|
 |
The Tennessean
January 2002
“Our Pick”
The Tuesday crowd is piling into 12th & Porter these days to see what the revival of Judson Spence is all about.
Formerly signed to Atlantic Records and widely recorded as a Christian songwriter and background vocalist, Spence has pulled together a show long on funk and trippy rock ‘n’ roll made mighty by his soul cry of a voice.
Sparked back into front-man action by the birth of a child and some good fortune in the songwriting column (his The Power was on Cher’s multiplatinum Believe), Spence has set up a regular gig for at least the next few Tuesdays between the carved angels on the 12th & Porter stage.
The band is super-tight and includes the guitar mysticism of Owsley and bassist Spencer Campbell, plus a bonus feature: the best club-based light show you’ve seen maybe ever. Cover is $5. Time is 9:30. – Craig Havighurst, Staff Writer
CCM Magazine
May 1996
Judson Spence - PainFaithJoy - Bold
Astute liner note readers may recognize Judson Spence’s name as one of the writers of “The Power,” a standout track on Amy Grant’s House of Love album.
Older, even more astute liner note readers may recognize Spence as a background vocalist on scattered projects in the mid-‘80’s. But count yourself among a very select group if you own (or even remember) his 1988 Atlantic debut. That self-titled release, while containing all the production slickness of the day, still had an underlying base of funkiness, positive lyrics and Spence’s powerhouse vocals.
Which, of course, guarantees nothing when you throw it out to a very fickle public. Judson Spence, along with Ashley Cleveland’s Big Town and the Chagall Guevara album, proved that American audiences don’t know what to do with music with a spiritual edge that doesn’t come out of Dublin.
A second album, from whence Grant acquired “The Power,” was recorded but shelved. Spence retreated from the music business, working through the turmoil of those experiences, spending time with his family, essentially living his life. But he kept writing songs.
Something in 1995 must have re-lit his creative fire, because those of us in touch with the Nashville music scene heard rumblings that Spence was working on an indie project, gathering most of his usual suspects (including guitarists Will Owsley and George Cocchini, bassist Spencer Campbell, keyboardist Jeff Roach and percussionist/brother Jody Spence) to record a new set of songs.
The result is PainFaithJoy, a project that showcases Spence’s resourcefulness as much as it does his talents. The songs plumb the depths of his experiences in life and love to draw the listener in with lyrics allowing one to nod in recognition and agreement as often as bobbing along with the rhythm.
Sonically, the record is in big contrast to the 1988 effort, but its simplicity is not out of place in 1996. A lot of the extra elements from the first record remain – horns, organs, percussion – but the effects and distortions this time give a texture the first album did not have, and Spence’s vocal is more prominent, right there in your ear, as opposed to buried within the instrumentation.
Overall, the record is more laid-back. Where Judson Spence was at times bombastic and frantic, PainFaithJoy is quieter, in more of a groove, but not lacking in passion, either vocally or musically.
It will be interesting to see what becomes of this fine, complete artistic statement. If Spence shops it around and somebody bites, it will serve as a fine springboard for his re-introduction to the music industry. If he doesn’t, he’ll still have a good piece of work of which he can be proud. –Lucas W. Hendrickson
THE HARD REPORT
November 4, 1988
JUDSON SPENCE – When it was all over, Judson Spence showed himself to be twice as charismatic as his press clippings. The band was tight as an epoxy fitting and hizzoner Judson got the crowd upfront and howling for his set which showed off a remarkably strong set of pipes. Club performers come and go but Judson showed an amazing facility in keeping the crowd on a roll that never lagged one iota. This guy has some grit to him and that’s no lie and, if this show was any indication, Mr. Spence is going to be working out his mojo on audiences for a long time to come.
BILLBOARD MAGAZINE
New and Noteworthy
October 8, 1988
JUDSON SPENCE
Producers: Judson Spence, Monroe Jones, David Tickle
(Atlantic)
Striking young Mississippian has vocal chops to spare and shows them off in this compulsively listenable, and danceable, debut. Best comparisons are to Prince (for vocal licks) and Robbie Nevil (for general blue-eyed soulfulness). Tasty production, which eschews dance-floor cliches, enhances flavorful material. Check “If You Don’t Like It,” “Attitude,” and “Hot & Sweaty.” Label has big push in the offing; it’s deserved.
CMJ New Music Report
October 7, 1988
JUDSON SPENCE Judson Spence (Atlantic)
We were convinced it was a spoof on Columbia and Terence Trent D’Arby. Here’s Atlantic telling us about this new sensation, a young hot, poised, pop-soul singer who’s gonna take the world by storm. So what else is new? Then they tell us he’s from Pascagoula, Mississippi, he’s white and he developed his knack for soul by singing in the black churches in his hometown. Sure. Next day a tape shows up. It’s cued to side two, so the first thing we hear is “Hot & Sweaty” and I’ll be Sam Shazammed if it isn’t one of the best dance tunes we’ve heard in months. Grooves kinda like Prince. Spudson whazziz name? Where is that cassette case? Most of the tracks that follow aren’t as outright funky, but they’re smooth and immaculately produced, with a rock-solid backbeat that coulda come from David Bowie’s Let’s Dance sessions or from some lost Robert Palmer record. On the flip, “Yeah, Yeah, Yeah” sports a spirited gospel backing chorus and some Hammond organ, and the uncannily D’Arby-like “Everything She Do” (found on Certain Damage Vol. 11), which hooks us for good. Shortly thereafter, a popping bass intro leads into the rousing rocker “Attitude,” a tune that could recharge any Power Station. And we’re told his band is killer live—we’ll all see for ourselves because Judson is gonna showcase at the CMJ Music Marathon. See you there.
The Gavin Report
Personal Picks
ALBUMS by Ron Fell
JUDSON SPENCE (Atlantic)
This is a very special project that showcases an amazing new talent. Judson Spence is a young white-boy with an unbridled passion for black music. Spence has all the dynamic qualities of a superstar—composer, arranger, performer. This LP, his freshman effort, is a brilliant collage—no two songs sound alike. Side one is one of the five most magical sweeps of music I’ve heard this year. The two extreme examples of his creative genius on that side are IF YOU DON’T LIKE IT (with Billy Preston on a Hammond B-3) and a chilling break-up song, LOVE DIES IN SLOW MOTION. The joy of having a place to write reviews is that over the thirteen years I’ve been doing this, I’ve had a place to rave-up the up and comers. Judson Spence will be over the top in no time. Take this one to the bank!
SINGLES by Dave Sholin
JUDSON SPENCE – Yeah, Yeah, Yeah (Atlantic)
Discovering exceptional talent is one of the real thrills of the music business, and the folks who first heard Judson must’ve gotten quite a rush. His Mississippi roots, and influences from Black gospel music, shine through on this debut single. Since first hearing this album several weeks ago, I’ve been telling many of you about this song. Now Judson Spence has arrived and all I can say is “Yeah, Yeah, Yeah.”
|
|
|
|
|
