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admin | Category: Trace A Phone Number | 12.01.2014
In the cornball video in my mind, kids ping-pong off a trampoline and float in slow motion, hanging in mid-air, their hair flying in every direction. This is not just the story of a man with an acoustic guitar who writes songs and sings them. What I didna€™t know until I downloaded Jima€™s entire discography was that his range is off the charts. He played in an acoustic duo with a friend, singing Simon and Garfunkel and Beatles covers. Playing music on nights and weekends around Philadelphia, Jim acquired a reputation as a stellar session player and sideman. Among Boggia cognoscenti, ita€™s well known that Jim has spent a lot of time sharing gigs with Jill Sobule. Aside from the melodic brilliance and command of studio effects, there is no small matter of depth of lyrics.
The next album released in 2005, Safe in Sound, kicks off with a€?Shine,a€? co-written with Aimee Mann. The last track, the strangely thrilling a€?Still to Come,a€? is seven minutes of a thunderstorm. Jim co-wrote a€?Chalk One Up For Alberta€™s Sidea€? with Beach Boys lyricist Tony Asher (Pet Sounds).
When he hit his middle teens, friends who drove or friends with parents who drove became Jima€™s ticket to mobility. Jim heard The Fab Faux somewhere around 2000 and, as a self-described a€?Beatles freak,a€? became a huge fan.
Get the most out of your experience with a personalized all-access pass to everything local on events, music, restaurants, news and more. Every Friday, Riptide brings you the most eye-catching mugshots taken the previous week in Miami-Dade County. In Jima€™s world in Michigan, there appeared to be no middle ground between a garage band and people who were world famous. By his estimation, it was a pure non-income-earning pursuit summed up in the jokey phrase a€¦ a€?I want to go read.a€? He did, however put some part of it to use writing and recording jingles for a local ad agency part time for a couple of years. The film Roger and Me, by Michael Moore depicting the economic desolation of Flint, pretty much summed up the entire state, as far as Jim was concerned. In 1996, he was still working at his day job as a service rep when a call came in for a multi-show gig with Bernadette Peters.
While there is a great pop feel to much of Jima€™s work, absolutely nothing is a throwaway piece of fluff.


The first track, a€?So Full,a€? is one of my favorites and one that Jim is still proud of a€” a great way to start onea€™s recording career.
The second track is the aforementioned a€?Live the Proof.a€? Jim has said that Aimee had written a darker verse for a€?Proofa€? that he preferred, but the song had been recorded by then.
Adding an air of poignancy, there are snippets of taped words of long-passed-on grandparents, aunts and uncles.
Two very upbeat songs, a€?8-Tracka€? and a€?Listening To NRBQ,a€? use made-up but real-seeming memories.
This sunny, winning song of redemption borrows stylistic touches from the Beach Boys (harmonies) and Beatles (a€?Rocky Raccoona€?-like melody). Yes, there is some mockery of bad neck tattoos, but also adulation directed at perps who just plain look more badass than we ever will. It struck at the core of where I live and where I dream (that happens to be rockabilly), and took a left turn to someplace else. From the beginning some 12 years ago, they have always been primarily about one thing: the transmission of joy.
He does Beatles covers well enough to be a guest player, from time to time, in the Cadillac of Beatles tribute bands, The Fab Faux.
The next five years in Warren were something out of a€?The Wonder Years.a€? There were families with children everywhere, cul-de-sacs and kids on bikes. Bernadette worked with a 20-piece orchestra, but for two or three songs, during the middle of her set, Jim alone would accompany her, sitting on a stool with just an acoustic guitar. Jim started playing for The Fab Faux when he was asked to sub for Jimmy Vivino when Jimmy went to L.A.
This is the italicized intro to that series.Whoa, sorry we went Ricky Williams on you there for a minute. This thing took its opening chunky electric guitar riff and underlaid it with a second jangly guitar and a drum attack tailor-made for my own air-drum fantasies. That was the first time he actually played before an audience of a€?paying customers.a€? He was also in a rock band and played high school dances.
Upon first meeting, Jim told her that he played a lot of her songs, so she invited him to play during her set.
There are added ambient sounds that conjure visions of Jim looking around, pulling in elements of the world surrounding him. The track finishes with an old-timey, vaudeville-like song dedicated to Shane the sound engineer. As the words Hea€™s nevera€¦ never comina€™ home emerge from Jim in an angry, sorrow-filled wail, a brass section plays a slow, sad funereal march.


The singer strode in on his serrated voice, sharp enough to carve a new pathway through my cardiac apparatus. On one video, he is shown being interviewed in 2008 on a TV station promoting an anniversary show of the first Beatles concert in Philadelphia.
At a store in Ann Arbor that carried newspapers from around the nation, he got an issue of the Philadelphia Inquirer and saw a listing for a job in Philly as a customer service representative in a high-tech studio equipment company.
This segues into sweetly lilting a€?Listening To NRBQ.a€? We hear a perky strum on an acoustic guitar and tart licks on an electric. In the background, from a recording on a small digital recorder Jim made, real names of area soldiers lost in the war are read by a Quaker organization at the Town Hall in Philadelphia. If anyone who reads this heads over to YouTube to experience the remote version of Jim, Ia€™ve gotten part way there.
After Jimmy returned, another opportunity came when he was asked to sub for Jack Petruzzelli. He was slated to perform their 26-minute set solo, from that first Philly concert (as a headline act featuring other bands, the Beatles set was relatively short).
Leta€™s get him out here!a€? After the audience applauded loudly for Jim, Jill added, with great comic timing, a€?Now, Ia€™ve actually never heard him; he might suck!a€? Theya€™ve done gigs together ever since. There are more great songs not included and other side project recordings listed on his website.
The cumulative effect put a rocket payload under every cell in my body and shot me into a stratosphere somewhere in my brain a€” someplace endorphins form and multiply a€” with cells subdividing and spreading exponentially. A cartoon version of me would show a hamster pushing a button to get his ecstasy-laden pellets, winding up prostrate and exhausted. On the video, we can still watch as Jim rips through a€?Cana€™t Buy Me Love,a€? using only an acoustic guitar, throwing in lead melody licks amid the strumming, his voice a McCartneyesque doppelganger. When I describe this video, and numerous others to friends, I find myself using the term a€?jaw-droppinga€? often. In Jima€™s charmed universe, he later got to play live shows with monster NRBQ pianist Terry Adams, Color him ecstatic. His mom didna€™t drive and after school and weekends he had to rely on his guitar, his records (plus later, a tape recorder) and an absorption in music, alone in his room. This period of isolation and self-taught growth was like putting a nuclear scientist alone in a laboratory with everything he needed to build a reactor.



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