’ Man” was originally written (by Boyer) prior to Dickey Bett’s more famous song with the same title. But Cowboy’s version was shelved given the popularity of the Allman’s Brothers and Sisters’ release. Until now. Talton’s mastery over the dobro – which distinguishes this track as he adds acoustic guitar to his still-sturdy lead vocal is beyond distinctive. Hirsch supplies delicious slide guitar as Bramlett blends in harmony vocals and sumptuous B3. The rhythm section switches over to Charlie Hayward (bass) and Bill Stewart (drums). A simple song with a country-esque feel, each instrument blends together seamlessly.
A distinctive air of positivity glistens in the sunny presence of Talton’s “I Can Pick You Up.” He surely does with this optimistic, feel-good song– one of the album’s highlights. Talton and Hirsch combine on electric guitar with harmonies and background vocals supplied by Brandon White. Hirsch adds piano to Bramblett’s B3 while Finley and Jones lock into the bottom. Guitar and B3 spar beautifully on this buoyant, upbeat track.
That back-porch charm returns with “I’ve Got the Sun In My Heart” – as another strong vocal from Talton meets Leavell’s stand-out piano to launch this composition well into the clouds. Laidback, it features James Pennebaker’s fiddle and Bramblett on B3 while Donna Hall Foster adds sweet backup vocals, the song eventually becoming slightly jam-like in the repetition of its chorus. Leavell pours on strong support on piano to Hirsch’s electric guitar. Finely and Jones complete the picture.
Strap yourself in for the bittersweet “I Want to Do It All Again.” This is Tommy Talton’s overarching love letter to a life well-lived and for his appreciation of friends and family. It was unveiled as a backdrop at his Celebration of Life, set to a special video created by son-in-law, Steve Gondek. Nary a dry eye. Talton’s tender lead vocal is hauntingly beautiful, reinforced by elegant acoustic guitar to Hirsch’s electric. The added touch of violin, viola and cello (Molly Thomas) lend a slightly sombre edge to the mood yet there’s no denying Talton’s overall sense of contentment with how his life has turned out overall. Talton’s complementary acoustic guitar joins Hirsch’s electric while Marty Kearns adds organ to Bramblett’s outstanding contribution on grand piano (and harmonies). John Keuler (bass) and Jack Jones (drums) fill out the sound. Of special note, Talton’s descriptive lyrics pack a rhythmic punch all their own, gracefully painting a picture which has more to do with absolute contentment than it does anything bordering on the melancholic.
Speaking of love letters, “Waiting for the Lady to Return” is a heartfelt ode to his wife, Patty, who – after a stroke years earlier – was silenced by aphasia which, sadly, changed both their lives forever. You hear the sadness, the pain, the frustration and above all the love in this very personal embrace of what once was. That’s Talton on 6 and 12-string guitar set against some of the most gorgeous piano you’ve ever heard, compliments of Chuck Leavell. Bramblett adds depth on B3 as Hirsch find complementary notes. Hayward and Stewart provide the pulse. Again, Talton’s eloquent vocal is almost painful to listen to – yet it’s an exquisite tribute.
Anyone who might not have realized Talton’s full talents on guitar, should strap themselves in for the final song, “Say A Prayer On My Behalf.” Talton is on fire as he trades barbs with Hirsch and truly scorches on this extended blues track. Bramblett challenges them both with his rich B3 backdrop while Hayward and Jones keep it down and dirty. Clocking in at almost 8 minutes, it’s a highly memorable slow burn and an excellent reminder of Talton’s exacting skills on guitar. Say a prayer, indeed.
However, there is nothing sad here. It’s a final testament to a truly talented man at the top of his game, surrounded by some of the best musicians available – all tied together by the love of what they do so well. You owe it to yourself to investigate Talton’s hard-to-come-by catalogue and avail yourself of a talent who, with his untimely passing, will be truly missed.
It’s quite the distinguished epitaph.
Musicians on the album are Tommy Talton on vocals, harmony vocals, dobro, acoustic, 12 string, slide and electric guitar; Chuck Leavell on electric piano and grand piano; Randall Bramblett on organ, harmony vocals and grand piano; Rick Hirsch on slide and electric guitar, acoustic piano and background vocals; Owen Finley on bass; Jack Jones on drums; Charlie Hayward on bass; Bill Stewart on drums; Brandon White on harmony and background vocals; Donna Hall Foster on harmony vocals; James Pennebaker on fiddle; Marty Kearns on organ; Molly Thomas: violin, viola, and cello; and John Keuler on bass
