According to Willie Nelson, “A.J. Croce has wisdom beyond his years. With his music, he represents his generation with a profound sense of honesty in his lyrics and quality in his delivery. The future of entertainment is safe in his hands!”
Some artists are afforded the chance to tell their personal stories as they see fit, at a particular moment when they know the time has come. But for many, there is no choice — the story emerges hardwired to the music and they become forever identified with it no matter how their story may evolve or change.
A.J. Croce has been inextricably linked to a version of his own story by virtue of his name. He’s experienced a lifetime of comparisons to a father he lost at age two, whose music bears little resemblance to his own output yet still serves as a reference point despite the years that have passed and the many iconic mentors who have stepped in to offer their counsel, creativity, and endorsement throughout his long career.
It’s curious that it now feels necessary to include the reference, as enough time has passed that a new generation of tastemakers and journalists might not know who Jim Croce was — that he was a golden-voiced everyman, a singer-songwriter-guitarist who died too soon, leaving one of pop music’s most beautiful and memorable ballads (written about a young A.J.) in his wake.
Croce the younger, on the other hand, is a piano man, first and foremost, and a vocal stylist second. His muted growl pulls from a host of American traditions and anti-heroes — it’s part New Orleans, part juke joint, part soul, but somehow evokes New York, a continuum where John Lurie meets Lou Reed. He is further a songwriter, driven by a personal muse, informed by a life on a boomerang of tragedy.
His gritty and accomplished ninth studio album, produced by legendary soul singer-songwriter and producer Dan Penn, is the latest and arguably greatest effort yet. Penn, of course, is writer of such hits as “The Dark End of the Street,” “Cry Like a Baby,” “I’m Your Puppet” and “Do Right Woman, Do Right Man,” and producer of the Box Tops’ “The Letter,” as well as songs and recordings by Jerry Lee Lewis, Bobby Blue Bland, Clarence Carter, and Alex Chilton. Also making appearances are Grammy Award-winning country artist Vince Gill, Steve Cropper (Booker T. & the MGs, Blues Brothers, author of many Stax hits), the McCrary Sisters and the Muscle Shoals Horns.
Croce has lived longer now than his father did — at 45, he is 15 years beyond the age his father was when he died. With Just Like Medicine (due out August 11, 2017 on Compass Records) an authentic version of his story, which contains both unimaginable sorrow and many blessings, can be felt and understood.
Just Like Medicine’s second track, “The Heart That Makes Me Whole,” was written by Croce with the late great Leon Russell. Croce notes, “We’d played together over the years, and one time I went to go see Leon play with Willie Nelson and we really connected through the music that we both loved — whether it was Ivory Joe Hunter, or all these great piano players who we both loved. At first, it felt a little sad recording this song because Leon and I had spoken and I was looking forward to have him on this album. Leon lived 20 minutes away from me in Tennessee, so it was bittersweet because we couldn’t record it together. But I was happy that Steve Cropper, the McCrary Sisters and the Muscle Shoals Horns and I could try to fill that void as best we could.”
The track “The Name of the Game,” is notable for many reasons. One is that it finds Croce connecting with a part of his soulful legacy that hits close to home because the bluesy gem is a previously unreleased song by his father — the only known completed song written for the elder Croce’s next album, and the last song that he wrote. A.J. explains, “‘The Name of the Game’ is a song I had known about for a really long time. It was destined for my dad’s next record that he never got to make. The song had been bootlegged, just him playing guitar, but it had never been properly recorded. I thought this song really fit this album. We listened to a couple of my father’s demos and final recordings and tried to treat the song with the respect it deserves — while still making it my own. At the beginning of our track, Colin Linden — who’s amazing — is playing the same guitar my father wrote the song on. You can tell it’s a Jim Croce song, no doubt. And I just love Vince Gill’s playing, so I called him up to add his musical touch to it too.”
In truth — as Just Like Medicine demonstrates beautifully — A.J. Croce has spent his very musical life forging deep connections with music and musicians, including with producer Dan Penn and many of the other soulful artists who helped him make this new album. “I’ve had the chance to work with a lot of my musical heroes and a lot of people who became my heroes as I worked with them,” Croce explains. “These people don’t have a lot to prove. And one thing I found out is that even with all they’ve done and all they’ve achieved, every one of them is really open in the end. Even though they may have a certain style, and sometimes be stubborn about how they do things, when push comes to shove, they are open, willing and able to go in any number of directions to chase a good song. They’ve all taught me a lot about how to follow the music and find the truth. That’s why the music of Just Like Medicine sounds real and raw — it’s meant-to-be music. This music here was not fixed. This music here was made.”
A.J. Croce’s nine albums have been released via both major and independent labels, and have charted 17 Top 20 singles and all nine albums on the radio including on Top 40, Americana, Independent, Blues, and Jazz. A virtuoso piano player, he has performed at a TED Talk and gave a master class at the University of Barcelona. Croce has also performed on major talk shows and news programs including The Late Show, The Tonight Show, The Today Show, CNN, MTV, and VH1.
Nominated for two 2017 Grammy Awards: Best Folk Album (Upland Stories) and Best American Roots Song ("Alabama at Night")
Robbie Fulks was born in York, Pennsylvania, and grew up in a half-dozen small towns in southeast Pennsylvania, the North Carolina Piedmont, and the Blue Ridge area of Virginia. He learned guitar from his dad, banjo from Earl Scruggs and John Hartford records, and fiddle (long since laid down in disgrace) on his own. He attended Columbia College in New York City in 1980 and dropped out in 1982 to focus on the Greenwich Village songwriter scene and other ill-advised pursuits.
In the mid-1980s he moved to Chicago and joined Greg Cahill’s Special Consensus Bluegrass Band, with whom he made one record (Hole in My Heart, Turquoise, 1989) and toured constantly. Since then he has gone on to create a multifarious career in music. He has released 10 solo records on the Bloodshot, Geffen, Boondoggle (self), and Yep Roc labels, including the influential alt-country records Country Love Songs (1996) and South Mouth (1997), and the widely acclaimed Georgia Hard (2005).
His 11th record, Gone Away Backward, returned him to his bluegrass days and extends the boundaries of that tradition with old-time rambles and sparely orchestrated, acoustic reflections on love, the country life, the slings of time, and the struggles of common people. In that same musical vein, his latest (and most autobiographical) album Upland Stories (2016) garnered two Grammy nominations.
New York Times: “Mr. Fulks is more than a songwriter. He's a gifted guitarist, a soulful singer with an expressive honky-tonk tenor, and he's a natural performer. But what really sets him apart is his songwriting.”
New Yorker: “An alternative-country hero, wedding pedal-steel-sweet tunes and perfect, elegant lyrics with the best of them.”
Bill Frisell: “Robbie always gets me going. Inspires me. His writing, singing, and awesome guitar playing. All the stuff is in there. Happy, sad, mad, light, dark, old, new. The whole deal. It's real.”
Michael McKean: "My favorite songwriters can break your heart and/or make me laugh: Noel Coward, Loudon Wainwright, Randy Newman, very few others. Robbie Fulks has joined that august company. He sits a mean guitar, too, and sings like he learned from the C&W greats and made it his own, which is exactly what he did."
Tina Fey: “Robbie Fulks is an alt-country genius.”