CD Review: Eli “Paperboy” Reed, “Come and Get It”

Ken Shane August 11, 2010 5

Eli 'Paperboy' ReedLast year I saw Eli “Paperboy” Reed and his band the True Loves at the Stone Pony in Asbury Park. I came away a little disappointed. I’d been following their career for a year or so at that point, and their performance that night, while oozing with potential, seemed unfocused, and somewhat chaotic. Not long after that, I heard the news that they’d been signed to Capitol Records, and I was curious about what the label would do to, and for them.

I didn’t have to wait long to find out. In May I saw the band again, this time at WXPN’s NONCOMMvention in Philadelphia. What I saw that day was a slick, tight, fully focused unit, led by one of the best young soul men out there today. It was clear that some wonders had been worked by Capitol in bringing all of that potential to the surface, and putting it on full, glorious display for the world to see.

Now comes the debut album for the label, Come and Get It, and I’m pleased to report that it’s outstanding. The songwriting is so inspired, so informed by what’s come before, that you’d think that these were songs from the late ’60s or early ’70s instead of recent Reed compositions. This young man has clearly studied the classics. It would be wrong to accuse him of slavish imitation however. He brings a fresh energy to the form by finding the grit in his smooth vocal style, and leading his band through all the right moves. The album was expertly produced by Mike Elizondo, who spruces up the ancient form with a bright contemporary sound.

Nearly every song is a well-crafted delight. Standouts include the ballad “Just Like Me,” which brings to mind the great Tyrone Davis, the cleverly turned out “Name Calling,” the live energy of “Explosion,” and the funky and fine title track.

The Boston-born, now Brooklyn-based Eli Reed has quite a story to tell. His short life has taken him from New England to Mississippi to Chicago, back to Boston, and now to Brooklyn. He has learned his lessons well, and proven that desire and hard work can still take you a long way in the music business, especially when blended with a unique talent. His is a career to follow.

  • KingPervus

    I heard this guy on the way to work this morning (and consequently just prior to reading this post) and was intrigued.

    Bottom Line: He’s talented and he seems to be an accomplished showman, but dammit if I don’t listen to that one single and immediately want to reach for any pre-1970 Steve Wonder compilation I may have lying around. I imagine if I saw him live (in a reservation casino theater, I imagine) I would drunkenly yell for an entire set of cover tunes and get ejected. These neo-soul types are to be commended, but I haven’t heard anything yet that distinguishes them (in intent, not form) from the “swing” revival we dealt with in the late-90s.

  • http://www.kenshane.com kshane

    In an earlier article, I differentiated between neo-soul, which is soul music with a modern twist, often influenced by hip-hop, and retro soul, which is a more of less faithful recapitulation of the ’60s and early ’70s soul. Eli is very much the latter, and while there’s nothing really new here, he has freshened up the sound considerably, and brought some youthful energy to it. In my book, that’s always welcome.

  • Anonymous

    I agree, and haven’t always been hip enough to distinguish between the genres.

    Although I will add that the Brits, in my opinion, have so far been much better at this kind of thing (I’m thinking James Hunter, maybe Noisettes) than we have. They seem to be able to add a kind of nuanced menace and/or authenticity that domestic acts don’t seem to get. If that makes any sense.

  • http://www.kenshane.com kshane

    There are some great American retro soul acts. My favorite is the Revelations featuring Tre Williams. There’s also a guy named Ryan Shaw from Georgia, who is just amazing. Then there are great bands like Austin’s Black Joe Lewis and the Honeybears, and a new band out of Milwaukee called Kings Go Forth. They’re all worth checking out.

  • Anonymous

    I second the Black Joe Lewis prop and also suggest Lady Dottie and the Diamonds out of San Diego. Some pretty smokin’ cuts on their debut album. http://www.facebook.com/pages/Lady-Dottie-and-the-Diamonds/96802165354

    Eli’s made some headway between his previous recordings (some of which were duped for me by a friend) and this new album, which could benefit from re-sequencing. The title cut should have kicked it all off, it’s a collar-grabber. “Take a Number” is also a personal favorite.