Johnny Rivers

On his first studio recording in six years, iconic soul rocker Johnny Rivers surrounds himself with old friends, and some new ones, on an album that offers renewed evidence that Rivers continues to be at the top of his game. In essence, Reinvention Highway is a collection of new songs, his own early tunes, and some covers, both new and old. But this is not some tired hack job by an artist trying to relive his glory years. If anything, like Loretta Lynn's fantastic Van Lear Rose, this is an opportunity to hear an artist whose vitality and ability are only equaled by the emotional and aesthetic depth of his commitment to a great song. Rivers is as much a singer and interpreter of great material as he is a songwriter, and he displays all of his talents here in spades. Some of Rivers' cohorts on Reinvention Highway are Herb Pedersen, Chris Hillman, Benmont Tench, Waddy Wachtel, Bob Glaub, Phil Jones, Darrel Cook, the Waters Sisters -- Maxine and Julia -- Stacie Plunk, Mike Thompson, and Will Oneales, who offer not only their respect, but contribute enough energy and fire to this mix that they push Rivers to the brink. Rivers plays his own guitars and his chops are sophisticated, punchy, and in the pocket. The set opens with a radically redone "Midnight Special," a traditional tune Rivers cut back in 1964 on his debut album. This version features a full rave-up horn section, and feels more like a Wilson Pickett soul burner than a folk song. As soon as the last crunching chord echoes, Rivers kicks right into Lennon and McCartney's "I'll Be Back," with a ringing 12-string for maximum jangle effect -- something employed on his cover of Gene Clark's classic "Feel a Whole Lot Better," a track Rivers cut back in 1966 along with Oscar Brown, Jr.'s "The Snake," which is also here. These new versions crackle with passion, verve, and raw rock & roll soul, as do two of his own tunes from 1968's Realization album: "The Way We Live" and "Goin' Back to Big Sur." The former, was written at the height of the Vietnam war and holds a new poignancy in this dark era. The latter tune is a love song that endures because it's not obvious; there are no clichés in its lyrics and in the grain of Rivers voice; there is no doubt about his ability to carry a lyric into the heart of the listener with grace and conviction. "Johnnie Johnson Blues" is named for the blues and rock pianist who, for decades, was Chuck Berry's bedrock sideman and musical inspiration. "Lo Down," is a shuffling, funky soul-blues that feels like a Memphis groove team backing Smokey Robinson. The skittering, minor-key blues-country of Mel Tillis' "Walk on Boy," provides a real twist in mood, but because of its dirty roots rock approach, it fits right in. Rivers the crooner makes an appearance on "Don't Go Lovin'' with the Waters men -- Luther and Oren -- along with Tench and Wachtel -- and prefaces the tough, jazzy swing of Van Morrison's "Songwriter," (a tune Rivers was born to sing,) before the record closes with the shimmering ballad "Learning to Dance." This final track, written by Jack Tempchin and John Brannen, offers all of Rivers' strengths as a vocalist in one place; he finds the heart of the night full of magic, soul, and wonder, and drops it all into a love song. And it's in the love song that great singers are made and broken. Simply put, Reinvention Highway is rock & roll poetry. ~ Thom Jurek, All Music Guide